drying memory

norm: drying memory

text: A characteristic of certain hot-melt adhesives which causes them to attempt to return to the shape or configuration they had when they set. When a hot-melt adhesive is applied to the flat spine of a book, and the book is subsequently rounded and backed, the "memory" of the adhesive tends to cause it to revert to the original flat configuration it had when it set, thus also flattening the spine of the book. This loss of round will eventually cause the binding to fail, i.e., the book will become loose in its case because of the strain of the backing shoulders caused by the loss of round.


drying temperature

norm: drying temperature

kind: definition

letter: D

letter_raw: D

text: The temperature to which an adhesive, the adherends, or both, is subjected in order to dry the adhesive. The temperature of the adhesive in process of drying may differ from the temperature of the surrounding atmosphere. See also: CURING TEMPERATURE; SETTING TEMPERATURE.

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


drying time

norm: drying time

text: The length of time during which an adhesive, the adherends, or both, is allowed to dry, during which time no heat, pressure, or both is applied. See also: CURING TIME; SETTING TIME.


drying tunnel

norm: drying tunnel

text: A tunnel in which damp leather is placed for drying in a current of air, often under carefully controlled conditions of temperature and humidity.


du Seuil, Augustin 1673-1746)

norm: du seuil, augustin 1673-1746)

text:
See notes on the electronic edition

A celebrated Parisian bookbinder who held the position of royal binder to Louis XV of France. Du Seuil employed lavish doublures and rectangular panels with an armorial panel in the center. He was one of the first bookbinders to execute MOSAIC BINDINGS, although PADELOUP is generally credited with their introduction. He is the only French binder written of in English literature, being mentioned in Pope's fourth moral essay:

His study! With what authors is it stored?

In books, not authors, curious is my Lord;

To all their dated backs he turns you round;

These Aldus printed, those du Seuil bound.

Du Seuil married into the Padeloup family and worked with Antoine Michel Padeloup at the beginning of Padeloup's career. .

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

citations: Zaehnsdorf. Firm. Bookbinders. London. A short history of bookbinding…London. Chiswick. 1895.


dubbin

norm: dubbin

text: A paste prepared from cod oil and tallow, the proportions of which vary according to the time of year—in winter generally two parts oil to one of tallow, and the reverse in the summer. There are two types of tallow in general use, one of which is mutton (melting point 40-45° C.), and the other beef (melting point 35-40° C.). Dubbin is used to incorporate oil into some tanned leathers in the STUFFING (2) or CURRYING processes.

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


DUBLIN

norm: dublin

text: Plan of a Lower Case as used at Dublin. The Upper Case is the same as used in London.

caption: Layout of the Dublin case

alt: Layout of the Dublin case

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

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


Dubuisson, Pierre-Paul

norm: dubuisson, pierre-paul

text: An 18th century French bookbinder, who succeeded ANTOINE MICHEL PADELOUP as royal binder. Dubuisson excelled in the creation of dentelles similar to those of the Deromes, and was an accomplished heraldic designer as well as bookbinder and gilder. He, and his father, Rene, specialized in the binding of almanacs, devising the shortcut of decorating their covers with well-designed engraved plaques designed to be used in a press, instead of working with individual tools.

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.


duck

norm: duck

text: A plain, closely woven, durable fabric, now usually made from cotton. It is woven in various weights and used for covering large, heavy books, especially blankbooks, and other large stationery bindings.

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


duck

text: sometimes called Canvas. This is made by many firms in a wide range of colors and qualities. It is in fact a heavy cotton cloth. Slate-colored duck 28 in. wide, 10 oz. to the yard, costs about 20 cents per yard. This is a firmly woven, smooth material. We have used a light green. It takes printers’ ink for lettering fairly well, though it soon soils if handled. It is a very desirable binding for heavy books not much used. All such books should be stiffened by pasting or gluing cloth on the backs, if loose back, and should be reinforced at head and tail.

siglum: NBL

author: Bailey, Arthur L.

work: Notes on Bookbinding for Libraries


DUCK’S BILL

norm: duck s bill

text: A tongue cut in a piece of stout paper and pasted on the tympan at the bottom of the tympan-sheet, to support the paper when laid on the tympan.

siglum: AMP

author: MacKellar, Thomas

work: The American Printer: A Manual of Typography


DUCK’S BILL

norm: duck’s bill

text:
A tongue cut in a piece of stout paper, which is pasted on the tympan at the bottom of the tympan sheet, to support the white paper when working, instead of pins; the paper to be printed rests in the slit behind the tongue, and takes a good bearing.

It is seldom used except in the best work, where the paper printed is fine, stout, large, and expensive, when extra precautions are taken to prevent waste.

caption: A tool to support paper in the press

alt: A tool to support paper in the press


dull gilt

norm: dull gilt

text: The edges of a book that have been gilt and then burnished through thin paper, producing a solid, uniformly dull metallic surface. See also: GILT EDGES.

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

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


dull-coated

norm: dull-coated

text: A paper having a coated surface that is low in gloss. It is usually a free sheet base stock coated two sides with calcium carbonate or blanc fixe, and finished with a flat or smooth surface offering minimum gloss or glare. It is made to standard book sizes and weight, and is suitable for printing fine halftones.

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

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


dumb

norm: dumb

text: A more-or-less obsolete term used in lieu of "blind" with reference to blind printing, blind tooling, blind perforating, etc.

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


dummy

norm: dummy

text: 1. A made-up text block, generally of blank leaves, sewn and trimmed but not cased or covered and meant to represent the bulk of a forthcoming publication. 2. The layout of a forthcoming book, including the actual arrangement of the printed matter, specifications for type, illustrations, etc. 3. A piece of leather or cloth mounted on a board to show the exact size and lettering of a publication, usually a periodical. See also: RUB (1).

citations: Emerson, Gilbert D. Bookbinding for libraries. Philadelphia. n.p. 1909.

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

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


duodecimo

norm: duodecimo

text: See: TWELVEMO.


DUODECIMO

text: The size of a book, generally for shortness written 12mo, and hence frequently incorrectly so pronounced. It is formed by folding a sheet of paper into twelve portions or leaves, making twenty-four pages. See Imposing.


duodecimo

text: or *12mo.*—Twelve pages to a form.


duodo bindings

norm: duodo bindings

text: Bindings executed by Parisian gilders for Pietro Duodo, Venetian ambassador to Henri IV of France, 1594-1597. The distinctive feature of his bindings (and apparently most of his library consisted of small books similarly bound) was rows of laurel wreaths enclosing various small flowers, the central wreath enclosing his arms. This style was imitated by English binders of the early 18th century and by French binders in the late ]9th century.

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


duplex

norm: duplex

text: 1. A term used with reference to the texture, finish, or color of a paper. A duplex texture refers to a paper that may be smooth on one side and rough on the other, while a duplex finish refers to a paper that may have a linen finish on one side and a burlap finish on the other, and so on. A duplex color refers to a paper that is stained on one side only, or that is colored with different colors on either side. A duplex color may also be obtained by laminating together two papers of different colors. 2. A general term applied to a paper or board with two or more plies.


duplex book trimmer

norm: duplex book trimmer

text: A type of cutting machine having two trimming knives parallel to each other on opposite sides above a central cutting table. The table consists of a cutting block equipped to clamp the pile firmly. Two piles of books, each 5 to 6 inches high, are placed spine to spine against the gauges. This brings the fore edges of each pile on opposite sides at the table and under the knives. After cutting the fore edges, the other edges of the book are brought into position by giving the table a quarter turn. This also changes the position of the knives on the knife-bars above, drawing them closer for trimming the heads and tails of both piles simultaneously. See also: THREE-KNIFE TRIMMER.

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


duplex paper

norm: duplex paper

text: See: DUPLEX. (1)


durability (of paper)

norm: durability (of paper)

text:
The degree to which a paper retains its original strength properties while at the same time being relatively heavily used, as a manuscript or book. Realistically, the expression implies a paper which has a high initial strength, e.g., a paper carefully produced from cotton fibers, rags, or a high grade chemical wood pulp, as opposed to one produced from a combination of chemical and mechanical wood pulps, for example, which has relatively little initial strength.

