direct dyes

A class of ANILINE DYES, 50 called because they have such great affinity for cellulose fibers, i.e., paper and some cloths. While both these and ACID DYES are sodium salts of dye acids, direct dyes do not require the use of a MORDANT.

Their shades are duller than those of either acid or BASIC DYES and they tend to have less tinctorial value than the basic dyes; however, they have the very important advantages of being much more lightfast than the basic dyes, and in certain instances, more so than even the acid dyes.

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.


DIRECTION

The word that stands alone on the right hand in the bottom line of a page.—M. It is the first word of the following page. See Catch Word.

Public domain (Project Gutenberg, pre-1930 text)


Direction

the word that stands alone on the Right Hand in the bottom *Line* of a *Page*.


direction line

The line of printed characters in a publication when the abbreviated title of the book, i.e., the DESIGNATION MARK, follows the signature mark, or letter, printed at the foot of the first page of each sheet. It is intended to serve as a guide to the binder when gathering. Until the end of the 18th century the direction line, printed below the text of the page, and often between the text and the footnotes, contained the CATCHWORD, signature, press figures, and occasionally the volume number or part number. See also: SIGNATURE AND CATCHWORD LINE.

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.

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

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


DIRECTION LINE

The line the direction stands in.—M. See Catch Word.


direction word

See: CATCHWORD.


directional ventilating power

The ventilating power of leather, which is greater in one direction than in the other, in that it allows water to migrate more freely from the flesh side to the grain side than vice versa.

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


directory paper

A lightweight printing paper made with a substantial proportion of mechanical wood pulp. The balance of the pulp is usually unbleached sulfite or semi-bleached sulfate pulp, although the paper is also made from deinked paper stock plus chemical wood pulp. Its essential characteristics are uniformity of basis weight. opacity, strength, and a finish suitable for high speed printing. Permanence is not considered to be an essential property. Usual basis weights are 18 to 28 pounds (4 x 36—500). It is used main1y for printing telephone directories, city directories, and the like.


disc refiner

A type of REFINER consisting of one or more matched pairs of discs lined with a pattern of ribs. One disc rotates, while the other is stationary or rotates in the opposite direction. The paper stock flows from the center outward, or vice versa, and is macerated, rubbed, and cut (refined). The degree and extent of the refining depends upon several factors, including the pressure between the discs, the type of ribbing on the faces of the discs, and the consistency of the pulp suspension.


disc ruling machine

See: RULING MACHINES.


Dished

A defect in electrotyped plates, the centre of a letter being lower than its edges.

The American Printer: A Manual of Typography


disodium pyrophosphate

A chemical (Na2P2O7) used as a mold inhibitor in paper. It is used in an aqueous solution of 1 1/2 ounces of disodium pyrophosphate, 1/6 ounce of potassium ferrocyanide, and 1/2 ounce of soda crystals in 1 gallon of water. The purpose of the soda crystals is to prevent the paper from turning a greenish hue after treatment. The inhibitor solution may be made up with an addition of gelatin or glue, or other sizing material, if the paper to be treated must be also sized.

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


Distributing

Returning types to their various boxes after having been printed from. Spreading ink evenly over the surface of a roller.


divi-divi

The tannin-rich pods of a large genus of trees and woody climbers (Caesalpinia) native to the tropics and sub-tropics The most important is Caesalpinia coriaria. Divi-divi pods contain a high percentage of tannin (40-4%) which is easily leached out. It is one of the pyrogallol class of tannins and produces a light-colored leather. It is usually used along with other tannins, because when used alone it produces a leather that is soft and spongy in a damp atmosphere and which lacks pliability in dry weather. In addition, the amount of sugary matter present in the pods results in too rapid fermentation of the tan liquor. This may produce reddish stains in the leather, which can, however, be controlled to some extent by the use of appropriate antiseptics. Divi-divi is also used in leather manufacture as a dye. See also: VEGETABLE TANNINS.

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


dividers

1. The draftsman's instrument used in bookbinding for a variety of purposes, including measuring the distance between bands or webbings and cutting stock, patterns, etc. 2. The heavy sheets of cardboard or paper, frequently of cover-paper weight or heavier, used to divide the sections of a book when two or more sections. parts, or issues are bound together.

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

Porte, Roy Trewin. Dictionary of printing terms. 4th ed. Salt Lake City. Porte. 1941.


DIVIDING

There are practical rules in printing for dividing words where the whole of a word cannot be comprised within the line; and there are also grammatical rules for the same object. Every printing office has some peculiarity on this subject.

The most general practical method of dividing words is to preserve the primitive word at the end of a line, and carry the termination to the next line; but this cannot always be done, as the following few instances will show. In these and similar cases it will be better to avoid dividing the word, and either drive the whole out, or get the termination in, as the spacing of the line will best allow.

Words whose plurals are formed by the addition of s, which adds another syllable to them, by making the last into two, ought not to have these two syllables divided; such as—

The terminations of words, chion, cial, cient, cion, cious, shion, sian, sion, tial, tion, and tious, ought never, in my opinion, to be divided, as they each form one sound, although Murray and Walker say they form two syllables.

When the primitive word cannot be retained at the end of a line, I would prefer the prefixes ab, ac, ad, al, anti, be, bi, co, com, con, de, di, dia, dis, en, in, per, pre, pro, re, sub, super, un, when words in which they occur require to be divided; provided it does not cause any great violence in the spacing.

When it is necessary to divide a word at the end of a line, it is also necessary to study the appearance of the termination of that line, as well as of the commencement of the succeeding line, for they are equally affected. An improper division of a word will sometimes look better than a proper one, but it ought always to be avoided, if possible.

It frequently happens that the last syllable, when it is short, has a meagre appearance at the beginning of a line; when this is the case, it is preferable to drive out another syllable, provided the appearance and the correctness of the first part of the word are not compromised.

It is not usual, and is looked on as bad workmanship, to divide a word with a single letter at the end of a line, for it may be driven out, or, if the line be wide spaced, the next syllable may be got in; but should the second syllable of the word be a long one, or the last syllable a very short one, it will then be advisable to overrun a preceding line or two, to get rid of the objectionable division.

Neither is it usual to carry over the last syllable of a word if it consist of two thin letters only; for the hyphen is more than equal to one of them, and changing two or three spaces will make room for the other, without affecting the appearance.

Some persons object to the dividing of words at all in printing, as being unnecessary and displeasing to the eye; but then they must sacrifice all regularity of spacing, which is still worse, and has the appearance of bad workmanship. I would recommend that a compositor should make each give way a little to the other, always preserving such an uniformity in spacing that there should be no glaring disproportion in different lines.

Avoid dividing words in lines following each other, so as not to have hyphens at the ends of two adjoining lines, but never have three or more divided words at the ends of consecutive lines; although five or six may occasionally be seen, yet in book work it is held to be bad workmanship, and should never be allowed to pass. Neither is it desirable to divide proper names, nor the last word in a page so as to have part of a word to begin the succeeding page, particularly when it is an even one; sums of money and series of figures are never divided.

It is not possible in every instance to divide words correctly, particularly when the page is of a narrow measure, and the type large; when this happens, the compositor is obliged frequently to sacrifice correctness to necessity; but when the page is of a width proportionate to the size of the type, he may in the usual way of workmanship preserve his regular spacing, and also his correct dividing.

The preceding observations may be looked on as practical ones for printing. Lindley Murray gives the following grammatical directions for dividing words.

“1. A single consonant between two vowels must be joined to the latter syllable: as, de-light, bri-dal, re-source: except the letter x; as, ex-ist, ex-amine: and except likewise words compounded; as, up-on, un-even, dis-ease.

“2. Two consonants proper to begin a word, must not be separated; as, fa-ble, sti-fle. But when they come between two vowels, and are such as cannot begin a word, they must be divided; as, ut-most, un-der, in-sect, er-ror, cof-fin.

“If the preceding syllable is short, the consonants must be separated: as, cus-tard, pub-lic, gos-ling.

“3. When three consonants meet in the middle of a word, if they can begin a word, and the preceding vowel be pronounced long, they are not to be separated; as, de-throne, de-stroy. But when the vowel of the preceding syllable is pronounced short, one of the consonants always belongs to that syllable; as, dis-tract, dis-prove, dis-train.

“4. When three or four consonants, which are not proper to begin a word, meet between two vowels, the first consonant is always kept with the first syllable in the division: as, ab-stain, com-plete, em-broil, dan-dler, dap-ple, con-strain.

“5. Two vowels, not being a diphthong, must be divided into separate syllables; as, cru-el, deni-al, soci-ety.

“A diphthong immediately preceding a vowel, is to be separated from it: as, roy-al, pow-er, jew-el.

“6. Compounded words must be traced into the simple words of which they are composed; as, ice-house, glow-worm, over-power, never-the-less.

“7. Grammatical, and other particular terminations, are generally separated: as, teach-est, teach-eth, teach-ing, teach-er, contend-est, great-er, wretch-ed, good-ness, free-dom, false-hood.

“Two consonants which form but one sound, are never separated: as, e-cho, fa-ther, pro-phet, an-chor, bi-shop. They are to be considered as a single letter.

“8. In derivative words, the additional syllables are separated: as, sweet-er, sweet-est, sweet-ly; learn-ed, learn-eth, learn-ing; dis-like, mis-lead, un-even; call-ed, roll-er, dress-ing; gold-en, bolt-ed, believ-er, pleas-ing.

“Exceptions. When the derivative word doubles the single letter of the primitive, one of those letters is joined to the termination: as, beg, beg-gar; fat, fat-ter; bid, bid-ding.

