hair

The coalesced horny cells, which contain the protein keratin along with 0.75 to 2.0% mineral salts. Although hair is an epidermal structure, it is seated deep in the papillary layer of the dermis. It consists of two continuous regions, the root and a long projection. which is the shaft. The lower part of the shaft is enclosed in a follicle which is a sheath of epidermal cells continuous with those in other parts of the epidermis. Most animal hairs are of two types: primary and secondary. Primary hairs are the more numerous and vary in structure depending on the age and species of the animal. Secondary hairs. which are similar in structure to the primary, are only about one-third their diameter.

The positions which the primary and secondary hairs occupy relative to each other as they enter the surface of the skin, together with their different thicknesses, determine the characteristic grain pattern of the dermal surface after the hair and other epidermis have been removed. Due to the general complexity of the papillary region, including hairs of various diameters at different stages of growth and located at different depths in the papillary layer, their removal by mechanical means is difficult. See also: HAIR-ON LEATHER; HAIR SHEEP; SHORT HAIR; UNHAIRING.

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.

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


hair marble

A marble pattern consisting of but one or two colors, and usually used on the edges of books. The colors are diluted to about one-third of their normal volume with water, and, when two colors are employed, enough gall is added to the first color to make it spread on the size to form a ribbon 5 to 6 inches wide, while the second color is applied evenly in fine drops, followed by a sprinkle of water which forms the hair veins. Carragheen moss is the usual sizing for this marble. Single-color hair marbles include the black, red or blue, while two-color hairs are usually red and black or bluish-brown.

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.

Halfer, Josef. The progress of the marbling art…Translated by Herman Dieck, Buffalo. Kinder. 1893.


hair sheep

Leather made from the skin of a sheep that grows hair instead of wool The hair sheep is found in the mountainous regions of India, China, South America, and Africa. The leather produced form these skins has a finer and tougher grain than that made from wool-bearing sheep. See also: CABRETTA LEATHER.

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

Hitchcock, Frederick H. The building of a book…2nd ed. New York. Bowker. 1929.


hair side

The outer surface of a hide or skin, more commonly referred to in finished leather as the GRAIN SIDE.


hair slips

Hides and skins that have suffered sufficient PUTREFACTIVE DAMAGE so that the hair is loosened.


hair-on leather

A leather which has been produced without first removing the hair. SLUNK skins are preferred for this type of leather, although skins of older animals can be used after trimming of the hair. Hair-on leather has been used occasionally as a covering material for books.


HALF A PRESS

When but one man works at a press, it is called Half a Press.—M. It is still termed a Half Press. A man is said to be working Half Press.

Public domain (Project Gutenberg, pre-1930 text)


half bands

Horizontal ridges on the spines of some tight-back bindings. They are generally located at the head and tail of the volume, where they indicate the position of the kettle stitches, and are sometimes also between the raised bands. They are smaller than the raised bands. Half bands are often found on Italian and French bindings of the 16th century.

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


half binding

A style of binding in which the spine and part of the side of the book, as well as the four corners, are covered with one kind of material, e.g., leather, cloth, etc., and the sides with another material, e.g., cloth or paper. In this style of binding the spine covering usually extends onto the boards about one-fourth of their width, with the corners in harmonious proportion. See also: QUARTER BINDING; THREE-QUARTER BINDING.

Forsyth, K. Marjorie. Bookbinding for teachers, students and amateurs. London, Black. 1932.

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


half binding

when the leather covers the back and only part of the sides, a book is said to be half bound.


half cloth

A book bound with a cloth spine, but not cloth corners. The sides are generally paper, which is also used for the spine title label. The style was fairly common on publisher's bindings from the late 1820s to the early 1840s. for three-volume novels into the early 1850s, and occasionally for general works since about 1890. The style was correctly (though not often) called "quarter cloth" by job binders. Also called at times "half linen."

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

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


half extra

1. In craft bookbinding, "half extra" letterpress binding is defined as any half-leather binding forwarded in boards, regardless of any decoration or lack of it. A half extra binding is one usually, but not necessarily, sewn on raised cords. If it is not sewn on raised cords, false bands are usually used. 2. In stationery binding, "half extra" is defined as a blankbook made up of machine-made paper that has been tubsized. Four sections are taped at front and back, and the book is sewn on webbings. It has a SPRING-BACK (1), made endpapers, cloth joints sewn on, leather linings between the webbings, and is covered on the spine and corners with calfskin or roan and on the sides with paper.

Hannett, John. Bibliopegia; or, the art of bookbinding… London. Simkim, Marshall. 1848.

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


half French fold

A modification of the FRENCH FOLD, consisting of a sheet printed on one side only and given two folds, the first of which is half way down the short side of the sheet and the second at right angles to the first across the long side. It is used for brochures, leaflets, etc., but seldom in book work, except for folding maps.

Hague, Clifford Wilson. Printing and allied graphic arts. Milwaukee. Bruce. 1957.


half gilt

An obsolete term used in describing a book sewn on raised cords; the bands appearing on the spine are tooled in gold, usually by means of a broad pallet or roll. The tool was also sometimes worked in the center of each panel between the bands.

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


half leather

A book having a leather spine, extending over approximately one-fourth the width of the sides, leather corners, and the remainder of the sides covered in cloth or paper.

Half leather bindings covered in calfskin of a tan or other shade of brown, with narrow spines and small corners, marbled paper sides. smooth cut edges which were sometimes stained pale yellow or sprinkled red, and plain endpapers, were common in England in the latter half of the 18th century. The corners of these volumes were occasionally vellum instead of leather.

Stationers also issued cheap half leather bindings, often sheepskin, which were not trimmed and had no headbands, no squares, and were not lettered. Half vellum bindings, which were comparatively rare, were produced throughout the 19th century. See also: QUARTER LEATHER; THREE-QUARTER LEATHER.

Philip, Alexander John. The business of bookbinding for librarians …Gravesend. A. J. Philip. 1935.


half linen

See: HALF CLOTH.


Half press

When but one person works at the press.

The American Printer: A Manual of Typography


half tanned

See: CRUST STOCK.


half vellum binding

A half binding covered on the spine and approximately one-fourth of the sides, as well as the corners, with vellum, with the remaining part of the sides being covered with paper. See also: HALF LEATHER.


HALF WORK

He that works but three days in the week, does but Half work.—M.

Hangs. See Letter Hangs.—M.


Half-Bound

When a volume is covered with leather upon the back and corners, and the sides are covered with paper or cloth.


Half-Bound

When a volume is covered with leather upon the back and corners; and the sides with paper or cloth.

The Art of Bookbinding: A Practical Treatise


Half-Bound

When the back of a book is covered with leather and the sides with paper or cloth. Some binders call a book half-bound when it has leather on the back and small pieces on the corners. Three-quarters bound means wide leather back and large leather corners.


half-stamp

A finishing tool consisting of a stamp identical with or very similar to a half fleuron, pineapple, etc. It is generally used for tooling compartments at the edges of the frame in lozenge compartment decoration. It is also sometimes used back-to-back to form the lozenges in the center of the cover. The use of the half-stamp was common in Northern Europe and in England during the late 15th and early 16th centuries.

Oldham, James Basil. English blind-stamped bindings. Cambridge. Cambridge University Press. 1952.


Half-title

The title of a book inserted in the upper portion of the first page of matter.


Half-title

The brief title which precedes the main title page, usually a single line in plain type; the bastard title.


hammering-down bands

See: KNOCKING DOWN.


hand letters

Individual letters, numerals, etc., cut in brass and attached to wooden or asbestos handles, and used to letter a book by hand. The alternative to hand letters is brass type assembled in a PALLET (2) and used to letter a complete line of type at one time.

Hewitt-Bates, James Samuel. Bookbinding. 8th ed. Leicester. Dryad. 1967.


hand letters

Letters cut and affixed to handles, and adjusted singly upon the volume when lettering it.


hand letters

Letters fixed in handles; used singly for lettering.


hand mold

See: MOLD (1); HANDMADE PAPER.


hand oversewing

See: OVERSEWING.


hand sewing

The process of sewing a book by hand. Although it is generally assumed to mean sewing through the folds of the sections, it may also refer to the sewing of sections, or, more often, leaves through the side, i.e., OVERSEWING, SIDE SEWING, the strengthening of the first and last sections or leaves of a sewn book by means of OVERCASTING, or the re-attachment or replacement of endpapers by the same means. See: FLEXIBLE SEWING; RECESSED-CORD SEWING; SADDLE SEWING; TAPE SEWING (1).


hand sizing

A method of sizing or resizing paper by dipping the sheets or leaves into a tub of size. Hand sizing was the original method of sizing paper, i.e., handmade paper, and is still used for that class of paper, and also by restorers when resizing documents or the leaves of a book. Old papers, which often contain decomposed size, can be made stronger and safer to handle if resized by hand.

Clapperton, Robert Henderson. Modern paper-making. 3rd ed. Oxford. Blackwell. 1952.

Labarre, E. J. Dictionary and encyclopaedia of paper and papermaking. 2nd ed. London. Oxford University Press. 1952.


hand-drawn end- and cover-papers

A term descriptive of custom end- and cover-papers. The design of the papers can be an integral part of the binding in every sense, and can be executed in many kinds of media, including lino- and wood-cut endpapers and covers, which are executed by means of small printing units of repeating designs, or blocks used to print the entire cover or endpaper in one impression.


handle

1. A somewhat vague term applied to the impression of touch and sound when handling a sheet of paper. It includes such properties as feel, rattle, etc. 2. One or more strips of leather, cloth, or other material, attached loosely across the spine of a book from cover to cover and used to facilitate removal of the book from the shelf. Handles are seldom used today, except for large blankbooks. 3. See: FEEL.

