The book is the basic record. The endleaf section describes the left and right endleaves separately. "Yes": Endleaves on the left side of the textblock. "No": "NK": "Yes": Endleaves on the right side of the textblock. "No": "NK": "First sewing": Τhe current sewing is the first and only sewing. "Resewn": Τhe current sewing is not the first sewing. "NK": Ιt is impossible to establish the status of the current sewing. "All along": The thread is visible from the uppermost to the lowest sewing station and exits and enters at each station in between, securing a single gathering at a time. "Multiple section drawing": A single length of thread is used to secure two or more gatherings in a single operation. Inside each gathering there will be gaps in the line of thread between some of the sewing stations, and not between others. As each gathering must have at least a pair, a reverse pattern of thread and gaps will be found in the two or more gatherings which form each multiple sewing unit. "Bypass": In bypass sewing, individual sewing supports are not sewn around within individual gatherings. This technique can be identified by looking at the thread in the centre of the gatherings to see if it passes through the spine fold behind each support. If it does not, then a bypass sewing technique will have been used. Bypass and multiple-section sewing can be combined. "NK":The structure is either invisible because the textblock will not open far enough, or is too far decayed to be recognisable. Give the thread definitions. Give the definition of a single thread. This section describes the treatment of the edges of the textblock. "Uncut": Τhis term will typically apply to only paper leaves which retain their deckle edges, and should be used only when the entire textblock is uncut, not a few individual shorter leaves which might have escaped cutting. It is possible that a parchment-leaved textblock might retain the uneven edges left by the parchment maker. "Cut": Τhe edges of the text leaves have been cut after the book was sewn. "Yes": The edges are decorated. "No": The edges are left without any colouring, gilding or other decoration. The types of edge decoration. The type of edge decoration. "Coloured": The edges have a single unbroken colour. "Painted": The edges are painted with some form of decorative image or pattern. "Gilt": The edges have been decorated with gold leaf. "Gauffered": The edges have been decorated with impressions of small tools arranged in patterns. "Sprinkled": The edges are decorated with small drops of pigment. "NK": The original decoration is too badly damaged to be identified. List the colours (not gold leaf) used to decorate the edges. This section describes only the surface of the edges (that is to say, the actual cut edges of the leaves) and not damage that has already been recorded for the margins of the textleaves. It is likely that more than one definition in this list will apply. Use the percentage system to define the extent and severity of the damage. The damage type. "Sound": The edges are clean and undamaged. "Worn": The edges are worn, losing or obscuring areas of decoration. "Rounded": The corners have been worn away to a more or less severe rounded profile. "Stains": The edges are stained from liquid spills or other accidentally applied discolouration. "Grime": The edges are blackened by grime from handling. "Soft": This applies to paper-leaved textblocks, where the paper has lost its strength around the edges and is soft and weak to the touch. "Faded": This applies only to the condition of decoration. Boards vary greatly not only in thickness and the material from which they are made, but also in stiffness and softness. Thin paper boards may be quite flexible, where thick wooden boards are completely rigid. But the important point is that both are boards. They are always used in pairs (though one or both may now be missing) and are therefore two separate entities and never, to qualify as boards, extend around the spine in a single piece. A thin sheet of cartonnage may therefore be called a board just as much as a 15mm-thick piece of wood. Be sure to identify boards that do not belong to a book, but which have simply been tied to it to give protection to a bookblock that has lost one or both boards. "Yes": The book has or had boards. "No": The book never had boards. "NK": It is not clear whether the book once had boards, now lost. "Yes": The spine originally had adhesive on it (though this may have largely disappeared now). "No": The book has a non-adhesive spine (though adhesive may have been applied as a later repair or reinforcement. "NK": It is not clear whether the spine had adhesive on it or not. This section is intended to provide an approximate, machine-searchable guide to joint shape. The drawn profile above should provide a more specific shape. "None": "Flat": Τhe gatherings at the joints are flat, without any shaping to create joints or to accommodate the boards. "Slight": "Quadrant": The joints are created in a curved shape to accommodate a rounded profile on the back edge of a board. "Angled": The joints form a flat surface at an angle of more than 90 degrees to the leaves of the textblock. "Square": The joints form a sharp right-angle to the leaves of the textblock. "Accute": The joints form a flat surface at an angle of less than 90 degrees to the leaves of the textblock. "NK": The joints are too badly damaged or distorted to allow an accurate assessment to be made. "Yes": The spine has or has had some form of spine lining. "No": The spine does not have and never had any form of spine lining. "NK": It is not known whether the spine was once lined. Positive number, "NK", "NA". The number of the lining layer (ascending from the spine to the covering). "Overall": The lining covers not only the full width and height of the spine, but also has joints which extend onto the boards. "Transverse": A lining type associated with books sewn on supports, in which the linings take the form of strips of material stuck across the spine between the supports and with joints extending onto the boards. "Comb": A more complex lining type, also associated with books sewn on supports, where a length of material (most frequently parchment) is cut to the height of the spine and has horizontal slots cut out down one side which match the height and size of the sewing supports. This allows the ‘teeth’ of the comb lining to be pushed out between the inside of the board and the textblock in such a way that they can then be stuck to the spine panels. Comb linings usually come in pairs, crossing the spine from each side, resulting in a double thickness of lining across the spine. "Panel": A lining that completely fills each panel on the spine, and does not extend onto the boards. "Patch": "Continuous": Use this option when the lining does not have any joints. "NK": The spine was originally lined, but the lining type is no longer clearly identifiable. "All": "Selected": Spine linings are usually made of one material, but it is possible for combinations of materials to be used. Tick all the relevant boxes and use the other box if some other material is found. "Parchment": "Paper": "Textile": "Tanned leather": "Tawed leather": "NK": "Yes": There are (or were) endbands. "No": There never were endbands. "NK": It is not clear whether there ever were endbands or not. "Cord": "Tanned leather": "Tawed leather": "Parchment": "NK": The primary sewing is the sewing which holds the endband core to the textblock and performs the primary structural function. "Yes": "No": There is no and never has been any secondary sewing. "NK": "Sound": The endband is still firmly attached to the textblock, the sewing threads are not broken and the slips, if not cut at the joint by the binder, are still intact and attached securely to the boards. "Slips detached from boards": This applies only to bindings where the endband core slips are (or were) attached to the boards. In Greek bindings in particular they can become partially detached, so a percentage rating is given, where 100% indicates that there is no longer any attachment at all. As such endbands are often critical to the survival of the structure, serious damage will often merit to choose the emergency box. "Slips broken at joins": If either the left or right slip (or both) is broken at the joint. "Core broken across spine": If the endband core is broken at any point across the spine (not at the joints). "Loose": The endband is still attached to the textblock, but it is now loose and at risk of damage during handling. "Tiedowns pulled out": If the tiedown threads are intact but have pulled backwards, tearing through the gatherings. "Primary thread broken": If the primary thread is broken, releasing the core from the textblock. This would also apply to warps only primary sewing. "Secondary thread broken": If the secondary thread is broken. "Primary worn away": This applies to endbands where the primary sewing thread has been worn away over the outer surface of the core, leaving the threads on each side of it in place, but threatening to release the core. "Secondary worn away": This applies to endbands where the secondary sewing threads have been worn away over the outer surface of the core, leaving the threads on each side of it in place. "Missing core": All or part of the endband core is missing. "Missing endband": If all or part the entire construction of the endband is missing (i.e. Core, primary and secondary sewing), give the relevant percentage. Record in this section the existence, whether now missing or not, of all fastenings and furniture found attached to the cover of the book. "Yes": "No": "NK": "Clasp": The metal fitting, secured to the board of a book via a strap or hinged to a hinge plate, which hooks over a catchplate attached to the other board. "Catchplate": The metal fitting attached to the board of a book onto which the hook of a clasp is fastened. "Pin": The traditional Byzantine-style pin driven into the edge of the board. "Bosses": Fittings, usually round, often domed, in metal, wood or bone, fastened to the surface of the boards of a book and intended to protect the covering materials from wear. "Corners": Shaped pieces of metal which fit over the corners of boards. "Plates": Several bindings at St Catherine’s are decorated with one or more metal plates smaller than the size of the boards to which they are nailed. Some have repoussé decoration, some enamelled, some engraved, or combinations of these and other decorative techniques. "Full cover": A handful of ‘treasure’ bindings are fitted with elaborately decorated full metal covers, the size of the boards. "Straps": This refers to the straps that are attached at one end to one of the boards, and have the clasp at the other end. The strap, usually of animal skin, attaches the clasp to one of the boards, and allows it to hinge away from the textblock when the book is opened. "Strap plates": Many straps are secured to the boards with metal plates nailed over the end. The shape of these plates should be clear from the photographs, but occasionally they are evident only from an impression left in the leather. In these cases, draw the shape separately. "Strap collars": Strap collars are the strips of metal which lie across the straps on the boards a little distance away from the end of the strap, and which are nailed to the board at each end and not through the strap itself. "Ties": Ties are the lengths of flexible material attached in pairs to the boards, or more often, the covers of books without boards, and intended to be tied together across the edges to hold the book shut. "Articulated metal spines": A small number of treasure bindings have elaborate metal spines over the primary covering. These usually consist of a series of vertical rods, each of which is held to the ones on either side of it by small metal links, like those on a bicycle chain. The result is a flexible, articulated screen. "Stirrup ring": A Greek-Byzantine clasp in the form of an ornate ring with a flat slot below it to take the strap. "Simple hook": A hook formed from a single thickness of flat metal, bent over at one end. "Folded hook": A hook formed by folding a strip of metal in half across the centre and then forming it into a hook by bending the folded end over. "Pierced strap": A strap of tanned or tawed skin pierced at the outer end to fit over a pin. "NK": The clasp type cannot be identified. "Sound": All the relevant binding furniture is in good condition and firmly attached to the book. "Missing": One or more of the relevant piece(s) of binding furniture is now completely missing. Use a percentage to record the number of the relevant pieces of furniture that are missing. If two bosses out of an original eight have been lost, then 25% would be missing. "Nails": The missing furniture has left behind nails which project above the surface of the board. If these are sharp and could catch easily on your hands, choose the emergency option. Use a percentage to rate the risk of damage from the nails. "Loose": One or more of the relevant piece(s) of binding furniture is still attached to the book, but is loose. Use a percentage to record the amount that is loose. "Corroded": One or more of the relevant piece(s) of binding furniture is corroded. Use a percentage to rate the severity of the corrosion. "Detached": One or more of the relevant piece(s) of binding furniture is detached, but still with the book. Use a percentage to record the amount that is detached. "Bent": One or more of the relevant piece(s) of binding furniture is bent. Use a percentage to record the amount that is bent. "Broken": One or more of the relevant piece(s) of binding furniture is broken, but all the component parts are still present. For all furniture other than straps, use a percentage to record the number of the relevant pieces of furniture that are broken. A broken single boss where the book only has one boss would therefore rate as 100% broken, but if there are two bosses, as 50% broken, etc. Clasp straps have, in practice, proved difficult to fit into this formula because they can be partially broken (i.e. or more elements of a triple braided strap or a single flat strap half broken through), but the basic principle must remain the same. If a strap of any sort is broken to the extent that you think it threatens the attachment of the strap to the board, or it has detached completely, record it as broken. If there is only one strap, then it will be recorded as 100% broken, or if one of a pair of straps, as 50%, etc. The aim of the record is to draw attention to straps that need to be repaired, whether are completely or only partially broken. "Broken off": If part of one or more of the relevant pieces of furniture has been broken off and lost, record the percentage loss using the same method as for broken, i.e., if one of two edge pins has been broken off, the percentage affected is 50%. You will often find that straps have broken off on the outer surface of the board but the ends remain in place on the inside of the board. These are still described as 100% broken off (or 50% if only one of the pair is broken off), provided that the broken off part is missing (see above broken). Drawing. Draw on this conventional view of the outside of the binding and the board edges the shape and location of all the furniture. You can annotate it if you feel it would be useful. Bibliographical information used to identify the book and record its editions, if any. Positive number, "NK", "NA". The number of leaves of the book or the total number of leaves of a multi-edition book.This figure need not be exact, but should taken from the pagination (giving half the number of pages) or foliation, with an approximate estimate of the number of unnumbered leaves. The aim of recording this figure is to allow approximate estimates to be made of the time needed for text leaf repairs. Text. This is the current shelfmark as used in the monastery. In some books you will find that there is some confusion over apparently concurrent shelfmarks, and where this is the case, Father Justin should be consulted to make sure the right shelfmark is recorded. Only one shelfmark should be recorded. Text. The title of the book or the title of the edition placed first in a multi-edition book. Text. The author of the book or the author of the edition placed first in a multi-edition book. Text. The place of printing of the book or the place of printing of the edition placed first in a multi-edition book. Where no place is given, record NP for “No Place”, but if the title page or the colophon is missing, record NK for “Not Known”. Text. The book seller of the book or the book seller of the edition placed first in a multi-edition book. Positive number, "NK", "NA". The number of the different editions sewn together in a volume. Text. The date of printing of the book or the date of printing of the edition placed first in a multi-edition book. Where no date is given, record ND for “No Date”, but if the title page or the colophon is missing, record NK for “Not Known”. This is information about the survey team and the date of the survey. The surveyor who does the inputting and drawings. The surveyor who holds the book. Date DD.MM.YYYY. The date the survey started. Give the maximum measurements in each dimension – height, width and thickness – and include features such as foredge pins, raised endbands, etc. Positive number, "NK", "NA". The maximum height of the book in mm. Positive number, "NK", "NA". The maximum width of the book in mm. Details about the thickness of the book. Positive number, "NK", "NA". The maximum thickness of the book in mm. Positive number, "Same", "NK", "NA". The minimum thickness of the book in mm. This is useful in case the book is clearly wedge-shaped. Drawing. Where a book is noticeably wedge-shaped, draw a cross section of the closed book as seen from the tail. The aim of this section is to assess the suitability of the book for digitisation. It will record the degree to which the