calcium carbonate

A salt (CaCO3), occurring naturally, usually in sea deposition, and prepared commercially by passing carbon dioxide either through cold lime water, which precipitates the calcite crystalline type, or hot lime water, which gives the aragonite crystalline type. The calcite is the thermodynamically stable form. Calcium carbonate is sometimes precipitated into paper by suitable chemical reactions to deacidify the paper, and is also used both as a filler and a coating pigment in the manufacture of paper.

Calkin, John Burgess. Modern pulp and paper making. 3rd ed. New York. Reinhold. 1957.

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


calcium hydroxide

A strong alkali (Ca(OH)2), which can be formed by the reaction of calcium oxide (CaO) with water. If the oxide is treated with only sufficient water to make it crumble to a fine, white, dry powder, slaked lime is produced. By slaking the paste formed from the oxide with an excess of water, a suspension called "milk of lime" is formed. A clear solution of the hydroxide in water is known as lime water. Calcium hydroxide is used extensively in a very strong solution (pH of approximately 11.4) in the LIMING and UNHAIRING of hides and skins in leather manufacture, and in the deacidification of paper. In the latter use, the resulting pH is approximately 11.0, and paper so treated is easily oxidized unless the pH is reduced by exposure to carbon dioxide or the paper is treated subsequently with a solution of calcium bicarbonate.

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.

Barrow, William J. The Barrow method of preserving deteriorated documents. Richmond, Va. The author. 1965.

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


calcium hypochlorite

Any hypochlorite of calcium, e.g., the normal anhydrous salt (Ca(ClO)2), that is generally found in commercial products containing 70 to 75% available chlorine. Calcium hypochlorite is used by many paper conservationists to bleach archival papers, and it is also used as an oxidizing agent to reduce the effects of FOXING. Its use is potentially harmful, as the chlorine is difficult to remove. Also known as "bleaching powder."


calcium sulfate

A salt (CaSO . H2O), very slightly soluble in water. In its natural form, it may exist as anhydrite (CaSO4) or gypsum (CaSO4 . H2O) It is used as a filler pigment in the manufacture of paper. Precipitated calcium sulfate is known as "crown filler," or "pearl filler." See also: BRIME.


calcium sulfite

A salt (CaSO3), prepared by reacting sulfurous acid with calcium hydroxide, and used as a filler coating pigment in paper manufacture.


calender

Horizontal cast iron rolls with hardened, chilled surfaces resting one on another in a vertical bank at the dry end of the papermaking machine. The paper web is passed between all or part of the calender rolls to increase the smoothness and gloss of its surface. See also: SUPERCALENDER.

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.

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


calendered

A paper or cloth that has been given a smooth surface by passing it through a CALENDER one or more times. Paper which receives a minimum of calendering is said to have an antique finish. With more calendering it acquires a machine finish, then an English finish, and, finally a supercalendered (highly glazed) finish. See also: CALENDERED CLOTH.

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


calendered cloth

A cloth that has had a filler of starch, usually soybean flour, impregnated into the weave of the base cloth by means of iron or steel rollers exerting a great pressure. If the rolls are heated, a high gloss is also imparted. The cloth may also be embossed during the calendering process.

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


calf finish

Originally, the smooth, ungrained finish of any animal skin tanned for use in bookbinding, and later used to designate CALFSKIN finished in a variety of grains in imitation of alligator, lizard, snakeskin, etc.

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


calf lined

A lining on the innerside of a limp cover, consisting of CALFSKIN in lieu of the board paper. This type of lining was thin and glued to the leather cover only at the outer edges. This left the covers pliable so that the book could be rolled up. Calf linings have been used at various times, and, although they are still used to some extent today, their most extensive use was in the years immediately before and after 1900.

Dana, John Cotton. Notes on bookbinding for libraries. Rev. ed. Chicago. Library Bureau. 1910.


calf lined

When the inside of a limp cover is lined with calfskin, this taking the place of that half of the end paper which is usually on the inside of the cover. This calf lining is thin and soft and is usually glued to the leather cover only at the latter’s outer edges, thus leaving the cover pliable.

Public domain (Project Gutenberg, pre-1930 text)


Calf or calfskin

Leather made of calves’ skins. It has a smooth and uniform surface. It was formerly much used in binding, and is very beautiful; but that made in recent years lasts only a short time, soon growing hard and brittle and even falling into dust. Even when new the surface is easily broken and torn.


calf paper

A colored and embossed paper somewhat resembling leather and used occasionally for covering books.


calf split

A flesh split of a calfskin, sometimes embossed so as to make it resemble the grain side of the skin. The split lacks the necessary strength to be used for anything other than linings and labels.


calfskin

In its broadest sense, a leather made from the skin of an immature bovine animal. In a more limited sense. however, it is considered to be leather made from the skin of a bovine animal that has not been weaned, or at least has been fed only milk, and whose skin does not exceed a certain weight (15 pounds or slightly more) in the green salted state. The heavier skins of immature milk-fed animals, i.e., those up to 25 or 30 pounds in the green state, are often referred to as "veals" rather than calfskin.

The best calfskins for bookbinding purposes are prepared by tanning in oak bark or sumac tanning liquors. Its freedom from grain defects makes calfskin suitable for finishing in delicate shades of color. It may be finished rough or smooth, the latter being more common, and, as it may be without any noticeable grain pattern, it may be tooled with very little preliminary blinding in.

Books which are full bound in calfskin may be described as being diced, grained, marbled, mottled, scored, sprinkled, stained, or tree, according to the form of decoration used. In addition, special styles are known as divinity, antique, law, reverse, or rough calf.

Calfskin has been used as a covering material for books since 1450, or even earlier, and, up to the end of the 18th century, it was a common bookbinding leather. Thereafter, various forms of sheepskin, and later cloth, replaced calfskin as the most commonly used bookbinding material.

There are two distinct views concerning the durability of calfskin. Some contend that because the skin is from an immature animal, the leather made from it cannot be durable, even when carefully selected and tanned, because the fibers of the skin are not fully developed. Furthermore, there is the argument that, since the skin is very soft, it shows scratches and mars too easily, and, when used, the book must then be varnished or kept in a box. Others, however, argue that if the skins are selected carefully and tanned very slowly in oak bark or sumac, calfskin makes a quite durable leather capable of withstanding considerable wear.

Physiologically, calfskin is not nearly as weak as its detractors maintain. Although the fiber network is indeed lacking the depth of cowhide, the fiber bundles are reasonably stout and contain numerous finer fibers which are long, highly ramified, and of high tensile strength. This is because, in any young animal, the connective tissue, i.e., skin, develops more rapidly than some other parts of the body, such as the muscles. The dermal network of calfskin is therefore reasonably well developed and exhibits remarkable strength and toughness. In addition, there is no denying the fact that there are calfskin bookbindings that have come down to us in their original bindings; many are several hundred years old. In as much as the durability of calfskin before the 18th century was not in doubt, it may be that it was the lowering of tanning standards that resulted in less durable calfskin. Furthermore, the bleaching methods employed to produce light-colored skins, as well as the techniques of decorating calf bindings with acid and other chemicals to produce mottled-, sprinkled-, and tree-calf effects were probably the major reasons for its reputation of insufficient durability. See also: SLUNK; TREE CALF.

Library Association. Leather for libraries, by Edward Wyndham Hulme, and others. London. Library Supply Co. 1905.

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

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


calico

A plain white cotton fabric that is heavier than muslin. As early as the first quarter of the 19th century calico was dyed in various colors and used for covering publishers' bindings; it was in fact one of the first cloths to be used for covering books. It is still used to some extent for lining the spines of edition bindings, although for this purpose it is inferior to several other fabrics. See: SPINE LINING FABRIC.

Carter, John. Publisher's cloth; an outline history of publisher's binding in England, 1820-1900. New York. Bowker. 1935.

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


caliper

1. The thickness of a material measured under specified conditions. Caliper is usually measured in thousandths of an inch (mills or points), or, under the metric system, in millimeters. 2. The instrument used to measure the thickness of a material. See also: THICKNESS.


cambric

1. A fine linen thread used in lieu of silk for working headbands. 2. A fine, closely woven white linen fabric, used in library binding for hinges, spine linings, extensions, etc.


Cambridge calf

A method of decorating a calf- or sheepskin binding by sprinkling on two tints, leaving a rectangular "pane" (panel) in the center of each cover. This technique was used extensively from the 1670s and again during the early decades of the 18th century. It was revived and used to a considerable extent during the second half of the 19th century.

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


Cambridge style

An English style of bookbinding practiced largely on theological works and in university libraries. Although used elsewhere, the style was so highly favored by binders in Cambridge in the early years of the 18th century that it became recognized as their speciality, which probably accounts for the name. Books bound in this style were sewn on raised cords, covered in calfskin that was masked and sprinkled in such a manner as to leave a stained central rectangular panel, a plain rectangular frame, which, in turn, was surrounded by a stained outside frame. The books had Dutch marble endpapers and red edges. The spine was pieced with red russia leather labels and had double blind lines at head and tail on each side of the raised bands. The covers were decorated with a two-line fillet close to the edges and on each side of the panel. and with a narrow flower roll worked on each side of the panel close to the lines. There were many variations of this style, including some books tooled in gold, and some with marbled covers and sprinkled panels.

