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Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..172a74a --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #55056 (https://www.gutenberg.org/ebooks/55056) diff --git a/old/55056-8.txt b/old/55056-8.txt deleted file mode 100644 index 18cb8a3..0000000 --- a/old/55056-8.txt +++ /dev/null @@ -1,10090 +0,0 @@ -Project Gutenberg's A Manual of the Art of Bookbinding, by James B. Nicholson - -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms of -the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - -Title: A Manual of the Art of Bookbinding - Containing full instructions in the different branches of - forwarding, gilding, and finishing. - -Author: James B. Nicholson - -Release Date: July 6, 2017 [EBook #55056] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK A MANUAL OF THE ART OF BOOKBINDING *** - - - - -Produced by Chris Curnow, Lesley Halamek and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - - - - - - -[Illustration: 1 - -_Montague Style_ - -_Harleian Style_ - -_Aldine Style_ - -_Harleian Border_] - - - - - A - - MANUAL - - OF THE - - ART OF BOOKBINDING: - - CONTAINING - - FULL INSTRUCTIONS IN THE DIFFERENT BRANCHES OF - FORWARDING, GILDING, AND FINISHING. - - ALSO, - - +The Art of Marbling Book-Edges and Paper.+ - - THE WHOLE DESIGNED FOR - - THE PRACTICAL WORKMAN, THE AMATEUR, AND THE - BOOK-COLLECTOR. - - BY - - JAMES B. NICHOLSON. - - - 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 desires 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 revision so much was rejected -that it was deemed better to pass under notice at the same time the -labours of others. "Cundall's Ornamental Art" has furnished the early -incidents in the "Sketch of the Progress of the Art of Bookbinding;" -and, as the best authority upon the subject, "Woolnough's Art -of Marbling" has been adapted to this country. Mr. Leighton's -"Suggestions in Design" has been laid under contribution 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 acknowledged in the body of the work, have supplied some -valuable hints. - -It is hoped that this volume will prove useful to those forming -libraries, by imparting correct information upon subjects that to -the book-collector are important, and that its tendencies will be to -increase and strengthen 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 - - - PART III. - - Ornamental Art 178 - - Finishing: - - Taste and Design 186 - - Styles 198 - - Gilding 215 - - Illuminated Binding 227 - - Blind Tooling 230 - - Antique 231 - - Colouring 236 - - Marbling 246 - - Uniform Colours 256 - - Gold Marbles, Landscapes, &c. 260 - - Inlaid Ornaments 270 - - Harmony of Colours 272 - - Pasting Down, &c. 273 - - Stamp or Press-Work 279 - - Restoring the Bindings of Old Books 289 - - Supplying Imperfections in Old Books 290 - - Hints to Book-Collectors 292 - - Technical Terms 297 - - - - -INTRODUCTION. - -SKETCH OF THE PROGRESS OF BOOKBINDING. - - -The earliest records of Bookbinding that exist prove that the art has -been practised for nearly 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 ornamented. 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 Ornamental 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 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 covering -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 valuable, 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 apparent 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 carried the Art of Binding -to considerable perfection. Some of the public offices had books -called Dyptichs,[A] in which their acts were written. The binding of -one of these in carved wood is thus described:--"Seated in the centre -of each board is a consul, holding in one hand a baton, and in the -other, upraised, a purse, as if in the act of throwing it to some -victor in the games. Above these are miniature portraits, various -other ornaments, and an inscription; below, on one board, are two -men leading out horses for the race, and beneath them a group, with a -ludicrous representation of two other men, exhibiting their endurance -of pain by allowing crabs to fasten on their noses." A small print of -an ivory dyptich of the fifth century, in Mr. Arnett's "Books of the -Ancients," may be consulted as a specimen of the kind of ornament then -adopted. An old writer says, that about the time of the Christian -era the books of the Romans were covered with red, yellow, green, and -purple leather, and decorated with gold and silver. - - [Footnote A: "The antiquity of illuminated missals has been - traced, conjecturally, even to the time of the apostles - themselves. At the beginning of the Christian era, missive - letters were usually written on tablets of wood, hollowed so - as to present something of the appearance of a boy's slate in - a frame. Two of these were placed face to face to preserve the - writing, which was on wax, and a pair of boards thus prepared - was called a Dyptich. The Epistles of St. Paul and the other - 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 altarpieces so - frequently found in the earliest Christian churches."--_Lady - Calcott's Essay._] - -If we pass on to a few centuries later, we find that the monks were -almost the only literati. They wrote chiefly on subjects of religion, -and bestowed the greatest pains upon the internal and external -decorations of their books. In the thirteenth century 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 number of -old books and oftentimes examined their covers, yet I do not remember -I ever saw boards upon any of them of so great thickness as these. -This was the manner of Binding, it seems, of those times, especially -if the books were books of extraordinary value, as this is. 'Twas -usual to cut Letters in the Covers, and such letters were the better -preserv'd by having them placed in some hollow part, which might -easily be made if the boards were pretty thick. I suppose, therefore, -that even the copies of _Gregory's_ Pastoral that were given to -Cathedral Churches by King _Alfred_ had such thick covers also, that -these by the _Æstals_ might be fix'd the better. What makes me think -so is, that the outside of one of the covers of this book is made -hollow, and there is a rude sort of figure upon a brass plate that -is fastened within the hollow part, which figure I take to have been -designed for the Virgin _Mary_, to whom the Abbey was dedicated. Over -it there was once fastened another much larger plate, as is plain -from the Nails that fixed it and from some other small indications now -extant,--and this 'tis likely was of silver, and perhaps there was -an _anathema_ against the Person that should presume to alienate it, -engraved upon it--together with the Name of the Person (who it may be -was _Roger Poure_) that was the Donor of the Book. This will make -it to have been nothing else but an Æstal, such a one (tho' not so -valuable) as was fastened upon _Gregory's_ Pastoral. But this I leave -to every man's judgment."[B] - - [Footnote B: Leland's Itin. vol. ii. p. 86, Oxford, 1769.] - -At a later period we find on the binding of books gold and silver -ornaments of very beautiful design, enclosing precious stones of -great variety; carved ivory tablets let into framework of carved oak; -rich-coloured velvets, edged with morocco, with bosses, clasps, and -corners of solid gold; white vellum stamped in gold and blind tooling; -and morocco 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 died at Buda about the year 1490. This library consisted -of about thirty thousand volumes, mostly manuscripts of the Greek -and Latin poets and historians, and was contained in large vaulted -galleries, in which, among other works of art, were two fountains, -one of marble and the other of silver. The binding of the books -were mostly of brocade, protected with bosses and clasps of gold -and silver; and these, alas! 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 -preservation, 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. - -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 animals. There are in the British Museum and in the Record -Office many English bindings which undoubtedly were executed in the -time of Henry VII. - -In the reign of Henry VIII., about 1538, Grafton, the printer, -undertook to print the great Bible. Not finding sufficient men or -types in England, he 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, supposing 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 importance to the Art of Bookbinding -at that period. We 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, -were 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 decorations, 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 for. All Grolier's books -were bound in smooth morocco or calf, the pattern being formed of -intersected 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 -morocco of different colours; and it is our opinion that no style -of book-ornamentation has been since introduced 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 Grolierii et amicorum" at the bottom, -signifying that Grolier wished his books to be used by his friends as -well as by himself. Connoisseurs rejoice when they meet with a work -from the library of Maioli, a disciple of Grolier, or those of -Diana of Poictiers, the mistress of Henry II., and whose books, in -consequence of her influence and taste, are elegantly bound. It is -supposed that the bindings for Diana of Poictiers were designed by -Petit Bernard. They were bound in morocco of all colours, and usually -ornamented with the emblems of the crescent and bow and quiver. - -Among the earliest French binders must be mentioned Padeloup, Derome, -and De Seuil. Pope 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 commendation; his dentelle borders are fine, but unfortunately -he was not careful of the trenchant steel. Padeloup's tooling or -ornaments consist chiefly of small dots, and the forms he invented are -elegant. When met with in good state, they look like gold lace upon -the sides and backs of the books. - -The bindings of books which belonged to De Thou are highly prized. -He possessed a magnificent library, mostly bound in smooth deep-toned -red, yellow, and green morocco. De Thou died in 1617. The Chevalier -D'Eon used to bind books in a sort of Etruscan calf, the ornaments on -which were copied from the Etruscan vases. The use of the black and -red dyes have very frequently corroded the leather. - -We must now resume our account of binding in England. - -During the early part of the last century the general bindings were, -with the exception of what was called Cambridge binding, (from being -executed at that place,) of a depreciated character, many of them very -clumsy, and devoid of taste in their ornament. Toward the middle -some degree of attention had begun to be paid to the improvement of -bindings, the general kinds being, up to the end of the eighteenth -century, nearly all executed to one pattern,--viz.: the sides marbled, -the backs coloured brown, with morocco lettering-pieces, and gilt. - -The artists of the earlier part of the period of which we have been -treating must have been numerous; but few are known. Two German -binders, of the name of Baumgarten and Benedict, were of considerable -note and in extensive employment in London during the early part -of this century. The bindings of Oxford were also very good at this -period. Who the distinguished parties at Oxford were has not -been recorded; but a person of the name of Dawson, then living at -Cambridge, has the reputation of being a clever artist, and may be -pronounced as the binder of many of the substantial volumes still -possessing the distinctive binding we have before referred to. -Baumgarten and Benedict would, doubtless, be employed in every style -of binding of their day, but the chief characteristics of their -efforts are good substantial volumes in russia, with marbled edges. - -To these succeeded Mr. John Mackinlay and two other Binders, named -Kalth[oe]ber and Staggemier; but to Mackinlay may, perhaps, be -attributed the 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 specimens of his, in public and private libraries, remain to -justify the character given of him; and of the numerous artists that -his office produced, many have since given evidence, by their work, -that the lessons they received were of a high character. The specimens -alluded to exhibit a degree of care, ingenuity, and skill, highly -creditable to them as binders. Though well 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 -perfection. About the year 1770 Roger Payne went to London, and, as -his history is an epoch in the history of the art, we will devote some -space to it. - -The personal history of Roger Payne is one among the many of the -ability of a man being rendered nearly useless by the dissoluteness -of his habits. He stands an example to the young, of mere talent, -unattended with perseverance and industry, never leading to -distinction,--of great ability, 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 -Leicester 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, were 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 ornament as was applicable to the nature of the work it was to -embellish. Many of these he made himself of iron, and some are yet -preserved as curiosities and specimens of the skill of the man. To -this occupation he may have been at times driven from lack of money to -procure them from the tool-cutters; but it cannot be set down as being -generally so, for, in the formation of the designs in which he so much -excelled, it is but reasonable to suppose, arguing upon the practice -of some others in later times, he found it readier and more expedient -to manufacture certain lines, curves, &c. 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 employers. His best -work is in Earl Spencer's library. - -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 -dissolute conduct to the lowest depths of misery and wretchedness. In -his wretched working-room was executed the most splendid specimens of -binding; and here on the same shelf were mixed together old shoes and -precious leaves--bread and cheese, with the most valuable and costly -of MSS. or early-printed books. - -That he was characteristic or eccentric may be judged by what has been -related of him. He appears to have also been a poet on the subject of -his unfortunate propensity, as the following extract from a copy of -verses sent with a bill to Mr. Evans, for binding "Barry on the Wines -of the Ancients," proves. - - "Homer the bard, who sung in highest strains - The festive gift, a goblet for his pains; - Falernian gave Horace, Virgil fire, - And Barley Wine my British Muse inspire. - Barley Wine first from Egypt's learned shore; - And this the gift to me of Calvert's _store_." - -The following bill is, like himself, a curiosity:-- - - "Vanerii Praedium 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 } - Joints inside. Their was a few leaves stained } 0 : 0 : 6 - at the foredge, which is washed and cleaned... } - - "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" - -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 pecuniary assistance -both for the support of his body and the performance of his work. - -Of the excellencies and defects of his bindings, Dr. Dibdin, in his -"Bibliographer's Decameron," has 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 generally, and sometimes melancholily, failed. He -was fond of what he called purple paper, the colour of which was as -violent as its texture was coarse. It was liable also to change and -become spotty, and as a harmonizing colour with olive it was odiously -discordant. The joints of his books were generally _disjointed_, -uneven, carelessly tooled, and having a very unfinished appearance. -His backs are boasted of for their firmness. His work excellently -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 successful, so far as he was -personally concerned, it had the effect of benefiting the whole race -of English bookbinders. A new stimulus had been given to the trade, -and a new and chastened style introduced among the more talented -artists of the metropolis. The unmeaning ornaments we have before -alluded to were discarded, and a series of classical, geometrical, -and highly-finished designs adopted. The contemporaries of -Roger--Kalth[oe]ber, Staggemier, 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, while 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. The binding is of blood-coloured morocco, -extending 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 -Sheriffs, seventy in number, the quarterings of which, with their -frets, bends, &c., are curiously inlaid in different colours of -morocco, and, with the ornamental parts of the bearings, have been -blazoned with heraldic accuracy on both sides of the volume. When we -state that more than 57,000 impressions of tools have been required to -produce this wonderful exemplar of ingenuity and skill, some idea may -be formed of the time and labour necessary for its execution." - -This volume was finished by Thomas Hussey, who is now employed in -Philadelphia, and who has in his possession the patterns executed upon -the sides and back. - -The French degenerated in binding from the time of Louis XIV. until -they became far inferior to the English. This continued to the -beginning of the present century; the books bound for the Emperor -Napoleon, upon which no expense appears to have been spared, are -clumsy, disjointed, and the tools coarse and unevenly worked. They -were generally bound in red morocco, with morocco joints, lined with -purple silk, upon which the imperial bee was stamped repeatedly. -Thouvenin enjoys the honour of rescuing the art from its -long-continued degradation in France, and of founding a school whose -disciples are now acknowledged to rank with the great masters of the -art. His tools and patterns were designed and cut by artists in his -employ; his establishment 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 the present -day in France are, Trautz et Bauzonnet, Niédré, Duru, Capé and Lortic. -The books of these artists are distinguished for solidity, squareness, -freedom of the joints, firmness of the heads and back, and extreme -nicety of finish. The fore-edges are gilt with the round in them, -giving them a solid rich appearance, as yet unequalled. The material -employed is 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 destroying the natural grain of the leather, and, with it, its -velvet-like richness and beauty; and yet, under the manipulations of -these French artists, it becomes one of the most plastic of materials; -rare volumes of the smallest dimensions, containing but one or two -sheets, are not only covered on the exterior, but the interior of -the boards, 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 speaking 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 more -so. Capé 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 -_à la Janseniste_, and were truly exemplars. In exterior gilding he is -not so happy as some of his brethren. Niédré 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 -pronounced 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 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 -known that what is generally esteemed 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 comparing 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 printed -and dried off, is nearly always performed at the printer's, it will -not be necessary to enter into any details on that subject, but to -consider, as the commencement of binding, the operation of - - -FOLDING, - -which is of great importance, the beauty of a book depending on its -being properly and correctly folded, so that, when it is cut, the -margin of the different pages may be uniform throughout, and -present no transpositions, to the inconvenience of the reader and -deterioration of the work. - -The various sizes of books are denominated according to the number of -leaves in which the sheet is folded; as folio, quarto, octavo, 12mo, -16mo, 18mo, 24mo, 32mo, &c. Each form presents a certain number of -pages, so disposed that, when the sheet is properly folded, they -will follow the numeric order. In commencing the folding of any work, -particular attention should be paid, in opening out the quires -or sets, to observe that the _signatures_ follow each other -alphabetically, and, if consisting of two or more volumes, that the -whole of the sheets belong to the right one. - -Although each form is folded in a different manner, it will not be -requisite to detail the whole, as a description of the octavo and -twelvemo will amply furnish an idea of the 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, with their heads -reversed, pages 7, 10, 11, 6, (reading from left to right.) The sheet -is then taken with the left hand, by the angle to the right, and -creased with the _folder_ in the right hand, in the direction of the -_points_ made in the printing, taking care, by shading to the light, -that the figures of the pages fall exactly one on the other, which -will be 3 upon 2, and 6 upon 7, and thereby presenting uppermost -pages 4 and 13, and above 5 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 -workman, should be at the top, on his left hand, and towards the -table, the sheet presenting pages 2, 7, 11; 23, 18, 14; 22, 19, 15; -3, 6, 10. On the right, pages 11, 14, 15, 10, are separated from -the others by a larger space, in the middle of which are the points, -indicating the proper place where the pages should be cut off. The -_folder_ detaches this part, and, placing page 11 upon 10, makes a -fold, and 13 upon 12, which will be uppermost, finishes the folding of -what is called the _inset_, and which bears the signature of the sheet -it has been separated from, with the addition of a figure or asterisk, -as A5 or A*. The remaining eight pages are folded in the same way as -the octavo, and when done the inset is placed in the middle of it, -taking care that the head-lines arrange properly. - -Books are sometimes printed in what is called half sheets, 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 eighteens, after the sheet is cut into three divisions. -Little or no difficulty will be experienced in folding any other -size that may occur, attention to the disposition of the pages and -signatures being only required. - -It will often be found necessary to refold a book which, previous to -being bound, 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. 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 manner. They are then - - -COLLATED, - -to see that the whole of the sheets belong to the same work and -volume, as also that none are wanting. This is done by taking the book -in the right hand by the upper corner of the fore-edge, and with the -left opening the sheets on the back and 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 duplicate, the further progress of the work -must be suspended till the imperfection is procured or exchanged. -Those that have been wrong folded must be corrected, and any _cancels_ -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 _beating_, or rolling, it will be much better to perform that -operation after the book is brought from the stone, for which -directions will be given. The book, being found correct, will be ready -for the beating-stone, which, although it has 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 according to the thickness -and other circumstances. A section is then taken and well beaten over, -drawing 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 -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. - -[Illustration] - -Before beating a book, care should be taken to observe if it has been -recently printed, for if so it would _set off_ by being beaten too -much. This will be easily ascertained by referring to the date at the -foot of the title, or by smelling the ink it has been printed with, -which, being composed partly of oil, will not have got perfectly dry. -This will particularly 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 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 make -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 workman should keep his legs -close together, to avoid _hernia_, to which he is much exposed if, -with the intention of being more at ease, he contracts the habit of -placing them apart. - -A rolling-machine has been invented as a substitute for the beating -which books require previous to being bound. The book is divided -into parts, according 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 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 sometimes all his skill and care are -insufficient to remedy the evil caused by the rollers. - -A powerful embossing press, technically called a smasher, has lately -been employed with great advantage. 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 operation is repeated until the book has experienced the whole -power of the press. It has been calculated 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 engaged; and it is, in some respects, -preferable to beating, as the book is of the same thickness in every -part, while in beating there is a great liability 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. - -[Illustration: HYDRAULIC PRESS, FROM THE MANUFACTORY OF ISAAC ADAMS & -CO., BOSTON.] - -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 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, -differing only in the general design, the application of power being -the same. - -After beating, should there be any plates to the work, they, as before -stated, must 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 number of plates, which -are directed to be placed at the end, they are sewn on the bands by -overcasting, which operation will shortly be treated of in full. - -The book, being now ready for pressing, is taken in sections, -according to the work and the judgment of the workman, and placed -between pressing-boards the size of the volume, one on the other, and -conveyed to the _standing-press_, which is 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 -sewn appearing on the back. After beating the book up well on the -back and head, it is placed between two _cutting-boards_, the back -projecting a little over the thick edge, and tightly screwing in the -_laying_ or _cutting-press_, the whole being elevated sufficiently -to prevent the saw damaging the cheeks of the press. Then with a -_tenant-saw_ the proper number of grooves are made, in depth and width -according to the diameter of the band intended to be used, which will -depend on the size of the book. A slight cut must also be given -above the first and under the last band, for lodging the _chain_ or -_kettle-stitch_. It is very necessary that the saw should be held -parallel with the press, without which precaution, the grooves being -deeper on one side than the other, the work will present, when opened, -a defect to the eye. - -The _end-papers_, which should consist of four leaves of blank paper, -folded according to the size of the book, are now prepared, and one -placed at the beginning and end of each volume. - - -SEWING. - -According to the number of _bands_ wanted, must be attached to the -loops on the cross-bar of the _sewing-press_ as many pieces of cord, -of proper length and thickness, and fastened with the aid of the -_keys_ in the groove of the press as nearly equal in tightness as -possible. When this is done, the back of the first sheet in the -book is placed against the cords, which must be moved upwards or the -contrary to the marks of the saw, when the small screws at each end -under the cross-bar must be moved upwards till the strings are equally -tight. All this being disposed, the book is commenced sewing by -placing the end-paper, which has no marks of the saw, on the sheet -before laid down, and sewing it throughout, leaving a small end of -thread to form the knot, after sewing the first sheet, which is then -taken from under and sewn the whole length. - -[Illustration] - -There are various ways of sewing, according to the size and thickness -of the sheets of a book. A volume consisting of thick sheets, or -a sheet containing a plate or map, should be sewn singly the whole -length, in order to make the work more secure and solid. Great care -should also be taken not to draw the thread too tight at the head or -foot of the book. 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 downwards, as is too frequently the case. Upon the -proper swelling of the back mainly depends the regularity of the round -and firmness of the back in the after-stages of the binding. - -When a book is sewed _two sheets on_, three bands are generally used. -Taking the sheet and fixing it on the bands, the needle is inserted in -the mark made for the kettle-stitch and brought out by the first band; -another sheet is then placed, and the needle introduced on the other -side of the band, thus bringing the thread round it, sewn in like -manner to the middle band, and continued to the third, when, taking -again the first sheet, it is sewn from the third band to the other -kettle-stitch, where it is fastened, and another course of two sheets -commenced, and so continued to the last sheet but one, which is -sewn the whole length, as directed for the first sheet, as also the -end-paper. Three bands are preferable to two, the book being more firm -from being fastened in the middle, which is the only difference in -sewing on two and three bands. - -Half-sheets, to obviate the swelling of the back too much, are usually -sewn on four bands, which 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 sawing, 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 -swelling of the back which a less number of sheets in a course would -make and spoil the appearance of the binding. - -When the book is composed of single leaves, plates, or maps, or, as -in the case of music, where, from the decayed state of the back, it is -necessary to cut off a portion with the plough in the manner pointed -out for cutting edges, the whole must be attached to the bands by -what is called whipping or 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 sufficient to secure the stitches from tearing, -bringing the thread round each band, as before directed, and fastening -it at the end before proceeding with another course. To keep the whole -of the sheets properly even, the back is sometimes glued immediately -after cutting, and when dry divided into sections. Atlases and books -of prints, when folded in the middle, will require a guard, or slip of -paper, to be pasted to them, so as to allow them to open flat, which -they could not do if attached to the back, and which would destroy -the engraving. These guards must be of strong paper about an inch in -breadth and folded to the 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 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 combines 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 process, and necessarily an expensive one; and many binders who -pretend to bind in this manner, to obviate this, have their books -sewed in the ordinary 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 pasteboard, 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 appearance; then -draw lines square across the back with a black lead-pencil from the -compass-points of the five inner divisions, for the places upon which -the bands are to be sewed; then make a slight scratch with a saw about -one-quarter of an inch inside of where the book will be cut, for the -kettle-stitch at the head and likewise at the tail. Upon taking the -book out of the laying-press, take the pasteboards and saw them at the -points marked by the lead-pencil of a depth sufficient to allow the -cords upon which the book is to be sewn to enter. The boards 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 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 sufficiently 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. The plates are then whipped along the back edge of the guard, -and sewed in the usual manner. - -It was proposed by _M. Lesne_, bookbinder of _Paris_, in a Memoir -presented by him to the "_Société d' Encouragement_," January 18, -1818, that in order to give to books the three essential qualities -of binding, elasticity, solidity, and elegance, they should be sewn -similar to the Dutch method, which is on slips of parchment, instead -of packthread; but to remedy the inconvenience arising from one slip -being insufficient to make the back of a proper solidity, as well as -being liable to break, and, if doubled or trebled, presenting a bad -effect on the back when covered, he suggested the adoption of silk -for the 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 solidity 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. - - -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 somewhat -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. - - - - -PART II. - -FORWARDING. - - -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 forwarder 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 compared 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 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 -entirely 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 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 by the finisher. - -These matters being adjusted, the end-paper turned back to its place, -and the twine on which the book has been sewn pulled tight, care -having been taken to avoid pressing the twine against the 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 convenient 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 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 engaged -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 the operation is repeated until it is 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 submitted 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 board; -then, turning the volume, the other is placed in a 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 turning 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 possible, the blows glancing towards the edge, so as -to merely commence the turning of the sheets, without causing any -indentations or wrinkles on the inside of the volume. 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 -backing-board, so as to form a regular and solid groove. The process -is repeated up the other side, the volume examined to see if the -back is regular and equal in its circle throughout, and any slight -irregularities corrected by light taps of the beating-hammer; but -nothing can justify a workman in striking a heavy blow near the centre -of the back, as it must inevitably crush and wrinkle the paper on the -inside. It serves but to prove his ignorance of the principle upon -which the entire operation is based. There is nothing connected with -the forwarding of a book that requires more attention, patience, -and skill, than the rounding and backing, and there is nothing that -contributes 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 -employed 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 previously 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 thicknesses of board together. Place them in the -standing-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 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 front -cutting-board is placed at the compass-holes, and again put in press, -with the front cutting-board or 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 difference:--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 integrity of their margins after having been -submitted to the cruel operation of his steel. A volume cut to the -print is said to bleed; therefore be careful to avoid the slightest -approach towards the commission of such an act of Vandalism. The -boards having been squared for the back, front, head, and tail, -they are placed, with the lined side of the board next to the book, -preparatory to the - - -LACING IN. - -Each board is then marked with a bodkin opposite to the slips intended -to be laced in; a hole in a vertical position is then made through the -board, and being turned, another in the same way near to the first. -The bands, having been pasted and passed in above, are returned -through the other hole, and, being pulled tight, the boards will -necessarily be perpendicular to the back, and confined in the groove. -After cutting off the end of the strings near to the lace-holes, they -must be beaten well and evenly into the board by placing the under -part on an iron (called the _knocking-down iron_) fixed at the end of -the laying-press, and beating above with the backing-hammer. - -If it be desirable that the bands should not be seen inside, the hole -may be made so vertical that, by placing the bodkin in the same on the -other side, another verging a contrary way to the first may be made, -and the band, being passed in this one continued hole, will not be -seen underneath. The liability, however, of its tearing out is an -objection, and from this cause the common way, with care in beating -down, is preferable. - -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 -pressing-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 screwed down, the back of the -volume is then damped with thin paste, and, according to the firmness -of the sewing and book, grated and scraped, and finally rubbed smooth -with paper-shavings, and left to dry in the press for as long a time -as possible. If a large volume, it is usual to apply a little glue to -the back. When taken out of the press, the boards must be disengaged -from the end-papers, where they adhere, so that they may move freely -up and down in the cutting. - - -CUTTING THE EDGES. - -[Illustration] - -The manner of preparing the volume for cutting is very important, as -swerving from right angles in cutting the head and tail will present a -disagreeable appearance. Every precaution must be taken to insure the -volume being cut perfectly square. The front-board is drawn down from -the head just sufficient for the knife to operate upon in the cutting. -A piece of trindle is inserted between the volume and the back-board -for the point of the knife to cut against. The volume is then placed, -with the back towards the workman, on a cutting-board in the left -hand; the _runner_ or smooth-edged board is then fixed on the other -side, with the right hand, even and square with the edge of the -mill-board, and the whole, held tight with the left hand, put into -the cutting-press, to the level of the right-hand cheek of the same, -taking care that the volume hangs perpendicular to the cheeks of the -press. Being screwed tight with the pin, the workman then takes the -plough with the right hand, by the head of the screw, and, placing -it on the groove of the press, proceeds to cut the book, holding the -other end of the screw firmly with the left hand, and causing the -knife to advance gradually through the book by turning the 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 _bolt_ 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 projecting part of the end-papers, and on each -side, at the head and foot, close to the square side of the boards, -drawing a line from one to the other; then, laying the boards open, -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 cutting-boards -at the end of the book, even with the line before made; turn it, and -place the runner as much below the line on the title-side as has been -allowed for the square on the fore-edge. Taking the whole in the left -hand, the volume must be examined to remedy any defects, should it not -be regular and equal on both sides, and then put into the press, the -runner as before even with the right cheek, taking care to keep the -other board projected above the left, equal to the square allowed in -front, so that, when cut through, the fore-edge may be equally square -with the boards on each side. 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 produced. The method above -described is called "cutting in boards," and is superior to any other. - -It is of the utmost importance to the young workman that he should -pursue and acquire a methodical system in all his operations. Select -the best method, as a matter of course, and then adhere to it. Do not, -every time you perform one particular process, do it in a different -manner. For instance: in backing or in turning up your books, it is -better to always have the head towards you; in cutting head and 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 inattention to these -particulars, in the unnecessary handling and confused manner of -working. It will be found that the best and most expeditious workmen -are those who do their work in a systematical manner. In taking leave -of this department, our parting 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 process, ask yourself the -question, "Why is this done? What is the object of it? Can the process -be improved?" 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 description must depend on the price allowed for the work, -and will vary according to the taste of the workman and wish of the -employer. - - -OF COLOURING AND SPRINKLING. - -The colours most used are brown and red, in preparing which it is -necessary to grind them in water, very fine, on a slab, with a muller. -Each colour is then placed in a separate vase, and mixed up with a -little paste and water to the proper consistency for use. To procure -a better edge, two drops of oil and about an equal quantity of vinegar -and 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 with the edges, and the book rested on the -edge of the press or table; then, holding the book firm with the -left hand, the colours must be applied with a small sponge 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 work, this must be done. - -In sprinkling, it is usual to tie together a number of volumes with -a board on each side of the outside books, or place them in the -laying-press first, with the heads upwards; then, with a large brush, -similar to a painter's, dipped in whatever colour may be wished, and -well beat on the press-pin over the pot till the sprinkle becomes -fine, the edges are covered. The pin and brush are held sufficiently -above the book, and the edge sprinkled by beating lightly at first, -and stronger as the brush becomes less charged with colour, being -careful that the spots are as fine as possible, the sprinkle being -thereby made more beautiful. - -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 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 require a -more lengthened description. - -BLUE.--Indigo and Prussian blue, with whiting for lighter shades. - -YELLOW.--Dutch pink, King's yellow, and yellow orpine. - -BROWN.--Umber, burnt over the fire. - -RED.--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 faithful -record of the art, the whole of the colours used and modes of -preparation will be presented. - - -BLUE. - -Two ounces of the best indigo, finely powdered, mixed with a -teaspoonful of spirit of salts and two ounces of best oil of vitriol. -Put the whole into a bottle, and let it remain in boiling water -for six or eight hours, and mix with water as wanted to the shade -required. - - -YELLOW. - -French berries, saffron, or faustic chips. Boil with a small portion -of alum; strain and bottle for use. - - -GREEN. - -The two colours above will make an excellent green used in proportions -as the shade required. Another green may be made by boiling four -ounces of verdigris and two ounces of cream of tartar till a good -colour is produced. - - -ORANGE. - -Two ounces of Brazil dust, one ounce of French berries, bruised, and a -little alum. Boil in water and strain. - - -RED. - -Brazil dust, half a pound; alum, two ounces, well powdered; boiled -in a pint of vinegar and a pint of water till brought down to a pint. -Strain and bottle. 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 copperas, boiled in three pints of soft -water till reduced a third, will make a good purple. - -Brazil dust, submitted to the action of strong potash water, will make -a good purple for immediate use, but will not keep. - - -BROWN. - -A quarter of a pound of logwood, and the same quantity of French -berries, boiled together. 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 of extra -books marbled, they will be of use to those who would find marbling a -work of too great preparation and expense for a small number of books -in places where there is no marbler. - - -RICE MARBLE. - -This pattern has been so called from the use of rice; but linseed, or -bread crumbs, will answer the same purpose. The rice is laid on the -edge of the book according to fancy, and the edge sprinkled with any -colour, the rice thus forming blank spaces. The edge may be coloured -previously all over, or sprinkled with a lighter shade. - - -WHITE SPOT. - -Take white wax and melt it in a pot; then with a brush throw some upon -the edge of the book; when it is set, colour the edge with a sponge. -Take the book and give it two or three smart knocks on the end of the -press, when the wax will fly off and a beautiful white spot remain. -This pattern may be much varied by using two or three colours or -sprinkling the edge before the wax is thrown on, and, after it is, -again with other colours. - -Whiting mixed with water to a thick consistency will 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-knife_ mix a portion of the colours with spirits of wine, and -convey with the knife some of the same to the middle of the vessel, -and allow it to flow gradually on the surface of the water. 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 effect may be given by sprinkling with a gold -liquid, made in the following manner:--Take a book of gold and half an -ounce of honey, and rub them together in a mortar until they are very -fine; then add half a pint of clear water and mix them well together. -After the water clears, pour it off and put in more, till the honey -is all extracted and nothing left but the gold; mix one grain of -corrosive sublimate with a teaspoonful of spirits of wine, and when -dissolved put the same, with a little thick gum-water, to the gold, -and bottle it, always shaking it well before using. When dry, burnish -the edge, and cover it with paper till the work is finished. - - -MARBLING. - -Marbling is an art which consists in the production of certain -patterns and effects by means of colours so prepared as to float upon -a preparation of mucilaginous liquid, possessing certain antagonistic -properties to the colours prepared for the purpose, and which colours, -when 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 describe; and yet, to any -one beholding it for the first time, nothing appears more simple or -easy 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 discoveries 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 what 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 -antique 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 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 -pronounced to be easiest and best. - -In 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 -described, 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, just as they are produced or manufactured, and ground -by the marbler himself. A list is subjoined:-- - - -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. - - -BROWN. - - Turkey Umber Burnt. - - -ORANGE. - - Orange Lead. - Orange Chrome. - - -WHITE. - - China Clay. - Pipe-Clay. - Flake White. - Paris White. - - -DROP LAKE. - -This is the most beautiful, but the most expensive, of all the reds, -and is used only for book-edges and the most superior kinds of work. -There are different shades of this colour, viz.:--scarlet, crimson, -and purple. The scarlet is the most expensive, 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. - -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 small cones or drops, from which it -derives its name, and is a preparation of cochineal; 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 preparation 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 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 Oxford; hence, it is called Oxford ochre, and -sometimes 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 exclusively for marbling. It is the best -red that can be used for general purposes, and for appearance comes -next to the drop lake. - - -CHINESE BLUE. - -This is a very beautiful but not a very durable colour. It is, -however, an almost indispensable one to the marbler, as it will -produce nearly every shade of blue by the addition of certain -proportions of white. This colour requires to be particularly well -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 colour, 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 kinds now in general use are the French and German, -the 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 mixing -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 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 prepared 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, with the aid of that colour and a -little indigo and black, any shade of brown may be produced. - - -ORANGE LEAD. - -This is a very heavy colour, and is but little used, except for the -edges of account books. - - -WHITE. - -For this an article called China clay is used; 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 offered. 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 satisfactory -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 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 annoyance 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 considerable -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 pan until they are all dissolved. - - -OF LINSEED. - -It is possible to marble some patterns on mucilage 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 resembling the annoying little insect whose name it bears, and -from which it may possibly derive its appellation. It produces a very -strong and powerful 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 -water, 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 judgment, 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 cooled, -for it will settle without being again heated or having more boiling -water added to it. - - -OX-GALL. - -The surest way of obtaining this article genuine 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 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 difficulty 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 weight 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 solution, 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 skimmer is drawn along, -and, upon sprinkling on the colours, they crack, and are a long while -spreading out, it is a sign it is too thick; but a little practice -will soon enable the learner to form a correct judgment 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 well. 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 particularly -well ground upon a slab, with a muller, the mill not grinding so -finely as by this method. - -The colours must all be ground with a preparation of beeswax, in the -average proportion of one ounce of the prepared beeswax to one pound -of colour. Blues and greens require rather more. This will prevent -the colour rubbing off on the hand, and will make it burnish or glaze -easily. - - -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 -with it a quarter of a pound of the very best curd-soap cut into small -or thin pieces; place it in a moderate heat, and when both soap and -wax are quite dissolved, (but be sure they are not boiling,) put the -pipkin containing the hot liquid upon a table, take in one hand a pot -of cold water, and, gently stirring the melted wax with the other, -pour in the water, a little at a time, keeping 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 properly 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. - - -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 without 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 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. - -[Illustration] - -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, putting 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. - -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 fineness; 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 -altogether, which cannot be counteracted in any other way than by -mixing some more colour without any oil, and adding it thereto. - -Having, then, all in readiness, first skim the surface of the solution -lightly all over, and immediately (for when 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 two opposite corners, and let the corner -between the finger and thumb of the right hand touch the surface -first, while with the left you let the paper gradually descend, till -it lies flat upon the liquid. If it is let down too quickly, or the -paper gets rumpled, 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. - - -No. 3.--BROWN 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 two 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 unburnt 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 these instructions, to imitate any French pattern, whether -there be more or less colours in them. - - -No. 6.--BLUE STORMONT - -Is an old pattern, but well worthy of being revived. Though apparently -very simple and easy of execution, 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 observation on the part of the workman. - -There is but one vein-colour, (red,) and the ground or body-colour is -blue. The same preparation 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 like fine network. Sometimes it -will happen 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. - -[Illustration] - -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 -accumulation of colour, or they will cause large spots or 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. - -[Illustration] - -Another method is to use a mixture of weak gall and water instead -of the white 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 sufficiently 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 a portion of the darker colour and mixing a quantity of 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. - - -No. 10.--WEST END, (GREEN, WITH LIGHT SPOT.) - -An excellent pattern may be made similar to No. 9 in all the details -of mixing, working, and putting on the colours, the only difference -being in the colours, which may be made of two shades of green or -olive, and the veins red, yellow, and blue. - -[Illustration] - - -No. 11.--CURL. - -The pattern called French Curl, after the description of the French -marble (see No. 1) will not require much explanation, the only -difference in the working being, that there must not be any of the -preparation of the flea-seed with the gum; but it must be done on the -solution of the gum alone, without any admixture. 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 ordinary French; it is the easiest of the two to -make. - - -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 proper -consistence; and, as it is not possible to state any given measure -for proportioning the gall and water exactly, some gall being stronger -than other, that must be determined by observing the effect produced -in the colours as they are tried on the solution. But each successive -colour requires more gall than the one which preceded it, and 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 exception. - -[Illustration] - -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 blue, and lastly, with a large brush full of -colour, the olive; beginning at the left-hand corner of the trough, -farthest from you, and working down and up closely all over, taking -care not to go twice over the same place, or you will produce rings -by the falling of one spot upon another, which is considered -objectionable. It cannot, however, 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 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 required -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 composed of good burnt ochre, darkened with a little black. - - -No. 17.--DOUBLE BROWN SPANISH. - -This pattern has four colours for veins 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. 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 considerably thinner, as they would get so thick upon the paper, -from one sheet being drawn over and taking up a surface of colour -usually allowed for two, that it would peel and crumble off and not -burnish. - -[Illustration] - -[Illustration] - - -No. 21.--NONPAREIL OR COMB. - -We now come to this well-known and very popular pattern, which has had -a most extraordinary run, and which some people hardly seem tired of, -although it has become so common of late as to be used on almost every -kind of work. - -For this description of marbling use the solution of gum alone in the -trough. Mix the colours with gall and water, taking particular care -to avoid all oil and grease of every description; but the colours will -require to be thicker, and more colour thrown on, than for Spanish, -with the exception of the last, which will not require to be so -heavily thrown on as the last Spanish colour. Let all the colours -be thrown on in about equal proportions. In commencing, proceed as -usual:--first, skim the surface of the solution, and immediately -follow with the red so as to well cover the whole surface of the -solution; then black; next, orange or yellow; fourthly, blue; and, -lastly, the top colour, of whatever 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 wood having pegs inserted about an -inch and a half apart and about three inches long, tapering towards -the point, and having the appearance of the head of a rake. Pass -this once up and down through the colour from front to back, taking -especial care that when you draw it back the teeth come exactly -between where they went up. Having raked the colour into the proper -form, take the comb, which must reach the whole width of the trough -from front to back, and draw 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 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. - - -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 will 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 worked upon a French -marble, but these require no additional explanation. We now come to - - -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 work. 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 -considerable 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 dark and light spots will fall together, intermingling -with each other and producing that variegated 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 patterns, and is performed by a very -different process to any of the preceding. Upon examining this -pattern, 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. It will also require two frames the size of the -paper, with wooden pegs in them, slightly tapering, about a quarter of -an inch in thickness, and fixed about 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 addition of a -little spirits of wine. With this exception, the colours will not -require any different treatment 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 with great caution,) 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 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 -with 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 take the one with the white and drop that just in the -centre of the spots already 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 over; then pass the comb -through it from left to right, and lay on the paper. - -As soon as you have hung it up, pour over it, from a jug with a spout, -about a pint of clear water, to wash off the loose colour and gum and -make it look clean and bright, after which, when dry, it will require -sizing before it can be burnished. - -When curls are required, it will be necessary to have a third frame, -with as many pegs as you may require curls upon the sheet of paper. - - -No. 29.--ANTIQUE DUTCH. - -Is done in a different manner to any of the processes 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 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 full.) 