Bib-li-op-e-gis-tic (Pertaining to the art of binding books.—Dibdin) / to which is appended a glossary of some terms used in the craft
Date: 2012-02-21T00:00:00+00:00
Keywords: Bookbinding

The Project Gutenberg eBook of Bib-li-op-e-gis-tic (Pertaining to the art of binding books.—Dibdin)

This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

Title: Bib-li-op-e-gis-tic (Pertaining to the art of binding books.—Dibdin)

Author: Trow's Printing and Bookbinding Company

Release date: February 21, 2012 [eBook #38946]
Most recently updated: January 8, 2021

Language: English

Other information and formats: www.gutenberg.org/ebooks/38946

Credits: Produced by Chris Curnow, Jana Srna and the Online
Distributed Proofreading Team at https://www.pgdp.net (This
file was produced from images generously made available
by The Internet Archive)

*** START OF THE PROJECT GUTENBERG EBOOK BIB-LI-OP-E-GIS-TIC (PERTAINING TO THE ART OF BINDING BOOKS.—DIBDIN) ***

Transcriber's Note:

Every effort has been made to replicate this text as faithfully as possible, including any inconsistencies in the original.

Oliver Cromwell
Green Levant—inlays of red and black leather. Decorative tooling in gold.

Bib-li-op-e-gis-tic

(Pertaining to the art of binding books.—Dibdin)

to which is appended
a glossary of some
terms used in
the craft

With Illustrations of
Bindings Designed and Executed by
The Trow Press, New York

Bibliopegistic

The craft of the bookbinder is older than that of the printer. Quoting from Mr. Brander Matthews:

“Perhaps the first bookbinder was the humble workman who collected the baked clay tiles on which the Assyrians wrote their laws; and he was a bookbinder also who prepared a protecting cylinder to guard the scrolls of papyrus on which Vergil, and Horace, and Martial had written their verses.”

Modern art in bookbinding began in Italy in the fifteenth century. The invention of printing had so multiplied books that the work got out of the hands of the monks, and workmen from other trades were pressed into service, bringing with them their skill in working leather, as well as their tools, and designs which they had previously used to decorate their work.

At this time the libraries were shelves, so inclined, as to allow of the books lying on their sides, inviting their decoration. At first the embellishment was suggested or influenced by the work in the volume, and very often there would be found on the cover, repetition of the typographic ornaments used by the printer.

Carols V. Gerichtsordnung (1597)
Vine colored Levant—inlays of red and green leather. Interlacing bands and decoration tooled in gold.

But with the associations and influence of the other decorative arts, there came the use of interlacing bands, scrolls, and geometric designs, followed by copies of patterns and parts of designs from laces, embroideries, pottery and ironwork of the times. And with the broadening in the ideas of decoration, came the use of inlays of leather of harmonizing colors, and even of precious stones.

While the art was developing in Italy, largely under French patronage, it was also beginning to flourish in France, where later it reached its supremacy. So much so that up to the nineteenth century it was “France first and the rest nowhere.”

In no work more than in binding have the French shown their fine artistic taste, and in the famous collections of the world the choicest specimens are by French binders of the sixteenth to the eighteenth centuries.

France to-day has many binders of great skill and good taste, but no longer holds the supremacy of the earlier days. England has developed some craftsmen of great skill and original artistic feeling, even though their best efforts are many times but reproductions of older models.

Barely fifty years ago America did not have a binder capable of covering a volume to compare with the work of the artisans of France or even England. But in that time there have developed shops where work of such merit is done that it is now no longer necessary to send one's precious tomes abroad to be properly clothed.

The true book lover as well as the collector desires for his treasures a suitable binding, and there is to-day an increasing demand for fine binding on individual volumes as well as on sets.

This demand is not satisfied with “commercial binding” and is too intelligent to accept extravagant work, extravagant in over-decoration as well as in price.

The art of bookbinding is now so widely known and the taste and judgment of the public so thoroughly educated by the efforts of the Grolier Club and similar associations that good work and good material are appreciated, genuine and suitable decoration recognized and the best results obtained in the combination of an intelligent customer and a skilled and artistic workman.

The Book of the Presidents
Maroon Levant—“arms” (Tiffany & Co. design) inlaid in colored leather. Plain mitred panels, tooled in gold.

The Book of the Presidents—Doublé
Levant—national colors. Tooled in gold.

The Trow Bindery

The production of fine bindings is not a new departure with us, but has been carried on for many years in what has been aptly described as, a “quality” department of a “quantity” business, where fine work can be executed at prices that are not prohibitive.

