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+metadata, and any other content or labor, has been confirmed to be
+in the PUBLIC DOMAIN IN THE UNITED STATES.
+
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+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #51213 (https://www.gutenberg.org/ebooks/51213)
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-Project Gutenberg's The Art of Bookbinding, by Joseph W. Zaehnsdorf
-
-This eBook is for the use of anyone anywhere in the United States and most
-other parts of the world at no cost and with almost no restrictions
-whatsoever.  You may copy it, give it away or re-use it under the terms of
-the Project Gutenberg License included with this eBook or online at
-www.gutenberg.org.  If you are not located in the United States, you'll have
-to check the laws of the country where you are located before using this ebook.
-
-Title: The Art of Bookbinding
-       A practical treatise, with plates and diagrams
-
-Author: Joseph W. Zaehnsdorf
-
-Release Date: February 14, 2016 [EBook #51213]
-
-Language: English
-
-Character set encoding: UTF-8
-
-*** START OF THIS PROJECT GUTENBERG EBOOK THE ART OF BOOKBINDING ***
-
-
-
-
-Produced by Adrian Mastronardi, RichardW, and the Online
-Distributed Proofreading Team at http://www.pgdp.net (This
-file was produced from images generously made available
-by The Internet Archive/American Libraries.)
-
-
-
-
-
-
-
-
-
-THE ART OF BOOKBINDING. A PRACTICAL TREATISE.
-
-BY JOSEPH W. ZAEHNSDORF.
-
-
-
-
-TECHNOLOGICAL HANDBOOKS.
-
-ART OF BOOKBINDING.
-
-
-
-
-TECHNOLOGICAL HANDBOOKS.
-
-
-1. DYEING AND TISSUE-PRINTING. By William Crookes, F.R.S., V.P.C.S.
-_5s._
-
-2. GLASS MANUFACTURE. INTRODUCTORY ESSAY, by H. J. Powell, B.A.
-(Whitefriars Glass Works); CROWN AND SHEET GLASS, by Henry Chance, M.A.
-(Chance Bros., Birmingham); PLATE GLASS, by H. G. Harris, Assoc. Memb.
-Inst. C.E. 3_s._ 6_d._
-
-3. COTTON SPINNING; Its Development, Principles, and Practice. By R.
-Marsden, Editor of the “Textile Mercury.” With an Appendix on Steam
-Engines and Boilers. 3rd edition, revised, 6_s._ 6_d._
-
-4. COAL-TAR COLOURS, The Chemistry of. With special reference to their
-application to Dyeing, &c. By Dr. R. Benedikt. Translated from the
-German by E. Knecht, Ph.D. 2nd edition, enlarged, 6_s._ 6_d._
-
-5. WOOLLEN AND WORSTED CLOTH MANUFACTURE. By Professor Roberts
-Beaumont. 2nd edition, revised. 7_s._ 6_d._
-
-6. PRINTING. By C. T. Jacobi, Manager of the Chiswick Press. _5s._
-
-7. BOOKBINDING. By J. W. Zaehnsdorf.
-
-9. COTTON WEAVING. By R. Marsden. _In preparation._
-
-
-
-
-[Illustration: FLORENTINE.
-
-Small folio.]
-
-
-
-
- _TECHNOLOGICAL HANDBOOKS._
-
-
- THE ART
- OF
- BOOKBINDING.
-
- A PRACTICAL TREATISE.
-
- BY
- JOSEPH W. ZAEHNSDORF.
-
- WITH PLATES AND DIAGRAMS.
-
-
- _SECOND EDITION, REVISED AND ENLARGED._
-
-
- LONDON: GEORGE BELL AND SONS,
- YORK STREET, COVENT GARDEN.
- 1890.
-
-
-
-
- CHISWICK PRESS:—C. WHITTINGHAM AND CO., TOOKS COURT,
- CHANCERY LANE.
-
-
-
-
- DEDICATED TO
-
- HUGH OWEN, ESQ., F.S.A.,
-
- AS A SLIGHT ACKNOWLEDGMENT OF HIS COUNSEL AND
-
- FRIENDSHIP, AND IN ADMIRATION OF HIS
-
- KNOWLEDGE OF
-
- BOOKBINDING.
-
-
-
-
-PREFACE TO THE SECOND EDITION.
-
-
-The first edition of this book was written for the use of amateurs, but
-I found that amongst the members of the trade my little volume had a
-large sale, and in a short time the edition became exhausted. Repeated
-applications for the book have induced me to issue this second edition.
-I have adhered to the arrangement of the first, but a great deal of
-fresh matter has been added, which I trust will be found useful.
-Should any of my fellow-workmen find anything new to them I shall be
-satisfied, knowing that I have done my duty in spreading such knowledge
-as may contribute towards the advancement of the beautiful art of
-bookbinding.
-
-I have to record my obligations to those gentlemen who have assisted me
-by courteously describing the various machines of their invention with
-which the book is illustrated. The object, however, of illustrating
-this work with engravings of machines is simply to recognize the fact
-that books are bound by machinery. To a mechanical worker must be left
-the task of describing the processes used in this method.
-
-
-
-
-LIST OF PLATES.
-
-
- FLORENTINE … _Frontispiece_
-
- GROLIER … xiv
-
- GASCON … xvi
-
- RENAISSANCE … 110
-
- ANTIQUE WITH GOLD LINE … 112
-
- DEROME … 114
-
- GROLIER … 132
-
- MAIOLI … 134
-
-
-
-
-CONTENTS.
-
-PART I.—FORWARDING.
-
-
- CHAPTER I. Folding: Refolding — Machines — Gathering … 3–8
-
- CHAPTER II. Beating and Rolling: Machines … 9–12
-
- CHAPTER III. Collating: Interleaving … 13–19
-
- CHAPTER IV. Marking up and Sawing in … 20–23
-
- CHAPTER V. Sewing: Flexible — Ordinary … 23–32
-
- CHAPTER VI. Forwarding: End Papers — Cobb Paper — Surface Paper —
- Marbled Paper — Printed and other Fancy Paper — Coloured Paste Paper …
- 33–36
-
- CHAPTER VII. Pasting up … 36–37
-
- CHAPTER VIII. Putting on the End Papers … 38–41
-
- CHAPTER IX. Trimming … 41–44
-
- CHAPTER X. Gluing up … 45–46
-
- CHAPTER XI. Rounding … 46–48
-
- CHAPTER XII. Backing … 48–51
-
- CHAPTER XIII. Mill-boards … 51–57
-
- CHAPTER XIV. Drawing-in and Pressing … 57–59
-
- CHAPTER XV. Cutting … 59–66
-
- CHAPTER XVI. Colouring the Edges: Sprinkled Edges — Colours for
- Sprinkling — Plain Colouring — Marbled Edges — Spot Marble — Comb or
- Nonpareil Marble — Spanish Marble — Edges — Sizing … 67–77
-
- CHAPTER XVII. Gilt Edges: The Gold Cushion — Gold Knife — Burnishers —
- Glaire Water or Size — Scrapers — The Gold Leaf — Gilt on Red — Tooled
- Edges — Painted Edges … 78–83
-
- CHAPTER XVIII. Head-Banding … 83–86
-
- CHAPTER XIX. Preparing for Covering: lining up … 87–90
-
- CHAPTER XX. Covering: Russia — Calf — Vellum or Parchment — Roan —
- Cloth — Velvet — Silk and Satin — Half-bound Work … 90–97
-
- CHAPTER XXI. Pasting Down: Joints — Calf, Russia, etc. … 97–100
-
- CHAPTER XXII. Calf Colouring: Black — Brown — Yellow — Sprinkles —
- Marbles — Tree-marbles — Dabs … 100–108
-
- PART II. — FINISHING.
-
- CHAPTER XXIII. Finishing: Tools and Materials required for Finishing —
- Polishing Irons — Gold-rag — India-rubber — Gold-cushion — Gold Leaf —
- Sponges — Glaire — Cotton Wool — Varnish — Finishing — Morocco — Gold
- Work — Inlaid Work — Porous — Full Gilt Back — Run-up — Mitred Back —
- Pressing — Graining — Finishing with Dry Preparation — Velvet — Silk —
- Vellum — Blocking … 111–153
-
- GENERAL INFORMATION.
-
- CHAPTER XXIV. Washing and Cleaning: Requisites — Manipulation —
- Dust — Water Stains — Damp Stains — Mud — Fox-marks — Finger-marks,
- commonly called “Thumb-marks” — Blood Stains — Ink Stains (writing)
- — Ink Stains (Marking Ink, Silver) — Fat Stains — Ink — Reviving
- Old Writings — To Restore Writing effaced by Chlorine — To Restore
- MSS. faded by time — To Preserve Drawings or Manuscripts — To fix
- Drawings or Pencil Marks — To render Paper Waterproof — To render
- Paper Incombustible — Deciphering Burnt Documents — Insects — Glue —
- Rice Glue or Paste — Paste — Photographs — Albumen — To Prevent Tools,
- Machines, etc., from Rusting — To Clean Silver Mountings — To Clean
- Sponges … 157–172
-
- GLOSSARY … 173
-
- INDEX … 181
-
-
-
-
-INTRODUCTION.
-
-
-Bookbinding carries us back to the time when leaden tablets with
-inscribed hieroglyphics were fastened together with rings, which formed
-what to us would be the binding of the volumes. We might go even still
-further back, when tiles of baked clay with cuneiform characters were
-incased one within the other, so that if the cover of one were broken
-or otherwise damaged there still remained another, and yet another
-covering; by which care history has been handed down from generation
-to generation. The binding in the former would consist of the rings
-which bound the leaden tablets together, and in the latter, the simple
-covering formed the binding which preserved the contents.
-
-We must pass on from these, and make another pause, when vellum strips
-were attached together in one continuous length with a roller at each
-end. The reader unrolled the one, and rolled the other as he perused
-the work. Books, prized either for their rarity, sacred character,
-or costliness, would be kept in a round box or case, so that the
-appearance of a library in Ancient Jerusalem would seem to us as if
-it were a collection of canisters. The next step was the fastening of
-separate leaves together, thus making a back, and covering the whole as
-a protection in a most simple form; the only object being to keep the
-several leaves in connected sequence. I believe the most ancient form
-of books |xii| formed of separate leaves, will be found in the sacred
-books of Ceylon which were formed of palm leaves, written on with a
-metal style, and the binding was merely a silken string tied through
-one end so loosely as to admit of each leaf being laid down flat when
-turned over. When the mode of preserving MS. on animal membrane or
-vellum in separate leaves came into use, the binding was at first only
-a simple piece of leather wrapped round the book and tied with a thong.
-These books were not kept on their edges, but were laid down flat on
-the shelves, and had small cedar tablets hanging from them upon which
-their titles were inscribed.
-
-The ordinary books for general use were only fastened strongly at the
-back, with wooden boards for the sides, and simply a piece of leather
-up the back.
-
-In the sixth century, bookbinding had already taken its place as an
-“Art,” for we have the “Byzantine coatings,” as they are called. They
-are of metal, gold, silver or copper gilt, and sometimes they are
-enriched with precious stones. The monks, during this century, took
-advantage of the immense thickness of the wooden boards and frequently
-hollowed them out to secrete their relics in the cavities. Bookbinding
-was then confined entirely to the monks who were the literati of the
-period. Then the art was neglected for some centuries, owing to the
-plunder and pillage that overran Europe, and books were destroyed to
-get at the jewels that were supposed to be hidden in the different
-parts of the covering, so that few now remain to show how bookbinding
-was then accomplished and to what extent.
-
-We must now pass on to the middle ages, when samples of binding were
-brought from the East by the crusaders, and these may well be prized by
-their owners for their delicacy of finish. The monks, who still held
-the Art of Bookbinding in their hands, improved upon these Eastern
-|xiii| specimens. Each one devoted himself to a different branch:
-one planed the oaken boards to a proper size, another stretched and
-coloured the leather; and the work was thus divided into branches, as
-it is now. The task was one of great difficulty, seeing how rude were
-the implements then in use.
-
-[Illustration: Monastic.]
-
-[Illustration: Venetian.]
-
-The art of printing gave new life to our trade, and, during the
-fifteenth century bookbinding made great progress on account of the
-greater facility and cheapness with which books were produced. The
-printer was then his own binder; but as books increased in number,
-bookbinding became a separate art-trade of itself. This was a step
-decidedly in the right direction. The art improved so much, that
-in the sixteenth century some of the finest samples of bookbinding
-were executed. Morocco having been introduced, and fine delicate
-tools cut, the art was encouraged by great families, who, liking the
-Venetian patterns, had their books bound in that style. The annexed
-|xiv| woodcut will give a fair idea of a Venetian tool. During this
-period the French had bookbinding almost entirely in their hands, and
-Mons. Grolier, who loved the art, had his books bound under his own
-supervision in the most costly manner. His designs consisted of bold
-gold lines arranged geometrically with great accuracy, crossing one
-another and intermixed with small leaves or sprays. These were in
-outlines shaded or filled up with closely worked cross lines. Not,
-however, satisfied with these simple traceries, he embellished them
-still more by staining or painting them black, green, red, and even
-with silver, so that they formed bands interlacing each other in a most
-graceful manner. Opposite is a centre block of Grolier. It will be seen
-how these lines entwine, and how the small tools are shaded with lines.
-If the reader has had the good fortune to see one of these specimens,
-has he not wondered at the taste displayed? To the French must
-certainly be given the honour of bringing the art to such a perfection.
-Francis I. and the succeeding monarchs, with the French nobility,
-|xv| placed the art on such a high eminence, that even now we are
-compelled to look to these great masterpieces as models of style. Not
-only was the exterior elaborate in ornament, but the edges were gilded
-and tooled; and even painted. We must wonder at the excellence of the
-materials and the careful workmanship which has preserved the bindings,
-even to the colour of the leather, in perfect condition to the present
-day.
-
-[Illustration: GROLIER.
-
-Royal folio]
-
-[Illustration: Grolier.]
-
-There is little doubt that the first examples of the style now known as
-“_Grolier_” were produced in Venice, under the eye of Grolier himself,
-and according to his own designs; and that workmen in France, soon
-rivalled and excelled the early attempts. The work of Maioli may be
-distinctly traced by the bold simplicity and purity of his designs; and
-more especially by the broader gold lines which margin the coloured
-bands of geometric and arabesque ornamentation.
-
-All books, it must be understood, were not bound in so costly a manner,
-for we find pigskin, vellum and calf in |xvi| use. The latter was
-especially preferred on account of its peculiar softness, smooth
-surface, and great aptitude for receiving impressions of dumb or blind
-tooling. It was only towards the latter part of the sixteenth century
-that the English binders began to employ delicate or fine tooling.
-
-During the seventeenth century the names of Du Sueil and Le Gascon
-were known for the delicacy and extreme minuteness of their finishing.
-Not disdaining the bindings of the Italian school, they took from them
-new ideas; for whilst the Grolier bindings were bold, the Du Sueil
-and Le Gascon more resembled fine lace work of intricate design, with
-harmonizing flowers and other objects, from which we may obtain a great
-variety of artistic character. During this period embroidered velvet
-was much in use. Then a change took place and a style was adopted which
-by some people would be preferred to the gorgeous bindings of the
-sixteenth century. The sides were finished quite plainly with only a
-line round the edge of the boards (and in some instances not even that)
-with a coat of arms or some badge in the centre.
-
-Towards the end of the seventeenth century bookbinding began to
-improve, particularly with regard to forwarding. The joints were
-true and square, and the back was made to open more freely. In the
-eighteenth century the names of Derome, Roger Payne, and others
-are prominent as masters of the craft, and the Harleian style was
-introduced.
-
-The plate facing may be fairly estimated as a good specimen of Derome.
-Notice the extreme simplicity and yet the symmetry of the design;
-its characteristic feature being the boldness of the corners and the
-gradual diminishing of the scroll work as it nears the centre of the
-panel. Morocco and calf were the leathers used for this binding.
-
-[Illustration: GASCON.
-
-8^{vo}
-
-T. Way, Photo-lith.]
-
-Hand coloured calf was at this period at its height, and |xvii| the
-Cambridge calf may be named as a pattern of one of the various styles,
-and one that is approved of by many at the present day—the calf was
-sprinkled all over, save a square panel left uncoloured in the centre
-of the boards.
-
-[Illustration: Harleian.]
-
-[Illustration: Roger Payne.]
-
-The Harleian style took its name from Harley, Earl of Oxford. It was
-red morocco with a broad tooled border and centre panels. We have the
-names of various masters who pushed the art forward to very great
-excellence during this century. Baumgarten and Benedict, two Germans of
-considerable note in London; Mackinly, from whose house also fine work
-was sent out, and by whom good workmen were educated whose specimens
-almost equal the work of their master. There were two other Germans,
-Kalthoeber and Staggemeier, each having his own peculiar style.
-Kalthoeber is credited with having first introduced painting on the
-edges. This I must dispute, as it was done in the sixteenth century. To
-him, however, must certainly be given the credit of having discovered
-the secret, if ever lost, and renewing it on his best work. We must
-now |xviii| pass on to Roger Payne, that unfortunate and erring man
-but clever workman, who lived during the latter part of the eighteenth
-century. His taste may be seen from the woodcut. He generally used
-small tools, and by combining them formed a variety of beautiful
-designs. He cut most of these tools himself, either because he could
-not find a tool cutter of sufficient skill, or that he found it
-difficult to pay the cost. We are told by anecdote, that he drank much
-and lived recklessly; but notwithstanding all his irregular habits,
-his name ought to be respected for the work he executed. His backs
-were firm, and his forwarding excellent; and he introduced a class of
-finishing that was always in accordance with the character or subject
-of the book. His only fault was the peculiar coloured paper with which
-he made his end papers. |xix|
-
-Coloured or fancy calf has now taken the place of the hand-coloured.
-Coloured cloth has come so much into use, that this branch of the trade
-alone monopolizes nearly three-fourths of the workmen and females
-employed in bookbinding. Many other substitutes for leather have been
-introduced, and a number of imitations of morocco and calf are in the
-market; this, with the use of machinery, has made so great a revolution
-in the trade, that it is now divided into two distinct branches—cloth
-work and extra work.
-
-I have endeavoured in the foregoing remarks to raise the emulation of
-my fellow craftsmen by naming the most famous artists of past days; men
-whose works are most worthy of study and imitation. I have refrained
-from any notice or criticism of the work of my contemporaries; but I
-may venture to assure the lover of good bookbinding that as good and
-sound work, and as careful finish, may be obtained in a first-rate
-house in London as in any city in the world.
-
-In the succeeding chapters, I will endeavour in as plain and simple a
-way as I can to give instructions to the unskilled workman _how to bind
-a book_.
-
-
-
-
-PART I.
-
-FORWARDING.
-
-
-|3|
-
-THE ART OF BOOKBINDING.
-
-CHAPTER I.
-
-FOLDING.
-
-We commence with _folding_. It is generally the first thing the binder
-has to do with a book. The sheets are either supplied by the publisher
-or printer (mostly the printer); should the amateur wish to have his
-books in sheets, he may generally get them by asking his bookseller for
-them. It is necessary that they be carefully folded, for unless they
-are perfectly even, it is impossible that the margins (the blank space
-round the print) can be uniform when the book is cut. Where the margin
-is small, as in very small prayer books, a very great risk of cutting
-into the print is incurred; besides, it is rather annoying to see a
-book which has the folio or paging on one leaf nearly at the top, and
-on the next, the print touching the bottom; to remedy such an evil,
-the printer having done his duty by placing his margins quite true,
-it remains with the binder to perfect and bring the sheet into proper
-form by folding. The best bound book may be spoilt by having the sheets
-badly folded, and the binder is perfectly justified in rejecting any
-sheets that may be badly printed, that is, not in register. |4|
-
-The sheets are laid upon a table with the signatures (the letters or
-numbers that are at the foot of the first page of each sheet when
-folded) facing downwards on the left hand side. A folding-stick is held
-in the right hand, and the sheet is brought over from right to left,
-the folios being carefully placed together; if the paper is held up to
-the light, and is not too thick, it can be easily seen through. Holding
-the two together and laying them on the table the folder is drawn
-across the sheet, creasing the centre; then, holding the sheet down
-with the folder on the line to be creased, the top part is brought over
-and downwards till the folios or the bottom of the letterpress or print
-is again even. The folder is then drawn across, and so by bringing each
-folio together the sheet is completed. The process is extremely simple.
-The octavo sheet is _generally_ folded into 4 folds, thus giving 8
-leaves or 16 pages; a quarto, into 2, giving 4 leaves or 8 pages, and
-the sheets properly folded, will have _their signatures outside_ at the
-foot of the first page. If the signature is not on the outside, one may
-be certain that the sheet has been wrongly folded.
-
-I say _generally_; at one time the water or wire mark on the paper and
-the number of folds gave the size of the book.
-
-There are numerous other sizes, but it is not necessary to give them
-all; the process of folding is in nearly all cases the same; here are
-however, a few of the sizes given in inches.
-
- Foolscap 8vo.              6-5/8 ×4-1/8
- Demy 12mo.                 7-3/8 ×4-3/8
- Crown 8vo.                 7-1/2 ×5
- Post 8vo.                      8 ×5
- Demy 8vo.                      9 ×5-1/2
- Medium 8vo.                9-5/8 ×5-3/4
- Small Royal 8vo.              10 ×6-1/4
- Large Royal 8vo.          10-1/2 ×6-3/4 |5|
- Imperial 8vo.                 11 ×7-1/2
- Demy 4to.                     11 ×9
- Medium 4to.               11-3/4 ×9-5/8
- Royal 4to.                12-1/2 ×10
- Imperial 4to.                 15 ×11
- Crown Folio.                  15 ×10
- Demy Folio                    18 ×11
-
-As a final caution, the first and last sheets must be carefully
-examined; very often the sheet has to be cut up or divided, and the
-leaf or leaves placed in various positions in the book.
-
-It is also advisable to cut the head of the sheets, using the
-folding-stick, cutting just beyond the back or middle fold; this
-prevents the sheet running into a side crease when pressing or rolling.
-Should such a crease occur the leaf or sheet must be damped by placing
-it between wet paper and subjecting it to pressure; no other method is
-likely to erase the break.
-
-_Refolding._—With regard to books that have been issued in numbers,
-they must be _pulled to pieces_ or divided. The parts being arranged
-in consecutive order, so that not so much difficulty will be felt in
-collating the sheets, the outside wrapper is torn away, and each sheet
-pulled singly from its neighbour, care being taken to see if any thread
-used in sewing is in the centre of the sheet at the back; if so, it
-must be cut with a knife or it will tear the paper. As the sheets are
-pulled they must be laid on the left hand side, each sheet being placed
-face downwards; should they be placed face upwards the first sheet will
-be the last and the whole will require rearranging. All advertisements
-may be placed away from the sheets into a pile; these will be found
-very handy for lining boards, pasting on, or as waste. The title and
-contents will generally be found in the last part; place them in their
-proper places. The sheets must now be refolded, if improperly folded
-in the first instance. |6| Turn the whole pile (or book now) over,
-and again go through each sheet; alter by refolding any sheet that may
-require it. Very often the sheets are already cut, and in this case
-the section must be dissected and each leaf refolded and reinserted in
-proper sequence, and placed carefully head-line to head-line. Great
-care must be exercised, as the previous creasings render the paper
-liable to be torn in the process.
-
-[Illustration: Knocking-down Iron screwed into Press.]
-
-Books that have been bound and cut would be rendered often worse by
-refolding, and as a general rule they are left alone. Bound books are
-pulled to pieces in the same manner, always taking care that the thread
-is cut or loose before tearing the sheet away; should trouble arise
-through the glue, etc., not coming away easily, the back may be damped
-with a sponge lightly charged with water, or perhaps a better method is
-to place the book or books in a press, screw up tightly, and soak the
-backs with thin paste, leaving them soaking for an hour or two; they
-will want repasting two or three times during the period; the whole of
-the paper, glue, and leather can then be easily scraped away with a
-blunt knife; a handful of shavings rubbed over the back will make it
-quite clean, and no difficulty will be met with if the sections are
-taken apart while damp. The sections must, as pulled, be placed evenly
-one on |7| the other, as the paper at back retains sufficient glue
-to cause them to stick together if laid across one another; the whole
-must then be left to dry. When dry the groove should be knocked down
-on a flat surface, and for this the knocking-down iron screwed up in
-the lying press is perhaps the best thing to use. The groove is the
-projecting part of the book close to the back, caused by the backing,
-and is the groove for the back edge of the mill-board to work in by a
-hinge; this hinge is technically called the “joint.”
-
-[Illustration: Martini’s Folding Machine.]
-
-_Machines._—There are many folding machines made by the various
-machinists; the working of them, however, is in nearly all cases
-identical. The machine is generally |8| fed by a girl, who places the
-sheet to points, the arm lifting up at given periods to allow placing
-the sheet. Another arm carrying a long thin blade descends, taking the
-sheet through a slot in the table, where it is passed between rollers;
-another set of rollers at right angles creases it again. The rollers
-are arranged for two, three, or more creasings or folds. The sheets are
-delivered at the side into a box, from which they are taken from time
-to time. The cut is one of Martini’s, and is probably the most advanced.
-
-_Gathering._—A _gathering machine_ has been patented which is of a
-simple but ingenious contrivance for the quick gathering of sheets. The
-usual way to gather, is by laying piles of sheets upon a long table,
-and for the gatherer to take from each pile a sheet in succession.
-By the new method a round table is made to revolve by machinery, and
-upon it are placed the piles of sheets. As the table revolves the
-gatherer takes a sheet from each pile as it passes him. It will at once
-be seen that not only is space saved, but that a number of gatherers
-may be placed at the table; and that there is no possibility of the
-gatherers shirking their work, as the machine is made to register the
-revolutions. By comparing the number of sheets with the revolutions of
-the table, the amount of work done can be checked.
-
-[Illustration]
-
-
-|9|
-
-CHAPTER II.
-
-BEATING AND ROLLING.
-
-The object of beating or rolling is to make the book as solid as
-possible. For beating, a stone or iron slab, used as a bed, and a heavy
-hammer, are necessary. The stone or iron must be perfectly smooth, and
-should be bedded with great solidity. I have in use an iron bed about
-two feet square, fitted into a strongly-made box, filled with sand,
-with a wooden cover to the iron when not in use. The hammer should be
-somewhat bell-shaped, and weigh about ten pounds, with a short handle,
-made to _fit the hand_. The face of the hammer and stone (it is called
-a beating-stone whether it be stone or iron), must be kept perfectly
-clean, and it is advisable always to have a piece of paper at the top
-and bottom of the sections when beating, or the repeated concussion
-will glaze them.
-
-[Illustration: Beating Hammer.]
-
-The book should be divided into lots or sections of about half an inch
-thick, that will be about fifteen to twenty sheets, according to the
-thickness of paper. A section is now to be held on the stone between
-the fingers and thumb of the left hand; then the hammer, grasped firmly
-in the right hand, is raised, and brought down with rather more than
-its own weight on the sheets, which must be continually moved round,
-turned over and changed about, in order that they may be equally beaten
-all over. |10| By passing the section between the finger and thumb, it
-can be felt at once, if it has been beaten properly and evenly. Great
-care must be taken that in each blow of the hammer it shall have the
-face fairly on the body of the section, for if the hammer is so used
-that the greatest portion of the weight should fall outside the edge
-of the sheets the concussion will break away the paper as if cut with
-a knife. It is perhaps better for a beginner to practise on some waste
-paper before attempting to beat a book; and he should always rest when
-the wrist becomes tired. When each section has been beaten, supposing
-a book has been divided into four sections, the whole four should be
-beaten again, but together.
-
-I do not profess a preference to beating over rolling because I
-have placed it first. The rolling machine is one of the greatest
-improvements in the trade, but _all books should not be rolled_, and a
-bookbinder, I mean a practical bookbinder, not one who has been nearly
-the whole of his lifetime upon a cutting machine, or at a blocking
-press, and who calls himself one, but a competent bookbinder, should
-know how and when to use the beating hammer and when the rolling
-machine.
-
-There are some books, old ones for instance, that should on no account
-be rolled. The clumsy presses used in printing at an early date gave
-such an amount of pressure on the type that the paper round their
-margins has sometimes two or three times the thickness of the printed
-portion. At the present time each sheet after having been printed is
-pressed, and thus the leaf is made flat or nearly so, and for such work
-the rolling machine is certainly better than the hammer.
-
-To roll a book, it is divided into sections as in beating, only not so
-many sheets are taken—from six upwards, according to the quality of
-the work to be executed. The sheets are then placed between tins, and
-the whole passed |11| between the rollers, which are regulated by a
-screw, according to the thickness of sections and power required. The
-workman, technically called “Roller,” has to be very careful in passing
-his books through, that his hand be not drawn in as well, for accidents
-have from time to time occurred through the inattention of the Roller
-himself, or of the individual who has the pleasure of applying his
-strength to turning the handle.
-
-[Illustration: Rolling Machine.]
-
-I never pass or hear a rolling machine revolving very rapidly without
-having vividly brought to my mind a very serious accident that happened
-to my father. He was feeling for a flaw on one of the rollers, and
-whilst his hands |12| were at the edge of the rollers the man turned
-the handle, drawing the whole hand between the heavy cylinders. The
-accident cost him many months in the hospital, and he never regained
-complete use of his right hand.
-
-Great care must be used not to pass too many sheets through the machine
-at one time; the same applies to the regulating screw. The amount
-of damage that can be done to the paper by too heavy a pressure is
-astonishing, as the paper becomes quite brittle, and may perhaps even
-be cut as with a knife.
-
-Another caution respecting new work. Recently printed books, if
-submitted to heavy pressure, either by the beating hammer or machine,
-are very likely to “set off,” that is, the ink from one side of the
-page will be imprinted to its opposite neighbour; indeed, under very
-heavy pressure, some ink, perhaps many years old, will “set off;” this
-is due in a great measure to the ink not being properly prepared.
-
-_Machines._—Of the many rolling machines in the market the principle
-is in all the same. A powerful frame, carrying two heavy rollers or
-cylinders, which are set in motion, revolving in the same direction,
-by means of steam or by hand. In many, extra power is supplied by the
-use of extra cog-wheels; the power is, however, gained at an expense of
-speed. The pressure is regulated by screws at the top.
-
-[Illustration]
-
-
-|13|
-
-CHAPTER III.
-
-COLLATING.
-
-To collate, is to ensure that each sheet or leaf is in its proper
-sequence. Putting the sheets together and placing plates or maps
-requires great attention. The sheets must run in proper order by
-the signatures: letters are mostly used, but numbers are sometimes
-substituted. When letters are used, the alphabet is repeated as often
-as necessary, doubling the letter as often as a new alphabet is used,
-as B, C, with the first alphabet,[1] and AA, BB, CC or Aa, Bb, Cc, with
-the second repetition, and three letters with the third, generally
-leaving out J, V, W. Plates must be trimmed or cut to the proper size
-before being placed in the book, and maps that are to be folded must be
-put on guards. By mounting a map on a guard the size of the page, it
-may be kept open on the table beside the book, which may be opened at
-any part without concealing the map: by this method the map will remain
-convenient for constant reference. This is technically called “throwing
-out” a map.
-
-      [1] The text of a book always commences with B, the title and
-      preliminary matter being reckoned as A.
-
-To collate a book, it is to be held in the right hand, at the right top
-corner, then, with a turn of the wrist, the back must be brought to the
-front. Fan the sections out, then with the left hand the sheets must be
-brought back to an angle, which will cause them when released to spring
-forward, so that the letter on the right bottom |14| corner of each
-sheet is seen, and then released, and the next brought into view. When
-a work is completed in more than one volume, the number of the volume
-is indicated at the left hand bottom corner of each sheet. I need
-hardly mention that the title should come first, then the dedication
-(if one), preface, contents, then the text, and finally the index.
-The number on the pages will, however, always direct the binder as to
-the placing of the sheets. The book should always be beaten or rolled
-before placing plates or maps, _especially coloured ones_.
-
-[Illustration]
-
-Presuming that we have a book with half a dozen plates, the first thing
-after ascertaining that the letter-press is perfect, is to see that
-all the plates are there, by looking to the “List of Plates,” printed
-generally after the contents. The plates should then be squared or
-cut truly, using a sharp knife and straight edge. When the plates are
-printed on paper larger than the book, they must be cut down to the
-proper size, leaving a somewhat less margin at the back than there will
-be at the foredge when the book is cut. Some plates have to face to the
-left, |15| some to the right, the frontispiece for instance; but as
-a general rule, plates should be placed on the right hand, so that on
-opening the book they all face upwards. When plates consist of subjects
-that are at a right angle with the text, such as views and landscapes,
-the inscription should always be placed to the right hand, whether
-the plate face to the right or to the left page. If the plates are on
-thick paper they should be _guarded_, either by adding a piece of paper
-of the same thickness or by cutting a piece from the plate and then
-joining the two again together with a piece of linen, so that the plate
-moves on the linen hinge: the space between the guard and plate should
-be more than equal to the thickness of the paper. If the plate is
-almost a cardboard, it is better and stronger if linen be placed both
-back and front. Should the book consist of plates only, sections may be
-made by placing two plates and two guards together, and sewing through
-the centre between the guards, leaving of course a space between the
-two guards, which will form the back.
-
-With regard to maps that have to be mounted, it is better to mount them
-on the finest linen, as it takes up the least room in the thickness of
-the book. The linen should be cut a little larger than the map itself,
-with a further piece left, on which to mount the extra piece of paper,
-so that the map may be thrown out as before described. The map should
-first be trimmed at its back, then pasted with rather _thin paste_;
-the linen should then be laid carefully on, and gently rubbed down and
-turned over, so that the map comes uppermost; the pasted guard should
-then be placed a little away from the map, and the whole _well rubbed
-down_, and finally laid out flat to dry. To do this work, the paste
-must be clean, free from all lumps, and used very evenly and not too
-thickly, or when dry every mark of the brush will be visible. When the
-map is dry it should be trimmed all round and folded to its proper
-|16| size, viz.—a trifle smaller than the book will be when cut. If
-it is left larger the folds will naturally be cut away, and the only
-remedy will be a new map, which means a new copy of the work. For all
-folded maps or plates a corresponding thickness must be placed in the
-backs where the maps go, or the foredge will be thicker than the back.
-Pieces of paper called guards, are folded from 1/4 inch to 1 inch in
-width, according to the size of the book, and placed in the back,
-and sewn through as a section. Great care must be taken that these
-guards are not folded too large, so as to overlap the folds of the
-map, if they do so, the object of their being placed there to make the
-thickness of the back and foredge equal will be defeated.
-
-[Illustration: Shewing Book with Map thrown out.]
-
-In a great measure, the whole beauty of the inside work rests in
-properly collating the book, in guarding maps, and in placing the
-plates. When pasting in any single leaves or plates, a piece of waste
-paper should always be placed on the leaf or plate the required
-distance from the edge to be pasted, so that the leaf is pasted
-straight. It takes no longer to lay the plate down upon the edge of
-a board with a paper on the plate, than it does to hold the plate in
-the left hand, and apply the paste with the right hand middle finger;
-by the former method a proper amount of paste is deposited evenly on
-the plate and it is pasted in a straight line; by the latter method,
-it is pasted in some |17| places thickly, and in some places none
-at all. I have often seen books with the plates fastened to the book
-nearly half way up to its foredge, and thus spoilt, only through the
-slovenly way of pasting. After having placed the plates, the collater
-should go through them again when dry, to see if they adhere properly,
-and break or fold them over up to the pasting, with a folding stick,
-so that they will lie flat when the book is open. I must again call
-attention to coloured plates. They should be looked to during the whole
-of binding, especially after pressing. The amount of gum that is put
-on the surface, which is very easily seen by the gloss, causes them to
-stick to the letter-press: should they so stick, do not try to tear
-them apart, but warm a polishing iron and pass it over the plate and
-letter-press, placing a piece of paper between the iron and the book to
-avoid dirt. The heat and moisture will soften the gum, and the surfaces
-can then be very easily separated. By rubbing a little _powdered French
-chalk_ over the coloured plates _before_ sticking them in, these _ill
-effects will be avoided_.
-
-It sometimes happens that the whole of a book is composed of single
-leaves, as the “Art Journal.” Such a book should be collated properly,
-and the plates placed to their respective places, squared and broken
-over, by placing a straight edge or runner about half an inch from
-its back edge, and running a folder under the plate, thus lifting it
-to the edge of the runner. The whole book should then be pressed for
-a few hours, taken out, and the back glued up; the back having been
-previously roughed with the side edge of the saw. To glue such a back,
-the book is placed in the lying press between boards, with the back
-projecting about an eighth of an inch, the saw is then drawn over it,
-with its side edge, so that the paper is as it were rasped. The back is
-then sawn in properly, as explained in the next chapter, and the whole
-back is glued. When dry, the |18| book is separated into divisions or
-sections of four, six, or eight leaves, according to the thickness of
-the paper, and each section is then overcast or over sewn along its
-whole length, the thread being fastened at the head and tail (or top
-and bottom); thus each section is made independent of its neighbour.
-The sections should then be gently struck along the back edge with a
-hammer against a knocking-down iron, so as to imbed the thread into the
-paper, or the back will be too thick. The thread should not be struck
-so hard as to cut the paper, or break the thread, but very gently. Two
-or three sections may be taken at a time.
-
-After having placed the plates, the book should be put into the press
-(standing or otherwise) for a few hours. A standing press is used in
-all good bookbinding shops.
-
-The Paris houses have a curious way of pressing their books. The books
-are placed in the standing press; the top and bottom boards are very
-thick, having a groove cut in them in which a strong thin rope is
-placed. The press is screwed down tightly, when, after some few minutes
-has elapsed, the cord or rope is drawn together and fastened. The
-pressure of the screw is released, the whole taken out en bloc, and
-allowed to remain for some hours, during which time a number of other
-batches are passed through the same press.
-
-When taken out of the press the book is ready for “marking up” if for
-flexible sewing, or for being sawn in if for ordinary work.
-
-_Interleaving._—It is sometimes required to place a piece of writing
-paper between each leaf of letter-press, either for notes or for a
-translation: in such a case, the book must be properly beaten or
-rolled, and each leaf cut up with a hand-knife, both head and foredge;
-the writing paper having been chosen, must be folded to the size of the
-book and pressed. A single leaf of writing paper is now to be fastened
-in the centre of each section, and a folded leaf |19| placed to every
-folded letter-press leaf, by inserting the one within the other, a
-folded writing paper being left outside every other section, and all
-being put level with the head; the whole book should then be well
-pressed.
-
-If by any chance there should be one sheet in duplicate and another
-missing, by returning the one to the publisher of the book the missing
-sheet is generally replaced; this, of course, has reference only to
-books of a recent date.
-
-[Illustration: Boomer Press.]
-
-There is a new press of American invention that has come under my
-notice. It will be seen that it acts on an entirely new principle,
-having two horizontal screws instead of one perpendicular. The power is
-first applied by hand and finally by a lever and ratchet-wheel in the
-centre. A pressure guage is affixed to each press, so that the actual
-power exerted may be ascertained as the operation proceeds. The press
-can be had from Messrs. Ladd and Co., 116, Queen Victoria Street, E.C.;
-and they claim that it gives a pressure equal to the hydraulic press,
-without any of the hydraulic complications.
-
-[Illustration]
-
-
-|20|
-
-CHAPTER IV.
-
-MARKING UP AND SAWING IN.
-
-The books having been in the press a sufficient time, say for a night,
-they are taken out, and run through again (collated) to make sure that
-they are all correct. A book is then taken and knocked straight both
-head and back and put in the lying press between boards, projecting
-from them about 1/8 inch; some binders prefer cutting boards, I prefer
-pressing boards, and I should advise the use of them, as the whole can
-be knocked up together. They should be held between the fingers of each
-hand, and the back and head knocked alternately on the cheek of the
-press. The boards are then drawn back the required distance from the
-back of the book: the book and boards must now be held tightly with the
-left hand, and the whole carefully lowered into the press; the right
-hand regulating the screws, which should then be screwed up tightly.
-The book is now quite straight, and firmly fixed in the press, and we
-have to decide if it is to be sewn flexibly or not. If for _flexible_
-binding the book is _not to be sawn in_, but marked; the difference
-being, that with the latter the cord is _outside the sheets_; with the
-former the cord is _imbedded in the back_, in the cut or groove made
-by the saw. We will take the flexible first, and suppose that the book
-before us is an ordinary 8vo. volume, and that it is to be cut all
-round.
-
-The back should be divided into six equal portions, leaving the bottom,
-or tail, half an inch longer than the rest, simply because of a
-curious optical illusion, by which, |21| if the spaces were all equal
-in width, the bottom one would appear to be the smallest, although
-accurately of the same width as the rest. This curious effect may be
-tested on any framed or mounted print. A square is now to be laid upon
-the back exactly to the marks, and marked pretty black with a lead
-pencil; the head and tail must now be sawn in to imbed the chain of the
-kettle stitch, at a distance sufficient to prevent the thread being
-divided by accident in cutting. In flexible work great accuracy is
-absolutely necessary throughout the whole of the work, especially in
-the marking up, as the form of the bands will be visible when covered.
-It will be easily seen if the book has been knocked up straight by
-laying the square at the head when the book is in the press, and if
-it is not straight, it must be taken out and corrected. If the book
-is very small, as for instance a small prayer book, it is usually
-marked up for five bands, but only sewed on three; the other two being
-fastened on as false bands when the book is ready for covering. There
-would be no gain in strength by sewing a small book on five bands.
-
-[Illustration: A. Saw marks for catch-up stitch.]
-
-When the book is to be “sawn in,” it is marked up as for flexible
-work, but the back is sawn, both for the bands and kettle stitch, with
-a tennon saw. In choosing the saw, it should be one with the teeth
-not spread out too much; and it is advisable to have two of different
-widths. Care must be taken that the saw does not enter too deeply, and
-one |22| must, in all cases, _be guided in the depth by the thickness
-of the cord to be used_. The size of the book should determine the
-thickness of the cord, as the larger the book, the stronger and
-thicker must be the cord. Suitable cord is to be purchased at all the
-bookbinder’s material shops, and it is known by the size of the book,
-such as 12mo., 8vo., 4to. cord.
-
-[Illustration: Sawing-in Machine.]
-
-I think nothing looks worse than a book with great holes in the back,
-sometimes to be seen when the book is opened, which are due to the
-inattention of the workmen. Besides, it causes great inconvenience to
-the forwarder if the cords are loose, and the only thing he can do in
-such a case is to cram a lot of glue into the grooves to keep the cord
-in its place. If, on the other hand, the saw cuts are |23| not deep
-enough, the cord will stand out from the back, and be distinctly seen
-when the book is finished, if not remedied by extra strips of leather
-or paper between the bands when lining up. It is better to use double
-thin cord instead of one thick one for large books, because the two
-cords will lie and imbed themselves in the back, whereas one large one
-will not, unless very deep and wide saw cuts be made. Large folios
-should be sawn on six or seven bands, but five for an 8vo. is the right
-number, from which all other sizes can be regulated.
-
-Saw benches have been introduced by various firms. They can be driven
-either by steam or foot. It will be seen that the saws are circular,
-and can be shifted on the spindle to suit the various sized books.
-As the books themselves are slid along the table on the saws, the
-advantage is very great in a large shop where much work of one size is
-done at a time.
-
-
-CHAPTER V.
-
-SEWING.
-
-_Flexible Work._—The “sewing press” consists of a _bed_, _two screws_,
-and a _beam_ or _cross bar_, round which are fastened five or more
-cords, called _lay cords_. Five pieces of cord cut from the ball, in
-length, about four times the thickness of the book, are fastened to the
-lay cords by slip knots; the other ends being fastened to small pieces
-of metal called keys, by twisting the ends round twice and then a half
-hitch. The keys are then passed through the slot in the bed of the
-“press,” and the beam screwed up rather tightly; but loose enough to
-allow the lay cords to move freely |24| backwards or forwards. Having
-the book on the bed of the press with the back towards the sewer, a few
-sheets (better than only one) are laid against the cords, and they are
-arranged exactly to the marks made on the back of the sections. When
-quite true and perpendicular, they should be made tight by screwing the
-beam up. It will be better if the cords are a little to the right of
-the press, so that the sewer may get her or his left arm to rest better
-on the press.
-
-[Illustration: Sewing Press.]
-
-If when the press is tightened one of the cords is loose, as will
-sometimes happen, a pencil, folding-stick or other object slipped under
-the lay cord on the top of the beam will tighten the band sufficiently.
-The foreign sewing presses have screws with a hook at the end to hold
-the bands, the screws running in a slot in the beam: in practice they
-are very convenient.
-
-[Illustration:
-
-Ordinary sewing. 2 sheets on 2 bands.
-
-Ordinary sewing. 2 sheets on 3 bands.
-
-Ordinary sewing. 2 sheets on 5 bands.
-
-The thick lines shewing the direction of the thread.]
-
-The first and last sections are overcast usually with cotton or very
-fine thread. The first sheet is now to be laid against the bands, and
-the needle introduced through the kettle stitch hole on the right of
-the book, which is the |25| head. The left hand being within the
-centre of the sheet, the needle is taken with it, and thrust out _on
-the left_ of the mark made for the first band; the needle being taken
-with the right hand, is again introduced on _the right_ of the same
-band, thus making a _complete circle_ round it. This is repeated with
-each band in succession, and the needle brought out of the kettle
-stitch hole on the left or tail of the sheet. A new sheet is now placed
-on the top, and treated in a similar way, by introducing the needle
-at the left end or tail; and when taken out at the right end or top,
-the thread must be fastened by a knot to the end, hanging from the
-first sheet, which is left long enough for the purpose. A third sheet
-having been sewn in like manner,[2] the needle must be brought out
-at the kettle stitch, thrust between the two sheets first sewn, and
-drawn round the thread, thus fastening each sheet to its neighbour by
-a kind of chain stitch. I believe the term “kettle stitch” is only a
-corruption of “catch-up stitch,” as it catches each section as sewn in
-succession. This class of work must be done very neatly and evenly,
-but it is easily done with a little practice and patience. This is the
-strongest sewing executed at the present day, but it is very seldom
-done, as it takes three or four times as long as the ordinary sewing.
-The thread must be drawn tightly each time it is passed round the
-band, and at the end properly fastened off at the kettle stitch, or
-the sections will work loose in course of time. Old books were always
-sewn in this manner, and when two or double bands were used, the thread
-was twisted twice round one on sewing one section, and twice round the
-other on sewing the next, or once round each cord. In some cases even
-the “head-band” was worked at |27| the same time, by fastening other
-pieces of leather for the head and tail, and making it the catch-up
-stitch as well. When the head-band was worked in sewing, the book was,
-of course, not afterwards cut at the edges. When this was done, wooden
-boards were used instead of mill boards, and twisted leather instead
-of cord, and when the book was covered, a groove was made between each
-double band. This way is still imitated by sticking a second band or
-cord alongside the one made in sewing, before the book is covered. The
-cord for flexible work is called a “flexible cord,” and is twisted
-tighter and is stronger than any other. In all kinds of sewing I advise
-the use of Hayes’ Royal Irish thread, not because there is no other of
-good manufacture, but because I have tried several kinds, and Hayes’
-has proved to be the best. The thickness of the cord must always be in
-proportion to the size and thickness of the book, and the thickness of
-the thread must depend on the sheets, whether they be half sheets or
-whole sheets. If too thick a thread is used, the swelling (the rising
-caused in the back by the thread) will be too much, and it will be
-impossible to make a proper rounding or get a right size “groove” in
-backing. If the sections are thick or few, a thick thread must be used
-to give the thickness necessary to produce a good groove.
-
-      [2] As each thread is terminated, another must be joined thereto,
-      so that one length of thread is, as it were, used for a book. The
-      knots must be made very neatly, and the ends cut off, or they
-      will be visible in the sheet by their bulk.
-
-[Illustration: Flexible sewing.]
-
-If the book is of moderate thickness, the sections may be knocked down
-by occasionally tapping them with a piece |28| of wood loaded at one
-end with lead, or a thick folding-stick may be used as a substitute. I
-must again call particular attention to the kettle stitch. The thread
-must not be drawn _too tight_ in making the chain, or the thread
-_will break in backing_; but still a proper tension must be kept or
-the sheets will wear loose. The last sheet should be fastened with a
-double knot round the kettle stitch two or three sections down, and
-that section must be sewn all along. The next style of sewing, and most
-generally used throughout the trade, is the ordinary method.
-
-_Ordinary Sewing_ is somewhat different, inasmuch as _the thread is
-not_ twisted round the cord, as in flexible work, when the cord is
-outside the section. In this method the cord fits into the saw cuts.
-The thread is simply passed over the cord, not round it, otherwise
-the principle of sewing is the same, that is, the thread is passed
-right along the section, out of the holes made, and into them again;
-the kettle stitch being made in the same way. This style of work has
-one advantage over flexible work, because the back of the book can be
-better gilt. In flexible work, the leather is attached with paste to
-the back, and is flexed, and bent, each time the book is opened, and
-there is great risk of the gold splitting away or being detached from
-the leather in wear. Books sewn in the ordinary method are made with a
-hollow or loose back, and when the book is opened, the crease in the
-back is independent of the leather covering; the lining of the back
-only is creased, and the leather keeps its perfect form, by reason of
-the lining giving it a spring outwards. Morocco is generally used for
-flexible work; calf, being without a grain, is not suitable, as it
-would show all the creases in the back made by the opening. This class
-of sewing is excellent for books that do not require so much strength,
-such as library bindings,[3] but for a dictionary or the like, where
-constant |29| reference or daily use is required, I should sew a book
-flexibly. Some binders sew their books in the ordinary way, and paste
-the leather directly to the back, and thus pass it for flexible work;
-but I do not think any respectable house would do so. _A book that has
-been sewed flexibly will not have any saw cut in the back_, so that on
-examination, by opening it wide, it will at once be seen if it is a
-_real flexible binding or not_.
-
-      [3] This is not to be confounded with public library bindings.
-
-Intelligence must, however, be used; a book that has already been cased
-(or bound and sewn on cords) must of necessity have the saw cuts or
-holes, and such a book would show the cuts.
-
-There is another mode called “_flexible not to show_.” The book is
-marked up in the usual way as for flexible, and is also slightly
-scratched on the band marks with the saw; but not deep enough to go
-through the sections. A thin cord is then taken doubled for each band,
-and the book is sewn the ordinary flexible way; the cord is knocked
-into the back in forwarding, and the leather may be stuck on a hollow
-back with bands, or it may be fastened to the back itself without
-bands.[4]
-
-      [4] See chapter on Lining up.
-
-However simple it may appear in description to sew a book, it requires
-great judgment to keep down the swelling of the book to the proper
-amount necessary to form a good backing groove and no more. In order to
-do this, the sheets must from time to time be gently tapped down with a
-piece of wood or a heavy folding-stick, and great care must be observed
-to avoid drawing the fastening of the kettle stitch too tight, or the
-head and tail of the book will be thinner than the middle; this fault
-once committed has no remedy.
-
-If the sections are very thin, or in half sheets, they may, if the book
-is very thick, be sewn “_two sheets on_.” The needle is passed from
-the kettle stitch to the first band of |30| the first sheet and out,
-then another sheet is placed on the top, and the needle inserted at the
-first band and brought out at band No. 2, the needle is again inserted
-in the first sheet and in at the second band and out at No. 3, thus
-treating the two sections as one; in this way it is obvious that only
-half as much thread will be in the back. With regard to books that have
-had the heads cut, it will be necessary to open each sheet carefully up
-to the back before it is placed on the press, otherwise the centre may
-not be caught, and two or more leaves will be detached after the book
-is bound.
-
-The first and last sections of every book should be overcast for
-strength. With regard to books that are composed of single leaves,
-they are treated of in Chapter III. They are to be overcast, and each
-section treated as a section of an ordinary book, the only difference
-being, that a strong lining of paper should be given to the back before
-covering, so that it cannot “throw up.”
-
-When a book is sewn, it is taken from the sewing press by slackening
-the screws which tighten the beam, so that the cord may be easily
-detached from the keys and lay cords. The cord may be left at its full
-length until the end papers are about to be put on, when it must be
-reduced to about three inches.
-
-Brehmer’s patent wire book and pamphlet sewing machine is an
-introduction well adapted to the use of the stationer, where thick and
-hand-made paper will bear such a method. It will not, in my opinion,
-ever be found eligible for library or standard books. Its high price
-will debar it from the trade generally; but it is to be feared that a
-sufficient number of really good books may be sewn with it to cause
-embarrassment to the first-rate binder, who will be baffled in making
-good work of books which may have been damaged by the invention of
-sewing books with wire. |31|
-
-[Illustration: Smythe’s Sewing Machine.]
-
-The novelty of this machine is, that the book is sewn with wire instead
-of thread. The machine is fed with wire from spools by small steel
-rollers, which at each revolution supply exactly the length of wire
-required to form little staples with two legs. Of these staples, the
-machine makes at every revolution as many as are required |32| for
-each sheet of the book that is being sewn—generally two or three, or
-more, as necessary. These wires or staples are forced through the
-sections from the inside of the folds; and as the tapes are stretched,
-and held by clasps exactly opposite to each staple-forming and
-inserting apparatus, the legs of each staple penetrate the tapes, and
-project through them to a sufficient distance to allow of their being
-bent inwards towards each other, and pressed firmly against the tapes.
-With pamphlets, copy-books, catalogues, &c., no tape is used, the
-staples themselves being sufficient. About two thousand pamphlets or
-sheets can be sewn in one hour.
-
-Another machine, and I believe the latest, is the “Smythe.” The sewer
-sits in front of the machine and places the sheets, one at a time, on
-radial arms which project from a vertical rod. These arms rotate, rise,
-and adjust the sheets, so as to bring them in their proper position
-under the curved needles. As each arm rises, small holes are pierced,
-by means of punches in the sheets, from the inside, to facilitate the
-entrance and egress of the needles. The loopers then receive a lateral
-movement to tighten the stitch, and this movement is made adjustable,
-in order that books may be sewn tight or loose, as required. About
-20,000 sheets can be sewn in a day, and no previous sawing is required.
-Thread is used with this machine.
-
-[Illustration]
-
-
-|33|
-
-CHAPTER VI.
-
-FORWARDING.
-
-_End Papers._—The end papers should always be _made_, that is, the
-coloured paper pasted to a white one; the style of binding must decide
-what kind of ends are to be used. I give a slight idea of the kinds of
-papers used and the method of making them.
-
-_Cobb Paper_ is a paper used generally for half-calf bindings, with
-a sprinkled edge, or as a change, half-calf, gilt top. The paper is
-stained various shades and colours in the making, and I think derives
-its name from a binder who first used it. Being liked by the trade,
-they have distinguished the paper by calling it “Cobb paper,” which
-name it has kept.
-
-_Surface Paper._—This is a paper, one side of which is prepared with
-a layer of colour, laid on with a brush very evenly. Some kinds are
-left dull and others are glazed. The darker colours of this paper are
-generally chosen for Bibles or books of a religious character, and the
-lighter colours for the cloth or case work. There are many other shades
-which may be put into extra bindings with very good effect, and will
-exercise the taste of the workman. For example, a good cream, when of
-fine colour and good quality, will look very well in a morocco book
-with either cloth or morocco joints.
-
-_Marbled Paper._—This paper has the colour disposed upon it in
-imitation of marble; hence its name. It is produced by sprinkling
-properly prepared colours upon the surface of a size, made either of
-a vegetable emulsion, |34| or of a solution of resinous gum. It is
-necessary, in either preparing an original design or in matching an
-example, to remember that the veins are the first splashes of colour
-thrown on the size, and assume that form in consequence of being driven
-back by the successive colours employed.
-
-We have it on the authority of Mr. Woolnough,[5] that the old Dutch
-paper was wrapped round toys in order to evade the duty imposed upon
-it. After being carefully smoothed out, it was sold to bookbinders at
-a very high price, who used it upon their extra bindings, and if the
-paper was not large enough they were compelled to join it. After a time
-the manufacture was introduced into England, but either the colours are
-not prepared the same way, or the paper itself may not be so suitable,
-the colours are not brought out with such vigour and beauty, nor do
-they stand so well, as on the old Dutch paper. Some secret of the art
-has been lost, and it baffles our ablest marblers of the present day to
-reproduce many of the beautiful examples that may be seen in some of
-the old books.
-
-      [5] “The Whole Art of Marbling as applied to Paper.” C. W.
-      Woolnough. Bell and Sons, 1881.
-
-For further remarks on marbled paper and marbling see chapter on
-colouring edges.
-
-_Printed and other Fancy Paper_ may be bought at fancy stationers; the
-variety is so great that description is impossible, but good taste and
-judgment should always be used by studying the style and colour of
-binding. Of late years a few firms have paid some attention to this
-branch, and have placed in the market some very pretty patterns in
-various tints.
-
-The foreign binders are very fond of papers printed in bronze, and some
-are certainly of a most elaborate and gorgeous description. Many houses
-have their own favourite pattern and style. All papers having bronze on
-|35| them should be carefully selected and the cheaper kinds eschewed,
-the bronze in a short time going black.
-
-_Coloured Paste Paper._—This kind the binder can easily make for
-himself. Some colour should be mixed with paste and a little soap,
-until it is a little thicker than cream. It should then be spread upon
-two sheets of paper with a paste brush. The sheets must then be laid
-together with their coloured surfaces facing each other, and when
-separated they will have a curious wavy pattern on them. The paper
-should then be hung up to dry on a string stretched across the room,
-and when dry glazed with a hot iron. A great deal of it is used in
-Germany for covering books. Green, reds, and blues have a very good
-effect.
-
-There are many other kinds of paper that may be used, but the above
-five different varieties will give a very good idea and serve as points
-to work from. The many bookbinders’ material dealers send out pattern
-books, and in them some hundreds of patterns are to be found.
-
-Before leaving the subject of ends, it may be as well to mention that
-morocco, calf, russia, silk, etc., are often used on whole bound work;
-these must, however, be placed in the book when has been covered.
-
-After having decided upon what kind of paper is to be used, two pieces
-are cut and folded to the size of the book, leaving them a trifle
-larger, especially if the book has been already cut. Two pieces of
-white paper must be prepared in the same way. Having them ready,
-a white paper is laid down, folded, on a pasting board (any old
-mill-board kept for this purpose), and pasted with moderately thin
-paste very evenly; the two fancy papers are laid on the top quite even
-with the back or folded edge; the top fancy paper is now to be pasted,
-and the other white laid on that: they must now be taken from the
-board, and after a squeeze in the press between pressing boards, taken
-out, and hung up separately to dry. This will cause one half of the
-white |36| to adhere to one half of the marble or fancy paper. When
-they are dry, they should be refolded in the old folds and pressed for
-about a quarter of an hour. When there are more than one pair of ends
-to make, they need not be made one pair at a time, but ten or fifteen
-pairs may be done at once, by commencing with the one white, then two
-fancy, two white, and so on, until a sufficient number have been made,
-always pressing them to ensure the surfaces adhering properly; then
-hang them up to dry. When dry press again, to make them quite flat. As
-this is the first time I speak about _pasting_, a few hints or remarks
-on the proper way will not be out of place here. Always draw the brush
-well over the paper and away from the centre, towards the edges of the
-paper. Do not have too much paste in the brush, but just enough to make
-it slide well. Be careful that the whole surface is pasted; remove all
-hairs or lumps from the paper, or they will mark the book. Finally,
-never attempt to take up the brush from the paper before it is well
-drawn over the edge of the paper, or the paper will stick to the brush
-and turn over, with the risk of the under side being pasted. While the
-ends are pressing we will proceed with further forwarding our book.
-
-
-CHAPTER VII.
-
-PASTING UP.
-
-The first and last sheet of every book must be pasted up or down,—it
-is called by both terms; and if the book has too much swelling, it
-must be tapped down gently with a hammer. Hold the book tightly at the
-foredge with the left hand, knuckles down; rest the back on the press,
-and hit |37| the back with the hammer to the required thickness. If
-the book is not held tightly, a portion of the back will slip in and
-the hollow will always be visible; so I advise that the back be knocked
-flat on the “lying press” and placed in it without boards, so that the
-back projects. Screw the press up tightly, so that the sheets cannot
-slip. A knocking-down iron should then be placed against the book on
-its left side, and the back hammered against it; the “slips” or cords
-must be pulled tight, each one being pulled with the right hand, the
-left holding the slips tightly against the book so that they cannot be
-pulled through. Should it happen that a slip is pulled out, nothing
-remains but to re-sew the book, unless it is a thin one, when it may
-possibly be re-inserted with a large needle. But this will not do the
-book any good.
-
-The slips being pulled tight, the first and last section should be
-pasted to those next them. To do this, lay the book on the edge of the
-press and throw the top section back; lay a piece of waste paper upon
-the next section about 1/8 or 1/4 inch from the back, according to the
-size of the book, and paste the space between the back and the waste
-paper, using generally the second finger of the right hand, holding the
-paper down with the left. When pasted, the waste paper is removed, and
-the back of the section put evenly with the back of the book, which
-is now turned over carefully that it may not shift; the other end is
-treated in the same manner. A weight should then be put on the top, or
-if more than a single book, one should lie on the top of the other,
-back and foredge alternately, each book to be half an inch within the
-foredge of the book next to it, with a few pressing boards on the top
-one. When dry the end papers are to be pasted on.
-
-[Illustration]
-
-
-|38|
-
-CHAPTER VIII.
-
-PUTTING ON THE END PAPERS.
-
-Two single leaves of white paper, somewhat thicker than the paper used
-for making the ends, are to be cut, one for each side of the book. The
-end papers are to be laid down on a board, or on a piece of paper on
-the press to keep them clean, with the pasted or made side uppermost,
-the single leaves on the top. They should then be fanned out evenly
-to a proper width, about a quarter of an inch for an 8vo., a piece of
-waste paper put on the top, and their edges pasted. The slips or cords
-thrown back, the white fly is put on the book, a little away from the
-back, and the made ends on the top even with the back, and again left
-to dry with the weight of a few boards on the top.
-
-If, however, the book or books are very heavy or large, they should
-have “joints” of either bookbinders’ cloth or of leather of the same
-colour as the leather with which the book is to be covered. Morocco is
-mostly used for the leather joints. If the joints are to be of cloth,
-it may be added either when the ends are being put on, or when the book
-is ready for pasting down. If the cloth joint is to be put on now,
-the cloth is cut from 1 to 3 inches, according to the size of book,
-and folded quite evenly, the side of the cloth which has to go on the
-book being left the width intended to be glued; that is, a width of 1
-inch should be folded 3/4 one side, leaving 1/4 the other, the latter
-to be put on the book. The smallest fold is now glued, the white fly
-put on, and the fancy paper on the top; the difference being, that the
-paper instead of being made double or folded is single, or instead of
-taking a paper double the |39| size of the book and folding it, it is
-cut to the size of the book and pasted all over. It will be better if
-the marble paper be pasted and the white put on and well rubbed down,
-and then the whole laid between mill-boards to dry. A piece of waste
-or brown paper should be slightly fastened at the back over the whole,
-(turning the cloth down on the book) to keep it clean and prevent it
-from getting damaged.
-
-The strongest manner is to overcast the ends and cloth joint to the
-first and last section of the book, as it is then almost impossible
-either for the cloth or ends to pull away from the book.
-
-If, however, the cloth joint is to be put on after the book is covered,
-the flys and ends are only edged on with paste to the book just
-sufficient to hold them while it is being bound; and when the book is
-to be pasted down, the ends are lifted from the book by placing a thin
-folding-stick between the ends and book and running it along, when they
-will come away quite easily. The cloth is then cut and folded as before
-and fastened on, and the ends and flys properly pasted in the back.
-
-Morocco joints are usually put in after the book is covered, but I
-prefer that if joints of any kind are to go in the book they should be
-put in at the same time as the ends. Take great care that the ends are
-quite dry after being made before attaching them, or the dampness will
-affect the beginning and end of the book and cause the first few leaves
-to wrinkle.
-
-When the ends are quite dry the slips should be unravelled and scraped,
-a bodkin being used for the unravelling, and the back of a knife for
-the scraping. The object of this is, that they may with greater ease be
-passed through the holes in the mill-board, and the bulk of the cord be
-more evenly distributed and beaten down, so as not to be seen after the
-book has been covered. |41|
-
-[Illustration: Method of sewing Ends on to Book that cannot tear away.
-First and last sheet are not overcasted when treated in this manner.]
-
-Many houses cut away the slip entirely, in order that the work may look
-better. This should never be done; with large and heavy books it is
-better to allow the bulk of the cord to be seen rather than sacrifice
-strength. To a certain extent this may be avoided by cutting a small
-portion of the mill-board away to allow the cord to lodge in.
-
-There is another way of putting on the end papers, that is, to sew the
-ends on with the book when sewing. The paper is folded at the back with
-a small fold, the sheet placed in the fold, and the whole sewn through.
-It is at once apparent that under no circumstances can there be any
-strain on the ends, and that there is hardly any possibility of the
-ends breaking away from the sheets.
-
-For books subjected to very hard wear (school books, public library
-books, etc.) this method of placing the ends is by far the best. See
-opposite page.
-
-
-CHAPTER IX.
-
-TRIMMING.
-
-Is the book to have a gilt top? marbled or gilt edges? or is it to be
-left uncut? These questions must be settled before anything further is
-done. If the book is to be uncut or have a gilt top, the rough edges
-should be taken away with a very sharp knife or shears: this process is
-called “trimming.”
-
-The book having been knocked up straight, is laid on a piece of wood
-planed smooth and kept for this purpose, called a “trimming board.” It
-is then compassed from the back, a straight edge laid to the compass
-holes, and the foredge cut with a very sharp knife. If the knife is
-not |42| sharp the paper will yield to the slight pressure required
-and will not be cut. It is therefore absolutely necessary that a good
-edge be given to the blade, and, if possible, to keep a special knife
-for the purpose. Such knives, called trimming knives, are sold, the
-probable cost being about two shillings. They have a very broad blade.
-
-The object of trimming is to make the edges true; the amount taken off
-must be only the rough and dirty edges, the book being thus left as
-large as possible.
-
-The French put their books in the press between boards and rasp the
-edges, but this method has not only the disadvantage of showing all the
-marks of the rasp, but also of leaving a roughness which catches and
-retains the dust in proportion to the soft or hard qualities of the
-paper.
-
-[Illustration: Cardboard Machine used for trimming.]
-
-Another method is to put the book into the cutting press, and cut the
-overplus off with a plough, having a circular knife, called a “round
-plough.” This is used when a number of books are being done together. I
-prefer to use the straight edge and knife for the foredge and tail, and
-to cut the top when the book is in boards.
-
-It is, however, not necessary to go to the expense of a round plough,
-it is only advisable to have one when “plough trimming” is of daily
-occurrence; an ordinary plough knife, ground to a circular edge, will
-answer in most cases.
-
-Another excellent plan is to set the gauge of the |43| mill-board
-machine, or a _card-cutting machine_, and to cut or trim each section,
-foredge and tail, by the machine knife. In a large number of books this
-plan is to be recommended; the whole is cut more even and in less time;
-trimming by this method must, however, be done before sewing. This
-method is also adopted by some French houses.
-
-Before leaving the subject of trimming, I will insert a few lines
-from that well-known paper the “Athenæum,” as to how a book should
-be trimmed; and so much do I agree with its writer, that I have the
-quotation, in large type, hung up in my shop as a constant caution and
-instruction to the workmen:—
-
-(_No. 2138, Oct. 17th, 1868._)
-
- “Mr. EDITOR,—If you think that the ‘Athenæum’ is read or seen by any
- members of that class of ruthless binders, who delight in destroying
- the appearance of every pamphlet and book that comes into their hands,
- by trimming or ploughing its edges to the quick (and almost always
- crookedly), I beg you to insert this appeal to the monsters I have
- named, to desist from their barbarous practices, to learn to reverence
- the margin of a book, and never to take from it a hair’s breadth more
- than is absolutely needful. The brutality with which the fair margins
- of one’s loved volumes are treated by these mangling wretches with
- their awful plough knives is shocking to behold. The curses of book
- lovers are daily heaped on their backs, but they go on running-a-muck,
- heedless of remonstrance, remorseless, ever sacrificing fresh victims.
- Had we a paternal government, one might hope for due punishment of
- some of these offenders: one at least might be ploughed up the back,
- another up the front, as an example and a terror to the trade; but as
- this wholesome correction cannot unhappily be administered, will you
- give expression to the indignation of one amongst a million sufferers
- for years from these |44| trimmers’ savageries, and let them know
- what feelings their reckless cruelty awakens in many breasts? One of
- the largest houses in London has just sent me home fifty copies of an
- essay, intended as a present for a friend. They have been trimmed, and
- been ruined. Would that I could have the trimming of their trimmer’s
- hair and ears; also his nose! I don’t think his best friend would know
- him when I had done with him.
-
- “But, Sir, we live in a philanthropic age, and are bound to forgive
- our enemies and try to reform the worst criminals. I therefore propose
- a practical measure to win these book trimmers from their enormities;
- namely, that fifty at least of your readers, who care for book
- margins, should subscribe a guinea each for a challenge cup, to be
- competed for yearly, and held by that firm which, on producing copies
- of all books and pamphlets trimmed by it during the year, shall be
- adjudged to have disfigured them least. I ask you, Sir, if you will
- receive subscriptions for this challenge cup? If you will, I shall be
- glad to send you mine.
-
- “M. A.
-
- “P.S.—Any one who will cut out this letter, and get it pasted up in
- any binder’s or printer’s trimming room, will confer a favour on the
- writer.”
-
-A very good trimming machine has been invented by Messrs. Richmond and
-Co., of Kirby Street, Hatton Garden. The bed rises and falls, with the
-books upon it, instead of the knife descending upon the work, as in
-the cutting machines; and the gauges are so arranged, that the foredge
-of one pile of books, and the tails of another, can be cut at one
-operation, and it is guaranteed by the makers that the knife will leave
-a clean and perfectly trimmed edge.
-
-
-|45|
-
-CHAPTER X.
-
-GLUEING UP.
-
-The book must now be glued up; that is, glue must be applied to the
-back to hold the sections together, and make the back firm during
-the rounding and backing. Knock the book perfectly true at its back
-and head, and put it into the lying press between two pieces of old
-mill-board; expose the back and let it project from the boards a
-little, the object being to hold the book firm and to keep the slips
-close to the sides, so that no glue shall get on them; then with glue,
-not too thick, but hot, glue the back, rubbing it in with the brush,
-and take the overplus off again with the brush. In some shops, a
-handful of shavings is used to rub the glue in, and to take the refuse
-away, but I consider this to be a bad plan, as a great quantity of glue
-is wasted.
-
-The Germans rub the glue into the back with the back of a hammer, and
-take away the overplus with the brush; this is certainly better than
-using shavings. The back must not be allowed to get too dry before it
-is rounded, or it will have to be damped with a sponge, to give to the
-glue the elasticity required, but it should not be wet, this being
-worse than letting it get too dry. The book should be left for about an
-hour, or till it no longer feels tacky to the touch, but still retains
-its flexibility. A flexible bound book should first be rounded, a
-backing board being used to bring the sheets round instead of a hammer,
-then the back glued, and a piece of tape tied round the book to prevent
-its going back flat. |46|
-
-But all books are not glued up in the press; some workmen knock up a
-number of books, and, allowing them to project a little _over_ their
-press, glue the lot up at once; others again, by holding the book in
-the left hand and drawing the brush up and down the back. These last
-methods are, however, only practised in cloth shops, where books are
-bound or cased at very low prices. The proper way, as I have explained,
-is to put the book in the lying press. The book is then laid on its
-side to dry, and if more than one, they should be laid alternately back
-and foredge, with the back projecting about half an inch, and allowed
-to dry spontaneously, and on no account to be dried by the heat of a
-fire. _All artificial heat in drying in any process of bookbinding is
-injurious to the work._
-
-
-CHAPTER XI.
-
-ROUNDING.
-
-The word “rounding” applies to the back of the book, and is preliminary
-to backing. In rounding the back, the book is to be laid on the press
-before the workman with the foredge towards him; the book is then to
-be held with the left hand by placing the thumb on the foredge and
-fingers on the top of the book pointing towards the back, so that by
-drawing the fingers towards the thumb, or by pressing fingers and thumb
-together, the back is drawn towards the workman at an angle. In this
-position the back is struck with the face of the hammer, beginning
-in the centre, still drawing the back over with the left hand. The
-book is then to be turned over, and the other side treated in the
-same way, and continually |47| changed or turned from one side to
-the other until it has its proper form, which should be a part of a
-circle. When sufficiently rounded, it should be examined to see if one
-side be perfectly level with the other, by holding the book up and
-glancing down its back, and gently tapping the places where uneven,
-until it is perfectly true or uniform. The thicker the book the more
-difficult it will be found to round it; and some papers will be found
-more obstinate than others, so that great care must be exercised both
-in rounding and backing, as the foredge when cut will have exactly the
-same form as the back. Nothing can be more annoying than to see books
-lop-sided, pig-backed, and with sundry other ailments, inherent to
-cheap bookbinding. |48|
-
-[Illustration: Rounding Machine.]
-
-The back when properly rounded should be about a third of a circle,
-according to the present mode, but in olden times they were made almost
-flat. They were not rounded as now done, but the swelling caused by
-the thread used made quite enough rounding when put in the press for
-backing.
-
-Flat back books have a certain charm about them, the more so if in
-other respects they are properly forwarded. The theory is altogether
-averse to practical binding. I have always been given to understand
-that we round our books in order to counteract the tendency of a book
-to sink in and assume a convex back. Any old well-used book bound with
-a flat back will show at once this defect.
-
-Messrs. Hopkinson and Cope, of Farringdon Road, London, manufacture a
-rounding machine. They claim that this machine will round 600 books per
-hour, and that any desired “round” may be given to the book with great
-uniformity.
-
-
-CHAPTER XII.
-
-BACKING.
-
-The boards required for backing, called backing boards, should always
-be the same length as the book. They are made somewhat thicker than
-cutting boards, and have their tops planed at an angle, so that the
-sheets may fall well over.
-
-[Illustration: Backing Hammer.]
-
-[Illustration: Before Backing. After Backing.]
-
-Hold the book in the left hand, lay a board on one side, a little
-away from the back, taking the edge of the top sheet as a guide, the
-distance to be a trifle more than the thickness of the boards intended
-to be used. Then |49| turn over the book, with the backing board,
-holding the board to the book by the thumb, so that it does not shift,
-and lay the other board at exactly the same distance on the other side.
-The whole is now to be held tightly by the left hand and lowered into
-the press. The boards may possibly have shifted a little during the
-process, and any correction may now be made whilst the press holds the
-book before screwing up tight, such as a slight tap with the hammer to
-one end of a board that may not be quite straight. Should the boards
-however be not quite true, it will be better to take the whole out
-and readjust them, rather than lose time in trying to rectify the
-irregularity by any other method. If the rounding is not quite true it
-will be seen at once, and the learner must not be disheartened if he
-has to take his book out of the press two or three times to correct any
-slight imperfection.
-
-The book and boards having been lowered flush with the cheeks of the
-press, screw it up as tightly as possible with the iron hand-pin.
-The back of the book must now be gently struck with the back of the
-hammer, holding it slanting and beating the sheets well over towards
-the backing boards. Commence from the centre of the back and do |50|
-not hit too hard, or the dent made by the hammer will show after the
-book has been covered. The back is to be finished with the face of
-the hammer, the sheets being brought well over on the boards so that
-a good and solid groove may be made. Each side must be treated in the
-same way, and have the same amount of weight and beating. The back must
-have a gradual hammering, and the sheets, when knocked one way, _must
-not be knocked back again_. The hammer should be swung with a circular
-motion, always away from the centre of the back. The book, when opened
-after backing, should be entirely without wrinkles; _their presence
-being a sign that the workman did not know his business_, or that it
-was carelessly done. Backing and cutting constitute the chief work in
-forwarding, and if these two are not done properly the book cannot be
-square and solid—two great essentials in bookbinding.
-
-Backing flexible work will be found a little more difficult, as the
-slips are tighter; but otherwise the process is exactly the same, only
-care must be taken not to hammer the cord too much, and to bring over
-the sections very gently, in order not to break the sewing thread.
-
-The backing boards may be replaned from time to time, as they become
-used, but boards may be had having a double face of steel to them;
-these may be used from either side. The edges of the steel must not be
-sharp, or they will cut the paper when backing. The ordinary boards
-may also have a face of steel screwed to them, but I prefer to use the
-wood—one can get a firmer back without fear of cutting the sheets.
-
-[Illustration: Two-edged Backing Boards.]
-
-There are several backing machines by different makers but they are
-all of similar plan. The book being first rounded is put between the
-cheeks, and the roller at the |51| top presses the sheets over. I am
-sorry to say that a great number of sheets get cut by this process,
-especially when a careless man has charge of the machine.
-
-
-CHAPTER XIII.
-
-MILL-BOARDS.
-
-There is no occasion to wait for the book to be advanced as far as
-the backing before the workman sees to his boards; but he should take
-advantage of the period of drying to prepare them, to look out the
-proper thickness of the board, and to line them with paper either on
-one side or on both.
-
-There are now so many kinds of mill-boards made that a few words about
-them may not be out of place. The best boards are made of old rope,
-and cost about £30 per ton. The various mills make each a different
-quality, the prices ranging down to £14 per ton; about this price the
-straw boards may be said to commence, they going as low as £7, and even
-less.
-
-A new board has lately appeared called leather board; it is exceedingly
-hard and durable. I made several experiments with this board, but up to
-the present have not succeeded in getting it to lay flat on the book.
-
-Boards are made to the various sizes in sheets varying from pott
-(17-1/4 × 14-1/4 inches) to double elephant (40 × 28 inches). The
-thickness is known as 6_d._, 7_d._, 8_d._; 8x, or eightpenny one cross;
-8xx, eightpenny two cross; X for tenpenny. Here is a list in full of
-all the boards likely to be used:—|52|
-
- KEY TO TABLE.
-   A=“inches.”; B=“Dozens in a Bundle.”; C=“Weight Per Bundle, lb.”
-
- DESCRIPTION.      SIZE.            6d.    7d.    8d.    8x.   8xx.    X.
-                      A            B  C   B  C   B  C   B  C   B  C   B  C
-
- Pott              17-1/4 ×14-1/4   6 28   6 40   5 48   5 56   4 60   3  58
-
- Foolscap          18-1/2 ×14-1/2   6 32   6 44   5 50   5 58   4 62   3  58
-
- Crown             20 ×16-1/4       6 36   6 50   5 62   5 72   4 74   3  72
-
- Small Half Royal  20-1/4 ×13       6 30   6 44   5 50   5 60   4 62   3  58
-
- Large Half Royal  21 ×14           6 30   6 48   5 60   5 62   4 70   3  72
-
- Short             21 ×17           6 38   6 55   5 70   5 78   4 78   3  78
-
- Sm. Half Imperial 22-1/4 ×15       6 36   6 50   5 64   4 70   3 62   2  60
-
- Half Imperial     23-1/2 ×16-1/2   6 40   6 60   5 66   4 70   3 66   2  64
-
- Mdle. or Sm.Demy  22-1/2 ×18-1/2   6 45   6 60   5 66   4 74   3 72   2  66
-
- Large Middle or
-      Large Demy   23-3/4 ×18-1/2   6 48   6 68   5 66   4 76   3 74   2  60
-
- Large or Medium   24 ×19           6 48   6 70   5 65   4 76   3 74   2  60
-
- Small Royal       25-1/2 ×19-1/2   6 52   6 78   5 78   4 84   3 84   2  68
-
- Large Royal       26-3/4 ×20-3/4   6 52   6 78   4 68   3 76   2 68   2  86
-
- Extra Royal       28-1/2 ×21-1/2   6 56   6 82   4 74   3 80   2 74   2  92
-
- Imperial          32 ×22-1/2       6 72   4 72   3 72   2 72   2 96   2 120
-
-[Illustration: Mill-board Shears.]
-
-Having chosen the board, it is necessary to cut it up to the size
-wanted. If the book is 8vo., the board is cut into eight pieces; if
-4to., into four; using a demy board for a demy book, or a royal for
-a royal book. To cut up the board, first mark up, as a guide for the
-mill-board shears. These are very large shears, in shape somewhat like
-an enlarged tin shears. To use the shears, screw up one arm in the
-laying press, hold the board by the left hand, using the right to work
-the upper arm, the left hand meanwhile guiding the board. Some little
-tact is required |53| to cut heavy boards. It will be found that it
-is necessary to press the lower arm away with the thigh, and bring the
-upper arm towards the operator whilst cutting.
-
-[Illustration: Mill-board Machine.]
-
-A mill-board cutting machine is now in all large shops. The cut fairly
-well explains itself; the long blade descending cuts the boards, which
-are held fast on the table by the clamp. The gauges are set either on
-the table or in front. The board is put on the table and held tight
-by pressure of the foot on the treadle; the knife descending upon the
-exposed board cuts after the principle of the guillotine blade. Another
-kind, introduced by Messrs. Richmond, of Kirby Street, Hatton Garden,
-is made for steam work, and is no doubt one of the best that can be
-made. Instead of a knife to descend, a number of circular cutters are
-made to revolve on two spindles, the one cutter working against the
-other (see woodcut); but I give Messrs. Richmond’s own description, it
-being more explicit than any I could |54| possibly give: “The machine
-accomplishes a surprising amount of superior work in a very short time,
-and the best description of the ordinary lever mill-board cutting
-machine cannot be compared with it. The machine is very strongly and
-accurately constructed. It is furnished with an iron table having a
-planed surface, and is also provided with a self-acting feed gauge.
-The gear wheels are engine cut, and the circular cutters, which are of
-the best cast steel, being turned and ground “dead true,” clean and
-accurate cutting is insured. The machine will therefore be found to be
-a most profitable acquisition to any bookbinding establishment in which
-large quantities of mill-board are used up.”
-
-[Illustration: Steam Mill-board Cutting Machine.]
-
-The boards being cut, square the edge which is to go to the back of the
-book. This must be done in the cutting press, using a cutting board for
-one side termed a “runner,” and another called a “cut-against” for the
-other side. |55| These are simply to save the press from being cut;
-and a piece of old mill-board is generally placed on the cut-against,
-so that the plough knife does not cut or use up the cut-against too
-quickly. The boards are now, if for whole-binding, to be lined on both
-sides with paper; if for half-binding only on one side. The reason for
-lining them is to make the boards curve inwards towards the book. The
-various pastings would cause the board to curve the contrary way if it
-were not lined. If the boards are to be lined both sides, paper should
-be cut double the size of the boards; if only one side, the paper cut
-a little wider than the boards, so that a portion of the paper may be
-turned over on to the other side about a quarter of an inch. The paper
-is now pasted with not too thick paste, and the board laid on the paper
-_with the cut edge towards_ the portion to be turned over. It is now
-taken up with the paper adhering, and laid down on the press with the
-paper side upwards, and rubbed well down; it is then again turned over
-and the paper drawn over the other side. It is advisable to press the
-boards to make more certain of the paper adhering, remembering always
-that the paper must be pasted all over very evenly, for it cannot be
-expected to adhere if it is not pasted properly.
-
-When the books are very thick, two boards must be pasted together, not
-only to get the proper thickness, but for strength, for a made board is
-always stronger than a single one. If a board has to be made, a thick
-and a somewhat thinner board should be fastened together _with paste_.
-Paste both boards and put them in the standing press for the night.
-Great pressure should not be put on at first, but after allowing them
-to set for a few minutes, pull down the press as tight as possible.
-When placing made boards to the book, _the thinner one should always be
-next the book_. It may be taken as a general rule that a thinner board
-when pasted will always draw a thicker one. |56|
-
-When boards are lined on one side only it is usual to turn half an inch
-of the paper over the square or cut edge, and the lined side must be
-placed next the book.
-
-Many binders line the mill-board all over with paper before cutting;
-this may save time, but the edge of the board at the joint is liable to
-be abraised, and the resulting joint uneven.
-
-The boards when lined should be laid about or stood up to dry, and when
-dry, cut to the proper and exact size for the book. As a fact, the
-black boards now sold are much too new or green to be used direct by
-the binder, they should be stocked for some months.
-
-The requisite width is obtained by extending the compass from the back
-of the book to the edge of the smallest bolt or fold in the foredge. It
-is advisable not to measure less than this point, but to leave a leaf
-or two in order to show that the book is not cut down. The compasses
-being fixed by means of the side screw, the boards are to be knocked
-up even, compassed up, and placed in the lying press, in which they
-are cut, using, as before, the “cut-against,” and placing the runner
-exactly to the compass holes. When cut they are to be tested by turning
-one round and putting them together again; if they are the least out
-of truth it will be apparent at once. The head or top of the boards is
-next to be cut by placing a square against the back and marking the
-head or top with a bodkin or point of a knife. The boards being quite
-straight are again put into the press and cut, and when taken out
-should be again proved by reversing them as before, and if not true
-they must be recut. The length is now taken from the head of the book
-to the tail, and in this some judgment must be used. If the book has
-already been cut the measure must be somewhat larger than the book,
-allowing only such an amount of paper to be cut off as will make the
-edge smooth. If, however, the book is to |57| be entirely uncut,
-the size of the book is measured, and in addition the portion called
-_squares_ must be added.
-
-When a book has not been cut, the amount that is to be cut off the head
-will give the head or top square, and the book being measured from the
-head, another square or projection must be added to it, and the compass
-set to one of the shortest leaves in the book. Bearing in mind the
-article on trimming, enough of the book _only_ should be cut to give
-the edge solidity for either gilding or marbling. A few leaves should
-always be left not cut with the plough, to show that the book has not
-been cut down. These few leaves are called _proof_, and are always a
-mark of careful work.
-
-About twenty years ago it was the mode to square the foredge of the
-boards, then lace or draw them in, and to cut the head and tail of the
-boards and book together, then to turn up and cut the foredge of the
-book.
-
-
-CHAPTER XIV.
-
-DRAWING-IN AND PRESSING.
-
-The boards having been squared, they are to be attached to the book
-by lacing the ends of the cord through holes made in the board. The
-boards are to be laid on the book with their backs in the groove and
-level with the head; they must then be marked either with a lead pencil
-or the point of a bodkin exactly in a line with the slips, about half
-an inch down the board. On a piece of wood the mill-board is placed,
-and holes are pierced by hammering a short bodkin through on the line
-made, at a distance from the edge in accordance with the size of the
-book. About half an inch away from the back is the right distance for
-an |58| octavo. The board is then to be turned over, and a second hole
-made about half an inch away from the first ones. The boards having
-been holed, the slips must be scraped, pasted slightly, and tapered or
-pointed. Draw them tightly through the hole first made and back through
-the second. Tap them slightly when the board is down to prevent them
-from slipping and getting loose. When the cords are drawn through, cut
-the ends close to the board with a knife, and well hammer them down
-on the knocking-down iron to make the board close on the slips and
-hold them tight. The slips should be well and carefully hammered, as
-any projection will be seen with great distinctness when the book is
-covered. The hammer must be held perfectly even, for the _slips will be
-cut_ by the edge of it if _used carelessly_.
