mitered

1. A binding ornamentation on the spine or covers of a book, either in gold or blind, consisting of straight lines that meet but do not pass beyond the vertical panel or "run-up" lines on either side. A fillet or pallet may be used to make the lines; however, the fillet is not generally used on the spine of a book except when executing the RUN-UP GILT BACK. 2. The juncture at the corners of the turn-ins edged to an angle of 45. See: CORNER MITERING; NICKED CORNER. 3. The connection at the angles of an outer frame to an inner frame or panel by the diagonal use of a fillet or roll.

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

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


Mitred

When the lines in finishing intersect each other at right angles and are continued without overrunning each other, they are said to be mitred.

Public domain (Project Gutenberg, pre-1930 text)


Mitred

Tooled lines meeting at a right angle without overrunning.

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


Mitred

When the lines in finishing meet each other at right angles without overrunning each other, they are said to be mitred. Joined at an angle of 45°.

The Art of Bookbinding: A Practical Treatise


Mitring

(1) lines meeting at a right angle without overrunning are said to be mitred. (2) A join at 45° as in the leather on the inside of the boards.


mitsumata

A shrub, Edgeworthia papyrifera, found in temperate Asia and cultivated in Japan for its bark, the fibers of which are used in papermaking.

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.


mocha

A leather produced from the Arabian blackhaired sheep (commonly called blackhair mochas). It is a chrome-tanned leather, with the grain removed by mechanical abrading rather than by hand frizzing. It is suede-finished on the flesh side. This leather retains most of the fibers of the skin, and its particular fineness is due to the closeness of the fibers of the skin.

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


mock flexible

A more or less obsolete term which has been interpreted to mean either a binding with a tight back and false bands, being "mock" because it is flexible but has false bands, or a binding with a hollow back and false bands, being "mock" for both reasons

Zaehnsdorf, Joseph William. The art of bookbinding…London. Bell. 1890.


modeled-leather covers

A method of decorating a book in which the leather cover is molded, cut, or hammered to raise a design in relief, or in which the leather is laid over a decorative foundation attached to the boards. The style is found on the Stonyhurst Gospel (7th or 8th century) and on some Coptic bindings of 100 or 200 years later, but is not seen again, at least in British craft bookbinding, until the end of the 19th century.

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


modern monastic

A style of bookbinding which characteristically employed very thick boards, red, brown, or gilt edges, and unusually high raised bands. The usual leather used was divinity calf, as well as brown or red morocco. The design was blocked in blind, or tooled in blind with rolls, fillets and stamps. It consisted of a center pattern featuring heavy lines and solid figures within a rectangle, which, in turn, was within an elaborately embossed rectangle surrounded by a mitered border. Modern monastic was very popular in the middle of the 19th century.

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


modified starches

Starches that have undergone certain biological, chemical, or physical treatment which changes their viscosity and/or chemical characteristics and which are used in the manufacture of paper.

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


modifier

Any chemically inert ingredient which when added to an adhesive changes its properties. See also: EXTENDER (1); FILLER (5); PLASTICIZER


modulus of elasticity

The ratio of stress to strain within the elastic range of a material. In an adhesive, it is an empirical measurement of the elastic deformation of which an adhesive film is capable.

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


Mohs' scale

A scale used to determine the hardness of solids, especially minerals. It is named after the German mineralogist Friedrich Mohs. The scale reads as given below:

Hardness    Material

1           Talc—easily scratched by the fingernail

2           Gypsum—just scratched by the fingernail

3           Calcite—scratches and is scratched by a copper coin

4           Fluorite—not scratched by a copper coin and does not scratch glass

5           Apatite—just scratches glass and is easily scratched by a knife

6           Orthoclase— easily scratches glass and is just scratched by a file

7           Quartz—not scratched by a file

8           Topaz

9           Corundum

10          Diamond

The scale has been extended as follows:

Hardness    Material

1           Liquid

2-6         As indicated above on the chart

7           Vitreous pure silica

8           Quartz

9           Topaz

10          Garnet

11          Fuzed zirconia

12          Fuzed alumina

13          Silicon carbide

14          Boron carbide

15          Diamond

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


moiré book cloth

A book cloth having an irregular, wavy finish produced by embossing in such a manner as to resemble watered silk. Prayer books and Bibles sometimes have endpapers consisting of a folded sheet of black moiré cloth mounted on a paper flyleaf. Moiré book cloth was at one time used fairly frequently for doublures. It was also one of the earliest decorative effects applied to the calico used for publishers' bindings.

