goatskin

norm: goatskin

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

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

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

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

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

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

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

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

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


goffered edges

norm: goffered edges

kind: definition

letter: G

letter_raw: G

text: See: GAUFFERED EDGES.

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


gold

norm: gold

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

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

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

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

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


gold and silver bindings

norm: gold and silver bindings

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

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.


gold and silver headband

norm: gold and silver headband

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

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


gold blocking

norm: gold blocking

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

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

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


gold book

norm: gold book

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


gold cleaner

norm: gold cleaner

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


gold cushion

norm: gold cushion

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

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

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


gold cushion

text: A cushion for cutting the gold leaf on.

siglum: ABB

author: Zaehnsdorf, Joseph W.

work: The Art of Bookbinding: A Practical Treatise

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

rights_tier: public-domain


gold cushion

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

siglum: NBL

author: Bailey, Arthur L.

work: Notes on Bookbinding for Libraries


gold edges

norm: gold edges

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

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


gold foil

norm: gold foil

text: See: BLOCKING FOIL.


gold ink

norm: gold ink

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

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


gold knife

norm: gold knife

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

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


gold knife

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


gold knife

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


gold leaf

norm: gold leaf

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

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

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


gold leaf

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


gold lifter

norm: gold lifter

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

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


gold marble

norm: gold marble

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

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


gold net frame

norm: gold net frame

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

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


gold powder

norm: gold powder

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


gold roll

norm: gold roll

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

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

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


gold rubber

norm: gold rubber

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

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

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

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


gold size

norm: gold size

text: See: BLOCKING POWDER; GLAIR; SHELLAC SIZE.


gold sprinkle

norm: gold sprinkle

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

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


gold tip

norm: gold tip

text: See: GILDER'S TIP.


gold tooling

norm: gold tooling

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

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

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

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

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

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

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

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

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.


gold-powdered bindings

norm: gold-powdered bindings

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


goldbeater's skin

norm: goldbeater's skin

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

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


goldbeater's tissue

norm: goldbeater's tissue

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

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.


goldbeating

norm: goldbeating

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

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


goldmark

norm: goldmark

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

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


GOOD COLOUR

norm: good colour

text: Sheets printed neither too black nor too light.

siglum: AMP

author: MacKellar, Thomas

work: The American Printer: A Manual of Typography


GOOD COPY

norm: good copy

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

siglum: DAP

author: Savage, William

work: A Dictionary of the Art of Printing


GOOD OF THE CHAPEL

norm: good of the chapel

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


good seconds

norm: good seconds

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


Good Work

norm: good work

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

siglum: MOX

author: Moxon, Joseph

work: Moxon's Mechanick Exercises, Volume 2


GOOD WORK,

norm: good work,

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


Gosden, Thomas

norm: gosden, thomas

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

citations: Book collector. London. Queen Anne Press.


Gothic tabs

norm: gothic tabs

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


GOTHIC, ANCIENT

norm: gothic, ancient

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

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

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

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

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

The Mœso-Gothic Alphabet.

[1] And as n before another g.

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

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

[4] And in middle of words sometimes c.

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

[6] Astle says ch or x.

Gothic in the British Founderies.

Pica. Caslon and Livermore. University of Oxford.

caption: The Gothic Alphabet

alt: The Gothic Alphabet

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


gouffered edges

norm: gouffered edges

text: See: GAUFFERED EDGES.


gouge

norm: gouge

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

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


gouge

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

siglum: MAB

author: Nicholson, James B.

work: A Manual of the Art of Bookbinding


gouge

text: A finishing tool forming the segment of a circle.

siglum: BIB

author: Sabin, Joseph

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


gouge

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


gouge

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


gouge index

norm: gouge index

text: See: THUMB INDEX.


governmental style

norm: governmental style

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

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


GOVERNOR

norm: governor

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


grade

norm: grade

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


grain

norm: grain

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

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

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

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

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


grain

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


grain direction

norm: grain direction

text: See: MACHINE DIRECTION.


grain layer

norm: grain layer

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


grain long

norm: grain long

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

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


grain pattern

norm: grain pattern

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


grain short

norm: grain short

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


grain side

norm: grain side

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


grain split

norm: grain split

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


grained jute board

norm: grained jute board

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


grained leather

norm: grained leather

text: See: BOARDING (1); GRAINED UP.