“When the additional syllable is preceded by c or g soft, the c or g is added to that syllable: as, of-fen-ces, cotta-ges, pro-noun-cer, in-dul-ging; ra-cer, fa-cing, spi-ced; wa-ger, ra-ging, pla-ced, ran-ger, chan-ging, chan-ged.

“When the preceding single vowel is long, the consonant, if single, is joined to the termination: as, ba-ker, ba-king; ho-ping, bro-ken; po-ker, bo-ny; wri-ter, sla-vish; mu-sed, sa-ved.

“The termination y is not to be placed alone: as, san-dy, gras-sy; dir-ty, dus-ty; mos-sy, fros-ty; hea-dy, woo-dy; except, dough-y, snow-y, string-y, and a few other words. But even in these exceptions, it would be proper to avoid beginning a line with the termination y.

“Some of the preceding rules may be liable to considerable exceptions; and therefore it is said by Dr. Lowth and others, that the best and easiest directions for dividing the syllables in spelling, is to divide them as they are naturally separated in a right pronunciation, without regard to the derivation of words, or the possible combination of consonants at the beginning of a syllable.”

Before quitting this subject, it should be stated that there is yet a mode of dividing, which is peculiar to the philologist. To him it appears but natural that a compounded word should be divided at the point where its elements were originally conjoined. With respect to a purely English compound we find this to be one of Murray’s rules; but in an adopted word, however much from its recurrence it may seem to have become our own, the scholar’s eye is offended, if, where a division has become requisite, it be made in violation of etymological principles. This remark must be understood as having reference only to the division which would occur in the neighbourhood of the point of junction: in other respects he does not impugn the validity of the rules which are in general laid down. To apply with precision this principle, which, when judiciously practised, is frequently very highly approved, it is evident that an acquaintance with the language from which the imported word has been derived, is necessary: yet, as a person not thus qualified may occasionally be required to make his divisions in conformity with this system, it has been thought desirable to subjoin a brief list of words in which an uninitiated person would be most likely to err. A few of the following divisions will appear a little startling, and they are in consequence generally evaded; but it has been thought proper in this place to conceal nothing from the general eye which may appear to militate against the full adoption of the system. The words selected are but a few of the very large class of compounds; but the rest have been omitted, as their analytical and their syllabical divisions will in general be found to coincide.

* This word has had the singular fortune of having been all but universally mis-spelt; having in its present form the appearance of being what is inadmissible—the compound of a Latin and an English word. A few years ago an ingenious critic, in a work which he published, corrected this spelling by writing the word “frontispice.” As the word comes immediately from frontispicium, the emendation appears to have been judiciously made. (Compare auspice, from auspicium = avispicium.) It may not be unnecessary also to observe, that the amended form is that in which it appears in the French language. The division of the corrected word would be fronti-spice.


dividing into sections

A term applied to the process of dividing the leaves of a book to be oversewn into "sections" following the removal of the hack folds. The normal thickness of each section is 0.055 inch; however, books printed on paper that is unusually thick or bulky are sometimes divided into sections 0.065 inch in thickness.

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


divinity bindings

See: ECCLESIASTICAL BINDINGS.


divinity calf

1. A plain, drab, khaki-colored calfskin binding, popular in the mid-19th century for theological and devotional books. The style was particularly popular in the rebinding of books of an earlier time. The bindings were tooled in blind with single lines terminating in OXFORD CORNERS.

The style sometimes also featured beveled boards and red edges. Sometimes called "Oxford style." 2. A leather used principally for the inside cover linings of limp leather prayer books and small Bibles. (69, 156. 371)

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

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


divinity calf

A dark brown calf used generally for religious books, and worked in blind or antique.

The Art of Bookbinding: A Practical Treatise


divinity calf

A dark brown calf bookbinding decorated with blind stamping, and without gilding; so called because formerly used in binding theological books.


DIVISORIUM

Commonly called Visorum.—Smith. See Visorum.


do up

An old term of English origin for the processes of folding, stitching and wrapping, or binding books in cloth.


document parchment

1. A paper made to replace the more expensive genuine PARCHMENT, and used for legislative acts, treaties, and the like. It is produced from selected linen and cotton fibers, and is almost always surface-sized with high quality animal glue or with special tub sizings. Document parchment is produced in basis weights of 48, 56, 72, and 88 pounds (17 X 22 - 1,000). The paper should be manufactured in such a manner as to insure maximum permanency and durability. 2. A vegetable parchment paper used for diplomas and documents.


doeskin

1. A soft, supple leather made from the skin of an adult female deer and used in England as early as the 16th century for covering books. 2. A soft. supple leather, usually white or cream colored but sometimes dyed, having a fine suede finish, produced from lambskin or sheepskin split and and tanned by a combination tannage, e.g., formaldehyde and oil, or formaldehyde and alum. See also: BUCKSKIN.

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

Pratt, Guy A. Let's bind a book. Rev. ed. Milwaukee. Bruce. 1944.


dog ear

1. An oversize, unfolded corner in a publication caused when a sheet in a pile of paper having a corner turned under is trimmed in the guillotine. After trimming, the corner of the defective sheet extends beyond the trim size of the sheet when the folded corner is then unfolded. The dog ear is often useful in early books in determining the size of the leaf and the sheet because it reveals the size of the untrimmed leaf. 2. The turned-down corner of a leaf. See: DOG EARED.


dog eared

A book or other publication having one or more corners of the leaves turned down, generally by readers.


DOMESDAY BOOK

The register of the lands of England, framed by order of William the Conqueror. It was sometimes termed Rotulus Wintoniæ, and was the book from which judgment was to be given upon the value, tenures, and services of the lands therein described.

In 1767, in consequence of an address of the House of Lords, His Majesty George III. gave directions for the publication of this Survey. It was not, however, till after 1770 that the work was actually commenced. Its publication was entrusted to Mr. Abraham Farley, a gentleman of learning as well as of great experience in records, who had almost daily recourse to the book for more than forty years. It was completed early in 1783, having been ten years in passing through the press, and thus became generally accessible to the antiquary and topographer. It was printed in facsimile, as far as regular types, assisted by the representation of original contractions, could imitate the original.

The type with which the Domesday Book was printed, was destroyed in the dreadful fire which consumed the printing office of Messrs. Nichols in Red Lion Passage, Fleet Street, London, February 8, 1808.

Abbreviations in Domesday Book, from Hutchins’s Domesday Book for the County of Dorset.

Superior Letters, which are of frequent occurrence in contracted Records, are generally laid in the small capital boxes.

The character & is displaced to make room for [#] and [#] on works using those characters exclusively.

There are various characters, such as [#], [#], [#], [#], [#], [#], and others, that do not frequently occur, which may be kept in the two boxes in the upper case marked “various;” a general box is necessary in every Domesday case.

The characters c̚, g̚, m̚, &c., placed in the figure boxes, are a variation only of c̉ , g̉ , m̉ , &c., and the two sorts are never used together in the same work. See Records.

Layout of the Domesday case

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

Domesday book abbreviations


domestic goat

GOATSKIN, and, in general. virtually any skin imported in the cured state, i.e., dry-salted or wet-salted, and then converted into leather in the importing country.


dominotiers

The name given to the earliest known "marblers" of historical importance—the dominotiers of France. The name derives from the Italian domino, a word which refers to the little cloak or hood, which was part of the working apparel of the early marblers. The dominotiers apparently were highly successful, as they were shortly granted royal permission to form a guild, along with the wood engravers. Those specializing in the making of marbled papers were called marbreurs. Unfortunately, because of its highly perishable nature, very little of this early marbling has come down to us.

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


DONATIONS

Abstract of the Charitable Donations at the Disposal of the Court of Assistants of the Worshipful Company of Stationers. I have selected those Donations only which relate, directly or indirectly, to Printers.

William Norton, a printer of great note, lived in St. Paul’s Churchyard, who died in 1593. He gave six pounds thirteen shillings and four pence, yearly to his company, to be lent to young men, free of the same Company. The Company in their Abstract of Charitable Donations say “to the Poor of the said Company.”

Mr. Christopher Meredith, in 1655, gave 10l. a year, to be paid in quarterly pensions to the poor of the Company.

Thomas Guy, Esq., M.P., an eminent bookseller, and the munificent founder of the hospital which bears his name, gave to the Company, in 1717, 1,000l. “to enable them to add 50l. a year, by quarterly payments, to the poor members and widows, in augmentation of the quarterly charity.”

Mr. Theophilus Cater, in 1718, gave 1,000l. to the Company, on condition of their paying him an annuity of 50l. for his own life.—After his death, 40l. to be thus disposed of: to the minister of St. Martin’s, Ludgate, for a sermon, 1l. 10s.; to the reader, 5s.; to the clerk and sexton, 2s. 6d. each, 5s.; to fourteen poor freemen of the Company, 14l.; to ten poor men of St. Martin’s, 10l.; to ten poor men of Christchurch, 1l. each. The remainder, (being 4l.) towards a dinner for the master, wardens, and assistants.

Mrs. Beata Wilkins, in 1773, gave the picture of Doctor Hoadly, lord bishop of Winchester, now in the Stock-room; and the interest and produce of all the money arising from her forty-pounds share stock (computed at 320l.) to be distributed, annually, amongst six poor men and six poor widows, not pensioners to the Company, in the month of December, before Christmas.—Note. The produce of the share was laid out in the purchase of 358l. 11s. 4d. five per cent. Navy annuities. The yearly dividend is 17l. 18s. 6d. To which the Court add 1s. 6d. to make the dividend to each annuitant 1l. 10s.

