« ART OP BOOKBINDING. [fifty copies printed on large paper for private circulation ONLY.] RENAISSANCE. Roy folio. THE ART OF BOOKBINDING f ¥ 'A BY \>< . 1 ir.LUSTRATED. ^ LONDON GEOEGE BELL & SONS YOEK STREET COVENT GARDEN. 1 8 80. [JU rights reserved.'] CONTENTS. Dedication Preface Introduction Chap. I. Folding ..... 1 II. Beating and Rolling 5 III. Collating .... 8 IV. Marking-up and Sa wing-in 16 V. Sewing ..... 20 VI. Forwarding 28 VII. Pasting-up .... 32 VIII. Putting on End Papers . 34 IX. Trimming .... 36 X. Glueing-up 40 XI. Rounding .... 42 XII. Backing .... 44 XIII. Mill-boards .... 47 XIV. Drawing-in and Pressing 53 XV. Cutting ..... 57 XVI. Colouring the Edges 64 XVIL Gilt Edges .... 73 XVIII. Head-banding 79 XIX. Preparing for Covering 83 XX. Covering .... 87 XXI. Pasting-down .... 94 XXII. Finishing .... . ■ . 101 XXIII. Calf Colouring 148 XXIV. General Outline . . 157 Glossary ...... 167 Index . 179 V xi XV ILLUSTKATIONS. PHOTO-LITHOGRAPHS FROM BINDINGS IN THE POSSESSION OF THE AUTHOR. No. PAGE 1. Eenaissance, inlaid Frontispiece 2. Grolier, do. xviii 3. Derome xxi 4. Gascon | 5. Early Italian, inlaid I gg 6. Maioli do 7. Florentine do 8. Gascon 104 9. Antique, with gold line introduced . . . . 112 10. Grolier, inlaid, double of frontispiece . . . .125 WOODCUTS. Monastic centre block xvii Venetian xviii Grolier centre . . . .• xix Harleian border xxii Roger Payne corner xxiii Folding machine 3 Renaissance — two corners worked together ... 4 Rolling machine 6 Celtic — two corners worked together 7 Standing press 11 Hydraulic press 13 Boomer press 15 Renaissance centre tool 15 Sa wing-in machine 18 Gas9on — two corners worked together .... 19 b X PAGE Sewing press 20 Sewing machine 26 Eenaissance — centre block ....... 27 Venetian tool ^-^ Grecian ........ 33 Trimming machine 317 Renaissance ...... 39 Renaissance— three tools wo-rked together forming one . 41 Rounding machine 43 Backing machine 45 Grecian tool 4g Mill-board cutting machine 49 Mill-board cutting machine (steam) 50 Renassiance — three tools worked together forming one . 52 Screw press 55 Renaissance block , 5g Cutting press, plough and knives 58 Cutting machine (steam) Cutting machine (hand) g2 Celtic centre block g3 Seventeenth Century block 72 Gasgon block Persian — three tools worked together 82 Egyptian — emblematical tool 86 Harleian tool gg Venetian Grolier block jq3 Finishing stove, gas HO Monastic centre block jj2 Dentelle border j21 Cut shewing the stages of progress in finishing a back . . 129 Grecian — two corners worked together . . . . 140 Arming press j42 .Blocking machine j44 Harleian ^47 Egyptian — two corners worked together . . . . isq I have not written this book witji 't^he ^dea of teaching any of my confreres their"' b)usiness, neither do I think that its production will damage the trade in a financial point of view ; but I hope that the reader, if he have the patience to study its pages, will be enabled to know when a book is well bound, and to form a judgment on inferior work. I do not wish it to be understood that a half bound book may not be as well bound as a whole bound one, simply because it is only half bound; for the one should be as strongly done and as well finished as the other ; but I do hope that the few following pages may stimulate the public to study the binding of their books more closely, and give the binder a better chance of producing stronger and better finished work at a more advanced price. Grood work cannot be done at low cost. I trust that the reader will bear with one who PKEFACE. loves tis trade. Nothing is more painful to witness tlian the quantity of gaudy but unsound bookbinding that is too frequently in the market; which the uninformed purchaser is sometimes persuaded to believe is work of high class. This book is intended to give the amateur sufficient knowledge to enable him to avoid such mistakes in his purchases, and at the same time give him as much instruction as will, if his inclination and time permit, enable him to bind his own volumes as his wishes and taste may dictate. To this end I have endeavoured to explain, in as concise a manner as possible, the various branches of the trade. This may enable amateurs to do, at least what M. J. Grrolier and many other distinguished personages have done — direct the binder for any particular style or design; and acquire, like them, fame for their collections. If the amateur wishes to bind his own books, he must not be deceived by the idea that he will not want many tools ; neither must he think that a book can be bound properly in a few hours. Many books are so bound, under pressing circum- PEEFACE. stances, in a very short time, but tlie binder has to put himself to great inconvenience thereby, and cannot guarantee that his work will be sound and good. When a book is hurried, it will keep its moisture for some weeks, and there is a risk that it will communicate mildew to other books when placed amongst them. Those who are in the trade, but who have not had the opportunity of learning all its various branches or methods ; and those who may be in remote places, will I trust find this book an assist- ance and an aid to them in their labours. I have endeavoured in the following chapters, step by step, to forward and finish an imaginary book, in the same way that it would be done in an "extra shop." There will also be found a collection of various receipts connected with the trade, collected by my respected father and myself. 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 I possess, with the hope that if only a few benefit by my endeavours, I shall have contributed PREFACE. somewliat to advance the beautiful art of Book- "binding. I have to record my obHgation to those gentle- men who have assisted me by courteously de- scribing the various machines of their invention with which the book is illustrated. The object of illustrating this work with en- gravings of machines is not that the amateur should purchase them, but simply that he may know what machinery is used in the trade at the present time. INTRODUCTION. Bookbinding carries us back to the time when leaden tablets with inscribed hieroglyphics were fastened together with rings, which formed what tons 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 xvi INTRODUCTION. form ; the only object being to keep tbe several leaves in connected sequence. I believe the most ancient form of books 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 ox veUum 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 piUage that overran Europe, as books were destroyed to get at the jewels that were supposed to be hidden in the different INTRODUCTION. XVll 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 Easte 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 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 XVUl INTRODUCTION. great difficulty, ■seeing how rude were the implements then in use. 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, book- binding became a separate art-trade of itself. Tliis 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 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 N° 2 GROLIER. Demy folio . T.Way Phote-lith. INTRODUCTION. xix 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 and painting them black and white, so that they formed bands interlacing each other in a most graceful manner. Above is a centre block of Grolier. It wiU 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, placed the art on such a high XX INTRODUCTION. 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. There is little doubt that the first examples of the style now known as " Grrolie,r " were produced in Venice, under the eye of Grolier himself, and according to his own designs; and that workmen in Trance, 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 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 N9 3 TWsy.FKoto-Ulli. INTEODUCTION. xxi design, with harmonizing flowers anfi t5|t,er b^j^s, from which we may obtain a great varietyl^ a^^atic (^i^acter. During this period embroidered velv«^^»(t^^as n%ch mt^use. Then a change took place and a style ^^gdoptM w|^^ by some people would be preferred to the gorg^Ous Bladings 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, Eoger 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 dimi- nishing of the scroll work as it nears the centre of the panel. Morocco and calf were the leathers used for this binding. Hand coloured calf was at this period at its height, and the Cambridge caK 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. The Harleian style took its name from Harley, Earl of Oxford. It was red morocco with a broad tooled border xxu INTEODUCTION, and centre panels. We have the names of various masters who pushed the art forward to very great excellence during this century. Eaumgarten 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 INTRODUCTION. XXlll pass on to Eoger 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 liis 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. xxiv INTRODUCTION. Much has been done to advance the Art of Binding in this country by the public exhibitions, especially the latter ones when the eyes of the trade were educated by contem- plating the chef d'ceuvres of the ancient masters. 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 bookbindino- 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 amateur and unskilled workman how to hind a hook PART I. FORWARDING. CHAPTER t FOLDING. We commence with folding. It is generaily—tfeT first tiling the binder has to do with a book. The sheets are ■either supphed by the publisher or printer (mostly the printer) ; so, should the amateur wish to have his books in sheets, he may 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 A^ery 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 ; so 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 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. Holding a folding-stiik in the right hand, the sheet is brought over from right to left, carefully placing the B 2 FOLDING. folios together; and if tlie paper is held up to the light,, and is not too thick, it can be easily seen through. Holding the two together and laying 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 done. 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 flidr signahires outside at the foot of the first page. If the signature is not on the outside, the amateur may be sure that he has turned his sheet inside out. With regard to books that have been folded, and issued, in numbers, they must be pulled to pieces or divided. The parts being arranged in 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,, always looking 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. The sheets must now be refolded, if they have not been properly done in the first instance. Eefolding is not often done save for extra wovk, and must be carefully executed, the previous creasing renders the paper liable to be torn in the process. Books that have been bound and cut would be rendered worse by refolding, and as a general rule they are left alone. Bound books are, however, pulled to i)ieces in the- same way, always taking care that the tln^ead is cut or loose before tearing the sheet away. The groove should be knocked down on a flat surface or on a knocking-down iron, first screwing it up in the lying press. The groove is FOLDING. 