grained skiver

norm: grained skiver

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


grained up

norm: grained up

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


graining

norm: graining

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

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

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


graining

text: The process of giving to leather surfaces of different kinds.


graining board

norm: graining board

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

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


graining board

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


graining brush

norm: graining brush

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

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


graining combs

norm: graining combs

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

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


graining plates

norm: graining plates

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


graining plates

text: Metal plates same as above.


grainy

norm: grainy

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


grainy edges

norm: grainy edges

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


grangerized

norm: grangerized

text: See: EXTRA-ILLUSTRATED.


granite board

norm: granite board

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


granite marble

norm: granite marble

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

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


grass

norm: grass

text: See: ESPARTO (GRASS).


grass cloth

norm: grass cloth

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

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


Grater

norm: grater

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


Grater

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


gray cloth

norm: gray cloth

variant: gray goods

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


greaseproof

norm: greaseproof

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

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.


GREAT NUMBERS

norm: great numbers

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


Great Omar

norm: great omar

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

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

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

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


GREAT PRIMER

norm: great primer

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


GREEK

norm: greek

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

The Greek Alphabet.

[1] Ϲ, initial; σ, middle; ς, final.

There are twelve diphthongs or compound vowels, viz.

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

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

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

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

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

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

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

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

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

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

Accents and Aspirates.

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

An interrogation is a Latin semicolon; as (;)

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

The Greeks express their Numbers by Letters, thus:

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

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

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

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

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

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

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

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

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

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

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

Greek Ligatures.

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

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

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

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

Greek in the British Founderies.

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

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

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

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

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

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

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

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

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

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

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

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

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

caption: The Greek Alphabet

alt: The Greek Alphabet

caption: Greek numbers

alt: Greek numbers

caption: First page

alt: First page

caption: Second page

alt: Second page

caption: Third page

alt: Third page


Greek style

norm: greek style

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

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.


green

norm: green

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


green agate marble

norm: green agate marble

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

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


green earth

norm: green earth

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


green fleshing

norm: green fleshing

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


green porphyry marble

norm: green porphyry marble

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


green salted

norm: green salted

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

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.


green salting

norm: green salting

text: See: WET-SALTING.


green vitroil

norm: green vitroil

text: See: FERROUS SULFATE.


grid

norm: grid

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

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


Grimaldi, Giovanni Battista

norm: grimaldi, giovanni battista

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

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


Grolier style

norm: grolier style

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


Grolier, Jean

norm: grolier, jean

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

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

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

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

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

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

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

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

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

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

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

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

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


Grolieresque

norm: grolieresque

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

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

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


Groove

norm: groove

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

siglum: BCB

author: Cockerell, Douglas

work: Bookbinding, and the Care of Books


Groove

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


grooves

norm: grooves

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

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

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

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

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

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


GROOVES

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

Guide Cramps. See Cramp Irons.


grosgrain

norm: grosgrain

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

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


ground substance

norm: ground substance

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

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

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


groundwood free paper

norm: groundwood free paper

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

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.


groundwood printing papers

norm: groundwood printing papers

text:
Papers of the same general type as BOOK PAPERS.

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

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

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


groundwood pulp

norm: groundwood pulp

text: See: MECHANICAL WOOD PULP.


growing flower

norm: growing flower

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

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


grubby hides

norm: grubby hides

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


guard

norm: guard

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

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

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

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


guard

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


guard

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


guard

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


guard

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


guard book

norm: guard book

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

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

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


guard sheet

norm: guard sheet

text: See: BARRIER SHEET.


guarded endpaper

norm: guarded endpaper

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


guarded in

norm: guarded in

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


guarding

norm: guarding

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


guarding in pairs

norm: guarding in pairs

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

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


Guide

norm: guide

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


guide boards

norm: guide boards

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


guide of fair value

norm: guide of fair value

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

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


guide word

norm: guide word

text: See: CATCHWORD.