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; and the -green, indigo and Dutch pink. These must be ground and mixed, as -before directed, to the consistence of cream. The lake should be -ground one day and the other colours a few days before using, and kept -moist. The gum will require to be used 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 with 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 the order in which the colours should be arranged on the -trough:-- - - G B R O R G B R O R G B R O R G B - -As in the former instance, the initial letters signify the colours. -Draw the comb through and the 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 particular care in -marbling, or the colour and size will run in and spoil the appearance -of the plates. To obviate this, keep the book tightly compressed, and -where the plates are at the beginning of the book only, lay it down, -when marbled, the beginning side-upwards. For edges you may do with a -smaller trough, also a smaller quantity of colour than for paper. The -solution to work upon had better be gum-tragacanth alone. Colours for -edges will look all the brighter by the addition of alcohol, spirits -of wine, or whiskey; but they will evaporate more quickly. Having -every thing in readiness, take the book, or, if more than one, as many -as you can conveniently manage to hold tightly, with the backs in -the right hand and the fore-edge in the left, and let them touch the -colour, the back first, allowing them gradually to descend till the -whole end is covered; but be very careful that none of the size or -colour comes over the fore-edge, which it will do if dipped too deep, -and leave a nasty unsightly mark, and greatly disfigure the book. In -doing the fore-edge, the beginner had better place the volume between -a pair of cutting-boards, and, having thrown out the round, turn -back the boards, and proceed as with the end; when done, wipe off the -superfluous size from the boards 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 it to work backwards and forwards upon a plank -hollowed out for the purpose. The paper is moved over the plank, and -the friction of the flint in passing to and fro over the surface of -the paper produces a high polish. Sometimes the paper is calendered by -means of friction cylinders--a superior method. - - -COMBS. - -These are made in various ways, 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 constantly stirred, to prevent the soap and -glue from 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 D'Anonay_ -for durability. - - -ADDENDA. - -In taking leave of the subject of marbling, there is but little more -to add. For, when 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 principles that govern in mixing and distributing -the colours, and, with the aid of his own experience, his chance of -accomplishing it will be as good as any one else's. As a step to the -attainment of mastery in the art, let the workman divest himself of -the various nostrums he has been put in possession of by interested -parties, and give himself up with assiduity to the directions 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 prominent 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, with the fore-edge -between boards, similar to backing-boards, in the laying-press, and -screwing it tightly therein; then with the burnisher rubbing the edge -firmly and smartly over till it presents 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 head and -tail burnished in a similar manner, the ends of the boards resting in -the groove by the joints, the covered boards of the volume being open. -Common calf, sheep, and half-binding, may be burnished with the boards -closed, six or eight together, but it will be necessary to delay -pasting the sides on the latter till after the operation, to avoid the -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 groundwork 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 summer-time to chill it, as a test of -its strength. If too strong or thick, add water, then warm it to melt -the size and allow the water to become incorporated with it. To become -a good gilder requires considerable judgment, as every variety of -paper requires a different treatment. No rule can be laid down that -will answer in every case; but if the workman will but pay attention -to the directions here given, exercise patience, and above all reflect -upon the effects of his operations, ultimate success will be certain. -English books are made from linen rags, and the paper is sized. They -gild more easily and the edge looks better than American books. They -do not require as strong a size for gilding as books printed on paper -made from cotton. Books printed in this country are generally -made from cotton rags. Quantities of alum and lime are employed in -bleaching the pulp, to the sore annoyance of many a gilder, who has -found that a damp day would invariably put both his skill and patience -to the test. The best qualities of American paper are sized; the -generality, however, is not. To determine 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 were sized paper. The liability 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 difficult 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 with 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 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 sufficient celerity not to allow the gold -to be drawn from the paper in portions by the size. To do this well -will require some practice and a steady hand. Should there be any -breaks in the gold, other portions 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, which generally happens in from one to -two hours, it must be burnished. For this purpose a flat bloodstone -burnisher is the best, to be afterwards followed by a flat 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 the same precaution, the back towards the -workman. The foregoing direction 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 farther in the manner we shall now describe. - - -ANTIQUE STYLE. - -After the edge is finished as above directed, and before taking out -of the press, ornaments, such as flowers, or designs in compartments, -must be stamped upon it in the following manner. A coat of size is -passed quickly over with great precaution and lightness, and only once -in a place, to avoid detaching any of the gold. When dry, rub the -edge as lightly as possible with palm-oil, and cover with gold of a -different 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 off with a clean cotton, and there remains -only the designs the tools have imprinted, which produce a fine -effect. This mode is, however, now seldom used, though almost all -the books in the original binding of the sixteenth century are so -executed. - - -GILDING UPON MARBLED EDGES. - -This edge, which Dr. Dibdin, in his "Bibliographer's Decameron," calls -"the very luxury, the _ne plus ultra_ of the Bibliopegistic Art," is -one requiring great care and expertness in the execution. The edges -must be scraped before marbling. 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 painted thereon in water-colours, according to the fancy of the -operator. When perfectly dry, untie the boards and let the leaves take -their proper position. Then place the volume in the press, lay on the -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 necessary to -describe the proceeding, as the taste or wishes of some may render it -necessary that the workman should know how to operate. - -After the volume is gilt, the edges must be enveloped in clean paper, -by glueing the extremities one upon the other, to preserve the edges -from injury in the subsequent operations. This is taken off when the -volume is completed. - - -BLACK EDGES. - -Books of devotion are generally bound in black leather, and, instead -of being gilt on the edge, blacked to correspond with the covers. It -will therefore be necessary in this place to describe the process. - -Put the book in the press as for gilding, and sponge it with black -ink; then take ivory-black, lamp-black, or antimony, mixed well with -a little paste, and rub it on the edge with the finger or ball of the -hand till it is perfectly black and a good polish produced, when it -must be cleared with a brush, burnished, and cased with paper. - -Coloured edges, to look well, require to be scraped in the same manner -as for gilt. To lay the colour on evenly, and produce a high burnish, -requires more labour than gilding. They are therefore quite as -expensive. After the colouring or gilding of the edges, the next -process is to attach the - - -REGISTER, - -To do which the back, near the head, is lightly touched with glue, and -one end of a piece of ribbon proportioned to the volume is affixed. -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 book on the edge of the back, -and serves to support that part of the cover projecting above in -consequence of the squares of the boards, giving to the volume a more -finished appearance. Thus it will be seen that the headband must equal -the square allowed for the boards. For common work, the headband is -made of 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 the ends of the two together. -Supposing red and white to have been taken, the white attached to the -needle, it is placed in the volume five or six leaves from the left -side, and forced out on the back immediately under the chain-stitch -of the sewing, and the thread drawn until it is stopped by the knot, -which will be hid in the sheet; the needle is then passed a second -time in 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 -the back with a knot. These fastenings give firmness 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 inclination -upwards, to prevent the work slipping off before covering. - - -DOUBLE HEADBAND. - -This headband is made of silk of various colours, and differs from the -single, both in being composed of two bands, a large and small one, -and in the manner of passing the silk. 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. Great care must be here observed in -tightening the thread at the bead. - - -RIBBON HEADBAND. - -This style varies but little from the other, the same-coloured thread -being only passed several times round, instead of alternately with the -other, and making the bead at each turn, taking care that the under -thread is not observed, and then passing the other colour, in a -similar manner, as many or more times than the former. This will -produce a band--from which it is named--having the appearance of -narrow ribbons of various colours. Three or more colours may be used -in a pattern. - - -COVERING. - -The skins prepared for binding are dressed in a peculiar manner. They -are soft and of equal thickness throughout. The cutting out of -covers is an important operation, as by attention much economy may be -effected. For this purpose patterns in pasteboard of all the sizes -of books should be made, and such as are required placed on the skin, -turning them every way, so as to obtain the greatest number of pieces -possible, allowing about an inch round for paring and turning in. -Should the books be of the same size, a volume taken by the fore-edge -and the boards laying open on the leather will enable the workman to -judge to a nicety the most advantageous 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 confessed 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 possession 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 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 position that the back of the volume, which is from the -workman, will be in the middle. The far part is then brought over -to the other side, and care taken not to disarrange the squares. -The cover, which now projects an inch all round the volume, is drawn -tightly on the back with the open hands, by turning the projecting -portion of the cover outward and resting the book on the fore-edge, at -the same 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 binding. After the back has been -sufficiently manipulated, 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 headband, 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 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 operation, 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 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 performed 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_, which is done by placing -a board, longer than the book, on each side, projecting slightly over -the fore-edge, and tying them tightly with a cord from end to end. -Then, with a smaller cord, the leather is confined to the sides of the -bands, by crossing the string. For example: suppose the book had three -bands, one towards the head, one towards the tail, and the other -in the middle; the book would be taken in the left hand, the head -upwards, the cord by the help of a noose passed 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, -tightened, is thus crossed on the other side of the volume, and the -band held between it. The cord is in like manner carried on to the -second and third bands, fastened, and the whole set square with the -folder. It will be best understood by the following engraving. - -[Illustration] - -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 well worked 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 avoid stains and alterations in the colours. -Covers of the former description must not be drawn on too tight or -rubbed with the folder, as the grain or pattern 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 -previously, by pasting a piece of paper thereon, and be left to dry, -so that, when pasted for covering, the dampness will not affect its -appearance. Velvet will require great care, from its peculiar texture -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 proceeding 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. - - - - -HALF-BINDING. - - -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 wondered at; -for, while it combines economy and durability, 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 transition 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 sufficient 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 inside of -the board far enough to be covered by the end-papers. The width of the -back should be governed by the size of the volume. A narrow back gives -a very meagre appearance to a book. The size of the corners should be -determined by the width 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 the _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 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. - - - - -STATIONERY OR VELLUM BINDING. - - -This branch of the Art of Bookbinding, in large towns, is a distinct -business, and presents some difference in the mode of proceeding in -several of the manipulations required. These, as in previous parts -of the work, will be minutely entered into for the instruction of the -young workman, 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 of the -merchant and banker. Of the more simple and common bindings, it will -not be necessary to enter into minute details, the proceedings being -the same as for others, only omitting the more expensive operations, -the price allowed making it necessary to bind them in a more simple -manner. The first proceeding, should the work require it, will be the - - -RULING. - -This is done by a machine. Formerly it was done by hand. After the -pens are properly adjusted, 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 superseded the old process -of ruling by hand, yet to some a brief description of the process may -not be unacceptable. - -The paper, which is generally procured from the wholesale stationers -ruled with blue lines, must be opened out by breaking the back of the -fold, and 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 sections, and, with a round ruler -and tin pen, proceed to rule the whole of the head-lines on one side -of the paper. This, as well as every division of $ 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., taking especial care -that the pen always commences by the line at the head, and that it -never entrenches on the space above, which would disfigure the work. -As for the head-line, so here the whole of one side of the paper must -be completed before the other is commenced, attention being paid -to each line being perpendicular, clear, and as even in colour as -possible. - -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 complete 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 that page the leaves after -the volume is bound, the principal objection to which appears to be -the liability to soil or otherwise injure the binding; notwithstanding -this there are some binders who give them the preference. Those who -have used the machines of Mr. Griffin speak of them in the highest -terms. - -[Illustration] - - -INKS. - -To give to the work the best effect, it will be necessary to be -provided with good inks, and, it being connected with the subject, -some receipts for their preparation are subjoined. - - -RED INK. - -Mix together a quarter of a pound of Brazil dust, a quarter of an -ounce of cochineal, a small piece of lump-sugar, and two quarts of -vinegar: let these steep ten hours, and afterwards boil them on a slow -fire till of a good red colour. When settled, strain the ink through a -piece of fine cotton, and bottle it for use. - - -ANOTHER. - -Boil in a quart of soft water a quarter of a pound of Brazil dust; -when boiled, put in one ounce of ground alum, one ounce of white stone -crystal, and boil for three minutes, and strain. - - -BLUE INK. - -A good blue ink may be obtained by diffusing Prussian blue or indigo -through strong gum-water. The common water-colour cakes, diffused also -in gum-water, will produce a tolerably good blue for common purposes; -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-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 sewing. The number of leaves in each must -depend on the thickness of the paper and size of the book, taking care -that there are not so many as, when cut, to cause the leaves to start, -or so few that the backs will be swollen too much by the thread. -Then place the whole evenly in the standing-press for some time, and -prepare the end-papers, which must be of blank paper, and outsides, -unless the work is 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. - - -SEWING. - -The sewing of stationery differs much from that of printed books. To -allow of the greatest possible strength, elasticity, and freedom, they -are sewn on slips of vellum without being marked with the saw, and the -whole length of each sheet, with waxed thread. For small books, two -slips will be sufficient; for foolscap folio, three will be required; -and, where larger, the number must be increased, according to the -length of the back, leaving a space of about two inches between -each. The plan laid down by _M. Lesne_, (page 27,) might, perhaps, be -adopted here with fine and light work to great advantage. The slips -should be cut about an inch wide, and of sufficient length to extend -about an inch over each side of the back. This portion being bent down -at one end of the slips, they must be placed under the end-paper on -the table at such places as may be deemed proper, and the section sewn -the whole length; and so followed by every portion till the whole -are attached in the same manner, taking care that the slips retain -a perpendicular position and that the back be not too much swollen. -Should a morocco joint have been inserted, it must be sewn on -with strong silk of the same colour. When 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 difference in -operation. The book will now be ready for colouring the edges, the -processes of which have 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 leather and under the vellum slips on the back, -appears inside on the spaces where no thread has before passed. For -ornament, another thread is twisted round the gut on the back, so -as to present the appearance of a double cord. These matters being -adjusted, the 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 screwed tightly in the -standing-press for some time. - - -THE SPRING-BACK. - -There are numerous ways of forming this description of back, and as -generally adopted in different offices. As in other particulars, two -or three of the best will here be given: 1. Having ascertained -the width and length of the back, and provided a piece of strong -pasteboard, or thin milled board, of little more than twice the width, -fold one side rather more than half, and then the other, so that the -middle space left will be the exact size required, which should be -about a quarter of an inch wider than the back of the book; then cut -evenly another piece, a little less than the width, then another still -less, and so on for six or seven, lessening the width each time till -the last is merely a narrow slip. Let the edges of the first, or cover -for the whole, be pared, and laid open on the table; then glue the -middle space, and place thereon the largest slip, which also glue, and -add the next in size, 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 with linen cloth. - -2. Cut a piece of firm milled board to the size required, and pare -down the edges; then hold the board to the fire till it is found soft -enough to model almost into any shape, and form to the back as above -directed. The board is sometimes wetted, but does not answer so well. - -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 during the operation of -covering, it is laid on, and a piece of cloth glued over and attached -to the sides, similarly to the back of a half-bound book. This tends -also to materially strengthen the back. - - -COVERING. - -The materials generally used for stationery-binding are russia, rough -calf, green and white vellum, and rough sheep, according 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 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 headbands must be -squarely set, taking care to rub out any wrinkles that may have been -formed in turning in the cover. Should the book be very large, it may -be advisable to give it a nip in the press immediately after folding -in the fore-edges of the boards, and then finish the covering by -turning in the head and tail. - -As circumstances--such as the fancy of some previous workman, or -coloured vellum not to be obtained so early as required--may make -it necessary to execute the proper colours, the proceedings are here -given. - - -GREEN. - -Put one ounce of verdigris and one ounce of white wine vinegar into a -bottle, and place them near the fire for five days, shaking it three -or four times each day. Wash the vellum over with weak 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. 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 into before, it will not be -necessary here to repeat them. Where russia bands are not added, the -end-papers must now be pasted down, and the lettering, &c. proceeded -with. If bands are attached, the pasting down of the end-papers and -joints must be deferred 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 about half-way down the sides, and _double_ when those at -the head and tail reach to the corners of the boards, and are turned -over the edges in the same manner as the cover. For _single_;--having -ascertained the breadth by dividing the back with the compasses into -_seven_ spaces, cut three pieces of russia perfectly square and the -exact size of the spaces they are to occupy, and paste them on the -_second_, _fourth_, and _sixth_ divisions of the back, thereby leaving -in sight the first, third, fifth, and seventh spaces with the cover -only; draw them squarely on the sides, and place the volume in the -press, with the rods fixed to force the 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 manner; 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. - - -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 appearance in the whole, the workman's attention -must be directed to their fitting exactly in every particular of -length, breadth, and thickness. The clasps may be purchased of the -makers, but it may be found necessary to place the making of the -bands and corners in the hands of the brass-worker, to whom particular -directions and sizes must be given. They must fit tightly to the -boards, run exactly parallel with the edges, and have the holes for -the rivets 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 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, particularly of early-bound -Bibles, &c., in churches, are fastened in the same manner. - - -FINISHING. - -The placing of lettering-pieces, gilding, and blind-tooling, is -exactly the same as for printed books. Rough calf must be dressed with -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. - - - - -BOARDING. - - -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 manipulations in a previous part of this work, -that, in attempting 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 of paper must be pasted in the centre of the coloured paper -previously to applying it on the volume. When covered and pasted down, -the printed label must be fixed evenly on the back, and the book will -be finished. - - - - -CLOTH-WORK. - -In the year 1825 a great revolution in boarding was begun by the -introduction of cloth covers in place of the drab-coloured paper -previously in use. The late Archibald Leighton, of London, was the -inventor; and Mr. Pickering was the first publisher who adopted it. -The first cloth covers had printed labels; but very soon Mr. Leighton -made the discovery that cloth could be stamped with gold very -beautifully. Lord Byron's works (the edition in 17 volumes) were the -first books to which gold-lettering on cloth was applied. Cloth-work -is now done with full gilt sides and back and gilt edges; but, from -the temporary character of this style, the question may arise whether -it is not a useless expenditure of time and money to produce it. But, -so long as the public remain unacquainted with its want of capability -for use, and desire a mass of gold upon the sides,--so long, in fact, -as there is a large class who desire books for mere show and not -for use,--it will be the interest of publishers to gratify them by -furnishing cloth-gilt work. - -Expedition being so important in cloth-work, a machine has been -introduced to facilitate the operation of sawing the backs, and it is -now in general use for the purpose. The appended cut gives an accurate -idea of the machine as manufactured by W. O. Hickok, Harrisburg, Pa. - -[Illustration] - -For this and all other species of case-work (morocco is sometimes done -in this manner) the lining-papers are inserted and pasted over so as -to adhere to the end-paper, and the slips, having been cut short, are -scraped or rubbed smooth. The volumes are then knocked up and touched -on the back in one or two places with the glue-brush. They are then -cut upon the fore-edge, by being placed between two boards, one of -which is precisely the width that it is intended to cut the volumes; -the boards and books are placed upon the laying-press, and the backs -knocked evenly up; the whole is then placed in the laying-press, and -cut with the plough. The back-board being wider than the front, the -knife cuts against it. If the volumes are small, a number may be cut -at the same time. This mode of cutting is called "steamboating." After -the whole lot that the workman "has on" have been cut on the fronts, -they are then placed between cutting-boards again, of the proper size, -and knocked up on the head; they are then laid upon the press, with -the runner or front-board up; the board is then moved about a quarter -of an inch below the heads of the volumes as they are arranged in -layers or piles. The workman will then grasp the boards firmly, so as -not to allow the books to slip, and place them in the cutting-press, -and, after screwing it up tightly with the press-pin, proceed to -cut the heads in the same manner as the fronts. After this is done, -unscrew the press partially, so as to allow the volumes to be turned -without slipping in the tub; then, with one hand beneath the press, -depress one end of the boards, while the other is elevated, until the -whole is turned completely over, with the tails upward. The runner is -adjusted even with the cheek of the press, the press is screwed up, -and the volumes cut at the tail. If the edges are to be gilt, they are -now prepared for that operation. Afterwards they are glued upon the -backs and rounded, care being taken not to start the sheets or mark -the gilding upon the fore-edge with the thumb. They are then backed in -the same manner as bound books, except that they have larger joints. -Care is requisite at the ends, or the blows of the hammer will crush -the paper and thus give the gilding an unsightly appearance at the -joints. - -A machine has been invented for the purpose of backing books, and it -appears to be growing in favour for cloth-work, and, in fact, for all -work where expedition is a primary essential. It is the invention of -Mr. Sanborn, of Portland, Maine. The annexed cut gives an idea of the -general appearance of the machine. - -[Illustration] - -The next process is lining the backs, which is done by pasting strips -of paper or muslin upon the back, having it of sufficient width to -cover the joints on each side. The volumes are then prepared for the -cases, which have been previously got ready. The boards are cut to -a uniform square size by the table-shears. The cloth covers, after -having been cut out, have the corners cut off to a pattern made for -the purpose, just sufficient to allow them to lap when the cloth is -turned over the edge of the boards. The cover is then glued equally -over, and the T square laid upon it,--the square having been made -of the proper width to allow for the back, joints, and groove of the -volume. A board is then laid on each side of the centre of the square; -the latter is then lifted off, and a strip of paper, of the length -of the boards and nearly the width of the back of the book, placed -between the boards. The cloth projecting beyond the boards is then -turned over their edges. The cover is then turned over, and the cloth -rubbed smooth on the sides by means of a woollen or cotton pad. It is -then placed between pasteboards to dry. After the cases are all made -and have become perfectly dry, they are ready for stamping. Cloth for -ordinary stamping requires no preparation, but if the stamp be large -or very heavy it will be safer to use a coat of size. For this purpose -Russian isinglass is preferable; fresh glaire will answer the same -purpose. After the cases are stamped, the volumes being ready, they -are arranged with their heads the same way, and the end-paper of the -volume is pasted equally over. The book is then laid, pasted side -downwards, upon a case, adjusting the squares properly at the same -time; the other end-paper is then pasted, and the other board or side -of the case drawn over the back and placed upon the volume. After a -number are pasted, they are placed in pressing-boards having a brass -band affixed to the edges of the boards. The band, being rather wider -than the thickness of the board, causes a slight projection. The -volumes are adjusted in the pressing-boards in such a manner as to -cause the back and joint of the volumes to be on the outer, while the -pasteboard is on the inner, side of the brass rim. In this position -the volumes are placed in the standing-press and screwed tightly down; -they are then tapped lightly at the heads with a small backing-hammer, -and allowed to remain until dry. They are then taken out, and the -end-papers opened up or separated with a folding-stick. They are then -ready for the bookseller's shelves. - -[Illustration - -TABLE-SHEARS.] - - - - -PART III. - - - - -ORNAMENTAL ART. - - -In treating upon this subject, we are led back to the land of the -Pharaohs; for the earliest Art records that have come down to us (and, -perhaps, the most perfect) are from the banks of the Nile, remarkable -for their severely massive character, calm and frigid. The few -ornamental details are chosen rather for their symbolical than -æsthetic beauty, consisting of local forms slightly conventionalized -and heightened with colour. Their ornaments were types and symbols -intended to address themselves to the eye, heart, and soul of the -beholder, the most frequent in recurrence being the winged globe,--a -sacred emblem the Egyptians used in their ornamental designs,--the -human figure, their sacred animals, and the lotus, reed, asp, and -papyrus. Upon the capitals of Egyptian columns are represented -nearly all the flowers peculiar to the country, the petals, capsules, -pistils, seeds, and most minute parts, being often exhibited. Capitals -are often seen resembling a vase, and at other times a bell reversed. -There is little in this style applicable to the decoration of books, -unless it be upon works relating to Egypt. Then its symbols afford the -binder an opportunity to employ its symbolic ornamentation. - - -ASSYRIAN AND ANCIENT PERSIAN. - -Of this style it is only lately that we have become slightly -acquainted; and, though partly coeval with the Egyptian, the Assyrians -have borrowed little from them, the details being remarkable for -their classic character, at times approaching the Ionic, but greatly -dependent upon animal forms for its ornamentation, and upon painting -and sculpture for its expression. The forms, often graceful, are -less arbitrary than the Egyptian, (where symbolism is paramount,) -containing those elements afterwards elaborated into beauty by the -Greeks. There is an appropriate fitness in Assyrian ornament that -constitutes one of its prominent characteristics. In addition to -animals, the pomegranate, fir-cones, lotus-flower and reeds, rosettes, -and a fan-shaped ornament supposed to be the origin of the Greek -honeysuckle, distinguish the Assyrian style. - - -GREEK. - -Under the ancient Greeks, Art attained a refined and exalted -character, material beauty being developed to the utmost; elegance -of proportion, chaste simplicity, and conventionalism, triumphant; -symbolism disregarded. The principal elements of Greek ornament were -the honeysuckle, the lotus-leaves, the wave-line and scroll, the -zig-zag, and the universal fret. The beauty of Grecian ornament -consists in its equality of foliage, starting-points, stalks, and -groundwork. Its running figures are well adapted to and are employed -for rolls, in side-finishing, and the proportions of this style of Art -should be carefully studied by the finisher. - - -ETRUSCAN. - -Simplicity and elegance of form, combined with strong contrast -in colour, constitute the distinguishing marks of this style. The -Etruscan vases still form models for the artist. The novel appearance -of these vessels, all uniformly painted with a tracery of black on a -natural groundwork of brownish red, is extremely pleasing, proving the -high artistic capability of their makers. In the British Museum there -is one room entirely devoted to a collection of these remains of -ancient Art. This style is approached in its effects by inlaying -with black upon a brownish red. A copy of Caxton's "Recuyell of the -Historyes of Troye," bound in this style by Whittaker, has been highly -extolled. It is in the possession of the Marquis of Bath. The general -effects of this style are represented by a style now much in vogue, -called antique, a reddish-brown morocco being stamped upon so as -to produce a dark or black figure thereon; but the character of the -ornaments are generally dissimilar. - - -ROMAN. - -Roman art is a redundant elaboration of the Greek, in which purity -gives way to richness, grotesque combinations become common, and false -principles creep in. Mosaic pavements are rendered pictorial by the -introduction of light and shade, the flat and round not kept distinct. -In the remains of Pompeii we find the degradation of classic Art by -the violation of true principles. There is nothing in this style to -commend it to the artist, especially in decorating books. - - -BYZANTINE, LOMBARD, NORMAN. - -These varieties of kindred ornament, commencing with the rise of -Christianity, were founded on classic details, having a distinct -expression of their own. There is much symbolism in the Byzantine, -but all are appropriate to their several wants,--the parts rich, -judiciously disposed, and purely conventional. In these styles, so -intimately connected, we find the interlaced strap-work that suggested -Gothic tracery to the great mediæval artists. - - -MOORISH. - -The decorative art of the Arabs is more conventional than any other, -it being in most cases extremely difficult to trace the origin of -their forms. All animal representations are strictly excluded by the -religion of Mohammed. The union of geometrical with floral forms seems -to have supplied the expression, many ornaments resembling the ovary -of plants, transversely cut and connected with crystalline shapes. The -abstract and superficial treatment is perfect, the forms are extremely -graceful, and the colouring gorgeous. The interlaced strap-work is -highly elaborated. This style is sometimes called the Arabesque, and -forms the chief decoration of the Alhambra, an ancient fortress and -residence of the Moorish monarchs of Granada. For grace and liveliness -this style is unrivalled, and it affords many useful and beautiful -hints to the finisher in his hand-tooling, and is well calculated to -produce fine effects in stamps designed for the embossing-press. - - -GOTHIC. - -The Gothic is founded upon geometrical forms. The strap-work of former -styles is elaborated into tracery, the main lines being circular or -curved, starting from vertical lines, ending in points, enclosing -spaces divided and subdivided in the same manner, further decorated -with conventional ornaments derived from local nature. For bookbinding -it is sometimes employed, but without much judgment. The judicious -finisher will reject it on account of its inapplicability to -superficial decoration. - - -THE RENAISSANCE. - -The Renaissance or Revival arose in Italy in the fifteenth century, by -the appropriation of classic details in connection with prior styles, -the traditionary giving way to selection and freedom; Art gaining but -few entirely new forms, rather subjecting all that had gone before to -a new treatment, which in the hands of the great artists of the period -produced agreeable results, showing the importance of general design, -rendering even incongruous materials pleasing from that cause alone. -The Cinque-cento has been considered the goal of the Renaissance -and its characteristics,--strap, tracery, arabesque, and pierced -scroll-work, a mixture of the conventional with natural forms, and -every detail of ancient Art,--producing, under different masters, -varied results. Thus, in Raphael's Loggie of the Vatican are to be -found, as at Pompeii, elements piled one above the other, without any -regard to construction. The same with the works of Julio Romano at -Mantua,--painted imitation of bas-reliefs suspended above fountains, -temples, &c., the parts often finely drawn and treated, but, taken as -a whole, little removed from the absurd, quite unlike the works of the -Greeks and Etruscans they sought to rival. - - -ELIZABETHAN. - -The Elizabethan was an English version of the Renaissance, being a -special elaboration of the strap and bolt-work, and has been highly -useful to the stamp-cutter. Many of its forms can be advantageously -employed by the finisher. - - -LOUIS QUATORZE. - -This distinct expression of Art is of Italian origin, being the last -of the Renaissance, and end of ornamental styles. It consists of -scrolls and shells, an alternation of curves and hollows, the concave -and convex in contrast, the broken surfaces affording a brilliant play -of light and shade. The effect when gilt being extremely magnificent, -colour was abandoned, construction hidden, and symmetry often -disregarded, especially in its decline. As to superficial treatment, -flat surfaces were studiously avoided, and the few that remained were -treated pictorially, in a mellifluous, pastoral style, known as that -of Watteau. Under Louis XV. the forms degenerated: symmetrical -balance and flow of line were disregarded, giving way to the degraded -ornamentation called the Rococo--the prevailing style of the last and -earlier part of the present century--depriving Europe for more than -one hundred years of true superficial decoration, without which no Art -can be considered complete. An attempt at this style may be seen -upon the sides of some of the gaudily-gilt albums and books of like -character. No finisher need cultivate a love for it, for it is the -aversion of all refined artists. - - - - -FINISHING. - - -TASTE AND DESIGN. - -It is of the utmost importance to a young workman that he have correct -ideas in regard to taste, and be able to distinguish it from caprice -or mere fancy. It is in the power of all to acquire a correct taste, -for it is governed by laws that can be easily learned, and they are -unchangeable. Taste may be said to be a perception and an appreciation -of the principles of beauty and harmony as revealed by Nature through -Art. Nothing contrary to nature, no violation of any law of proportion -or of fitness, can be in good taste. The amateur and book-collector, -in commencing the foundation of a library, will do well to pause -before they adopt a species of binding that will in after years create -a feeling of annoyance, and perhaps lead to pecuniary sacrifice. - -A recent writer upon the New York Exhibition of the Industry of all -Nations discourses thus:--"We call bookbinding an art; and when we -consider all that is necessary to the perfect covering of a fine book, -it must be admitted to be an art; less important, it is true, but -similar in kind to architecture. - -"The first requisition upon the skill of the binder is to put the book -into a cover which will effectually protect it, and at the same time -permit it to be used with ease. If he do not accomplish this, his -most elaborate exhibition of ornamental skill is worth nothing; for he -fails in the very end for which his services are required. It was in -this regard, too, that most of our binders failed in past years. -Who that remembers the hideous, harsh, speckled sheep covers which -deformed our booksellers' shelves not long ago, can forget the added -torment which they inflicted upon their unhappy purchaser, by curling -up palpably before his very eyes, as he passed his first evening over -them, and by casting out loose leaves or whole signatures before he -had finished his first perusal? In those days, too, there was morocco -binding, with a California of gold upon the sides; and such morocco! -it felt to the fingers like a flattened nutmeg-grater, seeming to -protect the book by making it painful for any one to touch it. This -was as useless as the humbler though not more vulgar sheep. It would -hardly last through the holiday season on the centre-table which it -was made to adorn. - -"The binder's next task is to give his work the substantial appearance -without which the eye of the connoisseur will remain unsatisfied. -The volume must not only be well protected, but seem so. It should -be solid, compact, square-edged, and enclosed in firm boards of a -stoutness proportionate to its size, and these should be covered with -leather at once pliable and strong. Unless it present this appearance, -it will be unsatisfactory in spite of the richest colours and the most -elaborate ornament. Thus far the mere mechanical skill of the binder -goes. In the choice of his style of binding, and in the decoration of -his book, if he perform his task with taste and skill, he rises to the -rank of an artist. - -"The fitness of the binding to the character of the volume which it -protects, though little regarded by many binders, and still less by -those for whom they work, is of the first importance. Suppose Moore's -Lalla Rookh bound in rough sheep, with dark russia back and -corners, like a merchant's ledger, or Johnson's folio Dictionary in -straw-coloured morocco elaborately gilded, and lined with pale blue -watered-silk, is there an eye, no matter how uneducated, which would -not be shocked at the incongruity? Each book might be perfectly -protected, open freely, and exhibit evidence of great mechanical and -artistic skill on the part of the binder; but his atrocious taste -would insure him a just and universal condemnation. And yet there are -violations of fitness to be seen daily, on the majority of public and -private shelves, little less outrageous than those we have supposed. -Books of poetry, and illustrated works on art bound in sober speckled -or tree-marbled calf, with little gold upon the backs and sides, -and none upon the edges! Histories, statistical works, and books of -reference, in rich morocco, splendidly gilded!--the idea that the -styles ought to change places seeming never to enter the heads of the -possessors of these absurdly-covered volumes. But a little reflection -by any person of taste, and power to discern the eternal fitness -of things, will make it apparent that there should be congruity and -adaptation in the binding of books. Sober, practical volumes should be -correspondingly covered; calf and russia leather, with marbled paper -and edges, become them; while works of imagination, such as poetry -and books of engravings, demand rich morocco, fanciful ornaments, and -gilding. To bind histories, philosophical works, dictionaries, books -of reference and the like, in plain calf or dark russia,--travels, -novels, essays, and the lighter kind of prose writing, in tinted calf -or pale russia with gilding,--poetry in full morocco richly gilded, -and works on art in half morocco, with the top edge only cut and -gilded,--seems a judicious partition of the principal styles of -binding. The margins of an illustrated work on Art should never be cut -away, except where it is absolutely necessary for the preservation of -the book from dust, and the convenience of turning the leaves--that -is, at the top. It is well here to enter a protest against the -indiscriminate use of the antique style of binding, with dark-brown -calf, bevelled boards, and red edges. This is very well in its place; -but it should be confined to prose works of authors who wrote not -later than one hundred and fifty years ago. What propriety is there in -putting Scott, or Irving, or Dickens, or Longfellow, in such a dress?" - -Hartley Coleridge's opinion on the subject of taste in Bookbinding is -thus given:--"The binding of a book should always suit its complexion. -Pages venerably yellow should not be cased in military morocco, but in -sober brown russia. Glossy hot-pressed paper looks best in vellum. We -have sometimes seen a collection of whitey-brown black-letter ballads, -&c. so gorgeously tricked out that they remind us of the pious -liberality of the Catholics, who dress in silk and gold the images -of saints, part of whose saintship consisted in wearing rags and -hair-cloth. The costume of a volume should also be in keeping with its -subject, and with the character of its author. How absurd to see the -works of William Penn in flaming scarlet, and George Fox's Journal in -bishops' purple! Theology should be solemnly gorgeous. History should -be ornamented after the antique and Gothic fashion; works of science, -as plain as is consistent with dignity; poetry, _simplex munditis_." - -And it may not be irrelevant here to introduce the opinion of Dr. -Dibdin, whose connection with some of the first libraries in England, -and whose intimate knowledge of all the great book-collectors of the -same, must tend to stamp him as a good authority on the subject:-- - -"The general appearance of one's library is by no means a matter of -mere foppery or indifference; it is a sort of cardinal point, to -which the tasteful collector does well to attend. You have a right to -consider books, as to their _outsides_, with the eye of a _painter_; -because this does not militate against the proper use of the contents. - -"Be sparing of red morocco or vellum. They have each so distinct, -or what painters call spotty, an appearance, that they should be -introduced but circumspectly. Morocco, I frankly own, is my favourite -surtout; and the varieties of them--_blue_, (dark and light,) -_orange_, _green_, and _olive-colour_--are especially deserving of -your attention. - -"The colour of the binding may often be in harmony with its contents. -Books of poetry may be red, or light green, or blue, and have as much -ornament as may be desired. And Fine Art books, above all others, -ought to rejoice in beautiful coloured moroccos and gorgeous -ornaments. In the British Museum, books of divinity are bound in blue, -history in red, poetry in yellow, and biography in olive. - -"Let _russia_ claim your volumes of architecture or other antiquities, -of topography, of lexicography, and of other works of reference. Let -your romances and chronicles aspire to _morocco_ or _velvet_; -though, upon second thoughts, _russia_ is well suited to history -and chronicles. And for your fifteeners, or volumes printed in the -fifteenth century, whether Greek, Latin, Italian, or English, let me -entreat you invariably to use _morocco_: for theology, _dark blue_, -_black_, or _damson-colour_; for history, _red_ or _dark green_; -while, in large paper quartos, do not fail to remember the _peau -de veau_ (calf) of the French, with gilt upon marbled edges. My -abhorrence of _hogskin_ urges me to call upon you to swear eternal -enmity to that engenderer of mildew and mischief. Indeed, at any rate, -it is a clumsy coat of mail. For your Italian and French, especially -in long suites, bespeak what is called _French calf binding_, spotted, -variegated, or marbled on the sides, well covered with ornament on the -back, and, when the work is worthy of it, with gilt on the edges. Let -your English octavos of history or belles-lettres breathe a quiet tone -of chastely-gilded white calf with marbled edges; while the works -of our better-most poets should be occasionally clothed in a morocco -exterior." - -The further opinion of the doctor on the style of ornament, &c. in -gilding, will be given in its proper place, and which, with that -cited above, may be safely acted upon by the binder, blended with such -additions as his own taste may dictate. - -It is in this state that the defects of forwarding will become -more apparent, and which no tact or ingenuity of the finisher can -effectually remedy; for, unless the bands are square, the joints free, -and the whole book geometrically just, the defect, whatever it may -be, will appear throughout, and tend to destroy the beauty of every -subsequent operation, from the constraint required to make the general -appearance of the work effective. - -Before proceeding to a description of the various manipulations -required in gilding a book, it will be necessary to direct the -attention of the young workman again to what has been advanced -relative to care and attention in previous parts of this work, and -follow up the remarks there made with others on the taste necessary -to be displayed in this most important part of the art of bookbinding. -When it is considered that the most celebrated artists have arrived -at the eminence awarded to them not only through the elasticity, -solidity, and squareness of their bindings, but also from the -judicious choice of their ornaments for gilding, and the precision and -beauty with which they have been executed, it cannot be too strongly -impressed on the workman that this should ever occupy his first -attention. Nothing is so disagreeable to the eye as injudicious -or badly-executed ornaments; while with chaste and classical -embellishments, tastefully applied, an appearance of richness is -produced on the volumes that cannot fail to give satisfaction to the -most fastidious critic. The sides of the volumes present the field -most favourable for the display of ornamental taste, admitting, from -their extent, the execution of the most complicated designs. This -elaborate style of ornament has been carried to such perfection and -splendour as, in many instances, to have occupied several days in -the execution of one side alone; but it is only by the most vigorous -application, greatest care, and correct taste, that proficiency -therein can be attained. With these, success will soon crown the -endeavours of the workman; and he will have the satisfaction of -finding himself able to imitate any pattern, however difficult, as -well as to execute many new designs and compartments, of which, till -he applied himself, he had not previously an idea. - -As regards the style of ornament, it must be left to taste; but, as -before promised, it will now be proper to introduce the remarks of Dr. -Dibdin on the general effect of gilding and blind tooling, leaving the -detail to be suggested to the mind of the gilder. - -"First, let your books be well and evenly lettered, and let a -tolerable portion of ornament be seen upon the backs of them. I love -what is called an _overcharged back_, At first the appearance may be -flaunting and garish; but time, which mellows down book ornaments as -well as human countenances, will quickly obviate this inconvenience; -and about a twelvemonth, or six months added to the said twelvemonth, -will work miracles upon the appearance of your book. Do not be meagre -of your ornaments on the back, and never suffer _blind tooling_ wholly -to pervade a folio or quarto; for, by so doing, you convert what -should look like a _book_ into a piece of mahogany furniture. - -"In large libraries there should not be too much blind tooling or too -great a want of gilt. No doubt the ornament should be as appropriate -as possible to the book. One could not endure gingerbread-gilt -_Bibles_ and _Prayer-Books_, or _Chronicles_ or _Dictionaries_, or -other books of reference. Let these have a subdued decoration on their -backs; bands only full-gilt, or a running edge-tool in the centres of -them, with small ornaments between the bands. - -"I would recommend the lettering of a volume to be as _full_ as -possible; yet sententiousness must sometimes be adopted. The lines -should be straight, and the letters of one and the same form or -character within the line; yet the name of the author may be executed -a size larger than that of the date or place of its execution, and the -lettering may be between the top and bottom bands, or it may occupy -the spaces between three bands, or even more. Re-letter old books -perpendicularly, as was the custom. In all fresh bindings, however, -prefer horizontal to perpendicular lettering."[A] - - [Footnote A: We sometimes fear that Dr. Dibden's commendation - of an overcharged back has produced a bad effect. It should be - borne in mind that, when the doctor wrote, calf was the - prevailing material employed in binding, and that of a light - colour.] - -It remains to urge that particular attention be paid to the lettering -of books being their right titles, as the contrary will present to -the judicious an effect the most disagreeable, and may be the cause of -producing dissatisfaction with the whole of the binding in the mind of -the owner; and also to avoid the contrast which the different shade or -colour of new lettering-pieces will give to some bindings. - -As it is requisite that the workman should form an idea of the style -and design to be executed on the volume before he prepares it for -gilding, we will proceed to point out the peculiarities of some of the -most prominent styles and of the tools required to produce them. We -hope to convey a faithful idea of the latter with the aid of the tools -and ornaments executed expressly for this work by Gaskill, Copper & -Fry, bookbinders' tool-cutters, Philadelphia, who have secured for -themselves, by their taste and skill, an enviable reputation as -artists. Plate I. contains an illustration of the species of ornament -termed - - -THE ALDINE STYLE, - -Which derives its name from a noted printer named Aldus Manutius, a -Roman by birth, who was born in the year 1446 or 1447. His Christian -name, Aldus, was a contraction of Theobaldus; and to this surname he -sometimes added the appellation of Pius, or Bassianus, or Romanus. The -first of these appellatives was assumed by Aldus from his having been -the tutor of Albertus Pius, a prince of the noble house of Carpi; and -the second was derived from the birthplace of the printer--namely, -Bassian, a small town in the Duchy of Lermonetta. - -Aldus is supposed to have taken up his residence at Venice, as the -favourite city wherein to mature his plans, about the year 1488; and -about 1494-95 he there put forth the first production of his press. -He introduced Roman types of a neater cut than had previously been -in use, and invented that beautiful letter which is now known as -_Italic_, though, in the first instance, it was termed _Venetian_, -from Manutius being a resident of Venice when he brought it to -perfection; but, not long after, it was dedicated to the State of -Italy, to prevent any dispute that might arise from other nations -claiming a priority, as was the case concerning the first inventor of -printing. - -Prior to the time of Aldus, the only points used in punctuation -were the comma, colon, and full-point or period; but he invented -the semicolon, gave a better shape to the comma, and connected the -punctuation by assigning to the various points more proper places. -About the period of his marriage, (in 1500,) he invented a mode -of imposing a work in such a manner that two languages might be -interleaved and bound together, or separately, at the option of the -purchaser; and, about the same date, he printed the first leaf, in -folio, of a proposed edition of the BIBLE in the Hebrew, Greek, and -Latin languages; so that he has the honour of having first suggested -the plan of a Polyglott Bible. However, the plan failed of being then -carried into effect. Printing different languages in opposite columns -was not accomplished till 1530. - -The mind of Aldus was entirely engaged in the care of his -printing-house; for, as soon as he had ordered his other necessary -affairs, he shut himself up in his study, where he employed himself -in revising his Greek and Latin MSS., reading the letters which he -received from the learned out of all parts of the world, and writing -answers to them. To prevent interruption by impertinent visits, -he caused the following inscription to be placed over his -door:--"_Whoever you are, Aldus earnestly entreats you to despatch -your business as soon as possible, and then depart: unless you come -hither, like another Hercules, to lend him some friendly assistance; -for here will be work sufficient to employ you and as many as enter -this place._" - -The mark or device which Aldus--who died in 1515--made use of to -distinguish works issued from his press was an anchor, round which a -dolphin seemed to twist. It must be familiar to every amateur,--Mr. -Pickering, the London publisher, having adopted the Aldine anchor as -his device. To attempt any description of the Aldine class of tools -would be superfluous after so fair a specimen in the illustration. -It will be perceived they are entirely free from shading, and, -consequently, much more effective for that description of work for -which they are generally used,--viz., blind tooling. Both tools and -patterns are much lighter and more ornamental than the old Monastic -school, of which the Aldine in some degree partook. - -Upon the same plate there is exhibited the arrangement of a back-panel -and tools in the - - -MONTAGUE STYLE, - -Which derives its name from Montague, (of the firm of Montague and -Johnson,) a bookbinder of considerable eminence, who flourished -about the year 1780. The chief features of this style are corners and -centre, filled up with stops, &c. similar to illustration. The tools -are of an open, leafy description, flowing from a stem free from any -thing of the scroll or curl. The panel given has been copied from -a book supposed to have been done by Montague himself. The bar, or -barleycorn, on the head and tail and on the bands, likewise on the -insides and edges. Books in volumes, pieced red and green on adjoining -panels, frequently a lozenge of red on the second piece, and filled -up with corners and stops similar to the other panels; sometimes both -pieces green; sides generally plain, or a flowery flowing roll, for -which a two-line is now usually substituted; sewed on raised bands; -colour, brown calf, sometimes highly sprinkled. - -There is also upon Plate I. an illustration of - - -THE HARLEIAN STYLE, - -A style not behind Montague in beauty of ornament, and superior -in elegance and variety of arrangement. Before entering into a -description of the style, we will give what information we have gained -respecting its founder, trusting that it will not be unacceptable. We -find that "Robert Harley, Esq., of Frampton-Bryan, in the county of -Hereford, (the gentleman from whom the style derives its name,) was in -1700 chosen Speaker of the House of Commons, and in May, 1711, he -was created Earl of Oxford and Mortimer, and five days afterwards -was promoted to the important station of Lord High-Treasurer of Great -Britain." - -In the Preface to the Harleian MSS., now in the British Museum, -speaking of Mr. Harley, it states that "his innate love of books was -such as to determine him in early life to undertake the formation of -a new library, regardless of the disadvantages with which he must -contend, as great exertions had previously been made in collecting -MSS. for the Bodleian, Cottonian, and other valuable though smaller -collections, so that the prospect of forming a new library with any -considerable number of MSS. was indeed very unpromising. But, urged -on by a love of learning, and a strong desire to search into the -transactions of former ages, determined Mr. Harley to purchase -whatever curious MSS. he could meet with, more especially such as -might in any wise tend to explain and illustrate the history, laws, -customs, and antiquities, of his native country. The principal -point which the founder of the Harleian Library had in view was the -establishment of a MS. English Historical Library, and the rescuing -from oblivion and destruction of such valuable records of our national -antiquities as had escaped the diligence of former collectors. - -"At the decease of his son, (Edward Lord Harley, in 1741,) who had -been a powerful auxiliary in enriching the collection, the MS. library -consisted of nearly 8000 volumes. At the death of Mr. Harley, his -library was bequeathed to the University of Oxford. To such men we owe -a debt of gratitude for the improvement of the art and for introducing -a style of finishing that still remains the admiration of the -connoisseur. - -"The books in the Harleian Collection are principally bound in red -morocco, well sewed on raised bands, tight backs, (as were all the -books of that period,) Dutch marble end-papers, and gilt edges." - -Harleian tools are more wiry and much closer than the Montague, -interspersed with fine-line curls, fine pinhead curve-lines, rosettes, -acorns, solid stops, single rings, and cross-buns. - -The border upon the same plate illustrates the Harleian pane-side. In -the Harleian style there are three distinctly different arrangements -for sides and backs, (independent of the flights of fancy in which -finishers indulge.) There are on the sides,--first, the two or -three-line fillet, stopped; second, the Harleian tooled or spikey -border,--a style of finishing peculiarly neat and rich, and well -adapted for nearly every description of books. - -On original Harleys the tooling went right on from corner to corner, -as if worked by a very broad roll; but modern finishers prefer a -made-up corner,--that is, a tool or tools projecting at right angles -with the corner, up to which the border-tools are worked, thus -rendering the whole more harmonious and perfect. The spikey border -is worked up to a two or three-line fillet, with the cat-tooth roll -worked on the outer line towards the edge of the board. (We may -here mention that the cat-tooth, although purely French, may be also -considered Harleian, as it is on all the originals we have seen, -and accords well with the style.) Third, the pane or panelled side, -similar to the illustration. Sometimes a double pane was formed by -throwing in a two-line fillet and working a roll on the inside. - -On the backs there is the upright centre, the diamond centre and -corner, as in the illustration, and the semi-circle with open centre. - -The diamond centre was not much used on books of light reading, such -as novels, but rather on works of a graver nature, such as divinity, -philosophy, and history. It seems to have been the favourite style of -the earl's binders; and we must acknowledge that a book never looks so -like a book as when finished with a good diamond centre and corner. -In forming the diamond centre, the spikes ought to project beyond the -stops, as it is then more graceful and pleasing to the eye than when -the stop and spikes are flush one with the other. - - -THE FONTHILL STYLE. - -The following account of Fonthill Abbey will, no doubt, be acceptable, -in connection with our description of the "style" which has derived -its name therefrom. - -"Fonthill Abbey, in Wiltshire, justly ranks as one of the grandest -structures in the United Kingdom, combining all the elegance of modern -architecture with the sublime grandeur of the conventual style. It was -built about the end of the last century, at an expense of £400,000, by -Mr. William Beckford, son of the public-spirited Lord Mayor of London -of that name, whose statue now stands in Guildhall, with a copy of the -memorable speech and remonstrance which he addressed to George III. in -1770. Succeeding to almost unbounded wealth, (nearly £100,000 a year,) -endowed with an extraordinary mind, literary talents of the highest -order, and an exquisite taste for the arts, the young owner of -Fonthill Abbey determined to erect an edifice uncommon in design, -and to adorn it with splendour; and, with an energy and enthusiasm -of which duller minds can form but a poor conception, he soon had his -determination carried into effect. - -"The gorgeous edifice reared for Mr. B. contained many magnificent -suites of apartments. We need only notice two, denominated St. -Michael's, and King Edward the Third's Gallery. They are of the most -stately and interesting description that can be conceived or imagined: -the former filled with the choicest books and many articles of -_vertu_; the latter also employed as a library, but enriched with a -much greater number of choice and curious productions, and terminating -in an oratory, unique for its elegant proportions and characteristic -consistency. It is at once rich and luxurious as the temple of which -it forms an appendage,--sombre and soothing as the religious feelings -with which its designation associates it. - - 'Meditation here may think down hours and moments; - Here the heart may give a useful lesson to the head, - And learning wiser grow without its books.' - -It is but the drawing of a curtain, and not only all the glitter of -the adjoining splendour, but all the pomps and vanities of the world -seem to the meditative mind to be shut out forever. Perhaps its -pensive cast is more deeply experienced from the immediate contrast: -dazzled with objects of show, fatigued with the examination of rare -and costly commodities, and bewildered with the multitude of precious -devices which everywhere surround him, the soul of the visitant -retires with tenfold delight to the narrow walls of the oratory." - -Our brief description of the Fonthill style cannot fail to strike the -reader as being remarkably appropriate to the sombre character of -that part of the abbey which contained the library,--the one being in -strict keeping with the other. - -Half-bound olive-brown morocco; sewed on raised bands; gilt tops; -marble-paper sides and insides; with no finishing whatever, except the -lettering and date at bottom. - - -À LA JANSENISTE. - -This chaste and beautiful style is said to be derived from a religious -order, and is highly esteemed by amateurs. Books bound à la janseniste -are full-bound Turkey or Levant morocco, with a broad turn in on the -inside of the board, gilt edges with a fine one-line fillet each side -of the bands and head and tail, and neatly mitred on the side, all in -blind, there being no gilding on the outside but the lettering; on -the inside a broad-tooled border of very fine tooling in gold, a -fine two-line in gold on the edges of the boards, and the cap of the -headbands tipped with the same. - - -THE CAMBRIDGE STYLE - -Is practised, we may say exclusively, on theological works. At what -period it gained its name is uncertain; doubtless, it was the style in -which some of the university libraries were chiefly bound; and, in all -probability, the idea of the Harley paned side was first copied from -it. Books bound in this style are sewed on raised bands, brown calf, -pane-sprinkled sides, Dutch marble end-papers, and red edges. Back -pieced with red russia, and a two-line fillet head and tail, and on -each side of the bands, _blind_. Sides, two-line fillet close to the -edge and on each side of the pane, with a narrow flower-roll worked on -each side of the pane, close to the lines. The fillets in the pane to -be connected together at the corners with the two-line fillet, and a -tool worked from the corner of the pane towards the edge of the book, -_all blind_. Bar-roll on the edges, in gold. - -[Illustration: - - 2. - -_Modern Monastic._] - - -MODERNIZED MONASTIC. - -This style is now in great vogue, under the appellation of the -antique. The materials employed are divinity calf and brown or -Carmelite morocco, with very thick boards, edges either red, brown, -or matted gilt; very high raised bands. The style of ornament is -illustrated by Plate II., intended for a side-stamp to be done by -the press. It can also be done by hand, with rolls, fillets, and -hand-stamps, omitting the broad and narrow fillet, and substituting -either a one or two-line, working the circles with gouges. The tools -are all worked blind. This style of binding, when appropriate to the -book, produces a very pleasing effect. - - -ARABESQUE. - -"The term is more commonly applied to the species of ornament used -in adorning the walls, pavements, and roofs of Moorish and Arabian -buildings, consisting of an intricate heterogeneous admixture of -fruits, flowers, scrolls, and other objects, to the exclusion of -animals, the representation of which is forbidden by the Mohammedan -religion. This kind of ornament is now frequently used in the -adorning of books, plate, &c. Foliage very similar to that used by the -Arabians, intermixed with griffins, &c., were frequently employed on -the walls and friezes of temples, and on many of the ancient Greek -vases; on the walls of the baths of Titus, at Pompeii, and many other -places."