GIVING OUT PAPER

When the warehouseman delivers paper to the pressmen, or to the person appointed to wet it, for printing on, it is said, he has given out paper for such a job, or such a sheet of a work.

Paper, for printing on, is received in three different ways from the stationer.

The first and most general way is what is termed Perfect Paper; that is, each ream consists of twenty-one quires and a half, making 516 sheets, which enables the printer to deliver full count, and allows for spoiling sheets, which unavoidably happens in wetting, in printing-off, and in the warehouse department.

The second is Imperfect Paper; that is, each ream consists of twenty good quires, (termed inside quires,) making 480 sheets; but it is given out to wet for bookwork as perfect paper.

The third is News Paper, which consists of twenty quires of twenty-five sheets each to the ream, making 500 sheets.

Newspaper stamps are always received, given out to wet, and delivered, by the net number, and require great care on the part of the warehouseman and pressmen to prevent waste, as the master printer is responsible for the deficiency.

Paper with outside quires is very rarely sent in to the printer; when it does happen, the warehouseman should look over the outside quires, take out the torn and damaged sheets, and give out as perfect paper: but, perhaps, the best way is to put aside these quires, and return them to the employer, as every sheet is more or less damaged.

The following Tables will be found useful, as they will enable the warehouseman to give out paper with facility and correctness for bookwork, and for jobs, where the numbers are irregular and the sizes vary; and more particularly so, as they include both perfect and imperfect paper.

Those for bookwork are arranged for the regular quantity of perfect paper, commencing with so low a number as 12, and proceeding up to 10,000.

Those for jobs include the same numbers, and are so arranged as to specify the quantity of paper to a sheet for each number, as I did not think it necessary to calculate them to the fractional part of a sheet: thus some of them are exact, and others have a surplus, which in some instances is large where there are many on a sheet; but as jobs are generally delivered without any surplus, I have thought it best to give the quantity of paper that will make the nearest specific number, so that it shall not be less, and leave the surplus to the discretion of the warehouseman, or to the custom of the house.

Where the numbers are small in bookwork, the quantity of paper given out is greater in proportion than when the numbers are larger; of course a ream will not hold out in printing five sheets of one hundred copies each, and still less in smaller numbers; for each sheet at press will require a tympan sheet; and it is more than probable that one or two more will be spoiled in making ready; and in the warehouse department a file copy must always be preserved. I notice this to remind the warehouseman to make a proper allowance in his paper account, otherwise it will appear deficient, when in reality it is not.

TABLES—Showing the proper Quantity of Paper to be given out for any Number from 12 to 10,000, both Perfect and Imperfect.

FRACTIONAL PARTS

GOOD COLOUR.

Sheet printed neither too black nor too white—M.


glacial acetic acid

A pure form of ACETIC ACID. It is a crystalline, corrosive substance that is miscible with water and alcohol. In solution it is a pungent, hygroscopic liquid and a good solvent.

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.


glacé goat

A vegetable or chrome tanned leather having a bright, smooth, glossy or glass-like grain finish obtained, according to the type of leather, by glazing, plating, ironing, or polishing. On the Continent of Europe, glace is a leather prepared by tawing the skin with a mixture of alum, salt, flour, and egg yolk. Glace leathers are sometimes used in bookbinding for title labels on a contrasting leather.

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

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


glair

The preparation used to secure leaf metal to the covering material or edges of a book. It consists basically of egg white and vinegar, or, for the edges of a book, egg white and water. It may also be purchased in dry form (dry ALBUMEN) and then mixed with vinegar or water. Glair must have the property (and be of the quality) of melting immediately upon the application of heat and then setting quickly upon the removal of heat, so that the impression of the heated letter or finishing tool will melt the glair to permit it to hold the leaf solidly to the surface when the tool is removed.

Two methods of applying glair are generally employed. If the slight gloss produced by the glair is not objectionable, the glair may be sponged over the entire surface to be tooled, and would in any case be applied over the entire edge of the book; however, if the gloss is objectionable, the design and/or lettering are tooled in blind and the glair is then applied to the blind impressions with a GILDER'S TIP. See also: BLOCKING POWDER; SHELLAC SIZE.

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

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


glair

The white of eggs beaten up and used in finishing and gilding the edges of the leaves.

Public domain (Project Gutenberg, pre-1930 text)


glair brush

An artists "ground" brush, 3/4 inch wide, and with soft bristles set in rubber and used in applying glair to the edges of a book to be gilded.

Burdett, Eric. The craft of bookbinding; a practical handbook. London. Davis & Charles. 1975.


glair pencil

A small brush, e.g., camel's hair brush, used to pencil glair directly into the blinded in impressions before laying on the gold leaf.


GLAIRE

The white of eggs beaten up.

The Art of Bookbinding: A Practical Treatise


GLAIRE

white of eggs beaten up, and used in finishing and edge gilding.


glairing in

The process of applying GLAIR over the lettering or design that has been blinded in.

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


glass fibers

One of the more unusual man-made fibers being used commercially in the manufacture of special papers, although not at this time being used to make printing papers. Glass fibers are inert, or insensitive, to most external influences, and, in addition, are vermin proof, do not absorb moisture, or burn. Because of the physical nature of these fibers, the properties of glass fiber papers are unique and different from those of all cellulose papers; however, they do not bond together as do cellulose fibers, and must, therefore, be used in mixtures with cellulose fibers, or bonded with synthetic resins. The two basic types of glass fibers are the drawn glass filaments and the blown glass fibers.

The enemies of books. London. Stock. 1896.


glass paper

1. A strong paper faced with powdered glass on one side and used in abrading or smoothing surfaces such as wood or leather, or to remove surface marks from paper. It is sometimes called sandpaper, although sandpaper is actually faced with sand or natural flint and not glass. 2. A paper produced from GLASS FIBERS.

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


glass transition temperature

That temperature at which an adhesive loses its flexibility and becomes hard, inflexible, and "glasslike." An adhesive which reaches the "glass transition temperature" is subject to failure if flexed. Glass transition temperatures for adhesives vary greatly, from 105° C. (polymethyl methacrylate) to well below 0 ° C. If flexibility is required of the adhesive, the glass transition temperature can be lowered, either by means of plasticizers, or a polymer with a naturally low glass transition temperature.


glassine paper

A supercalendered paper manufactured principally from chemical wood pulps which have been beaten to secure a high degree of stock hydration. Glassine paper is grease resistant, has a high resistance to the passage of air, and is almost impervious to the passage of water vapor. It is also smooth and transparent, or semi-transparent. It is made in white and various colors, and may also be made opaque by the addition of fillers. Basis weights range from 12 to 90 pounds (24 X 36—500), with the ordinary range being from 15 to 40 pounds. Glassine tape, which is the paper backed, with a water-soluble adhesive, is sometimes used to repair torn book leaves, although it will eventually turn yellow and may damage the paper. It is also used in lieu of cellulose acetate in the SUNDEX PROCESS of lamination.

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.

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

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


glassy layer

The dense fibrous structure found in the butt or SHELL area of horsehide.


glazed

1. A paper having a high gloss or polish. The gloss is applied to the paper either during manufacture or afterwards, by such means as calendering, friction glazing, plating, etc. Glazed papers are used for book and cover papers, and the like. 2. Any surface finished with a high gloss, such as cloth, leather, or paper. See also: GLACÉ; GLAZED BOARD; GLAZING.


glazed board

A MILLBOARD, or other type of board, that has been given a very smooth finish on the calenders. It was used in library binding when standing or hydraulic presses were used for the final pressing of books, its smoothness preventing it from imparting any markings to the covers of the books being pressed.

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


glazed leather

See: GLACÉ.


glazed morocco

A MOROCCO leather which has had its grain flattened by a calendering process, such as GLAZING, as distinguished from CRUSHED MOROCCO.


glazing

The process of producing a bright, glossy, or glasslike finish on leather, paper, board, marbled or decorated papers, etc. Paper glazing may be done by means of calendering, or by applying wax over the surface of the paper and then passing heated iron over it. Leather is glazed, on the grain side, by subjecting it to the action of a non-rotating solid glass (or agate or other suitable material) cylinder drawn across the grain under very high pressure.


gloss

The surface characteristic of a material which enables it to reflect light specularly and which causes it to appear shiny or lustrous. Gloss is measured at various angles of illumination, and, although it is subjective in nature, it is clearly associated with the light reflecting properties of a surface.


gloster marble

A marble pattern very similar to the ANTIQUE MARBLE, except that instead of the spot being a flat color, i.e., a color mixed with gall and water alone, it calls for a blue stormont with no white beaten on afterward.

Woolnough, Charles W. The whole art of marbling as applied to paper, book edges…Rev. ed. London. Bell. 1881.


glucose

A crystalline carbohydrate (C6H12O6) soluble in water, used as a substitute for the more expensive glycerine (glycerol) as a plasticizer for glue, and in making GLUCOSE-GLYCOL PASTE. See also: SORBITOL.


glucose-glycol paste

A paste containing glucose, in the form of corn syrup, and diethylene glycol (C6H14O3), in the proportions of 35% original water, 10% diethylene glycol, 0.1% beta naphthol, 0.3% alum, 20% glucose, 19.6% flour, and 15% water from condensation of steam. The advantages of this paste are stated to be that it is suitable for use on pyroxylin impregnated book cloth and effectively reduces warpage of book covers.


glue

An adhesive consisting of organic colloids of a complex protein structure obtained from animal materials such as bones and hides in meat packing and tanning industries. Glue contains two groups of proteins: chondrin, which accounts for its adhesive strength, and glutin, which contributes jelling strength.