Some 80 years subsequent to the development of the (Fourdrinier) papermaking machine, there was the beginning of a widespread concern over the relatively rapid deterioration of paper, and in the years between 1885 and 1930, various governmental and other groups, such as the United States Department of Agriculture, the German government, the Royal Society of Arts (Great Britain), and the Library Association of Great Britain, investigated the problem. The earliest of these investigations focused attention on the method of paper manufacture; only much later did it become apparent that the materials used in making paper, the care taken in stock preparation, and the sizing and bleaching agents utilized also had to be considered.

Research into the qualities (both durability and permanence) of paper has been fairly extensive in recent decades. The overall collective results of this research would seem to indicate that the retardation of paper deterioration requires: 1) careful control of stock preparation at every stage of manufacture, and avoidance of excessive beating of the fibers, which shortens and therefore weakens the fibers and also sometimes prevents proper felting during sheet formation. In addition, impurities, inherent in the stock and/or incorporated from equipment, e.g., copper or iron, must be avoided or removed insofar as possible; 2) great care taken to remove the chemicals used in pulping, e.g., sulfates and sulfites, so as to avoid subsequent hydrolysis of the paper; 3) the removal of unbleached cellulose fibers so as to prevent possible deterioration; 4) avoidance of excessive mineral loadings, as too much loading inhibits felting of the fibers and also weakens the paper; 5) tub-sizing (preferably with gelatin) of archival and/or papers to be handled frequently, as this type of sizing not only adds a protective film to the paper but also strengthens the paper considerably; 6) that bleaching agents, e.g., chlorine compounds, be removed as completely as possible in order to avoid the possibility of the formation of hydrochloric acid in the paper; 7) that mechanical wood pulp, which contains a relatively high percentage of impurities, e.g., lignin, and which also has very short fibers, should be avoided in archival and heavy use papers; and 8) that the paper be manufactured in such a manner that it retains its coatings over a long period in storage.

Books, documents, and other archival materials should be housed in airconditioned quarters having controlled temperature and relative humidity. Taking into consideration that people probably will be working in the storage (bookstack) area, a reasonable temperature might be 60 to 65° F, with a relative humidity of 50 to 60%. The area should also be as dark as practical, with time switches that turn off lights automatically. The area should be completely free from dirt, and insects and their larvae. If fluorescent lighting is used, which gives off less heat than incandescent lighting, it should be filtered, as the ultraviolet light radiated from fluorescent lights over a long period of time could cause deterioration of book papers.

citations: Barrow, William J. Deterioration of book stock, causes and remedies…Ed. by Randolph W. Church. Richmond, Va. Virginia State Library Publications, No. 10. 1959.

citations: Barrow (W. J.) Research Laboratory. Physical and chemical properties of book papers, 1507-1949. Richmond, Va. Barrow (W. J.) Research Laboratory. Permanence/ durability of the book, no. 7. 1974.

citations: Barrow (W. J.) Research Laboratory. Strength and other characteristics of book papers 1800-1899. Richmond, Va. Barrow (W. J.) Research Laboratory. Permanence/ durability of the book, no. 5. 1967.

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

citations: Harrop, Dorothy. Modern book production. London. Bingley. 1968.

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


duro-flexible binding

norm: duro-flexible binding

variant: duro-flexile

text: A style of library binding devised and patented by Cedric Chivers in the latter part of the 19th century. The duro-flexible binding was designed to give additional strength where most needed, i.e., in the hinges and first and last sections. This was done by lining the endpapers with jaconet and using a three-jointed endpaper. The books were sewn all along on linen tapes. The spines were lined with a pliable leather, and both tapes and lining were secured between split boards. They were covered with a thin, vegetable-tanned pigskin, with linen on the sides.

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

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


dust cover

norm: dust cover

text: 1. See: BOOK JACKET. 2. A blank leaf inserted at the end of a pamphlet or booklet having a self-cover. dusting. The process of spreading ground, raw vegetable tanning materials over and between hides being tanned in layer vats to add to the tanning strength of the tan liquor. Dusting was a common practice before the days of concentrated tanning extracts.

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


dust jacket

norm: dust jacket

variant: dust wrapper

text: See: BOOK JACKET.


Dutch antique marble

norm: dutch antique marble

text: A modification of the NONPAREIL MARBLE.


Dutch binding

norm: dutch binding

text: An obsolete term for a style of binding that includes a vellum or parchment spine, usually of a green color.

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


Dutch corner

norm: dutch corner

text: See: LIBRARY CORNER.


Dutch gilt papers

norm: dutch gilt papers

variant: Dutch flowered papers

text:
A type of highly decorative papers that were not marbled but were printed by means of blocks of wood or metal, or by engraved rollers. They were used from about 1700, and, although known as "Dutch gilt" or "Dutch flowered," they were actually produced in Germany and Italy, the Dutch connection possibly arising from the fact that the papers were imported into Holland for reexport to France and England, although not all of them arrived in France and England by that route.

A great variety of designs was employed in these papers, many being in imitation of the brocades and damasks of the period. Some have figures of huntsmen, animals and birds, saints, mythological beasts, and Renaissance strap and scroll patterns; many arc embossed, and some are printed on colored paper.

The probable method of their execution consisted of transferring gold size to the paper by means of wooden plates or engraved rollers, the former first being pressed onto a pad saturated with the size, the latter having the size painted on. When the size on the paper had dried to the correct state, the gold was dusted on, and, when the size was dry, the superfluous gold was brushed off. If it was desired to have the gold raised the size was thickened with yellow ochre or red lead. The method of coloring is unknown, but it may have been done by dabbing or stencilling.

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


Dutch gold

norm: dutch gold

variant: Dutch metal

text: The generic name for a blocking foil that has found considerable use as a substitute for gold leaf since the latter years of the 19th century. It was introduced in Germany and its use, in sheet form, expanded rapidly, followed by a similar foil in roll form. Although often referred to as "bronze leaf," bronze being an alloy of copper and tin, it is actually composed of brass, which is an alloy of copper and zinc. As the amount of copper is increased, the color of the leaf deepens. Unlike gold leaf, Dutch gold discolors, tarnishing more rapidly in polluted environments. When blocked on leather, the leaf or foil turns green very quickly; and even when blocked on cloth or paper, it will eventually discolor. Discoloration is due to the action of gases in the atmosphere, such as hydrogen sulfide (H2S), plus heat and light. Great differences exist in the rate of tarnishing among the various brass foils, however; flat foil for some reason discolors less rapidly than the rolled Dutch gold. This may be due to the high melting-point waxes used on the flat foil but not on the rolled, which coat the metallic particles after they are deposited on the material in the blocking process. This coating apparently acts as a (partial) seal against the deteriorative effect of the atmosphere. Because of the chemical action of the plasticizers in pyroxylin fabrics, the deterioration of the foil is more rapid on these fabrics than on starch filled fabrics.

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

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

citations: Weymhoff, Byron Louis, and F. R. Baylock. The evaluation of bronze stamping leaf. Washington, D.C. U.S. Government Printing Office. (Technical bulletin, no. 17). 1933.


Dutch marble

norm: dutch marble

text:
A marble pattern executed by dropping a series of colors, usually yellow, and blue (in that order), which are then drawn together and intermingled by means of a comb, so that instead of shells and veins being produced, the pattern consists of a series of small, sharp scallops.

The Dutch marble is a pattern that has been used frequently in blankbook binding from the early 19th century to the present day.


Dutch metal

norm: dutch metal

text: See: DUTCH GOLD.


Dutch metal

text: An imitation of gold leaf, sometimes used on cheap bindings. It soon grows dark or tarnishes.