book can safely be opened and the location of breaks in the structure which might prevent safe handling. The angles can be measured with the large yellow protractor by placing the centre mark on the base of the protractor against the fulcrum of the opening and reading off the measurement in degrees. If the book does not open to more than 90°, the opening can also be recorded using the adjustable protractor provided. Positive number (0-180). The safe opening angle limit at the centre (50% of the volume) of the book. "Yes", "No", "NK", "NA". Almost all the books bound in boards in the collection would originally have had tight backs, but in some cases the covering or the linings have detached from the bookblock and have created a hollow back. Where this is the case, it will create handling problems on the cradle and needs to be identified in this field. Positive number (0-180). The safe opening angle limit at the left (25% of the volume) of the book. Positive number (0-180). The safe opening angle limit at the right (75% of the volume) of the book. Positive number (0-180), "Missing", "Detached". The safe opening angle limit of the right board of the book. Positive number (0-180), "Missing", "Detached". The safe opening angle limit of the left board of the book. Positive number (0-5), "Partial breakdown", "Complete breakdown". The number of places where the textblock is broken or weak. Drawing. The safe opening limits of the book are to be recorded in three drawings (Left of centre, Centre and Right of centre) which should show the book opened approximately 25% from the left end, in the centre and 25% from the right end of the text block as seen in profile from the tail edge. The drawing must also include the shape of the spine, as this will have implications for the way the digitising cradle will need to be set up and the time required to do this. Next, over the words Right board, draw the angle to which the right board can safely be opened. This is to be done by drawing the open board at the relevant angle against the joint indicated in the profile. If the board is broken, this should be indicated in the drawing. Then repeat the same process with the left board. Textblock breaks should be used to indicate the location of breaks in the sewing structure. This should include not only where the textblock is actually broken into separate pieces, but also where the structure is so weakened as to be at risk of breaking from even the most careful handling. Each break point should be indicated with an arrow in the appropriate position on the spine of the book. "Page marker":Any material attached to the book to indicate important places in text by attaching a tab at the edge of the leaf in such a way that it projected beyond the textblock to allow quick and easy location of the relevant places. "Board marker (former lifting tab)": The term lifting tabs was given by John Sharpe to the lengths of animal skin pasted to the inside of the boards of a book, under the pastedowns, at right angles to the edge of the board and projecting beyond the edges of the boards. They could not have been used as ties, as this would have resulted in their pulling away from the inside of the boards and damaging the turn-ins, but it appears from observations made by George Boudalis that they were most probably used as bookmarks. They are mostly found now broken off at the edge of the board. They should be included in the first drawing, and need not to be drawn again at this point. "Bookmark": This section is intended to record the existence of early bookmarks, which may range from simple lengths of straw or textile ribbon to multiple silk ribbon markers attached to elaborately decorated bars or disks. Occasionally you may find things placed in the books (notes, letters, pressed flowers, etc.). "Yes": If you find such material, input yes. "No": If you find no such material, input no. Make a note of what they are, together with the folio number at which they were found. Drawing. You can also include a drawing of the item. This element includes a group of observations for each individual edition. If the text leaves were repaired before the book was sewn, choose this option and then choose the type of repair. "Yes": Old repairs do exist. "No": There are no old repairs. "NK": Element not checked. This section should be used to refer to one single edition only, so complete in a per edition basis. An ‘edition’ here refers to a part of a bound volume which can be identified as forming a discrete bibliographical entity within that volume, and being clearly distinguishable from the other part(s) contained within the volume. Separate title pages do not always indicate different editions, and you will need to check the pagination or foliation or the signatures of the gatherings to see if they start again after each title page. If so, you can assume that you have different editions. If not, the book will be a single bibliographical entity. Fill in the condition section of the page to include the entire textblock. "Parchment": If the text leaves are of any sort of parchment, choose this option. "Paper": If the text leaves are of some sort of paper, choose this option. Positive number. Identifies the edition. This should be less or equal to the edition information as recorded in the Bibliographical section. Where there is a wide discrepancy of leaf size within a single text (perhaps as the result of inserted leaves making up a defective text), you can enter more than one sets of measurements. Otherwise give one set of measurements for the largest leaf height and width if the leaf dimensions are reasonably consistent. Number. Height of leaves in mm. Number. Width of leaves in mm. This is the group of conditions observed in the volume. It can help in this section if you first fill in the types of damage observed and then the extent and severity fields. "Sound": The leaves are in sound condition and require no treatment. "Abraded": . "Split-torn spinefold": Choose this option when one or more leaves is either completely or partially detached (i.e loose) from its conjugate or stub. This section should not be used to identify bifolia that are detached or loose because the sewing has broken, but are otherwise intact. "Cockling": Using the percentage system, assess the severity and extent of the cockling in the text leaves. 100% severity of cockling would require a leaf to be completely covered by sharp, deep, cockling to the extent that it was considerably reduced in size and could no longer flex at all as a book leaf. 5% cockling would describe leaves with a noticeable but gentle undulation only. It is likely that some books will exhibit a range of severity of cockling, to be expressed as a range (i.e. 25-60%). "Worn": Used to describe leaves which have lost some or all of their original stiffness and character through handling or abrasion. "Ragged": Used to describe leaves were the density of tears, mould and /or rodent damage and losses has resulted in generalised damage. This is most frequently to be found along an edge, when the leaf material begins to resemble the tattered edge of a piece of unhemmed textile. "Tears": Where the leaf material has been torn as opposed to cut. Tears rarely affect more than a tiny proportion of a textblock (typically given as 5%), but severity will take into account the risk to the future safety of the affected textleaves that the tear represents. A short tear in the centre of an edge will therefore constitute a lower percentage risk than the same tear close to on outer corner of a leaf. "Insect": Used to describe damage due to any insect activity. "Rodent": Used to describe damage due to any rodent activity. "Losses": Where parts of a leaf are entirely missing. This should not be used where part of a leaf is detached but still survives. It should also quantify losses resulting from insect or rodent activity. It should not be used to indicate intentional excisions, which should be separately noted if there are lots of them. "Mould": Where there is evidence of mould damage of any sort. In the unlikely event that the mould appears still to be active, choose the emergency box whatever the severity of the outbreak. "Water": Where you find water-born tidemarks. Extent will record the proportion of the textblock affected by the tidemark, and severity the level of discolouration. "Stains": If the leaves are stained as the result of any damage other than mould and water. This would include tannin stains, coloured liquid spills, etc. Extent will record the proportion of the textblock affected by the stain, and severity the level of discolouration. "Grime": This term refers to handling grime, most often found on the bottom outer corners of the leaves, but occasionally affecting text. Extent will record the proportion of the textblock affected by the grime, and severity the level of discolouration. Many books in the collection are quite badly affected by grime. "Blocking": Where leaves are stuck together and cannot be safely separated without treatment. Extent will record how much of the textblock is affected, and severity the area within the leaves that is blocked – 100% severity, for instance, would describe leaves entirely blocked together. "Skinning": Leaves which have lost part of their surface as the result of being pulled apart when stuck or blocked together. Extent will record how much of the textblock is affected, and severity the area within the leaves that is skinned. "Pleating-folding": All sharply folded zig-zag creases (pleats) and single or multiple folds within the leaf area are to be identified here. The extent entry would define the number of leaves affected, and the severity entry the seriousness of the damage. "Adhesive tape": All types of self-adhesive tape should be included. Extent refers to the number of leaves so treated and severity is an assessment of the discolouration, penetration and transparency resulting from it. "Deposits": Any materials that have adhered to the surface of the leaves (such as candle wax). "Lost-removed quires": Where there is evidence that entire quires (or gatherings) are missing from the volume as it was when bound into the present volume, choose this option. If the number of missing quires can be definitely established (by, for instance, broken sewing threads or glue marks in the lining), record the number of missing quires. If the number is not clear, estimate it from the size of the gap left in the textblock, and follow the number with a question mark. This section does not refer to books that were already incomplete when put into their current binding; it refers only to losses subsequent to that binding. "Soft": This describes the paper which has lost its strength as a sheet material. 100% severity indicates that the leaf drapes like a textile, whereas 0% severity indicates no loss of strength. Extent is not a range here as the condition considers the whole page as a unit. "Discoloured": . "Foxing": Extent in this case describes the area over which foxing is evident e.g. 3 spots in random pages of the book may still be 100% extent. Severity describes the density of the spots and can be a range. "Sewn leaf repairs": "Paper repairs": "Parchment repairs": "Overcasting": "All through": "Occasional": "Left": "Right": This section is intended to give an estimate of the extent of all the different type of repair needed for a text, which may be less than the extent of the damage recorded. It is, for instance, not necessary to repair small holes made by insects, though these should have been recorded in the condition section. Repairs are necessary only where the damage interferes with the safe handling of the book. "Yes": Repairs needed. "No": No repairs needed. "NK": The type of repair needed. "Paper repairs": "Parchment repairs": "Cover": "Title page only": "Endleaves": "Throughout": "Occasional": "Printing ink": The ink used to print in relief. This will include the text, all woodcut illustrations, initials, headpieces, tailpieces, etc. "Annotation ink":The presence of annotations needs to be recorded and their location. "Engraving ink":The ink used to printing from intaglio plates (engravings, etchings, etc.) "Pigments":Paint applied by a brush in the creation of headings, initials, and other areas of decoration. Record the colours used (more than one colour may be used). Some initials on incunables may have gilded initial letters. "Manuscript ink":These may be found where an ms text part has been bound with a printed text (we need to copy this from the ms survey as an optional section though I think most examples will have been included in the ms survey) Ink or pigments colour. Record the colours used in hand-coloured initials (more than one colour may be used). As regards printing and engraving inks, only black and red colours are likely to be found. Having recorded the colour and function of an ink, you should then record its condition according to the criteria set out below. "Sound": The ink is stable and without need of any treatment. "Abrading": "Corroding": The ink is "burning" through the substrate and may have perforated it with more or less severe losses. In this case, extent will assess the amount of the text that is affected through the manuscript, and severity the extent to which the substrate is damaged. A very faint show-through on the reverse of a leaf would rate as 5% damage, whereas overall perforation and loss of text would rate as 100%. Where the damage varies in intensity through the manuscript, a percentage range should be given. If more than one ink is used within a single manuscript part (not different parts within a single volume), describe the condition of those other inks in separate sections. "Oxidising": Where the ink is changing colour through oxidation. This will usually refer to coloured inks. "Spreading": Where the ink is bleeding into the substrate. "Washed off": Where the intensity of the ink has been reduced by moisture. "Offset": Where ink has offset between facing pages. "Iron-gall inks":Inks produced by the reaction of tannic acid with an iron salt. When applied to paper and exposed to air, darken by oxidation. "Carbon ink":A mixture of finely divided carbon carried in a vehicle of glue or a gum. Extremely stable, no destructive effects on paper. "Ball point":Inks made from synthetic dyestuffs. "Felt tip":Inks made from synthetic dyestuffs. "Pencil":A mixture of clay and graphite that was fired before it was put in a wooden case. Positive number (2-10), "NK", "NA". The number of points at which the sewing thread passes through the spine folds of the gatherings, including the kettle stitches and not restricted to sewing supports. Where the thread passing round a single sewing support may exit and enter the gathering through two holes, this is to be counted as single sewing station. This section is intended to describe the type of hole created in the spine folds to allow the thread to pass through them. "Pierced hole": A hole created simply by pushing a needle through the gatherings, either before or during sewing. "Single knife cut": Openings created by single knife-cuts made across the spine at each sewing station to a depth which would include the inner folds of the gatherings, thus opening a hole through the folds for a needle. "V-nick": Openings created by two knife cuts to create v-shaped holes in the spines of the gatherings. "NK": Where the openings are either hidden from sight or are too badly damaged to be recognisable. "Supported": This section describes the route taken by the thread as seen inside the gatherings. "Unsupported": "Long stitch": Structures are made by sewing the gatherings directly through the spine ofo the cover material, creating "sets" of parallel sewing threads between pairs of holes visible on the spine unless they are hidden by a secondary cover."Stitched": Bookblocks held together by thread, tapes or thongs stubbed through the inner margin of the entire bookblock are described as stiched. Positive number, "NK", "NA". When recording sewing structures, it is important to record if there is any evidence to suggest that the current sewing is not the first. This may be evident from the presence within the spine folds of two different sets of sewing stations, but the unsupported structures found on most the manuscripts in this collection were often resewn using the first set of stations. Evidence of resewing may be found in conspicuously new-looking thread, or earlier thread marks clearly not made by the current thread, or the presence of spine-fold repairs through which the current sewing passes. In many cases it may not be possible to establish the status of the current sewing. This section should be used to give measurements of the positions of the sewing stations, and offers three options (plus NC, NK): "Current": The stations currently in use to hold the book together. "Previous": If there is evidence of an earlier structure, record what is easily accessible on this profile. "Earlier": If here is evidence of more than one previous structure, use this profile to record the measurements of the earliest of the three. "NK": Positive number. Positive integer (1-2), "NK", "NA". "Single": The sewing supports consist of only a single element. "Double": The sewing supports consist of two elements, side by side. "NK": It is not possible to be certain whether the supports are (or were) single or double. "Raised": "Recessed": "Flat": Flat supports are most commonly made of parchment, and require two sewing holes per station. The sewing thread can either pass around the supports, which results in two threads showing inside the gatherings behind the supports, or across the outside of the support only, which results in a gap in the sewing thread behind each support in the centre of each gathering. "NK": Choose this option if the support route cannot be seen or is too badly damaged to be positively identified. The material(s) from which the sewing supports are made: "Tawed leather": Any alum-tawed skin. "Tanned skin": Any tanned