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


moiré effect

The optical illusion observed when curved parallel lines are superimposed, forming an illusionary pattern. WATERED SILK is an example of the moiré effect.

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


moisture content

The amount of actual moisture in a material. The moisture content varies according to prevailing natural or controlled atmospheric conditions. See also: HUMIDITY; RELATIVE HUMIDITY.


moisture proofness

The ability of a material to resist the passage of water, either in the liquid or vapor form. In book materials, generally, it indicates a material with unusually low WATER-VAPOR PERMEABILITY. See also: WATERPROOF; WATER RESISTANCE.


moisture vapor transmission

A measure of the ability of an adhesive or plastic film or coating to resist the penetration of moisture through the film or coating into the substrata. It is usually measured in grams per square meter over a period of 24 hours. Abbreviated M.V.T.


mold

1. The rectangular wooden frame over which the brass wires or a wire cloth is stretched and through which water drains away from the pulp fibers in the formation of a sheet of handmade paper. See also: DECKLE (2). 2. A packet of leaves of gold interleaved into 1,000 goldbeater's skins, each 5 inches square. The mold stage of goldbeating is the final and most exacting of the three stages of beating. See: GOLD LEAF. 3. In printing, a device in two parts used for casting movable type. 4. A multi-cellular, microscopic vegetable plant which forms cobweblike masses of branching threads from the surface of which tiny fertile threads project into the air bearing the part of the plant from which spores develop. Mold may be of brilliant colors or black and white, depending on the type. Molds can develop on leather, cloth, paper, etc., especially in the presence of relatively high heat and relative humidity. See also: FUNGI; MILDEW.

Barnes, Richard H. Gilding & the making of gold leaf. n.p. 1962.

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


mold resistant paper

A paper or board which has been rendered mold resistant by treatment with mold-inhibiting chemicals, such as the chlorophenates.


mold-made paper

A deckle-edged paper resembling handmade paper but actually produced on a cylinder machine or a cylindrical mold revolving in a vat of paper pulp. The sizes of the sheets are determined by dividing the surface of the cylinder with rubber bands which also create the deckle edges. The deckle edge may also be simulated by cutting the web with a jet of water. Mold-made paper is used in limited editions where a handmade or simulated handmade paper is desired.

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

Simon, Oliver. Introduction to typography. 2nd ed. London. Faber and Faber. 1963.


molding iron

See: BACK-MOLDING IRON.


moleskin

A heavy, durable cotton book cloth made in satin weave, usually with a smooth twilled surface on one side, and a short, thick, velvety nap on the other. At one time it was used for covering blankbooks.

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

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


monastic bindings

See: ECCLESIASTICAL BINDINGS.


MONK

When the pressman has not distributed his balls, some splotches of ink may lie on one or both of them, which in beating he delivers upon the form, so that the sheet printed on has a black blotch on it, which blotch is called a Monk—M. The same effect will take place also with rollers, if care be not taken to roll them backwards and forwards, as well as crossways on the inking table.

Mould for making Paper.—See Forgery.


MONK

A black spot in a printed sheet, owing to the ink not being properly distributed.

The American Printer: A Manual of Typography


monotype

A machine used for casting individual pieces of type. It was invented by Tolbert Lanston (1844-1913) in about 1889 and was put into commercial operation in about 1897. The monotype is a distinct improvement over the LINOTYPE in that the individual types produced facilitate replacement in case of error. The monotype composing machine is the most successful thus far developed, its product being almost equal to that of hand composition. .

Steinberg, Sigfrid Henry. Five hundred years of printing. 2nd ed. Baltimore. Penguin. 1962.