--_Craig's Universal Dictionary._ - -As regards book-finishing, we have looked into more than one -authority, and are really unable to define what the "arabesque" style -is or ought to be. The well-understood term "roan embossed" is, in our -opinion, the nearest approach to it at the present day. - -Plate III. is an adaptation of an old German design for embossing. The -figure is raised, the plate being worked with a counter, in a powerful -press. - -[Illustration: - - 3. - -_Old German Style for Embossed Work._] - -This style can only be executed upon publishers' work where there is -a quantity of the same book to be done in this style. By it a good -effect is produced upon an inferior material and at a trifling cost. -The covers are embossed before they are applied to the volumes, and -in order to preserve the sharpness of the design they must be covered -with glue and not pressed afterwards. - - -ANTIQUE OAK AND OTHER BINDINGS. - -Great varieties of style in the covers of bindings have been -introduced within the last few years; but these must be left to the -imitative powers of the skilful workman, as no written description -would give the requisite information and guidance. Should he be -desirous of executing these, he will do well to study some good -specimen. Among others may be mentioned the Antique Oak Bindings, -adopted by Mr. Murray, for his "Illuminated Prayer-Book," and Messrs. -Longman and Co., for "Gray's Elegy." Also the Iron Binding,--viz.: -covers in imitation of cast-iron,--in which Messrs. Longman and Co. -have had bound the "Parables of our Lord." Bibles and Prayers are -now frequently bound to imitate the antique, having heavy boards with -clasps and corners, and finished in the monastic style. - - -GROLIER STYLE. - -This beautiful style of ornament is so well illustrated by Plate IV. -that it scarcely needs any remark. We will merely observe that this -style is well calculated for hand-work, being entirely superficial in -character. The pattern presented can be worked with a one-line fillet -and gouges, with a few leaves of a conventional character. The design -should be first traced upon paper of the proper size, the paper -lightly tipped at the corners with paste upon the side, then worked -with the fillet and gouges through the paper upon the leather. The -paper is then removed, and the blind impression appears upon the side. -All vestiges of the paper are carefully washed off, and the pattern -pencilled in,--that is, each portion of the figure is carefully traced -with a fine camel's-hair pencil saturated with glaire. When dry it is -lightly passed over with a piece of cotton in which sweet oil has been -dropped, and the gold leaf laid on. The pattern is then reworked upon -the gold. - -[Illustration: - - 4. - -_Grolier about 1530._] - -The design upon Plate V. is a modern elaboration of the Grolier, and -is intended for a side-plate, to be executed by the stamping-press. -It is well calculated for blind or blank stamping, the solid line -producing by its intersections a fine effect. By omitting the inner -and working the out lines, this elaboration of lines and circles can -be worked by hand. - -[Illustration: - - 5. - -_Modernized Grolier._] - -The Louis Quatorze is illustrated, by a pattern for a back, upon Plate -VI. This can be worked either by hand-stamps or by the press. The -centre pattern is a very pretty illustration of the prevailing style -of backs for case-work. This must be stamped before the cover is -applied to the book. - -The third pattern for flat backs is adapted for hand-tools, and -when executed upon light-coloured English calf produces a beautiful -appearance. From its light, graceful character, it is well suited to -modern poetry and light literature in general. This style gives scope -to an almost endless variety of patterns, regulated only by the taste -of the finisher. - -[Illustration: - - _6._ - - _Louis XIV._ _Modern._ _French._ -] - -Plate VII. is a design drawn by Holbein for a side-ornament in metal. -This beautiful pattern can be adapted either to hand or press work. -Its graceful and harmonious proportions should be well studied by the -young workman. - -[Illustration: - - _7._ - -_Drawn after a design by Holbein A.D. 1550._] - -Upon Plate VIII. will be found specimens of rolls and hand-stamps used -in finishing. The numbers affixed refer to the order of arrangement -in the Book of Patterns published by Gaskill, Copper & Fry, containing -over two thousand specimens with their prices attached. They have also -an immense number of patterns, executed since the publication of their -book for binders in various parts of the country. - -[Illustration: - - _8._ - -_Selection from Gaskill, Copper & Fry's Book of Patterns (18 Minor -S^t.)_] - -Having given the prominent distinct styles,--of which there are, -however, many combinations, both of style, ornament, and tooling, -originating more nondescripts than we have space to treat upon,--we -proceed to the gilding, trusting that what has been pointed out to -the attention of the young workman will induce him to neglect no -opportunities of becoming acquainted with the works of artists of -celebrity, not for the purpose of servile imitation, but to examine -their adaptations of ornamental art as a study, to enable him to trace -superficial decoration back to its originators. Having acquired this -knowledge, he may by his treatment of ornament take rank as an artist. - -The examples given will be sufficient for the intellectual workman -to conceive many patterns which his taste will suggest, forming an -infinite variety of beautiful designs. In all combinations, a rigorous -observance of the symmetrical proportions of the tools must be his -first care, so that the union of any number of designs present a form -agreeable and chaste. It would be superfluous to add more; but from -the importance of the subject, on closing the directions for the -ornamental department of binding, it may be repeated that there is no -greater evidence of the ignorance or carelessness of the workman than -an ornament of any kind unevenly or unequally worked. Let the young -binder especially bear this in mind: it is a defect which nothing can -effectually remedy; instead of an embellishment it is a detriment to -the binding, and his reputation as a clever workman is consequently -placed in jeopardy. - -Preparatory to gilding, the back must be compassed off and carefully -marked with a folding-stick and a straight-edge or piece of vellum, -wherever it is intended to run a straight line. This serves as a guide -when the gold is laid on. For work of the best class, the fillets must -be first put in blind, and the tooling done in the same manner. For -sides where the design is elaborate, or a degree of perfection in -the tooling is desirable, the entire pattern must be first worked in -blind, and, after being washed with a dilution of oxalic acid or -a thin paste-wash, it must be carefully pencilled in with the -glaire-pencil; but this comes more appropriately under the head of - - -PREPARATIONS FOR GILDING. - -To operate successfully, it will be necessary that the workman provide -himself with good size, glaire, and oil. The first is prepared -by boiling fine vellum slips till a good size is produced, of a -consistency that will lie equally on the volume without blotches or -ropes, and must be used warm. The glaire is formed of the whites of -eggs, beaten well with a _frother_ till it is perfectly clear, and the -froth taken off. This liquid will improve by keeping, and should never -be used new if it can possibly be avoided. For morocco bindings, the -glaire is sometimes diluted with water. The oil adopted by various -binders is different. Some use palm-oil for calf, sweet oil for -morocco or russia; others prefer hog's lard, or fine mould-candle, for -light-coloured calf; but sweet oil is well adapted for almost every -kind of leather. Vellum-size is the best preparation for coloured -calf. On books thus prepared, the glaire must be applied two or three -times, taking care that each coat is quite dry before the next is -added, and that it lies perfectly even on the whole surface, free -from globules or any substance whatever. Great care is required -in preparing coloured calf; for, if there be too much body in -the preparation, it will crack on the surface and present a bad -appearance. Morocco and roan will not require more than one coat, -and, where practicable, only on such parts of the morocco as are to -be gilt. The state of the weather must ever determine the number of -volumes to be proceeded with at one time, as in the winter double the -number may be glaired to what the dryness of a summer's day will admit -of, so as to work with safety and produce effect. A good paste-wash -before glairing is always advisable, as it prevents the glaire from -sinking into the leather. - -In preparing glaire from the egg for immediate use, a few drops of -oxalic acid added thereunto will be found to be of essential service. - -The volumes being thus prepared, the operation of - - -GILDING THE BACK - -Is commenced by oiling slightly, with a small piece of cotton, -the whole length of the back. If the book is merely intended to be -_filleted_ for the economy of the gold, small strips are cut on the -gold-cushion, attached to the heated fillet by rolling it slightly -over, and affixed to the volume by passing it firmly on the lines -previously marked. But if the back is to be fully ornamented, it will -be necessary to cover it entirely with gold-leaf. - -The hand-stamps should be disposed on the table before him, so as to -be selected with the greatest facility, and in readiness for every -purpose for which they may be required. - -To lay on the gold, the workman takes a book of the metal, opens the -outside leaf, and passes the knife underneath the gold; with this -he raises it, carries it steadily on to the cushion, and spreads it -perfectly even, by a light breath on the middle of the leaf, taking -care also that not the least current of air has access to the room -he may be operating in. Afterwards the gold must be cut with the -gold-knife to the breadth and length of the places to be covered, by -laying the edge upon it and moving the knife slightly backwards and -forwards. Then rub upon the back the oil, and apply the gold upon the -places to be ornamented with a cotton or tip, rubbed on the forehead -or hair to give it a slight humidity and cause the gold to adhere. But -if the whole of the back is to be gilt, it will be more economical to -entirely cover it by cutting the gold in slips the breadth of the -book and applying the back on it; afterwards press it close with the -cotton, with which any breaks in the gold must also be covered, -by placing small slips where required. The humidity of the hair or -forehead will be sufficient to make the gold adhere to the cotton or -other instrument with which it may be conveyed to the book. The fillet -or roll must then be heated to a degree proper for the substance on -which it is to be worked. Calf will require them hotter than morocco -and roan, and these warmer than russia and vellum. To ascertain their -proper heat, they are applied on a damp sponge, or rubbed with the -finger wetted, and by the degree of boiling that the water makes, -their fitness is known; but a little exercise and habit will render -this easy of judging. To further insure this, the roll or pallet is -passed over the cap of the headband; if too hot, the gold will be -dull; if too cool, the impression will be bad, from the gold not -adhering in every part. - -After the gold is laid on, the volume is laid upon the side, with the -back elevated, and the workman proceeds to mitre the fillets that run -lengthwise of the back, commencing at the line that has been traced -across the back, by pressing lightly with the point of the mitred roll -and running it carefully till near the line that marks the end of -the panel; then lift the fillet and turn it with the finger until the -other or reverse mitre, or nick in the fillet, is reached; then place -the fillet in the lines already gilt, adjusting it with the left hand -until the extreme point of the mitre will just reach the line traced -across. After both edges of the back have been done along the joint in -this way, the volume is then placed evenly in the finishing-press, and -the panels completed by mitreing the fillets that run across the back. -The entire operation requires the utmost care, in order to have the -lines parallel and the mitres perfectly even and true. No ornament -that may be afterwards worked upon the back, beautiful as it may be, -can atone for negligence or want of skill in the mitreing and running -of the fillets. As a matter of economy, sometimes the back is run up; -that is, instead of stopping where the lines or bands intersect, the -roll is run up the back from one end to the other, without stopping; -and, after wiping the gold off along the joint outside the fillet, it -is run across the back on each side of the bands, and head and tail in -the same manner. After the back is mitred, the finisher will proceed -with the ornamental tools, and work them carefully off. In placing -them, great attention should be paid to their occupying precisely -the same place in each panel; and, in order to present an agreeable -effect, the tools should correspond in detail, and there should be -a geometrical fitness governing the selection and arrangement of the -tools. - -The judicious choice of ornaments for the back is of the utmost -importance. For instance, such as represent animals, insects, -or flowers, which are only proper for works of natural history, -entomology, and botany, should never appear on the backs of works -on general literature, as it would be an evidence of bad taste or -carelessness. - -Every tool should be beautiful in itself, because no accumulation of -misshapen tools can make one beautiful ornament. There is no objection -to scrolls, leaves, flowers, stops, or any of the usual kind of -ornaments; only let them all be in themselves beautiful. It is -appropriate to introduce a harp on a book of songs, a stag's head on -a book on hunting, a recognised ecclesiastical pattern upon a book of -divinity or a prayer-book; a Greek or Roman design upon a classical -work, or a Gothic design upon a book on Gothic architecture. - -Should it be desired to present on the back simply an ornamental -lettering-piece at the head, diverging to a point towards the middle -of the book, and the rest of the volume left plain, it will be -necessary to impress the tools previous to glairing, and then apply -the glaire with a camel's-hair pencil in the indentations the tools -have formed. When dry, cover with gold and reimpress the tool in -the marks previously made, and letter the title. This proceeding is -adopted in every pattern where part of the back is intended to be left -dull by being free from glaire. - -The title must next engage attention, and the letters placed thereon, -either singly or together, with brass type properly fixed in the -hand-chase. If with single letters, the tail of the volume must be -lowered about an inch, and the workman draw a thread of silk across -the gold to direct the heads of the letters. Taking each singly, he -places them on the back with the right hand, steadying the letter with -the forefinger of the left. If the title is set in the chase, place -the volume evenly in the press, and apply the title, guided by the -thumb, firmly across. The title in either case must be justified, to -produce the best effect, taking care to avoid, if possible, having two -lines of the same length; and, where the title can be measured, as -in the type it may, the exact centre should be ascertained before -applying it heated on the gold. The back may now be considered -finished. The gold which has not been impressed by the gilding tools -must be well rubbed off with the _gold-rag_ and minutely cleared off -with a piece of fine flannel or India-rubber, so as to display the -delicate lines of the ornaments as perfectly and clearly as possible. -Attention should be paid to this particular; for, let a book be -finished in the most tasteful manner possible, unless well cleared off -the effect is entirely lost. If in calf, it must now be polished, and -the squares and edges of the boards proceeded with. - - -GILDING THE SQUARES, ETC. - -For gilding the edges of the boards, the gold may be taken as for the -bands,--on the roll,--and the volume held firmly with the left hand; -but, if large, put into the press between boards, so as not to injure -the back. Where the ornament of the inside-square is simple, the like -proceeding of applying the gold will be proper, resting the board open -on an elevation equal to the thickness of the book. But if the square -has been left large, with a leather joint, so as to admit of being -more elaborately filled up, the gold must be laid on the whole space -with the tip and pressed close with the cotton. The gilding is then -proceeded with in the same manner as detailed in the directions for -the side-ornaments. - - -GILDING THE SIDES. - -The sides, from affording more ample space, are the part of the volume -whereon the workman can and is expected to show his taste and skill -in gilding. The proceedings are the same as before pointed out where -a simple roll is the only ornament round; but where the pattern is -extensive and the details minute, it is necessary to have the whole -worked blind upon the volume before glairing, and then apply the gold. -If one side is done at a time, the book is taken by the leaves with -the left hand, the board intended to be covered resting on the thumb, -and the gold laid on as for the squares, either over the whole side -or on such parts as the pattern indicates. If the volume be small, the -gold may be laid on both sides and the leaves of the volume placed in -the finishing-press, allowing the boards to rest on its surface. This -affords greater facility for placing uniformly and systematically the -fillets, rolls, and tools necessary to complete the design on each -side. Where the pattern has not been marked, and one side only -proceeded with, the roll is run in a straight line, which should be -made, previous to covering with gold, on the board by the joint of the -back, the volume turned for the head and tail, and laid open upon the -board for the fore-edge, to give it the firmness necessary. - -Directions for executing the most elaborate designs have been -previously given, whereby it will be perceived that it requires -but taste, and a just observation of similarity of design and the -geometrical proportions of the ornaments, to execute them to any -extent. One variation from this rule will destroy the effect of the -whole pattern: it will therefore be to the benefit of such as are not -conversant fully with the art, to assist themselves with designs drawn -on cartridge-paper, which may be marked through on the leather and -the pattern executed in gold or blind as required. In all, the gilding -will be the same, either to glaire over the whole cover after the -design is stamped, or, if the plain part is to be left dull, by -glairing the impressions only with a camel's-hair pencil. - - -GILDING ON SILK AND VELVET. - -The proceedings necessary to be adopted for gilding on silk and velvet -are, from the delicate nature of these substances, different from -those laid down for gilding on leather. The glaire used on the latter -would tend to stain, and therefore it is necessary to employ other -means for fixing the gold. This is by drying the whites of eggs -and reducing them to a powder, which is put into a small bottle and -tightly tied over with a piece of fine muslin, by which means it is -equally distributed on the space intended to be gilt. Gum-sandarac is -now, however, more generally used for this purpose, although some -use gum-copal. The powder being applied, the gold is cut in slips and -taken on a roll of a circumference equal to the length of the space -intended for it to be applied on. The design is then firmly impressed, -and the superfluous gold brushed off with a soft brush or clean piece -of cotton, and the other side alike executed. In lettering, or fixing -single tools on the back, the same proceedings must be adopted, by -taking the gold thereon and applying it to the back or side of the -volume. Where the design is large, or elaborate work is required, it -will be better executed in the following manner:--The design must be -drawn on paper, and worked through on silk, after which the impression -must be carefully glaired with a camel's-hair pencil; when dry, rub -the parts intended for the gold with the finger passed through the -hair or with a clean rag slightly oiled, and, after laying on the gold -as directed for other styles, reimpress the tools, and _whip_ off the -superfluous gold with a clean flannel. - -As there is no moisture in silk, the workman must not lay on at one -time so much as he does on calf and other substances. - - - - -ILLUMINATED BINDING. - - -This style, an invention of the French, was for some time kept by them -with the greatest secrecy. It is a binding of the utmost magnificence, -uniting the varied beauties of the arabesque and gilt ornament, -blended with the illuminated decorations seen on early MSS. before the -invention of printing. When executed in the best manner, nothing can -exceed the beauty of the whole _coup-d'[oe]il_, rivalling, as it does, -in splendour, the most elaborately-finished design of the painter. The -time required to be devoted, on its first introduction, to a single -specimen, appeared likely to confine this sort of ornament to the -finest treasures of literature, and even to them in a limited degree. -The improvements, however, in machinery and the rapid advance of the -arts have, in a few years, brought this style into very general use -for albums and other works where embellished covers are adopted; and -even on the cheap roan bindings used for Bibles, Prayers, &c. it may -be seen; though in effecting this cheapness it must be premised that a -less durable method is adopted. - -To execute the more elaborate designs, practice and a taste for the -arts will here alone serve the workman; without these requisites it -would be futile to make the attempt. But, as the proceedings require -to be executed with the utmost care, we shall enter fully into such as -are new, and, from their importance, at the risk of being considered -prolix, again touch on those that may have been before treated of. - -The description of one side will serve the purpose of making the -proceedings fully understood. Whether the material be of morocco or -white vellum, it must be washed, if required, perfectly clean, and -left to dry. The first operation will be--if it be for stamp-work--to -place the side on the bed of the stamping-press and boldly impress the -design thereon. The most elegant, and capable of the greatest display -of colour, are subjects of botany and natural history. The next -step will be to glaire with a camel's-hair pencil such parts of the -impression as it is intended shall be afterwards covered with gold. -This done, the delicate operation of colouring may be proceeded with. -In London and Paris this is executed by professed artists in no way -conversant with book-binding. The colours to be used must be such as -do not at all, or very slightly, fade on exposure to the air or sun, -such as carmine, ultramarine, indigo, burnt sienna, gamboge, and -sap-green. These must be prepared, with fine gum, in the same manner -as for painting, and be lightly and delicately laid on such parts of -the design as it is intended the colour should occupy, taking care -that the ground-colour or leather is entirely hid. Let every thing be -true to nature, each bird, plant, and flower its proper colour, and -a general harmony prevail throughout. When finished, let the whole -perfectly dry, and then, in the manner directed, lay gold on such -parts as it is intended, in the reimpression of the plate, should be -further embellished. Heat the plate, place the side again under it, -and give it a firm and sharp impression. Rub off the superfluous gold, -and the whole of the delicate lines of the ornament will be found -beautifully gilt, the colours firmly fixed by the heat of the -plate, and the rough edges of the colour completely effaced by the -reimpression of the original design. - -In executing the less expensive and more simple designs, the plate -is impressed in gold on the side, and the parts left ungilt on the -leather; afterwards coloured according to the taste of the workman. - -For the best class of work, after the design is impressed, either by -hand or the press, pieces are cut out of variously-coloured morocco, -pared thin, and neatly pasted on the side, the design, when worked, -entirely concealing the edges of the morocco. This is termed inlaid -work. - - - - -BLIND TOOLING. - - -This is an ornamental operation, applied either before or after the -book has been gilt and polished, and, if judiciously intermingled with -the gold, will not fail to present a good effect. It is a style that -has been much used of late years, and is executed in the same way and -with the same tools as for gilding, but without any gold applied on -the places thus ornamented. The rolls, pallets, and smaller tools, -are applied by the hand, and the large plates with the press, with the -same precautions as indicated in the previous section. If the pattern -consists of straight lines, and the workman possesses a good eye, the -best manner of executing it is by making use of a pallet, placing it -firmly on the book, and sliding it to the opposite point. It remains, -therefore, to consider such matters as more immediately apply to this -style of decoration. - -The tools for blind tooling should not be so warm as for gilding, and -particularly for morocco. If it is wished to be left dull,--that is, -free from glaire,--the particles attaching themselves over the edge of -the gold ornaments must be removed with the end of the finger, wrapped -over with a piece of fine cloth, and wetted. This will soon wash it -clean, and when dry the blind ornaments may be proceeded with. - -Graining may be properly considered as a blind ornament. This is -where, by the means of wooden or metal plates, the sides of a book are -marked with lines crossed over each other, so as to form innumerable -small squares in imitation of russia, or in imitation of the grain -of morocco, scales of fish, and other substances. The operation is -performed by placing the volume between the two plates even by the -groove of the back, in the standing-press, and pressing it tightly -down, and so even that the plate will be impressed equally over the -whole surface. Nothing will look worse than a bold impression in -one place and a slight one in another; and therefore it becomes of -importance to see that it is evenly pressed, as a second application -of some kind of plates will never be found affixed to the same places. - - -MODERNIZED MONASTIC OR ANTIQUE. - -This style, whether done by the hand or the press, is one that -requires care and patience on the part of the workman, so as to bring -up the tools black, without burning or otherwise injuring the leather. -We have spent much time in experiments, so as to arrive at the most -certain and perfect mode of producing the desired result. The style -emanated from Mr. Hayday's bindery; and a volume executed in this -style for a connoisseur in this city, with tooling of a brilliant -black, fell into our hands some years since, and we at once set about -attempting to produce the same effects. Our efforts were confined to -hand-tooling for some time; and, although inferior in effect, they -were generally well received; but we were far from being satisfied. We -tried every substance that could be thought of, made the leather and -tools hot and dry, or wet and cold, as reason seemed to point to one -or the other as the proper method. We will now communicate the results -of our labours:--In the first place, the material is of the greatest -importance; and the finest effects cannot be produced except upon -English calf or morocco. American calf is entirely out of the question -for the purpose, as the morocco is too hard on the surface, and there -is not sufficient colour in the body for the tools to draw and affix -it by heat to the surface; but some kinds are better adapted for the -purpose than others. To test this, apply the tip of the tongue to the -leather, and if the dampness lies on the surface, without sinking -in, reject it; but if the dampness strikes instantly into the -leather,--the quicker the better,--the workman may proceed with some -hopes of success. After the volume is covered and ready for finishing, -wash it evenly over with clean water; and, as soon as the water ceases -to lie upon the surface, apply the tool moderately heated; this will -bring up the dark colour. Afterwards go over it again with the tool, -so as to make the impressions clear and bright. There are, however, -some colours, as well as particular manufactures, that will not come -up black; and we were long satisfied that some colouring-matter was -employed. We wrote to a friend in London, who sent us the material -and the method of its use. The material was common printers' ink. His -communication we now make public. "In the first place, the leather -should be quite damp, and the tools used should be as hot as possible -without the printers' ink. Then again impressed with the printers' ink -upon the tools. We put the larger tools in again without ink. When the -ink is used upon the tools, the leather should be rather damp, and -the tools not very hot. When the pattern is worked in the manner -described, it should be left until dry, and then brushed with a brush, -not very stiff, which will give a brilliant gloss to the tooling." -When using printers' ink, be careful not to get too much on the tools. - -Let the young workman but follow the directions given, and, with a -little patience and reflection, he will be able to do work of the -character under consideration, fully equal to the efforts of the best -workman, provided that the tools be worked true and even. - - -POLISHING. - -The details of this operation, which is performed immediately after -the gold ornaments have been worked, have been reserved in order -that the whole of the ornamental department might be kept together. -Morocco, roan, silk, and velvet, and the blind ornaments on any -substance, must never be submitted to the action of the polisher. A -smart rubbing with a piece of rough calf will be sufficient for the -two former, and the velvet or silk will merely require cleaning with -any smooth substance or with India-rubber. - -There are two polishers,--one for the back and bands, and another for -the sides. The oil applied on the cover previous to laying on the gold -will be sufficient to make the polisher glide easily over the surface. -The polisher must be heated, and well cleaned on a board, and passed -quickly and evenly on the back, sides, or joints, as the case may -be, taking especial care that it is not too hot, as the glaire would -thereby be turned white and the work damaged in appearance, nor so -cold as to give a bad polish. - -The book, as gilt, must be first polished on the back, by taking it -with the left hand, resting it on the table, and polished with the -right hand by gliding backwards and forwards the smooth part of the -polisher on the whole extent of the back. This not only polishes the -surface, but smooths down the indentations formed upon the leather -by the gilding-tools, bringing up the gilding to the surface. The -polisher must be passed on such places only as it is wished to make -brilliant, and great care taken not to touch the places intended to be -left dull. - -The sides are similarly polished, by laying the volume on the table, -covered with baize, and passing the large iron quickly over, first -from the fore-edge towards the groove, and then, by turning the volume -in a contrary way, from the tail to the head. - -If the joint requires polishing, the book is laid before the workman, -the tail towards him, and the iron applied on the side next the -groove, polishing the whole length of the board; then, turning round -the volume, and bringing the fore-edge towards him, he polishes the -side on the fore-edge, and, turning again, completes the whole by -polishing the parts at the head and tail. - -In addition to polishing, it is desirable to give to the sides the -greatest possible smoothness by pressing them between polished tins or -horns. These are placed on each side of the book even by the groove, -put between pressing-boards, and screwed tightly in the press, and -left for some time. - - - - -COLOURING. - - -Calf-skins of uniform tints, and also sprinkled, can now be obtained -of English manufacturers; yet in many localities they are difficult -to obtain. We therefore make known the chemical substances and -ingredients required to execute them in the best manner. Marbling is a -process that must be executed by the binder upon the cover, and, with -many other revival styles, is again coming into vogue. The recipes -given for the superior marbles and designs will, it is presumed, -present this branch of the art on a higher footing, in a general -point of view, than is usually accorded to it; and it is confidently -asserted that not one of them will prove a failure, if attention -to the directions be only given. Nothing has been omitted in the -description of the substances best for use, the mode of preparing -them, and the proceedings to be adopted, that can tend to give to the -covers all the elegance and splendour of which they are susceptible. -By the aid of these, assisted by some taste, the workman may vary the -designs almost to infinity; but it must be admitted that, unless he -is devoted to his art, no mere directions or casual advantages will -enable him to succeed in the more complicated or delicate operations, -while, with an ardour for it, all difficulties will be easily -overcome. - - -CHEMICAL PREPARATIONS. - -Under this head is included _aqua regia_, or killed spirits, _nitric -acid_, _marbling-water_, and _glaire_ prepared for marbling. - - -AQUA REGIA, - -So called from its power to dissolve gold, is a mixture of nitic acid -(aquafortis) and muriatic acid, (spirits of salts,) deprived of its -burning qualities by block-tin, which it dissolves. It is called -by the chemist _acid nitro-muriatic_: the muriatic also contains a -portion of alkali, which gives to red a vinous tint, and for which -colour it is principally used. - -The two substances should be of the purest quality, of a concentration -of thirty-three degrees for the nitric acid and of twenty degrees for -the muriatic. They must be mixed with the greatest precaution. Having -provided a clear glass bottle, the neck rather long, capable of -holding twice the quantity to be prepared, place it upon a bed of -sand, the opening at top, and pour in _one part_ of pure nitric acid -and _three_ of muriatic. Let the first vapours dispel, and then cover -the orifice with a small phial, which must not confine the vapour too -closely, as the bottle would be liable to burst, but which retains -as much as possible without risk. Of block-tin, an eighth part of -the weight of the acid must then be dropped into the bottle, in small -pieces, a little at a time, covering the orifice with the phial. The -acid will immediately attack the tin and dissolve it, when a second -portion must be put in with the same precaution, and so on till the -whole is dissolved. _Malacca_ tin is the best for use, and if pure -there will be no sediment; but, as it cannot always be obtained, a -black sediment will be left. The vapour having ceased, the acid must -be poured into bottles and secured with glass stoppers, to preserve -it. When used, a part is taken and mixed with _one quarter_ of its -weight of distilled water. - -It is usual with some workmen to perform this operation in a common -drinking-glass; but, as the vapour is thereby all dispersed, the -composition loses a considerable portion of its best quality, for it -will be observed, if performed in a bottle as above directed, that the -vapour assumes a red tint, which does not escape if the neck of the -bottle be of sufficient length. - - -ANOTHER. - -Some binders adopt the following method; but, as it is not capable of -producing an equal beauty and clearness of colour with the one above -given, it will not be advisable to use. The former, too, will be -equally effective to an indefinite period, while this will not -preserve more than two or three months. - -Put in a brown freestone pot two ounces of powdered _sal-ammoniac_, -six ounces of fine _Malacca tin_, in strips or drops, twelve ounces of -distilled water, and, last, a pound of _nitric acid_, of thirty-three -degrees. Leave the whole till the tin is dissolved, and then pour off -and bottle as above directed. - - -VITRIOL-WATER. - -Vitriol, as sold in the pure state, will not be proper to use in -marbling or sprinkling, as it would corrode and destroy the leather. -It must be weakened at least in proportion of one ounce of vitriol to -three of water. - - -MARBLING-WATER. - -It is usual with many to use the water pure; but a few drops of -_potash liquid_ mixed with it will be found to produce better effect, -the marble being rendered more distinct. - - -GLAIRE. - -Put spirits of wine in a proportion of two drops to the whites of -twelve eggs, and beat the whole well together till perfectly clear. - - - - -PREPARATIONS OF THE COLOURS. - -The preparations used by different binders vary much, as will be seen -by the recipes given for the same colours, which we judge necessary -to put on record, that nothing connected with the subject should be -omitted, premising that each colour may be depended upon for producing -the most satisfactory results. It may be proper also to observe that -the whole of the woods and other ingredients used should be previously -powdered or reduced to small pieces, the colours being thereby much -better extracted. - - -BLACK. - -1. Dissolve half a pound of green copperas in two quarts of water. The -oxide contained in the sulphate of iron will combine with the tanning -of the leather, and produce a good black. - -2. Boil in a cast-iron pot a quart of vinegar, with a quantity of -rusty nails, or steel-filings, till reduced one-third, taking off the -scum as it rises to the top. This liquid improves by age. To keep up -the quantity, boil with more vinegar. - -3. A cheaper liquid may be produced by boiling two pints of beer and -two pints of water with two pounds of old iron and a pint of vinegar, -scumming as before, and bottling for use. - - -BROWN. - -1. Half a pound of good Dantzic or American potash dissolved in one -quart of rain-water, and preserved in a bottle well corked. - -2. Salts or oil of tartar, in the same proportions as above. - -3. A beautiful brown may be procured from the green shells of walnuts. -To prepare this, a quantity of the green shells, when the nuts are -gathered, must be pounded in a mortar to extract the juice, and then -put into a vessel capable of holding a sufficient quantity of water. -The water being put in, the whole should be frequently stirred, and -left to soak, with the vessel covered. Afterwards the liquid must be -passed through a sieve, the juice well expressed, and bottled, with -some common salt, for use. This liquid, after fermentation, will -produce the best effects, for the uniform tints, as it tends to soften -the leather, and will not corrode. - - -BLUE. - -1. It is usual with many binders to use _Scott's Liquid Blue_, but it -is necessary to know the preparation of the colour. Perhaps the best -and most simple one known is one given by _Poerner_, which is as -follows:--In four ounces of sulphuric acid, of 66 degrees, mix -gradually one ounce of finely-powdered indigo, so as to form a sort of -pulp. Place the vessel in another containing boiling water, for some -hours, and then leave it to cool. Afterwards put to it a small portion -of good potash, dry and finely powdered, stirring the whole well, -and letting it rest for twenty-four hours, when bottled, and use as -required. This colour will appear nearly black, but may be made to -any shade by adding water to it. If any portion remain after being -diluted, it must be put into a separate bottle, as if mixed with the -first preparation the whole would be deteriorated. - -2. A readier blue may be prepared by mixing one ounce of powdered -indigo with two ounces of oil of vitriol, and letting it stand for -twenty-four hours, and then adding twelve ounces of pure water. - - -PURPLE. - -Boil half a pint of archill or logwood with vinegar and water, of each -half a pint. - - -LILAC. - -Same as for the purple, with the addition of about two table-spoonsful -of potash. - - -VIOLET. - -Half a pound of logwood chips and one ounce of Brazil dust, boiled -over a good fire in four pints of water till reduced one-half, and -left to clear. Then throw in one ounce of powdered alum and two grains -of cream of tartar, and again boil till dissolved. This liquid must be -used warm. - - -FAWN. - -In two pints of water boil one ounce of tan, and a like portion of -nutgall, till reduced to a pint. - - -YELLOW. - -1. To one ounce of good caked saffron, turmeric, or French berries, -add a portion of spirits of wine or _aqua regia_, and leave the -mixture to macerate. This liquid is used cold, and may be varied to -any shade by adding water when required. - -2. In two pints of water put eight ounces of French berries, and boil -till reduced one-half. Then pass it through a sieve or fine cotton, -and add a small quantity of powdered alum, and again boil, using it -warm. - - -ORANGE. - -In a pint and a half of potash liquid, boil a quarter of a pound -of fustic chips till reduced one-half; then put in an ounce of good -_annatto_, well beaten, and, after boiling, a small portion of alum, -and use warm. - - -GREEN. - -1. Liquid blue and yellow mixed will best suit for general purposes. - -2. Dissolve in a bottle one ounce of verdigris in an ounce of white -wine vinegar, and place the whole before a fire for four or five days, -frequently shaking the bottle. - - -RED. - -There are three sorts of red,--viz.: common, fine, and scarlet. - -_Common._--1. In a tinned kettle boil half a pound of Brazil wood, -eight grains of nutgalls, both powdered, and three pints of water, -till the whole is reduced one-third. Then add powdered alum and -sal-ammoniac, of each one ounce, and when dissolved strain through a -sieve. This liquid must always be used warm. - -2. Boil a quarter of a pound of Brazil dust, two ounces of powdered -cochineal, and a little alum, in two pints of the best vinegar, till a -bright red is produced. Use warm. - -_Fine._--1. In three pints of water boil half a pound of Brazil dust -and half an ounce of powdered nutgalls. Pass the whole through a -fine cotton, and replace the liquid on the fire, adding one ounce -of powdered alum and half an ounce of sal-ammoniac. Give the whole -another boil, and then add a portion of _aqua regia_, according to the -shade desired, and use warm. - -2. A quicker and cheaper proceeding is by putting in a cup a portion -of Brazil wood, and adding to it the _aqua regia_, letting it stand -for a quarter of an hour to extract the colour. - -_Scarlet._--To one ounce of white nutgalls and one ounce of cochineal, -both finely powdered, add two pints of boiling water. After boiling -some time, add half an ounce of _aqua regia_, and use warm. - - - - -MARBLING. - - -Before proceeding to a description of the marbles, and other designs -on the covers coming under the general head of marbling, it will be -proper to give a few directions relative to some important matters -required in the way of preparation. As the success of many of the -designs depends upon the quickness with which they are executed, -it will be important that the colours, sponges, brushes, &c. are -previously disposed in the best order, so as to be of the readiest -access. Attention should be paid to the probable quantity that may be -required of each colour, as many of them will not be available for use -another time. - -The books should all be previously washed with paste and water to -which has been added a little pearlash liquid, and left to dry. After -this they must be glaired equally over, and when dry placed upon the -marbling-rods, the sides of the books extending over and the leaves -hanging between. The rods must be placed on an elevation at the top, -so as to allow the water to run gradually towards the bottom of the -books; and, if the backs are required to be left plain, another rod, -or piece of board, grooved to the shape of the back, placed on them. -To avoid the scum arising from the beating of the brushes over the -colours, it is better to rub the ends of the bristles on the palm of -the hand, on which a little oil has been spread. These preliminaries -being settled, the operation of marbling commences, for which we shall -now give directions. - - -COMMON MARBLE. - -The book being placed on the rods, throw on the water prepared for -marbling in large drops, with a coarse brush, or bunch of quills, till -the drops unite. Then, with a brush charged with the black liquid and -beaten on the press-pin as directed for sprinkling the edges, a number -of fine streaks are produced by throwing the colour equally over the -cover. Afterwards the brown liquid must be similarly thrown over. When -the veins are well struck into the leather, the water must be sponged -off and the book placed to dry. - -If the volume has been previously coloured with any of the -preparations before described, and it is wished to produce a marble -thereon, the brown must be thrown on first, and then the black; as -without this precaution the marble would not strike, because of -the acid which forms part of the colours. This observation being -applicable to all the other designs, it will not be necessary again to -repeat it. - - -ANOTHER. - -Throw on the vinegar-black, then the brown, and lastly a sprinkle of -vitriol-water. - - -PURPLE MARBLE. - -Colour the cover two or three times with hot purple liquid, and, -when dry, glaire. Then throw on water, and sprinkle with strong -vitriol-water, which will form red veins. - - -STONE MARBLE. - -After throwing on the water, sprinkle boldly with the black liquid; -then, with a sponge charged with strong brown, drop the colour on the -back in three or four places, so that it may run down each side in a -broad stream, and afterwards operate with vitriol-water on the parts -the brown has not touched. - - -GREEN AGATE. - -Sprinkle black, in nine times its quantity of water, in large drops -over the whole surface of the cover, and when the drops unite apply on -the back at regular distances the green liquid, so that it may flow on -the boards and unite with the black. - - -BLUE AGATE. - -Proceed as above, only substituting blue in place of the green, -weakened with water according to the shade required. - - -FAIR AGATE. - -Commence by sprinkling black in small drops at a good distance from -each other; afterwards sprinkle equally over large drops of weak -potash. - - -AGATINE. - -Proceed as for the green agate, and then sprinkle scarlet all over the -cover; finally, throw on blue in small drops, weakened in four times -the quantity of water. - - -LEVANT MARBLE. - -After the water, throw on the back-brown in broad streaks as directed -for the _stone_, and then in like manner the _aqua regia_. This will -be found to imitate closely the Levant marble. - - -PORPHYRY VEIN. - -Throw on large drops of black diluted in double the quantity of water. -When the colour has struck well into the leather, sprinkle in the -same manner brown mixed equally with water. Then apply a sprinkle -of scarlet, and afterwards large spots of yellow, the liquid nearly -boiling. While these colours are uniting, throw on weak blue, and then -_aqua regia_, which, flowing together down the sides of the book, will -form the vein distinctly. - - -RED PORPHYRY. - -Sprinkle with black in eight times the quantity of water, very equal -and in small spots. Let it dry, rub, and glaire. Then give two or -three sprinkles of fine red, and one of scarlet, and again leave to -dry. Finally, sprinkle scarlet in small spots as equally as possible. - - -GREEN PORPHYRY. - -For this design the cover must be finely sprinkled over three separate -times, leaving the colour to search and dry between each. The green -must be brought to the shade required by mixing with water. To form a -more elegant vein, sprinkle first with weak black, and afterwards with -green, and when dry with fine red. - - -PORPHYRY. - -This marble, imitating the _eye of the partridge_, is executed by -throwing on black in eight times its volume of water, in small drops, -but so close as to just run into each other. When the black begins to -flow, sprinkle over brown mixed equally with water. Let it dry, wash -the whole with a sponge, and before quite dry again give it two or -three coats of fine red. After being dry and well rubbed, sprinkle -equally over the surface large drops of _aqua regia_. - - -ANOTHER. - -Colour the cover with red, yellow, blue, or green, and, when dry, -with black diluted as above; let this also dry, and then sprinkle -over large or small drops of aqua regia. The eye of the partridge is -properly formed with blue sprinkled upon the weakened black, and, when -dry, with the killed spirit or _aqua regia_. - - -ROCK. - -Throw on large drops of black prepared as for the porphyry, and, when -half dry, weakened potash in the same manner. When dry again, sprinkle -on equally small spots of scarlet, and lastly _aqua regia_. - - -GRANITE. - -Mix black in about fifty times its quantity of water, and sprinkle -equally over very fine, repeating it as it dries five or six times. -Then, in like manner, sprinkle over with brown, and, after rubbing -well, glaire lightly. Finally, sprinkle finely over with _aqua regia_. - - -TREE-MARBLES. - -These marbles, which were first executed in Germany, from whence they -passed into England, are formed by bending the boards in the middle, -so that the water and colours flow from the back and fore-edge to the -centre, in the form of branches of trees. Those who have never seen -the tree-marbles of Mr. Clarke, of London, can form but little idea of -the beauty of which this style is susceptible. The name is also given -to such as are made to imitate the grain of the wood. - - -WALNUT. - -Formed by sprinkling black and brown only, as for the common marble. - - -CEDAR. - -After sprinkling as for the walnut, and before perfectly dry, apply -lightly a sponge presenting large holes dipped in orange upon various -places on the cover, so as to form a description of clouds. Afterwards -apply the fine red, with a similar sponge, nearly upon the same -places, and when dry give the whole two or three coats of yellow, -taking care that each penetrates evenly into the leather. - - -MAHOGANY. - -The proceedings are nearly the same as for the walnut, the difference -being merely in sprinkling the black more boldly, and, when perfectly -dry, giving two or three uniform coats of red. - - -BOX. - -In order to imitate the veins contained in box, the boards must be -bent in five or six different places and in divers ways. After placing -the book between the rods, throw on the water in small drops, and -proceed as for the walnut. After being perfectly dry, throw water -again in large drops, and sprinkle on small spots of blue, diluted -equally with water; and, when again dry and rubbed well, apply the -scarlet with a sponge as directed for the cedar. Finally, when dry, -give two or three coats of orange, and the design is complete. - - -WAINSCOT. - -Colour with strong brown, glaire, and place between the rods, with the -boards flat. Throw on weak black in large spots, then brown in like -manner, and, lastly, sprinkle boldly with vitriol-water. - - -VARIEGATED. - -Marble as for the walnut, and then put on each board a circle, oval, -or other figure, and apply weak black on the outer parts. When dry, -give it a good coat of red, and, after throwing on spots of scarlet, -take off the figures, and wash well the parts where the latter colour -has been used. Finally, give the oval two coats of yellow, or other -colour, with a camel's-hair brush. - - -MARBLING ON PAPER. - -The sides of a half-bound book, which will be covered with paper, may -be marbled to correspond with the effect produced on the leather by -the action of the black and brown at the same time. This is performed -by pasting firm white paper on the sides, and colouring with a -mixture of four ounces of nutgalls and a small portion of powdered -sal-ammoniac boiled well together, which will take the black and brown -nearly equal to leather. - - -SPRINKLES. - -This is another ornament on the covers of books, capable of being much -varied. A few of the most general use are given, premising that any -of the colours arranged as for the marbles above, or sprinkled on the -uniform colours, will be productive of a beautiful effect. The books -must be pastewashed over, but not glaired. - - -NUTMEG. - -Sprinkle very finely with black and then with brown. If wished to -produce a finer effect, give a sprinkle of vitriol-water. - - -RING. - -Put about a teaspoonful of vitriol to a cup of the black, and sprinkle -coarsely over. If the ring is not sufficiently strong, add more -vitriol. - - -TORTOISE-SHELL. - -Wash the cover with yellow, and sprinkle very boldly with black. -When dry, spot with a sponge, as before directed, with blue, red, and -black, each colour being left to dry before the next is applied. - -In concluding the description of the marbles and sprinkles, it may be -remarked that, with a little taste, the workman might vary the designs -to upwards of one hundred different patterns; also that each colour -should be allowed to properly strike into the leather before another -is used. Panes, or blank spaces, are formed by placing squares, &c. -of pasteboard on the sides, which prevents the colours touching the -leather when sprinkling. After the design is completed, the covers -should be well rubbed with a woollen cloth or the ball of the hand, to -remove the whole of the refuse of the colour, which will be found to -corrode on the surface of the leather. - - - - -UNIFORM COLOURS. - - -Before proceeding to execute any of the colours, the books must be -well and evenly paste-washed, and left till perfectly dry. It will -also be necessary to observe that the black will become darker in all -the subsequent operations of colouring, glairing, and polishing, so -that attention must be paid not to use this liquid too strong. - - -LIGHT BROWN. - -Wash the cover with vitriol-water till perfectly uniform in colour, -and then with brown to the shade desired. - - -ANOTHER. - -Mix a small quantity of annatto with the potash liquid, and use hot. -This will produce a beautiful tint. - - -DARK BROWN. - -Colour with weak black till a slate-shade is produced, and then apply -the brown three or four times, as taste may dictate. - -Others might be added, but the proceedings are the same, varying only -the quantity of colour according to the shade. The _nut-brown liquid_ -will produce beautiful tints. - - -CORINTHIAN GRAPE. - -The proceedings are the same as for the last colour, adding two or -three coats of _fine red_. - - -COMMON GRAPE. - -Proceed as for the last, omitting the brown after the black. - - -BLUE. - -After giving four or five coats of the chemical blue diluted with -water, wash lightly with weakened aqua regia, which will take off the -green reflection produced by the yellow tint of the leather. - - -GREEN. - -Give three or four coats of the green liquid, extended in water -according to the shade required. Any of the other colours noticed in -the preparations may be thus executed. - - -OLIVE. - -After giving a slate-colour, apply yellow, boiled with a small portion -of blue, on the cover, rubbing it equally in while hot, to insure -uniformity. - - -PEARL GRAY. - -This colour must be executed carefully, so as to be perfectly uniform -and without stains. Colour over with exceedingly weak black liquid, -till a pale gray is produced. The weaker it is, the better will the -workman succeed. Then pass over a light coat of fine red mixed in a -large portion of water, so as to give a light red reflection scarcely -distinguishable. - - -SLATE. - -Use the black liquid a little stronger than for the last, and omit the -red. - - -BLACK. - -For common purposes, the black may be formed in the way adopted for -other colours; but, in many instances, it is necessary to produce a -colour having the appearance of japan, and which will require more -labour and attention. - -Wash the book over with brown till a dark shade is formed; then, with -a piece of woollen cloth, apply the black liquid mixed with japan, -which will produce a beautiful black. This colour should have a good -coat of vellum-size before glairing. Or it may be better to finish off -with the varnish given in another part of the work. - -Nutgalls, copperas, and gum-arabic, are used by many, and will be -found to produce a good and bright colour. - - - - -GOLD MARBLES, LANDSCAPES, ETC. - - -These designs, if properly executed, are the most beautiful that -can be imagined. The labour and care, however, requisite, must ever -confine them to superior bindings, for which a high price is given, -to indemnify the workman for the time required to produce the proper -effect. The imitation of the gold marbles is not an easy task; but -a knowledge of the art of painting, and a clever management of the -brush, will enable the workman to imitate the figure of the marble so -true to nature as to be scarcely distinguishable. - - -GOLD MARBLE. - -This marble, which will not require the ability to execute as those -following it, is the invention of M. Berthé, senior, bookbinder of -Paris, and may be executed on any kind of uniform substance. Take a -piece of cloth, exceeding the size of the volume, and fold it equally; -lay it, thus