William Bowyer. See Bowyer.

William Strahan, Esq., M. P., in 1784, gave 1,000l., one half of the annual interest to be divided in equal shares or proportions to five poor journeymen printers, natives of England or Wales, freemen of the Company; the other half in equal shares or proportions to five poor journeymen printers, natives of Scotland, without regard to their being freemen or being non-freemen of the Company.—Note. The yearly dividend of this bequest is 39l. 14s. 10d.—to which 5s. 2d. (part of a subsequent donation by Andrew Strahan, Esq.) has since been added, to make the dividend to each annuitant 4l.

Thomas Wright, Esq., late alderman of London, in 1794, gave 2,000l. four per cent. Bank annuities, the dividends to be distributed as follows; upon the first day of January 50l. 8s. amongst twenty-four poor freemen of the said Company, not receiving any other pension from the Company, 2l. 2s. each. To the clerk of the Company 3l. 3s. for his trouble upon this occasion. And 26l. 9s. residue of such dividends, for providing a dinner for the master, wardens, and assistants, of the Company, upon the day of distribution.

Mr. Richard Johnson, in 1795, gave all the remainder of his property whatsoever, to the Company, upon the following conditions: that they allow his sister, Mary Johnson, 50l. per annum, and 10l. per annum to his uncle Lockington Johnson, or to his wife, Elizabeth Johnson, during their natural lives. After the deaths of his sister and uncle, and his wife, the whole property to be divided half-yearly, “among five very poor widows, who have seen better days, above the age of sixty, whose husbands were liverymen, and in a good way of business; were either stationers, printers, booksellers, or binders.”

Charles Dilly, Esq., in November, 1803, (being then a member of the Court of Assistants,) transferred 700l. three per cent. annuities to the Company, the dividends to be “paid equally to two widows of liverymen of the Company, who have lived in better circumstances, and met unexpected misfortunes, but who, through their conduct and manners in life, are deserving of superior help. And if there should be candidates of sixty years of age, or upwards, I should wish them to have the preference.”

Mrs. Elizabeth Baldwin, widow of Mr. Richard Baldwin a liveryman, gave 250l. stock in the three per cents, the dividends to be laid out and expended in the purchase of five great coats, to be annually given to five poor liverymen or freemen of the said Company in the first week of the month of December for ever.—Note. Mrs. Baldwin died 19th August, 1809.

Andrew Strahan, Esq., M. P., (first benefaction,) in January 1815, transferred 1,225l. four per cent. annuities to the Company, the interest, viz. 49l., to be applied as follows, viz.,

“Eight pounds per annum to each of the six pensioners amongst my father’s annuitants who shall have been earliest elected into that list, in lieu of the 4l. which they at present enjoy. And whenever any of the pensions of 8l. each shall become vacant, the pensioner who shall stand first on the list of my father’s annuitants of 4l. to succeed to such vacancy, without troubling the court to make a new election, except for the vacancy occasioned thereby in the annuitants of 4l. And as 5s. 2d. is added by the court to make up the pensions of my late father 4l. to each annuitant, I would have the sum of 5s. 2d. (part of the surplus of 1l.) applied to that purpose. The remaining 14s. 10d. I would have given to the beadle of the Company, who has some trouble in receiving the petitions.

“The pensions above given it is my wish should be paid twice in the year; the one half at the same period as the pensions given by my late father, and the other half at midsummer.

“I observe that my father’s pensioners are to be elected annually, which, I believe, may not always have been strictly complied with; but, by being so bequeathed, it enables the court to displace any individual who may at any time after his being elected appear to the court not to be deserving; and it is my wish that the court should have the same power of displacing any of the pensioners of eight pounds who shall appear to them undeserving.”

John Nichols, Esq., transferred to the Company, in June, 1817, 500l. four per cent. annuities, “as an addition of a small supplement to the works of my late friend and partner, Mr. William Bowyer,” [See Bowyer.] “to pay the dividends to the persons mentioned in the following list; one of whom has worked for me more than fifty years, another much more than forty, and the others nearly thirty years.

“15l. a year to Thomas Bennett, in addition to the annuity he now enjoys.

“5l. a year to William Morlis, in addition to what he now enjoys, or may hereafter enjoy.

“On the death of Bennett, his 15l. to be divided into three annuities, for James Rousseau, John Meeson, and James Robinson, if then living, otherwise to any other compositor or pressman of good character, not less than forty-five years of age, and who shall have been at least twenty-one years free of the Stationers’ Company.

“On the death of Morlis his five pounds to be added to the person who then stands first on the list; so that eventually there will only be one annuitant of ten pounds, and two of five pounds each.

“The annuitants to be paid at the same times as those of Mr. Bowyer.” J. N.

Andrew Strahan, Esq., M. P., (second benefaction,) transferred in March, 1818, the further sum of 1,000l. four per cent. annuities, “to pay the dividends half-yearly in portions of ten pounds to four distressed old printers. No person to be eligible till he be sixty-five years of age: he may be freeman or non-freeman, compositor or pressman, or have been for many years employed regularly as corrector or reader in a printing-office within the Bills of Mortality, and not necessarily one of my late father’s annuitants or of mine.”

Luke Hansard, Esq., (first benefaction,) on the 11th of July, 1818, transferred to the Company 1,000l. four per cent. annuities, the interest to be given, in two annuities of 10l. a year each, to such objects above sixty-five years of age, free of the Company, and letterpress printers, (compositors or pressmen,) as the court shall judge proper.

The other 20l. to be given yearly to four freemen of this Company, printers, booksellers, stationers, warehousemen, or bookbinders, above sixty years of age, at 5l. a year each, as the court shall think proper objects of this donation.

Luke Hansard, Esq., (second benefaction,) in September, 1818, transferred to the Company 1,500l. three per cent. annuities; in trust to give to every youth bound at their hall, a neatly bound Church of England Prayer-book, as printed by his majesty’s printer in London, bound up with the New Version of Psalms.

The number of Prayer-books thus to be disposed of, are taken at 200, which at a presumed price of 2s. 7d. each, will cost yearly 25l. 16s. 8d.

Then to give yearly to two of his warehousemen (named) 6l. 6s. each.

Also to “such warehouseman, or binder, or stationer, or other person in the class to whom the court has been accustomed to give such annuities, above sixty years of age,” 6l. 6s.

The residue of 5s. 4d., and whatever residue may be left from the 200 Prayer-books not being wanted, or from the cost being less, to be applicable for such purposes as the court shall think proper.

Beale Blackwell, Esq., gave, July, 1817, so much Bank stock as at the time of his death would produce the annual sum of 100l., to be every year distributed equally amongst twenty deserving journeymen letterpress printers; the first distribution of which took place in October, 1821.

A more detailed account of these charitable donations and benefactions will be found in a pamphlet of 32 pages, printed by order of the court in 1819, and given to each liveryman.

This account is copied from Hansard’s Typographia.


dongola

A term sometimes applied to leathers such as goatskin, sheepskin or calfskin tanned and finished to resemble KIDSKIN.


dope

A solution of a cellulose ester, such as cellulose acetate or nitrate, or a cellulose ether, such as ethyl cellulose or benzyl cellulose, in a volatile solvent, such as acetone, amyl acetate, etc., and used as a coating for paper. See also: LACQUER.


dos à dos binding

A form of bookbinding in which two books, usually small and frequently of a complementary nature, e.g., a Psalter and New Testament, are bound back to back so that they open in opposite directions, one of the three boards being the common lower board of both volumes. The spines and fore edges are opposed. Their upper boards are usually either embroidered or covered with gold-tooled leather. However the dos à dos binding is picked up, it opens at the beginning of one of the two books.

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


dotted line style

See: PINHEAD STYLE; POINTILLÉ (1).


DOTTED QUADRATS,

or dotted leaders. Quadrats with dots on them, similar to full points, at regular distances. They are cast from an en, with one point, to four ems.

In tables of contents, indices, and other similar matter, dotted quadrats are preferred to metal rules, or hyphens, being thought to have a neater appearance.


Doublé

When the inside of the cover is lined with leather, it is termed a doublé.

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


DOUBLE

A sheet that is twice pulled and lifted never so little off the form after it was first pulled, does most commonly (through the play of the joints of the tympan) take a double impression: this sheet is said to double. Or if the pressman run in so, as the foreside of the platen print with the first pull into part of the second pull, or the hind edge of the platen print with his second pull into part of his first pull; either of these twice printing is called <i>Doubling</i>. Doubling also happens through the loose hanging of the platen, and through too much play the tenons of the head may have in the mortises of the cheeks; and indeed through many wearings and crazinesses that often happen in several parts of the press.—M. Moxon’s account of doubling and its causes refer to the two pull wooden presses, but some of them apply equally to iron presses.

In composing, the term is applied when a word, a line, a sentence, or any part of the copy is composed twice; that is, if the compositor’s eye catch a part that he has already composed, and he repeats it.


DOUBLE

Among compositors, repetition of words; among pressmen, a sheet that is twice pulled and mackled.


double coated paper

1. A paper or board which has received two coatings on the same side with either the same or different coating materials. A paper or board coated on both sides is not double coated but is coated two sides. 2. A paper or board heavily coated, but not necessarily with two coatings.

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


double cord sewing

A book sewn on double raised cords, i.e., two cords set adjacent and almost touching, the sewing thread leaving and re-entering the section through one hole. Double cord sewing is substantially stronger than sewing on single cords and the sections are better supported against the pull of the thread where required most. i.e., at the point where the thread leaves and re-enters the section. See also: FLEXIBLE SEWING.


double covers

A term used in pamphlet binding to indicate two covers, the inner one of which is of the same type and color paper as the outer, but of a lighter basis weight.


