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diff --git a/old/40286-h/40286-h.htm b/old/40286-h/40286-h.htm deleted file mode 100644 index 2e05b49..0000000 --- a/old/40286-h/40286-h.htm +++ /dev/null @@ -1,4492 +0,0 @@ -<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" - "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> -<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> - <head> - <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> - <meta http-equiv="Content-Style-Type" content="text/css" /> - <title> - The Project Gutenberg eBook of The Decoration of Leather, by Georges de Récy. - </title> - <style type="text/css"> - -body {margin-left: 12%; margin-right: 12%;} -h1,h2,h3 {text-align: center; clear: both; margin: 2.75em 0 1.75em 0;} -p {margin-top: .75em; text-align: justify; margin-bottom: .75em; text-indent: 2em;} -a:focus, a:active { outline:#ffee66 solid 2px; background-color:#ffee66;} -a:focus img, a:active img {outline: #ffee66 solid 2px; } -hr {width: 33%; margin-top: 1.75em; margin-bottom: 1.75em; margin-left: auto; - margin-right: auto; clear: both;} -hr.tb {width: 20%;} -hr.chap {width: 65%; margin-bottom: 5em;} -hr.full {width: 95%;} -img {text-decoration: none;} -table {margin-left: auto; margin-right: auto;} -.blockquot {margin: .75em 10% .75em 10%; text-align: justify;} -.center {text-align: center;} -.smcap {font-variant: small-caps;} -.smcapac {font-size: 0.8em;} -.caption {font-weight: bold;} -.figcenter {margin: 2.75em auto 1.75em auto; text-align: center;} -.figleft {float: left; clear: left; margin-left: 0; margin-bottom: 1em; - margin-top: 1em; margin-right: 1em; padding: 0; text-align: center;} -.figright {float: right; clear: right; margin-left: 1em; margin-bottom: 1em; - margin-top: 1em; margin-right: 0; padding: 0; text-align: center;} -.footnote {margin-left: 10%; margin-right: 10%; margin-bottom: 0.5em; - font-size: 0.9em; text-align: justify;} -.footnote .label {text-decoration: none;} -.fnanchor {vertical-align: super; font-size: 0.8em; text-decoration: none; position: relative;} -.c3 {font-size: 1.17em; margin: 2.75em 1.75em; font-weight: bolder; text-align: center;} -.c4 {font-size: 1.00em; margin: 2.75em 1.75em; font-weight: bolder; text-align: center;} -.c5 {font-size: 0.83em; margin: 2.75em 1.75em; font-weight: bolder; text-align: center;} -.index {text-align: left; list-style-type: none; text-indent: -6em; padding-left: 6em;} -.list {text-indent: -1em; padding-left: 5em;} -.pagenum {position: absolute; left: 88%; font-size: smaller; text-align: right; - color: gray; margin-top: -0.45em; text-indent: 2em;} -.toc1 {padding-top: 1em;} -.toc2 {padding-left: 1.5em; text-indent: -1em;} -.toc3 {} -.loi1 {} -.loi2 {text-align: left; text-indent: -1em; padding-left: 1.5em; } -.loi3 {padding-bottom: 1em;} -.vertspace-4em {margin-top: 4em;} - </style> - </head> -<body> - - -<pre> - -The Project Gutenberg EBook of The Decoration of Leather, by Georges de Récy - -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/license - - -Title: The Decoration of Leather - From the French of Georges de Récy - -Author: Georges de Récy - -Translator: Maude Nathan - -Release Date: July 20, 2012 [EBook #40286] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK THE DECORATION OF LEATHER *** - - - - -Produced by Chris Curnow, Henry Gardiner and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - - - - - - -</pre> - - -<hr class="full" /> - -<div class="figcenter" style="width: 251px;"><a id="Book_cover"></a> -<img src="images/cover.jpg" width="251" height="400" -alt="Book cover." /> -</div> - -<hr class="tb" /> - -<div class="center" style="width: 20em; margin: auto; border: solid 1px; padding: 1em;"> -Transcriber’s Note: The original publication has been replicated faithfully except as listed -<a href="#Changes" name="Start" id="Start">here</a>.<br /> -<br /> -The text conforms to changes in window size.</div> - -<!--005.png--><hr class="tb" /> - -<div class="figcenter" style="width: 515px;"><a id="frontispiece"></a><a id="plate_1"></a> -<img src="images/i_005.jpg" width="515" height="700" -alt="" /> -<span class="caption">1. <span class="smcap">Blind-stamped leather binding of the <i>Winchester -Domesday Book</i>. English, 12th Century.</span></span> -</div> - -<!--006.png--> - -<h1>THE DECORATION<br /> -OF LEATHER</h1> - -<div class="c3">FROM THE FRENCH OF<br /> -GEORGES DE RÉCY<br /> -<small>BY</small><br /> -<big>MAUDE NATHAN</big></div> - -<div class="c4">WITH ILLUSTRATIONS AND EXAMPLES OF<br /> -LEATHER DECORATION FROM VARIOUS<br /> -SOURCES<br /> -<br /> -<hr class="tb" /> -<br /> -<small>LONDON</small><br /> -ARCHIBALD CONSTABLE & CO <span class="smcap">Ltd</span><br /> -<small>1905</small></div><!--007.png--> - -<div class="c5"><span class="smcap">BUTLER & TANNER,<br /> -THE SELWOOD PRINTING WORKS,<br /> -FROME, AND LONDON.</span></div> - -<hr class="chap" /> - -<!--008.png--><p><span class="pagenum"><a name="Page_5" id="Page_5">5</a></span></p> - -<h2>TRANSLATOR’S NOTE</h2> - -<p>In a preface which is omitted from this translation, the author claims for -his work a place between the books dealing solely with the history and -development of the art of working in leather and those of which the object -is to impart a knowledge of the technique of its various processes to -amateurs who may be unable or unwilling to undertake a regular course of -instruction. He points out that leather, in its adaptability to many -different kinds of treatment, is a material eminently suited to the -interpretation of the style of decoration known as “modern art.”</p> - -<p>In the French edition there are numerous reproductions of examples of -leather decoration and of ornament intended for adaptation to -leather-work. In the following translation these illustrations and also a -short chapter referring to them are omitted, and some examples of -leather-work derived from various English sources are substituted. The -text of the work has been generally somewhat abridged. The fact that there -are many technical and other terms in French that have no exact equivalent -in our own language, has rendered a free translation desirable, but the -meaning of the original text has been carefully preserved.</p> - -<!--010.png--> - -<hr class="chap" /> - -<p><span class="pagenum">7</span></p> - -<h2>CONTENTS</h2> - -<div class="center"> -<table border="0" width="400" cellpadding="4" cellspacing="0" summary=""> -<tr><td align="left"> </td><td align="right" class="smcapac">PAGE</td></tr> -<tr><td align="center" class="toc1">TRANSLATOR’S NOTE</td><td align="right" class="toc3"><a href="#Page_5">5</a></td></tr> -<tr><td align="center" class="toc1">INTRODUCTION</td></tr> -<tr><td align="left" class="toc2"><span class="smcap">The Decoration of Leather in the Past</span></td><td align="right" class="toc3"><a href="#Page_13">13</a></td></tr> -<tr><td align="center" class="toc1">CHAPTER I</td></tr> -<tr><td align="left" class="toc2"><span class="smcap">Tools and Leather</span></td><td align="right" class="toc3"><a href="#Page_15">15</a></td></tr> -<tr><td align="center" class="toc1">CHAPTER II</td></tr> -<tr><td align="left" class="toc2"><span class="smcap">Methods of Working in Leather</span></td><td align="right" class="toc3"><a href="#Page_19">19</a></td></tr> -<tr><td align="center" class="toc1">CHAPTER III</td></tr> -<tr><td align="left" class="toc2"><span class="smcap">Leather Mosaic</span></td><td align="right" class="toc3"><a href="#Page_42">42</a></td></tr> -<tr><td align="center" class="toc1">CHAPTER IV</td></tr> -<tr><td align="left" class="toc2"><span class="smcap">Dyes, <i>Patines</i> and Gilding</span></td><td align="right" class="toc3"><a href="#Page_64">64</a></td></tr> -<tr><td align="center" class="toc1">CHAPTER V</td></tr> -<tr><td align="left" class="toc2"><span class="smcap">The Choice of Design and Colour</span></td><td align="right" class="toc3"><a href="#Page_76">76</a></td></tr> -<tr><td align="center" class="toc1">APPENDIX</td></tr> -<tr><td align="left" class="toc2"><span class="smcap">Leather Hangings and Furniture</span></td><td align="right" class="toc3"><a href="#Page_80">80</a></td></tr> -<tr><td align="center" class="toc1">NOTE</td></tr> -<tr><td align="left" class="toc2"><span class="smcap">Some Extracts from the Report of the Committee on Leather - for Bookbinding, appointed by the Council of the Society - of Arts, February, 1900</span></td><td align="right" class="toc3"><a href="#Page_90">90</a></td></tr> -<tr><td align="left" class="toc2"><span class="smcap">Index</span></td><td align="right" class="toc3"><a href="#Page_96">96</a></td></tr> -</table></div> - -<hr class="chap" /> - -<!--012.png--><p><span class="pagenum">9</span></p> - -<h2>LIST OF ILLUSTRATIONS</h2> - -<h3>ILLUSTRATIONS IN THE TEXT</h3> - -<div class="center"> -<table border="0" width="400" cellpadding="4" cellspacing="0" summary=""> -<tr><td align="left" colspan="2"><span class="smcap">Fig.</span></td><td align="left"><span class="smcapac">PAGE</span></td></tr> -<tr><td align="left"><a href="#fig_1">1.</a></td><td align="left" class="toc2">Tracing-point</td><td align="left"><a href="#Page_20">20</a></td></tr> -<tr><td align="left"><a href="#fig_2">2,</a> <a href="#fig_3">3.</a></td><td align="left" class="toc2">Incising knife used downwards like a pencil</td><td align="left"><a href="#Page_21">21</a></td></tr> -<tr><td align="left"><a href="#fig_4">4,</a> <a href="#fig_5">5.</a></td><td align="left" class="toc2">Incising knife used upwards</td><td align="left"><a href="#Page_22">22</a></td></tr> -<tr><td align="left"><a href="#fig_6">6,</a> <a href="#fig_7">7.</a></td><td align="left" class="toc2">Incising knife held like a graver and pushed forward</td><td align="left"><a href="#Page_23">23</a></td></tr> -<tr><td align="left"><a href="#fig_8">8.</a></td><td align="left" class="toc2">Executing a slanting cut when the edge of the leather is to be subsequently turned up</td><td align="left"><a href="#Page_24">24</a></td></tr> -<tr><td align="left"><a href="#fig_9">9.</a></td><td align="left" class="toc2">Opener</td><td align="left"><a href="#Page_25">25</a></td></tr> -<tr><td align="left"><a href="#fig_10">10.</a></td><td align="left" class="toc2">Enlarging the outline with the opener</td><td align="left"><a href="#Page_25">25</a></td></tr> -<tr><td align="left"><a href="#fig_11">11.</a></td><td align="left" class="toc2">Slanting cut</td><td align="left"><a href="#Page_26">26</a></td></tr> -<tr><td align="left"><a href="#fig_11a">11a.</a></td><td align="left" class="toc2">Showing the difficulty of raising the inner edge <i>A</i></td><td align="left"><a href="#Page_26">26</a></td></tr> -<tr><td align="left"><a href="#fig_12">12.</a></td><td align="left" class="toc2">Lowering the outer edge with a modeller</td><td align="left"><a href="#Page_29">29</a></td></tr> -<tr><td align="left"><a href="#fig_13">13.</a></td><td align="left" class="toc2">Ball-shaped steel tool with handle</td><td align="left"><a href="#Page_32">32</a></td></tr> -<tr><td align="left"><a href="#fig_14">14.</a></td><td align="left" class="toc2">Position of hands in embossing leather</td><td align="left"><a href="#Page_32">32</a></td></tr> -<tr><td align="left"><a href="#fig_15">15.</a></td><td align="left" class="toc2">Tool for working reed decoration</td><td align="left"><a href="#Page_34">34</a></td></tr> -<tr><td align="left"><a href="#fig_16">16.</a></td><td align="left" class="toc2">Using a hand punch</td><td align="left"><a href="#Page_36">36</a></td></tr> -<tr><td align="left"><a href="#fig_17">17.</a></td><td align="left" class="toc2">Cutting-out knife</td><td align="left"><a href="#Page_40">40</a></td></tr> -<tr><td align="left"><a href="#fig_18">18.</a></td><td align="left" class="toc2">Paring knife</td><td align="left"><a href="#Page_43">43</a></td></tr> -<tr><td align="left"><a href="#fig_19">19.</a></td><td align="left" class="toc2">Paring knife</td><td align="left"><a href="#Page_43">43</a></td></tr> -<tr><td align="left"><a href="#fig_20">20.</a></td><td align="left" class="toc2">Paring leather</td><td align="left"><a href="#Page_44">44</a></td></tr> -<tr><td align="left"><a href="#fig_21">21.</a></td><td align="left" class="toc2">Cutting-out knife</td><td align="left"><a href="#Page_46">46</a></td></tr> -<tr><td align="left"><a href="#fig_22">22.</a></td><td align="left" class="toc2">Cutting-out knife</td><td align="left"><a href="#Page_46">46</a></td></tr> -<tr><td align="left"><a href="#fig_23">23.</a></td><td align="left" class="toc2">Cutting-out knife</td><td align="left"><a href="#Page_46">46</a></td></tr> -<tr><td align="left"><a href="#fig_24">24.</a></td><td align="left" class="toc2">Cutting out inlay</td><td -align="left"><a href="#Page_48">48</a><!--013.png--><span class="pagenum">10</span></td></tr> -<tr><td align="left"><a href="#fig_25">25.</a></td><td align="left" class="toc2">Using roller to secure adhesion of inlay</td><td align="left"><a href="#Page_51">51</a></td></tr> -<tr><td align="left"><a href="#fig_26">26.</a></td><td align="left" class="toc2">First position of outlining tool</td><td align="left"><a href="#Page_53">53</a></td></tr> -<tr><td align="left"><a href="#fig_27">27.</a></td><td align="left" class="toc2">Second position of outlining tool</td><td align="left"><a href="#Page_53">53</a></td></tr> -<tr><td align="left"><a href="#fig_28">28.</a></td><td align="left" class="toc2">Gouge outliner</td><td align="left"><a href="#Page_56">56</a></td></tr> -<tr><td align="left"><a href="#fig_29">29.</a></td><td align="left" class="toc2">Outlining wheel</td><td align="left"><a href="#Page_56">56</a></td></tr> -<tr><td align="left"><a href="#fig_30">30.</a></td><td align="left" class="toc2">Gouge outliner</td><td align="left"><a href="#Page_56">56</a></td></tr> -<tr><td align="left"><a href="#fig_31">31.</a></td><td align="left" class="toc2">Straight outliner</td><td align="left"><a href="#Page_56">56</a></td></tr> -<tr><td align="left"><a href="#fig_32">32.</a></td><td align="left" class="toc2">Polishing mosaic</td><td align="left"><a href="#Page_57">57</a></td></tr> -<tr><td align="left"><a href="#fig_33">33,</a> <a href="#fig_34">34.</a></td><td align="left" class="toc2">Sticking inlay on morocco ground with tool (Fig. 33) instead of roller, to avoid crushing the grain</td><td align="left"><a href="#Page_60">60</a></td></tr> -</table></div> - -<!--014.png--><p><span class="pagenum">11</span></p> - -<h3>FULL-PAGE ILLUSTRATIONS</h3> - -<div class="center"> -<table border="0" width="400" cellpadding="4" cellspacing="1" summary=""> -<tr><td align="left" colspan="2" class="smcapac">PLATE</td><td align="right"><i>Page</i></td></tr> -<tr><td align="left" class="loi1"><a href="#plate_1">1.</a></td><td align="left" class="loi2">Blind-stamped leather binding of the <i>Winchester Domesday Book</i>. English, 12th century.</td><td align="left">(<i><a href="#frontispiece">Frontispiece</a></i>)</td></tr> -<tr><td> </td><td align="right" class="loi3"><span class="smcap">Society of Antiquaries, London.</span></td></tr> -<tr><td align="left" class="loi1"><a href="#plate_2">2.</a></td><td align="left" class="loi2">Casket covered with stamped leather, <i>cuir bouilli</i>. German, 14th century.</td><td align="right"><a href="#Page_22">22</a></td></tr> -<tr><td> </td><td align="right" class="loi3"><span class="smcap">South Kensington Museum.</span></td></tr> -<tr><td align="left" class="loi1"><a href="#plate_3">3.</a></td><td align="left" class="loi2">Coffret covered with leather, incised, coloured and gilt. French, 14th century.</td><td align="right"><a href="#Page_24">24</a></td></tr> -<tr><td> </td><td align="right" class="loi3"><span class="smcap">South Kensington Museum.</span></td></tr> -<tr><td align="left" class="loi1"><a href="#plate_4">4.</a></td><td align="left" class="loi2">Casket covered with embossed leather, <i>cuir bouilli</i>. French, early 15th century.</td><td align="right"><a href="#Page_28">28</a></td></tr> -<tr><td> </td><td align="right" class="loi3"><span class="smcap">South Kensington Museum.</span></td></tr> -<tr><td align="left" class="loi1"><a href="#plate_5">5.</a></td><td align="left" class="loi2">Case of cut and embossed leather, <i>cuir bouilli</i>. Italian, 15th century.</td><td align="right"><a href="#Page_32">32</a></td></tr> -<tr><td> </td><td align="right" class="loi3"><span class="smcap">South Kensington Museum.</span></td></tr> -<tr><td align="left" class="loi1"><a href="#plate_6">6.</a></td><td align="left" class="loi2">Blind-stamped morocco binding with gilt roundels and coloured cameo design. <i>Celsus.</i> <i>De Medicina.</i> <i>Venice</i>, 1477. Italian, 15th century.</td><td align="right"><a href="#Page_37">37</a></td></tr> -<tr><td> </td><td align="right" class="loi3"><span class="smcap">British Museum.</span></td></tr> -<tr><td align="left" class="loi1"><a href="#plate_7">7.</a></td><td align="left" class="loi2">Case of cut and punched leather. German, 15th century.</td><td align="right"><a href="#Page_40">40</a></td></tr> -<tr><td> </td><td align="right" class="loi3"><span class="smcap">South Kensington Museum.</span></td></tr> -<tr><td align="left" class="loi1"><a href="#plate_8">8.</a></td><td align="left" class="loi2">Brown leather binding, cut and engraved, with punched background. <i>German MS. Chronicle of Events.</i> German, 15th century.</td><td align="right"><a href="#Page_44">44</a></td></tr> -<tr><td> </td><td align="right" class="loi3"><span class="smcap">Bodleian Library, Oxford.</span><span class="pagenum">12</span></td></tr> -<tr><td align="left" class="loi1"><a href="#plate_9">9.</a></td><td align="left" class="loi2">Cover of case for a cup in wood covered with leather, <i>cuir bouilli</i>, cut, embossed, painted and gilt. Italian, about 1500.</td><td align="right"><a href="#Page_49">49</a></td></tr> -<tr><td> </td><td align="right" class="loi3"><span class="smcap">South Kensington Museum.<!--015.png--></span></td></tr> -<tr><td align="left" class="loi1"><a href="#plate_10">10.</a></td><td align="left" class="loi2">Cover of work-box of wood covered with embossed leather, <i>cuir bouilli</i>. German, 16th century.</td><td align="right"><a href="#Page_56">56</a></td></tr> -<tr><td> </td><td align="right" class="loi3"><span class="smcap">South Kensington Museum.</span></td></tr> -<tr><td align="left" class="loi1"><a href="#plate_11">11.</a></td><td align="left" class="loi2">Powder-flask of wood covered with leather, <i>cuir bouilli</i>, cut and embossed. Italian, 16th century.</td><td align="right"><a href="#Page_56">56</a></td></tr> -<tr><td> </td><td align="right" class="loi3"><span class="smcap">South Kensington Museum.</span></td></tr> -<tr><td align="left" class="loi1"><a href="#plate_12">12.</a></td><td align="left" class="loi2">Shield of cut and embossed leather, <i>cuir bouilli</i>. Italian, 16th century.</td><td align="right"><a href="#Page_60">60</a></td></tr> -<tr><td> </td><td align="right" class="loi3"><span class="smcap">South Kensington Museum.</span></td></tr> -<tr><td align="left" class="loi1"><a href="#plate_13">13.</a></td><td align="left" class="loi2">Top of casket covered with brown calf, cut and slightly embossed. By Florence Hornblower. Modern English.</td><td align="right"><a href="#Page_65">65</a></td></tr> -<tr><td> </td><td align="right" class="loi3"><span class="smcap">South Kensington Museum.</span></td></tr> -<tr><td align="left" class="loi1"><a href="#plate_14">14.</a></td><td align="left" class="loi2">Embossed and punched brown calf binding. <i>Rubáiyát of Omar Khayyám.</i> Designed by Mary G. Houston. Modern English.</td><td align="right"><a href="#Page_66">66</a></td></tr> -<tr><td> </td><td align="right" class="loi3"><span class="smcap">South Kensington Museum.</span></td></tr> -<tr><td align="left" class="loi1"><a href="#plate_15">15.</a></td><td align="left" class="loi2">Mirror case of punched black leather, <i>cuir bouilli</i>. Executed by Miss Casella. Modern English.</td><td align="right"><a href="#Page_71">71</a></td></tr> -<tr><td> </td><td align="right" class="loi3"><span class="smcap">South Kensington Museum.</span></td></tr> -<tr><td align="left" class="loi1"><a href="#plate_16">16.</a></td><td align="left" class="loi2">Black morocco binding with applied panels of tooled, cut, painted and gilt calf. <i>Le Roman de Tristan et Iseut.</i> Designed by Robert Engels. Modern French.</td><td align="right"><a href="#Page_74">74</a></td></tr> -<tr><td> </td><td align="right" class="loi3"><span class="smcap">South Kensington Museum.</span></td></tr> -<tr><td align="left" class="loi1"><a href="#plate_17">17.</a></td><td align="left" class="loi2">Binding of stained calf, cut, embossed, tooled and <i>patinated</i>. By Henri Godin. Modern French.</td><td align="right"><a href="#Page_78">78</a></td></tr> -<tr><td> </td><td align="right" class="loi3"><span class="smcap">South Kensington Museum.</span></td></tr> -<tr><td align="left" class="loi1"><a href="#plate_18">18.</a></td><td align="left" class="loi2">Gold-tooled and inlaid morocco binding. <i>The Letters of Princess Lieven.</i> By S. T. Prideaux. Modern English.</td><td align="right"><a href="#Page_82">82</a></td></tr> -<tr><td align="left" class="loi1"><a href="#plate_19">19.</a></td><td align="left" class="loi2">Back and seat of chair in cut, embossed and gilt cowhide with punched background. Executed by Rosalie Vigers from a design by Frederick Vigers. Modern English.</td><td align="right"><a href="#Page_84">84</a></td></tr> -<tr><td align="left" class="loi1"><a href="#plate_20">20.</a></td><td align="left" class="loi2">Embossed calf binding. <i>Book of Common Prayer.</i> Executed by Rosalie Vigers from a design by Frederick Vigers. Modern English.</td><td align="right"><a href="#Page_86">86</a></td></tr> -</table></div> - -<hr class="chap" /> - -<!--016.png--><p><span class="pagenum"><a name="Page_13" id="Page_13">13</a></span></p> - -<h2>INTRODUCTION</h2> - -<div class="c3">THE DECORATION OF LEATHER IN THE PAST</div> - -<p>The following remarks, without attempting a description in detail of the -different phases through which the art of decorating leather has passed -since its origin in primitive times, deal with the treatment of leather -solely from the decorative point of view, the present volume being limited -to the consideration of this aspect of the subject.</p> - -<p>In all ages man has sought to develop to their fullest extent the -possibilities of splendour in the materials of his dress, and an important -place in the wardrobes of our early ancestors was filled by skins shorn of -hair, thus lending themselves easily to decoration in many different ways.</p> - -<p>The nomadic races, described to us as at first riding their horses -barebacked to the conquest of the West, soon adopted ornamental trappings -more suited to their position as conquerors, as shown by the marvellous -mosaics of piqué leather which from an early date constituted the -foundation of the war-like equipment of the Tartars and Moguls.</p> - -<p>In addition to magnificently woven materials and damascened arms, the -Crusaders brought back with them to Europe, leather ornamented with wool, -silk and precious metals. Europe set itself to imitate this art of working -in leather, and found a source of faultless taste and purest models in -Spain, then occupied by the Moors.</p> - -<p>For several centuries the art of decorating -leather<!--017.png--><span class="pagenum"><a name="Page_14" id="Page_14">14</a></span> -remained the -speciality of Spain. The word “cordwainer,” derived from Cordova, is a -witness of this monopoly by the Peninsula of everything connected with -leather-work, apart from the modelled and stamped leathers, introduced -into Venice from the East.</p> - -<p>Other countries, however, were doing better work than that of imitating -the celebrated manufactures of Cordova. In Germany especially, leather was -discovered to be an ideal material for rendering the mantles and plumed -helmets of heraldry, while the marvels of carved and embossed leather -preserved in the Dijon Museum are a proof of the interest taken in -leather-work by the great decorative school of the court of Burgundy.</p> - -<p>In the Middle Ages precious stuffs adorned with enamels, ivory and gold -were discarded as covering for the beautiful manuscripts executed by the -monks, and in their place heraldic subjects in carved and modelled leather -were introduced and lent a new character to books which were no longer the -exclusive property of crowned heads. The invention of printing afforded -the Renaissance movement the means of attaining its full development, and -soon called for a less archaic binding for its incunabula. Leather either -decorated in mosaic or tooled in gold formed a perfect covering for these -marvels of typography, and from the end of the fifteenth century to the -present revival of decorated leather both styles have been much in use.</p> - -<p>There are various standard works on this subject, which may be consulted -by those desirous of studying its development further.</p> - -<hr class="chap" /> - -<!--018.png--> - -<p><span class="pagenum"><a name="Page_15" id="Page_15">15</a></span></p> - -<h2>CHAPTER I</h2> - -<div class="c3">TOOLS AND LEATHER</div> - -<h3>TOOLS</h3> - -<p>The few tools essential in leather-work are illustrated in the text, where -their use is described. They comprise:</p> - -<p>1. A Lithographic Stone or a Slab of Marble (preferably the former).</p> - -<p>2. A Tracing-point and some 6H Graphite Pencils.</p> - -<p>3. An Incising Knife.</p> - -<p>4. Modellers of different sizes.</p> - -<p>5. An Opener.</p> - -<p>Special tools, Punches, Wheels etc., are treated of at greater length in -dealing with the different processes in which they are used.</p> - -<h3>CHOICE OF SKINS</h3> - -<p>The art of working in leather is now so general that it is not difficult -to obtain skins specially prepared for the purpose. It is an essential -qualification that nothing of a fatty nature be used in their preparation. -The tanning process of the best skins, whether with a glossy surface -artificially obtained by rolling or with a dull surface, should be a very -simple one. Oak and sumach tannins (used especially for morocco leather) -are those which best preserve the suppleness and capillarity of leather. -The susceptibility of its colour to alteration from -exposure<!--019.png--><span class="pagenum"><a name="Page_16" id="Page_16">16</a></span> -to light is -greatly influenced by the materials used in tanning. Oak wood and chestnut -are the tannins least influenced by light. Skins tanned with <i>cassaigre</i> -and mimosa, light at first, become darkened in a marked degree by -exposure.<a name="Anchor-1" id="Anchor-1"></a><a href="#Footnote-1" -class="fnanchor" title="Go to footnote 1.">[1]</a></p> - -<div class="footnote"> - -<p><a name="Footnote-1" id="Footnote-1"></a><a class="label" title="Return to text." href="#Anchor-1">[1]</a> See the observations on the importance of the tanning process -in the preservation of leather, in the Note at the end of this volume.</p></div> - -<p>So many varieties of leather are on the market that some guide will be -found useful in selecting the most suitable for the different methods of -decoration. These methods may be classified as follows:</p> - -<dl class="list"> -<dt>Cut, or engraved leather.</dt> -<dt>Carved leather.</dt> -<dt>Punched or hammered leather.</dt> -<dt>Modelled leather.</dt> -<dt>Modelled leather with punched background.</dt> -<dt>Leather decorated by pyrogravure and pointogravure.</dt> -<dt>Stamped leather.</dt> -<dt>Open-work leather.