FOR THE BACK OF THE BINDER © iS ay ; SR \ ee val oa oleh omln iis ahs ‘ue Prony * Lond RES Py = ie, A ROD as hg we “th Ue eat | =| °/ Pea A Rod for the Back of the Binder Some Considerations PPLiTiT celefiBmiaraps, 3 Sb Reon the Ideals of The Lakeside Press The Primary Object of Binding a Book is to Preserve It. The Merit of a Binding, Primitively its Sole and always its Chief Merit, Consists in its Solidity and Durability—We ALE. The Lakeside Press R. R. Donnelley & Sons Company Chicago : 1928 £ | fe ‘* COPYRIGHT, 1928, BY R. R. DONNELLEY & SO itd Yo aa * . Ne PREFACE HE Extra Binding Department of The Lakeside Press was established in 1921 with the idea that there was a place for a bindery whose standard was simply the best that could be done. We issued a book in ro25 declaring our principles and showing the manner of our decoration at that time, and present here our later work up to and including the year 1927. Our preference zs for simple tooling, although this book shows some elaborate work. It is not possible to show the quality of the forwarding (2. ¢. the binding itself) in an illustration, hence the tendency of the binder to show his skill in elaborate tooling, Notable books on book binding are almost entirely on the subject of decoration, its history, bibliography, and identifications with certain binders of the past. The subject of forwarding is touched on only lightly. A real forwarder with a feeling for fine binding and judgment in the details of his work is extremely rare. A finely bound book with a good choice of leather is athing of beauty in itself, and needs from the designer and finisher a great deal of thought and a small amount of tooling to make it a work of att. The subject matter of this book treats binding from a new angle, describing those book binding details concerning which mistaken ideas exist or in which bad binding practices are prevalent. T hese notes were written from the stand point of the causes of defects developed in a bind- ing when on the bookshelf in an American home. When Mr. de Sauty had read them, he exclaimed, “You are giving them a rod with which to beat us.” So be it. Nothing could be better than a clientele of well- avmed critics helping us to maintain that standard of quality which we have set up as our practice. R. R. DonnELLEY & Sons ComMPANY Chicago, 1928 Pill a Na er a i o. - * \" , , . ‘ \ i ¥ ‘ i f : i ¥\ *, = ' ; . ir ch ' 1 # Pah Rt eat ae PLATE I ‘“GORIDON. S SONG: < STRERIGCHARD S DAUGHTER: “DANIEL PRHSs. MAUVE LEVANT. GOLD TOOLED, ees A ANA AISLE PE s WE Ary shy Bee Sa im = a MAS ROS . B crooner 4 } x x * =. < 4 ae ay DAYS a * - ear ae : x : ‘ » 8 4 < ‘ Ko RARPRB ORO Wormer PLAT ESE CHAUCER S WORKS—KELMSCOTT PRESS. BROWN LEVANT. BLIND TOOLED. A ROD FOR THE BACK OF THE BINDER workmanship and extra quality of materials. It is to ex- tra binding that the following notes are devoted. The large proportion of extra bound books found in American homes has been bought already bound from book sellers. The Ametican bookseller buys these books abroad where cer- tain large binderies combine a binding and bookselling busi- ness. They buy old books, often clean and wash them and make them otherwise vendible, and bind for their stock, probably eighty percent of which goes to America. On very valuable books, that is books worth several hundred dollars, their work is likely to be in accordance with the best binding practice. On less valuable books, that is books worth less than one hundred dollars, a compromise enters into their constructional methods. Most American collectors owning large and valuable li- braries have, in the past, sent their books for binding to these same foreign firms. There are also a few individual or studio binders abroad who handle some of the American collectors’ work and some of whom do the finest work obtainable. There » Lever binding is known as “extra” binding, meaning extra ate practically no extra binders in America. All of our own adult craftsmen have come direct from England. The great majority of buyers and even notable book collec- | tors know little of binding construction and judge by appear- ance only. Others buy with some surface knowledge, but with no appreciation of the underlying principles on such points as freedom of joints, proper opening qualities, absence of warp in the covers; all important advantages, which, however, are sometimes achieved by methods detrimental to the binding. In order to discuss these binding principles, it is necessary to use some technicalities, but these have been kept as simple as possible and explained by drawings. | SEWING—GOOD AND BAD Sewing is the foundation of good binding. In the older work the sewing was generally round five