DOUBLE DAGGER

This is the technical name of a mark used as a reference, ‡; it is generally placed the third in order,—after the obelisk or dagger.


double decomposition

A chemical reaction that takes place between two compounds, in which the first and second parts of one compound unite with the second and first parts, respectively, of the other compound. One of the compounds is usually insoluble. The principle of double decomposition has been used in deacidifying paper, as, for example, when a soluble calcium or magnesium salt is dissolved in water and the paper is immersed in it. After the paper has been dried it is then impregnated with a soluble carbonate, such as that of ammonium or sodium. Sodium carbonate and calcium chloride, for example, react to form insoluble calcium carbonate and soluble sodium chloride: CaCl2 + Na2CO3 → CaCO3↓ + 2NaCl; or, using calcium chloride and ammonium carbonate: CaCl2 + (NH4)2CO3 → CaCO3↓ + 2NH4Cl.

The soluble sodium or ammonium chloride is removed by washing the paper with water, and it is important that the chloride be removed as completely as possible, as its presence in the paper is potentially harmful. The advantage of the double decomposition method is its simplicity, plus the fact that a much greater alkaline reserve can be deposited in the paper than is generally possible with most other methods.


double gold

1. GOLD LEAF that is twice the customary thickness, or approximately 1/100,000 to 1/125,000 inch in thickness. 2. Regular gold leaf that is doubled upon itself before laying down. Double gold leaf, of this form, or as described above, is easier to handle and gives a brighter and more solid appearance. It is used mainly in edge gilding.

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

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


double headbands

Headbands for very large volumes worked on two lengths of thong, or other core. This type of HEADBAND usually appears in the form of a thicker band with a thinner band in front or above.

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

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


double kettle stitch

A KETTLE STITCH tied twice so as to provide additional strength.


DOUBLE LETTERS

Æ, œ, ſt, ſh, and several others cast on one shank, are called double letters: ſ and f have several ascending letters joined to them, because their beaks hanging over their stems would (were they not cast on one shank) ride upon the tops of the stems of the adjoining ascending letters.—M.

By discarding the ſ, we have lessened the number of our double letters, which are now reduced to the diphthongs æ and œ, and to ﬀ, ﬁ, ﬂ, ﬃ, and ﬄ, which are so termed by printers.


double mounting

The process of attaching one label over a larger one of a different color. It gives the effect of a colored border around the smaller label.

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


DOUBLE NARROW

A piece of furniture equal in breadth to two narrow quotations. There are different sizes used in making margin, and in imposing, viz., double broad, double broad and narrow, broad and narrow, broad and double narrow.


DOUBLE PICA

The name of a type, one size larger than Paragon, and one smaller than Two-Line Pica. It is equal in depth to two Small Pica bodies. See Types.


double plate

1. See: DOUBLE SPREAD (1). 2. A single unit of illustration extending across two contiguous pages, often printed on a folio so imposed that it becomes a CENTER SPREAD.


double register

Two registers in one book. See: REGISTER. (1)


double scored

Paper that has been scored along two distinct, closely spaced lines. Double scoring allows for a partial rolling effect of the leaf and thereby improves turning. Cf: CRIMPING. See also: SCORE.


double skin

See: PIPING (1)


double slipcase

1. A SLIPCASE in two parts, one of which fits into the other. 2. A single slipcase fitted inside with a divider which enables it to accommodate two books while keeping their covers from touching.


double spread

1. Two facing pages on which printed matter is spread across as if they were one page. When an illustration is printed this way two blocks are used unless the spread is in the center of the section, in which case it is a CENTER SPREAD. Also called "two page spread." See also: CONJUGATE LEAVES. 2. The application of an adhesive to both adherends of an assembly.

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

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


double thick cover paper

Two thicknesses of cover paper laminated together with adhesive to produce a very stiff cover paper. The more common basis weights are 100 pounds (two 50-pound sheets) and 130 pounds (two 65-pound sheets).


double two sheets on

A method of sewing a book on tapes that is reputed to give still greater strength than the ALL ALONG method. Each section is sewn "two sheets on" with the preceding section, resulting in each section being sewn to the sections both above and below it. This gives greater holding power because two threads pass through each section; consequently, if one thread breaks the other still holds the section. Unless the first and last sections are sewn all along, however, the weakness of this method is that these sections, which receive the greatest strain when the book is being used—particularly the first section—are not held very securely. In addition, not all of the sections are held by the kettle stitches.

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


double-shear stroke

The multiple movement of the descending knife of a guillotine. First, there is the downward motion through the pile being cut; second, the single-shear motion across the face of the pile; and third, the double-shear motion where the cutting edge of the knife starts to cut higher at one side of the pile and by a rocking motion becomes approximately parallel when it reaches the bottom of the cut at the table. The double-shear stroke thus cuts more like a scissors, with the knife edge entering each sheet in the pile at its side and gradually cutting across it. The advantages of the double-shear stroke are: 1) less power required to cut: 2) less strain on the machine and the knife; 3) a more perfectly cut edge; and 4) a smoother face to the pile. Cf: SINGLE-SHEAR STROKE.

Gray, Niel. Paper-cutting machines…Chicago. United Typothetae of America. (Typographical technical series for apprentices, pt. 1, no. 10). c. 1918.


double-sixteen folder

A particular folding machine capable of folding two 16page sections or one 32-page section. This folder can also be equipped to produce two 32-page sections, though of a smaller page size. Double 16s have three folding levels and four sets of folding rollers. The sheet is slit in half at the first folding level and each half is folded individually at right angles at the second level. It is folded once again at the third level, which has only one set of folding rollers; in this level, if the sections are to be outserts, each of the two folded sheets is folded in succession, whereas if the sections are inserts, both sheets are combined and folded together. A fourth folding level may be added to make the machine capable of producing two 32page sections. See also: FOLDING MACHINES.

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


double-stitched binder

A commercial type of "binder" sometimes used for in-house repair of books. It consists of two lengths of heavy cloth sewn together along two parallel lines, the distance between them being approximately the thickness of the book to be recased. Each layer is gummed on the outside surface. The spine of the book is attached to one layer of cloth along with the new endpapers, while the other side is attached to the inlay and boards. The standard widths (between rows of sewing) ranges between 1/4 inch and 3 inches.

Gaylord Brothers. Firm. Bookcraft…, by Donald M. Kidd, Syracuse. Gaylord Bros. 1941.


double-tone ink

A printing ink consisting of a mixture of an oil-soluble dye. a stable body pigment of a different color, and a medium. Such inks are used for the printing of halftones when a gravure effect is desired. The halftone is actually printed in the usual manner; however, sometime later overtones appear on the print, due to the dye of the ink spreading as a halo around the printed dots forming the image. Paper finish and tone also affect the result.

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


doubled

An impression in leather, such as in blind tooling, which is said to be doubled when the tool has been twisted in the impression, or when a repeat impression does not fall exactly over the first.


doubled

When in working a tool a second time it is inadvertently not placed exactly in the previous impression, it is said to be “doubled.”


doubling

The unintentional printing of a repeat image from a single form that is out of register. Doubling is particularly troublesome in halftone work because it adversely affects both tone and color values. It may be caused by several things, including rippling of the paper or premature contact with the form or offset blanket. It may also occur if sheets slip in the gripper or if the paper stretches during printing. Play in the press cylinders resulting in printback of ink picked up from the paper by the blanket can also cause doubling, as can the succeeding printing unit being slightly out of register with the original print.

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.


doublure

1. An ornamental inside lining of a book cover, which takes the place of the regular pastedown and fly leaf. It is usually of leather or (watered) silk, generally with a leather hinge and is often very elaborately decorated. The typical doublure consists of a silk fly leaf and a leather board covering, but sometimes both board covering and fly leaf are of silk; rarely, both are of leather. In a strict sense, however, the term refers only to leather linings.

The doublure was known in Turkey at least as early as the 14th century, but the earliest known European doublures are a binding of about 1550 in the British Museum. Their use was revived in the reign of Louis XIV (1643-1715), but they were not used very extensively until about 1750, after which they became very popular. Doublures have been used continuously since that time—more so in France, where they have always been more popular than elsewhere. The word itself is French, meaning "lining" or "doubling of material." Also called "ornamental inside lining." 2. In a very general sense, an ornamental endpaper. See PLATE X.

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

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

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


doublure

the inside face of the boards, especially applied to them when lined with leather and decorated.


doublure

The inside face of the boards, especially applied to them when lined with leather and decorated. When thus lined a cover is said to be “double.”


doublure margin

In a strict sense, the space on the inside of a book cover between the DOUBLURE (1) and the edges of the board, which, when there is no doublure, are simply the TURN-INS (1).

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.


down at the head

1. Sections which have not been fed properly to the head gauge of the cutting machine, causing an "up and down" appearance in the heads of the sections of a book. 2. Plates or maps that have not been placed up to the top edge of the leaf.

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


downtime

The time during which a machine, department, or entire bindery is inactive during normal working hours, because of repairs, setting-up, lack of material, etc. Downtime becomes extremely costly in certain plants, such as paper mills, edition binderies, or binderies specializing in adhesive binding, because of the very high cost of the equipment used, as well as the cost of idle labor.

