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+The Project Gutenberg EBook of Book Repair and Restoration, by Mitchell Buck
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Book Repair and Restoration
+
+Author: Mitchell Buck
+
+Release Date: April 21, 2010 [EBook #32074]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK BOOK REPAIR AND RESTORATION ***
+
+
+
+
+Produced by Walt Farrell and the Online Distributed
+Proofreading Team at https://www.pgdp.net (This file was
+produced from images generously made available by The
+Internet Archive/American Libraries.)
+
+
+
+
+
+
+
+
+
+BOOK REPAIR AND RESTORATION
+
+
+
+_Only a thousand copies
+of this book are printed
+and type distributed._
+
+
+
+[Illustration: INLAID LEVANT BINDING]
+
+
+
+  BOOK REPAIR
+  AND RESTORATION
+
+  A MANUAL OF PRACTICAL SUGGESTIONS
+  FOR BIBLIOPHILES
+
+
+  _Including some Translated Selections_
+  from
+  Essai sur l'art de Restaurer les Estampes et les Livres,
+  par A. Bonnardot, Paris 1858
+
+
+  By
+  MITCHELL S. BUCK
+
+  Author of "Syrinx," "Ephemera," "The Songs of Phryne,"
+  Translator of "Lucian's Dialogues of the Hetaerai," etc.
+
+
+  Philadelphia     NICHOLAS L. BROWN     MCMXVIII
+
+
+
+  COPYRIGHT, 1918
+  BY NICHOLAS L. BROWN
+
+
+  _Printed July 1918_
+
+
+
+
+_FOREWORD_
+
+
+_The following chapters contain suggestions partly gathered from the
+experience of others and partly evolved for myself in caring for my own
+books. Although many "books about books" have already been written, there
+is still, I think, a place for this one. I have designed it especially for
+the bibliophile who enjoys "fussing" over his books and who receives, in
+seeing them in good condition and repair through his own efforts, an echo
+of the pleasure he receives from reading them._
+
+_In translating from Bonnardot, I have taken the liberty of abridging or
+paraphrasing, at times, the chapters which I have included here, not only
+to confine the subjects a little more closely but also to present his
+essential suggestions as concisely as possible. His book, copies of which
+are very scarce, was first issued in an edition of four hundred copies in
+1846 and re-issued, with revisions, in 1858. It has not since been
+reprinted nor, so far as I have been able to learn, has it been translated
+into English, either wholly or in part._
+
+
+
+
+CONTENTS
+
+
+  FOREWORD: Page 7
+
+  _Chapter I_
+  GENERAL RESTORATION: Page 15
+
+  _Chapter II_
+  REMOVING STAINS: Page 25
+
+  _Chapter III_
+  REBACKING: Page 39
+
+  _Chapter IV_
+  REPAIRING OLD BINDING: Page 51
+
+  _Chapter V_
+  REBINDING: Page 77
+
+  _Chapter VI_
+  THE BOOK SHELVES: Page 89
+
+  _Chapter VII_
+  BOOK BUYING: Page 99
+
+  _Chapter VIII_
+  THE GREEK AND LATIN CLASSICS: Page 111
+
+  INDEX: Page 123
+
+
+
+
+LIST OF ILLUSTRATIONS
+
+
+INLAID LEVANT BINDING: _Frontispiece_
+
+RE-LINING BACK: Page 21
+
+VELLUM BINDINGS: Page 25
+
+ORIGINAL SHEEP BINDING (1684) REBACKED: Page 39
+
+CUTTING FOR REBACKING: Page 41
+
+CUTTING FOR REBACKING: Page 42
+
+LOOSENING LEATHER FOR REBACKING: Page 43
+
+SETTING NEW BACK: Page 44
+
+BINDING HEAD-CAP: Page 45
+
+FOLDER: Page 47
+
+IRON: Page 48
+
+MODERN LEVANT BINDING: Page 51
+
+SOLANDER SLIP-CASE: Page 77
+
+LEATHER SLIP-COVERS: Page 89
+
+SLIP-COVER: Page 92
+
+KELMSCOTT PRESS BOOK: Page 99
+
+BLACK LETTER VIRGIL: Page 111
+
+
+
+
+CHAPTER I
+
+_GENERAL RESTORATION_
+
+
+To consider first a few simple processes of ordinary restoration, let us
+assume that a rare book in its original cloth or boards, in a more or less
+damaged condition but not to the point of necessitating rebinding, has
+just been received.
+
+The first operation required is to carefully clean off the binding with a
+soft cloth, wipe off the end papers, which often have a coating of dust,
+especially when the covers do not fit closely, and, if the top is gilt,
+wipe that carefully also. An "uncut" top is freed from dust by brushing
+with a soft brush.
+
+The book is then collated to make sure that every page is in place and, if
+there are plates, that no plate is missing. This operation, it is perhaps
+needless to say, should by all means be done before purchasing, unless the
+book comes from a reliable dealer to whom an imperfect copy could be
+returned. If, in collating an old book, the amateur discovers that page
+173 follows immediately after page 136, he need not necessarily be
+alarmed, as mistakes in pagination and even in the numbering of signatures
+are very common in books printed a century or more ago. In such cases, the
+"catch words" which generally appear at the bottom of the pages, or else
+the text itself, should be examined to see whether the page, without
+regard for its number, is really in its proper place or not. Each page is
+then examined for dirt or finger marks, which can almost always be
+removed, the quality of the paper permitting, with a soft pencil-eraser or
+bread crumbs.
+
+Marginal notes, especially in contemporary hands, are much better left
+alone; they are often of considerable value and, when neatly and not
+excessively done, rather add to the interest of the volume without
+detracting from its value to any great extent. On which subject Bonnardot
+has quite a little to say, in the chapter on _Stains_ included in this
+volume.
+
+Presentation inscriptions in the autograph of the author or of some one
+intimately connected with him of course greatly increase the interest and
+value of the book. Names written on title-pages can often be effaced by
+the process elsewhere described, but these should not be disturbed until
+they have been thoroughly investigated. A name which at the moment seems
+totally unfamiliar may sometimes be found of special interest inscribed in
+the particular volume in which it is found. As an ordinary illustration of
+this, might be mentioned a copy of Edwin Arnold's "Gulistan" bearing on
+the half-title the inscription "To dear Mrs. Stone from Tama." This author
+had, at one time, married a Japanese girl, and a little investigation
+revealed that her name was Tama KuroKawa. Her inscription, of course,
+remains undisturbed, as it adds a distinctly personal note to the volume.
+But alas! the John Diddles and William Bubbles who have for centuries
+scribbled their odious names over fair title-pages, with never the grace
+to make themselves immortal and their autographs a find!
+
+Writing in the year 1345, Richard de Bury remarks, "When defects are found
+in books, they should be repaired at once. Nothing develops more rapidly
+than a tear, and one which is neglected at the moment must later be
+repaired with usury." Bearing in mind these words of wisdom while
+examining each page of the book, pencil notes should be made on a slip of
+paper of any pages needing repairs, also of any places between the
+signatures where the back is "shaken" exposing the stitching and lining.
+
+Checking off from this list, advisable repairs should then be made. The
+edges of any tears should be neatly joined with paste. To do this, a clean
+sheet of white paper should be placed under the torn part and the edges of
+the tear lightly coated with ordinary white paste. These edges are then
+pressed together by means of another sheet of white paper pressed above,
+both the upper and under sheets being gently moved several times to
+prevent them from sticking to the torn edges. Paste used in this way dries
+in a few minutes and holds firmly if the edges of the tear are a bit
+rough. If the page is separated by a clean cut, it may be necessary to
+apply a strip of thin tissue to hold the edges together. The same general
+method may be used for inlaying pieces torn from the margins, perhaps by
+the careless use of a paper cutter in the hands of the original owner.
+Paper of the same weight and tint as the torn page is secured, placed
+under the lacuna, and the outlines of the missing part traced off with a
+sharp pencil. The piece to be inlaid is then cut, following the traced
+outline but leaving a little margin, and pasted in position, the outer
+edge being cut even with the general edge of the leaf when the inlay is
+dry.[1]
+
+White paper for inlaying may be tinted with water-colors to match the old
+paper. The best method, however, of imitating the yellowish tone of old
+paper is to stain the inlay with potassium permanganate. This is a dark
+purple crystal which is used in extremely weak solution in warm water. If
+a sheet of paper is to be tinted for inlaying or to replace, perhaps, a
+missing fly-leaf, it is laid in the solution for a few seconds, then
+removed and the excess purple tone thoroughly washed off under running
+water. The paper will then be found tinted a pale, yellowish brown, the
+tone of which may be varied by the strength of the solution and the length
+of time the paper remains in it. Coffee, licorice or tobacco may also be
+used, with good results.
+
+The pages all in order and repair, the next operation is to repair the
+"shaken" back. Perhaps there is no ill to which old books, especially
+modern issues in their original bindings, are more subject. The damage
+known as "broken" back usually means a book practically broken in half,
+the break, in old calf bindings, usually extending through to the outside
+of the back. The "shaken" back on the contrary, has merely separated
+between the signatures, exposing, between the inside sheets, the lining of
+the back. Cheaply bound books seldom remain solid between the signatures,
+especially when they are printed on heavy, unyielding paper. The damage
+arises partly from the drying out of the glue in the back and partly from
+careless handling by readers. Books should always be opened gently and
+never forced open to absolutely flatten out the pages unless the binding
+is known to be entirely safe and firm.
+
+The breaks between signatures are repaired and the old glue at these
+points softened by means of bookbinders' paste. For this, a solid,
+satisfactory and fairly elastic substitute can be made by mixing about
+equal parts of good liquid glue and ordinary white library paste of the
+kind which comes in tubes. With a long pin, slightly bent on the point,
+this mixture is laid in the open crack between the signatures, care being
+taken to distribute it evenly the whole length of the book and to
+thoroughly cover the exposed inside of the back lining. An excess of paste
+must be avoided, as it would spread out on the inside margins of the
+leaves when the book is closed to dry. When all the broken places are
+mended, the book is closed and placed under a slight pressure for a few
+hours.
+
+Where the book is bound with a "spring back," that is to say, with a back
+which springs apart when the book is opened, leaving a space between the
+outside back and the actual back of the signatures where they are
+stitched, a further strengthening of the back may be desirable. This
+strengthening can be obtained by "lining up" the inside back with a new
+strip of paper.
+
+To do this, cut a strip of medium weight Japan vellum--which is the best
+paper for the purpose--a few inches more than twice the height of the book
+and in width equal to the inside back. One end of this, with the corners
+clipped so it will not catch, is inserted between the outside and inside
+backs of the book and slipped through until it projects about an inch at
+the bottom of the book. (Fig. A.) The part of the strip left exposed at
+the top is then well coated on the inside face with the paste mentioned
+above and pulled into the book, against the inside back or lining, by
+means of the end projecting at the bottom. The surplus of the strip at top
+and bottom is then cut off, two short slips of paper temporarily inserted
+at top and bottom to prevent the new lining adhering to the outside back,
+and a firm hand pressure applied all over the back to force the new lining
+into close union with the old on the backs of the signatures. The book is
+then set aside to dry, under a light pressure, after which the two slips
+of paper inserted at top and bottom are pulled out.
+
+
+[Illustration: Fig. A]
+
+
+Any slight necessary exterior repairs should then be made--loose bits of
+cloth or paper at worn corners or along the edges of the boards pasted
+down, and any tears at the top of back above the head-band reenforced from
+the inside with strips of cloth or paper.
+
+The outside of a soiled cloth binding often may be cleaned by means of a
+soft pencil-eraser. If this is done, the cloth should afterward be
+freshened by a thin coat of sizing.
+
+If these operations are carefully and thoroughly carried out, the book
+should then be in a solid and satisfactory condition and capable of
+standing any reasonable amount of wear.
+
+
+
+
+CHAPTER II
+
+_REMOVING STAINS_
+
+TRANSLATED FROM BONNARDOT
+
+[Illustration: VELLUM BINDINGS
+
+(1674 AND 1878)]
+
+
+Before discussing the means of attacking stains which may blemish a book
+or a precious print, I am going to say that, in certain cases, it might be
+very desirable to allow them to remain. If I possessed, for example, a
+missive addressed to Charles IX during the night of Saint Bartholomew, and
+stained with bloody finger-prints, I would take great care not to disturb
+these marks which, supposing their authenticity established, would
+increase tenfold the value of the autograph. If the custodian of the
+Laurentian Library at Florence should efface, from his Longus manuscript,
+Paul Louis Courier's puddle of ink, he would commit an act of vandalism,
+for that ink stain is a literary celebrity.[2]
+
+To speak of more ordinary examples: one often finds on a book or print, a
+signature or inscription which may sometimes be an autograph well worth
+preservation.[3] I very rarely efface signatures or the notes of early,
+unknown owners; I find it pleasanter to respect these souvenirs of the
+past. In the same way, some curious objects have certain defects which, I
+think, add to their interest. For example, a statuette of the Virgin, in
+silver or ivory, of which the features and hands are half effaced by the
+frequent contact of pious lips. Restore such worn parts, and the sentiment
+is stripped from a relic of past ages. It is far better to leave untouched
+such scars, which attest the antique piety of the cloister. A vellum Book
+of Hours of the Fifteenth Century, worn and soiled through prayer, has, to
+my mind, acquired a venerable patina. Here, a spot of yellow wax; there,
+the head of a saint blemished by the star-print from a tear of devotion:
+are not these stains which should be respected? On the other hand, a blot
+of ink or an oily smear point only to carelessness and should be removed.