-
-The book is now to be examined, and any little alteration may be made
-before putting it into the standing press. With all books, a tin should
-be placed between the mill-board and book, to flatten the slips, and
-prevent their adherence. The tin is placed right up to the groove,
-and serves also as a guide for the pressing board. Pressing boards,
-the same size as the book, should be put flush with the groove, using
-the pressing tin as guide, and the book or books placed in the centre
-of the press directly under the screw, which is to be tightened as
-much as possible. In pressing books of various sizes, the largest
-book must always be put at the bottom of the press, with a block or a
-few pressing boards between the various sizes, in order to get equal
-pressure on the whole, and to allow the screw to come exactly on the
-centre of the books.
-
-The backs of the books are now to be pasted, and allowed to stand for
-a few minutes to soften the glue. Then with a piece of wood or iron,
-called a cleaning-off stick (wood is preferable), the glue is rubbed
-off, and the backs are well rubbed with a handful of shavings and left
-to dry. Leave them as long as possible in the press, and if the volume
-is |59| rather a thick one a coat of paste or thin glue should be
-applied to the back. Paste is preferable.
-
-If the book is very thick a piece of thin calico may be pasted to the
-back and allowed to dry, the surplus being taken away afterwards.
-
-In flexible work care must be taken that the cleaning-off stick is
-not forced too hard against the bands, or the thread being moist will
-break, or the paper being wet will tear, or the bands may become
-shifted. The cleaning-off stick may be made of any piece of wood;
-an old octavo cutting board is as good as anything else, but a good
-workman will always have one suitable and at hand when required for use.
-
-When the volumes have been pressed enough (a day’s pressing is none
-too much) they are to be taken out, and the tins and pressing boards
-put away. The book is then ready for cutting. Of the numerous presses,
-excepting the hydraulic, Gregory’s Patent Compound Action Screw Press
-is to my mind the best, and I believe it to be one of the most powerful
-presses yet invented; sixty tons pressure can be obtained by it.
-
-
-CHAPTER XV.
-
-CUTTING.
-
-In olden times, when our present work-tools did not exist and material
-aids were scarce, a sharp knife and straight edge formed the only
-implements used in cutting. Now we have the plough and cutting machine,
-which have superseded the knife and straight edge; and the cutting
-machine is now fast doing away with the plough. There are very few
-shops at the present moment where a cutting |60| machine is not in
-use, in fact I may say that, without speaking only of cloth books, for
-they must always be cut by machinery owing to the price not allowing
-them to be done otherwise, there are very few books, not even excepting
-extra books, that have escaped the cutting machine.
-
-[Illustration: Cutting Press and Plough.]
-
-[Illustration: Sliding Knife.]
-
-All cutting “presses” are used in the same way. The plough running over
-the press, its left cheek running between two guides fastened on the
-left cheek of the press. By turning the screw of the plough the right
-cheek is advanced towards the left; the knife fixed on the right of
-the plough is advanced, and with the point cuts gradually through the
-boards or paper secured in the press, as already described in preparing
-the boards. There are two kinds of ploughs in use—in one the knife
-is bolted, in the other the knife slides in a dovetail groove—termed
-respectively |61| “bolt knife” and “slide knife.” The forwarder will
-find that the latter is preferable, on account of its facility of
-action, as any length of knife can be exposed for cutting. But with a
-bolt knife, being fastened to the shoe of the plough, it is necessarily
-a fixture, and must be worn down by cutting or squaring mill-boards, or
-such work, before it can be used with the truth necessary for paper.
-
-[Illustration: Bolt Knife.]
-
-To cut a book properly it must be quite straight, and the knife must be
-sharp and perfectly true. Having this in mind, the book may be cut by
-placing the front board the requisite distance from the head that is to
-be cut off. A piece of thin mill-board or trindle is put between the
-hind board and book, so that the knife when through the book may not
-cut the board. The book is now to be lowered into the cutting press,
-with the back towards the workman, until the front board is exactly on
-a level with the press. The head of the book is now horizontal with the
-press, and the amount to be cut off exposed above it. Both sides should
-be looked to, as the book is very liable to get a twist in being put
-in the press. When it is quite square the press is to be screwed up
-tightly and evenly. Each end should be screwed up to exactly the same
-tightness, for if one end is loose the paper will be jagged or torn
-instead of being cut cleanly.
-
-The book is cut by drawing the plough gently to and fro; each time it
-is brought towards the workman a slight amount of turn is given to the
-screw of the plough. If too much turn is given to the screw, the knife
-will bite too deeply into the paper and _will tear instead of cutting
-it_. If the knife has not been properly sharpened, or has a burr |62|
-upon its edge, it will be certain to cause ridges on the paper. The
-top edge being cut, the book is taken out of the press and the _tail_
-cut. A mark is made on the top of the hind or back board just double
-the size of the square, and the board is lowered until the mark is on a
-level with the cut top. The book is again put into the press, with the
-back towards the workman, until the board is flush with the cheek of
-the press; this will expose above the press the amount to be taken off
-from the tail, as before described, and the left hand board will be, if
-put level with the cut top, exactly the same distance above the press
-as the right band board is below the cut top. The tail is cut in the
-same way as the top edge.
-
-To cut a book properly requires great care. It will be of great
-importance to acquire a methodical exactness in working the different
-branches, cutting especially. Always lay a book down one way and take
-it up another, and in cutting always work with the back of the book
-towards you, and cut from you. Give the turn to the screw of the plough
-as it is thrust from you, or you will pull away a part of the back
-instead of cutting it.
-
-[Illustration: Section of Book and Press, book partly cut.]
-
-In cutting the foredge, to which we must now come, always have the head
-of the book towards you, so that if not cut straight you know exactly
-where the fault lies. The foredge is marked both back and front of the
-book by placing a cutting board under the first two or three leaves as
-a support; the mill-board is then pressed firmly into the groove and a
-line is drawn or a hole is pierced head and tail, the foredge of the
-board being used as a guide. The book is now knocked with its back on
-the press quite flat, and trindles (flat pieces of steel in the shape
-of an elongated U, about 1-1/2 inch wide and 3 or 4 inches long, with a
-slot nearly the whole length) are placed between the boards and book by
-letting the boards fall back from the book and then passing one trindle
-at the head, the other at |63| tail, allowing the top and bottom slip
-to go in the grooves of the trindles. The object of this is to force
-the back up quite flat, and by holding the book when the cut-against
-and runner is on it, supported by the other hand under the boards, it
-can be at once seen if the book is straight or not. The cut-against
-must be put quite flush with the holes on the left of the book, and
-the runner the distance under the holes that the amount of square is
-intended to be. The book being lowered into the press, the runner is
-put flush with the cheek of the press and the cut-against just the same
-distance _above_ the press as the runner is _below_ the holes. The
-trindles must be taken out from the book when |64| the cutting boards
-are in their proper place, and the mill-boards will then fall down. The
-book and cutting boards must be held very tightly or they will slip
-and, if the book has been lowered into the press accurately, everything
-will be quite square. The press must now be screwed up tightly, and
-the foredge ploughed; when the book is taken out of the press it will
-resume its original rounding, the foredge will have the same curve as
-the back, and if cut truly there will be a proper square all round the
-edges. This method is known as “cutting in boards.”
-
-If the amateur or workman has a set of some good work which he wishes
-to bind uniformly, but which has already been cut to different sizes,
-and he does not wish to cut the large ones down to the smaller size, he
-must not draw the small ones in, as he may possibly not be able to pull
-the boards down the required depth to cut the book, but he must leave
-the boards loose, cut the head and tail, then draw the boards in, and
-turn up and cut the foredge.
-
-“Cutting out of boards” is by a different method. The foredge is cut
-before gluing up, if for casing, taking the size _from the case_, from
-the back to the edge of the board in the foredge. The book is then
-glued up, rounded, and put into the press for half an hour, just to set
-it. The size is again taken from the case, allowing for squares head
-and tail. The book having been marked is cut, and then backed. Cloth
-cases are made for most periodicals, and may be procured from their
-publishers at a trifling cost, which varies according to the size of
-the book and the amount of blocking that is upon them.
-
-This method of cutting out of boards is adopted in many of the cheap
-shops (even leather shops). It is a method, however, not to be
-commended.
-
-To test if the book be cut true it is only necessary to turn the top
-leaf back level to the back of the book and |65| even at the head; if
-it be the slightest bit untrue it will at once be seen.
-
-[Illustration: Cutting Machine.]
-
-A few words about the various cutting machines that are in the market.
-Each maker professes his machine the best. In some the knife moves with
-a diagonal motion, in others with a horizontal motion.
-
-The principle of all these machines is the same: the books are placed
-to a gauge, the top is lowered and clamps |66| the book, and, on the
-machine being started, the knife descends and cuts through the paper.
-
-[Illustration: Registered Cutting Machine.]
-
-Another machine by Harrild and Son, called a registered cutting
-machine, is here illustrated. Its operation is on the same principle as
-a lying press, the difference being, that this has a table upon which
-the work is placed; a gauge is placed at the back so that the work may
-be placed against it for accuracy, the top beam is then screwed down
-and the paper ploughed. A great amount of work may be accomplished with
-this machine, and to anyone that cannot afford an ordinary cutting
-machine this will be found invaluable.
-
-
-|67|
-
-CHAPTER XVI.
-
-COLOURING THE EDGES.
-
-The edges of every book must be in keeping with the binding. A half
-roan book should not have an expensive edge, neither a whole bound
-morocco book a sprinkled edge. Still, no rule has been laid down
-in this particular, and taste should regulate this as it must in
-other branches. The taste of the public is so changeable that it is
-impossible to lay down any rule, and I leave my reader to his own
-discretion.
-
-Here are various ways in which the edges may be coloured.
-
-_Sprinkled Edges._—Most shops have a colour always ready, usually a
-reddish brown, which they use for the whole of their sprinkled edge
-books. The colour can be purchased at any oil shop. A mixture of
-burnt umber and red ochre is generally used. The two powders must be
-well mixed together in a mortar with paste, a few drops of sweet oil,
-and water. The colour may be tested by sprinkling some on a piece of
-white paper, allowing it to dry, and then burnishing it. If the colour
-powders or rubs, it is either too thick, or has not enough paste in it.
-If the former, some water must be added; if the latter, more paste:
-and it will perhaps be better if the whole is passed through a cloth
-to rid it of any coarse particles. The books may be sprinkled so as
-to resemble a kind of marble by using two or three different colours.
-For instance, the book is put in the lying press and a little sand
-is strewn upon the edge in small mounds. Then with a green colour a
-moderate |68| sprinkle is given. After allowing it to dry, more sand
-is put on in various places, a dark sprinkle of brown is put on, and
-the whole allowed to dry. When the sand is shaken off, the edge will be
-white where the first sand was dropped, green where the second, and the
-rest brown.
-
-A colour of two shades may be made by using sand, then a moderately
-dark brown sprinkled, then more sand, and lastly a deeper shade of same
-colour.
-
-[Illustration: Sprinkling Brush and Sieve.]
-
-There are a few of the “_Old Binders_” who still use what is called the
-“finger brush,” a small brush about the size of a shaving brush, made
-of stiff bristles cut squarely. They dip it into the colour, and then
-by drawing the finger across it jerk the colour over the edge. Another
-method is to use a larger brush, which being dipped in the colour is
-beaten on a stick or press-pin until the desired amount of sprinkle is
-obtained. But the best plan is to use a nail brush and a common wire
-cinder sifter. Dip the brush in the colour and rub it in a circular
-direction over the cinder sifter. This mode has the satisfactory result
-of doing the work quicker, finer, and more uniformly. The head, foredge
-and tail must be of exactly the same shade, and one end must not have
-more sprinkle on it than the other, and a set of books should have
-their edges precisely alike in tone and colour.
-
-_Colours for Sprinkling._—To give an account of how the various colours
-are made that were formerly used would be only waste of time, as so
-many dyes and colours that |69| answer all purposes may be purchased
-ready for instant use. I may with safety recommend Judson’s dyes
-diluted with water.
-
-_Plain Colouring._—The colour having been well ground is to be mixed
-with paste and a little oil, or what is perhaps better, glaire and
-oil. Then with a sponge or with a brush colour the whole of the edge.
-In colouring the foredge the book should be drawn back so as to form a
-slope of the edge, so that when the book is opened a certain amount of
-colour will still be seen. It is often necessary to give the edges two
-coats of colour, but the first must be quite dry before the second is
-applied.
-
-A very good effect may be produced by first colouring the edge yellow,
-and when dry, after throwing on rice, seeds, pieces of thread, fern
-leaves, or anything else according to fancy, then sprinkling with some
-other dark colour. For this class of work body sprinkling colour should
-always be used. It may be varied in many different ways.
-
-_Marbled Edges._—The edges of marbled books should in almost every
-instance correspond with their marbled ends.
-
-In London very few binders marble their own work, but send it out of
-the house to the _Marblers_, who do nothing else but make marbled edges
-and paper. One cannot do better than send one’s books to be marbled; it
-will cost only a few pence, which will be well spent in avoiding the
-trouble and dirt that marbling occasions; nevertheless I will endeavour
-to explain; it is, however, a process that may seem very easy, but is
-very difficult to execute properly.
-
-The requisites are a long square wooden or zinc trough about 2 inches
-deep to hold the size for the colours to float on; the dimensions to
-be regulated by the work to be done. About 16 to 20 inches long and 6
-to 8 inches wide will probably be large enough. Various colours are
-used, such as lake, rose, vermilion, king’s yellow, yellow ochre, |70|
-Prussian blue, indigo, some green, flake white, and lamp black. The
-brushes for the various colours should be of moderate size, and each
-pot of colour must have its own brush. Small stone jars are convenient
-for the colours, and a slab of marble and muller to grind them must
-be provided. The combs may be made with pieces of brass wire about
-two inches long, inserted into a piece of wood; several of these will
-be required with the teeth at different distances, according to the
-width of the pattern required to be produced. Several different sized
-burnishers, flat and round, will be required for giving a gloss to the
-work.
-
-[Illustration: Marbling Trough.]
-
-The first process in marbling is the preparation of the size on which
-the colours are to be floated. This is a solution of _gum tragacanth_,
-or as it is commonly called, gum dragon. If the gum is placed over
-night in the quantity of water necessary it will generally be found
-dissolved by the morning. The quantity of gum necessary to give proper
-consistency to the size is simply to be learned by experience, and
-cannot be described; and the solution must always be filtered through
-muslin or a linen cloth before use.
-
-The colours must be ground on the marble slab with a little water, as
-fine as possible; move the colour from time to time into the centre
-of the marble with a palette knife, and as the water evaporates add a
-little more. About one oz. of colour will suffice to grind at once, and
-it will take about two hours to do it properly.
-
-Having everything at hand and ready, with the size in |71| the trough,
-and water near, the top of the size is to be carefully taken off with a
-piece of wood the exact width of the trough, and the colour being well
-mixed with water and a few drops of _ox gall_, a little is taken in the
-brush, and a _few very fine_ spots are thrown on.
-
-If the colour does not spread out, but rather sinks down, a few more
-drops of gall must be carefully added and well mixed up. The top of the
-size must be taken off as before described, and the colour again thrown
-on.
-
-If it does not then spread out, the ground or size is of too thick
-consistency, and some clean water must be added, and the whole well
-mixed.
-
-If the colour again thrown on spreads out, but looks rather greyish or
-spotty, then the colour is too thick, and a little water must be added,
-but very carefully, lest it be made too thin. If the colour still
-assumes a greyish appearance when thrown on, then the fault lies in the
-grinding, and it must be dried and again ground.
-
-When the colour, on being thrown on, spreads out in very large spots,
-the ground or size is too thin and a little thicker size should be
-added. Now, if the consistency or the amount of gum water be noticed,
-by always using the same quantity the marbler cannot fail to be right.
-
-If the colours appear all right on the trough, and when taken off on a
-slip of paper adhere to it, the size and colours are in perfect working
-order.
-
-The top of the size must always be taken off with the piece of wood
-before commencing work, so that it be kept clean, and the colours must
-always be well shaken out of the brush into the pot before sprinkling,
-so that the spots may not be too large. The marbler must always be
-guided by the pattern he wishes to produce, and by a little thought he
-will get over many difficulties that appear of greater magnitude than
-they really are.
-
-_Spot Marble._—The size is first to be sprinkled with a |72| dark
-colour, and this is always termed the “ground colour,” then the other
-colours; bearing in mind that the colour that has the most gall will
-spread or push the others away, and this colour should in spot marbling
-be put on last.
-
-With very little variation all the other kinds of marbling are done;
-but in every case where there are more books or sheets of paper to be
-done of the same pattern than the trough will take at once, the same
-order of colours must be kept, and the same proportion of each, or one
-book will be of one colour and the second entirely different.
-
-_Comb or Nonpareil Marble._—The colours are to be thrown on as before,
-but as fine as possible. Then if a piece of wood or wire be drawn
-backwards and forwards across the trough, the colours, through the
-disturbance of the size, will follow the motion of the stick. A comb
-is then to be drawn the whole length of the trough in a contrary
-direction. The wire in the comb will draw the colour, and thus will be
-produced what is termed comb or nonpareil marble.
-
-The size or width of the teeth of the comb will vary the size of the
-marble.
-
-_Spanish Marble._—The ground colour is to be thrown on rather heavily,
-the others lighter, and the wavy appearance is caused by gently drawing
-the paper in jerks over the marble, thus causing the colour to form
-small ripples.
-
-A few drops of turpentine put in the colours will give them a different
-effect, viz.,—causing the small white spots that appear on the _shell
-marble_.
-
-There are various patterns, each being known by name: old Dutch,
-nonpareil, antique, curl, Spanish, shell. An apprentice would do well
-to go to some respectable shop and ask for a sheet or two of the
-various kinds mentioned, and as each pattern is given to him, write the
-name on the back, and always keep it as a pattern for future use and
-reference. |73|
-
-_Edges_ are marbled, after making the desired pattern on the trough by
-holding the book firmly, pressing the edge on the colour and lifting it
-up sharply. The foredge must be made flat by knocking the book on its
-back, but the marbler had better tie his book between a pair of backing
-boards, so that it may not slip, especially with large books. Care
-must be taken with books that have many plates, or if the paper is at
-all of a spongy nature or unsized. If a little cold water be thrown on
-the edges it will cause the colours to set better. In marbling writing
-paper, a sponge with a little alum water should be used to take off the
-gloss or shine from the edge, occasioned by the cutting knife, and to
-assist the marbling colour to take better.
-
-Paper is marbled in the same way by holding it at two corners; then
-gently putting it on the colour and pressing it evenly, but gently all
-over, so that the colour may take on every part. It must be lifted
-carefully, as the least shake by disturbing the size will spoil the
-regularity of the pattern. Paper should be damped over night and left
-with a weight on the top. When the paper has been marbled and is dry, a
-rag with a little bee’s wax or soap should be rubbed over it, so that
-the burnisher may not stick, and may give a finer gloss; this applies
-also to the edges in burnishing. Marble paper manufacturers burnish
-the paper with a piece of polished flint or glass fixed in a long pole
-working in a socket at the top, the other end resting on a table which
-is slightly hollowed, so that the segment of the circle which the flint
-takes is exactly that of the hollow table. The paper is laid on the
-hollow table, and the burnisher is worked backwards and forwards until
-the desired gloss is attained. By the best and latest method, the paper
-is passed between highly polished cylinders. It is more expensive, on
-account of the cost of the machinery, but insures superior effect.
-
-A great deal of paper is now being made by means of a |74| mechanical
-process. It has a very high gloss; it is used on very cheap work.
-
-_Sizing._—Paper should be always sized after being marbled. The size is
-made by dissolving one pound of best glue in five gallons of water with
-half a pound of best white soap. This is put into a copper over night,
-and on a low fire the next morning, keeping it constantly stirred to
-prevent burning. When quite dissolved and hot it is passed through a
-cloth into a trough, and each sheet passed through the liquor and hung
-up to dry; when dry, burnish as above.
-
-But it will be far cheaper to buy the paper, rather than make it at the
-cost of more time than will be profitable. The charge for demy size is
-at the rate of 20_s._ to 95_s._ per ream, according to the quality and
-colour; but to those to whom money is no object, and who would prefer
-to make their own marbled paper, I hope the foregoing explanation will
-be explicit enough.
-
-The “English Mechanic,” March 17th, 1871, has the following method of
-transferring the pattern from ordinary marble paper to the edges of
-books:—
-
-“Ring the book up tightly in the press, the edge to be as flat as
-possible; cut strips of the best marble paper about one inch longer
-than the edge, make a pad of old paper larger than the edge of the
-book, and about a quarter inch thick; then get a piece of blotting
-paper and a sponge with a little water in; now pour on a plate
-sufficient spirits of salts (muriatic acid) to saturate the paper,
-which must be placed marble side downwards on the spirit (not dipped in
-it); when soaked put it on the edge (which has been previously damped
-with a sponge), lay your blot paper on it, then your pad, now rap it
-smartly all over, take off the pad and blot, and look if the work is
-right, if so, take the book out and shake the marble paper off; when
-dry burnish.”
-
-At a lecture delivered at the Society of Arts, January, |75| 1878, by
-Mr. Woolnough, a practical marbler, the whole process of marbling was
-explained. Mr. Woolnough has since published an enlarged treatise on
-marbling,[6] and one that should command the attention of the trade. A
-copy of the Society’s journal can be had, describing the process, No.
-1,314, vol. XXVI., and will be of great service to any reader, but his
-work is more exhaustive.
-
-      [6] George Bell and Sons, York Street, Covent Garden.
-
-[Illustration: Leo’s Mechanical Marblers.]
-
-A transfer marble paper may now be had, and from examples sent me the
-process seems fairly workable. The following is the method of working
-sent by the importers of the paper:—
-
-“Place the book in the press. The book edge which is to be marbled
-has to be rubbed with pure spirits of wine; the dry strip of transfer
-marble is then to be put on the edge. The white back or reverse side,
-whilst being pressed hard against the book edge, is to be moistened
-carefully with boiling water, by dabbing a saturated sponge on it;
-this dabbing process to be continued so long till the colour will show
-through the white back—a proof that it is loosened from the paper. Then
-remove the white paper, and let the edge dry slowly. When quite dry
-burnish.”
-
-[Illustration: Leo’s Mechanical Marblers.]
-
-Another invention is to marble the edges by means of one or more
-rollers. The top roller or rollers holds the colour, which is
-distributed on the under rollers; these, in turn, ink the edge on being
-passed over it. The books are naturally held in the press whilst this
-is being done. |76|
-
-[Illustration: Cut from Book “School of Arts,” 1750.]
-
-From a book, the “School of Arts,” third edition, 1750, which has a
-chapter on marbling, the following, with cut, is taken:—
-
- “When thus you have your colours and all things in good order, then
- take a pencil, or the end of a feather, and sprinkle or put first your
- red colour; then the blue, yellow, green, etc. Begin your red from
- No. 1, and go along your trough to No. 2, also the blue from No. 3,
- all along to No. 4; the yellow and green put here and there in the
- vacant places. Then with a bodkin or a small skewer draw a sort of a
- serpentine figure through the colours, beginning from No. 1 to No.
- 2; when this is done, then take your comb and draw the same straight
- along from |77| No. 1 to No. 2. If you have some turnings or snail
- work on your paper, then with a bodkin give the colours what turns you
- please. (See the plate.)
-
- [Illustration: Leo’s Marbling Set.]
-
- “Thus far you are ready in order to lay on your paper, which must be
- moistened the day before, in the same manner as book-printers do their
- paper for printing; take a sheet at a time, lay it gently upon your
- colours in the trough, press it slightly with your finger down in such
- places where you find the paper lies hollow; this done, take hold at
- one end of the paper, and draw it up at the other end of the trough;
- hang it up to dry on a cord; when dry, glaze it, and it is done.
- You may also embellish your paper with streaks of gold, by applying
- mussel gold or silver, tempered with gum water, among the rest of the
- colours.”
-
-This last paragraph shows that the gold vein which is now in such
-demand is really over 150 years old.
-
-Messrs. Leo, of Stuttgart, have put together a complete marbling
-apparatus, containing colours, gall, cups, combs, sticks, filter,
-brushes, etc., the whole in a box. To a small country bookbinder this
-is indispensable.
-
-
-|78|
-
-CHAPTER XVII.
-
-GILT EDGES.
-
-A gilt edge is the most elegant of all modes of ornamenting edges,
-and this branch of bookbinding has from time to time been so greatly
-extended, that at the present day there are many ways in which a book
-may have the edges gilt; but some methods are not pursued, either from
-ignorance on the binder’s part, or with a view to save expense.
-
-First we have the “_plain gilt_,” then “_gilt in the round_”; then
-again some colour under the gold, for instance, “_gilt on red_,” or
-whatever the colour may be, red being mostly used, especially for
-religious books. Some edges are “_tooled_,” and some have a gilt edge
-with landscape or scene appropriate to the book painted on the edge,
-only to be seen when the book is opened. “_Marbling under gilt_” may
-also be used with good effect; but still better “_marbling on gilt_.”
-
-The room where gilt edge work is done should be neither dirty nor
-draughty, and the necessary materials are:—
-
-_1st. The Gold Cushion._—This may be purchased ready for use, or if the
-binder wishes to make one, it may be done by covering a piece of wood,
-about 12 inches by 6, with a piece of white calf, the _rough side_
-outwards, and padding it with blotting paper and cloth. The pieces
-underneath should be cut a little smaller than the upper one, so that
-it will form a bevel at the edge, but quite flat on the top. The calf
-to be neatly nailed all round the edge. If the pile of the leather is
-too rough, it can be reduced with a piece of pumice stone, by rubbing
-the stone on the calf with a circular motion. |79|
-
-_2nd. Gold Knife._—This should be a long knife of thin steel, the blade
-about one to one and a half inch wide.
-
-_3rd. Burnishers._—These are made of agate stone, and can be purchased
-of any size. A flat one, and two or three round ones, will be found
-sufficient. They should have a very high polish.
-
-_4th. Glaire Water or Size._—The white of an egg and a tea-cup full
-of water are well beaten together, until the albumen is perfectly
-dissolved. It must then be allowed to stand for some hours to settle,
-after which it should be strained through a piece of linen which has
-been washed; old linen is therefore preferred to new.
-
-_5th. Scrapers._—Pieces of steel with the edge or burr made to turn up
-by rubbing the edge flat over a bodkin or other steel instrument, so
-that when applied to the edge a thin shaving of paper is taken off. The
-beauty of gilding depends greatly on proper and even scraping.
-
-_6th. The Gold Leaf._—This is bought in books, the price according to
-quality; most of the cheap gold comes from Germany. I recommend the use
-of the best gold that can be had; it being in the end the cheapest, as
-cheap gold turns black by the action of the atmosphere in course of
-time.
-
-The method of preparing the gold[7] is by making an alloy: gold with
-silver or copper. It is drawn out into a wire of about six inches in
-length, and by being passed again between steel rollers is made into a
-ribbon. This ribbon is then cut into squares and placed between vellum
-leaves, about four or five inches square, and beaten with a hammer
-somewhat like our beating hammer, until the gold has expanded to the
-size of the vellum. The gold is again cut up into squares of about one
-inch, and again |80| interleaved; but gold-beaters’ skin is now used
-instead of vellum; and so by continual beating and cutting up, the
-proper thickness is arrived at. If the gold is held up to the light,
-it will be found to be beaten so thin that it is nearly transparent,
-although when laid on any object it is of sufficient thickness to hide
-the surface underneath. It has been estimated that the thickness of the
-gold leaf is only 1/280000 of an inch.
-
-      [7] Although this has practically nothing to do with the art
-      of bookbinding, it is always advisable for a workman to know
-      something about the tools and materials he uses.
-
-To gild the edges, the book should be put into the press straight and
-on a level with the cheeks of the press between cutting boards, the
-boards of the book being thrown back. The press should be screwed up
-very tightly, and any projection of the cutting boards should be taken
-away with a chisel. If the paper is unsized or at all spongy, the edge
-should be sized and left to dry. This may be ascertained by wetting a
-leaf with the tongue: if spongy, the moisture will sink through as in
-blotting paper. The edge should be scraped quite flat and perfectly
-even, care being taken to scrape every part equally, or one part of the
-edge will be hollow or perhaps one side scraped down, and this will
-make one square larger than the other. When scraped quite smoothly and
-evenly, a mixture of black lead and thin glaire water is painted over
-the edge, and with a hard brush it is well brushed until dry.
-
-The gold should now be cut on the gold cushion. Lift a leaf out of
-the book with the gold knife, lay it on the gold cushion, and breathe
-gently on the centre of the leaf to lay it flat; it can then be cut
-with perfect ease to any size. The edge is now to be glaired evenly,
-and the gold taken up with a piece of paper previously greased by
-drawing it over the head. The gold is then gently laid on the edge,
-which has been previously glaired. The whole edge or end being done, it
-is allowed to get perfectly dry, which will occupy some two hours.
-
-[Illustration: Book-edge Burnishers.]
-
-Before using the burnisher on the gold itself, some gilders |81|
-lay a piece of fine paper on the gold and gently flatten it with the
-burnisher. Books are often treated in this manner, they then become
-“dull gilt.” When intended to be bright, a waxed cloth should be gently
-rubbed over the surface two or three times before using the burnisher.
-The beauty of burnishing depends upon the edge presenting a solid and
-uniform metallic surface, without any marks of the burnisher. The
-manner of burnishing is to hold a flat burnisher, where the surface
-is flat, firmly in the right hand with the end of the handle on the
-shoulder, to get better leverage. Work the burnisher backwards and
-forwards with a perfectly even pressure on every part. When both
-ends are finished, the foredge is to be proceeded with, by making it
-perfectly flat. It is better to tie the book, to prevent it slipping
-back. The foredge is to be gilt exactly in the same manner as the ends;
-it will of course return to its proper round when released from the
-press. This is done with all books in the ordinary way, but if the book
-is to have an extra edge, it is done “solid” or “in the round.” For
-this way the book must be put into the press with its proper round,
-without flattening it, and scraped in that position with scrapers
-corresponding with the rounding. The greatest care must be taken in
-this kind of scraping that the sides |82| are not scraped away, or the
-squares will be made either too large or lop-sided.
-
-_Gilt on Red._—The edges are coloured by fanning them out as explained
-in colouring edges, and when dry, gilt in the usual way; not quite
-such a strong size will be wanted, through there being a ground in
-the colour; nor must any black lead be used. The edges should in this
-process be scraped first, then coloured and gilt in the usual way.
-
-_Tooled Edges._—The book is to be gilt as usual, then while in
-the press stamped or worked over with tools that are of some open
-character; those of fine work being preferable. Some design should be
-followed out according to the fancy of the workman. The tools must be
-warmed slightly so that the impression may be firm; the foredge should
-be done first. Another method is to tool the edge before burnishing, or
-the different portions of the tooling may be so managed in burnishing
-that some parts will be left bright and standing in relief on the
-unburnished or dead surface.
-
-_Painted Edges._—The edge is to fanned out and tied between boards, and
-whilst in that position some landscape or other scene, either taken
-from the book itself or appropriate to the subject of it, painted
-on the foredge, and when quite dry it is gilt on the flat in the
-usual manner. This work of course requires an artist well skilled in
-water-colour drawing. The colours used must be more of a stain than
-body colour, and the edges should be scraped first.
-
-After the edges have been gilt by any of the foregoing methods, the
-rounding must be examined and corrected; and the book should be put
-into the standing press for two or three hours, to set it. The whole of
-the edges should be wrapped up with paper to keep them clean during the
-remainder of the process of binding. This is called “capping up.”
-
-
-|83|
-
-CHAPTER XVIII.
-
-HEAD-BANDING.
-
-Few binders work their own head-bands in these times of competition
-and strikes for higher wages. It takes some time and pains to teach a
-female hand the perfection of head-band working, and but too often,
-since gratitude is not universal, the opportunity of earning a few
-more pence per week is seized without regard to those at whose expense
-the power of earning anything was gained, and the baffled employer is
-wearied by constant changes. Owing to this, most bookbinders use the
-machine-made head-band. These can be purchased of any size or colour,
-at a moderate price.
-
-Head-banding done by hand is really only a twist of different coloured
-cotton or silk round a piece of vellum or cat-gut fastened to the
-back every half dozen sections. If the head-band is to be square or
-straight, the vellum should be made by sticking with paste two or three
-pieces together. Damp the vellum previously and put it under a weight
-for a few hours to get soft. Vellum from old ledgers and other vellum
-bound books is mostly used. The vellum when quite dry and flat is to
-be cut into strips just a little under the width of the squares of the
-books, so that when the book is covered, the amount of leather above
-the head-band and the head-band itself will be just the size or height
-of the square.
-
-If, however, a round head-band is chosen, cat-gut is taken on the same
-principle with regard to size, and this is further advanced by using
-two pieces of cat-gut, the one |84| being generally smaller than the
-other, and making with the beading three rows. The round head-band is
-the original head-band, and cord was used instead of cat-gut. The cords
-were fastened to lay-cords on the sewing press, and placed at head and
-tail, and the head-band was worked at the same time that the book was
-sewn. I am now speaking of books bound about the 15th century; and in
-pulling one of these old bindings to pieces, it will compensate for
-the time occupied and the trouble taken, if the book be examined to
-see how the head-band was worked, and how the head-band then formed
-the catch-up stitch; the head-band cords were drawn in through the
-boards, and thus gave greater strength to the book than the method used
-at the present day. To explain how the head-band is worked is rather
-a difficult task; yet the process is a very simple one. The great
-difficulty is to get the silks to lie close together, which they will
-not do if the twist or beading is not evenly worked. This requires time
-and patience to accomplish. The hands must be clean or the silk will
-get soiled; fingers must be smooth or the silk will be frayed.
-
-[Illustration: Head-banding.]
-
-Suppose, for instance, a book is to be done in two colours, red
-and white. The head-band is cut to size, the |85| book is, for
-convenience, held in a press, or a plough with the knife taken out, so
-that the end to be head-banded is raised to a convenient height. The
-ends of the silk or cotton are to be joined together, and one, say the
-red, threaded through a strong needle. This is then passed through the
-back of the book, at about the centre of the second section, commencing
-on the left of the book. This must be passed through twice, and a loop
-left. The vellum is put in this loop and the silk drawn tightly, the
-vellum will then be held fast. The white is now to be twisted round the
-red once, and round the head-band twice; the red is now to be taken in
-hand and twisted round the white once, and the head-band twice; and
-this is to be done until the whole vellum is covered. The needle must
-be passed through the back at about every eight sections to secure the
-head-band. The beading is the effect of one thread being twisted over
-the other, and the hand must be kept exactly at the same tightness or
-tension, for if pulled too tightly the beading will go underneath, or
-be irregular. The fastening off is to be done by passing the needle
-through the back twice, the white is then passed round the red and
-under the vellum, and the ends are to be tied together.
-
-_Three Colours Plain._—This is to be commenced in the same way as with
-two, but great care must be taken that the silks are worked in rotation
-so as not to mix or entangle them. The silks must be kept in the left
-hand, while the right twists the colour over or round, and as each is
-twisted round the vellum it is passed to be twisted round the other
-two. In fastening off, both colours must be passed round under the
-vellum and fastened as with the two colour pattern.
-
-The head-bands may be worked intermixed with gold or silver thread, or
-the one colour may be worked a number of times round the vellum, before
-the second colour has |86| been twisted, giving it the appearance of
-ribbons going round the head-band.
-
-       *       *       *       *       *
-
-With regard to stuck-on head-bands, the binder may make them at little
-expense, by using striped calico for the purpose. A narrow stripe is
-to be preferred of some bright colour. The material must be cut into
-lengths of about one-and-a-half inch wide, with the stripes across.
-Cords of different thickness are then to be cut somewhat longer than
-the calico, and a piece of the cord is to be fastened by a nail at one
-end on a board of sufficient length. The calico is then to be pasted
-and laid down on the board under the cord, and the cord being held
-tightly may be easily covered with the striped calico, and rubbed with
-a folder into a groove.
-
-When this is dry, the head and tail of the book is glued and the proper
-piece of the head-band is put on. Or the head-band may be purchased, as
-before stated, worked with either silk or cotton ready for fastening
-on, from about 2_s._ 3_d._ to 4_s._ 6_d._ a piece of twelve yards,
-according to the size required: it has, however, the disadvantage of
-not looking so even as a head-band worked on the book. I have lately
-seen some specimens of as good imitations of hand-worked ones as it is
-possible for machinery to manufacture.
-
-After the head-band has been put on or worked, the book is to be “lined
-up” or “made ready for covering.”
-
-
-|87|
-
-CHAPTER XIX.
-
-PREPARING FOR COVERING.
-
-Nearly all modern books are bound with hollow backs, except where the
-books are sewn for flexible work or otherwise meant to have tight backs.
-
-Much of the paper used at the present day is so hard, that the binder
-is almost forced to make a hollow back, in order that the book may open.
-
-The head-band is first set with glue, if worked, by gluing the head and
-tail, and with a folder the head-band is made to take the same form
-as the back. This is to be done by holding the book in the left hand
-with its back on the press, then a pointed folder held in the right
-hand is run round the beading two or three times to form it; the silk
-on the back is then rubbed down as much as possible to make all level
-and even, and the book is allowed to dry. When dry it is put into the
-lying press to hold it, and the back is well glued all over; some
-paper, usually brown, is now taken, the same length as the book, put
-on the back, and rubbed down well with a thick folder: a good sized
-bone from the ribs of beef is as good as anything. The overplus of the
-paper is now to be cut away from the back, except the part projecting
-head and tail. A second coat of glue is now put on the top of the brown
-paper and another piece is put on that, but not quite up to the edge on
-the left hand side. When this is well rubbed down it is folded evenly
-from the edge on the right side over to the left, the small amount of
-glued space left will be found sufficient to hold it down; the top is
-again glued |88| and again folded over from left to right, and cut
-off level by folding it back and running a sharp knife down the fold.
-This is what is generally termed “two on and two off,” being of course
-two thicknesses of paper on the back and two for the hollow; but thin
-or small books need only have one on the back and two for the hollow.
-Thick or large books should have more paper used in proportion to their
-size. Books that have been over-cast in the sewing should have rather
-a strong lining-up, so that there be not such a strain when the book
-is opened. When the whole is dry, the overplus of the paper, head and
-tail, is to be cut off close to the head-band.
-
-I need hardly say that the better the paper used the more easy will be
-the working of it. Old writing or copy-book paper will be found to be
-as good as any, but good brown paper is, as I have said before, mostly
-used.
-
-The book is now ready for putting the bands on. These are prepared
-beforehand by sticking with glue two or three pieces of leather
-together or on a piece of paper, well pressing it, and then allowing
-it to dry under pressure. The paper must then be glued twice, allowing
-each coat to dry before gluing again. It should then be put on one side
-for future use, and when wanted, the proper thickness is chosen and
-cut into strips of a width to correspond with the size of the book.
-The book is now to be marked up, five bands being the number generally
-used, leaving the tail a little longer than the other portions. The
-strips of band are then to be moistened with a little hot water to
-cause the glue upon the paper to melt. Each piece is then to be
-fixed upon the back just under the holes made with the compasses in
-marking-up. This will be found to be a far better plan than to first
-cut the strips and then to glue them. By the latter plan the glue is
-liable to spread upon the side, where it is not wanted, and if the book
-has to be covered with light calf, it will certainly be stained black:
-|89| so the coverer must be careful that _all glue is removed_ from
-the back and sides before he attempts to cover any of his books with
-calf. It is rather provoking to find some favourite colour when dry,
-having a tortoiseshell appearance, which no amount of washing will take
-out. When dry the ends of the bands are to be cut off with a _bevel_,
-and a little piece of the boards from the corners nearest the back also
-taken off on the bevel, that there may not be a sharp point to fret
-through the leather when the book is opened. This is also necessary
-so that the head-band may be properly set. A sharp knife should be
-inserted between the hollow and should separate it from the back at
-head and tail on each side so far as to allow the leather to be turned
-in. Morocco may have the back glued, as it will not show through, and
-will facilitate the adhesion of the leather.
-
-_Flexible Work._—This class of work is not lined up. The leather
-is fastened directly upon the book; the head-band is set as before
-explained, and held tight by gluing a piece of fine linen against it,
-and when quite dry, the overplus is to be cut away, and the back made
-quite smooth. The bands are then knocked up gently with a blunt chisel
-to make them perfectly straight, being first damped and made soft with
-a little paste to facilitate the working and to prevent the thread from
-being cut. Any holes caused by sawing-in, in previous binding, must be
-filled up with a piece of frayed cord, pasted. Any holes thus filled up
-must be made quite smooth when dry, as the least unevenness will show
-when the book is covered.
-
-In “throw up” backs, or in “flexible not to show,” a piece of thin
-linen (muslin) or staff called _mull_ is glued on the back first, and
-one piece of paper on the top. For the hollow, three, four, or even
-five pieces are stuck one on the other, so that it may be firm; whilst
-the book itself will be as if it had a flexible back. The bands, if
-any, are then |90| to be fastened on, and the corners of the boards
-cut off. It is then ready for covering. “Mock flexible” has generally
-one piece of paper glued on the back, and when marked-up, the bands are
-put on as before, and the book covered.
-
-
-CHAPTER XX.
-
-COVERING.
-
-Books are covered according to the fancy of the binder or customer. The
-materials used at the present day, are—leather of all sorts, parchment
-or vellum, bookbinder’s cloth, velvet, needle-work, and imitation
-leather, of which various kinds are manufactured, such as leatherette
-and feltine.
-
-Each kind requires a different manner of working or manipulation. For
-instance, a calf book must not be covered in the same manner as a
-velvet one: I will take each in the above order and explain how they
-are managed.
-
-Under the class of leather, we have moroccos of all kinds; russia;
-calf, coloured, smooth, and imitation; roan, sheep, and imitation
-morocco.
-
-[Illustration: French Paring Knife.]
-
-[Illustration: Method of Holding French Knife.]
-
-[Illustration: German Paring Knife.]
-
-The _morocco_ cover, indeed any leather cover, is to be cut out by
-laying the skin out on a flat board, and having chosen the part or
-piece of the skin to be used, the book is laid on it and the skin is
-cut with a sharp knife round the book, leaving a space of about 3/4
-of an inch for an 8vo, and more or less according to the size of the
-book and thickness of board for turning in. The morocco |91| cover
-should now have marked upon it with a pencil the exact size of the book
-itself, by laying the book on the cover, and running the point of a
-black lead pencil all round it. The leather must then be “pared,” or
-shaved round the edges, using the pencil marks as a guide. This paring
-process is _not_ so difficult, especially if a French knife is used,
-such as may now be purchased at most material dealers. The chief point
-being that a very sharp edge is to be kept on the knife, and that the
-_burr_ is on the cutting edge. The knife is to be held in the right
-hand, placing two fingers on the top with the thumb underneath. The
-leather must be placed on a piece of marble, lithographic stone, or
-thick glass, and held tightly strained between finger and thumb of the
-left hand. Then by a series of pushes from the right hand, the knife
-takes off more or less according to the angle given. The burr causes
-the knife to enter the leather; if the burr is turned up the knife
-will not cut but run off. If the knife is held too much at an angle
-it will go right through the leather, a rather unpleasant experience,
-and one to be carefully avoided. The leather should from time to time
-be examined, by turning it over, to see if any unevenness appears, for
-every cut will show. Especial attention should be given to where the
-edges of the board go. The turning in at the head and tail should be
-pared off as thin as possible, as there will be twice as much thickness
-of leather on the back where turned in, the object of this care being,
-that it must not be seen. The _morocco_ |92| cover should now be
-wetted well, and grained up by using either the hand or a flat piece
-of cork. This is to be done by gently curling it up in all directions;
-and when the grain has been brought up properly and sufficiently, the
-leather should be pasted on the flesh side with thin paste, and hung up
-to dry. Should the leather be “straight grain,” it must only be creased
-in the one direction of the grain, or if it is required to imitate any
-old book that has no grain, the leather should be wetted as much as
-possible, and the whole of the grain rubbed out by using a rolling pin
-with even pressure.
-
-[Illustration: Method of Holding Ordinary Knife.]
-
-The Morocco leather first brought from _that_ country, had a peculiar
-grain, and was dyed with very bright colours. It is now largely
-manufactured in London and Paris; the French manufacture is the finest.
-Russia and calf require no setting up of the grain, but russia should
-be well rolled out with the rolling pin.
-
-When the cover (morocco) is dry, it is to be well pasted, the squares
-of the book set, so that each side has its proper portion of board
-projecting. The book is then laid down evenly on the cover, which
-must be gently drawn on; the back is drawn tight by placing the book
-on its foredge and drawing the skin well down over it. The sides are
-next drawn tight, and the bands pinched well up with a pair of _band
-nippers_. The four corners of the leather |93| are cut off with a
-sharp knife in a slanting direction, a little paste put on the cut
-edge, and the operation of turning in may be commenced. The book must
-be held on its edge, either head or tail, with a small piece of paper
-put close to the head-band to prevent any paste soiling the edge or
-head-band, and with the boards extended, the hollow is pulled a little
-away from the back and the leather neatly tucked in. The leather is
-next to be tightly brought over the boards and well rubbed down, both
-on the edge and inside, with a folding stick, but on no account must
-the outside be rubbed, or the grain will be taken away. The foredge is
-to be treated in like manner, by tucking the corners in for strength.
-The head-band is now to be set, by tying a piece of thread round the
-book between the back and the boards in the slots cut out from the
-corners of the boards; this thread must be tied in a knot. The book
-being held in the left hand, resting on its end, the leather is drawn
-with a pointed folding-stick, as it were, towards the foredge, and
-flattened on the top of the head-band. When this is done properly it
-should be exactly even with the boards, and yet _cover_ the head-band,
-leaving that part of the head-band at right angles with the edge
-exposed. With a little practice the novice may be able to ascertain
-what amount of leather is to be left out from the turning-in, so that
-the head-band can be neatly covered. The perfection in covering a book
-depends upon the leather being worked sharp round the boards, but with
-the grain almost untouched.
-
-[Illustration: Band Nippers.]
-
-Paste should be always used for morocco, calf, russia and vellum, in
-fact for all kinds of leather; but in my humble opinion, all leather
-with an artificial grain should be glued; the turning-in may be
-with paste. The glue gives more |94| body to the leather, and thus
-preserves the grain. _White_ morocco should be covered with paste
-made _without any alum_, which causes it to turn _yellow_, and if the
-leather is washed with lemon juice instead of vinegar when finishing,
-the colour will be much improved.
-
-_Russia_ is to be pared in the same way as morocco. It should be
-damped, and rolled with a rolling-pin before covering, or stretched out
-with a thick folding-stick.
-
-_Calf_, either coloured or white, need be pared only round the
-head-band. Calf should be covered with paste and the book washed when
-covered with a clean damp sponge. In putting two books together, when
-bound in calf of two different colours, a piece of paper should be
-placed between, as most colours stain each other, especially green.
-Care should be taken to handle calf as little as possible whilst wet,
-and touching it with iron tools, such as knives and band nippers, will
-cause a black stain. Morocco will bear as much handling as you like,
-but the more tenderly calf is treated the better.
-
-_Vellum or Parchment._—The boards should be covered with white paper,
-to avoid any darkness of the board showing through. The vellum or
-parchment should be pared head and tail, and the whole well pasted and
-allowed to stand for a short time so that it be well soaked and soft.
-The book should then be covered, but the vellum must not on any account
-be stretched much, or it will, when dry, draw the boards up to a most
-remarkable extent. It will perhaps be better if the book be pressed,
-to make the vellum adhere better. The old binders took great pains in
-covering their white vellum books. The vellum was lined carefully with
-white paper and dried before covering: this in some degree prevented
-the vellum from shrinking so much in drying, and enabled the workman to
-give the boards a thin and even coat of glue, which was allowed to dry
-before putting on the covering. |95|
-
-_Roan_ should be covered with glue and turned in with paste. Head and
-tail only need be pared round the head-band.
-
-_Cloth_ is covered by gluing the cover all over and turning in at once:
-gluing one cover at a time, and finishing the covering of each book
-before touching the next.
-
-Smooth cloth, cloth with no grain, may be covered with paste: great
-care must be taken that no paste be on the fingers, or the cloth will
-be marked very badly when dry.
-
-_Velvet_ should be covered with clean glue not too thick; first glue
-the _back_ of the book and let that set before the sides are put down.
-The sides of the _book_ should next be glued, and the velvet laid down,
-and turned in with glue. The corners should be very carefully cut or
-they will not meet, or cover properly when dry. When the whole is dry
-the pile may be raised, should it be finger marked, by holding the book
-over steam, and if necessary by carefully using a brush.
-
-_Silk and Satin_ should be lined first with a piece of thin paper
-cut to the size of the book. The paper must be glued with thin clean
-glue, rubbed down well on to the silk, and allowed to get dry, before
-covering the book. When dry, cover it as with velvet.
-
-       *       *       *       *       *
-
-Dr. Dibdin, whose knowledge of libraries and great book collectors must
-stamp him as an authority, says that:—
-
-“The general appearance of one’s library is by no means a matter
-of mere foppery or indifference: it is a sort of cardinal point,
-to which the tasteful collector does well to attend. You have a
-right to consider books, as to their outsides, with the eye of a
-painter; because this does not militate against the proper use of the
-contents. . . . . Be sparing of red morocco or vellum, they have each so
-|96| distinct, or what painters call spotty, an appearance, that they
-should be introduced but circumspectly.”
-
-I cannot agree entirely with the Doctor with regard to being sparing
-with the red morocco. A library without colour is dark, dreary,
-and repulsive. The library should be one of the most inviting and
-cheery rooms in a house, and even if one cannot aspire to a room
-entirely devoted to literature and study, let the bookcase, whatever
-its position or however humble, be made as cheerful and inviting as
-possible. What colour will do this so well as red? But it should be
-judiciously dispersed with other colours.
-
-If some standard colour were chosen for each subject, one might
-recognize from some little distance the nature of the book by its
-colour. For instance, all books relating to Military matters might be
-in bright red; Naval affairs in blue; Botany in green; History in dark
-red; Poetry in some fancy colour, such as orange, light blue, light
-green, or olive, according to its subject; Divinity in dark brown;
-Archæology in dull red, and Law in white as at present. This would give
-a pleasing variety, and a light and cheerful appearance to a library.
-
-An imitation russia leather is imported from America, of far greater
-strength than the real. It is made from buffalo skins, and tanned in
-the same way as the russia hides. This fact, combined with the price,
-has doubtless caused this material to be received with favour in the
-English market. It is to be had from nearly all leather sellers.
-
-       *       *       *       *       *
-
-_Half-bound Work._—The title speaks for itself, the book has its back,
-a part of the sides, and the corners covered with leather. The sides
-are, after the leather is perfectly dry, covered either with cloth or
-paper according to fancy, turned over the boards as with leather. The
-book is then to be pasted down. Before the paper is put on the sides,
-|97| all unevenness of the leather is to be pared away. This style has
-gained its reputation very much on account of its economy; the amount
-of leather required is less, and the work is as strong and serviceable
-as in a whole-bound book. It will be better if the back be finished
-before the corners are put on, as there is great likelihood that the
-corners may get damaged to some extent during the process of finishing.
-The outside paper may either match the colour of the leather, or be
-the same as the edge or end papers. This, like many other rules in
-bookbinding, is quite a matter of taste.
-
-
-CHAPTER XXI.
-
-PASTING DOWN.
-
-This is to cover up the inside board by pasting down the end papers to
-the boards.
-
-The white or waste leaf, that has till this process protected the end
-papers, must now be taken away or torn out. The joint of the board must
-be cleaned of any paste or glue that may have accumulated there during
-the course of either gluing up or covering, by passing the point of a
-sharp knife along it, so that when the end is pasted down, the joint
-will be quite straight and perfectly square. Morocco books should be
-filled in with a smooth board or thick paper, the exact substance of
-the leather. This thickness must be carefully chosen, and one edge
-be cut off straight, and fastened to the inside of the board very
-slightly, in fact only touching it in the centre with a little glue or
-paste, just sufficient to hold it temporarily. It must be |98| flush
-with the back-edge of the board. When dry, this paper or board is to
-be marked with a compass about half an inch round, and both paper and
-leather cut through at the same cut with a sharp knife. The overplus
-board will fall off and the outside of the leather may be easily
-detached by lifting it up with a knife. The paper or board, which will
-now fit in exactly, should be glued and well rubbed down with a folding
-stick, or it may be pressed in the standing press if the grain of the
-morocco is to be polished, but not otherwise.
-
-As morocco books only have morocco joints, I may as well explain at
-once how they are made. Morocco of the same colour is cut into strips
-the same length as the book, and about one inch and a half in breadth
-for 8vo.; a line is drawn or marked down each strip about half an
-inch from one edge, either with a pencil or folder, as a guide. The
-leather is now to be pared from the mark made to a thin edge on the
-half inch side, and the other side pared as thin as the leather turned
-in round the board, so that there will be two distinct thicknesses on
-each piece, the larger half going on the board to correspond with the
-leather round the three sides, and the smaller and thinly pared half
-going in the joint and edge on to the book. The end papers, only held
-in with a little paste, are to be lifted out from the book, and the
-leather well pasted is to be put on the board, so that the place where
-the division is made in the leather by paring will come exactly to the
-edge of the board; the thin part should then be well rubbed down in the
-joint, and the small thin feather edge allowed to go on the book.
-
-Great care must be taken to rub the whole down well, that it may adhere
-properly; the grain need not be heeded. With regard to the overplus at
-the head and tail, there are two ways of disposing of it: first, by
-cutting both leathers slanting through at once, and making the two |99|
-meet; or, secondly, by cutting the cover away in a slant and doing the
-same to the joint, so that the two slant cuts cover each other exactly.
-This requires very nice paring, or it will be seen in the finishing.
-The book should be left till quite dry, which will take some five or
-six hours. The boards are then to be filled in by the same method as
-above described, and the end papers fastened in again properly.
-
-_Cloth Joints._—If the cloth has been fastened in when the ends were
-made, after cleaning all unevenness from the joints, the boards are to
-be filled in as above, and the cloth joint stuck down with thin glue,
-and rubbed down well. The marble paper may now be put on the board by
-cutting it to a size a little larger than the filling in of the board,
-so that it may be well covered. When cloth joints are put in, the board
-paper is generally brought up almost close to the joint; but with
-morocco joints, the space left all round should be even.
-
-_Calf, Russia, etc._—After having cleaned the joint, the leather must
-be marked all round a trifle larger than the size intended for the end
-papers to cover. Then with a knife, the leather is cut through in a
-_slanting direction_ by holding the knife slanting. The boards should
-be thrown back to protect the leather, and the book placed on a board
-of proper size, so that both book and board may be moved together,
-when turning round. When the leather is cut, a piece of paper should
-be pasted on the board to fill up to the thickness of the leather,
-and to curve or swing the board back; the boards otherwise are sure
-to curve the contrary way, especially with calf. When this lining is
-dry, the end papers may be pasted down. As there are two methods of
-doing this, I give the most exact but longest first. The paper is to be
-pasted all over, and being held in the left hand, is to be well rubbed
-down, particularly in the joint. The paper is then marked all round—the
-head, foredge, |100| and tail, with a pair of compasses to the width
-required for finishing inside the board. With a very sharp knife the
-paper is to be cut through to the _depth_ of the _paper only_, by
-laying the straight edge on the marks made by the compasses. This has
-the advantage of procuring an exact margin round the board, but it must
-be done quickly or the paper will stick to the leather round the board
-from the paste getting dry, the leather absorbing the watery particles
-in the paste.
-
-The other way is to lay the paper back, and down on the board, and then
-to mark it. A tin is then to be placed between the book and paper,
-and the paper cut to the marks made. The paper is then pasted down as
-above. When pasted down, the book should be left standing on its end,
-with boards left open until thoroughly dry, which will be about six
-hours. A tin should be kept especially for cutting on, and the knife
-must be as sharp as possible. This latter method is used for all half
-bindings.
-
-
-CHAPTER XXII.
-
-CALF COLOURING.
-
-Although coloured calf-skins may be bought almost as cheaply as smooth
-calf (the term given to uncoloured ones), yet there are so many reasons
-why coloured calf should not be used, that I give such instructions as
-will enable any one to colour, sprinkle, and marble his own leather.
-
-The skins may, however, be procured already sprinkled or marbled at
-most leather shops. This plan of sprinkling and marbling the whole
-skin is good enough for cheap or |101| half-bound work, but for extra
-work it is far better to sprinkle, marble, or otherwise colour the
-leather when on the book. Hand-colouring is coming again into use,
-and by degrees getting known more and more throughout the trade; but
-a great many secrets in the art have been lost. Before giving the
-names of the chemicals to be used, I must give a general caution, that
-if any acid be used on the leather, it is essential to wash as much
-as possible of it out with water _immediately after it has done its
-work_, or after a few months the surface of the leather will be found
-to be eaten away and destroyed. It is a fault of some of our binders
-at the present day, that if they use any chemical, either on their
-leather or on their paper, they are not satisfied to use their acid
-weak, and allow it to do its work slowly, and when the proper moment
-has arrived stop its further action, they frequently use the acids as
-strong as possible, and, either to save time or through ignorance of
-their chemical properties, do not wash out the residue. The consequence
-is, the leather or the paper rots. In order to avoid this, I will
-not recommend any chemicals that will destroy the leather, but give
-instructions for harmless preparations, by the use of which as great a
-variety of different styles may be executed as will, I trust, satisfy
-any reasonable expectation.
-
-_Black._—Sulphate of iron or copperas is the chief ingredient in
-colouring calf black. Used by itself, it gives a greyish tint, but if a
-coat of salts of tartar or other alkali be previously used it strikes
-immediately a rich purple black. The name copperas is probably from the
-old and mistaken idea that the crystals contain copper. They have a
-pale greenish blue colour. It can be purchased at the rate of one penny
-per pound from any drysalter.
-
-1. Into a quart of boiling water, throw a 1/4-lb. of sulphate of iron,
-let it re-boil, and stand to settle, and then bottle the clear liquid
-for use. |102|
-
-2. Boil a quart of vinegar with a quantity of old iron nails or steel
-filings for a few minutes. Keep this in a stone jar, and use the clear
-liquid. This can from time to time be boiled again with fresh vinegar.
-An old iron pot must be kept for boiling the black.
-
-_Brown._—1. Dissolve a 1/4-lb. of salts of tartar in a quart of boiling
-water, and bottle it for use.
-
-This liquid is mostly used for colouring; it has a very mellow tone,
-and is always used before the black when a strong or deep colour is
-required. It is poisonous, and must not be used too strong on the calf
-or it will corrode it.
-
-2. For a plain brown dye, the green shells of walnuts may be used. They
-should be broken as much as possible, mixed with water, and allowed to
-ferment. This liquid should then be strained and bottled for use. A
-pinch of salt thrown in will help to keep it. This does not in any way
-corrode the leather, and produces the best uniform tint.
-
-_Yellow._—1. Picric acid dissolved in water forms one of the sharpest
-yellows. It is a pale yellow of an intense bitter taste. It must not
-be mixed with any alkali in a dry state, as it forms a very powerful
-explosive compound. It is a dangerous chemical and should be carefully
-used. It may be bottled for use.
-
-2. Into a bottle put some turmeric powder, and mix well with methylated
-spirit; the mixture must be shaken occasionally for a few days until
-the whole of the colour is extracted. This is a very warm yellow, and
-produces a very good shade when used after salts of tartar.
-
-       *       *       *       *       *
-
-For all the following, a preparation or ground of paste-water must
-be put on the calf, that the liquids may not sink through too much.
-The calf must be paste-washed all over equally, and allowed to get
-thoroughly dry. It will then be ready for the various methods. Perhaps
-to wash it over night and let it stand till next morning will |103| be
-the best and surest plan. It matters very little whether the calf is on
-the book or in the skin.
-
-_Sprinkles._—There are so many sprinkles, that it would be useless for
-me to enumerate a number, they are all worked in the same manner, by
-throwing the colour on finely or coarsely, as it may be wanted light or
-dark.
-
-Presuming that the paste or ground-wash be thoroughly dry, take liquid
-salts of tartar and dilute with cold water, one part salts to two of
-water, in a basin; wash the calf with this liquid evenly, using a soft
-sponge. The calf will require the wash to be applied two or three
-times, until a proper and uniform tint be obtained. Each successive
-wash must be allowed to get thoroughly dry before the next be applied.
-
-The next process will be to sprinkle the book, with the boards extended
-or open. Two pieces of flat wood, about three feet long, four inches in
-width, and half an inch thick, will be found very useful for supporting
-the book. These rods must be supported at each end, so that the book
-may be suspended between them, with the boards resting on the rods
-nearly horizontally. Now put into a round pan some of the copperas
-fluid, and into another some of the solution of salts of tartar. Use
-a pretty large brush for each pan, which brush must be kept each for
-its own fluid. The sprinkling may be commenced. The brushes being
-well soaked in the fluids, should be well beaten out, using a piece
-of broomstick or a hand pin to beat on before beating over the book,
-unless a coarse sprinkle is desired. Whilst beating over the book, the
-hands should be held up high, and also moved about, so that a fine and
-equal spray may be distributed; and this should be continued until the
-desired depth of colour is attained.
-
-This may be varied by putting some geometrical design, cut out of thin
-mill-board, on the cover; or if the book is on any special subject, the
-subject itself put on the cover |104| will have a very pretty effect,
-and may be made emblematical. A fern or other leaf for botanical work
-as an instance. The sprinkle must in these cases be very fine and dark
-for the better effect. The leaf or design being lifted from the cover
-when the sprinkle is dry, will leave the ground dark sprinkle with a
-light brown leaf or design. _Cambridge calf_ is done in this way by
-cutting a square panel of mill-board out and laying it on the sides.
-The square on the cover may be left brown or may be dabbed with a
-sponge.
-
-_Marbles._—As the success of marbling depends upon the quickness with
-which it is executed, it is important that the colours, sponges,
-brushes and water, should be previously disposed in order and at hand,
-so that any of them can be taken up instantly. Another point to which
-attention must be directed is the amount of colour to be thrown on, and
-consequently the amount that each brush should contain. If too much
-colour (black) is thrown on, the result will be an invisible marble,
-or, as I once heard it expressed by a workman, “it could not be seen on
-account of the fog;” if too little, no matter how nicely the marble is
-formed, it will be weak and feeble.
-
-Marbling on leather is produced by small drops of colouring liquids,
-drawn, by the flowing of water down an inclined plane, into veins and
-spread into fantastic forms resembling foliage—hence, often called
-_tree-marble_. It is a process that requires great dexterity of hand
-and perfect coolness and decision, as the least hurry or want of
-judgment will ruin the most elaborate preparation.
-
-To prepare the book paste-wash it evenly all over, and to further
-equalize the paste-water, pass the palm of the hand over the board
-after washing it. When dry, wash over with a solution of salts of
-tartar two or three times to get the desired tint. When dry, glaire the
-whole as even as possible, and to diminish the froth that the sponge
-may |105| occasion, put a few drops of milk into the glaire. Again
-allow it to dry thoroughly. Put some fresh copperas into a pan, and
-some solution of salts of tartar into another, and soak each brush in
-its liquid. Place the book upon the rods, the boards extending over and
-the book hanging between. Should it be desired to let the marble run
-from back to foredge the back must be elevated a little, and the rods
-supporting the boards must be level from end to end. If the marble is
-to run from head to tail, elevate the ends of the rods nearest to the
-head of the book. The elevation must be very slight or the water will
-run off too quickly.
-
-Place a pail of water close at hand, in it a sponge to wash off; and
-a bunch of birch to throw the water with. A little soda should be
-added to soften the water. Charge each brush well, and knock out the
-superfluous colour until a fine spray comes from it. A little oil
-rubbed in the palm of the hand, and the brush well rubbed into it, will
-greatly assist the flow of colour from the brush, and also prevent the
-black colour from frothing. Throw some water over the cover in blotches
-with the birch, just sufficient to make them unite and flow downwards
-together. Now sprinkle some black by beating the black brush on a press
-pin, as evenly and as finely as possible. When sufficient has been
-thrown on, beat the brown in like manner over the extended boards. When
-the veins are well struck into the leather, sponge the whole well with
-clean water. Have no fear in doing this as it will not wash off. Then
-set the book up to dry.
-
-_Tree-marbles._—The cover is to be prepared and sprinkled in the same
-manner as stated in marbling; the boards, however, must be bent a
-little, and a little water applied by a sponge in the centre of each
-board to give the necessary flow of water; when the water is thrown on,
-it will flow towards the centre or lowest part of the boards, and when
-the sprinkle is thrown on, a _tree_, as it were, will be |106| formed.
-The centre being white forms the stem, and from it branches will be
-formed by the gradual flow of the streams of water as they run down.
-
-For marbling, every thing must be ready at hand before any water is
-thrown on, so that the water may not have time to run off before the
-colour is applied. The water must run at the same time that the spray
-is falling, or a failure will be the result.
-
-It has been said that marbling was discovered by an accident; that a
-country bookbinder was sprinkling some books, when a bird, which was
-hung up in the shop, threw or splashed some water down on his books;
-the water running, took some of the colour with it and formed veins.
-Liking the form it gave, the workman improved upon it and thus invented
-marbling. There is, however, no doubt that it had its origin in Germany.
-
-Tree calf seems to be coming into general use again, and to meet the
-demand for cheapness, a wood block has been cut resembling as closely
-as possible one done by the water process, and blocked in black on the
-calf; but, as might have been expected, it has not found much favour.
-
-_Dabs._—This is a process with a sponge, charged with the black or
-the brown liquid, dabbed on the calf either all over the cover or in
-successive order. Give the proper preparation to the calf, and be very
-careful that the ground tint of brown be very even. Take a sponge of
-an open nature, so that the grain is pleasant to the eye; fill it with
-black and squeeze out again, now dab it carefully over the calf. Repeat
-the operation with another sponge charged with brown. Cat’s paw, French
-dab, and other various named operations all emanate from the sponge.
-When done properly this has a very good effect, and gives great relief
-to the eye when placed with a number of other books.
-
-All these marbles and sprinkles require practice, so that |107| a
-first failure must not be regarded with discouragement. When one’s
-hand has got into the method with these two or three colours it is
-astonishing how many different styles may be produced. In all this
-manipulation a better effect is obtained if a yellow tint be washed
-over the leather after the sprinkle or marble has been produced. Again,
-by taking _coloured calf_ and treating it in the same manner as white,
-some very pleasant effects are brought out; and when the colours are
-well chosen the result is very good. Take for instance a green calf and
-marble a tree upon it, or take a light slate colour and dab it all over
-with black and brown.
-
-In all operations with the copperas care must be taken that it does not
-get on the clothes, as it leaves an iron stain that cannot be easily
-got rid of. Keep a bason for each colour, and when done with wash it
-out with clean water. The same with the sponges: keep them as clean
-as possible; have a sponge for each colour, and use it only for that
-colour. A piece of glass to put the sponges on will be of great use,
-and prevent the work-table or board from catching any of the colour. A
-damp book or damp paper laid on a board that has been so stained will
-most probably be damaged, even though it has waste paper between the
-work-board and book. No amount of washing will ever take away such a
-stain.
-
-When the book has been coloured, the edges and inside are to be blacked
-or browned according to taste, or in keeping with the outside. The book
-is then ready for finishing.
-
-Some very good results may be obtained if the binder, using coloured
-calf of a light brown, treats it as if it were white calf, marbling
-with the usual colours; or a yellow calf, splashing it all over with
-salts of tartar only, the boards being placed in a slanting direction
-to allow the colour to gently run down. |108|
-
-Or the whole of a cover may be blacked with tartar and copperas, then
-with a diluted solution of acid it may be sprinkled, this will give
-grey-white spots on black or slate ground: if, after washing, the cover
-be sponged over with some colouring liquid, such as analine dyes, the
-spots will be of the colour used.
-
-       *       *       *       *       *
-
-I do not give many methods or receipts for producing colours for calf,
-because, as before stated, the introduction of fancy calf has rendered
-obsolete the old-fashioned way of boiling and preparing the different
-woods for making colours, and the above will be found useful for
-colouring calf in many different ways.
-
-[Illustration]
-
-
-
-
-PART II.
-
-FINISHING.
-
-
-[Illustration: RENAISSANCE.
-
-Roy folio.
-
-T. Way, Photo-Lith.]
-
-
-|111|
-
-CHAPTER XXIII.
-
-FINISHING.
-
-Finishing is the art of embellishing the covers of books with different
-designs. Finishing comprises the embellishment of the covers either
-with blind work, gold, silver or platina leaf, or with metal ornaments
-fastened through the boards, or by only a lettering on the back of the
-book.
-
-The art of finishing does not comprise any embellishment done with
-the “blocking press.” Therein the art is more that of the block or
-tool cutter, who, working in concert with the artist who drew the
-design, cuts the metal accordingly. The binder’s use of these blocks is
-mechanical only.
-
-The monks who cultivated all the arts, and enriched their _Hours_ and
-their _Missals_ with marvellous miniatures, gave great zeal to the
-occupation of binding. So charmingly were the bindings ornamented with
-tools and small blocks reproduced from the text, that we must regret
-that so few of these monastic bindings are now left to us.
-
-A great number of these books were executed in Germany, where this
-mode of decoration remained a long time in use; and we find that other
-countries borrowed from the printer this primitive mode of decoration.
-As the art progressed the binder’s mark was impressed on the cover as
-an ornament, or as a distinction, such as we find at the present day at
-the end or after the title of books to denote by what printer the work
-was executed. Later on, when the Renaissance shone in all its glory and
-beauty, we find that it freed itself from this limited practice. A new
-mode |112| of decoration came into use, which we may well study, even
-at the present day; a style at once rich and varied. If we follow the
-bold interlacing lines which form the skeletons of those infinite and
-varied designs, we catch the imaginative caprices of their authors; and
-the details of their transformation gives us a guide to the different
-schools and art of their time. The execution of these linear designs
-is extremely difficult. It can be easily seen that they have not been
-done by a block engraved in one piece, but with small segments.[8] The
-art of putting together these small pieces, so as to form one complete
-and artistic pattern, is the skill of the _finisher_. Many books are
-now finished by means of the blocking press; but on close examination,
-these imitations may be readily distinguished. A blocked cover never
-has the life and spirit that a hand-finished one has. Of blocking I
-must speak in subsequent pages.
-
-      [8] There are a few exceptions to this on a few old books of
-      12mo. size. One may now and then see such designs worked in one
-      piece certainly by a block.
-
-[Illustration: Monastic Tools.]
-
-[Illustration: ANTIQUE WITH GOLD LINE.
-
-Imperial 8^{vo}.
-
-T. Way, Photo Lith.]
-
-[Illustration: Venetian.]
-
-[Illustration: Grolier.]
-
-These intrinsic designs were very much used by the |113| binders
-contemporary with _Grolier_, and the use of lined or azuré tools are a
-distinctive mark of the period. This is the connecting link with the
-Italian bindings. It will be observed that the Italian or Venetian
-tools are solid, while in the other style the tools, although of the
-same shape, are lined or azuré. A little later on other artists, not
-satisfied with this modification, dispensed with the |114| fine cross
-lines, and retained their outlines only. France, during the reign of
-Henry II., left Italy far behind, and executed those grand compositions
-of _Diane_ bindings. They are marvellous subjects, and are sometimes
-imitated at the present day, but are never surpassed in their wonderful
-originality.
-
-[Illustration: Le Gascon.]
-
-[Illustration: DEROME.
-
-4^{to}
-
-T. Way, Photo-lith.]
-
-After these masterpieces we find the curious bindings of Henry III.,
-which instantly mark a distinct transformation. The interlacings are
-less bold and free, but more geometrically traced. The absence of
-filling in with small tools gives a coldness, which is increased by a
-heavy coat of arms on the sides. This form of decoration exercised a
-great influence, and from this epoch another school sprung up. Later
-on in time these interlacings served as a ground plan only for the
-brilliant fantasies of _Le Gascon_, a master who no doubt has had the
-least number of imitators. Although he followed and to a certain extent
-kept the shapes, the aspect of his bindings was very much changed
-by the application of pointed tools. _Le Gascon_ rests for ever as
-the most renowned master of the 16th century. The number of tools
-necessary for the execution of a composition like one of _Le Gascon’s_
-is large; and when one considers that these tools are repeated,
-perhaps a thousand |115| times on each side of the book, a fair
-idea may be formed of the magnitude of such a work. I am of opinion
-that _Le Gascon_ brought bookbinding to its highest point of richness
-and finish. His drawings are always pure and correct; his squares,
-lozenges, triangles, and ovals are so brought together as to form a
-series of compartments interlacing the one within the other, with an
-incomparable boldness and perfect harmony; above all, one must remark
-with what richness the compartments are filled. There is no doubt the
-ground work of the style was _Grolier_, but he never filled his panels
-with such richness or with such taste as that displayed by _Le Gascon_.
-The difficulty of adapting such designs to the different sizes of books
-has no doubt deterred the various masters from imitating such works,
-so that we see less of _Le Gascon’s_ style than of any other ancient
-master.
-
-[Illustration: Derome.]
-
-From _Le Gascon’s_ period the tools became thicker and thicker, until
-we have the heavy tools of _Derome_, which are much in keeping for
-books of a serious character. They are original in shape, but their
-employment was only in borders, leaving the centre of the book free
-from ornament. |116| I do not pretend to give a history of the various
-masters, but rather a practical description of the art of bookbinding.
-Much has already been written about the various works executed by these
-grand old masters; my endeavour has been to show, that whilst the
-various masters of the art of bookbinding worked with tools but little
-altered from their original forms, they so modified and changed them
-in their character and use, as to form a distinctive mark of style for
-each artist, by which his work may be recognized.
-
-A pamphlet, published in Paris, 1878, says: “One of the branches of
-artistic industry in which France possesses unquestionable superiority
-is certainly bookbinding; the International Exhibitions, and still
-more the sales of private or other collections, have each day given
-evident proof of this. Italy, which initiated herself so perfectly in
-the Renaissance style, and Holland, once her rival in the 17th century,
-have long ceased to produce any work worthy of remark; everywhere books
-are being bound, but the ‘art’ of bookbinding is practised only in
-France.”
-
-I cannot agree with its authors that one must go to France now to have
-a book bound properly. The method of bookbinding is quite differently
-managed and worked there than it is here. I have witnessed both
-methods, and prefer the English one as being more substantial.
-
-HAND-FINISHING.—We were first taught to work the gold leaf on books by
-a method not now employed, except, perhaps, by a novice, who wishes to
-get his books done before his glaire has dried. This method was to damp
-the cover well with water, either with a wet sponge or by other means.
-The gold leaf was then laid on, and the tool worked rather warm on the
-gold. Through the heat or steam generated the gold was burnt in, and
-the overplus washed off with a damp sponge or rag, the gold being left
-only in the impressions. If, however, any block or centre |117| was
-used, it was impressed with heat upon the side in a small lying press
-in use at the period. This press was known then as an _arming press_,
-because used commonly for impressing armorial bearings and monograms on
-the sides. The term arming press is still used for the lighter kinds of
-blocking presses.
-
-Hand-finishing, as before stated, is really an _art_. The finisher
-should be able to draw, or at least have some knowledge of composition,
-and also know something about the harmony of colours. The workman
-not having any knowledge of drawing cannot expect to be a good
-finisher; because he cannot possibly produce any good designs, or by
-a combination of the small tools form a perfect and correct pattern.
-Taste has no small influence in the success of the workman in this
-branch of the art. It is better to finish books plainly, rather than
-put on the least portion of gold more than is necessary. If the
-intentions of the books’ owner is to put some special style or design
-into his bookcase, it will be well to think over the various styles
-before deciding upon any particular one. Before going thoroughly into
-the working details a few preliminary words may be permitted.
-
-Let the tools be always in keeping with the book, both in size and
-character. Large ones should be used only on a large book, and those of
-less size for smaller works. A book on Natural History should have a
-bird, insect, shell, or other tool indicative of the contents. A flower
-should be used on works on Botany, and all other works be treated in
-the same emblematical manner; so that the nature of the book may be
-understood by a glance at the back. In lettering, see that the letters
-are of a size proportionate to the book—legible, but not too bold.
-They should neither be so large as to prevent the whole of the title
-being read at one view, nor so small as to present a difficulty in
-ascertaining the subject of a book when on the shelf. |118| Amongst a
-large number of books there should be an agreeable variety of styles,
-so that the effect may be in harmony with the colours around, and
-produce as pleasing a contrast as possible.
-
-[Illustration: Type-holder.]
-
-[Illustration: Pallet.]
-
-[Illustration: Fillet.]
-
-_Tools and Materials required for Finishing._—_Rolls_, _fillets_,
-_pallets_, centre and corner tools of every possible class and
-character; type of various sizes for the lettering of books or labels.
-The type may be either of brass or of the usual printer’s metal; if the
-latter be chosen, care must be taken that it be not left at the fire
-too long, or it will melt. Type-holders to hold the type, which are
-made to fit the respective sizes are necessary, but one or two with a
-spring side, adjusted by screw at the side, will be found convenient
-for any sized type. In England it is the custom to letter books with
-_hand letters_, each letter being separate and fixed in a handle. I
-have, however, little doubt that these will in time be laid aside, and
-that the type and type case will be found in every bookbinder’s shop.
-
-_Polishing irons._ Of these two are necessary—one for the sides and one
-for the backs. There is generally a third |119| kept for polishing
-the board end papers when pasted down, which should be kept for this
-purpose only.
-
-[Illustration: Polishing Iron.]
-
-_A gold-rag_, to wipe off the surplus gold from the back or side of a
-book. It should have a little oil well worked into it, so that when it
-has been wiped over the back or side the gold may adhere and remain in
-it. This rag when full of gold will be of a dirty yellow, and may then
-be melted down by any of the gold-refiners and the waste gold recovered.
-
-_India-rubber_, cut up very small—the smaller the better—and steeped
-in turpentine, so as to render it as soft as possible, to be used for
-clearing away any gold not taken off by the gold-rag. This should also
-be melted down when full.[9]
-
-      [9] Messrs. Cow and Co., Cheapside, have lately prepared my
-      rubber ready for use. I find it of great convenience.
-
-_Gold-cushion_, for use as explained in Chapter XVII.
-
-_Gold leaf._ The best should be used, it keeps its colour better, and
-is much more easy to work than the commoner metal usually sold.
-
-_Sponges_, both large and small—the large ones for paste-washing, the
-smaller for glairing and sizing.
-
-_Glaire_ may be purchased already prepared, or it may be made from the
-white of egg, which must be very carefully beaten up to a froth with
-an egg whisk. In breaking the egg care must be taken not to let any of
-the yolk get amongst the white. A little vinegar should be mixed with
-the white before beating up, and a drop of ammonia, or a grain or two
-of common table salt, or a small piece of camphor, will in some measure
-prevent it from turning putrid, |120| as it is liable to do. Some
-workmen always have a stock of “good old glaire,” as they term it, by
-them, fancying that it produces better work, but this is a mistaken
-notion, often productive of annoyance, and destructive to the comfort
-of the workmen. I advise the finisher to beat his glaire from an egg
-as he may require it. When well beaten, allow it to stand for some
-hours, and then pour the clear liquid into a bottle for use. I have
-had some dried albumen sent me, but its working has not given me such
-satisfaction as that freshly prepared; it may answer the purpose in
-other hands, but with me the gold appears to have been burnt in.
-
-_Cotton wool_, for taking up the gold leaf and pressing it firmly on
-the leather.
-
-_Varnish_ should always be used on that part where glaire has been
-applied, after it has been polished; the object being to retain the
-brilliancy, and to preserve the leather from the ravages of flies and
-other insects which are attracted by the glaire; these pests do great
-damage to the covers of books which have been prepared with glaire,
-by eating it off. They also take away the surface of the leather and
-spoil the good appearance of the books. Varnish may be purchased at all
-prices: use only the best, and be very sparing with it.
-
-A small pair of spring _dividers_, some _lard_, _sweet oil_, and
-lastly, but most important, the _finishing stove_. Before gas was
-introduced the finishing stove in use was the now almost extinct
-charcoal fire. A bookbinder’s gas stove can now be purchased at almost
-any gas-fitter’s shop or bookbinders’ material dealers. The price
-varies according to size.
-
-[Illustration: Leo’s Oil Finishing Stove.]
-
-A stove burning paraffin oil may now be had from Leo of |121|
-Stuttgart, which he guarantees smokeless and free from soot; where gas
-is not obtainable, this will be found very handy.
-
-[Illustration: Finishing Press. The reverse side is quite flat, used
-when sides of books are being finished.]
-
-Many still prefer the charcoal fire. To such a stove a pipe should be
-fixed to conduct the fumes away into the open air or up a chimney. To
-make such a stove any old tin may be utilized. Make a number of large
-holes through the sides; fill it with some live charcoal, and place a
-perforated tin plate on the top. It will keep alight for hours, and
-impart quite enough heat for any purpose required. This primitive
-stove, however, must be placed on a stand or on a piece of thick iron,
-lest it become dangerous.
-
-A _finishing press_ is a small press, having two sides of solid wood
-with wooden screws at each end, the cheeks should be of width enough to
-allow the sides of a book to be finished comfortably when the boards
-are extended, the book itself being held by the press which is screwed
-up tightly. The press should, however, be light enough to enable the
-finisher to easily turn it round, as it frequently must be, while
-finishing a book.
-
-Mr. Leo has a press (patented) which he claims gives more freedom for
-finishing a book, but with it one can only finish the back of a book;
-there are, however, many good points that our English makers may well
-study. |122|
-
-_Finishing_ is divided into two classes—_blind_ or _antique_, or, as it
-is sometimes called, _monastic_ and _gold-finished_.
-
-The term antique is mostly known in the trade; and when _morocco
-antique_ or _calf antique_ is mentioned, it means that the whole of the
-finishing is to be done in blind tooling. Not only this, but that the
-boards should be very thick and bevelled, and the edges either dull
-gilt or red, or gilt over red. This class of work is used extensively
-for religious books. A gold line introduced and intermixed with blind
-work gives a great relief to any class of antique work.
-
-It is not necessary that a special set of tools be kept for antique
-work, although some would look quite out of keeping if worked in gold.
-As a general rule antique tools are bold and solid, such as Venetian
-tools, whilst those for gold work are cut finer and are well shaded.
-The greater number work equally well in gold and in blind, but when a
-special style has to be followed the various tools and their adaptation
-to that style must be studied.
-
-[Illustration: Leo’s Finishing Press.]
-
-The general colour of the blind work is dark brown, and the proper way
-of working these antique tools is to take them warm and work them on
-the damp leather a number of times, thus singeing or burning as it were
-the surface only, until it has assumed its proper degree of colour.
-|123| Antique work, as a decoration, requires quite as much dexterity
-and care as gold work. Every line must be straight, and the tools must
-be worked properly on the leather, both in colour and depth; and as
-the tools have to be worked many times on the same spot, it requires a
-very steady hand and great care not to double them. Some consider blind
-work as preparatory to gold work, and that it gives experience in the
-method of handling and working the various tools, and the degree of
-heat required for different leathers without burning them through. The
-leather on which this work is mostly executed is morocco and calf.
-
-[Illustration: Antique Stamps.]
-
-In finishing the back of a book it must always be held tightly in the
-“finishing press.” When in the press, mark the head and tail as a
-guide for the pallets by running a folding-stick along the edge of a
-piece of parchment or vellum held by the finger and thumb of the left
-hand against the sides of the volume across the back at the proper
-place. When two or more books of the same character and size are to
-range together, the backs must be compassed up so that the lines head
-and tail may run continuous when finished. In using the pallet, hold
-it firmly in the right hand, and let the working motion proceed from
-the wrist only, as if it were a pivot. It will be |124| found rather
-difficult at first to work the pallets straight over the back and even
-to the sides of the bands, but after a little practice it will become
-easy to accomplish.
-
-_Morocco_. Flexible work, as a rule, has blind lines, a broad and a
-narrow one, worked close to the bands. Damp the back with a sponge and
-clean water, and work the moisture evenly into the leather with a hard
-clean brush. Take a pallet of a size suitable to the book, warm it over
-the stove, and work it firmly over the back. As the leather dries, make
-the pallet hotter; this will generally be found sufficient to produce
-the required dark lines. Sometimes it will be necessary to damp the
-different places two or three times in order to get the proper colour
-in the blind tooling.
-
-The tools may have a tendency to stick to the leather and possibly burn
-it. To obviate this, take 1-1/4 oz. of white wax and 1 oz. of deer fat
-or lard, place them in a pipkin over a fire or in a warm place, so that
-they may be well mixed together; when mixed allow them to cool. Rub
-some of this mixture upon the rough or fleshy side of a piece of waste
-morocco, and when working any tools in blind, rub them occasionally
-over the prepared surface. This mixture will be found of great service
-in getting the tools to _slip_ or _come away_ from the leather in
-working. Lard alone is sometimes used, but this mixture will be found
-of greater service to any finisher, and the advantage of adding the wax
-will be apparent.
-
-The lines impressed on the back must now have their gloss given to
-them. This is done by _giggering_ the pallets over them. Make the
-pallet rather hot, rub it over the greased piece of leather, and work
-it backwards and forwards in the impression previously made. Great
-care must be taken that the pallet be kept steadily in the impressions
-already made, or they will be doubled. The back is now ready for
-lettering. This will be found further on, classed under gold work.
-|125|
-
-To blind tool the side of a book it must be marked with a folder and
-straight edge, according to the pattern to be produced, and as a guide
-for the rolls and tools to be used. These lines form the ground plan
-for any design that has to be worked. Damp the whole of the side with
-a sponge, and brush it as before directed; then work the fillets along
-the lines marked. Run them over the same line two or three times. When
-dry, make the fillet immovable by driving a wooden wedge between the
-roll and fork, and gigger it backwards and forwards to produce the
-gloss. If tools are to be worked, make them slightly warm, and as the
-leather dries make the tool hotter and hotter. This must be repeated
-as often as is necessary, until the desired depth of colour and gloss
-is obtained. In using a roll that has a running or continuous pattern,
-a mark should be made upon the side with a file, at the exact point
-that first comes in contact with the leather, so that the same flower,
-scroll, or other design, may always fall in the same place in the
-repeated workings. It is impossible for a roll to be cut so exactly
-that it may be worked from any point in the circumference without
-doubling the design. All blind work is done in the same manner, whether
-in using a small or a large tool, _viz._, the leather must be damped
-and repeatedly worked until the depth of colour is obtained. It is
-then allowed to dry, and re-worked to produce the gloss. The beauty of
-blind work consists in making the whole of the finishing of one uniform
-colour, in other words, avoiding the fault of having any portion of the
-work of lighter tint than the rest.
