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BIBLIOPEGIA ;
THE ART OF IN ALL
BOOKBINDING,
ITS
BRANCHES,
ILLUSTRATED WITH ENGRAVINGS.
BY
JOHN
HANNETT.
. FOURTH EDITION, WITH CONSIDERABLE ADDITIONS.
CLONDON: SIMPKIN, MARSHALL, AND Co. AND
MOZLEY AND SON, DERBY.
1848.
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HARVARD COLLEGE LIBRARY
PREFACE. Another Edition of the‘ Art of Bookbinding” having been called for, it is presented to the Trade and the Public, with such improvements and
additions as the progress of the Art has brought into practice during the last few years, and is further illustrated with additional plates,
A short Sketch
of the rise and progress of the improvements in Modern Bookbinding has also been added, and it is believed that nothing has been omitted of real impor-~
tance to the Work, or that may contribute to render it as complete as possible,
PREFACE TO THE FIRST EDITION, The following Treatise, in which will be found a variety of new, interesting, and valuable information, it is trusted, will supply « great desideratum $ no work relative to the Art of Bookbinding having been published in this country, that oan be placed in the hands of the workman, caleuluted to assist
him in the most important manipulations of his Art. To render it of the greatest utility, the utmost care has been taken to give the most clear and comprehensive directions, in every department of the
various processes required in binding a book, from the folding to the final operation ; and though some slight imperfections may have crept in, from the difficulty attendant on the investigation of a subje-t, respecting which little
inforination could be derived from previous writers, it will be found that
nothing has been omitted that could render the Work as complete as possible. To this end, in addition to his own practical knowledge of the Art, the
Author has availed himself of the communications of the best Workmen, and also of such parts of the productions of M.Dudin, M. Lesne, M. Nurmand,
M. Mairet, 4¢., as experience has proved useful in practice, a2
iv
PREFACE.
Difference of opinion will doudtless arise as tp the propriety of makinge
known the more difficult operations of the Art; but Science never lost by its general diffusion, and the clever workman will ever retain the elevated post—
tion which his taste, ingenuity, and attention entitle him to.
With this view
the work is submitted to the Trade, and public generally, as a miscellany of”
real practical utility, and @ record of the present state of the BIBLIOPE— cistic ART.
.
A
SHORT SKETCH OF THE PROGRESS OF
MODERN THE
BOOKBINDING.
Art of Bookbinding has made such rapid advances.
in our day, particularly in the finishing department, which
has attained a remarkable degree of magnificence and beauty, that the best efforts of the Binders of any period have been
fully equalled.
To the superiority of the Machinery, Tools,
&c., of which the workmen of the present times are enabled to avail themselves, and a careful study of the best speci-
mens still left to us of early bindings, may be attributed, in a great measure, this result.
The leading Bookbinders have now
arrived at such excellencein the Art, that the most tasteful designs may frequently be seen executed on the bindings of
a work on its first publication, and even on the cloth cavers, of many are now impressed designs af a character to illustrate the contents of the book, executed in a chaste and elaborate
style, far different to the birds, ships, flowers, d&c.,often seen on bindings of the last, and beginning of the present century.
Having in another publication * fully entered into the His-
tory of Bookbinding from the earliest times, it will be unnecessary here to give a description of the Monastic Bindings
or those that succeeded the invention of Printing,t which were, ® The Books of the Ancients, and History of the Art af Bookbind. ing, plates, 1Zmo, boards.—Simpkin, Marshall, & Co.
+ Since the above work was printed we have met with the following
description of the Binding of an Ancient Book :—“ The first Bindera also of printed Books imitated the Bindings observed i ancient writ.
Ad
6
THE ART OF
of a very substantial character, and often ornamented with expensive embellishments.
During the early part of the last century the general bindings were, with the exception of what was called Cambridge binding, from being executed at that place, of a depreciated character, many of them very clumsy, and devoid of taste in
their ornament,
Towards the middle some degree of attention
had begun to be paid to the improvement of bindings, the general kinds being, up to the end of the eighteenth century, nearly all executed to one pattern, viz. the sides marbled, the
backs coloured brown, with morocco lettering pieces, and gilt. ten Books—tho’ new methods came up in time. The occasion of the imitation was, that the Printed Books might look like MSS. and by that means bring in the greater gain. But ’tis not my business to enter into this curious subject.—All I have to do is to observe, that this hook (which the more I have look’d upon the more I have always admired) hath two thick boards, each about an inch in thickness, for its covers, and that they were joined with the book by large leather thongs, which boards are now by length of time become very loose. Tho’ I
have seen a vest number of old books and oftentimes examined their
covers, yet I do not remember 1 ever saw boards upon any of them of so great thickness as these. This was the manner of Binding it seems of those times, especially if the books were books of extraordinary value as this is. ’T'was usual to cut Letters in the Covers, and such letters were the better preserv’d by having them placed in some hollow part, which might easily be made if the boards were pretty thick. I suppose, therefore, that even the copies of Gregory’s Pastoral that were given to Cathedral Churches by King Alfred had such thick covers also, that these by the Aistals might be fix’d the better. What makes me think so is, that the outside of one of the covers of this book is made hollow, and there is a rude sort of figure upon a brass plate that
is fastened within the hollow part, which figure I take to have been designed for the Virgin Mary, to whom the Abbey was dedicated. Over it there was once fastened another much larger plate, as is plain from the Nails that fixed it and from some other small indications now extant,—and this ’tis likely was of silver, and perhaps there was an anathema against the Person that should presume to alienate it, engraved upon it—together with the Name of the Person (who it may be was Roger Poure) that waa the Donor of the Book. This will make it
to have been nothing else but an stal, such a one (tho’ not s0 valuable) as was fastened upon Gregory’s Pastoral. But this I leave to every man’s judgment.” — Le.anp’s It1n. Vol. 2. p. 86, Oxford, 1769,
Hi
i" ‘LN
Lo.
R 0 G x R P AYNE
BOOKBINDING.
7
The artista of the earlier part of the period of which we have been treating must have been numerous, but few are known,
Two German binders, of the name of Baumgarten
and Benedict, were of considerable note, and in extensive em-
ployment in London during the early part of this century. The bindings of Oxford were also very good at this period, Who the distinguished parties at: Oxford were has not been recorded, but a person of the name of Dawson, then living at Cambridge, has the reputation of being a clever artist, and may be pronounced as the binder of many of the substantial volumes still possessing the distinctive binding we have before
referred to.
Baumgarten and Benedict would, doubtless, be
employed in every style of binding of their day, but the chief characteristics of their efforts, are good substantial volumes in
russia, with marbled edges. To these succeeded Mr. John Mackinlay and two other Binders, named Kalthceber and Staggemier, but to Mackin-
lay may, perhaps, be attributed the first impulse given to the improvements which have been introduced into bindings.
He
was one of the Jargest nnd most creditable binders in London of the period of which we are treating,
Several specimens of
his, in public and private libraries, remain to justify the character given of him; and of the numerous artists that his office
produced, many have since given evidence, by their work, that the lessons they received were of a high character.
The
specimens alluded to exhibit a degree of care, ingenuity, and skill, highly creditable to them as binders.
Though well ex-
ecuted they did not pay the time and attention devoted, in
later times, to the finishing or gilding of their work, and it was not till Roger Payne, whose portrait is introduced in this
edition, exhibited the handiwork of the craft, that any de-
cided impulse was given to the progress of the. Art which haa gone on under able successors, from one improvement to another
8
THE ART OF’:
till there exists much doubt whether or no we have not no arrived at perfection.*
:
About the year 1770 came Roger Payne to London, and
to his history, as including a record of the progress of the” Art made in his time, we shall devote the remaining pages
of this chapter.
|
The personal history of Roger Payne is one, among the many, of the ability of a man being rendered nearly useless by the dissoluteness of his habits.
He stands an example to
the young, of mere talent, unattended with perseverance and industry, never leading to distinction,—of great ability, cloud-
ed by intemperance and consequent indiscretion, causing the world only to regret how much may have been lost, that might‘ * As an illustration we here quote the description of the binding of a book, in the library of J. W. King Eyton, Esq., of Leamington, executed by Hayday, one of the most talented artists of the present: day.—-“ The work is a large paper cupy of the late Mr. Blakeway’s ¢ Sheriff’ of Shropshire,’ in imperial folio, with the armorial bearings beautifully coloured. The binding is of blood coloured morocco, ex-
tending an inch and a half all round the inside of the cover, on which is placed a bold but open border tooled in gold, forming a fine relief ta the rest of the inside, which is in purple, elegantly worked all over in, hexagons rnnning into each other in the Venetian style. In each compartment is placed the lion rampant and fleur-de-lis alternately. The
fly-leaves are of vellum, ornamented with two narrow gold lines, and
the edges are tooled. The back consists of hexagons, inlaid with purple, containing the lion and fleur-de-lis aforexaid, but somewhat smaller than those in the interior. The design on the outside is a
triumphal arch, occupying the entire side, highly enriched with its’
cornices, mouldings, &c., executed in suitable small ornamental work > from its columns (which are wreathed with laurel), and other parts of the structure, are suspended the shields of the Sheriffs, seventy in num-~ ber, the quarterings of which, with their frets, bends, &c., are curiously inlaid in different colours of morocco, and, with the ornamental parts of the bearings, have been blazoned with heraldie accuracy on both sides of the volume. When we state that more than 57,000 impressiona of tools have been required to produce this wonderful exemplar of ingenuity and skill, some idea may be formed of the time and labour necessary forits execution. Of the cost we may not speak; but we may. reasonably feel proud of the triumphs of taste and talent thus mani-
fested by our countrymen.”
BOOKBINDING.
9
have been developed, had the individual's course been different, and his excellences directed so as to have produced the best
results. Roger Payne was a native of Windsor Forest, and first
became initiated in the rudiments of the art he afterwards became 0 distinguished a professor of, under the auspices of
Mr. Pote, bookseller to Eton college.
From this place he
came to London, where he was first employed by Mr. Thomas Osborne, the bookseller, of Holborn, London.
Disagree-
ing on some matters, he subsequently obtained employment from Mr. Thomas Payne, of the King’s Mews, St. Martin's, who ever after proved a friend to him.
Mr. Payne established
him in business near Leicester-square, about the year 17661770, and the encouragement he received from his patron,
and many wealthy possessors of libraries, was such that the
happiest results, and a long career of prosperity, might have
been anticipated.
His talents as an artist, particularly in the
finishing department, were of the first order, and such as, up to his time, had not been developed by any other of his country-
men.
He adopted a style peculiarly his own, uniting a clas-
sical taste in the formation of his designs, and much judgment in the selection of such ornament as was applicable to the natare of the work it was to embellish.
Many of these he made
himself of iron, and some are yet preserved as curiosities, and specimens of the skill of the man.
To this occupation he may
have been at times driven, from lack of money to procure them
from the tool-cutters; but it cannot be set down as being generally so, for in the formation of the designs in which he so
much excelled, it is but reasonable to suppose, arguing upon the practice of some others in later times, he found it readier
and more expedient to manufacture certain lines, curves, &c. Be this as it may, he succeeded in executing
on the occasion.
binding in so superior a manner as to have no rival, and to
10
THE ART OF
command the admiration of the most fastidiows book-lover of
his time. He had full employment from the noble and wealthy, and the estimation his bindings are still held in, is a sufficient
proof of the satisfaction he gave his employers.
His best work
is in ear] Spencer's library.
His reputation as an artist of the greatest merit, was ob-
scured, and eventually nearly lost, by his intemperate habits. He loved drink better than meat.
Of this propensity an anec-
dote is related of a memorandum of money spent by, and kept by himself, which runs thus :—
For Bacon, - 1 half-penny,
For Liquor, - 1 shilling, No wonder then, with habits like these, that the efforts of his patron, in fixing him, were rendered of no avail.
Instead of
rising to that station his great talent would have led to, he fell by his dissolute conduct to the lowest depths of misery and wretchedness.
Of his squalid
be formed by the engraving.
appearance,
an idea may
It is taken from a print,
which Mr. Payne caused to be executed after his death, at his own expense, and exhibits the man in his wretched work= ing-room, as in life he daily appeared.
Here, however, was
executed the most splendid specimens of binding; and here
on the same shelf were mixed together, old shoes and precious
leaves—bread and cheese, with the most valuable and costly of MSS., or early printed books.
That he was characteristic or eccentric may he judged by what has been related of him.
He appears to have also been
a poet on the subject of his unfortunate propensity, as the following extract from a copy of verses, sent with a bill to Mr. Evans, for binding “ Barry on the Wines of the Ancients,” proves. ,
BOOKBINDING.
11 .
‘** Hamer the bard, who sung in highest strains
The festive gift, a goblet, for his pains; Falernian gave Horace, Virgil fire, And Barley Wine my British Muse inspire. Barley Wine first from Egypt’s learned shore; And this the gift to me of Calvert's store.”
He commenced business in partnership with his brother
Thomas Payne, and subsequently was in like manner connected with one Richard Weir, but did not long agree with either, so that separation speedily took place.
He afterwards
worked under the roof of Mr. Mackinlay, but his later efforts
showed that he had lost much of that ability he had been so largely endowed with.
Pressed down with poverty and dis-
ease, he breathed his last in Duke’s Court, St. Martin’s Lane, on the 20th of November, 1797.
His remains were interred
in the burying-ground of St. Martin’s in the Fields, at the expense of Mr. Thomas Payne, who, as before stated, had
been his early friend, and who, for the last eight years of his
life, had rendered him a regular pecuniary assistance both for the support of his body and the performance of his work.
Of the excellencies and defects of his bindings, Dr. Dibdin, in his Bibliographer’s Decameron, has thas recorded his opinion :—
|
“The great merit of Roger Payne lay in his taste—in his choice of ornaments, and especially in the working of them.
It is impossible to excel him in these two particulars.
His
favourite colour was that of olive, which he called Venetian.
In his lining, joints, and inside ornaments, our hero generally,
and sometimes melancholily failed.
He was fond of what he
called purple paper, the colour of which was as ‘violent as its texture was coarse.
It was liable also to change and become
spotty ; and as a harmonizing colour with olive, it was odiously
discordant.
The joints of his books were generally disjointed,
uneven, carelessly tooled, and having a very unfinished ap-
pearance.
His backs are boasted of for their frrmness.
His
12
THE ART OF
work excellently forwarded—every sheet fairly and bona yide atitehed into the back, which was afterwards usually coated in russia; but his minor volumes did not open well in consequence.
He was too fond of thin boards; which in folios
produces an uncomfortable effect, from fear of their being inadequate to sustain the weight of the envelope.”
Though Roger Payne’s career had not been successful, so far as he was personally concerned, it had the effect of bene-
fitting the whole race of English bookbinders.
A new stimu-
lus had been given to the trade, dnd a new and chastened style introduced among the more talented artists of the metropolis.
The unmeaning ornaments we have before alluded to
were discarded, and a series of classical, geometrical, and
highly-finished designs adopted.
The contemporaries of Ro-
ger, Kalthoeber, Staggemier, Walther, Hering, Falkner, &c. exerted themselves with a generous rivalry to execute the
most approved bindings, and the efforts of succeeding artists in the persons of Charles Lewis, Clarke, Fairbairn, Smith,
&c. have brought the art to the degree of perfection we now see exhibited upon almost every book having any pretension
to good binding.
The nineteenth century thus witnessed the
advance of the art in elegance and elasticity, which no other period previously had developed.
Whatever was good in the
workmanship of early times was now sought to be revived,
and every thing that could be made available, both as regarded variety and superior execution, embraced.
Solidity,
so much estimated in old bindings, was combined with an elasticity and freedom by means of the open back, which the works of the ancients do not possess.
And when to this we
add the elegance which modern binding displays, without disparagement to their talent, the palm must be accorded to the modern bookbinder.* * The Books of the Ancients, pages 153 and 180.
THE
ART OF BOOKBINDING.
INTRODUCTION. BINDING is the art of folding the sheets of a book. securing them together, affixing boards or sides thereto, and covering
the whole with leather or other materials.
There are various
styles of binding, as haif-binding, where the backs and corners only are covered with feather, and the sides or boards with marbled or coloured paper.
Law binding, which is
generally confined to law books, the leather being left its natural colour, and the edges of the leaves plain.
Dutch
binding is where the backs are of vellum or parchment.
In
boards signifies that the book is slightly done up, and covered with paper or cloth.
The styles of binding for the various
classes of literature are denominated by the titles of filletted, lettered, gilt, half-extra, extra, super extra, according to the
quantity and style of work employed: thus we say calf, mo|
rocco, or russia extra, &c.
The trade of a Bookbinder has been ranked among the most difficult of the arts.
It is incontestibly one requiring
much care, great neatness, correct taste, and attentive practice, to form a skilful workman, and without these requisites no one
will ever attain the three great characteristics of good bind-
ing,—solidity, elasticity, and elegance.
This will more par-
ticularly be felt by the binder in small towns, who, from his B
14
INTRODUCTION.
situation, cannot possess the advantages which those of Lon-
don, and other large cities, obtain.
The country binder has
generally to exercise the whole art, from the folding to the final operation required in binding a book; whilst his more fortunate brother of the capital, from his business being ex-
tensive enough to constantly employ folders, sewers, marblers,
gilders,&c. has himself to execute what may be strictly called the binding only; viz. the FORWARDING and FINISHING, and even these are usually distinct branches.
The appear-
ance of the binding of a book, to a casual observer, seems to
require little talent, but if the various subdivisions of the work, which form not less than sixty, are considered, and in the pro-
per execution of which consists the Art of Binding, it will not be surprising to find how few men have arrived at eminence In it, arising from the obstacles presented in the acquisition
of excellence in every department.
Difficult, however,as the
whole routine may be to attain, and numerous as will be the
discouragements on first trial of critical parts, yet with constant application and rigorous observations with regard to the
various minor manipulations required, as well as the more important details, the attentive workman, whatever his situation, need not despair to reach perfection.
To this end a clear and
minute description of the various processes, in the order that
they are employed in binding, will be given in the pages of this manual, uniting all that may be useful, not only to young
and rising workmen, but to those considerably versed in the
art.
In the department of colouring leather, attention will be
paid to present the best receipts, for though, according to the
prevailing taste of the day, many of them are seldom used, still it is requisite that they should be known, as the fashion of another period may reintroduce the whole series of marbles and fancy colours; and even now many periodical publica-
tions are required to be bound to patterns executed ten or
INTRODUCTION. | twenty years ago.
15
Some of the directions may, to the expe-
rienced, appear trivial or of no importance, but when it is considered that, by inattention to some part of the earlier stages
of binding (such as being badly sewed, glued up, &c.) the beauty of all subsequent operations is frequently destroyed, they must be pronounced all-important to the character of
any one zealous of the reputation of a good binder. The various errors and defects in the many important operations required in binding, will be pointed out under their
respective heads;
and a careful attention to the rules laid
down will soon enable any individual, moderately expert, to execute binding worthy of a place in any library.
Let it never
be lost sight of that the proper forwarding a book is the great desideratum of all good bindings ; the general appearance of the gilding and other ornamental operations being
merely subservient to it
The early binders were rigid on
this point, as is seen by their statutes and rules, edition 1750 ;: and so particular were they that their books should be well forwarded, that the thirtieth article enacts,—“ Be it held that
the master-binders do sew all their books with thread and real bands, do back them with parchment and not paper, and in
case of infringement the said books shall be done again at the expense of the infringer, who shall besides be condemned to a
fme of thirty pounds for each volume.” Solidity and elasticity are always found in the workmanship of the early binders,
which has not been sufficiently observed by those of later times.
Attention to these particulars has, however, of late
been paid; and aided by superiority in material, and the machinery now employed, a degree of solidity and elasticity,
combined with a lightness and elegance of appearance, has
been attained, which the most approved bindings of the fif-
teenth century do not possess..
Care is of the utmost importance when the book is valuable, Ba
16
INTRODUCTION.
either from its rarity, or the splendour of its embellishments, such works daily augmenting in price; for if carelessly or
badly bound, the rebinding, and consequent cropping the book down by recutting the edges,tends considerably to deteriorate it in value, a good margin being a primary object to the
genuine book collecter.
Many have contended that there is
no occasion for this extra care in forwarding, since for a
moderate sum other copies might be obtained, and thus the solidity and elasticity of the binding have been sacrificed to the general coup-d wil of the finishing.
Let not the binder,
however, hazard his reputation on the effect thus produced, which will not be lasting, but rather let it be his ambition to produce such work as will bear the test of examination in
every part, opening with freeness, and presenting an appear-
ance at once firm, square, and compact.
Should the possessor
of a library limit his binder to priee, he will do well also to sacrifice a portion of ornament (which adds nothing to the
durability), to the charge necessary to be made for extra care
in the earlier stages.
‘Let him not be tempted by an elegant
marble upon the cover and upon the edges, by a border full of delicacy and taste, by a gilding that pleases the eye, or by the gold spread with profusion upon the edges, the back, and the sides, to the neglect of the more important details of folding, sewing, cutting, &c. Rather let him not limit the binder too closely, and. then, if he employs an experienced workman, he will be certain of receiving the satisfaction he desires, when presented with a volume possessing every characteristic of good binding. The knowledge communicated in this trea-
tise, it is believed, will enable any one fully to appreciate superior workmanship, and once properly understood, none but the best will ever be satisfactory to the lover of his library.
In the directions given, the amateur, who may take pleasure in devoting part of his leisure to an art interesting and amu-
INTRODUCTION.
17
sing, will meet with all the information he may desire relative to the proceedings in use by the best binders.
The premises, presses, tools, and materials required by the bookbinder, are of much greater importance than, on first consideration, would he imagined.
The great object in the for-
mer should be to procure as much light as possible, and with
regard to presses, &c. unless they are of a superior kind, it will be impossible to execute binding in the first style of the art.
These should be arranged with the greatest attention
to convenience of situation, as much time will be saved from the facility with which the work will be executed, and from
the additional neatness and beauty it will also acquire. .
For the greater convenience of reference, and for properly distinguishing each branch of the art, a division into parts or
sections has been deemed advisable.
The technical terms
will be found to have been adopted throughout; and though one volume only is generally spoken of, it must be observed that it is usual to proceed with parcels of ten, twenty, or more
volumes at a time.
|
PART I.
OF FORWARDING. As the gathering of the sheets of a book, after they have
been printed and dried off, is nearly always performed at. the printer’s, it will not be necessary to enter into any details on that subject, but to consider as the commencement of binding,
the operation. of
FOLDING,
which is of great importance, the beauty of a book depending
on its being properly and correctly folded, so that, when it is B3
18
THE ART OF
cut, the margin of the different pages may be uniform throughout, and present no transpositions, to the inconvenience of the reader and deterioration of the work.
The various sizes of books are denominated according to the number of leaves in which the sheet is folded; as folio, quarto, octavo, 12mo, 16mo, 18mo, 24mo, 32mo, &c.
Each
form presents a certain number of pages, so disposed that,
when the sheet is properly folded, they will follow the numeric order.
In commencing the folding of any work, particular”
attention should be paid, in opening out the quires or sets, to
observe that the signatures follow each other alphabetically, and, if consisting of two or more volumes, that the whole of the sheets belong to the right one.
Although each form is folded in a different manner, it will not be requisite to detail the whole, as a description of the
octavo and twelvemo will amply furnish an idea of the pro-
per way of folding the larger and smaller sizes. Octavo.—The sheets being placed on the table with the signature, which will be seen at the bottom of the first page,
turned towards the table at the corner nearest to the left hand of the workman, will present pages 2. 15. 14. 3. below, and above, with their heads reversed, pages 7. 10. 11. 6. (reading from left to right).
The sheet is then taken with the left
hand, by the angle to the right, and creased with the folder
in the right hand, in the direction of the points made in the
printing, taking care, by shading to the light, that the figures of the pages fall exactly one on the other, which will be 3 upon 2, and 6 upon 7, and thereby presenting uppermost pages 4: and 13, and above 5 and12. The top part of the sheet is then brought down, with the left hand, upon the lower, pages 5 and 12 falling upon 4 and 13, directed properly, and again folded. The sheet then presents pages 8 and 9, which are then folded evenly, 9 upon 8, forming the third fold and finishing the sheet.
BOOKBINDING.
19
Twelvemo.—T he signature to this size, when placed before the workman, should be at the top on his left hand, and towards the table, the sheet presenting pages 2. 7. 11., 23. 18. 14., 22. 19. 15., 3. 6. 10.
On the right, pages 11. 14, 15.
10., are separated from the others by a larger space, in the
middle of which are the points, indicating the proper place where the pages should be cut off.
The Folder detaches this
part, and placing page 11 upon 10 makes a fold, and 13 upon 12, which will be uppermost, finishes the folding of what is
called the inset, and which bears the signature of the sheet it
has been separated from with the addition of a figure or asterisk, as A5 or A*.
The remaining eight pages are folded
m the same way as the octavo, and when done the inset is placed in the middle of it, taking care that the head lines arrange properly.
Books are sometimes printed in what is called half sheets,
bat they are folded the same, after cutting them up ; the octavo
in the direction of the points, the twelvemo in oblong direction of the paper, and laying them apart from each other.
There
are also oblong octavos, which are folded in the middle in a
line with the points, the second fold in the same direction between the heads of the pages, and the third on the length of
the paper. In the first fold of the octavo sheet is shown the manner ot folding the folio, and in the second the quarto: the twelvemo
also presents us with the eighteens, after the sheet is cut into three divisions: little or no difficulty will be experienced in folding any other size that may occur, attention to the dispo-
sition of the pages and signatures being only required.
It will often be found necessary to refold a book which, previous to being bound, may have been done up in boards, sewed, or otherwise.
This should in all cases be carefully
attended to, after the book has been taken to pieces, the back
20
THE ART OF
divested of the glue and thread, anid the corners or other parts which may have been doubled turned up. This is usu— ally done by examining if the margin at the head and fore— edge is equal throughout, bringing those to their proper places that are too short, and cutting those that are longer than the
general margin. By these means an uniformity will be pre— sented after the edges of the book are cut, which could never be attained if not attended to whilst the book is in this state. The sheets of the book being all folded, are gathered to-
gether, beat up between the hands on the table to bring them
even, andthen
COLLATED,
to see that the whole of the sheets belong to the same work and volume, as also that none are wanting.
This is done by
taking the book in the right hand by the upper corner of the
upper corner of the fore-edge, and with the left, opening the
sheets on the back and letting them fall successively one after
the other, The signatures will be thus seen in alphabetical or arithmetical order, as A. B. C. &c., or 1. 2. 3. &. &c., to the last, which should always be examined to ascertain that it is the completion of the book.
By these means any sheet
incorrectly folded is also detected.
Books in folio and quarto
are generally collated with a needle or pricker, by raising the sheets singly from the table, but this practice should be re-
sorted to as little as possible, as the work is liable to be damaged.
If any sheet is wanting or belongs to another vo-
lume, or is a duplicate, the further progress of the work must
be suspended, till the imperfection is procured or exchanged.
Those that have been wrong folded must be corrected, and any cancels occuring in the work, cut out, and replaced by
the reprinte which will generally be found iu the last sheet of
BOOKBINDING.
the book.
21
It is usual also with some binders to place any
plates belomging to the volume, at this period, but as the
liability of damage to them is great in the process of beating, it will be much better to perform that operation after the book is brought from the stone, for which directions will be given.
The boek being found correct, will be ready for the beating- — stohe.
BEATING, PRESSING, &e. The first operation is commenced by shaking the volume upon the stone by the back and head, so as to make the whole
even, and facilitate the division of it into as many equal parts, which are called sections or beatings, as may be judged neces-
sary according to the thickness and other circumstances.
<A
section is then taken and well beaten over, drawing it with the hand toward the body so as to bring the various parts
successively under the hammer, and carefully avoiding stri-
king more blows in one part than the other, except giving the *
edges a slight extra tap round.
The section is then turred,
and the like proceeding gone through; as also dn each side
after it has been separated, and the bottom part placed on the © top, the middle of the section being thereby brought under the action of the hammer.
This being done, the sheets are re-
placed in their proper order, and two or three taps with the
hammer given to make them lay even.
In beating those
books with which, from their value, greater care is required, it is usual to place a guard or waste leaf of paper on each
side of the section, to avoid any stains or marks which the
stone or hammer might be liable to make.
It requires more skill than actual strength in beating, the weight of the hammer being nearly sufficient for many works,
Attention must be paid to the hammer descending parallel ta
22
THE ART OF
the surface of the stone, to avoid marking or cutting the sheets with the edge.
Figure 3. plate v. shows the manner
.
of holding the hammer, &c. Before beating a book, care should be taken to observe if it has been recently printed, for if so it would set of by bemg
beaten too much.
This will be easily ascertained by refer-
ing to the date at the foot of the title or by smelling the ink it has been printed with, which, being composed partly of oil,
will not have got perfectly dry.
This will particularly be the
case with machine printed works.
As, however, it is fre-
quently necessary to bind a volume immediately after being printed, it will be requisite to take every precaution egainst its setting off, which would destroy the beauty of the work.