+
+About the year 1846, I was invited by M. A. Farrens, a skilful restorer of
+old books, to see in his work-shop a Dance Macabre in quarto, imprinted on
+paper, at Paris, toward the end of the Fifteenth Century; a rare volume
+which he was restoring for M. Techner.
+
+The portions already cleaned and restored, compared with those still
+untouched, excited my admiration. The numerous worm holes, the torn
+places, had disappeared through an application of paper-paste, so well
+joined, so well blended in the mass, that I could hardly detect the
+boundaries of the restorations. The letters and wood-cuts suffering from
+lacunae had been reformed with great skill on a new foundation. The soiled
+surfaces of the pages had entirely disappeared before I know not what
+scraping or chemical action. In a word, M. Farrens was putting into use
+every secret of restoration to give again to this volume its original
+lustre.
+
+Ah well! today, I confess, that if I possessed this book in the
+dilapidated state in which I saw it, I would leave it just as it stood,
+and limit myself to the indispensable repair of a new and solid binding.
+Its worn and soiled condition came, very probably, from the frequent and
+pious turning of its pages, in that monachal perseverance of prayer of
+which our century knows nothing. Its shocking and decrepit condition had,
+to my eyes, a secret in harmony with all books of the kind, which, from
+each page, recall to us our insignificance.
+
+No doubt many amateurs will not agree with me in this; some, perhaps, will
+declare I have arrived at a monstrous degree of cynicism for a
+bibliophile. However, I will supply the means of restoring at least a part
+of their original freshness to books and old prints badly treated by time
+or by the indifference of their earlier possessors.
+
+When a print is soiled with spots or foreign color, especially in the most
+interesting places, one can hardly lay it away in a portfolio without
+making some attempt to remove or reduce the strange tints which appear on
+it. This is the part of my present work most difficult to discuss, while
+being the most useful. My simple notions of chemistry are not always
+sufficient and perhaps, some day, some chemist especially trained in
+analysis and decomposition may, with advantage, rewrite this portion of my
+work. I will at least record, however, a large number of satisfactory
+results which I have obtained and even repeated on fragments of proofs on
+unsized paper, this last being the most unfavorable of all conditions.[4]
+
+
+The first difficulty comes when the nature of the spot is not easily
+recognized. This yellow spot which resists both washing and bleaching, may
+perhaps be formed by some greasy body or by some metallic oxide, and one
+must proceed carefully on any hypothesis which may be formed. In such
+cases, where experiments must be tried, it is necessary to know some
+chemical substance which can be first applied, to the end that, if the
+spot persists, the chemicals used in attempting its removal will not, at
+least, render it impervious to further efforts. It is not possible to set
+positive rules for this. I have tried indifferently the action of an acid
+before that of an alkali, and vice versa. Only, I have been careful,
+before renewing any experiments to soak the print for several hours in
+cold water to stop the action of any chemicals already used and to annul
+their traces and effects.
+
+The first attempt to make upon a spot of unknown origin, is to soak the
+print for several hours in cold water and then rub the spot gently with a
+finger or a small brush. It sometimes happens, especially when the paper
+has been well made and well sized, that the spot will yield to this gentle
+rubbing, slide off and disappear. When the spot becomes thick and pasty,
+it is at least weakened even if it does not come off. This is, in any
+case, a necessary first operation. But it should be carried out with care,
+in order not to injure the surface of the print. Before soaking a print in
+water or chemicals, it is best to clip a few small shreds from the margin
+and soak these in a small glass test-tube to note the effect.[5]
+
+It sometimes happens that there appears on a page or print a single spot
+which it is desirable to remove without going to the trouble and risk of
+soaking the whole sheet. A spot on the corner offers few obstacles; the
+part is simply dipped in a vessel containing the proper solution. If the
+spot is in the middle of the sheet, I usually make use of a shallow
+porcelain cup having sides slanted in toward the centre, such as is used
+for water-colors. By means of such a cup, any part of a sheet can be
+brought into contact with the solution. The chemical may also be applied
+directly to the spot by means of a small brush.
+
+M. de Fontelle advises the use of blotting paper from which a hole, a
+little larger than the spot, has been cut. This is placed over the spot
+and the chemical liquid dropped in. The blotter around the spot will
+absorb the excess liquid without offering any obstacle to the operation.
+
+In operations upon single spots, the action of the chemicals always
+extends a little beyond the spot itself and often leaves a bleached line
+which is in disagreeable contrast with the other parts of the sheet. This
+may be retinted with dark licorice or some suitable color in more or less
+concentrated solution, mixed sometimes with a little common ink. This is
+applied with a small brush, care being taken not to overlap the solution
+on the unbleached portion of the sheet beyond the bleached line.[6]
+
+
+_REMOVING STAINS OF VARIOUS KINDS_
+
+GREASE. Grease spots, especially when very recent, can sometimes be drawn
+out by an absorbent powder such as impalpable clay or chalk. The spotted
+leaf is enclosed between two tins or boards, both sides of the spot well
+dusted with the powder, and the book closed tightly and set aside for
+several hours. Some kinds of grease absorb more slowly than others. If
+this operation is unsuccessful, alcohol, ether or benzine may be tried.[7]
+A weak solution of pure or caustic potash operates very rapidly. If the
+ink on the page or print is turned gray by this, it may be restored by a
+wash of acid in very weak solution.
+
+WHITE OF YELLOW WAX. These spots yield promptly to pure turpentine,
+especially in a warm bath. When the spots thicken, they are lifted off
+with a scraper, or blotting paper may be applied, pressed down with a
+heated iron.
+
+STEARINE. Wax tapers are today replaced by a kind of liquid grease,
+stearine, spots of which give paper a disagreeable transparency. These
+dissolve in warm alcohol or boiling water, but the spot remains stiff and
+the brilliance of the ink is reduced. The greater part of the stearine
+spot may be removed by the same process indicated for wax.
+
+SEALING WAX. RESIN AND RESINOUS VARNISH. All dry resins yield to a warm
+alcohol bath. The thick part is removed as above. Sealing wax colored red,
+blue, etc., leaves a corresponding tint which is very tenacious.
+
+TAR, PITCH, etc. These spots are rarely encountered. They give way to warm
+turpentine or cold benzine. If a dark trace remains, it sometimes may be
+removed by oxalic acid if the spot has not been burned by the hot tar.
+Whenever turpentine is used on any spots, it should always be the purest
+obtainable.
+
+EGG YELLOW. This is always mixed with a little albumen, a matter which
+thickens in boiling water and can be drawn from the paper, along with the
+yellow. If the paper is smooth and well sized, all will disappear under a
+sponge in a bath of hot water. There sometimes remains a yellowish trace.
+To remove this, apply with a brush chlorated lime and then very weak
+hydrochloric acid.
+
+MUD. This may be removed simply with a wet sponge or in a warm water bath.
+Where the paper is rough and absorbent, soap jelly should be used. If a
+dark trace remains, it usually will yield to oxalic acid or cream of
+tartar.
+
+INK. Ordinary writing ink is easily decomposed because its principal
+constituent is a vegetable matter, oakgall, mixed with a little iron
+oxide. This gives way rather promptly to an application of sorrel salt
+dissolved in boiling water. The water must be boiling to secure prompt
+action. Even better success may be obtained by the use of pure oxalic
+acid, which is an extraction from sorrel salt of which it is the base.[8]
+Chinese ink cannot be dissolved but sometimes may be washed from a smooth
+page by means of a damp sponge. Marking ink may be removed with chloride
+of lime.
+
+FRUIT JUICE. Stains from fruit may be removed by chlorine or cream of
+tartar. In some cases, water alone is sufficient.
+
+BLOOD. These stains may be bleached by chloride of lime. As this must be
+applied for at least twenty minutes, it is better to use it as a damp
+paste. There will remain a yellow trace which will give way to a weak
+acid.
+
+FECAL MATTERS OR URINE. For such spots, try soap and water. If this is
+unsuccessful try successively chlorine, alkalis, oxalic acid and
+hydrochloric acid, soaking the page for an hour in water between each
+operation.
+
+TRANSFERRED IMPRESSIONS. Frequently the characters of a book, bound before
+the ink is completely dry, offset, while in press, an impression in
+grayish tones upon the opposite pages or upon the faces of inserted
+prints. These transferred impressions may sometimes be removed by rubbing
+with an eraser made of bread crumbs or by soap-jelly, which should be
+left on for some time and then washed off.
+
+I have no doubt neglected to describe more than one kind of spot which an
+amateur may find. By analogous reasoning, however, he may find for himself
+the proper remedies to use. If the spot seems to be of a vegetable or
+animal nature, he should use chlorine and sulfuric acid; if metallic,
+diluted hydrochloric acid; if oily or greasy, essence of turpentine,
+ether, alkaline solutions or benzine.
+
+BLEACHING.[9] Soaking a print in cold water for about twenty-four hours
+often suffices to brighten and clear it; but if, after a long soaking, it
+still remains darkened to the point of detracting from the clarity of the
+engraving, one will need to use chemicals in order to obtain a suitable
+bleaching. Chloride of lime may be used for this purpose. This is a fine,
+dry powder which softens when allowed to absorb moisture from the
+atmosphere. About fifty grammes of this are placed in a bottle about
+two-thirds full of water, and thoroughly shaken. When the solution clears
+by the excess of matter depositing on the bottom of the bottle, the clear
+liquid is carefully poured off. Another solution, which will be weaker,
+may be made by pouring more water into the bottle. The clear solution is
+diluted with about twenty times its quantity of pure water, for use. It is
+better to dilute too much, and add more of the solution later, if
+necessary, than to dilute too little. The solution will not injure the
+black ink of an impression, but if too concentrated, it will make the
+paper brittle.
+
+After using this solution, the print should be placed in a bath of weak
+acid, and then left to soak for several hours in clear water.
+
+
+
+
+CHAPTER III
+
+_REBACKING_
+
+[Illustration: ORIGINAL SHEEP BINDING
+
+(1684 REBACKED)]
+
+
+It often happens that books are purchased in old sheep, calf, or even
+morocco bindings with the hinges so broken that the boards are either
+entirely off or held only by weakened cords. Such books may be properly
+entrusted to a good binder for rebinding in substantial leather. It is
+sometimes preferable, however, merely to reback such books, not only in
+order to preserve the old leather sides, which are generally in much
+better condition than the back and often possessed of a very attractive
+patina, but also to save the wear and slight trimming to which the book
+would necessarily be subject in rebinding.
+
+It is inadvisable to reback with calf or any very perishable leather. A
+good quality morocco should be used. In rebacking books bound in old calf
+or sheep, a smooth-grain brown morocco, such as that known to the trade as
+Spanish morocco, will be found satisfactory and a fair match for the old
+leather, both in color and surface texture.
+
+The first operation in rebacking is to treat the old leather with a
+softening substance, such as vaseline, to prevent the old leather from
+breaking while it is being worked on. The vaseline should be rubbed well
+into the covers, left on for about half an hour, and the excess then wiped
+off with a soft cloth.
+
+Vaseline is also used in the same way to assist in the preservation of old
+leather bindings still in good repair. It is not entirely satisfactory, as
+it soon dries out. The best composition for preserving leather is one
+suggested by Mr. Douglas Cockerell, made by mixing about two ounces of
+castor oil with one ounce of paraffin wax. The oil is heated and the wax,
+shredded, melted into it. As the mixture cools it is stirred with a
+splinter of wood. If this is thoroughly done, the resulting mixture will
+be a whitish jelly. A thin coat of this is applied to the leather,
+especially around the hinges, and well rubbed in with the palm of the
+hand. Any excess is then wiped off and the book polished with a very soft
+white rag. This mixture is best used while still hot, a little being
+soaked into a woolen cloth, by means of which it is rubbed on the binding.
+If leather bindings could be given this treatment about once a year their
+life would be greatly increased.
+
+After the leather of the old book to be rebacked has been treated, a cut
+is made down each side of the back, through the leather close to the
+broken hinge. (Fig. A.) Care should be taken not to cut through the cords
+which are set into the boards at this point. If the back is furnished
+with a leather label in a fair state of preservation, this label should be
+cut around and lifted off to be used again on the new back.
+
+
+[Illustration: Fig. A]
+
+
+All the leather on the back and over the hinges, up to the cut above
+mentioned, should then be lifted or scraped off. As a majority of old
+books are bound with the leather glued directly to the lining of the back,
+a certain amount of the old glue, according to its condition, scraped
+smooth, should be left on the lining.
+
+While old calf backs are generally so dry that they must be scraped off in
+pieces, it is sometimes possible, when the back is of more solid leather,
+to remove the old back; with the label and gilding, in one piece. If this
+can be done, the inside of the old back should be scraped and this back
+pasted on again over the new leather back. This is, of course, preferable,
+as by this means more of the characteristics of the old cover are
+preserved.
+
+
+[Illustration: Fig. B]
+
+
+When the back is clear of leather, a small cut about half an inch long is
+made at the top and bottom of each side, at the ends of, and at right
+angles to, the first cut; from the ends of the short cuts, the leather is
+again cut at right angles over the top and bottom edges of the boards.
+(Fig. B.) As these points, near the top and bottom of the inside hinges,
+the end-papers pasted on the inside of the boards are lifted for a short
+distance so that all the old leather under them can be removed.
+
+The head-bands should then be examined to see that they are firmly in
+place and any missing band replaced, the new band being simply glued to
+the back lining.
+
+
+[Illustration: Fig. C]
+
+
+A sharp, thin knife is then run under the leather of the sides, following
+the first long cut, loosening this leather from the boards for about half
+an inch back from the cut, this distance equalling the short cuts at top
+and bottom. (Fig. C.)
+
+The book is now ready for the new back. This is cut from the leather to be
+used, in width equal to the distance over the back and hinges plus a
+trifle less than half an inch on each side, and in height to project half
+an inch beyond the top and bottom of the book.
