Accents (g).—Small marks placed over, under, or through particular letters, used to indicate pronunciation.

Adams Press (p).—A large platen printing-machine, used for bookwork.

Agate (c).—A small size of type equal to 5½ points. See Point.

Alignment (c).—The arrangement of type in straight lines, also the adjustment of the lines of type so that their ends appear in line, vertically.

All-along (b).—In sewing a book, when the thread is passed from kettle-stitch to kettle-stitch, or from end to end in each sheet, it is sewed all-along.

Alley (c).—The floor space between stands where compositors work.

American Russia (b).—See Cowhide.

Antique Type (c).—Fonts of type of an old or medieval character. The lines of all the characters are nearly uniform as to thickness; the corners square and bold.

Aquatint (e).—A peculiar style of etching on copper or steel in imitation of drawings in sepia or India ink.

Arabic Numbers (c).—The numeral figures as distinguished from Roman characters.

Art Canvas (b).—A book cloth known both as Art Canvas and Buckram.

Art Work (e).—See Retouching.

Ascending Letters (c).—Letters that ascend to the upper shoulder of the type body; as, b, d, f, h, l, etc.

Author's Proof (c).—Proof sent to the author for inspection and approval.

Azure Tools (b).—Used in binding, where the heavy and wide marks, instead of being a solid mass, are made with horizontal lines.

Backing (b).—The process of forming the back in preparing the book for the cover or case, commonly called Rounding and Backing. It is done in three ways; viz. (1) by hand with a hammer, (2) by a hand rounding-and-backing machine, (3) by a steam- or electric-driven machine. Backing Up (p).—Printing the second side of a sheet.

Band Driver and Nippers (b).—Tools used in forwarding, to correct irregularities in the bands of flexible backs.

Bands (b).—The cords on which the sheets of a volume are sewed. When sewed "flexible," the bands show on the back of the book; when bands are let in the back by sawing grooves, narrow strips of leather are glued across the back to look like raised bands.

Bank (c).—A high table or bench with a sloping top; when used for type only it is called a standing galley.

Basket Cloth (b).—This is a fancy weave of cloth, of construction similar to the weaving of wickerwork baskets. It is a novelty binding.

Bastard-Title (c).—The title of a book printed upon a page by itself and preceding the regular title-page.

Battered (c).—Type, electrotype, or engraving accidentally injured.

Bead (b).—An old-time term meaning the head-band, q. v.

Bearers (p).—Strips of metal or wood, type-high, made up with type to sustain impression while proving, or to bear off the impression on light parts, and to carry the rollers evenly over a form in printing.

(c).—Type-high pieces of metal placed around pages or forms to be electrotyped, to prevent injury to the face of the type or the plates in the subsequent processes, and cut away from the plates before printing.

Bed (p).—The flat part of a press upon which the type or form is placed. The part on which the sheet is placed is called the platen, or the cylinder.

Benday Plates (e).—Plates made by laying shaded tints on copper or zinc, and etching them to produce colors or combination of colors when printed.

Beveled Sticks (c).—Strips of furniture wider at one end than the other; they are used with wooden quoins in locking up on galleys and in chases.

Bible India Paper (g).—The thinnest paper made for books, formerly only made in England and Italy; now made in America. A very high-grade stock. See Oxford Bible Paper.

Binder (b).—A temporary cover for periodicals and pamphlets, usually arranged so that it may be taken off and attached to subsequent copies of a publication. A bookbinder.

Black Letters (c).—A style of letter or type characterized by black face and angular outlines. It was designed by the early printers from a current form of manuscript letter.

Blank (g).—A page upon which no printing appears.

Blank Books (b).—Applied to a large variety of books which are bound with blank leaves, or leaves having ruled lines and little or no printing: account books, memorandum books, ledgers, etc.

Blanking (b).—Term employed in reference to stamping. Impression made on cloth or leather by heated brass die.

Bleed (b).—When the margins of a book or a pad of printed sheets have been trimmed so as to cut into the printing, they are said to bleed.

Blind Tooling or Stamping (b).—Impressions of finisher's tools or book-dies without ink or gold-leaf. Sometimes called antique.

Blocking Press (b).—A stamping press for impressing blocks or dies on covers.

Blocks (c).—The wood or metal bases on which electrotypes and engravings are mounted.

(p).—Mechanical devices used on printing-presses for the purpose of holding plates in their proper positions in the form.

Board Papers (b).—The part of the end-papers pasted on the board covers.

Boards (b).—Applied generally to many kinds of heavy cardboard. A book with stiff sides covered with paper of any color is said to be bound in paper boards.

Bock Morocco (b).—A term given to a leather made of Persian sheepskin, finished in imitation of morocco.

Bodkin (c).—A sharp tool, like an awl, used for picking out letters from a body of set type, when making corrections.

Body (c).—The shank of a type as determining its size.

Bold-face (c).—A heavy-faced type, used for contrast. It is also known as Full-face.

Bolt (b).—The closed ends of leaves of an uncut book which presents a double or quadruple fold.

Book Cloth (b).—Cloth used for making covers or cases for books. It is made by special processes and in many different grades and patterns. See also Cloths.

Borders (c).—Ornamental characters cast in type, the pieces being adjustable in lines, or designs to surround pages, panels, etc.

Bourgeois (c).—The old-style name of a size of type equal to 9-point.

Boxes (c).—The small compartments of a type case.

Box-head (c).—A column heading in a ruled table. Any heading enclosed in rules.

Brass Rule (c).—Thin strips of brass, type-high, of different thicknesses and many styles of face—used for straight lines, column rules, etc.

Brasses or Brass Boards (b).—Boards made for pressing books, called by these names because of the narrow brass strips on the edges by which the grooves are formed at the joints or hinges of the cases.

