foliaged staff

norm: foliaged staff

text:
A finishing stamp cut in the form of a branch entwined with foliage, sometimes intertwined with berries. A foliaged staff is usually used to form a frame.

Foldings

Section Size  Symbol      Customary     Leaves  Pages

Number of Folds

Folio             fo           1            2      4

Quarto           4to           2            4      8

Sixmo            6to        varies          6     12

Octavo           8vo           3            8     16

Twelvemo        12mo       varies          12     24

Sixteenmo       16mo           4           16     32

Eighteenmo      18mo        varies         18     36

Twenty-fourmo   24mo        varies         24     48

Thirty-twomo    32mo           5           32     64

Thirty-sixmo    36mo        varies         36     72

Forty-eightmo   48mo        varies         48     96

Sixty-fourmo    64mo        varies         64    128

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


foliate

norm: foliate

kind: definition

letter: F

letter_raw: F

text: To number the leaves of a book instead of the pages. This results in the rectos and versos having the same number, as 1, 1-2, 2-3, 3-4, 4-5, etc. It is a method of numbering commonly found in blankbooks.

siglum: RE

author: Roberts, Matt T.; Etherington, Don

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

rights: US Government publication (Library of Congress), published openly in electronic edition by CoOL. Not a Gutenberg/pre-1930 public-domain text -- verify rights before reprinting rather than quoting.

rights_tier: us-government-flagged

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


foliation

norm: foliation

text: 1. The total number of leaves, whether numbered or unnumbered, contained in a book or manuscript. 2. The numbering of the leaves of a book or manuscript. Foliation was relatively rare until the last quarter of the 15th century. It consisted originally of the word Folio, or an abbreviation, followed by a Roman numeral. Arabic figures were used in Italy between 1475 and 1500, and outside Italy after 1500. Eventually the Arabic came to be used alone. The numbering of pages (pagination), as opposed to leaves, began to replace foliation near the end of the 16th century but was not finally established until the 18th century. Reference to a page in a foliated book is generally done by using r and v for recto and verso, e.g., 1r or 1v, or by the use of a and b. e.g., 1a or 1b, the latter being preferred because manuscript v is often mistaken for r. Abbreviated ff. See also: PAGINATION.

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

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


folio

norm: folio

text: 1. The book size resulting from folding a sheet one time, giving leaves half the size of the sheet. In modern practice double-size paper folded twice, or quad-size paper folded three times would be used, thus producing the requisite folio size but in sections convenient for binding. Abbreviated Fo. or fo. 2. A leaf of parchment or paper numbered only on the recto side. 3. Loosely, the number of a page. 4. An individual leaf of a book.

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

citations: Oswald, John Clyde. A history of printing; its development through five hundred years. New York. Appleton. 1928.

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


FOLIO

text:
The running number of the pages of a work. When there is no running title, the folios are placed in the middle of the head-line, in Arabic figures, sometimes enclosed in brackets, sometimes in parentheses, but more frequently now without either; when there is a running title, the folios are placed at the outside corners of the pages. The prefatory matter has the folios generally set in Roman lower case numerals, and sometimes the folios of an appendix are done in a similar manner.

A sheet of paper folded in two leaves, is also termed folio; as folio post, folio demy, &c.; but when the size of a book is spoken of, it is styled a post folio, demy folio, &c.

siglum: DAP

author: Savage, William

work: A Dictionary of the Art of Printing

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

rights_tier: public-domain


folio

text: Two pages to a form.

siglum: AMP

author: MacKellar, Thomas

work: The American Printer: A Manual of Typography


folio

text: A sheet folded once, consisting of two leaves, or four pages; the size of the sheet being usually understood as about 19×24 inches, giving a leaf 19×12 inches. Also, the consecutive page numbers of a book, pamphlet, etc.

siglum: NBL

author: Bailey, Arthur L.

work: Notes on Bookbinding for Libraries


folio form

norm: folio form

text: Printed sheets that have been folded and gathered, but not bound. See also: GATHERING (1).

citations: Summerfield, Melvin B. Bound-to-stay-bound: the story of a book… Jacksonville, 111. New Method Book Bindery. 1956.


FOLLOW

norm: follow

text:
See if it follows, is a term used as well by the corrector, as by the compositor and pressman. It is used by the corrector and compositor when they examine how the beginning matter of a succeeding page agrees with the ending matter of a precedent page: and how the folios of those pages properly and numerically follow and succeed one another, lest the pages should be transposed. But the pressman only examines that the folio and beginning word of the second page, and signature of the first and third page (when the reiteration is on the press) follow the folio and direction of the first page, and the signature of the third page follows the signature of the first page, orderly according to the volume, lest the form should be laid wrong on the press.—M.

Foot Notes. See Bottom Notes.


font

norm: font

variant: fount

text: The complete assortment of all letters and characters in one face and size of type. A type family includes fonts of roman, italic, semi-bold and condensed. See also: TYPE FACE.

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


fonthill style

norm: fonthill style

text: A particular style of binding in which the books were sewn on raised cords, and were top edge gilt, had marbled paper sides and endpapers, and were covered in half olive-brown morocco. Finishing consisted of lettering and the date at the tail of the spine. The name derives from Fonthill Abbey in Wiltshire, England, which was built toward the end of the 18th century by William Beckford (1759-1844).

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


foot

norm: foot

text: 1. The margin at the bottom of a page of type. 2. The under-surface of type. The plane parallel to the face on which the body of type rests.

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


FOOT OF A PAGE

norm: foot of a page

text: The bottom or end of a page.—M.


FOOT OF THE LETTER

norm: foot of the letter

text: The break end of the shank of a letter.—M.


Foot-sticks

norm: foot-sticks

text: Sloping pieces of furniture placed at the bottom of pages, between which and the chase the quoins are driven to fasten the pages.


footage

norm: footage

text: 1. The charge made by the manufacturer or supplier of leather. The method of measurement used in calculating the number of square feet of any particular skin or hide is somewhat complicated, and in practice it is usually found that a skin marked, for example, as four feet, will not give nearly that much area in cut pieces for books; particularly in the case of skins with very ragged edges, e.g., goatskin. The footage charged is usually marked on the flesh side of the skin, and is calculated to the tenth of a foot in the United States, and to a quarter of a foot in England, e.g., 4 = 4 feet, 4/1 = 4 1/4 foot, etc. The measuring is done either by metal pins which record the presence (or absence) of leather by touch, or by a beam of light, which indicates the absence of leather by means of a receptor element. 2. The length or area of a reel of paper expressed in linear or square measure.

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.


FOOTSTEP,

norm: footstep,

text: is a board nailed upon a piece of timber seven or eight inches high, and is bevelled away on its upper side, as is also the board on its under side at its hither end, that the board may stand aslope on the floor. It is placed fast on the floor under the carriage of the press.—M. It is made of elm; and gives the pressman great advantage in pulling when he has a heavy form on the press.


FOOTSTICK

norm: footstick

text: Footsticks are placed against the foot or bottom of the page: the outer sides of these footsticks are bevelled or sloped from the further to the hither end, which allows the quoins to wedge up the pages within the chase.—M. They, as well as sidesticks, which are precisely the same, and used indiscriminately for each other where the length suits, are made of oak; their width is in proportion to their length; for a form of demy octavo the broad end will be about an inch wide, and the narrow end about half an inch; but where a chase is small in proportion to the size of the pages, they are made narrower to allow of quoin room. Their height is the same as that of the other furniture; the outer angle at each end is bevelled off. A careful compositor, when he is making up furniture from the drawer, will cut off the bruised broad end from the old side and footsticks that will suit as to length, and thus economise the furniture, which for jobs and pamphlets will answer every purpose of new.


fore edge

norm: fore edge

text: The edge of a book opposite the spine. Sometimes called "front edge."


FORE EDGE

text:
The fore edge, in making margin, is that edge of a sheet of paper, which, when folded to the proper size of the book, forms its outer edge.

Foreign Bills or Notes. See Forgery.


fore edge

text: The front edge of the book.

siglum: MAB

author: Nicholson, James B.

work: A Manual of the Art of Bookbinding


fore edge

text: The front edge of the leaves.

siglum: BIB

author: Sabin, Joseph

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


fore-edge binding

norm: fore-edge binding

text: A style of binding representing a degree between quarter and half-binding, in which a narrow strip of leather or cloth, usually of the same color as that covering the spine, is attached to the outer extremity of each board. The width of the strip generally varies according to the color and decoration, if any, of the material used to cover the sides.

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


fore-edge margin

norm: fore-edge margin

text: The space between the text and the outer extremity of the leaf of a book. Also called "outside margin. See also: BLED; MARGIN (1).


fore-edge painting

norm: fore-edge painting

text:
A scene painted on the fore edge of a book, either with the edge solid so that the resultant painting is visible with the book closed, or, in the more accepted use of the term, with the edge fanned out so that the painting is not visible with the book closed. When the painting is done with the leaves fanned out, the edge is generally also gilded or marbled in the usual manner, so that the closed book shows no trace whatsoever of the painting. A double fore-edge painting is one with two paintings, which can be viewed independently by fanning the leaves first one way and then the other. A triple fore-edge painting has a visible scene in addition, in which case the edge is not gilded or marbled.