+
+This leather is then pared thin on the inside for about half an inch all
+around the edge. Paring requires careful work and a sharp knife, otherwise
+the piece may not be pared thin enough to set smoothly, or may be cut
+through and ruined.
+
+
+[Illustration: Fig. D]
+
+
+The back lining of the book itself, and the inside of the new back, are
+then given a medium thin coat of paste, and the leather set evenly in
+place. The side edges of the back are slipped under the leather of the
+sides where this leather was loosened from the boards following the
+first, long cut, and pasted directly on the boards. (Fig. D.) By this time
+the paste on the top and bottom ends of the back will be dry. These are
+given another coat of paste, one at a time, and turned under upon
+themselves, starting in the middle, the corners being carried over the
+edges of the boards and securely pasted down inside where the end papers
+have been pushed back. The top, beyond the boards, is tucked in behind the
+head-band. When the top and bottom of the back have been treated in this
+way, they are then flattened with a folder and the edges of the hinges are
+bent in to form the head-cap finish observable on almost any book bound by
+hand in leather. (Fig. E.) The tops of the head-bands may require a slight
+touch of paste so that the leather turned over upon them will stay in
+place.
+
+
+[Illustration: Fig. E]
+
+
+The inside end papers, where they were lifted at the top and bottom near
+hinges, are then pasted down over the corners of the new back which are
+folded in at these points, and the leather lifted from the sides is pasted
+down over the side edges of the new back where these are pasted directly
+on the boards. New inside hinges of paper or cloth may be added, if
+required; but if these are to go in they are best set in place before the
+new back is pasted on.
+
+The new back being in place, it might be given a certain amount of finish.
+If the book is sewn on outside cords, these will show as raised bands on
+the back, and the new leather is, of course, moulded over these when it is
+first set in place. In such a case, a satisfactory, plain finish can be
+obtained by moulding these bands distinctly. This is done by running the
+edge of the folder in the angle at each side of each band with a see-saw
+motion. Experiment will show how this may give a smooth, polished line on
+each side of the bands if it is thoroughly done with fair pressure while
+the leather is still moist from the paste on the inside. Before attempting
+any such operations, however, the outside of the new back must be washed
+entirely free from any spots of paste.
+
+An additional "blind" line may be made at top and bottom across the back,
+by bending over the back a straight piece of vellum to serve as a guide to
+the folder. A smooth back without bands may be finished with a series of
+double or single lines put on in this manner, care being taken that the
+line of the vellum guide is at right angles to the side edges of the back.
+
+The back of the old label, if this is to be used again, is then scraped
+and the label pasted on in its proper place between bands; or a new label,
+properly lettered in gilt, may be ordered from a binder.
+
+The entire work, when almost dry, should be pressed over with a hot
+flat-iron to press down any irregularities, the edges of the cut leather
+on the sides, and the top and bottom finish over head-bands. The iron must
+be well warmed rather than hot. If too hot, it will lift the surface of
+the leather. The book should then be placed under pressure to dry.
+
+For the operation of rebacking one needs only a sharp, thin knife, a ruler
+or straight edge, a bone folder and a small flat-iron in the way of tools.
+A small press is desirable, but not necessary. The folder, which may be
+purchased from a dealer in bookbinders' supplies, will be furnished with
+square ends; one of these ends should be sawed off on an angle and
+smoothed with a file to give a pointed end, which will be found very
+useful. (Fig. F.) The flat-iron should be wedge-shaped, about four inches
+long, with straight, rounded edges. [Fig. G.] Irons of this kind may be
+found in toy shops, and will be found extremely useful and easy to handle
+in all small repair operations.
+
+
+[Illustration: Fig. F]
+
+[Illustration: Fig. G]
+
+
+To the above tools may be added, if desired, one or two small tooling
+irons of simple design for blind tooling. Such irons are used just hot
+enough to hiss very slightly when touched with a wet cloth, and are
+pressed firmly and evenly on the leather for two or three seconds to leave
+a good impression.
+
+Books bound in boards, with cloth or paper backs, may be rebacked with
+cloth, parchment, or even with heavy paper in facsimile of the original
+back. In the latter case, it is advisable to line the back with a strip of
+Japan vellum, which should extend over upon the boards under the new paper
+back. Parchment is often satisfactory and requires no paring, but must be
+handled carefully when damp from paste, or it will stretch out of shape.
+
+
+
+
+CHAPTER IV
+
+_REPAIRING OLD BINDINGS_
+
+TRANSLATED FROM BONNARDOT
+
+[Illustration: MODERN LEVANT BINDING]
+
+
+Not having the secret of that special, certain skill which produces
+flexible and artistic bindings, I am obliged to advise amateurs who wish
+to see their books reclad in princely mantles, to apply to our able
+Parisian binders. But I can give, from my own experience, some good
+suggestions to amateurs on the manner of cleaning, repairing and
+freshening ordinary morocco bindings, and also, under certain conditions,
+those sumptuous moroccos of the Levant, the mere perfume of which
+fascinates all true-born bibliophiles.
+
+CLEANING THE COVER. It is possible, without being obliged to touch the
+boards of a book, to clean and repair the covering, either entirely or in
+spots. To accomplish this, I know some methods which are simple and
+practical, although, of course, too imperfect to restore to an ancient
+binding all the brightness and vigor of its youth. A rather mature
+prima-donna may, perhaps, within certain limits, soften the ravages of
+time; but, when observed closely, the lines on her face cannot be
+concealed. And this is also the case with the coquettish old bindings of
+which I speak.
+
+Morocco or calf which has become soiled by constant handling may be
+cleaned with a fine sponge dipped in a jelly of white soap. If there are
+spots of oil or grease, this soap will not suffice; it will be necessary
+to use black soap, or perhaps a weak solution of some alkali, such as
+potash or ammonia. In using such alkalis, it is best to first try them on
+some odd pieces of leather of the same color or upon some part of the
+bindings not likely to be noticed, because certain colors in leather are
+apt to decompose or change their tint under the action of an alkali. It
+has been observed that alkalis tend to darken the leather, more or less;
+therefore, after employing them, a little acidified water must be applied
+to neutralize their effect. Also that morocco should be moistened only
+very slightly, as, otherwise, the surface grain may be smoothed away.
+
+One might begin by trying benzine; this liquid will not attack any color
+or, at least, only a color formed principally of fatty or resinous
+substances. Benzine does not act like an alkali; it does not saponify the
+greasy body, but it dissolves it as water dissolves a salt, a gum or
+gelatine. It must be used quickly, as it evaporates much more rapidly than
+ammonia, which itself is considered volatile. The latter will mix with
+water, but benzine combines only with alcohol.
+
+Thus benzine, like all other essential oils, operates only as a dissolvent
+and, after having been applied, either pure or mixed with alcohol, upon
+the book cover, it must be wiped off with a soft cloth before it
+evaporates, so that the particles of grease which it has dissolved, but
+not decomposed, will not sink again into the leather and later reappear on
+its surface.
+
+The best method, after having poured some drops of the liquid upon one
+side of the book, is to turn this side toward the ground. In this position
+the benzine, charged with part of the greasy substance, will run down and
+accumulate upon the lowest edge of the cover, from which it can quickly be
+wiped off with the substances it holds in solution. Perhaps an even better
+method of operation may be discovered.
+
+This manner of employing benzine, alcohol or turpentine as dissolvents for
+the greasy body is equally applicable for removing oily spots from prints,
+and I recommend it to the reader for experiment. When grease is removed
+with alkaline water, it is useless to proceed in this manner; the soapy
+substance which forms on the leather after rubbing should be removed with
+a damp sponge, after which the book should be dried in the air and then
+placed under pressure.
+
+Fresh spots of oil or grease may sometimes be removed by impalpable
+powders of some clay-like nature, absorbent and slightly alkaline.
+
+A spot of ordinary black ink upon morocco, sheepskin, calf or smooth
+parchment, loses its color when touched with a few drops of sorrel salt or
+oxalic acid; but I will repeat here the advice already given that these
+substances may alter certain colors and that it is best to first try them
+on extra pieces of leather. If the tint lightens or changes only slightly,
+the spot can be retoned and brightened simply with properly mixed
+water-colors, after having neutralized, with an alkali, the traces of the
+acid.
+
+The yellowish spot which remains after the black ink has disappeared is
+not very noticeable upon brown or yellowish skins, but on vellum or
+parchment it is more or less apparent. How can this be removed? For if one
+is obliged to prolong the action of the oxalic acid on the iron oxide
+which causes it, this portion of the skin not only loses its gloss, but
+also becomes subject to a more or less rapid process of dissolution.[10]
+
+When the spots are of Chinese ink, old or recent, and have sunk into the
+texture, as sometimes happens, they resist all known agents.
+
+Most of the old bindings which have been long exposed for sale on the
+parapets of our quays, have been at one moment roasted by an ardent sun
+and at the next distended by a damp atmosphere; they have, therefore,
+contracted "skin troubles" more or less curable according to the duration
+of their ordeal. The gentler regimen of the bookshelves, placed in a room
+where the temperature is more nearly uniform, sometimes suffices to
+restore their warped covers; but when the surface of the leather has
+fallen off in scales, carrying away the gold tooling, it is better, if
+they are worthy of it, to deliver them to the binder for new covers; that
+is, of course, when the paper, the essential organ of their existence, is
+not musty beyond recovery. If the paper is in bad shape, the book is lost
+or, at least, is beyond giving pleasure to a bibliophile; it resembles a
+very old man attacked by an incurable disease; it is useful only for
+reference.
+
+Some books, placed in less rude conditions, have only the skin stripped
+here and there by contact with rougher neighbors trimmed with nails or
+clasps, with hard boards or with wicker-work, but movement against these
+objects might ruin an entire library in a single day. The library of the
+Louvre, it might be mentioned, was being moved last spring to a new
+location, by means of these wicker baskets so formidable despite the
+straw or oakum with which they were lined. Some of my own books have
+passed several times through this fatal ordeal and have suffered greatly
+from it. Now when I change my residence I use, with rather tardy
+precaution, well-planed boxes.
+
+Books slightly roughened, their bloom destroyed simply by friction, may be
+freshened and restored to an aspect of health to conceal, up to a certain
+point, the wear of their old coverings. With an old glove one may spread
+over their surface a little flour paste or fairly thick starch to which a
+little alum might be added. This is smeared quickly over the back, sides
+and edges of the boards, and the surplus wiped off with a soft cloth. This
+carries away any dust which may have been deposited and also soilings
+which soften in the moisture.[11]
+
+After this operation, there will remain on the volume a thin coating of
+gelatine or of gluten (the viscous part of the starch). Before this has
+entirely dried, it should be thoroughly wiped over with the palm of the
+hand. Any scraped portions of the leather will have a dull appearance and
+will sometimes show darker than other parts of the cover. The edges of
+stripped or broken spots may be refastened to the cover by means of the
+starch sizing. The corners which, nearly always, will be found worn or
+bent, may be straightened and strengthened. In a word, if the cover cannot
+be restored to pass as new, it may at least be rendered more presentable
+and made to contrast more favorably with other books it may meet upon the
+shelf.
+
+After a washing with starch, as after cleaning with alkalis, it often
+happens that the covers of a book are dulled. Their polish, where the
+bloom has not been worn away, can be restored by rubbing with a piece of
+flannel moistened with a few drops of very siccative varnish (purchased
+from art dealers or dealers in bookbinders' materials).
+
+Most amateurs and binders know this inexpensive way of restoring a certain
+lustre to faded and erupted, if one may use that expression, bindings. If
+I have spoken rather in detail, it is for the sake of amateurs still
+inexperienced or living in a small, provincial town. As these latter
+probably would not know where to procure varnish, I offer the recipe of M.
+F. Mairet, which indicates the proportions for a large quantity but which
+may be divided by ten. In the thirty-ninth part of his "Essay Upon
+Binding" he says: Dissolve eight ounces of sandarach (resin), two ounces
+of mastic in drops, eight ounces of gum-lac in tablets and two ounces of
+Venetian turpentine, in three litres (quarts) of spirits of wine at a
+temperature of thirty-six to forty degrees.[12] Crush the gums and, to
+completely dissolve them, place the bottle which contains them in the
+wine, in hot water, shaking it from time to time. This varnish can be
+preserved in the bottle in which it is made, keeping the bottle tightly
+corked. When one wishes to use the varnish, the bottle should not be
+shaken because of the deposit which forms.
+
+I will here make a recommendation analogous to that of M. Le Normand; it
+is desirable to place the glass bottle in a basin containing warm water
+before placing it in the very hot water, as otherwise it may break. Also,
+instead of shaking the bottle, the contents may be stirred with a glass
+rod.
+
+This is how M. Mairet describes the use of his varnish; with a very soft
+brush, the varnish is spread over the covers of the book without putting
+it on the gilding. When it is nearly dry, it is polished with a piece of
+white cloth slightly moistened with olive oil. It should first be rubbed
+gently, then with more force as the varnish dries. For complete success it
+is essential that the covers be perfectly dry[13] and without the
+slightest dampness.
+
+Instead of using this varnish, one may give a fair polish which, however,
+is not so enduring, by coating with the liquid known as "glaire." This is
+made from the white of an egg beaten up with a little water and
+alcohol.[14] One might also try a glaze made with hide glue or
+gum-arabic.
+
+The lustre of white vellum or of calf, when they have not been badly
+rubbed by use, may be restored by rubbing with an agate burnisher, a
+polished bone or a curved iron slightly warmed. Sometimes, before
+polishing, according to M. Le Normand, the covers should be rubbed with
+flannel holding a little tallow or walnut oil.[15] Great care should be
+taken in polishing morocco, whether genuine or imitation, in order that
+the grain which contributes so much to its beauty may not be rubbed away.