Brayer Roller (c).—A small hand roller for distributing ink.

Break-line (c).—A short line—the last line of a paragraph.

Brevier (c).—The old-style name of a size of type equal to 8-point.

Brochure (b).—A pamphlet, an unbound book of which the sheets are held together by sewing only.

Buckrams (b).—These are the heavier weaves of cloth finished like Linens. They should be used whenever the books will receive more than ordinary wear.

Buffing (b).—The layer of cowhide taken off in buffing or splitting the hide.

Bulk (g).—The thickness of a book before the covers are put on.

Bundling (b).—The process of pressing and tying together signatures or folded-and-gathered books for the purpose of (1) ejecting air and making them solid, (2) for convenience in handling.

Burnished Edges (b).—Edges which, after being colored, are made smooth and bright by a tool especially made for polishing the surface.

C Pattern (b).—Embossing on book cloth of small, pebble-shaped figures, scarcely larger than the head of a pin.

Cabinet (c).—A frame for holding type cases.

Calendered Paper (g).—See Super-calendered Paper.

Calf (b).—Leather made of the skin of a calf. It has a smooth, uniform surface.

Cameo Paper (p).—A dull-surface coated paper on which most artistic effects may be secured in printing from halftone plates.

Canceled Matter (c).—Set-up type or plates which have been suppressed or killed.

Cancels (b).—Printed leaves containing errors, which have to be cut out and replaced with corrected pages.

Cap (c).—An abbreviation of Capital. Caps and Small Caps are contained in the upper case, and are called upper-case letters.

Caps (b).—Paper coverings used to protect the edges while a book is being covered and finished. Also the leather covering the headband.

Caption (g).—The title-line placed below an illustration.

Caret (c).—A sign or mark used in proofreading and writing to show that a letter or word has been omitted.

Case (b).—The cover of a cloth-bound book.

(c).—A shallow, open wooden tray, divided into small compartments, in which the types are placed.

Case Binding (b).—A method of binding books in which the case or cover is made separately and afterwards fastened upon the book.

Cast Proof (c).—See Foundry Proof.

Catch Word (c).—A word placed under the end of the last line on the page of some old-time books, the word being the same as the first word on the next page; a "carry over" or direction word.

Center Tools (b).—Tools cut for ornamentation of center of panels and sides of book covers.

Chase (c).—The iron frame in which type and other matter is locked up for the press, or for sending to foundry.

Chased Edges (b).—See Goffered Edges.

Circuit Edges (b).—Bibles and prayer-books are sometimes bound with projecting covers turned over to protect the edges. These are circuit or divinity edges.

Clarendon Type (c).—A bold-faced, condensed antique with a bold bracketed serif, used in display work. Clasp (b).—A hook or catch for fastening the covers of a book together, usually at the fore-edge.

Cloth (b).—A stiffly sized and glazed variety of cotton or linen cloth—usually colored and decoratively embossed.

Cloth Boards (b).—Stiff cloth covers.

Coated Paper (p).—An art paper coated or covered with some mineral substance such as china clay, etc., on which halftone cuts are printed.

Collating (b).—Examining the signatures after a book is gathered, to see that they are arranged in correct order.

Colophon (g).—An emblematic device, or a note, especially one relating to the circumstances of production, as the printer's or scribe's name, place, and date, put at the conclusion of a book or manuscript.

Column Rules (c).—Strips of brass rule used to divide columns of type.

Combination Plates (e).—Black only—Plates made by the use of two or more halftone or line negatives, the films stripped together and printed and etched on one copper or zinc plate. Color—Plates made by the use of a key-plate and color plates, either halftone or line, to be printed in two or more colors.

Combs (b).—Instruments with wire teeth used in marbling. The colors being upon the surface, the comb is drawn across a portion in such a way that a new pattern is developed.

Common Cloths (b).—Before receiving the final coat of color this cloth is dyed. The thready appearance so noticeable in the linen-finished cloths is less apparent in Commons on account of the dye and extra coloring.

Composing Stick (c).—A flat, oblong tool, made of polished steel, in which the compositor places the type as he takes it from the case.

Composition (c).—That part of the work of printing which relates to typesetting, and making up.

Compositor (c).—One who sets type.

Copper-thin Spaces (c).—Very thin spaces made of copper, used in the spacing and the justification of type.

Copy (c).—The matter or manuscript to be set up in type by the printer.

(e).—Subjects to be reproduced by the engraver.

Corners (b).—(1) The material covering the corners of "half-bound" books, (2) the triangular tools used in gold- or blind-tooling.

Correcting (c).—Changing wrong words, letters, types, etc., or adding new matter in type that has been set.

Cowhide (b).—A thick, coarse leather made from the skin of a cow, commonly known as "American Russia" or "imitation Russia." It has a slight grain, and is tough and strong.

Cropped (b).—When a book has been trimmed down too much, it is said to be cropped.

Cross-bars (c).—The bars which divide a large chase into sections. Crushed Levant (b).—Levant morocco with the grain crushed down till the surface is smooth and polished.

Cut (g).—An obsolete term for an engraving. See Engraving.

Cut-in Side Note (c).—A note set into the side of a page of printed matter.

Cylinder Press (p).—A printing-machine which gives the impression by means of a cylinder instead of a platen.

Dandy (g).—A roller affixed to paper-making machines. The wet web of paper carried on the endless wire of the machine passes under this roller and is pressed by it. It gives the laid or wove appearance to the sheet, and when letters, figures, or other devices are worked in fine wire on its surface it produces the effect known as water-marking.

De Luxe (g).—A term applied to books manufactured with superior materials, and with unusual care and expense.

Dead Matter (g).—Type or plates for which there is no further use.