</dt> -<dt>Leather mosaic.</dt> -</dl> - -<p>The leathers which may be used in these various styles of decoration are</p> - -<dl class="list"> -<dt>Sheep-skin.</dt> -<dt>Cow-hide.</dt> -<dt>Calf.</dt> -<dt>Ox-hide.</dt> -<dt>Morocco.</dt> -<dt>Russia.</dt> -<dt>Pig-skin.</dt> -<dt>Chamois.</dt> -<dt>Vellum.</dt> -</dl> - -<p>Sheepskin does not lend itself either to incising or to carving and is -only useful for cheap work; it is very malleable and models easily, but -for that reason lacks the firmness of calf when modelled. It is also not -possible to get such good colour results with sheep-skin as -with<!--020.png--><span class="pagenum"><a name="Page_17" id="Page_17">17</a></span> -calf, -cow-hide, or ox-hide. It can be used for large work, such as -wall-hangings, screens, etc., but is not recommended. Beginners, however, -will find it useful on account of its low price.</p> - -<p>Cow and calf are the most suitable leathers for really artistic work. -Cow-hide may be obtained with either a glossy or a dull surface; the dull -skins are sold specially prepared for decorating and give good results, -the smoothness of their surface making them particularly suitable for -modelling and pyrogravure.</p> - -<p>Calf varies greatly in thickness and colour. It should be noted that in -carved and modelled work the advantages of great malleability in the -material are more than counterbalanced by the disadvantages; durable -results cannot be obtained with very malleable leather which yields easily -to the tool, and since high relief can be worked without difficulty in -comparatively thick leather by damping it, its use is much to be -preferred.</p> - -<p>Ox-hide is frequently as thick as strong cardboard and is the ideal -leather for carving, hammering and pyrogravure. In cut decoration a better -effect can be obtained with this leather than with thinner skins, and -being very firm, it is equally suitable for modelling.</p> - -<p>Morocco leather, which is mostly of the kind called “Cape morocco,” is -goat-skin with a grained surface produced by pressing hard seeds upon the -skin while it is still damp from the tanning. For bookbinding and similar -purposes this grain is crushed by pressing hot plates heavily on the -surface. The only way of decorating leather so treated is by an inlay (or -literally <i>onlay</i>) of skins of other colours, and is known as Leather -Mosaic.<a name="Anchor-2" id="Anchor-2"></a><a href="#Footnote-2" -class="fnanchor" title="Go to footnote 2.">[2]</a></p> - -<div class="footnote"> - -<p><a name="Footnote-2" id="Footnote-2"></a><a class="label" title="Return to text." href="#Anchor-2">[2]</a> See the chapter on Leather Mosaic, p. <a href="#Page_42">42</a>.</p></div> - -<p>The so-called Russia leather is generally very light and soft and well -adapted to modelling on wax. It should not be cut.</p> - -<p>Pig-skin is very firm and was formerly much used -for<!--021.png--><span class="pagenum"><a name="Page_18" id="Page_18">18</a></span> -the fine stamped -bindings of the fifteenth, sixteenth, and seventeenth centuries. It does -not lend itself well to carving, but is very suitable for pyrogravure -because of the contrast between its light tint and the dark brown mark -produced by the hot tool.</p> - -<p>Chamois leather, which is not always prepared from the skins of deer or -chamois, is only suitable for flat ornament. It may be decorated by -pyrogravure or with stencilled ornament, or used in its natural colour as -background to an open-work pattern of leather of another colour.</p> - -<p>Vellum, a very thin and stiff white skin, can be decorated with brush or -pen-work. It is principally used for bookbinding. Those who wish to paint -on vellum can draw their inspiration from the marvellous miniatures of the -Middle Ages: a description of this style of decoration, however, does not -come within the scope of the present work.</p> - -<hr class="chap" /> - -<!--022.png--> - -<p><span class="pagenum"><a name="Page_19" id="Page_19">19</a></span></p> - -<h2>CHAPTER II</h2> - -<div class="c3">METHODS OF WORKING IN LEATHER</div> - -<h3>TRACING THE DESIGN ON THE LEATHER</h3> - -<p>In this chapter the different processes which may be used in the -decoration of leather will each be described in turn.</p> - -<p>The preliminary operation of tracing the design on the leather is however -common to them all.</p> - -<p>The design should in the first instance be drawn on fairly thick -tracing-paper or architect’s linen. This should then be fixed on the -leather in such a way that it does not move during the transfer of the -design, but so that it is possible to lift it to ascertain the progress of -the work. It will be found convenient to fold the edge of the -tracing-paper over the top edge of the leather and fix it with seccotine.</p> - -<p>The leather must be wet in order to take the impression of the tracing. A -soft, slightly damp sponge is passed several times evenly over the whole -surface; if only a part of the leather were wetted an aureole would form -round that part and would leave a permanent mark. When the leather has -once been wetted all over there is no further fear of this, and it may -then be damped again in parts when necessary. Practice alone will make it -possible to judge accurately the degree of saturation that each skin -requires to bring it into a fit condition for working on; speaking -generally, the water should have penetrated the leather so that the -pressure of the tool will not bring it back to -the<!--023.png--><span class="pagenum"><a name="Page_20" id="Page_20">20</a></span> -surface. Neglect of -this rule might result in staining the leather.</p> - -<div class="figcenter" style="width: 515px;"><a id="fig_1"></a> -<img src="images/i_023.png" width="515" height="44" -alt="" /> -<span class="caption"><span class="smcapac">FIG.</span> 1.—<span class="smcapac">TRACING-POINT</span></span> -</div> - -<p>The design is transferred to the leather by means of a metal tracing-point -(Fig. 1). An agate or ebony point, or an exceedingly hard 6H graphite -pencil, may also be used for the purpose. The pencil possesses the -additional advantage that it can be given a very fine point where an extra -thin and sharp outline is required. Doubling the outline by going over it -twice should be avoided. From time to time the tracing-paper or linen -should be raised to see that the design is being well marked on the -leather. The outline should be dark; when it comes light it is a proof -that the leather is too dry and requires damping again.</p> - -<h3>INCISING THE LEATHER</h3> - -<p>This being the first operation in working thick leather by carving, -engraving and modelling, it will be dealt with before passing to the -different processes peculiar to these methods of decoration. The incising -is done after the design has been traced. There are numerous incising -knives for the purpose which vary in shape and are manipulated in -different ways; no one of them can be specially recommended as notably -superior to the rest, and the artist should choose the one with which he -feels most likely to succeed. The knife illustrated in Fig. 2 is used with -a downward movement and is held—as shown in Fig. 3—very short, so as to -obtain a sufficient purchase over the blade which is guided by the middle -finger. The knife illustrated in Fig. 4 is used upwards. Fig. 5 shows the -manner in which it should be held to produce a vertical cut. It will be -found of great assistance in making a good firm cut to guide the right -hand<!--026.png--><span class="pagenum"><a name="Page_21" id="Page_21">21</a></span> -with the left hand as in Fig. 5. When curved lines are to be cut, -the left hand must be used to turn the leather so as to present it in the -most favourable position for the operation of the blade. The third knife -(Fig. 6) is held like a graver with the handle supported against the palm -of the hand and is pushed forward (Fig. 7). It is useful in cutting curved -lines over a large surface. The depth of the incision should vary -according to the -effect<!--027.png--><span class="pagenum"><a name="Page_22" id="Page_22">22</a></span> -to be produced by the subsequent operation, but -it should never exceed a third of the thickness of the skin.</p> - -<div class="figcenter" style="width: 700px;"><a id="plate_2"></a> -<img src="images/i_024.png" width="700" height="311" -alt="" /> -<span class="caption">2. <span class="smcap">Casket covered with stamped leather, <i>cuir -bouilli</i>. German, 14th Century.</span></span> -</div> - -<div class="figcenter" style="width: 379px;"><a id="fig_2"></a><a id="fig_3"></a> -<img src="images/i_026.png" width="379" height="470" -alt="" /> -<span class="caption"><span class="smcapac">FIG.</span> 2, <span class="smcapac">FIG.</span> 3.—<span class="smcapac">INCISING KNIFE USED DOWNWARDS LIKE A -PENCIL</span></span> -</div> - -<p>Thin skins should rarely be cut, and, if they are cut, the incision should -barely penetrate the surface. On ox-hide the depth of the cut may be -considerable without danger of impairing the strength of the leather.</p> - -<div class="figcenter" style="width: 373px;"><a id="fig_4"></a><a id="fig_5"></a> -<img src="images/i_027.png" width="373" height="383" -alt="" /> -<span class="caption"><span class="smcapac">FIG.</span> 4, <span class="smcapac">FIG.</span> 5.—<span class="smcapac">INCISING KNIFE USED UPWARDS</span></span> -</div> - -<p>When the leather is to be modelled in high relief, the design should be -well separated from the background in the cutting process. The incision -should also be deep when the outline is to be accentuated afterwards with -a<!--028.png--><span class="pagenum"><a name="Page_23" id="Page_23">23</a></span> -tool called an “opener” (Fig. 9) to produce an effect like the leading -in stained glass.</p> - -<p>Should it be desired to raise and turn up the edge of the leather to -simulate a leaf, petal, or piece of ribbon detached from the background, -the knife must be held slanting, as in Fig. 8, so as to make an almost -horizontal cut.</p> - -<div class="figcenter" style="width: 368px;"><a id="fig_6"></a><a id="fig_7"></a> -<img src="images/i_028.png" width="368" height="370" -alt="" /> -<span class="caption"><span class="smcapac">FIG.</span> 6, <span class="smcapac">FIG.</span> 7.—<span class="smcapac">INCISING KNIFE HELD LIKE A GRAVER -AND PUSHED FORWARD</span></span> -</div> - -<p>However thick the leather may be, it is important that two lines should -never be cut quite up to the point of intersection. For example, in -cutting the outline of a leaf, the points of the indentations should be -left uncut to avoid the tendency of the part within the angle to project -and turn back. Sufficient impression can -be<!--029.png--><span class="pagenum"><a name="Page_24" id="Page_24">24</a></span> -obtained with the modelling -tool to give a finished effect to these points.</p> - -<div class="figcenter" style="width: 364px;"><a id="fig_8"></a> -<img src="images/i_029.png" width="364" height="507" -alt="" /> -<span class="caption"><span class="smcapac">FIG.</span> 8.—<span class="smcapac">EXECUTING A SLANTING CUT WHEN THE EDGE OF -THE LEATHER IS TO BE SUBSEQUENTLY TURNED UP</span></span> -</div> - -<p>The incision must be clean and sharp, and absolutely vertical, except -where it is made slanting for the purpose described above.</p> - -<div class="figcenter" style="width: 651px;"><a id="plate_3"></a> -<img src="images/i_030.png" width="651" height="441" -alt="" /> -<span class="caption">3. <span class="smcap">Coffret covered with leather, incised, coloured -and gilt. French, 14th Century.</span></span> -</div> - -<!--032.png--> - -<p><span class="pagenum"><a name="Page_25" id="Page_25">25</a></span></p> - -<h3>CUT OR ENGRAVED LEATHER</h3> - -<div class="figcenter" style="width: 370px;"><a id="fig_9"></a><a id="fig_10"></a> -<img src="images/i_032.png" width="370" height="510" -alt="" /> -<span class="caption"><span class="smcapac">FIG.</span> 9.—<span class="smcapac">OPENER</span><br /><span class="smcapac">FIG.</span> 10.—<span class="smcapac">ENLARGING THE OUTLINE -WITH THE OPENER</span></span> -</div> - -<p>Leather with flat decoration in outline of even thickness is called cut, -or engraved leather. The tool used to enlarge and accentuate the outline -is called an opener. It is like a straight modeller broadened in the -centre and with a blunt point (Fig. 9), or a small blade with the -point<!--033.png--><span class="pagenum"><a name="Page_26" id="Page_26">26</a></span> -cut off square and the angles rounded. When the leather has been well -wetted and the water has thoroughly soaked in, the end of the opener is -inserted in the incision and pushed along it with a very slight and gentle -gliding movement. The broader part of the opener will act as a wedge and -widen the cut evenly. Openers can be had in various sizes to produce lines -of different width. When the design is to be modelled afterwards, an -opener should be used which broadens on the right side only; held slightly -slanting, it will press down the outside edge of the incision which is to -be sunk into the ground. Fig. 10 shows the manner of holding the tool; it -should be worked backwards and forwards to make sure that the edges are -evenly parted. The left hand may help to guide the point to prevent it -from slipping off the line.</p> - -<div class="figcenter" style="width: 325px;"><a id="fig_11"></a> -<img src="images/i_033_.png" width="325" height="102" -alt="" /> -<span class="caption"><span class="smcapac">FIG.</span> 11.—<span class="smcapac">SLANTING CUT</span></span> -</div> - -<div class="figcenter" style="width: 326px;"><a id="fig_11a"></a> -<img src="images/i_033_2.png" width="326" height="103" -alt="" /> -<span class="caption"><span class="smcapac">FIG.</span> 11a.—<span class="smcapac">SHOWING THE DIFFICULTY OF RAISING THE -INNER EDGE</span> (A)</span> -</div> - -<p>To be able to accomplish satisfactorily this operation of opening the -outline, it will be found that the incision must be absolutely vertical. -Supposing it to have been made slanting as in Fig. 11, it will be easy to -sink the outer edge (B) into the ground, but when it comes to raising the -inner edge (A) an excess of material will be encountered which will offer -stubborn resistance to being raised in a direction contrary to that of the -incision (Fig. 11a). The opener should not be moved at too great an angle -in the incision as the point, though blunt, may yet be sharp enough to cut -and spoil the modelling by raising the surface of the leather.</p> - -<p>After it has been outlined, the leather may be -further<!--034.png--><span class="pagenum"><a name="Page_27" id="Page_27">27</a></span> -decorated by -variously tinting the parts within the lines, if the style of the design -will admit of such treatment; an effect similar to leather mosaic is thus -produced. (See Chapter III.)</p> - -<p>Pyrogravure, or engraving with a hot tool (see p. <a href="#Page_36">36</a>), gives a very -similar effect to that of cut or engraved leather, the only difference in -the appearance of the work thus decorated being due to the slight burr of -the edges and the darkening of the line caused by the hot tool. This -effect of dark colour can, however, be added to cut leather by colouring -the lines with a dye applied with a fine brush. In order to prevent the -colour penetrating and spreading beyond the lines, the latter should be -lightly coated with paste before the dye is applied.</p> - -<h3>CARVED LEATHER</h3> - -<p>Great expertness is required in carving leather, that is to say, in -producing lines so deep that the design stands out sufficiently from the -background to allow of its being ornamented by independent lines less -deeply worked.</p> - -<p>Some leather cases from the Dijon Museum, which were exhibited at the -Petit Palais in Paris in the year 1900, are good examples of carving, and -the manner in which they are finished with touches of gold is very -characteristic. The style and method of production of these examples may -well be imitated. Decoration on ogee-shaped lines is to be avoided, as, -however artistically treated, it is apt to bring to mind the stamped -leather of the so-called “Cathedral Style,” specimens of which filled the -libraries of the romantic period of about 1830.</p> - -<p>Besides the tools enumerated above, some artists use the gravers and -gouges employed in chasing metal and wood-carving, but a great deal of -practice is necessary for their proper handling, and they cannot be -recommended to the inexperienced worker.</p> - -<!--035.png--> - -<p><span class="pagenum"><a name="Page_28" id="Page_28">28</a></span></p> - -<p>Pyrogravure is an alternative method of producing strongly accentuated -lines, and by the judicious use of punches an infinite variety of -interesting background effects can be obtained.</p> - -<p>Before leaving the subject of carved leather, mention must be made of -<i>cuir bouilli</i>, which was used in conjunction with it during the Middle -Ages, chiefly for sheaths and cases, and is now unfortunately a lost -art.<a name="Anchor-3" id="Anchor-3"></a><a href="#Footnote-3" -class="fnanchor" title="Go to footnote 3.">[3]</a> -Mons. de Saint André de Lignereux, in <i>Le Cuir d’Art français</i>, -tells us that the leather was boiled with gums and resins obtained from -the East, and moulded and cut while still soft from this -treatment.<a name="Anchor-4" id="Anchor-4"></a><a href="#Footnote-4" -class="fnanchor" title="Go to footnote 4.">[4]</a></p> - -<div class="footnote"> - -<p><a name="Footnote-3" id="Footnote-3"></a><a class="label" title="Return to text." href="#Anchor-3">[3]</a> An example of modern English work in leather treated in a -somewhat similar manner is given in Plate 15.</p></div> - -<div class="footnote"> - -<p><a name="Footnote-4" id="Footnote-4"></a><a class="label" title="Return to text." href="#Anchor-4">[4]</a> <i>Le Cuir d’Art français</i>, par Saint André de Lignereux, -Etampes, 1900.</p></div> - -<h3>PUNCHES</h3> - -<p>Punches are steel or brass tools, having at the point a design cut in -relief or in intàglio, which are impressed on the leather either by the -hand alone or with a hammer The design is thus reproduced on the leather -with the impression contrary to that on the tool. For hand pressure only, -they should be fixed in wooden handles to afford greater grip and power. -They may be used hot; the design will then appear darkened on the leather.</p> - -<p>Punches are also employed in tooling with gold leaf, or in burnishing the -impression of their surface on groundwork gilded with shell gold.</p> - -<h3>HAMMERED LEATHER</h3> - -<p>Leather decorated entirely by means of punches is called hammered leather. -It is used in the style of decoration described later under the name of -modelled leather with punched background, and can also be employed with -great advantage in conjunction with carved leather.</p> - -<div class="figcenter" style="width: 674px;"><a id="plate_4"></a> -<img src="images/i_036.png" width="674" height="286" -alt="" /> -<span class="caption">4. <span class="smcap">Casket covered with embossed leather, <i>cuir -bouilli</i>. French, early 15th Century.</span></span> -</div> - -<h3>MODELLED LEATHER</h3> - -<p>Leather may be modelled in two ways; with a -cut<!--038.png--><span class="pagenum"><a name="Page_29" id="Page_29">29</a></span> -outline or with the -traced outline merely accentuated with the tracing-point or opener. In the -former case the leather must be fairly thick, in the latter it may be thin -calf or Russia, which is very soft and delicate.</p> - -<div class="figcenter" style="width: 360px;"><a id="fig_12"></a> -<img src="images/i_038.png" width="360" height="499" -alt="" /> -<span class="caption"><span class="smcapac">FIG.</span> 12.—<span class="smcapac">LOWERING THE OUTER EDGE WITH A MODELLER</span></span> -</div> - -<p>Leather modelled after being cut should, when finished, have the -appearance, with regard to the relief, of a metal or modelled wax plaque. -The leather takes the -desired<!--039.png--><span class="pagenum"><a name="Page_30" id="Page_30">30</a></span> -shape easily, and should therefore be -delicately handled.</p> - -<p>The great charm of modelled leather lies in the softness of its forms, and -care must be taken to avoid irregularly cut outlines which disagreeably -arrest the eye by failing to merge into the ground.</p> - -<p>Faulty incisions, or those too deeply cut, are liable to leave a light -line between the modelled subject and the background, due to the cut -having exposed not only the surface, but the inner substance of the -leather. This light line will also have a tendency to appear if the -modelling is not done directly after the opening of the lines, or if they -are too widely opened, or if the opener is too sharp and unduly deepens -the cut. The fault can be remedied by staining the line to match the -surface of the leather.</p> - -<h3>MODELLING TOOLS</h3> - -<p>The tools used for modelling are not numerous; two or three modellers, -more or less fine and of different curves, (Fig. 12) are sufficient. A -special tool, called <i>Pied de Biche</i> (hind’s foot) in allusion to its -shape, is also useful in depressing the ground at right angles to the -modelling. Modellers may be either of nickelled steel or of brass, -provided that the convex side with which the leather is modelled be -perfectly smooth. It is better not to use ordinary steel which, when the -leather is wet, might cause it to become stained through the rusting of -the tool occasioned by the materials used in tanning. It may also be -mentioned here that when using acids for -<i>patine</i>,<a name="Anchor-5" id="Anchor-5"></a><a href="#Footnote-5" -class="fnanchor" title="Go to footnote 5.">[5]</a> -steel tools should -be kept away from the work. Hydrochloric acid in particular will rust them -so badly in a single night as to make them unusable unless they are -repolished.</p> - -<div class="footnote"> - -<p><a name="Footnote-5" id="Footnote-5"></a><a class="label" title="Return to text." href="#Anchor-5">[5]</a> See note to page <a href="#Page_64">64</a>.</p></div> - -<h3>EMBOSSING LEATHER</h3> - -<p>When the leather is thick it must be thoroughly wetted on both sides; it -is then taken in the left hand, the -portion<!--040.png--><span class="pagenum"><a name="Page_31" id="Page_31">31</a></span> -to be embossed being between -the forefinger and thumb, which are laid flat on the surface of the -leather, while the other three fingers form the under part of this species -of clamp, and ensure the leather remaining steady (Fig. 14). Steel clamps -are made for fixing the end of the leather to the table, but the system of -holding it in -the<!--041.png--><span class="pagenum"><a name="Page_32" id="Page_32">32</a></span> -hand is preferable, except for very large work, as it -can be more readily moved about.</p> - -<div class="figcenter" style="width: 370px;"><a id="fig_13"></a><a id="fig_14"></a> -<img src="images/i_040.png" width="370" height="465" -alt="" /> -<span class="caption"><span class="smcapac">FIG.</span> 13.—<span class="smcapac">BALL-SHAPED STEEL TOOL WITH HANDLE</span><br /> -<span class="smcapac">FIG.</span> -14.—<span class="smcapac">POSITION OF HANDS IN EMBOSSING LEATHER</span></span> -</div> - -<p>A modeller or a tool consisting of a small steel ball with a handle (Fig. -13) is then worked backwards and forwards with more or less pressure on -the back of the leather until the desired degree of relief is obtained. It -is possible to work very high relief by this method.</p> - -<p>Another way of embossing in high relief, which we believe to be here -described for the first time, is as follows: The outline of the design -must first be traced on the flesh side of the leather. This is done by -placing blue transfer paper under the leather, with the blue side -uppermost, while the design is being transferred to the surface of the -leather with the tracing-point in the manner described on p. <a href="#Page_20">20</a>. A chamois -leather bag, about 16 × 12 inches in size, is filled with very fine, -carefully sifted sand, and then sewn up as tightly as possible, so that -the surface is quite taut. The bag is placed on the table, and the leather -face downwards upon it. The steel ball is then rubbed to and fro, on the -flesh side of the leather, at the point to be embossed, and the relief is -produced as the sand yields under the pressure of the tool. The sand gives -enough support to the leather, however, to prevent it stretching too much, -as it would be liable to do if merely extended over a frame.</p> - -<p>The next process is to open the incisions. This is not done till after the -leather has been embossed in order not to further impair the strength of -the leather at the outline, already diminished to some extent by cutting. -The object of opening the incision is to facilitate the flattening of the -outer edge so that it merges into the ground and the graduated modelling -of the inner edge to form the softened outline of the ornament in relief.</p> - -<div class="figcenter" style="width: 428px;"><a id="plate_5"></a> -<img src="images/i_042.png" width="428" height="477" -alt="" /> -<span class="caption">5. <span class="smcap">Case of cut and embossed leather, <i>cuir -bouilli</i>. Italian, 15th Century.</span></span> -</div> - -<p>To obtain this soft effect, the modeller is gently passed from left to -right over the angle formed by the inner edge of the incision and the -surface of the modelling. -The<!--044.png--><span class="pagenum"><a name="Page_33" id="Page_33">33</a></span> -tool may be lifted and the leather turned -about to place it in the right position for this movement. The leather is -frequently wetted (but not to such a degree, however, that the water oozes -out of the surface when the modeller is used), and assumes the substance -of wax. Should it show a tendency to rise after it has been depressed, it -must be gone over again with the tool; if the leather is of good quality, -it will keep the modelling permanently when it is once dry.</p> - -<p>Care must be taken to avoid making a false impression; the least contact -of the tool with the leather will leave a mark on the damp surface, which -it is not always possible to efface from beneath.</p> - -<p>Having dealt with cut and modelled leather, we now turn to modelling -without cutting, the outline of the design being first simply marked out -with the tracing-point, or with the opener held very slanting to avoid -wrinkling the surface of the skin. This process should be adopted in -preference to the preceding one, for comparatively thin skins which would -not bear cutting. The relief may be obtained in the manner described above -by working it up from the back of the leather, or the leather may be laid -surface upwards on a cake of wax and the design brought out in low relief -by depressing the background with the tool. Better results are obtained -with the latter method. The wax is applied under the parts to be modelled, -which must be accurately marked out for this purpose on the under side of -the leather, and thin paper is pasted underneath it to keep it in place -and prevent it sticking to the table; or a very smooth, thin tablet of wax -is placed on stout cardboard under the entire piece of leather; when in -position, the edges of the leather should be turned over and firmly fixed -underneath the cardboard in such a manner as to prevent the wax forcing -itself out under the pressure of the tool. The wax must be prepared with -spirit to expel the grease or contact with it would stain the leather.