+The surface of sheep also, which is a very delicate leather, is easily
+stripped. To polish leathers such as these, binders' varnish or, at least,
+the glaire mentioned above, should be used.
+
+REPAIRING HOLES AND BROKEN SURFACES. We will now consider any serious
+wounds which go deeper than the surface of the leather. One often sees
+covers of calf, sheep or morocco deeply stripped or even pierced like the
+coats of Diogenes and Ruy-Blas; the back, the sides and corners,
+especially the lower ones, broken away even to the point of exposing the
+boards. This is a state of cynicism which calls for some remedy; the
+simple smearing on of starch is powerless to heal such damages.
+
+It is often possible to restore missing fragments by means of new pieces
+of the same kind and tint of leather. I will assume that the amateur
+possesses a collection of odd scraps of morocco, brown calf, old vellum,
+etc., removed with more or less right from books whose pages have been
+unfortunately ruined, to be devoted to more humiliating uses. These should
+be searched for a suitable piece; sometimes this is found. The essential
+point is to match the grain of the leather. When the tint is too light, it
+can easily be darkened with water-colors; when it is too dark, one must
+search further. One may, however, lighten a little piece of calf which is
+too dark by means of very weak acid.
+
+Suppose the desired patch found. The hole or broken place in the cover is
+cleaned and the edge cut sharp to prevent further tearing, and in this is
+set a piece from the patch, cut exactly to fit. If the amateur has not
+time to do this careful mosaic patching, he may, with a small, thin blade,
+raise the edges of the leather about the hole and, applying paste or glue
+directly to the board, slip in a patch piece which has been roughly cut a
+little larger than the hole and pared thin around the edges. The edges of
+the hole should then be moistened with paste and firmly pressed down into
+place over the patch. A patch made in this way is less agreeable to the
+eye than when made by the first process, for by this latter method there
+always remains a sort of raised pad which accents the form of the hole.
+
+Let us consider now the repair of bruises, more or less deep, caused by
+rough contact with some hard, sharp or rough body.
+
+When the stripped parts are still hanging to the cover, they should be
+straightened out and pressed back into place after being given a light
+coat of thick starch paste. But if the stripped parts corresponding to the
+bruise are missing, how shall the furrow, which reveals a spongy
+appearance, be brought up level with the surface of the cover? With a
+corresponding patch inserted in the fissure? This is an operation, I
+think, very difficult to carry out, and it is simpler to cut the furrow
+into a definite hole if one wishes to proceed in this way. Let us try and
+imagine some kind of putty for such repairs.
+
+I do not wish to write hastily of any method of procedure for the
+fabrication of bruised leather, but it seems to me that a paste or putty
+formed of powdered or shredded leather, boiled with a little flour paste,
+would answer our purpose. With this one could fill up the furrow and then,
+when the paste has dried, scrape off the excess surface and burnish the
+dried inlay. This method should answer very well, but there is still
+another which I have tried, although it is not so delicate. I employed
+flour paste mixed simply with Spanish white.[16] With this, I puttied up
+my book like a picture in process of being retouched. I even succeeded,
+with this paste, in imitating the grain of the morocco. I tinted the
+patches by applying color mixed with gum. But this sort of repair is only
+applicable to parts of the cover away from the edges; in the neighborhood
+of the hinges, this unelastic paste will break loose or, at least, render
+the book difficult to open.
+
+I experimented also with gutta-percha. This brownish substance has the
+property, at a certain temperature (towards seventy degrees)[17] of
+melting and adhering to the leather and, on cooling, recovers its natural,
+semi-elastic state. But after having been melted at a fire or, if the
+season is right, by sunlight through a lens, it turns brown and will not
+harmonize in tint except with very dark calf, and I have found no method
+of lightening it.
+
+We will now speak of repairing and patching the cover in those parts which
+serve as hinges. This is an operation practicable only when a substance
+very thin and supple can be found. I have succeeded in restoring this part
+of a book by using a strip of gold-beaters skin, slipped between the back
+and the side and fastened, on one part, to the edge of the side and, on
+the other, to the boards lining the back. I then gave to this skin a tint
+corresponding to that of the cover. The break remained visible; I only
+reconnected the parts so that the book could be opened and closed.[18]
+
+Would one succeed better by using a thin piece of rubber? I have never
+tried this, but this substance, I believe, could not be obtained in very
+thin sheets except by being considerably stretched, a process which would
+soon destroy the elasticity which is its essential quality. Perhaps the
+broken hinges of a dark calf book could be joined without great difficulty
+by means of the liquefied gutta-percha mentioned above.
+
+I have sometimes repaired the corners of a volume with more or less
+success. In cases where the damage was slight, after having loosened the
+paper on the inside of the cover at the corner, either with, or without,
+moistening it, I pushed back the damaged skin for a short distance, then
+glued upon the board over the corner a fragment of leather of the same
+kind and tint, pared thin, then pressed down the rough edges and fashioned
+the new corner by moistening the leather. Then, having replaced the broken
+edges of the original leather, I recolored the patch to an exact
+match.[19]
+
+When the leather at the corner is entirely dilapidated an entirely new
+corner of triangular form should be supplied, pasted down level with the
+leather on the cover, which has been cut away smoothly where the new
+corner is joined on. If the corner of the board is itself tattered, it can
+be stiffened by the use of paste or glue, thoroughly soaked in and left to
+dry. A little Spanish white might be added to the paste to give it more
+solidity.
+
+But when the angle of the corner is entirely rounded, weakened and
+demolished by use, it should be renewed by incorporating an entirely new
+corner on the board. To fasten this securely, the edge of the board should
+be cut across at an angle of forty-five degrees, then split, and the upper
+half cut away for a short distance back. The new triangular piece for the
+corner is also notched underneath to correspond so that the two patches
+will superimpose and exactly fit. Here one makes use of strong paste or
+glue. This operation is not difficult but it requires time and patience,
+for a considerable amount of leather must be raised from the board and
+then replaced. If one is not endowed with patience, it is better to turn
+this work over to a binder, otherwise one will work to no purpose and will
+damage his book instead of restoring it.
+
+REPAIRING EDGES. To remove a spot of ink or color from the edges of a
+book, the substance described for similar operations on pages or prints
+may be used. However, there is this distinction; here one is not concerned
+with the surface of a single sheet but with a great many page-edges one
+after another. If the edges to be cleaned are not placed under pressure,
+the liquids, penetrating between them, will stain the pages themselves.
+If, however, the ink itself has thus spread into the pages, it might be
+desirable to send the dissolving liquid over the same route. In this case,
+it will be necessary to efface from each page the moisture following the
+application of the remedy, and this requires careful work.
+
+If, on the contrary, the spot soils merely the surface of the edges, the
+volume should be placed under pressure in such a position that the edges
+to be cleaned stand vertical; then, with a small brush, the necessary
+liquid may be applied. The spot removed (supposing that it is of a nature
+which may be decomposed) it is necessary, in some cases, to restore the
+general tint of the edges; this is not a very difficult matter, at least
+when they are not marbled. When the edges are gilt, the gold is not
+usually attacked and naturally resists the action of the chemical agents;
+the ink or other spot can thus be removed without necessitating the
+restoration of the gold afterward. A spot may sometimes be removed with a
+dampened sponge.[20] Even Chinese ink, a black which will not decompose,
+is often susceptible to this gentle procedure by means of which it may be
+wiped away.
+
+Let us now suppose that the edges are free from spots but that they are
+faded, and partly discolored. It is easy enough to brighten the colors if
+they are not too complicated; I will add; and provided the pages are not
+unequal, with some advanced and some drawn back, destroying the general
+level, for, in this case, it is necessary to begin by repairing the back
+without separating the volume; an almost impossible operation.[21] The
+color brightened, it may be repolished with an agate burnisher while the
+edges are held closely pressed together. If edges, not colored, but gilt,
+have been damaged here and there by use, perfect restoration is
+impracticable. A new patch of gold applied over the worn spot contrasts in
+freshness and polish with the rest of the surface and, at the points
+where it necessarily overlaps the perfect parts, the excess gold remains
+noticeable. Undoubtedly, the best procedure is to have the whole surface
+regilded by a professional gilder.
+
+If one has gone to the trouble of brightening the edges, one may desire to
+complete the restoration by renewing the head-bands. I have never had
+patience enough to make a head-band, a kind of needle-work which belongs
+particularly to the bookbinders' trade. The amateur should have recourse
+to a binder for this or, if he wishes to attempt the work himself, consult
+any of the books published on binding.
+
+RESTORING THE GILDING.[22] It is sometimes necessary to brighten, patch
+and partially replace the gilt ornaments of a precious book. In cleaning a
+book, as I have described above, with soap-jelly or starch paste, the gold
+is not affected if the operation is carried out according to directions;
+on the contrary, one lifts from the gold the deposit of dirt which deadens
+its brilliancy. But if it has been, at some points, destroyed by the
+breaks in the leather, it is necessary, in order to restore the gold, to
+refinish the leather at the broken point. Here a considerable difficulty
+presents itself, and it is necessary to find a filler which will serve as
+a base. Gutta-percha will not answer at such points, except for cold
+gilding, as the application of a warm gilding iron would liquefy it. The
+only satisfactory solution is to inlay with leather.
+
+I have sometimes succeeded in restoring missing spots of gilding by the
+simple employment of gilt paint, laid with a fine brush upon the properly
+prepared patch, imitating carefully each missing part of the
+ornamentation. This kind of joining, however, lacks brilliance and
+solidity; wiping with a damp sponge is sufficient to effect it; but it may
+be given a little more permanency by a coat of binders' varnish.
+
+I can suggest a less imperfect method of procedure. Where there are thin
+lines or figures such as circles to join, the amateur can do this with
+home-made tools. Such tools may be made of small brass wire, some straight
+edges and others curved like gouges.[23] He should also have small dots of
+various sizes, circular or oval in profile. With these simple elements,
+most line designs may be patched. The ground properly prepared, the warm
+iron tool to be used is applied upon fragments of gold-leaf. The iron
+should be a little hotter than boiling water; otherwise it will not fix
+the gold in place. If too hot, it will burn the leather. Gilders test the
+heat of an iron by touching it with a wet finger, and are able to tell, by
+the sizzle and amount of vapor given off, whether the degree of heat is
+right. A more simple method, for the amateur, is to try the iron on a
+fragment of leather.[24] The excess of gold not pressed in by the iron may
+be wiped off with a fragment of woolen cloth.
+
+If it is necessary to restore a complicated ornament upon an ancient and
+very precious binding, special irons must be cut, using the tooling still
+in place as a guide. With patience and skill, one may fashion these for
+himself. The required ornamentation is traced from another spot where it
+is still intact on the binding, with a brush holding resin varnish or wax.
+This tracing, which naturally leaves an imprint in reverse, is applied to
+a piece of copper, and the design retouched on the copper with the same
+varnish or wax.[25] The other faces of the cube or cylinder of copper used
+are coated, and the copper placed in a bath of azotic acid. The acid will
+eat the metal not protected as above, leaving the ornament standing out in
+relief, something after the manner of a stereotype plate. Or, the
+electro-chemical procedure of stereotyping may be used to the same end.
+
+By the aid of a form obtained in some such manner as the above, it is
+possible to restore the effaced ornaments, provided that the leather is
+prepared to receive and hold the gold. Let me note in passing that it is
+difficult for inexperienced amateurs to set gold smoothly; only long
+practice will make this possible. Necessarily, the very thin gold leaf
+always covers and reaches beyond the spot to be tooled. It is essential
+that the iron be pressed exactly upon the spot intended to receive it,
+which is very difficult to accomplish. Moreover, the gold must be kept
+smooth and fresh over the entire impression. Perhaps one might substitute
+for the gold leaf a coat of gold powder spread over the design, which
+should be coated with albuminous paste (glaire) to hold the powder.
+
+One sometimes wishes, also, to rectify a defective title or erroneous date
+on the binding. The simplest method is to stamp the desired lettering or
+date on an odd bit of leather, which is then applied to the book. The
+amateur may do this himself if he has the necessary letter, a form to
+hold them, and a certain amount of skill.
+
+Suppose a case where, in a title anciently gilt and which one wishes to
+preserve, there is a single letter or a single character to change. It is
+first necessary to efface the letter or character to be replaced. To do
+this, it is touched with a drop of alcohol; on wiping it, the varnish
+which may have covered the gold is removed. If the gold resists thorough
+rubbing, chemical compositions may be tried. I would not advise, however,
+the use of aqua-regia, the infallible dissolvent of gold, because it would
+disorganize the leather. I think that a drop of mercury, applied hot upon
+a letter by means of an iron or sunrays through a lens, would absorb and
+amalgamate the metallic particles. In any case, there would still remain a
+moulded impression which might be removed, I think, by swelling the
+leather at that spot by means of a jet of steam applied through a very
+narrow glass tube.[26]
+
+The impression effaced, or at least reduced, one may proceed to replace
+the corrected letter. For this, a letter or figure matching the others in
+size and character must be secured. Sometimes it is necessary for the
+amateur to make this himself. This can be done by securing a fragment of
+rolled copper and, with the aid of small pincers, fashioning the profile
+of the desired letter on its edge. The thickness of the metal would form
+the thickness of the letter's face; strokes required slender may be pared
+with a knife. With a little care and skill, the desired character may be
+produced. The bit of metal is then set in a handle of plaster or clay,
+which is allowed to dry and harden.
+
+TRANSFERRING ANCIENT COVERS. Is it possible to transfer the covers of
+works richly bound, but valueless inside, to the boards of other books
+more precious in their text and more deserving of the transferred binding?