It is the practice of some to put the book into an oven after the bread has been taken out, or into a stove heated sufficiently to dry the ink and make it search into the paper; but
with white paper, which will receive all the ink set off. Should the sheets have been hotpressed, which is readily distinguished, this precaution will not be necessary.
'
When employed at the beating stone, the workman should keep his legs close together, to avoid hernia, to which he is much exposed, if, with the intention of being more at ease, he
contracts the habit of placing them apart.
A rolling press has lately been invented as a substitute for the beating which books require previous to being bound.
This will be fully described in the chapter on presses, where an engraved representation is given.
Its operation is quicker
and its power of compression greater, in a proportion of five sixths.
A boy sits in front of the press, and gathers the
sheets into packets, by placing two, three, or more upon a tin
plate of the same size, and covering them with another plate,
a
as these means are not without danger of getting the paper blackened or soiled, it is a better plan to interleave the sheets
fe 1
®
fh
BOOKBINDING.
23
the number of sheets depending on the stiffness and thickness of the paper.
The packet is then passed between the rollers
and received by the man who turns the winch, who has time
to lay the sheets on one side, and to hand over the tin plates by the time that the boy has prepared the second packet.
These machines have been introduced into offices of great extent, and from the economy of time and abridgement of la-
boar, with the best results ; but it is a question whether they will ever become general in those where the business is
lmited, and their use but little called for.
After beating, should there be any plates to the work, they, es before stated, must now be placed among the text. Great care must be taken to make the justification of the plates uniform with the text, by cutting off any superfluity at the head
or back, and by placing them exactly facing the pages to which they refer, pasting the edge next to the back.
Any
that may be short at the head must be brought down, to pre-
serve an uniformity.
It is advisable to place a leaf of tissue
paper before each plate, particularly when newly printed, as the ink of copper-plates is longer in drying than that of letter-press. When a work contains a great number of plates, which are directed to be placed at the end, they are sewn on the bands by overcasting, which operation will shortly be
treated of in full. The book being now ready for pressing, is taken in sections,
recording to the work, and the judgment of the workman, and placed between pressing boards, the size of the volume, one on the other, and conveyed to the standing-press, which is palled down as tight as possible by the press-pin. To compress them the more, a capstan or winch is employed. -
After the book has been sufficiently pressed, it will be ne~ ceesary again to collate it, to correct any disarrangement that may have taken place during the beating and pressing.
i]
24
THE ART OF
SAWING THE BACKS. This operation is performed to prevent the bands on which a book is sewn, appearing on the back.
After beating the
book up well on the back and head, it is placed between two cutting boards, the back projecting a little over the thick edge, and tightly screwing in the /aying or cutting press, the whole being elevated sufficiently to prevent the saw damaging the clieeks of the press.
Then with a tenant saw the proper
number of grooves are made, in depth and width according to
the diameter of the band intended to be used, which will depend on the size of the book.
A slight cut must also be given
above the first and under the last band, for lodging the chain or kettle stitch.
It is very necessary that the saw should. be
held parallel with the press, without which precaution, the
grooves being deeper on one side than the other, the work will present, when opened, a defect to the eye. The end papers, which should consist of four leaves of blank paper, folded according to the size of the book, are now
prepared and one placed at the beginning and end of each volume.
SEWING. According to the number of bands wanted, must he attached
to the loops on the cross-bar of the sewtng-press (see figure 1, plate v.), as many pieces of cord, of proper length and
thickness, and fastened with the aid of the Heys in the groove
of the press as nearly equal in tightness as possible.
When
this is done the back of the first sheet in the book ‘s placed .
against the cords, which must be moved upiavas ur the con-
‘trary to the marks of the saw, when the e:o2ll sercws aS vcch
end under the cross-bar must by moved upwards
strings are equally tight
D trig cemig ahs ed ve
ota
BOOKBINDING.
25
is commenced sewing by placing the end paper, which has no marks of the saw, on the sheet before laid down, and sewing it throughout, leaving a small end of thread to form the knot, after sewing the first sheet, which is then taken from under and sewn the whole length.
There are various ways of sewing, according to the size and thickness of the sheets of a book.
A volume consisting
of thick sheets, or a sheet containing a plate or map, should be sewn singly the whole length, in order to make the work
more secure and solid.
Great care should also be taken not
to draw the thread too tight at the head or foot of the book, and to keep the back slightly swelled, the beauty of the bind-
ing depending much on this when the volume is backed When a book is sewed two sheets on, three bands are generally used.
Taking the sheet and fixing it on the bands,
the needle is inserted in the mark made for the chain-stitch, and brought out by the first band;
another sheet is then
placed, and the needle introduced on the other side of the band, thus bringing the thread round it, sewn in like manner to the middle band, and continued to the third, when taking
again the first sheet, it is sewn from the third band to the other chain-stitch, where it is fastened, and another course of
two sheets commenced, and so continued to the last sheet but one, which is sewn the whole length, as directed for the first
sheet, as also the end paper.
Three bands are preferable to
two, the book being more firm from being fastened in the
middle, which is the only difference in sewing on two and three bands.
Half sheets, to obviate the swelling of the back too much,
are usually sewn on four bands, which admit of three on a course: the first sheet is sewn as in three bands, from the chain to the first band, the next to the second, and the third takes the middle space ; then the second sheet again from the Cc
26
THE ART OF
third to the fourth band, and the first from thence to the
other chain-stitch.
The third sheet having only one stitch,
it is necessary that, in sawing, the distance from the second.
to the third band should be left considerably longer than be- tween the others.
Quartos are generally sewn on five bands
to make the work firmer, but if in half-sheets, as in the folio size, six or more are used, sewing as many sheets on as bands, giving each sheet but one tack or sewing, and piercing the needle through the whole of the course at each end or chain-stitch before fastening the thread.
This, which gives
sufficient firmness, is necessary to prevent the swelling of the back, which a less number of sheets in a course would make, and spoil the appearance of the binding.
When the book is composed of single leaves, plates, or maps; or, as in the case of music, where, from the decayed
state of the back, it is necessary to cut off a portion with the
plough in the manner pointed out for cutting edges, the whole
must be attached to the bands, by what is called overcasting. This is by taking a section, according to the thickness of the
paper, and forcing the needle through the whole at the kettlestitch, and on each side of all the bands, at a distance suffi-
cient to secure the stitches from tearing, bringing the thread round each band as before directed, and fastening it at the end before proceeding with another course.
‘To keep the
whole of the sheets properly even, the back is sometimes glued immediately after cutting, and when dry divided into sections.
Atlases and books of prints, when folded in the
middle, will require a guard or slip of paper to be pasted to them so as to allow them to open flat, which they could not
do if attached to the back, and which would destroy the engraving.
These guards must be of strong paper, about an
inch in breadth, and folded to the night size.
sewn by overcasting, as above directed.
They are
27
BOOKBINDING.
The old mode of sewing on raised bands combines many advantages.
This style is still adopted with many works,
particularly those with limited margins.
When the book is
sewn on raised bands, it is only necessary to mark the place for the chain-stitch, and sew backwards over the cords to
prevent the thread tearing the sheets, which it would if brought out on the near side of the bands.
Folios and half-
sheet quartos are generally sewn in this manner, in conse-
quence of the inequality of the margins at the head, which are thus arranged properly by bringing the top line even with
a band attached to the sewing press as a guide.
The de-
fective parts are then removed when the book is cut.
It was proposed by M. Lesne, bookbinder of Paris, in a Memoir presented by him to the “ Societé d Encouragement,” January 18,1818, that in order to give to books the three
essential qualities of binding, elasticity, solidity,and elegance, they should be sewn similar to the Dutch method, which is on slips of parchment, instead of packthread; but to remedy the inconvenience arising from one slip being insufficient to
make the back of a proper solidity, as well as being liable to break, and if doubled or trebled, presenting a bad effect on the back when covered, he suggested the adoption of silk for
the hands, which in a much less diameter is far stronger than packthread double the thickness.
It is also preferable for
sheets that require sewing the whole length, to use silk; this being much stronger than thread, and insuring a greater
solidity to the work.
The effects produced by the adoption of this style may be seen in the bindings of the finer class of Bibles, Prayers, &c. of the present day, which are sewn on very fine and strong
cord with silk.
It will be observed that the cuts of the saw,
apparent in other bindings, are not seen in opening the vo-
lume; the bands form an ornament to the back, and each C2
28
THE ART OF
sheet revolves thereon as upon a hinge, the inner margin being preserved its full size, and the elasticity and freedom
of the volume much increased.
When the volume is entirely sewn, the screws are loosened, the cords detached from the keys, and abaut two inches of the cord left on each side of the book to attach the boards that are to form the sides. INDIA RUBBER BACKS.
This recent invention has heen principally employed in Stationery Binding, but as it is applicable to all kinds of
work, those who may wish to avail themselves of if will find
a detail of the process in Part ITT.
PASTING THE ENDS, GLUEING THE BACKS, &c.
The book being taken from the sewing-press, the two outside leaves of the end papers are pasted together to give additional
strength to the joint when pasted down, and to hide any de-
fects or stains in the boards, which, if single, would show through. When the volume is a folio or quarto, it is usual to paste the remaining two leaves in the same way, the largeness of their size requiring a greater consistency. But when the book is to be bound in an expensive manner, marbled or coloured ends must be pasted in.
These are cut and folded
in the same way as before directed, the coloured or marbled side being folded inwards.
The book is then placed before
the workman with the fore-edge towards him; the first leaf of the plain end paper is opened and laid back, and one of the coloured ones placed about half over the second, with the
back or fold towards him; it is pasted equally over, as well as the half of white not covered, and then turned, fixed evenly and closely to the back, and rubbed smartly to make'it ad.
BOOKBINDING.
here.
_
29
The first leaf is then again brought over, and serves
as a guard until the coloured one is pasted to the board.
At-
tention should be paid, that such papers only, as will blend well with the colour of the leather intended for the cover, are used.
If a joint in calf or morocco is required, it should always be aniform in colour with the cover, and pared on the edges to reduce the thickness a trifle.
This joint should be abont
two inches broad, and folded in the middle after being pared. It is pasted on the white end paper on the side towards the groove, tlie other part not being pasted to the board till the
book is covered.
For additional strength where the book is
heavy, it is usual also to sew the joint with strong silk to the bands.
These matters being adjusted, the whole end paper must be tarned from the back, the edge of the fold slightly but evenly pasted with the finger, and returned again, taking care to
afix it close to the back.
The strings on which the book
has been sewn must be pulled tight, and a little from the back, so as to avoid pressing on the end paper and bearing it
off.
Some workmen do this previous to pasting the ends ;
but from its being liable to tear near the bands and chainstitch, unless thoroughly drv, the mode of proceeding here described is much better. The book is now taken between the hands and well beaten up at the back and head on a smooth board, to bring the
sheets level and square, as the beauty of the book in all the subsequent operations of binding, depends on the care and
attention paid in this place.
The volume is then held firmly
by the fore-edge with the left hand, the back, if not exceed-
ing the width of the front, swelled a little with the fingers of the right, and glued equally over. Should it be a volume of large dimensions, it will be necessary to place it between C3.
30
THE ART OF
boards, and put it lightly into the laying press, taking that the sheets are even on the back, and the volume eq in thickness throughout the whole length.
It is then laid
a board to dry, but must not he placed before the fire, as sv doing the sheets are liable to start from the back, and th strength of the glue to be much diminished.
The back being dry, the bands on which it is sewn, and which are intended to be laced in the boards, must be opened with a bodkin and scraped with a dull knife, so as to bring
them to a point, and make them more convenient to attach to
the boards which are to form the side covers. BACKING. In commencing this operation, which is done to form the
groove for the reception of the boards, the book is placed
upon the laying-press with the fore-edge towards the work-. man.
The left hand should then be placed flat and open
upon it, the thumb on the fore-edge; with the four fingers
the leaves must be drawn forwards, and with the right hand, the back beat lightly on the edge with the backing-hammer, to give it a circular form.
Both sides being thus rounded,
one of the backing-boards is placed upon the volume at an equal distance from the back, according to the groove required for the board; then turning the volume, the other is
placed in a similar manner, and the whole put carefully into
the press, the lower edge of the boards even with the cheeks of the press, and screwed with the press-pin as tight as possible.
With the hammer the back is then beaten firm and
round, which causes the boards to form the groove on each
side, by the projecting over of the part left above. Should the glue on the back have become too hard, or be too strong,
it. will he advisable hefore backing to damp it with a moist
BOOKBINDING. sponge.
31
When the volumes are large, or plates attached to
guards, the back, which bears the whole stress of the volume, should in everv operation have all the strength given to it
possible, and in the backing more particularly than any other.
BOARDING. The milled boards used for covers being of various dimensions, similar to the sheets of paper, are cut according to the size of the book, in the same way as the end papers.
The
board is divided with the compasses, each part serving for one side of the cover.
It is then marked in the direction of the
points made by the compasses, with a bodkin and rule, and cut in the direction of the marks with the large shears fas-
tened in the laying press. The side of the boards intended to
be placed next the groove is then cut smooth in the press with the plough, and if intended for extra work, paper is
generally pasted on one side, which gives the board an additional firmness.
This part of the preparation should be
done during the time the back of the book is drying, and previous to epening out the bands.
_ The boards lined with paper, as before directed, being dry,. the volume is taken and one end of the compasses placed in
the groove, and the other extended towards the fore-edge, to the extreme point the leaves will bear cutting, so as to pre-
sent a firm and smooth edge.
After allowing sufficient for
the square of the board in front, the prepared boards must be
marked at each end, and the rough part cut off with the
plough in th®*same manner as previously done to the edge next the groove.
QOne board is then placed on each side of
the volume, even at the head and marked with a bodkin opposite to the slips intended to be laced in; ahole ina
vertical
position is then made through the board, and being turned,
~
=
32
THE ART OF
another in the same way near to the first.
The bands having
been pasted and passed in above, are returned through the other hole, and being pulled tight, the boards will necessarily be perpendicular to the back, and confined in the groove.
After cutting off the end of the strings near to the lace holes, they must be beaten well and evenly into the board, by placing the under part on an iron (called the knocking-down iron), fixed at the end of the laying-press, and beating above with
the backing-hammer. If it be desirable that the bands should not be seen inside, the hole may be made so vertical, that by placing the bodkin
in the same on the other side, another verging a contrary way
to the first may be made, and the band being passed in this one continued hole, will not be seen underneath. The liability, however, of its tearing out is an objection, and from this cause,
the common way, with care in beating down, is preferable. The volume is next placed between the pressing-boards, and put into the s‘anding-press, which must be screwed tight
and evenly down.
The back is then damped with paste, and
according to the firmness of the sewing and book, grated and scraped, and finally rubbed smooth with paper shavings, and lett to dry in the press for as long a time as possible.
Ifa large volume, it is usual to apply a little glue to the back. When taken out of the press, the boards must be disengaged
from the end papers, where they adhere, so that they may
move freely up and down in the cutting. CUTTING THE EDGES.
The manner of preparing the volanie for cutting is very important, as a swerving from right angles in cutting the head
will present a disagreeable appearance, not only at the head but the tail also, which being compassed from it, will display
BOOKBINDING.
the same defect.
33
The top and bottom of the back should be
at right angles from the back, and the fore-edge parallel to it.
To perfectly insure this, it is better to use the square, applying the edge to the front side of the board, and marking the quantity necessary to be cut off at the head, leaving all the
margin possible.
The boards of the book are then drawn
. down, and the volume placed, with the back towards the
_ workman, on a cutting board in the left hand; the runner or smooth edged board is then fixed on the other side, with the right hand, even and square with the line above directed to be made, and the whole held tight with the left hand, put into the cutting-press, to the level of the right hand cheek of
the same, taking care that the volume hangs perpendicular to the cheeks of the press.
Being screwed tight with the’ pin,
the workman then takes the plough, with the right hand, by the head of the screw, and placing it on the groove of the press, proceeds to cut the book, holding the other end of the
screw firmly with the left hand, and causing the knife to advance gradually through the book, by turning the gcrew gently as he cuts, which should be all one way, viz. as the arms are
removed from the body.
The plough must be held firm in
the groove, or rods of the presa, to prevent the knife jumping or cutting the edges uneven, and should the knife be found to ra up or down, the defect must be remedied by removing
some of the paper or boards placed under the knife where it is fastened to the plough. If there shauld be none required to bring the knife even with the plough, then a piece must be
placed on whichever side of the bolt the defect may require. The head being cut, the book is taken out of the press, and the quantity to be taken off the tail marked with the com-
passes.
or this purpose the book is opened, and search
made for the shortest leaf, which is measured by placing the
thumb of the left hand against the edge of the head, and ap.
7 3& |
THE ART OF
plying against it one of the points of the compasses, carrying the other so much over the end of this leaf, as will allow for the square of the boards at the head and tail.
Then shutting
the book, the distance is marked near the back and fore-edge
on the board.
To be more correct, a line may be marked
from the two points made, and the square will detect any error that may have been made in cutting the head.
The
boards are then drawn equally over the head of the book to the distance allowed for the squares, put into the press, and
cut at the tail. Much precaution is necessary in cutting the fore-edge.
Mark the book with a bodkin on the projecting part of the end papers, and on each side, at the head and foot close to the square side of the boards, drawing a line from one to the
other.
Then laying the boards open, the leaves must be tied
near to the back by winding a piece of fine cord several times round from the head to the tail, to prevent the leaves returning after the back is made flat to form the gutter on the foreedge.
This done, beat the back flat on the press, and place
one of the cutting boards at the end of the book, even with the line before made; turn it, and place the runner as much below the line on the title side, as has been allowed for the square on the fore-edge.
Taking the whole in the left hand,
the volume must be examined to remedy any defects, should it not be regular and equal on both sides, and then put into
the press, the runner as before even with the right cheek ; taking care to keep the other board projected above the left. equal to the square allowed in front, so that, when cut through, the fore-edge may be equally square with the boards on each
side.
To make the larger volumes flat on the back, it is
usual, after tying round, to put them by the fore-edge loosely in the press, the boards resting on the cheeks, and beating the
back slightly with the hammer.
After the fore-edge ia cut,
|
BOOKBINDING.
35
} the string is taken off, the back resumes its circular form, and the edge In consequence presents a grooved appearance, which is called the gutter.
| The above method is termed cutting in boards; but as it is not necessary to cut school books and common work in
| boards, on account of their thinness, it is usual to cut a num-
_ ber of them together on the fore-edge, round the backs, press | them a short time, cut the heads and tails, colour or sprinkle
_ the edges, and then back them.
The boards are afterwards
marked, holed, ‘&c. as before directed; and, if not before squared with the plough, cut square with the large shears, the edge of the book being the guide.
This is called cutting oué
of boards. COLOURING OF EDGES.
Colouring the edges with one colour, equally sprinkling over, marbling, and gilding, come under this head; |
and
though the latter two are in large towns distinct trades, from
| their being intimately connected with the business of a binder, _ and necessarily performed by those in smaller places, it is im-
_ portant that they should be treated of in this place, bemg, as before observed, considered best to speak of each operation as required to be employed in binding.
The style of ornament
of this description must depend on the price allowed for the work, and will vary according to the taste of the workman
and wish of the employer.
OF COLOURING AND SPRINKLING.
The colours most used are blue, yellow, and brows, and for
| old books, red, in preparing which, it is necessary to grind - them in water very fine on a slab with a muller.
Each co-
36
THE ART OF
lour is then placed in a separate vase, and mixed up with a
little paste and water to the proper consistency for use.
To
procure a better edge, two drops of oil, and about an equal quantity of vinegar and water may be mixed with the paste.
Tn colouring the edges equally over, the boards at the head of the volume must be beat even with the edges, and the book rested on the edge of the press or table, then holding
the book firm with the left hand, the colours must be applied with a small sponge, passing it evenly upon the edge, proceeding towards the back one way and the gutter the other, to avoid a mass of colour being lodged in the angle of the fore-edge.
This done, the other parts are similarly coloured,
the fore-edge being laid open from the boards, and a runner held firm above to prevent the colour searching into the book It will be perceived that a dozen volumes may be done at the same time with scarcely more than the additional trouble of
placing one above the other.
For further security, and to
prevent the colour searching into the books, it may be advisable to put them into the laying-press, and screw them moderately tight.
In sprinkling, it is usual to tie together a number of voumes with a board on each side of the outside books, or place
them in the laying-press, first with the fore-edge upwards,
then with a large brush, similar to a painter's, dipped in whatever colour may be wished, and well beat on the press-
pin over the pot till the sprinkle becomes fine, the edges are covered; the pin and brush are held sufficiently above the
book, and the edge sprinkled by beating lightly at first, and stronger as the brush becomes less charged with colour, being careful that the spots are as fine as possible, the sprinkle being thereby made more beautiful.
Several colours are sometimes
used with very pleasing effect; some of these combinations
will be described, and many others will readily occur to the
workman as his taste may suggest.
BOOKBINDING.
a7
COLOURS.
Of vegetable colours, and ochres, directions for mixing which have been given above, it will only be necessary to
perticularize the most approved and generally used sub-
stances; the liquid ones will require a more lengthened description.
BLvE.—Indigo and Prussian Blue, with Whiting for
lighter shades. YELLOW.—Dutch Pink, King’s Yellow, and Yellow
Orpine. BROWN.—Umber, burnt over the fire. RED.—Vermillion ; or Oxford Ochre, burnt in a pan. PinK.—Rose Pink; to make it brighter, add Lake.
GREEN.—The first and second mixed to any shade.
The liquid, or spiritgcolours, will be found best for use, as the edges will not rub, which all other colours are liable to
do.
Some of the receipts are well known; but it being: ne-
cessary to give a faithful record of the art, the whole of the colours used, and modes of preparation, will be presented. BLUE.
Two ounces of the best Indigo, finely powdered, mixed with a teaspoonful of spirit of salts, and two ounces of best
oil of vitriol.
Put the whole into a bottle, and let it remain
in boiling water for six or eight hours, and mix with water as wanted to the shade required. YELLOW.
French berries, saffron, or faustic chips. Boil with a small portion of alum, strain and bottle for use. D
38
THE ART OF
GREEN.
The two colours above will make an excellent green, used in proportions as the shade required.
Another green may be
made by boiling four ounces of verdigris and two ounces of
cream of tartar till a good colour is produced. ORANGE.
Two ounces of Brazil dust, one ounce of French berries,
bruised, and a little alum.
Boil in water and strain. RED.
Brazil dust, half a pound ; alum, two ounces, well powdered ; boiled in a pint of vinegar and a pint of water till brought down to a pint.
Strain and bottle. PURPLE.
Logwood chips, in a proportion of half a pound to two ounces of alum, and a small piece of appperas, boiled in three pints of soft water till reduced a third, will make a good purple.
Brazil dust, submitted to the action of strong potash water, will make a good purple for immediate use, but will not keep. BROWN.
A quarter of a pound of logwood, and the same quantity
of French berries, boiled together. add a little copperas.
If a darker is required
With these colours, the edges of books may be sprinkled ‘to almost an infinite number of patterns.
A few will be given;
for though fancy sprinkles are seldom used where the binder _can get the edges of extra books marbled, they will be of
ase to those who would find marbling a work of too great preparation and expense for a small number of books.
BOOKBINDING.
89
RICE MARBLE.
This pattern has been so called from the use of rice, but
luseed, or bread crumbs will answer the same purpose.
The
tice is laid on the edge of the book according to fancy, and the edge sprinkled with any colour, the’ rice thus forming
blank spaces.
The edge may be coloured previously all over,
or sprinkled with a lighter shade. WHITE SPOT.
Take white wax and melt it in a pot, then ‘with a brush throw some upon the edge of the book; when it is set, colour
the edge with a sponge.
Take the book and give it two or
three smart knocks on the end of the press, when the wax will fly off, and a beautiful white spot remain.
This pattern
may be much varied by using two or three colours, or sprinkling the edge before the wax is thrown on, and after it is, again with other colours. Whiting mixed with water to a thick consistency, will near-
ly anewer the same purpose, and is less expensive than wax. FANCY MARBLE.
Take a small portion of rose-pink, green, or any other vegetable colour, and well bray it on the slab with the muller, ull reduced to a fine powder. Prepare a dish, or other vessel,
large enough to admit the fore-edge of the book, and filled with clear water; then with the palette knife mix a portion of the colour with spirits of wine, and convey with the knife
some of the same to the middle of the vessel, and allow it to
flow gradually on the surface of the water.
The spirit of
wine will cause it to spread in a diversity of pleasing forms, when the edge of the book must be dipped in the same man-
ner as for marbling, and a very neat pattern will be produced at a trifling cost, as no more colour need be mixed than
wanted at each time. Da
40)
THE ART OF
GOLD SPRINKLE.
After the edges of the book are stained with any of the
colours above described, a good effect may be given by sprinklg with a gold liquid, made in the following manner :— Take a book of gold and half an ounce of honey, and rub
them together in a mortar until they are very fine; then add half a pint of clear water and mix them well together; after the water clears, pour it off and put m more, till the honey is
all extracted and nothing left but the gold; mix one grain of corrosive sublimate with a teaspoonful of spirits of wine, and when dissolved put the same, with a little thick gum-water, to the gold, and bottle it,always shaking it well before using.
When dry, burnish the edge, and cover it with paper till the
work is fmished, MARBLING EDGES.
This ie an operation requiring much care and attention in the preparation of every article used, for if any part be faulty, it is impossible to make a good marble.
The tools and uten-
ails that will be required are—a trough, perfectly water-tught; a little round stick; a comb; an earthenware cup for each
eolour. and the other preparations; a small brash for each ; and a marble slab and muller to grind the colours.
A little
stove is also desirable for burning such colours as may require it; but as this can be done in a pan on the fire of the office,
* It is not essential.
The shell, Spanish, and Anglo-Dutch marbles will alone occupy attention here, being those used for book edges; bat the description of the Dutch marble will be reserved for the
part on Stationery Binding, in which department it is now only used.
BOOKBINDING.
:
4t
The Size.—Put into a pipkin, or other vessel, a quantity of linseed, and pour over it boiling rain water, stirring the
same round with a stick or piece of birch, till the size is of sufficient consistency to bear the colours on its surface.
Should it be too thick, which a trial will enable the workman to judge, add more water, and if the contrary, more seed.
The latter should be obviated as much as possible, by not putting teo much water at first to the seed, as the size getting cool will have little effect on what may be afterwards added.
The Waxr.—Cuta little bees-wax of the purest quality into
small pieces, and place in a vase on a slow fire till melted; then pour gradually to it spirits of turpentine, stirring them together till they acquire the consistency of honey.
The Colours —For marbling, mineral
colours, strictly
speaking, should never be used, as, being too heavy, they will sink to the bottom of the size.
‘The vegetable colours
and ochres, particularized at page 37, are the most proper, to which may be added two others, Ivory black and Flake white;
though the latter will be seldom required, the size left uncovered by the other colours generally forming sufficient white.
These must be ground in rain water as fine as it is possible ; the excellence of the marble depending much on the clearness of the colours.
Two or three drops of the prepared wax
above described, according to the quantity of colour to be
ground, must be well worked in during this operation.
The
effects of the wax will be to stay the colour and produce a much finer edge when submitted to the action of the Burnisher. THE SHELL MARBLE.
Put a little of each of the colours as above prepared into. separate cups, and add thereto a small portion of ox-gall and water, mixing them well up with the brush appropriated to.
each colour.
This will be all that is necessary for the vein D3
42
THE ART OF
colours, or those intended to be thrown first on the size.
To
the upper ones, which drive the former into veins, and which
are to form the shell, add two or three drops of boiled linseed oil, and mix well with the brush, so that it is fully incorporated with the colour.
The size must then be poured cold into the marbling trough,
very carefully, to prevent any of the seed accompanying it, and experiment made with the colours to see if they act pro-
perly.
A small portion is taken in the brushes, and thrown
on the size by gently tapping against the fore-finger of the
left hand, in the order it is desired to use the colours. ‘Should. they not spread over the surface sufficiently, more gall must
be added, and if the contrary, more unmixed colour.
The
same must be done with the upper colours, as respects the oil ;
#f on trial the shell should not be sufficiently developed, and
the opposite if the oil causes white spots, or breaks.
These.
trials must be made by taking the colour off with blank paper.
. The colours acting properly, the first must be carefully
thrown on, then the second, third, &c., till the whole of the surface of the size is evenly and completely covered. To give. an example, which will answer for any other pattern, an edge.
to correspond with the end papers (generally the case) of a green pattern, having blue and yellow veins, is desired; one
of the latter colours is thrown on, and then the other, both prepared without oil; and finally the green, having oil to
form the shell, in such manner as to completely cover the
surface till the blue and yellow are driven by it into an endless variety of veins.
All being thus disposed, the marbling
is commenced by beating the boards. at the head even with the.
edge, and holding the leaves together, dipping them into the size. Withdrawing it immediately, the size adhering to the edge with the colour must be shaken er blown off as speedily
a3 possible, to prevent its running into the book. The tail is,
BOOKBINDING. vext dipped in a similar manner.