</p> - -<p>After thoroughly wetting the leather, the -outline<!--045.png--><span class="pagenum"><a name="Page_34" id="Page_34">34</a></span> -should be well -accentuated with the opener and the design brought out by lowering the -ground all round it with a fine modeller. The modelling is then done by -working the tool with varying pressure and is held in place by the wax.</p> - -<div class="figcenter" style="width: 636px;"><a id="fig_15"></a> -<img src="images/i_045.png" width="636" height="53" -alt="" /> -<span class="caption"><span class="smcapac">FIG.</span> 15.—<span class="smcapac">TOOL FOR WORKING REED DECORATION</span></span> -</div> - -<p>Beginners are advised to start by copying a plaster cast, in order to get -a full understanding of the values of relief.</p> - -<p>The subject of wax supports brings us to that of padding the relief to -preserve its form, which may be done in many different materials. The -padding may be made of a special wax treated like cement, or of absorbent -cotton-wool soaked in a paste made of flour and water, or of cuttings of -glove skins shredded very -fine<a name="Anchor-6" id="Anchor-6"></a><a href="#Footnote-6" -class="fnanchor" title="Go to footnote 6.">[6]</a> -and mixed dry with talc, flour, -dextrine, etc., forming a liquid paste when water is added which can -easily be run into the hollows of the relief. This paste solidifies -rapidly, and is not affected by damp. Cardboard or cork scraped very fine -and mixed with paste or flour and water will also form a durable padding. -A special padding made with a round cotton cord dipped in flour mixed with -cold water is employed for flower stems and the so-called reed -decoration—a decoration consisting of a round line in relief of uniform -width, which lends itself to many combinations, and is worked with the -tool illustrated in Fig. 15. It may also be used in modelling the relief -by pasting it first on the back of the leather and, when dry, moulding the -leather with a modeller over the projection on the surface caused by its -thickness.</p> - -<div class="footnote"> - -<p><a name="Footnote-6" id="Footnote-6"></a><a class="label" title="Return to text." href="#Anchor-6">[6]</a> <i>Dollage de gants.</i></p></div> - -<h3>MODELLED LEATHER WITH PUNCHED BACKGROUND</h3> - -<p>When the leather has been cut -before<!--046.png--><span class="pagenum"><a name="Page_35" id="Page_35">35</a></span> -being modelled, the punch completes -the work of the modeller in sinking the outer edge of the incision into -the background. To do this perfectly, the edge of the punch must be placed -very exactly against the outline of the raised design; the handle should -be held slanting slightly to the left in working; extra pressure will thus -fall towards the right on that part which, in spite of having been sunk by -the modeller, will always show a tendency to rise if the punch be used too -flat upon the surface.</p> - -<p>A hammer, though useful in working certain punches which depend upon being -deeply impressed to produce a good effect, requires great sureness of hand -when used as described above, to prevent overstepping the limits of the -outline, and punches in wooden handles are much to be preferred for this -work. Too deep an impression is avoided by their use, and, by guiding the -end of the punch with the left hand, it can be placed more surely in the -right position and worked by the steady pressure of the wrist. (Fig. 16.)</p> - -<p>The most useful punches are those producing a powdered or a very small -check pattern. With these there is no need for the impressions to be -arranged in any regular order; it is indeed better that they should -slightly overlap so that no part of the ground is left out. The effect of -some punches is dependent on their arrangement in combination; others can -be arranged independently to form a <i>semis</i>—a pattern made up by the -repetition of some given figure at intervals.</p> - -<p>Wheels, either plain or having a more or less broad surface engraved with -any kind of pattern (such as a check diaper, pearling or arabesques), are -used for outlining or for continuous patterns, or for producing imitations -of shagreened leather.</p> - -<p>An excellent effect can be obtained by varnishing the parts depressed by -the punch to make the colour adhere, and then painting them with <i>gouache</i> -or bronzes. -By<!--047.png--><span class="pagenum"><a name="Page_36" id="Page_36">36</a></span> -rubbing the leather afterwards with a woollen cloth, the -colour or bronze is easily removed from the unvarnished modelling.</p> - -<div class="c3">PYROGRAVURE</div> - -<div class="figcenter" style="width: 381px;"><a id="fig_16"></a> -<img src="images/i_047.png" width="381" height="452" -alt="" /> -<span class="caption"><span class="smcapac">FIG.</span> 16.—<span class="smcapac">USING A HAND PUNCH</span></span> -</div> - -<p>The tools employed in pyrogravure are based on the same principle as the -instrument for thermo-cautery in surgery. The apparatus in most general -use consists of a platinum point mounted in a hollow metal handle -connected by a rubber tube with a pear-shaped -rubber<!--050.png--><span class="pagenum"><a name="Page_37" id="Page_37">37</a></span> -blower. This blower -serves to inject through a tube the carburetted air from a small benzine -reservoir attached to it. The incandescence of the point is maintained by -this constant injection, and the lines are burnt more or less deeply -according to the degree of incandescence, and the pressure applied. The -great difficulty is to keep the line of even thickness throughout. The -points are to be had of different shapes according to the effect desired. -Some are pierced at the end, so that the carburetted air escaping leaves a -mark on the leather similar to that which would be produced by a hot iron -grazing its surface. In this way a brown tint is obtained varying in -darkness in proportion to the proximity of the point to the leather.</p> - -<div class="figcenter" style="width: 438px;"><a id="plate_6"></a> -<img src="images/i_048.jpg" width="438" height="640" -alt="" /> -<span class="caption">6. <span class="smcap">Blind-stamped Morocco binding with gilt -roundels and coloured cameo design. <i>Celsus.</i> <i>De Medicina.</i> <i>Venice</i>, -1477. Italian, 15th Century.</span></span> -</div> - -<p>There are also rather large blowers which are worked automatically by -compressed air, while others have a pedal action like a sewing machine.</p> - -<p>It would be difficult to explain the many ways of handling the point so as -to obtain different effects; it should, however, always be held slightly -inclined to the right. It is shaped like an eagle’s beak, so that by using -the point alone, fine lines of more or less depth are obtained, and by -inclining it more to the right the rounded part will burn a larger surface -of the leather. Very deep hollows can be made with the point highly -heated. Pyrogravure is also an efficient way of depressing the ground work -of thick leather when the point is worked with repeated touches over the -surface. With a light hand and an accurate knowledge of the degree of heat -required to produce fine lines, a skilful artist is able to draw with the -point as if it were a pen.</p> - -<p>The left hand plays a very important part in the process by controlling -the injection of carburetted air through the blower, and thereby -regulating the heat of the point. When the incandescence is automatically -produced, equal facility in varying the degree of heat according to the -requirements of the work is not possible.</p> - -<!--051.png--> - -<p><span class="pagenum"><a name="Page_38" id="Page_38">38</a></span></p> - -<h3>POINTOGRAVURE</h3> - -<p>The following description is borrowed from Mons. E. Aumaître, the inventor -of another process for the decoration of leather to which he has given the -name of pointogravure.</p> - -<p>The implements required are two graving-points, one large and one small, a -modeller and a spirit-lamp.</p> - -<p>The design having been traced on the leather, the whole of it is wetted -with a sponge as described on page <a href="#Page_19">19</a>. The point is then heated in the -spirit-lamp and passed lightly over the line. It should be held like a -pencil and heated sufficiently to produce a light brown mark on the -leather, and it should run smoothly without sticking. The fine lines are -drawn lightly and the point pressed more heavily for the deeper ones. Deep -hollows can be made by sloping the tool, and using its widest side. The -point being very small, it requires frequent heating to keep it in a -condition to produce satisfactory results. It is not hot enough unless it -runs smoothly on the leather and darkens the impression. On the other -hand, overheating is to be avoided to prevent burning the surface of the -leather. This process skilfully carried out will produce shading, -hatching, and lines of great delicacy, also much softer effects than -pyrogravure. It lends itself equally well to the broad treatment of a -design.</p> - -<h3>STAMPED LEATHER</h3> - -<p>It is beyond the scope of this work to describe the process of stamping -leather with a steel die and a -balance-press;<a name="Anchor-7" id="Anchor-7"></a><a href="#Footnote-7" -class="fnanchor" title="Go to footnote 7.">[7]</a> -we will therefore explain -a method in which the steel die is replaced by thick cardboard or leather -cut out in open-work, and the balance-press by a small one worked by hand. -The cardboard or leather stencil, laid on damp leather and placed in the -press, will sink in, -causing<!--052.png--><span class="pagenum"><a name="Page_39" id="Page_39">39</a></span> -those parts of the leather which are against -the open parts of the stencil to stand out in relief.</p> - -<div class="footnote"> - -<p><a name="Footnote-7" id="Footnote-7"></a><a class="label" title="Return to text." href="#Anchor-7">[7]</a> <i>Balancier.</i></p></div> - -<p>There is another method which has been found particularly satisfactory in -working a deep design on the board of a book-binding. The design is drawn -sharply in outline with a pen upon very white paper. By a photographic -process a metal block is produced from the drawing, on which the outline -appears in relief. This block, mounted on pasteboard or wood, will form a -die with which the design can be hollowed out of the leather by pressure -in a copying-press, and the result subsequently perfected by cutting or -modelling.</p> - -<p>Another interesting process consists in etching a design deeply upon a -copper-plate; the lines are then filled in with printing ink, the surplus -removed with the palm of the hand, and the plate wiped over with a soft -rag, preferably of flannel. A piece of leather is then wetted and placed -under the plate and the whole heavily pressed. Since a copying-press is -not sufficiently heavy to produce the relief, a bookbinder’s press should -be used and tightly screwed up. When the leather has taken the impression -sufficiently, the whole is removed from the press, and the copper-plate -carefully raised, avoiding tearing the leather if it should have stuck to -the plate. The design will then stand out in relief, coloured black or red -according to the ink used. The ink must be thick enough not to spread over -the leather under pressure.</p> - -<p>There is also a method of stamping leather by means of two plaster casts -prepared with stearine, both bearing the same design, one in relief and -the other hollowed. A thoroughly wetted piece of thin leather is placed -between these two casts and well pressed, the amalgam enabling the plaster -to bear the pressure. The leather should be allowed to dry between the -casts, or, if preferred, the hollow one may be removed.</p> - -<p>The same principle can be applied without the -hollow<!--053.png--><span class="pagenum"><a name="Page_40" id="Page_40">40</a></span> -cast, by modelling -the leather with the modelling tool, so that it takes the form of the cast -in relief beneath it. In some cases the plaster is left permanently under -the leather to form the padding.</p> - -<div class="figcenter" style="width: 482px;"><a id="fig_17"></a> -<img src="images/i_053.png" width="482" height="61" -alt="" /> -<span class="caption"><span class="smcapac">FIG.</span> 17.—<span class="smcapac">CUTTING-OUT KNIFE</span></span> -</div> - -<h3>OPEN-WORK LEATHER</h3> - -<p>The leather should be neatly and sharply cut out for open-work decoration, -and placed over a groundwork of leather, stuff or metal: the last material -is well adapted by its contrast of colour to show up the ornament laid -over it. Open-work leather is a good material for hangings, and when -destined for this purpose the design is sewn on the groundwork of leather -or stuff with a sewing-machine, or stuck with gutta-percha. In the latter -case the back of the leather is made quite smooth, and a layer of -gutta-percha is placed on it and made to stick by means of steam produced -by heating a wet pad. Well pressed down with this pad the gutta-percha -will stick to the leather, and also cause it to keep in place on the -groundwork, to which it is made to adhere permanently by passing a hot -iron over the surface. A sheet of white blotting-paper is laid over the -leather to protect it. When the leather is worked in relief, this -proceeding must be reversed, that is to say, the leather is placed face -downwards on a sheet of wadding with the material forming the groundwork -uppermost, and the hot iron is passed over the back of the material. The -relief can easily be worked on the leather before it is cut out.</p> - -<p>The cutting out is done on a piece of strong cardboard with the knife -illustrated in Fig. 17.</p> - -<div class="figcenter" style="width: 386px;"><a id="plate_7"></a> -<img src="images/i_054.png" width="386" height="685" -alt="" /> -<span class="caption">7. <span class="smcap">Case of cut and punched leather. German, 15th -Century.</span></span> -</div> - -<p>The borders of open-work leather can be -ornamented<!--056.png--><span class="pagenum"><a name="Page_41" id="Page_41">41</a></span> -by a sort of plaiting -formed by lacing thin strips of soft leather through holes made with a -punch.</p> - -<p>A very effective decoration for furniture can be made with open-work -leather over a panel of wood, or a metal background.</p> - -<hr class="chap" /> - -<!--057.png--> - -<p><span class="pagenum"><a name="Page_42" id="Page_42">42</a></span></p> - -<h2>CHAPTER III</h2> - -<div class="c3">LEATHER MOSAIC</div> - -<p>Until recently it seemed as if this pleasing art would have to remain the -monopoly of a limited number of professional craftsmen working with -numerous tools, and reckoning a ten years’ apprenticeship necessary to the -attainment of proficiency in their craft. But although there is small -likelihood of amateurs entering the domain of the followers and emulators -of artists such as John Reynes, Florimond Badier, Monnier, Padeloup and -Jubert, Mons. Eugène Aumaître has invented a simpler process of leather -mosaic, for which fewer tools are required and which is within the reach -of artist and amateur alike. The following pages contain the result of the -study of his method, with the addition of some observations based on the -practical experience of the author.</p> - -<h3>LEATHER FOR GROUNDWORK</h3> - -<p>Any skin may be used for the groundwork of leather mosaic, but morocco, -and especially the kind called Cape morocco, is generally preferred, -because of the grained surface which shows up the inlaid decoration to the -best advantage.</p> - -<p>Other skins, however, with either dull or glossy surfaces make good -backgrounds for mosaic decoration, and as they are generally fawn -coloured, they may first be stained to produce shaded groundwork very -attractive in effect.</p> - -<!--058.png--> - -<p><span class="pagenum"><a name="Page_43" id="Page_43">43</a></span></p> - -<p>The old masters of leather mosaic made great use of fawn-coloured calf, -occasionally adding a touch of coloured lacquer to bring out the light -parts of the design.</p> - -<h3>PREPARATION OF THE LEATHER FOR THE GROUNDWORK</h3> - -<p>The first necessity in working leather mosaic is to have a flat and rigid -surface to work upon; it is indispensable therefore, when the leather is -not in itself sufficiently thick and firm, to stretch it on cardboard. -This rather troublesome preparatory process is best confided to an expert; -we will, however, describe it for the benefit of those preferring to -execute it themselves. A strong, smooth piece of cardboard called -millboard is taken, and the edges rubbed down with glass paper. A thin -coat of paste is applied on one side of the board and allowed to dry.</p> - -<div class="figcenter" style="width: 193px;"><a id="fig_18"></a> -<img src="images/i_058.png" width="193" height="197" -alt="" /> -<span class="caption"><span class="smcapac">FIG.</span> 18.—<span class="smcapac">PARING KNIFE</span></span> -</div> - -<div class="figcenter" style="width: 272px;"><a id="fig_19"></a> -<img src="images/i_058_2.png" width="272" height="55" -alt="" /> -<span class="caption"><span class="smcapac">FIG.</span> 19.—<span class="smcapac">PARING KNIFE</span></span> -</div> - -<p>The edges of the leather must now be thinned so that they will more -readily stick when turned over and pasted under the board, and also to -avoid the unevenness which the normal thickness of the leather would -produce underneath. A paring-knife with a broad, flat, very sharp blade -(Figs. 18 and 19) is used for this purpose; its manipulation is difficult -and requires long practice. The handle is held against the palm of the -hand, and the fingers extending over the blade cause it to penetrate the -leather superficially by a more or less strong pressure, the object being -to take off shavings from the back of the skin, increasing towards the -edge until the edge itself is reduced to the thickness of a cigarette -paper.</p> - -<!--059.png--> - -<p><span class="pagenum"><a name="Page_44" id="Page_44">44</a></span></p> - -<div class="figcenter" style="width: 367px;"><a id="fig_20"></a> -<img src="images/i_059.png" width="367" height="279" -alt="" /> -<span class="caption"><span class="smcapac">FIG.</span> 20.—<span class="smcapac">PARING LEATHER</span></span> -</div> - -<p>The leather is placed surface downwards on a lithographic stone or a slab -of marble. It is held stretched with the left hand, the fingers being -extended over it on the face of the stone, and the thumb pressed against -the side leaving the part just in front of the fingers free to be pared -(Fig. 20). It is of the first importance for the success of this operation -that the leather should be kept well stretched. The knife is held almost -horizontally to avoid cutting into the leather at too sharp an angle, and -is worked from left to right towards the edge.</p> - -<p>The leather is then fastened to the cardboard by pasting either the whole -of it or only the edges, which are turned underneath. In any case ordinary -paste should be used; seccotine or glue would sink into and harden the -leather, making the subsequent outlining process difficult.</p> - -<p>When the piece of leather is so large that it would cause the board to -warp when it dries, some paper should be pasted on the other side of the -board, which will keep it flat by drawing it in the opposite direction.</p> - -<div class="figcenter" style="width: 438px;"><a id="plate_8"></a> -<img src="images/i_060.jpg" width="438" height="612" -alt="" /> -<span class="caption">8. <span class="smcap">Brown leather binding, cut and engraved, with -punched background. <i>German MS. Chronicle of Events.</i> German, 15th -Century.</span></span> -</div> - -<!--062.png--> - -<p><span class="pagenum"><a name="Page_45" id="Page_45">45</a></span></p> - -<p>The work is then put into the press or under heavy boards. It is important -that this should always be done after paste has been used. When it is too -large to put into a copying-press, it should be laid upon a flat table and -a sheet of nickelled or very smooth zinc placed against the part to be -decorated. The cardboard known as <i>Carton Jacquart</i> may be substituted for -the zinc, but there is a risk that the moisture of the paste penetrating -the leather may cause it to swell, notwithstanding its glaze. The zinc -plate or the board should not be smaller than the leather, for in that -case the pressure would produce a ridge round its edge.</p> - -<p>The groundwork is ready to receive the ornament as soon as it is dry. The -different methods of working mosaic will now be explained in turn.</p> - -<h3>MONOCHROME MOSAIC ON CALF</h3> - -<p>In this style of decoration the leather used for the inlaid design is -white or very light in tone, and may be dyed subsequently to present the -appearance of a mosaic made of variously coloured leathers.</p> - -<h3>LEATHER FOR INLAYING</h3> - -<p>The skins sold for this purpose are split sheepskins. Their extreme -thinness renders them liable to stretch a great deal, and therefore they -are most difficult to cut out in any desired shape. To obviate this -difficulty, the back of the leather is pasted over, and it is then -stretched on a board and fastened with drawing-pins to prevent it from -shrinking as it dries. But there is another and a better method—that of -mounting the leather on paper.</p> - -<h3>MOUNTING THE LEATHER ON PAPER</h3> - -<p>Some paste is made of very light and smooth flour, diluted with half the -quantity of water and beaten to a cream. The water is added in small -quantities while the mixture is being stirred. Canson paper, or some other -strong<!--063.png--><span class="pagenum"><a name="Page_46" id="Page_46">46</a></span> -drawing paper, is pasted over the whole surface of the leather, so -that it adheres lightly, and can be removed afterwards without difficulty; -it is then placed under boards and allowed to dry thoroughly.</p> - -<h3>TRACING THE DESIGN ON THE PAPER</h3> - -<p>The design is traced by means of carbon paper on the paper lining of the -inlay leather. A hard pencil should be used in order to produce very sharp -lines.</p> - -<h3>CUTTING OUT THE DESIGN</h3> - -<p>Cutting-out knives should possess a keen edge and a small blade, and -should be so shaped that they can be turned freely in any direction. The -knife illustrated in Fig. 21 combines all these qualities. It consists of -a very fine double-edged blade, set loosely into a slit in a hard wood -handle and secured with a few turns of thread; a piece of leather over the -whole (A) keeps the blade in its place. The handle being loose, it is -possible to give any minute movement to the blade, which can also be taken -out for sharpening when necessary. It must be kept as sharp as a razor. -The extreme fineness of this blade facilitates cutting out the delicate -parts of a design, but if handled too vigorously it is apt to get out of -shape. The second tool (Fig. 22) is a stencil-cutter’s knife, and is very -similar to the one described above except in size. It is usually sold -mounted in an ebony slide bound round with copper wire, but can with -advantage be mounted as in Fig. 21, in a split hard-wood handle.</p> - -<p>One little known tool deserves mention for its flexibility and lightness. -This is a small scraper shaped like an unslit pen, the blade widening from -the point in two very fine edges like the head of a pike. It is used by -photographers and miniature painters, and is sold by the dozen in small -boxes. When in use it is firmly fixed in a small pen-holder so that it -does not turn when pressed upon (Fig. 23).</p> - -<div class="figcenter" style="width: 394px;"><a id="fig_a"></a><a id="fig_21"></a><a id="fig_22"></a><a id="fig_23"></a> -<img src="images/i_064.png" width="394" height="625" -alt="" /> -<span class="caption"><span class="smcapac">CUTTING-OUT KNIVES</span>: (A), <span class="smcapac">FIG.</span> 21, <span class="smcapac">FIG.</span> 22, <span class="smcapac">FIG.</span> -23</span> -</div> - -<!--065.png--> - -<p><span class="pagenum"><a name="Page_48" id="Page_48">48</a></span></p> - -<p>The special knife illustrated in Fig. 17 is sometimes recommended, but it -is better adapted to cutting out thick skins for open-work decoration, as -the point of the blade is not sufficiently fine for use on thin leather.</p> - -<div class="figcenter" style="width: 370px;"><a id="fig_24"></a> -<img src="images/i_065.png" width="370" height="349" -alt="" /> -<span class="caption"><span class="smcapac">FIG.</span> 24.—<span class="smcapac">CUTTING OUT INLAY</span></span> -</div> - -<p>The leather to be cut out is placed on a sheet of the cardboard used in -mounting drawings, which is firm, but at the same time easily penetrated -by the point of the tool. The nature of the board on which the leather is -laid is important, for to ensure a clean cut, the tool, as it pierces the -leather, must not encounter a veined surface such as that of wood, which -might deflect the point. The three middle fingers of the left hand hold -the leather mounted on the paper upon the board, the thumb and little -finger supporting the whole underneath (Fig. 24). The -part<!--068.png--><span class="pagenum"><a name="Page_49" id="Page_49">49</a></span> -which is to be -cut is turned towards the knife by the left hand, the right hand being -held in a fixed position with the knife, slightly inclined to the right, -cutting the leather as it is presented by the other hand. The lines must -be cleanly cut in order that the subsequent operation of outlining may be -successfully accomplished. With every care in cutting out, it may -sometimes be found in detaching the cut portion that a small thread of the -leather remains unsevered. In this case it should be neatly cut through, -and on no account may it be pulled to make it give way, which would result -in spoiling the design by either tearing or stretching the leather. When -cutting out a design on a large scale it is not possible to hold the work -in the manner just described; a part of the design to be cut out is -therefore placed flat on a large sheet of cardboard on a smooth table and -can then be turned about as required under the point of the knife.</p> - -<div class="figcenter" style="width: 477px;"><a id="plate_9"></a> -<img src="images/i_066.png" width="477" height="443" -alt="" /> -<span class="caption">9. <span class="smcap">Cover of Case for a cup in wood covered with -leather, <i>cuir bouilli</i>, embossed, painted and gilt. Italian, about 1500.</span></span> -</div> - -<p>When the inlay is of white or very light leather, it is extremely -difficult to conceal any joins occurring in the middle of lines; care must -therefore be taken that there are as few joins as possible, and that they -are arranged at points where they will easily disappear in lines of the -design going in an opposite direction.</p> - -<p>The centre of the design should be cut out first, and then the outer -lines, reserving the more delicate parts, such as flower stems, for the -last.</p> - -<h3>PASTING THE INLAY ON THE GROUNDWORK</h3> - -<p>When the inlay is of a nature that does not require placing in any very -exact position, as for instance a spray of flowers, it will be sufficient -to lay it on the groundwork and mark the principal points. When it is to -occupy a definite position, forming the framework of a design, for -instance, it is laid upon the groundwork exactly in the right place and -then given a sharp turn in a -copying-press,<!