It is under the direction of a skilled craftsman, and the workmen are encouraged to excel in careful and conscientious work.

Our endeavor is to produce books which are not surpassed for elegance, elasticity, and durability—the three great requisites of a well bound book.

With technical knowledge to aid us in the selection of the best materials, and excellent tools, we strive for that result which is described as “flawless material faultlessly treated.”

The decoration, if any, is designed in complete harmony with the text, and where warranted, we call to our aid the foremost decorative designers and artists of the day.

No. 1. Vellum
No. 2. Linen
No. 3. Buckram

Samples of specially designed “Marbled” cloths
For sides and linings of half, three-quarter or full leather bindings

The older models are followed where original designs are not required; and where simplicity is desired, we hold to the belief in “the undecorated surface of flawless material,” bearing in mind the sobriety of treatment, but careful execution which distinguishes the best work of the past.

As a new departure we are showing the use of specially designed cloths for sides and linings, in place of the German marbled papers and French “combs,” the most of which as Miss Prideaux says “produce the effect of violent color thrown on wet blotting paper.”

Used as sides on half or three-quarter leather styles, the cloth gives greater durability, as the surface does not rub, nor will the edges wear off where turned over, as happens with the use of marbled papers.

As linings they obviate the use of the extra cloth joint, which is unsightly, but necessary for strength with the use of marbled paper; with their use the folded edge is pasted in the joint, allowing the cover to be lifted without drawing the end papers away from the book.

Good taste, and harmony of color are assured by their wide variety, and in addition some new and novel effects may sometimes be secured.

The Historic Hudson—Doublé
Green Levant. Pictorial inlay and decoration tooled in gold.

The Scope of our Work

We solicit the binding of a single volume, in any manner, whether it be in half, three-quarter, or full leather, with simple or elaborate treatment.

We will undertake the binding of a complete collection or library and will submit quotations where desired, or proceed under an appropriation by the customer.

We will carefully attend to special instructions for the extending, interleaving or rebinding of extra illustrated work, presentation copies, memorial editions, etc.

We also undertake the repairing of any bindings, carefully and skillfully mending any torn leaves, and properly guarding any loose sheets or inserts.

Memorial Volume—Doublé
Royal Purple Levant. Floral design inlaid and hand colored.

Glossary of Terms

Azured. Ornamentation outlined in gold and crossed with horizontal lines.

Bands. (1) The cord whereon the sheets of a volume are sewn. (2) The ridges on the back caused by the bands raising the leather. Head Band. A knitting of silk or thread worked in at the head and foot of the shelf back of the book.

Boards. A temporary binding with a cover made of boards and paper. Mill Boards. The boards that are attached to the book, giving stiffening to the cover.

Bosses. Brass or other metal pieces attached to the covers of a book, for ornamentation or protection.

Burnish. The gloss produced by the application of the burnisher to the edges after coloring, marbling or gilding.

Collating. Examining the signatures, after a volume has been folded and gathered, to ascertain if they be in correct sequence.

Dentelle. A style resembling lace work, finished with very finely cut tools.

Doublé. When the inside of the cover is lined with leather, it is termed a doublé.

End Papers or Lining Papers. The papers, plain or fancy, placed at each end of the volume and pasted down upon the boards.

Fillet. A cylindrical tool used in finishing, upon which a line or lines are engraved.

Finishing. Comprises tooling, lettering, polishing, etc.

Flexible. A book sewn on raised bands, with the thread passed entirely around each band, allowing the book to open freely.

A Century of French Romance
Edition work. French Levant with colored inlays. Decoration “stamped” in gold.

A Century of French Romance
Edition work. Persian Morocco. Semis (powder or diaper design) “stamped” in gold.

Fore edge. The front edge of the leaves.

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

Gaufre Edges. Impressions made with the finisher's tools on the edges of the book after gilding.

Gouge. A finishing tool forming the segment of a circle.

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

Inlaying. (1) Extending “extra” illustrations by inserting them in leaves to correspond to the size of a book. (2) A style of Mosaic work made by the insertion of vari-colored leathers or other material on the cover or doublé.

Kettle-Stitch. A catch-stitch formed in sewing at the head and foot.

Lacing-In. Lacing the bands on which the book is sewn through holes in the boards to attach them.

Limp. A cover without boards or other stiff materials, allowing the sides to be pliable.

Marbling. A method of coloring the edges or end papers in various patterns, obtained by floating colors on a gum solution.

Mitred. Tooled lines meeting at a right angle without overrunning.

