Chapter X: Part III: Ornamental Art (3)

"In sending one of these executed in colours by him twenty years ago, a Friendly corrects an error we committed, by terming _prints_ PICTURES, and writes, 'In preparing the calf, it is simply washed with thin paste-water; when dry, a coat or two of weak salts of tartar. When perfectly dry, you may proceed with any subject; a very weak brown being generally used for its outline. For all colours, I use two cups of different strengths, with _quill_-pens and brushes to each. The green is composed of Scott's liquid blue and French berries. These are bruised and simmered from half a pint to a quartern, then caused to boil, and, while in that state, a pinch of burnt alum should be added to set the colour. The slate is weak copperas; red is obtained from Brazil dust and vinegar, or Brazil chips boiled, and solution of tin added. The books had generally double bands--the lettering-pieces stained chocolate, and the spaces between bands blacked, or the colours "_moused_," morocco being too bright for the stained calf. An octagon or square was coloured brown, slate, or sprinkled, and in the centre a light ground. Was the subject to my fancy, botanical works with a group of plants on the sides, when polished and pressed in japanned tins, had the neatest appearance. Landscapes, animals, insects, shells, &c. are all permanently fixed on the calf by the above-named colours.' He concludes by hoping 'the instructions are sufficiently plain to induce some aspiring F. F.'s to practise this almost forgotten branch of the art of finishing.'

"W. BUCHANAN."

ORNAMENTAL BLACK LINES.

Black lines in rays, or intersecting each other in the form of diamonds or other devices, on the sides of books, which present a good appearance if well executed, are ruled with steel or swan pens, the nibs being formed to the size required by the boldness of the lines. The vinegar-black mixed with a portion of gum-arabic, to neutralize a part of the action of the acid and make it of a stronger consistency, will be found to answer best. Whatever the pattern, it should be slightly traced with the folder, and the design be afterwards marked with the pen, kept steady by the aid of a ruler.

BLACKING THE SQUARES.

Unless coloured uniformly, the whole of the designs before described will not produce the best effect if the squares remain plain or variously tinted; it is, therefore, necessary to black the edges and squares of the board, and the cap over the head-band. This is done with a piece of any firm soft substance on the edges, and with a sponge within the volume, sufficiently below the part where the end-papers will cover. Finally, the covers should be well pastewashed and left to dry.

BANDS AND TITLE-PIECES.

Where the backs are flat it will be necessary to mark the place intended for the bands in gilding. For this purpose the binder should have patterns of the various forms and sizes cut out of thin board, a little longer and double the breadth of the volumes, so that they may be held firmly on the sides, while the bands are marked across the back through the apertures cut in the pattern. It is usual to give a double band at the bottom of the back, and therefore this must be allowed for in the pattern, which lengthened portion must be placed even with the edge of the boards at the tail of the volume, and the bands marked with the folder. By this plan the whole of the bands in sets of books will present a parallel line, and the bad effect produced by the inequalities arising from compassing the distances and trusting to the sight will be avoided. A great saving of time is also effected, as the patterns once made will serve for a very considerable period.

On the fancy colours and sprinkles it is usual to attach lettering-pieces of morocco. For this purpose the morocco, or roan if common work, is cut lengthways of the grain, according to the space between the bands, and the slip placed across the back to measure the breadth, and then cut off. Then, slightly damping on the flesh-side, it must be pared as thin and equal as possible, and the edges sloped evenly down, so as to bring it to the exact size of the square it is to occupy. Should the back require two pieces,--viz.: another for the volume or contents,--it may be proper to vary the colour. These title-pieces are pasted evenly on, a portion of paste rubbed over them with the finger, and then attached firmly and equally by rubbing down the edges with the folder, when the paste must be well washed off with a clean sponge. Where economy is an object, the squares intended for the title may be darkened with brown or black, which will show the lettering very well.

INLAID ORNAMENTS.

To give some bindings in vellum, calf, or morocco an additional degree of splendour, it is sometimes required to execute ornaments on the covers of a different colour; and, as this is an important manipulation, it will be necessary for the young workman to understand it. Let the pattern be worked in blind upon the volume, taking care to have it well impressed. Pare morocco of the colour desired evenly and thin. While damp, place it upon that portion of the pattern to be inlaid, and press upon it with the fingers. The outline of the figure will appear through the morocco. Then lay it upon the paring-stone; and, with the same gouges with which the pattern has been executed, proceed to cut out the morocco. The gouges used for this kind of work should be made of steel.

The same directions will apply to fancy titles for flat backs.

After the pieces have been properly cut out, the workman will proceed to paste them evenly and adjust them in their place upon the volume.

When dry and prepared, the book will then be ready for gilding, and when covered with the gold ornament the joints of the leather will not be perceptible, if well executed. The gouges must be worked upon the edge of the morocco.

This kind of ornament is more frequently executed on calf than any other substance.

COLOURS.

In connection with inlaid ornament, we give a few hints to guide the workman in choice of colours. Much of the effect produced will result from the relations which the colours will bear to each other. A well-executed piece of work may be spoiled by the injudicious selection of colours. If the finisher be ignorant of the lessons which nature teaches in the distribution of colours, he cannot expect to please a connoisseur whose taste has been corrected and refined by a study of the harmonies of colours.

NUMERICAL PROPORTIONS OF HOMOGENEOUS COLOURS.

_Yellow_, 3. _Red_, 5. _Blue_, 8.

SECONDARIES.

3 Yellow } Orange. {
5 Red } { These are contrasting colours to the
{ primaries with which they produce
5 Red } Purple. { harmony in opposition:--the orange
8 Blue } { with the blue, the purple with the
{ yellow, and the green with the red.
3 Yellow } Green. {
8 Blue } {

TERTIARIES.

Purple } Olive. {
Green } { The tertiaries stand in the same relation
{ to the secondaries that the secondaries
Green } Citron. { do to the primaries:--olive to
Orange } { orange, citron to purple, and russet
{ to green.
Orange } Russet. {
Purple } {

Yellow is melodized by orange on one side and green on the other; blue by green and purple, and the red by purple and orange.