-
-       *       *       *       *       *
-
-_Gold Work_ is far more complicated than blind or antique work, so that
-it will be better if one practises upon some spare pieces of roan,
-calf, or morocco before one attempts to finish a book. Gold work is
-not more difficult than blind tooling, it is only more complicated.
-The |126| different kinds of leather require such different degrees
-of heat, that what would fail to make the gold adhere upon one leather
-would burn through another. The various colours each require their
-different degrees of heat; as a rule, light fancy colours require less
-heat than dark ones. The finisher has not only to contend with these
-difficulties, but he must also become an adept in handling the gold
-leaf and in using the proper medium by which the gold is made to adhere
-to the leather. This medium is used in two ways—wet and dry. The wet is
-used for leather, the dry for velvet, satin, silk, and paper.
-
-The wet medium is again divided into two classes, one for non-porous
-and another for porous leather. Morocco is the principal of the
-non-porous leathers, with roan and all other imitation morocco.
-
-The porous varieties consist of calf of all kinds, russia, and sheep.
-
-The non-porous leathers need only be washed with thin paste-water or
-vinegar, and glaired once; but if the glaire be thin or weak it will be
-necessary to give them a second coat.
-
-The porous varieties must be paste-washed carefully, sized all over
-very evenly, and glaired once or twice; care being taken that the size
-and glaire be laid on as evenly as possible.
-
-All this, although apparently so simple, must be well kept in mind,
-because the great difficulty that apprentices have to contend with is,
-that they do not know the proper medium for the various leathers, and
-one book may be prepared too much, while another may have a deficiency,
-and as a consequence, one book will be spoilt by the preparation
-cracking, and the gold not adhere to the other. By following the
-directions here given the finisher will find that his gold will adhere
-without much trouble, beyond the practice necessary in becoming
-accustomed to an accurate use of the various tools. |127|
-
-Suppose that a half morocco book is before us to be neatly finished and
-lettered. Take a broad and narrow pallet of a suitable and proper size,
-and work it against the bands in blind as a guide for finishing in
-gold. As the impression need be but very slight, warm the pallet on the
-gas stove but very little. Choose some suitable tool as a centre piece
-to go between the bands. Work this also lightly on the back exactly in
-the centre of each panel. This must be worked as truly as possible and
-perfectly straight. A line made previously with a folding-stick along
-the centre of the back will greatly assist in the working of a tool in
-its proper position. Now wash the back with vinegar, and brush it well
-with a hard brush to disperse the moisture and drive it equally into
-the leather; some use paste-water for this purpose instead of vinegar.
-Paste-water has a tendency to turn grey in the course of time, and this
-is avoided in using vinegar; vinegar also imparts freshness to the
-morocco, and keeps it moist a longer time, which is very desirable when
-finishing morocco.
-
-The impressions made by the broad and narrow pallet and the centre tool
-are now to be pencilled in with glaire; when dry, pencil in another
-coat; allow this again to dry, then rub them very slightly with a piece
-of oiled cotton wool. Take a leaf of gold from the book and spread it
-out evenly on the gold cushion; cut it as nearly to the various shapes
-and sizes of the tools as possible. Now take up one of the pieces of
-gold upon a large pad of cotton wool, previously greased slightly by
-drawing it over the head. (There is always a sufficient amount of
-natural grease in the hair to cause the gold to adhere to the cotton
-when so treated.) Lay the gold gently but firmly on the impressed
-leather. See that the whole of the impression is covered, and that the
-gold is not broken. Should it be necessary to put on another piece of
-gold leaf, gently breathing on the first will make the second adhere.
-When all the impressions are covered |128| with gold leaf, take one
-of the tools heated to such a degree that when a drop of water is
-applied it does _not hiss_ but _dries_ instantly; work it exactly in
-the blind impressions. Repeat this to the whole of the impressions, and
-wipe the overplus of gold off with the gold rag. The impressions are
-now supposed to be worked properly in gold; but if there are any parts
-where the gold does not adhere, they must be re-glaired and worked in
-again. A saucer should be placed near at hand, with water and a piece
-of rag or a sponge in it, to cool any tool and reduce it to its proper
-heat before using. If the tool be used too hot, the gold impression
-will be dull; if too cold, the gold will not adhere. To use all tools
-of the exact degree of heat required is one of the experiences of the
-skilled workman. The back is now ready for the title. Set up the proper
-words in a type-case, of a type sufficiently large and suitable to the
-book. The chief word of the title should be in somewhat larger size
-than the rest, the others diminishing, so that a pleasant arrangement
-of form be attained. In order to adjust the length of the words, it
-may be necessary to _space_ some of them—that is, to put between each
-letter a small piece of metal called a _space_. Square the type, or
-make the face of the letters perfectly level, by pressing the face of
-them against a flat surface before tightening the screw. They must be
-exactly level one with another, or in the working some of them will be
-invisible. Screw up the type-case, warm it over the finishing stove,
-and work the letters carefully in blind as a guide. Damp the whole of
-the lettering space with vinegar. When dry, pencil the impressions in
-twice with glaire. Then lay the gold on and work them in gold.
-
-But with lead type and a spring type-case (a method more suitable for
-some binders on account of its relative cheapness and the convenience
-of the case fitting itself to the different sizes of the type, of
-which the binder will want |129| a selection of various sizes), the
-type-case must be warmed before the type is put in. The heat of the
-case should impart sufficient heat for the type to be worked properly.
-If the case and type be put on the stove, the type will probably be
-melted if not watched very narrowly. Hand letters are letters fixed in
-handles, each used as a single tool. The letters should be arranged in
-alphabetical order round the finishing stove, and as each letter is
-wanted it is taken from the order, worked, and replaced. They are still
-very much used in England, but where two or more books are to have the
-same lettering, brass type is very much better. It does its work more
-uniformly than hand letters, however skillfully used.
-
-[Illustration: Showing progressive Stages of Finishing.
-
-Pallets.
-
-Panel entirely finished.
-
-Band.
-
-Panel mitred in gold, with title and small corners.
-
-Band.
-
-Panel mitred and cornered with centre tool.
-
-Band.
-
-Panel mitred and cornered.
-
-Band.
-
-Panel mitred.
-
-Band.
-
-Panel marked out in blind for finishing.
-
-Small tail panel with date.
-
-Pallet.]
-
-[Illustration: Cut showing the use of Mitrepiece.]
-
-When this simple finishing can be executed properly and with ease, a
-more difficult task of finishing may be attempted, such as a _full
-gilt back_. This is done in two ways, a “run-up” back and a “mitred”
-back. As a general rule morocco is always mitred. Place the book on
-its side, lift up the mill-board, and make a mark head and tail on the
-back, a little away from the hinge of the back. Then with a folder
-and straight edge mark the whole length of the back: this is to be
-done on both sides. Make another line the whole length down the exact
-centre of the back. With a pair of dividers take the measurement of
-the spaces between the bands, and mark the size, head and tail, for
-the panels from the top and bottom band; with a folder and strip of
-parchment make a line across the back, head and tail, at the mark made
-by the dividers. Work a thin broad and narrow pallet alongside the
-bands in blind. Prepare the whole of the back with vinegar and glaire,
-as above described, but lay the glaire on with a sponge. When dry,
-lay the gold on, covering the whole of the back with it, mending any
-breaks. For mitreing, take a two-line pallet that has the ends cut at
-an angle of 45°, so that the joint at that angle may be perfect. Work
-this on the side at the |131| mark made up the back, and up to the
-line made in blind across the back. Repeat this to each panel. The
-two-line pallet must be worked across the back and up to the lines
-made in gold; the cutting of the pallet at the angle will allow of the
-union or mitre, so that each panel is independent of the other. There
-will be a space left, head and tail, which may be filled up with any
-fancy pallet or repetition of tools. The corners should be in keeping
-with the centre, and large enough to fit the panel. Work these from
-the sides of the square made, or from the centre of the panel, as will
-be found most convenient, according to the thickness of the book and
-style of finishing, and then fill in any small stops. When the whole is
-done, rub the gold off with the gold-rag, and use the india-rubber if
-necessary. The title has now to be put on, which is done in the same
-manner as before described.
-
-It is not always necessary that the finishing be done in blind first.
-I have explained it, and advocate its being so worked first as easier
-for a learner. One who is accustomed to finishing finds that a few
-lines marked previously with a folding-stick is all that is required.
-When working the title, a thread of silk drawn tightly across the gold
-produces a line sufficient, and is the only guide that an experienced
-workman requires.
-
-To finish a side, make a mark with the folder and straight edge as a
-guide for any rolls or fillets. Prepare the leather as before described
-where the ornamentation is to come; but if the pattern is elaborate
-it must be worked first in blind. As a greater facility, take a piece
-of paper of good quality and well sized. Draw the pattern you wish
-to produce on the paper, and if any tools are to be used, hold them
-over the flame of gas; this will smoke them so that |132| they may be
-worked on the paper in black. When the pattern is complete in every
-detail, tip the four corners of the paper with a little paste, then
-work the pattern through the paper on to the leather, using the various
-sized gouges as the scrolls require, and a single line fillet where
-there are lines. Work thus the complete pattern in blind. This being
-done completely, take the paper off from the four corners, place it on
-the other side, and work it in the same way. Prepare the leather with
-vinegar, and pencil out with glaire the whole of the pattern. If the
-whole side be glaired with a sponge it will leave a glossy appearance
-that is very undesirable. The whole of the side is now to be laid on
-with gold, and the pattern worked again with the warm tools, in the
-previous or blind impressions.
-
-The inside of a book is generally finished before the outside. This
-should be done as neatly as possible, carefully mitreing the corners
-when any lines are used. Most frequently a roll is used, thus saving a
-great deal of time. A style was introduced in France called “doublé,”
-the inside of the board being covered with a coloured morocco different
-to the outside, instead of having board papers. This inside leather
-was very elaborately finished; generally with a “dentelle” border,
-while the outside had only a line or two in blind. It is a style which,
-although very good in itself, is not now in great request, many prefer
-to have the finishing outside rather than to have it covered up and not
-seen when the book is shut.
-
-[Illustration: GROLIER.
-
-Demy folio.]
-
-The edges of the boards and the headbands must be finished either in
-gold or blind, according to fancy, but in keeping with the rest of
-the embellishment. A fine line worked on the centre of the edge of
-the board by means of a fillet looks better, and of course requires
-more pains than simply running a roll over it. If it is to be in gold,
-simply glairing the edge is sufficient. Lay on the gold and work the
-fillet carefully. Place the book on its ends in the |133| finishing
-press to keep it steady, or it will shake and throw the fillet off. If
-a roll is used, take the gold up on the roll, but grease it first a
-little, by rubbing the gold rag over the edge to make the gold adhere.
-Then run the roll along the edge of the boards: the roll generally used
-for this purpose is called a _bar roll_—that is, one having a series of
-lines running at right angles with the edge of the roll.
-
-Imitation morocco is generally used for publishers’ bindings, where
-books are in large numbers and small in price, and the finishing is all
-done with the blocking press: To finish this leather by hand, it is
-advisable to wash it with paste-water and glaire twice.
-
-Roan is generally used for circulating library work, and is very seldom
-finished with more than a few lines and the title across the back. This
-leather is prepared with paste-wash and glaire, and, when complete,
-varnished over the whole surface.
-
-_Inlaid Work._—Inlaid, or mosaic work, is used only in the higher
-branches of bookbinding. Formerly books were not inlaid, but painted
-with various colours. Grolier used a great deal of black, white, and
-green. Mr. Tuckett, the late binder to the British Museum, took out a
-patent for extracting one colour from leather and substituting another
-by chemical action. This method, however, was in use and known long
-before he turned his attention to the subject, although he improved
-greatly upon the old practice. As the patent has long expired, it may
-not be out of place to give an extract from the specification: “Take
-dark chocolate colour, and after the design has been traced thereon, it
-is then to be picked out or pencilled in with suitable chemicals, say
-diluted nitric acid; this will change the chocolate, leaving the design
-a bright red on a chocolate ground.” But to lay on the various colours
-with leather is, no doubt, by far the better plan. Paint has a tendency
-in time to crack, and, if acids are used, they will, to a certain
-|134| extent, rot or destroy the leather; but if leather is used
-it will always retain both colour and texture. To choose the proper
-colours that will harmonize with the ground, give tone, and produce a
-pleasing effect, requires a certain amount of study. Morocco is the
-leather generally used, but in Vienna calf has been used with very good
-results. If the pattern to be inlaid be very small, steel punches of
-the exact shape of the tools are used to punch or cut out the patterns
-required. To do this, work the pattern in blind on the side of the
-book; take morocco of a different colour to the ground it is required
-to decorate, and pare it down as thin as possible. Lay it on a slab of
-lead. Lead is better than anything else on account of its softness;
-the marks made by the punch can always be beaten out again, and when
-quite used up it may be re-melted and run out anew. Now take the steel
-punch of an exact facsimile of the tool used that is to be inlaid, and
-punch out from the leather the required number. These are to be pasted
-and laid very carefully on the exact spot made by the blind-tooling;
-press each down well into the leather, either with a folding-stick or
-the fingers, so that it adheres properly. When dry, the book should be
-pressed between polished plates, in order that the pieces that have
-been laid on, may be pressed well into the ground leather. When it has
-been pressed, the whole of the leather must be prepared as for morocco,
-and finished in gold. The tools in the working will hide all the edges
-of the various inlaid pieces, provided they are laid on exactly.
-
-[Illustration: MAIOLI.
-
-Royal folio.
-
-T. Way, Photo Lith.]
-
-If interlacing bands are to be of various colours, the bands must be
-cut out. Pare the leather thin, and after working the pattern through
-the paper on to the sides of the book, lay it on the thinly pared
-leather; with a very sharp and pointed knife cut through the paper and
-leather together on a soft board. Or the design may be worked or drawn
-on a thin board, and the various bands cut out |135| of the board as
-patterns. Lay these on the thin leather and cut round them. Keep these
-board templates for any future use of the same patterns. The various
-pieces are to be well pasted, carefully adjusted in their places, and
-well rubbed down. The leather is then to be prepared and worked off in
-gold.
-
-Another method is to work the pattern in blind on the sides. Pare the
-morocco thin, and while damp place it upon the portion of the pattern
-to be inlaid, and press it well with the fingers, so that the design
-is impressed into it. Lay the leather carefully on some soft board,
-and cut round the lines made visible by the pressure with a very sharp
-knife. When cut out, paste and lay them on the book and prepare as
-before, and finish in gold. I do not recommend this last method as
-being of much value; I give it only because it is sometimes chosen;
-but for any good work, where accuracy is required, either of the plans
-mentioned previously are to be preferred.
-
-The Viennese work their calf in quite a different manner, in fact, in
-the same way that the cabinet-makers inlay their woodwork. With a very
-sharp and thin knife they cut right through two leathers laid the one
-on the other. The bottom one is then lifted out and replaced by the top
-one. By this method the one fits exactly into the other, so that, if
-properly done, the junctions are so neatly made that no finishing is
-required to cover the line where the two colours meet.
-
-The frontispiece to this treatise is a copy of a book bound by my
-father for one of the Exhibitions. The ground is of red morocco,
-inlaid with green, brown, and black morocco. The pattern may be called
-“Renaissance.” The inside of the boards are “Grolier,” inlaid as
-elaborately as the outside. Seven months’ labour was expended on the
-outside decoration of this volume.
-
-_Porous._—_Calf_, as before described, requires more and |136|
-different preparation than morocco, on account of its soft and
-absorbing nature. As a foundation or groundwork, paste of different
-degrees of strength is used, according to the various work required.
-
-Calf books have generally a morocco lettering piece of a different
-colour to the calf on the back for the title. This is, however,
-optional, and may or may not be used, according to taste. Leather
-lettering pieces have a great tendency to peel off, especially if the
-book be exposed to a hot atmosphere, or if the paste has been badly
-made, so that it is perhaps better if the calf itself be lettered.
-There is no doubt that a better effect is produced in a bookcase when
-a good assortment of coloured lettering pieces are placed on the
-variously coloured backs, and the titles can be more easily read than
-if they were upon light or sprinkled calf; but where wear and tear have
-to be studied, as in public libraries, a volume should not have any
-lettering pieces. All such books should be lettered on their natural
-ground.
-
-For lettering pieces, take morocco[10] of any colour, according to
-fancy, and having wetted it to facilitate the work, pare it down as
-thin and as evenly as possible. Cut it to size of the panel or space it
-is intended to fit. When cut truly, pare the edges all round, paste it
-well, put it on the place and rub well down. Should the book require
-two pieces—or one for the title, and one for the volume or contents—it
-is better to vary the colours. I must caution the workman not to allow
-the leather to come over on to the joint, as by the frequent opening
-or moving of the boards the edge of the leather will become loose.
-A very good plan as a substitute for lettering pieces is to colour
-the calf either dark brown or black, thus saving the leather at the
-expense of a little more time. When the lettering |137| pieces are
-dry, mark the back, head and tail, for the pallets or other tools with
-a folding-stick. Apply with a brush paste all over the back. With a
-thick folding-stick, or with the handle of an old tooth brush, which is
-better, rub the paste into the back. Before it has time to dry, take
-the overplus off with rather a hard sponge, dipped in thin paste-water.
-The learner will perhaps wonder why paste of full strength should be
-used for the back, and only paste-water for the sides. The reason is,
-that through the stretching of the leather over the back in covering,
-the pores are more open, and consequently require more filling up to
-make a firm ground. Much depends upon the groundwork being properly
-applied; and a general caution with regard to the working in general
-may not be here amiss. Finishing, above all other departments, demands
-perfect cleanliness. A book may have the most graceful designs, the
-tools be worked perfectly and clearly, but be spoiled by having a dirty
-appearance. See that everything is clean—paste-water, size, glaire,
-sponges, and brushes. Do not lay any gold on until the preparation be
-perfectly dry, or the gold will adhere and cause a dirty yellow stain
-where wiped off.
-
-      [10] Other leathers are often used instead of morocco, even
-      paper; in fact a specially prepared paper is largely sold in
-      Germany for this purpose.
-
-Should the calf book be intended to have only a pallet alongside the
-bands, it is only necessary, when the paste-wash is quite dry, to
-glaire that portion which is to be gilt: this is usually done with a
-camel’s hair brush, by laying on two coats. When dry, cut the gold into
-strips, and take one up on the pallet and work it on the calf. This is
-what is termed calf neat. The band on each side is gilt, leaving the
-rest of the leather in its natural state. Some binders polish their
-backs instead of leaving them dead or dull. This, however, is entirely
-according to taste, whether so large a space be left polished only.
-
-[Illustration: Samples of Backs suitable for Calf Work.]
-
-_Full Gilt Back._—_Run-up._ Make a mark up the back on both sides a
-little away from the joint with a folder and |139| straight edge.
-Put on lettering piece. When dry, paste and paste-wash the back. When
-again dry, take some of Young’s patent size, melt it in a pipkin with
-a little water and apply it with a sponge. Lay this on very evenly
-with a very soft sponge, and be particular that it is perfectly clean,
-so that no stains be left. When the size is done with, put it on one
-side for future use. This size should not be taken its full strength,
-and when warmed again some more water should be added to make up for
-evaporation. When the coat of size has dried, apply two coats of
-glaire. The first must be dry before the second is applied, and great
-care must be taken that the sponge is not passed over the same place
-twice, or the previous preparation will be taken off. It is now ready
-for finishing. Cut the gold to proper size; rub a little lard over
-the whole of the back with a little cotton wool. This requires great
-attention. Very little must be put on light or green calf, as these
-colours are stained very readily. Take the gold up on a cotton pad;
-lay it carefully down on the back; breathe on the gold, and press down
-again. If there be any places where the gold is broken, they must be
-mended. Now take a two-line fillet; heat it so that it hisses when
-placed in the cooling pan or the saucer with the wet rag in it, and run
-it the whole length of the back on the line made before paste-washing.
-Do this on both sides, and rub the gold off with the gold-rag up to the
-line on the outside. Take a two-line pallet, and work it on each side
-of the bands. Work the morocco lettering piece last, as it requires
-less heat. The centre piece of each panel must now be worked. Impress
-the tools firmly but quickly. The corner tools next; work them from
-the centre or sides, using the right hand corners as a guide, and
-judging the distance by the left ones. The press must be turned when
-it is required to bring the left side to the right hand in working the
-corners. The requisite pallets may now be worked to finish the book
-|140| head and tail. As a rule these are worked when the two-line
-pallet is imprinted.
-
-Calf requires very quick working. The tools should not be held over
-the various places too long, or the heat will destroy the adherent
-properties of the albumen. With morocco time does not signify so much,
-as the heat used is not so great.
-
-_Mitred back_ must be prepared the same way as for “run-up back,” and
-the mitreing is to be done as explained in working morocco. As before
-stated, this is superior work and requires more skill; takes longer,
-but looks much better: each panel should be an exact facsimile of the
-rest. If the tools do not occupy precisely similar places in each
-panel, the result will be very unsatisfactory, and an evidence of a
-want of skill. When the backs are finished, rub the gold off with the
-gold-rag, and clear off any residue with the india-rubber. Be very
-careful that every particle of the surplus gold be cleaned off, or
-the delicate lines of the ornaments will be obscure and ragged in
-appearance.
-
-The book is now ready for lettering. Set the type up in the case, and
-work it carefully in a perfectly straight line over the back. The whole
-of the back is now to be polished with the polishing iron, which must
-be perfectly clean and bright before it is used. Prepare a board from
-an old calf binding, by rubbing some fine emery or charcoal and lard
-over the leather side of it. By rubbing the iron over this prepared
-surface it will acquire a bright polish. It must be used over the back
-by holding it lightly, and giving it an oblong circular motion. Go over
-every portion of the back with very even pressure, so that no part may
-be made more glossy than another. The polishing iron should be used
-rather warmer than the tools. If the iron be too hot the glaire will
-turn white; if too cold the polish will be dull. The grease upon the
-leather will be quite sufficient to make |141| the polisher glide
-easily over the surface, but the operation must be rapidly and evenly
-done. All light and green calf require less heat than any other kinds.
-These will turn black if the iron be in the least degree too hot.
-
-It is in finishing the sides that the workman can show his good taste
-and skill. The sides should be always in keeping with the back; or,
-more strictly speaking, the back should be in keeping with the sides.
-Before the sides can be finished, the inside of the boards must occupy
-our attention. With a “run-up” back, the edge of the leather round
-the end papers is to be worked either in blind or have a roll round
-it in gold. In any case it should be paste-washed. If for blind, the
-roll is to be heated and worked round it; if for gold, it must be
-glaired twice. The gold, cut into strips, is to be taken up on the roll
-and worked, and the overplus taken off with the gold-rag as before
-directed. Extra work, such as mitred work, should have some lines,
-or other neat design impressed. Paste-wash the leather, and when dry
-glaire twice. When again dry lay on the gold all round, and work the
-roll or other fillets, or such other tool that may be in keeping with
-the exterior work. When the gold has been wiped off, the leather should
-be polished with the polishing iron.
-
-The outside must now be finished. Are the sides to be polished, or left
-plain? If they are not to be polished, paste-wash the whole of the side
-up to the edge of the back carefully, then glaire only that portion
-which is to be gilt. Generally a two-line fillet only is used round the
-edge, so that the width of the fillet or roll must determine the width
-to be glaired. When glaired twice and dry, take up the gold on the
-fillet or roll and work it evenly and straightly round the edge. The
-corners where the lines meet are next to be stopped by working a small
-rosette or small star on them. Clean off any gold that may be on the
-side, and |142| work a small dotted or pin-head roll at the edge of
-the glaire. This will cover and conceal the edge.
-
-Extra calf books generally have the sides polished. Paste-wash the
-sides all over, and when dry size them. Hold the book, if small, in the
-left hand, if large, lay it on the press and work the sponge over the
-side in a circular direction, so that the size may be laid on as evenly
-as possible. Be very careful that it does not froth; should it do so,
-squeeze the sponge out as dry as possible, and fill it anew with fresh
-size. Some workmen work the sponge up and down the book, but if this
-be not done very evenly it produces streaks. The finisher will find
-he can lay a more even coating on by using the sponge in a circular
-direction. Allow this to dry by leaving the book with boards extended.
-When perfectly dry glaire once. This will be found sufficient, as
-the size gives body to the glaire. When sizeing and glairing, be
-assured that the book be laid down with the boards extended on a level
-surface; if the book be not level, the size or glaire will run down to
-the lowest portion of the surface, and become unequally distributed.
-The gold is now to be laid on the respective places, either broad
-or narrow, according to the nature of the finishing or width of the
-rolls. As a general rule, the sides of the better class of calf books
-have nothing more than a three-line round the edge and mitred in the
-corners. This is, however, quite a matter of taste. Some have a border
-of fancy rolls, but never any elaborate pattern as in morocco work.
-To finish the sides, place the book in the finishing press with the
-boards extended, so that they may rest on the press. This will afford
-greater facility for working the fillets, rolls, and tools necessary
-to complete the design on each side. The finishing press being a small
-one, can be easily turned round as each edge of the border is finished.
-
-To polish the sides, place the book on its side on some |143| soft
-surface, such as a board covered with baize, and kept for the purpose.
-Use the large and heavy polishing iron, hot and clean. Rub or work the
-iron quickly and firmly over the sides, first from the groove towards
-the foredge, and then in a contrary direction, from the tail to the
-head, by turning the volume. The oil or grease applied to the cover
-previous to laying on the gold will be sufficient to allow the polisher
-to glide easily over the surface. Polishing has also the effect of
-smoothing down the burr formed on the leather by the gilding tools, and
-bringing the impressions slightly to the surface. The iron must be held
-very evenly, so that the centre of the iron may be the working portion.
-If held sideways the edge of the iron will indent the leather. The heat
-must be sufficient to give a polish. It must be remembered that if the
-iron is too hot it will cause the glaire to turn white. The temperature
-must be well tested before it be applied to the cover. A practised
-finisher can generally tell the proper heat on holding the iron at some
-little distance from his face, by the heat radiated from the iron. Calf
-books should be pressed, whether polished or not.
-
-_Pressing._—Plates of japanned tin or polished horn are proper for
-this purpose. Put pressing tins between the book and the mill-boards:
-the tins must be up to the joint. Now place one of the japanned plates
-on the side level with the groove; turn book and japanned plate over
-carefully together, so that neither shifts; place another of the
-polished plates on the top of the book, thus placing the book between
-two polished surfaces. Put the book into the standing press, and screw
-down tightly. Leave in for some hours. When pressed sufficiently, take
-the book out, and if the sides be polished, varnish them.
-
-Make a little pad of cotton wool, saturate the lower portion with
-varnish; rub it on a piece of waste paper to equalize the varnish, then
-work the pad over the side as |144| quickly as possible in a circular
-direction. Renew the wool with varnish for the other side. Enough must
-be taken on the pad to varnish the whole side, or the delay caused by
-renewing the varnish on the cotton will cause a streaked surface. When
-the varnish is perfectly dry—a few minutes will suffice—the book must
-be again pressed. To do this, rub the gold-rag, which is greased, over
-the sides, this will prevent the sides from sticking to the polished
-plates. Place the book between the plates as before, leaving out the
-pressing tins, and place in the standing press. Only little pressure
-must now be given; if the press be screwed down too tightly the plates
-will stick to the book. The varnish must be of good quality, and
-perfectly dry, or the result will be the same. Half an hour in the
-press will be found quite long enough. Should the plates stick, there
-is no other remedy than washing off the varnish with spirits of wine,
-and the glaire and size with warm water, and carefully re-preparing the
-surface as before. This is, however, an accident that cannot happen if
-due care and judgment be exercised.
-
-_Graining._—Graining is now used very much on calf books. It may be
-properly considered as a blind ornament. It is done by means of wooden,
-or, better still, copper plates cut out in various patterns, so as
-to form small squares, scales of fish, or an imitation of morocco.
-Place the volume between two of these plates, level to the groove of
-the back, in the standing press; screw down tightly. The pressure
-should be equal over the whole surface. Nothing looks worse than a
-bold impression in one place and a slight one in another, so that it
-is rather important that it be evenly pressed; a second application
-of the plates is impracticable. Graining has the advantage of hiding
-any finger-marks that may accidentally be on the calf, and also partly
-conceals any imperfections in the leather. |145|
-
-The state of the weather must in a great measure guide the finisher as
-to the proper number of volumes he ought to prepare at one time. The
-leather should always be a little moist, or, in other words, rather
-_fresh_. In winter double the number of books may be prepared, and the
-gold laid on, than the dryness of a summer’s day will permit. If books
-are laid on over night the tools must be used very hot in working them
-the next morning, or the gold will not adhere. During summer, flies
-will eat the glaire from various places while the book is lying or
-standing out to dry, so that constant vigilance must be kept to avoid
-these pests.
-
-Russia is prepared in the same way as calf, but is usually worked with
-more blind tools than gold, and the sides are not as a rule polished,
-so that the size and glaire are dispensed with, except on those parts
-where it is to be finished in gold; those portions need be only
-paste-washed and glaired once, without any size.
-
-_Finishing with Dry Preparation._—The dry preparation is used for silk,
-velvet, paper, or any other material that would be stained by the
-employment of the wet process. There are a number of receipts in the
-trade and in use.
-
-Take the white of eggs, and dry by spreading it somewhat thickly over
-glass plates, taking care to preserve it from dust. When dry it will
-chip off readily, if the glass has been previously _very slightly_
-oiled or greased. It must not be exposed to more heat than 40° Reaum.,
-or the quality of the albumen will be destroyed. The dried mass is to
-be well powdered in a porcelain mortar.
-
-Or, take equal portions of gum mastic, gum sandrac, gum arabic, and
-powder them well in a mortar. This powder, if good work be desired,
-must be ground into an impalpable powder. When powdered put it into a
-box or bottle, and tie three or four thicknesses of fine muslin over
-the mouth. By tapping the inverted box, or shaking |146| it over the
-lines or letters, the dust will fall through in a fine shower. The
-powder should fall only on the part to be gilt. Cut the gold into
-strips, take it up upon the tool, and work rather hot. The overplus
-of the powder can be brushed away when the finishing is completed.
-Finishing powder is now sold commercially.
-
-_Velvet_ is very seldom finished beyond having the title put on, and
-this should be worked in blind first and with moderately large letters,
-or the pile will hide them.
-
-_Silk_ is finished more easily, and can, if care be taken, have rather
-elaborate work put upon it. In such a case, the lines or tools, which
-must be blinded-in first, may be glaired. For this purpose the glaire
-must be put in a saucer or plate in the free air for a day or two,
-so that a certain amount of water or moisture of the glaire may be
-evaporated; but it must not be too stiff so as to prevent the brush
-going freely over the stuff. Great care, however, must be taken, or
-the glaire will spread and cause a stain. A thin coat of paste-water
-will give silk a body and keep the glaire from spreading to a certain
-extent, but I think the best medium for silk is the dry one, and it
-is always ready for instant use. In using glaire the gold is laid on
-the silk, but on no account must any oil or lard be rubbed on it for
-the temporary holding of the gold. Rub the parts intended for the gold
-with the finger (passed through the hair), or with a clean rag lightly
-oiled, and when the tools are re-impressed a clean piece of flannel
-should be used to wipe off the superfluous gold.
-
-Blocking has been used lately on silk with some success in Germany.
-The blocking plate is taken out of the press, and the gold is laid on
-it, and then replaced in the press. The finishing powder is freely
-distributed over the silk side, which is laid on the bed of the press.
-On pulling the lever over, the block descends and imprints the design
-in gold on the silk. This process may be applied to velvet, |147| but
-velvet never takes the sharpness of the design on account of the pile,
-so that as a rule it is left in its natural state.
-
-_Vellum._—The Dutch, as a nation, appear to have been the first to
-bind books in vellum. It was then a simple kind of casing, with hollow
-backs. A later improvement of theirs was that of sewing the book on
-double raised cords, and making the book with a tight back, similar to
-the way in which our flexible books are now done, showing the raised
-bands. The ornamentation was entirely in blind, both on the back and
-sides, and the tools used were of a very solid character.
-
-This art of binding in vellum seems to be entirely lost at the present
-day; its imperishable nature is indeed its only recommendation. It has
-little beauty; is exceedingly harsh; and little variety can be produced
-even in the finishing.
-
-There are two or three kinds of vellum prepared from calf skins at the
-present day, thanks to the progress of invention. First, we have the
-prepared or artist’s vellum, with a very white artificial surface;
-then the Oxford vellum, the surface of which is left in its natural
-state; the Roman vellum, which has a darker appearance. Parchment is an
-inferior animal membrane prepared from sheepskins after the manner of
-vellum, and this is very successfully imitated by vegetable parchment,
-made by immersing unsized paper for a few seconds in a bath of diluted
-oil of vitriol. This preparation resembles the animal parchment so
-closely that it is not easy to distinguish the difference. It is
-used very extensively in France for wrappering the better class of
-literature, instead of issuing them in cloth as is the custom here.
-
-The method of finishing vellum is altogether different to leather.
-On account of its very hard and compact nature, it requires no other
-ground or preparation than glaire for gold work. |148|
-
-The cover should be very carefully washed with a soft sponge and
-clean water, to clean off any dirt or finger-marks, and to make the
-book look as fresh as possible. This washing must be very carefully
-done by going over the surface as few times as possible. This caution
-applies particularly to the prepared or artist vellum, as each washing
-will take off a certain amount of the surface, so that the more it
-is damped and rubbed the more the surface will be disturbed and the
-beauty destroyed. It requires some experience to distinguish the flesh
-and leather surfaces of prepared vellum, but this experience must be
-acquired, because it is absolutely necessary that the leather side
-should be outward when the book is covered, for two reasons: the flesh
-side is more fibrous, and adheres better to the boards than the leather
-side, and the leather side is less liable to have its surface disturbed
-in the process of washing.
-
-The parts that are to be gilt must be glaired, but as the glaire will
-show its presence, or, more strictly speaking, leave rather a dirty
-mark, the tools should first be worked in blind, and the glaire laid on
-carefully up to their outer edge. When dry, lay the gold on and work
-the tool in. Let the tools be only moderately warm; if too hot they
-will go through to the mill-board, leaving their mark as if they had
-been cut out with a knife.
-
-As a rule no very heavy tooling is ever put on vellum, the beauty
-lies in keeping the vellum as clean as possible. The tooling being,
-comparatively speaking, on the surface, owing to the thinness of the
-skin, requires a very competent and clean workman to produce anything
-like good work on vellum.
-
-Vellum is of so greasy a nature that, if a title-piece of leather has
-to be put on, it will be found that there is a great difficulty in
-making it adhere properly unless some special precaution be taken. The
-best plan is to scrape |149| the surface where the leather is intended
-to be placed with the edge of a knife. This will produce a rough and
-fibrous ground on which to place the pasted leather. This _leather_,
-when dry, must be prepared with paste-water and glaire, in the same
-manner as with other books.
-
-In the foregoing instructions for finishing a book, the most that can
-be looked for towards teaching either the apprentice or the unskilled
-workman is to give him an idea how it is accomplished by practised
-hands. Pure taste, a correct eye, and a steady hand, are not given to
-all in common. The most minute instructions, detail by detail, cannot
-make a workman if Nature has denied these gifts. I have known men whose
-skill in working a design could not be excelled, but who could not be
-trusted to gild a back without instructions. Others, whose ideas of
-design were not contemptible, could not tool two panels of a back in
-perfect uniformity. Some also have so little idea of harmony of colour,
-that without strict supervision they would give every volume the coat
-of a harlequin. In a word, a first-rate bookbinder is _nascitur non
-fit_, and although the hints and instructions I have penned may not
-be sufficient to _make_ a workman, I trust they will be found of some
-value to the skilled as well as to the less practised craftsman.
-
-_Blocking._—The growing demand for books that were at once cheap and
-pretty, became so strong, that mechanical appliances were invented to
-facilitate their ornamentation; and thus we have the introduction of
-the present blocking press.
-
-I will not follow too closely the various improvements introduced at
-different periods, but roughly describe the blocking press, without
-which cheap bookbinding cannot be done at the present day. There can be
-no doubt that this press owes its extensive use to the introduction of
-publishers’ cloth work.
-
-Formerly, when the covers of books were blocked, a |150| small lying
-or other press was used. The block, previously heated, was placed on
-the book, and the screw or screws turned to get a sufficient pressure.
-It often happened that the pressure was either too much or too little:
-the block either by the one accident sank into the leather too deeply,
-or by the other the gold failed to adhere, and it required a good
-workman to work a block properly.
-
-The first press to be noticed is a Balancier, having a moveable bed,
-a heating box, heated by means of red-hot irons, two side pillars to
-guide the box in a true line, and attached to it a screw connected at
-the top with a bar or arm, having at each extremity an iron ball. The
-block, having been fixed to a plate at the bottom of the heated box,
-the side of the book was laid down on the bed, and by swinging the arm
-round the block descended upon the book. The arm was then swung back,
-and the next book put into place. It will be seen that this incurred a
-great loss of time.
-
-The next improvement consisted in having a press that only moved
-a quarter circle, with almost instantaneous action; and another
-improvement connected with the bed was, that by means of screws and
-gauges, when the block was once set, a boy or an inexperienced hand
-might with ease finish off hundreds of copies, all with equal pressure.
-By referring to the woodcut opposite, the press and its action will
-be seen and understood. The box may be heated with gas, and kept at a
-constant and regulated temperature the whole time of working. It can
-be adjusted to any amount of pressure, as it is regulated by the bed
-underneath.
-
-The next step in progress was the introduction of printing in different
-colours upon the cloth, and intermixing them with gold. Messrs.
-Hopkinson and Cope’s machines may be mentioned. They are made to be
-driven by steam, and will print and emboss from 500 to 600 covers per
-|151| hour, and are heated by steam or gas. The inking apparatus is
-placed at the back of the press, so that while the workman is placing
-another cover, the ink roller, by automatic action, inks the block
-ready for the next impression. The inking or printing of the covers is
-done without heat, so, to avoid loss of time, an arrangement is made
-that the heating box can be cooled immediately by a stream of water
-passed through it.
-
-[Illustration]
-
-Messrs. Kampe and Co. have just brought out a blocking machine, which
-they claim to be superior to any in the trade. It will block at the
-rate of 700 to 800 covers per hour. The pressure is obtained by one of
-the most powerful of mechanical appliances, and it can be adjusted to
-block either paper or leather.
-
-The tools required for blocking are called blocks or stamps. These may
-be composed of very small pieces, or may be of one block cut to the
-size of the book. In any case, the block has to be fastened to the
-moveable plate at the bottom of the heating box. To block the sides
-of a book, take a stout piece of paper and glue it upon a moveable
-plate.[11] Then take the book, and having set the blocks upon the side
-in exact position, place the side or board upon which are placed the
-blocks upon the bed of the blocking press, leaving the volume hanging
-down in front of the press. The bed is now to be fixed, so that the
-centre of the board is exactly under and in the centre of the heating
-box. When quite true, the sides and back gauges are fixed by screws.
-Pull the lever so that a slight pressure upon the plate be given:
-release |152| the press, and take out the book and examine if all be
-correct. Some of the blocks may require a small piece of paper as a
-pad, so as to increase the pressure, others to be shifted a little.
-Now glue the back of the stamps and replace them in their respective
-places. Place the whole under the top plate in the press, heat the
-box, and pull the lever over; and let the book remain for some little
-time to set the glue. Take out the book, examine if perfectly square
-and correct, but replace it with a soft mill-board under the stamps,
-and pull down the press. The lever must remain over, and the blocks be
-under pressure until the glue is hardened.
-
-      [11] The moveable plate is also called the _platen_.
-
-Another method is to glue upon the plate a piece of thick paper and
-mark upon it the exact size of the book to be blocked. Strike upon the
-plate from the size the centre, and from that any other lines that may
-assist in placing the blocks. Arrange the blocks upon the plate so as
-to form the design; when correct, paste the blocks on their backs and
-replace them on the plate. When the paste adheres a little, turn the
-plate over and put it into the press. Apply heat to the box; pull the
-lever over, and when the paste is set, regulate the bed and gauges.
-
-When the press is properly heated, throw back the lever; take out the
-mill-board from under the stamp, and regulate the degree of pressure
-required by the side-screw under or over the bed. Place upon the bed
-the side to be stamped, hold it firmly against the guides with the left
-hand, and with the right draw the lever quickly to the front. This
-straightens the toggels and forces down the heating box, causing a
-sharp impression of the stamp upon the leather or other material. Throw
-or let the lever go back sharply, and take out the book. If the block
-be of such a design that it must not be inverted, the whole of the
-covers must be blocked on one side first, and the block turned round
-for the other side, or the design will be upside down. |153|
-
-Work for blocking in gold does not require so much body or preparation
-as if it were gilt by hand. Morocco can be worked by merely washing the
-whole surface with a little urine or weak ammonia, but it is safer to
-use a coat of glaire and water mixed in proportion of one of the former
-to three of the latter. The heat should not be great, and slowly worked.
-
-Calf should have a coat of milk and water or thin paste-water as a
-ground, and when dry another of glaire. Both should be laid on as
-evenly as possible; but if only portions are to be gilt, such as a
-centre-piece, and the rest dead, the centre-piece or other design
-should be pencilled in with great care. The design should be first
-slightly blocked in blind as a guide for the glairing. The edge of the
-glaire generally leaves a black or dark stain. The heat required for
-calf is greater than for morocco, and the working must be done more
-quickly.
-
-Cloth requires no preparation whatever, the glue beneath and the
-coloured matter on the cloth gives quite enough adhesiveness when the
-hot plate comes down for the gold to adhere.
-
-A great deal of taste may be displayed in the formation of patterns
-in this branch, but as publishers find that books that are tawdrily
-gilt are better liked by the public, they are, of course, very well
-satisfied if their books are well covered with gold. It would be well
-if those who have the principal charge of this work would strive, by
-the cultivation of elegant design, to correct the vitiated taste of the
-public, and seek by a study of classic ornamentation to please the eye
-and satisfy the judgment rather than to attract the vulgar by glitter
-and gaudy decoration.
-
-However, of late years a great advancement has been made with
-publishers’ block work; the samples given in the trade paper (“The
-Bookbinder” now “Bookmaker”) will prove this.
-
-[Illustration]
-
-
-
-
-GENERAL INFORMATION.
-
-
-|157|
-
-CHAPTER XXIV.
-
-WASHING AND CLEANING.
-
-The binder is often called upon to clean books; to many he is a sort
-of Aladdin, who makes old books into new; the consequence is that he
-often has placed in his hands a lot of dirty, miserable-looking books,
-and is expected to turn them into first-class copies. To renovate such
-books requires time and experience, and unfortunately very little is
-known among binders as a body about cleaning. Outside the trade, I am
-sorry to say, even less is known, for if a book be received from a
-binder bleached, it seems to satisfy the owner, and to be all that is
-desired. By such treatment of bleaching a quantity of lime is generally
-left in the paper, the goodness is destroyed, and naturally the paper
-must suffer in a short time. To test such treatment one has only to
-apply the tongue to the paper, it will at once absorb any moisture, as
-blotting paper does, and often the lime can be distinctly tasted.
-
-But books are often washed and given out to the binder to rebind in
-this state. In such a case it remains with the binder not to associate
-himself with the book; for if he rebinds such a book the stigma will
-attach itself to him when the period of rotting, falling to pieces, and
-other misfortunes has arrived.
-
-It is the practice of many who profess to wash books or prints to use
-chlorine at every washing; this is not necessary; often a simple bath
-of hot water, with perhaps the |158| addition of a little alum, is all
-that is required. An important thing is to know the different kinds of
-stains when looking through the book; there may be many in one book,
-each from a different cause. In such a case it will be best to go
-for the majority, and to use the bath that will move them. Often the
-one bath is sufficient, but should there be any stains that are not
-touched, these leaves must be treated again.
-
-When there are stains of different character in the one book, such as
-oil stains on a few leaves, and, say, coffee stains in other parts, the
-oil must be first removed; the one bath will not touch both stains.
-
-Often when the bath is used wrongly it will fix the stain in the paper,
-and not remove it, the chemical used acting as a mordant.
-
-It is impossible for me to describe the various stains, the
-intelligence of the workman must be brought to bear on the subject; and
-I advise a small memo. book be used to jot down the difficulties that
-may occur from time to time, and so to act as a guide for future work;
-to the use of such a book I am enabled to lay before my readers the
-methods of working with the various receipts collected in France and
-Germany, and used by me in my business.
-
-To wash a book it is absolutely necessary to pull it to pieces. Should
-there be much glue on the back, and difficulty arise in the pulling,
-the book may be treated as given in Chapter II.: or sections of six
-or eight sheets may be left together; the hot water and soaking to
-which the book will be subjected in the washing will dissolve the glue
-or paste that may be on the back, and the sheets will readily part
-whilst in the solution. Washing must be conducted with great care; the
-handling of the wet sheets will demand the most delicate touch, for
-one can reasonably understand that paper left in water for twelve or
-more hours is likely to be very tender. In nearly every case when a
-book has been washed it will be found necessary to size it: the size
-|159| gives back the body or goodness that the hot water and chemical
-has extracted. Often the virtue is extracted by damp, through the book
-being left in some damp situation, or by imperfect sizing the paper
-has first received; in such cases, although the book may not require
-washing, sizing will be of benefit.
-
-_Requisites._—The necessary articles required for washing, etc., are
-dishes. Those of porcelain are perhaps the best; they may be bought
-at any photographic material dealers. If much work is done, it is
-advantageous to have a set or sets of two or three sizes. In using
-the various dishes, ample room should be given to allow the hands to
-enter the water and pick up the sheets or leaves without any danger of
-tearing. Should the pans be of such a size as to be too heavy to move
-when full of water, they may be emptied by means of a syphon, the short
-end of the syphon placed, in preference, at one of the corners of the
-dish, so as not to touch the sheets. The dishes may also be made of
-wood, lined with zinc or lead: for very large work these must be used,
-the porcelain are not made above a certain size.
-
-A _kettle_ for boiling water in.
-
-A _gas-stove_, or substitute, for heating purposes.
-
-A _peel_, made of wood, to hang the sheets on the lines. The sheets are
-placed on the peel, from which they are transferred to the lines.
-
-_Chloride of lime for solution of chloride of lime._—Make a saturated
-solution of chloride of lime by mixing intimately the lime with water
-in a large jar. When clear the solution may be used. To every gallon of
-hot water take from this stock solution two or three ounces.
-
-NOTE.—_Chlorine bleaches all vegetable matter._
-
-_Hydrochloric acid_, also known as muriatic acid or spirits of salts
-(poison).
-
-_Oxalic acid_ (poison).
-
-_Powdered alum._ |160|
-
-A _hair sieve_. This is not absolutely necessary, as a fine piece of
-linen will answer as well.
-
-_Size_:—
-
- (1.) 1 quart of water.
-      1/2 ounce of powdered alum.
-      1 ounce of isinglass.
-      1 scruple of soap.
-
-Simmer the whole for about one hour, then pass through a fine hair
-sieve or piece of linen. Use this whilst warm.
-
- (2.) 1 gallon of water.
-      1/2 lb. of best glue.
-      2 ounces of powdered alum.
-
-Simmer and use as above.
-
- (3). 1 quart of water.
-      2-1/2 ounces of isinglass.
-      2 drachms of alum.
-
-Simmer the whole for about one hour, strain as above.
-
-It must be remembered that a size too strong in glue or isinglass is
-liable to make the paper too brittle; again, some papers require a
-stronger size than others.
-
-(4). A size that may be used cold, and is recommended in France, to
-keep at hand and to use when only a single leaf requires sizing, such
-as when a name has been erased from a title-page, is as follows:—Boil
-about a quart of water in a saucepan. Whilst boiling, add about two oz.
-of shellac and 1/2 oz. of borax; the borax will dissolve the shellac,
-which will be held in suspension; the whole must then be passed through
-a fine hair sieve, or piece of linen, to rid it of all pieces or
-impurities. This will keep a very long time, and may be used over and
-over again.
-
-Great care must be exercised that not too much shellac is used, or the
-paper will be rendered transparent. |161|
-
-
-MANIPULATION.
-
-_Dust._—The careful application of india-rubber or bread will generally
-take away all dust. In using india-rubber, hold the sheet or leaf down
-by the left hand, and rub gently away from it. If the rubber is used
-in a to and fro motion, there is great danger of the sheet doubling
-back and breaking. The bread may be used in a circular motion; and if a
-book be cleaned from dust by this means without pulling to pieces, all
-crumbs must be brushed away from the back very carefully before closing
-the book.
-
-_Water stains._—If the stains be from water, the application of boiling
-water and alum will take them out. This stain is the one most usually
-found in books, it may be distinguished from other stains by leaving a
-mark having a sharp edge.
-
-To take such a stain away, pull the book to pieces, strew on the bottom
-of the pan a handful of powdered alum, on this pour a quantity of
-boiling water. Immerse each section leaf by leaf in the liquid, and
-allow to remain for some hours. It may be found rather difficult to get
-the sheets to go under the water; and as one cannot press them under by
-hand, on account of the heat, make a substitute by wrapping strips of
-linen on the end of a piece of wood; keep this handy, it will be found
-very useful; being round at the end, and soft, it does not tear or go
-through the paper, as will anything sharp.
-
-The alum water will, after a time, become very discoloured; this is
-only the stain and other dirt extracted from the paper; throw this away
-by tipping the dish, or by the use of the syphon; add fresh water,
-either warm or cold, but preferably warm, to dissolve any excess of
-alum that may have soaked into the paper, and to further clear it.
-After a time the whole book may be taken out, placed between pressing
-boards, and excess of water pressed away by the laying |162| press.
-The sections are then carefully opened, and hung upon lines or cords
-stretched across the workshop to dry. When dry, should the paper
-require it, pass the whole book, section by section, or leaf by leaf,
-through a size, press, and again hang up to dry. When dry, it will be
-ready for re-binding. It may happen that only a single leaf is stained;
-do _not cut_ this out as is usually done, but wet a piece of fine
-string, which lay on the leaf as far in the back as possible; close the
-book and allow to remain a few minutes; the leaf may then be readily
-drawn out, the moisture of the string having made the paper soft where
-it was placed. It may then be cleaned, and when dry and pressed,
-replaced.
-
-_Damp stains_ may be treated as for water stains, but, as a rule,
-a book damaged by damp has little or no chance of being made good
-again. A book so damaged can only be strengthened by re-sizing or some
-artificial means. To re-size leaves that cannot be plunged into the
-solution, the sizing may be done with a soft brush. Place the leaf on a
-piece of glass or marble, and use the brush to the leaf as one would do
-in pasting; when sized, lift the leaf up very gently and lay it out on
-paper to dry; when dry, the reverse side is treated in like manner; or
-a thin paper of a transparent character may be pasted over the pages,
-either on one or both sides.
-
-_Mud._—Luckily a book stained with mud is not of frequent occurrence.
-Mud seems to be a combination of all that is objectionable, generally
-it is a mixture of iron and grease. Wash the leaf well in cold water,
-then in a weak solution of muriatic acid, after which, plunge in a weak
-solution of chloride of lime. Rinse well, dry, and size. Sometimes
-it will be necessary to wash the leaf with soap water. Make a soap
-solution, and gently go over the whole sheet with a soft brush, a
-shaving brush for instance; this may be done by laying the leaf on a
-slab of glass: use great care with |163| the brush, or the surface of
-the paper will be abraised; after which, rinse well with water.
-
-Very often such stains, if fresh, will disappear if a fine jet of
-water be allowed to play on the parts dirtied, the water being ejected
-through a fine rose jet.
-
-_Fox-marks._—Books so stained may generally be cleaned by immersing the
-leaves into a weak solution of hydrochloric acid; one must not make
-the bath too strong, 1/2 ounce of the acid to 1 pint of water, using
-the bath hot, will be found about right. Should the marks not give to
-this treatment, plunge the book, sheet by sheet, into a weak bath of
-chlorine water. The book may be left in for some hours, taken out and
-replaced in the hydrochloric bath; after a half hour it may be rinsed
-with cold water, hung up to dry, and sized.
-
-_Finger-marks, commonly called “thumb-marks.”_—These are the most
-difficult to erase, the dirt being generally of a greasy nature, and
-forced into the fibres of the paper. Make a jelly of white or curd
-soap, apply to the stain, and leave it on for some time, then wash away
-gently by means of a soft brush _while the leaf is in cold water_; this
-will, as a rule, take all, or nearly all, away. A slight rinsing in
-very weak acid water, again with cold water, and when dry size.
-
-_Blood stains._—The leaves stained must be plunged into cold water;
-when thoroughly soaked, the stains may be washed with a soft brush
-charged with soap, then well rinsed with water again. Dry.
-
-If hot water be used, the heat renders the albumen of the blood
-insoluble, and the stain will be difficult to erase.
-
-_Ink stains (writing)._—Some inks are more difficult to erase than
-others. As a rule ink gives way if the writing be treated with a
-solution of oxalic acid, and afterwards to a weak solution of chloride
-of lime. It is perhaps better to immerse the whole leaf in the
-solution, as the lime is likely to bleach and leave a mark; the leaf
-should in any |164| case be plunged in warm water afterwards, to wash
-away the lime and acid, and, after drying, it should be sized.
-
-_Ink stains (marking ink, silver)_ may be removed by a solution of
-tincture of iodine; nitrate of silver, the basis of the ink, is changed
-into iodide of silver, this is then treated with a solution of cyanide
-of potassium. It may perhaps be necessary to repeat this two or three
-times; when quite dissolved out, it must be well washed. As the cyanide
-is a deadly poison, one may substitute _hyposulphite of sodium_.
-
-_Fat stains._—(1.) Place a piece of blotting-paper on each side of
-the stain, apply a hot polishing iron very carefully to the paper;
-this will, in most cases, melt the fat, which will be absorbed by the
-blotting-paper.
-
-(2.) Scrape pipe clay, or French chalk, which place on the stain, then
-use the hot iron. The iron must not be used too hot, or the paper will
-be scorched; a piece of paper should always be placed between the iron
-and the leaf stained. The powder may be afterwards brushed away.
-
-(3.) May be removed by washing the leaf with ether, or benzoline,
-placing a pad of blotting-paper under and over the leaf, dabbing the
-benzoline or ether on the spot with a piece of cotton wool. This
-process must not be conducted near a flame, both are highly inflammable.
-
-(4.) A mixture of 1 part nitric acid, 10 parts water, is useful in many
-instances for oil stains. When erased, plunge the whole sheet or leaf
-into water, changing the water several times. Dry and size.
-
-_Ink._—When the writing-paper has been made from inferior rags bleached
-with excess of chlorine the best ink becomes discoloured.
-
-_Reviving old writings._—(1.) Brush the paper over carefully with a
-solution of sulpho-cyanide of potassium (1 in 20). Then, while still
-damp, hold over a dish containing hot muriatic acid; the writing will
-develop deep red. |165|
-
-(2.) Wash the writing with a very weak solution of hydrochloric acid,
-then carefully apply infusion of galls.
-
-(3.) For letters that have been in sea water, wash with warm water to
-remove the salt, then soak in weak solution of gallic acid, about 3
-grains to the ounce. If this does not make the writing legible enough,
-wash thoroughly in clean water, and soak in a solution of protosulphate
-of iron, 10 grains to the ounce.
-
-_To restore writing effaced by chlorine._—(1.) Expose the writing to
-the vapour of sulphuret of ammonia, or dip it into a solution of the
-sulphuret.
-
- (2.) Ferro-cyanide of potassium, 5 parts.
-      Water, 85 parts.
-
-Dissolve and immerse the paper in the fluid, then slightly acidulate
-the solution with sulphuric acid.
-
-Guitaud discovered that sulphuret of ammonia and prussiate of potash
-revives writing effaced by oxymuriatic acid.
-
-_To restore MSS. faded by time._—A moderately concentrated solution of
-tannin washed over the paper. The MS. to be carefully dried.
-
-_To preserve drawings or manuscripts._—Mix with every 100 parts
-of collodion 2 parts of sterine. Place the paper in question on a
-perfectly level and even surface, such as a marble table or large slab
-of glass. Give the paper a thin coat of this collodion, and in about
-twenty minutes it will be protected by a transparent, brilliant, and
-imperishable envelope.
-
-_To fix drawings or pencil marks._—Pass the paper through a bath of
-thin size, made either from gelatine or isinglass; or a bath of skim
-milk.
-
-_To render paper waterproof._—Take of borax 100 parts, water 2,250
-parts; boil, and while stirring, gradually add powdered shellac 300
-parts. When the whole is dissolved, strain through muslin. This will
-keep a long time and may be bottled. |166|
-
-_To render paper incombustible._—Pass the paper through a strong
-solution of alum, and hang up to dry.
-
-The following, taken from the “English Mechanic,” June 19th, 1874, is,
-I think, of great use to the professional restorer of old books, and
-will give the binder an idea of what has to be done sometimes:—
-
- “DECIPHERING BURNT DOCUMENTS.
-
- “M. Rathelot, an officer of the Paris Law Courts, has succeeded in an
- ingenious manner in transcribing a number of the registers which were
- burnt during the Commune. These registers had remained so long in the
- fire that each of them seemed to have become a homogeneous block, more
- like a slab of charcoal than anything else; and when an attempt was
- made to detach a leaf it fell away into powder.
-
- “He first cut off the back of the book; he then steeped the book in
- water, and afterwards exposed it, all wet as it was, to the heat at
- the mouth of a warming pipe (_calorifère_). The water as it evaporated
- raised the leaves one by one, and they could be separated, but
- with extraordinary precaution. Each sheet was then deciphered and
- transcribed. The appearance of the pages was very curious—the writing
- appeared of a dull black, while the paper was of a lustrous black,
- something like velvet decorations on a black satin ground, so that the
- entries were not difficult to decipher.”
-
-_Insects._—A library has generally three kinds of enemies to be guarded
-against, viz.: insects, dampness, and rats or mice.[12]
-
-      [12] Blades, in his “Enemies of Books,” includes bookbinders.
-
-Everyone is supposed to know how to guard against dampness and rats or
-mice. Several means are known how to keep insects at a distance. The
-first consists in the |167| proper choice of woods for the book-case:
-these are cedar, cypress, mahogany, sandal, or very dry and sound oak.
-All these are compact or of very strong aroma, and are such as insects
-do not like to pierce. Another source of danger is the use of chemicals
-in the binding of books.
-
-The insects that make ravages in books multiply very rapidly, and very
-few libraries are free from them. The microscopic eggs that are left
-by the female give birth to a small grub, which pierces the leather
-boards and book for its nourishment, and to get to the air. These are
-familiarly called bookworms, but by the scientific world they are
-known as _hypothenemus eruditus_ which eats the leather, and _anobium
-striatum_ which bores through the paper. The larvæ of the _dermestes_
-also attack wood as well as books.
-
-An instance of how these insects were once managed:—M. Fabbroni,
-Director of the Museum of Florence, who possessed a magnificent
-library, found, after a year’s absence, in the wood and furniture,
-great havoc made by insects, and his books spoilt by the larvæ, so
-much so that it gave a fair promise of the total destruction of the
-whole, unless he could find a method to exterminate the pests. He
-first painted the holes over with wax, but shortly after he found new
-worms which killed every particle of wood they touched. He plunged the
-ordinary wood in arsenic and oil, and other portions he anointed once
-every month with olive oil, in which he had boiled arsenic, until the
-colour and odour announced that the solution was perfect. The number
-then diminished. But a similar method could not be employed for books.
-M. Fabbroni resolved to anoint the back and sides with aquafortis; in
-an instant the dermestes abandoned their habitation, and wandered to
-the wood; the oil having evaporized they commenced to develop again,
-and again began their attacks on the newly bound books. He saw amongst
-the many spoilt books one |168| remaining intact, and on inquiry
-found that turpentine had been used in the paste. He then ordered that
-for the future all paste should be mixed with some such poison. This
-precaution had the _beneficial_ result.
-
-It is not only in Europe that these worms make such ravages in
-libraries. In the warmer climes they appear to be even more dangerous.
-And it is a fact that certain libraries are almost a mass of dust, by
-the books (and valuable ones) falling to pieces. Nearly all authors
-on this subject agree that the paste which is used is the first
-cause, or a great help, to all the waste committed by these dangerous
-_bibliophobes_. Then something must be put into the paste which will
-resist all these insects and keep them at a distance. The most suitable
-for this is a mineral salt, such as alum or vitriol; vegetable salts,
-such as potash, dissolve readily in a moist air and make marks or
-spots in the books. From experience, it is most desirable to banish
-everything that may encourage worms, and as it is very rare that
-persons who occupy themselves with books are not in want of paste,
-for some repairs or other, either to the bindings or to the books,
-subjoined is a method of preserving the paste and keeping it moist and
-free from insects.
-
-Alum, as employed by binders, is not an absolute preservative, although
-it contributes greatly to the preservation of the leather. Resin as
-used by shoemakers is preferable, and in effect works in the same
-way; but oil of turpentine has a greater effect. Anything of strong
-odour, like aniseed, bergamot, mixed perfectly but in small quantities,
-preserves the paste during an unlimited time.
-
-Or, make the paste with flour, throw in a small quantity of ground
-sugar and a portion of _corrosive sublimate_. The sugar makes it pliant
-and prevents the formation of crust on the top. The sublimate prevents
-insects and fermentation. This salt does not prevent moisture, but as
-two or |169| three drops of oil are sufficient to prevent it, all
-causes of destruction are thus guarded against. This paste exposed to
-the air hardens without decomposition. If it is kept in an air-tight
-pot or jar, it will be always ready, without any other preparation.
-
-Books placed in a library should be thoroughly dusted two or three
-times a year, not only to keep them in all their freshness, but
-also to prevent any development of insects and to examine for signs
-of dampness. The interior of a book also asks that care, which
-unfortunately is neglected very often. After having taken a book from
-the shelves it should not be opened before ascertaining if the top edge
-be dusty. If it is a book that has had the edge cut, the dust should be
-removed with a soft duster, or simply blown off. If it is a book which
-has uncut edges it should be brushed with rather a hard brush. By this
-method in opening the volume one need not be afraid that the dirt will
-enter between the leaves and soil them.
-
-_Glue._—The best glue may be known by its paleness, but French glue is
-now manufactured of inferior quality, made pale by the use of acid, but
-which on boiling turns almost black. Good glue immersed in water for a
-day will not dissolve, but swell, while inferior will partly or wholly
-do so, according to quality.
-
-In preparing glue, a few cakes should be broken into pieces and placed
-in water for twelve hours, then boiled and turned out into a pan to get
-cold; when cold, pieces may be cut out and placed in the glue-pot as
-wanted. This naturally refers to when large quantities are used, but
-small portions may be boiled in the glue-pot after soaking in water.
-
-Glue loses a great deal of its strength by frequent re-melting. It
-should always be used as hot as possible.
-
-_Rice glue or paste._—By mixing rice flour intimately with |170| cold
-water, and then gently boiling it, a beautifully white and strong paste
-is made. It dries almost transparent, and is a most useful paste for
-fine or delicate work.
-
-_Paste._—For ordinary purposes paste consists simply of flour made into
-a thin cream with water and boiled. It then forms a stiffish mass,
-which may be diluted with water so as to bring it to any required
-condition. It is sometimes of advantage to add a little common glue to
-the paste. Where paste is kept for a long time, various ingredients may
-be added to prevent souring and moulding. A few cloves form perhaps the
-best preservative for small quantities; on the larger scale carbolic
-acid may be used; salicylic acid is also a good preservative, a few
-grains added to the freshly prepared paste will entirely prevent
-souring and moulding.
-
-Paste is now made on a commercial scale by various Paste Cos., who send
-it out to all parts. The paste is exceedingly good, and keeps a long
-time.
-
-_Photographs._—A few words respecting the treatment of photographs may
-not be out of place here.
-
-To remove a photograph from an old or dirty mount, the surplus of the
-mount should be cut away; it should then be put into a plate of cold
-water and be allowed to float off. A little warm water will assist in
-its coming away more easily, but should it not do so, the photograph
-has probably been mounted with a solution of india-rubber, and in that
-case, by holding it near the fire, the rubber will soften, and the
-print may easily be peeled off.
-
-Very hot water is likely to set up a reaction if the prints were not
-well washed by the photographer when first sent out.
-
-In mounting photographs, white boards should, as a rule, be avoided,
-because the colour of the boards is more pure than the lights of the
-photograph, and deaden the effect. A toned or tinted board is more
-suitable. |171|
-
-They should be damped, and evenly trimmed and pasted all over with thin
-best glue or starch, and well rubbed down with a piece of clean paper
-over the print. If any of the glue or starch oozes out from the sides,
-it should be wiped off with a clean damp sponge. As photographs lose
-their gloss in mounting, they must be rolled afterwards in order to
-restore it. A special machine is used for this.
-
-But it may be wished to introduce the silver print without mounting on
-a board. To do so, and to keep the print straight, paste a very thin
-paper on the back, stretching the paper well; this will counteract
-the pulling power albumen has, and the print will, if this be done
-properly, remain perfectly straight and not curl up.
-
-_Albumen._—Desiccated egg-albumen is now well known in the market
-in the form of powder. Three teaspoonfuls of cold water added to
-every 1/2 teaspoonful of powder represents the normal consistency of
-egg-albumen.[13]
-
-      [13] See Chapter on Finishing—“Albumen.”
-
-The manufacture of egg-albumen in the neighbourhood of Moscow is
-carried on in the houses of the country people. The albumen however is
-generally roughly prepared and of bad appearance, and often spoils.
-But egg-albumen is also produced on a manufacturing scale in the
-neighbourhood of Korotscha, the largest establishment there numbering
-sixty to seventy workwomen, using about eight million eggs yearly,
-other establishments using less in proportion.
-
-Albumen is also largely manufactured from blood; 5 oxen or 20 sheep or
-34 calves are said to yield the same quantity of dry albumen, viz., 2
-lbs. In producing blood-albumen for commerce, the objects borne in mind
-are the attainment of a substance whose solution is free from colour,
-possesses coagulation, and which is cheap.
-
-_To prevent tools, machines, etc., from rusting._—Boiled linseed
-oil, if allowed to dry on polished tools, will keep them |172| from
-rusting; the oil forms a coat over them which excludes contact from air.
-
-Dissolve 1/2 oz. of camphor in 1 lb. of lard; take off the scum, and
-mix as much blacklead as will give the mixture an iron colour. All
-kinds of machinery, iron or steel, if rubbed over with this mixture,
-and left on for 24 hours, and then rubbed with a linen cloth, will keep
-clean for months.
-
-_To clean silver mountings._—To restore the colour of tarnished silver
-clasps, etc., boil the goods, either silver or plated, in enough
-water to cover them. For every pint of water put into it 2 ounces of
-carbonate of potash and a 1/4 lb. of whiting. After boiling them for
-about a quarter of an hour, clean with a leather, brush, and whiting.
-They will then look as good as new.
-
-_To clean sponges._—Soak the sponge well in diluted muriatic acid for
-twelve hours. Wash well, then immerse in a solution of hyposulphate of
-soda to which a few drops of muriatic acid has been added a few moments
-before. When sufficiently bleached, wash well, and dry in a current of
-air.
-
-
-
-
-|173|
-
-GLOSSARY
-
-OF THE
-
-TECHNICAL TERMS AND IMPLEMENTS USED IN BOOKBINDING.
-
-
-ALL-ALONG.—When a volume is sewed, and the thread passes from
-kettle-stitch to kettle-stitch, or from end to end in each sheet, it is
-said to be sewed “all-along.”
-
-ARMING PRESS.—A species of blocking press used by hand; so called from
-the use of it to impress armorial bearings on the sides of books.
-
-ASTERISK.—A star used by printers at the bottom of the pages meant to
-supply the places of those cancelled (_see also_ CANCEL).
-
-BACKING BOARDS.—Used when backing and for forming the groove. They are
-made of very hard wood, and sometimes faced with iron; are thicker
-on the edge intended to form the groove than upon the edge that goes
-towards the foredge, so that the whole power of the lying press may be
-directed towards the back.
-
-BACKING HAMMER.—The hammer used for backing and rounding; it has a
-broad flat face similar to a shoemaker’s hammer.
-
-BACKING MACHINE.—A machine for backing cheap work.
-
-BANDS.—The cord whereon the sheets of a volume are sewn. When a book is
-sewn “flexible” the bands appear upon the back. When the back is sewn
-so as to imbed the cord in the back, the appearance of raised bands is
-produced by gluing narrow strips of leather across the back before the
-volume is covered.
-
-BAND DRIVER.—A blunt chisel used in forwarding, to correct any
-irregularities in the bands of flexible backs.
-
-BAND NIPPERS.—Flat pincers used for nipping up the band in covering.
-
-BEADING.—The small twist formed when twisting the silk or cotton in
-head-banding.
-
-BEATING HAMMER.—The heavy short-handled hammer used in beating
-(generally about 10 lbs.).
-
-BEATING STONE.—The bed on which books are beaten.
-
-BEVELLED BOARDS.—Very heavy boards with bevelled edges; used for
-antique work.
-
-BLEED.—When a book has been cut down into the print it is said to have
-been bled.
-
-BLIND-TOOLED.—When a book has been impressed with tools |174| without
-being gilt, it is said to be “blind-tooled” or “antique.”
-
-BLOCKING PRESS.—Another and more general term for the arming press; one
-of the chief implements used in cloth work. Used for finishing the side
-of a cover by a mechanical process.
-
-BLOCKS OR BLOCKING TOOLS.—An engraved stamp used for finishing by means
-of the blocking press.
-
-BOARDS.—Are of various kinds, each denoting the work it is intended
-for, such as pressing boards, backing, cutting, burnishing, gilding,
-etc.
-
-BODKIN.—A strong and short point of steel fixed in a wooden handle, for
-making the holes through the mill-boards. The slips upon the back of
-the book are laced through the holes for attaching the mill-board to
-the book.
-
-BOLE.—A red earthy mineral, resembling clay in character, used in the
-preparation for gilding edges.
-
-BOLT.—The fold in the head and foredge of the sheets. The iron bar with
-a screw and nut which secures the knife to the plough.
-
-BOSSES.—Brass or other metal ornamentations fastened upon the boards of
-books; for ornament or preservation.
-
-BROKEN OVER.—When plates are turned over or folded a short distance
-from the back edge, before they are placed in the volume, so as to
-facilitate their being turned easily or laid flat, they are said to be
-broken over. When a leaf has been turned down the paper is broken.
-
-BURNISH.—The gloss produced by the application of the burnisher to the
-edges.
-
-BURNISHERS.—Pieces of agate or bloodstone affixed to convenient handles.
-
-CANCELS.—Leaves containing errors which are to be cut out and replaced
-by corrected pages (_see_ ASTERISK).
-
-CAP.—The envelope of paper used to protect the edges while the volume
-is being covered and finished.
-
-CASE-WORK.—When the cover is made independent of the book, the book
-being afterwards fastened into it. Refers principally to cloth and
-bible work.
-
-CATCH-WORD.—A word used and seen in early printed books at the bottom
-of the page, which word is the first on the following page. To denote
-the first and last word in an encyclopædia or other book of reference.
-
-CENTRE TOOLS.—Independent tools cut for the ornamentation of the centre
-of panels and sides.
-
-CLASP.—The hook or catch used for fastening the boards together when
-the book is closed; used formerly on almost every book.
-
-CLEARING-OUT.—Removing the waste-paper, and paring away any superfluous
-leather upon the inside, preparatory to pasting down the end-papers.
-
-CLOTH.—Prepared calico, sometimes embossed with different patterns,
-used for cloth bindings.
-
-COLLATING.—Examining the sheets by the signatures after the volume has
-been folded, |175| to ascertain if they be in correct sequence.
-
-COMBS.—Instruments with wire teeth used in marbling.
-
-CORNERS.—The triangular tools used in finishing backs and sides. The
-leather or material covering the corners of half-bound books. The metal
-ornaments used usually in keeping with clasps.
-
-CROPPED.—When a book has been cut down too much it is said to be
-cropped.
-
-CUT DOWN.—When a plough-knife dips downward out of the level it is
-said to “cut down”; on the contrary, if the point is out of the level
-upwards it is said to “cut up.”
-
-CUT UP.—Same as the last explanation.
-
-DIVINITY CALF.—A dark brown calf used generally for religious books,
-and worked in blind or antique.
-
-DENTELLE.—As the word expresses. A style resembling lace work, finished
-with very finely cut tools.
-
-DOUBLED.—When in working a tool a second time it is inadvertently not
-placed exactly in the previous impression, it is said to be “doubled.”
-
-EDGE-ROLLED.—When the edges of the boards are rolled, either in blind
-or in gold.
-
-END-PAPERS.—The papers placed at each end of the volume and pasted down
-upon the boards.
-
-FILLET.—A cylindrical tool used in finishing, upon which a line or
-lines are engraved.
-
-FINISHING.—The department that receives the volumes after they are put
-in leather. The ornaments placed on the volume. The person who works at
-this branch is termed a finisher.
-
-FINISHING PRESS.—A small press, used for holding books when being
-finished.
-
-FINISHING STOVE.—A heating box or fire used for warming the various
-tools used in finishing.
-
-FLEXIBLE.—When a book is sewn on raised bands, and the thread is passed
-entirely round each band. It is the strongest sewing done at the
-present time. This term is often misused for limp work, because the
-boards are limp or flexible.
-
-FOLDER.—A flat piece of bone or ivory used in folding sheets, and in
-many other manipulations; called also a folding stick. A female engaged
-in folding sheets.
-
-FOLDING MACHINE.—A machine invented to fold sheets, generally used in
-newspaper offices.
-
-FOREDGE.—The front edge of a book.
-
-FORWARDING.—The branch that takes the books after they are sewed, and
-advances them until they are put into leather ready for the finisher.
-The one who works at this branch is called a forwarder.
-
-FULL-BOUND.—When the sides and back of a volume are covered with
-leather it is said to be full-bound.
-
-GATHERING.—Collecting the various sheets from piles when folded, so
-that the |176| arrangement follows the sequence of the signature.
-
-GILT.—Applies to both the edges and to the ornaments in finishing.
-
-GLAIRE.—The white of eggs beaten up.
-
-GOLD CUSHION.—A cushion for cutting the gold leaf on.
-
-GOLD KNIFE.—The knife for cutting the gold; long and quite straight.
-
-GOUGE.—A tool used in finishing; it is a line forming the segment of a
-circle.
-
-GRAINING BOARDS.—Boards used for producing a grain on calf and russia
-books. Grain of various form is cut in wood, and by pressure the
-leather upon which the boards are laid receives the impression.
-
-GRAINING PLATES.—Metal plates same as above.
-
-GUARDS.—Strips of paper inserted in the backs or books intended for the
-insertion of plates, to prevent the book being uneven when filled; also
-the strips upon which plates are mounted.
-
-GUIDES.—The groove in which the plough moves upon the face of the
-cutting press.
-
-GUILLOTINE.—A machine used for cutting paper.
-
-GUINEA-EDGE.—A roll with a pattern similar to the edge of an old guinea.
-
-HALF-BOUND.—When a volume is covered with leather upon the back and
-corners; and the sides with paper or cloth.
-
-HAND-LETTERS.—Letters fixed in handles; used singly for lettering.
-
-HEAD AND TAIL.—The top and bottom of a book.
-
-HEAD-BAND.—The silk or cotton ornament worked at the head and tail of a
-volume, as a finish and to make the back even with the boards.
-
-IMPERFECTIONS.—Sheets rejected on account of being in some respect
-imperfect, and for which others are required to make the work complete.
-
-IN BOARDS.—When a volume is cut after the mill-boards are attached, it
-is said to be cut in boards.
-
-INSET.—The inner pages of a sheet, cut off in folding certain sizes; to
-be inset in the centre of the sheet.
-
-JOINTS.—The projection formed in backing to admit the mill-boards. The
-leather or cloth placed from the projection on to the mill-board is
-called a joint.
-
-KETTLE-STITCH.—The chain-stitch which the sewer makes at the head and
-tail of a book. A corruption of either chain-stitch, or catch-up stitch.
-
-KEYS.—Little metal instruments used to secure the bands to the sewing
-press.
-
-KNOCKING-DOWN IRON.—A piece of iron having a small leg in the centre by
-which it is secured in the lying press. When fastened there it is used
-to pound or beat with a hammer the slips into the boards after they are
-laced in, so that they do not show when the book is covered.
-
-LACED IN.—When the mill-boards are attached to the volume by means of
-the slips being passed through holes |177| made in the boards, they
-are said to be laced in or drawn in.
-
-LAW CALF.—Law books are usually bound in calf left wholly uncoloured,
-hence the term for white calf.
-
-LETTERING BLOCK.—A piece of wood, the upper surface being slightly
-rounded, upon which side labels are lettered.
-
-LETTERING BOX.—A wooden box in which hand-letters are kept (_see_
-HAND-LETTERS).
-
-LINING-PAPERS.—The coloured or marbled paper at each end of the volume.
-Called also end-papers.
-
-MARBLER.—One who marbles the edges of books and paper.
-
-MARBLING.—The art of floating various colours on a size, from which it
-is transferred to paper or book edges. To stain or vein leather like
-marble.
-
-MARKING-UP.—When the back of a book is being marked for flexible sewing.
-
-MILL-BOARD.—The boards that are attached to the book. Various kinds are
-in use now; the most common is made of straw, the best of old naval
-cordage.
-
-MITRED.—When the lines in finishing meet each other at right angles
-without overrunning each other, they are said to be mitred. Joined at
-an angle of 45°.
-
-MUTTON-THUMPING.—A term used in bygone days, indicating the common
-binding of school books in sheep-skin.
-
-MUTTON-THUMPER.—An old term indicating a bad workman.
-
-OFF-SET.—The impression made by the print against the opposite page,
-when a book has been rolled or beaten before the ink be dried. (_Also_
-SET-OFF.)
-
-OUT OF BOARDS.—When a volume is cut before the boards are affixed, it
-is done out of boards. Nearly the whole of common work is done out of
-boards.
-
-OUT OF TRUTH.—When a book is not cut square.
-
-OVERCASTING.—An operation in sewing, when the work consists of single
-leaves or plates. Over-sewing.
-
-PALLET.—The tools used for finishing across backs.
-
-PANEL.—The space between the bands.
-
-PAPERING-UP.—Covering the edges after they are gilt, to protect them
-while the volume is being covered and finished (_see_ CAP).
-
-PARING.—Reducing the edges of the leather by forming a gradual slope.
-
-PARING KNIFE.—The knife used for paring.
-
-PASTE-WASH.—Paste diluted with water.
-
-PEEL.—A wooden instrument used to hang up damp sheets for drying.
-
-PENCIL.—A small brush of camel’s hair used for glairing.
-
-PIECED.—Any space that has another leather upon it, as a lettering
-piece.
-
-PLOUGH.—The instrument used for cutting the edges when the book is in
-the lying press.
-
-PLOUGH KNIFE.—The knife attached to the plough. |178|
-
-POLISHER.—A steel instrument for giving a gloss to the leather after
-finishing.
-
-PRESS.—Of various kinds, viz.: lying, cutting, standing, blocking,
-finishing, etc.
-
-PRESS PIN.—A bar of iron used as a lever for standing presses; a
-smaller kind for lying presses.
-
-PRESSING BLOCKS.—Blocks of wood used for filling up a standing press
-when there are not enough books.
-
-PRESSING BOARDS.—Boards used for pressing books between.
-
-PROOF.—The rough edges of certain leaves left uncut by the plough, are
-“proof” that the book is not cut down (_see also_ WITNESS).
-
-RASPED.—The sharp edge taken off mill-boards.
-
-REGISTER.—The ribbon placed in a volume for a marker. A list of
-signatures attached to the end of early-printed books for the use of
-the binder. In printing—when on looking through a leaf the print on
-the recto and verso is not exactly opposite, it is said to be _out of
-register_.
-
-ROLLING MACHINE.—A machine introduced to save the labour of beating,
-the sheets being passed between two revolving cylinders.
-
-ROLLS.—Cylindrical ornamental tools used in finishing.
-
-RUNNER.—The front board used in cutting edges.
-
-RUN-UP.—When the back has a fillet ran from head to tail without being
-mitred at each band, it is said to be “run-up.”
-
-SAWING-IN.—When the back is sawn for the reception of the cord in
-sewing.
-
-SAWING MACHINE.—A machine for sawing the backs of books quickly.
-
-SETTING THE HEAD-BAND.—Adjusting the leather in covering so as to form
-a kind of cap to the head-band.
-
-SEWER.—The person who sews the sheets together on the sewing
-press—generally a female.
-
-SEWING MACHINE.—A recent invention for the sewing of books with wire
-and thread.
-
-SHAVING TUB.—The paper cut from the edges of a volume are called
-shavings. The receptacle into which they fall while the forwarder is
-cutting is termed the shaving tub.
-
-SHEARS.—Large scissors used for cutting up mill-boards.
-
-SHEEP.—An old term for all common work covered in sheep-skin.
-
-SIGNATURE.—The letter or figure under the footline of the first page of
-each sheet, to indicate the order of arrangement in the volume.
-
-SIZE.—A preparation used in finishing and gilding, formerly made with
-vellum, but can now be bought ready for use. When used on paper a thin
-solution of glue.
-
-SLIPS.—The pieces of twine that project beyond the back of the volume
-after it is sewn.
-
-SQUARES.—The portions of the boards that project beyond the edges after
-the book is cut.
-
-STABBING.—The term used formerly for piercing the boards with a bodkin
-for the slips to pass through; more generally |179| known now as
-“holeing.” The operation of piercing pamphlets for the purpose of
-stitching.
-
-STABBING MACHINE.—A small machine used for making the holes through the
-backs of pamphlets.
-
-STANDING PRESS.—A fixed heavy press with a perpendicular screw over the
-centre.
-
-START.—When any of the leaves are not properly secured in the back, and
-they project beyond the others, they are said to have started. When the
-back has been broken by forcing the leaves they start.
-
-STIFFENER.—A thin mill-board used for various purposes.
-
-STITCHING.—The operation of passing the thread through a pamphlet for
-the purpose of securing the sheets together.
-
-STRAIGHT-EDGE.—A small board having one edge perfectly straight.
-
-STOPS.—Small circular tools, adapted to “stop” a fillet when it
-intersects at right angles; used to save the time mitringmitreing would
-occupy.
-
-TENON SAW.—A small saw used by bookbinders for sawing the books for
-sewing. More strictly speaking a carpenter’s tool.
-
-TITLE.—The space between the bands upon which the lettering is placed.
-The leaf in the beginning of a book describing the subject.
-
-TOOLS.—Applied particularly to the hand stamps and tools used in
-finishing.
-
-TRIMMING.—Shaving the rough edge of the leaves of a book that is not to
-be cut.
-
-TRINDLE.—A thin strip of wood or iron.
-
-TURNING-UP.—The process of cutting the foredge in such a manner as to
-throw the round out of the back until the edge is cut. All books that
-are cut in boards have a pair of trindles thrust between the boards and
-across the back to assist the operation.
-
-TYING-UP.—The tying of a volume after the cover has been drawn on, so
-as to make the leather adhere better to the sides of the bands; also
-for setting the head-band.
-
-TYPE.—Metal letters used in printing and lettering.
-
-TYPE-HOLDER.—An instrument for holding the type when used for lettering.
-
-VARNISH.—Used as a protection to the glaire when polished on the covers
-of books.
-
-WHIPPING.—Another term for overcasting, but when longer stitches are
-made.
-
-WITNESS.—When a volume is cut so as to show that it has not been so cut
-down, but that some of the leaves have still rough edges. These uncut
-leaves are called “Witness” (_see_ PROOF).
-
-WRINKLE.—The uneven surface in a volume, caused by not being properly
-pressed or by dampness, also caused by improper backing.
-
-
-
-
-|181|
-
-INDEX.
-
-
-Acids, effect of, on leather, 133.
-
-Advantage, comparative, of paste and glue, 93.
-
-—— of flexible binding, 28.
-
-—— of graining calf, 144.
-
-—— of vinegar over paste water when finishing, 127.
-
-Albumen, 171.
-
-Antique finishing, 122.
-
-—— tools, method of working, 122.
-
-Arming press, 117.
-
-Artificial heat, 46.
-
-Artists’ vellum, 147.
-
-Athenæum letter on trimming, 43.
-
-Azuré tools, 113.
-
-
-Back, calf, polishing a, 140.
-
-—— finishing a (cut), 130.
-
-—— full gilt, 129.
-
-—— mitred, 129–139.
-
-—— run up, 129–140.
-
-Backs, flat, 48.
-
-—— suitable for calf work (cut), 138.
-
-Backing, 48.
-
-—— (cut), 49.
-
-—— boards (cut), 48, 50.
-
-—— flexible work, 50.
-
-—— hammer (cut), 49.
-
-—— machines, 50.
-
-Band nippers (cut), 93.
-
-Bands, putting on, 88.
-
-Bar roll, 133.
-
-Bath, effect upon stains of wrong, 158.
-
-Beating, 9.
-
-—— hammer (cut), 9.
-
-—— gold books, 10.
-
-Beating stone, 9.
-
-Bibles, etc., edges of, 122.
-
-—— end papers for, 33.
-
-—— finishing of, 122.
-
-Bindings, monastic, 111.
-
-Blind finishing, 122.
-
-—— —— beauty of, 125.
-
-—— —— colour of, 122.
-
-Blocking, 149.
-
-—— calf, 153.
-
-—— cloth, 153.
-
-—— in gold, 153.
-
-—— morocco, 153.
-
-—— old method of, 116.
-
-—— press, 150.
-
-—— sides, 151.
-
-—— silk, 146.
-
-—— velvet, 146.
-
-Blocks, 151.
-
-Blood stains, removing, 163.
-
-Board, backing, 48.
-
-—— cutting, 54.
-
-—— trimming, 41.
-
-Boards, cutting in, 64.
-
-—— cutting out of, 64.
-
-—— made, 55.
-
-—— for photographs, 170.
-
-Bolt knife (cut), 61.
-
-Books, enemies of, 166.
-
-Book-worms, 167.
-
-—— to keep away, 168.