Deckle-edges (g).—The rough, natural edges of hand-made paper. Deckle-edges are also formed on two edges of machine-made paper. They are poorly imitated by cutting or tearing paper.

Dedication (g).—An address prefixed to a literary composition, inscribed to a patron or a friend as a mark of respect or affection.

Deep Etching (e).—Additional etching made necessary to secure proper printing depth where this cannot be accomplished by routing, and usually caused by the use of dense black lines, or line negatives and halftone negatives being combined in one plate.

Dentelle (b).—A fine, tooled border resembling lacework.

Descending Letters (c).—Letters that descend below the type body, as g, p, q, etc.

Devil (g).—The printer's errand boy or apprentice.

Dies (b).—Brass, zinc, or heavy electro plates used for embossing or stamping on covers the lettering and ornamental designs.

Display (c).—Composition in which different styles or sizes of type are used, such as on a title-page.

Distributing (c).—Returning types to their respective boxes.

Divinity Calf (b).—A dark-brown calf binding, decorated with blind-stamping and without gilding.

Divinity Edges (b).—See Circuit Edges.

DoublÉ (b).—The ornamented inside of the cover of a book, made with tooled leather, silk, or other material. Also termed doublure.

Doubletone Ink (p).—An ink in which the linseed oil medium, ordinarily transparent, is tinted with a lighter shade of the color. When this sinks into the paper, it automatically prints a second shade.

Drop-folio (c).—A page number, placed at the bottom of a page.

Duck (b).—Often called Canvas. A heavy cotton cloth, firmly woven and smooth. It is a desirable cloth for heavy books.

Dummy (g).—Pages of a book put together so as to show the general format of the finished book. Duodecimo (g).—When a sheet of book paper is folded in twelve leaves it is called a duodecimo or 12mo.

Duograph (e).—Two halftone plates made from one copy, and usually printed in black and one tint, or two shades of the same color, the two plates made with different screen angles.

Duotype (e).—Two halftone plates made from one copy, both from the same negative and etched differently.

Edition Work (b).—Books bound in large numbers, as distinguished from single books or jobbing.

Electrotype (el).—A replica of composed type, plates, etc., forming a printing surface. This is produced by covering an impression made from the set type, etc., in wax or similar substance, with a galvanic coating of copper which is afterwards backed up by an alloy.

Em (c).—The square of any type body.

Embossing (g).—The process of stamping leather, cloth, or paper with a plate for the purpose of producing a raised or relief effect.

Embossing Plate (e).—A plate cut or etched below the surface for the purpose of raising the image of the printed surface.

En (c).—One half the width of an em body.

Enameled Paper (g).—See Super-calendered Paper.

End-papers (b).—Usually known to the public as fly-leaves. The white or colored sheets placed by the binder at the beginning and end of a volume, one-half being pasted down upon the inside of the cover.

English (c).—The old-style name of a size of type equal to 14-point.

English Finish Paper (g).—A finished-surface paper, with a duller surface than super-calendered.

English Linen or Low Buckram (b).—A linen cloth, highly polished, well colored and durable.

Engraving (g).—A picture or design cut or etched on metal or wood.

Etching (e).—A process of engraving in which the plate after being varnished is smoked, and the design or drawing is then cut through the varnish, afterwards being treated with acid which eats into the exposed parts of the metal.

Extra Binding (b).—A trade name for the hand-sewed and hand-bound book.

Extra Cloths (b).—These in the plain finish and the various patterns are largely used for binding works of fiction, and are among the most expensive grades of book cloth. The fabric is heavily coated with color, entirely concealing the weave, producing a solid color surface.

Extract (g).—A passage taken from a book or work; a quotation, excerpt, citation.

Fanfare (b).—A style of binding in which there is great profusion and repetition of flowers, foliage, and other small ornaments.

Figure (b).—A cut or diagram inserted in printed text. Fillet (b).—A cylindrical instrument upon which simple lines are engraved, used in finishing.

(c).—A rule with broad or broad and narrow lines.

Finisher (el).—A workman who performs the final operations in plate-making.

(b).—The workman who does hand-tooling, and performs the final operation or finishing on extra-bound books.

Finishing (b).—The part of a binder's work which consists in lettering and ornamenting the cover.

FL Pattern (b).—Embossing known as Fancy Line. A special design and very popular for diaries, blank books, and other similar lines.

Flexible (b).—When a book is sewed on raised bands and the sewing thread passed entirely around each band. A term applied also to the covers of the book, as for example, full flexible or entirely limp or semi-flexible, when a thin board or heavy paper is used in making the cover.

Floret (c).—A flower or leaf-shaped ornament.

Fly-Leaves (b).—The leaves at the beginning and end of a book. See End-papers.

Foil (b).—A special product, neither gold nor ink, used in stamping the lettering and ornamentation on covers.

Folder (b).—A mechanism for folding book and periodical sheets. A small flat piece of bone or ivory used in folding and in other ways. The first is more properly called a folding machine.

Folio (g).—A sheet of book paper of approximately 18 × 24 inches size when folded in two leaves is called a folio.

(c).—A page number.

Follow Copy (c).—Means that the compositor should follow exactly the copy supplied by the author or publisher as regards punctuation, capitals, etc.

Font (c).—A complete assortment of types of one size.

Footnote (g).—A reference or explanation at the bottom of a page. As a rule this is set in type several sizes smaller than that of the text.

Fore-Edge (b).—The outer side of a book.

Form (g).—A page or number of pages or plates locked up in a chase ready for the press.

Format (g).—The bibliographical term for the physical size, shape, and appearance of a book.

Forwarding (b)—An expression covering the operations performed in binding a book by hand up to the time when it is sent to the finisher for tooling, etc.

Foul Case (c).—When the type is badly mixed up in the case by distributing, the case is called foul or dirty.