PASTING THE END-PAPERS, JOINTS, ETC.

The volume being laid upon the table or press, with the head towards the workman and the upper board open, the guard or false end-paper must be removed and all other substances cleared out of the joint with the folder. The paper to be pasted on the board is cut at each end, so as to show the same margin as on the fore-edge, and pasted evenly over. It is then carefully laid upon the board. The position being adjusted, a piece of white paper should be laid thereon, and the whole rubbed perfectly even with the flat of the hand. Then with the folder rub perfectly square on the joint. The volume, with the board open, may then be turned, and the other side done in the same way.

If it is intended to execute a gilt border or blind tooling in the interior of the cover, it will be important that no part of the end-paper covers it. To avoid this, a slip must be cut off at the head, tail, and on the fore-edge, proportionate to the extra breadth of the border over the square. Or, if morocco joints have been placed in the volume, the two corners of the portion left to be attached to the boards must be cut, to prevent their showing above the end-paper, which is to be pasted over and would disfigure the edge, taking care to leave as much leather as will cover perfectly such portion as is intended for the joint and square of the board, so that, when the paper is pasted on, it will not be perceived that the corners have been cut off. Pare the edge of the leather where the part is cut off on a small board or folder placed underneath; afterwards paste the joint on the edge of the board, attach it neatly with the thumb, finger, and folder, and, when dry, paste thereon the marbled or coloured paper cut to the proper size. For the best class of work the morocco joint is placed in the volume by the finisher after the book is covered.

If the ends are of silk, it will be necessary to leave the silk sufficiently large to turn the edges over a piece of paper that has been cut to the required size, and in order to preserve the gloss and richness of the silk it should not be pasted on the paper upon which it is placed, except where it is turned over the edge of the paper. The paper is then lightly glued over and adjusted upon the board. This method also prevents the silk from ravelling or presenting a jagged edge. In all cases, however, where the border is gilt or otherwise ornamented, below the level of the edges of the volume, the ends must not be pasted down till after that operation is completed, as the glaire and oil would be liable to stain, and present a bad effect.

For inferior bindings, where the end-papers are left plain, the last two leaves being merely pasted together, the ends will only require pasting, and attaching by placing the volume between boards, and screwing firmly in the standing-press, immediately after which it must be taken out and the boards opened, so as to make the joints free. Almost every class of work except velvet and Turkey morocco requires to be submitted to the action of the standing-press after the end-papers have been pasted down, and then allowed to become perfectly dry by leaving the boards open. Our illustration is taken from a standing-press manufactured by W. O. Hickok, Harrisburg, Pa.

In all the departments, but especially in finishing, cleanliness is of the utmost importance. It matters not how graceful may be the design, how perfectly the tools may be worked; all may be spoiled by a volume having a dirty appearance. Therefore, have every thing clean about you,--cups, sponges, and brushes. Let your size, pastewash, and glaire, be clean; your oil-cotton the same. Do not lay on the gold until the preparation is dry. After the working of your tools, be particular in cleaning off the gold, so that no portions or specks remain that should not, for they will have the appearance of dirt. In calf-work, especially, be careful of grease, or of any thing that will soil the leather. In summer-time great care must be taken to protect your work from the flies, particularly after your backs are worked off. The little pests will eat the glaire off in places, and give the book an unsightly appearance.

VARNISH,

AS USED IN BOOKBINDING.

The first, by the celebrated _Tingry_, is made in the following manner:--

Put into a vessel six ounces of mastic, in drops, three ounces of sandarac finely powdered, four ounces of coarsely-broken glass, separated from the dust by a sieve, and thirty-two ounces of spirits of wine, of about forty degrees. Place the vessel upon straw in another filled with cold water; put it on the fire and let it boil, stirring the substances together with a stick, to keep the resins from uniting. When the whole appears well mixed, put in three ounces of turpentine, and boil for another half-hour, when the whole must be taken off and stirred till the varnish and the water in which it is placed cools. Next day, filter it through a fine cotton, by which means it will acquire the greatest degree of limpidity, and well cork up in a bottle.

The other recipe is given by _Mons. F. Mairet_, of _Châtillon sur Seine_, and may be prepared similar to the above. The ingredients are, three pints of spirits of wine, of thirty-six to forty degrees, eight ounces of sandarac, two ounces of mastic in drops, eight ounces of shell-lac, and two ounces of Venice turpentine.

The varnish is first put on the back of the book with a camel's-hair brush as lightly as possible. When nearly dry, it is polished with a ball formed of fine white cotton, filled with wool, on which has been rubbed a small quantity of olive-oil, to make it glide freely; it must be rubbed at first lightly, and, as fast as the varnish dries and becomes warm, more sharply. The sides are in like manner polished one after the other.

Varnish is applied after the volume has been polished by the iron, in order to retain the brilliancy and preserve the volume from the bad effects produced by flies eating off the glaire. The manufactured article now in general use is applied by a soft sponge being lightly passed over the volumes after a small portion of varnish has been applied to the sponge.

STAMPING.