The painting of fore edges is very old, going back perhaps as early as the 10th century. These earliest fore-edge paintings consisted of symbolical designs. The art reached England in the 14th century, and among the early fore-edge paintings, such as those executed by Thomas Berthelet for King Henry VIII, consisted of treating the fore edge as a solid panel for a heraldic or other motif in gold and colors. The binder who originated the technique of painting a design on the fanned out leaves is unknown, although Samuel Mearne is thought to have employed one or more artists and binders who did this kind of painting. The first known disappearing painting dates from 1649; the art of fore-edge painting under gold reached its pinnacle in England in the latter half of the 17th century.

The art of painting landscapes on fore edges, rather than floral scrolls and armorial bearings, was pioneered by William EDWARDS OF HALIFAX, sometime around 1750. He first used monochrome (brown or gray) and later a full range of colors. Portraits were also included, often flanking a landscape. Subjects portrayed included countrysides, buildings, sports, and scenes based on the content of the book being decorated. The types of books commonly treated in this manner were Bibles and prayer books, the classics, travel books, and poetry.

Although the art of fore-edge painting is old, there is clear evidence indicating that the majority of such paintings are the work of the late 19th and 20th centuries, mainly on books dating from the early 19th century. The great number of these paintings was in response to the demand of collectors and, because there was an insufficient number of authentic examples, appropriate books of an earlier time were painted to satisfy this demand.

citations: Book collector. London. Queen Anne Press.

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

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


fore-edge tab

norm: fore-edge tab

text: See: INDEX TAB.


fore-edge title

norm: fore-edge title

text: The title of a book written on its fore edge to identify it. This was a common practice in the 16th century when it was customary to shelve books with their fore edges outward.


FOREDGE

norm: foredge

text: The front edge of a book.

siglum: ABB

author: Zaehnsdorf, Joseph W.

work: The Art of Bookbinding: A Practical Treatise


FOREDGE

text: (fore edge), the front edge of the leaves. Pronounced “forrege.”

siglum: BCB

author: Cockerell, Douglas

work: Bookbinding, and the Care of Books


forel

norm: forel

text:
A grade of PARCHMENT made from a split sheepskin and dressed in imitation of VELLUM.

It is not a strong skin and tends to be greasy, which causes difficulties in trying to make it adhere to the boards of a book. Also called "forrel-' and (rarely) "forril."

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

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


FORESTAY

norm: forestay

text: An upright support to the fore end of the frame and long ribs on which the carriage runs. It is fastened to the floor, and screwed to the frame.


FORGERY

norm: forgery

text:
1 Geo. 4. c. 92. “An Act for the further Prevention of forging and counterfeiting of Bank Notes.”

“Whereas the Forgery of Bank Notes hath of late very much increased in this Kingdom; and as well for the Prevention thereof, as to facilitate the Detection of the same, the Governor and Company of the Bank of England have, after great Consideration, Labour and Expence, formed a new Plan for printing Bank Notes, in which the Groundwork of each Bank Note will be Black or Coloured, or Black and Coloured Line Work, and the Words “Bank of England” will be placed at the Top of each Bank Note, in White Letters upon a Black, Sable, or Dark Ground, such Ground containing White Lines intersecting each other, and the numerical Amount or Sum of each Bank Note in the Body of the Note, will be printed in Black and Red Register Work, and the Back of each Note will distinctly show the whole Contents thereof, except the Number and Date in a reversed Impression: Therefore, for the better Prevention of the Forgery of Bank Notes, and for the Security of the Public; be it enacted by the King’s most Excellent Majesty, by and with the Advice and Consent of the Lords Spiritual and Temporal, and Commons, in this present Parliament assembled, and by the Authority of the same, That from and after the passing of this Act, if any Person or Persons (other than the Officers, Workmen, Servants, and Agents for the Time being of the said Governor and Company, to be authorized and appointed for that Purpose by the said Governor and Company, and for the Use of the said Governor and Company only,) shall engrave, cut, etch, scrape, or by any other Art, Means, or Device make, or shall cause or procure to be engraved, cut, etched, scraped, or by any other Art, Means, or Device made, or shall knowingly aid or assist in the engraving, cutting, etching, scraping, or by any other Art, Means, or Device, making, in or upon any Plate of Copper, Brass, Steel, Iron, Pewter, or of any other Metal or Mixtures of Metal, or upon Wood or other Materials, or any Plate whatsoever, for the Purpose of producing a Print or Impression of all or any Part or Parts of a Bank Note, or of a Blank Bank Note, of the said Governor and Company, of the Description aforesaid, without an Authority in Writing from the said Governor and Company, or shall use any such Plate so engraved, cut, etched, scraped, or by any other Art, Means, or Device made, or shall use any other Instrument or Contrivance for the making or printing any such Bank Note or Blank Bank Note, or Part of a Bank Note of the Description aforesaid; or if any Person or Persons shall, from and after the passing of this Act, without such Authority as aforesaid, knowingly and without lawful Excuse, have in his, her, or their Custody any such Plate or Instrument, or without such Authority as aforesaid, shall knowingly or wilfully utter, publish, dispose of, or put away any such Blank Bank Note, or Part of such Bank Note, of the Description aforesaid, every Person so offending in any of the Cases aforesaid, and being thereof convicted according to Law, shall be adjudged a Felon, and shall be transported for the Term of Fourteen Years.

s. 2. “And whereas divers Frauds have been practised by making and publishing Papers with certain Words and Characters so nearly resembling the Notes of the Governor and Company of the Bank of England, as to appear, to ignorant and unwary Persons, to be the Notes of the said Governor and Company; and it is necessary for the Security of the Public, that such Practices, as applied to the Notes of the said Governor and Company of the Description aforesaid, should be prevented; be it therefore further enacted, That if any Person or Persons, from and after the passing of this Act, shall engrave, cut, etch, scrape, or by any other Art, Means, or Device make, or shall cause or procure to be engraved, cut, etched, scraped, or by any other Art, Means, or Contrivance made, or shall knowingly aid or assist in the engraving, cutting, etching, scraping, or by any other Art, Means, or Contrivance making, in or upon any Plate of Copper, Brass, Steel, Iron, Pewter, or of any other Metal or Mixture of Metals, or upon Wood, or any other Materials, or upon any Plate whatsoever, any Line Work, as or for the Ground Work of a Promissory Note, or Bill of Exchange, the Impression taken from which Line Work shall be intended to resemble the Ground Work of a Bank Note of the said Governor and Company of the Description aforesaid, or any Device, the Impression taken from which shall contain the Words “Bank of England,” in White Letters upon a Black, Sable, or Dark Ground, either with or without White or other Lines therein, or shall contain in any Part thereof the numerical Sum or Amount of any Promissory Note or Bill of Exchange in Black and Red Register Work, or shall show the reversed Contents of a Promissory Note or Bill of Exchange, or of any Part of a Promissory Note or Bill of Exchange, or contain any Word or Words, Figure or Figures, Character or Characters, Pattern or Patterns, which shall be intended to resemble the Whole or any Part of the Matter or Ornaments of any Bank Note of the Description aforesaid, or shall contain any Word, Number, Figure, or Character, in White on a Black, Sable, or Dark Ground, either with or without White or other Lines therein, which shall be intended to resemble the numerical Sum or Amount in the Margin, or any other Part of any Bank Note of the said Governor and Company, without an Authority in Writing for that Purpose from the said Governor and Company, to be produced and proved by the Party accused; or if any Person or Persons shall, from and after the passing of this Act, (without such Authority as aforesaid), use any such Plate, Wood, or other Material so engraved, cut, etched, scraped, or by any other Art, Means, or Contrivance made, or shall use any other Instrument or Contrivance for the making or printing upon any Paper or other Material, any Word or Words, Figure or Figures, Character or Characters, Pattern or Patterns, which shall be intended to resemble the Whole or any Part of the Matter or Ornaments of any such Note of the said Governor and Company, of the Description aforesaid, or any Word, Figure, or Character, in White on a Black, Sable, or Dark Ground, either with or without White or other Lines therein, which shall be apparently intended to resemble the numerical Sum or Amount in the Margin, or any other Part of any Bank Note of the said Governor and Company; or if any Person or Persons shall, from and after the passing of this Act, without such Authority as aforesaid, knowingly have in his, her, or their Custody or Possession, any such Plate or Instrument, or shall knowingly and wilfully utter, publish, or dispose of, or put away any Paper, or other Material containing any such Word or Words, Figure or Figures, Character or Characters, Pattern or Patterns, as aforesaid, or shall knowingly or willingly have in his, her or their Custody or Possession, any Paper or other Material containing any such Word or Words, Figure or Figures, Character or Characters, Pattern or Patterns as aforesaid, (without lawful Excuse, the Proof whereof shall lie upon the Person accused,) every Person so offending in any of the Cases aforesaid, and being convicted thereof according to Law, shall be adjudged a Felon, and shall be transported for the Term of Fourteen Years.”

