pRflMKLIN IMSTITUTE LiDRflRT
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Article V.— The Library shall be divided into two classes ; the first comprising such works as, from their rarity or value,, should not be lent out, all unbound periodicals, arid such textbooks as ought to be found in a library of reference except when required by Committees of the Institute, or by members or holders of second class stock, who have obtained the sanction of the Committee. The second class shall include those books intended for circulation.
Article YI.— The Secretary shall have authority to loan to Members and to holders of second class stock, any work belonging to the sf.cond CLASS, subject to the following regulations :
Section 7. —No individual shall be permitted to have more than two books out at one time, without a written permission, signed by at least two members of the Library Committe : nor shall a book be kept out more than Twa weeks 5 but if no one has applied for it, the former bor- rower may renew the loan. Should any person have applied for it, the latter shall have the preference. •
Section 2.— A fine of ten cents per week shall be exacted for the detention of a book beyond the limited time ; and if a book be not re turned within three months it shall be deemed lost, and the borrower shall, in addition to his fines, forfeit its value.
Section 5.— Should any book be returned injured, the borrower shall pay for the injury, or replace the book, as the Library Committee may direct ; and if one or nwe books, belonging to a set or sets, be lost, the borrower shall replace them or make fall restitution.
Article VIL— Any person removing from the Hall, without permis- sion from the proper authorities, any book, newspaper or other property in charge of the Library Cotnmittee, shall be reported to the Committee, who may inflict any fine not exceeding twenty-five dollars.
Article VIIL— No member or holder t)f second class stock, whose annual contribution for the current year shall be unpaid or who is in arrears for fines, shall be entitled to the privileges of the Library or Reading Room.
AiiTKM.E IX.— If any member or holder of second class stock, shall refuse or neglect to comply with the foregoing rules, it shall be the duty of the Secretary to report him to the Committee on the Library.
Article X.— Any Member or holder of second class stock, detected in mutilating the newspapers, pamphlets or books belonging to the Insti- tute shall l)e deprived of his right of membership, and the name of the offender shall be made public.
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https://archive.org/details/manualofartofbooOOnich_0
ART OF BOOOII^bM:
CONTAINING
FULL INSTRUCTIONS IN THE DIFFERENT BRANCHES OF FORWARDING, GILDING, AND FINISHING.
ALSO,
Jtrt flf garbling §0oli-^ligcs nn^r |;t|tr.
THE WHOLE DESIGNED FOR
THE PRACTICAL WORKMAN, THE AMATEUR, AND THE BOOK-COLLECTOR.
BY
JAMES B. NICHOLSON.
^"f^ PHILADELPHIA :
HENRY CAREY BAIRD & CO., INDUSTRIAL PUBLISHERS, BOOKSELLERS AND IMPORTERS,
810 Walnut Street. 1878.
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.
PREFACE.
The progress of the Art of Bookbinding has made nearly all the works written upon the subject obsolete; their descriptions no longer apply to the methods practised by the best workmen. Throughout this work, the opinions and remarks of other writers have 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 de- sires to emulate the skill of the best artists.
The plan of the work is taken from ^^Arnett's Bibliopegia and every thing given in that work that has any approach to utility will be found in these pages. It was at first intended merely to revise that production; but during the progress of re- vision so much was rejected that it was
1^ 5
6
PREFACE.
deemed better to pass under notice at the same time the labours of others. ^'^Cun- dall's Ornamental Art" has furnished the early incidents in the " Sketch of the Pro- gress of the Art of Bookbinding;" and, as the best authority upon the subject, '^^ Wool- nough's Art of Marbling" has been adapted to this country. Mr. Leigh ton's Sugges- tions in Design" has been laid under contri- bution in order to enrich the subject of Ornamental Art. The London Friendly Finishers' Circulars" have been a valuable acquisition to the writer, and it is trusted will make this work equally so to the young finisher. Cowie's Bookbinders' Manual." ^^Arnett's School of Design," ^^Gibb's Hand- book of Ornament," and Scott's Essay on Ornamental Art," in addition to those ac- knowledged in the body of the work, have supplied some valuable hints.
It is hoped that this volume w^ill prove useful to those forming libraries, by impart- ing correct information upon subjects that to the book-collector are important, and that its tendencies will be to increase and strengthen a love for the art. J. B. N.
Philadelphia, 1856.
CONTENTS-
INTRODUCTION.
PAGE
Sketch of the Progress of Bookbinding 9
PART I.
Sheet-Work , 34
PART II,
Forwarding 59
The Edges 74
Marbling 82
Gilding the Edges 130
Covering 141
Half-Binding 149
Blank Binding 151
Boarding 169
Cloth-Work 170
7
8 CONTENTS.
PART III.
PASB
Ornamental Art 178
Finishing :
Taste and Design 186
Styles 198
Gilding 215
IllumiLiated 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 two thousand years. In past ages, books were 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 orna- mented. These scrolls were usually attached to one, or, occasionally, two rollers of wood or ivory, or sometimes of gold, much as our large maps are now mounted, and the bosses at the end of the rollers were frequently highly decorated. This 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 statue, at length found 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, as books in those days were all in manuscript, 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 Romans car- ried the Art of Binding to considerable perfection. Some of the public offices had books called Dyp- tichs,'^ 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 vrritten 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
of one of these in carved ^o^d is thus described : — '^Seated in the centre of ^(^1^, board a consul, holding in one hand a baton, atkd in the other, up- raised, a purse, as if in the act of throwing it to some victor in the games. Above these are minia- ture portraits, various other ornaments, and an in- scription ; 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 ; and there is 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. And the names dyptic or triptic, which implied at first but a double or triple page, came with time to designate those folding altar- pieces so frequently found in the earliest Christian churches.^' — Lady Calcotfs Essay,
12
INTRODUCTION.
An old writer says, that about the time of the Chris- tian 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 WTote 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. One of these ancient relics is thus described by the librarian of 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 now by length of time become very loose. Tho' I have seen a vast num-
INTRODUCTION.
13
ber of old books and oftentimes examined tlieir 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- ordinary value, as this is. 'Tw^as usual to cut Let- ters in the Covers, and such letters w^ere the better preserved by having them placed in some hollow part, which might easily be made if the boards were pretty thick. I suppose, therefore, that even the copies of G-regory's 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 is made hollow, and there is a rude sort of figure upon a brass plate that is fastened within the hollow part, which figure I take to have been designed for the Virgin Mary\ to w^hom the Abbey was dedicated. Over it there was once fastened another much larger plate, as is plain from the Nails that fixed it and from some other small indications now ex- tant,— and this 'tis likely was of silver, and perhaps there was an anathema against the Person that should presume to alienate it, engraved upon it —
together with the Name of the Person (who it may
2
14
INTRODUCTION.
bo was Roger Poure) that was the Donor of the Book. This will make it to have been nothing else but an j^]stal, such a one (tho' not so valuable) as was fastened upon Ciregory'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, w^ith bosses, clasps, and corners of solid gold ; white vel- lum stamped in gold and blind tooling ; and mo- rocco and calf covers inlaid with various colours and adorned in every conceivable way. This was at the end of the fourteenth and in the fifteenth and sixteenth centuries, when the love of Art was universal, in the land where Michael Angelo, and Raffaelle, 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, Oxford, 1769.
INTRODUCTION.
15
died at Buda about the year 1490. This library consisted of about thirty thousand volumes, mostly manuscripts of the Greek and Latin poets and his- torians, and was contained in large vaulted galleries, in which, among other works of art, were two foun- tains, one of marble and the other of silver. The binding of the books were mostly of brocade, pro- tected with bosses and clasps of gold and silver; and these, alas ! 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. These are mostly stamped with gold or blind tools. 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, the emblems of the evangelists, and small ornaments of grotesque ani- mals. There are in the British Museum and in the Record Office many English bindings w^hich un- doubtedly w^ere 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 went to Paris and there commenced it. He had not, however, proceeded far, 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, suppos- ing each edition to consist of the same number of copies as the first, would amount to 17,500 folio volumes. The binding, therefore, of so great a number of this book would alone give some import- ance to the Art of Bookbinding at that period. We
INTRODUCTION.
know that Henry VIII. had many splendid volumes bound in velvet with gold bosses and ornaments. In his reign the stamping of tools in gold appears to have been first introduced in England ; and some beautiful rolls, probably from Holbein's designs, wxre used as well on the sides as on the gilded edges 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*
Ih INTRODUCTION.
for All Grolier's books were bound in smooth morocco or calf, the pattern being formed of inter- sected line-work, finished by hand with a fine one- line fillet and gouges to correspond, with the occasional introduction of a conventional flower. Sometimes also the patterns were inlaid with mo- rocco of different colours ; and it is our opinion that no style of book-ornamentation has been since in- troduced that is worthy of entirely superseding the Grolier, a specimen of which will be given when treating on style. Very many of the Chevalier's volumes have the Latin inscription " Johanni Gro- lierii 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 men- tioned Padeloup, Derome, and De Seuil. Pope
INTRODUCTION.
19
celebrates De Seuil in one of his poems. Derome's plain morocco bindings 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 unfor- tunately 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 orna- ment. 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 nume- rous ; 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 at this period. Who the distinguished parties at Oxford were has not been recorded; but a person of the name of Dawson, then living at Cambridge, has the reputation of being a clever artist, and may be 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 tAvo other Binders, named Kalthoeber and Staggemier; bat to Mackinlay may, perhaps, be attributed the
INTRODUCTION.
n
first impulse given to the improvements which have been introduced into bindings. He was one of the largest 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 they received were of a high character. The spe- 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 Roger 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 perfec- tion. 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 Roger Payne is one among the many of the ability of a man being ren- dered nearly useless by the dissoluteness of his
22
INTRODUCTION.
habits. He stands an example to the young, of mere talent, unattended with perseverance and industry, never leading to distinction, — of great ability, clouded by intemperance and consequent indiscretion, causing the world only to regret how much may have been lost that might have been developed had the individual's course been different and his excellences directed so as to have produced the best results.
