certification plan

norm: certification plan

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

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

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

reviewed by a board appointed by the Joint Committee);

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

questions, and permitting the investigation of replies;

3.  Providing satisfactory references;

4.  Carrying sufficient insurance;

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

customers honestly, and maintain minimum standards and good labor

conditions; and

6.  Becoming a member of the Library Binding Institute

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

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


certified library bindery

norm: certified library bindery

kind: definition

letter: C

letter_raw: C

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

siglum: RE

author: Roberts, Matt T.; Etherington, Don

work: Bookbinding and the Conservation of Books: A Dictionary of Descriptive Terminology

rights: 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.

rights_tier: us-government-flagged

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


cessing

norm: cessing

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

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


chain lines

norm: chain lines

variant: chain marks

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

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

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

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


chain stitch

norm: chain stitch

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

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


chain wires

norm: chain wires

text: See: CHAIN LINES.


chained books

norm: chained books

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

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

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

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

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

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


CHALDEE

norm: chaldee

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

siglum: DAP

author: Savage, William

work: A Dictionary of the Art of Printing

rights: Public domain (Project Gutenberg, pre-1930 text)

rights_tier: public-domain


chalk

norm: chalk

text: See: CALCIUM CARBONATE.


chalking

norm: chalking

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


chalky appearance

norm: chalky appearance

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

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


chamfered edges

norm: chamfered edges

text: See: BEVELED BOARDS.


chamois

norm: chamois

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

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

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

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


chamoletting

norm: chamoletting

text: An old term for MARBLING.


champlevé bindings

norm: champlevé bindings

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

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

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

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


CHAPEL

norm: chapel

text:
Every printing office is called a chapel. The term is supposed to have had its origin from the first introduction of printing into England by Caxton, who executed his works in a chapel adjoining Westminster Abbey. Moxon however gives a different account, for which see Ancient Customs.

A chapel, in the technical sense of the word, is when the workmen agree to certain rules for the good order of the printing office.

All the compositors in a composing room, and all the pressmen in a press room, who are journeymen, form the chapel in each department, (for they seldom unite,) in which one of the number is elected, during pleasure, as president, or The Father, as he is styled. In their assembled body they enjoin regulations, and enforce their due observance; they also take cognizance of any disputes, and any grievance that may be complained of, that arise within the chapel, when called upon for that purpose; and there is no appeal from their decision.

The chapel is in general sanctioned by the master printer, on account of some of the rules tending to the preservation of his property;—such as the infliction of a fine on any one connected with the house leaving the premises without putting out his candle or leaving it in charge, or for throwing types, quadrats, or furniture, at another; and for the regular despatch of business, so far as regards the forwarding of work in general—but in addition the workmen make particular regulations for themselves, with regard to their own mode of working in companionship, &c. The chapel will also, if appealed to, enforce these bye laws, if I may so term them.

The fine for leaving a candle burning, is, I believe, never remitted; it is generally sixpence for a workman, double for the overseer, and half a crown for the master of the house.

The person who first sees the candle extinguishes it and delivers the candlestick to the Father, who keeps it till the fine is either paid, or promised to be paid; for Monday is the regular pay day in a printing office.

There are frequently a number of devices resorted to to induce a workman to go out after the candles are lighted, for the sake of the fine—the open air being the boundary—such as saying, a person is below who wants to speak to Mr. ——; this is usually avoided by the party giving his candle in charge; that is, saying to some one, Mr. ——, take charge of my candle. This person then becomes responsible for the charge as well as for his own candle, and has to pay for both should he leave the house without putting them out, or giving them in charge to some other person.

I have previously said that the office of Father is during pleasure, although I am aware that Mr. Hansard, in his Typographia, has stated it to be otherwise; but I have known instances of the Father being deposed, after having held the office for many years, and a successor appointed and deposed within a fortnight, merely for the sake of the initiatory fine, which is usually a gallon of porter. These instances have occurred when a flush of business caused an additional number of men to be employed in a printing office; some of whom being of a thoughtless disposition, and thinking they could outvote the sedate and the sober part of the workmen, call a chapel for the most trivial purposes, which thus becomes a hinderance to business, as it takes the whole of the men from their work.

But this evil produces its own remedy, when it is carried to too great an extent. Workmen get tired of being called from their employment, and losing time continually, on trifling objects in which they feel no interest: and they check the evil by fining those who call the chapel, when it is evident that liquor is the motive for calling it.

I remember an instance when calling chapels had become a grievance from their frequency, in which the party was so completely checked, that he never ventured to call another. It occurred during a flush of work, when there were temporary hands employed, some of whom were partial to liquor, and eager to fine any one in order to obtain it. After deposing the Father two or three times, and calling chapels many times unnecessarily, a person left his candle burning one evening, and another passing his frame observed, Here’s a candle left; whose is it? The reply was, Mr.——’s.—If I had known that, I would have put it out. This was sufficient to bring the individual before the chapel, as it was held to be an attempt to defraud it of its due, of which the chapel is very jealous. Well, a chapel was called to take cognizance of the charge, without a doubt that they should levy a good fine for what they looked on as a great offence: but the established workmen of the house, and some of the additional men, had got tired of these repeated calls from their employment; and it being proved in the defence, that a party in the house had been for some time expressing a desire to fine this individual, who was of a warm temper, and had brought a charge against him for a thoughtless expression that was not acted on, the chapel decided that it was a conspiracy against him, acquitted him, and laid a heavy fine upon the accuser.

No person but the Father can call a chapel, which is generally held at the imposing stone: and when any one wishes to appeal to it, he notifies the same to the Father, stating the objects generally, and accompanying the notification with a penny. The Father will sometimes decline to call the chapel, where the object appears trivial; but if the notification be accompanied with the value of a gallon of porter, it is imperative on him to call it, under the penalty of being deposed.

The chapel never assembles without the fee of a gallon of porter, in addition to the fine it may impose; and this fee is always paid, even when it assembles to settle any disputed matter between workmen, when no fine is levied.

If any workman refuses to attend when a chapel is summoned, after being called on by the Father for that purpose, the first business is to proceed to judgment on him for contumacy, which is always punished by a fine;—the chapel then proceeds to the business for which it was called, and when the members cannot agree in their decision, or when the matter becomes personal, they decide by chalking. For this purpose, a large galley is placed on a frame, in that part of the room which is most private and cannot be overlooked, and a line drawn down the middle of it, and at the top over each column is written for and against, or yes and no; one of the members then makes a mark, usually on the lenient side, which saves him from ill will, as it must be known on which side he gives his decision; the second generally marks the contrary side, so that the following persons cannot discover how any have voted. The Father, when all have chalked, examines the number on each side, and declares the judgment of the chapel.

It is an invariable rule that the chapel can do no wrong; and it is a crime to find fault with its decisions, which it would certainly punish with a fine if called on for that purpose, and the case was proved. All wagers of half a gallon of porter, or more, go to the chapel, so that they are never evaded, as the liquor is sent for by the chapel, which adjudges who shall pay for it: the consequence is, that when the object is to obtain drink, and perhaps a young man from the country to act on, who is ignorant of the London customs, the cases are often of the most preposterous kind; for instance, an experienced hand has been known to assert in such a case that a mallet was a planer, and to call it by that name, and then offer a wager, in support of his assertion, to the young man, who has accepted it. The chapel decided that it was a planer, and the stranger had to pay for summoning the chapel, and also the amount of the wager, by way of initiation.

The chapel also decides all disputes that may arise in the house, as well private, if it be appealed to, as those which may arise when two or more are employed on the same piece of work, and frequently fixes the price which shall be paid for it; for in doubtful cases a workman will prefer taking the collective opinion of his fellows, to acting on his own judgment, as it may affect them all. In this case the person who is on the work must not take less than the chapel fixes, without permission; and if the employer will not pay it, he, of course, must quit his situation. If, after the chapel has fixed a price for a piece of work, a man should venture to do it for a reduced price, he becomes a “Rat.”

In a press room there is sometimes a fine for men throwing water at each other, which dirties and spoils the paper;—and in hot summer weather, when a man has been desirous of a draught of porter, an instance has been known of his falling down in a pretended fit, and when another in kindness has procured some cold water and sprinkled his face with it, the other has jumped up and accused him of throwing water at him, on which he has had to pay the fine.