folded, evenly upon a board, and then open the other -half, and cover the board; spread, upon the half towards the left, -gold leaf to the size of the cover, allowing such portion as the roll -intended to be worked on it may take, which will be a saving of gold; -then refold the cloth on the gold, and press the hand above, without -moving the cloth, so as to divide the gold into a number of small -pieces. The gold being thus prepared, moisten the side of the volume -with glaire mixed with water in equal proportion, and place it on the -cloth, pressing above firmly with the hand. Care being taken not to -disarrange it, turn over the volume, cloth, and board, and take the -latter off, replacing it with a sheet of paper, and rubbing smartly -above, so as to attach the whole of the gold to the cover. After this -the cloth must be removed, and the gold will be found equally fixed; -to further insure which lay on a sheet of paper, and rub well with the -palm of the hand. - -To remove any gold that may appear on the part intended for the roll -in gilding, wet the end of the thumb, form a sort of square with the -fore-finger on the edge of the board to the size of the roll, and rub -the surface of the cover, which will clear it with facility before the -glaire is dry. - - -LAPIS-LAZULI. - -This marble is of clear blue, veined with gold, presenting an -appearance of the utmost splendour. It is executed as follows:-- - -Place the volume between rods as for marbling, and with a sponge full -of large holes, dipped in chemical blue mixed in six times its volume -of water, make light spots, similar to clouds, at irregular distances; -then put in a quarter part more blue, and make new clouds or spots -a little darker. Repeat this operation six or seven times, each -time adding more blue. All these coats will form stains in proper -gradation, as in the natural marble; and to operate more properly, -it would be better to have a model, either of the marble itself, or -skilfully painted. - -The veins of gold, which must not be laid on till the book is gilt, -and just previous to polishing, are formed with gold in shell. The -substance used to make it take and hold firmly on the cover of the -book is prepared with white of egg and spirits of wine in equal -proportion, and two parts of water, beating all well and leaving it to -clear; then wet a small portion of gold-powder with the liquid, mixing -it with the finger, and use it with a small camel's-hair pencil. Pass -it on in different places, so as to imitate the model, according to -the taste of the workman; when done, let it perfectly dry, and polish -with the polisher scarcely warm. - -It will be perceived that by the use of other colours, or two or three -together, many beautiful designs may be in like manner executed. - - -LANDSCAPES. - -Many beautiful subjects may be formed on the sides of books by the -workman skilled in painting; and, although coming more properly under -the art of painting, and being objectionable on account of producing -a mingling of the arts, so frequently exhibited upon volumes where -the art of the bookbinder is superseded by that of the painter and -jeweller, the young workman should understand at least the process by -which they are produced. The volume is prepared by being pastewashed, -so as to present a uniform fawn colour, the designs slightly traced, -and afterwards coloured according to the pattern, the colours being -mixed to the proper shade with water. The shades must be tried on -pieces of refuse leather, as, being spirit-colours, when once laid on, -no art can soften them down if too strong; and a peculiar lightness of -touch will be necessary to produce effect. Portraits, &c. may also be -executed in this manner, and many superb designs have at times -been executed by the best binders of England and France. M. Didot, -bookseller of Paris, presented a copy of the "_Henriade_," published -by himself, to Louis XVIII., most elegantly ornamented in this style. -It was executed by _M. Lunier Bellier_, bookbinder of Tours, and -exhibited on one side a miniature portrait of Henry IV., and on the -other a similar one of Louis XVIII., both perfect likenesses. The -greatest difficulty consisted in the portraits, which were first -imprinted on paper, very moist, and immediately applied to the cover, -on which they were impressed with a flat roller. When perfectly dry, -they were coloured with all the art of which the binder was capable, -and the other ornamental paintings executed by hand. This proceeding -requires great care in the execution, and will be applicable to any -design where the binding will justify the expense. - - -TRANSFERRED LANDSCAPES. - -The art of transferring, long practised in the ornamenting of fancy -articles, was judged equally practicable for forming a superior -embellishment for the sides of books. But the varnish necessary to be -employed in the operation rendered the invention of no utility, from -the action of the heated polisher turning it white or causing it to -shell off. After several trials, this difficulty is believed to be -overcome, by the employment of a very simple and common article in -the office of the bookbinder,--viz.: _new glaire_, well beaten up. The -proceeding is as follows:--Cut the print, intended to be transferred, -close to the design on all sides. Let it steep in the glaire till it -is well saturated with it. During this time glaire the book twice, -letting it dry on each application. Take out the print, place it -exactly in the centre of the side-cover, and, laying a piece of paper -above, rub it sharply on the book, so that it may adhere very closely. -Remove the upper paper, and with the finger rub off the paper gently -until the printed design begins to appear, wetting the finger in -_glaire_ should the paper get too dry. The utmost attention will now -be necessary, for the least carelessness in removing the paper that -still remains may entirely destroy the design, and the whole of the -previous labour be lost. The paper must be gently removed, piece by -piece, till the design only appears on the leather while damp. When -dry, a white appearance will be presented, arising from the small -particles of paper adhering to the ink; but these will be sufficiently -hid on glairing the side previous to finishing. The extent and variety -to which, at a small expense, these designs may be carried, with the -finish and beauty given to the sides of books, renders the subject -worthy of the attention of the ornamental workman particularly; but -he must possess perseverance and carefulness in an eminent degree, -to carry it to perfection. After the gilding or other ornament is -executed, the side must be finished off in the usual manner. A slight -coat of the varnish described in a subsequent part of the work will, -in this case, give a superior finish. - -The following directions, and that of Mr. Buchanan's, are taken from -the circulars of the Finishers' Friendly Association of London:-- - -"_Pictures on Calf._--We have heard of a process for transferring -prints from the paper on which they had been printed to the sides -of books bound in calf; and in these days, when _novelty_ is so much -sought after, it might be worth some Friendly's while to test its -efficacy. The side must be washed clean, and, while damp, the print is -laid thereon, when, after remaining some time in the arming-press, it -is said that a copy of the engraving will be found on the calf. - -"In sending one of these executed in colours by him twenty years -ago, a Friendly corrects an error we committed, by terming _prints_ -PICTURES, and writes, 'In preparing the calf, it is simply washed with -thin paste-water; when dry, a coat or two of weak salts of tartar. -When perfectly dry, you may proceed with any subject; a very weak -brown being generally used for its outline. For all colours, I use two -cups of different strengths, with _quill_-pens and brushes to each. -The green is composed of Scott's liquid blue and French berries. These -are bruised and simmered from half a pint to a quartern, then caused -to boil, and, while in that state, a pinch of burnt alum should be -added to set the colour. The slate is weak copperas; red is obtained -from Brazil dust and vinegar, or Brazil chips boiled, and solution of -tin added. The books had generally double bands--the lettering-pieces -stained chocolate, and the spaces between bands blacked, or the -colours "_moused_," morocco being too bright for the stained calf. An -octagon or square was coloured brown, slate, or sprinkled, and in the -centre a light ground. Was the subject to my fancy, botanical works -with a group of plants on the sides, when polished and pressed in -japanned tins, had the neatest appearance. Landscapes, animals, -insects, shells, &c. are all permanently fixed on the calf by the -above-named colours.' He concludes by hoping 'the instructions are -sufficiently plain to induce some aspiring F. F.'s to practise this -almost forgotten branch of the art of finishing.' - - "W. BUCHANAN." - - -ORNAMENTAL BLACK LINES. - -Black lines in rays, or intersecting each other in the form of -diamonds or other devices, on the sides of books, which present a good -appearance if well executed, are ruled with steel or swan pens, the -nibs being formed to the size required by the boldness of the lines. -The vinegar-black mixed with a portion of gum-arabic, to neutralize a -part of the action of the acid and make it of a stronger consistency, -will be found to answer best. Whatever the pattern, it should be -slightly traced with the folder, and the design be afterwards marked -with the pen, kept steady by the aid of a ruler. - - -BLACKING THE SQUARES. - -Unless coloured uniformly, the whole of the designs before described -will not produce the best effect if the squares remain plain or -variously tinted; it is, therefore, necessary to black the edges and -squares of the board, and the cap over the head-band. This is done -with a piece of any firm soft substance on the edges, and with a -sponge within the volume, sufficiently below the part where the -end-papers will cover. Finally, the covers should be well pastewashed -and left to dry. - - -BANDS AND TITLE-PIECES. - -Where the backs are flat it will be necessary to mark the place -intended for the bands in gilding. For this purpose the binder should -have patterns of the various forms and sizes cut out of thin board, a -little longer and double the breadth of the volumes, so that they may -be held firmly on the sides, while the bands are marked across the -back through the apertures cut in the pattern. It is usual to give -a double band at the bottom of the back, and therefore this must be -allowed for in the pattern, which lengthened portion must be placed -even with the edge of the boards at the tail of the volume, and the -bands marked with the folder. By this plan the whole of the bands -in sets of books will present a parallel line, and the bad effect -produced by the inequalities arising from compassing the distances and -trusting to the sight will be avoided. A great saving of time is also -effected, as the patterns once made will serve for a very considerable -period. - -On the fancy colours and sprinkles it is usual to attach -lettering-pieces of morocco. For this purpose the morocco, or roan if -common work, is cut lengthways of the grain, according to the space -between the bands, and the slip placed across the back to measure the -breadth, and then cut off. Then, slightly damping on the flesh-side, -it must be pared as thin and equal as possible, and the edges sloped -evenly down, so as to bring it to the exact size of the square it is -to occupy. Should the back require two pieces,--viz.: another for -the volume or contents,--it may be proper to vary the colour. These -title-pieces are pasted evenly on, a portion of paste rubbed over them -with the finger, and then attached firmly and equally by rubbing down -the edges with the folder, when the paste must be well washed off with -a clean sponge. Where economy is an object, the squares intended for -the title may be darkened with brown or black, which will show the -lettering very well. - - - - -INLAID ORNAMENTS. - - -To give some bindings in vellum, calf, or morocco an additional degree -of splendour, it is sometimes required to execute ornaments on -the covers of a different colour; and, as this is an important -manipulation, it will be necessary for the young workman to understand -it. Let the pattern be worked in blind upon the volume, taking care to -have it well impressed. Pare morocco of the colour desired evenly -and thin. While damp, place it upon that portion of the pattern to be -inlaid, and press upon it with the fingers. The outline of the figure -will appear through the morocco. Then lay it upon the paring-stone; -and, with the same gouges with which the pattern has been executed, -proceed to cut out the morocco. The gouges used for this kind of work -should be made of steel. - -The same directions will apply to fancy titles for flat backs. - -After the pieces have been properly cut out, the workman will proceed -to paste them evenly and adjust them in their place upon the volume. - -When dry and prepared, the book will then be ready for gilding, and -when covered with the gold ornament the joints of the leather will not -be perceptible, if well executed. The gouges must be worked upon the -edge of the morocco. - -This kind of ornament is more frequently executed on calf than any -other substance. - - - - -COLOURS. - - -In connection with inlaid ornament, we give a few hints to guide the -workman in choice of colours. Much of the effect produced will result -from the relations which the colours will bear to each other. -A well-executed piece of work may be spoiled by the injudicious -selection of colours. If the finisher be ignorant of the lessons which -nature teaches in the distribution of colours, he cannot expect to -please a connoisseur whose taste has been corrected and refined by a -study of the harmonies of colours. - - -NUMERICAL PROPORTIONS OF HOMOGENEOUS COLOURS. - -_Yellow_, 3. _Red_, 5. _Blue_, 8. - - SECONDARIES. - - 3 Yellow } Orange. { - 5 Red } { These are contrasting colours to the - { primaries with which they produce - 5 Red } Purple. { harmony in opposition:--the orange - 8 Blue } { with the blue, the purple with the - { yellow, and the green with the red. - 3 Yellow } Green. { - 8 Blue } { - - TERTIARIES. - - Purple } Olive. { - Green } { The tertiaries stand in the same relation - { to the secondaries that the secondaries - Green } Citron. { do to the primaries:--olive to - Orange } { orange, citron to purple, and russet - { to green. - Orange } Russet. { - Purple } { - -Yellow is melodized by orange on one side and green on the other; blue -by green and purple, and the red by purple and orange. - - - - -PASTING THE END-PAPERS, JOINTS, ETC. - - -The volume being laid upon the table or press, with the head towards -the workman and the upper board open, the guard or false end-paper -must be removed and all other substances cleared out of the joint with -the folder. The paper to be pasted on the board is cut at each end, -so as to show the same margin as on the fore-edge, and pasted evenly -over. It is then carefully laid upon the board. The position being -adjusted, a piece of white paper should be laid thereon, and the whole -rubbed perfectly even with the flat of the hand. Then with the folder -rub perfectly square on the joint. The volume, with the board open, -may then be turned, and the other side done in the same way. - -If it is intended to execute a gilt border or blind tooling in the -interior of the cover, it will be important that no part of the -end-paper covers it. To avoid this, a slip must be cut off at the -head, tail, and on the fore-edge, proportionate to the extra breadth -of the border over the square. Or, if morocco joints have been placed -in the volume, the two corners of the portion left to be attached to -the boards must be cut, to prevent their showing above the end-paper, -which is to be pasted over and would disfigure the edge, taking care -to leave as much leather as will cover perfectly such portion as is -intended for the joint and square of the board, so that, when the -paper is pasted on, it will not be perceived that the corners have -been cut off. Pare the edge of the leather where the part is cut off -on a small board or folder placed underneath; afterwards paste the -joint on the edge of the board, attach it neatly with the thumb, -finger, and folder, and, when dry, paste thereon the marbled or -coloured paper cut to the proper size. For the best class of work the -morocco joint is placed in the volume by the finisher after the book -is covered. - -If the ends are of silk, it will be necessary to leave the silk -sufficiently large to turn the edges over a piece of paper that has -been cut to the required size, and in order to preserve the gloss and -richness of the silk it should not be pasted on the paper upon which -it is placed, except where it is turned over the edge of the paper. -The paper is then lightly glued over and adjusted upon the board. This -method also prevents the silk from ravelling or presenting a jagged -edge. In all cases, however, where the border is gilt or otherwise -ornamented, below the level of the edges of the volume, the ends must -not be pasted down till after that operation is completed, as the -glaire and oil would be liable to stain, and present a bad effect. - -[Illustration: STANDING-PRESS.] - -For inferior bindings, where the end-papers are left plain, the last -two leaves being merely pasted together, the ends will only require -pasting, and attaching by placing the volume between boards, and -screwing firmly in the standing-press, immediately after which it must -be taken out and the boards opened, so as to make the joints free. -Almost every class of work except velvet and Turkey morocco requires -to be submitted to the action of the standing-press after the -end-papers have been pasted down, and then allowed to become perfectly -dry by leaving the boards open. Our illustration is taken from a -standing-press manufactured by W. O. Hickok, Harrisburg, Pa. - -In all the departments, but especially in finishing, cleanliness is of -the utmost importance. It matters not how graceful may be the design, -how perfectly the tools may be worked; all may be spoiled by a volume -having a dirty appearance. Therefore, have every thing clean about -you,--cups, sponges, and brushes. Let your size, pastewash, and -glaire, be clean; your oil-cotton the same. Do not lay on the gold -until the preparation is dry. After the working of your tools, be -particular in cleaning off the gold, so that no portions or specks -remain that should not, for they will have the appearance of dirt. In -calf-work, especially, be careful of grease, or of any thing that will -soil the leather. In summer-time great care must be taken to protect -your work from the flies, particularly after your backs are worked -off. The little pests will eat the glaire off in places, and give the -book an unsightly appearance. - - -VARNISH, - -AS USED IN BOOKBINDING. - -The first, by the celebrated _Tingry_, is made in the following -manner:-- - -Put into a vessel six ounces of mastic, in drops, three ounces of -sandarac finely powdered, four ounces of coarsely-broken glass, -separated from the dust by a sieve, and thirty-two ounces of spirits -of wine, of about forty degrees. Place the vessel upon straw in -another filled with cold water; put it on the fire and let it boil, -stirring the substances together with a stick, to keep the resins from -uniting. When the whole appears well mixed, put in three ounces of -turpentine, and boil for another half-hour, when the whole must be -taken off and stirred till the varnish and the water in which it is -placed cools. Next day, filter it through a fine cotton, by which -means it will acquire the greatest degree of limpidity, and well cork -up in a bottle. - -The other recipe is given by _Mons. F. Mairet_, of _Châtillon sur -Seine_, and may be prepared similar to the above. The ingredients are, -three pints of spirits of wine, of thirty-six to forty degrees, eight -ounces of sandarac, two ounces of mastic in drops, eight ounces of -shell-lac, and two ounces of Venice turpentine. - -The varnish is first put on the back of the book with a camel's-hair -brush as lightly as possible. When nearly dry, it is polished with a -ball formed of fine white cotton, filled with wool, on which has been -rubbed a small quantity of olive-oil, to make it glide freely; it -must be rubbed at first lightly, and, as fast as the varnish dries and -becomes warm, more sharply. The sides are in like manner polished one -after the other. - -Varnish is applied after the volume has been polished by the iron, in -order to retain the brilliancy and preserve the volume from the bad -effects produced by flies eating off the glaire. The manufactured -article now in general use is applied by a soft sponge being lightly -passed over the volumes after a small portion of varnish has been -applied to the sponge. - - - - -STAMPING. - - -For gilding the sides and even backs of publishers' work, or in fact -any other where a quantity of gilding is desired at little expense, -the stamping-press is brought into requisition, and by means of tools -cut for the purpose, called blocks or stamps, the design is impressed -on the side. These stamps may be made of very small pieces, and, -by having a number of them, the patterns produced may be almost -indefinite. The stamps are affixed to an iron or brass plate, called -a back or foundation-plate, upon which a piece of stout paper has been -glued. Then let the workman mark upon the plate the exact size of the -side to be stamped, marking it evenly with the compasses, so as to -justify the stamps; then strike the centre, and draw lines upon the -paper from the centre, so as to divide it into squares or to any given -part, so as to afford freedom for selection in the starting-point of -the design. For it must be manifest that if a workman starts all his -patterns from the same point, notwithstanding he may have a variety -of tools at his disposal, his patterns will exhibit a great deal -of uniformity. Let the paper be glued equally over the surface, and -proceed to form the pattern by arranging the stamps upon the plate so -as to exhibit the design. A great deal of taste can be displayed in -the formation of patterns for stamping; but, in consequence of the -public generally desiring a mass of gilt gingerbread-work, this branch -has been but little cultivated; the prevalent opinion among stampers -being that it is no matter what is put upon the side so that it is -well covered with gold. Publishers find those books that are the -most tawdrily gilt are soonest disposed of; hence, every thing is -sacrificed to a gaudy exterior. It is to be hoped that the art will be -relieved from this degraded ornamentation. Stampers themselves can -do something to purify and correct the public taste by avoiding the -unmeaning collections confusedly huddled together, so often seen upon -sides. Every remark in regard to style, design, and combination of -tools in the hand-finisher's department applies with equal force to -stamp-work; and, although the stamps used in the latter are not so -plastic as those in hand-work, still great results will be achieved; -for, notwithstanding the superiority of hand-work for artistic -expression and permanence, press-work will always maintain a prominent -position in the art, producing, as it does, striking results at a -trifling expense. After the pattern is formed, take a little paste and -touch the under side of each stamp, and place them in exact position. -After this is done and the paste has become hard, lay the stamp or -pattern thus formed upon the side of the volume, taking care to have -the same margin on the front, back, and ends. Then place the board -or side upon which the stamp is placed upon the platen or bed of -the stamping-press, leaving the volume hanging down in front of the -platen, which is then moved to the centre of the upper platen, so that -the clamps will touch the plate on both edges at the same moment; then -pull the lever so as to put a slight pressure upon the plate in order -to keep both it and the side in their proper place; then adjust the -guides to the fore-edge and head or left-hand side, and screw them -fast; throw back the lever, take out the book; examine and correct any -irregularity in the margin of the pattern by moving the guides. When -perfectly square, place a soft pasteboard under the stamp, pull down -the press, and apply heat. This will set the stamps or harden the -paste and glue in a short time, so that they will not fall off in -stamping--a great annoyance. Work for stamping does not require so -much body or preparation as if it were to be gilt by hand. Morocco can -be worked by merely being washed with urine; but it is safer to use a -coat of size, or glaire and water mixed in proportions of one of the -former to three of the latter. Grained sheep, or, as it is called, -imitation-morocco, requires more body to gild well. After the books -are ready for laying on, the gold-leaf is cut upon the cushion to the -required size, or, if the volume be large and the stamp will cover its -superficial extent, the leaf may be lifted from the gold-book by means -of a block covered with wadding or cotton lap and laid immediately -upon the side. After an oiled rag has been lightly passed over the -surface of the leather to cause the gold to adhere until it is put -under the press, examine the press to see if sufficiently heated for -the purpose. A little experience will soon determine the requisite -amount of heat as a general rule. Leather-work does not require as -hot a tool for stamping as for hand-work, while cloth or muslin-work -requires a short, quick stroke, and the press to be hotter than for -leather. In most binderies the stamping-press is heated by introducing -steam or gas through tubes perforated for the purpose; though a few -still use the heaters, which, after being heated in a furnace, are -placed in the holes of the upper platen. After the press is properly -heated, throw back the lever; take out the pasteboard from under the -stamp; regulate the degree of pressure required for the stamp; then -place the side to be stamped upon the bed-plate, holding it firmly -against the guides with the left hand, while with the right the lever -is quickly drawn to the front. This straightens the toggles and causes -a sharp impression of the stamp upon the leather; immediately -throw back the lever; take out the side, and rub off with a rag the -superfluous gold. Repeat the operation upon the other side, unless the -stamp be of an upright design; it will then be necessary to turn the -stamp in the press before operating upon the other side. Case-work or -covers that are stamped before being put upon the books are done in -the same manner, the backs being also stamped before being glued -on. The preceding cut of a stamping-press for gilding light work, -lettering, &c., is of the most approved construction, while for -large, heavy work, either gilt or stamped blind, (embossed, as it is -erroneously called,) and for cloth-work generally, the wheel-press -is best adapted. It can be worked either by hand or by power. The -fly-wheel can be kept revolving while the workman is engaged in -feeding the press. The lever is used for light work. It will be -perceived that the upper platen of this press, to which the stamp is -attached, is stationary, thereby giving great advantages in arranging -pipes for heating by gas, and also for carrying off the smoke and -unconsumed gas that would otherwise escape into the room. These -presses are manufactured by I. Adams & Co., Boston. - -[Illustration: LETTERING AND GILDING PRESS, No. 1.] - -[Illustration: EMBOSSING PRESS, No. 2.] - -A description of the various processes to produce by stamping the rich -effects of inlaid work will be found under the head of Illuminated -Binding and that of Inlaid Ornaments. For publishers' work it is a -point of economy to have a steel-cutter that will cut out the pattern -at one blow. For this kind of work, coloured German paper is used -instead of leather for inlaying. - -Thin boards are cut out with the aid of steel-cutters and the -stamping-press, and affixed to the volumes; and, after they -are covered, they are stamped in gold and blind with patterns -corresponding with the figure of the cutter. This can only be applied -where there are a large number of volumes, although single volumes may -be cut out by hand at an increase of expense. - - -The modernized Gothic design (Plate IX.) is intended for a side-plate, -to be worked either in gold or blank. The light floriated design -(Plate X.) is calculated to be worked in gold, and is a good -illustration of the prevailing treatment of the style for which it has -been expressly designed. The pattern upon Plate XI. is intended for -press-work, to be blank-stamped. The contrast of light and heavy -work producing a fine effect, it is well adapted for a side-stamp, -especially for cloth-work. - -[Illustration: - - _9._ - -_Modernized Gothic._] - - -[Illustration: - - _10._ - -_Modern Floriated Design._] - -[Illustration: - - _11._ - -_Expressly for Cloth after Holbein's Style._] - -Plate XII. is a graceful design from a "Hint" of Mr. Leighton's. It is -suited for a side-stamp, to be worked in gold; and with it closes our -illustrations of design. - -[Illustration: - - _12._ - -_From a hint of Leighton._] - -To obviate a difficulty that the young finisher will experience in his -first attempts at designing, let him select a good quality of sized -paper, cut it to the required size, then fold it carefully into four -parts, and draw his pattern boldly upon one of the four corners with -a lead-pencil. After that is done, slightly damp the opposite corner, -fold the drawn portion so that it comes in contact with the damp -surface, and rub it upon the back, so as to transfer the outlines of -the drawing. When it appears with sufficient distinctness, trace it -carefully over with the pencil, and repeat the process upon the other -corners until the pattern is complete. This method insures accuracy -and expedition. In working a pattern with gouges or with intersected -lines, the same principle is applied, so as to reproduce the pattern -precisely alike at the four corners, and to save time. In this case -the paper is folded, and one impression of the tool answers for both -sides of the pattern. - -Let the young finisher but feel a love for his art, make himself -familiar with the best specimens, and determine to excel; and -eventually his productions will be esteemed, his ability command the -best situations, and he will be recognised as an artist. - - -CUTTING-MACHINES. - -For cutting paper, pamphlets, and books "out of boards," a number -of machines have been invented, and are used in many binderies, -especially in those where large quantities of "cloth-work" are bound. -They have been found to answer for this class of work very well. Some -of them operate with sufficient nicety to cut books for case-work -that are intended for gilt edges, when they are not to be scraped. -For first-class work, cut "in boards," nothing has been discovered to -supersede the old-fashioned mode of cutting with the plough and press. - -[Illustration: PATENT PAPER AND BOOK TRIMMER.] - -The above cut of one of these machines, from the manufactory of -I. Adams & Co., Boston, will serve to convey a general idea of its -appearance; and the names of the makers are a sufficient guarantee of -the mechanical perfection of its details. - - -TRANSLATION OF DATES. - -Many old books have their dates printed in a manner which puzzles the -finisher, should he be required to date any so printed, which are too -thin to admit of its being done as on the title-page. The following -key is here given, as it may be found useful in such cases:--c. 100; -I[c], or D, 500; cI[c] or M, 1000; I[cc], 5000; ccI[cc], -10,000; I[ccc], 50,000, cccI[ccc], 100,000. Thus, cI[c], I[c], -CLXXXV111--1688. While on this subject, it may not be inappropriate to -notice the dating of some books printed in France during the republic -in that country. Thus, "An. XIII."--1805, that being the thirteenth -year of the republic, which commenced in 1792. - - - - -RESTORING THE BINDINGS OF OLD BOOKS. - - -Old bindings often look badly on account of the leather becoming dry -and cracked, or the surface of the skin having been rubbed off in -places. To obviate this, take a small quantity of paste and rub it -carefully with the finger upon the portions that require it; after it -is dry, wash the volume carefully over with a thin solution of glue -size. When dry, the volume may be varnished, and afterwards rubbed -over with a cloth in which a few drops of sweet oil have been dropped. - - - - -SUPPLYING IMPERFECTIONS IN OLD BOOKS. - - -It often occurs that a valuable and rare work has a leaf torn or -missing. In order to supply it, the first step will be to obtain -the use of a perfect copy as a model. Then procure paper of the same -colour as the leaf to be mended, and cut it carefully to correspond -with the torn portion. After the piece has been neatly adjusted, tip -it and the leaf, very lightly, along the edges with paste made of -rice-flour; then place a piece of tissue-paper on both sides of the -leaf, and smooth it carefully with the folder; then close the volume -and allow it to remain until perfectly dry. Then proceed to remove the -tissue-paper, and it will be found that the portions that adhere where -the joining occurs will be strong enough to secure the piece to the -leaf of the book. The letters may be then copied from the perfect copy -and traced upon the inserted piece. The general appearance will depend -upon the skill displayed in order to produce a successful imitation of -the original. - - - - -HINTS - -TO BOOK-COLLECTORS. - - -Never write your name upon the title-page of a book. - -Have your books cut as large as possible, so as to preserve the -integrity of the margin. - -Do not adopt one style of binding for all your books. - -Let the bindings upon your books be characteristic of the contents and -of the value of the work. - -Employ Turkey morocco for large works or for books that you have in -constant use. It is the most durable material used in binding, except -Levant morocco, which is very expensive. - -English coloured calf makes a beautiful covering, and bears full gilt -tooling better than morocco. The latter, if too richly charged, is apt -to look tawdry. - -Let the durability and neatness of your bindings be the primary -requisites. Ornament judiciously and sparingly, rather than carelessly -or gaudily. - -Poetry and sermons are not to be treated alike, either in colour or -degree of ornament to be employed. - -The value of a library will be enhanced by the amount of knowledge and -taste displayed in the bindings. - -Russia leather is no protection against worms, and it speedily cracks -along the joint. - -Uncut books will command a higher price than those that are cropped. - -To bind a book well, it should have ample time to dry after each -process. - -When you receive a volume from the binder, place it upon your shelf in -such a manner that the adjoining volumes will press tightly against -it and keep it closed; or, if you lay it upon your table, place other -volumes upon it, to prevent the boards from warping, and do not, for -some time, use it near the fire. - -Upon opening a volume, do not grasp the leaves tightly in your hands. -You might thereby break the back. If the book is too tight in the -back, lay it upon a flat surface, and open it by taking a few sheets -at a time, and lightly pressing upon the open leaves, going thus from -the beginning to the end, until the requisite freedom is obtained. - -Use a paper-knife, or folder, to cut up the leaves of your uncut -books, so that the edges will be smooth and even; otherwise the book -will have to be cut down when it is bound. - -Do not bind a newly-printed book. It is liable to set off in the -pressing. - -Never destroy an original binding upon an old volume if the binding be -in tolerable condition. An old book should not be rebound, unless it -is essential to its preservation; and then it should be, as far as -possible, a restoration. - -Carefully preserve old writings and autographs upon fly-leaves, unless -they are trivial. It is an act of courtesy to the former owner of a -book to place his book-plate on the end-board of the volume. - -Any blank-leaves that occur in old volumes should not be removed. The -bastard or half title should always be preserved. - -Have all oblong plates placed in such a manner that the inscription -under them will read from the tail to the head of the volume. - -Never bind a large map with a small volume. It is liable to tear away; -and, in pressing the volume, it makes unseemly marks. Maps and plans -should be affixed to blank leaves, so as to open clear of the volume, -that the reader may have the plan and text to examine together. - -It is a false economy to bind up a number of volumes together, -especially if they are of different sizes and upon different subjects. - -Keep your books dry, but not too warm. Gas is injurious in a library, -especially to the gilding upon the books. - -Do not place books with uncut tops where the dust will fall upon -them. It will penetrate between the leaves and mar the interior of the -volumes. - -Avoid placing books with clasps or carved sides upon the shelves. They -will mark and scratch their neighbours. - -Never fold down corners, or wet your fingers, when reading or turning -over the pages of a book. - -Do not read a book at table. Crumbs are apt to penetrate into the -back-fold of the leaves. - -Books are not intended for card-racks or for receptacles of botanical -specimens. - -Never leave a book open, face downward, under the pretext of keeping -the place. If it remain long in that condition, it will probably ever -afterwards jump open at that place. - -Never pull books out of the shelves by the head-bands, or suffer them -to stand long upon the fore-edge. - -Books should not be toasted before a fire or be converted into -cushions to sit upon. - -Saturate a rag with camphor, and, when dry, occasionally wipe the dust -from your books with it, and you will not be annoyed with book-worms. - -Treat books gently; for "books are kind friends. We benefit by their -advice, and they exact no confessions." - - - - -+Technical Terms+ - -USED IN - -BOOKBINDING. - - - _All-Along._--When a volume is sewed, and the thread passes - from kettle-stitch to kettle-stitch, or from end to end in - each sheet, it is said to be sewed all-along. - - _Asterisk._--A sign used by the printers at the bottom of the - front page of the duplicate-leaves printed to supply the place - of those cancelled. - - - _Backing-Boards._--Are used for backing or forming the joint. - They are made of very hard wood or faced with iron, and are - thicker on the edge intended to form the groove than upon the - edge that goes towards the fore-edge, so that the whole power - of the laying-press may be directed towards the back. - - _Backing-Hammer._--The hammer used for backing and rounding: - it has a broad, flat face, similar to a shoemaker's hammer. - - _Bands._--The twines whereon the sheets of a volume are sewn. - When the book is sewed flexible the bands appear upon the - back. When the back is sawn so as to let in the twine, the - appearance of raised bands is produced by glueing narrow - strips of leather across the back before the volume is - covered. - - _Band-Driver._--A tool used in forwarding to correct - irregularities in the bands of flexible backs. - - _Bead._--The little roll formed by the knot of the headband. - - _Bleed._--When a book is cut into the print it is said to - bleed. - - _Bevelled Boards._--Very heavy boards for the sides champered - around the edges. - - _Blind-Tooled._--When the tools are impressed upon the - leather, without being gilt, they are said to be blind or - blank. - - _Boards._--Are of various kinds, such as pressing, backing, - cutting, burnishing, gilding, &c. The pasteboards used for - side-covers are termed boards. The boards used for cutting - books "out of boards" are called steamboat-boards. Tinned - boards are used for finished work; while brass or iron-bound - boards are used for pressing cloth-work. - - _Bodkin or Stabbing-Awl._--A strong point of iron or steel, - fixed on a wooden handle, to form the holes in the boards - required to lace in the bands. Used also for tracing the lines - for cutting the fore-edge. - - _Bole._--A preparation used in gilding edges. - - _Bolt._--The fold in the head and fore-edge of the sheets. - Also the small bar with a screw used to secure the knife to - the plough. - - _Bosses._--Brass plates attached to the sides of volumes for - their preservation. - - _Broke up._--When plates are turned over and folded at a short - distance from the back-edge, before they are placed so as to - enable them to turn easily in the volume, they are said to be - broke up. The same process is sometimes applied to the entire - volume. - - _Burnish._--The effect produced by the application of the - burnisher to the edges. - - _Burnishers._--Are pieces of agate or bloodstone affixed to - handles. - - - _Cancels._--Leaves containing errors which are to be cut out - and replaced with corrected pages. - - _Caps._--The leather covering of the headband. Applies also to - the paper envelopes used to protect the edges while the volume - is being covered and finished. - - _Case-Work._--Work in which the boards are covered and - stamped. The volume is then glued upon the back and stuck into - them. - - _Catch-Word._--A word met with in early-printed books at the - bottom of the page, which word is the first on the following - page. Now used to denote the first and last word in an - encyclopædia or other book of reference. - - _Centre-Tools._--Are single, upright, or independent tools - used for the middle of the panels by the finisher. - - _Clearing Out._--Removing the waste-paper and paring away any - superfluous leather upon the inside, preparatory to pasting - down the lining-paper. - - _Collating._--Examining the signatures, after the volume - is gathered, to ascertain if they be correct and follow in - numerical order. - - _Corners._--The triangular brass tools used in finishing backs - and sides. The gilt ornaments used on velvet books. Also, the - leather pasted on the corners of half-bound books. - - _Creaser._--The tool used in marking each side of the bands, - generally made of steel. - - _Cropped._--When a book has been cut down too much it is said - to be cropped. - - - _Dentelle._--A fine tooled border resembling lace-work. - - - _Edge-Rolled._--When the edges of the boards are rolled. It - may be either in gold or blind. - - _Embossed._--When a plate is stamped upon the cover so as to - present a raised figure or design, it is said to be embossed. - Some inappropriately term this kind of work Arabesque. - - _End-Papers._--The paper placed at each end of the volume, a - portion of which is removed when the lining-paper is pasted - down upon the boards. Also called Waste-Papers. - - - _Fillet._--The cylindrical ornament used in finishing upon - which simple lines are engraved. - - _Finishing._--Is that department that receives the volumes - after they are put in leather, and ornaments them as required. - One who works at this branch is termed a finisher. - - _Finishers' Press._--Is the same as a laying-press, only much - smaller. - - _Flexible._--When a book is sewn on raised bands and the - thread is passed entirely round each band. - - _Folder._--This is a flat piece of bone or ivory used in - folding the sheets and in many other manipulations. Also - applied to a female engaged in folding sheets. - - _Fore-Edge._--The front edge of the book. - - _Foundation-Plate._--A plate of iron or brass upon which - side-stamps are affixed. - - _Forwarding._--Is that branch that takes the books after they - are sewed and advances them until they are put in leather - ready for the finisher. One who works at this branch is termed - a forwarder. - - _Full-Bound._--When the sides of a volume are entirely covered - with leather, it is said to be full-bound. - - - _Gathering._--The process of arranging the sheets according to - the signatures. - - _Gauge._--Used in forwarding to take the correct size of the - volume and to mark it upon the boards for squaring. - - _Gilt._--Is applied to both the edges and to the ornaments in - finishing. - - _Glaire._--The whites of eggs. - - _Grater._--An iron instrument used by the forwarder for - rubbing the backs after they are paste-washed. - - _Gouge._--A tool used in finishing, the face of which is a - line forming the segment of a circle. - - _Guards._--Strips of paper inserted in the backs of books - intended for the insertion of plates, to prevent the book - being uneven when filled; also the strips upon which plates - are mounted. - - _Guides._--The groove in which the plough moves upon the face - of the cutting-press. - - - _Half-Bound._--When a volume is covered with leather upon - the back and corners, and the sides are covered with paper or - cloth. - - _Hand-Letters._--Letters cut and affixed to handles, and - adjusted singly upon the volume when lettering it. - - _Head and Tail._--The top and bottom of a book. - - _Headband._--The silk or cotton ornament worked at the ends so - as to make the back even with the squares. - - - _Imperfections._--Sheets rejected on account of being in some - respect imperfect, and for which others are required to make - the work complete. - - _In Boards._--When a volume is cut after the pasteboards are - affixed to form the sides, it is said to be cut in boards. The - term is also applied to a style of binding in which the boards - are merely covered with paper. - - _Inset._--The pages cut off in folding and placed in the - middle of the sheet. - - _Inside Tins._--So called from being placed inside of the - boards when the volume is put in the standing-press. - - - _Joints._--The projections formed in backing to admit the - boards; applied also to the inside when the volume is covered. - - _Justification._--The observance that the pages of a volume - agree and are parallel throughout, so as to insure a straight - and equal margin. - - - _Kettle-Stitch._--The stitch which the sewer makes at the head - and tail of a book; said to be a corruption of chain-stitch. - - _Keys._--The little instruments used to secure the bands to - the sewing-press. - - _Knocking-Down Iron_.-- So called from having the slips, when - laced in, pounded down upon it, so that they will not show - when the book is covered. - - - _Laced In._--When the boards are affixed to the volume by - means of the bands being passed through holes made in the - boards, they are said to be laced in. - - _Lettering-Block._--A piece of wood, the upper surface being - rounded, upon which side-labels are lettered. - - _Lettering-Box._--The box in which the type are screwed up - preparatory to lettering. - - _Lining-Paper._--The coloured or marbled paper at each end of - the volume. - - _Marbler._--The workman who marbles the edges of books, &c. - - _Mitred._--When the lines in finishing intersect each other at - right angles and are continued without overrunning each other, - they are said to be mitred. - - - _Out of Boards._--When a volume is cut before the boards are - affixed, it is said to be done out of boards. - - _Overcasting._--An operation in sewing, when the work consists - of single leaves or plates. - - - _Pallet._--Name given to the tools used in gilding upon the - bands, sometimes applied to the lettering-box. - - _Panel._--The space between bands; also applied to bevelled - and sunk sides. - - _Papering Up._--Covering the edges after they are gilt, so - as to protect them while the volume is being covered and - finished. - - _Paring._--Reducing the edges of the leather by forming a - gradual slope. - - _Pastewash._--A thin dilution of paste in water. - - _Pencil._--A small brush of camel's hair. - - _Pieced._--When the space between bands, upon which the - lettering is placed, has a piece of leather upon it different - from the back, it is said to be pieced or titled. - - _Plough._--The instrument used in cutting the edges of books - and pasteboards. - - _Points._--Holes made in the sheets by the printer; they serve - as guides in folding. - - _Polisher._--A steel implement used in finishing. - - _Press._--There are various kinds of presses,--viz.: laying - or cutting, standing, stamping, embossing, gilding, and - finishing. - - - _Rake._--An instrument used in forwarding, to harden the backs - while being pastewashed in the standing-press. - - _Rasped._--The sharp edge taken off the boards. - - _Register._--The ribbon placed in a volume for a marker; also - a list of signatures, attached to the end of early-printed - works, for the use of the binder. - - _Rolls._--The cylindrical ornaments used in finishing. - - _Run Up._--When the back has a fillet run from head to tail - without being mitred at each band, it is said to be run up. - - _Runner._--The front board used in cutting edges, &c. - - - _Sewer._--The person who sews the sheets together on the - sewing-press--generally a female. - - _Set-Off._--Designates the transfer of the ink to the opposite - page. - - _Setting the Head._--Is covering the headband neatly with the - leather, so as to form a kind of cap. - - _Shaving-Tub._--The paper cut from the edges of a volume are - called shavings. The receptacle into which they fall while the - forwarder is cutting the edges is termed the shaving-tub. - - _Signature._--The letter or figure under the footline of the - first page of each sheet to indicate the order of arrangement - in the volume; sometimes applied to the sheet itself. - - _Size._--A preparation used in finishing and gilding, - generally made from vellum. - - _Slips._--The pieces of twine that project beyond the volume - after it is sewn. - - _Squares._--The portions of the board that project over the - edges. - - _Stabbing._--The operation of piercing the boards with a - bodkin for the slips to pass through; also the piercing of - pamphlets for the purpose of stitching. - - _Stamps._--The brass tools used in finishing to impress a - figure upon the leather; they are distinguished by hand-stamps - and stamps for the press. - - _Start._--When any of the leaves are not properly secured in - the back, upon opening the volume they will project beyond the - others, and are said to start. - - _Steamboating._--Cutting books out of boards, a number being - cut at the same time. - - _Stitching._--The operation of passing the thread through a - pamphlet for the purpose of securing the sheets together. - - _Stops._--Are small circular tools, adapted to stop a fillet - when it intersects at right angles, to save the time used in - mitreing. - - - _Title._--The space between bands, upon which the lettering is - placed. - - _Tools._--Applied particularly to the hand-stamps and tools - used in finishing. - - _Trindle._--A strip of thin wood or iron. - - _Turning Up._--The process of cutting the fore-edges in such a - manner as to throw the round out of the back until the edge is - cut. - - _Tying Up._--The tying of a volume after the cover has been - drawn on, so as to make the leather adhere to the sides of the - bands; also for setting the head. - - - _Whipping._--The process of overseaming plates. - - _Witness._--When a volume is cut so as to show that it has - not been cut as small as some of the leaves, their uncut edges - prove this, and are called witness and sometimes proof. - - _Wrinkle._--The uneven surfaces in a volume, caused by not - being properly pressed or by dampness, also caused by improper - backing. - - - - -INDEX. - - - Affixing the stamps, 279, 280. - - Agatine marble, on leather, 249. - - Aldine, 198. - - Aldus, 198. - - Anonay paper, 150. - - Antique, 231. - - bands, 147. - - marble, 117. - - Dutch, 123. - - Arabesque, 210. - - Assyrian, 179. - - Aqua Regia, 237. - - - Backing-machine, 173. - - Backs, flexible, 54, 55. - - India-rubber, 58. - - Backing books, 43. - - Bands, in finishing, 269. - - Bands, raised, 53, 54. - - parchment, 57. - - Baumgarten, 20. - - Beating, 41, 42. - - Beating-hammer, 42. - - Beckford, 206. - - Bedford, 28. - - Benedict, 20. - - Bible, chained in churches, 16. - - Bibliographical Decameron, 14, 26, 135. - - Bindings of Corvinus, 14. - - of Henry VII., 16. - - of Henry VIII., 17. - - of Elizabeth, 17. - - of Grolier, 17. - - of Maioli, 18. - - of Diana of Poictiers, 18. - - of Henry II., 18. - - of De Thou, 19. - - of the Chevalier D'Eon, 19. - - of Oxford, 20. - - of Mackinlay, 21. - - of Roger Payne, 21-23. - - of Mackenzie, 28. - - of Charles Lewis, 28. - - of Clarke, 28. - - of Riviere, 28. - - of Bedford, 28. - - of Hayday, 28. - - of Napoleon, 30. - - of Lortic, 31. - - of Duru, 32. - - of Niédré, 32. - - Bindings of Bauzonnet, 32, 142. - - Black, for marbling, 85, 91. - - edges, 136. - - ink, 156, 157. - - for blank-work, 165. - - for marbling leather, 241. - - for leather, 259. - - lines, 268. - - Blacking the squares, 268. - - Blank binding, 151. - - Bleeding, 68. - - Blind tooling, 230. - - Block-finishing, 279. - - Blue, for edges, 78. - - for marbling, 85, 89, 90, 105. - - ink, 156. - - for marbling leather, 242. - - uniform colour for leather, 258. - - Blue agate marble on leather, 249. - - Stormont marble, 105. - - Boards, mode of making, 65. - - squaring, 66. - - Boarding, blank-work, 160. - - printed work, 169. - - Box marble, on leather, 253. - - British marble, 119. - - Brown, for edges, 79. - - for marbling, 86, 91. - - for marbling leather, 241, 242. - - uniform colour for leather, 257. - - Burnt ochre, 88. - - Burnishing, 126, 129, 133. - - Byzantine, 181. - - - Cambridge, 208. - - binding, 19. - - Cancels, 40. - - Caoutchouc, 58. - - Capé, 31, 32. - - Carved oak boards, description of, 12, 211. - - precious stones let into, 14. - - Case-work, stamping, 283. - - Cedar sprinkle, on leather, 253. - - Chemical preparations, 237. - - Chinese blue, 89. - - Chrome, 90. - - Clarke, 28. - - Clasps, 167. - - Cleanliness, 276. - - Cloth-work, 170. - - Collating, 39. - - description of, 39, 40. - - Coleridge, 190. - - Colours, for edges, 74-82. - - for marbling, 84. - - grinding, 98. - - uniform, for leather, 256. - - harmony of, 272. - - Colouring, for leather, 236. - - Comb marble, 115. - - Combs, for marbling, 127. - - Corners, 167. - - Corvinus, library of, 14. - - Covering, 141. - - blank-work, 163. - - Cropping, 67. - - Curl marble, 109. - - Cutting in boards, 72. - - Cutting-machines, 288. - - - Dawson, 20. - - Derome, 18, 19, 67. - - De Seuil, 18, 19. - - Design, 186. - - Designing, 286. - - De Thou, bindings of, 19. - - Dibdin, his account of the library of Corvinus, 14. - - of Roger Payne, 26, 191, 195. - - Diptych, description of, 11. - - Drag Spanish marble, 114. - - Drop ivory black, 91. - - Drop lake, 86. - - Duru, 31, 32. - - Dutch marble, 120. - - Dutch pink, 90. - - - Edges, colouring and sprinkling, 74. - - colours for, 74-79. - - blue, 78. - - yellow, 78. - - green, 78. - - orange, 78. - - red, 78. - - purple, 79. - - brown, 79. - - black, 136. - - rice marbled, 80. - - white spotted, 80. - - fancy marbled, 81. - - gold sprinkle, 81. - - marbled, 82, 125. - - burnishing, 126, 129. - - gilt, 130. - - antique, 134. - - gold upon marble, 135. - - black, 136. - - Edge-gilding, 130. - - antique, 134. - - on marble, 135. - - on landscapes, 135. - - Eighteenmo, 36. - - Elizabethan, 184. - - End-papers, 59, 60, 273. - - Etruscan, 180. - - Eyton, J. W. King, binding belonging to, 28, 29. - - - Fair agate marble, on leather, 249. - - Falkner, 28. - - Fancy titles, 221, 271. - - Fawn, colour for leather, 244. - - Finishing, blank-work, 168. - - Finisher's standing press, 275. - - Flea-seed, 94. - - Flexible, mode of sewing, 53. - - marking off, 54, 55. - - Folding, 35. - - blank-work, 157. - - Folio, 36. - - Font Hill, 150, 205. - - Forwarding, job-work, mode of operation, 59. - - making end-papers, 60. - - putting in joints, 61. - - glueing up, rounding, 62. - - backing, 63, 64. - - cutting, 65, 70. - - making boards, 65. - - squaring, 66. - - lacing in, 68. - - pastewashing back, 69. - - cutting round, 71. - - turning up, 73. - - Foundation-plate, 279. - - - Gilding, preparations for, 216. - - the back, 217. - - the squares, 223. - - the sides, 224. - - on silk and velvet, 225. - - Gilt edges, 130. - - upon marbled, 135. - - Glaire, for marbling leather, 240. - - Gold marble on leather, 260. - - Gold sprinkle, 81. - - Gothic, 183. - - Grafton, the printer, 16. - - Grained sheep, 282. - - Graining, 231. - - Grolier, bindings of, 17. - - style, 212. - - Green, for edges, 78. - - for blank-work, 164. - - for leather, 244. - - uniform colour for leather, 258. - - agate marble on leather, 249. - - Italian marble, 106. - - porphyry marble on leather, 250. - - Greek, 180. - - Gum, 92. - - directions for preparing for marbling, 93. - - Guards, sewing on, 53, 56. - - mode of mounting, 56. - - Gum-sandarac, 226. - - - Harleian, 202. - - Harmony of colours, 272. - - Half-binding, 149. - - Hayday, 28, 29, 232. - - Headbands, 137. - - single, 138. - - double, 140. - - gold and silver, 140. - - ribbon, 141. - - Heat, degree required for stamping, 282. - - Hints to book-collectors, 291. - - Henry VII., time of, 16. - - VIII., bindings of, 17. - - Hering, 28. - - Holbein, 213. - - Hydraulic press, 45. - - - Illuminated binding, 227. - - Imperfections in old books, 290. - - Indigo, 89. - - Inlaid work, 229. - - ornaments, 270. - - Irish moss, 94. - - Italian marble, 106. - - - Janseniste, 208. - - Joint, mode of forming, 63. - - Joints, inside, 273. - - - Kalth[oe]ber, 20. - - Kettle-stitch, 51, 53, 55. - - Keys for securing bands on sewing-bench, 49. - - detaching, 57. - - - Lacing in, 68. - - Landscapes on sides, 263. - - transferred, 264. - - Lapis Lazuli marble on leather, 261. - - Lay on, 218. - - Leland's Itinerary, 14. - - Lettering-press, 283. - - Levant marble on leather, 249. - - Levant morocco, 31, 142. - - Lewis, Charles, 28. - - Light Italian marble, 106. - - Lilac, for leather, 243. - - Lining-papers, mode of making, 60. - - Linseed, 94. - - Lortic, 31, 32. - - Louis Quatorze, 184. - - - Mackenzie, 28. - - Mackinlay, John, 20. - - bindings of, 21. - - Mahogany sprinkle on leather, 252. - - Maiolo, 17. - - Malacca tin, 238. - - Marbling on leather, 246-254. - - on paper sides, 254. - - Marbling-water for leather, 240. - - Marbled cloth, 127. - - Marbled edges, 125. - - gilt upon, 135. - - Making cases, 174. - - Missals, antiquity of, 10. - - Mitreing, 219. - - Modernized monastic, 231. - - Montague, 201. - - Moorish, 182. - - - Niédré, 31, 32. - - Nonpareil, 115. - - raked, 116. - - reversed, 116. - - Numerical proportions of colours, 272. - - Nutmeg sprinkle on leather, 255. - - - Oak boards, 15, 211. - - Octavo, 36. - - Old bindings, 289. - - Olive, for leather, 258. - - Orange, for edges, 78. - - for marbling, 86, 91. - - for leather, 244. - - Orange lead, 91. - - Ornamental art, 178. - - Oxford, bindings of, 20. - - Oxford ochre, 88. - - Ox-gall, 96. - - - Padeloup, 18. - - Paging-machine, 154. - - Paper and book trimmer, 288. - - Paring-knife, 149. - - Pasting down, 273. - - Payne, Roger, history of, 21. - - his bindings, 23. - - bill of, 25. - - his favourite colour, 26. - - Pearl-gray for leather, 258. - - Petit, Bernard, bindings designed by, 18. - - Phillatius the Athenian, 9. - - Pictures on calf, 266. - - Pickering, 200. - - Plates, mode of sewing, 53. - - Polishing, 234. - - Porphyry marble on leather, 251. - - Porphyry vein marble on leather, 251. - - Preparations for marbling, 96. - - chemical, 237. - - for stamping, 281. - - for gilding, 216. - - for marbling leather, 240. - - Press-work, 279. - - Primary colours, 272. - - Prints on calf, 266. - - Progress of the art, 10, 33. - - Prussian blue, 90. - - Purple, for edges, 79. - - for blank-work, 165. - - for leather, 243. - - marble on leather, 248. - - - Quarto, 36. - - - Raw ochre, 90. - - Red, for edges, 78. - - for marbling, 85-88. - - ink, 156. - - for blank-work, 164. - - for leather, 245. - - Red porphyry marble on leather, 250. - - Register, 137. - - Renaissance, 183. - - Restoring old bindings, 289. - - Revival, 183. - - Rock marble on leather, 252. - - Rolling-machine, substitute for beating; mode of operation; - advantages and disadvantages of, 43, 44. - - Roman, 181. - - Rose-pink, 87. - - Rounding, 62. - - Rice marble, 80. - - Ring sprinkle on leather, 255. - - Riviere, 28. - - Ruling, 152. - - Run up, 220. - - Russian bands, 165. - - - Sawing, 48, 49. - - Sawing-machine, 171. - - Scraping, 132. - - Secondary colours, 272. - - Setting the head, 145. - - the stamp, 281. - - Set off, 42, 43. - - Sewing, process of, 49, 50. - - two sheets on, 50. - - all along; quartos; plates or maps, 52. - - whipping, sewing on guards, 53. - - on raised bands; pure flexible, 54, 55, 56. - - blank-work, 159. - - Sewing-bench, 49, 50. - - Shell marble, 100, 103, 104. - - Sheriffs of Shropshire, 28. - - Sheet-work, 35. - - Silk lining, 274. - - Sixteenmo, 36. - - Sizing the paper, 127. - - Slate, uniform colour for leather, 259. - - Smasher, substitute for beating, 44. - - mode of operation; amount of pressure; advantage of, 45. - - Spanish marble, 110. - - olive, 111. - - blue, 112. - - brown, 112. - - fancy, 113. - - drag, 114. - - Spring-back, blank-work, 161. - - Sprinkles, 255, 256. - - Sprinkling, mode of, 75, 76. - - colours for, 74. - - rice-marble, 80. - - white spot, 80. - - gold sprinkle, 81. - - Staggemier, 20. - - Stamping, 279. - - Steamboating, 172. - - Stabbing, 68. - - Steel gouges, 271. - - Stone marble, on leather, 248. - - Sunk boards, 285. - - Supplying imperfections in old books, 290. - - - Table-shears, 175. - - Taste, 186. - - Technical terms, 297-310. - - Tertiary colours, 272. - - Thirty-twomo, 36. - - Thouvenin, bindings of, 30. - - Titles, 269. - - fancy, 271. - - Tortoise-shell sprinkle on leather, 256. - - To dissolve gold, 237. - - Transfers, 264, 266. - - Transferring designs, 286. - - Translation of dates, 289. - - Trautz et Bauzonnet, 31, 32, 142. - - Tree-marbled calf, 28, 252. - - Troughs for marbling, 100. - - Turning up, 73. - - Twelvemo, 36, 37. - - Twenty-fourmo, 36. - - Tying up, 146. - - - Ultramarine, 89. - - Umber, 91. - - Uncut books, 151. - - Uniform colours on leather, 256-259. - - - Variegated marble, on leather, 254. - - Varnish, 277. - - Vegetable black, 91. - - Vermilion, 87. - - Violet for leather, 243. - - Vitriol-water for marbling leather, 240. - - - Wainscot sprinkle on leather, 254. - - Walnut sprinkle on leather, 253. - - Walther, 28. - - Water for marbling, 96. - - Wave-marble, 118. - - Wax for marbling, 99. - - West-End marble, 107, 108. - - Whipping, 53. - - White for marbling, 86, 91. - - White-spotted edges, 80. - - Wood-lake, 88. - - - Yellow for edges, 78. - - for marbling, 85. - - for blank-work, 165. - - for leather, 244. - - -THE END. - - STEREOTYPED BY L. JOHNSON AND CO. - PHILADELPHIA. - - - * * * * * - - - - - CATALOGUE - OF - PRACTICAL AND SCIENTIFIC BOOKS, - PUBLISHED BY - HENRY CAREY BAIRD & CO., - Industrial Publishers and Booksellers, - NO. 810 WALNUT STREET, - PHILADELPHIA. - - * * * * * - -[right-pointing hand] Any of the Books comprised in this Catalogue -will be sent by mail, free of postage, at the publication price. - -[right-pointing hand] A Descriptive Catalogue, 96 pages, 8vo., will be -sent, free of postage, to any one who will furnish the publisher with -his address. - - * * * * * - - - ARLOT.