43
Before marbling the fore-
edge the boards must be laid back, and the edge flattened on the press, holding the leaves firmly together at each end, taking | the colour with the same precautions, and replacing the boards
immediately after dipping.
It will be necessary, previous to
throwing on the colour for each dipping, to clear the size of all the colour left on the surface from the previous one, by taking it well off with waste paper. An infinite variety of marbles might be added, but as the proceedings are the same as above described, the workman
_ will be perfectly able to execute any pattern that circumstances may demand, attention to the ground and body colours, and
_ the order in which they are used in the pattern, being only
required. SPANISH MARBLE.
This marble has of late years been very fashionable, almost superseding the above altogether.
To form this edge, the
colours must be thrown on in a similar manner, and the dark and light shades peculiar to it,formed by marbling the volume
gradually, instead of submitting the whole surface at one time, as directed for the shell marble.
The top colour must have
more gall than for the shell marble and less oil.
The effect
is produced by dipping the edge about an inch, then drawing the volume slightly forward, which forms a darker shade, dip-
ping another inch, and so on te the end.
The taste of the
workman, or the colours of the end papers, will suggest the space proper to dip at one time. ANGLO-DUTCH MARBBEE.
The proceedings to be observed in this pattern, now also
much in use, are the same as to. the preparation of the colours, with the addition of a little spirits of wine.
Should the pat-
ern present numerous spiral forms, the colours must be di-
44
THE ART OF
rected with a pointed stick into volates, by turning them a such distances as may be required.
Bat if the pattern is of :
jagged form—that is, the colours running into each other
they must be laid on the size with quills, or bent pieces o
brass latten, as in the Dutch marble, and the pattern ferme: with a comb made for the purpose.
This is done by drawings
the teeth of the comb across m various ways, which cause the body and vein colours to take a jagged form, according t the distance of the teeth one from the other.
The result of many years’ experience produces confidence
in asserting that the directions here grven for executing the department of marbling, on which subject so much error has
been propagated, may be fully relied upon for producing the effect desired.
The proceedings may appear plain and sim-
ple; they are so, but without great care and observation the workman’s labour may be entirely lost.
Bad gall, hard water,
and other things that, until experience has taught better, may
appear trivial, will not
fail to cause the worst results, and the
labour of a day in preparation will thus be thrown away, perhaps, for the want of a little attention to minor particulars. As a step to the attainment of mastery in the art, let the workman divest himself of the various nostrums he has been
put in possession of by interested parties, and give himself up with assiduity to the directions above laid down ; he will soon
find, though failure, from some of the causes alluded to, may at first, and will at times, take place, ultimate success attend his endeavours.
GILDING THE EDGES.
This description of edge is the best preservative against
external injury and damp.
The fore-edge of the book is first
gilt. It is screwed as tight as possible between boards placed
BOOKBINDING.
45
| even with the edge in the laying press, and the first operation is commenced by scraping the edge perfectly smooth with a
steel scraper, round on one side and flat on the other, for the
better execution of such parts as present slight inequalities of warface.
After the edge is well scraped, it must be burntshed
with the agate, then coloured over with red bole or chalk, ground in soap, rubbed immediately dry with fine clean paper
shavings, and again well burnished.
This gives a deeper
tppearance to the gilding, and hides any slight defect that a
white edge at times presents.
The goldis next cut on the gold cushion to the size re-
qured, and each piece taken off with a small slip of paper | folded with one smooth edge, or an instrument called a tip,
by rubbing it on the head and attaching the gold by gently pressing upon it.
The size (prepared with the white of an
egg m three times the quantity of water, well beaten together)
must then be applied evenly on the edge with a large camel's hair pencil, and the gold immediately placed thereon. Should
| say breaks appear in the gold, other portions must he applied 'with a piece of cotton wool.
_
A-size made of writing parchment, applied warm, with six
- or eight draps of vitriol in a cup full of the size, is used by _ some gilders, but the former being more simple, and equally
_ tiiective, will be found preferable.
After the edge is dry, it must be burnished lightly and carefully to avoid rubbing off any of the gold; and to insure _ this the better, a piece of tissue paper should be placed on the edge during the first operation.
After this burnish on the
_ _
edge itself until it is perfectly uniform and clear. The head and tail of the volume must be gilt with the same precaution,
_
the back towards the workman.
Should the work be of that nature that it is desirable to give it the character of the period in which the book was written,
-
_ 46
.THE ART OF
or an additional degree of beauty and elegance, this part of hook ornament may be pursued farther in the manner we
shall now describe.
.
GILDING A LA ANTIQUE.
After the edge is finished as above directed, and before taking out of the press, ornaments, such as flowers, or designs im compartments, must be stamped upon it in the following
manner.
A coat of size is passed quickly over with great
precaution and lightness, and only once in a plaee, to avoid detaching any of the gold.
When dry, rub the edge with
palm oil, and cover with gold of a different colour to the first; then with tools used in gilding leather, warmed in the fire, proceed to form the various designs by firmly impressing them
on the edge.
The gold that has not been touched by the
tools is then rubbed off with a clean cotton, and there remains only the designs the tools have imprinted, which produce a fine effect.
This mode is, however, now seldom used, though
almost all the books in the original binding of the sixteenth century are so executed. GILDING UPON MARBLED EDGES.
|
This edge, which Dr. Dibdin, in his Bibliographer’s De-
eameron, calls “the very luxury, the ne plus ultra of the | Bibliopegistic Art,” is one requiring great care and expertness | in the execution.
After the edges have been tastefully mar —
bled, and not overcharged with colour, the book must be put in the press, and well burnished as before directed.
The size
must then be laid lightly on, to prevent unsettling the colour
of the marble, by which the edge would be destroyed, and the gold immediately applied, and finished off as in other —
edges.
When dry the marble is perceived through the gold, —
and presents an appearance of great beauty.
BOOKBINDING.
47
GILDING ON LANDSCAPES, &c.
When the edge is well scraped and burnished, the leaves on the fore-edge must be evenly bent in an oblique manner,
and in this position confined by boards tied tightly on each aide, until a subject is painted thereon in water colours, accord-
ing to the fancy of the operator.
When perfectly dry, untie
the boards and let the leaves take their proper position.
Then
place the volume in the press, lay on the size and gold, and when dry, burnish.
The design will not be apparent when
the volume is closed, from the gold covering it, but when the
| leaves are drawn out it will be perceived easily, the gilding disappearing and a very unique effect be produced. The time and Jabour required makes this operation expensive, and con-
sequently very seldom performed.
It is, however, considered
| necessary to describe the proceeding, as the taste or wishes of some may render it necessary that the workman should know
how to operate. After the volume is gilt, the edges must be enveloped in clean paper, by pasting lightly the extremities one upon the
other, to preserve the edges from injury in the subsequent
Operations.
‘This is taken off when the volume is completed. BLACK EDGES.
Books of devotion are generally bound in black leather, and
| instead of being gilt on the edge, blacked to correspond with
the covers.
It will therefore be necessary in this place to
describe the process.
Put the book in the press as for gilding, and sponge it with
black ink; then take ivory black, lamp black, or antimony, mixed well with a little paste, and rub it on the edge with the finger or ball of the hand till it is perfectly black, and a good
| polish produced, when it must be cleared with a brush, burtished, and cased with paper.
48
THE ART OF
HEADBANDS AND REGISTERS.
The headband is an ornament in thread or silk, of different colours, placed at the head and tail of a book on the edge of the back, and serves to support that part of the cover projecting above in consequence of the squares of the boards, giving © to the volume a more finished appearance.
Thus it will be
seen that the headband must equal the square allowed for the boards. For common work the headband is made of paper well rolled between two boards, and slightly pasted to hold the paper frm; but for extra work, and volumes requiring
greater durability, it is made of thin board and parchment —
pasted together and cut into strips of the breadth required. These flat headbands produce a much better effect than the round ones.
There are two kinds of headbands, viz. single and double. For ordinary work cloth pasted round the band or common thread is used; for extra, silk and sometimes gold and silver
thread.
If the volume is small it is placed, with the boards
closed and drawn down even with the edge, between the
knees; or, if larger, placed at the end of the laying-press, with the fore-edge projecting towards the body of the workman.
SINGLE HEADBAND.
Take two lengths of thread or silk, of different colours, threading one in a long needle, and tying the ends of the two
together.
Supposing red and white to have been taken, the
white attached to the needle, it is placed in the volume five or six leaves from the left side, and forced out on the back immediately under the chain-stitch of the sewing, and the thread drawn until it is stopped by the knot, which will be hid in the sheet; the needle is then passed a second time in
49
BOOKBIND! NG,
or near the same place, and, after placing the prepared band under the curl thus made, the thread is drawn tight, so as to
hold it firm.
Before placing the band it must be bent with
the fingers to the curve of the back of the book.
The red
thread is now taken with the right hand, and bringing it from the left to the right, crossed above the white thread, passed under the band, and brought round to the front agam, and fastened by passing over it, in the same way, the white thread,
taking care that the bead formed by these crossings touch the edge of the volume.
In repeating thus alternately the ope-
ration, crossing the two threads, and passing each time under
the band, which is thereby covered, it must be occasionally fastenvd to the book by inserting the needle as before directed,
once in as manv places as the thickness of the book may re-
quire, and giving it a double tack on the right side on com-
pleting the band, fastening it on the back with a knot.
These
fastenings give firmness to the head-band and the exact curve
of the back.
The two projecting sides of the band must be
cat off near the silk, giving the band a slight inclination up-
wards, to prevent the work slipping off before covering. DOUBLE HEADBAND.
This headband is made of silk of various colours, and differs from the single, both in being composed of two bands, a large and small one, and in the manner of passing the silk. It is commenced in the same way as the single, but when the bands are fastened, the smaller above the larger, the red silk is taken with the right hand and passed above the white, under the bottom or larger band, brought out under the upper
or small one, carried over it, brought out again over the large
band, and the bead formed as above directed, near to the edge of the book.
The white silk is then passed in the same way,
and so on alternately till the whole is completed. E
50
THE ART OF
GOLD AND SILVER HEADBAND.
Both single and double made as above, the only difference being in the use of gold or silver thread.
Great care must be
here observed in tightening the thread at the bead. RIBBON HEADBAND.
This style varies but little from the other, the same coloured thread being only passed several times round, instead of alternately with the other, and making the bead at each turn, taking care that the under thread is not observed, and then passing
the other colour in a similar manner, as many or more times than the former. This will produce a band, from which it is
named, having the appearance of narrow ribbons, of various colours.
Three or more colours may be used in a pattern. REGISTERS.
For those volumes which require only narrow ribbon, registers are not placed till after the completion of the binding ;
but for those of a larger size, being much used, it will be ne-
ceasary to attach them under the headband and glue one of the ends on the back of the book, bringing the others down between the leaves, and turning the parts intended to hang out at the bottom into the book again, to preserve them from
being soiled till the work is finished
For hooks handsomely
bound, such as Altar Services, &c., gold fringe is sometimes affixed to the ends of the registers, which adds to the general
effect of the ornamental part of the binding.
OPEN BACKS, BANDS, &c.
The practice of cutting off the corners of the boards next Should it, how-
the headbands is now nearly discontinued.
ever, be desirable to do so, they must be cut slopingly off from the outside to the board placed under, to prevent injury
BOOKBINDING. to the back and edge.
51
Cutting a piece off straight through
with the shears, produces a bad effect when the end paper is
pasted down.
In lining the back the volume is placed by
the fore-edge in the laying press, and the back glued lightly. A piece of cartridge paper is applied thereon, one edge level with the side, and evenly rubbed with the folding-stick, creased on the other side and cut off.
The book is then taken out of
the press, the projecting paper cut off with the shears at the
head and tail, the headband rubbed close to the back, and the
back again slightly glued.
If wished stronger, another fold
mast be glued on before cutting off.
When a loose back is
required, to allow the book to open with greater freedom, it will be necessary to glue the paper on as above, leaving proJecting over so much as will exactly cover the back.
Then
fold the part so left evenly by the edge, and in like manner
bring over the other part, which must be cut off evenly on the Opposite edge.
The two parts being glued, must then be
rubbed well together, and the headband set with the folder.
If it is wished that the yolume should have raised bands, the
back must be marked at equal distances with the compasses, or by means of a pattern cut out in pasteboard, when glueing
again the back the bands must be placed.
These bands are
generally cut out of a piece of firm thick leather or pasteboard.
When the glue is dry, cut off the part of the bands
projecting over the sides, as also, when open backs,'a short
space down each fold of the paper, to admit that portion of
the cover necessary to be turned in at the head and tail. COVERING.
The skins prepared for binding are dressed in a peculiar manner;
they are soft and of equal thickness throughout,
The cutting out of covers is an important operation, as by EZ
2
THE ART OF
attention much economy may be effected.
‘
For this
patterns in pasteboard of all the sizes of books should
made, and such as are reqaired placed on the skin, turni
them every way #0 as to obtain the greatest number of pi possible, allowing about half an inch round for paring turning in.
Should the books be of the same size, a vol
taken by the fore-edge and the boards laying open on
Jeather will enable the workman to judge to a nicety the m advantageous way te cut,
The narrow pieces, S&ec., left om
the sides will do for the backs and corners of half-bound work.
Sheep-skin and calf for common binding should be steeped in. clear water and well squeezed out, then stretched and ex~ tended on the table, the smooth side upwards.
For law books
the leather must be cut out dry, damped with a sponge, and the covers laid one on the other to preserve their moistness, taking care not to twist them, which would present marke in the binding.
This plan is advisable for all extra calf work,
the colours taking better and far more uniformly,
Moroece
and roan must not be wetted, as it would destroy the grain and stain the leather, Russia must be well soaked with warm
water, but care Saken to avoid creasing.
It will also require
to be well rubbed out on the table with the folder.
Each cover must be pared round the edges with a long
knife, called the paring-knife, on a fime marble slab, by ex-
tending it, the smooth side below, and taking off the flesh side by moving the knife forward diagonally from about half an inch of the edge gradually down to it.
The cover must be
held firm with the left hand, and care taken not to cut through
the cover before reaching the edge; but practice will soon render this easy. To obviate the difficulty which morocco and roan present in paring, from not being wetted, it is usual to slightly moisten the edges on the rough side of the leather.
This is also sometimes done to rough calf, that is, where the
BOOKBINDING.
53
leather is dressed on the flesh side of the skin, and more particularly used in stationery binding. Whatever may be the substance or material with which a
book is covered, the manipulations are the same.
It is well
pasted over with the brush and placed on the volume in the same way, care being taken to preserve from stains those that
are costly and delicate, particularly morocco and silk, which
will be again alluded to. If the covers that have been wetted before paring have become dry, they must be again sponged with clear water.
They should then be placed on a board,
and the side of the skin which is to be applied to the volume,
pasted well and evenly upon the surface,leaving no more than what is necessary to make it adhere.
The cover being then
laid on a table, or clean milled board, the volume is taken in the hands, the squares at head and tail equally adjusted, and
placed upon the nearest side of it, in such a position that the
back of the volume, which is from the workman, will be in the middle.
The far part is then brought over to the other
side, and care taken not to disarrange the squares.
The cover,
which now projects an inch all round the volume, is drawn
tightly on the back with the open hands, as also on the sides of the boards, which are rubbed with a smooth folder to efface any marks or wrinkles that may appear.
The cover cannot
be drawn on too tightly, as it is indispensable that it apply well to every part of the book, and that the superfluous paste be forced to the edges of the boards. The book must now be opened, the paste taken off, and the leather projecting over the fore-edge turned in, every wrinkle effaced with the folder, and the edges of the boards rubbed square.
Turn the book
and operate in a similar manner on the other side. The cover at the head and tail of the book must next be tarned in, by taking it by the fore-edge, and placing it upright
on the table with the boards extended, and with the hands, E3
°
54,
THE ART OF
one on each side, slightly forcing back the boards elose to thehead-band, and folding the cover over and into the back with: the thumbs, drawing in tight so that no wrinkle or fold is.
seen.
Ifthe back is an open one, the loose part of the fold,
previously made, must be covered over with the leather simzlar to the boards. Having turned in the cover the whole. length of the boards, and rubbed it with the folder as on the
fore-edge, the volume must be turned and operated on at thebottom in a similar manner.
The volume is now opened, and the parts of the cover brought together at the corners, pulled up almost perpendicu—
larly with the board, nipped together, and nearly all above the point of the angle ef the corner, cut off with the shears. The portion ou the side is then turned down, and the other on
the fore-edge wrapped a little over it, the corner being set by the aid of the thumb-nail and folder as neatly as possible. The folder should also be well rabbed in the joints to make the covers adhere in those parts, where the back is liable to. bold the leather off.
Any derangement of the square of the
boards, that may have taken place in covering, must here-
also be rectified. The setting of the headband is the next operation, which
is very important to the beauty of the binding, by properly forming a sort of cap over the worked headband, of the leatherprojecting across the back a little above a right line from the
square of one board to the other. With a small smooth folder,. -one end a little pointed, the double fold of the leather must be rubbed together to. make it adhere, and if the boards have.
been cut at the corners, the hand applied thereon, and finally forcing the headband close to the leather, staying it even on the back with the finger, and forming a neat cap of the pro~
jecting part on the top of it.
The folder is then applied on.
the edges of the boards to give them a square appearance,
BOOKBINDING. and make the leather adhere.
55
Should any defect in the |
leather make it necessary to apply another piece on the part, it must be neatly pared, and pasted on at this stage of binding.
_ Should the leather project from the board at the joints the volume must now be ntpped in the laying press, between two boards, similar to cutting boards, being thicker on one edge than the other, and so placed on the joints that the thick side
solely holds the volume when pressed.
When taken out, and
the leather appears nearly dry, the back must be rubbed with the folder, the headband corrected if required, and the volume
again placed to dry.
"A few observations must not be omitted relative to morocco, |
velvet silk, and coloured calf, which, from their nature, require
the greatest neatness to avoid staims and alterations in the eolours.
Covers of the former description must not be drawn
on too tight or rabbed with the folder, as the grain or pattern of the material would thereby be destroyed ; and extra care
mast be taken with the coloured calf to prevent damage. They mast be drawn on with the hands on each side at the same
time; the table should be covered with a baize cloth, and the hands perfectly clean.
Silk should be prepared previously,
by pasting a piece of paper thereon and be left to dry, so that,. when pasted for covering, the damp will little or nothing affect its appearance. Velvet will require great care, from its pecu-
liar texture making it necessary that it be rubbed one way only in covering.
From this cause, having ascertained the direction of the nap, one side of the book is glued and laid
upon it, and drawn smoothly on towards the back, then the back and other side is in like manner drawn over, and after-
wards the edges turned in. This proceeding causes the whole to lay perfeetly smooth, which velvet would net do, if drawn in a contrary way to the grain or nap.
If the hook has been sewn on bands, or artificial ones have
7
56
:
THE ART OF
been glued on as directed, the projection prevents the leather adhering close to the back, which must be remedied while the paste remains wet.
Where the bands are large, it will be
necessary for them to be tied up, which is done by placing a
board, longer than the boo‘, on each side, projecting slightly
over the fore-edge, and tying them tightly with a cord from
end to end. Then with a smaller cord the leather is confined
to the sides of the bands, by crossing the string :—for exam-
ple, suppose the book had three bands, one towards the head,
one towards the tail, and the other in the middle; the book would be taken in the left hand, the head upwards, the cord
by the help of a noose passed round close to the inside of the band nearest to the tail and drawn tight, then carried round again and brought close to the other side.
The string tight-
ened is thus crossed on the side of the volume, and the band held between it.
The cord is in like manner carried on te
the second and third bands, fastened, and the whole set square
with the folder.
It will be best understood by the following
engraving.
If the corners of the boards have been cut off near the head-
band, a piece of sewing thread tied slightly round between the back and boards will be of advantage in causing the head and
tail to set properly. When the book is perfectly dry the cords are taken off, the bands again rubbed and squared, and the department of FORWARDING completed.
For morocco, and books in other substances, having but small bands, tying up is not resorted to, being generally rubbed close in with the folder, or a box stick for the purpose, For morocco, however, where the beauty of the grain is liable
BOOKBINDING.
57
> be destroyed, a pallet with single, double, or treble linesie metimes used, warm, on each side of the band.
A few words may be added relative to the grain of morocco.
the nataral grain is not sufficiently developed, it must be ised by rolling the leather, doubled, on the table with the
md.
The turkey grain is formed by steeping the cover in
ater,rubhing it from corner to corner,and then contrary way,
the grain is brought up fall and square.
HALF-BINDING. Half-binding, s0 called from the backs and corners only
being covered with leather, and the sides with paper or parehment,
presents no difference in the covering to what has been
porated out above. gown
The leather to form the back should come
abont one inch and a half on each side, and the corners
weatly pared round before placing on.
The sides of paper
‘mast not be pasted on till the binding is nearly finished, either before the back is gilt or after, to avoid damage. This paper ja pasted, at equal distances from the back, according to the taste of the workman and the size of the volume. When dry,
'
tha end papers are pasted down, and the work finished in the fame way as will he pointed ont for bindings in general.
PART IL
OF FINISHING. INTRODUCTORY REMARKS. WE have now arrived at a branch of the art, not only requiring all the careful attention before enforced, but a considerable share of taste and talent; taste to form a true estimate
of what will aecord well with the nature of the work and add
58
THE ART OF
to the beauty of the binding; and talent to execute the co—
lours and designs in the best manner.
This department may
be distinguished under two general heads—Colouring and
Gilding.
The remarks here made will equally apply to both ;
but a few separate observations on colours and leather, as applied in binding in the various departments of literature,
will be proper in this place, reserving those on gilding till that subject is treated of.
The kind of leather and description of colouring must ever be dependent on the nature of the work, the wish of the em-
ployer, and the price allowed for the binding.
For a small
number of books, a variety of patterns will perhape be the principal object sought, and elegance alone studied;
but.
where a numerous collection of the treasures of literature is placed in the hands of the binder, it becomes a subject of consideration to produce the best possible effect, by presenting an appearance of different colours and leather, yet still display-
ing a general harmony throughout.
No fixed rule can be laid
down for the binder’s guidance ; but if he possess good taste,
that cannot fail to be the best instructor.
But it may not be
irrelevant here to introduce the opinion of Dr. Dibdin, whose connexion with some of the first libraries in this country, and whose intimate knowledge of all the great book collectors of the same, must tend to stamp him as a good authority on the subject :—
“ The general appearance of one’s library is by no means a matter of mere foppery, or indifference; it is a sort of cardinal point to which the tasteful collector does well to attend. You have a right to consider books, as to their outsides, with
the eye of a painter ; because this does not militate against the proper use of the contents.
«Be sparing of red morocco or vellum, they have each so distinct, or what painters call spotty, an appearance, that they
BOOKBINDING.
59
should be introduced but circumspectly.
Morocco, I frankly
own, is my favourite surtout; and the varieties of them, blue {dark and light), orange, green, and olive colour,are especially
deserving of your attention. “Let russia claim your volumes of architecture or other antiquities, of topography, of lexicography, and of other works
of reference.
Let your romances and chronicles aspire to
morocce or velvet ; though, upon second thoughts, russia is well suited to history and chronicles. And for your fifteeners, or volumes printed in the fifteenth century, whether Greek,
Latin, Italian, or English, let me intreat you invariably to use morocce : for theology, dark blue, black, or damson colour ;
for history, red or dark green ; while, in large-paper quartos, do not fail to remember the peau de veau (calf) of the French,
with gilt upon marbled edges!
My abhorrence of hogskin
urges me to call upon you to swear eternal enmity to that en-
genderer of mildew and mischief. a clumsy coat of mail.
Indeed, at any rate, it is
For your Italian and French, espe-
cially in long suites, bespeak what is called French calf binding;
spotted, variegated, or marbled on the sides;
well
covered with ornament on the back, and, when the worl: is worthy of it, with gilt on the edges.
Let your English octa-
vos of history, or belles lettres, breathe a quiet tone of chastely
gilded white calf with marbled edges ; while the works of our |
dettermost poets should be occasionally clothed in a morocco exterior.”
The farther opinion of the Doctor on the style of ornament, &c. in gilding, will be given in its proper place, and which,
with that cited above, may be safely acted upon by the binder, blended with such additions as his own taste may dictate.
It is in this state that the defects of forwarding will become
more apparent, and which no tact or ingenuity of the finisher ean effectually remedy; for, unless the bands are square, the
60
THE ART OF
joints free, and the whole book geometrically just, the defect, whatever it may be, will appear throughout, and tend to deetroy the beauty of every subsequent operation, from the constraint required to make the general appearance of the work effective.
The substances used for the covers of books, are, as before
stated, of various kinds.
Those covered with morocco, roan,
russia, velvet, vellum, silk, or coloured calf, which latter has been brought to great perfection by the leather-dreswsers, will not require any further operation till prepared for gilding.
But
the cover of a book in plain calf, or sheep, would mot be agreeable if left the natural tan colour; and the taste and ingenuity of successive workmen have discovered many beaati-
ful designs and splendid colours, which add much to the appearance of the book.
‘Latterly, however, many of them have
been little used, and particularly so since the introduction of coloured calf.
Still, the binder should be conversant with the
proceedings, as many of the uniform colours may be required, and the various designs which early volumes may display, cannot be executed till after the book is covered. Some of these are little understood; and even the common marble, now only
used for the plainest bindings, at one time was a profound secret, and great caution was used to keep it so, books bemg
sent to the inventor to be marbled at a high price.
The re-
ceipts given for the superior marbles and designs, will, it is presumed, present this branch of the art on a higher footing,
in a general point of view, than is usually accorded toit; and
it is confidently asserted, that not one of them will prove a failure, if attention to the directions be only given.
Nothing
has been omitted in the description of the substances best for
use, the mode of preparing them, and the proceedings to be
adopted, that can tend to give to the covers all the elegance and splendour of which they are susceptible.
By the aid of
BOOKBINDING.
61
these, assisted by some taste, the workman may vary the detigns almost to infinity; but it must be admitted that unless
he is devoted to his art, no mere directions or casual advan-
tages will enable him to succeed in the more complicated or delicate operations, while with an ardour for it, all difficulties will be easily overcome.
COLOURING.
There are three sorts of ornaments upon the covers of books,
independent of gilding and blind tooling; viz. marbles, sprinkles, and uniform tints: these will be described under separate heads, but previous to dving so it will be necessary to make known the methods of preparing the chemical substances and
ingredients required to execute them in the beet manner. CHEMICAL PREPARATIONS.
Under this head is included aqua regii, or killed spirits. nitric acid, marbling water, and giaire prepared for marbling, AQUA REGII.
So called from its power to dissolve gold, is a mixture of nitrous acid (aquafortis), and muriatic acid (spirits of salts),
deprived of its burning qualities by block tin, which it dissolves.
It is called by the chemist acid nitromuriatic: the
muriatic also contains a portion of alkali, which gives to red a vinuous tint, and for which colour it is principally used.
The two subsiances should be of the purest quality, of a
concentration of thirty-three degrees for the nitric acid, and of twenty degrees for the muriatic.
the greatest precaution.
They must be mixed with
Having provided a clear glass bot-
tle, the neck rather long, capabl: of holding twice the quantity to be prepared, place it upon a bed of sand, the opening F
62
|
THE ART OF
at top, and pour in one part of pure nitric acid and three of
muriatic.
Let the first vapours dispel, and then cover the
orifice with a small phial, which must not confine the vapour
too closely, as the bottle would be liable to burst, but which
, Yetains as much as possible without risk.
Of block tin, an -
eighth part of the weight of the acid must then be dropped
into the bottle, in small pieces, a little at a time, covering the orifice with the phial.
The acid will immediately attack the
tin and dissolve it, when a second portion must be put in with the same precaution, and so on till the whole is dissolved. Malacca tin is the best for use, and if pure there will be no sediment, but as it cannot always be obtained, a black sedi-
ment will be left.
‘The vapour having ceased, the acid must
be poured into bottles and secured with glass stoppers, to preserve it.
‘When used, a part is taken and mixed with one quarter of its weight of distilled water. It is usual with some workmen to perform this operation
in a common drinking glass, but as the vapour is thereby all
dispersed, the composition loses a considerable portion of its best quality, for it will be observed, if performed in a bottle as’ above directed, that the vapour assumes a red tint, which does.
not escape if the neck of the bottle be of sufficient length. ANOTHER.
Some binders adopt the following method, but as it is not
capable of producing an equal beauty and clearness of colour
with the one above given, it will not be advisable to use. The
former, too, will he equally effective to an indefinite period, while this will not preserve more than two. or three months. Put in a brown freestone pot two ounces of powdered saé-.
ammoniac, six ounces of fine Malacca tin, in strips or drops, twelve ounces of distilled water, and last a pound of nitrée acid, of thirty-three degrees.
Leave the whole till the tin is
dissolved, and then pour off and bottle as above directed.
BOOKBINDING.
638
VITRIOL WATER.
Vitrio], as sold in the pure state, will not be proper to use m marbling or sprinkling, as it would corrode and destroy the
leather.
It must be weakened at least in a proportion of one
oance of vitriol to three of water. MARBLING WATER.