If any member of the chapel should be hardy enough to oppose its decisions, there are a number of ways practised to bring him, and even the most obstinate, to submission. Every chapel is haunted by an imaginary spirit, named Ralph; and when any person refuses to obey its mandates, this spirit begins to walk, as it is termed. The first act is, in general, to hide the offender’s composing stick; if this does not answer, his galleys are secreted; then the page cords, which secure his work, are cut, and his labour rendered more than useless, because he has to distribute his pie as well as to recompose his matter; if he still remains contumacious, the whole of the types in his cases are transposed, so that he cannot proceed in his business; and if he should still set the chapel at defiance, he is smoked, all the members of the chapel surrounding his frame, each with a lighted match of brimstone, and singing a doleful ditty; after this he is sent to Coventry, and every man becomes amenable to the chapel, if he assists him, gives him any information, or speaks to him; so that he must either submit to the penalties inflicted, or leave the house. When he submits, his apparatus is restored, and the types properly arranged again in his cases.

Apprentices never belong to the chapel; neither is the master of the house, nor the overseer, ever allowed to be present when one is held.

Many master printers are decidedly against chapels, as tending to encourage drinking, and the neglect of business; where this has been the case within my knowledge, the grievance has remedied itself, for the sober and industrious prevent the evil going to an extreme; and where there are a number of men employed, the majority will be found opposed to being called from their work repeatedly to decide on fractious or quibbling questions, in which they feel no interest; and by fining a busy meddling person, they put a stop to the frequent calling of chapels, which, as I have said before, are, generally speaking, promoted by temporary workmen, who seldom stop long in a house, and on whose departure the business is carried on in the regular manner, while, if one or two continue to work in the house, they soon fall into the old customs of the permanent men; for among the established workmen of a house chapels are seldom called.

It has also been objected to them that they tend to excite an opposition to the employer on the question of wages. This may have happened; but wherever I have seen a question respecting prices brought before a chapel, I have always seen it discussed in a fair manner, and the value estimated impartially,—the scale being kept in view for any thing nearly similar;—for among a number of workmen there will always be found men of principle, who would not sanction an unreasonable demand for the temporary advantage of a few shillings a week; and these men have always great influence in the decision.

Upon the whole, when I take into account the decreased risk from fire, owing to the fine for candles—the prevention of waste of materials, by throwing them about—the appeal for wrongs done in companionships, or for neglect, or throwing impediments in the way of business, and remedying them—I am of opinion that the advantages attending chapels outweigh their disadvantages, and that the business is carried on with more regularity and promptitude with them than without them, particularly when it is taken into account that the rules and regulations laid down by the employer for the governing of his house, are adopted by the workmen and become chapel laws.

As many of the customs of chapels are passing away, I have been rather more diffuse in this article than the mere definition of the term might seem to require; but as I am not aware that any preceding writer has explained a chapel, I have been led to do so, that the knowledge of old customs might not be entirely lost. See Rules.


CHAPEL LAWS

norm: chapel laws

text: The regulations adopted by the men in chapel assembled, for preserving good order in the office, are called chapel laws.


CHAPEL LAWS

text: Rules of a printing-office.

siglum: AMP

author: MacKellar, Thomas

work: The American Printer: A Manual of Typography


charcoal drawing paper

norm: charcoal drawing paper

text: A drawing paper produced in such a manner as to be suitable for use with charcoal or pencils. It generally has a high cotton fiber content. It is made in basis weights of 60 to 75 pounds.


CHARGE,

norm: charge,

text:
{ paper with great pages. is to fill { a page with long and many lines. { a line with many letters.—M.

This term is not in general use: we are more in the custom of saying a full sheet, a full page, a full line.

Charitable Donations. See Donations.


CHASE

norm: chase

text:
An iron frame to fasten types in to print with.—M.

A great revolution has taken place with respect to chases. They were formerly made thin and narrow, but are now made thicker, which gives more safety to a form in quoining; and they are made much broader, both in the rim and the crosses, which adds to their strength and durability.

It is customary to dovetail the crosses into the rim of wrought iron chases, and to have mortises for duodecimos and eighteens, so as to move the crosses according to the size of the work for which the chase is wanted. This plan is convenient in many instances, but it is in many others inconvenient and wasteful.

It is necessary to have chases in an office with the crosses loose, to a limited extent, as they could not well be dispensed with on many occasions; but I would have as few as possible; for the mortises in the rim cut the quoins to pieces, and the loose crosses are frequently used for pokers, and for tightening quoins in forms when they get slack. By these means they are bent and destroyed, and the chases to which they belong are rendered nearly useless. The loose crosses have also another disadvantage: they frequently get mislaid or lost when taken out for folios, or broadsides, and when the chase is wanted for any other size, the cross cannot be found, and the compositor, or person who has the care of the furniture, is obliged to take such a cross as he can meet with, and which he can drive into the mortises with a mallet; this cross is sometimes of a different thickness from the right one, and affects the register of the pages in working, particularly if the furniture and the chase be transposed, as too frequently occurs through carelessness.

There is less waste and destruction when the crosses are rivetted into the rim; for the chases are then always ready for use—the crosses can never be mislaid nor destroyed—and the whole implement is much more durable than when the parts are separate.

Cast iron chases are now coming greatly into use, and answer the purpose very well. The crosses are fast, the whole chase being cast in one piece, so that there must be chases for each size, viz. folios, quartos, and duodecimos; the crosses fixed for these sizes will answer every other, except broadsides. They are cast from a card chase to the largest size; and stand locking up and the usual wear, without breaking. These chases are much cheaper than those made of wrought iron.

There are some chases now made with the inside of the rim bevelled off from the cross to the angle, to answer the purpose of sidesticks and footsticks; a piece of broad, or narrow, being used at the sides and feet of the pages. This plan appears to be economical with regard to furniture.

The usual practice in cutting chases for 18mo. is to place the long cross about one third of the width from one of the sides of the chase, and two thirds from the other, for the purpose of making it fall in one of the backs; by this mode one of the quarters in the offcut has only two pages in it, so as hardly to admit of quoin room, the other has four; and the remainder of the form is also divided unequally, one side of the long cross having four pages, and the other eight pages. This method of imposing an 18mo. is inconvenient, and the large quarter is in danger of falling out. The plan appears to have been adopted merely to cause the long cross to fall in one of the backs, which is of no consequence whatever. I have always imposed eighteens in chases cut for 12mo. which I prefer; for the quarters being more equal, make the locking up more secure, and the only difference in the imposition is, that the long cross falls in a gutter, instead of a back.

Mr. T. C. Hansard took out a patent for “Improvements on, and Additions to, Printing Presses, and various Processes relative to Printing.” Among the different articles are chases, which Mr. Hansard thus describes:—“The Demi- (or half) -Chases are made so as to contain the pages imposed within a less measure of square than usual. One side of the rim is made particularly straight, and rather less in breadth than the other three sides: this narrow side forms the part to lie in the middle of the Table of the Press: by turning a pair of chases so made on contrary faces, the two narrow sides will join and form as one chase. The pages are not in these chases, as in others for all sizes above Folios, locked-up by having side sticks and quoins on all four sides, but only on one side, and at each end. The inner Forme being locked up on the right side only, and at each end, and the outer Forme on the left side only, and at each end; and the margin being made when the two demi-chases are laid together on the Imposing Stone, as if the same were one large chase of double dimensions, the pages will require no more margin in the centre of the double sheet, than a fair equal proportion for the division of margin. The chases must be made in proportion to the size of the work intended to be executed.”


CHASE

text: A rectangular iron frame in which pages of type are imposed.


chased edges

norm: chased edges

text: See: GAUFFERED EDGES.


check binding

norm: check binding

text: A general term for the style of binding in which the sheets are wire stabbed or stitched, and then covered with lightweight strawboards, or checkbook cover boards, which are lined with plain paper, marbled paper, or cloth, and cut flush. Some have round corners. This style of binding is not rounded and backed and has a tight back. Books under 3/4 inch in thickness are generally side stitched, while those over that thickness are nailed or studded. The term derives from the method of binding checkbooks for banks.

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

citations: Salade, Robert Francis. Finishing the printed job…New York. American Printer. 1926.


check pile

norm: check pile

text: A procedure for obtaining the desired number of sheets in a PAD without having to count each group. The exact number of sheets is counted for one (check) pad, and, using this pile as a "check pile," the approximate number of sheets is placed in an adjacent pile. Sheets are added or removed from the second pile until the heights of the piles are the same, at which time the second pile supposedly has the same number of sheets as the "check pile." A better method is to use a PAD COUNTER (2).

citations: Chidester, Otis Holden. First year graphic arts. Tucson, Ariz. Graphic Arts Press. 1949.