Montagu style

A style of book decoration deriving its name from Montagu of the firm Montagu and Johnson, London bookbinders, who flourished in the later half of the 18th century. The principal features of the style are corners and centers filled with stops, etc., similar to illustrations. The tools used are mainly of an open leafy description, flowing from a stem of scroll or curl.


mordant

A compound, such as a salt or hydroxide of chromium, iron, aluminum, or tin, used to fix a dye in or on a substance, such as a fabric, leather, or paper, by combining with the dye to form an insoluble compound. See also: LAKE.

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


mordant dyes

Dyes of varied constitution, all of which possess an acid character. Because of the presence of hydroxyl or carboxyl groups in their molecules they are capable of forming lakes with metallic mordants. The methods by which the mordant colors can be attached to a fiber depend on the nature of both the dyestuff and the fiber.

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


morocco

A vegetable tanned leather having a characteristic pinhead grain pattern developed either naturally or by means of graining or boarding, but never by embossing. The most common and characteristic grain pattern is known as "hard grain."

By long usage, the term "morocco" is taken to denote a goatskin, tanned by any vegetable tannage, and boarded in the wet condition; in a more strict interpretation, however, morocco is defined as a goatskin tanned exclusively with SUMAC, and boarded in the wet condition. Leather made from vegetable tanned goatskin having a grain pattern resembling that of genuine morocco, but produced other than by hand boarding, is more properly termed "morocco grained goat" or "assisted morocco. "

When properly produced, morocco goatskins are very durable, flexible, beautifully grained, and relatively strong, making them eminently suitable for use as a bookbinding leather. The skins are (or, at least, have been) obtained from several areas, including: wild goats, principally from Africa, which generally produce heavy skins with a very bold grain, e.g., LEVANT; domestic goats, which produce a leather with the more familiar hard grain or PINHEAD MOROCCO; and true PERSIAN MOROCCO, which is produced from Indian or East Indian goatskins. The term, however, is also applied (incorrectly) to East Indian sheepskin tanned with condensed tannins and dressed in imitation of goatskin; so-called Cape morocco (produced from goatskins from the Cape of Good Hope), which, when obtainable, were of high quality and had the most pronounced grain pattern and the richest finish; and NIGER goatskins, which are soft and can be obtained in a wide range of colors.

Alum-tawed "morocco" stained pink, was first produced by the Moors, possibly before the 11th century. Vegetable-tanned morocco was in use in some part of Europe in the 16th century, particularly in Italy where the goat was more common than in the north of Europe, where calfskin was more abundant. Morocco leather was rarely used in England before 1600.

Straight-grained morocco was popular in the late 18th and early 19th centuries. Bright red and green were the most popular colors, with dark blue, black, citron, and even purple skins also being used.

Throughout the 19th century, morocco, in its various grain patterns, was used in the finest bookbinding, and it is still used for much of the better binding, although it is very expensive and is also becoming more and more difficult to obtain.

Today, to refer to a leather as "morocco" gives no indication as to the subspecies "Levant," "Niger," etc., since most of the morocco now used in bookbinding comes from other parts of the world. The only common denominator among the numerous varieties of leather which now go under the name morocco is that they are all goatskins.

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

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

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


morocco

A fine kind of grained leather prepared from goatskin.


morocco

Leather made from goatskins, tanned with sumac, originally made in the Barbary states, but afterwards very largely in the Levant, and now produced in Europe and America from skins imported from Asia and Africa. The peculiar qualities of true morocco are great firmness of texture, with flexibility, and a grained surface, of which there are many varieties. This surface is produced by a process which consists largely in rolling and folding, called graining. True morocco is of extreme hardness, and makes the most durable book bindings; it is used also for upholstering seats and for similar purposes, and to a certain extent in shoemaking.


morocco

The name given to any imitation, often made of sheepskin, of the genuine morocco.


morocco

For Bock, French, Levant, Persian, Turkey morocco, see the several words.


morocco cloth

See: IMPERIAL MOROCCO CLOTH.


morpholine

A colorless organic liquid (Na . (CH2)2 . O . (CH2)2), which boils at 128° C., and has a characteristic ammonialike and slightly fishy odor. It has been proposed as a vapor-phase deacidifying agent, mainly because it is inexpensive, easily used, and deacidifies rapidly in suitable chambers. Its main disadvantage, other than its highly disagreeable odor, is the tendency of the treated paper to revert to an acid condition in the presence of high relative humidity.