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.


handmade paper

A type or class of paper made in hand molds in single sheets, and having a rough or DECKLE EDGE on

all four sides. The paper is made by dipping the MOLD (1), of the size required, into the vat containing the stock, and then lifting it out with a particular motion, thus causing the fibers to bond together forming a sheet. Because of the methods employed in lifting and shaking the mold, handmade paper often has very little discernible grain or MACHINE DIRECTION, which means that it has more or less the same strength properties in both (all) directions. It is therefore unlike machine-made paper, which is much stronger in the machine direction than in the cross direction. Handmade paper is also generally superior to machine-made paper in that it is usually sized with gelatin, glue, or similar material, without the use of rosin or alum. It is relatively very expensive because, from the pulp stage, all of the operations are performed by hand and in single sheets; in contrast to the papermaking machine in which paper is felted, couched, pressed, dried, sized, calendered, and reeled in one continuous operation. For general information concerning paper, see: PAPER; PAPERMAKING. See also: COUCH ; DECKLE; FELT (1); WATERMARK.

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.

Clapperton, Robert Henderson. Paper; an historical account of its making by hand from the earliest times down to the present day. Oxford. Shakespeare Head Press. 1934.

Radford, Richard George. Letterpress machine work. New York. Staples Press. 1951. 2 vol.

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


HANG THE PLATEN

To tie the platen to the hose hooks, in a wooden press.

To perform this it is usual to lay on the press stone a form of solid type, and to turn the tympans down upon it, to place the platen in its place, square with the press, to pull the bar home, and to keep it in this situation by a letter board placed so as to take a bearing against the shoulder of the bar close to the handle, and also against the off cheek; but I prefer a piece of wide furniture with a notch cut in one end for the bar, and the other end against the off cheek, as it is more secure and less liable to be displaced; then to make a noose on a piece of laid cord, place this on one of the front hose hooks, and take a turn round the corresponding platen hooks, and continue these turns till a sufficient quantity of cord is wound round the hooks; take a hitch round one of the hooks to prevent the cord slipping, then begin to wind the cord round these layers, every two or three turns drawing it tight by taking a turn round a short piece of broad or narrow furniture, by means of which it may be drawn more forcibly, so as to bring the parts together, which makes it so firm that there is no danger of its giving way; the end may then be fastened to one of the hooks. The same process is repeated at the opposite angle, behind the press; then at the two other angles; the platen is then firmly hung, and is ready for work.

The same process is observed in iron presses, with the exception that the platen is not tied with cord; it is attached to the press by means of screws.

Hansard, Luke. See Donations.


HANG UP PAPER

To hang the sheets upon the poles to dry after they have been printed.

For this purpose the warehouseman takes the peel in his hand, and lays it flat upon the heap that is to be hung up, so as to let the paper project beyond the left side of it; he turns over upon it from six to twelve or fourteen sheets of paper, with the wrapper, and then moves the peel two or three inches to the left, and goes on repeating the process, till he has got as many lifts on it as it will conveniently support; he then raises them above the pole on which they are to be placed, and holding the handle slanting the sheets open at the under side, so that when the peel is withdrawn the lifts are left suspended on the pole; he then inserts the end of the peel between the first and second lifts, which are undermost, where he shifted his peel in taking them up, lifts them a little, and moves them farther from each other on the pole, still letting the one overhang a little the other he leaves in its first place, and thus he proceeds till one by one he has separated all he had upon his peel; he then takes another peelful, repeating this process, and so he goes on till the whole heap is hung up.

He is guided by circumstances as to the number of sheets he should take in a lift: if the work is in a great hurry, or his vacant poles are not in a favourable situation for drying, or the weather be rainy and the atmosphere charged with moisture, he will hang the paper up thin; but if he is short of pole-room, and the work is not in a great hurry, if the situation is favourable for drying, and the weather dry and warm, he will make his lifts thicker; but I would caution him not to go to an extreme, as in that case the paper may mildew upon the poles, particularly in the fold.

Houses of extensive business have drying rooms fitted up with pipes, and heated either with steam or hot water, so that they can dry their printed paper expeditiously, without hinderance or drawback.


Hanging indention

Where successive lines are set-in an em or more beyond the first line.


hanging-in

A technique used in edition binding in which the TEXT BLOCK and its endpapers are joined to the case. The text block is positioned in the casing-in machine; the cover drops down over it; and the two are pressed to form the book.

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


hard bound

A book bound in cloth- or paper-covered stiff boards, as opposed to a book or pamphlet in a SELF-COVER, or a LIMP BINDING.

The term is not generally applied to handbound books covered in leather.


hard glue

A GLUE used in the past in machine case-making where quick setting was the principal requirement of the glue and minimum flexibility was not a serious disadvantage. Such glues are hard in the sense that they contain no plasticizer. They were not used for gluing-up the spine, lining-up, or for flexible cover making, and are now seldom used in book production for any purpose.

Palmer, Elbridge Woodman. A course in bookbinding for vocational training. New York. Employing bookbinders of America. 1927.


HARD IMPRESSION

When there is too much pull in working at press, particularly with engravings, and the lines come off strong which ought to be light and delicate, it is said the impression is hard.


HARD INK

Ink very well boiled.—M. It is now called strong ink.


HARD JUSTIFYING

If a compositor fills his stick very stiff with letters or spaces, they say it is hard justified.—M.


HARD PULL

In justifying the head of a press for a short pull, which is done by putting solid blocks of wood into the mortises of the cheeks, it is called an <i>Hard Pull</i>.—M. This relates to wooden presses; but, instead of the blocks of wood, scaleboard is now used, additional pieces of which are put into the mortises, by lowering the head, which is again tightly screwed up: in the Stanhope Press, and in Clymer’s, it is accomplished by shortening the coupling bar, by means of a screw; in Cogger’s press, by a screw through the head; and in Cope’s press, by putting pieces of plate iron upon the crown of the platen. In Sherwin and Cope’s Imperial press, by turning a screw attached to a wedge placed in the front, above the spindle; Mr. Hopkinson has adopted the same method in Cope’s press, placed on the near side.


hard rolled

A term descriptive of the toughness and durability of the board used in bookbinding, e.g., "hard rolled millboard." The term has no meaning other than that the board has been rolled under pressure and is very firm.

Winans, Leonard G. The book from manuscript to market. New 370. York. Grosset 8 Dunlap. 1941.


hard sized

A paper which has received a maximum of sizing, resulting in a paper having a high degree of water resistance. The term applies only to the siZing characteristics of the paper. Cf: SLACK SIZED.

Clowes, William Beaufoy. A guide to printing. London. Heineman. 1963.

Crown Zellerbach Corp. Making pulp and paper. San Francisco. Crown Zellerbach Corp. 1958. 1 vol.


HARD WORK

With compositors, ill written copy, much Italick, Latin or Greek, or marginal notes, or few breaks, &c. is called Bad, Heavy, Hard Work: with pressmen, small letter and a large form is called Hard Work.—M. See Bad Work.

There has been an alteration in the mode of paying for work since Moxon’s time, which is to the advantage of the workman: foreign languages, Greek, and marginal notes are now extra charges; and the Pressman has an additional price for his work, as the type decreases in size and the size of the page increases. See Prices.


hard-grained goat

A vegetable-tanned goatskin with the characteristic soft and small pinhead grain pattern produced by BOARDING (1) in a wet condition in a minimum of four directions. The grain is much tighter than that of LEVANT and the leather itself is firmer and harder than NIGER.

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


hardener

1. A substance or mixture of substances added to an adhesive to promote or control the curing reaction by taking part in it. The term is also used to designate a substance used to increase the degree of hardness of the cured adhesive. See also: PLASTICIZER (1). 2. A substance added to paints or varnishes to provide a harder finish.

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


Harleian style

An English style of book decoration which came into vogue in about 1720. The name derives from the books of the Harleian library founded by Robert Harley (1661-1724), and expanded considerably by his son, Edward (1689-1741). Although the name Chapman was once associated with these bindings, along with that of Elliott, it has been established that at least the more important bindings were probably executed by Thomas Elliott. The general characteristics of the bindings are the predominantly bright red color (and inferior quality) of the morocco leather used, and a three-line fillet running around the edges of the covers. Within the fillet is a broad-tooled border made up of two or three sprigs of various patterns, and a large central ornament, usually in the shape of an elongated lozenge, built up from a number of small units.

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

Nicholson, James B. A manual of the art of bookbinding… Philadelphia. Baird. 1856.

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


Harrison method

See: REVERSED V-GUARD.


head

1. The margin at the top of a printed page. 2. The top of a book or leaf. 3. The top of the spine of a book where the HEADBAND is located. 4. The top edge of a bound book. See also: TAIL (1). 5. That portion of a hide or skin from the head of the animal.


HEAD

That part of a wooden press in which the nut of the spindle is fixed; it has a tenon at each end which fit into long mortises in the cheeks, not tightly, but sufficiently so to prevent lateral motion; and it is suspended from the cap by two long iron bolts, which go through the head and the cap, above which are iron washers and screws by which to lower the head, or screw it up tighter. The head is usually made of elm. The whole of the pressure in the process of printing is between the head and the winter.


Head and Tail

The top and bottom of a book.


Head and Tail

The top and bottom of the back of a book.


HEAD BAND

A thin bar of iron that connects the two sides of the tympans at the top: it is made thin, to allow it to run under the platen without impediment. The half of the frisket joints are riveted to the head band. See Frisket Joints.


Head Band

A knitting of silk or thread worked in at the head and foot of the shelf back of the book.

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


Head Band

The silk or cotton ornament worked at the head and tail of a volume, as a finish and to make the back even with the boards.


Head Band

a fillet of silk or thread, worked at the head and tail of the back.


head bolt

The top or "head" folds of a section. See also: BOLT.