It is usval with many to use the water pure, but a few drops of potash liquid mixed with it will be found to produce better effect, the marble being rendered more distinct. GLAIRE.
Pat spirits of wine in a proportion of two drops to the whites of twelve eggs, and beat the whole well together till
perfectly clear. PREPARATION OF THE COLOURS. The preparations used by different binders vary much, as
will be seen by the receipts given for the same colours, which we judge necessary to put on record, that nothing connected with the subject should be omitted, premising that each colour may be depended upon for producing the most satisfactory results. It may be proper also to observe that the whole of the woods and other ingredients used should be previously pdow-
dered, or reduced to small pieces, the colours being thereby much better extracted. | BLACK.
1.—Dissolve half a pound of green copperas in two quarts of water.
The oxide contained in the sulphate of iron will
combine with the tanning of the leather, and produce a good black.
2.—Boil in a cast-iron pot a quart of vinegar, with a quan-
tity of rusty nails, or steel filings, till reduced one-third, taking F2
64
THE ART OF
off the scum as it rises to the top. age.
This liquid improves by
To keep up the quantity, boil with more vinegar.
3.— A cheaper liquid may be produced by boiling two pints
of beer and two pints of water, with two pounds of old iron,
and a pint of vinegar,scumming as before, und bottling for use. BROWN.
1.—Half a pound of good Dantzic or American potash dissolved in one quart of rain water, and preserved in a bottle well corked.
2.—Salts, or oil of tartar, in the same proportions as above. 3.—A beautiful brown may be procured from the green shells of walnuts.
To prepare this, a quantity of the green
shells, when the nuts are gathered, must be pounded in a mortar to extract the juice, and then put into a vessel capable of
holding a sufficient quantity of water.
The water being put
in, the whole should be frequently stirred, and left to soak, with the vessel covered.
Afterwards the liquid must be passed
through a sieve, the juice well expressed, and bottled, with
some common salt, for use.
This liquid, after fermentation,
will produce the best effects for the uniform tints, as it tends
to soften the leather, and will not corrode. BLUE,
1.—It is usual with many binders to use Scott's Liquid Blue, but it is necessary to know the preparation of the colour. Perhaps the best and most simple one known is one given by Poerner, which is as follows :—In four ounces of sulphuric
acid, of 66 degrees, mix gradually one ounce of finely powdered indigo, ao as to form a sort of pulp. Place the vessel in another containing boiling water, for some honrs, and then leave it to cool. Afterwards put to it a small portion of good
potash, dry and finely powdered, stirring the whole well, and
letting it rest for twenty-four hours, when bottle, and use as
BOOKBINDING. required.
65
This colour will appear nearly black, but may be
made to any shade by adding water to it.
If any portion re-
main after being diluted, it must be put into a separate bottle,
as if mixed with the first preparation the whole would be
deteriorated. 2.—A readier blue may be prepared by mixing one ounce
of powdered indigo with two ounces of oil of vitriol, and letting it stand for twenty-four hours, and then adding twelve
ounces of pure. water.
| PURPLE.
Boil half a pint of archill or logwood with vinegar and water, of each half a pint. |
LILAC.
Same as for the purple, with the addition of about two table spoonsful of potash. VIOLET.
Half a pound of logwood chips, and one ounce of Brazil dust, boiled over a good fire in four pints of water till reduced
one-half, and left to clear.
Then throw in one ounce of pow-
dered alum, and two grains of cream of tartar, and again boil
till dissolved.
This liquid must be used warm. FAWN.
In two pints of water boil one ounce of tan, and a like
portion of nutgall till reduced to a pint. YELLOW.
1.—To one ounce of good caked saffron, turmeric, or French
berries, add a portion of spirits of wine or aqua regii, and leave
the mixture to macerate.
This liquid is used cold, and may be varied to any shade by adding water when required. 2.—In two pints of water put eight ounces of French berries, and boil till reduced one-half. Then pass it through a sieve or fine cotton, and add a small quantity of powdered alum and again boil, using it warm. F3
‘
66
THE ART OF ORANGE.
In a pint and a half of potash liquid, boil a quarter of a
pound of fustic chips till reduced one-half; then put in an ounce of good annatio, well beaten, and after boiling, a small
portion of alum, and use warm. GREEN.
1.—Liquid blue and yellow mixed, will best suit for general purposes. 2.—Dissolve in a bottle one ounce of verdigris in an ounce
of white wine vinegar, and place the whole before a fire for four or five days, frequently ehaking the bottle. RED.
There are three sorts of red ; viz. common, fine, and scarlet. Common. 1.—In a tinned kettle boil halfa pound of Brazil wood, eight grains of nutgalls, both powdered, and three pints of water, till the whole is reduced one-third.
Then add
powdered alum and sal ammoniac, of each one ounce, and when dissolved strain through a sieve.
This liquid must
always be used warm.
2,—Boil a quarter of a pound of Brazil dust, two ounces of powdered cochineal, and a little alum, in two pints of the
best vinegar, till a bright red is produced.
Use warm.
Fine. 1—In three pints of water boil half a pound of
Brazil dust, and half an ounce of powdered nutgalls, Pass the whole through a fine cotton, and replace the liquid on the fire, adding one ounce of powdered alum, and half an cunce of sal ammoniac. Give the whole another boil, and then add a portion of agua regtit, according to the shade desired, and use warm.
2.—A quicker and cheaper proceeding is by putting in a
cup a portion of Brazil wood, and adding to it the aqua regié, letting it stand for a quarter of an hour to extract the colour.
BOOKBINDING.
67
Scarlet.—To one ounce of white nutgalls and one ounce of cochineal, both finely powdered, add two pints of boiling water.
After boiling some time, add half an ounce of aqua regit,
and use warm.
MARBLING. Before proceeding to a description of the marbles, and other designs on the covers, coming under the general head of mar-
bling, it will be proper to give a few directions, relative to some important matters required in the way of preparation.
As the success of many of the designs depends upon the quick-
ness with which they are executed, it will be important that
the colours, sponges, brushes, &c., are previously disposed in the best order, so as to be of the readiest access.
Attention
should be paid to the probable quantity that may be required of each colour, as many of them will not be available for use
another time.
The books should all be previously washed with paste and
water, to which has been added a little pearl-ash liquid, and left to dry. After this they must be glaired equally over, and when dry placed upon the marbling rods, the sides of the
books extending over, and the leaves hanging between.
The
rods must be placed on an elevation at the top, so as to allow the water to run gradually towards the bottom of the books ;
and if the backs are required to be left plain, another rod, or piece of board, grooved to the shape of the back, placed on them. To avoid the scum arising from the beating of the
brushes over the colours, it is better to rub the ends of the
bristles on the palm of the hand, on which a little oil has been These preliminaries being settled, the operation of marbling commences, for which we shall now give directions.
spread.
THE ART OF
68
COMMON MARBLE.
The book being placed on the rods, throw on the water prepared for marbling in large drops, with a coarse brush, or bunch of quills, till the drops unite. Then with a brush charged with the black liquid, and beaten on the press-pin as directed for sprinkling the edges, a number of fine streaks are
produced by throwing the colour equally over the cover. Afterwards the brown liquid must be similarly thrown over. When the veins are well struck into the leather, the water must be sponged off, and the book placed to dry.
If the volume has been previously coloured with any of the preparations before described, and it is wished to produce a marble thereon, the brown must be thrown on first, and then
the black, as without this precaution the marble would not
strike, because of the acid which forms part of the colours. This observation being applicable to all the other designs, it
will not be necessary to again repeat it. ANOTHER.
Throw on the vinegar black, then the brown, and lastly a fine sprinkle of vitriol water. PURPLE MARBLE,
Colour the cover two or three times with hot purple liquid, and when dry, glaire.
Then throw on water, and sprinkle
with strong vitriol water, which will form red veins. STONE MARBLE.
After throwing on the water, sprinkle boldly with the black liquid ; then with a sponge charged with strong brown, drop the colour on the back in three or four -places, so that it may run down each side in a broad stream, and afterwards operate
with vitriol water on-the parts the brown has not touched.
—_—--
BOOKBINDING.
69
GREEN AGATE.
Sprinkle blackin nine times its quantity of water,in large drops over the whole surface of the cover, and when the drops anite apply on the back at regular distances the green liquid, | #0 that it may flow on the boards and unite with the bleck. BLUE AGATE.
Proceed as above, only substituting blue in place of the | green, weakened with water according to the shade required. |
FAIR AGATE.
:
:
Commence by sprinkling blackin small drops at a good
| Getance from each other; afterwards sprinkle equally over
_ large drope of weak potash.
: :
AGATINE. Proceed as for the green agate, and then sprinkle scarlet
allover the cover: finally, throw on bluein small drops, | Weakenedin four times the quantity of water. LEVANT MARBLE.
After the water, throw on the back brown in broad streaks _ wdirected for the sfone, and then in like manner the aqua
-‘tegi. This will be found to imitate closely the Levant marble. PORPHYRY VEIN.
Throw on large drops of black diluted in double the quanty of water. When the colour has struck well into the leatlier, @rmkle in the same manner brown mixed equally with water.
_ Then apply a sprinkle of scarlet, and afterwards large spots of yellow, the liquid nearly boiling. Whilst these colours are ne Witing throw on weak blue, and then aqua regii, which, flowng together down the sides of the book, will form the vein distinctly,
79.
THE ART OF
RED PORPHYRY.
Sprinkle with black in eight times the quantity of water, very equal and in small spots.
Let it dry, rub, and glaire.
Then give two or three sprinkles of fine red, and one of scarlet, and again leave to dry.
Finally, sprinkle scarlet-in small
spots, as equally as possible. GREEN PORPHYRY.
For this design the cover must be finely sprinkled over three separate times, leaving the colour to search and dry between each.
The green must be brought to the shade re-
quired by mixing with water.
To form a more elegant vem,
sprinkle first with weak black, and afterwards with green, and when dry with fine red. PORPHYRY.
This marble, imitating the eye of the partridge, is executed by throwing on black in eight times its volume of water, in small drops, but so close as to just run into each other.
When
the black begins to flow, sprinkle over brown mixed equally with water.
Let it dry, wash the whole with a sponge, and before quite dry again give it two or three coats of fine red After being dry and well rubbed, sprinkle equally over the surface large drops of aqua regii. ANOTHER.
Colour the cover with red, yellow, blue, or green, and, when dry, with black diluted as above ; let this also dry, and then
sprinkle over large or small drops of aqua regii.
The eye of
the partridge is properly formed with blue sprinkled upon the weakened black, and when dry, with the killed spirit or aqua ROCK.
Throw on large drops of black prepared as for the porphyry, and, when half dry, weakened potash in the same manner.
BOOKBINDING.
71
When dry again, sprinkle on equally small spots of scarlet, and lastly aqua regii. GRANITE,
Mix black im about fifty times its quantity of water, and sprinkle equally over very fine, repeating it as it dries five or ax times.
Then in like manner sprinkle over with brown,
and after rubbing well, glaire lightly. Finally sprinkle finely
TREE MARBLES.
These marbles, which were first executed in Germany, from whence they passed into England, are formed by bending the boards in the middle, so that the water and colours flow from the back and fore-edge to the centre, in the form of branches
of trees.
The name is also given to such as are made to
imitate the grain of the wood. WALNUT.
Formed by sprinkling black and brown only, as‘ for the common marble. CEDAR.
After sprinkling as for the walnut, and before perfectly dry apply lightly a sponge presenting large holes dipped in orange upon various places on the cover, so as to form a description of clouds.
Afterwards apply the fine red, with a similar
sponge, nearly upon the same places, and when dry give the whole two or three coats of yellow, taking care that each penetrates evenly into the leather. MAHOGANY.
The proceedings are nearly the same as for the walnut, the difference being merely in sprinkling the black more boldly, and when perfectly dry giving two or three uniform coats of. red.
72
THE ART OF
BOX.
In order to imitate the veins contained in box, the boards must be bent in five or six different places and in divers ways. After placing the book between the rods, throw on the water
in small drope, and proceed as for the walnut
After being
perfectly dry, throw water again in large drops, and sprinkle on small spots of blue, diluted equally with water; and when again dry and rubbed well, apply the scarlet with a sponge as
directed for the cedar.
Finally, when dry, give two or three
coats of orange, and the design is complete. WAINSCOT.
Colour with strong brown, glaire, and place between the rods, with the boards flat.
Throw on weak black in large
spots, then brown in like manner, aud lastly sprinkle boldly with vitriol water. VARIEGATED.
Marble as for the walnut, and then put on each board a circle, oval, or other figure, and apply weak black on the
outer parts.
When dry, give it a good coat of red, and after
throwing on spots of scarlet, take off the figures, and wash well the parts where the latter colour has been used. Finally,
give the oval two coats of yellow, or other colour, with a
camel’s-hair brush. MARBLING ON PAPER.
The sides of a half-bound book, which will be covered with paper, may be marbled to correspond with the effect produced on the leather by the action of the black and brown, at the -same time.
This is performed by pasting firm white paper
on the sides, and colouring with a mixture of four ounces of nutgalls, and a small portion of powdered sal ammoniac, boiled
well together, which will take the black and brown nearly equal to leather.
BOOKBINDING.
13
SPRINKLES,
This is another ornament on the covers of books, capable of bemg much varied.
A few of the most general use are
given, premising, that any of the colours arranged as for the
marbles above, or sprinkled on the uniform colours, will be productive of a beautiful effect.
The books must be paste-
washed over, but not glaired. NUTMEG. -
Sprinkle very finely with black and then with brown.
If
wished to produce a finer effect, give a sprinkle of vitriol water. RING.
Put about a teaspoonful of vitriol to a cup of the black, and sprinkle coarsely over,
If the ring is not sufficiently strong,
add more vitriol. TORTOISESHELL.
.
Wash the cover with yellow, and sprinkle very boldly with
black.
When dry, spot with a sponge, as before directed,
with blue, red, and black, each colour being left to dry before the next is applied.
Tn concluding the description of the marbles and sprinkles, itmay be remarked, that, with a little taste, the workman
might vary the designs to upwards of one hundred different patterns ; also that each colour should be allowed to properly strike into the leather before another is used. Panes, or blank
spaces, are formed by placing squares, &c. of pasteboard on the sides, which prevents the colours touching the leathey when sprinkling.
After the design is completed, the covers
should be well rubbed with a woollen cloth, or the ball of the hand, to remove the whole of the refuse of the colour, whieh
will be found to corrode on the surface of the leather. G
14
THE ART OF UNIFORM COLOURS.
Before proceeding to execute any of the colours, the books must be well and evenly paste-washed, and left till perfectly
dry. It will also be necessary to observe, that the black will become darker in all the subsequent operations of colouring, glairing, and polishing, so that attention must be paid not to
use this liquid too strong. LIGHT BROWN.
Wash the cover with vitriol-water, till perfectly uniform
in colour, and then with brown to the shade desired. ANOTHER.
Mix a small quantity of annatto with the potash liquid, and use hot.
This will produce a beautiful tint. DARK BROWN.
Colour with weak black till a slate shade is produced, and
then apply the brown three or four times, as taste may dictate. Others might be added, but the proceedings are the same,
varying only the quantity of colour according to the shade.
The nut-brown liquid will produce beautiful tints. CORINTHIAN GRAPE.
The proceedings are the same as for the last colour,
ing two or three coats offine red.
add-
COMMON GRAPE. Proceed as for the last, omitting the brown after the
black.
BLUE.
After giving four or five coats of the chemical blue diluted
with water, wash lightly with weakened aqua regii, which
will take off the green reflection produced by of the leather.
|
the yellow tint
BOOKBINDING.
15
GREEN.
Give three or four coats of the green liquid, extended in water according to the shade required.
Any of the other co-
lours noticed in the preparations may be thus executed. * OLIVE.
After giving a slate colour, apply yellow, boiled with a emall portion of blue, on the cover, rubbing it equally in while
hot, to insure uniformity. PEARL GREY.
This colour must be executed carefully, so as to be perfectly uniform and without stains.
Colour over with exceed-
ingly weak black liquid, till a pale grey is produced.
The
weaker it is, the better will the workman succeed.
Then
pass over a light coat of fine red mixed in a large portion of water, so as to give a light red reflection, scarcely distinguish-
able. SLATE.
Use the black liquid, a little stronger than for the last, and omit the red. BLACK.
For common purposes, the black may be formedin the way adopted for other colours; but,in many instances, it is necessary to produce a colour having the appearance of japan, and which will require more labour and attention.
Wash the book over with brown till a dark shade is formed; then, with a piece of woollen cloth, apply the black liquid
mixed with japan, which will produce a beautiful black.
This
colour should have a good coat of vellum size before glairing.
Orit may be better to finish off with the varnish given in another part of the work
Nutgalis, copperas, and gum-arabic, are used by many,
and will be found to produce a good and bright colour. GZ
76
THE ART OF GOLD MARBLES, LANDSCAPES, &c.
These designs, if properly executed, are the most beautiful that can be imagined.
The labour and care, however, requi-
site, must ever confine them to superior bindings, for which a
high price is given, to indemnify the workman for the time required to produce the proper effect.
The imitation of the
gold marbles is not an easy task ; but a knowledge of the art
of painting, and a clever management of the brush, will enable the workman to imitate the figure of the marble so true to.
nature as to be scarcely distinguishable. GOLD MARBLE.
This marble, which will not require the ability to execute
as those following it, is the invention of M. Berthé, sentor, bookbinder, of Paris, and may be executed on any kind of uniform substance.
Take a piece of cloth, exceeding the size
of the volume, and fold it equally;
lay it thus folded evenly
upon a board, and then open the other half, and cover the
board; spread, upon the half towards the. left, gold leaf, ta the size of the cover, allowing such portion as the roll intended to be worked on it may take, which will be a saving of gold ; then refold the cloth on the gold, and press the hand above, without moving the cloth, sa as to divide the gold into a num-. ber of small pieces.
The gold being thus prepared, moisten
the side of the volume with glaire, mixed with water in equal
proportion, and place it on the cloth, pressing above firmly with the hand.
Care being taken not to disarrange it, turn
over the volume, cloth, and board, and take the latter off, re-
placing it with a sheet of paper, and rubbing smartly above, s0 as to attach the whole of the gold to the cover. After this
the cloth must be removed, and the gold will be found equally. fixed; to further insure which Jay on a sheet of paper, and rub well with the palm of the hand.
BOOKBINDING.
17
To remove any gold that may appear on the part intended for the roll in gilding, wet the end of the thumb, form a sort of square with the fore-finger on the edge of the board to the
size of the roll, and rub the surface of the cover, which will clear it with facility before the glaire is dry. LAPIS-LAZULI.
This marble is of clear blue, veined with gold, presenting an appearance of the utmost splendour.
follows :—
It is executed as
.
Place the volume between rods as for marbling, and with a sponge full of large holes, dipped in chemical blue, mixed in six times its volume of water, make light spots similar to
clouds, at irregular distances; then put in a quarter part more blue, and make new clouds or spots a little darker.
Repeat
this operation six or seven times, each time adding more blue.
All these coats will form stains in proper gradation, as in the natural marble;
and to operate more properly, it would be
better to have a model, either of the marble itself, or skilfully The veins of gold, which must not be laid on till the book is gilt, and just previous to polishing, are formed with gold in
shell.
‘The substance used to make it take and hold firmly
on the cover of the book, is prepared with white of egg and
spirit of wine, in equal proportion, and two parts of water,
beating all well and leaving it to clear; then wet a small porGon of gold powder with the liquid, mixing it with the finger, and use it with a small camel’s-hair pencil.
Pass it on in
different places, so as to imitate the model, according to the taste of the workman; when done, let it perfectly dry, and
polish with the polisher scarcely warm.
_
It will be perceived, that by the use of other colours, or two or three together, many beautiful designs may be in like man-
ner executed, G3
18
THE ART OF LANDSCAPES.
Many beautiful subjects may be formed on the sides of books, by the workman skilled in painting.
The volume is
prepared by being pastewashed, so as to present an uniform
fawn colour, the designs slightly traced, and afterwards coloured according to the pattern, the colours being mixed to the proper shade with water.
The shades must be tried on
pieces of refuse leather, as, being spirit-colours, when once laid on, no art can soften them down if too strong, and a pe-.
culiar lightness of touch will be necessary to produce effect. Portraits, &c. may also be executed in this manner, and manv
superb designs have at times been exeeuted by the best binders
of this country and France.
M. Didot, bookseller of Paris,
presented a copy of the “ Henriade,” published by himself, to. Louis XVITI., most elegantly ornamented in this style.
It
was executed by WM. Lunier Bellier, bookbinder of Tours, and exhibited on one side a miniature portrait of Henry I'V., and on the other a similar one of Louis XVIIT., both perfect
likenesses.
The greatest difficulty consisted in the portraits,
which were first imprinted on paper, very moist, and immedi-. ately applied, to the cover, on which they were impressed with.
a flat roller.
When perfectly dry, they were coloured with
all the art of which the binder was capable, and the other ornamental paintings exeeuted by hand.
This proceeding re-.
quires great care in the execution, and will be applicable to. any design where the binding will justify the expense.. TRANSFERRED LANDSCAPES.
The art of transferring, long practised in the ornamenting of fancy articles, was judged equally practicable for forming a@ superior embellishment for the sides of books. But the varnish necessary to. be employed in the operation, rendered the. invention of no utility, from the action of the heated polisher
BOOKBINDING. tuning it white or causing it to shell off.
719 After several trials,
this difficulty is believed to be overcome, by the employment _
ofa very simple and common articlein the office of the book-
| binder, viz. new glaire, well beaten up.
The proceedingis
as follows:—Cut the print,intended to. be transferred, close to, the design on all sides.
Let it steep in the glaire till it is
well saturated with it. During this time glaire the book twice,
letting it dry on each applicatiog.
Take out the print, place
it exactly in the centre of the side cover, and, laying a piece
of paper above, rub it sharply on the book so that it may ad-
here very closely.
Remove the upper paper,and with the fin-
ger rub off the paper gently until the printed design hegins to appear, wetting the finger im glaire should the paper get too dry.
The utmost attention will now be necessary, for the
least carelessness in removing the paper that still remains may entirely destroy the design, and the whole of the previous la-
bour be lost. The paper must be gently removed, piece by piece, till the design only appears on the leather while damp.
When dry, a white appearance will be presented, arising from the small particles of paper adhering to the ink, but these will
be sufficiently hid on glairing the side previous to finishing. The extent and variety to which, at a small expense, these designs may be carried, with the finish and beauty given to.
the sides of books, renders the subject worthy of the attention of the ornamental workman particularly ;, but he must possess
perseverance and carefulness in an eminent degree, to carry it
to perfection. After the gilding or other ornament is executed, the side must be finished off in the usual manner. A
slight
coat of the varnish described in a subsequent part of the wark,, will, in this case, give a superior finish.
ETRUSCAN.
This style is, where, instead of covering with gold, the book is ornamented with gothic ar arabesque compartments, or imi-.
|
SO
THE ART OF
tations of Greek borders and Etruscan vases, m their proper colours; which, when well executed, have a good effect.
The
Marquis of Bath possesses a copy of “ Caxton's Recuyell of
the Historyes of Troye,” bound in this coloured mamer by Whittaker, of London, who some years ago brought the style
to considerable perfection.
The back represents a tower, in
imitation of stone, on the battlements of which is a flag bearing the title, and on a projection of the tower the name of the printer is impressed.
On the sides are Trojan and Grecian
armour, in relief, round which is a raised impression of the
reeded axe.
The insides, which are also of russia, are orna-
mented with drawings, in India-mk, of Andromache imploring
Hector not to go out to fight, and the death of Hector.
The
edges of the leaves are gilt, on which various Grecian devices are painted.
To execute this style properly, the design must be welt marked out, and the colours prepared to the proper shade by
trials on refuse pieces of the same material as that on which
it is wished to operate.
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 pregent 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 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 raler.
BOOKBINDING.
81
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 arid 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 ahould be well pastewashed and left to dry.
BANDS AND TITLE-PIECES. Where the backs are plain, 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
volames, 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
82
THE ART OF
across the back to measure the breadth, and then cut off.
Then slightly damping on the flesh side, it must be pared ag 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 eco-
nomy 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 exe-
cute ornaments on the covers of a different colour, and as this
is an important manipulation it will be necessary to give an example.
Suppose we wish to make on the side a rosette on
which a gilding tool of the following pattern, but of larger
dimensions, is to be impressed in gold.
S88. Imprint the tool upon purple morocco, taking care that it marks the figure well, then cut it round on the exterior edge, and pare it evenly and very thin.
Cut out and pare the in-
terior circle of the rosette in yellow, and the exterior circle in red morocco, in the same manner.
Then paste on the purple
in the centre of the board, and when dry again impress the
BOOKBINDING.
83
tool, to mark the places for the other pieces, which paste on evenly.
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.
Each of the four sections
of the circle may be formed of different colours, if variety is
desired.
The proceeding will be the same for forming bands
on the back, or corners on the side, of other colours, paying attention to the forms and figures of the gilding-tools.
This
kind of ornament is more frequently executed on white vellum than any other substance.
BURNISHING. Previous to gilding the covers, it is usual to burnish the edges, and paste down the end papers, though sometimes these
operations are not performed till after.
The edges are bur-
nished by placing the volume open, with the fore-edge between boards, similar to backing boards, in the laying press, and
screwing it tightly therein ; then with the burnisher rubbing the edge firmly and smartly over till it presents an uniformly
bright surface, and free from any dents or inequalities.
When
the fore-edge is finished, the volume must be taken out of the press, and the head and tail burnished in a similar manner, the ends of the boards resting in the groove by the joints, the covered boards of the volume being open.
Common calf, sheep,
and half-binding, may be burnished with the boards closed,
six or eight together, but it will be necessary to delay pasting the sides on the latter till after the operation, to avoid the
hability of tearing.
PASTING THE END PAPERS, JOINTS, &c. The volume being laid upon the table or press, with the head towards the workman and the upper board open, the
84
THE ART OF
guard or false end paper must be removed and all other substances cleared out of the joint with the folder.
The end pa-
per must then be pasted over, and the cover brought down
upon it, pressed firmly, and again opened.
It will attach 3t-
self to the board, when it must be palled down sufficiently to form the square and fold in the joint.
The position being ad=
justed, 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 the paper is slightly pressed into the crease formed by the board and back, and rubbed 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 ordinary volumes common flour paste will do, but for silk, satin paper, and other delicate substances, it may be necessary to use a finer article which dries more quickly. In this case, use the finest gum arabic, dissolved in warm water ;
r
BOOKBINDING.
‘85
bat very white starch, mixed strong, and without lumps, will be found preferable, as it soon dries and ‘is not so liable to stam as the gum. If the ends are of silk, it will be necessary to paste thereon & piece of white paper previous to placing on the volume, to avoid the stains which the acid entering into the composition
of the leather is liable to make on the silk.
This is also ne-
cessary in order to its being cut without presenting a jagged
edge.
When compassed and cut to the size of the square left
within the ornamental border, usual in such bindings, it is
pasted on the paper side and placed evenly on the board, rub-
bed firmly down, and left to dry. In all cases, however,where the border is gilt or otherways 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.
Where
the end papers are left plain, the last two leaves being merely pasted together, the ends will only require pasting, and attach-
ing 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. GILDING.
Before proceeding to a description of the various maniyulations required in gilding a book, it will be necessary to direct the attention of the young workman again to what has
been advanced relative to care and attention in previous parts of this work, and follow up the remarks there made, with others on the taste necessary to be displayed in this most im-
portant part of the Art of Bookbinding.
When it is consi-
dered that the most celebrated artists have arrived at the eminence awarded to them, not only through the elasticity, H
86
THE ART OF
solidity, and squareness of their bindings, but also from the judicious choice of their ornaments for gilding, and the precision and beauty with which they have been executed, it can-
not be too strongly impressed on the workman that this should ever occupy his first attention.
Nothing is so disagreeable
to the eye as injudicious or badly executed ornaments, while with chaste and classical embellishments, tastefully applied,
an appearance of richness is produced on the volumes that cannot fail to give satisfaction to the most fastidious critic.
The sides of the volumes present the field most favourable for the display of ornamental taste, admitting, from their ex-
tent, the execution of the most complicated designs.
This
elaborate style of ornament has been carried to such perfection and splendour as, in many instances, to have occupied several days in the execution of one side alone, but it is only by the most vigorous application, greatest care, and correct taste, that proficiency therein can be attained ; with these, success
will soon crown the endeavours of the workman, and he will have the satisfaction of finding himself able to imitate any
pattern, however difficult,as well as execute many new designs
and compartments, of which, till he applied himself, he had not previously an idea.
As regards the style of ornament, it must be left to taste, but, as before promised, it will now be proper to introduce the
remarks of Dr. Dibdin on the general effect of Gilding and Blind Tooling, leaving the detail to be suggested to the mind of the Gilder.
“ First, let your books be well and evenly lettered, and let a tolerable portion of ornament be.seen upon the backs of them.
I love what is called an over-charged back.
At first
the appearance may be flaunting and garish; but time, which ;
mellows down book ornaments as well as human countenances,
will quickly obviate this inconvenience ; and about a twelve-
|
BOOKBINDING.