Foul Proof (c).—A proof-sheet containing the author's corrections.

Foundry (el).—The department where the electrotypes are made from the types set in page form.

Foundry Proof (c).—A proof of the type page after it has been corrected and is ready for an electrotype cast to be made from it. Sometimes called Cast Proof.

Four-color Process Plates (e).—Same as the three-color process (q.v.), with the addition of a gray or black plate.

Frame (c).—A stand to support the type cases when used by the compositor.

French Morocco (b).—A quality of Levant Morocco, having usually a less prominent grain.

Front Matter (g).—That which precedes the main text of a printed book; e.g., Bastard-title, title-page, contents, preface, etc.

Full Binding (b).—A book which is entirely covered with leather is said to be full-bound.

Full Face (c).—See Bold Face.

Full Gilt (b).—A book having the edges of the leaves gilded on head, front, and tail is said to be full gilt.

Furniture (g).—Pieces of wood and metal for filling blank spaces in pages, and between and around pages in a form, etc.

Galley (c).—The shallow tray, either all brass, or wood, brass, or zinc, made in many sizes, used to hold type after the lines have been taken from the composing stick; usually has a thin brass bottom with three perpendicular sides a little more than half an inch high.

Galley Press (c).—A roller apparatus for taking proofs of type while on the galley.

Galley Proof (c).—An impression from the type while still in the galley.

Galley Rack (c).—A receptacle for galleys when filled with set type.

Gathering (b).—Collecting the folded sheets of a book according to the order of the signatures and pagination.

Gauge (c).—A piece of wood or metal to determine the length of pages. Also a piece of wood, card, or metal (usually a quad) pasted to the tympan sheet as a guide to feed sheets to; a feed-guide.

Get In (c).—To take a word or syllable into the line by thin-spacing.

Glair (b).—The whites of eggs beaten up and used in finishing and gilding the edges of the leaves.

Goffered Edge (b).—An indented, decorative design on the edges of a book. An old fashion in bookbinding, applied to gilded or silvered edges.

Gordon Press (p).—A small, platen printing-machine used for job printing.

Gothic (c).—The simplest of all styles of type. It is without serif and evidently an imitation of the old lapidary characters of the Greeks and Romans.

Grain (b).—The outer side of a piece of leather from which the hair has been removed.

Great Primer (c).—The old-style name of a size of type equal to 18-point. Grippers (p).—On a job press, the iron fingers attached to the platen which take the sheet off the form after each impression; on printing cylinders, the apparatus which catches and carries the sheet around to the impression.

Guarded Signatures (b).—Signatures with cambric pasted around the outside back edge for the purpose of strengthening the paper and binding. Often done on the first and last signatures of a book because of the extra strain at those points.

Guard-line Proof (c).—See Foundry Proof.

Guinea Edge (b).—The edge of a book rolled with a pattern similar to the milled edge of an old guinea coin.

Gutters (p).—The inside back margin of a book; opposite of front margin.

H Pattern (b).—Embossing on book cloth of small diamond-shaped figures.

Hair-space (c).—Any space thinner than one-fifth of an em.

Half-binding (b).—When a book is covered with leather on the back and corners, and the sides covered with cloth or paper, it is said to be half-bound, half-morocco, half-russia, half-calf, etc.

Half-leather Binding.—A binding which consists of leather back and paper sides.

Half-title (g).—The title of a volume, appearing above the text on the first page, or on a separate leaf immediately preceding the first page of text. Sometimes wrongly used synonymously with Bastard-title (q.v.).

Half-tone (e).—A style of engraving, made by etching a plate of polished copper.

Halftone, Direct (e).—A halftone to produce which the screen negative is made by direct exposure from the article itself, and not from a photograph or drawing.

Halftone, Highlight (e).—A halftone plate in which the elimination of the dots in the highlights is accomplished by a photo-chemical process instead of by cutting them out with a tool.

Halftone, Outlined (e).—A halftone with the background outside of the object entirely cut away, leaving a definite edge without shading or vignetting.

Halftone, Outlined and Vignetted (e).—A halftone in which part of the background is cut away and part vignetted.

Halftone, Square Plate (e).—A halftone in which the outside edges are rectangular and parallel, may be with or without single black line border.

Halftone, Two-color (e).—Two halftone plates, either or both plates an etched plate containing parts or all of the design, to be printed in two contrasting colors.

Halftone, Vignetted (e).—A halftone in which one or more of the edges of the object are shaded from dark tones to pure white.

Hand Letters (b).—Letters made usually of brass, so that they may be heated, and affixed singly in a handle, for lettering covers, etc. Hand-Tooling (e).—Any work done by use of a tool upon the plate to increase the contrast of the etched plate.

Hanging Indention (c).—Where the first line of the matter is the full width of the measure, and indents one or more ems on the left all the lines following. Sometimes called "Reverse Indention."

Head and Tail (b).—Top and bottom of a book.

Head-band (b).—A small ornamental accessory fixed to the head and tail of a volume inside the back to give it greater strength and a more finished appearance. It was originally part of the sewing.

Head-piece (g).—A decorative engraving placed at the top of the first page of text in a book, or at beginning of each chapter.

Height to Paper (c).—The extreme length of a type from its face to its foot.

Hub (b).—A thick band on the back of a large blank book.

Imitation Russia (b).—See Cowhide.

Imposing Stone (c).—The flat surface upon which forms are locked up for the press; usually of polished stone, but now often made of iron.

Imposition (c).—Arranging pages in a chase and preparing them in a form for the press.

Imprint (g).—The name of the printer or publisher affixed to his work.

In Boards (b).—When a book is cut after the boards are in place to form the sides, it is cut in boards. When cut before the boards are affixed it is out of boards, with projecting covers. Most books are bound in the latter manner.