11 Geo. 4. & 1 Will. 4. c. 66. “An Act for reducing into One Act all such Forgeries as shall henceforth be punished with Death, and for otherwise amending the Laws relative to Forgery.”

s. 13. “And be it enacted, That if any Person shall, without the Authority of the Governor and Company of the Bank of England, to be proved by the Party accused, make or use, or shall without lawful Excuse, to be proved by the Party accused, knowingly have in his Custody or Possession any Frame, Mould, or Instrument for the making of Paper, with the words “Bank of England” visible in the Substance of the Paper, or for the making of Paper with curved or waving Bar Lines, or with the Laying Wire Lines thereof in a waving or curved shape, or with any Number, Sum, or Amount, expressed in a Word or Words in Roman Letters, visible in the Substance of the Paper; or if any Person shall, without such Authority, to be proved as aforesaid, manufacture, use, sell, expose to sale, utter or dispose of, or shall, without lawful Excuse, to be proved as aforesaid, knowingly have in his Custody or Possession any Paper whatsoever with the Words “Bank of England” visible in the Substance of the Paper, or any Paper with curved or waving Bar Lines, or with the Laying Wire Lines thereof in a waving or curved Shape, or with any Number, Sum, or Amount, expressed in a Word or Words in Roman Letters, appearing visible in the Substance of the Paper; or if any Person, without such Authority, to be proved as aforesaid, shall by any Art or Contrivance, cause the Words “Bank of England” to appear visible in the Substance of any Paper, or cause the numerical Sum or Amount of any Bank Note, Bank Bill of Exchange, or Bank Post Bill, Blank Bank Note, Blank Bank Bill of Exchange, or Blank Bank Post Bill, in a Word or Words in Roman Letters, to appear visible in the Substance of the Paper whereon the same shall be written or printed; every such Offender shall be guilty of Felony, and, being convicted thereof, shall be transported beyond the Seas for the Term of Fourteen Years.

s. 14. “Provided always, and be it enacted, That nothing herein contained shall prevent any Person from issuing any Bill of Exchange or Promissory Note having the Amount thereof expressed in Guineas, or in a numerical Figure or Figures denoting the Amount thereof in Pounds Sterling, appearing visible in the Substance of the Paper upon which the same shall be written or printed, nor shall prevent any Person from making, using, or selling any Paper having waving or curved Lines, or any other Devices in the Nature of Watermarks, visible in the Substance of the Paper, not being Bar Lines, or Laying Wire Lines, provided the same are not so contrived as to form the Ground Work or Texture of the Paper, or to resemble the waving or curved Laying Wire Lines, or Bar Lines, or the Watermarks of the Paper used by the Governor and Company of the Bank of England.

s. 15. “And be it enacted, That if any Person shall engrave, or in anywise make upon any Plate whatever, or upon any Wood, Stone, or other Material, any Promissory Note or Bill of Exchange, or Blank Promissory Note, or Blank Bill of Exchange, or Part of a Promissory Note or Bill of Exchange, purporting to be a Bank Note, Bank Bill of Exchange, or Bank Post Bill, or Blank Bank Note, Blank Bank Bill of Exchange, or Blank Bank Post Bill, or Part of a Bank Note, Bank Bill of Exchange, or Bank Post Bill, without the Authority of the Governor and Company of the Bank of England, to be proved by the Party accused; or if any Person shall use such Plate, Wood, Stone, or other Material, or any other Instrument or Device, for the making or printing any Bank Note, Bank Bill of Exchange, or Bank Post Bill, or Blank Bank Note, Blank Bank Bill of Exchange, or Blank Bank Post Bill, or Part of a Bank Note, Bank Bill of Exchange, or Bank Post Bill, without such Authority, to be proved as aforesaid; or if any Person shall, without lawful Excuse, the Proof whereof shall lie on the Party accused, knowingly have in his Custody or Possession any such Plate, Wood, Stone, or other Material, or any such Instrument or Device; or if any Person shall, without such Authority to be proved as aforesaid, knowingly offer, utter, dispose of, or put off any Paper upon which any Blank Bank Note, Blank Bank Bill of Exchange, or Blank Bank Post Bill, or Part of a Bank Note, Bank Bill of Exchange, or Bank Post Bill, shall be made or printed; or if any Person shall, without lawful Excuse, to be proved as aforesaid, knowingly have in his Custody or Possession any such Paper; every such Offender shall be guilty of Felony, and, being convicted thereof, shall be transported beyond the Seas for the Term of Fourteen Years.

s. 16. “And be it enacted, That if any Person shall engrave or in anywise make upon any Plate whatever, or upon any Wood, Stone, or other Material, any Word, Number, Figure, Character, or Ornament, the Impression taken from which shall resemble, or apparently be intended to resemble, any Part of a Bank Note, Bank Bill of Exchange, or Bank Post Bill, without the Authority of the Governor and Company of the Bank of England, to be proved by the Party accused; or if any Person shall use any such Plate, Wood, Stone, or other Material, or any other Instrument or Device, for the making upon any Paper or other Material the Impression of any Word, Number, Figure, Character, or Ornament which shall resemble, or apparently be intended to resemble, any Part of a Bank Note, Bank Bill of Exchange, or Bank Post Bill, without such Authority, to be proved as aforesaid; or if any Person shall without lawful Excuse, the Proof whereof shall lie on the Party accused, knowingly have in his Custody or Possession any such Plate, Wood, Stone, or other Material, or any such Instrument or Device; or if any Person shall, without such Authority, to be proved as aforesaid, knowingly offer, utter, dispose of, or put off any Paper or other Material upon which there shall be an Impression of any such Matter as aforesaid; or if any Person shall, without lawful Excuse, to be proved as aforesaid, knowingly have in his Custody or Possession any Paper or other Material upon which there shall be an Impression of any such Matter as aforesaid; every such Offender shall be guilty of Felony, and, being convicted thereof, shall be transported beyond the Seas for the Term of Fourteen Years.

s. 17. “And be it enacted, That if any Person shall make or use any Frame, Mould or Instrument for the Manufacture of Paper, with the Name or Firm of any Person or Persons, Body Corporate, or Company carrying on the Business of Bankers (other than and except the Bank of England) appearing visible in the Substance of the Paper, without the Authority of such Person or Persons, Body Corporate or Company, the Proof of which Authority shall lie on the Party accused; or if any Person shall, without lawful Excuse, the Proof whereof shall lie on the Party accused, knowingly have in his Custody or Possession any such Frame, Mould, or Instrument; or if any Person shall, without such Authority, to be proved as aforesaid, manufacture, use, sell, expose to Sale, utter, or dispose of, or shall, without lawful Excuse, to be proved as aforesaid, knowingly have in his Custody or Possession any Paper in the Substance of which the Name or Firm of any such Person or Persons, Body Corporate, or Company carrying on the Business of Bankers shall appear visible; or if any Person shall, without such Authority, to be proved as aforesaid, cause the Name or Firm of any such Person or Persons, Body Corporate, or Company carrying on the Business of Bankers to appear visible in the Substance of the Paper upon which the same shall be written or printed; every such Offender shall be guilty of Felony, and, being convicted thereof, shall be liable, at the Discretion of the Court, to be transported beyond the Seas for any Term not exceeding Fourteen Years nor less than Seven Years, or to be imprisoned for any Term not exceeding Three Years nor less than One Year.

s. 18. “And be it enacted, That if any Person shall engrave or in anywise make upon any Plate whatever, or upon any Wood, Stone, or other Material, any Bill of Exchange or Promissory Note for the Payment of Money, or any Part of any Bill of Exchange or Promissory Note for the Payment of Money, purporting to be the Bill or Note, or Part of the Bill or Note, of any Person or Persons, Body Corporate, or Company carrying on the Business of Bankers (other than and except the Bank of England), without the Authority of such Person or Persons, Body Corporate, or Company, the Proof of which Authority shall lie on the Party accused; or if any Person shall engrave or make upon any Plate whatever, or upon any Wood, Stone, or other Material, any Word or Words, resembling, or apparently intended to resemble, any Subscription subjoined to any Bill of Exchange or Promissory Note for the Payment of Money issued by any such Person or Persons, Body Corporate, or Company carrying on the Business of Bankers, without such Authority, to be proved as aforesaid; or if any Person shall, without such Authority, to be proved as aforesaid, use, or shall, without lawful Excuse, to be proved by the Party accused, knowingly have in his Custody or Possession, any Plate, Wood, Stone, or other Material upon which any such Bill or Note, or Part thereof, or any Word or Words resembling or apparently intended to resemble such Subscription shall be engraved or made; or if any Person shall, without such Authority, to be proved as aforesaid, knowingly offer, utter, dispose of, or put off, or shall, without lawful Excuse, to be proved as aforesaid, knowingly have in his Custody or Possession, any Paper upon which any Part of such Bill or Note, or any Word or Words resembling or apparently intended to resemble any such Subscription, shall be made or printed; every such Offender shall be guilty of Felony, and being convicted thereof, shall be liable, at the Discretion of the Court, to be transported beyond the Seas for any Term not exceeding Fourteen Years nor less than Seven Years, or to be imprisoned for any Term not exceeding Three Years nor less than One Year.

s. 19. “And be it enacted, That if any Person shall engrave or in anywise make upon any Plate whatever, or upon any Wood, Stone, or other Material, any Bill of Exchange, Promissory Note, Undertaking, or Order for Payment of Money, or any Part of any Bill of Exchange, Promissory Note, Undertaking, or Order for Payment of Money, in whatever Language or Languages the same may be expressed, and whether the same shall or shall not be or be intended to be under Seal, purporting to be the Bill, Note, Undertaking, or Order, or Part of the Bill, Note, Undertaking, or Order, of any Foreign Prince or State, or of any Minister or Officer in the Service of any Foreign Prince or State, or of any Body Corporate, or Body of the like Nature, constituted or recognized by any Foreign Prince or State, or of any Person or Company of Persons resident in any Country, not under the Dominion of His Majesty, without the Authority of such Foreign Prince or State, Minister or Officer, Body Corporate, or Body of the like Nature, Person or Company of Persons, the Proof of which Authority shall lie on the Party accused; or if any Person shall, without such Authority, to be proved as aforesaid, use, or shall without lawful Excuse, to be proved by the Party accused, knowingly have in his Custody or Possession, any Plate, Stone, Wood, or other Material upon which any such Foreign Bill, Note, Undertaking, or Order, or any Part thereof, shall be engraved or made; or if any Person shall, without such Authority, to be proved as aforesaid, knowingly utter, dispose of, or put off, or shall, without lawful Excuse, to be proved as aforesaid, knowingly have in his Custody or Possession any Paper upon which any Part of such Foreign Bill, Note, Undertaking, or Order shall be made or printed; every such Offender shall be guilty of Felony, and, being convicted thereof, shall be liable, at the Discretion of the Court, to be transported beyond the Seas for any Term not exceeding Fourteen Years, nor less than Seven Years, or to be imprisoned for any Term not exceeding Three Years nor less than One Year.”


form

norm: form

text: 1. A curved block placed between the endpapers of a book and its covers while the leather is being polished, so as to counteract any warpage which may have occurred due to the dampening of the leather while finishing. 2. Pages of type metal and illustrations, arranged in proper order for the printed sheet and locked in a metal frame called a "chase," ready for printing or for making an electrotype or stereotype.