HEAD BOLTS

Two long bolts that pass through the head and the cap, in wooden presses, with a screw at the upper end: the head of the press is supported upon the heads of the bolts, and their screw ends pass through the cap, upon which they are secured by washers and female screws that can be tightened by the fingers; these screws are for the purpose of screwing up the head, to justify the pull.


head box

1. A large flow box on a Fourdrinier papermaking machine. The furnish of dilute stock is pumped into the head box and from there flows onto the wire where it is formed into the web of paper. The head box is equipped with baffles and other flow-evening devices; it also agitates the stock so as to prevent flocculation of the fibers. The head box is designed to spread the flow of furnish evenly and uniformly the entire width of the wire between the deckles. The box may be open, in which case the height of the stock provides the pressure, or closed, in which case air pressure is used. 2. A flow-regulating device on a cylinder papermaking machine which controls the volume of stock flowing to the screens and mixing boxes before the vats.

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

Clapperton, Robert Henderson. The paper-making machine; its invention, evolution and development. New York. Pergamon Press. 1967.


Head cap

the fold of leather over the head band (see Fig. 67).


Head cap

The fold of leather over the headband.


HEAD LINE

The top line of a page in which is the running title and the folio, but sometimes only a folio: the divisions and subdivisions of a work, when they are set in lines, and chapters, are also called <i>Head Lines</i>.


HEAD OF A PAGE

The top or beginning of a page.—M.


HEAD PAGE

The first page of a work, and each page on which a new division of the subject commences, such as parts and chapters, provided they begin the page.


HEAD PIECES

The same changes have taken place with regard to head pieces that I have described under the article Fac; from the beautiful drawings with which manuscripts and some of the first productions of the press were illuminated, they gradually descended to engravings on wood, which was the first step, then to cast metal ornaments, and then to the types called flowers, which were displayed in every variety of form that they were capable of, or that the ingenuity of the printer could devise; these gave place to a piece of double brass rule, that is now out of fashion; and head pieces at the present day are only spoken of as things that once existed. See Fac.


HEAD STICK

Pieces of furniture put at the head of pages when a form is imposed, to make the margin at the head of the page; they are called reglets, if they exceed not an English thick.—M. See Bolts.


head trim

The measurement required to determine the position of printed matter before the final trimming of a sewn book.

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


Head-sticks

Furniture put at the head of pages in imposition, to make margin.


headband

See illustration</> A functional and/or ornamental band at the head and tail of a book between the sections and the spine covering, which projects slightly beyond the head and tail. Originally, the headband consisted of a thong core, similar to the bands on which the book was sewn, around which the ends of the threads were twisted and then laced into the boards of the book. Today, however, the headband is much simpler and is usually made of colored silk sewn to the book or simply attached after the volume has been forwarded. In edition binding they are almost always manufactured separately and then attached, while in library binding they have been replaced for the most part by a length of cord around which the covering material is rolled at both head and tail.

Headbands at one time were distinguished as the "headband" and "tailband," but both are now called "headbands" or simply "heads," although the term "endband," to indicate both, single headband with core of vellum seems to be preferred by some bookbinders.

The original headbands were intrinsically a part of the sewing of the book, and were used in lieu of kettle stitches in linking the sections together. They were a part of the construction of the book, which possibly explains why they were (and are) at both the head and tail, rather than just at the head. This type of headband was eventually discarded, however, because it did not permit cutting the edges subsequent to sewing, despite the fact that it had the great advantage of also banding the top and bottom of the sections together tightly.

Techniques of headbanding continued to change, and by the 12th century, or even earlier, it became the common practice to sew the bands independently of the sections. Furthermore, until the end of the 15th century, they were always tied down in the fold of each section, when the increased production of books subsequent to Gutenberg made it necessary to reduce the cost of binding a single book. Thereafter, they were tied down at greater intervals.

Because the boards of early bindings were cut flush, it was the usual practice to cut away the corners of the leaves at head and tail so as to make room for the bands and also to keep them from protruding too far and possibly being damaged.

Headbands of the 12th and early 13th centuries were combined with a leather tab which extended beyond the spine, whereas from the middle of the 13th century to the end of the 15th century, the leather cover at the end of the spine was frequently cut so that it just covered the headbands. The cover was then sewn through from front to back, or vice versa, underneath and along the length of the hidden headband, resulting in a series of stitches on the spine of the book, as well as a series where normally one expected to see the beading. The binder usually used uncolored thread for both this and the headband, which was usually single and sewn independently of the sewing of the book. The plaited headband, which was made with strips of leather (usually tawed and stained pink), was still another variation. This type was rare in England but often used in Germany in the late 15th and early 16th centuries. This type of headband, which is the strongest ever devised, consisted of two thongs plaited around a core of rolled vellum, which had already been sewn to the book. The thongs also passed through holes made in the leather at the top of the spine where it was cut off instead of being turned in. When using this type of headband, the leather cover was sewn by means of plaited thongs to the primary headband which had already been sewn to the book, thereby making a solid connection at an important point.

The conventional headband, which was sewn with colored silk or other type of thread, and which had the beading showing at the bottom complete with HEADCAP, was introduced very early in the 16th century and quickly became popular. The prevalent colors were blue and white, but pink and blue, pink and brown, as well as other combinations were also used.

Double headbands are not often seen in 16th century English bookbinding, but they were used to some extent on the Continent. They acquired popularity in England in the 17th century, utilizing more interesting colors and superior materials than on the Continent. Until the beginning of the 20th century the double headband usually consisted of two rolls, one smaller than the other, with the smaller placed above the larger; however, early in the 20th century binders began placing the smaller band both in front of and below the larger. It also became the common practice to use a flat strip of material rather than a larger roll.

Only a relatively few bookbinders since the 15th century have taken the trouble to tie down headbands at every section, or even tried to put the needle through the fold of the section where the tie-down was being made; instead it went between the leaves at intervals of 1/ to 1/2 inch.

When the headband is an integral part of the book, it serves the practical purpose of taking up much of the strain from the spine covering when the book is pulled from the shelf in the usual manner. The worked headband reinforces that part of the spine covering extending beyond the text block because of the squares. The headband that is only glued on, on the other hand, is merely decorative and often falls short even in that respect, as it usually looks cheap and also as though it were an afterthought. Although it is generally believed that glued-on headbands were unknown before the early 19th century, i.e., the beginning of the rise of edition binding as we know it today, they were being used, at least in Germany, as early as the last decade of the 16th century. They were probably not used in English bookbinding until sometime in the first half of the 17th century. Although it must be assumed that glued on bands were used in that time as an economy measure, they probably required as much time to make as worked headbands. They were made by sewing two threads of the same or different colors in the usual manner with a cross-over beading onto a strip of vellum, which sometimes had its upper edge bent over to provide greater bulk. In many cases about 3/4 inch on each side of the core was not sewn but was attached to the boards, usually on the outside. In other cases the bulk of the headband was cut to the thickness of the book and only the part under the sewing extended across the joints or was laced through the joints on some vellum bindings.

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

Horne, Herbert Percy. The binding of books; an essay in the history of gold-tooled bindings. 2nd ed. New York. Haskell House. 1970.

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

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


headband

The silk or cotton ornament worked at the ends so as to make the back even with the squares.


headband

The silk or cotton ornament worked at the head and tail of a book to give it a finished look, to strengthen it and to make the back even with the squares or boards which form the sides. On cheap binding the headband is cut from a strip of machine-made material and pasted in merely for ornament.


headbanding

The process of working or gluing headbands to the text block of a book. See also: HEADBAND.


headcap

See illustration</> The leather covering at the head and tail of the spine of a book, formed by turning the leather on the spine over the head and tail and shaping it.

Knocking the dampened leather over the headbands so as to form protective caps was a technique introduced early in the 16th century. Although turning over the leather actually began to be done around 1500, it was not squared and sharply angled, nor was it initially tied around the joints. BACK CORNERING and tying around the joints so as to make indentation at the ends, which improved the setting of the headcaps, was introduced during the latter part of the 18th century. The technique of setting the headcaps has been customary in fine binding since its introduction.

Hewitt-Bates, James Samuel. Bookbinding. 8th ed. Leicester. Dryad. 1967.

Middleton, Bernard C. The restoration of leather bindings. Chicago. American Library Association. (A. L. A. Library Technology Project, LTP publication no. 18). 1972.


headed outline tool

See: CUSPED EDGE STAMP.


HEAP

So many reams or quires as are set out by the warehouse-keeper for the pressman to wet, is called a Heap; but then it is called a dry heap, till the pressman have wet it, and then it is indeed called a Heap.—M.

When paper is given out for a work, and wetted, it is called a heap, and retains that name till it is made up into books.

In gathering the printed sheets in the warehouse, all the sheets of each signature are placed upon the gathering table, arranged in their regular order, except it be a long number, and then about a bundle of each; each signature in this situation is called a heap.


HEAP HOLDS OUT

When it hath its full intended number of sheets.—M. At the present time, when accidents and other causes have not reduced the surplus so much as to prevent the warehouseman from delivering the proper number.

Heavy Work. See Bad Work and Hard Work.


heat

A somewhat vague term specifically associated with the motion of atoms or molecules, but also applied in a general sense to the condition of excessive warmth or high temperature. Excessive heat results in the lowering of flexibility, strength, and resistance to natural decay through loss of moisture from leather, paper, adhesives, etc., as well as acceleration of decomposition reactions.


heat-set ink

A printing ink manufactured in such a manner as to enable it to dry quickly, thus allowing for higher speed printing. The materials used in manufacture vary but usually include a concentrated pigment, synthetic resins, and one of the volatile oils. Following printing, the printed web of paper is heated to a temperature of approximately 350° F. (177° C.) which volatilizes the oil, after which the web is rapidly cooled by passing it through chilled rollers which hardens the residue.