3 tlie projecting part of the book at rigiit angles with the back, caused by backing, and is the groove for the back edge of the board to work in by a hinge; this is technically called the "joint." When all the glue, paper, or leather FOLDING MACHINE. that was on the back of each sheet is cleared away, the book is ready for beating or rolling. A folding machine has been introduced into the trade tliat will fold from 1,000 to 2,000 sheets per hour when b2 4 FOLDING. using points, and from 1,500 to 3,000 wlien working to lays. Tliey are made for two, three or four folds. It does very well for cheap work, such as novels, newspapers and pamphlets. The woodcut is from Messrs. Harrild & Sons, "Fleet" Works, London; and represents a single feeder machine; the larger sized ones are used in our largest printing establishments. 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. The makers are Messrs. T. M. Powell & Son, St. Bride Street, E.G. 5 CHAPTER II. BEATING AND EOLLINa. The object of beating or rolling is to make the book as solid as possible. Tor 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 soKdity. I have in use an iron bed about 2 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 weigli about 10 pounds, with a short handle, made to fit the hand. The face of the hammer and stone (it is called 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. The book should be divided into lots or sections of about lialf-an-incli thick, that will be about 15 to 20 sheets, ac- cording to the thickness of paper. A section is now to be held between the fingers a;nd thumb of the left hand, rest- ing the section on the stone; 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 tliat they may be equally beaten all over. By passing the section between the fingers 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 6 BEATING AND ROLLING. 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 practice on some waste paper before attempting to beat a book ; and he should always rest when the wrist becomes tired. When KOLLING MACHINE. each section has been beaten, supposing a book has been divided into 4 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 hooks should not he rolled, and a book- binder, I mean a practical bookbinder, not one who has been nearly the whole of his lifetime upon a cutting BEATING AND EOLLING. 7 itnacliine, 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 hot-pressed, and thus the leaf is made flat or nearly so, and for such work the rolling machine is certainly better than the hammer. The book 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 between the rollers, which are regulated according to the thickness of sections and power required by a screw for the purpose. The workman, technically called " EoUer " has to be very careful in passing his books through, that his hand be not drawn in as well, for very sad accidents have from time to time occurred through the inattention of the EoUer himself or of the individual who has the pleasure of applying his strength to turning the handle. There are houses in the trade where rolling is taken in, so that an amateur may send his books to be rolled : the charge is very small. 8 CHAPTER III. COLLATING. To collate, is to ensure tliat 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 being 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 alpha- bet is used, as B, C, with the first alphabet,* and AA,. BB, CO, or Aa, Bb, Cc, with the second repetition, and three letters witli 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 laid 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. 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. Pan the sections out,, then with the left hand the sections must be brought back to an angle, which will cause the sections when released to spring forward, so that the letter on the right bottom * Tlie text of a book calways commences with B., tlie title and preliminaiy matter being reckoned as A. COLLATING. corner of each sheet is seen, and then released, and' -the" next brought into view. When a work is ^K:^^jtet§ COVEEING. 93 fact, combined with the price, will doubtless cause this new material to be received with favour in the English market. 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, all unevenness of the leather is to be pared away. This style has come very much into reputation lately on account of its economy ; the amount of leather reqiuired 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 pro- cess 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. '§nxkmvc. 94 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 pro- tected 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 glueing 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 stuck on 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 flush with the back-edge of the board. When dry, the 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. PASTING DOWN. press if the grain of tlie 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 1-| inch in breadth for 8vo. ; a line is drawn or marked down each strip about haK an inch from its 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, 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 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 properly. -96 PASTING DOWN. Cloth Joints. If the cloth has been stuck 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 must be even. Calf, Kussia, 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 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, especially in the joint, and the paper being held in the left hand, is to be well rubbed down, more particularly in the joint. The paper is then marked all round — the head, fore-edge and tail, with a pair of com- passes 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 PASTING DOWN. 97 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. H N" 4 T.Wiiy, Phota-liih N° 5 M AI 0 LI Rojai "folio T V,'aj, eiitilo-ljtli N9 7. FLORENTINE Small fol T Way, Pkuto-Li-th PAET II. FINISH ING. 101 CHAPTER XXII. rmiSHING. TiNiSHiNG is the art of embellishing the covers of books with different designs. Finishing comprises the embellish- ment 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 accord- ingly. The binder's use of these blocks is mechanical only, and cannot be called artistic. The first books printed in large numbers were religious. The monks who cultivated all the arts, gave great zeal to the new occupation of binding, and enriched their Hours and their Missals with marvellous miniatures. So charm- ingly were they ornamented with blocks reproduced from the text, that to our regret, few of these monastic bindings are now left to us. A great number of these books were executed in Ger- many, 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 102 FINISHING. progressed the printer's marks were reproduced 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 hooks to denote hy what printer the work was executed. Later on, when the Eenaissance shone in all its glory and beauty, we find that it freed itself from this limited practice. A new mode 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. 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 of real artistic finishing 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. These intrinsic designs were very much used by the binders contemporary with Grolier, and the use of lined or azure 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 (see page 31), in the other the tools, although of the same shape, are hned or azurd A little later on other artists, not satisfied with this modification, dispensed with the 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. FINISHING. They are marvellous subjects, and are sometimes imitated at the present day, but are never surpassed in their won- derful originality. 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 geometri- 104 FINISHING. cally 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 Gasgon, a master who no doubt has had the least number of imitators. Although he followed the ancient ideas, and kept the same shapes, the aspect of his bindings was very much changed by the application of pointed tools. Gasgon rests for ever as the most renowned master of the 16th century. The number of tools necessary for the execution of a compo- sition like one of Gasgon's is large ; and when one considers that these tools are repeated, perhaps a thousand 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 Gasgon 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 to- gether 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 Gasgon. 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 Gasgon's style than, of any other ancient master. From Le Gasgon's period the tools became tliicker and thicker until we have the heavy tools of Derome, yet so much in keeping for books of a serious character. They are original in shape, but their employment was only in GASCON T Wa-y, PKoto-Ui. riNISHING. 105 borders, leaving the centre of the book free from ornament. T 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; •th'e art of bookbinding worked with tools but little altered from, their original forms, they so modified and bbanged them in their character and use, as to form a disftii£tiVe;-;iSafk:. of style for each artist, by which his work may'Te re- cognised. 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, has each day given evident proof of this. Italy, which initiated herself so perfectly in the Eenaissance 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 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. In France a book is taken to a book- binder, with the order that it is to be bound in a particular style. The book goes through the routine of being pulled, refolded, beaten or rolled, sewn and forwarded, then instead of being covered in the house, as it would be in England, it is sent out with others to the " coverers" who do nothing else. On its return it is sent to the "finishers" with the order for style. Now, granted that this has the desired effect of doing all that is necessary to a book, it is not 106 FINISHING. done under the supervision of the master as in England. The latter plan is surely the best. In England it can be altered or faults corrected at any stage. In France this is impossible. Again : Who binds the book ? Is it the binder who undertook the work? or the coverer? or the finisher ? All three are concerned, and yet separated. Who are the masters who have produced such works as are boasted of by the authors of the pamphlet ? and who are now producing such glorious examples of the book- binder's art that we are invited to France for evidence of its native ability. The English and the German workmen have a far gTeater share of the credit of such work than the French themselves. The French, I admit, do execute finely ornamented work, but to the English workman must be given the palm where strength, solidity and finish are taken together as a whole. I think judicious readers will agree with me on this point. With the previous remarks kept in mind I will now proceed to the practical illus- trations of how a book is " finished." 