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Dr. William H. Trueman's
LIBRARY.
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A
MANUAL OF THE
ART OF BOOKBINDING: CONTAINING
FULL INSTRUCTIONS IN THE DIFFERENT BRANCHES OF FORWARDING, GILDING, AND FINISHING. ALSO,
f
Ije
$xt at IprMrag §00&-<%ts »n& ppr. THE WHOLE DESIGNED FOR
THE PRACTICAL WORKMAN, THE AMATEUR, AND THE BOOK-COLLECTOR.
BY
JAMES B. NICHOLSON.
PHILADELPHIA:
HENRY CAREY BAIRD, (SUCCESSOR TO
E. L.
18 56.
CAREY,)
Co/vs
2 A/SZ
Entered according to Act of Congress, in the year 1856, by
JAS. B. NICHOLSON, in the Clerk's Office of the District Court of the United States for the Eastern District of Pennsylvania.
STEREOTYPED BY L. JOHNSON & CO. PHILADELPHIA.
Piinted
by T. K & P. G
Collins, '
PREFACE.
The progress of the Art of Bookbinding lias made nearly all the works written upon the subject obsolete;
their descriptions
no
longer apply to the methods practised by the
workmen. Throughout this work, the opinions and remarks of other writers have
best
been adopted without alteration, unless they came in contact with practical knowledge.
Every thing that would not bear that test has been rejected, and in lieu thereof those
modes of operation described that the young binder will have to learn and practise if he desires to emulate the skill of the best artists.
The plan
work is taken from and every thing "Arnett's Bibliopegia given in that work that has any approach of
the
to utility will be found in these pages.
It
was at first intended merely to revise that production; but during the progress of revision
so
much was
rejected
that
1*
7 &3 ^ o
it 5
was
PREFACE.
6
deemed better to pass under notice at the same time the labours of others. "Cundall's Ornamental Art" has furnished the early incidents in the " Sketch of the Pro-
Art of Bookbinding;" and, as the best authority upon the subject, " Woolnough's Art of Marbling" has been adapted Mr. Leigh ton's " Suggesto this country. tions in Design" has been laid under contrigress of the
bution in order
Ornamental Art.
to
enrich the subject of The H London Friendly
have been a valuable acquisition to the writer, and it is trusted Finishers' Circulars"
will make this work equally so to the young
"Cowie's Bookbinders' Manual." "Arnetfs School of Design/' "Gibb's Handbook of Ornament/' and "Scott's Essay on Ornamental Art/' in addition to those acknowledged in the body of the work, have supplied some valuable hints. It is hoped that this volume will prove useful to those forming libraries, by imparting correct information upon subjects that to the book-collector are important, and that its tendencies will be to increase and strengthen
finisher.
a love for the art. Philadelphia, 1856.
J. B.
N.
CONTENTS.
INTRODUCTION. PAGE
Sketch of the Progress of Bookbinding
9
PART I. 34
Sheet-Work
PART II. 59
Forwarding
The Edges
74
Marbling
82
Gilding the Edges
130
Covering
141
Half-Binding
149
Blank Binding
151
Boarding
169
Cloth-Work
170 7
:
PART III. PAGE
Ornamental Art
178
Finishing
Taste and Design
186
Styles
198
Gilding
215
Illuminated Binding
227
Blind Tooling
230
Antique
231
Colouring
236
Marbling
246
Uniform Colours
256
Gold Marbles, Landscapes, &c
260
Inlaid Ornaments
270
Harmony of Colours
272
Pasting Down, &c
273
Stamp or Press-Work
279
Restoring the Bindings of Old Books
289
Supplying Imperfections in Old Books
290
Hints to Book-Collectors
292
Technical Terms
297
INTRODUCTION. SKETCH OF THE PROGRESS OF BOOKBINDING.
The earliest records of Bookbinding that exist prove that the art has been practised for nearly
In past ages, books were
two thousand years.
written on long scrolls of parchment or papyrus,
and were rolled up and fastened with a thong which was made of coloured leather and often highly ornamented.
These
scrolls
one, or, occasionally,
were usually attached to
two rollers of wood or ivory,
or sometimes of gold, much as our large
now mounted, and rollers
maps are
the bosses at the end of the
This
were frequently highly decorated.
decoration may be called the first step toward Or-
namental Art applied to the exterior of books.
A learned Athenian, named Phillatius, to whom his
countrymen erected a
found
statue, at length
out a means of binding books with glue.
The sheets
of vellum or papyrus were gathered two or four 9
10
INTRODUCTION.
together,
sewn much
in the
same way as
at the
present day ; and then, in order to preserve these sheets, there came, as a matter of course, a cover-
ing for the book.
The probability is that the first book-covers were of wood
—plain oaken boards, perhaps then, ;
in those days were all in manuscript,
as books
and very valu-
able, carved oak bindings were given to those which
were the most decorated within.
To cover the plain wooden board with vellum or leather would, in the course of years, be too appa-
rent an improvement to be neglected ; and specimens of books so bound, of the great antiquity of which
there are undoubted proofs, exist at the present day.
There is reason to believe that the Eomans carried the Art of Binding to considerable perfection.
Some of the public offices had books called Dyptichs,* in which their acts were written.
The binding
* " The antiquity of illuminated missals has been traced, conjecturally, even to the time of the apostles themselves.
At the beginning of the Christian era, missive letters were usually written on tablets of wood, hollowed so as to present
something of the appearance of a boy's slate in a frame.
Two of these were placed face to face to preserve the writing, which was on wax, and a pair of boards thus prepared was called a Dyptich.
The Epistles of St. Paul and
the other
— INTRODUCTION.
11
of one of these in carved wood is thus described
:
" Seated in the centre of each board is a consul, holding in one hand a baton, and in the other, upraised, a purse, as if in the act of throwing
some victor in the games.
Above
it
to
these are minia-
ture portraits, various other ornaments, and an inscription ; below, on one board, are two men leading
out horses for the race, and beneath them a group,
with a ludicrous representation of two other men, exhibiting their endurance of pain by allowing crabs to fasten
on their noses."
A small print of an
ivory dyptich of the fifth century, in Mr. Arnett's
"Books of the Ancients," may be consulted as a specimen of the kind of ornament then adopted.
apostles to the primitive churches were, in fact, missive letters despatched to their distant congregations ; is
and there
every probability that imaginary or real portraits of the
writers accompanied the letters,
and headed the contents
of the Christian dyptichs, in order to insure to
them the
same degree of reverence which was paid to the missives of the government when headed by the imperial effigies.
" The compact form of the dyptich suited the purposes of a movable
altar-piece
admirably.
dyptic or triptic, which implied at
first
And
the
names
but a double or
triple page, came with time to designate those folding altar-
pieces so frequently found in the earliest Christian churches."
— Lady
Calcottfs Essay.
12
INTRODUCTION.
An old writer says, that about the time of the Christian era the books of the Romans were covered with red, yellow, green,
and purple
leather,
and deco-
rated with gold and silver. If we pass on to a few centuries later, we find that the monks were almost the only literati.
They
wrote chiefly on subjects of religion, and bestowed the greatest pains upon the internal and external decorations of their books.
In the thirteenth cen-
tury some of the gospels, missals, and other service-
books for the Greek and
Roman churches, were
ornamented with silver and gold, apparently wrought
by the hammer
;
sometimes they were enamelled and
enriched with precious stones, and pearls of great value.
Carved oak figures of the Virgin, or the
Infant Saviour, or of the Crucifixion, were also the frequent adornments of the outside covers. of these ancient relics librarian of
is
thus described
One
by the
Henry VIII.
" All I have to do is to observe, that this book (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
become very loose.
now by length of time
Tho' I have seen a vast num-
— INTRODUCTION.
13
ber of old books and oftentimes examined their covers, yet I do not
remember I 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 extra-
'Twas usual to cut Let-
ordinary value, as this is. ters in the Covers,
preserved
and such letters were the better
by having them placed in some hollow
part, which might easily be made if the boards were
I suppose, therefore, that even the
pretty thick. copies
of Gregory $
Pastoral that were given to
Cathedral Churches by King Alfred had such thick covers also, that these by the JEstals might be fix'd the -better.
What makes me think so is, that the
outside of one of the covers of this book
hollow, and there
is
is
made
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
Over
it
there
whom the Abbey was dedicated.
was once fastened another much
larger plate, as is plain from the Nails that fixed it
and from some other small indications now ex-
tant,
—and
this 'tis likely was of silver, and perhaps
there was an anathema against
should presume to alienate
it,
the Person that
engraved upon it
together with the Name of the Person (who it may 2
;
14
INTRODUCTION.
be was Roger Poure) that was the Donor of the
Book.
This will make it to have been nothing else
but an iEstal, such a one (tho' not so valuable) as
was fastened upon Crregory's Pastoral.
But this I
leave to every man's judgment."*
At a later period we find on the binding of books gold and silver ornaments of very beautiful design, enclosing precious stones of great variety ; carved
ivory tablets let into framework of carved oak rich-coloured
velvets,
edged
with
morocco,
with
bosses, clasps, and corners of solid gold ; white vel-
lum stamped in gold and blind tooling; and morocco and calf covers inlaid with various colours
and adorned in every conceivable way. at the
and
This was
end of the fourteenth and in the fifteenth
sixteenth centuries, when the love of Art was
universal, in the land Raffaelle,
where Michael Angelo, and
and Da Vinci produced their great works,
and where, under the auspices of the Medici, the
Art of Bookbinding as well as all other
arts
was
encouraged.
Mr. Dibdin, in his " Bibliographical Decameron," to which we are much indebted, has given an account
of the library of Corvinus, King of Hungary, who
* Leland's Itin. vol. ii. p. 86 7 Oxford, 1769.
INTRODUCTION. died at
15
Buda about the year 1490.
This library
consisted of about thirty thousand volumes, mostly
manuscripts of the Greek and Latin poets and historians, and was contained in large vaulted galleries,
in which, tains,
among other works of art, were two foun-
one of marble and the other of silver.
The
binding of the books were mostly of brocade, protected with bosses and clasps of gold and silver;
and these, alas
I
were the subsequent cause of the
almost entire destruction of the library ;
for,
when
the city of Buda was taken by assault, in 1526, the
Turkish soldiers tore the precious volumes from their
covers for the
sake of the ornaments that
were upon them.
The general use of calf and morocco binding seems to have followed the invention of printing.
There are many printed books,
still
in
good pre-
servation, that were bound in calf with oaken boards at the
end of the fifteenth and beginning of the
sixteenth centuries.
gold or blind
tools.
These arc mostly stamped with
The
earliest
of these
tools
generally represent figures, such as Christ, St. Paul, the Virgin, coats of arms, legends, and monograms,
according to the contents of the book.
Afterward
attempts were made to produce pictures, but these
were necessarily bad.
16
INTRODUCTION.
In England, the
earliest binding with
ornament
was about the time of Henry VII. when we find the ,
royal arms supported
by two angels; the heraldic
badge of the double rose and pomegranate, the fleur-de-lys,
the
portcullis,
evangelists, and small
the
emblems of the
ornaments of grotesque ani-
mals.
There are in the British Museum and in the
Record
Office
many English
bindings which un-
doubtedly were executed in the time of Henry VII.
In the reign of Henry VIII., about 1538, Grafton, the
printer,
undertook to print the great Bible.
Not finding sufficient men or types in England, he Yfent to Paris and there commenced it.
however, proceeded
far,
He had not,
before he was stopped in
the progress of this heretical book; and he then
took over to England the presses, type, printers,
and bookbinders, and finished the work in 1539.
The edition consisted of 2500 copies, one of which was set up in every church in England, secured to a desk by a chain.
Within three years there were
seven distinct editions of this work ; which, supposing each edition to consist of the same number of copies as the
volumes.
The
first,
would amount to 17,500
binding,
therefore, of so
folio
great
a
number of this book would alone give some importance to the Art of Bookbinding at that period.
We
INTRODUCTION.
17
know that Henry VIII. had many splendid volumes bound in velvet with gold bosses and ornaments. his reign the
In
stamping of tools in gold appears to
have been first introduced in England; and some beautiful
rolls,
probably from
Holbein's
designs,
w ere used as well on the sides as on the gilded edges r
of books still in existence.
In the reign of Elizabeth some exquisite bindings
were done in embroidery.
The queen herself used
to work covers with gold and silver thread, spangles,
and coloured silk, for Bibles and other devotional books which she presented to her maids of honour
and her friends.
From these brilliant external deco-
rations, many of
them entirely inappropriate for a
book, we turn to a purer taste, the exercise of which will be found to reside within the peculiar limits of
the Bookbinder's Art.
We return to Continental binding, and pass to the time of the ever-famous Jean Grolier.
This
nobleman was the first to introduce lettering upon the back;
and he seems
to
have taken especial
delight in having the sides of his books ornamented
with very beautiful and elaborate patterns, said to
have been drawn by his own hand.
Many of them
exist at the present day, either original Groliers or
copies.
Books from his library are eagerly sought 2*,
18
INTRODUCTION. All Grolier's books were bound in
for.
smooth
morocco or calf, the pattern being formed of intersected line-work, finished line
fillet
and
gouges
by hand with a fine oneto
correspond,
with
the
occasional introduction of a
conventional flower.
Sometimes
were inlaid with mo-
also the patterns
rocco of different colours ; and it is our opinion that
no
style of book-ornamentation has
troduced that Grolier,
is
been since in-
worthy of entirely superseding the
a specimen of which will be given when
treating on style.
Very many of the Chevalier's
volumes have the Latin inscription " Johanni Grolierii
et
amicorum"
at the bottom, signifying that
Grolier wished his books to be used by his friends as well as
by himself.
Connoisseurs rejoice when
they meet with a work from the library of Maioli, a disciple of Grolier, or those of Diana of Poictiers, the
mistress of
Henry
II.,
and whose books,
in
consequence of her influence and taste, are elegantly bound.
It
is
supposed that the bindings for Diana
of Poictiers were, designed by Petit Bernard.
They
were bound in morocco of all colours, and usually
ornamented with the emblems of the crescent and
bow and quiver.
Among the earliest French binders must be mentioned Padeloup, Derome, and De Seuil. Pope
INTRODUCTION.
19
celebrates De Seuil in one of his poems.
plain
morocco
bindings
Derome's
are excellent;
they are
sewn on raised bands, are firm and compact, and the solid gilding upon the edges
is
worthy of com-
mendation; his dentelle borders are fine, but unfortunately he was not careful of the trenchant steel.
Padeloup's tooling or ornaments consist chiefly of small dots, and the forms he invented are elegant.
When met with in good state, they look like gold lace upon the sides and backs of the books.
The bindings of books which belonged to De Thou are highly prized. He possessed a magnificent library,
mostly bound in smooth deep-toned red, yellow, and
green morocco.
De Thou
died in 1617.
The
Chevalier
D'Eon used to bind books in a sort of
Etruscan
calf,
the ornaments on which were copied
from the Etruscan vases.
The use of the black and
red dyes have very frequently corroded the leather.
We must now resume our account of binding in England.
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.
Toward the middle some degree of atten-
20
INTRODUCTION.
tion 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.
The artists 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 employment in
London during the early part of this century.
The
bindings of Oxford were also very good
this
period.
at
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 pro-
nounced 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 Kalthoeber and Staggemier;
but to Mackinlay may, perhaps, be attributed the
INTRODUCTION. first impulse
given to the improvements which have
been introduced into bindings. largest
21
He was one of the
and most creditable binders in London of
the period of which we are treating.
Several spe-
cimens 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
The spe-
they received were of a high character.
cimens alluded to exhibit a degree of care, ingenuity,
and
skill,
highly creditable to them
as
binders.
Though well executed, 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 Eoger
Payne exhibited the handiwork of the
craft, that
any decided impulse was given to the progress of the art, which has gone on, under able successors,
from one improvement to another till there exists
much doubt whether or no we have not now, so far as mechanical execution depends, arrived at perfection.
About the year 1770 Roger Payne went to
London, and, as his history is an epoch in the history of the art, we will devote some space to it.
The personal
history of
Eoger Payne
is
one
among the many of the ability of a man being rendered- nearly useless
by the dissoluteness of
his
22
INTRODUCTION.
He stands an example to the young, of
habits.
mere
talent,
industry, ability,
unattended with
never leading to
perseverance
distinction,
and
— of great
clouded by intemperance and consequent
indiscretion, causing the world only to regret
much may have been lost
how
might have been
that
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
afterward became so distinguished a professor of,
under the auspices of Mr. Pote, bookseller to Eton College.
From this place he went to London, where
he was first employed by Mr. Thomas Osborne, the bookseller, of Holborn,
London.
Disagreeing 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
1769-70, and
encouragement he received from
his patron,
the
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
23
INTRODUCTION.
of the first order, and such as, up to his time, had
not been developed by any other of his countrymen.
He adopted a style peculiarly his own, uniting a classical taste in the formation of his designs,
and much judgment in the
ment it
selection of such orna-
as was applicable to the nature of the work
was to embellish.
self of iron,
Many of these he made him-
and some are yet preserved as curiosi-
ties and specimens of the skill of the man.
To this
occupation he may have been at times driven from lack of
money
cutters; but rally so,
it
for,
procure
to
them from the
tool-
cannot be set down as being gene-
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 expe-
dient to manufacture certain lines, curves, &c. on
the occasion.
Be this as it may, he succeeded in
executing binding in so superior a manner as to
have no rival and to command the admiration of the most fastidious book-lover of his time. full
He had
employment from the noble and wealthy, and
the estimation his bindings are sufficient
ployers. library.
still
held in
is
a
proof of the satisfaction he gave his em-
His
best
work
is
in
Earl
Spencer's
— 24
INTRODUCTION.
His reputation as an artist of the greatest merit
was obscured, and eventually nearly intemperate habits.
lost,
by his
He loved drink better than
meat.
Of this propensity an anecdote is related
of a
memorandum of money spent, and kept by
himself, which runs thus
:
For bacon
1 halfpenny.
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.
In his wretched working-room 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 be judged by what has been related of him.
He ap-
pears 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.
;
—
;
25
INTRODUCTION. " Homer 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." The following bill is, like himself, a curiosity
:
—
" Vanerii Praedium Eusticum. Parisiis. mdcclxxiv.
Bound in the very best manner in the finest Green Morocco, The back lined with Red Morrocco. " Fine
Drawing paper and very neat Morrocco
Joints inside.
Their was a few leaves stained
*]
f
0
:
0
:
6
at the foredge, which is washed and cleaned... J
" The subject of the Book being Rusticum, I
have ventured
to putt
The Vine Wreath on it.
I hope I have not bound for the
Book.
it in too
to do these Vine Wreaths.
I
am
certain
different
rich a manner
It takes up a great deal of time
I guess within Time
of measuring and working the
and various small tools required to fill
up the Vine Wreath that it takes very near 3 days' work in finishing the two sides only of the
Book
—but wished I
to do
my best for the Work
and at the same time I cannot expect to charge a full and proper price for the Work, and hope that
the price will not only be found reasonable but
cheap
0 18 :
3
:
0"
— INTRODUCTION.
26
Roger 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.
the
He afterward worked under
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 disease, 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 pecu-
niary 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 thus recorded his opinion
:
" The great merit of Roger Payne lay in taste
—
in his choice of ornaments,
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. his Jming, joints,
and
his
and especially
In
inside ornaments, our hero
INTRODUCTION.
27
generally, and sometimes melancholily, failed.
He
was fond of what he called purple paper, the colour of which was as violent as
texture was coarse.
its
It was liable also to change and become spotty, and
as a harmonizing colour with olive
discordant.
very
was odiously
The joints of his books were generally
disjointed, uneven,
a
it
carelessly tooled,
unfinished
boasted of for their lently forwarded
appearance. firmness.
— every sheet
and having
His
backs
are
His work excelfairly and
bona fide
stitched into the back, which was afterward 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 envelop."
Though Roger Payne's career had not been successful,
so far as he
was personally concerned, it
had the effect of benefiting the whole race of English bookbinders.
A new stimulus had been given
to the trade, and a new and chastened style intro-
duced 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 Roger
—Kalthoeber, Stag-
— ;
*
28
INTRODUCTION.
gemier,
Walther,
Hering,
Falkner, &c.
— exerted
themselves with a generous rivalry to execute the
most approved bindings. to
be mentioned with
modern binders.
Charles Lewis, so
Mr. Mackenzie deserves respect among
highly
eulogized
celebrity,
style of
and
by Mr. Dibdin, attained great
his bindings are
much prized.
His
ornament was very neat, the panels of the
backs generally double-mitred, and the sides finished in a corresponding manner. especial
commendation
;
Mr. Clarke deserves he
for tree-marbled calf
stands unrivalled, although Mr. Riviere has executed
some beautiful specimens. considerable reputation ;
Mr. Bedford also enjoys but
it
is
to
Mr. Hayday
that the leading position among the London artists is
now generally assigned. His quaint old-fashioned
morocco bindings are inimitable. Lady Willoughby's Diary has been extensively copied, but not equalled. His Bibles and Prayer Books are well forwarded the edges are solidly gilt with gold of a very deep colour, while the finishing is rich and massive without
A book in the library of J. W. King
being gaudy.
Eyton, Esq., bound by Hayday, is thus described
:
" The work is a large paper copy of the late Mr. Blakeway's
6
Sheriffs
of
Shropshire,'
in
imperial
folio, with the armorial bearings beautifully coloured.
;
29
INTRODUCTION.
The binding is of blood-coloured morocco, extending an inch and a half cover, on which
is
round the inside of the
all
placed a bold but open border
tooled in gold, forming a fine relief to the rest of
the inside, which is in purple, elegantly worked all
over in hexagons running into each other in the
Venetian style. lion
In each compartment is placed the
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
aforesaid,
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 number, 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 heraldic accuracy on both sides of the volume.
When we state that more than
57,000 impressions of tools have been required to produce this wonderful exemplar of ingenuity and 3*
INTRODUCTION.
30 skill,
some idea may be formed of the time and
labour necessary for its execution."
This volume was finished by Thomas Hussey, who is
now employed in Philadelphia, and who has in
his possession the patterns executed upon the sides
and back.
The French degenerated in binding from the time of Louis
XIV. until they became far inferior to the
English.
This continued to the beginning of the
present century ; the books bound for the Emperor
Napoleon, upon which no expense appears to have
been spared, are clumsy, disjointed, and the tools coarse and unevenly worked.
They were generally
bound
morocco joints, lined
in red morocco, with
with purple
silk,
upon which the imperial bee was
stamped repeatedly.
Thouvenin enjoys the honour
of rescuing the art from its long-continued degradation in France, and of founding a school whose disciples are now acknowledged to rank with the great
masters of the
art.
His
tools
and patterns were
designed and cut by artists in his employ ; his esta-
blishment was on a large scale left
;
but at his death he
nothing behind him but his reputation as an
artist,
to stimulate others
to attain excellence in
workmanship and a cultivated and design.
taste in
ornament
Among the most celebrated binders of
INTRODUCTION.
31
the present day in France are, Trautz et Bauzonnet,
Niedre,
The books
Duru, Cape and Lortic.
of
these artists are distinguished for solidity, squareness, freedom of the joints, firmness of the heads
and back, and extreme nicety of finish.
The fore-
edges are gilt with the round in them, giving them a solid rich appearance, as yet unequalled. The material
employed
is
kind,— soft, rich
of the choicest
Levant morocco being the favourite covering for choice books.
This leather, in the hands of an
ordinary workman, would make a clumsy covering
upon account of its great thickness ; for it cannot be shaved down by a skin-dresser without destroying the natural grain of the leather, and, with it, its velvet-like richness and beauty ;
and yet, under the
manipulations of these French artists, it becomes one of the most plastic of materials ; rare volumes of the
smallest
dimensions,
containing
but one
or
two
sheets, are not only covered on the exterior, but the
interior of the boards,
Levant morocco.
and even the joints are of
There are many specimens of
binding executed in France for gentlemen of taste
and lovers of the art in this country
;
ing of the productions of French
artists,
these that we refer.
and, in speakit
is
to
As a binder, Lortic appears
to be the least known ; but he will probably become
32
INTRODUCTION.
more so. Cape is rapidly growing into favour. Duru is
celebrated for the excellence of his forwarding.
In
this respect
he cannot be surpassed.
The full
morocco specimens that we have seen have generally been bound d laJanseniste, and were truly exemplars.
In exterior gilding he is not so happy as some of his Niedre possesses fine taste; his styles
brethren.
of finishing are varied and graceful in design, and
the execution admirable. et
The reputation of Trautz
Bauzonnet has been established principally by
the senior partner, Bauzonnet, Trautz being his son-
and whose name has recently been placed at
in-law,
the head of the firm, perhaps to anticipate others in
claiming to be the inheritors of the skill, and pupils of his father-in-law's school.
Bauzonnet's bindings
combine excellence in every department.
They are
specimens of the art in its highest state, being solid, firm,
and square in every portion of the forwarding
department. The covering, joints, and inside linings are matchless.
The finishing may safely be
pro-
nounced perfection, so far as any thing produced
by human agency can be.
In style of finishing he
generally confines himself to modifications of the Grolier, tools ;
or
to
a broad border, composed of fine
and in the tooling the execution is faultless.
Those who are accustomed to English bindings are
;
INTRODUCTION.
33
apt to find fault with the firmness of his backs, as
they do not throw out like English loose backs ; but this subject of loose backs is for,
when it is known
but
little
that what
is
understood
generally es-
teemed an excellence is often but an indication of
—
that, in order to make the
lie
open
weakness, out and sheets
paper,
fiat,
the substance by which the
are secured together
—and
book throw
that, where the
is
a single strip of
band upon which the
book is sewn can be plainly seen upon the opening a strain upon
of the volume, there
is
of which must be
breakage, if in constant use,
(a
its
it,
the result
catastrophe that will never happen to one of
Bauzonnet's books,)
—the
firm back will be preferred.
In tracing the progress of the Art, and upon comparing the merits of artists of ancient and modern times, it is to the
moderns that we assign the palm
of superiority, especially for Derfection of detail in
the ornamentation.
MANUAL OF THE
ART OF BOOKBINDING. PART L SHEET WORK. As the gathering of the sheets of a book, after they have been printed and dried
always performed at the printer's,
off,
it
is
nearly
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 properly and
depending on
its
folded, so that,
when it is cut, the margin of the
different
pages
being
may be
correctly
uniform throughout, and
present no transpositions, to the inconvenience of the reader and deterioration of the work.
The
various
sizes
of books
are
denominated 35
MANUAL OF THE
86
according to the number of leaves in which the sheet
is
folded;
as
quarto,
folio,
Each form
16mo, 18mo, 24mo, 32mo, &c. sents a certain
12mo,
octavo,
pre-
number of pages, so disposed that,
when the sheet is properly folded, they will follow the
In commencing the folding
numeric order.
of
any work, particular attention should be
in
opening out the quires or
the
sets, to
each
signatures follow
other
paid,
observe that
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 proper
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 will present
pages
left
hand of the workman,
2, 15, 14, 3,
with their heads reversed,
below, and above,
pages
(reading from left to right.)
7,
10,
The sheet
11, is
6,
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,
ART OF BOOKBINDING.
37
taking care, by shading to the light, that the figures of the pages will
fall
exactly one on the other, which
be 3 upon 2, and 6 upon 7, and thereby pre-
senting uppermost pages 4 and 13, and above 5 and 12.
The top part of the sheet
is
then brought
hand, upon the lower, pages 5
down, with the
left
and 12
upon 4 and 13, directed properly,
falling
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.
Twelvemo.
— The 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
indicating
the
proper place where the pages should be cut
off.
points,
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 A 5 or A*.
The remain-
ing eight pages are folded in the same way as the octavo,
and when done the 4
inset
is
placed in the
MANUAL OF THE
38
middle of it, taking care that the head-lines arrange properly.
Books are sometimes printed
what is
called
half sheets, but they are folded the same,
after
in
cutting them up ; the octavo in the direction of the points,
the
paper, and
There are
twelvemo in oblong direction of the laying them
apart from
each other.
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 of 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 disposition of the pages
and signatures being only
required. It will often.be
found necessary to refold a book
which, previous to being bound,
done up in boards, should in
all
sewed,
or
may have been otherwise.
This
cases be carefully attended to, after
the book has been taken to pieces, the back divested of the glue and thread, and the corners or other parts which
may have been doubled
turned up.
ART OF BOOKBINDING. This
is
the
at
usually done
39
by examining if the margin
head and fore-edge
is
equal throughout,
bringing those to their proper place that are too short,
and cutting those that are longer than the
By these means
general margin. will
a uniformity
be presented after the edges of the book are
cut, which could
never be attained if not attended
to while the book is in this state.
The sheets of the book, being all folded, are then laid out along the
edge of the gathering table, in
the regular order of the signatures; the gatherer
then commences at the last sheet or signature, takes one sheet from the parcel, one from the next,
and so on until the
first
upon the top of the rest.
sheet or
title
is
placed
The sheets are then held
loosely in the hand, and allowed to fall lightly upon their backs
and heads upon a smooth board, until
they arrange themselves in an even, uniform manner.
They are then 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 fore-edge, and with the left opening the sheets on the back and
;
MANUAL OF THE
40 them
letting
successively one after the other.
fall
The signatures will be thus seen in alphabetical or arithmetical order, as A, B,
c, &c.,
or 1, 2, 3, 4,
&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,
singly from
sheets
the
should be resorted to as
work
is
liable
to
by raising the
table ;
but this practice
little
as possible, as the
be damaged.
If any sheet
is
wanting, or belongs to another volume, or is a duplicate, the further progress of the work
pended
till
changed.
the
imperfection
Those that have
is
must be sus-
procured or ex-
been wrong folded
must be corrected, and any cancels occurring in the
work cut out and replaced by the reprints, which will
generally be found in the last sheet of the
book.
It is usual also with
some binders to place
any plates belonging to the volume, at this period but as the liability of damage to them
is
great in
the process of heating, or rolling, it will be
much
better to perform that operation after the book is
brought from the stone, for which directions will be given.
The book, being found
correct,
will
be
ready for the beating-stone, which, although it has
ART OF BOOKBINDING.
41
been almost entirely superseded by the introduction of machinery, will always be invaluable to a binder of limited
means; and the amateur will find it to
be an essential process to secure the requisite of good binding,
—
first
great
solidity
BEATING, PRESSING, ETC.
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
many equal parts, which are called sections or beatings, as may be judged necessary acof it into as
cording to the thickness and other circumstances.
A section
is
then taken and well beaten over, draw-
ing it with the hand towards the body so as to bring the various parts successively under the hammer,
and carefully avoiding striking more blows in one part than the other, except giving the edges a slight extra tap round.
The section is then turned, and
the like proceeding gone through; as also on 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 replaced in their
proper order, and two or three taps of the hammer given to
make them
lie
even. 4*
In beating those
MANUAL OF THE
42
books with which, from their value, greater care required, it
is
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 sufficient for many works.
hammer being nearly Attention must be paid
to the hammer descending parallel to the surface of
the stone, to avoid marking or cutting the sheets
with the edge.
Before beating a book, care should be taken to observe if it has been recently printed, for if so it
would set off by being beaten too much.
This will
be easily ascertained by referring 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 particu-
larly be the case with machine-printed works.
As,
however, it is frequently necessary to bind a volume
immediately after being printed, it will be requisite
;
ART OF BOOKBINDING.
43
to take every precaution against 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
the paper;
dry the ink and make it search into
but, as these
means are not without
danger of getting the paper blackened or soiled, it a better plan to interleave the sheets with white
is
paper, which will receive all the ink set off.
Should
the sheets have been hotpressed, which
readily
is
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-machine has been invented as a substitute for the beating which books require previous to
being bound.
The book is divided into parts, ac-
cording to the thickness of the book ; each part is
then placed between tins, or pieces of sole-leather the rollers are then put in motion, and the part
passed through.
This is repeated until the requisite
degree of solidity is obtained.
The great objections
to the rolling-machine are the liabilities to cause a setoff,
or transfer of the printing-ink, upon the opposite
MANUAL OF THE
44
page, by the friction which
between the
rollers,
is
produced by passing
and the bow-like appearance
which they give the book, and which
is
to
the
forwarder a serious cause of annoyance, and sometimes all his skill and care are insufficient to remedy the evil caused by the rollers.
A powerful embossing press, technically called a smasher, has lately been employed with great ad-
A book is placed between tins, the platen
vantage. is
adjusted to a proper height, and the large
fly-
The platen descends in a
wheels set in motion.
perpendicular manner; then, upon its ascending, by
means of a small handle the distance between the platens is decreased ; the wheels
still
continuing in
motion, the book, upon the descent of the platen, is
compressed more forcibly than at first. ration
is
The ope-
repeated until the book has experienced
ihe whole power of the press. lated that
It has
been calcu-
by this process a single volume will, if
necessary, undergo a pressure equal to a weight of
from fifty to eighty tons. This process has an advantage over every other hitherto employed in which machinery has been en-
gaged; and beating,
it
as the
is,
in
some respects, preferable
to
book is of the same thickness in
every part, while in beating there is a great liability
ART OF BOOKBINDING.
45
to beat the edges thinner than the centre ;
and the
air appears to be as completely forced out as if the
beating-hammer had been used; and there seems to be no disposition in the
book to swell up again
after undergoing this crushing process.
In some binderies a hydraulic press is relied upon for compressing the sheets, without their undergoing
the beating or rolling process.
found to answer the purpose for which
it has been it
is
For publishers' work
employed, as the press can be
up by
filled
placing the books in layers of from one to four or eight, according to their size, between iron plates;
and the immense power of the press is thus evenly distributed through a large quantity of sheets at the
same time.
The power of compression is derived from the
pump to the left of the press, which is supplied with water from
a cistern sunk under
it.
The
water thus sent, by means of the tube seen passing
from
it
to
the
centre of the foot of the
causes the cylinder to which the bed
press,
is
fixed to
books or paper
tightly
between the bed and head of the press.
When
rise
it
is
and
compress the
forced as high as can be
pump-handle seen, a larger bar
worked by two men.
by means of the is
attached and
The extraordinary power
HYDRAULIC PRESS, FROM THE MANUFACTORY OF ISAAC ADAMS & CO., BOSTON.
47
ART OF BOOKBINDING. of this press
is
so great
common work,
in
a
as to cause, particularly
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 cistern 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.
The hydraulic press is manufactured by nearly all
the press-makers, differing only in the general
design, the application of power being the same.
After beating, should there be any plates to the work, they, as before stated, must
among
the text.
now be placed
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 preserve a
uniformity.
It is advisable to place a leaf of tissue-paper before
each plate, particularly when newly printed, as the ink of copper-plates of letter-press.
is
longer in drying than that
When a work
contains
a great
MANUAL OF THE
48
number of plates, which are directed to be placed sewn on the bands by over-
at the end, they are
casting, which operation will shortly be treated of in full.
The book, being now ready for pressing, is taken in sections, according
to the
work and the judg-
ment of the workman, and placed between pressingboards the size of the volume, one on the other,
and conveyed to the standing-press, which is pulled
down as tight
as possible by the press-pin, or fly-
wheel, according press;
although
to it
the nature of the standing-
must be premised that when a
book has been through the smasher, no further pressing will be required until it reaches the hands of the forwarder.
After the book has been sufficiently pressed, it will
be necessary again to collate it, to correct any
disarrangement that may have taken place during the
beating
and pressing.
It is
then ready for
being sawn out.
SAWING THE BACKS. This operation is performed in order to save the
expense of sewing upon raised bands, and also to prevent the bands on which a book is sewn appearing on the back.
After beating the book up well
49
ART OF BOOKBINDING. 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 laying or
cutting -press, the whole being elevated sufficiently to prevent the saw damaging the cheeks 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
be attached to the loops on the cross-bar of the sewing-press
as
many
pieces of cord, of proper
length and thickness, and fastened with the aid of the keys in the groove of the press as nearly equal 5
MANUAL OF THE
50
in tightness as possible.
When this is done, the
back of the first sheet in the book is placed against the cords, which must be
moved upwards
or the
contrary to the marks of the saw, when the small screws at each end under the cross-bar must be
moved upwards
till
the strings are equally tight.
All this being disposed, the book is commenced sewing by placing the end-paper, which has no marks of the saw, on the sheet before laid down, and sew-
ing 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.
volume consisting of thick
sheets, or a sheet
A con-
taining 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
ART OF BOOKBINDING. of the book.
the
of
51
The thread, in order to keep the book
same thickness
at
the
and
ends
centre,
should be drawn parallel with the bench, and not
downwards, as is too frequently the case.
Upon the
proper swelling of the back mainly depends
the
regularity of the round and firmness of the back in the after-stages of the binding.