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

Practical printing and binding; Odhams complete guide to the printer's craft, edited by Harry Whetton. 3rd ed. London. Odhams Books. 1965.


heat-set tissue

A lens tissue especially prepared for use in mending tears in paper, strengthening margins, and for laminating weak or badly torn leaves, by means of dry application rather than by the traditional aqueous application. The tissue is made of pure cellulose consisting of more or less lOO% rag content, no coating or additives, and a pH of 7.0. The tissue is not structurally uniform in texture, consequently there are small random open spaces and some bunching of fibers. Although its thickness is presumed to be approximately 0.0015 inch, this can vary from one batch to another, although it does not normally exceed 0.002 inch. The tissue is coated on one side with an acrylic resin. It is applied to both sides of tears, but to only one side of a weakened leaf, provided that no adhesive is exposed on the other side. The tissue is tipped on the leaf with a warm iron (approximately 100° F.), and then pressed on firmly through terylene or a textured paper. The iron is not pressed directly on the heat-set tissue because this might result in blocking and may also impart a sheen to the tissue, thus making it more noticeable.


heavy filling

A WEFT yarn that is greater in diameter than those normally used in the fabric.

U.S. National Bureau of Standards. Fabrics for book covers. Washington, D.C. U.S. Government Printing Office. (Product Standard PS 9-68). 1968.


heavy warp

A WARP yarn that is greater in diameter than those normally used in the fabric.


HEBREW

The Chaldaic letters are derived from the ancient Hebrew or Samaritan, which are the same, or nearly so, with the old Phenicien. The prophet Ezra, is supposed to have exchanged the old Hebrew characters, for the more beautiful and commodious Chaldee, which are still in use.

Hebrew has no capitals; and therefore letters of the same shape, but of a large body, are used at the beginning of chapters and other parts of Hebrew work.

The Hebrew Alphabet.

Particular attention should be paid to the letters in the column “Similitude” in the Table of the Alphabet, which are liable to be mistaken, one for the other, on account of their great resemblance one to another.

The vowels properly so called are ten in number, viz.:

Sheva (בְ) is sounded like very short e. 1. At the beginning of a word. 2. In the middle after a long vowel, or instead of a long vowel. 3. After a companion, i. e. another (וְ). 4. Under dagesh, also under dagesh understood.

Dagesh, from the Chaldaic, he punctured, is a point in the body of a letter, and is either lene or forte.

Dagesh lene removes the aspiration from the six letters בְּגַדכְּפַת, and strengthens their pronunciation in some degree.

Dagesh forte doubles the letters in which it occurs. Regularly it follows a short vowel, and only a long one when accented.

Mappik is a point in הּ final only, but vanishes on an increase of the word.

Accents.

Hebrew accents are either mere points, or lines, or circles.

Those which are mere points or dots, consist of one, or two, or three such points, and are always placed above the middle of the accented letter, thus

That consisting of

One, called rebia, ב֗, i. e. sitting over.

Two, called royal zakeph katon, ב֔, or, the little elevator, from its figure which is composed of upright points.

Three, called royal segolta, ב֒, an inverted (∵).

The lines are either upright, inclined, or transverse.

The upright is either solitary or with points or dots.

The solitary is either

between two words ב׀ב, termed pesick, or musical pause, and terminating a song.

or under a word

Metheg בֽ, or bridle, an euphonic accent at the beginning of a word.

Royal silluk, בֽ, end, which is placed before (׃) sophpasuk, i. e. towards the end.

With points, namely

two, above the letter, royal zakeph gadhol ב֕, the great elevator, strains the sound.

one, below the letter, royal tebhir, ב֛, broken sound, from its figure and tone.

Inclined lines hang either above or below.

Above, towards the right

Leader pashta, ב֙, extension, extends the voice or sound, and is placed above the last letter of the word. Subservient kadma, ב֨, antecedent, to the leader geresh; and is placed above the penult or antepenult letter.

Above, towards the left

Leader geresh, ב֝, expulsion, is sung with an impelled voice.

Gereshajim, ב֞, two expellers, from the figure being doubled.

Below, towards the right—Leader tiphcha, ב֖, fatigue, from the song, or note.

Below, towards the left

Of subservient Merca, ב֥, lengthening out, from its lengthening out the song or note.

Merca kephula, ב֦, a double lengthening out from its music and figure.

The transverse line is either right or curved, thus: ֮־  .

The right line is placed between two words, connecting them together, thus, ב־ב, and is called maccaph, i. e. connexion.

The curved, or waved line, ב֮, is called leader, zarka, or, the disperser, from its modulation and figure.

Circles are either entire or semi.

The entire circle is placed always above, and has a small inclined line attached to it.

Either, on the left, when it is placed at the head of the word, ב֠, and is called leader telisha the greater, or, the great evulsion.

Or, on the right, when it is placed at the end, ב֩, and is called subservient telisha the less.

On both together, ב֟, called leader karne para, the horns of the heifer, from its modulation and figure.

The semicircle is either solitary or pointed.

The solitary is either angular or reflected.

The angular is on the right

Subservient hillui, ב֬, elevated, from the elevation of the voice.

Munach, ב֣, placed below, from its position.

The angular is on the left

Leader jethith, ב֚, drawing back, from its figure.

Subservient mahpach, ב֤, inverted, also from its figure.

The reflected is

either single subservient darga, ב֧, a degree.

or double, leader, shalsheleth, ב֓, a chain, from its figure and modulation.

When joined with other points, it is either above or below the letter.

When above the letter it has a small line attached to it on the left, ב֡, leader paser, the dispersor, from the diffusion of the note.

When below the letter, it is pointed either downwards, ב֑, called royal athnach, respiration, as the voice must rest on it, and respire; or upwards, ב֪, subservient, jerah-ben-jomo, the moon of its own day, from its figure.—Bythner’s Lyre of David, translated by the Rev. Thomas Dee, A.B. 8vo. Dublin, 1836.

The following observations are from Buxtorf’s Hebrew Grammar:

The finals are commonly called Camnephatz. But they are excepted in four places, namely, Isaiah ix. 6. where the final Mem is in the middle of a word; Nehemiah ii. 13. where the open Mem is at the end; and Job xxxviii. 1. and xl. 6. where נ is at the end.

These seven letters ﬡ ﬢ ﬣ ﬥ ﬦ ﬧ ﬨ are sometimes lengthened, either for the sake of elegance, or for filling out the line, which is never to be finished with a divided word.

The units are compounded with the tens and hundreds, as יא 11, קא 101, and so on: but for יה 15 is טו 9 and 6, lest the sacred name יָהּ Jah should be profaned.—Buxtorf.

Hebrew is read from the right to the left. In composing it, the general method is to place the nick of the letter downwards, and when the points are put to the top, to turn the line and arrange those points that come under the letter, taking care to place them in the following order; if the letter has but one leg, the point must be placed immediately under that leg, but otherwise the point must be placed under the centre.

Smith, in his Printer’s Grammar, has the following observations on Hebrew; I have not been able to ascertain upon what authority his reasoning is founded, but I have ascertained the fact of the variation in the types, that he speaks of, by an examination of a Hebrew Bible.

“But we must not pronounce it a fault, if we happen to meet in some Bibles with words that begin with a letter of a much larger Body than the mean Text; nor need we be astonish’d to see words with letters in them of a much less Body than the mean Text; or wonder to see final letters used in the middle of words; for such Notes shew that they contain some particular and mystical meaning. Thus in 2 Chron. I. 1. the word Adam begins with a letter of a larger size than the rest, thereby to intimate, that Adam is the father of all Mankind. Again, in Genes. I. 1. the great Beth in the word Bereschith stands for a Monitor of the great and incomprehensible work of Creation. Contrary to the first, in Prov. XXVIII. 17. the Daleth in the word Adam is considerably less than the Letter of the main text, to signify, that whoever oppresses another openly or clandestinely, tho’ of a mean condition; or who sheds innocent blood, is not worthy to be called Man.

“Sometimes the open or common Mem stands in the room of a final one; as in Nehem. II. 13. where the word hem has an open Mem at the end, in allusion to the torn and open walls of Jerusalem, of which there is mention made; and in Es. VII. 14. where the Prophet speaks of the Conception of the Virgin Mary, the Mem in the word haalma, or Virgin, is a close or final letter, to intimate the virginity of the mother of our Saviour. Such are the peculiarities of some Jewish Rabbis in Bibles of their publication; of which we have instanced the above, to caution compositors not to take them for faults, if such mystical writings should come under their hands.”—Smith.

The following is the date to an Hebrew and Spanish folio Bible, printed by Proops of Amsterdam in 5522 (i. e. 1762), showing the date as usual in a sentence, the letters by which the date is computed being larger.

בשנת וׅׄיקראו בספרׅׄ תוׅׄרת אלהיׅׄם מפורשׅׄ לפ׳ק Ao.    5522.

Rabbinical.—The language or dialect of the Rabbins is divided into two branches; one approaching nearer to the Hebrew, and the other to the Chaldee, yet each agrees with the other in many points, and both are generally used in conjunction in writing.

The letters agree with the Hebrew and Chaldee in regard to their number and power, but they differ as to the form; for although in the Talmudic text of the Holy Scriptures the Hebrew square character is used, yet in commentaries and elsewhere a rounder letter is adopted, better suited to promote facility in writing. Their points of agreement or difference are shown in the subjoined table:—

The finals are the same as in Hebrew, the forms of which they also imitate, in this manner, ך ך, ם ם, ן ן, ף ף, ץ ץ.

There are no lengthened letters in printed books.

The two letters א and ל are often connected by the Rabbins in this manner, ﭏ; as, הﭏ for אֶלָּא Deus, ﭏא for אֶלָּא sed.

It is also to be remarked that they write the name of GOD in different ways; namely, the Tetragrammaton, or יְיָ with the Targumists, or יי, or האם and abbreviated ה׳, nomen illud, i.e. the most excellent; but in expressing the word אלהים, they change the letter ה into ד or ק, thus, אלדים or אלקים, which agrees with a general superstition of the Jews.