87
month, or six months added to the said twelvemonth, will work miracles upon the appearance of your book. Do not be meagre of your ornaments on the back, and never suffer blind tooling wholly to pervade a folio or quarto, for by so doing you convert what should look like a book into a piece of ma-
hogany farnitare.
“In large libraries there should not be too much blind
tooling, or too great a want of gilt.
No doubt the ornament
should be as appropriate as possible to the book.
One could
not endure gingerbread gilt Bibles and Prayer Books, or Chronteles or Dictionaries, or other books of reference.
Let
these have a subdued decoration on their backs; bands only full gilt, or a running edge tool in the centres of them, with small ornaments between the’ bands.
“I would recommend the lettering of a volume to be as full as possible, yet sententiousness must sometimes be adopted.
The lines should be straight, and the letters of one and the same form or character within the line; yet the name of the author may be executed a size larger than that of the date or
place of its execution, and the lettering may be between the
top and bottom bands, or it may occupy the spaces between three bands, or even more.
Re-letter old books perpendicu-
larly, as was the custom.
In all fresh bindings, however,
prefer horizontal to perpendicular lettering.” It remains to urge only that particular attention be paid to the lettering of books being their right titles, as the contrary will present to the judicious an effect the most disagreeable, and may be the cause of producing dissatisfaction with the whole of the binding in the mind of the owner; and also to avoid the contrast which the different shade or colour of new
lettering pieces will give to some bindings.
H2
88
THE ART OF
PREPARATIONS FOR GILDING.
To operate successfully it will be necessary that the workman provide himself with good size, glaire, and oil.
The first
is prepared by boiling fine vellum slips till a good size ia produced, of a consistency that will lay equally on the volume
without blotches or ropes, and must be used hot.
The glaire
is formed of the whites of eggs, beat well with a frother tll it is perfectly clear, and the froth taken off,
Some binders
put a little spirits of wine in the glaire, in the proportion of
one drop to six eggs.
This liquid will improve by keeping,
and should never be used new if it can possibly be avoided.
For morocco bindings the glaire is sometimes diluted with water.
The oil adopted by various binders is different, but
palm oil, in its imported state, will be found the best for calf —sweet oil for morocco and russia.
sidered good.
Hog’s lard is also con-
For very light coloured calf fine mould candle
is preferable.
Vellum size is now very seldom used in gilding.
The best
preparation for coloured calf is paste mixed with urine.
On
books thus prepared the glaire must be applied twice, taking care that each coat is quite dry before the next is added, and
that it lays perfectly even on the whole surface, free from globules or any substance whatever.
Morocco and roan will
not require more than one coat, and where practicable only on such parts as are to be gilt.
The state of the weather
must ever determine the number of volumes to be proceeded
with at one time, as in the winter double the number may be glaired to what the dryness of a summer's day will admit of, A good paste-
go as to work with safety and produce effect.
wash before glairing is always advisable, as it prevents the glaire from sinking into the leather, The volumes being thug prepared,
BOOKBINDING.
89
GILDING THE BACK
ie commenced, by oiling slightly, with a small piece of cotton,
the whole length and the caps of the head-bands.
If the
book is merely intended to be jilletted, for the economy of the
gold, small strips are cut on the gold cushion, attached to the heated fillet by rolling it slightly over, and affixed to the
volame by passing it firmly on the lines previously marked.
Bat if the back is to be fully ornamented, it will be necessary to cover it entirely with gold.
The tools, &c., necessary for the gilder will be described in another section.
These should be disposed on the table
before him, so as to be selected with the greatest facility, and in readiness for every purpose for which they may be required.
To lay on the gold, the workman takes a book of the metal, opens the outside leaf, and passes the knife underneath the gold; with this he raises it, carries it steadily on to the
cushion, and spreads it perfectly even by a light breath on the middle of the leaf, taking care also that not the least current of air has access to the room he may be operating in.
After-.
wards the gold must be cut with the gold knife to the breadth
and length of the places to be covered, by laying the edge
upon it, and moving the knife slightly backwards and forwards.
Then rub upon the back the oil, and apply the gold
upon the places to be ornamented with a cotton or tip, rubbed on the forehead or hair to give it a slight humidity, and cause the gold-to adhere.
But if the whole of the back is to be
gilt, it will be more economical to entirely cover it, by cutting
the gold in slips the breadth of the book, and applying the
back on it; afterwards press it close with the cotton, with which any breaks in the gold must also be covered, by placing
small slips where required.
The humidity of the hair or fore--
head will be sufficient to make the gold adhere to the cotton H3
90
THE ART OF
or other instrument with which it may be conveyed to the book.
The fillet or roll must then be heated to a degree pro-
per for the substance on which it is to be worked
Calf will
require them hotter than morocco and roan, and these warmer than russia and vellam.
To ascertain their proper heat, they
are applied on a damp sponge, or rubbed with the finger wetted, and by the degree of boiling that the water makes their fitness is known; but a little exercise and habit will render this easy of judging.
To farther insure this, the roll or pallet
is passed over the cap of the headband: if too hot, the gold will be dull; if too cool, the impression will be bad, from the gold not adhering in every part.
When the headbands are gilt, and the gold is found pro-
perly fixed, the volume is placed against a piece of wood in the form of a T, screwed tightly in the laying press, the top
about an itch below the level of the back of the book when placed, with the fore-edge resting on the press, against it.
The pallet or roll intended to form the bands, must then be worked gradually across the back, describing the arc of a
circle, guided by the places previously marked for the bands, and forming a double one at the tail, for which the larger space was allowed.
Care must be taken that every one pre- .
sent a parallel line to the other, so as to avoid the disagree-
able effect produced from an inclination to either side.
It
will also be necessary to rub each tool on a piece of rough
calf before using, that the gold may present a bright appear-
ance in every part.
The book must now be placed evenly in the- laying press, and the ornamental tools worked off.
In placing these, great
attention should be paid to their occupying the exact centre of the squares between the bands. If the ornament is not large enough to fill the whole square so as to present an agreeable
effect, one of the smaller tools, corresponding in detail, must
BOOKBINDING.
91°
be chosen to fill up the corners or other spaces left.
This
will be fully descanted on under the head of Combination of Fools.
Should it be desired to present on the back simply
an ornamental lettering piece at the head, diverging to a point
towards the middle of the book, and the rest of the volume
left plain, it will be necessary to impress the tool previous to
glairing, and then apply the glaire with a camel’s-hair pencil in the indentations the tool has formed.
When dry, cover
with gold, and re-impress the tool in the marks previously made, and letter the title.
This proceeding is adopted in
every pattern where part of the back is intended to be left
dull, by being free from glaire. The judicious choice of ornaments for the back is of the utmost importance.
Jor instance, such as represent animals,
insects, or flowers, which are only proper for works of natural
history, entomology, and botany, should never appear on the backs of works on general literature, as it would be an evi-
dence of bad taste or carelessness.
The title must next engage attention, and the letters placed thereon, either singly or together, with brass type properly
fixed in the hand chase.
If with single letters, the tail of
the volame must be lowered about an inch, and the workman,
unless very experienced, will do well to draw a thread of silk across the gold to direct the heads of the letters.
Taking
each singly, he places them on the back with the right hand, steadying the letter with the forefinger of the left.
If the ti-
tle is set in the chase, and the volume not thick, it may be
lettered in a similar manner to that described for the pallets or rolls, by placing it against the board, and lettering it across
gradually; but if thick, it will be better to place the volume evenly in the press, and apply the title, guided by the thumb, firmly across.
The title in either case must be justified to
produce the best effect, taking care to avoid, if possible, having
92
THE ART OF
two lines of the same length; and where the title can be measured as in the type it may, the exact centre should be ascer-
tained before applying it heated on the gold.
The back may
now be considered finished ; the gold which has not been impressed by the gilding tools must be well rubbed off with the
gold rag, and minutely cleared off with a piece of fine flannel
so as to display the delicate lines of the ornaments as per-
fectly and clearly as possible.
Attention should be paid to
this particular, for let a book be finished im the most tasteful manner possible, unless well cleared off, the effect is entirely lost.
It must now be polished, and the squares and edges of
the boards proceeded with. GILDING THE SQUARES, &c. For gilding the edges of the boards the gold may be taken,
as for the bands, on the roll, and the volume held firmly with
the left hand, but if large put into the press between boards, so as not to injure the back. Where the ornament of the square is simple, the like proceeding of applying the gold will be proper, resting the board open on an elevation equal to the ~ thickness of the book.
But if the square has been left large,
with’a leather joint, so as to admit of being more elaborately filled up, the gold must be laid on the whole space with the tip and pressed close with the cotton.
The gilding is then
proceeded with in the same manner, as will be fully detailed
in the directions for the side ornaments. GILDING THE SIDES.
The sides, from affording more ample space, are the part of
the volume whereon the workman can, and is expected to, show his taste and skill in gilding.
The proceedings are the
same as before pointed out where a simple roll is the only ornament round, but where the pattern is extensive, and the de-
tails minute, it is necessary to have the whole worked dead
-—
BOOKBINDING. upon the volume before glairing, and then apply the gold.
93 If
one side is done at a time, the hook is taken by the leaves with the left hand, the board intended to be covered resting on the thamb, and the gold laid on as for the squares, either
over the whole side, or on such parts as the pattern indicates, The gold may be laid on both boards by placing the leaves of the volume between two billets of wood, with the two
boards resting flat upon their surface, as here sketched :—
r This affords greater facility for placing uniformly and systematically the fillets, rolls, and tools necessary to ‘complete the’ design on each side. Where the pattern has not been marked, and one side only proceeded with, the roll is run in a straight
line, which should be made previous to covering with gold, on the board by the joint of the back, the volume turned for the
head and tail, and laid open upon the board for the fore-edge to give it the firmness necessary.
Directions for forming the
most elaborate designs will be given under the head of Combination of Tools, whereby it will be perceived that it requires bat taste, and a just observation of similarity of design, and
the geometrical proportions of the ornaments, to execute them
to any extent.
One variation from this rule will destroy the
effect of the whole pattern: it will therefore be to the benefit
of such as are not conversant fully with the art, to assist themselves with designs drawn on cartridge paper, which may be marked through on the leather, and the pattern executed in
gold or blind as required. In all, the gilding will be the same, either to glaire over the whole cover after the design is stamped, or if the plain part is to be left dull, by glairing the marks only with a camel’s-hair pencil.
94,
THE ART OF
If more extensive gilding is required, such as escutcheons
armouries, or large plates of flowers, vases, &c., for the centre of the volumes, or extensive corner-pieces, it will require the greatest attention to insure the proper executicn of all the ornaments, so that every portion appear perfect.
These pieces
are too large to be affixed by hand, and it is therefore neces~
sary to have recourse to the press.
The difficulty, however,
experienced in performing this part of gilding properly in thecommon press, has led to the invention of the arming-press
described in the section on tools, &c.
But as this invention
may not be found available in some offices, where the business is not extensive, the proceedings to be adopted with the
common press are here given.
Having glaired the parts and.
laid on the gold as before directed, the volume must be opened and the board placed on a thick billet of wood, fixed in the press, the rest of the volume hanging in front; the engraved
plate heated to a degree that it is held in the hand with pain,
(if the cover is calf, if morocco, cooler), is then placed on the board, paying every attention to its bemg fixed perfectly straight, and in the exact spot intended.
The press must
then be pulled strongly and evenly down, and the impression will be given immediately. As nothing appears so ridiculous and disagreeable, as a
centre plate diverging from a right line to either side, evéry
precaution should be taken to prevent the possibility of its doing so.
To effect this the distances from each side of the
border should be exactly marked with the compasses, and lines.
slightly drawn by the use of the square.
The most simple
plan, and one that insures a certainty as to the centre of the book, is to cut a piece of paper to the size of the side, and
fold it even both in the length and breadth. The intersection of the lines being the exact centre, the arms or other ornament
must be placed correctly on the paper, and an impression ta-.
- BOOKBINDING.
95
ken by means of the press. If correct, place the paper on the ude of the book, put the block in the blind impression, and
pall it through on the book.
One coat of glaire pencilled in
will here be sufficient for gilding.
If the book has been cut
true, the corner pieces cannot fail to be right if proper atten-
tion is paid + The proceedings to be adopted with the arm-
ing-press are the same as to the disposal of the book, but it will be advisable for the workman to study the description given, as also to turn to the directions for Blind Tooling, &c., where the subject will be further discussed.
Smee the former editions of this work were printed, a me-
thod has been adopted for gilding the sides of books by means of what are called BLOCKS.
These are cut on thin brass,
glued to plates, and form a variety of patterns.
They will
be found described more fully further on. It remains, however, here to speak of the gilt embellish-
ments called embossed or arabesque bindings.
These are
‘executed with designs cut in plates of brass the size of the sides of the book; they were at first only used plain, but have
latterly been adopted iin gilding. Being cut to fit the board of the volume, the difficulty of placing the platein a common press is not very great, but when performed with the armingpress a precision is obtained that no other means can insure.
This arises from the plate being affixed to the platten of the press, and descending sharply on the book, which is placed
properly on the bed through the means of squares attached
thereon.
The gold mast be fixed as before indicated, and
after the impression is taken, rubbed well off so as to display the beauty of the design. The illuminated bindings properly come under this head, but from their importance they will be treated of in a separate section, premising that, the further directions there given may be useful in this place. where required, will now be ready for polishing.
The work,
96
THE ART OF GILDING ON SILK AND VELVET.
The proceedings necessary to be adopted for gilding on silk and velvet, are, from the delicate nature of these substan-
ces, different from those laid down for gilding on leather. The glaire used on the latter would tend to stain, and therefore it is necessary to employ other means for fixing the gold. This is by drying the whites of eggs and reducing them to a powder, which is put into a small bottle and tightly tied over
with a piece of fine muslin, by which means it is equally dis-
tributed on the space intended to be gilt. Gum Sandarac is now, however, more generally used for this purpose. The powder being applied, the gold is cut in slips and taken on a roll, of a circumference equal to the length of the space intended for it to be applied on.
The design is then firmly
impressed, and the superfluous gold brushed off with a soft
brush or clean piece of cotton, and the other side alike exe-
euted.
In lettering, or fixing single tools on the back, the
same proceedings must be adopted, by taking the gold thereon and applying it to the back or side of the volume.
Where
the design is large, or elaborate work is required, it will be better executed in the following manner.
The design must
be drawn on paper, and worked through on the silk, after
which the impression must be carefully glaired with a camel's hair pencil; when dry, rub the parts intended for the gold with the finger passed through the hair, or with a clean rag
slightly oiled, and after laying on the gold as directed for
other styles, reimpress the tools, and whip off the superfluous gold with a clean flannel. As there is no moisture in silk, the workman must not lay en at one time so much as he does on calf and other substances.
BOOKBINDING.
-
97
ILLUMINATED BINDING. This style, an invention of our neighbours, the French, and for some time by them kept with the greatest secresy, was, after much expense, introduced into this country by Mr. Evans, bookbinder, of Berwick Street, Soho, London,
Itisa
binding of the utmost magnificence, uniting the varied beau-
ties of the arabesque and gilt ornament, blended with the illuminated decorations seen on early MSS. before the invention of printing.
When executed in the best manner, nothing can
exceed the beauty of the whole coup di, rivalling, as it does, in splendour,the most elaborately finished design of the painter.
The time required to be.devoted, on its first introduction, to a
single specimen, appeared likely to confine this sort of ornament to the finest treasures of literature, and even to them in a limited degree.
The improvements, however, in machinery
and the rapid advance of the arts has, in a few years, brought this style into very general use for albums and other works where embellished covers are adopted, and even on the cheap
roan bindings used for Bibles, Prayers, &c. it may be seen,
though in effecting this cheapness it must be premised that a less durable method is adopted. To execute the more elaborate designs, practice, and a taste for the arts, will here alone serve the workman ; without these requisites it would be futile to make the attempt.
But as the
proceedings require to be executed with the utmost care, we shall enter fully into such as are new, and, from their importance, at the risk of being considered prolix, again touch on those that may have been before treated of.
The description of one side will serve the purpose of making the proceedings fully understood.
Whether the material be of
morocco or white vellum, it must be washed, if required, per-
fectly clean, and left to dry.
The first operation will be to I
93
THE ART OF
place the side on the bed of the arming press, and boldly impress the design thereon.
The most elegant and capable of
the greatest display of colour, are subjects of botany and natu-
ral history.
The next step will be to glaire with a camel's
hair pencil such parts of the impression as it is intended shall
be afterwards covered with gold.
This done, the delicate ope-
ration of colouring may be proceeded with.
In London and
Paris this is executed by professed artists Im no way conver-
sant with bookbinding,
The colours to be used must be such
as do not at all, or very slightly fade, on exposure to the air
or sun, such as carmine, ultramarine, indigo, burnt sienna, gamboge, and sap green.
These must be prepared, with fine
gum, in the same manner as for painting, and be as lightly and delicately laid on such parts of the design as it is intended
the colour should occupy, taking care that the ground colour or leather is entirely hid.
Let every thing be true to nature,
each bird, plant, and flower its proper colour, and a general harmony prevail throughout.
When finished, let the whole
perfectly dry, and then, in the manner directed, lay gold on such parts as it is intended, in the re-impression of the . plate, should be further embellished.
Heat the plate, place the side
again under it, and give it a firm and sharp impression.
Rub
off the superfluous gold, and the whole of the delicate lines of the ornament will be found beautifully gilt, the colours firmly
fixed by the heat of the plate, and the rough edges of the co-
lour completely effaced by the re-impression of the original design.
Tn executing the less expensive and more simple designs, the plate is impressed in gold on the side, and the parts left ungilt on the leather afterwards coloured according to the taste of the workman.
BOOKBINDING.
99
ANTIQUE OAK AND OTHER BINDINGS. Great varieties of style in the covers of bindings have been introduced within the last tew years, but these must be left to
the imitative powers of the skilful workman, as no written de-
scription would give the requisite information and guidance. Should he be desirous of executing these, he will do well to etady some good specimen.
Among others may be mentioned
the Antique Oak Bindings, adopted by Mr. Murray, for his
«Tluminated Prayer Book,” and Messrs, Longman and Co., for “ Gray's Elegy.”
Also the Iron Binding, viz. covers in
imitation of east iron, in which Messrs. Longman and Co. have had bound the “ Parables of our Lord.”
Bibles and
Prayers are now frequently bound to imitate the antique, having heavy boards, with clasps and corners.* BLIND TOOLING.
This is an ornamental operation applied after the book has been gilt and polished, and if judiciously intermingled with the gold, will not fail to present a good effect.
It is a style
that has been much used of late years, and is executed in the same way and with the same tools as for gilding, but without
any gold applied on the places thus ornamented.
The rolls,
pallets, and smaller tools are applied by the hand, and the large plates with the press, with the same precautions as indicated in the previous section. If the pattern consists of straight
lines, and the workman possesses a good eye, the best manner of executing it is by making use of a pallet, placing it firmly
on the book, and sliding it to the opposite point, It remains, therefore, to consider such matters as more immediately apply
to this style of decoration. # See Clasps, Corners, &c., in Part I11.—Stationery Binding.
12
100
THE ART OF
The tools for blind tooling should not be #0 warm as for gilding, and particularly for morocco.
If it is wished to be
left dull, that is, free from glaire, the particles attaching them-
selves over the edge of the gold ornaments must be removed with the end of the finger, wrapped over with a piece of fine
cloth, and wetted.
This will soon wash it clean, and when
dry the blind ornaments may be proceeded with. Sometimes black fillets are applied upon morocco, or more
frequently on rough calf. For this the tools are charged with black from the smoke of a candle, and affixed to the leather
in the usual way.
Ifa bolder impression only is required, a
greater heat given to the tools will be sufficient. Graining may be properly considered as a blind ornament. This is where, by the means of wooden or metal plates, the sides of a book are marked with lines crossed over each other,
go as to form innumerable small squares in imitation of russia ;
or in imitation of the grain of morocco, scales of fish, and
ather substances. The operation is performed by placing the volume between the two plgtes even by the groove of the back, in the standing press, and pressing it tightly down, and so even that the plate will be impressed equally over’ the whole Nothing will look worse then a bold impression in
surface.
one place and a slight one in another, and therefore it becomes of importance to see that it is evenly pressed, as a second application of some kind of plates will never be found affixed to the same places. ARABESQUE.
Arabesque ornaments have nearly superseded the whole of the plates above spoken of, and we seldom see any other than the cross or russia grain now applied. The arabesque, a description of binding common in earlier times, was revived in
France, and introduced into this country in the year 1829, by
=
BOOKBINDING.
101
Messrs. Remnant and Edmonds, bookbinders, of Lovell’s Court,
Paternoster Row,-London.
It was first only adopted in the
binding of Bibles and Prayers, but soon carried to great ex-
tent in many other bindings, particularly of albums and books of illustration.
The designs are imprinted on the leather by
means of a powerful arming press, generally previous to its being placed ‘on the book,: and at a rate of economy, considering the richness of the ornaments and perfection of exe-
cation, almost incredible.
The covers in morocco, roan, or
other leather thus executed, may be purchased at a price much
below that for which they could be produced on a limited scale; it will therefore be to the advantage of the binder, if desirous of executing binding in this style, to possess himself of such
as he may require. .The book to be covered must always be cut to the exact size of the design on the leather, carefully covered with glue so as not to destroy the beauty of any part, and the lettering or other gilding proceeded with as before directed,
The gilt arabesque will be the same as before laid
down under the section devoted to ‘Illuminated Bindings,” omitting the colours.
Any pressing the book may require
after covering must be done between boards covered with five
or six thicknesses of good flannel.
It is not, however, usual
to place the better sort of bindings of this description under the action of the press after covering. COMBINATION OF TOOLS.
It is a subject of the utmost importance, in the selection of tools for gilding, that the party have a good knowledge of the
style of binding peculiar to the day, and a quick perception of the beauty of this kind of ornament, the general bearing of
the designs towards each other, and their geometrical fitness for application when combined, so as to produce a series of
patterns from the same tools.
Without this, as may be seen 13
102
THE ART OF.
in many offices where judgment has not presided in the selection, a large and expensive collection of tools may be provi-
ded, which cannot be blended together without offence to the _
eye of taste, from the defect presented in. the complete design,
which even one unfit tool will cause.
To assist the binder in
0 Important:a point in Finishing as the.combination of tools, will be the object of this section of the work ; and it is hoped, that, if attention be paid to.the directions laid down, no one
can fail, with a well-selected assortment of good tools, to form &@ very extensive series of scroll ornaments, flowers, &c.
The
tools proper, his improved judgment will teach him to select; and the examples, designed and engraved for this work, from
tools and ornaments executed for this purpose alone, by Morris and Co., Engravers, Ludgate Street, London,* in illustration of the subject, cannot fail to assist him in multiplying the
designs to an almost endless variety.
.
Plate I. is a r2presentation of a small collection of tools, numbering from 1 to 25, w.th which, and a few gouges and
plain lines, the designs figured on the other plates are formed. These will be referred to by the numbers affixed to them. In plate IT. are designs for two backs of books.
The first
figure, which presents an appearance of exceeding richness, is executed with one sole tool, viz. No. 10, and a small gouge for the sides of the lettering-piece.
The back is marked into.
five compartments, the exact size of the tool from point to point, and the tool worked five times across the back, so as to
form the upper part of the square.
This done, the volume
must be turned, and the ornament executed on the bottom of * It is but justice to here make mention of the spirit and enterprise with which the above gentlemen have carried on this branch of their art for many years.
Their patterns now amount to several thousand
numbers, including every variety of ornament required in the most extensive establishment.
&Ic ol Callers, SSIudignte SiLondon. Dorris &CEngravers
BOOKBINDING. the square.
108
The sides miust in like manner be worked, and
the gouges gh the side of the title-piece.
The. design will
then be complete; but the greatest care will be required in
observing that the tool fits exactly at the corners, as it may
readily be perceived that, unless it does so, the circle formed by the four applications of it, will present a disagreeable effect.
To insure a certain precision in cases where the combination is difficult, it is better to work off the design blind, before preparing the book for gilding.
The other design is formed of three tools, the upper two of which are joined together, so as to form a space for the letter-
ing, by a single line tool ; the tools are numbers 13, 18, 19. The book shoald be marked for the lettering-piece, and the figure 18, at the head, guided by the line, as aleo No. 13 underneath.
for 19.
The tail of the volume will be the proper guide
These tools do not present any particular combina-
tion, but their introduction serves to illustrate this peculiar style, now much in fashion.
It will be seen, that any one of —
the three would answer. the same purpose, by being applied three times on the back, and the sides of the title finished off
by a plain single line.
Also, that, by altering the position of
any of them, a number of designs might be obtained.
Plate III. presents a diversity of ornament, viz. a lettering-
Piece, or centre plate, and four corners of various styles. The lettering-piece is composed of a number of tools, figured 11, 12, 14, 15, 16, 17, two gouges, and a three-quarter circle.
As it is most important that it occupy the true posi-
tion, inclining neither to the left nor to the right, the design must be drawn on a piece of paper, and pasted at two or more
points on the back of the book, and the tools be worked through.
After the paper is removed, if on calf, and a co-
loared title required, a piece of morocco, pared as thin as possible and slightly damped, must be laid on the back, and
—
104
THE ART OF
pressed down with the palm of the hand till the whole of the tooling shows through.
Then take it off, cut the edges with
scissors, pare it round, and paste it on.
In this design the
first tool proper to be placed will be number 12, and then 17, taking especial care that they are exactly in the centre. These done, the pair of ornaments, figured 16, must be impressed at
the top, one on each side, as shown in the engraving, and in
like manner the other pair, numbered 11, at the bottom.
The
gouge and circle on the sides, and under the urn at the top,
must be added, and the open spaces filled up with figures 14 and 15, as seen in the design. The corners will be worked trae, provided the boards have been cut perfectly square, but to insure a greater precision, it
will be preferable to work them on a triangular piece of paper, and prick the points through on the book. The first corner at the head of the plate is formed from figures 1, 2, and
4, and three or four gouges and circles.
The circular corner
is first worked, then the first pair of scrolls, one on each side. Each scroll is farther lengthened by the addition of figures 2 and 4.
The plain gouges inside are then worked at parallel
distance from the others, and the corners joined to each other by a plain fillet..
The other corner at top is composed of line tools only, and
workedin a similar manner to the above.
Figures 4, 8, and 9, with two small gouges, are only necessary to form the first corner at the foot of the plate.
The
larger gouge being worked on each angle from the corner, figure 8 must then be applied, one on each side, and then, branching onwards, figures 9 and 4.
The large. gouge is then
again worked twice in the centre, parallel with the acrolls, and once a little more advanced, adding a smaller gouge to it twice, as seen in the design.
This gouge is also worked once
near the corner, connecting the two large scrolls.
BOOKBINDING.
105 -
The last corner is of a more ornamented description, and formed of figures 3, 5, 6, and 7. To insure its occupying the exact position, if not previously worked on paper, a line should be marked from the corner towards the middle of the
book, at equal distaffces from the two angles of the sides. m
Fi-
gure 3, will be the ‘first to be worked off, and be then joined
by number 6, both occupying the centre of the line.
The
side ornaments, number 5, must then be added, one on each side, and finished by the small acrolls. 7.
In Plate IV. we have the figure of a book open, showing
i the back and front side of it.
‘The backis ornamented by
numbers 22 and 23, the latter being worked deuble in the
middle.
As shown before, these tools, would make several
lifferent patterns.
The design round the side is formed by
he union of four tools, 4, 20, 21, and 24, with two small youges and a plain line.
Being marked as before directed,
ore 21 is impressed in all the corners, and lengthened out
ith the plain line to the point where number 20 joins.
One
f the scrolls, 24, is then worked in the angle of the corner pol, and the other in the opposite angle.
These are then re-
peated in such way that the end or point joins the one first
mat on, and the whole terminated by figure 4.
The two
pages are then workedin parallel lines with the scrolls, and he whole finished by placing number 20 at the angles, to form be interior square.
The lines connecting the designs at the
prners, and forming the square, are executed, with a plain
llet, taking care that it does. not disfigure the other ornament
y extending over.
The centre piec2 is composed of number
©, and some of the gouges worked u» in the designs before ibed.
The middle of the square will be ascertained by
ding a piece of paper, as directed for the arms, and in this 2 working the design and pricking it through on the book.
be small square being formed, by working the gouge four
106
THE ART OF
times, figure 25 must be placed on, twice each; the four
points must then be executed by working the gouge eight times,
After this, the design is completed by working the
half circles inside, and by the addition outside of the half cir-
cle eight times and three-quarter circle twice, as shown in the engraving.
The examples given will be sufficient for the intellectual workman to conceive many patterns which his taste will suggest, forming an infinite variety of beautiful designs.
In all
combinations, a rigorous observance of the symmetrical pro-
portions of the tools must be his first care, so that the union of any number of designs present a form agreeable and chaste.