Roger Payne was a native of Windsor Forest, and first became initiated in the rudiments of the art he 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 Leices- ter Square, about the year 1769-70, and the encouragement he received from his patron, and many wealthy possessors of libraries, was such that the happiest results and a long career of prosperity might have been anticipated. His talents as an artist, particularly in the finishing department, weru
INTRODUCTION.
23
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 selection of such orna- ment as was applicable to the nature of the,=\^or£^^ it was to embellish. Many of these he made^ hri^ , self of iron, and some are yet preserved as curiosi:^■\ ties and specimens of the skill of the man. To^ this'^^ tV\ occupation he may have been at times driven frq^n ^< lack of money to procure them from the tot)!-;' / cutters ; but it cannot be set down as being gene- rally so, for, in the formation of the designs in which he so much excelled, it is but reasonable to suppose, arguing upon the practice of some others in later times, he found it readier and more 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. He had full employment from the noble and wealthy, and the estimation his bindings are still held in is a sufficient proof of the satisfaction he gave his em- ployers. His best work is in Earl Spencer's library.
24
INTRODUCTION.
His reputation as an artist of the greatest merit was obscured, and eventually nearly lost, by his intemperate habits. 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 disso- lute 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.
INTRODUCTION.
25
" 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 stoixJ^
The following bill is, like himself, a curiosity : —
Vanerii Praedium Rusticum. 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 1
Joints inside. Their was a few leaves stained : 0 : 6
The subject of the Book being Rusticum, I have ventured to putt The Vine Wreath on it. I hope I have not bound it in too rich a manner for the Book. It takes up a great deal of time to do these Vine Wreaths. I guess within Time I am certain of measuring and working the different 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 I wished 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 0:18:0''
at the foredge, which is washed and cleaned...
3
26
INTRODUCTION.
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. He afterward worked under the roof of Mr. Mackinlay, but his later efforts showed that he had lost much of that ability he had been so largely endowed with. Pressed down with poverty and 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 Bibhographer's Decameron/' has thus recorded his opinion : — -
The great merit of Roger Payne lay in his taste — in his choice of ornaments, and especially in the working of them. It is impossible to excel him in these two particulars. His favourite colour was that of olive^ which he called Venetian, In his lining, joints, and inside ornaments, our hero
INTRODUCTION.
27
generally, and sometimes melancliolily, failed. He was fond of what he called purple paper, the colour of which was as violent as its texture was coarse. It was liable also to change and become spotty, and as a harmonizing colour with olive it was odiously discordant. The joints of his books were generally disjointed^ uneven, carelessly tooled, and having a very unfinished appearance. His backs are boasted of for their firmness. His work excel- lently forwarded — every sheet fairly 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 suc- cessful, so far as he was personally concerned, it had the effect of benefiting the whole race of Eng- lish 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 metro- polis. 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.
Mr. Mackenzie deserves to be mentioned with respect among modern binders. Charles Lewis, so highly eulogized by Mr. Dibdin, attained great celebrity, and his bindings are much prized. His style of ornament was very neat, the panels of the backs generally double-mitred, and the sides finished in a corresponding manner. Mr. Clarke deserves especial commendation ; for tree-marbled calf he stands unrivalled, although Mr. Riviere has executed some beautiful specimens. Mr. Bedford also enjoys considerable reputation ; 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, Avhile the finishing is rich and massive without being gaudy. A book in the library of J. W. King Eyton, Esq., bound by Hayday, is thus described : —
" The work is a large paper copy of the late Mr. Blakeway's ' Sheriffs of Shropshire,' in imperial folio, with the armorial bearings beautifully coloured.
INTRODUCTION.
29
The binding is of blood-coloured morocco, extend- ing an inch and a half all round the inside of the cover, on which is placed a bold but open border tooled in gold, forming a fine relief to the rest of the inside, which is in purple, elegantly worked all over in hexagons running into each other in the Venetian style. In each compartment is placed the lion rampant and fleur-de-lis alternately. The fly- leaves are of vellum, ornamented with two narrow gold lines, and the edges are tooled. The back consists of hexagons, inlaid with purple, containing the lion and fleur-de-lis 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 Sheriff's, seventy in number, the quarterings of which, with their frets, bends, &c., are curiously inlaid in difi'erent 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^
30
INTRODUCTION.
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 w^orked. They were generally bound in red morocco, with morocco joints, lined with purple silk, upon which the imperial bee was stamped repeatedly. Thouvenin enjoys the honom of rescuing the art from its long-continued degrada- tion in France, and of founding a school whose dis- ciples 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 ; but at his death he left nothing behind him but his reputation as an artist, to stimulate others to attain excellence in workmanship and a cultivated taste in ornament and design. Among the most celebrated binders of
INTRODUCTION.
31
the present day in France are, Trautz et Bauzonnet, Niedre, Duru, Cape and Lortic. The books of these artists are distinguished for solidity, square- ness, 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 ma- terial employed is of the choicest kind, — soft, rich 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 destroy- ing 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, and even the joints are of Levant morocco. There are many specimens of binding executed in France for gentlemen of taste and lovers of the art in this country ; and, in speak- ing of the productions of French artists, it is to these that we refer. 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 brethren. Niedre possesses fine taste ; his styles of finishing are varied and graceful in design, and the execution admirable. The reputation of Trautz et Bauzonnet has been established principally by the senior partner, Bauzonnet, Trautz being his son- in-law, and whose name has recently been placed at 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, or to a broad border, composed of fine tools ; 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 but little understood ; for, when it is know^n that what is generally es- teemed an excellence is often but an indication of weakness, — that, in order to make the book throw out and lie open flat, the substance by which the sheets are secured together is a single strip of paper, — and that, where the band upon which the book is sewn can be plainly seen upon the opening of the volume, there is a strain upon it, the result of which must be its breakage, if in constant use, (a 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 com- paring the merits of artists of ancient and modern times, it is to the moderns that we assign the palm . of superiority, especially for perfection of detail in the ornamentation.
MANUAL
OF THE
ART OF BOOKBINDING.
PART I. SHEET WORK.
As the gathering of the sheets of a book, after they have been printevi and dried off, is nearly always performed at the printer's, it will not be necessary to enter into any details on that subject, but to consider, as the commencement of binding, the operation of
FOLDING,
which is of great importance, the beauty of a book
depending on its being properly and correctly
folded, so that, when it is cut, the margin of the
different pages may be uniform throughout, and
present no transpositions, to the inconvenience of
the reader and deterioration of the work.
The various sizes of books are denominated
35
86
MA^JUAL OF THE
according to the number of leaves in which the sheet is folded ; as folio, quarto, octavo, 12mo, 16mo, 18mo, 24mo, 32mo, &c. Each form pre- sents a certain number of pages, so disposed that, when the sheet is properly folded, they will follow the numeric order. In commencing the folding of any work, particular attention should be paid, in opening out the quires or sets, to observe that the signatures follow each other alphabetically, and, if consisting of two or more volumes, that the whole of the sheets belong to the right one.
Although each form is folded in a different man- ner, 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 left hand of the workman, will present pages 2, 15, 14, 3, below, and above, wdth their heads reversed, pages 7, 10, 11, 6, (reading from left to right.) The sheet is then taken with the left hand, by the angle to the right, and creased with the folder in the right hand, in the direction of the points made in the printing.
ART OF BOOKBIi^PiNd.:/- 37
taking care, by shading to th^Uigkt, thai the figures of the pages fall exactly oi^"^"- on ^he Othtr, which will be 3 upon 2, and 6 upojll-S^, anH thereby pre- senting uppermost pages 4 and a68 ajbove 5 and 12. The top part of the sheet is then brought down, with the left hand, upon the lower, pages 5 and 12 falling upon 4 and 13, directed properly, and again folded. The sheet then presents pages 8 and 9, which are then folded evenly, 9 upon 8, forming the third fold and finishing the sheet.
Twelvemo, — The signature to this size, when placed before the w^orkman, 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; 8, 6, 10. On the right, pages 11, 14, 15, 10, are separated from the others by a larger space, in the middle of which are the points, indicating the proper place where the pages should be cut off. The folder detaches this part, and, placing page 11 upon 10, makes a fold, and 13 upon 12, which will be uppermost, finishes the folding of what is called the inset, and which bears the signature of the sheet it has been separated from, with the addition of a figure or asterisk, as A 5 or A*. The remain- ing eight pages are folded in the same way as the octavo, and when done the inset is placed in the
88
MANUAL OF THE
middle of it, taking care that the head-lines arrange properly.
Books are sometimes printed in what is called half sheets, but they are folded the same, after cutting them up ; the octavo in the direction of the points, the twelvemo in oblong direction of the paper, and laying them apart from each other. There are also oblong octavos, which are folded in the middle in a line with the points, the second fold in the same direction between the heads of the pages, and the third on the length of the paper.
In the first fold of the octavo sheet is shown the manner of folding the folio, and in the second the 'quarto ; the twelvemo also presents us with the 3ighteens, 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 dis- position of the pages and signatures being only required.
It will often be found necessary to refold a book which, previous to being bound, may have been done up in boards, sewed, or otherwise. This should in all cases be carefully attended to, after the book has been taken to pieces, the back divested of the glue and thread, and the corners or other parts which may have been doubled turned up.
ART OF BOOKBINDING.
39
This is usually done by examining if the margin at the 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 general margin. By these means a uniformity will 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 sheet or title is placed upon the top of the rest. 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 man- ner. They are then
COLLATED,
to see that the whole of the sheets belong to the same work and volume, as also that none are want- ing. 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
40
MANUAL OF THE
letting them fall successively one after the other. The signatures will be thus seen in alphabetical or arithmetical order, as A, B, c, &c.. or 1, 2, 3, 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, by raising the sheets singly from the table; but this practice should be resorted to as little as possible, as the work is liable to be damaged. If any sheet is wanting, or belongs to another volume, or is a dupli- cate, the further progress of the work must be sus- pended till the imperfection is procured or ex- changed. Those that have 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, w^ill 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 first great requisite of good binding, — 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 of it into as many equal parts, which are called sections or beatings, as may be judged necessary ac- 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. In beating those
4^
42
MANUAL OF THE
books with which, from their value, greater care is required, it is usual to place a guard or waste leaf of paper on each side of the section, to avoid any stains or marks which the stone or hammer might be liable to make.