Indent (c).—To put a quad at the beginning of a line, as at the first line of a paragraph.

Indention (c).—Indention is the leaving of a blank space at the beginning of a line to mark a change in the subject, or the importance of a particular portion of the matter, thus forming a paragraph.

India Paper (g).—A thin, soft, absorbent paper, made in China and Japan, and imitated in England and the United States, used for the finest impressions of engravings. See also Bible India Paper.

India Proof (e).—An early choice impression of an engraving taken on India Paper.

Inferior Letters or Figures (c).—Small characters cast on the bottom of the line or for footnote references.

Ink Fountain (p).—A reservoir for holding ink, and attached to the press.

Inlay (b).—Cloth, paper, or leather set into the cover of a book flush with the surface.

Insert (g).—An illustration or map, printed separately from the text, but pasted in the book.

Inset (b).—When one sheet is placed inside of another, both being folded, the first sheet is said to be inset. Also, a picture set into the front cover of a book is said to be an inset.

Intaglio (g).—A word adapted from the Italian, signifying an image engraved into and sunken below the surface containing it; for example, a seal, having its design cut into its surface so that, when impressed in wax, the design will be in relief.

Italic (c).—A style of type, designed by Aldus Manutius, said to be in imitation of the handwriting of Petrarch.

J Pattern (b).—Embossing on book cloth of pebble design larger than C pattern. The figure is slightly elongated.

Jackets (g).—The printed or unprinted wrappers folded around a bound book for protection.

Jansen (b).—Without line or ornament in blank or gold. Ornamentation is allowed on the inside of the cover, but absolute plainness is demanded on the outside, except lettering.

Japan Paper (g).—Paper made in Japan from the bark of the paper-mulberry.

Jogger (p).—An attachment to the delivery table of a press to straighten up sheets as they are printed. To jog up sheets is to straighten them up in an even pile.

Joints (b).—The part of the cover where it joins the back on the inside, forming a kind of hinge.

Justify (c).—To space out lines to the proper length and tightness.

Keratol or Buffinette (b).—A water-proof cloth made in imitation of leather. It is excellent for the sides of books when there is much wear, as it does not show water or finger marks. It outwears the majority of cloths.

Kerned Letters (c).—Those which have part of the face projecting over the body.

Kettle-stitch (b).—The stitch made at the head and tail of a book, a chain-stitch.

Kip Calf (b).—Made from the skin of a heifer, and stronger than ordinary calf.

L Pattern (b).—Embossing on book cloth known as Levant and somewhat resembling Leather.

Laced In (b).—When the boards are fastened in a book by means of the bands being passed through holes in the boards, they are laced in.

Laid Paper (g).—A book paper having lines water-marked or running through it at equal distances, the lines being made by the pressure of the wire screen during manufacture.

Law Binding (b).—A plain style of leather binding used for law books; also called law calf.

Law Calf (b).—Calf leather that is uncolored, in the natural state, pale brown.

Law Sheep (b).—Sheepskin left wholly uncolored, used for binding law books. Leaders (c).—Dots or short dashes set at intervals in lines to guide the eye across to figures, etc., as in a table of contents.

Leads (c).—Thin strips of metal, cast in various thicknesses (2-point is most common) and less than the height of type, to separate lines, etc.

Leatherette (b).—Cloth or paper prepared in imitation of leather.

Legend (g).—See Caption.

Letterpress Printing (p).—That done from type, as distinguished from presswork from plates, engravings, etc.

Levant Morocco (b).—Morocco leather made from the skin of the Levant goat, having a larger grain than Turkish morocco leather. See Morocco.

Library Buckram (b).—Is a special heavy weave suitable for law book and library bookbinding. It is dyed and covered with a light coat of color.

Ligatures (c).—Two letters tied together and cast on one body, fi, fl, ff, etc.

Limit Page (g).—A special page to indicate that the edition is limited.

Limp (b).—Leather or cloth bindings which are flexible and bend easily, in distinction from boards or stiff covers.

Line-plates (g).—Etchings in relief on plates of zinc or copper, reproduced from pen-and-ink drawings by photo-mechanical process.

Linen Cloths (b).—Styles X and B are known as Linens. The fabric receives a light coat of color, not enough to conceal the weave. Their popularity is largely due to the thready appearance.

Lining (b).—A term applied to cased books to indicate the re-enforcement of head-band, super or crash, and paper which are applied with glue and paste to the back of books before they are put into covers.

Linotype (c).—A machine for setting type, casting it in lines instead of single characters.

Lithograph (c).—A print from a lithographic stone.

Live Matter (c).—Type or other matter in preparation or ready for printing.

Locking Up (c) (p).—Tightening, by means of quoins, the type and material in a form, so that it will lift in a solid mass.

Logotypes (c).—Two or more separate letters or a complete word cast as one piece.

Long Primer (c).—The old-style name of a size of type equal to 10-point.

Lower Case (c).—The case that contains the small letters, figures, points, and spaces.

Maiole (b).—A binding generally composed of a framework of shields or medallions with a scroll design flowing through it.

Make-up (g).—(1) The quantity of signatures or illustrations or books needed to complete an order or edition. (2) The layout of the book showing the order of pages and illustrations.

(c).—To arrange lines of type into pages of proper length, with page numbers, head-lines, etc.

Making Margins (p).—Putting furniture and other material around and between pages in a form, so that when printed they will be properly imposed upon the sheet.

Making Ready (p).—Preparing a form on the press for printing, by giving each part the proper impression, making overlays, setting gauges, etc.

Marbled Calf (b).—Calfskin so treated with acid that it resembles marble.

Marbling (b).—A process of decorating sheets of paper and edges of books with variegated colors in irregular patterns.

Matrix (c).—A plate of metal, usually of copper, suitably formed to mold the face of a type.

