SYRIAC

norm: syriac

text:
Under this appellation are classed three different alphabets.

Key to Column Headers— U   - Unconnected. F   - Final. M   - Medial. I   - Initial. PL - Powers of the Letters. NV - Numerical Value.

The first and most ancient of these, called Estranghelo, is formed with square rectangular characters; another alphabet, a little smaller, has letters slightly differing from the first, for greater facility in writing; the third is that known generally by the name of Syriac, and is the only one existing in type in England. The Syriac reads from right to left.

Olaph, when followed by Lomad, is written obliquely, as ܐܰܠܗܳܐܳ. But when Lomad is followed by Olaph, it is written in the beginning of words thus, ܠܐܳ not; in the middle thus, ܓܷܠܿܓ he is bewailed; and at the end thus, ܓܰܠܠ it rolls.

The pronunciation of the letters is the same as in Hebrew and Chaldee; yet it may be observed, (1.) that Olaph, in certain cases, takes the sound of Jud, as, ܐܳܐܰܪ ojar air, ܡܠܵܐܐܵ mlojo fulness, ܣܐܷܵܡ sojem placing; (2.) that Vau initial is to be pronounced ܠܷܗܲܕ as the consonant v, but when medial or final, as the vowel u; (3.) that initial Jud with Chebhozo is pronounced as i, as, ܝܻܠܷܦ ileph he learned; (4.) that Ngae followed by He has the sound of ܐܷ, as, ܠܷܗܲܕ ehadh he remembered; and (5.) that the aspirated sibilant Schin has no peculiar point by which it may be distinguished from the simple sibilant Sin.

The numbers are expressed by the same letters as in Hebrew, excepting that ܝܗ denotes 15, ܩ 20, and ܢ 50. A point above the line is used to convert the tens into hundreds, as ܝܿ 100, ܟܿ 200, ܠܿ 300, &c., although the four first hundreds may be expressed also by the four last letters of the alphabet. An oblique line, slanting to the right, under the first nine letters, serves to denote thousands, as ܐ݈ 1000, ܒ݈ 2000; and a similar line, but transverse, designates the tens of thousands, as ܐ̱ 10,000, ܒ̱ 20,000.

The vowels are five in number, which are represented either by figures or by points, according as the ancient or modern system is followed, but very frequently both are met with together. The simple vowels are—

and both figures and points are joined with consonants in the following manner:—

Petocho ܒܰ or ܒܲ ba. Rebhozo ܒܷ or ܒܸ or ܒֽܸbe. Chebhozo ܒܻ  or ܒܹ bi. Zekopho ܒܳ or ܒܵ bo. Ozozo ܒܘܽ or ܒܘܿ or ܒܘܼ bu.

Formerly the marks for the vowels E and I were only written below the line, as ܒܷ be and ܒܻ bi; and the vowels A, O, and U, were only written above, as ܒܰ ba, ܒܳ bo, ܒܽ bu; but now they are placed sometimes above and sometimes below, as may be most convenient in writing. The points never change their places.

Zekopho does not give precisely the sound of o, but an obscure sound between o and a, as we find in 1 Cor. xvi. 22. ܡܓܳܪܰܢ ܐܳܬܐ Maran-atha, and in Mark xiv. 36. ܐܰܒܳܐ Abba.

Ozozo is never written without Vau (ܘ), except in ܒܽܠ all, and ܡܷܓܛܾܠ because of.

When the point Ozozo is above the line, it denotes Kibbutz; but when below the line, Shurek.

The diphthongs are formed by the combination of the vowels with the points, of which these are the most used, ܓܰܘ au, ܓܰܝ ai, ܓܳܝ oi, ܘܳ ou.

The vowel marks are not always annexed to the letters to which they belong, but sometimes to the preceding or subsequent letter, and sometimes omitted altogether, so that grammatical analogy must always be attended to by the reader, as, for example, in the word ܒܰܢܝܓܳ of a son, the point ܒܰ does not belong to the ܒ over which it is placed, but to the ܢ following.

Three letters (ܐ ܘ ܝ) become quiescent under certain circumstances. Olaph, with the vowels Petocho, Rebhozo, and Zekopho in the middle and at the end of a word; with Chebhozo only at the end. Vau always with Ozozo, and in foreign names also with Zekopho. Lastly, Jud with Rebhozo and Chebhozo.

Olaph never allows of sheva before it, but brings its own vowel into its place, and in that case becomes quiescent.

The vowels are doubtful as respects their quantity, and at one time are short, and at another long; the difference is to be traced from analogy.

There are also two points, called Kuschoï and Ruchoch, used for showing the peculiar power of certain letters, and generally distinguished in manuscripts by a difference in the colour of the ink. Kuschoï is a point placed above the six letters ܒ݁ ܓ݁ ܕ݁ ܟ݁ ܦ݁ ܬ݁ begadcephat. It answers to the dagesh in Hebrew, and takes away the aspiration properly belonging to those letters; thus ܒ݁ is equivalent to b, ܓ݁ to g, ܕ݁ to d, ܟ݁ to k, ܦ݁ to p, ܬ݁ to t, also to bb, gg, dd, kk, pp, tt. Ruchoch is a point placed below the six letters ܒ݂ ܓ݂ ܕ݂ ܟ݂ ܦ݂ ܬ݂ begadcephat; it shows that the letters are to be aspirated, and answers to the Hebrew raphe; thus ܒ݂ is equivalent to bh, ܓ݂ to gh, ܕ݂ to dh, ܟ݂ to the Greek χ, ܦ݂ to φ, ܬ݂ to θ. These points are rarely expressed, unless where there is an ambiguity to be explained.

Besides those before spoken of, certain lines or points are also employed, having a use partly in orthography, and partly in etymology. To orthography belong—

1. A small transverse line written above combined numbers, or contracted words, as ܝ̅ܗ 15, ܬܫܟ̅ܘ for ܬܫܟܘܽܝܛܐܵ praise.

2. A similar small line, called virgula occultans, under certain letters, which, when indicated thus, are of no value, and to be passed over in reading, so as scarcely to be heard in pronunciation. Thus ܩܳܪܐ ܐ̱ܙܵܐ  is not pronounced kore ano, but koreno; and ܐܳܡܪ ܐ̱ܙܵܐ not omar ano, but omarno. Olaph, Dolath, He, Lomad, Nun, and Risch, are the letters most subject to its influence.

3. A diacritical point, changed in its situation in order to avoid an ambiguity in reading. The following may be taken as cases of this sort:—

The following belong to etymology:—

1. Two points are used to distinguish the numbers of nouns, because there is often no variation of case or of termination, or mutation of letters, to distinguish the singular from the plural. These two points are called Ribbui, multitude, and are placed over the letter, similarly to the Hebrew tzeri, in this manner ܒ̈. But if Risch (ܪ), which always has a point above it, to distinguish it from the Dolath (ܕ), should occur in the word, then the single point of Risch coalesces with the double point thus, ܩܲܩܪ̈ܐ. In the verbs, the double point indicates the feminine third person plural of the preterites.

2. A point is placed beneath the line in all the persons of the preterite (excepting the first person singular, where it is placed above), and besides this, the third person singular has another at the left side.

3. The present active participle has a point above the line, but when Vau is in the middle of the word, the point is placed below.

4. The infinitive and imperative often have a point placed beneath them, but this is not regular.

5. The second and third persons of the future have a point below the line, but the first person has the point above.

6. The imperatives of all the passives require the virgula under the second vowel.

There are no accents expressed in Syriac. The stress in pronunciation ought to be laid on the last or penultimate syllables; and in this respect the analogy of the Chaldee is to be attended to.

In the derivation of words from the Hebrew, letters may frequently undergo mutation with others of the same class, or of the same organ, and also sibilants with linguals.

The servile letters are eleven in number, as in Hebrew, and are the same, saving that Dolath is servile, and on the other hand Schin is radical.

The preceding observations are extracted from Gaspar Waser’s Grammatica Syra, Leyden, 1619, and from Jacob Alting’s Synopsis Institutionum Chaldæarum et Syrarum, Frankfort-on-the-Main, 1717.

Syriac in the British Founderies.

Double Pica. V. & J. Figgins; cut under the direction and partly at the expense of the late Claudius Buchanan.

English. Caslon; cut for Walton’s Polyglot, 1657. V. & J. Figgins; cut under the same circumstances as the Double Pica. Oxford.

Long Primer. Caslon. Fry, to Thorowgood and Besley. V. & J. Figgins; cut under the same circumstances as the Double Pica.

Brevier. V. & J. Figgins; cut under the same circumstances as the Double Pica.

Nonpareil. Fry, to Thorowgood and Besley; cut for Bagster’s Polyglot.

caption: The Syriac Alphabet

alt: The Syriac Alphabet


t pattern

norm: t pattern

kind: definition

letter: T

letter_raw: T

text: A pattern on a book cloth consisting of longitudinal regular ridges and valleys.

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


T.E.G.

text: Abbreviation for TOP EDGE GILT.


t.s

text: Abbreviation for TUB SIZED, tub sizing, or TYPESCRIPT.


text: Abbreviation for TRIMMED FOUR SIDES.


tab

norm: tab

text: 1. The crescent-shaped tongue of leather extending above and below the spine of some 12th century bindings and probably intended to facilitate the removal of the book from a chest where it was stored spine uppermost. 2. A small square or rectangular piece of paper, card, plastic, leather, or fabric attached to the fore edge of a leaf, and bearing one or more characters to serve as a guide or INDEX. See also: TAB INDEX.