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

Harrison, T. The bookbinding craft and industry; an outline of its history, development, and technique. London. Pitman. 1926.


cameo bindings

A style of Italian binding of the first half of the 16th century, which was imitated by French binders and also by ROGER PAYNE at a later date. The style consisted of designs in relief made from dies cut intaglio, somewhat in imitation of gems or metals. Leather was the medium most often used, although vellum was also used, being pressed while wet on the die, and with the cavities being filled with a composition of lacquered paste to preserve the shape of the figures. After being attached to the center of the leather cover, they were sometimes gilt and painted. Cameo bindings were a development of the antiquarian interest in classical coins and gems, actual examples of which at first provided the sources of the molds. French examples executed for Henri 11 and Jean Grolier bore a central medallion stamped with an intaglio cut die. The design was embossed on a gilded and colored background. See also: CANEVARI BINDINGS.

Davenport, Cyril James Humphries. Cameo book stamps, figured and described. London. Arnold.

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

Prideaux, Sarah Treverbian. Bookbinders and their craft. New York. Scribner. 1903.

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


camlet

To marble. See: MARBLING.


camphor

A crystalline terpenoid ketone (C10H16O), occurring naturally in the (+)-, (-)- and (±) forms. Ordinary commercial camphor is the (+) type, obtained from the wood of the camphor tree (Cinnamonum camphora), mainly from Formosa. It can also be manufactured, using pinene (C10H16) as the raw material. It is sometimes used in an effort to rid books and bookcases of BOOKWORMS, and as a plasticizer in cellulose nitrate plastics.


cancel

1. A replacement leaf or leaves, printed because of a mistake in the original printing, an imperfect page, etc., that is to replace the corresponding faulty section before the book is actually published. Cancels have been common since the beginning of printing from metal type; however, with the development of high speed printing presses, it has become more economical simply to reprint an entire signature rather than go to the expense of inserting a cancel by hand.

The substitution of the cancel by either the printer or binder depends on when the mistake is discovered. If the binder is to make the substitution, the printer may mark the incorrect leaf with an asterisk to indicate to the binder that he is to cut out that leaf and tip the replacement to the stub. If the replacement leaf bears a signature mark the asterisk should precede the signature letter.

2. In bookbinding, in a broad sense, all leaves that are not to be bound in. This applies specifically to the waste sheets.

Feipel, Louis Nicholas, and Earl W. Browning. Library bookbinding manual…Chicago. American Library Association. 1951.

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


CANCEL

At the conclusion of a work, if there be any leaves cancelled, it is useful to place a mark in the white line of the odd page of the reprinted leaf, to prevent a mistake on the part of the bookbinder; a *, †, ‡, ‖, or §, either upright or laid flat. This is too frequently neglected, and when the warehouseman omits tearing or cutting the cancelled leaf, the wrong one occasionally is bound in the book. To save press work and paper, cancel leaves are always imposed with the fragments, if possible.

Before the book is gathered, the warehouseman should either tear the cancelled leaf or run his knife up it, so as to prevent it being overlooked by the bookbinder; running the knife up it is the most expeditious method, and, to prevent mistakes, he ought to do this himself, and not to entrust it to boys, as cutting a wrong leaf would cause another leaf to be reprinted, and he might be held responsible for the expense, and also incur censure on account of delay.


cancel

Leaves containing errors which are to be cut out and replaced with corrected pages.


cancel

Leaves containing errors which are to be cut out and replaced by corrected pages (*see* ASTERISK).

The Art of Bookbinding: A Practical Treatise


cancel

leaves containing errors, which have to be discarded and replaced by corrected sheets. Such leaves are marked by the printer with a star.


cancel title

A replacement title page substituted for the original. See also: CANCEL; CANCELLANDUM.


cancelland

The incorrect, inaccurate, or otherwise disposal leaf that is to be cut out and replaced by a CANCEL.

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


cancellation

The removal of a leaf, leaves, or an entire section of a publication because of an error, or for some other reason. When a leaf is removed, the remaining stub is termed a disjunct leaf. Se also: CANCEL; CANCELLANDUM.

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

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


Cancelled figures

Figures cast with a line across the face.

The American Printer: A Manual of Typography


candelilla wax

A WAX found as an exudate on the leaves and stems of a plant (Euphorbia antisyphilitica) found in northern Mexico and the southwestern United States, and obtained by boiling the leaves and stems with water and sulfuric acid. It is yellowish-brown in color and is opaque to translucent. It is classed as hard wax and has a softening range at 64 to 68° C. It is used in making varnish and as a substitute for CARNAUBA WAX to impart a high gloss to leathers that are not glazed.


Canevari bindings

See: GRIMALDI, GIOVANNI BATTISTA.


CANON

The name of a type, a size larger than Trafalgar, and the largest with a specific name. The body is four Picas, the next size being four line Pica, and so upwards, reckoning by lines of Pica. See Types.


canton flannel

A soft cotton fabric, napped on one side, and sometimes used as a spine lining fabric, usually in library binding. The nap side is placed next to the spine.

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


canvas

A firm, closely woven fabric, usually made of cotton, hemp, or linen, in plain weave, and produced in various weights. Canvas has been used as a covering material for books for centuries, and was one of the principal fabrics used for embroidered bindings. Its greatest use historically, however, has been for rough job bindings, certain varieties of chapbooks, textbooks published between 1770 and about 1830 in England, and some types of reference books. Today its use is virtually limited to the covering of very large books, newspapers, etc., and as a CHEMISE for leather-bound county record books and other large stationery bindings. See also: ART CANVAS; DUCK.

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

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

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


canvas finish paper

A heavy, durable cover paper, made with a textured finish in imitation of canvas. It is used mainly for semi-stiff covers for brochures, pamphlets, etc.

Collins, Arthur Frederick. Book crafts for senior pupils; a handbook for teachers and students. Leicester. Dryad Press. 1938.


caoutchouc binding

A particular (and probably first) form of ADHESIVE BINDING, invented by William Hancock, and patented in 1836, in which the single sheets were secured with a rubber solution obtained from the latex of certain tropical plants, especially of the genera Hevea and Ficus. According to Hancock's specifications, the edges of the assembled leaves were roughened and then coated with the caoutchouc, which, when dry, was followed by one to five coatings of a stronger rubber solution. When the last coating was applied a strip of cloth coated with the caoutchouc was applied in a warm, sticky condition and rubbed down firmly.

Great numbers of these bindings were produced both in England and the United States from about 1840, and the process was used for many of the illustrated "table books" of the 1860s, as well as for many large folios printed on very thick paper. The process afforded both openability and durability, or so for the latter it was believed at the time. Both characteristics depended to a large extent on the purity of the rubber solution, and the degree to which it remained flexible. That it did not remain very flexible has been demonstrated by the fact most caoutchouc bindings have fallen apart. Also called "guttapercha binding," although incorrectly because gutta percha, which is also obtained from tropical trees was tried and found to be unsuitable.

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

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


caoutchouc polish

A caout-rubber base varnish, used occasionally in the 19th century for varnishing the leather covers of books. See also: CAOUTCHOUC BINDING.

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


CAP

The top part of a wooden press; it has two mortises at each end to receive the tenons at the upper end of each cheek, by which it keeps the cheeks at a proper distance at the top; and the head is suspended from it by two iron bolts, with screws and nuts at the upper end, by which the pull also is regulated.


CAP

The envelope of paper used to protect the edges while the volume is being covered and finished.


cape

Originally, a leather made from South African hair sheep. Today it is considered to be any leather made from a hair sheep, except East Indian native vegetable tanned sheep.

Tanners' Council of America, Inc. Dictionary of leather terminology. 6th ed. New York. Tanners' Council of America. 1969.


CAPITALS

The following directions respecting the use of capital letters, are extracted from Lindley Murray’s English Grammar.

‘It was formerly the custom to begin every noun with a capital: but as this practice was troublesome, and gave the writing or printing a crowded and confused appearance, it has been discontinued. It is, however, very proper to begin with a capital,

‘1. The first word of every book, chapter, letter, note, or any other piece of writing.

‘2. The first word after a period; and, if the two sentences are totally independent, after a note of interrogation or exclamation.

‘But if a number of interrogative or exclamatory sentences are thrown into one general group, or if the construction of the latter sentences depends on the former, all of them, except the first, may begin with a small letter: as, “How long, ye simple ones, will ye love simplicity? and the scorners delight in their scorning? and fools hate knowledge?” “Alas! how different! yet how like the same!”

‘3. The appellations of the Deity: as, “God, Jehovah, the Almighty, the Supreme Being, the Lord, Providence, the Messiah, the Holy Spirit.”

‘4. Proper names of persons, places, streets, mountains, rivers, ships: as, “George, York, the Strand, the Alps, the Thames, the Seahorse.”

‘5. Adjectives derived from the proper names of places: as, “Grecian, Roman, English, French, and Italian.”

‘6. The first word of a quotation, introduced after a colon, or when it is in a direct form: as, “Always remember this ancient maxim: ‘Know thyself.’” “Our great Lawgiver says, ‘Take up thy cross daily, and follow me.’” But when a quotation is brought in obliquely after a comma, a capital is unnecessary: as, “Solomon observes, ‘that pride goes before destruction.’”

‘The first word of an example may also very properly begin with a capital: as, “Temptation proves our virtue.”