-
-Brass type, 129.
-
-Bread, cleaning with, 161.
-
-Bronze end paper, 34.
-
-Brush, finger, 68.
-
-—— sprinkling, 68.
-
-Burnishers, 79.
-
-—— edge (cuts), 81.
-
-Burnishing edges, 81.
-
-—— marbled paper, 73.
-
-Burnt documents, deciphering, 166.
-
-Burr on knife, 79.
-
-
-Calf, back polishing, 137.
-
-—— blocking, 153.
-
-—— Cambridge, 104.
-
-—— colouring, 100.
-
-—— colouring, preparing for, 102.
-
-—— colouring, black, 101.
-
-—— colouring, brown, 102.
-
-—— colouring, yellow, 102.
-
-—— covering in, 94.
-
-—— dabbing, 106.
-
-—— effect of glue on, 89.
-
-—— extra, 142.
-
-—— finishing, 135.
-
-—— graining, 144.
-
-—— graining, advantage of, 144.
-
-—— green and light, 139–141.
-
-—— handling, 94.
-
-—— lettering, 140.
-
-—— marbling, 105.
-
-—— marbling, preparing for, 104.
-
-—— neat, 137.
-
-—— pasting down, 99.
-
-—— sides, finishing, 141.
-
-—— sides, polishing, 142.
-
-—— work, backs suitable for (cut), 138.
-
-—— sprinkling, 103.
-
-—— sprinkling, emblematic, 103.
-
-—— sprinkling, preparing for, 103.
-
-Cambridge calf, 104.
-
-Capping up edges, 82.
-
-Cat’s paw, 106.
-
-Charcoal fire for finishing, 121.
-
-Chemical colouring of leather, 133.
-
-Chloride of lime solution, 159.
-
-Chlorine, restoring writing effaced by, 165.
-
-Cleaning, 157.
-
-—— off stick, 58–59.
-
-—— removing single leaf for, 162.
-
-Cleaning silver mountings, 172.
-
-—— sponges, 172.
-
-—— with india-rubber, 161.
-
-—— with bread, 161.
-
-Cloth blocking, 153.
-
-—— covering with, 95.
-
-—— joints, 38.
-
-—— smooth, 95.
-
-Cobb paper, 33.
-
-Collating, 13.
-
-Colour of blind work, 122.
-
-Colours for books, suggested, 96.
-
-—— for marbling, 69.
-
-—— for sprinkling, 68.
-
-Coloured edges, fancy, 69.
-
-—— paste paper, 35.
-
-—— plates, 17.
-
-Colouring calf, 100.
-
-—— calf preparing for, 102.
-
-—— calf, black, 101.
-
-—— calf, brown, 102.
-
-—— yellow, 102.
-
-Colouring edges, 67.
-
-—— of leather, chemical, 133.
-
-—— plain, for edges, 69.
-
-Comb marble, 72.
-
-Cord, sizes of, 22.
-
-Cords, lay, 23.
-
-Cotton wool, 120.
-
-Covers, cutting leather, 90.
-
-Covering, 90.
-
-—— half bound work, 96.
-
-—— preparing for, 87.
-
-—— with calf, 94.
-
-—— with cloth, 95.
-
-—— with morocco, 90.
-
-—— with parchment, 94.
-
-—— with roan, 95.
-
-—— with russia, 94.
-
-—— with satin, 95.
-
-—— with silk, 95.
-
-—— with vellum, 94.
-
-—— with velvet, 95.
-
-Cut against, 54.
-
-—— true, to tell if boards are, 56.
-
-—— to tell if book is, 64.
-
-Cushion, gold, 78.
-
-Cutting, 59.
-
-—— in boards, 64.
-
-—— out of boards, 64.
-
-—— board, 54.
-
-—— foredge, 62.
-
-—— gold leaf, 80.
-
-—— head, 61.
-
-—— leather covers, 90.
-
-—— machines (cuts), 65, 66.
-
-—— mill-board, 52.
-
-—— press and plough (cut), 60.
-
-—— tail, 62.
-
-
-Dabbing calf, 106.
-
-Damp stains, 162.
-
-—— repairing books damaged by, 162.
-
-Deciphering burnt documents, 166.
-
-Dentelle border, 132.
-
-Derome tools (cuts), 115.
-
-Dibdin, Dr, 95.
-
-Disadvantage of backing machines, 51.
-
-—— flat backs, 48.
-
-—— lettering pieces, 136.
-
-—— wire sewing, 30.
-
-Dishes for washing, 159.
-
-Documents, deciphering burnt, 166.
-
-Doublé, 132.
-
-Down, pasting, 97.
-
-Dragon, gum, 70.
-
-Drawing in, 57.
-
-Drawings, fixing, 165.
-
-—— preserving, 165.
-
-Dry preparation, 145.
-
-—— making, 145.
-
-Drying, artificial heat in, 46.
-
-Duplicate sheets, 19.
-
-Dust, removing, 161.
-
-Dutch marble paper, 34.
-
-
-Edge burnishers (cuts), 81.
-
-Edges of bibles and religious books, 122.
-
-—— of boards, finishing, 132.
-
-—— burnishing, 81.
-
-—— capping up, 82.
-
-—— coloured, fancy, 69.
-
-—— coloured, plain, 69.
-
-—— colouring, 67.
-
-—— gilding, 80.
-
-—— gilt, 78.
-
-—— gilt, dull, 81.
-
-—— gilt, painted, 82.
-
-—— gilt, on red, 82.
-
-—— gilt, in the round, 81.
-
-—— gilt, solid, 81.
-
-—— gilt, tooled, 82.
-
-—— marbled, 69.
-
-—— marbled, paper, transferring to, 74–75.
-
-—— marbling, 73.
-
-—— marbled, on gilt, 78.
-
-—— marbled, under gilt, 78.
-
-—— sprinkled, 67.
-
-—— sprinkled marble, 67.
-
-—— transferring marbled paper to, 74–75.
-
-—— uncut, 41.
-
-Effaced by chlorine, restoring writing, 165.
-
-—— by oxymuriatic acid, restoring writing, 165.
-
-Emblematic sprinkling, 103.
-
-—— tooling, 117.
-
-End papers, 33.
-
-—— papers, bronze, 34.
-
-—— papers, cobb, 33.
-
-—— papers, coloured paste, 35.
-
-—— papers, making, 35.
-
-—— papers, marbled, 33.
-
-—— papers, printed and fancy, 34.
-
-—— papers, putting on, 38.
-
-—— papers, surface, 33.
-
-—— papers, for bibles, etc., 33.
-
-—— papers, for school and public library books, 41.
-
-Ends, sewing (cut), 40.
-
-Enemies of books, 166.
-
-Extra, calf, 142.
-
-
-Faded MSS., restoring, 165.
-
-—— writing, restoring, 165.
-
-Fat stains, removing, 164.
-
-Fillet (cut), 118.
-
-Filling up, 137.
-
-—— up, saw cuts, 89.
-
-Finger brush, 68.
-
-Finger-marks, 163.
-
-—— removing, 163.
-
-Finishing, 111.
-
-—— ancient, 117.
-
-—— a back (cut), 130.
-
-—— a back, calf, 135.
-
-—— a back, full gilt, 137.
-
-—— a back, run up, 139.
-
-—— blind, antique or monastic, 122.
-
-—— blind, tools for, 122.
-
-—— calf sides, 141.
-
-—— charcoal fire for, 121.
-
-—— edges of boards, 132.
-
-—— extra calf sides, 142.
-
-—— flexible work, 124.
-
-—— gold, 125.
-
-—— gold, tools for, 122.
-
-—— half morocco book, 127.
-
-—— inside of a book, 132–141.
-
-—— medium, 126.
-
-—— medium, importance of proper, 126.
-
-—— morocco sides, 131.
-
-—— morocco imitation, 133.
-
-—— paper, 144.
-
-—— press (cuts), 121–122.
-
-—— religious books, 122.
-
-—— roan, 133.
-
-—— russia, 145.
-
-—— sides calf, 135.
-
-—— sides calf extra, 142.
-
-—— sides morocco, 131.
-
-—— sides, morocco imitation, 133.
-
-—— silk, 146.
-
-—— stove (cuts), 120.
-
-—— taste in, 117.
-
-—— tools, 118–122.
-
-—— tools, heat for, 128.
-
-—— vellum, 147.
-
-—— velvet, 146.
-
-—— with dry preparation, 145.
-
-Fixing drawings, 165.
-
-Flat backs, 48.
-
-Flexible binding, advantages of, 28.
-
-—— how to tell, 29.
-
-—— not to show, 29, 89.
-
-Flexible work, backing, 50.
-
-—— work, cleaning off, 59.
-
-—— work, covering, preparing for, 89.
-
-—— work, finishing, 124.
-
-—— work, gluing up, 45.
-
-—— work, marking up, 20.
-
-—— work, mock, 90.
-
-—— work, sewing, 23.
-
-—— work, sewing (cut), 27.
-
-Folding, 3.
-
-—— stick, 4.
-
-—— machine (cut), 7.
-
-—— maps, 15.
-
-Folio, 4.
-
-Foredge, cutting, 62.
-
-Forwarding, 33.
-
-Fox-marks, 163.
-
-—— marks, removing, 163.
-
-French, dab, 106.
-
-—— method of pressing, 19.
-
-—— method of trimming, 42.
-
-—— paring knife (cut), 90.
-
-—— paring knife, method of using (cut), 91.
-
-Full gilt back, finishing, 137.
-
-
-Gall, ox, for marbling, 71.
-
-Gascon, 115.
-
-—— tools (cuts), 114.
-
-Gathering, 8.
-
-—— machine, 8.
-
-German, method of gluing up, 45.
-
-—— paring knife (cut), 91.
-
-—— paring knife, method of using (cut), 91.
-
-Giggering, 124.
-
-Gilding edges, 80.
-
-Gilt back, full, 129.
-
-—— edges, 78.
-
-—— edges, dull, 81.
-
-—— edges, painted, 82.
-
-—— edges, solid, 81.
-
-—— edges, tooled, 82.
-
-—— in the round, 81.
-
-—— marbling on, 78.
-
-—— marbling under, 78.
-
-—— on red, 82.
-
-—— top, 41.
-
-Glaire, 119.
-
-—— how to make, 119.
-
-—— water, 79.
-
-Glue, 169.
-
-—— comparative advantages of paste and, 93.
-
-—— effect on calf of, 89.
-
-—— rice, 169.
-
-—— to tell good, 169.
-
-Gluing up, 45.
-
-—— up flexible work, 45.
-
-—— up, German method of, 45.
-
-Gold, blocking in, 153.
-
-—— cushion, 78.
-
-—— finishing, 125.
-
-—— finishing, tools for, 128.
-
-—— knife, 79.
-
-—— leaf, 79–119.
-
-—— leaf, cutting, 80.
-
-Grain, treatment of straight, 92.
-
-—— treatment of leather with no, 92.
-
-Graining calf, 144.
-
-—— advantage of, 144.
-
-Graining up, 92.
-
-Grolier tools (cuts), 113.
-
-Groove, 7.
-
-Guarding plates, etc., 15.
-
-Guards, object of, 16.
-
-Gum Tragacanth (Gum Dragon), 70.
-
-
-Half binding, 96.
-
-—— binding, covering, 96.
-
-—— binding, lining for, 53.
-
-—— binding, pasting down, 100.
-
-Hammer, beating (cut), 9.
-
-Hand finishing, 116.
-
-—— letters, 118.
-
-Handling calf, 94.
-
-Head band, setting, 93.
-
-—— bands, stuck on, 80.
-
-—— banding, 83.
-
-—— banding (cut), 84.
-
-—— banding on old books, 84.
-
-—— of book cutting, 61.
-
-Heat, artificial, 46.
-
-—— for finishing tools, 128.
-
-—— for polishing tools, 140.
-
-Henry III., bindings of, 114.
-
-Holes in back, filling up, 89.
-
-Hollow backs, 87.
-
-
-Imitation morocco, finishing, 133.
-
-Importance of proper finishing medium, 126.
-
-Incombustible, to render paper, 166.
-
-India rubber, 119.
-
-—— rubber, how to use, 161.
-
-Ink stains, removing, 163.
-
-—— stains, marking, 164.
-
-Inlaid work, 133.
-
-Inlaying, 134.
-
-—— Viennese method of, 135.
-
-Insects, 166.
-
-—— poison for, 168.
-
-Inside of book, finishing, 132–141.
-
-Interleaving, 18.
-
-Iron, knocking-down (cut), 6.
-
-—— polishing (cut), 119.
-
-
-Joint, 7.
-
-Joints, cloth, 38–99.
-
-—— morocco, 98.
-
-
-Kettle stitch, 25–28.
-
-Keys (sewing), 23.
-
-Knife, bolt (cut), 61.
-
-—— burr on, 79.
-
-—— gold, 79.
-
-—— paring, French (cut), 90.
-
-—— paring, method of holding, (cut), 91.
-
-—— paring, German (cut), 91.
-
-—— paring, German, method of holding (cut), 92.
-
-—— sliding (cut), 60.
-
-—— trimming, 42.
-
-Knocking down iron (cut), 6.
-
-
-Lard, 124.
-
-Lay cords, 23.
-
-Lead type, 129.
-
-Leaf, gold, 79.
-
-—— gold, cutting, 80.
-
-—— gold, thickness of, 80.
-
-—— removing single, 162.
-
-Leather covers, cutting, 90.
-
-—— kinds of, 90.
-
-—— non-porous, 126.
-
-—— porous, 126.
-
-Leaves, re-sizing, 162.
-
-Lettering, 117.
-
-—— calf, 140.
-
-—— pieces, 136.
-
-—— pieces, disadvantages of, 136.
-
-—— pieces, for vellum books, 148.
-
-—— pieces, substitute for, 136.
-
-Letters, hand, 129.
-
-Lining boards, 55.
-
-—— boards, half binding, 55.
-
-—— boards, whole binding, 55.
-
-—— paper for, 88.
-
-—— up, 87.
-
-
-Machine, backing, 50.
-
-—— cutting (cuts), 65, 66.
-
-—— folding (cut), 7.
-
-—— gathering, 8.
-
-—— mill-board cutting (cuts), 54.
-
-—— mill-board cutting, steam, (cut), 54.
-
-—— rolling (cut), 11.
-
-—— rounding, (cut), 47.
-
-—— sawing in (cut), 22.
-
-—— sewing (cut), 31.
-
-—— sewing, 32.
-
-—— sewing wire, 32.
-
-Machines, to prevent, rusting, 171.
-
-Making end papers, 35.
-
-Maps, mounting (cut), 14.
-
-—— throwing out, 13.
-
-Marble comb, 72.
-
-—— edges, sprinkled, 67.
-
-—— nonpareil, 72.
-
-—— shell, 72.
-
-—— Spanish, 72.
-
-—— spot, 72.
-
-—— tree, 105.
-
-Marbled edges, 69.
-
-—— paper, 33.
-
-—— paper, burnishing, 73.
-
-—— paper, old Dutch, 34.
-
-—— paper, transferring to edges, 74–75.
-
-Marblers, mechanical (cuts), 75.
-
-Marbling, 34–71.
-
-—— ancient instructions for, 76.
-
-—— calf, 105.
-
-—— colours for, 69.
-
-—— edges, 73.
-
-—— edges, on gilt, 78.
-
-—— edges, under gilt, 78.
-
-—— ox gall for, 71.
-
-—— paper, 73.
-
-—— preparing for, 104.
-
-—— requisites for, 69.
-
-—— set, 77.
-
-—— size for, 70.
-
-—— trough (cut), 70.
-
-Margins, 3–43.
-
-Marking ink stains, removing, 164.
-
-—— up, 20.
-
-Mechanical marblers (cuts), 75.
-
-Medium for finishing, 126.
-
-—— importance of proper, 126.
-
-Mill-board, cutting, 52.
-
-—— cutting machine (cut), 53.
-
-—— cutting machine, steam, (cut), 54.
-
-—— shears, 52.
-
-Mill-boards, 51.
-
-—— made, 55.
-
-—— name of, 51.
-
-—— sizes of, 52.
-
-—— price of, 51.
-
-Missing sheets, 19.
-
-Mitre piece (cut), 131.
-
-Mitred back, 129.
-
-Mock flexible binding, 90.
-
-Monastic, bindings, 111.
-
-—— finishing, 122.
-
-—— tools (cuts), 112.
-
-Morocco, blocking, 153.
-
-—— imitation, finishing, 133.
-
-—— joints, 98.
-
-—— pasting down, 97.
-
-—— sides, finishing, 141.
-
-Mosaic work, 133.
-
-Mounting, maps, 15.
-
-—— photographs, 171.
-
-Mountings, cleaning silver, 172.
-
-MSS., preserving, 165.
-
-—— restoring faded, 165.
-
-Mull, 89.
-
-Mud stains, 162.
-
-—— removing, 162.
-
-
-Neat, calf, 137.
-
-Nippers, band (cut), 93.
-
-Nitric acid, effect upon leather, 133.
-
-Nonpareil marble, 72.
-
-Non-porous leathers, 126.
-
-
-Object of guards, 16.
-
-—— of trimming, 42.
-
-Old books, beating, 10.
-
-—— head-banding in, 84.
-
-—— sewing, 25.
-
-Old writing, reviving, 164.
-
-Opening books, care in, 169.
-
-Overcasting, 18.
-
-Oversewing, 18.
-
-Ox gall for marbling, 71.
-
-Oxford vellum, 147.
-
-Oxymuriatic acid, restoring writing effaced by, 165.
-
-
-Painting covers, 133.
-
-Pallet (cut), 118.
-
-—— using the, 123.
-
-Paper, bronze end, 34.
-
-—— burnishing marbled, 73.
-
-—— Cobb, 33.
-
-—— finishing, 145.
-
-—— for lining up, 88.
-
-—— incombustible, to render, 166.
-
-—— marbled, 33.
-
-—— marbled, old Dutch, 34.
-
-—— marbling, 73.
-
-—— paste, 35.
-
-—— printed and fancy end, 34.
-
-—— surface, 33.
-
-—— waterproof, to render, 165.
-
-Papers, end, 33.
-
-—— end, making, 35.
-
-Parchment, 147.
-
-—— covering with, 94.
-
-—— vegetable, 147.
-
-Paring, 91.
-
-—— knife, French (cut), 90.
-
-—— knife, French, method of using (cut), 91.
-
-—— knife, German (cut), 91.
-
-—— knife, German, method of using, 92.
-
-Paste, 170.
-
-—— and glue, comparative advantages, 93.
-
-—— for white morocco, 94.
-
-—— for paper, 35.
-
-—— rice, 169.
-
-—— to prevent, moulding and souring, 170.
-
-—— water, effect upon leather, 127.
-
-Pasting, 36.
-
-—— calf, 99.
-
-—— down, 97.
-
-—— down half bindings, 100.
-
-—— Russia, 99.
-
-—— single sheets, 17.
-
-—— up, 36.
-
-Peel, 159.
-
-Photographs, boards for, 170.
-
-—— mounting, 171.
-
-—— removing, 170.
-
-Pieces, lettering, 136.
-
-—— lettering, disadvantages of, 136.
-
-—— lettering, substitute for, 136.
-
-Plates, 14.
-
-—— coloured, 17.
-
-—— guarding, 15.
-
-Plough, round, 42.
-
-Polishing calf back, 140.
-
-—— calf sides, 142.
-
-—— heat for, 140.
-
-Polishing iron (cut), 119.
-
-Porous leathers, 126.
-
-Preparation, dry, 145.
-
-Preparing for covering, 87.
-
-—— for covering flexible work, 89.
-
-—— for covering flexible work, not to show, 89.
-
-—— for covering mock flexible work, 90.
-
-Preserving drawings, MSS., etc., 165.
-
-Press, arming, 117.
-
-—— blocking, 150.
-
-—— cutting (cut), 60.
-
-—— finishing (cut), 121–122.
-
-—— lying, 7, 37.
-
-—— sewing (cut), 24.
-
-—— standing, 18.
-
-—— standing, American (cut), 19.
-
-Pressing, 58, 143.
-
-—— Parisian, mode of, 19.
-
-—— various sized books, 58.
-
-Proof, 57.
-
-Public library books, 41.
-
-Pulling, 5.
-
-Putting on bands, 88.
-
-—— on end papers, 38.
-
-
-Refolding, 5.
-
-Register, 3.
-
-Religious books, edges, 122.
-
-—— books, end papers, 33.
-
-—— books, finishing, 122.
-
-Removing blood stains, 163.
-
-—— damp stains, 162.
-
-—— dust, 161.
-
-—— fat stains, 164.
-
-—— finger-marks, 163.
-
-—— fox-marks, 163.
-
-—— ink stains, 163.
-
-—— marking ink stains, 164.
-
-—— mud stains, 161.
-
-—— single leaf for cleaning, 162.
-
-—— photographs, 171.
-
-—— water stains, 161.
-
-—— writing, 163.
-
-Repairing books damaged by damp, 162.
-
-Re-sizing leaves, 162.
-
-Restoring faded MSS., 165.
-
-—— writing effaced by chlorine, 165.
-
-—— writing effaced by oxymuriatic acid, 165.
-
-—— writing effaced by sea water, 165.
-
-—— writing faded by time, 165.
-
-Reviving old writing, 164.
-
-Rice glue or paste, 169.
-
-Roan, covering with, 95.
-
-—— finishing, 133.
-
-Roll, bar, 133.
-
-Rolling, 10.
-
-Rolling machine (cut), 11.
-
-Round plough, 42.
-
-Rounding, 46.
-
-—— machine, 47.
-
-Roman vellum, 147.
-
-Runner, 54.
-
-Run up back, 129, 139.
-
-Russia, finishing, 145.
-
-—— imitation, 96.
-
-—— pasting down, 99.
-
-—— treatment of, 94.
-
-Rusting, to prevent, tools, etc., 171.
-
-
-Satin, covering with, 95.
-
-Saw cuts, depth of, 22.
-
-—— cuts, filling up, 89.
-
-—— marks (cut), 21.
-
-—— tennon, 21.
-
-Sawing in, 21.
-
-—— in machine (cut), 22.
-
-School books, end papers for, 41.
-
-Scrapers, 79.
-
-Set, marbling, 77.
-
-Set off, 12.
-
-Setting head band, 93.
-
-Sewing, 23.
-
-—— disadvantage of wire, 30.
-
-—— ends, mode of (cut), 40.
-
-—— flexible (cut), 27.
-
-—— flexible work, 23.
-
-—— keys, 23.
-
-—— machine, 32.
-
-—— machine (cut), 31.
-
-—— old books, 25.
-
-—— ordinary (cuts), 26.
-
-—— press (cut), 24.
-
-—— thread, 27.
-
-—— wire, 30.
-
-—— machine, 32.
-
-Shears, mill-board, 52.
-
-Sheets, 3.
-
-—— duplicate, 19.
-
-—— missing, 19.
-
-Shell marble, 72.
-
-Sides, blocking, 151.
-
-—— calf, finishing, 141.
-
-—— calf, extra finishing, 142.
-
-—— calf, polishing, 142.
-
-—— morocco, finishing, 131.
-
-—— siding, 142.
-
-—— tooling, 125.
-
-Sieve, sprinkling, 68.
-
-Signatures, 4.
-
-Silk blocking, 146.
-
-—— covering with, 95.
-
-—— finishing, 146.
-
-Silver mountings, to clean, 172.
-
-Single sheets, pasting, 17.
-
-Size, 74–79, 160.
-
-—— for marbling, 70.
-
-Sizes of books, 4–5.
-
-—— of cord, 22.
-
-—— of mill-boards, 52.
-
-Sizing, 74–159.
-
-Siding sides, 142.
-
-Sliding knife (cut), 60.
-
-Smooth cloth, covering with, 95.
-
-Spanish marble, 72.
-
-Sponges, 119.
-
-—— cleaning, 172.
-
-Spot marble, 72.
-
-Sprinkled edges, 67.
-
-—— marble edges, 67.
-
-Sprinkling brush, 68.
-
-—— calf, 103.
-
-—— calf, fancy, 103.
-
-—— calf, preparing for, 103.
-
-—— colours, 68.
-
-—— sieve, 68.
-
-Stains, blood, removing, 163.
-
-—— damp, 162.
-
-—— effect of wrong bath upon, 158.
-
-—— fat, removing, 164.
-
-—— ink, removing, 164.
-
-—— mud, removing, 162.
-
-—— removing, 158.
-
-—— removing, different, 158.
-
-—— water, how to tell, 161.
-
-—— water, removing, 161.
-
-Stamps, 151.
-
-Standing press, 18.
-
-—— press, American (cut), 19.
-
-Steel-faced backing boards, 50.
-
-Stick, folding, 4.
-
-—— cleaning off, 58, 59.
-
-Stone, beating, 9.
-
-Stove, finishing (cut), 120.
-
-Straight grain leather treatment, 92.
-
-Stuck on head bands, 86.
-
-Substitute for lettering pieces, 136.
-
-Surface paper, 33.
-
-Swelling, 27.
-
-
-Tail, cutting, 62.
-
-Taste in finishing, 117.
-
-Tennon saw, 21.
-
-Thread, sewing, 27.
-
-Throw up backs, 89.
-
-Throwing out maps (cut), 16.
-
-Thumb marks, removing, 163.
-
-Time, restoring writing faded by, 165.
-
-Title, 128.
-
-Tools, Derome, 115.
-
-—— finishing, 118.
-
-—— for antique finishing, 122.
-
-—— for gold finishing, 122.
-
-—— Grolier, 113.
-
-—— Le Gascon, 114.
-
-—— monastic, 112.
-
-—— to prevent, rusting, 171.
-
-—— Venetian (cuts), 113.
-
-Tooled gilt edges, 82.
-
-Tooling, emblematic, 117.
-
-—— sides, 125.
-
-Top, gilt, 41.
-
-Tree marble, 105.
-
-Trimming, 41.
-
-—— board, 41.
-
-——French method of, 42.
-
-—— knife, 42.
-
-—— letter on, 43.
-
-—— machine, 44.
-
-—— machine (cut), 42.
-
-—— object of, 42.
-
-Trindles, 62.
-
-Trough, marbling (cut), 70.
-
-—— two sheets on, 29.
-
-Type, 118–128.
-
-—— brass, 129.
-
-—— holder (cut), 118.
-
-—— lead, 129.
-
-
-Uncut edges, 41.
-
-Unsized paper, to tell, 80.
-
-
-Varnish, 120.
-
-Varnishing, 143.
-
-—— object of, 120.
-
-Vegetable parchment, 147.
-
-Vellum artists, 147.
-
-—— binding, lettering pieces, 149.
-
-—— binding, old, 94.
-
-—— covering with, 94.
-
-—— finishing, 147.
-
-—— Oxford, 147.
-
-—— Roman, 147.
-
-Velvet, blocking, 146.
-
-—— covering with, 95.
-
-—— finishing, 146.
-
-Venetian tools (cuts), 113.
-
-Viennese method of inlaying, 135.
-
-Vinegar, advantage of, 127.
-
-
-Washing, 158.
-
-—— dishes for, 159.
-
-—— requisites for, 159.
-
-Water, glaire, 79.
-
-—— stains, how to tell, 161.
-
-—— stains, removing, 161.
-
-Waterproof, rendering paper, 165.
-
-White morocco, paste for, 92.
-
-Whole binding, lining boards for, 55.
-
-Wire sewing, 30.
-
-—— sewing, disadvantage of, 30.
-
-—— sewing, machine, 32.
-
-Writing effaced by chlorine, restoring, 165.
-
-—— effaced by oxymuriatic acid, restoring, 165.
-
-—— faded by sea water, reviving, 165.
-
-—— faded by time, reviving, 165.
-
-—— removing, 164.
-
-—— reviving old, 164.
-
-Wrong bath, effect upon stains of, 158.
-
-
-
-
-CHISWICK PRESS:—C. WHITTINGHAM AND CO., TOOKS COURT, CHANCERY LANE.
-
-
-
-
-TRANSCRIBER’S NOTE
-
-Original printed spelling and grammar are retained, with a few
-exceptions noted below. Small caps are changed to all capital letters.
-Italics _look like this_. Many illustrations have been moved from
-their original locations to nearby places between paragraphs. Original
-printed page numbers look like this: “|81|”.
-
-Page 21. In “by sewing a small book on fine bands”, changed “fine” to
-“five”.
-
-Page 46. Changed “spontanenusly” to “spontaneously”.
-
-Page 52. A new KEY has been added to the table, so that the table can
-be displayed properly in this ebook edition. Furthermore, each pair of
-columns with headings “6d.”, “7d.”, “8d.”, “8x.”, “8xx.”, and “X.” was
-originally printed with an illustration of a black rectangle showing
-the relative size referred to. These illustrations are included in the
-html and epub editions.
-
-Page 107. Changed “bason” to “basin”.
-
-Page 121. A new paragraph break was inserted between “become dangerous”
-and “A _finishing press_ is”.
-
-Page 164. Changed “subsitute” to “substitute”.
-
-Page 179, Glossary, Entry “Stops”. Changed “mitring” to “mitreing”.
-
-Page 182, Index, Entry “Covering”. In “preparing f r, 87”, changed
-“f r” to “for”.
-
-
-
-
-
-End of Project Gutenberg's The Art of Bookbinding, by Joseph W. Zaehnsdorf
-
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-<pre>
-
-Project Gutenberg's The Art of Bookbinding, by Joseph W. Zaehnsdorf
-
-This eBook is for the use of anyone anywhere in the United States and most
-other parts of the world at no cost and with almost no restrictions
-whatsoever.  You may copy it, give it away or re-use it under the terms of
-the Project Gutenberg License included with this eBook or online at
-www.gutenberg.org.  If you are not located in the United States, you'll have
-to check the laws of the country where you are located before using this ebook.
-
-Title: The Art of Bookbinding
-       A practical treatise, with plates and diagrams
-
-Author: Joseph W. Zaehnsdorf
-
-Release Date: February 14, 2016 [EBook #51213]
-
-Language: English
-
-Character set encoding: UTF-8
-
-*** START OF THIS PROJECT GUTENBERG EBOOK THE ART OF BOOKBINDING ***
-
-
-
-
-Produced by Adrian Mastronardi, RichardW, and the Online
-Distributed Proofreading Team at http://www.pgdp.net (This
-file was produced from images generously made available
-by The Internet Archive/American Libraries.)
-
-
-
-
-
-
-</pre>
-
-
-<div class="imctr02" id="coverpage">
-<img src="images/cover.jpg" width="526" height="800" alt="" />
-</div>
-
-<div class="transnote">
- <a href="#toc">table of contents</a>
- <a href="#transnote">transcriber's notes</a>
-</div>
-
-<h1>THE ART OF BOOKBINDING. A PRACTICAL TREATISE.
-BY JOSEPH W. ZAEHNSDORF.</h1>
-
-<div class="front">
-<div class="fsize4">TECHNOLOGICAL HANDBOOKS.</div>
-
-<div class="fsize5">ART OF BOOKBINDING.</div>
-</div>
-
-<div class="front">
-<div class="fsize4">TECHNOLOGICAL HANDBOOKS.</div>
-
-<p class="hangb padtopa">1. DYEING AND TISSUE-PRINTING. By William Crookes,
-F.R.S., V.P.C.S. <i>5s.</i></p>
-
-<p class="hangb">2. GLASS MANUFACTURE.
-<span class="smcap">I<span>NTRODUCTORY</span></span>
-<span class="smcap">E<span>SSAY</span></span>,
-by H. J. Powell, B.A. (Whitefriars Glass Works);
-<span class="smcap">C<span>ROWN</span></span>
-<span class="smmaj">AND</span>
-<span class="smcap">S<span>HEET</span></span>
-<span class="smcap">G<span>LASS</span></span>,
-by Henry Chance, M.A. (Chance Bros., Birmingham);
-<span class="smcap">P<span>LATE</span></span>
-<span class="smcap">G<span>LASS</span></span>, by H. G.
-Harris, Assoc. Memb. Inst. C.E. 3<i>s.</i> 6<i>d.</i></p>
-
-<p class="hangb">3. COTTON SPINNING; Its Development, Principles, and
-Practice. By R. Marsden, Editor of the “Textile Mercury.” With an
-Appendix on Steam Engines and Boilers. 3rd edition, revised, 6<i>s.</i>
-6<i>d.</i></p>
-
-<p class="hangb">4. COAL-TAR COLOURS, The Chemistry of. With special
-reference to their application to Dyeing, &amp;c. By Dr. R. Benedikt.
-Translated from the German by E. Knecht, Ph.D. 2nd edition, enlarged,
-6<i>s.</i> 6<i>d.</i></p>
-
-<p class="hangb">5. WOOLLEN AND WORSTED CLOTH MANUFACTURE. By Professor
-Roberts Beaumont. 2nd edition, revised. 7<i>s.</i> 6<i>d.</i></p>
-
-<p class="hangb">6. PRINTING. By C. T. Jacobi, Manager of the Chiswick
-Press. <i>5s.</i></p>
-
-<p class="hangb">7. BOOKBINDING. By J. W. Zaehnsdorf.</p>
-
-<p class="hangb">9. COTTON WEAVING. By R. Marsden. <i>In preparation.</i></p>
-</div>
-
-<div class="front">
-<div class="imctr01" id="frontispiece">
-<img src="images/i004.jpg" width="600" height="800" alt="" />
-<div class="caption">FLORENTINE.
-<div>Small folio.</div></div>
-</div></div>
-
-<div class="front">
-<div class="fsize5 ltsp1"><i>TECHNOLOGICAL HANDBOOKS.</i></div>
-
-<div class="fsize4 padtopa ltsp1">THE ART</div>
-<div class="fsize7 padtopb ltsp1">OF</div>
-<div class="fsize2 padtopc ltsp1">BOOKBINDING.</div>
-
-<div class="fsize5 padtopb ltsp1">A PRACTICAL TREATISE.</div>
-
-<div class="fsize7 padtopa ltsp1">BY</div>
-<div class="fsize4 ltsp1">JOSEPH W. ZAEHNSDORF.</div>
-
-<div class="fsize6 padtopa">
-<span class="smcap">W<span>ITH</span></span>
-<span class="smcap">P<span>LATES</span></span>
-<span class="smmaj">AND</span>
-<span class="smcap">D<span>IAGRAMS.</span></span>
-</div>
-
-<div class="fsize6 padtopa ltsp1"><i>SECOND EDITION, REVISED AND ENLARGED.</i></div>
-
-<div class="fsize6 padtopa ltsp1">LONDON: GEORGE BELL AND SONS,</div>
-<div class="fsize6 ltsp1">YORK STREET, COVENT GARDEN.</div>
-<div class="fsize6 ltsp1">1890.</div>
-</div>
-
-<div class="front">
-<div class="m20 pjust fsize7 ltsp1">CHISWICK PRESS:—C.
-WHITTINGHAM AND CO.,
-TOOKS COURT, CHANCERY LANE.</div>
-</div>
-
-<div class="front">
-<div class="fsize7 ltsp1">DEDICATED TO</div>
-
-<div class="fsize5 ltsp1 padtopb">HUGH OWEN, ESQ., F.S.A.,</div>
-
-<div class="m20 pjust fsize6 ltsp1 padtopc">AS A SLIGHT
- ACKNOWLEDGMENT OF HIS COUNSEL AND
- FRIENDSHIP, AND IN ADMIRATION OF HIS
- KNOWLEDGE OF</div>
-
-<div class="fsize5 ltsp1 padtopc">BOOKBINDING.</div>
-</div>
-
-<div class="chapter mainbody">
-<h2 class="nobreak">PREFACE TO THE SECOND EDITION.</h2>
-
-<p class="first">The
-first edition of this book was written for the use of
-amateurs, but I found that amongst the members of
-the trade my little volume had a large sale, and in a short
-time the edition became exhausted. Repeated applications
-for the book have induced me to issue this second edition.
-I have adhered to the arrangement of the first, but a great
-deal of fresh matter has been added, which I trust will be
-found useful. Should any of my fellow-workmen find
-anything new to them I shall be satisfied, knowing that I
-have done my duty in spreading such knowledge as may
-contribute towards the advancement of the beautiful art of
-bookbinding.</p>
-
-<p>I have to record my obligations to those gentlemen who
-have assisted me by courteously describing the various
-machines of their invention with which the book is illustrated.
-The object, however, of illustrating this work with
-engravings of machines is simply to recognize the fact that
-books are bound by machinery. To a mechanical worker
-must be left the task of describing the processes used in
-this method.</p></div>
-
-<div class="chapter m20">
-<ul id="listofplates">
-<li class="hanga pleft">
- <h2 class="nobreak">LIST OF PLATES.</h2></li>
-<li class="hanga pleft"><span class="smcap">F<span>LORENTINE</span></span> …
- <a href="#frontispiece"><i>Frontispiece</i></a></li>
-<li class="hanga pleft">
- <a href="#ipxiv" class="aright nobord">◊</a>
- <span class="smcap">G<span>ROLIER</span></span> …</li>
-<li class="hanga pleft">
- <a href="#ipxvi" class="aright nobord">◊</a>
- <span class="smcap">G<span>ASCON</span></span> …</li>
-<li class="hanga pleft">
- <a href="#ip110" class="aright nobord">◊</a>
- <span class="smcap">R<span>ENAISSANCE</span></span> …</li>
-<li class="hanga pleft">
- <a href="#ip112" class="aright nobord">◊</a>
- <span class="smcap">A<span>NTIQUE</span></span>
- <span class="smmaj">WITH</span>
- <span class="smmaj">GOLD</span>
- <span class="smmaj">LINE</span> …</li>
-
-<li class="hanga pleft">
- <a href="#ip114" class="aright nobord">◊</a>
- <span class="smcap">D<span>EROME</span></span> …</li>
-
-<li class="hanga pleft">
- <a href="#ip132" class="aright nobord">◊</a>
- <span class="smcap">G<span>ROLIER</span></span> …</li>
-
-<li class="hanga pleft">
- <a href="#ip134" class="aright nobord">◊</a>
- <span class="smcap">M<span>AIOLI</span></span> …</li>
-</ul></div>
-
-<div class="chapter mainbody">
-<table summary="table of contents" id="toc">
-<tr><th colspan="2">
- <h2 class="nobreak">CONTENTS.</h2></th></tr>
-
-<tr>
- <td><p class="pcenter">PART I.—FORWARDING.</p></td>
- <td class="fsize7">PAGE</td></tr>
-<tr><td><span class="smcap">C<span>HAPTER</span>
- I.</span> Folding: Refolding — Machines — Gathering</td>
-<td class="fsize7"><a href="#p003">3–8</a></td></tr>
-
-<tr><td><span class="smcap">C<span>HAPTER</span>
- II.</span> Beating and Rolling: Machines</td>
-<td class="fsize7"><a href="#p009">9–12</a></td></tr>
-
-<tr><td><span class="smcap">C<span>HAPTER</span>
- III.</span> Collating: Interleaving</td>
-<td class="fsize7"><a href="#p013">13–19</a></td></tr>
-
-<tr><td><span class="smcap">C<span>HAPTER</span>
- IV.</span> Marking up and Sawing in</td>
-<td class="fsize7"><a href="#p020">20–23</a></td></tr>
-
-<tr><td><span class="smcap">C<span>HAPTER</span>
- V.</span> Sewing: Flexible — Ordinary</td>
-<td class="fsize7"><a href="#p023">23–32</a></td></tr>
-
-<tr><td><span class="smcap">C<span>HAPTER</span>
- VI.</span> Forwarding: End Papers — Cobb Paper — Surface
-Paper — Marbled Paper — Printed and other Fancy
-Paper — Coloured Paste Paper</td>
-<td class="fsize7"><a href="#p033">33–36</a></td></tr>
-
-<tr><td><span class="smcap">C<span>HAPTER</span>
- VII.</span> Pasting up</td>
-<td class="fsize7"><a href="#p036">36–37</a></td></tr>
-
-<tr><td><span class="smcap">C<span>HAPTER</span>
- VIII.</span> Putting on the End Papers</td>
-<td class="fsize7"><a href="#p038">38–41</a></td></tr>
-
-<tr><td><span class="smcap">C<span>HAPTER</span>
- IX.</span> Trimming</td>
-<td class="fsize7"><a href="#p041">41–44</a></td></tr>
-
-<tr><td><span class="smcap">C<span>HAPTER</span>
- X.</span> Gluing up</td>
-<td class="fsize7"><a href="#p045">45–46</a></td></tr>
-
-<tr><td><span class="smcap">C<span>HAPTER</span>
- XI.</span> Rounding</td>
-<td class="fsize7"><a href="#p046">46–48</a></td></tr>
-
-<tr><td><span class="smcap">C<span>HAPTER</span>
- XII.</span> Backing</td>
-<td class="fsize7"><a href="#p048">48–51</a></td></tr>
-
-<tr><td><span class="smcap">C<span>HAPTER</span>
- XIII.</span> Mill-boards</td>
-<td class="fsize7"><a href="#p051">51–57</a></td></tr>
-
-<tr><td><span class="smcap">C<span>HAPTER</span>
- XIV.</span> Drawing-in and Pressing</td>
-<td class="fsize7"><a href="#p057">57–59</a></td></tr>
-
-<tr><td><span class="smcap">C<span>HAPTER</span>
- XV.</span> Cutting</td>
-<td class="fsize7"><a href="#p059">59–66</a></td></tr>
-
-<tr><td><span class="smcap">C<span>HAPTER</span>
- XVI.</span> Colouring the Edges: Sprinkled Edges — Colours
-for Sprinkling — Plain Colouring — Marbled Edges — Spot
-Marble — Comb or Nonpareil Marble — Spanish
-Marble — Edges — Sizing</td>
-<td class="fsize7"><a href="#p067">67–77</a></td></tr>
-
-<tr><td><span class="smcap">C<span>HAPTER</span>
- XVII.</span> Gilt Edges: The Gold Cushion — Gold
-Knife — Burnishers — Glaire Water or Size — Scrapers — The
-Gold Leaf — Gilt on Red — Tooled Edges — Painted
-Edges</td>
-<td class="fsize7"><a href="#p078">78–83</a></td></tr>
-
-<tr><td><span class="smcap">C<span>HAPTER</span>
- XVIII.</span> Head-Banding</td>
-<td class="fsize7"><a href="#p083">83–86</a></td></tr>
-
-<tr><td><span class="smcap">C<span>HAPTER</span>
- XIX.</span> Preparing for Covering: lining up</td>
-<td class="fsize7"><a href="#p087">87–90</a></td></tr>
-
-<tr><td><span class="smcap">C<span>HAPTER</span>
- XX.</span> Covering: Russia — Calf — Vellum or
-Parchment — Roan — Cloth — Velvet — Silk
-and Satin — Half-bound Work</td>
-<td class="fsize7"><a href="#p090">90–97</a></td></tr>
-
-<tr><td><span class="smcap">C<span>HAPTER</span>
- XXI.</span> Pasting Down: Joints — Calf, Russia, etc.</td>
-<td class="fsize7"><a href="#p097">97–100</a></td></tr>
-
-<tr><td><span class="smcap">C<span>HAPTER</span>
- XXII.</span> Calf Colouring:
-Black — Brown — Yellow — Sprinkles — Marbles — Tree-marbles — Dabs</td>
-<td class="fsize7"><a href="#p100">100–108</a></td></tr>
-
-<tr>
- <td class="padtopc"><p class="pcenter">PART II. — FINISHING.</p>
- <div><span class="smcap">C<span>HAPTER</span>
- XXIII.</span> Finishing:
- Tools and Materials required for Finishing — Polishing
- Irons — Gold-rag — India-rubber — Gold-cushion — Gold
- Leaf — Sponges — Glaire — Cotton
- Wool — Varnish — Finishing — Morocco — Gold Work — Inlaid
- Work — Porous — Full Gilt Back — Run-up — Mitred
- Back — Pressing — Graining — Finishing with Dry
- Preparation — Velvet — Silk — Vellum — Blocking</div></td>
-<td class="padtopc fsize7"><a href="#p111">111–153</a></td></tr>
-
-<tr><td class="padtopc"><p class="pcenter">GENERAL INFORMATION.</p>
- <div><span class="smcap">C<span>HAPTER</span>
- XXIV.</span> Washing and Cleaning:
- Requisites — Manipulation — Dust — Water
- Stains — Damp Stains — Mud — Fox-marks — Finger-marks, commonly called
- “Thumb-marks” — Blood Stains — Ink Stains (writing) — Ink
- Stains (Marking Ink, Silver) — Fat Stains — Ink — Reviving
- Old Writings — To Restore Writing effaced by
- Chlorine — To Restore MSS. faded by time — To Preserve
- Drawings or Manuscripts — To fix Drawings or Pencil
- Marks — To render Paper Waterproof — To render Paper
- Incombustible — Deciphering Burnt Documents — Insects — Glue — Rice
- Glue or Paste — Paste — Photographs — Albumen — To
- Prevent Tools, Machines, etc., from Rusting — To
- Clean Silver Mountings — To Clean Sponges</div></td>
-<td class="padtopc fsize7"><a href="#p157">157–172</a></td></tr>
-
-<tr><td class="padtopc"><span class="smcap">G<span>LOSSARY</span></span></td>
-<td class="fsize7 padtopc"><a href="#p173">173</a></td></tr>
-
-<tr><td><span class="smcap">I<span>NDEX</span></span></td>
-<td class="fsize7"><a href="#p181">181</a></td></tr>
-</table></div>
-
-<div class="chapter mainbody">
-<h2 class="nobreak">INTRODUCTION.</h2>
-
-<p class="first">Bookbinding carries us back to the time when
-leaden tablets with inscribed hieroglyphics were
-fastened together with rings, which formed what to us
-would be the binding of the volumes. We might go even
-still further back, when tiles of baked clay with cuneiform
-characters were incased one within the other, so that if the
-cover of one were broken or otherwise damaged there still
-remained another, and yet another covering; by which care
-history has been handed down from generation to generation.
-The binding in the former would consist of the
-rings which bound the leaden tablets together, and in the
-latter, the simple covering formed the binding which
-preserved the contents.</p>
-
-<p>We must pass on from these, and make another pause,
-when vellum strips were attached together in one continuous
-length with a roller at each end. The reader
-unrolled the one, and rolled the other as he perused the
-work. Books, prized either for their rarity, sacred
-character, or costliness, would be kept in a round box or
-case, so that the appearance of a library in Ancient Jerusalem
-would seem to us as if it were a collection of
-canisters. The next step was the fastening of separate
-leaves together, thus making a back, and covering the
-whole as a protection in a most simple form; the only
-object being to keep the several leaves in connected
-sequence. I believe the most ancient form of books
-<span id="p-xii"></span>
-formed of separate leaves, will be found in the sacred
-books of Ceylon which were formed of palm leaves, written
-on with a metal style, and the binding was merely a silken
-string tied through one end so loosely as to admit of each
-leaf being laid down flat when turned over. When the
-mode of preserving MS. on animal membrane or vellum in
-separate leaves came into use, the binding was at first only
-a simple piece of leather wrapped round the book and tied
-with a thong. These books were not kept on their edges,
-but were laid down flat on the shelves, and had small cedar
-tablets hanging from them upon which their titles were
-inscribed.</p>
-
-<p>The ordinary books for general use were only fastened
-strongly at the back, with wooden boards for the sides, and
-simply a piece of leather up the back.</p>
-
-<p>In the sixth century, bookbinding had already taken its
-place as an “Art,” for we have the “Byzantine coatings,”
-as they are called. They are of metal, gold, silver or
-copper gilt, and sometimes they are enriched with precious
-stones. The monks, during this century, took advantage
-of the immense thickness of the wooden boards and frequently
-hollowed them out to secrete their relics in the
-cavities. Bookbinding was then confined entirely to the
-monks who were the literati of the period. Then the art
-was neglected for some centuries, owing to the plunder and
-pillage that overran Europe, and books were destroyed to
-get at the jewels that were supposed to be hidden in the
-different parts of the covering, so that few now remain to
-show how bookbinding was then accomplished and to what
-extent.</p>
-
-<p>We must now pass on to the middle ages, when samples
-of binding were brought from the East by the crusaders,
-and these may well be prized by their owners for their
-delicacy of finish. The monks, who still held the Art of
-Bookbinding in their hands, improved upon these Eastern
-<span id="p-xiii"></span>
-specimens. Each one devoted himself to a different branch:
-one planed the oaken boards to a proper size, another
-stretched and coloured the leather; and the work was thus
-divided into branches, as it is now. The task was one of
-great difficulty, seeing how rude were the implements then
-in use.</p>
-
-<div class="imctr01">
-<img src="images/i015-16.jpg" width="600" height="427" alt="" />
-<div class="caption">
-<table class="twth01" summary="">
-<tr>
- <td>Monastic.</td>
- <td>Venetian.</td></tr>
-</table></div></div>
-
-<p>The art of printing gave new life to our trade, and,
-during the fifteenth century bookbinding made great
-progress on account of the greater facility and cheapness
-with which books were produced. The printer was then
-his own binder; but as books increased in number, bookbinding
-became a separate art-trade of itself. This was a
-step decidedly in the right direction. The art improved so
-much, that in the sixteenth century some of the finest
-samples of bookbinding were executed. Morocco having
-been introduced, and fine delicate tools cut, the art was
-encouraged by great families, who, liking the Venetian
-patterns, had their books bound in that style. The annexed
-<span id="p-xiv"></span>
-woodcut will give a fair idea of a Venetian tool. During
-this period the French had bookbinding almost entirely in
-their hands, and Mons. Grolier, who loved the art, had his
-books bound under his own supervision in the most costly
-manner. His designs consisted of bold gold lines arranged
-geometrically with great accuracy, crossing one another and
-intermixed with small leaves or sprays. These were in
-outlines shaded or filled up with closely worked cross lines.
-Not, however, satisfied with these simple traceries, he embellished
-them still more by staining or painting them
-black, green, red, and even with silver, so that they formed
-bands interlacing each other in a most graceful manner.
-Opposite is a centre block of Grolier. It will be seen how
-these lines entwine, and how the small tools are shaded
-with lines. If the reader has had the good fortune to see
-one of these specimens, has he not wondered at the taste
-displayed? To the French must certainly be given the
-honour of bringing the art to such a perfection. Francis I.
-and the succeeding monarchs, with the French nobility,
-<span id="p-xv"></span>
-placed the art on such a high eminence, that even now we
-are compelled to look to these great masterpieces as models
-of style. Not only was the exterior elaborate in ornament,
-but the edges were gilded and tooled; and even painted.
-We must wonder at the excellence of the materials and the
-careful workmanship which has preserved the bindings,
-even to the colour of the leather, in perfect condition to
-the present day.</p>
-
-<div class="imctr01" id="ipxiv">
-<img src="images/i017.jpg" width="600" height="800" alt="" />
-<div class="caption">GROLIER.
-<div>Royal folio</div></div></div>
-
-<div class="imctr06">
-<img src="images/i019.jpg" width="312" height="421" alt="" />
-<div class="caption">Grolier.</div></div>
-
-<p>There is little doubt that the first examples of the style
-now known as “<i>Grolier</i>” were produced in Venice, under
-the eye of Grolier himself, and according to his own
-designs; and that workmen in France, soon rivalled and
-excelled the early attempts. The work of Maioli may be
-distinctly traced by the bold simplicity and purity of his
-designs; and more especially by the broader gold lines
-which margin the coloured bands of geometric and
-arabesque ornamentation.</p>
-
-<p>All books, it must be understood, were not bound in so
-costly a manner, for we find pigskin, vellum and calf in
-<span id="p-xvi"></span>
-use. The latter was especially preferred on account of its
-peculiar softness, smooth surface, and great aptitude for
-receiving impressions of dumb or blind tooling. It was
-only towards the latter part of the sixteenth century that
-the English binders began to employ delicate or fine
-tooling.</p>
-
-<p>During the seventeenth century the names of Du Sueil
-and Le Gascon were known for the delicacy and extreme
-minuteness of their finishing. Not disdaining the bindings
-of the Italian school, they took from them new ideas; for
-whilst the Grolier bindings were bold, the Du Sueil and
-Le Gascon more resembled fine lace work of intricate
-design, with harmonizing flowers and other objects, from
-which we may obtain a great variety of artistic character.
-During this period embroidered velvet was much in use.
-Then a change took place and a style was adopted which
-by some people would be preferred to the gorgeous bindings
-of the sixteenth century. The sides were finished
-quite plainly with only a line round the edge of the boards
-(and in some instances not even that) with a coat of arms
-or some badge in the centre.</p>
-
-<p>Towards the end of the seventeenth century bookbinding
-began to improve, particularly with regard to forwarding.
-The joints were true and square, and the back was made to
-open more freely. In the eighteenth century the names of
-Derome, Roger Payne, and others are prominent as masters
-of the craft, and the Harleian style was introduced.</p>
-
-<p>The plate facing may be fairly estimated as a good
-specimen of Derome. Notice the extreme simplicity and
-yet the symmetry of the design; its characteristic feature
-being the boldness of the corners and the gradual diminishing
-of the scroll work as it nears the centre of the
-panel. Morocco and calf were the leathers used for this
-binding.</p>
-
-<div class="imctr01" id="ipxvi">
-<img src="images/i021.jpg" width="600" height="753" alt="" />
-<div class="caption">GASCON.
-<div>8<sup>vo</sup></div>
-<div class="fsize7 pright">T. Way, Photo-lith.</div>
-</div></div>
-
-<p>Hand coloured calf was at this period at its height, and
-<span id="p-xvii"></span>
-the Cambridge calf may be named as a pattern of one of
-the various styles, and one that is approved of by many at
-the present day—the calf was sprinkled all over, save a
-square panel left uncoloured in the centre of the boards.</p>
-
-<div class="imctr05">
-<img src="images/i023.jpg" width="348" height="359" alt="" />
-<div class="caption">Harleian.</div></div>
-
-<p>The Harleian style took its name from Harley, Earl of
-Oxford. It was red morocco with a broad tooled border
-and centre panels. We have the names of various masters
-who pushed the art forward to very great excellence during
-this century. Baumgarten and Benedict, two Germans of
-considerable note in London; Mackinly, from whose house
-also fine work was sent out, and by whom good workmen
-were educated whose specimens almost equal the work of
-their master. There were two other Germans, Kalthoeber
-and Staggemeier, each having his own peculiar style.
-Kalthoeber is credited with having first introduced painting
-on the edges. This I must dispute, as it was done in the
-sixteenth century. To him, however, must certainly be
-given the credit of having discovered the secret, if ever
-lost, and renewing it on his best work. We must now
-<span id="p-xviii"></span>
-pass on to Roger Payne, that unfortunate and erring man
-but clever workman, who lived during the latter part of
-the eighteenth century. His taste may be seen from the
-woodcut. He generally used small tools, and by combining
-them formed a variety of beautiful designs. He cut most
-of these tools himself, either because he could not find a
-tool cutter of sufficient skill, or that he found it difficult to
-pay the cost. We are told by anecdote, that he drank
-much and lived recklessly; but notwithstanding all his
-irregular habits, his name ought to be respected for the
-work he executed. His backs were firm, and his forwarding
-excellent; and he introduced a class of finishing that was
-always in accordance with the character or subject of the
-book. His only fault was the peculiar coloured paper with
-which he made his end papers. <span id="p-xix"></span></p>
-
-<div class="imctr01">
-<img src="images/i024.jpg" width="600" height="460" alt="" />
-<div class="caption">Roger Payne.</div></div>
-
-<p>Coloured or fancy calf has now taken the place of the
-hand-coloured. Coloured cloth has come so much into use,
-that this branch of the trade alone monopolizes nearly
-three-fourths of the workmen and females employed in
-bookbinding. Many other substitutes for leather have
-been introduced, and a number of imitations of morocco
-and calf are in the market; this, with the use of machinery,
-has made so great a revolution in the trade, that it is now
-divided into two distinct branches—cloth work and extra
-work.</p>
-
-<p>I have endeavoured in the foregoing remarks to raise
-the emulation of my fellow craftsmen by naming the most
-famous artists of past days; men whose works are most
-worthy of study and imitation. I have refrained from
-any notice or criticism of the work of my contemporaries;
-but I may venture to assure the lover of good bookbinding
-that as good and sound work, and as careful finish, may be
-obtained in a first-rate house in London as in any city in
-the world.</p>
-
-<p>In the succeeding chapters, I will endeavour in as plain
-and simple a way as I can to give instructions to the
-unskilled workman <i>how to bind a book</i>.</p>
-</div><!--mainbody-->
-
-<div class="chapter mainbody">
-<h2 class="nobreak">PART I.
-<span class="smallerblk">FORWARDING.</span></h2></div>
-
-<div class="chapter mainbody">
-<div><span id="p003" class="xxpn">|3|</span></div>
-
-<h3 title="CHAPTER I. FOLDING.">
-THE ART OF BOOKBINDING.
-<span class="sameblk">CHAPTER I.</span>
-<span class="smallerblk">
-<span class="smcap">F<span>OLDING.</span></span></span></h3>
-
-<p class="first">We commence
-with <i>folding</i>. It is generally the first thing
-the binder has to do with a book. The sheets are either
-supplied by the publisher or printer (mostly the printer);
-should the amateur wish to have his books in sheets,
-he may generally get them by asking his bookseller for
-them. It is necessary that they be carefully folded, for
-unless they are perfectly even, it is impossible that the
-margins (the blank space round the print) can be uniform
-when the book is cut. Where the margin is small, as in
-very small prayer books, a very great risk of cutting into
-the print is incurred; besides, it is rather annoying to see
-a book which has the folio or paging on one leaf nearly at
-the top, and on the next, the print touching the bottom;
-to remedy such an evil, the printer having done his
-duty by placing his margins quite true, it remains with the
-binder to perfect and bring the sheet into proper form by
-folding. The best bound book may be spoilt by having
-the sheets badly folded, and the binder is perfectly justified
-in rejecting any sheets that may be badly printed, that is,
-not in register. <span id="p004" class="xxpn">|4|</span></p>
-
-<p>The sheets are laid upon a table with the signatures
-(the letters or numbers that are at the foot of the first
-page of each sheet when folded) facing downwards on the
-left hand side. A folding-stick is held in the right hand, and
-the sheet is brought over from right to left, the folios being
-carefully placed together; if the paper is held up to the
-light, and is not too thick, it can be easily seen through.
-Holding the two together and laying them on the table the
-folder is drawn across the sheet, creasing the centre; then,
-holding the sheet down with the folder on the line to be
-creased, the top part is brought over and downwards till
-the folios or the bottom of the letterpress or print is again
-even. The folder is then drawn across, and so by bringing
-each folio together the sheet is completed. The process is
-extremely simple. The octavo sheet is <i>generally</i> folded
-into 4 folds, thus giving 8 leaves or 16 pages; a quarto,
-into 2, giving 4 leaves or 8 pages, and the sheets properly
-folded, will have <i>their signatures outside</i> at the foot of the
-first page. If the signature is not on the outside, one
-may be certain that the sheet has been wrongly folded.</p>
-
-<p>I say <i>generally</i>; at one time the water or wire mark on
-the paper and the number of folds gave the size of the
-book.</p>
-
-<p>There are numerous other sizes, but it is not necessary
-to give them all; the process of folding is in nearly all
-cases the same; here are however, a few of the sizes given
-in inches.</p>
-
-<div class="tablebox"><div class="nowrap">
-<table summary="paper sizes">
-<tr>
- <td class="pleft">Foolscap 8vo.</td>
- <td class="pright"><span class="mixfract" title="6-5/8">6<span
- class="fract">&#8201;<span class="fup">5</span>&#8202;&#8260;&#8202;<span
- class="fdn">8</span></span></span></td>
- <td>×</td>
- <td class="pleft">&#8199;<span class="mixfract" title="4-1/8">4<span
- class="fract">&#8201;<span class="fup">1</span>&#8202;&#8260;&#8202;<span
- class="fdn">8</span></span></span></td></tr>
-<tr>
- <td class="pleft">Demy 12mo.</td>
- <td class="pright"><span class="mixfract" title="7-3/8">7<span
- class="fract">&#8201;<span class="fup">3</span>&#8202;&#8260;&#8202;<span
- class="fdn">8</span></span></span></td>
- <td>×</td>
- <td class="pleft">&#8199;<span class="mixfract" title="4-3/8">4<span
- class="fract">&#8201;<span class="fup">3</span>&#8202;&#8260;&#8202;<span
- class="fdn">8</span></span></span></td></tr>
-<tr>
- <td class="pleft">Crown 8vo.</td>
- <td class="pright"><span class="mixfract" title="7-1/2">7<span
- class="fract">&#8201;<span class="fup">1</span>&#8202;&#8260;&#8202;<span
- class="fdn">2</span></span></span></td>
- <td>×</td>
- <td class="pleft">&#8199;5</td></tr>
-<tr>
- <td class="pleft">Post 8vo.</td>
- <td class="pright">8&#8199;&#8199;</td>
- <td>×</td>
- <td class="pleft">&#8199;5</td></tr>
-<tr>
- <td class="pleft">Demy 8vo.</td>
- <td class="pright">9&#8199;&#8199;</td>
- <td>×</td>
- <td class="pleft">&#8199;<span class="mixfract" title="5-1/2">5<span
- class="fract">&#8201;<span class="fup">1</span>&#8202;&#8260;&#8202;<span
- class="fdn">2</span></span></span></td></tr>
-<tr>
- <td class="pleft">Medium 8vo.</td>
- <td class="pright"><span class="mixfract" title="9-5/8">9<span
- class="fract">&#8201;<span class="fup">5</span>&#8202;&#8260;&#8202;<span
- class="fdn">8</span></span></span></td>
- <td>×</td>
- <td class="pleft">&#8199;<span class="mixfract" title="5-3/4">5<span
- class="fract">&#8201;<span class="fup">3</span>&#8202;&#8260;&#8202;<span
- class="fdn">4</span></span></span></td></tr>
-<tr>
- <td class="pleft">Small Royal 8vo.</td>
- <td class="pright">10&#8199;&#8199;</td>
- <td>×</td>
- <td class="pleft">&#8199;<span class="mixfract" title="6-1/4">6<span
- class="fract">&#8201;<span class="fup">1</span>&#8202;&#8260;&#8202;<span
- class="fdn">4</span></span></span></td></tr>
-<tr>
- <td class="pleft">Large Royal 8vo.</td>
- <td class="pright"><span class="mixfract" title="10-1/2">10<span
- class="fract">&#8201;<span class="fup">1</span>&#8202;&#8260;&#8202;<span
- class="fdn">2</span></span></span></td>
- <td>×</td>
- <td class="pleft">&#8199;<span class="mixfract" title="6-3/4">6<span
- class="fract">&#8201;<span class="fup">3</span>&#8202;&#8260;&#8202;<span
- class="fdn">4</span></span></span></td></tr>
-<tr>
- <td class="pleft" id="p005">Imperial 8vo.</td>
- <td class="pright">11&#8199;&#8199;</td>
- <td>×</td>
- <td class="pleft">&#8199;<span class="mixfract" title="7-1/2">7<span
- class="fract">&#8201;<span class="fup">1</span>&#8202;&#8260;&#8202;<span
- class="fdn">2</span></span></span></td></tr>
-<tr>
- <td class="pleft">Demy 4to.</td>
- <td class="pright">11&#8199;&#8199;</td>
- <td>×</td>
- <td class="pleft">&#8199;9</td></tr>
-<tr>
- <td class="pleft">Medium 4to.</td>
- <td class="pright"><span class="mixfract" title="11-3/4">11<span
- class="fract">&#8201;<span class="fup">3</span>&#8202;&#8260;&#8202;<span
- class="fdn">4</span></span></span></td>
- <td>×</td>
- <td class="pleft">&#8199;<span class="mixfract" title="9-5/8">9<span
- class="fract">&#8201;<span class="fup">5</span>&#8202;&#8260;&#8202;<span
- class="fdn">8</span></span></span></td></tr>
-<tr>
- <td class="pleft">Royal 4to.</td>
- <td class="pright"><span class="mixfract" title="12-1/2">12<span
- class="fract">&#8201;<span class="fup">1</span>&#8202;&#8260;&#8202;<span
- class="fdn">2</span></span></span></td>
- <td>×</td>
- <td class="pleft">10</td></tr>
-<tr>
- <td class="pleft">Imperial 4to.</td>
- <td class="pright">15&#8199;&#8199;</td>
- <td>×</td>
- <td class="pleft">11</td></tr>
-<tr>
- <td class="pleft">Crown Folio.</td>
- <td class="pright">15&#8199;&#8199;</td>
- <td>×</td>
- <td class="pleft">10</td></tr>
-<tr>
- <td class="pleft">Demy Folio</td>
- <td class="pright">18&#8199;&#8199;</td>
- <td>×</td>
- <td class="pleft">11</td></tr>
-</table></div></div>
-
-<p>As a final caution, the first and last sheets must be carefully
-examined; very often the sheet has to be cut up or
-divided, and the leaf or leaves placed in various positions
-in the book.</p>
-
-<p>It is also advisable to cut the head of the sheets, using
-the folding-stick, cutting just beyond the back or middle
-fold; this prevents the sheet running into a side crease
-when pressing or rolling. Should such a crease occur the
-leaf or sheet must be damped by placing it between wet
-paper and subjecting it to pressure; no other method is
-likely to erase the break.</p>
-
-<p><i>Refolding.</i>—With regard to books that have been issued
-in numbers, they must be <i>pulled to pieces</i> or divided. The
-parts being arranged in consecutive order, so that not so
-much difficulty will be felt in collating the sheets, the
-outside wrapper is torn away, and each sheet pulled singly
-from its neighbour, care being taken to see if any thread
-used in sewing is in the centre of the sheet at the back;
-if so, it must be cut with a knife or it will tear the paper.
-As the sheets are pulled they must be laid on the left hand
-side, each sheet being placed face downwards; should they
-be placed face upwards the first sheet will be the last and the
-whole will require rearranging. All advertisements may be
-placed away from the sheets into a pile; these will be found
-very handy for lining boards, pasting on, or as waste.
-The title and contents will generally be found in the last
-part; place them in their proper places. The sheets must
-now be refolded, if improperly folded in the first instance. <span id="p006" class="xxpn">|6|</span>
-Turn the whole pile (or book now) over, and again go
-through each sheet; alter by refolding any sheet that may
-require it. Very often the sheets are already cut, and in this
-case the section must be dissected and each leaf refolded
-and reinserted in proper sequence, and placed carefully
-head-line to head-line. Great care must be exercised, as
-the previous creasings render the paper liable to be torn
-in the process.</p>
-
-<div class="imctr04">
-<img src="images/i032.jpg" width="408" height="208" alt="" />
-<div class="caption">Knocking-down Iron screwed into Press.
-</div></div>
-
-<p>Books that have been bound and cut would be rendered
-often worse by refolding, and as a general rule they are left
-alone. Bound books are pulled to pieces in the same
-manner, always taking care that the thread is cut or
-loose before tearing the sheet away; should trouble arise
-through the glue, etc., not coming away easily, the back
-may be damped with a sponge lightly charged with water,
-or perhaps a better method is to place the book or books
-in a press, screw up tightly, and soak the backs with thin
-paste, leaving them soaking for an hour or two; they will
-want repasting two or three times during the period; the
-whole of the paper, glue, and leather can then be easily
-scraped away with a blunt knife; a handful of shavings
-rubbed over the back will make it quite clean, and no difficulty
-will be met with if the sections are taken apart while
-damp. The sections must, as pulled, be placed evenly one on <span id="p007" class="xxpn">|7|</span>
-the other, as the paper at back retains sufficient glue to cause
-them to stick together if laid across one another; the whole
-must then be left to dry. When dry the groove should be
-knocked down on a flat surface, and for this the knocking-down
-iron screwed up in the lying press is perhaps the
-best thing to use. The groove is the projecting part of the
-book close to the back, caused by the backing, and is the
-groove for the back edge of the mill-board to work in by
-a hinge; this hinge is technically called the “joint.”</p>
-
-<div class="imctr02">
-<img src="images/i033.jpg" width="528" height="631" alt="" />
-<div class="caption">Martini’s Folding Machine.</div></div>
-
-<p><i>Machines.</i>—There are many folding machines made by
-the various machinists; the working of them, however, is
-in nearly all cases identical. The machine is generally <span id="p008" class="xxpn">|8|</span>
-fed by a girl, who places the sheet to points, the arm
-lifting up at given periods to allow placing the sheet.
-Another arm carrying a long thin blade descends, taking
-the sheet through a slot in the table, where it is passed
-between rollers; another set of rollers at right angles
-creases it again. The rollers are arranged for two, three, or
-more creasings or folds. The sheets are delivered at the
-side into a box, from which they are taken from time to
-time. The cut is one of Martini’s, and is probably the
-most advanced.</p>
-
-<p><i>Gathering.</i>—A <i>gathering machine</i> has been patented which
-is of a simple but ingenious contrivance for the quick
-gathering of sheets. The usual way to gather, is by laying
-piles of sheets upon a long table, and for the gatherer to
-take from each pile a sheet in succession. By the new
-method a round table is made to revolve by machinery,
-and upon it are placed the piles of sheets. As the table
-revolves the gatherer takes a sheet from each pile as it
-passes him. It will at once be seen that not only is space
-saved, but that a number of gatherers may be placed at the
-table; and that there is no possibility of the gatherers
-shirking their work, as the machine is made to register
-the revolutions. By comparing the number of sheets with
-the revolutions of the table, the amount of work done can
-be checked.</p>
-
-<div class="imctr08">
-<img src="images/i034.jpg" width="252" height="145" alt="" />
-</div></div><!--mainbody-->
-
-<div class="chapter mainbody">
-<h3 id="p009">CHAPTER II.
-<span class="smallerblk">
- <span class="smcap">B<span>EATING</span></span>
- <span class="smmaj">AND</span>
- <span class="smcap">R<span>OLLING.</span></span>
-</span></h3>
-
-<div class="figright imwth08">
-<img src="images/i035.jpg" width="252" height="171" alt="" />
-<div class="caption">Beating Hammer.</div></div>
-
-<p class="first">The object of beating or rolling is to make the book as
-solid as possible. For beating, a stone or iron slab, used
-as a bed, and a heavy hammer, are necessary. The stone
-or iron must be perfectly smooth, and should be bedded
-with great solidity. I have in use an iron bed about two feet
-square, fitted into a strongly-made box, filled with sand,
-with a wooden cover to the iron when not in use. The
-hammer should be somewhat bell-shaped,
-and weigh about ten
-pounds, with a short handle, made
-to <i>fit the hand</i>. The face of the
-hammer and stone (it is called a
-beating-stone whether it be stone
-or iron), must be kept perfectly
-clean, and it is advisable always to have a piece of paper at
-the top and bottom of the sections when beating, or the
-repeated concussion will glaze them.</p>
-
-<p>The book should be divided into lots or sections of about
-half an inch thick, that will be about fifteen to twenty sheets,
-according to the thickness of paper. A section is now to
-be held on the stone between the fingers and thumb
-of the left hand; then the hammer, grasped firmly in
-the right hand, is raised, and brought down with rather
-more than its own weight on the sheets, which must
-be continually moved round, turned over and changed
-about, in order that they may be equally beaten all over. <span id="p010" class="xxpn">|10|</span>
-By passing the section between the finger and thumb, it
-can be felt at once, if it has been beaten properly and
-evenly. Great care must be taken that in each blow of
-the hammer it shall have the face fairly on the body of
-the section, for if the hammer is so used that the greatest
-portion of the weight should fall outside the edge of the
-sheets the concussion will break away the paper as if cut
-with a knife. It is perhaps better for a beginner to practise
-on some waste paper before attempting to beat a book; and
-he should always rest when the wrist becomes tired. When
-each section has been beaten, supposing a book has been
-divided into four sections, the whole four should be beaten
-again, but together.</p>
-
-<p>I do not profess a preference to beating over rolling because
-I have placed it first. The rolling machine is one of
-the greatest improvements in the trade, but <i>all books should
-not be rolled</i>, and a bookbinder, I mean a practical bookbinder,
-not one who has been nearly the whole of his lifetime
-upon a cutting machine, or at a blocking press, and
-who calls himself one, but a competent bookbinder, should
-know how and when to use the beating hammer and when
-the rolling machine.</p>
-
-<p>There are some books, old ones for instance, that should
-on no account be rolled. The clumsy presses used in
-printing at an early date gave such an amount of pressure
-on the type that the paper round their margins has sometimes
-two or three times the thickness of the printed
-portion. At the present time each sheet after having been
-printed is pressed, and thus the leaf is made flat or nearly
-so, and for such work the rolling machine is certainly better
-than the hammer.</p>
-
-<p>To roll a book, it is divided into sections as in beating,
-only not so many sheets are taken—from six upwards,
-according to the quality of the work to be executed. The
-sheets are then placed between tins, and the whole passed <span id="p011" class="xxpn">|11|</span>
-between the rollers, which are regulated by a screw, according
-to the thickness of sections and power required.
-The workman, technically called “Roller,” has to be very
-careful in passing his books through, that his hand be
-not drawn in as well, for accidents have from time to
-time occurred through the inattention of the Roller
-himself, or of the individual who has the pleasure of
-applying his strength to turning the handle.</p>
-
-<div class="imctr02">
-<img src="images/i037.jpg" width="528" height="525" alt="" />
-<div class="caption">Rolling Machine.</div></div>
-
-<p>I never pass or hear a rolling machine revolving very
-rapidly without having vividly brought to my mind a very
-serious accident that happened to my father. He was
-feeling for a flaw on one of the rollers, and whilst his hands
-<span id="p012" class="xxpn">|12|</span>
-were at the edge of the rollers the man turned the handle,
-drawing the whole hand between the heavy cylinders. The
-accident cost him many months in the hospital, and he
-never regained complete use of his right hand.</p>
-
-<p>Great care must be used not to pass too many sheets
-through the machine at one time; the same applies to the
-regulating screw. The amount of damage that can be done
-to the paper by too heavy a pressure is astonishing, as
-the paper becomes quite brittle, and may perhaps even be
-cut as with a knife.</p>
-
-<p>Another caution respecting new work. Recently printed
-books, if submitted to heavy pressure, either by the beating
-hammer or machine, are very likely to “set off,” that is,
-the ink from one side of the page will be imprinted to its
-opposite neighbour; indeed, under very heavy pressure,
-some ink, perhaps many years old, will “set off;” this is
-due in a great measure to the ink not being properly
-prepared.</p>
-
-<p><i>Machines.</i>—Of the many rolling machines in the market
-the principle is in all the same. A powerful frame, carrying
-two heavy rollers or cylinders, which are set in motion,
-revolving in the same direction, by means of steam or by
-hand. In many, extra power is supplied by the use of extra
-cog-wheels; the power is, however, gained at an expense
-of speed. The pressure is regulated by screws at the top.</p>
-
-<div class="imctr08">
-<img src="images/i038.jpg" width="252" height="243" alt="" />
-</div></div><!--mainbody-->
-
-<div class="chapter mainbody">
-<h3 id="p013">CHAPTER III.
-<span class="smallerblk">
-<span class="smcap">C<span>OLLATING.</span></span></span></h3>
-
-<p class="first">To collate, is to ensure that each sheet or leaf is in its
-proper sequence. Putting the sheets together and placing
-plates or maps requires great attention. The sheets must
-run in proper order by the signatures: letters are mostly
-used, but numbers are sometimes substituted. When letters
-are used, the alphabet is repeated as often as necessary,
-doubling the letter as often as a new alphabet is used, as
-B, C, with the first
-alphabet,<a id="fnanchor-1" href="#fn-1" class="fnanchor">1</a>
-and AA, BB, CC or Aa, Bb,
-Cc, with the second repetition, and three letters with the
-third, generally leaving out J, V, W. Plates must be
-trimmed or cut to the proper size before being placed in
-the book, and maps that are to be folded must be put on
-guards. By mounting a map on a guard the size of the
-page, it may be kept open on the table beside the book,
-which may be opened at any part without concealing the
-map: by this method the map will remain convenient for
-constant reference. This is technically called “throwing
-out” a map.</p>
-
-<div class="footnote">
-<a id="fn-1" href="#fnanchor-1" class="fnlabel">[1]</a>
-The text of a book always commences with B,
-the title and preliminary
-matter being reckoned as A.</div>
-
-<p>To collate a book, it is to be held in the right hand, at
-the right top corner, then, with a turn of the wrist, the
-back must be brought to the front. Fan the sections out,
-then with the left hand the sheets must be brought back
-to an angle, which will cause them when released to
-spring forward, so that the letter on the right bottom <span id="p014" class="xxpn">|14|</span>
-corner of each sheet is seen, and then released, and the
-next brought into view. When a work is completed in
-more than one volume, the number of the volume is indicated
-at the left hand bottom corner of each sheet. I
-need hardly mention that the title should come first, then
-the dedication (if one), preface, contents, then the text,
-and finally the index. The number on the pages will,
-however, always direct the binder as to the placing of the
-sheets. The book should always be beaten or rolled before
-placing plates or maps, <i>especially coloured ones</i>.</p>
-
-<div class="imctr03">
-<img src="images/i040.jpg" width="456" height="344" alt="" />
-</div>
-
-<p>Presuming that we have a book with half a dozen plates,
-the first thing after ascertaining that the letter-press is
-perfect, is to see that all the plates are there, by looking
-to the “List of Plates,” printed generally after the contents.
-The plates should then be squared or cut truly,
-using a sharp knife and straight edge. When the plates
-are printed on paper larger than the book, they must be
-cut down to the proper size, leaving a somewhat less
-margin at the back than there will be at the foredge when
-the book is cut. Some plates have to face to the left,
-<span id="p015" class="xxpn">|15|</span>
-some to the right, the frontispiece for instance; but as a
-general rule, plates should be placed on the right hand, so
-that on opening the book they all face upwards. When
-plates consist of subjects that are at a right angle with
-the text, such as views and landscapes, the inscription
-should always be placed to the right hand, whether the
-plate face to the right or to the left page. If the plates
-are on thick paper they should be <i>guarded</i>, either by
-adding a piece of paper of the same thickness or by cutting
-a piece from the plate and then joining the two again
-together with a piece of linen, so that the plate moves on
-the linen hinge: the space between the guard and plate
-should be more than equal to the thickness of the paper.
-If the plate is almost a cardboard, it is better and stronger
-if linen be placed both back and front. Should the book
-consist of plates only, sections may be made by placing two
-plates and two guards together, and sewing through the
-centre between the guards, leaving of course a space between
-the two guards, which will form the back.</p>
-
-<p>With regard to maps that have to be mounted, it is
-better to mount them on the finest linen, as it takes up
-the least room in the thickness of the book. The linen
-should be cut a little larger than the map itself, with a
-further piece left, on which to mount the extra piece of
-paper, so that the map may be thrown out as before
-described. The map should first be trimmed at its back,
-then pasted with rather <i>thin paste</i>; the linen should then be
-laid carefully on, and gently rubbed down and turned over,
-so that the map comes uppermost; the pasted guard should
-then be placed a little away from the map, and the whole
-<i>well rubbed down</i>, and finally laid out flat to dry. To do this
-work, the paste must be clean, free from all lumps, and
-used very evenly and not too thickly, or when dry every
-mark of the brush will be visible. When the map is dry
-it should be trimmed all round and folded to its proper <span id="p016" class="xxpn">|16|</span>
-size, viz.—a trifle smaller than the book will be when cut.
-If it is left larger the folds will naturally be cut away, and
-the only remedy will be a new map, which means a new
-copy of the work. For all folded maps or plates a corresponding
-thickness must be placed in the backs where
-the maps go, or the foredge will be thicker than the back.
-Pieces of paper called guards, are folded from
-<span class="fract" title="1/4"><span
-class="fup">1</span>&#8202;&#8260;&#8202;<span
-class="fdn">4</span></span>
-inch to 1 inch in width, according to the size of the book, and
-placed in the back, and sewn through as a section. Great
-care must be taken that these guards are not folded too
-large, so as to overlap the folds of the map, if they do so,
-the object of their being placed there to make the thickness
-of the back and foredge equal will be defeated.</p>
-
-<div class="imctr02">
-<img src="images/i042.jpg" width="528" height="227" alt="" />
-<div class="caption">Shewing Book with Map thrown out.</div>
-</div>
-
-<p>In a great measure, the whole beauty of the inside work
-rests in properly collating the book, in guarding maps,
-and in placing the plates. When pasting in any single
-leaves or plates, a piece of waste paper should always be
-placed on the leaf or plate the required distance from the
-edge to be pasted, so that the leaf is pasted straight. It
-takes no longer to lay the plate down upon the edge of a
-board with a paper on the plate, than it does to hold the
-plate in the left hand, and apply the paste with the right
-hand middle finger; by the former method a proper amount
-of paste is deposited evenly on the plate and it is pasted
-in a straight line; by the latter method, it is pasted in some <span id="p017" class="xxpn">|17|</span>
-places thickly, and in some places none at all. I have
-often seen books with the plates fastened to the book
-nearly half way up to its foredge, and thus spoilt, only
-through the slovenly way of pasting. After having placed
-the plates, the collater should go through them again when
-dry, to see if they adhere properly, and break or fold them
-over up to the pasting, with a folding stick, so that they
-will lie flat when the book is open. I must again call
-attention to coloured plates. They should be looked to
-during the whole of binding, especially after pressing.
-The amount of gum that is put on the surface, which is
-very easily seen by the gloss, causes them to stick to the
-letter-press: should they so stick, do not try to tear them
-apart, but warm a polishing iron and pass it over the plate
-and letter-press, placing a piece of paper between the iron
-and the book to avoid dirt. The heat and moisture will
-soften the gum, and the surfaces can then be very easily
-separated. By rubbing a little <i>powdered French chalk</i> over
-the coloured plates <i>before</i> sticking them in, these <i>ill effects
-will be avoided</i>.</p>
-
-<p>It sometimes happens that the whole of a book is composed
-of single leaves, as the “Art Journal.” Such a book
-should be collated properly, and the plates placed to their
-respective places, squared and broken over, by placing a
-straight edge or runner about half an inch from its back
-edge, and running a folder under the plate, thus lifting it to
-the edge of the runner. The whole book should then be
-pressed for a few hours, taken out, and the back glued up;
-the back having been previously roughed with the side
-edge of the saw. To glue such a back, the book is placed
-in the lying press between boards, with the back projecting
-about an eighth of an inch, the saw is then drawn over
-it, with its side edge, so that the paper is as it were rasped.
-The back is then sawn in properly, as explained in the
-next chapter, and the whole back is glued. When dry, the <span id="p018" class="xxpn">|18|</span>
-book is separated into divisions or sections of four, six, or
-eight leaves, according to the thickness of the paper, and
-each section is then overcast or over sewn along its whole
-length, the thread being fastened at the head and tail (or
-top and bottom); thus each section is made independent of
-its neighbour. The sections should then be gently struck
-along the back edge with a hammer against a knocking-down
-iron, so as to imbed the thread into the paper, or the
-back will be too thick. The thread should not be struck so
-hard as to cut the paper, or break the thread, but very
-gently. Two or three sections may be taken at a time.</p>
-
-<p>After having placed the plates, the book should be put
-into the press (standing or otherwise) for a few hours. A
-standing press is used in all good bookbinding shops.</p>
-
-<p>The Paris houses have a curious way of pressing their
-books. The books are placed in the standing press; the
-top and bottom boards are very thick, having a groove cut
-in them in which a strong thin rope is placed. The press
-is screwed down tightly, when, after some few minutes has
-elapsed, the cord or rope is drawn together and fastened.
-The pressure of the screw is released, the whole taken out
-en bloc, and allowed to remain for some hours, during which
-time a number of other batches are passed through the
-same press.</p>
-
-<p>When taken out of the press the book is ready for
-“marking up” if for flexible sewing, or for being sawn in
-if for ordinary work.</p>
-
-<p><i>Interleaving.</i>—It is sometimes required to place a piece
-of writing paper between each leaf of letter-press, either for
-notes or for a translation: in such a case, the book must be
-properly beaten or rolled, and each leaf cut up with a hand-knife,
-both head and foredge; the writing paper having
-been chosen, must be folded to the size of the book and
-pressed. A single leaf of writing paper is now to be
-fastened in the centre of each section, and a folded leaf <span id="p019" class="xxpn">|19|</span>
-placed to every folded letter-press leaf, by inserting the one
-within the other, a folded writing paper being left outside
-every other section, and all being put level with the head;
-the whole book should then be well pressed.</p>
-
-<div class="figright imwth08">
-<img src="images/i045a.jpg" width="252" height="379" alt="" />
-<div class="caption">Boomer Press.</div></div>
-
-<p>If by any chance there should be one sheet in duplicate
-and another missing, by returning the one to the publisher
-of the book the missing sheet is generally replaced; this,
-of course, has reference only to books of a recent date.</p>
-
-<p>There is a new press of American
-invention that has come under my
-notice. It will be seen that it acts
-on an entirely new principle, having
-two horizontal screws instead of one
-perpendicular. The power is first
-applied by hand and finally by a
-lever and ratchet-wheel in the centre.
-A pressure guage is affixed to
-each press, so that the actual power
-exerted may be ascertained as the
-operation proceeds. The press can
-be had from Messrs. Ladd and Co.,
-116, Queen Victoria Street, E.C.;
-and they claim that it gives a pressure equal to the hydraulic
-press, without any of the hydraulic complications.</p>
-
-<div class="imctr08">
-<img src="images/i045b.jpg" width="252" height="198" alt="" />
-</div>
-</div><!--mainbody-->
-
-<div class="chapter mainbody">
-<h3 id="p020">CHAPTER IV.