CHEEK THE BAR

norm: cheek the bar

text:
Pulling the bar of the press till it touches the near cheek. In good work I would always have the pull so justified that when the bar was pulled home, or cheeked, it should occasion the proper degree of pressure of the platen upon the form; this would in some degree assist in procuring equal impressions through all the copies printed; but in heavy or large forms it would be too great an exertion for the pressman to continue doing without some assistance, as such work requires to rest on the pull. I adopted a catch for the bar when cheeked, in some presses, which completely answered the purpose, and enabled the pressman to rest on his pull as long as was necessary, without overstraining his arms. See Catch of the Bar.

Chemistry. See Elementary Substances. Formulæ, Chemical.


cheeking

norm: cheeking

text: The process of reducing the thickness of the head areas of unhaired skins by means of splitting.


CHEEKS

norm: cheeks

text: The upright sides of a printing press.—M.


Cheeks

text: is a part of the *Press*; for which See § 10. ¶ 2. and part of the *Dressing-block-groove*. For which See § 20. ¶ 3.

siglum: MOX

author: Moxon, Joseph

work: Moxon's Mechanick Exercises, Volume 2


cheesecloth

norm: cheesecloth

text: A lightweight, unsized cotton fabric, loosely woven and used to a limited extent in edition binding as a spine lining fabric.

citations: Douglas, Clara, and Constance 13 Lehde. Book repairing… Seattle. University of Washington Press. (University of Washington extension series no. 7; University of Washington bulletin 624). 1940.


chemical wood pulp

norm: chemical wood pulp

text:
A paper pulp prepared from both coniferous and deciduous trees, in which the LIGNIN and other undesirable materials are removed by cooking the wood with an alkaline sodium sulfide solution, or a sodium sulfite solution, leaving the cellulose fibers in an aqueous suspension of the dissolved lignins, etc. The fibers are washed and are then used "as is' to produce unbleached paper or are bleached to produce white paper.

The fibers from coniferous trees are ribbonlike and have thin walls. Generally, two distinct types of fibers can be distinguished: 1) a broad fiber of a width of about 0.05 mm and a length of about 2.5 to 4 mm, and 2) a narrower fiber about 0.02 mm wide and 1.5 to 5 mm long. The fibers of deciduous trees are shorter than those of the conifers, being between 1and 1.5 mm long, but they are usually thicker.

In chemical tests to determine the presence of chemical wood pulp in paper, an iodine-zinc chloride solution gives a pale violet, pale blue, or reddish blue, depending upon the type of chemical pulp.

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

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

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


chemise

norm: chemise

text: 1. A cover of SILK or CHEVROTAIN, used in the 15th century to protect leather bookbindings. The chemise was sometimes used in the Middle Ages in lieu of binding. 2. A loose cover for a book with pockets into which the boards are inserted. 3. Broadly, the canvas covering used to protect leather-bound stationery bindings.

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


chestnut

norm: chestnut

text:
The wood of the European chestnut (Castanea sativa) and the American chestnut (C. dentata), from which tannin is extracted. Chestnut tannin extract was used extensively in France and other European countries, as well as in the United States, in the latter part of the 19th century and early 20th century. In the United States its use has declined sharply since the introduction of the Oriental chestnut blight (Endothia parasitica), which has virtually destroyed the American chestnut. Today Italy is the largest producer of chestnut wood extract for tanning.

The bark of the chestnut is not used because it imparts a dark color to the tannin, and its high sugar content would result in a higher percentage of soluble non-tans in the extract. The usual tannin content of the southern European chestnut is 10 to 13%, or higher, which is considerably higher than that obtained from trees in northern climates. The wood does not seem to reach its highest tannin content until the trees are at least 30 years old.

Chestnut extract tans rapidly and produces a firm leather. If used alone, however, it may impart a reddish color to the leather that is not desirable; therefore, it is used in combination with quebracho, mimosa, myrabolans, and valonia.

Chestnut is one of the pyrogallol class of tannins, and has a naturally low pH value. It also has a relatively low salts content and a high acids content. See also: VEGETABLE TANNINS.

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

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


cheverell

norm: cheverell

text: A goatskin PARCHMENT that has been converted into a supple and strong leather with the characteristic bold grain pattern. It proved to be an exceptionally durable bookbinding leather. The conversion was effected by a simultaneous tannage using alum and oil, followed by intensive fatliquoring and staking. Cheverell was used in England, France. and Italy during the 13th to 15th centuries.

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


chevrette

norm: chevrette

text: A leather produced from the skin of a young goat which is being, or has recently been, weaned, or the skin of an immature goat. Sometimes, any lightweight goatskin or kidskin is referred to as "chevrette."

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


chevrotain

norm: chevrotain

text: A leather produced from the skin of any of several very small deer-like mammals of Asia and West Africa, and used in England, principally in the Middle Ages, for chemises. Like the skins of does, lambs and other very young animals, it is soft and supple. It is sometimes inaccurately referred to as CHEVRETTE.

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


Chicago posts

norm: chicago posts

text: Metal screw posts having two heads, one fastened to a full length post, which is drilled and tapped with a thread, the other attached to a shorter post, which is threaded to be inserted in the main post. The purpose of such posts is to allow additional sheets to be added to the book.


chicory

norm: chicory

text: An herb (Cichorium intybus), at one time added to size solutions to ad  just the tone of newly washed book leaves so as to make them match the shade of the unwashed leaves.

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


chiffon silk

norm: chiffon silk

variant: chiffon lining

text: A sheer, very lightweight fabric in plain weave, made of hand-twisted single yarns of silk and used at one time to repair and reinforce torn leaves, documents, etc. Although its weight and sheerness permit even the finest print to be legible, it is little used now because of its lack of permanence.

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


China clay

norm: china clay

text: A white, powdery material arising from the decomposition of granite feldspar. The term originally applied to the beneficiated KAOLIN mined in Europe, but is now applied to all beneficiated kaolin. See also: CLAY,


China paper

norm: china paper

text:
A soft, very thin WATERLEAF (1) paper, produced in China, and elsewhere, from bamboo fibers. It has a pale yellow color and a very fine texture. The usual sheet size is 57 by 27 inches. Is is used for proofs of woodcuts, for woodcuts to he mounted on a stronger paper, and, now and then, for superior editions of books. It is also called "Chinese paper," or "Indian proof paper."

"

citations: 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.

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


Chinese ink

norm: chinese ink

text: An INK of considerable antiquity, made from lampblack or soot obtained by burning vegetable oils, such as sesame or wood (tung oil). The quality of the oil is of major importance in this type of ink. The collected soot is sifted; heated along with white, transparent oxhide, or fish glue; and pounded in a mortar until it is soft and pliable and can be molded into sticks. This type of ink, having a base of carbon, is very stable when properly prepared, and, not having acidity, has no harmful effects on paper; however, it is easily affected by water.

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


Chinese marble

norm: chinese marble

text: A type of cover marble, consisting of solid dark brown over the entire leather cover, with whiting in spots or streaks, over which blue and then large spots of red are thrown. The whiting not covered by color is washed off when the covers are dry.

citations: Cowie's bookbinder's manual; containing a full description of leather and vellum binding…7th ed. London. Strange. (186-).


Chinese paper

norm: chinese paper

text: See: CHINA PAPER (1).


Chinese wax

norm: chinese wax

text: A white or yellowish crystalline WAX, formed on the branches of the ash tree (Fraxinus chinensis) from the secretion of the coccus insect (Coccus ceriferus). It resembles SPERMACETI WAX, but is harder, more friable and has a higher melting point (80 to 83° C.). It is used in polishing leather, sizing paper, etc.


Chinese white

norm: chinese white

text: A dense form of zinc white—zinc oxide (ZnO)—sometimes used as a bonding agent when coloring the edges of books.

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


Chinese" Chippendale bindings

norm: chinese" chippendale bindings

text: A class of CHIPPENDALE BINDINGS. These bindings were generally covered in red morocco, and were tooled in gold with designs representing "Chinese" motifs and symbols, following the vogue represented in the decorative arts of the mid-18th century. The bindings often featured rococo frames made up of recurving and serrated motifs forming irregular compartments and perches for beehives with bees in flight, boats, Chinese archers and spearmen, columns and pilasters, doves, flowers, grapes and other fruit, horses rising from the sea, lions supporting shields, phoenixes, etc.