‘7. Every substantive and principal word in the titles of books: as, “Johnson’s Dictionary of the English Language;” “Thomson’s Seasons;” “Rollin’s Ancient History.”

‘8. The first word of every line in poetry.

‘9. The pronoun I, and the interjection O, are written in capitals: as, “I write:” “Hear, O earth!”

‘Other words, besides the preceding, may begin with capitals, when they are remarkably emphatical, or the principal subject of the composition.’


CAPPING A MAN

Wrapping one of the blankets with which the pelt balls are capped about a man’s head, and tying it round his neck. This most filthy and disgusting punishment is very rarely inflicted in a press room; yet I have read an account of a trial at the Old Bailey for an assault, in which this act was the ground of offence.


CAPPING BALLS

Wrapping up pelt balls in blankets soaked in urine at night, and when they are not in use, to keep them soft. They are generally left on the floor of the sink.


capping up

1. See: HEADCAP. 2. The process of placing a paper covering or "can" over the edges of a book following headbanding, so as to prevent the edges from becoming soiled or damaged during the subsequent operations.

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

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


Caps

The leather covering of the headband. Applies also to the paper envelopes used to protect the edges while the volume is being covered and finished.


Caps

Paper coverings used to protect the edges while the book is being covered and finished. Also the leather coverings of headbands. See Head cap.


capstan

A decorative ornament. often found on English and French head-in medallion rolls, the principal feature of which roughly resembled a vertical spindle-mounted drum.

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


caput mortuum

See: VENETIAN RED.


carbolic acid

See: PHENOL,


carbon disulfide

A colorless, highly refractive liquid (CS2). It is prepared by heating sulfur and wood charcoal, or by reacting methane with sulfur vapor over a catalyst. It is used in the manufacture of carbon tetrachloride, and for fumigating books. Its customary disagreeable odor results from the presence of small amounts of other sulfur compounds. Carbon disulfide is both toxic and flammable.


carbon ink

A modified form of CHINESE INK. Carbon ink is a mixture of finely divided carbon carried in a vehicle of glue or a gum. It is extremely stable, as evidenced by the characters on manuscripts of the 7th to 10th centuries, and even Egyptian papyri, which are darker and more distinct than those of the 16th century, when IRON-GALL INK came into use. Carbon ink has no destructive effects on paper, but it does present problems to restorers because it is so easily affected by water.

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


carbon lettering

Carbon in powdered form. used in lieu of gold leaf or other metal or foil for lettering books. particularly when the covering material is canvas, or a similar fabric. The pallet and type are heated as for gold blocking, but the type is coated with carbon and then pressed firmly into the covering material. ART VELLUM is also a suitable material for carbon lettering. In very humid climates, this type of lettering may require several days to dry sufficiently for the books to be handled. At times, carbon ink is used in lieu of carbon.

Wheelock, Mary E. New books for old. St. Louis. St. Louis Public Library. 1916.


carbon paper

A thin paper coated with carbon black or some other coloring matter in a vehicle of wax or an oil-soluble substance and used for making duplicate copies. It is sometimes used by bookbinders to produce a dark color on a bookbinding approximating blind tooling. Carbon paper is also used for making paper pattern layouts prior to lettering, and when the leather does not darken uniformly with water. Size must first be applied, otherwise the carbon will rub off.


carbon tetrachloride

A colorless, mobile, nonflammable, liquid (CCl4), used as a solvent and grease remover, and as a fumigant for books. It is both toxic and volatile. It also gives off chlorine, which, in the presence of glowing charcoal, e.g., a lighted cigarette, becomes phosgene, which is even more toxic.


carbonaceous inks

A general term used in describing a group of inks produced from finely ground carbon or a similar substance, e.g., soot or lampblack, and which are jet black and very stable. A glutinous substance is used as a binder. Such inks are the simplest of all inks to produce and have been known from the earliest times. They have no destructive influences on paper but they do present difficulties to restorers because they are so easily affected by water. The carbonaceous inks may be subdivided into CARBON INK, CHINESE INK, and the SEPIA INKS.


carboxymethylcellulose

An aqueous adhesive prepared by reacting chloracetic acid (ClCH2COOH) with alkali cellulose, and used in the SUNDEX PROCESS,

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


CARD

When several bodies of letter are set in a page, compositors to justify that page to an exact length, put a card to some white line, or other break, and lengthen out the page the thickness of a card. Pressmen also use a card for an underlay.—M. Cards are rarely used now for these purposes; in making up pages, leads and scaleboards are used, and, where great nicety is required, a careful compositor will cut slips of smooth even paper, and use them where a lead or a scaleboard would be too much. At press, underlays are not used for types; and where an engraving on wood is much too low, the pressman will underlay it with thick wrapper paper. In fact, cards are an article that neither composing rooms nor press rooms are supplied with.


CARD WOOL

The act of carding wool to stuff the balls with, to take out the knots, dirt, &c., for the purpose of making the balls softer, more elastic, and to have a more even surface than would be the case if the wool were not carded. This operation is repeated every time a pair of balls is knocked up. Formerly it was teazed, and not carded.


cardboard

A board 0.006 inch or more in thickness. It is stiffer than paper. Although the generic term "board" is used in lieu of the term "cardboard" in bookbinding parlance, the covers of many pamphlets, brochures, etc., as well as the card used to line prints, posters, etc., and also used in FILLING IN (1), are of a thickness that would fit them into the definition of cardboard.

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.

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


cardboard prints

Printed cover-, end-. and other decorative papers, produced by gluing artistically shaped cuts of cardboard to a sheet of cardboard, inking with an oil-base printing ink and pressing on the paper to be decorated.

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


CARDS

About a quire of paper, which pressmen use to pull down the spring or rising of a form, which it is many times subject to by hard locking up.—M.

The term is also applied to pieces of scaleboard, old felted hat, or pasteboard, for they are all called cards, cut to the size of the mortises in the cheeks of a wooden press, and laid in them, under the tenons of the winter, and above those of the head, to cause a spring in both these parts, for the purpose of softening the pull. I would never place any cards under the winter, for the reasons assigned under that article. See Winter.


CARET

A caret, marked thus <sup>,</sup> is placed where some word happens to be left out in writing, and which is inserted over the line. This mark is also called a circumflex, when placed over some vowel of a word, to denote a long syllable: as, “Euphrâtes.”—Murray.


CARET

A character [^] used in proofreading to denote the place where omitted words should be inserted.


carnauba wax

A yellowish-white or green, sticky exudation on the leaves, berries and stalks of the carnauba palm (Copernicia cerifera), found in South America, and especially Brazil. It is believed to consist largely of myricyl ceretate and myricyl alcohol (C29H59 . CH2 . OH). It is used to impart a high gloss to leathers that are not to be glazed, and by bookbinders to polish the edges of books after gilding and burnishing through paper. The wax imparts a high gloss to the edges and is preferred to beeswax by some as it is less likely to streak. Carnauba wax has a softening range of 83 to 84° C., which makes it especially suitable for use in very hot climates.

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.

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


carragheen moss

A dark purple, branching cartilaginous seaweed (Chondrus crispus), found on the coasts of Northern Europe and North America. The moss is used in the preparation of MARBLING SIZE, about 4 ounces of the moss being sufficient to make 9 or 10 quarts of size. Carragheen moss was first used in making marbling size sometime after the middle of the 19th century. The extract of the moss is also used as a thickening agent and viscosity stabilizer in some adhesives.

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

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


Carriage

is a part of the *Press*. For which See § 10. ¶ 9. It is also a part of the *Letter-Mold*: For which See § 15. ¶ 3.


CARRIAGE,

is that part of the press that runs in under the platen, including the plank, coffin, &c. I am aware that many printers call the long wooden ribs and frame the carriage; but I am also satisfied that they misname that part of the press: for who ever heard of running in the long ribs? yet to run in the carriage is a common expression; and the name implies that the article moves or travels. This word bore the signification which I assign to it in the seventeenth century, for Moxon uses it in this sense. See Run in the Carriage.


cartonnage à la Bradel

See: BRADEL BINDING.


cartouche

1. An elaborate style of decoration popular in Italy about the middle of the 16th century. The decoration consists of elaborately interlaced fillets filling the entire field of the covers, and sometimes accompanied by arabesques, worked in a single line with tools cut in the shapes of flowers. 2. A term meaning literally a scroll or paper with the ends rolled up, bearing the title, and sometimes other information, pertaining to a book. 3. A frame, either plain or decorative, or a scroll, in which the title, name of the cartographer, and other particulars of a map are placed. The cartouche usually appears in a corner of the map, and in old maps it was frequently decorated with scenes, animals, armorial designs, etc. 4. A small rectangular ornament usually found on a ROLL (1), formed by one or more lines, generally with a plain center.

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


cartridge paper

A paper similar in appearance to hard antique paper. It is tough, closely formed, and is usually produced from chemical wood pulps, esparto, or a combination of the two. The degree of sizing depends on th purpose for which it is to be used, and its surface may be rough, semi-rough or smooth. Cartridge paper is generally unbleached or only slightly bleached, and is made in basis weights ranging from 60 to 80 pounds. It is used for endpapers, linings, and compensation guards. The term "cartridge paper" is not generally used in the United States. The name derives from its original use in forming the tube section of shotgun shells.

