edition binding

The business of binding identical books in quantity, usually for a publisher or distributor, as opposed to binding done for an individual and LIBRARY BINDING. Edition binding usually involves the production of a type of binding known as case binding, generally in hard covers. Paperback books and other books with flexible and semi-flexible covers are produced by adhesive binderies, although adhesive binding is by no means unknown in edition binding.

The designation "case binding" or "casebound" indicates that the cover has two distinct characteristics: it is made separately from the book, and it consists of rigid or flexible boards covered with cloth, paper, leather substitutes, and, upon occasion, leather or other materials, in such a manner that the covered material surrounds the outside as well as the edges of the boards.

The major distinguishing characteristic of edition binding is the extensive use of semi-automatic and automatic equipment, some of which operates at very high speeds. This equipment is capable of processing thousands of books in a relatively short time, primarily because all of the books processed in one run are of identical size and format. Because a large, modern edition bindery uses as much automatic (and expensive) equipment as possible, edition runs smaller than about 1,500 copies are not ordinarily handled by edition binderies but by job binders and sometimes even library binders.

The equipment commonly found in a large edition bindery includes:

Blocking presses

Board cutters

Book jacketing machines

Bundling presses

Case-making machines

Casing-in machines

Cloth slitting machines

Cutter-perforating machines

Endpaper-signature stripping machines

Endpaper tipping machines

Folding machines

Gathering machines

Glueing-off machines

Nipping presses

Rounding and backing machines

Saddle-stitching machines

Sewing machines

Three-knife trimmers

Tipping machines

Triple liner and headbanding machines

Wrapping machines (book jacketing machines).

The progression of modern edition binding from purely handwork to a high degree of mechanization followed a course which may be divided into four fairly distinct phases: 1) all processes performed by hand or hand-manipulated tools—about 1780 to 1830; 2) a simplifying and speeding up of the processes while the work is still performed largely with hand tools, a change which was due largely to the pressures exerted by the increased speed of printing presses—1830 to 1870; 3) progressive introduction of machines to handle certain manipulations, e.g., folding, gathering, sewing, etc., with the balance of the processes still being done largely by hand—1870 to 1910; and 4) the present state in which the great majority of the processes are performed by machines, a phase which marks the complete breaking away of the modern industry from the parent craft of hand bookbinding—about 1950 to the present.

British Federation of Master Printers. Preliminary technical course in printing. London. British Federation of Master Printers. 1967. 7 vol.

Comparato, Frank E. Books for the millions; a history of the men whose methods and machines packaged the printed word. Harrisburg, Pa. Stackpole. 1971.

Sadlier, Michael. The evolution of publishers' binding styles, 17701900. New York. Smith. 1930.

Stephen, George Arthur. Commercial bookbindings…London. Stonhill. 1910.

Strauss, Victor. The printing industry…Washington, D.C. Printing Industries in America. 1967.

U.S. Government Printing Office. Theory and practice of bookbinding. Rev. ed. Washington, D.C. U.S. Government Printing Office. 1962.


Edition de luxe

Applied to large paper editions of books, and to special editions which are in fact, or are claimed to be, unusually well and expensively made.

Public domain (Project Gutenberg, pre-1930 text)


edition deluxe

1. A "special" edition of work containing items not found in ordinary editions of the same work, such as additional plates (See: EXTRA-ILLUSTRATED), a larger sheet size (See: LARGE PAPER COPY), etc. 2. A so-called superior edition of a work, characterized by a better grade of paper (sometimes handmade), superior typography, a greater or lesser degree of embellishment, sometimes a better quality of binding, and perhaps a limited number of copies (which are sometimes signed and numbered). The "edition deluxe" is as old as printing itself. In the 15th century a certain number of copies of any high quality book would usually be printed on vellum, or colored paper, such as the blue paper copies of Aldus Manutius, and "fine paper" copies, at an elevated price, were common in the 17th and 18th centuries, while large paper copies have been issued for the past three centuries. Although not necessarily considered "edition deluxe," many thousands of books have been specially (and often elaborately) bound for private collectors. 3. A cheap edition called "deluxe" or "deluxe edition," by a publisher for promotional reasons.

Bookbinding and the Conservation of Books: A Dictionary of Descriptive Terminology

US Government publication (Library of Congress), published openly in electronic edition by CoOL. Not a Gutenberg/pre-1930 public-domain text -- verify rights before reprinting rather than quoting.

Carter, John. A B C for book collectors. 5th ed. London. Hart Davis. 1972.

Coutts, Henry T., and George A. Stephen. Manual of library bookbinding; practical and historical. London. Libraco. 1911.

Harrod, Leonard Montague. The librarians' glossary of terms used in librarianship and the book crafts, and reference book. 3rd ed. London. Deutsch. 1971.


Edwards of Halifax

A distinguished English (Yorkshire) family of bookbinders and booksellers, of whom William Halifax (1723-1808) and his son James (1756-1816) were the most famous. William Halifax was known for his revival of the FORE-EDGE PAINTING and ETRUSCAN CALF bindings, the latter, which, if not evolved by William, were successfully adopted by him. He also used vellum for covering books, and decorated them with painting of portraits or scenes. In order to protect the paintings Halifax developed his own process of rendering the vellum transparent (although he was by no means the first to make TRANSPARENT VELLUM or parchment) by first soaking it in a solution of pearl ash (potassium carbonate (K2CO3)) and then subjecting it to high pressure. The paintings were executed on the underside of the vellum, which was then lined with white paper before being placed on the book. The patent which James Halifax was issued for this process (1785) refers to both the painting of the material, as well as the method of making the vellum transparent: however, it is not entirely clear whether the patent was granted for rendering the vellum transparent, for the paintings themselves, or both. Although it was probably for the vellum process, other techniques for rendering vellum (parchment) transparent were known more than 200 years before his time. His technique was obviously successful, as the colors remain fresh to this day. Having the painting on the underside of the vellum also allows the covers to be cleaned when soiled.

It is known that these bindings were being produced at least as early as 1781 even though the patent was not issued until 1785. There is considerable evidence to indicate that James Halifax was a businessman rather than a craftsman, and, since the books were produced in Halifax at a time when James was elsewhere, it is presumed that William invented the process.

All three specialities seem to have been carried on both in the Edwards' home town of Halifax, where Thomas (1762-1834), another son, was in business until 1826, and in London, where James and John (1785-c 1791) opened a book store in 1784, and Richard (1768-1827) another in 1792. Regardless of its place of origin, however, any binding of the period which approximates any of the three specialities in style, as well as the vellum bindings with blue lettering pieces and key-pattern gold tooling in the prevailing neo-classical style, is apt to be attributed to Edwards of Halifax.

Davenport, Cyril James Humphries. Royal English book bindings. New York. Macmillan. 1896.

Glaister, Geoffrey Ashall. An encyclopedia of the book. Cleveland. World. 1960.

Middleton, Bernard C. A history of English craft bookbinding technique. New York. Hafner. 1963.


egg albumen

The dried whites of eggs obtained usually as a yellowish powder, and used in the finishing of some leathers, as well as for making GLAIR.

Perry, Kenneth Frederick, and Clarence T. Babb. The binding of books. Rev. ed. Bloomington, 111. McKnight & McKnight. 1967.


Egyptian marble

A cover marble executed by coloring the leather covering (before it is attached to the book) with blue, which when dry, is followed by a coating of glair, then potash water (alum). Black is then sprinkled over the leather, and when the black is nearly dry, the leather is washed with water.

Cowie's bookbinder's manual; containing a full description of leather and vellum binding…7th ed. London. Strange. (186-).


eighteen-mo

One-eighteenth of a sheet. The eighteen-mo is an unusual method of imposition resulting in a section of 18 leaves, or 36 pages. One method of producing it is to fold a sheet concertina-wise, followed by an envelope fold, followed by a right angle fold. Although used in book production between about 1770 and 1840, it is seldom, if ever, used in bookwork today. It is, however, sometimes used in advertising work, etc., where the folded sheet is to be untrimmed and remain folded in compact form until unfolded for reading. Also written 18mo. Also called "octodecimo."


EIGHTEENMO

Octodecimo, a sheet of paper folded into eighteen leaves; it is usually termed eighteens.

Electrotype. See Galvanism.


elasticity

The capability of a material to recover from deformation resulting from stress. The property is determined more by the ability of the material to return to its initial shape than by its capacity to be deformed or extended. See also: EXTENSIBILITY; STRETCH.

American Paper and Pulp Association. The dictionary of paper, including pulp, paperboard, paper properties and related papermaking terms. 3rd ed. New York. American Paper and Pulp Association. 1965.


elastin

The yellow connective tissue of the skin which furnishes structural support for the blood vessels, sebaceous and sudoriferous glands, and the like. It is woven in the collagen fibers and makes up approximately 0.3% of the structural protein of the hide composition.

Sharphouse, John Henry. Leather technicians handbook. New ed. London. Leather Producers' Association. 1971.

Wilson, John Arthur. Modern practice in leather 367. manufacture. New York. Reinhold. 1941.


electric pen

An electrically heated instrument used over a strip of metallic foil to letter the classification number and/or other bibliographical information on the covers of books.


elephant folio

A large FOLIO (1), approximately 23 by 14 inches in size. See also: BOOK SIZES.


ellagic acid

A crystalline phenolic dilactone (Cl4H6O8) obtained from oak galls and bark and probably formed by the hydrolysis of tannin. See also: VEGETABLE TANNINS.


Elliott, Thomas

A London bookbinder, Elliott was apprenticed to Robert Steele in 1703 and finished his service in 1712. He became bookbinder to Robert Harley, and worked in the HARLEIAN STYLE, which was forced on both him and Christopher Chapman by either Harley, or Harley's librarian, Humfrey Wanley. The books the two produced were solidly bound in a red morocco said to be of an inferior quality.

Nixon, Howard M. Studies in the book trade in honour of Graham Pollard. Oxford. Oxford University Press. 1975.


Elmendorf test

A standard test for determining the internal TEARING RESISTANCE of paper, named after its inventor, Armin Elmendorf. The Elmendorf test determines the average force in grams required to tear a single sheet of paper after the tear has been started. In conducting the test, one or more sheets are torn through a fixed distance by means of a pendulum. The effort expended in tearing is measured by the loss of potential energy of the pendulum. The scale of the device is calibrated to indicate the average force exerted. If multiple sheets are used, which is necessary if the reading for one sheet would fall below the scale, resistance of one sheet is determined by the formula:

grams of force X 16

-------------------    = grams required to tear one sheet,

number of sheets

where 16 is the conversion factor, unless an augmenting weight is added to the pendulum, in which case the conversion factor becomes 32.