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 kettle-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 kettle-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
MANUAL OF THE
52
admit of three^ on a course
:
the
first
sheet is sewn
as in three bands, from the kettle-stitch to the first
band, the next to the second, and the third takes the middle space ; then the second sheet again from the third to the fourth band, and the
thence to the other kettle-stitch.
first
from
The third
sheet
having only one
stitch, it is necessary that, in saw-
ing, the distance
from the second to the third band
should be left considerably longer than between 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 kettle-stitch before
fastening
the
thread.
This,
which gives
sufficient firmness, is necessary to prevent the swell-
ing 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, wT here,
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 whipping or
ART OF BOOKBINDING.
53
This is by taking a section, according
overcasting.
to the thickness of the paper,
and forcing the needle
through the whole at the kettle-stitch, and on each bands, at a distance
side of all the
secure
the
from
stitches
sufficient to
bringing
tearing,
the
thread round each band, as before directed, and fastening
it
at
the
end before
proceeding with
To keep the whole of the sheets
another course.
properly even, the back
sometimes glued im-
is
mediately after cutting, and when dry divided into Atlases and books of prints, when folded
sections.
in the middle, will require a guard, or slip of paper,
to be pasted to them, so as to allow them to open
which they could not do
flat,
back,
and which would
attached to the
if
destroy the
engraving.
These guards must be of strong paper about an inch in breadth
and
folded
to
the
right
size.
They are sewn by overcasting, as above directed.
A better method for books of plates, or single leaves,
is,
after cutting the
back evenly with the
plough, to lay it between boards and glue the back
evenly over with thin glue.
After
it
has become
dry and hard, separate it into thin sections it
be
be sawn out in the usual manner
taken and whipped,
sections
with
fine
or
thread, 5*
;
it
overcast
care
;
then let
should then in
separate
being taken in
MANUAL OF THE
54
whipping the sections that it be evenly and neatlyAfter the sections are
done.
all
whipped, they
should be sewn or affixed to the bands in the same
manner as folded sheets. The old mode of sewing on bines many advantages.
with
raised bands
com-
This style is still adopted
many works, particularly with those having
a small margin;
in fact,
and
far
superior
to
any mode that
is,
however,
a
very
slow pro-
and necessarily an expensive one
and many
is
durability,
practised;
cess,
binders
it
who pretend
to
it
both for elasticity
is,
;
bind in this manner, to
obviate this, have their books sewed in the ordi-
nary way, and then, by sticking
false
bands upon
the back, give them the appearance of having been
sewn on raised bands.
If
ifc
is
intended to sew
a book purely flexible, it should be knocked up even
and square, placed between two pieces of pasteboard, and placed in a laying-press; then draw
a.
line across the back, near the head, where it will be
by the forwarder in cutting the edges.
cut
take
a pair
of
Next
compasses and divide the back
lengthwise into six even portions, except the bottom or
tail,
which should be longer than the
order to preserve a proper
rest, in
symmetry of appear-
ance ; then draw lines square across the back with
ART OF BOOKBINDING.
55
a black lead-pencil from the compass-points of the five
inner divisions, for the places upon which the
bands are to be sewed; then make a slight scratch with a saw about one-quarter of an inch inside of
where the book will be
cut, for the kettle-stitch at
the head and likewise at the tail.
Upon taking the
book out of the laying-press, take the pasteboards
and saw them at the points marked by the leadpencil of a depth sufficient to allow the cords upon
which the book is to be sewn to enter. will
,
The boards
then serve as a guide to set the bands of the
sewing-press at the commencement of the operation,
and afterwards, during the progress of the work, will be found useful to regulate
any deviations that
may
place.
be inadvertently
sewing-press
paper
is
taking
After the
properly regulated and the
sewn as previously described, the
should then be taken, regular order, and sewn
one at a time, all
in
end-
sheets their
along, from one end
of the sheet to the other, or, more properly, from
one kettle-stitch to the other, taking especial pains to
observe that in
first kettle-stitch
sewing each sheet, after the
has been caught, the needle must
be passed to the farthest side of the nearest band, then passed to the other side of the band, and so
on for each successive band.
-
By this means the
;
MANUAL OF THE
56
thread will have passed
completely round each
band, upon which the sheet will revolve as upon a hinge, without the slightest strain upon either the
The inner margin
band or the thread. preserved
its
full
size,
is
thus
and the freedom of the
volume much increased. If you desire to revel in the full enjoyment of a flexible
back, have
it
sewn with
silk
upon silken
bands or cords, and you will have a combination of elasticity and strength that cannot be surpassed.
For large volumes of engravings, the best mode of binding, so as to secure strength and also to
allow the plates to lie flat when the volume is open, is
to mount the plates with linen upon guards.
To
do this properly, select paper of the same thickness as the plates, cut it in strips an inch or an inch and
a half wide, paste the back edge of the plate about a quarter of an inch in depth, from top to bottom
then lay a strip of thin linen or paper-muslin along the pasted edge of the plate, and rub will adhere.
it
so that it
The strips of linen must be sufBciently
wide to project beyond the plate as far as the width of the paper guards.
One of the latter is then to
be evenly pasted over and laid upon the projecting strip of linen, carefully smoothed,
and laid between
pasteboards to dry after they are thus mounted.
ART OF BOOKBINDING.
57
The plates are then whipped along the back edge of the guard, and sewed in the usual manner. It was proposed by M. Lesne, bookbinder of Paris,
in a Memoir presented by him to the " Societe
$ En-
couragement " 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 being insufficient to solidity, as well as
arising
from one
make the back
of a proper
being liable to break, and, if
doubled or trebled, presenting a bad
back when
slip
effect
on the
covered, he suggested the adoption of
silk for the bands,
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
stronger than
silk,
this
being
much
thread, and insuring a greater so-
lidity to the work.
It will be
observed that the
cuts of the saw, apparent in other bindings, are not
seen in opening the volume.
"When the volume is
entirely sewn, the screws are loosened, the cords
detached from the keys, and about two inches of the cord left on each side of the book to attach the
boards that are to form the sides.
MANUAL OF THE
58
INDIA-RUBBER BACKS. In those instances where the leaves of a book are held together by caoutchouc cement instead of bysewing, 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-rubber. quantity so applied it is
is
very small.
In a few hours,
sufficiently dry to take another coat of a some-
what stronger caoutchouc solution.
In forty-eight
hours, four applications of the caoutchouc
made and dried.
may be
The back and the adjoining part
of the sides are next covered with the usual or
The
fillet
band
of cloth glued on with caoutchouc; after
which the book is ready to have the boards attached,
and
to
be covered with leather or parchment, as
may be desired.
ART OF BOOKBINDING.
59
PART II. FORWARDING. This branch of the art several
parts.
branch or
may
be
divided
into
We will give precedence to that of forwarding
requires
the
utmost precision and opens to the ambitious
for-
class
that
warder a field of exertion worthy of his best efforts.
Let the workman who
strives
to
excel in his art
remember that his work goes through the hands of critics
and judges; that it possibly may be com-
pared with the productions of the most celebrated artists.
Let him, then, look well to
his laurels if
engaged upon first-class job or
CUSTOMER WORK.
The book being taken from the sewing-press, the end-papers and the first sheet are then turned back.
A strip of paper
is
placed about one-eighth of an
inch from the back, so as to prevent the paste from
spreading unevenly, and paste is then applied with the finger along the edge of the sheet. is
The sheet
turned over, and the same process repeated to the
first
and
secoiad leaves
of the end-papers,
if
the
MANUAL OF THE
60 book
is
to
be lined with buff or brown paper.
After the papers have been cut to the proper size
and evenly folded, they are pasted along the folded edge in the same manner as the end-papers were.
The first leaf of the end-paper is then turned over, and the lining-paper laid full up to the back-edge of the book.
If this be done carelessly, or not en-
tirely straight
and square from end
to
end, the
future appearance of the book will be considerably
marred.
As much
depends upon
of
the
beauty of the joint
the manner in which the lining has
been performed, if it is intended to line with marbled paper, after turning over the end-leaf, place the lining as near as possible to the back-edge, so as to
expose to the action of the brush almost the entire leaf of the end-paper that lies on the book. this lightly over;
rub
it
Paste
then place the lining upon it, and
even and smooth with the. hand.
In either
case it should be left to dry before the end-paper is
folded down to its place, as it is liable to force the lining-paper from the back.
A better method
is
to
paste the marble-paper upon the white end-paper before
it
is
inserted in the book.
then be lightly pressed, to
make them
smooth, and hung upon lines to dry. there
is
The papers may perfectly
By this process
no fear of the book being wrinkled by the
ART OF BOOKBINDING. dampness from the lining-paper.
61
Attention 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 of calf or morocco is required, all that is
necessary for the forwarder to do
is
to tip the
back-edge of the lining that goes next to the book
very slightly, merely to secure
it
until
it
reaches
the finisher, and place one or two guards of stout
paper along the joint, to be afterwards torn out by the finisher.
These
matters
being
adjusted,
the
end-paper
turned back to its place, and the twine on which the
book has been sewn pulled tight, care having been taken to avoid pressing the twine against the endpapers, on account of their liability to tear near the
bands, the bands which are intended to be laced in the boards must be opened, or the strands separated
with a bodkin and scraped with a dull knife so as to bring
them to a point and make them more con-
venient to pass through the boards which are to
form the side covers.
The book is now taken between the hands and well beaten up at the back and head on a smooth
board, or on the laying-press, to bring the sheets level
and square, as the beauty of the book, in all
MANUAL OF THE
62
subsequent operations, depends
the
care and attention paid in this place. is
much on
the
The volume
then laid carefully upon a board, with the back to
the edge of the board, a strip of pasteboard is laid
on the upper press,
side, the
book placed in the laying-
The glue should
and the back evenly glued.
be well rubbed in between the sheets, taking care that
the
sheets
are
even on the back and the
volume equal in thickness throughout the whole It is then laid on a board to dry, but must
length.
not be placed before the
fire, as,
becomes hard and
glue
liable
by so doing, the
to
crack in the
process of
ROUNDING. In commencing
this operation, the book is placed
upon the laying- press with the fore-edge towards the workman flat
;
the left hand should then be placed
and open upon it, the thumb towards the fore-
edge.
With the four fingers the volume is slightly
bent
and the upper portion of the back drawn
towards the workman.
The right hand is then en-
gaged with a backing-hammer in lightly tapping the sheets w ith an T
the
back.
upward motion from the centre of
The volume
is
then turned upon the
other side, and the operation is repeated until
it is
a;
ART OF BOOKBINDING. the
63
book has acquired a
evident
that
round.
The left hand is held to the back while the
sufficient
round is pressed into the fore-edge with the fingers of the right.
The volume is then held up and the
back carefully examined to ascertain if the round is perfectly regular, and, if not, it must be again sub-
mitted to light blows of the hammer until the back describes a portion of a perfect circle.
Care should
be taken that the round be not too
flat
for the
thickness of the volume, or, on the other hand, that it
does not become what
horrible
is
called a pig-back,
monstrosity in binding, having
ridge in the centre of the back.
—
a sharp
If the round be
not regular and even from the centre to the edges, as well as from twist,
head to tail, and entirely free from
no after-skill or care can overcome the evil,
but it will ever remain to prove the want of care or the incapacity of the workman.
The next process,
and equally important, is that of BACKING, which is done to form the groove for the reception of the boards.
One of the backing-boards is placed upon
the volume at an equal distance from the back, the distance depending upon the thickness of the board then, turning the volume, the other
is
placed in a
MANUAL OF THE
64 *
similar manner ; the boards are then firmly grasped
by the
left
hand across the back, and, with the
assistance of the right hand,
the whole carefully
put into the laying-press, the edge of the boards nearest
the
back of the volume even with the
cheeks of the press, and screwed up with the presspin as tight as possible.
The backing-hammer is
then taken in the right hand and employed in turning the sheets from the centre over the backingboards, to
purpose the
form the necessary groove. first
For
this
blows should commence near the
centre of the volume, and should be as light as possible,
the blows glancing towards the edge, so as to
merely commence the turning of the sheets, without causing any indentations or wrinkles on the inside of the
volume.
lengthwise
of
This should be proceeded
with
each
blows
the
volume,
series of
growing gradually nearer to the edge or backingboard, and, as they approach, becoming
more firm,
until the sheets are turned over the backing-board,
so as to form a regular and solid groove. cess
is
The pro-
repeated up the other side, the volume exa-
mined to see if the back is regular and equal in its circle throughout,
and any slight irregularities cor-
rected by light taps of the beating-hammer;
but
nothing can justify a workman in striking a heavy
ART OF BOOKBINDING.
65
$
blow near the centre of the back, as it must inevitably crush and wrinkle the paper on the inside. It serves but to prove his ignorance of the principle
upon which the entire operation is based.
There is
nothing connected with the forwarding of a book that requires
more
attention, patience,
and
skill,
than the rounding and backing, and there is nothing that contributes
If well done, it gives a character and
the volume.
a tone to
more to the general appearance of
all
the subsequent operations ;
It remains an enduring
mark
The volume
of a careless or inefficient workman. is
done
may be afterwards em-
badly, no care or skill that
ployed can hide it.
if
now ready for the boards, which have been pre-
viously
prepared.
This
is
done by cutting the
sheets of milled-boards according to the size of the
One side of
book, with the table or patent-shears. the board
is
then lined with paper, the shrinkage
of which will cause the board to curl towards
it.
If the volume be large, or a thick board be required, it
will
be necessary to paste two or more thick-
nesses of board together. ing-press,
Place them in the stand-
under pressure, until dry
;
then take
them out and line them on the side of the board that has been pasted, or, if one board be thinner
than the other, upon the thin board, in the same 6*
MANUAL OF THE
66
Boards made in this
manner as the single board.
manner should always be prepared some length of time before they are used.
The boards being in
readiness, the volume is taken
and one point of the
compasses placed at the centre of the back, and the other point extended towards the fore-edge until it
reaches the edge of the smallest bolt.
This will
give the proper size to cut the boards, as the groove or joint will give the projection or square of the
board.
If the volume be rare and valuable, let the
workman be merciful in the use of his steel, as the cropping of ignorant workmen has impaired the value of many a choice tome.
If
it
be intended
that the leaves are to remain uncut, previous to the
rounding of the volume, take a large butcher's-knife
and carefully trim the extreme ends of the projecting leaves.
After the size has been obtained, the next
operation is
SQUARING THE BOARDS. This
is
done by cutting the back-edge of the
boards with a plough in the laying-press ; the boards are then marked with the compasses from the edge
which has been squared towards the front cutting-board
is
;
the front
placed at the compass-holes, and
again put in press, with the front cutting-board or
ART OF BOOKBINDING.
67
runner level with the cheek of the press, the backboard being a little higher, so as to allow the ploughknife to cut against it.
The rough part is cut off with
the plough as hereafter described, with this differ-
ence:
—
that, in cutting pasteboards, the
cuts towards him.
workman
The boards are then taken out
of press, and the square applied to the head, and
marked with the point of a bodkin in the
;
this is cut off
The volume is then opened
same manner.
and examined for the purpose of finding a leaf of an average length, which
is
measured by placing the
thumb of the left hand against the edge of the head and applying against
it
one of the points of the
compasses, carrying the other so much over the end of the leaf as will allow for the square of the boards at the tail ;
and if the volume be large for a portion
of the square at the head, the superfluous portion is
then cut
size, let
off
with the plough.
In taking the
the workman recognise as a rule that every
book should be cut as large as possible, lest he be suspected of having an eye more to the shaving-tub
than to his reputation as a binder. early binders, De Rome
cropping.
is
Among the
noted for his merciless
But few volumes have preserved the in-
tegrity of their margins after having been submitted to the cruel operation of his steel.
A volume cut
MANUAL OF THE
68
to the print is said to bleed ; therefore be careful to
avoid the slightest approach towards the commission of such an act of Vandalism.
The boards having
been squared for the back, front, head, and
tail,
they are placed, with the lined side of the board next to the book, preparatory to the
LACING IN.
Each board is then marked with a bodkin opposite to the slips intended to be laced in ; a hole in a vertical position
is
then made through the board,
and being turned, 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 groove.
the
After cutting
back, and confined in the 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
ART OF BOOKBINDING.
69
made, and the band, being passed in this one continued hole, will liability,
not
be seen underneath.
The
however, of its tearing out is an objection,
and from this cause the common wav, with care in beating down, is preferable.
After the slips have been well beaten down, the roundness of the back must be examined, and any twist that is perceptible corrected with the backing-
hammer.
A piece of smooth tin, larger than the
volume, must then be inserted between each board
and the book, with one edge of the the joint.
tin full
up
to
The volume is next placed between press-
ing-boards even with the joint, and put into the standing-press, which
must be screwed tight and
evenly down. Stewart's double-screw iron standingpress is well adapted for the purpose, and is in very
general use.
After the press has been screwed
down, the back of the volume
is
then damped with
thin paste, and, according to the firmness of the
sewing and book, grated and scraped, and finally
rubbed smooth with paper-shavings, and left to dry in the press for as long a time as possible.
If a
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
MANUAL OF THE
70
adhere, so that they may move freely up and down in the cutting.
CUTTING THE EDGES.
The manner of preparing the volume for cutting is
very important, as swerving from right angles in
cutting the head and tail will present a disagreeable
Every precaution must be taken to
appearance.
insure the volume being cut perfectly square.
front-board
is
The
drawn down from the head just suffi-
cient for the knife to operate upon in the cutting.
A
piece of trindle is inserted between the volume
and
the back-board for the point of the knife to cut against.
The volume is then 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 edge of the mill-board, and the whole, held tight with the left hand, put into the
ART OF BOOKBINDING.
71
cutting-press, to the level of the right-hand cheek
of the same, taking care that the volume hangs per-
pendicular 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 screw gently as he cuts, which should
be all one way, the body.
—
viz. : as the arms
are removed from
The plough must be held firm in the
groove or guides of the press, to prevent the knife
jumping or cutting the edges uneven
;
and, should the
knife be found to run up or down, the defect must
be remedied by removing some of the paper or boards placed under the knife where to the plough.
it
is
fastened
If there should be none required to
bring the knife even with the plough, then a piece
must be placed on whichever defect
may require.
side of the bolt the
The head being cut, the same
operation is repeated for the tail.
Much precaution is necessary in cutting the foreedge. 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,
MANUAL OF THE
72
drawing a line from one to the other
;
then, laying
the boards open, insert a trindle at each end of
the volume, under the back, so as to throw the
round out; then wind a piece of fine cord several times round from the head to the tail, to prevent
made flat, to
the leaves returning after the back
is
form the gutter on the fore-edge.
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,
much
below the line
and place the runner as
on the
title-side
as has been
Taking
allowed for the square on the fore-edge.
the whole in the left hand, the volume must be ex-
amined
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
to
keep the other board pro-
left,
equal to the square allowed
care
jected above the
in front, so that, w hen cut through, the fore-edge T
may be equally square with the boards on each side. After the fore-edge the back resumes
its
is
cut, the string is
taken off,
circular form, and the edge in
consequence presents a grooved appearance, which puzzles the uninitiated to ascertain
duced.
The
method
above
how it is pro-
described
is
called
"cutting in boards," and is superior to any other.
ART OF BOOKBINDING.
73
It is of the utmost importance to the young work-
man that he should pursue and acquire a methodical system in all his operations. Select the best method, as a matter of course, and then adhere to it.
Do not,
every time you perform one particular process, do it in a different manner.
For instance
in backing or
:
in turning up your books, it is better to always have
the head towards you ; in cutting head and
have the back nearest you.
down, always do
it
in one
tail,
to
In laying your work way.
Let that way be
the one whereby you can most conveniently take it
up again.
Much time may be wasted, from inatten-
tion to these particulars, in the unnecessary handling
and confused manner of working.
It will be
found that the best and most expeditious workmen are those who do their work in a systematical manner.
In taking leave of this department, our part-
ing admonition to the young workman is, strive to
excel.
Do not be content if your work will merely
pass, and say to yourself, " Oh, that is good enough !"
If it
is
possible for
good enough.
you to do it better, it is not
Employ your reasoning faculties as
well as your physical powers, so that
sink into a mere machine. cess,
you do not
When performing a pro-
ask yourself the question, " Why is this done ?
What is the object of it?
Can the
process be im-
MANUAL OF THE
74
You will find the hand to be an apt
proved?"
instrument of the mind and will, and that you will speedily be recognised as an intelligent workman.
Have, at least, this much ambition.
The next process which the volume must undergo is
the gilding or colouring of TJIE EDGES.
Colouring
edges
the
with
one
colour, equally
sprinkling over, marbling, and gilding, come under this
head; and the style of ornament of this de-
scription
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 brown and red, in
preparing which
it
is
necessary to grind them in
water, very fine, on a slab, with a muller.
Each
colour 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 w ater may be mixed with the paste. x
In 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
ART OF BOOKBINDING.
75
press or table ; then, holding the book firm with the left hand, the colours
must be applied with a small
sponge or brush, 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
For further security, and to prevent the
the other.
colour searching into the books, it
is
advisable to
put them into the laying-press and screw them
moderately
tight.
In fact, for all good work, this
must be done. In sprinkling, it is usual to tie together a number of volumes with a board on each side of the outside books, or place them in the laying-press first, w ith T
the heads upwards ; then, with a large brush, similar to a painter's, dipped in
whatever colour may
be wished, and w ell beat on the press-pin over the T
till
the sprinkle becomes fine, the edges are
covered.
The pin and brush are held sufficiently
pot
above the book, and the edge sprinkled by beating
MANUAL OF THE
76
lightly at first, and stronger as the brush less
becomes
charged with colour, being careful that the
spots are as fine as possible, the
sprinkle being
thereby made more beautiful.
The cleanest method, and at the same time the surest to produce a fine sprinkle, is to use a wire sieve and a stiff brush, something like a shoe-brush, for convenience.
The sieve should be oval in form,
with a very thick wire running round the edge until they meet, then projecting about a foot
from
the sieve so as to form a handle, the whole somewhat
resembling in shape the bat used by ball-players.
Fine brass wire is the best for the sieve.
The wire
should be about one-fourth of an inch apart.
After
every thing is in readiness, dip the stiff brush in the colour and lay the sieve over the pan, and rub the
brush over it to get rid of the superfluous colour, which will drop into the pan ;
then knock off all the loose
colour adhering to the sieve;
then hold the sieve
over the books, and rub the brush over the wires, lightly at
first,
loses the colour. mist,
and afterwards harder as the brush
The colour will descend like a fine
and the effect produced upon the edge cannot
be equalled by the old method.
Several colours
are sometimes used with very pleasing effect ; some of these combinations will be described, and
many
ART OF BOOKBINDING. others will readily occur to the
77
workman
as his
may suggest.
taste
COLOURS. Of vegetable colours, and ochres,
directions for
mixing which have been given above, it will only be necessary to particularize the most approved and
The liquid ones will re-
generally-used substances.
quire a more lengthened description.
Blue.
—Indigo and Prussian
blue, with whiting
for lighter shades.
—Dutch pink, King's yellow, and
yel-
— Umber, burnt over the —Vermilion; Oxford ochre, burnt
in a
Yellow. low orpine.
Brown. Red.
fire.
or
pan.
—Rose-pink Green. — The
Pink.
;
to make it brighter, add lake. to
any
The liquid or spirit colours will be found
best
first
and second mixed
shade.
for use, as the edges will not rub,
colours are liable to do. well
known
;
which all other
Some of the receipts are
but, it being necessary to give a faith-
ful record of the art, the whole of the colours used
and modes of preparation will be presented. *7
MANUAL OF THE
78
BLUB.
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.
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
ART OF BOOKBINDING. water
till
brought down to a
79
pint.
The red edges now in vogue are made
bottle.
with vermilion, mixed with vellum-size. class
Strain and
are
scraped before they are
The better and
coloured,
afterwards they are burnished.
PURPLE.
Logwood chips, in the proportion of half a pound to two ounces of alum,
peras, boiled
and a small piece of cop-
in three pints of soft water
till
re-
duced 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.
darker shade
is
required,
Plain brown edges are
add a
little
If a
copperas.
made with burnt umber,
in the same manner as that described for red edges.
With these
colours, edges
sprinkled to almost an infinite
of
books
may be
number of patterns.
A few will be given; for, though fancy sprinkles are seldom used where the binder can get the edges
MANUAL OF THE
80
of extra books marbled, they will be of use to those
who would find marbling a work of too great preparation and expense for a small
number of books
in places where there is no marbler.
RICE MARBLE. This pattern has been so called from the use of rice ;
but linseed, or bread crumbs, will answer the
same purpose.
The rice 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 w ith T
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
much
or
varied
by using two
sprinkling the edge before the
three
may be
colours
or
wax is thrown on,
and, after it is, again with other colours.
Whiting mixed with water to a thick consistency
ART OF BOOKBINDING. will nearly
81
answer the same purpose, and
is
less
expensive than wax.
FANCY MARBLE. t.
Take a small portion of rose-pink, green, or any other vegetable colour, and well bray it on the slab
with the muller,
Prepare a
till
dish, or
reduced to a
fine
other vessel, large
admit the fore-edge of the book, and clear
water;
powder.
enough to filled
with
then with the palette-knife mix a
portion of the
colours 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. will cause it to
The spirit of wine
spread in a diversity of pleasing
forms, when the edge of the book must be dipped in the
same manner 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.
GOLD SPRINKLE. After the edges of the book are stained with
any of the colours above described, a good effect
may be
given by sprinkling with a gold liquid,
made in
the following manner:
—Take a book of
MANUAL OF THE
82
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
in more, till the left
honey is all extracted and nothing
but the gold; mix one grain of corrosive sub-
limate with a teaspoonful of spirits of wine, and
when dissolved put the same, with a little thick gumwater, to the gold, and bottle
When
before using.
well
it,
always shaking it
dry, burnish the edge,
and cover it with paper till the work is finished.
MAKBLINGL Marbling is an art which consists in the production of certain patterns
and
effects
colours so prepared as to float
by means of
upon a preparation
of mucilaginous Hquid, possessing certain antago-
properties to the colours prepared for the
nistic
and which
purpose, floated
colours,
T
w hen
prepared,
so
and formed into patterns upon the surface
of the liquid,
are taken off
sheet of
piece or
by laying thereon a
paper or dipping therein the
smoothly-cut edges of a book. It
is
scribe ; first
a process which
it
is
not very easy to de-
and yet, to any one beholding
time,
it
nothing appears more simple
for the
or easy
83
ART OF BOOKBINDING. of execution.
Yet the difficulties are many; and
the longer any one practises
the more he will
it,
become convinced that there are many more coveries to be to
any thing
with
that
its
made before the art can be brought like
perfection
or
which
the
certainty
In short,
desire.
dis-
it
produced
effects
workman
may be said to be
could still
in
infancy.
When the art was first discovered, and by whom, or in what city or country it was is
hardly possible to
first
determine*
practised, it
It is
that we cannot go farther back for
its
supposed
origin than
the beginning of the seventeenth century, and that
Holland has the honour of being the birthplace of the art,
— the old Dutch and some drawn and an-
tique patterns, with stormont and other spots, being
considered the most original.
Many years ago this old Dutch paper, in the size of foolscap, was imported into England, wrapped
round small parcels of Dutch toys, and thus passed free of duty.
When
smoothed and sold
to
taken
off,
it
was carefully
bookbinders, commanding a
high price, being only used on the better kinds of work.
Indeed, so choice was it that you may still
see in
some old books the
inside-linings
pieces carefully joined together.
made of
Something of the
MANUAL OF THE
84
art has unfortunately been lost since that time, for
both the colours and the execution of some of these old specimens far surpass the best efforts of the
most celebrated modern marblers. It is proposed, however, to show, as clearly and briefly as possible, how it is done
and practised at
the present day by the best English workmen, and to describe the various processes in such a manner
as will enable any individual possessed of a common
share of understanding and discernment, to do
it
himself; and, where there are two ways of doing it, that will be described which experience has pro-
nounced to be easiest and best. In describing one pattern, that will Ibe considered sufficient to include all of the same class, or that are
done in the same manner, although different colours
may be used.
For instance, a brown may be de-
scribed, and green, being the same in every respect
as regards the mixing and working the colours, may
be substituted for the brown
;
and so in regard to
other colours.
COLOURS.
The colours required for marbling are the same as those ordinarily used for painting both in oil and
distemper.
They should be procured in a dry state,
ART OF BOOKBINDING.
85
just as they are produced or manufactured,
ground by the marbler himself. joined
:
—
A list is sub*
REDS.
Drop Lake. Peach-wood Lake. Vermilion.
Rose-Pink.
Oxford Ochre, Burnt.
BLUES. Indigo.
Chinese Blue. Ultramarine.
Prussian Blue.
YELLOWS.
Lemon Chrome. Dutch Pink. Oxford Ochre, Raw. BLACKS. Vegetable Lamp-Black.
Drop Ivory-Black. 8
and
MANUAL OF THE
86
BROWN. Turkey Umber Burnt. ORANGE.
Orange Lead.
Orange Chrome. WHITE. China Clay. Pipe-Clay.
Flake White. Paris White.
DROP LAKE. This is the most beautiful, but the most expensive, of all the reds, and is used only for book-edges and
the most superior kinds of work. ferent shades of this colour, viz.
The scarlet
son, and purple. sive,
is
There are :
—
scarlet,
dif-
crim-
the most expen-
and looks the best on edges, possessing a
brilliancy which
no other colour will produce
;
but
there is a great quantity of a very inferior kind of
drop lake about, which is of no use whatever to a marbler, for, when it comes to be worked, it is found to possess no body.
ART OF BOOKBINDING.
87
In order to ascertain whether the article about to N
be purchased
will
answer,
colour, and, breaking
the tongue.
it,
take
a
piece
of
the
apply the broken part to
If it adhere to the tongue, it is very
doubtful whether
it
will
do
;
but
if it
hold up the
moisture without any inclination to adhere, it
be tried with better expectations.
may
This colour
is
sold in the form of small cones or drops, from which it
derives
neal
its
name, and is a preparation of cochi-
therefore the value of it depends
;
much upon
the price of that article.
VERMILION. This colour great specific
is
but
little
gravity,
used, on account of its
and seldom without being
combined with some other colour.
It is a prepara-
tion of mercury, and, though nominally at a
lower price than lake, yet so
little
much
of it goes to a
pound, it comes nearly as dear as that article.
ROSE-PINK. This is a very useful though common colour. It is
composed of c^alk or whiting coloured with Brazil
wood
;
consequently it is what
is
termed a fugitive
colour, the pink very quickly fading on exposure to
the atmosphere,* or to heat.
When combined with
MANUAL OF THE
88 indigo
or a little Chinese
blue
it
makes a good
purple.
BURNT OCHRE. This colour
is
obtained in
pits dug in the earth in the
ford; hence, it
is
times stone ochre.
called
its
native state from
neighbourhood of Ox-
Oxford ochre, and some-
It is in fact a kind of clay,
and
when made red-hot turns to a kind of red colour. It
is
one of the most useful colours, and, as the
With the addition
price is low, is extensively used.
of a little black it makes a good brown ; with a little
blue or indigo it makes a good olive ; or it is a good colour used by itself, and is not liable to change.
WOOD LAKE. This
is
a preparation
of peach-wood, and
has
only been introduced of late years to the notice of marblers.
It is manufactured at Birmingham.
colour
an exception to the
is
This
rule, as it is sold in
the pulp or damp state, and may be mixed and even
used without
grinding,
clusively for marbling.
being
made almost
ex-
It is the best red that can
be used for general purposes, and for appearance
comes next to the drop lake.
ART OF BOOKBINDING.
89
CHINESE BLUE. This is a very beautiful but not a very durable It is, however, an almost indispensable one
colour.
marbler, as
the
to
it
produce nearly every
will
shade of blue by the addition of certain proportions of white.
This colour requires to be par-
ticularly well ground, as indeed do all the blues.
It
is
state.
some places in the pulp or damp
also sold at
There are some very good damp blues made.
INDIGO. This colour is a most valuable article, and cannot
be dispensed with under any consideration. too well known to require describing.
a bright colour, it for
is
It
is
Though not
one of the most durable, and
mixing and producing greens and purples of a
permanent kind is invaluable. black be
made without it.
Neither can a good
Care should, however,
be taken to procure it of the best quality.
ULTRAMARINE. This is a very beautiful colour, but must be used
very sparingly, as it will not glaze or take any kind of polish, and
kinds
is
always inclined to rub
off.
The
now in general use are the French and Grer8*
MANUAL OF THE
90
man, the genuine article being far too high in price for this kind of work.
PRUSSIAN BLUE. been
colour has
This
of
late
almost
superseded by the Chinese blue, which
is
entirely
much
a
brighter colour,
Prussian blue being darker and
heavier
and
looking,
is
a very bad
colour
for
glazing.
DUTCH PINK. This is a common but very useful colour.
It is a
preparation of whiting and quercitron bark, and is
used in making greens, no other colour answering the purpose so well.
It
is
also very useful in mix-
ing with chrome to produce the various shades of
yellow required.
CHROME. This
is
of various shades, varying from a light
lemon colour red.
to
a deep orange approaching to a
It is a useful colour; but, unless
genuine,
it
is
very
difficult
to
get
you get it it
to
work
This
may
properly.
RAW OCHRE, Or Oxford ochre in its native state.
be used in certain proportions for making olive
ART OF BOOKBINDING. tints
91
combined with Dutch pink and blue or black.
It is also of use in
yellow when
it
is
small quantities to mix with
inclined to run
colour
this
off,
being of a very adhesive nature.
DROP IVORY-BLACK. This colour cannot be well used alone.
It may,
therefore, be called only an auxiliary to others.
VEGETABLE-BLACK. This
is
a superior kind of lamp-black, but pre-
pared from vegetable instead of animal matter. is
It
surprisingly light, and cannot be used alone, and
will
not produce a black for marbling except in
combination with double its weight of good Indigo.
TURKEY UMBER, BURNT. This it
is
colour
produces a very good brown, but
not required
if
you have the burnt Oxford
ochre, as, with the aid of that colour
and a little
indigo and black, any shade of brown
may be pro-
duced.
ORANGE LEAD. This
is
a very heavy colour, and
is
but
used, except for the edges of account books.
little
MANUAL OF THE
92
WHITE.
For this an
called China clay
article
used;
is
some purposes, the common pipe-clay.
also, for
GUM.
Of
the varieties of gum,
all
there
one
but
is
that is of any use to the marbler, and that is called
Too much care
gum-tragacanth or gum-dragon.
cannot be exercised in the choice of this as
much of
upon
It
it.
article,
the excellence of
the work depends
should be large,
white,
and
flaky.
Occasionally there will be found some very good in small white flakes; but let that in dark
lumps be rejected price
may be
it
at
once,
offered.
only do for the most
no
brown
matter at what
If used at
all, it
would
common kind of work; but
there is, in reality, no saving in an inferior article, as one as
pound of a really good sort will go as far
two of a bad, and produce a far more
factory
cold water;
soaking,
Good gum ought
result. it
to
satis-
dissolve
in
requires at least forty-eight hours
being well
stirred
about
at
intervals;
but some gums take longer to dissolve.
Good
gum will produce a smooth surface, but bad gum will
often
yield
to the purpose.
a
rough one, which
Again, some
is
will give
inimical
a smooth
ART OF BOOKBINDING. surface, will
93
and yet possess no strength
flow
upon
well
when the paper
it
and
taken
is
it
has
be found running
the colours
form properly, and,
off,
look,
will
very beautiful, but upon looking at minutes after
;
it
at first,
five or
ten
been hung up, the colours will
off,
causing
indescribable
an-
noyance and mortification. DIRECTIONS FOR PREPARING THE GUM. Procure a large
earthen
inside, capable of containing
glazed
pan,
from eight
on the
to twelve
Put therein one pound of gum-
gallons of water.
tragacanth, and on it pour about two gallons of soft water.
Stir
every few hours with a clean birch
it
broom kept expressly for the purpose, breaking the lumps and adding more water as absorbs that previously put
it
thickens or
In about forty-
in.
eight hours you may venture to use it ; but seventy-
two hours would be better. better
for
a longer period, as, although
siderable portion of
yet the best till
the
fine
is
dissolved,
not
extracted
dissolved.
hair
a con-
gum may be
properties of
the whole
through a
Some gum is all the
sieve
it
It
are
must be strained
before
any lumps remain, put them back until they are all dissolved.
using, into
and
if
the pan
MANUAL OF THE
94
OF LINSEED. It
some patterns on mu-
possible to marble
is
cilage
of linseed, but
vehicle
to
it
is
a very
work upon, and can never be made
to produce a satisfactory result.
by
boiling
It
gallons of water, or
made either
is
one quart of linseed in
six
or eight
by pouring the boiling water
upon the linseed and the
objectionable
stirring
mucilaginous properties
it
it
extracts
seed;
but
until
of the
it
very soon decomposes or turns to water
CARRAGEEN, OR IRISH MOSS. This
is
an
article
dispensed with
used by some, and can be
altogether:
it
is
not a necessary
When used, it should be picked (the white
article.
being the best) and well washed; then set
simmer
in
strain
through a fine hair
it
a
ready for use
gentle
;
but
heat
it
to
an
hour or two,
sieve,
and it will be
for
will
it
require a portion of
the solution of gum-tragacanth to be able to do
much with it. FLEA-SEED. This
is
an
article
but
little
those who have occasion to use
known except it.
to
It is a small,
brown, hard seed, in size, shape, and colour closely
ART OF BOOKBINDING.