Dutch paper

norm: dutch paper

text: Originally, a handmade paper produced in Holland, but today any deckle-edge hand- or machine-made paper manufactured in Holland. It is a superior grade of paper used for high quality books, and, if given an antique finish, as artists' paper. Use of the expression "Dutch" may stem from the fact that in Holland handmade or imitation handmade paper is still called "Hollandsch papier," which does not necessarily mean paper made by hand in Holland. { 17)


Dutch sewing

norm: dutch sewing

text: An obsolete (traditional) method of sewing a book, using strips of parchment or vellum in lieu of the customary bands or cords.


dwell

norm: dwell

variant: dwell time

text: 1. See: CLAMP DWELL. 2. The period of time during which the heated finishing tool is in contact with the leather or gold leaf.


dye

norm: dye

text:
A natural or synthetic coloring material, whether soluble or insoluble, which imparts its color to a material by staining or being imbibed by it, and which is employed from a solution of fine dispersion, sometimes with the aid of a MORDANT.

Dyes differ from pigments, which are insoluble materials that impart color by being spread over a surface, or by being mixed in the form of an ingredient, as in the coloring of some papers and leathers. Natural dyes, such as indigo, madder, fustic, butternut, orchil, logwood, catechu, tumeric, etc., are seldom used today. The discovery in the mid-19th century that dyes could be produced artificially from a constituent of coal tar was the first step in the decline of the use of natural dyestuffs. In large part this was because the quality and effectiveness of natural dyestuffs depended on a variety of factors, over which the user might or might not have control. These included: 1) the problem of storage; 2) the time involved in extracting color from the raw materials; 3) dependence upon a growing season; and 4) impurities. On the other hand, dyes made in the laboratory: 1) do not depend on growing seasons; 2) do not have to be ground or chipped to be made usable; 3) are, in many cases (e.g., indigo), chemically the same as the natural dyes; and 4) since they are manufactured in pure form, are unaffected by the impurities that reduce the quality or effectiveness of their natural counterparts.

However, unlike synthetic dyestuffs, natural dyes produce what can be described as unique colors. They can never be duplicated exactly, and this undoubtedly adds to their appeal. No two natural dye lots are identical for the simple reason that each is going to contain impurities peculiar to the plant material from which the dye is produced; therefore, the very characteristics of natural dyes which made them obsolete also make them appealing to many craftsmen of today.

An enormous range of dyestuffs can be obtained from the manufacturers of chemical dyestuffs. They are still often referred to as "coal tar dyes" or, perhaps more commonly, "aniline dyes," because the early materials were prepared from aniline and many of the intermediates required in their manufacture are obtained by the distillation of coal tar. See also: ACID DYES; BASIC DYES; DIRECT DYES; LAKE; PIGMENT.

citations: Adrosko, Rita J. Natural dyes in the United States. Washington, D.C. Smithsonian Institution Press. (United States National Museum Bulletin 281). 1968.

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

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


dyed white

norm: dyed white

text: The neutralized or "corrected" white paper produced by the addition of blue or red coloring to the bleached pulp.


dyeing

norm: dyeing

text: The art or process of coloring, or altering the color of a material by the addition of another different colored material, in such a manner that the change may be considered permanent. <!-- BEGIN E -->


E.I

letter: E

letter_raw: E

text: An abbreviation of East India, a descriptive term applied to crust, vegetable tanned cowhide (kip), buffalo hide, or skins such as goat, calf or seep, originating in the Indian Subcontinent and tanned in India, mainly in the south, and especially around Madras.

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


EAR OF THE FRISKET

norm: ear of the frisket

text: A projecting piece of iron on the near side of the frisket, by taking hold of which the pressman turns down the frisket, and at the same time the tympan; and as it projects a little beyond the tympan, he also raises the sheet off the form by grasping it and the tympan, and by a quick motion quits hold of the tympan, and turns up the frisket by means of the ear. It is sometimes called the <i>Thumb Piece</i>.


earth colors

norm: earth colors

text: Pigments manufactured by refining naturally colored clays, rocks, and earth, and also the pure iron oxide reds, such as Indian red light red, etc. The iron oxides, although artificial counterparts, are classified with the native red earths. Earth colors are also classified as mineral pigments, along with the manufactured inorganic pigments. They are characterized by good light and heat fastness.

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


EASY PULL

norm: easy pull

text: When the form feels the force of the spindle by degrees, till the bar comes almost to the hither cheek of the press, it is called a Long, or a Soaking, or Easy Pull, and is also called a Soft Pull; because it comes soft and soakingly and easily down.—M.


EASY WORK

norm: easy work

text:
With compositors, printed copy, or a fair written hand, and full of breaks, pleases well, and is called good copy, light, easy work: with pressmen, great letter and a small form is called easy work.—M.

The term is not now generally used: what Moxon describes as relating to compositors would now be termed good copy; and with respect to pressmen it would be called light work, or a light form.


ecclesiastical bindings

norm: ecclesiastical bindings

text: A German style of bookbinding in the medieval fashion which became very popular in England following the marriage of Queen Victoria and Prince Albert in 1840. It was used especially for devotional and theological works. Its principal features included thick, heavy, bevelled boards (occasionally papier-mâché was substituted for wood), which were sometimes bevelled only in the middle of each edge, leaving the corners in full thickness. The books were covered in either calfskin of a khaki or brown color or brown morocco and were heavily tooled in blind or black, often with the medieval thin-thick-thin triple fillet. The bindings had OXFORD CORNERS, bright red edges (or gilt over red, and sometimes dull gilt edges which were then GAUFFERED), heavily rounded spines and marbled endpapers in the Dutch pattern. The books were sometimes fitted with clasps. While the bindings were generally well executed, the unusually heavy boards frequently caused the cords to break, resulting in the text block falling out of the hollow-backed "case." Also called "antique," "monastic," or "divinity" bindings.


edge decoration

norm: edge decoration

text:
A general term used with reference to the application of gold leaf, color, ink, or other medium, or the tooling, painting, or other form of decoration, of one or more edges of a book. See: ANTIQUE EDGES; CIRCUIT EDGES; COLORED BRUSHED TOP; COLORED BURNISHED TOP; COLORED EDGES; COLORED UNDER GILT; FORE-EDGE PAINTING; GAUFFERED EDGES; GILT EDGES; GILT IN THE ROUND; GILT IN THE SQUARE; MARBLED EDGES; RED EDGES; RED UNDER GOLD EDGES; ROUGH GILT; SPRINKLED EDGES;

TOP EDGE GILT; WHITE EDGES.


edge gilding

norm: edge gilding

text: See: GILT EDGES.


edge gilding machine

norm: edge gilding machine

text: A machine, used mainly in edition binding, for gilding the edges of books. The books are placed in the machine and the edges are prepared for gilding in the usual manner. A sheet of gold foil is placed over the edges, and heat and pressure are applied by two heated silicone rubber rollers. The first roller, which is used in conjunction with a sheet of fiberglass, smooths the foil over the edges and insulates the foil from heat until it is under pressure. The second roller then presses directly onto the foil and seals it to the edges. Large numbers of books are edge gilded in this manner, particularly in the Bible publishing business.

citations: Martin, A. G. Finishing processes in printing. New York. Focal Press. 1972.


edge index

norm: edge index

text: A form of the INDEX consisting of marks on the edges of the pages of a book produced by means of printed rules that run to the edge of the sheet (bled) and can thus be seen on the fore edge of the closed book. Edge indexing has the advantage of being part of the printing process, and also allows the use of virtually unlimited headings, as well as adding nothing to the overall cost of binding. Its principal disadvantage is that the user does not know what the mark on the edge refers to while the book is closed.

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


edge marbling machine

norm: edge marbling machine

text:
A machine used for decorating the edges of book in imitation of MARBLING.

The principle of operation is somewhat similar to that of the platen press. The edge of the book is pressed against the printing surface which has been inked by the form rollers. Any design, color, or combination of colors can be used. The machine may also be used for city directories, etc., where advertising matter is printed on the edges.


edge roll

norm: edge roll

text: An engraved finishing tool used to impress a design on the edges of the boards of a book, usually one covered in leather.

