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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..6833f05 --- /dev/null +++ b/.gitattributes @@ -0,0 +1,3 @@ +* text=auto +*.txt text +*.md text diff --git a/32074-0.txt b/32074-0.txt new file mode 100644 index 0000000..3133b0a --- /dev/null +++ b/32074-0.txt @@ -0,0 +1,2805 @@ +The Project Gutenberg eBook of Book Repair and Restoration, by Mitchell Buck + +This eBook is for the use of anyone anywhere in the United States and +most other parts of the world at no cost and with almost no restrictions +whatsoever. You may copy it, give it away or re-use it under the terms +of the Project Gutenberg License included with this eBook or online at +www.gutenberg.org. If you are not located in the United States, you +will have to check the laws of the country where you are located before +using this eBook. + +Title: Book Repair and Restoration + +Author: Mitchell Buck + +Release Date: April 21, 2010 [eBook #32074] +[Most recently updated: January 6, 2021] + +Language: English + +Character set encoding: UTF-8 + +Produced by: Walt Farrell and the Online Distributed Proofreading Team + +*** START OF THE PROJECT GUTENBERG EBOOK BOOK REPAIR AND RESTORATION *** + + + + +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 naÔvete, 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 ∆thiopica.--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 THE PROJECT GUTENBERG EBOOK BOOK REPAIR AND RESTORATION *** + +***** This file should be named 32074-0.txt or 32074-0.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/3/2/0/7/32074/ + +Updated editions will replace the previous one--the old editions will +be renamed. + +Creating the works from print editions not protected by U.S. copyright +law means that no one owns a United States copyright in these works, +so the Foundation (and you!) can copy and distribute it in the United +States without permission and without paying copyright +royalties. 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Buck. + </title> + <style type="text/css"> + + p {margin-top: .75em; text-align: justify; margin-bottom: .75em;} + + h1,h2,h3,h4,h5,h6 {text-align: center; clear: both;} + + hr {width: 33%; margin-top: 2em; margin-bottom: 2em; margin-left: auto; margin-right: auto; clear: both;} + + table {margin-left: auto; margin-right: auto;} + + body {margin-left: 12%; margin-right: 12%;} + + .pagenum {position: absolute; left: 92%; font-size: smaller; text-align: right; font-style: normal;} + + .blockquot {margin-left: 5%; margin-right: 10%;} + .note {margin-left: 30%; margin-right: 30%;} + + .center {text-align: center;} + .smcap {font-variant: small-caps;} + .smcaplc {text-transform: lowercase; font-variant: small-caps;} + + .figcenter {margin: auto; text-align: center;} + + a:link {color:#0000ff; text-decoration:none} + a:visited {color:#6633cc; text-decoration:none} + + .spacer2 {padding-left: 2em; padding-right: 2em;} + + ins.correction {text-decoration:none; border-bottom: thin solid gray;} + + </style> + </head> +<body> + +<div style='text-align:center; font-size:1.2em; font-weight:bold;'>The Project Gutenberg eBook of Book Repair and Restoration, by Mitchell Buck</div> +<div style='display:block;margin:1em 0'> +This eBook is for the use of anyone anywhere in the United States and +most other parts of the world at no cost and with almost no restrictions +whatsoever. You may copy it, give it away or re-use it under the terms +of the Project Gutenberg License included with this eBook or online +at <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you +are not located in the United States, you will have to check the laws of the +country where you are located before using this eBook. +</div> +<div style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Title: Book Repair and Restoration</div> +<div style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Author: Mitchell Buck</div> +<div style='display:block;margin:1em 0'>Release Date: April 21, 2010 [eBook #32074]<br /> +[Most recently updated: January 6, 2021]</div> +<div style='display:block;margin:1em 0'>Language: English</div> +<div style='display:block;margin:1em 0'>Character set encoding: UTF-8</div> +<div style='display:block; margin-left:2em; text-indent:-2em'>Produced by: Walt Farrell and the Online Distributed Proofreading Team</div> +<div style='margin-top:2em;margin-bottom:4em'>*** START OF THE PROJECT GUTENBERG EBOOK BOOK REPAIR AND RESTORATION ***</div> + +<h1><span class="smcap">Book Repair and Restoration</span></h1> +<p> </p><p> </p> +<p class="center"><i>Only a thousand copies of this book are printed and type distributed.</i></p> +<p> </p><p><a name="front" id="front"></a> </p><p> </p> +<div class="figcenter"><img src="images/i_004tmb.jpg" alt="" /><br /> +<a href="images/i_004.jpg"><small>Larger Image</small></a></div> +<p class="center">INLAID LEVANT BINDING</p> +<p> </p><p> </p><p> </p> + +<h1>BOOK REPAIR<br />AND RESTORATION</h1> +<p> </p> +<h3>A MANUAL OF PRACTICAL SUGGESTIONS<br />FOR BIBLIOPHILES</h3> +<p> </p> +<p class="center"><i>Including some Translated Selections</i><br /> +from<br /> +Essai sur l’art de Restaurer les Estampes et les Livres,<br /> +par A. Bonnardot, Paris 1858</p> +<p> </p> +<h4>By</h4> +<h3>MITCHELL S. BUCK</h3> +<p class="center">Author of “Syrinx,” “Ephemera,” “The Songs of Phryne,”<br /> +Translator of “Lucian’s Dialogues of the Hetaerai,” etc.</p> +<p> </p><p> </p> +<p class="center">Philadelphia<span class="spacer2"> </span>NICHOLAS L. BROWN<span class="spacer2"> </span>MCMXVIII</p> +<p> </p><p> </p><p> </p> +<p class="center"><span class="smcap">Copyright</span>, 1918<br /> +<span class="smcap">By Nicholas L. Brown</span></p> +<p> </p><p> </p> +<p class="center"><i>Printed July 1918</i></p> + + +<p> </p><p><a name="Page_7" id="Page_7"></a> </p> +<hr style="width: 65%;" /> +<h2><i>FOREWORD</i></h2> + +<p><i>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.</i></p> + +<p><i>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.