Morocco. A fine kind of grained leather prepared from goatskin. Levant Morocco. The skin of the monarch breed of goat; a large grained Morocco.

Overcasting. Oversewing the back edges of single leaves of weak sections; also called whipstitching or whipping.

Pointillé. The dotted style of Le Gascon.

Preparing. Comprising all the preliminary operations up to “forwarding,” including folding, gathering, collating, and sewing.

Register. When the printing on one side of a leaf falls exactly over that on the other it is said to “register.”

Rolls. Cylindrical ornamental tools used in finishing.

Sawing-in. When grooves are made in the back with a saw to receive the bands.

Semis. A diaper design made up of the repetition of one or more small tools.

Signature. Each folded sheet or section of a book.

Squares. The portion of the covers projecting beyond the edges of the book.

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

Tooling. Impressing the design or pattern in gold leaf, with finishing tools, by hand. Blind Tooling. The impression of finishing tools without gold leaf.

Specimen decorative backs for half or full leather bindings.
Edition work or single volumes.

Interpretation of Styles

ALDINE OR ITALIAN

Ornaments of solid face without any shading whatever, such as used by Aldus and other early Italian printers. The ornaments are of Arabic character. A style appropriate for early printed literature.

GROLIER

An interlaced framework of geometrical figures—circles, squares, and diamonds—with scrollwork running through it, the ornaments which are of Moresque character, generally azured in whole or in part, sometimes in outline only. Parts of the design are often studded with gold dots. Time, first half of the 16th century.

MAIOLI

A style prior to and contemporary with the early (Italian) examples of the Grolier. Generally composed of a framework of shields or medallions, with a design of scrollwork flowing through it. Portions of the design are usually studded with gold dots. Ornaments are of Moresque character.

ÈVE

A framework of various geometrical-shaped compartments linked together by interlaced circles; the centers of the compartments are filled with small floral ornaments, and the irregular spaces surrounding them, with circular scrolls and branches of laurel and palm. An elaborate style used at the end of the 16th and beginning of the 17th century.

MOSAIC

A design inlaid with different colors. The cover may be of any shade, but the style is especially effective when the cover is of white vellum in imitation of illuminated manuscripts.

LE GASCON

The distinguishing feature of this style is the dotted face of the ornaments instead of the continuous or solid line. In vogue the first half of the 17th century, immediately succeeding the period of Nicholas and Clovis Ève.

DEROME

This style has ornaments of a leafy character, with a more solid face, though lightly shaded by the graver and is best exemplified in borders. The ornaments are often styled Renaissance, being an entire change from the Gascon. Time, 18th century.

ROGER PAYNE

The ornaments of this style are easily identified, being free and flowing in stem and flower; whereas before Payne's time they had been stiff and formal. The honeysuckle is a customary ornament. The impressions of the tools are usually studded round with gold dots, whether used in borders, corners, or center pieces.

JANSEN

Without line or ornament either in blank or gold. It permits decoration on the inside of the cover, but demands absolute plainness on the outside, with the exception of lettering. It is only appropriate for crushed levant, being dependent for its beauty on the polished surface of the leather. It takes its name from the followers of Jansenius, Bishop of Ypres, who were advocates of plainness in worship.

Trow Directory, Printing and Bookbinding Company
201–213 East 12th Street
New York City

*** END OF THE PROJECT GUTENBERG EBOOK BIB-LI-OP-E-GIS-TIC (PERTAINING TO THE ART OF BINDING BOOKS.—DIBDIN) ***

Updated editions will replace the previous one—the old editions will be renamed.

Creating the works from print editions not protected by U.S. copyright law means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark. If you do not charge anything for copies of this eBook, complying with the trademark license is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. Project Gutenberg eBooks may be modified and printed and given away—you may do practically ANYTHING in the United States with eBooks not protected by U.S. copyright law. Redistribution is subject to the trademark license, especially commercial redistribution.

START: FULL LICENSE

THE FULL PROJECT GUTENBERG™ LICENSE

PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg™ mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase “Project Gutenberg”), you agree to comply with all the terms of the Full Project Gutenberg License available with this file or online at www.gutenberg.org/license.

Section 1. General Terms of Use and Redistributing Project Gutenberg electronic works

1.A. By reading or using any part of this Project Gutenberg electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8.

1.B. “Project Gutenberg” is a registered trademark. It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement. There are a few things that you can do with most Project Gutenberg electronic works even without complying with the full terms of this agreement. See paragraph 1.C below. There are a lot of things you can do with Project Gutenberg electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg electronic works. See paragraph 1.E below.