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


chipboard

norm: chipboard

text: A thin, hard-surfaced, grayish board, normally produced from paper stock, including waste papers. It has a relatively low density, and is available in the thicknesses of 0.006 inch and up. It is sometimes used in edition binding for covering boards; in library binding and craft binding, however, it is never used for anything but lining board.

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

citations: Pratt, Guy A. Instruction sheets in bookbinding. East Chicago, Ind. The author. 1937.


Chippendale bindings

norm: chippendale bindings

text: A style of book decoration, where the books were generally covered in red morocco, and were tooled in gold with elaborate rococo borders of swirls and acanthus leaves enclosing areas dispersed with meshes of dotted lines. Incorporated in all this were various figured tools, including dancing angels, trumpeters, doves, fruit, musicians, swooping phoenixes, etc. See also: "CHINESE" CHIPPENDALE BINDINGS,


chiseled leather

norm: chiseled leather

text: See: CUIR-CISELÉ.


Chivers has used a soft

norm: chivers has used a soft

text: thin pigskin with great success, here and in England.

siglum: NBL

author: Bailey, Arthur L.

work: Notes on Bookbinding for Libraries


Chivers, Cedric

norm: chivers, cedric

text:
A British bookbinder sometimes referred to as the dean of library binders. Chivers developed a method of hand oversewing, in which the stitches pass diagonally through the paper; it is still in use today and is called the "Chivers method." One of the major disadvantages of the usual method of overcasting, or oversewing, groups of individual leaves which are subsequently to be sewn on tapes or cords in the usual manner of hand sewing, is that the book often has a tendency to open up and become strained between the groups; this occurs only when the paper is unusually thick. Chivers' solution was a method by which three holes are punched in each of the sections in such a manner that their positioning alternates from section to section; they are also punched obliquely through the paper to eliminate strain due to side pull. Thread passes through and returns in such a manner that every section is sewn to the next two sections on each side.

Chivers was also famous for his DURO-FLEXIBLE BINDING, as well as his VELLUCENT BINDINGS.

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

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


chloramine t

norm: chloramine t

variant: sodium p-toluenesulphonchloramide

text: (C7H7CINNaO2S . 3H20). White crystals prepared from p-toluenesulphonamide and sodium hypochlorite, and used in a 2 aqueous solution to remove fox marks and stains from paper, and also for general bleaching purposes. It is applied directly to the paper by means of a soft brush or by soaking. It is very difficult to wash out and failure to rid the paper of it may result in the formation of highly destructive hydrochloric acid.

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

citations: Plenderleith, Harold James, and A. E. A. Werner. The conservation of antiquities and works of art; treatment, repair and restoration. 2nd ed. London. Oxford University Press. 1971.


chlorine

norm: chlorine

text: A commonly occurring, nonmetallic, univalent and polyvalent element (Cl), belonging to the halogens, and used, generally in the form of chlorine dioxide (ClO2), or hypochlorite (Ca(ClO)2), as a bleach to whiten paper pulp, usually in one or more of the final stages in a multi-stage sequence. Its use as a bleaching agent in paper manufacture began in 1774 but its deleterious effects, while noticed almost immediately, were largely misunderstood or ignored. Chlorine residues are extremely difficult and expensive to remove, and many chlorine compounds break down slowly forming highly destructive hydrochloric acid in the process. Chlorine is also used as a disinfectant in leather manufacture.

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

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


chlorine bath

norm: chlorine bath

text: A dilute solution of CHLORINE and water (or the commercial product, Chlorox, diluted with water), used to remove stains from paper, as well as for general bleaching purposes. For the disadvantages of using chlorine solutions for bleaching purposes, see CHLORINE.


chlorine dioxide

norm: chlorine dioxide

text: A heavy, explosive gas. (ClO2), produced by the action of chlorine or sodium chlorite, and used in bleaching paper pulp from a water solution, usually in one or more of the final stages of multi-stage sequence. See also: CHLORINE.


chlorine number

norm: chlorine number

text: The amount in grams of chlorine gas, or its equivalent in bleaching powder, that can be absorbed by 100 grams of oven dry paper pulp in a specified period of time and under specified conditions.


chlorine water

norm: chlorine water

text: See: CHLORINE BATH.


chloropicrin

norm: chloropicrin

text: A colorless liquid (CCl3NO2), having a very toxic vapor. It is prepared by treating sodium picrate with chlorine, or calcium picrate with bleaching power, and is used at times in fumigating books.


CHOKE

norm: choke

text:
If a form be not washed in due time, the ink will get into the hollows of the face of the letter: and that getting in of the ink is called Choking of the Letter, or Choking of the Form—M. It is also said, the letter is choked with ink, or the form is choked with ink, when too much is used.

Cimbric. See Runic.

Circumflex. See Accented Letters. Caret.

Cities and Towns, Ancient Names of. See Names.


chop cut

norm: chop cut

text: A method of trimming newly printed sheets before folding, in which the large sheet is trimmed on all four sides but the individual leaves are trimmed in the process of separation, after which no further trim is required. This procedure is largely restricted to economy printing. The normal procedure is to trim all four sides of the large sheet, cut it apart to separate the sections, and then trim each individual section. "Chop cut" cannot be used if the individual sheet or section bleeds.

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


chrome glue

norm: chrome glue

text: A light-colored, easily worked glue made from scraps of chrome-tanned leather. It is said to be inferior in strength to regular hide glue.


chrome liquor

norm: chrome liquor

text: A solution of basic chromic salt used in CHROME TANNING leather. It is prepared by treating a strong solution of sodium dichromate (Na2Cr2O7 . 2H2O) with a reducing agent, such as sulfur dioxide (SO), or a mixture of glucose and sulfuric acid.

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


chrome oxide

norm: chrome oxide

variant: chromic oxide

text: A green, insoluble powder (Cr2O3), which is the basis for many salts of chromium used in tanning leather by the chrome process. It is also used as a light- and heat-fast green pigment.


chrome retan

norm: chrome retan

text: A process in leather manufacture in which the skins are tanned throughout their thickness by the chrome process and, subsequently, are further treated with vegetable and/ or synthetic agents. The retanning agents penetrate the skin deeply, but do not necessarily penetrate throughout the skin. See also: SEMI-CHROME TANNAGE.

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


chrome tanning

norm: chrome tanning

text:
A method of tannage stemming back to the discovery, in 1858, that leather could be produced by treating skins with basic chromium sulfate (Cr(OH)SO4). The two basic methods employed today are the one bath and two bath methods, the former being most often used. The most widely used chemical in chrome tanning is sodium dichromate (sodium bichromate) (Na2Cr7O7 . H2O), from which chromium sulfate is produced.

As in vegetable tanned leather, the degree of control exercised in the tanning process has great influence on the nature of the leather produced. If, for example, the final pH of a chrome-tanned leather is too low, the leather will be flat, hard, and wet, and may show grease spots on the surface; if it is too high, the leather will probably be plump, loose, dry, and may have a drawn grain or be too soft in the BLUE SORT. It is, therefore, imperative in chrome tanning to obtain the optimum pH, i.e., 3.4 to 3.5 in the one bath method, or 3.2 to 3.4 in the combination single and double bath method, and to maintain it.

The two bath method has almost been completely superseded by the one bath tannage, except in certain cases where the older two bath process is thought to give a particularly uniform tannage and a deposit of colloidal sulfur in the leather.

The major characteristics of chrome-tanned leather are its blue-green color and absence of filling power, i.e., an empty tannage. Chrome-tanned leather tends to be softer and stretchier than vegetable-tanned leather, and is very stable in water. Unlike vegetable-tanned or alum-tawed skins, chrome-tanned leather can withstand boiling water and has a shrinkage temperature higher at times than 100° C.; however. it does not resist perspiration or organic acids well and is difficult to emboss. In addition, it does not take gold tooling well and is difficult to fabricate in such operations as turning-in, etc. It is, on the other hand, a very durable leather.

citations: Cuneo (John F.) Co. Plan for a good book…Chicago. John F. Cuneo Co. 1951.

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

citations: 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.

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

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


chromium sulfate

norm: chromium sulfate

variant: chromic sulfate

text: A salt of chromium (Cr2(OH)SO4), in the form of green crystals that are soluble in water and form an acid solution. It is used in CHROME TANNING.

citations: Schoen, Harriet Hetta. Let's hind a book. New York. Macmillan. 1934.


chromo paper

norm: chromo paper

text: A heavily coated paper suitable for color printing. Surface characteristics said to enhance color printing include smoothness, uniformity of ink receptivity, high total reflectance, and neutrality of shade, which means the paper is truly white rather than tinted. The term is not generally used in the United States. See also: COATED ART PAPER.

citations: 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.