+Some of our binders have replied in the affirmative.
+
+Many a volume has retained virginal the splendour of its original binding
+simply because the text has been tiresome and insipid. In this class
+appear certain volumes of indigestible theology, "Sacred works and not to
+be touched," as Voltaire remarked, and those odes of court-flattery,
+insipidly rhymed in doggerel, in aristocratic liveries, addressed to high
+personages who paid for them but who never read them. From books of such
+sorts, one may, without remorse, lift the precious coverings. However, to
+make use of them, it is necessary that all their dimensions correspond
+with the new volumes on which it is proposed to place them. The old books
+in good condition are easily despoiled when there is no need to be
+careful of the cording, the fly leaves or the boards. The process
+requiring the most time is that of scraping away the dry paste which
+adheres here and there to the inside of the leather after its removal. I
+have re-covered more than one quarto in covers of gold tooled vellum
+lifted from books of the same format. When the back was too narrow or too
+wide, I replaced this part, but then the cover was formed of three pieces.
+When the back was of the right width, I effaced the old title, generally
+lettered in ink, by means of sorrel-salt, and inscribed the new title in
+the same place but with Chinese ink. Where the old title happened to be
+gilt, I covered it with a new piece of skin, finding it too laborious to
+efface all the letters by the process mentioned above.
+
+Let us suppose it is necessary to replace upon a rare volume, changing
+only the boards, the old contemporary binding which covered it. If the
+skin is worn on the edges and corners and at the hinges, removing it
+without injury from the old boards is a very delicate operation. However,
+it may be done, even without moistening the leather, by using the skill
+and patience which both come from practice. Our binders, in cases where
+expense has not been in consideration, have executed more than one feat of
+this kind. Only, nearly always, they are obliged to renew the parts
+injured by use and the end papers. They apply, here and there, to the new
+boards bits of leather matching the tint of the old, reset the preserved
+cover, still charged with the rich ornaments which constitute its value
+and, upon the portions renewed, restore the gilding after the model of
+that which they have before them. More than one binder has succeeded, with
+great skill, in placing upon a new foundation the splendid cover of a very
+rare book without being obliged to go to the regrettable extreme of a
+second sewing and trimming. It is even possible, with the exercise of
+great care, to clean the sheets, one by one, and repair the torn and
+missing places, without separating the book; but one can see that such
+restorations are a matter of expense and not suitable except for books of
+considerable value. I believe that there exist in Paris binders of
+sufficient skill to replace a cover "in octavo," transposing it without
+injury to the volume and without leaving the least trace of this difficult
+operation.
+
+
+
+
+CHAPTER V
+
+_REBINDING_
+
+[Illustration: SOLANDER SLIP-CASE]
+
+
+In Chapter Thirteen of his _Essai_, Bonnardot remarks:
+
+"When one sees upon the table in a public shop, a rare book roughly sewn,
+ignobly deteriorated and, especially, badly cut down, either too much or
+unevenly, one may believe that it has passed, at some period, through the
+hands of a provincial bookbinder or of one of our Parisian binders of the
+lower order, who consider it proper to wrap up a typographical monument of
+the Louis XII period in a way to strike off about nineteen-twentieths of
+its value.
+
+"I know of no species of vandals worse, more primitive or more
+irresponsible than these botchers. But one can see how they are sometimes
+impelled, in spite of a natural taste, to commit these ravages. After
+considerable discussion, a person may offer them about 75 centimes
+($0.15), more or less, for a piece of work which, if done with care,
+should well be worth eight or ten times that amount. The natural and
+inevitable punishment caused by this penny-pinching, is the almost total
+depreciation of a book placed in the care of an easy-going bibliophile
+who, with a light heart condemns his old friend to a binding limited in
+price to 75 centimes.
+
+"The provincial bookbinder whose work, with its dirty, warped boards,
+simpers under a covering of sheep still hairy and spotted with patches of
+ink, is in much the same class as a cheap glazer and gilder to whom an
+amateur iconophile might naively send for restoration a rare Albert Durer;
+and both these similar to an architect who, with blind decision, would be
+sent to mutilate the flanks of some majestic cathedral. This redoubtable
+trio, born enemies of souvenirs engraved in stone or upon paper, botch and
+destroy, although perhaps without malice, at least three-fourths of
+anything on which they operate. May these tardy remarks still save
+something from the ruins!
+
+"The most irremediable of the crimes which can be committed in rebinding a
+small, old book, is the trimming of margins. The simple matter of a
+centime's economy in the size of the boards, may direct the trimming of
+some charming gothic quarto up to the very text. One may thrice exclaim
+with joy when the text itself has not been cropped. Those who partly
+realize, or divine by instinct, that margins are good for something,
+sometimes take pains to preserve them, but trim them with an inequality so
+shocking that the victim has only escaped Charybdis in order to fall upon
+Scylla. Undoubtedly, the greatest merit of a rare book is to have
+untrimmed margins or, at least, margins trimmed only slightly and evenly.
+But to obtain evenness, it is not proper to cut huge slices in order to
+square the edges; such zeal for symmetry easily might result in cutting
+into the text. The best method for squaring a book which was unevenly cut
+when previously bound, is to refold and equalize each sheet before any
+further trimming is done; a long and detailed operation for which one
+pays, not in centimes but in francs."
+
+Bonnardot goes on from the above, very pointed remarks, to describe
+various operations of rebinding, with an idea of assisting bibliophiles
+who are too far from the centres of civilization to get in touch with a
+good binder. For detailed information along these lines, which hardly come
+within the scope of the present volume, books written especially on the
+subject of binding should be consulted.
+
+It is very difficult to execute a satisfactory binding without going
+through a long period of practice and apprenticeship. And this work not
+only includes several long and dreary operations, such as sewing, which
+the average bibliophile would not have the time or patience to undertake,
+but also requires a number of bulky tools and presses, out of place except
+in a shop or work-room. Any book in serious need of rebinding is better
+placed in the hands of an experienced binder, preferably one who
+specializes in individual bindings. With the book, written directions may
+be sent, when distance renders personal consultation impossible.
+
+As nine-tenths of all binders, even today, still practice many careless
+methods against which bibliophiles have protested for centuries, it is
+desirable, in any case, both as a precaution and as a practical help and
+reminder to the binder, to furnish, with each book to be bound, complete
+written instructions for the work. With the written directions, a sketch
+of the book may be furnished, giving details of the design of tooling
+wanted, except in cases where it is known that this matter may safely be
+left to the good taste of the binder. If many books are sent to the same
+binder, however, suggestions on finish and tooling may very well be made.
+Sometimes these may prove of interest to the binder himself. The reason
+for such suggestions is that nearly every binder has certain set personal
+conventions, especially in the matter of tooling construction, causing, in
+all his bindings, a certain uniformity of design. Although this may be
+varied by the different selection of the actual tools used and the colors
+of the leather, it becomes monotonous in its general construction and
+damages the visible personality of the individual volumes.
+
+A form of direction sheet, which will, of course, vary with varying
+requirements, follows.
+
+     TITLE. In gilt on back.
+
+            THE
+          ENEMIES
+            OF
+           BOOKS
+           ----
+          William
+          Blades
+
+     DATE. In gilt at bottom of back. 1880
+
+     COVER. Full, dark brown pebbled morocco, best quality Turkey. Full
+     grain, not crushed.
+
+     TOP. Gilt top. Please trim as little as possible.
+
+     EDGES. Do not trim or cut bottom or fore edges.[27]
+
+     TOOLING. Gilt line borders on sides near edges, with corner
+     ornaments; use geometrical design ornaments if you have them, rather
+     than flowers. Panels on back.
+
+     SEWING. Sew flexible on flat bands with leather back glued direct to
+     the lining of signatures. Please do not saw into backs of signatures
+     for bands or cords.[28]
+
+     END PAPERS. Plain light brown or white.[29]
+
+     SPECIAL. Be sure and place clean sheets of paper over the etched
+     illustrations whenever the book is in press. The original wrappers
+     now on are considerably torn and are very brittle. Please mount these
+     as well as you can, on thin, strong paper, and bind them in at the
+     back.
+
+The price for this work may be agreed on beforehand, but it is better left
+to the binder, in order that he will not feel cramped, should the
+necessity of a little unforeseen work develop. Whatever their other
+failings may be, binders are generally honest in such matters and are not
+likely to overcharge, especially on average work.
+
+This may be a good place to remark, perhaps needlessly, that valuable
+books, particularly first editions, should always be retained in their
+original covers, whether cloth, boards or leather, whenever this is at all
+practicable. Ancient books in their original calf or sheep, but with
+broken backs or hinges, and requiring attention for their proper
+preservation, should be rebacked rather than rebound.
+
+The reasons for this are numerous. Principally, the fact that a book is
+still in its original binding is a fair guarantee that it has not been
+trimmed since it originally left the binder's hands. It often happens,
+also, that books containing rare plates have the plates foxed or otherwise
+damaged, and it is sometimes possible, in rebinding such books, to
+substitute for the injured plates other perfect ones, in exact facsimile,
+from some later edition of the same book. Suspicion of this, or of other
+tampering, can generally be avoided when such books appear still in the
+original binding.
+
+There is, moreover, a sentimental attraction in early issues of books in
+their original state, since, in most cases, they thus appear as they
+formerly did to their author, perhaps even in some special color or design
+of binding which he himself selected. Original bindings having a stamped
+design possess a more or less individual decoration, perhaps from the hand
+of some well-known artist. Aubrey Beardsley, for instance, prepared a
+number of such book decorations; many of the volumes issued in 1894-95 by
+John Lane of London, have cover designs by this artist and these,
+especially when accompanied by a Frontispiece of Title design by the same
+hand, are often equal in interest to the text of the book itself. Of
+special interest from the standpoint of originality are the Japanese-like
+fabrics used in binding some of the first editions of books by Lafcadio
+Hearn. Whether specially decorated or not, however, the original binding
+is part of the individuality of a book and cannot be removed without
+destroying a certain part of its interest.
+
+In the case of valuable books which are, for one reason or another, seldom
+referred to, or unique or presentation copies, it is a good practice to
+make slight essential repairs without disturbing the binding and to order,
+from an experienced binder, a book-shaped slip-case in which the volume
+may be preserved in its original covers without being subject to further
+wear or to injury from dust.
+
+A fairly valuable book which must be rebound, should never be bound in
+calf or sheep, as these leathers, even when of the best quality, are very
+perishable. Sheep bindings, sometimes three hundred years old, may still
+be occasionally met with in remarkably solid condition. But the secret of
+such leather tanning seems to have been lost, and the modern sheep or calf
+binding cannot be counted on, even under the most favorable conditions,
+for more than one-tenth that length of time. In certain climates,
+parchment or vellum makes a durable binding which, with age, acquires a
+beautiful, ivory-like surface tone; but these skins will warp the boards
+unless the book is kept closely set in on the shelf. Turkey morocco is
+durable when well tanned, as it usually is. The best leather, for
+appearance and endurance, and also the most expensive, is red levant
+morocco. For efficiency and richness, although this is a matter on which
+tastes vary, it is best left "uncrushed" or, at least, only lightly
+pressed.
+
+The best moroccos are those tanned entirely "acid-free," or as nearly so
+as possible. "Niger" morocco, native tanned on the banks of the Niger
+River in Africa, and imported into England, is an acid-free leather used
+for expensive bindings. This leather is rather hard to secure, but its
+desirability is indicated by the fact that it is the only leather on which
+the severe tests described in the Report of the Committee on Leather for
+Bookbindings, elsewhere mentioned, had no effect.
+
+
+
+
+CHAPTER VI
+
+_THE BOOK SHELVES_
+
+[Illustration: LEATHER SLIP-COVERS]
+
+
+Open shelves undoubtedly form the ideal resting place for books, since
+they are not only convenient for access, but also allow a free circulation
+of air around the volumes. They are, however, often impracticable as
+affording insufficient protection against dust and dirt, especially in
+cities, where closed cases are very necessary. No case with movable doors
+is absolutely dust-proof, but some types very closely approach this
+desirable state.
+
+Closed cases are, of course, to be preferred with glass doors to reveal a
+glimpse of the treasures within. They should be set a few inches away from
+the wall, to permit a free circulation of air around them, and should
+never be so placed that the books are exposed to direct sunlight or a
+strong glare, as this will fade or discolor the bindings, particularly
+green leather, which is very apt to turn brown. The room in which cases
+are placed should be free from damp, and the windows should be kept closed
+at night. If the windows admit an excess of sunlight or glare, they are
+best furnished with yellowish or olive-green glass, which will neutralize
+any harmful effects of the light on the books. Such colored glass, if
+"leaded," may be made a very attractive addition to the appearance of the
+room. Red glass verging toward the orange is equally effective, but less
+adaptable to the purpose.
+
+A full description of the effects of light on various kinds and colors of
+leathers will be found in the Report of the Committee on Leather for
+Bookbindings, London, Bell, 1905. This report also gives the following
+suggestion for a preservative finish to be used on leather bindings: "Boil
+eight parts of stearic acid and one part of caustic soda in fifty parts of
+water, until dissolved. Then add one hundred and fifty parts of cold water
+and stir until the substance sets into a jelly. Apply this jelly thinly
+with a sponge or rag and, when it has dried, polish the leather with a
+soft flannel. If a white film rises to the surface of the leather this can
+be wiped away with a damp cloth and the leather repolished." A fair supply
+of this mixture, suitable for small library purposes, can be made by
+boiling half an ounce (by weight) of the stearic acid, and one-sixteenth
+of an ounce (by weight) of the caustic soda, in three liquid ounces of
+water and then adding nine liquid ounces of cold water. It is best to stir
+the mixture gently while cooling; the entire process of preparation will
+take only a few minutes. If kept for more than a week or two, this
+mixture may become mouldy. It is better to prepare it only when it can be
+used on a number of books at once.