The Elmendorf tester consists essentially of a stationary clamp, a movable clamp carried on a pendulum formed by a sector of a circle free to swing on a ball bearing, a knife mounted on a stationary post for starting the tear, means for leveling the instrument, means for holding the pendulum in a raised position and for releasing it instantaneously, and means for registering the maximum arc through which the pendulum swings when released.

Casey, James P. Pulp and pa per: chemistry and chemical technology. 2nd ed. New York. Interscience. 1960-61. 3 vol.


Em

The square of the body of a type.

The American Printer: A Manual of Typography


email en resolle

A design consisting of enamel and gold inlaid in glass or rock crystal, and which has been used to a very limited extent as a means of decorating the covers of books. The technique apparently was used by only one person, a French goldsmith, who based his patterns on the engravings of Etienne Delaune. To produce the email en resolle the design is cut into the surface of the ground and then filled with strips of gold leaf. The details of the design are then modeled by very delicate chasing on the surface of the leaf. Translucent colored enamels are then floated over specified areas of the gold.

Walters Art Gallery, Baltimore. The history of bookbinding 525-1950 A.D. Compiled by Dorothy Miner. Baltimore. Trustees of the Walters Art Gallery. 1957.


emblematical bindings

Appropriate ornaments or symbolical motifs tooled on a leather binding. Some outstanding examples of emblematical bindings were produced, especially in France of the 16th century.


embossed

1. A leaf or leaves of a book which have had letters or a design raised in relief for the purpose of indicating ownership. The leaves most commonly treated in this manner are the title page and page 99, or descending multiples of 11, i.e., page 88, 77, 66, etc. Embossing is more or less obsolete today, as most libraries have come to realize that it is not only expensive but largely ineffective as a means of deterring theft. 2. Paper, leather, cloth, etc., on which a raised or depressed design is imparted for decorative effects. See also: CUIR-BOUILLI. 3. A design in the covering material of a book, usually one covered in leather, but sometimes cloth or paper, which is in relief. 4. Lettering, or a design, which is raised above the surface of the paper of a book. See: EMBOSSING. 5. See: EMBOSSED LEATHER.

American Library Association. Editorial Committee. Subcommittee on library terminology. A. L. A. glossary of library terms, with a selection of terms in related fields. Compiled by Elizabeth H. Thompson. Chicago. American Library Association. 1943.

British Federation of Master Printers. Preliminary technical course in printing. London. British Federation of Master Printers. 1967. 7 vol.


embossed

When a plate is stamped upon the cover so as to present a raised figure or design, it is said to be embossed. Some inappropriately term this kind of work Arabesque.


embossed

When a plate is so stamped upon a sheet or cover as to produce a raised figure or design.


embossed leather

A leather which has been embossed or printed with a raised design, either in imitation of the grain pattern of some animal, or even unrelated to any natural grain pattern. Cowhide is frequently embossed to give the appearance of another leather, including MOROCCO.

British Standards Institution. British standard glossary of leather terms. B. S. 2780: 1956. London. British Standards Institution.


embosser

1. The device (usually hand-operated but sometimes operated by air pressure) used for raising letters or a design on the surface of paper, usually for purposes of establishing ownership. See: EMBOSSED (1). 2 The operator of such a device.


embossing

1. The process of raising a surface pattern on leather by means of engraved cylinders or plates, generally employing both heat and pressure. The patterns produced are often simulations of the grain patterns of some animal skins but may also be unrelated to any natural pattern. One roller or plate, in which the design is engraved, is made of steel, while the other, having a softer surface, is made of cotton or papier-mâché. The leather is embossed by passing it over a heated, steel cylinder, thermostatically controlled at a pre-set temperature, or in a press, of which there are two basic types: one in which the pressure is applied by a roller mounted on a moving carriage, and another in which pressure is applied to the platen by mechanical or hydraulic means, but without any lateral movement. In both cases the leather is pressed against a heated plate which is either smooth and polished so that the leather is ironed, or engraved to impart an artificial grain pattern. While the latter type of press is designed to employ heavier pressures, the first type is superior in that the movement of the roller causes a small amount of slip, which imparts a more lively character to the leather. On the other hand, the advantage of the mechanical or hydraulic press is that it can dwell at full pressure, which is desirable for producing deep effects in some embossing processes.

It is important that the design embossed in the leather be as permanent as possible. In this regard both the structure of the skin and the type of tannage are important. A very full and tight structure is required. Calfskin gives the ideal structure for the finer leathers and cowhide for the coarser. Vegetable tannage is far superior to chrome because it builds up the fibers to a much greater extent and makes the structure correspondingly tighter.

Embossing of leather is sometimes (and perhaps frequently) a means of simulating the grain pattern of a superior leather on an inferior and/or less expensive skin. An example of this would be a calfskin embossed in imitation of MOROCCO.

2. The process of imparting a raised or depressed design in paper: 1) by passing the paper between an engraved steel roll or plate and another roll or plate of a soft or compressible material, such as paper or cotton; 2) by pressing the paper between strong, coarse fabrics; or 3) by passing the paper between etched male and female iron or steel rolls. The operation is used to create decorative effects and is generally applied to book, blotting, or cover papers. Plate or spot embossing is a method by which individual designs, as distinguished from all-over patterns, are embossed. This technique is accomplished by means of vertical presses, the paper being embossed by placing it between the embossing die and the counter or make-ready of the press and forcing it into the intaglio areas of the die.

3. To impress the marks of ownership into a page of a book by means of a device employing a sunken die and a raised counterpart which raises the design above the paper. See also: PERFORATING. (2) 4. To block the title, author, or other bibliographical information, on the cover of a book. See also: BLOCKING (1). 5. See: BLIND BLOCKING.

Karch, Robert Randolph. Graphic arts procedures. 4th ed. Chicago. American Technical Society. 1970.

Mayer, Ralph. A dictionary of art terms and techniques. New York. Crowell. 1969.

Melcher, Daniel, and Nancy Larrick. Printing and promotion handbook …3rd ed. New York. McGraw-Hill. 1966.

Pleger, John J. Bookbinding. Rev. ed. Chicago. Inland Printer. 1924.


embossing plate

A metal plate cut or etched below its surface and used to produce a design in relief on a material such as leather or paper.


embossing press

See: BLOCKING PRESS; EMBOSSING  ; FLY EMBOSSING PRESS.

Abbey, John Roland. English bindings, 1490-1940, in the library of J. R. Abbey. Edited by G. D. Hobson. London. Privately printed at the Chiswick Press. 1940.

Abbey, John Roland. An exhibition of modern English and French bindings from the collection of Major J. R. Abbey. London. Arts Council. 1949.


embrittlement

1. The drying and solidification of an adhesive to the point where it exhibits fissures and stress cracks under conditions of low impact. Embrittlement may also be a condition resulting from the migration of the adhesive plasticizer into the adherend, or the solidification and stratification of a cast adhesive coating due to exposure to atmospheric conditions. 2. A loss of flexibility, primarily in paper. See: BRITTLENESS.

McGuire, Edward Patrick. American adhesive index. Mountainside, N. J. Padric. 1962.


embroidered bindings

Books that are covered by material embellished with needlework, following a design made specifically for the purpose of decorating a particular book. Embroidered bindings were and still are produced throughout most of the West, but the art reached its highest achievement in England, where the quality of the bindings was unsurpassed. The earliest known English example is of a 13th century manuscript Psalter owned by Anne de Felbrigge; however, the art reached its pinnacle of development in the first half of the 17th century.

The designs employed for embroidered bindings may be conveniently divided into four classes: heraldic, figure, floral, and arabesque. The heraldic designs were always used to indicate ownership, and were most often found on royal books bound in velvet, rarely on silk or satin, and almost never on canvas. Figure designs may be subdivided into three classes: scriptural, such as Solomon, David, etc.; symbolical, such as figures of faith, hope, and the like; and portraits, such as dukes, duchesses, etc. The scriptural designs were generally done on canvas, while the symbolical and portraits were mainly on satin, and (rarely) velvet. The floral and arabesque designs were usually done on small books bound in satin, but were done occasionally on canvas and velvet.

Gold, silver, and silk threads were used for the best work, and were often protected from wear by bordering ornamentation in higher relief formed by threads of silk wound around closely or loosely with fine flat strips of silver-gilt metal. These and other materials were worked singly or twisted together in a variety of manners and worked in a great number of stitches. At times, particularly in the later periods, flat metal shapes were stitched on to save time. A more attractive APPLIQUÉ WORK technique was to make a spiral of metal which, when flattened, looked like a series of rings, and was sometimes used as a border.

Because canvas is generally considered to be a relatively uninteresting cloth, it was generally worked all over, while when velvet covers were used, large areas were not covered, not so much because of the beauty of the velvet, but because of the difficulties involved in sewing piled material. Applique decoration overcame this problem, but when the designs were actually worked directly on the velvet they were almost always in heavy gimp or gold cord.

The edges of large numbers of embroidered bindings were gilt and gauffered (sometimes with the use of color) in keeping with the ornate character of the binding. Other forwarding techniques appear to have been the same as for leather bindings, although the rounding of the spines was less pronounced. The sections were sewn on strips of vellum or thongs, and, while the latter were sometimes left raised, frequently they were filled in between so as to produce a smooth spine. Later examples were sometimes sewn on cords, which were raised, sawn-in, filled in, or flattened to avoid unevenness.

Embroidered bindings more or less went out of fashion after the 17th century. See PLATE III.

Barber, Giles. Textile and embroidered bindings. Oxford. Bodleian Library. 1971.

Davenport, Cyril James Humphries. English embroidered bookbindings. London. Kegan Paul, Trench, Trubner. 1899.

Middleton, Bernard C. A history of English craft bookbinding technique. New York. Hafner. 1963.

Prideaux, Sarah Treverbian. An historical sketch of bookbinding. London. Lawrence & Bullen. 1893.

Uzanne, Louis Octave. The French bookbinders of the eighteenth century. Translated by Mabel McIlvaine. Chicago. Caxton Club. 1904.