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


FORM

text: The pages when they are imposed and locked up in a chase are called a Form; and this term is applied whether it be one page only or any number that are imposed in one chase.


form

text: The pages when imposed in a chase.


FORM DANCES

norm: form dances

text:
When the lines have not been well justified, or if any thing at the ends prevents them being tight when locked up, so that when the compositor tries if the form will lift, and finds that quadrats, letters, and spaces, or any of them drop down and will not rise, it is said, <i>the Form dances</i>.—M.

This term is more properly applied to a form when, in being lifted from the stone, letters, spaces, or quadrats, will drop lower down than their proper situation, without entirely disengaging themselves from the form; this frequently happens.


FORM IN THE SINK

norm: form in the sink

text:
After a form is laid up, it is frequently left in the sink for a short time to allow the water to drain from it; if another compositor wants to lay up a form before this be removed, he calls out, Form in the Sink! that the person to whom it belongs may take it away.

Form Rises. See Form Lifts.

Form Springs. See Spring of a Form.


FORM LIFTS

norm: form lifts

text: After a form is locked up, and when, on being raised a little from the stone, neither letters, spaces, nor any thing else drops out, it is said, <i>the Form lifts</i>.


formaldehyde

norm: formaldehyde

text: A very reactive aldehyde (HCHO), that is a colorless, pungent, irritating, combustible gas when pure, but is conveniently handled in the form of aqueous solutions or solid polymers. It is usually prepared by the oxidation of methanol or gaseous hydrocarbons. It has been used to kill, or inhibit, bookworms, and is used in the manufacture of some leathers, in the treatment of certain dyestuffs to render them fast to washing, and for bleaching archival papers. Its tanning properties stem from its ability to render gelatin insoluble in water. See also: ALDEHYDE TANNING; COMBINATION OIL TANNAGE; FORMALIN.


formaldehyde tanning

norm: formaldehyde tanning

text: A process of converting hides and skins into leather by treatment with FORMALDEHYDE. See: ALDEHYDE TANNING. See also: COMBINATION OIL TANNAGE; FORMALIN.

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.


formalin

norm: formalin

text: A solution of FORMALDEHYDE gas in water. A solution of 40% formalin in water, which may also contain traces of formic acid, methyl alcohol, or a white deposit of paraldehyde, is used in tanning some leathers. See also: ALDEHYDE TANNING.

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


format

norm: format

text: 1. The number of times a printed sheet has been folded to form the leaves of a section, e.g., folio (folded once to make two leaves or four pages); quarto (folded twice to make four leaves or eight pages), etc. In a broader sense, format is the general proportions and approximate size of a book or other publication which would result from such folding. See also: FOLDINGS. 2. In a very loose sense, the general appearance and make-up of a book, including proportions, size, quality, and style of paper and binding, typography, illustrations, and so on. See also: DUMMY (1).

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


formation

norm: formation

text:
The distribution of the solid components of a sheet of paper, with special reference to the fibers. It is usually judged by the visual appearance of the sheet when viewed by transmitted light. Formation affects not only look-through appearance but uniformity in several respects, including, finish, subsequent coatings, ink receptivity, and compressibility under printing impression.

The selection of paper pulps and their subsequent refining influence formation to a great extent. Short fibers will form better than long ones, while long fibers, which give strength in terms of folding endurance and tear resistance, when used in preponderance, tend to give a cloudy or bunchy look to the formation of the sheet. Loading or fillers improve formation, permitting closer packing and greater density in the sheet, thus improving both levelness and LOOK-THROUGH. There are limits, however, to the amount of loading than can be used, as it weakens the paper because it is dead weight and contributes no strength on its own.

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

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


formic acid

norm: formic acid

text: A colorless, volatile, weak organic acid (H2CO2). It occurs naturally, e.g., in ants, the fruit of the soaptree, etc., and is also formed as a byproduct in the atmospheric oxidation of turpentine. The principal commercial source is sodium formate, which is prepared by the reaction of carbon monoxide and sodium hydroxide under pressure and heat. Formic acid is used in leather manufacture to control pH, as well as in the acid dyeing of some leathers; in the latter case, causing the dye to fix on the leather.


forming iron

norm: forming iron

text: See: BACK-MOLDING IRON.


FORMULÆ, CHEMICAL,

norm: formulæ, chemical,

text:
are symbols representing the different substances, simple and compound.

For the convenience of those who have occasion to refer to a compound substance containing two atoms of base, (as, for instance, antimonious acid in respect to its carbon,) the weight of two atoms of the base is given after the weight of the single atom.

Berzelius’s Symbols of all the Elementary Substances.

Degrees of Oxidation are indicated by Dots placed over the Symbol.

Table of the principal Groups of the Isomorphous Substances at present observed by Chemists.

Professor Whewell in an Essay on the Employment of Notation in Chemistry, observes, “I have no hesitation in saying, that in mineralogy it is utterly impossible to express clearly, or to reason upon, the chemical constitution of our substances, without the employment of some notation or other. Every one who makes the trial will find that, without a notation, his attempts to compare the composition of different minerals will be confused and fruitless, and that, by employing symbols, his reasonings may easily be made brief, clear, and systematic.”

After criticising the foreign notation as being grossly anomalous and defective, he adds the following list, which he hopes he has shown to be mathematically consistent and chemically useful. He has used the atomic composition adopted by Dr. Turner in his Chemistry.

Berzelius represents water (aqua) by Aq; for the sake of simplicity Whewell says he has used q. He also observes, “In the notation of Berzelius, the atoms of oxygen are indicated by dots placed over the symbol of the base. Thus, [..]fe, [...]fe are the protoxide and peroxide of iron, which he considers as having two and three atoms of oxygen respectively. This notation is compact and simple, but it is not consistent with algebraical rule, so far as the oxygen is concerned; and I conceive that, if this element be explicitly expressed, it ought to be done in the manner I have recommended, fe + 2 o, fe + 3 o, &c.”—Journals of Royal Institution.

I have omitted Professor Whewell’s reasons, which he gives to show the superiority of his notation over those of foreign nations and that of Berzelius, as they are not of practical utility in printing; but I have given his list, which will be useful in printing mineralogical works in cases where the copy may be bad.


forril

norm: forril

text: See: FOREL.


fortified size

norm: fortified size

text: A rosin acid chemically modified for use in lieu of, or together with, rosin size in improving the water resistance of paper. Most fortified sizes are reaction products of rosin with maleic anhydride.


forty-eightmo

norm: forty-eightmo

text: A section consisting of 48 leaves (96 pages). In bookwork, using right angle folds, it is formed by folding a full sheet five times to form 32 leaves, and a half sheet four times to form 16 leaves, and insetting the latter. Its symbol is 48mo, or 48°. Also called "quadrigesimo-octavo." See also: BOOK SIZES.


FORTY-EIGHTMO

text: A sheet of paper folded into forty-eight leaves, or ninety-six pages.


FORTYMO

norm: fortymo

text: A sheet of paper folded into forty leaves, or eighty pages.


forwarding

norm: forwarding

text: The processes or steps involved in binding a book. It has been variously defined as: 1) all of the binding processes following gathering, including covering; 2) the processes following sewing and up to covering; and 3) the processes following sewing and including covering. In edition binding, the term SHEETWORK is usually used in lieu of forwarding.

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

citations: Dunn and Wilson Group. The art and craft of bookbinding. Falkirk. Dunn & Wilson. 1968.


forwarding

text: Is that branch that takes the books after they are sewed and advances them until they are put in leather ready for the finisher. One who works at this branch is termed a forwarder.


forwarding

text: Comprises all the operations between preparing and finishing, including the forming and trimming of the books, and the covering of the boards.


forwarding

text: The branch that takes the books after they are sewed, and advances them until they are put into leather ready for the finisher. The one who works at this branch is called a forwarder.


forwarding

text: comprises all the operations between sewing and finishing, excepting headbanding.


forwarding

text: All processes through which a book passes after sewing, other than those of ornamentation by means of tools or rolls. Also that department which takes books after they are sewed and advances them until they are put in leather ready for the finisher. One who works at this branch is termed a forwarder.


forwarding machine

norm: forwarding machine

text: The name some times given a ROUNDING AND BACKING MACHINE.


forwarding press

norm: forwarding press

text: See: FINISHING PRESS.


fossil resins

norm: fossil resins

text: See: RESIN.


FOUL PROOF

norm: foul proof

text: When a proof has many faults marked in it.—M. Pressmen are also in the habit of calling the first proof a <i>Foul Proof</i>; and frequently they pull it so as to justify the epithet.