1.C. The Project Gutenberg Literary Archive Foundation (“the Foundation” or PGLAF), owns a compilation copyright in the collection of Project Gutenberg electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is unprotected by copyright law in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg mission of promoting free access to electronic works by freely sharing Project Gutenberg works in compliance with the terms of this agreement for keeping the Project Gutenberg name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg License when you share it without charge with others.

1.D. The copyright laws of the place where you are located also govern what you can do with this work. Copyright laws in most countries are in a constant state of change. If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg work. The Foundation makes no representations concerning the copyright status of any work in any country other than the United States.

1.E. Unless you have removed all references to Project Gutenberg:

1.E.1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg License must appear prominently whenever any copy of a Project Gutenberg work (any work on which the phrase “Project Gutenberg” appears, or with which the phrase “Project Gutenberg” is associated) is accessed, displayed, performed, viewed, copied or distributed:

This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg™ License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

1.E.2. If an individual Project Gutenberg electronic work is derived from texts not protected by U.S. copyright law (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase “Project Gutenberg” associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg trademark as set forth in paragraphs 1.E.8 or 1.E.9.

1.E.3. If an individual Project Gutenberg electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the copyright holder. Additional terms will be linked to the Project Gutenberg License for all works posted with the permission of the copyright holder found at the beginning of this work.

1.E.4. Do not unlink or detach or remove the full Project Gutenberg License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg.

1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project Gutenberg License.

1.E.6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to or distribute copies of a Project Gutenberg work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg website (www.gutenberg.org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original “Plain Vanilla ASCII” or other form. Any alternate format must include the full Project Gutenberg License as specified in paragraph 1.E.1.

1.E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg works unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg electronic works provided that:

- • You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, “Information about donations to the Project Gutenberg Literary Archive Foundation.”

- • You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg™ License. You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg™ works.

- • You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work.

- • You comply with all other terms of this agreement for free distribution of Project Gutenberg™ works.

1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ trademark. Contact the Foundation as set forth in Section 3 below.

1.F.

1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by U.S. copyright law in creating the Project Gutenberg™ collection. Despite these efforts, Project Gutenberg™ electronic works, and the medium on which they may be stored, may contain “Defects,” such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment.

1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right of Replacement or Refund” described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg™ trademark, and any other party distributing a Project Gutenberg™ electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE.

1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from. If you received the work on a physical medium, you must return the medium with your written explanation. The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund. If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund. If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem.

1.F.4. Except for the limited right of replacement or refund set forth in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.

1.F.5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages. If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law. The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions.

1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg work, (b) alteration, modification, or additions or deletions to any Project Gutenberg work, and (c) any Defect you cause.

Section 2. Information about the Mission of Project Gutenberg

Project Gutenberg is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers. It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life.

Volunteers and financial support to provide volunteers with the assistance they need are critical to reaching Project Gutenberg’s goals and ensuring that the Project Gutenberg collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation information page at www.gutenberg.org.

Section 3. Information about the Project Gutenberg Literary Archive Foundation

The Project Gutenberg Literary Archive Foundation is a non-profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation’s EIN or federal tax identification number is 64-6221541. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state’s laws.

The Foundation’s business office is located at 41 Watchung Plaza #516, Montclair NJ 07042, USA, +1 (862) 621-9288. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.gutenberg.org/contact

Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation

Project Gutenberg™ depends upon and cannot survive without widespread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine-readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS.

The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit www.gutenberg.org/donate.

While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate.

International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff.

Please check the Project Gutenberg web pages for current donation methods and addresses. Donations are accepted in a number of other ways including checks, online payments and credit card donations. To donate, please visit: www.gutenberg.org/donate.

Section 5. General Information About Project Gutenberg electronic works

Professor Michael S. Hart was the originator of the Project Gutenberg concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg eBooks with only a loose network of volunteer support.

Project Gutenberg eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition.

Most people start at our website which has the main PG search facility: www.gutenberg.org.

This website includes information about Project Gutenberg, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks.

Table of Contents

- Bib-li-op-e-gis-tic
- The Trow Bindery
- The Scope of our Work
- Glossary of Terms

- Interpretation of Styles

- ALDINE OR ITALIAN
- GROLIER
- MAIOLI
- ÈVE
- MOSAIC
- LE GASCON
- DEROME
- ROGER PAYNE
- JANSEN

- THE FULL PROJECT GUTENBERG™ LICENSE