It requires more skill than actual strength in beating, the weight of the hammer being nearly sufficient for many works. Attention must be paid to the hammer descending parallel 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 w^ould 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 or 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 dry the ink and raake it search into the paper ; but, as these means are not without danger of getting the paper blackened or soiled, it is a better plan to interleave the sheets with white paper, which will receive all the ink set off. Should the sheets have been hotpressed, which is readily distinguished, this precaution will not be necessary.
When employed at the beating-stone, the work- man 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 substi- tute 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 set- off, or transfer of the printing-ink, upon the opposite
44
MANUAL OF THE
page, by the friction which is produced by passing between the rollers, and the bow-like appearance which they give the book, and which is to the forwarder a serious cause of annoyance, and some- times all his skill and care are insuflScient to remedy the evil caused by the rollers.
A powerful embossing press, technically called a smasher, has lately been employed with great ad- vantage. A book is placed between tins, the platen is adjusted to a proper height, and the large fly- wheels set in motion. The platen descends in a 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. The ope- ration is repeated until the book has experienced the whole power of the press. It has been calcu- lated that 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 it is, in some respects, preferable tc beating, as the book is of the same thickness in every pai't, 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. For publishers' work it has been found to answer the purpose for which it is employed, as the press can be filled up by 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 press, causes the cylinder to which the bed is fixed to rise and compress the books or paper tightly between the bed and head of the press. When it is forced as high as can be by means of the pump-handle seen, a larger bar is attached and worked by two men. The extraordinary power
HYDRAULIC PRESS, FROM THE MANUFACTORY OF ISAAC ADAMS & CO., BOSTON.
ART OF BOOKBINDING.
t7
of this press is so great as to cause, particularly in common work, a saving of more than three- fourths of the time required in bringing books to a proper solidity by the common press. When it is wished to withdraw the books, the small cock at the end of the tube at the foot of the press is turned, the water flows into the 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, diff*ering 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 now be placed among the text. Great care must be taken to make the justification of the plates uniform with the text, by cutting off any superfluity at the head or back, and by placing them exactly facing the pages to which they refer, pasting the edge next to the back. Any that may be short at the head must be brought down, to 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 is longer in drying than that of letter-press. When a work contains a great
48
MANUAL OF THE
number of plates, which are directed to be placed at the end, they are sewn on the bands by over- casting, Avhich operation will shortly be treated of in full.
The book, being now ready for pressing, is taken in sections, according to the Avork and the judg- ment of the workman, and placed between pressing- boards the size of the volume, one on the other, and conveyed to the standing -pi^ ess ^ which is pulled down as tight as possible by the press-pin^ or fly- wheel, according to the nature of the standing- press ; although it 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 sew^n appeai^- ing on the back. After beating the book up well
ART OF BOOKBINDING.
49
on the back and head, it is placed between two cutting -hoards^ 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 cliain 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
50
MANUAL OF THE
|
ffi L \ |
||
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 sew- ing 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. A volume consisting of thick sheets, or a sheet con- taining a plate or map, should be sewn singly the w^hole 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.
51
of the book. The thread, in order to keep the book of the same thickness at the ends and centre, should be drawn parallel with the bench, and not dDwnwards, 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
52
MANUAL OF THE
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 first from thence to the other kettle-stitch. 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, where, from the decayed state of the back, it is necessary to cut off a portion with the plough in the manner pointed out for cutting edges, the whole must be attached to the bands by what is called whipping or
ART OF BOOKBINDINa.
63
overcasting. This is by taking a section, according to the thickness of the paper, and forcing the needle through the whole at the kettle-stitch, and on each side of all the bands, at a distance suflScient to secure the stitches from tearing, bringing the thread round each band, as before directed, and fastening it at the end before proceeding with another course. To keep the whole of the sheets properly even, the back is sometimes glued im- mediately after cutting, and when dry divided into sections. Atlases and books of prints, when folded in the middle, will require a guard, or slip of paper, to be pasted to them, so as to allow them to open fiat, which they could not do if attached to the back, and which would destroy the engraving. These guards must be of strong paper about an inch in breadth and folded to the 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 ; then let it be sawn out in the usual manner; it should then be taken and whipped, or overcast in separate
sections with fine thread, care being taken in
5^
54
MANUAL OF THE
whipping the sections that it be evenly and neatly done. After the sections are all whipped, they should be sewn or affixed to the bands in the same manner as folded sheets.
The old mode of sewing on raised bands com- bines many advantages. This style is still adopted with many works, particularly with those having a small margin ; in fact, it is, both for elasticity and durability, far superior to any mode that is practised; it is, however, a very slow pro- cess, and necessarily an expensive one ; and many binders who pretend to 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 it is intended to sew a book purely flexible, it should be knocked up even and square, placed between two pieces of paste- board, and placed in a laying-press; then draw a line across the back, near the head, where it will be cut by the forwarder in cutting the edges. Next take a pair of compasses and divide the back lengthwise into six even portions, except the bottom or tail, which should be longer than the rest, in order to preserve a proper 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 w^ill be cut, for the kettle-stitcji>«4, the head and likewise at the tail. Upon takihg'the^^ book out of the laying-press, take the pastebt^ar^ and saw them at the points marked by thieOlead^J-^ pencil of a depth sufficient to allow the cords upon' ^ which the book is to be sewn to enter. The boaMs '"^^ ^/ will 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 be inadvertently taking place. After the sewing-press is properly regulated and the end- paper sewn as previously described, the sheets should then be taken, one at a time, in their regular order, and sewn all 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 sewing each sheet, after the first kettle-stitch 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
56
MANUAL OF THE
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 band or the thread. The inner margin is thus preserved its full size, 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 it so that it will adhere. The strips of linen must be sufiiciently 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 Par^s, in a Memoir presented by him to the " Societe d'E^i- couragement^'' January 18, 1818, that in order to give to books the three essential qualities of bind- ing, elasticity, solidity, and elegance, they should be sewn similar to the Dutch method, which is on slips of parchment, instead of packthread; but to remedy the inconvenience arising from one slip being insufficient to make the back of a proper solidity, as well as being liable to break, and, if doubled or trebled, presenting a bad effect on the back Avhen 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 silk, this being much stronger than 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.
58
MANUAL OF THE
INDIA-RUBBER BACKS.
In those instances where the leaves of a book are held together by caoutchouc cement instead of by sewing, the sheets are cut up into separate leaves, and every leaf made true and square at the edges. The back edge is then brought to a rounded form, by allowing the sheets to arrange themselves in a grooved recess or mould; and in that state the leaves are all moistened at the back edges with a cement of liquid caoutchouc or India-rubber. The quantity so applied is very small. In a few hours, it is sufficiently dry to take another coat of a some- what stronger caoutchouc solution. In forty-eight hours, four applications of the caoutchouc may be made and dried. The back and the adjoining part of the sides are next covered with the usual band or fillet 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.
FOKWAEDINa.
This branch of the art may be divided into several parts. We will give precedence to that branch or class of forwarding that requires the utmost precision and opens to the ambitious for- 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. The sheet is turned over, and the same process repeated to the first and second leaves of the end-papers, if the
GO
MANUAL OF THE
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 of the beauty of the joint depends upon 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. Paste this lightly over; then place the lining upon it, and rub it 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. The papers may then be lightly pressed, to make them perfectly smooth, and hung upon lines to dry. By this process there is no fear of the book being wrinkled by the
ART OF BOOKBINDING.
61
dampness from the lining-paper. 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 hj 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 end- papers, 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
62
MANUAL OF THE
the subsequent operations, depends much on the care and attention paid in this place. The volume is then laid carefully upon a board, with the back to the edge of the board, a strip of pasteboard is laid on the upper side, the book placed in the laying- press, and the back evenly glued. The glue should 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 length. It is then laid on a board to dry, but must not be placed before the fire, as, by so doing, the glue becomes hard and liable 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 ; the left hand should then be placed flat 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 with an upward motion from the centre of the back. The volume is then turned upon the other side, and tne operation is repeated until it is
ART OF BOOKBINDING. 63
evident that the book has acquired a sufficient round. The left hand is held to the back while the 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 is called a pig-back, — a horrible monstrosity in binding, having a sharp ridge in the centre of the back. If the round be not regular and even from the centre to the edges, as well as from head to tail, and entirely free from twist, 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 boa-rd ; then, turning the volume, the other is placed in a
64
MANUAL OF THE
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 press- pin as tight as possible. The backing-hammer is then taken in the right hand and employed in turn- ing the sheets from the centre over the backing- boards, to form the necessary groove. For this purpose the first blows should commence near the centre of the volume, and should be as light as pos- sible, 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. This should be proceeded with lengthwise of the volume, each series of blows growing gradually nearer to the edge or backing- board, and, as they approach, becoming more firm, until the sheets are turned over the backinfy-board, so as to form a regular and solid groove. The pro- cess is 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 inevi- tably 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 more to the general appearance of the volume. If well done, it gives a character and a tone to all the subsequent operations ; if done badly, no care or skill that may be afterwards em- ployed can hide it. It remains an enduring mark of a careless or inefficient workman. The volume is 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 book, with the table or patent-shears. One side of 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. Place them in the stand- ing-press, 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
66
MANUAL OF THE
manner as the single board. Boards made in this 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 ; the fr^nt cutting-board is placed at the compass-holes, and again put in press, with the front cutting-board or
ART OF BOOKBlA^DiNG.