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


drag

The pulling effect on the first and last sections (or leaves) of a book, caused by endpapers that have been attached directly to the sections (or leaves), rather than being sewn to the tapes or to a guard which is attached to the sections or leaves.


draw

1. The displacement of the cut sheets by the thickness of the guillotine cutting knife. Draw is a common cause of imperfectly cut paper. 2. The dragging action of the knife of a cutting machine, which tends to draw a book or pile of sheets out from under the clamp when cutting papers are heavily coated with clay. 3. The tension applied to paper between the sections of a papermaking machine, such as the press or drier sections.


DRAW

When a form is working at press, and any of the letters are loosely justified, or from any other cause are not tight in the form, and the adhesion of the ink and balls or rollers pulls them out, they are said to draw. This accident too frequently occurs; and as it is not always perceived, errors arise which neither the care nor the skill of the reader can prevent; when it is perceived, after an impression or two have been pulled, the pressmen often put the letters into the wrong place, and thus cause an error. They are occasionally left by the ball on the form, and produce a batter, which is a waste of materials, and of time in repairing it. A good compositor guards against this evil by care in justifying his lines, and also in locking up.


drawer-handle tool

A finishing tool often used in England and the Netherlands during the second half of the 17th century. It was generally used in groups or sequences, and is so named because of its similarity to the handle of a drawer.

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

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


drawing color

The darkening of the impressions made in leather during blind tooling. This is done by means of a hot tool, a smoked tool (soot or lampblack [carbon] or carbon paper), or by wetting the leather with water or vinegar.

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


drawing on

A term sometimes applied to the process of drawing the leather covering over the spine of a book, preparatory to turning and setting the head.


drawn flanks

The flank area of hides and skins that have shrunk and display furrowed lines on the grain surface over the underlying blood vessels.


drawn grain

A grain in a leather which shows an irregular pattern of creases or narrow grooves, produced by tanning the skin in such a manner that the main thickness has contracted relative to the grain layer, which is then fixed in a puckered or "drawn together condition."

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


drawn marble

A general term applied to a type of edge marble consisting of multi-colored scales. The colors used are black, blue, or green, yellow and red, put on the size in that order. The black is dropped on in such a manner that the first drop comes into contact with the edge of the second, the second with that of the third, and so on, so that a color ribbon is formed. The blue (or green) is placed on the size in unconnected drops on both sides of the black. The yellow is dropped on both sides of the black so that each drop of blue has a yellow center and the red is placed so that each drop of yellow has a red center. The colors are then drawn by a stylus in wavy lines through each other past the black, producing white lines between the colors. The comb is then drawn across producing the scales. Variations of drawn marbles, in addition to comb edges, include the "American, " "bouquet, " "peacock, " and "snail."

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


DRAWN SHEETS

In collating books in the warehouse, after they have been gathered, duplicate sheets, and sheets of wrong signatures, are occasionally found; arising, in the one instance, from the carelessness of the gathering boys, in taking up more than one sheet of the same signature; and, in the other, from a lift of another sheet being occasionally taken down and mixed in the heap: in these cases the sheets are drawn out of the book, and laid on one side, and, after some accumulation, are replaced upon their respective heaps, to be gathered again right. These sheets are called <i>Drawn Sheets</i>.


drawn-in

See: LACING-IN.


drawn-on covers

A term applied to the binding of square-backed periodical issues, pamphlets, and paperbacks, in which the cover is attached by gluing it to the spine. When the endpapers are pasted down, it is said to be "drawn-on solid."

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


drenching

An old method of deliming and acidifying unhaired skins, in lieu of BATING or PICKLING, by means of immersion in a water infusion of fermented barley, sour dough, flour, or the husks of cereals. The organic acids (lactic and acetic) in the solution neutralized any remaining lime in the stock and the particles of barley, etc., exerted a cleansing action of the skins, absorbing dirt and greases, etc. The cleansing action was very effective because the enzymes produced by the bacterial cells not only broke down the carbohydrates in the plant materials to produce acids but also digested the mucopolysaccharides of the ground substance.

Drenching was often difficult to control, as the enzymes did not restrict their attack to the carbohydrates either in the solution or the skins, but often degraded the fibers of the dermal network as well. In addition, too much acid swelling was produced with resulting impairment of the skin structure and, therefore, of the quality of the leather produced.

When drenching is used today, as in certain vegetable tannages calling for specific acid conditioning during the early stages of tanning, weak solutions of organic acids, such as lactic, acetic and formic, are used in lieu of fermented cereal solutions.

Because of the gas bubbles of carbon dioxide produced by fermentation, which caused the skins to rise to the surface of the paddle, the process was also called "raising."

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

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


DRESS A CHASE,

or, Dress a Form, is to fit the pages and the chase with furniture and quoins. See Margin.


dressing

A general term applied to the series of processes involved in converting rough tanned hides and/ or crust leather into finished leather. See also: CURRYING; LEATHER DRESSINGS; PURE DRESSED.


Dressing a chase or form

Fitting the pages and chase with furniture and quoins.


DRESSING BLOCK

Made of pear tree, because a soft wood, and therefore less subject to injure the face of the letter; it is commonly about three inches square, and an inch high.—M. Used the same as our planer. See Planer.


dried-in strain

That part of potential strain or stress remaining in machine-made paper subsequent to manufacture. The property is caused by tension or restriction of shrinkage during drying as the web moves through the papermaking machine. Dried-in strain diminishes with time and can be reduced rapidly in the presence of high humidity or if the paper is wetted. See also: ANISOTROPIC BEHAVIOR.


drill

1. A strong, heavy, durable cotton fabric in twill weave, used as a base for certain grades of imitation leather, and sometimes finished for use as a covering material for very large books, e.g., blankbooks. 2. To make a round hole in paper for the purpose of overcasting or side sewing, usually by means of a high-speed drill. The term also applies to making holes in paper for loose-leaf, spiral, or similar type of binding. 3. A hand- or power-drill for making holes in book paper, binder's board, etc. .

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


DRIPPING PAN

Literally so, made of tinned iron, extending the whole length of the press, fixed under the long ribs, to preserve the floor from the droppings of oil.

They are useful articles; for presses to be kept in good working order require to be frequently oiled; and for want of a dripping pan, I have known the oil run through the joints of the floor upon a pile of paper in a room underneath, and spoil a considerable quantity.


DRIVE OUT

When a compositor sets wide, he is said to drive out or run out. In founding, if letter be cast too thick in the shank, it drives out.—M. If copy make more than was calculated on, they say, it drives out; if less, and it is intended that it shall make the precise quantity decided on, they say, you must drive out; that is, it must be branched out in proportion, and not cramped.


drive punch

A hollow steel punch used for making holes in leather, paper, etc., for eyelets and snap fasteners.


dropping colors

The placement of MARBLING colors on the size in the marbling trough. Also called "throwing colors."

Tavik, Anton. The art and practice of edge marbling. Baltimore. The author. 1908.


DROPPING OUT

After a form is locked up, and, when it is being lifted from the stone, or being laid upon the imposing stone, or the press, any letters, spaces, or quadrats fall out, it is said something drops out, or something has dropped out; this may arise from some of the lines being badly justified—some of the leads riding—or some of the furniture binding—or similar causes—and frequently produces errors at press by other letters drawing out. See Form Dances.

In this case, before the form is put to press, it should be examined to ascertain the cause, and any impediment to its safety should be removed.

Drum. See Wheel.


drum

A revolving cylindrical container used in leather manufacture for such operations as washing, tanning, dyeing, fatliquoring, etc. It is usually equipped with pegs inside for lifting and agitating the stock. The operation of tumbling the stock is known as "drumming."


drumming on

The process employed in attaching silk doublures. A special technique is required because adhesives cannot be applied directly to silk as they would penetrate the material. A piece of silk larger than the space enclosed by the turn-ins and leather joint is laid on a piece of paper the exact size of the enclosure. The edges of the silk are turned over the paper and glued to the back. The paper is then glued to the board. The silk is secured only at the edges and is otherwise free (like a drum), being drawn taut but not glued down. If the DOUBLURE extends to the very edge of the board, the enclosure is filled in with thin board to bring the board surface up to the level of the turn-ins and joint.


dry

To change the physical state of an adhesive applied to an adherend by the loss of solvent constituents by evaporation, absorption, or both.


dry open

A method used on combination case bindings that involves hanging the book in its case, gluing down the cloth joints with the cover boards held open, and allowing the book to dry in that position before completing the binding process.


dry pressing

An obsolete term applied to the operation of pressing out the indentations made in paper by the type during printing, so as to make the printed sheet smooth. Pressing of this nature was done in a standing- or hydraulic press, the printed sheets being placed between sheets of hard-rolled boards.

Gaylord Brothers. Firm. Bookcraft…, by Donald M. Kidd, Syracuse. Gaylord Bros. 1941.


dry size

A powdered size used in goldtooling suede leathers, velvet, silk, and also cameo papers. See also: ALBUMEN; BLOCKING POWDER.


dry stamping

A technique used in the production of multi-colored paste patterns for end- and other decorative papers. Colored paste is first brushed over the surface of the paper, the paste brush then being drawn from top to bottom of the sheet in regular strokes, leaving a uniform layer of color on which parallel brush marks are faintly discernible. While the surface is still wet, a dry printing implement is pressed on the wet color. When it is removed, some of the color adheres to it, leaving a faint unit on the paper of a lighter color than the remaining background. An engraved brayer is also used at times to create a continuous design.

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


dry strength

The resistance to failure of an adhesive joint measured immediately after drying under specified conditions. See also: WET STRENGTH.