skin. "Cord": Twisted vegetable fibre. "Parchment": The skin of any animal that has been dehaired and dried under tension. "NK": The material cannot be seen or, if seen, cannot be certainly identified. This section describes how the material(s) listed above are formed into sewing supports. "Strap": A cut length of the sewing support material which has received no further shaping or preparation. "Split strap":A strap that has been divided into two elements by a single knife-cut along its length. Split straps can usually be identified when the knife-cut does not reach either one or both ends of the supports. When the two elements are entirely separated, it is not always possible to tell if the support is split strap or two straps placed side-by-side. "Folded":The sewing-support material has been folded lengthways to create a support of two or more layers. "Laminated":Separate layers of material (not always the same material) are laid one on top of the other to create thicker supports. "Twisted": A support formed by twisting the material. Cord is by definition twisted. "Rolled": The material is rolled into a cylinder-shaped support. "NK": It is not possible to be sure how the support has been formed. Use the diagramatic cross-sections of sewing supports to draw the route taken by the sewing thread as it secures the gatherings to the sewing supports. "Linked": Τhe sewing thread picks up the sewing of the previous gathering or gatherings, forming a chevron or herringbone pattern on the supports. "Not linked": Τhe sewing thread is passed around the supports without picking up the previous gathering(s). "NK": Ιt is not possible to be certain whether the sewing is linked or not. "Two needle": The sewing is executed in separate "sets" each of which uses two sewing stations that are not connected by thread to the other set(s). This will result, in the inner folds of the gatherings, in gaps in the line of thread between alternate pairs of sewing stations. "Single sequence": The sewing is executed from one end of the textblock to the other in a single unbroken sequence. "Double sequence": The sewing is executed in two separate sequences, starting from each board, which results in two separate halves. The halves are then joined by sewing them together in a separate operation. "Kettle stitch": "NK": Choose this option when it is not possible to work out if single or double sequence sewing has been used. Positive number (0-100), "NK", "NA". Percentage of spine between upper and lower holes. Positive integer, "NK", "NA". The term sewing guard describes a narrow fold of some sheet material, usually parchment, placed inside the centre fold of a paper-leaved gathering to prevent the sewing thread tearing through the paper (they are also known as sewing stays). They are occasionally found wrapped around the outside of gatherings.. "Yes":There are sewing guards throughout the textblock. "No": There are no sewing guards throughout the textblock. "NK": It is not possible to be sure whether the textblock once had or did not have sewing guards. "All gatherings": Sewing guards are found in the centre of each gathering throughout the textblock. "Beginning": Sewing guards are found at the beginning only, in one or more gatherings. "End": Sewing guards are found at the end only, in one or more gatherings. "Beginning and end": Sewing guards are found at the beginning and end only, in one or more gatherings. "Parchment": There are sewing guards made from parchment. "Paper": There are sewing guards made from paper. "Inside": The sewing guards are found inside the inner fold of the gatherings. "Outside": The sewing guards are found outside the gatherings. This section describes the condition of the thread itself. "Sound": The sewing thread is intact and remains strong enough to maintain the integrity of the structure during handling. "Weak": The thread is still in place but is significantly weakened and easily broken. "Totally decayed": The sewing thread has broken down and has lost its ability to hold the book together. The sewing structure has been repaired with thread and/or additional supports. "Yes": "No": "NK": In recording the condition of the sewing structure, it is important to remember that more than one type of damage might be relevant for a single book. Element not checked. The sewing structure is functioning and safe for use. The attachment of one component to another (boards as well as gatherings) is loose and at risk of further damage from handling, but the sewing and/or supports are not broken. "NC": Element not checked. "Left": The sewing has broken down in the left area, but the centre of the textblock remains intact (though it may also be loose). If the textblock is broken at one end only. "Right": The sewing has broken down in the right area, but the centre of the textblock remains intact (though it may also be loose). If the textblock is broken at one end only. "Centre": The sewing structure is broken (supports and, or sewing) in the centre while the joint areas remain intact. "Occasional":There are occasional, random breaks in the structure. "Complete": The sewing structure has broken down throughout the textblock. This definition should also be used where small sections of a textblock may remain intact within a structure which has broken into several pieces. The sewing has been removed and the book consists of a stack of gatherings only. There may be some threads remaining inside the gatherings, but this definition should be used only when all evidence of the sewing structure on the spine has been lost. If enough remains to be able to work out how the book was sewn, it should be defined as complete breakdown. This diagram should be used to represent the spine of the book as seen from the outside, and is drawn without an upper border so that the actual proportions of the book examined can be approximately represented by drawing a line between the two uprights and parallel to the base line. The rectangle thus defined should have the positions of the sewing stations marked on it by vertical lines. The damaged areas can then be indicated by hatching. Clean breaks in the sewing can be indicated by making crosses in the relevant positions on the sewing station lines, but where sewing supports are broken (as opposed to the thread only), this should indicated by a small circle in the relevant positions. The drawing can be annotated for clarity. The edges of the text leaves were cut before the text leaves were sewn. This usually happens when a book is resewn without the edges being recut, and it usually identifiable because the individual gatherings present a stepped appearance at head and tail. "Yes": "No": "NK": Τhe leaves have been retrimmed at some date after an earlier binding was completed. This will often be identified by turned-in corners that escape the later trimming. "Yes": "No": "NK": This section asks for two drawings of the attachment as it shows on the outside of the boards. Clearly, if the leather is too thick or the damage too great, nothing can be drawn, but the intention here is to record as much information as is easily accessible. What can be seen on the inside of the boards will have been recorded in the first drawing. Tunnels drilled into the spine edge of the boards can be indicated with dotted lines. "Bridling": The attachment is made by separate bridling. "Integral": The attachment is integral with the sewing. "Laced slips": Where the book is sewn on sewing supports and the support slips are laced into the boards. "Pasted slips": Where the slips are attached to the board by adhesive only. "Sewn slips": The slips are sewn to the boards with thread. "NK": It is impossible to see how the attachment is made. Choose the relevant yes or no box to indicate whether there are linings on the inside and, or the outside of the boards. To be a lining, the material used must not be connected to the endleaves and, if on the inside of a board, must be underneath the turn-ins. Where books are sewn on sewing supports, the slips may also be laced through the linings. If the presence or absence of a lining is not clear, choose the NK option. "Yes": "No": "NK": "Internal": "External": "Internal and external": "Parchment": "Paper": "Textile": Adhesive type. Element not checked. The adhesive still provides an overall coherence to the spine without breaks between the gatherings. The spine is damaged by rodent activity. 100% severity would describe the removal not only of the adhesive layer but the outer folds of the gatherings. The spine is damaged by insect activity. 100% severity would describe the removal not only of the adhesive layer but also the outer folds of the gatherings. The spine is damaged by mould activity. 100% severity would describe the destruction not only of the adhesive layer but also disastrous damage to the outer folds of the gatherings. The spine adhesive is breaking up. This will be revealed by breaks between the gatherings and a general looseness in the spine as the book is handled. Where there is no adhesive bond between any of the gatherings, a 100% rating should be entered under both severity and extent, with reductions in either or both as relevant. This refers to the spines where the adhesive remains generally sound (and probably rather stiff), with occasional vertical cracks allowing a potentially damaging degree of flexibility between certain gatherings. These points should already have been indicated in the textblock breaks profile. Enter the folio numbers (e.g 45/46) where the cracks occur, under extent. Where additional application(s) of adhesive have been applied to the spine, usually by way of repair and reinforcement. Where possible, identify the adhesive type, otherwise use the NK option. Element not checked. Draw the profile of the spine. The drawing should represent as far as possible the original profile of the spine. Textblock drag from vertical storage may have distorted many of the spines, making them flatter at the head and more convex at the tail. In these cases, the most accurate profile will be obtained from a point about half way up the spine. Where the spine is severely distorted and has perhaps gone completely concave, or the textblock is now disbound, it may not be possible to reconstruct the original shape, and the letters ΝΚ should be written. The back edge of the boards should be included in this drawing. This section is intended to provide an approximate, machine-searchable guide to spine shape. The definition should apply to the textblock only, not to any shape given to the back edges of the boards. "Flat": Τhe spine was originally entirely flat from joint to joint. "Slight round": Α gentle roundness is seen in the spine. "Round": Τhe traditional third of a circle roundness. "Heavy round": Τhe roundness approaches a half circle. "NK": Τhe spine is so distorted or damaged that the original shape cannot be worked out. Draw the current profile if different from that already drawn. Spine and joint profile. The joint of a lining is that part that extends beyond the spine and is usually adhered to one or other surface of the board. "Inside boards": The joints are placed (they made or may not be adhered) inside the boards. "Outside boards": The joints are adhered to the outside of the boards (external linings must be, or have been, adhered). "Pasted to flyleaves": "Free": "NK": It is no longer clear how the joints were treated (the boards are missing, damaged, replaced, etc.). "Sound": The lining(s) are complete, intact and firmly adhered to the spine and, if originally so, to the boards. "Missing": The percentage of the spine lining(s) missing. "Spine detached": If the spine linings have lifted from the spine, give the area lifted as a percentage of the whole. "Split at joint": If the linings are torn or split along the joints, give the total length of the damaged areas as a percentage of the length of each joint. "Lifted from boards": If the linings have lifted from the boards, give the lifted areas as a percentage of the whole area of each board to which the linings were originally adhered. "Mechanical": Mechanical damage (abrasion, tears, etc.) Found on the lining(s) other than split or torn joints. "Rodent": Rodent damage over the whole extent of the lining(s). "Insect": Insect damage over the whole extent of the lining(s). "Mould": Mould damage over the whole extent of the lining(s). Drawing. Draw the shape and extent of the lining(s) onto the diagrammatic representation binding as seen from the outside. Where the lining joints are inside the cover, draw them with a dotted line. "Stuck on": Stuck-on endbands consist of a strip of material adhered to the spine at head and tail, one long edge of each of which projects beyond the head or tail of the spine, They are not attached to the bookblock with thread, though the projecting edge may be worked with thread. "Folded":A folded stuck-on endband is made from a length of sheet material folded lengthways and adhered to the head and tail of the spine in such a way that the folded edge projects beyond the end of the spine. A length of thin cord or other core material is often folded into the sheet material to create a more substantial appearance. &Tawed skin&: &Tanned skin&: &Textile&: &Parchment&: Positive integer (1-100), "NK", "NA". Percentage of the area of the panel or spine covered by the stuck on endband. Drawing. Draw the cross section of all the endband cores, showing their relative sizes if there are multiple cores, and their shape (round, square, rectangular etc.), in their relative positions on the profile formed by the two lines drawn at right angles within the box. The two lines are drawn without meeting so that profiled bookblock corners (e.g. Bevelled) can be drawn between them if necessary. If the text block was left square, simply extend the two lines to meet at right angles and then draw the core cross section(s). Number the cores in the drawing. Positive number, "NK". Write the number of cores found in each endband. The number of the core, as appears in the drawing "Yes": "No": "NK": It is not clear if or how the attachment was made. "NA": "Sewn": The slips of the endband cores were sewn to the boards. "Sewn and recessed": These are found where the board has squares at head and tail, so that the spine end of the edge (where the endband is to be attached) has had to be cut down to the height of the bookblock to form an endband slip recess which allows the endband slips to be sewn to the boards. "Laced": The slips of the endband cores were laced through the boards. "Adhered": The slips of the endband cores were adhered to the boards. The slips of the endband cores were never attached to the boards in any way. The thread used to sew the book is the same as that used to work the primary sewing of the endbands. "No bead": The primary sewing is simply wrapped around the core without either front bead or reversing twist. "No front bead": The primary sewing has no front bead, but it is not possible to see the back of the endband and therefore to know if there is a reversing twist. "Reversing twist": A form of working the endband which locks the endband core tightly to the back corner of the textblock by wrapping the thread around the external tiedowns (sometimes known as a back bead). "Greek single core": A Byzantine/Greek style endband with the primary sewing worked over a single core. "Greek double core": A Byzantine/Greek style endband with the primary sewing worked over a double core. "Warps only": The primary working of an Islamic-type endband which creates warps threads for the secondary weaving and may or may not also secure a core to the textblock. "NK": It is not possible to identify the primary sewing technique. Drawing. Drawing. There is no time to count every tiedown in every book, so we will record only the simplest indication of the frequency of tiedowns. "Every": There are tiedowns in every or virtually every gathering. Just check a short section of the textblock to see if this is the case. It is possible for one or two gatherings to be missed by accident or for practical reasons, so ignore these occasional lapses. "Frequent": There are many tiedowns, but not in every gathering. "Infrequent": There are not enough tiedowns to make the endband a structurally important unit – perhaps no more than one every 10mm or so. "NK": It is impossible to see how many tiedowns there are – or were. A number of bindings have an extra ‘endband’ created by folding a piece of leather, usually over some sort of core material such as a length of cord, and glueing it across the spine outside the worked endband but inside the cap formed by the covering material, creating an extra ‘band’ at head and tail. "Yes": The binding has or clearly had, if it is now missing, a cover. "No": The binding clearly never had any form of cover. "NK": It is not clear whether the binding ever had a cover. There are two types of cover which may be found on a book, primary and secondary. The primary cover is the material that constitutes the final surface of the completed binding, but not including additional, secondary, covers such as chemises. For inboard-bindings, the primary covering material is used to cover the boards and spine, either completely, as in full-bindings, or partially, as in half- and quarter-bindings. In bindings such as case bindings, laced-case bindings, limp bindings with external sewing supports and longstitch bindings, the case itself may also be the covering material, and thus serve a dual function as both covering (which therefore may be decorated as well) and structural component. The secondary cover is added in addition to a primary cover, either as protection or further embellishment of the book. In the latter case they are often made from decorated materials (most often textile or paper), but purely protective secondary covers can be made from plain materials such as tanned or alum-tawed skins. They may be contemporary with and part of a complete binding, or may be added afterwards (sometimes many years afterwards) to