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


edge rolled

norm: edge rolled

text: A method of decorating the edges of the boards of a book, usually one covered in leather, in which the edges are tooled in gold or blind by means of an engraved EDGE ROLL.

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


Edge-Rolled

norm: edge-rolled

text: When the edges of the boards are rolled. It may be either in gold or blind.

siglum: MAB

author: Nicholson, James B.

work: A Manual of the Art of Bookbinding


Edge-Rolled

text: When the edges of the boards are rolled, either in blind or in gold.

siglum: ABB

author: Zaehnsdorf, Joseph W.

work: The Art of Bookbinding: A Practical Treatise


edges

norm: edges

text: The three outer extremities of the folded sections of book, usually trimmed and sometimes decorated in some manner. See: EDGE DECORATION.


Edges cut

norm: edges cut

text: A book or pamphlet cut down sufficiently to make all the edges quite smooth.


Edges gilt

norm: edges gilt

text: Book edges cut and gilded.


Edges opened

norm: edges opened

text: A book or pamphlet opened, the folds of the leaves being cut by hand with a paper knife.


Edges red

norm: edges red

text: Book edges cut and colored red.


Edges rolled

norm: edges rolled

text: When the edges of the covers are marked with a roll, either in gold or blind.


Edges rounded

norm: edges rounded

text: Corners rounded to prevent their becoming dog’s-eared.


Edges trimmed

norm: edges trimmed

text: A book or pamphlet with the edges cut enough to make them tidy, but not enough to cut the folds of the leaves.


Edges untouched

norm: edges untouched

text: A book or pamphlet with edges uncut and unopened.


edging

norm: edging

text: 1. The beveling of an edge, usually of a leather covering, but also paper, vellum, etc., by means of an EDGING KNIFE. The purpose of "edging" a leather cover is to prevent the leather turn-in from bulging, especially at the head and tail of the spine. When applied to paper, the term generally refers to the process of cutting or beveling two pieces of paper so that there is no high or low spot where they are joined. In craft bookbinding today, edging of paper is more or less obsolete, having been superceded by the use of long-fibered Japanese copying paper. 2. See: EDGE ROLLED.


edging knife

norm: edging knife

text: A knife made of hardened steel and used to pare the edges of leather on the flesh side, vellum, paper, etc. See also: PARING KNIFE.

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


EDINBURGH

norm: edinburgh

text: Plan of a pair of Cases as used at Edinburgh.

caption: Layout of the Edinburgh case

alt: Layout of the Edinburgh case


edition

norm: edition

text:
1. All of the copies of a work printed from the same type or plates, either issued at one time or at intervals. In the latter case, the edition may consist of a number of impressions. A statement of the edition of a book is often printed on the title page or its verso, along with the particulars of any previous editions on the verso. 2. A number of copies of a work printed at any one time, either when the text has undergone changes or the type has been partially or entirely reset, or the format of the book has been altered. The term is also applied to the copies which made up the original issue, i.e., the "first edition," as well as any subsequent editions, e.g., 2nd, revised, etc. 3. The embodiment of a work in a particular typographical form, with different editions embodying an identical text, or varying texts. 4. One of the various editions of a newspaper. See also: EXTRA-ILLUSTRATED; FINE PAPER COPY; FIRST EDITION; IMPRESSION (5); LARGE PAPER COPY; LIBRARY EDITION;

LIMITED EDITION.

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

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

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


edition binding

norm: edition binding

text:
The business of binding identical books in quantity, usually for a publisher or distributor, as opposed to binding done for an individual and LIBRARY BINDING. Edition binding usually involves the production of a type of binding known as case binding, generally in hard covers. Paperback books and other books with flexible and semi-flexible covers are produced by adhesive binderies, although adhesive binding is by no means unknown in edition binding.

The designation "case binding" or "casebound" indicates that the cover has two distinct characteristics: it is made separately from the book, and it consists of rigid or flexible boards covered with cloth, paper, leather substitutes, and, upon occasion, leather or other materials, in such a manner that the covered material surrounds the outside as well as the edges of the boards.

The major distinguishing characteristic of edition binding is the extensive use of semi-automatic and automatic equipment, some of which operates at very high speeds. This equipment is capable of processing thousands of books in a relatively short time, primarily because all of the books processed in one run are of identical size and format. Because a large, modern edition bindery uses as much automatic (and expensive) equipment as possible, edition runs smaller than about 1,500 copies are not ordinarily handled by edition binderies but by job binders and sometimes even library binders.

The equipment commonly found in a large edition bindery includes:

Blocking presses

Board cutters

Book jacketing machines

Bundling presses

Case-making machines

Casing-in machines

Cloth slitting machines

Cutter-perforating machines

Endpaper-signature stripping machines

Endpaper tipping machines

Folding machines

Gathering machines

Glueing-off machines

Nipping presses

Rounding and backing machines

Saddle-stitching machines

Sewing machines

Three-knife trimmers

Tipping machines

Triple liner and headbanding machines

Wrapping machines (book jacketing machines).

The progression of modern edition binding from purely handwork to a high degree of mechanization followed a course which may be divided into four fairly distinct phases: 1) all processes performed by hand or hand-manipulated tools—about 1780 to 1830; 2) a simplifying and speeding up of the processes while the work is still performed largely with hand tools, a change which was due largely to the pressures exerted by the increased speed of printing presses—1830 to 1870; 3) progressive introduction of machines to handle certain manipulations, e.g., folding, gathering, sewing, etc., with the balance of the processes still being done largely by hand—1870 to 1910; and 4) the present state in which the great majority of the processes are performed by machines, a phase which marks the complete breaking away of the modern industry from the parent craft of hand bookbinding—about 1950 to the present.

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

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

citations: Sadlier, Michael. The evolution of publishers' binding styles, 17701900. New York. Smith. 1930.

citations: Stephen, George Arthur. Commercial bookbindings…London. Stonhill. 1910.

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

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


Edition de luxe

norm: edition de luxe

text: Applied to large paper editions of books, and to special editions which are in fact, or are claimed to be, unusually well and expensively made.


edition deluxe

norm: edition deluxe

text: 1. A "special" edition of work containing items not found in ordinary editions of the same work, such as additional plates (See: EXTRA-ILLUSTRATED), a larger sheet size (See: LARGE PAPER COPY), etc. 2. A so-called superior edition of a work, characterized by a better grade of paper (sometimes handmade), superior typography, a greater or lesser degree of embellishment, sometimes a better quality of binding, and perhaps a limited number of copies (which are sometimes signed and numbered). The "edition deluxe" is as old as printing itself. In the 15th century a certain number of copies of any high quality book would usually be printed on vellum, or colored paper, such as the blue paper copies of Aldus Manutius, and "fine paper" copies, at an elevated price, were common in the 17th and 18th centuries, while large paper copies have been issued for the past three centuries. Although not necessarily considered "edition deluxe," many thousands of books have been specially (and often elaborately) bound for private collectors. 3. A cheap edition called "deluxe" or "deluxe edition," by a publisher for promotional reasons.

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


Edwards of Halifax

norm: edwards of halifax

text:
A distinguished English (Yorkshire) family of bookbinders and booksellers, of whom William Halifax (1723-1808) and his son James (1756-1816) were the most famous. William Halifax was known for his revival of the FORE-EDGE PAINTING and ETRUSCAN CALF bindings, the latter, which, if not evolved by William, were successfully adopted by him. He also used vellum for covering books, and decorated them with painting of portraits or scenes. In order to protect the paintings Halifax developed his own process of rendering the vellum transparent (although he was by no means the first to make TRANSPARENT VELLUM or parchment) by first soaking it in a solution of pearl ash (potassium carbonate (K2CO3)) and then subjecting it to high pressure. The paintings were executed on the underside of the vellum, which was then lined with white paper before being placed on the book. The patent which James Halifax was issued for this process (1785) refers to both the painting of the material, as well as the method of making the vellum transparent: however, it is not entirely clear whether the patent was granted for rendering the vellum transparent, for the paintings themselves, or both. Although it was probably for the vellum process, other techniques for rendering vellum (parchment) transparent were known more than 200 years before his time. His technique was obviously successful, as the colors remain fresh to this day. Having the painting on the underside of the vellum also allows the covers to be cleaned when soiled.