Wheatley, Henry Benjamin. Remarkable bindings in the British Museum …London. Low, Marston, Searle, and Rivington. 1889.


EMERALD

The name of a type one size larger than Nonpareil, and one smaller than Minion. It is a size lately introduced.


emery

A common, dark, granular corundum containing varying amounts of magnetite or hematite and used in the form of powder, grains, or larger masses, for grinding and polishing purposes.


EMPTY CASE

When a compositor cannot compose any more out of a case, from many of the sorts being exhausted, it is termed an empty case, or he says, my <i>Case is Empty</i>, although there may be a great number of types in it of other sorts.


EMPTY PRESS

A press that stands by, which no workman works at: most commonly every printing house has one of them for a proof press; viz. to make proofs on.—M. The term is now applied to those presses only that are unemployed; the press set apart to pull proofs at is called the Proof Press. See Proof Press.


emulsion

A disperse system in which both phases are liquids, one of which is generally water or an aqueous solution, and the other an oil or other water immiscible liquid. The droplets of the dispersed liquid are known as the inner phase of the emulsion because it appears to be inside the liquid medium. The surrounding liquid (the continuous phase), on the other hand, is called the external phase. The dispersion may occur naturally or it may be prepared by mechanical methods (dripping or slowly pouring one of the ingredients into the other while stirring vigorously), or developed as a result of any of several polymerization processes. The liquid in the continuous phase is usually water when the emulsion is designed for pigment coating, as of paper, for example, or for oil penetration, as in the FATLIQUORING of leather. For certain other types of application, the medium may be an organic liquid. To form a stable emulsion, a third ingredient must be present; it is called an emulsifier, or emulsifying agent, and forms absorbed films around the tiny globules of the dispersed fluid to prevent them from coalescing. A common emulsifier is soap.

A familiar, naturally occurring emulsion is whole milk, the inner phase of which consists of globules of butterfat; the external phase is a watery solution of casein, sugar, and other substances. Another natural emulsion is egg yolk, which consists of egg oil in an aqueous solution containing, among other substances, albumen and lecithin; the latter is a lipoid (fatlike) substance that is one of nature's most efficient emulsifying agents. Albumen, also, is a good emulsifier.

Milk and egg yolk are oil in water emulsions. A second type of emulsion is that of water in oil, in which the phases are reversed. An example of this type of emulsion is butter, which has aqueous constituents dispersed in tiny globules throughout the butterfat. Most manufactured emulsions are made by combining the oily ingredient with a colloidal solution, such as casein or albumen; these are not only good emulsifiers, but also confer desirable properties when the emulsion is used as an adhesive.

Emulsions are generally opaque or milky because of the refraction and dispersion of light by the minute droplets, but when dry they become transparent, or nearly so.

In addition to their use in paper and leather manufacture, emulsions are used in edge gilding, gold tooling, and other bookbinding operations.

Miall, Laurence Mackenzie, and D. W. A. Sharp, eds. A new dictionary of chemistry. 4th ed. New York. Wiley. 1968.


En

Half the dimensions of the preceding.


en gist

See: BRADEL BINDING,


enamel

1. An opaque or semi-opaque vitreous composition applied by fusion to the surface of a metal or other substance for purposes of ornamentation and/or protection. See also: CHAMPLEVÉ BINDINGS; CLOISONNÉ BINDINGS. 2. A term applied to a coated paper or to the coating material on a paper.


enamelled

Originally, a supercalendered printing paper coated on both sides with a pigment such as satin white or blanc fixe; today, enamelled is considered to be any coated paper.

American Paper and Pulp Association. The dictionary of paper, including pulp, paperboard, paper properties and related papermaking terms. 3rd ed. New York. American Paper and Pulp Association. 1965.


enamelled bindings

See: CHAMPLEVÉ BINDINGS; CLOISONNÉ BINDINGS.


enamelled hide

A vegetable tanned cowhide with a flexible, water repellent, multi-layered coating on the grain side, built up in a manner somewhat similar to that used for patent leather, and given a grain pattern by means of embossing. At one time enamelled hide was a cowhide tanned with bark and finished with a mixture of Prussian blue (ferric ferrocyanide (KFe(Fe(N6))) and linseed oil, dried in an oven and grained.

Waterer, John William. A guide to the conservation and restoration of objects made wholly or in part of leather. 2nd ed. London. Bell. 1973.


enamelled seal

Originally, a Greenland sealskin, tanned with bark or sumac, and treated with a mixture of Prussian blue (ferric ferrocyanide (KFe(Fe(N6))) and linseed oil, and dried in an oven at high temperature. Today the term refers to an imitation sealskin. See: ENAMELLED HIDE.

British Standards Institution. British standard glossary of leather terms. B. S. 2780: 1956. London. British Standards Institution.


enclosures

Materials left or placed in a book, either accidently or deliberately, and which, unless removed, may cause damage to the paper, binding, or equipment used in binding, or which may be bound into the volume. Such items include paper clips, bookmarks, cataloging and/or binding instructions, rubber bands, newspaper clippings, leaves, flowers, letters, and the like.

Horton, Carolyn. Cleaning and preserving bindings and related materials. Chicago. American Library Association. (Conservation of library materials pamphlet no. l; Library Technology Project publications, no. 16). 1969.


end board

See: LOWER COVER.


end leaf

See: FLY LEAF.


End leaves or Lining papers

Are the sheets which are pasted to the inside of the covers, and are either plain white or colored, according to the style of binding. Marbled papers are largely used on fine leather work. Sometimes in fine bindings the end leaves are made of silk or leather.


end lining

See: PASTEDOWN.


End Papers or Lining Papers

The papers, plain or fancy, placed at each end of the volume and pasted down upon the boards.

Bib-li-op-e-gis-tic: Pertaining to the Art of Binding Books


end sheet

See: PASTEDOWN, engine sized. See: BEATER SIZED.


end-leaf paper

A paper manufacturer's term for the white or colored sheets of cotton fiber and/or chemical wood pulp paper in basis weights of 50 to 80 pounds (25 X 38—500), used for the ENDPAPERS of books. It should have sufficient strength to withstand tearing, especially at the joint, high folding strength, resistance to penetration by adhesives, and a pH between 6.5 and 8.5. The sheets are often printed with ornamental patterns and special or significant designs, e.g., library motifs.


End-Papers

The paper placed at each end of the volume, a portion of which is removed when the lining-paper is pasted down upon the boards. Also called Waste-Papers.


End-Papers

The papers placed at each end of the volume and pasted down upon the boards.

The Art of Bookbinding: A Practical Treatise


End-Papers

papers added at the beginning and end of a book by the binder.


End-Papers

The papers placed at each end of the volume and pasted down upon the boards. Also, the paper placed at each end of the volume, a portion of which is usually removed when the lining-paper is pasted down upon the boards.


endpapering machine

An edition binding machine that glues sheets of paper folded once only to the first and last sections of a book.


endpapers

See illustration</> The units of two or more leaves placed in the front and back of a book between its covers and text block. In rare instances the endpaper may consist of a single leaf. The endpaper at the front of the book is called the front endpaper, while the one at the back is called the off endpaper, or back endpaper. The leaf nearest the cover (after the WASTE SHEET (1), if any, is removed) is called the PASTEDOWN, or board paper, and, along with the recto of the leaf facing it, may be colored, marbled, ornamented; printed with maps, illustrations, scenes from the book, the motif of the library, etc.; or left blank. The leaf or leaves that are not pasted to the board are sometimes referred to as fly leaves, fly sheets, free fly leaves, or waste sheets.

In hand binding the basic purpose of the endpapers is to take up the strain of opening the covers of the book, which would otherwise be on the first and last sections or leaves. This is of particular importance in the case of the upper cover and first section or leaf. The endpapers (specifically the pastedowns) cover the raw edges of the covering material where it is turned over the boards, as well as the inside surfaces of the boards themselves. The free fly leaves protect the first and last printed leaves of the book. In addition, the board papers and fly leaves next to them have long provided a medium for decoration. See: DOUBLURE (1).

In library and edition binding, particularly the latter, the endpapers perform the crucial function of holding the text block in its covers, or case. In many instances, only the endpapers hold the book and case together. In library binding, on the other hand, where the spine-lining material is considerably more substantial than that used in edition binding, the lining assists considerably in this function.

The paper used for endpapers is of considerable importance—not only the quality of the paper but also the manner in which it is used. Its pH should not be less than that of the paper making up the book, and preferably higher, but it should not, in any case, be less than 6.5 or more than 8.5. The BASIS WEIGHT of the paper should be sufficient so that when the adhesive is applied, the moisture will not cause the paper to cockle, as cockling causes problems when the book is later cased-in. Furthermore, thin paper will swell excessively when moist, and then when it dries will shrink and warp the covers. There is also the danger that the adhesive will strike through and cause the board papers and adjacent leaves to stick together.

The grain or machine direction of the endpapers should be parallel to the binding margin of the book; otherwise difficulty will be experienced in casing-in. When the grain of the paper is at right angles to the binding margin, the expansion of the paper is lengthwise, and, because one edge is secured to the text block (either sewn or tipped to it), that edge cannot expand; consequently the paper will buckle along it. If the book is cased and then pressed, these buckled areas will cause unsightly wrinkles on the board papers.

When colored endpapers are used, they should be made with fast colors so that the moisture of the adhesive will not cause the colors to offset onto the leaves of the book. When endpapers are lithographed or printed with maps or illustrations, they, too, should be printed with an ink that will not offset. (It should be noted that when a book with map, or otherwise pertinent endpapers, must be rebound, the endpapers must be carefully removed and rebound with the book, as they generally cannot be reused as endpapers; this step is expensive, and doubly so when the front and off papers are different, which requires that both be retained.)

Marbled endpapers were at one time used extensively, but today their use is confined almost entirely to a limited number of books bound by hand. If marbled paper is used, the same precautions as to grain direction and color fastness should be observed.

The most commonly used style of endpaper construction, at least in edition binding, consists of nothing more than folded sheets tipped to the front and back of the text block. This structure is not altogether unsatisfactory if the book is to receive careful and little use, but it is entirely unsatisfactory for a book that is to be consulted frequently. Since the endpaper is attached to the text block only by a thin line of adhesive, it pulls loose easily leaving only a flimsy spine lining fabric made of crash or gauze holding the case to the book. There is no reinforcement of the joint; consequently, the board paper splits because of the constant bending as the book is opened and closed. These difficulties can be overcome to a certain extent by the use of a cloth joint. Occasionally the tipped-on endpapers are also sewn to the text block, as though they were additional sections. This however, just weakens them even further, because the sewing thread passes through only one layer of paper, resulting, in addition to the normal strain, in a cutting effect of the thread.