suit the taste and needs of a later owner. The cover status describes the nature of the cover, as to whether it is a primary or secondary cover, or is a later repair, replacement or addition. "Primary": The primary cover is the first cover applied to a book and is usually therefore adhered directly to the spine and boards of books bound in boards. In laced-case, tacketed, longstitch and many stitched bindings, it would be the cover actually attached to the structure of the book which may then have had have a secondary cover attached to it. This part of the record is historical, and should therefore be filled in even where the cover is now missing but only where the evidence remains to identify the cover type with certainty. "Secondary": A secondary cover is one that is added to a binding that already has a cover. It may form part of the original design of the binding or may be a later addition. It can be permanently attached or removable. If there is, or ever was, such a cover, mark the yes box, if not, mark the no box. If the presence or absence of a secondary cover cannot be definitely established, mark the NK box. "Case": A case-cover is type of cover which is complete in itself before it is attached to a bookblock. It may or may not have boards and other components in addition to a cover but no part of it can have been attached to the bookblock separately before the cover was attached. The spine of the case-cover is not adhered to the spine of the bookblock, but is left instead with a natural hollow back. The only exception to this is the tacketed case-cover, where the tackets may sometimes hold the case-cover tightly to the bookblock across the spine, though in this structure also no adhesive is used. "Over inboard": A cover that is wrapped around a bookblock to which boards have already been attached. "Drawn on": Covering material that is wrapped around a sewn bookblock and pasted or glued to the spine can be described as drawn-on. The term is also used to describe covers that are pasted or glued to the outside of the endleaves as well as the spine, a technique also known as 'drawn-on solid' (Glaister). In some cases, thin cards may be inserted between the endleaves and the cover to reinforce the sides of the cover. Drawn-on covers do not usually have turn-ins, and are either cut to the size of the bookblock (they are in fact frequently undersize) or are cut flush with the bookblock. "Guard": Guard covers protect only the spine and back edges of a bookblock (usually stitched), leaving the rest of it exposed, with or without endleaves. They differ from quarter bindings in that they are used on bookblocks without boards and often without endleaves. They are not tuned-in at head and tail, but are either cut to the size of the bookblock or are cut flush with the bookblock. Where more than one material is used to cover a book (e.g. Quarter bindings). Text, "None". Write the colour of the covering in the rectangular box below. Where it is clear that the present colour is an applied stain (such as a black stain over brown skin) give the colour using the following formula: black stain over brown. "First use": There is no evidence that the skin was used for any other purpose before it was used on this book. "Reused": There is evidence that the skin was used for some other purpose before it was used on this book. "NK": It is not clear whether the skin has been used before. "Book cover": The skin was used as the cover of another book before it was used on this book. "NK": It is not clear what the early use was. The cover is made up from more than one piece of covering material (not to be confused with patched, which is a form of repair). The technique used (sewn, pasted, etc.) should be indicated on the condition drawing. "Folded": The covering material projects beyond the edges of the board and it's folded back on itself. "Simple"The edges of the covering material are cut and not turned in. "Tight": The covering material is wrapped tightly around the edges of the boards. Drawing. This section requires a drawing within the conventional confines of a displayed cover. This conventional outline shows the outside of the cover and includes the board edges arranged around the perimeter of the cover. The primary function is to record losses and tears in the primary covering material, though other types of damage can be included, and annotation should be used where this will be helpful. "Adhesive": An adhesive case cover is attached to a completed bookblock by adhesive alone as a separate complete unit, whether it is made from one piece of cover material, or is made up from several components (i.e. boards, covering material, spine piece, etc.). Books bound in this way are conventionally known as case bindings. This order of construction differentiates them from bindings in which the boards are first attached to the bookblock by adhesive to the endleaf guards, stubs or full leaves and are then covered with a covering material. Even though they may appear superficially to be the same, in that adhesive alone is used to attach the boards and cover to the bookblock, the latter is an inboard structure. "Laced-attached covers": Lace-attached covers are those which are secured to the sewn bookblock by lacing cords or thongs which are attached to the bookblock through the cover. The cords or thongs may either be the slips of the sewing-supports or endbands or separate tackets which are secured to the bookblock, usually, but not always, by means of the sewing-supports and/or endbands. "External support case cover": A cover attached to a bookblock at the time of sewing by means of sewing from the gatherings through the spine of the cover to external sewing supports. In this type of binding the kettle stitches had also to be worked through the cover, though at least one example has been recorded with an abbreviated sewing structure without kettle stitches, which was sewn only between two single supports. This type of cover shares with the longstitch case cover the characteristic of being attached to the bookblock as the book is sewn, and must therefore have a non-adhesive structure. "Long-stitch case cover": The longstitch case cover is attached to the bookblock by the process of sewing the gatherings to the cover through pairs of holes between which the thread is visible on the spine of the cover, creating one or more "sets" of longstitch, though the threads are often hidden by a secondary cover. The primary cover was usually trimmed at the same time as the head, tail and foredges of the bookblock were cut, with the result that the cover and the bookblock are of the same height and width, and the cover has neither squares nor turn-ins. Covers can be made with turn-ins, but for this to work, the edges of the bookblock must either be left uncut, or be cut before the book is sewn. Because the cover is attached to the bookblock as the book is sewn, the structure has to be non-adhesive and cannot have any linings. "One-piece":A one-piece case is made from a single piece of sheet material creased and folded to fit round a completed bookblock before it is adhered to it. "Three-piece": The three-piece case consists of two boards joined by a spine-piece of thick paper, cartonnage or thin millboard, creating a primary cover which may then have a secondary cover, usually coloured and often decorated, pasted over it. "Boards and cover with spine infill": The adhesive case-binding familiar from the 1830s onwards typically consists of two boards and a spine infill held together by the covering material, most often of bookcloth, but which also could be leather, parchment or paper. In this type of case the covering material is an integral part of the case, in that the boards and spine infill cannot be held together without it, and should be regarded as a primary cover. Case-covers vary in their contruction from the very simplest single pieces of sheet material folded around a bookblock without turn-ins to elaborate covers with turn-ins, cover-linings, boards, yapp edges, etc. The edges of case covers can be treated in different ways, depending on the construction of the case and the nature of the cover material. "Turned-in": The edges of the cover are turned in. "Cut": The edges of the cover are cut, without turn-ins. "Sewn": The cut edges of a laminated cover are sewn around the perimeter to hold the laminations together. "Adhered": The edges of a laminated cover are held together by adhesive. "Lapped":Lapped corners are created when either the foredge or the head or tail turn-ins lie one on top of the other at the corners without being locked together. This is the most frequently encountered corner formation in limp bindings, and appears in a wide variety of types. "Locked": Locked corners are created by cutting a slot in either the foredge or the head or tail turn-ins after they are mitred and pushing the unslotted turn-in into the slot in the other turn-in to lock them together at the corner. The treatment of the joints of the cover varies according to the structure underneath and, to some extent, where the book was bound. "Grooved joint": A grooved joint, also known as a French joint, is created by keeping the back edges of the boards a short distance (often approximately equivalent to the thickness of the board, or a 'straw's breadth' according to de Bray) away from the joints of the bookblock and moulding the covering material into the groove so created. This shaping of the cover not only encourages an easier hingeing movement along each joint, but also spreads the strain of opening across a wider strip of the covering material, thus creating a more stable and durable joint. The design of the three-piece case cover automatically creates such a groove, sometimes emphasised by giving the spine-edges of the boards a full external bevel. "Joint crease": The joint creases are intended to assist the easy opening of a case-cover. They are creased or scored into the outside of a cover from head to tail, parallel to the spine creases and a short distance from them towards the foredges of the cover. They are designed to relieve the strain on the over when it is opened, by sharing the hingeing movement required of a cover when it is opened. A cover opened to 180° with only spine creases will make the cover material hinge through 180° along one narrow line, subjecting the cover to a great deal of stress. By adding joint creases, the movement is shared, with each crease only hingeing through 90°, thus reducing the strain on the cover. "Spine crease": A cover must have two spine creases in order to fit round a bookblock. They are creased or scored down the centre of the cover from the inside, running from head to tail of the spine, and are placed so that the distance between them is the same as the width of the spine of the bookblock. Many case-covers only have spine creases, and do not have joint creases. "Cut flush": The three-piece case consists of two boards, one of which is glued to either side of a strip of sheet material (the spine-piece(gebrochene Ruck in German) which is creased and folded to fit snugly around the rounded and backed spine of a sewn bookblock and usually extends under the boards for 2-4cms, but which may occasionally extend across the full width of the boards. It is always cut flush with the head and tail edges of the boards. The spine-piece is usually made from cartonnage or thin millboard, though parchment is very occasionally found, while the boards are most often made of a thicker millboard, and sca'board was frequently used as well. The German-style three-piece case should be regarded as a primary cover, though they are almost invariably found with a secondary cover of decorated paper. The three-piece case was most often used on adhesive-case bindings, but laced-case versions are also to be found, and these bindings need to be carefully examined to determine the correct type. "Turned in": The spine piece of the turned-in three-piece case was made of a thick cover paper and resembled a quarter spine covering, as it was adhered to the outside of the boards and turned-in at head and tail. It was then covered by a secondary cover, as the case itself forms the primary cover. "Limp-laced": A limp laced-case cover is made in one piece and is attached to the bookblock by means of the slips from the sewing supports and the endbands (if there are any) which are laced through holes made in the cover along the joints. Such covers are described as limp to distinguish them from those with either boards or cover linings. "Tacketed": A cover secured to a sewn or otherwise constructed bookblock by means of tackets. "Laced and tacketed": Case-covers can be attached to a bookblock by both tackets and sewing support slips and/or endband slips. This would appear to have been a practice confined to Italy. "Laced with cover lining": A laced-case cover with a cover lining consists of two pieces of sheet material, one inside the other, which originally were attached to a bookblock one after the other and not at the same time. The cover lining was the first to be attached, and was a piece of sheet material such as cartonnage or laminated sheets of paper cut to the height of the bookblock and endbands, folded around a bookblock and secured to it by lacing the sewing support slips through it. The second part of the cover, usually of parchment was folded round the cover lining, turned-in around its edges and secured by lacing the endband core slips through both parts of the cover at the head and tail of each joint. The result is a binding in which only the endband core slips and not the sewing support slips are visible on the outside of the cover, a fact which can make them externally resemble contemporary Italian limp laced-case bindings in which also only the endband core slips and not the sewing support slips are visible on the outside of the book. The cover lining is distinguished from boards in that both sides are part a single continuous piece of material wrapped around the spine, as opposed to boards which must always be separate entities. "Laced with boards": A laced-case cover can be made more rigid by the insertion of boards into each side of the cover after the head and tail edges have been turned-in. To qualify as a laced-case cover with boards, it is essential that the boards are not permanently attached to the bookblock before the cover is added. One account (Dirk de Bray, 1658) of how to make these bindings describes how the boards are temporarily tacked to the outer flyleaf with adhesive before the parchment cover is moulded over the spine and boards, after which the cover is removed, the edges of the cover turned-in around the edges and the cover then laced onto the sewing support and endband slips as a true laced-case cover. In some early Italian examples (of the 1570s), the thin cartonnage boards were tucked under the foredge turn-ins and secured by the ties, but lay on top of the head and tail turn-ins and were secured along the spine edge of the boards by the sewing support slips being laced through them through single holes. Similarly, in northern European examples, when the slips were laced back into the cover they sometimes pierced the back edge of the boards. It is quite clear, however, that in neither of these examples were the boards laced-on before the covers were added - i.e. they are laced-case covers. "Support slip": Whilst the sewing support slips in the majority of laced-case bindings are laced through a pair of holes made perpendicularly to the spine joints, many binders used varying angles of lacing and combinations of angles. It is also possible to find individual slips laced through two, three and even four holes in the cover. "Endband slip": Where a sewn bookblock has endbands, the slips are usually, but not always, laced through the cover. The lacing may be carried out in a variety of different ways. "Endband and support slip": "Support slip": Whilst the sewing support slips in the majority of laced-case bindings are laced through a pair of holes made perpendicularly to the spine joints, many binders used varying angles of lacing and combinations of angles. It is also possible to find individual slips laced through two, three and even four holes in the cover. "Endband slip": Where a sewn bookblock has endbands, the slips are usually, but not always, laced through the cover. The lacing may be carried out in a variety of different ways. "Endband and support slip": Tackets can be used to attach a case cover to either the sewing structure of a bookblock or to the endbands, or both. "Endband tackets": If a bookblock has endbands, a case cover can be attached to a bookblock by means of endband tackets, which are passed round or under the endband cores and through the cover. "Sewing structure tackets": The tackets secure the case cover to elements of the sewing structure, most often the sewing supports, or, if the book has an unsupported sewing structure, around the sewing chains across the spine. A variety of materials were used to make tackets. The holes through which the tackets attach a cover to a bookblock were often reinforced with additional pieces of a strong material placed overthem and with the tackets laced through them to help prevent the holes in the cover from tearing. The material used to make tacket reinforcements is sometime covered with fine quality or coloured materials to disguise and decorate the reinforcements. "Bands":Reinforcements in the form of a horizontal strip of a thick, strong material which passes over the joints of the case cover and is attached to the sides of the cover with ornamental lacing. "Individual attachment": A separate reinforcement for each point at which the cover/bookblock attachment is made. "Single station": The reinforcement includes all the attachment points made to a single sewing station. "Whole spine": The reinforcement covers the whole spine and all attachments are made through it. Various materials were used to make tacket reinforcements, but they mostly share the