--069.png--><span class="pagenum"><a name="Page_50" id="Page_50">50</a></span> -great care being taken that -it does not get displaced during the operation. Owing to the thickness of -the supporting paper, this will be sufficient to mark the outline of the -design on the groundwork. Some very smooth starch paste is then applied -with a flat brush on the exposed side of the cut out leather, care being -taken that every part, however small, is thoroughly pasted. To facilitate -this and to prevent the leather curling up when pasted, it should first be -fixed to a board with drawing-pins.</p> - -<p>The portion of the ground which is to receive the inlay is damped with a -soft sponge; the inlay is then placed in position and pressed down with -the palm of the hand, a modeller being used for the finer parts. If it -should become displaced, the greatest care must be used in correcting it. -With the small pincers used by artificial flower-makers, the minutest -pieces of leather can be taken up and replaced after being repasted, if -necessary.</p> - -<h3>SETTING IN THE INLAY</h3> - -<p>The next process is that of setting the inlay into the groundwork, so that -no relief remains. This is done with the help of a roller with a long -wooden handle held in both hands and pressed against the shoulder, as -illustrated in Fig. 25. The paper on which the inlay is pasted plays an -important part in this operation; the greater its thickness, the greater -will be the pressure attainable, and the deeper the penetration of the -inlay into the damp background.</p> - -<p>At first the roller is worked lightly with one hand only to ensure the -uniform adherence of the inlay, the movements being short, and repeated -several times over the same spot. When afterwards pressing heavily over -the whole surface, a piece of thin, tough paper between the roller and the -work will prevent the inlay from curling up, and the paper may be lifted -from time to time to see that nothing is out of place.</p> - -<!--070.png--> - -<p><span class="pagenum"><a name="Page_51" id="Page_51">51</a></span></p> - -<div class="figcenter" style="width: 381px;"><a id="fig_25"></a> -<img src="images/i_070.png" width="381" height="448" -alt="" /> -<span class="caption"><span class="smcapac">FIG.</span> 25.—<span class="smcapac">USING ROLLER TO SECURE ADHESION OF -INLAY</span></span> -</div> - -<p>When the work is not too large, it is easier and more effectual to use a -copying-press instead of a roller for this operation, which is then -carried out in the following manner: A piece of felt is laid in the press, -and over it a sheet of very smooth or nickelled zinc, or, failing this, of -<i>Carton Jacquart</i>. The work is then laid on it and covered with a second -sheet of nickelled zinc and some pasteboards. The press is screwed up as -tightly as possible.</p> - -<p>The work must not remain in the press, as if -allowed<!--071.png--><span class="pagenum"><a name="Page_52" id="Page_52">52</a></span> -to dry completely, -the subsequent removal of the paper pasted to the inlay would become -extremely difficult. To effect this removal, the paper is dabbed with a -damp sponge until it is ready to come off. A point of the pincers is -inserted underneath the paper which, if sufficiently soaked, should easily -come away when the tool is slid gently along. The paper, as it becomes -freed, should frequently be cut off with scissors to facilitate the -handling of the tool. The leather, being damp, may possibly become unstuck -and stretched during this process. It must then immediately be repasted -and replaced, and the stretched part reduced to its original size by -gently pushing it together with the modeller. Should it be found -impossible to reduce it thus, the part that is out of shape must be cut -off and joined on again. When the paper has been removed, the whole -surface is carefully washed over, wetting it as little as possible, so as -not to cause the mosaic to become unstuck. The work is then placed in the -press, or under boards, until it is perfectly dry.</p> - -<h3>OUTLINING THE MOSAIC</h3> - -<p>Outlining is the most delicate process in leather mosaic. When well -carried out it should be impossible to distinguish the line where the -inlay joins the groundwork. The extreme edge of the inlaid leather is -pressed into the groundwork by means of a tool invented by Mons. Aumaître, -producing a fine line the breadth of the edge of the tool selected. This -tool, called an outliner (Fig. 27), has two blunt ends, one rounded and -the other square, and is flat on one side and rounded on the other. The -rounded side of the tool affords extra pressure, and should therefore be -placed on the inner side of the line so that it serves to increase the -depression of the edge of the inlay. It is best to work the outline with -the cold tool first, and then to go over it again with the tool heated. -The -inlay<!--072.png--><span class="pagenum"><a name="Page_53" id="Page_53">53</a></span> -is lightly damped round the edges, and the round end of the -tool is placed half on the inlay and half on the groundwork. The tool is -held first inclined backwards (as in Fig. 26) and then brought with -pressure to a perpendicular position (Fig. 27). This will make a groove -into which the edge of the inlay will disappear. The square end of the -tool is used for straight lines. Great care must be taken in placing the -tool correctly; no portion of the inlay may protrude beyond the flat side -of the tool, as any particle of the edge, however minute, which is not -sunk in the groove would have to be cut off. If the edge of the inlay does -not extend up to the tool, the error is still more troublesome to correct, -more particularly when the leather is of a delicate colour, on account of -the difficulty of matching the exact shade for joining it.</p> - -<div class="figcenter" style="width: 337px;"><a id="fig_26"></a> -<img src="images/i_072.png" width="337" height="285" -alt="" /> -<span class="caption"><span class="smcapac">FIG.</span> 26.—<span class="smcapac">FIRST POSITION OF OUTLINING TOOL</span></span> -</div> - -<div class="figcenter" style="width: 375px;"><a id="fig_27"></a> -<img src="images/i_073.png" width="375" height="509" -alt="" /> -<span class="caption"><span class="smcapac">FIG.</span> 27.—<span class="smcapac">SECOND POSITION OF OUTLINING TOOL</span></span> -</div> - -<p>After this operation the edge of the outlining tool (Fig. 28) is inserted -in the groove thus formed, and worked with a short up and down movement. A -ruler will serve as a guide in working straight lines. The round side of -the tool -is<!--073.png--><span class="pagenum"><a name="Page_54" id="Page_54">54</a></span> -held slightly inclined towards the edge of the inlay. The -wheel illustrated in Fig. 29 may also be used, but requires great sureness -of hand for its successful manipulation. Gouge-shaped outlining tools with -curves of different degrees (Fig. 30) are useful for little curved lines -which are otherwise difficult to work; also the tool represented in Fig. -31, for the lettering on bookbindings, etc., where -the<!--075.png--><span class="pagenum"><a name="Page_56" id="Page_56">56</a></span> -lines require to -be sharply finished. It must, however, rest with the artist to select the -tools he considers most suitable for his work.</p> - -<div class="figcenter" style="width: 409px;"><a id="fig_28"></a><a id="fig_29"></a><a id="fig_30"></a><a id="fig_31"></a> -<img src="images/i_074.png" width="409" height="636" -alt="" /> -<span class="caption"> -<span class="smcapac">FIG.</span> 28.—<span class="smcapac">GOUGE OUTLINER.</span><br /> -<span class="smcapac">FIG.</span> 29.—<span class="smcapac">OUTLINING WHEEL.</span><br /> -<span class="smcapac">FIG.</span> 30.—<span class="smcapac">GOUGE OUTLINER.</span><br /> -<span class="smcapac">FIG.</span> 31.—<span class="smcapac">STRAIGHT OUTLINER.</span> -</span> -</div> - -<p>When the outline has been worked with the cold tool, a hot one is used to -go over it again to ensure perfect adhesion, and to give an attractive -brown tint to the lines. The end of the outliner is heated over a -spirit-lamp to a degree at which it can still be comfortably held in the -hand, and used as before. If the tool does not run smoothly, owing to the -elasticity of the edge of the inlaid leather, the latter may be lightly -damped with a brush. It will at first be found difficult to keep the tool -at the right heat. As a groundwork, calf with a smooth surface is more -sensitive to damage from an over-heated tool than split sheepskin. It is -useful to paste some of the inlay leather upon a spare piece of the -leather of the groundwork, with which to test the heat of the tool. If the -tool be too hot, it will burn and penetrate the leather without pressure. -It can be cooled to the desired temperature on a wet sponge.</p> - -<p>The next process in leather mosaic is that of colouring, which is dealt -with in Chapter IV. It then only remains to give the finishing touch to -the work by passing a polishing iron (Fig. 32) over the surface, to polish -it and make it perfectly even. The tool is heated by holding the part -which does not come in contact with the leather over the flame of a -spirit-lamp. The polished side should frequently be well rubbed on -flannel, and should any portion of its surface become dull, the polish can -be restored with fine emery paper. The polishing iron, when heated, is -held in the right hand and worked with little stroking movements, bringing -first the end and then, by lowering the handle, the back of its polished -surface in contact with the leather. The various positions of the tool -during this operation closely resemble those of a vessel when it is -pitching.</p> - -<!--076.png--> - -<div class="figcenter" style="width: 600px;"><a id="plate_10"></a> -<img src="images/i_076.png" width="600" height="467" -alt="" /> -<span class="caption">10. <span class="smcap">Cover of work-box of wood covered with -embossed leather, <i>cuir bouilli</i>. German, 16th Century.</span></span> -</div> - -<!--078.png--> - -<div class="figcenter" style="width: 315px;"><a id="plate_11"></a> -<img src="images/i_078.png" width="315" height="605" -alt="" /> -<span class="caption">11. <span class="smcap">Powder-flask of wood covered with leather, -<i>cuir bouilli</i>, cut and embossed. Italian, 16th Century.</span></span> -</div> - -<!--080.png--> - -<p><span class="pagenum"><a name="Page_57" id="Page_57">57</a></span></p> - -<h3>POLYCHROME MOSAIC</h3> - -<div class="figcenter" style="width: 365px;"><a id="fig_32"></a> -<img src="images/i_080.png" width="365" height="480" -alt="" /> -<span class="caption"><span class="smcapac">FIG.</span> 32.—<span class="smcapac">POLISHING MOSAIC</span></span> -</div> - -<p>This style of decoration consists of different coloured leathers arranged -upon a ground, and is the only one that can properly be called leather -mosaic. The work of marking it out is a lengthy one and demands scrupulous -exactitude. A finished design is first painted in water-colours and marked -with letters which are repeated -on<!--081.png--><span class="pagenum"><a name="Page_58" id="Page_58">58</a></span> -the pieces of coloured leather, so -that the exact place is indicated which they are to occupy in the design. -It is important in this style of mosaic to obtain a very correct tracing -of the design on the groundwork. On a smooth and light ground the -tracing-point lightly worked will be sufficient; when the ground is dark -or has a grained surface, red or white transfer paper should be used. The -most satisfactory method of marking the design is by impressing a stencil -of thick paper, but it cannot be employed with morocco leather for fear of -crushing the grain too much. A thick stencil, however, carefully used -without exerting great pressure, may give a sufficient result without -spoiling the grain.</p> - -<p>For polychrome mosaic on a smooth ground with an inlay of split sheepskin -pasted on Canson paper, the method already described for working mosaic of -one colour is the best, but at the same time the directions which are -given below for placing the differently coloured skins side by side in -position should be followed.</p> - -<h3>POLYCHROME MOSAIC ON A MOROCCO GROUNDWORK</h3> - -<p>Morocco leather for inlaying is thinned with the paring-knife, but it -cannot be reduced to the excessive thinness of split sheepskin. It -possesses, however, the advantage that the extreme edges may be made -thinner in proportion for laying one over the other at the point where -they meet.</p> - -<p>After it is pared, the back of the leather is pasted over and it is pinned -out on a board to dry. The different parts of the design to be inlaid are -then traced on the various coloured leathers, and cut out in the manner -already explained. The difficulty of placing the pieces exactly edge to -edge is so great that it is better to allow them to overlap very slightly, -but in order that this should not produce undue thickness at the point -where they join, the substance of the extreme edges must be -further<!--082.png--><span class="pagenum"><a name="Page_59" id="Page_59">59</a></span> -reduced with the paring-knife. A small margin is left for this purpose in -cutting out. Paring the edges to their thinnest possible substance will -give a slightly jagged outline, and the extra piece will thus more easily -merge into the join than if sharply cut. Outlining with the hot tool will -perfect the join.</p> - -<h3>PASTING THE INLAY ON A MOROCCO GROUNDWORK</h3> - -<p>To avoid crushing the grain of rough morocco, the tool illustrated in Fig. -33 is used instead of the roller to secure the adhesion of the inlay to -the groundwork, in order that the pressure may be applied only upon the -inlay. Damping the groundwork, except where the ornament is placed, should -be avoided. The tool is held pressed down with both hands as in Fig. 34, -and rubbed backwards and forwards. The work is then placed under boards.</p> - -<h3>MOSAIC ON MODELLED LEATHER</h3> - -<p>The remarks on paring leather for polychrome mosaic apply also to paring -the leather for covering a design in relief. An extra margin is left round -the edges, which are “slashed” with the tool, so that they may better -embrace the form of the modelling, the finer details of which are not -worked until afterwards. The leather is first placed dry in position over -the modelling, and smoothed over with a modeller, so that it takes the -form of the relief. It will then be seen how much should be cut from the -edges, so that it may exactly fit into the outline when it is pasted on.</p> - -<h3>INSERTED MOSAIC</h3> - -<p>This method of mosaic invented by Mons. Aumaître possesses the advantage -of being very durable, owing to the edges of the inlay being secured -between the two edges of the incision made in the groundwork. The outline -is<!--083.png--><span class="pagenum"><a name="Page_60" id="Page_60">60</a></span> -deeply cut in the groundwork, the incision well opened with the opener -and then filled with paste. The inlay is also pasted and the edges -inserted in the incision. A wheel or a large modeller is used to press -down the edges, and the outline is then gone over with a hot tool.</p> - -<div class="figcenter" style="width: 367px;"><a id="fig_33"></a><a id="fig_34"></a> -<img src="images/i_083.png" width="367" height="496" -alt="" /> -<span class="caption"><span class="smcapac">FIG.</span> 33, <span class="smcapac">FIG.</span> 34.—<span class="smcapac">STICKING INLAY ON MOROCCO -GROUND WITH TOOL (FIG. 33) INSTEAD OF ROLLER, TO AVOID CRUSHING THE GRAIN</span></span> -</div> - -<!--084.png--> - -<div class="figcenter" style="width: 512px;"><a id="plate_12"></a> -<img src="images/i_084.png" width="512" height="535" -alt="" /> -<span class="caption">12. <span class="smcap">Shield of cut and embossed leather, <i>cuir -bouilli</i>. Italian, 16th Century.</span></span> -</div> - -<!--086.png--> - -<p><span class="pagenum"><a name="Page_61" id="Page_61">61</a></span></p> - -<h3>MOSAIC IN RELIEF</h3> - -<p>The term mosaic is perhaps not very correctly applied to this style of -decoration, in which the shape of the design is indented, by pressure, on -the damp surface of the groundwork, and filled in with an inlay of -leathers thick enough to stand out in relief, and be subsequently carved. -A thin kind of -cowhide<a name="Anchor-8" id="Anchor-8"></a><a href="#Footnote-8" -class="fnanchor" title="Go to footnote 8.">[8]</a> -specially prepared for embossed work is used. -The design is traced upon it in the manner described for carved leather, -and a preliminary modelling is executed indicating the outlines and -veinings as strongly as possible. The high reliefs may be embossed and -lightly stuffed. This done, it is placed upon Bristol board, not less than -half the thickness of the leather itself, with a piece of red transfer -paper face downwards in between. The whole is firmly fixed upon a drawing -board so that nothing can get displaced, and the design is cut out with a -stencil-cutter’s knife (Fig. 22). If possible, both leather and Bristol -board should be cut through at the same time, but should the knife not -penetrate the latter sufficiently to cut it through, the outline will have -been marked on it by the transfer paper and it may be cut out separately. -The leather and the board must, however, be absolutely identical in shape -and very sharply cut. With the die thus formed by the Bristol board, the -morocco groundwork is depressed to receive the inlay. It is thoroughly -wetted and the water allowed to sink in. The board is then placed in the -exact position which the leather inlay is to occupy, and covered with a -very thick sheet of blotting-paper to protect the grain of the groundwork -from being crushed too much. The whole is well pressed in the -copying-press until the die has sufficiently entered into the leather. The -leather inlay should then be tried in the hollow thus produced, and -trimmed where necessary if it be too large. After pasting it thoroughly, -taking<!--087.png--><span class="pagenum"><a name="Page_62" id="Page_62">62</a></span> -care not to omit any small points, it is placed in position on the -groundwork and worked into the hollow with a modeller. The work is then -placed under boards to dry; a press would flatten the relief too much.</p> - -<div class="footnote"> - -<p><a name="Footnote-8" id="Footnote-8"></a><a class="label" title="Return to text." href="#Anchor-8">[8]</a> Kip-skins.</p></div> - -<p>When the paste is quite dry and the leather well stuck, the carving may be -proceeded with as described in Chapter II.</p> - -<p>Very characteristic effects are obtained by colouring leather worked in -this manner.</p> - -<h3>INCRUSTED MOSAIC</h3> - -<p>The following description of a style of decoration, called by Mons. -Belleville “incrusted -mosaic,”<a name="Anchor-9" id="Anchor-9"></a><a href="#Footnote-9" -class="fnanchor" title="Go to footnote 9.">[9]</a> -is derived from the valuable work of -that author, entitled <i>Le Cuir dans la Décoration Moderne</i>.</p> - -<div class="footnote"> - -<p><a name="Footnote-9" id="Footnote-9"></a><a class="label" title="Return to text." href="#Anchor-9">[9]</a> <i>Mosaïque par Incrustation.</i></p></div> - -<p>In incrusted mosaic the design is not cut out and applied on the -background, but the different pieces of coloured leather forming the -design and the leather of the background are placed side by side on the -same plane. When the ornament is simple and the background plain, the -design is traced on the groundwork, carefully cut out, and used as a -pattern for cutting out the piece destined to replace it; when the -ornament is to embrace the whole surface, the following method is -recommended: The design, drawn on paper and coloured, is fixed on a -drawing-board and over it is placed a sheet of transparent paper, or some -thin muslin carefully sized and stretched. An exact tracing of the design -is made on rather stiff paper, which is coloured or numbered to correspond -with the pieces of the different leathers which are to compose the mosaic. -The tracing is then cut out, separated, and the pieces pasted on the -corresponding leather, either with the face on the flesh side of the -leather, or the back on its surface. In the latter case it is very lightly -done, but if pasted on -the<!--088.png--><span class="pagenum"><a name="Page_63" id="Page_63">63</a></span> -flesh side it should be done securely, as it -will remain permanently. When all these pieces are cut out of the leather -they are pasted in their respective places on the design, and the whole -put in the press for about ten hours. If the work has been well executed, -the lines where the pieces of leather come together will be hardly -visible; the next step is to accentuate them and make them regular. This -may be done either with a heated wheel giving a smooth even line, which -may, if desired, be subsequently gilded, or by pyrogravure. Vigour and -character can be imparted to the outline by the use of the latter process, -and the darkened colour of the burnt line is made more brilliant by -polishing it with an agate burnisher. In either case the tool must be -worked accurately with its edge half on each side of the line. The main -advantage of the process of incrusted mosaic is that the grain of the -leather employed is better displayed than in inlaid mosaic. It is only -suitable for work on a large scale.</p> - -<hr class="chap" /> - -<!--089.png--> - -<p><span class="pagenum"><a name="Page_64" id="Page_64">64</a></span></p> - -<h2>CHAPTER IV</h2> - -<div class="c3">DYES, -PATINES<a name="Anchor-10" id="Anchor-10"></a><a href="#Footnote-10" -class="fnanchor" title="Go to footnote 10.">[10]</a> -AND GILDING</div> - -<div class="footnote"> - -<p><a name="Footnote-10" id="Footnote-10"></a><a class="label" title="Return to text." href="#Anchor-10">[10]</a> <i>Patine</i> represents a veneer, or wash of colour, applied on -the surface, or in the hollows of leather, to intensify its tone, or to -give artificial effects, such as those of verdigris, rust, or antiquity.</p></div> - -<p>Partly owing to its nature, and partly owing to the tanning process, -leather is susceptible to the action of the dyes used to colour it in -degrees varying according to their composition and penetration. We will -not attempt to enumerate all the dyes that may be employed or to describe -their composition. Excellent results can be obtained with ready made -preparations, and some brief remarks on the subject are all that is -necessary for the purpose of this work.</p> - -<p>Practical experience alone is a reliable guide in the selection of dyes, -as, whatever their base may be, they all vary greatly in use. It may be -remarked that there are many aniline dyes which are more durable than -vegetable ones, although there are others which merit their reputation for -instability. The colour of dyed leather cannot be expected to remain -unaffected by constant exposure to direct sunlight, but it should not -alter with ordinary -use.<a name="Anchor-11" id="Anchor-11"></a><a href="#Footnote-11" -class="fnanchor" title="Go to footnote 11.">[11]</a></p> - -<div class="footnote"> - -<p><a name="Footnote-11" id="Footnote-11"></a><a class="label" title="Return to text." href="#Anchor-11">[11]</a> See the remarks on Leather for Bookbinding in the Note at -the end of this volume.</p></div> - -<p>It is obvious that, in proportion as the colours sink into the leather, -they will lose in brilliancy, but on the other hand, this very absorption, -which allows colours to -be<!--092.png--><span class="pagenum"><a name="Page_65" id="Page_65">65</a></span> -superposed and appear translucent, gives a -depth rarely obtainable in materials of less capillarity.</p> - -<div class="figcenter" style="width: 700px;"><a id="plate_13"></a> -<img src="images/i_090.png" width="700" height="362" -alt="" /> -<span class="caption">13. <span class="smcap">Top of Casket covered with brown calf, cut and -slightly embossed. By Florence Hornblower. Modern English.</span></span> -</div> - -<p>The following notes are intended merely as a general indication of the -manner of treating the various substances used in colouring leather.</p> - -<p>The substance sold by druggists under the name of potassium is very -violent in its action and would burn the leather as well as the brushes -used to apply it. It should only be employed, and that very sparingly, for -such purposes as black lettering. Pearl-ash should be used in preference, -but also with great caution, or it will not only destroy the surface, but -rot the substance of the leather.</p> - -<p>Potash is soluble in water to saturation point, that is to say, a given -quantity of water will not dissolve more than a given quantity of potash.</p> - -<p>It is very difficult to measure the exact strength to use; that which is -barely sufficient to penetrate and colour a surface artificially made -smooth by rolling, will sink in where the leather has been cut or punched -and immediately darken it considerably. It is a good plan therefore to -experiment on a spare piece of the leather. Potash lye is more easily used -in the right proportion, and may be employed for staining very light -coloured leather.</p> - -<p>Soda has the same effect as potash, except that it is a little less -strong; both substances have always been much employed in dyeing skins. -Permanganate of potash is supposed to dye a mouse-grey colour, but it is -most uncertain in its action, as it depends entirely on the porosity of -the leather. Xanthin and catechol browns are pleasing in appearance, but -their effect is less rich than that obtained with potash. They become -improved by hard rubbing with encaustic.</p> - -<p>Sulphate of iron has a strong and persistent odour and is also somewhat -injurious. It is useful, however, and produces a colour varying from a -light shade to an -intense<!--093.png--><span class="pagenum"><a name="Page_66" id="Page_66">66</a></span> -violet black. When used over potash, a dead -black is obtained.</p> - -<h3>REDS</h3> - -<p>Alizarin, the colouring principle of madder, which can also be obtained -from coal-tar, is employed in many colour combinations and gives a fine -durable red. Hydrochloric acid changes it to violet. Carthamine and -cochineal also produce good reds; the latter is turned orange by the -action of hydrochloric acid.</p> - -<p>Hydrochloric acid turns ammoniacal cochineal pink, but merely discolours -the red made from archil. Direct extracts of red wood are unaffected by -it.</p> - -<p>The colouring matter of logwood, extracted by treating the powder obtained -from an aqueous decoction of the wood with spirit, is sold as hematoxylin. -Metallic salts convert it to a violet black, salts of tin change it to -pink, alkalis to blue, and acids to yellow. Durable pinks are obtained -directly from carthamine, the colouring matter of <i>Carthamus Tinctorius</i>.</p> - -<h3>YELLOWS</h3> - -<p>The base of most fine yellows is picric acid. The chromates of zinc and -baryta give very permanent yellows, which are particularly useful in -mixing greens.</p> - -<p>The vegetable yellows are less durable. They include turmeric, which is -especially fugitive, and quercitron; the former is turned red, and the -latter brown, by the action of hydrochloric acid.</p> - -<p>Orange tints are easily obtained by using red over yellow, first allowing -the yellow to dry completely; or they can be bought ready prepared with -alizarin. Mandarine and nasturtium tints can also be bought ready -prepared, or may be made by a mixture of vegetable colour, such as saffron -and arnotto.