67
runner level with the cheek of the press, the back- board being a little higher, so as to allow the plough- knife 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 workman cuts towards him. The boards are then taken out of press, and the square applied to the head, and marked with the point of a bodkin ; this is cut off in the same manner. The volume is then opened 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 off with the plough. In taking the size, let 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. Among the early binders, De Rome is noted for his merciless cropping. 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
68
MANUAL OF THE
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 w^ay near to the first. The bands, having been pasted and passed in above, are returned through the other hole, and, being pulled tight, the boards will necessarily be perpendicular to the back, and confined in the groove. After cutting off the end of the strings near to the lace-holes, they must be beaten well and evenly into the board by placing the under part on an iron (called the Icnoching-doivn 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 con- tinued hole, will not be seen underneath. The liability, however, of its tearing out is an objection, and from this cause the common way, with care in beating down, is preferable.
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 tin full up to the joint. 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 standing- press is well adapted for the purpose, and is in very general use. After the press has been screvred 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 boar Is must be disengaged from the end-papers, where th ;y
70
MANUAL OF THE
adhere, so that they may move freely up and down in the cutting.
CUTTINa THE EDGES.
The manner of preparing the volume for cutting is very important, as swerving from right angles in cutting the head and tail Avill present a disagreeable appearance. Every precaution must be taken to insure the volume being cut perfectly square. The front-board is 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 tow^ards 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, — viz. : as the arms are removed from the body. 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 it is fastened to the plough. If there should be none required to bring the knife even with the plough, then a piece must be placed on whichever side of the holt the defect may require. The head being cut, the same operation is repeated for the tail.
Much precaution is necessary in cutting the fore- edge. Mark the book with a bodkin on the project- ing part of the end-papers, and on each side, at the head and foot, close to the square side of the boards,
72
MANUAL OF THE
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 the leaves returning after the back is made flat, to form the gutter on the fore-edge. This done, beat the back flat on the press, and place one of the cut- ting-boards at the end of the book, even with the line before made : turn it, and place the runner as much below the line on the title-side as has been allowed for the square on the fore-edge. Taking the whole in the left hand, the volume must be 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 care to keep the other board pro- jected above the left, equal to the square allowed in front, so that, when cut through, the fore-edge may be equally square with the boards on each side. After the fore-edge is cut, the string is taken off, the back resumes its circular form, and the edge in consequence presents a grooved appearance, which puzzles the uninitiated to ascertain how it is pro- duced. The method above described is called ^'cutting in boards," and is superior to any other.
ART OF BOOK^rJ^PI^^G; 73
It is of the utmost importan^e-to thtl y ciu-nJg work- man that he should pursue and iicqj;iire d^ m'othodical system in all his operations. Select 'th:§,^Wst method, as a matter of course, and then adhere to it. Do not, every time you perform one particular process, do it in a diiferent 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 tail, to have the back nearest you. In laying your work down, always do it in one 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 hand- ling 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 man- ner. 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 you to do it better, it is not good enough. Employ your reasoning faculties as well as your physical powers, so that you do not sink into a mere machine. When performing a pro- cess, ask yourself the question, ''Why is this done?
What is the object of it ? Can the process be im-
7
74
MANUAL OF THE
proved?" You will find the hand to be an apt 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
THE EDGES.
Colouring the edges 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 con- sistency for use. To procure a better edge, two drops of oil and about an equal quantity of vinegar and water may be mixed with the paste.
In colouring the edges equally over, the boards at the head of the volume must be beat even vfith 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 the other. For further security, and to prevent the 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 w^ork, 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, wuth the heads upwards ; then, with a large brush, simi- lar to a painter's, dipped in whatever colour may be wished, and well beat on the press-pin over the pot till the sprinkle becomes fine, the edges are covered. The pin and brush are held sufficiently above the book, and the edge sprinkled by beating
76
MANUAL OF THE
lightly at first, and stronger as the biush becomes less charged Avith 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, and afterwards harder as the brush loses the colour. The colour will descend like a fine mist, 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 workman as his taste may suggest.
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 generally-used substances. The liquid ones will re- quire a more lengthened description.
Blue. — Indigo and Prussian blue, with whiting for lighter shades.
Yellow. — Dutch pink, King's yellow, and yel- low orpine.
Brown. — Umber, burnt over the fire.
Red. — Vermilion ; or Oxford ochre, burnt in a pan.
Pink. — Rose-pink ; to make it brighter, add lake. Green. — The first and second mixed to any shade.
The liquid or spirit colours will be found best
for use, as the edges will not rub, which all other
colours are liable to do. Some of the receipts are
well known ; but, it being necessary to give a faith*
ful record of the art, the whole of the colours used
and modes of preparation will be presented.
*7
V8
MANUAL OF THE
BLUE.
Two ounces of the best indigo, finely powdered, mixed with a teaspoonful of spirit of salts and two ounces of best oil of vitriol. Put the whole into a bottle, and let it remain in boiling water for six or eight hours, and mix with Avater 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.
79
water till brought down to a pint. Strain and bottle. The red edges now in vogue are made with vermilion, mixed with vellum-size. The better class are scraped before they are coloured, and afterwards they are burnished.
PURPLE.
Logwood chips, in the proportion of half a pound to two ounces of alum, and a small piece of cop- peras, boiled 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 imme- diate use, but will not keep.
BROWN.
A quarter of a pound of logwood, and the same quantity of French berries, boiled together. If a darker shade is required, add a little copperas. Plain brown edges are made with burnt umber, in the same manner as that described for red edges.
With these colours, edges of books may be sprinkled to almost an infinite number of patterns. A few will be given ; for, though fancy sprinkles are seldom used where the binder can get the edges
80
MANUAL OF THE
of extra books marbled, they will be of use to those who would find marbling a work of too great pre- paration and expense for a small number of books in places where there is no marbler.
RICE MAKBLE.
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 with a brush throw some upon the edge of the book ; when it is set, colour the edge with a sponge. Take the book and give it two or three smart knocks on the end of the press, when the wax will fly off and a beautiful white spot remain. This pattern may be much varied by using two or three colours or sprinkling the edge before the wax is thrown on, and, after it is, again with other colours.
Whiting mixed with water to a thick consistency
ART OF BOOKBINDING. 81
will nearly answer the same purpose, and is less expensive than wax.
FANCY MARBLE.
Take a small portion of rose-pink, green, or any other vegetable colour, and well bray it on the slab with the muller, till reduced to a fine powder. Prepare a dish, or other vessel, large enough to admit the fore-edge of the book, and filled with clear water; then with the palette-hnife 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. The spirit of wine will cause it to spread in a diversity of pleasing forms, when the edge of the book must be dipped in the same 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 eff*ect may be given by sprinkling with a gold liquid, made in the following manner: — Take a book of
82
MANUAL OF THE
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 honey is all extracted and nothing left 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 gum- water, to the gold, and bottle it, always shaking it well before using. When dry, burnish the edge, and cover it with paper till the work is finished.
MAKBLING.
Marbling is an art which consists in the produc- tion of certain patterns and effects by means of colours so prepared as to float upon a preparation of mucilaginous liquid, possessing certain antago- nistic properties to the colours prepared for the purpose, and which colours, w^hen so prepared, floated and formed into patterns upon the surface of the liquid, are taken off by laying thereon a piece or sheet of paper or dipping therein the smoothly-cut edges of a book.
It is a process which it is not very easy to de- scribe ; and yet, to any one beholding it for the first time, nothing appears more simple or easy
ART OF BOOKBINDING.
83
of execution. Yet the difficulties are many ; and the longer any one practises it, the more he will become convinced that there are many more dis- coveries to be made before the art can be brought to any thing like perfection or effects produced with that certainty which the workman could desire. In short, it may be- said to be still in its infancy.
When the art was first discovered, and by whom, or in Avhat city or country it was first practised, it is hardly possible to determine. It is supposed that we cannot go farther back for its 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 taken off, it was carefully smoothed and sold to 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 made of pieces carefully joined together. Something of the
84
MANUAL OF THE
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.
describing one pattern, that will be 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, and ground by the marbler himself. A list is sub- joined : —
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.
86
MANUAL OF THE
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 expiensive, of all the reds, and is used only for book-edges and the most superior kinds of work. There are dif- ferent shades of this colour, viz. : — scarlet, crim- son, and purple. The scarlet is the most expen- sive, 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 be purchased will answer, take a piece of the colour, and, breaking it, apply the broken part to the tongue. 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 may be tried with better expectations. This colour is sold in the form of srnall cones or drops, from which it derives its name, and is a preparation of cochi- neal ; therefore the value of it depends much upon the price of that article.
VERMILION.
This colour is but little used, on account of its great specific gravity, and seldom without being combined with some other colour. It is a prepara- tion of mercury, and, though nominally at a much lower price than lake, yet so little 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 chalk 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
88
MANUAL OF THE
indigo or a little Chinese blue it makes a good purple.
BURNT OCHRE.
This colour is obtained in its native state from pits dug in the earth in the neighbourhood of Ox- ford; hence, it is called Oxford ochre, and some- times stone ochre. 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 price is low, is extensively used. With the addition 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. This colour is an exception to the rule, as it is sold in the pulp or damp state, and may be mixed and even used without grinding, being made almost ex- clusively for marbling. 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 colour. It is, howeverj an almost indispensable one to the marbler, as it will produce nearly every shade of blue by the addition of certain propor- tions of white. This colour requires to be par- ticularly w^ell ground, as indeed do all the blues. It is also sold at some places in the pulp or damp state. There are some very good damp blues made.
INDIGO.
This colour is a most valuable article, and cannot be dispensed with under any consideration. It is too well known to require describing. Though not a bright cfOlour, it is one of the most durable, and for mixing and producing greens and purples of a permanent kind is invaluable. Neither can a good black be made without it. 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 is always inclined to rub off. The
kmds now in general use are the French and Ger-
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MANUAL OF THE
man, tlie genuine article being far too high in price for this kind of work.
PRUSSIAN BLUE.