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 wishing to get his books done before his glaire has dried, burns the gold in. 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 was used too large to work by hand, it was impressed with FINISHING. 107 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 who knows nothing of drawing cannot expect to be a good finisher ; because he cannot possibly produce any good designs, or by a com- bination 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 wiU 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 pro- portionate 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 difiiculty in ascertaining the subject of a book when on the 108 FINISHING. shelf. 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. TOOLS AND MATEEIALS REQUIRED FOE FINISHING. Bolls, 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, 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 in course of time. Polishing irons: of these two are necessary — one for the sides and one for the backs. There is generally a third kept for polishing the board end papers when pasted down, but two will be sufficient for the use of an amateur. 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 fuU 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 make it as soft as FI:n1SHING. 109 possible, to be used for clearing away any gold not taken off by the gold rag. This should also be melted down M'hen full. Gold-cushion, for use as explained in chapter XYII. Gold Leaf: The best should be used, as 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 sizeing. 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 smaU piece of camphor, will in some measure prevent it from turning putrid, 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 mis- taken notion often productive of annoyance and destructive to the comfort of the workmen. I advise the amateur 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 to me for trial. I have not yet used it, but have heard that it answers the purpose under certain conditions. I have also seen a book finished with it, but I think that the tools must be used very hot, as the gold appears to have been burnt in. Cotton wool, for taking the gold leaf up and pressing it firmly on the leather. Varnish should be used only on that part where glaire has been applied and has afterwards been poHshed. The 110 FINISHING. object being to restore 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 FINISHING STOVE. by their 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 FINISHING. Ill almost extinct charcoal fire. A bookbinder's gas stove can now be purchased at almost any gas fitter's shop or book- binders' material dealers. The price varies according to size. This stove, the amateur will find very useful. He can warm his glue or make his paste and heat his tools for finishing, besides a hundred other convenient uses. Where cost is an object, or where gas is not obtainable, charcoal may still be used. Any old tin may be utilised. 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 primi- tive stove, however, must be placed on a stand or on a piece of thick iron, lest it become dangerous. Finishing is divided into two classes — Uind 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 exten- sively 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 112 FINISHING. greater number work equally well in gold and in blind, but when a special style has to be followed the various tools and^heir adaptation to that style must be studied. 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. Antique work as a decoration, requires quite as much dexterity and care as gold work. Every line must be straight, the tools 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 NO 8 ANTIQUE WITH GOLD LINE Imperial 8^°. T V/ay, Photo -Uli FINISHING. 113 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. In finishing the back of a book it must always be held tightly in a small hand press, termed " finishing press." This is a press of the same kind as a lying press, only much smaller, and is screwed up by hand. 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 parch- ment or pasteboard held by the fingers 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 pro- ceed from the wrist only as if it were a pivot. It will be found rather difl&cult 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 Hues, a broad and a narrow one, worked close to the bands. Damp the back with a sponge and clean water, and work it evenly into the leather with a hard clean brush. Take a pallet of the 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 Hues. 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. I 114 FINISHING. The pallets will have a tendency to stick to the leather and possibly burn it. To obviate this, take 1^ 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 weU mixed together ; when mixed allow to cool. Eub 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 wi^ be found of great service in getting the tools to sli'p or come away from the leather in working. Lard alone is some- times 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. 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 fillets 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. Eun them over the same line two or three times. When dry, make the fillet immovable by driving a wooden wedge between the roU 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 FINISHING. 115 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 come 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 it. Blind work is done in the same way whether in using a small tool or a large roU. 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, and in 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 the amateur practice upon some spare pieces of roan, calf and morocco before he attempts to finish a book. Gold work is not more difficult than blind tooling, it is only more com- plicated. The 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 the other. The various colours require each their different degrees of heat ; as a rule light fancy colours require less heat than dark ones. The amateur 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 I 2 116 FINISHING. for non-porous and another for porous leather. Morocco is the principal one 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 of glaire. 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 amateurs and apprentices have to contend with is, 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. As a consequence one book will be spoilt by the prepara- tion cracking, and the gold will not adhere to the other. By following the directions here given the amateur 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. 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, 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 Ughtly 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 FINISHING. 117 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, this is avoided in using vinegar ; vinegar also imparts freshness to the morocco, and keeps it moist a longer time, which is very desirable in finishing. This renders it pre- ferable to the use of paste- water. 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 one of the pieces of gold upon a large pad of cotton wool, 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 cotton drawn over it). Lay the gold gently but firmly on the impressed leather. See that the whole of the impression be covered and that the gold be 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 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. Eepeat 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 118 FINISHING. be placed near at hand with a piece of rag or a sponge and water 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 suit- able 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 neces- sary 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 the type-case up, warm it over the finish- ing 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. Lay the gold on and work them in gold. But with lead type and a spring type-case (a method more suitable for amateurs on account of its relative cheapness and the convenience of the case fitting itself to the different sizes of the type, of which the amateur will want a selection of various sizes), the type-case must be warmed before the type is put in. The heat of the case will impart sufficient heat for the type to be worked properly. If the case and typ)e be put on the stove, the type will probably be melted if not watched very narrowly. Hand letters are letters fixed in handles and each used as a single tool. The letters are to be arranged in alphabetical order round the FINISHING. 119 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 skilfully used. "When this simple finishing can be executed properly and with ease, a more difScult task of finishing may be attempted, such as a full gilt lack. This is done in two ways, a "run-up" back and a "mitred" back. As a general rule morocco is alwavs 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 de- scribed, but lay the glaire on with a sponge. "When dry, lay the gold on, covering the whole of the back with it, and mending any breaks. For 'mitreing, take a two line pallet that has the ends cut at an angle of 45°, so that the join at that angle may be perfect. Work this on the side at the mark made up the back, and up to the line made in blind across the back. Eepeat 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 paUet 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 120 FINISHING. 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 an amateur. One who is accus- tomed 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 wished to be produced on the paper, and if any tools are to be used, hold them over the flame of gas ; this wiU smoke them so that 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 FINISHING. 