It would be superfluous to add more; but from the import-
ance or the subject, on closing the directions for the ornamental department of binding, it may be repeated, that there
is no greater evidence of the ignorance or carelessness of the workman, than an ornament of any kind-unevenly or unequally
worked.
Let the young binder especially bear this in mind:
it is a defect which nothing can effectually remedy ; instead of an embellishment it is a detriment to the binding, and his reputation as a clever workman is consequently placed in jeo-
pardy.
In many designs, the corner pieces are combined so as to form the centre ornament on the sides of books.
This, how-
ever, takes a considerable time in the execution, the tool
having to be applied eight times on each side.
For greater
expedition in working this style of ornament, Mr. Bain, of
Broad Court, Long Acre, contrived an ingenious method, for which invention he was presented with the silver Isis
medal, and five pounds, by the Society of Arts. The economy is effected by employing four triangular blocks, capable of being fixed in a simple adjustable frame, so
as to suit the size of any hook.
The frame on the left holds
ON
BOOKBINDING.
107
the rods parallel to each other, having a groove for them to
te set at any required distance.
The blocks are perforated
w slide on the rods, and are fixed to their positions by small eet screws at their back, which bind upon the rods.
The
mall screws at ihe ends of the rods are to prevent the blocks
falling off before they are adjusted. The following sketch represents the whole arrangement.
When the corners are done, if the saine ornament is intended for the centre, they may be transposed on the rods, and the work executed, but it will save time to have blocks for both,
as the ornament will be more uniform, and a certainty of being
placed in the centre insured. |
The impression is given by
placing the book and design in the standing press.
This
method is now superseded by the blocks referred to at page 95, and more fully noticed in the Chapter on Presses, Tools,
&e,
:
106
THE ART OF POLISHING.
The details of this operation, which is performed immediately after the gold ornaments have been worked, has been reserved for the last section of Part II., in order that the
whole of the ornamental department might be kept together. Morocco, roan, silk, and velvet, and the blind ornaments on
any substance, must never be submitted to the action of the
polisher. A smart rubbing with a piece of rough calf will be sufficient for the two former, and the velvet or silk will merely require cleaning with any smooth substance, or with Indiarabber,
There are two polishers, one for the back and bands, and another for the sides, both of which will be described in the Chapter on Tools.
The oil applied on the cover previous to
laying on the gold will be sufficient to make the polisher
glide easily over the surface.
The polisher must be heated, and well cleaned on a board, and passed quickly and evenly
on the back, sides, or joints, as the case may be, taking espe-
cial care that it is not too hot, as the glaire would thereby be
—
turned white, and the work damaged in appearance, nor 80
—
cold as to give a bad polish.
The book, as gilt, must be first polished on the back, by
taking it with the left hand, and applying the other end
against the stomach, and polished with the right hand by
gliding backwards and forwards the smooth part of the polisher on the whole extent of the back. Should bands have been placed, it will be necessary to apply the polished corner
of the iron on each side, ranging across the back.
This not
only polishes the surface, but smooths down the indentations formed upon the leather by the gilding-tools, bringing up the gilding to the surface, The pol:sher must be passed on such places only as it is wished to make brilliant, and great care taken not to touch the places intended to be left dull.
-
BOOKBINDING.
109
The sides are similarly polished, by laying the volume on the table, covered with baize, and passing the large iron quickly over, first from the fore-edge towards the groove, and then, by tarning the volume in a contrary way, from the tail to the
head.
If the joint requires polishing, the book is laid before the workman, the tail towards him, and the iron applied on the side next the groove, polishing the whole length of the board;
then turning round the volume, and bringing the gutter towards him, he polishes the side on the fore-edge, and turning
again, completes the whole by polishing the parts at the head and tail, applying the iron very forcibly on the corners to re-
duce their thickness. In addition to polishing, it is deemed desirable to give to
the sides the greatest possible emoothness by pressing them
between polished tins or horns.
These are placed on each
mde of the bouk even by the groove, put between pressing boards, and screwed tightly in the press, and left for some
time.
In conclusion, we here give two receipts for VARNISH,
as used in bookbinding.
The first, by the celebrated Tingry,
will be found the most available in practice, and the best
composition as yet known, from its brilliant and drying qualities.
Put into a vessel six ounces of mastic, in drops, three
ounces of sandarac finely powdered, four ounces of coarselybroken glass, separated from the dust by a sieve, and thirty-
two ounces of spirit 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, K
1
110
THE ART OF
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 fie cotton, by
which means it will acquire the greatest degree of limpidity,
and well cork up in a bottle. The other receipt is given by Mons. F. Maitret, of Chatillon sur Seine, and may be prepared similar to the above. The ingredients are, three pints of spirits of wine, of thirtysix 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 mamer polished one
after the other.
Varnish is applied more particularly on black coloured books, or such as have not been polished with the iron, but may be used on any books when found not sufficiently brilliant.
In the latter case, the volume should be perfectly dry,
or the varnish will not take.
The application of this compo-
sition has also the effect of preserving the covers from some
accidents damp is likely to occasion. Mesers. Barrett and Company, of Fleet Street, London, have also invented a Caoutchouc Polish for Leather or Cloth
Book-Covers. It is used by passing a sponge moistened with the composition over the covers, producing a brilliant polish, impervious to damp.
ang
111
PART III, OF STATIONERY, OR VELLUM BINDING.
THIS branch of the Art of Bookbinding, in large towns, is a distinct business, and presents some difference in the mode
of proceeding in several of the manipulations required. These, es in previuus parts of the work, will be minutely entered into for the instruction of the young workman, whilst those which are executed in the same manner as directed for printed books,
will be merely referred to in the order they will be required to be executed.
.
Stationery Binding includes every description of paper book,
from the Memorandum, which is simply covered with marble paper, to the most firm and elaborate bound book used in the eounting-house of the merchant and banker.
Of the more
simple and common bindings, it will not be necessary to enter
into minute details, the proceedings being the same as for others, only omitting the more expensive operations, the price
allowed making it necessary to bind them in a more simple
manner.
The first proceeding, should the work require it,
will be the
RULING. This is done by a machine or by the hand.
An engraving
of the ruling machine will be found in the fifth part of the
work.
Where an office possesses one, after the pens are ad-
Justed to the proper pattern, the work will be speedily accom-
plished, and an uniformity presented that no hand ruling can effect.
The description given with the engraving will fully
explain the mode of operation. When once set to the pattern,
K2
112
THE ART OF
and the pens properly cleaned by ranning a piece of thin brass Jatten through them, it will only be necessary to keep ap an
equal supply of ink, to see that each line is clearly marked.
and that the double ones do not run blind. As it would not be found advisable to introduce a ruling machine where this description of work is limited, it may be requisite to give particulars relative to hand ruling, which will be found necessary to execute in every office, premising only that the laying open the paper for both will be the same.
The
paper,which is generally procured from the wholesale Station-
ers ruled with blue lines, unless previously done, must be opened out by breaking the back of the fold, and refolded
evenly in small sections.
The pattern for the red lines being
placed in front, the whole must be knocked evenly up at the
back and head, put between boards, the top of the paper pro-
jecting, and screwed in the laying-press.
Then with the saw
let the marks of the red ink on the pattern be sawn across the whole, which will denote the places for the lines on the right-
band side pages throughout the book.
In like manner, pla-
cing the pattern on the other side, and sawing the bottom of
the paper, will the marks of the left-hand pages be denoted. Care must be taken to leave a larger space on the fore-edge
to allow for cutting.
Should a head line be required, it must
be similarly marked on the fore-edge of the paper.
This
done, re-open the whole of the sections, and, with a round ruler and tin pen, proceed to rule the whole of the head lines on one side of the paper.
This, as well as every division of
£.s.d. or other distinct column, must be ruled double, as
close as possible, taking care that both are distinct, and that they do not run into each other.
The headline being com-
pleted on one side, turn the whole of the paper, and operate in like manner on the other. Then turning the paper, so as ‘to have the head lines to the left, proceed to rule the columns
BOOKBINDING.
113
warked for the date, amount, &c., taking especial care that the pen always commences by the line at the head, and that it never entrenches on the space above, which would disfigure
the work.
As for the head line, so here the whole of one side
of the paper must be completed before the other is commenced,
attention being paid to each line being perpendicular, clear, and as even in colour as possible.
INKS. To give to the work the best effect, it will be necessary: to be provided with good inks, and it being connected with the subject, some receipts for their preparation are subjoined. RED.
Half'a pound of Brazil dust, half an ounce of cochineal, a little alum, and four quarts of vinegar.
Let them steep for
twelve hours, then strain for use. ANOTHER.
Boil in a quart of soft water a quarter of a pound of Brazil dust; when boiled, put in one ounce of ground alum, one
ounce of white stone crystal, and boil for three mmutes, and strain. BLUE.
The liquid blue at page 64, mixed with water to the shade desired, will be found to answer every purpose.
But as this
liquid, if used in the manufactured state, will, what is termed, run on the paper, it will be necessary to kill the spirit con-
tained in it previous to using, which is done as follows :—
Pat four ounces of ground alum in a bason, and two ounces
of salta of tartar in another; then pour on each two pints of boiling water and Jet them stand for one hour, when add the
two together, and they will bubble as if boiling, and turn K3
114
THE ART OF
white. After remaining two hours, tie a cloth round the bason and let the water ran off gradually. Pour over the sediment remaining a kettle full of boiling water; let it then remain until dry, when cut it into small pieces, and put them to the liquid blue. After remaining two or three days, the
epirit will be wholly out.
Common chalk is by some consi-
dered equally effective. BLACK.
Half a pound of nutgalls, a quarter of a pound of sulphate of zinc (white vitriol), two ounces of gum arabic, and a handBoil the nutgalls half an hour in three quarts of
ful of salt.
soft water, then put the whole together, and let stand for use. ANOTHER.
For making a larger quantity, put in ten gallons of rain water, five pounds and a quarter of nutgalls, well bruised, one
pound and a half of logwood chips, the like quantity of copperas, and a quarter of a pound of alum. Let them stand a few days, and then add two ounces of gum arabic and an ounce
and a half of verdigris.
Stir them all well together two or
three times a day for a fortnight or three weeks, and the mk will then be fit for use.
FOLDING.
The whole being ruled, it will be proper to fold the book to the size required into sections for sewing. The number of leaves in each must depend on the thickness of the paper and size of the book, taking care that there are not so many as when cut, to cause the leaves to start, or so few that the backs will be swollen too much by the thread. Then place the
whole evenly in the standing-press for some time, and prepare the end papers, which must be of blank paper, and outsides,
BOOKBINDING.
unless the work is of a superior description.
115
Should leather
or cloth joints be placed, it will be necessary to sew them on with the end papers, as before directed.
SEWING. The sewing of Stationery differs much from that of printed books.
To allow of the greatest possible strength, elasticity,
and freedom, they are sewn on slips of vellum without being marked with the saw, and the whole length of each sheet, with waxed thread,
For small books, two slips will be sufficient ;
for foolscap folio, three will be required; and where larger, the number must be increased, according to the length of the back, leaving a space of about two inches between each.
The
plan laid down by M. Lesne, page 27, might, perhaps, be adopted here with fine and light work to great advantage.
The slips should be cut about an inch wide, and of sufficient
length to extend about an inch over each side of the back. This portion being bent down at one end of the slips, they must be placed under the end-paper on the table, at such
places as may be deemed proper, and the section sewn the whole length ; and so followed by every portion till the whole are attached in the same manner, taking care that the slips
retain a perpendicular position, and that the back be not too. much swollen.
Should a morocco joint have been inserted,
it must be sewn on with strong silk of the same colour. When
fished, the coloured end-papers, if any, must be pasted in, and the first and last ruled leaves similarly attached to the end-papers.
If joints, the same precautions must be adopted
as before directed.
The book may then be beat even on the
back and head, placed again in the laying-press, and glued
up, working the brush well on the back, so -as to force the
glue between the sections.
THE ART OF
116
INDIA RUBBER BACKS.
Tn those instances where the leaves of a book are held tv-. gether by caoutchouc cement instead of by sewing, the sheets are cut up into separate leaves, and every leaf made true and square at the edges.
The back edge is then brought to a
rounded form, by allowing the sheets to arrange themselves
in a grooved recess or mould; and in that state the leaves are all moistened at the back edges with a cement of liquid
caoutchouc, or India-rabber. The quantity so applied ie very small, but it is at the same time sufficient to enable all the leaves to cling very tightly together by their back edges, while the nature of the composition gives elasticity to the. book.
CUTTING,
When the ends and back are dry, this will be the next operation.
Here the fore-edge must be cut first.
It is done
before altering the form of the book, but exactly as in printed.
works, paying great attention to the knifé running evenlyacross, so that the column nearest the front is not cut too
close, and is parallel to the edge.
When taken out, the back
must be rounded with the hammer, in a greater degree than for other bindings, and placed again evenly in the standing
press,
After remaining a short time the head and tail must
In like manner be cut, but offer no difference in operation.
The book will now be ready for colouring the edges; all the proceedings for sprinkling are the same as at page 35, but as the marbling is of a distinct character, it will now be detailed
at length.
The kind used in stationery binding is called
BOOKBINDING.
117
DUTCH MARBLE.
The colours used are the same as for other marbles, and ground up with the wax in a similar manner.
The size and
preparation of the colours, &c., are, however, different, and
therefore require to be minutely described. The Size.—Put in any vessel half a pail of soft water, and
dissolve therein three ounces of gum dragon, stirring it from time to time for two or three days till the whole obtains a consistence strong enough to support the colours, and prevent
their mixing with it. It should be made stronger than necessary t use, so that any portion that may have been weakened too
much in the trough by the addition of water, may be readily strengthened by more gum.
The Gall.—To the gall of an ox add eighteen grains of camphor dissolved in twenty-five grains of spirit of wine, and
beat the whole well together. This preparation should not be made long before it may be required, as it will not keep.
Preparation of the Colours.—As for other marbles, a porfon of each colour must be put into separate cups; they must
then be well mixed up to a proper consistence with the prepared gall, and trial made on a small portion of the size. If they extend too much, more colour must be added ; if not suf-
ficiently, a farther portion of the gall.
By this means, too,
tials of the strength of the size will be made.
This is done
by agitating the colour with a pointed stick. If it extends itself, and forms the volute well without mixing with the size, it is strong enough ; but if the colour does not turn easily in the direction of the stick, it is too strong, and will then reguire water to be added and well beat up.
If, however, the colour
extends too much, or mixes with the size, it will require more
of the reserved size to be added, and well mixed together. At each trial thus made, the portion used should be thrown
118
THE ART OF
away, and fresh taken.
When the size is ascertained to be
of the proper consistence, it should be poured into the trough,
about an inch in height, and the marbling proceeded with.
Clear off the top of the size with a piece of waste paper, and having prepared the colours as above directed, proceed to
lay them on. For this description of marble, instead of brashes, the colours mast be conveyed to the places desired with quills or iron pencils. For example, suppose the marble to be formed of four colours, red, orange, blue, and green: the red is drawn _
across the size in various places, then the blue between, and
afterwards the orange and green in the spaces between the
first two, in such manner that the whole of the surface of the size is completely covered.
Then taking the comd, draw it
across in a contrary direction, that is from left to night, so that the colours run into each other in a jagged form.
Let
this be done in various places, and then the spaces left in like
manner from right to left, till the whole assumes one body of diversified forms.
Then taking the beok, dip im thie case the
fore-edge first, and with the precautions directed for the other
‘marbles,
After clearing off the refuse colour, proceed in the
same way with the head and tail, and leave the edge to dry.
Marbles with volutes, or any other fancy design, may be formed with a pointed stick and proceeded with in the manner directed above.
Further detail will not be necessary, but
it may be advisable to direct attention to the instructions laid down at page 40.
BOARDING.
The next operation will be the preparation of the boards for the side covers, which should be formed of two or three thin milled boards pasted together. These must be cut to the.
proper size with the plough, so as to leave a perfectly even
edge, and will require to have a larger square allowed for
a BOOKBINDING. than usual in printed books.
119
When cut they must be pasted
gether, leaving, if the book is heavy and the slips on which itis sewn thick, a space at the back to place them in. The
book must now be headbanded, and then it will be proper to wrengthen the back of the book by glueing across, on the
spaces between the slips, strong pieces of canvass, and at the
head and tail a piece of calf, leaving projections on each side te he attached to the board.
For additional firmness, it is
waal, where the work is of a superior description, to sew the
kagth of the book with catgut in about ten or fourteen places, wcording to the thickness.
This is done by placing three
slips of strong leather in spaces between the vellum ones, and fewing as at first, by which means the gut crossing over the
kather and under the vellum slips on the back, appears inside
} on the spaces where no thread has before passed.
‘For orna- --
ment, another thread is twisted round the gut on the back, so
% to present the appearance of a double cord. These matters
being adjusted, the slips of calf at the head and tail must be let in by cutting the end of the waste leaf and placing them mder.
The other slips, of every description, atter trimming,
mst then be put into the space left between the boards, which
thould be previously well pasted or glued, the boards placed | Marly half an inch from the back, and perfectly square on
the sides, and the whole screwed tightly in the standing press for some time. THE SPRING BACK.
There are numerous ways of forming this description of
teek, and as generally adopted in different offices.
As in
other particulars, two or three of the best will here be given.
l—Having ascertained the width and length of the back, tad provided a piece of strong pasteboard, or thin milled
hoard, of little more than twice the width, fold one side rather
120
THE ART OF
more than half, and then the other, so that the middle space left will be the exact size required, which should be about a quarter of an inch wider than the back of the book: then cut evenly another piece, a little less than the width, then another
still less, and so on for six or seven, lessening the width each time till the last is merely a narrow slip. Let the edges of the
first, or cover for the whole, be pared, and laid open on the
table; then glue the middle space, and place thereon the largest slip, which also glue, and add the next in size, pro-
ceeding in like manner till the smallest. is fixed, taking espe-
cial care that eacH occupies the exact centre of the one on which it is placed.
Finally, glue the whole space and the
two side slips of the first, which must be brought over and firmly rubbed down.
Shape it to the curve of the back of
the book, either on the back or a wooden roller of the same
size, and leave it to dry, when the head and tail must be cut
to the proper length with the shears.
For greater security
the whole is often covered with linen cloth. 2. Cut a piece of firm milled board to the size required, and
pare down the edges; then hold the board to the fire till it is
found soft enough to model almost into any shape, and form to the back as above directed.
The board is sometimes wet-
ted, but does not answer so well.
3. A beaten iron plate of the exact size, and covered with | parchment or Jeather. Numerous patents have been obtained for this description of back. Among the earliest were those taken out by Messrs.
Palmer and Williams, which have been long disused, as they were found to break from falls and other accidents. The specification delivered in by Mr. Palmer, in 1800, is here given, as an illustration of the early attempts made to improve this kind of binding :—
“There are certain various small bars of metal, or compo-
—
BOOKBINDING.
121
sition of metals, about the thickness of a shilling or more, according to the size and thickness of the book to be made, the length of each such bar being from half an inch to several inches long, in proportion to the strength required in the back of the book.
“ At each end of every such bar of metal is made a pivot, by being filed down or otherwise, and which are of different
lengths, also in proportion to the thickness of two links, which they are to receive.
‘“‘ There are a certain number of links, made rather in an oval form, to the said hinge, each of which contains two holes, according to the size of the pivots they are to go on, which
links are of the same metal as the hinge, or a composition of metals, as is judged necessary; each of the said links being
nearly the length that two of the above-described bars are wide.
“ When such metallic pivots are prepared, the aforesaid links are then rivetted on those pivots, each pivot receiving two links, and thereby holding the said hinge together, on the
principle of a link chain or hinge.
“‘ There are two holes, or more, of different sizes, as required on each bar of the hinge or chain, by which means each section of the book is strongly fastened to the same ; which hinge so fastened operates with the back of the book, when bound in such an improved manner, that thereby occa-
sions the said section to open in, so as to bring them them on a parallel with*each other, and in consequence thereof admit of the ruled lines being written into, even close to the back
without any inconvenience.”
The spring back is only used for the superior kind of account books ; for common work, a piece of thin pasteboard is
merely laid on the back before covering, the stress on the back being small. L
122
THE ART OF
To prevent the manufactured back slipping during the operation of covering, it is laid on, and a piece of cloth glued over and attached to the sides, similarly to the back of a half-
bound book.
This tends also tq materially strengthen the
back.
COVERING. The materials generally used for stationery binding are russia, rough calf, green and white vellum, and forrel, according to the value of the work.
Previous to pasting on vellum
and forrel, the book should be covered with a piece of strong paper, as if for boards.
The process is the same as for other
bindings ; but when completed, it will be necessary to put the book in the standing press, having pieces of cane or wood for
the purpose placed between the boards and the back, so as to form a bold groove, and force the leather close on the edge of Previous to and after pressing, the head-
the spring back.
bands must be squarely set, taking care to rub out any wrinkles that may have been formed in turnimg in the cover. Should the book be very large, it may be advisable to give it a nip in the press immediately after folding in the foreedges of the boards, and then finish the covering by turning in the head and tail.
As circumstances, such as the fancy of some previous work-
man, or coloured vellum not to be obtained so early as required,
may make it necessary to execute the proper colours, the proceedings are here given. '
GREEN.
Put one ounce of verdigris and one ounce of white wine vinegar into a bottle, and place them near the fire for five
days, shaking it three or four times each day.
Wash the
vellum over with weak pearl-ash, and then colour it to the shade desired.
123
BOOKBINDING. RED.
_ To one pint of white wine vinegar, put a quarter of a pound of Brazil dust and a piece of alam.
Cork the mixture
up; let it stand in a warm place for two or three days. PURPLE.
Proceed as for the red, substituting logwood chips for the Brazil dust. YELLOW.
Half an ounce of turmeric to half a pint of spirits of wine, prepared as above. BLACK.
Wash the vellum over three times with the red, and whilst wet colour with strong marbling ink.
Marbles and other designs may be formed on white vellum, but as the proceedings have been so fully entered into before, it will not be necessary here to repeat them.
Where russia
bands are not added, the end-papers must now be pasted down, and the lettering, &c. proceeded with.
If bands are attached,
the pasting down of the end-papers and joints must be deferred all they are executed.
RUSSIA BANDS. To give to large books the greatest possible degree of strength, it is usual to affix russia bands to them.
- They are
called single when they extend about half way down the sides, and double when thoee at the head and tail reach to the cor-
ners of the boards, and are tarned over the edges in the same
manner as the cover.
For single ;—~having ascertained the
breadth by dividing the back with the compasses into seven spaces, cut three pieces of russia perfectly square and the exact size of the spaces they are to occupy, and paste them
on the second, fourth, and sixth division of the hack, thereby L2
124
THE ART OF
leaving in eight the first, third, fifth, and seventh spaces with “the cover only; draw them squarely on the sides, and place the volume in the press, with the rods fixed to force the rus-
gia into the joints as before directed, and then leave to dry.
Where double bands are to be placed on a book, divide the back into five spaces, or seven, if four bands.
The middle
band or bands will be short like thase above, and placed on in the same manner; but those at the head and tail, which ex-
tend their whole length, to the fore-edge of the boards, will require paring on the edge intended to be turned in at the headbands and over the boards of the book, cutting the corners and squaring the edges, as in covering,
When done,
press the whole, with the rods as before, to cause the russia
to adhere well and evenly to the vellum or calf, and leave it ta dry.
The next proceeding will be to mark the places for
the holes intended to lace in the white vellum thongs on the bands; this done, the holes must be pierced with the bodkin,
and the vellum passed through, crosaing each other sa as ta form diamonds, squares, or ather forms, as taste may direct.
All being executed, by every part being evenly laid and tightly drawn, the thongs must be fastened inside, and well beat down with the backing hammer.
When the end-papera
are pasted, tins must invariably be placed inside during press-
ing, to prevent the impression af the lacing-slipe on the leavea of the book.
CLASPS, CORNERS, AND BRASS BANDS,
Clasps are generally affixed to the better kind of stationery hooks, as keeping them closed when not in use, tends much
towards their preservation.
And for still greater security,
they are often further protected with brass corners or bands. To hide the projection the clasps would make on the fore-
BOOKBINDING.
125
edge, that part of the board must be cut away to admit the clasp, so that when fixed it will be even with the edge of the
board.
For the corners and bands this is not done; but to
insure a finished appearance in the whole, the workman's attention must be directed to their fitting exactly in every
particular of length, breadth, and thickness.
The clasps may
be purchased of the makers, but it may be found necessary to place the making of the bands and corners in the hands of the brass-worker, to whom particular directions and sizes must
be given.
They must fit tightly to the boards, run exactly
parallel with the edges, and have the holes for the rivets dril-
led through previous to placing on. on, no bands will be required.
Where corners are put
Bands which extend from the
back to the fore-edge and form a corner equal to the breadth of the band, being squarely soldered in front, are placed at the head and tail of the book, and fastened with rivets in-the fol-
lowing manner, as are also the clasps and corners.
Pierce
the boards with a fine bodkin in such places as are previously drilled in the brass, and force through brass rivets of a length
sufficient to project about the eighth of an inch, and with heads made to fit exactly to the cavities formed in the bands ;
then fasten them firmly, by placing the heads of each on an
iron, and beating down with a hammer the part projecting
inside, till it is smooth and even with the surface.
Bosses,
which are seen fixed on the middle of the boards of old books, particularly of early-bound Bibles, &c., in churches, are fastened in the same manner.
FINISHING. The placing of lettering-pieces, gilding, and blind tooling, is exactly the same as for printed books.
Rough calf must
be dressed with pummice-stone, cleaned with a brush, and L3
126
THE ART OF
ornamented blind, with the tools very hot, to form a dark © impression.
Vellam will require the tools cooler than calf.
The book now being ready for the use of the accountant, necessarily closes the details of this description of binding.
a And 2)
POO
OEE NO OOO
ow
EE
Oe.
PART IV.
OF BOARDING. yee
En London and other large places, this is another distinct. branch of the art, and consists of simply covering the book.
with coloured paper, or other common substance.
In small towns, it must necessarily be executed jointly with the other.
branches ; but so ample and minute has been the detail of the. various manipulations in a previous part of this work, that in attempting a description of BOARDING, little can be said without repetition,
This style, too, heing the commonest. mode of doing up books in this country, also places the sub-
ject, under any: circumstances, in a position requiring but little.
remark. Previous, therefore, to speaking of the few processes.
that are peculiar to boarding, it will only be necessary: to ob-. serve, that the folding, pressing, sewing, backing, boarding, covering, and pasting down, are the same as for regularly.
bound books.
It remains, then, to add, that the books will
not require beating, and, for common boards, are never cut round the edges.
The leaves are only dressed 'with the trim~
ming-knife previous to rounding the back, so. as to present as.
neat an appearance as possible, by removing every portion of
paper projecting over the general line.
For greater strength
to the back, a piece of paper must be pasted in the centre of
BOOKBINDING.
127
the coloured paper previous to applying it on the volume. When covered and pasted down, the printed label must be
fixed evenly on the back, and the book will be finished. | CLOTH BOARDING, Now so extensively adopted, offers nothing new for remark
in the early operations, exeept that the covers are put on the boards with glue, as paste would tend to destroy the gloss on the cloth, by the damp striking through it.
Where a great
number of one work (which on first publication is generally
the case) are executed at one time, it is usual to prepare the
covers before placing them on the volume, by cutting the boards to the proper size with the plough, and covering them
with cloth.
A piece of stiff pasteboard, of the width of the
back, must be placed between the boards, which should be at a distance from each other equal to the breadth of the back
and the allowance for the joints.
This board must also be
covered with the cloth at the head and tail, and when the case is applied to the velume, will form an open back.
This
mode is called CASE-WORK, and executed as follows.:—Back the volume, and cut off the bands or slips on which it has
been sewn; then place it in the cover by pasting the guards. (small slips of paper), left over the end-papers, which answers
the purpose of lacing. There are some other operations which
it will be necessar} to describe more particularly. EMBQSSING AND LETTERING. This has been carried to great perfection on cloth, being: executed with the arming press. with ease and quickness. The front boards, or upper part of the backs, as the case may
be, are rubbed slightly with oil, and the gold laid on; when,
the squares on the bed of the press bemg adjusted to the right
position, the lettering is executed as swiftly as they cap be.
128
THE ART OF
laid on and removed.
If the boards have been laced im, the
sides only can be lettered, by placing the whole volume on the press, the board laymg open and flat on the bed; but if the cases are previously made, the lettering, &c., must be executed on the back or sides previous to fixing on the book.
The size in the cloth, as now manufactured, will be sufficient to hold firmly the gold when stamped with the heated design. The portion not thus marked must be removed with the goldrag, and rubbed clear with a piece of fine woollen-cloth.
When lettered, it will remain only to paste down the endpapers, and the book will be completed.
Embossed orna-
ments may be placed blind in a similar manner with the arming-press.
PART V.
ON MACHINES, PRESSES, TOOLS, &c.
IN describing the various manipulations in binding a book, it has frequently been necessary to refer to the presses, me-
chines, and tools requisite for their proper execution.