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


dry tack

That characteristic of some adhesives, and especially nonvulcanizing rubber adhesives, to adhere to themselves during the period in which volatile constituents are evaporating, even though they may appear to be dry. Also called "aggressive tack."


dry-rub resistance

The resistance offered by the coated or uncoated surface of a material to wear resulting from mechanical action on the surface of the material. See also: WET-RUB RESISTANCE.

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.


dry-salting

A method of preserving hides and skins for storage and/or transportation before tanning, so as to prevent PUTREFACTIVE DAMAGE, by curing them in a very strong solution of brine—i.e., about 30 pounds of salt for every 10 gallons of cold water, followed by drying, or by WET-SALTING, followed by drying. In both methods, the hides are subject to a thorough and uniform salt penetration and are then hung up to dry. Dry-salting substantially reduces the weight of the hides and therefore the cost of transportation that is incurred in wet-salting; it also reduces or eliminates many of the dangers involved in simple DRYING (1). Large numbers of hides, however, require great quantities of salt. In dry-salting, care must be taken that: 1) drying is carried out gradually and evenly; otherwise the hides may become too hot and partially gelatinize, which not only prevents drying of the inner layer and causes the hides to become hard and brittle, but also results in the gelatinized parts leaving holes when the stock is later returned to its normal wet condition; and 2) when the hides are to be tanned, they must be soaked in water until they have taken up as much water as they had before curing; dry-salted hides require more time and more careful soaking than does wet-salted stock.

Sodium chloride (NaCl) is the most commonly used salt for this process, but a salt "earth" known as KHARI, is actually to be preferred because it contains about 60% sodium sulfate (Na2 SO4), 20% magnesium sulfate (Mg SO4) and 5% sodium chloride, and is less hygroscopic than common salt. It is more suitable for the hot, humid areas during the rainy seasons, from which most dry-salted hides are prepared.

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


drying

1. A method of preparing hides and skins for storage and/or transportation so as to prevent PUTREFACTIVE DAMAGE.

Drying is employed principally in situations where insufficient salt is available for WET-SALTING, or where the cost of salt is too high to be economical.

As bacteria must have a certain amount of moisture or free water if they are to attack a hide or skin, putrefaction can be effectively stopped or prevented by removal of the water to the point where the skin contains only 10 to 14% moisture. At this point the activity of the bacteria ceases, and some types are killed, while the others dry up into spore form, in which they can remain for long periods or until there is enough water for them to again become active.

Curing by drying requires considerable care, especially with thick hides, because: 1) if drying is too slow, as may be the case in relatively wet, cold climates, putrefaction may occur before the moisture content is low enough to inhibit bacteria; and 2) if drying is too rapid and the temperature is too high, part of the wet skin will begin to gelatinize, which will show as holes in the hide when it is subsequently brought back to its normal moisture content. Too rapid drying also makes the hide hard and brittle and prevents drying of the inner layers.

Drying as a means of curing is usually practiced in countries with hot, dry climates. The skins may be: 1) ground dried—by simply spreading them out on the ground, sometimes on a bed of twigs or stones. This is potentially dangerous because of poor ventilation on the ground side and too high a temperature on the exposed side, plus contamination with dirt; 2) sun dried—in which the skins are hung or laid over poles or wires in the sun. This method affords better ventilation and quicker drying, but may result in heat damage or pole or wire marks, showing as hard creases down the skin; 3) frame dried—in which the skins are loosely stretched out on frames, which are arranged so that they do not receive the direct rays of the mid-day sun. This results in less danger of heat damage and a superior, flatter shape; however, a skin shrinks on drying, and if it is stretched too tightly on the frame, overstraining may cause thinness and weakness; and 4) shade dried—where the skins are dried in an open-sided, covered shed, designed to avoid the direct heat of the sun but to allow good ventilation. See also: DRY-SALTING. 2. The process of allowing books to be "set" after each operation, involving the use of adhesives and/or seasoning a book in a press after casing-in or covering.

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

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


drying cracks

Fissures in the surface of a paper coating caused by an unduly rapid evaporation of the moisture in the coating.


drying memory

A characteristic of certain hot-melt adhesives which causes them to attempt to return to the shape or configuration they had when they set. When a hot-melt adhesive is applied to the flat spine of a book, and the book is subsequently rounded and backed, the "memory" of the adhesive tends to cause it to revert to the original flat configuration it had when it set, thus also flattening the spine of the book. This loss of round will eventually cause the binding to fail, i.e., the book will become loose in its case because of the strain of the backing shoulders caused by the loss of round.


drying temperature

The temperature to which an adhesive, the adherends, or both, is subjected in order to dry the adhesive. The temperature of the adhesive in process of drying may differ from the temperature of the surrounding atmosphere. See also: CURING TEMPERATURE; SETTING TEMPERATURE.


drying time

The length of time during which an adhesive, the adherends, or both, is allowed to dry, during which time no heat, pressure, or both is applied. See also: CURING TIME; SETTING TIME.


drying tunnel

A tunnel in which damp leather is placed for drying in a current of air, often under carefully controlled conditions of temperature and humidity.


du Seuil, Augustin 1673-1746)

See notes on the electronic edition

A celebrated Parisian bookbinder who held the position of royal binder to Louis XV of France. Du Seuil employed lavish doublures and rectangular panels with an armorial panel in the center. He was one of the first bookbinders to execute MOSAIC BINDINGS, although PADELOUP is generally credited with their introduction. He is the only French binder written of in English literature, being mentioned in Pope's fourth moral essay:

His study! With what authors is it stored?

In books, not authors, curious is my Lord;

To all their dated backs he turns you round;

These Aldus printed, those du Seuil bound.

Du Seuil married into the Padeloup family and worked with Antoine Michel Padeloup at the beginning of Padeloup's career. .

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

Zaehnsdorf. Firm. Bookbinders. London. A short history of bookbinding…London. Chiswick. 1895.


dubbin

A paste prepared from cod oil and tallow, the proportions of which vary according to the time of year—in winter generally two parts oil to one of tallow, and the reverse in the summer. There are two types of tallow in general use, one of which is mutton (melting point 40-45° C.), and the other beef (melting point 35-40° C.). Dubbin is used to incorporate oil into some tanned leathers in the STUFFING (2) or CURRYING processes.


DUBLIN

Plan of a Lower Case as used at Dublin. The Upper Case is the same as used in London.

Layout of the Dublin case


Dubuisson, Pierre-Paul

An 18th century French bookbinder, who succeeded ANTOINE MICHEL PADELOUP as royal binder. Dubuisson excelled in the creation of dentelles similar to those of the Deromes, and was an accomplished heraldic designer as well as bookbinder and gilder. He, and his father, Rene, specialized in the binding of almanacs, devising the shortcut of decorating their covers with well-designed engraved plaques designed to be used in a press, instead of working with individual tools.

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


duck

A plain, closely woven, durable fabric, now usually made from cotton. It is woven in various weights and used for covering large, heavy books, especially blankbooks, and other large stationery bindings.


duck

sometimes called Canvas. This is made by many firms in a wide range of colors and qualities. It is in fact a heavy cotton cloth. Slate-colored duck 28 in. wide, 10 oz. to the yard, costs about 20 cents per yard. This is a firmly woven, smooth material. We have used a light green. It takes printers’ ink for lettering fairly well, though it soon soils if handled. It is a very desirable binding for heavy books not much used. All such books should be stiffened by pasting or gluing cloth on the backs, if loose back, and should be reinforced at head and tail.


DUCK’S BILL

A tongue cut in a piece of stout paper and pasted on the tympan at the bottom of the tympan-sheet, to support the paper when laid on the tympan.


DUCK’S BILL

A tongue cut in a piece of stout paper, which is pasted on the tympan at the bottom of the tympan sheet, to support the white paper when working, instead of pins; the paper to be printed rests in the slit behind the tongue, and takes a good bearing.

It is seldom used except in the best work, where the paper printed is fine, stout, large, and expensive, when extra precautions are taken to prevent waste.

A tool to support paper in the press


dull gilt

The edges of a book that have been gilt and then burnished through thin paper, producing a solid, uniformly dull metallic surface. See also: GILT EDGES.

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

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


dull-coated

A paper having a coated surface that is low in gloss. It is usually a free sheet base stock coated two sides with calcium carbonate or blanc fixe, and finished with a flat or smooth surface offering minimum gloss or glare. It is made to standard book sizes and weight, and is suitable for printing fine halftones.

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


dumb

A more-or-less obsolete term used in lieu of "blind" with reference to blind printing, blind tooling, blind perforating, etc.


dummy

1. A made-up text block, generally of blank leaves, sewn and trimmed but not cased or covered and meant to represent the bulk of a forthcoming publication. 2. The layout of a forthcoming book, including the actual arrangement of the printed matter, specifications for type, illustrations, etc. 3. A piece of leather or cloth mounted on a board to show the exact size and lettering of a publication, usually a periodical. See also: RUB (1).

Emerson, Gilbert D. Bookbinding for libraries. Philadelphia. n.p. 1909.

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

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


duodecimo

See: TWELVEMO.


DUODECIMO

The size of a book, generally for shortness written 12mo, and hence frequently incorrectly so pronounced. It is formed by folding a sheet of paper into twelve portions or leaves, making twenty-four pages. See Imposing.


duodecimo

or *12mo.*—Twelve pages to a form.


duodo bindings

Bindings executed by Parisian gilders for Pietro Duodo, Venetian ambassador to Henri IV of France, 1594-1597. The distinctive feature of his bindings (and apparently most of his library consisted of small books similarly bound) was rows of laurel wreaths enclosing various small flowers, the central wreath enclosing his arms. This style was imitated by English binders of the early 18th century and by French binders in the late ]9th century.