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

Jennett, Sean. The making of books. 4th ed. New York. Praeger. 1967.


case

1. The covering material, boards and inlay of a book, i.e., a book cover ready to be attached to the text block. Edition and library bindings have cases and are said to be case bindings. 2. A box or cover made to protect a book. See: PORTFOLIO (1); PULL-OFF BOX; SLIPCASE; SOLANDER BOX.


case

The receptacle for type, divided into numerous compartments.


case binding

A general term for a method of bookbinding, introduced in Great Britain in the 1820s. in which the case (covers) of the book is made separately (and, in edition binding, usually in large numbers) from the book (the text block and endpapers) and later attached to it by gluing the board papers of the text block to the inside of the boards of the case. This operation is known as CASING-IN. Case binding is distinguished from those methods of binding in which the covers are not made separately, as in craft bookbinding IN BOARDS (1). Case binding is the principal method employed in both edition and library binding.

Leighton, Douglas. Modern bookbinding: a survey and a prospect. New York. Oxford University Press. 1935.

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

Watson Aldred Auld. Hand bookbinding a manual of instruction. New York. Reinhold. 1963.


case binding

The ordinary cloth binding of commerce. Books in these bindings are folded and sewn, rounded and backed by machinery. A machine also makes the cases, covering the two pieces of cardboard which form the sides with cloth as needed. These cases are separately printed before being put on the books. The book is then glued and put into its case by machinery.


case hide

An expression used in Great Britain to describe a stained or otherwise colored leather, generally having a smooth, more or less glossy surface finish. It is sometimes embossed with an artificial grain. Case hide is produced from a full grain or buffed cow hide and is vegetable tanned.

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


CASE IS FULL

A case full of letters, wanting no sorts.—M.


Case is full

viz. a *Case* full of *Letter*, wanting no Sorts.


CASE IS LOW

When a case grows empty, compositors say, The Case is Low.—M.


CASE RACK

A frame made of strong deal boards, with ledges nailed on the inside of the sides, in which to slide cases that are not in use, to keep them safe. They are usually made to contain fourteen pairs of cases; they are two feet nine inches wide in the clear, and seven feet high.

Where full cases of letter are kept for the purpose of expediting any new work that requires great despatch, some houses have a bar of iron from top to bottom, and lock the cases up to preserve the letter.


CASE RUNS OVER

When a compositor distributes so much letter into a case as to fill the boxes till the letters mingle with those in the adjoining boxes, he says, his <i>Case runs over</i>, or it overflows. This frequently causes additional errors in the proof, and of course is not an advisable practice.


CASE STANDS STILL

When the compositor is not at work at his case, it is said, The Case stands still.—M. Obsolete.


CASE,

in which the letters are laid to compose with.—M.

Cases are always spoken of as pairs; viz. upper case and lower case; when placed upon a frame to compose out of, the front of the upper case rests against the back of the lower case, lying in different inclinations, the back of the upper case being raised to bring the top boxes nearer the hand.

They are generally made of beech; the outer rim and the middle bar stout, to give strength, and to nail the bottoms to, which are lined with paper, to prevent letters falling through cracks, or joints that might open; this lining used to be cartridge paper, which strengthened the bottom, but the joiner now lines them with cheap and thin demy paper; the bottom is made of thin fir deal. The dimensions are—two feet eight inches and a half, sometimes two feet nine inches long; one foot two inches and a half wide, and one inch and a quarter deep; the front being about half an inch broader than the depth, which forms a ledge for galleys to rest against, and also serves as a guard to stop letters, &c. falling over.

It is interesting to trace the changes that take place in any art; hence I have given the arrangement of the letters in cases at different periods, commencing with the first English writer, Moxon, who published his work in the year 1683; then Smith, who published in 1755; the cases before the long ſ was discarded, in my own time; the arrangement now generally used; and a variation, subdividing the boxes in the upper case, and changing the arrangement, both in that and the lower case, to afford room for a greater number of sorts, and to make the access to them more convenient; I have also added the late Earl Stanhope’s plan.

In Moxon’s cases it will be perceived there are no ç, ſb, ſk, Œ, ‡, ‖, ¶, [, (, |, nor any small capitals.

Smith, in his Printer’s Grammar, gives “Schemes for Three Pair of Cases, shewing the Difference in the Disposition of their Sorts.” I have given his No. I. and No. III.; No. II. is the same as the one before the long ſ was discarded, with the exception of the q being in the comma box, and the comma in the q box.

This arrangement of the letters before the long ſ was discarded, continued down to our own time, except the transposition of the q and the comma; and the “schemes” Smith gives as No. I. and No. III. became obsolete.

When the long ſ was discarded, and we confined ourselves to one shape of the same letter, the ligature ct was also disused; we thus lost the ct, ſb, ſh, ſi, ſk, ſl, ſſ, ſſi, ſſl, and ſt, which gave ten additional boxes for other sorts; these have afforded convenience for metal rules and braces, which before were wanted, and also for the £ and [#] that are now frequently sent with a fount, particularly the £.

The discarding of the long ſ originated with the late John Bell, who printed and published an edition of Shakspeare, the British Theatre, and the Poets: the change was not generally adopted for some years, and many retained one ſ when two came together, as ‘Eſsay;’ but the s prevailed, and no other is now used.

In the present arrangement, the figures are brought lower down to be nearer the hand, and the vowels with the diæresis moved higher up; for the same reason the acute accented vowels have changed places with those of the grave accent.

Mr. Johnson, in his Typographia, has given a variation in the arrangement that he has adopted. I do not see any improvement in the lower case to induce master printers to change the general mode, which would only tend to create confusion and put the boxes into pie. A subdivision of the boxes in the upper case, would be useful in two or three pairs in large founts, that had superiors and fractions cast to them; but as few founts have them, these subdivisions would not only be useless, but inconvenient, if applied to all the cases, as they would not leave sufficient room for metal rules, braces, &c., neither do they afford convenience for all the fractions that are cast in a piece; besides, vowels with the long and short accents are so rarely used in the general routine of business, that it is not necessary to cramp the boxes to make provision for them; and there is always room in the back boxes of the Italic cases in which to put sorts that are seldom wanted; to this we may add the additional expense of making these cases, which in an extensive business would be considerable.

Among the various arrangements of the types in cases at different periods and by different persons, I am gratified at being enabled to give that of the late Earl Stanhope, from a stereotype plate of his Lordship’s casting; this plan of the cases, the logotypes, the alteration of the letter f, and the shape of the boxes, were never adopted in the trade.

MOXON’S CASES. 1683.

SMITH’S CASES. No. I. 1755.

SMITH’S CASES. No. III. 1755.

CASES BEFORE THE LONG ſ WAS DISCARDED.

PRESENT ARRANGEMENT OF THE TYPES.

STANHOPE COMPOSING CASES.

PECULIARITIES AND ADVANTAGES OF THESE CASES.

First. The nine logotypes now in use are omitted. They are proposed to be printed with separate types, thus: ff, fi, fl, ffi, ffl, &c. instead of ﬀ, ﬁ, ﬂ, ﬃ, ﬄ, &c. And the Italic thus: ff, fi, fl, &c. instead of ﬀ, ﬁ, ﬂ, &c. In 20 pages of Enfield’s Speaker, (namely, from page 71 to 90, both inclusive,) those logotypes occur only 95 times, viz.

present logotypes.

Secondly. Eight new logotypes are introduced. Their regular and frequent occurrence expedite the process of composition in a very considerable degree; for, in those same 20 pages, the new logotypes would save to the compositor no less than 3073 lifts, viz.

stanhope logotypes.

Thirdly. The introduction of the new logotypes, and the great imperfection of the various existing arrangements of composing cases, have caused the above new and very superior arrangement to be adopted.

Fourthly. The front side of each box of the lower case is made sloping, instead of upright: which shape is convenient both to the view and to the hand of the compositor, and it enables him to lift the types with the same rapidity and ease when the boxes are nearly empty as when they are full. The types are much better preserved from wear, by means of this shape. It also allows the lower case to be made deeper than usual; so that, two of them contain as much as three lower cases on the old construction. At the bottom of each box of the upper case, the internal front arras is filled up.

The saving of time is of immense importance, especially in all cases where dispatch is particularly required. The new cases are, by experience, found to save full one day out of six to the compositor.

Fifteen boxes on the left-hand side of the upper case are represented empty. They are intended for the sorts which are sometimes used for particular works; such as, accented letters, mathematical marks, &c.

As the asterisk, or star, [*] is very liable to be filled with ink at press, it is intentionally excluded from among the reference-marks.

Stereotyped and Printed by EARL STANHOPE, Chevening House, Kent.

Layout of Upper and Lower cases

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

Layout of Upper and Lower cases

Layout of Upper and Lower cases

Layout of Upper and Lower cases

Layout of Upper and Lower cases

Layout of Upper and Lower cases


case-hardening

An irregular, distorted (drawn) grain in a leather, usually accompanied by hardness and thinness of the leather itself. It is caused primarily by over-tanning. See: OVER-TANNED.

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


case-making

A general term usually applied to the production of cases for edition bindings, generally by means of semi-automatic or automatic machines. The term may also be applied to library binding, in which case-making is carried out by hand. See also: CASE-MAKING GAUGE; CASE-MAKING MACHINE; CASING-IN.