This colour has been of late almost entirely superseded by the Chinese blue, which is a much brighter colour, Prussian blue being darker and heavier looking, and 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 to a deep orange approaching to a red. It is a useful colour; but, unless you get it genuine, it is very difficult to get it to work properly.
RAW OCHRE,
Or Oxford ochre in its native state. This may be used in certain proportions for making olive
AKT OF BOOKBINDING.
tints combined with Dutch pink and blue or black. It is also of use in small quantities to mix with yellow when it is inclined to run off, this colour 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. It is 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 colour produces a very good brown, but it is not required if you have the burnt Oxford ochre, as, wdth 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 little used, except for the edges of account books.
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MANUAL OF THE
WHITE.
For this an article called China clay is use*! ; also, for some purposes, the common pipe-clay.
GUM.
Of all the varieties of gum, there is but one that is of any use to the marbler, and that is called gum-tragacanth or gum-dragon. Too much care cannot be exercised in the choice of this article, as much of the excellence of the work depends upon it. It should be large, white, and flaky. Occasionally there will be found some very good in small white flakes; but let that in dark brown lumps be rejected at once, no matter at what price it may be off'ered. If used at all, it would only do for the most common kind of work ; but there is, in reality, no saving in an inferior article, as one pound of a really good sort will go as far as two of a bad, and produce a far more satis- factory result. Good gum ought to dissolve in cold water ; it requires at least forty-eight hours soaking, 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 a rough one, which is inimical to the purpose. Again, some will give a smooth
ART OF BOOKBINDING.
93
surface, and yet possess no strength ; the colours will flow well upon it and form properly, and, when the paper is taken off, will look, at first, very beautiful, but upon looking at it five or ten minutes after it has been hung up, the colours will be found running off, causing indescribable an- noyance and mortification.
DIRECTIONS FOR PREPARING THE GUM.
Procure a large earthen pan, glazed on the inside, capable of containing from eight to twelve gallons of water. Put therein one pound of gum- tragacanth, and on it pour about two gallons of soft water. Stir it every few hours with a clean birch broom kept expressly for the purpose, breaking the lumps and adding more water as it thickens or absorbs that previously put in. In about forty- eight hours you may venture to use it ; but seventy- two hours would be better. Some gum is all the better for a longer period, as, although a con- siderable portion of the gum may be dissolved, yet the best properties of it are not extracted till the whole is dissolved. It must be strained through a fine hair sieve before using, and if any lumps remain, put them back into the pap until they are all dissolved.
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MANUAL OF THE
OF LINSEED.
It is possible to marble some patterns on mu- cilage of linseed, but it is a very objectionable vehicle to work upon, and can never be made to produce a satisfactory result. It is made either by boiling one quart of linseed in six or eight gallons of water, or by pouring the boiling water upon the linseed and stirring it until it extracts the mucilaginous properties of the seed ; but it very soon decomposes or turns to water
CARRAGEEN, OR IRISH MOSS.
This is an article used by some, and can be dispensed with altogether : it is not a necessary article. When used, it should be picked (the white being the best) and well washed ; then set it to simmer in a gentle heat for an hour or two, strain it through a fine hair sieve, and it will be ready for use ; but it will 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 known except to those who have occasion to use it. It is a small, brown, hard seed, in size, shape, and colour closely
ART OF BOOKBINMI^G.'^ - . 95
resembling the annoying little insect \f]^setriame it bears, and from which it may pb^i^bly-MeMfe its appellation. It produces a very strong &'d/'power- ful mucilage — far stronger than that which can be obtained from linseed ; and what enhances its value is that it will not so soon lose its strength or turn to water, but will keep several days. It is a great assistant, mixed with gum, in the making of French and Spanish marbles, but is a total 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 w^ater, stirring it as before, at intervals, for one hour ; after which let it remain, and the seed will settle at the 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 lose its viscid property, and must then be thrown away. The seed should never be stirred up after it has
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MANUAL OF THE
cooled, for It will settle without being again heated or having more boiling water added to it.
OX-GALL.
The surest w^ay of obtaining this article genuine is by procuring it in the bladder as it is taken from the animal, if you are acquainted with any butcher upon whom you can depend. The gall from some animals is very thick, but will, after keeping some time, get thin, without at all losing its properties ; in fact, gall is all the better for being kept, and is none the worse for a strong smell.
WATER.
Soft or rain water, when it can be procured, is the best adapted for all the preparations in marbling.
OF THE PREPARATIONS OR VEHICLES REQUIRED FOR 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. Beat them well up together till they are thoroughly mixed or incorporated with
ART OF BOOKBINDING
97
each other, strain it through a fine hair sieve into the trough, and it will be fit for use.
For Dutch, nonpareil, curls, antiques, and, in short, all patterns which require to be formed with any kind of instrument on the preparation in the trough, use nothing but the pure solution of the gum-tragacanth ; in fact, you may marble all the patterns on this alone, so that if there be any diffi- culty in procuring the other articles, and you can procure good gum, you may do any or all of the patterns upon it, 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 w^eight of gum to any certain quantity of water. Practice and your own judgment must determine this. Besides, if the gum be not sufficiently soaked or beaten up, it will not yield so much or so good size as it would were it in its right state. The following will give 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, it is a sign that it is too thin ; if, on the other hand, on
skimming there is a great resistance when the skim-
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98 MANUAL OF THE
mer is drawn along, and, upon sprinkling on the colours, they crack, and are a long Avhile 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 the colours are not finely or properly ground, it cannot be expected that the work will look w^elL When a large quantity is required, a colour-mill is the most advantageous method ; but if on a small scale, or for edges, the ordinary stone and muller will be best adapted for the purpose. Indeed, all colours required for edges ought to be most par- ticularly 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 oflF on the hand, and will make it burnish or glaze easily.
ART OF BOOKBINDING.
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DIRECTIONS FOR PREPARING THE WAX FOR GRINDING.
To attempt to grind beeswax in its native state would be a fruitless task, as it would stick to the stones and not unite with the other ingredients. To obviate this, prepare it in the following manner: Take of the very best beeswax two pounds, put it in an earthen pipkin, and w^ith 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 w^ax 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 will gradually 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 and 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.
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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 off on the right-hand side by a sloping partition, which 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. The whole should be perfectly level and true ; and, if the joints are stopped with white lead, be sure it is quite dry and hard, or it will entirely spoil the solution, and will fill 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 it up when required with the left hand. Fill the trough to about one-half or three-quarters of an inch from the top with the solution of gum-tragacanth and flea- seed, 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.
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MANUAL OF THE
The brown will require more gall, less water, and a few drops of the very best olive-oil, which will cause it to form itself into rings or shells as it falls on the solution in the trough. This colour will require to be thicker than the vein-colours, and, when thrown or sprinkled, should drive or force the other colours into the form of veins. By increasing the quantity of gall in the last colour, it will bring the veins to almost any degree of fine- ness ; but there is a point beyond which it is not advisable to go. If the brown does 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 alto- gether, 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 sur- face of the solution lightly all over, and imme- diately (for w^hen you begin it is necessary to move quickly till all the colours are on) sprinkle on the colours, beginning with the red, next yellow, thirdly, black ; 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
ART OF BOOKBINDING.
103
two opposite corners, and let the corner Ibetween 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 lies flat upon the liquid. If it is let down too quickly, or the paper gets rum- pled, so as to allow the air to get under it, white blotches will appear when it is taken out of the trough ; and if the paper be allowed to 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 same manner as it might hang across a line, 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 spots, and reproduces the No. 1 pattern, as it were, in miniature.
MANUAL OF THE
ISO. 3. — BRCTN FRENCH, WITH LIGHT SPOT. This pattern has but two vein-colours — the red and the black. These are mixed with the mixture of gall and water, as described for the veins of No. 1. It has also tvfo other colours. The brown is mixed in a similar manner to the brown for No. 1, but not quite so much gall and oil, to allow for the other colour flowing out upon it ; and the last, or light spot, is composed of raw or un- burnt Oxford ochre, and is mixed with gall, water, a few drops of olive-oil, and a portion of spirits of turpentine.
No. 4. — SMALL YELLOW SHELL. This is 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 oil in them, — the last of which, in this instance, is the purple. Being mixed with a little 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
ART OF BOOKBINDING.
105
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 execu- tion, it is nevertheless very difficult to keep in order, in consequence of the speedy evaporation and the chemical changes which are continually taking place among the ingredients with which it is mixed. It requires great quickness and acute ob- servation on the part of the workman.
There is but one vein-colour, (red,) and the ground or body-colour is blue. The same prepara- tion of gum and flea-seed is used for this as for the French marble. Mix the red for vein, as usual, with gall and water. The other colour must consist of good indigo alone, without which the proper effect cannot be produced The indigo 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 make it break full of little holes. The acme of this pattern is to make it look I'ke fine network. Sometimes it will happen
106
MANUAL OF THE
that at first mixing it will not work, but after standing a day or two it will work well, while at other times it 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 much, it will make the colour thick and clotted : in which case have recourse to a little of the solution of potash ; but it is 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, proceed by beating or knocking on the colours, — viz. : red, green, and black, as in small French, taking especial care to have the rings of the brushes free from any accumu- lation of colour, or they will cause large spots or
ART OF BOOKBINDING.
107
blotches, which will spoil the appearance of the work. One difference between this and the small French is that there is no oil used in any of the colours.
Another method is to use a mixture of weak gall and water instead of the Avhite colour, and which must be firmly knocked or beaten on, proportioned by the judgment of the marbler. This method 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 suflBciently strong to cover the whole surface of the solution on the trough ; after which, beat on the white, or gall and water, as before. The same size, or preparation of gum 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 is dark and dotted all over with small white spots ; the other, which is the last or top colour, is light, and is made by taking
108
MANUAL OF THE
a portion of the darker colour and mixing a quantity ot white with it, sufficient to bring it to the desired tint. Mix the colours for veins in the ordinary way, viz. : 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 and water, as in Italian, 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.