FOUL PROOF

text: A proof with many faults marked in it.


FOUL STONE

norm: foul stone

text: After imposing or correcting, if a compositor leave any thing upon the imposing stone, except the mallet, shooting stick, and planer, it is termed a foul stone; which in many houses subjects him to a fine.


Foundation-Plate

norm: foundation-plate

text: A plate of iron or brass upon which side-stamps are affixed.


Fount

norm: fount

text: A complete assortment of type, of the same nick, body, and face, put up by type-founders in accordance with an ascertained ratio.


FOUNT CASES

norm: fount cases

text: Cases of larger proportions than those used to compose from, which are kept to contain the surplus sorts of a fount until they are required for use. In these cases they are more accessible than when put into coffins and baskets according to the old plan, and are not so likely to be mislaid.


FOUNT,

norm: fount,

text: is the whole number of letters that are cast of the same body and face at one time.—M. Moxon says this word is properly Fund.


Fountain

norm: fountain

text: Reservoir for ink, attached to printing-presses.


Fourdrinier machine

norm: fourdrinier machine

text:
A papermaking machine invented by the Frenchman, Nicolas Louis Robert in 1798, developed in England by Brian Donkin for Henry and Sealy Fourdrinier, but not placed into operation until 1804.

The Fourdrinier machine and the CYLINDER MACHINE comprise the machines normally employed in the manufacture of all grades of paper and board. The Fourdrinier machine may be considered in four sections: wet end, press section, drier section, and calender section. (The supercalender is not a part of the papermaking machine, and, in fact, not all Fourdriniers have a calender section.) In the wet end, the pulp or stock, at a consistency or concentration of 0.2 to 1.0%, depending upon the grade and weight of the paper being manufactured, flows from a headbox through a slice onto a moving endless belt of wire cloth, the FOURDRINIER WIRE.

The wire runs over a breast roll, which is under or adjacent to the headbox, over a series of tubes or table rolls (or, more recently, drainage blades) which maintain the working surface of the wire in a plane and aid in water removal. The tubes or rolls create a vacuum on the downstream side of the NIP.

Similarly, the drainage blades create a vacuum on the downstream side where the wire leaves the blade surface, but also perform the function of a doctor blade on the upstream side. The wire then passes over a series of suction boxes, over the bottom couch roll (or suction couch roll), which drives the wire, and then down and back over various guide rolls and a stretch roll to the breast roll.

The press section usually consists of two or more presses, whose function is to remove still more water from the web mechanically and to equalize the surface characteristics of the felt and wire sides. The wet web of paper is transferred from the wire to the felt at the couch roll, and is carried through the presses on the felts, the texture and character of which vary according to the grade of paper being made.

The drier section consists of two or more tiers of driers, which are steam-heated cylinders. The web is held firmly against them by means of fabric drier felts. As the web passes from one drier to another, first the felt side and then the wire side are pressed against the heated surface of the drier. The web enters the drier train having a water content of approximately 65%, the bulk of which is evaporated in this section. Moisture removal may be further assisted by hot air blowing onto the sheets and in between the driers to effect removal of water vapor. Within the drier section and at a point at least half way along the drying curve, there is sometimes a breaker stack for use in imparting finish, as well as to facilitate drying. The stack generally consists of a pair of chilled iron and/or rubber-surfaced rolls. There may also be a size press located within the drier section, at a point where the moisture content of the paper has been reduced to approximately 5%.

The calendar section consists of from one to three calender stacks with a reel device for winding the paper onto a reel as it leaves the machine. The calender finishes the paper, i.e., smooths it and imparts the desired finish, thickness, or gloss. Water, starch, wax emulsions, etc., may also be used to obtain additional finishes. The reel winds the finished paper, which may or may not undergo further processing.

The wire, press section, drier section or sections, the calender stacks, and the reel are so driven that proper tension is maintained in the web of paper despite its elongation or shrinkage during passage through the machine. The overall speed of Fourdrinier machines is determined by the grade and weight of the paper being manufactured.

citations: British Paper and Board Makers' Association. Paper making; a general account of its history, processes and applications. Rev. ed. London. British Paper and Board Makers' Association. 1965.

citations: Britt, Kenneth W., ed. Handbook of pulp and paper technology. 2nd ed. New York. Van Nostrand Reinhold. 1970.

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

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

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


Fourdrinier wire

norm: fourdrinier wire

text: An endless belt of woven wire used on the wet end of the FOURDRINIER MACHINE, and on which the web of paper is initially formed. The warp wire is generally of phosphor bronze and the shute (weft) wire of brass. In recent years, other metals and nonmetallic materials have been used. The number of warp wires per inch and the number of shute wires determine the mesh of the wire, the warp count varying from 8 to 225, the most common being 55, 60, 70, and 75.

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


foxing

norm: foxing

variant: foxmarks

text:
Stains, specks, spots and blotches in paper. The cause or causes of foxing, which usually occurs in machine-made paper of the late 18th and the 19th centuries, are not completely understood, but in all likelihood, it is fungoid in nature. Fungi, however, are not necessarily visible on foxed areas, nor does prolific growth necessarily imply excessive discoloration, and vice versa. This has been attributed partly to the fact that action may have been initiated before the examination of the paper, and partly, but less convincingly, to the so-called, action at a distance, which enables an agent to exert its effect at some distance from the object acted upon.

Two significant differences between foxed and clean areas of a paper are the higher proportion of acid and iron in the former, although there does not seem to be any clear and definitive relationship between iron and foxing. Insofar as the acid is involved, it is not clear whether this is produced chemically or as a byproduct of the life function of the organisms present. Iron is attributed to impurities present in the paper, and this conclusion seems to be based largely on the fact that it is seldom found in papers produced before the introduction of papermaking equipment made of iron, e.g., the beater, and improvements in techniques, including bleaching and other forms of chemical treatment. But what role iron has in accelerating foxing, or causing a change from the invisible to visible state, has yet to be demonstrated.

The other factor which controls foxing is relative humidity (R.H.), since these fungi will not develop if the R.H. falls below 75%. The fact that foxing generally starts from the edge of the leaf and spreads inward would seem to indicate that something in the atmosphere is relevant, although air borne organisms may be adequate as an explanation for this effect. In addition, it must still be explained how the center of the leaf is affected most in occasional instances. Perhaps the most logical explanation is that infection by air borne organisms (or by organisms that are natural to the paper) may occur if the conditions, and especially the R.H., are favorable, and that growth, resulting in the generation of fox marks, then occurs. The acid subsequently renders any iron in the paper soluble and therefore visible, with its color being intensified by the presence of organic matter.

The effects of foxing may be reduced to a reasonable extent by use of a reducing agent, such as sodium borohydride (NaBH4) in a 0.5% solution by weight of the paper. This chemical has the advantage of not having to be washed out of the paper (and even depositing a small alkaline reserve—sodium tetraborate (Na2B4O7)—in the paper). Foxing may be counteracted to an even greater extent by the use of a 0.1% (by weight of the paper) solution of an oxidizing agent such as calcium hypochlorite (Ca(ClO)2); however, this chemical is very difficult to wash out after treatment. Unaffected papers may be successfully protected from foxing by maintaining the R.H. of the storage area below 50%. See also: DENDRITIC GROWTHS.

citations: Beckwith, Theodore Day, and others. Deterioration of paper; the cause and effects of foxing. Berkeley, Calif. University of California Press. 1940.

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

citations: Lydenherg, Harry Miller, and John Archer. The care and repair of books. 4th ed. New York. Bowker. 1960.


FRACTIONS

norm: fractions

text:
A fraction is part of a unit, and is written with two figures, one above the other, with a line between them: thus, ¼, ⅚, ⅜. The upper figure is called the numerator, and the lower figure the denominator. The denominator shows how many parts the unit is divided into; and the numerator, how many of those parts the fraction represents. A proper fraction is when the numerator is less than the denominator. An improper fraction is when the numerator is equal to, or greater than the denominator.

A compound fraction is the fraction of a fraction, and is known by the word, of, between the parts; as, ½ of ⅔ of 7/9 of 8/17. A mixed number is composed of a whole number and fraction; as, 83/7, 17½. A mixed fraction is when the numerator or denominator has a fractional part; thus, 7⅔/4, 4/7⅔; or, when both of them have fractional parts; as 5⅓/7⅕.

The fractions cast in one piece to a fount are ⅛, ¼, ⅜, ½, ⅝, ¾, ⅞.

Fractions are also cast in two pieces, from Brevier to English; when wanted larger, they may be formed of figures of small proportionate size, with a rule between the numerator and denominator.

This rule in separate fractions is now generally cast on the piece containing the denominator, above the figure, thus, 1 2 3 4 5 6 7 8 9 0; but in improper fractions, where the numerator contains more figures than the denominator, as  3848 21 , this rule will not cover the whole of the numerator, therefore it would be necessary, to be able to compose fractions in a perfect manner, to have the rule also cast under the numerator, according to the old plan, so as to meet both cases, otherwise either the proper fraction or the improper fraction must be deficient  21 3848 .


FRAGMENTS

norm: fragments

text: After the body of a work, and the index are composed, the title, preface, contents, &c. are proceeded with. If there be any pages beyond the concluding sheet, they are now imposed together to save presswork, and also warehouse work; and these pages are called <i>Fragments</i>.


frame

norm: frame

text: 1. Ornamentation of a binding consisting of a simple hollow rectangle placed some distance from the edges of the cover of a book. It is to be distinguished from a BORDER (1). 2. Complete borders which are not, however, compartments, and which comprise enclosures made up of separate cuts or ornaments which show no evidence of having been carved or engraved for use together as a border, and also those made up of separate cast-type ornaments, commonly used in book decoration.