Animal glue is a protein derived from the simple hydrolysis of collagen, which is the principal protein constituent of animal hide, connective tissue and bones. Collagen, animal glue, and gelatin are very closely related as to protein and chemical composition. Gelatin is considered to be hydrolized collagen: C102H149O38N31 + H2O = C102H151O39N31 which gives an approximate chemical composition for glue of 51.29% carbon, 6.39% hydrogen, 24.13% oxygen, and 18.19% nitrogen. There may be minor variations in the composition of collagens from different sources, as well as in the composition of animal glues imparted by variations in processing techniques; however, the composition of glues and gelatins having widely varying case histories are still very similar.

As a protein, animal glue is essentially composed of polyamides of certain alpha-amino acids. It is believed that these acids are not present in glue in the free state, but rather as residues which are joined together by the elimination of water to form long polypeptide chains.

Glue is a polydisperse system containing mixtures of similar molecules of widely differing molecular weights. Because so wide a range of molecular weights is present, the molecular weight of glue is always an average, ranging from 20,000 to 250,000.

Hide and bone glues make up the two major types of animal glue. Hide glue, which is by far the superior of the two, yields a fairly neutral pH in solution, usually in the range of 6.5 to 7.4, although wider variations are possible. Bone glue is generally acidic, having pH values of 5.8 to 6.3. A glue having a high acidity absorbs less water and tends to set more slowly than a glue having low acidity. A glue having a pH greater than 7.0 tends to foam, and has a shorter shelf life than a glue that is slightly acidic.

Animal glues are soluble only in water, and are insoluble in oils, waxes, organic solvents, and absolute alcohol; however, they may be emulsified in water-oil or oil-water systems under proper conditions. One of the more interesting properties of animal glue solutions is their ability to pass from a liquid to a jelled state upon cooling, and then revert to the liquid state upon re-heating.

The important properties of glue include its jelly strength or consistency (gel strength), viscosity, melting point, adhesive strength, tensile strength or elasticity, optical rotation, swelling capacity, rate of setting, foaming characteristics, reactions to grease (whether acid or alkaline), as well as appearance, odor, color and keeping characteristics. Of these, gell strength and viscosity are most often used for determining the grade of a particular glue.

Regardless of the source of the protein, the glue manufacturing process consists essentially of washing the stock, crushing or shredding the bones or hides, soaking in a lime solution to eliminate hair and flesh, boiling to extract the gelatinous material, gelling, and, finally, drying. The resulting hard, brittle sheets of glue are then broken into pieces or flakes, or ground into powder.

Glue as such is much too brittle for use in bookbinding; therefore a plasticizer, such as glycerin, or a less expensive substitute such as SORBITOL, often combined with glycols and tackifiers, are added to improve elasticity and resilience. These so-called flexible glues are usually prepared from high quality grades of hide glue, with the ratio of plasticizer(s) to dry glue controlling the degree of flexibility that is imparted. In addition, glue, being an organic material, is susceptible to mold; consequently preservatives, such as beta naphthol, or the safer phenols, e.g., p-phenyl phenol, are added to prevent mold and bacterial growth. Deodorants, such as terpinol, are also employed in commercial glues.

The wide acceptance of glue as an adhesive stems from its unique ability to deposit a tacky viscous film from a warm water solution, which, upon cooling a few degrees, passes into a firm jelly state producing an immediate, moderately strong initial bond. Subsequent drying provides a permanent, strong, and resilient bond.

The use of glue as an adhesive dates from earliest recorded times. Whoever discovered that a strong adhesive could be produced by cooking pieces of animal hide, or perhaps bone, in water has never been ascertained, but archeological discoveries indicate that the

Egyptians used glue more than 4,000 years ago. The practical manufacture of glue can be traced back directly to 1690 in the Netherlands. Shortly thereafter, or about 1700, the English began making glue and established its manufacture as a permanent industry. Elijah Upjohn is considered by some authorities to have been the first to manufacture glue in the United States, in 1808.

In addition to its use as an adhesive in bookbinding, glue is also used for gumming, for tub-sizing paper, and as a general adhesive in papermaking.

The term "glue" is sometimes used loosely in a general sense as synonymous with "adhesive."

Alexander, Jerome. Glue and gelatin. New York. Chemical Catalog Co. (American Chemical Society, monograph series). 1923.

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

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

Kantrowitz, Morris S., and others. Flexible glues for bookbinding. Washington, D.C. U.S. Government Printing Office. (Technical bulletin, no. 24). 1941.

Katz, Irving. Adhesive materials, their properties and usage. Long Beach, Calif. Foster. 1971.

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

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

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

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

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


glue brush

A large, circular-shaped brush with long, heavy bristles set in rubber or a composition, and held by a ferrule; it is used for spreading glue over relatively large surfaces. Glue brushes range in diameter from about 1 3/4 to 2 1/2 inches.

Burdett, Eric. The craft of bookbinding; a practical handbook. London. Davis & Charles. 1975.

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


glue line.

The "line" at which the paper and adhesive meet in an adhesive binding. The fibers of the paper flex at the "glue line," and may work their way loose at this point, regardless of the characteristics of the adhesive that is used.


glue pot

A container, frequently made of copper and usually of a double boiler construction, in which glue is melted and kept at the proper temperature, which is in the range of 120 to 150° F. It is heated by gas, or, more often today, by electricity, either through a water jacket, or directly through insulated walls. It is usually controlled by a thermostat if heated by electricity. Control of temperature is important, as overheating of animal glue results in a loss of gell strength.

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


glue size

A size made of glue and soap mixed in water, in the proportions of 1 part glue, 1 part soap, and 30 parts water. It is used for resizing papers, and also in sizing endpapers and other sheets following marbling or coloring.


gluing up

1. The process of applying glue, or other adhesive, to the spine of a book following sewing. In edition binding, gluing up is a machine operation, but in library and hand binding it is generally done by hand. Usually, one of the polyvinyl adhesives, e.g., polyvinyl acetate, or a hot, flexible animal glue, or even a hot-melt adhesive is used. The major purpose of gluing up is to put the spine of the book in the proper flexible condition for the molding operations of rounding and backing. As these two processes were not introduced into bookbinding until the early part of the 16th century, gluing up was not done before that time.

There are advantages in using a relatively slow drying adhesive in gluing up, as such an adhesive will remain tacky while the spine is shaped and the shoulders are set.

2. The operation of gluing the cloth or paper used for making covers or cases.

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

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


glycerol

A sweet, colorless, syrupy, hygroscopic trihydroxy alcohol (C3H5(OH)3), that occurs combined as glycerides, and is used as a hygroscopic agent in glue (mainly animal glues) to enable it to remain relatively soft and flexible. Because it is hygroscopic, glycerol can actually absorb so much moisture that mold growths can develop unless an antiseptic is added along with the softening agent. The high cost of glycerol has led to the substitution of other softening agents, such as SORBITOL and diethylene glycol.

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


go home

A term sometimes applied to the proper and adequate adhesion of the PASTEDOWN in the joint of a cased book.

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


GO UP THE FORM

Beating from the hither towards the farther side, is in pressmen’s phrase called, “<i>Going up the Form</i>.”—M.


goat skiver

The grain split of a goatskin. See: SKIVER. See also: BUFFING (1); FLESHER.


goat vellum

A "vellum" made from goatskin. Although VELLUM can be, and has been, produced from virtually every type of (relatively small) skin, it is traditionally made from the skin of a calf.

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


goatskin

Leather manufactured from a number of varieties of goats, especially of the genus Capra. There is little or no supply of domestic goatskin in either England or the United States; what production there still is, mostly in England, is of skins imported from India, Pakistan, East and West Africa, South Africa, and some from Southern Europe and Central and South America. Supplies are also available from the Far East. The green skins are dry-salted, wet-salted, or simply dried, and then baled for shipment to tanneries. African skins frequently suffer from damage due to disease and improper drying and are usually not suitable for use as bookbinding leather; however, Nigerian goatskins are frequently among the finest available. Some goatskins are tanned, but generally not finished, in the country of origin, principally in India (East India (E.I.) tanned), but also small quantities in Africa. Most goatskin for use in bookbinding is vegetable tanned, but some skins are alum tawed. Some skins are even tanned by a combination vegetable and chrome process.

Goatskin is tougher and more tightly fibered than sheepskin, has a hard-wearing grain, and, when properly tanned, can last for centuries. It colors beautifully and has a distinctive texture identified by ridges and furrows in the grain, and hair pits in groups all over the surface. Straight-grained goatskin is produced by rolling damp skins until all the furrows in the grain run in the same direction, while crushed goatskins have had the ridges flattened by ironing, rolling or plating.

Although MOROCCO, the best known goatskin, was first produced by the Moors, possibly as early as the 11 th century or before, the use of goatskin in Europe did not become common until the first half of the 16th century, in Italy, and was not common in France until the second half of the 16th century. It was rarely used in England before 1600. Since its rise to ascendancy, however, it has been the traditional skin used in fine bookbinding. See also: LEATHER; LEVANT; NIGER.