It is known that these bindings were being produced at least as early as 1781 even though the patent was not issued until 1785. There is considerable evidence to indicate that James Halifax was a businessman rather than a craftsman, and, since the books were produced in Halifax at a time when James was elsewhere, it is presumed that William invented the process.

All three specialities seem to have been carried on both in the Edwards' home town of Halifax, where Thomas (1762-1834), another son, was in business until 1826, and in London, where James and John (1785-c 1791) opened a book store in 1784, and Richard (1768-1827) another in 1792. Regardless of its place of origin, however, any binding of the period which approximates any of the three specialities in style, as well as the vellum bindings with blue lettering pieces and key-pattern gold tooling in the prevailing neo-classical style, is apt to be attributed to Edwards of Halifax.

citations: Davenport, Cyril James Humphries. Royal English book bindings. New York. Macmillan. 1896.

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

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


egg albumen

norm: egg albumen

text: The dried whites of eggs obtained usually as a yellowish powder, and used in the finishing of some leathers, as well as for making GLAIR.

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


Egyptian marble

norm: egyptian marble

text: A cover marble executed by coloring the leather covering (before it is attached to the book) with blue, which when dry, is followed by a coating of glair, then potash water (alum). Black is then sprinkled over the leather, and when the black is nearly dry, the leather is washed with water.

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


eighteen-mo

norm: eighteen-mo

text: One-eighteenth of a sheet. The eighteen-mo is an unusual method of imposition resulting in a section of 18 leaves, or 36 pages. One method of producing it is to fold a sheet concertina-wise, followed by an envelope fold, followed by a right angle fold. Although used in book production between about 1770 and 1840, it is seldom, if ever, used in bookwork today. It is, however, sometimes used in advertising work, etc., where the folded sheet is to be untrimmed and remain folded in compact form until unfolded for reading. Also written 18mo. Also called "octodecimo."


EIGHTEENMO

norm: eighteenmo

text:
Octodecimo, a sheet of paper folded into eighteen leaves; it is usually termed eighteens.

Electrotype. See Galvanism.


elasticity

norm: elasticity

text: The capability of a material to recover from deformation resulting from stress. The property is determined more by the ability of the material to return to its initial shape than by its capacity to be deformed or extended. See also: EXTENSIBILITY; STRETCH.

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.


elastin

norm: elastin

text: The yellow connective tissue of the skin which furnishes structural support for the blood vessels, sebaceous and sudoriferous glands, and the like. It is woven in the collagen fibers and makes up approximately 0.3% of the structural protein of the hide composition.

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

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


electric pen

norm: electric pen

variant: electric stylus

text: An electrically heated instrument used over a strip of metallic foil to letter the classification number and/or other bibliographical information on the covers of books.


elephant folio

norm: elephant folio

text: A large FOLIO (1), approximately 23 by 14 inches in size. See also: BOOK SIZES.


ellagic acid

norm: ellagic acid

text: A crystalline phenolic dilactone (Cl4H6O8) obtained from oak galls and bark and probably formed by the hydrolysis of tannin. See also: VEGETABLE TANNINS.


Elliott, Thomas

norm: elliott, thomas

text: A London bookbinder, Elliott was apprenticed to Robert Steele in 1703 and finished his service in 1712. He became bookbinder to Robert Harley, and worked in the HARLEIAN STYLE, which was forced on both him and Christopher Chapman by either Harley, or Harley's librarian, Humfrey Wanley. The books the two produced were solidly bound in a red morocco said to be of an inferior quality.

citations: Nixon, Howard M. Studies in the book trade in honour of Graham Pollard. Oxford. Oxford University Press. 1975.


Elmendorf test

norm: elmendorf test

text:
A standard test for determining the internal TEARING RESISTANCE of paper, named after its inventor, Armin Elmendorf. The Elmendorf test determines the average force in grams required to tear a single sheet of paper after the tear has been started. In conducting the test, one or more sheets are torn through a fixed distance by means of a pendulum. The effort expended in tearing is measured by the loss of potential energy of the pendulum. The scale of the device is calibrated to indicate the average force exerted. If multiple sheets are used, which is necessary if the reading for one sheet would fall below the scale, resistance of one sheet is determined by the formula:

grams of force X 16

-------------------    = grams required to tear one sheet,

number of sheets

where 16 is the conversion factor, unless an augmenting weight is added to the pendulum, in which case the conversion factor becomes 32.

The Elmendorf tester consists essentially of a stationary clamp, a movable clamp carried on a pendulum formed by a sector of a circle free to swing on a ball bearing, a knife mounted on a stationary post for starting the tear, means for leveling the instrument, means for holding the pendulum in a raised position and for releasing it instantaneously, and means for registering the maximum arc through which the pendulum swings when released.

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


Em

norm: em

text: The square of the body of a type.


email en resolle

norm: email en resolle

text: A design consisting of enamel and gold inlaid in glass or rock crystal, and which has been used to a very limited extent as a means of decorating the covers of books. The technique apparently was used by only one person, a French goldsmith, who based his patterns on the engravings of Etienne Delaune. To produce the email en resolle the design is cut into the surface of the ground and then filled with strips of gold leaf. The details of the design are then modeled by very delicate chasing on the surface of the leaf. Translucent colored enamels are then floated over specified areas of the gold.

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.


emblematical bindings

norm: emblematical bindings

text: Appropriate ornaments or symbolical motifs tooled on a leather binding. Some outstanding examples of emblematical bindings were produced, especially in France of the 16th century.

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


embossed

norm: embossed

text: 1. A leaf or leaves of a book which have had letters or a design raised in relief for the purpose of indicating ownership. The leaves most commonly treated in this manner are the title page and page 99, or descending multiples of 11, i.e., page 88, 77, 66, etc. Embossing is more or less obsolete today, as most libraries have come to realize that it is not only expensive but largely ineffective as a means of deterring theft. 2. Paper, leather, cloth, etc., on which a raised or depressed design is imparted for decorative effects. See also: CUIR-BOUILLI. 3. A design in the covering material of a book, usually one covered in leather, but sometimes cloth or paper, which is in relief. 4. Lettering, or a design, which is raised above the surface of the paper of a book. See: EMBOSSING. 5. See: EMBOSSED LEATHER.

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


embossed

text: When a plate is stamped upon the cover so as to present a raised figure or design, it is said to be embossed. Some inappropriately term this kind of work Arabesque.


embossed

text: When a plate is so stamped upon a sheet or cover as to produce a raised figure or design.


embossed leather

norm: embossed leather

text: A leather which has been embossed or printed with a raised design, either in imitation of the grain pattern of some animal, or even unrelated to any natural grain pattern. Cowhide is frequently embossed to give the appearance of another leather, including MOROCCO.

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


embosser

norm: embosser

text: 1. The device (usually hand-operated but sometimes operated by air pressure) used for raising letters or a design on the surface of paper, usually for purposes of establishing ownership. See: EMBOSSED (1). 2 The operator of such a device.


embossing

norm: embossing

text:
1. The process of raising a surface pattern on leather by means of engraved cylinders or plates, generally employing both heat and pressure. The patterns produced are often simulations of the grain patterns of some animal skins but may also be unrelated to any natural pattern. One roller or plate, in which the design is engraved, is made of steel, while the other, having a softer surface, is made of cotton or papier-mâché. The leather is embossed by passing it over a heated, steel cylinder, thermostatically controlled at a pre-set temperature, or in a press, of which there are two basic types: one in which the pressure is applied by a roller mounted on a moving carriage, and another in which pressure is applied to the platen by mechanical or hydraulic means, but without any lateral movement. In both cases the leather is pressed against a heated plate which is either smooth and polished so that the leather is ironed, or engraved to impart an artificial grain pattern. While the latter type of press is designed to employ heavier pressures, the first type is superior in that the movement of the roller causes a small amount of slip, which imparts a more lively character to the leather. On the other hand, the advantage of the mechanical or hydraulic press is that it can dwell at full pressure, which is desirable for producing deep effects in some embossing processes.