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

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


FRAME

text:
Made of deal wood, on which the cases are placed to be composed from.

By the annexed engraving it will be perceived, that the upper and lower cases are placed upon the frame, not in a horizontal, but sloping position, as two inclined planes, the upper case being at a greater angle than the lower, which brings the more distant boxes nearer to the compositor and thus expedites the work: this arrangement occupies less room, and allows a greater number of frames to stand in a given length.

The cases rest on a rail at each end, and in the middle there are generally two rails, six or seven inches apart, for the inside end of each case to rest on. There is frequently a piece of board nailed to the bottom of these rails, which thus forms a depository for page cords, copy that is not in use, and other small matters: this is called a Well.

Frames are always placed with one end next the window, so that the compositor when at work may stand with his left hand to the light; thus he enjoys the full benefit of the light in picking up the letters with his right hand. They are usually made to contain two cases in length, which are generally a pair of Roman and a pair of Italic cases, so that the compositor has not to go out of his frame when he wants to compose a few words in Italic.

There is a rather strong nail driven into each end rail and each middle rail for the bottom of the upper cases to rest upon, leaving sufficient room for the lower cases to be lifted out when necessary.

The dimensions of a frame are—height of back, 4 feet 6 inches; height of front, 3 feet 6 inches; width, 1 foot 10 inches; length, 4 feet 10 inches.

In a composing room, where there was plenty of room, I have seen the frames made to contain three cases in length; this is a convenience, as it allows the compositor to have up an additional pair of cases for his notes.

caption: Frame to hold cases

alt: Frame to hold cases

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


franklin guard

norm: franklin guard

text: See: PHILADELPHIA PATENT-BACK GUARD.


free endpaper

norm: free endpaper

text: See: FLY LEAF. See also: ENDPAPERS.


free water-soluble matter (in leather)

norm: free water-soluble matter (in leather)

text: Soluble matter that can be removed from finely ground leather with very little washing. The free water solubles include gallic acid, quinol, catechol, etc. See also: COMBINED TANNIN IN LEATHER; COMBINED WATER-SOLUBLE MATTER (IN LEATHER).

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


freezing point

norm: freezing point

text: The temperature at which the liquid and solid states of a substance are in equilibrium at atmospheric pressure. All adhesives used in archival work are affected by the freezing point, i.e., of water (32 F. or 0° C.). See also: GLASS TRANSITION TEMPERATURE.


French cape levant

norm: french cape levant

text: A type of MOROCCO prepared from the skin of a large Cape (South African) goat. It has a LEVANT grain, which is larger than the small pin-head grain of the usual morocco.


French chalk

norm: french chalk

text: Soft, finely powdered magnesium silicate (MgH2(SiO3)4), which is dusted between the leaves of a book prior to gilding the edges so as to prevent the leaves from sticking during the gilding process, and also to remove grease stains from paper.

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


French color

norm: french color

text: The third (or body) color dropped on the marbling size following the dropping of the VEIN COLORS.

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


French corner

norm: french corner

text: A method of reinforcing the corners of a book cover with leather or cloth, which is subsequently covered on the outside of the board but can just be seen at the corner on the inside of the board.

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


French curl marble

norm: french curl marble

text:
A marble pattern that has been used for endpapers, particularly in France, since about 1660. The pattern is made on a marbling size of GUM TRAGACANTH, and the colors are dropped on in the same manner as with the NONPAREIL MARBLE.

The curls are made with the use of a wooden frame constructed in the form of a small harrow, each parallel bar being set with as many tapering wooden pegs as there are curls required on the sheet to be marbled. The difficulty in executing this pattern is to "catch" the curls before they lose their shape.

Many fine armorial bindings have the large red and blue pattern as linings. Padeloup and Derome both used this pattern for endpapers in books they bound for the French nobility. The French curl pattern remained popular, and continued to be used in Europe and England until about 1870. While it was highly valued for endpapers, it was rarely, if ever, used for cover papers on 17th and 18th century books.

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


French fillet

norm: french fillet

text: A FILLET (1) having three unevenly spaced bands on its circumference.


French finish

norm: french finish

text: Books sewn on raised bands and completely undecorated except for gilt lettering. See also: FRENCH KID.

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


French fold

norm: french fold

text: A sheet of paper printed on one side only and folded over from left and right to form a "section" with uncut bolts. The inside of the fold is blank.

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


French gold

norm: french gold

text: An alloyed GOLD LEAF, on the light or lemon-colored side.

citations: Ede, Charles. The art of the book…New York. Studio. 1951.


French guard

norm: french guard

text: A term sometimes applied to the inner margin of an insert, turned over and folded around a section.

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


French guard

text: Made by turning over half an inch or more of the back edge of a printed sheet or illustration and then folding it around the next signature.


French joint

norm: french joint

text: See illustration</> A free-swinging joint produced by setting the board a slight distance (approximately 1/8 to 1/4 inch, depending on the size of the book) away from the backing shoulder. This type of joint allows thicker covering material to be used, while still allowing the covers to open easily. The French joint is one of the more notable characteristics of library binding. Also called "open joint." See also: CLOSED JOINT

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

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


French joint

text: A joint in which the board is not brought close up to the back, thus giving more play in opening.


French kid

norm: french kid

variant: French finish

text: A kidskin produced by either tawing or a vegetable tannage. As the name implies, it was produced originally in France and, because of its distinctive finish, the term was later applied to the same kind of leather produced elsewhere.

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


French morocco

norm: french morocco

variant: French levant morocco

text: A leather similar in appearance to MOROCCO but produced from sheepskin. The term is both inaccurate and misleading.

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


French morocco

text: An inferior quality of levant morocco, having usually a smaller and less prominent grain.


French paring knife

norm: french paring knife

text: See: PARING KNIFE.


FRENCH RULES

norm: french rules

text:
Pieces of Brass, letter high, of different lengths and thicknesses, on which are filed various dashes, swelling in the middle. They are used to separate parts of a discourse; or are placed after certain lines of capitals in titles and jobs, &c. They are also called Swell Rules.

French Words and Phrases. See Phrases.


French sewing

norm: french sewing

text:
A method of sewing a book adapted by French bookbinders in the 16th century, which is essentially the same as the sewing employed in COPTIC BINDINGS.

Unlike the traditional Western method of sewing on raised cords (See: FLEXIBLE SEWING), each section was sewn through the fold and attached to the next section by a loop similar to a KETTLE STITCH.

Cords were not employed. The first and last sections were then laced tightly to the boards. In modern usage, French sewing is the same technique as done by a sewing machine, without the attachment of the boards. Modern French sewing is the principal method employed in edition binding. See also: MACHINE SEWING.

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.


French shell marble

norm: french shell marble

text: A marble pattern developed in the latter part of the 18th century. and particularly identified with France. The pattern is formed by adding oil to the color, which then instead of spreading evenly, forms in drops with an outer circle or "shell" of a lighter shade. Brown and orange as the vein colors and a French (body) color of blue seem to have been the most frequently used colors. Shell papers are commonly found as endpapers of calf- and half-bindings of the early 19th century. Later, when the art of marbling deteriorated, the shell pattern was executed on very thin paper of poor quality and used for cheap trade bindings. The pattern was a popular for marbling the edges of books.

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


French standing press

norm: french standing press

text: A variation of the regular STANDING PRESS, the major difference being that the platen is lowered by turning a weighted wheel, which, when spun, exerts additional press by a kind of hammering action against two lugs. Except for the wheel a mechanism, it is made of wood, a while it does not tighten to the sa degree as the iron standing press. il considerably lighter and does not quire the substantial floor required the heavier iron press.

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


French varnish

norm: french varnish

text: A pale-colored mixture of shellac and oil. See: VARNISH.


fret

norm: fret

text: A continuous border pattern mad up of interlaced bands and produce by a fillet. Such patterns can be use for the decoration of either the leaves or covers of a book, or both.


FRIAR

norm: friar

text: When some parts of a ball or roller do not take the ink, so that it does not adhere to the surface, the parts of the form that come in contact with them will be deficient of ink, and the paper when printed will, in those places, be either white or of a pale colour: these white or pale patches are called Friars, as the black patches, from too great a quantity of ink on particular places, are called Monks.


FRIAR

text: A light patch in a printed sheet, caused by defective rolling.


fringed foliage ornament

norm: fringed foliage ornament

text: A bookbinding finishing tool in more-or-less the shape of a lozenge, and cut with a typic foliage design, the principal characteristic of which is a narrow fringe around the edge.

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


FRISKET

norm: frisket

text:
A thin iron frame, covered with paper, and connected temporarily with the tympan, by means of joints attached to it and the headband of the tympan, having iron pins to slip into them. The parts that are to be printed are cut out of the paper covering; it turns down upon the paper to be printed, which is laid upon the tympan, keeps it flat to its place, preserves the margin clean, and raises it from the form after it is printed. See Frisket Button.

Each press in a printing office should have five or six friskets attached to it, of at least three sizes—Demy, as the standard size of paper; a size smaller; and a size sufficient for the largest form the press will print, for it is very inconvenient, and a loss of time, when the pressmen have to cover a frisket and cut it out for every form they lay on: and more particularly when regular work is in the house, and the same frisket will answer for many succeeding forms. It is adviseable, where it is practicable, to have the frisket joints at all the presses of one pattern, so that every frisket may be available at any of the presses.