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

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

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

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

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

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


goffered edges

See: GAUFFERED EDGES.


gold

A very malleable, ductile, yellow trivalent and univalent metal (Au) that occurs chiefly in the free state, is unaffected by most chemicals but is attacked by chlorine and aqua regia, is hardened or changed in color for use in bookbinding and other art work by alloying with copper, silver, or other metals, and which has been used for centuries to illuminate manuscripts, as well as to letter and decorate leather and other bookbindings. See also: GILT EDGES; GOLD BLOCKING; GOLD LEAF; GOLD ROLL; GOLD TOOLING.

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

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

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


gold and silver bindings

Bookbindings having boards overlaid with thin panels of gold or silver, often in hammered relief, and sometimes inlaid with ivory, enamel, or jewels. Most of these bindings date from the 6th to the 13th centuries and were frequently executed for wealthy monasteries or churches to enclose their more valuable manuscripts. Very few have survived intact.

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


gold and silver headband

A double HEADBAND made up of gold- and silver-colored threads.

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


gold blocking

The decorative effect produced by blocking the covers of books in gold. The practice began in the early 16th century, probably first with the use of wooden blocks, although metal blocks were also in use during the 16th century. Nearly all gold blocking of that time is very deeply impressed, possibly because of the use of soft pasteboards under the leather, and possibly because the blocking pressure was difficult to estimate accurately because the blocking had to be done in a screw press; if, under these circumstances, the block began to get too cool, very great pressure would have been required. As the impressions made were often very uneven in depth, such refinements as "make-ready" must have been un known to bookbinders of that time.

Blind lines, forming a cross, were frequently marked on the covers as recently as the early ] 9th century to assist in positioning the block precisely. The area was coated with glair, the gold leaf was laid on, the heated block was then centered on the intersection of the lines (which can usually be seen extending beyond the gilt impression), and the platen of the press was lowered onto the cover. It is quite likely that the covers were sometimes first blinded in before being blocked in gold. See also: BLOCKING PRESS.


gold book

A paper book, usually 3 3/4 inches square, containing 25 sheets of gold leaf interspersed between leaves of goldbeater's tissues which have been dusted with chalk.


gold cleaner

A pointed instrument of metal or wood used to clean out surplus gold after tooling.


gold cushion

A pad on which a sheet of gold leaf is placed for cutting the pieces required for tooling. It usually consists of a piece of wood padded with blotting paper, cotton wool, or the like, and covered with calfskin, flesh side out, and powdered with brick dust. A stiff piece of paper is sometimes attached to the rear edge, and run around the sides to enclose about one-third of the cushion, as a sort of windshield to protect the fragile leaves from air currents.

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

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

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


gold cushion

A cushion for cutting the gold leaf on.


gold cushion

A cushion of leather on which the finisher cuts gold leaf into pieces.


gold edges

A term at one time applied to a book when the edges had been gilded. See: GILT EDGES.

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


gold foil

See: BLOCKING FOIL.


gold ink

An ink of the color of gold, prepared by mixing gold-colored bronze powder in a size.

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


gold knife

A flat-bladed knife, the blade of which is about 6 inches long and 3/4 inch wide. It has a smooth moderately sharp cutting edge on one or both sides. It is used to manipulate GOLD LEAF and to cut it to the required sizes and shapes. The knife must be sharp enough to cut the leaf with a single back-and-forth stroke but not so sharp as to cut the leather of the GOLD CUSHION. See also: GILDER'S TIP.

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


gold knife

The knife for cutting the gold; long and quite straight.


gold knife

The knife for cutting the gold leaf; long and quite straight.


gold leaf

A sheet of gold 3 1/4 inches square of an even thickness of 1/200,000 to 1/250,000 inch, and used in lettering and decorating bookbindings, and in other artistic work. The gold leaf used in bookbinding is generally 23 to 23 1/4 karat, the remaining 1 to 3/4 karat being silver and copper. The alloy depends on the finished color desired, ranging from a delicate red through yellow to pale green. Other types of leaf are also available, including lemon gold (18 1/2 karat) and pale gold (16 karat). Since these are alloyed with the less malleable silver, they are somewhat thicker and consequently easier to handle than the more nearly pure gold. Gold leaf is available in books of 25 leaves, interleaved with sheets of tissue dusted with chalk to prevent them from sticking together. It is also available in ribbon form (See: GOLD ROLL). Some gold leaf is made in double thickness, and is believed to be the equivalent of pre-19th century leaf, as old writings and handling instructions indicate a less fragile and more easily manipulated metal than the modern day product. Double thick leaf is especially useful when gilding the edges of books, as it gives a more "solid" effect than is obtainable by using gold leaf of the usual thickness.

Gold leaf is the traditional metal used on books for lettering, edge gilding, and embellishment. In terms of beauty and durability it has never been equalled by any of the less expensive substitutes that have been available for more than a century. See also: DUTCH GOLD; GILT EDGES; GOLDBEATING; GOLD BLOCKING; GOLD TOOLING; SHELL GOLD.

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

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


gold leaf

Gold beaten into very thin leaves, occasionally used for printing purposes, but more particularly for the decoration of book covers.


gold lifter

A shaped piece of wood, the flat under surface of which is covered with felt. It is used to pick up gold leaf. See also: GOLD NET FRAME.

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


gold marble

A type of cover marble produced by breaking gold leaf into fragments on a piece of cloth, and rubbing the gold through the cloth onto the glaired covers of the book.

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


gold net frame

A thin piece of cloth, usually nearly transparent, stretched on a frame that can be adjusted for tension on the cloth, and used to pick up gold leaf. See also: GOLD LIFTER.

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


gold powder

Pulverized gold leaf dispersed in an aqueous binder and used in the illumination of manuscripts. Gold powder is both difficult to obtain and more expensive than gold leaf. See also: SHELL GOLD.


gold roll

GOLD LEAF carried on a transparent plastic tape. It is produced by plating the ribbon electrically in a vacuum chamber, and then applying an adhesive to the gold to make it adhere to the surface to which it is applied. Gold in roll form is used extensively in lettering library bindings and in the production of superior edition bindings.

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

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


gold rubber

Pure rubber soaked in turpentine, or treated with paraffin to make it absorbent, and used to remove superfluous gold leaf after tooling. Also called "bottle rubber." See also: GILDER'S TIP; RUBBING-OFF CHEST.

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

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


gold size

See: BLOCKING POWDER; GLAIR; SHELLAC SIZE.


gold sprinkle

A 19th century technique of decorating the edges of a book in which pulverized gold leaf is sprinkled on the edges after they have been colored. See also: SPRINKLED EDGES.

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

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


gold tip

See: GILDER'S TIP.


gold tooling

The art or process of lettering and/ or decorating the spine and covers of a book with GOLD LEAF (or, at times, other metals, e.g., platinum) impressed into the covering material, usually leather, by means of a heated letter, lettering pallet, or finishing tool.

In the traditional method of gold tooling, the lettering or design is first blinded in, generally first through paper, and then again directly on the leather. The second working of the tool polishes the base of the impression and assists in creating a particular brilliance in the tooling. An adhesive (glair) is applied to the leather (either all over or directly into the blind impressions); strips of gold leaf are laid over the impressions and held in place temporarily with a thin film of vaseline or grease; and the gold is then pressed permanently into place with the heated tool When done properly, the affinity of the gold for leather is such that it will practically never come off; nor will it tarnish.

Gold tooling must be ranked as one of the most important innovations in the history of bookbinding. Its origin are somewhat obscure, but it was probably introduced into Europe by way of Italy, and spread throughout the rest of Europe and England, eventually ar riving in America. There is some evidence that the technique may have been practiced in Morocco in the 13th century, but this is not conclusive. It has also been proposed that gold tooling was introduced into Italy by way of Persia (now Iran), where bookbinding and gilding flourished in the early decades of the 15th century.

Very early gold tooling is difficult to evaluate because it is uncertain whether the gold was actually impressed into the leather with a (hot) tool, or was painted into blind impressions. The evidence offered by some bindings, i.e., the absence of impressions deep enough to indicate tooling, as well as what appear to be brush marks in the gold, would seem to indicate painting. Because of the elapsed time, however, which has led to the inevitable deterioration of the materials, it is difficult to differentiate between the two techniques. In any event, books were actually being tooled in gold in Venice no later than 1470, and possibly several years earlier. Gold-tooled leather bindings were not common in England before about 1530, and not in the United States until about 1669.

The universal adoption of gold tooling was by no means immediate, and, in fact, blind tooling was still the predominant form of decoration until about 1580, or even 1600. See also: FINISHING (1).

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

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

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

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


gold-powdered bindings

Leather bookbindings produced during the period of about 1560 to 1570, and usually tooled with a simple design and then given a "powdered" effect by means of miniscule gold dots and (sometimes) gold leaf rubbed into the leather.


goldbeater's skin

The prepared outer coat of the caecum of the ox (or other cattle), which is the blind pouch or sac in which the large intestine begins. The gut is soaked in a dilute solution of potassium hydroxide, washed, stretched, beaten flat and thin, and treated chemically to prevent putrefaction. It is then stretched tightly and cemented together, back to back, leaving the clear, smooth, veinless inside of the caecum exposed. The SHODER and MOLD stages of GOLDBEATING are built up with these double skins of the ox. A mold of 1,000 pieces of goldbeater's skin requires the gut of about 400 oxen, and is only 1 inch thick when assembled. The pack is built up by interleaving the skins with leaves of gold. Goldbeater's skin is also used in the repair of holes and tears of vellum.