Matter (c).—Composed type. Open matter is wide-leaded, or has many break-lines; when set by piecework it is fat. Solid matter is without leads; with few or no break-lines is lean in piecework.

Measure (c).—The length of the type line; the width to which the composing stick is set.

Metzograph (e).—A halftone made by the use of a grained screen instead of a cross-line screen.

Mezzotint (g).—A copperplate engraving in which the entire surface of the plate is slightly roughened, after which the drawing is traced, and then the portions intended to show the high-lights and middle-lights are scraped and burnished, while the shadows are strengthened.

Mill Board (b).—A thick, heavy card, used for making book covers.

Minion.—The old-style name of a size of type equal to 7-point.

Miter (c).—To chamfer or bevel the ends of rules in order that they may join closely in forming a border.

Mitered (b).—When the cover of a book is ornamented with straight lines which meet each other without overrunning, it is said to be mitered.

Modern Type (c).—A class of Roman type, of which the leading forms are: broad-face, Scotch-face, French-face, thin-face, bold-face.

Molders (p).—The set of electrotype plates kept in reserve, from which to mold new plates as the workers become worn on press.

Monotype Caster (c).—A machine for automatically casting type in single characters.

Monotype Keyboard (c).—A machine for setting type.

Morocco (b).—A leather made from goatskins; it is tanned with sumac. The texture is very firm though flexible. The grain, of which there are many varieties, is produced by rolling and folding; this process is called graining; genuine morocco makes the most durable bookbinding.

Mosaic (b).—A design inlaid with different colors.

Mottled Calf (b).—A light-brown calfskin, mottled by treatment with acid.

Negative Etching (e).—A plate from which the blacks of the original copy will print white and the whites will print black.

News-tone (e).—A name sometimes given to coarse-screen halftones, always etched on zinc and used mostly for newspaper work. Also known as "quartertone."

Nonpareil (c).—The old-style name of a size of type equal to 6-point.

Octavo (g).—A sheet of book paper about 18 × 24 when folded in eight leaves is an octavo or 8vo.

Off (p).—Signifies that all the sheets for a form have been printed.

Off its Feet (c).—When type does not stand squarely on its base.

Offset (g).—A transfer of ink or color to another page or sheet of paper.

Offset Printing (g).—A method of putting ink on paper through the process of chemical or surface printing, rather than through the process of relief or impressional printing. It is based, like lithography, upon the principle that oil and water will not mix. The design is transferred to a thin zinc or aluminum plate, which takes the place of the stone in lithography. The transfer ink is of a greasy consistency, having an affinity for zinc or aluminum, and a repellent attitude toward water. In the operation of the press, the plate is clamped around the cylinder, and two sets of rollers pass over it. The first set is moistened with water, and its function is to dampen the entire surface of the plate except where the design appears, the greasy consistency of which repels the water. Inking rollers pass over the plate immediately following the water rollers. The dampness on all parts of the plate except at the design points repels the greasy consistency of the ink, and allows a deposit of surplus ink upon the design, due to the similar consistency of the two ingredients. The design is then printed onto a rubber blanket, which is clamped around a second cylinder, and is reprinted or "offset" onto the paper, which passes between this second cylinder and a third cylinder.

Old-style Type (c).—Reproductions of the styles of early printers: the Caslon, Baskerville, French, Elzevir and Basle.

Out (c).—A word or more omitted by mistake in composing.

Out of Boards (b).—See In Boards.

Out Page (b).—The first or signature page of a sheet.

Outset (b).—A four-page sheet folded round a signature.

Overlay (p).—A piece of paper put on the tympan to give more impression to a letter, line, or part of an engraving.

Overrun (c).—To take words backward or forward from one line to another in correcting.

(p).—To print beyond the number ordered.

Oversheets (g).—The signatures or sheets remaining after an edition is completely bound.

Oxford Bible Paper (g).—A thin, strong, opaque printing paper, made in England, on which Bibles and other large volumes are printed when a small bulk is desired. See also Bible India Paper.

Packing (p).—The sheets of paper, card, etc., used to make the tympan; this term is applied to the covering for cylinders.

Page (g).—One side of a written or printed leaf.

(c).—Type, or type and illustration properly arranged for printing on one side of the leaf of a book.

Page-cord (c).—Twine used to tie up pages.

Page-Proof (c).—An impression of the type after it has been made up into page form.

Parchment (g).—A paper-like sheet made from the skins of sheep or goat. The skins are first soaked in lime to remove the hair, and then are shaved, washed, dried, stretched, and ground with fine chalk, or lime and pumice-stone. Paper parchment, or vegetable parchment, is made by chemically treating ordinary paper. See also Vellum.

Persian Morocco (b).—A kind of morocco made from the skins of hairy sheep called Persian goats.

Photo-engraving (g).—The reproduction of engraved plates by means of photography, for use in printing.

Photogravure (g).—Intaglio plates on copper for the reproduction of paintings, etc., in monochrome. "Photo-Intaglio" and "Photogravure" are essentially synonymous terms, the latter being the French equivalent of the former. Technically, however, "photo-intaglio" means a halftone engraving, the design of which is etched into the plate, leaving the ground (i.e., the whites) of the picture on the surface, instead of in relief with the whites etched down below the surface. The term "photogravure" is applied to a similar engraving in which the effects of light and shade are produced not by dots and stipples produced through a halftone screen, but by variations in depth of the depressions in the form of grain. In printing these plates the ink is run into the depressions, and the surface then wiped clean before being impressed upon the paper.

Pi (c).—Type mixed up and in confusion.

Pica (c).—A size of type equal to 12-point. It is the standard of measurement for leads, rules, furniture, and also for width and length of pages. Six picas equal, approximately, one inch.