It is important that the design embossed in the leather be as permanent as possible. In this regard both the structure of the skin and the type of tannage are important. A very full and tight structure is required. Calfskin gives the ideal structure for the finer leathers and cowhide for the coarser. Vegetable tannage is far superior to chrome because it builds up the fibers to a much greater extent and makes the structure correspondingly tighter.

Embossing of leather is sometimes (and perhaps frequently) a means of simulating the grain pattern of a superior leather on an inferior and/or less expensive skin. An example of this would be a calfskin embossed in imitation of MOROCCO.

2. The process of imparting a raised or depressed design in paper: 1) by passing the paper between an engraved steel roll or plate and another roll or plate of a soft or compressible material, such as paper or cotton; 2) by pressing the paper between strong, coarse fabrics; or 3) by passing the paper between etched male and female iron or steel rolls. The operation is used to create decorative effects and is generally applied to book, blotting, or cover papers. Plate or spot embossing is a method by which individual designs, as distinguished from all-over patterns, are embossed. This technique is accomplished by means of vertical presses, the paper being embossed by placing it between the embossing die and the counter or make-ready of the press and forcing it into the intaglio areas of the die.

3. To impress the marks of ownership into a page of a book by means of a device employing a sunken die and a raised counterpart which raises the design above the paper. See also: PERFORATING. (2) 4. To block the title, author, or other bibliographical information, on the cover of a book. See also: BLOCKING (1). 5. See: BLIND BLOCKING.

citations: Karch, Robert Randolph. Graphic arts procedures. 4th ed. Chicago. American Technical Society. 1970.

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

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

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


embossing plate

norm: embossing plate

text: A metal plate cut or etched below its surface and used to produce a design in relief on a material such as leather or paper.


embossing press

norm: embossing press

text: See: BLOCKING PRESS; EMBOSSING  ; FLY EMBOSSING PRESS.

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

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


embrittlement

norm: embrittlement

text: 1. The drying and solidification of an adhesive to the point where it exhibits fissures and stress cracks under conditions of low impact. Embrittlement may also be a condition resulting from the migration of the adhesive plasticizer into the adherend, or the solidification and stratification of a cast adhesive coating due to exposure to atmospheric conditions. 2. A loss of flexibility, primarily in paper. See: BRITTLENESS.

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


embroidered bindings

norm: embroidered bindings

text:
Books that are covered by material embellished with needlework, following a design made specifically for the purpose of decorating a particular book. Embroidered bindings were and still are produced throughout most of the West, but the art reached its highest achievement in England, where the quality of the bindings was unsurpassed. The earliest known English example is of a 13th century manuscript Psalter owned by Anne de Felbrigge; however, the art reached its pinnacle of development in the first half of the 17th century.

The designs employed for embroidered bindings may be conveniently divided into four classes: heraldic, figure, floral, and arabesque. The heraldic designs were always used to indicate ownership, and were most often found on royal books bound in velvet, rarely on silk or satin, and almost never on canvas. Figure designs may be subdivided into three classes: scriptural, such as Solomon, David, etc.; symbolical, such as figures of faith, hope, and the like; and portraits, such as dukes, duchesses, etc. The scriptural designs were generally done on canvas, while the symbolical and portraits were mainly on satin, and (rarely) velvet. The floral and arabesque designs were usually done on small books bound in satin, but were done occasionally on canvas and velvet.

Gold, silver, and silk threads were used for the best work, and were often protected from wear by bordering ornamentation in higher relief formed by threads of silk wound around closely or loosely with fine flat strips of silver-gilt metal. These and other materials were worked singly or twisted together in a variety of manners and worked in a great number of stitches. At times, particularly in the later periods, flat metal shapes were stitched on to save time. A more attractive APPLIQUÉ WORK technique was to make a spiral of metal which, when flattened, looked like a series of rings, and was sometimes used as a border.

Because canvas is generally considered to be a relatively uninteresting cloth, it was generally worked all over, while when velvet covers were used, large areas were not covered, not so much because of the beauty of the velvet, but because of the difficulties involved in sewing piled material. Applique decoration overcame this problem, but when the designs were actually worked directly on the velvet they were almost always in heavy gimp or gold cord.

The edges of large numbers of embroidered bindings were gilt and gauffered (sometimes with the use of color) in keeping with the ornate character of the binding. Other forwarding techniques appear to have been the same as for leather bindings, although the rounding of the spines was less pronounced. The sections were sewn on strips of vellum or thongs, and, while the latter were sometimes left raised, frequently they were filled in between so as to produce a smooth spine. Later examples were sometimes sewn on cords, which were raised, sawn-in, filled in, or flattened to avoid unevenness.

Embroidered bindings more or less went out of fashion after the 17th century. See PLATE III.

citations: Barber, Giles. Textile and embroidered bindings. Oxford. Bodleian Library. 1971.

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

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

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

citations: Uzanne, Louis Octave. The French bookbinders of the eighteenth century. Translated by Mabel McIlvaine. Chicago. Caxton Club. 1904.

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


EMERALD

norm: emerald

text: The name of a type one size larger than Nonpareil, and one smaller than Minion. It is a size lately introduced.


emery

norm: emery

text: A common, dark, granular corundum containing varying amounts of magnetite or hematite and used in the form of powder, grains, or larger masses, for grinding and polishing purposes.


EMPTY CASE

norm: empty case

text: When a compositor cannot compose any more out of a case, from many of the sorts being exhausted, it is termed an empty case, or he says, my <i>Case is Empty</i>, although there may be a great number of types in it of other sorts.


EMPTY PRESS

norm: empty press

text: A press that stands by, which no workman works at: most commonly every printing house has one of them for a proof press; viz. to make proofs on.—M. The term is now applied to those presses only that are unemployed; the press set apart to pull proofs at is called the Proof Press. See Proof Press.


emulsion

norm: emulsion

text:
A disperse system in which both phases are liquids, one of which is generally water or an aqueous solution, and the other an oil or other water immiscible liquid. The droplets of the dispersed liquid are known as the inner phase of the emulsion because it appears to be inside the liquid medium. The surrounding liquid (the continuous phase), on the other hand, is called the external phase. The dispersion may occur naturally or it may be prepared by mechanical methods (dripping or slowly pouring one of the ingredients into the other while stirring vigorously), or developed as a result of any of several polymerization processes. The liquid in the continuous phase is usually water when the emulsion is designed for pigment coating, as of paper, for example, or for oil penetration, as in the FATLIQUORING of leather. For certain other types of application, the medium may be an organic liquid. To form a stable emulsion, a third ingredient must be present; it is called an emulsifier, or emulsifying agent, and forms absorbed films around the tiny globules of the dispersed fluid to prevent them from coalescing. A common emulsifier is soap.

A familiar, naturally occurring emulsion is whole milk, the inner phase of which consists of globules of butterfat; the external phase is a watery solution of casein, sugar, and other substances. Another natural emulsion is egg yolk, which consists of egg oil in an aqueous solution containing, among other substances, albumen and lecithin; the latter is a lipoid (fatlike) substance that is one of nature's most efficient emulsifying agents. Albumen, also, is a good emulsifier.

Milk and egg yolk are oil in water emulsions. A second type of emulsion is that of water in oil, in which the phases are reversed. An example of this type of emulsion is butter, which has aqueous constituents dispersed in tiny globules throughout the butterfat. Most manufactured emulsions are made by combining the oily ingredient with a colloidal solution, such as casein or albumen; these are not only good emulsifiers, but also confer desirable properties when the emulsion is used as an adhesive.