Guides

norm: guides

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


Guides

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


guild of contemporary bookbinders

norm: guild of contemporary bookbinders

text: See: DESIGNER BOOKBINDERS.


guilloche

norm: guilloche

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

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

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


guillotine

norm: guillotine

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

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

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

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

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

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

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

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

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

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


guillotine

text: A machine used for cutting paper.


guillotine

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


guinea edge

norm: guinea edge

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


guinea edge

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


GULL

norm: gull

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


gum

norm: gum

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

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

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


gum arabic

norm: gum arabic

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

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


gum dragon

norm: gum dragon

variant: gum elect

text: See: GUM TRAGACANTH.


gum hog

norm: gum hog

variant: gum hogg

text: See: KARAYA GUM.


gum juniper

norm: gum juniper

text: See: GUM SANDARAC.


gum sandarac

norm: gum sandarac

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

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


gum stripping tapes

norm: gum stripping tapes

text: See: BINDERY TAPES.


gum tragacanth

norm: gum tragacanth

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

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


gummed cloth tapes

norm: gummed cloth tapes

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


gummed paper

norm: gummed paper

variant: gummed flat paper

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

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


gut

norm: gut

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

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


gutta-percha binding

norm: gutta-percha binding

text: See: CAOUTCHOUC BINDING.


gutter

norm: gutter

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


GUTTER

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

Guy, Thomas. See Donations.


Gutter-sticks

norm: gutter-sticks

text: Furniture used in imposition to separate the pages.


guttering

norm: guttering

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


gypsum

norm: gypsum

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

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

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


GYPSUM

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


gótico-mudéjar style

norm: gótico-mudéjar style

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

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


h pattern

norm: h pattern

letter: H

letter_raw: H

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


hair

norm: hair

text:
The coalesced horny cells, which contain the protein keratin along with 0.75 to 2.0% mineral salts. Although hair is an epidermal structure, it is seated deep in the papillary layer of the dermis. It consists of two continuous regions, the root and a long projection. which is the shaft. The lower part of the shaft is enclosed in a follicle which is a sheath of epidermal cells continuous with those in other parts of the epidermis. Most animal hairs are of two types: primary and secondary. Primary hairs are the more numerous and vary in structure depending on the age and species of the animal. Secondary hairs. which are similar in structure to the primary, are only about one-third their diameter.

The positions which the primary and secondary hairs occupy relative to each other as they enter the surface of the skin, together with their different thicknesses, determine the characteristic grain pattern of the dermal surface after the hair and other epidermis have been removed. Due to the general complexity of the papillary region, including hairs of various diameters at different stages of growth and located at different depths in the papillary layer, their removal by mechanical means is difficult. See also: HAIR-ON LEATHER; HAIR SHEEP; SHORT HAIR; UNHAIRING.

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

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


hair marble

norm: hair marble

text: A marble pattern consisting of but one or two colors, and usually used on the edges of books. The colors are diluted to about one-third of their normal volume with water, and, when two colors are employed, enough gall is added to the first color to make it spread on the size to form a ribbon 5 to 6 inches wide, while the second color is applied evenly in fine drops, followed by a sprinkle of water which forms the hair veins. Carragheen moss is the usual sizing for this marble. Single-color hair marbles include the black, red or blue, while two-color hairs are usually red and black or bluish-brown.

citations: Halfer, Josef. The progress of the marbling art…Translated by Herman Dieck, Buffalo. Kinder. 1893.


hair sheep

norm: hair sheep

text: Leather made from the skin of a sheep that grows hair instead of wool The hair sheep is found in the mountainous regions of India, China, South America, and Africa. The leather produced form these skins has a finer and tougher grain than that made from wool-bearing sheep. See also: CABRETTA LEATHER.

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

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


hair side

norm: hair side

text: The outer surface of a hide or skin, more commonly referred to in finished leather as the GRAIN SIDE.


hair slips

norm: hair slips

text: Hides and skins that have suffered sufficient PUTREFACTIVE DAMAGE so that the hair is loosened.


hair-on leather

norm: hair-on leather

text: A leather which has been produced without first removing the hair. SLUNK skins are preferred for this type of leather, although skins of older animals can be used after trimming of the hair. Hair-on leather has been used occasionally as a covering material for books.


HALF A PRESS

norm: half a press

text: When but one man works at a press, it is called Half a Press.—M. It is still termed a Half Press. A man is said to be working Half Press.


half bands

norm: half bands

text: Horizontal ridges on the spines of some tight-back bindings. They are generally located at the head and tail of the volume, where they indicate the position of the kettle stitches, and are sometimes also between the raised bands. They are smaller than the raised bands. Half bands are often found on Italian and French bindings of the 16th century.