Cloth-jointed endpapers may have either concealed or exposed joints. With the concealed joint, the fold of the endpaper is reinforced by a strip of cloth which is attached on the side of the paper next to the text block and the board so that it extends about an inch onto the board paper, thus masking the cloth. The additional stiffness in the joint helps to retain its shape, but it also creates a pull on the first few leaves of the first section because it makes the cover more difficult to open.

Separate leaves of paper are used for the board paper and fly leaf in constructing the endpaper having an exposed joint. They are connected by means of a cloth strip which is visible in the joint. In edition binding, these endpapers are made on a stripping machine, and the reinforcing cloth is generally a thin, smoothly finished muslin. In library binding, on the other hand, where the visible cloth joint is used frequently in adhesive binding, the cloth joint usually consists of a strong, durable (cambric) linen. Cloth-jointed endpapers are attached to the text block in several ways. The simplest is to tip them on, which is a weak method. When the papers have a concealed joint, the folded sheet is tipped to the section and the reinforcement is folded around the endpaper and section. The cloth joint is sewn to the text block along with the section. Another method consists of sewing the cloth joint to the section. The cloth is then folded back and glued over the sewing. The endpaper is tipped on, and the cloth is carried over the endpaper and glued down. Unless the book paper is quite flexible, however, this technique will cause the end sections to open as units rather than as individual leaves.

The Library Binding Institute has promulgated standards pertaining to the construction of endpapers to be used in library binding. The endpaper consists of three fundamental parts: a pasted-down or outward endleaf which becomes the pastedown, at least two free flyleaves, and a reinforcing fabric. For monographs and ordinary periodicals, the paper used in the construction of endpaper must have a basis weight of 60 pounds (24 X 26— 500) and must meet the following requirements:

Folding            Tensile                  Tearing

Endurance          Strength                 Strength

(M.I.T.)*          (Testing Machines, Inc.) (Elmendorf)

Number of          Pounds per               Pounds per

folds              1 inch strip             1 inch strip

With the grain**    200             40                        140

Across the grain    275             25                        144

* Massachusetts Institute of Technology

** In the direction in which the majority of the fibers of a

machine-made paper are oriented.

During the first several centuries of the codex, endpapers consisted of little more than two or four leaves of vellum folded and sewn along with the sections of the book. When paper became the common material for book production, it then became necessary to reinforce the folds of the endpapers. A common type of endpaper, used in the first part of the 16th century, consisted of a fold of white paper employing a strip of vellum for reinforcement. The use of printer's waste for the fly leaves of endpapers was not uncommon during the 16th century.

The practice of reinforcing endpapers began to decline at the end of the 16th century, particularly in commercial binding, partly because there were more small books (where it was thought that reinforcement was not of great importance), and also because it became more and more difficult to obtain waste vellum in sufficient quantities, due to the increase production of books.

When bindings were to have plain white endpapers, it was a common practice to sew on four leaves at each end of the text block. The two outer leaves of each endpaper were often pasted together to create a stronger pastedown, while the two inner leaves were sometimes pasted together to create the "made" flyleaf, commonly associated with marbled or colored endpapers. The doubling of the board papers was done well before the coming of machine-made paper. This practice however, became more important when machine-made paper became prevalent, mainly because early machine-made paper tended to be relatively thin, and therefore weak. All of these techniques died out in the 1830s, after which time the more convenient procedure of making up the endpapers separately from the book became prevalent. Concurrently, it became the usual practice to simply tip the endpapers to the sections instead of sewing them, not only in regular commercial binding but also even in the best leather work.

A widely used method of endpaper construction in the 19th century consisted of pasting a folded white to a folded colored sheet, which was then folded around the free colored sheet to make a waste sheet. A white flyleaf was then tipped on followed by the made endpaper. Another 19th century technique consisted of tipping a folded white sheet to the text block and inserting the white and colored made-up leaves inside up to the fold. This provided a waste sheet, a colored board paper, a "made" leaf which opened all the way back to the fold, and eliminated the drag of the previous endpaper, and the two flyleaves. A variation of this technique used today consists of pasting the colored and white sheets together, tipping a folded white sheet to the remaining white sheet, and then swinging one of the white sheets around the assembly to serve as a waste sheet.

Cloth-joined endpapers were used as early as the 1840s but were generally not sewn in until this century. When they were sewn, the usual method was to overcast them to the first and last sections before sewing the book. Inner joints of leather were used occasionally in Europe as long ago as the 17th century, especially in France, but it was not until the second half of the 18th century that they became relatively common in the best English morocco and Russia leather bindings. The joints of this period, few of which were sewn in, were frequently used with much wider turn-ins than would be considered appropriate today, and were usually heavily decorated with fillets and rolls, as well as small tools.

Watered silk endpapers were used frequently in fine leather binding during the second half of the 19th century and up to World War 11, but are seldom used today. Watered silk has always been used in conjunction with leather joints. See: DRUMMING ON. See also: LIBRARY STYLE ENDPAPER; MADE ENDPAPER; ZIG-ZAG ENDPAPER.

American Library Association. Committee on bookbinding. Binding for libraries. 2nd ed. Chicago. American Library Association. (A. L. A. Library handbook no. 5). 1915.

Carter, John. A B C for book collectors. 5th ed. London. Hart Davis. 1972.

Library Association. Library Binding Institute standard for library binding. 5th ed. Boston. Library Binding Institute. 1971.

Loring, Rosamond Bowditch. Decorated book papers…1st ed. 1942; 2nd ed. 1952. Cambridge, Mass. Harvard University Press.

Town, Laurence. Bookbinding by hand, for students and craftsmen. New York. Pitman. 1950 (1951).

Vaughan, Alexander J. Modern bookbinding; a treatise covering both letterpress and stationery branches of the trade…New ed. London. Skilton. 1960.


ENGLISH

The name of a type, one size larger than Pica, and one smaller than Great Primer. See Alphabet. Types.


English fibreboard

An English equivalent for that called PASTEBOARD (1) in the United States. It is suitable for small or medium-sized books; however, it has a tendency to warp if too thin a sheet is used for the covers of a large book.

Lewis, Arthur William. Basic bookbinding. New York. Dover, 1957.


English linen

A highly polished linen cloth of considerable strength and durability; it is reasonably permanent if not handled excessively. Also called "legal buckram." See also: LAW BUCKRAM.


English linen or Low buckram

A linen cloth, highly polished, well colored, strong, durable, made in England, and costing in this country about 70 cents per square yard. In De Jonge’s list (De Jonge, dealer in leather, book cloths, etc., 69–73 Duane St., New York) it is called Low buckram. We have used it for the backs of books, light and heavy. It promises to stand indefinitely if not much handled. Under handling it grows soft and flabby like other book cloths, though not rapidly, and without losing its strength. We have discarded it for the books on which we first tried it, periodicals subject to much use. It is not easy to letter in gold by hand, and does not hold gold well under wear.


English opacity paper

A paper used where a lightweight paper of good opacity is required. It is made from chemical wood pulp and fillers that afford maximum opacity, and usually contains mechanical wood pulp. It has a smooth machine or English finish, and is produced in basis weights ranging from 25 to 45 poUnds (25 X 38—500).


engraved bindings

Book covers decorated with engraved precious metals, usually portraying some Biblical or other religious scene and frequently further adorned with flowers, etc. The medieval custom of enclosing important liturgical works to be used at the alter in covers of precious metals died out in Western Europe during the Renaissance, in favor of richly embroidered velvet and (later) gold-tooled leather bindings. The fashion for silver or filigree, or even enamelled gold covers, however, continued with devotional books for personal use through the 18th century, especially in German-speaking countries, Italy, and Spain.

Walters Art Gallery, Baltimore. The history of bookbinding 525-1950 A.D. Compiled by Dorothy Miner. Baltimore. Trustees of the Walters Art Gallery. 1957.


engraving

1. The art or process of producing letters or designs on wood, metal, or other substances, by means of cutting or etching, for the purpose of printing or blocking by an intaglio process on paper or other material. 2. An engraved plate, or the impression made from such a plate. 3. An engraved inscription. 4. The process of taking an impression from an engraved plate.


ENGRAVINGS ON WOOD

As the method of printing engravings on wood, here described, applies to what is termed fine printing, it may be as well in the outset to define what is meant by this expression, in its application to this subject.

Fine printing, in this point of view, is the art of obtaining impressions from an engraving on wood, of the surface and the surface only, so as to produce the effect which the artist intended, in the highest state of perfection.

There is a material difference between an engraving on wood and one on copper: the first is engraved in relief, that is, the lines are left standing, and the part which in the impression is to appear white is cut away or, technically, blocked out; the lines of the engraving on copper, on the contrary, are cut in the metal, and the part that is to be white in the impression is left untouched in the metal by the engraver.

There is also a material difference in the manner of obtaining impressions: those from an engraving on wood are produced by coating the surface of the lines with ink by beating it with balls or passing a roller over it, and then, with a piece of paper upon it, submitting it to pressure between two parallel plane surfaces, or by a cylinder rolling over it. An engraving on copper is smeared over the whole face with ink, which is worked into the lines; the surplus ink is then wiped off the surface of the plate, on which a piece of paper is laid to receive the impression, and these are passed between two cylinders, which press the paper into the engraved lines by a violent squeeze.

It will easily be perceived by this slight description that the two processes are completely distinct from each other, although the effect produced is nearly the same.

I will now proceed to describe the process of producing impressions from engravings on wood in a superior manner.

After putting a block on the press, the workman ought to be very gentle in the pull for the first impression, to prevent an accident, which has frequently occurred from thoughtlessness in this particular, by making the pull too hard, and crushing some of the lines; by avoiding this he will be safe, and can proportion his pull to the subject. He should also examine, previous to pulling, that there be nothing on the block—no pins that he may have for his tympan sheet, nor any needle with which he may have been taking out a pick.—Such accidents have happened, and caused great trouble to the engraver, as well as loss of time and disappointment; besides entailing a character of carelessness on the printer.