Morris, William

An English poet, painter, architect and printer, who led the movement in search of higher standards of workmanship among craft bookbinders in the latter years of the 19th century. It was Morris' wife who recommended that Cobden-Sanderson take up bookbinding. Later Cobden-Sanderson founded the Doves Bindery to bind books produced by the Kelmscott Press. Morris and his group also sought to improve the quality of the materials used in bookbinding, and, under his influence, great emphasis was placed on both utility and beauty. While Morris' name is best remembered for his revival of fine printing, some outstanding bindings were executed on editions of beautifully printed books produced at his Kelmscott Press, which he founded in 1891. These vellum bindings were not ornamented except for the title in gold on the spine, and had projecting covers which were bent over the fore edge. Ribbon ties held the covers closed. They had flat spines, and were sewn on tapes, which were extended to the fore edge to form the ties.

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


Mosaic binding

A binding of leather decorated with designs made in whole or in part by inlaying pieces of leather or other material of different colors. The designs are usually outlined with gold.


mosaic bindings

Bookbindings decorated by inlaying or onlaying small pieces of leather of various colors to form patterns. The technique is particularly associated with the work of the 19th century French bookbinders, Antoine Michel Padeloup, Louis Fran,cois, and Jean Le Monier. This form of decoration has been used for a considerable length of time; examples of mosaics of inlaid leather, while extremely rare, date back to the 16th century. Painted mosaics consist of geometrical interlacings filled with a colored and varnished incrustation, with borders of gold lines. Very brilliant when first executed, the composition in time cracks and peels off, thus damaging the line work of gold encircling it. See PLATE VII.

Conference on a Permanent/Durable Book Paper. Washington, D.C. 1960. Permanent/durable book paper; summary. Richmond, Va. Virginia State Library. (Virginia State Library publication, no. 16). 1960.

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

Teigen, Kit. Graphic arts, an introduction…Wayne, Pa. Management Development Institute. 1968.

Toldo, Vittorio de. The Italian art of bookbinding. London. Batsford. (Monographs of decorative arts, 3). 1925.


mossing

The process of finishing the flesh side of leather with a mixture of (Irish) carragheen moss and French chalk, which leaves the surface smooth and white.

U.S. Bureau of Naval Personnel. Printer 3 & 2. Washington, D.C. U.S. Government Printing Office. 1952


mottled

A variegated effect produced on the surface of a material, such as paper; by the addition of heavily dyed fibers, called mottling fibers, to the papermaking stock. Mottled papers are used for endpapers, pattern papers, cover papers, and other kinds of decorative papers.

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.


mottled calf

A calfskin binding which has been decorated with an irregular pattern produced by staining the covers of the book with dabs or flecks of ferrous sulfate. See also: TREE CALF.

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


mottled calf

A light brown calf bookbinding, made to look mottled by treatment with acid.


mottled edges

A form of edge decoration produced by daubing color lightly over the edges of a book, generally by means of a sponge which leaves its natural markings on the edges. The edges may be colored over first, or the mottling may be applied directly to the white edges. Red and black are frequently used combinations. Mottled edges are found mainly on large blankbooks but seldom on letterpress bindings.

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


mottled sheep

A sheepskin treated with colors in an irregular pattern.


mottling

1. The process of decorating the covers of a book by applying color or acid to the leather. See, for example, MOTTLED CALF. See also: TREE CALF. 2. In printing, a defect appearing: 1) on a solid print as a variation in color intensity across the sheet or as a variation in gloss; or 2) as a blotchiness due to frothmarking. Mottling may be caused by localized variations in either ink receptivity or penetration; in the former it may be predominantly a difference in hue, while in the latter it will generally be a result of a difference in gloss. 3. The uneven dyeing of paper pulp fibers resulting from the coloring of a small number of fibers before complete dispersion of the dye. This is due to the manner of addition of a hot concentrated solution of dyestuff to the beater, or of dyeing a combination furnish containing fibers which take up the dye more readily than others. 4. An uneven dyeing of a paper due to the application of drops of dye on the web while it is on the Fourdrinier wire or on the finished sheet after it has left the papermaking machine.