+
+Books in closed cases should be removed and thoroughly dusted at least
+once a year, the tops especially being carefully wiped clean, if gilt, or
+brushed, if uncut, in either case while holding the book tightly closed.
+They should be aired at the same time, particularly those not in frequent
+use. For this airing and cleaning a warm, sunny day should be selected
+and, whenever possible, on such days the cases should be opened; books,
+like people, are healthier when well supplied with good, fresh air.
+
+Books on the shelves should set in firmly among their neighbors, as a
+certain amount of pressure on the sides is essential to keep the boards
+from warping. Care must be taken, however, not to wedge them in too
+tightly; such a cure is worse in its effects than the disease. The usual
+method of removing a book from the shelf is to hook a finger into the top
+of the back, or head-cap, and pull. Paper or cloth backs are often torn at
+the top in this way. It is far preferable to reach in with the hand and
+push the book out from the fore-edge or, at least, to tilt it outward by a
+slight pressure of several fingers on the top beyond the head-band. If the
+shelves are lined with velvet, as elsewhere suggested, it will be
+necessary to lift the heavier books into place when returning them to the
+shelves; if they are shoved in on the lower edges of the boards the velvet
+will follow them in.
+
+Books in delicate bindings or fragile covers may often, with advantage, be
+fitted with slip-covers of silk, cloth, Japan vellum, or even soft, heavy
+paper. These covers are simple and easy to make, but they can be used only
+when the condition of the book will permit both boards to bend backward
+without injury, while slipping the cover on or off. (Fig. A.) Covers of
+this kind, made of leather and provided with a label on the back, are
+especially adaptable to paper-covered books which, for any reason, one may
+wish to preserve in their original wrappers without rebinding.
+
+
+[Illustration: Fig. A]
+
+
+Book-worms are practically unknown in America, but should active traces of
+these be found in a book the volume should be isolated at once and placed
+in a tight box with cotton well moistened with ether. Several treatments
+of this kind, at intervals of two or three days, will kill any worms or
+eggs. Snuff or tobacco, to be renewed at intervals, placed along the back
+of the shelves, is said to discourage worms or other insects. Worm holes
+in old books may sometimes be filled in, if one has time for the
+operation, with a paste obtained by boiling down shreds of paper in
+sizing. The writer has an edition of Homer printed at Basel in 1535, in
+which a worm hole varying in size from one-eighth inch in diameter
+downwards, and extending through nearly one hundred sheets, has been
+filled in so carefully on each sheet, in this way, that the repair is
+noticeable only on the closest inspection.
+
+Moths should never be allowed to breed in the cases. Were it not for
+increasing this danger the shelf lining mentioned above could be made of
+felt instead of velvet, the former being, otherwise, a more satisfactory
+material for the purpose.
+
+While it is only in extremely large collections, where books are left
+undisturbed for years, that worms, moths, dust, and other enemies of books
+obtain enough of a foothold to do any serious damage, the careful
+supervision of even a small collection may sometimes prove of unexpected
+preventive value and, in any case, the slight extra trouble involved is in
+no sense a wasted effort.
+
+The collector will also find it convenient to catalogue the books in his
+cases, preferably by means of a card-index system. Cards three by five
+inches usually will be found large enough to hold a fair description. Each
+card should be headed with the author's name, for convenience in indexing,
+followed by the book title, an exact transcript of the title-page or
+colophon, a description of the illustrations, if any, the size and the
+binding, and any bibliographical notes of interest. The price paid for the
+book, written in cipher, and the date purchased, should also be added.
+
+The matter of correctly noting the size of books for such a catalogue or
+index is one to which the amateur will be obliged to give a certain amount
+of study, and he will find, among bookmen, wide differences of opinion as
+to the proper methods to follow. For all ordinary purposes, the
+descriptions of folio, where the sheets are folded into two; quarto (4to),
+where the sheets are folded into four; eight sizes of octavo (8vo), from
+fcap. to imperial, where the sheets are folded into eight; duodecimo
+(12mo); and sextodecimo (16mo) will be found sufficient. Speaking
+generally, a 4to will have a page signature at the foot of every fourth
+page, an 8vo at the foot of every eighth page, a 12mo at the foot of every
+fourth or twelfth page, etc. The old standard for octave sizes (measured
+on the edge of the pages, not the boards), which may safely be followed,
+is given in the table below. The sizes will be found to vary somewhat,
+where the book has been trimmed or where the paper used has been of an odd
+size.
+
+Table of Octavo sheets, folded:
+
+  4-1/4" x  7"         fcap 8vo
+  5"     x  7-1/2"     crown 8vo
+  5-1/2" x  7-1/2"     post 8vo
+  5-1/2" x  8"         demy 8vo
+  6"     x  9-1/2"     8vo
+  6-1/2" x 10"         roy 8vo
+  8-1/4" x 11-1/2"     imp 8vo
+
+
+
+
+CHAPTER VII
+
+_BOOK BUYING_
+
+[Illustration: KELMSCOTT PRESS BOOK]
+
+
+As by far the greater portion of rare and desirable books to be had in
+America from time to time are sent over from England and the Continent by
+dealers' agents, it follows that the amateur collector in this country
+must depend largely on dealers for his supply of books. Except at
+auctions, there are comparatively few opportunities of buying at
+first-hand, although rare items of American printed books are sometimes
+unearthed and, in the old book stores of the larger cities, bargains are
+not uncommon. These latter, however, are usually limited, at best, to
+picking up some good first edition of a modern author, worth, perhaps,
+five dollars, and carelessly marked, with numbers of other books, at about
+twenty-five cents. Better fortune sometimes attends. For example, one may
+sometimes find a really rare and valuable book which, in dim but
+inadequate realization of its value, has been marked higher than its
+neighbors--perhaps up to about one-tenth of its real value. Such an
+incident, however, is among the exceptions. In any case, the stories of
+wonderful finds in years past, along the quays of Paris or in the stalls
+of London are, for the American at least, almost like romances which could
+never come true.
+
+In buying from dealers, especially those who specialize in rare books, it
+is often, unfortunately, necessary that the bibliophile of moderate means,
+to whom these pages are particularly addressed, is obliged to pause before
+the price of some much desired volume. His buying problems are much more
+complex than those of his wealthy fellow-collector, to whom price is
+little object, since he must not only hunt out the volumes he wants, but
+also copies priced reasonably to be within his reach. Blessed, indeed, is
+the willing self-denial which produces the ransom of a good book, at the
+expense of the ephemeral luxuries of life! But under such conditions it is
+essential that the amateur have a fairly complete knowledge of the value
+of books, particularly along his own special lines, in order that he may
+not be driven to unnecessary hardships through paying unjustly high prices
+for his treasures.
+
+While the prices of books vary greatly, according to condition and
+binding, they also vary to an astonishing extent with various dealers. The
+prices marked by some dealers are often high for certain kinds of books
+and low for others. Bargains often may be secured from the dealer who
+marks his books, not according to their present market value, but
+according to the price he himself paid for them, since it follows,
+naturally, that a bargain for him is a bargain for his customer.
+Information of this kind, in respect to particular dealers, is very
+valuable to the amateur who visits their shops, but he often gains it only
+after considerable experience.
+
+Cautious buying, so often sneered at, is, nevertheless, essential, and the
+amateur bibliophile owes to himself not only complete information as to
+the "right" editions of books, but also a thoroughly developed knowledge
+and judgment which will enable him to value books with fair accuracy. He
+must realize that in many cases the dealer is wily and seductive;
+moreover, his wares plead for themselves to trouble the heart of the
+hesitating purchaser. He also must develop a certain amount of guile, and
+must be able to harden his heart, if necessary, against all appeal. This
+is one of the most difficult of all things to do, and is the triumph of
+knowledge over ingenuousness and of reason over bibliomania.
+
+To the collector of moderate means, even though his library be small, his
+books represent a certain form of investment, fairly secured. It has been
+pointed out by Mr. J. H. Slater, editor of the English "Book Prices
+Current," that books bought as an investment are not really so, because to
+be a good investment they would have constantly to increase in value to
+equal the income from the purchase price, had it been invested in another
+way. This increase in value, however, often actually takes place, and in
+a fair sized collection of books, judiciously gathered, the abnormal
+increase in the value of some volumes will help to balance the
+sluggishness or depreciation of others. The bibliophile, however, may well
+rest content, and consider himself well repaid for his efforts to buy
+carefully, if the value of his collection as a whole remains equal to the
+sum total of his expenditures, and he may accept the pleasures of
+possessing and reading the volumes in lieu of interest on the investment.
+
+To get a general idea of the run of prices, the collector should obtain as
+many priced dealers' catalogues as possible and study these carefully, in
+making comparisons noticing any description of condition or binding which
+might account for a difference in price between two copies of the same
+work catalogued by different dealers. He should also study the volumes of
+"Book Prices Current," both the English and American editions, which are
+issued each year to subscribers and may be found at almost any large
+public library. These books, for each year, give the prices realized at
+auction during the year before, for all books which brought over three
+dollars. These prices, however, must be considered with caution, as they
+do not always represent true values, particularly in reference to sales in
+Great Britain, where the operation of dealer's "knockout" cliques,
+conspiring to keep prices low, except on items where collectors bid
+direct, has been the cause of much scandal.
+
+Advance catalogues of books to be sold at auction will be mailed by the
+auction houses, on request. At auctions free from suspicion of unfairness,
+the amateur will often find it to his advantage to buy, since he generally
+has a certain amount of advantage over the dealer, not being obliged to
+buy books so low that he may sell again at a good profit. He need
+anticipate little difficulty in competition over books of moderate value,
+provided he has taken the trouble thoroughly to inform himself as to the
+correctness of the edition he proposes to buy and is able intelligently to
+collate, either before the sale or immediately afterward. With items of
+considerable importance, it is sometimes a better plan for several
+reasons, under present auction conditions, to place the bid in the hands
+of a well-known, reliable dealer who will bid in the book for a small
+commission on the price paid, and who will assume responsibility for the
+book being correct and perfect as represented in the catalogue.
+
+Books handsomely and elaborately bound, especially when bearing the
+imprint of some famous binder, generally command prices at auction and
+from dealers, rather in excess of their true value. There is always a
+ready market for such books among wealthy collectors. A desired book with
+the pages in good condition, but in a shabby binding, can generally be
+bought, and then equally well bound by a competent binder, at a saving
+under the price of another copy already resplendent in crushed levant. On
+the other hand, a book in an elaborately jeweled binding of excessive
+value often sells at auction for less than the original cost of the
+binding. A book bound by such a celebrated binder as Roger Payne will hold
+its value while the binding remains solid, with little dependence on the
+contents of the book itself.
+
+These remarks, however, as all remarks about auction prices must be, are
+only general, for the varying state of supply and demand is often met with
+in extremes in the auction room.
+
+As the market value of books changes constantly, and depends not only on
+varying rarity, but also on demand, it is necessary that the collector
+have some idea as to what constitutes rarity, and the conditions governing
+demand. For this a considerable amount of study is necessary. It has been
+pointed out that rarity itself does not make for value, if there is no
+demand. An unique copy of a book is necessarily rare, but if no one wants
+it, it will not bring a price in proportion to its scarcity. This is a
+hard rule which one must apply, and a rule often unjust to the books
+themselves. Yet, while there are many books of great merit slowly
+disappearing from the world because of neglect, it is also true that the
+books most in demand and commanding the highest prices in first or early
+editions are, in the main, books of great intrinsic merit, well known and,
+for one reason or another, justly famous.
+
+The bibliophile must judge for himself as best he may, what books indicate
+by their nature and celebrity a permanent value and what books command
+excessive prices for the moment simply because of inflated interest and
+demand. Conditions governing market value change in large, general
+movements, often affecting whole classes of books. As an example, one may
+note the comparatively high prices paid a century or more ago for early
+editions of the Greek and Latin classics, while treasures of early English
+literature sold for a few shillings; while at the present time these
+conditions are almost entirely reversed and some almost unique classic
+volume in extraordinary condition is required to create much of a
+sensation. It may be remarked here, however, that the early classics, the
+foundation of our present language, should have a permanent value, if such
+an attribute can be rightly assigned to any books at all, and it may be
+assumed that almost certainly the day will come when these early and
+important works will again be in great demand and will bring prices all
+the higher because of the scarcity which has accrued to them in the
+meantime through the loss, in one way or another, of many of the extant
+copies.
+
+The greatest care is necessary in purchasing modern editions, especially
+of modern authors, as the number of modern books and editions, whether the
+books be good, bad or indifferent--the latter two adjectives usually
+applying, unfortunately--present an extremely complex field from which
+only great foresight will select books of merit which will be sought after
+several generations hence.
+
+The amateur should also observe with a certain amount of suspicion books
+printed in very "limited" editions, with a view of establishing immediate
+rarity, permitting himself an interest only in those of obvious merit,
+where the limited edition is not necessitated by limited demand, and
+avoiding those books so printed of which previous editions much in demand
+have been issued. Privately printed books in limited editions, such as the
+books issued by the Villon Society, which include John Payne's important
+translations from the French and Italian, and the various issues of the
+Kama Shastra Society[30], in which Sir Richard Burton, the gifted
+orientalist, was actively interested, being not only first editions and of
+marked literary merit, but also books fairly certain to be in demand, and
+rare, may generally be considered of sound value and interest. Books from
+famous private presses, examples of the highest state of typography of
+their time, such as the Kelmscott Press books printed by William Morris,
+or books printed by some famous printer, such as John Baskerville, of
+Birmingham, are almost certain to increase substantially in value in the
+long run over their present-day prices and are, moreover, delightful books
+to have.