--A Complete Guide for Coach Painters. - - Translated from the French of M. ARLOT, Coach Painter; for - eleven years Foreman of Painting to M. Eherler, Coach Maker, - Paris. By A. A. FESQUET, Chemist and Engineer. To which is - added an Appendix, containing Information respecting the - Materials and the Practice of Coach and Car Painting and - Varnishing in the United States and Great Britain. 12mo. $1.25 - - - ARMENGAUD, AMOROUX, and JOHNSON.--The Practical Draughtsman's - Book of Industrial Design, and Machinist's and Engineer's - Drawing Companion: - - Forming a Complete Course of Mechanical Engineering and - Architectural Drawing. From the French of M. Armengaud the - elder, Prof. of Design in the Conservatoire of Arts and - Industry, Paris, and MM. Armengaud the younger, and Amoroux, - Civil Engineers. Rewritten and arranged with additional matter - and plates, selections from and examples of the most useful - and generally employed mechanism of the day. By WILLIAM - JOHNSON, Assoc. Inst. C. E., Editor of "The Practical - Mechanic's Journal." Illustrated by 50 folio steel plates, and - 50 wood-cuts. A new edition, 4to. $10.00 - - - ARROWSMITH.--Paper-Hanger's Companion: - - A Treatise in which the Practical Operations of the Trade are - Systematically laid down: with Copious Directions Preparatory - to Papering; Preventives against the Effect of Damp on Walls; - the Various Cements and Pastes Adapted to the Several Purposes - of the Trade; Observations and Directions for the Panelling - and Ornamenting of Rooms, etc. By JAMES ARROWSMITH, Author of - "Analysis of Drapery," etc. 12mo., cloth. $1.25 - - - ASHTON.--The Theory and Practice of the Art of Designing Fancy - Cotton and Woollen Cloths from Sample: - - Giving full Instructions for Reducing Drafts, as well as the - Methods of Spooling and Making out Harness for Cross Drafts, - and Finding any Required Reed, with Calculations and Tables of - Yarn. By FREDERICK T. ASHTON, Designer, West Pittsfield, Mass. - With 52 Illustrations. One volume, 4to. $10.00 - - - BAIRD.--Letters on the Crisis, the Currency and the Credit - System. - - By HENRY CAREY BAIRD. Pamphlet. 05 - - - BAIRD.--Protection of Home Labor and Home Productions - necessary to the Prosperity of the American Farmer. - - By HENRY CAREY BAIRD. 8vo., paper. 10 - - - BAIRD.--Some of the Fallacies of British Free-Trade Revenue - Reform. - - Two Letters to Arthur Latham Perry, Professor of History and - Political Economy in Williams College. By HENRY CAREY BAIRD. - Pamphlet. 05 - - - BAIRD.--The Rights of American Producers, and the Wrongs of - British Free-Trade Revenue Reform. - - By HENRY CAREY BAIRD. Pamphlet. 05 - - - BAIRD.--Standard Wages Computing Tables: - - An Improvement in all former Methods of Computation, so - arranged that wages for days, hours, or fractions of hours, - at a specified rate per day or hour, may be ascertained at a - glance. By T. SPANGLER BAIRD. Oblong folio. $5.00 - - - BAIRD.--The American Cotton Spinner, and Manager's and - Carder's Guide: - - A Practical Treatise on Cotton Spinning; giving the Dimensions - and Speed of Machinery, Draught and Twist Calculations, etc.; - with notices of recent Improvements: together with Rules and - Examples for making changes in the sizes and numbers of Roving - and Yarn. Compiled from the papers of the late ROBERT H. - BAIRD. 12mo. $1.50 - - - BAKER.--Long-Span Railway Bridges: - - Comprising Investigations of the Comparative Theoretical and - Practical Advantages of the various Adopted or Proposed Type - Systems of Construction; with numerous Formulæ and Tables. By - B. BAKER. 12mo. $2.00 - - - BAUERMAN.--A Treatise on the Metallurgy of Iron: - - Containing Outlines of the History of Iron Manufacture, - Methods of Assay, and Analysis of Iron Ores, Processes of - Manufacture of Iron and Steel, etc., etc. By H. BAUERMAN, F. - G. S., Associate of the Royal School of Mines. First American - Edition, Revised and Enlarged. With an Appendix on the Martin - Process for Making Steel, from the Report of ABRAM S. HEWITT, - U. S. Commissioner to the Universal Exposition at Paris, 1867. - Illustrated. 12mo. $2.00 - - - BEANS.--A Treatise on Railway Curves and the Location of - Railways. - - By E. W. BEANS, C. E. Illustrated. 12mo. Tucks. $1.50 - - - BELL.--Carpentry Made Easy: - - Or, The Science and Art of Framing on a New and Improved - System. With Specific Instructions for Building Balloon - Frames, Barn Frames, Mill Frames, Warehouses, Church Spires, - etc. Comprising also a System of Bridge Building, with Bills, - Estimates of Cost, and valuable Tables. Illustrated by 38 - plates, comprising nearly 200 figures. By WILLIAM E. BELL, - Architect and Practical Builder. 8vo. $5.00 - - - BELL.--Chemical Phenomena of Iron Smelting: - - An Experimental and Practical Examination of the Circumstances - which determine the Capacity of the Blast Furnace, the - Temperature of the Air, and the proper Condition of - the Materials to be operated upon. By I. LOWTHIAN BELL. - Illustrated. 8vo. $6.00 - - - BEMROSE.--Manual of Wood Carving: - - With Practical Illustrations for Learners of the Art, and - Original and Selected Designs. By WILLIAM BEMROSE, Jr. With - an Introduction by LLEWELLYN JEWITT, F. S. A., etc. With 128 - Illustrations. 4to., cloth. $3.00 - - - BICKNELL.--Village Builder, and Supplement: - - Elevations and Plans for Cottages, Villas, Suburban - Residences, Farm Houses, Stables and Carriage Houses, Store - Fronts, School Houses, Churches, Court Houses, and a model - Jail; also, Exterior and Interior details for Public and - Private Buildings, with approved Forms of Contracts and - Specifications, including Prices of Building Materials and - Labor at Boston, Mass., and St. Louis, Mo. Containing 75 - plates drawn to scale; showing the style and cost of building - in different sections of the country, being an original - work comprising the designs of twenty leading architects, - representing the New England, Middle, Western, and - Southwestern States. 4to. $12.00 - - - BLENKARN.--Practical Specifications of Works executed in - Architecture, Civil and Mechanical Engineering, and in Road - Making and Sewering: - - To which are added a series of practically useful Agreements - and Reports. By JOHN BLENKARN. Illustrated by 15 large folding - plates. 8vo. $9.00 - - - BLINN.--A Practical Workshop Companion for Tin, Sheet-Iron, - and Copperplate Workers: - - Containing Rules for describing various kinds of Patterns - used by Tin, Sheet-Iron, and Copper-plate Workers; Practical - Geometry; Mensuration of Surfaces and Solids; Tables of - the Weights of Metals, Lead Pipe, etc.; Tables of Areas and - Circumferences of Circles; Japan, Varnishes, Lackers, Cements, - Compositions, etc., etc. By LEROY J. BLINN, Master Mechanic. - With over 100 Illustrations. 12mo. $2.50 - - - BOOTH.--Marble Worker's Manual: - - Containing Practical Information respecting Marbles in - general, their Cutting, Working, and Polishing; Veneering of - Marble; Mosaics; Composition and Use of Artificial Marble, - Stuccos, Cements, Receipts, Secrets, etc., etc. Translated - from the French by M. L. BOOTH. With an Appendix concerning - American Marbles. 12mo., cloth. $1.50 - - - BOOTH AND MORFIT.--The Encyclopedia of Chemistry, Practical - and Theoretical: - - Embracing its application to the Arts, Metallurgy, Mineralogy, - Geology, Medicine, and Pharmacy. By JAMES C. BOOTH, Melter - and Refiner in the United States Mint, Professor of Applied - Chemistry in the Franklin Institute, etc., assisted by - CAMPBELL MORFIT, author of "Chemical Manipulations," etc. - Seventh edition. Royal 8vo., 978 pages, with numerous - wood-cuts and other illustrations. $5.00 - - - BOX.--A Practical Treatise on Heat: - - As applied to the Useful Arts; for the Use of Engineers, - Architects, etc. By THOMAS BOX, author of "Practical - Hydraulics." Illustrated by 14 plates containing 114 figures. - 12mo. $4.25 - - - BOX.--Practical Hydraulics: - - A Series of Rules and Tables for the use of Engineers, etc. By - THOMAS BOX. 12mo. $2.50 - - - BROWN.--Five Hundred and Seven Mechanical Movements: - - Embracing all those which are most important in Dynamics, - Hydraulics, Hydrostatics, Pneumatics, Steam Engines, Mill and - other Gearing, Presses, Horology, and Miscellaneous Machinery; - and including many movements never before published, and - several of which have only recently come into use. By HENRY T. - BROWN, Editor of the "American Artisan." In one volume, 12mo. - $1.00 - - - BUCKMASTER.--The Elements of Mechanical Physics: - - By J. C. BUCKMASTER, late Student in the Government School - of Mines; Certified Teacher of Science by the Department of - Science and Art; Examiner in Chemistry and Physics in the - Royal College of Preceptors; and late Lecturer in Chemistry - and Physics of the Royal Polytechnic Institute. Illustrated - with numerous engravings. In one volume, 12mo. $1.50 - - - BULLOCK.--The American Cottage Builder: - - A Series of Designs, Plans, and Specifications, from $200 - to $20,000, for Homes for the People; together with Warming, - Ventilation, Drainage, Painting, and Landscape Gardening. - By JOHN BULLOCK, Architect, Civil Engineer, Mechanician, and - Editor of "The Rudiments of Architecture and Building," etc., - etc. Illustrated by 75 engravings. In one volume, 8vo. $3.50 - - - BULLOCK.--The Rudiments of Architecture and Building: - - For the use of Architects, Builders, Draughtsmen, Machinists, - Engineers, and Mechanics. Edited by JOHN BULLOCK, author of - "The American Cottage Builder." Illustrated by 250 engravings. - In one volume, 8vo. $3.50 - - - BURGH.--Practical Illustrations of Land and Marine Engines: - - Showing in detail the Modern Improvements of High and Low - Pressure, Surface Condensation, and Super-heating, together - with Land and Marine Boilers. By N. P. BURGH, Engineer. - Illustrated by 20 plates, double elephant folio, with text. $21.00 - - - BURGH.--Practical Rules for the Proportions of Modern Engines - and Boilers for Land and Marine Purposes. - - By N. P. BURGH, Engineer. 12mo. $1.50 - - - BURGH.--The Slide-Valve Practically Considered. - - By N. P. BURGH, Engineer. Completely illustrated. 12mo. $2.00 - - - BYLES.--Sophisms of Free Trade and Popular Political Economy - Examined. - - By a BARRISTER (Sir JOHN BARNARD BYLES, Judge of Common - Pleas). First American from the Ninth English Edition, as - published by the Manchester Reciprocity Association. In one - volume, 12mo. Paper, 75 cts. Cloth. $1.25 - - - BYRN.--The Complete Practical Brewer: - - Or Plain, Accurate, and Thorough Instructions in the Art of - Brewing Beer, Ale, Porter, including the Process of making - Bavarian Beer, all the Small Beers, such as Root-beer, - Ginger-pop, Sarsaparilla-beer, Mead, Spruce Beer, etc., etc. - Adapted to the use of Public Brewers and Private Families. By - M. LA FAYETTE BYRN, M. D. With illustrations. 12mo. $1.25 - - - BYRN.--The Complete Practical Distiller: - - Comprising the most perfect and exact Theoretical and - Practical Description of the Art of Distillation and - Rectification; including all of the most recent improvements - in distilling apparatus; instructions for preparing spirits - from the numerous vegetables, fruits, etc.; directions for - the distillation and preparation of all kinds of brandies and - other spirits, spirituous and other compounds, etc., etc. By - M. LA FAYETTE BYRN, M. D. Eighth Edition. To which are added, - Practical Directions for Distilling, from the French of Th. - Fling, Brewer and Distiller. 12mo. $1.50 - - - BYRNE.--Handbook for the Artisan, Mechanic, and Engineer: - - Comprising the Grinding and Sharpening of Cutting Tools, - Abrasive Processes, Lapidary Work, Gem and Glass Engraving, - Varnishing and Lackering, Apparatus, Materials and Processes - for Grinding and Polishing, etc. By OLIVER BYRNE. Illustrated - by 185 wood engravings. In one volume, 8vo. $5.00 - - - BYRNE.--Pocket Book for Railroad and Civil Engineers: - - Containing New, Exact, and Concise Methods for Laying out - Railroad Curves, Switches, Frog Angles, and Crossings; the - Staking out of work; Levelling; the Calculation of Cuttings; - Embankments; Earth-work, etc. By OLIVER BYRNE. 18mo., full - bound, pocket-book form. $1.75 - - - BYRNE.--The Practical Model Calculator: - - For the Engineer, Mechanic, Manufacturer of Engine Work, Naval - Architect, Miner, and Millwright. By OLIVER BYRNE. 1 volume, - 8vo., nearly 600 pages. $4.50 - - - BYRNE.--The Practical Metal-Worker's Assistant: - - Comprising Metallurgic Chemistry; the Arts of Working all - Metals and Alloys; Forging of Iron and Steel; Hardening and - Tempering; Melting and Mixing; Casting and Founding; Works in - Sheet Metal; The Processes Dependent on the Ductility of the - Metals; Soldering; and the most Improved Processes and Tools - employed by Metal-Workers. With the Application of the Art of - Electro-Metallurgy to Manufacturing Processes; collected from - Original Sources, and from the Works of Holtzapffel, Bergeron, - Leupold, Plumier, Napier, Scoffern, Clay, Fairbairn, and - others. By OLIVER BYRNE. A new, revised, and improved edition, - to which is added An Appendix, containing THE MANUFACTURE - OF RUSSIAN SHEET-IRON. By JOHN PERCY, M. D., F.R.S. THE - MANUFACTURE OF MALLEABLE IRON CASTINGS, and IMPROVEMENTS IN - BESSEMER STEEL. By A. A. FESQUET, Chemist and Engineer. With - over 600 Engravings, illustrating every Branch of the Subject. - 8vo. $7.00 - - - Cabinet Maker's Album of Furniture: - - Comprising a Collection of Designs for Furniture. Illustrated - by 48 Large and Beautifully Engraved Plates. In one vol., - oblong. $5.00 - - - CALLINGHAM.--Sign Writing and Glass Embossing: - - A Complete Practical Illustrated Manual of the Art. By JAMES - CALLINGHAM. In one volume, 12mo. $1.50 - - - CAMPIN.--A Practical Treatise on Mechanical Engineering: - - Comprising Metallurgy, Moulding, Casting, Forging, Tools, - Workshop Machinery, Mechanical Manipulation, Manufacture of - Steam-engines, etc., etc. With an Appendix on the Analysis - of Iron and Iron Ores. By FRANCIS CAMPIN, C. E. To which are - added, Observations on the Construction of Steam Boilers, - and Remarks upon Furnaces used for Smoke Prevention; with - a Chapter on Explosions. By R. ARMSTRONG, C. E., and JOHN - BOURNE. Rules for Calculating the Change Wheels for Screws - on a Turning Lathe, and for a Wheel-cutting Machine. By J. - LA NICCA. Management of Steel, Including Forging, Hardening, - Tempering, Annealing, Shrinking, and Expansion. And the - Case-hardening of Iron. By G. EDE. 8vo. Illustrated with 29 - plates and 100 wood engravings. $6.00 - - - CAMPIN.--The Practice of Hand-Turning in Wood, Ivory, Shell, etc.: - - With Instructions for Turning such works in Metal as may be - required in the Practice of Turning Wood, Ivory, etc. Also, - an Appendix on Ornamental Turning. By FRANCIS CAMPIN; with - Numerous Illustrations. 12mo., cloth. $3.00 - - - CAREY.--The Works of Henry C. Carey: - - FINANCIAL CRISES, their Causes and Effects. 8vo. paper 25 - - HARMONY OF INTERESTS: Agricultural, Manufacturing, and - Commercial. 8vo., cloth. $1.50 - - MANUAL OF SOCIAL SCIENCE. Condensed from Carey's "Principles - of Social Science." By KATE MCKEAN. 1 vol. 12mo. $2.25 - - MISCELLANEOUS WORKS: comprising "Harmony of Interests," - "Money," "Letters to the President," "Financial Crises," "The - Way to Outdo England Without Fighting Her," "Resources of the - Union," "The Public Debt," "Contraction or Expansion?" "Review - of the Decade 1857-'67," "Reconstruction," etc., etc. Two - vols., 8vo., cloth. $10.00 - - PAST, PRESENT, AND FUTURE. 8vo. $2.50 - - PRINCIPLES OF SOCIAL SCIENCE. 3 vols., 8vo., cloth. $10.00 - - THE SLAVE-TRADE, DOMESTIC AND FOREIGN; Why it Exists, and How - it may be Extinguished (1853). 8vo., cloth. $2.00 - - LETTERS ON INTERNATIONAL COPYRIGHT (1867) 50 - - THE UNITY OF LAW: As Exhibited in the Relations of Physical, - Social, Mental, and Moral Science (1872). In one volume, 8vo., - pp. xxiii., 433. Cloth. $3.50 - - - CHAPMAN.--A Treatise on Ropemaking: - - As Practised in private and public Rope yards, with a - Description of the Manufacture, Rules, Tables of Weights, - etc., adapted to the Trades, Shipping, Mining, Railways, - Builders, etc. By ROBERT CHAPMAN, 24mo. $1.50 - - - COLBURN.--The Locomotive Engine: - - Including a Description of its Structure, Rules for - Estimating its Capabilities, and Practical Observations on its - Construction and Management. By ZERAH COLBURN. Illustrated. A - new edition. 12mo. $1.25 - - - CRAIK.--The Practical American Millwright and Miller. - - By DAVID CRAIK, Millwright. Illustrated by numerous wood - engravings, and two folding plates. 8vo. $5.00 - - - DE GRAFF.--The Geometrical Stair Builders' Guide: - - Being a Plain Practical System of Hand-Railing, embracing all - its necessary Details, and Geometrically Illustrated by 22 - Steel Engravings; together with the use of the most approved - principles of Practical Geometry. By SIMON DE GRAFF, - Architect. 4to. $5.00 - - - DE KONINCK.--DIETZ.--A Practical Manual of Chemical Analysis - and Assaying: - - As applied to the Manufacture of Iron from its Ores, and to - Cast Iron, Wrought Iron, and Steel, as found in Commerce. By - L. L. DE KONINCK, Dr. Sc., and E. DIETZ, Engineer. Edited - with Notes, by ROBERT MALLET, F.R.S., F.S.G., M.I.C.E., etc. - American Edition, Edited with Notes and an Appendix on Iron - Ores, by A. A. FESQUET, Chemist and Engineer. One volume, - 12mo. $2.50 - - - DUNCAN.--Practical Surveyor's Guide: - - Containing the necessary information to make any person, of - common capacity, a finished land surveyor without the aid of a - teacher. By ANDREW DUNCAN. Illustrated. 12mo., cloth. $1.25 - - - DUPLAIS.--A Treatise on the Manufacture and Distillation of - Alcoholic Liquors: - - Comprising Accurate and Complete Details in Regard to Alcohol - from Wine, Molasses, Beets, Grain, Rice, Potatoes, - Sorghum, Asphodel, Fruits, etc.; with the Distillation and - Rectification of Brandy, Whiskey, Rum, Gin, Swiss Absinthe, - etc., the Preparation of Aromatic Waters, Volatile Oils - or Essences, Sugars, Syrups, Aromatic Tinctures, Liqueurs, - Cordial Wines, Effervescing Wines, etc., the Aging of Brandy - and the Improvement of Spirits, with Copious Directions and - Tables for Testing and Reducing Spirituous Liquors, etc., etc. - Translated and Edited from the French of MM. DUPLAIS, Ainé - et Jeune. By M. MCKENNIE, M. D. To which are added the United - States Internal Revenue Regulations for the Assessment and - Collection of Taxes on Distilled Spirits. Illustrated by - fourteen folding plates and several wood engravings. 743 pp., - 8vo. $10.00 - - DUSSAUCE.--A General Treatise on the Manufacture of Every - Description of Soap: - - Comprising the Chemistry of the Art, with Remarks on Alkalies, - Saponifiable Fatty Bodies, the apparatus necessary in a Soap - Factory, Practical Instructions in the manufacture of the - various kinds of Soap, the assay of Soaps, etc., etc. Edited - from Notes of Larmé, Fontenelle, Malapayre, Dufour, and - others, with large and important additions by Prof. H. - DUSSAUCE, Chemist. Illustrated. In one vol., 8vo. $10.00 - - - DUSSAUCE.--A General Treatise on the Manufacture of Vinegar: - - Theoretical and Practical. Comprising the various Methods, by - the Slow and the Quick Processes, with Alcohol, Wine, Grain, - Malt, Cider, Molasses, and Beets; as well as the Fabrication - of Wood Vinegar, etc., etc. By Prof. H. DUSSAUCE. In one - volume, 8vo. $5.00 - - - DUSSAUCE.--A New and Complete Treatise on the Arts of Tanning, - Currying, and Leather Dressing: - - Comprising all the Discoveries and Improvements made in - France, Great Britain, and the United States. Edited from - Notes and Documents of Messrs. Sallerou, Grouvelle, Duval, - Dessables, Labarraque, Payen, René, De Fontenelle, Malapeyre, - etc., etc. By Prof. H. DUSSAUCE, Chemist. Illustrated by 212 - wood engravings. 8vo. $25.00 - - - DUSSAUCE.--A Practical Guide for the Perfumer: - - Being a New Treatise on Perfumery, the most favorable to the - Beauty without being injurious to the Health, comprising a - Description of the substances used in Perfumery, the Formulæ - of more than 1000 Preparations, such as Cosmetics, Perfumed - Oils, Tooth Powders, Waters, Extracts, Tinctures, Infusions, - Spirits, Vinaigres, Essential Oils, Pastels, Creams, Soaps, - and many new Hygienic Products not hitherto described. Edited - from Notes and Documents of Messrs. Debay, Lanel, etc. With - additions by Prof. H. DUSSAUCE, Chemist. 12mo. $3.00 - - - DUSSAUCE.--Practical Treatise on the Fabrication of Matches, - Gun Cotton, and Fulminating Powders. - - By Prof. H. DUSSAUCE. 12mo. $3.00 - - - Dyer and Color-maker's Companion: - - Containing upwards of 200 Receipts for making Colors, on - the most approved principles, for all the various styles and - fabrics now in existence; with the Scouring Process, and - plain Directions for Preparing, Washing-off, and Finishing the - Goods. In one vol., 12mo. $1.25 - - - EASTON.--A Practical Treatise on Street or Horsepower - Railways. - - By ALEXANDER EASTON, C. E. Illustrated by 23 plates. 8vo., - cloth. $2.00 - - - ELDER.--Questions of the Day: - - Economic and Social. By Dr. WILLIAM ELDER. 8vo. $3.00 - - - FAIRBAIRN.--The Principles of Mechanism and Machinery of - Transmission: - - Comprising the Principles of Mechanism, Wheels, and Pulleys, - Strength and Proportions of Shafts, Coupling of Shafts, and - Engaging and Disengaging Gear. By Sir WILLIAM FAIRBAIRN, C. - E., LL.D., F.R.S., F.G.S. Beautifully illustrated by over 150 - wood-cuts. In one volume, 12mo. $2.50 - - - FORSYTH.--Book of Designs for Headstones, Mural, and other - Monuments: - - Containing 78 Designs. By JAMES FORSYTH. With an Introduction - by CHARLES BOUTELL, M. A. 4to., cloth. $5.00 - - - GIBSON.--The American Dyer: - - A Practical Treatise on the Coloring of Wool, Cotton, Yarn and - Cloth, in three parts. Part First gives a descriptive account - of the Dye Stuffs; if of vegetable origin, where produced, - how cultivated, and how prepared for use; if chemical, their - composition, specific gravities, and general adaptability, how - adulterated, and how to detect the adulterations, etc. Part - Second is devoted to the Coloring of Wool, giving recipes for - one hundred and twenty-nine different colors or shades, and - is supplied with sixty colored samples of Wool. Part Third - is devoted to the Coloring of Raw Cotton or Cotton Waste, for - mixing with Wool Colors in the Manufacture of all kinds of - Fabrics, gives recipes for thirty-eight different colors or - shades, and is supplied with twenty-four colored samples of - Cotton Waste. Also, recipes for Coloring Beavers, Doeskins, - and Flannels, with remarks upon Anilines, giving recipes - for fifteen different colors or shades, and nine samples of - Aniline Colors that will stand both the Fulling and Scouring - process. Also, recipes for Aniline Colors on Cotton Thread, - and recipes for Common Colors on Cotton Yarns. Embracing - in all over two hundred recipes for Colors and Shades, and - ninety-four samples of Colored Wool and Cotton Waste, etc. By - RICHARD H. GIBSON, Practical Dyer and Chemist. In one volume, - 8vo. $12.50 - - - GILBART.--History and Principles of Banking: - - A Practical Treatise. By JAMES W. GILBART, late Manager of the - London and Westminster Bank. With additions. In one volume, - 8vo., 600 pages, sheep. $5.00 - - - Gothic Album for Cabinet Makers: - - Comprising a Collection of Designs for Gothic Furniture. - Illustrated by 23 large and beautifully engraved plates. - Oblong. $3.00 - - - GRANT.--Beet-root Sugar and Cultivation of the Beet. - - By E. B. GRANT. 12mo. $1.25 - - - GREGORY.--Mathematics for Practical Men: - - Adapted to the Pursuits of Surveyors, Architects, Mechanics, - and Civil Engineers. By OLINTHUS GREGORY. 8vo., plates, cloth. - $3.00 - - - GRISWOLD.--Railroad Engineer's Pocket Companion for the Field: - - Comprising Rules for Calculating Deflection Distances and - Angles, Tangential Distances and Angles, and all Necessary - Tables for Engineers; also the art of Levelling from - Preliminary Survey to the Construction of Railroads, intended - Expressly for the Young Engineer, together with Numerous - Valuable Rules and Examples. By W. GRISWOLD. 12mo., tucks. $1.75 - - - GRUNER.--Studies of Blast Furnace Phenomena. - - By M. L. GRUNER, President of the General Council of Mines of - France, and lately Professor of Metallurgy at the Ecole - des Mines. Translated, with the Author's sanction, with an - Appendix, by L. D. B. Gordon, F.R.S.E., F.G.S. Illustrated. - 8vo. $2.50 - - - GUETTIER.--Metallic Alloys: - - Being a Practical Guide to their Chemical and Physical - Properties, their Preparation, Composition, and Uses. - Translated from the French of A. GUETTIER, Engineer and - Director of Foundries, author of "La Fouderie en France," - etc., etc. By A. A. FESQUET, Chemist and Engineer. In one - volume, 12mo. $3.00 - - - HARRIS.--Gas Superintendent's Pocket Companion. - - By HARRIS & BROTHER, Gas Meter Manufacturers, 1115 and 1117 - Cherry Street, Philadelphia. Full bound in pocket-book form. $2.00 - - - Hats and Felting: - - A Practical Treatise on their Manufacture. By a Practical - Hatter. Illustrated by Drawings of Machinery, etc. 8vo. $1.25 - - - HOFMANN.--A Practical Treatise on the Manufacture of Paper in - all its Branches. - - By CARL HOFMANN. Late Superintendent of paper mills in Germany - and the United States; recently manager of the Public - Ledger Paper Mills, near Elkton, Md. Illustrated by 110 wood - engravings, and five large folding plates. In one volume, - 4to., cloth; 398 pages. $15.00 - - - HUGHES.--American Miller and Millwright's Assistant. - - By WM. CARTER HUGHES. A new edition. In one vol., 12mo. $1.50 - - - HURST.--A Hand-Book for Architectural Surveyors and others - engaged in Building: - - Containing Formulæ useful in Designing Builder's work, Table - of Weights, of the materials used in Building, Memoranda - connected with Builders' work, Mensuration, the Practice - of Builders' Measurement, Contracts of Labor, Valuation of - Property, Summary of the Practice in Dilapidation, etc., etc. - By J. F. HURST, C. E. Second edition, pocket-book form, full - bound. $2.50 - - - JERVIS.--Railway Property: - - A Treatise on the Construction and Management of Railways; - designed to afford useful knowledge, in the popular style, - to the holders of this class of property; as well as Railway - Managers, Officers, and Agents. By JOHN B. JERVIS, late Chief - Engineer of the Hudson River Railroad, Croton Aqueduct, etc. - In one vol., 12mo., cloth. $2.00 - - - JOHNSTON.--Instructions for the Analysis of Soils, Limestones, - and Manures. - - By J. F. W. JOHNSTON. 12mo. 38 - - - KEENE.--A Hand-Book of Practical Gauging: - - For the Use of Beginners, to which is added, A Chapter on - Distillation, describing the process in operation at the - Custom House for ascertaining the strength of wines. By JAMES - B. KEENE, of H. M. Customs. 8vo. $1.25 - - - KELLEY.--Speeches, Addresses, and Letters on Industrial and - Financial Questions. - - By Hon. WILLIAM D. KELLEY, M. C. In one volume, 544 pages, - 8vo. $3.00 - - - KENTISH.--A Treatise on a Box of Instruments, - - And the Slide Rule; with the Theory of Trigonometry and - Logarithms, including Practical Geometry, Surveying, Measuring - of Timber, Cask and Malt Gauging, Heights, and Distances. By - THOMAS KENTISH. In one volume. 12mo. $1.25 - - - KOBELL.--ERNI.--Mineralogy Simplified: - - A short Method of Determining and Classifying Minerals, - by means of simple Chemical Experiments in the Wet Way. - Translated from the last German Edition of F. VON KOBELL, with - an Introduction to Blow-pipe Analysis and other additions. - By HENRI ERNI, M. D., late Chief Chemist, Department of - Agriculture, author of "Coal Oil and Petroleum." In one - volume, 12mo. $2.50 - - - LANDRIN.--A Treatise on Steel: - - Comprising its Theory, Metallurgy, Properties, Practical - Working, and Use. By M. H. C. LANDRIN, Jr., Civil Engineer. - Translated from the French, with Notes, by A. A. FESQUET, - Chemist and Engineer. With an Appendix on the Bessemer and the - Martin Processes for Manufacturing Steel, from the Report of - Abram S. Hewitt, United States Commissioner to the Universal - Exposition, Paris, 1867. In one volume, 12mo. $3.00 - - - LARKIN.--The Practical Brass and Iron Founder's Guide: - - A Concise Treatise on Brass Founding, Moulding, the Metals and - their Alloys, etc.: to which are added Recent Improvements in - the Manufacture of Iron, Steel by the Bessemer Process, etc., - etc. By JAMES LARKIN, late Conductor of the Brass Foundry - Department in Reany, Neafie & Co's. Penn Works, Philadelphia. - Fifth edition, revised, with Extensive additions. In one - volume, 12mo. $2.25 - - - LEAVITT.--Facts about Peat as an Article of Fuel: - - With Remarks upon its Origin and Composition, the Localities - in which it is found, the Methods of Preparation and - Manufacture, and the various Uses to which it is applicable; - together with many other matters of Practical and Scientific - Interest. To which is added a chapter on the Utilization of - Coal Dust with Peat for the Production of an Excellent Fuel at - Moderate Cost, specially adapted for Steam Service. By T. H. - LEAVITT. Third edition. 12mo. $1.75 - - - LEROUX, C.--A Practical Treatise on the Manufacture of - Worsteds and Carded Yarns: - - Comprising Practical Mechanics, with Rules and Calculations - applied to Spinning; Sorting, Cleaning, and Scouring Wools; - the English and French methods of Combing, Drawing, and - Spinning Worsteds and Manufacturing Carded Yarns. Translated - from the French of CHARLES LEROUX, Mechanical Engineer, and - Superintendent of a Spinning Mill, by HORATIO PAINE, M. D., - and A. A. FESQUET, Chemist and Engineer. Illustrated by - 12 large Plates. To which is added an Appendix, containing - extracts from the Reports of the International Jury, and - of the Artisans selected by the Committee appointed by the - Council of the Society of Arts, London, on Woollen and Worsted - Machinery and Fabrics, as exhibited in the Paris Universal - Exposition, 1867. 8vo., cloth. $5.00 - - - LESLIE (Miss).--Complete Cookery: - - Directions for Cookery in its Various Branches. By MISS - LESLIE. 60th thousand. Thoroughly revised, with the addition - of New Receipts. In one volume, 12mo., cloth. $1.50 - - - LESLIE (Miss).--Ladies' House Book: - - A Manual of Domestic Economy. 20th revised edition. 12mo., - cloth. - - - LESLIE (Miss).--Two Hundred Receipts in French Cookery. - - Cloth, 12mo. - - - LIEBER.--Assayer's Guide: - - Or, Practical Directions to Assayers, Miners, and Smelters, - for the Tests and Assays, by Heat and by Wet Processes, for - the Ores of all the principal Metals, of Gold and Silver - Coins and Alloys, and of Coal, etc. By OSCAR M. LIEBER. 12mo., - cloth. $1.25 - - - LOTH.--The Practical Stair Builder: - - A Complete Treatise on the Art of Building Stairs and - Hand-Rails, Designed for Carpenters, Builders, and - Stair-Builders. Illustrated with Thirty Original Plates. By - C. EDWARD LOTH, Professional Stair-Builder. One large 4to. - volume. $10.00 - - - LOVE.--The Art of Dyeing, Cleaning, Scouring, and Finishing, - on the Most Approved English and French Methods: - - Being Practical Instructions in Dyeing Silks, Woollens, and - Cottons, Feathers, Chips, Straw, etc. Scouring and Cleaning - Bed and Window Curtains, Carpets, Rugs, etc. French and - English Cleaning, any Color or Fabric of Silk, Satin, or - Damask. By THOMAS LOVE, a Working Dyer and Scourer. Second - American Edition, to which are added General Instructions for - the Use of Aniline Colors. In one volume, 8vo., 343 pages. $5.00 - - - MAIN and BROWN.--Questions on Subjects Connected with the - Marine Steam-Engine: - - And Examination Papers; with Hints for their Solution. By - THOMAS J. MAIN, Professor of Mathematics, Royal Naval College, - and THOMAS BROWN, Chief Engineer, R. N. 12mo., cloth. $1.50 - - - MAIN and BROWN.--The Indicator and Dynamometer: - - With their Practical Applications to the Steam-Engine. By - THOMAS J. MAIN, M. A. F. R., Assistant Professor Royal Naval - College, Portsmouth, and THOMAS BROWN, Assoc. Inst. C. E., - Chief Engineer, R. N., attached to the Royal Naval College. - Illustrated. From the Fourth London Edition. 8vo. $1.50 - - - MAIN and BROWN.--The Marine Steam-Engine. - - By THOMAS J. MAIN, F. R.; Assistant S. Mathematical Professor - at the Royal Naval College, Portsmouth, and THOMAS BROWN, - Assoc. Inst. C. E., Chief Engineer R. N. Attached to the Royal - Naval College. Authors of "Questions connected with the Marine - Steam-Engine," and the "Indicator and Dynamometer." With - numerous Illustrations. In one volume, 8vo. $5.00 - - - MARTIN.--Screw-Cutting Tables, for the Use of Mechanical - Engineers: - - Showing the Proper Arrangement of Wheels for Cutting the - Threads of Screws of any required Pitch; with a Table for - Making the Universal Gas-Pipe Thread and Taps. By W. A. - MARTIN, Engineer. 8vo. 50 - - - Mechanics' (Amateur) Workshop: - - A treatise containing plain and concise directions for the - manipulation of Wood and Metals, including Casting, Forging, - Brazing, Soldering, and Carpentry. By the author of the "Lathe - and its Uses." Third edition. Illustrated. 8vo. $3.00 - - - MOLESWORTH.--Pocket-Book of Useful Formulæ and Memoranda for - Civil and Mechanical Engineers. - - By GUILFORD L. MOLESWORTH, Member of the Institution of Civil - Engineers, Chief Resident Engineer of the Ceylon Railway. - Second American, from the Tenth London Edition. In one volume, - full bound in pocket-book form. $2.00 - - - NAPIER.--A System of Chemistry Applied to Dyeing. - - By JAMES NAPIER, F. C. S. A New and Thoroughly Revised - Edition. Completely brought up to the present state of the - Science, including the Chemistry of Coal Tar Colors, by A. A. - FESQUET, Chemist and Engineer. With an Appendix on Dyeing and - Calico Printing, as shown at the Universal Exposition, Paris, - 1867. Illustrated. In one Volume, 8vo., 422 pages. $5.00 - - - NAPIER.--Manual of Electro-Metallurgy: - - Including the Application of the Art to Manufacturing - Processes. By JAMES NAPIER. Fourth American, from-the - Fourth London edition, revised and enlarged. Illustrated by - engravings. In one vol., 8vo. $2.00 - - - NASON.--Table of Reactions for Qualitative Chemical Analysis. - - By HENRY B. NASON, Professor of Chemistry in the Rensselaer - Polytechnic Institute, Troy, New York. Illustrated by Colors. 63 - - - NEWBERY.--Gleanings from Ornamental Art of every style: - - Drawn from Examples in the British, South Kensington, Indian, - Crystal Palace, and other Museums, the Exhibitions of 1851 and - 1862, and the best English and Foreign works. In a series of - one hundred exquisitely drawn Plates, containing many hundred - examples. By ROBERT NEWBERY. 4to. $15.00 - - - NICHOLSON.--A Manual of the Art of Bookbinding: - - Containing full instructions in the different Branches of - Forwarding, Gilding, and Finishing. Also, the Art of Marbling - Book-edges and Paper. By JAMES B. NICHOLSON. Illustrated, - 12mo., cloth. $2.25 - - - NICHOLSON.--The Carpenter's New Guide: - - A Complete Book of Lines for Carpenters and Joiners. By PETER - NICHOLSON. The whole carefully and thoroughly revised by H. K. - DAVIS, and containing numerous new and improved and original - Designs for Roofs, Domes, etc. By SAMUEL SLOAN, Architect. - Illustrated by 80 plates. 4to. $4.50 - - - NORRIS.--A Hand-book for Locomotive Engineers and Machinists: - - Comprising the Proportions and Calculations for Constructing - Locomotives; Manner of Setting Valves; Tables of Squares, - Cubes, Areas, etc., etc. By SEPTIMUS NORRIS, Civil and - Mechanical Engineer. New edition. Illustrated. 12mo., cloth. $2.00 - - - NYSTROM.--On Technological Education, and the Construction of - Ships and Screw Propellers: - - For Naval and Marine Engineers. By JOHN W. NYSTROM, late - Acting Chief Engineer, U. S. N. Second edition, revised with - additional matter. Illustrated by seven engravings. 12mo. $1.50 - - - O'NEILL.--A Dictionary of Dyeing and Calico Printing: - - Containing a brief account of all the Substances and Processes - in use in the Art of Dyeing and Printing Textile Fabrics; - with Practical Receipts and Scientific Information. By CHARLES - O'NEILL, Analytical Chemist; Fellow of the Chemical Society - of London; Member of the Literary and Philosophical Society - of Manchester; Author of "Chemistry of Calico Printing and - Dyeing." To which is added an Essay on Coal Tar Colors and - their application to Dyeing and Calico Printing. By A. A. - FESQUET, Chemist and Engineer. With an Appendix on Dyeing and - Calico Printing, as shown at the Universal Exposition, Paris, - 1867. In one volume, 8vo., 491 pages. $6.00 - - - ORTON.--Underground Treasures: - - How and Where to Find Them. A Key for the Ready Determination - of all the Useful Minerals within the United States. By JAMES - ORTON, A. M. Illustrated, 12mo. $1.50 - - - OSBORN.--American Mines and Mining: - - Theoretically and Practically Considered. By Prof. H. - S. OSBORN. Illustrated by numerous engravings. 8vo. (_In - preparation._) - - - OSBORN.--The Metallurgy of Iron and Steel: - - Theoretical and Practical in all its Branches; with special - reference to American Materials and Processes. By H. S. - OSBORN, LL. D., Professor of Mining and Metallurgy in - Lafayette College, Easton, Pennsylvania. Illustrated by - numerous large folding plates and wood-engravings. 8vo. $15.00 - - - OVERMAN.--The Manufacture of Steel: - - Containing the Practice and Principles of Working and Making - Steel. A Handbook for Blacksmiths and Workers in Steel and - Iron, Wagon Makers, Die Sinkers, Cutlers, and Manufacturers of - Files and Hardware, of Steel and Iron, and for Men of Science - and Art. By FREDERICK OVERMAN, Mining Engineer, Author of - the "Manufacture of Iron," etc. A new, enlarged, and revised - Edition. By A. A. FESQUET, Chemist and Engineer. $1.50 - - - OVERMAN.--The Moulder and Founder's Pocket Guide: - - A Treatise on Moulding and Founding in Green-sand, Dry-sand, - Loam, and Cement; the Moulding of Machine Frames, Mill-gear, - Hollow-ware, Ornaments, Trinkets, Bells, and Statues; - Description of Moulds for Iron, Bronze, Brass, and other - Metals; Plaster of Paris, Sulphur, Wax, and other articles - commonly used in Casting; the Construction of Melting - Furnaces, the Melting and Founding of Metals; the Composition - of Alloys and their Nature. With an Appendix containing - Receipts for Alloys, Bronze, Varnishes and Colors for - Castings; also, Tables on the Strength and other qualities of - Cast Metals. By FREDERICK OVERMAN, Mining Engineer, Author of - "The Manufacture of Iron." With 42 Illustrations. 12mo. $1.50 - - - Painter, Gilder, and Varnisher's Companion: - - Containing Rules and Regulations in everything relating to - the Arts of Painting, Gilding, Varnishing, Glass-Staining, - Graining, Marbling, Sign-Writing, Gilding on Glass, and - Coach Painting and Varnishing; Tests for the Detection of - Adulterations in Oils, Colors, etc.; and a Statement of the - Diseases to which Painters are peculiarly liable, with the - Simplest and Best Remedies. Sixteenth Edition. Revised, with - an Appendix. Containing Colors and Coloring-Theoretical and - Practical. Comprising descriptions of a great variety of - Additional Pigments, their Qualities and Uses, to which are - added, Dryers, and Modes and Operations of Painting, etc. - Together with Chevreul's Principles of Harmony and Contrast of - Colors, 12mo., cloth. $1.50 - - - PALLETT.--The Miller's, Millwright's, and Engineer's Guide. - - By HENRY PALLETT. Illustrated. In one volume, 12mo. $3.00 - - - PERCY.--The Manufacture of Russian Sheet-Iron. - - By JOHN PERCY, M. D., F.R.S., Lecturer on Metallurgy at the - Royal School of Mines, and to The Advanced Class of Artillery - Officers at the Royal Artillery Institution, Woolwich; Author - of "Metallurgy." With Illustrations. 8vo., paper. 50 cts. - - - PERKINS.--Gas and Ventilation. - - Practical Treatise on Gas and Ventilation. With Special - Relation to Illuminating, Heating, and Cooking by Gas. - Including Scientific Helps to Engineer-students and others. - With Illustrated Diagrams. By E. E. PERKINS. 12mo., cloth. $1.25 - - - PERKINS and STOWE.--A New Guide to the Sheet-iron and Boiler - Plate Roller: - - Containing a Series of Tables showing the Weight of Slabs and - Piles to produce Boiler Plates, and of the Weight of Piles and - the Sizes of Bars to produce Sheet-iron; the Thickness of the - Bar Gauge in decimals; the Weight per foot, and the Thickness - on the Bar or Wire Gauge of the fractional parts of an inch; - the Weight per sheet, and the Thickness on the Wire Gauge of - Sheet-iron of various dimensions to weigh 112 lbs. per bundle; - and the conversion of Short Weight into Long Weight, and Long - Weight into Short. Estimated and collected by G. H. PERKINS - and J. G. STOWE. $2.50 - - PHILLIPS and DARLINGTON.--Records of Mining and Metallurgy; - - Or Facts and Memoranda for the use of the Mine Agent and - Smelter. By J. ARTHUR PHILLIPS, Mining Engineer, Graduate - of the Imperial School of Mines, France, etc., and JOHN - DARLINGTON. Illustrated by numerous engravings. In one volume, - 12mo. $2.00 - - - PROTEAUX.--Practical Guide for the Manufacture of Paper and - Boards. - - By A. PROTEAUX, Civil Engineer, and Graduate of the School - of Arts and Manufactures, and Director of Thiers' Paper Mill, - Puy-de-Dôme. With additions, by L. S. LE NORMAND. Translated - from the French, with Notes, by HORATIO PAINE, A. B., M. D. To - which is added a Chapter on the Manufacture of Paper from - Wood in the United States, by HENRY T. BROWN, of the "American - Artisan." Illustrated by six plates, containing Drawings of - Raw Materials, Machinery, Plans of Paper-Mills, etc., etc. - 8vo. $10.00 - - - REGNAULT.--Elements of Chemistry. - - By M. V. REGNAULT. Translated from the French by T. FORREST - BETTON, M. D., and edited, with Notes, by JAMES C. BOOTH, - Melter and Refiner U. S. Mint, and WM. L. FABER, Metallurgist - and Mining Engineer. Illustrated by nearly 700 wood - engravings. Comprising nearly 1500 pages. In two volumes, - 8vo., cloth. $7.50 - - - REID.--A Practical Treatise on the Manufacture of Portland - Cement: - - By HENRY REID, C. E. To which is added a Translation of M. A. - Lipowitz's Work, describing a New Method adopted in Germany - for Manufacturing that Cement, by W. F. REID. Illustrated by - plates and wood engravings. 8vo. $6.00 - - - RIFFAULT, VERGNAUD, and TOUSSAINT.--A Practical Treatise on - the Manufacture of Varnishes. - - By MM. RIFFAULT, VERGNAUD, and TOUSSAINT. Revised and Edited - by M. F. MALEPEYRE and Dr. EMIL WINCKLER. Illustrated. In one - volume, 8vo. (_In preparation._) - - - RIFFAULT, VERGNAUD, and TOUSSAINT.--A Practical Treatise on - the Manufacture of Colors for Painting: - - Containing the best Formulæ and the Processes the Newest and - in most General Use. By MM. RIFFAULT, VERGNAUD, and TOUSSAINT. - Revised and Edited by M. F. MALEPEYRE and Dr. EMIL WINCKLER. - Translated from the French by A. A. FESQUET, Chemist and - Engineer. Illustrated by Engravings. In one volume, 650 pages, - 8vo. $7.50 - - - ROBINSON.--Explosions of Steam Boilers: - - How they are Caused, and how they may be Prevented. By J. R. - ROBINSON, Steam Engineer. 12mo. $1.25 - - - ROPER.--A Catechism of High Pressure or Non-Condensing - Steam-Engines: - - Including the Modelling, Constructing, Running, and Management - of Steam Engines and Steam Boilers. With Illustrations. By - STEPHEN ROPER, Engineer. Full bound tucks. $2.00 - - - ROSELEUR.--Galvanoplastic Manipulations: - - A Practical Guide for the Gold and Silver Electro-plater and - the Galvanoplastic Operator. Translated from the French of - ALFRED ROSELEUR, Chemist, Professor of the Galvanoplastic Art, - Manufacturer of Chemicals, Gold and Silver Electro-plater. By - A. A. FESQUET, Chemist and Engineer. Illustrated by over 127 - Engravings on wood. 8vo., 495 pages. $6.00 - - [right-pointing hand] _This Treatise is the fullest and - by far the best on this subject ever published in the - United States._ - - - SCHINZ.--Researches on the Action of the Blast Furnace. - - By CHARLES SCHINZ. Translated from the German with the special - permission of the Author by WILLIAM H. MAW and MORITZ MULLER. - With an Appendix written by the Author expressly for this - edition. Illustrated by seven plates, containing 28 figures. - In one volume, 12mo. $4.25 - - - SHAW.--Civil Architecture: - - Being a Complete Theoretical and Practical System of Building, - containing the Fundamental Principles of the Art. By EDWARD - SHAW, Architect. To which is added a Treatise on Gothic - Architecture, etc. By THOMAS W. SILLOWAY and GEORGE M. - HARDING, Architects. The whole illustrated by One Hundred and - Two quarto plates finely engraved on copper. Eleventh Edition. - 4to., cloth. $10.00 - - - SHUNK.--A Practical Treatise on Railway Curves and Location, - for Young Engineers. - - By WILLIAM F. SHUNK, Civil Engineer. 12mo. $2.00 - - - SLOAN.--American Houses: - - A variety of Original Designs for Rural Buildings. Illustrated - by 26 colored Engravings, with Descriptive References. By - SAMUEL SLOAN, Architect, author of the "Model Architect," - etc., etc. 8vo. $2.50 - - - SMEATON.--Builder's Pocket Companion: - - Containing the Elements of Building, Surveying, and - Architecture; with Practical Rules and Instructions connected - with the subject. By A. C. SMEATON, Civil Engineer, etc. In - one volume, 12mo. $1.50 - - - SMITH.--A Manual of Political Economy. - - By E. PESHINE SMITH. A new Edition, to which is added a full - Index. 12mo., cloth. $1.25 - - - SMITH.--Parks and Pleasure Grounds: - - Or Practical Notes on Country Residences, Villas, Public - Parks, and Gardens. By CHARLES H. J. SMITH, Landscape Gardener - and Garden Architect, etc., etc. 12mo. $2.25 - - - SMITH.--The Dyer's Instructor: - - Comprising Practical Instructions in the Art of Dyeing Silk, - Cotton, Wool, and Worsted, and Woollen Goods: containing - nearly 800 Receipts. To which is added a Treatise on the - Art of Padding; and the Printing of Silk Warps, Skeins, and - Handkerchiefs, and the various Mordants and Colors for the - different styles of such work. By DAVID SMITH, Pattern Dyer. - 12mo., cloth. $3.00 - - - SMITH.--The Practical Dyer's Guide: - - Comprising Practical Instructions in the Dyeing of Shot - Cobourgs, Silk Striped Orleans, Colored Orleans from Black - Warps, Ditto from White' Warps, Colored Cobourgs from White - Warps, Merinos, Yarns, Woollen Cloths, etc. Containing nearly - 300 Receipts, to most of which a Dyed Pattern is annexed. - Also, A Treatise on the Art of Padding. By DAVID SMITH. In one - volume, 8vo. Price. $25.00 - - - STEWART.--The American System. - - Speeches on the Tariff Question, and on Internal Improvements, - principally delivered in the House of Representatives of - the United States. By ANDREW STEWART, late M. C. from - Pennsylvania. With a Portrait, and a Biographical Sketch. In - one volume, 8vo., 407 pages. $3.00 - - - STOKES.--Cabinet-maker's and Upholsterer's Companion: - - Comprising the Rudiments and Principles of Cabinet-making - and Upholstery, with Familiar Instructions, illustrated by - Examples for attaining a Proficiency in the Art of Drawing, - as applicable to Cabinet-work; the Processes of Veneering, - Inlaying, and Buhl-work; the Art of Dyeing and Staining - Wood, Bone, Tortoise Shell, etc. Directions for Lackering, - Japanning, and Varnishing; to make French Polish; to prepare - the Best Glues, Cements, and Compositions, and a number of - Receipts particularly useful for workmen generally. By J. - STOKES. In one volume, 12mo. With Illustrations. $1.25 - - - Strength and other Properties of Metals: - - Reports of Experiments on the Strength and other Properties - of Metals for Cannon. With a Description of the Machines - for testing Metals, and of the Classification of Cannon in - service. By Officers of the Ordnance Department U. S. Army. - By authority of the Secretary of War. Illustrated by 25 large - steel plates. In one volume, 4to. $10.00 - - - SULLIVAN.--Protection to Native Industry. - - By Sir EDWARD SULLIVAN, Baronet, author of "Ten Chapters on - Social Reforms." In one volume, 8vo. $1.50 - - - Tables Showing the Weight of Round, Square, and Flat Bar Iron, - Steel, etc., - - By Measurement. Cloth. 63 - - - TAYLOR.--Statistics of Coal: - - Including Mineral Bituminous Substances employed in Arts - and Manufactures; with their Geographical, Geological, - and Commercial Distribution and Amount of Production and - Consumption on the American Continent. With Incidental - Statistics of the Iron Manufacture. By R. C. TAYLOR. Second - edition, revised by S. S. HALDEMAN. Illustrated by five Maps - and many wood engravings. 8vo., cloth. $10.00 - - - TEMPLETON.--The Practical Examinator on Steam and the - Steam-Engine: - - With Instructive References relative thereto, arranged for - the Use of Engineers, Students, and others. By WM. TEMPLETON, - Engineer. 12mo. $1.25 - - - THOMAS.--The Modern Practice of Photography. - - By R. W. THOMAS, F. C. S. 8vo., cloth. 75 - - - THOMSON.--Freight Charges Calculator. - - By ANDREW THOMSON, Freight Agent. 24mo. $1.25 - - - TURNING: Specimens of Fancy Turning Executed on the Hand or - Foot Lathe: - - With Geometric, Oval, and Eccentric Chucks, and Elliptical - Cutting Frame. By an Amateur. Illustrated by 30 exquisite - Photographs. 4to. $3.00 - - - Turner's (The) Companion: - - Containing Instructions in Concentric, Elliptic, and - Eccentric Turning: also various Plates of Chucks, Tools, and - Instruments; and Directions for using the Eccentric Cutter, - Drill, Vertical Cutter, and Circular Rest; with Patterns and - Instructions for working them. A new edition in one volume, - 12mo. $1.50 - - - URBIN.--BRULL.--A Practical Guide for Puddling Iron and Steel. - - By ED. URBIN, Engineer of Arts and Manufactures. A Prize Essay - read before the Association of Engineers, Graduate of the - School of Mines, of Liege, Belgium, at the Meeting of 1865-6. - To which is added A COMPARISON OF THE RESISTING PROPERTIES OF - IRON AND STEEL. By A. BRULL. Translated from the French by A. - A. FESQUET, Chemist and Engineer. In one volume, 8vo. $1.00 - - - VAILE.--Galvanized Iron Cornice-Worker's Manual: - - Containing Instructions in Laying out the Different Mitres, - and Making Patterns for all kinds of Plain and Circular Work. - Also, Tables of Weights, Areas and Circumferences of Circles, - and other Matter calculated to Benefit the Trade. By CHARLES - A. VAILE, Superintendent "Richmond Cornice Works," Richmond, - Indiana. Illustrated by 21 Plates. In one volume, 4to. $5.00 - - - VILLE.--The School of Chemical Manures: - - Or, Elementary Principles in the Use of Fertilizing Agents. - From the French of M. GEORGE VILLE, by A. A. FESQUET, Chemist - and Engineer. With Illustrations. In one volume, 12 mo. $1.25 - - - VOGDES.--The Architect's and Builder's Pocket Companion and - Price Book: - - Consisting of a Short but Comprehensive Epitome of Decimals, - Duo-decimals, Geometry and Mensuration; with Tables of U. - S. Measures, Sizes, Weights, Strengths, etc., of Iron, Wood, - Stone, and various other Materials, Quantities of Materials in - Given Sizes, and Dimensions of Wood, Brick, and Stone; and a - full and complete Bill of Prices for Carpenter's Work; also, - Rules for Computing and Valuing Brick and Brick Work, - Stone Work, Painting, Plastering, etc. By FRANK W. VOGDES, - Architect. Illustrated. Full bound in pocket-book form. $2.00 - Bound in cloth. 1.50 - - - WARN.--The Sheet-Metal Worker's Instructor: - - For Zinc, Sheet-Iron, Copper, and Tin-Plate Workers, etc. - Containing a selection of Geometrical Problems; also, - Practical and Simple Rules for describing the various Patterns - required in the different branches of the above Trades. By - REUBEN H. WARN, Practical Tin-plate Worker. To which is - added an Appendix, containing Instructions for Boiler Making, - Mensuration of Surfaces and Solids, Rules for Calculating the - Weights of different Figures of Iron and Steel, Tables of the - Weights of Iron, Steel, etc. Illustrated by 32 Plates and 37 - Wood Engravings. 8vo. $3.00 - - - WARNER.--New Theorems, Tables, and Diagrams for the - Computation of Earth-Work: - - Designed for the use of Engineers in Preliminary and Final - Estimates, of Students in Engineering, and of Contractors - and other non-professional Computers. In Two Parts, with - an Appendix. Part I.--A Practical Treatise; Part II.--A - Theoretical Treatise; and the Appendix. Containing Notes - to the Rules and Examples of Part I.; Explanations of the - Construction of Scales, Tables, and Diagrams, and a Treatise - upon Equivalent Square Bases and Equivalent Level Heights. The - whole illustrated by numerous original Engravings, comprising - Explanatory Cuts for Definitions and Problems, Stereometric - Scales and Diagrams, and a Series of Lithographic Drawings - from Models, showing all the Combinations of Solid Forms which - occur in Railroad Excavations and Embankments. By JOHN WARNER, - A. M., Mining and Mechanical Engineer. 8vo. $5.00 - - - WATSON.--A Manual of the Hand-Lathe: - - Comprising Concise Directions for working Metals of all kinds, - Ivory, Bone and Precious Woods; Dyeing, Coloring, and French - Polishing; Inlaying by Veneers, and various methods practised - to produce Elaborate work with Dispatch, and at Small Expense. - By EGBERT P. WATSON, late of "The Scientific American," Author - of "The Modern Practice of American Machinists and Engineers." - Illustrated by 78 Engravings. $1.50 - - - WATSON.--The Modern Practice of American Machinists and - Engineers: - - Including the Construction, Application, and Use of Drills, - Lathe Tools, Cutters for Boring Cylinders, and Hollow Work - Generally, with the most Economical Speed for the same; the - Results verified by Actual Practice at the Lathe, the Vice, - and on the Floor. Together with Workshop Management, Economy - of Manufacture, the Steam-Engine, Boilers, Gears, Belting, - etc., etc. By EGBERT P. WATSON, late of the "Scientific - American." Illustrated by 86 Engravings. - In one volume, 12mo. $2.50 - - - WATSON.--The Theory and Practice of the Art of Weaving by Hand - and Power: - - With Calculations and Tables for the use of those connected - with the Trade. By JOHN WATSON, Manufacturer and Practical - Machine Maker. Illustrated by large Drawings of the best Power - Looms. 8vo. $10.00 - - - WEATHERLY.--Treatise on the Art of Boiling Sugar, - Crystallizing, Lozenge-making, Comfits, Gum Goods. - 12mo. $2.00 - - - WEDDING.--The Metallurgy of Iron; - - Theoretically and Practically Considered. By Dr. HERMANN - WEDDING, Professor of the Metallurgy of Iron at the Royal - Mining Academy, Berlin. Translated by JULIUS DU MONT, - Bethlehem, Pa. Illustrated by 207 Engravings on Wood, and - three Plates. In one volume, 8vo. (_In press._) - - - WILL.--Tables for Qualitative Chemical Analysis. - - By Professor HEINRICH WILL, of Giessen, Germany. Seventh - edition. Translated by CHARLES F. HIMES, Ph. D., Professor of - Natural Science, Dickinson College, Carlisle, Pa. $1.50 - - - WILLIAMS.--On Heat and Steam: - - Embracing New Views of Vaporization, Condensation, and - Explosions. By CHARLES WYE WILLIAMS, A. I. C. E. Illustrated. - 8vo. $3.50 - - - WOHLER.--A Hand-Book of Mineral Analysis. - - By F. WOHLER, Professor of Chemistry in the University of - Göttingen. Edited by HENRY B. NASON, Professor of Chemistry - in the Rensselaer Polytechnic Institute, Troy, New York. - Illustrated. In one volume, 12mo. $3.00 - - - WORSSAM.--On Mechanical Saws: - - From the Transactions of the Society of Engineers, 1869. By S. - W. WORSSAM, Jr. Illustrated by 18 large plates. 8vo. $5.00 - - - * * * * * - - - - - Transcriber's Note - - - _ _ represents italic text - - = = represents bold text - - + + represents black-letter, or Old English text - - - Sundry missing or damaged punctuation has been repaired. - - Both hyphenated and non-hyphenated variants of many words occur - in this book. All have been retained. - - This book has some older spellings or grammatical constructions, - which have been retained. Though published in Philadelphia in - 1878, parts of the book date from 1856, and would thus appear to - pre-date modern American spelling conventions. (See note on the - Catalogue advertisements which were placed after the Index.) - - Any illustration which interrupted a paragraph was moved to a - more convenient location, between paragraphs. - - There is some discrepancy between the TOC and the book's layout. - Some rationalization has been attempted. - - 'Blank work' appears to refer to blank book-keeping books sold by - stationers for use in business offices. - - Pages 18-19, 67: Derome also appears as De Rome. (Index: Derome) - - Page 23: 'him' and 'self' re-joined over line-break. - - "Many of these he made himself of iron,..." - - Page 57: 'Societé' corrected to 'Société'. - - "... in a Memoir presented by him to the "_Société - d' Encouragement_," - - Page 78: 'faustic chips'; 'faustic' would appear to be correct. - From [http://www.] - faculty.ucr.edu/~legneref/botany/tandye.htm#fusticdyes "Tanning - ... "Wood Dyes" ... "Fustic": - This is the main source of natural yellows, olives and browns and - ranks with logwood in importance. It is used for leather and in - combination with logwood for silk, wool, nylon and rayon. It - comes from the heartwood of Chlorophora tinctoria, a forest tree - of the West Indies, Central and South America. The light-yellow - wood turns a dark yellow-brown when exposed to air. - Faustic is exported as short logs, chips, powder or paste. The - dye is frequently called Old Fustic to distinguish it from Young - Fustic, once obtained from the twigs of Cotinus coggygria." - - Page 128: 'papier D'Anonay', should perhaps be 'papier - D'Annonay'. Also Page 150, so perhaps 'papier D'Anonay' was an - accepted spelling (in the bookbinding trade) at the time of - publication. - - Page 151: 'STATIONERY OR VELLUM BINDING.' is 'Blank Binding' in - TOC (p. 7). - - Page 181: "... but the character of the ornaments are generally - dissimilar." is as printed, though the author does seem to have - confused his tenses. - - Page 203: 'anti-tiquities' corrected to 'antiquities' - letters - duplicated at line-break. - - "... and illustrate the history, laws, customs, and - antiquities,..." - - Pages 214-5: Plate 8.: 'Pattern's' corrected to 'Patterns'. - - "Selection from Gaskill, Copper & Fry's Book of Patterns" - - Page 237 (also pp. 237, 244, 246, 246. 250, 251, 252, 258, and Index): - 'AQUA REGII' corrected to 'AQUA REGIA' ('royal water' or 'king's - water'), a mixture of nitric acid and hydrochloric acid. - (The transcriber could not find any reference to 'aqua regii', - and assumes it to be a spelling error by either the author or - the printer.) - - 'nitrous acid' corrected to 'nitric acid', which appears in the - next paragraph. - - "So called from its power to dissolve gold, is a mixture of - nitric acid (aquafortis) and muriatic acid, (spirits of - salts,)...." - - Page 244: 'OHANGE' corrected to 'ORANGE'. - - Page 313 et seq.: Some Index entries which had been transposed - have been returned to their correct places. - - The dashes (----)in the index have been replaced by double spaces, - making it a simple nested list. - - - INDEX: - - 'Antique Dutch': Page number corrected from 29 to 123 (No 29.) - - 'Maiolo, 17' corrected to 'Maioli, 18'. (also later occurrence) - - 'Carved oak boards, description of, 12, 211'. - - 'precious stones let into, 12, 14'. - - P. 211 had been incorrectly assigned to 'precious stones let - into', and the 'precious stones' are mentioned on pp. 12 and 14, - - 'Edges, Burnishing': P. 125 corrected to 126. - - 'Forwarding': p. 72 corrected to 73. - - 'Hints to Book Collectors': p. 291 corrected to 292. - - 'Mahogany sprinkle on leather': P. 252 corrected to 253. - - 'Marbled cloth': p. 127 corrected to 128. - - 'Turning up': p. 72 corrected to 73. - - - CATALOGUE: - - Page 1, et seq.: Catalogue of Practical and Scientific Books - (etc.): MM is an abbreviation for Messieurs. Abbreviations for - technical and professional qualifications, etc. are not always - consistently spaced. They have been retained as printed. - - Prices for books have been retained, as printed. Those less than - $1.00, with a couple of exceptions (50cts,) are printed, - e.g. 63, 75, etc., aligned right. - - The spelling in the descriptions of books in the Catalogue - sometimes depends on whether the author was American or English. - - The word 'Price' appears only in the description of one book. It - has been retained. - - Page 13: The price was omitted from two of Miss Leslie's books. - - - - - - - -End of the Project Gutenberg EBook of A Manual of the Art of Bookbinding, by -James B. 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font-size: 1.0em; font-weight: normal; text-decoration: none;} - a.toc:link {color: #330066; text-decoration: none;} - a.toc:visited {color: #cc3399; text-decoration: none;} - -@media handheld { -body { -margin-left : 2%; -margin-right : 2%; -margin-top : 1%; -margin-bottom : 1%; -} -hr { -margin-top : 0.1em; -margin-bottom : 0.1em; -visibility : hidden; -color : white; -display : none; -} -} -@media print { -span.pagenum { -visibility : hidden; -color : white; -display : none; -} -} - - </style> -</head> -<body> - - -<pre> - -Project Gutenberg's A Manual of the Art of Bookbinding, by James B. Nicholson - -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms of -the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - -Title: A Manual of the Art of Bookbinding - Containing full instructions in the different branches of - forwarding, gilding, and finishing. - -Author: James B. Nicholson - -Release Date: July 6, 2017 [EBook #55056] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK A MANUAL OF THE ART OF BOOKBINDING *** - - - - -Produced by Chris Curnow, Lesley Halamek and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - - - - - - -</pre> - -<p><span class="pagenum"><a name="page1" id="page1"></a></span></p> - -<div class="figcenter" style="width: 300px;"> -<p class="right">1</p> -<a href="images/frontis-600.png"><img src="images/frontis-300.png" width="300" height="497" alt="fontispiece" /></a> - -<p class="center2"><i>Harleian Border: <br /><br />Montague Style; Harleian Style; Aldine Style</i></p></div> - -<p><span class="pagenum"><a name="page3" id="page3"></a></span></p> - -<div class="chapter"> -<h1 class="space-above5"><span class="less2">A</span><br /><br /> - -<span class="spaced1">MANUAL</span><br /><br /> - -<span class="smaller">OF THE</span><br /><br /> - -<span class="spaced1 wsp"><span style="font-weight: normal"><big>ART OF BOOKBINDING:</big></span></span><br /><br /> - -<span class="smaller">CONTAINING</span><br /><br /> - -<small><span class="wsp">FULL INSTRUCTIONS IN THE DIFFERENT BRANCHES OF<br /> -FORWARDING, GILDING, AND FINISHING.