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

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


circles

norm: circles

text: Finishing tools in the shape of 1/3, 1/2, 3/4, and full circles, in sizes generally ranging from 1/4 to 2 1/2 inches in diameter. See also: GOUGE.

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

citations: Gaskill & Cooper. Firm. Bookbinders tool engraving and furnishing establishment. Philadelphia. n.p.


circuit edges

norm: circuit edges

text: The projecting flexible covers of limp bindings turned over to protect the leaves and edges of books, usually of a devotional nature. The circuit edge differs from the yapp edge in that the overlap of the cover is not continuous. The covering leather is turned over at head and tail, with an independent flap at the fore edge. The corners are square. This technique allows the flaps to fold flat onto the edges. Sometimes called "divinity circuit," or "divinity edges." See also: YAPP STYLE.

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

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

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


circuit edges

text: Bibles and prayer-books are sometimes bound with projecting covers turned over to protect the leaves; these are called circuit or divinity edges.


Circular quadrates

norm: circular quadrates

text: Blank types curved on one side.


citric acid

norm: citric acid

text: A colorless, crystalline or white powdery tricarboxylic acid (C6H8O7). Citric acid is used to remove ink, and similar stains from paper, and is particularly useful in removing iron stains. Its advantage over chlorine solutions is that, being a weak and volatile organic acid, it is much less damaging to the paper.


cl

norm: cl

text: Abbreviation for CLOTH.


clam shell coverer

norm: clam shell coverer

text: A machine used in edition binding to apply paper covers to side stitched books that are not rounded and backed. The machine glues the spine, rolls or presses the cover onto it, and carries the book to the cover breaker where the back and both sides along the spine are pressed by formers. Book sizes handled range from a minimum of 7 by 5 inches to a maximum of 12 by 9 inches, and up to 1 1/8 inches in thickness (with a special attachment for books up to 2 inches thick), at speeds up to 160 books per minute.

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


clamp

norm: clamp

text: A device designed to bind, constrict, or press two or more parts together so as to hold them firmly in their relative positions for some subsequent operation, to allow adhesives to set, or for trimming, printing, and the like. They may be operated by hand, mechanically, by air pressure, or hydraulically.

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


clamp dwell

norm: clamp dwell

text: The time interval of the holding action of a CLAMP. Although "dwell time" may be controlled manually, as with the clamp of a hand-operated board chopper, the term relates more accurately to the automatic release of a clamp, such as in a BUILDING-IN MACHINE, which holds the pressure for a pre-set length of time. When a clamp does not release immediately upon completion of an operation, it is said to have a "long" dwell. The typical GUILLOTINE cutting machine has such a dwell; the clamp remains on the pile being cut until the knife has risen to a safe height, which prevents the knife from rippling the sheets on its return motion and thus disturbing the pile.


CLASP

norm: clasp

text: The hook or catch used for fastening the boards together when the book is closed; used formerly on almost every book.

siglum: ABB

author: Zaehnsdorf, Joseph W.

work: The Art of Bookbinding: A Practical Treatise


CLASP

text: A hook or catch for fastening the covers of a book together, usually at the fore edge.


clasps

norm: clasps

text:
See illustration</> The hinged fasteners of brass, precious metals, iron, etc., often elaborately chased, and intended to secure the covers of books, ledgers, albums, etc. They are sometimes provided with a lock, and are designed to hold the covers of a book closed, or when provided with a lock, to prevent opening by unauthorized persons. Clasps are attached after forwarding is completed except for the board papers, because by that time the final thickness of the book is known and any rivets on the inside of the boards will be covered by the board papers. Because a single clasp has a tendency to distort the boards, two are generally used, and are usually placed opposite the centers of the second and fifth panels of the spine. All metal-hinged clasps have to be made to fit the individual book, as a perfect fit is necessary; however, where the hinge consists of a leather strap, adjustments can easily be made. Stretching of the leather with use, thus causing looseness, can be overcome by making the strap of leather over vellum, which also provides additional strength.

The use of clasps appears to be as old as the codex itself. In its earliest form, which was Coptic bindings, the clasp consisted of a strap attached to the fore edge of the upper cover and wound around the book over the fore edge several times, the bone attached to the end of the strap being tucked between the strap and the lower cover. Another method, which may actually have been used more often than the strap, consisted of the plaited thong with loops which fit over bone pegs at the edge of the lower cover. A clasp of this type seems to have been used in England at least as early as the 12th century. The strap was fastened to the fore edge of the upper cover, and the end, which had a metal-rimmed hole, was taken around to the middle of the lower cover and was attached to a metal pin.

English bookbinders of the 14th century began using two straps instead of just one, something which had been done earlier and more often on the Continent of Europe. The hole and pin type was more or less abandoned early in the 14th century and replaced by clasps and catches attached to the fore edge. Initially, each clasp consisted of a strip of leather having a metal hook on one end. Later, the metal part of the clasp was the full thickness of the book and was sometimes attached to the board by means of a metal hinge. In bindings of the 15th and 16th centuries, and probably earlier, the location of the clasp is a reasonably accurate indication of the country of origin. English and French bindings usually had them attached to the upper cover with the catch on the lower, while bindings of the Netherlands and Germany had the catch on the upper cover. Italian binders often attached the clasp to the upper covers and often used as many as four clasps.

The velvet-covered books of the royal collection in England in the 15th and 16th centuries often had ornamental gilt clasps, which were often combined with elaborately ornamented gilt cornerpieces and centerpieces which helped prevent abrasion of the velvet.

The use of metal clasps began to decline early in the 16th century, probably because they could not be securely attached to the pasteboards which were replacing boards made of wood. The weight, size, and material of the books being published at that time did not require clasps, and clasps were no longer economically feasible for the normal run of books. In most cases they were replaced by TIES (1). Clasps made of brass were still used in the 16th century for some books which were bound with boards of wood, and silver clasps and cornerpieces were often used on small Bibles and other devotional works as late as the late 17th and early 18th centuries. In certain German bindings, however, e.g., Bibles, clasps were used continuously until the end of the 18th century. his was notably true in America, for example, where almost all German-American bindings, e.g., the Saur Bibles, were issued in calfskin over wood with two heavy claps attached to the lower cover. Brass clasps were revived during the latter part of the 19th century, mainly for Bibles and prayer books, but also for photograph albums, diaries, and the like. They were often attached to metal frames which protected the edges of boards.

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

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

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


Class "A" library binding

norm: class "a" library binding

text: Library binding that meets the standards set forth in the minimum specifications promulgated by the Joint Committee of the American Library Association and the Library Binding Institute. The qualification for Class "A" binding, as accepted today, is set forth, defined and regulated exclusively by the Library Binding Institute, as detailed in its Standard for Library Binding.


CLAW

norm: claw

text:
of a sheep’s foot. The end to draw the ball nails out of the ball stocks.—M.

Claws, for Stereotype Risers. See Risers.


clay

norm: clay

text: A colloidal, lusterless, fine-grained, earthy substance which generally develops plasticity when wetted but is permanently hard when fired. Chemically clays are aluminosilicates, which do not form large crystals. The finely divided aluminosilicates, which are responsible for the properties associated with clays, are called "clay minerals." Clays with a preponderance of the clay mineral "kaolinite" are used both as fillers and as coating pigments in the manufacture of paper. Other clays are used in small amounts. Used in excess, as it is in some art papers, clay becomes an adulterant to the detriment of the strength and durability of paper. See also: ATTAPULGITE CLAY; BENTONITE; KAOLlN; PAPER CLAY.

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

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


clay tablets

norm: clay tablets

text: The earliest form of the "book." Clay tablets were generally used for records and were inscribed in cuneiform writing on wet clay, which when hardened was usually protected by a cover (outer shell), also of clay, which was inscribed with a copy, abstract, or title of the contents.

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


clay-finished paper

norm: clay-finished paper

text: A paper, such as imitation art paper, coated with finely pulverized clay to impart a smooth finish suitable for halftone illustrations. Such papers present difficulty in binding, as they are difficult to sew (especially to oversew), and there is often the tendency for the clay to separate from the base paper, especially under humid circumstances or if the paper becomes wet. In addition, they are unusually stiff and frequently must be scored.

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

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


CLEAN PROOF

norm: clean proof

text: When a proof has but few faults in it, it is called a Clean Proof.—M. It is also called a clean proof when it is printed after being corrected, to be sent out, or to be read for press—that is, the pressmen take more care in printing it, and keep the margins clean.