-<span class="smallerblk">
-<span class="smcap">M<span>ARKING</span></span>
-<span class="smmaj">UP</span>
-<span class="smmaj">AND</span>
-<span class="smcap">S<span>AWING</span></span>
-<span class="smmaj">IN.</span></span></h3>
-
-<div class="figright imwth08">
-<img src="images/i047.jpg" width="252" height="607" alt="" />
-<div class="caption"><span class="smmaj">A.</span>
- Saw marks for catch-up stitch.</div></div>
-
-<p class="first">The books having been in the press a sufficient time, say
-for a night, they are taken out, and run through again
-(collated) to make sure that they are all correct. A book
-is then taken and knocked straight both head and back
-and put in the lying press between boards, projecting from
-them about
-<span class="fract" title="1/8"><span
- class="fup">1</span>&#8202;&#8260;&#8202;<span
- class="fdn">8</span></span>
-inch; some binders prefer cutting boards, I
-prefer pressing boards, and I should advise the use of
-them, as the whole can be knocked up together. They
-should be held between the fingers of each hand, and the
-back and head knocked alternately on the cheek of the
-press. The boards are then drawn back the required
-distance from the back of the book: the book and boards
-must now be held tightly with the left hand, and the
-whole carefully lowered into the press; the right hand
-regulating the screws, which should then be screwed up
-tightly. The book is now quite straight, and firmly fixed
-in the press, and we have to decide if it is to be sewn
-flexibly or not. If for <i>flexible</i> binding the book is <i>not to
-be sawn in</i>, but marked; the difference being, that with
-the latter the cord is <i>outside the sheets</i>; with the former
-the cord is <i>imbedded in the back</i>, in the cut or groove made
-by the saw. We will take the flexible first, and suppose
-that the book before us is an ordinary 8vo. volume, and
-that it is to be cut all round.</p>
-
-<p>The back should be divided into six equal portions,
-leaving the bottom, or tail, half an inch longer than the
-rest, simply because of a curious optical illusion, by which,
-<span id="p021" class="xxpn">|21|</span>
-if the spaces were all equal in width, the bottom one would
-appear to be the smallest, although accurately of the same
-width as the rest. This curious
-effect may be tested on any framed
-or mounted print. A square is now
-to be laid upon the back exactly to
-the marks, and marked pretty black
-with a lead pencil; the head and
-tail must now be sawn in to imbed
-the chain of the kettle stitch, at a
-distance sufficient to prevent the
-thread being divided by accident in
-cutting. In flexible work great
-accuracy is absolutely necessary
-throughout the whole of the work,
-especially in the marking up, as the
-form of the bands will be visible
-when covered. It will be easily
-seen if the book has been knocked
-up straight by laying the square at
-the head when the book is in the
-press, and if it is not straight, it
-must be taken out and corrected.
-If the book is very small, as for
-instance a small prayer book, it is
-usually marked up for five bands, but only sewed on three;
-the other two being fastened on as false bands when the
-book is ready for covering. There would be no gain in
-strength by sewing a small book on five bands.</p>
-
-<p>When the book is to be “sawn in,” it is marked up as
-for flexible work, but the back is sawn, both for the bands and
-kettle stitch, with a tennon saw. In choosing the saw, it
-should be one with the teeth not spread out too much; and
-it is advisable to have two of different widths. Care must
-be taken that the saw does not enter too deeply, and one <span id="p022" class="xxpn">|22|</span>
-must, in all cases, <i>be guided in the depth by the thickness of
-the cord to be used</i>. The size of the book should determine
-the thickness of the cord, as the larger the book, the
-stronger and thicker must be the cord. Suitable cord is
-to be purchased at all the bookbinder’s material shops,
-and it is known by the size of the book, such as 12mo.,
-8vo., 4to. cord.</p>
-
-<div class="imctr02">
-<img src="images/i048.jpg" width="528" height="519" alt="" />
-<div class="caption">Sawing-in Machine.</div></div>
-
-<p>I think nothing looks worse than a book with great
-holes in the back, sometimes to be seen when the book is
-opened, which are due to the inattention of the workmen.
-Besides, it causes great inconvenience to the forwarder if
-the cords are loose, and the only thing he can do in such a
-case is to cram a lot of glue into the grooves to keep the
-cord in its place. If, on the other hand, the saw cuts are <span id="p023" class="xxpn">|23|</span>
-not deep enough, the cord will stand out from the back,
-and be distinctly seen when the book is finished, if not
-remedied by extra strips of leather or paper between the
-bands when lining up. It is better to use double thin
-cord instead of one thick one for large books, because the
-two cords will lie and imbed themselves in the back,
-whereas one large one will not, unless very deep and wide
-saw cuts be made. Large folios should be sawn on six or
-seven bands, but five for an 8vo. is the right number, from
-which all other sizes can be regulated.</p>
-
-<p>Saw benches have been introduced by various firms.
-They can be driven either by steam or foot. It will be
-seen that the saws are circular, and can be shifted on the
-spindle to suit the various sized books. As the books
-themselves are slid along the table on the saws, the advantage
-is very great in a large shop where much work
-of one size is done at a time.</p>
-</div><!--mainbody-->
-
-<div class="mainbody">
-<h3>CHAPTER V.
-<span class="smallerblk">
-<span class="smcap">S<span>EWING.</span></span></span></h3>
-
-<p class="first"><span class="nowrap"><i>Flexible Work.</i>—The</span>
-“sewing press” consists of a <i>bed</i>,
-<i>two screws</i>, and a <i>beam</i> or <i>cross bar</i>, round which are fastened
-five or more cords, called <i>lay cords</i>. Five pieces of cord
-cut from the ball, in length, about four times the thickness
-of the book, are fastened to the lay cords by slip knots;
-the other ends being fastened to small pieces of metal called
-keys, by twisting the ends round twice and then a half
-hitch. The keys are then passed through the slot in the
-bed of the “press,” and the beam screwed up rather tightly;
-but loose enough to allow the lay cords to move freely <span id="p024" class="xxpn">|24|</span>
-backwards or forwards. Having the book on the bed of
-the press with the back towards the sewer, a few sheets
-(better than only one) are laid against the cords, and they
-are arranged exactly to the marks made on the back of the
-sections. When quite true and perpendicular, they should
-be made tight by screwing the beam up. It will be better
-if the cords are a little to the right of the press, so that
-the sewer may get her or his left arm to rest better on the
-press.</p>
-
-<div class="imctr02">
-<img src="images/i050.jpg" width="528" height="409" alt="" />
-<div class="caption">Sewing Press.</div></div>
-
-<p>If when the press is tightened one of the cords is loose,
-as will sometimes happen, a pencil, folding-stick or other
-object slipped under the lay cord on the top of the beam
-will tighten the band sufficiently. The foreign sewing
-presses have screws with a hook at the end to hold the
-bands, the screws running in a slot in the beam: in practice
-they are very convenient.</p>
-
-<div class="imctr01 section" id="p026">
-<div><img src="images/i052a.jpg" width="600" height="281" alt="" />
-<div class="caption">Ordinary sewing. 2 sheets on 2 bands.</div></div>
-<div>
-<img src="images/i052b.jpg" width="600" height="241" alt="" />
-<div class="caption">Ordinary sewing. 2 sheets on 3 bands.</div>
-</div>
-<div><img src="images/i052c.jpg" width="600" height="238" alt="" />
-<div class="caption">Ordinary sewing. 2 sheets on 5 bands.</div>
-</div>
-<div class="caption">The thick lines shewing the direction
-of the thread.</div></div>
-
-<p>The first and last sections are overcast usually with
-cotton or very fine thread. The first sheet is now to be
-laid against the bands, and the needle introduced through
-the kettle stitch hole on the right of the book, which is the
-<span id="p025" class="xxpn">|25|</span>
-head. The left hand being within the centre of the sheet,
-the needle is taken with it, and thrust out <i>on the left</i> of the
-mark made for the first band; the needle being taken with
-the right hand, is again introduced on <i>the right</i> of the
-same band, thus making a <i>complete circle</i> round it. This
-is repeated with each band in succession, and the needle
-brought out of the kettle stitch hole on the left or tail
-of the sheet. A new sheet is now placed on the top, and
-treated in a similar way, by introducing the needle at the
-left end or tail; and when taken out at the right end or top,
-the thread must be fastened by a knot to the end, hanging
-from the first sheet, which is left long enough for the purpose.
-A third sheet having been sewn in like
-manner,<a id="fnanchor-2" href="#fn-2" class="fnanchor">2</a>
-the needle must be brought out at the kettle stitch, thrust
-between the two sheets first sewn, and drawn round the
-thread, thus fastening each sheet to its neighbour by a kind
-of chain stitch. I believe the term “kettle stitch” is
-only a corruption of “catch-up stitch,” as it catches each
-section as sewn in succession. This class of work must be
-done very neatly and evenly, but it is easily done with a
-little practice and patience. This is the strongest sewing
-executed at the present day, but it is very seldom done, as
-it takes three or four times as long as the ordinary sewing.
-The thread must be drawn tightly each time it is passed
-round the band, and at the end properly fastened off at the
-kettle stitch, or the sections will work loose in course of
-time. Old books were always sewn in this manner, and
-when two or double bands were used, the thread was
-twisted twice round one on sewing one section, and twice
-round the other on sewing the next, or once round each
-cord. In some cases even the “head-band” was worked at
-<span id="p027" class="xxpn">|27|</span>
-the same time, by fastening other pieces of leather for the
-head and tail, and making it the catch-up stitch as well.
-When the head-band was worked in sewing, the book was,
-of course, not afterwards cut at the edges. When this was
-done, wooden boards were used instead of mill boards, and
-twisted leather instead of cord, and when the book was
-covered, a groove was made between each double band.
-This way is still imitated by sticking a second band or
-cord alongside the one made in sewing, before the book is
-covered. The cord for flexible work is called a “flexible
-cord,” and is twisted tighter and is stronger than any
-other. In all kinds of sewing I advise the use of Hayes’
-Royal Irish thread, not because there is no other of good
-manufacture, but because I have tried several kinds, and
-Hayes’ has proved to be the best. The thickness of the cord
-must always be in proportion to the size and thickness of
-the book, and the thickness of the thread must depend on
-the sheets, whether they be half sheets or whole sheets. If
-too thick a thread is used, the swelling (the rising caused in
-the back by the thread) will be too much, and it will be impossible
-to make a proper rounding or get a right size
-“groove” in backing. If the sections are thick or few, a
-thick thread must be used to give the thickness necessary
-to produce a good groove.</p>
-
-<div class="footnote">
-<a id="fn-2" href="#fnanchor-2" class="fnlabel">[2]</a>
-As each thread is terminated, another must be joined thereto, so
-that one length of thread is, as it were, used for a book. The knots
-must be made very neatly, and the ends cut off, or they will be visible
-in the sheet by their bulk.</div>
-
-<div class="imctr02">
-<img src="images/i053.jpg" width="528" height="191" alt="" />
-<div class="caption">Flexible sewing.</div></div>
-
-<p>If the book is of moderate thickness, the sections may be
-knocked down by occasionally tapping them with a piece <span id="p028" class="xxpn">|28|</span>
-of wood loaded at one end with lead, or a thick folding-stick
-may be used as a substitute. I must again call particular
-attention to the kettle stitch. The thread must not
-be drawn <i>too tight</i> in making the chain, or the thread <i>will
-break in backing</i>; but still a proper tension must be kept or
-the sheets will wear loose. The last sheet should be fastened
-with a double knot round the kettle stitch two or
-three sections down, and that section must be sewn all
-along. The next style of sewing, and most generally used
-throughout the trade, is the ordinary method.</p>
-
-<p><i>Ordinary Sewing</i> is somewhat different, inasmuch as
-<i>the thread is not</i> twisted round the cord, as in flexible work,
-when the cord is outside the section. In this method the
-cord fits into the saw cuts. The thread is simply passed
-over the cord, not round it, otherwise the principle of sewing
-is the same, that is, the thread is passed right along the
-section, out of the holes made, and into them again; the
-kettle stitch being made in the same way. This style of
-work has one advantage over flexible work, because the
-back of the book can be better gilt. In flexible work, the
-leather is attached with paste to the back, and is flexed, and
-bent, each time the book is opened, and there is great risk
-of the gold splitting away or being detached from the
-leather in wear. Books sewn in the ordinary method
-are made with a hollow or loose back, and when the
-book is opened, the crease in the back is independent of
-the leather covering; the lining of the back only is creased,
-and the leather keeps its perfect form, by reason of the lining
-giving it a spring outwards. Morocco is generally used
-for flexible work; calf, being without a grain, is not suitable,
-as it would show all the creases in the back made by
-the opening. This class of sewing is excellent for books
-that do not require so much strength, such as library bindings,<a id="fnanchor-3" href="#fn-3" class="fnanchor">3</a>
-but for a dictionary or the like, where constant <span id="p029" class="xxpn">|29|</span>
-reference or daily use is required, I should sew a book flexibly.
-Some binders sew their books in the ordinary way, and
-paste the leather directly to the back, and thus pass it for
-flexible work; but I do not think any respectable house
-would do so. <i>A book that has been sewed flexibly will not
-have any saw cut in the back</i>, so that on examination, by
-opening it wide, it will at once be seen if it is a <i>real flexible
-binding or not</i>.</p>
-
-<div class="footnote">
-<a id="fn-3" href="#fnanchor-3" class="fnlabel">[3]</a>
-This is not to be confounded with public library bindings.</div>
-
-<p>Intelligence must, however, be used; a book that has
-already been cased (or bound and sewn on cords) must of
-necessity have the saw cuts or holes, and such a book
-would show the cuts.</p>
-
-<p>There is another mode called “<i>flexible not to show</i>.”
-The book is marked up in the usual way as for flexible,
-and is also slightly scratched on the band marks with the
-saw; but not deep enough to go through the sections. A
-thin cord is then taken doubled for each band, and the
-book is sewn the ordinary flexible way; the cord is knocked
-into the back in forwarding, and the leather may be stuck
-on a hollow back with bands, or it may be fastened to the
-back itself without bands.<a id="fnanchor-4" href="#fn-4" class="fnanchor">4</a></p>
-
-<div class="footnote">
-<a id="fn-4" href="#fnanchor-4" class="fnlabel">[4]</a>
-See chapter on Lining up.</div>
-
-<p>However simple it may appear in description to sew a
-book, it requires great judgment to keep down the swelling
-of the book to the proper amount necessary to form a good
-backing groove and no more. In order to do this, the
-sheets must from time to time be gently tapped down with
-a piece of wood or a heavy folding-stick, and great care
-must be observed to avoid drawing the fastening of the
-kettle stitch too tight, or the head and tail of the book will
-be thinner than the middle; this fault once committed has
-no remedy.</p>
-
-<p>If the sections are very thin, or in half sheets, they may,
-if the book is very thick, be sewn “<i>two sheets on</i>.” The
-needle is passed from the kettle stitch to the first band of <span id="p030" class="xxpn">|30|</span>
-the first sheet and out, then another sheet is placed on the
-top, and the needle inserted at the first band and brought
-out at band No. 2, the needle is again inserted in the first
-sheet and in at the second band and out at No. 3, thus
-treating the two sections as one; in this way it is obvious
-that only half as much thread will be in the back. With
-regard to books that have had the heads cut, it will be necessary
-to open each sheet carefully up to the back before it is
-placed on the press, otherwise the centre may not be
-caught, and two or more leaves will be detached after the
-book is bound.</p>
-
-<p>The first and last sections of every book should be overcast
-for strength. With regard to books that are composed
-of single leaves, they are treated of in Chapter III. They
-are to be overcast, and each section treated as a section of
-an ordinary book, the only difference being, that a strong
-lining of paper should be given to the back before covering,
-so that it cannot “throw up.”</p>
-
-<p>When a book is sewn, it is taken from the sewing press
-by slackening the screws which tighten the beam, so that
-the cord may be easily detached from the keys and lay
-cords. The cord may be left at its full length until the
-end papers are about to be put on, when it must be reduced
-to about three inches.</p>
-
-<p>Brehmer’s patent wire book and pamphlet sewing
-machine is an introduction well adapted to the use of the
-stationer, where thick and hand-made paper will bear such
-a method. It will not, in my opinion, ever be found
-eligible for library or standard books. Its high price will
-debar it from the trade generally; but it is to be feared
-that a sufficient number of really good books may be sewn
-with it to cause embarrassment to the first-rate binder,
-who will be baffled in making good work of books which
-may have been damaged by the invention of sewing books
-with wire. <span id="p031" class="xxpn">|31|</span></p>
-
-<div class="imctr01">
-<img src="images/i057.jpg" width="600" height="737" alt="" />
-<div class="caption">Smythe’s Sewing Machine.</div></div>
-
-<p>The novelty of this machine is, that the book is sewn
-with wire instead of thread. The machine is fed with
-wire from spools by small steel rollers, which at each
-revolution supply exactly the length of wire required to
-form little staples with two legs. Of these staples, the
-machine makes at every revolution as many as are required <span id="p032" class="xxpn">|32|</span>
-for each sheet of the book that is being sewn—generally
-two or three, or more, as necessary. These wires or staples
-are forced through the sections from the inside of the
-folds; and as the tapes are stretched, and held by clasps
-exactly opposite to each staple-forming and inserting apparatus,
-the legs of each staple penetrate the tapes, and
-project through them to a sufficient distance to allow of
-their being bent inwards towards each other, and pressed
-firmly against the tapes. With pamphlets, copy-books,
-catalogues, &amp;c., no tape is used, the staples themselves
-being sufficient. About two thousand pamphlets or sheets
-can be sewn in one hour.</p>
-
-<p>Another machine, and I believe the latest, is the “Smythe.”
-The sewer sits in front of the machine and places the
-sheets, one at a time, on radial arms which project from a
-vertical rod. These arms rotate, rise, and adjust the
-sheets, so as to bring them in their proper position under
-the curved needles. As each arm rises, small holes are
-pierced, by means of punches in the sheets, from the
-inside, to facilitate the entrance and egress of the needles.
-The loopers then receive a lateral movement to tighten
-the stitch, and this movement is made adjustable, in order
-that books may be sewn tight or loose, as required. About
-20,000 sheets can be sewn in a day, and no previous sawing
-is required. Thread is used with this machine.</p>
-
-<div class="imctr09">
-<img src="images/i058.jpg" width="252" height="120" alt="" /></div>
-</div><!--mainbody-->
-
-<div class="chapter mainbody">
-<h3 id="p033">CHAPTER VI.
-<span class="smallerblk">
-<span class="smcap">F<span>ORWARDING.</span></span></span>
-</h3>
-
-<p class="first"><i>End Papers.</i>—The end papers should always be <i>made</i>,
-that is, the coloured paper pasted to a white one; the
-style of binding must decide what kind of ends are to be
-used. I give a slight idea of the kinds of papers used and
-the method of making them.</p>
-
-<p><i>Cobb Paper</i> is a paper used generally for half-calf bindings,
-with a sprinkled edge, or as a change, half-calf, gilt
-top. The paper is stained various shades and colours in
-the making, and I think derives its name from a binder
-who first used it. Being liked by the trade, they have
-distinguished the paper by calling it “Cobb paper,” which
-name it has kept.</p>
-
-<p><i>Surface Paper.</i>—This is a paper, one side of which is
-prepared with a layer of colour, laid on with a brush very
-evenly. Some kinds are left dull and others are glazed.
-The darker colours of this paper are generally chosen for
-Bibles or books of a religious character, and the lighter
-colours for the cloth or case work. There are many other
-shades which may be put into extra bindings with very good
-effect, and will exercise the taste of the workman. For
-example, a good cream, when of fine colour and good
-quality, will look very well in a morocco book with either
-cloth or morocco joints.</p>
-
-<p><i>Marbled Paper.</i>—This paper has the colour disposed
-upon it in imitation of marble; hence its name. It is
-produced by sprinkling properly prepared colours upon
-the surface of a size, made either of a vegetable emulsion, <span id="p034" class="xxpn">|34|</span>
-or of a solution of resinous gum. It is necessary, in
-either preparing an original design or in matching an
-example, to remember that the veins are the first splashes
-of colour thrown on the size, and assume that form in
-consequence of being driven back by the successive colours
-employed.</p>
-
-<p>We have it on the authority of Mr. Woolnough,<a id="fnanchor-5" href="#fn-5" class="fnanchor">5</a>
-that the
-old Dutch paper was wrapped round toys in order to evade
-the duty imposed upon it. After being carefully smoothed
-out, it was sold to bookbinders at a very high price, who
-used it upon their extra bindings, and if the paper was not
-large enough they were compelled to join it. After a time
-the manufacture was introduced into England, but either
-the colours are not prepared the same way, or the paper
-itself may not be so suitable, the colours are not brought
-out with such vigour and beauty, nor do they stand so well,
-as on the old Dutch paper. Some secret of the art has
-been lost, and it baffles our ablest marblers of the present
-day to reproduce many of the beautiful examples that may
-be seen in some of the old books.</p>
-
-<div class="footnote">
-<a id="fn-5" href="#fnanchor-5" class="fnlabel">[5]</a>
-“The Whole Art of Marbling as applied to Paper.” C. W.
-Woolnough. Bell and Sons, 1881.</div>
-
-<p>For further remarks on marbled paper and marbling see
-chapter on colouring edges.</p>
-
-<p><i>Printed and other Fancy Paper</i> may be bought at fancy
-stationers; the variety is so great that description is impossible,
-but good taste and judgment should always be
-used by studying the style and colour of binding. Of late
-years a few firms have paid some attention to this branch,
-and have placed in the market some very pretty patterns
-in various tints.</p>
-
-<p>The foreign binders are very fond of papers printed in
-bronze, and some are certainly of a most elaborate and
-gorgeous description. Many houses have their own
-favourite pattern and style. All papers having bronze on <span id="p035" class="xxpn">|35|</span>
-them should be carefully selected and the cheaper kinds
-eschewed, the bronze in a short time going black.</p>
-
-<p><i>Coloured Paste Paper.</i>—This kind the binder can easily
-make for himself. Some colour should be mixed with paste
-and a little soap, until it is a little thicker than cream. It
-should then be spread upon two sheets of paper with a paste
-brush. The sheets must then be laid together with their
-coloured surfaces facing each other, and when separated they
-will have a curious wavy pattern on them. The paper should
-then be hung up to dry on a string stretched across the room,
-and when dry glazed with a hot iron. A great deal of it
-is used in Germany for covering books. Green, reds, and
-blues have a very good effect.</p>
-
-<p>There are many other kinds of paper that may be used,
-but the above five different varieties will give a very good
-idea and serve as points to work from. The many bookbinders’
-material dealers send out pattern books, and in
-them some hundreds of patterns are to be found.</p>
-
-<p>Before leaving the subject of ends, it may be as well to
-mention that morocco, calf, russia, silk, etc., are often used
-on whole bound work; these must, however, be placed in
-the book when has been covered.</p>
-
-<p>After having decided upon what kind of paper is to be
-used, two pieces are cut and folded to the size of the book,
-leaving them a trifle larger, especially if the book has been
-already cut. Two pieces of white paper must be prepared
-in the same way. Having them ready, a white paper is
-laid down, folded, on a pasting board (any old mill-board
-kept for this purpose), and pasted with moderately thin
-paste very evenly; the two fancy papers are laid on the
-top quite even with the back or folded edge; the top fancy
-paper is now to be pasted, and the other white laid on that:
-they must now be taken from the board, and after a squeeze
-in the press between pressing boards, taken out, and hung
-up separately to dry. This will cause one half of the white <span id="p036" class="xxpn">|36|</span>
-to adhere to one half of the marble or fancy paper. When
-they are dry, they should be refolded in the old folds and
-pressed for about a quarter of an hour. When there are
-more than one pair of ends to make, they need not be
-made one pair at a time, but ten or fifteen pairs may be
-done at once, by commencing with the one white, then two
-fancy, two white, and so on, until a sufficient number have
-been made, always pressing them to ensure the surfaces
-adhering properly; then hang them up to dry. When dry
-press again, to make them quite flat. As this is the first
-time I speak about <i>pasting</i>, a few hints or remarks on the
-proper way will not be out of place here. Always draw
-the brush well over the paper and away from the centre,
-towards the edges of the paper. Do not have too much
-paste in the brush, but just enough to make it slide well.
-Be careful that the whole surface is pasted; remove all
-hairs or lumps from the paper, or they will mark the book.
-Finally, never attempt to take up the brush from the paper
-before it is well drawn over the edge of the paper, or the
-paper will stick to the brush and turn over, with the risk
-of the under side being pasted. While the ends are pressing
-we will proceed with further forwarding our book.</p>
-</div><!--mainbody-->
-
-<div class="mainbody">
-<h3>CHAPTER VII.
-<span class="smallerblk"><span class="smcap">P<span>ASTING</span></span>
-<span class="smcap">U<span>P.</span></span></span></h3>
-
-<p class="first">The
-first and last sheet of every book must be pasted up or
-down,—it is called by both terms; and if the book has too
-much swelling, it must be tapped down gently with a
-hammer. Hold the book tightly at the foredge with the
-left hand, knuckles down; rest the back on the press, and hit <span id="p037" class="xxpn">|37|</span>
-the back with the hammer to the required thickness. If
-the book is not held tightly, a portion of the back will slip
-in and the hollow will always be visible; so I advise that
-the back be knocked flat on the “lying press” and placed
-in it without boards, so that the back projects. Screw the
-press up tightly, so that the sheets cannot slip. A knocking-down
-iron should then be placed against the book on its left
-side, and the back hammered against it; the “slips” or cords
-must be pulled tight, each one being pulled with the right
-hand, the left holding the slips tightly against the book so
-that they cannot be pulled through. Should it happen that
-a slip is pulled out, nothing remains but to re-sew the book,
-unless it is a thin one, when it may possibly be re-inserted
-with a large needle. But this will not do the book any good.</p>
-
-<p>The slips being pulled tight, the first and last section
-should be pasted to those next them. To do this, lay the
-book on the edge of the press and throw the top section
-back; lay a piece of waste paper upon the next section
-about
-<span class="fract" title="1/8"><span
-class="fup">1</span>&#8202;&#8260;&#8202;<span
-class="fdn">8</span></span>
-or
-<span class="fract" title="1/4"><span
-class="fup">1</span>&#8202;&#8260;&#8202;<span
-class="fdn">4</span></span>
-inch from the back, according to the size of
-the book, and paste the space between the back and the
-waste paper, using generally the second finger of the right
-hand, holding the paper down with the left. When pasted,
-the waste paper is removed, and the back of the section put
-evenly with the back of the book, which is now turned over
-carefully that it may not shift; the other end is treated in
-the same manner. A weight should then be put on the top,
-or if more than a single book, one should lie on the top of
-the other, back and foredge alternately, each book to be half
-an inch within the foredge of the book next to it, with a few
-pressing boards on the top one. When dry the end papers
-are to be pasted on.</p>
-
-<div class="imctr09">
-<img src="images/i063.jpg" width="192" height="69" alt="" />
-
-</div></div><!--mainbody-->
-
-<div class="chapter mainbody">
-<h3 id="p038">CHAPTER VIII.
-<span class="smallerblk">
-<span class="smcap">P<span>UTTING</span></span>
-<span class="smmaj">ON</span>
-<span class="smmaj">THE</span>
-<span class="smcap">E<span>ND</span></span>
-<span class="smcap">P<span>APERS.</span></span></span></h3>
-
-<p class="first">Two single leaves of white paper, somewhat thicker than the
-paper used for making the ends, are to be cut, one for each
-side of the book. The end papers are to be laid down
-on a board, or on a piece of paper on the press to keep them
-clean, with the pasted or made side uppermost, the single
-leaves on the top. They should then be fanned out evenly
-to a proper width, about a quarter of an inch for an 8vo., a
-piece of waste paper put on the top, and their edges pasted.
-The slips or cords thrown back, the white fly is put on the
-book, a little away from the back, and the made ends on
-the top even with the back, and again left to dry with the
-weight of a few boards on the top.</p>
-
-<p>If, however, the book or books are very heavy or large,
-they should have “joints” of either bookbinders’ cloth or
-of leather of the same colour as the leather with which the
-book is to be covered. Morocco is mostly used for the
-leather joints. If the joints are to be of cloth, it may be
-added either when the ends are being put on, or when the
-book is ready for pasting down. If the cloth joint is to be
-put on now, the cloth is cut from 1 to 3 inches, according
-to the size of book, and folded quite evenly, the side of the
-cloth which has to go on the book being left the width intended
-to be glued; that is, a width of 1 inch should be
-folded
-<span class="fract" title="3/4"><span
-class="fup">3</span>&#8202;&#8260;&#8202;<span
-class="fdn">4</span></span>
-one side, leaving
-<span class="fract" title="1/4"><span
-class="fup">1</span>&#8202;&#8260;&#8202;<span
-class="fdn">4</span></span>
-the other, the latter to be put
-on the book. The smallest fold is now glued, the white fly
-put on, and the fancy paper on the top; the difference
-being, that the paper instead of being made double or
-folded is single, or instead of taking a paper double the <span id="p039" class="xxpn">|39|</span>
-size of the book and folding it, it is cut to the size of the
-book and pasted all over. It will be better if the marble
-paper be pasted and the white put on and well rubbed
-down, and then the whole laid between mill-boards to dry.
-A piece of waste or brown paper should be slightly fastened
-at the back over the whole, (turning the cloth down on
-the book) to keep it clean and prevent it from getting
-damaged.</p>
-
-<p>The strongest manner is to overcast the ends and cloth
-joint to the first and last section of the book, as it is then
-almost impossible either for the cloth or ends to pull away
-from the book.</p>
-
-<p>If, however, the cloth joint is to be put on after the book
-is covered, the flys and ends are only edged on with paste
-to the book just sufficient to hold them while it is being
-bound; and when the book is to be pasted down, the ends
-are lifted from the book by placing a thin folding-stick
-between the ends and book and running it along, when
-they will come away quite easily. The cloth is then cut
-and folded as before and fastened on, and the ends and flys
-properly pasted in the back.</p>
-
-<p>Morocco joints are usually put in after the book is
-covered, but I prefer that if joints of any kind are to go in
-the book they should be put in at the same time as the
-ends. Take great care that the ends are quite dry after
-being made before attaching them, or the dampness will
-affect the beginning and end of the book and cause the
-first few leaves to wrinkle.</p>
-
-<p>When the ends are quite dry the slips should be unravelled
-and scraped, a bodkin being used for the unravelling,
-and the back of a knife for the scraping. The object of
-this is, that they may with greater ease be passed through
-the holes in the mill-board, and the bulk of the cord be more
-evenly distributed and beaten down, so as not to be seen
-after the book has been covered. <span id="p041" class="xxpn">|41|</span></p>
-
-<div class="imctr04" id="p040">
-<img src="images/i066.jpg" width="408" height="799" alt="" />
-<div class="caption pjust">Method of sewing Ends on to Book that cannot
-tear away. <div class="pjust">First and last sheet are not overcasted
-when treated in this manner.</div></div></div>
-
-<p>Many houses cut away the slip entirely, in order that the
-work may look better. This should never be done; with
-large and heavy books it is better to allow the bulk of the
-cord to be seen rather than sacrifice strength. To a certain
-extent this may be avoided by cutting a small portion of
-the mill-board away to allow the cord to lodge in.</p>
-
-<p>There is another way of putting on the end papers, that
-is, to sew the ends on with the book when sewing. The
-paper is folded at the back with a small fold, the sheet
-placed in the fold, and the whole sewn through. It is at
-once apparent that under no circumstances can there be
-any strain on the ends, and that there is hardly any possibility
-of the ends breaking away from the sheets.</p>
-
-<p>For books subjected to very hard wear (school books,
-public library books, etc.) this method of placing the ends
-is by far the best. See opposite page.</p>
-</div><!--mainbody-->
-
-<div class="mainbody">
-<h3>CHAPTER IX.
-<span class="smallerblk">
-<span class="smcap">T<span>RIMMING.</span></span></span></h3>
-
-<p class="first">Is
-the book to have a gilt top? marbled or gilt edges?
-or is it to be left uncut? These questions must be
-settled before anything further is done. If the book is to
-be uncut or have a gilt top, the rough edges should be
-taken away with a very sharp knife or shears: this process
-is called “trimming.”</p>
-
-<p>The book having been knocked up straight, is laid on a
-piece of wood planed smooth and kept for this purpose,
-called a “trimming board.” It is then compassed from
-the back, a straight edge laid to the compass holes, and the
-foredge cut with a very sharp knife. If the knife is not
-<span id="p042" class="xxpn">|42|</span>
-sharp the paper will yield to the slight pressure required
-and will not be cut. It is therefore absolutely necessary that
-a good edge be given to the blade, and, if possible, to keep a
-special knife for the purpose. Such knives, called trimming
-knives, are sold, the probable cost being about two
-shillings. They have a very broad blade.</p>
-
-<p>The object of trimming is to make the edges true; the
-amount taken off must be only the rough and dirty edges,
-the book being thus left as large as possible.</p>
-
-<p>The French put their books in the press between boards
-and rasp the edges, but this method has not only the disadvantage
-of showing all the marks of the rasp, but also of
-leaving a roughness which catches and retains the dust in
-proportion to the soft or hard qualities of the paper.</p>
-
-<div class="imctr02">
-<img src="images/i068.jpg" width="528" height="205" alt="" />
-<div class="caption">Cardboard Machine used for trimming.</div>
-</div>
-
-<p>Another method is to put the book into the cutting
-press, and cut the overplus off with a plough, having a
-circular knife, called a “round plough.” This is used
-when a number of books are being done together. I prefer
-to use the straight edge and knife for the foredge and tail,
-and to cut the top when the book is in boards.</p>
-
-<p>It is, however, not necessary to go to the expense of a
-round plough, it is only advisable to have one when
-“plough trimming” is of daily occurrence; an ordinary
-plough knife, ground to a circular edge, will answer in most
-cases.</p>
-
-<p>Another excellent plan is to set the gauge of the <span id="p043" class="xxpn">|43|</span>
-mill-board machine, or a <i>card-cutting machine</i>, and to cut or
-trim each section, foredge and tail, by the machine knife.
-In a large number of books this plan is to be recommended;
-the whole is cut more even and in less time; trimming by
-this method must, however, be done before sewing. This
-method is also adopted by some French houses.</p>
-
-<p>Before leaving the subject of trimming, I will insert a
-few lines from that well-known paper the “Athenæum,” as
-to how a book should be trimmed; and so much do I agree
-with its writer, that I have the quotation, in large type,
-hung up in my shop as a constant caution and instruction
-to the workmen:—</p>
-
-<blockquote>
-<div>(<i>No. 2138, Oct. 17th, 1868.</i>)</div>
-
-<p>“Mr.
-<span class="smcap">E<span>DITOR</span>,—</span>If you think that the ‘Athenæum’ is
-read or seen by any members of that class of ruthless binders,
-who delight in destroying the appearance of every pamphlet
-and book that comes into their hands, by trimming or
-ploughing its edges to the quick (and almost always
-crookedly), I beg you to insert this appeal to the monsters
-I have named, to desist from their barbarous practices, to
-learn to reverence the margin of a book, and never to take
-from it a hair’s breadth more than is absolutely needful.
-The brutality with which the fair margins of one’s loved
-volumes are treated by these mangling wretches with their
-awful plough knives is shocking to behold. The curses of
-book lovers are daily heaped on their backs, but they go on
-running-a-muck, heedless of remonstrance, remorseless,
-ever sacrificing fresh victims. Had we a paternal government,
-one might hope for due punishment of some of these
-offenders: one at least might be ploughed up the back,
-another up the front, as an example and a terror to the
-trade; but as this wholesome correction cannot unhappily
-be administered, will you give expression to the indignation
-of one amongst a million sufferers for years from these <span id="p044" class="xxpn">|44|</span>
-trimmers’ savageries, and let them know what feelings
-their reckless cruelty awakens in many breasts? One of
-the largest houses in London has just sent me home fifty
-copies of an essay, intended as a present for a friend.
-They have been trimmed, and been ruined. Would that
-I could have the trimming of their trimmer’s hair and
-ears; also his nose! I don’t think his best friend would
-know him when I had done with him.</p>
-
-<p>“But, Sir, we live in a philanthropic age, and are bound
-to forgive our enemies and try to reform the worst criminals.
-I therefore propose a practical measure to win these
-book trimmers from their enormities; namely, that fifty at
-least of your readers, who care for book margins, should
-subscribe a guinea each for a challenge cup, to be competed
-for yearly, and held by that firm which, on producing
-copies of all books and pamphlets trimmed by it during
-the year, shall be adjudged to have disfigured them least.
-I ask you, Sir, if you will receive subscriptions for this
-challenge cup? If you will, I shall be glad to send you
-mine.</p>
-
-<p class="signature">“M. A.</p>
-
-<p>“P.S.—Any one who will cut out this letter, and get it
-pasted up in any binder’s or printer’s trimming room, will
-confer a favour on the writer.”</p></blockquote>
-
-<p>A very good trimming machine has been invented by
-Messrs. Richmond and Co., of Kirby Street, Hatton Garden.
-The bed rises and falls, with the books upon it, instead of
-the knife descending upon the work, as in the cutting
-machines; and the gauges are so arranged, that the foredge
-of one pile of books, and the tails of another, can be cut at
-one operation, and it is guaranteed by the makers that the
-knife will leave a clean and perfectly trimmed edge.</p>
-</div><!--mainbody-->
-
-<div class="chapter mainbody">
-<h3 id="p045">CHAPTER X.
-<span class="smallerblk">
-<span class="smcap">G<span>LUEING</span></span>
-<span class="smmaj">UP.</span></span></h3>
-
-<p class="first">The book must now be glued up; that is, glue must be
-applied to the back to hold the sections together, and make
-the back firm during the rounding and backing. Knock the
-book perfectly true at its back and head, and put it into
-the lying press between two pieces of old mill-board; expose
-the back and let it project from the boards a little, the
-object being to hold the book firm and to keep the slips
-close to the sides, so that no glue shall get on them;
-then with glue, not too thick, but hot, glue the back,
-rubbing it in with the brush, and take the overplus off
-again with the brush. In some shops, a handful of shavings
-is used to rub the glue in, and to take the refuse
-away, but I consider this to be a bad plan, as a great
-quantity of glue is wasted.</p>
-
-<p>The Germans rub the glue into the back with the back
-of a hammer, and take away the overplus with the brush;
-this is certainly better than using shavings. The back
-must not be allowed to get too dry before it is rounded, or
-it will have to be damped with a sponge, to give to the
-glue the elasticity required, but it should not be wet, this
-being worse than letting it get too dry. The book should
-be left for about an hour, or till it no longer feels tacky
-to the touch, but still retains its flexibility. A flexible
-bound book should first be rounded, a backing board being
-used to bring the sheets round instead of a hammer, then
-the back glued, and a piece of tape tied round the book to
-prevent its going back flat. <span id="p046" class="xxpn">|46|</span></p>
-
-<p>But all books are not glued up in the press; some workmen
-knock up a number of books, and, allowing them to
-project a little <i>over</i> their press, glue the lot up at once;
-others again, by holding the book in the left hand and
-drawing the brush up and down the back. These last
-methods are, however, only practised in cloth shops, where
-books are bound or cased at very low prices. The proper
-way, as I have explained, is to put the book in the lying
-press. The book is then laid on its side to dry, and if
-more than one, they should be laid alternately back and
-foredge, with the back projecting about half an inch, and
-allowed to dry spontaneously, and on no account to be
-dried by the heat of a fire. <i>All artificial heat in drying in
-any process of bookbinding is injurious to the work.</i></p>
-</div><!--mainbody-->
-
-<div class="mainbody">
-<h3>CHAPTER XI.
-<span class="smallerblk">
-<span class="smcap">R<span>OUNDING.</span></span></span></h3>
-
-<p class="first">The
-word “rounding” applies to the back of the book,
-and is preliminary to backing. In rounding the back, the
-book is to be laid on the press before the workman with
-the foredge towards him; the book is then to be held with
-the left hand by placing the thumb on the foredge and
-fingers on the top of the book pointing towards the back,
-so that by drawing the fingers towards the thumb, or by
-pressing fingers and thumb together, the back is drawn
-towards the workman at an angle. In this position
-the back is struck with the face of the hammer, beginning
-in the centre, still drawing the back over with
-the left hand. The book is then to be turned over, and
-the other side treated in the same way, and continually
-<span id="p047" class="xxpn">|47|</span>
-changed or turned from one side to the other until it has
-its proper form, which should be a part of a circle. When
-sufficiently rounded, it should be examined to see if one
-side be perfectly level with the other, by holding the book
-up and glancing down its back, and gently tapping the
-places where uneven, until it is perfectly true or uniform.
-The thicker the book the more difficult it will be found to
-round it; and some papers will be found more obstinate
-than others, so that great care must be exercised both in
-rounding and backing, as the foredge when cut will have
-exactly the same form as the back. Nothing can be more
-annoying than to see books lop-sided, pig-backed, and with
-sundry other ailments, inherent to cheap bookbinding.
-<span id="p048" class="xxpn">|48|</span></p>
-
-<div class="imctr02">
-<img src="images/i073.jpg" width="528" height="526" alt="" />
-<div class="caption">Rounding Machine.</div></div>
-
-<p>The back when properly rounded should be about a third
-of a circle, according to the present mode, but in olden times
-they were made almost flat. They were not rounded as
-now done, but the swelling caused by the thread used
-made quite enough rounding when put in the press for
-backing.</p>
-
-<p>Flat back books have a certain charm about them, the
-more so if in other respects they are properly forwarded.
-The theory is altogether averse to practical binding. I
-have always been given to understand that we round our
-books in order to counteract the tendency of a book to sink
-in and assume a convex back. Any old well-used book
-bound with a flat back will show at once this defect.</p>
-
-<p>Messrs. Hopkinson and Cope, of Farringdon Road,
-London, manufacture a rounding machine. They claim that
-this machine will round 600 books per hour, and that any
-desired “round” may be given to the book with great
-uniformity.</p>
-</div><!--mainbody-->
-
-<div class="mainbody">
-<h3>CHAPTER XII.
-<span class="smallerblk">
-<span class="smcap">B<span>ACKING.</span></span></span></h3>
-
-<p class="first">The boards required for backing, called backing boards,
-should always be the same length as the book. They are
-made somewhat thicker than cutting boards, and have
-their tops planed at an angle, so that the sheets may fall
-well over.</p>
-
-<div class="figright imwth08">
-<img src="images/i075a.jpg" width="252" height="134" alt="" />
-<div class="caption">Backing Hammer.</div>
-</div>
-
-<p>Hold the book in the left hand, lay a board on one side,
-a little away from the back, taking the edge of the top
-sheet as a guide, the distance to be a trifle more than the
-thickness of the boards intended to be used. Then <span id="p049" class="xxpn">|49|</span>
-turn over the book, with the backing board, holding
-the board to the book by the thumb, so that it does not
-shift, and lay the other board at exactly the same distance
-on the other side. The whole is now to be held tightly by
-the left hand and lowered into the press. The boards may
-possibly have shifted a little
-during the process, and any
-correction may now be made
-whilst the press holds the book
-before screwing up tight, such
-as a slight tap with the hammer
-to one end of a board that may not be quite straight.
-Should the boards however be not quite true, it will be
-better to take the whole out and readjust them, rather than
-lose time in trying to rectify the irregularity by any other
-method. If the rounding is not quite true it will be seen
-at once, and the learner must not be disheartened if he has
-to take his book out of the press two or three times to
-correct any slight imperfection.</p>
-
-<div class="imctr01">
-<img src="images/i075b.jpg" width="600" height="229" alt="" />
-<div class="caption">
-<table summary="" class="twth01"><tr><td>Before Backing.</td>
-<td>After Backing.</td></tr></table>
-</div></div>
-
-<p>The book and boards having been lowered flush with the
-cheeks of the press, screw it up as tightly as possible with the
-iron hand-pin. The back of the book must now be gently
-struck with the back of the hammer, holding it slanting
-and beating the sheets well over towards the backing
-boards. Commence from the centre of the back and do <span id="p050" class="xxpn">|50|</span>
-not hit too hard, or the dent made by the hammer will
-show after the book has been covered. The back is to be
-finished with the face of the hammer, the sheets being
-brought well over on the boards so that a good and solid
-groove may be made. Each side must be treated in the same
-way, and have the same amount of weight and beating.
-The back must have a gradual hammering, and the sheets,
-when knocked one way, <i>must not be knocked back again</i>.
-The hammer should be swung with a circular motion,
-always away from the centre of the back. The book, when
-opened after backing, should be entirely without wrinkles;
-<i>their presence being a sign that the workman did not know his
-business</i>, or that it was carelessly done. Backing and cutting
-constitute the chief work in forwarding, and if these two
-are not done properly the book cannot be square and solid—two
-great essentials in bookbinding.</p>
-
-<p>Backing flexible work will be found a little more difficult,
-as the slips are tighter; but otherwise the process is exactly
-the same, only care must be taken not to hammer the cord
-too much, and to bring over the sections very gently, in
-order not to break the sewing thread.</p>
-
-<div class="figleft imwth09">
-<img src="images/i076.jpg" width="192" height="247" alt="" />
-<div class="caption">Two-edged Backing Boards.</div>
-</div>
-
-<p>The backing boards may be replaned
-from time to time, as they become used,
-but boards may be had having a double
-face of steel to them; these may be used
-from either side. The edges of the steel
-must not be sharp, or they will cut the
-paper when backing. The ordinary boards
-may also have a face of steel screwed to
-them, but I prefer to use the wood—one
-can get a firmer back without fear of
-cutting the sheets.</p>
-
-<p>There are several backing machines by different makers
-but they are all of similar plan. The book being first
-rounded is put between the cheeks, and the roller at the
-<span id="p051" class="xxpn">|51|</span>
-top presses the sheets over. I am sorry to say that a great
-number of sheets get cut by this process, especially when a
-careless man has charge of the machine.</p>
-</div><!--mainbody-->
-
-<div class="mainbody">
-<h3>CHAPTER XIII.
-<span class="smallerblk">
-<span class="smcap">M<span>ILL-BOARDS.</span></span></span></h3>
-
-<p class="first">There is no
-occasion to wait for the book to be advanced
-as far as the backing before the workman sees to his boards;
-but he should take advantage of the period of drying to
-prepare them, to look out the proper thickness of the board,
-and to line them with paper either on one side or on both.</p>
-
-<p>There are now so many kinds of mill-boards made that a
-few words about them may not be out of place. The best
-boards are made of old rope, and cost about £30 per ton.
-The various mills make each a different quality, the prices
-ranging down to £14 per ton; about this price the straw
-boards may be said to commence, they going as low as £7,
-and even less.</p>
-
-<p>A new board has lately appeared called leather board;
-it is exceedingly hard and durable. I made several experiments
-with this board, but up to the present have not
-succeeded in getting it to lay flat on the book.</p>
-
-<p>Boards are made to the various sizes in sheets varying from pott
-(<span class="mixfract" title="17-1/4">17<span
- class="fract">&#8201;<span class="fup">1</span>&#8202;&#8260;&#8202;<span
- class="fdn">4</span></span></span>
-×
-<span class="mixfract" title="14-1/4">14<span
- class="fract">&#8201;<span class="fup">1</span>&#8202;&#8260;&#8202;<span
- class="fdn">4</span></span></span>
-inches) to double elephant (40 × 28 inches). The
-thickness is known as 6<i>d.</i>, 7<i>d.</i>, 8<i>d.</i>; 8x, or eightpenny one cross;
-8xx, eightpenny two cross; X for tenpenny. Here is a list in full of
-all the boards likely to be
-used:—<span id="p052" class="xxpn">|52|</span></p>
-</div><!--mainbody-->
-
-<div class="tablebox section">
-<div class="imctr04">
- <img src="images/i078a.jpg" width="528" height="96"
-     alt="" /></div>
-
-<div class="nowrap">
-<table class="fsize7" summary="">
-<tr>
- <td colspan="14">KEY: D=“Dozens in a Bundle.”;
- W=“Weight Per Bundle, lb.”</td></tr>
-<tr>
- <th rowspan="2">DESCRIPTION.</th>
- <th>SIZE.</th>
- <th colspan="2">6d.</th>
- <th colspan="2">7d.</th>
- <th colspan="2">8d.</th>
- <th colspan="2">8x.</th>
- <th colspan="2">8xx.</th>
- <th colspan="2">X.</th></tr>
-<tr>
- <th>inches.</th>
- <th>D</th>
- <th>W</th>
- <th>D</th>
- <th>W</th>
- <th>D</th>
- <th>W</th>
- <th>D</th>
- <th>W</th>
- <th>D</th>
- <th>W</th>
- <th>D</th>
- <th>W</th></tr>
-<tr>
- <td class="pleft">Pott</td>
- <td><span class="mixfract" title="17-1/4">17<span
- class="fract">&#8201;<span class="fup">1</span>&#8202;&#8260;&#8202;<span
- class="fdn">4</span></span></span> &#8201;×&#8201;<span class="mixfract" title="14-1/4">14<span
- class="fract">&#8201;<span class="fup">1</span>&#8202;&#8260;&#8202;<span
- class="fdn">4</span></span></span></td>
- <td>6</td>
- <td>28</td>
- <td>6</td>
- <td>40</td>
- <td>5</td>
- <td>48</td>
- <td>5</td>
- <td>56</td>
- <td>4</td>
- <td>60</td>
- <td>3</td>
- <td class="pright">58</td></tr>
-<tr>
- <td class="pleft">Foolscap</td>
- <td><span class="mixfract" title="18-1/2">18<span
- class="fract">&#8201;<span class="fup">1</span>&#8202;&#8260;&#8202;<span
- class="fdn">2</span></span></span> &#8201;×&#8201;<span class="mixfract" title="14-1/2">14<span
- class="fract">&#8201;<span class="fup">1</span>&#8202;&#8260;&#8202;<span
- class="fdn">2</span></span></span></td>
- <td>6</td>
- <td>32</td>
- <td>6</td>
- <td>44</td>
- <td>5</td>
- <td>50</td>
- <td>5</td>
- <td>58</td>
- <td>4</td>
- <td>62</td>
- <td>3</td>
- <td class="pright">58</td></tr>
-<tr>
- <td class="pleft">Crown</td>
- <td>20 &#8201;×&#8201;<span class="mixfract" title="16-1/4">16<span
- class="fract">&#8201;<span class="fup">1</span>&#8202;&#8260;&#8202;<span
- class="fdn">4</span></span></span></td>
- <td>6</td>
- <td>36</td>
- <td>6</td>
- <td>50</td>
- <td>5</td>
- <td>62</td>
- <td>5</td>
- <td>72</td>
- <td>4</td>
- <td>74</td>
- <td>3</td>
- <td class="pright">72</td></tr>
-<tr>
- <td class="pleft">Small Half Royal</td>
- <td><span class="mixfract" title="20-1/4">20<span
- class="fract">&#8201;<span class="fup">1</span>&#8202;&#8260;&#8202;<span
- class="fdn">4</span></span></span> &#8201;×&#8201;13</td>
- <td>6</td>
- <td>30</td>
- <td>6</td>
- <td>44</td>
- <td>5</td>
- <td>50</td>
- <td>5</td>
- <td>60</td>
- <td>4</td>
- <td>62</td>
- <td>3</td>
- <td class="pright">58</td></tr>
-<tr>
- <td class="pleft">Large Half Royal</td>
- <td>21 &#8201;×&#8201;14</td>
- <td>6</td>
- <td>30</td>
- <td>6</td>
- <td>48</td>
- <td>5</td>
- <td>60</td>
- <td>5</td>
- <td>62</td>
- <td>4</td>
- <td>70</td>
- <td>3</td>
- <td class="pright">72</td></tr>
-<tr>
- <td class="pleft">Short</td>
- <td>21 &#8201;×&#8201;17</td>
- <td>6</td>
- <td>38</td>
- <td>6</td>
- <td>55</td>
- <td>5</td>
- <td>70</td>
- <td>5</td>
- <td>78</td>
- <td>4</td>
- <td>78</td>
- <td>3</td>
- <td class="pright">78</td></tr>
-<tr>
- <td class="pleft">Sm. Half Imperial</td>
- <td><span class="mixfract" title="22-1/4">22<span
- class="fract">&#8201;<span class="fup">1</span>&#8202;&#8260;&#8202;<span
- class="fdn">4</span></span></span> &#8201;×&#8201;15</td>
- <td>6</td>
- <td>36</td>
- <td>6</td>
- <td>50</td>
- <td>5</td>
- <td>64</td>
- <td>4</td>
- <td>70</td>
- <td>3</td>
- <td>62</td>
- <td>2</td>
- <td class="pright">60</td></tr>
-<tr>
- <td class="pleft">Half Imperial</td>
- <td><span class="mixfract" title="23-1/2">23<span
- class="fract">&#8201;<span class="fup">1</span>&#8202;&#8260;&#8202;<span
- class="fdn">2</span></span></span> &#8201;×&#8201;<span class="mixfract" title="16-1/2">16<span
- class="fract">&#8201;<span class="fup">1</span>&#8202;&#8260;&#8202;<span
- class="fdn">2</span></span></span></td>
- <td>6</td>
- <td>40</td>
- <td>6</td>
- <td>60</td>
- <td>5</td>
- <td>66</td>
- <td>4</td>
- <td>70</td>
- <td>3</td>
- <td>66</td>
- <td>2</td>
- <td class="pright">64</td></tr>
-<tr>
- <td class="pleft">Mdle. or Sm. Demy</td>
- <td><span class="mixfract" title="22-1/2">22<span
- class="fract">&#8201;<span class="fup">1</span>&#8202;&#8260;&#8202;<span
- class="fdn">2</span></span></span> &#8201;×&#8201;<span class="mixfract" title="18-1/2">18<span
- class="fract">&#8201;<span class="fup">1</span>&#8202;&#8260;&#8202;<span
- class="fdn">2</span></span></span></td>
- <td>6</td>
- <td>45</td>
- <td>6</td>
- <td>60</td>
- <td>5</td>
- <td>66</td>
- <td>4</td>
- <td>74</td>
- <td>3</td>
- <td>72</td>
- <td>2</td>
- <td class="pright">66</td></tr>
-<tr>
- <td class="pleft">Large Middle or Large Demy</td>
- <td><span class="mixfract" title="23-3/4">23<span
- class="fract">&#8201;<span class="fup">3</span>&#8202;&#8260;&#8202;<span
- class="fdn">4</span></span></span> &#8201;×&#8201;<span class="mixfract" title="18-1/2">18<span
- class="fract">&#8201;<span class="fup">1</span>&#8202;&#8260;&#8202;<span
- class="fdn">2</span></span></span></td>
- <td>6</td>
- <td>48</td>
- <td>6</td>
- <td>68</td>
- <td>5</td>
- <td>66</td>
- <td>4</td>
- <td>76</td>
- <td>3</td>
- <td>74</td>
- <td>2</td>
- <td class="pright">60</td></tr>
-<tr>
- <td class="pleft">Large or Medium</td>
- <td>24 &#8201;×&#8201;19</td>
- <td>6</td>
- <td>48</td>
- <td>6</td>
- <td>70</td>
- <td>5</td>
- <td>65</td>
- <td>4</td>
- <td>76</td>
- <td>3</td>
- <td>74</td>
- <td>2</td>
- <td class="pright">60</td></tr>
-<tr>
- <td class="pleft">Small Royal</td>
- <td><span class="mixfract" title="25-1/2">25<span
- class="fract">&#8201;<span class="fup">1</span>&#8202;&#8260;&#8202;<span
- class="fdn">2</span></span></span> &#8201;×&#8201;<span class="mixfract" title="19-1/2">19<span
- class="fract">&#8201;<span class="fup">1</span>&#8202;&#8260;&#8202;<span
- class="fdn">2</span></span></span></td>
- <td>6</td>
- <td>52</td>
- <td>6</td>
- <td>78</td>
- <td>5</td>
- <td>78</td>
- <td>4</td>
- <td>84</td>
- <td>3</td>
- <td>84</td>
- <td>2</td>
- <td class="pright">68</td></tr>
-<tr>
- <td class="pleft">Large Royal</td>
- <td><span class="mixfract" title="26-3/4">26<span
- class="fract">&#8201;<span class="fup">3</span>&#8202;&#8260;&#8202;<span
- class="fdn">4</span></span></span> &#8201;×&#8201;<span class="mixfract" title="20-3/4">20<span
- class="fract">&#8201;<span class="fup">3</span>&#8202;&#8260;&#8202;<span
- class="fdn">4</span></span></span></td>
- <td>6</td>
- <td>52</td>
- <td>6</td>
- <td>78</td>
- <td>4</td>
- <td>68</td>
- <td>3</td>
- <td>76</td>
- <td>2</td>
- <td>68</td>
- <td>2</td>
- <td class="pright">86</td></tr>
-<tr>
- <td class="pleft">Extra Royal</td>
- <td><span class="mixfract" title="28-1/2">28<span
- class="fract">&#8201;<span class="fup">1</span>&#8202;&#8260;&#8202;<span
- class="fdn">2</span></span></span> &#8201;×&#8201;<span class="mixfract" title="21-1/2">21<span
- class="fract">&#8201;<span class="fup">1</span>&#8202;&#8260;&#8202;<span
- class="fdn">2</span></span></span></td>
- <td>6</td>
- <td>56</td>
- <td>6</td>
- <td>82</td>
- <td>4</td>
- <td>74</td>
- <td>3</td>
- <td>80</td>
- <td>2</td>
- <td>74</td>
- <td>2</td>
- <td class="pright">92</td></tr>
-<tr>
- <td class="pleft">Imperial</td>
- <td>32 &#8201;×&#8201;<span class="mixfract" title="22-1/2">22<span
- class="fract">&#8201;<span class="fup">1</span>&#8202;&#8260;&#8202;<span
- class="fdn">2</span></span></span></td>
- <td>6</td>
- <td>72</td>
- <td>4</td>
- <td>72</td>
- <td>3</td>
- <td>72</td>
- <td>2</td>
- <td>72</td>
- <td>2</td>
- <td>96</td>
- <td>2</td>
- <td class="pright">120</td></tr>
-</table></div></div>
-
-<div class="imctr01">
-<img src="images/i078b.jpg" width="600" height="135" alt="" />
-<div class="caption">Mill-board Shears.</div></div>
-
-<div class="mainbody">
-<p>Having chosen the board, it is necessary to cut it up to
-the size wanted. If the book is 8vo., the board is cut into
-eight pieces; if 4to., into four; using a demy board
-for a demy book, or a royal for a royal book. To cut up
-the board, first mark up, as a guide for the mill-board
-shears. These are very large shears, in shape somewhat
-like an enlarged tin shears. To use the shears, screw up
-one arm in the laying press, hold the board by the left
-hand, using the right to work the upper arm, the left hand
-meanwhile guiding the board. Some little tact is required
-<span id="p053" class="xxpn">|53|</span>
-to cut heavy boards. It will be found that it is necessary
-to press the lower arm away with the thigh, and bring the
-upper arm towards the operator whilst cutting.</p>
-
-<div class="imctr02">
-<img src="images/i079.jpg" width="528" height="413" alt="" />
-<div class="caption">Mill-board Machine.</div></div>
-
-<p>A mill-board cutting machine is now in all large shops.
-The cut fairly well explains itself; the long blade descending
-cuts the boards, which are held fast on the table by the
-clamp. The gauges are set either on the table or in front.
-The board is put on the table and held tight by pressure of
-the foot on the treadle; the knife descending upon the exposed
-board cuts after the principle of the guillotine blade.
-Another kind, introduced by Messrs. Richmond, of Kirby
-Street, Hatton Garden, is made for steam work, and is no
-doubt one of the best that can be made. Instead of a
-knife to descend, a number of circular cutters are made to
-revolve on two spindles, the one cutter working against
-the other (see woodcut); but I give Messrs. Richmond’s
-own description, it being more explicit than any I could <span id="p054" class="xxpn">|54|</span>
-possibly give: “The machine accomplishes a surprising
-amount of superior work in a very short time, and the
-best description of the ordinary lever mill-board cutting
-machine cannot be compared with it. The machine is
-very strongly and accurately constructed. It is furnished
-with an iron table having a planed surface, and is also
-provided with a self-acting feed gauge. The gear wheels
-are engine cut, and the circular cutters, which are of the
-best cast steel, being turned and ground “dead true,” clean
-and accurate cutting is insured. The machine will therefore
-be found to be a most profitable acquisition to any
-bookbinding establishment in which large quantities of
-mill-board are used up.”</p>
-
-<div class="imctr03">
-<img src="images/i080.jpg" width="456" height="433" alt="" />
-<div class="caption">Steam Mill-board Cutting Machine.</div></div>
-
-<p>The boards being cut, square the edge which is to go to
-the back of the book. This must be done in the cutting
-press, using a cutting board for one side termed a “runner,”
-and another called a “cut-against” for the other side. <span id="p055" class="xxpn">|55|</span>
-These are simply to save the press from being cut; and a
-piece of old mill-board is generally placed on the cut-against,
-so that the plough knife does not cut or use up
-the cut-against too quickly. The boards are now, if for
-whole-binding, to be lined on both sides with paper; if for
-half-binding only on one side. The reason for lining them
-is to make the boards curve inwards towards the book.
-The various pastings would cause the board to curve the
-contrary way if it were not lined. If the boards are to
-be lined both sides, paper should be cut double the size of
-the boards; if only one side, the paper cut a little wider
-than the boards, so that a portion of the paper may be
-turned over on to the other side about a quarter of an inch.
-The paper is now pasted with not too thick paste, and the
-board laid on the paper <i>with the cut edge towards</i> the portion
-to be turned over. It is now taken up with the paper
-adhering, and laid down on the press with the paper side
-upwards, and rubbed well down; it is then again turned
-over and the paper drawn over the other side. It is
-advisable to press the boards to make more certain of the
-paper adhering, remembering always that the paper must
-be pasted all over very evenly, for it cannot be expected
-to adhere if it is not pasted properly.</p>
-
-<p>When the books are very thick, two boards must be
-pasted together, not only to get the proper thickness, but
-for strength, for a made board is always stronger than a
-single one. If a board has to be made, a thick and a
-somewhat thinner board should be fastened together <i>with
-paste</i>. Paste both boards and put them in the standing press
-for the night. Great pressure should not be put on at first,
-but after allowing them to set for a few minutes, pull
-down the press as tight as possible. When placing made
-boards to the book, <i>the thinner one should always be next
-the book</i>. It may be taken as a general rule that a thinner
-board when pasted will always draw a thicker one. <span id="p056" class="xxpn">|56|</span></p>
-
-<p>When boards are lined on one side only it is usual to
-turn half an inch of the paper over the square or cut edge,
-and the lined side must be placed next the book.</p>
-
-<p>Many binders line the mill-board all over with paper
-before cutting; this may save time, but the edge of the
-board at the joint is liable to be abraised, and the resulting
-joint uneven.</p>
-
-<p>The boards when lined should be laid about or stood up
-to dry, and when dry, cut to the proper and exact size for
-the book. As a fact, the black boards now sold are much
-too new or green to be used direct by the binder, they
-should be stocked for some months.</p>
-
-<p>The requisite width is obtained by extending the compass
-from the back of the book to the edge of the smallest
-bolt or fold in the foredge. It is advisable not to measure
-less than this point, but to leave a leaf or two in order to
-show that the book is not cut down. The compasses being
-fixed by means of the side screw, the boards are to be
-knocked up even, compassed up, and placed in the lying
-press, in which they are cut, using, as before, the “cut-against,”
-and placing the runner exactly to the compass
-holes. When cut they are to be tested by turning one
-round and putting them together again; if they are the
-least out of truth it will be apparent at once. The head
-or top of the boards is next to be cut by placing a square
-against the back and marking the head or top with a
-bodkin or point of a knife. The boards being quite
-straight are again put into the press and cut, and when
-taken out should be again proved by reversing them as
-before, and if not true they must be recut. The length is
-now taken from the head of the book to the tail, and in
-this some judgment must be used. If the book has already
-been cut the measure must be somewhat larger than the
-book, allowing only such an amount of paper to be cut off
-as will make the edge smooth. If, however, the book is to <span id="p057" class="xxpn">|57|</span>
-be entirely uncut, the size of the book is measured, and in
-addition the portion called <i>squares</i> must be added.</p>
-
-<p>When a book has not been cut, the amount that is to be
-cut off the head will give the head or top square, and the
-book being measured from the head, another square or
-projection must be added to it, and the compass set to one
-of the shortest leaves in the book. Bearing in mind the
-article on trimming, enough of the book <i>only</i> should be
-cut to give the edge solidity for either gilding or marbling.
-A few leaves should always be left not cut with the plough,
-to show that the book has not been cut down. These few
-leaves are called <i>proof</i>, and are always a mark of careful
-work.</p>
-
-<p>About twenty years ago it was the mode to square the
-foredge of the boards, then lace or draw them in, and to
-cut the head and tail of the boards and book together, then
-to turn up and cut the foredge of the book.</p>
-</div><!--mainbody-->
-
-<div class="mainbody">
-<h3>CHAPTER XIV.
-<span class="smallerblk">
-<span class="smcap">D<span>RAWING-IN</span></span>
-<span class="smmaj">AND</span>
-<span class="smcap">P<span>RESSING.</span></span></span></h3>
-
-<p class="first">The boards
-having been squared, they are to be attached
-to the book by lacing the ends of the cord through holes
-made in the board. The boards are to be laid on the book
-with their backs in the groove and level with the head;
-they must then be marked either with a lead pencil or the
-point of a bodkin exactly in a line with the slips, about
-half an inch down the board. On a piece of wood the mill-board
-is placed, and holes are pierced by hammering a short
-bodkin through on the line made, at a distance from the
-edge in accordance with the size of the book. About half
-an inch away from the back is the right distance for an
-<span id="p058" class="xxpn">|58|</span>
-octavo. The board is then to be turned over, and a second
-hole made about half an inch away from the first ones.
-The boards having been holed, the slips must be scraped,
-pasted slightly, and tapered or pointed. Draw them tightly
-through the hole first made and back through the second.
-Tap them slightly when the board is down to prevent them
-from slipping and getting loose. When the cords are drawn
-through, cut the ends close to the board with a knife, and
-well hammer them down on the knocking-down iron to
-make the board close on the slips and hold them tight.
-The slips should be well and carefully hammered, as any
-projection will be seen with great distinctness when the
-book is covered. The hammer must be held perfectly even,
-for the <i>slips will be cut</i> by the edge of it
-if <i>used carelessly</i>.</p>
-
-<p>The book is now to be examined, and any little alteration
-may be made before putting it into the standing press.
-With all books, a tin should be placed between the mill-board
-and book, to flatten the slips, and prevent their
-adherence. The tin is placed right up to the groove, and
-serves also as a guide for the pressing board. Pressing
-boards, the same size as the book, should be put flush with
-the groove, using the pressing tin as guide, and the book
-or books placed in the centre of the press directly under
-the screw, which is to be tightened as much as possible.
-In pressing books of various sizes, the largest book must
-always be put at the bottom of the press, with a block or
-a few pressing boards between the various sizes, in order
-to get equal pressure on the whole, and to allow the screw
-to come exactly on the centre of the books.</p>
-
-<p>The backs of the books are now to be pasted, and allowed
-to stand for a few minutes to soften the glue. Then with
-a piece of wood or iron, called a cleaning-off stick (wood
-is preferable), the glue is rubbed off, and the backs are well
-rubbed with a handful of shavings and left to dry. Leave
-them as long as possible in the press, and if the volume is <span id="p059" class="xxpn">|59|</span>
-rather a thick one a coat of paste or thin glue should be
-applied to the back. Paste is preferable.</p>
-
-<p>If the book is very thick a piece of thin calico may be
-pasted to the back and allowed to dry, the surplus being
-taken away afterwards.</p>
-
-<p>In flexible work care must be taken that the cleaning-off
-stick is not forced too hard against the bands, or the thread
-being moist will break, or the paper being wet will tear, or
-the bands may become shifted. The cleaning-off stick may
-be made of any piece of wood; an old octavo cutting board is
-as good as anything else, but a good workman will always
-have one suitable and at hand when required for use.</p>
-
-<p>When the volumes have been pressed enough (a day’s
-pressing is none too much) they are to be taken out, and the
-tins and pressing boards put away. The book is then ready
-for cutting. Of the numerous presses, excepting the hydraulic,
-Gregory’s Patent Compound Action Screw Press
-is to my mind the best, and I believe it to be one of the
-most powerful presses yet invented; sixty tons pressure can
-be obtained by it.</p>
-</div><!--mainbody-->
-
-<div class="mainbody">
-<h3>CHAPTER XV.
-<span class="smallerblk">
-<span class="smcap">C<span>UTTING.</span></span></span></h3>
-
-<p class="first">In
-olden times, when our present work-tools did not exist
-and material aids were scarce, a sharp knife and straight
-edge formed the only implements used in cutting. Now
-we have the plough and cutting machine, which have
-superseded the knife and straight edge; and the cutting
-machine is now fast doing away with the plough. There
-are very few shops at the present moment where a cutting
-<span id="p060" class="xxpn">|60|</span>
-machine is not in use, in fact I may say that, without
-speaking only of cloth books, for they must always be cut
-by machinery owing to the price not allowing them to be
-done otherwise, there are very few books, not even excepting
-extra books, that have escaped the cutting machine.</p>
-</div><!--mainbody-->
-
-<div class="imctr01">
-<img src="images/i086a.jpg" width="600" height="299" alt="" />
-<div class="caption">Cutting Press and Plough.</div></div>
-
-<div class="mainbody">
-<div class="imctr03">
-<img src="images/i086b.jpg" width="456" height="85" alt="" />
-<div class="caption">Sliding Knife.</div></div>
-
-<p>All cutting “presses” are used in the same way. The plough running
-over the press, its left cheek running between two guides fastened
-on the left cheek of the press. By turning the screw of the plough
-the right cheek is advanced towards the left; the knife fixed on the
-right of the plough is advanced, and with the point cuts gradually
-through the boards or paper secured in the press, as already described
-in preparing the boards. There are two kinds of ploughs in use—in
-one the knife is bolted, in the other the knife slides in a dovetail
-groove—termed respectively <span id="p061" class="xxpn">|61|</span>
-“bolt knife” and “slide knife.” The forwarder will find that the latter
-is preferable, on account of its facility of action, as any length of
-knife can be exposed for cutting. But with a bolt knife, being fastened
-to the shoe of the plough, it is necessarily a fixture, and must be
-worn down by cutting or squaring mill-boards, or such work, before it
-can be used with the truth necessary for paper.</p>
-
-<div class="figright imwth06">
-<img src="images/i087.jpg" width="312" height="118" alt="" />
-<div class="caption">Bolt Knife.</div></div>
-
-<p>To cut a book properly it must be quite straight, and the
-knife must be sharp and perfectly true. Having this in
-mind, the book may be cut by placing the front board
-the requisite distance from the head that is to be cut off.
-A piece of thin mill-board or trindle is put between the
-hind board and book, so that the knife when through
-the book may not cut the board. The book is now to
-be lowered into the cutting press, with the back towards
-the workman, until the front board is exactly on a level
-with the press. The head of the book is now horizontal
-with the press, and the amount to be cut off exposed above
-it. Both sides should be looked to, as the book is very
-liable to get a twist in being put in the press. When it is
-quite square the press is to be screwed up tightly and
-evenly. Each end should be screwed up to exactly the
-same tightness, for if one end is loose the paper will be
-jagged or torn instead of being cut cleanly.</p>
-
-<p>The book is cut by drawing the plough gently to and
-fro; each time it is brought towards the workman a slight
-amount of turn is given to the screw of the plough. If
-too much turn is given to the screw, the knife will bite too
-deeply into the paper and <i>will tear instead of cutting it</i>. If
-the knife has not been properly sharpened, or has a burr <span id="p062" class="xxpn">|62|</span>
-upon its edge, it will be certain to cause ridges on the
-paper. The top edge being cut, the book is taken out of
-the press and the <i>tail</i> cut. A mark is made on the top of
-the hind or back board just double the size of the square,
-and the board is lowered until the mark is on a level with
-the cut top. The book is again put into the press, with
-the back towards the workman, until the board is flush
-with the cheek of the press; this will expose above the
-press the amount to be taken off from the tail, as before
-described, and the left hand board will be, if put level with
-the cut top, exactly the same distance above the press as
-the right band board is below the cut top. The tail is cut
-in the same way as the top edge.</p>
-
-<p>To cut a book properly requires great care. It will be
-of great importance to acquire a methodical exactness in
-working the different branches, cutting especially. Always
-lay a book down one way and take it up another, and in
-cutting always work with the back of the book towards
-you, and cut from you. Give the turn to the screw of the
-plough as it is thrust from you, or you will pull away a
-part of the back instead of cutting it.</p>
-
-<div class="imctr04">
-<img src="images/i089.jpg" width="408" height="559" alt="" />
-<div class="caption">Section of Book and Press, book
-partly cut.</div></div>
-
-<p>In cutting the foredge, to which we must now come,
-always have the head of the book towards you, so that if
-not cut straight you know exactly where the fault lies.
-The foredge is marked both back and front of the book by
-placing a cutting board under the first two or three leaves
-as a support; the mill-board is then pressed firmly into
-the groove and a line is drawn or a hole is pierced head
-and tail, the foredge of the board being used as a guide. The
-book is now knocked with its back on the press quite flat,
-and trindles (flat pieces of steel in the shape of an elongated
-U, about <span class="mixfract" title="1-1/2">1<span
- class="fract">&#8201;<span class="fup">1</span>&#8202;&#8260;&#8202;<span
- class="fdn">2</span></span></span> inch wide and 3 or 4 inches long, with
-a slot nearly the whole length) are placed between the
-boards and book by letting the boards fall back from the
-book and then passing one trindle at the head, the other at <span id="p063" class="xxpn">|63|</span>
-tail, allowing the top and bottom slip to go in the grooves
-of the trindles. The object of this is to force the back up
-quite flat, and by holding the book when the cut-against
-and runner is on it, supported by the other hand under the
-boards, it can be at once seen if the book is straight or not.
-The cut-against must be put quite flush with the holes on
-the left of the book, and the runner the distance under the
-holes that the amount of square is intended to be. The
-book being lowered into the press, the runner is put flush
-with the cheek of the press and the cut-against just the
-same distance <i>above</i> the press as the runner is <i>below</i> the
-holes. The trindles must be taken out from the book when <span id="p064" class="xxpn">|64|</span>
-the cutting boards are in their proper place, and the mill-boards
-will then fall down. The book and cutting boards
-must be held very tightly or they will slip and, if the
-book has been lowered into the press accurately, everything
-will be quite square. The press must now be screwed
-up tightly, and the foredge ploughed; when the book is
-taken out of the press it will resume its original rounding,
-the foredge will have the same curve as the back, and if
-cut truly there will be a proper square all round the edges.
-This method is known as “cutting in boards.”</p>
-
-<p>If the amateur or workman has a set of some good work
-which he wishes to bind uniformly, but which has already
-been cut to different sizes, and he does not wish to cut the
-large ones down to the smaller size, he must not draw
-the small ones in, as he may possibly not be able to
-pull the boards down the required depth to cut the
-book, but he must leave the boards loose, cut the head
-and tail, then draw the boards in, and turn up and cut the
-foredge.</p>
-
-<p>“Cutting out of boards” is by a different method. The
-foredge is cut before gluing up, if for casing, taking the
-size <i>from the case</i>, from the back to the edge of the board
-in the foredge. The book is then glued up, rounded, and
-put into the press for half an hour, just to set it. The size
-is again taken from the case, allowing for squares head
-and tail. The book having been marked is cut, and then
-backed. Cloth cases are made for most periodicals, and
-may be procured from their publishers at a trifling cost,
-which varies according to the size of the book and the
-amount of blocking that is upon them.</p>
-
-<p>This method of cutting out of boards is adopted in many
-of the cheap shops (even leather shops). It is a method,
-however, not to be commended.</p>
-
-<p>To test if the book be cut true it is only necessary to
-turn the top leaf back level to the back of the book and <span id="p065" class="xxpn">|65|</span>
-even at the head; if it be the slightest bit untrue it will at
-once be seen.</p>
-
-<div class="imctr01">
-<img src="images/i091.jpg" width="600" height="645" alt="" />
-<div class="caption">Cutting Machine.</div></div>
-
-<p>A few words about the various cutting machines that
-are in the market. Each maker professes his machine the
-best. In some the knife moves with a diagonal motion, in
-others with a horizontal motion.</p>
-
-<p>The principle of all these machines is the same: the
-books are placed to a gauge, the top is lowered and clamps <span id="p066" class="xxpn">|66|</span>
-the book, and, on the machine being started, the knife
-descends and cuts through the paper.</p>
-
-<div class="imctr01">
-<img src="images/i092.jpg" width="600" height="616" alt="" />
-<div class="caption">Registered Cutting Machine.</div></div>
-
-<p>Another machine by Harrild and Son, called a registered
-cutting machine, is here illustrated. Its operation is on
-the same principle as a lying press, the difference being,
-that this has a table upon which the work is placed; a
-gauge is placed at the back so that the work may be placed
-against it for accuracy, the top beam is then screwed down
-and the paper ploughed. A great amount of work may be
-accomplished with this machine, and to anyone that cannot
-afford an ordinary cutting machine this will be found invaluable.</p>
-</div><!--mainbody-->
-
-<div class="chapter mainbody">
-<h3 id="p067">CHAPTER XVI.
-<span class="smallerblk">
-<span class="smcap">C<span>OLOURING</span></span>
-<span class="smmaj">THE</span>
-<span class="smcap">E<span>DGES.</span></span></span></h3>
-
-<p class="first">The edges of every book must be in keeping with the
-binding. A half roan book should not have an expensive
-edge, neither a whole bound morocco book a sprinkled edge.
-Still, no rule has been laid down in this particular, and
-taste should regulate this as it must in other branches.
-The taste of the public is so changeable that it is impossible
-to lay down any rule, and I leave my reader to his own
-discretion.</p>
-
-<p>Here are various ways in which the edges may be
-coloured.</p>
-
-<p><i>Sprinkled Edges.</i>—Most shops have a colour always ready,
-usually a reddish brown, which they use for the whole of
-their sprinkled edge books. The colour can be purchased
-at any oil shop. A mixture of burnt umber and red ochre
-is generally used. The two powders must be well mixed
-together in a mortar with paste, a few drops of sweet oil,
-and water. The colour may be tested by sprinkling some
-on a piece of white paper, allowing it to dry, and then
-burnishing it. If the colour powders or rubs, it is either
-too thick, or has not enough paste in it. If the former,
-some water must be added; if the latter, more paste: and
-it will perhaps be better if the whole is passed through a
-cloth to rid it of any coarse particles. The books may be
-sprinkled so as to resemble a kind of marble by using two
-or three different colours. For instance, the book is put in
-the lying press and a little sand is strewn upon the edge in
-small mounds. Then with a green colour a moderate <span id="p068" class="xxpn">|68|</span>
-sprinkle is given. After allowing it to dry, more sand is
-put on in various places, a dark sprinkle of brown is put on,
-and the whole allowed to dry. When the sand is shaken
-off, the edge will be white where the first sand was dropped,
-green where the second, and the rest brown.</p>
-
-<p>A colour of two shades may be made by using sand, then
-a moderately dark brown sprinkled, then more sand, and
-lastly a deeper shade of same colour.</p>
-
-<div class="imctr01">
-<img src="images/i094.jpg" width="600" height="141" alt="" />
-<div class="caption">Sprinkling Brush and Sieve.</div>
-</div>
-
-<p>There are a few of the “<i>Old Binders</i>” who still use what
-is called the “finger brush,” a small brush about the size of
-a shaving brush, made of stiff bristles cut squarely. They
-dip it into the colour, and then by drawing the finger across
-it jerk the colour over the edge. Another method is to use
-a larger brush, which being dipped in the colour is beaten
-on a stick or press-pin until the desired amount of sprinkle
-is obtained. But the best plan is to use a nail brush and a
-common wire cinder sifter. Dip the brush in the colour
-and rub it in a circular direction over the cinder sifter.
-This mode has the satisfactory result of doing the work
-quicker, finer, and more uniformly. The head, foredge and
-tail must be of exactly the same shade, and one end must
-not have more sprinkle on it than the other, and a set of
-books should have their edges precisely alike in tone and
-colour.</p>
-
-<p><i>Colours for Sprinkling.</i>—To give an account of how the
-various colours are made that were formerly used would
-be only waste of time, as so many dyes and colours that <span id="p069" class="xxpn">|69|</span>
-answer all purposes may be purchased ready for instant use.
-I may with safety recommend Judson’s dyes diluted with
-water.</p>
-
-<p><i>Plain Colouring.</i>—The colour having been well ground
-is to be mixed with paste and a little oil, or what is perhaps
-better, glaire and oil. Then with a sponge or with a
-brush colour the whole of the edge. In colouring the
-foredge the book should be drawn back so as to form a
-slope of the edge, so that when the book is opened a certain
-amount of colour will still be seen. It is often necessary
-to give the edges two coats of colour, but the first must be
-quite dry before the second is applied.</p>
-
-<p>A very good effect may be produced by first colouring
-the edge yellow, and when dry, after throwing on rice,
-seeds, pieces of thread, fern leaves, or anything else according
-to fancy, then sprinkling with some other dark colour.
-For this class of work body sprinkling colour should always
-be used. It may be varied in many different ways.</p>
-
-<p><i>Marbled Edges.</i>—The edges of marbled books should in
-almost every instance correspond with their marbled ends.</p>
-
-<p>In London very few binders marble their own work, but
-send it out of the house to the <i>Marblers</i>, who do nothing
-else but make marbled edges and paper. One cannot do
-better than send one’s books to be marbled; it will cost
-only a few pence, which will be well spent in avoiding the
-trouble and dirt that marbling occasions; nevertheless I
-will endeavour to explain; it is, however, a process that
-may seem very easy, but is very difficult to execute
-properly.</p>
-
-<p>The requisites are a long square wooden or zinc trough
-about 2 inches deep to hold the size for the colours to float
-on; the dimensions to be regulated by the work to be
-done. About 16 to 20 inches long and 6 to 8 inches wide
-will probably be large enough. Various colours are used,
-such as lake, rose, vermilion, king’s yellow, yellow ochre, <span id="p070" class="xxpn">|70|</span>
-Prussian blue, indigo, some green, flake white, and lamp
-black. The brushes for the various colours should be of
-moderate size, and each pot of colour must have its own
-brush. Small stone jars are convenient for the colours,
-and a slab of marble and muller to grind them must be
-provided. The combs may be made with pieces of brass
-wire about two inches long, inserted into a piece of wood;
-several of these will be required with the teeth at different
-distances, according to the width of the pattern required
-to be produced. Several different sized burnishers, flat
-and round, will be required for giving a gloss to the work.</p>
-
-<div class="imctr03">
-<img src="images/i096.jpg" width="456" height="118" alt="" />
-<div class="caption">Marbling Trough.</div></div>
-
-<p>The first process in marbling is the preparation of the
-size on which the colours are to be floated. This is a solution
-of <i>gum tragacanth</i>, or as it is commonly called, gum
-dragon. If the gum is placed over night in the quantity
-of water necessary it will generally be found dissolved by
-the morning. The quantity of gum necessary to give
-proper consistency to the size is simply to be learned by
-experience, and cannot be described; and the solution
-must always be filtered through muslin or a linen cloth
-before use.</p>
-
-<p>The colours must be ground on the marble slab with a
-little water, as fine as possible; move the colour from time
-to time into the centre of the marble with a palette knife,
-and as the water evaporates add a little more. About
-one oz. of colour will suffice to grind at once, and it will
-take about two hours to do it properly.</p>
-
-<p>Having everything at hand and ready, with the size in <span id="p071" class="xxpn">|71|</span>
-the trough, and water near, the top of the size is to be
-carefully taken off with a piece of wood the exact width of
-the trough, and the colour being well mixed with water
-and a few drops of <i>ox gall</i>, a little is taken in the brush,
-and a <i>few very fine</i> spots are thrown on.</p>
-
-<p>If the colour does not spread out, but rather sinks down,
-a few more drops of gall must be carefully added and well
-mixed up. The top of the size must be taken off as before
-described, and the colour again thrown on.</p>
-
-<p>If it does not then spread out, the ground or size is of
-too thick consistency, and some clean water must be added,
-and the whole well mixed.</p>
-
-<p>If the colour again thrown on spreads out, but looks
-rather greyish or spotty, then the colour is too thick, and
-a little water must be added, but very carefully, lest it
-be made too thin. If the colour still assumes a greyish
-appearance when thrown on, then the fault lies in the
-grinding, and it must be dried and again ground.</p>
-
-<p>When the colour, on being thrown on, spreads out in
-very large spots, the ground or size is too thin and a little
-thicker size should be added. Now, if the consistency or
-the amount of gum water be noticed, by always using the
-same quantity the marbler cannot fail to be right.</p>
-
-<p>If the colours appear all right on the trough, and when
-taken off on a slip of paper adhere to it, the size and
-colours are in perfect working order.</p>
-
-<p>The top of the size must always be taken off with the
-piece of wood before commencing work, so that it be kept
-clean, and the colours must always be well shaken out of
-the brush into the pot before sprinkling, so that the spots
-may not be too large. The marbler must always be guided
-by the pattern he wishes to produce, and by a little thought
-he will get over many difficulties that appear of greater
-magnitude than they really are.</p>
-
-<p><i>Spot Marble.</i>—The size is first to be sprinkled with a <span id="p072" class="xxpn">|72|</span>
-dark colour, and this is always termed the “ground colour,”
-then the other colours; bearing in mind that the colour
-that has the most gall will spread or push the others away,
-and this colour should in spot marbling be put on last.</p>
-
-<p>With very little variation all the other kinds of marbling
-are done; but in every case where there are more books or
-sheets of paper to be done of the same pattern than the
-trough will take at once, the same order of colours must
-be kept, and the same proportion of each, or one book will
-be of one colour and the second entirely different.</p>
-
-<p><i>Comb or Nonpareil Marble.</i>—The colours are to be thrown
-on as before, but as fine as possible. Then if a piece of
-wood or wire be drawn backwards and forwards across the
-trough, the colours, through the disturbance of the size,
-will follow the motion of the stick. A comb is then to be
-drawn the whole length of the trough in a contrary direction.
-The wire in the comb will draw the colour, and
-thus will be produced what is termed comb or nonpareil
-marble.</p>
-
-<p>The size or width of the teeth of the comb will vary
-the size of the marble.</p>
-
-<p><i>Spanish Marble.</i>—The ground colour is to be thrown on
-rather heavily, the others lighter, and the wavy appearance
-is caused by gently drawing the paper in jerks over the
-marble, thus causing the colour to form small ripples.</p>
-
-<p>A few drops of turpentine put in the colours will give
-them a different effect, viz.,—causing the small white spots
-that appear on the <i>shell marble</i>.</p>
-
-<p>There are various patterns, each being known by name:
-old Dutch, nonpareil, antique, curl, Spanish, shell. An
-apprentice would do well to go to some respectable shop and
-ask for a sheet or two of the various kinds mentioned, and
-as each pattern is given to him, write the name on the
-back, and always keep it as a pattern for future use and
-reference. <span id="p073" class="xxpn">|73|</span></p>
-
-<p><i>Edges</i> are marbled, after making the desired pattern on
-the trough by holding the book firmly, pressing the edge
-on the colour and lifting it up sharply. The foredge must
-be made flat by knocking the book on its back, but the
-marbler had better tie his book between a pair of backing
-boards, so that it may not slip, especially with large books.