Coupe, Raymond Richard. Science of printing technology. London. Cassell. 1966.

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

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


mounted and tipped

A plate that is smaller than the leaf to which it is to be attached, and which is positioned above the caption and secured by tipping along the top or side edge, or at the corners. The entire plate is not usually pasted down because of the greater danger of cockling, particularly if the grain directions of the two papers are in opposition.

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


mounted on guards

See: GUARDS (2).


mounts

See: BOSSES.


MR. PITT’S MARK

The printer’s name and residence affixed to printed books or other articles, by the enactment of the act of parliament of 39 Geo. 3. c. 79., was technically so called.


mucilage

An aqueous adhesive consisting of GUM ARABIC or fish glue, plasticized with glycerin, glycol, or sorbitol, with a small amount of a preservative and odorant added. In a more general sense, mucilage is a liquid adhesive having a low order of bonding strength. The terms mucilage and mucilaginous are also commonly used as generic terms describing gummy or gluey water-miscible substances.

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

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


mucilaginous liquid

See: GUM; MARBLING; MUCILAGE.


mudéjar style

A style of Spanish bookbinding of the 13th and early 14th centuries. In the most typical of such bindings the main decorative feature consists of a blind geometrical pattern with double outline interlacings (strapwork), with either all or part of the background being filled in with dots, small tools, and the like. Various types of small oblong or square stamps were also used, not all mudéjar in character. In typical Muslim tradition, however, tools representing living creatures were avoided. Although the characteristic mudéjar binding was decorated in blind, later bindings were decorated in both blind and gold. Most of the mudéjar bindings have wooden boards (and the remainder pasteboards) and the majority are covered in CORDOVAN LEATHER.

The name derives from the Mudéjares, or Moors, who remained in Spain during and after the Christian reconquest of that country. See also: GÓTICO-MUDÉJAR STYLE.

Nixon, Howard M. Sixteenth-century gold-tooled bookbindings in the Pierpont Morgan Library. New York. Pierpont Morgan Library. 1971.

Thomas, Henry. Early Spanish bookbindings, XI-XV centuries. London. Oxford University Press. 1939.


mull

An English term for the coarse, loosely woven cotton fabric used principally to line the spines of edition bindings. Also called CRASH or "super." See also: SPINE LINING FABRIC.


mullen

A term used with reference to the bursting strength of paper. It is so called from the the name of the instrument used in conducting the test, invented by John W. Mullen, in 1887.


multiple spindle drill

A paper drill which can be fitted with a number of adjustable heads. It is used for drilling several holes in a lift of paper or along the binding edge of a pile of sheets to be side sewn.


murex

A purple dye obtained from marine gastropods (Family Muricidae), and used in the Middle Ages for embellishing manuscripts.


muriatic acid

The old name for HYDROCHLORIC ACID.


MUSIC

It is not necessary in this work to define what music is, nor enter at all into any disquisition on the subject, as the object is the printing of it only; and all that I shall attempt is to give the plan of a pair of Music Cases, with the characters, and a specimen.

The English musical types have never to my knowledge undergone any improvement, till within a few years, when Mr. Hughes cut two new founts, which are looked upon as the best we have, and the largest of which I have used for this article.

Mr. E. Cowper devised a plan for printing music, in which one page was the lines only, and the other page was the notes, &c. only, and the chase was prepared to turn upon a centre fixed in the table of a press: thus the first impression was that of the lines without the notes, &c. on one page, and the notes, &c. without the lines on the other; the form was then turned half round, and the second impression was, the lines on the notes on one page, and the notes on the lines on the other. There is an objection to this plan for good work, which is, that the page of notes requires a different making ready to the page of lines, and when the two are completed they will be unequal in the effect, for either the lines will be too strong, or the notes have too little impression.

Mr. R. Branston struck out a different mode: he produced his music by the usual process for printing it with the rolling press, only the punches were struck deeper in the plate, and he then took a stereotype plate from it in type metal, and after the white parts were blocked out the music was sufficiently in relief to be printed at the type press. Both these plans were adopted to preserve the continuity of the lines, which in types got rounded off by wear where they joined, and spoiled the appearance.