For gilding the sides and even backs of publishers' work, or in fact any other where a quantity of gilding is desired at little expense, the stamping-press is brought into requisition, and by means of tools cut for the purpose, called blocks or stamps, the design is impressed on the side. These stamps may be made of very small pieces, and, by having a number of them, the patterns produced may be almost indefinite. The stamps are affixed to an iron or brass plate, called a back or foundation-plate, upon which a piece of stout paper has been glued. Then let the workman mark upon the plate the exact size of the side to be stamped, marking it evenly with the compasses, so as to justify the stamps; then strike the centre, and draw lines upon the paper from the centre, so as to divide it into squares or to any given part, so as to afford freedom for selection in the starting-point of the design. For it must be manifest that if a workman starts all his patterns from the same point, notwithstanding he may have a variety of tools at his disposal, his patterns will exhibit a great deal of uniformity. Let the paper be glued equally over the surface, and proceed to form the pattern by arranging the stamps upon the plate so as to exhibit the design. A great deal of taste can be displayed in the formation of patterns for stamping; but, in consequence of the public generally desiring a mass of gilt gingerbread-work, this branch has been but little cultivated; the prevalent opinion among stampers being that it is no matter what is put upon the side so that it is well covered with gold. Publishers find those books that are the most tawdrily gilt are soonest disposed of; hence, every thing is sacrificed to a gaudy exterior. It is to be hoped that the art will be relieved from this degraded ornamentation. Stampers themselves can do something to purify and correct the public taste by avoiding the unmeaning collections confusedly huddled together, so often seen upon sides. Every remark in regard to style, design, and combination of tools in the hand-finisher's department applies with equal force to stamp-work; and, although the stamps used in the latter are not so plastic as those in hand-work, still great results will be achieved; for, notwithstanding the superiority of hand-work for artistic expression and permanence, press-work will always maintain a prominent position in the art, producing, as it does, striking results at a trifling expense. After the pattern is formed, take a little paste and touch the under side of each stamp, and place them in exact position. After this is done and the paste has become hard, lay the stamp or pattern thus formed upon the side of the volume, taking care to have the same margin on the front, back, and ends. Then place the board or side upon which the stamp is placed upon the platen or bed of the stamping-press, leaving the volume hanging down in front of the platen, which is then moved to the centre of the upper platen, so that the clamps will touch the plate on both edges at the same moment; then pull the lever so as to put a slight pressure upon the plate in order to keep both it and the side in their proper place; then adjust the guides to the fore-edge and head or left-hand side, and screw them fast; throw back the lever, take out the book; examine and correct any irregularity in the margin of the pattern by moving the guides. When perfectly square, place a soft pasteboard under the stamp, pull down the press, and apply heat. This will set the stamps or harden the paste and glue in a short time, so that they will not fall off in stamping--a great annoyance. Work for stamping does not require so much body or preparation as if it were to be gilt by hand. Morocco can be worked by merely being washed with urine; but it is safer to use a coat of size, or glaire and water mixed in proportions of one of the former to three of the latter. Grained sheep, or, as it is called, imitation-morocco, requires more body to gild well. After the books are ready for laying on, the gold-leaf is cut upon the cushion to the required size, or, if the volume be large and the stamp will cover its superficial extent, the leaf may be lifted from the gold-book by means of a block covered with wadding or cotton lap and laid immediately upon the side. After an oiled rag has been lightly passed over the surface of the leather to cause the gold to adhere until it is put under the press, examine the press to see if sufficiently heated for the purpose. A little experience will soon determine the requisite amount of heat as a general rule. Leather-work does not require as hot a tool for stamping as for hand-work, while cloth or muslin-work requires a short, quick stroke, and the press to be hotter than for leather. In most binderies the stamping-press is heated by introducing steam or gas through tubes perforated for the purpose; though a few still use the heaters, which, after being heated in a furnace, are placed in the holes of the upper platen. After the press is properly heated, throw back the lever; take out the pasteboard from under the stamp; regulate the degree of pressure required for the stamp; then place the side to be stamped upon the bed-plate, holding it firmly against the guides with the left hand, while with the right the lever is quickly drawn to the front. This straightens the toggles and causes a sharp impression of the stamp upon the leather; immediately throw back the lever; take out the side, and rub off with a rag the superfluous gold. Repeat the operation upon the other side, unless the stamp be of an upright design; it will then be necessary to turn the stamp in the press before operating upon the other side. Case-work or covers that are stamped before being put upon the books are done in the same manner, the backs being also stamped before being glued on. The preceding cut of a stamping-press for gilding light work, lettering, &c., is of the most approved construction, while for large, heavy work, either gilt or stamped blind, (embossed, as it is erroneously called,) and for cloth-work generally, the wheel-press is best adapted. It can be worked either by hand or by power. The fly-wheel can be kept revolving while the workman is engaged in feeding the press. The lever is used for light work. It will be perceived that the upper platen of this press, to which the stamp is attached, is stationary, thereby giving great advantages in arranging pipes for heating by gas, and also for carrying off the smoke and unconsumed gas that would otherwise escape into the room. These presses are manufactured by I. Adams & Co., Boston.

A description of the various processes to produce by stamping the rich effects of inlaid work will be found under the head of Illuminated Binding and that of Inlaid Ornaments. For publishers' work it is a point of economy to have a steel-cutter that will cut out the pattern at one blow. For this kind of work, coloured German paper is used instead of leather for inlaying.

Thin boards are cut out with the aid of steel-cutters and the stamping-press, and affixed to the volumes; and, after they are covered, they are stamped in gold and blind with patterns corresponding with the figure of the cutter. This can only be applied where there are a large number of volumes, although single volumes may be cut out by hand at an increase of expense.

The modernized Gothic design (Plate IX.) is intended for a side-plate, to be worked either in gold or blank. The light floriated design (Plate X.) is calculated to be worked in gold, and is a good illustration of the prevailing treatment of the style for which it has been expressly designed. The pattern upon Plate XI. is intended for press-work, to be blank-stamped. The contrast of light and heavy work producing a fine effect, it is well adapted for a side-stamp, especially for cloth-work.

_9._

_Modernized Gothic._]

_10._

_Modern Floriated Design._]

_11._

_Expressly for Cloth after Holbein's Style._]

Plate XII. is a graceful design from a "Hint" of Mr. Leighton's. It is suited for a side-stamp, to be worked in gold; and with it closes our illustrations of design.

_12._

_From a hint of Leighton._]

To obviate a difficulty that the young finisher will experience in his first attempts at designing, let him select a good quality of sized paper, cut it to the required size, then fold it carefully into four parts, and draw his pattern boldly upon one of the four corners with a lead-pencil. After that is done, slightly damp the opposite corner, fold the drawn portion so that it comes in contact with the damp surface, and rub it upon the back, so as to transfer the outlines of the drawing. When it appears with sufficient distinctness, trace it carefully over with the pencil, and repeat the process upon the other corners until the pattern is complete. This method insures accuracy and expedition. In working a pattern with gouges or with intersected lines, the same principle is applied, so as to reproduce the pattern precisely alike at the four corners, and to save time. In this case the paper is folded, and one impression of the tool answers for both sides of the pattern.