</i></p> + + +<p> </p><p> </p> +<hr style="width: 65%;" /> +<h2>CONTENTS</h2> + +<table border="0" cellpadding="0" cellspacing="5" summary="contents"> +<tr><td><span class="smcap">Foreword</span>: Page <a href="#Page_7">7</a></td></tr> +<tr><td><i>Chapter I</i><br /> +<span style="margin-left: 2em;"><span class="smcap">General Restoration</span>:</span> Page <a href="#Page_13">15</a></td></tr> +<tr><td><i>Chapter II</i><br /> +<span style="margin-left: 2em;"><span class="smcap">Removing Stains</span>:</span> Page <a href="#Page_23">25</a></td></tr> +<tr><td><i>Chapter III</i><br /> +<span style="margin-left: 2em;"><span class="smcap">Rebacking</span>:</span> Page <a href="#Page_37">39</a></td></tr> +<tr><td><i>Chapter IV</i><br /> +<span style="margin-left: 2em;"><span class="smcap">Repairing Old Binding</span>:</span> Page <a href="#Page_49">51</a></td></tr> +<tr><td><i>Chapter V</i><br /> +<span style="margin-left: 2em;"><span class="smcap">Rebinding</span>:</span> Page <a href="#Page_75">77</a></td></tr> +<tr><td><i>Chapter VI</i><br /> +<span style="margin-left: 2em;"><span class="smcap">The Book Shelves</span>:</span> Page <a href="#Page_87">89</a></td></tr> +<tr><td><i>Chapter VII</i><br /> +<span style="margin-left: 2em;"><span class="smcap">Book Buying</span>:</span> Page <a href="#Page_97">99</a></td></tr> +<tr><td><i>Chapter VIII</i><br /> +<span style="margin-left: 2em;"><span class="smcap">The Greek and Latin Classics</span>:</span> Page <a href="#Page_109">111</a></td></tr> +<tr><td><span class="smcap">Index</span>: Page <a href="#Page_123">123</a></td></tr></table> + + +<p> </p><p> </p> +<hr style="width: 65%;" /> +<h2>LIST OF ILLUSTRATIONS</h2> + +<table border="0" cellpadding="0" cellspacing="5" summary="illustrations"> +<tr><td><span class="smcap">Inlaid Levant Binding</span>: <a href="#front"><i>Frontispiece</i></a></td></tr> +<tr><td><span class="smcap">Re-lining Back</span>: Page <a href="#Page_22">21</a></td></tr> +<tr><td><span class="smcap">Vellum Bindings</span>: Page <a href="#Page_24">25</a></td></tr> +<tr><td><span class="smcap">Original Sheep Binding (1684) Rebacked</span>: Page <a href="#Page_38">39</a></td></tr> +<tr><td><span class="smcap">Cutting for Rebacking</span>: Page <a href="#Page_41">41</a></td></tr> +<tr><td><span class="smcap">Cutting for Rebacking</span>: Page <a href="#Page_42">42</a></td></tr> +<tr><td><span class="smcap">Loosening Leather for Rebacking</span>: Page <a href="#Page_43">43</a></td></tr> +<tr><td><span class="smcap">Setting New Back</span>: Page <a href="#Page_44">44</a></td></tr> +<tr><td><span class="smcap">Binding Head-Cap</span>: Page <a href="#Page_46">45</a></td></tr> +<tr><td><span class="smcap">Folder</span>: Page <a href="#Page_48">47</a></td></tr> +<tr><td><span class="smcap">Iron</span>: Page <a href="#Page_48">48</a></td></tr> +<tr><td><span class="smcap">Modern Levant Binding</span>: Page <a href="#Page_50">51</a></td></tr> +<tr><td><span class="smcap">Solander Slip-Case</span>: Page <a href="#Page_76">77</a></td></tr> +<tr><td><span class="smcap">Leather Slip-Covers</span>: Page <a href="#Page_88">89</a></td></tr> +<tr><td><span class="smcap">Slip-Cover</span>: Page <a href="#Page_92">92</a></td></tr> +<tr><td><span class="smcap">Kelmscott Press Book</span>: Page <a href="#Page_98">99</a></td></tr> +<tr><td><span class="smcap">Black Letter Virgil</span>: Page <a href="#Page_110">111</a></td></tr></table> + + +<p> </p><p> </p> +<hr style="width: 65%;" /> +<p><span class="pagenum"><a name="Page_13" id="Page_13">[Pg 13]</a></span></p> +<h2>CHAPTER I</h2> +<h3><i>GENERAL RESTORATION</i></h3> + +<p><span class="pagenum"><a name="Page_14" id="Page_14">[Pg 14]</a></span></p><p> </p> + +<p><span class="pagenum"><a name="Page_15" id="Page_15">[Pg 15]</a></span>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.</p> + +<p>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.</p> + +<p>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<span class="pagenum"><a name="Page_16" id="Page_16">[Pg 16]</a></span> 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.</p> + +<p>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 <i>Stains</i> included in this +volume.</p> + +<p>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<span class="pagenum"><a name="Page_17" id="Page_17">[Pg 17]</a></span> 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!</p> + +<p>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.</p> + +<p>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<span class="pagenum"><a name="Page_18" id="Page_18">[Pg 18]</a></span> 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.<small><a name="f1.1" id="f1.1" href="#f1">[1]</a></small></p> + +<p>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 <span class="pagenum"><a name="Page_19" id="Page_19">[Pg 19]</a></span>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.</p> + +<p>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.</p> + +<p><span class="pagenum"><a name="Page_20" id="Page_20">[Pg 20]</a></span>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.</p> + +<p>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.</p> + +<p>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<span class="pagenum"><a name="Page_21" id="Page_21">[Pg 21]</a></span> 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<span class="pagenum"><a name="Page_22" id="Page_22">[Pg 22]</a></span> aside to dry, under a light pressure, after which the two slips +of paper inserted at top and bottom are pulled out.</p> + +<p> </p> +<div class="figcenter"><img src="images/i_021.jpg" alt="" /></div> +<p> </p> + +<p>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.</p> + +<p>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.</p> + +<p>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.</p> + + +<p> </p><p> </p> +<hr style="width: 65%;" /> +<p><span class="pagenum"><a name="Page_23" id="Page_23">[Pg 23]</a></span></p> +<h2>CHAPTER II</h2> +<h3><i>REMOVING STAINS</i></h3> +<p class="center"><b><span class="smcap">Translated From Bonnardot</span></b></p> +<p> </p> +<p><span class="pagenum"><a name="Page_24" id="Page_24">[Pg 24]</a></span></p> +<div class="figcenter"><img src="images/i_025tmb.jpg" alt="" /><br /> +<a href="images/i_025.jpg"><small>Larger Image</small></a></div> +<p class="center">VELLUM BINDINGS<br /> +(1674 <span class="smcaplc">AND</span> 1878)</p> +<p> </p> + +<p><span class="pagenum"><a name="Page_25" id="Page_25">[Pg 25]</a></span>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.<small><a name="f2.1" id="f2.1" href="#f2">[2]</a></small></p> + +<p><span class="pagenum"><a name="Page_26" id="Page_26">[Pg 26]</a></span>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.<small><a name="f3.1" id="f3.1" href="#f3">[3]</a></small> 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 <span class="pagenum"><a name="Page_27" id="Page_27">[Pg 27]</a></span>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.</p> + +<p>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.</p> + +<p>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.</p> + +<p>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<span class="pagenum"><a name="Page_28" id="Page_28">[Pg 28]</a></span> 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.</p> + +<p>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.</p> + +<p>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.<small><a name="f4.1" id="f4.1" href="#f4">[4]</a></small></p> + +<p><span class="pagenum"><a name="Page_29" id="Page_29">[Pg 29]</a></span>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.</p> + +<p>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 <ins class="correction" title="original reads 'is'">it</ins> 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<span class="pagenum"><a name="Page_30" id="Page_30">[Pg 30]</a></span> small shreds from the margin +and soak these in a small glass test-tube to note the effect.