95
resembling the annoying little insect whose name it bears,
and from which
appellation.
it
may possibly derive its
It produces a very strong
and power-
ful
mucilage
—
far
stronger
than that which can
be
obtained
from
linseed;
and what
its value is
enhances
that it will not so soon lose its strength
or turn to water, but will keep several days. is
of
It
a great assistant, mixed with gum, in the making
French and Spanish marbles, but
a total
is
enemy to nonpareil and drawn patterns. To prepare it, put a quarter of a pound of the seed into a pan, pour upon
it
a gallon of boiling
water, keep it well stirred for ten minutes, and let it
stand for half an hour ; then stir it again for ten
minutes more, and in another half-hour add another gallon of
boiling
intervals, for
w ater, T
stirring
one hour ; after which
and the seed will settle
at the
as before,
it
at
remain,
let it
bottom of the pan.
When cold, pour off the top for use, and the seed will bear more boiling water, though not so much as
at
first.
Sometimes the seed
will
yield a third
extract ; but this must be determined by your judg-
ment, as the seed, when exhausted, will viscid property,
lose
its
and must then be thrown away.
The seed should never be stirred up
after
it
has
MANUAL OF THE
96
cooled, for it will settle without being again heated
or having more boiling water added to it.
OX-GALL.
The surest way of obtaining this article genuine by procuring
is
it
from the animal, butcher upon
if
in
the bladder as
is
can depend.
The
very thick, but
will,
after
all
losing
keeping some time, get thin, without at properties;
its
in fact, gall
being kept, and
is
taken
is
you are acquainted with any
whom you
from some animals
it
is
.
gall
the better for
all
none the worse for a strong
smell.
WATER. Soft or rain water,
the
is
best
when
adapted for
all
it
can be procured,
the
preparations in
marbling.
OE THE PREPARATIONS OR VEHICLES REQUIRED
EOR MARBLING UPON.
For Spanish, French,
Italian,
West End, and
British patterns, there will be required a mixture
of gum-tragacanth and the mucilage of flea-seed, in the proportions of one quart of the latter to two
gallons of the former. till
Beat them well up together
they are thoroughly mixed or incorporated with
ART OF BOOKBINDING. each other, strain
it
through a
97
fine hair sieve into
the trough, and it will be fit for use.
For
Dutch, nonpareil,
antiques,
curls,
short, all patterns which require to be
and, in
formed with
any kind of instrument on the preparation in the trough, use nothing but the pure solution of the
gum-tragacanth ; in
you may marble all the
fact,
patterns on this 'alone, so that if there be any difficulty in procuring the other articles, and
procure good gum, the patterns upon
you can
you may do any or
it,
all
of
although some of them are
improved by the addition of the mucilage of the flea-seed.
As some gum is stronger than other, it is hardly prudent or possible to give any exact weight of gum to
any certain quantity of water.
Practice and
your own judgment must determine this.
Besides,
gum be not sufficiently soaked or beaten up,
if
the
it
will not yield so much or so good size as it would
were it in
its
The following will give
right state.
some idea to guide in the matter
:
—
If,
on skimming
the surface and sprinkling on the colours, they lose their shape
and appear to turn round on the solu-
tion, especially in the corners of the trough,
sign that
it
is
too thin ;
if,
it is
a
on the other hand, on
skimming there is a great resistance when the skim9
MANUAL OF THE
98
mer is drawn
along, and,
colours, they crack,
upon sprinkling on the
and are a long while spreading
out, it is a sign it is too thick ; but a little practice will soon enable the learner to form a correct
judg-
ment in this matter. OF GRINDING THE COLOURS.
On this head you must be very particular indeed; for, if it
the colours are not finely or properly ground,
cannot be expected that the work will look well.
When a large quantity is required, a colour-mill is the most advantageous method ; but scale, or for edges, the
will
if
on a small
ordinary stone and muller
be best adapted for the purpose.
Indeed, all
colours required for edges ought to be most particularly well
ground upon a
slab,
with a muller,
the mill not grinding so finely as by this method.
The colours must all be ground with a preparation of beeswax, in the average proportion of one ounce of the prepared beeswax to one
pound of colour.
Blues and greens require rather more.
This will
prevent the colour rubbing off on the hand, and will
make it burnish or glaze easily.
:
ART OF BOOKBINDING.
DIRECTIONS FOR PREPARING THE
99
WAX FOR
GRINDING.
To attempt to grind beeswax in its native state would be a fruitless task, as stones and
To
it
would
stick to the
not unite with the other ingredients.
obviate this,
prepare it in the following manner
Take of the very best beeswax two pounds, put it in
an earthen pipkin, and with it a quarter of a
pound of the very best curd-soap cut into small or thin pieces ; place it in a moderate heat, and when
both soap and wax are quite dissolved, (but be sure
they are not boiling,) put the pipkin containing the hot liquid upon a table, take in one hand a pot of cold water, and, gently stirring the melted wax with
the other, pour in the water, a little at a time, keep-
ing
it
constantly
stirred,
and
it
gradually
will
thicken, until at last it can hardly be stirred at all.
Care must be taken not to have it too hot when the water is poured in, as there is danger of it flying out of the pipkin and scalding the workman.
If pro-
perly mixed, when cool, it can be pulverized between the finger arid thumb ; and in this state
it
will
mix
or grind with the colour easily, but ought to be
rubbed or worked in with the dry colour before wetting it for grinding.
MANUAL OF THE TROUGHS.
The troughs should be made of wood, perfectly flat
and smooth
at the
bottom, and of sufficient
thickness to keep them from warping.
They should
be about two and a half inches deep inside, and about two inches larger than the sheet of paper you intend marbling, or your edges will be imperfect.
There should be about three inches parted the right-hand side
by a sloping partition,
off
on
w^hich
should be about an eighth of an inch below the sides, that the waste
may be skimmed over it with-
out running it over the top. perfectly level
The whole should be
and true; and,
if
the joints are
stopped with white lead, be sure it is quite dry and hard, or fill
it
will entirely spoil the solution,
and will
the pattern with white.
FRENCH OR SHELL MARBLE. To commence with the easiest and most common kinds of marbled papers
:
—the colours being properly
ground, and the trough placed on a level table or fixed bench of convenient height, with some feet of
spare room on each side, place the pots containing the colours on the right-hand side, and the paper or
books to be marbled on the left.
Let there be a
'art of bookbinding.
101
small brush in each of the pots of vein-colours, and a larger one in the last or body-colour.
Have a small
iron rod or bar about twelve or fourteen inches long,
placed so that you may be able to take required with the left hand.
Fill the
it
up when
trough to
about one-half or three-quarters of an inch from the top with the solution of gum-tragacanth and fleaseed, as previously described,
and proceed to mix
the colours.
For convenience of reference, the various patterns described and processes employed will be numbered.
NO.
1.
LARGE BROWN FRENCH OR SHELL, WITH
THREE VEINS, VIZ.
:
RED, YELLOW, AND BLACK.
Mix together ox-gall and water in the proportion of one-eighth of the former to seven-eighths of the latter.
Mix the vein-colours with this mixture, put-
ting in a little at a time, and gently stirring it about
with the brush (but be careful not to
make it froth
by too rapid stirring) until you arrive at the proper consistence, which must be ascertained by sprinkling
a little colour on the solution in the trough.
If the
colour sinks, and does not spread out, add a
little
neat-gall ; but, should it spread too far and open too
much, mix a little more colour with water only, and put it to that which spreads too much. 9*
MANUAL OF THE
102
The brown will require more gall a few drops of the very best cause falls
form
to
it
into
less water, and
or
will it
This colour
than the vein-colours,
to be thicker
when thrown
which
rings or shells as
on the solution in the trough.
will require
and,
itself
?
olive-oil,
sprinkled,
should drive or
By
force the other colours into the form of veins.
increasing the quantity of gall in the last colour, it will bring the veins to almost
ness ; but there advisable
to
is
a point beyond which If
go.
any degree of fineit is
brown does not
the
not
shell
enough, but forms in holes, add a few more drops of
oil,
and
well
mix
it;
but
if
there
be too
much oil it will spoil the effect of the shell altogether, which cannot be counteracted in any other
way than by mixing some more colour without any oil,
and adding it thereto.
Having, then, all in readiness, first skim the surface of
the solution lightly
all
over,
and imme-
diately (for when you begin it is necessary to move
quickly till colours,
all
the colours are on) sprinkle on the
beginning
thirdly, black;
with
the
red,
next
yellow,
then with the principal or body-
colour go well and equally all over, taking care to
throw as much colour on one part of the surface as another; then take up a sheet of paper by the
103
ART OF BOOKBINDING.
two opposite corners, and let the corner "between the finger
and thumb of the right hand touch the sur-
face first, while with the left you let the paper gra-
dually descend,
till
it
flat
lies
upon the
liquid.
If it is let down too quickly, or the paper gets rumpled, so as to allow the air to get
blotches will appear
trough ; and
when
is
it
under it, white
taken out of the
the paper be allowed to
if
lie
long
enough upon the size to draw out the blisters, still the marks will show.
In order to take the paper out, lay a lath or thin stick across the centre of the paper as it lies in the
trough
;
let it
be long enough for the ends to rest
upon the edges of the trough
;
then take hold of the
paper by the two parallel corners, lay
it
back
over the stick, lift it out of the trough by the stick, in the line,
same manner
as
it
might hang across a
and place it on a rack to dry. NO. 2.
— SMALL BROWN FRENCH.
This pattern is produced with precisely the same colours as
No. 1, by using the iron rod previously
described.
It
is
held in the
left
hand, and the
brush knocked against it, which causes the colour to fall
in
small
pattern, as
it
spots,
and reproduces the
were, in miniature.
No. 1
MANUAL OF THE
104
—BROWN FRENCH, WITH LIGHT SPOT. This pattern has but two vein-colours — the red NO. 3.
These are mixed with the mixture
and the black.
of gall and water, as described for the veins of
No. 1. is
It has also
mixed
two other colours.
manner
a similar
in
The brown brown
to the
No. 1, but not quite so much
gall
and
oil,
for to
allow for the other colour flowing out upon it ; and the last, or light spot,
is
burn t Oxford ochre, and a few drops of
olive-oil,
composed of raw or un-
mixed with
is
gall, water,
and a portion of spirits
of turpentine.
NO. 4. This
is
—SMALL YELLOW SHELL.
done in the same manner as No. 2 as
regards the mixing and working, the only difference
being in the body-colour.
NO. 5.
—BROWN AND PURPLE SHELL.
This pattern has three veins and two French colours, or colours that have been mixed as French,
—that
is,
with
this instance, is little
oil
in them,
the purple.
—the
last of which, in
Being mixed with a
more both of the gall and oil than the other,
in order to make it flow out, over,
and drive up the
other colours, a marbler will be able, if he follows
105
ART OF BOOKBINDING.
these instructions, to imitate any French pattern,
whether there be more or less colours in them.
NO. 6.
—BLUE STORMONT
Is an old pattern, but well worthy of being revived.
Though apparently very simple and easy of execution,
is
it
nevertheless
order, in consequence
very
difficult
of the
to
keep
in
speedy evaporation
and the chemical changes which are continually taking place among the ingredients with which it is
mixed.
and acute ob-
It requires great quickness
servation on the part of the workman.
There
is
one vein-colour,
but
ground or body-colour is blue. tion of
the
must
and the
The same prepara-
gum and flea-seed is used for this as for
French marble.
usual,
(red,)
with
gall
consist of
Mix
red for vein,
the
and water.
as
The other colour
good indigo alone, without which
The indigo
the proper effect cannot be produced,
being ground, as before directed in the instructions for grinding the colours, proceed to mix the indigo
with
gall,
water, and
spirits of
turpentine,
— of
which last ingredient it will require a considerable proportion, in order to holes.
The acme of
look like fine network.
make it break full of little pattern
is
to
make
Sometimes
it
will
happen
this
it
MANUAL OF THE
106 that
at
mixing
first
standing a day or two other times
it
not work, but after
will
it
it
will
work well, while at
will work immediately.
If the holes
come too large from an excess of turpentine, (for they will sometimes come too large from not having enough,)
add a
little
more
gall
and some fresh
indigo, putting in a few drops of alum-water ; but
be very careful of this ;
for, if there be too
will
make the colour thick and clotted
case
have recourse to a
potash ;
but
it
is
little
:
much, it in which
of the solution of
best, if possible, to
do without
either of them.
NO.
7.
—LIGHT ITALIAN.
A very pretty though simple pattern, but requires great cleanliness of working to turn
it
out well.
The colours being ground as before directed, proceed to mix them with gall and water only, as though they
were for veins. The last colour is white; this requires a greater proportion of gall than the other colours,
and a larger brush, as in the French patterns. After skimming the
size,
knocking on the colours,
—
proceed by beating or viz. :
red,
green,
and
black, as in small French, taking especial care to
have the rings of the brushes free from any accumulation of colour, or they will cause large spots or
ART OF BOOKBINDING. blotches,
which
will
spoil
107
the appearance of the
One difference between this and the small
work.
French is that there
is
no oil used in any of the
colours.
Another method is to use a mixture of weak gall colour, and
and water instead of the white
which
must be firmly knocked or beaten on, proportioned This method
by the judgment of the marbler.
is
preferable to the former for edges, and will answer quite as well for paper.
NO.
8.
—SMALL GREEN ITALIAN.
A very neat pattern, may be made of one colour only, which
must be mixed with
gall
and water
sufficiently strong to cover the whole surface of the
solution on the trough;
after which, beat
white, or gall and water, as before. or preparation of gum
on the
The same size,
and flea-seed, will do for this
as for the previous marbles ;
it
must, however, be
kept clean, to make the work look nice and bright.
NO.
9.
—WEST END, (BROWN, WITH LIGHT SPOT.)
This pattern consists of two prominent colours besides the veins ; one of these all
is
dark and dotted
over with small white spots ; the other, which is
the last or top colour, is light, and is made by taking
;
MANUAL OF THE
108
a portion of the darker colour and mixing a quantity of white with it, sufficient to bring it to the desired tint.
viz. :
Mix the colours for veins in the ordinary way, with the usual proportions of gall and water
then mix the brown with a larger proportion of gall,
and sprinkle it on as full as to drive the other colours into veins ; then take the white, or gall
as in Italian,
and water,
and beat it finely and equally all over,
but not so much as for the Italian pattern.
Lastly,
take the light or top colour, which will require to be stronger in gall than any of the others, and must be sprinkled lightly and evenly over the whole ; lay on the paper as quickly as possible.
This pattern is known by the name of West End,
and is in every respect similar to the Spanish in the working, only it is not shaded.
NO.
10.
—WEST END, (GREEN, WITH LIGHT
SPOT.)
An excellent pattern may be made similar to No. 9 in all the details of mixing, working, and putting on the colours, the only difference being in the colours, wT hich may be made of two shades of green
or olive, and the veins red, yellow, and blue.
•
109
ART OF BOOKBINDING. NO. 11.
— CURL.
The pattern called French Curl, after the description of the French marble (see No. 1) will not require
much explanation, the only difference in the working being, that there must not be any of the preparation
of the flea-seed with the gum ; but it must be done
on the solution of the mixture.
gum alone, without any ad-
It will also require a frame with as many
pegs as you may require curls on the paper ; these
pegs must be about three inches long, and about the thickness of a stout goose-quill, tapering toward a point.
Throw on the colours the same as for No. 1
large French ; take the frame of pegs, and, holding it
with both hands, put the pegs down to the bottom
of the trough, give lift
it
it
a slight rotary motion, then
out quickly, so that no drops
fall
from the
pegs into the trough, and lay on the paper as usual, taking care to lay it down straight and even, or the
whole pattern will be askew.
NO. 12.
—BROWN CURL.
A pattern of curl may be made of one colour only, mixed with the same ingredients as the ordi-
nary French
;
it is
the easiest of the two to make. 10
7* s
MANUAL OF THE
110
NO. 13.
— BED CURL.
A curl pattern may be made of the same colours used for nonpareil, only the colours and
gum are
both used rather thicker than for the French curl,
and the colours must have no oil in them. SPANISH. This marble
is
by
distinguished from all others
having a series of light and dark shades traversing the whole extent of the sheet of paper in a diagonal direction.
And, as it is the design of this work to
simplify as
much as possible, the marbler will bear
in mind that all the plain Spanish patterns may be
worked and managed without the aid of any other agents than ox-gall and water, of course presuming that the colours are ground and prepared as before directed.
No. 14.
— OLIVE, OR LIGHT GREEN, SPANISH.
One of the most simple and easy patterns is called Olive Spanish, with red and blue veins.
The veins
are mixed with gall and water, as in the previous
kinds of marbling, till they are brought to the proper consistence ; and, as
it
is
not possible to state
any given measure for proportioning the
gall
and
Jf
ART OF BOOKBINDING. water
than
stronger
produced in the colours as they are tried on
But each
the solution.
more
being
gall
must be determined by observing the
other, that effect
some
exactly,
Ill
gall
successive colour requires
than the one which preceded
the principal or
body-colour
requires to be both
thicker in itself and stronger in gall than
the others.
and
it,
any of
This rule is almost without an excep-
tion.
Having, colours,
therefore,
mixed
and
prepared
the
—having the preparation of gum and the —proceed throw
flea-
seed in the trough,
on, first
to
red, then the blue, and lastly, with a large brush full of colour,
the olive ; beginning at the left-hand
corner of the trough, farthest from you, and working down and up closely all over, taking care not to
go twice over the same place, or you will produce rings
by the
falling of
one spot upon another,
which is considered objectionable. ever, be entirely avoided.
by
the
It cannot, how-
Now take up the paper
two opposite corners, andj holding
it
as
nearly upright as possible, yet with a degree of ease and looseness only to be attained let the
by practice,
corner in the right hand gently touch the
colour on the trough, while, at the same time, you
MANUAL OF THE
112
shake or move it to and fro by a regular motion, at the same time, with the left hand, letting the sheet
regularly and gradually descend till it lies flat upon
Practice will be re-
the surface of the solution.
quired before the stripes or shades will be produced
with certainty and regularity.
We will next take
a pattern with three veins.
—BLUE OK SLATE SPANISH.
No. 15.
This is performed in a similar manner to the one described.
just
thirdly Blue,
First, throw on red, next yellow,
and lastly the
slate, or body-colour,
which is composed of indigo, Chinese blue, and a portion of white.
We now advance a step further
and take up a pattern with four veins. NO. 16.
—BROWN SPANISH.
This is a well-known pattern. or
Perhaps as much
more of it has been made than of any other,
and it always will be a standing pattern. in the
the
Proceed
same manner as before, throwing on first,
red;
then
yellow;
thirdly,
blue;
fourthly,
black ; and lastly, the brown, which should be com-
posed of good burnt ochre, darkened with a black.
little
ART OF BOOKBINDING.
NO. 17.
113
— DOUBLE BROWN SPANISH.
This pattern has four colours for veins and two body-colours, the last or top colour being a dilution
The veins are thrown on in
of the other with white. the following order yellow, (some
:
—
first,
red ; then black ; next
work the yellow before the black ;)
fourthly, green ; then the brown, which must not be
quite so powerful or put on quite so
heavy as for
brown Spanish, and on this sprinkle the light or top colour, which requires to be stronger in gall than
the others.
NO. 18.
—FANCY SPANISH.
The pattern so designated has something of the appearance of a Spanish being worked over an
execute this pattern, although less.
and brushes to
It requires seven colours
Italian.
Commence,
as
black;
thirdly,
green.
These being
usual,
yellow; all
it
may be made of
with red
first;
blue;
fourthly,
then
fifthly,
thrown or sprinkled on,
next throw on the white, by using the iron rod, as
End
or
Italian,
on very firmly
all
over these colours, but not so
for "West
and beat or knock
much as you would do for Italian principal
or
body-colour,
;
it
and lastly, the
— say dark olive-green.
10*
MANUAL OF THE
114
Shade
it
by shaking or waving the paper in the
same way as for other Spanish. NO. 19.
—FANCY SPANISH.
Another compound or fancy Spanish pattern
is
made by introducing a small French pattern instead of veins.
In doing this, be careful not to have so
much gall or oil in the colours as though you were going to make French only, and the top or bodycolour will require more gall than any of the plain
patterns in order to make it work over the French colour.
Beautiful effects may be produced by folding the
paper in squares or bending the sheets in various parts
before
shades
to
shading,
some of which cause the
assume an undulating appearance, as
though it had been watered like silk.
NO. 20.
—DRAG OR EXTRA SPANISH.
To do which you must have a trough twice the length of the sheet of paper ;
as, in order to
produce
the elongated form of spots, you will have to drag or push it from one end of the trough to the other in the course of laying
down the sheet
of paper.
The colours and preparation are the same for this as for the other Spanish, only the colours are used
M
;
115
ART OF BOOKBINDING.
considerably thinner, as they would get so thick
upon the paper, from one sheet being drawn over and taking up a surface of colour usually allowed for two, that
it
would peel and crumble off and not
burnish.
NO. 21.
—NONPAREIL OR COMB.
We now come to this well-known and very popular
pattern, which has
had a most extraordinary
run, and which some people hardly seem tired of,
although it has become so common of late as to be
used on almost every kind of work.
For this description of marbling use the solution of
gum alone
in
the
trough.
Mix
the
colours
with gall and water, taking particular care to avoid all
oil
and grease of every description; but the
colours will require to be thicker, and
more colour
thrown on, than for Spanish, with the exception of the last, which will not require to be so heavily
thrown on as the last Spanish colour.
Let all the
colours be thrown on in about equal proportions.
In commencing, proceed as usual
:
—
first,
skim the
surface of the solution, and immediately follow with
the red so as to well cover the whole surface of the solution ;
then
black ;
next, orange
or
yellow
fourthly, blue ; and, lastly, the top colour, of what-
MANUAL OF THE
116
ever shade it may be required. rake, which
Now take the peg-
must be as long as the trough from
right to left, and which consists of a piece of wood
having pegs inserted about an inch and a half apart
and about three inches long, tapering towards the point, and having the appearance of the head of a
rake.
Pass this once up and down through the
colour from front to back, taking especial care that
when you draw it back
the teeth come exactly
between where they went up.
Having raked the
colour into the proper form, take the comb, which
must reach the whole width of the trough from front to back,
and draw
colour, and the pattern
is
it
steadily through
the
ready for the laying on
of the paper, which must be done with a steady
hand, or there will be shades in it.
NO. 22.
—RAKED NONPAREIL.
A very good pattern
is
made by following the
directions for No. 21 until the colours are properly
raked, then beat a little white evenly over it is
it,
and
ready for the paper.
NO. 23.
—NONPAREIL, (REVERSED.)
Another pattern is made by precisely the same process as No. 21, till the colours have been raked
:
ART OF BOOKBINDING. with the peg
;
117
then take the comb, which should be
a much larger one, and draw it through the colour
from
left
to
immediately reverse
then
right,
it
and draw it back again from right to left, and the desired effect will be produced.
No. 24.
—ANTIQUE.
The antique marble is executed thus
:
after the
first
colours have been thrown on, namely,
red, black,
and yellow, rake it once up and down
three
with the peg-rake, after which proceed to throw on the green, follow with the pink spot, and lastly,
beat or knock on small white spots. patterns are
made with a blue
Some antique
or other coloured
pink here described, but the
spot, in lieu of the
process is the same.
NO. 25. This
is
—ANTIQUE, (ZEBRA.)
done with colours prepared the same as
for ordinary nonpareil ; throw on four colours, viz.
red, black, yellow,
as
for
nonpareil,
and blue after
;
then rake the same
which throw on a light
colour for a spot ; lay on the paper the same as for
Spanish.
Sometimes
it
is
made without
and passes for another pattern.
shading,
J
MANUAL OF THE
118
No. 26.
—WAVE.
In this pattern the colours are drawn into an undulating form, the points of each row meeting
each other.
The colours are prepared the same as The
for nonpareil.
yellow, blue, and green
red,
are thrown on, over which
is
beaten or knocked a
small white, but not too abundantly ; there
is
now
required a kind of double rake or frame, with teeth of stout wire about three or four inches apart, and let the teeth of the
hinder one be so adjusted as to
be exactly in the centre of the spaces
left open by
the first one; the second or hindmost row of teeth
should be an inch and a half behind the former, the two forming but one instrument.
Draw this
through the colour similar to a comb, from left to right, but with
an undulating or see-saw motion,
just sufficient to
make the top of the hindermost
wave catch or touch the bottom of the foremost one,
by which means
appearance
all
over
it
the
will
produce a uniform
sheet,
something in the
appearance of irregular squares.
There are some other patterns of a similar kind
made without a
small white
spot,
and the same
design is sometimes worked upon a French marble,
but these require no additional explanation.
come to
We now
ART OF BOOKBINDING. NO. 27.
The pattern execute, as
judgment
Some
so
to
—BRITISH.
called
is
by no means easy to
a considerable amount of
requires
it
119
maintain any thing like uniformity. patterns are
British
made with and some
They require a trough double the
without veins.
length of the paper, as it is dragged or pushed from
one end of the trough to the other in the same
manner
as
the
drag Spanish, (No. 20;) and the
must be the same as for that
size or preparation
kind of work. colour,
—
viz. :
A good pattern may be made of one The colour for this description
black.
of marbling will be
the better for being mixed
all
and well stirred about a few days before using, so as
become mellow for working.
to
pots,
Two jars or
and a large common plate, will be required.
Mix the colour in one of the jars, as if for ordinary Spanish, but not with quite so much gall ; then pour a little of it into the other jar, and add to it a considerable portion of gall
and water, so as to make
thin and strong;
now pour a small quantity
it very
of the strong colour (about a teaspoonful) on the plate, and, taking
the
colour and pressing
it
brush out of
the thicker
hard on the plate, take up
with it a portion of the strong colour, and proceed to sprinkle
it
on quickly all over the trough.
The
MANUAL OF THE
120
dark and light spots ling with
gated
will fall together, interming-
each other and producing
effect which is
that varie-
characteristic of the pattern.
Lay on the paper the same as for drag Brown, green, and other
colours, are
Spanish.
done in the
same manner; but the colours require to be mellow
and the paper soft-sized, or they are apt to run off. No. 28.
—DUTCH.
The pattern now under consideration is one of the oldest and at the same time most difficult patterns, and
is
performed by a very different process
to any of the preceding.
Upon examining this pat-
tern, it will be perceived that the colours are not
scattered
here
and
there
in
an
indiscriminate
manner, but follow each other, in a kind of regular succession, in a diagonal direction across the sheet,
red being the preponderating colour.
In order to
make this well, the colours must be particularly well ground, and of the first quality.
They ought to be
mixed a few days before using.
It will be useless to
expect a satisfactory result with either inferior or
badly-prepared materials.
In order to accomplish this pattern, there will be required a number of little tins or pots, an inch and a half wide and about the same, or two inches, in depth.
ART OF BOOKBINDING.
121
It will also require two frames the size of the paper,
with wooden pegs in them, slightly tapering, about a quarter of an inch in thickness, and fixed about regular distances, over the
three inches apart, at
whole extent of the space required.
The colours will
be all the better for this class of work by the addition of a little spirits of wine.
the
colours will not
require
With this exception, any
different
treat-
ment from the nonpareil.
Mix each of the colours in a large jug, having a spout, so that you may be able to pour them out into
the
small
required white.
tins
will
before
be
red,
The colours
mentioned. yellow,
green,
blue,
and
The two frames of pegs must be made
exactly alike.
One ought to be an exact duplicate of
the other.
Having mixed the colours, and
tried
them by
dropping a little of each on the solution in the trough, proceed to fill as many of the little pots with colour as there are pegs on the frame, and arrange them about
three inches apart, so that the pegs in the frames
may drop into the centre of each pot, and, when lifted out, (which will require to
be done with great cau-
tion,) will convey one large
drop of colour on each
peg, with which the surface
of the
size
is
to be
gently and evenly touched, taking care not to put ll
— MANUAL OF THE
122
them in too deep, but at the same time being quite
The tins or pots of
sure they all do touch the size.
colour must be arranged as in the following diagram,
about three inches apart
G Y Y B G Y Y B G Y
:
G Y Y B G Y Y B G Y
G Y G Y G
Y G B Y Y G B Y Y G
G standing for green, Y for yellow, and B for Then fill the same number of tins or pots
blue.
with white, which must be composed of pipe-clay
ground and
prepared as the other colours, and
arrange them in precisely the same manner, using the second or duplicate frame of pegs to these.
Having arranged all these, commence operations by first skimming the size, (which must consist of gum-tragacanth
alone,)
and
then well cover the
whole surface with red, which must be thrown on plentifully with a brush. first
Then
carefully
lift
the
frame standing in the pots of the three colours,
giving
it
colours,
a slight rotary motion, so as to
which soon
upset them.
settle,
being
careful
stir
the
not to
Let one drop from each peg touch
the surface of the red upon the size, then quickly
ART OF BOOKBINDING.
123
take the one with the white and drop that just in the
centre
trough
of
the
already placed on
spots
next take a rounded piece
;
wood, (a brush handle
and pass
it
is
as
the
of tapering
good a thing as any,)
up and down through the colours as
they are now disposed in the trough, from front to back, at regular distances, till the whole extent
of the trough has been gone over ;
then pass the
comb through it from left to right, and lay on the paper.
As soon as you have hung it up, pour over it, from a jug with a spout, about a pint of clear water, to
wash off the loose colour and gum and
make it look clean and bright, after which, when dry,
it
will
require
sizing
before
it
can be bur-
nished.
When curls are required, it will be necessary to have a third frame, with as many pegs as you may require curls upon the sheet of paper.
NO. 29.
—ANTIQUE DUTCH
Is done in a different
cesses hitherto this
manner to any of the pro-
described.
The
kind of work must be of
colours
used for
first-rate
quality,
and must be ground with spirits of wine or extra strong gin, and mixed up with the same and a little
MANUAL OF THE gall, just sufficient to
to the extent
make them float and spread Instead of brushes, have
required.
a tapering piece of wood, about the thickness of a little
finger, in
each pot of colour, (small pots will
The
do, capable of holding about a tea-cup full.)
colours required are red, orange, blue,
and green.
The red must be the best scarlet lake; the orange, orange lead; the blue, ultramarine and indigo; and the green, indigo and Dutch pink.
These must be
ground and mixed, as before directed, to the consistence of cream.
The lake should be ground one
day and the other colours a few days before using, and kept moist.
The gum will require to be used Having
thicker for this work than for any other.
every thing in readiness, take a pot of colour in the left hand,
and with the right proceed to lay on the
colour with a piece of
wood
sloping stripes, like those
learning to write.
or with
a
quill,
in
made by a school-boy in
Commence with the reel and make
two strokes almost together, leaving a small open space, and then
the
required
making two more, and so on, until
extent
take the orange, and
has been gone
over.
Next
make one stripe between the
two stripes of red; then proceed to fill up the wider space with a stripe of green and a stripe of blue.
Perhaps the following may more clearly
illustrate
— ART OF BOOKBINDING,
125
the order in which the colours should be arranged
on the trough
:
GBRORGBRORGBRORGB As
in
the
former instance, the
initial
letters
Draw the comb through and
signify the colours.
the pattern is complete.
EDGES.
The patterns for edges are produced in the same manner
as those for
devoted
so
much
paper;
space
hitherto confined to a few,
repeat the processes.
and having already beautiful
to
this
it
would be useless to
art,
Yet there are some things in
regard to edges which every good marbler should understand.
When plates are interspersed in any
book along with the letter-press, it will require particular care in marbling, or the colour and size will
run in and spoil the appearance of the plates.
To
obviate this, keep the book tightly compressed, and
where the plates are at the beginning of the book only, lay it down, when marbled, the beginning side-
upwards.
For edges you may do with a smaller
trough, also a smaller quantity of colour than for
paper.
The solution to work upon had better be
gum-tragacanth alone. all
the brighter
Colours for edges will look
by the addition of alcohol, spirits 11*
MANUAL OF THE
126
of wine, or whiskey ; but they will evaporate more quickly.
Having every thing in readiness, take the
book, or, if more than one, as many as you can conveniently
manage to hold
tightly, with the
backs
in the right hand and the fore-edge in the left, let
them touch the
colour, the
back
first,
and
allow-
ing them gradually to descend till the whole end is
covered ; but be very careful that none of the size or colour comes over the fore-edge, which it will do if
dipped too deep, and leave a nasty unsightly
mark, and greatly disfigure the book.
In doing
the fore-edge, the beginner had better place the
volume between a pair of cutting-boards, and, having thrown out the round, turn back the boards,
and proceed as with the end; when done, wipe off the superfluous size from the boards w ith a sponge, T
put the boards back in their place, and
let
the
volume dry.
GLAZING OR BURNISHING.
The sheets of paper are burnished by a machine constructed
for
flint is fixed in
the
purpose.
a block of wood, in which is inserted
one end of a pole about other
A smoothly-faced
five
feet in length, the
end being attached to and working in a
cavity in
a spring-board fixed overhead, allowing
127
ART OF BOOKBINDING. it
to
work backwards and forwards upon a plank
hollowed out for the purpose.
The paper is moved
over the plank, and the friction of the flint in pass-
ing to and fro over the surface of the paper pro-
duces
high
a
Sometimes the
polish.
paper
is
—a
su-
calendered by means of friction cylinders perior method.
COMBS.
These are made in various ways, some
to
be
worked on the top of the trough and called topcombs, others to be worked by putting the points
down to the bottom of the trough and called bottomcombs.
The best thing for making them is of brass
pin-wire.
The comb for small nonpareil ought to
have from twelve to fourteen teeth to the inch, for the second size eight, and for large, four.
SIZING THE PAPER. It is
sometimes necessary to size the paper after
marbling. follows:
The way
of
making the
size
is
as
— Take of the best white soap two pounds,
put it in a large copper with about twenty gallons of
water
;
when it is quite dissolved, add thereto about
four pounds of the best glue, keeping the whole constantly stirred, to prevent the soap and glue from
MANUAL OF THE
128 burning
;
when both are quite dissolved, strain it into
a tub, and when cool, it is ready for use.
Should it
be found too thick, add more hot water.
The best
way of sizing
is
to
fill
a trough with the liquor
and to lay the marbled surface of the paper down
upon it, then hang it on the sticks to dry.
PATENT MARBLED CLOTH. This is an article recently introduced, and in some
There are
quarters meets w ith considerable favour. 7
as yet no manufactories of it in this country.
It,
however, possesses no advantages over good marbled paper, and for outsides will not compare with the
papier D'Anonay for durability.
ADDENDA. In taking leave of the subject of marbling, there is
but little more to add.
master of
all
this
book
For, w hen the learner is 7
teaches,
he
will
have
attained such proficiency in the art as to require
nothing further in the way of instruction.
Should
some new pattern come up, let him apply the principles that govern
in
mixing and distributing the
colours, and, with the aid of his own experience, his
chance of accomplishing it will be as good as any one else's.
As a step to the attainment of mastery
ART OF BOOKBINDING. in the art, let the
129
workman divest himself of the
various nostrums he has been put in possession of
by
interested
parties,
and give himself up with
What is
assiduity to the directions here laid down.
here given is the result of twenty- five years' actual experience of C. W. Woolnough, of London, whose
marbles rank among the most beautiful productions of the present day.
Therefore
workman
the
let
adhere to the instructions, and ultimate success will
crown his efforts.
Should there be any difficulty in
obtaining any of the articles described, they
may
be procured from Mr. Charles Williams, No. 213
Arch St., Philadelphia.
The specimens of marbled
paper accompanying these pages, illustrate the promi-
They were
nent classes or patterns of marbling.
executed by him, and show his mastery of the art,
BURNISHING.
The edges are burnished by placing the volume open, with theibre-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 a
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
MANUAL OF THE
130 head and
burnished in a similar manner, the
tail
ends of the boards resting in the groove by the of the volume
covered boards
being
joints,
the
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
after the operation, to
till
avoid the liability of tearing.
GILT EDGES. This description of edge is the best preservative injury
and damp.
Previous to
against
external
laying
on the gold, the workman must have in
readiness the articles necessary to form the ground-
work and cause the gold
to
adhere to the edge.