Skilled
and proficient as the binder may be, and however good the
material he may have for use, unless he is aided by good presses and well-executed tools, his work will not present some of those important qualities of good binding laid down in previous parts of this treatise, viz. solidity in the forward-
ing, and true proportion in the finishing.
In fitting up an
office, it becomes therefore necessary for the proper execution
of the work, and the consequent reputation of the binder, that
pags subparey aa
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mopuor
saransbuz
Saag y
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ld
BOOKBINDING.
129
he provide himself with machinery, &c. of the best manufac-
tare only.
True it is that the cost may be greater, but as-
saredly it will soon be amply repaid by the increased efféct
produced, and the consequent satisfaction which superior workmanship will always give to the possessor of a library. Bat, with judgment, a greater cost need not . be: incurred, for, as has been before observed, the binder may. be enabled to
parchase the neceassiry and most approved articles for his
establishment for a smaller sum than, without calculation and
reflection, he would expend in procuring those of an inferior
_ description.
© The fitness of the articles for the extent of bu-
| siness to which they are to be applied must be the primary consideration, and ta enable him to judge which will be most
applicable, as well as being a necessary portion of the work,
-
will be the object of the present section, wherein will be given a detailed account] of the most important presses and tools,
_
and a description of every other article used in the art of
- bookbinding. For more ready reference, the subject will be | divided into three classes, viz. presses and machines, tools -
wed in forwarding, and tools required by the finisher.
PRESSES AND MACHINES. The most important are the presses used for compressing the sheets of a book as much as possible, so as to give the whole the greatest firmness.
the
The most generally adopted is
: COMMON. STANDING PRESS
This consists of two upright cheeks of timber, of about
seven feet in height, placed at a distance of from two to three feet from each ather. At about six inches from the bottom,
the bed, formed of a solid piece of wood, is let in by means of grooves between the cheeks; and, at the like distance from
the tap, another to form the head, in which is placed the box
130
for the screw.
THE ART OF
The bed is about four inches and the head
twelve inches in thickness.
The screw was formerly made of
wood, but the greater pressure acquired from the use of a wellturned iron thread, has caused the use of wood to be nearly discarded altogether.
To this screw is affixed the swmging
board, which works perpendicularly between the bed and the head of the press, andis raised or lowered by turning the
acrew in the box, by means of a smalliiron bar.
To give to
the press all the force possible, it is pulled tightly down with a large iron bar, five or six feet in length, and to which the
united strength of two or more men will be required when the presa is fall.
A winch is sometimes applied, to give addi-.
tional force.
Figure 4, in the annexed engraving, will tend
to make these particulars fully understood. THE ATHOL STANDING PRESS.
This press, which is represented in the engraving, number VI., is an improvement on the common press, from the greater power of compression it possesses.
It is formed of four up-
right cheeks of six-inch cast iron, having a bed and head similar to the one above described.
The screw is generally
four and a half inches diameter, and worked in a gun-metal
box by means of a cog-wheel and worm of Athol power. The great advantage in this press,in addition to its great pressure,
is the small space in which it can be worked.
No lever or
windlass being required, the smallest space over that which
the press occupies, will be necessary for the application of the force. It will not recede if left for any time, and possesses the further recommendation, that the concussion to the walls, floors, &c. occasioned by the jerk of the bar m the common
press, is entirely prevented, as well as the damage the box in the head of the press is liable to sustain.
A larger press on
the same principle is manufactured, which is employed m the
a |
BOOKBINDING.
131
| pressing of paper. This press is the invention of Mr. Hopkinson, of New North Street, Finsbury, London.
THE HYDRAULIC PRESS, Which forms figure 6 in plate V., is the most powerful of any yet invented.
It is manufactured by nearly all the press-
makers, differing only in the general design, the application of the power being the same.
The one shewn in the plate is
taken from that of Messrs. Cope and Sherwin, and by apply-
ing the water power to the _4thol, with four cast iron cheeks, us before described, a just conception may be formed of that made by Mr. Hopkinson.
The general outline of the press
it will be seen, is the same, but the application of the power from below, instead of above, as in the common and Athol presses.
The power of compression is derived from the pump
to the right of the press, which is supplied with water from a cistern sunk under it.
The water thus sent by means of the
tabe seen passing from it to the centre of the foot of the press,
causes the cylinder to which the bed is fixed to rise and compress the books or paper tightly between the bed and head of the press.
| When it is forced as high as can be by means of
the pump-handle seen, a larger bar is attached, and worked by two men.
The extraordinary power of this press is so
great, as to cause, particularly in common work, a saving of more than three-fourths of the time required in bringing books to a proper solidity by the common press.
When it is wished
to withdraw the books, the small cock at the end of the tube at the foot of the press is turned, the water flows into the cis-
tern below, and the bed with the books glides gently down in
front of the workman.
Two presses are frequently worked
by the same pump, one being on each side.
BARNES’ STANDING PRESS.
This is a new invention from America, and will be fully
132
THE ART OF
understood by the following report of the Committee on Science and the Arts of the Franklin Institute, to whom the press was referred for examination:—
‘“‘ This press embraces the following combination of simple
machines, viz. a single screw in the centre of a cast iron frame, moving vertically through a nut or box in the upper part of the said frame, which box is supported, when the press is not
in use, on a cross plate below, and when in action is kept down by the upper head of the frame. To the box is attached a toothed wheel of cast iron, on the upper surface of which, continuous with the surface of the box itself, is placed a cir-
cuit of ellipsoidal friction rollers, kept in their places by a flanch on a moveable ring of iron, and playing between the upper surface of the box and the uhder surface of the top plate of the frame.
By the arrangements thus far described,
it will be perceived that the screw may rise and fall by re-
volving on its own axis, carrying with it the platten attached to its lower extremity by means of a knob or head of well
known application.
The screw is made to revolve, by four
arms fastened to the body thereof, just above the platten.
With this arrangement the machine, in point of action, differs in no respect from the common screw-press, but may be quickly
turned in either direction, involving no serious loss of time in
bringing the platten to and from its work.
When, however,
the pressure becomes too intense to allow the workman longer
to turn the screw, the arms just mentioned are made stationary by a plug or plugs set into the platten, and the box itself
is turned by means of a horizontal tangent screw applied to the tangent wheel already described.
It is now that the fric-
tion rollers come into play, preventing, to a considerable ex-
tent, the resistance which would otherwise proceed from the action of the box against the roller in the top block against
which it plays.
The axis of the screw has a winch of con-
‘BOOKBINDING.
133
venient length, by which it mav be turned as long as it is thought practicable;
and it also carries a toothed-wheel,
which is capable of being acted on by a pinion of much smaller diameter, that may be thrown into gear at pleasure,
and to which the winch may be then transferred.
This third
and last mode of giving motion to the press is only required when extreme pressure is to be communicated.
“The Committee think the advantage of three rates of
speed in this press will commend it to the attention of mantfacturers, who have often found cause to complain of the loss of time involved by the common hydrostatic-press, with a sin-
gle forcing-pump, and equally so by those screw presses in which the whole range of motion was to be effected by a com-
paratively slow process.
« Ag the inventor does trot confine himself to any particular scale of dimensions, we have not deemed it necessary to make a statement of the calculation applicable to the press which we have examined, further than to remark, that it multiplies
the force applied 10,000 times, and when operated on by a single man capable of applying sixty-six ponnds, may, exclusive of friction, apply a pressure amounting to about 200 tons.
“ WILLIAM HAMILTON, Actuary. “ June 11, 1835.” ARMING PRESS.
The next important press is that used for giving to the covers of books many of those decorations which could not be done by hand or through the medium of the presses above described, from the inadequate pressure of the one, and the
liability of error in the other.
Arming presses are manufac-
tured of various sizes, and according to the taste of different
makers, varying in design.
The principle of all is nearly the
same, and we shall therefore, to avoid repetition, confine the M
134
THE ART OF
description to the Imperial Arming Press, invented by Messrs. Cope and Sherwin, of Cumberland Street, Curtain Road, Shoreditch, London, which is on the same principle as
their Imperial Prittting Press.
The annexed engraving will
display the generul outline of the staple or standard of the press. The bed plate is constructed with a contrivance for raising or lowering it, according to the thickness of the plate to be applied. This is effected by means of two series of circular inclined planes, placed one above the other, similar to the clutch box used for eigaging and disengaging certain parts of machinery.
When placed in the proper position, it
is fastened by # pall which takes into a ratchet on its lower edge. Upon the bed are fixed two parallel rolers at right angles to each other, to insure precision in the work.
The
carriage on which the bed is placed, traverses backward and forward by means of a screw put in motion by the handle in front. On the piston which supports the heater box, to which
the plate or die is to be fixed, is seen the adjusting screw ; and under the projecting head of the press a strong spring is attached, to raise and support the piston, with the heaters, &c. In front of the heater box, or platten, are holes for the two heating-irons, and between them the groove in which the de-
sign is fixed. ‘The impression is given by means of the handle, which working on the connecting rods at the top, causes the
main bolt or axis, which in a state of rest lies in an angular position, to assume a perpendicular one, thereby driving down the piston with great force; exerting a pressure adequate to the power and system of levers upon which it has been employed.
Others are manufactured by the same gentlemen, having two cheeks instead of one maim supporter, and for small designs, where time is saved by not moving the carriage, but laying on the book, guided by the square, and taking the im-
BOOKBINDING. pression are preferable.
135
But for working off large toolings
and embossments, or extensive letterings, this press is in-
valuable to the bookbinder.
To many other purposes all of
them may be applied with equal advantage.
The largest
description of embossed covers, &c, are execoted by means of
a fly press of enermous power. THE CUTTING PRESS.
The cutting or laying press is formed of two strong cheeks of timber, connected together with two wooden screws and two square pins.
These screws are from two to three feet in
length; the heads, in which are two large holes to introduce the pin, by which the books are firmly pinched between the
cheeks, project out on the right side as seen in figure 2 of
plate V.
The screws are held firmly in the right cheek by
two bolts, and in the left are cut worms for the screws to work in.
On one side of the left cheek are fixed two slips of wood
an inch and a half asunder, which forms a groove for the
cheek of the plough to run in. This side of the press is used for cutting only.
The other, which presents an even surface
on each cheek, is applied to every other purpose where the
laying press is required, HARDIE'S CUTTING PRESS.
This press, an invention of Mr. James Hardie, bookbinder
of Glasgow, obtained a considerable share of attention from
the trade in Glasgow and Edinburgh when first produced (A.D. 1805.) The Society of Arts of London also voted the inventor the sum of fifteen guineas.
The principal difference
between it and the one described consists in being worked with one iron screw in place of two wooden ones.
Instead of
two cheeks, it presents a square frame, having a moving piece
or cheek, which slides in grooves within the two sides of the M2
136
THE ART OF
frame; the screw works in a nut let into the right-hand side of the frame, its lower end working in a collar, screwed to the
moving piece.
Though, at first, it was said to be more sim~
ple and powerfal than the common press, and adapted to work
more economically, it has not by any means been generally adopted.
This press is accurately represented in the en-
graving, figure 2, plate VITT. THE PLOUGH.
This is so connected with the cutting-press, that it would not be proper to speak of it in any other than the present
place.
It consists of two light cheeks, drawn together by a
single screw in the centre, and regulated by two pins, one on each side.
In the right cheek is cut a groove, the thickness
of the knife, which is fixed to it by means of an iron bolt, passing through the cheek, having a screw at the top to allow of its being firmly secured by a nut,
the groove on the cutting press.
The other cheek fits in
See plate V., figure 2.
THE FINISHING PRESS
Is exactly similar in construction to the LAYING PRESS, but smaller, and without any groove for the plough; further description, therefore, will not be necessary.
THE SEWING PRESS,
Represented in figure 1, plate V., is formed of a bed of hard wood, having an opening extending within a few inches of each end, and an inch from the front edge. At each end of the bed is fixed a wooden screw, furnished -with nuts to support the cross bar, on which the strings are fastened.
bar rises or falls, as the nuts are raiged or lowered,
This
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is
BOOKBINDING.
137
THE ROLLING MACHINE,
Intended to supetsede the necessity of beating, is a late invention.
It is accurately figured in the annexed engraving,
No. I., and we refer the reader to page 22, for a description
of the manner in which the work is passed: through it.
‘The
power of compression is given by the two iron cylinders, which are about a foot in diameter, the upper one of which
can be regulated. by means of the handle seen gt the head, to any preséuré required.
On the frame, in a line with the space
between the rollers,is placed a table or board, for beatingthe book up even, dnd more steadily passing it through.
The
handle of the wheel in front, being turned by a powerful man, gives motion to the others, and thus exerts 4 force on the
rollers in a proportion of five-sixths over that of beating.
A
committee of the Seciety of Arts inspected one of these machines, and gave a highly favourable report of it.
Among
other works that was pressed before them, was a minion Bible, which was passed through the press in one minute. Mr. Burn was presented with the Society's silver Valcan medal for his invention.
For offices where much work is done, this press
must be invaluable, from the great saving of time required in beating; but it may be doubtful if ever they can be applied
with advantage generally throughout the country. THE RULING MACHINE.
Figure 3, in the engraving VIII., shows the principle of
the ruling machine. Itis simplein construction, bat remarkable for the facility and precision with which the most complicated and difficult patterns are executed by it. The general framework, it will be seen, is plain, and requires no description. The bed is made of baize, the ends sewn well together, and the exterior surface painted over to make. it firm and M3
138 smooth.
THE ART OF This is placed round rollers at each end, which
being turned by means of the winch, carries the paper laid on, under the pens, and passes round below the machine.
The
cords seen passing over the head, confine the paper firmly on
the bed.
‘These revolve on four rollers, one at each angle,
having grooves for the cords, and are also set in motion by the winch.
The pens for making the lines are let into the
slide in the centre, and firmly fixed by screws underneath.
The slide can be momentarily lifted up by the catch on the
side, where head lines or blank spaces are required. The ink is placedin pieces of double-milled flannel attached to the slide at the head of the pens, which being kept well sup-
plied, the ink flows gradually and equally down as required.
Where inks of different colours, such as red and blue, are
necessary in one pattern, another slide is fixed at a short dis-
tance from the other, and both ruled at the same time.
The
near side of the machine, being at right angles with the slide, the paper, which is cut true before ruling, is kept perfectly square by it.
Ruling pens are made of thin brass, cut up about an inch
of their length, and formed by bending the two sides together, and cutting the ends to an exact point, leaving sufficient space for the ink to flow down the centre.
THE STATIONER'S CUTTING PRESS.
This presse is similar to the one before described, but reste
at each end on pivots, by which means the. screws hang downwards, and the cheeks of the press are brought in a line
with a table on the side. On this table a syuare is fixed, by which means the paper is placed in the press quicker, and a certainty insured of its being cut true. Another mode adopted by some stationers requires descrip-
tion, being the readiest and most true of any other.
A hand-
BOOKBINDING.
139
screw is attached to a beam above, and hangs perpendicularly.
Under this is placed a block, on which is fixed what may be termed the cutting-board, or table.
The paper being laid
open and even upon it, a board perfectly square and to the size of the paper is placed in the centre, and the screw above
brought upon it and firmly tightened.
This board has a
groove for the plough, of a peculiar construction, to work in on every side,
The plough being placed in one of the
grooves, is then gradually worked in a similar way to the carpenter's plough, with both hands, till the whole of the paper is cut through :, the other three sides are then in like
manner cat, the screw unloosed, and the paper, which will be the exact size of the board, and perfectly square, taken away. THE STATIONERS PLOUGH.
The plough used for the common press ig also the same as before spoken of, but the one used in the process last named will require description.
It is formed of two cheeks, in the
centre of the right-hand side one of which the knife is fixed
by a bolt.
This is similar in shape to the common knife, but
fastened in a groove in a perpendicular position, the point
being even with the edge, which is of iron. The other cheek, which works in the groove on the board, is let into the first, and rises gradually as the knife descends in cutting through the paper. PENNY’S CUTTING PRESS.
The above are convenient and efficient machines in the
hands of experienced workmen, but it requires much practice
to obtain any thing like precision in their use.
Various
attempts have been made to produce a press possessing the means of adjusting itself, and insuring perfect accuracy, inde-
pendent of any degree of skill possessed by the workman.
—
140
°
THE ART OF
Mr. Penny's attention had long been drawn to these facts,
and he has succeeded in producing a machine possessing many novelties and improvements.
This has been attaired
by introducing a moveable stage for receiving the paper or
book to be cut, which being always parallel with the surface of the press, insures the requisite precision in cutting, all the
edges being parallel to, or at right angles with each other.
The press consists of two cheeks like the common one. The two screws are of iron, and the moveable bed is raised or lowered by turning them.
The two screws are turned by
means of four cog-wheels, beneath the bottom of the press,
motion being given, through the medium of a handle on the
upright shaft of the wheel, to the centre-wheel, which tarns the others carrying the screws. This press offers many great advantages : besides insuring perfect accuracy of workmanship, twice the usual quantity of paper, may be cut at once, and with greater rapidity.
In
cutting and gilding of highly-glazed and other paper, there is
no danger of falling through.
|
From the quantity and quality of workmanship necessarily expended in constracting one of these presses, they are much
more expensive than the common press.
About 307.
PENNY'S PLOUGH.
To effect the greatest possible accuracy in cutting, the above gentleman has also invented a plough suitable to the press.
The knife is fixed with two bolts, and the blade
placed exactly under the screw.
The bed for the knife is.of
adjustment is ever necessary.
Mr. Penny received a reward
metal, and the knife accurately finished, so that no tedious for this invention from the Society of Arts.
MILLED BOARD CUTTER. Milled boards are usually marked out as before directed
BOOKBINDING. and cut with the large shears. has been introduced.
141
In large offices this machine
It consists of a blade working in a
hinge, something like the knife of a chaff-cutting machine,— a piece of board of the size required is provided, and from this
pattern the milled boards are cut into the number of pieces required. WATTS PAMPHLET PIERCER.
Printed sheets stitched into pamphlets, and other small
works, are pierced through the edge of the uncut side with three holes, and are united by a single thread, passed through the hole and tied in a knot.
The instrument used for piercing
the sheets, is a common awl, assisted when necessary by a mallet ; and as this work is done by women, it often becomes a laborious and even painful operation.
Mr. Philip Watts was applied to by a woman occupied in
pamphlet stitching, to invent a machine which should diminish the labour and expedite the work, and the result was the instrument about to be described. The bottom is a strong board, on which are raised ledges on the top and side, placed at right
angles, so as to form two sides of a square. The sideis fixed in its position by means of screws; the headis moveable for a few inches, to enable a pamphlet of any usual size to be
laid against the side bar, having the middle of its back directly under the three needles,
The adjustable ledge has
a plate screwed to its under side, which slides into the bottom board, and is fastened to its position by a nut.
On the out-
aide of the side ledge, a standard is firmly fixed to the board by a screw nut underneath, having two short pieces project-
ing, and a square groove at their ends; on each of which is applied, by means of two binding-screws, another square
groove, thus forming two rectangular holes, or guides for the bar.
On the top of the bar is a connecting-rod, joining the
142
THE ART OF
bar with the lever, the faloram of which is a pin at the top of the standard.
At the bottom of the bar is a transverse
piece, with three tapering grooves, which receive and hold
steadily the upper ends of the tapering needles, these latter being still farther secured by a face-plate.
The method of using this machine is self-evident.
The
sheets being laid evenly one on another, and adjusted by means of the ledges, the handle of the lever ts brought down.
The effect of this action is to depress the bar, and to force the needles through the sheets.
The motion of the needles
being vertical, there is little likelihood of their being broken ; but if this should happen, it is only necessary to take off the face-plate, to remove the broken needle, and to substitute a perfect one in its place.
Mr. Watts was presented with five pounds by the Society of Arts for his invention.
TOOLS, &ce. USED IN FORWARDING. No particular arrangement can be made of the articlea requisite for executing the varioas processes in binding: we shall therefore describe them as nearly aa possible in the rotation in which they are used, The first, therefore, will be THE FOLDER,
which is a long flat piece of bone or ivory with two edges,
and rounded at each extremity; used in folding the sheets of a work, and many other manipulations, THE BEATING HAMMER.
This is shown in the engraving, figure 3, plate V., and i varied in shape according to the taste of the maker, an
weighs from ten to fourteen pounds. rounded off.
The face is well
BOOKBINDING.
143
THE BEATING STONE.
A solid polished body, generally of black marble, and fixed upon a firm block of wood.
The stone, and manner of
beating, is shown in the plate last referred to. THE SAW.
For forming the fissures for the cords on which a book is: sewn, is what is called a tenant saw, and too well known to need description.
| THE KEYS.
Used for attaching the strings in sewing firmly to the foot of the sewing press.
They are made of brass, and their form
various, though the one seen on the engraved sketch of the tewing-press is considered the best. THE PARING KNIFE,
Is what cutlers call a sword blade, being pointed at the end, and long, so as to admit of its paring the leather very thin. THE PLOUGH KNIFE,
Which is fixed to the plough by a bolt and screw as before described, is about six inches long and fimely pointed, the
point being the part that cuts the book, &c., as the plough is moved backward and forward. is considered very superior.
The new patent plough-knife
THE COMPASSES
Are large and small, the latter having a spring, and used by the gilder; the former strong in the joint, so as not to be
easily moved when set to the size of the book, &c., to insure correctness in marking many volumes to the same size.
144
THE ART OF THE BODKIN.
A strong point of iron fixed in wood, to form the holes in the boards required to lace in the bands: used also in mark-
ing the lines for cutting, &c. THE SHEARS,
Large and small, the latter requiring no description.
The
large are formed of two long pieces of iron; one of which
being fixed in the end of the laying press, the power of the
hand on the other will cause it to easily cut through milled boards, &c., required for the side covers.
These shears are
about four feet long. THE SQUARE.
Two pieces of wood or iron firmly fixed at right angles to each other, one having a falling groove to fix to the side of
the board, so as to cause the other to be truly marked on it. BACKING HAMMER.
A flat round-headed hammer, similar to those ased by shoe- | makers. It is employed in backing the book, and every other process where the hammer is required. KNOCKING DOWN IRON,
A flat piece of iron with a centre-piece placed at right angles, to fix in the end of the laying press.
Used for beat-
ing down the strings after lacing in the side-boards. GRATER, OR RAKE.
An instrument armed with dents or teeth, which serves to! scrape the back of the books when in the press, after boarding, to make the back hard and firm.
BOOKBINDING.
.
145
THE SCRAPER.
This is used by the gilder of edges to scrape the surface perfectly smooth.
It is usually made of a piece of clock-
spring, or blade of an elastic steel knife. THE BURNISHER.
Is an agate, fixed in a long staff of wood, and used to bur-
nish the edges of books.
Sometimes a pair of dog’s teeth,
which bend somewhat to the shape, are used. THE WATER TUB.
An indispensable article, which anything water tight will answer the purpose of. BOARDS.
Boards used in bookbinding are of varions kinds, viz. Pressing Boards, which are generally made of beech, and according to the size, of different thicknesses, all being perfectly even and smooth throughout the whole extent.
Backing Boards.—Thin pieces of wood of various lengths,
thicker on the top than the bottom, and bevelled off so as to present a sharp edge to the side of the book where the grooves
for the boards are to be formed.
The edges are sometimes
cased with iron.
Cutting Boards.—Similar to the above, but having a smooth square top to direct the knife true, and to insure the book being put even in the press.
Burnishing Boards,—In shape nearly like the above, varying only in those being thicker at one end than the other
that are employed for the head or tail of the book. THE MARBLING TROUGH
Is generally made of oak, all the joints being well pat
together to make it water-tight. N
The most useful is about
THE ART OF
146
thirty inches long, eighteen or twenty wide, and two or three inches deep.
For the economy of size, &c., where a few
books are required to be marbled, the trough may be divided
into compartments, by ribs formed to fit in or remove at pleasure.
THE WINCH.
This is a cylinder of wood, mounted on an axle of iron,
as shown in the and used for pulling down the standing press, engraving, plate V., figure 4.
THE SHAVING TUB,
Over which is placed the cutting press, as seen in the engraving, is a frame of wood for holding the shavings, &c.,
tom the cutting of the edges. It is so called from it being aval in carly times to place the press across a tub. BRUSHES
.¥ various sizes, and such as are used by painters, with VASES OR POTS
.% varnished earthenware or delf, will be found requisite in a~a\ wl the stages of binding. These complete the articles et in forwarding. LS
Ge, REQUIRED BY THE FINISHER.
sue it
arrangement as for the tools of the forwarder
ala hee adoy ted fie GOLD KNIFE.
»»
Gem, weed lor cutting the gold, is eight or ten inches ="
wdlo, the blade being highly tempered,
“des similar to a painter's pallet knife.
BOOKBINDING.
147
THE GOLD CUSHION.
Formed of an oblong piece of board, covered with calf, the flesh side upwards, under which is placed several layers of flannel, or uniformly stuffed with wool. THE TRINDLE,
Is simply a piece of thin lath with which the gilder passes
the gold from the cushion to the edges of the book when gilding. THE TIP.
Used in a similar manner by the gilder in covering the
back and sides with gold.
It is made of card board, having
sable between the two pieces of which it is formed.
LETTERS OR ALPHABETS
Are of all sizes, cut in brass, and fixed in wooden handles, about six inches in length.
There are also alphabets of
BRASS TYPE,
Cut short and made to fix in a hand chase, whereby the entire lettering of a volume can be adjusted to the proper breadth, and fixed on the volume at one time, instead of by single letters.
© Where a great number of volumes of the
same work are binding this effects a considerable saving of time. TOOLS.
This name is given to such ornaments as are cut in brass and fixed in handles like letters.
These are generally ap-
plied on the backs of books, and are of various descriptions. PALLETS
Are also of brass, three or four inches long, and orna-
mented throughout.
They are fixed in handles like tools, N2
148
THE ART OF
generally the patterns of rolls, and used for gilding the bands of books. ROLLS.
A kind of brass wheel, on the face of which is cut the figure intended to be impressed ; they are of various patterns,
from a single line, which is called a elaborate and classical designs.
fillet, up to the most
‘They are mounted on an
iron carriage, made to receive the axle of the roll, which is
firmly fixed in a long wooden handle, that rests against the shoulder when used.
The second figure lying on the stove,
plate VIII., shows the shape of the roll. THE LETTERING PRESS,
represented in the opposite engraving, is the invention of
Mr. Morris.
The block or lettering, which is kept warm by
a heater, is fixed in the slide at the bottom of the piston, and brought down by the motion of the projecting arms at the top.
lt is simple and expeditious, and the cost trifling. The power, however, of the press being limited, it is only adapted to lettering pieces or small designs. BLOCKS.
Lettering pieces with ornamental borders cut in solid brasa,
and executed with the arming-press, are called blocks.
These
are worked on the sides or backs of books, according to fancy. The great expense of providing blocks for such work was long matter of regret, and confined the use of this sort of ornament.
This led to a consideration of the subject, and to
the invention, by Mr. J. Morris, of Ludgate Street, London, of the TYPOGRAPHICAL ACCELERATOR,
Which is well adapted for back lettering and small ornamental side pieces.
These enable the binder to proceed with
his work without the delay heretofore occasioned,
The de-
LETTERING
PRESS.
BOOKBINDING.
149
sign is formed with a number of separate ornaments fitting
exactly into each other: thus, when the number of any design
is worked off, it. can be taken to pieces, and any other, from the size of a folio to.a 32mo. exeeuted.
For a detailed ac-
count see Transactions of the Society of Arts, vol. 50, No. 6.
MOVEABLE BLOCKS, As before referred to at page 95.
The above method is now
superseded by a further improvement.
Instead of the brass
frame or case in which the ornamental and lettering blocks
were held, they are attached to the iron plate of the arming-
press, thus:—-A piece of cartridge paper, or milled board, is glued on to the iron plate, the blocks are then arranged to form the design required, these are then glued on to the paper, by means of which the brass and iron are held firmer
together.
Annexed is a design for the side of a book exe-
cuted on this principle.
It is composed of a border and
twenty-four blocks, a quarter of an inch in height, viz. twelve single blocks and six pairs, numbered 26 to 33.
Some of
these numbers it must be observed are formed of two or three separate pieces.
When the design is formed, the pieces are
glued on as above described.
These are capable of forming
a variety of sides, corners and centres, but it will be obvious
that the greater the number of ornamental pieces, the greater
variety of designs they will furnish. ARMORIAL BEARINGS.
These are solid plates of brass, on which are cut the arms of such families as may wish to have their books ornamented
with their heraldic iinsignia.
Under this head, too, might be
considered ARABFSQUE PLATES.
Which are also in solid brass, and imprinted on the Jeather by means of the arming-press. N3
THE ART OF
150
BILLSTS.
Square or inclined blocks of wood ased for placing the book on, or between, during the operation of gilding. THE POLISHER.
Is a bar of iron an inch in diameter, and a foot long, bent
a little forward at bottom.
At the end a transverse bar of
iron, about three inches round and four long, is fixed, having
a highly polished surface on the circular part intended to act on the book.
stove.
The shape is shown in the near figure on the
This iron is fixed in a wooden hendle like the rolls.