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

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


tab index

norm: tab index

text: A form of the index used when the ordinary cut INDEX is not feasible, such as with loose-leaf bindings. The set of 24 tabs (I and J are generally combined and X is omitted) are prepared in one strip of material, which is glued along half its length, leaving splits for attachment to the leaves. The letters are printed or blocked on the strip and the individual letters are then separated. The tabs are attached to the leaves in a complete series along the fore edge from head to tail (and usually from front to back) with the letters projecting.

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


table book

norm: table book

text: 1. An elaborately decorated edition of a book, often covered in velvet or silk, and intended for display on a drawing room table. This type of binding was popular in the 19th century. Its 20th century equivalent is the "coffee table" book, usually a large illustrated art book. 2. An ancient writing book consisting of wax-covered tablets of metal, ivory or wood fastened together at the back by rings or leather thongs. The writing was done with a stylus. See also: DIPTYCH. 3. An obsolete name for a notebook.

citations: Leighton, Douglas. Modern bookbinding: a survey and a prospect. New York. Oxford University Press. 1935.

citations: Smith, Frederick Richard. Bookbinding. London. Pitman. 1929.


TABLE WORK

norm: table work

text: Figure work, &c., composed with column rules, consisting of five columns or more. It is paid double the price of common matter at case.

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


TABLE WORK

text: Matter consisting partly of rules and figures.

siglum: AMP

author: MacKellar, Thomas

work: The American Printer: A Manual of Typography


tablet

norm: tablet

text: 1. An early writing material made of clay (which was inscribed while soft and then fired to make the writing permanent), stone, wood, or ivory (covered with wax. which was then inscribed with a pointed instrument). 2. See: PAD.

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


tablet-back board

norm: tablet-back board

text: A board used as a (more or less) stiff backing for a PAD. It is generally produced from ordinary chipboard, or newsboard, and ranges in thickness from 0.020 inch and upward.

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.


TABULAR

norm: tabular

text: Figure work, &c., composed with column rules, consisting of three or four columns. It is paid one and a half the price of common matter.


tack

norm: tack

variant: tackiness

text: 1. A general term applied to the state or property of tending to adhere, the relative stickiness of an adhesive film, the resistance offered by an adhesive film to division of the adhesive surface, or the resistance offered by the adhesive (while in the plastic state) to removal of the adherends. Some printing inks, varnishes, and similar viscous liquids also display tack. See also: BLOCKING . 2. That property of an adhesive which results in a bond of considerable strength immediately after application and contact under low pressure. 3. The resistance of an ink film to being split between two surfaces, such as between rollers, between plate and blanket, or between blanket and paper.

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

citations: French and Italian collectors and their bindings, illustrated from examples in the library of J. R. Abbey. Edited by A. R. A. Hobson. Oxford. Printed for presentation to the members of the Roxburghe Club. 1953.

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

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


tack range

norm: tack range

text: The length of time an adhesive will stay tacky-dry after application, under specified conditions of temperature and humidity.


tack stage

norm: tack stage

text: The length of time during which an adhesive is sticky, or resists removal or deformation of the cast adhesive.


tacketing

norm: tacketing

text:
See illustration</> limp vellum cover attached by tackets / blankbook spine reinforced by tackets

A method originally employed in non-adhesive binding to secure the section (or sections) and covers of limp vellum bindings. The technique was later used to secure the loose, jacketlike cover to the text block of some bindings, and, from late medieval times, as a method of decorating the covers of stationery bindings. Tacketing in one form or another dates back to at least the early 12th century. In the past 100 years or so, tacketing has been used to reinforce the sewing of large blankbooks. The tackets are secured around the folio, webbing, and clothings of the spine. In this latter use, it was restricted to the better grades of stationery bindings. Over a period of some 800 years, therefore. tacketing has evolved from a method of constructing a bookbinding to a method of reinforcing and decorating the spine and covers of a book.

Early tacketing involved punching two holes through the center fold of each section, as well as the vellum cover, about 1/2 to 3/J inch apart. The ends of a strip of vellum, gut, or leather lacing were passed through the holes from the inside, wound around each other and knotted at each end. When tacketing stationery bindings, the holes were punched through the sections, the cover, and the bands, and then wound around each other. Those stationery bindings having spring-backs were tacketed to help secure the folios to the clothings on the spine, or, if webbing were used, the folios, webbings and clothings.

When tacketing is employed in modern-day stationery binding, the tackets, which are usually made of catgut, are used at each webbing, but only on the first and last three folios.

citations: Cummins, John Francis. The printer's guide. 2nd ed. Dublin. n.p. 1952.

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


tacking

norm: tacking

text: The operation of attaching a tanned, damp hide or skin to a wooden frame so as to allow it to dry in a smooth and somewhat stretched condition. As this method of drying is slower than tunnel drying, it is more expensive. The stretching action, which is accomplished by "enlarging" the frame must be carefully controlled because excessive stretching may weaken the leather, resulting in a loose and PIPEY LEATHER. It is an operation requiring considerable skill on the part of the workman tacking the skins to the frame, especially since many leathers are sold by the square foot; consequently, judicious tacking (and stretching) can add to the area of the leather.

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


Tacky

norm: tacky

text: Sticky; spoken often of glue after it has set, but before it is quite dry.

siglum: NBL

author: Bailey, Arthur L.

work: Notes on Bookbinding for Libraries


tacky-dry

norm: tacky-dry

text: The state of an adhesive when the solvent and other volatile ingredients have evaporated sufficiently, or have been absorbed enough, so that the adhesive is in the proper tacky state.


tag

norm: tag

variant: tags

text: 1. A grade of manila hoard used for the boards of semi-flexible bindings. 2. The band to which a seal is attached in old manuscripts. 3. See: CATCHWORD, 4. The straight or crossed tins of a lace.

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

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

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


tag board

norm: tag board

text: A lightweight hoard used for envelopes. file folders, temporary wrapping, and the like. It is manufactured from jute. rope, chemical and mechanical wood pulps, or combinations thereof, usually on a cylinder machine but sometimes on a FOURDRINIER MACHINE. The board has a smooth surface and is available in a wide range of colors. Basis weights range from 80 to 300 pounds (22 1/2 X 28 1/2—500), the most common weights being 80, 100, 125, 150, 175, 200, and 275 pounds. Tag board should have good bending and folding strength, high bursting and tensile strength, good resistance to tearing, and a finish suitable for writing or printing.

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


tail

norm: tail

text: 1. The lower or bottom edge of a book, usually implying the very edge of the covers and spine. 2. The lower portion of a letter, e.g., "g" and the projection of an upper case letter, e.g., "Q."

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


tail edge

norm: tail edge

text: See: TAIL (1).


tail margin

norm: tail margin

text: The area between the bottom line of letterpress or writing and the bottom edge of the leaf. See also: MARGIN (1).


TAIL PIECES

norm: tail pieces

text: Ornaments placed in a short page to fill up the vacancy. The same observations apply to Tail Pieces as to Head Pieces, which see; as also Fac.


tailband; tailcap

norm: tailband; tailcap

text: See: HEADBAND; HEADCAP.


Take

norm: take

text: or *Taking.*—A given portion of copy.


TAKE INK

norm: take ink

text: Dabbing a ball upon the ink block for it to receive a small quantity of ink to distribute on the two balls.—M. It is equally termed Taking Ink when rollers are used.


take off

norm: take off

text: A term applied to the flaying (removal of the skin) of an animal.


TAKE UP

norm: take up

text:
To take letters up with a composing rule to distribute.—M. When a compositor is distributing, he places his composing rule against the head of the matter he means to take up, and putting the sides of his two third fingers, near the ends, to the ends of the rule, and the sides of his fingers against the sides of the matter, with his fore fingers at the extreme end, round the corners of the matter he intends to take up, and the ends of his thumbs against the back of the rule, he thus grasps it, and then generally tries if it will lift, when by a sudden lifting of the bottom end of the matter, and turning up of the rule with his thumbs, he raises it from the board to a perpendicular direction, resting on the rule; and turning it with the face of the letter to him, with one part of the rule resting on the third finger of his left hand, and the other end against the ball of his thumb, while the sides of the matter are guarded by his thumb and forefinger, when the measure is not too wide, he begins to distribute.

In like manner he takes up matter to move from one galley to another, when he is making up; except that he places his rule against the foot of the matter, and when he grasps it he does not raise it perpendicularly, but lifts it to him under his hands, his forefinger being against the rule, and his thumbs grasping the head of the matter.

A stranger to the business would be surprised to see the number of lines of types that an expert compositor will lift in this manner.

Take up a Sheet. See Ancient Customs.—M. It appears that in Moxon’s time the compositor had a copy of each work he was engaged on, or received what was termed copy money in lieu of it. This custom is abolished; and no workman is permitted to take a copy of any thing that is printed in the house as a matter of right.


TAKING COPY

norm: taking copy

text: A compositor receiving copy from the overseer, or other person who has the charge of it, to compose; if in a companionship, the clicker receives it, and gives it out to the companions.


TAKING DOWN

norm: taking down

text:
Taking the sheets from the poles with a peel when they are dry.

Take-off. See Ancient Customs; also Fly. Boys are employed in machine printing to take away the sheets as they are printed, and to lay them straight and even; this is also styled Taking-off, and the boys taking-off boys.


TAKING OFF

norm: taking off

text:
Part of a page taken up to distribute.—M. Obsolete.