</p> - -<!--094.png--> - -<div class="figcenter" style="width: 447px;"><a id="plate_14"></a> -<img src="images/i_094.jpg" width="447" height="642" -alt="" /> -<span class="caption">14. <span class="smcap">Embossed and punched brown calf binding. -<i>Rubáiyát of Omar Khayyám.</i> Designed by Mary G. Houston. Modern English.</span></span> -</div> - -<!--096.png--> - -<p><span class="pagenum"><a name="Page_67" id="Page_67">67</a></span></p> - -<h3>BLUES</h3> - -<p>Good and durable blues are obtained from indigo and alizarin.</p> - -<h3>GREENS</h3> - -<p>Greens of every composition are fugitive, especially those sold ready -mixed. Better results are obtained by applying yellow and blue one over -the other than by the direct application of the colour, but when the range -of tints thus afforded is too restricted, recourse must be had to some of -the numerous dyes varying in tint from greenish yellow to deep olive. -Successive applications of sulphate of iron and picric yellow will produce -the latter colour, and a vegetable green, which, however, is not very -durable, is made from buckthorn berries.</p> - -<hr class="tb" /> - -<p>All the dyes which have been just enumerated, which form, however, but a -very small proportion of those in existence, are employed in dyeing -textiles. These materials have first to be treated with mordants such as -tannin, chrome or sumach, in order that they may take the dye, whereas -leather is already prepared to receive it by the tanning process.</p> - -<p>Ordinary water-colours based on glycerine or albumen can be used in the -decoration of leather, but are recommended only for colouring small parts -of a design, partly because liquid colour is more easily applied over -large surfaces, and partly because, being less transparent, they do not -lend themselves to the process of rubbing which plays so important a part -in <i>patine</i>. Oil or spirit colours, on the other hand, possess a -transparency which allows of their being used over a ground coloured with -a different medium. When the leather on which they are painted is undyed -it should first receive a coat of paste.</p> - -<p>Colours sold under the name of <i>patines grasses</i> will produce a groundwork -of great brilliancy, if well rubbed before they are quite dry.</p> - -<!--097.png--> - -<p><span class="pagenum"><a name="Page_68" id="Page_68">68</a></span></p> - -<p>The use of <i>gouache</i> should be limited to the hollow parts of incised or -punched leather.</p> - -<p>Gold and bronzes are also used with good effect.</p> - -<h3>DIFFERENT METHODS OF COLOURING LEATHER</h3> - -<p>Colours obtained from potash and sulphate of iron—dark green, dull red, -etc.—are much used for groundwork. Potash produces a warm brownish-red, -and tints, varying in colour from a pale to a dark slate grey, are -obtained with sulphate of iron. As already stated, a coating of picric -yellow over the latter will give a dull green.</p> - -<p>In colouring large surfaces, it is best to use soft sponges, or small pads -of cotton-wool covered with soft linen. The pads can be held by the edges -of the linen and the sponges may be mounted on handles, but the best -protection for the hands against staining is a pair of very soft rubber -gloves like those used by surgeons.</p> - -<p>The leather is first damped all over and the colour then applied in a -succession of even washes. Care must be taken not to unduly darken any -part of the leather by using too much colour, bearing in mind that -different parts of the skin will vary greatly in porosity. In colouring -groundwork with various superposed tints, the actual results are often -entirely different from those one has had reason to expect. So far as is -possible, in order to prevent this from happening, it is advisable not to -mix the colours of different makers on the same piece of work without -knowing their composition, or first experimenting with them on a spare -piece of the leather.</p> - -<p>A second colour should never be added until the underneath one is dry, or -a muddy effect will result. If the colour becomes too dark, or if the -second stain predominates unduly instead of merging into the underneath -one, the whole work, fixed firmly on a board, should be dipped in water -and scrubbed with a very soft brush and -some<!--098.png--><span class="pagenum"><a name="Page_69" id="Page_69">69</a></span> -soft soap. It should then be -allowed to dry in the sun. This method of making the colour lighter can -only be used when the ornament is not in relief; it has been found -particularly successful in treating potash and sulphate dyes.</p> - -<p>Ox-hide, light or fawn-coloured calf, pigskin and white morocco are -leathers suitable for colouring. They are, however, very absorbent, and -will require an application of paste before staining. This will also be -found indispensable in colouring the white split sheepskins used in -mosaic.</p> - -<p>In staining leather for mosaic, several successive applications of colour -will be required, especially in the case of greens which sink in quickly.</p> - -<p>In addition to plain dyeing, there are various methods of producing shaded -groundwork, marbling, sprinkling, etc.</p> - -<h3>SHADED GROUNDWORK</h3> - -<p>For shaded groundwork diluted colour is applied with a sponge or pad -worked over the leather with a circular movement, and the uniform tint -thus obtained is darkened as required by further applications with -stronger colour. In shading a ground from one colour to another, as for -example from dark olive to malachite green, orange red and pale yellow, -the edge of each colour, as it is put on, is covered with a piece of thick -paper, which must be firmly held in place, in order to prevent the colours -mixing where they come together.</p> - -<h3>MARBLING</h3> - -<p>A sponge with large holes is dipped in potash, sulphate of iron, or some -other deep coloured dye, and lightly applied over the surface of the -leather so that parts of it corresponding to the holes in the sponge are -left untouched; or the first application of colour may be made evenly over -the leather and the marbling worked, as described, in a second -application.<!--099.png--><span class="pagenum"><a name="Page_70" id="Page_70">70</a></span> -Many varieties of pattern can be obtained by moving the -sponge in different ways. Leather may be bought ready marbled by a -gelatine process.</p> - -<h3>TREE MARBLING</h3> - -<p>The leather is first lightly pasted over, and drops of water, more or less -large, are scattered upon it by jerking the handle of a small couch-grass -whisk full of water against the left wrist held a few inches from the -surface of the leather. A very little colour is then taken in the brush -and jerked in the same manner over the drops of water, with which it will -partially mix and give the effect of roots branching out in all -directions. Variety can be obtained by applying the water with a sponge -instead of the brush, and the colour in large drops over the whole or -certain parts only of the field, or by using dyes of different colours -which give curious effects in combining. After applying the dye, the -surplus moisture is absorbed with blotting-paper.</p> - -<p>The leather may be bleached to a light tint by means of an oil-paint brush -dipped in -decolorant<a name="Anchor-12" id="Anchor-12"></a><a href="#Footnote-12" -class="fnanchor" title="Go to footnote 12.">[12]</a>; -the bristles of the brush are pushed back with -the finger and when released jerk the acid in fine drops over the surface. -The leather must be freshly and thoroughly damped so that the outline of -the bleaching shades off into the ground.</p> - -<div class="footnote"> - -<p><a name="Footnote-12" id="Footnote-12"></a><a class="label" title="Return to text." href="#Anchor-12">[12]</a> See page <a href="#Page_71">71</a>.</p></div> - -<h3>SPRINKLING</h3> - -<p>Sprinkling is done with a rather close iron grating and a long narrow -brush like a plate-brush. The dye is prepared on a flat plate and the -brush dipped in it, the superfluous liquid being removed against the edge -of the plate. The brush is rubbed backwards and forwards on the grating -held horizontally a few inches above the leather over which it scatters a -fine shower of the dye. Should the colour froth on the grating, the brush -must at once be rubbed -upon<!--102.png--><span class="pagenum"><a name="Page_71" id="Page_71">71</a></span> -oiled paper. Sprinkling may also be done with -a vaporiser for fixing drawings, but it is difficult to get a sufficiently -fine shower so that the drops do not merge into each other.</p> - -<div class="figcenter" style="width: 416px;"><a id="plate_15"></a> -<img src="images/i_100.png" width="416" height="495" -alt="" /> -<span class="caption">15. <span class="smcap">Mirror Case of punched black leather, <i>cuir -bouilli</i>; executed by Miss Casella. Modern English.</span></span> -</div> - -<p>The above process is a useful one when parts of the leather are to be -“reserved,” i.e., to remain untouched by the dye. For this purpose a piece -of strong paper is cut to the shape of the part to be reserved and pasted -lightly to the leather during the process of sprinkling, after which it is -damped and removed. Another method is to paint the reserved parts with one -of the two preparations given by Mons. Belleville in <i>Le Cuir dans la -Décoration Moderne</i>, afterwards removing it with benzine or petroleum -spirit:—“Eighty parts of colophony, 4 of yellow wax, 6 of spermaceti, 4 -of tallow, 60 of spirit of turpentine and 10 of alcohol.”</p> - -<p>Or, “One hundred parts of virgin wax, and the same of castor oil, with 25 -of borax and 25 of copal varnish.”</p> - -<hr class="tb" /> - -<p>Instead of reserving the parts of the leather, the dye may be removed -subsequently by means of reagents called decolorants. Sulphuric, -hydrochloric, oxalic, nitric, or muriatic acid diluted with water in the -proportion of one in five, can be used for this purpose, but their effect -should first be tried on a spare piece of the leather, as it will vary -according to the nature of the dye on which they are used. It should be -noticed that, in mixing the acid, the right quantity of water must be -measured out and the acid carefully added drop by drop. If water is poured -into acid it causes an explosion.</p> - -<p>The outline is traced rather deeply on the leather, so that it is still -visible after the groundwork has been dyed. When the dye has sunk in, the -decolorant can be easily applied with a paint-brush. On modelled leather -dyed bronze green, a rag or piece of cotton-wool dipped in decolorant and -quickly passed over the relief, will lighten the colour and produce the -effect of bronze with the -exposed<!--103.png--><span class="pagenum"><a name="Page_72" id="Page_72">72</a></span> -parts rubbed lighter by use. Should the -effect of the acid be too strong, the colour may be again deepened by -washing the leather over with a yellowish gold stain, which will only take -effect on the relief, since it will merge into the darker colour of the -rest of the work. The same process may be employed on white calf with a -light olive dye to obtain the effect of old ivory. Even when much diluted, -however, the action of these acids must in the end be injurious to the -leather. They should be used with great care and never undiluted. Where -possible, washing the leather over afterwards with water will, to some -extent, diminish their harmful effect.</p> - -<p>Stencilling is another process by which portions of the leather forming -the ornament are reserved from the dye used in colouring the ground. The -design is cut out of a very thin sheet of copper or tin. A large -short-haired -brush<a name="Anchor-13" id="Anchor-13"></a><a href="#Footnote-13" -class="fnanchor" title="Go to footnote 13.">[13]</a> -is used to take the dye from a plate, or pad, and -is then rubbed very lightly over the stencil firmly fixed on the leather. -Only the parts unprotected by the stencil will take the colour. The brush -must not be too full or the dye would have a tendency to run under the -stencil. The most suitable dyes are glycerine inks and marking inks -containing nitrate of silver. A variety of colours may be mixed with -glycerine for this purpose. The ink thus obtained is transferred to a -cloth pad, such as is used by printers, from which the brush will only -take the required quantity.</p> - -<div class="footnote"> - -<p><a name="Footnote-13" id="Footnote-13"></a><a class="label" title="Return to text." href="#Anchor-13">[13]</a> <i>Pompon.</i></p></div> - -<p>When the leather is dry a lighter tint, transparent enough to allow the -stencilled design to be visible through it, may be washed over the whole. -Excellent effects of considerable richness can thus be produced. The depth -of colour is further increased by the process of rubbing, which is -necessary to the proper <i>patine</i> of leather. If done with wax, encaustic -or varnish, it is an effective protection for the surface of the leather -against deterioration from -outside<!--104.png--><span class="pagenum"><a name="Page_73" id="Page_73">73</a></span> -causes. With certain soft leathers, if -the colour has not sunk in deeply, rubbing with the finger alone will give -it great brilliancy; with other leathers the rubbing will produce an -effect in proportion to the degree of porosity of the skin. It should -always be done before the colour is dry, but not until it has penetrated -sufficiently into the leather not to return to the surface with the -pressure. The middle finger is used. A certain amount of polish can be -given to the leather by rubbing it only with the finger (moistened with a -little oil to allow it to slide easily), or, for a large surface, with the -side of the hand instead of the finger. When a medium is used, it is -applied with a circular movement by means of flannel or rag; a flannel -brush consisting of a series of little flannel rolls, which can be bought -at a surgical instrument-maker’s, is very useful for a large surface -requiring much rubbing. Pure wax, which must be softened in the hand to -make it spread evenly, encaustic and spirit varnish are all efficacious in -preserving the colour and increasing its transparency.</p> - -<p>Another method giving excellent results consists in applying opaque -colour, <i>gouache</i> or bronzes in the hollows of a design and removing the -surplus of the colour by rubbing. In this way an incised design can be -boldly outlined in light on a dark ground, and may afterwards be bleached -within the outlines if desired. After cutting the design on the leather, -the whole surface is washed over with potash or any other dark stain, a -coat of paste is then applied and immediately wiped off, so that some of -it only remains in the hollows. When the paste is dry, some rather liquid -<i>gouache</i> is washed over and run into the lines, any remaining on the -surface being removed by vigorous rubbing with a damp rag. The same -process may be applied to the hollows of punched leather. In using bronzes -or gold in powder, some spirit varnish or specially prepared varnish is -necessary to make them adhere. After applying the varnish, the surface is -wiped over to remove -all<!--105.png--><span class="pagenum"><a name="Page_74" id="Page_74">74</a></span> -except that which is deposited in the -interstices, and when this is sufficiently dry to hold the powder, the -latter is put on with a very soft, short-haired brush and adheres to the -varnish. The surface is then rubbed in the manner already described. All -powder colours do not mix equally well with varnish; green and blue -bronzes often change colour when brought in contact with it. Gold and -silver powder give good results, used either dry or mixed with gum on -shells. Chinese vermilion may also be employed with varnish, but other -colours are more suitable for this purpose when prepared in the form of -<i>gouache</i>.</p> - -<h3>GILDING</h3> - -<p>Special manipulation is required for gold leaf applied to the decoration -of leather. For gilding over a whole surface, as for instance an aureole -round the head of a saint, the following is the best method. Several -layers of starch paste are painted with a brush over the part of the -leather to be gilded, and followed when dry by a little gelatine paste. A -coating of some special preparation is then applied and allowed to dry to -the right condition to retain the gold leaf, which varies according to the -nature of the preparation; the degree of moisture can be tested with the -finger. Gold leaf is sold in small books and is exceedingly thin. A -flexible knife, like a palette knife, is used to manipulate it, and a -single leaf is laid on a cushion of deerskin stuffed with wadding, and cut -to the required size. It is then placed over the preparation on the -leather and lightly pressed down with a very soft, round, short-haired -brush.</p> - -<div class="figcenter" style="width: 433px;"><a id="plate_16"></a> -<img src="images/i_106.png" width="433" height="566" -alt="" /> -<span class="caption">16. <span class="smcap">Black Morocco binding with applied panels of -tooled, cut, painted and gilt calf. <i>Le Roman de Tristan et Iseut.</i> -Designed by Robert Engels. Modern French.</span></span> -</div> - -<p>For gilding with hot tools a specially prepared powder made of resin or -gum is used. This powder melts with the heat of the tool and causes the -gold leaf to adhere to the leather only where it comes in contact with the -parts of the tool cut in relief. The process is as follows: Some powder is -lightly spread over the part of the leather -to<!--108.png--><span class="pagenum"><a name="Page_75" id="Page_75">75</a></span> -be gilded and a piece of -gold leaf laid over it, the tool is heated sufficiently to melt the powder -without burning the leather and is carefully applied on the right spot, -the surplus gold being afterwards removed with the short brush. The tools -used by bookbinders are slightly convex, so that firm and even pressure of -the whole tool can be exerted by first inclining the handle towards the -gilder, and then raising it while still maintaining the pressure and -inclining it at the opposite angle.</p> - -<p>Gold can also be applied with a brush in the form of powder suspended in -liquid gum or spirit varnish. If it does not spread evenly, owing to there -being too much liquid in proportion to the powder, dry powder may be added -where necessary with a short brush when the liquid is almost dry.</p> - -<p>Shell gold is applied with a slightly damped brush and, when dry, may be -burnished with an agate or punch; the design of the punch will stand out -in bright gold on a ground of dull gold. The pressure of the wrist is -sufficient to work the punch and a hammer should not be used.</p> - -<hr class="tb" /> - -<p>There is an interesting field for the artist’s enterprise in the discovery -of new processes for the decoration of leather by means of colours and -bronzes. It is not possible within the limits of a single chapter to give -a complete list of the many methods that may be -employed.<a name="Anchor-14" id="Anchor-14"></a><a href="#Footnote-14" -class="fnanchor" title="Go to footnote 14.">[14]</a></p> - -<div class="footnote"> - -<p><a name="Footnote-14" id="Footnote-14"></a><a class="label" title="Return to text." href="#Anchor-14">[14]</a> As a conclusion to this chapter, the French edition quotes -from the <i>Bulletin de la Société de l’Encouragement pour l’Industrie -Nationale</i> some extracts from the <i>Report of the Committee on Leather for -Bookbinding</i>, published by the Society of Arts in London (1901), which -will be found in the Note at the end of this volume.</p></div> - -<hr class="chap" /> - -<!--109.png--> - -<p><span class="pagenum"><a name="Page_76" id="Page_76">76</a></span></p> - -<h2>CHAPTER V</h2> - -<div class="c3">THE CHOICE OF DESIGN AND COLOUR</div> - -<p>The present chapter is devoted to some remarks on colour combination and -the composition of ornament, based on the personal experience of the -author.</p> - -<p>Three colours, for the groundwork, ornament and high lights respectively, -will, in many cases, be found sufficient for a scheme of decoration. A -multitude of colours, worked in great detail on a relatively small -surface, confuse the eye and hinder it from grasping the effect of the -decoration as a whole. Only special styles of decoration, such as Moorish -geometrical patterns, allow of the use of a great variety of colours. The -circumstance already explained, that in leather decoration dyes may be -used one over the other, enables interesting effects to be produced.</p> - -<p>A design of sea, with seaweed and fish, can be effectively rendered -entirely with sulphate of iron of varying strength. A weak solution is -washed evenly over the whole; the waves are then drawn in with a flat -brush dipped in a stronger solution, and the dark outlines afterwards -bleached with acid where they border the first tint. The fish and seaweed -in relief are similarly treated with decolorant, and a light wash of -yellow over the whole completes an effective decoration.</p> - -<p>The foliage of the chestnut tree in autumn lends itself exceptionally well -to decorative treatment, both as regards form and colour. The large -variety of greens and yellows are most effective on a ground of brickdust -red.</p> - -<!--110.png--> - -<p><span class="pagenum"><a name="Page_77" id="Page_77">77</a></span></p> - -<p>A groundwork of soft grey, brightened by an underwash of very pale yellow, -is suitable for reserved or bleached designs. Deep carmine constitutes a -rich colour for groundwork, and is produced by using bright red over -potash and deepening the effect by rubbing.</p> - -<p>In planning a decoration, the artist has generally some special effect in -his mind which he wishes to reproduce. It is not unusual, however, for the -result to be totally different from what is anticipated, since uncertainty -constitutes one of the charms of the art of colouring leather. These -failures, as they may be considered from one point of view, often produce -interesting effects and sometimes lead to valuable discoveries.</p> - -<p>Marbled leather should be decorated with flat ornament only.</p> - -<p>Figures in high relief belong properly to the domain of the sculptor and -should be avoided in leather work, much of its individuality lying in the -value of the outline in producing an effect of relief.</p> - -<p>Some skilful artists produce in leather not only the relief, but the -turned over edges of petals, etc., and treat twisted ribbons in open-work; -the result, though pleasing, is essentially evanescent, owing to the -extreme fragility of the detached portions of the leather.</p> - -<p>Of all the uses to which leather work may be applied, none offer greater -scope to the inspiration of the artist than bookbinding. It has become the -fashion not only to provide a more or less rich covering for a beautiful -edition, but to suggest in its design the nature of the contents of the -volume, should these lend themselves to such treatment. The artist, -however, will do well to practise this principle with due restraint, -avoiding, on the one hand, what may be called anecdotal design, and, on -the other, an over subtle symbolism.</p> - -<p>Leather coffers, when well executed, constitute veritable works of art. -They present considerable difficulties -in<!--111.png--><span class="pagenum"><a name="Page_78" id="Page_78">78</a></span> -the mounting of the leather -over the wooden coffer so that the lines of the ornament come exactly in -the right place. It is necessary that the lines forming the framework of -the design should accurately correspond with the dimensions of the coffer -to be covered. A coffer usually consists of a box with a hinged lid; the -measure is taken by laying the leather round the whole; the leather is -then cut, leaving a small surplus at the edges to be pared and folded over -at the sides. The join should be arranged for at the lower border and not -at the intersection of the lid and the box. The leather at this point is -better left to be cut after it has been stuck on the wood in mounting.</p> - -<p>When the leather is decorated in mosaic and consists of panels each -enclosed within a patterned border, the probability of its stretching when -it is fixed on the wood, must be taken into consideration; Cape morocco, -however, if fairly thick will hardly stretch perceptibly.</p> - -<p>During the process of outlining the design, which is done before mounting -the leather on the wood, it should be stretched to its full extent on a -flat board.</p> - -<p>When the decoration is in relief, the padding should be very firm, so as -to counteract the tendency to stretch during the process of mounting.</p> - -<p>Generally speaking, designs based on naturalistic flowers do not give the -most satisfactory effects in the decoration of coffers, since the style is -not suited to the restricted size of the panels, even when the design -ignores them and extends beyond. Designs in the modern style, or Gothic -designs in the style of the fifteenth century, or those based on the -Arabic decoration of the best period, are much to be preferred; in the -last two styles punches used with a hammer will greatly assist in lowering -the groundwork, so that the design stands out in relief without the -necessity of stuffing it, as in embossed work. By introducing <i>gouache</i> or -bronzes into the impressions made with the punches, rich effects of colour -can be produced.</p> - -<!--112.png--> - -<div class="figcenter" style="width: 436px;"><a id="plate_17"></a> -<img src="images/i_112.jpg" width="436" height="654" -alt="" /> -<span class="caption">17. <span class="smcap">Binding of stained calf, cut, embossed, tooled -and <i>patinated</i> by Henri Godin. Modern French.</span></span> -</div> - -<!--114.png--> - -<p><span class="pagenum"><a name="Page_79" id="Page_79">79</a></span></p> - -<p>There are numerous other styles appropriate to the decoration of leather -coffers.</p> - -<p>In the decoration of large surfaces, such as the panels of wall-hangings, -the artist is cautioned against the abuse of detail, frequently the -stumbling-block of the beginner. He is recommended to exercise a wise -restraint in his composition, and to avail himself of the numerous -resources of the conventional art of the modern school more particularly -in their application to the ornamentation of large surfaces. Technical -efficiency in the use of the tools is essential and must be gained by -practice, but may be said to be second in importance to a thorough -knowledge of decorative design, which can be attained only by the -intelligent study of the best models. The education of the eye is a -considerable factor in the conventional interpretation of natural forms. -The artist cannot do better than to study the ancient Japanese school, -which has found such favour with the initiators of the so-called “Modern -Art,” and which affords the best examples of balance in design in its -rejection of unnecessary detail in the interpretation of natural forms. He -may also find inspiration in the fields of Egyptian and Assyrian art, in -the interlaced patterns of the disciples of St. Dunstan, and in the quaint -renderings of leaves and flowers in the hangings and brocades of the -Middle Ages.</p> - -<hr class="chap" /> - -<!