In distributing music, the compositor should be careful not to injure the corners of the lines.

Music of the Presses. When a house has sufficient business to employ all the presses within it, and a master printer walks through his press room when they are all at work, and hears the creaking of the heads, the thumping of the balls, the noise of the running in and out of the carriage, and all the other miscellaneous, and, to unaccustomed ears, discordant noises, he styles them the music of the presses, which he declares to be the finest music in the world, as it brings grist to his mill.

The Music of the Presses, before the introduction of cylindrical machines worked by steam engines, was a standing toast after dinner at all parties among printers; and I hope it will never be neglected.

C. HANCOCK’S PLAN OF CASES FOR HUGHES’ MUSIC TYPE.

GOD SAVE THE QUEEN.

NAKED Form, or Page,

is when the furniture is taken away from all sides of the form or page. See Strip a Form.

NAMES, Ancient, of Cities and Towns.

The names distinguished by an asterisk * and an obelisk † were taken from Dr. Adam Clarke’s Bibliographical Miscellany, where they form two lists. The additional names were collected by myself.

In the towns marked * printing was carried on in the fifteenth century; and Dr. A. Clarke says—“In this List, great care has been taken not to omit one place where printing was carried on prior to the year 1500.”—“In this list, because the name refers to the work executed there, the genitive case has been retained. Panzer in his list has followed the same plan. This will be of some use to the mere English scholar, as he will at once see the same form of the word in its alphabetical order in this list, which he finds in the title of his book.”

In the towns marked † printing has been established and carried on since the fifteenth century, and Dr. A. Clarke observes—“This part might have been much enlarged, but it was not judged indispensably necessary. As the most difficult names are here explained, which usually occur in the titles of books, the residue it is hoped will occasion little embarrassment to any scholar.”—“It may be necessary to observe, for the information of the less experienced reader, that in this Supplement, as the Latin name stands in reference to no printed work, the nominative case has been always used.”

GOD SAVE THE QUEEN.

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

GOD SAVE THE QUEEN.


music manuscript

A paper printed with staff lines and used for the writing of musical scores. It is produced from rag and/or bleached chemical wood pulps. It is stiff enough to stand in a music rack and has a surface that will take pencil or pen and ink. Basis weights generally from 60 to 80 pounds (25 X 38—500) or 24 to 30 pounds (17 X 22—500). Erasability is an important characteristic. Music printings are used for reproducing music, and are produced mainly from bleached chemical wood pulp. The paper is well formed and is sized and processed to insure good pick strength and minimum curl. The basis weights range from 60 to 90 pounds (25 X 38—500).


muslin

A plain woven cotton fabric, made in various qualities ranging from coarse to sheer. For use in bookbinding, it is usually sized, starched, or blued to reduce stretching or shrinking.

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


mustard plasters

See: YELLOWBACK.


mutton thumper

An old term for an incompetent bookbinder.


mutton thumper

An old term indicating a bad workman.


mutton thumping

An old term applied in England to the binding of school books in sheepskin.


mutton thumping

A term used in bygone days, indicating the common binding of school books in sheep-skin.


mutual solvent

A volatile solvent so called because it is miscible with more than one class of liquids. Acetone, for example, is miscible with water, alcohol, and ether, as well as with oil, alcohol, or ethereal fluids. Such a material is also known as a coupling agent because it can cause two ordinarily immiscible liquids to combine with each other, forming a clear solution.

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


myrabolans

A vegetable tanning material obtained from the dried astringent fruits of certain species of Terminalia, and used extensively in the tanning of leather. The dried fruit is rich in tannin, averaging 30 to 32%, but the percentage varies greatly with different grades and sources.

One of the principal advantages of myrabolan extract, which has to a large extent replaced sumac and plant galls in European tanneries, is its acid-forming properties. It contains 3 to 5% sugars, which is much more than most other tannins contain; consequently fermentation takes place readily in the tan liquor and satisfactory plumping of the hides and skins is obtained in the early stages of tanning. Myrabolan tannin also contains a large proportion of ellagitannic acid, and thus readily deposits bloom. The disadvantages of the tannin are its slow penetration, and its tendency to produce a spongy leather of poor wearing quality. Because of these characteristics, myrabolans is usually blended with other more astringent tannins, e.g., wattle, quebracho, or mangrove, which penetrate faster.