characteristics of being thick, strong and stiff to the point of rigidity. In some cases, the reinforcement material was covered with a finer quality material, sometimes coloured, to disguise the reinforcement itself. Most tackets reinforcements use uncoloured natural materials, but it is clear that in some cases coloured materials were selected for æsthetic reasons. "Loop":Loop tackets, as their name suggests, are formed by tying loops of the tacketing material around the supports and through the cover in simple loops. The loops made be secured either on the outside of the cover (this is the only option when the loop are tied round supports between the joints) or the inside if looped under the sewing-support slips. "Saltire": Saltire tackets form crosses made by two diagonals (also known as Saint Andrew's crosses) on the spine of a tacketed binding "Transverse": Transverse tackets have a length of the tacket material stretched across the spine from joint to joint without being twisted. "Transverse twisted": Tackets which are secured by twisting together the two parchment laces which emerge from each side of the spine of a tacketed cover to form a rope-like shape across the spine. A wide variety of different lacing patterns under and around the sewing supports of a bookblock can be used to create transverse twisted tackets. Tacket reinforcements can range in flexibility from rigid to fully flexible. "Flexible": The tacket reinforcements are made from pieces of flexible material such as cover-weight leather, alum-tawed skin or parchment. "Rigid": The tacket reinforcement is completely inflexible. This would apply to reinforcements made from pieces of wood. "Stiff": The material used for the tacket reinforcements is only slightly flexible, such as a piece of thick hide, leather or parchment. "Grooved joint":The grooved joint on an inboard binding is very similar to that on a laced-case with boards, but the construction is different in that the boards will have been attached to the bookblock before the book is covered. The groove will occupy the space between the shoulder of the spine joints and the back edge of the board, its width being usually about the same as the thickness of the board. "Stepped joint":The stepped joint is formed when a bookblock without shaped joints has boards the back edges of which are some distance from the spine of the book. When covered, the covering material forms a step along the back edge of the board down to the level of the bookclock. "Tight joint":When the boards of a book bound in boards fit closely to the spine edge of the bookblock, a tight joint is formed, with the cover hingeing along a narrow line along the back edge of the boards. This section describes the way in which the corners are formed on the inside of the boards or cover. This should already have been drawn in the first drawing. It is possible for a book to have more than one corner technique. "Full": The cover extends around the spine of the book from foredge to foredge – it may or may not have turn-ins. "Half": The primary covering material is found on the spine, back edges of the boards and corners of the boards, with a different covering material on the sides. "Quarter": The primary covering material is found on the spine and back edges of the boards only, either leaving the rest of the boards without covering (which can happen when there are wooden boards) or with a different covering material on the sides."Quarter with parchment tips": Where the outer corners of the boards are covered with small pieces of parchment which may be almost or even completely covered by the covering material on the sides, these bindings are still classified as quarter bindings but with 'parchment tips'. "Drawing": If you find a covering type not included above. "NK": It is not known whether the book had any type of covering. "Pulled over": The cap is pulled over the endband cores, or head and tail of the spine if there are no endbands. "Straight": The cap is left straight up the back of the endband cores, or head and tail of the spine if there are no endbands. "Reversed": The top of the cap is pulled backwards, with a crease under it, running across the spine behind the endband. "Covered": The cap is brought right over the endband cores and is sewn with a saddle stitch under the cores. "Lapped foredge over": The turn-ins overlap on the corners, with the foredge turn-in lying on top of the head and tail turn-ins. "Lapped head and tail over": Τhe turn-ins overlap on the corners, with the head and tail turn-ins lying on top of the foredge turn-in. "Lapped mixed": Τhere is a combination of the previous two techniques. "Tongued mitre": Τhe mitred turn-ins on the corners are separated by a small ‘tongue’ of the covering leather extending inwards from the corner. The tongues often drop out over the years, but knife cuts in the board underneath often show that they were once present. "Clockwise":Lapped corners which are formed one after the other moving in a clockwise direction around the cover, as seen from the inside. "Anti-clockwise":Lapped corners which are formed one after the other moving in an anti-clockwise direction around the cover, as seen from the inside. "Butt mitre": Τhe turn-ins are mitred in such a way that the two cut edges meet edge to edge with no overlap. "Open mitre": Τhe turn-ins are mitred in such a way that there is a gap between the two cut edges – though it must be clear that such corners were not once tongued mitres. "Cap core": Α length of material, often cord, has been folded into the caps at head and tail as the book was covered to create a thicker cap. "NK": Νo clear identification of the corner technique can be made. A length of cord or other material folded into the cap to increase its bulk. "Yes": The caps have cores. "No": The cap do not have cores. "NK": It is no longer clear whether the caps had cores or not. Case covers can be made form single or multiple layers of material, and in the latter case, more than one material may be used. Where the case covers have turn-ins, it is necessary to distinguish between linings, which were adhered to the cover before the edges were turned-in and were used both to reinforce thin and flexible cover materials and to soften cover materials with the paste used to adhere the lining to the cover to allow them to be folded and shaped around a bookblock (see case cover linings), and laminations, over the edges of which the outermost layer, visible on the outside of the bound book, may or may not be turned-in (see case cover edge treatment). Case cover laminations, which may or may not use adhesive to stiffen the covers and hold the layers together, may be purely functional and use plain or recycled material with no æsthetic intentions, or can use high quality materials chosen for their appearance and colour. It is therefore helpful to separate the laminations into outer, core and inner categories. The outer lamination, of course, is the cover material. "Core material": Where a thicker, stronger cover is required, more than two laminations may be used. In such cases the central lamination(s) are described as the core laminations. Care should be taken not to confuse endleaf pastedowns, which are part of the endleaf gatherings, with inner laminations. In some damaged books, this distinction may not be immediately apparent, but endleaf pastedowns will be found only on the inside of the left and right sides of the cover, therefore in two separate pieces, whereas the cover lamination will be found extending from fore-edge to fore-edge and across the spine in a single piece. Where there only two laminations, there will be no core material. "Inner material":This describes the innermost layer of a laminated cover. Where this is the same as the core material (if there is one), it should be described as such (same as core material). "Outer material": "Yes": "No": "NK": "Kettle band": "Caps": "Bands": This section is to be used only where books have either foredge flaps or edge flaps (the hinged extensions to the covers found on many Armenian bindings that cover the edges of the textblocks only). "Yes": "No": "NK": "Foredge flap": A hinged flap attached to the foredge of either the left or right board which folds around the foredge of the textblock and onto the other board. "Edge flap": An edge flap is attached to one of the outer edges of a book board and folds across and covers the edge of the textblock only and does not extend onto the opposite board. It is usually held in place by a fastening which holds the boards shut. "Same as primary": The flap is covered in the same skin (albeit a separate piece) as was used for the primary covering. "Same as secondary": The flap is covered in the same skin (albeit a separate piece) as was used for the secondary covering. "Different": The material is different than the covering materials. "Original": The flap(s) are original to the binding on the book, and have not been added at a later date. "Added": The flap(s) are not original to the binding on the book and have been added at a later date. "NK": It is not clear whether the book once had a flap or flaps. "Integral": The flap is formed as a continuous part of the covering material on the rest of the book. "Adhesive": The flap has been formed separately and attached to the book by means of adhesive alone. "Sewn": The flap has been formed separately and sewn to the book. "Nailed": The flap has been formed separately and nailed to the book. "NK": The method of attachment is not clear. The former is the piece of flat, stiff material (such as wood or millboard) which forms the flat part of a flap and is covered by a covering material on the outside and a lining on the inside. "Yes": "No": The flap does not have and never had any sort of former. "NK": "Wood": Any type of wood. "Paper": If the flap former is made from paper in any form, choose this option. "NK": The hinge linings are the materials pasted or glued across the inside of the hinges of a flap and act both to reinforce and neaten the inside of the flap. "Yes": "No": "NK": "Tanned skin": Any animal skin that has been tanned (leather). "Tawed skin": Any animal skin that has been alum-tawed. These skins will typically show a white or creamy white colour under the surface, usually visible in areas where the surface has been damaged or split. "Parchment": Any skin that has been limed, dehaired and dried under tension. "Paper": A text-weight paper. "Textile": Any sort of woven textile. "NK": The material cannot be identified with certainty. Drawing. Draw onto the outline of the outside of the cover of a book the position and shape of any foredge flap of edge flaps. The same drawing should be used to show the original shape of the flap(s) and any losses or deformation which may have occurred later. "Sound": The covering material is in good, clean condition and requires no treatment. "Missing": Record the extent of missing primary covering material as a percentage of the total external surface. Severity is not a relevant category here. "Tears": The severity of tears is a question of their length and the resulting vulnerability of the covering material. The extent refers to the percentage of the cover affected by them. "Abraded": The severity of abrasion will gauge its depth and the extent the percentage area of the cover affected. "Rodent": Severity will measure the seriousness of the damage – removal of the full thickness of the skin, for instance, would rate 100% - and extent the percentage area of the cover affected. "Insect": Severity will measure the seriousness of the damage – removal of the full thickness of the skin, for instance, would rate 100% - and extent the percentage area of the cover affected. "Water": This refers to damage from water resulting in stains and distortion. "Deposits": This refers to material deposited on the surface of the covering skin from any source (bird droppings, food, plaster and any anonymous material standing on the surface (as opposed to a stain). "Laceration": The covering material has been cut with a sharp knife. "Embrittled": The loss of original flexibility either through chemical deterioration, light damage, water damage, etc. "Encrusted": The covering skins on a number of books in the collection have developed a crazed, blackened surface – a mixture apparently of dirt and crease - which entirely disfigures and disguises the surface of the leather. The term encrusted is used to describe this condition. "Adhesive tape": Choose this option if you find any sort of self-adhesive tape used on a foredge or edge flap. "Sound": The boards are in good condition, without need of treatment or repair. "Missing": All or part of the former is actually wholly or partly missing (not just detached). Estimate the percentage which is missing. A completely missing board would therefore receive a 100% extent rating. Severity is not a relevant category here. "Tears": The former is torn. "Split": The former is split. "Rodent": The former is affected by rodent damage. The extent should be straightforward – it is the area of the former affected by the rodent activity. Severity will essentially record the loss of substance in the former over the affected area. An area of former which has been so far eaten by rodents as to have lost most of its substance and all its strength would rate as 100% (if it is missing, then the missing area will be recorded under missing and in the drawings and photographs). A slight scattering of minor damage would rate no more than 5%, and ranges of severity are also likely. "Insect": Describe as for rodent damage. "Delaminated": This will probably apply only to paper boards. The extent is straightforward – the area of the board affected given as a percentage. Severity will be a question of how soft the board has become as a result. "Tanned skin": Any animal skin that has been tanned (leather). "Tawed skin": Any animal skin that has been alum-tawed. These skins will typically show a white or creamy white colour under the surface, usually visible in areas where the surface has been damaged or split. "Parchment": Any skin that has been limed, dehaired and dried under tension. "Cartonnage": A thick handmade cover paper. "Paper": A text-weight paper. "Textile": Any sort of woven textile. "NK": The material cannot be identified with certainty. The flap(s) have been purposely removed with a knife, leaving a clean, cut edge in the covering material on the boards. "Yes": The flap(s) are fastened by a clasp or tie, one part of which is attached to the edge of the flap and the other to one of the boards of the book. "No": There is no fastening on the flap(s). "NK": It is not clear whether there were fastenings or not on the flap. Where both cover and lining are found, the attachment is assessed by rating the condition of both the covering material and the hinge lining, and then averaging the two to give an overall figure. This should be done separately for flaps found on any of the three exposed edges of the book boards. Where the cover only provides the hinge, simply copy the figures for the cover extent and severity into the average boxes. "Foredge": "Head": "Tail": "Sound": "Broken": "Sound": "Broken": Many of the bindings have existing repairs, and this section is intended to record repairs to the primary covering only. "Yes": "No": "NK": "Overback": Similar to a reback, only the new leather (or other material) is pasted over the covering leather on the back edges of the boards. "Patched": The primary covering material has been patched at some time after the covering process (not to be confused with pieced, which is part of the original covering). "Yes": The cover has been tooled in some manner. "No": There is no tooling at all on the cover. "NK": It is not clear, because of damage or loss, whether the cover was originally tooled or not. "Blind tooling": The tooling was executed without the use of metal foils. "Silver tooling": The tooling was executed through silver foil."Gold tooling": The tooling was executed through gold foil. "NK": The type of tooling is not longer clearly identifiable. "Fillets": Some or all of the tooling was carried out with fillets (straight lines rolls leaving single or multiple lines). "Rolls": Some or all of the tooling was carried out with rolls, leaving lines of decoration. "Small tools": Some or all of the tooling was carried out with small handle tools. "Centre piece": There is a central design blocked into the covering material. "Corner piece": There are large corner designs blocked into the covering material. Enter the number of different rolls used on the binding. Enter the number of different small tools used on the binding. This should not include centre and corner pieces, which are identified above. Indicate that the rubbing has been not. This section is intended to give an approximate indication of the quality of the surviving tooling impressions. "High": The impressions are clear, sharp and evenly impressed. "Medium": The impressions are visible but difficult to get good rubbings of either because the surface of the leather is damaged, or because the impressions are uneven, the tools were used when insufficiently hot or were not impressed far enough into the leather. "Low": The impressions are so faint or damaged as to be impossible to work out by eye, let alone take a rubbing of. Drawing. Draw the basic outline of the design and take a single rubbing of each of the individual finishing tools used. To do this select the cleanest impression of each tool used and make the rubbing from that impression, but use your judgement as to whether it is safe to make a rubbing at all. If the leather is damaged and breaking up, do not take a rubbing. Use a small piece of the drafting paper to make the rubbings, using either an hb or 4b pencil, depending on which will give the best results, and staple the rubbing to the top right corner of the first drawing. "Sound": "Missing": Record the extent of missing primary covering material as a percentage of the total external