<small><a name="f5.1" id="f5.1" href="#f5">[5]</a></small></p> + +<p>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.</p> + +<p>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.</p> + +<p>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 <span class="pagenum"><a name="Page_31" id="Page_31">[Pg 31]</a></span>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.<small><a name="f6.1" id="f6.1" href="#f6">[6]</a></small></p> + +<p> </p> +<h3><i>REMOVING STAINS OF VARIOUS KINDS</i></h3> + +<p>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.<small><a name="f7.1" id="f7.1" href="#f7">[7]</a></small> +A weak solution of pure or caustic potash operates very rapidly. <span class="pagenum"><a name="Page_32" id="Page_32">[Pg 32]</a></span>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.</p> + +<p>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.</p> + +<p>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.</p> + +<p>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.</p> + +<p>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.</p> + +<p><span class="pagenum"><a name="Page_33" id="Page_33">[Pg 33]</a></span>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.</p> + +<p>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.</p> + +<p>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 <ins class="correction" title="original reads 'or'">of</ins> 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.<small><a name="f8.1" id="f8.1" href="#f8">[8]</a></small> +Chinese ink cannot be <span class="pagenum"><a name="Page_34" id="Page_34">[Pg 34]</a></span>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.</p> + +<p>FRUIT JUICE. Stains from fruit may be removed by chlorine or cream of +tartar. In some cases, water alone is sufficient.</p> + +<p>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.</p> + +<p>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.</p> + +<p>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<span class="pagenum"><a name="Page_35" id="Page_35">[Pg 35]</a></span> soap-jelly, which should be +left on for some time and then washed off.</p> + +<p>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.</p> + +<p>BLEACHING.<small><a name="f9.1" id="f9.1" href="#f9">[9]</a></small> 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 <span class="pagenum"><a name="Page_36" id="Page_36">[Pg 36]</a></span>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.</p> + +<p>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.</p> + + +<p> </p><p> </p> +<hr style="width: 65%;" /> +<p><span class="pagenum"><a name="Page_37" id="Page_37">[Pg 37]</a></span></p> +<h2>CHAPTER III</h2> +<h3><i>REBACKING</i></h3> +<p> </p> +<p><span class="pagenum"><a name="Page_38" id="Page_38">[Pg 38]</a></span></p> +<div class="figcenter"><img src="images/i_041tmb.jpg" alt="" /><br /> +<a href="images/i_041.jpg"><small>Larger Image</small></a></div> +<p class="center">ORIGINAL SHEEP BINDING<br /> +(1684 <span class="smcaplc">REBACKED</span>)</p> +<p> </p> + +<p><span class="pagenum"><a name="Page_39" id="Page_39">[Pg 39]</a></span>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.</p> + +<p>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.</p> + +<p><span class="pagenum"><a name="Page_40" id="Page_40">[Pg 40]</a></span>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.</p> + +<p>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.</p> + +<p>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<span class="pagenum"><a name="Page_41" id="Page_41">[Pg 41]</a></span> 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.</p> + +<p> </p> +<div class="figcenter"><img src="images/i_045.jpg" alt="" /></div> +<p> </p> + +<p>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.</p> + +<p>While old calf backs are generally so dry that they must be scraped off in +pieces, it is sometimes possible, when<span class="pagenum"><a name="Page_42" id="Page_42">[Pg 42]</a></span> 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.</p> + +<p> </p> +<div class="figcenter"><img src="images/i_046.jpg" alt="" /></div> +<p> </p> + +<p>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<span class="pagenum"><a name="Page_43" id="Page_43">[Pg 43]</a></span> 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.</p> + +<p>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.</p> + +<p> </p> +<div class="figcenter"><img src="images/i_047.jpg" alt="" /></div> +<p> </p> + +<p>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.)</p> + +<p>The book is now ready for the new back. This is cut from the leather to be +used, in width equal to the distance<span class="pagenum"><a name="Page_44" id="Page_44">[Pg 44]</a></span> 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.</p> + +<p>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.</p> + +<p> </p> +<div class="figcenter"><img src="images/i_048.jpg" alt="" /></div> +<p> </p> + +<p>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<span class="pagenum"><a name="Page_45" id="Page_45">[Pg 45]</a></span> 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<span class="pagenum"><a name="Page_46" id="Page_46">[Pg 46]</a></span> paste so that the leather turned over upon them will stay in +place.</p> + +<p> </p> +<div class="figcenter"><img src="images/i_049.jpg" alt="" /></div> +<p> </p> + +<p>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.</p> + +<p>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.</p> + +<p>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<span class="pagenum"><a name="Page_47" id="Page_47">[Pg 47]</a></span> 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.</p> + +<p>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.</p> + +<p>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.</p> + +<p>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<span class="pagenum"><a name="Page_48" id="Page_48">[Pg 48]</a></span> +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.</p> + +<p> </p> +<div class="figcenter"><img src="images/i_051.jpg" alt="" /></div> +<p> </p><p> </p> +<div class="figcenter"><img src="images/i_052.jpg" alt="" /></div> +<p> </p> + +<p>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.</p> + +<p>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.</p> + + +<p> </p><p> </p> +<hr style="width: 65%;" /> +<p><span class="pagenum"><a name="Page_49" id="Page_49">[Pg 49]</a></span></p> +<h2>CHAPTER IV</h2> +<h3><i>REPAIRING OLD BINDINGS</i></h3> +<p class="center"><b><span class="smcap">Translated From Bonnardot</span></b></p> +<p> </p> +<p><span class="pagenum"><a name="Page_50" id="Page_50">[Pg 50]</a></span></p> +<div class="figcenter"><img src="images/i_055tmb.jpg" alt="" /><br /> +<a href="images/i_055.jpg"><small>Larger Image</small></a></div> +<p class="center">MODERN LEVANT BINDING</p> +<p> </p> + +<p><span class="pagenum"><a name="Page_51" id="Page_51">[Pg 51]</a></span>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.