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

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


case-making gauge

A gauge used in the production of identical book cases in relatively small quantities. The case is made by hand, the gauge being used to indicate where the boards and INLAY (1) are to be placed on the covering material which has been cut to size and glued. Case-making gauges are adjustable for different sizes of cases, turn-ins, and widths of inlay.

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

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


case-making machine

A hand- or machine-fed machine used to assemble the covering material, boards, and inlays of case-bound edition books. Case-making machines are of two general types: sheet fed, either by hand or machine, and roll fed, by machine. Roll fed machines require two additional steps in their operation as compared with sheet-fed machines, namely, corner cutting and separation of the individual cases. The covering material, however, does not have to he pre-cut. Sheet fed machines receive the covering material in the correct size for the individual case with the corners already cut.

Case-making machines may be modified for use of paper as the covering material, to make round-cornered eases, to use light board instead of paper for the inlays, and to make album covers which have one narrow and one wide board, with a hinge. Modern ease-making machines can produce up to 21 cases per minute with dimensions of 5 1/2 by 7 1/2 inches to 9 1/2 by 15 1/2 inches, with extended capabilities using accessory equipment.

The case-making machine dates back to the latter years of the 19th century; its greatest period of development was 1891-95.

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

Klinefelter, Lee Miller. Bookbinding made easy. Rev. ed. Milwaukee. Bruce. 1960.

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


Case-Work

Work in which the boards are covered and stamped. The volume is then glued upon the back and stuck into them.


Case-Work

When the cover is made independent of the book, the book being afterwards fastened into it. Refers principally to cloth and bible work.


casein

An acid-coagulable protein, occurring as a suspension of calcium caseinate in skim milk. It is possible to isolate it as an alkali-solution white powder by treating cow's milk with either mineral acid or rennet. The acid casein is used in the sizing of paper, as a simple adhesive, in the manufacture of coated papers, and as a plastic in leather finishes. Casein adhesives are little used in bookbinding as they can only be made workable by the addition of rather strong alkalies, which makes them unsuitable for use with paper or vellum.

Book Manufacturers' Institute. Helpful aids in book production. New York. Book Manufacturers' Institute. 1953.

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

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


casing-in

The process of securing the text block and attached endpapers into a case that was produced as a separate operation, lettered and (especially in edition binding) sometimes decorated. In library binding, casing-in generally takes place in a BUILDING-IN MACHINE, or equivalent, while in edition binding, it is generally done in a CASING-IN MACHINE.


casing-in boards

Wooden boards cut square at the edge and lined on one edge with a brass strip that extends beyond one or both sides of the hoard about 1/8 inch. The brass extension creates the joints of the book during the CASING-IN operation. Such boards are used when the book is cased by hand and pressed in a standing- or hydraulic press. The BUILDING-IN MACHINE has metal flanges at the edges of the jaws which accomplish the same result. See also: PRESSING BOARDS.

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


casing-in machine

A semi- or fully-automatic machine which fits books into their pre-made cases and completes the binding operation.

Semi-automatic machines require an operator to hang the books in their centers over a metal "wing." The machine then automatically clamps the book, coats the board papers with adhesive, fits the case on the text block and completes the operation. Three-wing casing-in machines are capable of processing books up to 3 inches in thickness (including covers), and, lying open, 14 inches high and 22 inches wide, at speeds up to 25 books per minute.

A fully automatic machine does not require timed feeding or removal of books. It can process books measuring not less than 3 3/8 inches in height, 2 1/2 to 7 1/2 inches in width and between 1/4 and 1 5/8 inches thick, at speeds up to 35 books per minute.

The casing-in machine came into existence in the latter years of the ] 9th century, and its principal period of development occurred during the early years of the 20th century.


CASSIE PAPER

The two outside quires of a ream. They are also called Cassie Quires, because they serve for cases to the ream.—M. See Outside Quires.


CASSIE PAPER

Formerly, the two outside quires of a ream, consisting of defective sheets.


Cast

is to *Cast Letter*. See § 19. ¶ 1.


CAST OFF COPY

Counting or Casting off Copy (for both phrases are indifferently used) is to examine and find how much either of printed copy will come in into any intended number of sheets of a different body or measure from the copy; or how much written copy will make an intended number of sheets of any assigned body and measure.—M. It is also used to ascertain how many sheets of a given sized page and letter any quantity of prepared copy will make.

This is generally done by composing a line or two of the copy, if it be manuscript, selected from the part that appears about the average mode of writing, and ascertaining how many lines of the printed or manuscript copy will make even lines in the proposed size; thus, if 10 lines of copy make 7 lines, or 7 lines of copy make 10 lines, the quantity is easily calculated. Allowance must of course be made for chapter heads, short pages, and any whites that may occur.


Casting off

Estimating how many pages a certain quantity of copy will make in type.


CASTING UP

Calculating the number of thousands of letters in a sheet of any work, or in a job, in order to fix the price for composing it.

To facilitate the ascertainment of the number of thousands of letters in a sheet of bookwork, and also of jobs, I have given a set of tables, which I believe includes, generally speaking, the sizes of the pages that usually occur in practice. These tables will be found useful to those compositors who are not expert at figures, while those who are so may save time by referring to them, and they may also serve as a check to their own casting up. The figures at the top designate the number of lines the page is long; and the figures in the column specify the number of thousands of letters in a sheet, according to the size named in the head. To ascertain the number of thousands of letters, the established rule is, to take the number of lines the page is long, including the head line and the direction line, and the number of en quadrats in the width of the page, the en quadrat being estimated as the average thickness of the letters, and on multiplying the one by the other the product will give the number of letters in a page; and this product multiplied by the number of pages in a sheet, gives the number of letters in a sheet; where there is a fraction of a thousand, and that fraction amounts to 500 or upwards, it is reckoned and charged as 1,000; when it is less than 500 it is dropped, and not included in the calculation. There are some exceptions to this general rule of taking the dimensions when the type exceeds a certain size, for which see Scale of Prices.

TABLE OF THE NUMBER OF THOUSANDS IN A SHEET.

Cast Leads. See Space Lines.

First page of six tables


castor oil

A colorless to pale yellow or greenish, viscous, non-drying fatty oil of high viscosity, extracted from beans of the castor oil plant (Ricinus communis). It consists almost entirely of the glyceryl esters of ricinoleic acid. At low temperatures it thickens; it solidifies at approximately -10 to -18° C. It is used in leather finishing processes, and, in the sulfated form, as a preservative for leather bindings. Sulfating the oil, by reacting it with sulfuric acid. allows it to react with water. This is beneficial for books stored under hot, dry conditions, as it helps keep the leather soft and pliable under conditions of low relative humidity.

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.


cat's paw calf

An acid-stain pattern on a calfskin binding, somewhat resembling the paw marks of a cat. See also: TREE CALF.


cat's tooth decoration

A form of decoration consisting of a serrated line resembling a row of teeth. It is usually impressed with a ROLL (1), and is generally used as a border decoration.


catalog paper

A lightweight paper, either coated or with an English finish, usually made with a considerable proportion of mechanical pulp, and used for mail-order catalogs, telephone directories, and the like. Uniformity of weight, opacity. finish, formation, and sufficient strength to get through high-speed printing presses are desired characteristics. Basis weights usually range from 19 to 28 pounds (24 X 36—500).

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.


catalyst

1. A substance that changes the rate of a chemical reaction without itself being changed. A catalyst may increase the rate (positive catalyst), or decrease the rate (negative catalyst). The final state or equilibrium of the reaction is not changed by the catalyst. only the rate of approaching the final state is changed. Examples of catalytic action in the field of archival preservation include the impurities in paper, such as iron or copper, minute particles of which may inadvertently be introduced into the paper pulp in the beater operation. According to some authorities, these can act as catalysts in the formation of sulfuric or hydrochloric acid in paper. by assisting in the conversion of sulfur dioxide to sulfuric acid, or the chlorine frequently used in bleaching paper pulp, into hydrochloric acid. Leather, also, may contain minute particles of metals which may speed up the formation of sulfuric acid. 2. A chemical substance added to thermosetting resinous adhesives to speed up the cure time of such adhesives. to increase the cross linkage of a synthetic polymer, or to accelerate adhesive drying.

McGuire, Edward Patrick. Adhesive raw materials handbook. Mountainside, N. J. Padric. 1964.

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


catch

A metal plate secured to the fore edge, and at times to the head and tail edges, of a book cover, and fixed with a bar, over which the clasp fits. Sometimes a pin is used in lieu of a bar. See also: CLASPS.

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


CATCH LINE

The same as Direction Line. See Catch Word.


CATCH OF THE BAR

is a piece of wood two inches thick, four inches broad, and ten inches long, with a groove in the lower part of it by which it is screwed to the front of the off cheek, and may be heightened or lowered at pleasure; the top of it is a little bevilled or sloped off, that the bar may by its spring fly up the bevil till it stick.—M.

This catch is in my opinion superior to the one now used, which is a piece of wood nailed to the far side of the off cheek, with an opening in it, through which a sloping piece projects beyond the front of the cheek, for the bar to slide up. The old one appears much easier to justify, by means of the screw, without having any nails to draw.