surface. Severity is not a relevant category here. "Tears": The severity of tears is a question of their length and the resulting vulnerability of the covering material. The extent refers to the percentage of the cover affected by them. "Abraded": The severity of abrasion will gauge its depth and the extent the percentage area of the cover affected. "Rodent": Severity will measure the seriousness of the damage – removal of the full thickness of the skin, for instance, would rate 100% - and extent the percentage area of the cover affected. "Insect": Severity will measure the seriousness of the damage – removal of the full thickness of the skin, for instance, would rate 100% - and extent the percentage area of the cover affected. "Water": This refers to damage from water resulting in stains and distortion. "Deposit": This refers to material deposited on the surface of the covering skin from any source (bird droppings, food, plaster and any anonymous material standing on the surface (as opposed to a stain). "Laceration": The covering material has been cut with a sharp knife. "Embrittled": The loss of original flexibility either through chemical deterioration, light damage, water damage, etc. "Encrusted": The covering skins on a number of books in the collection have developed a crazed, blackened surface – a mixture apparently of dirt and crease - which entirely disfigures and disguises the surface of the leather. The term encrusted is used to describe this condition. "Detached spine": If the covering material was originally pasted to the textblock and is now wholly or in part released. "Detached boards": If the covering material was originally pasted to the boards and is now wholly or in part released. "Lifted turnins": The turn-ins on the inside of the boards are no longer wholly or in part attached to the boards. The extent percentage should refer to the total of both boards. "Metal fittings only": Where the lifted covering materials (as recorded above) are held in place by the metal furniture (bosses, corners, etc.) only. "Adhesive tape": Some type of self-adhesive tape has been used to repair or secure the cover. "Shrunk": Severity records the percentage of shrinkage compared to the original size whereas extent records the percentage of covering area that has shrunk (e.g. maybe only part of the book cover has shrunk) "Rolled round bar": A flat strip, usually of copper alloy, one end of which is rolled over a bar, usually of iron. "Raised lip": A flat strip, usually of copper alloy, one end of which is formed into a raised lip either by bending the metal upwards or rolling it back from the end. "NK": "Edge": "Side": "Simple pin": A pin inserted into the edge(s) of the board without any additional form of fixing. This is a typical feature of Greek/Byzantine bindings. "Fastened pin": Fastened edge pins are secure by pins or rivets driven through the board and a hole drilled in the tang of the pin. "Bent and slotted": A flat strip, usually of copper alloy, one end of which is bent over at a right angle, with a slot filed out of the metal on the angle thus formed. "NK": Draw an end-on and side view of the edge or side pins on the binding. Sometimes you will find different types on the same book, usually as the result of loss and replacement. You can draw two different types here. Draw a side view of the boss type used on the book. If there is more than one type, draw the type found in the largest number. "Triple interlaced strap": The archetypal Greek/Byzantine type of strap, in which a length of long strips – resulting in 6 strips in all from the double thickness strap. These strips have a series of small holes punched through them from end to end. The strip of leather is laced through the slot in a stirrup ring clasp, and the pairs of leather strips are then laced through each other to give the braided appearance. The three resulting straps are usually laced into the board through three separate holes. "Double interlaced strap": Similar to the above, but the leather is cut to form only two straps"braids". "Flat": A flat length of material, animal skin or textile. "NK": It is not possible to identify the material. Where the strap is attached to the board with a strap anchor plate (a piece of metal, usually copper alloy) placed on top of or straddling the strap and secured with nails, this should be recorded in a separate drawing. A rubbing of the anchor plate can also be made if the shape is unusual or has any incised or struck decoration. If the strap is attached under the cover, emerging through a slit cut in the cover close to the edge of the board, this too should be indicated in a drawing. Element not checked. Straps may be made up from more than one material – combinations of leather and parchment, leather covered in textile, etc. The strap is formed from laminations of two or more of the above materials. "Tanned skin": A skin treated with tanning agents to produce a leather, usually some tone of brown in colour, but sometimes subsequently stained a variety of colours on the hairside. "Tawed skin": An animal skin treated with aluminium salts, resulting in a white or off-white skin which may then have been stained on either surface. "Parchment": An animal skin that has been limed, dehaired, scraped and dried under tension. Parchment may also be stained. "Textile": A woven textile of any sort. "NK": It is not possible to identify the material(s) from which the strap(s) are made. "Under": The straps are fastened to the inside of the board under the pastedown, and are thus likely to be original. This is likely to apply only to Greek/ Byzantine-type straps. "Through": The straps are fastened to the inside of the board on top of the pastedowns, and are therefore likely to be replacements. "NK": The relationship between the pastedowns and the straps is not clear. "Tanned skin": A skin treated with tanning agents to produce a leather, usually some tone of brown in colour, but sometimes subsequently stained a variety of colours on the hairside. "Tawed skin": An animal skin treated with aluminium salts, resulting in a white or off-white skin which may then have been stained on either surface. "Silk": "Textile": A woven textile of any sort. "NK": It is not possible to identify the material(s) from which the strap(s) are made. "Continuous": The metalwork runs continuously from head to tail. "Separate": The metalwork is discontinuous, in separate bands across the spine. If you feel that any part or parts of the book need to be looked again at greater length, choose the emergency option and fill in the part of the book to be re-examined. "Yes": "No": Draw onto the conventional outlines of the external surfaces of the book the location of any titling and shelfmarking. Indicate the approximate size and shape of labels, as well as the orientation (and language) of handwritten titles, especially on the textblock edges, where they may well indicate how the book was shelved at the time of titling. This section is to flag the need for minimal (or in situ) repairs, either as part of a rolling programme or as an emergency, in order to stabilise the condition of the book. This is work which would not require the use of a properly equipped conservation laboratory. "Yes": The book needs to be included in a minimal repair programme. "No": The book does not need to included in such a programme. Element not checked. "Leaves": The leaves have damage which puts them seriously at risk which can be repaired within the terms of a minimal repair programme. "Sewing": The sewing has damage which puts it seriously at risk which can be secured within the terms of a minimal repair programme. "Boards": The boards have damage which puts them seriously at risk which can be repaired within the terms of a minimal repair programme. "Endbands": The endbands have damage which puts them seriously at risk (e.g partially detached) which can be secured within the terms of a minimal repair programme. "Covering": The covering (primary and/or secondary) has damage which puts it seriously at risk (e.g. Loose and torn areas) which can be secured within the terms of a minimal repair programme. The blank field in this section should be used for any additional information you feel should be recorded, or to explain information already recorded in the previous pages that you feel might be ambiguous to whoever has the job of entering the information in the form into a database. Element not checked. Element not checked. It is not possible be sure whether the paper is eastern or western. Western laid paper should be easily recognisable when examined under transmitted light, though it may well have been given a polished surface (see below) in the eastern style for writing on. Choose this option if you find watermarks, but do not spend time looking for them. Eastern papers rarely if ever have watermarks, so this section will probably apply to western papers only. We do not have time to record watermarks as part of this project, but will give an indication of where they can be found for future work in the library. Eastern papers come in a wide variety of types that we cannot hope to distinguish with any accuracy in the time we have available to us. One of the more common types has polished, somewhat toned, surfaces with a softer, fibrous interior. Often eastern papers are very opaque and show no distinct laid pattern, others show quite coarse laid patterns. All, for present purposes, should be considered as eastern papers. Any type of wood. There is a wide variety of woods used on the books, few of which will be familiar to us. We are therefore not attempting to identify the wood species (unless we can make an absolutely positive identification), but rather whether the wood is a hardwood or a softwood. Only two woods were usually used for boards on western European books; oak and beech, and where these can be identified, they should be recorded. Element not checked. If you can identify the wood as a hardwood, choose this option. Hardwoods will normally be identified by having a close, fine grain. If you can identify the wood as a softwood (pine), choose this option. Softwoods will be identified by having a widely-spaced grain, the wood between which is relatively soft and easily marked. Element not checked. It is not possible to see which way the grain runs. Nb even where the board is completely hidden, the shrinkage of the wood as it dries often produces small wrinkles which run parallel to the grain of the wood in the leather, parchment or paper adhered to one or other surface of the board, thus identifying the grain direction. The grain runs from head to tail. The grains runs from spine to foredge. Element not checked. No clear pattern is found. The parchment does not allow certain identification of hair- and fleshsides of sufficient leaves to discern the presence or absence of a pattern. This obseration does not apply here. A clear majority of the leaves are so arranged that hairside faces hairside through the textblock. A clear majority of the leaves are so arranged that hairside faces fleshside through the textblock. "Thin": The text-leaves are unusually thin for their size. "Medium": The text-leaves are of a thickness that you would expect for their size. "Thick": The text-leaves are unusually thick for their size. "Supple": The leaves have retained a suppleness and flexibility, which, in parchment at least, more closely resembles parchment in humid, northern European libraries. "Medium": The leaves have limited flexibility, but allow the book to open reasonably well. "Stiff": The leaves are markedly stiff and inflexible. The surface of the paper still has or has evidence of having had a burnished or polished surface. Sometimes it will be possible to see the evidence of somewhat irregular hand-polishing with a smooth stone or other tool; in other cases there will be a more even, overall (polish) burnish. Burnishing can most easily be detected by looking along the surface of the paper towards a light source. Element not checked. Burnishing may extend over the entire surface of a leaf or be restricted to discreet areas only. "All over": The burnishing covers the entire surface of the leaf. "Text area only": The burnishing is restricted to the written area of the leaf only. "NK": It is not clear whether the surface of the paper has been burnished, perhaps because it is too degraded. "Fine": "Medium": "Poor": If the material is made up from sheets of pulped paper adhered together, choose laminated as well. "Plain": A linen, cotton or hemp thread. "Silk": Self explanatory. "Wool":Self explanatory. "Metal": A thread wrapped with gold or silver foil. "NK": The type of thread cannot be determined. The thread has been waxed before sewing. The presence of wax is sometimes indicated by the orangey-brown colour of oxidised wax or by the presence of a thin film over the thread that can be seen with a magnifying glass. Threads from which individual fibres can be seen lifting from the main body of the thread will not have been waxed. "Single": A single sewing thread is use to sew the book. "Double": Double threads are used to sew the book. This section will describe only the final twist and colour of the thread, as we do not have time for more detail. The final twist will be given as s- or z-ply. "S-ply": "Z-ply": "NK": If the thread is not visible or is too badly decayed for the ply to be identified with confidence or is missing entirely. Element not checked. The thin-medium-thick categorisation which follows can be difficult to grasp at first, but essentially relies on a rather unscientific reaction to what you see. If when you first see the sewing thread it immediately appears to you to be noticeably thicker or thinner than you would have expected, you can choose the relevant option. If it provokes no particular reaction, then choose the medium option. For those of you who know your English nursery rhymes, it is what i call the goldilocks approach to description. It is, as I say, not scientific, but much quicker than measuring and often more useful. "Thin": The thread used to sew the book is conspicuously thinner than you might have expected. "Medium": The thickness of the thread is as you might expect to find. If you are in doubt about which definition to use, then medium is almost certainly the box that should be marked. "Thick": The thread used to sew the book is conspicuously thicker than you might have expected. "Tight": The twist appears as 45° diagonals across the thread. "Medium": The twist shows at a shallower angle across the thread. "Loose": The twist is at a very shallow angle across the thread or scarcely shows at all. "Plain": A linen, cotton or hemp thread. "Silk": Self explanatory. "Wool": For secondary endbands coloured wool has been suggested as the material used in some endbands. "Metal": A thread wrapped with gold or silver foil. "NK": The type of thread cannot be determined. "Plain": Plain woven without decoration. "Decorated": Plain woven with decoration. "Tight": "Medium": "Loose": Indicate the type of deposit observed. Record the following elements on a per series base. The type of page marker. "Folded": Folded tabs are made from a narrow strip of material folded in half across its length with the two halves attached to either side of the leaf edge. "Folded and knotted": Similar to the above except that the folded end of the tab is tied into a round knot thought to resemble a turban – hence the name turk’s head knot. "Straight": A length of unfolded material attached to one or other side of the leaf edge. The attachment of the page marker. "Adhesive": The tab is fastened by adhesive only. "Sewn": The tab is secured by thread or thong only. Material of page marker. "Tawed skin": An animal skin treated with aluminium salts, resulting in a white or off-white skin which may then have been stained on either surface. "Tanned skin": A skin treated with tanning agents to produce a leather, usually some tone of brown in colour, but sometimes subsequently stained a variety of colours on the hairside. "Parchment": An animal skin that has been limed, dehaired, scraped and dried under tension. Parchment may also be stained. "Textile": Any textile in the form of a length of twisted cord or ribbon, or folded textile, that is not made of silk. "Silk": As above, but made of silk. More than one types of damage may be observed. Each one of them has its own set of values. Condition of page markers. "Sound": Where the tabs are intact, firmly attached to the text leaves and not in need of any treatment. "Detached": Where all or part of the tab is no longer attached to a text leaf, but is found with the book. Such material should be identified, bagged and kept safely. "Broken off": Where the part of the tab which projects beyond the edge of the leaf is either completely or almost completely broken off and is lost (not merely detached). "Dangling": Where the part of the tab which projects beyond the edge of the leaf is almost detached, being held by perhaps no more than a few threads, and is in danger of being lost. "Worn": Where the tab is sufficiently worn and softened as to be at risk of loss. Positive number, "Multiple" Number of page markers with this condition. Positive number, "Multiple" Number of page markers with this condition. Positive number, "Multiple" Number of page markers with this condition. Positive number, "Multiple" Number of page markers with this condition. Positive number, "Multiple" Number of page markers with this condition. Page markers can be located in many places on the page. For each location create a new set. Location of the page markers. "Head": The tabs are found on the head edge of the text leaves. "Foredge": The tabs are found on the foredge of the text leaves. "Tail": The tabs are found on the tail edge of the text leaves. Positive number, "Multiple". The number of tabs found in this position. Positive number, "Multiple". The number of tabs found in this position. Positive number, "Multiple". The number of tabs found in this position. Drawing. A