</span></small><br /><br /> - -<span class="smaller">ALSO,</span><br /><br /> - -<span class="oes"><span class="less2">The Art of Marbling Book-Edges and Paper.</span></span><br /><br /> - -<span class="smaller">THE WHOLE DESIGNED FOR</span><br /><br class="b30" /> - -<span class="less2">THE PRACTICAL WORKMAN, THE AMATEUR, AND THE<br /> -BOOK-COLLECTOR.</span><br /><br /> - -<span class="smaller">BY</span><br /><br /> - -<span class="less">JAMES B. NICHOLSON.</span></h1><br /><br /><br /></div> - -<p class="title1">PHILADELPHIA:</p> -<p class="title1a"><span class="spaced2">HENRY CAREY BAIRD & CO.,</span></p> -<p class="title1"><span class="spaced1m">INDUSTRIAL PUBLISHERS, BOOKSELLERS AND IMPORTERS,</span></p> -<p class="title1"><span class="sc">810 Walnut Street</span>.</p> - -<p class="title1">1878.</p> - -<p><span class="pagenum"><a name="page4" id="page4"></a></span></p> - -<div id="half-title"> - -<hr /> -<p class="center">Entered according to Act of Congress, in the year 1856, by<br /><br /> - -JAS. B. NICHOLSON,<br /><br /> - -in the Clerk's Office of the District Court of the United States for the<br /> -Eastern District of Pennsylvania.</p> - -<hr class="medium" /> - -<p class="center">STEREOTYPED BY L. JOHNSON & CO.<br /> -PHILADELPHIA.</p> - -<hr /> -</div> - -<p><span class="pagenum"><a name="page5" id="page5"></a></span></p> -<div class="chapter"> -<h2>PREFACE.</h2></div> - -<hr class="shorter" /> - -<p>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 desires -to emulate the skill of the best artists.</p> - -<p>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 revision -so much was rejected that it was -<span class="pagenum"><a name="page6" id="page6"></a>[pg 6]</span> -deemed better to pass under notice at the -same time the labours of others. "Cundall's -Ornamental Art" has furnished the -early incidents in the "Sketch of the Progress -of the Art of Bookbinding;" and, as -the best authority upon the subject, "Woolnough's -Art of Marbling" has been adapted -to this country. Mr. Leighton's "Suggestions -in Design" has been laid under contribution -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 acknowledged -in the body of the work, have -supplied some valuable hints.</p> - -<p>It is hoped that this volume will prove -useful to those forming libraries, by imparting -correct information upon subjects that to -the book-collector are important, and that its -tendencies will be to increase and strengthen -a love for the art.</p> - -<p class="author">J. B. N.</p> - -<p class="ind"><span class="sc">Philadelphia, 1856.</span></p> - -<p><span class="pagenum"><a name="page7" id="page7"></a>[pg 7]</span></p> -<div class="chapter"> -<h2>CONTENTS.</h2></div> - -<hr class="shorter" /> - -<table class="toc" summary="contents" border="0"> -<tr> - <td class="center" colspan="2"><span class="title">INTRODUCTION.</span></td> -</tr> -<tr> - <td class="left"> </td> - <td class="right">PAGE</td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page9"><span class="sc">Sketch</span> of the Progress of Bookbinding</a></td> - <td class="right"><a href="#page9">9</a></td> -</tr> -<tr> - <td class="center" colspan="2"><span class="title">PART I.</span></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page34">Sheet-Work</a></td> - <td class="right"><a href="#page34">34</a></td> -</tr> -<tr> - <td class="center" colspan="2"><span class="title">PART II.</span></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page59">Forwarding</a></td> - <td class="right"><a href="#page59">59</a></td> -</tr> -<tr> - <td class="left1"><a class="toc" href="#page74">The Edges</a></td> - <td class="right"><a href="#page74">74</a></td> -</tr> -<tr> - <td class="left1"><a class="toc" href="#page82">Marbling</a></td> - <td class="right"><a href="#page82">82</a></td> -</tr> -<tr> - <td class="left1"><a class="toc" href="#page130">Gilding the Edges</a></td> - <td class="right"><a href="#page130">130</a></td> -</tr> -<tr> - <td class="left1"><a class="toc" href="#page141">Covering</a></td> - <td class="right"><a href="#page141">141</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page149">Half-Binding</a></td> - <td class="right"><a href="#page149">149</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page151">Blank Binding</a></td> - <td class="right"><a href="#page151">151</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page169">Boarding</a></td> - <td class="right"><a href="#page169">169</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page170">Cloth-Work</a><span class="pagenum"><a name="page8" id="page8"></a>[pg 8]</span></td> - <td class="right"><a href="#page170">170</a></td> -</tr> -<tr> - <td class="center" colspan="2"><span class="title">PART III.</span></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page178">Ornamental Art</a></td> - <td class="right"><a href="#page178">178</a></td> -</tr> -<tr> - <td class="left">Finishing:</td> - <td class="right"> </td> -</tr> -<tr> - <td class="left1"><a class="toc" href="#page186">Taste and Design</a></td> - <td class="right"><a href="#page186">186</a></td> -</tr> -<tr> - <td class="left1"><a class="toc" href="#page198">Styles</a></td> - <td class="right"><a href="#page198">198</a></td> -</tr> -<tr> - <td class="left1"><a class="toc" href="#page215">Gilding</a></td> - <td class="right"><a href="#page215">215</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page227">Illuminated Binding</a></td> - <td class="right"><a href="#page227">227</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page230">Blind Tooling</a></td> - <td class="right"><a href="#page230">230</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page231">Antique</a></td> - <td class="right"><a href="#page231">231</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page236">Colouring</a></td> - <td class="right"><a href="#page236">236</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page246">Marbling</a></td> - <td class="right"><a href="#page246">246</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page256">Uniform Colours</a></td> - <td class="right"><a href="#page256">256</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page260">Gold Marbles, Landscapes, &c.</a></td> - <td class="right"><a href="#page260">260</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page270">Inlaid Ornaments</a></td> - <td class="right"><a href="#page270">270</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page272">Harmony of Colours</a></td> - <td class="right"><a href="#page272">272</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page273">Pasting Down, &c.</a></td> - <td class="right"><a href="#page273">273</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page279">Stamp or Press-Work</a></td> - <td class="right"><a href="#page279">279</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page289">Restoring the Bindings of Old Books</a></td> - <td class="right"><a href="#page289">289</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page290">Supplying Imperfections in Old Books</a></td> - <td class="right"><a href="#page290">290</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page292">Hints to Book-Collectors</a></td> - <td class="right"><a href="#page292">292</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page297">Technical Terms</a></td> - <td class="right"><a href="#page297">297</a></td> -</tr> -</table> - -<p><span class="pagenum"><a name="page9" id="page9"></a>[pg 9]</span></p> -<div class="chapter"> -<h2>INTRODUCTION.</h2></div> - -<hr class="short" /> - -<p class="title2">SKETCH OF THE PROGRESS OF BOOKBINDING.</p> - -<hr class="shorter" /> - -<p>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 ornamented. -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 Ornamental -Art applied to the exterior of books.</p> - -<p>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 -<span class="pagenum"><a name="page10" id="page10"></a>[pg 10]</span> -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 covering -for the book.</p> - -<p>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 valuable, -carved oak bindings were given to those which -were the most decorated within.</p> - -<p>To cover the plain wooden board with vellum or -leather would, in the course of years, be too apparent -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.</p> - -<p>There is reason to believe that the Romans carried -the Art of Binding to considerable perfection. -Some of the public offices had books called Dyptichs,<a id="footnotetag1" name="footnotetag1"></a><a href="#footnote1">*</a> -in which their acts were written. The binding -<span class="pagenum"><a name="page11" id="page11"></a>[pg 11]</span> -of one of these in carved wood is thus described:—"Seated -in the centre of each board is a consul, -holding in one hand a baton, and in the other, upraised, -a purse, as if in the act of throwing it to -some victor in the games. Above these are miniature -portraits, various other ornaments, and an inscription; -below, on one board, are two men leading -out horses for the race, and beneath them a group, -with a ludicrous representation of two other men, -exhibiting their endurance of pain by allowing crabs -to fasten on their noses." A small print of an -ivory dyptich of the fifth century, in Mr. Arnett's -"Books of the Ancients," may be consulted as a -specimen of the kind of ornament then adopted. -<span class="pagenum"><a name="page12" id="page12"></a>[pg 12]</span> -An old writer says, that about the time of the Christian -era the books of the Romans were covered with -red, yellow, green, and purple leather, and decorated -with gold and silver.</p> - -<p>If we pass on to a few centuries later, we find -that the monks were almost the only literati. They -wrote chiefly on subjects of religion, and bestowed -the greatest pains upon the internal and external -decorations of their books. In the thirteenth century -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.</p> - -<p>"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 number -<span class="pagenum"><a name="page13" id="page13"></a>[pg 13]</span> -of old books and oftentimes examined their -covers, yet I do not remember I ever saw boards -upon any of them of so great thickness as these. -This was the manner of Binding, it seems, of those -times, especially if the books were books of extraordinary -value, as this is. 'Twas usual to cut Letters -in the Covers, and such letters were the better -preserv'd by having them placed in some hollow -part, which might easily be made if the boards were -pretty thick. I suppose, therefore, that even the -copies of <i>Gregory's</i> Pastoral that were given to -Cathedral Churches by King <i>Alfred</i> had such thick -covers also, that these by the <i>Æstals</i> 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 <i>Mary</i>, to whom the Abbey was dedicated. -Over it there was once fastened another much -larger plate, as is plain from the Nails that fixed -it and from some other small indications now extant,—and -this 'tis likely was of silver, and perhaps -there was an <i>anathema</i> against the Person that -should presume to alienate it, engraved upon it—together -with the Name of the Person (who it may -<span class="pagenum"><a name="page14" id="page14"></a>[pg 14]</span> -be was <i>Roger Poure</i>) that was the Donor of the -Book. This will make it to have been nothing else -but an Æstal, such a one (tho' not so valuable) as -was fastened upon <i>Gregory's</i> Pastoral. But this I -leave to every man's judgment."<a id="footnotetag2" name="footnotetag2"></a><a href="#footnote2">†</a></p> - -<p>At a later period we find on the binding of books -gold and silver ornaments of very beautiful design, -enclosing precious stones of great variety; carved -ivory tablets let into framework of carved oak; -rich-coloured velvets, edged with morocco, with -bosses, clasps, and corners of solid gold; white vellum -stamped in gold and blind tooling; and morocco -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.</p> - -<p>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 -<span class="pagenum"><a name="page15" id="page15"></a>[pg 15]</span> -died at Buda about the year 1490. This library -consisted of about thirty thousand volumes, mostly -manuscripts of the Greek and Latin poets and historians, -and was contained in large vaulted galleries, -in which, among other works of art, were two fountains, -one of marble and the other of silver. The -binding of the books were mostly of brocade, protected -with bosses and clasps of gold and silver; -and these, alas! 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.</p> - -<p>The general use of calf and morocco binding -seems to have followed the invention of printing. -There are many printed books, still in good preservation, -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.</p> -<p><span class="pagenum"><a name="page16" id="page16"></a>[pg 16]</span></p> - -<p>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 animals. -There are in the British Museum and in the -Record Office many English bindings which undoubtedly -were executed in the time of Henry VII.</p> - -<p>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, supposing -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 importance -to the Art of Bookbinding at that period. We -<span class="pagenum"><a name="page17" id="page17"></a>[pg 17]</span> -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, -were used as well on the sides as on the gilded edges -of books still in existence.</p> - -<p>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 decorations, -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.</p> - -<p>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 -<span class="pagenum"><a name="page18" id="page18"></a>[pg 18]</span> -for. All Grolier's books were bound in smooth -morocco or calf, the pattern being formed of intersected -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 morocco -of different colours; and it is our opinion that -no style of book-ornamentation has been since introduced -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 Grolierii -et amicorum" at the bottom, signifying that -Grolier wished his books to be used by his friends -as well as by himself. Connoisseurs rejoice when -they meet with a work from the library of Maioli, -a disciple of Grolier, or those of Diana of Poictiers, -the mistress of Henry II., and whose books, in -consequence of her influence and taste, are elegantly -bound. It is supposed that the bindings for Diana -of Poictiers were designed by Petit Bernard. They -were bound in morocco of all colours, and usually -ornamented with the emblems of the crescent and -bow and quiver.</p> - -<p>Among the earliest French binders must be mentioned -Padeloup, Derome, and De Seuil. Pope -<span class="pagenum"><a name="page19" id="page19"></a>[pg 19]</span> -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 commendation; -his dentelle borders are fine, but unfortunately -he was not careful of the trenchant steel. -Padeloup's tooling or ornaments consist chiefly of -small dots, and the forms he invented are elegant. -When met with in good state, they look like gold -lace upon the sides and backs of the books.</p> - -<p>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.</p> - -<p>We must now resume our account of binding in -England.</p> - -<p>During the early part of the last century the -general bindings were, with the exception of what -was called Cambridge binding, (from being executed -at that place,) of a depreciated character, many of -them very clumsy, and devoid of taste in their ornament. -Toward the middle some degree of attention -<span class="pagenum"><a name="page20" id="page20"></a>[pg 20]</span> -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.</p> - -<p>The artists of the earlier part of the period of -which we have been treating must have been numerous; -but few are known. Two German binders, -of the name of Baumgarten and Benedict, were of -considerable note and in extensive employment in -London during the early part of this century. The -bindings of Oxford were also very good at this -period. Who the distinguished parties at Oxford -were has not been recorded; but a person of the -name of Dawson, then living at Cambridge, has the -reputation of being a clever artist, and may be pronounced -as the binder of many of the substantial -volumes still possessing the distinctive binding we -have before referred to. Baumgarten and Benedict -would, doubtless, be employed in every style of -binding of their day, but the chief characteristics of -their efforts are good substantial volumes in russia, -with marbled edges.</p> - -<p>To these succeeded Mr. John Mackinlay and two -other Binders, named Kalthœber and Staggemier; -but to Mackinlay may, perhaps, be attributed the -<span class="pagenum"><a name="page21" id="page21"></a>[pg 21]</span> -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 specimens -of his, in public and private libraries, remain -to justify the character given of him; and of the -numerous artists that his office produced, many have -since given evidence, by their work, that the lessons -they received were of a high character. The specimens -alluded to exhibit a degree of care, ingenuity, -and skill, highly creditable to them as binders. -Though well 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 perfection. -About the year 1770 Roger Payne went to -London, and, as his history is an epoch in the history -of the art, we will devote some space to it.</p> - -<p>The personal history of Roger Payne is one -among the many of the ability of a man being rendered -nearly useless by the dissoluteness of his -<span class="pagenum"><a name="page22" id="page22"></a>[pg 22]</span> -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.</p> - -<p>Roger Payne was a native of Windsor Forest, and -first became initiated in the rudiments of the art he -afterward became so distinguished a professor of, -under the auspices of Mr. Pote, bookseller to Eton -College. From this place he went to London, where -he was first employed by Mr. Thomas Osborne, the -bookseller, of Holborn, London. Disagreeing on -some matters, he subsequently obtained employment -from Mr. Thomas Payne, of the King's Mews, St. -Martin's, who ever after proved a friend to him. -Mr. Payne established him in business near Leicester -Square, about the year 1769-70, and the -encouragement he received from his patron, and -many wealthy possessors of libraries, was such that -the happiest results and a long career of prosperity -might have been anticipated. His talents as an -artist, particularly in the finishing department, were -<span class="pagenum"><a name="page23" id="page23"></a>[pg 23]</span> -of the first order, and such as, up to his time, had -not been developed by any other of his countrymen.</p> - -<p>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 ornament -as was applicable to the nature of the work -it was to embellish. Many of these he made himself -of iron, and some are yet preserved as curiosities -and specimens of the skill of the man. To this -occupation he may have been at times driven from -lack of money to procure them from the tool-cutters; -but it cannot be set down as being generally -so, for, in the formation of the designs in -which he so much excelled, it is but reasonable to -suppose, arguing upon the practice of some others -in later times, he found it readier and more expedient -to manufacture certain lines, curves, &c. 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 employers. -His best work is in Earl Spencer's -library.</p> -<p><span class="pagenum"><a name="page24" id="page24"></a>[pg 24]</span></p> - -<p>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:—</p> - -<table summary="memorandum of money spent" border="0"> -<tr> - <td class="left">For bacon <span style="padding-left: 1em"><big>.</big></span><span style="padding-left: 1em"><big>.</big></span> - <span style="padding-left: 1em"><big>.</big></span><span style="padding-left: 1em"><big>.</big></span> - <span style="padding-left: 1em"><big>.</big></span><span style="padding-left: 1em"><big>.</big></span></td> - <td class="right1">1 halfpenny.</td> -</tr> -<tr> - <td class="left">For liquor <span style="padding-left: 1em"><big>.</big></span><span style="padding-left: 1em"><big>.</big></span> - <span style="padding-left: 1em"><big>.</big></span><span style="padding-left: 1em"><big>.</big></span> - <span style="padding-left: 1em"><big>.</big></span><span style="padding-left: 1em"><big>.</big></span></td> - <td class="right1">1 shilling.</td> -</tr> -</table> - -<p>No wonder then, with habits like these, that the -efforts of his patron, in fixing him, were rendered -of no avail. Instead of rising to that station his -great talent would have led to, he fell by his dissolute -conduct to the lowest depths of misery and -wretchedness. In his wretched working-room was -executed the most splendid specimens of binding; -and here on the same shelf were mixed together old -shoes and precious leaves—bread and cheese, with -the most valuable and costly of MSS. or early-printed -books.</p> - -<p>That he was characteristic or eccentric may be -judged by what has been related of him. He appears -to have also been a poet on the subject of his -unfortunate propensity, as the following extract -from a copy of verses sent with a bill to Mr. Evans, -for binding "Barry on the Wines of the Ancients," -proves.</p> -<p><span class="pagenum"><a name="page25" id="page25"></a>[pg 25]</span></p> - -<div class="poem width21"> <div class="stanza"> -<p>"Homer the bard, who sung in highest strains</p> -<p>The festive gift, a goblet for his pains;</p> -<p>Falernian gave Horace, Virgil fire,</p> -<p>And Barley Wine my British Muse inspire.</p> -<p>Barley Wine first from Egypt's learned shore;</p> -<p>And this the gift to me of Calvert's <i>store</i>."</p> - </div> </div> - -<p>The following bill is, like himself, a curiosity:—</p> - -<table summary="bill" border="0"> -<tr> - <td class="left"><br />"Vanerii Praedium Rusticum. Parisiis. <span class="sc">mdcclxxiv.</span><br /> - Bound in the very best manner in the finest Green Morocco.<br /> - The back lined with Red Morrocco.<br /><br /></td> - <td> </td> - <td> </td> -</tr> -<tr> - <td class="left">"Fine Drawing paper and very neat Morrocco<br /> - Joints inside. Their was a few leaves stained<br /> - at the foredge, which is washed and cleaned...</td> - <td class="left2"><span class="bigbrace">}</span></td> - <td class="right2"><br class="b30" />0 : 0 : 6</td> -</tr> -<tr> - <td class="left"><br />"The subject of the Book being Rusticum, I<br /> - have ventured to putt The Vine Wreath on it.<br /> - I hope I have not bound it in too rich a manner<br /> - for the Book. It takes up a great deal of time<br /> - to do these Vine Wreaths. I guess within Time<br /> - I am certain of measuring and working the<br /> - different and various small tools required to fill<br /> - up the Vine Wreath that it takes very near 3<br /> - days' work in finishing the two sides only of the<br /> - Book—but I wished to do my best for the Work—<br /> - and at the same time I cannot expect to charge a<br /> - full and proper price for the Work, and hope that<br /> - the price will not only be found reasonable but<br /> - cheap</td> - <td> </td> - <td class="right1">0 : 18 : 0"</td> -</tr> -</table> - -<p><span class="pagenum"><a name="page26" id="page26"></a>[pg 26]</span></p> - -<p>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 pecuniary -assistance both for the support of his body -and the performance of his work.</p> - -<p>Of the excellencies and defects of his bindings, -Dr. Dibdin, in his "Bibliographer's Decameron," -has thus recorded his opinion:—</p> - -<p>"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 <i>olive</i>, which he called <i>Venetian</i>. In -his lining, joints, and inside ornaments, our hero -<span class="pagenum"><a name="page27" id="page27"></a>[pg 27]</span> -generally, and sometimes melancholily, failed. He -was fond of what he called purple paper, the colour -of which was as violent as its texture was coarse. -It was liable also to change and become spotty, and -as a harmonizing colour with olive it was odiously -discordant. The joints of his books were generally -<i>disjointed</i>, uneven, carelessly tooled, and having -a very unfinished appearance. His backs are -boasted of for their firmness. His work excellently -forwarded—every sheet fairly and <i>bona fide</i> -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."</p> - -<p>Though Roger Payne's career had not been successful, -so far as he was personally concerned, it -had the effect of benefiting the whole race of English -bookbinders. A new stimulus had been given -to the trade, and a new and chastened style introduced -among the more talented artists of the metropolis. -The unmeaning ornaments we have before -alluded to were discarded, and a series of classical, -geometrical, and highly-finished designs adopted. -The contemporaries of Roger—Kalthœber, Staggemier, -<span class="pagenum"><a name="page28" id="page28"></a>[pg 28]</span> -Walther, Hering, Falkner, &c.—exerted -themselves with a generous rivalry to execute the -most approved bindings.</p> - -<p>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, while 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:—</p> - -<p>"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. -<span class="pagenum"><a name="page29" id="page29"></a>[pg 29]</span> -The binding is of blood-coloured morocco, extending -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 Sheriffs, seventy in number, the -quarterings of which, with their frets, bends, &c., -are curiously inlaid in different colours of morocco, -and, with the ornamental parts of the bearings, -have been blazoned with heraldic accuracy on both -sides of the volume. When we state that more than -57,000 impressions of tools have been required to -produce this wonderful exemplar of ingenuity and -<span class="pagenum"><a name="page30" id="page30"></a>[pg 30]</span> -skill, some idea may be formed of the time and -labour necessary for its execution."</p> - -<p>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.</p> - -<p>The French degenerated in binding from the time of -Louis XIV. until they became far inferior to the -English. This continued to the beginning of the -present century; the books bound for the Emperor -Napoleon, upon which no expense appears to have -been spared, are clumsy, disjointed, and the tools -coarse and unevenly worked. They were generally -bound in red morocco, with morocco joints, lined -with purple silk, upon which the imperial bee was -stamped repeatedly. Thouvenin enjoys the honour -of rescuing the art from its long-continued degradation -in France, and of founding a school whose disciples -are now acknowledged to rank with the great -masters of the art. His tools and patterns were -designed and cut by artists in his employ; his establishment -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 -<span class="pagenum"><a name="page31" id="page31"></a>[pg 31]</span> -the present day in France are, Trautz et Bauzonnet, -Niédré, Duru, Capé and Lortic. The books of -these artists are distinguished for solidity, squareness, -freedom of the joints, firmness of the heads -and back, and extreme nicety of finish. The fore-edges -are gilt with the round in them, giving them -a solid rich appearance, as yet unequalled. The material -employed is 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 destroying -the natural grain of the leather, and, with it, its -velvet-like richness and beauty; and yet, under the -manipulations of these French artists, it becomes one -of the most plastic of materials; rare volumes of the -smallest dimensions, containing but one or two -sheets, are not only covered on the exterior, but the -interior of the boards, 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 speaking -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 -<span class="pagenum"><a name="page32" id="page32"></a>[pg 32]</span> -more so. Capé 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 <i>à la Janseniste</i>, and were truly exemplars. -In exterior gilding he is not so happy as some of his -brethren. Niédré 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 pronounced -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 -<span class="pagenum"><a name="page33" id="page33"></a>[pg 33]</span> -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 known that what is generally esteemed -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 comparing -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.</p> - -<p class="footnote1"><a id="footnote1" name="footnote1"></a><a class="footnote" href="#footnotetag1"><sup>*</sup></a> -"The antiquity of illuminated missals has been traced, -conjecturally, even to the time of the apostles themselves. -At the beginning of the Christian era, missive letters were -usually written on tablets of wood, hollowed so as to present -something of the appearance of a boy's slate in a frame. -Two of these were placed face to face to preserve the writing, -which was on wax, and a pair of boards thus prepared was -called a Dyptich. The Epistles of St. Paul and the other -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.</p> - -<p class="footnote">"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 altarpieces -so frequently found in the earliest Christian churches."—<i>Lady -Calcott's Essay.</i></p> - -<p class="footnote1b"><a id="footnote2" name="footnote2"></a><a class="footnote" href="#footnotetag2"><sup>†</sup></a> -Leland's Itin. vol. ii. p. 86, Oxford, 1769.]</p> - -<p><span class="pagenum"><a name="page34" id="page34"></a>[pg 34]</span><br /> -<span class="pagenum"><a name="page35" id="page35"></a>[pg 35]</span></p> - -<div class="chapter"> -<h2 class="space-above4"><span class="spaced1">MANUAL</span><br /><br /> - -<span class="smaller">OF THE</span><br /><br /> - -<span class="spaced1 wsp"><span style="font-weight: normal"><big>ART OF BOOKBINDING.</big></span></span></h2></div> - -<hr class="short" /> - -<h3>PART I.</h3> - -<p class="title3">SHEET WORK.</p> - -<p>As the gathering of the sheets of a book, after -they have been printed and dried off, is nearly -always performed at the printer's, it will not be -necessary to enter into any details on that subject, -but to consider, as the commencement of binding, -the operation of</p> - -<p class="center1sb">FOLDING,</p> - -<p>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.</p> - -<p>The various sizes of books are denominated -<span class="pagenum"><a name="page36" id="page36"></a>[pg 36]</span> -according to the number of leaves in which the -sheet is folded; as folio, quarto, octavo, 12mo, -16mo, 18mo, 24mo, 32mo, &c. Each form presents -a certain number of pages, so disposed that, -when the sheet is properly folded, they will follow -the numeric order. In commencing the folding -of any work, particular attention should be paid, -in opening out the quires or sets, to observe that -the <i>signatures</i> follow each other alphabetically, -and, if consisting of two or more volumes, that the -whole of the sheets belong to the right one.</p> - -<p>Although each form is folded in a different manner, -it will not be requisite to detail the whole, as a -description of the octavo and twelvemo will amply -furnish an idea of the proper way of folding the -larger and smaller sizes.</p> - -<p><i>Octavo.</i>—The sheets being placed on the table -with the signature, which will be seen at the bottom -of the first page, turned towards the table at the -corner nearest to the left hand of the workman, -will present pages 2, 15, 14, 3, below, and above, -with their heads reversed, pages 7, 10, 11, 6, -(reading from left to right.) The sheet is then -taken with the left hand, by the angle to the right, -and creased with the <i>folder</i> in the right hand, in -the direction of the <i>points</i> made in the printing, -<span class="pagenum"><a name="page37" id="page37"></a>[pg 37]</span> -taking care, by shading to the light, that the figures -of the pages fall exactly one on the other, which -will be 3 upon 2, and 6 upon 7, and thereby presenting -uppermost pages 4 and 13, and above 5 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.</p> - -<p><i>Twelvemo.</i>—The signature to this size, when -placed before the workman, should be at the top, -on his left hand, and towards the table, the sheet -presenting pages 2, 7, 11; 23, 18, 14; 22, 19, 15; -3, 6, 10. On the right, pages 11, 14, 15, 10, are -separated from the others by a larger space, in the -middle of which are the points, indicating the -proper place where the pages should be cut off. -The <i>folder</i> 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 <i>inset</i>, and which bears the signature of the -sheet it has been separated from, with the addition -of a figure or asterisk, as A5 or A*. The remaining -eight pages are folded in the same way as the -octavo, and when done the inset is placed in the -<span class="pagenum"><a name="page38" id="page38"></a>[pg 38]</span> -middle of it, taking care that the head-lines arrange -properly.</p> - -<p>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 <i>oblong</i> 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.</p> - -<p>In the first fold of the octavo sheet is shown the -manner of folding the folio, and in the second the -quarto; the twelvemo also presents us with the -eighteens, after the sheet is cut into three divisions. -Little or no difficulty will be experienced in folding -any other size that may occur, attention to the disposition -of the pages and signatures being only -required.</p> - -<p>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. -<span class="pagenum"><a name="page39" id="page39"></a>[pg 39]</span> -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.</p> - -<p>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 manner. -They are then</p> - -<p class="center1sb">COLLATED,</p> - -<p>to see that the whole of the sheets belong to the -same work and volume, as also that none are wanting. -This is done by taking the book in the right -hand by the upper corner of the fore-edge, and -with the left opening the sheets on the back and -<span class="pagenum"><a name="page40" id="page40"></a>[pg 40]</span> -letting them fall successively one after the other. -The signatures will be thus seen in alphabetical or -arithmetical order, as <span class="sc">a</span>, <span class="sc">b</span>, <span class="sc">c</span>, &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 duplicate, -the further progress of the work must be suspended -till the imperfection is procured or exchanged. -Those that have been wrong folded -must be corrected, and any <i>cancels</i> 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 <i>beating</i>, or rolling, it will be much -better to perform that operation after the book is -brought from the stone, for which directions will be -given. The book, being found correct, will be -ready for the beating-stone, which, although it has -<span class="pagenum"><a name="page41" id="page41"></a>[pg 41]</span> -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</p> - -<p class="center1sb">BEATING, PRESSING, ETC.</p> - -<p>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 -<i>sections</i> or <i>beatings</i>, as may be judged necessary according -to the thickness and other circumstances. -A section is then taken and well beaten over, drawing -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 -<span class="pagenum"><a name="page42" id="page42"></a>[pg 42]</span> -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.</p> - -<p>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.</p> - -<div class="figcenter" style="width: 200px;"> -<a href="images/042-600.jpg"><img src="images/042-200.jpg" width="200" height="160" alt="beating with the hammer" title="beating with the hammer" /></a></div> - -<p>Before beating a book, care should be taken to -observe if it has been recently printed, for if so it -would <i>set off</i> 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 particularly -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 -<span class="pagenum"><a name="page43" id="page43"></a>[pg 43]</span> -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 make 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.</p> - -<p>When employed at the beating-stone, the workman -should keep his legs close together, to avoid -<i>hernia</i>, to which he is much exposed if, with the -intention of being more at ease, he contracts the -habit of placing them apart.</p> - -<p>A rolling-machine has been invented as a substitute -for the beating which books require previous to -being bound. The book is divided into parts, according -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 -<span class="pagenum"><a name="page44" id="page44"></a>[pg 44]</span> -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 sometimes -all his skill and care are insufficient to remedy -the evil caused by the rollers.</p> - -<p>A powerful embossing press, technically called a -smasher, has lately been employed with great advantage. -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 operation -is repeated until the book has experienced -the whole power of the press. It has been calculated -that by this process a single volume will, if -necessary, undergo a pressure equal to a weight of -from fifty to eighty tons.</p> - -<p>This process has an advantage over every other -hitherto employed in which machinery has been engaged; -and it is, in some respects, preferable to -beating, as the book is of the same thickness in -every part, while in beating there is a great liability -<span class="pagenum"><a name="page45" id="page45"></a>[pg 45]</span> -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.</p> - -<p>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.</p> -<p><span class="pagenum"><a name="page46" id="page46"></a>[pg 46]</span></p> - -<div class="figcenter" style="width: 330px;"> -<a href="images/046-700.png"><img src="images/046-330.png" width="330" height="467" alt="" /></a> -<p class="center">HYDRAULIC PRESS, FROM THE MANUFACTORY OF<br /> -ISAAC ADAMS & CO., BOSTON.</p></div> - -<p>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 -<span class="pagenum"><a name="page47" id="page47"></a>[pg 47]</span> -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.</p> - -<p>The hydraulic press is manufactured by nearly -all the press-makers, differing only in the general -design, the application of power being the same.</p> - -<p>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 <i>tissue-paper</i> 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 -<span class="pagenum"><a name="page48" id="page48"></a>[pg 48]</span> -number of plates, which are directed to be placed -at the end, they are sewn on the bands by overcasting, -which operation will shortly be treated of -in full.</p> - -<p>The book, being now ready for pressing, is taken -in sections, according to the work and the judgment -of the workman, and placed between pressing-boards -the size of the volume, one on the other, -and conveyed to the <i>standing-press</i>, which is pulled -down as tight as possible by the <i>press-pin</i>, 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.</p> - -<p>After the book has been sufficiently pressed, it -will be necessary again to <i>collate</i> it, to correct any -disarrangement that may have taken place during -the beating and pressing. It is then ready for -being sawn out.</p> - -<p class="center1sb">SAWING THE BACKS.</p> - -<p>This operation is performed in order to save the -expense of sewing upon raised bands, and also to -prevent the bands on which a book is sewn appearing -on the back. After beating the book up well -<span class="pagenum"><a name="page49" id="page49"></a>[pg 49]</span> -on the back and head, it is placed between two -<i>cutting-boards</i>, the back projecting a little over the -thick edge, and tightly screwing in the <i>laying</i> or -<i>cutting-press</i>, the whole being elevated sufficiently -to prevent the saw damaging the cheeks of the press. -Then with a <i>tenant-saw</i> 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 <i>chain</i> or <i>kettle-stitch</i>. 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.</p> - -<p>The <i>end-papers</i>, 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.</p> - -<p class="center1sb">SEWING.</p> - -<p>According to the number of <i>bands</i> wanted, must -be attached to the loops on the cross-bar of the -<i>sewing-press</i> as many pieces of cord, of proper -length and thickness, and fastened with the aid of -the <i>keys</i> in the groove of the press as nearly equal -<span class="pagenum"><a name="page50" id="page50"></a>[pg 50]</span> -in tightness as possible. When this is done, the -back of the first sheet in the book is placed against -the cords, which must be moved upwards or the -contrary to the marks of the saw, when the small -screws at each end under the cross-bar must be -moved upwards till the strings are equally tight. -All this being disposed, the book is commenced sewing -by placing the end-paper, which has no marks -of the saw, on the sheet before laid down, and sewing -it throughout, leaving a small end of thread to -form the knot, after sewing the first sheet, which is -then taken from under and sewn the whole length.</p> - -<div class="figcenter" style="width: 500px;"> -<a href="images/050-1000.png"><img src="images/050-500.png" width="500" height="316" alt="the sewing press" title="the sewing press" /></a></div> - -<p>There are various ways of sewing, according to -the size and thickness of the sheets of a book. A -volume consisting of thick sheets, or a sheet containing -a plate or map, should be sewn singly the -whole length, in order to make the work more -secure and solid. Great care should also be taken -not to draw the thread too tight at the head or foot -<span class="pagenum"><a name="page51" id="page51"></a>[pg 51]</span> -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 -downwards, as is too frequently the case. Upon the -proper swelling of the back mainly depends the -regularity of the round and firmness of the back -in the after-stages of the binding.</p> - -<p>When a book is sewed <i>two sheets on</i>, 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.</p> - -<p>Half-sheets, to obviate the swelling of the back -too much, are usually sewn on four bands, which -<span class="pagenum"><a name="page52" id="page52"></a>[pg 52]</span> -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 sawing, -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 swelling -of the back which a less number of sheets in a -course would make and spoil the appearance of the -binding.</p> - -<p>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 -<span class="pagenum"><a name="page53" id="page53"></a>[pg 53]</span> -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 sufficient to -secure the stitches from tearing, bringing the -thread round each band, as before directed, and -fastening it at the end before proceeding with -another course. To keep the whole of the sheets -properly even, the back is sometimes glued immediately -after cutting, and when dry divided into -sections. Atlases and books of prints, when folded -in the middle, will require a guard, or slip of paper, -to be pasted to them, so as to allow them to open -flat, which they could not do if attached to the -back, and which would destroy the engraving. -These guards must be of strong paper about an -inch in breadth and folded to the right size. -They are sewn by overcasting, as above directed.</p> - -<p>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 -<span class="pagenum"><a name="page54" id="page54"></a>[pg 54]</span> -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.</p> - -<p>The old mode of sewing on raised bands combines -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 process, -and necessarily an expensive one; and many -binders who pretend to bind in this manner, to -obviate this, have their books sewed in the ordinary -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 pasteboard, -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 appearance; -then draw lines square across the back with -<span class="pagenum"><a name="page55" id="page55"></a>[pg 55]</span> -a black lead-pencil from the compass-points of the -five inner divisions, for the places upon which the -bands are to be sewed; then make a slight scratch -with a saw about one-quarter of an inch inside of -where the book will be cut, for the kettle-stitch at -the head and likewise at the tail. Upon taking the -book out of the laying-press, take the pasteboards -and saw them at the points marked by the lead-pencil -of a depth sufficient to allow the cords upon -which the book is to be sewn to enter. The boards -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 -<span class="pagenum"><a name="page56" id="page56"></a>[pg 56]</span> -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.</p> - -<p>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.</p> - -<p>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 sufficiently -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. -<span class="pagenum"><a name="page57" id="page57"></a>[pg 57]</span> -The plates are then whipped along the back edge -of the guard, and sewed in the usual manner.</p> - -<p>It was proposed by <i>M. Lesne</i>, bookbinder of <i>Paris</i>, -in a Memoir presented by him to the "<i>Société d' Encouragement</i>," -January 18, 1818, that in order to -give to books the three essential qualities of binding, -elasticity, solidity, and elegance, they should -be sewn similar to the Dutch method, which is on -slips of parchment, instead of packthread; but to -remedy the inconvenience arising from one slip -being insufficient to make the back of a proper -solidity, as well as being liable to break, and, if -doubled or trebled, presenting a bad effect on the -back when covered, he suggested the adoption of -silk for the 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 solidity -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.</p> -<p><span class="pagenum"><a name="page58" id="page58"></a>[pg 58]</span></p> - -<p class="center1sb">INDIA-RUBBER BACKS.</p> - -<p>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 somewhat -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.</p> -<p><span class="pagenum"><a name="page59" id="page59"></a>[pg 59]</span></p> - -<div class="chapter"> -<h3 class="space-above4">PART II.</h3> -</div> - -<p class="title3">FORWARDING.</p> - -<p>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 forwarder -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 compared -with the productions of the most celebrated -artists. Let him, then, look well to his laurels if -engaged upon first-class job or</p> - -<p class="center1sb">CUSTOMER WORK.</p> - -<p>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 -<span class="pagenum"><a name="page60" id="page60"></a>[pg 60]</span> -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 entirely -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 -<span class="pagenum"><a name="page61" id="page61"></a>[pg 61]</span> -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.</p> - -<p>If a joint of calf or morocco is required, all that -is necessary for the forwarder to do is to tip the -back-edge of the lining that goes next to the book -very slightly, merely to secure it until it reaches -the finisher, and place one or two guards of stout -paper along the joint, to be afterwards torn out by -the finisher.</p> - -<p>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 convenient -to pass through the boards which are to -form the side covers.</p> - -<p>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 -<span class="pagenum"><a name="page62" id="page62"></a>[pg 62]</span> -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</p> - -<p class="center1sb">ROUNDING.</p> - -<p>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 engaged -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 the operation is repeated until it is -<span class="pagenum"><a name="page63" id="page63"></a>[pg 63]</span> -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 submitted -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</p> - -<p class="center1sb">BACKING,</p> - -<p>which is done to form the groove for the reception of -the boards. One of the backing-boards is placed upon -the volume at an equal distance from the back, the -distance depending upon the thickness of the board; -then, turning the volume, the other is placed in a -<span class="pagenum"><a name="page64" id="page64"></a>[pg 64]</span> -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 turning -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 possible, -the blows glancing towards the edge, so as to -merely commence the turning of the sheets, without -causing any indentations or wrinkles on the inside -of the volume. 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 backing-board, -so as to form a regular and solid groove. The process -is repeated up the other side, the volume examined -to see if the back is regular and equal in its -circle throughout, and any slight irregularities corrected -by light taps of the beating-hammer; but -nothing can justify a workman in striking a heavy -<span class="pagenum"><a name="page65" id="page65"></a>[pg 65]</span> -blow near the centre of the back, as it must inevitably -crush and wrinkle the paper on the inside. -It serves but to prove his ignorance of the principle -upon which the entire operation is based. There is -nothing connected with the forwarding of a book -that requires more attention, patience, and skill, -than the rounding and backing, and there is nothing -that contributes 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 employed -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 previously -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 thicknesses -of board together. Place them in the standing-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 -<span class="pagenum"><a name="page66" id="page66"></a>[pg 66]</span> -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</p> - -<p class="center1sb">SQUARING THE BOARDS.</p> - -<p>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 front -cutting-board is placed at the compass-holes, and -again put in press, with the front cutting-board or -<span class="pagenum"><a name="page67" id="page67"></a>[pg 67]</span> -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 difference:—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 integrity -of their margins after having been submitted -to the cruel operation of his steel. A volume cut -<span class="pagenum"><a name="page68" id="page68"></a>[pg 68]</span> -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</p> - -<p class="center1sb">LACING IN.</p> - -<p>Each board is then marked with a bodkin opposite -to the slips intended to be laced in; a hole in a -vertical position is then made through the board, -and being turned, another in the same way near to -the first. The bands, having been pasted and passed -in above, are returned through the other hole, and, -being pulled tight, the boards will necessarily be -perpendicular to 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 <i>knocking-down iron</i>) -fixed at the end of the laying-press, and beating -above with the backing-hammer.</p> - -<p>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 -<span class="pagenum"><a name="page69" id="page69"></a>[pg 69]</span> -made, and the band, being passed in this one continued -hole, will not be seen underneath. The -liability, however, of its tearing out is an objection, -and from this cause the common way, with care in -beating down, is preferable.</p> - -<p>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 pressing-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 screwed -down, the back of the volume is then damped with -thin paste, and, according to the firmness of the -sewing and book, grated and scraped, and finally -rubbed smooth with paper-shavings, and left to dry -in the press for as long a time as possible. If a -large volume, it is usual to apply a little glue to the -back. When taken out of the press, the boards -must be disengaged from the end-papers, where they -<span class="pagenum"><a name="page70" id="page70"></a>[pg 70]</span> -adhere, so that they may move freely up and down -in the cutting.</p> - -<p class="center1sb">CUTTING THE EDGES.</p> - -<div class="figcenter" style="width: 300px;"> -<a href="images/070-650.png"><img src="images/070-300.png" width="300" height="361" alt="the cutting-press" title="the cutting-press" /></a></div> - -<p>The manner of preparing the volume for cutting -is very important, as swerving from right angles in -cutting the head and tail will present a disagreeable -appearance. Every precaution must be taken to -insure the volume being cut perfectly square. The -front-board is drawn down from the head just sufficient -for the knife to operate upon in the cutting. A -piece of trindle is inserted between the volume and -the back-board for the point of the knife to cut -against. The volume is then placed, with the back -towards the workman, on a cutting-board in the left -hand; the <i>runner</i> 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 -<span class="pagenum"><a name="page71" id="page71"></a>[pg 71]</span> -cutting-press, to the level of the right-hand cheek -of the same, taking care that the volume hangs perpendicular -to the cheeks of the press. Being -screwed tight with the pin, the workman then takes -the plough with the right hand, by the head of the -screw, and, placing it on the groove of the press, -proceeds to cut the book, holding the other end of -the screw firmly with the left hand, and causing the -knife to advance gradually through the book by -turning the 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 <i>bolt</i> the -defect may require. The head being cut, the same -operation is repeated for the tail.</p> - -<p>Much precaution is necessary in cutting the fore-edge. -Mark the book with a bodkin on the projecting -part of the end-papers, and on each side, at the -head and foot, close to the square side of the boards, -<span class="pagenum"><a name="page72" id="page72"></a>[pg 72]</span> -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 cutting-boards -at the end of the book, even with the -line before made; turn it, and place the runner as -much below the line on the title-side as has been -allowed for the square on the fore-edge. Taking -the whole in the left hand, the volume must be examined -to remedy any defects, should it not be -regular and equal on both sides, and then put into -the press, the runner as before even with the right -cheek, taking care to keep the other board projected -above the left, equal to the square allowed -in front, so that, when cut through, the fore-edge -may be equally square with the boards on each side. -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 produced. -The method above described is called -"cutting in boards," and is superior to any other.</p> -<p><span class="pagenum"><a name="page73" id="page73"></a>[pg 73]</span></p> - -<p>It is of the utmost importance to the young workman -that he should pursue and acquire a methodical -system in all his operations. Select the best method, -as a matter of course, and then adhere to it. Do not, -every time you perform one particular process, do it -in a different manner. For instance: in backing or -in turning up your books, it is better to always have -the head towards you; in cutting head and 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 inattention -to these particulars, in the unnecessary handling -and confused manner of working. It will be -found that the best and most expeditious workmen -are those who do their work in a systematical manner. -In taking leave of this department, our parting -admonition to the young workman is, <span class="sc">strive to excell</span>. -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 process, -ask yourself the question, "Why is this done? -What is the object of it? Can the process be improved?" -<span class="pagenum"><a name="page74" id="page74"></a>[pg 74]</span> -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.</p> - -<p>The next process which the volume must undergo -is the gilding or colouring of</p> - -<p class="center1sb">THE EDGES.</p> - -<p>Colouring the edges with one colour, equally -sprinkling over, marbling, and gilding, come under -this head; and the style of ornament of this description -must depend on the price allowed for the -work, and will vary according to the taste of the -workman and wish of the employer.</p> - -<p class="center1sb">OF COLOURING AND SPRINKLING.</p> - -<p>The colours most used are brown and red, in -preparing which it is necessary to grind them in -water, very fine, on a slab, with a muller. Each -colour is then placed in a separate vase, and mixed -up with a little paste and water to the proper consistency -for use. To procure a better edge, two -drops of oil and about an equal quantity of vinegar -and water may be mixed with the paste.</p> - -<p>In colouring the edges equally over, the boards -at the head of the volume must be beat even with -the edges, and the book rested on the edge of the -<span class="pagenum"><a name="page75" id="page75"></a>[pg 75]</span> -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 work, this -must be done.</p> - -<p>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, with -the heads upwards; then, with a large brush, similar -to a painter's, dipped in whatever colour may -be wished, and well beat on the press-pin over the -pot till the sprinkle becomes fine, the edges are -covered. The pin and brush are held sufficiently -above the book, and the edge sprinkled by beating -<span class="pagenum"><a name="page76" id="page76"></a>[pg 76]</span> -lightly at first, and stronger as the brush becomes -less charged with colour, being careful that the -spots are as fine as possible, the sprinkle being -thereby made more beautiful.</p> - -<p>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 -<span class="pagenum"><a name="page77" id="page77"></a>[pg 77]</span> -others will readily occur to the workman as his -taste may suggest.</p> - -<h4 class="space-above2">COLOURS.</h4> - -<p>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 require -a more lengthened description.</p> - -<p><span class="sc">Blue.</span>—Indigo and Prussian blue, with whiting -for lighter shades.</p> - -<p><span class="sc">Yellow.</span>—Dutch pink, King's yellow, and yellow -orpine.</p> - -<p><span class="sc">Brown.</span>—Umber, burnt over the fire.</p> - -<p><span class="sc">Red.</span>—Vermilion; or Oxford ochre, burnt in a -pan.</p> - -<p><span class="sc">Pink.</span>—Rose-pink; to make it brighter, add lake.</p> - -<p><span class="sc">Green.</span>—The first and second mixed to any -shade.</p> - -<p>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 faithful -record of the art, the whole of the colours used -and modes of preparation will be presented.</p> -<p><span class="pagenum"><a name="page78" id="page78"></a>[pg 78]</span></p> - -<p class="center1sb">BLUE.</p> - -<p>Two ounces of the best indigo, finely powdered, -mixed with a teaspoonful of spirit of salts and two -ounces of best oil of vitriol. Put the whole into a -bottle, and let it remain in boiling water for six or -eight hours, and mix with water as wanted to the -shade required.</p> - -<p class="center1sb">YELLOW.</p> - -<p>French berries, saffron, or faustic chips. Boil -with a small portion of alum; strain and bottle for -use.</p> - -<p class="center1sb">GREEN.</p> - -<p>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.</p> - -<p class="center1sb">ORANGE.</p> - -<p>Two ounces of Brazil dust, one ounce of French -berries, bruised, and a little alum. Boil in water -and strain.</p> - -<p class="center1sb">RED.</p> - -<p>Brazil dust, half a pound; alum, two ounces, well -powdered; boiled in a pint of vinegar and a pint of -<span class="pagenum"><a name="page79" id="page79"></a>[pg 79]</span> -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.</p> - -<p class="center1sb">PURPLE.</p> - -<p>Logwood chips, in the proportion of half a pound -to two ounces of alum, and a small piece of copperas, -boiled in three pints of soft water till reduced -a third, will make a good purple.</p> - -<p>Brazil dust, submitted to the action of strong -potash water, will make a good purple for immediate -use, but will not keep.</p> - -<p class="center1sb">BROWN.</p> - -<p>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.</p> - -<p>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 -<span class="pagenum"><a name="page80" id="page80"></a>[pg 80]</span> -of extra books marbled, they will be of use to those -who would find marbling a work of too great preparation -and expense for a small number of books -in places where there is no marbler.</p> - -<p class="center1sb">RICE MARBLE.</p> - -<p>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.</p> - -<p class="center1sb">WHITE SPOT.</p> - -<p>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.</p> - -<p>Whiting mixed with water to a thick consistency -<span class="pagenum"><a name="page81" id="page81"></a>[pg 81]</span> -will nearly answer the same purpose, and is less -expensive than wax.</p> - -<p class="center1sb">FANCY MARBLE.</p> - -<p>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 <i>palette-knife</i> 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.</p> - -<p class="center1sb">GOLD SPRINKLE.</p> - -<p>After the edges of the book are stained with -any of the colours above described, a good effect -may be given by sprinkling with a gold liquid, -made in the following manner:—Take a book of -<span class="pagenum"><a name="page82" id="page82"></a>[pg 82]</span> -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 sublimate -with a teaspoonful of spirits of wine, and -when dissolved put the same, with a little thick gum-water, -to the gold, and bottle it, always shaking it -well before using. When dry, burnish the edge, -and cover it with paper till the work is finished.</p> - -<h4 class="space-above2">MARBLING.</h4> - -<p>Marbling is an art which consists in the production -of certain patterns and effects by means of -colours so prepared as to float upon a preparation -of mucilaginous liquid, possessing certain antagonistic -properties to the colours prepared for the -purpose, and which colours, when 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.</p> - -<p>It is a process which it is not very easy to describe; -and yet, to any one beholding it for the -first time, nothing appears more simple or easy -<span class="pagenum"><a name="page83" id="page83"></a>[pg 83]</span> -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 discoveries -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.</p> - -<p>When the art was first discovered, and by whom, -or in what 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 antique -patterns, with stormont and other spots, being -considered the most original.</p> - -<p>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 -<span class="pagenum"><a name="page84" id="page84"></a>[pg 84]</span> -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.