Myrabolans is a pyrogallol class of tannin, with low viscosity, a medium pH (3.2) and salts content, and very high acids content. The tannin also contains chebulinic acid and a fairly high proportion of ellagitannin.

In addition to its used in the tanning industry, myrabolan tannin is also used as a black dye and in the manufacture of some inks. See also: VEGETABLE TANNINS.

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

Royal Society of Arts. London. Committee on Leather for Bookbinding. Report of the committee on leather for bookbinding… London. Bell. 1905.

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


n pattern

The code designation of a book cloth finished so as to resemble the grain pattern of sealskin leather.


nailing

A method of securing the leaves or sections of a book (usually a newspaper or a book in sheets that has an ample binding margin) in which ordinary flat-heated nails, or specially designed nails or staples, are driven through the paper near the binding edge from both sides. The nails are slightly shorter than the thickness of the pile of leaves, so that they do not emerge from the paper on the reverse side of the pile. This style of binding is cut flush and is not rounded and backed. Unless the book is very large, and is made up of suitable paper, a nailed binding usually has poor to very poor OPENABILITY.

Grimm, Francis W. A primer to bookbinding. Boston. Houghton Mifflin. 1939.

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


Naked Form

or *Page*, is when the *Furniture* is taken from about all sides of the *Form* or *Page*. See § 22. ¶ 7.


Naked Form

A form without furniture.


nap side

The soft, fibrous surface of a leather or cloth, as opposed to the smoother reverse side, i.e., the grain side of a leather. The term is usually applied to velvet cloth and ooze or suede leathers to indicate the face of the material. Normally, the side opposite the grain side of a leather is termed the "flesh side."

Cunha, George Daniel Martin. Conservation of library materials. Metuchen, N.J. Scarecrow. 1967.

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


naphthylene

A crystalline aromatic hydrocarbon (Cl(,H,), obtained from coal tar, that is sometimes used to destroy or inhibit the spread of bookworms, and is also spread among dried goatskins to lessen the danger of attacks by insects during shipment and storage.

Cockerell, Douglas. Bookbinding, and the care of books; a textbook for bookbinders and librarians. 5th ed. London. Pitman. 1971.

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


nappa leather

A soft, full grain leather made from an unsplit sheepskin, lambskin, or kidskin, usually tanned with alum and chromium salts and dyed throughout.


NARROW

The technical name of a piece of furniture equal in width to a narrow quotation.


natural dyestuffs

A class of dyes extracted and processed from plant or animal sources, as distinguished from dyestuffs manufactured from derivatives of coal-tar. The use of natural dyes predates recorded history. Other dyestuffs were later developed in ancient Greece, Rome, and the Orient, while still others were used in medieval and Renaissance times. Although still used to a limited extent for specialized work or for reasons of economy, their use in archival work is now virtually obsolete.

Few, if any, of the natural dyestuffs are resistant to external influences, such as light; they do, however, fade at different rates. Upon fading, they either darken or undergo a change in hue.

Some of the natural dyestuffs are: blues—indigo, woad, chemic, and Prussian blue; reds—madder, cochineal, brazilwood, alkanet, annatto, and safflower; yellows—fustic, quercitron, dock, goldenrod, sassafras, and tumeric; browns—butternut, catechu, alder, and hemlock; purples—orchil and cudbear; blacks—logwood; and neutral colors—barks of various trees, including birches and oaks, galls and sumac.

Adrosko, Rita J. Natural dyes in the United States. Washington, D.C. Smithsonian Institution Press. (United States National Museum Bulletin 281). 1968.


NATURAL HISTORY

Explanation of some Terms used in Natural History.