The first is a mixture of red bole or chalk and black lead, well-ground
and reduced by water to a fluid added to
consistence, after having
of muriatic acid or vitriol. is
it
a few drops
The size used by some
made from the white of an egg in five times the
quantity of water well beaten together;
most generally used vellum gluten.
shavings It
is
is
boiled
but that
made from parchment or in
water to extract the
then passed through a piece of fine
muslin and set aside to cool.
When cold it is very
easy to judge of its strength
Some use ice in sum
131
ART OF BOOKBINDING. mer-time to
chill
it,
as a test of its strength.
If
too strong or thick, add water, then warm it to melt
the size and allow the water to become incorporated
with
it.
To become a good gilder requires con-
siderable judgment, as every variety of paper re-
quires a different treatment.
down
No rule can be laid
that will answer in every case; but if the
workman will but pay attention
to the directions
here given, exercise patience, and above
all reflect
upon the effects of his operations, ultimate success will be certain.
English books are made from linen
rags, and the paper is sized.
They gild more easily
and the edge looks better than American books.
They do not require as strong a size for gilding as books printed on paper made from cotton.
cotton rags.
Books
made from
printed in this country are generally
Quantities of alum and lime are em-
ployed in bleaching the pulp, to the sore annoyance of many a gilder, who has found that a
damp day
would invariably put both his skill and patience to the test. sized;
The best qualities of American paper are
the generality, however,
is
To deter-
not.
mine whether the paper is sized or not, apply the tip of the tongue to it ; sized,
if it adhere to the tongue, it is not
and will consequently require a stronger size
for gilding than if it were sized paper.
The liability
MANUAL OF THE
132
of parchment size to decompose or turn to water in
hot weather can be entirely counteracted by adding a very small portion of oxalic acid. 1
Having every
thing in readiness, put the book in the laying-press,
between the gilding-boards, placed even with the fore-edge of the book and with the cheeks of the press;
screw up
as tightly
possible
as
with the
press-pin.
Then commences the most difficult operation, and one upon which the beauty of the edge almost entirely depends
—namely, that of scraping. This
done with a steel scraper.
A piece of saw-blade
answers the purpose very well.
After being ground
is
square on the edge and rubbed perfectly smooth
upon the oil-stone, it is kept in order by a smooth steel.
The edge must be scraped perfectly smooth,
so as not to show the marks of the knife in cutting,
or
be
of the
scraper.
coloured
rubbed
After this
done,
it
must
lightly over with the bole or chalk,
immediately dry with
shavings.
is
fine
clean
paper
This process will have to be repeated
three times ;
it
is
then well burnished with the
agate, and, with a broad, flat camel's-hair pencil, or
piece of
soft
sponge,
a coat of size laid evenly
on the surface.
The gold is next cut on the gold-cushion to the
ART OF BOOKBINDING.
A slip of paper larger than the edge
size required. is
133
drawn over the head of the workman, and by a
light pressure upon the cushion the gold will attach itself to the paper;
it is
then turned, with the gold
upwards, (care being taken to have sufficient upon the paper to cover the entire edge,) and laid upon the cheek of the press ; then pass a hair
pencil,
the
edge,
dipped in
flat
camei's-
evenly over
clean water,
and immediately lay on the gold by
taking up
gold towards
turning the
paper,
the
the edge, and presenting
with sufficient celerity
it
not to allow the gold to be drawn from the paper in
by the
portions
To do
size.
and a steady hand.
require some practice
any breaks
there
be
tions
must be applied, and,
water applied by a
well
this
the
in
if
pencil,
fine
Should
other
gold,
will
por-
dry, moisten with
and lay on the
gold.
After the edge
is
entirely dry, which generally
happens in from one burnished.
For
this
the
best,
burnisher
is
by a
agate.
flat
burnisher,
but
to
two hours,
purpose a to
be
tail
must be
blood-stone
flat
afterwards followed
Let there be no marks of the
spare
no pains in burnishing to
have the edge perfectly uniform and
head and
it
of the
volume 12
clear.
must be
gilt
The with
MANUAL OF THE
134
the same precaution, the back towards the work-
man.
The foregoing directions have been derived
from the practical experience of Mr. James Pawson, one of the best gilders in this country.
Should the work be of such a nature that it is desirable in
to
give
it
the character of the
period
which the book was w ritten, or an additional r
degree of beauty and elegance, this part of book-
ornament may be pursued farther in the manner we shall now describe.
ANTIQUE STYLE. After the edge is finished as above directed, and before taking out of the press, ornaments, such as flowers, or designs in 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 place, to avoid detaching any
of the gold.
When dry, rub the edge as lightly as
possible with palm-oil, and cover with gold of a dif-
ferent colour to the first; then with the tools used in
gilding leather, warmed in the fire, proceed to form
the various designs
the edge.
by firmly impressing them on
The gold that has not been touched by
the tools is then rubbed oif with a clean cotton, and there remains only the designs the tools have im-
ART OF BOOKBINDING.
135
printed, which produce a fine effect.
This mode is,
however, now seldom used, though almost
all
the
hooks in the original binding of the sixteenth century are so executed.
GILDING UPON MARBLED EDGES. This
edge,
which Dr. Dibdin, in his
" Biblio-
grapher's Decameron," calls "the very luxury, the
ne plus ultra of the Bibliopegistic Art," is one requiring great care and expertness in the execution.
The edges must be scraped before marbling. the edges have been tastefully marbled,
After
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.
GILDING ON LANDSCAPES, ETC.
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 side, until a subject is
MANUAL OF THE
136
painted thereon in water-colours, according 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
the size and gold, and, when dry, burnish.
design will closed,
not be
apparent when the volume
from the gold covering it
;
but
is
when the
leaves are drawn out it will be perceived easily, the gilding disappearing, and a very unique effect will
be produced.
The time and labour required makes
this operation expensive, and it is consequently very
seldom performed.
It
is,
however, considered ne-
cessary 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 en-
veloped in clean paper, by glueing the extremities
one upon the other, to preserve the edges from injury in the subsequent operations. off
This
is
taken
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.
ART OF BOOKBINDING. Put the book sponge
it
137
the press as for gilding, and
in
then take ivory-black,
with black ink ;
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
polish produced,
is
when
perfectly black and a good
must be cleared with a
it
brush, burnished, and cased with paper.
Coloured edges, to look well, require to be scraped in the same
manner
as for gilt.
To lay the colour
on evenly, and produce a high burnish, requires
They are therefore quite
more labour than gilding. as expensive.
After the colouring or gilding of the
edges, the next process is to attach the
REGISTER,
To do which the back, near the head, is
lightly
touched with glue, and one end of a piece of ribbon
The
leaves
the other portion of the
ribbon
proportioned to the volume are opened, and
placed between the leaves
;
is
affixed.
the portion intended to
hang out at the bottom being turned back until the book is completed, to prevent its being soiled.
HEADBANDS.
The headband is an ornament in thread or silk, of different colours, placed at the head and tail of a 12*
;
MANUAL OF THE
138
book on the edge of the back, and serves to support that part of the cover projecting above in conse-
quence of the squares of the boards, giving to the
volume a more finished appearance.
Thus it will be
headband
must equal the square
allowed for
the boards.
For common work, the
headband
made of muslin pasted upon twine
seen
the
that
is
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,
and double.
—
viz. :
single
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 workwoman. (The headbands are usually worked
by females.) SINGLE HEADBAND.
Take two lengths of thread
or silk, of different
colours, threading one in a long needle,
-
and tying
ART OF BOOKBINDING.
139
Supposing red and
the ends of the two together.
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 or near the same place, and, after placing the prepared band under the curl thus
made, the thread firm.
is
drawn
tight, so as
to hold
it
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 again and fastened by passing over
it,
in the
same way, the white thread,
taking care that the bead formed by these crossings touches the edge of the volume.
In repeating thus
alternately the operation, crossing the two threads
and passing each time under the band, which
is
thereby covered, it must be occasionally fastened to the book by inserting the needle, as before directed,
once in as many places as the thickness of the book
may require, and giving it a double tack on the right side on completing the band, fastening
it
on
MANUAL OF THE
140
the back with a knot.
These fastenings give firm-
ness to the headband and the exact curve of the
The two projecting sides of the band must
back.
be cut off near the silk, giving the band a slight inclination upwards, 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. same w ay as the T
It is
commenced in 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.
GOLD AND SILVER HEADBAND
Both single and double made as above, the only difference being in the use of gold or silver thread.
ART OF BOOKBINDING.
141
Great care must be here observed in tightening the thread at the bead.
RIBBON HEADBAND. This style varies but
same-coloured
thread
little
from the other, the
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
more times than the former. band
—from which
it is
named
many or
This will produce a
—having the appear-
ance of narrow ribbons of various colours.
Three
or more colours may be used in a pattern.
COVERING.
The skins prepared for binding are dressed in a peculiar manner.
They are soft and of equal thick-
ness throughout.
The cutting out of covers is an
important operation, as by attention much economy
may be effected. For this purpose patterns in pasteboard of all the sizes of books should be made, and such as are required placed on the skin, turning
them every way, so as to obtain the greatest number of pieces
possible,
allowing about an inch round
for paring and turning in.
Should the books be of
MANUAL OF THE
142 the same
siza,
by the fore-edge and
a volume taken
the boards laying open on the leather will enable
the workman to judge to a nicety the most advan-
tageous
way to
The narrow pieces,
cut.
&c. left
on the sides will do for the backs and corners of half-bound work.
The leather must be cut out dry,
except russia, which must be well soaked with warm water, care being taken to avoid creasing. also require to be well
with the folder.
It will
rubbed out on a marble slab
If the russia
is
grained properly
in the skin, it will not require wetting or rubbing.
Each cover must be pared round the edges with a long knife, called
the paring-knife ;
and great
care and skill are requisite in order to do
it
well.
The French binders use a knife for this purpose somewhat
similar to a chisel;
and it must be con-
fessed that their bindings surpass in this respect
those of any other country.
It is
impossible to
determine the precise point at which the paring
commences.
The declension is
cannot be perceived.
so gradual that
As an illustration
fact, there is a specimen of
it
of this
Bauzonnet's in the pos-
session of a connoisseur of this city, covered with
very thick Levant morocco, with a joint of the same material, and the interior of the board lined with
morocco, thus making three different pieces.
And
ART OF BOOKBINDING. the paring
is
143
so exquisitely done that, were it not
for the colours, it would be impossible to tell where
The whole interior of the board is as
they joined.
level as a piece of polished marble.
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
calf.
The
cover should 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
The cover being then
laid
the volume
milled board,
the squares at head and
make it adhere.
on a table, or clean
is
taken in the hands,
tail
equally adjusted, and
placed upon the nearest side of it, in such a position that the
workman,
back of the volume, which is from the
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, by turn-
ing the projecting
portion of the cover outward
and resting the book on the fore-edge, at the same
MANUAL OF THE
144
time working the leather in such a manner that it will adhere closely to the sides of the raised bands
A square band, with the
as well as to the back.
leather fitting
closely
each side of the band,
and evenly is
to the
back on
a great point to attain,
and any thing short of it is a blur upon the binding.
After the back has been sufficiently manipu-
lated,
lay the cover perfectly smooth upon each
side,
then open the boards and lay one upon the
and pass the paring-knife between
paring-stone,
the
board and
the
cover
diagonally
corner of the latter, in such a the leather
is
across
the
manner that, when
turned over, one edge will merely
fold over the other ; turn the book and operate in a
similar manner on the other corners.
The cover at the head and tail of the book must next be turned
in,
by taking
it
by the fore-edge
and placing it upright on the table with the boards extended, and with the hands, one on each side, slightly forcing
back the boards close to the head-
band, and folding the cover over and into the back with the thumbs, drawing it in so that no wrinkle or fold is seen.
Having turned in the cover the whole
length of the boards, the volume must be turned
and operated on at the bottom in a similar manner.
The volume is then laid flat upon one side, and the
AM OF BOOKBINDING.
145
cover turned over the fore-edge of the other, the corners being set by the aid of the thumb-nail and folder as neatly as possible ; the
same operation is
repeated upon the other side.
Any derangement
of the square of the boards that
may na ve taken
place in covering must also be rectified.
The setting of the headband is the next operawhich
tion,
is
very important to the beauty of the
binding, by properly forming a sort of cap over the
worked headband of the leather projecting across the back a little above a right line from the square of one board to the other.
With a small smooth
one end a little pointed, the double fold of
folder,
the leather must be rubbed together to
make
it
the boards have been cut at the
adhere,
and,
if
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 projecting part on the top of
The
folder
is
it.
then applied on the edges of the
boards, to give them a square appearance and make the
leather
adhere.
One board
is
then thrown
back, the folder placed lengthwise along the joint
or groove, holding it firmly by the right
board it
is
hand
;
the
then gently forced by the left hand until
projects slightly within or over the joint. 18
Upon
MANUAL OF THE
146 this
depends the freedom and squareness of the
joint,
—one
of the most charming features of a well-
After this operation has been per-
bound book.
formed upon both boards, the headbands will again require attention ; and, in order to set
pass
a piece
of
them firmly,
sewing-thread around the book
between the back and the boards, and, after it is tied, it
manipulate the head as before, so as to make
perfectly square and even with the boards
back.
The volume
is
rubbed
alongside
of
and the
bands, and then set aside until nearly dry, when the thread
is
taken off and the boards again set in
the joint. If the book has been sewn on bands, or if the artificial bands
to
are large, it
is
sometimes necessary,
make the leather adhere to the back, that the
volume should be tied up, which is done by placing a board, longer than the book, on each side, projecting slightly over the fore-edge, and tying tightly with a cord from end to end.
them
Then, with a
smaller cord, the leather is confined to the sides of
the bands,
by crossing the string.
For example:
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
ART OF BOOKBINDING.
147
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 other side of the volume,
and the band held between it.
The cord is in like
manner carried on to the second and third bands, fastened, and the whole set square with the folder. It will be best understood by the following engraving*
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. high,
Antique work having
narrow bands, must have the leather well
worked in between the bands by the hands, and then the bands must be compressed by the bandnippers-
For morocco, however, where the beauty
of the grain
is
liable to
be destroyed, great care
must be taken, as the slightest mark or scratch is indelible.
A few observations must not be omitted relative to morocco, velvet, silk,
and coloured
calf,
which,
from their nature, require the greatest neatness to
MANUAL OF THE
148
avoid stains and alterations in the colours.
Covers
of the former description must not be drawn on too tight or rubbed with the folder, as the grain or pat-
tern of the material would thereby be destroyed;
and
extra care must be taken with the coloured calf to
prevent damage.
They must be drawn on with the
hands on each side at the same time.
The table
should be covered with a marble slab, and the hands
kept perfectly clean. viously,
be
Silk should be prepared pre-
by pasting a piece of paper thereon, and
left to dry, so that,
when pasted for covering,
the dampness will not affect
appearance.
its
vet will require great care, from
ture
making
way only in
it
necessary that
covering.
From
its
it
Vel-
peculiar tex-
be rubbed one
this
cause, having
ascertained the direction of the nap, the back of the
book is glued and laid upon it and drawn smoothly; then the
sides
are
in
like
manner glued
and afterwards the edges turned
in.
over,
This pro-
ceeding causes the whole to
lie
which velvet would not do
drawn in a contrary
if
perfectly smooth,
way to the grain or nap, or if the glue was applied to the velvet.
ART OF BOOKBINDING.
149
HALF-BINDING. Half-binding
—
so called from the backs and corners
only being covered with leather into vogue
that
it
may now
favourite style of binding.
dered at bility, it
;
for,
while
it
—has come
so much
be said to be
This
is
the
not to be won-
combines economy and dura-
can also be made to exhibit a great deal
of neatness.
To do this, however, requires more
care and skill in paring the back and corners than is
generally required for
sition from the thick
the sides can be
full
binding.
The tran-
morocco to the paper used on
made almost imperceptible to the
touch by a skilful use of the paring-knife or chisel.
The general cient
for the
directions for class
After the back
is
covering will
be
suffi-
of work under consideration.
lettered or finished, the corners
may then be put on
;
and, after carefully marking
and cutting the paper selected for the purpose, the sides should be glued carefully over
and affixed to
the boards, having sufficient projection to turn inside of the board far enough to be covered by the end-
papers.
The width of the back should be governed
by the size of the volume. a very meagre
A narrow back gives
appearance to a book.
The
size
of the corners should be determined by the width 13*
;
MANUAL OF THE
150
The end-papers are pasted down and
of the back.
the work finished in the same way as will be pointed out for binding in general.
The colour of the paper
used for sides should harmonize with the colour of the
The English generally prefer the inside-
leather.
paper, the edges, and the outside-paper, to match
and it must be confessed that, when the paper is of good quality and the edges correspond, the effect is extremely good. tint of
The French generally use a light
marble-paper for the inside, and a darker
shade for the outside.
For durability as an outside-
paper, there is nothing equal to the papier d'Anonay,
vellum being one of its components. there are
Of this article
many worthless imitations, which yet in
external appearance are well calculated to deceive.
The real article will wear as well as the morocco used for the back and corners. half-binding
for
amateurs
is
The best class of
the Font Hill style,
half morocco, of the best quality ; uncut leaves, so as to preserve the integrity of the margin ; top-edge gilt,
as a protection
English
paper
;
from dust
;
lined with the best
worked-silk headbands ;
outside-
paper to harmonize with the back ; no gilding on the
back except the lettering.
This style requires extra
pains in the forwarding and covering, as the slightest defect in these particulars cannot be remedied
by
151
ART OF BOOKBINDING.
In other bindings, the brilliancy of the
the finisher.
gilding often serves to conceal or to allure the eye
from those portions of the binding that a workman would pronounce to be "botched."
Uncut books are trimmed to a general line with a large knife, similar to a butcher's-knife, previous to being glued up.
They are the special favourites
of book-collectors.
An uncut copy of a scarce work
command a higher price than one that
will always
has been cropped.
STATIONERY OH VELLUM BINDING. This branch of the Art of Bookbinding, in large towns,
is
difference
of
the
a
distinct
in
the
business,
and presents some
mode of proceeding
manipulations
required.
in
These,
several as
in
previous parts of the work, will be minutely entered into for the instruction of the
young work-
man, while 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 elaborately bound book used in the counting-house
MANUAL OF THE
152
of the merchant and banker.
Of the more simple
and common bindings,
not be necessary to
it
will
enter into minute details, the proceedings being the
same as for others, only omitting the more expensive operations, the price allowed
making it neces-
sary to bind them in a more simple manner. first
proceeding, should the work require
it,
The will
be the
RULING. This
is
done by hand.
After the pens are properly ad-
justed, the paper to be ruled
table
in
rollers
set
front
of
the
in motion.
passed under the pens.
another.
is
placed upon the
ruling-machine,
The It
the cloth and cords and laid to
Formerly it was
done by a machine.
sheet is
is
and
the
caught and
then carried
by
away to give place
The most elaborate patterns can be
executed upon the ruling-machine.
Although machine-ruling has almost entirely superseded the old process of ruling by hand, yet to
some a brief description of the process may not be unacceptable.
The paper, which is generally procured from the wholesale stationers ruled with blue lines, must be
opened out by breaking the back of the
fold,
and
153
ART OF BOOKBINDING. 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 projecting, and screwed
the laying-press.
in
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-hand side pages throughout the book. In
like
side,
manner, placing the pattern on the other
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. it
Should a head-line be required,
must be similarly marked on the fore-edge of the
paper.
This done, reopen the whole of the sec-
tions, and,
with a round ruler and tin pen, proceed
to rule the
whole of the head-lines on one side
of the paper.
$
cts.,
This, as well as
or other
distinct
every division of
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 head-line being completed 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 marked for the date, amount, &c,
MANUAL OF THE
154
taking especial care that the pen always commences
by the
line
at
the
head, and
that
it
never en-
trenches on the space above, which would disfigure
As for the head-line, so here the whole
the work.
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.
The
cut
on
the
following
page
represents
a
machine for printing the figures upon the head of the pages, formerly done by the accountant with a
pen
;
but now no blank bindery is considered com-
plete without a paging-machine.
are manufactured by H. Griffin, sheets are
These machines
New York.
The
paged by this machine before they are
sewed together.
There are other machines in use
that page the leaves after the volume is bound, the principal objection to which appears to be the liability to soil or otherwise injure the
binding ; not-
withstanding this there are some binders who give
them the preference.
Those who have used the
machines of Mr. Griffin speak of them in the highest terms.
155
ART OF BOOKBINDING.
INKS.
To
work the best
will
be
necessary to be provided with good inks, and,
it
give to the
effect,
it
being connected with the subject, some receipts for their preparation are subjoined.
MANUAL OF THE
156
RED INK.
Mix together a quarter *of a pound of Brazil dust, a quarter of an ounce of cochineal, a small piece of
lump-sugar, and two quarts of vinegar:
let
these
steep ten hours, and afterwards boil them on a slow fire till
of a good red colour.
When settled, strain
the ink through a piece of fine cotton, and bottle it 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 minutes,
and strain.
BLUE INK.
A good blue ink may be obtained by diffusing Prussian blue or indigo through strong gum-water.
The common water-colour
cakes, diffused
also in
gum-water, will produce a tolerably good blue for
common
purposes;
water
preferable to either.
is
but Dyer's
blue, diluted with
BLACK.
Half a pound of nutgalls, a quarter of a pound of sulphate of zinc, (white vitriol,) two ounces of gum-
AKT OF BOOKBINDING. arabic,
and a handful of salt.
157
Boil the nutgalls
half an hour in three quarts of 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 ink 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
place the whole evenly in the
thread.
Then
standing-press for
some time, and prepare the end-papers, which must be of blank paper, and outsides, unless the work is
H
MANUAL OF THE
158
of a superior description.
Should leather or cloth
joints be placed, it will be necessary to sew
them
on w ith the end-papers, as before directed. T
SEWING.
The sewing of stationery differs much from that
To allow of the greatest possi-
of printed books.
ble 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
ficient;
for foolscap folio, three will be
and, where larger, the
slips
will
be suf-
required;
number must be increased,
according to the length of the back, leaving a space
The plan laid
of about two inches between each.
down by 31. Lesne, (page 27,) might, perhaps, be adopted here with advantage.
fine
and
light
work
to
great
The slips should be cut about an inch
wide, and of sufficient length to extend about an
inch over each side of the back.
bent down at one end of the
This portion being 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 perpen-
159
ART OF BOOKBINDING.
and that the back be not too much
dieular position
swollen.
Should a morocco joint have been
serted, it
must be sewn on with strong
same
When
colour.
finished,
the
in-
silk of the
coloured
end-
papers, if any, must be pasted in, and the first and last
ruled
papers.
leaves
similarly attached to
the
end-
If joints, the same precautions must be
The book may then be
adopted as before directed.
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.
CUTTING.
When the ends and back are dry, this will be the Here the fore-edge must be
next operation. It is
first.
cut
done before altering the form of the
book, paying great attention to the knife running
evenly across, 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,
a greater degree than for other
in
bindings, and placed again evenly in the standingpress.
After remaining a short time the head and
tail must in like
manner be cut, but offer no differ-
ence in operation.
The book will now be ready for
colouring the edges, the processes of which have
MANUAL OF THE
160
England, the large
In
been already described.
Dutch marble is generally used for stationers* work. 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
When cut they must
than is usual in printed books.
be pasted together, leaving,
if
the book
is
heavy
and the slips on which it is sewn thick, a space at
The book must now be
the back to place them in.
head-banded, and then it will be proper to strengthen the back of the
book by glueing across, on the
spaces between the
and
at the
slips,
strong pieces of canvas,
head and tail a piece of calf, leaving
projections on each side to be attached to the board.
For
additional
firmness,
it
was
formerly usual,
where the work was of a superior description,
to
sew the length of the book with catgut in about ten or fourteen places, according to the thickness. is
done by placing three
This
strips of strong leather in
spaces between the vellum ones, and sewing as at first,
by which means the
gut, crossing
over the
ART OF BOOKBINDING.
161
leather and under the vellum slips
on the back,
appears inside on the spaces where no thread has before passed.
For ornament, another thread
is
twisted round the gut on the back, so as to present
the appearance of a double cord.
These matters
being adjusted, the
the head and
slips of calf at
tail
must be let in by cutting the end of the waste
leaf
and placing them under.
The other slips, of
every description, after trimming, must then be put into the space left between the boards, which should
be previously well pasted or glued, the boards placed nearly 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 scription of back,
ferent offices.
and
this
de-
as generally adopted in dif-
As in other particulars, two or three
of the best will here be given:
1.
Having
ascer-
tained the width and length of the back, and pro-
vided a piece of strong pasteboard, or thin milled board, of little more than twice the width, fold one side rather
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 3 4*
;
MANUAL OF THE
1G2
wider than the back of the book
;
then cut evenly
than the width, then
another piece, a
little
another still
and so on for six or seven, lessen-
less,
less
ing the width each time
narrow
slip.
till
Let the edges of the
for the whole, be pared,
is
merely a
first,
or cover
the last
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,
proceeding in like manner till the smallest is
fixed,
taking especial care that each occupies the
exact
centre of the
one on which
Finally, glue the whole space
it
is
placed.
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
required, and pare
to the size
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
but does not answer so well.
is
sometimes wetted,
ART OF BOOKBINDING. 3.
163
A beaten iron plate of the exact size, and
covered with parchment or leather.
Numerous patents have been obtained
for this
description of back, but none have been found to
answer the purpose, on account of the metal cutting through the parchment or leather.
The spring-back
is
kind of account-books
only used for the superior ;
for
common work, a piece
of thin pasteboard is merely laid on the back before covering, the stress on the back being small.
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 to materially strengthen the back.
COVERING.
The materials generally used for stationery-binding are russia, rough calf, green and white vellum,
and rough sheep, according work.
Previous
to
to the
value of the
pasting on vellum, 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
MANUAL OF THE
164
boards and the back, so as to form a bold groove,
and force the leather close on the edge of the springback.
Previous to and after pressing, the head-
bands must be squarely set, taking care to rub out
any wrinkles that may have been formed in turning 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 fore-edges of the boards, and then finish the covering by turning in
the head and tail.
As circumstances previous workman,
— such
as the
fancy of some
or coloured vellum not to be
obtained so early as required
— may make
it
ne-
cessary 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
pearlash, and then colour it to the shade desired.
RED.
To one pint of white wine vinegar, put a quarter of
a
pound of Brazil dust and a piece of alum.
ART OF BOOKBINDING. Cork the mixture up
165
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 while 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
and the
lettering, &c.
now be pasted down,
proceeded with.
are attached, the pasting
If bands
down of the end-papers
and joints must be deferred till they are executed. RUSSIA BANDS.
To
give
to
large
books
degree of strength, it is usual to them.
the
greatest
tc affix
possible
Russia bands
They are called si?igle when they extend
MANUAL OF THE
166
about half-way down the sides, and double when those at the head and tail reach to the corners of
the boards, and are turned 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
divisions of the back,
thereby leaving in sight the seventh
spaces with the
first,
third, fifth,
cover only;
and
draw them
squarely on the sides, and place the volume in the press, with the rods fixed to force the russia into
the joints, as before directed, and 'then leave to dry.
When 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
like those above,
ner
;
short,
and placed on in the same man-
but those at the head and
tail,
which extend
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
rods as before, to cause the russia to adhere well
and evenly to the vellum or calf, and leave it to dry.
ART OF BOOKBINDING.
167
CLASPS, CORNERS, AND BRASS BANDS. Clasps are sometimes affixed to the better kind of stationery books, as keeping
them closed when
much towards their preservation.
not in use tends
And for still greater security, they are often further protected with brass corners or bands. projection the clasps would
make on the fore-edge, away to admit
that part of the board must be cut the clasp, so that
when fixed it will be even with
the edge of the board. this is not
done
;
To hide the
For the corners and bands
but, to insure a finished appear-
ance in the whole, the workman's attention must be directed to their .fitting exactly in every particular
of length, breadth, and thickness.
be purchased of the makers, but
The clasps may 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 drilled
through previous to placing on.
corners
are
Where
put on, no bands will be required.
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
MANUAL OF THE
168
head and tail of the book, and fastened with rivets in the following
corners
:
manner, as are also the clasps and
—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, par-
ticularly of early-bound Bibles,
&c,
in churches,
are fastened in the same manner.
FINISHING.
The
placing
blind-tooling,
books.
is
of
lettering-pieces,
exactly the
same
gilding,
as
and
for printed
Rough calf must be dressed with pumice-
stone, cleaned with a brush,
and ornamented blind,
with the tools very hot, to form a dark impression.
Vellum 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.
169
ART OF BOOKBINDING.
BOAEDINGr" In large places, this is another distinct branch of the art, and consists of simply covering the book
with
coloured paper or other
In small towns,
it
common substance.
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 at-
tempting a description of boarding, little can be This style, too, being the
said without repetition.
commonest mode of doing up books in this country, also places the subject,
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
observe 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 trimming-knife previous to rounding the back, so as to present as
neat an appearance as possible, by removing every portion of the paper projecting line.
For greater strength 15
over the general
to the
back, a piece
— ;
MANUAL OF THE
170
of paper must be pasted in the centre of the coloured
paper previously 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-WORK. In the year 1825 a great revolution in boarding
was begun by the introduction of cloth covers
in
place of the drab-coloured paper previously in use.
The late Archibald Leighton, of London, was the inventor ; and Mr. Pickering was the first publisher who
adopted it.
The first cloth covers had printed labels
but very soon Mr. Leighton made the discovery that cloth could be
stamped with gold very beautifully.
Lord Byron's works
edition in 17 volumes)
(the
were the first books to which gold-lettering on cloth Cloth-work is now done with full gilt
was applied. Bides
and back and gilt edges
porary character of
this
;
but, from the tem-
style, the
question
may
arise whether it is not a useless expenditure of time
and money
to
produce
it.
But, so long as the
public remain unacquainted with bility for use, sides,
—
its
want of capa-
and desire a mass of gold upon the
so long, in fact, as there
is
a large class
who desire books for mere show and not for use,
ART OF BOOKBINDING. it
will
1T1
be the interest of publishers to gratify them
by furnishing cloth-gilt work. Expedition being so important in cloth-work, a
machine has been introduced to facilitate the operation of sawing the backs,
use for the purpose.
and it is now in general
The appended cut gives an
accurate idea of the machine as manufactured
W. 0. Hickok, Uarrisburg, Pa.
by
;
MANUAL OF THE
172
For this and all other species of case-work (morocco is sometimes done in this manner) the lining-
papers are inserted and pasted over so as to adhere
and the
to the end-paper,
slips,
having been cut
short, are scraped or rubbed smooth.
The volumes
are then knocked up and touched on the back in
one
two places with the glue-brush.
or
They
are then cut upon the fore-edge,,*by being placed
between two boards, one of which the width that
it
is
is
precisely
intended to cut the volumes
the boards and books are placed upon the layingpress, and the backs knocked evenly up ; the whole is
then placed in the laying-press, and cut with the
The back-board being wider than the
plough.
front, the knife cuts against it.
If the volumes are
small, a number may be cut at the same time.
mode of cutting is
called " steamboating."
This
After
the whole lot that the workman "has on" have been cut on the fronts, they are then placed between
cutting-boards
again,
of
knocked up on the head
;
the
proper
size,
and
they are then laid upon
the press, with the runner or front-board up ; the
board
is
then moved about a quarter of an inch
below the heads of the volumes as they are arranged in layers or piles.
The workman will then grasp
the boards firmly, so as not to allow the books to
ART OF BOOKBINDING. slip,
and place them
in
the
173
cutting-press,
and,
after screwing it up tightly with the press-pin, pro-
ceed to cut the heads in the same manner as the fronts. tially,
After this so
as
to
done, unscrew the press par-
is
allow the volumes
without slipping in the tub
to
be turned
then, with one
;
hand
beneath the press, depress one end of the boards, while
other
the
is
elevated,
until
the whole
turned completely over, with the tails upward.
is
The
runner is adjusted even with the cheek of the press, the press is screwed up, and the volumes cut at the tail.
If the edges are to be gilt, they are now pre-
Afterwards they are
pared for that operation. glued upon
the
backs
and rounded, care being
taken not to start the sheets or mark the gilding
upon the fore-edge with the thumb.
They are then
backed in the same manner as bound books, except that they have larger joints.
Care is requisite at
the ends, or the blows of the hammer will crush the
paper and thus give the gilding an unsightly appearance at the joints.
A machine has been invented for the purpose of backing books, and it appears to be growing in
favour for cloth-work, and, in fact, for
all
where expedition
It is the
invention
of
is
a primary essential.
Mr. Sanborn, '
15*
of
Portland,
work
Maine.
MANUAL OF THE
174
The annexed
cut gives an idea of the general ap-
pearance of the machine.
The next process is lining done by pasting
the backs, which
of paper or muslin
strips
is
upon
the back, having it of sufficient width to cover the loints
on each
side.
The volumes are then pre-
pared for the cases, which have been previously got
The boards are
cut to
a uniform squaro
by the table-shears.
The
cloth covers, after
ready. size
having been cut out, have the corners cut off to a pattern
made
for
allow them to lap
the
purpose, just
when
the edge of the boards.
the cloth
is
sufficient
to
turned over
The cover is then glued
175
ART OF BOOKBINDING.
TABLE-SHEARS. equally over, and the T square laid upon
square having been
it,
— the
made of the proper width to
allow for the back, joints, and groove of the volume.
A board
is
then laid on each side of the centre of
the square ; the latter is then lifted off, and a strip of paper, of the length of the boards and nearly the width of the back of the book, placed between
MANUAL OP THE
176 the boards. is
The cloth projecting beyond the boards
then turned over their edges.
The cover is then
turned over, and the cloth rubbed smooth on the sides
by means of a woollen or cotton pad.
then placed between pasteboards to dry. cases are all made and have
It is
After the
become perfectly dry,
they are ready for stamping.
Cloth for ordinary
stamping requires no preparation, but if the stamp be large or very heavy coat of size.
For this
will
it
be safer to use a
purpose Russian isinglass is
preferable ; fresh glaire will answer the same purpose.
After the cases are stamped, the volumes
being ready, they are arranged with their heads > the same way, and the end-paper of the volume is
pasted equally over.
The book is then laid, pasted
side downwards, upon a case, adjusting the squares
properly at the same time
;
the other end-paper
is
then pasted, and the other board or side of the case
drawn over the back and placed upon the volume. After a number are pasted, they are placed in pressing-boards having a brass band affixed to the
edges of the boards.
The band, being rather wider
than the thickness of the board, causes a slight projection.
The volumes are adjusted in the pressing-
boards in such a manner as to cause the back and joint of the volumes to be on the outer, while the
ART CF BOOKBINDING. pasteboard
is
177
on the inner, side of the brass rim.
In this position the volumes are placed in the standing-press and screwed tightly down ; they are then
tapped lightly at the heads with a small backing-
hammer, and allowed
to
remain until dry.
They
are then taken out, and the end-papers opened up or separated with a folding-stick.
ready for the bookseller's shelves.
They are then
MAUAL OF THE
178
PART III. ORNAMENTAL ART. In treating upon this to the land of the
subject,
we are led back
Pharaohs; for the
records that have come
earliest
Art
down to us (and, perhaps,
the most perfect) are from the banks of the Nile,
remarkable for their severely massive
character,
The few ornamental details are
calm and frigid.
chosen rather for their symbolical than aesthetic beauty, consisting of local forms slightly conventionalized and heightened with colour.
Their orna-
ments were types and symbols intended to address themselves to the eye, heart, and soul of the beholder, the
most frequent
in recurrence being the
— a sacred emblem Egyptians used ornamental — the human
winged globe, in their
the
figure, their
designs,
sacred animals, and the lotus, reed, asp, and papyrus.
Upon the
capitals of
represented nearly country,
the
all
petals,
Egyptian columns are
the flowers peculiar to the
capsules,
pistils,
seeds,
and
ART OF BOOKBINDING.
179 Capitals
most minute parts, being often exhibited.
are often seen resembling a vase, and at other times
a bell reversed.
There is little in this style appli-
cable to the decoration of books, unless it be
works relating to Egypt.
upon
Then its symbols afford
the binder an opportunity to employ
its
symbolic
ornamentation.
ASSYRIAN AND ANCIENT PERSIAN.
Of this style it is only lately that we have become slightly acquainted ; and, though partly coeval with
the Egyptian, the Assyrians have borrowed
from them, the classic
details being
little
remarkable for their
character, at times approaching the Ionic,
but greatly dependent upon animal forms for
its
ornamentation, and upon painting and sculpture for its
expression.
The forms, often graceful, are less
arbitrary than the Egyptian, (where symbolism
is
paramount,) containing those elements afterwards elaborated into beauty by the Greeks.
There is an
appropriate fitness in Assyrian ornament that constitutes one of its prominent characteristics.
tion to animals, the
flower
and
reeds,
ornament supposed
In addi-
pomegranate, fir-cones, lotusrosettes, to
and
a
fan-shaped
be the origin of the Greek
honeysuckle, distinguish the Assyrian style.