cords or “bands,” in large folios sometimes six of seven and in small volumes three or four cords. These cords were frayed out at the ends and laced into the boards, mak- ing a rugged but strong and lasting binding. ES Fraying is done by untwisting the strands E== of the sewing cords and teasing them out into their constituent long silky fibres (fig. 1). This is done to enable the cords to lie flat on the edge of the boards where laced in; the boards are punched with two holes foreach cord and a slight V-shaped groove is cut in the edge of the board next the book (fig. 2); the frayed ends ate then pasted and drawn through the first hole and then passed up through the second hole after which the end is cut off and securely fastened. The groove and the fraying minimize the lump which would otherwise occur at this point. FLEXIBLE SEWING The sewingreferred to above is known as “flexible” sewing and, as will be seen from the sketch (fig. 3), ensures each sig- nature of the book being directly attached to the cords five times. The cords ate stretched onasew- ing “frame” (fig. 4). The thread enters at one end of the sig- natute, goes round each cord in turn, comes out at the opposite end and forms what is known as the “kettle” stitch (a corruption 7 of the words “catch up” stitch) | GT thence into the next signature and so on through the complete book. It may be of interest to know that the sewing frames we use ate identical with those in use in the sixteenth century. In very large folios double — cords are used (fig. 5). These cords, whether single or double, form the ridges or raised “bands” apparent on the back- bone of the book. Il HEADBAND In some cases the “headband” is sewn on an extra cord at the head and tail of the book, the ends being laced into the boards. The headband serves to strengthen the leather and take the strain incurred in removing a book from the shelves. In the majority of modern work the headband is no longer sewn on the body of the book, but is merely a piece of imita- tion woven material stuck on and serving no useful purposes. ORDINARY SEWING In a desire to save time and cheapen production cost, what is known as “ordinary” sewing was devised. In this case instead of the customary five cords, three (and frequently only two grooves) are sawed in- to the back of the book, cords are stretched in these grooves below the surface of the backbone and the | “X27 ___@q| sewing is done over instead , a of round the cords (fig. 6). a Wi J This method of sewing | ae is weak inasmuch as the book is no longer = au to the cords as in flexible sewing; the number of cordsis fewer thus entailing fewer holds. Other objectionable points are: J. The sawn gtooves which show when the book is opened. Il. The entry of the glue used in later stages into these grooves, which stiffens the back and impairs its flexibility. 12 Sg ) ————— = : a) ‘am La esse ) LES pasexcnesteed Cones ausenreree oe a RRERLOEPPEASAS x 3 z 3 £ > By 5 g % x - S 3 SOSA AEN PLATE II! BROWN LEVANT. BLIND AND GOLD TOOLED. ; $ } i « * “< SPR aninrnnnitrcctnvonceinatinnnneanewantrasi PLATE 1V ‘“BTCHINGS OF F. S$. HADEN. DARK GREEN LEVANT. INLAID AND GOUD_TOOLED. ? In the case of books sewn ordinary fashion and sometimes rebound and resewn again in the same way (very often with new grooves) this method offers very serious problems to any succeeding binder anxious to do his best. Either costly repairs are necessaty ot the grooves are left. These grooves may be found sometimes in flexibly sewn work, a relic of previous binders. FALSE BANDS A further objectionable feature entailed by this method of sewing is the addition of “false” bands. False bands consist usu- ally of five narrow strips Of [Gite Bande—eithr a rip of leather ov pasteboard leather or pasteboard stuck on u to thebackaftersewing toim- ply after the leather cover has been drawn over them that the regulation number of cords has been used and the book flexibly sewed (fig. 7); further, these bands are stuck on to what is known as a “hollow” back (discussed later). A very cursory examination of a binding will reveal its method of sewing. The lacing in of the ends of the cords to the boards causes a series of slight swellings or bumps to show under the leather covet. In the case of flexible sewing one bump will show at the hinge of the cover coinciding with and indicating each actual cord or raised band and one bump slightly lower and further in will indicate where the loose end has been re-laced for strength. In a book sewn by the ordinary method, bumps will often appear where there are no cords, a certain evidence of false bands. ae, Fewer bumps than bands will ap- pear, showing clearly the number of cords used in contradiction of