NAUTICAL ALMANACK

9 Geo. 4. c. 66. s. 2. “And whereas the Publication of the Nautical Almanack, constructed by proper Persons for the finding of the Longitude at Sea, is of great Importance to the Safety of Ships and Persons, and highly conducive to the general Interests of Commerce and Navigation; be it therefore enacted, That it shall and may be lawful to and for the Lord High Admiral, or the Commissioners for executing the Office of Lord High Admiral, of the United Kingdom of Great Britain and Ireland, for the Time being, to cause such Nautical Almanacks, or other useful Table or Tables, which he or they shall from Time to Time judge necessary and useful in order to facilitate the Method of discovering the Longitude at Sea, to be constructed, printed, published, and vended, free of all Stamp Duty whatever, in the same Manner as the Commissioners under the said Act of the Fifty-eighth Year of His late Majesty’s Reign might or could do; and that every Person who, without the special Licence and Authority of the Lord High Admiral or Commissioners for executing the Office of Lord High Admiral aforesaid for the Time being, to be signified under the Hand of the Secretary of the Admiralty for the Time being, shall print, publish, or vend, or cause to be printed, published, or vended, any such Almanack or Almanacks, or other Table or Tables, shall, for every Copy of such Almanack or Table so printed, published, or vended, forfeit and pay the Sum of Twenty Pounds, to be recovered with Costs of Suit, by any Person to be authorised for that Purpose by the Lord High Admiral or Commissioners for executing the Office of Lord High Admiral aforesaid, (such Authority to be signified under the Hand of the Secretary of the Admiralty as aforesaid,) by Action of Debt, Bill, Plaint, or Information, in any of His Majesty’s Courts of Record at Westminster; and that the Proceeds of the said Penalty, when recovered, shall be paid and applied to the Use of the Royal Hospital for Seamen at Greenwich.”


NEAR CHEEK

That cheek of the press which is on the side at which the pressmen stand to beat and pull.


neat's-foot oil

A pale yellow, fatty oil produced by boiling the feet and shin bones of cattle, horses, sheep, and pigs, and skimming the oil from the surface of the water. Like all natural fats, neat's-foot oil is a mixture of substances, many of which deposit on cooling. "Cold-tested" neat's-foot oil is a material that has been held at the freezing point for a period of time and then filtered. Neat's-foot oil is used in the preparation of some leather dressings, and in the fatliquoring of leather.

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


NECK of a Letter

So much of the punch as is sunk into the matrice is called the neck; and when that letter is cast of metal, it is so much as comes above the square of the shank, viz. above the beard.—M.

Nest Frames.—M. The same as our Case Racks, which see.


necking

The process of shaving the flesh side of a finished leather to equalize the thickness of the different parts of the skin, and to remove loose adhering flesh.


needle point lace stitch

See: BUTTONHOLE STITCH.


needles

1. The long, slender, round steel instruments pointed at one end and with an eyelet at the other and through which the thread passes. They are used to carry the thread through paper or cloth in sewing a book through the folds. The eyelet should be designed so as not to cut the thread and yet allow it to pass freely through the holes made in paper or cloth. 2. The special straight, curved, spiral and/or hollow needles used in machines which sew through the folds of sections, through the side of a pile of leaves, or in lacing sheets together. Most of these needles have the eyelet at the pointed end or carry the thread through the hollow.

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


needlework binding

See: EMBROIDERED BINDINGS.


network

A term sometimes applied to a finishing design consisting of intersecting lines forming squares.

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

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


neutral color

A color that is not dominated by blue or red and which, therefore, is neither warm nor cold. Medium grays and browns are usually classed as neutral colors.


neutral size

See: ROSIN SIZE.


neutral sulfite process

A paper pulping process that dates back to at least 1880, when a method was developed for using an alkaline solution of sulfite in iron digesters. The process employs sodium sulfite with sufficient alkali added, to neutralize the acids developed during the cooking process. The alkali may be caustic soda, soda ash, or sodium bicarbonate.

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.

Sutermeister, Edwin. The story of papermaking. Boston. Warren. 1954.


neutral syntans

SYNTANS which have been adjusted to a pH of 6.0 by the addition of an alkali. They are often miscalled synthetic mordants, whereas they should be referred to as "synthetic leveling agents."


neutral tint

A color which approximates gray. Specifically, it is a nearly neutral, slightly purplish black that is slightly bluer and lighter than slate or sooty black.

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


NEWS HOUSE

A printing office in which newspapers only are printed; a term used to distinguish them from book houses and job houses.