Taleek. See Persian.


talc

norm: talc

text: A hydrous mineral consisting of magnesium-silicate (3MgO . 4SiO2 . H2O)., Commercial talc is seldom if ever a pure mineral and therefore its physical and chemical properties usually vary over a relatively wide range. A commercial talc, such as soapstone, when ground into a very fine powder generally has a soft and greasy feel and is usually creamy to greenish-white in color. Talc is used as a filler in cultural papers, to which it imparts a raglike feel.


talipot palm

norm: talipot palm

text: A fan palm, Corypha umoraculifera, found in Ceylon and the Philippines, and other areas of the Far East. It has very large, fan-shaped leaves which are cut into strips and processed for use as a substitute for paper. See also: PALM LEAF BOOK.


tall copy

norm: tall copy

text: 1. A book which has had its head and tail edges trimmed very slightly. 2. A comparison of several copies of the same book in the same edition and on the same paper, one of which may be taller than the others. 3. See: LARGE PAPER COPY.

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


tall copy

text: So called when the book has not been reduced in size by trimming, with the leaves entirely uncut.

siglum: BIB

author: Sabin, Joseph

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


tambour

norm: tambour

text: 1. A form of embroidery consisting of looped stitches similar to a chain stitch and worked with a fine hook. Tambour was used on embroidered bindings. 2. A metallic embroidery thread either worked through the material or sewn to it with silk of the same color. It was sometimes sewn flat and sometimes raised over thread or cord if the relief was to be high; however, this technique was never employed on silk, only on satin and velvet. It was usually double, the lines being laid down side by side with only the ends being taken through the hack. Occasionally, it was sewn down with a bright lustrous red silk. See also: COUCHING (2).

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


TAMUL

norm: tamul

text:
THE TAMUL ALPHABET.

க—As a medial, this letter has, when single, the sound of gh; when double, of kk. As an initial also it represents gh in certain words derived from the Sanscrit.

ச—This letter has, when single, the sound of s, sh, and the French g in âge; when double, it has the sound of ch. In words of Sanscrit origin, it represents the ja and cha of the Sanscrit alphabet.

த—This letter, when combined with [#], has the sound of the French n in Ange.

ட—This letter has, when single, the sound of d; when double, of tt, with a strong cerebral articulation.

த—As a medial, this letter has, when single, the sound of d; when double of tt. As an initial, also, it represents d in certain words of Sanscrit origin.

ந—This is the initial n. It is medial only before த.

ப—As a medial, this letter has, when single, the sound of b; when double, of pp. And in certain words of Sanscrit origin it has, as an initial also, the sound of b.

ழ—This letter is articulated somewhat like the hard ṛ of the Hindustani alphabet. It may be said to possess generally as a medial, the sound of r, and as a final, that of l, with a cerebral articulation.

ற—This letter has, when single, the sound of rr; and, when double, the sound of a double tt.

The word “soul,” is used metaphorically in Tamul for a vowel; the word “body,” for a consonant; and the compound word “soul and body,” for a syllable. In the same metaphorical language, a consonant is termed “a dead letter.”

It will be seen, in the foregoing scheme, that when the short vowel a is employed to give utterance, or (to adopt the metaphor of the Tamul grammarians) animation to the consonants, no additional character is required; it being considered to be inherent in each consonant, as essential to its original articulation. The removal of this originally inherent vowel is usually denoted by a dot or a small circle placed over the consonant, as ன் (n), ர் (r).

In the elegant dialect, a character written thus ஃ, and termed āyadam, is used in addition to the ordinary letters of the alphabet. It is not, strictly speaking, either a vowel or a consonant; but it has the power of a consonant; it is pronounced gutturally, and it lengthens the preceding syllable if short by nature: as இஃது (ighdu) “this,” instead of இது (idu).

இ before the cerebrals, viz. ட, ண, ழ, ள, ற, has an obscure sound, best expressed by a short u, and may be considered as nearly lost.

ஈ before the cerebrals, possesses nearly the sound of long u, though a practised ear distinguishes a peculiarity in its utterance.

In Tamul, a measure of time, termed māttirei, which is described as occupying the period of the twinkling of an eye, or the snap of a finger, is assigned to the letters in the manner following; viz. to a consonant is assigned half a measure; to a short vowel, one measure; and to a long vowel, two measures.

The character [#] is the consonant s of the Grandonic alphabet.

It will be observed that, in many instances, the letters of the alphabet are employed, as in Greek and Latin, to express numerical value.

From “Rudiments of Tamŭl Grammar.” By Robert Anderson, Assistant Professor of Oriental Languages at the East India Company’s College. 4to. 1821.

Tamul in British Founderies.

English. Fry; to Thorowgood and Besley; for the College of Madras. Oxford.

Pica. Fry; to Thorowgood and Besley.

caption: The Tamul Alphabet

alt: The Tamul Alphabet

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


tan

norm: tan

variant: tanned

text: 1. To convert a hide or skin into leather. 2. Tannage, which is the act, process, or result of tanning a hide or skin. 3. A tanned hide or skin, i.e., one which has been converted into leather.


tannery

norm: tannery

text: The establishment or place in which the processes involved in converting raw hide or skin into leather take place.


tannic acid

norm: tannic acid

text: A tannin, usually in the form of a yellowish-white or pale brown powder, obtained from fermented oak galls by extraction with water-saturated ether. Tannic acid is soluble in water, alcohol, and acetone, and gives precipitates with most metallic salts, proteins, and alkaloids. Chemically, it is a penta-m-digalloyl-glucose having a high molecular weight. Upon hydrolysis with sulfuric acid, it gives gallic acid and glucose. See also: VEGETABLE TANNINS.


tanning

norm: tanning

text: See: CHROME TANNING; VEGETABLE TANNING.


tapa cloth

norm: tapa cloth

text: A coarse type of "cloth" produced in the Far East from the mashed bark of the paper mulberry and breadfruit trees and used as a covering material for books. It is usually decorated with geometric patterns.

citations: Thompson, Lawrence Sidney. Bibliopegia fantastica. New York. New York Public Library. 1947.


Tape

norm: tape

text: Cotton tape on which many books are best sewn. It should be stout but flexible.


tape sewing

norm: tape sewing

text:
1. A method of fold sewing which utilizes strips of cloth, vellum, etc., in lieu of raised or recessed cords. In this method of sewing, the tapes rest against the backs of the gathered sections and the thread passes across but does not loop around them. The width of the tapes, which should be in proportion to the size of the book, generally ranges from 38 to 3/4 inch. In general, a larger number of narrow tapes is probably superior to a smaller number of wide tapes, as the former reduces the possibility of the thread loosening between tapes. It is recognized, however, that the problem of looseness of sewing thread can be overcome by the use of the CATCH STITCH.

The use of 3/4 inch tapes has long been the standard method employed in sewing blankbooks (stationery binding), and was also the accepted method of sewing library books (on /2 inch tapes) in the United States until superseded by OVERSEWING. Tape sewing library books is still done in Great Britain and on the Continent of Europe.

2. A method of machine sewing in which the sections of a book are sewn by the conventional edition sewing method, on a machine adapted for the use of tapes. The sewing proceeds from section to section in the usual manner of machine sewing but through tapes rather than simply through the folds of the sections. This results in sewing that is considerably stronger than the ordinary edition sewing, although, because the threads are secured to the tapes (and not around them, as in hand sewing), flexibility in the spine of the book is somewhat reduced.

3. A method of sewing single leaves in lieu of conventional oversewing or side sewing. Groups of leaves are overcast (or oversewn) to form "sections," which are then sewn to tapes in the usual manner. While this method does not enable the book to be opened any better than does oversewing, it does provide slips to help secure the boards to the text block.

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

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


tape slotting

norm: tape slotting

text:
A form of stabbing performed by hand or machine, invented by the Englishmen F. C. Gould and Thomas Harrison, in whose names a patent was granted in 1934 for a tape slotting machine. The purpose of tape slotting is to enable tapes to be passed through slots near the spine of the leaves, thus securing them as one unit. The advantage of this method over stabbing (with cords) is that the width of the tapes not only provides support to the leaves of the book, but also imparts strength without the bulk that would result from the use of cords.

Grooves are first cut across the spine, and then parallel to the spine, producing a shape something like that of an inverted T with a long bar and a very short stem. When done by machine, the slots may be punched through the leaves, thus eliminating the grooves. The latter method, however, makes it more difficult to insert the tapes through the slots. In the hand method, the grooves can be filled in with cord or other material after the tapes have been inserted.

Tape slotting is particularly suitable for large books printed on thin paper, e.g., unabridged dictionaries, encyclopedias, etc., which lack the margin required for side sewing. At times, two tapes are put through each slot for additional strength.

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


tapes

norm: tapes

text: The strips of cloth (usually linen), vellum, nylon, etc., to which the sections of a book are sewn, and whose free ends, or SLIPS (1), are attached to the boards, or are glued between SPLIT BOARDS to impart additional strength to the binding structure. Cf: BANDS (1); CORDS; WEBBING(S) (1).

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

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


tapestry stitch

norm: tapestry stitch

text: An embroidery stitch on canvas that somewhat resembles tapestry.

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


taping

norm: taping

text: A technique used to impart additional strength to blankbooks; it involves pasting strips of linen to the folds of certain folios within a section. Each section is taped inside the fold of the outside folio and outside the fold of the inside folio. The number of sections to be taped depends on the size of the book, but generally the first and last six sections are so treated. Strips of linen are also attached between the first and last three or four sections so as to fill in any gaps that may appear when the book is rounded, especially when the sections are very thick.

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


tar board

norm: tar board

text: A tough, strong, heavy MILLBOARD (1), manufactured from old tarred rope, sail cloth, sacking, etc. It is virtually impossible to obtain today, except as discarded hoards from old books.