121 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 out- side. This should be done as neatly as possible, carefully mitreing the corners when any lines are used. Most fre- quently a roll is used, thus saving a great deal of time. A style was introduced in France called " double," 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 122 FINISHING. blind. It is a style which, although very good in itself, has quite died out with us, so many prefer to see the finishing rather than to have it covered up when the book is shut. The edges of the boards and the headbands must be finished either in gold or blind, according to fancy, and 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 roller 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 finishing press to keep it steady, or it wiU shake and throw the fiUet off. If a roU is used take the gold up on the roll, 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 har roll — that is, having a series of lines run- ning at right angles with the edge of the roll. Imitation morocco is generally used for publishers' bind- ings, where books are in a large number 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. Eoan is generally used for circulating Ubrary work, and is very seldom finished with more than a few lines across the back and the title. 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 book-binding. Formerly books were not in- laid, but painted with various colours. Grolier used a FINISHING. 123 great deal of black, white and green. Mr. Tuckett, the late binder to the British Museum, took out a patent for ex- tracting 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 sub- ject, 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 witJ*'';^^-'**** suitable chemicals, say diluted nitric acid ; this wiU c^fiinge ' ' the chocolate, leaving the design a bright red on a cXoet)^ate.^^ " ^ ground." But to lay on the various colours with lei^ther, i4^ no doubt, by far the better plan. Paint has a tsMeGey in ^.yy time to crack, and, if acids are used, they will tV^a'-cir^i^^-^' extent rot or destroy the leather ; but if leather is use^'it will always retain both colour and texture. To choose the proper colours that will harmonize with the ground, give tone, and produce the proper effect, req[uires a certain amount of study. Morocco is the leather generally used, but in Vienna caK 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- 124 FINISHING. tooling ; press each down well into the leather either with a folding stick or the fingers, so that it adheres properly. When dry, the hook should be pressed between polished plates, so that the raised pieces, or 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. 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 leather on the side 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 of the board as patterns. Lay these on the thin leather and cut round them. Keep the 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, any of the plans mentioned previously are to be preferred. N°,10 GROLIER Royal folio . FINISHING. 125 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 gTcen, brown and black morocco. The pattern may be called " Kenaissance." The inside of the boards are " Grolier," inlaid as elaborately as the outside. Seven months labour were expended on this single volume. Porous. Galf, as before described, requires more and different preparation than morocco, on account of its soft and absorbing nature. As a foundation or ground work, 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, accord- ing 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 126 FINISHING. 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 letter- ing pieces. All such books should be lettered on their natural ground. For lettering pieces, take morocco of any colour, accord- ing 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 amateur 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 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 amateur will perhaps wonder why paste of full strength must 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 ground-work being properly appKed ; and a general caution with regard to the working in general may not be here FINISHING. 127 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. Should the calf book be intended to have only a pallet alongside the bands, it is only necessary where 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 half 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. FULL GILT BACK. Bun-up. Make a mark up the back on both sides a little away from the joint with a folder and 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 this size is done with, put it on one side for future use. This size should not be taken of 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 128 FINISHING. must be dry before the second is applied, and great care must be taken that the sponge does not go over the same place twice, or the previous preparations 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, 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. Work the tools firmly but quickly. The corners come next; work them from the centre or sides, using the right hand corners as a guide, and judging the distance by the left hand 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 head and tail. As a rule these are worked when the two-line pallet is worked in one operation. Calf-work requires very quick working. The tools must not be held over the various places too long or the heat will destroy the adherent properties of the albumen. With morocco this does not signify so much, as the heat is not so great. Mitred hack must be prepared the same way as for "run- 130 FINISHING. 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 must 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 evi- dence of a want of skill. When the backs are finished, rul> 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 cleared 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 char- coal 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 wiU be quite sufficient to make 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 shew Ms good taste and skill. The sides should be always in FINISHING. 131 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 atten- tion.' With a "run up" back, the edge of the leather round the end papers is to be worked either in blind or or have a roll run 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 put on it. Paste- wash the leather and when dry glaire twice. When again dry lay on the gold all .round, and work the single 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 poKshed, 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. In general a two-line fillet only is used round tlie edge, so that the width of the fillet or roll must deter- mine the width to be glaired. When glaired twice and dry, take up the gold on the fillet or roU 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 work a small dotted or pin-head ToU at the edge of the glaire. This wiU cover and conceal the edge. K 2 132 FINISHING. 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 amateur 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 sizing 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, it 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 soft surface, sucli as a board covered with baize, and kept FINISHING. 133 for the purpose. Use the large and heavy polishing iron, hot and clean. Eub 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 the effect of smoothing down the burr formed on the leather by the gilding tools, and bringing the impressions up 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 wiQ indent the leather. The heat must be sufficient to give a polish. It must be borne in mind that, if the iron is too hot, it will cause the glaire to turn white. The temperature must be weU tested before it be applied to the cover. A practised finisher can generally teU 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 tins on the side level with the groove, turn the book and japanned tin over carefully together, so that neither shifts; place another of the japanned tins on the top of the book, thus placing the book between two tins. 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 134 FINISHING. quickly as possible, in a circular direction. Renew tlie wool with varnish for the other side. Enough must be taken on the pad to varnish the whole side, as the delay- caused by renewing the varnish on the cotton, if not enough at first, wiU cause a streaked surface. When the varnish is perfectly dry, the book must be again pressed. To do this, rub the gold-rag over the sides to give them a little grease, which 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 plafes stick, there is no other remedy than washing off the varnish with spirits of wine and the glaire and size with warm water ; then carefully re-preparing the whole surface as before. This is, however, an accident which cannot happen if due care and judgment be exer- cised. GEAINING. Graining is now used very much on calf books. This may be properly considered as a blind ornament. It is done by means of wooden, or better still with 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 even up to the groove of the back, in the standing press, screw it tightly down. The impressions 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 FINISHING. 135 of the plates is impracticable. Graining has the advan- tage of hiding any finger marks that may accidentally be on the calf, and also conceals any imperfections in the leather. 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 admit of. If books are laid on over night the tools must be used very hot in working them the next morning, or the gold wiE 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. Eussia is prepared in the same way as calf, but is usually worked with more blind tools than with 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; and those portions need be only paste-washed and glaired once without any size. FINISHING WITH DEY PEEPAEATION. The dry preparation is used for silk, velvet, paper or any other material that would be stained by the employ- ment of the wet process. There are a number of receipts in the trade and in use. Take the white of eggs and dry it by spreading it some- what thickly over glass plates, taking care to preserve it from dust. It will chip off readily, when dry, if the glass has been previously very slightly oiled or greased. It must 136 FINISHING. not be exposed to more heat than 40° Eeaum. ; 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 is desired, must be ground into an impalpable powder. Put it into a box or bottle, and tie three or four thick- nesses of fine muslin over the mouth. By tapping the inverted box, or shaking 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 upon the tool, and work it rather hot. The over- plus of the powder must be brushed away when the finishing is completed. 