Let the young finisher but feel a love for his art, make himself familiar with the best specimens, and determine to excel; and eventually his productions will be esteemed, his ability command the best situations, and he will be recognised as an artist.

CUTTING-MACHINES.

For cutting paper, pamphlets, and books "out of boards," a number of machines have been invented, and are used in many binderies, especially in those where large quantities of "cloth-work" are bound. They have been found to answer for this class of work very well. Some of them operate with sufficient nicety to cut books for case-work that are intended for gilt edges, when they are not to be scraped. For first-class work, cut "in boards," nothing has been discovered to supersede the old-fashioned mode of cutting with the plough and press.

The above cut of one of these machines, from the manufactory of I. Adams & Co., Boston, will serve to convey a general idea of its appearance; and the names of the makers are a sufficient guarantee of the mechanical perfection of its details.

TRANSLATION OF DATES.

Many old books have their dates printed in a manner which puzzles the finisher, should he be required to date any so printed, which are too thin to admit of its being done as on the title-page. The following key is here given, as it may be found useful in such cases:--c. 100; I[c], or D, 500; cI[c] or M, 1000; I[cc], 5000; ccI[cc], 10,000; I[ccc], 50,000, cccI[ccc], 100,000. Thus, cI[c], I[c], CLXXXV111--1688. While on this subject, it may not be inappropriate to notice the dating of some books printed in France during the republic in that country. Thus, "An. XIII."--1805, that being the thirteenth year of the republic, which commenced in 1792.

RESTORING THE BINDINGS OF OLD BOOKS.

Old bindings often look badly on account of the leather becoming dry and cracked, or the surface of the skin having been rubbed off in places. To obviate this, take a small quantity of paste and rub it carefully with the finger upon the portions that require it; after it is dry, wash the volume carefully over with a thin solution of glue size. When dry, the volume may be varnished, and afterwards rubbed over with a cloth in which a few drops of sweet oil have been dropped.

SUPPLYING IMPERFECTIONS IN OLD BOOKS.

It often occurs that a valuable and rare work has a leaf torn or missing. In order to supply it, the first step will be to obtain the use of a perfect copy as a model. Then procure paper of the same colour as the leaf to be mended, and cut it carefully to correspond with the torn portion. After the piece has been neatly adjusted, tip it and the leaf, very lightly, along the edges with paste made of rice-flour; then place a piece of tissue-paper on both sides of the leaf, and smooth it carefully with the folder; then close the volume and allow it to remain until perfectly dry. Then proceed to remove the tissue-paper, and it will be found that the portions that adhere where the joining occurs will be strong enough to secure the piece to the leaf of the book. The letters may be then copied from the perfect copy and traced upon the inserted piece. The general appearance will depend upon the skill displayed in order to produce a successful imitation of the original.

HINTS

TO BOOK-COLLECTORS.

Never write your name upon the title-page of a book.

Have your books cut as large as possible, so as to preserve the integrity of the margin.

Do not adopt one style of binding for all your books.

Let the bindings upon your books be characteristic of the contents and of the value of the work.

Employ Turkey morocco for large works or for books that you have in constant use. It is the most durable material used in binding, except Levant morocco, which is very expensive.

English coloured calf makes a beautiful covering, and bears full gilt tooling better than morocco. The latter, if too richly charged, is apt to look tawdry.

Let the durability and neatness of your bindings be the primary requisites. Ornament judiciously and sparingly, rather than carelessly or gaudily.

Poetry and sermons are not to be treated alike, either in colour or degree of ornament to be employed.

The value of a library will be enhanced by the amount of knowledge and taste displayed in the bindings.

Russia leather is no protection against worms, and it speedily cracks along the joint.

Uncut books will command a higher price than those that are cropped.

To bind a book well, it should have ample time to dry after each process.

When you receive a volume from the binder, place it upon your shelf in such a manner that the adjoining volumes will press tightly against it and keep it closed; or, if you lay it upon your table, place other volumes upon it, to prevent the boards from warping, and do not, for some time, use it near the fire.

Upon opening a volume, do not grasp the leaves tightly in your hands. You might thereby break the back. If the book is too tight in the back, lay it upon a flat surface, and open it by taking a few sheets at a time, and lightly pressing upon the open leaves, going thus from the beginning to the end, until the requisite freedom is obtained.

Use a paper-knife, or folder, to cut up the leaves of your uncut books, so that the edges will be smooth and even; otherwise the book will have to be cut down when it is bound.

Do not bind a newly-printed book. It is liable to set off in the pressing.

Never destroy an original binding upon an old volume if the binding be in tolerable condition. An old book should not be rebound, unless it is essential to its preservation; and then it should be, as far as possible, a restoration.

Carefully preserve old writings and autographs upon fly-leaves, unless they are trivial. It is an act of courtesy to the former owner of a book to place his book-plate on the end-board of the volume.

Any blank-leaves that occur in old volumes should not be removed. The bastard or half title should always be preserved.

Have all oblong plates placed in such a manner that the inscription under them will read from the tail to the head of the volume.

Never bind a large map with a small volume. It is liable to tear away; and, in pressing the volume, it makes unseemly marks. Maps and plans should be affixed to blank leaves, so as to open clear of the volume, that the reader may have the plan and text to examine together.

It is a false economy to bind up a number of volumes together, especially if they are of different sizes and upon different subjects.

Keep your books dry, but not too warm. Gas is injurious in a library, especially to the gilding upon the books.

Do not place books with uncut tops where the dust will fall upon them. It will penetrate between the leaves and mar the interior of the volumes.

Avoid placing books with clasps or carved sides upon the shelves. They will mark and scratch their neighbours.

Never fold down corners, or wet your fingers, when reading or turning over the pages of a book.

Do not read a book at table. Crumbs are apt to penetrate into the back-fold of the leaves.