-Care must be taken with books that have many plates, or
-if the paper is at all of a spongy nature or unsized. If a
-little cold water be thrown on the edges it will cause the
-colours to set better. In marbling writing paper, a sponge
-with a little alum water should be used to take off the gloss
-or shine from the edge, occasioned by the cutting knife,
-and to assist the marbling colour to take better.</p>
-
-<p>Paper is marbled in the same way by holding it at two
-corners; then gently putting it on the colour and pressing
-it evenly, but gently all over, so that the colour may take
-on every part. It must be lifted carefully, as the least
-shake by disturbing the size will spoil the regularity of the
-pattern. Paper should be damped over night and left with
-a weight on the top. When the paper has been marbled
-and is dry, a rag with a little bee’s wax or soap should
-be rubbed over it, so that the burnisher may not stick,
-and may give a finer gloss; this applies also to the edges
-in burnishing. Marble paper manufacturers burnish the
-paper with a piece of polished flint or glass fixed in a long
-pole working in a socket at the top, the other end resting
-on a table which is slightly hollowed, so that the segment
-of the circle which the flint takes is exactly that of the
-hollow table. The paper is laid on the hollow table, and
-the burnisher is worked backwards and forwards until
-the desired gloss is attained. By the best and latest
-method, the paper is passed between highly polished
-cylinders. It is more expensive, on account of the cost
-of the machinery, but insures superior effect.</p>
-
-<p>A great deal of paper is now being made by means of a <span id="p074" class="xxpn">|74|</span>
-mechanical process. It has a very high gloss; it is used
-on very cheap work.</p>
-
-<p><i>Sizing.</i>—Paper should be always sized after being marbled.
-The size is made by dissolving one pound of best glue in
-five gallons of water with half a pound of best white soap.
-This is put into a copper over night, and on a low fire the
-next morning, keeping it constantly stirred to prevent
-burning. When quite dissolved and hot it is passed
-through a cloth into a trough, and each sheet passed
-through the liquor and hung up to dry; when dry, burnish
-as above.</p>
-
-<p>But it will be far cheaper to buy the paper, rather than
-make it at the cost of more time than will be profitable.
-The charge for demy size is at the rate of 20<i>s.</i> to 95<i>s.</i> per
-ream, according to the quality and colour; but to those to
-whom money is no object, and who would prefer to make
-their own marbled paper, I hope the foregoing explanation
-will be explicit enough.</p>
-
-<p>The “English Mechanic,” March 17th, 1871, has the
-following method of transferring the pattern from ordinary
-marble paper to the edges of books:—</p>
-
-<blockquote>
-<p>“Ring the book up tightly in the press, the edge to be
-as flat as possible; cut strips of the best marble paper about
-one inch longer than the edge, make a pad of old paper
-larger than the edge of the book, and about a quarter inch
-thick; then get a piece of blotting paper and a sponge with
-a little water in; now pour on a plate sufficient spirits of
-salts (muriatic acid) to saturate the paper, which must be
-placed marble side downwards on the spirit (not dipped in
-it); when soaked put it on the edge (which has been previously
-damped with a sponge), lay your blot paper on it,
-then your pad, now rap it smartly all over, take off the pad
-and blot, and look if the work is right, if so, take the book
-out and shake the marble paper off; when dry burnish.”</p>
-</blockquote>
-
-<p>At a lecture delivered at the Society of Arts, January,
-<span id="p075" class="xxpn">|75|</span>
-1878, by Mr. Woolnough, a practical marbler, the whole
-process of marbling was explained. Mr. Woolnough has
-since published an enlarged treatise on marbling,<a id="fnanchor-6" href="#fn-6" class="fnanchor">6</a>
-and one
-that should command the attention of the trade. A copy
-of the Society’s journal can be had, describing the process,
-No. 1,314, vol.
-<span class="smmaj">XXVI.</span>, and will be of great service to any
-reader, but his work is more exhaustive.</p>
-
-<div class="footnote">
-<a id="fn-6" href="#fnanchor-6" class="fnlabel">[6]</a>
-George Bell and Sons, York Street, Covent Garden.</div>
-
-<div class="figright imwth09">
-<div><img src="images/i101a.jpg" width="192" height="156" alt="" />
-<div class="caption">Leo’s Mechanical
-Marblers.</div></div>
-<div>
-<img src="images/i101b.jpg" width="192" height="372" alt="" />
-<div class="caption">Leo’s Mechanical
-Marblers.</div></div>
-</div>
-
-<p>A transfer marble paper may now
-be had, and from examples sent me the
-process seems fairly workable. The
-following is the method of working
-sent by the importers of the paper:—</p>
-
-<p>“Place the book in the press. The
-book edge which is to be marbled has
-to be rubbed with pure spirits of wine;
-the dry strip of transfer marble is then to be put on
-the edge. The white back or reverse side, whilst being
-pressed hard against the book edge, is to be moistened
-carefully with boiling water, by dabbing
-a saturated sponge on it; this dabbing
-process to be continued so long till the
-colour will show through the white back—a
-proof that it is loosened from the
-paper. Then remove the white paper,
-and let the edge dry slowly. When quite
-dry burnish.”</p>
-
-<p>Another invention is to marble the
-edges by means of one or more rollers.
-The top roller or rollers holds the colour,
-which is distributed on the under rollers;
-these, in turn, ink the edge on being
-passed over it. The books are naturally
-held in the press whilst this is being
-done. <span id="p076" class="xxpn">|76|</span></p>
-
-<p>From a book, the “School of Arts,” third edition, 1750,
-which has a chapter on marbling, the following, with cut,
-is taken:—</p></div><!--mainbody-->
-
-<blockquote><div class="mainbody">
-<p>“When thus you have your colours and all things in
-good order, then take a pencil, or the end of a feather,
-and sprinkle or put first your red colour; then the blue,
-yellow, green, etc. Begin your red from No. 1, and go
-along your trough to No. 2, also the blue from No. 3, all
-along to No. 4; the yellow and green put here and there
-in the vacant places. Then with a bodkin or a small skewer
-draw a sort of a serpentine figure through the colours,
-beginning from No. 1 to No. 2; when this is done, then
-take your comb and draw the same straight along from <span id="p077" class="xxpn">|77|</span>
-No. 1 to No. 2. If you have some turnings or snail work
-on your paper, then with a bodkin give the colours what
-turns you please. (See the plate.)</p>
-</div><!--mainbody-->
-
-<div class="imctr01">
-<img src="images/i102.jpg" width="600" height="531" alt="" />
-<div class="caption">Cut from Book “School of Arts,” 1750.</div>
-</div>
-
-<div class="mainbody">
-<p>“Thus far you are ready in order to lay on your paper,
-which must be moistened the day before, in the same manner
-as book-printers do their paper for printing; take a sheet at
-a time, lay it gently upon your colours in the trough, press it
-slightly with your finger down in such places where you
-find the paper lies hollow; this done, take hold at one end
-of the paper, and draw it up at the other end of the trough;
-hang it up to dry on a cord; when dry, glaze it, and it is
-done. You may also embellish your paper with streaks of
-gold, by applying mussel gold or silver, tempered with
-gum water, among the rest of the colours.”</p>
-</div><!--mainbody-->
-</blockquote>
-
-<div class="mainbody">
-<p>This last paragraph shows that the gold vein which is
-now in such demand is really over 150 years old.</p>
-</div><!--mainbody-->
-
-<div class="imctr01">
-<img src="images/i103.jpg" width="600" height="312" alt="" />
-<div class="caption">Leo’s Marbling Set.</div></div>
-
-<div class="mainbody">
-<p>Messrs. Leo, of Stuttgart, have put together a complete
-marbling apparatus, containing colours, gall, cups, combs,
-sticks, filter, brushes, etc., the whole in a box. To a small
-country bookbinder this is indispensable.</p>
-</div><!--mainbody-->
-
-<div class="mainbody">
-<h3 id="p078">CHAPTER XVII.
-<span class="smallerblk">
-<span class="smcap">G<span>ILT</span></span>
-<span class="smcap">E<span>DGES.</span></span></span></h3>
-
-<p class="first">A gilt edge
-is the most elegant of all modes of ornamenting
-edges, and this branch of bookbinding has from time
-to time been so greatly extended, that at the present day
-there are many ways in which a book may have the edges
-gilt; but some methods are not pursued, either from ignorance
-on the binder’s part, or with a view to save expense.</p>
-
-<p>First we have the “<i>plain gilt</i>,” then “<i>gilt in the round</i>”;
-then again some colour under the gold, for instance, “<i>gilt
-on red</i>,” or whatever the colour may be, red being mostly
-used, especially for religious books. Some edges are
-“<i>tooled</i>,” and some have a gilt edge with landscape or
-scene appropriate to the book painted on the edge, only
-to be seen when the book is opened. “<i>Marbling under
-gilt</i>” may also be used with good effect; but still better
-“<i>marbling on gilt</i>.”</p>
-
-<p>The room where gilt edge work is done should be neither
-dirty nor draughty, and the necessary materials are:—</p>
-
-<p><i>1st. The Gold Cushion.</i>—This may be purchased ready
-for use, or if the binder wishes to make one, it may be
-done by covering a piece of wood, about 12 inches by 6,
-with a piece of white calf, the <i>rough side</i> outwards,
-and padding it with blotting paper and cloth. The pieces
-underneath should be cut a little smaller than the upper
-one, so that it will form a bevel at the edge, but quite flat
-on the top. The calf to be neatly nailed all round the
-edge. If the pile of the leather is too rough, it can be
-reduced with a piece of pumice stone, by rubbing the stone
-on the calf with a circular motion. <span id="p079" class="xxpn">|79|</span></p>
-
-<p><i>2nd. Gold Knife.</i>—This should be a long knife of thin
-steel, the blade about one to one and a half inch wide.</p>
-
-<p><i>3rd. Burnishers.</i>—These are made of agate stone, and can
-be purchased of any size. A flat one, and two or three
-round ones, will be found sufficient. They should have a
-very high polish.</p>
-
-<p><i>4th. Glaire Water or Size.</i>—The white of an egg and a
-tea-cup full of water are well beaten together, until the
-albumen is perfectly dissolved. It must then be allowed
-to stand for some hours to settle, after which it should be
-strained through a piece of linen which has been washed;
-old linen is therefore preferred to new.</p>
-
-<p><i>5th. Scrapers.</i>—Pieces of steel with the edge or burr
-made to turn up by rubbing the edge flat over a bodkin or
-other steel instrument, so that when applied to the edge a
-thin shaving of paper is taken off. The beauty of gilding
-depends greatly on proper and even scraping.</p>
-
-<p><i>6th. The Gold Leaf.</i>—This is bought in books, the price
-according to quality; most of the cheap gold comes from
-Germany. I recommend the use of the best gold that can
-be had; it being in the end the cheapest, as cheap gold
-turns black by the action of the atmosphere in course of
-time.</p>
-
-<p>The method of preparing the gold<a id="fnanchor-7" href="#fn-7" class="fnanchor">7</a>
-is by making an
-alloy: gold with silver or copper. It is drawn out into a
-wire of about six inches in length, and by being passed
-again between steel rollers is made into a ribbon. This
-ribbon is then cut into squares and placed between vellum
-leaves, about four or five inches square, and beaten with a
-hammer somewhat like our beating hammer, until the gold
-has expanded to the size of the vellum. The gold is again
-cut up into squares of about one inch, and again <span id="p080" class="xxpn">|80|</span>
-interleaved; but gold-beaters’ skin is now used instead of
-vellum; and so by continual beating and cutting up, the
-proper thickness is arrived at. If the gold is held up to
-the light, it will be found to be beaten so thin that it is
-nearly transparent, although when laid on any object it is
-of sufficient thickness to hide the surface underneath. It
-has been estimated that the thickness of the gold leaf is
-only
-<span class="fract" title="1/280000"><span
-class="fup">1</span>&#8202;&#8260;&#8202;<span
-class="fdn">280000</span></span>
-of an inch.</p>
-
-<div class="footnote">
-<a id="fn-7" href="#fnanchor-7" class="fnlabel">[7]</a>
-Although this has practically nothing to do with the art
-of bookbinding, it is always advisable for a workman to know something
-about the tools and materials he uses.</div>
-
-<p>To gild the edges, the book should be put into the press
-straight and on a level with the cheeks of the press between
-cutting boards, the boards of the book being thrown back.
-The press should be screwed up very tightly, and any projection
-of the cutting boards should be taken away with a
-chisel. If the paper is unsized or at all spongy, the edge
-should be sized and left to dry. This may be ascertained
-by wetting a leaf with the tongue: if spongy, the moisture
-will sink through as in blotting paper. The edge should
-be scraped quite flat and perfectly even, care being taken
-to scrape every part equally, or one part of the edge will
-be hollow or perhaps one side scraped down, and this will
-make one square larger than the other. When scraped quite
-smoothly and evenly, a mixture of black lead and thin glaire
-water is painted over the edge, and with a hard brush it is
-well brushed until dry.</p>
-
-<p>The gold should now be cut on the gold cushion. Lift
-a leaf out of the book with the gold knife, lay it on the
-gold cushion, and breathe gently on the centre of the leaf to
-lay it flat; it can then be cut with perfect ease to any size.
-The edge is now to be glaired evenly, and the gold taken
-up with a piece of paper previously greased by drawing it
-over the head. The gold is then gently laid on the edge,
-which has been previously glaired. The whole edge or end
-being done, it is allowed to get perfectly dry, which will
-occupy some two hours.</p>
-
-<div class="imctr03">
-<img src="images/i107.jpg" width="456" height="229" alt="" />
-<div class="caption">Book-edge Burnishers.</div></div>
-
-<p>Before using the burnisher on the gold itself, some gilders <span id="p081" class="xxpn">|81|</span>
-lay a piece of fine paper on the gold and gently flatten it
-with the burnisher. Books are often treated in this manner,
-they then become “dull gilt.” When intended to be bright,
-a waxed cloth should be gently rubbed over the surface two
-or three times before using the burnisher. The beauty of
-burnishing depends upon the edge presenting a solid and
-uniform metallic surface, without any marks of the burnisher.
-The manner of burnishing is to hold a flat burnisher, where
-the surface is flat, firmly in the right hand with the end of
-the handle on the shoulder, to get better leverage. Work
-the burnisher backwards and forwards with a perfectly
-even pressure on every part. When both ends are finished,
-the foredge is to be proceeded with, by making it perfectly
-flat. It is better to tie the book, to prevent it slipping
-back. The foredge is to be gilt exactly in the same manner
-as the ends; it will of course return to its proper round
-when released from the press. This is done with all books
-in the ordinary way, but if the book is to have an extra
-edge, it is done “solid” or “in the round.” For this way the
-book must be put into the press with its proper round,
-without flattening it, and scraped in that position with
-scrapers corresponding with the rounding. The greatest
-care must be taken in this kind of scraping that the sides <span id="p082" class="xxpn">|82|</span>
-are not scraped away, or the squares will be made either
-too large or lop-sided.</p>
-
-<p><i>Gilt on Red.</i>—The edges are coloured by fanning them
-out as explained in colouring edges, and when dry, gilt in
-the usual way; not quite such a strong size will be wanted,
-through there being a ground in the colour; nor must any
-black lead be used. The edges should in this process be
-scraped first, then coloured and gilt in the usual way.</p>
-
-<p><i>Tooled Edges.</i>—The book is to be gilt as usual, then
-while in the press stamped or worked over with tools that
-are of some open character; those of fine work being
-preferable. Some design should be followed out according
-to the fancy of the workman. The tools must be warmed
-slightly so that the impression may be firm; the foredge
-should be done first. Another method is to tool the edge
-before burnishing, or the different portions of the tooling
-may be so managed in burnishing that some parts will be
-left bright and standing in relief on the unburnished or
-dead surface.</p>
-
-<p><i>Painted Edges.</i>—The edge is to fanned out and tied
-between boards, and whilst in that position some landscape
-or other scene, either taken from the book itself or appropriate
-to the subject of it, painted on the foredge, and
-when quite dry it is gilt on the flat in the usual manner.
-This work of course requires an artist well skilled in
-water-colour drawing. The colours used must be more
-of a stain than body colour, and the edges should be scraped
-first.</p>
-
-<p>After the edges have been gilt by any of the foregoing
-methods, the rounding must be examined and corrected;
-and the book should be put into the standing press for two
-or three hours, to set it. The whole of the edges should
-be wrapped up with paper to keep them clean during
-the remainder of the process of binding. This is called
-“capping up.”</p>
-</div><!--mainbody-->
-
-<div class="mainbody">
-<h3 id="p083">CHAPTER XVIII.
-<span class="smallerblk">
-<span class="smcap">H<span>EAD-BANDING.</span></span></span></h3>
-
-<p class="first">Few
-binders work their own head-bands in these times of
-competition and strikes for higher wages. It takes some
-time and pains to teach a female hand the perfection of head-band
-working, and but too often, since gratitude is not
-universal, the opportunity of earning a few more pence per
-week is seized without regard to those at whose expense
-the power of earning anything was gained, and the baffled
-employer is wearied by constant changes. Owing to this,
-most bookbinders use the machine-made head-band. These
-can be purchased of any size or colour, at a moderate
-price.</p>
-
-<p>Head-banding done by hand is really only a twist of
-different coloured cotton or silk round a piece of vellum or
-cat-gut fastened to the back every half dozen sections. If
-the head-band is to be square or straight, the vellum should
-be made by sticking with paste two or three pieces together.
-Damp the vellum previously and put it under a weight for
-a few hours to get soft. Vellum from old ledgers and
-other vellum bound books is mostly used. The vellum
-when quite dry and flat is to be cut into strips just a little
-under the width of the squares of the books, so that when
-the book is covered, the amount of leather above the head-band
-and the head-band itself will be just the size or height
-of the square.</p>
-
-<p>If, however, a round head-band is chosen, cat-gut is
-taken on the same principle with regard to size, and this is
-further advanced by using two pieces of cat-gut, the one <span id="p084" class="xxpn">|84|</span>
-being generally smaller than the other, and making with the
-beading three rows. The round head-band is the original
-head-band, and cord was used instead of cat-gut. The cords
-were fastened to lay-cords on the sewing press, and placed
-at head and tail, and the head-band was worked at the
-same time that the book was sewn. I am now speaking of
-books bound about the 15th century; and in pulling one of
-these old bindings to pieces, it will compensate for the
-time occupied and the trouble taken, if the book be examined
-to see how the head-band was worked, and how the
-head-band then formed the catch-up stitch; the head-band
-cords were drawn in through the boards, and thus gave
-greater strength to the book than the method used at the
-present day. To explain how the head-band is worked is
-rather a difficult task; yet the process is a very simple one.
-The great difficulty is to get the silks to lie close together,
-which they will not do if the twist or beading is not evenly
-worked. This requires time and patience to accomplish.
-The hands must be clean or the silk will get soiled; fingers
-must be smooth or the silk will be frayed.</p>
-
-<div class="imctr03">
-<img src="images/i110.jpg" width="408" height="263" alt="" />
-<div class="caption">Head-banding.</div></div>
-
-<p>Suppose, for instance, a book is to be done in two
-colours, red and white. The head-band is cut to size, the <span id="p085" class="xxpn">|85|</span>
-book is, for convenience, held in a press, or a plough with
-the knife taken out, so that the end to be head-banded is
-raised to a convenient height. The ends of the silk or
-cotton are to be joined together, and one, say the red,
-threaded through a strong needle. This is then passed
-through the back of the book, at about the centre of the
-second section, commencing on the left of the book. This
-must be passed through twice, and a loop left. The vellum
-is put in this loop and the silk drawn tightly, the vellum
-will then be held fast. The white is now to be twisted
-round the red once, and round the head-band twice; the
-red is now to be taken in hand and twisted round the
-white once, and the head-band twice; and this is to be
-done until the whole vellum is covered. The needle must
-be passed through the back at about every eight sections
-to secure the head-band. The beading is the effect of one
-thread being twisted over the other, and the hand must be
-kept exactly at the same tightness or tension, for if pulled
-too tightly the beading will go underneath, or be irregular.
-The fastening off is to be done by passing the needle
-through the back twice, the white is then passed round
-the red and under the vellum, and the ends are to be tied
-together.</p>
-
-<p><i>Three Colours Plain.</i>—This is to be commenced in the
-same way as with two, but great care must be taken that
-the silks are worked in rotation so as not to mix or entangle
-them. The silks must be kept in the left hand,
-while the right twists the colour over or round, and as
-each is twisted round the vellum it is passed to be twisted
-round the other two. In fastening off, both colours must
-be passed round under the vellum and fastened as with
-the two colour pattern.</p>
-
-<p>The head-bands may be worked intermixed with gold or
-silver thread, or the one colour may be worked a number
-of times round the vellum, before the second colour has <span id="p086" class="xxpn">|86|</span>
-been twisted, giving it the appearance of ribbons going
-round the head-band.</p>
-
-<p class="padtopb">With regard to stuck-on head-bands, the binder may
-make them at little expense, by using striped calico for the
-purpose. A narrow stripe is to be preferred of some bright
-colour. The material must be cut into lengths of about
-one-and-a-half inch wide, with the stripes across. Cords
-of different thickness are then to be cut somewhat longer
-than the calico, and a piece of the cord is to be fastened by
-a nail at one end on a board of sufficient length. The
-calico is then to be pasted and laid down on the board
-under the cord, and the cord being held tightly may be
-easily covered with the striped calico, and rubbed with a
-folder into a groove.</p>
-
-<p>When this is dry, the head and tail of the book is glued
-and the proper piece of the head-band is put on. Or the
-head-band may be purchased, as before stated, worked
-with either silk or cotton ready for fastening on, from about
-2<i>s.</i> 3<i>d.</i> to 4<i>s.</i> 6<i>d.</i> a piece of twelve yards,
-according to the
-size required: it has, however, the disadvantage of not
-looking so even as a head-band worked on the book. I
-have lately seen some specimens of as good imitations of
-hand-worked ones as it is possible for machinery to manufacture.</p>
-
-<p>After the head-band has been put on or worked, the
-book is to be “lined up” or “made ready for covering.”</p>
-
-<div class="imctr09">
-<img src="images/i112.jpg" width="192" height="92" alt="" />
-</div></div><!--mainbody-->
-
-<div class="chapter mainbody">
-<h3 id="p087">CHAPTER XIX.
-<span class="smallerblk">
-<span class="smcap">P<span>REPARING</span></span>
-<span class="smmaj">FOR</span>
-<span class="smcap">C<span>OVERING.</span></span></span></h3>
-
-<p class="first">Nearly all modern books are bound with hollow backs,
-except where the books are sewn for flexible work or otherwise
-meant to have tight backs.</p>
-
-<p>Much of the paper used at the present day is so hard,
-that the binder is almost forced to make a hollow back, in
-order that the book may open.</p>
-
-<p>The head-band is first set with glue, if worked, by
-gluing the head and tail, and with a folder the head-band
-is made to take the same form as the back. This is to be
-done by holding the book in the left hand with its back
-on the press, then a pointed folder held in the right hand
-is run round the beading two or three times to form it;
-the silk on the back is then rubbed down as much as
-possible to make all level and even, and the book is allowed
-to dry. When dry it is put into the lying press to hold it,
-and the back is well glued all over; some paper, usually
-brown, is now taken, the same length as the book, put on
-the back, and rubbed down well with a thick folder: a
-good sized bone from the ribs of beef is as good as anything.
-The overplus of the paper is now to be cut away
-from the back, except the part projecting head and tail.
-A second coat of glue is now put on the top of the brown
-paper and another piece is put on that, but not quite up to
-the edge on the left hand side. When this is well rubbed
-down it is folded evenly from the edge on the right side
-over to the left, the small amount of glued space left will
-be found sufficient to hold it down; the top is again glued
-<span id="p088" class="xxpn">|88|</span>
-and again folded over from left to right, and cut off level
-by folding it back and running a sharp knife down the
-fold. This is what is generally termed “two on and two
-off,” being of course two thicknesses of paper on the back
-and two for the hollow; but thin or small books need only
-have one on the back and two for the hollow. Thick or
-large books should have more paper used in proportion to
-their size. Books that have been over-cast in the sewing
-should have rather a strong lining-up, so that there be not
-such a strain when the book is opened. When the whole
-is dry, the overplus of the paper, head and tail, is to be cut
-off close to the head-band.</p>
-
-<p>I need hardly say that the better the paper used the
-more easy will be the working of it. Old writing or copy-book
-paper will be found to be as good as any, but good
-brown paper is, as I have said before, mostly used.</p>
-
-<p>The book is now ready for putting the bands on. These
-are prepared beforehand by sticking with glue two or three
-pieces of leather together or on a piece of paper, well
-pressing it, and then allowing it to dry under pressure. The
-paper must then be glued twice, allowing each coat to dry
-before gluing again. It should then be put on one side
-for future use, and when wanted, the proper thickness is
-chosen and cut into strips of a width to correspond with
-the size of the book. The book is now to be marked up,
-five bands being the number generally used, leaving the
-tail a little longer than the other portions. The strips of
-band are then to be moistened with a little hot water to
-cause the glue upon the paper to melt. Each piece is then
-to be fixed upon the back just under the holes made with
-the compasses in marking-up. This will be found to be a
-far better plan than to first cut the strips and then to glue
-them. By the latter plan the glue is liable to spread upon
-the side, where it is not wanted, and if the book has to be
-covered with light calf, it will certainly be stained black: <span id="p089" class="xxpn">|89|</span>
-so the coverer must be careful that <i>all glue is removed</i>
-from the back and sides before he attempts to cover any of
-his books with calf. It is rather provoking to find some
-favourite colour when dry, having a tortoiseshell appearance,
-which no amount of washing will take out. When
-dry the ends of the bands are to be cut off with a <i>bevel</i>,
-and a little piece of the boards from the corners nearest
-the back also taken off on the bevel, that there may not be
-a sharp point to fret through the leather when the book is
-opened. This is also necessary so that the head-band may
-be properly set. A sharp knife should be inserted between
-the hollow and should separate it from the back at head
-and tail on each side so far as to allow the leather to be
-turned in. Morocco may have the back glued, as it will
-not show through, and will facilitate the adhesion of the
-leather.</p>
-
-<p><i>Flexible Work.</i>—This class of work is not lined up. The
-leather is fastened directly upon the book; the head-band is
-set as before explained, and held tight by gluing a piece of
-fine linen against it, and when quite dry, the overplus is to be
-cut away, and the back made quite smooth. The bands are
-then knocked up gently with a blunt chisel to make them
-perfectly straight, being first damped and made soft with
-a little paste to facilitate the working and to prevent the
-thread from being cut. Any holes caused by sawing-in, in
-previous binding, must be filled up with a piece of frayed
-cord, pasted. Any holes thus filled up must be made quite
-smooth when dry, as the least unevenness will show when
-the book is covered.</p>
-
-<p>In “throw up” backs, or in “flexible not to show,” a
-piece of thin linen (muslin) or staff called <i>mull</i> is glued on
-the back first, and one piece of paper on the top. For the
-hollow, three, four, or even five pieces are stuck one on the
-other, so that it may be firm; whilst the book itself will
-be as if it had a flexible back. The bands, if any, are then <span id="p090" class="xxpn">|90|</span>
-to be fastened on, and the corners of the boards cut off. It
-is then ready for covering. “Mock flexible” has generally
-one piece of paper glued on the back, and when marked-up,
-the bands are put on as before, and the book covered.</p>
-</div><!--mainbody-->
-
-<div class="mainbody">
-<h3>CHAPTER XX.
-<span class="smallerblk">
-<span class="smcap">C<span>OVERING.</span></span></span></h3>
-
-<p class="first">Books
-are covered according to the fancy of the binder or
-customer. The materials used at the present day, are—leather
-of all sorts, parchment or vellum, bookbinder’s
-cloth, velvet, needle-work, and imitation leather, of which
-various kinds are manufactured, such as leatherette and
-feltine.</p>
-
-<div class="figright imwth07">
-<img src="images/i116.jpg" width="288" height="73" alt="" />
-<div class="caption">French Paring Knife.</div></div>
-
-<p>Each kind requires a different manner of working or
-manipulation. For instance, a calf book must not be
-covered in the same manner as a velvet one: I will take
-each in the above order and explain how they are managed.</p>
-
-<p>Under the class of leather, we have moroccos of all kinds;
-russia; calf, coloured, smooth, and imitation; roan, sheep,
-and imitation morocco.</p>
-
-<div class="imctr08">
-<img src="images/i117a.jpg" width="252" height="249" alt="" />
-<div class="caption">Method of Holding French Knife.</div></div>
-
-<div class="figright imwth07">
-<img src="images/i117b.jpg" width="288" height="52" alt="" />
-<div class="caption">German Paring Knife.</div></div>
-
-<p>The <i>morocco</i> cover, indeed any leather cover, is to be
-cut out by laying the skin out on a flat board, and having
-chosen the part or piece of
-the skin to be used, the
-book is laid on it and the
-skin is cut with a sharp
-knife round the book, leaving a space of about
-<span class="fract" title="3/4"><span
-class="fup">3</span>&#8202;&#8260;&#8202;<span
-class="fdn">4</span></span>
-of an inch
-for an 8vo, and more or less according to the size of the
-book and thickness of board for turning in. The morocco
-<span id="p091" class="xxpn">|91|</span>
-cover should now have marked upon it with a pencil the
-exact size of the book itself, by laying the book on the
-cover, and running the point of a black lead pencil all
-round it. The leather must then
-be “pared,” or shaved round the
-edges, using the pencil marks as
-a guide. This paring process is
-<i>not</i> so difficult, especially if a
-French knife is used, such as
-may now be purchased at most
-material dealers. The chief point
-being that a very sharp edge is
-to be kept on the knife, and that
-the <i>burr</i> is on the cutting edge.
-The knife is to be held in the
-right hand, placing two fingers on the top with the thumb
-underneath. The leather must be placed on a piece of
-marble, lithographic stone, or thick glass, and held tightly
-strained between finger and thumb of the left hand. Then
-by a series of pushes from the right hand, the knife takes
-off more or less according to the angle given. The burr
-causes the knife to enter
-the leather; if the burr
-is turned up the knife
-will not cut but run off.
-If the knife is held too much at an angle it will go right
-through the leather, a rather unpleasant experience, and
-one to be carefully avoided. The leather should from
-time to time be examined, by turning it over, to see if any
-unevenness appears, for every cut will show. Especial
-attention should be given to where the edges of the board
-go. The turning in at the head and tail should be pared
-off as thin as possible, as there will be twice as much thickness
-of leather on the back where turned in, the object of
-this care being, that it must not be seen. The <i>morocco</i>
-<span id="p092" class="xxpn">|92|</span>
-cover should now be wetted well, and grained up by using
-either the hand or a flat piece of cork. This is to be done
-by gently curling it up in all directions; and when the
-grain has been brought up properly and sufficiently, the
-leather should be pasted on the flesh side with thin paste,
-and hung up to dry. Should the leather be “straight
-grain,” it must only be creased in the one direction of
-the grain, or if it is required to imitate any old book that
-has no grain, the leather should be wetted as much as possible,
-and the whole of the grain rubbed out by using a
-rolling pin with even pressure.</p>
-
-<div class="imctr05">
-<img src="images/i118.jpg" width="348" height="177" alt="" />
-<div class="caption">Method of Holding Ordinary Knife.</div>
-</div>
-
-<p>The Morocco leather first brought from <i>that</i> country, had
-a peculiar grain, and was dyed with very bright colours.
-It is now largely manufactured in London and Paris; the
-French manufacture is the finest. Russia and calf require
-no setting up of the grain, but russia should be well rolled
-out with the rolling pin.</p>
-
-<div class="figright imwth08">
-<img src="images/i119.jpg" width="252" height="126" alt="" />
-<div class="caption">Band Nippers.</div></div>
-
-<p>When the cover (morocco) is dry, it is to be well pasted,
-the squares of the book set, so that each side has its proper
-portion of board projecting. The book is then laid down
-evenly on the cover, which must be gently drawn on;
-the back is drawn tight by placing the book on its foredge
-and drawing the skin well down over it. The sides
-are next drawn tight, and the bands pinched well up with
-a pair of <i>band nippers</i>. The four corners of the leather <span id="p093" class="xxpn">|93|</span>
-are cut off with a sharp knife in a slanting direction, a little
-paste put on the cut edge, and the operation of turning in
-may be commenced. The book must be held on its edge,
-either head or tail, with a small
-piece of paper put close to the
-head-band to prevent any paste
-soiling the edge or head-band,
-and with the boards extended, the
-hollow is pulled a little away from
-the back and the leather neatly
-tucked in. The leather is next to be tightly brought over
-the boards and well rubbed down, both on the edge and
-inside, with a folding stick, but on no account must the
-outside be rubbed, or the grain will be taken away. The
-foredge is to be treated in like manner, by tucking the
-corners in for strength. The head-band is now to be
-set, by tying a piece of thread round the book between
-the back and the boards in the slots cut out from the
-corners of the boards; this thread must be tied in a
-knot. The book being held in the left hand, resting on its
-end, the leather is drawn with a pointed folding-stick, as
-it were, towards the foredge, and flattened on the top of
-the head-band. When this is done properly it should be
-exactly even with the boards, and yet <i>cover</i> the head-band,
-leaving that part of the head-band at right angles with the
-edge exposed. With a little practice the novice may be
-able to ascertain what amount of leather is to be left out
-from the turning-in, so that the head-band can be neatly
-covered. The perfection in covering a book depends upon
-the leather being worked sharp round the boards, but with
-the grain almost untouched.</p>
-
-<p>Paste should be always used for morocco, calf, russia and
-vellum, in fact for all kinds of leather; but in my humble
-opinion, all leather with an artificial grain should be glued;
-the turning-in may be with paste. The glue gives more <span id="p094" class="xxpn">|94|</span>
-body to the leather, and thus preserves the grain. <i>White</i>
-morocco should be covered with paste made <i>without any
-alum</i>, which causes it to turn <i>yellow</i>, and if the leather is
-washed with lemon juice instead of vinegar when finishing,
-the colour will be much improved.</p>
-
-<p><i>Russia</i> is to be pared in the same way as morocco. It
-should be damped, and rolled with a rolling-pin before
-covering, or stretched out with a thick folding-stick.</p>
-
-<p><i>Calf</i>, either coloured or white, need be pared only round
-the head-band. Calf should be covered with paste and the
-book washed when covered with a clean damp sponge. In
-putting two books together, when bound in calf of two different
-colours, a piece of paper should be placed between, as
-most colours stain each other, especially green. Care should
-be taken to handle calf as little as possible whilst wet, and
-touching it with iron tools, such as knives and band nippers,
-will cause a black stain. Morocco will bear as much
-handling as you like, but the more tenderly calf is treated
-the better.</p>
-
-<p><i>Vellum or Parchment.</i>—The boards should be covered
-with white paper, to avoid any darkness of the board showing
-through. The vellum or parchment should be pared
-head and tail, and the whole well pasted and allowed to
-stand for a short time so that it be well soaked and soft.
-The book should then be covered, but the vellum must not
-on any account be stretched much, or it will, when dry,
-draw the boards up to a most remarkable extent. It will
-perhaps be better if the book be pressed, to make the vellum
-adhere better. The old binders took great pains in
-covering their white vellum books. The vellum was lined
-carefully with white paper and dried before covering: this
-in some degree prevented the vellum from shrinking so
-much in drying, and enabled the workman to give the
-boards a thin and even coat of glue, which was allowed to
-dry before putting on the covering. <span id="p095" class="xxpn">|95|</span></p>
-
-<p><i>Roan</i> should be covered with glue and turned in with
-paste. Head and tail only need be pared round the head-band.</p>
-
-<p><i>Cloth</i> is covered by gluing the cover all over and turning
-in at once: gluing one cover at a time, and finishing
-the covering of each book before touching the next.</p>
-
-<p>Smooth cloth, cloth with no grain, may be covered with
-paste: great care must be taken that no paste be on the
-fingers, or the cloth will be marked very badly when
-dry.</p>
-
-<p><i>Velvet</i> should be covered with clean glue not too thick;
-first glue the <i>back</i> of the book and let that set before the
-sides are put down. The sides of the <i>book</i> should next be
-glued, and the velvet laid down, and turned in with glue.
-The corners should be very carefully cut or they will not
-meet, or cover properly when dry. When the whole is dry
-the pile may be raised, should it be finger marked, by
-holding the book over steam, and if necessary by carefully
-using a brush.</p>
-
-<p><i>Silk and Satin</i> should be lined first with a piece of thin
-paper cut to the size of the book. The paper must be glued
-with thin clean glue, rubbed down well on to the silk, and
-allowed to get dry, before covering the book. When dry,
-cover it as with velvet.</p>
-
-<p class="padtopb">Dr. Dibdin, whose knowledge of libraries and great
-book collectors must stamp him as an authority, says
-that:—</p>
-
-<p>“The general appearance of one’s library is by no means
-a matter of mere foppery or indifference: it is a sort of
-cardinal point, to which the tasteful collector does well to
-attend. You have a right to consider books, as to their
-outsides, with the eye of a painter; because this does not
-militate against the proper use of the
-contents. .&nbsp;.&nbsp;.&nbsp;. Be
-sparing of red morocco or vellum, they have each so <span id="p096" class="xxpn">|96|</span>
-distinct, or what painters call spotty, an appearance, that they
-should be introduced but circumspectly.”</p>
-
-<p>I cannot agree entirely with the Doctor with regard to
-being sparing with the red morocco. A library without
-colour is dark, dreary, and repulsive. The library should
-be one of the most inviting and cheery rooms in a house,
-and even if one cannot aspire to a room entirely devoted
-to literature and study, let the bookcase, whatever its position
-or however humble, be made as cheerful and inviting
-as possible. What colour will do this so well as red? But
-it should be judiciously dispersed with other colours.</p>
-
-<p>If some standard colour were chosen for each subject,
-one might recognize from some little distance the nature of
-the book by its colour. For instance, all books relating to
-Military matters might be in bright red; Naval affairs in
-blue; Botany in green; History in dark red; Poetry in
-some fancy colour, such as orange, light blue, light green,
-or olive, according to its subject; Divinity in dark brown;
-Archæology in dull red, and Law in white as at present.
-This would give a pleasing variety, and a light and cheerful
-appearance to a library.</p>
-
-<p>An imitation russia leather is imported from America,
-of far greater strength than the real. It is made from
-buffalo skins, and tanned in the same way as the russia
-hides. This fact, combined with the price, has doubtless
-caused this material to be received with favour in the
-English market. It is to be had from nearly all leather
-sellers.</p>
-
-<p class="padtopb"><i>Half-bound Work.</i>—The title speaks for itself, the book
-has its back, a part of the sides, and the corners covered
-with leather. The sides are, after the leather is perfectly
-dry, covered either with cloth or paper according to fancy,
-turned over the boards as with leather. The book is then
-to be pasted down. Before the paper is put on the sides, <span id="p097" class="xxpn">|97|</span>
-all unevenness of the leather is to be pared away. This
-style has gained its reputation very much on account of its
-economy; the amount of leather required is less, and the
-work is as strong and serviceable as in a whole-bound
-book. It will be better if the back be finished before the
-corners are put on, as there is great likelihood that the
-corners may get damaged to some extent during the process
-of finishing. The outside paper may either match
-the colour of the leather, or be the same as the edge or
-end papers. This, like many other rules in bookbinding, is
-quite a matter of taste.</p>
-</div><!--mainbody-->
-
-<div class="mainbody">
-<h3>CHAPTER XXI.
-<span class="smallerblk"><span class="smcap">P<span>ASTING</span></span>
-<span class="smcap">D<span>OWN.</span></span></span></h3>
-
-<p class="first">This
-is to cover up the inside board by pasting down the
-end papers to the boards.</p>
-
-<p>The white or waste leaf, that has till this process protected
-the end papers, must now be taken away or torn
-out. The joint of the board must be cleaned of any paste
-or glue that may have accumulated there during the course
-of either gluing up or covering, by passing the point of a
-sharp knife along it, so that when the end is pasted down,
-the joint will be quite straight and perfectly square.
-Morocco books should be filled in with a smooth board or
-thick paper, the exact substance of the leather. This
-thickness must be carefully chosen, and one edge be cut off
-straight, and fastened to the inside of the board very slightly,
-in fact only touching it in the centre with a little glue or
-paste, just sufficient to hold it temporarily. It must be <span id="p098" class="xxpn">|98|</span>
-flush with the back-edge of the board. When dry, this
-paper or board is to be marked with a compass about half
-an inch round, and both paper and leather cut through at
-the same cut with a sharp knife. The overplus board will
-fall off and the outside of the leather may be easily detached
-by lifting it up with a knife. The paper or board,
-which will now fit in exactly, should be glued and well
-rubbed down with a folding stick, or it may be pressed in
-the standing press if the grain of the morocco is to be
-polished, but not otherwise.</p>
-
-<p>As morocco books only have morocco joints, I may as
-well explain at once how they are made. Morocco of the
-same colour is cut into strips the same length as the book,
-and about one inch and a half in breadth for 8vo.; a line
-is drawn or marked down each strip about half an inch
-from one edge, either with a pencil or folder, as a guide.
-The leather is now to be pared from the mark made to a
-thin edge on the half inch side, and the other side pared
-as thin as the leather turned in round the board, so that
-there will be two distinct thicknesses on each piece, the
-larger half going on the board to correspond with the
-leather round the three sides, and the smaller and thinly
-pared half going in the joint and edge on to the book.
-The end papers, only held in with a little paste, are to be
-lifted out from the book, and the leather well pasted is to be
-put on the board, so that the place where the division is
-made in the leather by paring will come exactly to the
-edge of the board; the thin part should then be well
-rubbed down in the joint, and the small thin feather edge
-allowed to go on the book.</p>
-
-<p>Great care must be taken to rub the whole down well,
-that it may adhere properly; the grain need not be heeded.
-With regard to the overplus at the head and tail, there
-are two ways of disposing of it: first, by cutting both
-leathers slanting through at once, and making the two <span id="p099" class="xxpn">|99|</span>
-meet; or, secondly, by cutting the cover away in a slant
-and doing the same to the joint, so that the two slant cuts
-cover each other exactly. This requires very nice paring,
-or it will be seen in the finishing. The book should be
-left till quite dry, which will take some five or six hours.
-The boards are then to be filled in by the same method
-as above described, and the end papers fastened in again
-properly.</p>
-
-<p><i>Cloth Joints.</i>—If the cloth has been fastened in when the
-ends were made, after cleaning all unevenness from the
-joints, the boards are to be filled in as above, and the cloth
-joint stuck down with thin glue, and rubbed down well.
-The marble paper may now be put on the board by cutting
-it to a size a little larger than the filling in of the board, so
-that it may be well covered. When cloth joints are put
-in, the board paper is generally brought up almost close to
-the joint; but with morocco joints, the space left all round
-should be even.</p>
-
-<p><i>Calf, Russia, etc.</i>—After having cleaned the joint, the
-leather must be marked all round a trifle larger than the
-size intended for the end papers to cover. Then with a
-knife, the leather is cut through in a <i>slanting direction</i> by
-holding the knife slanting. The boards should be thrown
-back to protect the leather, and the book placed on a board
-of proper size, so that both book and board may be moved
-together, when turning round. When the leather is cut, a
-piece of paper should be pasted on the board to fill up to the
-thickness of the leather, and to curve or swing the board
-back; the boards otherwise are sure to curve the contrary
-way, especially with calf. When this lining is dry, the end
-papers may be pasted down. As there are two methods of
-doing this, I give the most exact but longest first. The
-paper is to be pasted all over, and being held in the left
-hand, is to be well rubbed down, particularly in the joint.
-The paper is then marked all round—the head, foredge, <span id="p100" class="xxpn">|100|</span>
-and tail, with a pair of compasses to the width required for
-finishing inside the board. With a very sharp knife the
-paper is to be cut through to the <i>depth</i> of the <i>paper only</i>,
-by laying the straight edge on the marks made by the compasses.
-This has the advantage of procuring an exact
-margin round the board, but it must be done quickly or
-the paper will stick to the leather round the board from
-the paste getting dry, the leather absorbing the watery
-particles in the paste.</p>
-
-<p>The other way is to lay the paper back, and down on the
-board, and then to mark it. A tin is then to be placed
-between the book and paper, and the paper cut to the marks
-made. The paper is then pasted down as above. When
-pasted down, the book should be left standing on its end,
-with boards left open until thoroughly dry, which will be
-about six hours. A tin should be kept especially for cutting
-on, and the knife must be as sharp as possible. This latter
-method is used for all half bindings.</p>
-</div><!--mainbody-->
-
-<div class="mainbody">
-<h3>CHAPTER XXII.
-<span class="smallerblk"><span class="smcap">C<span>ALF</span></span>
-<span class="smcap">C<span>OLOURING.</span></span></span></h3>
-
-<p class="first">Although
-coloured calf-skins may be bought almost as
-cheaply as smooth calf (the term given to uncoloured ones),
-yet there are so many reasons why coloured calf should not
-be used, that I give such instructions as will enable any
-one to colour, sprinkle, and marble his own leather.</p>
-
-<p>The skins may, however, be procured already sprinkled
-or marbled at most leather shops. This plan of sprinkling
-and marbling the whole skin is good enough for cheap or <span id="p101" class="xxpn">|101|</span>
-half-bound work, but for extra work it is far better to
-sprinkle, marble, or otherwise colour the leather when on the
-book. Hand-colouring is coming again into use, and by degrees
-getting known more and more throughout the trade;
-but a great many secrets in the art have been lost. Before
-giving the names of the chemicals to be used, I must give
-a general caution, that if any acid be used on the leather,
-it is essential to wash as much as possible of it out with
-water <i>immediately after it has done its work</i>, or after a few
-months the surface of the leather will be found to be eaten
-away and destroyed. It is a fault of some of our binders
-at the present day, that if they use any chemical, either on
-their leather or on their paper, they are not satisfied to use
-their acid weak, and allow it to do its work slowly, and
-when the proper moment has arrived stop its further action,
-they frequently use the acids as strong as possible, and,
-either to save time or through ignorance of their chemical
-properties, do not wash out the residue. The consequence
-is, the leather or the paper rots. In order to avoid this,
-I will not recommend any chemicals that will destroy the
-leather, but give instructions for harmless preparations, by
-the use of which as great a variety of different styles may
-be executed as will, I trust, satisfy any reasonable expectation.</p>
-
-<p><i>Black.</i>—Sulphate of iron or copperas is the chief ingredient
-in colouring calf black. Used by itself, it gives a
-greyish tint, but if a coat of salts of tartar or other alkali
-be previously used it strikes immediately a rich purple
-black. The name copperas is probably from the old and
-mistaken idea that the crystals contain copper. They have
-a pale greenish blue colour. It can be purchased at the
-rate of one penny per pound from any drysalter.</p>
-
-<p>1. Into a quart of boiling water, throw a
-<span class="fract" title="1/4"><span
-class="fup">1</span>&#8202;&#8260;&#8202;<span
-class="fdn">4</span>-lb.</span> of sulphate
-of iron, let it re-boil, and stand to settle, and then bottle the
-clear liquid for use. <span id="p102" class="xxpn">|102|</span></p>
-
-<p>2. Boil a quart of vinegar with a quantity of old iron
-nails or steel filings for a few minutes. Keep this in a
-stone jar, and use the clear liquid. This can from time to
-time be boiled again with fresh vinegar. An old iron pot
-must be kept for boiling the black.</p>
-
-<p><i>Brown.</i>—1. Dissolve a
-<span class="fract" title="1/4"><span
-class="fup">1</span>&#8202;&#8260;&#8202;<span
-class="fdn">4</span>-lb.</span>
-of salts of tartar in a quart
-of boiling water, and bottle it for use.</p>
-
-<p>This liquid is mostly used for colouring; it has a very
-mellow tone, and is always used before the black when
-a strong or deep colour is required. It is poisonous, and
-must not be used too strong on the calf or it will corrode it.</p>
-
-<p>2. For a plain brown dye, the green shells of walnuts
-may be used. They should be broken as much as possible,
-mixed with water, and allowed to ferment. This liquid
-should then be strained and bottled for use. A pinch of
-salt thrown in will help to keep it. This does not in any
-way corrode the leather, and produces the best uniform tint.</p>
-
-<p><i>Yellow.</i>—1. Picric acid dissolved in water forms one of
-the sharpest yellows. It is a pale yellow of an intense
-bitter taste. It must not be mixed with any alkali in a dry
-state, as it forms a very powerful explosive compound. It
-is a dangerous chemical and should be carefully used. It
-may be bottled for use.</p>
-
-<p>2. Into a bottle put some turmeric powder, and mix
-well with methylated spirit; the mixture must be shaken
-occasionally for a few days until the whole of the colour is
-extracted. This is a very warm yellow, and produces a
-very good shade when used after salts of tartar.</p>
-
-<p class="padtopb">For
-all the following, a preparation or ground of paste-water
-must be put on the calf, that the liquids may not
-sink through too much. The calf must be paste-washed
-all over equally, and allowed to get thoroughly dry. It
-will then be ready for the various methods. Perhaps to
-wash it over night and let it stand till next morning will <span id="p103" class="xxpn">|103|</span>
-be the best and surest plan. It matters very little whether
-the calf is on the book or in the skin.</p>
-
-<p><i>Sprinkles.</i>—There are so many sprinkles, that it would
-be useless for me to enumerate a number, they are all
-worked in the same manner, by throwing the colour on
-finely or coarsely, as it may be wanted light or dark.</p>
-
-<p>Presuming that the paste or ground-wash be thoroughly
-dry, take liquid salts of tartar and dilute with cold water,
-one part salts to two of water, in a basin; wash the calf
-with this liquid evenly, using a soft sponge. The calf will
-require the wash to be applied two or three times, until a
-proper and uniform tint be obtained. Each successive
-wash must be allowed to get thoroughly dry before the
-next be applied.</p>
-
-<p>The next process will be to sprinkle the book, with the
-boards extended or open. Two pieces of flat wood, about
-three feet long, four inches in width, and half an inch thick,
-will be found very useful for supporting the book. These
-rods must be supported at each end, so that the book may
-be suspended between them, with the boards resting on
-the rods nearly horizontally. Now put into a round pan
-some of the copperas fluid, and into another some of the
-solution of salts of tartar. Use a pretty large brush for
-each pan, which brush must be kept each for its own fluid.
-The sprinkling may be commenced. The brushes being
-well soaked in the fluids, should be well beaten out, using
-a piece of broomstick or a hand pin to beat on before
-beating over the book, unless a coarse sprinkle is desired.
-Whilst beating over the book, the hands should be held up
-high, and also moved about, so that a fine and equal spray
-may be distributed; and this should be continued until the
-desired depth of colour is attained.</p>
-
-<p>This may be varied by putting some geometrical design,
-cut out of thin mill-board, on the cover; or if the book is
-on any special subject, the subject itself put on the cover <span id="p104" class="xxpn">|104|</span>
-will have a very pretty effect, and may be made emblematical.
-A fern or other leaf for botanical work as an
-instance. The sprinkle must in these cases be very fine
-and dark for the better effect. The leaf or design being
-lifted from the cover when the sprinkle is dry, will leave
-the ground dark sprinkle with a light brown leaf or design.
-<i>Cambridge calf</i> is done in this way by cutting a square
-panel of mill-board out and laying it on the sides. The
-square on the cover may be left brown or may be dabbed
-with a sponge.</p>
-
-<p><i>Marbles.</i>—As the success of marbling depends upon the
-quickness with which it is executed, it is important that the
-colours, sponges, brushes and water, should be previously
-disposed in order and at hand, so that any of them can
-be taken up instantly. Another point to which attention
-must be directed is the amount of colour to be thrown on,
-and consequently the amount that each brush should
-contain. If too much colour (black) is thrown on, the
-result will be an invisible marble, or, as I once heard it
-expressed by a workman, “it could not be seen on account
-of the fog;” if too little, no matter how nicely the marble
-is formed, it will be weak and feeble.</p>
-
-<p>Marbling on leather is produced by small drops of colouring
-liquids, drawn, by the flowing of water down an inclined
-plane, into veins and spread into fantastic forms
-resembling foliage—hence, often called <i>tree-marble</i>. It is
-a process that requires great dexterity of hand and perfect
-coolness and decision, as the least hurry or want of judgment
-will ruin the most elaborate preparation.</p>
-
-<p>To prepare the book paste-wash it evenly all over, and
-to further equalize the paste-water, pass the palm of the
-hand over the board after washing it. When dry, wash
-over with a solution of salts of tartar two or three times to
-get the desired tint. When dry, glaire the whole as even
-as possible, and to diminish the froth that the sponge may <span id="p105" class="xxpn">|105|</span>
-occasion, put a few drops of milk into the glaire. Again
-allow it to dry thoroughly. Put some fresh copperas into
-a pan, and some solution of salts of tartar into another,
-and soak each brush in its liquid. Place the book upon
-the rods, the boards extending over and the book hanging
-between. Should it be desired to let the marble run from
-back to foredge the back must be elevated a little, and the
-rods supporting the boards must be level from end to end.
-If the marble is to run from head to tail, elevate the ends
-of the rods nearest to the head of the book. The elevation
-must be very slight or the water will run off too quickly.</p>
-
-<p>Place a pail of water close at hand, in it a sponge to
-wash off; and a bunch of birch to throw the water with.
-A little soda should be added to soften the water. Charge
-each brush well, and knock out the superfluous colour until
-a fine spray comes from it. A little oil rubbed in the palm
-of the hand, and the brush well rubbed into it, will greatly
-assist the flow of colour from the brush, and also prevent
-the black colour from frothing. Throw some water over
-the cover in blotches with the birch, just sufficient to make
-them unite and flow downwards together. Now sprinkle
-some black by beating the black brush on a press pin, as
-evenly and as finely as possible. When sufficient has been
-thrown on, beat the brown in like manner over the extended
-boards. When the veins are well struck into the
-leather, sponge the whole well with clean water. Have no
-fear in doing this as it will not wash off. Then set the book
-up to dry.</p>
-
-<p><i>Tree-marbles.</i>—The cover is to be prepared and sprinkled
-in the same manner as stated in marbling; the boards,
-however, must be bent a little, and a little water applied
-by a sponge in the centre of each board to give the necessary
-flow of water; when the water is thrown on, it will
-flow towards the centre or lowest part of the boards, and
-when the sprinkle is thrown on, a <i>tree</i>, as it were, will be <span id="p106" class="xxpn">|106|</span>
-formed. The centre being white forms the stem, and from
-it branches will be formed by the gradual flow of the
-streams of water as they run down.</p>
-
-<p>For marbling, every thing must be ready at hand before
-any water is thrown on, so that the water may not have
-time to run off before the colour is applied. The water
-must run at the same time that the spray is falling, or a
-failure will be the result.</p>
-
-<p>It has been said that marbling was discovered by an
-accident; that a country bookbinder was sprinkling some
-books, when a bird, which was hung up in the shop, threw
-or splashed some water down on his books; the water
-running, took some of the colour with it and formed veins.
-Liking the form it gave, the workman improved upon it
-and thus invented marbling. There is, however, no doubt
-that it had its origin in Germany.</p>
-
-<p>Tree calf seems to be coming into general use again,
-and to meet the demand for cheapness, a wood block has
-been cut resembling as closely as possible one done by the
-water process, and blocked in black on the calf; but, as
-might have been expected, it has not found much favour.</p>
-
-<p><i>Dabs.</i>—This is a process with a sponge, charged with
-the black or the brown liquid, dabbed on the calf either all
-over the cover or in successive order. Give the proper
-preparation to the calf, and be very careful that the ground
-tint of brown be very even. Take a sponge of an open
-nature, so that the grain is pleasant to the eye; fill it with
-black and squeeze out again, now dab it carefully over the
-calf. Repeat the operation with another sponge charged
-with brown. Cat’s paw, French dab, and other various
-named operations all emanate from the sponge. When
-done properly this has a very good effect, and gives great
-relief to the eye when placed with a number of other
-books.</p>
-
-<p>All these marbles and sprinkles require practice, so that <span id="p107" class="xxpn">|107|</span>
-a first failure must not be regarded with discouragement.
-When one’s hand has got into the method with these two
-or three colours it is astonishing how many different styles
-may be produced. In all this manipulation a better effect
-is obtained if a yellow tint be washed over the leather
-after the sprinkle or marble has been produced. Again, by
-taking <i>coloured calf</i> and treating it in the same manner as
-white, some very pleasant effects are brought out; and
-when the colours are well chosen the result is very good.
-Take for instance a green calf and marble a tree upon it,
-or take a light slate colour and dab it all over with black
-and brown.</p>
-
-<p>In all operations with the copperas care must be taken
-that it does not get on the clothes, as it leaves an iron
-stain that cannot be easily got rid of. Keep a bason for
-each colour, and when done with wash it out with clean
-water. The same with the sponges: keep them as clean
-as possible; have a sponge for each colour, and use it only
-for that colour. A piece of glass to put the sponges on
-will be of great use, and prevent the work-table or board
-from catching any of the colour. A damp book or damp
-paper laid on a board that has been so stained will most
-probably be damaged, even though it has waste paper
-between the work-board and book. No amount of washing
-will ever take away such a stain.</p>
-
-<p>When the book has been coloured, the edges and inside
-are to be blacked or browned according to taste, or in
-keeping with the outside. The book is then ready for
-finishing.</p>
-
-<p>Some very good results may be obtained if the binder,
-using coloured calf of a light brown, treats it as if it were
-white calf, marbling with the usual colours; or a yellow
-calf, splashing it all over with salts of tartar only, the
-boards being placed in a slanting direction to allow the
-colour to gently run down.
-<span id="p108" class="xxpn">|108|</span></p>
-
-<p>Or the whole of a cover may be blacked with tartar and
-copperas, then with a diluted solution of acid it may be
-sprinkled, this will give grey-white spots on black or slate
-ground: if, after washing, the cover be sponged over with
-some colouring liquid, such as analine dyes, the spots will
-be of the colour used.</p>
-
-<p class="padtopb">I do not
-give many methods or receipts for producing
-colours for calf, because, as before stated, the introduction
-of fancy calf has rendered obsolete the old-fashioned way
-of boiling and preparing the different woods for making
-colours, and the above will be found useful for colouring
-calf in many different ways.</p>
-
-<div class="imctr01">
-<img src="images/i134.jpg" width="600" height="430" alt="" />
-</div></div><!--mainbody-->
-
-<div class="chapter">
-<h2 class="nobreak">PART II.
-<span class="smallerblk">FINISHING.</span></h2></div>
-
-<div class="imctr01" id="ip110">
-<img src="images/i137.jpg" width="600" height="800" alt="" />
-<div class="caption">RENAISSANCE.
-<div>Roy folio.</div>
-<div class="pright fsize6">T. Way, Photo-Lith.</div></div></div>
-
-<div class="chapter mainbody">
-<h3 id="p111">CHAPTER XXIII.
-<span class="smallerblk">
-<span class="smcap">F<span>INISHING.</span></span></span></h3>
-
-<div class="figright imwth06">
-<img src="images/i140.jpg" width="312" height="696" alt="" />
-<div class="caption">Monastic Tools.</div></div>
-
-<p class="first">Finishing is the art of embellishing the covers of books
-with different designs. Finishing comprises the embellishment
-of the covers either with blind work, gold, silver
-or platina leaf, or with metal ornaments fastened through
-the boards, or by only a lettering on the back of the book.</p>
-
-<p>The art of finishing does not comprise any embellishment
-done with the “blocking press.” Therein the art is more
-that of the block or tool cutter, who, working in concert
-with the artist who drew the design, cuts the metal accordingly.
-The binder’s use of these blocks is mechanical
-only.</p>
-
-<p>The monks who cultivated all the arts, and enriched
-their <i>Hours</i> and their <i>Missals</i> with marvellous
-miniatures,
-gave great zeal to the occupation of binding. So charmingly
-were the bindings ornamented with tools and small
-blocks reproduced from the text, that we must regret
-that so few of these monastic bindings are now left to us.</p>
-
-<p>A great number of these books were executed in Germany, where
-this mode of decoration remained a long time in use; and we find
-that other countries borrowed from the printer this primitive
-mode of decoration. As the art progressed the binder’s mark was
-impressed on the cover as an ornament, or as a distinction,
-such as we find at the present day at the end or after the title of
-books to denote by what printer the work was executed. Later on, when
-the Renaissance shone in all its glory and beauty, we find that it
-freed itself from this limited practice. A new mode <span id="p112"
-class="xxpn">|112|</span> of decoration came into use, which we may
-well study, even at the present day; a style at once rich and varied.
-If we follow the bold interlacing lines which form the skeletons of
-those infinite and varied designs, we catch the imaginative caprices of
-their authors; and the details of their transformation gives us a guide
-to the different schools and art of their time. The execution of these
-linear designs is extremely difficult. It can be easily seen that they
-have not been done by a block engraved in one piece, but with small
-segments.<a id="fnanchor-8" href="#fn-8" class="fnanchor">8</a> The
-art of putting together these small pieces, so as to form one complete
-and artistic pattern, is the skill of the <i>finisher</i>. Many books are
-now finished by means of the blocking press; but on close examination,
-these imitations may be readily distinguished. A blocked cover never
-has the life and spirit that a hand-finished one has. Of blocking I
-must speak in subsequent pages.</p>
-
-<div class="footnote">
-<a id="fn-8" href="#fnanchor-8" class="fnlabel">[8]</a>
-There are a few exceptions to this on a few old
-books of 12mo. size. One may now and then see such designs worked in
-one piece certainly by a block.</div>
-</div><!--mainbody-->
-
-<div class="imctr01" id="ip112">
-<img src="images/i141.jpg" width="600" height="800" alt="" />
-<div class="caption">ANTIQUE WITH GOLD LINE.
-<div>Imperial 8<sup>vo</sup>.</div>
-<div class="pright">T. Way, Photo Lith.</div></div></div>
-
-<div class="mainbody">
-
-<div class="imctr01">
-<img src="images/i143a.jpg" width="600" height="338" alt="" />
-<div class="caption">Venetian.</div></div>
-
-<div class="imctr01">
-<img src="images/i143b.jpg" width="600" height="340" alt="" />
-<div class="caption">Grolier.</div></div>
-
-<p>These intrinsic designs were very much used by the
-<span id="p113" class="xxpn">|113|</span>
-binders contemporary with <i>Grolier</i>, and the use of lined or
-azuré tools are a distinctive mark of the period. This is
-the connecting link with the Italian bindings. It will be
-observed that the Italian or Venetian tools are solid,
-while in the other style the tools, although of the same
-shape, are lined or azuré. A little later on other artists,
-not satisfied with this modification, dispensed with the <span id="p114" class="xxpn">|114|</span>
-fine cross lines, and retained their outlines only. France,
-during the reign of Henry II., left Italy far behind, and
-executed those grand compositions of <i>Diane</i> bindings.
-They are marvellous subjects, and are sometimes imitated
-at the present day, but are never surpassed in their wonderful
-originality.</p>
-</div><!--mainbody-->
-
-<div class="imctr01" id="ip114">
-<img src="images/i145.jpg" width="600" height="746" alt="" />
-<div class="caption">DEROME.
-<div>4<sup>to</sup></div>
-<div class="pright">T. Way, Photo-lith.</div></div></div>
-
-<div class="mainbody">
-<div class="imctr01">
-<img src="images/i144.jpg" width="600" height="278" alt="" />
-<div class="caption">Le Gascon.</div></div>
-
-<p>After these masterpieces we find the curious bindings of
-Henry III., which instantly mark a distinct transformation.
-The interlacings are less bold and free, but more geometrically
-traced. The absence of filling in with small tools
-gives a coldness, which is increased by a heavy coat of
-arms on the sides. This form of decoration exercised a
-great influence, and from this epoch another school sprung
-up. Later on in time these interlacings served as a ground
-plan only for the brilliant fantasies of <i>Le Gascon</i>, a master
-who no doubt has had the least number of imitators.
-Although he followed and to a certain extent kept the
-shapes, the aspect of his bindings was very much changed
-by the application of pointed tools. <i>Le Gascon</i> rests for
-ever as the most renowned master of the 16th century.
-The number of tools necessary for the execution of a
-composition like one of <i>Le Gascon’s</i> is large; and when one
-considers that these tools are repeated, perhaps a thousand <span id="p115" class="xxpn">|115|</span>
-times on each side of the book, a fair idea may be formed
-of the magnitude of such a work. I am of opinion that
-<i>Le Gascon</i> brought bookbinding to its highest point of
-richness and finish. His drawings are always pure and
-correct; his squares, lozenges, triangles, and ovals are so
-brought together as to form a series of compartments interlacing
-the one within the other, with an incomparable
-boldness and perfect harmony; above all, one must remark
-with what richness the compartments are filled. There is
-no doubt the ground work of the style was <i>Grolier</i>, but he
-never filled his panels with such richness or with such taste
-as that displayed by <i>Le Gascon</i>. The difficulty of adapting
-such designs to the different sizes of books has no doubt
-deterred the various masters from imitating such works,
-so that we see less of <i>Le Gascon’s</i> style than of any other
-ancient master.</p>
-
-<div class="imctr01">
-<img src="images/i147.jpg" width="600" height="418" alt="" />
-<div class="caption">Derome.</div></div>
-
-<p>From <i>Le Gascon’s</i> period the tools became thicker and
-thicker, until we have the heavy tools of <i>Derome</i>, which are
-much in keeping for books of a serious character. They
-are original in shape, but their employment was only in
-borders, leaving the centre of the book free from ornament. <span id="p116" class="xxpn">|116|</span>
-I do not pretend to give a history of the various masters,
-but rather a practical description of the art of bookbinding.
-Much has already been written about the various works
-executed by these grand old masters; my endeavour has
-been to show, that whilst the various masters of the art of
-bookbinding worked with tools but little altered from
-their original forms, they so modified and changed them
-in their character and use, as to form a distinctive mark
-of style for each artist, by which his work may be recognized.</p>
-
-<p>A pamphlet, published in Paris, 1878, says: “One of
-the branches of artistic industry in which France possesses
-unquestionable superiority is certainly bookbinding; the
-International Exhibitions, and still more the sales of
-private or other collections, have each day given evident
-proof of this. Italy, which initiated herself so perfectly in
-the Renaissance style, and Holland, once her rival in the
-17th century, have long ceased to produce any work worthy
-of remark; everywhere books are being bound, but the
-‘art’ of bookbinding is practised only in France.”</p>
-
-<p>I cannot agree with its authors that one must go to
-France now to have a book bound properly. The method
-of bookbinding is quite differently managed and worked
-there than it is here. I have witnessed both methods, and
-prefer the English one as being more substantial.</p>
-
-<p><span class="smcap">H<span>AND-FINISHING.</span></span>—We were first taught to work the gold
-leaf on books by a method not now employed, except,
-perhaps, by a novice, who wishes to get his books done
-before his glaire has dried. This method was to damp
-the cover well with water, either with a wet sponge or by
-other means. The gold leaf was then laid on, and the tool
-worked rather warm on the gold. Through the heat or
-steam generated the gold was burnt in, and the overplus
-washed off with a damp sponge or rag, the gold being left
-only in the impressions. If, however, any block or centre <span id="p117" class="xxpn">|117|</span>
-was used, it was impressed with heat upon the side in a
-small lying press in use at the period. This press was
-known then as an <i>arming press</i>, because used commonly
-for impressing armorial bearings and monograms on the
-sides. The term arming press is still used for the lighter
-kinds of blocking presses.</p>
-
-<p>Hand-finishing, as before stated, is really an <i>art</i>. The
-finisher should be able to draw, or at least have some
-knowledge of composition, and also know something about
-the harmony of colours. The workman not having any
-knowledge of drawing cannot expect to be a good finisher;
-because he cannot possibly produce any good designs, or by
-a combination of the small tools form a perfect and correct
-pattern. Taste has no small influence in the success of
-the workman in this branch of the art. It is better to
-finish books plainly, rather than put on the least portion
-of gold more than is necessary. If the intentions of the
-books’ owner is to put some special style or design into
-his bookcase, it will be well to think over the various
-styles before deciding upon any particular one. Before
-going thoroughly into the working details a few preliminary
-words may be permitted.</p>
-
-<p>Let the tools be always in keeping with the book, both
-in size and character. Large ones should be used only on
-a large book, and those of less size for smaller works. A
-book on Natural History should have a bird, insect, shell,
-or other tool indicative of the contents. A flower should
-be used on works on Botany, and all other works be treated
-in the same emblematical manner; so that the nature of
-the book may be understood by a glance at the back. In
-lettering, see that the letters are of a size proportionate to
-the book—legible, but not too bold. They should neither
-be so large as to prevent the whole of the title being read
-at one view, nor so small as to present a difficulty in
-ascertaining the subject of a book when on the shelf. <span id="p118" class="xxpn">|118|</span>
-Amongst a large number of books there should be an agreeable
-variety of styles, so that the effect may be in harmony
-with the colours around, and produce as pleasing a contrast
-as possible.</p>
-
-<div class="imctr05">
-<img src="images/i150ab.jpg" width="348" height="252" alt="" />
-<div class="caption">
- <table class="twth01" summary=""><tr>
- <td>Type-holder.</td>
- <td>Pallet.</td></tr></table></div></div>
-
-<div class="imctr05">
-<img src="images/i150c.jpg" width="348" height="83" alt="" />
-<div class="caption">Fillet.</div></div>
-
-<p><i>Tools and Materials required for Finishing.</i>—<i>Rolls</i>, <i>fillets</i>,
-<i>pallets</i>, centre and corner tools of every possible class and
-character; type of various sizes for the lettering of books
-or labels. The type may be either of brass or of the usual
-printer’s metal; if the latter be chosen, care must be taken
-that it be not left at the fire too long, or it will melt. Type-holders
-to hold the type, which are made to fit the respective
-sizes are necessary, but one or two with a spring side, adjusted
-by screw at the side, will be found convenient for any
-sized type. In England it is the custom to letter books
-with <i>hand letters</i>, each letter being separate and fixed in a
-handle. I have, however, little doubt that these will in
-time be laid aside, and that the type and type case will be
-found in every bookbinder’s shop.</p>
-
-<p><i>Polishing irons.</i> Of these two are necessary—one for the
-sides and one for the backs. There is generally a third <span id="p119" class="xxpn">|119|</span>
-kept for polishing the board end papers when pasted down,
-which should be kept for this purpose only.</p>
-
-<div class="imctr05">
-<img src="images/i151.jpg" width="348" height="59" alt="" />
-<div class="caption">Polishing Iron.</div>
-</div>
-
-<p><i>A gold-rag</i>, to wipe off the surplus gold from the back or
-side of a book. It should have a little oil well worked into
-it, so that when it has been wiped over the back or side the
-gold may adhere and remain in it. This rag when full of
-gold will be of a dirty yellow, and may then be melted
-down by any of the gold-refiners and the waste gold
-recovered.</p>
-
-<p><i>India-rubber</i>, cut up very small—the smaller the better—and
-steeped in turpentine, so as to render it as soft as
-possible, to be used for clearing away any gold not taken
-off by the gold-rag. This should also be melted down
-when full.<a id="fnanchor-9" href="#fn-9" class="fnanchor">9</a></p>
-
-<div class="footnote">
-<a id="fn-9" href="#fnanchor-9" class="fnlabel">[9]</a>
-Messrs. Cow and Co., Cheapside, have lately prepared my rubber
-ready for use. I find it of great convenience.</div>
-
-<p><i>Gold-cushion</i>, for use as explained in Chapter XVII.</p>
-
-<p><i>Gold leaf.</i> The best should be used, it keeps its colour
-better, and is much more easy to work than the commoner
-metal usually sold.</p>
-
-<p><i>Sponges</i>, both large and small—the large ones for paste-washing,
-the smaller for glairing and sizing.</p>
-
-<p><i>Glaire</i> may be purchased already prepared, or it may be
-made from the white of egg, which must be very carefully
-beaten up to a froth with an egg whisk. In breaking the
-egg care must be taken not to let any of the yolk get
-amongst the white. A little vinegar should be mixed with
-the white before beating up, and a drop of ammonia, or a
-grain or two of common table salt, or a small piece of camphor,
-will in some measure prevent it from turning putrid, <span id="p120" class="xxpn">|120|</span>
-as it is liable to do. Some workmen always have a stock
-of “good old glaire,” as they term it, by them, fancying
-that it produces better work, but this is a mistaken notion,
-often productive of annoyance, and destructive to the comfort
-of the workmen. I advise the finisher to beat his glaire
-from an egg as he may require it. When well beaten,
-allow it to stand for some hours, and then pour the clear
-liquid into a bottle for use. I have had some dried albumen
-sent me, but its working has not given me such satisfaction
-as that freshly prepared; it may answer the purpose
-in other hands, but with me the gold appears to have been
-burnt in.</p>
-
-<p><i>Cotton wool</i>, for taking up the gold leaf and pressing it
-firmly on the leather.</p>
-
-<p><i>Varnish</i> should always be used on that part where glaire
-has been applied, after it has been polished; the
-object being to retain the brilliancy, and to preserve the
-leather from the ravages of flies and other insects which
-are attracted by the glaire; these pests do great damage
-to the covers of books which have been prepared with glaire,
-by eating it off. They also take away the surface of
-the leather and spoil the good appearance
-of the books. Varnish may be
-purchased at all prices: use only the
-best, and be very sparing with it.</p>
-
-<p>A small pair of spring <i>dividers</i>, some
-<i>lard</i>, <i>sweet oil</i>, and lastly, but most important,
-the <i>finishing stove</i>. Before gas
-was introduced the finishing stove in
-use was the now almost extinct charcoal
-fire. A bookbinder’s gas stove can
-now be purchased at almost any gas-fitter’s
-shop or bookbinders’ material
-dealers. The price varies according to size.</p>
-
-<div class="figleft imwth09">
-<img src="images/i152.jpg" width="192" height="238" alt="" />
-<div class="caption">Leo’s Oil Finishing Stove.</div></div>
-
-<p>A stove burning paraffin oil may now be had from Leo of <span id="p121" class="xxpn">|121|</span>
-Stuttgart, which he guarantees smokeless and free from soot;
-where gas is not obtainable, this will be found very handy.</p>
-
-<p>Many still prefer the charcoal fire. To such a stove a pipe
-should be fixed to conduct the fumes away into the
-open air or up a chimney. To make such a stove any old
-tin may be utilized. Make a number of large holes through
-the sides; fill it with some live charcoal, and place a perforated
-tin plate on the top. It will keep alight for hours,
-and impart quite enough heat for any purpose required.
-This primitive stove, however, must be placed on a stand
-or on a piece of thick iron, lest it become dangerous.</p>
-
-<p>A <i>finishing press</i> is a small press, having two sides of
-solid wood with wooden screws at each end, the cheeks
-should be of width enough to allow the sides of a book to
-be finished comfortably when the boards are extended, the
-book itself being held by the press which is screwed up
-tightly. The press should, however, be light enough to
-enable the finisher to easily turn it round, as it frequently
-must be, while finishing a book.</p>
-
-<div class="imctr02">
-<img src="images/i153.jpg" width="528" height="267" alt="" />
-<div class="caption pjust">Finishing Press. The reverse side is quite flat, used
-when sides of books are being finished.</div></div>
-
-<p>Mr. Leo has a press (patented) which he claims gives
-more freedom for finishing a book, but with it one can only
-finish the back of a book; there are, however, many good
-points that our English makers may well study. <span id="p122" class="xxpn">|122|</span></p>
-
-<p><i>Finishing</i> is divided into two classes—<i>blind</i> or <i>antique</i>,
-or, as it is sometimes called, <i>monastic</i> and
-<i>gold-finished</i>.</p>
-
-<p>The term antique is mostly known in the trade; and
-when <i>morocco antique</i> or <i>calf antique</i> is mentioned, it means
-that the whole of the finishing is to be done in blind tooling.
-Not only this, but that the boards should be very thick and
-bevelled, and the edges either dull gilt or red, or gilt over
-red. This class of work is used extensively for religious
-books. A gold line introduced
-and intermixed
-with blind work
-gives a great relief to
-any class of antique
-work.</p>
-
-<div class="imctr05">
-<img src="images/i154.jpg" width="348" height="466" alt="" />
-<div class="caption">Leo’s Finishing Press.</div></div>
-
-<p>It is not necessary that a special set of tools be kept for antique
-work, although some would look quite out of keeping if worked in gold.
-As a general rule antique tools are bold and solid, such as Venetian
-tools, whilst those for gold work are cut finer and are well shaded.
-The greater number work equally well in gold and in blind, but when a
-special style has to be followed the various tools and their adaptation
-to that style must be studied.</p>
-
-<p>The general colour of the blind work is dark brown, and
-the proper way of working these antique tools is to take
-them warm and work them on the damp leather a number
-of times, thus singeing or burning as it were the surface
-only, until it has assumed its proper degree of colour. <span id="p123" class="xxpn">|123|</span>
-Antique work, as a decoration, requires quite as much
-dexterity and care as gold work. Every line must be
-straight, and the tools must be worked properly on the
-leather, both in colour and depth; and as the tools have to
-be worked many times on the same spot, it requires a very
-steady hand and great care not to double them. Some
-consider blind work as preparatory to gold work, and that
-it gives experience in the method of handling and working
-the various tools, and the degree of heat required for different
-leathers without burning them through. The leather
-on which this work is mostly executed is morocco and calf.</p>
-
-<div class="imctr01">
-<img src="images/i155.jpg" width="600" height="240" alt="" />
-<div class="caption">Antique Stamps.</div></div>
-
-<p>In finishing the back of a book it must always be held
-tightly in the “finishing press.” When in the press, mark
-the head and tail as a guide for the pallets by running
-a folding-stick along the edge of a piece of parchment
-or vellum held by the finger and thumb of the
-left hand against the sides of the volume across the back
-at the proper place. When two or more books of the
-same character and size are to range together, the backs
-must be compassed up so that the lines head and tail may
-run continuous when finished. In using the pallet, hold it
-firmly in the right hand, and let the working motion proceed
-from the wrist only, as if it were a pivot. It will be <span id="p124" class="xxpn">|124|</span>
-found rather difficult at first to work the pallets straight
-over the back and even to the sides of the bands, but after
-a little practice it will become easy to accomplish.</p>
-
-<p><i>Morocco</i>. Flexible work, as a rule, has blind lines, a
-broad and a narrow one, worked close to the bands. Damp
-the back with a sponge and clean water, and work the
-moisture evenly into the leather with a hard clean brush.
-Take a pallet of a size suitable to the book, warm it over
-the stove, and work it firmly over the back. As the leather
-dries, make the pallet hotter; this will generally be found
-sufficient to produce the required dark lines. Sometimes it
-will be necessary to damp the different places two or three
-times in order to get the proper colour in the blind tooling.</p>
-
-<p>The tools may have a tendency to stick to the leather
-and possibly burn it. To obviate this, take <span class="mixfract" title="1-1/4">1<span
- class="fract">&#8201;<span class="fup">1</span>&#8202;&#8260;&#8202;<span
- class="fdn">4</span></span></span> oz. of white
-wax and 1 oz. of deer fat or lard, place them in a pipkin
-over a fire or in a warm place, so that they may be well
-mixed together; when mixed allow them to cool. Rub some
-of this mixture upon the rough or fleshy side of a piece of
-waste morocco, and when working any tools in blind, rub
-them occasionally over the prepared surface. This mixture
-will be found of great service in getting the tools to <i>slip</i> or
-<i>come away</i> from the leather in working. Lard alone is
-sometimes used, but this mixture will be found of greater
-service to any finisher, and the advantage of adding the
-wax will be apparent.</p>
-
-<p>The lines impressed on the back must now have their
-gloss given to them. This is done by <i>giggering</i> the pallets
-over them. Make the pallet rather hot, rub it over the
-greased piece of leather, and work it backwards and forwards
-in the impression previously made. Great care must be
-taken that the pallet be kept steadily in the impressions
-already made, or they will be doubled. The back is now
-ready for lettering. This will be found further on, classed
-under gold work. <span id="p125" class="xxpn">|125|</span></p>
-
-<p>To blind tool the side of a book it must be marked with
-a folder and straight edge, according to the pattern to be
-produced, and as a guide for the rolls and tools to be used.
-These lines form the ground plan for any design that has
-to be worked. Damp the whole of the side with a sponge,
-and brush it as before directed; then work the fillets along
-the lines marked. Run them over the same line two or
-three times. When dry, make the fillet immovable by
-driving a wooden wedge between the roll and fork, and
-gigger it backwards and forwards to produce the gloss. If
-tools are to be worked, make them slightly warm, and as
-the leather dries make the tool hotter and hotter. This
-must be repeated as often as is necessary, until the desired
-depth of colour and gloss is obtained. In using a roll that
-has a running or continuous pattern, a mark should be
-made upon the side with a file, at the exact point that first
-comes in contact with the leather, so that the same flower,
-scroll, or other design, may always fall in the same place
-in the repeated workings. It is impossible for a roll to be
-cut so exactly that it may be worked from any point in the
-circumference without doubling the design. All blind work
-is done in the same manner, whether in using a small or a
-large tool, <i>viz.</i>, the leather must be damped and repeatedly
-worked until the depth of colour is obtained. It is then
-allowed to dry, and re-worked to produce the gloss. The
-beauty of blind work consists in making the whole of the
-finishing of one uniform colour, in other words, avoiding
-the fault of having any portion of the work of lighter
-tint than the rest.</p>
-
-<p class="padtopb"><i>Gold Work</i>
-is far more complicated than blind or antique
-work, so that it will be better if one practises upon
-some spare pieces of roan, calf, or morocco before one
-attempts to finish a book. Gold work is not more difficult
-than blind tooling, it is only more complicated. The <span id="p126" class="xxpn">|126|</span>
-different kinds of leather require such different degrees of
-heat, that what would fail to make the gold adhere upon
-one leather would burn through another. The various
-colours each require their different degrees of heat; as a
-rule, light fancy colours require less heat than dark ones.
-The finisher has not only to contend with these difficulties,
-but he must also become an adept in handling the gold
-leaf and in using the proper medium by which the gold is
-made to adhere to the leather. This medium is used in
-two ways—wet and dry. The wet is used for leather, the
-dry for velvet, satin, silk, and paper.</p>
-
-<p>The wet medium is again divided into two classes, one
-for non-porous and another for porous leather. Morocco
-is the principal of the non-porous leathers, with roan
-and all other imitation morocco.</p>
-
-<p>The porous varieties consist of calf of all kinds, russia,
-and sheep.</p>
-
-<p>The non-porous leathers need only be washed with thin
-paste-water or vinegar, and glaired once; but if the glaire be
-thin or weak it will be necessary to give them a second coat.</p>
-
-<p>The porous varieties must be paste-washed carefully,
-sized all over very evenly, and glaired once or twice; care
-being taken that the size and glaire be laid on as evenly as
-possible.</p>
-
-<p>All this, although apparently so simple, must be well kept
-in mind, because the great difficulty that apprentices
-have to contend with is, that they do not know the proper
-medium for the various leathers, and one book may be
-prepared too much, while another may have a deficiency,
-and as a consequence, one book will be spoilt by the preparation
-cracking, and the gold not adhere to the other.
-By following the directions here given the finisher will
-find that his gold will adhere without much trouble,
-beyond the practice necessary in becoming accustomed to
-an accurate use of the various tools. <span id="p127" class="xxpn">|127|</span></p>
-
-<p>Suppose that a half morocco book is before us to be
-neatly finished and lettered. Take a broad and narrow
-pallet of a suitable and proper size, and work it against the
-bands in blind as a guide for finishing in gold. As the
-impression need be but very slight, warm the pallet on the
-gas stove but very little. Choose some suitable tool as a
-centre piece to go between the bands. Work this also
-lightly on the back exactly in the centre of each panel.
-This must be worked as truly as possible and perfectly
-straight. A line made previously with a folding-stick
-along the centre of the back will greatly assist in the
-working of a tool in its proper position. Now wash the
-back with vinegar, and brush it well with a hard brush to
-disperse the moisture and drive it equally into the leather;
-some use paste-water for this purpose instead of vinegar.
-Paste-water has a tendency to turn grey in the course of
-time, and this is avoided in using vinegar; vinegar also imparts
-freshness to the morocco, and keeps it moist a longer
-time, which is very desirable when finishing morocco.</p>
-
-<p>The impressions made by the broad and narrow pallet
-and the centre tool are now to be pencilled in with glaire;
-when dry, pencil in another coat; allow this again to dry,
-then rub them very slightly with a piece of oiled cotton
-wool. Take a leaf of gold from the book and spread it out
-evenly on the gold cushion; cut it as nearly to the various
-shapes and sizes of the tools as possible. Now take up one of
-the pieces of gold upon a large pad of cotton wool, previously
-greased slightly by drawing it over the head. (There is
-always a sufficient amount of natural grease in the hair to
-cause the gold to adhere to the cotton when so treated.)
-Lay the gold gently but firmly on the impressed leather. See
-that the whole of the impression is covered, and that the gold
-is not broken. Should it be necessary to put on another
-piece of gold leaf, gently breathing on the first will make
-the second adhere. When all the impressions are covered <span id="p128" class="xxpn">|128|</span>
-with gold leaf, take one of the tools heated to such a degree
-that when a drop of water is applied it does <i>not hiss</i> but
-<i>dries</i> instantly; work it exactly in the blind impressions.
-Repeat this to the whole of the impressions, and wipe the
-overplus of gold off with the gold rag. The impressions
-are now supposed to be worked properly in gold; but if
-there are any parts where the gold does not adhere, they
-must be re-glaired and worked in again. A saucer should
-be placed near at hand, with water and a piece of rag or a
-sponge in it, to cool any tool and reduce it to its proper
-heat before using. If the tool be used too hot, the gold
-impression will be dull; if too cold, the gold will not
-adhere. To use all tools of the exact degree of heat
-required is one of the experiences of the skilled workman.
-The back is now ready for the title. Set up the proper
-words in a type-case, of a type sufficiently large and suitable
-to the book. The chief word of the title should be in
-somewhat larger size than the rest, the others diminishing,
-so that a pleasant arrangement of form be attained. In
-order to adjust the length of the words, it may be necessary
-to <i>space</i> some of them—that is, to put between each
-letter a small piece of metal called a <i>space</i>. Square the
-type, or make the face of the letters perfectly level, by
-pressing the face of them against a flat surface before
-tightening the screw. They must be exactly level one
-with another, or in the working some of them will be
-invisible. Screw up the type-case, warm it over the finishing
-stove, and work the letters carefully in blind as a
-guide. Damp the whole of the lettering space with
-vinegar. When dry, pencil the impressions in twice with
-glaire. Then lay the gold on and work them in gold.</p>
-
-<p>But with lead type and a spring type-case (a method
-more suitable for some binders on account of its relative
-cheapness and the convenience of the case fitting itself to
-the different sizes of the type, of which the binder will want
-<span id="p129" class="xxpn">|129|</span>
-a selection of various sizes), the type-case must be warmed
-before the type is put in. The heat of the case should impart
-sufficient heat for the type to be worked properly. If the
-case and type be put on the stove, the type will probably be
-melted if not watched very narrowly. Hand letters are
-letters fixed in handles, each used as a single tool. The
-letters should be arranged in alphabetical order round the
-finishing stove, and as each letter is wanted it is taken
-from the order, worked, and replaced. They are still very
-much used in England, but where two or more books are
-to have the same lettering, brass type is very much better.