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 giaire 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 giaire 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 giaire will spread and cause a stain. A thin coat of paste-water will give silk a body and keep the giaire from spreading to a certain extent, but I think the best medium for silk is the dry one, as it is always ready for instant use. In using giaire 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. Eub the parts intended for the gold with the finger (passed through the FINISHING. 137 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, 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 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 no beauty, it is exceedingly harsh, and as little variety can be produced except in the finishing it is not surprising that it has gradually gone out of fashion. There are two or three kinds of veUum prepared from calf skins at the present day, thanks to the progress of 138 FINISHING. 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 Eoman vellum, which has a darker appearance. Parch- ment is an inferior animal membrane prepared from sheep skins after the manner of vellum, and this is very success- fully imitated by vegetable parchment, made by immersing unsized paper for a few seconds in a bath of diluted oil of vitriol. This 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 glair e for gold work. 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 wash- ing 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 sur- faces 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, FINISHING, 139 When dry, the parts that are to be gilt must be glaired, and as the glaire will show its presence, or more strictly speaking leave rather a dirty mark, the tools should 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, as the beauty lies in keeping the vellum as clean as possible. As the tooling, comparatively speaking, is on the surface, owing to the thinness of the skin, it 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 to make it adhere properly unless some special precaution be taken. The best plan is to scrape 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 amateur 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 140 FINISHING. without instructions. Others, whose ideas of design are not contemptible, cannot tool two panels of a back in perfect uniformity. Some also have so little idea of har- mony 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 penued 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 crafts- man and amateur. FINISHING. 141 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 blocking press accounted for. I will not follow too closely the various improvements introduced at different periods, but roughly describe the blocking press, without which bookbinding cannot be done at the present day. There can be no doubt that this press owes its extensive use to the introduction of publisher's cloth work. Formerly, when the covers of books were blocked, a 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 suf&cient 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 worlanan 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 142 FINISHING. 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. ARMING I'RESS. The next improvement consisted in having a press that only moved a quarter circle, with almost instantaneous- FINISHING. 143 action ; and another improvement connected with the bed was that by means of screws and guages, 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 ad- justed to any amount of pressure, as it is regulated by the bed underneath. The next step in progress was the introduction of print- ing in different colours upon the cloth, and intermixing them with gold. Another of Messrs. Hopkinson & 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 hour. They are heated by steam or gas. The inking apparatus is placed at the back of the press, so that while the workman in 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 arrange- ment is made that the heating box can be cooled imme- diately by a stream of water passed through it. Messrs. Eichmond & Co. have just brought out a block- ing 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. It is made to heat either by steam or gas, and is also fitted so that the heating box can be immediately cooled. The pressure is obtained by one of the most powerful of mechanical appliances. It takes less power to drive, and a perfect distribution of the various coloured inks over the blocks is obtained by a new action. This press seems to give great satisfaction. 144 FINISHING. 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 BLOCKING MACHINE. 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 the moveable plate.* 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 moveable plate is also called the platen. FINISHING. 145 the centre of the heating box. When quite true, the sides and back guages are to be fixed by screws. Pull the lever so that a slight pressure upon the plate be given ; release 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 be hardened. 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 Kttle, 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 guages. When the press is properly heated,' throw back the lever : take out the miU-board from under the stamp, and regulate the degree of pressure required by the side screw under 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 146 FINISHING. 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. 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 por- tions 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 always 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 in 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 ; so that this branch has not ad- vanced very much during the last few years. It would be well if those who have the principal charge of this FINISHING. 147 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. 148 CHAPTER XXIII. 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 out-of-the-way places where coloured calf cannot be procured, that I give such instruc- tions as will enable any one to colour, sprinkle, and even marble his own books. 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 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 de- grees 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 CALF COLOURING. 149 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 pre- viously 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 gTeenish blue colour. It can be purchased at the rate of Id. per lb. from any drysalter. 1, Into a quart of boiling water, throw a |-lb. of sulphate of iron, let it reboil, then stand to settle, and bottle the clear liquid for use. 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. BEOWN. 1. Dissolve a |-lb. of salts of tartar in two pints of boiling water, and bottle it for use. This liquid is mostly used for colouring ; it has a very 150 CALF COLOURING. mellow tone, and is always used before tlie 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 a 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 yeUow 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. I do not give any other methods or receipts for pro- ducing 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 sufficient for colouring calf in many different ways. 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 aU over equally, and allowed to get thoroughly dry. It CALF COLOUEING. 151 will then be ready for the various methods. Perhaps to wash it over night and let it stand till next morning will be the best and surest plan. It matters very little whether the calf is on the book or in the skin. SPEINKLBS. There are so many sprinkles, that it would be useless for me to enumerate a number, as they are all worked in the same way, 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-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 152 CALF COLOUEING. 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 will have a very pretty effect, and may be made emble- matical. 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 either 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, " that 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 colour- ing liquids, drawn, by the flowing of water down an in- clined plain, into veins and spread into fantastic forms CALF COLOUEING. 153 resembling foliage — hence, often called tree-marhle. It is a process that requires great dexterity of hand and perfect coolness and decision, as the least hurry or want of judg- ment win 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. Wlien 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 pos- sible, and to diminish the froth that the sponge may occa- sion, 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 €ach 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 suffi- cient 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 suffi- cient has been thrown on, beat the brown in like manner 154 CALF COLOURING. 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. TEEE-MAEBLES. 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 teee, as it were, will be 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. Eor 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 came from Germany. The tree formed will be by a series of black veins, but the idea having occurred that a tree should be green, I studied the subject attentively, and have now succeeded in producing a green tree. I should not like to assert CALF COLOURING. 155 that it has not been done before, but I have never seen one save of my own work. 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 may be expected, it has not found much favour with men of taste. " 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. Eepeat 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. AU these marbles and sprinkles require practice, so that 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 efiect is obtained if a yeUow 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. 156 CALF COLOURING. 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. ISTo amount of washing will ever take away such a stain. When the book has been coloured, the edges and inside xire to be blacked or browned according to taste, or in keeping with the outside. The book is then ready for finishing. 