Books are not intended for card-racks or for receptacles of botanical specimens.

Never leave a book open, face downward, under the pretext of keeping the place. If it remain long in that condition, it will probably ever afterwards jump open at that place.

Never pull books out of the shelves by the head-bands, or suffer them to stand long upon the fore-edge.

Books should not be toasted before a fire or be converted into cushions to sit upon.

Saturate a rag with camphor, and, when dry, occasionally wipe the dust from your books with it, and you will not be annoyed with book-worms.

Treat books gently; for "books are kind friends. We benefit by their advice, and they exact no confessions."

+Technical Terms+

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.

_Asterisk._--A sign used by the printers at the bottom of the
front page of the duplicate-leaves printed to supply the place
of those cancelled.

_Backing-Boards._--Are used for backing or forming the joint.
They are made of very hard wood or faced with iron, and 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 laying-press may be directed towards the back.

_Backing-Hammer._--The hammer used for backing and rounding:
it has a broad, flat face, similar to a shoemaker's hammer.

_Bands._--The twines whereon the sheets of a volume are sewn.
When the book is sewed flexible the bands appear upon the
back. When the back is sawn so as to let in the twine, the
appearance of raised bands is produced by glueing narrow
strips of leather across the back before the volume is
covered.

_Band-Driver._--A tool used in forwarding to correct
irregularities in the bands of flexible backs.

_Bead._--The little roll formed by the knot of the headband.

_Bleed._--When a book is cut into the print it is said to
bleed.

_Bevelled Boards._--Very heavy boards for the sides champered
around the edges.

_Blind-Tooled._--When the tools are impressed upon the
leather, without being gilt, they are said to be blind or
blank.

_Boards._--Are of various kinds, such as pressing, backing,
cutting, burnishing, gilding, &c. The pasteboards used for
side-covers are termed boards. The boards used for cutting
books "out of boards" are called steamboat-boards. Tinned
boards are used for finished work; while brass or iron-bound
boards are used for pressing cloth-work.

_Bodkin or Stabbing-Awl._--A strong point of iron or steel,
fixed on a wooden handle, to form the holes in the boards
required to lace in the bands. Used also for tracing the lines
for cutting the fore-edge.

_Bole._--A preparation used in gilding edges.

_Bolt._--The fold in the head and fore-edge of the sheets.
Also the small bar with a screw used to secure the knife to
the plough.

_Bosses._--Brass plates attached to the sides of volumes for
their preservation.

_Broke up._--When plates are turned over and folded at a short
distance from the back-edge, before they are placed so as to
enable them to turn easily in the volume, they are said to be
broke up. The same process is sometimes applied to the entire
volume.

_Burnish._--The effect produced by the application of the
burnisher to the edges.

_Burnishers._--Are pieces of agate or bloodstone affixed to
handles.

_Cancels._--Leaves containing errors which are to be cut out
and replaced with corrected pages.

_Caps._--The leather covering of the headband. Applies also to
the paper envelopes used to protect the edges while the volume
is being covered and finished.

_Case-Work._--Work in which the boards are covered and
stamped. The volume is then glued upon the back and stuck into
them.

_Catch-Word._--A word met with in early-printed books at the
bottom of the page, which word is the first on the following
page. Now used to denote the first and last word in an
encyclopædia or other book of reference.

_Centre-Tools._--Are single, upright, or independent tools
used for the middle of the panels by the finisher.

_Clearing Out._--Removing the waste-paper and paring away any
superfluous leather upon the inside, preparatory to pasting
down the lining-paper.

_Collating._--Examining the signatures, after the volume
is gathered, to ascertain if they be correct and follow in
numerical order.

_Corners._--The triangular brass tools used in finishing backs
and sides. The gilt ornaments used on velvet books. Also, the
leather pasted on the corners of half-bound books.

_Creaser._--The tool used in marking each side of the bands,
generally made of steel.

_Cropped._--When a book has been cut down too much it is said
to be cropped.

_Dentelle._--A fine tooled border resembling lace-work.

_Edge-Rolled._--When the edges of the boards are rolled. It
may be either in gold or blind.

_Embossed._--When a plate is stamped upon the cover so as to
present a raised figure or design, it is said to be embossed.
Some inappropriately term this kind of work Arabesque.

_End-Papers._--The paper placed at each end of the volume, a
portion of which is removed when the lining-paper is pasted
down upon the boards. Also called Waste-Papers.

_Fillet._--The cylindrical ornament used in finishing upon
which simple lines are engraved.

_Finishing._--Is that department that receives the volumes
after they are put in leather, and ornaments them as required.
One who works at this branch is termed a finisher.

_Finishers' Press._--Is the same as a laying-press, only much
smaller.

_Flexible._--When a book is sewn on raised bands and the
thread is passed entirely round each band.

_Folder._--This is a flat piece of bone or ivory used in
folding the sheets and in many other manipulations. Also
applied to a female engaged in folding sheets.

_Fore-Edge._--The front edge of the book.

_Foundation-Plate._--A plate of iron or brass upon which
side-stamps are affixed.

_Forwarding._--Is that branch that takes the books after they
are sewed and advances them until they are put in leather
ready for the finisher. One who works at this branch is termed
a forwarder.

_Full-Bound._--When the sides of a volume are entirely covered
with leather, it is said to be full-bound.

_Gathering._--The process of arranging the sheets according to
the signatures.

_Gauge._--Used in forwarding to take the correct size of the
volume and to mark it upon the boards for squaring.

_Gilt._--Is applied to both the edges and to the ornaments in
finishing.

_Glaire._--The whites of eggs.

_Grater._--An iron instrument used by the forwarder for
rubbing the backs after they are paste-washed.

_Gouge._--A tool used in finishing, the face of which is a
line forming the segment of a circle.

_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.

_Half-Bound._--When a volume is covered with leather upon
the back and corners, and the sides are covered with paper or
cloth.

_Hand-Letters._--Letters cut and affixed to handles, and
adjusted singly upon the volume when lettering it.

_Head and Tail._--The top and bottom of a book.