+
+To be properly considered with the general subject of buying, are the
+special copies of volumes known as "association books." These are unique
+copies, connected in some direct way with the author or with some
+prominent personage. Because of the sentimental interest attached, these
+usually command high prices. Included under this heading are presentation
+copies with inscriptions by the author, the author's own copy of his book,
+generally with autograph corrections, and books with autograph annotations
+by some contemporary or later, but equally famous, person or author. There
+is no standard by which to judge the proper value of such special copies
+as they are unique, and such copies may change hands several times at
+close intervals with a considerably varying but generally increasing
+price. Copies of this kind are generally held at high ransom by dealers,
+especially in the "high rent districts" of our large cities, and the
+amateur bibliophile is wiser to hope merely that, as sometimes happens,
+chance may throw such copies, until that time unrecognized as such, into
+his hands without extra premium. Dealers, and even collectors, often
+attempt to establish an association value in a book by inserting autograph
+letters or signatures of the author; but such volumes, although thus made
+of considerable interest, obviously cannot properly be considered under
+this heading.
+
+
+
+
+CHAPTER VIII
+
+_THE GREEK AND LATIN CLASSICS_
+
+[Illustration: BLACK LETTER VIRGIL]
+
+
+The collections of first and early editions of the Greek and Latin
+classics in the original which, a century or two ago, formed the backbone
+of nearly all collections of note, have since, as mentioned elsewhere,
+lost much of their interest for the bibliophile. A rare, uncut editio
+princeps of Homer may still produce from its sale, as in Dibdin's day, "a
+little annuity," and perhaps an annuity which would have made Dibdin gasp;
+but this volume may possibly be considered an exception.
+
+The present practical neglect of the Greek and Latin languages, except as
+college exercises, may in a certain measure be responsible for the modern
+lack of interest in the original classics, since the bibliophile may be
+pardoned, in a sense, for not buying books in which his interest is
+limited to possession and which he is unable to read with any degree of
+satisfaction.
+
+The past three hundred years of English literature, however, have produced
+a great number of translations from these classics, the best, no doubt,
+being made by men of independent income with the ability and leisure to
+turn their hands toward such work. A careful sifting of these
+translations, therefore, might very well furnish the bibliophile who is
+inclined toward such reading with a library of classics easily readable in
+good, accurate translation. The cost of such a collection would be
+comparatively moderate, and if care were taken in the selection to obtain
+first or early editions of the translations recognized as having the best
+literary qualities, there is little reason to doubt that the collection
+would have a very positive value. The subject is, perhaps, interesting
+enough to justify a few details.
+
+The principal stumbling block, and that which renders the ordinary
+published "classic" libraries of doubtful value, is the delicate question
+of expurgation and that of abridgment. Any translation is, at best, a
+substitute; but an incomplete one is worse than none at all. There are,
+however, a few volumes in which the collector will be interested, which
+will be obtained, in all their original naïvete, only with difficulty.
+
+Suppose a nucleus for such a collection were to be assembled. One would,
+of course, begin with Homer. The best translation in prose is by Andrew
+Lang and others; the Iliad, 1883; the Odyssey, 1879. The most readable
+verse translation is that by William Cullen Bryant, in four volumes,
+Boston, 1870-1871. This version, unfortunately, gives the Roman form of
+the names of the Greek gods--a concession to unnecessary corruption--but
+is otherwise very faithful.
+
+After Homer, perhaps Plato's Dialogues, of which the best translation is
+that by B. Jowett, in five volumes, Oxford, 1875, third edition, revised,
+1892. And of Plutarch's Lives, which follows naturally, the translation
+called Dryden's, revised by Clough, five volumes, Boston and London, 1859.
+Virgil, from the Latins, would accompany these, and of this, a good
+translation is Dryden's also, revised this time by John Carey, in three
+volumes, London, 1803. A much rarer edition is the "Aeneidos" of Thomas
+Phaer, London, 1584, with several reprints, in small black letter.
+
+As a souvenir of lovely Sicily, we would require, of course, the pastorals
+of Theocritus, of which the best translation is that in prose by Andrew
+Lang, London, 1880. In this rendering two passages of about two lines each
+are left untranslated, but the omission is too slight to be serious. The
+same volume also contains the poems of Bion and Moschus. A good verse
+translation is that by C. S. Calverley, Cambridge (England), 1869. With
+Theocritus we must read Sappho, "the poetess," the ancients called her, as
+they called Homer "the poet." Meleager, in the poem of his "Garland" of
+verse, says that he includes "of Sappho's only a few but all roses." And
+so, indeed, are the few precious fragments which have come down to us.
+All the known fragments of this poetess, even mere references or
+quotations of a word or a phrase from ancient writers, which have
+survived, have been gathered by H. T. Wharton, who gives in his little
+volume called Sappho, the Greek text and a literal translation of each
+fragment, together with various verse translations of interest. The first
+edition of this book appeared in 1885, the third and definite edition in
+1895. Both were published in London; the former by David Stott, the latter
+by John Lane.
+
+Of Anacreon's lyrics, only a few fragments remain. The Anacreontea were
+translated by Thomas Stanley, London, 1651; reprinted by Lawrence and
+Bullen, London, 1893. The reprint may be had on Japan vellum and on
+vellum.
+
+Of the Greek Anthology, the famous collection of Greek epigrams composed
+between about B. C. 450 and A. D. 550, there are many volumes of
+translated "selections." The best and most poetic, although the rendering
+is in prose, is that by J. W. Mackail, London, 1890, revised 1906 and
+1911. The greater part of the Anthology, which contains over three
+thousand five hundred epigrams, was translated into readable verse by
+Major Robert McGregor, London, 1864, but the spirit of this rendering is
+indifferent. A complete translation into prose of the entire Anthology,
+omitting only the ultra-erotic and paederastic epigrams, is now in process
+of publication in five volumes by Heinemann, London. This would be, when
+complete, the most desirable all-around translation were it not for the
+bald and unpoetic literalness of the rendering; of which, as an instance,
+one could note the passage in the two hundred and twenty-fifth Amatory
+epigram, which might be translated, "I have a wound of love which never
+heals * * *"; but which is rendered, "My love is a running sore * * *"
+
+With the poets, Catullus must be included; the best and only complete
+translation is that by Richard F. Burton and Leonard Smithers, London,
+privately printed, 1894. This volume gives the Latin text, a complete
+prose rendering by Smithers, and a characteristic verse rendering by
+Burton. In the latter, some erotic passages are missing, due, according to
+Lady Burton's statement, to an incomplete manuscript.
+
+Among the dramatists there are Aeschylus, whose tragedies were translated
+in verse by R. Potter, London, 1777, and Sophocles, whose tragedies were
+translated by the same hand, London, 1788. Edward FitzGerald's rendering
+of the Agamemnon of Aeschylus, London, 1876, which does not, however,
+pretend to be a close translation, may well be included for the unusual
+beauty of its verse. The comedies of Terence have had several translators.
+The best close rendering is that in prose, privately printed by the "Roman
+Society," in two volumes, 1900-1901. Copies of this translation are
+scarce, as the edition was limited to two hundred and sixty copies.
+
+Aristophanes is, of course, essential, but of the eleven comedies of his
+which are extant, there is only one complete translation, that privately
+printed under the imprint of the "Athenian Society," in two volumes,
+London, 1912, and limited to six hundred and twenty-five copies. These
+comedies have, perhaps, no equal in all literature, except in Rabelais,
+and the translation mentioned not only does them full justice, although in
+prose, but also furnishes exhaustive and illuminating notes necessary for
+the full understanding of all the humor. Four of the comedies were
+translated into admirable verse by J. H. Frere, Malta, 1839, and are well
+worth having, although, of course, Aristophanes' frequent and
+characteristic "obsceneties" are omitted.
+
+Among the satirists we have the Latins, Martial and Juvenal, and the Greek
+Lucian. The best Martial in English is the "Ex Otio Negotium" of R.
+Fletcher, London, 1656, reprinted in an edition of one hundred and five
+copies in 1893. Only selected epigrams are given, those selected being
+rendered rather freely, but there is no semblance of emasculation and the
+essential genius of translation is present. A good Juvenal is the verse
+translation by Robert Stapylton, London, 1647. A fair prose rendering,
+with the Latin text, is found in an anonymous translation issued, with
+Sheridan's translation of Persius, in 1777. Of Lucian's many works, there
+are almost innumerable translations, nearly all of which are expurgated. A
+good rendering of Selected Dialogues is that by Howard Williams, London,
+Bell. The "True History," which contains, as might be expected, the
+wildest flights of imagination, was translated by Francis Hickes, London,
+1634; privately reprinted in a limited edition, with the Greek text, in
+1896.
+
+The immortal "Golden Ass" of Lucius Apuleius is attractive in the quaint
+Elizabethan version of William Adlington, of which five editions in small
+black letter were printed between 1566 and 1639. A modern reprint was
+issued by David Nutt, London, in 1893. The translation is not always
+accurate, but it is sufficiently so and it is particularly treasured as a
+fine specimen of the prose of that period. Apuleius exists in complete
+translation in the rendering by F. D. Byrne, printed in Paris in 1904, in
+a limited and private edition. The edition has numerous indifferent
+plates, and was reprinted, in incomplete translation, with several plates
+omitted, under a London imprint, of the same date. The translation reads
+rather more easily than the rendering by Thomas Taylor, London, 1822, and
+includes the erotic passages which, like all similar passages in the
+classics, are incorporated with ingenuous shamelessness and are, as might
+be expected, quite harmless. For Taylor's translation, these "passages
+suppressed" were supplied on separate sheets.
+
+Among the "impudiques et charmants," as Pierre Louys calls them, must be
+mentioned the famous Satyricon of Petronius, of which Charles Carrington
+has printed the only complete translation, with his own imprint, Paris
+1902, in an edition of five hundred and fifteen copies, since reprinted.
+The first edition bears a slip attributing the translation to Oscar Wilde,
+but the work has not the slightest internal evidence to support this. Also
+the "Priapeia" a collection of Latin epigrams of the best period, all
+bearing on the god Priapus. Two hundred and fifty copies of a translation
+of this small anthology were issued by the Erotika Biblion Society,
+"Athens" 1888. Notes on various subjects occupy more than half the volume.
+
+Of the early romances, the most desirable is doubtless the "Daphnis and
+Chloe" of Longus who wrote early in the Christian era. This work has been
+said to belong more to French than to Greek literature, so
+enthusiastically was it adopted in France; and, in fact, the first printed
+edition of the work, translated by Bishop Amyot in 1559, preceded the
+editio princeps of the Greek text by forty years. A great many French
+editions have been printed, some with charming illustrations. The edition
+with notes by A. Pons and vignettes by Scott, Paris, Quantin 1878, gives a
+full French translation of the Greek text and an exhaustive bibliography
+in an attractive format. The only complete translation in English is that
+issued to subscribers by the Athenian Society in 1896.
+
+This Athenian Society issued to two hundred and fifty legitimate
+subscribers, between the years 1895 and 1898, seven volumes of complete
+translations from the Greek, of which several volumes, like the Longus,
+were the first complete translations into English. On account of the very
+limited issue, the volumes are very scarce, especially in sets. The
+complete issue was as follows: Lucian: The Ass. Dialogues of Courtesans.
+Amores.--Procopius: Anecdota.--Alciphron: Letters.--Longus: Daphnis and
+Chloe.--Heliodorus: Three books of the Æthiopica.--Achilles Tatius: Four
+Books of The Loves of Cleitophon and Leucippe.--Aristophanes: The
+Acharnians. The Knights. The Clouds. The volumes also included the Greek
+text.
+
+The general subject of classic translations is an interesting one and
+capable of almost infinite expansion. One might form a very imposing
+collection of books by merely gathering editions of Daphnis and Chloe, for
+instance. But the bibliophile, whether he collects Greek and Latin
+translations, or books on angling, can perhaps best follow his own taste
+and judgment, when once he has secured a nucleus from which to start, and
+fairly understands the possibilities--and limitations--of his subject.
+
+
+
+
+These books--thin boards and sheets of fragile paper--have lived while
+countless men have died; through the rise and fall of princes; through
+wars and ruin and tempests.
+
+Other hands, long since forgotten, have cared for them and kept them
+safely. Now they are here in trust with me; and I, in my turn, linger over
+them, hoping that other Owners, yet unborn, may treat them gently as I,
+and those before, have done.