157 CHAPTER XXIV. GENEEAL OUTLINE. From the foregoing chapters we learn that Bookbinding is divided into two distinct branches, viz. : " Extra and Common," or " Bookbinding by hand," and " Bookbinding by machinery." In the extra branch, the work proceeds in the following order, viz. : It is folded — collated, beaten or rolled — re- collated, the backs sawn in or marked up — sewn — the first and last sheets pasted up — end papers made and stuck on — glued up — rounded — backed — ^boards prepared, cut and put on — book pressed and cleaned off — edges cut, and coloured or gilt — headbanded — lined up or prepared for covering — covered — pasted down and finished if whole- bound; if half-bound finished first, then cornered, sided, and pasted down ; then again pressed. The common work is : folded — collated — pressed — sawn in — sewn — ends put on — foredges cut flat — glued up — rounded — head and tail cut — edges coloured or gilded — ^backed — cases made, and finished (blocked) — books put into cases — pasted down and pressed off. Thus may be seen the entire difference in the effort to please the public, both in regard to their pockets, and the appreciation of tasty but more expensive designs. There is no doubt that books, as got up at the present day, are a 158 GENERAL OUTLINE. marvel of cheapness. They make very pretty presents, and are as good in work as the general run of cheap book- work. But for real work a cased book is of no value whatever. Eespecting Library bindings a few words are necessary. A book for much use should be strongly sewn^ for this is the groundwork of all good book-binding. It should have good sound boards and good leather, and with these three essentials a book may be guaranteed to last almost a life- time with daily but careful use. Most of the extra work is now but very weakly sewn, with three slips, and some- times with only two. Then straw boards, or some of in- ferior quality, are too frequently used, and finally it is covered often with some imitation only of leather. The best binding for a library for general use is half- morocco, flexible, with either morocco or vellum corners and paper sides. If for common use, half-morocco back without bands, the leather fastened on to the back and the corners tipped with vellum, and paper sides. The title on the back near the head, and no further gilding beyond a line head and tail, with the date at foot. As photographs are coming so much into use as book illustrations, a few words respecting the treatment of them will be necessary. In mounting them, 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 should be used. In mounting photographs, they should be 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 photo- graphs loose their gloss in mounting, they must be rolled afterwards in order to restore it. GENERAL OUTLINE. 159 To remove a photograpli from an old or dirty mount, tlie 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 it coming off more easily, but should it not do so, the photograph has pro- bably been mounted with a solution of india-rubber, and in that case, by holding it near the fire, the rubber will melt, and the print may easily be peeled off. Books having stains in them should be pulled to pieces and thrown into a decoction of alum and hot water. This will in most cases take out the stains, but the book should always be passed again through a thin solution of size to give body to the paper. The whole process of washing, sizing and mending old and valuable books is too delicate and diflicult to be intrusted to other than the most ex- perienced hands, and it would be better for the simple amateur not to make the attempt at the risk of spoiling a precious volume. The following, taken from the English Mechanic, June 19th, 1874, is I think of great use to the professional restorer of old books, and wiU give the amateur an idea of what has to be done sometimes : — "DECIPHERING BURNT DOCUMENTS." " M. Eathelot, 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." 160 GENERAL OUTLINE. " 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 (calori- f^re), 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 tran- scribed. 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." Books placed in a library should be thoroughly dusted two or three times a year, not only to keep them in aU their freshness, but also to prevent any development of insects and to examine for signs of dampness. The in- terior 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 that the top edge is not covered with dust. If it is a book that has had the edge cut, it should be dusted with a soft duster, or the dust 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 dust wiU enter between the leaves and soil them. A library has generally three kinds of enemies to be guarded against, viz. : insects, dampness, and rats or mice. Everyone knows 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 proper choice of woods : these are cedar, cypress, mahogany, sandal, or very dry and sound oak. All these are compact or of very GENEKAL OUTLINE.' X-^ V^ 161 /:^^ strong aroma, and are such as insects do not /liKfe t^,^;^^ee. Another source of danger is the use of chemiteals' in th€ 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 anohmm striatum which bores through the paper. The larva 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 ab- sence, in the wood and furniture, great havoc made by moths, and his books spoilt by the larvae, 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 develope again, and again began their attacks on the newly bound books. He saw amongst the many spoilt books ona remaining intact, and on inquiry found that turpentine.. M 162 GENERAL OUTLINE. 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 hmeficial 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 UUiophohes. 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 thai: 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 pre- servative, although it contributes greatly to the preserva- tion of the leather. Eesin 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 m small quantities, preserves the paste during an unlimited time. Or, make the paste with flower, throw in a small quantity of ground sugar and a portion of corrosive suhUmate. The sugar makes it pHant and prevents the formation of crust on the top. The sublimate prevents insects and fermenta- GENEKAL OUTLINE. 163 tion. This salt does not prevent moisture, but as two or 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. 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 put into water for twelve hours, then boiled and turned out into a pan to get cold ; when cold it may be cut out and placed in the glue-pot as wanted. This naturally refers to when large quantities are used, but an amateur may boil his in his glue-pot after soaking it in water. Glue loses a great deal of its strength by frequent re- melting. It should always be used as hot as possible. M 2 164 GENERAL OUTLINE. TEN GOLDEN EULES FOR THE PEESEEVATION OF BOOKS. 1. — Awid a dry heat as much as you would a damp- atmosphere. The one destroys as much as the other. The former will affect the binding and the latter the paper. When reading, keep all books from the influence of the fire. Never keep any books near the ceiling where the room is illumi- nated by gas. 2. — Never wet your fingers in turning over the leaves, but turn them over from the head. Catch each succeeding leaf up by the fore finger on the top corner as near the foredge as possible. 3. — Never put cards or folded documents into a book or it will break the back. Keep such things in a portfolio. 4. — Never read during meals. Crumbs and grease are ruinous to books. 5. — Never turn a corner down to keep a place, but put a piece of paper projecting at the head as a mark. 6. — Never push or pull a book along the tahle. To avoid scratches, put a book down flat and firmly, and take it up the same way. v. — Never pull books out of the shelves by the head- band, or sufi'er them to stand long upon the foredge. In doing the former the back is apt to be pulled or forced, by the latter the back gets out of shape. 8, — Always open a book in a gentle manner and with a reverent spirit, especially such as are newly bound ; and never confine the leaves with the points of the GENEKAL OUTLINE. 165 thumbs; in doing so it breaks the back. Lay it upon a flat surface, and open it lightly, pressing upon the open leaves, and taking a few sheets at a time ; go through the book until the requisite free- dom is obtained. ■Always use a paper knife or folder to cut up the leaves of uncut books, so that the edges may be smooth and even, ■Treat books gently, for they are friends that never change. We benefit by their advice, and they exact no confessions. THE END. 167 GLOSSAEY OP THE TECHNICAL TEEMS 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 for backing and for forming the groove. They are made of very hard wood and some- times faced with iron; are thicker on the edge intended to form the groove than upon the edge that goes towards the fore-edge, so that the whole power of the lying press may be directed towards the back. Backing Hammer. — ^The hammer used for backing and round- ing ; it has a broad flat face similar to a shoemaker's hammer. Backing Machine.— A small machine introduced 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 168 GLOSSAEY. cord in the back, the appearance of raised bands is produced by glueing 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 by the 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 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, &c. Bodkin. — A strong and short point of steel fixed in a wooden handle, for making the holes through the mill-boards. The shps upon the back of the book are laced through the holes for attaching the mill-board to the book. GLOSSARY. 169 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 con- venient 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. Eefers 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 encyclopaedia or other book of reference. Centre Tools. — Independent tools cut for the ornamentation of the centre of panels and sides. Clasps. — The hook or catch used for fastening the boards together when the book is closed ; used formerly on. almost every book. 170 GLOSSAKY. Clearing-out. — Kemoving the waste-paper, and paring away any superfluous leather upon the inside, preparatory to paseting down the end papers. Cloth. — Prepared calico, embossed with different patterns,, used for cloth bindings. Collating. — Examining the sheets by the signatures after the volume has been folded, 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 Cale. — A dark brown calf used generally for religious books, and worked in blind or antique. Dentelle. — A style resembling lace work, finished with very finely cut tools. Doubled. — When in working the gold a tool is inadvertently not placed exactly in the previous impression in blind, 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. GLOSSARY. 171 Finishing.— The department that receives the volumes after they are put in leather. The ornaments placed on the volume. The one who works at this branch is termed a finisher. Finishing Press. — A small lying press, but fashioned some- what for convenience sake. 