--115.png--> - -<p><span class="pagenum"><a name="Page_80" id="Page_80">80</a></span></p> - -<h2>APPENDIX</h2> - -<div class="c3">LEATHER HANGINGS AND FURNITURE</div> - -<p>The origin of the use of decorated leather for hangings and furniture has -been the subject of much controversy. After consulting various books on -the subject, we believe, as already stated, that its introduction into -Spain may be attributed to the Moorish conquerors about the eighth -century. In an Arabian manuscript of the sixth century of the Mohammedan -era, mention is made of the industry as flourishing in the town of -Ghadames in the Sahara. Jehan de Garlande, author of a Latin dictionary -composed in 1080, mentions <i>Cordouans</i> first manufactured at Cordova in -the eleventh century. About the same time, the Monk Theophilus, in his -curious encyclopædia of the arts which unfortunately has not come down to -us in its complete form, gives the following description of the processes -of gilding leather:—</p> - -<div class="blockquot"> - -<p>“For laying on gold or silver, take the clear liquid of white of -egg beaten up without water, paint some with a brush over the -part which is to receive the gold or silver. Damping the end of -the same brush in your mouth, bring it in contact with a corner -of the cut leaf (of gold or silver). Then lifting it with -extreme rapidity, you lay it on the prepared place and spread it -with a dry brush. At this point you must take precautions -against a draught, you must hold your breath, for if you breathe -you will lose the leaf and find difficulty in recovering it. -When in position and dry you may, if you wish, put a second over -it in the same way, and then -a<!--116.png--><span class="pagenum"><a name="Page_81" id="Page_81">81</a></span> -third, if it is wanted, so as to -be able to give a more brilliant polish with a burnisher.</p> - -<p>“You can, if you wish, apply the leaf on a ceiling or a wall; in -the same manner, over a lining of tinfoil. If you have neither -gold nor silver, you will use tinfoil, which you will apply -thus....”<a name="Anchor-15" id="Anchor-15"></a><a href="#Footnote-15" -class="fnanchor" title="Go to footnote 15.">[15]</a></p></div> - -<div class="footnote"> - -<p><a name="Footnote-15" id="Footnote-15"></a><a class="label" title="Return to text." href="#Anchor-15">[15]</a> <i>Theophili Presbyteri et Monachi</i>, Libri 3 <i>seu Diversarum -artium schedula</i>. Chapter 24.</p></div> - -<p>Until the middle of the seventeenth century, hangings, and even carpets, -of decorated leather formed an important item in those inventories of -princely possessions which are such a reliable and inexhaustible source of -information for the historian of the sumptuary -arts.<a name="Anchor-16" id="Anchor-16"></a><a href="#Footnote-16" -class="fnanchor" title="Go to footnote 16.">[16]</a> -Princes and other -great personages depended largely on decorated leather and tapestries, -when moving from place to place, to supplement the often hastily -improvised decoration of their temporary apartments.</p> - -<div class="footnote"> - -<p><a name="Footnote-16" id="Footnote-16"></a><a class="label" title="Return to text." href="#Anchor-16">[16]</a> <i>Dictionnaire de l’Ameublement et de la Décoration depuis le -13me Siècle jusqu’à nos Jours</i>, by Henry Havard.</p></div> - -<p>The enumeration of all the different processes by which the leather was -ornamented would carry us beyond the limits of this appendix, and we will -confine ourselves to tracing in outline the development of the art of -working in leather as applied to hangings and furniture during the last -few centuries.</p> - -<p>First in order of time we find skins covered with hair, sewn together for -carpets or hangings; different kinds being placed side by side, either -irregularly, or alternately to form a pattern. We are not, however, here -concerned with anything but leather proper, that is to say, skins with the -hair removed, and this was first decorated by means of a hot tool. The -addition of colour speedily followed. Dark coloured leathers were also -sewn as borders on lighter ones, and polished metal ornaments were added -to brighten the leather groundwork, a fashion borrowed from the method of -joining and strengthening the accoutrements of war.</p> - -<!--117.png--> - -<p><span class="pagenum"><a name="Page_82" id="Page_82">82</a></span></p> - -<p>Little by little, as the custom spread of reproducing the human figure and -animals, attempts were made to carry out whole pictures on panels made of -leather sewn together with the seams hammered flat. But painted leather -was still generally of comparatively small dimensions, and it would seem -that these pictures were designed chiefly for the ornamentation of chests. -The leather was first stretched over wooden panels, several panels being -sometimes placed side by side. A special paste was used, the object of -which was to cause the leather to shrink when dry, so as to make the -panels adhere more closely together. The following description by the Monk -Theophilus of the paste used in his time for this sort of work may -interest the reader:—</p> - -<div class="blockquot"> - -<p>“Panels for altars or doors are made thus:—First join some -boards carefully one by one with the help of the joining tool -used by coopers or joiners. They must be fastened together with -cheese paste made in the following manner:—Some soft cow’s-milk -cheese is cut very thin and washed with hot water in a mortar -with a pestle, changing the water until it comes out clear. The -cheese after being pressed in the hand is put into cold water -until it hardens. It is then well crushed with a piece of wood -on a smooth wooden table. In this condition it is put back into -the mortar to be carefully pounded with the pestle, after having -added water mixed with quicklime till it becomes thick like a -sediment. Panels put together with this paste when dry, stick so -fast that neither damp nor heat can separate them. They must -then be made even with a special tool for this purpose. This -tool, curved and sharp on the inside, has two handles, so that -it may be used with both hands. It is used to level panels, -doors and shields until they are perfectly smooth. They are then -covered with untanned mule-skin or ox-hide, after it has been -wetted and the hairs scraped off. The water is partly squeezed -out, and while still damp it is stuck on with the cheese -paste.”<a name="Anchor-17" id="Anchor-17"></a><a href="#Footnote-17" -class="fnanchor" title="Go to footnote 17.">[17]</a></p></div> - -<div class="footnote"> - -<p><a name="Footnote-17" id="Footnote-17"></a><a class="label" title="Return to text." href="#Anchor-17">[17]</a> <i>Theophili Presbyteri et Monachi</i>, Libri 3 <i>seu Diversarum -artium schedula</i>. Chapter 17.</p></div> - -<!--118.png--> - -<div class="figcenter" style="width: 438px;"><a id="plate_18"></a> -<img src="images/i_118.png" width="438" height="547" -alt="" /> -<span class="caption">18. <span class="smcap">Gold-tooled and inlaid Morocco binding. <i>The -Letters of Princess Lieven.</i> By S. T. Prideaux. Modern English.</span></span> -</div> - -<!--120.png--> - -<p><span class="pagenum"><a name="Page_83" id="Page_83">83</a></span></p> - -<p>In the eleventh century we come to the first employment of gold leaf on -decorated leather, whence is derived the name, “or basané,” which it -afterwards received. The passage describing the process of gilding has -been quoted already (page <a href="#Page_80">80</a>), but each master of the art no doubt -introduced his own modifications.</p> - -<p>With the introduction of gold, leather decoration assumed a magnificence -and importance hitherto unknown. The heads of the saints were surrounded -with golden haloes, and the gold and silver embroideries of the sacerdotal -ornaments were carried out in those metals on the leather. A little later -the knights are represented clad in brilliant armour with plumed helmets. -The correct rendering of the heraldic colouring of the coats of arms -figuring on shield and target then necessitated the use of a more extended -range of oil colours, until, little by little, decorated leather grew to -resemble the paintings of Van Orley.</p> - -<p>Meanwhile, punches, cut in relief or in intaglio and used with a hammer, -were adopted to break the monotony of the groundwork and throw up the -relief of the ornament, and the fashion also arose of embossing leather -with a modelling tool or by means of stamps, the latter method necessarily -resulting in the substitution of repeating ornament for figures and -landscapes.</p> - -<p>Leather manufactured in Spain, Portugal, Flanders, and later in England is -almost always decorated in high relief with touches of gold, the design -being principally flowers, foliage, cupids, pomegranates, etc. Venice -alone remained faithful to flat decoration with hollowed or merely -darkened outline in the cameo-like medallions of classical scenes painted -on groundwork whose design was borrowed from the gorgeous stuffs of the -East.</p> - -<p>The fashion imported from Italy in the reign of Francis I of breaking up -surfaces with pilasters, cornices, medallions and ornaments in relief, was -instrumental in -adding<!--121.png--><span class="pagenum"><a name="Page_84" id="Page_84">84</a></span> -importance to small painted designs on leather -rather than to hangings properly so called. Some of these leather -paintings were like pictures and were used not only for wall decoration, -but as hangings for beds and even as bedspreads of state. The custom of -thus decorating beds lasted a long time. Pierre Bénard, an upholsterer by -trade, established in Paris, and author of a collection of songs dedicated -to the “Vertueuse Royne Marguerite,” first wife of Henri IV, refers to the -use of “or basané” in this manner as an evidence of wealth.</p> - -<p>Already under Catherine de Médicis, decorated leather had become extremely -popular, and was preferred to all other hangings for the embellishment of -apartments; its popularity lost nothing under the second wife of Henry IV, -in whose native country this style of decoration was also held in great -favour. In the reign of Louis XIII the influence of Anne of Austria -brought Spanish leather again into fashion. From that time also, leather -gilt or stamped in its natural colour and ornamented with copper nails -(probably inspired by the marriage chests with their curious studded -ornament) was found in the mansions of the great and became the principal -material for covering chairs.</p> - -<p>The grandiose style of architecture of the time of Louis XIV called for -the decoration of spaces framed in gorgeous pilasters and was favourable -to the application of decorated leather in the style of Bérain. But this -did not long remain popular, and leather was replaced by Gobelin and other -tapestries made in France, whose introduction gave the deathblow to the -manufacture of leather hangings.</p> - -<p>From this period till the present day the art of gilding leather has been -on the decline. Of this no further proof is needed than the following -preface written in 1762 by Fougeroux de Boudaroy, who had been -commissioned by the Academy to take over the work of research, previously -conducted by Réaumur, on the subject of leather hangings:<!--122.png-->—</p> - -<div class="figcenter" style="width: 451px;"><a id="plate_19"></a> -<img src="images/i_122.png" width="451" height="633" -alt="" /> -<span class="caption">19. <span class="smcap">Back and Seat of Chair in cut, embossed and -gilt cowhide with punched background. Executed by Rosalie Vigers from a -design by Frederick Vigers. Modern English.</span></span> -</div> - -<!--124.png--> - -<p><span class="pagenum"><a name="Page_85" id="Page_85">85</a></span></p> - -<div class="blockquot"> - -<p>“Flanders, Holland and England are reputed to have furnished the -first gilt or silvered leather hangings seen in Paris. Some -attribute their invention to Spain, but without apparent reason, -since to-day there are in France no such hangings of Spanish -manufacture, nor are they much known in that country. The gilt -leather hangings which come to us from Flanders are nearly all -made at Lille, Brussels, Antwerp and Mechlin; those derived from -the last-named place are the most prized of all. Some very fine -ones which we have attempted to imitate are made in Venice; -manufactures were also started at Lyons and met with success.</p> - -<p>“It was only about two centuries ago that this trade was -established in Paris. We owe it to some Flemish workmen who -settled in the capital and left successors there. But on account -of the nation’s prejudice in favour of all that comes from -abroad, the hangings from Holland and Flanders were always -preferred to those of our own manufacture, although they did not -surpass the latter in quality or in beauty.</p> - -<p>“Though equalling those of Holland and Flanders, it was not -possible to find a sale for our hangings unless they were passed -off as having been made in one or other of those provinces, and -this was frequently done by our manufacturers. It must, however, -be admitted that certain gilt leather hangings from England and -Venice have never been equalled here. We are forced to allow -their superiority in brilliancy, beauty of design and -durability. Perhaps all that our workmen needed to be able to -imitate them perfectly was to feel the assurance of greater -constancy in our tastes, and to witness the cessation of that -affection and preference for everything foreign, which might -lead to the more favourable treatment of the native industry.</p> - -<p>“Gilt leather hangings were at one time much sought after. Their -qualities of being, unlike woollen and other materials, -unaffected by damp and insects, of retaining their brilliancy -unimpaired by time, of not attracting dust, and of allowing it -to be easily removed by washing with a sponge, and finally, of -not lending themselves to the multiplication of the insects -which in summer infest the capital and which find in other -tapestries convenient nests for depositing their eggs, were all -advantages, forming so many reasons for their being in demand -and gaining for them a place in the apartments of the -great,<!--125.png--><span class="pagenum"><a name="Page_86" id="Page_86">86</a></span> -of -which they frequently constituted the ornament. But to-day, a -change of taste and the dictates of fashion which outweighs even -the advantages and conveniences of life, have caused them to be -almost forgotten and relegated them to the ante-rooms of a few -county houses where some of the earliest are to be found, nearly -as beautiful as when they were first made in Paris.</p> - -<p>“Now that the art is less in vogue, we think it a suitable time -to describe it to the public, thus following the intention of -the Academy of allowing nothing to be lost that may now or -hereafter be useful to the cause of art. We may at any time be -desirous of returning to these older fashions, no longer being -able to vary them, and this may be among those destined to -return to favour. At any rate, it will be agreed that some of -its processes merit description, and might find their -application in other arts and help in bringing them to -perfection.”</p></div> - -<div class="figcenter" style="width: 446px;"><a id="plate_20"></a> -<img src="images/i_126.png" width="446" height="670" -alt="" /> -<span class="caption">20. <span class="smcap">Embossed calf binding. <i>Book of Common -Prayer.</i> Executed by Rosalie Vigers from a design by Frederick Vigers. -Modern English.</span></span> -</div> - -<p>The same author describes minutely and very clearly the various processes -in use at the time for gilding or silvering leather. Instead of -silver-gilt, which is necessarily very costly, he recommends silver leaf -burnished and covered with a varnish, for which he gives the following -recipe, found by him, as he modestly acknowledges, among the papers of -Mons. de Réaumur:—</p> - -<div class="blockquot"> - -<p>“Take four and a half pounds of colophony, the same quantity of -ordinary resin, two and a half pounds of sandarach and two of -aloes; mix these four drugs together, after having broken up -those which are in large pieces, and put them in an earthen pot -on a good charcoal fire. It is better for the fire to be of -charcoal, because it makes but little flame, which would be -dangerous if it should enter the vessel, as the ingredients are -very inflammable. To guard against this accident and others of -which we will speak later on, the vessel must be chosen large -enough not to be more than half-filled by the drugs already -mentioned and the others yet to be added, as will presently be -explained. It is well also for it to widen out at the top, or to -have a rim that will project the flame outwards. These are small -precautions which it is always better to take; some, however, -neglect them, -and<!--128.png--><span class="pagenum"><a name="Page_87" id="Page_87">87</a></span> -make their varnish on a wood fire, and then -double attention must be given to prevent the drugs igniting.</p> - -<p>“Melt all these drugs in the pot and stir them with a spatula so -that they mix together and do not stick to the bottom. When they -are well melted, pour in seven pints of linseed oil and mix it -with the drugs, using the spatula. Cook the whole, stirring it -from time to time to prevent as much as possible a kind of -sediment which forms and does not mix with the oil from sticking -to the bottom of the vessel. When the varnish is cooked, pass it -through a cloth or strainer.</p> - -<p>“This quantity of varnish should, according to workmen, remain -seven to eight hours on the fire to cook, but this cannot be -regarded as an invariable rule. It will not take so long to cook -on a large fire. A better test used by workmen in manufacturing -varnish is to take a few drops of the liquid with the spatula -and lay it over silver leaf on some leather; or else they take -some of the varnish in a silver spoon and, by trying it with the -finger tip as if it were syrup, find out if it is cooked enough. -If it ropes in cooling, or if the finger has a tendency to stick -when it is gently withdrawn, it is a sign that it is -sufficiently cooked, that is to say that it has arrived at the -consistency of a thickish syrup. The varnish is then brown in -colour, and curiously enough when laid over silver it becomes -transparent and gives the effect of brilliant gold.”</p></div> - -<p>While on the subject of gold groundwork made with gold or silver leaf or -tin-foil covered with varnish to imitate the colour of gold, it is curious -to note how far back in the history of art its origin can be traced; after -the Greeks, the Byzantines made use of and, it may also be said, abused -it. This want of moderation in the use of gold is to be met with long -afterwards, for it is mentioned in his book on painting by L. Benedetto -Alberti who died in Rome in -1472.<a name="Anchor-18" id="Anchor-18"></a><a href="#Footnote-18" -class="fnanchor" title="Go to footnote 18.">[18]</a></p> - -<div class="footnote"> - -<p><a name="Footnote-18" id="Footnote-18"></a><a class="label" title="Return to text." href="#Anchor-18">[18]</a> <i>Sunt qui auro immodice utantur, quam aurum putent historiæ -affere majestatem.</i> L. B. Alberti, <i>De Pictura</i>, Book 2, page 25, <i>ad -finem Vitruv. Elzevir. f.</i></p></div> - -<p>Van Orley, Raphael’s pupil, when painting his -“Last<!--129.png--><span class="pagenum"><a name="Page_88" id="Page_88">88</a></span> -Judgment” at Antwerp, -had his panel gilt in order to obtain “a beautiful -transparency.”<a name="Anchor-19" id="Anchor-19"></a><a href="#Footnote-19" -class="fnanchor" title="Go to footnote 19.">[19]</a></p> - -<div class="footnote"> - -<p><a name="Footnote-19" id="Footnote-19"></a><a class="label" title="Return to text." href="#Anchor-19">[19]</a> Decamps. <i>Vie des peintres flamands.</i> Paris, 1753, 4 vols. -Vol. 1, page 39.</p></div> - -<p>We have quoted above the formula for golden varnish given by Fougeroux de -Boudaroy which he ascribes to Réaumur. It may be found interesting to -compare with it that given by the Monk Theophilus in his <i>Diversarum -Artium Schedula</i>:—</p> - -<div class="blockquot"> - -<p>“Put some linseed oil in a small new pot; add some gum arabic -called <i>fornis</i> pounded very fine; this gum is like very light -incense, but is more brilliant when broken up. Place it on a -charcoal fire and cook it carefully without allowing it to boil, -until it is reduced by one third. Be very careful of flames, for -they are very dangerous, and the preparation is difficult to -extinguish if it once catches fire. Any painting coated with -this varnish becomes brilliant, beautiful and perfectly -lasting....</p> - -<p>“Another method. Arrange three or four stones which will stand -the fire without breaking, or bricks may be used instead. On -these place a new pot, pour into it some <i>fornis</i> mentioned -above, called by the Romans “glossa,” otherwise gum arabic. Over -the opening of the pot, put a smaller one having a little hole -at the bottom; fill in with clay so that no space remains -between them. Carefully light a fire underneath the apparatus -until the gum liquefies. You will also have a thin tool with a -handle which will serve to stir the gum and to find out the -exact moment when it becomes perfectly liquid. Have a third pot -on charcoal by you in which there is hot linseed oil; when the -gum is quite liquid, so that a thread of it hangs from the tool -when it is withdrawn, pour in the hot oil, stir with the tool, -and, when in this condition, cook all together without letting -it boil, take out the tool from time to time and spread a little -of the mixture on wood or stone to try its density. With regard -to the proportion, be careful that there are two thirds of oil -to one of gum. When it is cooked according to your judgment, -take it off the fire and, covering it with care, let it cool.</p> - -<!--130.png--> - -<p><span class="pagenum"><a name="Page_89" id="Page_89">89</a></span></p> - -<p>“<i>Of the Method of Colouring Tinfoil to give it the Appearance -of being Gilt, so that it may be used when Gold cannot be had.</i></p> - -<p>“Place the pieces (of tinfoil) side by side on the board, fasten -them one by one to the wood with wax, so that they cannot get -displaced, spread over them with the hand a coating of the -varnish described above, and let them dry in the sun. After that -take some sticks of rotten wood cut in April, slit in half and -smoke dried. Peel off the outer bark and the second, which is -the colour of saffron; scrape it into a clean vessel, adding to -it a fifth part of saffron, macerate it well in old wine or ale; -after letting it stand during the night, make it lukewarm the -next morning. When in this condition, dip in the sheets of -tinfoil one by one, frequently taking them out until you find -them assume a golden shade, when you will again fix them on the -wooden board and apply a coat of varnish as before; when dry you -will have sheets of tinfoil that you can use as you wish in your -work....”<a name="Anchor-20" id="Anchor-20"></a><a href="#Footnote-20" -class="fnanchor" title="Go to footnote 20.">[20]</a></p></div> - -<div class="footnote"> - -<p><a name="Footnote-20" id="Footnote-20"></a><a class="label" title="Return to text." href="#Anchor-20">[20]</a> <i>Diversarum artium schedula</i>, Book 1. Chapters 21 and 36.</p></div> - -<p>Although it may not be possible for an amateur, incompletely equipped with -the necessary implements, to reproduce the marvellous work of a byegone -age, there are still many methods of decoration for him to attempt which -will be equally attractive in modern surroundings.</p> - -<hr class="chap" /> - -<!--131.png--> - -<p><span class="pagenum"><a name="Page_90" id="Page_90">90</a></span></p> - -<h2>NOTE</h2> - -<div class="c3">SOME EXTRACTS FROM THE REPORT OF THE COMMITTEE ON<br /> -LEATHER FOR BOOKBINDING, APPOINTED BY THE COUNCIL<br /> -OF THE SOCIETY OF ARTS, FEBRUARY, 1900.</div> - -<p>“This Committee met for the first time on May 3, 1900.... Its first step -was to appoint two Sub-Committees from amongst its members. The first of -these was to visit a selected number of libraries, and to ascertain the -comparative durability of the various bookbinding leathers used at -different periods and preserved under different conditions.... The second -... was appointed to deal with the scientific side of the matter, to -ascertain the cause of any deterioration noticed, and, if possible, to -suggest methods for its prevention in the future....</p> - -<p>“The first step taken by the (first) Sub-Committee was to visit a number -of libraries, including that of the British Museum, the Bodleian Library, -Oxford, the University Library, Cambridge, the libraries of the Athenæum -Club, of the Patent Office and of the Chemical Society, also the valuable -private library of Mr. Huth....</p> - -<p>“As regards the common belief that modern binding leather does decay -prematurely, the Sub-Committee satisfied themselves that books bound -during the last eighty or hundred years showed far greater evidence of -deterioration than those of an earlier date. Many recent bindings showed -evidence of decay after so short a period as ten, or even five years. The -Sub-Committee came to the conclusion that there is ample justification for -the general complaint that modern leather is not so durable as that -formerly used. To fix the date of the commencement of this deterioration -was a difficult matter; but they came to the conclusion that while -leather<!--132.png--><span class="pagenum">91</span> -of all periods showed some signs of decay, the deterioration becomes more -general on books bound after 1830, while some leathers seem to be -generally good until about 1860, after which date nearly all leathers seem -to get worse. The deterioration of calf bindings at the latter end of the -nineteenth century may be attributed as much to the excessive thinness as -to the poor quality of the material.</p> - -<p>“With regard to the conditions under which books are kept, ventilation, -lighting, heating, etc., the Committee were satisfied that in libraries -where there was no artificial light used, and where the ventilation was -good, the bindings were generally in a better state than elsewhere. Where -gas is used the bindings are in the worst state noticed, especially on the -higher shelves.... Daylight and still more direct sunlight, has a -disintegrating effect on leather....</p> - -<p>“As to the suitability of various leathers, the Sub-Committee came to the -conclusion that of the old leathers (fifteenth and sixteenth century), -white pigskin, probably alum tanned, is the most durable, but its -excessive hardness and want of flexibility renders this leather unsuitable -for most modern work. Old brown calf has lasted fairly well, but loses its -flexibility, and becomes stiff and brittle when exposed to light and air. -Some of the white tawed skins of the fifteenth and sixteenth century, -other than white pigskin, and probably deerskin, have lasted very well. -Some fifteenth and sixteenth century sheepskin bindings have remained soft -and flexible, but the surface is soft and usually much damaged by -friction. Vellum seems to have lasted fairly well, but is easily -influenced by atmospheric changes, and is much affected by light. Early -specimens of red morocco from the sixteenth to the end of the eighteenth -century were found in good condition, and of all the leathers noticed, -this seems to be the least affected by the various conditions to which it -had been subjected. In the opinion of the Committee, most of this leather -has been tanned with sumach or some closely allied tanning material. -Morocco bindings earlier than 1860 were generally found to be in fairly -good condition, but morocco after that date seems to be much less -reliable, and in many cases has become utterly rotten. During the latter -part of the eighteenth century it became customary to pare down calf until -it was as thin as paper. Since about 1830 hardly any really sound calf -seems<!