_Headband._--The silk or cotton ornament worked at the ends so
as to make the back even with the squares.

_Imperfections._--Sheets rejected on account of being in some
respect imperfect, and for which others are required to make
the work complete.

_In Boards._--When a volume is cut after the pasteboards are
affixed to form the sides, it is said to be cut in boards. The
term is also applied to a style of binding in which the boards
are merely covered with paper.

_Inset._--The pages cut off in folding and placed in the
middle of the sheet.

_Inside Tins._--So called from being placed inside of the
boards when the volume is put in the standing-press.

_Joints._--The projections formed in backing to admit the
boards; applied also to the inside when the volume is covered.

_Justification._--The observance that the pages of a volume
agree and are parallel throughout, so as to insure a straight
and equal margin.

_Kettle-Stitch._--The stitch which the sewer makes at the head
and tail of a book; said to be a corruption of chain-stitch.

_Keys._--The little instruments used to secure the bands to
the sewing-press.

_Knocking-Down Iron_.-- So called from having the slips, when
laced in, pounded down upon it, so that they will not show
when the book is covered.

_Laced In._--When the boards are affixed to the volume by
means of the bands being passed through holes made in the
boards, they are said to be laced in.

_Lettering-Block._--A piece of wood, the upper surface being
rounded, upon which side-labels are lettered.

_Lettering-Box._--The box in which the type are screwed up
preparatory to lettering.

_Lining-Paper._--The coloured or marbled paper at each end of
the volume.

_Marbler._--The workman who marbles the edges of books, &c.

_Mitred._--When the lines in finishing intersect each other at
right angles and are continued without overrunning each other,
they are said to be mitred.

_Out of Boards._--When a volume is cut before the boards are
affixed, it is said to be done out of boards.

_Overcasting._--An operation in sewing, when the work consists
of single leaves or plates.

_Pallet._--Name given to the tools used in gilding upon the
bands, sometimes applied to the lettering-box.

_Panel._--The space between bands; also applied to bevelled
and sunk sides.

_Papering Up._--Covering the edges after they are gilt, so
as to protect them while the volume is being covered and
finished.

_Paring._--Reducing the edges of the leather by forming a
gradual slope.

_Pastewash._--A thin dilution of paste in water.

_Pencil._--A small brush of camel's hair.

_Pieced._--When the space between bands, upon which the
lettering is placed, has a piece of leather upon it different
from the back, it is said to be pieced or titled.

_Plough._--The instrument used in cutting the edges of books
and pasteboards.

_Points._--Holes made in the sheets by the printer; they serve
as guides in folding.

_Polisher._--A steel implement used in finishing.

_Press._--There are various kinds of presses,--viz.: laying
or cutting, standing, stamping, embossing, gilding, and
finishing.

_Rake._--An instrument used in forwarding, to harden the backs
while being pastewashed in the standing-press.

_Rasped._--The sharp edge taken off the boards.

_Register._--The ribbon placed in a volume for a marker; also
a list of signatures, attached to the end of early-printed
works, for the use of the binder.

_Rolls._--The cylindrical ornaments 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.

_Runner._--The front board used in cutting edges, &c.

_Sewer._--The person who sews the sheets together on the
sewing-press--generally a female.

_Set-Off._--Designates the transfer of the ink to the opposite
page.

_Setting the Head._--Is covering the headband neatly with the
leather, so as to form a kind of cap.

_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 the edges 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 arrangement
in the volume; sometimes applied to the sheet itself.

_Size._--A preparation used in finishing and gilding,
generally made from vellum.

_Slips._--The pieces of twine that project beyond the volume
after it is sewn.

_Squares._--The portions of the board that project over the
edges.

_Stabbing._--The operation of piercing the boards with a
bodkin for the slips to pass through; also the piercing of
pamphlets for the purpose of stitching.

_Stamps._--The brass tools used in finishing to impress a
figure upon the leather; they are distinguished by hand-stamps
and stamps for the press.

_Start._--When any of the leaves are not properly secured in
the back, upon opening the volume they will project beyond the
others, and are said to start.

_Steamboating._--Cutting books out of boards, a number being
cut at the same time.

_Stitching._--The operation of passing the thread through a
pamphlet for the purpose of securing the sheets together.

_Stops._--Are small circular tools, adapted to stop a fillet
when it intersects at right angles, to save the time used in
mitreing.

_Title._--The space between bands, upon which the lettering is
placed.

_Tools._--Applied particularly to the hand-stamps and tools
used in finishing.

_Trindle._--A strip of thin wood or iron.

_Turning Up._--The process of cutting the fore-edges in such a
manner as to throw the round out of the back until the edge is
cut.

_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.

_Whipping._--The process of overseaming plates.

_Witness._--When a volume is cut so as to show that it has
not been cut as small as some of the leaves, their uncut edges
prove this, and are called witness and sometimes proof.

_Wrinkle._--The uneven surfaces in a volume, caused by not
being properly pressed or by dampness, also caused by improper
backing.

INDEX.

Affixing the stamps, 279, 280.

Agatine marble, on leather, 249.

Aldine, 198.

Aldus, 198.

Anonay paper, 150.

Antique, 231.

bands, 147.

marble, 117.

Dutch, 123.

Arabesque, 210.

Assyrian, 179.

Aqua Regia, 237.

Backing-machine, 173.

Backs, flexible, 54, 55.

India-rubber, 58.

Backing books, 43.

Bands, in finishing, 269.

Bands, raised, 53, 54.

parchment, 57.

Baumgarten, 20.

Beating, 41, 42.

Beating-hammer, 42.

Beckford, 206.

Bedford, 28.

Benedict, 20.

Bible, chained in churches, 16.

Bibliographical Decameron, 14, 26, 135.