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


goldbeater's tissue

An unbleached tissue paper, having a lint-free, hard surface, suitable for use as an interleaving tissue between leaves of the gold book.

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.


goldbeating

The art or process of reducing gold into extremely thin leaves. Goldbeating, which today is done almost entirely by mechanical devices, some of which are designed to duplicate the movement of the human arm, involves melting the gold into a bar, rolling it to a thickness of approximately 1/1,000 inch, and then beating it in three stages: the CUTCH (1), SHODER, and MOLD (2), followed by cutting and booking. When done by mechanical devices, goldbeating is simply a manufacturing process, but when done by hand it is an art.

The origin of gold beating is unknown; however, it is known that the tombs of prominent Egyptians contained artifacts bearing gold leaf, although not of the quality and thinness produced today. See also: GOLD LEAF.


goldmark

Gold leaf prepared in a form which permits writing or decorating in gold without the use of heat. Goldmark is laid on leather, plastic, paper, etc., and inscribed with a stylus which produces a gold facsimile. Also called cold gold. See also: BLOCKING FOIL.

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


GOOD COLOUR

Sheets printed neither too black nor too light.

The American Printer: A Manual of Typography


GOOD COPY

Printed copy, or manuscript that is written in a clear and legible hand.


GOOD OF THE CHAPEL

Forfeitures and other chapel dues are collected for the good of the chapel, viz. to be spent as the chapel approves.—M.


good seconds

A grade of leather skins which are superior to SECONDS but not as good as FIRSTS (1). "Good seconds" are somewhat less expensive than firsts, the flaws are less numerous than in seconds, and what flaws there are can often be avoided by careful cutting.

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


Good Work

is called so in a twofold sense: The Master-Printer calls it *Good Work* when the *Compositers* and *Press-men* have done their duty; and the Work-men call it *Good Work*, if it be *Light Easie Work*, and they have a good price for it.


GOOD WORK,

is called so in a twofold sense: the master printer calls it good work when the compositors and pressmen have done their duty; and the workmen call it good work, if it be light easy work, and they have a good price for it—M.


Gosden, Thomas

An English bookbinder, book collector, bookseller, and publisher, known as the "sporting binder," because most of his bindings were of books devoted to sports. The peculiarity of his style and the reason he is remembered is that he used tools cut in the forms of fish, reels, rods, baskets, and sportsmen.

Book collector. London. Queen Anne Press.


Gothic tabs

Identifying cloth tabs used with the cut-in or THUMB INDEX. The cloth tabs, each with identifying letter or letters, are glued to the first full leaf of each section devoted to that part of the alphabet. The name derives from the type style used by the firms supplying the tabs. Gothic (cloth) tabs are seldom used today.


GOTHIC, ANCIENT

The Scythian or Gothic tribes, descended from Magog, were the second source of European population. They entered into Europe from Asia, like the Kelts, about 680 years B. C. In the time of Herodotus they were on the Danube, and extended towards the south. In Cæsar’s time they were called Germans; and had established themselves so far to the westward as to have obliged the Kelts to withdraw from the eastern banks of the Rhine. They became known to us in later ages by the name of Goths.

From this Scythian or Gothic stock sprung the Saxons, who occupied the north-west part of Germany. We may here observe, the terms Kimmerians and Scythian are not to be considered merely as local, but as generic appellations; each of their tribes having a peculiar denomination.

As a distinctive denomination, they prefixed to Goths the name of the country they inhabited or subdued; as, the Mœso-Gothi, Scando-Gothi, Norreno-Gothi, &c. Their chief seat is reported to have been in Gothland, now a part of the Swedish dominions. The Mœso-Goths, as their name imports, were those Goths that inhabited Mœsia, on the frontiers of Thrace. The language of these Goths is not only called Mœso-Gothic, but Ulphilo-Gothic, from Ulphilas, the first bishop of the Mœso-Goths. He lived about A.D. 370, and is said to have invented the Gothic alphabet, and to have translated the whole Bible from Greek into Gothic. These Gothic characters were in use in the greater part of Europe after the destruction of the western empire. The French first adopted the Latin characters. The Spaniards, by a decree of a synod at Lyons, abolished the use of Gothic letters A.D. 1091.—Bosworth.

The ancient Goths were converted to Christianity by the Greek priests, and they probably introduced their letters with their religion, about the reign of Galienus. Towards the middle of the third century, Ascholius, Bishop of Thessalonica, and a Greek priest named Audius, spread Christianity among the Goths; the former of these is much extolled by Basil the Great, and the latter by Epiphanius. The ancient Gothic alphabet consisted of sixteen letters; they are so similar to the Greek, that their derivation cannot be doubted.

Those writers are certainly mistaken, who attribute the invention of the Gothic letters to Ulphilas, Bishop of Mœsia, who lived in the fourth century. The gospels translated by him into the Gothic language, and written in ancient Gothic characters about the year 370, were formerly kept in the library of the monastery of Werden; but this MS. is now preserved in the library of Upsal, and is known among the learned, by the title of the Silver Book of Ulphilas, because it is bound in massy silver. Several editions of this MS. have been printed. See a specimen of it in Hickes’s Thesaurus, vol. i. pref. p. 8. Dr. Hickes positively disallows this translation to be Ulphil’s, but says it was made by some Teuton or German, either as old, or perhaps older than Ulphil; but whether this was so or not, the characters are apparently of Greek original.—Astle.

The Mœso-Gothic Alphabet.

[1] And as n before another g.

[2] As j in jour, or y in your.

[3] Hw in Saxon, or wh in English. The proper sound of these letters can hardly be ascertained; but that which is given appears the most probable. Astle gives this character as Q.

[4] And in middle of words sometimes c.

[5] W in the beginning, and u in the middle of a word.

[6] Astle says ch or x.

Gothic in the British Founderies.

Pica. Caslon and Livermore. University of Oxford.

The Gothic Alphabet

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


gouffered edges

See: GAUFFERED EDGES.


gouge

See illustration</> A single-line finishing tool, used either for blind or gold tooling on the covers but not the spine of a book. It has a curved edge which forms a segment of a concentric circle. Gouges are generally made in sets of ten, and, if a series of concentric circles are drawn about 1/10 inch apart, the lines impressed by each succeeding gouge will be longer and flatter. So-called flat curved gouges are those derived from an even larger circle, and are therefore less curved than regular gouges. When tooling, the gouge is always sighted from the concave side.

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


gouge

A tool used in finishing, the face of which is a line forming the segment of a circle.


gouge

A finishing tool forming the segment of a circle.

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


gouge

A tool used in finishing; it is a line forming the segment of a circle.


gouge

A gilding tool cut to impress a curved line or segment of a circle upon the leather.


gouge index

See: THUMB INDEX.


governmental style

An obsolete term for full leather bindings in law calf, sheep, or skiver.

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


GOVERNOR

The master printer is generally styled Governor, when spoken of by the workmen in the house; as, The Governor said thus. The Governor ordered that.


grade

Materials listed in an order (or distinguished from other, comparable materials) on the basis of use, appearance, quality, manufacturing, raw materials, performance, or a combination of these factors. Some "grades," such as of cloth, leather, and paper (or board), have been officially identified and described, while others are commonly recognized but are not officially defined.


grain

1. In machine-made paper and board, the direction in which the majority of the fibers are oriented. See: MACHINE DIRECTION. 2. In leather, the term is used primarily to indicate the top or outer, i.e., hair side, layer of a hide or skin that has been split into two or more layers. A "grain layer," is just that portion of a skin that extends from the surface exposed by removal of hair or wool and epidermis, down to about the level of the hair or wool roots. It can also mean the follicle pattern visible on the outer surface of a skin after the hair or wool and epidermis have been removed. See also: GRAIN PATTERN. 3. In cloth, the "grain is the direction of the WARP threads.

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

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

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

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


grain

The term applied to the outer side of a piece of leather, from which the hair was removed. This word is also used in describing the different kinds of surface given to leather in the making, often with a qualifying adjective, as, seal-grain, like the grain on sealskin; coarse grain; pebble-grained, that is, grained in an irregular manner, as though numerous small pebbles of different sizes had been pressed upon its surface; water grain; smooth grain; brass board grain, usually put into cowskin, etc.


grain direction

See: MACHINE DIRECTION.


grain layer

That portion of a hide or skin extending from the surface exposed by the removal of the hair or wool and epidermis down to about the level of the hair or wool roots. It is the layer which contains the hair follicles, sudoriferous and sebaceous glands, etc., i.e., the thermostat layer.


grain long

A term sometimes used in paper manufacture to indicate that the grain or MACHINE DIRECTION of the paper is parallel to the larger dimension of the sheet. Cf: GRAIN SHORT.