!N0. 10. — WEST END, (green, W^ITH LIGHT SPOT.)
An excellent pattern mxay be made similar to No. 9 in all the details of mixing, w^orking, and put- ting on the colours, the only diff'erence being in the colours, which may be made of two shades of green or olive, and the veins red, yellow, and blue.
ART OF BOOKBINDING.
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No. 11. — CURL.
t
The pattern called French Curl, after the descrip- tion 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 gum alone, without any ad- mixture. 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 it a slight rotary motion, then lift it 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
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MANUAL OF THE
No. 13. — RED 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 distinguished from all others by 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 pro- per consistence ; and, as it is not possible to state any given measure for proportioning the gall and
ART OF BOOKBINDING. ^0-11
water exactly, some gall being stifmig^ tiyfiri other, that must be determined by (j^b^ervljag tlieA effect produced in the colours as they ar|, tried oj^, 1 the solution. But each successive colotif ^ i^eqtilres^ / more gall than the one which preceded ^it^ anjj^ the principal or body-colour requires to be both thicker in itself and stronger in gall than any of the others. This rule is almost without an excep- tion.
Having, therefore, mixed and prepared the colours, — having the preparation of gum and flea- seed in the trough, — proceed to throw on, first the red, then the blae, and lastly, with a large brush fall of colour, the olive ; beginning at the left-hand corner of the trough, farthest from you, and work^ ing 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. It cannot, how- ever, be entirely avoided. Now take up the paper by the two opposite corners, and, holding it as nearly upright as possible, yet with a degree of ease and looseness only to be attained by practice, let the corner in the right hand gently touch the colour on the trough, while, at the same time, you
112
MANUAL OF THE
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 the surface of the solution. Practice will be re- quired before the stripes or shades will be produced with certainty and regularity. We will next take a pattern with three veins.
No. 15. — BLUE OR SLATE SPANISH.
This is performed in a similar manner to the one just described. First, throw on red, next yellow, thirdly Blue, 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. Perhaps as much or more of it has been made than of any other, and it always will be a standing pattern. Proceed in the same manner as before, throwing on first, the red ; then yellow ; thirdly, blue ; fourthly, black ; and lastly, the brown, which should be com- posed of good burnt ochre, darkened with a little black.
ART OF BOOKBINDING. 113
No. 17. — DOUBLE BROWN SPANISH. This pattern has four colours for vems and two body-colours, the last or top colour being a dilution of the other with white. The veins are thrown on in the following order : — first, red ; then black ; next yellow, (some 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 Italian. It requires seven colours and brushes to execute this pattern, although it may be made of less. Commence, as usual, with red first ; then black ; thirdly, yellow ; fourthly, blue ; fifthly, green. These being all thrown or sprinkled on, next throw on the white, by using the iron rod, as for West End or Italian, and beat or knock it on very firmly all over these colours, but not so much as you would do for Italian ; and lastly, the
principal or body-colour, — say dark olive-green,
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MANUAL OF THE
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 body- colour 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 shading, some of which .cause the shades to 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
ART OF BOOKBINDING. 115
considerably thinner, as tliey 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 popu- lar 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 Avhole surface of the solution ; then black ; next, orange or yellow ; fourthly, blue ; and, lastly, the top colour, of what-
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MANUAL OF THE
ever shade it may be required. Now take the peg- rake, which must be as long as the trough from right to left, and which consists of a piece of w^ood 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 it steadily through the colour, and the pattern is 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, and it is 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. 117
with the peg ; then take the comb, which should be a much larger one, and draw it through the colour from left to right, then immediately reverse 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 three first colours have been thrown on, namely, red, black, and yellow, rake it once up and down 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. Some antique patterns are made with a blue or other coloured spot, in lieu of the pink here described, but the process is the same.
No. 25. — ANTIQUE, (zebra.)
This is done with colours prepared the same as for ordinary nonpareil ; throw on four colours, viz. : red, black, yellow, and blue ; then rake the same as for nonpareil, after which throw on a light colour for a spot ; lay on the paper the same as for Spanish. Sometimes it is made without shading, and passes for another pattern.
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MANUAL OF THE
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 for nonpareil. The red, yellow, blue, and green 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 it Avill produce a uniform appearance all over the 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 w^orked upon a French marble, but these require no additional explanation. We now come to
ART OF BOOKBINDING. 119 No. 27. — BRITISH.
The pattern so called is by no means easy to execute, as it requires a considerable amount of judgment to maintain any thing like uniformity. Some British patterns are made with and some without veins. They require a trough double the 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 size or preparation must be the same as for that kind of w^ork. A good pattern may be made of one colour, — viz. : black. The colour for this description of marbling will be all the better for being mixed and well stirred about a few days before using, so as to become mellow for working. Two jars or pots, 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 con- siderable portion of gall and water, so as to make it very thin and strong; now pour a small quantity of the strong colour (about a teaspoonful) on the plate, and, taking the brush out of the thicker colour and pressing it 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
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MANUAL OF THE
dark and light spots will fall together, interming- ling with each other and producing that varie- gated effect which is characteristic of the pattern. Lay on the paper the same as for drag Spanish. Brown, green, and other colours, are 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 pat- terns, 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, aboui a quarter of an inch in thickness, and fixed about three inches apart, at regular distances, over the whole extent of the space required. The colours will be all the better for this class of work by the ad- dition of a little spirits of wine. With this exception, the colours will not require 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 tins before mentioned. The colours required will be red, yellow, green, blue, and white. 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 w^ith 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
11
122
MANUAL OF THE
them in too deep, but at the same time being quite sure they all do touch the size. The tins or pots of colour must be arranged as in the following diagram, about three inches apart : —
G Y G Y G Y G
Y B Y B Y B Y G Y G Y G Y G
Y B Y B Y B Y G Y G Y G Y G
G standing for green, Y for yellow, and B for blue. Then fill the same number of tins or pots 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 wdth a brush. Then carefully lift the first frame standing in the pots of the three colours, giving it a slight rotary motion, so as to stir the colours, which soon settle, being careful not to upset them. Let one drop from each peg touch the surface of the red upon the size, then quickly
ART OF BOOKBINDING. 128
take the one with the white and drop that just in the centre of the spots ah^eadj'- placed on the trough ; next take a rounded piece of tapering wood, (a brush handle is as good a thing as any,) and pass it 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 Q.ver ;^J<^ pass the comb throu2:h it from left to r/ght';?an(l\!.^aSr on the paper. A
As soon as you have hung it*;np, p6ur ^fer it, from a jug with a spout, abouf ^^^^p^nX (^ jcilesiY water, to wash off the loose colour. ^and-^gu)^ and make it look clean and bright, after which, when dry, it will require sizing before it can be bur- nished,,
When cuids 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 manner to any of the pro- cesses hitherto described. The colours used for this kind of work must be of first-rate quality, and must be ground with spirits of wine or extra strong gin, and mixed up with the same and a little
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MANUAL OF THE
gall, just sufficient to make them float and spread to the extent required. Instead of brushes, have a tapering piece of wood, about the thickness of a little finger, in each pot of colour, (small pots will do, capable of holding about a tea-cup fall.) The 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; afld the green, indigo and Dutch pink. These must be ground and mixed, as before directed, to the con- sistence 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 thicker for this work than for any other. Having every thing in readiness, take a pot of colour in the left hand, and with the right proceed to lay on the colour w^ith a piece of wood or with a quill, in sloping stripes, like those made by a school-boy in learning to write. Commence with the red and make two strokes almost together, leaving a small open space, and then making two more, and so on, until the required extent has been gone over. Next take the orange, and 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 arrano-ed
o
on the trough : — GBRORGBROIIGBRORGB As in the former instance, the initial letters signify the colours. Draw the comb through and tlie pattern is complete.
EDGES.
The patterns for edges are produced in the same manner as those for paper; and having already devoted so much space to this beautiful art, hitherto confined to a few, it would be useless to repeat the processes. 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 par- ticular 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. Colours for edges will look
all the brighter by the addition of alcohol, spirits
11-^
126
MANUAL OF THE
ot 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 con- veniently manage to hold tightly, with the backs in the right hand and the fore-edge in the left, and let them touch the colour, the back first, 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, hav- ing thrown out the round, turn back the boards, and proceed as with the end; when done, wipe off the superfluous size from the boards with a sponge, 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 the purpose. A smoothly-faced flint is fixed in a block of wood, in which is inserted one end of a pole about five feet in length, the other end being attached to and working in a cavity in a spring-board fixed overhead, allowing
ART OF BOOKBINDING.
127
it to Avork backwards and forwards upon a plank hollowed out for the purpose. Tlie 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 a high polish. Sometimes the paper is calendered by means of friction cylinders — a su- perior method.
COMBS.
These are made in various Avays, some to be worked on the top of the trough and called top- combs, others to be worked by putting the points down to the bottom of the trough and called bottom- combs. 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. The way of making the size is as follows : — 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 con- stantly stirred, to prevent the soap and glue from
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MANUAL OF THE
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 quarters meets with considerable favour. There are 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 Anonay for durability,
ADDENDA.
In taking leave of the subject of marbling, there is but little more to add. For, wdien the learner is master of all this book 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 princi- ples that govern in mixing and distributing the colours, and, with the aid of his own experience, his chance of accomplishing it w^ill be as good as any one else's. As a step to the attainment of mastery
AKT OF BOOKBINDING.
129
in the art, let the workman divest himself of the various nostrums he has been put in possession of by interested parties, and give himself up ivith assiduity to the directions here laid down. What is 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 let the workman 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- nent classes or patterns of marbling. They were executed by him, and show his mastery of the art.
BURNISHING.
The edges are burnished by placing the volume open, Avith the fore-edge between boards, similar to backing-boards, in the laying-press, and screwing it tightly therein ; then with the burnisher rubbing the edge firmly and smartly over till it presents 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
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MANUAL OF THE
head and tail burnished in a simihar manner, the ends of the boards resting in the groove by the joints, the covered boards of the volume being open. Common calf, sheep, and half-binding, may be burnished with the boards closed, six or eight together, but it will be necessary to delay pasting the sides on the latter till after the operation, to avoid the liability of tearing.