Emulsions are generally opaque or milky because of the refraction and dispersion of light by the minute droplets, but when dry they become transparent, or nearly so.

In addition to their use in paper and leather manufacture, emulsions are used in edge gilding, gold tooling, and other bookbinding operations.

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


En

norm: en

text: Half the dimensions of the preceding.


en gist

norm: en gist

text: See: BRADEL BINDING,


enamel

norm: enamel

text: 1. An opaque or semi-opaque vitreous composition applied by fusion to the surface of a metal or other substance for purposes of ornamentation and/or protection. See also: CHAMPLEVÉ BINDINGS; CLOISONNÉ BINDINGS. 2. A term applied to a coated paper or to the coating material on a paper.


enamelled

norm: enamelled

text: Originally, a supercalendered printing paper coated on both sides with a pigment such as satin white or blanc fixe; today, enamelled is considered to be any coated paper.

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


enamelled bindings

norm: enamelled bindings

text: See: CHAMPLEVÉ BINDINGS; CLOISONNÉ BINDINGS.


enamelled hide

norm: enamelled hide

text: A vegetable tanned cowhide with a flexible, water repellent, multi-layered coating on the grain side, built up in a manner somewhat similar to that used for patent leather, and given a grain pattern by means of embossing. At one time enamelled hide was a cowhide tanned with bark and finished with a mixture of Prussian blue (ferric ferrocyanide (KFe(Fe(N6))) and linseed oil, dried in an oven and grained.

citations: Waterer, John William. A guide to the conservation and restoration of objects made wholly or in part of leather. 2nd ed. London. Bell. 1973.


enamelled seal

norm: enamelled seal

text: Originally, a Greenland sealskin, tanned with bark or sumac, and treated with a mixture of Prussian blue (ferric ferrocyanide (KFe(Fe(N6))) and linseed oil, and dried in an oven at high temperature. Today the term refers to an imitation sealskin. See: ENAMELLED HIDE.

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


enclosures

norm: enclosures

text: Materials left or placed in a book, either accidently or deliberately, and which, unless removed, may cause damage to the paper, binding, or equipment used in binding, or which may be bound into the volume. Such items include paper clips, bookmarks, cataloging and/or binding instructions, rubber bands, newspaper clippings, leaves, flowers, letters, and the like.

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.


end board

norm: end board

text: See: LOWER COVER.


end leaf

norm: end leaf

text: See: FLY LEAF.


End leaves or Lining papers

norm: end leaves or lining papers

text: Are the sheets which are pasted to the inside of the covers, and are either plain white or colored, according to the style of binding. Marbled papers are largely used on fine leather work. Sometimes in fine bindings the end leaves are made of silk or leather.


end lining

norm: end lining

text: See: PASTEDOWN.


End Papers or Lining Papers

norm: end papers or lining papers

text: The papers, plain or fancy, placed at each end of the volume and pasted down upon the boards.

siglum: BIB

author: Sabin, Joseph

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


end sheet

norm: end sheet

text: See: PASTEDOWN, engine sized. See: BEATER SIZED.


end-leaf paper

norm: end-leaf paper

text: A paper manufacturer's term for the white or colored sheets of cotton fiber and/or chemical wood pulp paper in basis weights of 50 to 80 pounds (25 X 38—500), used for the ENDPAPERS of books. It should have sufficient strength to withstand tearing, especially at the joint, high folding strength, resistance to penetration by adhesives, and a pH between 6.5 and 8.5. The sheets are often printed with ornamental patterns and special or significant designs, e.g., library motifs.


End-Papers

norm: end-papers

text: The paper placed at each end of the volume, a portion of which is removed when the lining-paper is pasted down upon the boards. Also called Waste-Papers.


End-Papers

text: The papers placed at each end of the volume and pasted down upon the boards.


End-Papers

text: papers added at the beginning and end of a book by the binder.

siglum: BCB

author: Cockerell, Douglas

work: Bookbinding, and the Care of Books


End-Papers

text: The papers placed at each end of the volume and pasted down upon the boards. Also, the paper placed at each end of the volume, a portion of which is usually removed when the lining-paper is pasted down upon the boards.


endpapering machine

norm: endpapering machine

text: An edition binding machine that glues sheets of paper folded once only to the first and last sections of a book.


endpapers

norm: endpapers

text:
See illustration</> The units of two or more leaves placed in the front and back of a book between its covers and text block. In rare instances the endpaper may consist of a single leaf. The endpaper at the front of the book is called the front endpaper, while the one at the back is called the off endpaper, or back endpaper. The leaf nearest the cover (after the WASTE SHEET (1), if any, is removed) is called the PASTEDOWN, or board paper, and, along with the recto of the leaf facing it, may be colored, marbled, ornamented; printed with maps, illustrations, scenes from the book, the motif of the library, etc.; or left blank. The leaf or leaves that are not pasted to the board are sometimes referred to as fly leaves, fly sheets, free fly leaves, or waste sheets.

In hand binding the basic purpose of the endpapers is to take up the strain of opening the covers of the book, which would otherwise be on the first and last sections or leaves. This is of particular importance in the case of the upper cover and first section or leaf. The endpapers (specifically the pastedowns) cover the raw edges of the covering material where it is turned over the boards, as well as the inside surfaces of the boards themselves. The free fly leaves protect the first and last printed leaves of the book. In addition, the board papers and fly leaves next to them have long provided a medium for decoration. See: DOUBLURE (1).

In library and edition binding, particularly the latter, the endpapers perform the crucial function of holding the text block in its covers, or case. In many instances, only the endpapers hold the book and case together. In library binding, on the other hand, where the spine-lining material is considerably more substantial than that used in edition binding, the lining assists considerably in this function.

The paper used for endpapers is of considerable importance—not only the quality of the paper but also the manner in which it is used. Its pH should not be less than that of the paper making up the book, and preferably higher, but it should not, in any case, be less than 6.5 or more than 8.5. The BASIS WEIGHT of the paper should be sufficient so that when the adhesive is applied, the moisture will not cause the paper to cockle, as cockling causes problems when the book is later cased-in. Furthermore, thin paper will swell excessively when moist, and then when it dries will shrink and warp the covers. There is also the danger that the adhesive will strike through and cause the board papers and adjacent leaves to stick together.

The grain or machine direction of the endpapers should be parallel to the binding margin of the book; otherwise difficulty will be experienced in casing-in. When the grain of the paper is at right angles to the binding margin, the expansion of the paper is lengthwise, and, because one edge is secured to the text block (either sewn or tipped to it), that edge cannot expand; consequently the paper will buckle along it. If the book is cased and then pressed, these buckled areas will cause unsightly wrinkles on the board papers.

When colored endpapers are used, they should be made with fast colors so that the moisture of the adhesive will not cause the colors to offset onto the leaves of the book. When endpapers are lithographed or printed with maps or illustrations, they, too, should be printed with an ink that will not offset. (It should be noted that when a book with map, or otherwise pertinent endpapers, must be rebound, the endpapers must be carefully removed and rebound with the book, as they generally cannot be reused as endpapers; this step is expensive, and doubly so when the front and off papers are different, which requires that both be retained.)

Marbled endpapers were at one time used extensively, but today their use is confined almost entirely to a limited number of books bound by hand. If marbled paper is used, the same precautions as to grain direction and color fastness should be observed.

The most commonly used style of endpaper construction, at least in edition binding, consists of nothing more than folded sheets tipped to the front and back of the text block. This structure is not altogether unsatisfactory if the book is to receive careful and little use, but it is entirely unsatisfactory for a book that is to be consulted frequently. Since the endpaper is attached to the text block only by a thin line of adhesive, it pulls loose easily leaving only a flimsy spine lining fabric made of crash or gauze holding the case to the book. There is no reinforcement of the joint; consequently, the board paper splits because of the constant bending as the book is opened and closed. These difficulties can be overcome to a certain extent by the use of a cloth joint. Occasionally the tipped-on endpapers are also sewn to the text block, as though they were additional sections. This however, just weakens them even further, because the sewing thread passes through only one layer of paper, resulting, in addition to the normal strain, in a cutting effect of the thread.