In very fine press work, where uniformity of pressure is to be preserved, I would always cheek the bar, or bring it home, every pull, and rest a short time upon it. In large forms, however, this is too much exertion for a man to continue; and to obviate this objection I had a catch made for some wooden presses, which, dropping over the bar, held it close to the cheek, and enabled the pressman to rest upon his pull sufficiently long without the continued strain to his arm. It was screwed to the near cheek, and disengaged from the press bar, by pulling a piece of string attached to its other end through the small hole.

A tool to catch the press bar

Another version of the catch tool


catch stitch

1. Any type of locking stitch, such as KETTLE STITCH. 2. A stitch used to gather or "catch up" the sewing threads which pass around the tapes of a book. The purpose of this stitch is to prevent undue looseness of the sewing thread. Also called "link sewing."

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

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


CATCH WORD

The first word of the following page set at the right hand end of the line of quadrats at the foot of each page; in which line is also placed the signature in those pages where it is requisite. It is likewise called the Direction Word. Catch words are now seldom used, except in reprints, to preserve uniformity in the different editions of the same work.


Catch-Word

A word met with in early-printed books at the bottom of the page, which word is the first on the following page. Now used to denote the first and last word in an encyclopædia or other book of reference.


Catch-Word

A word used and seen in early printed books at the bottom of the page, which word is the first on the following page. To denote the first and last word in an encyclopædia or other book of reference.


Catch-Word

a word printed at the foot of one page indicating the first word of the page following, as a guide in collating.


catchword

The word appearing at the bottom of the page following the bottom line of print. It is also the first word of the following page. Catchwords originally appeared on the last page of a quire or manuscript, and were intended to he used by the bookbinder in gathering. Later, they appeared at the foot of every verso or even every page; however, their use in the printed books of Europe was never very consistent. In Italian books of the period 1470-1500 they first appeared at the end of each signature (section), and later at the end of every page. In the 19th century, their use in conjunction with signature marks was redundant and they were discontinued.

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

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

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

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


catchword

A word placed under the last line on each page of some old-time books, the word being the same as the first word on the next page; a direction word.


CATECHISMS

For the allowance of the duty on paper used in the printing of the Larger or Shorter Catechism of the Church of Scotland, see Paper.


catechol

A colorless crystal (C6H6O2), soluble in water, alcohol, ether, benzene, and alkalis. An alkaline solution gives a coloration with ferric chloride, which turns brown on standing in air. It can be obtained from CATECHU, a natural dye, or prepared by fusing orthobenzenedisulfonic acid with caustic soda. Catechol is the principal constituent of the condensed (catechol) tannins. See also: VEGETABLE TANNINS.

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


catechol tannins

See: VEGETABLE TANNINS.


catechu

An extract obtained from the wood of Acacia catechu, a tree grown in Eastern India, and other areas, and used in tanning leather. It contains catechin and catechutannic acid. See also: CATECHOL; VEGETABLE TANNINS.

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


catenati

See CHAINED BOOKS.


CATER CORNER

Paper, the sides of which are not at right angles with each other, is termed cater cornered. It is disadvantageous for book work, as it cannot be folded even, nor the outside margin made equal; of course the size of the book must be reduced in the binding to make the fore edge and foot of it smooth.

Cater, Theophilus. See Donations.


catgut

A tough cord made from the intestines of animals, such as sheep and other herbivores, and used at times for the core of the HEADBAND, especially when a round band is desired, and also for TACKETING, where additional strength is required for large stationery bindings.

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


cathedral bindings

Bookbindings executed between about 1810 and approximately 1840 in England and France. The name derives from the motifs of the embellishment, e.g., Gothic architecture, rose windows, and the like. The design was either blocked on the cover, as in France, or built up by means of separate tools, as in England. The cathedral style was a revival of the 16th century ARCHITECTURAL STYLE by the 19th century binder JOSEPH THOUVENIN.

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

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


cationic (substances)

Substances, such as dyes, tannins, oils, etc., which ionize when dissolved in water, so that the characteristic ion—dye, tannin, oil, etc.—is the cation and has a positive charge. Cf: ANIONIC  (SUBSTANCES)

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


Cattie

Imperfect or smutty look of a printed sheet caused by an oily or unclean roller.


caustic

A term used with reference to the hydroxides of alkali and alkaline earth metals, such as sodium, potassium, calcium, barium, etc., so called because they possess corrosive properties. In very dilute solutions, caustics are used to neutralize acidity in paper, to control pH in the bleaching of paper furnishes, etc., and in very strong solutions in leather manufacture to lime and unhair hides and skins.


caustic soda

See: SODIUM HYDROXIDE.


Caxton, William

The English linguist, editor, printer, and publisher, who was the first to print books in the English language. Caxton was born in Kent, possibly in the village of Tenderton, traveled to London in 1438 and became apprenticed to the merchant Robert Large, who was also Lord Mayor of London. Three years later Large died, leaving the young Caxton some 20 marks, a not inconsiderable sum in those days. Possibly as early as 1441 Caxton moved to Bruges and by not later than 1446 had established himself in business there. While in Flanders (1446-76) he became a very successful merchant in the Anglo-Flemish cloth trade, and was made governor of the English Nation at Bruges in 1462.

It was in Bruges that Caxton entered the service of Margaret, Duchess of Burgundy and sister of Edward IV of England. It is believed that he functioned as secretary, librarian, translator, or all three, to Margaret, and it has also been suggested that it may have been her keen desire to have books in her native language that prompted Caxton to take up the trade of translating and publishing books in English. It may have been during a visit to Cologne in 1471-72 that he first encountered the craft of printing, and it is reasonably certain that he learned the craft from Johann Veldener.

Caxton returned to Bruges in 1472 and there published the first printed book in the English language, Raoul le Fevre's Le Recueil des Histories de Troyes, which he had translated in about 1473-74. It is supposed that Caxton financed the publication but that it was actually printed by Veldener at Louvain. Caxton returned to England in 1476, where he lived for the next 15 years, dying in London in 1491.

Regardless of what some critics may say of Caxton's lack of scholarship and education, his place in history is deserved more because of his ability as a linguist and editor, than as a printer and publisher. Even so, he printed some 18,000 pages, most in folio size, and almost 80 separate books. He did most of the administrative work of the press through his three main assistants, Wynkyn de Worde, Richard Pynson, and Robert Copland. In all, Caxton translated at least 22 books; he may well have translated others that were never published.

It is thought that Caxton probably brought his bookbinding tools from Bruges upon his return to England, because two of his stamps are very similar to those used on books found contemporaneously in the city. Caxton's stamps were used after his death by his successor, Wynkyn de Worde, and some, thereafter, by Henry Jacobi.

Book collector. London. Queen Anne Press.

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


cedar marble

A cover marble executed by sprinkling black and brown coloring on the covers, followed by orange in various places to give a cloudlike effect. This is followed by red placed near the orange. When this is dry, the covers are coated two or three times with yellow, which is allowed to penetrate evenly into the leather.

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

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


cedar oil

A colorless to pale yellow essential oil distilled from the wood of various cedars (Juniperus virginiana, 1. procera, and others), and used by some restorers in a mixture of anhydrous lanolin, beeswax, and hexane. as a leather dressing. The cedarwood oil is said to act both as a preservative and as an agent which aids in forming a bond between the lanolin and wax in leather. See also: LEATHER DRESSINGS.

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

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


cellulose

The chief constituent of the cell walls of all plants and of many fibrous products, including paper and cloth. Cellulose is by far the most abundant organic substance found in nature. It is a complex polymeric carbohydrate (C6H10O5) n, having the same percentage composition as starch, i.e., 44.4% carbon, 6.2% hydrogen, and 49.4% oxygen, and it also yields only glucose on complete hydrolysis by acid. The portion of a cellulosic material that does not dissolve in a 17.5% solution of sodium hydroxide is termed ALPHA CELLULOSE; the portion that dissolves in an alkaline solution and precipitates upon acidification is known as BETA CELLULOSE; and the portion that dissolves in an alkaline solution but does not precipitate upon acidification is called GAMMA CELLULOSE. See also: CELLULOSE ACETATE; CELLULOSE CHAIN; CELLULOSE FIBERS; CELLULOSE NITRATE; COTTON LINTERS; HEMICELLULOSES; LIGNIN;

PAPER.

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

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


cellulose acetate

An acetate salt of cellulose, produced from COTTON LINTERS and used in archival work: 1) as a photographic film base (often called "safety film" since it is not readily combustible); and 2) in conjunction with an adhesive, such as one of the polyvinyl resins, in laminating, heat sealing, etc. Cellulose acetate is manufactured in a wide variety of thicknesses, ranging from 0.001 to 0.005 inch, and is clear, hard and glossy. It has little tear strength and has almost the same HYGROSCOPICITY as cellulose itself; however, when moist, it does not stretch as much as paper.

Barrow, William J. The Barrow method of preserving deteriorated documents. Richmond, Va. The author. 1965.

Barrow, William J. Manuscripts and documents, their deterioration and restoration. 2nd ed. Charlottesville, Va. University of Virginia Press. 1972.