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


tara

norm: tara

text: A vegetable tanning material obtained from the dried pods of a tree or shrub, Caesalpinia spinosa, which is found in widespread areas of north western South America. The tannin content of the pods is said to range from 35 to 55%. The principal value of tara is in the tanning of light leathers, and, under certain circumstances, it may also be used as a substitute for sumac or gambier to produce light-colored leathers. Tara is of the pyrogallol class of tannins, somewhat similar to, but more astringent than, sumac. Its major shortcoming seems to he the presence in it of diffusion-inhibiting mucilaginous material. It is also used to some extent in dyeing and the manufacture of ink. See also: VEGETABLE TANNINS.

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


tarnish

norm: tarnish

text: To dull or discolor the surface of a mineral or metal, either by chemical reaction, such as the tarnishing of silver by oxidation, or by the deposition of a thin film of grime.

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


tawing

norm: tawing

variant: tawed "leather"

text:
An ancient process of treating prepared hide or skin (usually pigskin or goatskin) with aluminum salts and (usually) other materials, such as egg yolk, flour, salt, etc. A skin may actually be tawed simply by immersing it in an aqueous solution of potash alum at a temperature between 20 and 30° C; however, salt is usually included in the alum solution because it improves the substance (thickness) of the final product. After treatment the skin is dried in air (crusted) and held in this condition for several weeks to allow the development of stabilization or "aging" effects. Tawed skins also undergo STAKING to impart of soft, flexible handle. Apart from this soft, warm handle, the tawed skins have a high degree of stretch. Handle and stretch may also be improved by the addition of egg yolk and flour to the basic alum and salt solution. A tawed skin is usually white in color but may yellow slightly with age.

Tawing does not actually produce a skin that is stable in the wet condition, i.e., imputrescible in the wet state, and therefore cannot accurately be described as having been tanned; consequently, in a strict sense, a tawed skin is not leather.

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

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

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


TAYLOR AND MARTINEAU’S PRESS

norm: taylor and martineau’s press

text: This is an iron press, the frame of which forms two upright cheeks and the head. The power is not obtained by a screw, but by a cylinder with a knee-joint in the middle, which is bent when not pulling; this allows the platen to rise from the form, which is accomplished by a weight behind, that counter-balances the platen. The pull is effected by a bar, in the usual manner, that brings the knee-joint straight, depresses the platen, and produces the impression. The power is regulated by a screw through the head, that acts upon the cylinder.


tear ratio

norm: tear ratio

text: The relationship between the machine direction and cross direction tearing resistance of paper, or the warp and filling direction of a fabric.


tearing resistance

norm: tearing resistance

variant: tearing strength

text:
1. The force required to tear a specimen of paper under specified controlled conditions. In archival work, the two most important measures of tearing resistance are: 1) internal (or continuing) tearing resistance, where the edge of the sheet is cut before the actual tear is made, and 2) edge tearing resistance, i.e., the resistance offered by the sheet to the onset of tearing at the edge, and which appears to be dependent on both the extensibility and the tensile strength of the paper.

The Library Binding Institute specifications for library binding call for endpapers (60 pound basis weight, 24 X 36—500) to have a tearing resistance with the machine direction of the paper of 140 pounds per one-inch strip and 160 pounds in the cross direction; the test being conducted on the Elmendorf tester. 2. The force in pounds required to tear a specimen of leather at a place where the specimen is cut before the actual tear.

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

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

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


TEASE WOOL, or Hair

norm: tease wool, or hair

text:
Teasing the hard and almost matted knots in the wool, or hair, with which the balls are stuffed.—M. Wool only is now used for stuffing balls, which is combed with strong wool combs, previous to knocking up balls. It appears by this extract, that hair was used for this purpose as well as wool in the seventeenth century.   TESTAMENT

Teasing the hard and almost matted knots in the wool, or hair, with which the balls are stuffed.—M. Wool only is now used for stuffing balls, which is combed with strong wool combs, previous to knocking up balls. It appears by this extract, that hair was used for this purpose as well as wool in the seventeenth century.


tellers

norm: tellers

text: The small right angle marks printed on a page to indicate to the binder the proper position for tipping plates or mounts.

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


temper

norm: temper

text: The resistance offered by a light leather to bending, and the extent to which it recovers its shape after release of the bending force. Quickness of rebound to its original shape is an indication of good temper in a leather, which is a property closely associated with resilience and elasticity.

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.


temperature conversion

norm: temperature conversion

text:
Centigrade is converted to Fahrenheit by multiplying the Centigrade figure by 9, dividing by 5, and adding 32, or by multiplying the Centigrade figure by 1.8 and adding 32. Fahrenheit is converted to Centigrade by subtracting 32 from the Fahrenheit figure, multiplying by 5 and dividing by 9. In the chart below, the center figure represents the temperature one has read; the figure to the left is the conversion of that figure into Centigrade if read in Fahrenheit, while that to the right represents the conversion to Fahrenheit if read in Centigrade, e.g., the temperature 88 (Fahrenheit) converts to 31.1 C., while the temperature 88 (Centigrade) converts to 190.4 F.

C.                  F.

-17.8        0       32.0

-17.2        1       33.8

-16.7        2       35.6

-16.1        3       37.4

-15.6        4       39.2

-15.0        5       41.0

-14.4        6       42.8

-13.9        7       44.6

-13.3        8       46.4

-12.8        9       48.2

-12.2       10       50.0

-11.7       11       51.8

-11.1       12       53.6

-10.6       13       55.4

-10.0       14       57.2

- 9.4       15       59.0

- 8.9       16       60.8

- 8.3       17       62.6

- 7.8       18       64.4

- 7.2       19       66.2

- 6.7       20       68.0

- 6.1       21       69.8

- 5.6       22       71.6

- 5.0       23       73.4

- 4.4       24       75.2

- 3.9       25       77.0

- 3.3       26       78.8

- 2.8       27       80.6

- 2.2       28       82.4

- 1.7       29       84.2

- 1.1       30       86.0

- 0.6       31       87.8

- 0.0       32       89.6

0.6       33       91.4

1.1       34       93.2

1.7       35       95.0

2.2       36       96.8

2.8       37       98.6

3.3       38      100.4

3.9       39      102.2

4.4       40      104.0

5.0       41      105.8

5.6       42      107.6

6.1       43      109.4

6.7       44      111.2

7.2       45      113.0

7.8       46      114.8

8.3       47      116.6

8.9       48      118.4

9.4       49      120.2

10.0       50      122.0

10.6       51      123.8

11.1       52      125.6

11.7       53      127.4

12.2       54      129.2

12.8       55      131.0

13.3       56      132.8

13.9       57      134.6

14.4       58      136.4

15.0       59      138.2

15.6       60      140.0

16.1       61      141.8

16.7       62      143.6

17.2       63      145.4

17.8       64      147.2

18.3       65      149.0

18.9       66      150.8

19.4       67      152.6

20.0       68      154.4

20.6       69      156.2

21.1       70      158.0

21.7       71      159.8

22.2       72      161.6

22.8       73      163.4

23.3       74      165.2

23.9       75      167.0

24.4       76      168.8

25.0       77      170.6

25.6       78      172.4

26.1       79      174.2

26.7       80      176.0

27.2       81      177.8

27.8       82      179.6

28.3       83      181.4

28.9       84      183.2

29.4       85      185.0

30.0       86      186.8

30.6       87      188.6

31.1       88      190.4

31.7       89      192.2

32.2       90      194.0

32.8       91      195.8

33.3       92      197.6

33.9       93      199.4

34.4       94      201.2

35.0       95      203.0

35.6       96      204.8

36.1       97      206.8

36.7       98      208.4

37.2       99      210.2

37.8      100      212.0


template

norm: template

text: A pattern made of board, metal, or plastic and used as a guide in cutting leather for covers or spines and corners, or cases for library or hand edition bindings. Before the days of machine edition binding, a template made to the proper size for the edition being bound, when positioned on the sides, level with the outer edge of the cover, could be marked to give the trimming positions, which not only saved time by eliminating the necessity of making hundreds of marks with dividers, but also made it possible to cut all siding papers together to one size.

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


tender

norm: tender

text: Sometimes said of a paper which is lacking or has lost a certain amount of its strength, ether because of some aspect of its manufacture, or as a result of deterioration. 17)


tenon saw

norm: tenon saw

text: See: BACK SAW.


tenon saw

text: A small saw used by bookbinders for sawing the books for sewing. More strictly speaking a carpenter’s tool.

siglum: ABB

author: Zaehnsdorf, Joseph W.

work: The Art of Bookbinding: A Practical Treatise


tensile energy absorption

norm: tensile energy absorption

text: The ability of a material, such as paper, to absorb energy in tension. The property is proportional to the area between the load-elongation curve and the elongation axis, and is expressed in energy units per unit area of material, e.g., foot-pounds/square foot, kilograms-centimeter/square centimeter, etc. Measurement of tensile energy absorption has been recommended as an effective means of determining the deterioration of paper; to date, however, it has not received widespread acceptance.


tensile strength

norm: tensile strength

text:
1. That property of a material, such as paper, which enables it to resist rupture under tension. The force used to cause rupture is applied parallel to the plane of a paper specimen of specified width and length and under specified conditions of loading. Tensile strength of paper is expressed as load per unit width or as BREAKING LENGTH, and of cloth as the breaking load or force in pounds per inch, or BURSTING STRENGTH.