the five false bands on the back (fig, 8). These bumps are the best ev- idence of sewing methods and should be noticeable but should : == not be so prominent as to cause ab- rasion of the leather at these points. The bumps in the above drawing have been exaggerated to emphasize this point. (To further economize it is sometimes customary to cut off the ends of some of the cords after sewing and lace ina minimum of two ot three only, still further weakening construction.) Frequently, to meet one of the buyer's mistaken demands for neatness, the greater part of the strands on each cord ate cut off and the remainder extravagant- ly frayed out, greatly impairing its strength. Since some of these cords ate cut off altogether to minimize time in lacing in, it is easy to realize what construction sacrificed to neatness, at this point (fig. 9) entails. The substitution of ordinary for flexible sewing is entirely tosave cost, for, with ordinary sewing, considerable time can be saved in the subsequent processes of “rounding and backing” as well as in the sewing itself. ROUNDING Rounding isthe shaping (by hammering) of the back intoa cutved form and is preparatory to backing. 14 PLATE V «oH EPHEARDE S CALENDAR —KELMSCOTT PRESS. OLIVE GREEN LEVANT. INLAID AND GOLD TOOLED. PLATE VI KEPPEL S ‘‘HANDBOOK ON ETCHERS.. HALF BINDINGS. JAPANESE PAPER SIDES. ’ The rounding determines the shape of the back( fig.10). The amount of round and subsequent backing has some relation to the opening qualities. The extremes are the semi-circular back (#) much favored by the French binders and the square flat back (4) used in some cases by cettain English binders; much of Cobden-Sandetson’s earlier work hasasquare back. The former shape renders a book difficult to open and lay flat while the latter (on large books particularly) although opening wellis liable to cave in and pro- ject the book beyond its boards on the fore-edge (c). A happy medium is recommended as in (4). In the case ofa flexibly sewn book the leather cover isdtawn over the back and stuck directly to the bands and back of the book; that is, the cover is flexible with the book when it is opened. + HOLLOW BACK Most ordinary sewn books are made with a “hollow” back. The hollow back is made by lining up the back (after sewing) with folds of paper on top of which the false bands are stuck, and the book is then covered. The book when opened then throws up the hollow supporting the leather, which does not wrinkle. But it will be seen that the leather is no longer an intimate or integral part of the book (fig. 11) as it is in a flexibly sewn book (fig. 12). | Since the hollow back is an obvious at these points only Leather directly attached to back of book sacrifice of construction it is undesirable. To further imitate flexibly sewn work the hollow back is sometimes omitted, the back lined up very stiffly ered. This makes the book so stiff that it is necessary to use a considerable amount of VS I ms Ea me | dinary method are always the hollow back. One can easily detect the hollow back by opening the book wide and looking down the backbone from tight down the book between the leather cover and the back of the book (fig. 13). with thick paper, the false bands put on this and the book cov- force in opening it. bound in one or other of the above two methods, generally the top; the hollow back will show an open space running 16 The flexibly sewn book cannot do this as the leather 1s firmly fastened to the whole of the back of the book instead of at the hinges only. PANELS In general practice, bands are usually regularly spaced; this divides the back into six distinct panels; the lowest panel is purposely arranged to be slightly | longer than the others; otherwise, owing to an optical illusion, it would appear shorter (jig, 14). Some variation in spacing is sometimes adapted, and is arrived at by eliminating some sewing cords and grouping the remainder differently from the or- thodox spacing. This is usually done with a view to | making construction conform to design. BUILT UP BANDS A flexibly sewn book has an obvious ruggedness of appear- ance, the bands look as if they were really made up of a round Peiiling Ub cord and they should not be unduly pinched up in covering to imitate e @\— something square as is often the case. An absurd fashion recurs from time to time of building up the bands very high with sttips of leather or cardboard before covering (fig 15);a great amount of time and trouble is wasted in trying to create an impression of great strength. Bands so treated are just a pretence and some- what of a danger, for owing to their height and squareness they ate mote likely to suffer from a blow than are the softly rounded