Eddy (E. B.) Co. The Eddy handbook of production. Hull, Canada. Eddy Co. 1944.


grain pattern

The design on the outer surface of leather produced by the arrangement of the hair follicles and pores, characteristic of the species and age of the animals from which the leather is produced. In general, the younger the animal the finer the grain structure. The skin of the female of the species is usually of a finer grain than the male. The less hair or wool there is on the animal the tougher and stronger the leather, especially the grain surface. Because of their durability, uniformity, beauty, and form, grain patterns represent one of the most appealing and highly prized characteristics of leather, and it is for this reason that imitation grains are often embossed on inferior quality leathers and even printed or embossed on other materials, such as cloth and plastic.


grain short

A term sometimes used in paper manufacture to indicate that the grain or MACHINE DIRECTION of the paper is parallel to the shorter dimension of the sheet. Cf: GRAIN LONG.


grain side

The outer, or hair side of a hide or skin. See: GRAIN (2); GRAIN PATTERN.


grain split

The outer, or hair layer of a hide or skin that has been split into two or more layers.


grained jute board

A jute-lined board printed with a grained effect. Rigid and resistant to scuffing, it is used mainly for inexpensive book covers or transfer-file boxes.


grained leather

See: BOARDING (1); GRAINED UP.


grained skiver

A SKIVER produced from the flesh split of a sheepskin, dyed and embossed with a grain pattern.


grained up

The process or effect of raising the grain of a leather, usually by wetting and rubbing the grain side with the hand or a piece of cork, causing the grain to rise. Graining up is usually done after the leather has been pared; its purpose is to correct the flattened condition of the grain caused by the pressure of paring. "Grained up" usually refers to the process employed by the bookbinder and is not to be confused with BOARDING (1), which is a process employed by the leather manufacturer.

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


graining

1. The process of applying an all-over pattern to cloth, either during manufacture or by rolling the cloth between embossing plates. 2. The process or result of printing various designs on paper or board to simulate various wood grains, marble, etc., generally for use as cover papers. 3. See: BOARDING (1). 4. See: EMBOSSING (1).

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

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


graining

The process of giving to leather surfaces of different kinds.


graining board

An instrument used for creasing hides and skins, or BOARDING (1), so as to produce certain grain effects in the leather. The implement consists of a curved board faced with a thick sheet of cork, and having a handle on the upper side. Effective use of the graining board calls for considerable pressure, as the greater the pressure exerted, the sharper the creases produced and the closer their spacing, both of which are considered desirable. Graining boards have been largely superseded by the boarding machine.

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


graining board

Boards used for producing a grain on calf and russia books. Grain of various form is cut in wood, and by pressure the leather upon which the boards are laid receives the impression.


graining brush

A decorator's brush, about 4 inches in width, used to obtain brush-grained effects on paste-grained endpapers.


graining combs

Combs made of wood, metal, hard rubber, or plastic, or decorator's metal combs, used to produce grained effects on paste-grained endpapers.

A practical course in bookcrafts and bookbinding. Leicester. C. H. Gee. 1935.


graining plates

Plates used to impart a diced pattern to the leather covering of a book. They were invented by John Bohn, a German immigrant in England in about 1796. Early plates were made of brass or wood and were able to impart a deeper impression than that obtained by calendering. Later plates were made of metal. As the lines were placed diagonally in one direction only, two impressions were required to produce the diced effect. They were also superior to calendering in that the dicing could be done following covering. The simple graining plates for dicing soon evolved into more elaborate plates for impressing fish scales, squares, etc. One reason they were popular was their capability for covering blemishes in the leather. 236)


graining plates

Metal plates same as above.


grainy

1. An exaggerated, delicate mosaic pattern of extremely minute depressions in a hide or skin extending inward from the bellies, and consisting actually of the pattern of the blood vessels of the skin projected onto the grain surface. 2. Slight variations in the surface appearance of a paper caused by several factors, including the impressions of wires and felts of the papermaking machine, irregular distribution of color, uneven shrinkage during drying, etc.


grainy edges

A rough surface of a paper which sometimes extends for varying distances in from the edge of a sheet as formed and dried on the papermaking machine.


grangerized

See: EXTRA-ILLUSTRATED.


granite board

Any board with an embossed pattern or design resembling granite and used for decorative book covers.


granite marble

A marble pattern produced by sprinkling black (lampblack) coloring in very fine drops over the entire surface of the sheet several times. followed by brown coloring. The paper is then embossed and glaired. The effect is supposed to resemble granite.

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


grass

See: ESPARTO (GRASS).


grass cloth

A lustrous, plain, usually loosely woven fabric manufactured chiefly in the Orient from various grasses and other vegetable fibers, especially RAMIE, and used for lining the spines of books, particularly in the area of manufacture.

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


Grater

An iron instrument used by the forwarder for rubbing the backs after they are paste-washed.


Grater

An iron instrument used by the forwarder for rubbing backs after they are paste-washed.


gray cloth

A fabric which has not been bleached, dyed or otherwise finished. It is the ha.se fabric used in the manufacture of BOOK CLOTH.


greaseproof

A descriptive term applied to a book cloth treated in such a manner that it will permit no penetration by oleic acid within a period of 5 minutes, as determined by the RING TEST.

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


GREAT NUMBERS

Above 2000 printed on one sheet are accounted great numbers.—M. We now more commonly say long numbers. See Lay On, and Small Numbers.


Great Omar

A binding of Vedder's illustrated edition of the Rubaiyat of Omar Khayyam, measuring 16 by 13 inches, and decorated according to the designs of the English bookbinder Francis Sangorski. The Great Omar was covered in green levant morocco, and had the same green leather doublures. while brown leather was used for the flyleaves. All were decorated in a most lavish manner, each to a different design, making a total of six designs. In addition to the extremely elaborate gold tooling, there were numerous sunken panels, thousands of colored inlays, as well as some 1,050 jewels, including garnets, olivines, rubies, topazes, and turquoises. The decoration of the lower cover had as its central feature a model of a Persian mandolin made of mahogany, inlaid with silver, satinwood, and ebony.

The magnificent binding, which took nearly 2 years to complete, was probably the most lavishly decorated bookbinding ever produced. The Great Omar was the last of a series of Omars executed by the firm of Sangorski and Sutcliffe, of London. Unfortunately, only reproductions of the binding, also produced by Sangorski and Sutcliffe, now exist, the original having been lost in the sinking of the Titanic, and a later copy being destroyed in the Second World War.

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

Stonehouse, John Harrison. The story of the Great Omar bound by Francis Longinus Sangorski and its romantic loss. London. Piccadilly Fountain Press. 1933.


GREAT PRIMER

The name of a type, one size larger than English, and one smaller than Paragon. See Types.


GREEK

The Greek alphabet consists of twenty-four letters, as under.

The Greek Alphabet.

[1] Ϲ, initial; σ, middle; ς, final.

There are twelve diphthongs or compound vowels, viz.

Six proper—αι, αυ, ει, ευ, οι, ου; and

Six improper—ᾳ, ῃ, ῳ, ηυ, υι, ωυ. The dot below signifies that ι is subscribed.

Accents.—Accents are nothing more than small marks, which have been introduced into the language, to ascertain the pronunciation of it, and facilitate it to strangers. Wherefore the ancient Greeks, to whom it was natural, never used them, as is demonstrated from Aristotle, old inscriptions, and ancient medals. It is not an easy matter to tell, what time the practice of writing these accents first prevailed, though it is probable not till after the Romans began to be more curious of learning the Greek tongue, and to send their children to study at Athens, that is, about or a little before the time of Cicero.

Accents, by the Greeks called τόνοι, tones, are the rising or falling of the voice in pronouncing: which may be considered either separately in distinct syllables, or conjunctively in the same syllable.

Wherefore there are two sorts of accents; two simple, viz. the acute, οζὺς, figured thus (´), which denotes the elevation of the voice; and the grave, βαρὺς, shaped thus (`), to signify the falling or depression of the voice; and the circumflex, περισπώμενος, which was formed first of these two lines or points joined together thus (^), and afterwards was changed into a round sort of a figure like an inverted Upsilon, thus (⁀), but at length came to be figured like an s drawn crossway (~).—Bell’s Greek Grammar.

The acute accent raises the voice, and affects one or more of the three last syllables of a word, if it has so many.

The circumflex lengthens the sound, and affects either the last syllable of a word, or the last but one.

The grave depresses the voice, and affects the last syllable only.

There are two spirits, or breathings: the asper (῾), which the Greeks use instead of the letter Η; and the lenis (᾿) which denotes the absence of the asper.

The apostrophe (’), marked at the head of a letter in the end of a word denotes that the vowels α, ε, ι, or ο, and sometimes the diphthongs αι or οι are cut off, the next word beginning with a vowel.

Accents and Aspirates.

Points.—A colon in Greek is a point at the head of a letter; as (·)

An interrogation is a Latin semicolon; as (;)

All other points in Greek are the same as in Latin.

The Greeks express their Numbers by Letters, thus:

The first of the above ranks is units, and consists of the eight first letters with the character ϛ’, called στίγμα, which signifies 6, and is therefore ranged in the sixth place.

The second rank consists of tens, and is formed of the eight following letters with this character ϟ’, κὄππά, which signifies 90.

The third rank consists of hundreds, and contains eight letters with this character ϡ’, σάνπι, which signifies 900.

The accent under each letter in the fourth rank signifies a thousand, and the letter itself expresses the number of thousands signified.

The letters of the three first ranks are marked with a dash on the top to distinguish them from the letters marked with an accent below.

By compounding the above letters any number may be expressed; thus, ι’α’ makes 11; κ’β’, 22; λ’γ’, 33; ρ’δ’, 104; ‚αε’, 1005; ‚αψ’ο’ϛ’, 1776, &c.