The Library Binding Institute specifications for endpapers used in library binding call for a paper having a tensile strength in the machine direction of not less than 44 pounds (1 inch strip and in the cross direction of not less than 25 pounds (1 inch strip) for 60 pound basis weight paper (24 x 36-500)

2. In leather, tensile strength is defined as the force per unit area of cross section required to produce failure. Numerous factors affect the tensile strength of any given leather, including the kind of tannage, the length of the tannage, the species and age of the animal, the degree of splitting, and so on. Most leathers will show a tensile strength of between 2,000 and 6.000 pounds per square inch.


tension

norm: tension

text: The degree of firmness with which the thread used in sewing a book is drawn from section to section. The tension of all stitches should be equal.

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


ternion

norm: ternion

text: A gathering consisting of three sheets folded once and insetted. This was the form in which some manuscripts and early printed books, especially those of vellum, were assembled. with the first and sixth, second and fifth, etc., leaves being conjugate. See also: QUATERNION; QUINTERNION; SEXTERNION.

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


terra alba

norm: terra alba

text: See: GYPSUM.


tertiary colors

norm: tertiary colors

text: Any hue produced by a mixture of secondary colors. In pigment mixtures, such colors tend to be subtle and blackish, and are usually chromatic variations of grays and browns. See also: COLOR (1).


terylene

norm: terylene

text: A generic name for a synthetic thread which has the advantages of nylon thread, but does not have the undesirable high degree of elasticity. Because of its lower elasticity, it does not present the problem of thread retraction after cutting. As with nylon thread, it is highly resistant to moisture and retains a large part of its dry strength when wet. Terylene is also almost entirely free from contaminating metals which might tend to cause degradation. It is also used in sheet form in the repair of documents and the leaves of books.

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


TESTAMENT

norm: testament

text: For the allowance of the duty on paper used in the printing of Testaments, see Paper.


texodern

norm: texodern

text: One of the earliest of the imitation leathers. It was said to be strong, durable, as well as resistant to water, stains, and insects.

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


text block

norm: text block

text: The body of a book, consisting of the leaves, or sections, making up the unit to be bound, rebound, or restored. It excludes all papers added by the bookbinder, including board papers, endpapers, doublures, etc.


textile bindings

norm: textile bindings

text: A very ornate style of fabric binding, popular in England and France during the Renaissance, and in England into the 18th century. The books were sumptuously bound in satin and velvet of various colors, and were often embellished with needlework in multi-colored silks, as well as gold and silver threads.

citations: Oxford University. Bodleian Library. Textile and embroidered bindings. Oxford. Bodleian library. (Bodleian picture books, special series, no. 2). 1971.

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


texture

norm: texture

text:
A term applied to the general identifying characteristics of paper, cloth, leather, etc., pertaining to the feel and appearance of the material. See also: FEEL; FINISH  ; FORMATION; GRAIN; HANDLE;

LOOK-THROUGH; WILD (1).

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

citations: French and Italian collectors and their bindings, illustrated from examples in the library of J. R. Abbey. Edited by A. R. A. Hobson. Oxford. Printed for presentation to the members of the Roxburghe Club. 1953.


Teze Wooll

norm: teze wooll

text: or Hair*. See § 24. ¶ 18.

siglum: MOX

author: Moxon, Joseph

work: Moxon's Mechanick Exercises, Volume 2


Thames board

norm: thames board

text: A binder's board made in England and used to a considerable extent in edition binding. It is a soft gray board and is sometimes lined with kraft paper to impart stiffness, provide equal surface tension, and a firm, smooth surface.

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


THEFT

norm: theft

text: For the penalty for printing advertisements with “No Questions Asked,” see Stolen Property.


thermoplastic binding

norm: thermoplastic binding

variant: thermoplastic binding machine

text: See: ADHESIVE BINDING; ADHESIVE BINDING MACHINE.


thermoplastic resins

norm: thermoplastic resins

text: Resins composed of separate linear non-reactive macromolecules which, upon being heated, become plastic due to the reduction of intermolecular forces. Such resins can be made to flow under pressure in this state; upon cooling they regain their original physical properties. The heating-cooling cycle can be repeated as long as there is no thermal degradation of the polymer. Most thermoplastic resins are produced by forcing the heated material into a mold or through a die under pressure, followed by cooling. The important thermoplastic processing techniques include injection molding, extrusion, and calendering. Many such resins are also soluble in various organic solvents, with the same intermolecular cohesive forces being overcome in the process of solution. The more important thermoplastic resins include polyvinyl chloride, polyethylene, polystyrene, and cellulose acetate.

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


thermosetting

norm: thermosetting

text: That property which enables a material to be hardened, or fused and hardened, by means of heat. Materials having this property are called "thermosets." Once hardened they cannot subsequently be softened by reheating. The synthetic resins, according to the manner in which they react to heat, are classified as either thermosetting or thermoplastic.

citations: Hutchings, Ernest A. D. A survey of printing processes. London. Heinemann. 1970.


THICK SPACE

norm: thick space

text: A space, three of which are equal to the body of the letter to which it belongs; it is the thickest space that is cast, the next in thickness being the en quadrat.


thickness

norm: thickness

text: The smallest of the three dimensions of a material, such as leather or paper, usually expressed in thousandths of an inch, or, in the metric system, in millimeters. The thickness of leather is measured in millimeters, or in fractions of an inch, e.g., OUNCE or IRON (2). In the measurement of paper it is also called CALIPER (1).


THIN SPACE

norm: thin space

text: ought, by a strict orderly and methodical measure, to be made of the thickness of the seventh part of the body, though Founders make them indifferently thicker or thinner.—M. Six thin spaces are now equal to the body.


Thin Space

text: ought by a strict orderly and methodical measure to be made of the Thickness of the seventh part of the *Body*; though *Founders* make them indifferently Thicker or Thinner.


thinner

norm: thinner

text: A volatile liquid added to an adhesive ink. or other substrate. to modify tl-e consistency or other properties. See also: DILUENT.

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


thirty-sixmo

norm: thirty-sixmo

text: A rarely encountered gathering consisting of 36 leaves or 72 pages. The 36mo can be obtained by folding three sheets each with two parallel folds followed by two right angle folds. resulting in three 4-page sections which are then insetted. The 36mo is used when an OBLONG format is required. Written as 36mo or 36.


THIRTY-SIXMO

text: A sheet of paper folded into thirty-six leaves, seventy-two pages, is termed thirty-sixmo.


thirty-twomo

norm: thirty-twomo

text: An uncommon gathering consisting of 32 leaves or 64 pages. Although such a section may be formed by making five consecutive right angle folds, in practice it is unusual to fold a sheet with more than three consecutive right angle folds, because of buckling, trapped air, etc.; therefore the 32mo is generally formed by folding a full sheet with two parallel folds, followed by three right angle folds, and a half sheet with two parallel and two right angle folds, and insetting the latter. Written as 32mo or 32°.


THIRTY-TWOMO

text: A sheet of paper folded into thirty-two leaves, sixty-four pages, is termed thirty-twomo.


thirty-twomo

text: A sheet of paper folded into thirty-two leaves; usually written 32mo.


thixotropy

norm: thixotropy

text: 1. A phenomenon exhibited by various gels, in which the system displays the mechanical properties of a gel when undisturbed, but becomes a liquid when mechanically agitated and again becomes a gel when allowed to stand. This "reduction in viscosity" is due to a temporary breaking down of an internal structure of a system under shear. The viscosity of thixotropic systems depends on the "shear history," i.e., the extent of previous mechanical agitation to which the material has been subjected. The property is important in paper coating colors because it allows the mixing of color formulation to a viscosity which permits the color to be applied and allows surface leveling due to after flow of the color on the material. 2. A property of adhesive systems which causes them to thin upon isothermal agitation and thicken when allowed to stand.

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.


thong binder

norm: thong binder

text: A binding consisting of two specially constructed wooden hoards joined together by woven cotton or nylon thongs. One end of each thong is fastened to a clamping bar which is hinged to the back edge of the upper board, while the other end is fastened to a movable bar enclosed in the lower board. A key allows the thongs to be slackened between the clamping bars, enabling the punched leaves to be added or removed from the binder. The clamping bar, together with the oval T-shaped punching, secures the leaves firmly. A relatively extensive binding margin is required for this type of binder, which is equally as strong and usually lighter in weight than the POST BINDER, and is reasonably durable.

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


thongs

norm: thongs

text: 1. Narrow strips of leather, alum-tawed skin, etc., used to attach vellum covers in limp bindings, as well as to hold the covers of books closed. Thongs were used before the invention of CLASPS and were, in fact, used on COPTIC BINDINGS. 2. The narrow strips of vellum, leather, or alum-tawed skin used in the early days of FLEXIBLE SEWING. Thongs had begun to be replaced by cords in this use by the latter part of the 16th century.


Thou, Jacques Auguste de

norm: thou, jacques auguste de

text:
The French historian, statesman, royal librarian, and perhaps the most famous bibliophile since JEAN GROLIER. Thou inherited his father's library of (rare) books in 1583. Many of his books were simply bound in red, olive, or citron colored morocco, with plain boards, a few border lines in gilt, and his coat of arms in the center of the upper cover, surrounded by laurel branches, but with only the title and his cipher on the spine. Other volumes were bound in the celebrated FANFARE STYLE. Thou had books printed on paper made especially for him, and by the time of his death had accumulated a library of some 1,000 manuscripts and 8,000 books. His library was sold in a series of sales by several owners from 1680 to 1789. Because of the high quality of his books and the ease with which they can be recognized, their survival rate is very high.