Another polisher for the back and bands is used; instead of being round at bottom, it is brought out to nearlv a fine edge
se as to admit of its polishing close to the bands on the back. THE STOVE.
The stove of the Finisher varies much.
In large offices
in London, an open pan, with niches for each letter round the edge, is most generally used.
In smaller they differ, are of
varied shapes, some being open, and some having small apertares round the sides.
Considering the general utility, we
give an engraving of one which we deem will be found to answer every purpose of the gilder, being the most commo-
dious and most perfect we know, and one which can be made, from the description we shall give, in any place, at a small expense.
See figure 4, plate VIII.
The framework consists of the stove, the cap which receives the smoke, &c., which escapes from the charcoal, and the pipe or tunnel which conducts it above.
Within is placed a
grill of iron, on which the charcoal rests.
Under this is a
large opening for the introduction of air necessary for combustion.
This’opening may be shut by the door seen travers-
BOOKBINDING. ing the bars of the part in front.
151
On this side is a drawer,
which serves to receive the ashes of the charcoal.
Above the
fire-place are two large openings, which may be entirely closed, or the contrary, by a door on each side (which move on vertical hinges), according as the heat is wished to be in-
creased or diminished.
One of these doors is shown open.
All this part of the stove is constructed of thin plate iron. The base of the part in front is also of plate iron, and all the rest constructed of small iron rods, as shewn in the engraving. GRAINING PLATES.
These are cut in copper and brass, and are the size of the forms of different books.
For the cross-grain, fine wire is
tightly crossed from side to side, at regular distances, and the whole run over evenly with solder. It may be further remarked, that the finisher will also require a gold-rag, some fine cotton-wool, camels’-hair pencils, sponges, and brushes, but these will need no description. We have now treated of every thing connected with this
part of our subject, and brought to a close our endeavours to
lay before the trade minute particulars of every manipulation in the various branches of the Art of Bookbinding, as well as a description of the Tools required for their proper execution.
It remains only to add such matters as could not be introduced therein, and which will be found in the following Appendix.
152
THE ART OF
APPENDIX. ON
BLEACHING,
&c.
IT is necessary that the binder should be conversant with the best methods-for taking out any stains that may, from
accident, have been communicated to paper, and also for giving to it a better colour.
We shall, therefore, lay down
the most simple but approved methods for rendering the material as clear as possible.
There are two ways of whitening paper, viz. by submitting it to the action of vapour, and to that of acids diluted in water.
We shall place these, as well as the other receipts, under their proper heads, describing the manipulations peculiar to
.
each method.
ON BLEACHING PAPER GROWN YELLOW BY AGE, &c.
The best proceeding known is the one given by M. Chap-
tal, and long used by the trade.
It is commenced by cutting
the bands and separating the sheets, which should be placed in cases formed in a leaden tub, with very thin slips of wood,
so that the sheets rest on a plate separated one from the other by intervals scarcely sensible; then pour into the tub oxymuriatic actd or chlorine, taking care that it falls upou the sides so that the leaves are not deranged by the motion. When the workman judges by the whiteness of the paper that
it has been sufficiently acted upon, the acid is drawn off by a little cock placed at the bottom of the tub, and its place sup-
plied with fresh clear water several times, to take off, and deprive it of the smell of the acid.
The leaves are placed to
dry, afterwards pressed, and then re-bound.
BOOKBINDING.
153
The leaves might be placed vertically in the tab, which position presents some advantages, from the sheets not being
so liable to tear.
M. Chaptal constructed a frame of wood,
adjusted te the size of the paper. This frame contained very
thin slips of wood, with intervals between them.
In each of
these intervals two leaves were placed, held to their positions. by small wooden wedges forced between them, #0 as to press them against the sides of the slips.
This proceeding is more
preferable from the frame being easily raised and plunged into fresh water.
By these means not only are the leaves cleaned, but the paper receives a degree of whiteness it never before possessed.
The acid also removes stains of ink, which are often found to disfigure a book. —
Another plan is to steep the leaves in a caustic solation of eoda prepared as follows :— With a certain weight of the subcarbonate of soda or potash, mix half the quantity of quick-
lime; then add soft water, and boil.
is the solution of caustic alkali.
The liquor, when cold,
As the causticity of the
alkalies depends on their freedom from carbonic acid, which the quick-lime absorbs, it is necessary that the solution should
be kept from exposure to the atmosphere, which restores to it the carbonic acid, and thereby destroys its caustic properties.
When perfectly bleached, arrange the sheets on lines to dry,
or place them between cloths, in the same manner as paper-
makers dispose their sheets of paper when delivered from the form.
When quite dry, press them between glazed boards,
and the texture of the paper will be the same as at first.
A solution of chloyine of lime has been found to have a _ good effect, restoring in a few minutes engravings, dc., very much stained with smoke and damp. Some consider submitting the paper to the action of vapour ' preferable to steeping, as above directed. Sulphuric acid gas
154
THE ART OF
removes very readily the yellow colour which age gives to paper.
The use of this will require some precaution; and to:
operate more effectually, it is proper to be provided with a
large chest, perfectly air tight, so as to prevent the escape of the gas.
In this chest, a number of smull cords must be dis-
posed, very near each other, and on which the paper is placed. On each side is formed an opening, which is glazed, and well fastened round, #0 that the progress of the operation may be observed, and the paper withdrawn the instant it is sufficiently
bleached.
The ignition of the sulphur should not be made.
in the chest, as a risk is hazarded of blacking the paper, but
in a little furnace placed on the side without, and the sulphuric vapour directed by a pipe into it.
The sulphur is then
put by degrees upon an iron plate placed over the fire, so as.
to keep up a supply of vapour till the operation is completed.
The same precautions will be necessary in using chlorine,
or orymuriatioc acid, in a state of gas.
After disposing the
paper on the cords, place in a cup a spoonful of muriatic acid, (spirits of salts),and put round it another of oxyde of manganese (red lead) ; then place this cup in a vessel filled with hot water, and set it on the fire; it thus gives out a large portion of gas, by which the chamber is filled, as before directed. ON TAKING OUT STAINS OF INK, OIL, AND GREASE.
Oxymuriatic acid, or chlorine, removes perfectly stains of ink; and should the paper require bleaching, the operation
will answer both ends at the same time; but as it more frequently happens that the stains are the only blemish necessary
to remove, the proceedings are given for taking them out without pulling to pieces the volume. Nearly all the acids remove spots of ink from paper, but it is important to use such as attack its texture the least.
Spires
of salts, diluted in five or six times the quantity of water, may
BOOKBINDING.
155
be applied with success upon the spot, and after a minute or two washing it off with clear water. A solution of oxalic acid, ettric acid, or tartaric acid is attended with the least risk
and may be applied upon the paper and plates without fear of damage.
These acids taking out writing ink, and not touch-
ing the printing, can be used for restormg books where the margins have been written upon, without attacking the text.
When the paper is disfigured with stains of iron, it may be
perfectly restored by applying a solution of sulphuret of pot-
ash, and afterwards one of oxalic acid. The sulphuret extracts from the iron part of its oxygen, and renders it soluble in the diluted acids. A simple, but at the same time a very effectual method of raising spots of grease, wax, oil, or any other fat substance
is by washing the part with ether, and by placing it between white blotting paper.
Then with a hot iron press above the
parts stained, and the defect will be speedily removed.
In
many cases, where the stains are not bad, rectified spirits of
wine will be found to answer the purpose.
The most expeditious, and by some binders considered the best, mode of removing grease from paper is, to scrape fine pipe clay on both sides of the stain, and apply a hot iron
above, taking especial care that it 1s not too hot, whereby the paper might be scorched. The same process will remove
grease from coloured calf, and if the spot should even be on the under side of the leather it may be thus cleanly drawn through. For dirty-fingered workmen this must be invaluable. Imison, in his Elements of Science, gives the following receipt for taking out spots of grease, and which has been very generally adopted. “After having gently warmed the paper that is stained with grease, take out as much as possible by
means of blotting paper, then dip a small brash in the essential oil of tarpentine, heated almost to ebullition, and draw it
156
THE ART OF
geutly over both sides of the paper, which must be carefully kept warm. This operation must be repeated as many times
as the quantity of the fat nmlibed by the paper, or the thickness of the paper may render necessary. When the greasy
sabstance is entirely removed, recourse may be had to the following method to restore the paper to its former whiteness,
which is not completely restored by the first process. Dip another brush in highly rectified spirit of wme, and draw it in
like manner over the place which was stained, ard particularly round the edges, to remove the border that would atill present
a stain.
By employing these means with proper caution, the
spot will totally disappear, the paper will resume its original whiteness, and if the process has been employed on a part written with common ink, or printed with printer's ink, it will experience no alteration.” ON GIVING CONSISTENCE TO BAD PAPER.
The method used in Germany was first communicated from Strasburg by M. de Regemorte, who had made many researches on the subject, and will be found the best. This plan not only gives to paper an additional firmness, but a bet-
ter colour.
It consists of making a strong size, in a propor-
tion of one ounce of isinglass, dissolved in‘ a quart of water, and boiled over the fire, to which afterwards add a quarter of
a pound of alum, and when dissolved, filter through a sieve.
The paper must be passed through the size, at a heat wherein
the hand may be held, then placed on lines to dry gradually, not exposed to the sun in summer, or a room too warm in win-
ter, and afterwards pressed. HOT AND COLD PRESSING.
_
The presser should be provided with a considerable number
of glazed boards, &c.
This art, which appears very simple, -
BODKBINDING.
157
requires a good knowledge of the qualities of different papere, each of these qualities demanding the precautions which it i impossible to describe, end for which general rules only could be given.
A litde practice will render this soon easy.
The
proceedings are so well known, that they need no description.
ON THE SCENT OF RUSSIA. The peculiar scent of rassia leather, so esteemed as a cover
for books, is given with the empyreumatic oil of the birch.
- ‘The bark of this tree is also used in northern Europe in tanning.
Many researches have been made by distinguished
chymitts, but at present no method that can be decided effec-
tual in its results has been made known. It remains, however,
for the scientific to consider how far the oil above-mentioned
may be employed to cause other leather to give uut the peculiar odour of russia. ON PERFUMING BOOKS.
Musk, with one or two drops of ot of nerolt, sponged on
each side of the leaves and hung up to dry, will give them a powerful odear.
A more simple proceeding is to put a phial
contaiming thie mixture into the bookcase, or place en various parts of the shelves pieces of cotton wool, well impregnated
with otf of birch or cedar. ON DESTROYING WORMS.
There is a small insect, Aglossa pinguinalis, that deposits
its larvee in books in the autumn, especially in the leaves
nearest the cover.
These gradually produce a kind of mites,
doing the binding no little injury. But the little wood-boring beetles, anobium pertinax and striatum, are the most destructive.
M. Peignot mentions an instance where, in a public
library but little frequented, twenty-seven folio volumes were O
1586
THE ART OF
perforated in a etraight line by the same imeect, in such a hole made by it, these twenty-seven volumes could be raised atonce.
The seat of the mischief appears to lie in the bind-
ing, and the best preventive against their attacks is mimeral salts, to which all insects have an aversion.
lum and ri-
triol are proper for this purpose, and it'would be advisable to
mix a portion with the paste used for covering the books. M. Prediger, among other instructions to German bookbinders, advises them to make their paste of starch instead of flour. He also recommends them to slightly powder the books, the covers, and even the shelves on which they stand, with a
mixture of powdered alum and fine pepper, and is of opinion that in the months of March, July, and September, books
should be rubbed with a piece of woollen cloth, steeped in a
solution of powdered alum and dried. SHELL GOLD.
Grind up gold leaf with honey, in a mortar; then wash away the honey with water, and mix the gold powder with gum-water. This may be applied to any substance with a camel's hair pencil, in the same way as any other colour. PASTE.
Flour paste for cementing is formed principally of wheaten
flour boiled in water till it becomes of a glutinous or viscid consistence. It may be prepared of these ingredients simply for common purposes, but the paste proper for bookbinding should have mixed with the flour a sixth or eighth part of its
weight of powdered alum, and if it is wanted still more tenacious, gum arabic, or any kind of size, may be added.
159
TECHNICAL TERMS USED IN THE
ART
Arms.
OF
BOOKBINDING.
Plates on which are engraved, in relief, armorial bearings,
usually gilt on the sides of books belonging to the libraries of the nobility. 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. Bands. The strings whereon the sheets of a volume are sewn, which are either let in by sewing the back, or project from the back. This term also applies to pieces of leather glued on the back previous to covering the book, and used merely for ornament. The space between two of these is called between bunds. Bands. Name given to bindings simply covered with leather in the tanned state. Thus we say, in sheep bands. Basil. Sheep skin tanned, used for common bindings. Bead. The little knot of the headband. Beating. A section of sheets of a work taken at one time, and beat with the hammer upon the stone. Bleed. A work is said to bleed, if cut into the print. Blind-Tooled. Where the book is ornamented with the gilding-tools, but without gold. Boards. . The name given to the pieces of wood used in the various processes of pressing, backing, cutting, and burnishing of the work ; also, the side covers of the book. Bourds, in. When the edges of a book are cut after the boards have been laced in. Out of bourds, when cut first. Where the book is covered with paper or cloth, it is also called in boards.
Bosses. The plates of brass attached to the sides of large volumes, for their greater preservation.
Cancels. J.eaves containing errors, which are to be cut out and replaced with others printed correctly ; and generally given with the last sheet of a book.
Case Work.
Where the covers are prepared before placing on the
Catch-Word.
A word met with in early printed books at the bottom of
volume.
the last page of each sheet, which word is the first of the page which follows in the next.
Chain-Stitch,
The stitch which the sewer makes at the head and tail
of the volume previous to commenciug another course. 02
160
THE ART OF
Collating. This operation is common to the gatherer, folder, and binder. It is the examining of the sheets, to see that the signatures properly follow, to prevent any transposition whereby the work would be rendered imperfect.
Corners. The triangular brass tools used as ornaments on the corners of the sides of books. The pieces of brass fixed on stationery bind-
es ; also the pieces of leather pasted on the corners of half-bound 8.
Cropping.
The cutting down of a book near the print.
Double Book. When a book is printed in half sheets, it is called a double book.
ing
in..
The operation of fastening the boards to the back of the
volume, with the bands on which it 18 sewn.
End Papers. The blank leaves placed at the beginning and end of a volume.
Extra ; as Calf-extra. Is a term applied to the style of binding, when the book is well forwarded, lined with good marble paper, has silk headbands, and gilt with a narrow rofl roand the sides and inside the squares.
Finisher.
The workman who executes the colouring, gilding, and
other ornamental operations of binding.
Filleted. Is when the bands of a volume are marked with a single gilt line only. Folder, The party who folds the book according to the pages, previous to its being bound or boarded.
This department in large
towns is generally done by females. Fore-edge. The front edge of the book. Forwarder, The workman who performs all the operations of binding, up to the colouring.
Foot-line. The line at the bottom of the first page of each sheet, under which is placed the signature.
Gatherer. The name given to the workman who classes the printed sheets of a volume according to the signatures. Gathering. A portion of ten or twelve sheets of a volume, as made up previous to folding; thus, a work is said to consist of twa, three, or more gatherings. Gilder. In London and great towns, the workman who giids the edges of books; also applied to the one who gilds the backs and sides.
Cult.
A book bound firm and strong, having plain end-papers and
gilt
Glire.
back.
Name given to the whites of eggs used in the process of
gilding.
Grooves. _The projections formed on the sides of the books in backing, to admit of the
Guards.
boards laying even with the back when laced in.
Shreds of strong paper interspersed and sewn to the backs
of
books, intended for the insertion of prints, &c., to prevent the book
being uneven when filled.
papers,
Also
the
pi
ot
.
so the pieces projecting over the end-
BOOKBINDING.
161
Gauiter.. The-round front edge of a. volume, formed by flattening the circular back previous to cutting.
Haif-bound. When the back and corners of a book only are covered with leather, and the sides with coloured or marble paper. Half-extra. Books forwarded carefully, and lined with common marble paper, having silk headbands, and narrow rolled reund the sides with gold, but plain inside. Head. The top of the volume, Headband. The silk or cotton ornament worked at the top and bottom of the back. ecdline. The line immediately under the running-title on the pages . - of a book. Inset, The pages cut off in folding, and placed in the middle of the folded sheet. Justification. The observance that the pages of works, bound’ in one -volume, agree in length and breadth, so as to insure their not being cut into the print.
Kettle stitch, A corruption of chait-stitch. Lettered,
Volumes sistply filleted on the back, and the title lettered.
Lines. A book is said to be in morocco lines, when the only ornament is a plain fillet on the bands and round the sides.
Lining the Boards, Pasting paper on the boards before fixing them to the volume, to give them more firmness. Marbler. Nose.
The workman who marbles the edges of books, &c:
In glueing up a volume, if the workman has not been careful to
make all the sheets occupy a right line at the head, it will present a
point either at the beginning or end, which point is called a nose.
Overcasting.
An operation in sewing, where the work consists of single
leaves or plates, the thread being brought over the back and the needle pierced through the paper near the band.
Pullet. Name givento the tools used in gilding the bands. Paring. Bringing down with the knife the edges of leather, &c., to avoid the projections they would otherwise make. Patch. The piece of leather, placed over the defects sometimes found in common substances. Points. Terms of gathering and folding.
They are two holes made in
the sheets in the process of printing, to insure, in turning, what is called good register. These holes serve as a guide in certain folds which are made by the folder.
Quire.
The same as a gathering.
Register, or Registrum Chartarum. A list of signatures and first words
of sheets, attached to the end of early printed works for the use of
the binder, but now long disused.
03
THE ART OF
162
Registers. Ribboas fastened under the headband, left hanging at the foot, to denote the place where the reader may have left off. Rolls. The cylindrical ornaments used for gilding. Running Title. The title of the work placed at the head of each page, above the text.
Section.
Set-off.
Seo Beating.
When the ink, not being properly dry, is transferred in beat-
ing and pressing to the page opposite. Setting the Headband. Is to form the leather at the head and tail of the book into a cap, to cover the headband. Sewer. The person who sews the sheets of a book together on the sewing press females,
Signature.
Like folding, this is an operation generally performed by
The capital letters or figures under the footline of the first
page of each sheet, to indicate the order in which they should be laced.
Sise Substances composed of gums, vellum, &c., used by the marbler
Squvee That portion of the boards of a volume which projects over and
gilder.
the edges.
Start.
When any of the leaves, after binding, spring from the back
and project from the general line of the edge, they are said to start. Stitcher. The party who sews together the sheets of a pamphlet or
other word, which is covered with paper only.
Super-extva.
A book beat and forwarded in the best manner, having
superior coloured end-papers, double head-bands, and broad registers; rolled inside and double rolled outside with narrow rolls, or one broad roll.
Table. The smooth side of the laying press. Tail. The bottom of the book. Tools. The name given to the brass ornaments used in gilding. Turning up. An operation of flattening the back previous to putting the k in the press to cut the fore-edge, whereby a groove is formed on the edge, when the back resumes its circular form. Tying up. The tying of a volume after covering between two boards, with strong cord, to mark the position of the bands, and to cause the leather to adhere to the sides of them.
Warp.
A process after the volume is finished, to
give the boards a
convex form, which tends to keep close the fore-edge of the book. Waste. The overplus sheets of a work after all the copies have been made up by the gatherer, and from which the binder is supplied with any imperfections. Wrinkle. The uneven places in a book formed from being badly beaten or pressed.
©
IN DEX.
Alphabets, 147 Antique Binding, 99 Arabesque Bindings, 100;
98 ;
gilt 94,
introduced into England by
Messrs. Remnant and Edmonds, 101
a
Arabesque Plates, 149
res
Arms on the sides of Books, 94; mode of gilding,94; 149 Atlases, sewing of, 26
described,
Backing, 30 — Hammer, 144
Backs, gilding the, 89 ; designs for, 102, 105; the spring for stationery books, 119 Bands for sewing, 24; raised, 27 ;
opening bands, 30 ; lacing in, 31;
Boarding of Bound Books, 31 Boarding, 126 Bodkin, the, 144 Bookbinder, trade of a, 13; hints to on the purchase of presses, &c.129
Brass Type, 147 Brushes, various, required, 146 Burnisher, the, 145 Burnishing, 88
coloured, 55 Hs
Calf preparation of; for covering,
ad
52;
Cancels, 20 Case Work, 127 Caxton’s Recuyell of the Historyes
of Trove copy of, splendidly bound
by Whittaker, for the Marquis of Bath, 79
stuck on, 81; tying up of, 56;
Chuplal’s mode of; bleaching paper,
brass, 124
Chemical Preparations, 61;
marking of, 81;
russia, 123 ;
Barnes’ Standing Press, 131 Beating, 21; advice to workmen on, 22
——— Hammer, the, 142 ——-— Stone, 143 Billets, used in gilding, 150
Binding, styles of, characteristics of good, 18: elastic, 27: stationery
or vellum, 111 Black Lines, 80 Blacking the Squares, 80 Bleaching of Paper, Sc., 152 Blind tooling, 99
Blocks, or Lettering-pieces, 148
Blue, receipt for making liquid, 64: method of killing, 152
Boards, cutting cut and lining of, 31
——— cutting, bucking, Se., 145
152
aqua
regit, 61, 62 ; vitriol water, marbling water, and glaire, 68 Clasps, 124 Collating, 20 Colouring of edges, 85; of covers, 61 Colours, fancy, for edges : rice marble, white spot and fancy marble 39 ; gold sprinkle, 40 Colours for edges and mode of preparing, 35, 41; vegetable colours, 37; blue, yellow, 37; green, orange, red, purple, and brown, 38 Colours for leather, remarks on, 60; preparation of, 63; black, 63; brown and blue, 64 ; purple, lilac, violet, fawn, yellow, 65; orange, green, and red, 66; scarlet, 67
164
INDEX.
Colours for vellum, 122 Colours, uniform, light brown, dark brown, Corinthian grape, common grape, blue, 74; green, olive, pearl grey, slate, and black, 75 Combination of Tools, 101 Compasses, the, 143
Covering 51, 122 Corner pieces, gilt, 94; designs for, 104; Mr. Bain’s invention for working, 106; brass, 124
Cold Cuckion, the, 146
Gluing
up 29
— Knife, the, 146 — Marble, invented by M. Berthe of Paris 76 — instructions for use of, in
Sie 78, mn gilding leulher 89 ding
—,
158
edges 45; in gold mar-
shell, methoa of preparing,
Graining the sides of books, 100 Grater, the, 144 Grease, method of removing, 154 Guards, 26
Cope and Sherwin’s hydraulic press, 131 ; their imperial arming press, 133 Cutting out covers, 52 Cutting the edges 32, 116 Cutting Press, common 135; Hardie’s 136; the Stationers’ 138 ; Penny’s, 139
Halfbinding, 57 Half sheets 19, 25 Hardies’ Cutting-press 185 Head- Bands, single 48 ; double 49;
Dibdin, Dr., his remarks on gilt edges 46; on colours for binding 58; on gilding leather, 86 Dutch method of sewing, 27
Hernia, workmen liable to, 22 bind enriade, of, in splendid bind-
Edges, cuttung of 82; colouring of 35; fancy 39; marbled 40 ; gilt 44; black 47 End- Papers, 24; pasting, 28 Escutcheons ,94 Etruscan style of binding, 79
Finishing, introductory remarks on, 57; of Stationery, 125 Folding 17; refolding 19 Folder, the, 14% Forwarding, 15, 17; defects of, 59
Gilding of edges 44;
antique and
upon marbled edges 46 ; on landscapes 47
Gilding of leather, remarks on taste in, 85; preparations for 88 ; the back 102; the squares and sides
92, 132 ;
of sidk and velvet 96;
designs for 102
Gilding Tools, collection of, 102
Glaring the covers for marbling 67; for gilding, 88
gold, silver, and ribbon 50; setting of 51, gilding of 90 Heat, proper, of gilding tools 90
ing, ores
Louis XVIII.
Py M. Didot, bookseller of Paris, 8
Hopkinson’s Athol standing -press and hydraulic press 130
Hot and cold pressing 156
Illuminated Binding, first executed
in England by Mr. Evans, 97; mode of proceeding, 98 Imison’s method of taking out stains of grease, oil, wax, &c. 155 Imperfections 20 India Rubber Backs 28, 116 Ink, method of taking out spots of 154
Inks, receipts for making 113
Inlaid Ornaments 82 Introduction 18
Japan used with black for leather,
75
Joints in morocco, &c. placing of 29; pasting down of. 84
INDEX,
Keys, the 143 Knocking down iron 144
Pamphlet piercer, the, 141 Pasting the end-papers tn, 28; the
Law Calf 52 Landscapes, painting of, on edges 47; on the sides of books 78; mode of transferring to the sides
of books 78 Leathers preper for various works, 59 Lettering-pieces 81 ; ornamental 91,
103 Lettering 86, 91 Letters 147
40 Marbling edges 40: shell 41 : Spanish and Anglo Dutch 43 : Dutch 117 Marbling of leather 67 : common & purple, stone 68 : green, blue, Jair ugatine,
levant, and por-
phyry vein 69: red and green, porphyry 74: porphyry, rock 70: granite 75 : tree marbles--walnut,
cedar, mahoguny 71:
box, wain-
scot, and variegated 72: gold 76:
lapis lazuli 77 Marbling on paper, 72
Machines, described, 128;
the roll-
ing and the ruling, 137 Morris § Co’s Lettering Press and Typographical Accelerator,148 Morocco, mode. of’ preparation Sor covering, 52;
covering with, 55; grain of, 57; turkey grain, 57 ;
inlaid ornaments, 82
Moveuble blocks for Gilding 95,149 Music, sewing of, 26 Octavos, folding of, 18 ; oblong , 19 Oils, proper for marbling edges , 42; Jor gilding on leather, 88 Open backs, 50
Ornaments, Judicious choice of, 91,
2
the end-papers down,
83; the morocco joints, 84
Paste-washing, 67
Paring of leather, 52
—— Knife, the, 143
Panes on the sides, method of forming, 73 Pallets, 147 Palmer’s patent for an improv ed Paper, method of giving consis tence to bad, 156
Penny’s cutting press and plough, 139
Perfuming books, on, 157 Plough, the, described, 136: the Stationer’s, 189 ; Penny’s, 140 Plough Knife, the, 143 vag placing of, 21,28; sewing of, 26
Polisher, the, 150 Polishing, 108 Poerner’s receipt for Liquid Blue, 64 Portraits, S¢., mode of transferring to the sides of Books, 78
Trough, the, 145 Mairet’s receipt for Varnish, 110
3 Overcasting, 26
covers, 53;
method of binding stationery books 120
Marbler, tools and utensils required
agate,
165
Prediger’s Hints on destroying Book Worms, 157 Press, common standing, 129; the Athol, 130; the hydraulic, 1381;
Barnes’ Standing press, 131; the
arming, 133; the
cutting, 135 ;
Hardie’s cutting,135; the finishing and sewing, 136 ; lettering, 148 Presses, tools, &c. 17, 128 Pressing, 21; hot and cold, 156
Rake, the, 144 Regemorte's plan to give to paper a Jirmer texture, 156
Registers, 50 Rolling Press to supersede beating , 22; described, 137
Rolls, gilding, 148
n, Covering with, 52
166
INDEX.
—_—- Pens, 138
1 Statutes of carty Bookbinders, 15
eee-
Ruling of paper by maclune and Sprinking on leather, nutmeg, ring, penn bE] and tortetseeheti, 73 Raliag machine, 137 ' Staticnery or te.i.m binding, 11) Russia, preperatio of, for covering, n | Stove for F mishing, 150 52; om girtng the scent of to other
Sawing the backs, 24 Saw, the, 143 Scott’s Liquid Blue, 64 Scraper, the, 145
Tip, the, 147 Title or Lettering Peeves, 81; per, 91 Toolsfor Gilding, 147
27 Shaving Tub, the, 146 Shears, the, 14+
Tools used in Forwarding, 142 —— required by the Finisher, 146 Trindle, the, 147 Twelvemo, Folding ef, 19 Typographical Accelerator for Let-
Sewing, 24, 115; M. Lesne’s plan,
Sheep, preparation of, 52 Signatures, 20
Silk, covering with, 55;
ends of, 84
pasting
Size for marbling edges, 41, 117;
for gilding edges, 45; for gilding on. leather 88
Societe d’Encouragement of Paris, memoir on improved method of sewin®, presented to, 27
Society of Arts of London, their
encouragement of improvements in presses, &c., 135, 140, 142, 149, 164 Square, the, 144
renin of edges, 35 ; gold sprin-
pro-
OE
139
Tingry, his receipt for rarnish, 100
Ay
Technical Terms used by Bookbinders
tering, the, 148
Varnish, receipts for, 109
Vellum, preparation ef, 122
Velvet, precautions in covering with, 55
Water Tub, the, 145 Watt’s Pamphlet Piercer, 141 Whittaker of London, Etruscan style of binding brought to great perfection by, 79
Winch, the, 146
Worms in books, instructions for destroying, 157
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Printed by J. Hannett, Henley.
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leathers, 157 Russia bands, single and double, 123
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