</p> + +<p>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<span class="pagenum"><a name="Page_52" id="Page_52">[Pg 52]</a></span> 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.</p> + +<p>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.</p> + +<p>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<span class="pagenum"><a name="Page_53" id="Page_53">[Pg 53]</a></span> volatile. The latter will mix with +water, but benzine combines only with alcohol.</p> + +<p>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.</p> + +<p>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.</p> + +<p>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.</p> + +<p><span class="pagenum"><a name="Page_54" id="Page_54">[Pg 54]</a></span>Fresh spots of oil or grease may sometimes be removed by impalpable +powders of some clay-like nature, absorbent and slightly alkaline.</p> + +<p>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.</p> + +<p>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.<small><a name="f10.1" id="f10.1" href="#f10">[10]</a></small></p> + +<p><span class="pagenum"><a name="Page_55" id="Page_55">[Pg 55]</a></span>When the spots are of Chinese ink, old or recent, and have sunk into the +texture, as sometimes happens, they resist all known agents.</p> + +<p>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.</p> + +<p>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<span class="pagenum"><a name="Page_56" id="Page_56">[Pg 56]</a></span> 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.</p> + +<p>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.<small><a name="f11.1" id="f11.1" href="#f11">[11]</a></small></p> + +<p>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 <span class="pagenum"><a name="Page_57" id="Page_57">[Pg 57]</a></span>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.</p> + +<p>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).</p> + +<p>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<span class="pagenum"><a name="Page_58" id="Page_58">[Pg 58]</a></span> +temperature of thirty-six to forty degrees.<small><a name="f12.1" id="f12.1" href="#f12">[12]</a></small> 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.</p> + +<p>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.</p> + +<p>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<small><a name="f13.1" id="f13.1" href="#f13">[13]</a></small> and without the +slightest dampness.</p> + +<p>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 +<span class="pagenum"><a name="Page_59" id="Page_59">[Pg 59]</a></span>alcohol.<small><a name="f14.1" id="f14.1" href="#f14">[14]</a></small> One might also try a glaze made with hide glue or +gum-arabic.</p> + +<p>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.<small><a name="f15.1" id="f15.1" href="#f15">[15]</a></small> 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.</p> + +<p>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, <span class="pagenum"><a name="Page_60" id="Page_60">[Pg 60]</a></span>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.</p> + +<p>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.</p> + +<p>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<span class="pagenum"><a name="Page_61" id="Page_61">[Pg 61]</a></span> 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.</p> + +<p>Let us consider now the repair of bruises, more or less deep, caused by +rough contact with some hard, sharp or rough body.</p> + +<p>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.</p> + +<p>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<span class="pagenum"><a name="Page_62" id="Page_62">[Pg 62]</a></span> I have tried, although it is not so delicate. I employed +flour paste mixed simply with Spanish white.<small><a name="f16.1" id="f16.1" href="#f16">[16]</a></small> 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.</p> + +<p>I experimented also with gutta-percha. This brownish substance has the +property, at a certain temperature (towards seventy degrees)<small><a name="f17.1" id="f17.1" href="#f17">[17]</a></small> 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.</p> + +<p>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 <span class="pagenum"><a name="Page_63" id="Page_63">[Pg 63]</a></span>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.<small><a name="f18.1" id="f18.1" href="#f18">[18]</a></small></p> + +<p>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.</p> + +<p>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 <span class="pagenum"><a name="Page_64" id="Page_64">[Pg 64]</a></span>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.<small><a name="f19.1" id="f19.1" href="#f19">[19]</a></small></p> + +<p>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.</p> + +<p>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 <span class="pagenum"><a name="Page_65" id="Page_65">[Pg 65]</a></span>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.</p> + +<p>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.</p> + +<p>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<span class="pagenum"><a name="Page_66" id="Page_66">[Pg 66]</a></span> 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.<small><a name="f20.1" id="f20.1" href="#f20">[20]</a></small> 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.</p> + +<p>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.<small><a name="f21.1" id="f21.1" href="#f21">[21]</a></small> 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 +<span class="pagenum"><a name="Page_67" id="Page_67">[Pg 67]</a></span>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 <ins class="correction" title="original reads 'prefessional'">professional</ins> gilder.</p> + +<p>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.</p> + +<p>RESTORING THE GILDING.<small><a name="f22.1" id="f22.1" href="#f22">[22]</a></small> 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, <span class="pagenum"><a name="Page_68" id="Page_68">[Pg 68]</a></span>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.</p> + +<p>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 <ins class="correction" title="original reads 'effact'">effect</ins> it; but it may +be given a little more permanency by a coat of binders’ varnish.</p> + +<p>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.<small><a name="f23.1" id="f23.1" href="#f23">[23]</a></small> 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. <span class="pagenum"><a name="Page_69" id="Page_69">[Pg 69]</a></span>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.<small><a name="f24.1" id="f24.1" href="#f24">[24]</a></small> The excess of gold not pressed in by the iron may +be wiped off with a fragment of woolen cloth.</p> + +<p>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 <span class="pagenum"><a name="Page_70" id="Page_70">[Pg 70]</a></span>with the same +varnish or wax.