Thou is generally called de Thou and is often indexed under D, although his Latin name, and the one under which he wrote, was and is Thuanus.

citations: Book collector. London. Queen Anne Press.

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

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


Thouvenin, Joseph

norm: thouvenin, joseph

text: A 19th century French bookbinder (gilder), Thouvenin (l'aine), as he was often called, was the oldest of three brothers, all bookbinders active during the French Restoration, or thereafter. Joseph Thouvenin actually did most of his work during the period of the Empire, starting his apprenticeship with the younger Bozerian in 1802. Although he is generally credited with raising the standards of French bookbinding from the depths to which it had declined during the Revolution and thereafter, he is probably best remembered for his revival of a style of binding, which, because of him, came to be known as the FANFARE STYLE, taking that name from his binding of Fanfares et Corvées abbadesques. He is also credited with the introduction of the FLY EMBOSSING PRESS.

citations: Ramsden, Charles. French bookbinders, 1789-1848. London. Humphries. 1950.


Thread

norm: thread

text: The thread with which books are sewn is usually made of linen, unbleached. It comes in several sizes. If of good quality, say Hayes’s Standard linen, it costs about $1.25 per pound for No. 18 2-cord.


thread count

norm: thread count

text: The number of warp and filling yarns per inch in a woven fabric. The Library Binding Institute standards for library binding call for 110 threads in the warp (grade F buckram) for pyroxylin impregnated covering fabric, 45 in the warp and 38 in the filling for spine lining cloth for books more than 1/2 inch thick, and 33 in the warp and 25 in the filling for books 1/2 inch thick or less.

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

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


threadless binding

norm: threadless binding

text: See: ADHESIVE BINDING; SADDLE STITCHING; SIDE STITCHING,


term: three and one half times the width method

text: A technique used in applying a second (paper) lining to the spine of a book. A heavy piece of paper three and one-half times the width of the rounded spine is cut and glued across the spine from a line approximately 3/16 inch in from the edge of the spine. The paper is then folded back on itself and glued to the remaining 6 inch of the cloth spine lining. Finally, the paper is folded back and glued to itself. It is a somewhat poor technique as it does not provide for a HOLLOW at the 3/16 inch area.

citations: Perry, Kenneth Frederick, and Clarence T. Babb. The binding of books. Rev. ed. Bloomington, 111. McKnight & McKnight. 1967.


three on

norm: three on

text:
See notes on the electronic edition

A method of sewing a book by hand in which three sections are sewn on one length of thread from kettle stitch to kettle stitch. The technique is designed to reduce sewing swell in the spine and is generally used only when sewing books made up of a relatively large number of thin sections. See also: ALL ALONG; TWO ON.

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


three times the width method

norm: three times the width method

text: A form of the HOLLOW consisting of a length of paper cut three times the width of the rounded spine of the book. The paper is folded into thirds, the center third is glued to the spine, and the two wings are glued to each other. It is a superior form of the hollow to the THREE AND ONE HALF TIMES THE WIDTH METHOD.


three up

norm: three up

text: A method of imposing periodical issues which results in three issues (in a line) folded and saddle stitched together and then cut apart in the trimming operation.

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


three-dimensional appliques

norm: three-dimensional appliques

text: A form of book decoration consisting of textured and raised-surface designs on the covers. They are in the form of collages, appliques, mosaics, sculptured forms, onlays, etc. Common materials, such as string, yarn, cloth, and the like, are used in the execution of such bindings today, along with fired enamel, glazed clay, metals, and glass.

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


three-knife trimmer

norm: three-knife trimmer

text: A cutting machine designed to trim all three edges of a book in two cuts but with only one handling of the book. The stack of books to be cut is placed in the machine and secured by the clamp. The fore edge knife makes the first cut, returns to its raised position, and the other two knives simultaneously cut the head and tail. If a book has too much sewing swell, a shaped piece of chipboard must be glued to the clamp to compensate for it, so that the same pressure is applied to both the fore edge and spine of the pile, otherwise the pull of the knives may cause the pile to shift due to the shearing action of the knives exerting a diagonal pressure. The three-knife trimmer is designed for relatively large numbers of books of the same dimensions, as in edition binding. See also: GUILLOTINE.


three-plane watermark

norm: three-plane watermark

text: A WATERMARK showing three thicknesses in the same sheet of paper.


three-quarter binding

norm: three-quarter binding

text: 1. A binding having one type of material, e.g., vellum or cloth, covering the spine and part of the sides, as well as enlarged corners, and a different material, e.g., paper, covering the remainder of the sides. The material extends almost to the corners on the sides, i.e., much more than in the case of a HALF BINDING. Since it is difficult to imagine that the three-quarter binding was originated to economize on the more expensive covering material (cloth, or even vellum or leather), the three-quarter binding may have been developed simply as a new style. In the eyes of many, it is a style that appears badly proportioned on the sides. 2. In stationery (blankbook) binding, a three-quarter binding is one having a spine of Russia leather, with leather corners extending over the edges, a spring-back and raised bands, tar board sides covered with cloth, and gold lettering on the spine. See also: QUARTER BINDING.

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


three-quarter leather

norm: three-quarter leather

text: A term applied specifically to a book having the spine and part of the sides, as well as enlarged corners, covered with leather, and the remainder of the sides covered with cloth or paper. The leather on the sides extends almost to the corners, i.e., much more than in the case of a HALF LEATHER binding. See also: QUARTER LEATHER; THREE-QUARTER BINDING.


THROW

norm: throw

text:
Both compositors and pressmen, when they gamble in the office, or take a chance for any advantage arising in work, generally throw for it; that is, they take nine em quadrats, usually English, and, shaking them well together in the hollow of both their hands, throw them upon the imposing stone, or press stone, and he who throws most nicks upward in three times is the winner. They choose quadrats with three deep nicks in each, when such a fount is in the office, as being most easily distinguished.

Thumb Piece. See Ear of the Frisket.


throw out

norm: throw out

text: See illustration</> A map, table, diagram, etc., designed to be consulted regardless of the page of the text the reader is consulting. It is done by means of an extended guard (the size of the leaf of the book), to which the map, etc., is attached at the outer edge. If the map is to be folded, a compensation guard may be required to compensate for the thickness of the map. The map and its guard are usually printed on paper that differs from that of the text.

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


throw up

norm: throw up

text: The rising up or buckling of the spine of a book when it is opened. It is a characteristic of the HOLLOW BACK, and because of it the leaves lie flatter than they ordinarily would. "Throw up" is especially important in library binding, where the sewing, which is usually oversewing, is relatively tight and inflexible. See also: SPRING-BACK (1).


throwing colors

norm: throwing colors

text: See: DROPPING COLORS.


thumb index

norm: thumb index

variant: thumb cuts

text: A type of INDEX which utilizes a series of rounded notches cut into the fore edge of the book. Each generally has a label bearing a letter or letters indicating the arrangement. The index proceeds from head to tail and front to back of the volume. The maximum number of thumb cuts, and therefore the number of letters represented by each, depends on the height and thickness of the book. The thumb index is used principally for Bibles and dictionaries. The cuts are usually made by a machine designed for the purpose. Also called "cut-in index."

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


thumbhole

norm: thumbhole

text: A semi-circular or triangular cut in the sides of a slipcase designed to facilitate removal of the enclosed book. The semi-circular cut is used in the best work, while the triangular cut, which is used principally by library and edition binders in the United States, is much more economical, especially since it is usually made after the case has been covered.


thymol

norm: thymol

text: A colorless, crystalline compound (C10H13 . OH), obtained from origanum and other oils, or prepared synthetically by the hydrogenation of piperidine, obtained from Eucalyptus dives and E. piperita. Thymol is very slightly soluble in water, and is soluble in alcohol and chloroform. It is used as a preservative in paste and also as a fungicide. It can he applied as a solution in alcohol or vaporized for use as a fungicide.

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


tide marks

norm: tide marks

text: Markings on the grain surface of a leather caused by paste soaking through from the flesh side in areas which happen to he thinner or more porous than others. Tide marks generally occur only when the grain side has not been moistened or has been inadequately moistened.

citations: Lewis, Arthur William. Basic bookbinding. New York. Dover, 1957.


tidying

norm: tidying

text: A 19th century practice of issuing paper-boarded and cloth-cased books untrimmed, hut with the longest leaves trimmed or "tidied" to the general level of the other leaves. Early in the 19th century, this was done with trimming shears which were fixed to the press: however, by about 1830 the shears had been superseded by trimming knives. This type of trimming was also done in the better binderies. usually in combination with a gilt top.


tie down

norm: tie down

text: The stitch which is carried under the kettle stitch when working headbands. Its purpose is to secure the band solidly to the text block.

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

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


tied down

norm: tied down

variant: tied bands

text: A simple binding ornamentation consisting of lines impressed along either side of each raised hand, which continued onto. and were joined part way across, the sides. A small floral or leaf design was used to terminate the lines. The lines were either in gilt or blind and were executed with a pallet. The decoration is derived from the early technique of TYING DOWN the bands. Also called "ties."


ties

norm: ties

text: 1. Tapes or ribbons, sometimes made of leather, and usually in pairs, attached to the sides of a book close to the fore edge, and occasionally at head, tail, and fore edge, and designed to prevent the covers from warping or gaping. They often consisted of linen, about 3/4 inch wide, and were generally of a drab green color, although brown and blue were also used at times. Ties were usually threaded through a hole (not a slot) in the board and, on the inside of the cover, the end was frayed out and attached to the leather turn-in. They were frequently used on fine bindings from about 1530 to 1640, and elaborate silk ties were used on Bibles and devotional books well into the 18th century. Their use today is largely restricted to portfolios. See also: CLASPS. 2. See: TIED DOWN.