</p> - -<p>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 pronounced -to be easiest and best.</p> - -<p>In 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 described, -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.</p> - -<p class="center1sb">COLOURS.</p> - -<p>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, -<span class="pagenum"><a name="page85" id="page85"></a>[pg 85]</span> -just as they are produced or manufactured, and -ground by the marbler himself. A list is subjoined:—</p> - -<p class="center1sb">REDS.</p> - -<div class="center"><div class="content"> -<p>Drop Lake.</p> -<p>Peach-wood Lake.</p> -<p>Vermilion.</p> -<p>Rose-Pink.</p> -<p>Oxford Ochre, Burnt.</p> - </div> </div> - -<p class="center1sb">BLUES.</p> - -<div class="center"><div class="content"> -<p>Indigo.</p> -<p>Chinese Blue.</p> -<p>Ultramarine.</p> -<p>Prussian Blue.</p> - </div> </div> - -<p class="center1sb">YELLOWS.</p> - -<div class="center"><div class="content"> -<p>Lemon Chrome.</p> -<p>Dutch Pink.</p> -<p>Oxford Ochre, Raw.</p> - </div> </div> - -<p class="center1sb">BLACKS.</p> - -<div class="center"><div class="content"> -<p>Vegetable Lamp-Black.</p> -<p>Drop Ivory-Black.</p> - </div> </div> -<p><span class="pagenum"><a name="page86" id="page86"></a>[pg 86]</span></p> - -<p class="center1sb">BROWN.</p> - -<div class="center"><div class="content"> -<p>Turkey Umber Burnt.</p> - </div> </div> - -<p class="center1sb">ORANGE.</p> - -<div class="center"><div class="content"> -<p>Orange Lead.</p> -<p>Orange Chrome.</p> - </div> </div> - -<p class="center1sb">WHITE.</p> - -<div class="center"><div class="content"> -<p>China Clay.</p> -<p>Pipe-Clay.</p> -<p>Flake White.</p> -<p>Paris White.</p> - </div> </div> - -<hr class="shorter" /> - -<p class="center1sb">DROP LAKE.</p> - -<p>This is the most beautiful, but the most expensive, -of all the reds, and is used only for book-edges and -the most superior kinds of work. There are different -shades of this colour, viz.:—scarlet, crimson, -and purple. The scarlet is the most expensive, -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.</p> -<p><span class="pagenum"><a name="page87" id="page87"></a>[pg 87]</span></p> - -<p>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 small cones or drops, from which -it derives its name, and is a preparation of cochineal; -therefore the value of it depends much upon -the price of that article.</p> - -<p class="center1sb">VERMILION.</p> - -<p>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 preparation -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.</p> - -<p class="center1sb">ROSE-PINK.</p> - -<p>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 -<span class="pagenum"><a name="page88" id="page88"></a>[pg 88]</span> -indigo or a little Chinese blue it makes a good -purple.</p> - -<p class="center1sb">BURNT OCHRE.</p> - -<p>This colour is obtained in its native state from -pits dug in the earth in the neighbourhood of Oxford; -hence, it is called Oxford ochre, and sometimes -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.</p> - -<p class="center1sb">WOOD LAKE.</p> - -<p>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 exclusively -for marbling. It is the best red that can -be used for general purposes, and for appearance -comes next to the drop lake.</p> -<p><span class="pagenum"><a name="page89" id="page89"></a>[pg 89]</span></p> - -<p class="center1sb">CHINESE BLUE.</p> - -<p>This is a very beautiful but not a very durable -colour. It is, however, an almost indispensable one -to the marbler, as it will produce nearly every -shade of blue by the addition of certain proportions -of white. This colour requires to be particularly -well 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.</p> - -<p class="center1sb">INDIGO.</p> - -<p>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 colour, 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.</p> - -<p class="center1sb">ULTRAMARINE.</p> - -<p>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 -kinds now in general use are the French and German, -<span class="pagenum"><a name="page90" id="page90"></a>[pg 90]</span> -the genuine article being far too high in price -for this kind of work.</p> - -<p class="center1sb">PRUSSIAN BLUE.</p> - -<p>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.</p> - -<p class="center1sb">DUTCH PINK.</p> - -<p>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 mixing -with chrome to produce the various shades of -yellow required.</p> - -<p class="center1sb">CHROME.</p> - -<p>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.</p> - -<p class="center1sb">RAW OCHRE,</p> - -<p>Or Oxford ochre in its native state. This may -be used in certain proportions for making olive -<span class="pagenum"><a name="page91" id="page91"></a>[pg 91]</span> -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.</p> - -<p class="center1sb">DROP IVORY-BLACK.</p> - -<p>This colour cannot be well used alone. It may, -therefore, be called only an auxiliary to others.</p> - -<p class="center1sb">VEGETABLE-BLACK.</p> - -<p>This is a superior kind of lamp-black, but prepared -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.</p> - -<p class="center1sb">TURKEY UMBER, BURNT.</p> - -<p>This colour produces a very good brown, but -it is not required if you have the burnt Oxford -ochre, as, with the aid of that colour and a little -indigo and black, any shade of brown may be produced.</p> - -<p class="center1sb">ORANGE LEAD.</p> - -<p>This is a very heavy colour, and is but little -used, except for the edges of account books.</p> -<p><span class="pagenum"><a name="page92" id="page92"></a>[pg 92]</span></p> - -<p class="center1sb">WHITE.</p> - -<p>For this an article called China clay is used; -also, for some purposes, the common pipe-clay.</p> - -<p class="center1sb">GUM.</p> - -<p>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 offered. 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 satisfactory -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 -<span class="pagenum"><a name="page93" id="page93"></a>[pg 93]</span> -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 annoyance -and mortification.</p> - -<p class="center1sb">DIRECTIONS FOR PREPARING THE GUM.</p> - -<p>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 considerable -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 pan -until they are all dissolved.</p> -<p><span class="pagenum"><a name="page94" id="page94"></a>[pg 94]</span></p> - -<p class="center1sb">OF LINSEED.</p> - -<p>It is possible to marble some patterns on mucilage -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.</p> - -<p class="center1sb">CARRAGEEN, OR IRISH MOSS.</p> - -<p>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.</p> - -<p class="center1sb">FLEA-SEED.</p> - -<p>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 -<span class="pagenum"><a name="page95" id="page95"></a>[pg 95]</span> -resembling the annoying little insect whose name it -bears, and from which it may possibly derive its -appellation. It produces a very strong and powerful -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.</p> - -<p>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 water, 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 judgment, -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 -<span class="pagenum"><a name="page96" id="page96"></a>[pg 96]</span> -cooled, for it will settle without being again heated -or having more boiling water added to it.</p> - -<p class="center1sb">OX-GALL.</p> - -<p>The surest way 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.</p> - -<p class="center1sb">WATER.</p> - -<p>Soft or rain water, when it can be procured, -is the best adapted for all the preparations in -marbling.</p> - -<p class="center1sb">OF THE PREPARATIONS OR VEHICLES REQUIRED<br /> -FOR MARBLING UPON.</p> - -<p>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 -<span class="pagenum"><a name="page97" id="page97"></a>[pg 97]</span> -each other, strain it through a fine hair sieve into -the trough, and it will be fit for use.</p> - -<p>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 difficulty -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.</p> - -<p>As some gum is stronger than other, it is hardly -prudent or possible to give any exact weight of gum -to any certain quantity of water. Practice and -your own judgment must determine this. Besides, -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 solution, -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 skimmer -<span class="pagenum"><a name="page98" id="page98"></a>[pg 98]</span> -is drawn along, and, upon sprinkling on the -colours, they crack, and are a long while spreading -out, it is a sign it is too thick; but a little practice -will soon enable the learner to form a correct judgment -in this matter.</p> - -<p class="center1sb">OF GRINDING THE COLOURS.</p> - -<p>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 well. -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 particularly -well ground upon a slab, with a muller, -the mill not grinding so finely as by this method.</p> - -<p>The colours must all be ground with a preparation -of beeswax, in the average proportion of one ounce -of the prepared beeswax to one pound of colour. -Blues and greens require rather more. This will -prevent the colour rubbing off on the hand, and will -make it burnish or glaze easily.</p> -<p><span class="pagenum"><a name="page99" id="page99"></a>[pg 99]</span></p> - -<p class="center1sb">DIRECTIONS FOR PREPARING THE WAX FOR<br /> -GRINDING.</p> - -<p>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 with it a quarter of a -pound of the very best curd-soap cut into small or -thin pieces; place it in a moderate heat, and when -both soap and wax are quite dissolved, (but be sure -they are not boiling,) put the pipkin containing the -hot liquid upon a table, take in one hand a pot of -cold water, and, gently stirring the melted wax with -the other, pour in the water, a little at a time, keeping -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 properly -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.</p> -<p><span class="pagenum"><a name="page100" id="page100"></a>[pg 100]</span></p> - -<p class="center1sb">TROUGHS.</p> - -<p>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 without -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.</p> - -<p class="center1sb">FRENCH OR SHELL MARBLE.</p> - -<p>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 -<span class="pagenum"><a name="page101" id="page101"></a>[pg 101]</span> -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.</p> - -<div class="figcenter" style="width: 300px;"> -<a href="images/100fp-600.jpg"><img src="images/100fp-300.jpg" width="300" height="491" alt="FRENCH OR SHELL MARBLE." title="FRENCH OR SHELL MARBLE." /></a></div> - -<p>For convenience of reference, the various patterns -described and processes employed will be numbered.</p> - -<h4>No. 1.—<span class="sc">large brown french or shell, with -three veins, viz.: red, yellow, and black.</span></h4> - -<p>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, putting -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.</p> -<p><span class="pagenum"><a name="page102" id="page102"></a>[pg 102]</span></p> - -<p>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 fineness; -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 altogether, -which cannot be counteracted in any other -way than by mixing some more colour without any -oil, and adding it thereto.</p> - -<p>Having, then, all in readiness, first skim the surface -of the solution lightly all over, and immediately -(for when 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 -<span class="pagenum"><a name="page103" id="page103"></a>[pg 103]</span> -two opposite corners, and let the corner between the -finger and thumb of the right hand touch the surface -first, while with the left you let the paper gradually -descend, till it lies flat upon the liquid. -If it is let down too quickly, or the paper gets rumpled, -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.</p> - -<p>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.</p> - -<h4>No. 2.—<span class="sc">small brown french.</span></h4> - -<p>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.</p> -<p><span class="pagenum"><a name="page104" id="page104"></a>[pg 104]</span></p> - -<h4>No. 3.—<span class="sc">brown french, with light spot.</span></h4> - -<p>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 two 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 unburnt -Oxford ochre, and is mixed with gall, water, -a few drops of olive-oil, and a portion of spirits -of turpentine.</p> - -<h4>No. 4.—<span class="sc">small yellow shell.</span></h4> - -<p>This is done in the same manner as No. 2 as -regards the mixing and working, the only difference -being in the body-colour.</p> - -<h4>No. 5.—<span class="sc">brown and purple shell.</span></h4> - -<p>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 -<span class="pagenum"><a name="page105" id="page105"></a>[pg 105]</span> -these instructions, to imitate any French pattern, -whether there be more or less colours in them.</p> - -<h4>No. 6.—<span class="sc">blue stormont</span></h4> - -<p>Is an old pattern, but well worthy of being revived. -Though apparently very simple and easy of execution, -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 observation -on the part of the workman.</p> - -<p>There is but one vein-colour, (red,) and the -ground or body-colour is blue. The same preparation -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 like fine network. Sometimes it will happen -<span class="pagenum"><a name="page106" id="page106"></a>[pg 106]</span> -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.</p> - -<h4>No. 7.—<span class="sc">light italian.</span></h4> - -<p>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.</p> - -<div class="figcenter" style="width: 300px;"> -<a href="images/106afp-600.jpg"><img src="images/106afp-300.jpg" width="300" height="491" alt="Light Italian" title="Light Italian" /></a></div> - -<p>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 accumulation -of colour, or they will cause large spots or -<span class="pagenum"><a name="page107" id="page107"></a>[pg 107]</span> -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.</p> - -<div class="figcenter" style="width: 300px;"> -<a href="images/106bfp-600.jpg"><img src="images/106bfp-300.jpg" width="300" height="491" alt="marbling pattern" title="marbling pattern" /></a></div> - -<p>Another method is to use a mixture of weak gall -and water instead of the white 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.</p> - -<h4>NO. 8.—<span class="sc">small green italian.</span></h4> - -<p>A very neat pattern, may be made of one colour -only, which must be mixed with gall and water -sufficiently strong to cover the whole surface of the -solution on the trough; after which, beat 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.</p> - -<h4>No. 9.—<span class="sc">west end, (brown, with light spot.)</span></h4> - -<p>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 -<span class="pagenum"><a name="page108" id="page108"></a>[pg 108]</span> -a portion of the darker colour and mixing a quantity -of 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.</p> - -<p>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.</p> - -<h4>No. 10.—<span class="sc">west end, (green, with light spot.)</span></h4> - -<p>An excellent pattern may be made similar to -No. 9 in all the details of mixing, working, and putting -on the colours, the only difference being in the -colours, which may be made of two shades of green -or olive, and the veins red, yellow, and blue.</p> -<p><span class="pagenum"><a name="page109" id="page109"></a>[pg 109]</span></p> - -<div class="figcenter" style="width: 300px;"> -<a href="images/108fp-600.jpg"><img src="images/108fp-300.jpg" width="300" height="491" alt="curl" title="curl" /></a></div> - -<h4>No. 11.—<span class="sc">curl.</span></h4> - -<p>The pattern called French Curl, after the description -of the French marble (see No. 1) will not require -much explanation, the only difference in the working -being, that there must not be any of the preparation -of the flea-seed with the gum; but it must be done -on the solution of the gum alone, without any admixture. -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.</p> - -<h4>No. 12.—<span class="sc">brown curl.</span></h4> - -<p>A pattern of curl may be made of one colour -only, mixed with the same ingredients as the ordinary -French; it is the easiest of the two to make.</p> -<p><span class="pagenum"><a name="page110" id="page110"></a>[pg 110]</span></p> - -<h4>NO. 13.—<span class="sc">red curl.</span></h4> - -<p>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.</p> - -<h4>SPANISH.</h4> - -<p>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.</p> - -<h4>No. 14.—<span class="sc">olive, or light green, spanish.</span></h4> - -<p>One of the most simple and easy patterns is called -Olive Spanish, with red and blue veins. The veins -are mixed with gall and water, as in the previous -kinds of marbling, till they are brought to the proper -consistence; and, as it is not possible to state -any given measure for proportioning the gall and -<span class="pagenum"><a name="page111" id="page111"></a>[pg 111]</span> -water exactly, some gall being stronger than -other, that must be determined by observing the -effect produced in the colours as they are tried on -the solution. But each successive colour requires -more gall than the one which preceded it, and -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 exception.</p> - -<p>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 blue, and lastly, with a large brush -full of colour, the olive; beginning at the left-hand -corner of the trough, farthest from you, and working -down and up closely all over, taking care not to -go twice over the same place, or you will produce -rings by the falling of one spot upon another, -which is considered objectionable. It cannot, however, -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 -<span class="pagenum"><a name="page112" id="page112"></a>[pg 112]</span> -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 required -before the stripes or shades will be produced -with certainty and regularity. We will next take -a pattern with three veins.</p> - -<div class="figcenter" style="width: 300px;"> -<a href="images/110fp-600.jpg"> -<img src="images/110fp-300.jpg" width="300" height="491" alt="marbling pattern" title="marbling pattern" /></a></div> - -<h4>No. 15.—<span class="sc">blue or slate spanish.</span></h4> - -<p>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.</p> - -<h4>No. 16.—<span class="sc">brown spanish.</span></h4> - -<p>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 composed -of good burnt ochre, darkened with a little -black.</p> -<p><span class="pagenum"><a name="page113" id="page113"></a>[pg 113]</span></p> - -<h4>No. 17.—<span class="sc">double brown spanish.</span></h4> - -<p>This pattern has four colours for veins 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.</p> - -<h4>No. 18.—<span class="sc">fancy spanish.</span></h4> - -<p>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. -<span class="pagenum"><a name="page114" id="page114"></a>[pg 114]</span> -Shade it by shaking or waving the paper in the -same way as for other Spanish.</p> - -<h4>No. 19.—<span class="sc">fancy spanish.</span></h4> - -<p>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.</p> - -<p>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.</p> - -<h4>No. 20.—<span class="sc">drag or extra spanish.</span></h4> - -<p>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 -<span class="pagenum"><a name="page115" id="page115"></a>[pg 115]</span> -considerably thinner, as they would get so thick -upon the paper, from one sheet being drawn over -and taking up a surface of colour usually allowed -for two, that it would peel and crumble off and not -burnish.</p> - -<div class="figcenter" style="width: 300px;"> -<a href="images/114afp-600.jpg"><img src="images/114afp-300.jpg" width="300" height="491" alt="comb marbling pattern" title="comb marbling pattern" /></a></div> - -<div class="figcenter" style="width: 300px;"> -<a href="images/114bfp-600.jpg"><img src="images/114bfp-300.jpg" width="300" height="491" alt="comb marbling pattern" title="comb marbling pattern" /></a></div> - -<h4>No. 21.—<span class="sc">nonpareil or comb.</span></h4> - -<p>We now come to this well-known and very popular -pattern, which has had a most extraordinary -run, and which some people hardly seem tired of, -although it has become so common of late as to be -used on almost every kind of work.</p> - -<p>For this description of marbling use the solution -of gum alone in the trough. Mix the colours -with gall and water, taking particular care to avoid -all oil and grease of every description; but the -colours will require to be thicker, and more colour -thrown on, than for Spanish, with the exception of -the last, which will not require to be so heavily -thrown on as the last Spanish colour. Let all the -colours be thrown on in about equal proportions. -In commencing, proceed as usual:—first, skim the -surface of the solution, and immediately follow with -the red so as to well cover the whole surface of the -solution; then black; next, orange or yellow; -fourthly, blue; and, lastly, the top colour, of whatever -<span class="pagenum"><a name="page116" id="page116"></a>[pg 116]</span> -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 wood -having pegs inserted about an inch and a half apart -and about three inches long, tapering towards the -point, and having the appearance of the head of a -rake. Pass this once up and down through the -colour from front to back, taking especial care that -when you draw it back the teeth come exactly -between where they went up. Having raked the -colour into the proper form, take the comb, which -must reach the whole width of the trough from -front to back, and draw 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.</p> - -<h4>No. 22.—<span class="sc">raked nonpareil.</span></h4> - -<p>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.</p> - -<h4>No. 23.—<span class="sc">nonpareil, (reversed.)</span></h4> - -<p>Another pattern is made by precisely the same -process as No. 21, till the colours have been raked -<span class="pagenum"><a name="page117" id="page117"></a>[pg 117]</span> -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.</p> - -<h4>No. 24.—<span class="sc">antique.</span></h4> - -<p>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.</p> - -<h4>No. 25.—<span class="sc">antique, (zebra.)</span></h4> - -<p>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.</p> -<p><span class="pagenum"><a name="page118" id="page118"></a>[pg 118]</span></p> - -<h4>No. 26.—<span class="sc">wave.</span></h4> - -<p>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 will produce a uniform -appearance all over the sheet, something in the -appearance of irregular squares.</p> - -<p>There are some other patterns of a similar kind -made without a small white spot, and the same -design is sometimes worked upon a French marble, -but these require no additional explanation. We now -come to</p> -<p><span class="pagenum"><a name="page119" id="page119"></a>[pg 119]</span></p> - -<h4>No. 27.—<span class="sc">british.</span></h4> - -<p>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 work. 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 considerable -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 -<span class="pagenum"><a name="page120" id="page120"></a>[pg 120]</span> -dark and light spots will fall together, intermingling -with each other and producing that variegated -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.</p> - -<h4>No. 28.—<span class="sc">dutch.</span></h4> - -<p>The pattern now under consideration is one of -the oldest and at the same time most difficult patterns, -and is performed by a very different process -to any of the preceding. Upon examining this pattern, -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.</p> - -<p>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. -<span class="pagenum"><a name="page121" id="page121"></a>[pg 121]</span> -It will also require two frames the size of the paper, -with wooden pegs in them, slightly tapering, about -a quarter of an inch in thickness, and fixed about -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 addition -of a little spirits of wine. With this exception, -the colours will not require any different treatment -from the nonpareil.</p> - -<p>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.</p> - -<p>Having mixed the colours, and tried them by -dropping a little of each on the solution in the trough, -proceed to fill as many of the little pots with colour as -there are pegs on the frame, and arrange them about -three inches apart, so that the pegs in the frames -may drop into the centre of each pot, and, when lifted -out, (which will require to be done with great caution,) -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 -<span class="pagenum"><a name="page122" id="page122"></a>[pg 122]</span> -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:—</p> - -<table summary="grid" border="0"> -<tr> - <td class="grid">G</td> - <td class="grid">Y</td> - <td class="grid">G</td> - <td class="grid">Y</td> - <td class="grid">G</td> - <td class="grid">Y</td> - <td class="grid">G</td> -</tr> -<tr> - <td class="grid">Y</td> - <td class="grid">B</td> - <td class="grid">Y</td> - <td class="grid">B</td> - <td class="grid">Y</td> - <td class="grid">B</td> - <td class="grid">Y</td> -</tr> -<tr> - <td class="grid">G</td> - <td class="grid">Y</td> - <td class="grid">G</td> - <td class="grid">Y</td> - <td class="grid">G</td> - <td class="grid">Y</td> - <td class="grid">G</td> -</tr> -<tr> - <td class="grid">Y</td> - <td class="grid">B</td> - <td class="grid">Y</td> - <td class="grid">B</td> - <td class="grid">Y</td> - <td class="grid">B</td> - <td class="grid">Y</td> -</tr> -<tr> - <td class="grid">G</td> - <td class="grid">Y</td> - <td class="grid">G</td> - <td class="grid">Y</td> - <td class="grid">G</td> - <td class="grid">Y</td> - <td class="grid">G</td> -</tr> -</table> - -<p>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.</p> - -<p>Having arranged all these, commence operations -by first skimming the size, (which must consist of -gum-tragacanth alone,) and then well cover the -whole surface with red, which must be thrown on -plentifully with a brush. 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 -<span class="pagenum"><a name="page123" id="page123"></a>[pg 123]</span> -take the one with the white and drop that just in -the centre of the spots already 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 over; then pass the -comb through it from left to right, and lay on the -paper.</p> - -<p>As soon as you have hung it up, pour over it, -from a jug with a spout, about a pint of clear -water, to wash off the loose colour and gum and -make it look clean and bright, after which, when -dry, it will require sizing before it can be burnished.</p> - -<p>When curls are required, it will be necessary to -have a third frame, with as many pegs as you may -require curls upon the sheet of paper.</p> - -<h4>No. 29.—<span class="sc">antique dutch.</span></h4> - -<p>Is done in a different manner to any of the processes -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 -<span class="pagenum"><a name="page124" id="page124"></a>[pg 124]</span> -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 full.) 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; and -the green, indigo and Dutch pink. These must be -ground and mixed, as before directed, to the consistence -of cream. The lake should be ground one -day and the other colours a few days before using, -and kept moist. The gum will require to be used -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 with 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 -<span class="pagenum"><a name="page125" id="page125"></a>[pg 125]</span> -the order in which the colours should be arranged -on the trough:—</p> - -<p class="center2">G B R O R G B R O R G B R O R G B</p> - -<p>As in the former instance, the initial letters -signify the colours. Draw the comb through and -the pattern is complete.</p> - -<p class="center1sb">EDGES.</p> - -<p>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 particular -care in marbling, or the colour and size will -run in and spoil the appearance of the plates. To -obviate this, keep the book tightly compressed, and -where the plates are at the beginning of the book -only, lay it down, when marbled, the beginning side-upwards. -For edges you may do with a smaller -trough, also a smaller quantity of colour than for -paper. The solution to work upon had better be -gum-tragacanth alone. Colours for edges will look -all the brighter by the addition of alcohol, spirits -<span class="pagenum"><a name="page126" id="page126"></a>[pg 126]</span> -of wine, or whiskey; but they will evaporate more -quickly. Having every thing in readiness, take the -book, or, if more than one, as many as you can conveniently -manage to hold tightly, with the backs -in the right hand and the fore-edge in the left, and -let them touch the colour, the back first, allowing -them gradually to descend till the whole end is -covered; but be very careful that none of the size -or colour comes over the fore-edge, which it will do -if dipped too deep, and leave a nasty unsightly -mark, and greatly disfigure the book. In doing -the fore-edge, the beginner had better place the -volume between a pair of cutting-boards, and, having -thrown out the round, turn back the boards, -and proceed as with the end; when done, wipe off -the superfluous size from the boards with a sponge, -put the boards back in their place, and let the -volume dry.</p> - -<p class="center1sb">GLAZING OR BURNISHING.</p> - -<p>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 -<span class="pagenum"><a name="page127" id="page127"></a>[pg 127]</span> -it to work backwards and forwards upon a plank -hollowed out for the purpose. The paper is moved -over the plank, and the friction of the flint in passing -to and fro over the surface of the paper produces -a high polish. Sometimes the paper is -calendered by means of friction cylinders—a superior -method.</p> - -<p class="center1sb">COMBS.</p> - -<p>These are made in various ways, 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.</p> - -<p class="center1sb">SIZING THE PAPER.</p> - -<p>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 constantly -stirred, to prevent the soap and glue from -<span class="pagenum"><a name="page128" id="page128"></a>[pg 128]</span> -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.</p> - -<p class="center1sb">PATENT MARBLED CLOTH.</p> - -<p>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 -<i>papier D'Anonay</i> for durability.</p> - -<p class="center1sb">ADDENDA.</p> - -<p>In taking leave of the subject of marbling, there -is but little more to add. For, when 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 principles -that govern in mixing and distributing the -colours, and, with the aid of his own experience, his -chance of accomplishing it will be as good as any -one else's. As a step to the attainment of mastery -<span class="pagenum"><a name="page129" id="page129"></a>[pg 129]</span> -in the art, let the workman divest himself of the -various nostrums he has been put in possession of -by interested parties, and give himself up with -assiduity to the directions 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 prominent -classes or patterns of marbling. They were -executed by him, and show his mastery of the art.</p> - -<p class="center1sb">BURNISHING.</p> - -<p>The edges are burnished by placing the volume -open, with the fore-edge between boards, similar to -backing-boards, in the laying-press, and screwing it -tightly therein; then with the burnisher rubbing -the edge firmly and smartly over till it presents 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 -<span class="pagenum"><a name="page130" id="page130"></a>[pg 130]</span> -head and tail burnished in a similar manner, the -ends of the boards resting in the groove by the -joints, the covered boards of the volume being -open. Common calf, sheep, and half-binding, may -be burnished with the boards closed, six or eight -together, but it will be necessary to delay pasting -the sides on the latter till after the operation, to -avoid the liability of tearing.</p> - -<p class="center1sb">GILT EDGES.</p> - -<p>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 groundwork -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 summer-time -<span class="pagenum"><a name="page131" id="page131"></a>[pg 131]</span> -to chill it, as a test of its strength. If -too strong or thick, add water, then warm it to melt -the size and allow the water to become incorporated -with it. To become a good gilder requires considerable -judgment, as every variety of paper requires -a different treatment. No rule can be laid -down that will answer in every case; but if the -workman will but pay attention to the directions -here given, exercise patience, and above all reflect -upon the effects of his operations, ultimate success -will be certain. English books are made from linen -rags, and the paper is sized. They gild more easily -and the edge looks better than American books. -They do not require as strong a size for gilding as -books printed on paper made from cotton. Books -printed in this country are generally made from -cotton rags. Quantities of alum and lime are employed -in bleaching the pulp, to the sore annoyance -of many a gilder, who has found that a damp day -would invariably put both his skill and patience to -the test. The best qualities of American paper are -sized; the generality, however, is not. To determine -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 were sized paper. The liability -<span class="pagenum"><a name="page132" id="page132"></a>[pg 132]</span> -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.</p> - -<p>Then commences the most difficult 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 with 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.</p> - -<p>The gold is next cut on the gold-cushion to the -<span class="pagenum"><a name="page133" id="page133"></a>[pg 133]</span> -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 sufficient celerity -not to allow the gold to be drawn from the paper -in portions by the size. To do this well will -require some practice and a steady hand. Should -there be any breaks in the gold, other portions -must be applied, and, if dry, moisten with -water applied by a fine pencil, and lay on the -gold.</p> - -<p>After the edge is entirely dry, which generally -happens in from one to two hours, it must be -burnished. For this purpose a flat blood-stone -burnisher is the best, to be afterwards followed -by a flat 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 -<span class="pagenum"><a name="page134" id="page134"></a>[pg 134]</span> -the same precaution, the back towards the workman. -The foregoing direction have been derived -from the practical experience of Mr. James Pawson, -one of the best gilders in this country.</p> - -<p>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 farther in the manner we -shall now describe.</p> - -<p class="center1sb">ANTIQUE STYLE.</p> - -<p>After the edge is finished as above directed, and -before taking out of the press, ornaments, such as -flowers, or designs in compartments, must be stamped -upon it in the following manner. A coat of size is -passed quickly over with great precaution and lightness, -and only once in a place, to avoid detaching any -of the gold. When dry, rub the edge as lightly as -possible with palm-oil, and cover with gold of a different -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 off with a clean cotton, and -there remains only the designs the tools have imprinted, -<span class="pagenum"><a name="page135" id="page135"></a>[pg 135]</span> -which produce a fine effect. This mode is, -however, now seldom used, though almost all the -books in the original binding of the sixteenth century -are so executed.</p> - -<p class="center1sb">GILDING UPON MARBLED EDGES.</p> - -<p>This edge, which Dr. Dibdin, in his "Bibliographer's -Decameron," calls "the very luxury, the -<i>ne plus ultra</i> of the Bibliopegistic Art," is one requiring -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.</p> - -<p class="center1sb">GILDING ON LANDSCAPES, ETC.</p> - -<p>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 -<span class="pagenum"><a name="page136" id="page136"></a>[pg 136]</span> -painted thereon in water-colours, according to the -fancy of the operator. When perfectly dry, untie -the boards and let the leaves take their proper position. -Then place the volume in the press, lay on -the 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 necessary -to describe the proceeding, as the taste or -wishes of some may render it necessary that the -workman should know how to operate.</p> - -<p>After the volume is gilt, the edges must be enveloped -in clean paper, by glueing the extremities -one upon the other, to preserve the edges from injury -in the subsequent operations. This is taken -off when the volume is completed.</p> - -<p class="center1sb">BLACK EDGES.</p> - -<p>Books of devotion are generally bound in black leather, -and, instead of being gilt on the edge, blacked -to correspond with the covers. It will therefore be -necessary in this place to describe the process.</p> -<p><span class="pagenum"><a name="page137" id="page137"></a>[pg 137]</span></p> - -<p>Put the book in the press as for gilding, and -sponge it with black ink; then take ivory-black, -lamp-black, or antimony, mixed well with a little -paste, and rub it on the edge with the finger or ball -of the hand till it is perfectly black and a good -polish produced, when it must be cleared with a -brush, burnished, and cased with paper.</p> - -<p>Coloured edges, to look well, require to be scraped -in the same manner as for gilt. To lay the colour -on evenly, and produce a high burnish, requires -more labour than gilding. They are therefore quite -as expensive. After the colouring or gilding of the -edges, the next process is to attach the</p> - -<p class="center1sb">REGISTER,</p> - -<p>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 affixed. 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.</p> - -<p class="center1sb">HEADBANDS.</p> - -<p>The headband is an ornament in thread or silk, -of different colours, placed at the head and tail of a -<span class="pagenum"><a name="page138" id="page138"></a>[pg 138]</span> -book on the edge of the back, and serves to support -that part of the cover projecting above in consequence -of the squares of the boards, giving to the -volume a more finished appearance. Thus it will be -seen that the headband must equal the square -allowed for the boards. For common work, the -headband is made of 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.</p> - -<p>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.)</p> - -<p class="center1sb">SINGLE HEADBAND.</p> - -<p>Take two lengths of thread or silk, of different -colours, threading one in a long needle, and tying -<span class="pagenum"><a name="page139" id="page139"></a>[pg 139]</span> -the ends of the two together. Supposing red and -white to have been taken, the white attached to the -needle, it is placed in the volume five or six leaves -from the left side, and forced out on the back immediately -under the chain-stitch of the sewing, and -the thread drawn until it is stopped by the knot, -which will be hid in the sheet; the needle is then -passed a second time in 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 -<span class="pagenum"><a name="page140" id="page140"></a>[pg 140]</span> -the back with a knot. These fastenings give firmness -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 inclination -upwards, to prevent the work slipping off -before covering.</p> - -<p class="center1sb">DOUBLE HEADBAND.</p> - -<p>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.</p> - -<p class="center1sb">GOLD AND SILVER HEADBAND</p> - -<p>Both single and double made as above, the only -difference being in the use of gold or silver thread. -<span class="pagenum"><a name="page141" id="page141"></a>[pg 141]</span> -Great care must be here observed in tightening the -thread at the bead.</p> - -<p class="center1sb">RIBBON HEADBAND.</p> - -<p>This style varies but little from the other, the -same-coloured thread being only passed several -times round, instead of alternately with the other, -and making the bead at each turn, taking care that -the under thread is not observed, and then passing -the other colour, in a similar manner, as many or -more times than the former. This will produce a -band—from which it is named—having the appearance -of narrow ribbons of various colours. Three -or more colours may be used in a pattern.</p> - -<p class="center1sb">COVERING.</p> - -<p>The skins prepared for binding are dressed in a -peculiar manner. They are soft and of equal thickness -throughout. The cutting out of covers is an -important operation, as by attention much economy -may be effected. For this purpose patterns in pasteboard -of all the sizes of books should be made, and -such as are required placed on the skin, turning -them every way, so as to obtain the greatest number -of pieces possible, allowing about an inch round -for paring and turning in. Should the books be of -<span class="pagenum"><a name="page142" id="page142"></a>[pg 142]</span> -the same size, a volume taken by the fore-edge and -the boards laying open on the leather will enable -the workman to judge to a nicety the most advantageous -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.</p> - -<p>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 confessed -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 possession -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 -<span class="pagenum"><a name="page143" id="page143"></a>[pg 143]</span> -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.</p> - -<p>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 position -that the back of the volume, which is from the -workman, will be in the middle. The far part is -then brought over to the other side, and care taken -not to disarrange the squares. The cover, which -now projects an inch all round the volume, is drawn -tightly on the back with the open hands, by turning -the projecting portion of the cover outward -and resting the book on the fore-edge, at the same -<span class="pagenum"><a name="page144" id="page144"></a>[pg 144]</span> -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 binding. -After the back has been sufficiently manipulated, -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.</p> - -<p>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 headband, -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 -<span class="pagenum"><a name="page145" id="page145"></a>[pg 145]</span> -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.</p> - -<p>The setting of the headband is the next operation, -which is very important to the beauty of the -binding, by properly forming a sort of cap over the -worked headband of the 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 -<span class="pagenum"><a name="page146" id="page146"></a>[pg 146]</span> -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 performed -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.</p> - -<p>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 <i>tied up</i>, which is done by placing -a board, longer than the book, on each side, projecting -slightly over the fore-edge, and tying them -tightly with a cord from end to end. Then, with a -smaller cord, the leather is confined to the sides of -the bands, by crossing the string. For example: -suppose the book had three bands, one towards the -head, one towards the tail, and the other in the middle; -the book would be taken in the left hand, the -head upwards, the cord by the help of a noose passed -<span class="pagenum"><a name="page147" id="page147"></a>[pg 147]</span> -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, tightened, -is thus crossed on the other side of the volume, -and the band held between it. The cord is in like -manner carried on to the second and third bands, -fastened, and the whole set square with the folder. -It will be best understood by the following engraving.</p> - -<div class="figcenter" style="width: 200px;"> -<a href="images/147-400.jpg"><img src="images/147-200.jpg" width="200" height="135" alt="book 'tied up'" title="book 'tied up'" /></a></div> - -<p>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 well -worked 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.</p> - -<p>A few observations must not be omitted relative -to morocco, velvet, silk, and coloured calf, which, -from their nature, require the greatest neatness to -<span class="pagenum"><a name="page148" id="page148"></a>[pg 148]</span> -avoid stains and alterations in the colours. Covers -of the former description must not be drawn on too -tight or rubbed with the folder, as the grain or pattern -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 previously, -by pasting a piece of paper thereon, and -be left to dry, so that, when pasted for covering, -the dampness will not affect its appearance. Velvet -will require great care, from its peculiar texture -making it necessary that it be rubbed one -way only in covering. From this cause, having -ascertained the direction of the <i>nap</i>, 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 proceeding -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.</p> -<p><span class="pagenum"><a name="page149" id="page149"></a>[pg 149]</span></p> - -<div class="chapter"> -<h4 class="space-above3">HALF-BINDING.</h4> -</div> - -<p>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 wondered -at; for, while it combines economy and durability, -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 transition -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 sufficient -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 inside -of the board far enough to be covered by the end-papers. -The width of the back should be governed -by the size of the volume. A narrow back gives -a very meagre appearance to a book. The size -of the corners should be determined by the width -<span class="pagenum"><a name="page150" id="page150"></a>[pg 150]</span> -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 the <i>papier d' Anonay</i>, -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 -<span class="pagenum"><a name="page151" id="page151"></a>[pg 151]</span> -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."</p> - -<p>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.</p> - -<h4 class="space-above3">STATIONERY OR VELLUM BINDING.</h4> - -<p>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 entered -into for the instruction of the young workman, -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.</p> - -<p>Stationery binding includes every description of -paper-book, from the <i>Memorandum</i>, which is simply -covered with marble-paper, to the most firm and -elaborately bound book used in the counting-house -<span class="pagenum"><a name="page152" id="page152"></a>[pg 152]</span> -of the merchant and banker. Of the more simple -and common bindings, it will not be necessary to -enter into minute details, the proceedings being the -same as for others, only omitting the more expensive -operations, the price allowed making it necessary -to bind them in a more simple manner. The -first proceeding, should the work require it, will -be the</p> - -<p class="center1sb">RULING.</p> - -<p>This is done by a machine. Formerly it was -done by hand. After the pens are properly adjusted, -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.</p> - -<p>Although machine-ruling has almost entirely superseded -the old process of ruling by hand, yet to -some a brief description of the process may not be -unacceptable.</p> - -<p>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 -<span class="pagenum"><a name="page153" id="page153"></a>[pg 153]</span> -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 sections, -and, with a round ruler and tin pen, proceed -to rule the whole of the head-lines on one side -of the paper. This, as well as every division of -$ 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 <i>date</i>, <i>amount</i>, &c., -<span class="pagenum"><a name="page154" id="page154"></a>[pg 154]</span> -taking especial care that the pen always commences -by the line at the head, and that it never entrenches -on the space above, which would disfigure -the work. As for the head-line, so here the whole -of one side of the paper must be completed before -the other is commenced, attention being paid to -each line being perpendicular, clear, and as even in -colour as possible.</p> - -<p>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 complete -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 -that page the leaves after the volume is bound, the -principal objection to which appears to be the liability -to soil or otherwise injure the binding; notwithstanding -this there are some binders who give -them the preference. Those who have used the -machines of Mr. Griffin speak of them in the highest -terms.</p> -<p><span class="pagenum"><a name="page155" id="page155"></a>[pg 155]</span></p> - -<div class="figcenter" style="width: 500px;"> -<a href="images/155-1000.jpg"><img src="images/155-500.jpg" width="500" height="287" alt="paging machine" title="paging-machine" /></a></div> - -<p class="center1sb">INKS.</p> - -<p>To give to the work the best effect, it will be -necessary to be provided with good inks, and, it -being connected with the subject, some receipts for -their preparation are subjoined.</p> -<p><span class="pagenum"><a name="page156" id="page156"></a>[pg 156]</span></p> - -<p class="center1sb">RED INK.</p> - -<p>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.</p> - -<p class="center1sb">ANOTHER.</p> - -<p>Boil in a quart of soft water a quarter of a pound -of Brazil dust; when boiled, put in one ounce of -ground alum, one ounce of white stone crystal, and -boil for three minutes, and strain.</p> - -<p class="center1sb">BLUE INK.</p> - -<p>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.</p> - -<p class="center1sb">BLACK.</p> - -<p>Half a pound of nutgalls, a quarter of a pound of -sulphate of zinc, (white vitriol,) two ounces of gum-arabic, -<span class="pagenum"><a name="page157" id="page157"></a>[pg 157]</span> -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.</p> - -<p class="center1sb">ANOTHER.</p> - -<p>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.</p> - -<p class="center1sb">FOLDING.</p> - -<p>The whole being ruled, it will be proper to fold -the book to the size required into sections for sewing. -The number of leaves in each must depend -on the thickness of the paper and size of the book, -taking care that there are not so many as, when cut, -to cause the leaves to start, or so few that the backs -will be swollen too much by the thread. Then -place the whole evenly in the standing-press for -some time, and prepare the end-papers, which must -be of blank paper, and outsides, unless the work is -<span class="pagenum"><a name="page158" id="page158"></a>[pg 158]</span> -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.</p> - -<p class="center1sb">SEWING.</p> - -<p>The sewing of stationery differs much from that -of printed books. To allow of the greatest possible -strength, elasticity, and freedom, they are sewn -on slips of vellum without being marked with the -saw, and the whole length of each sheet, with waxed -thread. For small books, two slips will be sufficient; -for foolscap folio, three will be required; -and, where larger, the number must be increased, -according to the length of the back, leaving a space -of about two inches between each. The plan laid -down by <i>M. Lesne</i>, (page 27,) might, perhaps, be -adopted here with fine and light work to great -advantage. The slips should be cut about an inch -wide, and of sufficient length to extend about an -inch over each side of the back. This portion being -bent down at one end of the slips, they must be -placed under the end-paper on the table at such -places as may be deemed proper, and the section -sewn the whole length; and so followed by every -portion till the whole are attached in the same manner, -taking care that the slips retain a perpendicular -<span class="pagenum"><a name="page159" id="page159"></a>[pg 159]</span> -position and that the back be not too much -swollen. Should a morocco joint have been inserted, -it must be sewn on with strong silk of the -same colour. When 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.</p> - -<p class="center1sb">CUTTING.</p> - -<p>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 difference -in operation. The book will now be ready for -colouring the edges, the processes of which have -<span class="pagenum"><a name="page160" id="page160"></a>[pg 160]</span> -been already described. In England, the large -Dutch marble is generally used for stationers' work.</p> - -<p class="center1sb">BOARDING.</p> - -<p>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 -<span class="pagenum"><a name="page161" id="page161"></a>[pg 161]</span> -leather and under the vellum slips on the back, -appears inside on the spaces where no thread has -before passed. For ornament, another thread is -twisted round the gut on the back, so as to present -the appearance of a double cord. These matters -being adjusted, the 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 screwed tightly -in the standing-press for some time.</p> - -<p class="center1sb">THE SPRING-BACK.</p> - -<p>There are numerous ways of forming this description -of back, and as generally adopted in different -offices. As in other particulars, two or three -of the best will here be given: 1. Having ascertained -the width and length of the back, and provided -a piece of strong pasteboard, or thin milled -board, of little more than twice the width, fold one -side rather more than half, and then the other, so -that the middle space left will be the exact size required, -which should be about a quarter of an inch -<span class="pagenum"><a name="page162" id="page162"></a>[pg 162]</span> -wider than the back of the book; then cut evenly -another piece, a little less than the width, then -another still less, and so on for six or seven, lessening -the width each time till the last is merely a -narrow slip. Let the edges of the first, or cover -for the whole, be pared, and laid open on the table; -then glue the middle space, and place thereon the -largest slip, which also glue, and add the next in -size, 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 with linen cloth.</p> - -<p>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 wetted, -but does not answer so well.</p> -<p><span class="pagenum"><a name="page163" id="page163"></a>[pg 163]</span></p> - -<p>3. A beaten iron plate of the exact size, and -covered with parchment or leather.</p> - -<p>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.</p> - -<p>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.</p> - -<p>To prevent the manufactured back slipping during -the operation of covering, it is laid on, and a -piece of cloth glued over and attached to the sides, -similarly to the back of a half-bound book. This -tends also to materially strengthen the back.</p> - -<p class="center1sb">COVERING.</p> - -<p>The materials generally used for stationery-binding -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 the -<span class="pagenum"><a name="page164" id="page164"></a>[pg 164]</span> -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 headbands -must be squarely set, taking care to rub out -any wrinkles that may have been formed in turning -in the cover. Should the book be very large, it -may be advisable to give it a nip in the press immediately -after folding in the fore-edges of the -boards, and then finish the covering by turning in -the head and tail.</p> - -<p>As circumstances—such as the fancy of some -previous workman, or coloured vellum not to be -obtained so early as required—may make it necessary -to execute the proper colours, the proceedings -are here given.</p> - -<p class="center1sb">GREEN.</p> - -<p>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.</p> - -<p class="center1sb">RED.</p> - -<p>To one pint of white wine vinegar, put a quarter -of a pound of Brazil dust and a piece of alum. -<span class="pagenum"><a name="page165" id="page165"></a>[pg 165]</span> -Cork the mixture up; let it stand in a warm place -for two or three days.</p> - -<p class="center1sb">PURPLE.</p> - -<p>Proceed as for the <i>red</i>, substituting logwood chips -for the Brazil dust.</p> - -<p class="center1sb">YELLOW.</p> - -<p>Half an ounce of turmeric to half a pint of spirits -of wine, prepared as above.</p> - -<p class="center1sb">BLACK.</p> - -<p>Wash the vellum over three times with the red, -and while wet colour with strong marbling-ink.</p> - -<p>Marbles and other designs may be formed on -white vellum; but, as the proceedings have been so -fully entered into before, it will not be necessary -here to repeat them. Where russia bands are not -added, the end-papers must now be pasted down, -and the lettering, &c. proceeded with. If bands -are attached, the pasting down of the end-papers -and joints must be deferred till they are executed.</p> - -<p class="center1sb">RUSSIA BANDS.</p> - -<p>To give to large books the greatest possible -degree of strength, it is usual to affix Russia bands -to them. They are called <i>single</i> when they extend -<span class="pagenum"><a name="page166" id="page166"></a>[pg 166]</span> -about half-way down the sides, and <i>double</i> when -those at the head and tail reach to the corners of -the boards, and are turned over the edges in the -same manner as the cover. For <i>single</i>;—having -ascertained the breadth by dividing the back with -the compasses into <i>seven</i> spaces, cut three pieces -of russia perfectly square and the exact size of the -spaces they are to occupy, and paste them on the -<i>second</i>, <i>fourth</i>, and <i>sixth</i> 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, with the rods fixed to force the russia into -the joints, as before directed, and then leave to dry. -When <i>double</i> 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 manner; -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.</p> -<p><span class="pagenum"><a name="page167" id="page167"></a>[pg 167]</span></p> - -<p class="center1sb">CLASPS, CORNERS, AND BRASS BANDS.</p> - -<p>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 appearance -in the whole, the workman's attention must be -directed to their fitting exactly in every particular -of length, breadth, and thickness. The clasps may -be purchased of the makers, but it may be found -necessary to place the making of the bands and -corners in the hands of the brass-worker, to whom -particular directions and sizes must be given. They -must fit tightly to the boards, run exactly parallel -with the edges, and have the holes for the rivets -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 -<span class="pagenum"><a name="page168" id="page168"></a>[pg 168]</span> -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, particularly -of early-bound Bibles, &c., in churches, -are fastened in the same manner.</p> - -<p class="center1sb">FINISHING.</p> - -<p>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.</p> -<p><span class="pagenum"><a name="page169" id="page169"></a>[pg 169]</span></p> - -<div class="chapter"> -<h4 class="space-above4">BOARDING.</h4> -</div> - -<p>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 manipulations -in a previous part of this work, that, in attempting -a description of <span class="sc">boarding</span>, 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 -<span class="pagenum"><a name="page170" id="page170"></a>[pg 170]</span> -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.</p> - -<p class="center1sb">CLOTH-WORK.</p> - -<p>In the year 1825 a great revolution in boarding -was begun by the introduction of cloth covers in -place of the drab-coloured paper previously in use. -The late Archibald Leighton, of London, was the inventor; -and Mr. Pickering was the first publisher who -adopted it. The first cloth covers had printed labels; -but very soon Mr. Leighton made the discovery that -cloth could be stamped with gold very beautifully. -Lord Byron's works (the edition in 17 volumes) -were the first books to which gold-lettering on cloth -was applied. Cloth-work is now done with full gilt -sides and back and gilt edges; but, from the temporary -character of this style, the question may -arise whether it is not a useless expenditure of time -and money to produce it. But, so long as the -public remain unacquainted with its want of capability -for use, and desire a mass of gold upon the -sides,—so long, in fact, as there is a large class -who desire books for mere show and not for use,—it -<span class="pagenum"><a name="page171" id="page171"></a>[pg 171]</span> -will be the interest of publishers to gratify them -by furnishing cloth-gilt work.</p> - -<p>Expedition being so important in cloth-work, a -machine has been introduced to facilitate the operation -of sawing the backs, and it is now in general -use for the purpose. The appended cut gives an -accurate idea of the machine as manufactured by -W. O. Hickok, Harrisburg, Pa.