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. Is the strongest sewing done at the present time. This term is often misused for Hmp 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 oflB.ces. 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 inta 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 arrangement follows the sequence of the signatures. Gilt. — ^Applies to both the edges and to the ornaments in finishing. Glaire. — The white of eggs beaten up. 172 GLOSSARY. 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 of 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 having a perpendicular action, 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. GLOSSARY. 173 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. Knogking-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 shew when the book is covered. Laced in. — When the mill-boards are attached to the volume by means of the shps being passed through holes 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. 174 GLOSSAEY. 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 byegone 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 con- sists 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. Pencil. — A small brush of camel's hair used for glairing. GLOSSAKY. 175 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. Polisher. — A steel instrument for giving a gloss to the leather after finishing. Press. — Of various kinds, viz. : — lying, cutting, standing, blocking, finishing. Press Pin. — A bar of iron used as a lever for standing presses ; a smaller kind for lying presses. Pressing Boards. — Boards used for pressing books between. Pressing Blocks. — Blocks of wood used for filling up a standing press when there are not enough books. 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. Eegister. — 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. Eolling Machine. — A machine introduced to save the labour of beating, the sheets being passed between two re- volving cyUnders. Rolls. — Cylindrical ornamental tools used in finishing. Run-up. — ^When the back has a fillet run from head to tail without being mitred at each band, it is said to be " run-up." 176 GLOSSAEY. EuNNER. — The front board used in cutting edges. 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. Shears. — ^Large scissors used for cutting up mill-boards. Sheep. — An old term for all common work covered in sheep- skin. 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 instead of thread. Setting the Head-band. — Adjusting the leather in covering so as to form a kind of cap to the head-band. 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. Signature. — The letter or figure under the footline of the first page of each sheet, to indicate the order of arrange- ment in the volume. Size.— A preparation used in finishing and gilding, formerly made with vellum, but can now be bought ready for use. 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 known now as " holeing." The operation of piercing pamphlets for the purpose of stitching. GLOSSAEY. 177 Stabbing Machine. — A small machine used for maMp holes through the hacks of pamphlets. /yv v Standing Press. — A fixed heavy press with a p^r^ndiejilapo] screw over the centre. Ic^'' ^ , I ..7 '> Start. — When any of the leaves are not properly secured ij^ the back, and they project beyond the othjSrs,*^ey^^S^ said to have started. When the back has^,^ li^j^n by forcing the leaves they start. --i.*^ 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 mitreing would occupy. Tenon Saw. — A small saw used by bookbinders for sawing the books for sewing. More strictly speaking a car- penter's tool. Title. — The space between the bands upon which the lettering is placed. The leaf in the beginning of a book de- scribing 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. ■ N 178 GLOSSAEY. Tying-up. — The tying of a volume after the cover has been drawn on, so as to make the leather adhere 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. INDEX. PAGE Acids for leather . . 148 Advantage of graining . 135 Albumen , . . .74 , dried . . . .109 Alum for paste . . .162 American standing press (cut) 1 5 Amount of grinding colour for marbling . . .6*7 Ancient bookbinding . . xv Aniseed for paste . .162 Antique finishing . .111 work as a decoration . 112 work, leather for .113 tools, method of work- ing 112 Appearance of library . . 92 Archaeological works . . 92 Arming press . . 107-141 Aroma of bookcase . . 161 Arrangement of a book . 9 Artist's vellum . . .138 Art of finishing . . . 101 Athenaeum, letter on trim- ming . • • .38 Attaching boards to book . 53 Azur^ tools. . . .102 Back, finishing a . in progress . polishing . Backs mitred run up Backing boards Backing machine (cut) Balancier . Banding up back Band-nippers Bands, stuff making . Barr roll . . .. Baumgarten. . I. 113 129 130 119 119 44 44 45 140 83 89 84 122 sSii PAGE Beading in head-banding . 81 Beating .... 5 hammer ... 5 old books ... 7 stone . . . . 5 Beauty of blind work . .115 — of burnishing . . 76 of gilt edges . . 74 Benedict .... xxii Bergamote for paste . .162 Bevelled boards . . .111 Bibliophobes . . .162 Binding in France . .105 Bindings of Derome . .104 of Gascon . . .104 of Henry III. . . 103 , Italian . . .102 Black for leather . .148 mill-boards . . 48 Blind finishing . . .111 tooling a side . .114 work, colour of . .112 Block of 1 7th century, design 72 Blocked covers . . . 102 Blocking . . . .140 on silk . . .137 , preparation for . .146 press .... 140 , taste in . . . 146 Blocks . _ . . .144 for pressing . . 54 Boards, squaring . . .49 Body colours . . .66 Bolt knife . . . .57 Bookbinder's cloth . . 87 Books, cutting . . .57 formed of palm leaves . xvi , stains in . . .159 Bookworms . . . .161 Botanical books . . .92 ■ il^l!a3iy,^§olf fo;,'bpok»j3»i jl^'J 180 INDEX. Branches of bookbinding Brown for leatlier Brushes for marbling . Burnishers . Burnishing, manner of marble paper Burnt documents, deciphering 159 umber . . .64 Burr on knife . . .88 Byzantine coatings . . xvi PAGE . 157 . 149 . 67 67-74 . 76 70 Calf. 87-90 . Ill . 133 . 148 . 125 . 125 , antique books, pressing colouring finishing , inlaid work , preparation for blocking 146 , preparing for finishing 126 , smooth . . .148 Calico for head-banding . 81 Cambridge calf . . xxi, 152 Camphor for glaire . . 109 Capping up edges . .77 Casing . . . .61 Catgut for head-banding . 79 Cat's paw . . . .155 Celtic, design . . 7, 63 Century, 6th . . . xvi , 15th . . . xviii , 16th . . . xviii , 17th, design . . 72 Chain stitch . , .17 Charcoal for finishing . .110 Cleaning ofl^ books when in standing press . . 54 off flexible work . 54 off stick . . .54 Cloth bookbinders . 87, 91 joints . . 34, 96 , preparation for blocking 146 cases . . . .61 Cobb paper . . .28 Collating .... 8 Coloured plates . . 9, 12 paste paper . . 30 Colouring cah" ^^.^ . . 148 PAGE Colour of blind work . .112 rubbing . . .64 Colours for books . . 92 for marbling . . 66 for sprinkling . . . 65 Comb marble . . .69 Combs for marbling . . 67 Compound action screw press (cut) .... 55 Copperas .... 149 , stains of . . .155 Cord, sizes of . . .18 Cork for graining . . 88 Corrosive sublimate for paste 1 62 Cost of marble paper . .71 Cotton wool . . . 109 Cover, cutting out . . 87 Covering . . . .87 , perfection in . .90 white morocco . . 90 Covers, blocked and hand- finished . . . . 102 Crusaders .... xvii Cut, against . . .47 Cutting boards . . .47 books . . . .57 gold leaf . . .76 in boards . . .60 leather when paring . 88 machines . . .61 machine, hand (cut) . 62 out cover . . .87 out of boards . . 61 — ^ press . . .57 press, plough and knives (cut) .... 58 slips . . . .53 tail of a book . . 59 . the foredge . . .59 the head of a book . 58 Dabs 155 Dampness in books . .160 Deci phering burnt docimients 159 Depth of sawing-in . .17 Dermestes . . . .161 Derome xxi ^JU-,: landings of . . 104 INDEX. 181 Design, Celtic Dentelle Du Sueil Egyptian Gas9on Grecian Grolier Harleian Monastic Persian Renaissance PAGE 7, 63 . 121 . XX . 86, 156 19, 78 33, 46, 140 . 103, xix 93, 147, xxii . 112, xvii . 83 4, 15, 27, 39, 41, 52, 56 xxiii 72 Roger Payne — ;— Seventeenth century — — Venetian . 31, 97, xvii Diane buildings , . . 102 Dibclin, Dr. ... 92 Difficulties in head-banding. 80 in marbling . . 68 Discovery of tree marbling . 154 Dissolving- gum . . .67 Distinctive marks in book- binding of 16th century . 102 Dividers . . . .110 Doubling tools . . .114 Drawing in ... 53 Dried albiunen . . .109 Dry medium for finishing 1 15, 135 Dull gilt edges . . .76 Duiplicate sheets . . .14 Dusting books . . . .160 Dutch marble paper . . 29 Eastern specimens Edges, capping up , colouring . , gilt in round , gilt on red , marbled of boards, finishin , painted , plain gilt , sprinkling . , tooled gilt . , yellow Effect of marbling on leather, of polishing Egyptian design . xvu . 78 . 64 . 73 73, 77 . 66 . 122 77, XX . 73 . 64 73, 77 . 66 152 . 133 86, 156 PAGE Emblematical sprinkling . 152 tools . . . .107 Embroidered velvet . . xxi End papers . . .28 , method of making . .30 — — , putting on . . 34 Enemies to books . .160 Extracting colour from leather . . . .123 Fastening off head-banding . 81 Fifteenth century . xviii Fillets . . . .108 Filling in whole bound books 94 up holes in back . . 85 Finger brush for sprinkling 65 Finisher, guided by weather 135 Finishing a back . .113 , antique . . .111 , art of . . .101 aside . . .120 , blind . . .111 edges of boards . . 122 , gold .... Ill half morocco . . 116 , head-band . . .122 imitation morocco . 122 inside .... 121 inside boards . . 131 , monastic . . .113 , originally . . .106 press . . . .113 sides .... 130 silk . . . .136 stove (cut) . . .110 , taste in . . .107 vellum . . .137 velvet . .136 Flexible backs, preparing for covering . . . .84 , finishing . . .113 , marking-up . .16 , mock, lining-up . . 86 , not to shew . 24, 84 , not to shew, lining up 85 sewing . . .20 Folding . . . .1 Folding maps . . .10 182 INDEX. rokling-macliine (cut) Folding-stick Folio . Foredge cutting '. Forwarding Fran9ois I. French dab idea of bookbinding method of binding paring knife Froth on size Full gilt back . PAGE 3 1 2 59 28 xix 155 105 105 Gascon , bindings of (design) Gathering . machine General outline . German, gold leaf Giggering . Gilt edges . , dull . , marbling under , marbling on , tooled in round on red Gilt top Glaire water Glairing a large surface Glass for paring on Glue . . staining Glueing -up Gold cushion finishing knife . leaf, laying on ed leaf leaf, cutting leaf, thickness of rag . Golden rules for the vation of books Graining Graining-up morocco 132 119, 127 . XX . 104 19, 78 . 4 . 4 . 157 . 74 . 114 . 73 . 76 . 73 . 73 73, 77 . 73 73, 77 . 36 . 109 . 74 . 132 . 88 . 163 . 84 . 40 73, 109 111, 115 74 76 109 76 74 108 74, preser 164 134 PAGE Grecian design . 33, 46, 140 Green colour for sprinkling . 65 tree marble . .154 Grey mill-boards . . .49 Grinding colours for marbling 67 Grolier . . 