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


duplex

1. A term used with reference to the texture, finish, or color of a paper. A duplex texture refers to a paper that may be smooth on one side and rough on the other, while a duplex finish refers to a paper that may have a linen finish on one side and a burlap finish on the other, and so on. A duplex color refers to a paper that is stained on one side only, or that is colored with different colors on either side. A duplex color may also be obtained by laminating together two papers of different colors. 2. A general term applied to a paper or board with two or more plies.


duplex book trimmer

A type of cutting machine having two trimming knives parallel to each other on opposite sides above a central cutting table. The table consists of a cutting block equipped to clamp the pile firmly. Two piles of books, each 5 to 6 inches high, are placed spine to spine against the gauges. This brings the fore edges of each pile on opposite sides at the table and under the knives. After cutting the fore edges, the other edges of the book are brought into position by giving the table a quarter turn. This also changes the position of the knives on the knife-bars above, drawing them closer for trimming the heads and tails of both piles simultaneously. See also: THREE-KNIFE TRIMMER.

Goodwin, Bancroft L. Pamphlet binding…Chicago. United Typothetae of America. (Typographic technical series for apprentices, pt. 5, no. 30). 1925.


duplex paper

See: DUPLEX. (1)


durability (of paper)

The degree to which a paper retains its original strength properties while at the same time being relatively heavily used, as a manuscript or book. Realistically, the expression implies a paper which has a high initial strength, e.g., a paper carefully produced from cotton fibers, rags, or a high grade chemical wood pulp, as opposed to one produced from a combination of chemical and mechanical wood pulps, for example, which has relatively little initial strength.

Some 80 years subsequent to the development of the (Fourdrinier) papermaking machine, there was the beginning of a widespread concern over the relatively rapid deterioration of paper, and in the years between 1885 and 1930, various governmental and other groups, such as the United States Department of Agriculture, the German government, the Royal Society of Arts (Great Britain), and the Library Association of Great Britain, investigated the problem. The earliest of these investigations focused attention on the method of paper manufacture; only much later did it become apparent that the materials used in making paper, the care taken in stock preparation, and the sizing and bleaching agents utilized also had to be considered.

Research into the qualities (both durability and permanence) of paper has been fairly extensive in recent decades. The overall collective results of this research would seem to indicate that the retardation of paper deterioration requires: 1) careful control of stock preparation at every stage of manufacture, and avoidance of excessive beating of the fibers, which shortens and therefore weakens the fibers and also sometimes prevents proper felting during sheet formation. In addition, impurities, inherent in the stock and/or incorporated from equipment, e.g., copper or iron, must be avoided or removed insofar as possible; 2) great care taken to remove the chemicals used in pulping, e.g., sulfates and sulfites, so as to avoid subsequent hydrolysis of the paper; 3) the removal of unbleached cellulose fibers so as to prevent possible deterioration; 4) avoidance of excessive mineral loadings, as too much loading inhibits felting of the fibers and also weakens the paper; 5) tub-sizing (preferably with gelatin) of archival and/or papers to be handled frequently, as this type of sizing not only adds a protective film to the paper but also strengthens the paper considerably; 6) that bleaching agents, e.g., chlorine compounds, be removed as completely as possible in order to avoid the possibility of the formation of hydrochloric acid in the paper; 7) that mechanical wood pulp, which contains a relatively high percentage of impurities, e.g., lignin, and which also has very short fibers, should be avoided in archival and heavy use papers; and 8) that the paper be manufactured in such a manner that it retains its coatings over a long period in storage.

Books, documents, and other archival materials should be housed in airconditioned quarters having controlled temperature and relative humidity. Taking into consideration that people probably will be working in the storage (bookstack) area, a reasonable temperature might be 60 to 65° F, with a relative humidity of 50 to 60%. The area should also be as dark as practical, with time switches that turn off lights automatically. The area should be completely free from dirt, and insects and their larvae. If fluorescent lighting is used, which gives off less heat than incandescent lighting, it should be filtered, as the ultraviolet light radiated from fluorescent lights over a long period of time could cause deterioration of book papers.

Barrow, William J. Deterioration of book stock, causes and remedies…Ed. by Randolph W. Church. Richmond, Va. Virginia State Library Publications, No. 10. 1959.

Barrow (W. J.) Research Laboratory. Physical and chemical properties of book papers, 1507-1949. Richmond, Va. Barrow (W. J.) Research Laboratory. Permanence/ durability of the book, no. 7. 1974.

Barrow (W. J.) Research Laboratory. Strength and other characteristics of book papers 1800-1899. Richmond, Va. Barrow (W. J.) Research Laboratory. Permanence/ durability of the book, no. 5. 1967.

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

Harrop, Dorothy. Modern book production. London. Bingley. 1968.

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


duro-flexible binding

A style of library binding devised and patented by Cedric Chivers in the latter part of the 19th century. The duro-flexible binding was designed to give additional strength where most needed, i.e., in the hinges and first and last sections. This was done by lining the endpapers with jaconet and using a three-jointed endpaper. The books were sewn all along on linen tapes. The spines were lined with a pliable leather, and both tapes and lining were secured between split boards. They were covered with a thin, vegetable-tanned pigskin, with linen on the sides.

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

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


dust cover

1. See: BOOK JACKET. 2. A blank leaf inserted at the end of a pamphlet or booklet having a self-cover. dusting. The process of spreading ground, raw vegetable tanning materials over and between hides being tanned in layer vats to add to the tanning strength of the tan liquor. Dusting was a common practice before the days of concentrated tanning extracts.

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


dust jacket

See: BOOK JACKET.


Dutch antique marble

A modification of the NONPAREIL MARBLE.


Dutch binding

An obsolete term for a style of binding that includes a vellum or parchment spine, usually of a green color.

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


Dutch corner

See: LIBRARY CORNER.


Dutch gilt papers

A type of highly decorative papers that were not marbled but were printed by means of blocks of wood or metal, or by engraved rollers. They were used from about 1700, and, although known as "Dutch gilt" or "Dutch flowered," they were actually produced in Germany and Italy, the Dutch connection possibly arising from the fact that the papers were imported into Holland for reexport to France and England, although not all of them arrived in France and England by that route.

A great variety of designs was employed in these papers, many being in imitation of the brocades and damasks of the period. Some have figures of huntsmen, animals and birds, saints, mythological beasts, and Renaissance strap and scroll patterns; many arc embossed, and some are printed on colored paper.

The probable method of their execution consisted of transferring gold size to the paper by means of wooden plates or engraved rollers, the former first being pressed onto a pad saturated with the size, the latter having the size painted on. When the size on the paper had dried to the correct state, the gold was dusted on, and, when the size was dry, the superfluous gold was brushed off. If it was desired to have the gold raised the size was thickened with yellow ochre or red lead. The method of coloring is unknown, but it may have been done by dabbing or stencilling.

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


Dutch gold

The generic name for a blocking foil that has found considerable use as a substitute for gold leaf since the latter years of the 19th century. It was introduced in Germany and its use, in sheet form, expanded rapidly, followed by a similar foil in roll form. Although often referred to as "bronze leaf," bronze being an alloy of copper and tin, it is actually composed of brass, which is an alloy of copper and zinc. As the amount of copper is increased, the color of the leaf deepens. Unlike gold leaf, Dutch gold discolors, tarnishing more rapidly in polluted environments. When blocked on leather, the leaf or foil turns green very quickly; and even when blocked on cloth or paper, it will eventually discolor. Discoloration is due to the action of gases in the atmosphere, such as hydrogen sulfide (H2S), plus heat and light. Great differences exist in the rate of tarnishing among the various brass foils, however; flat foil for some reason discolors less rapidly than the rolled Dutch gold. This may be due to the high melting-point waxes used on the flat foil but not on the rolled, which coat the metallic particles after they are deposited on the material in the blocking process. This coating apparently acts as a (partial) seal against the deteriorative effect of the atmosphere. Because of the chemical action of the plasticizers in pyroxylin fabrics, the deterioration of the foil is more rapid on these fabrics than on starch filled fabrics.

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

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

Weymhoff, Byron Louis, and F. R. Baylock. The evaluation of bronze stamping leaf. Washington, D.C. U.S. Government Printing Office. (Technical bulletin, no. 17). 1933.


Dutch marble

A marble pattern executed by dropping a series of colors, usually yellow, and blue (in that order), which are then drawn together and intermingled by means of a comb, so that instead of shells and veins being produced, the pattern consists of a series of small, sharp scallops.

The Dutch marble is a pattern that has been used frequently in blankbook binding from the early 19th century to the present day.


Dutch metal

See: DUTCH GOLD.


Dutch metal

An imitation of gold leaf, sometimes used on cheap bindings. It soon grows dark or tarnishes.


Dutch paper

Originally, a handmade paper produced in Holland, but today any deckle-edge hand- or machine-made paper manufactured in Holland. It is a superior grade of paper used for high quality books, and, if given an antique finish, as artists' paper. Use of the expression "Dutch" may stem from the fact that in Holland handmade or imitation handmade paper is still called "Hollandsch papier," which does not necessarily mean paper made by hand in Holland. { 17)


Dutch sewing

An obsolete (traditional) method of sewing a book, using strips of parchment or vellum in lieu of the customary bands or cords.


dwell

1. See: CLAMP DWELL. 2. The period of time during which the heated finishing tool is in contact with the leather or gold leaf.


dye

A natural or synthetic coloring material, whether soluble or insoluble, which imparts its color to a material by staining or being imbibed by it, and which is employed from a solution of fine dispersion, sometimes with the aid of a MORDANT.