<small><a name="f25.1" id="f25.1" href="#f25">[25]</a></small> 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.</p> + +<p>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.</p> + +<p>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 <span class="pagenum"><a name="Page_71" id="Page_71">[Pg 71]</a></span>may do this himself if he has the necessary letter, a form to +hold them, and a certain amount of skill.</p> + +<p>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.<small><a name="f26.1" id="f26.1" href="#f26">[26]</a></small></p> + +<p>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 <span class="pagenum"><a name="Page_72" id="Page_72">[Pg 72]</a></span>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.</p> + +<p>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.</p> + +<p>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<span class="pagenum"><a name="Page_73" id="Page_73">[Pg 73]</a></span> 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.</p> + +<p>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<span class="pagenum"><a name="Page_74" id="Page_74">[Pg 74]</a></span> 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.</p> + + +<p> </p><p> </p> +<hr style="width: 65%;" /> +<p><span class="pagenum"><a name="Page_75" id="Page_75">[Pg 75]</a></span></p> +<h2>CHAPTER V</h2> +<h3><i>REBINDING</i></h3> +<p> </p> +<p><span class="pagenum"><a name="Page_76" id="Page_76">[Pg 76]</a></span></p> +<div class="figcenter"><img src="images/i_083tmb.jpg" alt="" /><br /> +<a href="images/i_083.jpg"><small>Larger Image</small></a></div> +<p class="center">SOLANDER SLIP-CASE</p> +<p> </p> + +<p><span class="pagenum"><a name="Page_77" id="Page_77">[Pg 77]</a></span>In Chapter Thirteen of his <i>Essai</i>, Bonnardot remarks:</p> + +<p>“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.</p> + +<p>“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<span class="pagenum"><a name="Page_78" id="Page_78">[Pg 78]</a></span> 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.</p> + +<p>“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!</p> + +<p>“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<span class="pagenum"><a name="Page_79" id="Page_79">[Pg 79]</a></span> 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.”</p> + +<p>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.</p> + +<p>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.</p> + +<p><span class="pagenum"><a name="Page_80" id="Page_80">[Pg 80]</a></span>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.</p> + +<p>A form of direction sheet, which will, of course, vary with varying +requirements, follows.</p> + +<div class="blockquot"><p><span class="pagenum"><a name="Page_81" id="Page_81">[Pg 81]</a></span>TITLE. In gilt on back.</p> + +<p><span style="margin-left: 8em;">THE</span><br /> +<span style="margin-left: 7em;">ENEMIES</span><br /> +<span style="margin-left: 8.25em;">OF</span><br /> +<span style="margin-left: 7.25em;">BOOKS</span><br /> +<span style="margin-left: 7.5em;">———</span><br /> +<span style="margin-left: 7.5em;">William</span><br /> +<span style="margin-left: 7.75em;">Blades</span></p> + +<p>DATE. In gilt at bottom of back. 1880</p> + +<p>COVER. Full, dark brown pebbled morocco, best quality Turkey. Full +grain, not crushed.</p> + +<p>TOP. Gilt top. Please trim as little as possible.</p> + +<p>EDGES. Do not trim or cut bottom or fore edges.<small><a name="f27.1" id="f27.1" href="#f27">[27]</a></small></p> + +<p>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.</p> + +<p>SEWING. Sew flexible on flat bands with leather back glued direct to +the lining of signatures. Please do<span class="pagenum"><a name="Page_82" id="Page_82">[Pg 82]</a></span> not saw into backs of signatures +for bands or cords.<small><a name="f28.1" id="f28.1" href="#f28">[28]</a></small></p> + +<p>END PAPERS. Plain light brown or white.<small><a name="f29.1" id="f29.1" href="#f29">[29]</a></small></p> + +<p>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.</p></div> + +<p>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.</p> + +<p><span class="pagenum"><a name="Page_83" id="Page_83">[Pg 83]</a></span>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.</p> + +<p>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.</p> + +<p>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<span class="pagenum"><a name="Page_84" id="Page_84">[Pg 84]</a></span> 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.</p> + +<p>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.</p> + +<p>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,<span class="pagenum"><a name="Page_85" id="Page_85">[Pg 85]</a></span> +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.</p> + +<p>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.</p> + +<p><span class="pagenum"><a name="Page_86" id="Page_86">[Pg 86]</a></span></p> + +<p> </p><p> </p> +<hr style="width: 65%;" /> +<p><span class="pagenum"><a name="Page_87" id="Page_87">[Pg 87]</a></span></p> +<h2>CHAPTER VI</h2> +<h3><i>THE BOOK SHELVES</i></h3> +<p> </p> +<p><span class="pagenum"><a name="Page_88" id="Page_88">[Pg 88]</a></span></p> +<div class="figcenter"><img src="images/i_097tmb.jpg" alt="" /><br /> +<a href="images/i_097.jpg"><small>Larger Image</small></a></div> +<p class="center">LEATHER SLIP-COVERS</p> +<p> </p> + +<p><span class="pagenum"><a name="Page_89" id="Page_89">[Pg 89]</a></span>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.</p> + +<p>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<span class="pagenum"><a name="Page_90" id="Page_90">[Pg 90]</a></span> +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.</p> + +<p>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,<span class="pagenum"><a name="Page_91" id="Page_91">[Pg 91]</a></span> this +mixture may become mouldy. It is better to prepare it only when it can be +used on a number of books at once.</p> + +<p>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.</p> + +<p>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.</p> + +<p><span class="pagenum"><a name="Page_92" id="Page_92">[Pg 92]</a></span>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.</p> + +<p> </p> +<div class="figcenter"><img src="images/i_102.jpg" alt="" /></div> +<p> </p> + +<p><span class="pagenum"><a name="Page_93" id="Page_93">[Pg 93]</a></span>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.</p> + +<p>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.</p> + +<p>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<span class="pagenum"><a name="Page_94" id="Page_94">[Pg 94]</a></span> +preventive value and, in any case, the slight extra trouble involved is in +no sense a wasted effort.</p> + +<p>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.</p> + +<p>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<span class="pagenum"><a name="Page_95" id="Page_95">[Pg 95]</a></span> 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.