Also the Greeks sometimes use these capitals instead of the numbers, of which they are the initial letters, viz. Ι for one, because ΙΑ signifies one (being formerly used instead of μ’ια), Π for five, Δ for ten, Η for a hundred, Χ for a thousand, and Μ for ten thousand. And these letters may be all four times reduplicated (except Π), thus ΙΙ, 2; ΙΙΙ, 3; ΙΙΙΙ, 4; ΔΔ, 20; ΔΔΔ, 30; ΔΔΔΔ, 40, &c. So ΔΙ, 11; ΔΔΙΙ, 22; ΠΙ, 6; ΔΠ, 15, &c.

Sometimes the above initials are enclosed in a great ∏, and then the number is five times repeated, thus |Δ̅| is five times ten or 50; and |Χ̅| is 5000: but Ι is never enclosed.

Fournier, in his Manuel Typographique, gives a great number of Greek ligatures: these I have copied, with additional ones from Fertel, and others from Jones’s Greek Grammar; together they make a more complete list than any that I have met with. Fournier, speaking of the article Greek, says, We see by the multiplicity of the sorts, that the Greek character is the most extensive and complicated of all characters. The founders may not always be able to give the Greek founts thus complete in sorts; but I give the representation, because, as I have before said, the engravers who have worked upon the characters have followed the ligatures which they found in the manuscripts which they imitated. There were never any but the Greek characters engraved by Garamond for Francis the First, which have been complete in all sorts of ligatures. It is this which has obliged me to give in different lines the figures which compose this fount, in which there are still some wanting, which I have been obliged to suppress in order not to multiply them without necessity.

For the classical works in Greek the ligatures or double letters are considerably diminished. I have adopted this usage in the little fount, which contains but the figures most in use.—Fournier.

I have been induced to give this extended list of Greek ligatures, because the present taste in printing Greek is to discard them entirely, and to use a distinct character for each letter of the alphabet. Under these circumstances, should an old edition of a Greek work be put in hand as copy to be reprinted, it would be mortifying not to be able to decypher the ligatures, nor have any thing to refer to for explanation. I have myself been placed in this situation in a large house, with no person in it who could give me the necessary information, although there were some there that professed themselves good Greek scholars; neither could the editor of the work himself give me any assistance.

Greek Ligatures.

Plan of the Old Greek Upper Case, as used in Mr. Spottiswoode’s Offices.

Plan of the Old Greek Lower Case, as used in Mr. Spottiswoode’s Offices.

Plan of the New Greek Upper Case, as used in Mr. Spottiswoode’s Offices.

Plan of the New Greek Lower Case, as used in Mr. Spottiswoode’s Offices.

Greek in the British Founderies.

Double Pica.—Caslon and Livermore; cut by Martin. V. and J. Figgins. Thorowgood and Besley. University of Oxford. Wilson; Glasgow Homer.

Great Primer.—Caslon and Livermore; cut by Martin. V. and J. Figgins. Thorowgood and Besley; formerly Byddells. University of Oxford. Wilson.

English.—Caslon and Livermore. V. and J. Figgins. Thorowgood and Besley. University of Oxford. Wilson.

Pica.—Caslon and Livermore. V. and J. Figgins. Thorowgood and Besley (2). University of Oxford. Wilson.

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

Long Primer.—Caslon and Livermore. V. and J. Figgins. Thorowgood and Besley, late Fry’s; one fount cut from the MS. of the late Professor Porson. University of Oxford. Wilson; matrices from type cast in which the Elzevirs printed some of their editions.

Bourgeois.—Caslon and Livermore. V. and J. Figgins. Thorowgood and Besley.

Brevier.—Caslon and Livermore. V. and J. Figgins. Thorowgood and Besley. University of Oxford. Wilson.

Nonpareil.—Caslon and Livermore. V. and J. Figgins. Thorowgood and Besley.

Pearl.—Caslon and Livermore. Thorowgood and Besley; formerly Bynneman’s.

Diamond.—Caslon and Livermore. V. and J. Figgins.

Alexandrian Greek, Pica.—Thorowgood and Besley, late Fry’s; cut by Jackson, for Dr. Woide’s facsimile edition of the New Testament of the Codex Alexandrinus.

For the allowance of the duty on paper used in the printing of books in the Greek language within the Universities of Oxford and Cambridge, the Universities of Scotland, and the University of Trinity College, Dublin, see Paper.

The Greek Alphabet

Greek numbers

First page

Second page

Third page


Greek style

A 15th and 16th century style of blind tooled binding in which the books had spines rising at head and tail to protect the thick double headbands which were striped in bright red and blue. The thick wooden boards had grooved edges, and clasp straps of triple braided thongs fastened to pins set in the grooves. Greek texts, or even translations from the Greek, were hound in this manner in France and Italy, probably by Greek craftsmen. (156. 347)

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


green

1. An uncured hide or skin, usually one just removed from the animal. 2. An incompletely dried sheet of paper or board.


green agate marble

A cover marble consisting of black sprinkled in large drops; these unite and are followed at regular intervals by green, which is spread on the cover to unite with the black. (, 152)


green earth

A natural earth similar in composition to the mineral glauconite. It is used mainly as a base for the precipitation of malachite green dyestuff to form the pigment known as lime green.


green fleshing

A method of applying mechanical action to hides or skins after they have been soaked to a softened condition. It is done by scraping the flesh side with a curved blade on the beam, or, in the usual manner today, in a fleshing machine. In the tanning of heavy leather, FLESHING frequently takes place following liming and unhairing; however, green fleshing, which takes place before liming, has several advantages: 1) it provides a more uniform grain surface for unhairing and helps prevent grain damage during machine unhairing; 2) the physical compression by both the feed rolls and fleshing cylinder materially prevent excessive plumping of the softened hide fibers during subsequent liming; 3) a comparatively thick flesh, particularly one of a fatty nature, reduces soaking, bactericidal, and liming effects; and 4) the formation of calcium soaps during liming and oily matter during tanning is held to a minimum, particularly when poor or insufficient curing has resulted in the presence of free fatty acids in the fatty tissue. Also called "soak fleshing."


green porphyry marble

A cover marble executed by sprinkling green in very fine drops, allowing the color to spread and dry between sprinklings. To form a more elegant vein the cover is first sprinkled with weak black followed by the green and, when this is dry, by a fine red.


green salted

A hide or skin that has been cured with salt. Many skins are exported from the Indian Subcontinent in the "green salted state." See also: BRINING; WET-SALTING.

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.


green salting

See: WET-SALTING.


green vitroil

See: FERROUS SULFATE.


grid

A decorative ornament often used on heads-in-medallions rolls. It consists essentially of two horizontal lines with a few short vertical bars in between, with foliage on the sides.

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


Grimaldi, Giovanni Battista

The bibliophile whose collection was long considered to have been brought together by Demetrio Canevari, physician to Pope Urban VIII. The bindings were produced by Venetian bookbinders, probably between 1535 and 1560, and were subsequently inherited by Canevari. The bindings feature fine-figured borders of gold-tooled decoration, with painted oval cameos of Apollo driving his chariot drawn by two horses toward Pegasus. There are two varieties of this elliptical cameo stamp, with the greater diameter of the larger being perpendicular and that of the smaller horizontal. On some of the bindings the title appears on both covers in a cartouche above the stamp. See also: CAMEO BINDINGS.

Hobson, Geoffrey Dudley. Maioli, Canevari and others. Boston. Little, Brown. (Monographs on bookbindings, no. 1). 1926.


Grolier style

An interlaced framework of geometrical figures—circles, squares, and diamonds—with scrollwork running through it, the ornaments of which are of moresque character, generally azured in whole or in part, sometimes in outline only. Parts of the design are often studded with gold dots. Time, first half of the sixteenth century.


Grolier, Jean

The 16th century bibliophile, Jean Grolier de Servin, vicomte d'aquisy. Although Jean Grolier is regarded correctly as a French bibliophile, the bindings executed for him were essentially Italian in their principles of design. Grolier possessed one of the finest private libraries of his time (and possibly any other time), consisting of some 3,000 volumes contained within bindings of superlative richness and beauty.

Grolier lived in Italy, with only a few interruptions, between 1510 and about 1525, and, while there, became the friend of the celebrated printer, Aldus Manutius. It is said that in appreciation of Grolier's friendship and financial assistance, Aldus printed several copies on vellum or large paper for Grolier, several of which were dedicated to him.

Grolier is believed to have patronized several binders over the years he collected, including Claude de Picques, and the so-called fleur-de-lis and cupid's bow binders.

The books which Grolier acquired in his early years (including many of his Aldine volumes) possess the distinguishing characteristics of Italian binding of the time he lived in Italy.

The Grolier bindings, the designs of which have been imitated more than those of any other style, with the possible exception of the pointillé bindings, are usually classified into two distinct groups: 1) those executed expressly for him; and 2) those bound before he acquired them either through purchase or gift.

Although the bindings executed for Grolier are distinctly similar in style, they vary considerably in their ornamentation. The designs generally consist of a geometrical pattern, occasionally colored, combined with arabesque work, which is solid, azured, or only outlined. On some of his bindings, however, the geometrical pattern has no arabesques, while in others the arabesque work is found without the geometrical design. Nearly all of the books of the first class, as well as many of those of the second, include the altruistic inscription, lo. Grolierii et Amicorvm (of Jean Grolier and his friends), usually at the tail edge of the upper cover, which he apparently borrowed from his contemporary, Mahieu. Both covers of most of Grolier's bindings feature a central compartment, usually containing the title of the book on the upper cover, and the expression Portia Mea, Domine, Sit in Terra Vivetivm (Let my portion, O Lord. be in the land of the living), on the lower cover. Other legends also at times appear on his bindings.