In imposing a single block, where the press is large at which it is to be worked, it will be in danger of springing out of the chase while beating, from the quantity of furniture about it: it is a good remedy to impose it in a job chase, and to impose this chase again in a larger one; this will cause it to lie flatter on the press, and firmer in the beating, as the small chase can be locked up tight in the large one, without having too much furniture, and the large one can be secured firmly on the press by quoins and the corner irons.

Neither the pressure nor the impression in an engraving on wood should be uniformly equal: if they be, the effect that is intended to be produced by the artist will fail; and instead of light, middle tint, and shade, an impression will be produced that possesses none of them in perfection; some parts will be too hard and black, and other parts have neither pressure nor colour enough, with obscurity and roughness, and without any of the mildness of the middle tint, which ought to pervade great part of an engraving, and on which the eye reposes after viewing the strong lights and the deep shades.

To produce the desired effect, great nicety and patience are required in the pressman; a single thickness of thin India paper, which is the paper I would always recommend to be used as overlays for engravings, is frequently required over very small parts, with the edges of it scraped down, for it is advisable that the overlay should never be cut at the edges, but, even where great delicacy of shape is not required, that it should be torn into the form wanted, which reduces the thickness of the edges, and causes the additional pressure to blend with the surrounding parts.

Particular parts of the impression will frequently come up much too strong, and other parts too weak, it will then be necessary to take out from between the tympans a thickness of paper, and add an additional tympan sheet, cutting away those parts that come off too hard, and scraping down the edges; scraping away half the thickness of a tympan sheet in small parts that require to be a little lightened will improve the impression.

The light parts require little pressure, but the depths should be brought up so as to produce a full and firm impression.

If a block be hollow on the surface, underlaying the hollow part will bring it up better than overlaying it, at least so much that it shall only require a thickness or two of paper as overlays. If a block be too low, it is advisable to underlay it, for the purpose of raising it to the proper height, in preference to making use of overlays, for they act in some measure as blankets, being pressed into the interstices, and rendering the lines thicker than in the engraving.

It will be necessary sometimes, when the surface of the block is very uneven, to tear away parts of the paper in the tympan, to equalise the impression where it is too hard.

The pressman will find it convenient to pull a few impressions while he is making ready, on soiled or damaged India paper, for out of these he can cut overlays to the precise shape and size that is wanted, as he will constantly find it necessary to do so in instances where great accuracy is required in overlaying particular portions; and in these instances he cannot well do without a sharp penknife and a pair of good small scissars. A fine sharp bodkin and a needle or two, to take out picks, are also needful; but he should be particularly careful in so using them as that he do no injury. The best way to avoid this is to draw the bodkin or needle point cautiously in the direction of the lines.

Engravings that are in the vignette form require great attention to keep the edges light and clear, and in general it is necessary to scrape away one or two thicknesses of paper, in order to lighten the impression and keep it clean; for the edges being irregular, and parts, such as small branches of trees, leaves, &c. straggling, for the purpose of giving freedom to the design, they are subject to come off too hard, and are liable to picks, which give great trouble, and are difficult to be kept clear of. Bearers letter-high placed round the block, if they can be applied without the balls touching them, will be found advantageous; if they cannot, pieces of reglet, pasted on the frisket in the usual way, and taking a bearing on the furniture, must be substituted, but the high bearer is to be preferred where it can be adopted; these bearers equalise the pressure on the surface of the engraving, and protect the edges from the severity of the pull, which is always injurious to the delicacy of the external lines. They also render the subject more manageable, by enabling the pressman to add to, or diminish, the pressure on particular parts, so as to produce the desired effect.

When great delicacy of impression is demanded in a vignette, it will be found beneficial, after the engraving is beat with ink, to take a small ball without ink, and beat the extremities: this will not only take away any superfluity of ink, but will be a means of preventing picks, and give to the edges lightness and softness, particularly where distances are represented.

If the extremities are engraved much lighter than the central parts, underlays should be pasted on the middle of the block, which will give a firmer impression to those central parts of the subject: it would save trouble to cause the block to be a little rounded on the face, as it would give facility in obtaining a good impression.

When highly finished engravings on wood are worked separately, woollen cloth, however fine, should never be used for blankets, as it causes too much impression; two thicknesses of stoutish hard smooth paper, in lieu of it, between the tympans is better: sometimes even a piece of glazed pasteboard is used inside the outer tympan. The parchments ought to be in good condition, stretched tight, of a smooth surface, thin, and of regular thickness, so as to enable the pressman to obtain an impression as nearly as possible from the surface only of the engraved lines.

It is indispensably necessary that the balls should be in the best order, the same as for the finest work; and the pressman should be very particular in taking ink, distributing his balls, and beating the block well, otherwise he will not obtain clear, uniform, good impressions. If the block be small, and it is worked by itself, he will find that he can take ink more uniformly in small quantities, by first taking ink with a pair of regular sized balls, and distributing, and then taking ink from them to work his cut with; and this more particularly if he be using a pair of small balls. For this work he ought always to have the best ink that can be procured.

A large wood cut left on the press stone all night is very apt to warp; when this happens, a good method to restore it to its original flatness is to lay it on its face upon the imposing stone, with a few thicknesses of damp paper underneath it, and to place the flat side of a planer upon it, and four or five octavo pages of tied up letter; in the course of a few hours the block will be restored to its original flatness. This method is preferable to steeping the block in water, which has been frequently practised; for the steeping swells the lines of the engraving, and consequently affects the impression to a much greater extent than this operation. For retaining the original effect, as it came from the hands of the artist, I would carefully prevent the block ever being wet with water, and, when it had been worked in a form with types, would take it out before the form was washed.

To prevent this warping during the dinner hour or the night, turn the tympan down upon the form, run the carriage in, and pulling the bar handle home, fasten it to the near cheek by the catch, where there is one, or else by a chain or rope, or by a stay to the bar from the offcheek; in iron presses this way is efficacious.

However long a time boxwood may be kept in the log, it will always twist and warp when cut into slices for engraving, on account of fresh surfaces being exposed to the air: large blocks may be restored to their flatness by laying them on a plane surface, with the hollow side downward, without any weight on them, in the course of a night.

When only a few proofs are wanted from an engraving, good impressions may be obtained with little trouble on dry India paper, with about six thicknesses of the same sort of paper laid over it, and pulled without the tympan. This observation applies to small cuts, and those of a moderate size; if proofs are wanted from large ones, it will be found advantageous to put the India paper for a few minutes into a heap of damp paper.

A fine engraving on wood should never be brushed over with lye: the best method that I have found in practice, is to wipe the ink off with a piece of fine woollen cloth damped with spirits of turpentine; and if it should get foul in working, to clean it with a softish brush and spirits of turpentine. It will be found in practice that spirits of turpentine take off the ink quicker, and affect the wood less, than any other article used; and the facility with which the block is again brought into a working state, more than compensates for the trifling additional expense incurred, as nothing more is required than to wipe the surface dry, and to pull two or three impressions on dry waste paper.

The engravers always show an impression when the block is taken home to their employer; and this impression is taken in a manner, where the subject is not of a large size, such as to produce a superior effect to what a printer can with a press, when he has a number to do, which are generally worked in a form with types, and his price so low for printing, as not to enable him to do justice to the subjects. This causes great dissatisfaction to his employer, and he is unable to remedy the grievance; for the engraver’s proof is obtained by means of a burnisher, with one thickness of paper in addition to that printed on, so that he can examine each part to bring it up where it is required, and leave the others as delicate as he pleases: he thus obtains an impression from the surface only, perfect in all its parts, with the best ink that can be procured; while the printer gives dissatisfaction, because he cannot, in the way of trade, perform impossibilities.

Papillon, in his work on Engraving on Wood, published in 1766, complains of a plan nearly similar being adopted by the French engravers, with which he finds great fault. The following is a translation of the passage:—

“Some engravers on wood have the knack of fabricating the proofs of their engravings far more delicately, and in a more flattering manner than they really ought to be; and this is the means they make use of—they first take off two or three, in order to adjust one of them to their fancy, and which they think will favour their imposition; having selected it, they only beat anew the parts of the block charged with shades and the deeper strokes, in such a manner, that the lighter ones, distances, &c. being only lightly covered with ink, in as far as not being touched in the new beating, they retain no more than what was left by the preceding impression; the result is, that the new proof comes off extremely delicate in those places, and appears pleasing to the eye; but when this block is printed in conjunction with letterpress, the impressions then appear in their natural state, and totally different from that which they presented on delivery of the work. The strokes are of one equal tint, hard, and devoid of softness, and the distances are often less delicate than the foregrounds. I shall risk little by saying that all the three Le Sueurs have made use of this trick.”

The pressman will find it an advantage, if it be necessary to do full justice to an engraving, to have a good impression from the engraver, and place it before him as a pattern, and then arrange the overlays, &c., till he produces a facsimile in effect; but the most valuable lesson will be when he can obtain the assistance of the artist at the press side, to direct him in making ready the cut, and I would advise him by no means to be impatient at the tediousness of the operation, as he will obtain more information how to produce a fine impression by this than by any other means. It will also instruct him how to meet the wishes of the draftsman and the engraver, with regard to effect, in a way superior to any other; and will, with care and attention, ultimately lead him to excellence in printing engravings on wood.

An assertion is now generally promulgated, that machine printing is superior to that of the press, even for engravings on wood, and thus misleading publishers and the public. When I come to speak of machines, and of presses, I will endeavour to show that it is incompatible with the principle of a machine that it can equal a press in producing fine work.

Errand Boy. See Devil.


entrelacs

A method of decorating borders by means of curving garlands and leaves. Their source is Muslim arabesques, with early printed specimens adorning the Historia Romana of Appianus, printed by Erhard Ratdolt of Augsburg in 1477. In their use in book decoration, entrelacs have been used by most French gilders since the 16th century. See also: COTTAGE STYLE; FANFARE STYLE.

Glaister, Geoffrey Ashall. An encyclopedia of the book. Cleveland. World. 1960.


environment

The surrounding conditions or forces that influence or change books or other archival materials, and which include: 1) the entire climatic and biotic factors that act upon materials and ultimately determine their permanence, or lack of it; or 2) the aggregate of use, misuse, or nonuse that influence the permanence of materials. See also: DURABILITY; PERMANENT MATERIALS.