</p> + +<p>Table of Octavo sheets, folded:</p> + +<table border="0" cellpadding="0" cellspacing="5" summary="sheets"> +<tr><td>4¼″</td><td>×</td><td>7″</td><td>fcap 8vo</td></tr> +<tr><td>5″</td><td>×</td><td>7½″</td><td>crown 8vo</td></tr> +<tr><td>5½″</td><td>×</td><td>7½″</td><td>post 8vo</td></tr> +<tr><td>5½″</td><td>×</td><td>8″</td><td>demy 8vo</td></tr> +<tr><td>6″</td><td>×</td><td>9½″</td><td>8vo</td></tr> +<tr><td>6½″</td><td>×</td><td>10″</td><td>roy 8vo</td></tr> +<tr><td>8¼″</td><td>×</td><td>11½″</td><td>imp 8vo</td></tr></table> + +<p><span class="pagenum"><a name="Page_96" id="Page_96">[Pg 96]</a></span></p> + +<p> </p><p> </p> +<hr style="width: 65%;" /> +<p><span class="pagenum"><a name="Page_97" id="Page_97">[Pg 97]</a></span></p> +<h2>CHAPTER VII</h2> +<h3><i>BOOK BUYING</i></h3> +<p> </p> +<p><span class="pagenum"><a name="Page_98" id="Page_98">[Pg 98]</a></span></p> +<div class="figcenter"><img src="images/i_109tmb.jpg" alt="" /><br /> +<a href="images/i_109.jpg"><small>Larger Image</small></a></div> +<p class="center">KELMSCOTT PRESS BOOK</p> +<p> </p> + +<p><span class="pagenum"><a name="Page_99" id="Page_99">[Pg 99]</a></span>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.<span class="pagenum"><a name="Page_100" id="Page_100">[Pg 100]</a></span> 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.</p> + +<p>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.</p> + +<p>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,<span class="pagenum"><a name="Page_101" id="Page_101">[Pg 101]</a></span> 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.</p> + +<p>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.</p> + +<p>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<span class="pagenum"><a name="Page_102" id="Page_102">[Pg 102]</a></span> 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.</p> + +<p>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.</p> + +<p><span class="pagenum"><a name="Page_103" id="Page_103">[Pg 103]</a></span>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.</p> + +<p>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<span class="pagenum"><a name="Page_104" id="Page_104">[Pg 104]</a></span> 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.</p> + +<p>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.</p> + +<p>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.</p> + +<p><span class="pagenum"><a name="Page_105" id="Page_105">[Pg 105]</a></span>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.</p> + +<p>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<span class="pagenum"><a name="Page_106" id="Page_106">[Pg 106]</a></span> from which +only great foresight will select books of merit which will be sought after +several generations hence.</p> + +<p>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<small><a name="f30.1" id="f30.1" href="#f30">[30]</a></small>, 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, <span class="pagenum"><a name="Page_107" id="Page_107">[Pg 107]</a></span>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.</p> + +<p>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<span class="pagenum"><a name="Page_108" id="Page_108">[Pg 108]</a></span> 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.</p> + + +<p> </p><p> </p> +<hr style="width: 65%;" /> +<p><span class="pagenum"><a name="Page_109" id="Page_109">[Pg 109]</a></span></p> +<h2>CHAPTER VIII</h2> +<h3><i>THE GREEK AND LATIN CLASSICS</i></h3> +<p> </p> +<p><span class="pagenum"><a name="Page_110" id="Page_110">[Pg 110]</a></span></p> +<div class="figcenter"><img src="images/i_123tmb.jpg" alt="" /><br /> +<a href="images/i_123.jpg"><small>Larger Image</small></a></div> +<p class="center">BLACK LETTER VIRGIL</p> +<p> </p> + +<p><span class="pagenum"><a name="Page_111" id="Page_111">[Pg 111]</a></span>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.</p> + +<p>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.</p> + +<p>The past three hundred years of English literature, however, have produced +a great number of translations<span class="pagenum"><a name="Page_112" id="Page_112">[Pg 112]</a></span> 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.</p> + +<p>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.</p> + +<p>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,<span class="pagenum"><a name="Page_113" id="Page_113">[Pg 113]</a></span> unfortunately, gives the Roman form of +the names of the Greek gods—a concession to unnecessary corruption—but +is otherwise very faithful.</p> + +<p>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.</p> + +<p>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<span class="pagenum"><a name="Page_114" id="Page_114">[Pg 114]</a></span> 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.</p> + +<p>Of Anacreon’s lyrics, only a few fragments remain. The Anacreontea were +<ins class="correction" title="original reads 'tranlsated'">translated</ins> by Thomas Stanley, London, 1651; reprinted by Lawrence and +Bullen, London, 1893. The reprint may be had on Japan vellum and on +vellum.</p> + +<p>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<span class="pagenum"><a name="Page_115" id="Page_115">[Pg 115]</a></span> 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 * * *”</p> + +<p>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.</p> + +<p>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.<span class="pagenum"><a name="Page_116" id="Page_116">[Pg 116]</a></span> Copies of this translation are +scarce, as the edition was limited to two hundred and sixty copies.</p> + +<p>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.</p> + +<p>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,<span class="pagenum"><a name="Page_117" id="Page_117">[Pg 117]</a></span> 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.</p> + +<p>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,<span class="pagenum"><a name="Page_118" id="Page_118">[Pg 118]</a></span> quite harmless. For Taylor’s translation, these “passages +suppressed” were supplied on separate sheets.</p> + +<p>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.</p> + +<p>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<span class="pagenum"><a name="Page_119" id="Page_119">[Pg 119]</a></span> 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.</p> + +<p>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.</p> + +<p>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.</p> + +<p><span class="pagenum"><a name="Page_120" id="Page_120">[Pg 120]</a></span></p> + +<p> </p><p> </p> +<p class="note"><span class="pagenum"><a name="Page_121" id="Page_121">[Pg 121]</a></span>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.</p> + +<p class="note">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.