102, xviii (design) . .103, xix Groove .... 2 Ground for calf colouring . 150 for gilt edges . .75 Guarding against insects, dampness, &c. . .160 Guarding plates ... 9 Guards, object of . .10 Gum, dissolving . . .67 dragon . . .67 , quantity of, for marbling 67 on plates . . .12 tragacantli . . 67 Half-morocco, finishing . 116 Half-bound books . . 93 Hammering slips into boards 53 Hand-finished covers . .102 Hand-coloured calf . xxi, 148 Hand-finishing . . .106 Hand letters . . 108-118 Harleian .... xxi (design) . 93, 147, xxii Hatton's nipping press . 55 Head -band, as done in 15th century . . . .80 , beading . . .81 , cat-gut for . . 79 , difficulties . . .80 , fastening off . .81 , finishing . . .122 , machine made . .79 , original . . .80 , ribbon . . .81 , round . . .79 , setting . . 83, 89 , size of . . . 79 , stuck on . . .81 , vellum for . . 79 , working . . .80 Head-banding . . .79 Head, cutting . . .85 INDEX. 183 PAGE Henry III., bindings of . 103 Heat for tools . . .117 Historical books . . .92 Holding paring knife . . 88 Holes, filling up, in back . 85 in boards, making . 53 Hollow backs . . .83 How to tell a flexibly sewn book when bound . . 24 How to use a pallet . .113 Hydraulic press (cut) . .13 Idea of bookbinding in France 105 Imitating old leather , . 88 Imitation calf . . .89 head-band . . .82 leather . . .87 morocco . . .87 morocco, finishing . 122 russia . . . .92 Implements used for cutting 57 India-rubber for finishing . 108 for photographs . .159 Inlaid work . . .122 Insects in books . . .160 , poison for . . .162 Inside finishing . . .121 boards, finishing . .131 Interleaving . . .14 Introduction of the blocking press .... 141 Irons, polishing . . .108 Italian bindings . . .102 school . . .XX tools . . . .102 Joint ..... 3 Joints, cloth . . 34, 96 , morocco . . .95 Kalthoeber . . . xxii Kettle stitch . . . 17 Keys, sewing . . .20 King's yellow for marbling . 67 Knife and straight edge for cutting . . . .57 ^, burr on . . .88 , French paring . . 88 PAGE Knocking-down iron . 2, 53 Knocking-up bands . . 85 Knowledge for finishing . 107 Lake for marbling . . 67 Lamp black for marbling . 67 Lard .... 110, 114 Law books . . . .92 Lay cords . . . .20 Laying on gold . . .117 on gold leaf . .76 Lead type .... 118 Leather . , . .87 , acids on . . .148 , cutting through . . 88 , imitation . . .87 , turning in . . .89 Leathers for antique work . 113 Leatherette . . . .87 Lemon juice for leather . 90 Lettering . . . 107-118 pieces . . .126 Library, appearance of . 92 binding . . .158 in ancient J erusalem . xv Lined tools .... 102 Linear designs . . .102 Lining boards, for half bind- ing and whole binding . 47 Lining-up . . . .83 , flexible backs . . 85 Lithographic stone for paring 88 Mackinly .... xxii Making band-stuff . . 84 boards . . .48 holes in boards . . 53 Maps, folding . . .10 , throwing out . . 8 Marble, comb or nonpareil . 69 edges . . . 66-70 , shell . . . .69 , Spanish . . .69 , spot . . . .68 for paring on . .88 paper, cost of . .71 paper to edges, trans- ferring . . . .71 184 INDEX PAGE Marbled paper . . .29 Marbling, colours for . . 67 , difficulties in . .68 , gum for . . .67 on calf . . . 152 on gilt edges . . 73 , order of colours in . 68 paper . . .69 , requisites for . . 66 - — - under gilt edges . . 73 unsized paper . . 69 writiiig paper . . 69 Marking-up . . 14-16 Marks, printer's . . .102 Margins of sheets . . 1 Masterpieces of binding . xx Materials required for finisb- ing . . . _ . . 108 used for covering . 87 Medium for finishing . .115 Mending old books . .159 Method of binding in France 105 of making end papers . 30 of working antique tools 112 Mice 160 Middle Ages . . . xvii Military books . . .92 Mill-boards . . .47 Mill-board cutting machine — hand (cut) . . .49 steam (cut) . . .50 Missals . . . .101 Missing sheets . . .14 Mitred back . . 119-128 Mixture for finishing . .114 Mock flexible . . .86 Monastic bindings . . 101 design . . 112-xvii finishing . . .111 Monks . . . .101 • as binders . . . xvi Morocco . . . .87 , antique . . .111 flexible, finishing . 113 , graining up . .88 , imitation . . .87 joints . . .95 lettering pieces . . 126 PAGE Morocco, preparation for. blocking . 146 , white 90 Mosaic work 122 Mounting maps . 80 photographs 158 Mull .... 85 Natural History, tools for . 107 Naval books 92 Needlework 87 Nonpareil marble 69 Non-porous leather 115 Octavo 2 Old books, beating 7 , rolling 7 , sewing with head-band 22 Old method of using a block 106 Order of colours in marbling 69 Ordinary sewing . 23 Original finishing 106 head-band . 80 Over-sewing or over-casting. 13 Oxford vellum 138 Ox gall for marbling . 67 Painted edges 77 Pallets 108 -113 Palm leaves, books xvi Paper, cobb . 28 , coloured paste . 30 , end . 28 , marbled 29 , marbling . 70 , printed and fancy 30 , surface 28 Parchment . . 87 90, 138 , vegetable . 138 Paring 87 Paste .... 162 Paste-water . 117 Pasting down 94-96 first and last sheet up . 32 single leaves 11 with a brush 31 Payne, Roger xxi Perfection in covering . 90 INDEX. 185 PAGE Persian design . . .82 Photographs . . .158 Picric acid . . . .150 Plain colouring edges . . 66 — — gilt edges . . .73 Plates 8 , coloured . . .12 , guarding ... 9 , gum on . . .12 , placing ... 9 sticking to book when varnished . . .134 Plough .... 57 Poetical works . . .92 Poison for insects . .162 Polished calf sides . .132 Polishing a back . . .130 , effect of . . . 133 irons .... 108 Porous leather . . .116 Preparation used for blocking 146 Preparatory to gold work . 113 Preparing calf back for finish- ing 126 Preparing for covering . 83 India rubber . .108 leathers for finishing . 116 Press, arming . . .107 , cutting . . .57 finishing . . .113 , hydraulic (cut) . .13 Pressing-boards . . . .54 , calf books . . .133 , plates and tins . .133 various size books . 54 in .... 54 Press, standing (cut) . .11 Printing colours on cloth . 143 Printer's marks . . . 102 Proof 52 Pulling to pieces ... 2 Putting on end papers. . 34 Quantity of gum formarbling 67 Quarto .... 2 Rats 160 Ravages of book- worms . 161 PAGE Reason for lining boards . 47 Receipts for making powder for finishing . . .135 Recovery of waste gold . 108 Red-ochre . . . .64 Reducing heat of tools . 118 Refolding .... 2 Relief to antique work . Ill Religious books . . .111 Removing a photograph . 159 Renaissance (design) 4, 15, 27, 39, 42, 52, 56 Ribbon head-banding . . 81 Rice for sprinkling . . 66 Roan . . . . 87, 91 finishing . . .122 Rods for sprinkling on .151 Roger Payne (design) . xxiii Rolling .... 5 machine (cut) . . 6 old books ... 7 Rolls 108 Roman vellum . . .138 Rose for marbling . . 67 Resin for paste . . .162 Round head-band . . 79 Rounding . . . .42 machine (cut) . . 43 Round plough . . .36 Rule for antique work . Ill Runner . . . .47 Run up back . . . 119 Russia . . . 87, 90 books, pasting down . 96 , imitation . . .92 Salt for glaire . . .10^ Salts of tartar . . .149 Sand for sprinkling . . 64 Satin, covering with . .91 Sawing-in . . . .16 , depth . . .17" machine (cut) . .18 Scrapers . . . .74 Scraping edges . . .75 Screw press (cut) . . 55 Secretion of precious stones in bindings . . . xvi 0 186 INDEX. PAGE Setting head-band . 83, 89 up a block . . . 145 Sewing . . . .20 , flexible work . . 20 keys .... 20 macMne (cut) . . 26 of old book with head- band . . . .22 , ordinary . . .23 press (cut) . . .20 , two sheets on . 25 Shape of a back when rounded 43 Shears for cutting boards . 49 Sheep .... 87 Sheets . . . .1 , duplicate . . .14 , missing . . .14 Shell, marble . . .69 Side, blind tooling . .114 finishing in gold . .120 Sides, finishing . . .130 , polishing . . . 132 Signatures .... 1 Signs for collating . . 8 Silk, covering with . . 91 finishing . . .136 Sixth century . . xvi-xxi Size for head-band . . 79 for marbling . . 67 , frothing . . .132 of cord . . .18 of covers . . .87 Sizing marble paper . .71 old books . . .159 Slide knife . . . .57 Smooth caK . . 87, 148 Soiling edge when covering. 89 Spaces . . . .118 Spanish marble . . .69 Special styles . . . 107 Sponges . . . .109 Spot marble . . .68 Spring type case . .118 Sprinkled edges . . .64 Sprinkles, emblematical . 152 on leather . . .151 edges in imitation of marbling . . .65 PAGE Sprinkling, colours for . 65 Squaring, or cutting boards to size . . . .49 plates .... 9 Staggemeier . . . xxii Stains in books . . .159 of copperas . .155 Standard colour for books . 92 Standing press (cut) . .11 press, American (cut) . 15 Starch for mounting . .158 Steel punches . . .123 Stone jars for marbling . 67 Straight grain . . .88 Straining glaire . . .74 Striped calico for head -banding 81 Straw boards . . .49 Stuck on head-band . . 81 Sweet oil . . . .110 Swelling .... 22 Substitute for lettering pieces 126 Sulphate of iron . . .149 Surface paper . . .28 Tail, cutting . . _ . 59 Taking size of books for mill- boards . . . .51 Taste in finishing . 107, 146 58 124 17 51 68 64 75 75 68 Tearing books in cutting Templates .... Tenon saw .... Testing boards when squared colours for marbling . colours for sprinkling . Test for unsized paper when gilding edges . Thickness of gold-leaf Throwing colours on size . Throwing-dut a map . . 8 Throw-up backs . . .85 Tight backs . . .83 Tins for pressing . . 54 Title pieces for veUum . 139 Tooled gUt edges . 73-77 Tools, azur^ . . .102 ■ , degrees of heat . 117-118 , emblematical . .107 for blocking . .144 INDEX. 187 PAGE Tools, sticking . . .114 Transferring marble paper to edges . . . .71 Tree marbling . . .154 Trimming . . . .36 board . . . .36 , French method . . 36 , letter in Athensemn on 38 machine (cut) . . 37 Trindles .... 60 Trough for marbling . . 66 Turmeric . . . .150 Turning-in leather . . 89 Turpentine for marbling . 69 for paste . . .162 Two-sheets-on, sewing . 25 Type .... 108-118 Type-holders . . .108 Uncut edges . . .36 Unsized paper, marbling . 70 Using a roll with running pattern .... 115 Valuable books, restoring . 159 Varnish . . . .109 Varnished, plates sticking to book when . . .134 Varnishing calf sides . . 133 Vegetable parchment . .138 Vellum, artists' . . .138 covering . . 87-90 drawing boards . . 90 finishing . . .137 PAGE Vellum for head-band . . 79 , Oxford . . .138 , Eoman . . .138 Velvet, covering . . 87-91 , finishing . . . 136 , raising pile . .91 Venetian (design) xviii, 31, 97 tools . . . 102, 111 Vinegar .... 117 Vermilion for marbling . 67 Walnut shells . . .150 Washing old books . .159 Waste gold, recovery of .108 Weather as a guide to finisher . . . .135 Wet medium for finishing . 115 White mill-boards . . 49 morocco, covering . 90 Wood pulp boards . . 49 Wooden trough for marbling 66 Working antique tools . 112 head-band . . .80 Works on poetry . . 92 Wrinkles in back . . 46 Writing paper, marbling . 70 Yellow edges . . .66 . for leather . . .150 Yellow-ochre for marbling . 67 Young's patent size . .127 Zinc trough for marbling . 66 Dbtden Pbess : J. Davx & Sons, 137, Long Acre. 10 11 [