GILT EDGES.
This description of edge is the best preservative against external injury and damp. Previous to 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 consistence, after having added to it a few drops of muriatic acid or vitriol. The size used by some is made from the white of an egg in five times the quantity of water well beaten together; but that most generally used is made from parchment or vellum shavings boiled in water to extract the gluten. It is 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
ART or BOOKBINDING.
131
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 w^ith it. To become a good gilder requires con- siderable judgment, as every variety of paper re- quires a different treatment. No rule can be laid down that will answer in every case; but if the w^orkman 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. Books printed in this country are generally made from cotton rags. Quantities of alum and lime are em- ployed in bleaching the pulp, to the sore annoyance of many a gilder, w^io has found that a damp day would invariably put both his skill and patience to the test. The best qualities of American paper are sized; the generality, however, is not. To deter- mine whether the paper is sized or not, apply the tip of the tongue to it ; if it adhere to the tongue, it is not sized, and will consequently require a stronger size for gilding than if it w^ere sized paper. The liability
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MANUAL OF THE
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. 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 as possible with the press-pin.
Then commences the most diflBcult operation, and one upon which the beauty of the edge almost entirely depends — namely, that of scraping. This is done with a steel scraper. A piece of saw-blade answers the purpose very well. After being ground 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 of the scraper. After this is done, it must be coloured lightly over Avith the bole or chalk, rubbed immediately dry with fine clean paper shavings. 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.
133
size required. A slip of paper larger than the edge is 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 flat camel's- hair pencil, dipped in clean water, evenly over the edge, and immediately lay on the gold by taking up the paper, turning the gold towards the edge, and presenting it with sufficienc celerity not to allow the gold to be drawn from the paper in portions by the size. To do this well vfill require some practice and a steady hand. Should there be any breaks in the gold, other por- tions must be applied, and, if dry, moisten with water applied by a fine pencil, and lay on the gold.
After the edge is entirely dry, w^hich generally
happens in from one to two hours, it must be
burnished. For this purpose a fiat blood-stone
burnisher is the best, to be afterwards follow^ed
by a fiat agate. Let there be no marks of the
burnisher, but spare no pains in burnishing to
have the edge perfectly uniform and clear. The
head and tail of the volume must be gilt with
12
134
MANUAL OF THE
the same precaution, the back towards the work- man. The foregoing directior^s 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 to give it the character of the period in which the book was written, or an additional degree of beauty and elegance, this part of book- ornament may be pursued further 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 light- ness, 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 by firmly impressing them on the edge. The gold that has not been touched by the tools is then rubbed ofi* with a clean cotton, and "ihere 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 books in the original binding of the sixteenth cen- tury 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 re- quiring great care and expertness in the execution. The edges must be scraped before marbling. After the edges have been tastefully marbled, 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
136
MANUAL OF THE
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 posi- tion. Then place the volume in the press, lay on the size and gold, and, when dry, burnish. The design will not be apparent when the volume is closed, from the gold covering it ; but when the leaves are drawn out it will be perceived easily, the gilding disappearing, and a very unique effect 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.
Aftef 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 in- jury in the subsequent operations. This is taken off when the volume is completed.
BLACK EDGES.
Books of devotion are generally bound in black lea- ther, 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.
137
Put the book in the press as for gilding, and sponge it with black ink ; then take ivory-black, lampt-black, or antimony, mixed well with a little paste, and rub it on the edge with the finger or ball of the hand till it is perfectly black and a good polish produced, when it must be cleared with a brush, 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, reqmres more labour than gilding. They are therefore quite as expensive, x^fter 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 proportioned to the volume is aflSxed. The leaves are opened, and the other portion of the ribbon placed between the leaves ; 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^
138
MANUAL OF THE
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 seen that the headband must equal the square allowed for the boards. For common work, the headband is made of muslin pasted upon twine ; but for extra work, and volumes requiring greater durability, it is made of thin board and parchment pasted together and cut into strips of the breadth required. These flat headbands produce a much better effect than the round ones.
There are two kinds of headbands, — viz. : single and double. For ordinary work, cloth pasted round the band, or common thread, is used ; for extra, silk and sometimes gold and silver thread. If the volume is small, it is placed, with the boards closed and drawn down even with the edge, between the knees; or, if larger, placed at the end of the laying-press, with the fore-edge projecting towards the body of the 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
the ends of the two together. Supposing red and white to have been taken, the white attached to the needle, it is placed in the volume five or six leaves from the left side, and forced out on the back im- mediately 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 is drawn tight, so as to hold it firm. Before placing the band, it must be bent with the fingers to the curve of the back of the book. The red thread is now taken with the right hand, and, bringing it from the left to the right, crossed above the white thread, passed under the band, and brought round to the front 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
140
MANUAL OF THE
the back with a knot. These fastenings give firm- ness to the headband and the exact curve of the back. The two projecting sides of the band must be cut off near the silk, giving the band a slight in- clination 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. It is commenced in the same way as the single ; but, when the bands are fastened, the smaller above the larger, the red silk is taken with the right hand and passed above the white, under the bottom or larger band, brought out under the upper or small one, carried over it, brought out again over the large band, and the bead formed, as above directed, near to the edge of the book. The white silk is then passed in the same way, and so on alternately till the whole is completed.
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 observeditfTi^iening the thread at the bead. / ^-f^ 'V^ v
RIBBON HEADBAl^A^' '-^ ^ ^\ ,
This style varies but little frowt^e '^h^ |the same-coloured thread being only 'piigsed^rBeyeral times round, instead of alternately witli^ther' other, and making the bead at each turn, taking care that the under thread is not observed, and then passing the other colour, in a similar manner, as many or more times than the former. This will produce a band — from which it is named — having the 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 paste- board 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
142
MANUAL OF THE
the same siz ), a volume taken by the fore-edge and the boards laying open on the leather will enable the workman to judge to a ni.^ety the most advan- tageous way to cut. The narrow pieces, &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. It will also require to be well rubbed out on a marble slab with the folder. 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 so gradual that it cannot be perceived. As an illustration of this fact, there is a specimen of 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.
143
the paring is so exquisitely done that, were it not for the colours, it would be impossible to tell where they joined. The whole interior of the board is as 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 make it adhere. The cover being then laid on a table, or clean milled board, the volume is taken in the hands, the squares at head and tail equally adjusted, and placed upon the nearest side of it, in such a posi- tion that the back of the volume, which is from the workman, will be in the middle. The far part is then brought over to the other side, and care taken not to disarrange the squares. The cover, which now projects an inch all round the volume, is drawn tightly on the back with the open hands, by turn- ing the projecting portion of the cover outward and resting the book on the fore-edge, at the same
144
MANUAL OF THE
time working the leather in such a manner that it will adhere closely to the sides of the raised bands as well as to the back. A square band, with the leather fitting closely and evenly to the back on each side of the band, is a great point to attain, and any thing short of it is a blur upon the bind- ing. After the back has been sufSciently manipu- lated, lay the cover perfectly smooth upon each side, then open the boards and lay one upon the paring-stone, and pass the paring-knife between the board and the cover diagonally across the corner of the latter, in such a manner that, when the leather is 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
ART 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 have taken place in covering must also be rectified.
The setting of the headband is the next opera- tion, which 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 folder, one end a little pointed, the double fold of the leather must be rubbed together to make it adhere, and, if the boards have been cut at the corners, the hand applied thereon, and finally forcing the headband close to the leather, staying it even on the back with the finger, and forming a neat cap of the projecting part on the top of it. The folder is 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 hand ; the board is then gently forced by the left hand until
it projects slightly within or over the joint. Upon
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MANUAL OF THE
this depends the freedom and squareness of the joint, — one of the most charming features of a well- bound book. After this operation has been per- formed upon both boards, the headbands will again require attention ; and, in order to set them firmly, pass a piece of sewing-thread around the book between the back and the boards, and, after it is tied, manipulate the head as before, so as to make it perfectly square and even with the boards and back. The volume is rubbed alongside of 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 are large, it is sometimes necessary, to make the leather adhere to the back, that the volume should be tied up, Avhich is done by placing a board, longer than the book, on each side, pro- jecting slightly over the fore-edge, and tying them tightly with a cord from end to end. Then, with a smaller cord, the le^^ther 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 mid- dle; the book would be taken in the left hand, the head upwards, the cord by the help of a noose passed
ART OF BOOKBINDING.
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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 uijderstood 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. Antique work having high, narrow bands, must have the leather w^ell w^orked in between the bands by the hands, and then the bands must be compressed by the band- nippers. 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
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MANUAL OF THE
avoid stains and alterations in the colours. Covers of the former description must not be dra\^n 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. Silk should be prepared pre- viously, by pasting a piece of paper thereon, and be left to dry, so that, when pasted for covering, the dampness will not aflect its appearance. Vel- vet will require great care, from its peculiar tex- ture making it necessary that it be rubbed one way only in covering. From 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 over, and afterwards the edges turned in. This pro- ceeding causes the whole to lie perfectly smooth, which velvet would not do if drawn in a contrary way to the grain or nap, or if the glue was applied to the velvet.
ART OF BOOKBINDING.
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HALF-BINDINa.
Half-binding — so called from the backs and corners only being covered with leather — ^has come so much into vogue that it may now be said to be the favourite style of binding. This is not to be won- dered at ; for, while it combines economy and dura- bility, it 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 full binding. The tran- sition from the thick morocco to the paper used on the sides can be made almost imperceptible to the touch by a skilful use of the paring-knife or chisel. The general directions for covering will be suflS- cient for the class of work under consideration. After the back is 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 in- side 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 narrow back gives a very meagre appearance to a book. The size
of the corners should be determined by the width
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MANUAL OF THE
of the back. The end-papers are pasted down and 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 leather. The English generally prefer the inside- 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. The French generally use a light tint of marble-paper for the inside, and a darker shade for the outside. For durability as an outside- paper, there is nothing equal to papier d'Anonay^ vellum being one of its components. Of this article there are 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. The best class of half-binding for amateurs is 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 from dust ; lined with the best English paper; 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
ART OF BOOKBINDING.