diagrammatic drawing of the tab viewed in cross section, looking along the leaf edge, which will indicate how it is formed and attached. The drawing should be made on or around the leaf edge drawn in the box. Details about the specific lifting tab. Material of lifting tab. "Tanned skin": The lifting tab(s) are made of tanned skin. Lifting tab attachment. "Nailed": The lifting tab is secured to the board by one or more nails. "Glued": The lifting tab is attached to the board by adhesive. Condition of lifting tabs. Details of a specific condition. "Sound": The lifting tab is intact, firmly attached to the boards and not in need of any treatment. "Detached": All or part of the lifting tab is no longer attached to the board, but is found with the book. Such material should be identified, bagged and kept safely (see above: detached material). "Broken off": Where the part of the tab which projects beyond the edge of the leaf is either completely or almost completely broken off and is lost (not merely detached). "Dangling": Where the part of the tab which projects beyond the edge of the leaf is almost detached, being held by perhaps no more than a few threads, and is in danger of being lost. "Worn": The tab is sufficiently worn and softened as to be at risk of loss. "Missing": There is clear evidence that there was once a lifting tab (from a tannin stain on the board, an impression in the turn-in, etc.). The location of the lifting tab. "Foredge left": Where a lifting tab is found only on the left board. "Foredge right": Where a lifting tab is found only on the right board. Lifting tab attachment position. "Over turn-in": The lifting tab is secured to the board on top of the turn-in. "Under turn-in": The lifting tab is passed under the turn-in to emerge through a hole in the covering material close to the foredge of the board. Details of the specific bookmark. "Simple": The bookmark is attached directly to the book. "Compound": The actual bookmark is secured to an attachment component called a primary marker. "Loose": If the bookmark is not attached to the book, but only loosely inserted, mark this box. Describe the material(s) from which it is made. Describe the material(s) from which it is made. Select the bookmarks's primary type. "Span 1": The primary marker forms a single span between two points, fastened under the endband core, consisting of one or multicoloured lengths of thread normally plied together. "Span 2": The primary marker forms a single span between two points, fastened under the crowning core, consisting of one or multicoloured lengths of thread normally plied together. "Multiple span": The primary marker is laced under the endband at four points, forming two separate spans. "Twisted span": Formed out of a single span when the two or more threads which form the span are twisted tightly enough to make them form a loop between the two attachment points. "Closed loop": A closed loop is formed when both ends of the single or multiple threads which form the loop pass through the same hole under the headband core. "Twisted closed loop": A closed loop twisted tightly enough to make it form one or more extra loops. There is wide variety of secondary marker types. Some of these are listed below, each with its own type number. Input the relevant number from the list below. "Knotted double length": The secondary marker is knotted to the primary marker halfway along its length, creating two markers. "Knotted single length": The secondary marker is knotted to the primary marker close to one end, creating a single marker. "Hitched double length": The secondary marker is folded in half and the loose ends passed through the loop thus formed around the primary marker. "Sewn single length": A single length of secondary marker is passed through the primary marker and fastened by sewing the loose end back onto itself. "Plaited": The secondary marker is passed through the primary marker and the double lengths are plaited or braided together. "Plied": The secondary marker is passed through the primary marker and the loose ends are twisted or plied together. Type of primary attachment. "Knotted": The primary marker is attached to the headband by being knotted behind it. "Frayed": The primary marker is attached to the textblock by being passed under the headband and then frayed out and glued to the spine of the textblock. Some primary attachments were decorated with extra thread after they were attached to the book. "Wound": The decorative thread(s) are simply wound round the primary marker. "Braided": The decorative threads are wound round the primary marker with a twist or other sort of elaboration. Describe the material(s) from which it is made. "Integral": Integral endleaves are formed by using blank leaves from either the front or back or both ends of the textblock to act as endleaves. In manuscripts they will often be ruled to the same pattern as the rest of the textleaves and can be found at both ends of the textblock. In printed books they will usually only be found at the end of the textblock, where the printer has not been able to fill a complete sheet in the final gathering. If the final gathering provides an insufficient number of blank leaves to make up the desired endleaf format, the binder may add additional, separate endleaves to make good the deficiency. There will usually be a set of separate endleaves at the beginning of the textblock, though a number of German editions of the later eighteenth century supplied titlepages with conjugate blank leaves which can also be used as a substitute for endleaves. "Separate": Separate endleaves are those added by a bookbinder to a pre-existing textblock, either manuscript or printed, and together make up a complete bookblock. Although made from a limited number of components, these components can be combined in a seemingly endless number of different endleaf formats. They can also be made from a large number of different materials or combinations of materials. Positive number, "NK", "NA". The number of integral leaves at each end of the textblock which are used as endleaves (including pastedowns). The use of a blank leaf as a pastedown is one of the clearest indications that integral leaves were used as endleaves. Drawing. Diagrammatic cross section of the endleaves of this side of the book should be drawn, as viewed from the tail end of the book. Excised leaves can be represented by dotted lines but should not be numbered. The endleaf cross sections should be drawn as they are found in relation to the outermost gatherings at each end of the textblock. The individual units or combinations of units found at the front and back of a bookblock which constitute the endleaves. A unit consists of a single component or associated combinations of components which are sewn or tipped on as discrete units. One set of endleaves at one end of a bookblock might therefore consist of two, separately-sewn units (e.g a sewn guard followed by a separately-sewn double fold). A single component or a group of components sewn or tipped individually. Indicates the order of individual units in a specific location. If there is more than one unit they are numbered from the outside towards the textblock at each end. The group of components which constitute each unit. Listed in order from the inside to the outside. A single element from which a unit is made. Indicates the order in which the component appears in the unit. The material of which an individual component is made. "Cartonagge": "Paper": "Parchment": "Tanned leather": "Textile": Where any part or parts of the endleaf components are pasted to the inside of a board or cover, they are described as pastedowns, even though this may be no more than the outer part of a guard or the stub of an outside-hook endleaf. In most books, pastedowns were made at the end of the binding process, but stubs or guards, or even parts of full leaves, could be pasted to the inside of boards before a book was covered, to attach or stabilise the boards. Define the form of the element. "Fold": "Guard": A guard is a narrow strip of sheet material folded lengthways to create two stubs (usually of unequal width with the wide stub to the outside of the bookblock) and sewn through the fold. It is most often found in combination with other components, though it is occasionally found used on its own as a separate unit. "Hook": A hook consists of a single leaf of sheet material folded along the spine edge to create a stub on the side of the leaf towards the textblock. The fold along the spine edge allows the leaf to be sewn. A single unit may consist of a single or multiple hooks, or a hook may be used in combination with other components. A single sheet may also be folded to create two leaves with a folded stub, creating a rather complex single unit. "Endleaf hook": An endleaf hook is one that is used alone, in multiples or as a component within an endleaf unit which is entirely separate from the adjacent text gathering. "Text hook": A text hook is a hook that is swung around the adjacent text gathering, either alone, in multiples or in combination with other components. An outside hook is a single leaf of sheet material folded along the spine edge to create a stub which lies on the outside of the leaf, away from the textblock. Outside hooks can be found used on their own, in multiples, as a single sheet folded to create two leaves with a folded stub or as a component used with other components within an endleaf unit. A separate pastedown is a leaf of sheet material pasted to the inside of a board or cover which is not conjugate with any component in the adjacent endleaf unit, leaving an open joint. Separate pastedowns may be contemporary with the sewn or tipped endleaves, but could be added at a later date to hide the exposed inner surface of the boards. The condition of the front and back endleaves should be assessed as whole units (or multiple units where more than one unit is used to make up a single endleaf format). The extent entry should reflect the relevant percentage of all the leaves at either end of the book. "Sound": The leaves are in sound condition and require no treatment. "Worn - abraded": Used to describe leaves which have lost some or all of their original stiffness and character through handling or abrasion. "Ragged": Used to describe leaves where the density of tears, mould and /or rodent damage and losses has resulted in generalised damage. This is most frequently to be found along an edge, when the leaf material begins to resemble the tattered edge of a piece of unhemmed textile. "Tears": Where the leaf material has been torn as opposed to cut. Tears rarely affect more than a tiny proportion (typically given as 5%), but severity will take into account the risk to the future safety of the affected area that the tear represents. A short tear in the centre of an edge will therefore constitute a lower percentage risk than the same tear close to on outer corner of a leaf. "Insect": Used to describe damage due to any insect activity. "Rodent": Used to describe damage due to any rodent activity. "Losses": Where parts of a leaf are entirely missing. This should not be used where part of a leaf is detached but still survives. It should also be marked to quantify losses resulting from insect or rodent activity. It should not be used to indicate intentional excisions, which should be separately noted if there are lots of them. "Mould": Where there is evidence of mould damage of any sort. In the unlikely event that the mould appears still to be active, choose the emergency option whatever the severity of the outbreak. "Detached - Loose": If any leaves are detached or very loose (i.e. At risk of detaching). This category of damage is independent of the split-torn spine fold category, though clearly it may often be necessary to use both categories. Equally, it may be that one of the categories only may apply – where a perfectly intact bifolium is detached (detached-loose) because the sewing thread is broken or a bifolium with a partially-split spine-fold remains securely attached to the book (split-torn spine fold). The extent assessment will reflect the percentage of the total leaf spinefold(s) at each end that are damaged and severity will reflect essentially the risk factor resulting from the damage. 10% extent due perhaps to insect damage in a non-structurally important area could therefore result in a zero or 5% severity rating. "Split - torn spinefold": Choose this option when one or more leaves is either completely or partially detached (i.e loose) from its conjugate or stub. This section should not be used to identify units or components that are detached or loose because the sewing has broken, but are otherwise intact. "Cockling": Use the percentage system to assess the severity and extent of the cockling in the leaves. 100% severity of cockling would require a leaf to be completely covered by sharp, deep, cockling to the extent that it was considerably reduced in size and could no longer flex at all as a book leaf. 5% cockling would describe leaves with a noticeable but gentle undulation only. It is likely that some leaves will exhibit a range of severity of cockling, to be expressed as a range (i.e. 25-60%). "Pleating - folding": All sharply folded zig-zag creases (pleats) and single or multiple folds within the leaf area are to be identified here. The extent entry would define the number of leaves affected, and the severity entry the seriousness of the damage. "Water": Choose this option where you find water-born tidemarks. Extent will record the proportion of the area affected by the tidemark, and severity the level of discolouration. "Stains": Choose this option if the leaves are stained as the result of any damage other than mould and water. This would include tannin stains, coloured liquid spills, etc. Extent will record the proportion of the affected area, and severity the level of discolouration. "Grime": This term refers to handling grime, most often found on the bottom outer corners of the leaves. Extent will record the proportion of the area affected by the grime, and severity the level of discolouration. Many books in the collection are quite badly affected by grime. "Adhesive tape": All types of self-adhesive tape should be included in this entry. Extent refers to the number of leaves so treated and severity is an assessment of the discolouration, penetration and transparency resulting from it. "Deposit": Any materials that have adhered to the surface of the leaves (such as candle wax) should be recorded here, and, if possible, identified in the text box immediately below. We do not have time or need within this project to record ruling patterns, but we can record the means by which any ruling was done, as this may have implications for future treatment. More than one of the techniques listed below (and others which you may also find) may be present within a single text. If so, choose all the relevant options. "Yes": There is ruling on the text leaves. "No": There is no ruling on the text leaves. "NK": You are unsure whether there is ruling or not. "NA": "Pricked": Choose this option if you see prick marks in the margin of the leaves to serve as ruling points for either text lines or margins. "Mastara": If the ruling was made by a mastara, choose this option. The mastara is a tool for ruling leaves made from a rigid board, originally of wood but later of paste- or millboard, which has two vertical rows of holes marking the width of the text area and the spacing of the lines, between which are laced cords both across the board to mark the line and down each side to indicate the margins. The mastara is pressed into the manuscript leaves to leave a grid-like impression which acts as a writing guide. Its use is most obviously recognisable from the way in which the ruling is entirely confined to the text area and appears to have a rectangular border beyond which none of the horizontal rules project. "Dry point": Choose this option where you find indented lines scored into the leaves by hand and not made with a mastara. "Frame": Choose this option where the ruling creates a frame which defines the text area, but is not ruled for individual lines of text. "Red ruling": "NK": Choose this option where you cannot tell how leaves were originally ruled. Drawing. If the shape(s) of the holes left by the instruments used to prick the leaves is easily visible (triangular point, knife blade, round point, etc.), draw the shape(s) found in the rectangle below. Drawings are often necessary for the description of features or damage. "Drawing done": A drawing has been drawn in the corresponding form. "Drawing not done": A drawing is not necessary and therefore has not been done. "NA": A drawing does not apply here. Choose the emergency field if relevant. Type the extent of the observation or range of extent. Type the extent of the observation. Type the severity of the observation or range of severity. Type the severity of the observation. If there is a range of values, input the minimum percentage observed. Otherwise just input the consistent percentage value. If there is a range of values, input the maximum percentage observed. Otherwise just input the consistent percentage value. Number (0-100). "Plain": The paper or parchment used has not apparently been used before. "MS": The paper or parchment used has been cut from a manuscript. "Printed": The paper or parchment used has been cut from a printed book. Identify the script(s) used for the manuscript, choosing the relevant option(s). "Greek": "Arabic": "Syriac": "Hebrew": "Latin": "Slavonic": "Coptic": Leaves or sheets of printed material have been used to make all or some of the endleaves. "Greek": "Arabic": "Hebrew": "Black letter": "Roman italic": The location where the old repairs are observed. "Spine": Spine fold repairs of any sort. "Marginal": Repairs to the margins of any of the leaves. "Text area": Repairs to the text area of any of the leaves. "Wood": Follow the general wood definition. "Paper": If