MANUAL OF THE
180
GREEK.
Under the ancient Greeks, Art attained a refined and exalted character, material beauty being developed to the utmost; elegance of proportion, chaste simplicity,
bolism
and conventionalism, triumphant; sym-
The
disregarded.
principal
elements
of
Greek ornament were the honeysuckle, the lotusleaves, the wave-line
and
the universal fret.
The beauty of Grecian orna-
ment
equality of foliage, starting-
consists in its
scroll,
points, stalks, and groundwork.
the zig-zag, and
Its running figures
are well adapted to and are employed for rolls, in side-finishing,
and the proportions of this
style of
Art should be carefully studied by the finisher. ETRUSCAN. Simplicity and elegance of form, combined with
strong contrast in colour, constitute the distinguish-
ing marks of this style.
form models for the artist.
The Etruscan vases
still
The novel appearance
of these vessels, all uniformly painted with a tracery
of black on a natural groundwork of brownish red, is
extremely pleasing, proving
capability of their makers.
there
is
the
high
artistic
In the British Museum
one room entirely devoted to a collection
of these remains of ancient Art.
This style is ap-
181
ART OF BOOKBINDING. proaclied in its effects
by inlaying with black upon
A copy of Caxton's " Recuyell of
a brownish red.
the Historyes of Troye," bound in this style by Whittaker, has been highly extolled.
It is in the pos-
session of the Marquis of Bath.
The general effects
of this style are represented by a style
now much
in vogue, called antique, a reddish-brown
morocco
being stamped upon so as to produce a dark or black figure thereon ; but the character of the orna-
ments are generally dissimilar.
ROMAN.
Roman Greek,
art
in
is
a redundant
elaboration of the
purity gives
way
which
to
richifess,
grotesque combinations become common, and false principles creep in.
Mosaic pavements are rendered
pictorial by the introduction of light and shade, the flat
and round not kept distinct.
In the remains
of Pompeii we find the degradation of classic Art by
the violation of true principles.
There
is
nothing
in this styl$ to commend it to the artist, especially in decorating books.
BYZANTINE, LOMBARD, NORMAN.
These varieties of kindred ornament, commencing with the rise of Christianity, were founded on classic 16
MANUAL OF THE
182 details,
having a distinct expression of their own.
There is much symbolism in the Byzantine, but all are appropriate to their several wants, rich, judiciously disposed,
—the parts
and purely conventional.
In these styles, so intimately connected, we find the interlaced strap-work that suggested Gothic tracery to the great mediaeval artists.
MOORISH.
The decorative art of the Arabs is more conventional than
any other, it being in most cases
ex-
tremely difficult to trace the origin of their forms. All animal representations are strictly excluded by the religion of Mohammed.
The union of geometrical
with floral forms seems to have supplied the expression,
many ornaments
plants, transversely cut talline shapes.
resembling
the
ovary of
and connected with crys-
The abstract and superficial treat-
ment is perfect, the forms are extremely graceful, and the colouring gorgeous.
work is highly elaborated.
The interlaced strapThis style is sometimes
called the Arabesque, and forms the chief decoration
of the Alhambra, an ancient fortress and residence of the Moorish monarchs of Granada.
For grace
and liveliness this style is unrivalled, and it affords
many useful and beautiful hints to the finisher in
;
183
ART OF BOOKBINDING. his hand-tooling, fine effects
in
and is well calculated to produce
stamps designed for the embossing-
press.
GOTHIC.
The Gothic is founded upon geometrical forms.
The strap-work of former styles is elaborated into tracery, the
main
lines
being circular or curved,
starting from vertical lines, ending in points, en-
closing spaces divided
and subdivided
in the
same
manner, further decorated with conventional orna-
For bookbinding
ments derived from local nature. it
sometimes employed, but without much judg-
is
ment.
The judicious finisher will reject it on ac-
count of its inapplicability to superficial decoration.
THE RENAISSANCE.
The Renaissance the
fifteenth
or Revival
century,
by the
arose in Italy in
appropriation
of
classic details in connection with prior styles, the
traditionary giving
way to selection and freedom
Art gaining but few entirely new forms, rather subjecting all that had gone before to a new treat-
ment, which in the hands of the great artists of the period produced agreeable results, showing the
importance of general design, rendering even
in-
congruous materials pleasing from that cause alone
MANUAL OF THE
184
The Cinque-cento has been considered the goal of the Renaissance and
its
characteristics,
—
strap,
tracery, arabesque, and pierced scroll-work, a mix-
ture of the conventional with natural forms, and
every detail of ancient Art,
—producing, under
dif-
Thus, in Raphael's
ferent masters, varied results.
Loggie of the Vatican are to be found, as at Pompeii,
elements piled one above the other, without
any regard
to
The same with the
construction.
works of Julio Romano at Mantua,
—painted
imita-
tion of bas-reliefs suspended above fountains, temples,
&c, the parts often finely drawn and treated,
but, taken as a whole, little
surd, quite unlike the
removed from the ab-
works of the Greeks and
Etruscans they sought to rival.
ELIZABETHAN.
The Elizabethan was an English version of the Renaissance,
being a special elaboration
of the
strap and bolt-work, and has been highly useful to the stamp-cutter.
Many of its
forms can be
advantageously employed by the finisher.
LOUIS QUATORZE. This
distinct
expression
of
Art
is
of
Italian
origin, being the last of the Renaissance, and
end
185
ART OF BOOKBINDING. of ornamental styles. shells,
of scrolls
consists
It
and
an alternation of curves and hollows, the
concave and convex in contrast, the broken surfaces affording a brilliant play of light
and shade.
The effect when gilt being extremely magnificent, colour
was abandoned,
construction
hidden,
symmetry often disregarded, especially in cline.
its
and de-
As to superficial treatment, flat surfaces were
studiously avoided, and the few that remained were
treated pictorially, in a mellifluous, pastoral style,
known as that of Watteau.
Under Louis XV. the
forms degenerated: symmetrical balance and flow of line were disregarded,
giving
way
to the
graded ornamentation called the Rococo vailing style
de-
— the pre-
of the last and earlier part of the
present century
—depriving Europe
for
more than
one hundred years of true superficial decoration, without which no Art can be considered complete.
An attempt at this style may be seen upon the sides of
some of the gaudily-gilt albums and books
of like
character.
love for
it,
artists.
for
it
No is
finisher
need cultivate a
the aversion of *
16*
all
refined
— ;
MANUAL OF THE
186
FINISHING. TASTE AND DESIGN. It is of the
utmost importance to a young work-
man that he have correct ideas in regard to taste, and be able to distinguish it from caprice or mere fancy.
It is in the power of all to acquire a correct
taste, for it is
governed by laws that can be easily
learned, and they are unchangeable.
Taste
may
be said to be a perception and an appreciation of the principles of beauty and
harmony as revealed
by Nature through Art.
Nothing
nature, no violation of
any law of proportion or
of fitness, can be in good taste. book-collector, in
contrary to
The amateur and
commencing the foundation of a
library, will do well to pause before they adopt a
species of binding that will in after years create a feeling of annoyance,
and perhaps lead
to
pecu-
niary sacrifice.
A recent writer upon the New York Exhibition of the Industry of all Nations discourses thus
" We
call
:
bookbinding an art ; and when we con-
sider all that
is
necessary to the perfect covering
of a fine book, it must be admitted to be an art less important,
architecture.
it
is
true,
but similar in kind to
187
ART OF BOOKBINDING.
" The first requisition upon the skill of the binder is
to put the book into a cover which will effectually
protect it, and at the same time permit it to be used
with ease.
If he do not accomplish this, his most
elaborate exhibition of ornamental
nothing ; for he
fails in
services are required.
skill is
worth
the very end for which his
It was
in this regard, too,
that most of our binders failed in past years.
Who
that remembers the hideous, harsh, speckled sheep
covers which deformed our booksellers' shelves not
long ago, can forget the added torment which they inflicted
upon
their
unhappy purchaser, by curling
up palpably before his very eyes, as he passed his first
evening over them, and by casting out loose
leaves or whole signatures before he his first
perusal?
In those days,
had finished
too, there
was
morocco binding, with a California of gold upon the sides ; and such morocco
!
like a flattened nutmeg-grater,
the book it.
it felt
to the fingers
seeming to protect
by making it painful for any one to touch
This was as useless as the humbler though not
more vulgar sheep.
It
would hardly last through
the holiday season on the centre-table which it was
made to adorn. " The binder's next task is to give his work the substantial appearance without which the eye of
MANUAL OF THE
188
The
the connoisseur will remain unsatisfied.
vo-
lume must not only be well protected, but seem so.
and en-
It should be solid, compact, square-edged,
closed in firm boards of a stoutness proportionate to its size,
and these should be covered with leather
and strong.
at once pliable
Unless it present this
appearance, it will be unsatisfactory in spite of the
and the most elaborate ornament.
richest colours
Thus
mere mechanical skill of the binder
far the
goes.
In the choice of his style of binding, and
in the decoration of his book, if he perform his task
with taste and
skill,
he rises to the rank of an
artist.
" The fitness of the binding to the character of the volume which it protects, though
little
regarded
by many binders, and still less by those for whom they work,
of the
is
Moore's Lalla
first
importance.
dark russia back and corners, ledger,
or
Suppose
Rookh bound in rough sheep, with
Johnson's
folio
like
a merchant's
Dictionary in
straw-
coloured morocco elaborately gilded, and lined with pale blue watered-silk,
is
there an eye, no matter
how uneducated, which would not be shocked at the incongruity? tected,
open
Each book might be freely,
mechanical and
perfectly pro-
and exhibit evidence of great
artistic
skill
on the part of the
!
189
ART OF BOOKBINDING.
binder ; but his atrocious taste would insure him a just
And yet there
and universal condemnation.
are violations of fitness to be seen daily, on the
majority of public and private shelves, outrageous than those
little less
Books
we have supposed.
of poetry, and illustrated works on art bound in
sober speckled or tree-marbled
calf,
with little gold
upon the backs and sides, and none upon the edges Histories, statistical works,
and books of reference,
in rich morocco, splendidly gilded
!
—the idea that
the styles ought to change places seeming never to enter the heads of the possessors of these absurdly-
But a
covered volumes.
little
reflection
by any
person of taste, and power to discern the eternal fitness of things, will
make it apparent that there
should be congruity and adaptation in the binding of books.
Sober, practical volumes should be cor-
respondingly covered ; calf and russia leather, with
marbled paper
and edges, become them
;
while
works of imagination, such as poetry and books of engravings, demand rich morocco, fanciful orna-
ments, and gilding.
To bind histories, philosophi-
cal works, dictionaries, books of reference like, in
plain calf or dark russia,
essays,
and the
—
and the
travels, novels,
lighter kind of prose writing, in
tinted calf or pale russia with gilding,—- poetry in
— MANUAL OF THE
190
and works on art in half
full morocco richly gilded,
morocco, with the top edge only cut and gilded,
seems a judicious partition of the principal styles of binding.
The margins
of an illustrated
work
on Art should never be cut away, except where it is absolutely necessary for
the
preservation
of the
book from dust, and the convenience of turning the leaves
—that
is,
It is well here to enter
at the top.
a protest against the indiscriminate use of the antique style of binding, with dark-brown calf, bevelled
boards,
and red edges.
This
is
very well in
its
place ; but it should be confined to prose works of
authors who wrote not later than one hundred and fifty years ago.
What propriety is there in putting
Scott, or Irving, or Dickens, or Longfellow, in such
a dress ?"
Hartley Coleridge's opinion on the subject of taste in Bookbinding is thus given :
— " The binding
of a book should always suit its complexion.
Pages
venerably yellow should not be cased in military morocco, but in sober brown russia. pressed paper looks best in vellum.
Glossy hot-
We have some-
times seen a collection of whitey-brown black-letter ballads,
&c. so gorgeously tricked out that
they
remind us of the pious liberality of the Catholics,
who dress in silk and gold
the images of saints,
—
;;
ART OF BOOKBINDING.
191
part of whose saintship consisted in wearing rags
and hair-cloth.
The costume of a volume should
also be in keeping with its subject,
character of
its
author.
works of William Penn
and with the
How absurd to see the flaming scarlet, and
in
George Fox's Journal in bishops' purple logy should be solemnly gorgeous.
!
Theo-
History should
be ornamented after the antique and Gothic fashion
works of
science,
plain
as
as
is
consistent with
dignity; poetry, simplex munditis"
And it may not be irrelevant here to introduce the opinion of Dr. Dibdin, whose connection with
some of the
first
libraries in
intimate knowledge of
all
England, and whose
the great book-collectors
of the same, must tend to stamp
authority on the subject
him
as a
good
:
" 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
3>
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 should be introduced but cir-
— MANUAL OF THE
192 cumspectly.
Morocco, I frankly own,
vourite surtout;
my fa-
is
and the varieties of them
blue,
(dark and light,) orange, green, and olive-colour
—
are especially deserving of your attention.
The colour of the binding may often be in har-
mony with its contents.
Books of poetry may be and have as much
light green, or blue,
red, or
ornament as may be desired.
And Fine Art books,
above
rejoice
all
others,
ought
to
beautiful
in
coloured moroccos and gorgeous ornaments. British
Museum, books of
divinity are
In the
bound
in
blue, history in red, poetry in yellow, and biography in olive.
" 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 morocco or velvet; though,
upon second thoughts, russia is well suited tory and chronicles.
to his-
And for your fifteeners, or
volumes printed in the fifteenth century, whether Greek, Latin, Italian, or English, let me entreat you invariably to use morocco : for theology, dark blue, black, or damson-colour ; for history, red or
green; while, in large paper quartos, do
dark
not fail to
remember the peau de veau (calf) of the French, with gilt upon marbled edges.
My abhorrence of
ART OF BOOKBINDING. hogsJcin urges me to call upon
193
you to swear eternal
enmity to that engenderer of mildew and mischief. Indeed, at any rate,
For your suites,
Italian
it
is
a clumsy coat of mail.
and French, especially
in long
bespeak what is called French calf binding,
spotted, variegated,
or marbled on the sides, well
covered with ornament on the back, and, when the
work is worthy of it, with gilt on the edges. your English
octavos of
Let
history or belles-lettres
breathe a quiet tone of chastely-gilded white calf
with marbled edges ; while the works of our better-
most poets
should be
occasionally
clothed
in
a
morocco exterior."
The further 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 will
state that the defects of forwarding
become more apparent, and which no
tact or
ingenuity of the finisher can effectually remedy; for,
unless the bands are square, the joints free, and
the whole book geometrically just, the defect, whatever it may be, will appear throughout, and tend to
destroy the beauty of every subsequent operation, 17
MANUAL OF THE
194 from
tlie
constraint required to
make the general
appearance of the work effective. Before proceeding to a description of the various manipulations required in gilding a book, it will be
necessary to direct the attention of the young work-
man 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
When
important part of the art of bookbinding.
it is considered that the most celebrated artists have
arrived at the eminence awarded to
through the
elasticity, solidity,
them not only
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 cannot be too strongly impressed on the workman that this should ever occupy his first attention. is
Nothing
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
the most fastidious critic.
sides of the volumes present
favourable
for
the
display of
the field most
ornamental
taste,
admitting, from their extent, the execution of the
195
ART OF BOOKBINDING.
This elaborate style of
most complicated designs.
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
any
satisfaction of finding himself able to imitate
pattern, however difficulty as well as to 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
and blind
tooling,
leaving the detail to be suggested to the
mind of
the
general
effect
of gilding
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.
charged bach.
I love what
At first
the
is
called an over-
appearance
may be
flaunting and garish ; but time, which mellows down
book ornaments as well as human countenances, will quickly obviate this inconvenience ;
a twelvemonth, or six months
added
and about to the said
MANUAL OF THE
196
twelvemonth, will work miracles upon the appear-
Do not
be
meagre of your
ornaments on the back, and never
suffer blind tool-
ance of your book.
ing wholly to pervade a folio or quarto ;
for,
by so
doing, you convert what should look like a look into
a piece of mahogany furniture.
"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.
gilt
Bibles
One
could not endure gingerbread-
and Prayer-Books, or Chronicles or
Dictionaries, or other books of reference.
Let these
have a subdued decoration on their backs only
full-gilfc,
tres of
or a running
;
bands
edge-tool in the cen-
them, with small ornaments between the
bands.
" I would recommend the lettering of a volume to be as full as possible ; yet sententiousness
sometimes be adopted.
and the
letters of
must
The lines should be straight,
one and the same form or cha-
racter 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 perpendicularly, as was the cus-
197
ART OF BOOKBINDING. In
torn.
all
fresh bindings, however, prefer hori-
zontal to perpendicular lettering."*
urge that particular attention be
It remains to
paid to the lettering of books titles,
an
being their right
as the contrary will present to the judicious
effect
may be
the most disagreeable, and
the
cause of producing dissatisfaction with the whole of the binding in the mind of the owner; and also to
avoid
the
colour of
contrast
new
which
the
lettering-pieces
different will
give
shade or
some
to
bindings.
As it is requisite that the workman should form an idea of the style and design
to
be executed on
the volume before he prepares
it
for gilding,
?
will
we
proceed to point out the peculiarities of some
of the most prominent styles and of the tools re-
quired to produce them. faithful
idea
of
the
latter
We hope to convey a with
the
aid of
tools
and ornaments executed expressly
work
by Gaskill,
for
the this
Copper & Fry, bookbinders' tool-
* We sometimes fear that Dr. Dibden s commendation of ?
an overcharged back has produced a bad effect.
It
should
be borne in mind that, when the doctor wrote, calf was the prevailing material employed in binding, and that of a light colour.
J7*
MANUAL OF THE Philadelphia, who have secured for them-
cutters,
and skill, an enviable reputa-
selves, by their taste
Plate I. contains an illustration of
tion as artists.
the species of ornament termed
THE ALBINE STYLE,
Which derives its name from a noted printer named Aldus Manutius, a Roman by birth, who was born in the
year 1446 or 1447.
His Christian name,
Aldus, was a contraction of Theobaldus ;
and
to
this surname he sometimes added the appellation of
The first of these
Pius, or Bassianus, or Romanus.
by Aldus from his having
appellatives was assumed
been the tutor of Albertus Pius, a prince of the noble house of Carpi ; and the second was derived
from the birthplace of the printer
—namely, Bassian,
a small town in the Duchy of Lermonetta.
Aldus is supposed to have taken up his residence at Venice, as the favourite city wherein to his plans, about the year 1488 ;
mature
and about 1494-95
he there put forth the first production of his press.
He introduced Roman types of a neater cut than had
previously been
beautiful
letter
though, in the tian,
w hich T
first
in is
use,
and invented that
now known
instance,
it
as
Italic,
was termed Vene-
from Manutius being a resident of Venice
ART OF BOOKBINDING.
when he brought it after, it was
to perfection ;
199 but,
not long
dedicated to the State of Italy, to pre-
vent any dispute that might arise from other nations claiming a priority, as was the case concerning the first
inventor of printing.
Prior to the time of Aldus, the only points used
punctuation were
in
comma,
the
colon,
and
full-
but he invented the semicolon,
point or period ;
gave a better shape to the comma, and connected the punctuation
by assigning to the various points
About the period of his mar-
more proper places.
riage, (in 1500,) he invented a mode of
imposing a
w ork in such a manner that two languages might be r
interleaved and bound together, or separately, at the option
cff
the purchaser ; and, about the same
date, he printed the first leaf, in folio, of a proposed
edition of the
Bible
in the
Hebrew, Greek, and
Latin languages ; so that he has the honour of having
first
suggested the plan of a Polyglott Bible.
However, the plan failed of being then carried into effect.
Printing
different
languages in opposite
columns was not accomplished till 1530.
The mind of Aldus was entirely engaged in the care of his printing-house
;
for, as
soon as he had
ordered his other necessary affairs, he shut himself
up
in
his
study, where
he employed himself
in
MANUAL OF THE
200 revising his
Greek and Latin MSS., reading the
letters which he received from the learned out of all
parts of the world, and writing answers to them.
To prevent
by impertinent
interruption
visits,
he
caused the following inscription to be placed over his door
:
— " Whoever you
are..
Aldus earnestly entreats
you to despatch your business as soon as possible,
and then depart : unless you come hither, like anlend him some friendly assist-
other Hercules,
to
ance ; for here
ivill
be
work
sufficient
to
employ
you and as many as enter this place."
The mark or device which Aldus 1515 his
—made use of
in
to distinguish works issued from
an anchor, round which a dolphin
press was
seemed to twist. teur,
—who died
It must be familiar to every ama-
—Mr. Pickering, the London
publisher, having
adopted the Aldine anchor as his device. To attempt
any description of the Aldine
class of tools
would
be superfluous after so fair a specimen in the illustration.
It will be perceived they are entirely free
from shading, and, consequently, much more effective for that description of
generally used, patterns
are
—
viz.,
much
work for which they are
blind tooling. lighter
Both tools and
and more ornamental
than the old Monastic school, of which the Aldine in some degree partook.
201
ART OF BOOKBINDING.
Upon the same plate there is exhibited the arrangement of a back-panel and tools in the
MONTAGUE STYLE, "Which derives its name from Montague, (of the firm of Montague and Johnson,) a bookbinder of consi-
derable
eminence, who flourished about the year
1780.
The chief features of this style are corners
and centre, filled up with stops, &c. similar to illus-
The
tration.
tion, flowing
an open, leafy descrip-
tools are of
from a stem free from any thing of
The panel given has been copied
the scroll or curl.
from a book supposed to have been done by Montague himself.
and
The bar, or barleycorn, on the head
and on the bands, likewise on the insides
tail
Books
and edges. green on
adjoining
in
pieced
red and
frequently a
lozenge
volumes,
panels,
of red
on the second piece, and
filled
up with
corners
and
other
panels ;
sometimes plain,
two-line
both a
or is
stops
similar
now
green ;
pieces
flowery
to
flowing
usually
the
generally
sides roll,
for
substituted ;
which a
sewed
on
raised bands; colour, brown calf, sometimes highly sprinkled.
There is also upon Plate I. an illustration of
MANUAL OF THE
202
THE HARLEIAN STYLE,
A style not behind Montague in beauty of ornament, and superior in elegance and variety of ar-
rangement.
Before entering into a description of
the style, we will give what information
gained respecting
its
not be unacceptable.
we have
founder, trusting that
it
will
We find that " Robert Har-
ley, Esq.,
of Frampton-Bryan, in
Hereford,
(the
derives
its
name,) was in 1700
of the
House of Commons, and in May, 1711, he
gentleman from
the county of
whom chosen
the
style
Speaker
was created Earl of Oxford and Mortimer, and five days
afterwards was
station of
promoted
to
the important
Lord High-Treasurer of Great Britain."
In the Preface to the Harleian MSS., now in the British
Museum, speaking of Mr. Harley, it states
that "his innate love of books was such as to deter-
mine him in early life to undertake the formation of a new library, regardless of the disadvantages with
which he must contend, as great exertions had previously been made in collecting MSS. for the Bodleian,
Cottonian, and other valuable though smaller collections, so that the prospect of
forming a new library
with any considerable number of
MSS. was indeed
very unpromising. But, urged on by a love of learning,
203
ART OF BOOKBINDING. and a strong desire
to search into the transactions
of former ages, determined Mr. Harley to purchase
whatever curious
MSS. he could meet with, more
especially such as might in any wise tend to explain
and
illustrate the history, laws, customs,
tiquities, of his native country.
and anti-
The principal point
which the founder of the Harleian Library had in
MS. English His-
view was the establishment of a torical Library,
and the rescuing from oblivion and
destruction of such valuable records of our national antiquities as
had escaped the
diligence of former
collectors.
" At the decease of his son, (Edward Lord Harley, in 1741,) who had
been a powerful auxiliary in
enriching the collection, the of nearly 8000 volumes. ley, his
library
of Oxford.
MS. library consisted
At the death of Mr. Har-
was bequeathed
to the University
To such men we owe a debt of grati-
tude for the improvement of the art and for intro-
ducing a style of finishing that
still
remains the
admiration of the connoisseur.
" The books in the Harleian Collection are principally bound in red morocco, well sewed on raised
bands, tight backs, (as were
all
period,) Dutch marble end-papers,
the books of that
and gilt edges."
Harleian tools are more wiry and much closer
— MANUAL OF THE
204
than the Montague, interspersed with fine-line curls, fine pinhead curve-lines, rosettes, acorns, solid stops,
single rings,
and cross-buns.
The border upon the same plate illustrates the Harleian pane-side.
In the Harleian style there
are three distinctly different arrangements for sides
and backs, (independent of the which finishers indulge.)
of fancy in
There are on the sides,
the two or three-line
first,
flights
fillet,
stopped ;
second,
—a
style of
the Harleian tooled or spikey border, finishing peculiarly neat and rich,
and well adapted
for nearly every description of books.
On original Harleys the tooling went right on from corner to corner, broad
roll ;
corner,
as
if
worked by a very
but modern finishers prefer a made-up
—that
is,
a tool or tools projecting at right
angles with the corner, up to which the border-tools are worked, thus rendering the whole
nious and perfect. to a
more harmo-
The spikey border is worked up
two or three-line fillet, with the cat-tooth roll
worked on the outer line towards the edge of the board.
although
(We may here mention that the cat-tooth, purely French,
Harleian, as
it is
considered
on all the originals we have seen,
and accords w ell with the T
may be also style.)
Third, the pane
or panelled side, similar to the illustration.
Some-
205
ART OF BOOKBINDING.
times a double pane was formed by throwing in a two-line fillet and working a roll on the inside.
On the backs there is the upright
centre, the
diamond centre and corner, as in the illustration, and the semi-circle with open centre.
The diamond centre was not much used on books of light reading,
such
as
novels, but
works of a graver nature, such as sophy, and history.
It
rather
on
divinity, philo-
seems to have been the
favourite style of the earl's binders ;
and we must
acknowledge that a book never looks so like a book as when finished with a
corner.
good diamond centre and
In forming the diamond centre, the spikes
ought to project beyond the stops, as it is then more graceful and pleasing to the eye than when the stop
and spikes are flush one with the other.
THE FONTHILL STYLE. The following account of Fonthill Abbey will, no doubt, be acceptable, in connection with our description of the " style" which has derived its name
therefrom.
"Fonthill Abbey, in Wiltshire, justly ranks as
one of the grandest structures in the United King-
dom, combining
all
the elegance of modern archi-
tecture with the sublime grandeur of the conventual 18
MANUAL OF THE
206 style.
was
It
built
about the
end of
the
last
century, at an expense of <£400,000, by Mr. William
Beckford, son of the public-spirited Lord Mayor of
London of that name, whose statue now stands in Guildhall, with a copy of the
memorable speech
and remonstrance which he addressed to George III. in 1770.
Succeeding to almost unbounded wealth,
(nearly <£100,000 a year,)
endowed with an extra-
ordinary mind, literary talents of the highest order,
and an exquisite taste for the arts, the young owner of Fonthill
Abbey determined
uncommon
in design,
to erect
and to adorn
it
an
edifice
with splen-
;
and, with an energy and enthusiasm of which
duller
minds can form but a poor conception, he
dour
soon had his determination carried into effect.
"The gorgeous edifice reared for Mr. B. contained
many magnificent suites of apartments. only notice two, denominated
King Edward the
St.
We need
Michael's,
the Third's Gallery.
and
They are of
most stately and interesting description that
can be conceived or imagined:
the
former
filled
with the choicest books and many articles of vertu ; the latter also employed as a library, but enriched
with a much greater number of choice and curious productions, and terminating in an oratory, unique for its elegant proportions
and characteristic con-
;
ART OF BOOKBINDING. It
sistency.
207
once rich and luxurious as the
at
is
temple of which
;
forms an appendage,
it
—sombre
and soothing as the religious feelings with which its designation associates it.
*
Meditation here may think down hours and moments
Here the heart may give a useful lesson to the head,
And learning wiser grow without its books/ It is but the drawing of a curtain,
and not only all
the glitter of the adjoining splendour, but
all
the
pomps and vanities of the world seem to the medimind
to
be shut out forever.
pensive cast
is
more deeply experienced from the
tative
immediate contrast
:
Perhaps
its
dazzled with objects of show,
fatigued w ith the examination of rare and costly T
commodities, and bewildered with the multitude of precious
devices which everywhere
surround him,
the soul of the visitant retires with tefifold delight to the narrow walls of the oratory."
Our brief description of the Fonthill style cannot fail to strike
the reader as being remarkably appro-
priate to the sombre character of that part of the
abbey which contained the library,
—the one being
in strict keeping with the other.
Half-bound olive-brown morocco; sewed on raised
bands
;
gilt
tops
;
marble-paper sides and insides
MANUAL OF THE
208
•with no finishing whatever,
except the lettering and
date at bottom.
A LA JANSENISTE. This chaste and beautiful style derived
from
a
religious
esteemed by amateurs. niste
full-bound
are
order,
is
said to be
and
highly
is
Books bound h
la janse-
Turkey or Levant morocco,
with a broad turn in on the inside of the board, gilt
edges with a fine one-line
bands and head and side,
all
tail,
in blind, there
fillet
each side of the
and neatly mitred on the being no gilding
on the
outside but the lettering ; on the inside a broad-
tooled border of very fine tooling in gold, a fine two-line in gold on the edges of the boards, and the
cap of the headbands tipped with the same.
*
THE CAMBRIDGE STYLE
Is practised, we may say exclusively, on theological works.
At what period it gained its name is
uncertain ; doubtless, it was the style in which some of the university libraries were chiefly bound ; and, in
all
probability,
the idea of the Harley paned
side was first copied style are sewed
from it.
Books bound in this
on raised bands, brown
calf,
pane-
sprinkled sides, Dutch marble end-papers, and red
2
Modem Monastic.
209
ART OF BOOKBINDING.
Back pieced with red russia, and a two-
edges.
head and
line fillet
bands,
tail,
Sides,
blind.
and on each side of the
two-line
close
fillet
the
to
edge and on each side of the pane, with a narrow flower-roll worked
to the
on each side of the pane, close
The
lines.
fillets
pane to be con-
in the
nected together at the corners with the two-line fillet,
and a
tool
worked from the corner of the
pane towards the edge of the book, all blind. roll
Bar-
on the edges, in gold.
MODERNIZED MONASTIC. This style
is
now in great vogue, under the ap-
pellation of the antique. divinity calf
and brown or Carmelite morocco, with
very thick boards,
matted gilt
ornament
;
is
The materials employed are
edges
either
red,
brown,
or
The style of
very high raised bands.
illustrated by Plate II., intended for a
side-stamp to be done by the press.
done by hand, with
rolls, fillets,
omitting the broad and narrow
It can also be
and hand-stamps, fillet,
and
substi-
tuting either a one or two-line, working the circles
with gouges.
The tools are all worked blind.
This
style of binding, when appropriate to the book, pro-
duces a very pleasing effect. 18*
— MANUAL OF THE
210
ARABESQUE. " The term is more commonly applied to the species of ornament used in adorning the walls, pavements,
and roofs of Moorish and Arabian buildings, consisting of
an intricate heterogeneous admixture of
fruits, flowers, scrolls,
and other objects, to the ex-
clusion of animals, the representation of which
forbidden by the Mohammedan religion.
is
This kind
of ornament is now frequently used in the adorning of books, plate, &c.
Foliage very similar to that
used by the Arabians, intermixed with
&c,
griffins,
were frequently employed on the walls and friezes of temples, vases;
and on many of the ancient Greek
on the walls of the
Pompeii, and
many other
baths
places.''
of
Titus,
Craig s
at
Uni-
versal Dictionary.
As regards book-finishing, we have looked into more than one authority, and are really unable to define what the " arabesque" style is or ought to be.
The well-understood term "roan embossed" is, in our
opinion,
the
nearest
approach to
it
at
the
present day. Plate III.
is
an adaptation of an old German
design for embossing.
The figure is raised, the plate
being worked with a counter, in a powerful press.
;
211
ART OF BOOKBINDING.
This style can only be executed upon publishers'
work where there
a quantity of the same book
is
By it a good effect is pro-
to be done in this style.
duced upon an inferior material and at a trifling cost.
The covers are embossed before they are
applied to the volumes, and in order to preserve the
sharpness of the design they must be covered with glue and not pressed afterwards.
ANTIQUE OAK AND OTHER BINDINGS. Great varieties of style in the covers of bindings have been introduced within the but these must be the
skilful
few years
the imitative powers of
left to
workman,
last
no written
as
description
would give the requisite information and guidance. Should he be desirous of executing these, he will do well to study some good specimen.
Among others
may
Oak
be
adopted
mentioned
the
Antique
by Mr. Murray,
for
his
Bindings,
" Illuminated
Prayer-Book, " and Messrs. Longman and Co., for
" Gray's Elegy."
Also the Iron Binding,
covers in imitation of cast-iron,
—
viz.:
— which Messrs. in
Longman and Co. have had bound the " Parables of our Lord."
Bibles and Prayers are
now fre-
quently bound to imitate the antique, having heavy
MANUAL OF THE
212
boards with clasps and corners, and finished in the
monastic style.
GROLIER STYLE. This beautiful style of ornament is so well illus-
by Plate IV. that
trated
remark.
it
scarcely needs
any
We will merely observe that this style is
well calculated for hand-work, being entirely superficial
The pattern presented can be
in character.
worked with a one-line fillet and gouges, with a few leaves of a
conventional
The design
character.
should be first traced upon paper of the proper size, the paper lightly tipped at the corners with paste
upon the
side,
then worked with the
fillet
gouges through the paper upon the leather.
paper
is
and
The
then removed, and the blind impression
appears upon the
side.
All vestiges of the paper
are carefully washed off, and the pattern pencilled in,
*
—that
is,
is
carefully
pencil
saturated
each portion of the figure
traced wT ith
a
with glaire.
When dry it is lightly passed over with
a
piece
fine
of cotton
camel's-hair
in
which sweet
dropped, and the gold leaf laid on.
oil
has been
The pattern is
then reworked upon the gold.
The design upon Plate V. is a modern
elabora-
tion of the Grolier, and is intended for a side-plate,
5
Modernized Crolier
)
7.
JJra,mt after cl design, by JTolbein.^4.J).
213
ART OF BOOKBINDING. to be executed
by the stamping-press.
It is well
calculated for blind or blank stamping, the solid line
producing by its intersections a fine effect.
By omit-
ting the inner and working the out lines, this elaboration of lines and circles can be worked by hand.
The Louis Quatorze for a back,
by a pattern
illustrated,
is
upon Plate VI.
This can be worked
The centre
either by hand-stamps or by the press.
pattern
ing
is
style
a very pretty illustration of the prevail-
This must be
of backs for case-work.
stamped before the cover is applied to the book.
The
third pattern for flat backs
hand-tools, and when executed
adapted for
is
upon light-coloured
English calf produces a beautiful appearance. its
light,
modern
graceful character,
poetry and
light
it
is
well
literature
From
suited to
general.
in
This style gives scope to an almost endless variety only by
of patterns, regulated
the
taste
of the
finisher.
Plate VII.
is
a design drawn by Holbein for a
side-ornament in metal.
This beautiful pattern can
be adapted either to hand or press work.
Its graceful
and harmonious proportions should be well studied
by the young workman.
Upon Plate VIII. rolls
will
be found
specimens of
and hand-stamps used in finishing.
The num-
v
— MANUAL OF THE
214
bers affixed refer to the order of arrangement in
the Book of Patterns published by Gaskill, Copper
& Fry,
containing
thousand
over two
with their prices attached.
specimens
They have also an im-
mense number of pattern*, executed since the publication of their
book for binders
in various parts
of the country.
Having given the prominent distinct
styles,
—
of
which there are, however, many combinations, both of style, ornament, and tooling, originating more
nondescripts than we have space to treat upon,
we proceed to the gilding, trusting that what has been pointed out to the attention of the young
workman will induce him to neglect no opportunities of becoming acquainted with the works of artists of celebrity, not for the purpose of servile imitation,
but to examine their adaptations of ornamental art as a study, to enable him to trace superficial decoration back to its originators.
knowledge, he
Having acquired this
may by his treatment of ornament
take rank as an artist.
The examples given will be sufficient for the intellectual
workman
which his taste
will
to
conceive*
suggest,
variety of beautiful designs.
many
forming an
In
all
patterns infinite
combinations,
a rigorous observance of the symmetrical propor-
ART OF BOOKBINDING. tions of the tools
215
must be his first care, so that the
union of any number of designs present a form agreeable and chaste.
would be superfluous to
It
add more; but from the importance of the subject, on closing the directions for the ornamental depart-
ment of binding, it may be repeated that there is no greater evidence of the ignorance or carelessness of the
workman than an ornament
unevenly or unequally worked.
any kind
of
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 conse-
quently placed in jeopardy.