A pressman should never pull an impression from a form, without being certain that the frisket is large enough, and that it does not rest on the edges of the types, which would be destructive to them.


FRISKET

text: An iron frame fastened by a hinge to the upper part of the tympan, to hold the sheet of paper fast as it goes in and comes from the press.


FRISKET BUTTON

norm: frisket button

text:
A button screwed on the offside of the tympan near the bottom, to turn over the frisket and keep it close to the tympan in turning down.

This button is only used when superior work is printing: it prevents the sheet from touching the form partially, and also from slipping, by confining it flat to the tympan, and thus tends to make better work, and prevent waste; but it cannot be used where despatch is required.


FRISKET JOINTS

norm: frisket joints

text:
Two joints of the simplest construction, by which the frisket is attached to the tympan by means of two pins, made with a head to each, so that they can easily be taken out with the fingers; they are inserted between the joints, and thus the heads face each other.

It is customary to place these joints on the flat part of the headband of the tympan, which, when a large form is on the press, and the rim of the chase is broad, rest upon, and prevent the form receiving the effect of the pull. I have known great inconvenience arise from this cause, in very superior work, where the chase filled the press, and could not be moved to get rid of this grievance. The joints should be taken off, and fixed to the extreme edge of the headband, by which means they will extend beyond the chase, and the evil be completely remedied. Where the frisket is fixed on centres this inconvenience does not exist.


FRISKET PINS

norm: frisket pins

text: Two iron pins that pass through the frisket joints and connect it with the tympan. They are made to slip in and out of the joints easily with the fingers, and are put in from the inside of the joints, so that the heads are opposite to each other. It is a common practice with pressmen, when they have occasion to take off the frisket, to lay the pins on the form. This ought never to be done; for I have known an impression pulled under these circumstances, at a good wooden press, without the frisket, and where the pins were forgot. The consequence was, the destruction of types, and the bedding in of the pins into the platen:—there was loss of types—loss of time in replacing them—the platen to be taken off and planed, with the expense of doing it, in addition to which it was reduced in thickness full a quarter of an inch, and the further loss of time while it was doing and hanging again, and justifying the head. They may always be safely laid within the chase between the quoins, where they can do no harm, and cannot roll off.


FRISKET STAY

norm: frisket stay

text: A slight piece of wood, generally fastened to the ceiling of the press room, and hanging down to the fore end of each press, for the frisket to rest against when it is turned up.


frizzing

norm: frizzing

text:
See notes on the electronic edition

1. The process of removing t fat cell layer prevalent in the corium of sheepskin. subsequent to splitting t skin and fleshing. When sheepskins a to be oil tanned, it is essential that t skins have clean, open surfaces, free from excess fat or grease. This allows the tanning oil to penetrate mo freely. 2. Skins limed for a prolonged period during which the entire supporting structure of ELASTIN in the grain layer is destroyed. 3. The process in leather manufacture of removing the grain layer of a skin by scraping, either with a knife or by machine.

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

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

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


front

norm: front

text: A term applied to horsehides principally to distinguish the forepart of the hide from the butt or hind portion which contains the SHELL from which CORDOVAN LEATHER is produced. A whole "front" represents about two-thirds of the area of the hide.


front cover

norm: front cover

text: See: UPPER COVER.


front edge

norm: front edge

text: See: FORE EDGE.


frosted

norm: frosted

text: A whitish condition or appearance of lettering or ornamentation in gold which can be caused by the leaf being pressed into the covering material with a tool that is too hot.


frother

norm: frother

text: See: DEVIL.


frothing

norm: frothing

text: The process of foaming glair so as to mix it thoroughly. The glair is not used in a frothed condition, but is allowed to subside, after which the clear glair is poured off.


FROZE OUT

norm: froze out

text: In winter when the paper is froze, and the letter froze, so as the workmen cannot work, they say, <i>they are froze out</i>.—M. In consequence of greater care in warming printing offices in winter than in the time of Moxon, the workmen are not now “froze out;” for there would be no excuse admitted for the non-execution of parliamentary work, newspapers, reviews, magazines, and other periodical works.


FRY, EDMUND

norm: fry, edmund

text: A celebrated type founder, whose foundery was rich in Oriental and other types for foreign languages, the forms of the characters of which varied from the Roman character. Dr. Fry sold the whole of his foundery to Messrs. Thorowgood and Besley, and which is now incorporated with their previously extensive variety of types.


FUDGE

norm: fudge

text: To execute work without the proper materials, and where the workman is obliged to substitute one article for another, and by contrivance make his work passable: when such cases occur, they show the skill and ingenuity of the compositor or pressman, in making his production look well.


FUDGE

text: To contrive without proper materials.


fugitive colors

norm: fugitive colors

text: Pigments and dyes that fade, especially those that lose color relatively quickly when exposed to natural light. Although still commonly used, the term is misleading because it implies that FADING represents the flight of color, rather than a chemical change.

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

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


full

norm: full

text: A term sometimes applied to leather made from the unsplit, or full thickness, of a hide or skin, e.g., full calf.


full apron

norm: full apron

text: A leaf the size of the leaves of a book to which a foldout, which must display the entire image beyond the closed book, is attached.

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


full binding

norm: full binding

text: A book which is covered entirely with any one material. In a strict sense, the term is applied only to leather bindings. Cf: HALF BINDING; QUARTER BINDING; THREE-QUARTER BINDING (1).

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


full calf t.e.g

norm: full calf t.e.g

text: A term sometimes applied to a full calfskin binding with only the TOP EDGE GILT.


FULL CASE

norm: full case

text: A case full of letters, wanting no sorts.


full chrome

norm: full chrome

variant: full chrome tanned

text: Any leather tanned by the CHROME TANNING process. The adjective "full" is added to emphasize the fact that the leather has not been tanned by the semi-chrome or combination chrome process.


full cloth

norm: full cloth

text: 1. A book bound in a one-piece cloth cover. The term is not applied to library or edition bindings, i.e., case bindings. 2. A term sometimes applied to a book bound in cloth, as opposed to a binding with a cloth spine and paper sides.


FULL FACED LETTER

norm: full faced letter

text: Types, in which the capitals, and the ascending letters of the lower case, fill the whole square of the shank, so that the descending letters project beyond the bottom of the shank. A full faced letter is considerably larger in proportion than a letter of the regular face upon the same body: they are convenient in jobs, as they produce the effect of larger types, and take up less space.


FULL FORM,

norm: full form,

text: or Page. A form or page with few or no breaks or white lines.—M. In a full form there are no short pages, nor blank pages.


full gilt

norm: full gilt

text: 1. A book having all three edges gilt, described as a.e.g., for all edges gilt. See also: GILT EDGES. 2. A book, usually leather bound, which is heavily tooled in gold on the spine, and with center and corner tools on the covers.


full grain

norm: full grain

text: A leather having the original grain surface exposed by removal of the epidermis, and with none of the grain surface removed by BUFFING (1), SNUFFING, or SPLITTING (1). See also: CORRECTED GRAIN.


full law binding

norm: full law binding

variant: full law sheep

text: An obsolete style of binding, applied mainly to law books, and distinguished from other types of law binding in that the books were covered entirely in sheepskin, with lace-in boards and raised bands, and the traditional labels on the spine. See also: LAW CALF.

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


full leather

norm: full leather

text: A book covered entirely in leather, whether one piece or several pieces, as with inlays, onlays, etc. See also: FULL BINDING; HALF LEATHER; QUARTER LEATHER; THREE-QUARTER LEATHER.


full oil tanning

norm: full oil tanning

text: Any leather tanned by one of the oil processes. The adjective "full" is added to emphasize the fact that the leather has not been tanned by a COMBINATION OIL TANNAGE.


FULL PAGE

norm: full page

text: A page containing its full complement of lines.


FULL PRESS

norm: full press

text: When two men work at the press, it is called a <i>Full Press</i>.—M.


FULL PRESS

text: When two men work at the press with hand rollers.


full sheep

norm: full sheep

text: A sheepskin of full natural substance. It may be colored, embossed, or left in the natural tanned state, as is the case with BASIL,


full weight

norm: full weight

variant: full thickness

text: A term sometimes applied to an unsplit skin, of natural thickness, but shaved down when necessary on the flesh side to a uniform thickness.


Full-Bound

norm: full-bound

text: When the sides of a volume are entirely covered with leather, it is said to be full-bound.


Full-Bound

text: When the sides and back of a volume are covered with leather it is said to be full-bound.


Full-Bound

text: When the sides and back of a book are entirely covered with one piece of the same material it is said to be full-bound.


full-bound ends and bands

norm: full-bound ends and bands

variant: full-bound ends and hubs

text: A form of the blankbook, generally full bound in sheepskin and flesher, with overbands. In this style, the leather covering does not extend beyond the head and tail of the boards but is turned in on the fore edges. See also: BANDING.


fuller's earth

norm: fuller's earth

text: See: ATTAPULGITE CLAY.


fumigation

norm: fumigation

text: The process of exposing archival materials to the vapor of a volatile substance, or with poisonous chemicals, such as thymol, methyl bromide (CH3Br), chloropicrin (CCl3NO2), carbon tetrachloride (CCl4), ethylene dichloride (C2H4Cl2), or hydrogen cyanide (HCN), within a closed (and airtight) container, in order to destroy mold and/or insects. Room temperature is usually sufficient to vaporize the substances used in fumigation; however, in cases of severe or stubborn molds. heat in the range of 40 to 50° C. will increase the concentration of the vapor and increase its effectiveness. Where no special equipment, e.g., air-tight chambers, is available and the infestation is on a relatively small scale, fumigation ma be carried out by means of carbon disulfide (CS2) in an air-tight box. These methods, while more or less effective, do not confer lasting protection; therefore it may be necessary (assuming it is possible) to fumigate the areas in which the archival materials are stored. See also: FUNGI.