CLEAN PROOF

text: A proof containing few faults.


CLEAN SHEETS

norm: clean sheets

text: Authors and publishers have generally one copy of each sheet of a work sent to them as it is printed, for the purpose of reference, and to see the progress of the work; these copies are called clean sheets. See Tops.


cleaning

norm: cleaning

text: A general term used to describe the removal of mud, dirt, dust, grease, stains, etc., from the covers or leaves of a book, map, print, etc. Cleaning is done in a variety of manners, depending on the nature of the soiling, the material soiled, and the facilities available. It may range from gentle rubbing with bread crumbs to complete washing and restoration.

citations: Horton, Carolyn. Cleaning and preserving bindings and related materials. Chicago. American Library Association. (Conservation of library materials pamphlet no. l; Library Technology Project publications, no. 16). 1969.

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


cleaning off

norm: cleaning off

text:
A term descriptive of a more or less obsolete process of removing excess adhesive from the spine of a book subsequent to lacing-in. Cleaning off is generally done by applying paste to the spine, and, when the glue has softened, scraping off both paste and excess glue with a CLEANING-OFF STICK or plow trimmings. Once a book has been rounded and backed and its shape has been set, the glue on the spine, other than that between the sections, is not required, and, in fact, should be removed to permit greater openability of the book and also to clear the sections of excess glue as a consideration of the binder of the future who may have to rebind the book. Cleaning off also helps in setting the shape of the spine and makes for a cleaner, smoother spine—factors which are very important in the case of a tight back binding.

The increasing use of resinous adhesives in hand binding, such as the polyvinyl group, in lieu of hot glues, has meant that cleaning off has become more difficult, if not impossible, even though the use of these adhesives makes shaping the spine of even greater importance. The plasticized polyvinyls are neither softened by paste nor are they soluble in water; furthermore, they do not seem to affect openability adversely. If, however, removal is necessary, they are alcohol soluble.

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


cleaning-off stick

norm: cleaning-off stick

text: A long, thin stick with a rounded but not pointed end, used to clean off excess animal glue from the spine of a book. See also: CLEANING OFF.

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


clearing

norm: clearing

text: The process of lightening the color and removing metallic stains from the grain surface of newly tanned leather. Clearing is done by drumming the leather in a cold solution of weak acid, e.g., a.25 or 1% solution of oxalic (H2C2O4) or sulfuric (H2SO4) acid; if heavy STRIPPING (1) or clearing is required, or if the original tannage was not satisfactory for the leather required, it is not uncommon to retan the leather at this time.

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


CLEARING AWAY

norm: clearing away

text:
When a work is completed, clearing away is the distributing of headlines, chapters, lines of small capitals, and other useful sorts, taking the lines of quadrats away, and tying up the remainder of the matter in moderate sized pieces with old page cord, so as to be ready to be papered up; and tying the furniture, reglets, and leads up, and delivering them to the proper person, who takes charge of them.

The compositor, after laying up the form to be cleared away and washing it well—and matter ought never to be cleared away without undergoing this process—takes a page into a galley—an old one generally—and picks out the leads, if it be leaded matter; he will then push the matter up from the foot and put another page on his galley, and take the leads out of it also; he will then take the headlines away, and put them on another galley; then take the lines of quadrats and reglets out, and put them on a paper under his frame, then the chapters, contents of chapters, any lines with words of Greek, or other useful sorts, and, after pushing the matter close up together, he will tie it firmly up, in pieces rather longer than a full sized octavo page, and if a short line happens to fall at the bottom, put it in some other situation, so that the top and the bottom shall be full lines. He will thus proceed, till his sheet or other quantity be all tied up, taking care to make his pieces of equal lengths, for the convenience of piling them up in the letter closet.

If the work should be in very small pages, so that two in width would not be wider than a large octavo page, he will put two together, side by side, to prevent papering the matter up in long narrow slips.

Having tied all the matter up for papering, he will either place it on a board in a rack, or put it in some other place where cleared away matter is usually deposited till papered up; he will then distribute his headlines, chapters, contents, and other useful sorts into their proper places; and if there be not room in the cases for the quadrats, he will put them into the proper drawers in which the surplus quadrats are kept.

If the work be in folio or quarto, he will tie it up in proportionally sized pieces.

He will then tie up his leads; and if there be any of different thicknesses, he will, of course, assort them, and tie them up separately: he takes a moderate quantity, if they be octavo leads, rather more than the length of a page of matter, and places a piece of reglet at each end of it, to guard the outside leads from injury by the tightening of the cord, and making a slip knot at one end of a piece of old page cord, he places the leads in the noose, and draws it as tight as the cord will bear, then turns the leads over upon the spare cord and draws it tight; he thus proceeds turning the leads over upon the spare cord, and drawing it tight, till he has got turns sufficient round the leads to secure them, and tucks in the end of the cord under the turns two or three times, drawing it tight; he knocks up the ends of the leads upon the imposing stone, gently, not to injure them, and when he has thus tied them all up, he puts them along with his matter.

He ties his reglets up in the same manner, and puts them with the leads.

He puts the quoins into the quoin drawer.

He inquires of the proper person whether the furniture is to be tied up, or put into the drawers; if the latter, he assorts it—side and foot sticks, gutters, broads, narrows, reglets, and scaleboards, and puts each into its separate drawer; if it be to be tied up, he puts the scaleboard into its proper drawer, and arranges the others neatly and ties them firmly together with old page cord, and delivers them and the chases to the proper person, who may be either the overseer, or some person appointed to take care of the materials.


CLEARING AWAY

text: Properly disposing of materials after a work has been completed.


Clearing Out

norm: clearing out

text: Removing the waste-paper and paring away any superfluous leather upon the inside, preparatory to pasting down the lining-paper.

siglum: MAB

author: Nicholson, James B.

work: A Manual of the Art of Bookbinding


Clearing Out

text: Removing the waste-paper, and paring away any superfluous leather upon the inside, preparatory to pasting down the end-papers.


Clearing Out

text: Removing the waste paper and paring away superfluous leather upon the inside, preparatory to pasting down the lining-paper.


CLEARING PIE

norm: clearing pie

text:
To separate from each other in the confused mass, and assort the different kinds and sizes of types, and to distribute them into their respective cases; if there be a large quantity of any particular fount, or founts, it is usual to compose them into pages, and, if the letter be not wanted, to paper it up; when that fount is brought into use, a proportionate quantity of pie is given to each compositor to distribute.

This is generally the work of the apprentices during any slackness of business. A quantity of pie is placed on the imposing stone, or, if that cannot be spared for the purpose, on a letter board upon a bulk, and each fount is separated from the other; they are then composed into lines, and either distributed or papered up: although it may appear a roundabout way to compose it, it in reality saves time, as the composed matter is distributed with greater facility. In large establishments the reading boys assort pie at their leisure time.


CLEARING STONE

norm: clearing stone

text: It is a general rule that every person shall, under a penalty, after imposing or correcting, leave a clear stone; that is, the mallet, shooting-stick, furniture, quoins, saw, sawblock, and shears, are to be put in their proper places; any good letters that may be scattered about, distributed; and the bad letters put into the shoe, so that there shall be no impediment to the next person using it. Any of the articles used, or two letters, left on it will render him liable to the fine.


cleat

norm: cleat

text: See: KERF.


CLICKER

norm: clicker

text: The compositor who, in a companionship, receives the copy from the overseer or other person, gives it out to compose, receives the matter back when composed, keeps an account of what each person does, sets the head and direction lines, and the notes if any, makes up the pages, lays them down on the imposing stone, and makes out the account, apportioning to each his proper share; his own share of the bill being always equal with the highest: this refers to working on lines. In other companionships he receives the copy from the overseer, distributes it to his companions, and receives instructions how the work is to be done.


CLICKER

text: The chief of a companionship.


cloisonné bindings

norm: cloisonné bindings

text: Enamelled bindings produced during the 11th century, mainly by Greek and Italian craftsmen. Cloisonné is a technique of surface decoration in porcelain enamel on metal, in which each color area is surrounded by a thin line of metal, flush with the surface of the enamel. Thin fillets of flattened wire are set on edge and soldered to the metallic base in the desired pattern. The cloisons, or cells, are then filled with a colored vitreous composition, fired, ground smooth, and polished. Cloisonné can be distinguished from CHAMPLEVÉ BINDINGS by the uniform thinness of the metallic lines.