The vowel points are the same as in the Hebrew, but they are rarely expressed, except in books written for the use of students. When they are wanting, they must be gathered from analogy, in which much assistance may be gained from the frequent use and study of the Hebrew; but where conjecture may be difficult, the three letters י ו א, which are called the mothers of reading, are used in order to assist the reader. Thus (1.) א denotes Kamets in גנשי turpitudo, וודאי confessum, פדאם redemit eos, &c; (2.) Vau denotes Cholem, Kybbutz, and Kametscatuph; as, לקרוא vocare, פוקד visitans; כולם for כֻלָּם omnes illi, כהוכה for כְהֻכָּה sacerdotium, לפותרו for לְפָתְּרוֹ ad explicandum illud, &c; (3.) Jod denotes Chirek, Tseri, Segol, and occasionally in the Talmud both simple and compound Sheva; as, תפילה precatio, בישר annunciavit, איבר perdidit; also פירוש for פֵרוּש explicatio, אילי for אֵלַי ad me, שיני for שֵׁנִי secundus, ביה for בֵּהּ in eo, בריה  for בְרֵהּ filius ejus, and so continually to mark the feminine affix בְּרָהּ.

The rules for the vowels, and for the Sheva, both simple and compound, and also for the diphthongs, are the same as in the Hebrew and Chaldee.

א is often absorbed by crasis, as, מצינא for מָצֵי אֲנָא possum, as if it were potens ego, ידענא scio, also of the feminine by an enallage frequent in this contraction, thus in לית and ליכא for לא אית and לא אינא non est. In the same manner ה is omitted by the Jews in תילם for תהילים psalmi. But many others are accustomed to be contracted in this manner by the Jews of Jerusalem, viz., א in נילו for כאילו quasi, ות for ואת et tu, דתfor דאת quod tu, דנא for דאנא quod ego, והיידינו for והיידא דין הוא quodnam est illud; ה in לון for להון illis; ח in תותי for תחותי sub; ד in קם, קום, or קותי, for קודם ante.

Apocope is frequent among the Talmudists, as, בי for בית domus, or בין inter. So in the pronouns both separate and suffixed, אתו for אתון vos, נו for נון vos, vester, הי for הון illis, suis; also in the feminine, ני for נין, הי for הין; and in the verbs, as, גרסי for גרסית docui, שקלתו sustulistis, קאיו stans, &c.

Aphæresis also occurs, though seldom, in חד for אחד unus, נא for אנא ego, נן for אנן nos, מר for אמר dixit.

They leave the Dagesh, both lene and forte, to be collected from analogy, but where it may be difficult to guess at, as in the preterite Pihel, the letter י indicates the little Chirek as well as the Dagesh forte, as, כיסה for כִסָּה texit; and in defectives the letter which had been thrown aside is sometimes restored, as, ינקם for יִקֹם ulciscetur, from נקם ulcisci.

A point at the end of a letter generally denotes a number, as, א׳ unum, ב׳ duo, ג׳ tria, &c; but at the end of two or more letters it signifies a word cut off by a certain abbreviation, as, את׳ for dixit, לות׳ for לותר dicere, ה׳ ית׳ for הַשֵׁ יִתְבָרֵךְ Deus benedictus, וגו׳ for וִגוֹמַר et cætera, in an abrupt passage of Scripture, וכו׳ for וְכֻלּוֹ et totum illud, in sacred or profane use. Also פי׳ for פֵרוּשׁ interpretatio, or פֵרֵשׁ interpretatus est, ר׳ for רבי Rabbi, Magister, שנ׳ for שֶׁנִּאֱמַר quia dictum est, &c.

A double point affixed to a letter indicates either compound numbers, as, י״ד 14, ט״ו 15, תמ״ד 444; or letters taken materially, as, א״לף Aleph, ב״ית Beth, גי״מל Gimel, &c.; or lastly abbreviations by initial letters alone, denoting entire words, which is called ראשי תיבות; the number of these is very great, as אי״ה, that is, (יעזור) אם ירצה השם si voluerit (or juverit) Deus, א״כ אִם כֵן si sic, si verum est, אע״פיש for אַף עַל פִי שֶׁ אף על פי ש etsi, quanquam, ה״בה  or הק״בה for הברוך הוא or הקדוש ברוך הוא Deus benedictus, Deus sanctus benedictus; ה״שו for השם ימברך Deus benedictus, ז״ל for זכרונו לברכה memoria ejus sit in benedictione, or in the plural number זכרונם לברכה memoria eorum sit in benedictione; מ״ו for מס ושלום parce et pax sit, that is, absit; ״א for יש אמרים sunt qui dicunt; ״מ for מפרשים יש sunt qui interpretentur; י״ל for יַשׁ לוֹמַר est dicere, respondendum est; יצר׳ for ישמרהו צורו וגואלו custodiat eum petra ejus, et redemptor ejus; כ״א for כִּי אִם sed, nisi; כ״כ for כָל־כַךְ tantopere; נ״פ for כָל־פָנִים omnibus modis; כ״ש for כָל־שֶׁכֵּן quantò magis, quantò minus; ל״ש for לְשֵׁם שָׁמַֽיִם in honorem Dei; מ״מ for מִכָּל־מָקוֹם nihilominus, tamen; ע״ד for עַל דֶרֶךְ more, in modum; ע״ה for השלום super quo pax, ע״ז for עבודה זרה cultus alienus, idololatria; ע״פ for על פי ad formam, modum; ע״צ for עַל צַד ad latus, juxta; פ״א for פירוש אקר expositio alia; ר״ל for רוצה לומר vult dicere. Also ר״אבע Rabbi Aben-Ezra, ר״דק Rabbi David Kimchi, רל״בג Rabbi Levi Ben Gerson, רמ״בם Rabbi Moses Ben Maiemon, ר״שי Rabbi Salomon Iarchi, or Isaac, &c., which are also read abbreviated, and, as it were, figuratively, Raba, Radak, Ralbag, Rambam, Raschi, &c.

Accents are omitted in Rabbinical books; but in pronouncing words the Hebrew accent is transposed from the last syllable to the penultimate, thus, they read בראשית ברא אלהים Beréschith bóro Elóhim, עולם הבא aúlom hábbo; for Vau Cholem is generally pronounced as the diphthong au, and the vowel Kamets as an o.

There are also certain marks of distinction, by which the perfect sense of a sentence is shown; for an imperfect sentence is not pointed off, and often not even a perfect one. But for this purpose there is used, either two perpendicular points, like the Soph-pasuk in Hebrew, but which appears rarely, and indeed not at all in some books; or a single point at the top of the letter similar to the Greek colon; or lastly, a down stroke, either straight, or oblique like the Greek acute accent, which, although the most frequently used, is yet often neglected.

The purer Rabbins commonly use Hebrew words, but they have also some words peculiar to themselves, which are either borrowed from other languages, as, for example, from the Chaldee, אִילָן arbor, גַדָּא fortuna, חָזַר rediit, &c.; from the Greek, אויר, ἀὴρ, aër, זימן, σημεῖον, signum, דורון, δῶρον, donum, הדיוע, ἰδώτης, idiota, פרהסייא, παῤῥησία, בפרהסייא apertè, palàm, &c.; from the Latin, אושפיזא hospes and hospitium, פלעיו and פלעוריו palatium, &c.; and even from the Hebrew, but in a Syro-Chaldaic signification, as, פרע rependit, ultus est, שקל sustulit, פרח volavit, סמר destruxit, &c., or taken evidently in a new sense, as, חין hæreticus, טען argumentando objecit. Also these three, שמים cœlum, המקום locus, and גבורה fortitudo, are often put for Deus, God.

קָ, from the full particle קָא, prefixed to words expletively, and without any increase of signification, seems to be numbered with the serviles by the Talmudists, and which the more vulgar Rabbins, as Rabbi Lipman and the like, who are careless of a correct style, also imitate, as, דקאמר qui dixit, מאי קעביד משה quid fecit Moses? לא הווקא מעייליו ליה non introduxerunt eum, &c.

The preceding observations are translated from a small treatise intituled “Synopsis Institutionum Rabbinicarum,” by George Otho, Professor of the Greek and Oriental languages at the University of Marburg in Hesse, and who acknowledges to having derived his information from Cellarius, Buxtorf, and Hackspan; and bound in connexion with the “Fundamenta Punctationis Linguæ Sanctæ,” of Jacob Alting, printed at Frankfort-on-the-Maine, 2 vols. 1717.

Plan of a Pair of Hebrew Cases, as used in the Queen’s Printing Office.

In the above plans the Hebrew Cases nearly resemble those of the English now in use. The alphabets have been classified and arranged so as to facilitate the composing of it; that is, the three different dotted alphabets in the upper case are quite distinct from each other, being separated by a thicker partition, to lead the eye of the compositor to it with greater certainty. The alphabet, with the dot over the letter, appears first in order, or left hand side of the case; the second alphabet, with the dot in the middle of the letter, under that of the first; and the third alphabet, with the dot over and in the middle of the letter, in the small capital, or right hand side of the case; and underneath, the points and accents required in composing Hebrew with points.

The lower case letters are also arranged as near to the English plan as is possible: the א (a) in the a box; the ב (b) in the b box, &c. so that the compositor can go from a pair of English cases to the Hebrew ones with very little perplexity, and a great saving of time, instead of looking over a wide surface of three cases, as is now the case, without any classification or arrangement whatever.

In composing Hebrew without points the lower case only is required, as the final letters and broad letters are brought into it, and quite under the hand of the compositor, which is desirable.

Hebrew in the British Founderies.

Two Line Great Primer. Caslon and Livermore. Thorowgood and Besley. Oxford.

Two Line Great Primer, with Points. Thorowgood and Besley.

Two Line English. Caslon and Livermore. Thorowgood and Besley. Wilson.

Two Line English, with Points. Thorowgood and Besley.

Double Pica. Caslon and Livermore. Thorowgood and Besley. Wilson.

Double Pica, with Points. Thorowgood and Besley.

Great Primer. Caslon and Livermore. Wilson.

Great Primer, with Points. Caslon and Livermore.

English. Caslon and Livermore. Thorowgood and Besley, formerly Bynneman’s. Oxford. Wilson.