-It does its work more uniformly than hand letters, however
-skillfully used.</p>
-</div><!--mainbody-->
-
-<div class="imctr02" id="p130">
-<img src="images/i162.jpg" width="526" height="800" alt="
-  Pallets.
-
-  Panel entirely finished.
-
-  Band.
-
-  Panel mitred in gold, with title and small
-  corners.
-
-  Band.
-
-  Panel mitred and cornered with centre tool.
-
-  Band.
-
-  Panel mitred and cornered.
-
-  Band.
-
-  Panel mitred.
-
-  Band.
-
-  Panel marked out in blind for finishing.
-
-  Small tail panel with date.
-
-  Pallet." />
-<div class="caption">Showing progressive Stages of
- Finishing.</div></div>
-
-<div class="mainbody">
-<div class="figleft imwth09">
-<img src="images/i163.jpg" width="192" height="185" alt="" />
-<div class="caption">Cut showing the use
-of Mitrepiece.</div></div>
-
-<p>When this simple finishing can be executed properly
-and with ease, a more difficult task of finishing may be
-attempted, such as a <i>full gilt back</i>. This is done in two
-ways, a “run-up” back and a “mitred” back. As a
-general rule morocco is always mitred. Place the book on
-its side, lift up the mill-board, and make a mark head and
-tail on the back, a little away from the hinge of the back.
-Then with a folder and straight edge mark the whole length
-of the back: this is to be done on both sides. Make another
-line the whole length down the exact centre of the back.
-With a pair of dividers take the measurement of the spaces
-between the bands, and mark the size, head and tail, for the
-panels from the top and bottom band; with a folder and
-strip of parchment make a line across the back, head and
-tail, at the mark made by the dividers. Work a thin broad
-and narrow pallet alongside the bands in blind. Prepare
-the whole of the back with vinegar and glaire, as above described,
-but lay the glaire on with a sponge. When dry,
-lay the gold on, covering the whole of the back with it,
-mending any breaks. For mitreing, take a two-line pallet
-that has the ends cut at an angle of 45°, so that the joint
-at that angle may be perfect. Work this on the side at the <span id="p131" class="xxpn">|131|</span>
-mark made up the back, and up to the line made in blind
-across the back. Repeat this to each panel. The two-line
-pallet must be worked across the back and up to the
-lines made in gold; the cutting of the pallet at the angle
-will allow of the union or mitre, so that each panel is
-independent of the other. There will be a space left, head
-and tail, which may be filled up with any fancy pallet or
-repetition of tools. The corners should be in keeping with
-the centre, and large enough to fit the
-panel. Work these from the sides of the
-square made, or from the centre of the
-panel, as will be found most convenient,
-according to the thickness of the book
-and style of finishing, and then fill in
-any small stops. When the whole is
-done, rub the gold off with the gold-rag,
-and use the india-rubber if necessary.
-The title has now to be put on, which is done in the
-same manner as before described.</p>
-
-<p>It is not always necessary that the finishing be done in
-blind first. I have explained it, and advocate its being so
-worked first as easier for a learner. One who is accustomed
-to finishing finds that a few lines marked previously
-with a folding-stick is all that is required. When working
-the title, a thread of silk drawn tightly across the gold
-produces a line sufficient, and is the only guide that an
-experienced workman requires.</p>
-
-<p>To finish a side, make a mark with the folder and straight
-edge as a guide for any rolls or fillets. Prepare the leather
-as before described where the ornamentation is to come;
-but if the pattern is elaborate it must be worked first in
-blind. As a greater facility, take a piece of paper of good
-quality and well sized. Draw the pattern you wish to
-produce on the paper, and if any tools are to be used, hold
-them over the flame of gas; this will smoke them so that <span id="p132" class="xxpn">|132|</span>
-they may be worked on the paper in black. When the
-pattern is complete in every detail, tip the four corners of
-the paper with a little paste, then work the pattern through
-the paper on to the leather, using the various sized gouges
-as the scrolls require, and a single line fillet where there
-are lines. Work thus the complete pattern in blind. This
-being done completely, take the paper off from the four
-corners, place it on the other side, and work it in the same
-way. Prepare the leather with vinegar, and pencil out
-with glaire the whole of the pattern. If the whole side be
-glaired with a sponge it will leave a glossy appearance that
-is very undesirable. The whole of the side is now to be
-laid on with gold, and the pattern worked again with the
-warm tools, in the previous or blind impressions.</p>
-
-<p>The inside of a book is generally finished before the outside.
-This should be done as neatly as possible, carefully
-mitreing the corners when any lines are used. Most frequently
-a roll is used, thus saving a great deal of time. A
-style was introduced in France called “doublé,” the inside
-of the board being covered with a coloured morocco different
-to the outside, instead of having board papers. This inside
-leather was very elaborately finished; generally with a
-“dentelle” border, while the outside had only a line or two
-in blind. It is a style which, although very good in itself,
-is not now in great request, many prefer to have the finishing
-outside rather than to have it covered up and not seen when
-the book is shut.</p>
-</div><!--mainbody-->
-
-<div class="imctr01" id="ip132">
-<img src="images/i165.jpg" width="600" height="800" alt="" />
-<div class="caption">GROLIER.
-<div>Demy folio.</div></div></div>
-
-<div class="mainbody">
-<p>The edges of the boards and the headbands must be
-finished either in gold or blind, according to fancy, but in
-keeping with the rest of the embellishment. A fine line
-worked on the centre of the edge of the board by means of
-a fillet looks better, and of course requires more pains than
-simply running a roll over it. If it is to be in gold, simply
-glairing the edge is sufficient. Lay on the gold and work
-the fillet carefully. Place the book on its ends in the <span id="p133" class="xxpn">|133|</span>
-finishing press to keep it steady, or it will shake and throw
-the fillet off. If a roll is used, take the gold up on the roll,
-but grease it first a little, by rubbing the gold rag over the
-edge to make the gold adhere. Then run the roll along the
-edge of the boards: the roll generally used for this purpose
-is called a <i>bar roll</i>—that is, one having a series of lines
-running at right angles with the edge of the roll.</p>
-
-<p>Imitation morocco is generally used for publishers’ bindings,
-where books are in large numbers and small in price,
-and the finishing is all done with the blocking press: To
-finish this leather by hand, it is advisable to wash it with
-paste-water and glaire twice.</p>
-
-<p>Roan is generally used for circulating library work, and
-is very seldom finished with more than a few lines and the
-title across the back. This leather is prepared with paste-wash
-and glaire, and, when complete, varnished over the
-whole surface.</p>
-
-<p><i>Inlaid Work.</i>—Inlaid, or mosaic work, is used only in the
-higher branches of bookbinding. Formerly books were
-not inlaid, but painted with various colours. Grolier used
-a great deal of black, white, and green. Mr. Tuckett, the
-late binder to the British Museum, took out a patent for
-extracting one colour from leather and substituting another
-by chemical action. This method, however, was in use
-and known long before he turned his attention to the subject,
-although he improved greatly upon the old practice.
-As the patent has long expired, it may not be out of place
-to give an extract from the specification: “Take dark
-chocolate colour, and after the design has been traced
-thereon, it is then to be picked out or pencilled in with
-suitable chemicals, say diluted nitric acid; this will change
-the chocolate, leaving the design a bright red on a chocolate
-ground.” But to lay on the various colours with leather is,
-no doubt, by far the better plan. Paint has a tendency in
-time to crack, and, if acids are used, they will, to a certain <span id="p134" class="xxpn">|134|</span>
-extent, rot or destroy the leather; but if leather is used it
-will always retain both colour and texture. To choose the
-proper colours that will harmonize with the ground, give
-tone, and produce a pleasing effect, requires a certain
-amount of study. Morocco is the leather generally used,
-but in Vienna calf has been used with very good results.
-If the pattern to be inlaid be very small, steel punches of
-the exact shape of the tools are used to punch or cut out
-the patterns required. To do this, work the pattern in
-blind on the side of the book; take morocco of a different
-colour to the ground it is required to decorate, and pare it
-down as thin as possible. Lay it on a slab of lead. Lead
-is better than anything else on account of its softness; the
-marks made by the punch can always be beaten out again,
-and when quite used up it may be re-melted and run out
-anew. Now take the steel punch of an exact facsimile of
-the tool used that is to be inlaid, and punch out from the
-leather the required number. These are to be pasted and
-laid very carefully on the exact spot made by the blind-tooling;
-press each down well into the leather, either with
-a folding-stick or the fingers, so that it adheres properly.
-When dry, the book should be pressed between polished
-plates, in order that the pieces that have been laid on,
-may be pressed well into the ground leather. When it has
-been pressed, the whole of the leather must be prepared as
-for morocco, and finished in gold. The tools in the working
-will hide all the edges of the various inlaid pieces,
-provided they are laid on exactly.</p>
-</div><!--mainbody-->
-
-<div class="imctr01" id="ip134">
-<img src="images/i169.jpg" width="600" height="800" alt="" />
-<div class="caption">MAIOLI.
-<div>Royal folio.</div>
-<div class="pright">T. Way, Photo Lith.</div></div>
-</div>
-
-<div class="mainbody">
-<p>If interlacing bands are to be of various colours, the
-bands must be cut out. Pare the leather thin, and after
-working the pattern through the paper on to the sides of
-the book, lay it on the thinly pared leather; with a very
-sharp and pointed knife cut through the paper and leather
-together on a soft board. Or the design may be worked
-or drawn on a thin board, and the various bands cut out <span id="p135" class="xxpn">|135|</span>
-of the board as patterns. Lay these on the thin leather
-and cut round them. Keep these board templates for any
-future use of the same patterns. The various pieces are
-to be well pasted, carefully adjusted in their places, and
-well rubbed down. The leather is then to be prepared
-and worked off in gold.</p>
-
-<p>Another method is to work the pattern in blind on the
-sides. Pare the morocco thin, and while damp place it upon
-the portion of the pattern to be inlaid, and press it well
-with the fingers, so that the design is impressed into it.
-Lay the leather carefully on some soft board, and cut round
-the lines made visible by the pressure with a very sharp
-knife. When cut out, paste and lay them on the book and
-prepare as before, and finish in gold. I do not recommend
-this last method as being of much value; I give it only
-because it is sometimes chosen; but for any good work,
-where accuracy is required, either of the plans mentioned
-previously are to be preferred.</p>
-
-<p>The Viennese work their calf in quite a different manner,
-in fact, in the same way that the cabinet-makers inlay their
-woodwork. With a very sharp and thin knife they cut
-right through two leathers laid the one on the other. The
-bottom one is then lifted out and replaced by the top one.
-By this method the one fits exactly into the other, so that,
-if properly done, the junctions are so neatly made that no
-finishing is required to cover the line where the two colours
-meet.</p>
-
-<p>The frontispiece to this treatise is a copy of a book bound
-by my father for one of the Exhibitions. The ground is of
-red morocco, inlaid with green, brown, and black morocco.
-The pattern may be called “Renaissance.” The inside of
-the boards are “Grolier,” inlaid as elaborately as the
-outside. Seven months’ labour was expended on the outside
-decoration of this volume.</p>
-
-<p><i>Porous.</i>—<i>Calf</i>, as before described, requires more and <span id="p136" class="xxpn">|136|</span>
-different preparation than morocco, on account of its soft
-and absorbing nature. As a foundation or groundwork,
-paste of different degrees of strength is used, according to
-the various work required.</p>
-
-<p>Calf books have generally a morocco lettering piece of a
-different colour to the calf on the back for the title. This
-is, however, optional, and may or may not be used, according
-to taste. Leather lettering pieces have a great tendency
-to peel off, especially if the book be exposed to a hot atmosphere,
-or if the paste has been badly made, so that it is
-perhaps better if the calf itself be lettered. There is no
-doubt that a better effect is produced in a bookcase when
-a good assortment of coloured lettering pieces are placed
-on the variously coloured backs, and the titles can be more
-easily read than if they were upon light or sprinkled calf;
-but where wear and tear have to be studied, as in public
-libraries, a volume should not have any lettering pieces.
-All such books should be lettered on their natural ground.</p>
-
-<p>For lettering pieces, take morocco<a id="fnanchor-10" href="#fn-10" class="fnanchor">10</a>
-of any colour, according
-to fancy, and having wetted it to facilitate the work,
-pare it down as thin and as evenly as possible. Cut it to
-size of the panel or space it is intended to fit. When cut
-truly, pare the edges all round, paste it well, put it on the
-place and rub well down. Should the book require two
-pieces—or one for the title, and one for the volume or
-contents—it is better to vary the colours. I must caution
-the workman not to allow the leather to come over on to the
-joint, as by the frequent opening or moving of the boards
-the edge of the leather will become loose. A very good
-plan as a substitute for lettering pieces is to colour the
-calf either dark brown or black, thus saving the leather at
-the expense of a little more time. When the lettering
-<span id="p137" class="xxpn">|137|</span>
-pieces are dry, mark the back, head and tail, for the pallets
-or other tools with a folding-stick. Apply with a brush
-paste all over the back. With a thick folding-stick, or
-with the handle of an old tooth brush, which is better, rub
-the paste into the back. Before it has time to dry, take
-the overplus off with rather a hard sponge, dipped in thin
-paste-water. The learner will perhaps wonder why paste of
-full strength should be used for the back, and only paste-water
-for the sides. The reason is, that through the
-stretching of the leather over the back in covering, the
-pores are more open, and consequently require more filling
-up to make a firm ground. Much depends upon the
-groundwork being properly applied; and a general caution
-with regard to the working in general may not be here
-amiss. Finishing, above all other departments, demands
-perfect cleanliness. A book may have the most graceful
-designs, the tools be worked perfectly and clearly, but be
-spoiled by having a dirty appearance. See that everything
-is clean—paste-water, size, glaire, sponges, and brushes.
-Do not lay any gold on until the preparation be perfectly
-dry, or the gold will adhere and cause a dirty yellow stain
-where wiped off.</p>
-
-<div class="footnote">
-<a id="fn-10" href="#fnanchor-10" class="fnlabel">[10]</a>
-Other leathers are often used instead of morocco, even paper; in
-fact a specially prepared paper is largely sold in Germany for this
-purpose.</div>
-
-<p>Should the calf book be intended to have only a pallet
-alongside the bands, it is only necessary, when the paste-wash
-is quite dry, to glaire that portion which is to be gilt:
-this is usually done with a camel’s hair brush, by laying
-on two coats. When dry, cut the gold into strips, and take
-one up on the pallet and work it on the calf. This is
-what is termed calf neat. The band on each side is gilt,
-leaving the rest of the leather in its natural state. Some
-binders polish their backs instead of leaving them dead or
-dull. This, however, is entirely according to taste, whether
-so large a space be left polished only.</p>
-</div><!--mainbody-->
-
-<div class="imctr02" id="p138">
-<img src="images/i174.jpg" width="526" height="800" alt="" />
-<div class="caption">Samples of Backs suitable for Calf Work.</div>
-</div>
-
-<div class="mainbody">
-<p><i>Full Gilt Back.</i>—<i>Run-up.</i> Make a mark up the back on
-both sides a little away from the joint with a folder and <span id="p139" class="xxpn">|139|</span>
-straight edge. Put on lettering piece. When dry, paste
-and paste-wash the back. When again dry, take some of
-Young’s patent size, melt it in a pipkin with a little water
-and apply it with a sponge. Lay this on very evenly with
-a very soft sponge, and be particular that it is perfectly
-clean, so that no stains be left. When the size is done
-with, put it on one side for future use. This size should
-not be taken its full strength, and when warmed again
-some more water should be added to make up for evaporation.
-When the coat of size has dried, apply two coats of
-glaire. The first must be dry before the second is applied,
-and great care must be taken that the sponge is not passed
-over the same place twice, or the previous preparation
-will be taken off. It is now ready for finishing. Cut the
-gold to proper size; rub a little lard over the whole of the
-back with a little cotton wool. This requires great attention.
-Very little must be put on light or green calf, as
-these colours are stained very readily. Take the gold up
-on a cotton pad; lay it carefully down on the back; breathe
-on the gold, and press down again. If there be any places
-where the gold is broken, they must be mended. Now take
-a two-line fillet; heat it so that it hisses when placed in
-the cooling pan or the saucer with the wet rag in it, and
-run it the whole length of the back on the line made before
-paste-washing. Do this on both sides, and rub the gold
-off with the gold-rag up to the line on the outside. Take
-a two-line pallet, and work it on each side of the bands.
-Work the morocco lettering piece last, as it requires less
-heat. The centre piece of each panel must now be worked.
-Impress the tools firmly but quickly. The corner tools next;
-work them from the centre or sides, using the right hand
-corners as a guide, and judging the distance by the left
-ones. The press must be turned when it is required to bring
-the left side to the right hand in working the corners. The
-requisite pallets may now be worked to finish the book <span id="p140" class="xxpn">|140|</span>
-head and tail. As a rule these are worked when the two-line
-pallet is imprinted.</p>
-
-<p>Calf requires very quick working. The tools should not
-be held over the various places too long, or the heat will
-destroy the adherent properties of the albumen. With
-morocco time does not signify so much, as the heat used is
-not so great.</p>
-
-<p><i>Mitred back</i> must be prepared the same way as for “run-up
-back,” and the mitreing is to be done as explained in
-working morocco. As before stated, this is superior work
-and requires more skill; takes longer, but looks much
-better: each panel should be an exact facsimile of the rest.
-If the tools do not occupy precisely similar places in each
-panel, the result will be very unsatisfactory, and an evidence
-of a want of skill. When the backs are finished,
-rub the gold off with the gold-rag, and clear off any residue
-with the india-rubber. Be very careful that every
-particle of the surplus gold be cleaned off, or the delicate
-lines of the ornaments will be obscure and ragged in
-appearance.</p>
-
-<p>The book is now ready for lettering. Set the type up in
-the case, and work it carefully in a perfectly straight line
-over the back. The whole of the back is now to be polished
-with the polishing iron, which must be perfectly clean and
-bright before it is used. Prepare a board from an old calf
-binding, by rubbing some fine emery or charcoal and lard
-over the leather side of it. By rubbing the iron over this
-prepared surface it will acquire a bright polish. It must
-be used over the back by holding it lightly, and giving it an
-oblong circular motion. Go over every portion of the back
-with very even pressure, so that no part may be made more
-glossy than another. The polishing iron should be used
-rather warmer than the tools. If the iron be too hot the
-glaire will turn white; if too cold the polish will be dull.
-The grease upon the leather will be quite sufficient to make <span id="p141" class="xxpn">|141|</span>
-the polisher glide easily over the surface, but the operation
-must be rapidly and evenly done. All light and green calf
-require less heat than any other kinds. These will turn
-black if the iron be in the least degree too hot.</p>
-
-<p>It is in finishing the sides that the workman can show
-his good taste and skill. The sides should be always in
-keeping with the back; or, more strictly speaking, the
-back should be in keeping with the sides. Before the sides
-can be finished, the inside of the boards must occupy our
-attention. With a “run-up” back, the edge of the leather
-round the end papers is to be worked either in blind or
-have a roll round it in gold. In any case it should be
-paste-washed. If for blind, the roll is to be heated and
-worked round it; if for gold, it must be glaired twice.
-The gold, cut into strips, is to be taken up on the roll
-and worked, and the overplus taken off with the gold-rag
-as before directed. Extra work, such as mitred work,
-should have some lines, or other neat design impressed.
-Paste-wash the leather, and when dry glaire twice. When
-again dry lay on the gold all round, and work the roll
-or other fillets, or such other tool that may be in keeping
-with the exterior work. When the gold has been wiped
-off, the leather should be polished with the polishing
-iron.</p>
-
-<p>The outside must now be finished. Are the sides to be
-polished, or left plain? If they are not to be polished,
-paste-wash the whole of the side up to the edge of the back
-carefully, then glaire only that portion which is to be gilt.
-Generally a two-line fillet only is used round the edge, so
-that the width of the fillet or roll must determine the width
-to be glaired. When glaired twice and dry, take up the
-gold on the fillet or roll and work it evenly and straightly
-round the edge. The corners where the lines meet are next
-to be stopped by working a small rosette or small star on
-them. Clean off any gold that may be on the side, and <span id="p142" class="xxpn">|142|</span>
-work a small dotted or pin-head roll at the edge of the
-glaire. This will cover and conceal the edge.</p>
-
-<p>Extra calf books generally have the sides polished.
-Paste-wash the sides all over, and when dry size them.
-Hold the book, if small, in the left hand, if large, lay it
-on the press and work the sponge over the side in a circular
-direction, so that the size may be laid on as evenly
-as possible. Be very careful that it does not froth; should
-it do so, squeeze the sponge out as dry as possible, and fill
-it anew with fresh size. Some workmen work the sponge
-up and down the book, but if this be not done very evenly it
-produces streaks. The finisher will find he can lay a more
-even coating on by using the sponge in a circular direction.
-Allow this to dry by leaving the book with boards
-extended. When perfectly dry glaire once. This will be
-found sufficient, as the size gives body to the glaire.
-When sizeing and glairing, be assured that the book be
-laid down with the boards extended on a level surface;
-if the book be not level, the size or glaire will run down
-to the lowest portion of the surface, and become unequally
-distributed. The gold is now to be laid on the respective
-places, either broad or narrow, according to the nature of
-the finishing or width of the rolls. As a general rule, the
-sides of the better class of calf books have nothing more
-than a three-line round the edge and mitred in the corners.
-This is, however, quite a matter of taste. Some have a
-border of fancy rolls, but never any elaborate pattern as
-in morocco work. To finish the sides, place the book in
-the finishing press with the boards extended, so that they
-may rest on the press. This will afford greater facility
-for working the fillets, rolls, and tools necessary to complete
-the design on each side. The finishing press being a small
-one, can be easily turned round as each edge of the
-border is finished.</p>
-
-<p>To polish the sides, place the book on its side on some <span id="p143" class="xxpn">|143|</span>
-soft surface, such as a board covered with baize, and kept
-for the purpose. Use the large and heavy polishing iron,
-hot and clean. Rub or work the iron quickly and firmly
-over the sides, first from the groove towards the foredge,
-and then in a contrary direction, from the tail to the head,
-by turning the volume. The oil or grease applied to the
-cover previous to laying on the gold will be sufficient to
-allow the polisher to glide easily over the surface. Polishing
-has also the effect of smoothing down the burr formed
-on the leather by the gilding tools, and bringing the impressions
-slightly to the surface. The iron must be held very
-evenly, so that the centre of the iron may be the working
-portion. If held sideways the edge of the iron will indent
-the leather. The heat must be sufficient to give a polish.
-It must be remembered that if the iron is too hot it will
-cause the glaire to turn white. The temperature must be
-well tested before it be applied to the cover. A practised
-finisher can generally tell the proper heat on holding the
-iron at some little distance from his face, by the heat
-radiated from the iron. Calf books should be pressed,
-whether polished or not.</p>
-
-<p><i>Pressing.</i>—Plates of japanned tin or polished horn are
-proper for this purpose. Put pressing tins between the
-book and the mill-boards: the tins must be up to the joint.
-Now place one of the japanned plates on the side level with
-the groove; turn book and japanned plate over carefully
-together, so that neither shifts; place another of the
-polished plates on the top of the book, thus placing the
-book between two polished surfaces. Put the book into the
-standing press, and screw down tightly. Leave in for some
-hours. When pressed sufficiently, take the book out, and if
-the sides be polished, varnish them.</p>
-
-<p>Make a little pad of cotton wool, saturate the lower
-portion with varnish; rub it on a piece of waste paper to
-equalize the varnish, then work the pad over the side as <span id="p144" class="xxpn">|144|</span>
-quickly as possible in a circular direction. Renew the
-wool with varnish for the other side. Enough must be
-taken on the pad to varnish the whole side, or the delay
-caused by renewing the varnish on the cotton will cause a
-streaked surface. When the varnish is perfectly dry—a
-few minutes will suffice—the book must be again pressed.
-To do this, rub the gold-rag, which is greased, over the
-sides, this will prevent the sides from sticking to the
-polished plates. Place the book between the plates as
-before, leaving out the pressing tins, and place in the
-standing press. Only little pressure must now be given;
-if the press be screwed down too tightly the plates will
-stick to the book. The varnish must be of good quality,
-and perfectly dry, or the result will be the same. Half
-an hour in the press will be found quite long enough.
-Should the plates stick, there is no other remedy than
-washing off the varnish with spirits of wine, and the glaire
-and size with warm water, and carefully re-preparing the
-surface as before. This is, however, an accident that
-cannot happen if due care and judgment be exercised.</p>
-
-<p><i>Graining.</i>—Graining is now used very much on calf
-books. It may be properly considered as a blind ornament.
-It is done by means of wooden, or, better still,
-copper plates cut out in various patterns, so as to form
-small squares, scales of fish, or an imitation of morocco.
-Place the volume between two of these plates, level to
-the groove of the back, in the standing press; screw
-down tightly. The pressure should be equal over the
-whole surface. Nothing looks worse than a bold impression
-in one place and a slight one in another, so that it is
-rather important that it be evenly pressed; a second application
-of the plates is impracticable. Graining has the advantage
-of hiding any finger-marks that may accidentally
-be on the calf, and also partly conceals any imperfections
-in the leather. <span id="p145" class="xxpn">|145|</span></p>
-
-<p>The state of the weather must in a great measure guide
-the finisher as to the proper number of volumes he ought
-to prepare at one time. The leather should always be a
-little moist, or, in other words, rather <i>fresh</i>. In winter
-double the number of books may be prepared, and the
-gold laid on, than the dryness of a summer’s day will
-permit. If books are laid on over night the tools must
-be used very hot in working them the next morning, or
-the gold will not adhere. During summer, flies will eat
-the glaire from various places while the book is lying or
-standing out to dry, so that constant vigilance must be
-kept to avoid these pests.</p>
-
-<p>Russia is prepared in the same way as calf, but is
-usually worked with more blind tools than gold, and
-the sides are not as a rule polished, so that the size and
-glaire are dispensed with, except on those parts where it is
-to be finished in gold; those portions need be only paste-washed
-and glaired once, without any size.</p>
-
-<p><i>Finishing with Dry Preparation.</i>—The dry preparation is
-used for silk, velvet, paper, or any other material that would
-be stained by the employment of the wet process. There
-are a number of receipts in the trade and in use.</p>
-
-<p>Take the white of eggs, and dry by spreading it somewhat
-thickly over glass plates, taking care to preserve it
-from dust. When dry it will chip off readily, if the glass
-has been previously <i>very slightly</i> oiled or greased. It must
-not be exposed to more heat than 40° Reaum., or the
-quality of the albumen will be destroyed. The dried mass
-is to be well powdered in a porcelain mortar.</p>
-
-<p>Or, take equal portions of gum mastic, gum sandrac,
-gum arabic, and powder them well in a mortar. This
-powder, if good work be desired, must be ground into an
-impalpable powder. When powdered put it into a box or
-bottle, and tie three or four thicknesses of fine muslin
-over the mouth. By tapping the inverted box, or shaking <span id="p146" class="xxpn">|146|</span>
-it over the lines or letters, the dust will fall through in a
-fine shower. The powder should fall only on the part to be
-gilt. Cut the gold into strips, take it up upon the tool,
-and work rather hot. The overplus of the powder can be
-brushed away when the finishing is completed. Finishing
-powder is now sold commercially.</p>
-
-<p><i>Velvet</i> is very seldom finished beyond having the title
-put on, and this should be worked in blind first and with
-moderately large letters, or the pile will hide them.</p>
-
-<p><i>Silk</i> is finished more easily, and can, if care be taken,
-have rather elaborate work put upon it. In such a case,
-the lines or tools, which must be blinded-in first, may be
-glaired. For this purpose the glaire must be put in a
-saucer or plate in the free air for a day or two, so that a
-certain amount of water or moisture of the glaire may be
-evaporated; but it must not be too stiff so as to prevent
-the brush going freely over the stuff. Great care, however,
-must be taken, or the glaire will spread and cause a stain.
-A thin coat of paste-water will give silk a body and keep
-the glaire from spreading to a certain extent, but I think
-the best medium for silk is the dry one, and it is always
-ready for instant use. In using glaire the gold is laid on
-the silk, but on no account must any oil or lard be rubbed
-on it for the temporary holding of the gold. Rub the parts
-intended for the gold with the finger (passed through the
-hair), or with a clean rag lightly oiled, and when the tools
-are re-impressed a clean piece of flannel should be used to
-wipe off the superfluous gold.</p>
-
-<p>Blocking has been used lately on silk with some success
-in Germany. The blocking plate is taken out of the press,
-and the gold is laid on it, and then replaced in the press.
-The finishing powder is freely distributed over the silk
-side, which is laid on the bed of the press. On pulling
-the lever over, the block descends and imprints the design
-in gold on the silk. This process may be applied to velvet, <span id="p147" class="xxpn">|147|</span>
-but velvet never takes the sharpness of the design on
-account of the pile, so that as a rule it is left in its natural
-state.</p>
-
-<p><i>Vellum.</i>—The Dutch, as a nation, appear to have been
-the first to bind books in vellum. It was then a simple
-kind of casing, with hollow backs. A later improvement
-of theirs was that of sewing the book on double raised cords,
-and making the book with a tight back, similar to the way
-in which our flexible books are now done, showing the raised
-bands. The ornamentation was entirely in blind, both on
-the back and sides, and the tools used were of a very solid
-character.</p>
-
-<p>This art of binding in vellum seems to be entirely lost at
-the present day; its imperishable nature is indeed its only
-recommendation. It has little beauty; is exceedingly harsh;
-and little variety can be produced even in the finishing.</p>
-
-<p>There are two or three kinds of vellum prepared from
-calf skins at the present day, thanks to the progress of
-invention. First, we have the prepared or artist’s vellum,
-with a very white artificial surface; then the Oxford vellum,
-the surface of which is left in its natural state; the Roman
-vellum, which has a darker appearance. Parchment is an
-inferior animal membrane prepared from sheepskins after
-the manner of vellum, and this is very successfully imitated
-by vegetable parchment, made by immersing unsized paper
-for a few seconds in a bath of diluted oil of vitriol. This
-preparation resembles the animal parchment so closely that
-it is not easy to distinguish the difference. It is used
-very extensively in France for wrappering the better
-class of literature, instead of issuing them in cloth as is the
-custom here.</p>
-
-<p>The method of finishing vellum is altogether different
-to leather. On account of its very hard and compact
-nature, it requires no other ground or preparation than
-glaire for gold work. <span id="p148" class="xxpn">|148|</span></p>
-
-<p>The cover should be very carefully washed with a soft
-sponge and clean water, to clean off any dirt or finger-marks,
-and to make the book look as fresh as possible.
-This washing must be very carefully done by going over
-the surface as few times as possible. This caution applies
-particularly to the prepared or artist vellum, as each washing
-will take off a certain amount of the surface, so that
-the more it is damped and rubbed the more the surface
-will be disturbed and the beauty destroyed. It requires
-some experience to distinguish the flesh and leather surfaces
-of prepared vellum, but this experience must be
-acquired, because it is absolutely necessary that the leather
-side should be outward when the book is covered, for two
-reasons: the flesh side is more fibrous, and adheres better
-to the boards than the leather side, and the leather side
-is less liable to have its surface disturbed in the process of
-washing.</p>
-
-<p>The parts that are to be gilt must be glaired, but as the
-glaire will show its presence, or, more strictly speaking,
-leave rather a dirty mark, the tools should first be worked
-in blind, and the glaire laid on carefully up to their outer
-edge. When dry, lay the gold on and work the tool in.
-Let the tools be only moderately warm; if too hot they
-will go through to the mill-board, leaving their mark as if
-they had been cut out with a knife.</p>
-
-<p>As a rule no very heavy tooling is ever put on vellum,
-the beauty lies in keeping the vellum as clean as possible.
-The tooling being, comparatively speaking, on the surface,
-owing to the thinness of the skin, requires a very competent
-and clean workman to produce anything like good
-work on vellum.</p>
-
-<p>Vellum is of so greasy a nature that, if a title-piece of
-leather has to be put on, it will be found that there is a
-great difficulty in making it adhere properly unless some
-special precaution be taken. The best plan is to scrape <span id="p149" class="xxpn">|149|</span>
-the surface where the leather is intended to be placed
-with the edge of a knife. This will produce a rough and
-fibrous ground on which to place the pasted leather. This
-<i>leather</i>, when dry, must be prepared with paste-water and
-glaire, in the same manner as with other books.</p>
-
-<p>In the foregoing instructions for finishing a book, the
-most that can be looked for towards teaching either the
-apprentice or the unskilled workman is to give him an idea
-how it is accomplished by practised hands. Pure taste, a
-correct eye, and a steady hand, are not given to all in
-common. The most minute instructions, detail by detail,
-cannot make a workman if Nature has denied these gifts.
-I have known men whose skill in working a design could
-not be excelled, but who could not be trusted to gild a back
-without instructions. Others, whose ideas of design were
-not contemptible, could not tool two panels of a back in
-perfect uniformity. Some also have so little idea of harmony
-of colour, that without strict supervision they would
-give every volume the coat of a harlequin. In a word, a
-first-rate bookbinder is <i>nascitur non fit</i>, and although the
-hints and instructions I have penned may not be sufficient to
-<i>make</i> a workman, I trust they will be found of some value
-to the skilled as well as to the less practised craftsman.</p>
-
-<p><i>Blocking.</i>—The growing demand for books that were at
-once cheap and pretty, became so strong, that mechanical
-appliances were invented to facilitate their ornamentation;
-and thus we have the introduction of the present blocking
-press.</p>
-
-<p>I will not follow too closely the various improvements
-introduced at different periods, but roughly describe the
-blocking press, without which cheap bookbinding cannot
-be done at the present day. There can be no doubt that
-this press owes its extensive use to the introduction of
-publishers’ cloth work.</p>
-
-<p>Formerly, when the covers of books were blocked, a <span id="p150" class="xxpn">|150|</span>
-small lying or other press was used. The block, previously
-heated, was placed on the book, and the screw or screws
-turned to get a sufficient pressure. It often happened
-that the pressure was either too much or too little: the
-block either by the one accident sank into the leather too
-deeply, or by the other the gold failed to adhere, and it
-required a good workman to work a block properly.</p>
-
-<p>The first press to be noticed is a Balancier, having a
-moveable bed, a heating box, heated by means of red-hot
-irons, two side pillars to guide the box in a true line, and
-attached to it a screw connected at the top with a bar or
-arm, having at each extremity an iron ball. The block,
-having been fixed to a plate at the bottom of the heated
-box, the side of the book was laid down on the bed, and
-by swinging the arm round the block descended upon the
-book. The arm was then swung back, and the next book
-put into place. It will be seen that this incurred a great
-loss of time.</p>
-
-<p>The next improvement consisted in having a press that
-only moved a quarter circle, with almost instantaneous
-action; and another improvement connected with the bed
-was, that by means of screws and gauges, when the block
-was once set, a boy or an inexperienced hand might with
-ease finish off hundreds of copies, all with equal pressure.
-By referring to the woodcut opposite, the press and its
-action will be seen and understood. The box may be
-heated with gas, and kept at a constant and regulated
-temperature the whole time of working. It can be adjusted
-to any amount of pressure, as it is regulated by the
-bed underneath.</p>
-
-<p>The next step in progress was the introduction of printing
-in different colours upon the cloth, and intermixing
-them with gold. Messrs. Hopkinson and Cope’s machines
-may be mentioned. They are made to be driven by steam,
-and will print and emboss from 500 to 600 covers per
-<span id="p151" class="xxpn">|151|</span>
-hour, and are heated by steam or gas. The inking
-apparatus is placed at the back of the press, so that
-while the workman is placing another cover, the ink
-roller, by automatic action, inks the block ready for the
-next impression. The inking or printing of the covers is
-done without heat, so, to avoid loss of time, an arrangement
-is made that the heating box can be cooled immediately
-by a stream of water passed through it.</p>
-
-<div class="figleft imwth08">
-<img src="images/i187.jpg" width="252" height="442" alt="" />
-</div>
-
-<p>Messrs. Kampe and Co. have just brought out a blocking machine,
-which they claim to be superior to any in the trade. It will block at
-the rate of 700 to 800 covers per hour. The pressure is obtained by one
-of the most powerful of mechanical appliances, and it can be adjusted
-to block either paper or leather.</p>
-
-<p>The tools required for blocking are
-called blocks or stamps. These may
-be composed of very small pieces, or
-may be of one block cut to the size of
-the book. In any case, the block
-has to be fastened to the moveable
-plate at the bottom of the heating box. To block the
-sides of a book, take a stout piece of paper and glue it
-upon a moveable plate.<a id="fnanchor-11" href="#fn-11" class="fnanchor">11</a>
-Then take the book, and having
-set the blocks upon the side in exact position, place the
-side or board upon which are placed the blocks upon the
-bed of the blocking press, leaving the volume hanging
-down in front of the press. The bed is now to be fixed,
-so that the centre of the board is exactly under and in
-the centre of the heating box. When quite true, the
-sides and back gauges are fixed by screws. Pull the lever
-so that a slight pressure upon the plate be given: release <span id="p152" class="xxpn">|152|</span>
-the press, and take out the book and examine if all be
-correct. Some of the blocks may require a small piece of
-paper as a pad, so as to increase the pressure, others to be
-shifted a little. Now glue the back of the stamps and
-replace them in their respective places. Place the whole
-under the top plate in the press, heat the box, and pull
-the lever over; and let the book remain for some little time
-to set the glue. Take out the book, examine if perfectly
-square and correct, but replace it with a soft mill-board
-under the stamps, and pull down the press. The lever
-must remain over, and the blocks be under pressure until
-the glue is hardened.</p>
-
-<div class="footnote">
-<a id="fn-11" href="#fnanchor-11" class="fnlabel">[11]</a>
-The moveable plate is also called the <i>platen</i>.</div>
-
-<p>Another method is to glue upon the plate a piece of
-thick paper and mark upon it the exact size of the book
-to be blocked. Strike upon the plate from the size the
-centre, and from that any other lines that may assist in
-placing the blocks. Arrange the blocks upon the plate so
-as to form the design; when correct, paste the blocks on
-their backs and replace them on the plate. When the
-paste adheres a little, turn the plate over and put it into
-the press. Apply heat to the box; pull the lever over, and
-when the paste is set, regulate the bed and gauges.</p>
-
-<p>When the press is properly heated, throw back the lever;
-take out the mill-board from under the stamp, and regulate
-the degree of pressure required by the side-screw under or
-over the bed. Place upon the bed the side to be stamped,
-hold it firmly against the guides with the left hand, and
-with the right draw the lever quickly to the front. This
-straightens the toggels and forces down the heating box,
-causing a sharp impression of the stamp upon the leather
-or other material. Throw or let the lever go back sharply,
-and take out the book. If the block be of such a design
-that it must not be inverted, the whole of the covers must
-be blocked on one side first, and the block turned round
-for the other side, or the design will be upside down. <span id="p153" class="xxpn">|153|</span></p>
-
-<p>Work for blocking in gold does not require so much
-body or preparation as if it were gilt by hand. Morocco
-can be worked by merely washing the whole surface with a
-little urine or weak ammonia, but it is safer to use a coat
-of glaire and water mixed in proportion of one of the
-former to three of the latter. The heat should not be
-great, and slowly worked.</p>
-
-<p>Calf should have a coat of milk and water or thin paste-water
-as a ground, and when dry another of glaire. Both
-should be laid on as evenly as possible; but if only portions
-are to be gilt, such as a centre-piece, and the rest
-dead, the centre-piece or other design should be pencilled
-in with great care. The design should be first slightly
-blocked in blind as a guide for the glairing. The edge of
-the glaire generally leaves a black or dark stain. The heat
-required for calf is greater than for morocco, and the
-working must be done more quickly.</p>
-
-<p>Cloth requires no preparation whatever, the glue beneath
-and the coloured matter on the cloth gives quite enough
-adhesiveness when the hot plate comes down for the gold
-to adhere.</p>
-
-<p>A great deal of taste may be displayed in the formation
-of patterns in this branch, but as publishers find that
-books that are tawdrily gilt are better liked by the public,
-they are, of course, very well satisfied if their books are
-well covered with gold. It would be well if those who
-have the principal charge of this work would strive, by the
-cultivation of elegant design, to correct the vitiated taste
-of the public, and seek by a study of classic ornamentation
-to please the eye and satisfy the judgment rather than
-to attract the vulgar by glitter and gaudy decoration.</p>
-
-<p>However, of late years a great advancement has been made
-with publishers’ block work; the samples given in the trade
-paper (“The Bookbinder” now “Bookmaker”) will prove
-this.</p>
-
-<div class="imctr07">
-<img src="images/i190.jpg" width="288" height="349" alt="" />
-</div>
-</div><!--mainbody-->
-
-
-<div class="chapter">
-<h2 class="nobreak">GENERAL INFORMATION.</h2>
-</div>
-
-<div class="chapter mainbody">
-<h3 id="p157">CHAPTER XXIV.
-<span class="smallerblk">
-<span class="smcap">W<span>ASHING</span></span>
-<span class="smmaj">AND</span>
-<span class="smcap">C<span>LEANING.</span></span></span></h3>
-
-<p class="first">The
-binder is often called upon to clean books; to many he
-is a sort of Aladdin, who makes old books into new; the
-consequence is that he often has placed in his hands a lot
-of dirty, miserable-looking books, and is expected to turn
-them into first-class copies. To renovate such books requires
-time and experience, and unfortunately very little is known
-among binders as a body about cleaning. Outside the
-trade, I am sorry to say, even less is known, for if a book be
-received from a binder bleached, it seems to satisfy the
-owner, and to be all that is desired. By such treatment of
-bleaching a quantity of lime is generally left in the paper,
-the goodness is destroyed, and naturally the paper must
-suffer in a short time. To test such treatment one has only
-to apply the tongue to the paper, it will at once absorb any
-moisture, as blotting paper does, and often the lime can be
-distinctly tasted.</p>
-
-<p>But books are often washed and given out to the binder
-to rebind in this state. In such a case it remains with the
-binder not to associate himself with the book; for if he
-rebinds such a book the stigma will attach itself to him
-when the period of rotting, falling to pieces, and other misfortunes
-has arrived.</p>
-
-<p>It is the practice of many who profess to wash books or
-prints to use chlorine at every washing; this is not necessary;
-often a simple bath of hot water, with perhaps the <span id="p158" class="xxpn">|158|</span>
-addition of a little alum, is all that is required. An important
-thing is to know the different kinds of stains when looking
-through the book; there may be many in one book, each from
-a different cause. In such a case it will be best to go for the
-majority, and to use the bath that will move them. Often
-the one bath is sufficient, but should there be any stains
-that are not touched, these leaves must be treated again.</p>
-
-<p>When there are stains of different character in the one
-book, such as oil stains on a few leaves, and, say, coffee
-stains in other parts, the oil must be first removed; the one
-bath will not touch both stains.</p>
-
-<p>Often when the bath is used wrongly it will fix the stain
-in the paper, and not remove it, the chemical used acting as
-a mordant.</p>
-
-<p>It is impossible for me to describe the various stains, the
-intelligence of the workman must be brought to bear on
-the subject; and I advise a small memo. book be used to jot
-down the difficulties that may occur from time to time, and
-so to act as a guide for future work; to the use of such a
-book I am enabled to lay before my readers the methods of
-working with the various receipts collected in France and
-Germany, and used by me in my business.</p>
-
-<p>To wash a book it is absolutely necessary to pull it to
-pieces. Should there be much glue on the back, and
-difficulty arise in the pulling, the book may be treated as given
-in Chapter II.: or sections of six or eight sheets may be
-left together; the hot water and soaking to which the book
-will be subjected in the washing will dissolve the glue or
-paste that may be on the back, and the sheets will readily
-part whilst in the solution. Washing must be conducted
-with great care; the handling of the wet sheets will demand
-the most delicate touch, for one can reasonably understand
-that paper left in water for twelve or more hours is likely
-to be very tender. In nearly every case when a book has
-been washed it will be found necessary to size it: the size <span id="p159" class="xxpn">|159|</span>
-gives back the body or goodness that the hot water and
-chemical has extracted. Often the virtue is extracted by
-damp, through the book being left in some damp situation,
-or by imperfect sizing the paper has first received; in such
-cases, although the book may not require washing, sizing
-will be of benefit.</p>
-
-<p><i>Requisites.</i>—The necessary articles required for washing,
-etc., are dishes. Those of porcelain are perhaps the best;
-they may be bought at any photographic material dealers.
-If much work is done, it is advantageous to have a set or
-sets of two or three sizes. In using the various dishes,
-ample room should be given to allow the hands to enter the
-water and pick up the sheets or leaves without any danger of
-tearing. Should the pans be of such a size as to be too
-heavy to move when full of water, they may be emptied
-by means of a syphon, the short end of the syphon placed,
-in preference, at one of the corners of the dish, so as not to
-touch the sheets. The dishes may also be made of wood,
-lined with zinc or lead: for very large work these must be
-used, the porcelain are not made above a certain size.</p>
-
-<p>A <i>kettle</i> for boiling water in.</p>
-
-<p>A <i>gas-stove</i>, or substitute, for heating purposes.</p>
-
-<p>A <i>peel</i>, made of wood, to hang the sheets on the lines.
-The sheets are placed on the peel, from which they are
-transferred to the lines.</p>
-
-<p><i>Chloride of lime for solution of chloride of lime.</i>—Make a
-saturated solution of chloride of lime by mixing intimately
-the lime with water in a large jar. When clear the solution
-may be used. To every gallon of hot water take from this
-stock solution two or three ounces.</p>
-
-<p><span class="smcap">N<span>OTE.</span></span>—<i>Chlorine bleaches all vegetable matter.</i></p>
-
-<p><i>Hydrochloric acid</i>, also known as muriatic acid or spirits
-of salts (poison).</p>
-
-<p><i>Oxalic acid</i> (poison).</p>
-
-<p><i>Powdered alum.</i> <span id="p160" class="xxpn">|160|</span></p>
-
-<p>A <i>hair sieve</i>. This is not absolutely necessary, as a fine
-piece of linen will answer as well.</p>
-
-<p><i>Size</i>:—</p>
-<div class="listbox"><div class="nowrap">
-<ul class="ulrecipe">
- <li><p class="precipe1st"><span class="srecipenum">(1.)</span>
- 1 quart of water. </p></li>
-
- <li><p class="pleft"><span class="fract" title="1/2"><span
- class="fup">1</span>&#8202;&#8260;&#8202;<span
- class="fdn">2</span></span> ounce of powdered alum.</p></li>
-
- <li><p class="pleft">1 ounce of isinglass.</p></li>
-
- <li><p class="pleft">1 scruple of soap.</p></li></ul></div></div>
-
-<p>Simmer the whole for about one hour, then pass through
-a fine hair sieve or piece of linen. Use this whilst warm.</p>
-
-<div class="listbox"><div class="nowrap">
-<ul class="ulrecipe">
-<li><p class="precipe1st"><span class="srecipenum">(2.)</span>
- 1 gallon of water.</p></li>
-
-<li><p class="pleft"><span class="fract" title="1/2"><span
- class="fup">1</span>&#8202;&#8260;&#8202;<span
- class="fdn">2</span></span>
- lb. of best glue.</p></li>
-
-<li><p class="pleft">2 ounces of powdered alum.</p></li>
-</ul></div></div>
-
-<p>Simmer and use as above.</p>
-
-<div class="listbox"><div class="nowrap">
-<ul class="ulrecipe">
-<li><p class="precipe1st"><span class="srecipenum">(3).</span>
- 1 quart of water.</p></li>
-
-<li><p class="pleft"><span class="mixfract" title="2-1/2">2<span
- class="fract">&#8201;<span class="fup">1</span>&#8202;&#8260;&#8202;<span
- class="fdn">2</span></span></span> ounces of isinglass.</p></li>
-<li><p class="pleft">2 drachms of alum.</p></li>
-</ul></div></div>
-
-<p>Simmer the whole for about one hour, strain as above.</p>
-
-<p>It must be remembered that a size too strong in glue or
-isinglass is liable to make the paper too brittle; again, some
-papers require a stronger size than others.</p>
-
-<p>(4). A size that may be used cold, and is recommended
-in France, to keep at hand and to use when only a single
-leaf requires sizing, such as when a name has been erased
-from a title-page, is as follows:—Boil about a quart of water
-in a saucepan. Whilst boiling, add about two oz. of shellac
-and
-<span class="fract" title="1/2"><span
-class="fup">1</span>&#8202;&#8260;&#8202;<span
-class="fdn">2</span></span>
-oz. of borax; the borax will dissolve the shellac, which
-will be held in suspension; the whole must then be passed
-through a fine hair sieve, or piece of linen, to rid it of all pieces
-or impurities. This will keep a very long time, and may be
-used over and over again.</p>
-
-<p>Great care must be exercised that not too much shellac
-is used, or the paper will be rendered transparent. <span id="p161" class="xxpn">|161|</span></p>
-
-<h4><span class="smcap">M<span>ANIPULATION.</span></span></h4>
-
-<p><i>Dust.</i>—The careful application of india-rubber or bread
-will generally take away all dust. In using india-rubber,
-hold the sheet or leaf down by the left hand, and rub gently
-away from it. If the rubber is used in a to and fro motion,
-there is great danger of the sheet doubling back and
-breaking. The bread may be used in a circular motion; and
-if a book be cleaned from dust by this means without
-pulling to pieces, all crumbs must be brushed away from
-the back very carefully before closing the book.</p>
-
-<p><i>Water stains.</i>—If the stains be from water, the application
-of boiling water and alum will take them out. This stain
-is the one most usually found in books, it may be distinguished
-from other stains by leaving a mark having a sharp
-edge.</p>
-
-<p>To take such a stain away, pull the book to pieces, strew
-on the bottom of the pan a handful of powdered alum, on
-this pour a quantity of boiling water. Immerse each section
-leaf by leaf in the liquid, and allow to remain for some
-hours. It may be found rather difficult to get the sheets
-to go under the water; and as one cannot press them under
-by hand, on account of the heat, make a substitute by
-wrapping strips of linen on the end of a piece of wood;
-keep this handy, it will be found very useful; being round
-at the end, and soft, it does not tear or go through the
-paper, as will anything sharp.</p>
-
-<p>The alum water will, after a time, become very discoloured;
-this is only the stain and other dirt extracted from
-the paper; throw this away by tipping the dish, or by the use
-of the syphon; add fresh water, either warm or cold, but preferably
-warm, to dissolve any excess of alum that may have
-soaked into the paper, and to further clear it. After a time
-the whole book may be taken out, placed between pressing
-boards, and excess of water pressed away by the laying <span id="p162" class="xxpn">|162|</span>
-press. The sections are then carefully opened, and hung
-upon lines or cords stretched across the workshop to dry.
-When dry, should the paper require it, pass the whole book,
-section by section, or leaf by leaf, through a size, press, and
-again hang up to dry. When dry, it will be ready for re-binding.
-It may happen that only a single leaf is stained;
-do <i>not cut</i> this out as is usually done, but wet a piece
-of fine string, which lay on the leaf as far in the back
-as possible; close the book and allow to remain a few
-minutes; the leaf may then be readily drawn out, the
-moisture of the string having made the paper soft where
-it was placed. It may then be cleaned, and when dry and
-pressed, replaced.</p>
-
-<p><i>Damp stains</i> may be treated as for water stains, but, as
-a rule, a book damaged by damp has little or no chance of
-being made good again. A book so damaged can only be
-strengthened by re-sizing or some artificial means. To re-size
-leaves that cannot be plunged into the solution, the sizing
-may be done with a soft brush. Place the leaf on a piece
-of glass or marble, and use the brush to the leaf as one
-would do in pasting; when sized, lift the leaf up very gently
-and lay it out on paper to dry; when dry, the reverse side
-is treated in like manner; or a thin paper of a transparent
-character may be pasted over the pages, either on one or
-both sides.</p>
-
-<p><i>Mud.</i>—Luckily a book stained with mud is not of frequent
-occurrence. Mud seems to be a combination of all that is
-objectionable, generally it is a mixture of iron and grease.
-Wash the leaf well in cold water, then in a weak solution of
-muriatic acid, after which, plunge in a weak solution of
-chloride of lime. Rinse well, dry, and size. Sometimes it
-will be necessary to wash the leaf with soap water. Make a
-soap solution, and gently go over the whole sheet with a
-soft brush, a shaving brush for instance; this may be done
-by laying the leaf on a slab of glass: use great care with <span id="p163" class="xxpn">|163|</span>
-the brush, or the surface of the paper will be abraised; after
-which, rinse well with water.</p>
-
-<p>Very often such stains, if fresh, will disappear if a fine
-jet of water be allowed to play on the parts dirtied, the
-water being ejected through a fine rose jet.</p>
-
-<p><i>Fox-marks.</i>—Books so stained may generally be cleaned
-by immersing the leaves into a weak solution of hydrochloric
-acid; one must not make the bath too strong,
-<span class="fract" title="1/2"><span
-class="fup">1</span>&#8202;&#8260;&#8202;<span
-class="fdn">2</span></span>
-
-ounce of the acid to 1 pint of water, using the bath hot, will
-be found about right. Should the marks not give to this
-treatment, plunge the book, sheet by sheet, into a weak bath
-of chlorine water. The book may be left in for some hours,
-taken out and replaced in the hydrochloric bath; after a
-half hour it may be rinsed with cold water, hung up to dry,
-and sized.</p>
-
-<p><i>Finger-marks, commonly called “thumb-marks.”</i>—These
-are the most difficult to erase, the dirt being generally of a
-greasy nature, and forced into the fibres of the paper. Make
-a jelly of white or curd soap, apply to the stain, and leave it
-on for some time, then wash away gently by means of a
-soft brush <i>while the leaf is in cold water</i>; this will, as a rule,
-take all, or nearly all, away. A slight rinsing in very
-weak acid water, again with cold water, and when dry size.</p>
-
-<p><i>Blood stains.</i>—The leaves stained must be plunged into
-cold water; when thoroughly soaked, the stains may be
-washed with a soft brush charged with soap, then well rinsed
-with water again. Dry.</p>
-
-<p>If hot water be used, the heat renders the albumen of the
-blood insoluble, and the stain will be difficult to erase.</p>
-
-<p><i>Ink stains (writing).</i>—Some inks are more difficult to
-erase than others. As a rule ink gives way if the writing
-be treated with a solution of oxalic acid, and afterwards to
-a weak solution of chloride of lime. It is perhaps better to
-immerse the whole leaf in the solution, as the lime is
-likely to bleach and leave a mark; the leaf should in any <span id="p164" class="xxpn">|164|</span>
-case be plunged in warm water afterwards, to wash away
-the lime and acid, and, after drying, it should be sized.</p>
-
-<p><i>Ink stains (marking ink, silver)</i> may be removed by
-a solution of tincture of iodine; nitrate of silver, the basis
-of the ink, is changed into iodide of silver, this is then
-treated with a solution of cyanide of potassium. It may perhaps
-be necessary to repeat this two or three times; when
-quite dissolved out, it must be well washed. As the cyanide
-is a deadly poison, one may substitute <i>hyposulphite of sodium</i>.</p>
-
-<p><i>Fat stains.</i>—(1.) Place a piece of blotting-paper on each
-side of the stain, apply a hot polishing iron very carefully
-to the paper; this will, in most cases, melt the fat, which
-will be absorbed by the blotting-paper.</p>
-
-<p>(2.) Scrape pipe clay, or French chalk, which place on
-the stain, then use the hot iron. The iron must not be
-used too hot, or the paper will be scorched; a piece of
-paper should always be placed between the iron and
-the leaf stained. The powder may be afterwards brushed
-away.</p>
-
-<p>(3.) May be removed by washing the leaf with ether,
-or benzoline, placing a pad of blotting-paper under and over
-the leaf, dabbing the benzoline or ether on the spot with a
-piece of cotton wool. This process must not be conducted
-near a flame, both are highly inflammable.</p>
-
-<p>(4.) A mixture of 1 part nitric acid, 10 parts water, is
-useful in many instances for oil stains. When erased,
-plunge the whole sheet or leaf into water, changing the
-water several times. Dry and size.</p>
-
-<p><i>Ink.</i>—When the writing-paper has been made from
-inferior rags bleached with excess of chlorine the best ink
-becomes discoloured.</p>
-
-<p><i>Reviving old writings.</i>—(1.) Brush the paper over carefully
-with a solution of sulpho-cyanide of potassium (1 in 20).
-Then, while still damp, hold over a dish containing hot
-muriatic acid; the writing will develop deep red. <span id="p165" class="xxpn">|165|</span></p>
-
-<p>(2.) Wash the writing with a very weak solution of
-hydrochloric acid, then carefully apply infusion of galls.</p>
-
-<p>(3.) For letters that have been in sea water, wash with
-warm water to remove the salt, then soak in weak solution
-of gallic acid, about 3 grains to the ounce. If this does not
-make the writing legible enough, wash thoroughly in clean
-water, and soak in a solution of protosulphate of iron, 10
-grains to the ounce.</p>
-
-<p><i>To restore writing effaced by chlorine.</i>—(1.) Expose the
-writing to the vapour of sulphuret of ammonia, or dip it
-into a solution of the sulphuret.</p>
-
-<div class="listbox"><div class="nowrap">
-<ul class="ulrecipe">
-<li><p class="precipe1st"><span class="srecipenum">(2).</span>
- Ferro-cyanide of potassium, 5 parts.</p></li>
-
-<li><p class="pleft">Water, 85 parts.</p></li>
-</ul></div></div>
-
-<p>Dissolve and immerse the paper in the fluid, then slightly
-acidulate the solution with sulphuric acid.</p>
-
-<p>Guitaud discovered that sulphuret of ammonia and prussiate
-of potash revives writing effaced by oxymuriatic acid.</p>
-
-<p><i>To restore MSS. faded by time.</i>—A moderately concentrated
-solution of tannin washed over the paper. The MS.
-to be carefully dried.</p>
-
-<p><i>To preserve drawings or manuscripts.</i>—Mix with every 100
-parts of collodion 2 parts of sterine. Place the paper in
-question on a perfectly level and even surface, such as a
-marble table or large slab of glass. Give the paper a
-thin coat of this collodion, and in about twenty minutes it
-will be protected by a transparent, brilliant, and imperishable
-envelope.</p>
-
-<p><i>To fix drawings or pencil marks.</i>—Pass the paper through
-a bath of thin size, made either from gelatine or isinglass;
-or a bath of skim milk.</p>
-
-<p><i>To render paper waterproof.</i>—Take of borax 100 parts,
-water 2,250 parts; boil, and while stirring, gradually add
-powdered shellac 300 parts. When the whole is dissolved,
-strain through muslin. This will keep a long time and
-may be bottled. <span id="p166" class="xxpn">|166|</span></p>
-
-<p><i>To render paper incombustible.</i>—Pass the paper through
-a strong solution of alum, and hang up to dry.</p>
-
-<p>The following, taken from the “English Mechanic,” June
-19th, 1874, is, I think, of great use to the professional
-restorer of old books, and will give the binder an idea of
-what has to be done sometimes:—</p>
-
-<blockquote>
-
-<div class="fsize6">“DECIPHERING BURNT DOCUMENTS.</div>
-
-<p>“M. Rathelot, an officer of the Paris Law Courts, has
-succeeded in an ingenious manner in transcribing a number
-of the registers which were burnt during the Commune.
-These registers had remained so long in the fire that each
-of them seemed to have become a homogeneous block,
-more like a slab of charcoal than anything else; and when
-an attempt was made to detach a leaf it fell away into
-powder.</p>
-
-<p>“He first cut off the back of the book; he then steeped
-the book in water, and afterwards exposed it, all wet as it
-was, to the heat at the mouth of a warming pipe (<i>calorifère</i>).
-The water as it evaporated raised the leaves one by
-one, and they could be separated, but with extraordinary
-precaution. Each sheet was then deciphered and transcribed.
-The appearance of the pages was very curious—the
-writing appeared of a dull black, while the paper was
-of a lustrous black, something like velvet decorations on a
-black satin ground, so that the entries were not difficult to
-decipher.”</p></blockquote>
-
-<p><i>Insects.</i>—A library has generally three kinds of enemies
-to be guarded against, viz.: insects, dampness, and rats or
-mice.<a id="fnanchor-12" href="#fn-12" class="fnanchor">12</a></p>
-
-<div class="footnote">
-<a id="fn-12" href="#fnanchor-12" class="fnlabel">[12]</a>
-Blades, in his “Enemies of Books,” includes bookbinders.</div>
-
-<p>Everyone is supposed to know how to guard against
-dampness and rats or mice. Several means are known
-how to keep insects at a distance. The first consists in the <span id="p167" class="xxpn">|167|</span>
-proper choice of woods for the book-case: these are cedar,
-cypress, mahogany, sandal, or very dry and sound oak.
-All these are compact or of very strong aroma, and are such
-as insects do not like to pierce. Another source of danger
-is the use of chemicals in the binding of books.</p>
-
-<p>The insects that make ravages in books multiply very
-rapidly, and very few libraries are free from them. The
-microscopic eggs that are left by the female give birth to
-a small grub, which pierces the leather boards and book
-for its nourishment, and to get to the air. These are
-familiarly called bookworms, but by the scientific world
-they are known as <i>hypothenemus eruditus</i> which eats the
-leather, and <i>anobium striatum</i> which bores through the
-paper. The larvæ of the <i>dermestes</i> also attack wood as well
-as books.</p>
-
-<p>An instance of how these insects were once managed:—M.
-Fabbroni, Director of the Museum of Florence, who
-possessed a magnificent library, found, after a year’s absence,
-in the wood and furniture, great havoc made by
-insects, and his books spoilt by the larvæ, so much so that
-it gave a fair promise of the total destruction of the whole,
-unless he could find a method to exterminate the pests.
-He first painted the holes over with wax, but shortly after
-he found new worms which killed every particle of wood
-they touched. He plunged the ordinary wood in arsenic
-and oil, and other portions he anointed once every month
-with olive oil, in which he had boiled arsenic, until the
-colour and odour announced that the solution was perfect.
-The number then diminished. But a similar method could
-not be employed for books. M. Fabbroni resolved to
-anoint the back and sides with aquafortis; in an instant
-the dermestes abandoned their habitation, and wandered to
-the wood; the oil having evaporized they commenced to
-develop again, and again began their attacks on the newly
-bound books. He saw amongst the many spoilt books one <span id="p168" class="xxpn">|168|</span>
-remaining intact, and on inquiry found that turpentine
-had been used in the paste. He then ordered that for the
-future all paste should be mixed with some such poison.
-This precaution had the <i>beneficial</i> result.</p>
-
-<p>It is not only in Europe that these worms make such
-ravages in libraries. In the warmer climes they appear to
-be even more dangerous. And it is a fact that certain
-libraries are almost a mass of dust, by the books (and
-valuable ones) falling to pieces. Nearly all authors on
-this subject agree that the paste which is used is the first
-cause, or a great help, to all the waste committed by these
-dangerous <i>bibliophobes</i>. Then something must be put into
-the paste which will resist all these insects and keep them
-at a distance. The most suitable for this is a mineral salt,
-such as alum or vitriol; vegetable salts, such as potash,
-dissolve readily in a moist air and make marks or spots in
-the books. From experience, it is most desirable to banish
-everything that may encourage worms, and as it is very
-rare that persons who occupy themselves with books are
-not in want of paste, for some repairs or other, either to
-the bindings or to the books, subjoined is a method of
-preserving the paste and keeping it moist and free from
-insects.</p>
-
-<p>Alum, as employed by binders, is not an absolute preservative,
-although it contributes greatly to the preservation
-of the leather. Resin as used by shoemakers is
-preferable, and in effect works in the same way; but oil
-of turpentine has a greater effect. Anything of strong
-odour, like aniseed, bergamot, mixed perfectly but in small
-quantities, preserves the paste during an unlimited time.</p>
-
-<p>Or, make the paste with flour, throw in a small quantity
-of ground sugar and a portion of <i>corrosive sublimate</i>. The
-sugar makes it pliant and prevents the formation of crust
-on the top. The sublimate prevents insects and fermentation.
-This salt does not prevent moisture, but as two or <span id="p169" class="xxpn">|169|</span>
-three drops of oil are sufficient to prevent it, all causes of
-destruction are thus guarded against. This paste exposed
-to the air hardens without decomposition. If it is kept in
-an air-tight pot or jar, it will be always ready, without any
-other preparation.</p>
-
-<p>Books placed in a library should be thoroughly dusted
-two or three times a year, not only to keep them in all
-their freshness, but also to prevent any development of
-insects and to examine for signs of dampness. The interior
-of a book also asks that care, which unfortunately is
-neglected very often. After having taken a book from
-the shelves it should not be opened before ascertaining if
-the top edge be dusty. If it is a book that has had the
-edge cut, the dust should be removed with a soft duster,
-or simply blown off. If it is a book which has uncut
-edges it should be brushed with rather a hard brush.
-By this method in opening the volume one need not be
-afraid that the dirt will enter between the leaves and soil
-them.</p>
-
-<p><i>Glue.</i>—The best glue may be known by its paleness, but
-French glue is now manufactured of inferior quality, made
-pale by the use of acid, but which on boiling turns almost
-black. Good glue immersed in water for a day will not
-dissolve, but swell, while inferior will partly or wholly do
-so, according to quality.</p>
-
-<p>In preparing glue, a few cakes should be broken into
-pieces and placed in water for twelve hours, then boiled and
-turned out into a pan to get cold; when cold, pieces may
-be cut out and placed in the glue-pot as wanted. This
-naturally refers to when large quantities are used, but
-small portions may be boiled in the glue-pot after soaking
-in water.</p>
-
-<p>Glue loses a great deal of its strength by frequent re-melting.
-It should always be used as hot as possible.</p>
-
-<p><i>Rice glue or paste.</i>—By mixing rice flour intimately with <span id="p170" class="xxpn">|170|</span>
-cold water, and then gently boiling it, a beautifully white
-and strong paste is made. It dries almost transparent, and
-is a most useful paste for fine or delicate work.</p>
-
-<p><i>Paste.</i>—For ordinary purposes paste consists simply of
-flour made into a thin cream with water and boiled.
-It then forms a stiffish mass, which may be diluted
-with water so as to bring it to any required condition.
-It is sometimes of advantage to add a little common
-glue to the paste. Where paste is kept for a long time,
-various ingredients may be added to prevent souring
-and moulding. A few cloves form perhaps the best preservative
-for small quantities; on the larger scale carbolic
-acid may be used; salicylic acid is also a good preservative,
-a few grains added to the freshly prepared paste will
-entirely prevent souring and moulding.</p>
-
-<p>Paste is now made on a commercial scale by various
-Paste Cos., who send it out to all parts. The paste is
-exceedingly good, and keeps a long time.</p>
-
-<p><i>Photographs.</i>—A few words respecting the treatment of
-photographs may not be out of place here.</p>
-
-<p>To remove a photograph from an old or dirty mount, the
-surplus of the mount should be cut away; it should then
-be put into a plate of cold water and be allowed to float off.
-A little warm water will assist in its coming away more
-easily, but should it not do so, the photograph has probably
-been mounted with a solution of india-rubber, and in that
-case, by holding it near the fire, the rubber will soften, and
-the print may easily be peeled off.</p>
-
-<p>Very hot water is likely to set up a reaction if the prints
-were not well washed by the photographer when first sent
-out.</p>
-
-<p>In mounting photographs, white boards should, as a rule,
-be avoided, because the colour of the boards is more pure
-than the lights of the photograph, and deaden the effect.
-A toned or tinted board is more suitable. <span id="p171" class="xxpn">|171|</span></p>
-
-<p>They should be damped, and evenly trimmed and pasted
-all over with thin best glue or starch, and well rubbed
-down with a piece of clean paper over the print. If any of
-the glue or starch oozes out from the sides, it should be
-wiped off with a clean damp sponge. As photographs lose
-their gloss in mounting, they must be rolled afterwards in
-order to restore it. A special machine is used for this.</p>
-
-<p>But it may be wished to introduce the silver print without
-mounting on a board. To do so, and to keep the print
-straight, paste a very thin paper on the back, stretching
-the paper well; this will counteract the pulling power
-albumen has, and the print will, if this be done properly,
-remain perfectly straight and not curl up.</p>
-
-<p><i>Albumen.</i>—Desiccated egg-albumen is now well known
-in the market in the form of powder. Three teaspoonfuls of
-cold water added to every
-<span class="fract" title="1/2"><span
-class="fup">1</span>&#8202;&#8260;&#8202;<span
-class="fdn">2</span></span>
-teaspoonful of powder represents
-the normal consistency of egg-albumen.<a id="fnanchor-13" href="#fn-13" class="fnanchor">13</a></p>
-
-<div class="footnote">
-<a id="fn-13" href="#fnanchor-13" class="fnlabel">[13]</a>
-See Chapter on Finishing—“Albumen.”</div>
-
-<p>The manufacture of egg-albumen in the neighbourhood
-of Moscow is carried on in the houses of the country people.
-The albumen however is generally roughly prepared and of
-bad appearance, and often spoils. But egg-albumen is also
-produced on a manufacturing scale in the neighbourhood
-of Korotscha, the largest establishment there numbering
-sixty to seventy workwomen, using about eight million
-eggs yearly, other establishments using less in proportion.</p>
-
-<p>Albumen is also largely manufactured from blood; 5
-oxen or 20 sheep or 34 calves are said to yield the same
-quantity of dry albumen, viz., 2 lbs. In producing blood-albumen
-for commerce, the objects borne in mind are the
-attainment of a substance whose solution is free from
-colour, possesses coagulation, and which is cheap.</p>
-
-<p><i>To prevent tools, machines, etc., from rusting.</i>—Boiled
-linseed oil, if allowed to dry on polished tools, will keep them <span id="p172" class="xxpn">|172|</span>
-from rusting; the oil forms a coat over them which excludes
-contact from air.</p>
-
-<p>Dissolve
-<span class="fract" title="1/2"><span
-class="fup">1</span>&#8202;&#8260;&#8202;<span
-class="fdn">2</span></span>
-oz. of camphor in 1 lb. of lard; take off the
-scum, and mix as much blacklead as will give the mixture
-an iron colour. All kinds of machinery, iron or steel, if
-rubbed over with this mixture, and left on for 24 hours, and
-then rubbed with a linen cloth, will keep clean for months.</p>
-
-<p><i>To clean silver mountings.</i>—To restore the colour of tarnished
-silver clasps, etc., boil the goods, either silver or
-plated, in enough water to cover them. For every pint of
-water put into it 2 ounces of carbonate of potash and a
-
-<span class="fract" title="1/4"><span
-class="fup">1</span>&#8202;&#8260;&#8202;<span
-class="fdn">4</span></span>
-lb. of whiting. After boiling them for about a quarter of
-an hour, clean with a leather, brush, and whiting. They
-will then look as good as new.</p>
-
-<p><i>To clean sponges.</i>—Soak the sponge well in diluted
-muriatic acid for twelve hours. Wash well, then immerse
-in a solution of hyposulphate of soda to which a few drops
-of muriatic acid has been added a few moments before.
-When sufficiently bleached, wash well, and dry in a current
-of air.</p>
-</div><!--mainbody-->
-
-<div class="chapter mainbody" id="p173">
-<h2 class="nobreak">
-GLOSSARY<br />
-<span class="fsize7">OF THE</span><br />
-<span class="fsize6">TECHNICAL TERMS
- AND IMPLEMENTS USED IN BOOKBINDING.</span></h2>
-
-<p><span class="smcap">A<span>LL-ALONG.</span></span>—When a volume
-is sewed, and the thread
-passes from kettle-stitch to
-kettle-stitch, or from end to
-end in each sheet, it is said
-to be sewed “all-along.”</p>
-
-<p><span class="smcap">A<span>RMING</span></span>
-<span class="smcap">P<span>RESS.</span></span>—A species of
-blocking press used by hand;
-so called from the use of it to
-impress armorial bearings on
-the sides of books.</p>
-
-<p><span class="smcap">A<span>STERISK.</span></span>—A star used by
-printers at the bottom of the
-pages meant to supply the
-places of those cancelled (<i>see
-also</i>
-<span class="smcap">C<span>ANCEL</span>).</span></p>
-
-<p class="padtopc"><span class="smcap">B<span>ACKING</span></span>
-<span class="smmaj">BOARDS.</span>—Used when
-backing and for forming the
-groove. They are made of
-very hard wood, and sometimes
-faced with iron; are
-thicker on the edge intended
-to form the groove than upon
-the edge that goes towards
-the foredge, so that the whole
-power of the lying press may
-be directed towards the back.</p>
-
-<p><span class="smcap">B<span>ACKING</span></span>
-<span class="smmaj">HAMMER.</span>—The hammer
-used for backing and
-rounding; it has a broad flat
-face similar to a shoemaker’s
-hammer.</p>
-
-<p><span class="smcap">B<span>ACKING</span></span>
-<span class="smmaj">MACHINE</span>.—A machine
-for backing cheap work.</p>
-
-<p><span class="smcap">B<span>ANDS.</span></span>—The cord whereon the
-sheets of a volume are sewn.
-When a book is sewn “flexible”
-the bands appear upon
-the back. When the back is
-sewn so as to imbed the cord
-in the back, the appearance
-of raised bands is produced
-by gluing narrow strips of
-leather across the back before
-the volume is covered.</p>
-
-<p><span class="smcap">B<span>AND</span></span>
-<span class="smmaj">DRIVER.</span>—A blunt chisel
-used in forwarding, to correct
-any irregularities in the bands
-of flexible backs.</p>
-
-<p><span class="smcap">B<span>AND</span></span>
-<span class="smmaj">NIPPERS.</span>—Flat pincers
-used for nipping up the band
-in covering.</p>
-
-<p><span class="smcap">B<span>EADING.</span></span>—The small twist
-formed when twisting the silk
-or cotton in head-banding.</p>
-
-<p><span class="smcap">B<span>EATING</span></span>
-<span class="smmaj">HAMMER.</span>—The heavy
-short-handled hammer used
-in beating (generally about
-10 lbs.).</p>
-
-<p><span class="smcap">B<span>EATING</span></span>
-<span class="smmaj">STONE.</span>—The bed on
-which books are beaten.</p>
-
-<p><span class="smcap">B<span>EVELLED</span></span>
-<span class="smmaj">BOARDS.</span>—Very
-heavy boards with bevelled
-edges; used for antique work.</p>
-
-<p><span class="smcap">B<span>LEED.</span></span>—When a book has been
-cut down into the print it is
-said to have been bled.</p>
-
-<p><span class="smcap">B<span>LIND-TOOLED.</span></span>—When a book
-has been impressed with tools <span id="p174" class="xxpn">|174|</span>
-without being gilt, it is said
-to be “blind-tooled” or “antique.”</p>
-
-<p><span class="smcap">B<span>LOCKING</span></span>
-<span class="smmaj">PRESS.</span>—Another and
-more general term for the
-arming press; one of the chief
-implements used in cloth
-work. Used for finishing the
-side of a cover by a mechanical
-process.</p>
-
-<p><span class="smcap">B<span>LOCKS</span></span>
-<span class="smmaj">OR</span>
-<span class="smmaj">BLOCKING</span>
-<span class="smmaj">TOOLS</span>.—An
-engraved stamp used for
-finishing by means of the
-blocking press.</p>
-
-<p><span class="smcap">B<span>OARDS.</span></span>—Are of various kinds,
-each denoting the work it is
-intended for, such as pressing
-boards, backing, cutting,
-burnishing, gilding, etc.</p>
-
-<p><span class="smcap">B<span>ODKIN.</span></span>—A strong and short
-point of steel fixed in a wooden
-handle, for making the holes
-through the mill-boards. The
-slips upon the back of the
-book are laced through the
-holes for attaching the mill-board
-to the book.</p>
-
-<p><span class="smcap">B<span>OLE.</span></span>—A red earthy mineral,
-resembling clay in character,
-used in the preparation for
-gilding edges.</p>
-
-<p><span class="smcap">B<span>OLT.</span></span>—The fold in the head
-and foredge of the sheets.
-The iron bar with a screw
-and nut which secures the
-knife to the plough.</p>
-
-<p><span class="smcap">B<span>OSSES.</span></span>—Brass or other metal
-ornamentations fastened upon
-the boards of books; for ornament
-or preservation.</p>
-
-<p><span class="smcap">B<span>ROKEN</span></span>
-<span class="smmaj">OVER.</span>—When plates
-are turned over or folded a
-short distance from the back
-edge, before they are placed
-in the volume, so as to facilitate
-their being turned easily
-or laid flat, they are said to
-be broken over. When a leaf
-has been turned down the
-paper is broken.</p>
-
-<p><span class="smcap">B<span>URNISH.</span></span>—The gloss produced
-by the application of the
-burnisher to the edges.</p>
-
-<p><span class="smcap">B<span>URNISHERS.</span></span>—Pieces of agate
-or bloodstone affixed to convenient
-handles.</p>
-
-<p class="padtopc"><span class="smcap">C<span>ANCELS.</span></span>—Leaves containing
-errors which are to be cut out
-and replaced by corrected
-pages (<i>see</i>
-<span class="smcap">A<span>STERISK</span></span>).</p>
-
-<p><span class="smcap">C<span>AP.</span></span>—The envelope of paper
-used to protect the edges
-while the volume is being
-covered and finished.</p>
-
-<p><span class="smcap">C<span>ASE-WORK.</span></span>—When the cover
-is made independent of the
-book, the book being afterwards
-fastened into it. Refers
-principally to cloth and
-bible work.</p>
-
-<p><span class="smcap">C<span>ATCH-WORD.</span></span>—A word used
-and seen in early printed
-books at the bottom of the
-page, which word is the first
-on the following page. To
-denote the first and last word
-in an encyclopædia or other
-book of reference.</p>
-
-<p><span class="smcap">C<span>ENTRE</span></span>
-<span class="smmaj">TOOLS.</span>—Independent
-tools cut for the ornamentation
-of the centre of panels
-and sides.</p>
-
-<p><span class="smcap">C<span>LASP.</span></span>—The hook or catch
-used for fastening the boards
-together when the book is
-closed; used formerly on almost
-every book.</p>
-
-<p><span class="smcap">C<span>LEARING-OUT.</span></span>—Removing the
-waste-paper, and paring away
-any superfluous leather upon
-the inside, preparatory to
-pasting down the end-papers.</p>
-
-<p><span class="smcap">C<span>LOTH.</span></span>—Prepared calico, sometimes
-embossed with different
-patterns, used for cloth bindings.</p>
-
-<p><span class="smcap">C<span>OLLATING.</span></span>—Examining the
-sheets by the signatures after
-the volume has been folded, <span id="p175" class="xxpn">|175|</span>
-to ascertain if they be in correct
-sequence.</p>
-
-<p><span class="smcap">C<span>OMBS.</span></span>—Instruments with wire
-teeth used in marbling.</p>
-
-<p><span class="smcap">C<span>ORNERS.</span></span>—The triangular tools
-used in finishing backs and
-sides. The leather or material
-covering the corners of
-half-bound books. The metal
-ornaments used usually in
-keeping with clasps.</p>
-
-<p><span class="smcap">C<span>ROPPED.</span></span>—When a book has
-been cut down too much it is
-said to be cropped.</p>
-
-<p><span class="smcap">C<span>UT</span></span>
-<span class="smmaj">DOWN.</span>—When a plough-knife
-dips downward out of
-the level it is said to “cut
-down”; on the contrary, if
-the point is out of the level
-upwards it is said to “cut
-up.”</p>
-
-<p><span class="smcap">C<span>UT</span></span>
-<span class="smmaj">UP.</span>—Same as the last explanation.</p>
-
-<p class="padtopc"><span class="smcap">D<span>IVINITY</span></span>
-<span class="smmaj">CALF.</span>—A dark brown
-calf used generally for religious
-books, and worked
-in blind or antique.</p>
-
-<p><span class="smcap">D<span>ENTELLE.</span></span>—As the word expresses.
-A style resembling
-lace work, finished with very
-finely cut tools.</p>
-
-<p><span class="smcap">D<span>OUBLED.</span></span>—When in working
-a tool a second time it is inadvertently
-not placed exactly
-in the previous impression,
-it is said to be “doubled.”</p>
-
-<p class="padtopc"><span class="smcap">E<span>DGE-ROLLED.</span></span>—When the
-edges of the boards are rolled,
-either in blind or in gold.</p>
-
-<p><span class="smcap">E<span>ND-PAPERS.</span></span>—The papers
-placed at each end of the
-volume and pasted down upon
-the boards.</p>
-
-<p class="padtopc"><span class="smcap">F<span>ILLET.</span></span>—A cylindrical tool
-used in finishing, upon which
-a line or lines are engraved.</p>
-
-<p><span class="smcap">F<span>INISHING.</span></span>—The department
-that receives the volumes
-after they are put in leather.
-The ornaments placed on the
-volume. The person who
-works at this branch is termed
-a finisher.</p>
-
-<p><span class="smcap">F<span>INISHING</span></span>
-<span class="smmaj">PRESS.</span>—A small
-press, used for holding books
-when being finished.</p>
-
-<p><span class="smcap">F<span>INISHING</span></span>
-<span class="smmaj">STOVE.</span>—A heating
-box or fire used for warming
-the various tools used in
-finishing.</p>
-
-<p><span class="smcap">F<span>LEXIBLE.</span></span>—When a book is
-sewn on raised bands, and the
-thread is passed entirely round
-each band. It is the strongest
-sewing done at the present
-time. This term is often misused
-for limp work, because
-the boards are limp or flexible.</p>
-
-<p><span class="smcap">F<span>OLDER.</span></span>—A flat piece of bone
-or ivory used in folding sheets,
-and in many other manipulations;
-called also a folding
-stick. A female engaged in
-folding sheets.</p>
-
-<p><span class="smcap">F<span>OLDING</span></span>
-<span class="smmaj">MACHINE.</span>—A machine
-invented to fold sheets,
-generally used in newspaper
-offices.</p>
-
-<p><span class="smcap">F<span>OREDGE.</span></span>—The front edge of a
-book.</p>
-
-<p><span class="smcap">F<span>ORWARDING.</span></span>—The branch
-that takes the books after
-they are sewed, and advances
-them until they are put into
-leather ready for the finisher.
-The one who works at this
-branch is called a forwarder.</p>
-
-<p><span class="smcap">F<span>ULL-BOUND.</span></span>—When the sides
-and back of a volume are
-covered with leather it is said
-to be full-bound.</p>
-
-<p class="padtopc"><span class="smcap">G<span>ATHERING.</span></span>—Collecting the
-various sheets from piles when
-folded, so that the <span id="p176" class="xxpn">|176|</span> arrangement follows the sequence of
-the signature.</p>
-
-<p><span class="smcap">G<span>ILT.</span></span>—Applies to both the
-edges and to the ornaments in
-finishing.</p>
-
-<p><span class="smcap">G<span>LAIRE.</span></span>—The white of eggs
-beaten up.</p>
-
-<p><span class="smcap">G<span>OLD</span></span>
-<span class="smmaj">CUSHION.</span>—A cushion for
-cutting the gold leaf on.</p>
-
-<p><span class="smcap">G<span>OLD</span></span>
-<span class="smmaj">KNIFE.</span>—The knife for
-cutting the gold; long and
-quite straight.</p>
-
-<p><span class="smcap">G<span>OUGE.</span></span>—A tool used in finishing;
-it is a line forming the
-segment of a circle.</p>
-
-<p><span class="smcap">G<span>RAINING</span></span>
-<span class="smmaj">BOARDS.</span>—Boards
-used for producing a grain on
-calf and russia books. Grain
-of various form is cut in wood,
-and by pressure the leather
-upon which the boards are
-laid receives the impression.</p>
-
-<p><span class="smcap">G<span>RAINING</span></span>
-<span class="smmaj">PLATES.</span>—Metal
-plates same as above.</p>
-
-<p><span class="smcap">G<span>UARDS.</span></span>—Strips of paper inserted
-in the backs or books
-intended for the insertion of
-plates, to prevent the book
-being uneven when filled;
-also the strips upon which
-plates are mounted.</p>
-
-<p><span class="smcap">G<span>UIDES.</span></span>—The groove in which
-the plough moves upon the
-face of the cutting press.</p>
-
-<p><span class="smcap">G<span>UILLOTINE.</span></span>—A machine used
-for cutting paper.</p>
-
-<p><span class="smcap">G<span>UINEA-EDGE.</span></span>—A roll with a
-pattern similar to the edge of
-an old guinea.</p>
-
-<p class="padtopc"><span class="smcap">H<span>ALF-BOUND.</span></span>—When a volume
-is covered with leather upon
-the back and corners; and the
-sides with paper or cloth.</p>
-
-<p><span class="smcap">H<span>AND-LETTERS.</span></span>—Letters fixed
-in handles; used singly for
-lettering.</p>
-
-<p><span class="smcap">H<span>EAD</span></span>
-<span class="smmaj">AND</span>
-<span class="smmaj">TAIL.</span>—The top and
-bottom of a book.</p>
-
-<p><span class="smcap">H<span>EAD-BAND.</span></span>—The silk or cotton
-ornament worked at the
-head and tail of a volume, as
-a finish and to make the back
-even with the boards.</p>
-
-<p class="padtopc"><span class="smcap">I<span>MPERFECTIONS.</span></span>—Sheets rejected
-on account of being in
-some respect imperfect, and
-for which others are required
-to make the work complete.</p>
-
-<p><span class="smcap">I<span>N</span></span>
-<span class="smmaj">BOARDS.</span>—When a volume is
-cut after the mill-boards are
-attached, it is said to be cut
-in boards.</p>
-
-<p><span class="smcap">I<span>NSET.</span></span>—The inner pages of a
-sheet, cut off in folding certain
-sizes; to be inset in the
-centre of the sheet.</p>
-
-<p class="padtopc"><span class="smcap">J<span>OINTS.</span></span>—The projection formed
-in backing to admit the mill-boards.