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

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

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


close formation

norm: close formation

text: The closeness of texture and FORMATION of a sheet of paper, i.e., a sheet in which the formation is uniform and free from a WILD (1) or porous appearance when viewed by transmitted light. It is frequently the sizing or loading agents that "close" the sheet by filling the interstices between fibers. A well-closed sheet has more RATTLE and hardness, and generally greater opacity.

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


CLOSE MATTER

norm: close matter

text: Matter with few breaks or whites—M. The term is now understood of works that are not leaded. See Bad Work.


CLOSE MATTER

text: Solid matter with few break-lines.


CLOSE SPACING

norm: close spacing

text:
This term is used when only a middling space is put between words, and sometimes a thin space; for some authors will not allow words to have much space between them, but only just enough to separate them from each other, in which case a thick space is never exceeded.

Close Work. See Close Matter.


closed assembly time

norm: closed assembly time

text: The time interval between the completion of assembly of the parts to be adhered and the application of heat, pressure, or both. See also: ASSEMBLY TIME; OPEN ASSEMBLY TIME.

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


closed bolts

norm: closed bolts

variant: closed sections

text: Any fold in a section that is not perforated or cut during the process of folding, or before the binding process is completed. See also: BOLT.

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


closed joint

norm: closed joint

text: That type of JOINT (1) which is formed when the covering boards are laced on, i.e., where the boards are right up to the backing shoulders. Also called 'tight joint." See also: FRENCH JOINT; LACING-IN; SUPPORTED FRENCH JOINT.


cloth

norm: cloth

text:
A generic term for all of the fabrics employed in bookbinding and conservation. Cloth is made by weaving, felting, knitting, knotting, bonding, or crocheting natural or synthetic fibers and filaments, in various textures, finishes, and weights. It may be plain, filled, coated, or impregnated. Woven cloths, with the exceptions of certain "double warp" cloths, have a warp (the threads that run the length of the cloth over and under the filling), and a filling, also called the weft, running across the grain at right angles to the warp. Both are generally expressed in number of yarns per inch. Since the number of threads in the warp is generally greater than the filling, the strength of a cloth is greater in the direction of the warp (or "grain" of the cloth).

Cloth is made from a wide variety of animal, vegetable, and synthetic fibers. Animal fibers include those obtained from animal hair—e.g., wool—and those obtained from insects, such as silk. Vegetable fibers include vegetable hairs, e.g., cotton; bast fibers from the stems of plants, such as flax, hemp, jute, etc.; and fiber bundles, such as sisal, esparto, straw, etc. The fibers most often used in bookbinding are cotton, flax, and silk. See also: BOOK CLOTH.

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

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


cloth

text: Prepared calico, sometimes embossed with different patterns, used for cloth bindings.


cloth boards

norm: cloth boards

text: 1. An old term for PRESSING BOARDS used to create the joints of a case binding during the casing-in operation. 2. An obsolete term for the boards of a book. 3. A term sometimes used to indicate a book bound in cloth. 4. See: CLOTH-LINED BOARD.


cloth boards

text: Stiff boards covered with cloth.


cloth graining

norm: cloth graining

text: The all-over patterns imparted to cloth to achieve a certain effect. Cloth is grained or embossed, as it is also called, by means of heated flat embossing plates, when done by the piece, or by heated engraved rollers when done by the roll. Grain patterns include rib, wave, ripple, dotted line, diaper, patterned sand, morocco, sand, pebble, crackle, frond, and numerous others.

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


cloth hinges

norm: cloth hinges

text: 1. Cloth joints extending from the spine of the text block to the insides of the boards of the book, or between split boards. Such hinges are simply an extension of the spine lining fabric. 2. Any cloth or muslin reinforcement of the first and last sections which joins the endpapers to those sections. 3. The board-stiffened, cloth covered "lips" fastened into loose-leaf covers for use in conjunction with metal fasteners or posts. 4. Any cloth jointing used to bind in heavy inserts.


cloth printing

norm: cloth printing

text: Book cloths decorated by letterpress, offset, or gravure printing. In the latter two processes, even full color photographs and artwork can be printed on a suitable cloth. The picture-cover bindings used by library binders are an example of cloth printing.

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


cloth stiffened cover

norm: cloth stiffened cover

text: A style of binding consisting of a cloth cover secured to the spine of a book and stiffened on the sides with thick paper or board inserted between the cover and the endpapers. See also: PAPER-STIFFENED COVER.

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


cloth stubs

norm: cloth stubs

text: Linen or muslin strips bound into a book, usually during sewing, as a strengthening medium for heavy inserts.


cloth tooling

norm: cloth tooling

text: The process of tooling in gold on a cloth binding. As with leather, glair is required, and, in addition, greater pressure is required because the surface of cloth is harder, especially the surface of a filled cloth. Pyroxylin impregnated cloth or imitation leather sometimes has to be washed with methylated spirits before being tooled.

citations: Book Production. Tricks of the trade. New York. Bookbinding and Book Production. 1944.


cloth weight

norm: cloth weight

text: The weight of a given cloth, measured in ounces per square yard, or ounces per linear yard, depending on the cloth. Starch filled book cloths range from 1.7 to 7.0 ounces per square yard, vinyl coated fabrics from 14 to 31 ounces per linear yard (with a per linear yard allowance of minus 1 ounce to plus 2 ounces), and pyroxylin-coated cotton fabrics from 5.0 to 28.5 ounces per linear yard. The Library Binding Institute specifications for pyroxylin-impregnated buckram call for a cloth of not less than 7.9 ounces per square yard.

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


cloth-cased book

norm: cloth-cased book

text: A case binding having cloth as the covering material. The term is usually restricted to an edition or library binding, particularly the former.

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

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


cloth-centered

norm: cloth-centered

text: A term applied to a type of duplex paper or board, one having a cloth core (or center), usually canvas, linen, muslin, etc., with paper laminates on both sides. It is used where great strength, resistance to wear, and folding endurances are required, as with large maps.

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

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


cloth-jointed endpaper

norm: cloth-jointed endpaper

text: An endpaper that is reinforced at the fold by means of a strip of cloth. The cloth joint is used where reinforcement or extra strength is required and the appearance of the cloth strip is not objectionable. For maximum effectiveness the sewing to the text block should be through the cloth. The sewing may be concealed by inserting the cloth joint into a zig-zag; however, as this type of endpaper is utilitarian and used mainly for large account books, this is seldom done. See also: LIBRARY STYLE ENDPAPER.


cloth-lined board

norm: cloth-lined board

text: A board backed with linen or linen canvas. Such boards are used where additional strength is required but additional thickness is not desirable. See also: CLOTH-CENTERED.


clothbound

norm: clothbound

text: A book bound in full cloth with stiff boards.


clothing up

norm: clothing up

text: See: CLOTHINGS; FIRST LINING; SECOND LINING; SPINE LINING (1); TRIPLE LINING.


clothings

norm: clothings

text: The strips of leather, cloth or parchment (or vellum) which are glued to the spine of a stationery binding between the webbings, both to strengthen the spine and help maintain its shape. Also called "strappings. "

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


cloudy

norm: cloudy

variant: cloud effect

text: See: WILD (1).


club bindery

norm: club bindery

text:
A fine hand bindery founded in 1895 by Edwin Holden, Robert Hoe, and other wealthy American bibliophiles, most of whom were members of the Grolier Club. The purpose of the Club Bindery was to provide American bibliophiles with bookbindings of a quality equal to those available in Europe, thus avoiding the delays and other inconveniences of having to send books to Europe to have them bound. William Matthews was given the responsibility of organizing the shop, and he proceeded to hire the Clubs' first craftsmen, Frank Mansell, finisher, and R. W. Smith, forwarder. Other craftsmen employed by the bindery included Henri Hardy and Leon and Paul Maillard, French finishers; Adolf Dehertog and Charles Micolci, a coverer and assistant finisher, respectively; Mary Neill, sewer; Anna Berger, mender, repairer, etc.; and others.

The Club Bindery exerted a considerable influence on fine binding in America; unfortunately, however, not even the wealthiest of the stockholders had the resources to supply sufficient work to keep the bindery going. Efforts to transfer ownership of the club to the employees failed and the Club Bindery went out of existence in April of 1909.

citations: Thompson, Elbert A., and Lawrence S. Thompson. Fine Binding in America; the story of the Club Bindery. Urbana, Ill. Beta Phi Mu. (Beta Phi Mu. Chapbook no. 2). 1956.