</p> + + +<p><span class="pagenum"><a name="Page_122" id="Page_122">[Pg 122]</a></span></p> + +<p> </p><p> </p> +<hr style="width: 65%;" /> +<p><span class="pagenum"><a name="Page_123" id="Page_123">[Pg 123]</a></span></p> +<h2>INDEX</h2> + +<p> +Association Books, <a href="#Page_107">107</a><br /> +<br /> +Auctions, <a href="#Page_102">102</a><br /> +<br /> +Autographs in books, <a href="#Page_16">16</a>, <a href="#Page_25">25</a>, <a href="#Page_107">107</a><br /> +<br /> +Autograph Letters in books, <a href="#Page_108">108</a><br /> +<br /> +<br /> +Back, Lining up, <a href="#Page_20">20</a>, <a href="#Page_48">48</a><br /> +<br /> +Back, Shaken or broken, <a href="#Page_19">19</a><br /> +<br /> +Binding, Cheap, <a href="#Page_78">78</a><br /> +<span style="margin-left: 1em;">Elaborate, <a href="#Page_103">103</a></span><br /> +<span style="margin-left: 1em;">Original, <a href="#Page_73">73</a>, <a href="#Page_83">83</a>, <a href="#Page_92">92</a></span><br /> +<br /> +Bleaching, <a href="#Page_33">33</a>, <a href="#Page_35">35</a><br /> +<br /> +Book-worms, <a href="#Page_93">93</a><br /> +<br /> +Books as an investment, <a href="#Page_101">101</a><br /> +<br /> +Book sizes, <a href="#Page_94">94</a><br /> +<br /> +<br /> +Catalogues, <a href="#Page_102">102</a><br /> +<br /> +Cataloguing, <a href="#Page_94">94</a><br /> +<br /> +Collating, <a href="#Page_15">15</a><br /> +<br /> +Corners, Repairing, <a href="#Page_22">22</a>, <a href="#Page_63">63</a><br /> +<br /> +Covers (leather), Cleaning, <a href="#Page_51">51</a><br /> +<span style="margin-left: 1em;">Patching, <a href="#Page_55">55</a></span><br /> +<span class="pagenum"><a name="Page_124" id="Page_124">[Pg 124]</a></span><span style="margin-left: 1em;">Polishing, <a href="#Page_56">56</a>, <a href="#Page_90">90</a></span><br /> +<span style="margin-left: 1em;">Restoring, <a href="#Page_55">55</a></span><br /> +<span style="margin-left: 1em;">Transferring, <a href="#Page_72">72</a></span><br /> +<br /> +<br /> +Dealers, <a href="#Page_99">99</a><br /> +<br /> +Dusting, <a href="#Page_15">15</a>, <a href="#Page_91">91</a><br /> +<br /> +<br /> +Edges, Cleaning, <a href="#Page_65">65</a><br /> +<span style="margin-left: 1em;">Gilt or Uncut, <a href="#Page_81">81</a></span><br /> +<br /> +<br /> +Finishing new back, <a href="#Page_46">46</a><br /> +<br /> +<br /> +Gilt, Removing, <a href="#Page_71">71</a><br /> +<span style="margin-left: 1em;">Restoring, <a href="#Page_67">67</a></span><br /> +<br /> +Glaire, <a href="#Page_59">59</a><br /> +<br /> +<br /> +Hinges, Repairing, <a href="#Page_62">62</a><br /> +<br /> +<br /> +Ink, Brightening autographs in, <a href="#Page_26">26</a><br /> +<span style="margin-left: 1em;">Removing, <a href="#Page_33">33</a>, <a href="#Page_54">54</a>, <a href="#Page_66">66</a></span><br /> +<br /> +Inlaying covers, <a href="#Page_60">60</a><br /> +<br /> +Inlaying pages, <a href="#Page_18">18</a><br /> +<br /> +Inlays, Tinting, <a href="#Page_18">18</a><br /> +<br /> +<br /> +Kama Shastra Society, <a href="#Page_106">106</a><br /> +<br /> +<br /> +Leather for bindings, <a href="#Page_39">39</a>, <a href="#Page_84">84</a><br /> +<br /> +Leather Paste for inlays, <a href="#Page_61">61</a><br /> +<br /> +Light, Effect on books of, <a href="#Page_90">90</a><br /> +<br /> +Limited Editions, <a href="#Page_106">106</a><br /> +<br /> +Lining up backs, <a href="#Page_20">20</a><br /> +<br /> +<br /> +Marginal MS Notes, <a href="#Page_16">16</a><br /> +<br /> +Margins, Trimming, <a href="#Page_78">78</a><br /> +<br /> +Modern Editions, <a href="#Page_105">105</a><br /> +<br /> +<br /> +Niger Morocco, <a href="#Page_85">85</a><br /> +<br /> +<br /> +Old Paper imitated, <a href="#Page_18">18</a><br /> +<span class="pagenum"><a name="Page_125" id="Page_125">[Pg 125]</a></span><br /> +<br /> +Pages, Repairing torn, <a href="#Page_17">17</a><br /> +<br /> +Paste for repairs, <a href="#Page_20">20</a><br /> +<br /> +Presentation copies, <a href="#Page_16">16</a>, <a href="#Page_84">84</a>, <a href="#Page_107">107</a><br /> +<br /> +Preservative for leather, <a href="#Page_40">40</a><br /> +<br /> +Preservative Polish, <a href="#Page_90">90</a><br /> +<br /> +Privately Printed books, <a href="#Page_106">106</a><br /> +<br /> +<br /> +Rarity of books, <a href="#Page_104">104</a><br /> +<br /> +Rebacking, Tools for, <a href="#Page_47">47</a><br /> +<br /> +Rebinding, Best leather for, <a href="#Page_84">84</a><br /> +<span style="margin-left: 1em;">Directions for, <a href="#Page_80">80</a></span><br /> +<span style="margin-left: 1em;">For Amateurs, <a href="#Page_79">79</a></span><br /> +<span style="margin-left: 1em;">Price of, <a href="#Page_77">77</a>, <a href="#Page_82">82</a></span><br /> +<span style="margin-left: 1em;">When advisable, <a href="#Page_55">55</a></span><br /> +<br /> +Report of the Committee on Leather for Bookbinding, <a href="#Page_85">85</a>, <a href="#Page_90">90</a><br /> +<br /> +Re-tinting, <a href="#Page_31">31</a><br /> +<br /> +<br /> +Sewing, <a href="#Page_82">82</a><br /> +<br /> +Shelves, Lining for, <a href="#Page_64">64</a>, <a href="#Page_91">91</a><br /> +<br /> +Sizing, <a href="#Page_22">22</a>, <a href="#Page_30">30</a><br /> +<br /> +Slip-cases, <a href="#Page_84">84</a><br /> +<br /> +Slip-covers, <a href="#Page_92">92</a><br /> +<br /> +Spots, Small, <a href="#Page_30">30</a>, <a href="#Page_54">54</a><br /> +<br /> +Stains, <a href="#Page_31">31</a><br /> +<br /> +Stains of Blood, <a href="#Page_34">34</a><br /> +<span style="margin-left: 1em;">Egg Yellow, <a href="#Page_33">33</a></span><br /> +<span style="margin-left: 1em;">Fecal Matters or Urine, <a href="#Page_34">34</a></span><br /> +<span style="margin-left: 1em;">Fruit Juice, <a href="#Page_34">34</a></span><br /> +<span style="margin-left: 1em;">Grease, <a href="#Page_31">31</a>, <a href="#Page_54">54</a></span><br /> +<span class="pagenum"><a name="Page_126" id="Page_126">[Pg 126]</a></span><span style="margin-left: 1em;">Ink, <a href="#Page_33">33</a>, <a href="#Page_54">54</a>, <a href="#Page_66">66</a></span><br /> +<span style="margin-left: 1em;">Mud, <a href="#Page_33">33</a></span><br /> +<span style="margin-left: 1em;">Sealing-wax or Resin, <a href="#Page_32">32</a></span><br /> +<span style="margin-left: 1em;">Stearine, <a href="#Page_32">32</a></span><br /> +<span style="margin-left: 1em;">Tar and Pitch, <a href="#Page_32">32</a></span><br /> +<span style="margin-left: 1em;">Unknown Origin, <a href="#Page_30">30</a></span><br /> +<span style="margin-left: 1em;">White or Yellow Wax, <a href="#Page_32">32</a></span><br /> +<br /> +<br /> +Tools, Making, <a href="#Page_68">68</a><br /> +<br /> +Tooling, <a href="#Page_46">46</a>, <a href="#Page_67">67</a><br /> +<br /> +Tooling, Restoring old, <a href="#Page_67">67</a><br /> +<br /> +Transferred Impressions, <a href="#Page_34">34</a><br /> +<br /> +<br /> +Varnish for bindings, <a href="#Page_57">57</a><br /> +<br /> +Vellum Bindings, Cleaning, <a href="#Page_59">59</a><br /> +<br /> +Velvet for shelves, <a href="#Page_64">64</a>, <a href="#Page_91">91</a><br /> +<br /> +<br /> +Washing, <a href="#Page_33">33</a>, <a href="#Page_35">35</a></p> + + + +<p> </p><p> </p> +<hr style="width: 65%;" /> +<p><b>Footnotes:</b></p> + +<p><a name="f1" id="f1" href="#f1.1">[1]</a> 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.