Bindings of Corvinus, 14.

of Henry VII., 16.

of Henry VIII., 17.

of Elizabeth, 17.

of Grolier, 17.

of Maioli, 18.

of Diana of Poictiers, 18.

of Henry II., 18.

of De Thou, 19.

of the Chevalier D'Eon, 19.

of Oxford, 20.

of Mackinlay, 21.

of Roger Payne, 21-23.

of Mackenzie, 28.

of Charles Lewis, 28.

of Clarke, 28.

of Riviere, 28.

of Bedford, 28.

of Hayday, 28.

of Napoleon, 30.

of Lortic, 31.

of Duru, 32.

of Niédré, 32.

Bindings of Bauzonnet, 32, 142.

Black, for marbling, 85, 91.

edges, 136.

ink, 156, 157.

for blank-work, 165.

for marbling leather, 241.

for leather, 259.

lines, 268.

Blacking the squares, 268.

Blank binding, 151.

Bleeding, 68.

Blind tooling, 230.

Block-finishing, 279.

Blue, for edges, 78.

for marbling, 85, 89, 90, 105.

ink, 156.

for marbling leather, 242.

uniform colour for leather, 258.

Blue agate marble on leather, 249.

Stormont marble, 105.

Boards, mode of making, 65.

squaring, 66.

Boarding, blank-work, 160.

printed work, 169.

Box marble, on leather, 253.

British marble, 119.

Brown, for edges, 79.

for marbling, 86, 91.

for marbling leather, 241, 242.

uniform colour for leather, 257.

Burnt ochre, 88.

Burnishing, 126, 129, 133.

Byzantine, 181.

Cambridge, 208.

binding, 19.

Cancels, 40.

Caoutchouc, 58.

Capé, 31, 32.

Carved oak boards, description of, 12, 211.

precious stones let into, 14.

Case-work, stamping, 283.

Cedar sprinkle, on leather, 253.

Chemical preparations, 237.

Chinese blue, 89.

Chrome, 90.

Clarke, 28.

Clasps, 167.

Cleanliness, 276.

Cloth-work, 170.

Collating, 39.

description of, 39, 40.

Coleridge, 190.

Colours, for edges, 74-82.

for marbling, 84.

grinding, 98.

uniform, for leather, 256.

harmony of, 272.

Colouring, for leather, 236.

Comb marble, 115.

Combs, for marbling, 127.

Corners, 167.

Corvinus, library of, 14.

Covering, 141.

blank-work, 163.

Cropping, 67.

Curl marble, 109.

Cutting in boards, 72.

Cutting-machines, 288.

Dawson, 20.

Derome, 18, 19, 67.

De Seuil, 18, 19.

Design, 186.

Designing, 286.

De Thou, bindings of, 19.

Dibdin, his account of the library of Corvinus, 14.

of Roger Payne, 26, 191, 195.

Diptych, description of, 11.

Drag Spanish marble, 114.

Drop ivory black, 91.

Drop lake, 86.

Duru, 31, 32.

Dutch marble, 120.

Dutch pink, 90.

Edges, colouring and sprinkling, 74.

colours for, 74-79.

blue, 78.

yellow, 78.

green, 78.

orange, 78.

red, 78.

purple, 79.

brown, 79.

black, 136.

rice marbled, 80.

white spotted, 80.

fancy marbled, 81.

gold sprinkle, 81.

marbled, 82, 125.

burnishing, 126, 129.

gilt, 130.

antique, 134.

gold upon marble, 135.

black, 136.

Edge-gilding, 130.

antique, 134.

on marble, 135.

on landscapes, 135.

Eighteenmo, 36.

Elizabethan, 184.

End-papers, 59, 60, 273.

Etruscan, 180.

Eyton, J. W. King, binding belonging to, 28, 29.

Fair agate marble, on leather, 249.

Falkner, 28.

Fancy titles, 221, 271.

Fawn, colour for leather, 244.

Finishing, blank-work, 168.

Finisher's standing press, 275.

Flea-seed, 94.

Flexible, mode of sewing, 53.

marking off, 54, 55.

Folding, 35.

blank-work, 157.

Folio, 36.

Font Hill, 150, 205.

Forwarding, job-work, mode of operation, 59.

making end-papers, 60.

putting in joints, 61.

glueing up, rounding, 62.

backing, 63, 64.

cutting, 65, 70.

making boards, 65.

squaring, 66.

lacing in, 68.

pastewashing back, 69.

cutting round, 71.

turning up, 73.

Foundation-plate, 279.

Gilding, preparations for, 216.

the back, 217.

the squares, 223.

the sides, 224.

on silk and velvet, 225.

Gilt edges, 130.

upon marbled, 135.

Glaire, for marbling leather, 240.

Gold marble on leather, 260.

Gold sprinkle, 81.

Gothic, 183.

Grafton, the printer, 16.

Grained sheep, 282.

Graining, 231.

Grolier, bindings of, 17.

style, 212.

Green, for edges, 78.

for blank-work, 164.

for leather, 244.

uniform colour for leather, 258.

agate marble on leather, 249.

Italian marble, 106.

porphyry marble on leather, 250.

Greek, 180.

Gum, 92.

directions for preparing for marbling, 93.

Guards, sewing on, 53, 56.

mode of mounting, 56.

Gum-sandarac, 226.

Harleian, 202.

Harmony of colours, 272.

Half-binding, 149.

Hayday, 28, 29, 232.

Headbands, 137.

single, 138.

double, 140.

gold and silver, 140.

ribbon, 141.

Heat, degree required for stamping, 282.

Hints to book-collectors, 291.

Henry VII., time of, 16.

VIII., bindings of, 17.

Hering, 28.

Holbein, 213.

Hydraulic press, 45.

Illuminated binding, 227.

Imperfections in old books, 290.

Indigo, 89.

Inlaid work, 229.

ornaments, 270.

Irish moss, 94.

Italian marble, 106.

Janseniste, 208.

Joint, mode of forming, 63.

Joints, inside, 273.

Kalth[oe]ber, 20.

Kettle-stitch, 51, 53, 55.

Keys for securing bands on sewing-bench, 49.

detaching, 57.

Lacing in, 68.

Landscapes on sides, 263.

transferred, 264.

Lapis Lazuli marble on leather, 261.

Lay on, 218.

Leland's Itinerary, 14.