-The leather or cloth
-placed from the projection on
-to the mill-board is called a
-joint.</p>
-
-<p class="padtopc"><span class="smcap">K<span>ETTLE-STITCH.</span></span>—The chain-stitch
-which the sewer makes
-at the head and tail of a book.
-A corruption of either chain-stitch,
-or catch-up stitch.</p>
-
-<p><span class="smcap">K<span>EYS.</span></span>—Little metal instruments
-used to secure the
-bands to the sewing press.</p>
-
-<p><span class="smcap">K<span>NOCKING-DOWN</span></span>
-<span class="smmaj">IRON.</span>—A
-piece of iron having a small
-leg in the centre by which it
-is secured in the lying press.
-When fastened there it is
-used to pound or beat with a
-hammer the slips into the
-boards after they are laced in,
-so that they do not show
-when the book is covered.</p>
-
-<p class="padtopc"><span class="smcap">L<span>ACED</span></span>
-<span class="smmaj">IN.</span>—When the mill-boards
-are attached to the
-volume by means of the slips
-being passed through holes <span id="p177" class="xxpn">|177|</span>
-made in the boards, they are
-said to be laced in or drawn
-in.</p>
-
-<p><span class="smcap">L<span>AW</span></span>
-<span class="smmaj">CALF.</span>—Law books are
-usually bound in calf left
-wholly uncoloured, hence the
-term for white calf.</p>
-
-<p><span class="smcap">L<span>ETTERING</span></span>
-<span class="smmaj">BLOCK.</span>—A piece of
-wood, the upper surface being
-slightly rounded, upon which
-side labels are lettered.</p>
-
-<p><span class="smcap">L<span>ETTERING</span></span>
-<span class="smmaj">BOX.</span>—A wooden
-box in which hand-letters are
-kept (<i>see</i>
-<span class="smcap">H<span>AND-LETTERS</span></span>).</p>
-
-<p><span class="smcap">L<span>INING-PAPERS.</span></span>—The coloured
-or marbled paper at each end
-of the volume. Called also
-end-papers.</p>
-
-<p class="padtopc"><span class="smcap">M<span>ARBLER.</span></span>—One who marbles
-the edges of books and paper.</p>
-
-<p><span class="smcap">M<span>ARBLING.</span></span>—The art of floating
-various colours on a size, from
-which it is transferred to
-paper or book edges. To
-stain or vein leather like
-marble.</p>
-
-<p><span class="smcap">M<span>ARKING-UP.</span></span>—When the back
-of a book is being marked for
-flexible sewing.</p>
-
-<p><span class="smcap">M<span>ILL-BOARD.</span></span>—The boards that
-are attached to the book.
-Various kinds are in use now;
-the most common is made of
-straw, the best of old naval
-cordage.</p>
-
-<p><span class="smcap">M<span>ITRED.</span></span>—When the lines in
-finishing meet each other at
-right angles without overrunning
-each other, they are said
-to be mitred. Joined at an
-angle of 45°.</p>
-
-<p><span class="smcap">M<span>UTTON-THUMPING.</span></span>—A term
-used in bygone days, indicating
-the common binding
-of school books in sheep-skin.</p>
-
-<p><span class="smcap">M<span>UTTON-THUMPER.</span></span>—An old
-term indicating a bad workman.</p>
-
-<p class="padtopc"><span class="smcap">O<span>FF-SET.</span></span>—The impression made
-by the print against the opposite
-page, when a book has
-been rolled or beaten before
-the ink be dried. (<i>Also</i>
-<span class="smcap">S<span>ET-OFF.</span></span>)</p>
-
-<p><span class="smcap">O<span>UT</span></span>
-<span class="smmaj">OF</span>
-<span class="smmaj">BOARDS.</span>—When a
-volume is cut before the
-boards are affixed, it is done
-out of boards. Nearly the
-whole of common work is
-done out of boards.</p>
-
-<p><span class="smcap">O<span>UT</span></span>
-<span class="smmaj">OF</span>
-<span class="smmaj">TRUTH.</span>—When a book
-is not cut square.</p>
-
-<p><span class="smcap">O<span>VERCASTING.</span></span>—An operation
-in sewing, when the work
-consists of single leaves or
-plates. Over-sewing.</p>
-
-<p class="padtopc"><span class="smcap">P<span>ALLET.</span></span>—The tools used for
-finishing across backs.</p>
-
-<p><span class="smcap">P<span>ANEL.</span></span>—The space between
-the bands.</p>
-
-<p><span class="smcap">P<span>APERING-UP.</span></span>—Covering the
-edges after they are gilt, to
-protect them while the volume
-is being covered and finished
-(<i>see</i>
-<span class="smcap">C<span>AP</span></span>).</p>
-
-<p><span class="smcap">P<span>ARING.</span></span>—Reducing the edges
-of the leather by forming a
-gradual slope.</p>
-
-<p><span class="smcap">P<span>ARING</span></span>
-<span class="smcap">K<span>NIFE.</span></span>—The knife used
-for paring.</p>
-
-<p><span class="smcap">P<span>ASTE-WASH.</span></span>—Paste diluted
-with water.</p>
-
-<p><span class="smcap">P<span>EEL.</span></span>—A wooden instrument
-used to hang up damp sheets
-for drying.</p>
-
-<p><span class="smcap">P<span>ENCIL.</span></span>—A small brush of
-camel’s hair used for glairing.</p>
-
-<p><span class="smcap">P<span>IECED.</span></span>—Any space that has
-another leather upon it, as a
-lettering piece.</p>
-
-<p><span class="smcap">P<span>LOUGH.</span></span>—The instrument used
-for cutting the edges when
-the book is in the lying
-press.</p>
-
-<p><span class="smcap">P<span>LOUGH</span></span>
-<span class="smmaj">KNIFE.</span>—The knife attached
-to the plough. <span id="p178" class="xxpn">|178|</span></p>
-
-<p><span class="smcap">P<span>OLISHER.</span></span>—A steel instrument
-for giving a gloss to the leather
-after finishing.</p>
-
-<p><span class="smcap">P<span>RESS.</span></span>—Of various kinds, viz.:
-lying, cutting, standing,
-blocking, finishing, etc.</p>
-
-<p><span class="smcap">P<span>RESS</span></span>
-<span class="smmaj">PIN.</span>—A bar of iron used
-as a lever for standing presses;
-a smaller kind for lying
-presses.</p>
-
-<p><span class="smcap">P<span>RESSING</span></span>
-<span class="smmaj">BLOCKS.</span>—Blocks of
-wood used for filling up a
-standing press when there are
-not enough books.</p>
-
-<p><span class="smcap">P<span>RESSING</span></span>
-<span class="smmaj">BOARDS.</span>—Boards
-used for pressing books between.</p>
-
-<p><span class="smcap">P<span>ROOF.</span></span>—The rough edges of
-certain leaves left uncut by
-the plough, are “proof” that
-the book is not cut down (<i>see
-also</i>
-<span class="smcap">W<span>ITNESS</span></span>).</p>
-
-<p class="padtopc"><span class="smcap">R<span>ASPED.</span></span>—The sharp edge taken
-off mill-boards.</p>
-
-<p><span class="smcap">R<span>EGISTER.</span></span>—The ribbon placed
-in a volume for a marker. A
-list of signatures attached to
-the end of early-printed books
-for the use of the binder. In
-printing—when on looking
-through a leaf the print on
-the recto and verso is not exactly
-opposite, it is said to be
-<i>out of register</i>.</p>
-
-<p><span class="smcap">R<span>OLLING</span></span>
-<span class="smmaj">MACHINE.</span>—A machine
-introduced to save the
-labour of beating, the sheets
-being passed between two
-revolving cylinders.</p>
-
-<p><span class="smcap">R<span>OLLS.</span></span>—Cylindrical ornamental
-tools used in finishing.</p>
-
-<p><span class="smcap">R<span>UNNER.</span></span>—The front board
-used in cutting edges.</p>
-
-<p><span class="smcap">R<span>UN-UP.</span></span>—When the back has
-a fillet ran from head to tail
-without being mitred at each
-band, it is said to be “run-up.”</p>
-
-<p class="padtopc"><span class="smcap">S<span>AWING-IN.</span></span>—When the back is
-sawn for the reception of the
-cord in sewing.</p>
-
-<p><span class="smcap">S<span>AWING</span></span>
-<span class="smmaj">MACHINE.</span>—A machine
-for sawing the backs of books
-quickly.</p>
-
-<p><span class="smcap">S<span>ETTING</span></span>
-<span class="smmaj">THE</span>
-<span class="smmaj">HEAD-BAND.</span>—Adjusting
-the leather in
-covering so as to form a kind
-of cap to the head-band.</p>
-
-<p><span class="smcap">S<span>EWER.</span></span>—The person who sews
-the sheets together on the
-sewing press—generally a female.</p>
-
-<p><span class="smcap">S<span>EWING</span></span>
-<span class="smmaj">MACHINE.</span>—A recent
-invention for the sewing of
-books with wire and thread.</p>
-
-<p><span class="smcap">S<span>HAVING</span></span>
-<span class="smmaj">TUB.</span>—The paper cut
-from the edges of a volume
-are called shavings. The receptacle
-into which they fall
-while the forwarder is cutting
-is termed the shaving tub.</p>
-
-<p><span class="smcap">S<span>HEARS.</span></span>—Large scissors used
-for cutting up mill-boards.</p>
-
-<p><span class="smcap">S<span>HEEP.</span></span>—An old term for all
-common work covered in
-sheep-skin.</p>
-
-<p><span class="smcap">S<span>IGNATURE.</span></span>—The letter or
-figure under the footline of
-the first page of each sheet, to
-indicate the order of arrangement
-in the volume.</p>
-
-<p><span class="smcap">S<span>IZE.</span></span>—A preparation used in
-finishing and gilding, formerly
-made with vellum, but can
-now be bought ready for use.
-When used on paper a thin
-solution of glue.</p>
-
-<p><span class="smcap">S<span>LIPS.</span></span>—The pieces of twine that
-project beyond the back of
-the volume after it is sewn.</p>
-
-<p><span class="smcap">S<span>QUARES.</span></span>—The portions of the
-boards that project beyond
-the edges after the book is
-cut.</p>
-
-<p><span class="smcap">S<span>TABBING.</span></span>—The term used formerly
-for piercing the boards
-with a bodkin for the slips to
-pass through; more generally <span id="p179" class="xxpn">|179|</span>
-known now as “holeing.”
-The operation of piercing
-pamphlets for the purpose of
-stitching.</p>
-
-<p><span class="smcap">S<span>TABBING</span></span>
-<span class="smmaj">MACHINE.</span>—A small
-machine used for making the
-holes through the backs of
-pamphlets.</p>
-
-<p><span class="smcap">S<span>TANDING</span></span>
-<span class="smmaj">PRESS.</span>—A fixed
-heavy press with a perpendicular
-screw over the centre.</p>
-
-<p><span class="smcap">S<span>TART.</span></span>—When any of the
-leaves are not properly secured
-in the back, and they
-project beyond the others,
-they are said to have started.
-When the back has been
-broken by forcing the leaves
-they start.</p>
-
-<p><span class="smcap">S<span>TIFFENER.</span></span>—A thin mill-board
-used for various purposes.</p>
-
-<p><span class="smcap">S<span>TITCHING.</span></span>—The operation of
-passing the thread through a
-pamphlet for the purpose of
-securing the sheets together.</p>
-
-<p><span class="smcap">S<span>TRAIGHT-EDGE.</span></span>—A small
-board having one edge perfectly
-straight.</p>
-
-<p><span class="smcap">S<span>TOPS.</span></span>—Small circular tools,
-adapted to “stop” a fillet
-when it intersects at right
-angles; used to save the time
-mitringmitreing would occupy.</p>
-
-<p class="padtopc"><span class="smcap">T<span>ENON</span></span>
-<span class="smmaj">SAW.</span>—A small saw used
-by bookbinders for sawing
-the books for sewing. More
-strictly speaking a carpenter’s
-tool.</p>
-
-<p><span class="smcap">T<span>ITLE.</span></span>—The space between the
-bands upon which the lettering
-is placed. The leaf in
-the beginning of a book describing
-the subject.</p>
-
-<p><span class="smcap">T<span>OOLS.</span></span>—Applied particularly
-to the hand stamps and tools
-used in finishing.</p>
-
-<p><span class="smcap">T<span>RIMMING.</span></span>—Shaving the rough
-edge of the leaves of a book
-that is not to be cut.</p>
-
-<p><span class="smcap">T<span>RINDLE.</span></span>—A thin strip of wood
-or iron.</p>
-
-<p><span class="smcap">T<span>URNING-UP.</span></span>—The process of
-cutting the foredge in such a
-manner as to throw the round
-out of the back until the edge
-is cut. All books that are
-cut in boards have a pair of
-trindles thrust between the
-boards and across the back to
-assist the operation.</p>
-
-<p><span class="smcap">T<span>YING-UP.</span></span>—The tying of a
-volume after the cover has
-been drawn on, so as to make
-the leather adhere better to
-the sides of the bands; also
-for setting the head-band.</p>
-
-<p><span class="smcap">T<span>YPE.</span></span>—Metal letters used in
-printing and lettering.</p>
-
-<p><span class="smcap">T<span>YPE-HOLDER.</span></span>—An instrument
-for holding the type when
-used for lettering.</p>
-
-<p class="padtopc"><span class="smcap">V<span>ARNISH.</span></span>—Used as a protection
-to the glaire when polished
-on the covers of books.</p>
-
-<p class="padtopc"><span class="smcap">W<span>HIPPING.</span></span>—Another term for
-overcasting, but when longer
-stitches are made.</p>
-
-<p><span class="smcap">W<span>ITNESS.</span></span>—When a volume is
-cut so as to show that it has
-not been so cut down, but
-that some of the leaves have
-still rough edges. These uncut
-leaves are called “Witness”
-(<i>see</i>
-<span class="smcap">P<span>ROOF</span></span>).</p>
-
-<p><span class="smcap">W<span>RINKLE.</span></span>—The uneven surface
-in a volume, caused by not
-being properly pressed or by
-dampness, also caused by improper
-backing.</p>
-</div><!--mainbody-->
-
-<div class="chapter" id="index">
-
-<h2 id="p181" class="nobreak">INDEX.</h2>
-
-<p class="hanga">Acids, effect of, on leather, <a href="#p133">133.</a></p>
-
-<p class="hanga">Advantage, comparative, of paste and glue,
- <a href="#p093">93.</a></p>
-
-<p class="hanga">—— of flexible binding, <a href="#p028">28.</a></p>
-
-<p class="hanga">—— of graining calf, <a href="#p144">144.</a></p>
-
-<p class="hanga">—— of vinegar over paste water when finishing, <a href="#p127">127.</a></p>
-
-<p class="hanga">Albumen, <a href="#p171">171.</a></p>
-
-<p class="hanga">Antique finishing, <a href="#p122">122.</a></p>
-
-<p class="hanga">—— tools, method of working, <a href="#p122">122.</a></p>
-
-<p class="hanga">Arming press, <a href="#p117">117.</a></p>
-
-<p class="hanga">Artificial heat, <a href="#p046">46.</a></p>
-
-<p class="hanga">Artists’ vellum, <a href="#p147">147.</a></p>
-
-<p class="hanga">Athenæum letter on trimming, <a href="#p043">43.</a></p>
-
-<p class="hanga">Azuré tools, <a href="#p113">113.</a></p>
-
-<p class="padtopb">Back, calf, polishing a, <a href="#p140">140.</a></p>
-
-<p class="hanga">—— finishing a (cut), <a href="#p130">130.</a></p>
-
-<p class="hanga">—— full gilt, <a href="#p129">129.</a></p>
-
-<p class="hanga">—— mitred, <a href="#p129">129–139.</a></p>
-
-<p class="hanga">—— run up, <a href="#p129">129–140.</a></p>
-
-<p class="hanga">Backs, flat, <a href="#p048">48.</a></p>
-
-<p class="hanga">—— suitable for calf work (cut), <a href="#p138">138.</a></p>
-
-<p class="hanga">Backing, <a href="#p048">48.</a></p>
-
-<p class="hanga">—— (cut), <a href="#p049">49.</a></p>
-
-<p class="hanga">—— boards (cut), <a href="#p048">48,</a> <a href="#p050">50.</a></p>
-
-<p class="hanga">—— flexible work, <a href="#p050">50.</a></p>
-
-<p class="hanga">—— hammer (cut), <a href="#p049">49.</a></p>
-
-<p class="hanga">—— machines, <a href="#p050">50.</a></p>
-
-<p class="hanga">Band nippers (cut), <a href="#p093">93.</a></p>
-
-<p class="hanga">Bands, putting on, <a href="#p088">88.</a></p>
-
-<p class="hanga">Bar roll, <a href="#p133">133.</a></p>
-
-<p class="hanga">Bath, effect upon stains of wrong, <a href="#p158">158.</a></p>
-
-<p class="hanga">Beating, <a href="#p009">9.</a></p>
-
-<p class="hanga">—— hammer (cut), <a href="#p009">9.</a></p>
-
-<p class="hanga">—— gold books, <a href="#p010">10.</a></p>
-
-<p class="hanga">Beating stone, <a href="#p009">9.</a></p>
-
-<p class="hanga">Bibles, etc., edges of, <a href="#p122">122.</a></p>
-
-<p class="hanga">—— end papers for, <a href="#p033">33.</a></p>
-
-<p class="hanga">—— finishing of, <a href="#p122">122.</a></p>
-
-<p class="hanga">Bindings, monastic, <a href="#p111">111.</a></p>
-
-<p class="hanga">Blind finishing, <a href="#p122">122.</a></p>
-
-<p class="hanga">—— —— beauty of, <a href="#p125">125.</a></p>
-
-<p class="hanga">—— —— colour of, <a href="#p122">122.</a></p>
-
-<p class="hanga">Blocking, <a href="#p149">149.</a></p>
-
-<p class="hanga">—— calf, <a href="#p153">153.</a></p>
-
-<p class="hanga">—— cloth, <a href="#p153">153.</a></p>
-
-<p class="hanga">—— in gold, <a href="#p153">153.</a></p>
-
-<p class="hanga">—— morocco, <a href="#p153">153.</a></p>
-
-<p class="hanga">—— old method of, <a href="#p116">116.</a></p>
-
-<p class="hanga">—— press, <a href="#p150">150.</a></p>
-
-<p class="hanga">—— sides, <a href="#p151">151.</a></p>
-
-<p class="hanga">—— silk, <a href="#p146">146.</a></p>
-
-<p class="hanga">—— velvet, <a href="#p146">146.</a></p>
-
-<p class="hanga">Blocks, <a href="#p151">151.</a></p>
-
-<p class="hanga">Blood stains, removing, <a href="#p163">163.</a></p>
-
-<p class="hanga">Board, backing, <a href="#p048">48.</a></p>
-
-<p class="hanga">—— cutting, <a href="#p054">54.</a></p>
-
-<p class="hanga">—— trimming, <a href="#p041">41.</a></p>
-
-<p class="hanga">Boards, cutting in, <a href="#p064">64.</a></p>
-
-<p class="hanga">—— cutting out of, <a href="#p064">64.</a></p>
-
-<p class="hanga">—— made, <a href="#p055">55.</a></p>
-
-<p class="hanga">—— for photographs, <a href="#p170">170.</a></p>
-
-<p class="hanga">Bolt knife (cut), <a href="#p061">61.</a></p>
-
-<p class="hanga">Books, enemies of, <a href="#p166">166.</a></p>
-
-<p class="hanga">Book-worms, <a href="#p167">167.</a></p>
-
-<p class="hanga">—— to keep away, <a href="#p168">168.</a></p>
-
-<p class="hanga">Brass type, <a href="#p129">129.</a></p>
-
-<p class="hanga">Bread, cleaning with, <a href="#p161">161.</a></p>
-
-<p class="hanga">Bronze end paper, <a href="#p034">34.</a></p>
-
-<p class="hanga">Brush, finger, <a href="#p068">68.</a></p>
-
-<p class="hanga">—— sprinkling, <a href="#p068">68.</a></p>
-
-<p class="hanga">Burnishers, <a href="#p079">79.</a></p>
-
-<p class="hanga">—— edge (cuts), <a href="#p081">81.</a></p>
-
-<p class="hanga">Burnishing edges, <a href="#p081">81.</a></p>
-
-<p class="hanga">—— marbled paper, <a href="#p073">73.</a></p>
-
-<p id="p182">Burnt
- documents, deciphering, <a href="#p166">166.</a></p>
-
-<p class="hanga">Burr on knife, <a href="#p079">79.</a></p>
-
-
-<p class="hanga padtopb">Calf, back polishing, <a href="#p137">137.</a></p>
-
-<p class="hanga">—— blocking, <a href="#p153">153.</a></p>
-
-<p class="hanga">—— Cambridge, <a href="#p104">104.</a></p>
-
-<p class="hanga">—— colouring, <a href="#p100">100.</a></p>
-
-<p class="hanga">—— colouring, preparing for, <a href="#p102">102.</a></p>
-
-<p class="hanga">—— colouring, black, <a href="#p101">101.</a></p>
-
-<p class="hanga">—— colouring, brown, <a href="#p102">102.</a></p>
-
-<p class="hanga">—— colouring, yellow, <a href="#p102">102.</a></p>
-
-<p class="hanga">—— covering in, <a href="#p094">94.</a></p>
-
-<p class="hanga">—— dabbing, <a href="#p106">106.</a></p>
-
-<p class="hanga">—— effect of glue on, <a href="#p089">89.</a></p>
-
-<p class="hanga">—— extra, <a href="#p142">142.</a></p>
-
-<p class="hanga">—— finishing, <a href="#p135">135.</a></p>
-
-<p class="hanga">—— graining, <a href="#p144">144.</a></p>
-
-<p class="hanga">—— graining, advantage of, <a href="#p144">144.</a></p>
-
-<p class="hanga">—— green and light, <a href="#p139">139–141.</a></p>
-
-<p class="hanga">—— handling, <a href="#p094">94.</a></p>
-
-<p class="hanga">—— lettering, <a href="#p140">140.</a></p>
-
-<p class="hanga">—— marbling, <a href="#p105">105.</a></p>
-
-<p class="hanga">—— marbling, preparing for, <a href="#p104">104.</a></p>
-
-<p class="hanga">—— neat, <a href="#p137">137.</a></p>
-
-<p class="hanga">—— pasting down, <a href="#p099">99.</a></p>
-
-<p class="hanga">—— sides, finishing, <a href="#p141">141.</a></p>
-
-<p class="hanga">—— sides, polishing, <a href="#p142">142.</a></p>
-
-<p class="hanga">—— work, backs suitable for (cut), <a href="#p138">138.</a></p>
-
-<p class="hanga">—— sprinkling, <a href="#p103">103.</a></p>
-
-<p class="hanga">—— sprinkling, emblematic, <a href="#p103">103.</a></p>
-
-<p class="hanga">—— sprinkling, preparing for, <a href="#p103">103.</a></p>
-
-<p class="hanga">Cambridge calf, <a href="#p104">104.</a></p>
-
-<p class="hanga">Capping up edges, <a href="#p082">82.</a></p>
-
-<p class="hanga">Cat’s paw, <a href="#p106">106.</a></p>
-
-<p class="hanga">Charcoal fire for finishing, <a href="#p121">121.</a></p>
-
-<p class="hanga">Chemical colouring of leather, <a href="#p133">133.</a></p>
-
-<p class="hanga">Chloride of lime solution, <a href="#p159">159.</a></p>
-
-<p class="hanga">Chlorine, restoring writing effaced by, <a href="#p165">165.</a></p>
-
-<p class="hanga">Cleaning, <a href="#p157">157.</a></p>
-
-<p class="hanga">—— off stick, <a href="#p058">58–59.</a></p>
-
-<p class="hanga">—— removing single leaf for, <a href="#p162">162.</a></p>
-
-<p class="hanga">Cleaning silver mountings, <a href="#p172">172.</a></p>
-
-<p class="hanga">—— sponges, <a href="#p172">172.</a></p>
-
-<p class="hanga">—— with india-rubber, <a href="#p161">161.</a></p>
-
-<p class="hanga">—— with bread, <a href="#p161">161.</a></p>
-
-<p class="hanga">Cloth blocking, <a href="#p153">153.</a></p>
-
-<p class="hanga">—— covering with, <a href="#p095">95.</a></p>
-
-<p class="hanga">—— joints, <a href="#p038">38.</a></p>
-
-<p class="hanga">—— smooth, <a href="#p095">95.</a></p>
-
-<p class="hanga">Cobb paper, <a href="#p033">33.</a></p>
-
-<p class="hanga">Collating, <a href="#p013">13.</a></p>
-
-<p class="hanga">Colour of blind work, <a href="#p122">122.</a></p>
-
-<p class="hanga">Colours for books, suggested, <a href="#p096">96.</a></p>
-
-<p class="hanga">—— for marbling, <a href="#p069">69.</a></p>
-
-<p class="hanga">—— for sprinkling, <a href="#p068">68.</a></p>
-
-<p class="hanga">Coloured edges, fancy, <a href="#p069">69.</a></p>
-
-<p class="hanga">—— paste paper, <a href="#p035">35.</a></p>
-
-<p class="hanga">—— plates, <a href="#p017">17.</a></p>
-
-<p class="hanga">Colouring calf, <a href="#p100">100.</a></p>
-
-<p class="hanga">—— calf preparing for, <a href="#p102">102.</a></p>
-
-<p class="hanga">—— calf, black, <a href="#p101">101.</a></p>
-
-<p class="hanga">—— calf, brown, <a href="#p102">102.</a></p>
-
-<p class="hanga">—— yellow, <a href="#p102">102.</a></p>
-
-<p class="hanga">Colouring edges, <a href="#p067">67.</a></p>
-
-<p class="hanga">—— of leather, chemical, <a href="#p133">133.</a></p>
-
-<p class="hanga">—— plain, for edges, <a href="#p069">69.</a></p>
-
-<p class="hanga">Comb marble, <a href="#p072">72.</a></p>
-
-<p class="hanga">Cord, sizes of, <a href="#p022">22.</a></p>
-
-<p class="hanga">Cords, lay, <a href="#p023">23.</a></p>
-
-<p class="hanga">Cotton wool, <a href="#p120">120.</a></p>
-
-<p class="hanga">Covers, cutting leather, <a href="#p090">90.</a></p>
-
-<p class="hanga">Covering, <a href="#p090">90.</a></p>
-
-<p class="hanga">—— half bound work, <a href="#p096">96.</a></p>
-
-<p class="hanga">—— preparing for, <a href="#p087">87.</a></p>
-
-<p class="hanga">—— with calf, <a href="#p094">94.</a></p>
-
-<p class="hanga">—— with cloth, <a href="#p095">95.</a></p>
-
-<p class="hanga">—— with morocco, <a href="#p090">90.</a></p>
-
-<p class="hanga">—— with parchment, <a href="#p094">94.</a></p>
-
-<p class="hanga">—— with roan, <a href="#p095">95.</a></p>
-
-<p class="hanga">—— with russia, <a href="#p094">94.</a></p>
-
-<p class="hanga">—— with satin, <a href="#p095">95.</a></p>
-
-<p class="hanga">—— with silk, <a href="#p095">95.</a></p>
-
-<p class="hanga">—— with vellum, <a href="#p094">94.</a></p>
-
-<p class="hanga">—— with velvet, <a href="#p095">95.</a></p>
-
-<p class="hanga">Cut against, <a href="#p054">54.</a></p>
-
-<p class="hanga">—— true, to tell if boards are, <a href="#p056">56.</a></p>
-
-<p class="hanga">—— to tell if book is, <a href="#p064">64.</a></p>
-
-<p class="hanga">Cushion, gold, <a href="#p078">78.</a></p>
-
-<p class="hanga">Cutting, <a href="#p059">59.</a></p>
-
-<p class="hanga">—— in boards, <a href="#p064">64.</a></p>
-
-<p class="hanga">—— out of boards, <a href="#p064">64.</a></p>
-
-<p class="hanga">—— board, <a href="#p054">54.</a></p>
-
-<p class="hanga">—— foredge, <a href="#p062">62.</a></p>
-
-<p class="hanga">—— gold leaf, <a href="#p080">80.</a></p>
-
-<p class="hanga">—— head, <a href="#p061">61.</a></p>
-
-<p class="hanga">—— leather covers, <a href="#p090">90.</a></p>
-
-<p class="hanga">—— machines (cuts), <a href="#p065">65,</a> <a href="#p066">66.</a></p>
-
-<p class="hanga">—— mill-board, <a href="#p052">52.</a></p>
-
-<p class="hanga">—— press and plough (cut), <a href="#p060">60.</a></p>
-
-<p class="hanga">—— tail, <a href="#p062">62.</a></p>
-
-
-<p class="hanga padtopb">Dabbing calf, <a href="#p106">106.</a></p>
-
-<p class="hanga">Damp stains, <a href="#p162">162.</a></p>
-
-<p class="hanga">—— repairing books damaged by, <a href="#p162">162.</a></p>
-
-<p class="hanga">Deciphering burnt documents, <a href="#p166">166.</a></p>
-
-<p class="hanga">Dentelle border, <a href="#p132">132.</a></p>
-
-<p class="hanga">Derome tools (cuts), <a href="#p115">115.</a></p>
-
-<p class="hanga">Dibdin, Dr, <a href="#p095">95.</a></p>
-
-<p class="hanga">Disadvantage of backing machines, <a href="#p051">51.</a></p>
-
-<p class="hanga">—— flat backs, <a href="#p048">48.</a></p>
-
-<p class="hanga">—— lettering pieces, <a href="#p136">136.</a></p>
-
-<p class="hanga">—— wire sewing, <a href="#p030">30.</a></p>
-
-<p class="hanga">Dishes for washing, <a href="#p159">159.</a></p>
-
-<p class="hanga">Documents, deciphering burnt, <a href="#p166">166.</a></p>
-
-<p class="hanga">Doublé, <a href="#p132">132.</a></p>
-
-<p class="hanga">Down, pasting, <a href="#p097">97.</a></p>
-
-<p class="hanga">Dragon, gum, <a href="#p070">70.</a></p>
-
-<p class="hanga">Drawing in, <a href="#p057">57.</a></p>
-
-<p class="hanga">Drawings, fixing, <a href="#p165">165.</a></p>
-
-<p class="hanga">—— preserving, <a href="#p165">165.</a></p>
-
-<p class="hanga">Dry preparation, <a href="#p145">145.</a></p>
-
-<p class="hanga">—— making, <a href="#p145">145.</a></p>
-
-<p class="hanga">Drying, artificial heat in, <a href="#p046">46.</a></p>
-
-<p class="hanga">Duplicate sheets, <a href="#p019">19.</a></p>
-
-<p class="hanga">Dust, removing, <a href="#p161">161.</a></p>
-
-<p class="hanga">Dutch marble paper, <a href="#p034">34.</a></p>
-
-
-<p class="hanga padtopb">Edge burnishers (cuts), <a href="#p081">81.</a></p>
-
-<p class="hanga">Edges of bibles and religious books, <a href="#p122">122.</a></p>
-
-<p class="hanga">—— of boards, finishing, <a href="#p132">132.</a></p>
-
-<p class="hanga">—— burnishing, <a href="#p081">81.</a></p>
-
-<p class="hanga">—— capping up, <a href="#p082">82.</a></p>
-
-<p class="hanga">—— coloured, fancy, <a href="#p069">69.</a></p>
-
-<p class="hanga">—— coloured, plain, <a href="#p069">69.</a></p>
-
-<p class="hanga">—— colouring, <a href="#p067">67.</a></p>
-
-<p class="hanga">—— gilding, <a href="#p080">80.</a></p>
-
-<p class="hanga">—— gilt, <a href="#p078">78.</a></p>
-
-<p class="hanga">—— gilt, dull, <a href="#p081">81.</a></p>
-
-<p class="hanga">—— gilt, painted, <a href="#p082">82.</a></p>
-
-<p class="hanga">—— gilt, on red, <a href="#p082">82.</a></p>
-
-<p class="hanga">—— gilt, in the round, <a href="#p081">81.</a></p>
-
-<p class="hanga">—— gilt, solid, <a href="#p081">81.</a></p>
-
-<p class="hanga">—— gilt, tooled, <a href="#p082">82.</a></p>
-
-<p class="hanga">—— marbled, <a href="#p069">69.</a></p>
-
-<p class="hanga">—— marbled, paper, transferring to, <a href="#p074">74–75.</a></p>
-
-<p class="hanga">—— marbling, <a href="#p073">73.</a></p>
-
-<p class="hanga">—— marbled, on gilt, <a href="#p078">78.</a></p>
-
-<p class="hanga">—— marbled, under gilt, <a href="#p078">78.</a></p>
-
-<p class="hanga">—— sprinkled, <a href="#p067">67.</a></p>
-
-<p class="hanga">—— sprinkled marble, <a href="#p067">67.</a></p>
-
-<p class="hanga">—— transferring marbled paper to, <a href="#p074">74–75.</a></p>
-
-<p class="hanga">—— uncut, <a href="#p041">41.</a></p>
-
-<p class="hanga">Effaced by chlorine, restoring writing, <a href="#p165">165.</a></p>
-
-<p class="hanga">—— by oxymuriatic acid, restoring writing, <a href="#p165">165.</a></p>
-
-<p class="hanga">Emblematic sprinkling, <a href="#p103">103.</a></p>
-
-<p class="hanga">—— tooling, <a href="#p117">117.</a></p>
-
-<p class="hanga">End papers, <a href="#p033">33.</a></p>
-
-<p class="hanga">—— papers, bronze, <a href="#p034">34.</a></p>
-
-<p class="hanga">—— papers, cobb, <a href="#p033">33.</a></p>
-
-<p class="hanga">—— papers, coloured paste, <a href="#p035">35.</a></p>
-
-<p class="hanga">—— papers, making, <a href="#p035">35.</a></p>
-
-<p class="hanga">—— papers, marbled, <a href="#p033">33.</a></p>
-
-<p class="hanga">—— papers, printed and fancy, <a href="#p034">34.</a></p>
-
-<p class="hanga">—— papers, putting on, <a href="#p038">38.</a></p>
-
-<p class="hanga">—— papers, surface, <a href="#p033">33.</a></p>
-
-<p class="hanga">—— papers, for bibles, etc., <a href="#p033">33.</a></p>
-
-<p class="hanga">—— papers, for school and public library books, <a href="#p041">41.</a></p>
-
-<p class="hanga">Ends, sewing (cut), <a href="#p040">40.</a></p>
-
-<p class="hanga">Enemies of books, <a href="#p166">166.</a></p>
-
-<p class="hanga">Extra, calf, <a href="#p142">142.</a></p>
-
-
-<p class="hanga padtopb">Faded MSS., restoring, <a href="#p165">165.</a></p>
-
-<p class="hanga">—— writing, restoring, <a href="#p165">165.</a></p>
-
-<p class="hanga">Fat stains, removing, <a href="#p164">164.</a></p>
-
-<p class="hanga">Fillet (cut), <a href="#p118">118.</a></p>
-
-<p class="hanga">Filling up, <a href="#p137">137.</a></p>
-
-<p class="hanga">—— up, saw cuts, <a href="#p089">89.</a></p>
-
-<p class="hanga">Finger brush, <a href="#p068">68.</a></p>
-
-<p class="hanga">Finger-marks, <a href="#p163">163.</a></p>
-
-<p class="hanga">—— removing, <a href="#p163">163.</a></p>
-
-<p class="hanga">Finishing, <a href="#p111">111.</a></p>
-
-<p class="hanga">—— ancient, <a href="#p117">117.</a></p>
-
-<p class="hanga">—— a back (cut), <a href="#p130">130.</a></p>
-
-<p class="hanga">—— a back, calf, <a href="#p135">135.</a></p>
-
-<p class="hanga">—— a back, full gilt, <a href="#p137">137.</a></p>
-
-<p class="hanga">—— a back, run up, <a href="#p139">139.</a></p>
-
-<p class="hanga">—— blind, antique or monastic, <a href="#p122">122.</a></p>
-
-<p class="hanga">—— blind, tools for, <a href="#p122">122.</a></p>
-
-<p class="hanga">—— calf sides, <a href="#p141">141.</a></p>
-
-<p class="hanga">—— charcoal fire for, <a href="#p121">121.</a></p>
-
-<p class="hanga">—— edges of boards, <a href="#p132">132.</a></p>
-
-<p class="hanga">—— extra calf sides, <a href="#p142">142.</a></p>
-
-<p class="hanga">—— flexible work, <a href="#p124">124.</a></p>
-
-<p class="hanga">—— gold, <a href="#p125">125.</a></p>
-
-<p class="hanga">—— gold, tools for, <a href="#p122">122.</a></p>
-
-<p class="hanga">—— half morocco book, <a href="#p127">127.</a></p>
-
-<p class="hanga">—— inside of a book, <a href="#p132">132–141.</a></p>
-
-<p class="hanga">—— medium, <a href="#p126">126.</a></p>
-
-<p class="hanga">—— medium, importance of proper, <a href="#p126">126.</a></p>
-
-<p class="hanga">—— morocco sides, <a href="#p131">131.</a></p>
-
-<p class="hanga">—— morocco imitation, <a href="#p133">133.</a></p>
-
-<p class="hanga">—— paper, <a href="#p144">144.</a></p>
-
-<p class="hanga">—— press (cuts), <a href="#p121">121–122.</a></p>
-
-<p class="hanga">—— religious books, <a href="#p122">122.</a></p>
-
-<p class="hanga">—— roan, <a href="#p133">133.</a></p>
-
-<p class="hanga">—— russia, <a href="#p145">145.</a></p>
-
-<p class="hanga">—— sides calf, <a href="#p135">135.</a></p>
-
-<p class="hanga">—— sides calf extra, <a href="#p142">142.</a></p>
-
-<p class="hanga">—— sides morocco, <a href="#p131">131.</a></p>
-
-<p class="hanga">—— sides, morocco imitation, <a href="#p133">133.</a></p>
-
-<p class="hanga">—— silk, <a href="#p146">146.</a></p>
-
-<p class="hanga">—— stove (cuts), <a href="#p120">120.</a></p>
-
-<p class="hanga">—— taste in, <a href="#p117">117.</a></p>
-
-<p class="hanga">—— tools, <a href="#p118">118–122.</a></p>
-
-<p class="hanga">—— tools, heat for, <a href="#p128">128.</a></p>
-
-<p class="hanga">—— vellum, <a href="#p147">147.</a></p>
-
-<p class="hanga">—— velvet, <a href="#p146">146.</a></p>
-
-<p class="hanga">—— with dry preparation, <a href="#p145">145.</a></p>
-
-<p class="hanga">Fixing drawings, <a href="#p165">165.</a></p>
-
-<p class="hanga">Flat backs, <a href="#p048">48.</a></p>
-
-<p class="hanga">Flexible binding, advantages of, <a href="#p028">28.</a></p>
-
-<p class="hanga">—— how to tell, <a href="#p029">29.</a></p>
-
-<p class="hanga">—— not to show, <a href="#p029">29,</a> <a href="#p089">89.</a></p>
-
-<p class="hanga">Flexible work, backing, <a href="#p050">50.</a></p>
-
-<p class="hanga">—— work, cleaning off, <a href="#p059">59.</a></p>
-
-<p class="hanga">—— work, covering, preparing for, <a href="#p089">89.</a></p>
-
-<p class="hanga">—— work, finishing, <a href="#p124">124.</a></p>
-
-<p class="hanga">—— work, gluing up, <a href="#p045">45.</a></p>
-
-<p class="hanga">—— work, marking up, <a href="#p020">20.</a></p>
-
-<p class="hanga">—— work, mock, <a href="#p090">90.</a></p>
-
-<p class="hanga">—— work, sewing, <a href="#p023">23.</a></p>
-
-<p class="hanga">—— work, sewing (cut), <a href="#p027">27.</a></p>
-
-<p class="hanga">Folding, <a href="#p003">3.</a></p>
-
-<p class="hanga">—— stick, <a href="#p004">4.</a></p>
-
-<p class="hanga">—— machine (cut), <a href="#p007">7.</a></p>
-
-<p class="hanga">—— maps, <a href="#p015">15.</a></p>
-
-<p class="hanga">Folio, <a href="#p004">4.</a></p>
-
-<p class="hanga">Foredge, cutting, <a href="#p062">62.</a></p>
-
-<p class="hanga">Forwarding, <a href="#p033">33.</a></p>
-
-<p class="hanga">Fox-marks, <a href="#p163">163.</a></p>
-
-<p class="hanga">—— marks, removing, <a href="#p163">163.</a></p>
-
-<p class="hanga">French, dab, <a href="#p106">106.</a></p>
-
-<p class="hanga">—— method of pressing, <a href="#p019">19.</a></p>
-
-<p class="hanga">—— method of trimming, <a href="#p042">42.</a></p>
-
-<p class="hanga">—— paring knife (cut), <a href="#p090">90.</a></p>
-
-<p class="hanga">—— paring knife, method of using (cut), <a href="#p091">91.</a></p>
-
-<p class="hanga">Full gilt back, finishing, <a href="#p137">137.</a></p>
-
-
-<p class="hanga padtopb">Gall, ox, for marbling, <a href="#p071">71.</a></p>
-
-<p class="hanga">Gascon, <a href="#p115">115.</a></p>
-
-<p class="hanga">—— tools (cuts), <a href="#p114">114.</a></p>
-
-<p class="hanga">Gathering, <a href="#p008">8.</a></p>
-
-<p class="hanga">—— machine, <a href="#p008">8.</a></p>
-
-<p class="hanga">German, method of gluing up, <a href="#p045">45.</a></p>
-
-<p class="hanga">—— paring knife (cut), <a href="#p091">91.</a></p>
-
-<p class="hanga">—— paring knife, method of using (cut), <a href="#p091">91.</a></p>
-
-<p class="hanga">Giggering, <a href="#p124">124.</a></p>
-
-<p class="hanga">Gilding edges, <a href="#p080">80.</a></p>
-
-<p class="hanga">Gilt back, full, <a href="#p129">129.</a></p>
-
-<p class="hanga">—— edges, <a href="#p078">78.</a></p>
-
-<p class="hanga">—— edges, dull, <a href="#p081">81.</a></p>
-
-<p class="hanga">—— edges, painted, <a href="#p082">82.</a></p>
-
-<p class="hanga">—— edges, solid, <a href="#p081">81.</a></p>
-
-<p class="hanga">—— edges, tooled, <a href="#p082">82.</a></p>
-
-<p class="hanga">—— in the round, <a href="#p081">81.</a></p>
-
-<p class="hanga">—— marbling on, <a href="#p078">78.</a></p>
-
-<p class="hanga">—— marbling under, <a href="#p078">78.</a></p>
-
-<p class="hanga">—— on red, <a href="#p082">82.</a></p>
-
-<p class="hanga">—— top, <a href="#p041">41.</a></p>
-
-<p class="hanga">Glaire, <a href="#p119">119.</a></p>
-
-<p class="hanga">—— how to make, <a href="#p119">119.</a></p>
-
-<p class="hanga">—— water, <a href="#p079">79.</a></p>
-
-<p class="hanga">Glue, <a href="#p169">169.</a></p>
-
-<p class="hanga">—— comparative advantages of paste and, <a href="#p093">93.</a></p>
-
-<p class="hanga">—— effect on calf of, <a href="#p089">89.</a></p>
-
-<p class="hanga">—— rice, <a href="#p169">169.</a></p>
-
-<p class="hanga">—— to tell good, <a href="#p169">169.</a></p>
-
-<p class="hanga">Gluing up, <a href="#p045">45.</a></p>
-
-<p class="hanga">—— up flexible work, <a href="#p045">45.</a></p>
-
-<p class="hanga">—— up, German method of, <a href="#p045">45.</a></p>
-
-<p class="hanga">Gold, blocking in, <a href="#p153">153.</a></p>
-
-<p class="hanga">—— cushion, <a href="#p078">78.</a></p>
-
-<p class="hanga">—— finishing, <a href="#p125">125.</a></p>
-
-<p class="hanga">—— finishing, tools for, <a href="#p128">128.</a></p>
-
-<p class="hanga">—— knife, <a href="#p079">79.</a></p>
-
-<p class="hanga">—— leaf, <a href="#p079">79–119.</a></p>
-
-<p class="hanga">—— leaf, cutting, <a href="#p080">80.</a></p>
-
-<p class="hanga">Grain, treatment of straight, <a href="#p092">92.</a></p>
-
-<p class="hanga">—— treatment of leather with no, <a href="#p092">92.</a></p>
-
-<p class="hanga">Graining calf, <a href="#p144">144.</a></p>
-
-<p class="hanga">—— advantage of, <a href="#p144">144.</a></p>
-
-<p class="hanga">Graining up, <a href="#p092">92.</a></p>
-
-<p class="hanga">Grolier tools (cuts), <a href="#p113">113.</a></p>
-
-<p class="hanga">Groove, <a href="#p007">7.</a></p>
-
-<p class="hanga">Guarding plates, etc., <a href="#p015">15.</a></p>
-
-<p class="hanga">Guards, object of, <a href="#p016">16.</a></p>
-
-<p class="hanga">Gum Tragacanth (Gum Dragon), <a href="#p070">70.</a></p>
-
-
-<p class="hanga padtopb">Half binding, <a href="#p096">96.</a></p>
-
-<p class="hanga">—— binding, covering, <a href="#p096">96.</a></p>
-
-<p class="hanga">—— binding, lining for, <a href="#p053">53.</a></p>
-
-<p class="hanga">—— binding, pasting down, <a href="#p100">100.</a></p>
-
-<p class="hanga">Hammer, beating (cut), <a href="#p009">9.</a></p>
-
-<p class="hanga">Hand finishing, <a href="#p116">116.</a></p>
-
-<p class="hanga">—— letters, <a href="#p118">118.</a></p>
-
-<p class="hanga">Handling calf, <a href="#p094">94.</a></p>
-
-<p class="hanga">Head band, setting, <a href="#p093">93.</a></p>
-
-<p class="hanga">—— bands, stuck on, <a href="#p080">80.</a></p>
-
-<p class="hanga">—— banding, <a href="#p083">83.</a></p>
-
-<p class="hanga">—— banding (cut), <a href="#p084">84.</a></p>
-
-<p class="hanga">—— banding on old books, <a href="#p084">84.</a></p>
-
-<p class="hanga">—— of book cutting, <a href="#p061">61.</a></p>
-
-<p class="hanga">Heat, artificial, <a href="#p046">46.</a></p>
-
-<p class="hanga">—— for finishing tools, <a href="#p128">128.</a></p>
-
-<p class="hanga">—— for polishing tools, <a href="#p140">140.</a></p>
-
-<p class="hanga">Henry III., bindings of, <a href="#p114">114.</a></p>
-
-<p class="hanga">Holes in back, filling up, <a href="#p089">89.</a></p>
-
-<p class="hanga">Hollow backs, <a href="#p087">87.</a></p>
-
-
-<p class="hanga padtopb">Imitation morocco, finishing, <a href="#p133">133.</a></p>
-
-<p class="hanga">Importance of proper finishing medium, <a href="#p126">126.</a></p>
-
-<p class="hanga">Incombustible, to render paper, <a href="#p166">166.</a></p>
-
-<p class="hanga">India rubber, <a href="#p119">119.</a></p>
-
-<p class="hanga">—— rubber, how to use, <a href="#p161">161.</a></p>
-
-<p class="hanga">Ink stains, removing, <a href="#p163">163.</a></p>
-
-<p class="hanga">—— stains, marking, <a href="#p164">164.</a></p>
-
-<p class="hanga">Inlaid work, <a href="#p133">133.</a></p>
-
-<p class="hanga">Inlaying, <a href="#p134">134.</a></p>
-
-<p class="hanga">—— Viennese method of, <a href="#p135">135.</a></p>
-
-<p class="hanga">Insects, <a href="#p166">166.</a></p>
-
-<p class="hanga">—— poison for, <a href="#p168">168.</a></p>
-
-<p class="hanga">Inside of book, finishing, <a href="#p132">132–141.</a></p>
-
-<p class="hanga">Interleaving, <a href="#p018">18.</a></p>
-
-<p class="hanga">Iron, knocking-down (cut), <a href="#p006">6.</a></p>
-
-<p class="hanga">—— polishing (cut), <a href="#p119">119.</a></p>
-
-
-<p class="hanga padtopb">Joint, <a href="#p007">7.</a></p>
-
-<p class="hanga">Joints, cloth, <a href="#p038">38–99.</a></p>
-
-<p class="hanga">—— morocco, <a href="#p098">98.</a></p>
-
-
-<p class="hanga padtopb">Kettle stitch, <a href="#p025">25–28.</a></p>
-
-<p class="hanga">Keys (sewing), <a href="#p023">23.</a></p>
-
-<p class="hanga">Knife, bolt (cut), <a href="#p061">61.</a></p>
-
-<p class="hanga">—— burr on, <a href="#p079">79.</a></p>
-
-<p class="hanga">—— gold, <a href="#p079">79.</a></p>
-
-<p class="hanga">—— paring, French (cut), <a href="#p090">90.</a></p>
-
-<p class="hanga">—— paring, method of holding, (cut), <a href="#p091">91.</a></p>
-
-<p class="hanga">—— paring, German (cut), <a href="#p091">91.</a></p>
-
-<p class="hanga">—— paring, German, method of holding (cut), <a href="#p092">92.</a></p>
-
-<p class="hanga">—— sliding (cut), <a href="#p060">60.</a></p>
-
-<p class="hanga">—— trimming, <a href="#p042">42.</a></p>
-
-<p class="hanga">Knocking down iron (cut), <a href="#p006">6.</a></p>
-
-
-<p class="hanga padtopb">Lard, <a href="#p124">124.</a></p>
-
-<p class="hanga">Lay cords, <a href="#p023">23.</a></p>
-
-<p class="hanga">Lead type, <a href="#p129">129.</a></p>
-
-<p class="hanga">Leaf, gold, <a href="#p079">79.</a></p>
-
-<p class="hanga">—— gold, cutting, <a href="#p080">80.</a></p>
-
-<p class="hanga">—— gold, thickness of, <a href="#p080">80.</a></p>
-
-<p class="hanga">—— removing single, <a href="#p162">162.</a></p>
-
-<p class="hanga">Leather covers, cutting, <a href="#p090">90.</a></p>
-
-<p class="hanga">—— kinds of, <a href="#p090">90.</a></p>
-
-<p class="hanga">—— non-porous, <a href="#p126">126.</a></p>
-
-<p class="hanga">—— porous, <a href="#p126">126.</a></p>
-
-<p class="hanga">Leaves, re-sizing, <a href="#p162">162.</a></p>
-
-<p class="hanga">Lettering, <a href="#p117">117.</a></p>
-
-<p class="hanga">—— calf, <a href="#p140">140.</a></p>
-
-<p class="hanga">—— pieces, <a href="#p136">136.</a></p>
-
-<p class="hanga">—— pieces, disadvantages of, <a href="#p136">136.</a></p>
-
-<p class="hanga">—— pieces, for vellum books, <a href="#p148">148.</a></p>
-
-<p class="hanga">—— pieces, substitute for, <a href="#p136">136.</a></p>
-
-<p class="hanga">Letters, hand, <a href="#p129">129.</a></p>
-
-<p class="hanga">Lining boards, <a href="#p055">55.</a></p>
-
-<p class="hanga">—— boards, half binding, <a href="#p055">55.</a></p>
-
-<p class="hanga">—— boards, whole binding, <a href="#p055">55.</a></p>
-
-<p class="hanga">—— paper for, <a href="#p088">88.</a></p>
-
-<p class="hanga">—— up, <a href="#p087">87.</a></p>
-
-
-<p class="hanga padtopb">Machine, backing, <a href="#p050">50.</a></p>
-
-<p class="hanga">—— cutting (cuts), <a href="#p065">65,</a> <a href="#p066">66.</a></p>
-
-<p class="hanga">—— folding (cut), <a href="#p007">7.</a></p>
-
-<p class="hanga">—— gathering, <a href="#p008">8.</a></p>
-
-<p class="hanga">—— mill-board cutting (cuts), <a href="#p054">54.</a></p>
-
-<p class="hanga">—— mill-board cutting, steam, (cut), <a href="#p054">54.</a></p>
-
-<p class="hanga">—— rolling (cut), <a href="#p011">11.</a></p>
-
-<p class="hanga">—— rounding, (cut), <a href="#p047">47.</a></p>
-
-<p class="hanga">—— sawing in (cut), <a href="#p022">22.</a></p>
-
-<p class="hanga">—— sewing (cut), <a href="#p031">31.</a></p>
-
-<p class="hanga">—— sewing, <a href="#p032">32.</a></p>
-
-<p class="hanga">—— sewing wire, <a href="#p032">32.</a></p>
-
-<p class="hanga">Machines, to prevent, rusting, <a href="#p171">171.</a></p>
-
-<p class="hanga">Making end papers, <a href="#p035">35.</a></p>
-
-<p class="hanga">Maps, mounting (cut), <a href="#p014">14.</a></p>
-
-<p class="hanga">—— throwing out, <a href="#p013">13.</a></p>
-
-<p class="hanga">Marble comb, <a href="#p072">72.</a></p>
-
-<p class="hanga">—— edges, sprinkled, <a href="#p067">67.</a></p>
-
-<p class="hanga">—— nonpareil, <a href="#p072">72.</a></p>
-
-<p class="hanga">—— shell, <a href="#p072">72.</a></p>
-
-<p class="hanga">—— Spanish, <a href="#p072">72.</a></p>
-
-<p class="hanga">—— spot, <a href="#p072">72.</a></p>
-
-<p class="hanga">—— tree, <a href="#p105">105.</a></p>
-
-<p class="hanga">Marbled edges, <a href="#p069">69.</a></p>
-
-<p class="hanga">—— paper, <a href="#p033">33.</a></p>
-
-<p class="hanga">—— paper, burnishing, <a href="#p073">73.</a></p>
-
-<p class="hanga">—— paper, old Dutch, <a href="#p034">34.</a></p>
-
-<p class="hanga">—— paper, transferring to edges, <a href="#p074">74–75.</a></p>
-
-<p class="hanga">Marblers, mechanical (cuts), <a href="#p075">75.</a></p>
-
-<p class="hanga">Marbling, <a href="#p034">34–71.</a></p>
-
-<p class="hanga">—— ancient instructions for, <a href="#p076">76.</a></p>
-
-<p class="hanga">—— calf, <a href="#p105">105.</a></p>
-
-<p class="hanga">—— colours for, <a href="#p069">69.</a></p>
-
-<p class="hanga">—— edges, <a href="#p073">73.</a></p>
-
-<p class="hanga">—— edges, on gilt, <a href="#p078">78.</a></p>
-
-<p class="hanga">—— edges, under gilt, <a href="#p078">78.</a></p>
-
-<p class="hanga">—— ox gall for, <a href="#p071">71.</a></p>
-
-<p class="hanga">—— paper, <a href="#p073">73.</a></p>
-
-<p class="hanga">—— preparing for, <a href="#p104">104.</a></p>
-
-<p class="hanga">—— requisites for, <a href="#p069">69.</a></p>
-
-<p class="hanga">—— set, <a href="#p077">77.</a></p>
-
-<p class="hanga">—— size for, <a href="#p070">70.</a></p>
-
-<p class="hanga">—— trough (cut), <a href="#p070">70.</a></p>
-
-<p class="hanga">Margins, <a href="#p003">3–43.</a></p>
-
-<p class="hanga">Marking ink stains, removing, <a href="#p164">164.</a></p>
-
-<p class="hanga">—— up, <a href="#p020">20.</a></p>
-
-<p class="hanga">Mechanical marblers (cuts), <a href="#p075">75.</a></p>
-
-<p class="hanga">Medium for finishing, <a href="#p126">126.</a></p>
-
-<p class="hanga">—— importance of proper, <a href="#p126">126.</a></p>
-
-<p class="hanga">Mill-board, cutting, <a href="#p052">52.</a></p>
-
-<p class="hanga">—— cutting machine (cut), <a href="#p053">53.</a></p>
-
-<p class="hanga">—— cutting machine, steam, (cut), <a href="#p054">54.</a></p>
-
-<p class="hanga">—— shears, <a href="#p052">52.</a></p>
-
-<p class="hanga">Mill-boards, <a href="#p051">51.</a></p>
-
-<p class="hanga">—— made, <a href="#p055">55.</a></p>
-
-<p class="hanga">—— name of, <a href="#p051">51.</a></p>
-
-<p class="hanga">—— sizes of, <a href="#p052">52.</a></p>
-
-<p class="hanga">—— price of, <a href="#p051">51.</a></p>
-
-<p class="hanga">Missing sheets, <a href="#p019">19.</a></p>
-
-<p class="hanga">Mitre piece (cut), <a href="#p131">131.</a></p>
-
-<p class="hanga">Mitred back, <a href="#p129">129.</a></p>
-
-<p class="hanga">Mock flexible binding, <a href="#p090">90.</a></p>
-
-<p class="hanga">Monastic, bindings, <a href="#p111">111.</a></p>
-
-<p class="hanga">—— finishing, <a href="#p122">122.</a></p>
-
-<p class="hanga">—— tools (cuts), <a href="#p112">112.</a></p>
-
-<p class="hanga">Morocco, blocking, <a href="#p153">153.</a></p>
-
-<p class="hanga">—— imitation, finishing, <a href="#p133">133.</a></p>
-
-<p class="hanga">—— joints, <a href="#p098">98.</a></p>
-
-<p class="hanga">—— pasting down, <a href="#p097">97.</a></p>
-
-<p class="hanga">—— sides, finishing, <a href="#p141">141.</a></p>
-
-<p class="hanga">Mosaic work, <a href="#p133">133.</a></p>
-
-<p class="hanga">Mounting, maps, <a href="#p015">15.</a></p>
-
-<p class="hanga">—— photographs, <a href="#p171">171.</a></p>
-
-<p class="hanga">Mountings, cleaning silver, <a href="#p172">172.</a></p>
-
-<p class="hanga">MSS., preserving, <a href="#p165">165.</a></p>
-
-<p class="hanga">—— restoring faded, <a href="#p165">165.</a></p>
-
-<p class="hanga">Mull, <a href="#p089">89.</a></p>
-
-<p class="hanga">Mud stains, <a href="#p162">162.</a></p>
-
-<p class="hanga">—— removing, <a href="#p162">162.</a></p>
-
-
-<p class="hanga padtopb">Neat, calf, <a href="#p137">137.</a></p>
-
-<p class="hanga">Nippers, band (cut), <a href="#p093">93.</a></p>
-
-<p class="hanga">Nitric acid, effect upon leather, <a href="#p133">133.</a></p>
-
-<p class="hanga">Nonpareil marble, <a href="#p072">72.</a></p>
-
-<p class="hanga">Non-porous leathers, <a href="#p126">126.</a></p>
-
-
-<p class="hanga padtopb">Object of guards, <a href="#p016">16.</a></p>
-
-<p class="hanga">—— of trimming, <a href="#p042">42.</a></p>
-
-<p class="hanga">Old books, beating, <a href="#p010">10.</a></p>
-
-<p class="hanga">—— head-banding in, <a href="#p084">84.</a></p>
-
-<p class="hanga">—— sewing, <a href="#p025">25.</a></p>
-
-<p class="hanga">Old writing, reviving, <a href="#p164">164.</a></p>
-
-<p class="hanga">Opening books, care in, <a href="#p169">169.</a></p>
-
-<p class="hanga">Overcasting, <a href="#p018">18.</a></p>
-
-<p class="hanga">Oversewing, <a href="#p018">18.</a></p>
-
-<p class="hanga">Ox gall for marbling, <a href="#p071">71.</a></p>
-
-<p class="hanga">Oxford vellum, <a href="#p147">147.</a></p>
-
-<p class="hanga">Oxymuriatic acid, restoring writing effaced by, <a href="#p165">165.</a></p>
-
-
-<p class="hanga padtopb">Painting covers, <a href="#p133">133.</a></p>
-
-<p class="hanga">Pallet (cut), <a href="#p118">118.</a></p>
-
-<p class="hanga">—— using the, <a href="#p123">123.</a></p>
-
-<p class="hanga">Paper, bronze end, <a href="#p034">34.</a></p>
-
-<p class="hanga">—— burnishing marbled, <a href="#p073">73.</a></p>
-
-<p class="hanga">—— Cobb, <a href="#p033">33.</a></p>
-
-<p class="hanga">—— finishing, <a href="#p145">145.</a></p>
-
-<p class="hanga">—— for lining up, <a href="#p088">88.</a></p>
-
-<p class="hanga">—— incombustible, to render, <a href="#p166">166.</a></p>
-
-<p class="hanga">—— marbled, <a href="#p033">33.</a></p>
-
-<p class="hanga">—— marbled, old Dutch, <a href="#p034">34.</a></p>
-
-<p class="hanga">—— marbling, <a href="#p073">73.</a></p>
-
-<p class="hanga">—— paste, <a href="#p035">35.</a></p>
-
-<p class="hanga">—— printed and fancy end, <a href="#p034">34.</a></p>
-
-<p class="hanga">—— surface, <a href="#p033">33.</a></p>
-
-<p class="hanga">—— waterproof, to render, <a href="#p165">165.</a></p>
-
-<p class="hanga">Papers, end, <a href="#p033">33.</a></p>
-
-<p class="hanga">—— end, making, <a href="#p035">35.</a></p>
-
-<p class="hanga">Parchment, <a href="#p147">147.</a></p>
-
-<p class="hanga">—— covering with, <a href="#p094">94.</a></p>
-
-<p class="hanga">—— vegetable, <a href="#p147">147.</a></p>
-
-<p class="hanga">Paring, <a href="#p091">91.</a></p>
-
-<p class="hanga">—— knife, French (cut), <a href="#p090">90.</a></p>
-
-<p class="hanga">—— knife, French, method of using (cut), <a href="#p091">91.</a></p>
-
-<p class="hanga">—— knife, German (cut), <a href="#p091">91.</a></p>
-
-<p class="hanga">—— knife, German, method of using, <a href="#p092">92.</a></p>
-
-<p class="hanga">Paste, <a href="#p170">170.</a></p>
-
-<p class="hanga">—— and glue, comparative advantages, <a href="#p093">93.</a></p>
-
-<p class="hanga">—— for white morocco, <a href="#p094">94.</a></p>
-
-<p class="hanga">—— for paper, <a href="#p035">35.</a></p>
-
-<p class="hanga">—— rice, <a href="#p169">169.</a></p>
-
-<p class="hanga">—— to prevent, moulding and souring, <a href="#p170">170.</a></p>
-
-<p class="hanga">—— water, effect upon leather, <a href="#p127">127.</a></p>
-
-<p class="hanga">Pasting, <a href="#p036">36.</a></p>
-
-<p class="hanga">—— calf, <a href="#p099">99.</a></p>
-
-<p class="hanga">—— down, <a href="#p097">97.</a></p>
-
-<p class="hanga">—— down half bindings, <a href="#p100">100.</a></p>
-
-<p class="hanga">—— Russia, <a href="#p099">99.</a></p>
-
-<p class="hanga">—— single sheets, <a href="#p017">17.</a></p>
-
-<p class="hanga">—— up, <a href="#p036">36.</a></p>
-
-<p class="hanga">Peel, <a href="#p159">159.</a></p>
-
-<p class="hanga">Photographs, boards for, <a href="#p170">170.</a></p>
-
-<p class="hanga">—— mounting, <a href="#p171">171.</a></p>
-
-<p class="hanga">—— removing, <a href="#p170">170.</a></p>
-
-<p class="hanga">Pieces, lettering, <a href="#p136">136.</a></p>
-
-<p class="hanga">—— lettering, disadvantages of, <a href="#p136">136.</a></p>
-
-<p class="hanga">—— lettering, substitute for, <a href="#p136">136.</a></p>
-
-<p class="hanga">Plates, <a href="#p014">14.</a></p>
-
-<p class="hanga">—— coloured, <a href="#p017">17.</a></p>
-
-<p class="hanga">—— guarding, <a href="#p015">15.</a></p>
-
-<p class="hanga">Plough, round, <a href="#p042">42.</a></p>
-
-<p class="hanga">Polishing calf back, <a href="#p140">140.</a></p>
-
-<p class="hanga">—— calf sides, <a href="#p142">142.</a></p>
-
-<p class="hanga">—— heat for, <a href="#p140">140.</a></p>
-
-<p class="hanga">Polishing iron (cut), <a href="#p119">119.</a></p>
-
-<p class="hanga">Porous leathers, <a href="#p126">126.</a></p>
-
-<p class="hanga">Preparation, dry, <a href="#p145">145.</a></p>
-
-<p class="hanga">Preparing for covering, <a href="#p087">87.</a></p>
-
-<p class="hanga">—— for covering flexible work, <a href="#p089">89.</a></p>
-
-<p class="hanga">—— for covering flexible work, not to show, <a href="#p089">89.</a></p>
-
-<p class="hanga">—— for covering mock flexible work, <a href="#p090">90.</a></p>
-
-<p class="hanga">Preserving drawings, MSS., etc., <a href="#p165">165.</a></p>
-
-<p class="hanga">Press, arming, <a href="#p117">117.</a></p>
-
-<p class="hanga">—— blocking, <a href="#p150">150.</a></p>
-
-<p class="hanga">—— cutting (cut), <a href="#p060">60.</a></p>
-
-<p class="hanga">—— finishing (cut), <a href="#p121">121–122.</a></p>
-
-<p class="hanga">—— lying, <a href="#p007">7,</a> <a href="#p037">37.</a></p>
-
-<p class="hanga">—— sewing (cut), <a href="#p024">24.</a></p>
-
-<p class="hanga">—— standing, <a href="#p018">18.</a></p>
-
-<p class="hanga">—— standing, American (cut), <a href="#p019">19.</a></p>
-
-<p class="hanga">Pressing, <a href="#p058">58,</a> <a href="#p143">143.</a></p>
-
-<p class="hanga">—— Parisian, mode of, <a href="#p019">19.</a></p>
-
-<p class="hanga">—— various sized books, <a href="#p058">58.</a></p>
-
-<p class="hanga">Proof, <a href="#p057">57.</a></p>
-
-<p class="hanga">Public library books, <a href="#p041">41.</a></p>
-
-<p class="hanga">Pulling, <a href="#p005">5.</a></p>
-
-<p class="hanga">Putting on bands, <a href="#p088">88.</a></p>
-
-<p class="hanga">—— on end papers, <a href="#p038">38.</a></p>
-
-
-<p class="hanga padtopb">Refolding, <a href="#p005">5.</a></p>
-
-<p class="hanga">Register, <a href="#p003">3.</a></p>
-
-<p class="hanga">Religious books, edges, <a href="#p122">122.</a></p>
-
-<p class="hanga">—— books, end papers, <a href="#p033">33.</a></p>
-
-<p class="hanga">—— books, finishing, <a href="#p122">122.</a></p>
-
-<p class="hanga">Removing blood stains, <a href="#p163">163.</a></p>
-
-<p class="hanga">—— damp stains, <a href="#p162">162.</a></p>
-
-<p class="hanga">—— dust, <a href="#p161">161.</a></p>
-
-<p class="hanga">—— fat stains, <a href="#p164">164.</a></p>
-
-<p class="hanga">—— finger-marks, <a href="#p163">163.</a></p>
-
-<p class="hanga">—— fox-marks, <a href="#p163">163.</a></p>
-
-<p class="hanga">—— ink stains, <a href="#p163">163.</a></p>
-
-<p class="hanga">—— marking ink stains, <a href="#p164">164.</a></p>
-
-<p class="hanga">—— mud stains, <a href="#p161">161.</a></p>
-
-<p class="hanga">—— single leaf for cleaning, <a href="#p162">162.</a></p>
-
-<p class="hanga">—— photographs, <a href="#p171">171.</a></p>
-
-<p class="hanga">—— water stains, <a href="#p161">161.</a></p>
-
-<p class="hanga">—— writing, <a href="#p163">163.</a></p>
-
-<p class="hanga">Repairing books damaged by damp, <a href="#p162">162.</a></p>
-
-<p class="hanga">Re-sizing leaves, <a href="#p162">162.</a></p>
-
-<p class="hanga">Restoring faded MSS., <a href="#p165">165.</a></p>
-
-<p class="hanga">—— writing effaced by chlorine, <a href="#p165">165.</a></p>
-
-<p class="hanga">—— writing effaced by oxymuriatic acid, <a href="#p165">165.</a></p>
-
-<p class="hanga">—— writing effaced by sea water, <a href="#p165">165.</a></p>
-
-<p class="hanga">—— writing faded by time, <a href="#p165">165.</a></p>
-
-<p class="hanga">Reviving old writing, <a href="#p164">164.</a></p>
-
-<p class="hanga">Rice glue or paste, <a href="#p169">169.</a></p>
-
-<p class="hanga">Roan, covering with, <a href="#p095">95.</a></p>
-
-<p class="hanga">—— finishing, <a href="#p133">133.</a></p>
-
-<p class="hanga">Roll, bar, <a href="#p133">133.</a></p>
-
-<p class="hanga">Rolling, <a href="#p010">10.</a></p>
-
-<p class="hanga">Rolling machine (cut), <a href="#p011">11.</a></p>
-
-<p class="hanga">Round plough, <a href="#p042">42.</a></p>
-
-<p class="hanga">Rounding, <a href="#p046">46.</a></p>
-
-<p class="hanga">—— machine, <a href="#p047">47.</a></p>
-
-<p class="hanga">Roman vellum, <a href="#p147">147.</a></p>
-
-<p class="hanga">Runner, <a href="#p054">54.</a></p>
-
-<p class="hanga">Run up back, <a href="#p129">129,</a> <a href="#p139">139.</a></p>
-
-<p class="hanga">Russia, finishing, <a href="#p145">145.</a></p>
-
-<p class="hanga">—— imitation, <a href="#p096">96.</a></p>
-
-<p class="hanga">—— pasting down, <a href="#p099">99.</a></p>
-
-<p class="hanga">—— treatment of, <a href="#p094">94.</a></p>
-
-<p class="hanga">Rusting, to prevent, tools, etc., <a href="#p171">171.</a></p>
-
-
-<p class="hanga padtopb">Satin, covering with, <a href="#p095">95.</a></p>
-
-<p class="hanga">Saw cuts, depth of, <a href="#p022">22.</a></p>
-
-<p class="hanga">—— cuts, filling up, <a href="#p089">89.</a></p>
-
-<p class="hanga">—— marks (cut), <a href="#p021">21.</a></p>
-
-<p class="hanga">—— tennon, <a href="#p021">21.</a></p>
-
-<p class="hanga">Sawing in, <a href="#p021">21.</a></p>
-
-<p class="hanga">—— in machine (cut), <a href="#p022">22.</a></p>
-
-<p class="hanga">School books, end papers for, <a href="#p041">41.</a></p>
-
-<p class="hanga">Scrapers, <a href="#p079">79.</a></p>
-
-<p class="hanga">Set, marbling, <a href="#p077">77.</a></p>
-
-<p class="hanga">Set off, <a href="#p012">12.</a></p>
-
-<p class="hanga">Setting head band, <a href="#p093">93.</a></p>
-
-<p class="hanga">Sewing, <a href="#p023">23.</a></p>
-
-<p class="hanga">—— disadvantage of wire, <a href="#p030">30.</a></p>
-
-<p class="hanga">—— ends, mode of (cut), <a href="#p040">40.</a></p>
-
-<p class="hanga">—— flexible (cut), <a href="#p027">27.</a></p>
-
-<p class="hanga">—— flexible work, <a href="#p023">23.</a></p>
-
-<p class="hanga">—— keys, <a href="#p023">23.</a></p>
-
-<p class="hanga">—— machine, <a href="#p032">32.</a></p>
-
-<p class="hanga">—— machine (cut), <a href="#p031">31.</a></p>
-
-<p class="hanga">—— old books, <a href="#p025">25.</a></p>
-
-<p class="hanga">—— ordinary (cuts), <a href="#p026">26.</a></p>
-
-<p class="hanga">—— press (cut), <a href="#p024">24.</a></p>
-
-<p class="hanga">—— thread, <a href="#p027">27.</a></p>
-
-<p class="hanga">—— wire, <a href="#p030">30.</a></p>
-
-<p class="hanga">—— machine, <a href="#p032">32.</a></p>
-
-<p class="hanga">Shears, mill-board, <a href="#p052">52.</a></p>
-
-<p class="hanga">Sheets, <a href="#p003">3.</a></p>
-
-<p class="hanga">—— duplicate, <a href="#p019">19.</a></p>
-
-<p class="hanga">—— missing, <a href="#p019">19.</a></p>
-
-<p class="hanga">Shell marble, <a href="#p072">72.</a></p>
-
-<p class="hanga">Sides, blocking, <a href="#p151">151.</a></p>
-
-<p class="hanga">—— calf, finishing, <a href="#p141">141.</a></p>
-
-<p class="hanga">—— calf, extra finishing, <a href="#p142">142.</a></p>
-
-<p class="hanga">—— calf, polishing, <a href="#p142">142.</a></p>
-
-<p class="hanga">—— morocco, finishing, <a href="#p131">131.</a></p>
-
-<p class="hanga">—— siding, <a href="#p142">142.</a></p>
-
-<p class="hanga">—— tooling, <a href="#p125">125.</a></p>
-
-<p class="hanga">Sieve, sprinkling, <a href="#p068">68.</a></p>
-
-<p class="hanga">Signatures, <a href="#p004">4.</a></p>
-
-<p class="hanga">Silk blocking, <a href="#p146">146.</a></p>
-
-<p class="hanga">—— covering with, <a href="#p095">95.</a></p>
-
-<p class="hanga">—— finishing, <a href="#p146">146.</a></p>
-
-<p class="hanga">Silver mountings, to clean, <a href="#p172">172.</a></p>
-
-<p class="hanga">Single sheets, pasting, <a href="#p017">17.</a></p>
-
-<p class="hanga">Size, <a href="#p074">74–79,</a> <a href="#p160">160.</a></p>
-
-<p class="hanga">—— for marbling, <a href="#p070">70.</a></p>
-
-<p class="hanga">Sizes of books, <a href="#p004">4–5.</a></p>
-
-<p class="hanga">—— of cord, <a href="#p022">22.</a></p>
-
-<p class="hanga">—— of mill-boards, <a href="#p052">52.</a></p>
-
-<p class="hanga">Sizing, <a href="#p074">74–159.</a></p>
-
-<p class="hanga">Siding sides, <a href="#p142">142.</a></p>
-
-<p class="hanga">Sliding knife (cut), <a href="#p060">60.</a></p>
-
-<p class="hanga">Smooth cloth, covering with, <a href="#p095">95.</a></p>
-
-<p class="hanga">Spanish marble, <a href="#p072">72.</a></p>
-
-<p class="hanga">Sponges, <a href="#p119">119.</a></p>
-
-<p class="hanga">—— cleaning, <a href="#p172">172.</a></p>
-
-<p class="hanga">Spot marble, <a href="#p072">72.</a></p>
-
-<p class="hanga">Sprinkled edges, <a href="#p067">67.</a></p>
-
-<p class="hanga">—— marble edges, <a href="#p067">67.</a></p>
-
-<p class="hanga">Sprinkling brush, <a href="#p068">68.</a></p>
-
-<p class="hanga">—— calf, <a href="#p103">103.</a></p>
-
-<p class="hanga">—— calf, fancy, <a href="#p103">103.</a></p>
-
-<p class="hanga">—— calf, preparing for, <a href="#p103">103.</a></p>
-
-<p class="hanga">—— colours, <a href="#p068">68.</a></p>
-
-<p class="hanga">—— sieve, <a href="#p068">68.</a></p>
-
-<p class="hanga">Stains, blood, removing, <a href="#p163">163.</a></p>
-
-<p class="hanga">—— damp, <a href="#p162">162.</a></p>
-
-<p class="hanga">—— effect of wrong bath upon, <a href="#p158">158.</a></p>
-
-<p class="hanga">—— fat, removing, <a href="#p164">164.</a></p>
-
-<p class="hanga">—— ink, removing, <a href="#p164">164.</a></p>
-
-<p class="hanga">—— mud, removing, <a href="#p162">162.</a></p>
-
-<p class="hanga">—— removing, <a href="#p158">158.</a></p>
-
-<p class="hanga">—— removing, different, <a href="#p158">158.</a></p>
-
-<p class="hanga">—— water, how to tell, <a href="#p161">161.</a></p>
-
-<p class="hanga">—— water, removing, <a href="#p161">161.</a></p>
-
-<p class="hanga">Stamps, <a href="#p151">151.</a></p>
-
-<p class="hanga">Standing press, <a href="#p018">18.</a></p>
-
-<p class="hanga">—— press, American (cut), <a href="#p019">19.</a></p>
-
-<p class="hanga">Steel-faced backing boards, <a href="#p050">50.</a></p>
-
-<p class="hanga">Stick, folding, <a href="#p004">4.</a></p>
-
-<p class="hanga">—— cleaning off, <a href="#p058">58,</a> <a href="#p059">59.</a></p>
-
-<p class="hanga">Stone, beating, <a href="#p009">9.</a></p>
-
-<p class="hanga">Stove, finishing (cut), <a href="#p120">120.</a></p>
-
-<p class="hanga">Straight grain leather treatment, <a href="#p092">92.</a></p>
-
-<p class="hanga">Stuck on head bands, <a href="#p086">86.</a></p>
-
-<p class="hanga">Substitute for lettering pieces, <a href="#p136">136.</a></p>
-
-<p class="hanga">Surface paper, <a href="#p033">33.</a></p>
-
-<p class="hanga">Swelling, <a href="#p027">27.</a></p>
-
-
-<p class="hanga padtopb">Tail, cutting, <a href="#p062">62.</a></p>
-
-<p class="hanga">Taste in finishing, <a href="#p117">117.</a></p>
-
-<p class="hanga">Tennon saw, <a href="#p021">21.</a></p>
-
-<p class="hanga">Thread, sewing, <a href="#p027">27.</a></p>
-
-<p class="hanga">Throw up backs, <a href="#p089">89.</a></p>
-
-<p class="hanga">Throwing out maps (cut), <a href="#p016">16.</a></p>
-
-<p class="hanga">Thumb marks, removing, <a href="#p163">163.</a></p>
-
-<p class="hanga">Time, restoring writing faded by, <a href="#p165">165.</a></p>
-
-<p class="hanga">Title, <a href="#p128">128.</a></p>
-
-<p class="hanga">Tools, Derome, <a href="#p115">115.</a></p>
-
-<p class="hanga">—— finishing, <a href="#p118">118.</a></p>
-
-<p class="hanga">—— for antique finishing, <a href="#p122">122.</a></p>
-
-<p class="hanga">—— for gold finishing, <a href="#p122">122.</a></p>
-
-<p class="hanga">—— Grolier, <a href="#p113">113.</a></p>
-
-<p class="hanga">—— Le Gascon, <a href="#p114">114.</a></p>
-
-<p class="hanga">—— monastic, <a href="#p112">112.</a></p>
-
-<p class="hanga">—— to prevent, rusting, <a href="#p171">171.</a></p>
-
-<p class="hanga">—— Venetian (cuts), <a href="#p113">113.</a></p>
-
-<p class="hanga">Tooled gilt edges, <a href="#p082">82.</a></p>
-
-<p class="hanga">Tooling, emblematic, <a href="#p117">117.</a></p>
-
-<p class="hanga">—— sides, <a href="#p125">125.</a></p>
-
-<p class="hanga">Top, gilt, <a href="#p041">41.</a></p>
-
-<p class="hanga">Tree marble, <a href="#p105">105.</a></p>
-
-<p class="hanga">Trimming, <a href="#p041">41.</a></p>
-
-<p class="hanga">—— board, <a href="#p041">41.</a></p>
-
-<p class="hanga">——French method of, <a href="#p042">42.</a></p>
-
-<p class="hanga">—— knife, <a href="#p042">42.</a></p>
-
-<p class="hanga">—— letter on, <a href="#p043">43.</a></p>
-
-<p class="hanga">—— machine, <a href="#p044">44.</a></p>
-
-<p class="hanga">—— machine (cut), <a href="#p042">42.</a></p>
-
-<p class="hanga">—— object of, <a href="#p042">42.</a></p>
-
-<p class="hanga">Trindles, <a href="#p062">62.</a></p>
-
-<p class="hanga">Trough, marbling (cut), <a href="#p070">70.</a></p>
-
-<p class="hanga">—— two sheets on, <a href="#p029">29.</a></p>
-
-<p class="hanga">Type, <a href="#p118">118–128.</a></p>
-
-<p class="hanga">—— brass, <a href="#p129">129.</a></p>
-
-<p class="hanga">—— holder (cut), <a href="#p118">118.</a></p>
-
-<p class="hanga">—— lead, <a href="#p129">129.</a></p>
-
-
-<p class="hanga padtopb">Uncut edges, <a href="#p041">41.</a></p>
-
-<p class="hanga">Unsized paper, to tell, <a href="#p080">80.</a></p>
-
-
-<p class="hanga padtopb">Varnish, <a href="#p120">120.</a></p>
-
-<p class="hanga">Varnishing, <a href="#p143">143.</a></p>
-
-<p class="hanga">—— object of, <a href="#p120">120.</a></p>
-
-<p class="hanga">Vegetable parchment, <a href="#p147">147.</a></p>
-
-<p class="hanga">Vellum artists, <a href="#p147">147.</a></p>
-
-<p class="hanga">—— binding, lettering pieces, <a href="#p149">149.</a></p>
-
-<p class="hanga">—— binding, old, <a href="#p094">94.</a></p>
-
-<p class="hanga">—— covering with, <a href="#p094">94.</a></p>
-
-<p class="hanga">—— finishing, <a href="#p147">147.</a></p>
-
-<p class="hanga">—— Oxford, <a href="#p147">147.</a></p>
-
-<p class="hanga">—— Roman, <a href="#p147">147.</a></p>
-
-<p class="hanga">Velvet, blocking, <a href="#p146">146.</a></p>
-
-<p class="hanga">—— covering with, <a href="#p095">95.</a></p>
-
-<p class="hanga">—— finishing, <a href="#p146">146.</a></p>
-
-<p class="hanga">Venetian tools (cuts), <a href="#p113">113.</a></p>
-
-<p class="hanga">Viennese method of inlaying, <a href="#p135">135.</a></p>
-
-<p class="hanga">Vinegar, advantage of, <a href="#p127">127.</a></p>
-
-
-<p class="hanga padtopb">Washing, <a href="#p158">158.</a></p>
-
-<p class="hanga">—— dishes for, <a href="#p159">159.</a></p>
-
-<p class="hanga">—— requisites for, <a href="#p159">159.</a></p>
-
-<p class="hanga">Water, glaire, <a href="#p079">79.</a></p>
-
-<p class="hanga">—— stains, how to tell, <a href="#p161">161.</a></p>
-
-<p class="hanga">—— stains, removing, <a href="#p161">161.</a></p>
-
-<p class="hanga">Waterproof, rendering paper, <a href="#p165">165.</a></p>
-
-<p class="hanga">White morocco, paste for, <a href="#p092">92.</a></p>
-
-<p class="hanga">Whole binding, lining boards for, <a href="#p055">55.</a></p>
-
-<p class="hanga">Wire sewing, <a href="#p030">30.</a></p>
-
-<p class="hanga">—— sewing, disadvantage of, <a href="#p030">30.</a></p>
-
-<p class="hanga">—— sewing, machine, <a href="#p032">32.</a></p>
-
-<p class="hanga">Writing effaced by chlorine, restoring, <a href="#p165">165.</a></p>
-
-<p class="hanga">—— effaced by oxymuriatic acid, restoring, <a href="#p165">165.</a></p>
-
-<p class="hanga">—— faded by sea water, reviving, <a href="#p165">165.</a></p>
-
-<p class="hanga">—— faded by time, reviving, <a href="#p165">165.</a></p>
-
-<p class="hanga">—— removing, <a href="#p164">164.</a></p>
-
-<p class="hanga">—— reviving old, <a href="#p164">164.</a></p>
-
-<p class="hanga">Wrong bath, effect upon stains of, <a href="#p158">158.</a></p>
-
-<div class="padtopa fsize7">CHISWICK PRESS:—C. WHITTINGHAM AND CO.,
- <span class="nowrap">TOOKS COURT,</span>
- <span class="nowrap">CHANCERY LANE.</span></div>
-</div><!--index-->
-
-<div class="transnote" id="transnote">TRANSCRIBER’S NOTE
-
-<p>Original printed spelling and grammar are retained, with a few
-exceptions noted below. Many illustrations have been moved
-from their original locations to nearby places between paragraphs.
-Original printed page numbers look like this: “|81|”.</p>
-
-<p class="pright">link to <a href="#toc">table of contents</a></p>
-
-<p>Page <a href="#p021">21.</a> In “by sewing a small book on fine bands”,
-changed “fine” to “five”.</p>
-
-<p>Page <a href="#p046">46.</a> Changed “spontanenusly” to “spontaneously”.</p>
-
-<p>Page <a href="#p052">52.</a> A new KEY has been added to the table, so that the table can be
-displayed properly in this ebook edition. Furthermore, each pair of
-columns with headings “6d.”, “7d.”, “8d.”, “8x.”, “8xx.”, and “X.”
-was originally printed with an illustration of a black rectangle showing the
-relative size referred to. These illustrations are
-moved out of the table to a separate figure just above.</p>
-
-<p>Page <a href="#p107">107.</a> Changed “bason” to “basin”.</p>
-
-<p>Page <a href="#p121">121.</a> A new paragraph break was inserted between “become dangerous”
-and “A <i>finishing press</i> is”.</p>
-
-<p>Page <a href="#p164">164.</a> Changed “subsitute” to “substitute”.</p>
-
-<p>Page <a href="#p179">179,</a> Glossary, Entry “Stops”. Changed “mitring” to “mitreing”.</p>
-
-<p>Page <a href="#p182">182,</a> Index, Entry “Covering”. In “preparing f&nbsp;r, 87”, changed “f&nbsp;r” to
-“for”.</p>
-
-</div>
-
-
-
-
-
-
-
-
-<pre>
-
-
-
-
-
-End of Project Gutenberg's The Art of Bookbinding, by Joseph W. Zaehnsdorf
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author	nfenwick <nfenwick@pglaf.org>	2025-02-05 08:42:03 -0800
committer	nfenwick <nfenwick@pglaf.org>	2025-02-05 08:42:03 -0800
commit	ad087d3ebb3c547c08907abec2c4a48ec1765a43 (patch)
tree	1458a6384fe849591b2df1fe7dfe6854c0507eeb
parent	f130c19af52564898c8d11b658fdfa440454f29b (diff)