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


tight back

norm: tight back

text:
A book which has the covering material, usually leather, glued directly to the spine or to the (leather) lining on the spine. In the early days of the English codex, the leather cover was not attached directly to the spine, nor, for that matter, was the spine glued up at all. Aside from these early bindings, however, as well as limp (vellum) bindings and some vellum-covered stationery bindings, the use of the tight hack was virtually universal until the times of the Deromes in France (see: DEROME STYLE). It was at this time that the HOLLOW BACK began to be used in France.

Until about the last quarter of the 18th century, it was not unusual to line the spines before covering, and bindings that did not have raised bands were often lined with three or more layers of paper, or, at times, canvas. Craft bookbinders in 17th and 18th century France generally lined the spines of books with strips of parchment manuscripts which overlapped the joints and were pasted down under the endpapers. See: SPINE LINING (1).

The use of the tight back declined dramatically after about 1820, except by fine binders who often used it along with false raised bands. See: MOCK FLEXIBLE. Similarly, all so-called boarded books had tight backs and boards that were laced in this practice continued from the 1770s, when the style was first used, until the 1820s, when casing-in was introduced. Others had tight backs until the late 1830s, when "boards" more or less passed out of existence.

The tight back was revived in craft bookbinding, at least to a certain extent, by T.J. Cobden-Sanderson and Douglas Cockerell, who influenced a host of amateur fine binders for several decades.

The objection to the tight back, other than the fact that it is a more expensive technique, is that if the leaves of the book are relatively thick in relation to their area, they will not lie flat by themselves, but, because of the inflexibility of the spine, will tend to open like a fan. This tendency may be lessened by having the grain direction of the paper run parallel to the spine. In addition, some bookbinders object to the tight back because it causes the leather on the spine to flex every time the book is opened, which can cause cracking of the gold tooling on the spine. Also called "fast back."


tight back

kind: see

text: See Back, tight and loose.


tight fit

norm: tight fit

text: The case of a book which is too small for the text block, resulting in a tendency for the covers to gape. It is caused by an error in the measurement of the boards resulting in an INLAY (1) that is too narrow, with the consequence that the covering material on the spine is not the full width of the spine.


tight joint

norm: tight joint

text: See: CLOSED JOINT.


TIGHTENING THE QUOINS

norm: tightening the quoins

text: This is necessary, particularly in summer time, as also with forms that are placed contiguous to the fire in winter, to prevent the matter from falling out. Examining the forms occasionally that have been some time in chase should not be neglected; for if they have been imposed when the furniture was wet, the matter is very likely to fall out, from the gutters and other pieces shrinking. The quoins are generally tightened with an old cross bar, with the fire poker, or the claw end of a sheep’s foot, as being heavier and more efficacious than a piece of light furniture; but the best method, after securing them in this manner, is to lay them upon the imposing stone, plane them down, and then lock them up afresh in a regular manner. See Falling Out.


TILL, or Shelf

norm: till, or shelf

text:
A mahogany shelf, in wooden presses, divided in two longitudinally, that clasps the hose, and causes it and the spindle to come down perpendicularly without any play. It is dovetailed at both ends, and fits into the cheeks, with block wedges underneath to keep it up in its situation; the dovetails also keep the cheeks together, and answer the same purpose that the summer formerly did. The opening that the hose works in is lined with brass, and is made to fit it accurately.   TITHES COMMUTATION

A mahogany shelf, in wooden presses, divided in two longitudinally, that clasps the hose, and causes it and the spindle to come down perpendicularly without any play. It is dovetailed at both ends, and fits into the cheeks, with block wedges underneath to keep it up in its situation; the dovetails also keep the cheeks together, and answer the same purpose that the summer formerly did. The opening that the hose works in is lined with brass, and is made to fit it accurately.


tinny

norm: tinny

text: An expression used to describe a leather that is "empty," i.e., lacking in substance, and weak. The defect is caused when BATING is carried too far, resulting in excessive "digestion" of the collagen of the leather.

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


tip

norm: tip

text: 1. The thinnest available MILLBOARD (1). It is used in some instances for making the SPRING-BACK (1) of a blankbook, as the inner boards of SPLIT BOARDS, and to a considerable extent as a lining board. 2. A thin, flat brush consisting of a relatively small number of camel or squirrel hairs fixed between two pieces of card. It is used by some gilders for picking up gold leaf and placing it on the surface to be gilded. 3. See: TIP-ON.

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

citations: Hasluck, Paul Nooncree, ed. Bookbinding. Philadelphia. McKay. 1903.

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


tip-on

norm: tip-on

text: A leaf that has been pasted onto the stub of another leaf, e.g., a CANCEL (1)


tipped endpapers

norm: tipped endpapers

text: Endpapers tipped onto the first and last sections (leaves) of a book. The technique is used frequently in edition binding. See also: SELF-ENDPAPERS.

citations: Winans, Leonard G. The book from manuscript to market. New 370. York. Grosset 8 Dunlap. 1941.


tipped in

norm: tipped in

text: A separately printed illustration, etc., cut to the size of the leaf of a book and pasted along the inner margin of the appropriate text page prior to gathering. Such an illustration is said to be a "paste in." Tipping is a time-consuming, and therefore costly, aspect of book production.

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


tipping

norm: tipping

variant: tipping in

text: 1. The process of pasting the edges of a section to adjacent sections. 2. The operation of tipping on an INSET (2) around or in a larger section.

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

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


tipping front and back

norm: tipping front and back

text: The process of placing a narrow line of adhesive on the sides of a sewn pamphlet near the spine, for the purpose of securing the cover of the publication along the sides instead of simply at the spine, which may have insufficient surface area to hold the cover securely. However, it is usually necessary to score the covers at the edge of the line of adhesive, otherwise there is the risk that the cover paper will break at the adhesive line. 2. The process of attaching endpapers in edition binding.

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


tipping machine

norm: tipping machine

text: A machine used for gluing plates or endpapers to sections of a book. In the usual case, the sections and endpapers are fed into the machine, edged with adhesive along the binding edge, and pressed together. A plate is generally tipped along the left or right edge and pressed onto the leaf.

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


tips

norm: tips

text: Tiny corners, usually of vellum when leather is used on the spine, and employed mainly by French bookbinders. tissued plate. See: BARRIER SHEET.


tissue papers

norm: tissue papers

text: A class of papers, made in basis weights lighter than 18 pounds (24 X 36—500). These papers are made on any type of papermaking machine, from any type of pulp, including reclaimed paper stock, and may be glazed or unglazed. Some tissues are relatively transparent. See also: BARRIER SHEET.


titanium dioxide

norm: titanium dioxide

text: A white compound, the oxide of titanium (TiO2). It occurs naturally in the rutile, anatase, and brookite crystalline forms. The rutile form is used in the manufacture of pigmented paper coatings, while the anatase form is used as a filler pigment in paper manufacture. Both types (as used in papermaking) are important because of their whiteness, high brightness, and high refractive index (2.52 to 2.76), all of which results in a paper of improved brightness and opacity.

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


titanium potassium oxalate

norm: titanium potassium oxalate

text: A white, crystalline substance (K2TiC2O5 . 2H2O), that is soluble in water. It precipitates vegetable tannin materials and acts as a mordant with the dyes and dyewoods used in coloring leather.

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


TITHES COMMUTATION

norm: tithes commutation

text:
6 & 7 Will. 4. c. 71. “An Act for the Commutation of Tithes in England and Wales.”

s. 91. “And be it enacted, That no Advertisement inserted by Direction of the Commissioners or any Assistant Commissioner, or by any Tithe Owner or Land Owner, in the London Gazette, or in any Newspaper, for the Purpose of carrying into effect any Provision of this Act, and no Agreement, Award, or Power of Attorney made or confirmed or used under this Act, shall be chargeable with any Stamp Duty.”

TOE of the Spindle.

The very bottom of the spindle.—M. It is of hardened steel, and works in the platen stud.


title

norm: title

text: 1. The inscription printed on the title page of a book or other publication, and usually intended to describe the contents of the publication. Tn its broadest use, it includes the sub-title, alternative title, or associated descriptive matter, but not the author and/or editor, translator, etc., unless the name forms a grammatically inseparable part of the title. See also: BINDER'S TITLE; COVER TITLE (1). 2. In hand binding, usually the space or panel between the first two raised bands (from the head) on the spine of a book, on which the title is lettered.

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

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


title

text: The space between bands, upon which the lettering is placed.

siglum: MAB

author: Nicholson, James B.

work: A Manual of the Art of Bookbinding


title

text: The space between the bands upon which the lettering is placed. The leaf in the beginning of a book describing the subject.


title

text: The space between the bands upon which the title is lettered.


title leather

norm: title leather

text: A highly polished, very thin SKIVER attached to the title panel of a book, and lettered with the title of the book. See also: LABEL.