Guldbeck, Per Ernst. The care of historical collections; a conservation handbook for the nonspecialist. Nashville. American Association for State and Local History. 1972.


enzyme

A class of complex organic substances that are capable of acting outside of living organisms and can accelerate or catalyze specific chemical transformations, such as the formation of bloom on leather, the tanning of leather (see: BATING), and the modification of native starches in sizing processes.

The rate of an enzymatic reaction depends upon the temperature, pH, substrate concentration, and the presence of activators, co-enzymes, and enzyme inhibitors. The reactions of enzymes usually accelerate with an increase of temperature; however, since enzymes are proteins and are denatured at elevated temperatures, reaction rates increase only to the point where denaturation overcomes the accelerating effect of increasing temperature.

Enzymes exert their influence by combining with the substrate to form an enzyme-substrate complex, which then decomposes to give the products and release the enzyme for further action. Because of this, the rate at which enzyme products are formed depends both on the concentration of the enzyme-substrate complex and the rate of its decomposition. The formation of the complex depends on mass action between the enzyme and the substrate; therefore, taking a given quantity of an enzyme, the complex increases with the quantity sufficient to convert nearly all the enzyme into the complex.

Casey, James P. Pulp and pa per: chemistry and chemical technology. 2nd ed. New York. Interscience. 1960-61. 3 vol.

Kingzett, Charles Thomas. Kingzett's chemical encyclopedia; a digest of chemistry & its industrial applications. Ed. by D. H. Hey, and others. 9th ed. London. Baillière, Tindell and Cassell. 1966.

Sharphouse, John Henry. The leatherworker's handbook. London. Leather Producers' Association. 1963.

Wilson, John Arthur. Modern practice in leather 367. manufacture. New York. Reinhold. 1941.


epidermis

A protective, hard-wearing layer of keratinous cells, which, although of varying thickness over the body of the animal, is very thin compared with the underlying DERMIS.

It consists of a continuous mass of cells usually differentiated into the following regions: Stratum corneum, or the uppermost layer, containing dry, dead cells, flattened to form a relatively continuous thin outer membrane skin that is highly cornified or keratinized; Stratum lucidum, which is the region where dying cells are located, and which contain an oily substance that renders them translucent; Stratum granulosum, in which the cells contain large granules; Stratum spinosum, where the cells show marked spines or bridges between each other; Stratum basale, where the cells contain living basal cells called keratinocytes and melanocytes; and the lowest region, the epidermal-dermal junction (often called the basement membrane), which consists of a thin zone of ground substance, containing no fibers, lying between the basal cells and the dermal surface.

The epidermal-dermal layer has little resistance to bacteria and enzymes, and is easily attacked by them, as in enzyme UNHAIRING.

It is also easily disintegrated by alkalis, such as caustic soda, sodium sulfide, etc., which is the basis of common commercial unhairing processes.

The term derives from the Greek "epi" (upon) and "dermis," which had its origins in the Greek "derin" (to flay). See also: LIMING

O'Flaherty, Fred, and others, eds. The chemistry and technology of leather. New York. Reinhold. (American Chemical Society monograph series, no. 134. 1956-65. 4 vol.

Reed, Ronald. Ancient skin, parchments and leathers. London. Seminar Press. 1972.


epithelial tissue

The cellular tissue that covers all free surfaces within and without an animal's body, and, in the case of skin, is called epidermal tissue. The epithelial tissue affords covering and general protection against light, water and other fluids, bacteria, etc.


epoxy resins

A class of resins produced by the polymerization of epichlorohydrin with diphenylolpropane, and manufactured from phenol and acetone. A range of resins of widely differing molecular weights, e.g., 400 to 6,000, can be produced by varying the proportions of reactants, as well as reaction conditions. Epoxy resins possess exceptional chemical resistance and adhesion. They are usually supplied in two parts, which must be mixed before use. Such resins have limited use equivalent weight in conservation work; however, they are useful where exceptional strength is required, such as in corner rebuilding and box making.

Miall, Laurence Mackenzie, and D. W. A. Sharp, eds. A new dictionary of chemistry. 4th ed. New York. Wiley. 1968.

Skeist, Irving. Handbook of adhesives. New York. Reinhold. 1962.


equivalent weight

1. The weight of a particular paper of any size expressed in terms of some other size. Equivalent weights are in direct proportion to the areas of single sheets. If the weight of a given size of paper is known, the equivalent weight of the paper of a different size can be calculated by multiplying the known weight of the paper by the area of the paper required and dividing by the known area of the paper:

Weight of paper of which      Area of paper of which

size and weight are known  X  weight is required

-------------------------------------------------    = equivalent weight

Area of paper of known weight

Thus, the weight of a ream of paper 5 x 40 inches in the substance of 30 to 40 inches, 60 pounds per 500 sheets is:

60 X (25 X 40)

-----------

(30 x 40)

= 50 pounds/500 sheets, 25 x 40 inches.

2. In chemistry, equivalent weight is one of the comparative weights of different compounds, elements, or radicals which possess the same chemical value for reaction when compared by reference to the same standard (usually oxygen, i.e., 8).

Parallel lines also outline a center panel. All of the lines, both horizontal and vertical, cross near the extreme ends forming squares at the corners of the covers. The central panel is usually decorated with a pattern made up of small, almost touching, tools, and both borders are similarly decorated with a succession of tools; those of the broad inner one often are interrupted with a scroll bearing the name of the bookbinder. Many bookbinders of the latter half of the 15th century produced these so-called Erfurt bindings, including CONRADUS DE ARGENTINA and JOHANNES FOGEL.

In an acid, the equivalent weight is the quantity which would yield one gram ionic weight of hydrogen ion (1.008 g.), while in a base, it is the quantity which would yield one gram ionic weight of hydroxyl ion (17.008 g.). Thus an equivalent weight of sulfuric acid (H2SO4) is one-half the molecular weight, and an equivalent of aluminum hydroxide (Al(OH)3) would be one-third the molecular weight.

American Paper and Pulp Association. The dictionary of paper, including pulp, paperboard, paper properties and related papermaking terms. 3rd ed. New York. American Paper and Pulp Association. 1965.

British Federation of Master Printers. Preliminary technical course in printing. London. British Federation of Master Printers. 1967. 7 vol.

Gazurian, Johnny A. The advertising & graphic arts glossary. Los Angeles. Los Angeles Trade-Technical College. 1966.

Goldschmidt, Ernst Philip. Gothic and Renaissance bookbindings. 2nd ed. Amsterdam. Israel. 1967. 2 vol.


erasability

That property of a material relating to the ease with which writing or printing can be removed by means of mechanical abrasion, the smoothness and cleanliness of the erased surface, and the reusability of the erased surface.


Erfurt bindings

A university town in Central Germany. the name of which was applied to 18th century bindings featuring a scheme of decoration in which the entire cover is divided by a double border which encloses a long, narrow panel. The outer border is narrow, with a broad inner border separated from it by several parallel lines.


errata

Errors or omissions in writing or printing, generally restricted to typographical errors, but sometimes including imperfections in either presswork or binding. They are usually printed on a separate slip or leaf and placed among the preliminaries, or added to an existing page of type at the beginning or end of the book. Errata sheets must frequently be tipped in by the library or the binder.

Carter, John. A B C for book collectors. 5th ed. London. Hart Davis. 1972.


ERRATA

A list of errors that have escaped both the author and the printer. It is generally printed in a small type at the end of the work. It should always be kept down, and never brought out in a prominent manner. Some authors seem partial to extend the errata, by noticing the most trifling mistakes, such for instance as a turned letter, and adding corrections of the writing and of misstatements of facts, as well as new facts which may have arisen; and all under the name errata, as if they were entirely the errors of the printer; in this case they ought to be styled Corrections and Additions. In my opinion, there is no occasion to insert in the errata any thing that does not affect the sense. Mr. Beloe, in his Anecdotes of Literature, states that “the book which is distinguished by the greatest number of errata on record, is that containing the works of Pica Mirandula, printed at Strasburgh in 1507, by a printer of the name of Knoblouch. The errata of this volume occupy no less than fifteen folio pages.”


esparto grass

A coarse grass, native to Southern Spain and Northern Africa, obtained from two species, Lygeum spartum and Stipa tenacissima, and used in the manufacture of paper. Esparto fibers have thick walls and are short, normally less than 3 mm in length, with an average length of 1.5 mm. The fiber diameter varies from about 0.005 to 0.015 mm, with an average of about 0.012 mm, giving a length to diameter ratio of 125 : 1. The fibers also tend to be curved. One of the principal characteristics of esparto is its hairs, which are located on the inner surface of the leaf. Looking something like commas, they are commonly referred to as "comma hairs." They are also called tooth cells since they also somewhat resemble teeth. In addition to the hairs, small cells with serrated edges, appearing something like miniature concertinas, are present. Both hairs and cells have a length of less than about 0.06 mm. The best grade of esparto grass is known as Spanish, while the cheaper grade (from Africa) is called Tripoli.

Introduced in England in 1850 by T. Routledge, esparto is used extensively in Great Britain, but is seldom employed in the United States, mainly because of the cost of transporting the grass or pulp made from it. In England, it is employed principally in the production of better grades of book paper.

The presence of esparto in paper is determined by the iodine-zinc chloride test, which stains deep violet, or by boiling the specimen in a 1% solution of aniline sulfate, which turns the paper pink in the presence of the grass. Also called "alfa grass," "halfa grass," and "Spanish grass." See also: ESPARTO PAPER,

Grant, Julius. Books & documents; dating, permanence and preservation. London. Grafton. 1937.