151
the finisher. In other bindings, the brilliancy of the 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 will always command a higher price than one that has been cropped.
STATIONEEY OR VELLUxM BINDING.
This branch of the Art of Bookbinding, in large towns, is a distinct business, and presents some difference in the mode of proceeding in several of the manipulations required. These, as in previous parts of the work, will be minutely en- tered into for the instruction of the J^oung 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
i
152 MANUAL OF THE
of the merchant and banker. Of the more simple and common bindings, it will not be necessary to enter into minute details, the proceedings being the same as for others, only omitting the more expen- sive operations, the price allowed making it neces- sary to bind them in a more simple manner. The first proceeding, should the work require it, will be the
RULING.
This is done by a machine. Formerly it was done by hand. After the pens are properly ad- justed, the paper to be ruled is placed upon the table in front of the ruling-machine, and the rollers set in motion. The sheet is caught and passed under the pens. It is then carried by the cloth and cords and laid away to give place to another. The most elaborate patterns can be executed upon the ruling-machine.
Although machine-ruling has almost entirely su- perseded 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
ART OF BOOKBINDING.
153
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 in the laying-press. Then, with the saw, let the marks of the red ink on the pattern be sawn across the whole, which will denote the places for the lines on the right-hand side pages throughout the book. In like manner, placing the pattern on the other side, and sawing the bottom of the paper, will the marks of the left-hand pages be denoted. Care must be taken to leave a larger space on the fore-edge, to allow for cutting. Should a head-line be required, it must be similarly marked on the fore-edge of the paper. This done, 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. This, as well as every division of $ cts., or other distinct column, must be ruled double, as close as possible, taking care that both are distinct, and that they do not run into each other. The 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.,
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MANUAL OF THE
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 the work. As for the head-line, so here the whole of one side of the paper must be completed before the other is commenced, attention being paid to each line being perpendicular, clear, and as even in colour as possible.
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. These machines are manufactured by H. Griffin, New York. The sheets are paged by this machine before they are sewed together. There are other machines in use tnat page the leaves after the volume is bound, the principal objection to which appears to be the lia- bility 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 high- est terms.
ART OF BOOKBINDING. 155
INKS.
To give to the work the best effect, it will be necessary to be provided with good inks, and, it being connected Avith the subject, some receipts for their preparation are subjoined.
156 MANUAL OF Till]
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 w^ater 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; but Dyer's blue, diluted with water is preferable to either.
BLACK.
Half a pound of nutgalls, a quarter of a pound of sulphate of zinc, (white vitriol,) two ounces of gum-
AKT OF BOOKBINDING.
157
arabic, and a handful of salt. 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 sew- ing. 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 wdll be swollen too much by the thread. Then place the whole evenly in the standing-press for some time, and prepare the end-papers, which must
be of blank paper, and outsides, unless the work is
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MANUAL OF THE
of a superior description. Should leather or cloth joints be placed, it will be necessary to sew them on with the end-papers, as before directed.
SEW^ING.
The sewing of stationery differs much from that of printed books. To allow of the greatest possi- 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 slips will be suf- ficient; for foolscap folio, three will be required; and, where larger, the number must be increased, according to the length of the back, leaving a space of about two inches between each. The plan laid down by M. Lesne, (p^go 27,) might, perhaps, be adopted here with fine and light work to great advantage. The slips should be cut about an inch wide, and of sufiicient length to extend about an inch over each side of the back. This portion being bent down at one end of the slips, they must be placed under the end-paper on the table at such places as may be deemed proper, and the section sewn the whole length; and so followed by every portion till the whole are attached in the same man ner, taking care that the slips retain a perpen-
ART OF BOOKBINDING.
159
dicular position and that the back be not too much swollen. Should a morocco joint have been in- serted, it must be sewn on with strong silk of the same colour. When finished, the coloured end- papers, if any, must be pasted in, and the first and last ruled leaves similarly attached to the end- papers. If joints, the same precautions must be adopted as before directed. The book may then be beat even on the back and head, placed again in the laying-press, and glued up, working the brush well on the back, so as to force the glue between the sections.
CUTTING.
When the ends and back are dry, this will be the next operation. Here the fore-edge must be cut first. It is done before altering the form of the book, 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, in a greater degree than for other bindings, and placed again evenly in the standing- press. After remaining a short time the head and tail must in like manner be cut, but offer no difter- ence in operation. The book Avill now be ready for colouring the edges, the processes of which have
160
MANUAL OF THE
been already described. In England, the large 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 than is usual in printed books. When cut they must be pasted together, leaving, if the book is heavy and the slips on which it is sewn thick, a space at the back to place them in. The book must now be head-banded, and then it will be proper to strengthen the back of the book by glueing across, on the spaces between the slips, strong pieces of canvas, and at the 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. This is done by placing three 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, anpoars 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 slips of calf at the head and 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 ^cr^^^itightly in the standing-press for some tir^ie^ ^'i-",^
THE SPRING-BACK-^^^^ ' , - ; \ \
There are numerous ways of forming this de- scription of back, and as generally adopted in dif- ferent offices. 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 re- quired, which should be about a quarter of an inch
14*
162
MANUAL OF THE
wider than the back of the book ; then cut evenly another piece, a little less than the width, tnen another still less, and so on for six or seven, lessen- ing the width each time till the last is merely a narrow slip. Let the edges of the first, or cover for the whole, be pared, and laid open on the table ; then glue the middle space, and place thereon the largest slip, which also glue, and add the next in size, proceeding in like manner till the smallest is fixed, taking especial care that each occupies the exact centre of the one on which it is placed. Finally, glue the whole space and the two side-slips of the first, which must be brought over and firmly rubbed down. Shape it to the curve of the back of the book, either on the back or a wooden roller of the same size, and leave it to dry, when the head and tail must be cut to the proper length with the shears. For greater security the whole is often covered w^ith linen cloth.
2. Cut a piece of firm milled board to the size required, and pare down the edges; then hold the board to the fire till it is found soft enough to model almost into any shape, and form to the back as above directed. The board is sometimes wftted, but does not answer so well.
ART OF BOOKBINDING.
163
3. 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 only used for the superior kind of account-books ; for common work, a piece of thin pasteboard is merely laid on the back before covering, the stress on the back being small.
To prevent the manufactured back slipping dur- ing 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-bind- ing are russia, rough calf, green and white vellum, and rough sheep, according to the value of the work. Previous to 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 Hie
164
MANUAL OF THE
boards and the back, so as to form a bold groove, and force the leather close on the edge of the spring- back. 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 im- mediately after folding in the fore-edges of the boards, and then finish the covering by turning in the head and tail.
As circumstances — such as the fancy of some previous workman, or coloured vellum not to be obtained so early as required — may make it ne- cessary to execute the proper colours, the proceed- ings 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.
165
Cork the mixture up ; let it stand in a warm place for two or three days.
PURPLE.
Proceed as for the red^ substituting logwood chips for the Brazil dust.
YELLOW.
Half an ounce of turmeric to half a pint of spirits of wine, prepared as above.
BLACK.
Wash the vellum over three times with the red, and 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 ihto before, it will not be necessary here to repeat them. Where russia bands are not added, the end-papers must now be pasted down, and the lettering, &c. proceeded with. If bands are attached, the pasting down of the end-papers and joints must be deferred till they are executed.
RUSSIA BANDS.
To give to large books the greatest possible degree of strength, it is usual to affix Russia bands to them. They are called single when they extend
166
MANUAL OF THE
about half-way down the sides, and double when chose 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 first, third, fifth, and seventh spaces with the cover only ; draw them squarely on the sides, and place the volume in the press, Avith 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 short, like those above, and placed on in the same man- ner ; 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.
107
CLASPS, CORNERS, AND BRASS BANDS.
Clasps are sometimes affixed to the better kind of stationery books, as keeping them closed when not in use tends much towards their preservation. And for still greater security, they are often further protected with brass corners or bands. To hide the projection the clasps would make on the fore-edge, that part of the board must be cut away to admit the clasp, so that when fixed it will be even with the edge of the board. For the corners and bands this is not done ; but, to insure a finished appear- ance in the whole, the workman's attention must be directed to their fitting exactly in every particular of length, breadth, and thickness. The clasps may be purchased of the makers, but it may be found necessary to place the making of the bands and corners in the hands of the brass-worker, to whom particular directions and sizes must be given. They must fit tightly to the boards, run exactly parallel with the edges, and have the holes for the rivets drilled through previous to placing on. Where corners are 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
108
MANUAL OF THE
head and tail of the book, and fastened with rivets in the following manner, as are also the clasps and corners : — Pierce the boards with a fine bodkin in such places as are previously drilled in the brass, and force through brass rivets of a length sufficient to project about the eighth of an inch, and with heads made to fit exactly to the cavities formed in the bands ; then fasten them firmly, by placing the heads of each on an iron and beating down with a hammer the part projecting inside, till it is smooth and even with the surface. Bosses, which are seen fixed on the middle of the boards of old books, par- ticularly of early-bound Bibles, &c., in churches, are fastened in the same manner.
FINISHING.
The placing of lettering-pieces, gilding, and blind-tooling, is exactly the same as for printed books. Rough calf must be dressed with 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.
ART OF BOOKBINDING.
169
BOAEDING. In large places, this is another distinct branch of the art, and consists of simply covering the book with coloured paper or other common substance. In small towns, it must necessarily be executed jointly with the other branches; but so ample and minute has been the detail of the various manipula- tions in a previous part of this work, that, in at- tempting a description of boarding, little can be said without repetition. This style, too, being the 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 over the general
line. For greater strength to the back, a piece
15
170
MANUAL OF THE
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