--133.png--><span class="pagenum">92</span> -to have been used, as, whether thick or thin, it appears generally -to have perished. Sheepskin bindings of the early part of the century are -many of them still in good condition. Since about 1860 sheepskin as -sheepskin is hardly to be found. Sheepskins are grained in imitation of -other leathers and these imitation-grained leathers are generally found to -be in a worse condition than any of the other bindings, except, perhaps, -some of the very thin calf skin. Undyed modern pigskin seems to last well, -but some coloured pigskin bindings had entirely perished. Modern leathers -dyed with the aid of sulphuric acid are all to be condemned. In nearly -every case Russia leather was found to have become rotten, at least in -bindings of the last fifty years....</p> - -<p>“The work of the second Sub-Committee, which was composed of chemists -specially conversant with the treatment of leather, was directed specially -to the elucidation of the following points; an investigation of the nature -of the decay of leather used for bookbinding; an examination of the causes -which produced this decay; a research into the best methods of preparing -leather for bookbinding; and a consideration of the points required to be -dealt with in the preservation of books....</p> - -<p>“The Sub-Committee made a number of tests and analyses of samples of -decayed leather bookbindings, as well as of leathers used for binding. The -Committee found that the most prevalent decay was what they termed a red -decay, and this they think may be differentiated into old and new, the old -red decay being noticeable up to about 1830, and the new decay since that -date. In the old decay the leather becomes hard and brittle, the surface -not being easily abraded by friction. The older form is specially noticed -in calf-bound books, tanned presumably with oak bark. The new form affects -nearly all leathers, and, in extreme cases, seems absolutely to destroy -the fibres. Another form of deterioration, more noticeable in the newer -books, renders the grain of the leather liable to peel off when exposed to -the slightest friction. This is the most common form of decay noted in the -most recent leathers. In nearly all samples of Russia leather, a very -violent form of red decay was noticed. In many cases the leather was found -to be absolutely rotten in all parts exposed to light and air....</p> - -<p>“An extensive series of experiments was carried out with -a<!--134.png--><span class="pagenum">93</span> -view of -determining the causes of the decay of bindings. The Sub-Committee find -that this is caused by both mechanical and by chemical influences. Of the -latter some are due to the mistakes of the leather manufacturer and the -bookbinder, others to the want of ventilation, and to improper heating and -lighting of libraries. In some cases inferior leathers are finished (by -methods in themselves injurious) so as to imitate the better class -leathers, and of course, where these are used, durability cannot be -expected. But in the main, the injury for which the manufacturer and the -bookbinder are responsible must be attributed rather to ignorance of the -effect of the means employed to give the leather the outward qualities -required for binding, than to the intentional production of an inferior -article....</p> - -<hr class="tb" /> - -<p>“We are of opinion that no special skin can be condemned in its original -condition, although goat, seal, pig, and calf are probably superior in -strength of texture to sheep. Sheepskins are, however, equally resistant -to chemical agencies, and being naturally soft and flexible, are extremely -suitable for use for purposes where they are not much exposed to -mechanical wear.</p> - -<p>“Fresh market skins, dry skins, or wet salted skins are much to be -preferred to those known as ‘drysalted,’ since the crystallization of the -salt which takes place in the drysalting process, tends to weaken the -structural fibre of the pelt. No tainted or putrefied skins, even if only -slightly affected, are suitable for the manufacture of bookbinding -leather, both for the same reason, and because the weakness of grain so -produced leads to uneven dyeing.</p> - -<p>“In the soaking of skins we would strongly condemn the use of old putrid -soaks, or the addition of salt to the soaks to assist in the softening, as -both methods weaken the skin. ... Violent mechanical treatment such as -‘stocking’ is injurious....</p> - -<p>“The liming should be done in mellow, weak limes. Old limes smelling -strongly of ammonia, and containing large quantities of bacteriological -products, must be avoided....</p> - -<p>“Special care should be taken with regard to the beamhouse work after -unhairing and fleshing, as, by excessive or unsound puering and drenching -of the skins, their -whole<!--135.png--><span class="pagenum">94</span> -natural strength is frequently destroyed.... -Great damage is frequently caused by the use of foul puers or foul bates, -in which putrefaction has taken place.</p> - -<p>“Pure sumach is the tannage we would most strongly recommend for high -class bookbinding....</p> - -<p>“The tannage of bookbinding leathers must be a mellow one, and must not be -carried too far, as we have found in many cases the cause of decay in -tanned leather has been the fact that the leather was overloaded with -tannin. Tanning has throughout a hardening effect on the leather fibre, -which, if pushed too far, ends in brittleness and loss of tenacity....</p> - -<p>“We must absolutely condemn the use of any but mild vegetable acids in -souring or scouring the leather, or in the dye bath, and as far as -possible would avoid the use of acids and alkalis on tanned leather, both -being equally injurious.</p> - -<p>“It has been shown by careful experiment, that even a minute quantity of -sulphuric acid used in the dye bath to liberate the colour, is at once -absorbed by the leather, and that no amount of subsequent washing will -remove it. In a very large proportion of cases, the decay of modern -sumach-tanned leather has been due to the sulphuric acid used in the dye -bath, and retained in the skin....</p> - -<p>“We ... advise that the glazing of skins by friction in a damp ‘seasoned’ -condition should be avoided.</p> - -<p>“The use of nitric acid as a preparation for glazing is absolutely -destructive....</p> - -<p>“The use of oxalic acid for washing backs of books, or of leather for -bookbinding, is fatal to their durability....</p> - -<p>“The sprinkling of leather with ferrous sulphate (green vitriol), either -for the production of ‘sprinkled’ calf or ‘tree’ calf, must be most -strongly condemned, as the iron combines with and destroys the tan in the -leather, and free sulphuric acid is liberated which is still more -destructive....</p> - -<p>“The stretching of leather tightly over books in a wet condition ... -should be strongly condemned....</p> - -<p>“It is shown conclusively that the catechol tannins, which include turwar, -quebracho, hemlock and larch barks, and gambier, are unsuitable for -bookbinding leathers where durability is expected, and that sumach yields -a much more permanent leather, while myrobalans occupy an intermediate -place, but nearly approaching sumach. It is -unfortunate<!--136.png--><span class="pagenum"><a name="Page_95" id="Page_95">95</a></span> -that cassia bark, -which is the tanning material employed for East Indian sheep and goat -skins, should have proved so unreliable, since these leathers have been -largely used in bookbinding without suspicion, and are in other respects a -cheap and good article. With regard to sumach leathers themselves, it is -possible that some of the darkening noticed may be due to the presence of -adulterants, such as pistacia leaves, in the sumach used, as it is almost -impracticable to obtain absolutely pure sumach, and the pistacia tannin is -allied to that of the cassia.</p> - -<p>“Of all the influences to which books are exposed in libraries, gas -fumes—no doubt because of the sulphuric and sulphurous acid which they -contain—are shown to be the most injurious, but light and especially -direct sunlight and hot air, are shown to possess deleterious influences -which had scarcely been suspected previously, and the importance of -moderate temperature and thorough ventilation of libraries cannot be too -much insisted on.”</p> - -<hr class="chap" /> - -<!--137.png--> - -<p><span class="pagenum"><a name="Page_96" id="Page_96">96</a></span></p> - -<h2>INDEX</h2> - -<dl class="index"> -<dt>Absorbent leather: colouring, <a href="#Page_69">69</a></dt> - -<dt>Acid</dt> - <dd>: hydrochloric, <a href="#Page_30">30</a>, <a href="#Page_66">66</a>, <a href="#Page_71">71</a></dd> - <dd>: muriatic, <a href="#Page_71">71</a></dd> - <dd>: nitric, <a href="#Page_71">71</a></dd> - <dd>: oxalic, <a href="#Page_71">71</a></dd> - <dd>: picric, <a href="#Page_66">66</a>, <a href="#Page_67">67</a>, <a href="#Page_68">68</a></dd> - <dd>: sulphuric, <a href="#Page_71">71</a></dd> - -<dt>Acids, <a href="#Page_66">66</a></dt> - <dd>as decolorants, <a href="#Page_71">71</a></dd> - <dd>: diluting, <a href="#Page_71">71</a></dd> - <dd>: effect of, on steel tools, <a href="#Page_30">30</a></dd> - <dd>: injurious effect of, on leather, <a href="#Page_72">72</a></dd> - -<dt>Alberti: L. B., author of <i>De Pictura</i>, <a href="#Page_87">87</a></dt> - -<dt>Albumen: colours based on, <a href="#Page_67">67</a></dt> - -<dt>Alizarin, <a href="#Page_66">66</a>, <a href="#Page_67">67</a></dt> - -<dt>Alkalis, <a href="#Page_66">66</a></dt> - -<dt>Aniline dyes: stability of, <a href="#Page_64">64</a></dt> - -<dt>Apparatus for pyrogravure, <a href="#Page_36">36</a>-<a href="#Page_37">37</a></dt> - -<dt>Archil, <a href="#Page_66">66</a></dt> - -<dt>Arnotto, <a href="#Page_66">66</a></dt> - -<dt>Aumaître: Mons. E., <a href="#Page_38">38</a>, <a href="#Page_42">42</a>, <a href="#Page_52">52</a>, <a href="#Page_59">59</a></dt> - -<dt> </dt> - -<dt>Baryta: chromate of, <a href="#Page_66">66</a></dt> - -<dt>Bed-furniture: leather, <a href="#Page_84">84</a></dt> - -<dt>Belleville: Mons., author of <i>Le cuir dans la Décoration Moderne</i>, <a href="#Page_62">62</a>, <a href="#Page_71">71</a></dt> - -<dt>Bénard: Pierre, author, <a href="#Page_84">84</a></dt> - -<dt>Bérain: leather decorated in style of, <a href="#Page_84">84</a></dt> - -<dt>Blacks, <a href="#Page_66">66</a></dt> - -<dt>Blues, <a href="#Page_67">67</a>, <a href="#Page_74">74</a></dt> - -<dt>Bookbinding</dt> - <dd>: carved leather, <a href="#Page_14">14</a></dd> - <dd>: choice of design for, <a href="#Page_77">77</a></dd> - <dd>: crushed morocco for, <a href="#Page_17">17</a></dd> - <dd>: first use of leather for, <a href="#Page_14">14</a></dd> - <dd>: gold-tooled leather, <a href="#Page_14">14</a></dd> - <dd>: mosaic leather, <a href="#Page_14">14</a></dd> - <dd>: pigskin in, <a href="#Page_17">17</a>-<a href="#Page_18">18</a></dd> - <dd>: report of Committee on leather for, <a href="#Page_90">90</a>-<a href="#Page_95">95</a></dd> - <dd>: vellum in, <a href="#Page_18">18</a></dd> - -<dt>Boudaroy: Fougeroux de</dt> - <dd>: remarks on leather hangings, <a href="#Page_84">84</a>-<a href="#Page_86">86</a></dd> - <dd>: recipe for golden varnish, <a href="#Page_86">86</a>-<a href="#Page_87">87</a></dd> - -<dt>Bronzes, <a href="#Page_35">35</a>, <a href="#Page_68">68</a>, <a href="#Page_73">73</a>, <a href="#Page_74">74</a>, <a href="#Page_78">78</a></dt> - -<dt>Browns, <a href="#Page_65">65</a></dt> - -<dt>Brush</dt> - <dd>: couch-grass, <a href="#Page_70">70</a></dd> - <dd>: flannel, for rubbing leather, <a href="#Page_73">73</a></dd> - <dd>for gold leaf, <a href="#Page_74">74</a></dd> - <dd>for powder colours, <a href="#Page_74">74</a></dd> - <dd>for sprinkling, <a href="#Page_70">70</a></dd> - <dd>for stencilling, <a href="#Page_72">72</a></dd> - <dd>for tree marbling, <a href="#Page_70">70</a></dd> - -<dt>Buckthorn berries, <a href="#Page_67">67</a></dt> - -<dt>Burgundy: leather decoration in, <a href="#Page_14">14</a></dt> - -<dt>Burnishers, <a href="#Page_63">63</a>, <a href="#Page_75">75</a></dt> - -<dt> </dt> - -<dt>Calf leather, <a href="#Page_16">16</a></dt> - <dd>: characteristics and methods of decorating, <a href="#Page_17">17</a></dd> - <dd>: colouring, <a href="#Page_69">69</a>, <a href="#Page_72">72</a></dd> - <dd>for modelling, <a href="#Page_29">29</a></dd> - <dd>for mosaic, <a href="#Page_43">43</a>, <a href="#Page_56">56</a></dd> - <dd>: monochrome mosaic on, -45<!--138.png--><span class="pagenum">97</span></dd> - -<dt>Canson paper, <a href="#Page_45">45</a>, <a href="#Page_58">58</a></dt> - -<dt>Cape morocco, <a href="#Page_17">17</a>, <a href="#Page_42">42</a>, <a href="#Page_78">78</a></dt> - -<dt>Cardboard</dt> - <dd>for use in cutting out inlay, <a href="#Page_48">48</a></dd> - <dd>padding, <a href="#Page_34">34</a></dd> - -<dt>Carpets: leather, <a href="#Page_81">81</a></dt> - -<dt>Carthamine, <a href="#Page_66">66</a></dt> - -<dt>Carthamus Tinctorius, <a href="#Page_66">66</a></dt> - -<dt>Carton Jacquart, <a href="#Page_45">45</a>, <a href="#Page_51">51</a></dt> - -<dt>Carved leather, <a href="#Page_16">16</a>, <a href="#Page_27">27</a>-<a href="#Page_28">28</a></dt> - <dd>bookbinding, <a href="#Page_14">14</a></dd> - <dd>: choice of design for, <a href="#Page_27">27</a></dd> - <dd>: gold on, <a href="#Page_27">27</a></dd> - <dd>in Dijon Museum, <a href="#Page_14">14</a>, <a href="#Page_27">27</a></dd> - -<dt>Carving</dt> - <dd>: leather for, <a href="#Page_17">17</a></dd> - <dd>mosaic in relief, <a href="#Page_61">61</a>, <a href="#Page_62">62</a></dd> - <dd>: tools for, <a href="#Page_27">27</a></dd> - -<dt>Cassaigre tannin, <a href="#Page_16">16</a></dt> - -<dt>Catechol, <a href="#Page_65">65</a></dt> - -<dt>Cathedral style, <a href="#Page_27">27</a></dt> - -<dt>Chairs: leather, <a href="#Page_84">84</a></dt> - -<dt>Chamois leather, <a href="#Page_16">16</a></dt> - <dd>: use and methods of decorating, <a href="#Page_18">18</a></dd> - -<dt>Chestnut tannin, <a href="#Page_16">16</a></dt> - -<dt>Chinese vermilion, <a href="#Page_74">74</a></dt> - -<dt>Choice of design and colour, <a href="#Page_76">76</a>-<a href="#Page_79">79</a></dt> - -<dt>Choice of skins, <a href="#Page_15">15</a>-<a href="#Page_18">18</a></dt> - -<dt>Chromate of baryta, <a href="#Page_66">66</a></dt> - -<dt>Chromate of zinc, <a href="#Page_66">66</a></dt> - -<dt>Coal-tar, <a href="#Page_66">66</a></dt> - -<dt>Cochineal, <a href="#Page_66">66</a></dt> - -<dt>Coffers: leather, <a href="#Page_77">77</a>-<a href="#Page_79">79</a>, <a href="#Page_82">82</a></dt> - <dd>: choice of design for, <a href="#Page_78">78</a></dd> - <dd>: mosaic for, <a href="#Page_78">78</a></dd> - <dd>: mounting leather for, <a href="#Page_78">78</a></dd> - <dd>: outlining design for, <a href="#Page_78">78</a></dd> - <dd>: padding relief for, <a href="#Page_78">78</a></dd> - <dd>: punched groundwork for, <a href="#Page_78">78</a></dd> - -<dt>Colour</dt> - <dd>: applying, to leather, <a href="#Page_68">68</a>-<a href="#Page_69">69</a></dd> - <dd>: choice of design and, <a href="#Page_76">76</a>-<a href="#Page_79">79</a></dd> - <dd>: combination of, <a href="#Page_76">76</a>-<a href="#Page_77">77</a></dd> - <dd>: for groundwork, <a href="#Page_68">68</a>, <a href="#Page_77">77</a></dd> - <dd>: influence of light on, of leather, <a href="#Page_16">16</a>, <a href="#Page_64">64</a></dd> - <dd>: influence of tanning process on, of leather, <a href="#Page_15">15</a>-<a href="#Page_16">16</a>, <a href="#Page_64">64</a></dd> - <dd>: introduction of, into decoration of leather hangings, <a href="#Page_81">81</a></dd> - -<dt>Colouring</dt> - <dd>absorbent leather, <a href="#Page_69">69</a></dd> - <dd>calf leather, <a href="#Page_69">69</a>, <a href="#Page_72">72</a></dd> - <dd>cut leather, <a href="#Page_26">26</a>-<a href="#Page_27">27</a></dd> - <dd>hollows of cut and punched leather, <a href="#Page_27">27</a>, <a href="#Page_35">35</a>, <a href="#Page_65">65</a>, <a href="#Page_68">68</a>, <a href="#Page_73">73</a>-<a href="#Page_74">74</a>, <a href="#Page_78">78</a></dd> - <dd>: leather for, <a href="#Page_69">69</a></dd> - <dd>leather for mosaic, <a href="#Page_42">42</a>, <a href="#Page_69">69</a></dd> - <dd>leather: methods of, <a href="#Page_68">68</a>-<a href="#Page_75">75</a></dd> - <dd>modelled leather, <a href="#Page_71">71</a>-<a href="#Page_72">72</a></dd> - <dd>monochrome mosaic on calf, <a href="#Page_45">45</a></dd> - <dd>morocco leather, <a href="#Page_69">69</a></dd> - <dd>mosaic in relief, <a href="#Page_62">62</a></dd> - <dd>oxhide, <a href="#Page_69">69</a></dd> - <dd>pigskin, <a href="#Page_69">69</a></dd> - <dd>sheepskin, <a href="#Page_16">16</a></dd> - <dd>split sheepskins, <a href="#Page_69">69</a></dd> - <dd>tinfoil to give it the appearance of being gilt, <a href="#Page_89">89</a></dd> - -<dt>Colours</dt> - <dd>based on albumen, <a href="#Page_67">67</a></dd> - <dd>based on glycerine, <a href="#Page_67">67</a></dd> - <dd>for leather work, <a href="#Page_64">64</a>-<a href="#Page_68">68</a></dd> - <dd>for stencilling, <a href="#Page_72">72</a></dd> - <dd>: oil, <a href="#Page_67">67</a>, <a href="#Page_83">83</a></dd> - <dd>: powder, used with varnish, <a href="#Page_73">73</a>-<a href="#Page_74">74</a></dd> - <dd>: spirit, <a href="#Page_67">67</a></dd> - <dd>: water, <a href="#Page_67">67</a></dd> - -<dt>Composition of ornament, <a href="#Page_77">77</a>-<a href="#Page_79">79</a></dt> - -<dt>Copper nails: leather ornamented with, <a href="#Page_84">84</a></dt> - -<dt>Copper-plate etching on leather, <a href="#Page_39">39</a></dt> - -<dt>Cordouans, <a href="#Page_80">80</a></dt> - -<dt>Cordwainer, <a href="#Page_14">14</a></dt> - -<dt>Cork padding, <a href="#Page_34">34</a></dt> - -<dt>Cotton cord padding, <a href="#Page_34">34</a></dt> - -<dt>Couch-grass whisk, <a href="#Page_70">70</a></dt> - -<dt>Cowhide, <a href="#Page_16">16</a></dt> - <dd>: characteristics and methods of decorating, <a href="#Page_17">17</a></dd> - <dd>for mosaic in relief, <a href="#Page_61">61</a></dd> - -<dt>Cuir bouilli, <a href="#Page_28">28</a></dt> - -<dt>Cushion for gold leaf, <a href="#Page_74">74</a></dt> - -<dt>Cut leather, <a href="#Page_16">16</a>, <a href="#Page_25">25</a>-<a href="#Page_27">27</a></dt> - <dd>: colouring, <a href="#Page_26">26</a>-<a href="#Page_27">27</a></dd> - <dd>: colouring hollows of, 27 <a href="#Page_68">68</a>, <a href="#Page_73">73</a>-<a -href="#Page_74">74</a><!--139.png--><span class="pagenum">98</span></dd> - <dd>: opening the outline of, <a href="#Page_23">23</a>, <a href="#Page_25">25</a>-<a href="#Page_26">26</a></dd> - -<dt>Cutting</dt> - <dd>: leather for, <a href="#Page_17">17</a></dd> - <dd>stamped leather, <a href="#Page_39">39</a></dd> - -<dt>Cutting out</dt> - <dd>incrusted mosaic, <a href="#Page_62">62</a>-<a href="#Page_63">63</a></dd> - <dd>inlay: cardboard for use in, <a href="#Page_48">48</a></dd> - <dd>inlay for mosaic, <a href="#Page_46">46</a>-<a href="#Page_49">49</a></dd> - <dd>inlay for mosaic in relief, <a href="#Page_61">61</a></dd> - <dd>inlay for polychrome mosaic, <a href="#Page_58">58</a>-<a href="#Page_59">59</a></dd> - <dd>open-work leather, <a href="#Page_40">40</a></dd> - -<dt>Cutting-out knives, <a href="#Page_40">40</a>, <a href="#Page_46">46</a>-<a href="#Page_48">48</a></dt> - -<dt> </dt> - -<dt>Damping leather, <a href="#Page_19">19</a>-<a href="#Page_20">20</a></dt> - -<dt>Decolorants, <a href="#Page_70">70</a>-<a href="#Page_71">71</a>, <a href="#Page_76">76</a></dt> - <dd>on modelled leather, <a href="#Page_71">71</a>-<a href="#Page_72">72</a></dd> - <dd>: tracing design for, <a href="#Page_71">71</a></dd> - -<dt>Design</dt> - <dd>based on chestnut tree, <a href="#Page_76">76</a></dd> - <dd>based on sea subjects, <a href="#Page_76">76</a></dd> - <dd>: detached portions of leather in, <a href="#Page_77">77</a></dd> - <dd>: choice of, for bookbinding, <a href="#Page_77">77</a></dd> - <dd>: choice of, for carved leather, <a href="#Page_27">27</a></dd> - <dd>: choice of, for coffers, <a href="#Page_77">77</a></dd> - <dd>: choice of, for large surfaces, <a href="#Page_79">79</a></dd> - <dd>: choice of, for marbled leather, <a href="#Page_77">77</a></dd> - <dd>: choice of, for modelled leather, <a href="#Page_77">77</a></dd> - <dd>in leather hangings and furniture, <a href="#Page_82">82</a>-<a href="#Page_84">84</a></dd> - <dd>: Japanese school of, <a href="#Page_79">79</a></dd> - <dd>: study of, <a href="#Page_79">79</a></dd> - -<dt>Design and colour: choice of, <a href="#Page_76">76</a>-<a href="#Page_79">79</a></dt> - -<dt>Dijon Museum: examples of carved leather in, <a href="#Page_14">14</a>, <a href="#Page_27">27</a></dt> - -<dt>Dollage de gants padding, <a href="#Page_34">34</a></dt> - -<dt>Dyes, <a href="#Page_64">64</a>-<a href="#Page_74">74</a></dt> - <dd>: aniline, stability of, <a href="#Page_64">64</a></dd> - <dd>: superposed, <a href="#Page_65">65</a>, <a href="#Page_68">68</a>, <a href="#Page_76">76</a></dd> - <dd>: uncertain effect of, on leather, <a href="#Page_77">77</a></dd> - <dd>: vegetable, stability of, <a href="#Page_64">64</a></dd> - -<dt> </dt> - -<dt>Embossed leather, <i>see</i> Modelled leather</dt> - -<dt>Encaustic: rubbing leather with, <a href="#Page_65">65</a>, <a href="#Page_72">72</a>-<a href="#Page_73">73</a></dt> - -<dt>England: manufacture of leather hangings and furniture in, <a href="#Page_83">83</a>, <a href="#Page_85">85</a></dt> - -<dt>Engraved leather, <i>see</i> Cut leather</dt> - -<dt>Europe: introduction of decorated leather into, <a href="#Page_13">13</a>, <a href="#Page_14">14</a>, <a href="#Page_80">80</a></dt> - -<dt> </dt> - -<dt>Flanders: manufacture of leather hangings and furniture in, <a href="#Page_83">83</a>, <a href="#Page_85">85</a></dt> - -<dt>France</dt> - <dd>: introduction of gilt or silvered leather hangings into, <a href="#Page_85">85</a></dd> - <dd>: manufacture of leather hangings and furniture in, <a href="#Page_85">85</a></dd> - <dd>: popularity of leather hangings and furniture in, <a href="#Page_84">84</a></dd> - -<dt> </dt> - -<dt>Garlande: Jehan de, author, <a href="#Page_80">80</a></dt> - -<dt>Germany: leather decoration in, <a href="#Page_14">14</a></dt> - -<dt>Ghadames: leather industry at, <a href="#Page_80">80</a></dt> - -<dt>Gilding, <a href="#Page_74">74</a>-<a href="#Page_75">75</a>, <a href="#Page_80">80</a>-<a href="#Page_81">81</a>, <a href="#Page_83">83</a>, <a href="#Page_86">86</a></dt> - <dd>: bookbinders’ tools for, <a href="#Page_75">75</a></dd> - <dd>: decline of art, <a href="#Page_84">84</a>-<a href="#Page_86">86</a></dd> - <dd>outline of incrusted mosaic, <a href="#Page_63">63</a></dd> - <dd>: process described by Theophilus, <a href="#Page_80">80</a>-<a href="#Page_81">81</a></dd> - -<dt>Gilt leather chairs, <a href="#Page_84">84</a></dt> - -<dt>Gilt or silvered leather hangings and furniture, <a href="#Page_84">84</a>, <a href="#Page_85">85</a>-<a href="#Page_86">86</a></dt> - -<dt>Gilt panel for painting on, <a href="#Page_87">87</a>-<a href="#Page_88">88</a></dt> - -<dt>Gloves for protecting hands from dyes, <a href="#Page_68">68</a></dt> - -<dt>Glycerine</dt> - <dd>: colours based on, <a href="#Page_67">67</a></dd> - <dd>inks, <a href="#Page_72">72</a></dd> - -<dt>Gobelin tapestries: leather hangings and furniture replaced by, <a href="#Page_84">84</a></dt> - -<dt>Gold, <a href="#Page_68">68</a>, <a href="#Page_83">83</a></dt> - <dd>groundwork: origin of, <a href="#Page_87">87</a></dd> - <dd>leaf, <a href="#Page_28">28</a>, <a href="#Page_74">74</a>-<a href="#Page_75">75</a>, -83<!--140.png--><span class="pagenum">99</span></dd> - <dd>leaf: brush for, <a href="#Page_74">74</a></dd> - <dd>leaf: cushion for, <a href="#Page_74">74</a></dd> - <dd>leaf first employed on leather hangings and furniture, <a href="#Page_83">83</a></dd> - <dd>leaf: knife for, <a href="#Page_74">74</a></dd> - <dd>: liquid, <a href="#Page_75">75</a></dd> - <dd>on carved and embossed leather, <a href="#Page_27">27</a></dd> - <dd>powder, <a href="#Page_73">73</a>, <a href="#Page_74">74</a>, <a href="#Page_75">75</a></dd> - <dd>: punches used on, <a href="#Page_28">28</a>, <a href="#Page_75">75</a></dd> - <dd>: shell, <a href="#Page_28">28</a>, <a href="#Page_74">74</a>, <a href="#Page_75">75</a></dd> - <dd>: want of moderation in the use of, <a href="#Page_87">87</a></dd> - -<dt>Golden varnish</dt> - <dd>: recipe for (Boudaroy), <a href="#Page_86">86</a>-<a href="#Page_87">87</a></dd> - <dd>: recipe for (Theophilus), <a href="#Page_88">88</a></dd> - -<dt>Gold-tooled leather bookbinding, <a href="#Page_14">14</a></dt> - -<dt>Gold-tooling, <a href="#Page_28">28</a>, <a href="#Page_74">74</a>-<a href="#Page_75">75</a></dt> - <dd>: powder for, <a href="#Page_74">74</a></dd> - -<dt>Gouache, <a href="#Page_35">35</a>, <a href="#Page_68">68</a>, <a href="#Page_73">73</a>, <a href="#Page_74">74</a>, <a href="#Page_78">78</a></dt> - -<dt>Grating: sprinkling, <a href="#Page_70">70</a></dt> - -<dt>Greens, <a href="#Page_66">66</a>, <a href="#Page_67">67</a>, <a href="#Page_74">74</a></dt> - -<dt>Greys, <a href="#Page_65">65</a></dt> - -<dt> </dt> - -<dt>Hammered leather, <a href="#Page_16">16</a>, <a href="#Page_28">28</a></dt> - -<dt>Hammering: leather for, <a href="#Page_17">17</a></dt> - -<dt>Hematoxylin, <a href="#Page_66">66</a></dt> - -<dt>Heraldic decoration on leather, <a href="#Page_14">14</a>, <a href="#Page_83">83</a></dt> - -<dt>Holland: manufacture of leather hangings in, <a href="#Page_85">85</a></dt> - -<dt>Hydrochloric acid, <a href="#Page_30">30</a>, <a href="#Page_66">66</a>, <a href="#Page_71">71</a></dt> - -<dt> </dt> - -<dt>Incising, <a href="#Page_20">20</a>-<a href="#Page_24">24</a>, <a href="#Page_26">26</a></dt> - <dd>for inserted mosaic, <a href="#Page_60">60</a></dd> - <dd>for modelled leather, <a href="#Page_22">22</a>, <a href="#Page_30">30</a></dd> - <dd>knives, <a href="#Page_15">15</a>, <a href="#Page_20">20</a>-<a href="#Page_24">24</a></dd> - <dd>oxhide, <a href="#Page_22">22</a></dd> - <dd>slanting cut, <a href="#Page_23">23</a>, <a href="#Page_24">24</a></dd> - -<dt>Indigo, <a href="#Page_67">67</a></dt> - -<dt>Inks</dt> - <dd>containing nitrate of silver, <a href="#Page_72">72</a></dd> - <dd>for stamping leather, <a href="#Page_39">39</a></dd> - <dd>for stencilling, <a href="#Page_72">72</a></dd> - <dd>: glycerine, <a href="#Page_72">72</a></dd> - -<dt>Inlaid leather, <i>see</i> Mosaic leather</dt> - -<dt> </dt> - -<dt>Japanese school of design, <a href="#Page_79">79</a></dt> - -<dt> </dt> - -<dt>Kip-skins, <a href="#Page_61">61</a></dt> - -<dt>Knives</dt> - <dd>: cutting-out, <a href="#Page_40">40</a>, <a href="#Page_46">46</a>-<a href="#Page_48">48</a></dd> - <dd>: gold, <a href="#Page_74">74</a></dd> - <dd>: incising, <a href="#Page_15">15</a>, <a href="#Page_20">20</a>-<a href="#Page_24">24</a></dd> - <dd>: paring, <a href="#Page_43">43</a></dd> - <dd>: stencil-cutter’s, <a href="#Page_46">46</a>, <a href="#Page_61">61</a></dd> - -<dt> </dt> - -<dt>Leather</dt> - <dd>: absorbent quality of, <a href="#Page_64">64</a>-<a href="#Page_65">65</a></dd> - <dd>bed-furniture, <a href="#Page_84">84</a></dd> - <dd>carpets, <a href="#Page_81">81</a></dd> - <dd>chairs, <a href="#Page_84">84</a></dd> - <dd>coffers, <a href="#Page_77">77</a>-<a href="#Page_79">79</a>, <a href="#Page_82">82</a></dd> - <dd>decoration in Burgundy, <a href="#Page_14">14</a></dd> - <dd>decoration in dress, <a href="#Page_13">13</a></dd> - <dd>decoration in Germany, <a href="#Page_14">14</a></dd> - <dd>decoration in Spain, <a href="#Page_13">13</a>, <a href="#Page_14">14</a>, <a href="#Page_80">80</a></dd> - <dd>decoration in style of Bérain, <a href="#Page_84">84</a></dd> - <dd>decoration in the past, <a href="#Page_13">13</a>-<a href="#Page_14">14</a></dd> - <dd>decoration in war-like equipment, <a href="#Page_13">13</a></dd> - <dd>decoration: introduction into Europe, <a href="#Page_13">13</a>, <a href="#Page_14">14</a>, <a href="#Page_80">80</a></dd> - <dd>: first use of, for bookbinding, <a href="#Page_14">14</a></dd> - <dd>hangings and furniture, <a href="#Page_80">80</a>-<a href="#Page_89">89</a></dd> - <dd>: heraldic decoration on, <a href="#Page_14">14</a>, <a href="#Page_83">83</a></dd> - <dd>industry at Ghadames, <a href="#Page_80">80</a></dd> - <dd>: methods of working in, <a href="#Page_16">16</a>, <a href="#Page_19">19</a>-<a href="#Page_41">41</a></dd> - <dd>: report of Committee on, for bookbinding, <a href="#Page_90">90</a>-<a href="#Page_95">95</a></dd> - <dd>: Spanish, <a href="#Page_84">84</a></dd> - <dd>: varieties of, <a href="#Page_16">16</a></dd> - -<dt>Light: influence of, on colour of leather, <a href="#Page_16">16</a>, <a href="#Page_64">64</a></dt> - -<dt>Lignereux: Mons. de Saint André de, author of <i>Le Cuir d’Art français</i>, <a href="#Page_28">28</a></dt> - -<dt>Lithographic stone, <a href="#Page_15">15</a>, <a href="#Page_44">44</a></dt> - -<dt>Logwood, <a href="#Page_66">66</a></dt> - -<dt>Lyons: manufacture of gilt or silvered leather hangings at, <a href="#Page_85">85</a></dt> - -<dt> </dt> - -<dt>Madder, <a href="#Page_66">66</a></dt> - -<dt>Marble: slab of, <a href="#Page_15">15</a>, <a href="#Page_44">44</a></dt> - -<dt>Marbled leather: choice of design for, -77<!