Grolier's signature, or his motto, with several slight variations, is frequently found in his own hand inside the books he collected before about 1536. This was usually written at the back.

There are two distinct features to Grolier's bindings which were not consistently practiced by other contemporary collectors: 1) the pastedowns are vellum, followed by two conjugate white pa?er flyleaves, which are followed by a vellum leaf conjugate with the pastedown, which is followed by a final conjugate pair of paper leaves; and 2) the edges are gilt but not gauffered or otherwise further embellished. See PLATE IV.

British Museum. Bookbindings from the library of Jean Grolier. London. British Museum. 1965.

Fletcher, William Younger. Bookbinding in England and France. London. Seeley. 1897.

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

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

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


Grolieresque

A term generally applied to the style of binding associated with the name Grolier. See: JEAN GROLIER.

In many respects it is an ideal style for tooling in gold, depending for its effect on graceful geometrical strapwork. See also: MAIOLI style.

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

Quayle, Eric. The collector's book of books. New York. Potter. 1971.


Groove

that part of the sections which is turned over in backing to receive the board.


Groove

That part of the sections which is turned over in backing to receive the board. Also called the Joint.


grooves

1. The V-shaped or rectangular incisions made on the outside of the boards connecting the holes made for LACING-IN with the edges of the board. The use of grooves in craft bookbinding was not common until the end of the 18th century, which is somewhat surprising because it is an important technique, in that, while the weakening effect on the board is only slight, it permits thick cords to be laced-in without unattractive lumps being seen under the covering leather. In the 19th century, however, the insistence upon neatness and ultra-fine finish led many bookbinders to reduce the thickness of the slips greatly before lacing-in, even though grooves were still cut. Since lacing-in of the cords is one of the major differences between a cased and a bound book, the reduction of cord thickness reduces the strength considerably.

Douglass Cockerell was the first, or one of the first, craftsmen to show that the slight projection of the cords was acceptable not only because it showed that the book was solidly constructed, but because the lumps actually provided a starting point for the decoration of the book.

Grooves in the shape of an inverted V, ending with a hole to take the cord to the inside of the board is the usual method of cutting; however, the tendency today is to cut a groove ending in a rectangular slot at right angles to the groove.

2. The depression along the binding edge of the upper and lower covers of a book. See: JOINT (1). 3. The space between the board and spine of a book having an open joint. See: FRENCH JOINT. See also: CLOSED JOINT. 4. Cuts made in the spine of a text block in the shape of an inverted V, into which cords are recessed when sewing single leaves. See also: KERF.

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

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


GROOVES

There is always a groove on the upper surface of the short cross of a chase, at each end, six or seven inches long. Their use is to receive the spur, when working with points, and to allow it to make a hole in the paper, without injury to itself. The grooves in wrought iron chases are of a good form, being cut with a tool tapering to the bottom like a wedge, which enables the spur to make a clean hole in the paper; those in cast iron chases are generally flat at the bottom and too wide, which causes the holes to gull. See Gull.

Guide Cramps. See Cramp Irons.


grosgrain

A firm, plain-weave fabric. generally with a silk or rayon warp and a heavy cotton filling that forms pronounced cross ribs. It is sometimes used as a covering material for books.

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


ground substance

An amorphous background material in which the cells and fibers of collagen are embedded. It is a colloidal substance in the form of a gel, and has the capacity of binding varying amounts of water. The hound water serves as a medium for the diffusion of gases and metabolic substances from the blood vessels to the cells of the tissues. and vice versa, of the living animal. A certain amount of ground substance is removed during the leather manufacturing process.

Bailey, Frederick T. Textbook on histology. 16th ed. Ed. by Wilfred M. Copenhaven, and others. Baltimore. Williams & Wilkins. 1971.

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


groundwood free paper

A paper or board that contains no mechanical wood pulp. "Groundwood free" is actually interpreted to mean that the paper or board contains less than 5% mechanical wood pulp.

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.


groundwood printing papers

Papers of the same general type as BOOK PAPERS.

As the name suggests, they contain a proportion of mechanical wood pulp, but it is a pulp carefully prepared, and therefore clean and bright. The use of mechanical pulp for this type of printing paper improves important characteristics of the paper, such as retention of loadings, high bulk, greater opacity for the basis weight, improved softness, and a smoother finish. They are, however, inferior to the chemical wood pulp papers in both permanency and brightness. They are made in a number of furnishes ranging from approximately 75% mechanical pulp to about 20 to 25% mechanical, the balance being chemical pulp. They are sized, finished, colored, loaded, and coated in various ways to make them suitable for virtually any printing process. Their life expectancy, however, even under good storage conditions, is probably under 25 years.

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

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


groundwood pulp

See: MECHANICAL WOOD PULP.


growing flower

A form of ornamentation of a ROLL (1), consisting of a flattened elliptical base with a stem and leaves ending in two flowers, the tops of which curve outwards.

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


grubby hides

Hides that have been damaged by grubs of the warble fly. See also: PEPPER BOXES; WARBLES.


guard

1. A strip of cloth or paper pasted around or into a section of a book so as to reinforce the paper and prevent the sewing thread from tearing through. This type of repair is sometimes required after a book has been pulled for rebinding, either because the folds of the section were torn because the sewing thread pulled through the paper, or the outer fold was damaged during the removal of the old glue on the spine. A guard may also be required for leaves or plates that have become frayed or detached at the inner edge. The material used for the guard must be strong yet thin so as not to cause undue swelling in the spine of the book. When paper is used for the guard, its MACHINE DIRECTION should run from head to tail of the section. 2. A strip of cloth or paper on which an illustration, map, etc., may be attached and sewn through with the section, thus allowing free flexing. Four-page (two folios) plate units are also strengthened in this manner before sewing. A leaf to be positioned at t he beginning or end of a section is guarded on the inside, while an interior leaf is guarded on the outside. In both cases the sewing thread passes through the center of the guard. See also: COMPENSATION GUARD; CONTINUOUS GUARD; GUARDED IN; PLATE ATTACHMENT; REVERSED V-GUARD; THROW OUT. 3. See: STUB (1).

Darley, Lionel S. Introduction to book binding. London. Faber and Faber. 1965.

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

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


guard

Strips of paper inserted in the backs of books intended for the insertion of plates, to prevent the book being uneven when filled; also the strips upon which plates are mounted.


guard

Strips of paper inserted in the backs of books, upon which inserts are mounted, intended to prevent the books being uneven in thickness when filled.


guard

Strips of paper inserted in the backs or books intended for the insertion of plates, to prevent the book being uneven when filled; also the strips upon which plates are mounted.


guard

Strips of paper inserted in the backs of books to which plates or pictures or any extra leaves are to be attached. These strips must always be cut with the grain. They make the back as thick as the book will be when the plates have been attached to them. Also, the strips of paper or cloth pasted along the folds of leaves to strengthen them. Also, the strips pasted to the edges of single leaves, whether plates or not, folded about the next signature and sewn through with it.


guard book

See illustration</> A book containing compensation guards equal to the anticipated thickness of the additional matter to be added at a later time. The guards are sewn with the book and are intended to prevent gaping of the boards or damage to the spine when the book is filled with photographs, clippings, etc. Also called "stub book."

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

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


guard sheet

See: BARRIER SHEET.


guarded endpaper

A section which has had a linen GUARD (1) wrapped around both it and the endpaper so as to effectively make one unit of the two. Its purpose is to provide additional strength at the point where greatest flexing occurs, which is between the endpaper and the first leaf of the section. The guard is usually attached so that not more than 3/16 inch of the linen appears on the exposed leaf of the section, while generally 1 1/4 inches in on the unexposed side of the endpaper. In a case binding the guard is tipped to both the section and the endpaper, but in a handbound book, because both section and endpaper are sewn (through the linen), the guard is tipped only to the section. In case binding the guard also eliminates the necessity of tipping the endpaper to the first leaf of the section and thus eliminates drag on the leaf. In a hand-bound book (where the endpaper is not tipped to the section) one guard strengthens the folds of both the endpaper and section; were two guards to be used instead of the one, the guard would appear on the first printed page of the book.


guarded in

Plates which are inserted into a book without being tipped to one of the leaves of the book. The paper area of the plate is wider than the leaves of the book, the projecting part being wrapped around the fold of the section. A narrow strip of paper appears elsewhere in the book as a consequence.


guarding

The operation of attaching a GUARD (2) for the purpose of providing a hinge for a map, illustration, etc., to strengthen the fold between two conjugate leaves, or to assist in relieving the strain of the endpaper caused by the opening of the book. See: GUARDED ENDPAPER; GUARDED IN; GUARDING IN PAIRS; PLATE ATTACHMENT.


guarding in pairs

A method of securing two plates to one GUARD (1). While the positioning of the guard within the section may or may not allow for either or both sides to be located near the accompanying text material, guarding in this manner may help alleviate some of the swelling caused by the thickness of the material used for the guards.

