Clasps which have either circular projections or recesses which fit into or over disk catchplates.
Recesses cut into the surface of a board to accommodate sewing-support or endband slips or bridling threads.
Lengths of material (cord, tanned skin, alum-tawed skin, etc.) glued into recesses cut across the spine of a bookblock.
Fastenings which consist either of a catchplate with a circular disk on it placed on the surface of the board (disk catchplate) and clasp straps attached to the opposite board with circular clasps that have circular recesses in them (disk clasps) that fit over the raised disk on the disk catchplate, or the reverse, in which the catchplate has the recess and the clasp has the disk.
Catchplates with either circular recesses in them into which disk clasps can be fastened or a circular projection over which hollow disk clasps can be placed.
Printing process in which the image is printed from ink held in the recessed areas of the plate or block, which have been engraved or etched away.
The Arts and Architecture Thesaurus Online, The Getty Research Institute.
The covering material is prevented from adhering to the spine-folds or spine-linings of the bookblock during the covering process by means of the insertion of an infill or hollow. This has the effect of allowing thicker books or books printed on thicker paper or with narrow inner margins to open more easily without crushing the covering material on the spine and thus damaging lettering and gold-tooling. It is associated with books sewn on recessed supports with smooth spines, which, because of the comparative thinness of recessed supports, have more flexible spines which are therefore more likely to have this damaging effect on gold-tooled spines. The construction of an artificial hollow back was described by Dudin (1773) and it is probably a consequence of the re-introduction of recessed sewing supports for high-quality books with extensively tooled spines in France and England in the 1760s.
Paper printed with plates or blocks into which the design was engraved or etched. The ink was held in the recessed lines in the plates or blocks and then printed on paper in a rolling press.
Bands created by structural features across the spine of the book such as raised sewing supports (i.e. not recessed) and kettlestitches, which may be emphasized with extra turns of thread in order to create more distinct bands.
Flat tapered wooden plugs with angled edges on each side pushed into tapering dovetail recesses cut into the outer surfaces of wooden boards at right angles to their spine edges. The frayed-out slips of the cord sewing supports (always, it would appear, paired single supports) were adhered to the bottom of the recesses before the horizontal wooden plugs, cut to fit exactly into the tapering recesses, were slid over over the slips to hold them in place. The outer ends ofthe plugs were then carved to match the shape of the paired single supports. The technique appears to have been used only in Bavaria, in the late fifteenth and early sixteenth centuries, though why anyone would do something so time-consuming it is hard to imagine, but many examples survive. This technique cannot be seen in books in good condition, as the attachment does not appear on the insides of the boards, but it can often be identified by the very sharp and deep moulding of the covering skin over the carved ends of the horizontal plugs.