contours of a real cord band. They are uncomfortable =e to handle and only stiffen the cords where flexibility is desir- able. An examination of any old bindings of the 15th or 16th century will demonstrate the directness of methods and absence of pretence in those days. SEWING ON TAPES Sewing on flat tapes is an excellent method in the case of thick, heavy books and especially so on books of reference likely to be handled considerably: such as dictionaries, music, atlases, etc. Flat tapes are used in place of cords; these admit of very free opening and since there are no projecting bands, the back is subjected toless wear. The ends of the tapes should be inserted between and stuck to split boards (made by stick- ing a thick and a thin board to- gether, (fig. 16). This with a === Ss ——_7/ cloth joint sewn on inside, com- SS SS Y bined with what is known as a lean French joint outside makes a vety strong, serviceable binding. The French joint consists in keeping the boards a slight distance away from the shoulder of the book. This leaves a groove and room for leather of full thickness in the joint. END PAPERS The end papers, which form a buffer at each end of the book, should be liberal in number and should be sewn to the cords with the book and not merely tipped or pasted on. 18 PLATE VII “JARDIN DES GEMMES, WITH ILLUSTRATIONS IN COLOR. OLIVE GREEN LEVANT. INLAID AND GOLD TOOLED. VIII PLATE ‘“JAHRBUCH DER EINBANDKUNST. HALF BLACK LEVANT. , , PAPER SIDES, INLAID AND GOLD TOOLED. Leather (or cloth) joints are used in work which warrants the extra cost involved. These again should be sewn on with the book (fig. 17). Leather flies area luxury fittingly used with leather “dou- blures” (board linings). Leather soe) ¥ Uj ' ’ , Ay ‘ Vy i, ae BACKING Backing is the forming (by hammering) of the shoulder to receive the boards. To back a flexibly sewn book calls for a high degree of craftsmanship and considerable | time as compared with backing an ordinaty sewn book. Ds Backing consists of taking the book after rounding, placing it in a ptess between backing boards and by driving blows with a ham- met, forcing the back of the book to either side from the center (jig. 18). This creates the shoulder or joint for the boards. In flexibly sewn work this requires extreme care and neatness owing to the projecting bands. Shoulder No t S houlder ‘Formed lin Formed PAPER Paper is a determining factor in the opening qualities of a binding. Many publishets stretch a small book into a large one by the use of paper too bulky and stiff in relation to page size to admit of flexibility. A book printed with the grain of the paper run- ning parallel to the backbone opens more freely when bound. a, TRIMMING AND TREATING EDGES Trimming should be as sparing as possible; the tops cut just enough to obtain a solid edge for gilding; fore-edges and tails either uncut or trimmed as little as may be to save destroying marginal proportions. Many books, and practically all the private press books is- sued today ate printed on unevenly folded papets having a very rough deckle which in time becomes nothing but a dust trap and unsightly. In binding, a certain amount of hand trimming (before sewing) of the roughest of the deckle on the fore-edge and tail is desirable, always leaving some untrimmed pages, known as “proof” sheets, as evidence of a regard for margins. Uncut folded sheets should be opened, but with the owner's permission only, for a “desirable unopened copy” has to be respected! EDGE GILDING The purpose of gilding is to keep out dust and dirt. Gilding the top setves this very useful purpose and allows of easy dusting; the fore-edge and tail need not be gilt as no useful purpose is attained. Thehighly burnished solid gilt edges of abook gilt all round we believe is very poor taste; the fact that a book is composed of single sheets is lost sight of in the desire to obtain what has often been described as a “brass bedstead” effect. To get a surface smooth enough to solid gild, undue cutting of the edges is nec- essary and margins are sacrificed. If desired the fore-edge and tail may be rough gilt before sewing, and fine books ate often treated this way. 20 é eS aces ROO ee aa Bases PLATE 1X "_-yALE PRESS. RIGHT: ‘‘SONNETS-OF SIR..PHILIE SIDNEY .—VALE PRESS. JREEN LEVANT. INLAID. AND GOULD. TOOLED. LEFT: ‘‘NIMPHIDIA_ * * e ba * * ‘- 2 i * a oh BNR LINE EEE Ah A cane NR SEC ~akencnanenc a ey i a seennarnoniacnenees “ ‘ > DREW ypoents PRANK ERLE REREAD NOBEL ERROR ETT OD BEES CR BERENS | 5 MR SH PRR PRT BEE Se GRC SN ES me aD BONY ceegtrusovesenis PEPIN Sa Db S Pan eEN See RTT TN HCE Nae pete errs Peme spines: BEELER UGA EEE FHS sceieaincinicemninierine RRA ANIA AED ANA - scnnaeageacnanasnsgronnen onsen Ai See RARE PLA REREA ASAIO tiniest nino is aenmaaiaconcow Secheicntiates stamvsrnndy rdacos acacia eaten taes tate cceeenaiete nana ager eae cee eee EE Ss ocpiibeaaeiiions soucnatin 5 ‘ z $ Pc pagaaser®?