English, with Points. Caslon and Livermore. Thorowgood and Besley. V. and J. Figgins. Wilson; this was cut after the classical and elegant type of Attias, for Mr. John Wertheimer of Leman Street, and is employed in printing the prayers of the Sphardim, edited by the Rev. D. A. De Sola. It may be cast on any body from English to Bourgeois.

Pica. Caslon and Livermore. Thorowgood and Besley. V. and J. Figgins. Wilson.

Pica, with Points. Caslon and Livermore.

Small Pica. Caslon and Livermore. Thorowgood and Besley, formerly Bynneman’s. V. and J. Figgins. Wilson.

Small Pica, with Points. V. and J. Figgins. This fount of Hebrew was cut for Bagster’s Polyglot Bible.

Long Primer. Caslon and Livermore. Thorowgood and Besley, formerly Bynneman’s. V. and J. Figgins. Oxford. Wilson.

Bourgeois. Caslon and Livermore. Thorowgood and Besley.

Brevier. Caslon and Livermore. Thorowgood and Besley, formerly Bynneman’s. Wilson.

Minion. Wilson.

Nonpareil. Caslon and Livermore; with points it is equal to a Long Primer body. V. and J. Figgins. Wilson.

Small Pica, Rabbinical. Thorowgood and Besley, formerly Bynneman’s.

Brevier, Rabbinical. Thorowgood and Besley, formerly Bynneman’s.

Nonpareil, Rabbinical. Thorowgood and Besley, formerly Bynneman’s.

The Hebrew Alphabet

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

Date of a 1762 Bible in Hebrew

Hebrew and Rabbinical Alphabet

Layout of the Hebrew case


heel-ball

A shoemaker's composition of wax and lampblack, sometimes used to take rubbings of book spines.

Bailey, Arthur Low. Library bookbinding. New York. Wilson. 1916.


heel-ball

A preparation of wax used by shoemakers, in the form of a ball, in burnishing the heels of shoes.


height

The overall dimension of a bound volume from head to tail, including the squares. Library binders frequently base their prices for binding on the height of the volume up to a specified thickness, e.g., 2 1/2 inches. The volumes are priced on the basis of each additional 1 or 2 inches, beginning with a minimum height, usually 8 inches, as for example:

Library Books                                Cost

Up to and including 8 inches                 Basic price

Over 8 inches and including 9 inches         Higher price

Over 9 inches and including 10 inches        Higher price

Over 10 inches and including 11 inches       Higher price

Over 11 inches                               Higher price

Magazines

Up to and including 10 inches                Basic price

Over 10 inches and including 12 inches       Higher price

Over 12 inches and including 14 inches       Higher price

Over 14 inches and including 16 inches       Higher price

Over 16 inches                               Higher price


Hell

The receptacle for broken or battered letters; the old-metal box; the shoe.


hemicelluloses

Any of several cell wall polysaccharides present in almost all vegetable fibers. Although impervious to water and almost all natural organic solvents, they may be removed gradually by means of aqueous alkalis. They are hydrolized to simple sugars, uronic acids and acetic acid when heated with dilute acids. Their molecular weights are usually lower than those of various celluloses. The presence of hemicelluloses in paper improves its bonding and folding characteristics.

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.

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


hemlock (bark)

A vegetable tanning material derived from either the Eastern (Canadian) hemlock, Tsuga canadensis, or the Western hemlock. T. heterophylla, the former being the best known and most used. The bark of the eastern hemlock has an average tannin content of 15 to 16%, while that of the western variety average 10 to 11%. One characteristic of the bark is the lack of any appreciable quantity of sugars, with the result that it does not produce acids by fermentation. Because of this, it is customary to add a small amount of organic acid to hemlock tan liquor. Another characteristic is the reddish color it imparts to the leather, which can be modified considerably by the addition of other tanning materials, such as oak bark or quebracho.

Hemlock bark was for many years the most important tanning material used in the United States and Canada, and was, along with oak bark, the principal material used in tanning leather on a commercial scale.

It was responsible for the characteristic "red" leather produced in America in the 19th century. See also: VEGETABLE TANNINS.

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


hemp

A tall Asiatic herb, Cannabis sativa, which yields a tough bast fiber when retted. Hemp fibers are difficult to distinguish from linen by ordinary examination, but their presence may be suspected in a fibrillated paper. Hemp is used mainly for thin, opaque papers of great strength; however, it is almost never used alone. The term "hemp" has also come to be used in a generic sense as fiber and is then preceded by an adjective, e.g., Manila hemp (See: ABACA), Seisal hemp (See: SISAL), etc. Hemp is also fairly widely employed for the cords used in sewing books.

Britt, Kenneth W., ed. Handbook of pulp and paper technology. 2nd ed. New York. Van Nostrand Reinhold. 1970.

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

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


heraldic cresting

A form of cresting used in decorating bookbindings, the projections of which terminate in heraldic emblems. See also: CRESTING ROLL

Oldham, James Basil. English blind-stamped bindings. Cambridge. Cambridge University Press. 1952.


HERALDRY

The colours of the escutcheon, or of its ordinaries and charges, are:—

The two first being ordinarily represented by gold and silver, are called metals, and named by heralds after the French.

The two last are rarely seen in English coats of arms. The heraldic colours are usually estimated as five,—red, blue, black, green, purple.

High Bearer. See Bearer.


herringbone pattern

A pattern on cloth consisting of adjacent rows of parallel lines where any two adjacent rows slope slightly in reverse directions.


Hertzberg stain

A chemical test frequently used to detect the presence of specific fibers in a paper. The Hertzberg stain not only has a greater degree of color selectivity than any other stain, it also brings out the details of the structure very effectively in the case of those fibers which it does not stain with a selective color. It is prepared from: 1) a saturated solution of zinc chloride in distilled water; 2) a solution containing 0.25 gram of iodine and 5.25 grams of potassium iodide dissolved in 12.5 ml. of distilled water; and 3) the entire solution of number 2 added to 25 ml. of number 1. The colors produced are:

Color           indicating the presence of:

Red             Sulfite or sulfate chemical wood

pulp, esparto, straw, bamboo, and

most other chemically treated

fibers.

Yellow-brown    Chemical wood pulp which has been

incompletely cooked (so as to

preserve strength), with the

result that some lignins are still

present.

Bright yellow   Materials containing lignin, e.g.,

groundwood pulp, jute and

unbleached manila hemp.

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


hexane

Any of the five isometric volatile liquid paraffin hydrocarbons, of the formula (C6H14), the most important isomer being (CH3(CH2)4CH3) Hexane is used as a solvent and thinner for the wax used in some leather dressings, and also a solvent for the adhesive of pressure-sensitive tapes.

Fahey, Herbert, and Peter Fahey. Finishing in hand bookbinding…  San Francisco. The authors. 1951.

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.


hidden painting

See: FORE-EDGE PAINTING.


hide

1. The raw or tanned pelt removed from the adult of one of the larger animals, e.g., cowhide, as distinguished from the skin of one of the smaller animals, e.g., goatskin, or an immature larger animal, e.g., calfskin.

The finest part of a hide is located in the butt area. The shoulder provides good quality although its natural substance is somewhat uneven and falls away toward the cheeks, which are often trimmed. Shoulders also tend to show growth marks which can be conspicuous. The bellies give thinner and sometimes weaker leather.

2. Leather made from hides which have not been split, or from the grain split of a hide. When used in this manner, the name of the animal or the type of leather may be specified, e.g., cowhide.

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


hide buffing

A very thin film of the grain layer of a cowhide, sometimes used for labels Also known as "beeswing."


hide glue

GLUE made from the collagen content of hides and skins, particularly of bovine animals, as distinguished from glue made from bones. Hide glue does not include glue made from the skins of fish.

Kantrowitz, Morris S., and others. Bindery glues. Washington, D.C. U.S. Government Printing Office. (GPO-PIA joint research bulletin, B-3). 1948.


high bulk book paper

A book paper which, in a basis weight of 45 pound 25 X 38—500) bulks 440 to 344 pages to the inch, under 35 pounds pressure.


high finish

A smooth, hard, glossy finish applied to the surface of cloth, paper, etc., during the manufacturing process.

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


High (or low) to paper

Applied to a type cast higher or lower than the rest of the fount.


High-line

Term applied to a type that ranges above the rest in a line.


HIND POSTS AND RAILS

Two upright posts mortised and tenoned into the feet at the back of the wooden press; two rails connect these posts behind; and two rails on the off side and two on the near side connect them with the cheeks, by mortises and tenons; on the top rails a thin deal covering is laid loose, that it may be lifted off, to allow access to the long ribs, and to hang the platen when necessary; it prevents dirt and other matter from falling on the ribs, and serves for a temporary shelf. The ink block is attached to the near rails.

Hither Cheek. Same as Near Cheek, which see.

Holdfasts, for Stereotype Risers. See Risers.


hinge

1. The strip of fabric (usually linen or cambric), or paper placed between the two parts of a library-style cloth-jointed endpaper, for the purpose of providing additional strength at the point of flexing. 2. Any Japanese copying paper or linen stub that allows for the free flexing of an insert, leaf, etc. 3. An obsolete term for the tongue made by gluing and folding over the waste leaves on which the bands or cords were pasted and then inserted between split boards.

Hewitt-Bates, James Samuel. Bookbinding. 8th ed. Leicester. Dryad. 1967.

Library Binding Institute. Library binding handbook. Rev. ed. Boston. Library Binding Institute. 1971.

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


hinge guarding

See: REVERSED V-GUARD.


hinged

A map, plate, or other separate sheet which has been folded along the binding edge in order to reduce the possibility of the sheet tearing away from the one to which it is attached, and also to allow it to lie flat and turn easily during use. hinged and jointed plate. Two contiguous plates each of which has had a strip cut away at the binding edge, and are then joined together by means of a common strip of Japanese copying paper or linen, forming a hinge. See also: GUARD (2).


hinged boards

A type of binding having boards attached to a stab-sewn or post binding, by means of a cloth hinge which joins the main board to a narrow board at the spine of the book. The narrow board is secured by the posts or stab sewing. Hinged boards are characteristic of some types of blankbooks.