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

Scribner, Bourdon Walter. Protection of documents with cellulose acetate sheeting. Washington, D.C. U.S. Government Printing Office. (U.S. National Bureau of Standards, Miscellaneous publication, M 168). 1941.


cellulose chain

A term used to describe the cellulose molecule, which appears to be built up of between 150 and 1.500 very simple units, in the form of a long, thin structure, not unlike a chain. Each link of the chain consists of a slightly modified form of the common sugar, glucose; the strength of paper depends to a large extent on the continuity of these linkages. Destructive agents, which can weaken and open the individual links of the chain, cause it to break into smaller lengths, resulting in what is generally considered to be BRITTLENESS in the paper. The mechanical strength of any aggregate of cellulose fibers, such as paper, decreases in response to the reduction in chain length, the process continuing ultimately to the point where only glucose remains.


cellulose ester

An ester of cellulose, such as CELLULOSE ACETATE or CELLULOSE NITRATE.


cellulose fibers

The basic raw material used in the manufacture of paper and other cellulose products. Cellulose usually exists in association with substantial amounts of other substances that are removed insofar as possible in the papermaking process. An exception to this is the seed hair fibers, or COTTON LINTERS, which exist as almost pure cellulose. The approximate cellulose content of some of the materials used in making papers are:

Material       % Cellulose

Cotton             98

Ramie              86

Hemp               65

Jute               58

Deciduous woods    41-42

Coniferous woods   41-44

Cornstalks         43

Wheat straw        42

The cellulose fibers used in making paper have certain inherent properties which enable them to form a web, i e.. a sheet of paper. including: 1) hydrophilicity, which permits them to be readily dispersed in water; 2) a fine structure which permits FIBRILLATION; 3) sufficient fiber length to form a highly entangled web of considerable strength; and 4) the ability to form hydrogen bonds between fibers as the web dries, thus providing additional strength in the sheet of paper.

A laboratory handbook of pulp and paper manufacture. 2nd ed. London. Arnold. 1961.


cellulose film

A transparent film produced from cellulose fibers by a process that involves steeping, shredding, and converting the fibers into a viscose solution, or cellulose xanthate, which is subsequently extruded to convert it into a film. It is made in a limited range of thicknesses, between 0.00085 and 0.0016 inch, and, when rendered moisture resistant, may be used to seal documents, book leaves, etc., for protection. It is a fairly flexible film of considerable strength.


cellulose nitrate

A film made from cotton waste, wood, or waste cellulose film. It is produced by the nitration of cellulose, usually with a mixture of nitric and sulfuric acids. It has been used as a film base for photographic purposes, as well as to encase documents, book leaves, etc.; however, its flammability, the fact that it causes severe deterioration of the materials it supposedly protects (because of the generation of oxides of nitrogen which yield nitric acid in the presence of water), and the fact that it cannot be manufactured in thickness down to 0.001 inch, has precluded its use in preservation work.


cellulose varnish

A cellulose-base varnish (usually cellulose nitrate), available in an aerosol dispenser, and useful as a protective sealing film over the lettering on a book cover, if used in moderation. It is flammable.

Corderoy, John. Bookbinding for beginners. New York. Watson-Guptill. 1967.


cement

1. A term meaning to bond together or to adhere with a liquid adhesive. 2. A liquid adhesive having a solvent base composed of a synthetic elastomer resin. 3. An inorganic paste.

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

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


center and corner piece style

A common style of decoration, essentially Eastern in origin, featuring a center ornament, circular or (occasionally) oval in shape, and often ARABESQUE, in combination with corner pieces generally made up of a quarter segment of the center ornament. The style was common on the Continent and especially in England from about 1580 to 1620. See also: CENTERPIECE.

Nixon, Howard M. The development of certain styles of bookbinding. London. Private Libraries Association. 1963.

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


center fold

See: CENTER SPREAD.


center spread

The two center pages of a section or, more specifically, the two center pages of a periodical issue, printed side by side on a continuous sheet so that there is no margin between them. Such a publication must be sewn through the center fold to avoid obscuring part of the printed matter. Also called "center fold."

Stevenson, George A. Graphic arts encyclopedia. New York. McGraw-Hill. 1968.


center tools

The ornamental stamps on the spine of a volume between the raised bands. Of the customary six spaces, the title is normally in space two (from the top), the author in space four, the year of publication in space six, with "center tools" in spaces one, three, five and six (just above the date).

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

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

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


center tools

Tools cut for ornamentation of center of panels and sides of book covers.


center-fold sewing

A generic term sometimes used with reference to the sewing of a book through the folds of the sections. See: FLEXIBLE SEWING; MACHINE SEWING; RECESSED-CORD SEWING; TAPE SEWING.


center-to-center

1. The distance from the center of one punched hole (punched through the paper for side sewing or fold sewing) to the center of the next hole. 2. The distance between holes punched through loose-leaf papers, or the covers of a post binding, etc.

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


centerpiece

1. A finishing stamp, usually ARABESQUE, blocked in the center of the cover and generally used in combination with center pieces or corner stamps. It was a popular form of decoration in the late 16th and early 17th centuries. Also called "centerstamp." 2. A piece of metal, usually embossed and engraved, and fastened to the cover of a book.

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

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


centerstamp

See: CENTERPIECE.


centipoise

One hundredth of a poise. It is a unit for measuring the viscosity of an adhesive. The viscosity of water at 20° C. is approximately one centipoise.


Centre-Tools

Are single, upright, or independent tools used for the middle of the panels by the finisher.


Centre-Tools

Independent tools cut for the ornamentation of the centre of panels and sides.


ceramic paper fibers

Noncellulosic paper fibers produced from inorganic materials. Ceramic fibers include all refractory fibers made of alumina, zirconia. thoria, magnesia, fused silica, hafnia, berylia, titanium oxide, potassium titanate, and their mixtures, with or without silica. By definition, monooxide ceramics, such as alumina ceramics, are composed of at least 80% oxides. More often they contain 90% or more base oxides, while special products may contain 99% and sometimes 100%. The main group of ceramic fibers is composed of silica in admixture with special oxides, such as aluminum and magnesium oxides, barium, and calcium.

Ceramic fibers may be produced in numerous ways, including, blowing methods, spinning methods, continuous-spinning methods, colloidal evaporation processes, vapor deposition, single-crystal and whisker methods, oxidation, crystallization, pseudomorphic alteration, etc. Ceramic paper fiber is not used in book production because of the very high cost of the fibers as compared with wood and other organic fibers; however, such papers do print and fold well and are considerably more durable.

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


CERIPH

The fine lines, and the cross strokes at the tops and bottoms of letters, are termed by the letter founders ceriphs.


CERIPH

The lines or cross-strokes at the ends of the stem of a letter.


CERTIFICATE

By the act of the 39th Geo. 3. cap. 79., intituled “An Act for the more effectual Suppression of Societies established for Seditious and Treasonable Purposes; and for better preventing Treasonable and Seditious Practices,” it is enacted—

a. 23. “And whereas many Societies, established of late Years for treasonable and seditious Purposes, and especially the said Societies of United Englishmen, United Scotsmen, United Irishmen, and United Britons, and the said Society called The London Corresponding Society, and other Corresponding Societies, have at various Times caused to be published, in great Quantities, divers printed Papers of an irreligious, treasonable, and seditious Nature, tending to revile our holy Religion, and to bring the Profession and Worship thereof into Contempt among the Ignorant, and also to excite Hatred and Contempt of his Majesty’s Royal Person, Government, and Laws, and of the happy Constitution of these Realms, as by Law established, and utterly to eradicate all Principles of Religion and Morality; and such Societies have dispersed such printed Papers among the lower Classes of the Community, either gratis, or at very low Prices, and with an Activity and Profusion beyond all former Example: And whereas all Persons printing or publishing any Papers or Writings are by Law answerable for the Contents thereof, but such Responsibility hath of late been in a great Degree eluded by the secret Printing and Publication of such seditious, immoral, and irreligious Papers or Writings as aforesaid, and it is therefore highly important to the Publick Peace that it should in future be known by whom any such Papers shall be printed; be it enacted, That, from and after the Expiration of forty Days from the Day of passing this Act, every Person having any Printing Press, or Types for Printing, shall cause a Notice thereof, signed in the Presence of, and attested by one Witness, to be delivered to the Clerk of the Peace acting for the County, Stewartry, Riding, Division, City, Borough, Town, or Place, where the same shall be intended to be used, or his Deputy, according to the Form prescribed in the Schedule hereunto annexed; and such Clerk of the Peace, or Deputy respectively, shall, and he is hereby authorized and required to grant a Certificate in the Form prescribed in the Schedule hereunto annexed, for which such Clerk of the Peace, or Deputy, shall receive the Fee of one Shilling, and no more, and such Clerk of the Peace, or his Deputy, shall file such Notice, and transmit an attested Copy thereof to one of his Majesty’s Principal Secretaries of State; and every Person who, not having delivered such Notice, and obtained such Certificate as aforesaid, shall, from and after the Expiration of forty Days next after the passing of this Act, keep or use any Printing Press or Types for Printing, or having delivered such Notice, and obtained such Certificate as aforesaid, shall use any Printing Press or Types for Printing in any other Place than the Place expressed in such Notice, shall forfeit and lose the Sum of twenty Pounds.

s. 24. “Provided also, That nothing herein contained shall extend to his Majesty’s Printers for England and Scotland, or to the Publick Presses belonging to the Universities of Oxford and Cambridge respectively.”

s. 33. “And be it further enacted, That if any Justice of the Peace, acting for any County, Stewartry, Riding, Division, City, Borough, Town, or Place, shall, from Information upon Oath, have reason to suspect that any Printing Press or Types for Printing is or are used, or kept for Use without Notice given and Certificate obtained as required by this Act, or in any Place not included in such Notice and Certificate, it shall be lawful for such Justice, by Warrant under his Hand and Seal, to direct, authorize, and empower any Constable, Petty Constable, Borsholder, Headborough, or other Peace Officer, in the Day Time, with such Person or Persons as shall be called to his Assistance, to enter into any such House, Room, and Place, and search for any Press or Types for Printing; and it shall be lawful for every such Peace Officer, with such Assistance as aforesaid, to enter into such House, Room, or Place, in the Day Time accordingly, and to seize, take, and carry away, every Printing Press found therein, together with all the Types and other Articles thereto belonging, and used in Printing, and all printed Papers found in such House, Room, or Place.”