Preparatory to gilding, the back* must be compassed off and carefully marked with a folding-stick
and a straight-edge or piece of vellum, wherever it is
intended to run a straight
guide when the gold
is
line.
This serves as a
laid on.
For work of the
best class, the fillets must be first put in blind, and
the tooling done in the same manner.
For sides
where the design is elaborate, or a degree of perfection in the tooling is desirable, the entire pattern
must be
first
worked
in
blind,
and, after
being
washed with a dilution of oxalic acid or a thin pastewash,
it
must be carefully pencilled in with the
MANUAL OF THE
216 glaire-pencil ;
but
this
comes more appropriately
under the head of
PREPARATIONS FOR GILDING.
To operate successfully, it will be necessary that the workman provide himself with good size, glaire,
The first is prepared by boiling fine vellum
and oil.
slips till a
that will
good
produced, of a consistency
equally on the volume without blotches
lie
or ropes,
size is
and must be used warm.
The glaire is
formed of the whites of eggs, beaten well with a frotlier till it is perfectly clear,
This
off.
liquid
should never be avoided.
times
improve by keeping,
used new
if
it
and
can possibly be
For 'morocco bindings, the glaire is some-
diluted
various binders calf,
will
and the froth taken
with water. is
different.
The
oil
adopted by
Some use palm-oil for
sweet oil for morocco or russia ; others prefer
hog's lard, or fine mould-candle, for light-coloured calf; but sweet oil is well adapted for almost every
kind of leather.
Vellum-size
ration for coloured calf.
is
the
best prepa-
On books thus prepared,
the glaire must be applied two or three times, taking care that each coat
is
quite dry before the next is
added, and that it lies perfectly even on the whole surface, free
from globules or any substance what-
ART OF BOOKBINDING.
217
Great care is required in preparing coloured
ever.
calf; for, if there
ration,
it
be too much body in the prepa-
will crack
on the surface and present a
Morocco and roan
bad appearance.
not re-
will
quire more than one coat, and, where practicable,
only on such parts of the morocco 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
admit effect.
of,
so as
to
A good paste-wash before glairing
advisable,
as
it
day will
work with safety and produce is
always
prevents the glaire from sinking
into the leather.
In preparing glaire from the egg for immediate use, a few drops of oxalic acid added thereunto will
be found to be of essential service.
The volumes being thus prepared, the operation of GILDING THE BACK Is commenced
by oiling slightly, with a small piece
of cotton, the whole length of the back.
If the
book is merely intended to be filleted for the economy of the gold, small strips are cut on the gold-cushion,
attached to the heated over,
fillet
by rolling it slightly
and affixed to the volume by passing 19
it
firmly
MANUAL OF THE
218
on the lines previously marked.
But if the back is
to be fully ornamented, it will be necessary to cover it
entirely with gold-leaf.
The hand-stamps should be disposed on the table before him, so as to be selected with the greatest
and
facility,
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 ; carries
it
w ith this he raises it, r
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 in.
room he may be operating
Afterwards 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
m slips the breadth of the book and applying the back on
it;
afterwards press
it
close with the
219
ART OF BOOKBINDING.
cotton, with which any breaks in the gold must also
be covered, by placing small
where required.
slips
The humidity of the hair or forehead will be suf-
make the gold adhere
ficient to
other instrument with which
it
to the
cotton or
may be conveyed to
The fillet or roll must then be heated to
the book.
a degree proper for the substance on which it is to
Calf will require them hotter than mo-
be worked.
rocco and roan, and these warmer than russia and vellum.
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
and habit
will
is
known; but a little exercise
render this easy of judging.
further insure this, the roll or pallet
the cap of the headband ;
be dull;
if
if
is
To
passed over
too hot, the gold will
too cool, the impression will be bad,
from the gold not adhering in every part. After the gold is laid on, the volume is laid upon the side, with the back elevated, and the workman
proceeds to mitre the fillets that run lengthwise of the back, commencing at the line
that
has been
traced across the back, by pressing lightly with the point of the mitred roll and running till
it
carefully
near the line that marks the end of the panel;
then
lift
the
fillet
and turn it with the finger until
;
MANUAL OF THE
220
the other or reverse mitre, or nick in the
reached; then place the gilt,
fillet, is
in the lines already
fillet
adjusting it with the left hand until the extreme
point of the mitre will just reach the line traced across.
After both edges of the back have been
done along the joint in this way, the volume is then placed evenly in the finishing-press, and the panels
completed by mitreing the fillets that run across the back.
The
entire
care, in order to
operation
have the
requires
the
lines parallel
mitres perfectly even and true.
utmost
and the
No ornament that
may be afterwards worked upon the back, beautiful as it may be, can atone for negligence or want of skill in the mitreing and running of the fillets. As a matter of economy, sometimes the back is run up that is, instead of stopping where the lines or bands intersect, the roll is run up the
back from one end
to the other, without stopping;
and, after wiping
the gold off along the joint outside the
fillet, it is
run across the back on each side of the bands, and
head and tail in the same manner. is
mitred, the
namental
tools,
finisher
will
After the back
proceed with the or-
and work them carefully off.
In
placing them, great attention should be paid to their
occupying precisely the same place in each panel and, in order to present an agreeable
effect,
5,
the
ART OF BOOKBINDING. tools should correspond in detail,
221
and there should
be a geometrical fitness governing the selection and
arrangement of the tools.
The judicious choice of ornaments for the back is of the utmost importance.
For instance, such as
represent animals, insects, or flowers, which are only
proper for w orks of natural history, entomology, and T
botany, should never appear on the backs of works
on general literature, as it would be an evidence of
bad taste or carelessness.
Every tool should be beautiful
in itself, because
no accumulation of misshapen tools can make one beautiful ornament.
There is no objection to scrolls,
leaves, flowers, stops, or
any of the usual kind of
ornaments ; only let them all be in themselves beautiful.
It is
appropriate to introduce a harp on a
book of songs, a stag's head on a book on hunting, a recognised ecclesiastical pattern upon a book of divinity or a prayer-book ; a
Greek or Koman de-
sign upon a classical work, or a Gothic design upon
a book on Gothic architecture.
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, rest of the volume left plain,
it
and the
will be necessary to
impress the tools previous to glairing, and then apply 19*
MANUAL OF THE
222
the glaire with a camel's-hair pencil in the indentations the tools have formed.
When dry, cover with
gold and reimpress 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 letters
title
must next engage attention, and the
placed thereon, either singly or together,
with brass type properly fixed in the hand-chase. If with single letters, the tail of the volume must
be lowered about an inch, and the workman draw a thread of silk across the gold to direct the heads of
Taking each singly, he places them on
the letters.
the back w ith the right hand, steadying the letter r
with the forefinger of the left.
If the title is set in
the chase, 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 two lines of the same length; and, where the title
can be measured, as in the type
it
may, the
exact centre should be ascertained before applying it
heated on the gold.
sidered finished.
The back may now be con-
The gold which has not been im-
pressed by the gilding tools must be well rubbed off
with the gold-rag and minutely cleared
off
with a
223
ART OF BOOKBINDING.
piece of fine flannel or India-rubber, so as to display
the delicate lines of the ornaments as perfectly and clearly as possible. this
particular ;
Attention should be paid to
for, let
most tasteful manner off
the effect
is
a book be finished in the
possible, unless well cleared
entirely lost.
If in calf,
it
must
now be polished, and the squares and edges of the boards proceeded with.
GILDING THE SQUARES, ETC.
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 to
injure the back.
inside-square
is
between boards, so as not
Where the ornament of
the
simple, the like proceeding of ap-
plying 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 elabo-
rately 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 detailed in the ornaments.
directions for the side-
MANUAL OF THE
224
GILDING THE SIDES.
The sides, from affording more ample space, are the part of the volume wher.eon 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 details minute,
it
is
necessary to have the whole worked
blind upon the volume before glairing,
apply the gold.
If one side
is
and then
done at a time, the
book is taken by the leaves with the
left
hand, the
board intended to be covered resting on the thumb,
and the gold laid on as for the squares, either over the whole side or on such parts as the pattern indiIf the volume be small, the gold
cates.
laid
may be
on both sides and the leaves of the volume
placed in the finishing-press, allowing the boards to rest on its surface.
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 straight
line,
roll is
run in a
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
225
ART OF BOOKBINDING.
laid open upon the board for the fore-edge, to give it
the firmness necessary.
Directions for executing the most elaborate designs have been previously given, whereby it will be
perceived that it requires but 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 de-
stroy the effect of the whole pattern
:
it
will there-
fore 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 impressions only with a camel' s-hair pencil.
GILDING ON SILK AND VELVET.
The proceedings necessary gilding on silk
and velvet
to
are,
be
adopted for
from the delicate
nature of these substances, different from those laid
down for gilding on leather.
The
glaire used
the latter would tend to stain, and therefore
it
on is
necessary to employ other means for fixing the gold.
;
MANUAL OF THE
226 This
by drying the whites of eggs and reducing
is
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 distributed
space intended to be gilt.
Gum-sandarac
more generally used
however,
although some use gum-copal. applied, the gold
is
for
this
on the is
now,
purpose,
The powder being
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
executed.
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
manner
:
executed in the following
— The design must be drawn on paper, and
worked through on 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.
227
ART OF BOOKBINDING.
As there
is
no moisture in
silk,
the
workman
must not lay on at one time so much as he does on calf
and other substances.
ILLUMINATED BINDING. This style, an invention of the French, was for
some time kept by them with the greatest secrecy. It is a binding of the
utmost magnificence, uniting
the varied beauties of the arabesque and gilt orna-
ment, 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-d'oeil, rivalling, as it does, in splendour, the most elaborately-finished
design of the painter. devoted, on
its
first
The time required
to be
introduction, to a single speci-
men, appeared likely to confine this sort of ornament to the finest
treasures of literature, and
them in a limited degree.
even to
The improvements, how-
ever, in machinery and the rapid advance of the arts
have, 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
must
it
be premised that a less durable method is adopted.
MANUAL OF THE
228
To execute
the
more elaborate designs, practice
and a taste for the
workman
;
arts
"will
here alone serve the
without these requisites it would be futile
to make the attempt.
But, as the proceedings re-
quire 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, perfectly clean, and dry.
work
The first operation will be
—
—
if it be for
left to
stamp-
to place the side on the bed of the stamping-
press and boldly impress the design thereon.
The
most elegant, and capable of the greatest display of colour, are subjects of botany
and natural 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 operation of colouring may be proceeded with.
In London and Paris
professed artists in no
this
is
executed by
way conversant with book-
binding.
The
colours to be used must be such as
do not at
all,
or very slightly, fade on exposure to
ART OF BOOKBINDING.
229
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
and
painting,
be
lightly
and delicately
on such parts of the design as
it
is
laid
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
proper
colour,
throughout.
and
a
general
harmony
its
prevail
When finished, let the whole perfectly
dry, and then, in the
manner directed, lay gold on
such parts as it is intended, in the reimpression of the plate, should be further embellished.
Heat tho
plate, place the side again
under it, and give
firm and sharp impression.
Rub off the superfluous
it
a
gold, and the whole of the delicate lines of the orna-
ment will be found beautifully gilt, the colours firmly fixed
by the heat of the plate, and the rough edges
of the colour completely effaced by the reimpression of the original design.
In 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.
For the best
class
of work, after the design
is
impressed, either by hand or the press, pieces are 20
— MANUAL OF THE
230
cut out of variously-coloured morocco, pared thin,
and neatly pasted on the
side, the
design,
when
worked, entirely concealing the edges of the moThis is termed inlaid work.
rocco.
BLIND TOOLING. This
is
an ornamental operation, applied either
before or 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
has been much used of late years, and
a style that 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 If the pattern consists of
the previous section. straight lines, eye, the best
and the workman possesses a good
manner of executing it is by making
use of a pallet, placing sliding
it
it
firmly on the book, and
to the opposite point.
fore, to consider such
It remains, there-
matters as more immediately
apply to this style of decoration.
The tools for blind tooling should not be so warm as for gilding, is wished
and particularly for morocco.
to be left dull,
— that
is,
If it
free from glaire,
ART OF BOOKBINDING.
231
the particles attaching themselves 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
when dry the
blind ornaments
will
soon wash
it
and
clean,
may be proceeded
w ith. r
Graining ornament.
may be properly considered as a blind This
is
where, by the means of w ooden T
or metal plates, the sides of a book are marked with lines crossed over each other, so as to form innume-
rable small squares in imitation of
russia,
or
in
imitation of the grain of morocco, scales of fish,
and other substances.
The operation is performed
by placing the volume between the two plates 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 surface.
Nothing will look worse than a bold impres-
sion in one place
therefore
it
and a slight one in another
;
and
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.
MODERNIZED MONASTIC OR ANTIQUE. This style, whether done by the hand or the press, is
one that requires care and patience on the part
MANUAL OF THE
232
of the workman, so as to bring up the tools black,
without burning or otherwise injuring the leather.
We have spent much time in experiments, so as to arrive at the most certain and perfect mode of pro-
ducing the desired result.
The style emanated from
Mr. Hayday's bindery
and a volume executed in
;
this style for a connoisseur in this city, with tool-
ing of a brilliant black,
fell into
our hands some
years since, and we at once set about attempting to
Our efforts were confined
produce the same effects.
to hand-tooling for some time; and, although inferior
in effect, they were generally well received ; but
were far from being
satisfied.
we
We tried every sub-
stance that could be thought of, made the leather
and tools hot and dry, or wet and cold, as reason
seemed to point to one or the other as the proper method.
We will now communicate the results of
our labours
:
—In the
first
the greatest importance
;
place, the material
is
of
and the finest effects can-
not be produced except upon English calf or morocco.
American calf is entirely out of the question
for the purpose, as the
surface,
and there
body for the
is
morocco is too hard on the
not sufficient colour in the
tools to draw and affix
it
by heat to
the surface ; but some kinds are better adapted for the purpose than others.
To
test this,
apply the
ART OF BOOKBINDING. if
the damp-
on the surface, without sinking
in, reject
tip of the
ness it ;
lies
but
leather,
233
if
tongue to the leather, and
the dampness strikes instantly into the
—the quicker the
better,
—the workman may
proceed with some hopes of success.
volume is covered and ready for
After the
finishing,
wash it
evenly over with clean water ; and, as soon as the
water ceases to lie upon the surface, apply the tool
moderately heated; colour.
this
will
bring up the dark
Afterwards go over it again with the tool, so
as to make the impressions clear and bright. are,
There
however, some colours, as well as particular
manufactures, that will not come up black ; and we
were
long
satisfied
w as employed. r
that
some
colouring-matter
We wrote to a friend in London,
who sent us the material and the method of its use. The material was common printers' ink. munication w e now make public. T
His com-
" In the
first
place, the leather should be quite damp, and the tools
used should be as hot as possible without the printers' ink.
Then again impressed with the printers' ink
We put the larger tools in again When the ink is used upon the tools,
upon the tools. without ink.
the leather should be rather damp, and the tools not
very hot.
When the pattern is worked in the man-
ner described, it should be 20*
left
until dry,
and then
MANUAL OF THE
234
brushed with a brush, not very stiff, which will give a
gloss
brilliant
the
to
When
tooling."
using
printers' ink, be careful not to get too much on the tools.
Let the young workman but follow the directions given, and, with a
little
patience and reflection, he
will be able to do work of the character under con-
sideration, fully equal
to
the
the efforts of
workman, provided that the
tools
best
be worked true
and even.
POLISHING. The details of this operation, which is performed immediately after
the
gold ornaments have been
worked, have been reserved in order that the whole of
the
together.
ornamental
department
might
be
kept
Morocco, roan, silk, and velvet, and the
blind ornaments on any substance, must never be
A smart
submitted to the action of the polisher.
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
India-rubber.
There are two polishers,
—one
bands, and another for the sides.
for the
back and
The
applied
oil
on the cover previous to laying on the gold will be
ART OF BOOKBINDING.
235
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 taking especial care that
it
is
may be,
not too hot, as the
glaire would thereby be turned white
and the work
damaged in appearance, nor so cold as to give a bad polish.
The book, as gilt, must be first polished on the back, by taking
it
the table, and
polished with the
with the left hand, resting right
it
on
hand by
gliding backwards and forwards the smooth part of
the polisher on the whole extent of the back.
This
not only polishes the surface, but smooths down the indentations formed upon the leather by the gildingtools,
bringing up the gilding to the surface.
The
polisher 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.
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 turning 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
MANUAL OF THE
236
iron applied on the side next the groove, polishing
the whole length of the board ; then, turning round
the volume, and bringing the fore-edge 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.
In addition to polishing, it is desirable to give to the sides the greatest possible smoothness by press-
ing them between polished tins or horns.
These
are placed on each side of the book even
by the
groove, put between pressing-boards, and screwed tightly in the press,
and left for some time. COLOURING.
Calf-skins of uniform tints,
and
also sprinkled,
can now be obtained of English manufacturers in
many localities they are difficult to obtain.
therefore make
yet
We
known the chemical substances and
ingredients required to execute
manner.
;
them
in the best
Marbling is a process that must be exe-
cuted by the binder upon the cover, and, with many other revival styles,
is
again coming into vogue.
The recipes 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 to it ; and
it
is
con-
ART OF BOOKBINDING. fidently asserted that not one of
237
them will prove a be only given.
failure, if attention to the directions
Nothing has been omitted in the description of the substances
best
for
use,
mode
the
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. aid of these, assisted
By the
by some taste, the workman
may vary the designs almost to infinity;
but
it
must be admitted that, unless he is devoted to his art,
no mere directions or casual advantages
will
enable him to succeed in the more complicated or delicate operations, while, with an ardour for it, all difficulties will
be easily overcome.
CHEMICAL PREPAKATIONS. Under this head is included aqua regit, or killed spirits, nitric
acid, marbling -water,
and glaire pre-
pared 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 nitro-muriatic : the muriatic also
MANUAL OF THE
238
contains a portion of alkali, which gives to red a
vinous
tint,
and for which colour it
is
principally
used.
The two substances should be
of
purest
the
quality, of a concentration of thirty-three degrees
for the nitric acid
muriatic.
and of twenty degrees for the
They must be mixed with the greatest
precaution.
Having provided a clear glass bottle,
the neck rather long, capable of holding twice the
quantity to be prepared, place
it
upon a bed of
and pour
in
one part
of pure nitric acid and three of muriatic.
Let the
sand, the opening
first vapours
dispel,
at top,
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,
which retains as much as possible without
but
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 sediment will be left.
The vapour having ceased, the acid must be
239
ART OF BOOKBINDING.
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
vapour
is
common drinking-glass
thereby
dispersed, the
all
;
but, as 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 be
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 sal-ammoniac, six ounces of fine Malacca tin, in strips or drops, twelve ounces of distilled water,
and, last, a pound of nitric acid, of thirty-three degrees.
Leave the whole till the tin is dissolved,
and then pour off and bottle as above directed.
MANUAL OF THE
240
VITRIOL- WATER. Vitriol,
pure
as sold in the
state,
will not
be
proper to use in marbling or sprinkling, as it would corrode and destroy the leather.
It must be weak-
ened at least in proportion of one ounce of vitriol to three of water.
MARBLING-WATER. It is usual with many to use the water pure ; but
a few drops of potash liquid mixed with
found to produce better
effect,
it
will
the marble
be
being
rendered more distinct.
GLAIRE.
Put spirits of wine in a proportion of two drops to the whites of twelve eggs, and beat the whole well
together till perfectly clear.
PREPARATIONS OF THE COLOURS. The preparations used by different binders vary much, as will be seen by the recipes given for the
same
colours, which
record,
that
we judge necessary to put on
nothing connected with the
subject
should be omitted, premising that each colour may
be
depended upon for producing the most
factory results.
It
satis-
may be proper also to observe
ART OF BOOKBINDING.
241
that the whole of the woods and other ingredients
used should be previously powdered 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 quantity of rusty nails, or
steel-filings, till
reduced one-third, taking off the scum as it rises to the top.
This liquid improves by age.
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, and 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
tions as above. 21
same propor-
MANUAL OF THE
242 3.
A beautiful brown may be procured from the
green shells of walnuts.
To prepare this, a quan-
tity 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, use.
and bottled, with some common
salt,
for
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 prepaPerhaps the best and most
ration of the colour.
simple one known as follows
:
is
one given by Poerner, which is
—In four ounces of sulphuric
acid, of 66
degrees, mix gradually one ounce of finely-powdered indigo, so as to
form a sort of pulp.
Place the
vessel in another containing boiling water, for some
hours, 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
ART OF BOOKBINDING.
248
for twenty-four hours, when bottled,
and use as re-
quired.
This colour will appear nearly black, but
may be made to any shade by adding water to it. If any portion remain after being diluted, it must
be put into a separate first preparation
2.
bottle, as if
mixed with the
the whole would be deteriorated.
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 powdered alum and two grains of cream of tartar, and again boil solved.
This liquid must be used warm.
till
dis-
MANUAL OF THE
244
FAWN. In two pints of water boil one ounce of tan, and a like portion of nutgall,
till
reduced to a pint.
YELLOW. 1.
or
To one ounce of. good caked saffron, turmeric,
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. pass
it
Then
through a sieve or fine cotton, and add a
small quantity of powdered alum, and again boil,
using it warm.
ORANGE. In a pint and a half of potash liquid,
boil
a
quarter of a pound of fustic chips till reduced onehalf; then put in an ounce of good amiatto, 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
ART OF BOOKBINDING.
245
an ounce of white wine vinegar, and place the
w hole before a fire for four or five days, frequently T
shaking the bottle. RED.
There are three sorts of red,
—
viz. :
common, fine,
and scarlet.
Common.
—
1.
In a tinned kettle boil half a pound
of Brazil wood, eight grains of nutgalls, both powdered, and three pints of water, till the whole is re-
duced 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,
—
a bright red is
Use warm.
produced. Fine.
till
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 ounce of sal-ammoniac.
Give the whole
another boil, and then add a portion of aqua regit, -
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,
21*
and adding to it
MANUAL OF THE
246
the aqua regit, letting
it
stand for a quarter of an
hour to extract the colour. 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 marbling, it will be proper to give a
few directions relative to some important matters
As the success
required in the way of preparation.
of many of the designs depends upon the quickness
with which they are executed, that
the
colours,
sponges,
it
will
brushes,
be important &c.
are
pre-
viously disposed in the best order, so as to be of the readiest access.
Attention should be paid to the
probable quantity that colour, as
may be
required of each
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
pearlash liquid, and left to dry.
little
After this they
must be glaired equally over, and when dry placed
ART OF BOOKBINDING.
247
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 bristles oil
is
better to rub the ends of the
on the palm of the hand, on which a little
has been spread.
These preliminaries being
settled, the operation of
marbling commences, for
which we shall now give directions.
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 pro-
duced by throwing the colour equally over the cover.
Afterwards
similarly thrown
the
over.
brown
liquid
must
be
When the veins are well
struck into the leather, the water must be sponged off
and the book placed to dry.
MANUAL OF THE
248
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 again to repeat it.
ANOTHER.
Throw on the vinegar-black, then the brown, and lastly a 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.
ART OF BOOKBINDING.
249
GREEN AGATE. Sprinkle black, in nine times its quantity of water, in large drops over the whole surface of the cover,
and when the drops unite apply on the back at regular distances the green liquid, so that
it
may
flow on the boards and unite with the black.
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 black in small drops at
a good distance from
each other;
afterwards
sprinkle equally over large drops of weak potash.
AGATINE.
Proceed as for the green agate, and then sprinkle scarlet all over the cover ; finally, throw on blue in
small drops, weakened in four times the quantity of water.
LEVANT MARBLE. After the water, throw on the back-brown in
broad streaks as directed for the stone, and then in
MANUAL OF THE
250 like
manner the aqua regii.
This will be found to
imitate closely the Levant marble.
PORPHYRY VEIN.
Throw on large drops of black diluted in double
When the colour has struck
the quantity of water.
well into the leather, sprinkle 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.
While these
colours are uniting, throw on weak blue, and then
aqua regii, which, flowing together down the sides of the book, will form the vein distinctly.
RED PORPHYRY. Sprinkle with black in eight times the quantity of water, very equal and in small spots. dry,
rub,
and
glaire.
Then
give
Let it
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
search and dry between each.
colour to
The green must be
251
ART OF BOOKBINDING.
brought to the shade required by mixing with water.
To form a more elegant weak
vein,
sprinkle
black, and afterwards with green,
first
with
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. to flow, sprinkle
water.
When the black begins
over brown mixed equally with
Let it dry, wash the whole with a sponge,
and before quite dry again give coats of fine red.
sprinkle
it
two or three
After being dry and well rubbed,
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 regii.
MANUAL OF THE
252
ROCK.
Throw on large drops of black prepared as for the porphyry, and, when half dry, weakened potash in the same
When dry again, sprinkle on
manner.
equally small spots of scarlet, and lastly aqua regit.
GRANITE.
Mix black in about fifty times its quantity of water, and sprinkle equally over very fine, repeat-
ing
it
as
it
dries five or six times.
Then, in like
manner, sprinkle over with brown, and, after rubbing well, glaire
lightly.
Finally, sprinkle finely over
with aaua regii.
TKEE-MAKBLES. These marbles, which were first executed in Ger-
many, 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.
Those who have never seen the tree-marbles of
Mr. Clarke, of London, can form but little idea of the beauty of which this style
is
susceptible.
The
name is also given to such as are made to imitate the grain of the wood.
253
ART OF BOOKBINDING.
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
with a
red,
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.
BOX.
In order to imitate the veins contained in box, the boards
must be bent
places and in divers ways.
in
five
or six different
After placing the book
between the rods, throw on the water in small drops,
and proceed as for the walnut. 22
After being per-
MANUAL OF THE
254
fectly dry, throw water again in large drops, and
on small spots of blue, diluted equally
sprinkle
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,
between the rods, with the boards flat.
and
place
Throw on
weak black in large spots, then, brown in like manner, and, 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
255
ART OF BOOKBINDING.
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-ammo-
niac boiled well together, which will take the black
and brown nearly equal to leather.
SPRINKLES. This is another ornament on the covers of books,
capable of being
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
not sufficiently strong, add more vitriol.
is
MANUAL OF THE
256
TORTOISE-SHELL.
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.
In concluding the description of the marbles and
may be remarked that, with a little
sprinkles,
it
taste, the
workman might vary the designs to up-
wards 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 colours
on the
touching
the
sides,
which prevents the
leather
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, which will be found to corrode
on the sur-
face of the leather.
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
ART OF BOOKBINDING.
257
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 duced,
is
pro-
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 ac-
cording to the shade.
The nut-brown liquid will
produce beautiful tints.
CORINTHIAN GRAPE.
The proceedings
are the same as for the last
colour, adding two or three coats of fine red. 22*
258
MANUAL OF THE
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 the yellow tint of the leather.
GREEN. Give three or four coats of the green
liquid, ex-
tended in water according to the shade required.
Any of the other colours noticed in the preparations may be thus executed. OLIVE.
After giving a
slate- colour,
apply yellow, boiled
with a small portion of blue, on the cover, rubbing it
equally in while hot, to insure uniformity.
PEARL GRAY. This colour must be executed carefully, so as to
be perfectly uniform and without stains.
Colour
over with exceedingly weak black liquid, till a pale
f
ART OF BOOKBINDING. gray is produced.
259
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 distinguishable.
slate:
Use the black liquid a little stronger than for the last,
and omit the red.
BLACK.
For common purposes, the black may be formed in 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 pro-
duce a beautiful black.
This colour should have a
good coat of vellum-size before glairing. be better to finish
off
Or it may
with the varnish given in
another part of the work. Nutgalls, copperas, and gum-arabic, are used
many, and will be found bright colour.
to
by
produce a good and
MANUAL OF THE
260
GOLD MARBLES, LANDSCAPES, ETC. These designs, if properly executed, are the most beautiful that can
be imagined.
The labour and
care, however, requisite, 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. Berthe, senior,
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 to the size of the cover, allowing such portion as the roll intended to be worked on it may
—
;
261
ART OF BOOKBINDING.
take, which will be a saving of gold; then refold
the cloth on the gold, and press the hand above,
without moving the cloth, so as to divide the gold into a
number 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,
replacing
it
with a sheet of paper, and
rubbing smartly above, so 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 lay on a sheet of paper, and
rub well with the palm of the hand.
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. It is executed as follows :
MANUAL OF THE
262
Place the volume between rods as for marbling,
and with a sponge full of large chemical
blue
mixed
holes, dipped in
six times
in
volume of
its
water, make light spots, similar to clouds, at irregular distances ; then put in a quarter part more blue,
and make
new
clouds
Repeat this operation adding more blue.
or
spots
a
little
six or seven times,
darker.
each time
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
painted.
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
spirits of
wine in equal proportion, and two parts of water, beating all well and leaving
to clear ; then wet a
it
small portion of gold-powder with the liquid, mixing it
with the finger, and use
hair pencil.
it
with a small earner s-
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
;
263
ART OF BOOKBINDING. two or three together,
colours, or
many beautiful
designs may be in like manner executed.
LANDSCAPES.
Many beautiful subjects may be formed on the by the workman skilled in painting
sides of books
and, although coming more properly under the art of painting, and being objectionable on account of
producing a mingling of the arts, so frequently exhibited
upon volumes where the
binder
is
superseded by that of the painter and
young workman should understand
jeweller, the
at least the process
The volume
by which they are produced.
prepared by being pastewashed, so
is
as to present a uniform slightly traced, to
the
art of the book-
colour, the designs
and afterwards coloured according
pattern, the
proper shade
fawn
colours
with water.
being mixed to the
The shades must be
tried on pieces of refuse leather, as, being spirit-
colours, when once laid on, no art can soften
down if too strong
;
will be necessary to
may also be
them
and a peculiar lightness of touch produce effect.
Portraits, &c.
executed in this manner, and
many
superb designs have at times been executed by the best binders of
England and France.
M. Didot,
bookseller of Paris, presented a copy of the "Hen-
MANUAL OF THE
264
riade," published by himself, to Louis XVIII., most elegantly ornamented in this style.
cuted by
It
was exe-
M. Lunier JBellier, bookbinder of Tours,
and exhibited on one side a miniature portrait of
Henry IV., and on
the
other a similar one of
Louis XVIII., both perfect likenesses.
The great-
est difficulty consisted in the portraits, which were first
imprinted on paper, very moist, and immedi-
ately
cover,
on which they were
flat roller.
When perfectly dry,
the
applied to
impressed with a
they were coloured with binder was
capable,
paintings executed
all
the art of which the
and the
by hand.
other
ornamental
This proceeding re-
quires great care in the execution, and will be appli-
cable to
any design where the binding will justify
the expense.
TRANSFERRED LANDSCAPES. The
art of transferring, long
ornamenting of fancy
practised
articles, was
in the
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,
polisher turning
After several
it
from the action of the heated white or causing it to shell off.
trials, this difficulty is
believed to be
:
ART OF BOOKBINDING.
265
overcome, by the employment of a very simple and
common article in the office of the bookbinder, new glaire, well beaten up. follows
:
— Cut the
till
it
is
print, intended to be transferred,
Let it steep in the
well saturated with it.
time glaire the book twice, letting application.
viz.
The proceeding is as
close to the design on all sides.
glaire
—
it
During this dry on each
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 adhere very closely. Eemove the upper paper, and with the finger rub off the paper gently until the printed design begins to appear, wetting the finger in glaire should the paper get too dry.
utmost attention
least carelessness in
remains
now be
will
The
necessary, for the
removing the paper that still
may entirely destroy the design, and the
whole of the previous labour be
lost.
The paper
must be gently removed, piece by piece, design only appears
till
the
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.
and variety designs
to
which,
at a small
The extent
expense, these
may be carried, with the finish and beauty
MANUAL OF THE
26G
given to the sides of books, renders the subject
worthy of the attention of the ornamental workman particularly ; but he must possess perseverance and
an eminent degree, to carry
carefulness
in
perfection.
After the gilding or other ornament is
it
to
executed, the side must be finished off in the usual
manner.
A slight coat of the varnish described in
a subsequent part of the work
will,
in this
case,
of
Mr.
give a superior finish.
The
following
directions,
and
that
Buchanan's, are taken from the circulars of the Finishers' Friendly Association of
"Pictures on Calf.
London :—
—We have heard of a process
for transferring prints
from the paper on which
they had been printed to the sides of books bound
and in these days, when novelty is so much
in calf ;
sought after,
it
might be worth some Friendly's
while to test its efficacy, clean, and, while
The side must be washed
damp, the print is laid thereon,
when, after remaining some time in the armingpress, it is said that a copy of the engraving will be
found on the calf.
" In sending one of these executed in colours by
him twenty years ago, a Friendly corrects an error w e committed, by terming prints pictures, and 7
writes,
'
In preparing the
calf, it
is
simply washed
267
ART OF BOOKBINDING. with thin paste-water
when dry, a coat or two of
;
weak salts of tartar. When perfectly dry, you may proceed with any subject generally used for
;
a very weak brown being
outline.
its
For
all
colours, I
use two cups of different strengths, with jm7?-pens
and brushes
to
The green is composed of
each.
Scott's liquid blue and
French berries.
These are
bruised and simmered from half a pint to a quartern,
then caused to
boil,
and, while in that state, a
pinch of burnt alum 'should be added to set the colour.
The slate is weak copperas
;
red is obtained
from Brazil dust and vinegar, or Brazil chips boiled,
and solution of tin added. double late,
bands
— the
The books had generally
lettering-pieces stained
choco-
and the spaces between bands blacked, or the
colours "moused," morocco being too bright for the
stained
calf.
An octagon or square was coloured
brown, slate, or sprinkled, and in the centre a light
Was the subject to my fancy, botanical
ground.
w orks with a group of plants on the sides, when T
and pressed
polished
neatest appearance. shells, &c.
in
japanned
hoping
tins,
had the
Landscapes, animals, insects,
are all permanently fixed on the calf
by the above-named colours/ '
*
He cod eludes by
the instructions are sufficiently plain to
MANUAL OF THE
268
induce some aspiring F. F.'s to practise this almost forgotten branch of the art of finishing.'
" W. Buchanan/'
ORNAMENTAL BLACK LINES. Black lines in rays, or intersecting each other in the form of diamonds or other devices, on the sides of books, which present a good appearance if well
executed, are ruled with steel or swan pens, the nibs being formed to the size required
ness of the lines.
by the bold-
The vinegar-black mixed with a
portion of gum-arabic, to neutralize a part of the action of the acid and make it of a stronger consist-
ency, will be found to answer best.
Whatever the
pattern, it should be slightly traced with the folder,
and the design be afterwards marked with the pen, kept steady by the aid of a ruler.
BLACKING THE SQUARES. Unless coloured uniformly, the whole of the designs
before
effect
if
tinted;
the it
described will
squares
is,
not produce the best
remain
therefore,
plain
or
variously
necessary to black the
edges and squares of the board, and the cap over the head-band.
This
is
done with a piece of any
firm soft substance on the edges, and with a sponge
2G9
ART OF BOOKBINDING.
within the volume, sufficiently below the part where the
end-papers will
cover.
Finally,
the
covers
should be well pastewashed and left to dry.
BANDS AND TITLE-PIECES.
Where the backs are flat it will be necessary to mark the place intended for the bands in gilding. For
this
purpose the binder should have patterns forms and sizes cut out of thin
of the various board, a
little
longer and double the breadth of
the volumes, so that they
may be held firmly on
the sides, while the bands are marked across the
back through the apertures cut in the pattern. is
It
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. this plan the
By
whole of the bands in sets of books
will present a parallel line,
and the bad effect pro-
duced by the inequalities arising from compassing the
distances
avoided.
and trusting
to
A great saving of time
the patterns once
the is
sight will
be
also effected, as
made will serve for a very con-
siderable period.
On the fancy colours and sprinkles it is usual to 23*
MANUAL OF THE
210
For this pur-
attach lettering-pieces of morocco.
pose the morocco, or roan if
common work, is cut
lengthways of the grain, according to the space
between the bands, and the
slip
placed across the
back to measure the breadth, and then cut off. Then, slightly damping
as thin
on the flesh-side, it must be pared
and equal as possible, and the edges sloped
evenly down, so as to bring of the square
it
require two pieces,
to the exact size
Should the back
to
—
viz. :
another for the volume or
may be
proper to vary the colour.
title-pieces are
pasted evenly on, a portion
contents,
These
—
it
occupy.
is
it
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. is
Where economy
an object, the squares intended for the title may
be darkened with brown or black, which will show the lettering very well.
INLAID
ORNAMENTS.
To give some bindings in vellum, calf, or morocco an additional degree of splendour, it is sometimes required to execute ornaments on the covers of a different colour ; and, as this is an
important mani-
pulation, it will be necessary for the young workman
ART OF BOOKBINDING. to understand
271
Let the pattern be worked in
it.
blind upon the volume, taking care to have it well
impressed.