Lettering-press, 283.

Levant marble on leather, 249.

Levant morocco, 31, 142.

Lewis, Charles, 28.

Light Italian marble, 106.

Lilac, for leather, 243.

Lining-papers, mode of making, 60.

Linseed, 94.

Lortic, 31, 32.

Louis Quatorze, 184.

Mackenzie, 28.

Mackinlay, John, 20.

bindings of, 21.

Mahogany sprinkle on leather, 252.

Maiolo, 17.

Malacca tin, 238.

Marbling on leather, 246-254.

on paper sides, 254.

Marbling-water for leather, 240.

Marbled cloth, 127.

Marbled edges, 125.

gilt upon, 135.

Making cases, 174.

Missals, antiquity of, 10.

Mitreing, 219.

Modernized monastic, 231.

Montague, 201.

Moorish, 182.

Niédré, 31, 32.

Nonpareil, 115.

raked, 116.

reversed, 116.

Numerical proportions of colours, 272.

Nutmeg sprinkle on leather, 255.

Oak boards, 15, 211.

Octavo, 36.

Old bindings, 289.

Olive, for leather, 258.

Orange, for edges, 78.

for marbling, 86, 91.

for leather, 244.

Orange lead, 91.

Ornamental art, 178.

Oxford, bindings of, 20.

Oxford ochre, 88.

Ox-gall, 96.

Padeloup, 18.

Paging-machine, 154.

Paper and book trimmer, 288.

Paring-knife, 149.

Pasting down, 273.

Payne, Roger, history of, 21.

his bindings, 23.

bill of, 25.

his favourite colour, 26.

Pearl-gray for leather, 258.

Petit, Bernard, bindings designed by, 18.

Phillatius the Athenian, 9.

Pictures on calf, 266.

Pickering, 200.

Plates, mode of sewing, 53.

Polishing, 234.

Porphyry marble on leather, 251.

Porphyry vein marble on leather, 251.

Preparations for marbling, 96.

chemical, 237.

for stamping, 281.

for gilding, 216.

for marbling leather, 240.

Press-work, 279.

Primary colours, 272.

Prints on calf, 266.

Progress of the art, 10, 33.

Prussian blue, 90.

Purple, for edges, 79.

for blank-work, 165.

for leather, 243.

marble on leather, 248.

Quarto, 36.

Raw ochre, 90.

Red, for edges, 78.

for marbling, 85-88.

ink, 156.

for blank-work, 164.

for leather, 245.

Red porphyry marble on leather, 250.

Register, 137.

Renaissance, 183.

Restoring old bindings, 289.

Revival, 183.

Rock marble on leather, 252.

Rolling-machine, substitute for beating; mode of operation;
advantages and disadvantages of, 43, 44.

Roman, 181.

Rose-pink, 87.

Rounding, 62.

Rice marble, 80.

Ring sprinkle on leather, 255.

Riviere, 28.

Ruling, 152.

Run up, 220.

Russian bands, 165.

Sawing, 48, 49.

Sawing-machine, 171.

Scraping, 132.

Secondary colours, 272.

Setting the head, 145.

the stamp, 281.

Set off, 42, 43.

Sewing, process of, 49, 50.

two sheets on, 50.

all along; quartos; plates or maps, 52.

whipping, sewing on guards, 53.

on raised bands; pure flexible, 54, 55, 56.

blank-work, 159.

Sewing-bench, 49, 50.

Shell marble, 100, 103, 104.

Sheriffs of Shropshire, 28.

Sheet-work, 35.

Silk lining, 274.

Sixteenmo, 36.

Sizing the paper, 127.

Slate, uniform colour for leather, 259.

Smasher, substitute for beating, 44.

mode of operation; amount of pressure; advantage of, 45.

Spanish marble, 110.

olive, 111.

blue, 112.

brown, 112.

fancy, 113.

drag, 114.

Spring-back, blank-work, 161.

Sprinkles, 255, 256.

Sprinkling, mode of, 75, 76.

colours for, 74.

rice-marble, 80.

white spot, 80.

gold sprinkle, 81.

Staggemier, 20.

Stamping, 279.

Steamboating, 172.

Stabbing, 68.

Steel gouges, 271.

Stone marble, on leather, 248.

Sunk boards, 285.

Supplying imperfections in old books, 290.

Table-shears, 175.

Taste, 186.

Technical terms, 297-310.

Tertiary colours, 272.

Thirty-twomo, 36.

Thouvenin, bindings of, 30.

Titles, 269.

fancy, 271.

Tortoise-shell sprinkle on leather, 256.

To dissolve gold, 237.

Transfers, 264, 266.

Transferring designs, 286.

Translation of dates, 289.

Trautz et Bauzonnet, 31, 32, 142.

Tree-marbled calf, 28, 252.

Troughs for marbling, 100.

Turning up, 73.

Twelvemo, 36, 37.

Twenty-fourmo, 36.

Tying up, 146.

Ultramarine, 89.

Umber, 91.

Uncut books, 151.

Uniform colours on leather, 256-259.

Variegated marble, on leather, 254.

Varnish, 277.

Vegetable black, 91.

Vermilion, 87.

Violet for leather, 243.

Vitriol-water for marbling leather, 240.

Wainscot sprinkle on leather, 254.

Walnut sprinkle on leather, 253.

Walther, 28.

Water for marbling, 96.

Wave-marble, 118.

Wax for marbling, 99.

West-End marble, 107, 108.

Whipping, 53.

White for marbling, 86, 91.

White-spotted edges, 80.

Wood-lake, 88.

Yellow for edges, 78.

for marbling, 85.

for blank-work, 165.

for leather, 244.

THE END.

STEREOTYPED BY L. JOHNSON AND CO.
PHILADELPHIA.

* * * * *

CATALOGUE
OF
PRACTICAL AND SCIENTIFIC BOOKS,
PUBLISHED BY
HENRY CAREY BAIRD & CO.,
Industrial Publishers and Booksellers,
NO. 810 WALNUT STREET,
PHILADELPHIA.

* * * * *