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


half binding

norm: half binding

text: A style of binding in which the spine and part of the side of the book, as well as the four corners, are covered with one kind of material, e.g., leather, cloth, etc., and the sides with another material, e.g., cloth or paper. In this style of binding the spine covering usually extends onto the boards about one-fourth of their width, with the corners in harmonious proportion. See also: QUARTER BINDING; THREE-QUARTER BINDING.

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

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


half binding

text: when the leather covers the back and only part of the sides, a book is said to be half bound.


half cloth

norm: half cloth

text: A book bound with a cloth spine, but not cloth corners. The sides are generally paper, which is also used for the spine title label. The style was fairly common on publisher's bindings from the late 1820s to the early 1840s. for three-volume novels into the early 1850s, and occasionally for general works since about 1890. The style was correctly (though not often) called "quarter cloth" by job binders. Also called at times "half linen."

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


half extra

norm: half extra

text: 1. In craft bookbinding, "half extra" letterpress binding is defined as any half-leather binding forwarded in boards, regardless of any decoration or lack of it. A half extra binding is one usually, but not necessarily, sewn on raised cords. If it is not sewn on raised cords, false bands are usually used. 2. In stationery binding, "half extra" is defined as a blankbook made up of machine-made paper that has been tubsized. Four sections are taped at front and back, and the book is sewn on webbings. It has a SPRING-BACK (1), made endpapers, cloth joints sewn on, leather linings between the webbings, and is covered on the spine and corners with calfskin or roan and on the sides with paper.

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

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


half French fold

norm: half french fold

text: A modification of the FRENCH FOLD, consisting of a sheet printed on one side only and given two folds, the first of which is half way down the short side of the sheet and the second at right angles to the first across the long side. It is used for brochures, leaflets, etc., but seldom in book work, except for folding maps.

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


half gilt

norm: half gilt

text: An obsolete term used in describing a book sewn on raised cords; the bands appearing on the spine are tooled in gold, usually by means of a broad pallet or roll. The tool was also sometimes worked in the center of each panel between the bands.

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


half leather

norm: half leather

text:
A book having a leather spine, extending over approximately one-fourth the width of the sides, leather corners, and the remainder of the sides covered in cloth or paper.

Half leather bindings covered in calfskin of a tan or other shade of brown, with narrow spines and small corners, marbled paper sides. smooth cut edges which were sometimes stained pale yellow or sprinkled red, and plain endpapers, were common in England in the latter half of the 18th century. The corners of these volumes were occasionally vellum instead of leather.

Stationers also issued cheap half leather bindings, often sheepskin, which were not trimmed and had no headbands, no squares, and were not lettered. Half vellum bindings, which were comparatively rare, were produced throughout the 19th century. See also: QUARTER LEATHER; THREE-QUARTER LEATHER.

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


half linen

norm: half linen

text: See: HALF CLOTH.


Half press

norm: half press

text: When but one person works at the press.


half tanned

norm: half tanned

text: See: CRUST STOCK.


half vellum binding

norm: half vellum binding

text: A half binding covered on the spine and approximately one-fourth of the sides, as well as the corners, with vellum, with the remaining part of the sides being covered with paper. See also: HALF LEATHER.


HALF WORK

norm: half work

text:
He that works but three days in the week, does but Half work.—M.

Hangs. See Letter Hangs.—M.


Half-Bound

norm: half-bound

text: When a volume is covered with leather upon the back and corners, and the sides are covered with paper or cloth.


Half-Bound

text: When a volume is covered with leather upon the back and corners; and the sides with paper or cloth.


Half-Bound

text: When the back of a book is covered with leather and the sides with paper or cloth. Some binders call a book half-bound when it has leather on the back and small pieces on the corners. Three-quarters bound means wide leather back and large leather corners.


half-stamp

norm: half-stamp

text: A finishing tool consisting of a stamp identical with or very similar to a half fleuron, pineapple, etc. It is generally used for tooling compartments at the edges of the frame in lozenge compartment decoration. It is also sometimes used back-to-back to form the lozenges in the center of the cover. The use of the half-stamp was common in Northern Europe and in England during the late 15th and early 16th centuries.