CLYMER’S PRESS

norm: clymer’s press

text: Mr. George Clymer, of Philadelphia, first began to turn his attention to the improvement of the printing press in the year 1797. Having completed his object, he came to England in 1817, and introduced his improved press under the name of the Columbian Press: he established a manufactory in London, and the first press he constructed here was completed in 1818, and I believe went to Russia. It is an iron press; there is no screw; the head is a large and powerful lever, which is acted on by other levers to which the bar is attached, and produces the pressure; the platen is attached to the head by a square bar of iron, and the descent is preserved steadily and regularly by two projecting guides, one from each cheek; the platen is raised from the form by a lever with a weight at one end, attached to and above the head, which acts when the pull is eased and the bar flies back. The power of this press is very great, and I have not heard of any failing or breaking, which is an important fact in its favour. It ranks in the opinion of practical men, generally, as the next in estimation to the Stanhope press. The only objection I have heard to this press, was the length that the pressmen had to reach, and the disadvantage in the pull, by the bar being attached to the off cheek; but Mr. Clymer remedied this by attaching it to the near cheek, which not only facilitates the pull, but also enables the pressman to exert his strength more advantageously and with more ease. Mr. Clymer died in 1834, but the manufactory is still continued in Finsbury Street under the firm of Clymer and Dixon. I believe the representative of Mr. Clymer is Mr. A. R. Shaw, who married one of his daughters.

caption: The Clymer Press

alt: The Clymer Press

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


coal tar dyes

norm: coal tar dyes

text: See: ANILINE DYES.


coated

norm: coated

text: Paper or board which has had its surface modified by the application of clay or other pigment and adhesive materials, or other suitable material, with the intent of improving its finish in terms of printability, color, smoothness, opacity, etc. The term is also applied to lacquered or varnished papers and book cloth, as well as other covering materials.


coated art paper

norm: coated art paper

text: A coated paper particularly suitable for printing, especially halftones where definition and detail in shading and highlights are an essential consideration. It is usually a paper of good quality, with a high brightness and a glossy, highly uniform printing surface.

citations: 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.


coated cover paper

norm: coated cover paper

text: A paper made in heavy weights and used for the covers of pamphlets, catalogs, etc. It is usually coated on both sides and is available in white and colors, with a dull or high finish. Good folding strength is an essential property.


coated one side

norm: coated one side

text: See: SINGLE COATED PAPER.


coating

norm: coating

text: The mineral substances used to cover the surface of a paper or cloth for the purposes of creating a new surface having certain desirable properties. This property in paper is usually that of printability, but may also be for purposes of decoration. In cloth it is usually used to increase strength and water resistance, but its decorative effect may actually sometimes be of greater importance. The coating material fills the interstices of the cloth or the minute "hills and valleys" which are present in the surface of even highly calendered paper.

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

citations: Sutermeister, Edwin. Chemistry of pulp and pa per making. 3rd ed. New York. Wiley. 1941.


coating clay

norm: coating clay

text: A CLAY used to coat paper. Coating clays are of a smaller particle size and higher brightness than filler clays. It is a refined clay, usually KAOLIN, that meets specifications. Freedom from grit, correct particles, good color and brightness, low viscosity, and purity of mineral type are among the requirements.


Cobden-Sanderson style

norm: cobden-sanderson style

text: An arrangement of graceful curves or stems, flowers, buds and leaves, treated conventionally; the background being often powdered with nebulae of gold stars or dots. The lettering of title, etc., on back and sides is treated fancifully and often made an integral part of the design.


Cobden-Sanderson, Thomas J.

norm: cobden-sanderson, thomas j.

text:
See illustration</> An 1892 binding by Thomas J. Cobden-Sanderson on an 1841 copy of J.R. Lowell's A Year's Life. Reproduced from Bookbindings by T.J. Cobden-Sanderson, printed by the Spiral Press, 1969, for the Pierpont Morgan Library. (18.3 cm. by 11.5 cm. by 1.5. cm.)

An English lawyer who left the legal profession to take up bookbinding, working for six months under Roger de Coverley before opening his own shop. Cobden-Sanderson produced some 100 bindings, and his work was generally considered to be superior to that of his contemporaries. His forwarding was excellent, and his finishing was skillfully designed and executed, and noted as much for its restraint as for its elaboration. He produced these bindings with the use of only a relatively few simple tools worked in intricate combinations. He designed his own tools, and, with the exception of sewing and edge gilding, did all of his own forwarding. Cobden-Sanderson signed his bindings with the initials C S and the date, usually on the doublure, a practice widely imitated since by craft binders.

Cobden-Sanderson's binding had a highly beneficial influence on the binding of his day. To a certain extent, he started bookbinding on a path away from the situation in which the vast majority of bookbinders seem unable or unwilling to consider new approaches, except within the narrow limits of accepted methods. His influence on his contemporaries was considerable, and it is not unreasonable to maintain that his influence is being felt to this day.

Cobden-Sanderson gave up his own bindery in 1893 to establish the Doves Bindery, originally for the purpose of binding the publications of William Morris' Kelmscott Press. He did no more binding from this time, but restricted his activities to creating the designs and supervising the work of the bindery.

citations: Abbey, John Roland. An exhibition of modern English and French bindings from the collection of Major J. R. Abbey. London. Arts Council. 1949.

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

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

citations: Prideaux, Sarah Treverbian. Modern bookbindings, their design and decoration. London. Constable. 1906.

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


cochineal

norm: cochineal

text: A red dyestuff obtained from the dried bodies of the female of the insect Dactylopius coccus. The deep red color of the dye stems from carminic acid (C22H22O13). Cochineal was used extensively in the 19th century in the production of red marbling colors and scarlet lakes. It is also used in the dyeing of wool and silk.

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

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


COCK-UP LETTER

norm: cock-up letter

text: It is not unusual to begin a work, and the divisions of it, as Parts, or Books, with the first word set in capitals, and the first letter a larger capital, justified to range at the foot with the others, and bearing about the same proportion to them that capitals bear to their own small capitals; whatever proportion there may be between the first letter and the other part of the word, if it be justified to range at the foot, it is styled a Cock-up Letter.


Cockerell, Douglas Bennett

norm: cockerell, douglas bennett

text:
An English bookbinder, first apprentice to THOMAS J. COBDEN-SANDERSON. Many of Cockerell's bindings are elaborately tooled with symmetrical arrangements of conventionalized flowers and leaves, sometimes within compartments formed by interlaced lines which often flow from the raised bands. This style, which he apparently originated, gives spine and covers unity, and shows that the designs were conceived essentially in terms of a book cover. His interlacing patterns usually have no loose ends, and his plant forms appear to expand. Small spaces are filled in with gold dots, and butting lines are strengthened by a thorn, often with a dot at each side.

Cockerell was not only a fine bookbinder but also performed a service in his teaching and writing, pointing out some of the destructive methods then being used by binders, such as excessive paring of leather and thinning of slips, headbanding with inadequate tying down, the use of acids on leather to create decorative effects, etc. He also called for sound principles in construction and the use of chemically and mechanically sound materials. He encouraged the use of native-dyed goatskins for covering, and did much to establish the use of the ZIG-ZAG ENDPAPER, which until recently was used extensively by craft binders. He also was aware of the merits of alum-tawed skin, and his use of it in rebinding manuscripts, and particularly his use of tawed goatskin on the Codex Sinaiticus, helped establish the reputation of durability which this type of skin enjoys today. He also promoted the use of rough edge gilding (See: ROUGH GILT).

Cockerell's publications included Bookbinding and the care of books, Some notes on bookbinding, and Bookbinding as a school subject.

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


Cockerell, Sydney

norm: cockerell, sydney

text:
A British bookbinder and senior partner of Douglas Cockerell & Son, a firm established by his father DOUGLAS COCKERELL.

Cockerell has designed and fabricated marbling equipment, and has been largely responsible for the revival of the art of marbling paper. He is also the inventor of the pneumatic ram used in tooling, the ball bearing fillet, and the tract-guided fillet. In addition, he has contributed to the knowledge of book structure, e.g., the idea of using a free guard around the first and last sections of the text block and also the use of free guards around the folds of vellum sections.

He assisted with the repair and binding of the Codex Sinaiticus, and has repaired and bound several early manuscripts, including the Codex Bezae.

Cockerell is an honorary member of the Society of Scribes and Illuminators, a Fellow of the International Institute for Conservation of Historic and Artistic Works, and a Master of the Art Workers Guild. His publications include Marbling paper, the appendix to Bookbinding and the care of books, and The repairing of books. He has also contributed to several handbooks and encyclopedias.