Langwell, William Herbert. The conservation of books and documents. London. Pitman. 1957


esparto paper

A paper produced from ESPARTO (GRASS) pulp, usually in a mixture with a relatively small amount of chemical wood pulp. Esparto is generally used in the manufacture of better grades of printing papers (those containing 90 to 95% esparto, the balance being chemical wood). Esparto helps provide better formation and a good bulk for a given basis weight. The paper takes ink readily, presents minimum problems with regard to shrinkage and stretch, has excellent folding properties, and does not tend to dust or fluff during printing. Its major shortcoming is its low strength, which is due to its relatively short fiber length.


esparto wax

A yellowish-white WAX obtained from waste liquors in the preparation of ESPARTO (GRASS) pulp.


essential oil

A naturally occurring volatile liquid, formed in various parts of plant life, principally in the leaves, flowers, or fruit. The main constituents are the terpines, i.e., hydrocarbons which generally have the empirical formula C10H16, and their derivatives. They also contain alcohols, aldehydes, esters, ketones, as well as compounds containing nitrogen and sulfur. Essential oils are volatile in steam, have characteristic odors, and leave no oily marks on paper. They are virtually insoluble in water but are soluble in alcohol and ether. Many are susceptible to oxidation in the presence of air or oxygen. They are obtained by steam distillation or by extraction.


esters

Organic compounds formed by the union of an acid and an alcohol (or a phenol) with the elimination of water, and which during HYDROLYSIS break down to these component parts. An ester may also be regarded simply as an organic acid. Esters may be specified either by constituents (e.g., ethyl silicate may be considered to be the silicone ester or ethyl alcohol), or by the ethyl ester or silicic acid. Esters are sometimes used to remove fat and grease stains from paper, and, less frequently, to inhibit bookworms.

Mayer, Ralph. A dictionary of art terms and techniques. New York. Crowell. 1969.


ether

A colorless liquid ((CH5)2O), with a pleasant, characteristic odor. It is highly volatile and its vapor, which is strongly narcotic, forms an explosive mixture with air. It is soluble in water to 7%. soluble in strong sulfuric and hydrochloric acids, and miscible with many organic solvents. Ether is manufactured by passing alcohol vapor into a mixture of 92% alcohol and 67% sulfuric acid at 128 C. It may also be produced as a byproduct in the manufacture of alcohol and ethylene. It is used as a solvent.


ETHIOPIC

The Ethiopic language is descended from the Hebrew, yet approaching nearer to the Arabic than to any other of the Semitic languages. It observes the order of reading and writing from left to right, in common with the other languages of the same origin. It has twenty-six characters peculiar to itself, of which the order, figure, name, and power are as follow:—

Of these ጰ: and ፐ: are used only in words of Greek and Latin origin. In expressing Arabic these seven, ሰ: ተ: ነ: ከ: ዘ: ደ: ጠ:, and in Portuguese and Italian these three, መ: በ: and ለ:, are made use of with the addition of certain horns.

Moreover, none of the above letters are connected, except ገ:, which, in the name of God, sometimes coalesces with ዘ:, in this manner ዘ:, as ለዘለበሐረ:

The power of the letters approaches nearest to those which have been added, whence it appears that ሀ: ሐ: and ኀ:, also ሠ: and ሰ:, also አ: and ዐ:, and lastly ጸ: and ፀ:, are generally pronounced in the same manner, which causes no small confusion in writing, as one cognate letter is often put for another, so that it should always be borne in mind in looking for a word in the lexicon, that if it is not to be found under one letter, we should continue our researches under the cognate.

These four ቀ:, ጠ:, ጰ:, and ጸ: or ፀ:, have a sound altogether at variance with European custom, and the correct pronunciation can only be learnt by hearing. But one destitute of a preceptor may approach nearer to their genuine sounds, by first prefixing to each the power of the vowel i, thus, ik, it, ip, iz, and afterwards, having substituted in its place an apostrophe, he may add the vowels, in this manner ’k-a, ’k-e, ’k-i, &c., and similarly with ’t-a, ’p-a, ’z-a, &c.

In Ethiopic the numbers are not represented by the letters, but by certain peculiar figures formed apparently from the Greek letters, and which are included within two small lines, in the following manner:—

The other numbers are compounded from these, the greater being always placed first, as as ፲፩: 11. ፲፪: 12. &c. ፳፩: 21. ፳፪: 22. &c. ፻፩: 101. ፻፪:102.

In Ethiopic the vowels are not expressed by particular letters, as in the European, or by separate points, as in the Oriental languages, but by certain small lines or circles annexed to the top, middle, or bottom of the letters themselves, or by the shortening or lengthening of one of the strokes, which changes are in number seven; whence arise so many orders of letters, or rather of syllables, of which the first is considered as the simple figure, and the remainder as compound, and are read—the first by a short, the second by u, the third by i, the fourth by a long, the fifth by e long, the sixth by e or y short, and the seventh by o; in this manner:

The diphthongs are formed not only by the letters ው: and ይ:, mutes of the sixth order, after a letter of the first or fourth order, as, for instance, አውራኀ: months, ተሠይመ it is appointed; but also the four letters ቀ: ኀ: ከ: and ገ: with the addition of certain peculiar points, are generally considered to form diphthongs in the first, third, fourth, fifth, and sixth orders, in this manner:

In Ethiopic each separate word is distinguished by two thick points, and the periods by four or more; there are no marks of accentuation.

The preceding observations are extracted from a small treatise on the elements of Ethiopic grammar by George Otho, professor of the Greek and Oriental languages at Marburg in Hesse Cassel, with an acknowledgment of being indebted for his information to Ludolph; and bound in connexion with the “Fundamenta Punctationis Linguæ Sanctæ” of Jacob Alting, printed at Frankfort on the Main, in 2 vols., 1717.

Ethiopic Types in the British Founderies.

English.—Oxford University. Thorowgood & Besley. Formerly Bynneman’s.

Pica.—Caslon & Livermore. Thorowgood & Besley. Walton’s Polyglot; through Andrews’s and James’s founderies to Fry.

The Ethiopic Alphabet

William Savage, A Dictionary of the Art of Printing, 1841

Ethiopic numerals

Ethiopic vowels

Ethiopic diphthongs


ethyl acetate

A colorless, volatile, highly flammable liquid ester (CH3CO2C2H5), prepared from ethyl alcohol and acetic acid. It is used as a solvent and is not dangerously toxic if handled properly.

Book Production. Tricks of the trade. New York. Bookbinding and Book Production. 1944.


ethylene dichloride

A colorless, toxic liquid (C2H4Cl2), with an odor much like that of chloroform. It is prepared by the vapor- or liquid-phase reaction of ethylene and chlorine in the presence of a suitable catalyst. It finds some use as a solvent and is employed in the manufacture of vinyl chloride and in the fumigation of books.


ETRUSCAN

The confines of ancient Etruria bordered closely upon the city of Rome, being separated from it only by the Tyber to the south-east and south. There is proof, indeed, that almost all Italy was at one time under the power of Etruria.

Although the Etrurians seem to have arrived at the highest point of civilization, and even of luxury, at an early period, whilst Rome had as yet no existence, and to have been distinguished in a variety of respects far beyond the people of surrounding nations, we are almost wholly ignorant of their history, and even their origin is involved in the greatest doubt.

The people of Etruria, called by the Romans Etrusci or Tusci, are styled Tyrrheni or Tyrseni by the Greek historians.

The difficulties of the Etruscan question are increased by a difference of statement and of opinion in the accounts recorded on the subject, by Herodotus and Dionysius, two of the greatest antiquaries and historians of ancient times.

Herodotus, who, says Athenæus (lib. xii.), obtained his account from Lydians, gives to the Tyrrheni a Lydian origin, and states that they emigrated under the command of Tyrrhenus, one of the sons of Atys: while Dionysius, partly because Xanthus, an historian of Lydia, is silent respecting this emigration, will not allow the tradition to be true, but imagines them to have come from the north. It is not improbable that both are in part correct: the earlier portion of the Etrurians might have come from the north, while the later colony (who must have been advanced in civilization to have effected the voyage) might have been Lydians; and in all probability these subsequent settlers constituted the dominant portion of the invaders of Etruria.—Sir William Gell’s Topography of Rome, 8vo. 1834.

The Etruscan language must have been the same, or nearly so, with the Hebrew and Phœnician. For, whether we consider them as descended from Ashur, Peleg, the Egyptians, Phœnicians, or even Celtes, and from some of these they undoubtedly descended, their language must have been either the same with the Hebrew and Phœnician, or nearly related to them. The first Pelasgic settlements in Etruria could not have been many centuries after the deluge, and very few after the dispersion; and at that time the languages, or rather dialects, of the Egyptians, Assyrians, Babylonians, Celtes, Syrians, Arabs, &c., must have approached extremely near to the Hebrews and Phœnicians, which the learned allow to have been almost the same. With regard to the Canaanites or Phœnicians migrating into Etruria, after the first colonies of the Pelasgi or Tyrsenians settled there, it cannot be denied, that their language had received but little alteration from the primitive Hebrew. So that both sacred and profane history concur to evince the Hebrew, Phœnician, and Etruscan tongues to have been, in the earlier ages, nearly the same.

This likewise farther appears from the letters and manner of writing anciently used in Etruria. The letters are almost the same with those of the earliest Greeks, brought by Cadmus out of Phœnicia. The manner of writing is purely Oriental, the letters being drawn from the right hand to the left, consonant to the practice of the Eastern nations. The former point is rendered indisputably clear by the Eugubian tables, in conjunction with the Sigean inscription, and the latter by a bare perusal of the generality of the Etruscan inscriptions. Nay, the very remote antiquity of the first colonies that settled in Etruria, as well as of the Etruscan language and alphabet, may be easily inferred from those inscriptions. For as the Pelasgic alphabet, that prevailed in Greece before the age of Deucalion, consisted of sixteen letters, the Etruscan or Pelasgic alphabet, first brought into Italy, composed of only thirteen letters, must have preceded the reign of that prince. The high, not to say almost incredible, antiquity of the Etruscan language and alphabet, has been clearly evinced in two dissertations, by Mr. J. Swinton, printed at Oxford in the year 1746.—Univ. Hist. 8vo. vol. xvi. 1748.