Pare morocco of the colour desired
evenly and thin.
While damp, place it upon that
portion of the pattern to be inlaid, and press upon it
with the fingers.
The outline of the figure will
Then lay it upon the
appear through the morocco. paring-stone ;
and,
with
the
same
gouges with
which the pattern has been executed, proceed to cut out the morocco.
The gouges used
for this
kind of work should be made of steel.
The same directions will apply to fancy titles for flat
backs.
After the pieces have been properly cut out, the
workman will proceed
to
paste them evenly and
adjust them in their place upon the volume.
When dry and prepared, the book will then be ready for gilding, and when covered with the gold
ornament the joints of the leather will not be perceptible,
if
well
The gouges must be
executed.
worked upon the edge of the morocco. This kind of ornament
is
more frequently exe-
cuted on calf than any other substance.
MANUAL OF THE
272
COLOURS. In connection with inlaid ornament, we give a
few hints to guide the workman in choice of colours.
Much of the effect produced will result from the relations which the colours will bear to each other.
A well-executed piece of work may be spoiled by the injudicious selection of colours.
If the finisher
be ignorant of the lessons which nature teaches in the
of colours,
distribution
he cannot expect to
please a connoisseur whose taste has been corrected
and refined by a study of the harmonies of colours.
NUMERICAL PROPORTIONS OF HOMOGENEOUS COLOURS. Yellow, 3.
Red, 5.
Blue, 8.
SECONDARIES. 3 Yellow \ Orange. 5 Ked 5 Red Purple. 8 Blue | 3 Yellow } r <
8 Blue
Green
r
These are contrasting colours to the primaries with which they produce harmony in opposition the orange with the blue, the purple with the yellow, and the green with the red. :
—
|
TERTIARIES.
Purple Green Green
I
Orange
|
ran e
S ? Purple
Olive.
The tertiaries stand in the same relation to the secondaries that the secondaries do to the primaries olive to orange, citron to purple, and russet to green. :
Citron.
} Russet
Yellow
is
—
melodized by orange on one side and
green on the other ; blue by green and purple, and the red by purple and orange.
273
ART OF BOOKBINDING.
PASTING THE END-PAPERS, JOINTS, ETC.
The volume being laid upon the "with the
table or press,
head towards the workman and the upper
board open, the guard or
false
end-paper must be
removed and all other substances cleared out of the joint with the folder.
The paper to be pasted on
the board is cut at each end, so as to show the same
margin as on the fore-edge, and pasted evenly over. It
is
then carefully laid upon the board.
position
being adjusted, a piece
of white
The paper
should be laid thereon, and the whole rubbed perfectly even with the flat of the hand.
Then with
the folder rub perfectly square on the joint.
The
volume, with the board open, may then be turned,
and the other side done in the same way. If it is intended to execute a gilt border or blind tooling in the interior of the cover, it will be im-
portant 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
MANUAL OF THE
274 disfigure the
edge, taking care to leave as
much
leather as will cover perfectly such portion as is in-
tended 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; after-
wards 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
For the best class
size.
of work the morocco joint
is
placed in the volume
by the finisher after the book is covered. If the ends are of silk, it will be necessary to
leave the silk sufficiently large to turn the edges
over a piece of paper that has been cut to the required
size,
and
in order to
and richness of the
silk it
the paper upon which is
it
is
preserve the gloss
should not be pasted on placed, except where it
turned over the edge of the paper.
The paper is
then lightly glued over and adjusted upon the board. This method also prevents the silk from ravelling or presenting a jagged edge.
where the border is
gilt
In
all cases,
however,
or otherwise ornamented,
below the level of the edges of the volume, the ends must not be pasted down till after that opera-
ART OF BOOKBINDING. tion is completed, as the liable to stain,
glaire
and
275 oil
would be
and present a bad effect.
For inferior bindings, where the end-papers are left plain,
the last two leaves being merely pasted
STANDING-PRESS*
MANUAL OF THE
276
together, the ends will only require pasting, and
attaching by placing the volume between boards,
and
screwing
firmly
in
the
im-
standing-press,
mediately after which it must be taken out and the boards opened,
so
as
to
make
the
joints
free.
Almost every class of work except velvet and Turkey morocco requires to be submitted to the action of the
standing-press
after
end-papers have
the
been pasted down, and then allowed to become perfectly dry by leaving the boards open.
Our illus-
tration is taken from a standing-press manufactured
by W. 0. Hickok, Harrisburg, Pa. In
all
the departments, but especially in finish-
ing, cleanliness
of the
utmost importance.
It
how graceful may be the design, how
matters not perfectly the spoiled
is
may be worked;
tools
by a volume having a
all
may be
dirty appearance.
Therefore, have every thing clean about you,
—
cups,
sponges, and brushes.
Let your
and
your oil-cotton the same.
glaire,
be
clean ;
size,
pastewash,
Do not lay on the gold until the preparation is dry. After the working of your
tools,
be particular in
cleaning off the gold, so that no portions or specks
remain that should not, for they will have the appearance of dirt. ful
In calf-work, especially, be care-
of grease, or of
any thing that
will
soil
the
— ART OF BOOKBINDING.
In summer-time great care must be taken
leather.
to protect
your work from the
flies,
will eat the glaire off in places,
particularly
The little pests
your backs are worked off.
after
277
and give the book
an unsightly appearance.
VARNISH, AS USED IN BOOKBINDING.
The
first,
by the celebrated Tingry, is made in
the following manner:
Put into a vessel six ounces of mastic, in drops, three
ounces
of
sandarac
finely
powdered,
four
ounces of coarsely-broken glass, separated from the dust
by a sieve, and thirty-two ounces of spirits of
wine, of about forty degrees.
straw in another the
fire
and
together with uniting.
let
filled it
w ith cold water; put it on
boil,
a stick,
Place the vessel upon
T
to
stirring
the
substances
keep the resins from
When the whole appears well mixed, put
in three ounces of turpentine, and boil for another
half-hour,
when the whole must be taken off and
stirred till the varnish
placed cools.
and the water in which it is
Next day,
cotton, by which
filter
it
through a
fine
means it will acquire the greatest
degree of limpidity, and well cork up in a bottle. 24
MANUAL OF THE
278
The other recipe is given by Mons. F. Mairet, of Chdtillon sur Seine, and
may be prepared similar
The ingredients are, three pints of
to the above.
spirits of wine, of thirty-six to forty degrees, eight
ounces of sandarac, two ounces of mastic in drops, eight ounces of shell-lac, and two ounces of Venice
turpentine.
The varnish is first put on the back of the book with a camel's-hair brush as
lightly as
possible.
When nearly dry, it is polished with a ball formed of fine white cotton, filled with wool, on which has
been rubbed a small quantity of olive-oil, to make it
glide freely;
it
must be rubbed
at first lightly,
and, as fast as the varnish dries and becomes warm,
more
The
sharply.
sides
are
in
like
manner
polished one after the other.
Varnish
is
applied after the volume has been
polished by the iron, in order to retain the brilliancy
and preserve the volume from the bad effects produced by
flies
factured article soft
eating off the glaire.
The manu-
now in general use is applied by a
sponge being lightly passed over the volumes
after a small portion of varnish has been applied to
the sponge.
279
ART OF BOOKBINDING.
STAMPING. For gilding the lishers'
and even backs of pub-
sides
work, or in fact any other where a quantity
of gilding is desired at little expense, the stampingpress
is
brought into requisition, and by means of
tools cut for the purpose, called blocks or stamps, the
These stamps may
design is impressed on the side.
be made of very small pieces, and, by having a number of them, the patterns produced indefinite.
may be almost
The stamps are affixed to an iron or brass
plate, called a back or foundation-plate, upon which
a piece of stout paper has been glued. the workman
Then let
mark upon the plate the exact size of
the side to be stamped, marking
it
evenly with the
compasses, so as to justify the stamps; then strike the centre, and draw lines upon the paper from the centre, so as to divide
it
into
squares or to any
given part, so as to afford freedom for selection in the starting-point of the design.
For it must be
manifest that if a workman starts
all his
patterns
he
may have
from the same
point, notwithstanding
a variety of tools at his disposal, his patterns will exhibit a great deal of uniformity.
Let the paper
be glued equally over the surface, and proceed to
form the pattern by arranging the stamps upon the
MANUAL OF THE
280
plate so as to exhibit the design.
A great deal of
taste can be displayed in the formation of patterns
for
stamping;
consequence of the public
but, in
generally desiring a mass of gilt gingerbread-work, this
branch has been
but
little
cultivated;
the
prevalent opinion among stampers being that it is no
matter what
is
put upon the side so that it is well Publishers find those books that
covered with gold.
are the most tawdrily gilt are soonest disposed of;
hence, every thing
is
sacrificed to a gaudy exterior.
It is to be hoped that the art will be relieved from this degraded ornamentation.
Stampers themselves
can do something to purify and correct the public taste
by avoiding the unmeaning
collections con-
fusedly huddled together, so often seen upon sides.
Every remark in regard to style, design, and combination of tools in the hand-finisher's department applies with equal force to stamp-work ; and, although
the stamps used in the latter are not as those in hand-work,
achieved;
for,
hand-work for
still
so
plastic
great results will be
notwithstanding the superiority of artistic expression
and permanence,
press-work will always maintain a prominent position in the art, producing, as it does, striking results at a trifling expense.
After the pattern is formed,
take a little paste and touch the under side of each
ART OF BOOKBINDING.
281
stamp, and place theni in exact position. this is done and the paste has
After
become hard, lay the
stamp or pattern thus formed upon the side of the volume, taking care to have the same margin on the front, back,
and ends.
Then place the board or
side upon which the stamp is placed upon the platen
or bed of the stamping-press, leaving the volume
hanging down in front of the platen, which
then
is
moved to the centre of the upper platen, so that the clamps will touch the plate on both edges at the
same moment ; then pull the lever so
as to put a
slight pressure upon the plate in order to keep both it
and the side in their proper place; then adjust
the guides to the fore-edge and head or left-hand side, and screw them fast ;
throw back the lever, take
out the book; examine and correct any irregularity in the margin of the pattern by moving the guides.
When
perfectly
square,
place
a
soft
pasteboard
under the stamp, pull down the press, and apply heat.
This will set the stamps or harden the paste
and glue in a short time, so that they will not fall off
in
stamping
— a great annoyance. Work
for
stamping does not require so much body or preparation as if
it
were to be gilt by hand.
Morocco can
be worked by merely being washed with urine it is
safer to use a coat of size, or glaire 24*
;
but
and water
MANUAL OF THE
282
mixed in proportions of one of the former to three of the latter.
Grained sheep,
or,
as
is
it
called,
imitation-morocco, requires more body to gild well.
After the books are ready for laying on, the goldleaf is cut upon the cushion to the required size, or, if
the volume be large and the stamp will cover its
superficial extent, the leaf
may be lifted froxn the
gold-book by means of a block covered with wadding or cotton lap and laid immediately upon the side.
After an oiled rag has been lightly passed over the surface of the leather to cause the gold to adhere until
it
is
put under the press, examine the press
to see if sufficiently heated for the purpose.
A little
experience will soon determine the requisite amount of heat as a general rule.
Leather-work does not
require as hot a tool for stamping as for hand-work,
while cloth or muslin-work requires a short, quick stroke, and the press to be hotter than for leather.
In most binderies the stamping-press
is
heated by
introducing steam or gas through tubes perforated for the purpose ;
though a few still use the heaters,
which, after being heated in a furnace, are placed in the holes of the is
upper platen.
After the press
properly heated, throw back the lever ; take out
the pasteboard from under the stamp ; regulate the
degree of pressure required
for the
stamp;
then
ART OF BOOKBINDING.
283
place the side to be stamped upon the bed-plate,
holding
it
firmly against the guides with the left
hand, while with the right the lever
drawn to the front.
is
quickly
This straightens the toggles and
causes a sharp impression of the stamp upon the leather;
immediately throw back the lever; take
out the side, and rub off with a rag the superfluous gold.
Repeat the operation upon the other
unless the stamp be of an upright design ;
it
side,
will
then be necessary to turn the stamp in the press before operating upon the other side.
Case-work
or covers that are stamped before being put upon
the books are done in the same manner, the backs
LETTERING AND GILDING PRESS, No. L
being also stamped before being glued on.
The
preceding cut of a stamping-press for gilding light
MANUAL OF THE
284
work, lettering, &c, is of the most approved construction, while for large,
heavy work, either gilt or
stamped blind, (embossed, as it is erroneously called,)
EMBOSSING PRESS, No. 2. and for cloth-work generally, the wheel-press is best adapted.
power.
It
can be worked either by hand or by
The fly-wheel can be kept revolving while
the workman is engaged in feeding the press. lever
is
used for light work.
It will
The
be perceived
that the upper platen of this press, to which the
Modernized G+>fhu\
ART OF BOOKBINDING.
285
stamp is attached, is stationary, thereby giving great advantages in arranging pipes for heating by gas,
and also for carrying off the smoke and unconsumed gas that would otherwise
These presses are
escape
into # the
room.
by I. Adams &
manufactured
Co., Boston.
A description of the various processes to produce by stamping the rich effects of inlaid work will be found under the head of Illuminated Binding and that of Inlaid Ornaments. it is
For
publishers'
work
a point of economy to have a steel-cutter that
will cut out the pattern at one blow.
For this kind
of work, coloured German paper is used instead of leather for inlaying.
Thin boards are cut out with the aid of
steel-
cutters
and the stamping-press, and affixed to the
volumes
;
stamped
and, after in
gold
they are
covered,
they are
and blind with patterns corre-
sponding with the figure of the cutter.
This can
only be applied where there are a large number of volumes, although single volumes may be cut out
by hand at an increase of expense.
The modernized Gothic design (Plate IX.) is intended for a side-plate, to be worked either in gold or blank.
The light
floriated design (Plate X.) is
calculated to be worked in gold, and is a good illus-
MANUAL OF THE
286
tration of the prevailing treatment of the style for
which it has been expressly designed.
upon Plate XI. is intended blank-stamped.
The
The pattern
for press-work, to
be
contrast of light and heavy
•work producing a fine effect, it is well adapted for
a side-stamp, especially for cloth-work. Plate XII. is a graceful design from a "Hint" of Mr. Leighton's.
It is suited for a side-stamp,
to be worked in gold ;
and with it closes our illustra-
tions of design.
To
obviate a difficulty that the
young
finisher
will experience in his first attempts at designing, let
him select a good quality of sized paper, cut it
to the required size, then fold it carefully into four parts,
and draw his pattern boldly upon one of the
four corners with a lead-pencil.
After that is done,
slightly damp the opposite corner, fold the
portion so that surface,
it
drawn
comes in contact with the damp
and rub it upon the back, so as to transfer
the outlines of the drawing. sufficient distinctness,
trace
When it appears 'with it
carefully over with
the pencil, and repeat the process upon the other
corners until the pattern is complete. insures
accuracy and expedition.
This method
In working a
pattern with gouges or with intersected lines, the
same principle
is
applied, so as to reproduce
the
fijrpressty for Cfoth Wjrk after JTolheiJb's Style.
ART OF BOOKBINDING.
287
pattern precisely alike at the four corners, and to
In this case the paper is folded, and one
save time.
impression of the tool answers for both sides of the pattern.
Let the young finisher but feel a love for his art,
make himself familiar with the best specimens, and determine to excel will
be
;
and eventually his productions
esteemed, his
ability
command
the
best
and he will be recognised as an artist.
situations,
CUTTING-MACHINES.
For cutting paper, pamphlets, and books " out of boards," a
number of machines have been
vented, and are used in in
those where
are bound.
large
in-
many binderies, especially
quantities of
" cloth-work"
They have been found to answer for work very well.
Some of them ope-
rate with sufficient nicety to
cut books for case-
this class
of
work that are intended for gilt edges, when they are not to be scraped.
For
first-class
work, cut
" in boards," nothing has been discovered
to su-
persede the old-fashioned mode of cutting with the
plough and press.
;
MANUAL OF THE
PATENT PAPER AND BOOK TRIMMER.
The above
cut of one of these machines, from
the manufactory of
I.
Adams &
Co., Boston, will
serve to convey a general idea of its appearance
and the names of the makers are a
sufficient
gua-
rantee of the mechanical perfection of its details.
289
ART OF BOOKBINDING.
TRANSLATION OF DATES. Many old books have their dates printed in a manner which puzzles the finisher, should he be required to date any so printed, which are too thin to
The
admit of its being done as on the title-page.
key is here given,
following
useful in such cases
:
—
c.
100
as ;
it
may be found
Io, or
500
d,
;
do
or M, 1000 ; loo, 5000 ; ccloo, 10,000; Iooo, 50,000 ;
Thus, do, Io, clxxxviii
ccclooo, 100,000.
on
While
this
it
may
not be inappro-
notice the dating of some books printed
priate to
France
in
subject,
— 1688.
during
the
republic
in
country.
that
Thus, "An. xm." — 1805, that being the teenth
year of
the
republic,
which
thir-
commenced
in 1792.
RESTORING THE BINDINGS OF OLD BOOKS. Old bindings often look badly on account of the leather becoming dry and cracked, or the surface skin
of
the
To
obviate
and
rub
it
having this,
take
carefully
been rubbed a
in
places.
small quantity of paste
with 25
off
the
finger
upon the
290
MANUAL OF THE
*
portions that require
it ;
after
it
is
dry, wash the
volume carefully over with a thin solution of glue
When
size.
volume
dry, the
may
be varnished,
and afterwards rubbed over with a cloth
in
which
a few drops of sweet oil have been dropped.
SUPPLYING IMPERFECTIONS IN OLD BOOKS. It often
occurs that a valuable and rare work
has a leaf torn or missing. the
In order to supply it,
step will be to obtain the use of a perfect
first
copy as a model.
Then
same colour as the
leaf to be
carefully
After it
to
the
and
the
procure paper of the
correspond with
mended, and cut it the
torn
portion.
been neatly adjusted,
piece
has
leaf,
very lightly,
along
the
tip
edges
with paste made of rice-flour ; then place a piece of
tissue-paper
smooth
it
on both sides of the
carefully
and
Then proceed it will
and
with the folder ; then close
the volume and allow dry.
leaf,
remain until perfectly
it
to
to
remove the tissue-paper,
be found that the portions that adhere
where the joining occurs
will
be strong enough
to secure the piece to the leaf of the book.
The
ART OF BOOKBINDING, letters
291
may be then copied from the perfect copy
and traced upon the inserted piece. appearance will depend upon the in order to produce original.
The general
skill
displayed
a successful imitation of the
HINTS TO BOOK-COLLECTORS.
Never write your name upon the title-page of a book.
Have your "books cut as large as possible, so as to preserve the integrity of the margin.
Do not adopt one style of binding for all your books.
Let the bindings upon your books be characteristic
of the contents and of the value of the
work.
Employ Turkey morocco for large works or for books that you have in constant use.
It is
the
most durable material used in binding, except Levant morocco, which is very expensive.
English coloured calf makes a beautiful covering,
and bears
full
The latter, if tawdry. 292
gilt
tooling
better than morocco.
too richly charged,
is
apt to look
293
HINTS TO BOOK-COLLECTORS.
Let the durability and neatness of your bindings
be the primary requisites.
ciously
Ornament
judi-
and sparingly, rather than carelessly or
gaudily.
Poetry and sermons are not to be treated alike, either in colour or degree of
ornament to be em-
ployed.
The value of a library will be enhanced by the amount of knowledge and
taste displayed in
the
bindings.
Russia leather
is
no protection against worms,
and it speedily cracks along the joint.
Uncut books will command a higher price than those that are cropped.
To bind a book well, it should have ample time to dry after each process.
When you receive a volume
from the binder,
place it upon your shelf in such a manner that the
adjoining volumes will press tightly against
keep it closed ;
or, if
it
and
you lay it upon your table,
place other volumes upon it, to prevent the boards
from warping, and do not, for some time, use
it
near the fire.
Upon opening a volume,
do
not
grasp
the
leaves tightly in your hands.
You might thereby
break the back.
is
If the book 25*
too tight in the
HINTS TO BOOK-COLLECTORS.
294 back, lay
it
upon a
and open
surface,
flat
it
by
taking a few sheets at a time, and lightly pressing
upon the open leaves, going thus from the begining
to
the
end,
the
until
freedom
requisite
is
obtained.
Use a
paper-knife,
or
of
your uncut
books,
leaves •will
to
folder,
so
cut
that
up
the
the
edges
be smooth and even ; otherwise the book will
have to be cut down when it is bound.
Do not bind a newly-printed book.
It
is
liable
to set off in the pressing.
Never destroy an volume
if
original binding
the binding be
in
upon an old
tolerable condition.
An old book should not be rebound, unless it is essential to its preservation ;
and then it should be,
as far as possible, a restoration.
Carefully preserve old writings and autographs
upon
fly-leaves,
act of
to
unless they are trivial.
courtesy to
place
his
the
former
It is
an
owner of a book
book-plate on the end-board of the
volume.
Any blank-leaves
that
should not be removed.
occur
in
old
volumes
The bastard or half title
should always be preserved.
Have all oblong plates placed in such a manner
295
HINTS TO BOOK-COLLECTORS.
that the inscription under them will read from the tail to
the head of the volume.
Never bind a large map with a small volume. It
is
liable
to
tear
away; and,
in
pressing the
Maps and plans
volume, it makes unseemly marks.
should be affixed to blank leaves, so as to open clear of the volume, that the reader
may have the
plan and text to examine together It
is
a false economy to bind up a number of
volumes together, especially if they are of different sizes
and upon different subjects.
Keep your books dry, but not too warm.
Gas is
injurious in a library, especially to the gilding upon
the books.
Do not place books with uncut tops where the dust will fall upon them.
It will penetrate between
the leaves and mar the interior of the volumes.
Avoid placing books with clasps or carved sides
upon the
shelves.
They
will
mark and
scratch
their neighbours.
Never
fold
down
corners, or wet your fingers,
when reading or turning over the pages of a book.
Do not read a book at table.
Crumbs are apt to
penetrate into the back-fold of the leaves.
Books are not intended
for
card-racks or for
receptacles of botanical specimens,
296
HINTS TO BOOK-COLLECTORS.
Never leave a book open, face downward, under the
pretext of keeping
the place.
If
it
remain
long in that condition, it will probably ever after-
wards jump open at that place.
Never pull books out of the shelves by the headbands,
or
suffer
them
to
stand
long upon the
fore-edge.
Books should not be toasted before a fire or be converted into cushions to sit upon. Saturate
a rag with camphor, and, when dry,
occasionally wipe the dust from your books with it,
and you will not be annoyed with book-worms. Treat books gently ; for " books are kind friends.
We benefit by their advice, and they exact no con'
fessions.'
USED IN
BOOKBINDING.
All- Along.
—When a volume
thread
passes
is
and the
sewed,
from kettle-stitch to kettle-
stitch, or from end to
end in each sheet, it is
said to be sewed ail-along.
Asterisk
—A sign used by the
printers
at
the
bottom of the front page of the duplicateleaves printed to supply the place of those cancelled.
Backing-Boards.
—Are used
the joint.
wood
They
for backing or forming
are
made
or faced with iron,
of very hard
and are thicker
on the edge intended to form the groove than upon the edge that goes towards the fore-edge, so that the whole
laying-press
may be
directed
power of the towards the
back, 297
TECHNICAL TERMS
298
Baching -Hammer.
— The hammer used
and rounding
:
for backing
it has a broad, flat face, similar
to a shoemaker's hammer.
Bands.
—The twines whereon the
sheets of a volume
When the book is sewed flexible the bands appear upon the back. When are sewn.
the back is sawn so as to let in the twine,
the appearance of raised bands is produced
by glueing narrow strips of leather across the back before the volume is covered.
Band-Driver.
—A
tool used in forwarding to cor-
rect irregularities in the bands
of flexible
backs.
Bead.
— The
little
roll
formed by the knot of the
headband. Bleed.
—When a book
is
cut into the print it is said
to bleed.
Bevelled Boards.
—Very heavy boards
for the sides
champered around the edges Blind-Tooled.
—When the
tools are impressed upon
the leather, without being gilt, they are said to be blind or blank.
—Are of various
kinds, such as pressing,
backing,
burnishing,
Boards.
cutting,
The pasteboards used termed boards.
for
gilding,
&c.
side-covers
are
The boards used for cutting
299
USED IN BOOKBINDING.
books "out of boards" are called steamboat-
Tinned boards are used for finished
boards.
work
;
while brass or iron-bound boards are
used for pressing cloth-work.
Bodkin or Stabbing-Aivl.
—A strong point of iron
or steel, fixed on a wooden handle, to form
the holes in the boards required to lace in
the bands.
Used also for tracing the lines
for cutting the fore-edge.
Bole. Bolt.
—-A preparation used in gilding edges.
— The
fold in the
head and fore-edge of the
Also the small bar with a screw
sheets.
used to secure the knife to the plough. Bosses.
—Brass
plates attached to the sides of vo-
lumes for their preservation. BroJce up.
—When
folded
plates
at a short
are
turned
over
and
distance from the back-
edge, before they are placed so as to enable
them to turn easily in the volume, they are said
to be
broke up.
The same process
is sometimes applied to the entire volume.
Burnish.
—The
effect
produced by the application
of the burnisher to the edges.
Burnishers.
— Are pieces of agate or bloodstone
affixed to handles.
TECHNICAL TERMS
300 Cancels.
—Leaves containing
errors which are to be
cut out and replaced with corrected pages.
Caps.
— The leather covering of the headband. Applies also to the paper envelopes used to protect the edges while the volume
is
being
covered and finished. Case- Work.
—Work
in which the boards are covered
The volume
and stamped.
then glued
is
upon the back and stuck into them. Catch-Word.
—A word met with
books at the bottom of
word
is
Now
used
word
in
the
first
to
in early-printed
the
page, which
on the following page.
denote
the
an encyclopaedia
first
or
and
other
last
book
of reference. Centre-Tools. tools
—Are
single, upright, or
independent
used for the middle of the panels by
the finisher.
Clearing Out.
— Kemoving the waste-paper and
paring away any superfluous leather upon the inside, preparatory to pasting down the lining-paper. Collating.
—Examining the
volume
is
signatures,
gathered, to ascertain
after if
the
they be
correct and follow in numerical order.
Corners.
— The triangular brass
tools
used
in
USED IN BOOKBINDING. and
finishing backs
ments
used
sides.
The
on velvet books.
301 gilt
orna-
Also,
the
leather pasted on the corners of half-bound
books. Creaser.
—The
tool used in marking each side of the
bands, generally made of steel.
Cropped.
—When a book has been cut down too
much it is said to be cropped.
Dentelle.
—A
fine
tooled
border resembling
lace-
work.
Edge-Rolled.
—When the edges of the boards are It may be either in gold or blind.
rolled.
Embossed.
—When a
plate
is
stamped upon the
cover so as to present a raised figure or design,
it
is
said
to
be embossed.
Some
inappropriately term this kind of work Ara-
besque.
End-Papers.
— The paper placed
at each end of the
volume, a portion of which is removed when the lining-paper boards.
Fillet.
— The
is
pasted down upon the
Also called Waste-Papers.
cylindrical
ornament used in finishing
upon which simple lines are engraved. 26
TECHNICAL TERMS
302 Finishing.
—
and
department that receives the
Is that
volumes
after
they
them
ornaments
who works
at
are as
put
leather,
required.
branch
this
in
is
One
termed a
finisher.
Finishers' Press.
—
same as a laying-press,
Is the
only much smaller. Flexible.
—When a book
is
sewn on raised bands
and the thread is passed entirely round each band. Folder.
— This in
is
folding
a flat piece of bone or ivory used the
manipulations.
sheets and
in
many other
Also applied to a female
engaged in folding sheets.
— The front edge of the book. Foundation-Plate. — A plate of iron or brass upon Fore-Edge.
which side-stamps are affixed.
Forwarding. after
—
Is that
branch that takes the books
they are sewed
and advances them
until they are put in leather finisher.
ready for the
One who works at this branch is
termed a forwarder.
Full-Bound.
—When the
sides of a volume are en-
tirely covered with leather, it is said to
full-bound.
be
303
USED IN BOOKBINDING. Gathering.
— The process of arranging the sheets
according to the signatures.
—Used
Gauge.
in forwarding to take the correct
size of the volume
and to mark it upon the
boards for squaring. Gilt.
—
both the edges and to the
applied to
Is
ornaments in finishing.
— The whites of eggs. Grater. —An iron instrument used by the forwarder Glaire.
for rubbing the backs after they are paste-
washed.
Gouge.
—A is
Guards.
tool used in finishing, the face of
which
a line forming the segment of a circle.
—
Strips of paper inserted in the backs of
books intended for the insertion of plates, to
prevent the book being uneven also the strips
filled ;
when
upon which plates are
mounted. Guides.
— The groove
which the plough moves
in
upon the face of the cutting-press.
Half-Bound.
— When a volume
leather
the
upon
sides
the
are
is
covered with
back and corners,
and
paper
or
covered
with
cloth.
Hand-Letters.
—Letters cut and
affixed to handles.
TECHNICAL TERMS
304
and adjusted singly upon the volume when lettering it.
Head and Tail. Headband.
—The top and bottom of a book.
— The
silk or cotton ornament worked at
make the back even with
the ends so as to the squares.
— Sheets rejected on account of being
Imperfections. in
some respect imperfect, and
for
which
make
the
work
others
are
required
to
complete.
In Boards.
—When a volume
is
cut after the paste-
to form
boards
are
affixed
is
said
to
be cut in boards.
The term
is
also
applied
a
binding in
to
the
style of
sides,
it
which the boards are merely covered with paper. Inset.
—The pages cut
off in folding
and placed in
the middle of the sheet.
Inside Tins.
— So
called
from being placed inside
of the boards when the volume is put in the standing-press.
Joints.
— The projections formed mit the boards
;
in
backing to ad-
applied also to the inside
when the volume is covered.
305
USED IN BOOKBINDING.
— The observance that the pages of
Justification.
a volume out, so
agree and are parallel through-
as
to
insure a straight and equal
margin.
Kettle-Stitch.
—The
stitch which the sewer makes at
the head and tail of a book ; said to be a
corruption of chain-stitch.
Keys.
— The
little
instruments used to secure the
bands to the sewing-press.
Knoching-Down Iron, so slips,
called
from having the
when laced in, pounded down upon it,
so that they will not
show when the book is
covered.
Laced In.
—When the boards are
affixed to
the
volume by means of the bands being passed through holes made in the boards, they are said to be laced in.
—A piece
of wood, the upper sur-
face being rounded,
upon which side-labels
Lettering-Block.
are lettered.
Lettering-Box.
— The box
in
which the type are
screwed up preparatory to lettering.
Lining-Paper.
— The coloured
each end of the volume.
or marbled paper at
TECHNICAL TERMS
306 Marbler.
—The workman who marbles the edges of
books, &c.
Mitred.
—When the
lines in finishing intersect each
other at right angles and are continued without overrunning each other, they are said to
be mitred.
Out of Boards.
—When a volume
boards are
is
cut before the
affixed, it is said to
be done out
of boards.
Overcasting.
—An operation
in
sewing, wT hen the
work consists of single leaves or plates.
Pallet.
—Name given
to the tools used in
upon the bands, sometimes applied
gilding to
the
lettering-box.
Panel.
—The space between bands
;
also applied to
bevelled and sunk sides.
Papering Up. gilt, is
Paring.
— Covering the edges
so as to protect
after they are
them while the volume
being covered and finished.
—Reducing the edges of the leather by
forming a gradual slope.
Pastewash.
—A
thin dilution of paste in water.
—A small brush of camel's Pieced. — When the space between bands, upon
Pencil.
hair.
: ;
USED IN BOOKBINDING.
307
which the lettering is placed, has a piece of leather
upon it different from the back, it is
said to be pieced or titled.
Plough.
— The instrument used
in cutting the edges
of books and pasteboards.
Points.
—Holes made
in the sheets by the printer
they serve as guides in folding. Polisher.
Press.
—A
steel implement used in finishing.
—There are various kinds of
presses,
—
viz.
laying or cutting, standing, stamping, embossing, gilding, and finishing.
Rake.
—An instrument used
in
forwarding,
to
harden the backs while being pastewashed in the standing-press.
— The sharp edge taken Register. — The ribbon placed Rasped.
marker ;
off the boards.
in
a volume for a
also a list of signatures, attached to
the end of early-printed works, for the use of the binder.
ornaments used — The Run Up. —When the back has a cylindrical
Rolls.
in finishing.
run from
fillet
head to
tail
without being mitred at each
band, it is said to be run up.
Runner.
— The
edges, &c.
front
board
used
in
cutting
TECHNICAL TERMS
308
— The person who sews the sheets together on the sewing-press —generally a female. the Set-Off. — Designates the transfer of the ink Sewer.
to
opposite page.
Setting the Head.
with
the
—
Is covering the headband neatly
leather,
as
so
form a kind
to
of cap.
Shaving-Tub.
— The paper cut from the edges of a
volume are called shavings. into
which they fall while the forwarder is
cutting the edges
Signature.
The receptacle
— The
is
termed the shaving-tub.
letter or figure
under the footline
of the first page of each sheet to indicate the
order of arrangement in the volume ; some-
times applied to the sheet itself. Size.
—A preparation used
in finishing and gilding,
generally made from vellum. Slips.
— The pieces of twine that project beyond the volume after it is sewn.
Squa?*es.
— The portions of the board
that project
over the edges.
Stabbing.
— The operation of piercing the boards
with a bodkin for the also the piercing of
slips to
pass through;
pamphlets for the pur-
pose of stitching.
Stamps.
— The brass
tools used in finishing to im-
309
USED IN BOOKBINDING.
press a figure upon the leather ; they are dis-
tinguished by hand-stamps and stamps for the press. Start.
—When any of the secured
in
the
leaves are not properly
back,
upon
opening
the
volume they will project beyond the others,
and are said to start. Steamboating.
— Cutting books out of boards, a
number being cut at the same time. Stitching.
— The operation of passing the thread
through a pamphlet for the purpose of
se-
curing the sheets together. Stops.
—Are small fillet
circular tools, adapted to stop a
when it intersects at right
angles, to
save the time used in mitreing.
Title.
— The space between bands, upon which the lettering is placed.
Tools.
—Applied particularly
to
the
hand-stamps
and tools used in finishing. Trindle.
—A
Turning Up.
strip of thin wood or iron.
—The process of cutting the
fore-
edges in such a manner as to throw the
round out of the back until the edge is cut.
Tying Up.
— The tying of a volume
after the cover
has been drawn on, so as to make the leather
TECHNICAL TERMS, ETC.
310
adhere to the sides of the bands; also for setting the head.
—The process of overseaming Witness. —When a volume show that Whipping.
plates.
is
it
cut so as to
has not been cut as small as some of the
leaves,
their
uncut edges prove
this,
and
are called witness and sometimes proof.
Wrinkle.
— The uneven
surfaces in a volume, caused
by not being properly pressed or by dampness, also caused by improper backing.
INDEX. Affixing the stamps, 279, 280.
Bible, chained in churches, 16.
Agatine marble, on leather, 249.
Bibliographical Decameron, 14,
Aldine, 198.
Aldus, 198.
Anonay paper, 150. Antique, 231.
26, 135.
Bindings of Corvinus, 14.
—
-
of Henry VII., 16.
of Henry VIII., 17.
bands, 147.
of Elizabeth, 17.
marble, 117.
of Grolier, 17.
Dutch, 29.
of Maiolo, 17.
Arabesque, 210.
of Diana of Poictiers, 18.
Assyrian, 179.
of Henry II., 18.
Aqua Regii, 237.
of De Thou, 19. of the Chevalier D'Eon,19.
Backing-machine, 173.
of Oxford, 20.
Backs, flexible, 54, 55.
of Mackinlay, 21.
India-rubber, 58.
Backing books, 43.
of Roger Payne, 21-23. of Mackenzie, 28.
Bands, in finishing, 269.
of Charles Lewis, 28.
Bands, raised, 53, 54.
of Clarke, 28.
parchment, 57.
Baumgarten, 20.
of Riviere, 28.
of Bedford, 28.
Beating, 41, 42.
of Hayday, 28.
Beating-hammer, 42.
of Napoleon, 30.
Beckford, 206.
of Lortic, 31.
Bedford, 28.
of Duru, 32.
Benedict, 20.
of Niedre, 32.
311
9
,
INDEX. Bindings of Bauzonnet, 32, 142.
Cambridge, 208. binding, 19.
Black, for marbling, 85, 91. edges, 136.
Cancels, 40.
ink, 156, 157.
Caoutchouc, 58.
for blank-work, 165.
Cap<3, 31, 32.
for marbling leather, 241.
Carved oak boards, description
for leather, 259. lines, 268.
Blacking the squares, 268.