Cloth-jointed endpapers may have either concealed or exposed joints. With the concealed joint, the fold of the endpaper is reinforced by a strip of cloth which is attached on the side of the paper next to the text block and the board so that it extends about an inch onto the board paper, thus masking the cloth. The additional stiffness in the joint helps to retain its shape, but it also creates a pull on the first few leaves of the first section because it makes the cover more difficult to open.

Separate leaves of paper are used for the board paper and fly leaf in constructing the endpaper having an exposed joint. They are connected by means of a cloth strip which is visible in the joint. In edition binding, these endpapers are made on a stripping machine, and the reinforcing cloth is generally a thin, smoothly finished muslin. In library binding, on the other hand, where the visible cloth joint is used frequently in adhesive binding, the cloth joint usually consists of a strong, durable (cambric) linen. Cloth-jointed endpapers are attached to the text block in several ways. The simplest is to tip them on, which is a weak method. When the papers have a concealed joint, the folded sheet is tipped to the section and the reinforcement is folded around the endpaper and section. The cloth joint is sewn to the text block along with the section. Another method consists of sewing the cloth joint to the section. The cloth is then folded back and glued over the sewing. The endpaper is tipped on, and the cloth is carried over the endpaper and glued down. Unless the book paper is quite flexible, however, this technique will cause the end sections to open as units rather than as individual leaves.

The Library Binding Institute has promulgated standards pertaining to the construction of endpapers to be used in library binding. The endpaper consists of three fundamental parts: a pasted-down or outward endleaf which becomes the pastedown, at least two free flyleaves, and a reinforcing fabric. For monographs and ordinary periodicals, the paper used in the construction of endpaper must have a basis weight of 60 pounds (24 X 26— 500) and must meet the following requirements:

Folding            Tensile                  Tearing

Endurance          Strength                 Strength

(M.I.T.)*          (Testing Machines, Inc.) (Elmendorf)

Number of          Pounds per               Pounds per

folds              1 inch strip             1 inch strip

With the grain**    200             40                        140

Across the grain    275             25                        144

* Massachusetts Institute of Technology

** In the direction in which the majority of the fibers of a

machine-made paper are oriented.

During the first several centuries of the codex, endpapers consisted of little more than two or four leaves of vellum folded and sewn along with the sections of the book. When paper became the common material for book production, it then became necessary to reinforce the folds of the endpapers. A common type of endpaper, used in the first part of the 16th century, consisted of a fold of white paper employing a strip of vellum for reinforcement. The use of printer's waste for the fly leaves of endpapers was not uncommon during the 16th century.

The practice of reinforcing endpapers began to decline at the end of the 16th century, particularly in commercial binding, partly because there were more small books (where it was thought that reinforcement was not of great importance), and also because it became more and more difficult to obtain waste vellum in sufficient quantities, due to the increase production of books.

When bindings were to have plain white endpapers, it was a common practice to sew on four leaves at each end of the text block. The two outer leaves of each endpaper were often pasted together to create a stronger pastedown, while the two inner leaves were sometimes pasted together to create the "made" flyleaf, commonly associated with marbled or colored endpapers. The doubling of the board papers was done well before the coming of machine-made paper. This practice however, became more important when machine-made paper became prevalent, mainly because early machine-made paper tended to be relatively thin, and therefore weak. All of these techniques died out in the 1830s, after which time the more convenient procedure of making up the endpapers separately from the book became prevalent. Concurrently, it became the usual practice to simply tip the endpapers to the sections instead of sewing them, not only in regular commercial binding but also even in the best leather work.

A widely used method of endpaper construction in the 19th century consisted of pasting a folded white to a folded colored sheet, which was then folded around the free colored sheet to make a waste sheet. A white flyleaf was then tipped on followed by the made endpaper. Another 19th century technique consisted of tipping a folded white sheet to the text block and inserting the white and colored made-up leaves inside up to the fold. This provided a waste sheet, a colored board paper, a "made" leaf which opened all the way back to the fold, and eliminated the drag of the previous endpaper, and the two flyleaves. A variation of this technique used today consists of pasting the colored and white sheets together, tipping a folded white sheet to the remaining white sheet, and then swinging one of the white sheets around the assembly to serve as a waste sheet.

Cloth-joined endpapers were used as early as the 1840s but were generally not sewn in until this century. When they were sewn, the usual method was to overcast them to the first and last sections before sewing the book. Inner joints of leather were used occasionally in Europe as long ago as the 17th century, especially in France, but it was not until the second half of the 18th century that they became relatively common in the best English morocco and Russia leather bindings. The joints of this period, few of which were sewn in, were frequently used with much wider turn-ins than would be considered appropriate today, and were usually heavily decorated with fillets and rolls, as well as small tools.

Watered silk endpapers were used frequently in fine leather binding during the second half of the 19th century and up to World War 11, but are seldom used today. Watered silk has always been used in conjunction with leather joints. See: DRUMMING ON. See also: LIBRARY STYLE ENDPAPER; MADE ENDPAPER; ZIG-ZAG ENDPAPER.

citations: American Library Association. Committee on bookbinding. Binding for libraries. 2nd ed. Chicago. American Library Association. (A. L. A. Library handbook no. 5). 1915.

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

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

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

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

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


ENGLISH

norm: english

text: The name of a type, one size larger than Pica, and one smaller than Great Primer. See Alphabet. Types.


English fibreboard

norm: english fibreboard

text: An English equivalent for that called PASTEBOARD (1) in the United States. It is suitable for small or medium-sized books; however, it has a tendency to warp if too thin a sheet is used for the covers of a large book.

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


English linen

norm: english linen

text: A highly polished linen cloth of considerable strength and durability; it is reasonably permanent if not handled excessively. Also called "legal buckram." See also: LAW BUCKRAM.


English linen or Low buckram

norm: english linen or low buckram

text: A linen cloth, highly polished, well colored, strong, durable, made in England, and costing in this country about 70 cents per square yard. In De Jonge’s list (De Jonge, dealer in leather, book cloths, etc., 69–73 Duane St., New York) it is called Low buckram. We have used it for the backs of books, light and heavy. It promises to stand indefinitely if not much handled. Under handling it grows soft and flabby like other book cloths, though not rapidly, and without losing its strength. We have discarded it for the books on which we first tried it, periodicals subject to much use. It is not easy to letter in gold by hand, and does not hold gold well under wear.


English opacity paper

norm: english opacity paper

text: A paper used where a lightweight paper of good opacity is required. It is made from chemical wood pulp and fillers that afford maximum opacity, and usually contains mechanical wood pulp. It has a smooth machine or English finish, and is produced in basis weights ranging from 25 to 45 poUnds (25 X 38—500).


engraved bindings

norm: engraved bindings

variant: engraved silver silver bindings

text: Book covers decorated with engraved precious metals, usually portraying some Biblical or other religious scene and frequently further adorned with flowers, etc. The medieval custom of enclosing important liturgical works to be used at the alter in covers of precious metals died out in Western Europe during the Renaissance, in favor of richly embroidered velvet and (later) gold-tooled leather bindings. The fashion for silver or filigree, or even enamelled gold covers, however, continued with devotional books for personal use through the 18th century, especially in German-speaking countries, Italy, and Spain.

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.


engraving

norm: engraving

text: 1. The art or process of producing letters or designs on wood, metal, or other substances, by means of cutting or etching, for the purpose of printing or blocking by an intaglio process on paper or other material. 2. An engraved plate, or the impression made from such a plate. 3. An engraved inscription. 4. The process of taking an impression from an engraved plate.