Donnelley (R. R.) & Sons Co. A rod for the back of the binder… Chicago. Donnelley. 1929.

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


hinged ledger paper

1. A LEDGER PAPER that has a flexible (due to the fact that it is thinner) strip running from top to bottom of the sheet about five-eights of an inch in from the edge (binding edge) of the sheet. The strip is a result of the removal of some paper fibers, usually by means of suction, during manufacture. The strip is about 1 1/4 inch wide. The paper, being thinner at the area of the hinge, is easier to turn and will lie flatter; however, it is also weaker at that point, which may adversely affect writing. 2. A ledger paper having a strip of linen (or cambric) attached to the binding edge of the leaf. Its purpose is to allow the leaf to turn more easily and lie flat.

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.


hinged on a mount

A separate leaf, illustration, etc., attached to a GUARD (2) and bound into the book.

Holden, John Allen. The bookman's glossary…3rd ed. New York. Bowker. 1951.


hog's back

1. An exaggerated curve of the spine of a book, caused by improper rounding, the use of a sewing thread that is too thick, or a combination of the two. 2. An uneven trim of the fore edge of a book that is cut with the plow, caused by the plow knife riding up as it traverses the length of the book.

Buffum, Clara. Hand-bound books…Providence, R.I. 1935.

Hasluck, Paul Nooncree, ed. Bookbinding. Philadelphia. McKay. 1903.


hogskin

A soft leather produced from the skin of the peccary, genus Tayassu, and having a distinctive grain pattern formed by the hair follicles which are arranged in detached groups of three. Cf: PIGSKIN.


holdout

The degree to which a material, such as cloth or paper, impedes the penetration of an aqueous or nonaqueous liquid. If the liquid is water, or water vapor, holdout is described as SIZING (1). Non-aqueous liquids include some printing inks, lacquers, etc.


Holds out

or *Holds not out*. These Terms are applicable to the Quires of *White-paper*, to *Wrought-off Heaps*, to *Gathered Books*, and to sorts of *Letter* &c. If Quires of White Paper have twenty five Sheets a piece in them, they say, *The Paper holds out five and twenties*. Of *Wrought off Heaps*, the *Heap* that *Comes off* first in *Gathering* is said, *Not to Hold out*. Of *Gathered Books*, if the intended number of perfect *Books* are *Gathered*, they say the *Impression Holds out*: But if the intended number of *Perfect Books* cannot be *Gathered* off the *Heaps*, they say the *Impression Holds not out*. And so for Sorts of *Letter*, either when it is in the *Founding House*, or in the *Printing House*.


HOLDS OUT, or Holds Not Out

These terms are applicable to the quires of white paper, to wrought-off heaps, to gathered books, and to sorts of letter, &c. If quires of white paper have twenty-five sheets apiece in them, they say, the paper holds out five and twenties. Of wrought-off heaps, the heap that comes off first in gathering is said not to hold out. Of gathered books, if the intended number of perfect books are gathered, they say the impression holds out: but if the intended number of perfect books cannot be gathered off the heaps, they say the impression holds not out. And so for sorts of letter, either when it is in the founding house, or in the printing house.—M. There is no paper at the present day with twenty-five sheets in a quire, except that used for newspapers, on account of the stamps.


HOLE

By a Hole, in printers dialect, is meant and understood a place where private printing is used, viz. the printing of unlicensed books, or printing of other men’s copies. Many printers for lucre of gain have gone into Holes, and then their chief care is to get a Hole private, and workmen trusty and cunning to conceal the Hole, and themselves.—M.

Holy-days. See Ancient Customs.


holiday

Any area of an adhesive-covered surface, such as a PASTEDOWN, which does not adhere properly. See also: DRUMMING ON.

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


holing out

The process of drilling, or more commonly, punching holes in the boards of a book to receive the cords prepared for LACING-IN.

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


holing-out block

A block of lead or other soft metal on which the board of a book is placed for drilling or punching the holes for the cords or slips in preparation for LACING-IN. See also: HOLING OUT.

Diehl, Edith. Bookbinding; its background and technique. New York. Rinehart. 1946. 2 vol.


holland

A cotton or linen fabric, usually in plain weave and heavily sized or glazed, and, when used in bookbinding, gummed. The holland is used in a technique of library rebinding in which a sewing machine automatically feeds two narrow strips of gummed cloth in such a manner that the sewing passes through the holland and the paper. The book to be sewn is prepared as for oversewing, i.e., the leaves are divided into thin "sections," which are run through the sewing machine one at a time, with a strip of gummed holland being sewn simultaneously to each side of the "section." After all of the "sections" have been sewn, the strips of holland are moistened, and the book is jogged and then pressed until the gum has dried. The strips of holland hold the "sections" together along the binding edge. This technique is sometimes employed when the paper of the book is too embrittled, or otherwise weakened, to allow oversewing; however, it is seldom very successful, as the paper usually fails at the juncture of paper and holland.

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


Hollis, Thomas

An eccentric English philanthropist and propagandist of the idea of liberty. Hollis distributed books in support of liberty, particularly to libraries abroad, such as those at Berne, Zurich, and Harvard College. The bindings were commissioned from John Matthewman or Richard Montagu, and decorated with emblematic tools designed by G. B. Cipriani, the original drawings for which are now at Harvard. When the first set of tools was destroyed in a fire in Matthewman's shop in 1764 a second set was engraved by Thomas Pingo. These subjects include Britannica, Liberty, the caduceus of Mercury, the wand of Aesculapius, the owl of Minerva, a cock, a liberty cap, and the short Roman sword, or pugio. The simpler bindings were by Matthewman, while Montagu executed the more elaborate presentation bindings. (, 244, 297)

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

Nixon, Howard M. Five centuries of English bookbinding. London. Scolar. 1978.

The Rothschild library; a catalog of eighteenth century printed books and manuscripts formed by Lord Rothschild. Cambridge. Cambridge University Press. Privately printed. 1954. 2 vol.


hollow

See illustration</> The lining attached to both the spine of the text block and the inside of the spine of the covering material. It is usually constructed of kraft paper, and consists of a folded sheet, one section of which is glued to the spine of the text block and the other to the covering material. There are many variations of the hollow, however; for example, see: ONE ON AND TWO OFF, or TWO ON AND ONE OFF, The purpose of the hollow is to assist in the opening of the book much in the same manner as th SPRING-BACK of a blankbook, though with much less force. The thickness of the paper used for the hollow depends on the size and thickness of the book and the thickness of the paper and sections of the book.

Clough, Eric A. Bookbinding for librarians. London. Association of Assistant Librarians. 1957.

Philip, Alexander John. The business of bookbinding for librarians …Gravesend. A. J. Philip. 1935.


hollow back

A binding having a space between the spine of the text block and the spine of the cover. resulting from the covering material being attached at the joints (or a one-piece cover in the style of a case binding) and not glued to the spine of the text block. Sometimes a Hollow is glued to the text block and covering material; in library binding, however, generally only an INLAY (1) is glued to the covering material, while in edition binding there is usually no support of any kind.

The hollow hack binding is believed to have originated in France in about 1770, but it was little used in England before about 1800. It was still comparatively rare in craft binding until about 1820. when the semi-elliptical spine with its pronounced shoulders began to be replaced by the structurally inferior flat spine, which had almost no shoulders and therefore provided little support. The combination of this weaker spine and the use of the hollow hack on books which then did not normally need them has resulted in many of the bindings of that time falling apart, while those bound with tight backs years earlier are still in good condition, except for broken joints.

The advantages of the hollow back, which is used almost universally in library and edition binding, are: 1) the tooling or lettering on the spine will not flex and crack; 2) in hand binding. covering is less exacting; 3) in edition and library binding, the cover (case) can be made separately; 4) in hand binding, sewing is faster because it is on tapes rather than cords; and 5) overall. it is a much more economical method than tight-back binding. See also: OXFORD HOLLOW.

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

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


Hollow quadrates

Metal quadrates mortised for the insertion of types, &c.


hollow tooling

A bookbinding design which is executed in outline, generally in gold.


hollow-punch pliers

Pliers with a tubular sharp-edge cutter, used for punching holes in leather. Such pliers have interchangeable cutters, including eyelet closers. Their principal shortcoming is their limited reach.


HOME

This is a term used at Press, and means that the bar of the press is pulled over till it touches the near cheek; it is then said the bar is home, or it is cheeked. See Cheek the Bar.


HOOK-IN

In poetry it occasionally happens that a line will not come into the measure, in which case, when it is not allowed to turn a line, if it be possible to avoid it, a syllable, or a word, is taken to the end of the preceding line, or, if that be full, to the end of the following one, and enclosed in a bracket; this is termed Hooking-in.

Hooks of Tympan. See Tympan Hooks.

Hopkinson, Mr. John. The Albion Press. See Cope’s Press.


hooked

See: GUARDED IN. See also: PLATE ATTACHMENT.


horn bindings

Bindings consisting of hard, white, smooth, polished vellum. They were sparsely decorated and had the title written in Chinese ink at the top of the spine.


horn book

A form of child's primer used in England from the 15th century, and in the United States at a later time. The earliest examples were made from 'wainscot" (thin panels of oak) and had a label containing the alphabet, simple spelling, numbers. and the Lord's prayer pasted on the wood and covered with a thin, transparent veneer of cattle horn. A wooden handle was attached to the frame. In latter examples the back of the panel was covered with morocco or roan leather blocked with an ornamental device. Other, but rare, examples were made entirely of cowhide with a window cut in the upper portion. See PLATE 11.

Dahl, Svend. History of the book. 2nd English ed. Metuchen, N.J. Scarecrow. 1968.