-
—
of, 12.
precious stones let into, 14, 211.
Blank binding, 151.
Case-work, stamping, 283.
Bleeding, 68.
Cedar sprinkle, on leather, 253.
Blind tooling, 230.
Chemical preparations, 237.
Block-finishing, 279.
Chinese blue, 89.
Blue, for edges, 78.
Chrome, 90.
for marbling, 85, 89, 90, 105.
-ink, 156. for marbling leather, 242.
— uniform colour for leather, 258.
Blue agate marble on leather, 249.
Stormont marble, 105. Boards, mode of making, 65. squaring, 66.
Boarding, blank-work, 160.
Clarke, 28. Clasps, 167. Cleanliness, 276.
Cloth-work, 170. Collating, 89.
description of, 39, 40. Coleridge, 190.
Colours, for edges, 74-82. for marbling, 84.
grinding, 98.
uniform, for leather, 256
printed work, 169.
harmony of, 272.
Box marble, on leather, 253.
Colouring, for leather, 236.
British marble, 119.
Comb marble, 115.
Brown, for edges, 79.
Combs, for marbling, 127.
for marbling, 86, 91.
Corners, 167.
for marbling leather, 241,
Corvinus, library of, 14.
242.
uniform colour for leather, 257.
Burnt ochre, 88.
Covering, 141.
blank- work, 163.
Cropping, 67. Curl marble, 109.
Burnishing, 126, 129, 133.
Cutting in boards, 72.
Byzantine, 181.
Cutting-machines, 288.
INDEX. Edges, gold upon marble, 135.
Dawson, 20.
Derome, 18, 19, 67.
black, 136.
De Seuil, 18, 19.
Edge-gilding, 130. antique, 134.
Design, 186.
Designing, 286.
on marble, 135.
De Thou, bindings of, 19.
onlandscapes,135.
Dibdin, his account of the
li-
brary of Corvinus, 14. of Roger Payne, 26, 191, 195.
Diptych, description of, 11.
Drag Spanish marble, 114. Drop ivory black, 91. Drop lake, 86. Dutch marble, 120.
Eighteenmo, 36. Elizabethan, 184.
End-papers, 59, 60, 273. Etruscan, 180.
Eyton,
J. W. King,
binding be-
longing to, 28, 29. Fair agate marble, on leather, 249.
Duru, 31, 32.
Falkner, 28.
Dutch pink, 90.
Fancy titles, 221, 271. Fawn, colour for leather, 244.
Edges, colouring and sprink-
Finishing, blank-work, 168.
ling, 74.
Finisher's standing press, 275.
colours for, 74-79.
Flea-seed, 94.
blue, 78.
Flexible, mode of sewing, 53.
yellow, 78.
green, 78.
orange, 78.
marking off, 54, 55. Folding, 35.
blank- work, 157.
red, 78.
Folio, 36.
purple, 79.
Font Hill, 150, 205.
brown, 79.
Forwarding, job-work, mode of
black, 136.
operation, 59.
rice marbled, 80.
making end-papers, 60.
white spotted, 80.
putting in joints, 61.
fancy marbled, 81.
glueing up, rounding, 62.
gold sprinkle, 81.
backing, 63, 64.
marbled, 82, 125.
cutting, 65, 70.
burnishing, 125, 129.
making boards, 65.
130.
squaring, 66.
antique, 134.
lacing in, 68.
gilt,
314
INDEX.
Forwarding,
pastewashing
back, 69. cutting round, 71.
Guards, sewing on, 53, 56.
mode of mounting, 56. Gum-sandarac, 226.
turning up, 72. Foundation-plate, 279.
Harleian, 202.
Harmony of colours, 272. Gilding, preparations for, 216.
Half-binding, 149.
the back, 217.
Hayday, 28, 29, 232.
the squares, 223.
Headbands, 137.
the sides, 224.
single, 138.
on silk and velvet, 225.
double, 140.
gold and silver, 14C.
Gilt edges, 130.
upon marbled, 135. Glaire, for marbling leather, 240.
Gold marble on leather, 260.
ribbon, 141.
Heat,
degree
required
for
stamping, 282.
Gold sprinkle, 81.
Hints to- book-collectors, 291.
Gothic, 183.
Henry VII., time of, 16.
Grafton, the printer, 16.
Grained sheep, 282.
VIII., bindings of, 17.
Hering, 28.
Graining, 231.
Holbein, 213.
Grolier, bindings of, 17.
Hydraulic press, 45.
style, 212.
Illuminated binding, 227.
Green, for edges, 78. for blank- work, 164.
Imperfections in old books, 290.
for leather, 244.
Indigo, 89.
uniform colour for leather,
Inlaid work, 229.
ornaments, 270.
258.
agate marble on leather, 249.
Irish moss, 94. Italian marble, 106.
Italian marble, 106.
porphyry marble on lea-
Janseniste, 208. Joint, mode of forming, 63.
ther, 250.
Greek, 180.
Joints, inside, 273.
Gum, 92. directions
for
preparing
for marbling, 93.
Kalthoeber, 20. Kettle-stitch, 51, 53, 55.
315
INDEX. Keys
for
securing bands
on
Making cases, 174. Missals, antiquity of, 10.
sewing-bench, 49.
Mitreing, 219.
detaching, 57.
Modernized monastic, 231. Lacing in, 68.
Montague, 201.
Landscapes on sides, 263.
Moorish, 182.
transferred, 264.
Lapis Lazuli marble on leather,
Niedre', 31, 32.
Numerical proportions of co-
261.
Lay on, 218.
lours, 272.
L eland's Itinerary, 14.
Nonpareil, 115.
Lettering-press, 283.
raked, 116.
Levant marble on leather, 249.
reversed, 116.
Nutmeg
Levant morocco, 31, 142. Lewis, Charles, 28.
sprinkle
on
leather,
255.
Light Italian marble, 106.
Oak boards, 15, 211.
Lilac, for leather, 243.
Lining-papers, mode of making,
Octavo, 36.
Old bindings, 289.
60.
Linseed, 94,
Olive, for leather, 258.
Lortic, 31, 32.
Orange, for edges, 78. for marbling, 86, 91.
Louis Quatorze, 184.
for leather, 244.
Orange lead, 91. Ornamental art, 178.
Mackenzie, 28.
Mackinlay, John, 20. bindings of, 21.
Mahogany
sprinkle
Oxford, bindings of, 20.
on
lea-
ther, 252.
Oxford ochre, 88. Ox-gall, 96.
Maiolo, 17.
Malacca tin, 238.
Padeloup, 18.
Marbling on leather, 246-254.
Paging-machine, 154.
on paper sides, 254. Marbling-water
for
leather,
Paper
and
book
trimmer,
288.
240.
Paring-knife, 149.
Marbled cloth, 127.
Pasting down, 273.
Marbled edges, 125.
Payne, Roger, history of, 21.
gilt upon, 135.
his bindings, 23.
INDEX.
316
Red porphyry marble on
Payne, Roger, bill of, 25. his favourite colour, 26.
Pearl-gray for leather, 258. Petit,
Bernard,
bindings
lea-
ther, 250.
Register, 137.
de-
Renaissance, 183.
Restoring old bindings, 289.
signed by, 18. Phillatius the Athenian, 9.
Revival, 183.
Pictures on calf, 266.
Rock marble on leather, 252.
Pickering, 200
Rolling-machine, substitute for
Plates, mode of sewing, 53.
beating
;
Polishing, 234.
tion ;
advantages
Porphyry marble on
leather,
251.
Porphyry vein marble on leather, 251.
Preparations for marbling, 96. chemical, 237.
and
disadvantages of, 43, 44.
Roman, 181. Rose-pink, 87.
Rounding, 62. Rice marble, 80.
Ring sprinkle on leather, 255.
for stamping, 281.
Riviere, 28.
for gilding, 216.
Ruling, 152.
for marbling leather, 240.
Run up, 220.
Press-work, 279.
mode of opera-
Russian bands, 165.
Primary colours, 272. Prints on calf, 266.
Sawing, 48, 49.
Progress of the art, 10, 33.
Sawing-machine, 171.
Prussian blue, 90.
Scraping, 132.
Purple, for edges, 79.
Secondary colours, 272.
for blank-work, 165.
for leather, 243.
marble on leather, 248.
Setting the head, 145. the stamp, 281.
Set off, 42, 43.
Sewing, process of, 49, 50, Quarto, 36.
two sheets on, 50. all along ;
Raw ochre, 90. Red, for edges, 78. for marbling, 85-88. ink, 156.
for blank-work, 164. for leather, 245.
quartos
plates
;
or maps, 52.
sewing
whipping,
on
guards, 53.
on
raised
bands
;
flexible, 54, 55, 56.
blank-work, 159.
pure
317
INDEX. Sewing-bench, 49, 50.
Table-shears, 175.
Shell marble, 100, 103, 104.
Taste, 186.
Sheriffs of Shropshire, 28.
Technical terms, 297-310.
Sheet-work, 35.
Tertiary colours, 272.
Silk lining, 274.
Thirty-twomo, 36.
Sixteenmo, 36.
Thouvenin, bindings of. 30.
Sizing the paper, 127.
Titles, 269.
Slate,
uniform colour for lea-
Smasher, substitute for beat-
mode of operation amount ;
of,
ther, 256.
To dissolve gold, 237.
ing, 44.
of pressure
fancy, 271. Tortoise-shell sprinkle on lea-
ther, 259.
;
advantage
45.
Spanish marble, 110. olive, 111.
blue, 112.
Transfers, 264, 266.
Transferring designs, 286. Translation of dates, 289.
Trautz et Bauzonnet,
31,
32,
142.
Tree-marbled calf, 28, 252.
brown, 112.
Troughs for marbling, 100.
fancy, 113.
Turning up, 72.
drag, 114.
Twelvemo, 36, 37.
Spring-back, blank-work, 161.
Twenty-fourmo, 36,
Sprinkles, 255, 256.
Tying up, 146.
Sprinkling, mode of, 75, 76. colours for, 74.
Ultramarine, 89.
rice-marble, 80.
Umber, 91. Uncut books, 151. Uniform colours on
white spot, 80. gold sprinkle, 81.
Staggemier, 20.
leather,
256-259.
Stamping, 279. Steamboating, 172. Stabbing, 68. Steel gouges, 271.
Variegated
marble,
lea-
Varnish, 277.
Stone marble, on leather, 248.
Vegetable black, 91.
Sunk boards, 285.
Vermilion, 87.
Supplying imperfections in old
Violet for leather, 243.
books, 290.
on
ther, 254.
Vitriol-water for marbling leather, 240.
INDEX.
818
Wainscot sprinkle on leather, 254.
Walnut sprinkle
on
leather,
Whipping, 53. White for marbling, 86, 91. White-spotted edges, 80.
Wood-lake, 88.
253.
t ft ft ft
Walther, 28.
Water for marbling, 96.
Yellow for edges, 78.
Wave-marble, 118.
for marbling, 85.
Wax for marbling, 99.
for blank- work, 165.
West-End marble, 107, 108.
for leather, 244.
2
THE END.
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?.
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J.
Stokes.
In
one volume, 75cts.
" A large amount of practical information, of great service to all concerned in Ohio State Journal. those branches of business-?"
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HENRY CAEEY BAIBD'S PUBLICATIONS.
Chemistry Applied to Dyeing. By James Napier, F.C.S.
Illustrated.
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12mo
$1.50
Contents. General Properties of Matter. Heat, Light, Elements of Matter. Chemical Affinity. Non-Metallic Substances. Oxygen, Hydrogen, Nitrogen, Chlorine, Sulphur, Selenium. Phosphorus, Iodine, Bromine, Fluorine, Silicum, Boron, Carbon. Metallic Substances. General Properties of Metals, Potassium, Sodium, Lithium, Soap, Barium, Strontium, Calcium, Magnesium, Alminum, Manganese, Iron, Cobalt, Nickel, Zinc, Cadmium, Copper, Lead, Bismuth, Tin, Titanium, Chromium, Vanadium, Tungstenum or Wolfram, Molybdenum, Tellarium, Arsenic, Antimony, Uranium, Cerium, Mercury, Silver, Gold, Platinum, Palladium, Iridium, Osmium, Rhodium, Lanthanium. Mordants. Red Spirits, Barwood Spirits, Plumb Spirits, Yellow Spirits, Nitrate of Iron, Acetate of Alumina, Black Iron Liquor, Iron and Tin for RoyalBlues, Acetate of Copper. Vege~ table Matters used in Dyeing. Galls, Sumach, Catechu, Indigo, Logwood, Brazilwoods, Sandal-wood, Barwood, Camwood, Fustic, Young Fustic, Bark or Quercitron, Flavine, Weld or Wold, Turmeric, Persian Berries, Safflower, Madder, Munjeet, Annotta, Alkanet Root, Archil. Proposed New Vegetable Dyes. Sooranjee, Carajuru, Wongshy, Aloes, Pittacal, Barbary Root. Animal Matters used in Dyeing. Cochineal, Lake or Lac, Kerms.
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This will be found one of the most valuable books on the subject of dyeing, ever published in this country.
Colbarn
— The Locomotive Engine:
Including a Description of its Structure, Rules for Estimating its Capabilities, and Practical Observations on its Construction trated.
and Management. By Zerah Colburn. Illus12mo. 75 cts.
A new edition.
" It is the most practical and generally useful work on the Steam Engine that Boston Traveller.
we have seen."
Distiller. [The Complete Practical) By M. Lafayette Byrn, M.D. With Illustrations. 12mo.$1.00 " So simplified, that it is adapted not only to the use of extensive Distillers, but for every farmer, or others who may want to engage in Distilling." Banner of the Union.
Dyer and Colour-maker's Companion: Containing upwards of two hundred Receipts for making Colours, on the most approved principles, for all the various styles and fabrics now in existence with the Scouring Process, and plain Directions for Preparing, Washing-off, and Finishing the Goods. Second edition. In one volume, 12mo 75 cts. ;
" This is another of that most excellent class of practical books, which the publisher is giving to the public. Indeed, we believe there is not, for manufacturers, a more valuable work, having been prepared for and expressly adapted to their business." Farmer and Mechanic. "Tt is a valuable book." Otsego Republican. " We have shown it to some practical men, who all pronounced it the com' pletest thing of the kind they had seen."—iV. Y. Nation. 1* 6
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HENRY CAREY BAixc^S PUBLICATIONS.
Dyer's Instructor: Comprising Practical Instructions in the Art of Dyeing Silk, Cotton, Wool, and Worsted and Woollen Goods, as single and two-coloured Damasks, Moreens, Camlets, Eastings, Shot Cobourgs, Silk Striped Orleans, Plain Orleans from White and Coloured Warps, Merinoes, Woollens, Yarns, Containing nearly Eight Hundred Receipts, to &c. &c. which is added a Treatise on the Art of Padding, and the Printing of Silk, Warps, Skeins, and Handkerchiefs, and the various Mordants and Colours for the different Styles of such work. By David Smith, Pattern Dyer. 12mo, cloth $1.50 " Information can be obtained from tbis book wbicb would be found difficult Southern Argus.
to gain in any other form."
Dyer {The Practical) and Scourer. By Thomas Love.
In one volume, 12mo.
(In press.)
Examination of Drugs, Medicines, Chemicals, <Scc.
As to their Purity and Adulterations, by C. H. Peirce, M.D., Translator of " Stockhardt's Chemistry," and Examiner of Medicines, &c. for the Port of Boston. 12mo $1.25
Gilbart
—Practical
Treatise on Banking.
By Jas. Wm. Gilbart, F.R.S. Editor Banker's Magazine.
Gregory
Edited by J. Smith Homans, 8vo $2.50
—Mathematics for Practical Men
Being a Common-Place Book of Principles, Theorems, Rules, and Tables, in various Departments of Pure and Mixed Mathematics, with their Applications, especially to the pursuits of Surveyors, Architects, Mechanics, and Civil By Olinthus Engineers, with numerous Engravings. Gregory, LL.D., F.R.A.S $1.50
Household Surgery ;
or,
Hints on Emer-
gencies.
By J. F. South, one of the Surgeons of St. Thomas's Hospital.
In one volume, 12mo, sheep.
fifty Engravings 6
Illustrated
by nearly $1.50
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HENRY CAREY BAIRD'S PUBLICATIONS.
Johnston
—Botanic Practice of Medicine.
By Dr. Wm. Johnston.
24nio
Leslie's [Miss] Complete
38 cts.
Cookery:
Directions for Cookery in its Various Branches. By Miss Leslie. Thoroughly Revised, with the Ad54£h Thousand. dition of New Receipts. In one volume, 12mo, half-bound, or in sheep.. $1.00 In prepciring a new and carefully revised edition of this my first work on cookery, I have introduced improvements, corrected errors, and added new receipts, that I trust will on trial be found satisfactory. The success of the hook (proved by its immense and increasing circulation) affords conclusive evidence that it has obtained the approbation of a large number of my countrywomen, many of whom have informed me that it has made practical housewives of young ladies who have entered into married life with no other acquirements than a tew showy accomplishments. Gentlemen, also, have told me of great improvements in the family table, after presenting their wives with this manual of domestic cookery, and that, after a morning devoted to the fatigues of business, they no longer find themselves subjected to the annoyance of an ill-dressed -
dinner.
Preface.
Two Hunched Receipts in
Leslie's (Miss) French Cookery. A new edition, in cloth
Lieber
— Assay
25 cts. }
er s Guide;
Or, Practical Directions to Assayers, Miners, and Smelters, for th-e Tests and Assays, by Heat and by Wet Processes, of the Ores of all the principal Metals, and of Gold and Silver By Oscar M. Lieber, late Geologist to Coins and Alloys. the State of Mississippi. 12mo. With Illustrations. 75 cts. " Among the indispensable works for this purpose, is this
little
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Artisan.
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—New and Improved
Tables
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Macfarlane
—Propellers and Steam Navi-
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With Biographical Sketches of Early Inventors. By Robert Macfarlane, C.E., Editor of the " Scientific American." In one volume, 12mo. Illustrated by over eighty Wood Engravings.
75 cts. 7
s
HENRY CABEY BAIRD'S PUBLICATIONS. Morfit
—Perfumery;
Its Manufacture and
Use.
With Instructions in every branch of the Art, and Receipts for the whole forming a valuall the Fashionable Preparations able aid to the Perfumer, Druggist, and Soap ManufacIllustrated by numerous Wood-cuts. From the turer. French of Celnart, and other late authorities. With AdA new ditions and Improvements by Campbell Morfit. and revised fdition, in one volume, 12mo, cloth $1.50 ;
Morfit
— The Arts of Tanning and Cur-
rying : Theoretically and Practically Considered in all their Details, being a full and comprehensive Treatise on the ManufacIllustrated by over ture of the various kinds of Leather. two hundred Engravings. Edited from the French of De Fontenelle and Malapeyere. With numerous Emendations and Additions, by Campbell Morfit, Practical and AnaComplete in one volume, octavo lytical Chemist. $5.00 This important Treatise will be found to cover the whole field in the most masterly manner, and it is believed that in no other branch of applied science could more signal service be rendered to American Manufacturers. The publisher is not aware that in any other work heretofore issued in this country, more space has been devoted to this subject than a single chapter; and in offering this volume to so large and intelligent a class as American Tanners and Leather Dressers, he feels confident of their substantial support and encouragement.
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Contents. Introduction, Dignity of Labour, Tan and Tannin, Gallic Acid, Extractive Tanning Materials, Oak Barks, Barking of Trees, Method of Estimating the Tanning Power of Astringent Substances, Tan, the Structure and Composition of Skin, Different kinds of Skin suitable for Tanning, Preliminary Treatment of Skins, Tanning Process, Improved Processes, Vauquelin's Process, Accelerating Processes, Keasley's, Trumbull's, Hibbards, and Leprieur's Processes, Tanning with Extract of Oak-Bark, Hemlock Tanning, with Myrtle Plant, English Harness Leather, Calf Skins, Goat and Sheep Skins, Horse Hides, Buck, Wolf, and Dog Skins, Buffalo, or " Grecian" Leather, Russia Leather, lied Skins, Wallachia Leather, Mineral Tanning, Texture and Quality of Leather, and the Means of Discovering its Defects, Tawing, Hungary Leather, Oiled Leather, Tanning as practised by the Mongol Tartars, Shagreen, Parchment, Leather Bottles, Tanning of Cordage and Sail Cloth, Glazed or " Patent" Leather, Helverson's Process for Rendering Hides Hard and Transparent, Currying, Currying of Calf Skins, Currying of Goat Skins, Red Leather, Fair Leather, Water Proof Dressing, Perkins' Machine for Pommelling and Graining Leather, Splitting, Shaving, Pleshing and Cleansing Machines, Embossing of Leather, Gut Dressing.
Mortimer Or,
—
Pyrotechnist's Companion ; A Familiar System of Fire-works. By Gr. W. Mortimer. Illustrated by numerous Engravings.
12mo
75 cts.
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HENEY CAit£Y BAI&D'S PUBLICATIONS.
Napier
—Manual of
Electro- Metallurgy
Including the Application of the Art to Manufacturing Processes. By James Napier. From the second London edition, revised and enlarged. In one Illustrated by Engravings. volume, 12mo $1.25 Napier's Electro-Metallurgy is generally regarded as the very best practical treatise on the subject in the English language.
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Contents. History of the Art of Electro-Metallurgy, Description of Galvanic Ba^ teries, and their respective Peculiarities, Electrotype Processes, Miscellaneous Applications of the Process of Coating with Copper, Bronzing, Decomposition of Metals upon one another, Electro-Plating, Electro-Gilding, Results of Experiments on the Deposition of other Metals as Coatings, Theoretical Observations.
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Neill
Fruit, Flower, and Kitchen Garden.
By Patrice Neill, LL.D., F.R.S.E., Secretary to the Royal Adapted to the United States, from the fourth edition, revised and improved by the Author. Illustrated by fifty Wood Engravings of HotCaledonian Horticultural Society.
houses, &c. &c.
In one volume, 12mo
$1.25
" This volume supplies a desideratum much felt, and gives within a moderate compass all the horticultural information necessary for practical use." Newark Mercury. "A valuable addition to the horticulturist's library." Baltimore Patriot.
Nicholson— Book-binder s ( The Practical) }
Manual Containing Full Directions for all the different Branches of Book-bindiog and Marbling. By James B. Nicholson. Illustrated. 12mo. (In press.)
Norrids Hand-hook for Locomotive Engineers and Machinists
Comprising the Calculations for Constructing Locomotives, Manner of setting Valves, &c. &c. By Septimus Norris, Civil and Mechanical Engineer. In one volume, 12mo, with Illustrations $1.50 " With pleasure do we meet with such a work as Messrs. Norris and Baird have given us." Artisan. " In this work he has given us what are called the secrets of the bushes.' '
in the rules to construct locomotives, in order that the million should be learned in all things." Scientific American.
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HENRY CAREY BAIRD'3 PUBLICATIONS.
Nystrom
—A
Treatise on Screw- Propellers and their Steam-Engines
With Practical Rules and Examples by which to Calculate and Construct the same for any description of Vessels. By J. W. Nystrom. Illustrated by over thirty large Working Drawings.
In one volume, octavo
$3.50
This is the fullest treatise on the subject ever published in this country.
Overman all its
— The Manufacture of Iron in
Various Branches
To which is added an Essay on the Manufacture of Steel, by Frederick Overman, Mining Engineer, with one hundred and fifty Wood Engravings. Third edition. In one volume, octavo, five hundred pages $5.00
We
" have now to announce the appearance of another valuable work on the subject, which, in our humble opinion, supplies any deficiency which late improvements and discoveries may have caused, from the lapse of time since the date of Mushet' and ' Schrivenor.' It is the production of one of our transatlantic brethren, Mr. Frederick Overman, Mining Engineer ; and we do not hesitate to set it down as a work of great importance to all connected with the iron interest; one which, while it is sufficiently technological fully to explain chemical analysis, and the various phenomena of iron under different circumstances, to the satisfaction of the most fastidious, is written in that clear and comprehensive style as to be available to the capacity of the humblest mind, and consequently will be of much advantage to those works where the proprietors may see the desirability of placing it in the hands of their operatives." '
London Morning Journal.
Painter,
[The) Gilder, and
J
VamisJier s
Companion Containing Rules and Regulations for every thing relating to the arts of Painting, Gilding, Varnishing, and Glass-staining numerous useful and valuable Receipts Tests for the and a Detection of Adulterations in Oils, Colours, &c. Statement of the Diseases and Accidents to which Painters, with the Gilders, and Varnishers are particularly liable simplest methods of Prevention and Remedy. Fifth edition. In one volume, small 12mo, cloth 75 cts. :
;
;
;
Paper-Hanger 's (The) Companion: in which the Practical Operations of the Trade are systematic-
ally laid down with copious Directions Preparatory to Papering; Preventions against the effect of Damp in Walls; the various Cements and Pastes adapted to the several purposes of the trade Observations and Directions for the Panelling and Ornamenting of Rooms, &c. &c. By James Arrowsmith. In one volume, 12mo 75 cts, ;
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HENRY CAEEY BAIRD'S PUBLICATIONS.
Perkins
— Practical
Treatise on
Gas and
Ventilation.
By E. E. Perkins.
12mo.
(In press.)
Practical Printer,
and
Type Founder,
Stereotyped's Hand-Boole.
By D. W. Belisle.
12mo.
Illustrated.
(In press.)
Practical [The) Surveyor's Guide: Containing the necessary information to make any person of common capacity a finished Land Surveyor, without the aid of a teacher. By Andrew Duncan, Land Surveyor and Civil Engineer. 12mo 75 cts. Having had an experience as a practical Surveyor, &c. of thirty years, it is believed that the author of this volume possesses a thorough knowledge of the wants of the profession ; and never having met with any work sufficiently concise and instructive in the several details necessary for the proper qualification of the Surveyor, it has been his object to supply that want. Among other important matters in the book, will be found the following Instructions in levelling and profiling, with a new and speedy plan of setting grades on rail and plank roads ; the method of inflecting curves ; the description and design of a new instrument, whereby distances are found at once, without any calculation ; a new method of surveying any tract of land by measuring one line through it; a geometrical method of correcting surveys taken with the compass, to fit them for calculation a short method of finding the angles from the courses, and vice versa; the method of surveying with the compass through any mine or iron works, and to correct the deflections of the needle by attraction; description of an instrument by the help of which any one may measure a map by inspection, without calculation; a new and short method of calculation, wherein fewer figures are used; the method of correcting the dim nal variation of the needle ; various methods of plotting and embellishing maps; the most correct method of laying off plots with the pole, &c. ; description of a new compass contrived by the author, &c. &c. ;
Pail Road Curves, and Location of Rail Roads
A Practical Treatise. By E. W. Beans, Civil Engineer.
12mo,
(In press.)
Rural Chemistry: An Elementary Introduction to the Study of the Science, in its relation to Agriculture and the Arts of Life. By Edward Solly, Professor of Chemistry in the Horticultural Society of London. From the third improved London edition,
12mo
$1.25 11
HENBY CAREY BAIEB'S PUBLICATIONS. Scott
— The Practical
Manufacturer ;
or,
the
Cotton-spinner, and Manager and Overlooker s 1
Companion : This work contains a Comprehensive System of Calculations for Mill Gearing and Machinery, from the first moving power, through the different processes of Carding, Drawing, Slabbing, Roving, Spinning, and Weaving, adapted to American Machinery, Practice and Usages. Compendious Tables of Yarns and Reeds are added. Illustrated by large working-drawings of the most approved American Cotton Machinery. Complete in one volume, octavo $3.50 This edition of Scott's Cotton-Spinner, by Oliver Byrne, is designed for the American Operative. It will be found intensely practical, and will be of the greatest possible value to the Manager, Overseer, and Workman.
Be Vere
Shele
— Sketches of Comparative
Philology.
By
Shele De Vere, of the University of Virginia, author of a "Grammar of the Spanish Language." Complete in one volume, 12mo $1.25
Prof.
Solly
— Syllabus of a Complete Course of
Lectures on Chemistry : Including its Application to the Arts, Agriculture, and Mining. By Prof. E. Solly. Revised by the author of " Chemical Manipulations." Octavo, cloth $1.25
Templeton
— The Practical Examinator
on Steam and the Steam Engine: With Instructive References relative thereto, arranged for the use of Engineers, Students, and others. By Wm. Templeton, Engineer.
12mo
75 cts.
This work was originally written for the author's private iise. He was prevailed upon by various Engineers, who had seen the notes, to consent to its publication, from their eager expression of belief that it would be equally useful to them as it had been to himself.
Treatise (A) on a Box of Instruments, And
A.
the Slide Rule, with the Theory of Trigonometry and Logarithms, including Practical Geometry, Surveying, Measuring of Timber, Cask and Malt Gauging, Heights and Distances. By Thomas Kentish. In one volume. $1.00 12mo
volume of inestimable value to Engineers; Gangers, Students, and others. 12
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HENRY CAEEY BAXED'S PUBLICATIONS.
Turnbidl
—A
Treatise on
Experimental
Electricity.
By Lawrence Turnbull, M.D.
12mo.
(In press.)
Turner's Companion Containing Instructions in Concentric, Elliptic, and Eccentric Turning. Also, various Plates of Chucks, Tools, and Instruments, and Directions for using the Eccentric Cutter, Drill, Vertical Cutter, and Circular Rest; with Patterns and Instructions for working them. Illustrated with numeIn one volume, 12mo rous Engravings. 75 cts.
A valuable little book, beautifully and completely illustrated.
Walker
—
Electrotype Manipulation
Being the Theory and Plain Instructions in the Art of Working in Metals, by Precipitating them from their Solutions, through the agency of Galvanic or Voltaic Electricity also in the Arts of Electro-Plating, Electro-Gilding, and Electro-Etching; with an Account of the Mode of Depositing Metallic Oxides, and of the several applications of Electrotype in the Arts. By Charles V. Walker, Hon. Sec. of ;
the London Electrical Society, &c. Illustrated. New edition, from the Twenty-fifth London edition. 12mo...75 cts. The rapid sale in England of twenty-five editions, and the demand in this country render necessary no further guarantee of the value of this book, popular use it surpasses all other treatises on the subject.
Walter & Smith
—
Cottage
and
Villa
lor
Ar-
chitecture :
With Ground-plans and Elevations. By Thomas U. Walter, Architect of Girard College, and John Jay Smith, Philadelphia Library. In two volumes, quarto $5.00
Walter
& Smith's Guide to Workers in
Metal and Stone. Consisting of Designs and Patterns for Gates, Piers, Balcony and Cemetery Railing, Window Guards, Balustrades, Staircases, Candelabras, &c. &c. Four parts, cuarto. Illustrated by large Drawings $10 00 2
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HENHY CASEY EAIBD'S PUBLICATIONS.
Byron
—Poetical Works of Lord Byron:
A new, beautiful, and complete edition, in eight volumes, 12mo. Cloth
$6.50
Sheep
8.00 9.00 12.50
Cloth extra, gilt edges Half calf antique
Turk, moroc. sup. extra.. 17. 50
Byron
Four volumes, cloth Sheep
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— Tales and Poems of Lord Byron
Illustrated
by Henry Warren.
In one volume, royal •ctavo,
with 10 plates. Scarlet cloth, gilt edges.. $5.00 6.00 Calf antique extra 7.00
Half calf antique
Turk, moroc. sup. extra.. $7. 00 7.00 Turk, moroc. ant. extra
— Specimens of
Campbell
from the time of Chaucer
to
the British Poets the end of the Eiqht-
eenth Century.
By Thomas Campbell.
In one volume, royal octavo.
Cloth
$3.50
Extra beveled gilt edges. ..4.00 Half calf antique 5.00
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Childe Harold: By Lord Byron.
With beautiful Illustrations.
Cloth extra, gilt edges. ..$5.00 Half calf, antique 6.00 Turkey morocco, extra 7.00 Turk, moroc. ant. extra. ..7. 00
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U
1 vol. 8vo.
Turk, moroc. ant. extra.. $5. 50 5.50 Calf antique extra A new and cheap edition, with frontispiece, 12mo, 75 cloth 1.12 Cloth, gilt edges 1.62 Half calf antique Turk. mor. sup. ext. 12mo..2.25
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Cowper's Complete Poetical Works: Illustrated with Fifteen beautiful Steel Engravings, after Designs by John Gilbert. Crown 8vo.
Cloth $3.00 Calf antique, extra $5.50 Cloth extra, gilt edges 3.50 A cheap edition, with Half calf, antique 4.50 frontispiece, 12mo. cloth. 1.00 1.50 Turk, moroc. sup. extra.. ..5. 50 Cloth extra, gilt edges 2.12 Turk, moroc. ant. extra. ...5. 50 Half calf antique Turkey morocco, super extral2mo 2.75
Cowper's Task, and other Poems: With Ten Steel Engravings.
A
Extra cloth, gilt edges. ...$2.00 Half calf, antique 3.00 Turkey morocco, extra 3.50
cheap edition, with frontispiece, 12mo, cloth. ..75
Cloth extra, gilt edges 1.12 Turk, moroc. ant. extra ...5.00 Half calf, antique 1.62 Turkey morocco, super extra 2.25
Cowper^s Tahle-talk and other Poems 12mo, (just ready.) Cloth Cloth extra, gilt edges
75 $1.12
I
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Half calf, antique $1.62 Turk, moroc. sup. extra. ..2. 25
Female Poets of America By Rufus W. Griswold. A new edition.
In one volume.
Illus-
trated, 8vo.
Cloth extra Cloth extra, gilt edges Half calf, antique
$2.50 3.00 4.00
Turk, moroc. sup. extra.. $5. 00 Turk, moroc. ant. extra... .5.00 Calf antique, extra 5.00
Female Poets of Great Britain: With Copious Selections and Critical Remarks. By Frederic Rowton. In one volume, 8vo. With illustrations. Cloth $2.50 3.00 Cloth extra, gilt edges Half calf, antique 4.00 Turk, moroc. sup. extra. ..5. 00 Turk, moroc. ant. extra. ..5.00
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Gray
—Poetical Works of Thomas Gray
With Illustrations by C. W. Radclyffe. Edited with a Memoir, by Henry Reed, Professor of English Literature in the University of Pennsylvania. Cloth, gilt edges
In one volume, 8vo.
Without illustrations, 12mo, cloth Cloth, gilt edge Half calf, antique Turk. sup. extra
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4.50 Half calf, antique Turk, moroc. sup. extra. ..5. 50 Turk, moroc. ant. extra. ...5.50 Calf antique extra $5.50
75 1.12 1.62 2.25
Lady of the Lake. By Sir Walter Scott. Illustrated with Plates, by John Gilbert.
In one volume, royal 8vo.
New edition.
A new, cheap edition, with
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frontispiece, 12mo,cloth..,75 1.12 Cloth extra, gilt edges Half calf, antique 1.62 Turk, moroc. sup. extro...2.25
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Lalla Rookh. By Thomas Moore.
Illustrated by 13 Plates, from Designs by Corbould, Meadows, and Stephanoff. 1 vol. royal 8vo.
Cloth, extra, gilt edges... $5. 00
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Longfellow
Half calf, antique ...1.62 Turk, moroc. sup. extra. ..2. 25
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— The Poetical Works of Henry
Wadsworth Longfellow Illustrated by Plates, after Designs by D. Huntington, with a Portrait. Ninth edition. In one volume, royal 8vo. Cloth, extra gilt edges. ..$5. 00
Half calf, antique
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Poets and Poetry of England in the Nineteenth Century.
By Rffus W. Griswold. 8vo. New edition. Cloth, gilt Cloth, extra, gilt edges
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Illustrated.
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In one volume, royal
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HENRY CAREY BAIRD'S PUBLICATIONS. Poets and Poetry of the Ancients. By William Peter, A.M.
Comprising Translations and SpeciWith Engravings.
mens of the Poets of. Greece and Home. Cloth extra Cloth extra, gilt edge Half calf, antique
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Cloth, extra, gilt edges... $5.00
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a Poem.
By William Gilmore Simms.
12mo
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— Vathek, an Arabian
Bechford
By Wm. Beckford.
Tale.
12mo, cloth
75 cts.
Cloth extra, gilt edges
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Bolingbroke 's [Lord) Works. Complete in four volumes, 8vo. cloth extra
Brougham (Lord)
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—Lives of Men of
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and Science, Two volumes, 12mo, cloth
$2.00
Byron s Life, Letters, and Journals. By Moore. Complete in two volumes, half morocco...., .$3.00 }
Children in the Wood. Illustrated, 12mo, cloth, gilt edge 2*
,.
v
50 cis.
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HENRY CAREY BAIRD'S PUBLICATIONS.
Comic Blackstone. By Gilbert Abbot A'Becket. One volume, 12mo, cloth.. 75 cts.
Corinne, or Italy. By Madame de Stael, 12mo, cloth
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