Picking for Sorts (c).—Taking type out of one page to use in another, when type is scarce.

Pigskin (b).—Leather made from the skin of the pig. It is very tough and wears well.

Planer (p).—The smooth-faced block used to level down the face of a form.

Planogravure (e).—A form of engraving printed from a flat surface.

Plate (b).—Any full-page illustration printed on paper different from the book is termed a plate.

(el).—An electrotype.

Platen Press (p).—That style of press which gives the impression from a flat surface—the hand press, Adams press, and nearly all small job presses; distinctive from the cylinder machine.

Point (c).—The unit of measurement of type, approximately 1/72 of an inch.

Point Folder (b).—A machine for folding sheets. The accuracy of the register is obtained by placing the perforated point holder of the printed sheet on the projecting pins of the folding machine.

Points (p).—Small holes made in the sheets by the printer, which serve as guides in registering and folding.

(p).—Sharp metal pins placed in the form when it is imposed, to pierce the sheets as they are printed so that they can be folded on the point-folding machine.

Polished Buckram (b).—Its special qualities are uniformity of color, finish, and fabric, tensile strength and easy application of decoration.

Press Proof (p).—The final proof passed for press.

Publisher's Binding (b).—Commonly understood as ordinary cloth binding.

Quadruple Imposition (p).—The imposition of the plates for printing so that when folded on the Quadruple Folding Machine the pages will follow in rotation.

Quads (c).—Brief form of quadrat; large metal blanks used to fill lines and other spaces.

Quarter-binding (b).—A binding in leather or cloth backs, with board sides cut flush.

Quarto (g).—A sheet of book paper approximately 18 × 24 inches in size, when folded in four leaves, is called a quarto or 4to.

Quoins (c) (p).—Wedges used in locking up forms; formerly made of wood and used with beveled sidesticks, but now made of iron in several styles.

Quotations (c).—Large hollow quads for filling blank spaces; hollow metal furniture.

Recto (b).—The right-hand page of a book. The recto of a cover is the front.

Register (p).—To adjust the form, feed-guides, etc., so that the printing will be properly located on the sheet; to strike the different forms of a colored job; to make pages on both sides of a sheet back each other.

(c).—The exact imposition of the type pages of a book so that when printed they back one another precisely, and are truly square.

(b).—When two or more adjacent colors meet without infringing, they are said to be in register, otherwise out of register.

Reglet (c).—Thin strips of wood similar to leads, 6-point and thicker, used as substitute for leads and slugs in large spaces.

Relief (e).—Processes of engraving in which the dots or lines of the design are made to stand out so that it can be used for printing as if from type.

Retouching (e).—(1) The act of going over a plate with a graver, deepening the lines which have become worn. (2) The correcting of defects on a photographic negative or print by means of a pencil or fine camel's-hair brush.

Reverse Indention (c).—See Hanging Indention.

Revise (c).—A proof taken after corrections have been made; to compare a proof so taken to see that the marked errors have been corrected.

Ribbon Marker (b).—A small ribbon placed in a book as a marker.

Roan (b).—Unsplit sheepskin.

Roller (p).—An iron rod covered with an elastic composition, to spread ink on the type or other printing surface.

Roman (c).—The class of type in general use as distinguished from italic or fancy types.

Roman Figures (g).—Numerals expressed by letters as distinguished from those expressed by Arabic characters, e.g., I, II, III, etc.

Rotary Press (p).—A printing press in which the types or plates are fastened on a rotating cylinder, and are impressed on a continuous roll of paper.

Rotogravure (g).—A recent photo-intaglio process, now coming into use for illustrations in newspaper magazines. It is a combination of the intaglio and the gravure processes, producing sunken engravings on copper rollers, which are then printed from on the principle of calico printing.

Rounding (b).—See Backing.

Routing (e).—The operation of gouging out from an electrotype plate that portion of the metal which is not required.

Roxburgh Binding (b) (pronounced Roxboro).—A book bound with leather back, cloth or paper sides, no leather corners, with gold stamping on the shelf back, with gilt top, is said to be bound in Roxburgh binding.

Rule (c).—A plain strip of metal type-high, used for printing rules and lines.

Running Head or Title (g).—The title of a book or subject placed at top of each page.

Russia Leather (b).—A fine leather prepared in Russia. Its preparation consists in carefully tanning with willow-bark, dyeing with sandal wood, and soaking in birch oil. It is of a brownish red color and has a characteristic odor.

S Pattern (b).—Embossing of small diagonal lines finer than T pattern, giving the cloth a silky appearance, commonly known as Silk Pattern.

Score (g).—To crease cardboard or heavy paper so that it will fold neatly at the desired place. This is often done with rules locked in the form, or put on afterward, running the sheets through the press without ink.

Script (c).—A style of type in imitation of handwriting.

Sheepskin (b).—Leather made from the skin of a sheep.

Sheet (g).—A separate piece of paper of definite size; a twenty-fourth part of a quire. In printing, a sheet is defined by its size; in binding, by its fold.

Sheet-wise (p).—Presswork in which the two sides of the sheets are printed from different forms.

Shooting Stick (c).—An implement made of wood, steel, or other hard material, used with a mallet, to tighten up the wooden quoins.

Shoulder (c).—The blank space above and below the face of a letter on the end of a type.

Signature (b).—A sheet after it has been folded and is ready to be gathered. It usually consists of 16 pages, but may comprise 4, 8, 16, 32, or 64 pages.

Silk Pattern (b).—See S Pattern.

Skiver (b).—The outer or grainside of sheepskin which has been split; much used for binding.

Slug (c).—A thick lead.

Slur (p).—A blurred impression.

Small Caps (c).—Capitals of a smaller size than the regular capitals of a font.