* § EERIE EO™ hh PEEAE EERE RE” coca jie iiiooeeee PREPEE ETT TS” nee) . PLATE X LEFT: '‘GENTLE ART OF MAKING ENEMIES —WHISTLER. GREEN LEVANT. RIGHT: “BALLAD OF BEAU BROCADE —AUSTIN DOBSON. RED-LEVANT. INLAID AND GOLD TOOLED: RRP LOR LE ROPIN®, | H i *§ ai $ 3 4 Books with thick signatures and books with | plates should not be gilt all round as they are liable | to show statts, especially on the fore-edge (fig.19) Plates are usually printed on an entirely differ- ent paper than that used in the body of the book and have a tendency to shrink or expand at a different ratio. Papert again isa factor in gilding; most hand made and good class machine made papets gild well but the softer bulk and cheap gtades show a fluffy or ragged surface when gilded. Brown stain burnished is suitable and pleasant on some types of binding and goes well with quietly bound books finished with “blind” tooling. SQUARES The squares of a binding ave the amount of board projecteng from the three edges. The prime object of the square is to protect the edges (fig.20). A large square, | however, is more liable to give toa blow than a small one with the natural buffer or fender of the book behind it. The French binders use a small square, Cobden-Sanderson advocated and preferred one, and so do we. THE LEATHER COVER The demand for high finish and unnecessary neatness results in some of the worst features in modern work and these will be apparent in considering the leather cover and its true functions. The hinge is the most exercised part of the binding. To make aa a neat joint and good opening qualities, it 1s necessary to pare or scrape the leather at the hinge or joint, but it is often un- duly pared at great loss of strength to meet the desire fora freely swinging board. A test sometimes applied is to see whether the boards will touch freely in the position shown in the sketch (fig. 21). A book which causes the boards to touch (or nearly touch) when held in this position indicates that the leather is too thin- pared in the joint and liable to early breakage. A little sacrifice of neatness here will re- sult ina corresponding gain in the length of life in a joint, usually the first place toshow signs of wear. A book which opens at the joint too freely will not last. Paring must be done with discretion and due regard paid to the amount taken off in relation to the size of the book. It should be as little as possible. Another point where excessive sharp- ness is looked for is the turn-in of the leather overt the edges of the boards; this has to take a great deal of wear and tear, especially on the tail-edge (lower end of book). The very slightest rasping of the edges of ‘Pe the board before covering will permit the use of thicker leather with an added gain in strength (fig. 22). Leather The leather coming over the bands and back should not be over pared, for the thicker the leather the more protection to the foundation of the binding; the NOT RASPED pie sewing, An examination ofsome old bindings will teveal the use of prac- tically full thickness of leather on the back and elsewhere. The cover, while damp, was tied down with strings to al- low the leather to adhere to and conform with the bands when dry (fig. 23). The strings left their impression above and below the bands and toa certain extent just over on to the side. These marks ate sometimes pleasantly used as decoration by extending them, as illustrated, and finishing them with a stamp; a style of decoration now knownas “tied” bands, but dec- Oftation subservient to construction. LEATHER The leathers most frequently used in bookbinding are goat- skin, known as Morocco, Levant and Niger; calfskin, known as Calf and known in England as Russia; pigskin, sealskin and sheepskin, known as Skiver, Roan and what not. Goatskin, pig- skin and sealskin, if properly prepared, make fine binding leathers. Calfskin does not weat so well and we do not recommend its use. It is largely used as it is cheaper, works up more easily, can be bought in a great variety of beautiful colors and takes a polish that makes it a very flashy binding. Few extra binderies use sheepskin in any form. The finest binding leathers all come from abroad. oa Large skins cut out mote eco- nomically than small ones, but ow- ing to their thickness large skins have to be unmercifully pared for small books with a great loss of strength; for this reason covers for small books should be cut from : : smaller skins. The back and sides parts 7 a SL svine. give