+
+
+
+
+INDEX
+
+
+  Association Books, 107
+
+  Auctions, 102
+
+  Autographs in books, 16, 25, 107
+
+  Autograph Letters in books, 108
+
+
+  Back, Lining up, 20, 48
+
+  Back, Shaken or broken, 19
+
+  Binding, Cheap, 78
+    Elaborate, 103
+    Original, 73, 83, 92
+
+  Bleaching, 33, 35
+
+  Book-worms, 93
+
+  Books as an investment, 101
+
+  Book sizes, 94
+
+
+  Catalogues, 102
+
+  Cataloguing, 94
+
+  Collating, 15
+
+  Corners, Repairing, 22, 63
+
+  Covers (leather), Cleaning, 51
+    Patching, 55
+    Polishing, 56, 90
+    Restoring, 55
+    Transferring, 72
+
+
+  Dealers, 99
+
+  Dusting, 15, 91
+
+
+  Edges, Cleaning, 65
+    Gilt or Uncut, 81
+
+
+  Finishing new back, 46
+
+
+  Gilt, Removing, 71
+    Restoring, 67
+
+  Glaire, 59
+
+
+  Hinges, Repairing, 62
+
+
+  Ink, Brightening autographs in, 26
+    Removing, 33, 54, 66
+
+  Inlaying covers, 60
+
+  Inlaying pages, 18
+
+  Inlays, Tinting, 18
+
+
+  Kama Shastra Society, 106
+
+
+  Leather for bindings, 39, 84
+
+  Leather Paste for inlays, 61
+
+  Light, Effect on books of, 90
+
+  Limited Editions, 106
+
+  Lining up backs, 20
+
+
+  Marginal MS Notes, 16
+
+  Margins, Trimming, 78
+
+  Modern Editions, 105
+
+
+  Niger Morocco, 85
+
+
+  Old Paper imitated, 18
+
+
+  Pages, Repairing torn, 17
+
+  Paste for repairs, 20
+
+  Presentation copies, 16, 84, 107
+
+  Preservative for leather, 40
+
+  Preservative Polish, 90
+
+  Privately Printed books, 106
+
+
+  Rarity of books, 104
+
+  Rebacking, Tools for, 47
+
+  Rebinding, Best leather for, 84
+    Directions for, 80
+    For Amateurs, 79
+    Price of, 77, 82
+    When advisable, 55
+
+  Report of the Committee on Leather for Bookbinding, 85, 90
+
+  Re-tinting, 31
+
+
+  Sewing, 82
+
+  Shelves, Lining for, 64, 91
+
+  Sizing, 22, 30
+
+  Slip-cases, 84
+
+  Slip-covers, 92
+
+  Spots, Small, 30, 54
+
+  Stains, 31
+
+  Stains of Blood, 34
+    Egg Yellow, 33
+    Fecal Matters or Urine, 34
+    Fruit Juice, 34
+    Grease, 31, 54
+    Ink, 33, 54, 66
+    Mud, 33
+    Sealing-wax or Resin, 32
+    Stearine, 32
+    Tar and Pitch, 32
+    Unknown Origin, 30
+    White or Yellow Wax, 32
+
+
+  Tools, Making, 68
+
+  Tooling, 46, 67
+
+  Tooling, Restoring old, 67
+
+  Transferred Impressions, 34
+
+
+  Varnish for bindings, 57
+
+  Vellum Bindings, Cleaning, 59
+
+  Velvet for shelves, 64, 91
+
+
+  Washing, 33, 35
+
+
+
+
+Footnotes:
+
+[1] M. R. Yve-Plessis in his "Petit Essai de Biblio-Therapeutique"
+suggests an excellent way of preparing a paper patch for an inlay. Which
+is, to lay the paper from which the patch is to be taken under the torn
+page and trace the outlines of the tear on the new paper with a clean pen
+filled with water. By tracing over several times, the water will saturate
+the new paper on the line made by the pen, so that the paper may be pulled
+apart, providing a patch having more exact outlines than could be secured
+by cutting with scissors.
+
+[2] In 1809 Paul Louis Courier discovered at Florence a complete
+manuscript of Daphnis and Chloe, containing a long passage in Part I which
+was missing in all texts known until that time, and the existence of
+which, as a connecting passage, had long been a subject of speculation
+among scholars. Unfortunately, he had hardly more than completed a
+transcript of his discovery when he accidentally upset a bottle of ink
+over the original manuscript, partly obliterating the passage. The
+incident caused a bitter controversy among scholars. Courier was violently
+attacked and, although he had fifty copies of his text printed for special
+distribution, was even accused of purposely spilling the ink in order to
+render his transcript unique.    M. S. B.
+
+[3] M. R. Yve-Plessis, elsewhere quoted, suggests that it may sometimes be
+desirable to strengthen the ink of some valuable and desirable signature,
+instead of removing it, and for this purpose recommends a mixture of:
+Tannin, six grammes; alcohol, thirty-five grammes; distilled water, one
+hundred grammes; applied with a small brush and the part afterwards
+brushed over several times with clear water. This operation, however,
+should certainly not be undertaken except in extreme cases where the
+signature appeared ready to entirely fade out.    M. S. B.
+
+[4] In a note on this subject, Bonnardot warns the amateur against
+careless or unskilful use of the various chemicals mentioned, as many of
+them, improperly handled, not only irreparably damage the page or print,
+but also inflict serious injury on the operator himself.    M. S. B.
+
+[5] After sheets have been cleaned by soaking or washing, they should be
+re-sized. Sizing is made by dissolving half an ounce of isinglass in a
+pint of water. The mixture is used at a temperature of about one hundred
+and twenty-five degrees Fahrenheit and in a shallow pan. Sheets are left
+in for a few seconds only and then dried between sheets of blotting paper.
+Sizing will often restore old paper which has become soft.    M. S. B.
+
+[6] Potassium permanganate, described in the chapter on _General
+Restoration_, is applicable for this operation. In operating on a spot on
+the page of a bound book, care should be taken always to place two or
+three sheets of clean blotting paper under the page to prevent any liquid
+from soaking through to the next page.    M. S. B.
+
+[7] Applied with a brush, first around the outside of the spot, then in
+narrowing circles until the centre is reached. Blotting paper is then
+placed on both sides of the sheet, over the spot, and a hot flat-iron
+applied. The absorbent powder ("French Chalk" answers very well) will
+operate better if the powdered sheet is enclosed simply between two
+pieces of paper, and a hot flat-iron applied. Plenty of powder should be
+used.    M. S. B.
+
+[8] Before and after using oxalic acid on ink stains, it is best to wash
+the spot or page with hydrochloric acid mixed with about seven times its
+volume of water. In bleaching ink from a page, a white mark almost always
+remains, especially noticeable if the paper is tinted with age. It is far
+better to soak the whole page, to secure uniform bleaching, and then, if
+necessary, retint the page to its former color, than to attempt to operate
+on part of a page only. Sometimes, when a book is loosely bound, the page
+can be carefully cut out, close to the sewing, and pasted in again when it
+has been washed and dried as desired. This is, however, a questionable
+practice, and may seriously injure the value of the book, and on a
+valuable book it is better to cut the sewing and remove the entire
+signature, then have the book rebound, or resewn and returned to the old
+covers, as may be most advisable.    M. S. B.
+
+[9] Bonnardot mentions several processes for bleaching a print, equally
+applicable to the same operation on the pages of a book. I translate the
+process which seems to be the simplest and most effective. It will be
+noted that he does not mention the size of the bottle in which the amount
+of chemical he advises is to be dissolved. I would suggest a full quart
+bottle, and also that the amateur operator thoroughly try the effect of
+his solution on some old pieces of paper to make sure it is too weak to
+injure the body of the paper.    M. S. B.
+
+[10] Bonnardot, at this point, discusses in considerable detail various
+opinions as to the removal of these iron oxide stains, but without coming
+to any definite conclusion except that they are "of all stains, the most
+tenacious." Experiments in chemistry, especially upon any binding of
+value, should not be lightly undertaken. The use of water-colors for
+retinting the spot of yellowish bleach might be tried with more safety and
+a greater possibility of success.    M. S. B.
+
+[11] Certain bindings of the sixteenth century have on their covers
+designs in tint formed simply of water colors. In such cases, the flour
+paste should not be used, or else the designs should first be accurately
+traced so that they can be restored, if necessary, after the operation.
+
+[12] Centigrade, i. e. ninety-seven to one hundred and four degrees
+Fahrenheit.    M. S. B.
+
+[13] At the beginning.    M. S. B.
+
+[14] The best modern practice in making glaire is to beat up the white of
+an egg with about half its quantity of vinegar, allowing the mixture to
+stand over night. This mixture, covered, will keep for several days, or
+until it gets thick and cloudy.    M. S. B.
+
+[15] Unbroken surfaces of white vellum can easily be cleaned with a soft
+pencil-eraser. A vellum binding which is "tacky" may be rubbed over with
+powdered soapstone after cleaning.    M. S. B.
+
+[16] Whiting (chalk) used as a pigment.    M. S. B.
+
+[17] One hundred and fifty-eight degrees Fahrenheit.    M. S. B.
+
+[18] This operation does not seem entirely clear, but the idea is
+evidently to fold a thin strip of the skin into a "V" shape, inserting the
+strip, folded edge up or down, as the condition of the hinge may require,
+into the broken hinge all along its length, gluing the arms of the "V,"
+one to the back and one to the cover to form a new, folded hinge. The
+operator will probably find, however, that when the hinges of a book are
+broken through a better and more lasting procedure is to reback the book.
+Gold-beaters skin is the outside membrane of the large intestine of the
+ox, properly prepared. Where the hinges of a book are broken, it is better
+to provide new leather hinges, using strips about half an inch wide
+slipped in under the broken edges and carried over the edge of the boards
+at top and bottom. Raise the broken edges, for the proper distance, from
+back and boards, and paste down again over the new hinge.    M. S. B.
+
+[19] To prevent wear on the lower corners and edges of books in the
+library, strips of velvet may be laid along the shelves under the books.
+If this is done, the little extra care required in removing and replacing
+the books without wrinkling up the velvet will be more than offset by the
+protection which the velvet gives.    M. S. B.
+
+[20] Gilding, especially if modern, is apt to soften and come off if
+rubbed with water.    M. S. B.
+
+[21] See my remarks on lining up with Japan vellum in the chapter on
+_General Restoration_.    M. S. B.
+
+[22] In this place, Bonnardot gives a few simple suggestions for repairing
+broken fragments of the gold tooling. The amateur is cautioned not to
+attempt the application of hot gilding tools and gold leaf to any binding
+for which he has any regard unless he has carefully prepared himself by
+thoroughly studying the detailed directions for this work which may be
+found in text-books on binding, and by extensive practice on odd pieces of
+various leathers.    M. S. B.
+
+[23] All set, of course, in wooden or pottery handles. Wooden handles for
+such tools, or the tools themselves, may be procured at moderate prices
+from dealers in bookbinders' materials.    M. S. B.
+
+[24] The impression should first be made on the leather by the hot tool,
+without gold, and painted with glaire. When the glaire is nearly dry, a
+fragment of gold-leaf is picked up on a pad of cotton wool slightly
+touched with cocoanut oil and pressed down on the blind impression of the
+tool. The tool is then pressed into its former impression, setting the
+gold. The process is very delicate; the tool must be perfectly clean and
+the gold-leaf, which is very difficult to handle, worked from a padded
+cloth dusted with brick-dust, or a similar substance, to prevent the leaf
+from adhering there while it is being cut to the proper size.    M. S. B.
+
+[25] Wax would, of course, be used hot.    M. S. B.
+
+[26] As mentioned in a note above, gold may often be loosened by merely
+removing the varnish and thoroughly moistening with water, after which the
+metal may be coaxed out with a thin, smooth, wooden splinter, preferably
+wound on the end with a bit of cotton wool.    M. S. B.
+
+[27] Or: Gilt edges. (This requires, in many cases, considerable trimming
+all around.) Or: Bottom and fore edges gilt on uncut edges. (This is a
+more expensive process and a rather delicate one. It is not in general
+use.)
+
+[28] It is often difficult to persuade a binder to sew on flat bands or
+outside cords. The usual, and easiest method is to saw into the backs of
+the signatures and lay the cords in the "V" shaped cut thus made. This
+method of sewing should be protested against unless the book has already
+been so treated in a former binding and no additional cutting is required.
+Most of the raised bands found on modern bindings are "false," being in no
+way an essential part of the binding and serving no practical purpose.
+Even their use as guides for decoration is doubtful, as they tend to
+unnecessary convention.
+
+[29] On a valuable book in an expensive binding, the end papers should be
+sewn in. This means extra trouble for the binder and calls for a little
+extra charge. End papers are very seldom sewn in on modern bindings,
+although often so secured in bindings of a century or two ago.
+
+[30] This Society has been credited--or otherwise--with so many volumes,
+chiefly of an erotic nature, which it never issued, that a list of the
+genuine volumes, issued with the authority and consent of Sir Richard
+Burton, may be of interest. These are: Kama Sutra, of Vatsyayana, 1883;
+Amanga Ranga, of Kalyana Mall, 1885; The Beharistan, of Jami, 1887; The
+Gulistan, of Sa'di, 1888; Alf Laylah wa Laylah (The Book of the Thousand
+Nights and a Night), ten volumes, 1885; Supplemental Nights to The Book of
+the Thousand Nights and a Night, six volumes, 1886-1888. These volumes are
+all listed in a four page folder, which accompanied Vol. 5, of the
+Supplemental Nights. The folder mentions two other volumes in preparation;
+The Nigaristan of Jawini, and The Scented Garden, of the Shaykh
+al-Nafzawi. The former translation was never issued; the latter
+translation, made by Sir Richard himself, was burned in MS by his wife,
+shortly after his death. The only translation of al-Nafzawi bearing the
+Kama Shastra Society imprint, was issued in 1886, in white vellum, uniform
+with the other single volumes listed above with the title of The Perfumed
+Garden. This translation, which was made through a French version, is
+described, and practically acknowledged as a book of the Society, in a
+foot-note on page 133, Vol. 10, of the Nights.
+
+
+
+
+Transcriber's Notes:
+
+Passages in italics are indicated by _underscore_.
+
+The following misprints have been corrected:
+  "is" corrected to "it" (page 29)
+  "or" corrected to "of" (page 33)
+  "prefessional" corrected to "professional" (page 67)
+  "effact" corrected to "effect" (page 68)
+  "tranlsated" corrected to "translated" (page 114)
+
+
+
+
+
+End of Project Gutenberg's Book Repair and Restoration, by Mitchell Buck
+
+*** END OF THIS PROJECT GUTENBERG EBOOK BOOK REPAIR AND RESTORATION ***
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