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

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


fungi

norm: fungi

text:
A division or other major group of the lower plants which is often included in Thallophyta coordinate to Algae, that includes a varied assemblage of saprophytic and parasitic plants which lack chlorophyll, and which comprise the classes Phycomycetes, Ascomycetes, Basidiomycetes, and Fungi Imperfecti, and usually, in addition, the Myxomycetes and Schozomycetes.

A large number of the spores of fungi is always present in the atmosphere, and while paper is not a particularly suitable medium to support the growth of molds and fungi, under favorable conditions, such as relatively high temperature and high relative humidity. paper will support the growth of these micro-organisms, some of which have a similar action on paper to that of dry rot fungus on wood. Conditions of storage which permit the prevalence of fungi may require the use of a FUNGICIDE to inhibit and/or destroy them.


fungicide

norm: fungicide

text:
A substance possessing the power of killing or preventing the growth of FUNGI. No single fungicide possesses all the desired properties of protection, as some of them are mutually exclusive, but it is possible to find one that possesses a range of properties suitable for use in virtually any specific case. Unfortunately, many fungicides are highly chlorinated substances and therefore cannot be washed out if lasting protection is to be conferred. Considerable care must be exercised, therefore, when they are used in or near paper.

While stable enough for most normal uses, the typical fungicide may not be sufficiently stable when it is to re main in paper for decades, even centuries, as paper almost always contain impurities, e.g., iron, which may accelerate the normal slow breakdown of a fungicide. In the usual case, the product of this breakdown is hydrochloric acid (HCl), minute amounts of which are capable of destroying any normal paper; therefore, before using any chlorinated organic fungicide, it must be determined whether or not it is (reasonably) stable in the presence of traces of iron, copper, manganese, etc., and, at the same time sufficiently effective to be of practical value when used in low concentrations, e.g., 0.1% of the weight of the paper. See also: COPPER NAPHTHENATE; FOXING; MERCAPTOBENZTHIAZOLE (M.B.T.); MERCURIC CHLORIDE; PENTA-CHLOROPHENOL (P.C.P.) ; SALICYLANILIDE.


Furnace open

norm: furnace open

text: or *Wind Furnace*. See § 18. ¶ 2.

siglum: MOX

author: Moxon, Joseph

work: Moxon's Mechanick Exercises, Volume 2


furnish

norm: furnish

text:
<!-- This was a typo in the original (funish)-->

The various combinations of materials in the stock suspension used in the manufacture of paper and board. They include the fibrous materials (pulp), i.e., the rag, chemical wood, mechanical wood, esparto, cotton fiber, linen, or other pulps, sizing materials, i.e., rosin, alum-rosin sizes, etc., various additives, e.g., wet strength agents. fillers of various types, e.g., retention aids, or loading materials, and dyes.

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

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


FURNITURE

norm: furniture

text:
The term furniture includes all those pieces of wood that are used in branching out pages, or jobs; in making margin for the folding of books; and in locking up forms when they are imposed: it is generally classed as reglet, furniture, side sticks, foot sticks, and quoins. The height of it is five eighths of an inch, and ought to be the same as that of quadrats; but the letter founders and the joiners vary them both.

What is usually called furniture is in lengths of a yard each, and commences with narrow, which is equal to a narrow quotation; broad, which is equal to a broad quotation; double narrow; broad and narrow; double broad; broad and double narrow; and narrow and double broad. These are used for gutters, heads, and backs; to branch out large jobs; to fill up with when a chase is too large, and to put round a job when imposing, to keep the letter from the iron of the chase. The bottom and two sides are flat, and the top has a groove planed in it lengthways, the arc of a circle; this groove is said to be designed for carrying the water off when the form is washed, but I cannot see the utility of the groove for this purpose; its more obvious use is to lower that part, so that the balls or rollers shall not touch it in inking the form, which prevents the frisket tearing from its pressure upon the inky furniture and from being continually lifted up.


FURNITURE

text: Strips of wood or metal placed around and between pages to make the proper margin.


fustic

norm: fustic

text: A natural yellow dye extracted from the yellow Brazil wood (Morus tinctoria), and at one time used in the manufacture of yellow marbling color, and also for dyeing leather. <!-- BEGIN G -->


g clamp

norm: g clamp

letter: G

letter_raw: G

text: See: C CLAMP.


g.e

text: Abbreviation for GILT EDGES.


g.t.

text: Abbreviation for gilt top, or gilt top edge. See: TOP EDGE GILT.


GAELIC

norm: gaelic

text:
The Gaelic alphabet consists of eighteen letters: a, b, c, d, e, f, g, h, i, l, m, n, o, p, r, s, t, u. Of these, five are vowels, a, e, i, o, u; the rest consonants.—Stewart’s Gaelic Grammar. 8vo. 2d. edit. 1812.

“It may be explanatory to mention, that the syllable Kil is supposed to mark the residence (the Cella), in ancient times of an ecclesiastical recluse; and that Kin, Ken (Cean) means head. Ken-loch-Spelvie, &c. the Head of Loch Spelvie, &c. The letter C is always pronounced K in Welsh and Gaelic”—Sixth Report of Commissioners for Building Churches in the Highlands of Scotland. Appendix, 1831. Note.


gain

norm: gain

text: See: YIELD.


GALLEY

norm: galley

text:
Pieces of thin boards of different sizes, with ledges about three fifth parts of the height of the letter on one end and one side, for the types to rest against; others are made with a slice to slide out, and keep a large page on without disturbing it, the coffin having several slices fitted to it.—M. The use of the galley is to receive the matter as it is composed, and to afford a level on which to make up the pages.

Galleys are made of different sizes to suit the different works on which a compositor may be employed; if it be a reprint, page for page, he avoids encumbering his cases with large galleys, but takes one that will hold a page comfortably, completes his page, ties it up, and slips it upon a page paper, and thus proceeds; but if the work be not a mere reprint, and is done in a companionship, then, as each compositor must be setting at random, the work will require different sorts of galleys, which must contain more matter; in the latter case he will take one of the proper width for the page, but that will contain two pages or more, in length, or one double that width with a ledge down the middle, so as to hold two pages in width.

For works in quarto or folio he must have galleys of a greater width, so as to enable him to have a quantity of matter at random till he gets the making up; in doing this, where the page is in folio and large, it is safer to make up on a slice galley, when he draws the slice out with the page on it and places it under his frame, and thus proceeds till he has made up a sheet, when he slides his pages off the slice upon the stone to impose them; he must in this case have four slices at least. The following is a representation of a slice galley:

For newspaper work brass galleys are employed, the bottoms thin, and the ledges of brass which are on both sides and one end, while the other end has a moveable ledge which fits into mortises in the sides; by this means the compositor is enabled, when a galley full is composed, to put a sidestick and footstick to it and quoin it, and pull a proof in the galley.

Galleys are generally made of mahogany: those made of the old panels of coaches are held to be the best, as the wood, being well seasoned, is less apt to split or bend, and keeping their flat level surface is requisite.

Galley Slave. See Ancient Customs.

caption: A slice galley

alt: A slice galley


GALLEY

text: A wooden or brass flat oblong tray, with side and head ledges, for holding type when composed.


Galley-slaves

norm: galley-slaves

text: An ancient term of derision applied by pressmen to compositors.


gallic acid

norm: gallic acid

text: A white, crystalline acid (C7H6O5), that occurs widely in plants both in the free form, as in GALLS and combined in tannins, from which it may be obtained by the action of molds or an alkali. It is used principally in the manufacture of pyrogallol tannins, dyes, and writing inks. See also: VEGETABLE TANNINS.

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


gallotannin

norm: gallotannin

variant: gallotannic acid

text: See: TANNIC ACID.


GALLOWS

norm: gallows

text: In wooden presses, a frame made of two pieces of wood and a transverse piece, placed behind the tympans, to support them at a proper angle when they are turned up. The transverse piece is nearly as long as the tympans are wide, so that the frame can rest upon it: they are inclined towards the tympans and form an abutment, and are placed in sockets so as to be easily taken out when necessary.


GALLOWS SOCKETS

norm: gallows sockets

text: Two pieces of wood with square mortises in them, to receive the ends of the gallows; they are nailed or screwed upon the plank behind the tympans. The mortises are inclined towards the tympans.


galls

norm: galls

text:
The dried excrescences from certain trees and shrubs, especially Oak galls (Quercus infectoria), from the Near East and Eastern Europe; Chinese galls (Rhus semialata), from the Far East; Tamarisk galls, from several species of Tamarix, located from Morocco to India; and Pistacia galls, from several European and Indian species of Pistacia. All are relatively rich in tannin (36 to 60%) and are said to contain free gallic acid in addition to tannin, as well as an easily soluble form of ellagic acid. In general, the tannin is not homogeneous and is believed to be built up as a polygallol-ellagic acid.

The galls result from the plants reaction to irritation caused by the larvae of various insects which lay eggs in the cambium area of the plants.

Although galls were used extensively over a period of centuries in the manufacture of certain inks, and in the tanning of leather, they are little used today for tanning outside of the areas where they are collected, largely because of the expense involved in their collection. See also: IRON-GALL INK; VEGETABLE TANNINS.

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

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