the best leather while that “—_______} from the flanks, neck and legs 1s much looser of texture and less strong. Covers should be cut from the best parts (fig. 24). The spine on a skin is usually quite marked. In cutting a cover a concession to appearance is made by avoiding this marking; it is a natural one and in no way detracts from strength. On large books it is almost impossible to cut a cover without in- cluding it and it is not without decorative effect if discreetly placed (fig. 25). Regarding the grain: the goatskin used in the preparation of the finest levants has a characteristic large, bold grain and is highly decorative; this is commercially imitated (difficult to detect on a book) by taking a mould from a genuine skin and en- graving it on rollers through which an inferior leather is passed. Close examination will show the coarse hair marks on a goatskin to be differently grouped to the closely spaced wool marks evident in a sheepskin. The fibres in the skin of a goat are longer and more tensile than those in the skin of the less 24 PIGSKIN PLATE XI LEATHERS. CALFSKIN XII PLALE ILLUSTRATIONSOIN: COLOR B21. 4 SCHMIET. ins LES CLIMATS. BLUE LEVANT. ITH BRILLIANT COLORS: LN GALD) WwW: TW OSS ERAS active sheep, hence goatskin has better wearing qualities. Pig- skin has a characteristic marking and should show the bristle marks itregularly spaced; these again are sometimes imitated on an inoffensive sheepskin which more often masquerades as a crocodile skin or goatskin, than it appeats as a sheepskin. METHODS OF TANNING AND DYEING Owing to methods entirely different from those formerly used intanning and dyeing, methodsadapted to rapid and cheap- et production, modern leather is much poorer in quality. The demand for “fancy” colors which can be obtained only by distinctly harmful means is another factor. Everyone seriously interested in binding is recommended to read the report of the Committee on Leather for Bookbind- ing of the Society of Arts, England. This was published by George Bell and Sons, London, 1900. In substance this committee found that the great difference in wearing qualities of the leather of the sixteenth century and that of today is due to the following causes: I. The different methods of tanning and dyeing. IL. Use of free sulphuric acid, seldom properly washed out. III. Additional hazards to leather owing to modern living conditions. IV. Demand for highly polished or crushed surface on leather covets. One mill in England makes leather in accordance with the recommendations of theabove committee; we have this leather in use. The range of color obtainable in this grade is small and Co the colors are duller than those possible by other means of manufacture; it is somewhat more difficult to tool but it will last and is not likely to fade. The most brilliant colored skins are likely to be the least durable. The duller staple reds, browns, blues, and perhaps some greens are most likely to wear well. We believe that some of the new French levants now being marketed are being prepared with due consideration to this fact Leathers with highly polished and crushed surfaces are fre- quently demanded by the purchaser. They are not only in poot taste but can be obtained only by methods injurious to the weating qualities. High polish is sometimes obtained during manufacture by mechanical means, either by a combined crush- ing and polishing process or by means of crushing with hot highly polished plates, or rollers, and much of the high finish thus obtained is destroyed in the course of handling by the binder and is restored by the repeated use of hot plates and crushing after covering. Evenness of color is another demand met by detrimental treatment during manufacture. One may well comment here on the fact that a great deal of trouble is taken with the leather (particularly in calfskin bindings) to disguise its even, smooth, natural color and grain by staining, marbling, veining and grain- ing, all of which results are obtained by injurious chemicals or hot stamping. The terms: tree; marbled; sprinkled; basket weave; diced calf; all imply the use of processes of deleterious nature. It is only fair to say that modern leather is subjected to much worse conditions than was the case in the earlier days 2.6 PLATE Oxi WANKER AT COURT OF KING ARTHUR —MARK TWAIN PAINTED FORE-EDGE (FROM ILLUSTRATION IN BOOK). PELEEE LE LES OLE GOILEGOEL LEVEES PERSE ERT IES oH ahs BORE S60 ges scasoeeccr ‘2 prot a ia ‘ , joy ort pe dhs on iy = dal La ene ae ee ew a. baal sy! oe eerie 10m NEE ay vind mye aa es ( . med 7 i peed y ead, § ow J : ard, va ; ee] A je ‘ P = 5 ahd ’ 7 y a ve a , ‘f ae . ‘ . ’ S . y £ = . —_ — — * ‘ . 4 ‘ pan ‘ ‘ he Wy ; i) ii} } | a