FORMS.

“IV. FORM of Notice to the Clerk of the Peace, that any Person keeps any Printing Press or Types for Printing.

“To the Clerk of the Peace for ______ [here insert the County, Stewartry, Riding, Division, City, Borough, Town, or Place,] or his Deputy.

“I A. B. of ______ do hereby declare, That I have a Printing Press and Types for Printing, which I propose to use for Printing, within ______ [as the Case may require], and which I require to be entered for that Purpose, in pursuance of an Act, passed in the thirty-ninth Year of the Reign of His Majesty King George the Third, [set forth the Title of the Act.]

“Witness my Hand, this ______ Day of ______ .”  Signed in the Presence } of _________________}

“V. FORM of Certificate that Notice has been given of a Printing Press, or Types for Printing.

“I ______ Clerk [or Deputy Clerk] of the Peace for ______ do hereby certify, That A. B. of ______ hath delivered to me a Notice in Writing, appearing to be signed by him, and attested by C. D. as a Witness to his signing the same, that he the said A. B. hath a Printing Press and Types for Printing, which he proposes to use for Printing, within ______ and which he has required to be entered pursuant to an Act, passed in the thirty-ninth Year of His Majesty’s Reign, [set forth the Title of the Act.]

“Witness my Hand, this ______ Day of ______ .”


certification plan

A proposal for library binding drawn up in the 1930s by the Joint Committee of the American Library Association and the Library Binding Institute, to enable library binders to apply for certification by agreeing to meet certain requirements, including:

1.  Submitting samples of their work so as to demonstrate the bindery's

capability of producing so called Class "A" work (the samples being

reviewed by a board appointed by the Joint Committee);

2.  Proving responsibility and reliability by means of sworn answers to

questions, and permitting the investigation of replies;

3.  Providing satisfactory references;

4.  Carrying sufficient insurance;

5.  Pledging to conduct the business of the bindery fairly, treat

customers honestly, and maintain minimum standards and good labor

conditions; and

6.  Becoming a member of the Library Binding Institute

The certification of library binders is now solely under the jurisdiction of the Library Binding Institute.

Feipel, Louis Nicholas, and Earl W. Browning. Library bookbinding manual…Chicago. American Library Association. 1951.


certified library bindery

A bookbinding establishment in the United States or Canada that specializes in library binding and meets the minimum specifications of the Library Binding Institute, as outlined in the CERTIFICATION PLAN. A certified library binder is defined as one who produces binding which will achieve two objectives: 1) meet the requirements of libraries for an end product capable of withstanding the rigors of normal library circulation or use; and 2) provide maximum reader usability. A certified library binder is required to warrant that the binding covered by his invoice is Library Binding and complies with all requirements of the Library Binding Institute Standards for Library Binding, except as noted in the invoice. Certified library binders are also required to adhere to the Trade Practice Regulation for the Library Binding Industry, maintain compulsory insurance to protect the customer's property in their custody, and participate in the industry quality control program.

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


cessing

A technique used to allow excess tan liquor to drain from hides and skins, particularly the former. The hides are piled up flat on a wooden stillage or pallet and covered to prevent overdrying the surface and edges of the pile. Cessing is also used in place of HORSING UP when it is necessary to have a flat leather with no creases. Also called "piling."

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


chain lines

The widely spaced watermark lines, about 25 mm apart, parallel to the shorter sides of a sheet of laid paper, caused by the "chain wires," i.e., the wires to which the finer laid wires of the MOLD (1) are attached for support. They usually correspond to the position of the bars or ribs of the mold to which they are often fastened. Occasionally, the shadow of the rib can be seen on either side of the chain line. Generally the chain lines run vertically in the leaves of a folio, horizontally in a quarto, and again vertically in an octavo. Sometimes, in the late 17th and early 18th centuries, this rule is reversed because of the use of a split sheet, or the use of a double mold, resulting in "turned chains."

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

Gaskell, Philip. New introduction to bibliography. New York. Oxford University Press. 1972.

McMurtrie, Douglas Crawford. The book; the story of printing & bookmaking. 3rd ed. New York. Oxford University Press. 1943.


chain stitch

1. See KETTLE STITCH. 2. An ornamental stitch in an embroidered binding that resembles the links of a chain, and is used in working in silver and other colored threads into the binding.

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


chain wires

See: CHAIN LINES.


chained books

Books that in the past were attached to shelves, reading desks, pulpits, pews, etc., by means of chains. From the 15th to the early 18th century, books were secured in this manner to prevent them from being stolen. The chains used for this purpose varied in length from nearly 3 feet to almost 5 feet, while the links ranged in size from 1 1/2 to almost 3 inches in length, with a width of about 1/2 inch. The problem of the chains breaking when twisted was partially overcome by the inclusion of a swivel in the middle or at one end.

When the books were meant to be stood on end the chains were usually attached to the fore edge of the upper cover (and occasionally the lower) by means of a ring held to the board by a length of thin brass which was bent around the edge of the cover and riveted in place. Often, however, the ring was not used, the chain being attached directly to the clip on the cover. This required that the book be shelved fore edge out, a method of shelving that endured well into the 17th century, even when chains were not used. Books meant to lie permanently on lecterns, or the like, often had the chains attached to the bottom or top edge of the lower cover.

Chains were used, it has been said, because "The thievish disposition of some that enter into libraries to learn no good there, hath made it necessary to secure the innocent books, even the Sacred volumes themselves, with chains—which were better deserved by those persons. who have too much learning to be hanged, and too little to be honest."

The practice of chaining books began to die out by the middle of the 17th century when it became a more common practice to shelve books with their spines out. See PLATE 1,

Blades, William. Books in chains and other bibliographical papers. Detroit. Gale Research Co. 1968.


CHALDEE

The Chaldee letters, vowel points, and accents, correspond in every respect with those of the Hebrew in figure and power.—Bythner’s Lyre of David, translated by the Rev. Thomas Dee, A.B. Dublin, 1836. 8<i>vo.</i>


chalk

See: CALCIUM CARBONATE.


chalking

1. The process of applying pumice, brick dust, red earth, or a similar material, to the GOLD CUSHION prior to laying the gold leaf on it for cutting. Chalking helps prevent the leaf from sticking to the cushion. 2. A printing defect caused by the use of an ink that has been over-reduced, or an ink that is not suitable for the paper, causing the ink vehicle to soak into the paper leaving the pigment on the surface where it can easily be smudged or rubbed off. 3. A condition encountered in some papers where fine particles of pigment break off the sheet during finishing, converting, printing, or subsequent use.


chalky appearance

The surface of a coated paper that is lacking in gloss. The condition is probably due more to the type of coating material used, as well as to the coating process, than to the degree of calendering which the paper undergoes.

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.


chamfered edges

See: BEVELED BOARDS.


chamois

Originally, a soft. pliable leather made from the skin of the chamois (Rupicapra rupicapra), a small goatlike antelope found in the high mountainous areas of Europe and the Caucasus. Chamois was at one time used to some extent in bookbinding, but is seldom, if ever, used today because it is hygroscopic, and, if kept dry by artificial means, tends to become hard and prone to cracking. The original chamois was a vegetable-tanned leather. Today, the leather called "chamois" is a suede-finished leather made from the FLESH SPLIT of a sheep- or lambskin, or from sheep or lamb from which the grain has been removed by FRIZZING (3), and tanned by processes involving the oxidation of fish or marine animal oils in the skin, using either only the oils, in which case it is a full-oil tannage, or, in a first stage using formaldehyde and then the oils, in which case it is a combination tannage. In the United States, the term "chamois" without qualification, is restricted to the flesh split of a sheepskin tanned solely with oils. The old term for the full oil process was "chamoising." Also sometimes called "shammy."

Holme, Charles, ed. The art of the book…New York. The Studio. 1914.

Tanners' Council of America, Inc. Dictionary of leather terminology. 6th ed. New York. Tanners' Council of America. 1969.

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


chamoletting

An old term for MARBLING.


champlevé bindings

Bindings produced between the 11th and 13th centuries. The process involved cutting designs into a thin sheet of gold or copper, which formed the cover, with cavities filled with enamel. Sometimes the enamel was limited to the decoration of borders and corners. Champlevé can be distinguished from CLOISONNÉ BINDINGS by the irregular widths of the metal enclosing the enameled areas.

Dutton, Meiric Keeler. Historical sketch of bookbinding as an art. Norwood. Holliston Mills. 1968.

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

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