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


title mounted

norm: title mounted

text: A title page that has become frayed or otherwise damaged, and has been mounted on another leaf to preserve it.

citations: Holden, John Allen. The bookman's glossary…3rd ed. New York. Bowker. 1951.


title page

norm: title page

text: In the usual case the recto of the second leaf of a book, displaying the full title, the sub-title (if any), and usually the name of the author, the edition, the publisher and date of publication (sometimes the date is printed on the verso of the same leaf). The verso may also give particulars of the edition, i.e., the printer (and perhaps his address), the binder, specifications of type and paper, registration of copyright, as well as (in the United States) the Library of Congress card number, ISBN number, and >CIP information. In cases where more than one page giving particulars of the title are present, that giving the fullest information is the title page.


title roll

norm: title roll

text: See: ROLL (1).


titled

norm: titled

text: See: PIECED (1).


tizra

norm: tizra

text: A vegetable tanning material obtained from the roots and heartwood of a shrub or small tree, Rhus pentaphylla, occurring throughout the western part of North Africa. The heartwood may he expected to produce 20 to 23 o tannin, while the roots may have a tannin content as high as 28 to 29. Tizra, which is of the condensed class of tannins. closely resembles QUEBRACHO both in chemical properties and tanning qualities. It has long been used in Morocco in the tanning of MOROCCO leathers. See also: VEGETABLE TANNINS.

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


To DISTRIBUTE

norm: to distribute

text:
To replace the types in their respective boxes in the cases after printing therewith, in order to their being used again. This is done in a very expeditious manner by the compositor, who, placing his composing rule against the head of a page, with his thumbs against it, pressing the sides of both his third fingers against the sides of the matter, and his forefingers against the bottom line of the quantity which he means to lift, takes up what is termed a handful, and keeping the face of the letter towards him, rests one end of the composing rule against the ball of the thumb of his left hand, and pressing the other end of the rule with the third finger, steadies the matter with his forefinger, and thus has his right hand at liberty, with which he takes a word or part of a word from the uppermost line as he holds it in his hand, and drops the several letters into their particular boxes. Matter is always wetted when distributed, to render it slightly cohesive, as the operation is thus performed with more facility than when dry. When the form has not been well rinsed in laying-up, and the types have been much used, the ends of the fingers are apt to get smooth, so as to lose the command, in some measure, of dropping the types into their places with quickness and certainty; in this case compositors frequently keep a piece of alum in some part of the case, and occasionally touch it with their thumb and two fingers, which gives them a little roughness, and restores their command of the types.

If a compositor is desirous of producing his first proofs free from literal errors, he should be particular in distributing clean, that is, depositing each letter in its proper box.

When new letter remains in chase, locked up for any considerable time, it becomes what is termed, baked. See Bake.

Distributing Stick.—M. See Composing Stick.


toggling

norm: toggling

text: The operation of stretching damp leather and securing it in place for drying in a smooth and stretched condition by means of toggles, which are metal clamps equipped with jaws to grip the leather and prongs to hold it in place in a slotted metal frame. See also: TACKING.

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


TOKEN

norm: token

text: Ten quires of paper.—M. It is now ten quires eighteen sheets, or half a ream of perfect paper, and contains 258 sheets. All paper for book work is given out in tokens to wet, the quires in each token are placed the same way, and the tokens arranged one upon the other, back and fore edge, for the person who has to wet the paper to take away. It has become a practice in many houses, for the warehouseman to give out the paper in tokens alternately of ten quires and a half and eleven quires; this in my opinion should never be done, for I have known many serious mistakes arise from it; for instance, in a book that is a long number, a pressman who is working a sheet, will borrow a token of paper from another sheet, or three or five, or more, on account of being in better condition, or for some other cause; he takes the tokens indiscriminately as they arise, and they are replaced in the same manner; and not unfrequently ten quires and a half are returned for eleven quires borrowed; the consequence is, that one signature has an overplus number and the other is deficient, and has to be reprinted at the expense of the master printer: these mistakes would not occur if the paper were given out in regular tokens of ten quires eighteen sheets.


TOKEN

text: Two hundred and fifty sheets.


TOKEN SHEET

norm: token sheet

text: In wetting paper the last sheet of each token is doubled down, so that the corner projects, when there is a pile of paper wetted; this projecting sheet marks the division of the pile into tokens, and is styled the <i>token sheet</i>.


toluene

norm: toluene

text: A colorless, refractive, aromatic liquid hydrocarbon (C7H8), obtained from coal-tar light oil by cracking, by heating toluic acid with lime, and by other processes. It is used as a solvent to remove pressure sensitive tape from paper, in finishing leather, and in removing grease from leather.

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


tongue and slot

norm: tongue and slot

text:
One of the techniques used to attach the covers to a book. The tongue is formed by covering the spine of the book and carrying the leather onto the waste sheet of the endpapers, together with the spine lining and slips. The leather or cloth hinges are also glued to the same sheet. The laminated flange (tongue) thus formed is cut to shape to fit a slot (not unlike an enclosed split hoard) cut into the back edge of the hoard. The board is then covered and finished in whatever manner is required, separate from the book, and is attached to it by gluing the tongue into the slot. The entire assembly is then pressed to insure proper adhesion.

The tongue and slot technique is said to offer the following advantages: 1) the boards can be finished, e.g., doublures attached, more easily off the boo; 2) large and/or very heavy books can be handled more easily; 3) more than one skin can be used in covering; 4) a design which calls for blocking the covers can be handled with greater facility; 5) attachment of the covers in this manner facilitates removal by a future restorer for work on the text block; and 6) at least part of the original bookbinder's design can he preserved if and when a more or less complete restoration of the book is required.

citations: Smith, Philip. New directions in bookbinding. New York. Van Nostrand Reinhold. 1974.


toning

norm: toning

text: The process of reducing the shade (whiteness) of a document or leaf as nearly as possible to its original color following washing and/or deacidification. The "toner" may he the gelatin size itself, which will reduce whiteness to a slight extent, or, if a greater toning effect is required, a surface active (cationic) vegetable dye in very dilute solution may be used.

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


tooling

norm: tooling

text: See: BLIND TOOLING; FINISHING (1); GOLD TOOLING.


tooling

text: Impressing the design or pattern in gold leaf, with finishing tools, by hand.


tooling leaf

norm: tooling leaf

text: See: ALUMINUM LEAF; DUTCH GOLD; GOLD LEAF; PLATINUM LEAF; SILVER LEAF.


Tools

norm: tools

text: Applied particularly to the hand-stamps and tools used in finishing.


Tools

text: Brass stamps used for impressing gold leaf on leather. Applied particularly to the hand stamps and tools used in finishing.


tooth

norm: tooth

text: A characteristic of the grain surface of various papers. Tooth is often a result of the wove marks impressed on the underside of the web of paper by the Fourdrinier wire of the papermaking machine, but it may also be caused by very small depressions between fibers or groups of fibers in the surface of the paper, or by the impression of the mesh of the felt fabric on the web of paper as it travels through the press rolls. Tooth is a characteristic of low finish in drawing papers, and is characteristic of virtually all handmade papers. The "tooth," meaning the roughness of a paper, expresses its ability to take pencil and crayon writing or drawing. Also called BITE (2).

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


top

norm: top

text: 1. See: HEAD (1-4). 2. The felt side of a machine-made paper. 3. The side of superior quality of hoards composed of different grades of stock. See also: TOP OF THE HIDE.


top combs

norm: top combs

text: See: MARBLING COMBS.


top cover

norm: top cover

text: See: UPPER COVER.


top cover

text: The upper or front cover of a book in binding.


top edge gilt

norm: top edge gilt

text: The head edge of a book which has been cut smooth and gilded. The other two edges, which are not gilded, may be cut smooth, trimmed slightly, or left uncut. Abbreviated "g.t." or "g.t.e." Also called "gilt top." See also: TRIMMED BEFORE SEWING.

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


Top edges

norm: top edges

text: The head or top of a book, in contradistinction to fore-edge or tail.


top finished

norm: top finished

text: A leather which has been given a final coating of a finish for the purpose of imparting special properties, such as gloss, level color, fastness to wet rubbing, water resistance. etc.

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


Top gilt

norm: top gilt

text: Used in speaking of a book of which the top edge only is gilded.


top margin

norm: top margin

text: The area between the top line of print and the upper edge of the leaf. See also: MARGIN (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.


top of the hide

norm: top of the hide

text: The finest grade of leather used for the covering of a book. Literally, it means the area of the skin on the top, i.e., the back of the animal. This seldom used expression is somewhat inaccurate in that, although the hest part of a hide or skin is located on the back. the very best is found in the butt area of the back.

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


Top side

norm: top side

text: The front side of the cover of a book in binding.


TOPS

norm: tops

text:
In piling the printed sheets of a work away, after they have been dried and taken from the poles, the warehouseman takes a few sheets of each signature, and lays them at the top of the pile; these are called Tops, and enable him, with little trouble, to deliver a copy as far as it is printed, when required, which frequently occurs in the progress of a work, without having to take down all the piles.

Towns, ancient Names of. See Names.


torn paper designs

norm: torn paper designs

text: A collage technique of decorating a binding, using designs produced by tearing paper into shapes and pasting them to the covers of the book.


tortoise shell

norm: tortoise shell

text: A cover sprinkle executed by washing the leather with yellow dye and, when dry, sprinkling heavily with black. When this is dry the cover is then spotted with blue, red and black.

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


tortoise shell covers

norm: tortoise shell covers

text: A 17th century technique which used tortoise shell to decorate the covers of a book. Additional decoration sometimes consisted simply of a border of silver corners and clasps, but more often included inlays of silver and mother of pearl.


Tory, Geoffrey

norm: tory, geoffrey

text: A French printer, wood engraver, designer, and royal printer to Francis 1. For the embellishment of bindings, he designed two panels in the form of arabesques in the contemporary Italian style, of which the famous pot cassé device forms a part. In his smaller stamps, only the broken pitcher appears, hut in his larger panel the vase is pierced by a wimble (gimlet, drill, auger, or "tore"). The device apparently was employed in allusion to the death of his daughter; however, it may have been a pun on the name Tory, although he used the device on his own publication.

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

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