Johnson, Pauline. Creative bookbinding. Seattle. University of Washington Press. 1963.


horse

1. A trestlelike structure of suitable height, traditionally made of wood, but also of a light, non-corrosive, nonstaining material such as plastic, on which hides and skins are piled for draining, transportation from one department to another in the tannery. and sometimes for storage purposes. 2. A T-shaped stand, about 3 feet high, on which spoiled sheets from the POST (1) in a handmade paper mill are placed. Being practically of no value as paper, these sheets are subsequently placed at the top and bottom of the salable packs to protect them.

Labarre, E. J. Dictionary and encyclopaedia of paper and papermaking. 2nd ed. London. Oxford University Press. 1952.

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


HORSE

Form or bench pressmen set the heaps of paper on. See also Ancient Customs.—M. In Moxon’s time it appears the pressmen used what was then called a Horse, only, for the paper when working, which we now call a Bank; we have in addition what is termed a horse, set upon the bank; this horse is made sloping down to the fore edge, and the white paper is placed on it; the pressman is thus enabled to draw the sheets down with the nail of his thumb, or a piece of wood, bone, or ivory, with more facility than if it were laid horizontal, and it is more convenient to remove to the tympan, as the horse is raised near to it, and inclines in the same direction.

Sloping wooden platform for paper


horse

The stage on the bank on which pressmen set the heap of paper.


HORSE FLESH

If any journeyman set down in his bill on Saturday night more work than he has done, that surplusage is called Horse-flesh; and he abates it in his next bill.—M. This surplusage of charge, as Moxon terms it, is now called Horse, and it is not always deducted in the next bill.


HORSE RACES

By the Act of the 13th of George 2. cap. 19.

s. 2. it is enacted, “That from and after the said twenty-fourth Day of June one thousand seven hundred and forty, no Plate, Prize, Sum of Money, or other Thing, shall be run for by any Horse, Mare or Gelding, or advertised, published or proclaimed to be run for by any Horse, Mare or Gelding, unless such Plate, Prize or Sum of Money shall be of the full, real and intrinsick Value of fifty Pounds, or upwards; and in case any Person or Persons shall from and after the twenty-fourth Day of June one thousand seven hundred and forty enter, start or run any Horse, Mare or Gelding, for any Plate, Prize, Sum of Money, or other Thing of less Value than fifty Pounds, or shall make, print, advertise, publish or proclaim any Advertisement or Notice of any Plate, Prize, Sum of Money, or other Thing of less Value than fifty Pounds as aforesaid, to be run for by any Horse, Mare or Gelding; every such Person or Persons so entering, starting or running such Horse, Mare or Gelding for such Plate, Prize, Sum of Money, or other Thing of less Value than fifty Pounds as aforesaid, shall forfeit and lose the Sum of two hundred Pounds, to be sued for, recovered and disposed of in such Manner as is herein after prescribed and directed; and every Person or Persons who shall make, print, publish, advertise or proclaim any Advertisement or Notice of any Plate, Prize, Sum of Money, or other Thing of less Value than fifty Pounds aforesaid, to be run for by any Horse, Mare or Gelding, shall forfeit and lose the Sum of one hundred Pounds.”

So much of the act of 13 Geo. 2. c. 19. “as relates to the Subject of Horse Racing,” was repealed by 3 Vict. c. 5. s. 1.


Horsing

Charging for work before it is executed.


horsing up

The process of piling hides and skins on the HORSE (1) for draining, etc. Because the use of the horse may result in the fibers of the leather setting in a creased configuration, when a flat leather is required hides and skins are placed on a flat surface for draining, transportation, etc.


HOSE

Two upright bars of iron that connected the garter and the hose hooks, and went through the till. There were screws at each end, by which they could tighten the platen cords, if they became slack.—M.

The hose in wooden presses is now quite different: it is a wooden case for the spindle to work in, made hollow in the inside to fit it, and to which it is connected by the garter; it is square on the outside, and passes through an opening in the till, which it should fit accurately; and is tied to the platen by means of four iron hooks, one at each bottom corner. Its uses are, to guide the platen down to the form in a horizontal position, by its passing through the till; and also to lift the platen from off the form, which it does by the return of the press bar, and its connexion with the spindle by means of the garter.


HOSE HOOKS

Four iron hooks at the bottom corners of the hose, to which the platen is tied. They are projections from an iron belt that embraces the bottom of the hose, and stand facing the platen hooks.


hot-melt adhesive

A resinous adhesive which achieves a solid state and resultant strength by cooling, as contrasted with other adhesives which achieve the same results through evaporation or removal of the solvents. Before heating, a hot-melt adhesive is a thermoplastic, 100% solid material, and is all adhesive. Upon the application of heat, the usual operating temperature being in the range of 175 to 205° C. (350 to 400° F.), the material changes to a fluid state. Subsequent to the removal of heat, it sets by simple cooling.

When a hot-melt adhesive comes into close contact with the surface to be bonded, a molecular layer of film at the surface of this substrate immediately attains a temperature approaching that of the hot melt. In addition a high degree of wetting, almost coalescence. of the hot melt and the material occurs. Immediately thereafter, the adhesive loses heat to the film over the entire area and temperature equilibrium is attained. Since the adhesive is in contact with a mass much larger than itself, the temperature of the entire system drops to the point at which the hot melt sets to a solid state with sufficient cohesive strength to bond the films together. Thus the uniqueness of hot-melt adhesives stems from the speed with which they produce a bond, which is almost instantaneously.

Although the use of hot-melt adhesives eliminates the cost of solvents required by some other adhesives, the principal cost reduction results from the time saved in their application. In addition, a lesser quantity of the hot melt can usually be utilized to produce an equivalent bond.

Hot-melt adhesives are used extensively in binding books made of loose sheets, especially those that are not rounded and backed, e.g., paperback books, telephone and other directories, etc. For books that are to be rounded and backed, however, the so-called DRYING MEMORY of the hot-melt adhesives causes problems. In addition, hot-melt adhesives alone do not lend themselves well to the binding of heavily loaded or coated paper, from which all particulate matter must be removed before application of the adhesive. See also: ADHESIVE BINDING; ONE-SHOT METHOD (1); TWO-SHOT METHOD.

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

Hutchings, Ernest A. D. A survey of printing processes. London. Heinemann. 1970.

McDonald, Margaret. Hot-melt adhesives. Park Ridge, N. J. Noyes Data Corp. 1971.

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


hot-melt coating

A method of applying molten plastic materials to a base stock. such as paper or a book cloth without the use of a solvent or other carrier. Rolls, knives, casting, or extrusion techniques are used in this method of coating.


hot-setting adhesive

An adhesive which requires a temperature of 100° C. or greater to cause it to set. See also: COLD-SETTING ADHESIVE; ROOM-TEMPERATURE SETTING ADHESIVE.


HOURS

Pressmen reckon their works by hours, accounting every token to an hours work: and though it be the same effectually with tokens, yet they make their prices of different work by the hour; and it passes current for a token. If two men work at the press, ten quires is an hour; if one man, five quires is an hour.—M. The quires of paper at this time always contain twenty-four sheets, at least the inside quires do, which alone are used for bookwork; and a token is ten quires eighteen sheets, which is still called an Hour, whatever the price may be: thus, if two men at a press print twelve tokens of paper in a day, they say, they have done twelve hours; and if it be fine work, at which, through the care bestowed on it, they can only print three tokens, or four tokens, they say, they do three hours, or four hours, in a day; although it takes the same time in performing that the twelve tokens did.


hubs

See illustration</> The several thicknesses of board glued together and then to the SPRING-BACK (1) of a book, usually a large stationery binding. The hubs, which appear as relatively large, raised bands or ridges under the covering material (usually leather) on the spine of the book, strengthen the spine and protect the leather from wear and other damage. The hubs may also serve as an integral part of the decoration of the spine of the book. Cf: FALSE BANDS.

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

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


hue

That particular attribute of colors which allows them to be classed as bluish, greenish, reddish, yellowish, etc. See also: COLOR (1).


humectant

A substance that absorbs and promotes the retention of moisture from the air. The softening (plasticizing) agents in adhesives owe their effectiveness to their capacity to absorb and retain moisture. Cf: HYGROSCOPICITY. See also: FLEXIBLE GLUE; INTERNALLY PLASTICIZED; GLUE.

Kantrowitz, Morris S., and others. Bindery glues. Washington, D.C. U.S. Government Printing Office. (GPO-PIA joint research bulletin, B-3). 1948.

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


humidified

A paper that has been brought to equilibrium with the moisture in the air at a definite relative humidity.


humidity

The actual amount of water vapor present in the air. See: ABSOLUTE HUMIDITY. A more relevant term in book work is RELATIVE HUMIDITY.


hung on guards

Inserts, such as maps, plates, etc., which have been glued to strips of paper or linen, which are then tipped or stubbed into the book

Palmer, Elbridge Woodman. A course in bookbinding for vocational training. New York. Employing bookbinders of America. 1927.


hung-in

A book that has been glued-in to its cover at the spine only, e.g., a pamphlet glued into its SELF-COVER.


hyaline layer

A term sometimes used to indicate the smooth surface which is assumed to exist between the epidermis and grain surface of a hide or skin, and which gives the characteristic grain pattern of the leather. See also: DERMIS.


hydration

1. A term applied to the condition of materials containing water of absorption, crystallization, or imbibition. In papermaking, hydration refers to the chemical or mechanical (or both) treatment of paper fibers, other than cooking or bleaching, which takes place before sheet formation on the papermaking machine. It relates especially to altered sheet characteristics, including density, formation, opacity, and strength. 2. The paper pulp characteristics resulting from the above treatment.

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.

Battista, Orlando A. Synthetic fibers in papermaking. New York. Interscience. 1964.

Practical printing and binding; Odhams complete guide to the printer's craft, edited by Harry Whetton. 3rd ed. London. Odhams Books. 1965.


hydraulic press

A STANDING PRESS operated by hydraulic power instead of by hand. Such presses came into use in the first half of the 19th century, and were the principal means of pressing edition and library bindings until the introduction of the casing-in and building-in machines. See also: BUILDING-IN MACHINE; CASING-IN MACHINE; REMOVABLE PRESS.