the board is made from paper in any form, choose this option. "Laminated": If the board is made from laminate in any form, choose this option. "Pulp": If the board is made from pulp in any form, choose this option. "Rope fiber": "NK": The type of paper board cannot be identified. "Same size": The boards were cut to the same size as the textblock. Wood-shrinkage may have resulted in a change in the dimensions of some boards across the grain, but there will be little shrinkage along the grain. If, therefore, either the foredge on horizontal-grain boards or the head and tail edges on vertical-grain boards are flush with the bookblock edge(s), but the other edge(s) have pulled back from the bookblock edge(s) they would qualify as same size boards. "Squares": The boards were cut larger than the dimensions of the bookblock. Board shrinkage may have resulted in apparently flush edges on the foredge (vertical-grain boards) or at head and tail (horizontal-grain boards), but the other edge(s) will project beyond the bookblock. "Undersize": The boards were quite clearly cut too small for the book. Ιf the board has been used before, but is original to this binding, choose this option. If it is clear that re-used boards were previously used on the same textblock, make this clear in your drawing. Τhe board has been taken from another binding to replace a missing original board. Positive integer or "NK". Give the average thickness of the board in millimetres. Board thickness where the board in not exposed is difficult to measure, and an estimate calculated without the thickness of the covering material is required. Often, especially with wooden boards, the thickness will vary across the board, and a single estimated average measurement is all that is required. Place a ruler on the edge of the board and see what it looks like! Where the edges of wooden boards have been reduced in thickness by cushioning, bevelling, etc., record the average thickness of the central, full thickness area of the board. The edges of the wooden boards of Byzantine/Greek bindings were often grooved by way of decoration. No. 1 and 2 show cross sections of two common ways in which this was done, and the relevant square boxes should be chosen when it is identified. No. 3 shows an edge that is simply cut square without further shaping, and the two lines to the left of other edge groove can be filled in with any other profile which may be found. If it is clear that the board edge has a groove but the shape cannot be identified, mark the box next to the words unknown grooved. If it is not possible to see how the edge has been finished at all, mark the nk box. "Type 1": Nos 1 shows a cross section of a common way in which this was done, and the relevant option should be chosen when either is identified. "Type 2": Nos 2 shows a cross section of a common way in which this was done, and the relevant options should be chosen when it is identified. "Type 3": No. 3 shows an edge that is simply cut square without further shaping. "Type 4": The two lines to the left of other edge groove can be filled in with any other profile which may be found. "Unknown grooved": If it is clear that the board edge has a groove but the shape cannot be identified, choose this option. "NK": If it is not possible to see how the edge has been finished at all, choose the NK option. Some bindings from the orthodox eastern Europe as well as from the Greek territories under Italian control use boards shaped according to either German or Italian traditions. A small number of typical variations are given below, but any more complex shapes will need to be drawn separately. "Centre bevels": Centre bevels are the short bevels cut on the exterior surface of the board in the centre of the head, tail and fore-edges. "Clasp bevels": Clasp bevels are the very short bevels cut on the exterior surface of the fore-edge of the board above and below the catchplates and/or strap attachment sites. "Internal bevels": Many european-style wooden board have bevels cut along the full length of the interior surface of the head, tail and foredge of each board. "Cushion": Where the outer surface of the board is shaped to created a convex curve over the entire surface, reducing the thickness of the board on all edges, this is described as a cushion. "Peripheral cushion": On a board with a peripheral cushion only the perimeter of the boards is shaped, and the central area remains flat. The corners of Byzantine/Greek bindings with wooden boards were finished off in a variety of different ways. "Type 1": The grooves might be stopped short of the corner, either with a dart. "Type 2": Or with a reverse dart. "Type 3": In others, the groove is carried around the edge of the board. "Type 4": In others, the groove is carried around the edge of the board. "Type 5": And where there is no groove, the corner is left square. "Type 6": Other shapes can be recorded between the lines in the relevant drawing. "Unknown grooved": If it is clear that the corner of the board edge has a groove running round it, but the shape of the groove cannot be identified, mark the box next to the words unknown grooved. "NK": If damage or thick covering materials make it impossible to be sure of the corner treatment, choose the NK option. "Square": "Back corner": "NK": If damage or thick covering materials make it impossible to be sure of the corner treatment, choose the NK box. Drawing. Using the lower board surface lines as starting points, draw the cross section profile of the back edge of each board, including the holes drilled for the lacing paths where these are visible. This is an assessment of the condition of the board attachment. A sound attachment point would be rated at 0% extent and 0% severity. The correct average can then be arrived at by dividing by four the total of the four types of attachment. The board is still attached at all points, is stable and functional with no need of repair. This refers to the mechanical attachment of the board to the bookblock by means of any part of the sewing structure – that is the support slips in a western style binding, or the sewing thread or bridling in a Greek style binding. If a board is detached, it will rate 100% in both extent and severity, but if three out of four attachment points are broken, it will have experienced 100% severity with 75% extent. If one attachment point is broken, a second almost broken, a third weakened and the fourth sound, then the severity would be in the range 0-100% and the extent would be 100%. This refers only to the attachment of the endband to the boards and is not assessing the attachment of the endbands to the bookblock – that will be covered in the endband section. Extent will refer to how many of the two potential attachment points on each of the boards may have been compromised. If, for instance, the tailband of a book is now missing altogether, but the headband attachment is intact and functioning, the damage to the overall endband attachment will rate 100% severity and 50% extent. If the headband attachment has also, in your estimation lost 30% of its strength on, let us say, the left board, the endband attachment on the left side would rate a 70-100% severity rating over 100% extent. Most eastern-style and some western Euroopean bindings place heavy reliance on spine linings to reinforce board attachment. Any damage should be recorded. This definition should also be used to record damage to endleaf-attachment types found in both Islamic and western European structures. The condition of the endleaves will also have been recorded separately in the corresponding section, and that of any spine linings again on the corresponding section. In some cases, especially amongst the smaller books, the covering material takes on some of the function of board attachment when other elements are weakened or fail and it is therefore important to assess its condition separately. A book with sound and intact covering material will have a zero rating in both extent and severity, whereas a book which has either lost its covering material altogether or where the covering material on both joints is split from head to tail, will have a 100% rating in both categories. Extent: This is intended to describe attempts that have already been made to reattach board by means of hitching them back on to the textblock with thread cord, tape, extra linings, etc. It should not include any form of rebacking or overbacking. Severity is not a relevant category here and is not therefore included. The extent will record how much of each attachment has been repaired (the number therefore of attachment points or the percentage of the height of a joint covered by a new lining, etc.). Severity: This is intended to identify books were the board opening is significantly stiffer than a theoretical norm, and thus places a strain on the book during handling. If a board is so stiff that it will not hinge away from the textblock at all, that would rate 100% severity. Extent is not a relevant category here and is not therefore included. If either board is a replacement and is (or was) attached to the structure of the book, choose the relevant option. A loose board taken from another book (or a piece of wood or cardboard) that has been tied up with the book should not be included in this section. Such boards can be identified in the board damage drawing. "Sound": The boards are in good condition, without need of treatment or repair. "Missing": One or both of the boards is actually wholly or partly missing (not just detached). Estimate the percentage which is missing. A completely missing board would therefore receive a 100% extent rating. Severity is not a relevant category here. A missing board should be recorded in the emergency option. "Worm": The board is affected by worm damage. The extent should be straightforward – it is the area of the board affected by the insect activity. Severity will essentially record the loss of substance in the board over the affected area. An area of board which has been so far eaten by insects as to have lost most of its substance and all its strength would rate as 100% (if it is missing, then the missing area will be recorded under missing and in the drawings and photographs). A slight scattering of insect holes would rate no more than 5%, and ranges of severity are also likely. "Split": The board is split. Boards broken in half would be rated as 100% split, with a minimal extent rating (5%). This information will be confirmed in the drawing. "Delaminated": This will probably apply only to paper boards. The extent is straightforward – the area of the board affected given as a percentage. Severity will be a question of how soft the board has become as a result. "Corners": There is some overlap with delaminated, but this should also record other types of damage, e.g. Broken corners. "Concave": Boards that are pulling outwards, from a scarcely noticeable curve (5%) to a theoretical maximum of a quarter circle curve (100%). "Convex": The reverse of concave. "Old repairs": If there are any earlier repairs to the boards, choose the relevant option(s). "Animal": The adhesive is of animal origin, typically with a brown, glossy appearance. "Starch": The adhesive is starch based. "NK": The identity of the adhesive cannot be stated with certainty. "Copper alloy": This is the technically correct name for metals such as brass, which are alloys of copper and other metals. "Silver": Self explanatory. "Silver guilt": Silver which has been gilded. "Iron": This form makes no distinction between iron and steel – enter all ferrous metals under the heading iron. "Wood": Self explanatory. You are only likely to find bosses made from wood. "Ivory": This category is to be used for both bone and ivory, though if you are quite sure of the identification, you can cross out the term which does not apply. "NK": It is not possible to identify the material. "Sheet material": The metal fitting has been cut and shaped out of a sheet of the material. "Cast": The metal fitting has been cast. "Repousse": The metal fitting is decorated in relief by means of hammering from the reverse side. "Enamelled": The metal fitting is decorated with enamelled colours. "NK": Any material used that you cannot identify. The nails securing the furniture to the boards pass through the pastedowns - often in western books a sign that the furniture is not original to the binding. Positive number, "Multiple", "NK" Percentage. Identify the damage in the marginal area. For the purpose of this analysis, marginal is used to describe the outer margins, including the edges of the leaves. This value added to the following “Text area” percentage should add up to 100%. Percentage. The inner margin area is included within the text area. This distinction is made because the outer margins are generally subject to different types of damage. Text. Enter a brief description of the affected area(s) or the folio numbers of the affected leaves – whichever is simpler and/or quicker. "Goat": The hair follicles in goatskin hair enter the skin at a shallow angle and tend to group together in threes, with the groups of follicles forming wavy lines across the skin. "Sheep": True sheepskin has no hair in it, and therefore no hair follicles. The surface of the skin is uneven and often has a rather waxy appearance, sometime pigmented on the hairside and white on the fleshside. "Hairsheep": Hairsheep often looks like sheep, but has hair follicles scattered across its surface, showing that it is not 100% sheep. If you are sure that a skin is either sheep or goat but cannot be sure which, then you can mark it as hairsheep. "Calf": Calf is identified by an even scatter of single dot-like hair follicles over its surface, which do not form any sort of pattern. "Pig": Pigs have bristles which enter the skin at a shallow angle and leave large angled follicles in the skin, often grouped in threes. "NK": The identity of the animal whose skins have been used is not clear. "Cord": "Textile": "Thread": "Ribbon": "Hairside out": "Fleshside out": "Yes": "No": "NK": "NA": "Plain cut": The edges are cut without leaving any sign of the tool used to cut them. "Knife cut": The edges were cut with a hand-held blade like a drawing knife. These edges are identified by the diagonal cut marks left in the edges. "Blade marks": There are blade marks on the edges which do not conform to the marks described above under knife cut. "NK": The edge is too badly damaged to indicate how it was cut. "White": "Cream": "Blue": The pastedowns will either be the same size as the textblock leaves, or may sometimes be found to have been trimmed at the head, tail and/or foredge. "Full size": Where the pastedowns have not be trimmed down after the edges of a bookblock have been cut, they can be described as full-size. "Trimmed out": Where the head, tail and/or foredge of a pastedown have been cut back, they are described as trimmed out. Apart from a limited number of Italian bindings of the late fifteenth and early sixteenth century, this technique is not generally found before the second quarter of the seventeenth century, when it was introduced in France to expose more of the turn-ins of the cover so that they could be decorated with gold-tooling. By the end of the following century it was in general use on more expensive bindings across Europe. When an endleaf is undersize and other pieces of endleaf material have been attached to the board to cover the gaps then the endleaf is recorded as pieced Depending on the type of binding and the country of the binding, pastedowns could be pasted in different ways. "Overall": Where the entire outer surface of the outer flyleaf is pasted out, the pasting is described as overall. "Perimeter and centre": Perimeter pasting was occasionally reinforced with a small dab or multiple dabs of paste in the centre of the pastedown, which ensured that the pastedown would not move away from the cover when the latter was flexed, but would still preserve the stability and flexibility of the cover. "Perimeter": Pastedowns attached to the inside of limp covers were sometimes pasted only around the perimeter of the outer flyleaf, attaching it to the turn-ins of the cover only. This was commonly done on Italian and Spanish laced-case paper and parchment bindings in the seveneenth and eighteenth centuries, but is also found in other areas of Europe. Pastedowns can be made in one of two ways - either by pasting the leaf and closing the board or cover onto it, or by lowering the pasted leaf onto the inside of an open board or cover. It would appear that the former method was used more or less universally until the mid-eighteenth century, after which the latter technique becomes more and more common. "Board closed": The board or cover is closed onto the pasted outer endleaf (and/or stubs) and the book is pressed. When this method is used, the foredge of the pastedown will line up more or less exactly with the foredge of the textblock, but the spine folds of the endleaves will often tear when the board is opened. "Board closed with external folded stub": In some British bindings of the early nineteenth century where the pastedown was made onto an open board, the outer endleaf was taken in a narrow, folded 'stub' onto the outside of the back edge of the boards, thus allowing a very easy opening of the boards. This was useful on books where the boards hinged away from the joints when they were opened. "Board open": From at least the mid-eighteenth century, and possibly first in Germany, binders began to lower the pasted outer flyleaf onto the open board, working the leaf carefully across the inside of the joint to make sure it was properly adhered. This process takes up more of the leaf than when the board is closed onto the pasted leaf, with the result that the pastedown is often noticeably short on the foredge, exposing more of the turn-in of the covering material. However, where this technique is used, the spine-fold of the endleaf will not tear when the board is opened.