The author of a “Tour to the Sepulchres of Etruria, in 1839,” in a visit to General Galassi’s museum at Rome, says, “If we had been surprised at Campanari’s exhibition, we were petrified at the general’s. Here we saw an immense breastplate of gold, which had been fastened on each shoulder by a most delicately wrought gold fibula, with chains like those now made at Trichinopoly. The breastplate was stamped with a variety of arabesques and small patterns, as usual in the Egyptian style. The head had been crowned with fillets and circular ornaments of pure gold, and a rich mantle had covered the body, flowered with the same material. In this grave also had been found a quantity of arms, round bronze shields with a boss in the centre which was stamped, spears, lances, and arrows; a bier of bronze, as perfect as if made a year ago; a tripod, with a vessel containing some strange looking lumps of a resinous substance, and which on being burnt proved to be perfumes so intensely strong, that those who tried them were obliged to leave the room. There were many small images, perhaps of lares, or of ancestors, in terra cotta that had been ranged in double lines close to the bier; also some large common vessels for wine and oil, and some finely painted vases and tazze, with black figures upon a red ground, which had been consecrated to the dead. There were wheels of a car upon which the bier had been brought into the sepulchre, and many other things which I do not remember; but the wonder of all these treasures was a sort of inkstand of terra cotta, which had served as a schoolmaster’s A. B. C. On it were the Etruscan letters, first in alphabet, and then in syllables, and both the letters and the syllables are the same as the oldest form of the Greek. It was deciphered by Dr. Lepsius, and is the key to all we at present know, and will be the basis of all we are ever likely to know, of the Etruscan tongue.”——“This humble article is likely to prove to Europe, what the stones of Alexandria and Rosetta have been before it, the dictionary of a lost language, and the interpreter of an extinct race.”

“I noted that upon this inkstand were four alphabets engraved, and after each the syllables,—thus, ba, be, bi, &c., ma, me, mi, and so forth; that one of these is in the oldest or archaic form of the Greek alphabetic letters, and that hence connexion is likely to be traced and demonstrated between the Egyptian, Etruscan, and Pelasgic.”

The Primitive Etruscan Alphabet.

To these letters may be added the four following complex characters [#], [#], [#], and [#].

Etruscan in the British Founderies.

Pica.—Caslon and Livermore. Cut by Caslon for the celebrated linguist, the Rev. John Swinton, Oxford, about 1733.

The Etruscan Alphabet


Etruscan calf

A method of decorating calfskin bindings by acid staining, so called because of the contrasting colors or shades of leather (light brown or terra cotta) in conjunction with dark brown or black tooling. The terra cotta shades and decoration represent Greek and Etruscan vases. Etruscan bindings usually have a rectangular panel on each cover, or, occasionally, a plain oval with a classical urn in the center. They are tooled in black, surrounded by a border of Greek palmate leaves, which are also in black. and with outer borders of classical design (Grecian key or Doric entablature) tooled in gold. The spines are also decorated with classical ornaments.

Many 19th century authorities attributed this style to John Whitaker: however, it seems more likely that it was the creation of William EDWARDS OF HALIFAX.

There appears to be no very conclusive evidence as to the origin of the style, but it is known that Edwards employed it at an early date, circa 1785. It was popular during the period 1785-1820.

Coutts, Henry T., and George A. Stephen. Manual of library bookbinding; practical and historical. London. Libraco. 1911.

Crane, W. J. E. Bookbinding for amateurs…New York. Scribner. 1903.

Harthan, John P. Bookbindings. 2nd ed. London. H. M. Stationery Office. (Victoria & Albert Museum illustrated booklet no. 2). 1961.

Prideaux, Sarah Treverbian. An historical sketch of bookbinding. London. Lawrence & Bullen. 1893.


Eucalyptus

A tree of the genus Eucalyptus, which has some 600 or more species, including many with bark rich in tannin. It is believed that only in Australia (to which the trees are indigenous) has the bark been exploited on a large scale, and then entirely from trees growing in the wild.

One particular bark, called Mallet (maletto) bark, obtained from Eucalyptus astringens, is actually one of the world's richest tannin-containing barks, having a tannin content that is often well over 40%, and even as high as 52 to 55. Another tree, mugga, or red ironbark (E. sideroxylon), which is also grown commercially in Morocco, has bark containing 30 to as much as 45% tannin.

While the tanning properties of eucalyptus are good, the tannin tends to produce leather that is too darkish red in color. In addition, Mallet bark is low in soluble non-tans (8%) and therefore must be mixed with other tannins or acids to induce swelling or good plumping; mugga tannin fixes slowly giving a leather that is too soft and also dark red in color. See also: VEGETABLE TANNINS.

Frank Norman. Howes, Frank Norman. Vegetable tanning materials. London. Butterworth. 1953.


Eve style

A framework of various geometrical-shaped compartments linked together by interlaced circles; the centers of the compartments are filled with small floral ornaments and the irregular spaces surrounding them with circular scrolls and branches of laurel and palm. An elaborate style of the end of the sixteenth and beginning of the seventeenth century.


EVEN LINES

When a piece of printing has to be executed in great haste, a number of compositors are employed on it, and the copy is cut into small pieces for each, to facilitate the making-up, imposing, and the general furthering of the work; if the copy should be in long paragraphs, the compositors have each to begin a line and to make their copy end a line, frequently with great irregularity of spacing; this is termed making even lines. In daily newspapers it is of constant occurrence.


EVEN PAGE

The second, fourth, sixth, or any other even numbered page is called an even page.

Exclamation, Note of. See Punctuation.


EVEN PAGE

The 2d, 4th, 6th, or any even-numbered page of a book.


exceptional volume

A term used by the Library Binding Institute to indicate types of books—such as music scores, certain art books, periodicals with narrow binding margins or stiff paper— which require good openability. The Institute specifies that such volumes should be sewn through the folds: when such sewing is used, any weak folds are to be reinforced with bond paper (which is too heavy for this type of guarding): loose leaves are to be hinged, and the sewing done on tapes or (sawn-in) cords. The term applies only to library binding.

Library Association. Library Binding Institute standard for library binding. 5th ed. Boston. Library Binding Institute. 1971.


excitation purity

A colorimetric quantity used in designating depth of color.


EXERCISING THE PELT

Frequently currying a pelt, to get it into condition, is termed Exercising the Pelt, or Giving the Pelt Exercise.


expandable cloth

A type of cloth woven with a crinkled cross-thread and used for lining the spines of books, usually in edition binding. The cloth expands with the spine during rounding and backing. See also: STEAMSET.

Glaister, Geoffrey Ashall. An encyclopedia of the book. Cleveland. World. 1960.


expanding medium

See: MARBLING SIZE.


expansion

A change in the dimensions of a sheet or strip of paper or board resulting from atmospheric changes. See also: HYGROEXPANSIVITY.


extended

1. An addition to the inner or binding margin of a leaf of a book. This procedure is more often required for title leaves, plates, the last leaves of a book, etc., than elsewhere, as these are most likely to become detached, frayed, or otherwise damaged. Occasionally, however, if a book has to be made up from a narrower copy, the narrow leaves may be extended so that their outer edges are even with the other leaves. 2. See: EXTRA-ILLUSTRATED.


extended cover

A term used in pamphlet binding to indicate covers which extend beyond the trimmed edges of the leaves, as distinguished from CUT FLUSH. See also: SQUARES; YAPP STYLE.


extender

1. In the adhesive industry, a substance, usually one of some adhesive capability, which is mixed into an adhesive in order to increase the amount of the adhesive, and also at times to reduce CRAZING (1). 2. A transparent or semi-transparent chemical added in powder form to a printing ink, either to alter the strength of its color or to improve working properties.

Skeist, Irving. Handbook of adhesives. New York. Reinhold. 1962.


extensibility

The extent to which a material, e.g., rubber, leather, etc., can be stretched without breaking. See also: STRETCH.

American Paper and Pulp Association. The dictionary of paper, including pulp, paperboard, paper properties and related papermaking terms. 3rd ed. New York. American Paper and Pulp Association. 1965.


extension tabs

The leather. cloth or paper tabs made to extend from the fore edges of the leaves of books. usually for indexing purposes. See also: INDEX TAB.

Pleger, John J. Bookbinding. Rev. ed. Chicago. Inland Printer. 1924.


extra account-book binding

An English expression for a particular style of BLANKBOOK BINDING distinguished by an overall superior binding structure, including the taping of six sections at front and back, sewing by hand on webbings, made endpapers with leather joints, marbled edges, a calfskin or cowhide lining, a drawn-on SPRING-BACK (1) of millboard. split boards. and a calfskin or cowhide covering, with Russia bands. See also: BANDING;

STATIONERY BINDING.

Vaughan, Alexander J. Modern bookbinding; a treatise covering both letterpress and stationery branches of the trade…New ed. London. Skilton. 1960.


extra binder

A somewhat archaic term for a craftsman who uses the best materials available and employs only techniques of forwarding known to be sound. An extra binder often decorates his bindings with a design created specifically for the particular book.

Harrod, Leonard Montague. The librarians' glossary of terms used in librarianship and the book crafts, and reference book. 3rd ed. London. Deutsch. 1971.


extra binding

A term originally applied to the binding of books in full leather, usually morocco, in which the best materials and workmanship were used throughout. The term also implied extra care in finishing and extensive use of gold tooling. Today the term is used more loosely and is applied to a book or small lot of books bound with some special care, with attention not only to utility but to beauty of design and workmanship.

Carter, John. A B C for book collectors. 5th ed. London. Hart Davis. 1972.

Strauss, Victor. The printing industry…Washington, D.C. Printing Industries in America. 1967.


extra binding

a trade term for the best work.


extra calf

An obsolete term applied to a book covered in a better grade of calfskin in lieu of morocco.


extra check binding

An obsolete term applied to a style of binding in which the leaves were wire-stitched or stabbed and bound in full canvas or cloth, or quarter-bound in leather with cloth sides.


extra cloth

An obsolete term for a superior grade of book cloth, made of a base of cotton, starch-filled on the reverse side and color-filled rather than dyed. It was made in both a plain finish and in a variety of patterns, the heavy color coating concealing the weave of the fabric and giving a solid color effect. See also: BUCKRAM,


extra gilt

A term sometimes applied to elaborate gold tooling on the spine and covers of a leather binding.


extra high bulk book paper

A book paper which, in a basis weight of 45 pounds (25 X 38 — 500), bulks 344 pages or fewer to the inch under a pressure of 35 pounds per square inch.


Extra thick

A term used by library binders to indicate a book greater than a stated specified thickness, usually 2 1/2 inches. The significance of the term is that library binders generally impose an additional charge for each inch or fraction thereof in excess of the prescribed "normal" thickness.


extra time

An hourly charge imposed by a binder or bindery, in the latter example, usually a library binder, for excessive repairs, mending, guarding, scoring, etc., beyond the extent considered "normal" for the average book. "Extra time" would normally apply to operations involved in sewing a book through the folds instead of oversewing. It may also apply to the repair and/or cleaning of water- or smoke-damaged books, or other unusual and/ or time consuming work. "Extra time" is not meant to be applied in cases of regular work involved in library binding, e.g., collating.