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


Half-title

norm: half-title

text: The title of a book inserted in the upper portion of the first page of matter.


Half-title

text: The brief title which precedes the main title page, usually a single line in plain type; the bastard title.


hammering-down bands

norm: hammering-down bands

text: See: KNOCKING DOWN.


hand letters

norm: hand letters

text: Individual letters, numerals, etc., cut in brass and attached to wooden or asbestos handles, and used to letter a book by hand. The alternative to hand letters is brass type assembled in a PALLET (2) and used to letter a complete line of type at one time.

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


hand letters

text: Letters cut and affixed to handles, and adjusted singly upon the volume when lettering it.


hand letters

text: Letters fixed in handles; used singly for lettering.


hand mold

norm: hand mold

text: See: MOLD (1); HANDMADE PAPER.


hand oversewing

norm: hand oversewing

text: See: OVERSEWING.


hand sewing

norm: hand sewing

text: The process of sewing a book by hand. Although it is generally assumed to mean sewing through the folds of the sections, it may also refer to the sewing of sections, or, more often, leaves through the side, i.e., OVERSEWING, SIDE SEWING, the strengthening of the first and last sections or leaves of a sewn book by means of OVERCASTING, or the re-attachment or replacement of endpapers by the same means. See: FLEXIBLE SEWING; RECESSED-CORD SEWING; SADDLE SEWING; TAPE SEWING (1).


hand sizing

norm: hand sizing

text: A method of sizing or resizing paper by dipping the sheets or leaves into a tub of size. Hand sizing was the original method of sizing paper, i.e., handmade paper, and is still used for that class of paper, and also by restorers when resizing documents or the leaves of a book. Old papers, which often contain decomposed size, can be made stronger and safer to handle if resized by hand.

citations: Clapperton, Robert Henderson. Modern paper-making. 3rd ed. Oxford. Blackwell. 1952.

citations: Labarre, E. J. Dictionary and encyclopaedia of paper and papermaking. 2nd ed. London. Oxford University Press. 1952.


hand-drawn end- and cover-papers

norm: hand-drawn end- and cover-papers

text: A term descriptive of custom end- and cover-papers. The design of the papers can be an integral part of the binding in every sense, and can be executed in many kinds of media, including lino- and wood-cut endpapers and covers, which are executed by means of small printing units of repeating designs, or blocks used to print the entire cover or endpaper in one impression.

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


handle

norm: handle

text: 1. A somewhat vague term applied to the impression of touch and sound when handling a sheet of paper. It includes such properties as feel, rattle, etc. 2. One or more strips of leather, cloth, or other material, attached loosely across the spine of a book from cover to cover and used to facilitate removal of the book from the shelf. Handles are seldom used today, except for large blankbooks. 3. See: FEEL.

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.


handmade paper

norm: handmade paper

text:
A type or class of paper made in hand molds in single sheets, and having a rough or DECKLE EDGE on

all four sides. The paper is made by dipping the MOLD (1), of the size required, into the vat containing the stock, and then lifting it out with a particular motion, thus causing the fibers to bond together forming a sheet. Because of the methods employed in lifting and shaking the mold, handmade paper often has very little discernible grain or MACHINE DIRECTION, which means that it has more or less the same strength properties in both (all) directions. It is therefore unlike machine-made paper, which is much stronger in the machine direction than in the cross direction. Handmade paper is also generally superior to machine-made paper in that it is usually sized with gelatin, glue, or similar material, without the use of rosin or alum. It is relatively very expensive because, from the pulp stage, all of the operations are performed by hand and in single sheets; in contrast to the papermaking machine in which paper is felted, couched, pressed, dried, sized, calendered, and reeled in one continuous operation. For general information concerning paper, see: PAPER; PAPERMAKING. See also: COUCH ; DECKLE; FELT (1); WATERMARK.

citations: Abbey, John Roland. English bindings, 1490-1940, in the library of J. R. Abbey. Edited by G. D. Hobson. London. Privately printed at the Chiswick Press. 1940.

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: Clapperton, Robert Henderson. Paper; an historical account of its making by hand from the earliest times down to the present day. Oxford. Shakespeare Head Press. 1934.

citations: Radford, Richard George. Letterpress machine work. New York. Staples Press. 1951. 2 vol.

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