--141.png--><span class="pagenum">100</span></dt> - -<dt>Marbling, <a href="#Page_69">69</a>-<a href="#Page_70">70</a></dt> - <dd>: tree, <a href="#Page_70">70</a></dd> - -<dt>Metal block for stamping leather, <a href="#Page_39">39</a></dt> - -<dt>Metal ornaments on leather hangings, <a href="#Page_81">81</a></dt> - -<dt>Metallic salts, <a href="#Page_66">66</a></dt> - -<dt>Mimosa tannin, <a href="#Page_16">16</a></dt> - -<dt>Modelled leather, <a href="#Page_16">16</a>, <a href="#Page_28">28</a>-<a href="#Page_36">36</a></dt> - <dd>: choice of design for, <a href="#Page_77">77</a></dd> - <dd>: colouring, <a href="#Page_71">71</a>-<a href="#Page_72">72</a></dd> - <dd>: decolorants on, <a href="#Page_71">71</a>-<a href="#Page_72">72</a></dd> - <dd>: incising for, <a href="#Page_22">22</a>, <a href="#Page_30">30</a></dd> - <dd>in hangings and furniture, <a href="#Page_83">83</a></dd> - <dd>: introduction into Venice, <a href="#Page_14">14</a></dd> - <dd>: opening the outline of, <a href="#Page_26">26</a>, <a href="#Page_29">29</a>, <a href="#Page_32">32</a>, <a href="#Page_33">33</a>-<a href="#Page_34">34</a></dd> - <dd>: softening the outline of, <a href="#Page_32">32</a>-<a href="#Page_33">33</a></dd> - <dd>with punched background, <a href="#Page_16">16</a>, <a href="#Page_28">28</a>, <a href="#Page_34">34</a>-<a href="#Page_36">36</a></dd> - -<dt>Modellers, <a href="#Page_15">15</a>, <a href="#Page_29">29</a>, <a href="#Page_30">30</a>, <a href="#Page_38">38</a></dt> - -<dt>Modelling, <a href="#Page_30">30</a>-<a href="#Page_34">34</a></dt> - <dd>: ball-shaped steel tool for, <a href="#Page_31">31</a>, <a href="#Page_32">32</a></dd> - <dd>: leather for, <a href="#Page_17">17</a>, <a href="#Page_29">29</a>, <a href="#Page_61">61</a></dd> - <dd>leather on plaster cast, <a href="#Page_39">39</a>-<a href="#Page_40">40</a></dd> - <dd>mosaic in relief, <a href="#Page_61">61</a></dd> - <dd>reed decoration, <a href="#Page_34">34</a></dd> - <dd>: sandbag for, <a href="#Page_32">32</a></dd> - <dd>stamped leather, <a href="#Page_39">39</a></dd> - <dd>: tools for, <a href="#Page_29">29</a>-<a href="#Page_32">32</a></dd> - <dd>: tracing design for, <a href="#Page_32">32</a>, <a href="#Page_33">33</a></dd> - <dd>: wax for, <a href="#Page_33">33</a>-<a href="#Page_34">34</a></dd> - -<dt>Mordants, <a href="#Page_67">67</a></dt> - -<dt>Morocco leather, <a href="#Page_16">16</a></dt> - <dd>: Cape, <a href="#Page_17">17</a>, <a href="#Page_42">42</a>, <a href="#Page_78">78</a></dd> - <dd>: characteristics and methods of decorating, <a href="#Page_17">17</a></dd> - <dd>: colouring, <a href="#Page_69">69</a></dd> - <dd>: crushed, <a href="#Page_17">17</a></dd> - <dd>for mosaic, <a href="#Page_42">42</a>, <a href="#Page_58">58</a>, <a href="#Page_59">59</a></dd> - <dd>: grain of, <a href="#Page_17">17</a></dd> - <dd>groundwork: pasting inlay on, <a href="#Page_59">59</a></dd> - <dd>groundwork: polychrome mosaic on, <a href="#Page_58">58</a>-<a href="#Page_59">59</a></dd> - <dd>groundwork: tool for sticking inlay on, <a href="#Page_59">59</a>, <a href="#Page_60">60</a></dd> - <dd>: paring, for inlay of polychrome mosaic, <a href="#Page_58">58</a>-<a href="#Page_59">59</a></dd> - <dd>: tanning materials used for, <a href="#Page_15">15</a></dd> - -<dt>Mosaic, <a href="#Page_16">16</a>, <a href="#Page_42">42</a>-<a href="#Page_63">63</a></dt> - <dd>bookbinding, <a href="#Page_14">14</a></dd> - <dd>: calf leather for, <a href="#Page_43">43</a>, <a href="#Page_56">56</a></dd> - <dd>: colouring leather for, <a href="#Page_42">42</a>, <a href="#Page_69">69</a></dd> - <dd>: cutting out inlay for, <a href="#Page_46">46</a>-<a href="#Page_49">49</a></dd> - <dd>for coffers, <a href="#Page_78">78</a></dd> - <dd>: incrusted, <a href="#Page_62">62</a>-<a href="#Page_63">63</a></dd> - <dd>: incrusted, cutting out, <a href="#Page_62">62</a>-<a href="#Page_63">63</a></dd> - <dd>: incrusted, gilding outline of, <a href="#Page_63">63</a></dd> - <dd>: incrusted, outlining, <a href="#Page_63">63</a></dd> - <dd>: incrusted, tracing design for, <a href="#Page_62">62</a></dd> - <dd>in relief, <a href="#Page_61">61</a>-<a href="#Page_62">62</a></dd> - <dd>in relief: carving, <a href="#Page_61">61</a>, <a href="#Page_62">62</a></dd> - <dd>in relief: colouring, <a href="#Page_62">62</a></dd> - <dd>in relief: cowhide for, <a href="#Page_61">61</a></dd> - <dd>in relief: cutting out inlay for, <a href="#Page_61">61</a></dd> - <dd>in relief: depressing groundwork for inlay of, <a href="#Page_61">61</a></dd> - <dd>in relief: leather for, <a href="#Page_61">61</a></dd> - <dd>in relief: modelling, <a href="#Page_61">61</a></dd> - <dd>in relief: tracing design for, <a href="#Page_61">61</a></dd> - <dd>: inserted, <a href="#Page_59">59</a>-<a href="#Page_60">60</a></dd> - <dd>: inserted, incising leather for, <a href="#Page_60">60</a></dd> - <dd>: inserted, outlining, <a href="#Page_60">60</a></dd> - <dd>: leather for groundwork of, <a href="#Page_17">17</a>, <a href="#Page_42">42</a>-<a href="#Page_43">43</a></dd> - <dd>: leather for inlay of, <a href="#Page_45">45</a></dd> - <dd>: monochrome, on calf, <a href="#Page_45">45</a></dd> - <dd>: morocco leather as groundwork of, <a href="#Page_42">42</a>, <a href="#Page_58">58</a>, <a href="#Page_59">59</a></dd> - <dd>: mounting inlay on paper lining for, <a href="#Page_45">45</a>-<a href="#Page_46">46</a></dd> - <dd>on modelled leather, <a href="#Page_59">59</a></dd> - <dd>on modelled leather: paring leather for, <a href="#Page_59">59</a></dd> - <dd>: outlining, <a href="#Page_52">52</a>-<a href="#Page_56">56</a></dd> - <dd>: pasting inlay on groundwork for, <a href="#Page_49">49</a>-<a href="#Page_50">50</a>, <a href="#Page_59">59</a></dd> - <dd>: paring leather for, <a href="#Page_43">43</a>-<a href="#Page_44">44</a></dd> - <dd>: pincers for, <a href="#Page_50">50</a></dd> - <dd>: polishing, <a href="#Page_56">56</a>, <a href="#Page_57">57</a></dd> - <dd>: polychrome, <a -href="#Page_57">57</a>-59<!--142.png--><span class="pagenum">101</span></dd> - <dd>: polychrome, cutting out inlay for, <a href="#Page_58">58</a>-<a href="#Page_59">59</a></dd> - <dd>: polychrome, morocco leather as inlay for, <a href="#Page_58">58</a></dd> - <dd>: polychrome, on morocco groundwork, <a href="#Page_58">58</a>-<a href="#Page_59">59</a></dd> - <dd>: polychrome, outlining, <a href="#Page_59">59</a></dd> - <dd>: polychrome, paring morocco leather for inlay of, <a href="#Page_58">58</a>-<a href="#Page_59">59</a></dd> - <dd>: polychrome, split sheepskins for, <a href="#Page_58">58</a></dd> - <dd>: polychrome, stencil for marking out, <a href="#Page_58">58</a></dd> - <dd>: polychrome, tracing design for, <a href="#Page_57">57</a>-<a href="#Page_58">58</a></dd> - <dd>: preparation of leather for groundwork of, <a href="#Page_43">43</a>-<a href="#Page_45">45</a></dd> - <dd>: removing paper lining from inlay of, <a href="#Page_52">52</a></dd> - <dd>: roller for, <a href="#Page_50">50</a>, <a href="#Page_51">51</a></dd> - <dd>: setting in the inlay of, <a href="#Page_50">50</a>-<a href="#Page_52">52</a></dd> - <dd>: tracing design for, <a href="#Page_46">46</a></dd> - -<dt>Mosaics of piqué leather, <a href="#Page_13">13</a></dt> - -<dt>Mosaïque par incrustation, <i>see</i> Incrusted mosaic</dt> - -<dt>Muriatic acid, <a href="#Page_71">71</a></dt> - -<dt> </dt> - -<dt>Nitrate of silver: inks containing, <a href="#Page_72">72</a></dt> - -<dt>Nitric acid, <a href="#Page_71">71</a></dt> - -<dt> </dt> - -<dt>Oak tannin, <a href="#Page_15">15</a>, <a href="#Page_16">16</a></dt> - -<dt>Oil colours, <a href="#Page_67">67</a>, <a href="#Page_83">83</a></dt> - -<dt>Openers, <a href="#Page_15">15</a>, <a href="#Page_23">23</a>, <a href="#Page_25">25</a>-<a href="#Page_26">26</a></dt> - -<dt>Opening the outline</dt> - <dd>of cut leather, <a href="#Page_23">23</a>, <a href="#Page_25">25</a>-<a href="#Page_26">26</a></dd> - <dd>of modelled leather, <a href="#Page_26">26</a>, <a href="#Page_29">29</a>, <a href="#Page_32">32</a>, <a href="#Page_33">33</a>-<a href="#Page_34">34</a></dd> - -<dt>Open-work leather, <a href="#Page_16">16</a>, <a href="#Page_18">18</a>, <a href="#Page_40">40</a>, <a href="#Page_41">41</a></dt> - <dd>: cutting out, <a href="#Page_40">40</a></dd> - <dd>: groundwork for, <a href="#Page_18">18</a>, <a href="#Page_40">40</a>, <a href="#Page_41">41</a></dd> - <dd>hangings, <a href="#Page_40">40</a></dd> - <dd>in relief, <a href="#Page_40">40</a></dd> - <dd>: plaited ornament on borders of, <a href="#Page_40">40</a>-<a href="#Page_41">41</a></dd> - -<dt>Or basané, <a href="#Page_83">83</a>, <a href="#Page_84">84</a></dt> - -<dt>Outliners, <a href="#Page_52">52</a>-<a href="#Page_56">56</a></dt> - -<dt>Outlining</dt> - <dd>design for coffers, <a href="#Page_78">78</a></dd> - <dd>incrusted mosaic, <a href="#Page_63">63</a></dd> - <dd>inserted mosaic, <a href="#Page_60">60</a></dd> - <dd>mosaic, <a href="#Page_52">52</a>-<a href="#Page_56">56</a></dd> - <dd>polychrome mosaic, <a href="#Page_59">59</a></dd> - -<dt>Outlining-wheels, <a href="#Page_15">15</a>, <a href="#Page_35">35</a>, <a href="#Page_54">54</a>, <a href="#Page_56">56</a>, <a href="#Page_63">63</a></dt> - -<dt>Oxalic acid, <a href="#Page_71">71</a></dt> - -<dt>Oxhide, <a href="#Page_16">16</a></dt> - <dd>: characteristics and methods of decorating, <a href="#Page_17">17</a></dd> - <dd>: colouring, <a href="#Page_69">69</a></dd> - <dd>: incising, <a href="#Page_22">22</a></dd> - -<dt> </dt> - -<dt>Padding relief, <a href="#Page_34">34</a>, <a href="#Page_40">40</a></dt> - <dd>for coffers, <a href="#Page_78">78</a></dd> - -<dt>Panel: gilt, for painting on, <a href="#Page_87">87</a>-<a href="#Page_88">88</a></dt> - -<dt>Paring knives, <a href="#Page_43">43</a></dt> - -<dt>Paring leather, <a href="#Page_43">43</a>-<a href="#Page_44">44</a></dt> - <dd>for inlay of polychrome mosaic, <a href="#Page_58">58</a>-<a href="#Page_59">59</a></dd> - <dd>for mosaic on modelled leather, <a href="#Page_59">59</a></dd> - -<dt>Paste: recipe for, for mounting leather on wooden panels (Theophilus), <a href="#Page_82">82</a></dt> - -<dt>Patine, <a href="#Page_30">30</a>, <a href="#Page_64">64</a>, <a href="#Page_67">67</a>, <a href="#Page_72">72</a></dt> - -<dt>Patines grasses, <a href="#Page_67">67</a></dt> - -<dt>Pearl-ash, <a href="#Page_65">65</a></dt> - -<dt>Pencils: 6H graphite, <a href="#Page_15">15</a>, <a href="#Page_20">20</a></dt> - -<dt>Permanganate of potash, <a href="#Page_65">65</a></dt> - -<dt>Pictures on leather, <a href="#Page_82">82</a>, <a href="#Page_84">84</a></dt> - -<dt>Picric acid, <a href="#Page_66">66</a>, <a href="#Page_67">67</a>, <a href="#Page_68">68</a></dt> - -<dt>Pied de biche, <a href="#Page_30">30</a></dt> - -<dt>Pigskin, <a href="#Page_16">16</a></dt> - <dd>: characteristics and methods of decorating, <a href="#Page_17">17</a>-<a href="#Page_18">18</a></dd> - <dd>: colouring, <a href="#Page_69">69</a></dd> - <dd>: in bookbinding, <a href="#Page_17">17</a>-<a href="#Page_18">18</a></dd> - -<dt>Pincers for mosaic, <a href="#Page_50">50</a></dt> - -<dt>Pinks, <a href="#Page_66">66</a></dt> - -<dt>Piqué leather: mosaics of, <a href="#Page_13">13</a></dt> - -<dt>Plaited ornament on borders of open-work leather, <a href="#Page_40">40</a>-<a href="#Page_41">41</a></dt> - -<dt>Plaster cast: modelling leather on, <a href="#Page_39">39</a>-<a href="#Page_40">40</a></dt> - -<dt>Plaster casts for stamping leather, <a href="#Page_39">39</a></dt> - -<dt>Plaster padding, <a href="#Page_40">40</a></dt> - -<dt>Pointogravure, <a href="#Page_16">16</a>, <a href="#Page_38">38</a></dt> - <dd>: tools for, -38<!--143.png--><span class="pagenum">102</span></dd> - -<dt>Polishing iron, <a href="#Page_56">56</a>, <a href="#Page_57">57</a></dt> - -<dt>Polishing mosaic, <a href="#Page_56">56</a>, <a href="#Page_57">57</a></dt> - -<dt>Pompon, <a href="#Page_72">72</a></dt> - -<dt>Portugal: manufacture of leather hangings and furniture in, <a href="#Page_83">83</a></dt> - -<dt>Potash, <a href="#Page_65">65</a>, <a href="#Page_66">66</a>, <a href="#Page_68">68</a>, <a href="#Page_69">69</a>, <a href="#Page_73">73</a>, <a href="#Page_77">77</a></dt> - -<dt>Potash-lye, <a href="#Page_65">65</a></dt> - -<dt>Potassium, <a href="#Page_65">65</a></dt> - -<dt>Powder colours,</dt> - <dd>: brush for, <a href="#Page_74">74</a></dd> - <dd>used with varnish, <a href="#Page_73">73</a>-<a href="#Page_74">74</a></dd> - -<dt>Presses for stamping leather, <a href="#Page_38">38</a>, <a href="#Page_39">39</a></dt> - -<dt>Pressing leather after pasting, <a href="#Page_45">45</a></dt> - -<dt>Punched backgrounds, <i>see</i> Punched groundwork</dt> - -<dt>Punched groundwork, <a href="#Page_16">16</a>, <a href="#Page_28">28</a>, <a href="#Page_34">34</a>-<a href="#Page_36">36</a></dt> - <dd>for coffers, <a href="#Page_78">78</a></dd> - <dd>in leather hangings and furniture, <a href="#Page_83">83</a></dd> - <dd>: modelled leather with, <a href="#Page_16">16</a>, <a href="#Page_28">28</a>, <a href="#Page_34">34</a>-<a href="#Page_36">36</a></dd> - -<dt>Punched leather, <a href="#Page_16">16</a>, <a href="#Page_28">28</a></dt> - <dd>: colouring hollows of, <a href="#Page_35">35</a>, <a href="#Page_65">65</a>, <a href="#Page_68">68</a>, <a href="#Page_73">73</a>-<a href="#Page_74">74</a>, <a href="#Page_78">78</a></dd> - -<dt>Punches, <a href="#Page_15">15</a>, <a href="#Page_28">28</a>, <a href="#Page_35">35</a>, <a href="#Page_78">78</a>, <a href="#Page_83">83</a></dt> - <dd>: patterns produced with, <a href="#Page_35">35</a></dd> - <dd>used on gold, <a href="#Page_28">28</a>, <a href="#Page_75">75</a></dd> - -<dt>Pyrogravure, <a href="#Page_16">16</a>, <a href="#Page_27">27</a>, <a href="#Page_28">28</a>, <a href="#Page_36">36</a>-<a href="#Page_37">37</a></dt> - <dd>: apparatus for, <a href="#Page_36">36</a>-<a href="#Page_37">37</a></dd> - <dd>: leather for, <a href="#Page_17">17</a>, <a href="#Page_18">18</a></dd> - <dd>: outlining incrusted mosaic by, <a href="#Page_63">63</a></dd> - -<dt> </dt> - -<dt>Quercitron, <a href="#Page_66">66</a></dt> - -<dt> </dt> - -<dt>Réaumur: Mons. de, <a href="#Page_84">84</a>, <a href="#Page_86">86</a>, <a href="#Page_88">88</a></dt> - -<dt>Red wood: extracts of, <a href="#Page_66">66</a></dt> - -<dt>Reds, <a href="#Page_66">66</a></dt> - -<dt>Reed decoration, <a href="#Page_34">34</a></dt> - <dd>: padding for, <a href="#Page_34">34</a></dd> - <dd>: tool for working, <a href="#Page_34">34</a></dd> - -<dt>Reserved ornament, <a href="#Page_71">71</a>-<a href="#Page_72">72</a></dt> - <dd>: colour for groundwork of, <a href="#Page_77">77</a></dd> - -<dt>Roller for mosaic, <a href="#Page_50">50</a>, <a href="#Page_51">51</a></dt> - -<dt>Rubbing leather, <a href="#Page_36">36</a>, <a href="#Page_65">65</a>, <a href="#Page_67">67</a>, <a href="#Page_72">72</a>-<a href="#Page_74">74</a>, <a href="#Page_77">77</a></dt> - <dd>: flannel brush for, <a href="#Page_73">73</a></dd> - <dd>with encaustic, <a href="#Page_65">65</a>, <a href="#Page_72">72</a>-<a href="#Page_73">73</a></dd> - <dd>with varnish, <a href="#Page_72">72</a>-<a href="#Page_73">73</a></dd> - <dd>with wax, <a href="#Page_72">72</a>-<a href="#Page_73">73</a></dd> - -<dt>Russia leather, <a href="#Page_16">16</a></dt> - <dd>: characteristics and methods of decorating, <a href="#Page_17">17</a></dd> - <dd>for modelling, <a href="#Page_29">29</a></dd> - -<dt> </dt> - -<dt>Saffron, <a href="#Page_66">66</a></dt> - -<dt>Salts</dt> - <dd>: metallic, <a href="#Page_66">66</a></dd> - <dd>of tin, <a href="#Page_66">66</a></dd> - -<dt>Sandbag for modelling, <a href="#Page_32">32</a></dt> - -<dt>Scraper, <a href="#Page_46">46</a></dt> - -<dt>Semis, <a href="#Page_35">35</a></dt> - -<dt>Setting in the inlay of mosaic, <a href="#Page_50">50</a>-<a href="#Page_52">52</a></dt> - -<dt>Shaded groundwork, <a href="#Page_42">42</a>, <a href="#Page_69">69</a></dt> - -<dt>Sheepskin, <a href="#Page_16">16</a></dt> - <dd>: characteristics and methods of decorating, <a href="#Page_16">16</a>, <a href="#Page_17">17</a></dd> - <dd>: colouring, <a href="#Page_16">16</a></dd> - -<dt>Shell gold, <a href="#Page_28">28</a>, <a href="#Page_74">74</a>, <a href="#Page_75">75</a></dt> - -<dt>Shell silver, <a href="#Page_74">74</a></dt> - -<dt>Silver</dt> - <dd>leaf, <a href="#Page_86">86</a></dd> - <dd>powder, <a href="#Page_74">74</a></dd> - <dd>: shell, <a href="#Page_74">74</a></dd> - <dd>: use of, on leather, <a href="#Page_83">83</a></dd> - -<dt>Skins: choice of, <a href="#Page_15">15</a>-<a href="#Page_18">18</a></dt> - -<dt>Soda, <a href="#Page_65">65</a></dt> - -<dt>Spain</dt> - <dd>: leather decoration in, <a href="#Page_13">13</a>, <a href="#Page_14">14</a>, <a href="#Page_80">80</a></dd> - <dd>: manufacture of leather hangings and furniture in, <a href="#Page_83">83</a>, <a href="#Page_85">85</a></dd> - <dd>: introduction of leather hangings and furniture into, <a href="#Page_80">80</a></dd> - -<dt>Spanish leather, <a href="#Page_84">84</a></dt> - -<dt>Spirit colours, <a href="#Page_67">67</a></dt> - -<dt>Split sheepskins</dt> - <dd>: colouring, <a href="#Page_69">69</a></dd> - <dd>for inlaying, <a href="#Page_45">45</a>, <a href="#Page_56">56</a></dd> - <dd>for polychrome mosaic, <a href="#Page_58">58</a></dd> - -<dt>Sprinkling, <a href="#Page_70">70</a>-<a href="#Page_71">71</a></dt> - <dd>: brush for, <a href="#Page_70">70</a></dd> - <dd>: grating for, <a href="#Page_70">70</a></dd> - <dd>: preparation for reserving ornament during (Belleville), <a -href="#Page_71">71</a><!--144.png--><span class="pagenum">103</span></dd> - <dd>: tracing design for, <a href="#Page_71">71</a></dd> - <dd>: vaporiser for, <a href="#Page_71">71</a></dd> - -<dt>Stamped leather, <a href="#Page_16">16</a>, <a href="#Page_38">38</a>-<a href="#Page_40">40</a></dt> - <dd>chairs, <a href="#Page_84">84</a></dd> - <dd>: cutting, <a href="#Page_39">39</a></dd> - <dd>in hangings and furniture, <a href="#Page_83">83</a>, <a href="#Page_84">84</a></dd> - <dd>: introduction into Venice, <a href="#Page_14">14</a></dd> - <dd>: modelling, <a href="#Page_39">39</a></dd> - -<dt>Stamping leather, <a href="#Page_38">38</a>-<a href="#Page_40">40</a></dt> - <dd>: inks for, <a href="#Page_39">39</a></dd> - <dd>: presses for, <a href="#Page_38">38</a>, <a href="#Page_39">39</a></dd> - <dd>with copper-plate, <a href="#Page_39">39</a></dd> - <dd>with metal block, <a href="#Page_39">39</a></dd> - <dd>with plaster casts, <a href="#Page_39">39</a></dd> - <dd>with stencil, <a href="#Page_38">38</a></dd> - -<dt>Stearine: plaster casts prepared with, <a href="#Page_39">39</a></dt> - -<dt>Steel clamps for holding leather, <a href="#Page_31">31</a></dt> - -<dt>Stencil-cutter’s knife, <a href="#Page_46">46</a>, <a href="#Page_61">61</a></dt> - -<dt>Stencilling, <a href="#Page_72">72</a></dt> - <dd>: brush for, <a href="#Page_72">72</a></dd> - <dd>: inks for, <a href="#Page_72">72</a></dd> - <dd>: leather for, <a href="#Page_18">18</a></dd> - -<dt>Stone: lithographic, <a href="#Page_15">15</a>, <a href="#Page_44">44</a></dt> - -<dt>Study of design, <a href="#Page_79">79</a></dt> - -<dt>Sulphate of iron, <a href="#Page_65">65</a>, <a href="#Page_67">67</a>, <a href="#Page_68">68</a>, <a href="#Page_69">69</a>, <a href="#Page_76">76</a></dt> - -<dt>Sulphuric acid, <a href="#Page_71">71</a></dt> - -<dt>Sumach tannin, <a href="#Page_15">15</a></dt> - -<dt>Superposed dyes, <a href="#Page_65">65</a>, <a href="#Page_68">68</a>, <a href="#Page_76">76</a></dt> - -<dt> </dt> - -<dt>Tanning materials, <a href="#Page_15">15</a>, <a href="#Page_16">16</a></dt> - -<dt>Tanning process, <a href="#Page_15">15</a></dt> - <dd>: influence of, on colour of leather, <a href="#Page_15">15</a>-<a href="#Page_16">16</a>, <a href="#Page_64">64</a></dd> - <dd>: leather prepared to receive dyes by the, <a href="#Page_67">67</a></dd> - -<dt>Theophilus, author of <i>Diversarum Artium Schedula</i></dt> - <dd>: process of gilding described by, <a href="#Page_80">80</a>-<a href="#Page_81">81</a></dd> - <dd>: recipe for colouring tinfoil to give it the appearance of being gilt, <a href="#Page_89">89</a></dd> - <dd>: recipe for golden varnish, <a href="#Page_88">88</a></dd> - <dd>: recipe for paste for mounting leather on wooden panels, <a href="#Page_82">82</a></dd> - -<dt>Tools, <a href="#Page_16">16</a></dt> - <dd>: bookbinders’, for gilding, <a href="#Page_75">75</a></dd> - <dd>: effect of acids on steel, <a href="#Page_30">30</a></dd> - <dd>for carving, <a href="#Page_27">27</a></dd> - <dd>for modelling, <a href="#Page_29">29</a>-<a href="#Page_32">32</a></dd> - <dd>for pointogravure, <a href="#Page_38">38</a></dd> - <dd>for pyrogravure, <a href="#Page_36">36</a>-<a href="#Page_37">37</a></dd> - <dd>for sticking inlay on morocco groundwork, <a href="#Page_59">59</a>, <a href="#Page_60">60</a></dd> - <dd>for working reed decoration, <a href="#Page_34">34</a></dd> - -<dt>Tracing design, <a href="#Page_19">19</a>-<a href="#Page_20">20</a></dt> - <dd>for decolorants, <a href="#Page_71">71</a></dd> - <dd>for incrusted mosaic, <a href="#Page_62">62</a></dd> - <dd>for modelling, <a href="#Page_32">32</a>, <a href="#Page_33">33</a></dd> - <dd>for mosaic, <a href="#Page_46">46</a></dd> - <dd>for mosaic in relief, <a href="#Page_61">61</a></dd> - <dd>for polychrome mosaic, <a href="#Page_57">57</a>-<a href="#Page_58">58</a></dd> - <dd>for sprinkling, <a href="#Page_71">71</a></dd> - <dd>on flesh side of leather, <a href="#Page_32">32</a>, <a href="#Page_33">33</a></dd> - -<dt>Tracing-point, <a href="#Page_15">15</a>, <a href="#Page_20">20</a></dt> - -<dt>Tree marbling, <a href="#Page_70">70</a></dt> - <dd>: brush for, <a href="#Page_70">70</a></dd> - -<dt>Turmeric, <a href="#Page_66">66</a></dt> - -<dt> </dt> - -<dt>Van Orley, painter, <a href="#Page_83">83</a>, <a href="#Page_87">87</a>-<a href="#Page_88">88</a></dt> - -<dt>Vaporiser for sprinkling, <a href="#Page_71">71</a></dt> - -<dt>Varnish</dt> - <dd>: recipe for golden (Boudaroy), <a href="#Page_86">86</a>-<a href="#Page_87">87</a></dd> - <dd>: recipe for golden (Theophilus), <a href="#Page_88">88</a></dd> - <dd>: rubbing leather with, <a href="#Page_72">72</a>-<a href="#Page_73">73</a></dd> - <dd>: use of, with powder colours, <a href="#Page_73">73</a>-<a href="#Page_74">74</a></dd> - -<dt>Vegetable dyes: stability of, <a href="#Page_64">64</a></dt> - -<dt>Vellum, <a href="#Page_16">16</a></dt> - <dd>: characteristics and methods of decorating, <a href="#Page_18">18</a></dd> - <dd>in bookbinding, <a href="#Page_18">18</a></dd> - -<dt>Venice</dt> - <dd>: introduction of modelled and stamped leather into, <a href="#Page_14">14</a></dd> - <dd>: manufacture of leather hangings and furniture in, <a href="#Page_83">83</a>, <a href="#Page_85">85</a></dd> - -<dt>Vermilion: Chinese, <a href="#Page_74">74</a></dt> - -<dt> </dt> - -<dt>Water-colours, -67<!--145.png--><span class="pagenum">104</span></dt> - -<dt>Wax</dt> - <dd>for modelling, <a href="#Page_33">33</a>-<a href="#Page_34">34</a></dd> - <dd>padding, <a href="#Page_34">34</a></dd> - <dd>: rubbing leather with, <a href="#Page_72">72</a>-<a href="#Page_73">73</a></dd> - -<dt>Wheels</dt> - <dd>: outlining, <a href="#Page_15">15</a>, <a href="#Page_35">35</a>, <a href="#Page_54">54</a>, <a href="#Page_56">56</a>, <a href="#Page_63">63</a></dd> - <dd>: patterns produced with, <a href="#Page_35">35</a></dd> - -<dt> </dt> - -<dt>Xanthin, <a href="#Page_65">65</a></dt> - -<dt> </dt> - -<dt>Yellows, <a href="#Page_66">66</a></dt> - -<dt> </dt> - -<dt>Zinc: chromate of, <a href="#Page_66">66</a></dt> -</dl> - -<div class="vertspace-4em"></div> - -<hr class="tb" /> - -<div class="center">Butler & Tanner, The Selwood Printing Works, Frome, and London.</div> - -<hr class="chap" /> - -<div class="c3"><a name="Changes" id="Changes"></a>TRANSCRIBER’S AMENDMENTS</div> - -<p>Transcriber’s Note: Blank pages have been deleted. Some illustrations have -been moved and the corresponding entries in the lists of illustrations -updated. Three illustrations have been rotated 90°. Footnotes have been -moved to follow the referencing paragraph. The publisher’s inadvertent -omissions of important punctuation have been corrected. Duplicative front -matter has been removed.</p> - -<p>The following list indicates any additional changes made. The page number -represents that of the original publication and applies in this etext -except for footnotes and illustrations since they may have been moved.</p> - -<p>Key: {<from>}[<to>]:</p> - -<pre> - Page Change - - - {_To face Page_}[_Page_] - 12 painted and gilt calf. <i>Le Roman de Tristan et {Iseul}[Iseut].</i> - 56 of wood covered with embossed leather, <i>cuir {bouill}[bouilli]</i>. - 83 of repeating ornament for figures and {landscopes}[landscapes]. -</pre> - -<div style="padding-top: 1em;"><a href="#Start">Start of text.</a></div> - -<hr class="full" /> - - - - - - - - -<pre> - - - - - -End of Project Gutenberg's The Decoration of Leather, by Georges de Récy - -*** END OF THIS PROJECT GUTENBERG EBOOK THE DECORATION OF LEATHER *** - -***** This file should be named 40286-h.htm or 40286-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/0/2/8/40286/ - -Produced by Chris Curnow, Henry Gardiner and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - - -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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