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


Guide

A strip of metal frequently used to denote the last line of copy set.


guide boards

A technique employed by some bookbinders when trimming with the plow, in which two binder's boards, each about 1/2 inch larger than the leaves of the book, are tipped on, one to the front endpaper with its top even with the trimming line at the head of the text block, and the second tipped to the back endpaper with the edge even with the trimming line at the tail. Guide boards are used to control the squareness of the book in the lying press and to prevent crushing of the shoulders of the text block when the press is closed on it.


guide of fair value

A statement drawn up in 1948 by the Joint Committee of the American Library Association and the Library Binding Institute, establishing "fair" prices for library binding, restoration of valuable books, and the transportation of library materials. The statement is now obsolete.

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


guide word

See: CATCHWORD.


Guides

The groove in which the plough moves upon the face of the cutting-press.


Guides

The grooves in which the plough moves upon the face of an old-style cutting-press.


guild of contemporary bookbinders

See: DESIGNER BOOKBINDERS.


guilloche

A design used in finishing a book, consisting of two or more bands intertwining and forming a continuous series, leaving circular openings filled with round devices.

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

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


guillotine

A machine used for cutting large numbers of sheets of paper and board, and also in library binding for trimming the edges of books. The typical guillotine, which is designed to cut comparatively large edge lengths, is a single-knife cutter, in which a heavy blade descends between vertical runners.

The principal parts of the guillotine are a table on which the material to be cut is piled; a movable back gauge (called the "back fence" in Europe), perpendicular to the table, against which the back edge of the pile rests; a clamp (or press beam) which compresses and secures the front edge of the pile, i.e., the edge to be cut; and a knife (or cutter) fixed in a cutting beam which descends immediately in front of the clamp, cutting through the pile, and stopping at a cutting stick set into the table. Pressure can be applied by hand with a screw spindle, but electric power is usual on both large and small machines.

All guillotines built for the printing and binding trades permit the squaring of a sheet, or section, provided that none of the dimensions exceeds the cutting length of the machine. Generally, on standard models, the size of the material to be placed on the table must not exceed its cutting length in either direction; however, some of the larger cutters are provided with longer back tables as optional equipment. Some cutters allow for trimming the shorter dimensions or splitting sheets. One of the most important features on some modern cutters is automatic spacing, which causes the back gauge to move a pre-determined distance following each cut.

Modern electronic guillotines have movements which are actuated by a series of relays and contactors brought into operation through the medium of a number of thyratrons, tubes, and photoelectric eye units. All operations are mechanical, and are set into motion by push buttons or by tripping micro switches which control the electronic circuit and, therefore, the cutter.

Modern guillotines also have safety devices which reduce the element of risk, assuming that the proper precautions are taken and the mechanism is not altered. Controls are designed to require that both hands be used to activate the final clamp pressure and cutting operations, and the machines are designed to stop the knife at the top of the stroke without possibility of a repeat cut.

Guillotines came into use in the late 1830s, when, in 1837, Thirault built a model with a fixed blade. In 1844 and 1852 Guillaume Massiquot patented machines similar to those in use today. Since the middle of the 19th century considerable improvements have been made by Fomm and Krause of Germany, Furnival in England, and Oswego and Seybold in the United States.

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

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

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

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


guillotine

A machine used for cutting paper.


guillotine

A machine with a heavy knife having a perpendicular action, used for cutting paper. Usually called a Cutter, or Cutting machine.


guinea edge

Ornamentation of the edges of the covers of a book produced by means of a fillet which has an engraved pattern resembling the edge of an old gold guinea.


guinea edge

A roll with a pattern similar to the edge of an old guinea.


GULL

When the points tear the point holes at press, they say, they are Gulled, or the Holes Gull. This may arise from two or three causes—if the point of the spur be turned again, it will cause it—in cast iron chases the groove to receive the spur is generally too wide, this may also cause it—and if the spur does not fall fairly into the groove, this may be another cause: the remedy is not difficult, unless the paper be very tender. In the first case, the spur ought to be filed to a smooth tapering point—in the second, it is usual to wedge a bit of reglet into the groove, to cut it down to the surface of the cross, and to make a hole in it with a bodkin for the reception of the spur—in the last, it is necessary that the spur fall fairly into the groove. If the fault arises from the bluntness and thickness of the spurs, they must be filed smaller and to a point.


gum

Any of a number of colloidal polysaccharides of high molecular weight. which can be dispersed in either cold or hot water to produce various mixtures or solutions, and which display good flow and tack characteristics. See also: GHATTI GUM; GUM ARABIC; GUM SANDARAC; GUM TRAGACANTH; KARAYA GUM.

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

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


gum arabic

A water-soluble gum obtained from several species of the acacia tree, especially Acacia senegal and A. arabica, and used in the manufacture of adhesives and ink, and as a binding medium for marbling colors. Historically, gum arabic was used to increase the viscosity of ink, or to make it flow well, to prevent it from feathering, and to suspend the coloring matter. It was particularly important in the days of the reed or quill pen. Solutions of gum arabic have long been used as adhesives for paper, but they are little used today. Gum arabic adhesives produce clear, easy brushing solutions which have no marked initial set but which will pass through a tacky stage on drying. The properties for which they are valued include ready solution in water following drying, readiness for immediate use, cleanliness and ease of application. Gum arabic adhesives, however, are generally too moisture sensitive for use in archival work. Also called "acacia gum."

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


gum dragon

See: GUM TRAGACANTH.


gum hog

See: KARAYA GUM.


gum juniper

See: GUM SANDARAC.


gum sandarac

A brittle resin obtained from the African sandarac tree, Tetraclinis articulata, in the form of yellowish, faintly aromatic, opaque tears and broken cylindrical pieces. It is soluble in alcohol. It is used in the manufacture of spirit varnishes, and, when dissolved in oil, to make cooked varnishes. It is also used in powdered form to clean vellum and to prepare it for writing purposes. Its most outstanding property is its hardness. Also called "gum juniper." See also: POUNCE (1); PUMICE.

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


gum stripping tapes

See: BINDERY TAPES.


gum tragacanth

A gum obtained as a dried exudate from various Asiatic and Eastern European plants of the genus Astragalus, especially A. gummifer. It consists of bassorin and tragacanthin. and swells in water to form a gel. Gum tragacanth has been used extensively in the preparation of marbling size, and is still used by some marblers. Also called "gum dragon" and "gum elect."

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


gummed cloth tapes

Gummed cloth or transparent adhesive paper used for mending torn book leaves, reinforcing joints, tipping in, guarding, and the like, usually in in-house repair procedures. Such tapes can be difficult to remove and frequently cause extensive damage to the paper when they are removed.


gummed paper

A strong, hard-sized, machine-finished, English finish, supercalendered, or coated paper, which is gummed on one side and used for book labels, embossed seals, etc. The paper is made in white, colored, or metallic finishes. Usual basis weight is from 38 to 45 pounds (24 X 36—500). Different adhesives are used for gummed paper depending upon the surface to which the paper is to adhere. They should be flat and noncurling.

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.

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


gut

The cured and finished strips of the intestines of sheep, calves, or oxen. The gut of the sheep or calf is used as the core of the HEADBAND, while that of the ox is used in the manufacture of GOLDBEATER'S SKIN.

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


gutta-percha binding

See: CAOUTCHOUC BINDING.


gutter

The adjoining inner margins of two facing printed pages, i.e., the margin at the sewn fold of a section.


GUTTER

Gutter Sticks are used to set between pages on either side the crosses; they are made of an equal thickness their whole length; but they have a groove, or gutter, laid on the upper side of them, as well that the water may drain away when the form is washed or rinsed, as that they should not print, when, through the tenderness of the tympan, the platen presses it and the paper lower than ordinary.—M. We now mean by the term Gutter, the piece of furniture that separates two adjoining pages in a chase, as in an octavo that between pages 1 and 16, in a duodecimo that between pages 1 and 24, and so on. The pieces that are put at the sides of the pages next the cross, are called Backs; and those at the tops of the pages next the cross, are called Heads. I would recommend that the gutters should be cut a little longer than the page, the heads for each quarter being in two pieces, so that the gutter may be between them; one head will thus project a little over the sidestick, and will form an abutment for it, while the other will project a little over the back; by this method there will be no danger of any of them binding, and the gutters will answer for pages of different lengths.

Guy, Thomas. See Donations.


Gutter-sticks

Furniture used in imposition to separate the pages.


guttering

The ridges that sometimes occur (as a result of use) along the spine of a tight-back binding. gutter margin. See: INNER MARGIN.


gypsum

The naturally occurring hydrous form of calcium sulfate (Ca2SO4 . 2H2O), which is used as a filler for printing papers, and serves to fill the spaces between the paper fibers, thereby increasing opacity and smoothness. It is also used in the manufacture of GOLD LEAF. Also called puritan filler" and "terra alba." See also: BRIME.

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

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


GYPSUM

Earl Stanhope says, “The best burnt gypsum mixes up most conveniently, for stereotyping, in the proportion of seven parts of water to nine parts of gypsum.”


gótico-mudéjar style

A variation of the MUDÉJAR STYLE, i.e., mudéjar bindings influenced by Gothic techniques. Such bindings were executed from the 13th to the 15th centuries largely in the northeastern pat of Spain. The style has affinities with a class of early Italian bindings in which the plan of decoration is Gothic, but the execution is carried out with small tools similar to those used on mudéjar bindings. The bindings are usually of CORDOVAN LEATHER and most have wooden boards.

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


h pattern

A criss-cross pattern embossed on a book cloth, resulting in small diamond-shaped spaces on the cloth.