Small Pica (c).—The old name of a size of type equal to 11-point.

Smooth Calf (b).—Plain or undecorated calf.

Sorts (c).—The letters in the boxes of a case; out of sorts, to be out of any needed letter or character; runs on sorts, when copy calls for more than the usual number of any particular letter.

Spaces (c).—The small blanks used to separate words, etc.

Split Leather (b).—Leather split by machinery.

Sprinkled Calf (b).—Calfskin treated with acid so as to look as if it had been sprinkled with a dye.

Sprinkled Edges (b).—Edges of books that are decorated with small dots or specks of color, sprinkled on from a brush.

Stained Edges (b).—Edges which are colored by a process of coating or covering which combines with the paper to be colored.

Stamping Die (e).—A relief plate engraved on brass or zinc for stamping book covers or similar surfaces.

Stand (c).—The common wooden frame with sloping top upon which type cases are placed; the lower part usually has a rack for holding extra cases.

Steel or Copperplate Engraving (c).—A method of making plates for printing by cutting, scratching or corroding a plate.

Stereotype (g).—The duplicate, cast in one piece of type metal, of the face of types or cuts composed for printing. There are three processes: (a) The plaster process; (b) the clay process; (c) the papier-machÉ process.

Stipple (e).—A method of engraving by which dots or punctures are used instead of lines.

Stone Hand (c).—One who is chiefly employed in imposing, and other work done on the stone.

Stone Proof (e).—(1) An impression taken from an engraved plate or lithographic stone, to prove the condition and progress of the engraving. (2) An impression taken from types or cuts, made up for electrotyping.

Super (b).—A thin, loosely woven cotton cloth, glued and starched, which is used for gluing onto the backs of books, to hold the signatures by extending over to the inside of the cover, to hold the book and cover together.

Super-calendered Paper (g).—A class of paper to which a glazed surface is given by rolling or calendering.

Superior Letters or Figures (c).—Small characters cast on the top of the line, used for footnote references, etc.

Swash Letters (c).—The name given to a style of italic capital letters with tails and flourishes, much used in the seventeenth century.

T Pattern (b).—Embossing of transverse parallel lines. This is a favorite pattern, and is used more than any other.

Tail-piece (c).—An ornament placed in a short page at the end of a chapter, article, or volume.

Take (c).—When copy is divided among several compositors, each part is a take.

Tapes (b).—Strips of tape extending over the back and onto the boards to strengthen the binding. (2) Strips of cloth placed between the covers and ends of a stitched book to strengthen the book and give it flexibility.

Text (c).—The type used in the main part of a page; also applied to some kinds of black-letter. The main body of matter in a book or manuscript in distinction from notes or other matter associated with it.

Three-color Process Plates (e).—Printing plates, produced from colored copy or objects, to reproduce the picture or object in its original colors by a photo-chemical separation of the primary colors, and etched halftone plates to reproduce each separate color, usually printed in yellow, red, and blue. An approximate result may be obtained from one-color copy by using the skill of the workman in securing the color-values on the etched plates.

Three-quarter Leather Binding (b).—A binding which consists of a leather back of extra width, with leather corners and paper or cloth sides.

Three to Em (c).—A space one-third of an em in thickness.

Token (p).—A measure or unit of presswork. The New York token is 250 impressions of one form; the Boston token is 500 impressions.

Tooled Edges (b).—See Goffered Edges.

Tooling (b).—To ornament or give a final shape by means of a special tool, especially when the mark of the tool is intentionally left visible.

Tree Calf (b).—Calfskin so treated as to resemble the trunk and branches of a tree.

Turkey Morocco (b).—Made of goatskin from Turkey. Strong, durable, and expensive. Turn for Sorts (c).—To put another type of the same size face downward (so that its foot will show a black spot on proof) in the place of a character that is missing.

Two to Em (c).—The half of an em quad, known as the en quad.

Tympan (p).—The sheets, cards, etc., that cover the platen or cylinder, on which the paper is placed for printing. The cloth-covered frame attached to the bed of a hand-press.

Type-high (e).—Type of the standard of height.

Type-high to Paper (c).—Type above the standard of height.

Underlay (p).—A piece of paper or card placed under the type, electro, or engraved block, to increase the impression.

Upper Case (c).—The case in which the capitals, small capitals, signs, and "peculiars" are placed.

Uterine Vellum (g).—A vellum made from the very thin skins of still-born or unborn calves.

Vellum (g).—The skins of calves prepared by long exposure in a lime-bath and by repeated rubbings with a burnisher. See also Parchment.

Vellum Finish (b).—The smooth natural surface of an unembossed cloth.

Verso (b).—The left-hand page of a book. Of a cover, the back or reverse side.

Vignette (g).—(1) In old manuscripts an initial letter decorated with leaves. (2) A head-or tail-piece of a book. (3) (e).—A drawing or other illustration having a background that gradually shades off and merges into the ground on which the print is made.

Water-mark (p).—See Dandy.

Web Machine (p).—(1) A cylindrical printing-press in which the paper is carried forward to the impression cylinder by means of tapes. (2) A printing-machine in which the paper is carried forward in a continuous roll or web.

Whipstitch (b).—To sew with an over-and-over stitch.

Work-and-Turn (p).—When all the pages on a sheet are imposed in one form, or half-sheetwise, the sheet is turned and printed on the second side, thus giving two copies of the work when the sheet is cut.

Workers (p).—The set of electrotype plates from which editions are printed.

Wove Paper (g).—Paper which does not show the wire mark as in laid paper. The screen is woven in like cloth.

Wrappers (g).—See Jackets.

Wrong-font (c).—A letter or character of wrong size or style used in composition; in proofreading written w.f.

Zinc Plate (g).—A style of engraving etched with strong acid on a sheet of polished zinc.