</p> + +<p><a name="f2" id="f2" href="#f2.1">[2]</a> 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.<span class="spacer2"> </span>M. S. B.</p> + +<p><a name="f3" id="f3" href="#f3.1">[3]</a> 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.<span class="spacer2"> </span>M. S. B.</p> + +<p><a name="f4" id="f4" href="#f4.1">[4]</a> 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.<span class="spacer2"> </span>M. S. B.</p> + +<p><a name="f5" id="f5" href="#f5.1">[5]</a> 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.<span class="spacer2"> </span>M. S. B.</p> + +<p><a name="f6" id="f6" href="#f6.1">[6]</a> Potassium permanganate, described in the chapter on <i>General +Restoration</i>, 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.<span class="spacer2"> </span>M. S. B.</p> + +<p><a name="f7" id="f7" href="#f7.1">[7]</a> 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.<span class="spacer2"> </span>M. S. B.</p> + +<p><a name="f8" id="f8" href="#f8.1">[8]</a> 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.<span class="spacer2"> </span>M. S. B.</p> + +<p><a name="f9" id="f9" href="#f9.1">[9]</a> 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.<span class="spacer2"> </span>M. S. B.</p> + +<p><a name="f10" id="f10" href="#f10.1">[10]</a> 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.<span class="spacer2"> </span>M. S. B.</p> + +<p><a name="f11" id="f11" href="#f11.1">[11]</a> 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.</p> + +<p><a name="f12" id="f12" href="#f12.1">[12]</a> Centigrade, i. e. ninety-seven to one hundred and four degrees +Fahrenheit.<span class="spacer2"> </span>M. S. B.</p> + +<p><a name="f13" id="f13" href="#f13.1">[13]</a> At the beginning.<span class="spacer2"> </span>M. S. B.</p> + +<p><a name="f14" id="f14" href="#f14.1">[14]</a> 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.<span class="spacer2"> </span>M. S. B.</p> + +<p><a name="f15" id="f15" href="#f15.1">[15]</a> 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.<span class="spacer2"> </span>M. S. B.</p> + +<p><a name="f16" id="f16" href="#f16.1">[16]</a> Whiting (chalk) used as a pigment.<span class="spacer2"> </span>M. S. B.</p> + +<p><a name="f17" id="f17" href="#f17.1">[17]</a> One hundred and fifty-eight degrees Fahrenheit.<span class="spacer2"> </span>M. S. B.</p> + +<p><a name="f18" id="f18" href="#f18.1">[18]</a> 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.<span class="spacer2"> </span>M. S. B.</p> + +<p><a name="f19" id="f19" href="#f19.1">[19]</a> 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.<span class="spacer2"> </span>M. S. B.</p> + +<p><a name="f20" id="f20" href="#f20.1">[20]</a> Gilding, especially if modern, is apt to soften and come off if +rubbed with water.<span class="spacer2"> </span>M. S. B.</p> + +<p><a name="f21" id="f21" href="#f21.1">[21]</a> See my remarks on lining up with Japan vellum in the chapter on +<i>General Restoration</i>.<span class="spacer2"> </span>M. S. B.</p> + +<p><a name="f22" id="f22" href="#f22.1">[22]</a> 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.<span class="spacer2"> </span>M. S. B.</p> + +<p><a name="f23" id="f23" href="#f23.1">[23]</a> 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.<span class="spacer2"> </span>M. S. B.</p> + +<p><a name="f24" id="f24" href="#f24.1">[24]</a> 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.<span class="spacer2"> </span>M. S. B.</p> + +<p><a name="f25" id="f25" href="#f25.1">[25]</a> Wax would, of course, be used hot.<span class="spacer2"> </span>M. S. B.</p> + +<p><a name="f26" id="f26" href="#f26.1">[26]</a> 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.<span class="spacer2"> </span>M. S. B.</p> + +<p><a name="f27" id="f27" href="#f27.1">[27]</a> 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.)</p> + +<p><a name="f28" id="f28" href="#f28.1">[28]</a> 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.</p> + +<p><a name="f29" id="f29" href="#f29.1">[29]</a> 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.</p> + +<p><a name="f30" id="f30" href="#f30.1">[30]</a> 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.</p> + + +<p> </p><p> </p> +<hr style="width: 65%;" /> +<p><b>Transcriber’s Notes:</b></p> + +<p>Line drawings have been moved from the middle of a paragraph to the closest paragraph break.</p> + +<p>The text in the list of illustrations is presented as in the original text, but the links +navigate to the page number closest to the illustration’s loaction in this document.</p> + +<div style='display:block;margin-top:4em'>*** END OF THE PROJECT GUTENBERG EBOOK BOOK REPAIR AND RESTORATION ***</div> +<div style='display:block;margin:1em 0;'>This file should be named 32074-h.htm or 32074-h.zip</div> +<div style='display:block;margin:1em 0;'>This and all associated files of various formats will be found in https://www.gutenberg.org/3/2/0/7/32074/</div> +<div style='display:block;margin:1em 0'> +Updated editions will replace the previous one—the old editions will +be renamed. +</div> + +<div style='display:block;margin:1em 0'> +Creating the works from print editions not protected by U.S. copyright +law means that no one owns a United States copyright in these works, +so the Foundation (and you!) can copy and distribute it in the United +States without permission and without paying copyright +royalties. 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0000000..2e045d3 --- /dev/null +++ b/32074-h/images/i_123tmb.jpg diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..3e7529f --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #32074 (https://www.gutenberg.org/ebooks/32074) diff --git a/old/32074-8.txt b/old/32074-8.txt new file mode 100644 index 0000000..2a92e7e --- /dev/null +++ b/old/32074-8.txt @@ -0,0 +1,2820 @@ +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 *** + +***** This file should be named 32074-8.txt or 32074-8.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/3/2/0/7/32074/ + +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.) + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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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: ASCII + +*** 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 naivete, 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 AEthiopica.--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 *** + +***** This file should be named 32074.txt or 32074.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/3/2/0/7/32074/ + +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.) + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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