Dyes differ from pigments, which are insoluble materials that impart color by being spread over a surface, or by being mixed in the form of an ingredient, as in the coloring of some papers and leathers. Natural dyes, such as indigo, madder, fustic, butternut, orchil, logwood, catechu, tumeric, etc., are seldom used today. The discovery in the mid-19th century that dyes could be produced artificially from a constituent of coal tar was the first step in the decline of the use of natural dyestuffs. In large part this was because the quality and effectiveness of natural dyestuffs depended on a variety of factors, over which the user might or might not have control. These included: 1) the problem of storage; 2) the time involved in extracting color from the raw materials; 3) dependence upon a growing season; and 4) impurities. On the other hand, dyes made in the laboratory: 1) do not depend on growing seasons; 2) do not have to be ground or chipped to be made usable; 3) are, in many cases (e.g., indigo), chemically the same as the natural dyes; and 4) since they are manufactured in pure form, are unaffected by the impurities that reduce the quality or effectiveness of their natural counterparts.

However, unlike synthetic dyestuffs, natural dyes produce what can be described as unique colors. They can never be duplicated exactly, and this undoubtedly adds to their appeal. No two natural dye lots are identical for the simple reason that each is going to contain impurities peculiar to the plant material from which the dye is produced; therefore, the very characteristics of natural dyes which made them obsolete also make them appealing to many craftsmen of today.

An enormous range of dyestuffs can be obtained from the manufacturers of chemical dyestuffs. They are still often referred to as "coal tar dyes" or, perhaps more commonly, "aniline dyes," because the early materials were prepared from aniline and many of the intermediates required in their manufacture are obtained by the distillation of coal tar. See also: ACID DYES; BASIC DYES; DIRECT DYES; LAKE; PIGMENT.

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

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

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


dyed white

The neutralized or "corrected" white paper produced by the addition of blue or red coloring to the bleached pulp.


dyeing

The art or process of coloring, or altering the color of a material by the addition of another different colored material, in such a manner that the change may be considered permanent. <!-- BEGIN E -->


E.I

An abbreviation of East India, a descriptive term applied to crust, vegetable tanned cowhide (kip), buffalo hide, or skins such as goat, calf or seep, originating in the Indian Subcontinent and tanned in India, mainly in the south, and especially around Madras.

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


EAR OF THE FRISKET

A projecting piece of iron on the near side of the frisket, by taking hold of which the pressman turns down the frisket, and at the same time the tympan; and as it projects a little beyond the tympan, he also raises the sheet off the form by grasping it and the tympan, and by a quick motion quits hold of the tympan, and turns up the frisket by means of the ear. It is sometimes called the <i>Thumb Piece</i>.


earth colors

Pigments manufactured by refining naturally colored clays, rocks, and earth, and also the pure iron oxide reds, such as Indian red light red, etc. The iron oxides, although artificial counterparts, are classified with the native red earths. Earth colors are also classified as mineral pigments, along with the manufactured inorganic pigments. They are characterized by good light and heat fastness.

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


EASY PULL

When the form feels the force of the spindle by degrees, till the bar comes almost to the hither cheek of the press, it is called a Long, or a Soaking, or Easy Pull, and is also called a Soft Pull; because it comes soft and soakingly and easily down.—M.


EASY WORK

With compositors, printed copy, or a fair written hand, and full of breaks, pleases well, and is called good copy, light, easy work: with pressmen, great letter and a small form is called easy work.—M.

The term is not now generally used: what Moxon describes as relating to compositors would now be termed good copy; and with respect to pressmen it would be called light work, or a light form.


ecclesiastical bindings

A German style of bookbinding in the medieval fashion which became very popular in England following the marriage of Queen Victoria and Prince Albert in 1840. It was used especially for devotional and theological works. Its principal features included thick, heavy, bevelled boards (occasionally papier-mâché was substituted for wood), which were sometimes bevelled only in the middle of each edge, leaving the corners in full thickness. The books were covered in either calfskin of a khaki or brown color or brown morocco and were heavily tooled in blind or black, often with the medieval thin-thick-thin triple fillet. The bindings had OXFORD CORNERS, bright red edges (or gilt over red, and sometimes dull gilt edges which were then GAUFFERED), heavily rounded spines and marbled endpapers in the Dutch pattern. The books were sometimes fitted with clasps. While the bindings were generally well executed, the unusually heavy boards frequently caused the cords to break, resulting in the text block falling out of the hollow-backed "case." Also called "antique," "monastic," or "divinity" bindings.


edge decoration

A general term used with reference to the application of gold leaf, color, ink, or other medium, or the tooling, painting, or other form of decoration, of one or more edges of a book. See: ANTIQUE EDGES; CIRCUIT EDGES; COLORED BRUSHED TOP; COLORED BURNISHED TOP; COLORED EDGES; COLORED UNDER GILT; FORE-EDGE PAINTING; GAUFFERED EDGES; GILT EDGES; GILT IN THE ROUND; GILT IN THE SQUARE; MARBLED EDGES; RED EDGES; RED UNDER GOLD EDGES; ROUGH GILT; SPRINKLED EDGES;

TOP EDGE GILT; WHITE EDGES.


edge gilding

See: GILT EDGES.


edge gilding machine

A machine, used mainly in edition binding, for gilding the edges of books. The books are placed in the machine and the edges are prepared for gilding in the usual manner. A sheet of gold foil is placed over the edges, and heat and pressure are applied by two heated silicone rubber rollers. The first roller, which is used in conjunction with a sheet of fiberglass, smooths the foil over the edges and insulates the foil from heat until it is under pressure. The second roller then presses directly onto the foil and seals it to the edges. Large numbers of books are edge gilded in this manner, particularly in the Bible publishing business.

Martin, A. G. Finishing processes in printing. New York. Focal Press. 1972.


edge index

A form of the INDEX consisting of marks on the edges of the pages of a book produced by means of printed rules that run to the edge of the sheet (bled) and can thus be seen on the fore edge of the closed book. Edge indexing has the advantage of being part of the printing process, and also allows the use of virtually unlimited headings, as well as adding nothing to the overall cost of binding. Its principal disadvantage is that the user does not know what the mark on the edge refers to while the book is closed.

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


edge marbling machine

A machine used for decorating the edges of book in imitation of MARBLING.

The principle of operation is somewhat similar to that of the platen press. The edge of the book is pressed against the printing surface which has been inked by the form rollers. Any design, color, or combination of colors can be used. The machine may also be used for city directories, etc., where advertising matter is printed on the edges.


edge roll

An engraved finishing tool used to impress a design on the edges of the boards of a book, usually one covered in leather.

Porte, Roy Trewin. Dictionary of printing terms. 4th ed. Salt Lake City. Porte. 1941.


edge rolled

A method of decorating the edges of the boards of a book, usually one covered in leather, in which the edges are tooled in gold or blind by means of an engraved EDGE ROLL.

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


Edge-Rolled

When the edges of the boards are rolled. It may be either in gold or blind.


Edge-Rolled

When the edges of the boards are rolled, either in blind or in gold.


edges

The three outer extremities of the folded sections of book, usually trimmed and sometimes decorated in some manner. See: EDGE DECORATION.


Edges cut

A book or pamphlet cut down sufficiently to make all the edges quite smooth.


Edges gilt

Book edges cut and gilded.


Edges opened

A book or pamphlet opened, the folds of the leaves being cut by hand with a paper knife.


Edges red

Book edges cut and colored red.


Edges rolled

When the edges of the covers are marked with a roll, either in gold or blind.


Edges rounded

Corners rounded to prevent their becoming dog’s-eared.


Edges trimmed

A book or pamphlet with the edges cut enough to make them tidy, but not enough to cut the folds of the leaves.


Edges untouched

A book or pamphlet with edges uncut and unopened.


edging

1. The beveling of an edge, usually of a leather covering, but also paper, vellum, etc., by means of an EDGING KNIFE. The purpose of "edging" a leather cover is to prevent the leather turn-in from bulging, especially at the head and tail of the spine. When applied to paper, the term generally refers to the process of cutting or beveling two pieces of paper so that there is no high or low spot where they are joined. In craft bookbinding today, edging of paper is more or less obsolete, having been superceded by the use of long-fibered Japanese copying paper. 2. See: EDGE ROLLED.


edging knife

A knife made of hardened steel and used to pare the edges of leather on the flesh side, vellum, paper, etc. See also: PARING KNIFE.

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


EDINBURGH

Plan of a pair of Cases as used at Edinburgh.

Layout of the Edinburgh case


edition

1. All of the copies of a work printed from the same type or plates, either issued at one time or at intervals. In the latter case, the edition may consist of a number of impressions. A statement of the edition of a book is often printed on the title page or its verso, along with the particulars of any previous editions on the verso. 2. A number of copies of a work printed at any one time, either when the text has undergone changes or the type has been partially or entirely reset, or the format of the book has been altered. The term is also applied to the copies which made up the original issue, i.e., the "first edition," as well as any subsequent editions, e.g., 2nd, revised, etc. 3. The embodiment of a work in a particular typographical form, with different editions embodying an identical text, or varying texts. 4. One of the various editions of a newspaper. See also: EXTRA-ILLUSTRATED; FINE PAPER COPY; FIRST EDITION; IMPRESSION (5); LARGE PAPER COPY; LIBRARY EDITION;

LIMITED EDITION.

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.

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

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