</p> - -<div class="figcenter" style="width: 400px;"> -<a href="images/171-850.jpg"> -<img src="images/171-400.jpg" width="400" height="458" alt="machine for sawing the backs" title="machine for sawing the backs" /></a></div> - -<p><span class="pagenum"><a name="page172" id="page172"></a>[pg 172]</span></p> - -<p>For this and all other species of case-work (morocco -is sometimes done in this manner) the lining-papers -are inserted and pasted over so as to adhere -to the end-paper, and the slips, having been cut -short, are scraped or rubbed smooth. The volumes -are then knocked up and touched on the back in -one or two places with the glue-brush. They -are then cut upon the fore-edge, by being placed -between two boards, one of which is precisely -the width that it is intended to cut the volumes; -the boards and books are placed upon the laying-press, -and the backs knocked evenly up; the whole -is then placed in the laying-press, and cut with the -plough. The back-board being wider than the -front, the knife cuts against it. If the volumes are -small, a number may be cut at the same time. This -mode of cutting is called "steamboating." After -the whole lot that the workman "has on" have been -cut on the fronts, they are then placed between -cutting-boards again, of the proper size, and -knocked up on the head; they are then laid upon -the press, with the runner or front-board up; the -board is then moved about a quarter of an inch -below the heads of the volumes as they are arranged -in layers or piles. The workman will then grasp -the boards firmly, so as not to allow the books to -<span class="pagenum"><a name="page173" id="page173"></a>[pg 173]</span> -slip, and place them in the cutting-press, and, -after screwing it up tightly with the press-pin, proceed -to cut the heads in the same manner as the -fronts. After this is done, unscrew the press partially, -so as to allow the volumes to be turned -without slipping in the tub; then, with one hand -beneath the press, depress one end of the boards, -while the other is elevated, until the whole is -turned completely over, with the tails upward. The -runner is adjusted even with the cheek of the press, -the press is screwed up, and the volumes cut at the -tail. If the edges are to be gilt, they are now prepared -for that operation. Afterwards they are -glued upon the backs and rounded, care being -taken not to start the sheets or mark the gilding -upon the fore-edge with the thumb. They are then -backed in the same manner as bound books, except -that they have larger joints. Care is requisite at -the ends, or the blows of the hammer will crush the -paper and thus give the gilding an unsightly appearance -at the joints.</p> - -<p>A machine has been invented for the purpose -of backing books, and it appears to be growing in -favour for cloth-work, and, in fact, for all work -where expedition is a primary essential. It is the -invention of Mr. Sanborn, of Portland, Maine. -<span class="pagenum"><a name="page174" id="page174"></a>[pg 174]</span> -The annexed cut gives an idea of the general appearance -of the machine.</p> - -<div class="figcenter" style="width: 400px;"> -<a href="images/174-800.jpg"><img src="images/174-400.jpg" width="400" height="471" alt="machine for backing books" title="machine for backing books" /></a></div> - -<p>The next process is lining the backs, which is -done by pasting strips of paper or muslin upon -the back, having it of sufficient width to cover the -joints on each side. The volumes are then prepared -for the cases, which have been previously got -ready. The boards are cut to a uniform square -size by the table-shears. The cloth covers, after -having been cut out, have the corners cut off to a -pattern made for the purpose, just sufficient to -allow them to lap when the cloth is turned over -the edge of the boards. The cover is then glued -<span class="pagenum"><a name="page175" id="page175"></a>[pg 175]</span> -equally over, and the <span class="foo">T</span> square laid upon it,—the -square having been made of the proper width to -allow for the back, joints, and groove of the volume. -A board is then laid on each side of the centre of -the square; the latter is then lifted off, and a strip -of paper, of the length of the boards and nearly -the width of the back of the book, placed between -<span class="pagenum"><a name="page176" id="page176"></a>[pg 176]</span> -the boards. The cloth projecting beyond the boards -is then turned over their edges. The cover is then -turned over, and the cloth rubbed smooth on the -sides by means of a woollen or cotton pad. It is -then placed between pasteboards to dry. After the -cases are all made and have become perfectly dry, -they are ready for stamping. Cloth for ordinary -stamping requires no preparation, but if the stamp -be large or very heavy it will be safer to use a -coat of size. For this purpose Russian isinglass is -preferable; fresh glaire will answer the same purpose. -After the cases are stamped, the volumes -being ready, they are arranged with their heads -the same way, and the end-paper of the volume is -pasted equally over. The book is then laid, pasted -side downwards, upon a case, adjusting the squares -properly at the same time; the other end-paper is -then pasted, and the other board or side of the case -drawn over the back and placed upon the volume. -After a number are pasted, they are placed in -pressing-boards having a brass band affixed to the -edges of the boards. The band, being rather wider -than the thickness of the board, causes a slight projection. -The volumes are adjusted in the pressing-boards -in such a manner as to cause the back and -joint of the volumes to be on the outer, while the -<span class="pagenum"><a name="page177" id="page177"></a>[pg 177]</span> -pasteboard is on the inner, side of the brass rim. -In this position the volumes are placed in the standing-press -and screwed tightly down; they are then -tapped lightly at the heads with a small backing-hammer, -and allowed to remain until dry. They -are then taken out, and the end-papers opened up -or separated with a folding-stick. They are then -ready for the bookseller's shelves.</p> - -<div class="figcenter" style="width: 420px;"><a href="images/175-900.jpg"><img src="images/175-420.jpg" width="420" height="456" alt="" /></a> -<p class="center">TABLE-SHEARS.</p></div> - -<p><span class="pagenum"><a name="page178" id="page178"></a>[pg 178]</span></p> - -<div class="chapter"> -<h3 class="space-above4">PART III.</h3> -</div> - -<p class="title3">ORNAMENTAL ART.</p> - -<p>In treating upon this subject, we are led back -to the land of the Pharaohs; for the earliest Art -records that have come down to us (and, perhaps, -the most perfect) are from the banks of the Nile, -remarkable for their severely massive character, -calm and frigid. The few ornamental details are -chosen rather for their symbolical than æsthetic -beauty, consisting of local forms slightly conventionalized -and heightened with colour. Their ornaments -were types and symbols intended to address -themselves to the eye, heart, and soul of the beholder, -the most frequent in recurrence being the -winged globe,—a sacred emblem the Egyptians used -in their ornamental designs,—the human figure, their -sacred animals, and the lotus, reed, asp, and papyrus. -Upon the capitals of Egyptian columns are -represented nearly all the flowers peculiar to the -country, the petals, capsules, pistils, seeds, and -<span class="pagenum"><a name="page179" id="page179"></a>[pg 179]</span> -most minute parts, being often exhibited. Capitals -are often seen resembling a vase, and at other times -a bell reversed. There is little in this style applicable -to the decoration of books, unless it be upon -works relating to Egypt. Then its symbols afford -the binder an opportunity to employ its symbolic -ornamentation.</p> - -<p class="center1sb">ASSYRIAN AND ANCIENT PERSIAN.</p> - -<p>Of this style it is only lately that we have become -slightly acquainted; and, though partly coeval with -the Egyptian, the Assyrians have borrowed little -from them, the details being remarkable for their -classic character, at times approaching the Ionic, -but greatly dependent upon animal forms for its -ornamentation, and upon painting and sculpture for -its expression. The forms, often graceful, are less -arbitrary than the Egyptian, (where symbolism is -paramount,) containing those elements afterwards -elaborated into beauty by the Greeks. There is an -appropriate fitness in Assyrian ornament that constitutes -one of its prominent characteristics. In addition -to animals, the pomegranate, fir-cones, lotus-flower -and reeds, rosettes, and a fan-shaped -ornament supposed to be the origin of the Greek -honeysuckle, distinguish the Assyrian style.</p> -<p><span class="pagenum"><a name="page180" id="page180"></a>[pg 180]</span></p> - -<p class="center1sb">GREEK.</p> - -<p>Under the ancient Greeks, Art attained a refined -and exalted character, material beauty being developed -to the utmost; elegance of proportion, chaste -simplicity, and conventionalism, triumphant; symbolism -disregarded. The principal elements of -Greek ornament were the honeysuckle, the lotus-leaves, -the wave-line and scroll, the zig-zag, and -the universal fret. The beauty of Grecian ornament -consists in its equality of foliage, starting-points, -stalks, and groundwork. Its running figures -are well adapted to and are employed for rolls, in -side-finishing, and the proportions of this style of -Art should be carefully studied by the finisher.</p> - -<p class="center1sb">ETRUSCAN.</p> - -<p>Simplicity and elegance of form, combined with -strong contrast in colour, constitute the distinguishing -marks of this style. The Etruscan vases still -form models for the artist. The novel appearance -of these vessels, all uniformly painted with a tracery -of black on a natural groundwork of brownish red, -is extremely pleasing, proving the high artistic -capability of their makers. In the British Museum -there is one room entirely devoted to a collection -of these remains of ancient Art. This style is approached -<span class="pagenum"><a name="page181" id="page181"></a>[pg 181]</span> -in its effects by inlaying with black upon -a brownish red. A copy of Caxton's "Recuyell of -the Historyes of Troye," bound in this style by Whittaker, -has been highly extolled. It is in the possession -of the Marquis of Bath. The general effects -of this style are represented by a style now much -in vogue, called antique, a reddish-brown morocco -being stamped upon so as to produce a dark or -black figure thereon; but the character of the ornaments -are generally dissimilar.</p> - -<p class="center1sb">ROMAN.</p> - -<p>Roman art is a redundant elaboration of the -Greek, in which purity gives way to richness, -grotesque combinations become common, and false -principles creep in. Mosaic pavements are rendered -pictorial by the introduction of light and shade, the -flat and round not kept distinct. In the remains -of Pompeii we find the degradation of classic Art by -the violation of true principles. There is nothing -in this style to commend it to the artist, especially -in decorating books.</p> - -<p class="center1sb">BYZANTINE, LOMBARD, NORMAN.</p> - -<p>These varieties of kindred ornament, commencing -with the rise of Christianity, were founded on classic -<span class="pagenum"><a name="page182" id="page182"></a>[pg 182]</span> -details, having a distinct expression of their own. -There is much symbolism in the Byzantine, but all -are appropriate to their several wants,—the parts -rich, judiciously disposed, and purely conventional. -In these styles, so intimately connected, we find the -interlaced strap-work that suggested Gothic tracery -to the great mediæval artists.</p> - -<p class="center1sb">MOORISH.</p> - -<p>The decorative art of the Arabs is more conventional -than any other, it being in most cases extremely -difficult to trace the origin of their forms. -All animal representations are strictly excluded by -the religion of Mohammed. The union of geometrical -with floral forms seems to have supplied the expression, -many ornaments resembling the ovary of -plants, transversely cut and connected with crystalline -shapes. The abstract and superficial treatment -is perfect, the forms are extremely graceful, -and the colouring gorgeous. The interlaced strap-work -is highly elaborated. This style is sometimes -called the Arabesque, and forms the chief decoration -of the Alhambra, an ancient fortress and residence -of the Moorish monarchs of Granada. For grace -and liveliness this style is unrivalled, and it affords -many useful and beautiful hints to the finisher in -<span class="pagenum"><a name="page183" id="page183"></a>[pg 183]</span> -his hand-tooling, and is well calculated to produce -fine effects in stamps designed for the embossing-press.</p> - -<p class="center1sb">GOTHIC.</p> - -<p>The Gothic is founded upon geometrical forms. -The strap-work of former styles is elaborated into -tracery, the main lines being circular or curved, -starting from vertical lines, ending in points, enclosing -spaces divided and subdivided in the same -manner, further decorated with conventional ornaments -derived from local nature. For bookbinding -it is sometimes employed, but without much judgment. -The judicious finisher will reject it on account -of its inapplicability to superficial decoration.</p> - -<p class="center1sb">THE RENAISSANCE.</p> - -<p>The Renaissance or Revival arose in Italy in -the fifteenth century, by the appropriation of -classic details in connection with prior styles, the -traditionary giving way to selection and freedom; -Art gaining but few entirely new forms, rather -subjecting all that had gone before to a new treatment, -which in the hands of the great artists of -the period produced agreeable results, showing the -importance of general design, rendering even incongruous -materials pleasing from that cause alone. -<span class="pagenum"><a name="page184" id="page184"></a>[pg 184]</span> -The Cinque-cento has been considered the goal -of the Renaissance and its characteristics,—strap, -tracery, arabesque, and pierced scroll-work, a mixture -of the conventional with natural forms, and -every detail of ancient Art,—producing, under different -masters, varied results. Thus, in Raphael's -Loggie of the Vatican are to be found, as at Pompeii, -elements piled one above the other, without -any regard to construction. The same with the -works of Julio Romano at Mantua,—painted imitation -of bas-reliefs suspended above fountains, temples, -&c., the parts often finely drawn and treated, -but, taken as a whole, little removed from the absurd, -quite unlike the works of the Greeks and -Etruscans they sought to rival.</p> - -<p class="center1sb">ELIZABETHAN.</p> - -<p>The Elizabethan was an English version of the -Renaissance, being a special elaboration of the -strap and bolt-work, and has been highly useful -to the stamp-cutter. Many of its forms can be -advantageously employed by the finisher.</p> - -<p class="center1sb">LOUIS QUATORZE.</p> - -<p>This distinct expression of Art is of Italian -origin, being the last of the Renaissance, and end -<span class="pagenum"><a name="page185" id="page185"></a>[pg 185]</span> -of ornamental styles. It consists of scrolls and -shells, an alternation of curves and hollows, the -concave and convex in contrast, the broken surfaces -affording a brilliant play of light and shade. -The effect when gilt being extremely magnificent, -colour was abandoned, construction hidden, and -symmetry often disregarded, especially in its decline. -As to superficial treatment, flat surfaces were -studiously avoided, and the few that remained were -treated pictorially, in a mellifluous, pastoral style, -known as that of Watteau. Under Louis XV. the -forms degenerated: symmetrical balance and flow -of line were disregarded, giving way to the degraded -ornamentation called the Rococo—the prevailing -style of the last and earlier part of the -present century—depriving Europe for more than -one hundred years of true superficial decoration, -without which no Art can be considered complete. -An attempt at this style may be seen upon the -sides of some of the gaudily-gilt albums and books -of like character. No finisher need cultivate a -love for it, for it is the aversion of all refined -artists.</p> -<p><span class="pagenum"><a name="page186" id="page186"></a>[pg 186]</span></p> - -<div class="chapter"> -<h4 class="space-above4">FINISHING.</h4> -</div> - -<p class="center1sb">TASTE AND DESIGN.</p> - -<p>It is of the utmost importance to a young workman -that he have correct ideas in regard to taste, -and be able to distinguish it from caprice or mere -fancy. It is in the power of all to acquire a correct -taste, for it is governed by laws that can be easily -learned, and they are unchangeable. Taste may -be said to be a perception and an appreciation of -the principles of beauty and harmony as revealed -by Nature through Art. Nothing contrary to -nature, no violation of any law of proportion or -of fitness, can be in good taste. The amateur and -book-collector, in commencing the foundation of a -library, will do well to pause before they adopt a -species of binding that will in after years create a -feeling of annoyance, and perhaps lead to pecuniary -sacrifice.</p> - -<p>A recent writer upon the New York Exhibition -of the Industry of all Nations discourses thus:—"We -call bookbinding an art; and when we consider -all that is necessary to the perfect covering -of a fine book, it must be admitted to be an art; -less important, it is true, but similar in kind to -architecture.</p> -<p><span class="pagenum"><a name="page187" id="page187"></a>[pg 187]</span></p> - -<p>"The first requisition upon the skill of the binder -is to put the book into a cover which will effectually -protect it, and at the same time permit it to be used -with ease. If he do not accomplish this, his most -elaborate exhibition of ornamental skill is worth -nothing; for he fails in the very end for which his -services are required. It was in this regard, too, -that most of our binders failed in past years. Who -that remembers the hideous, harsh, speckled sheep -covers which deformed our booksellers' shelves not -long ago, can forget the added torment which they -inflicted upon their unhappy purchaser, by curling -up palpably before his very eyes, as he passed his -first evening over them, and by casting out loose -leaves or whole signatures before he had finished -his first perusal? In those days, too, there was -morocco binding, with a California of gold upon -the sides; and such morocco! it felt to the fingers -like a flattened nutmeg-grater, seeming to protect -the book by making it painful for any one to touch -it. This was as useless as the humbler though not -more vulgar sheep. It would hardly last through -the holiday season on the centre-table which it was -made to adorn.</p> - -<p>"The binder's next task is to give his work the -substantial appearance without which the eye of -<span class="pagenum"><a name="page188" id="page188"></a>[pg 188]</span> -the connoisseur will remain unsatisfied. The volume -must not only be well protected, but seem so. -It should be solid, compact, square-edged, and enclosed -in firm boards of a stoutness proportionate -to its size, and these should be covered with leather -at once pliable and strong. Unless it present this -appearance, it will be unsatisfactory in spite of the -richest colours and the most elaborate ornament. -Thus far the mere mechanical skill of the binder -goes. In the choice of his style of binding, and -in the decoration of his book, if he perform his task -with taste and skill, he rises to the rank of an -artist.</p> - -<p>"The fitness of the binding to the character of -the volume which it protects, though little regarded -by many binders, and still less by those for whom -they work, is of the first importance. Suppose -Moore's Lalla Rookh bound in rough sheep, with -dark russia back and corners, like a merchant's -ledger, or Johnson's folio Dictionary in straw-coloured -morocco elaborately gilded, and lined with -pale blue watered-silk, is there an eye, no matter -how uneducated, which would not be shocked at the -incongruity? Each book might be perfectly protected, -open freely, and exhibit evidence of great -mechanical and artistic skill on the part of the -<span class="pagenum"><a name="page189" id="page189"></a>[pg 189]</span> -binder; but his atrocious taste would insure him a -just and universal condemnation. And yet there -are violations of fitness to be seen daily, on the -majority of public and private shelves, little less -outrageous than those we have supposed. Books -of poetry, and illustrated works on art bound in -sober speckled or tree-marbled calf, with little gold -upon the backs and sides, and none upon the edges! -Histories, statistical works, and books of reference, -in rich morocco, splendidly gilded!—the idea that -the styles ought to change places seeming never to -enter the heads of the possessors of these absurdly-covered -volumes. But a little reflection by any -person of taste, and power to discern the eternal -fitness of things, will make it apparent that there -should be congruity and adaptation in the binding -of books. Sober, practical volumes should be correspondingly -covered; calf and russia leather, with -marbled paper and edges, become them; while -works of imagination, such as poetry and books -of engravings, demand rich morocco, fanciful ornaments, -and gilding. To bind histories, philosophical -works, dictionaries, books of reference and the -like, in plain calf or dark russia,—travels, novels, -essays, and the lighter kind of prose writing, in -tinted calf or pale russia with gilding,—poetry in -<span class="pagenum"><a name="page190" id="page190"></a>[pg 190]</span> -full morocco richly gilded, and works on art in half -morocco, with the top edge only cut and gilded,—seems -a judicious partition of the principal styles -of binding. The margins of an illustrated work -on Art should never be cut away, except where it is -absolutely necessary for the preservation of the -book from dust, and the convenience of turning the -leaves—that is, at the top. It is well here to enter -a protest against the indiscriminate use of the antique -style of binding, with dark-brown calf, bevelled -boards, and red edges. This is very well in its -place; but it should be confined to prose works of -authors who wrote not later than one hundred and -fifty years ago. What propriety is there in putting -Scott, or Irving, or Dickens, or Longfellow, in such -a dress?"</p> - -<p>Hartley Coleridge's opinion on the subject of -taste in Bookbinding is thus given:—"The binding -of a book should always suit its complexion. Pages -venerably yellow should not be cased in military -morocco, but in sober brown russia. Glossy hot-pressed -paper looks best in vellum. We have sometimes -seen a collection of whitey-brown black-letter -ballads, &c. so gorgeously tricked out that they -remind us of the pious liberality of the Catholics, -who dress in silk and gold the images of saints, -<span class="pagenum"><a name="page191" id="page191"></a>[pg 191]</span> -part of whose saintship consisted in wearing rags -and hair-cloth. The costume of a volume should -also be in keeping with its subject, and with the -character of its author. How absurd to see the -works of William Penn in flaming scarlet, and -George Fox's Journal in bishops' purple! Theology -should be solemnly gorgeous. History should -be ornamented after the antique and Gothic fashion; -works of science, as plain as is consistent with -dignity; poetry, <i>simplex munditis</i>."</p> - -<p>And it may not be irrelevant here to introduce -the opinion of Dr. Dibdin, whose connection with -some of the first libraries in England, and whose -intimate knowledge of all the great book-collectors -of the same, must tend to stamp him as a good -authority on the subject:—</p> - -<p>"The general appearance of one's library is by -no means a matter of mere foppery or indifference; -it is a sort of cardinal point, to which the tasteful -collector does well to attend. You have a right to -consider books, as to their <i>outsides</i>, with the eye -of a <i>painter</i>; because this does not militate against -the proper use of the contents.</p> - -<p>"Be sparing of red morocco or vellum. They have -each so distinct, or what painters call spotty, an -appearance, that they should be introduced but circumspectly. -<span class="pagenum"><a name="page192" id="page192"></a>[pg 192]</span> -Morocco, I frankly own, is my favourite -surtout; and the varieties of them—<i>blue</i>, -(dark and light,) <i>orange</i>, <i>green</i>, and <i>olive-colour</i>—are -especially deserving of your attention.</p> - -<p>"The colour of the binding may often be in harmony -with its contents. Books of poetry may be -red, or light green, or blue, and have as much -ornament as may be desired. And Fine Art books, -above all others, ought to rejoice in beautiful -coloured moroccos and gorgeous ornaments. In the -British Museum, books of divinity are bound in -blue, history in red, poetry in yellow, and biography -in olive.</p> - -<p>"Let <i>russia</i> claim your volumes of architecture -or other antiquities, of topography, of lexicography, -and of other works of reference. Let your romances -and chronicles aspire to <i>morocco</i> or <i>velvet</i>; though, -upon second thoughts, <i>russia</i> is well suited to history -and chronicles. And for your fifteeners, or -volumes printed in the fifteenth century, whether -Greek, Latin, Italian, or English, let me entreat you -invariably to use <i>morocco</i>: for theology, <i>dark blue</i>, -<i>black</i>, or <i>damson-colour</i>; for history, <i>red</i> or <i>dark -green</i>; while, in large paper quartos, do not fail to -remember the <i>peau de veau</i> (calf) of the French, -with gilt upon marbled edges. My abhorrence of -<span class="pagenum"><a name="page193" id="page193"></a>[pg 193]</span> -<i>hogskin</i> urges me to call upon you to swear eternal -enmity to that engenderer of mildew and mischief. -Indeed, at any rate, it is a clumsy coat of mail. -For your Italian and French, especially in long -suites, bespeak what is called <i>French calf binding</i>, -spotted, variegated, or marbled on the sides, well -covered with ornament on the back, and, when the -work is worthy of it, with gilt on the edges. Let -your English octavos of history or belles-lettres -breathe a quiet tone of chastely-gilded white calf -with marbled edges; while the works of our better-most -poets should be occasionally clothed in a -morocco exterior."</p> - -<p>The further opinion of the doctor on the style of -ornament, &c. in gilding, will be given in its proper -place, and which, with that cited above, may be -safely acted upon by the binder, blended with such -additions as his own taste may dictate.</p> - -<p>It is in this state that the defects of forwarding -will become more apparent, and which no tact or -ingenuity of the finisher can effectually remedy; -for, unless the bands are square, the joints free, and -the whole book geometrically just, the defect, whatever -it may be, will appear throughout, and tend to -destroy the beauty of every subsequent operation, -<span class="pagenum"><a name="page194" id="page194"></a>[pg 194]</span> -from the constraint required to make the general -appearance of the work effective.</p> - -<p>Before proceeding to a description of the various -manipulations required in gilding a book, it will be -necessary to direct the attention of the young workman -again to what has been advanced relative to -care and attention in previous parts of this work, -and follow up the remarks there made with others -on the taste necessary to be displayed in this most -important part of the art of bookbinding. When -it is considered that the most celebrated artists have -arrived at the eminence awarded to them not only -through the elasticity, solidity, and squareness of -their bindings, but also from the judicious choice of -their ornaments for gilding, and the precision and -beauty with which they have been executed, it cannot -be too strongly impressed on the workman that -this should ever occupy his first attention. Nothing -is so disagreeable to the eye as injudicious or badly-executed -ornaments; while with chaste and classical -embellishments, tastefully applied, an appearance -of richness is produced on the volumes that cannot -fail to give satisfaction to the most fastidious critic. -The sides of the volumes present the field most -favourable for the display of ornamental taste, -admitting, from their extent, the execution of the -<span class="pagenum"><a name="page195" id="page195"></a>[pg 195]</span> -most complicated designs. This elaborate style of -ornament has been carried to such perfection and -splendour as, in many instances, to have occupied -several days in the execution of one side alone; but -it is only by the most vigorous application, greatest -care, and correct taste, that proficiency therein can -be attained. With these, success will soon crown the -endeavours of the workman; and he will have the -satisfaction of finding himself able to imitate any -pattern, however difficult, as well as to execute many -new designs and compartments, of which, till he -applied himself, he had not previously an idea.</p> - -<p>As regards the style of ornament, it must be left -to taste; but, as before promised, it will now be -proper to introduce the remarks of Dr. Dibdin on -the general effect of gilding and blind tooling, -leaving the detail to be suggested to the mind of -the gilder.</p> - -<p>"First, let your books be well and evenly lettered, -and let a tolerable portion of ornament be seen upon -the backs of them. I love what is called an <i>over-charged -back</i>, At first the appearance may be -flaunting and garish; but time, which mellows down -book ornaments as well as human countenances, -will quickly obviate this inconvenience; and about -a twelvemonth, or six months added to the said -<span class="pagenum"><a name="page196" id="page196"></a>[pg 196]</span> -twelvemonth, will work miracles upon the appearance -of your book. Do not be meagre of your -ornaments on the back, and never suffer <i>blind tooling</i> -wholly to pervade a folio or quarto; for, by so -doing, you convert what should look like a <i>book</i> into -a piece of mahogany furniture.</p> - -<p>"In large libraries there should not be too much -blind tooling or too great a want of gilt. No doubt -the ornament should be as appropriate as possible -to the book. One could not endure gingerbread-gilt -<i>Bibles</i> and <i>Prayer-Books</i>, or <i>Chronicles</i> or -<i>Dictionaries</i>, or other books of reference. Let these -have a subdued decoration on their backs; bands -only full-gilt, or a running edge-tool in the centres -of them, with small ornaments between the -bands.</p> - -<p>"I would recommend the lettering of a volume -to be as <i>full</i> as possible; yet sententiousness must -sometimes be adopted. The lines should be straight, -and the letters of one and the same form or character -within the line; yet the name of the author -may be executed a size larger than that of the date -or place of its execution, and the lettering may be -between the top and bottom bands, or it may occupy -the spaces between three bands, or even more. -Re-letter old books perpendicularly, as was the custom. -<span class="pagenum"><a name="page197" id="page197"></a>[pg 197]</span> -In all fresh bindings, however, prefer horizontal -to perpendicular lettering."<a id="footnotetag3" name="footnotetag3"></a><a href="#footnote3">*</a></p> - -<p class="footnote1a"><a id="footnote3" name="footnote3"></a><a class="footnote" href="#footnotetag3"><sup>*</sup></a> - We sometimes fear that Dr. Dibden's commendation - of an overcharged back has produced a bad effect. It should be - borne in mind that, when the doctor wrote, calf was the - prevailing material employed in binding, and that of a light - colour.</p> - -<p>It remains to urge that particular attention be -paid to the lettering of books being their right -titles, as the contrary will present to the judicious -an effect the most disagreeable, and may be the -cause of producing dissatisfaction with the whole of -the binding in the mind of the owner; and also to -avoid the contrast which the different shade or -colour of new lettering-pieces will give to some -bindings.</p> - -<p>As it is requisite that the workman should form -an idea of the style and design to be executed on -the volume before he prepares it for gilding, we -will proceed to point out the peculiarities of some -of the most prominent styles and of the tools required -to produce them. We hope to convey a -faithful idea of the latter with the aid of the -tools and ornaments executed expressly for this -work by Gaskill, Copper & Fry, bookbinders' tool-cutters, -<span class="pagenum"><a name="page198" id="page198"></a>[pg 198]</span> -Philadelphia, who have secured for themselves, -by their taste and skill, an enviable reputation -as artists. Plate I. contains an illustration of -the species of ornament termed</p> - -<p class="center1sb">THE ALDINE STYLE,</p> - -<p>Which derives its name from a noted printer named -Aldus Manutius, a Roman by birth, who was born -in the year 1446 or 1447. His Christian name, -Aldus, was a contraction of Theobaldus; and to -this surname he sometimes added the appellation of -Pius, or Bassianus, or Romanus. The first of these -appellatives was assumed by Aldus from his having -been the tutor of Albertus Pius, a prince of the -noble house of Carpi; and the second was derived -from the birthplace of the printer—namely, Bassian, -a small town in the Duchy of Lermonetta.</p> - -<p>Aldus is supposed to have taken up his residence -at Venice, as the favourite city wherein to mature -his plans, about the year 1488; and about 1494-95 -he there put forth the first production of his press. -He introduced Roman types of a neater cut than -had previously been in use, and invented that -beautiful letter which is now known as <i>Italic</i>, -though, in the first instance, it was termed <i>Venetian</i>, -from Manutius being a resident of Venice -<span class="pagenum"><a name="page199" id="page199"></a>[pg 199]</span> -when he brought it to perfection; but, not long -after, it was dedicated to the State of Italy, to prevent -any dispute that might arise from other nations -claiming a priority, as was the case concerning the -first inventor of printing.</p> - -<p>Prior to the time of Aldus, the only points used -in punctuation were the comma, colon, and full-point -or period; but he invented the semicolon, -gave a better shape to the comma, and connected -the punctuation by assigning to the various points -more proper places. About the period of his marriage, -(in 1500,) he invented a mode of imposing a -work in such a manner that two languages might be -interleaved and bound together, or separately, at -the option of the purchaser; and, about the same -date, he printed the first leaf, in folio, of a proposed -edition of the <span class="sc">Bible</span> in the Hebrew, Greek, and -Latin languages; so that he has the honour of having -first suggested the plan of a Polyglott Bible. -However, the plan failed of being then carried into -effect. Printing different languages in opposite -columns was not accomplished till 1530.</p> - -<p>The mind of Aldus was entirely engaged in the -care of his printing-house; for, as soon as he had -ordered his other necessary affairs, he shut himself -up in his study, where he employed himself in -<span class="pagenum"><a name="page200" id="page200"></a>[pg 200]</span> -revising his Greek and Latin MSS., reading the -letters which he received from the learned out of all -parts of the world, and writing answers to them. -To prevent interruption by impertinent visits, he -caused the following inscription to be placed over his -door:—"<i>Whoever you are, Aldus earnestly entreats -you to despatch your business as soon as possible, -and then depart: unless you come hither, like another -Hercules, to lend him some friendly assistance; -for here will be work sufficient to employ -you and as many as enter this place.</i>"</p> - -<p>The mark or device which Aldus—who died in -1515—made use of to distinguish works issued from -his press was an anchor, round which a dolphin -seemed to twist. It must be familiar to every amateur,—Mr. -Pickering, the London publisher, having -adopted the Aldine anchor as his device. To attempt -any description of the Aldine class of tools would -be superfluous after so fair a specimen in the illustration. -It will be perceived they are entirely free -from shading, and, consequently, much more effective -for that description of work for which they are -generally used,—viz., blind tooling. Both tools and -patterns are much lighter and more ornamental -than the old Monastic school, of which the Aldine -in some degree partook.</p> -<p><span class="pagenum"><a name="page201" id="page201"></a>[pg 201]</span></p> - -<p>Upon the same plate there is exhibited the arrangement -of a back-panel and tools in the</p> - -<p class="center1sb">MONTAGUE STYLE,</p> - -<p>Which derives its name from Montague, (of the firm -of Montague and Johnson,) a bookbinder of considerable -eminence, who flourished about the year -1780. The chief features of this style are corners -and centre, filled up with stops, &c. similar to illustration. -The tools are of an open, leafy description, -flowing from a stem free from any thing of -the scroll or curl. The panel given has been copied -from a book supposed to have been done by Montague -himself. The bar, or barleycorn, on the head -and tail and on the bands, likewise on the insides -and edges. Books in volumes, pieced red and -green on adjoining panels, frequently a lozenge -of red on the second piece, and filled up with -corners and stops similar to the other panels; -sometimes both pieces green; sides generally -plain, or a flowery flowing roll, for which a -two-line is now usually substituted; sewed on -raised bands; colour, brown calf, sometimes highly -sprinkled.</p> - -<p>There is also upon Plate I. an illustration of</p> - -<p><span class="pagenum"><a name="page202" id="page202"></a>[pg 202]</span></p> - -<p class="center1sb">THE HARLEIAN STYLE,</p> - -<p>A style not behind Montague in beauty of ornament, -and superior in elegance and variety of arrangement. -Before entering into a description of -the style, we will give what information we have -gained respecting its founder, trusting that it will -not be unacceptable. We find that "Robert Harley, -Esq., of Frampton-Bryan, in the county of -Hereford, (the gentleman from whom the style -derives its name,) was in 1700 chosen Speaker -of the House of Commons, and in May, 1711, he -was created Earl of Oxford and Mortimer, and five -days afterwards was promoted to the important -station of Lord High-Treasurer of Great Britain."</p> - -<p>In the Preface to the Harleian MSS., now in the -British Museum, speaking of Mr. Harley, it states -that "his innate love of books was such as to determine -him in early life to undertake the formation of -a new library, regardless of the disadvantages with -which he must contend, as great exertions had previously -been made in collecting MSS. for the Bodleian, -Cottonian, and other valuable though smaller collections, -so that the prospect of forming a new library -with any considerable number of MSS. was indeed -very unpromising. But, urged on by a love of learning, -<span class="pagenum"><a name="page203" id="page203"></a>[pg 203]</span> -and a strong desire to search into the transactions -of former ages, determined Mr. Harley to purchase -whatever curious MSS. he could meet with, more -especially such as might in any wise tend to explain -and illustrate the history, laws, customs, and antiquities, -of his native country. The principal point -which the founder of the Harleian Library had in -view was the establishment of a MS. English Historical -Library, and the rescuing from oblivion and -destruction of such valuable records of our national -antiquities as had escaped the diligence of former -collectors.</p> - -<p>"At the decease of his son, (Edward Lord Harley, -in 1741,) who had been a powerful auxiliary in -enriching the collection, the MS. library consisted -of nearly 8000 volumes. At the death of Mr. Harley, -his library was bequeathed to the University -of Oxford. To such men we owe a debt of gratitude -for the improvement of the art and for introducing -a style of finishing that still remains the -admiration of the connoisseur.</p> - -<p>"The books in the Harleian Collection are principally -bound in red morocco, well sewed on raised -bands, tight backs, (as were all the books of that -period,) Dutch marble end-papers, and gilt edges."</p> - -<p>Harleian tools are more wiry and much closer -<span class="pagenum"><a name="page204" id="page204"></a>[pg 204]</span> -than the Montague, interspersed with fine-line curls, -fine pinhead curve-lines, rosettes, acorns, solid stops, -single rings, and cross-buns.</p> - -<p>The border upon the same plate illustrates the -Harleian pane-side. In the Harleian style there -are three distinctly different arrangements for sides -and backs, (independent of the flights of fancy in -which finishers indulge.) There are on the sides,—first, -the two or three-line fillet, stopped; second, -the Harleian tooled or spikey border,—a style of -finishing peculiarly neat and rich, and well adapted -for nearly every description of books.</p> - -<p>On original Harleys the tooling went right on -from corner to corner, as if worked by a very -broad roll; but modern finishers prefer a made-up -corner,—that is, a tool or tools projecting at right -angles with the corner, up to which the border-tools -are worked, thus rendering the whole more harmonious -and perfect. The spikey border is worked up -to a two or three-line fillet, with the cat-tooth roll -worked on the outer line towards the edge of the -board. (We may here mention that the cat-tooth, -although purely French, may be also considered -Harleian, as it is on all the originals we have seen, -and accords well with the style.) Third, the pane -or panelled side, similar to the illustration. Sometimes -<span class="pagenum"><a name="page205" id="page205"></a>[pg 205]</span> -a double pane was formed by throwing in a -two-line fillet and working a roll on the inside.</p> - -<p>On the backs there is the upright centre, the -diamond centre and corner, as in the illustration, -and the semi-circle with open centre.</p> - -<p>The diamond centre was not much used on books -of light reading, such as novels, but rather on -works of a graver nature, such as divinity, philosophy, -and history. It seems to have been the -favourite style of the earl's binders; and we must -acknowledge that a book never looks so like a book -as when finished with a good diamond centre and -corner. In forming the diamond centre, the spikes -ought to project beyond the stops, as it is then more -graceful and pleasing to the eye than when the stop -and spikes are flush one with the other.</p> - -<p class="center1sb">THE FONTHILL STYLE.</p> - -<p>The following account of Fonthill Abbey will, no -doubt, be acceptable, in connection with our description -of the "style" which has derived its name -therefrom.</p> - -<p>"Fonthill Abbey, in Wiltshire, justly ranks as -one of the grandest structures in the United Kingdom, -combining all the elegance of modern architecture -with the sublime grandeur of the conventual -<span class="pagenum"><a name="page206" id="page206"></a>[pg 206]</span> -style. It was built about the end of the last -century, at an expense of £400,000, by Mr. William -Beckford, son of the public-spirited Lord Mayor of -London of that name, whose statue now stands in -Guildhall, with a copy of the memorable speech -and remonstrance which he addressed to George III. -in 1770. Succeeding to almost unbounded wealth, -(nearly £100,000 a year,) endowed with an extraordinary -mind, literary talents of the highest order, -and an exquisite taste for the arts, the young owner -of Fonthill Abbey determined to erect an edifice -uncommon in design, and to adorn it with splendour; -and, with an energy and enthusiasm of which -duller minds can form but a poor conception, he -soon had his determination carried into effect.</p> - -<p>"The gorgeous edifice reared for Mr. B. contained -many magnificent suites of apartments. We need -only notice two, denominated St. Michael's, and -King Edward the Third's Gallery. They are of -the most stately and interesting description that -can be conceived or imagined: the former filled -with the choicest books and many articles of <i>vertu</i>; -the latter also employed as a library, but enriched -with a much greater number of choice and curious -productions, and terminating in an oratory, unique -for its elegant proportions and characteristic consistency. -<span class="pagenum"><a name="page207" id="page207"></a>[pg 207]</span> -It is at once rich and luxurious as the -temple of which it forms an appendage,—sombre -and soothing as the religious feelings with which its -designation associates it.</p> - -<div class="poem width24"> <div class="stanza"> -<p>'Meditation here may think down hours and moments;</p> -<p>Here the heart may give a useful lesson to the head,</p> -<p>And learning wiser grow without its books.'</p> - </div> </div> - -<p>It is but the drawing of a curtain, and not only all -the glitter of the adjoining splendour, but all the -pomps and vanities of the world seem to the meditative -mind to be shut out forever. Perhaps its -pensive cast is more deeply experienced from the -immediate contrast: dazzled with objects of show, -fatigued with the examination of rare and costly -commodities, and bewildered with the multitude of -precious devices which everywhere surround him, -the soul of the visitant retires with tenfold delight -to the narrow walls of the oratory."</p> - -<p>Our brief description of the Fonthill style cannot -fail to strike the reader as being remarkably appropriate -to the sombre character of that part of the -abbey which contained the library,—the one being -in strict keeping with the other.</p> - -<p>Half-bound olive-brown morocco; sewed on raised -bands; gilt tops; marble-paper sides and insides; -<span class="pagenum"><a name="page208" id="page208"></a>[pg 208]</span> -with no finishing whatever, except the lettering and -date at bottom.</p> - -<p class="center1sb">À LA JANSENISTE.</p> - -<p>This chaste and beautiful style is said to be -derived from a religious order, and is highly -esteemed by amateurs. Books bound à la janseniste -are full-bound Turkey or Levant morocco, -with a broad turn in on the inside of the board, gilt -edges with a fine one-line fillet each side of the -bands and head and tail, and neatly mitred on the -side, all in blind, there being no gilding on the -outside but the lettering; on the inside a broad-tooled -border of very fine tooling in gold, a fine -two-line in gold on the edges of the boards, and the -cap of the headbands tipped with the same.</p> - -<p class="center1sb">THE CAMBRIDGE STYLE</p> - -<p>Is practised, we may say exclusively, on theological -works. At what period it gained its name is -uncertain; doubtless, it was the style in which some -of the university libraries were chiefly bound; and, -in all probability, the idea of the Harley paned -side was first copied from it. Books bound in this -style are sewed on raised bands, brown calf, pane-sprinkled -sides, Dutch marble end-papers, and red -<span class="pagenum"><a name="page209" id="page209"></a>[pg 209]</span> -edges. Back pieced with red russia, and a two-line -fillet head and tail, and on each side of the -bands, <i>blind</i>. Sides, two-line fillet close to the -edge and on each side of the pane, with a narrow -flower-roll worked on each side of the pane, close -to the lines. The fillets in the pane to be connected -together at the corners with the two-line -fillet, and a tool worked from the corner of the -pane towards the edge of the book, <i>all blind</i>. Bar-roll -on the edges, in gold.</p> - -<div class="chapter"> -<div class="figcenter" style="width: 300px;"> -<p class="right">2.</p> -<a href="images/208fp2-600.jpg"><img src="images/208fp2-300.jpg" width="300" height="492" alt="" /></a> -<p class="center"><i>Modern Monastic.</i></p></div></div> - -<p class="center1sb">MODERNIZED MONASTIC.</p> - -<p>This style is now in great vogue, under the appellation -of the antique. The materials employed are -divinity calf and brown or Carmelite morocco, with -very thick boards, edges either red, brown, or -matted gilt; very high raised bands. The style of -ornament is illustrated by Plate II., intended for a -side-stamp to be done by the press. It can also be -done by hand, with rolls, fillets, and hand-stamps, -omitting the broad and narrow fillet, and substituting -either a one or two-line, working the circles -with gouges. The tools are all worked blind. This -style of binding, when appropriate to the book, produces -a very pleasing effect.</p> -<p><span class="pagenum"><a name="page210" id="page210"></a>[pg 210]</span></p> - -<p class="center1sb">ARABESQUE.</p> - -<p>"The term is more commonly applied to the species -of ornament used in adorning the walls, pavements, -and roofs of Moorish and Arabian buildings, consisting -of an intricate heterogeneous admixture of -fruits, flowers, scrolls, and other objects, to the exclusion -of animals, the representation of which is -forbidden by the Mohammedan religion. This kind -of ornament is now frequently used in the adorning -of books, plate, &c. Foliage very similar to that -used by the Arabians, intermixed with griffins, &c., -were frequently employed on the walls and friezes -of temples, and on many of the ancient Greek -vases; on the walls of the baths of Titus, at -Pompeii, and many other places."—<i>Craig's Universal -Dictionary.</i></p> - -<p>As regards book-finishing, we have looked into -more than one authority, and are really unable to -define what the "arabesque" style is or ought to be. -The well-understood term "roan embossed" is, in -our opinion, the nearest approach to it at the -present day.</p> - -<p>Plate III. is an adaptation of an old German -design for embossing. The figure is raised, the plate -being worked with a counter, in a powerful press.</p> - -<div class="chapter"> -<div class="figcenter" style="width: 300px;"> -<p class="right">3.</p> -<a href="images/210fp3-600.jpg"><img src="images/210fp3-300.jpg" width="300" height="489" alt="" /></a> -<p class="center"><i>Old German Style for Embossed Work.</i></p></div></div> - -<p><span class="pagenum"><a name="page211" id="page211"></a>[pg 211]</span></p> - -<p>This style can only be executed upon publishers' -work where there is a quantity of the same book -to be done in this style. By it a good effect is produced -upon an inferior material and at a trifling -cost. The covers are embossed before they are -applied to the volumes, and in order to preserve the -sharpness of the design they must be covered with -glue and not pressed afterwards.</p> - -<p class="center1sb">ANTIQUE OAK AND OTHER BINDINGS.</p> - -<p>Great varieties of style in the covers of bindings -have been introduced within the last few years; -but these must be left to the imitative powers of -the skilful workman, as no written description -would give the requisite information and guidance. -Should he be desirous of executing these, he will do -well to study some good specimen. Among others -may be mentioned the Antique Oak Bindings, -adopted by Mr. Murray, for his "Illuminated -Prayer-Book," and Messrs. Longman and Co., for -"Gray's Elegy." Also the Iron Binding,—viz.: -covers in imitation of cast-iron,—in which Messrs. -Longman and Co. have had bound the "Parables -of our Lord." Bibles and Prayers are now frequently -bound to imitate the antique, having heavy -<span class="pagenum"><a name="page212" id="page212"></a>[pg 212]</span> -boards with clasps and corners, and finished in the -monastic style.</p> - -<p class="center1sb">GROLIER STYLE.</p> - -<p>This beautiful style of ornament is so well illustrated -by Plate IV. that it scarcely needs any -remark. We will merely observe that this style is -well calculated for hand-work, being entirely superficial -in character. The pattern presented can be -worked with a one-line fillet and gouges, with a few -leaves of a conventional character. The design -should be first traced upon paper of the proper size, -the paper lightly tipped at the corners with paste -upon the side, then worked with the fillet and -gouges through the paper upon the leather. The -paper is then removed, and the blind impression -appears upon the side. All vestiges of the paper -are carefully washed off, and the pattern pencilled -in,—that is, each portion of the figure is carefully -traced with a fine camel's-hair pencil saturated -with glaire. When dry it is lightly passed over with -a piece of cotton in which sweet oil has been -dropped, and the gold leaf laid on. The pattern is -then reworked upon the gold.</p> - -<div class="chapter"> -<div class="figcenter" style="width: 300px;"> -<p class="right">4.</p> -<a href="images/212afp4-600.jpg"><img src="images/212afp4-300.jpg" width="300" height="484" alt="" /></a> -<p class="center"><i>Grolier about 1530.</i></p></div></div> - -<p>The design upon Plate V. is a modern elaboration -of the Grolier, and is intended for a side-plate, -<span class="pagenum"><a name="page213" id="page213"></a>[pg 213]</span> -to be executed by the stamping-press. It is well -calculated for blind or blank stamping, the solid line -producing by its intersections a fine effect. By omitting -the inner and working the out lines, this elaboration -of lines and circles can be worked by hand.</p> - -<div class="chapter"> -<div class="figcenter" style="width: 300px;"> -<p class="right">5.</p> -<a href="images/212bfp5-600.jpg"><img src="images/212bfp5-300.jpg" width="300" height="492" alt="" /></a> -<p class="center"><i>Modernized Grolier.</i></p></div></div> - -<p>The Louis Quatorze is illustrated, by a pattern -for a back, upon Plate VI. This can be worked -either by hand-stamps or by the press. The centre -pattern is a very pretty illustration of the prevailing -style of backs for case-work. This must be -stamped before the cover is applied to the book.</p> - -<p>The third pattern for flat backs is adapted for -hand-tools, and when executed upon light-coloured -English calf produces a beautiful appearance. From -its light, graceful character, it is well suited to -modern poetry and light literature in general. -This style gives scope to an almost endless variety -of patterns, regulated only by the taste of the -finisher.</p> - -<div class="chapter"> -<div class="figcenter" style="width: 300px;"> -<p class="right">6.</p> -<a href="images/213afp6-600.jpg"><img src="images/213afp6-300.jpg" width="300" height="483" alt="" /></a> -<p class="center"><i>Louis XIV.</i> <span style="padding-left:3em;"><i>Modern.</i></span><span style="padding-left:3em;"><i>French.</i></span></p></div> -</div> -<p>Plate VII. is a design drawn by Holbein for a -side-ornament in metal. This beautiful pattern can -be adapted either to hand or press work. Its graceful -and harmonious proportions should be well studied -by the young workman.</p> - -<div class="chapter"> -<div class="figcenter" style="width: 300px;"> -<p class="right">7.</p> -<a href="images/213bfp7-600.jpg"><img src="images/213bfp7-300.jpg" width="300" height="495" alt="" /></a> -<p class="center"><i>Drawn after a design by Holbein A.D. 1550.</i></p></div></div> - -<p>Upon Plate VIII. will be found specimens of -rolls and hand-stamps used in finishing. The numbers -<span class="pagenum"><a name="page214" id="page214"></a>[pg 214]</span> -affixed refer to the order of arrangement in -the Book of Patterns published by Gaskill, Copper -& Fry, containing over two thousand specimens -with their prices attached. They have also an immense -number of patterns, executed since the publication -of their book for binders in various parts -of the country.</p> - -<div class="chapter"> -<div class="figcenter" style="width: 300px;"> -<p class="right">8.</p> -<a href="images/214fp8-600.jpg"><img src="images/214fp8-300.jpg" width="300" height="488" alt="" /></a> -<p class="center"><i>Selection from Gaskill, Copper & Fry's Book of Patterns (18 Minor S^t.)</i></p></div></div> - -<p>Having given the prominent distinct styles,—of -which there are, however, many combinations, both -of style, ornament, and tooling, originating more -nondescripts than we have space to treat upon,—we -proceed to the gilding, trusting that what has -been pointed out to the attention of the young -workman will induce him to neglect no opportunities -of becoming acquainted with the works of artists of -celebrity, not for the purpose of servile imitation, -but to examine their adaptations of ornamental art -as a study, to enable him to trace superficial decoration -back to its originators. Having acquired this -knowledge, he may by his treatment of ornament -take rank as an artist.</p> - -<p>The examples given will be sufficient for the intellectual -workman to conceive many patterns -which his taste will suggest, forming an infinite -variety of beautiful designs. In all combinations, -a rigorous observance of the symmetrical proportions -<span class="pagenum"><a name="page215" id="page215"></a>[pg 215]</span> -of the tools must be his first care, so that the -union of any number of designs present a form -agreeable and chaste. It would be superfluous to -add more; but from the importance of the subject, -on closing the directions for the ornamental department -of binding, it may be repeated that there is -no greater evidence of the ignorance or carelessness -of the workman than an ornament of any kind -unevenly or unequally worked. Let the young -binder especially bear this in mind: it is a defect -which nothing can effectually remedy; instead of -an embellishment it is a detriment to the binding, -and his reputation as a clever workman is consequently -placed in jeopardy.</p> - -<p>Preparatory to gilding, the back must be compassed -off and carefully marked with a folding-stick -and a straight-edge or piece of vellum, wherever it -is intended to run a straight line. This serves as a -guide when the gold is laid on. For work of the -best class, the fillets must be first put in blind, and -the tooling done in the same manner. For sides -where the design is elaborate, or a degree of perfection -in the tooling is desirable, the entire pattern -must be first worked in blind, and, after being -washed with a dilution of oxalic acid or a thin paste-wash, -it must be carefully pencilled in with the -<span class="pagenum"><a name="page216" id="page216"></a>[pg 216]</span> -glaire-pencil; but this comes more appropriately -under the head of</p> - -<p class="center1sb">PREPARATIONS FOR GILDING.</p> - -<p>To operate successfully, it will be necessary that -the workman provide himself with good size, glaire, -and oil. The first is prepared by boiling fine vellum -slips till a good size is produced, of a consistency -that will lie equally on the volume without blotches -or ropes, and must be used warm. The glaire is -formed of the whites of eggs, beaten well with a -<i>frother</i> till it is perfectly clear, and the froth taken -off. This liquid will improve by keeping, and -should never be used new if it can possibly be -avoided. For morocco bindings, the glaire is sometimes -diluted with water. The oil adopted by -various binders is different. Some use palm-oil for -calf, sweet oil for morocco or russia; others prefer -hog's lard, or fine mould-candle, for light-coloured -calf; but sweet oil is well adapted for almost every -kind of leather. Vellum-size is the best preparation -for coloured calf. On books thus prepared, -the glaire must be applied two or three times, taking -care that each coat is quite dry before the next is -added, and that it lies perfectly even on the whole -surface, free from globules or any substance whatever. -<span class="pagenum"><a name="page217" id="page217"></a>[pg 217]</span> -Great care is required in preparing coloured -calf; for, if there be too much body in the preparation, -it will crack on the surface and present a -bad appearance. Morocco and roan will not require -more than one coat, and, where practicable, -only on such parts of the morocco as are to be gilt. -The state of the weather must ever determine the -number of volumes to be proceeded with at one -time, as in the winter double the number may be -glaired to what the dryness of a summer's day will -admit of, so as to work with safety and produce -effect. A good paste-wash before glairing is always -advisable, as it prevents the glaire from sinking -into the leather.</p> - -<p>In preparing glaire from the egg for immediate -use, a few drops of oxalic acid added thereunto will -be found to be of essential service.</p> - -<p>The volumes being thus prepared, the operation of</p> - -<p class="center1sb">GILDING THE BACK</p> - -<p>Is commenced by oiling slightly, with a small piece -of cotton, the whole length of the back. If the -book is merely intended to be <i>filleted</i> for the economy -of the gold, small strips are cut on the gold-cushion, -attached to the heated fillet by rolling it slightly -over, and affixed to the volume by passing it firmly -<span class="pagenum"><a name="page218" id="page218"></a>[pg 218]</span> -on the lines previously marked. But if the back is -to be fully ornamented, it will be necessary to cover -it entirely with gold-leaf.</p> - -<p>The hand-stamps should be disposed on the table -before him, so as to be selected with the greatest -facility, and in readiness for every purpose for -which they may be required.</p> - -<p>To lay on the gold, the workman takes a book of -the metal, opens the outside leaf, and passes the -knife underneath the gold; with this he raises it, -carries it steadily on to the cushion, and spreads it -perfectly even, by a light breath on the middle of -the leaf, taking care also that not the least current -of air has access to the room he may be operating -in. Afterwards the gold must be cut with the gold-knife -to the breadth and length of the places to be -covered, by laying the edge upon it and moving -the knife slightly backwards and forwards. Then -rub upon the back the oil, and apply the gold upon -the places to be ornamented with a cotton or tip, -rubbed on the forehead or hair to give it a slight -humidity and cause the gold to adhere. But if the -whole of the back is to be gilt, it will be more economical -to entirely cover it by cutting the gold -in slips the breadth of the book and applying -the back on it; afterwards press it close with the -<span class="pagenum"><a name="page219" id="page219"></a>[pg 219]</span> -cotton, with which any breaks in the gold must also -be covered, by placing small slips where required. -The humidity of the hair or forehead will be sufficient -to make the gold adhere to the cotton or -other instrument with which it may be conveyed to -the book. The fillet or roll must then be heated to -a degree proper for the substance on which it is to -be worked. Calf will require them hotter than morocco -and roan, and these warmer than russia and -vellum. To ascertain their proper heat, they are -applied on a damp sponge, or rubbed with the finger -wetted, and by the degree of boiling that the water -makes, their fitness is known; but a little exercise -and habit will render this easy of judging. To -further insure this, the roll or pallet is passed over -the cap of the headband; if too hot, the gold will -be dull; if too cool, the impression will be bad, -from the gold not adhering in every part.</p> - -<p>After the gold is laid on, the volume is laid upon -the side, with the back elevated, and the workman -proceeds to mitre the fillets that run lengthwise of -the back, commencing at the line that has been -traced across the back, by pressing lightly with the -point of the mitred roll and running it carefully -till near the line that marks the end of the panel; -then lift the fillet and turn it with the finger until -<span class="pagenum"><a name="page220" id="page220"></a>[pg 220]</span> -the other or reverse mitre, or nick in the fillet, is -reached; then place the fillet in the lines already -gilt, adjusting it with the left hand until the extreme -point of the mitre will just reach the line traced -across. After both edges of the back have been -done along the joint in this way, the volume is then -placed evenly in the finishing-press, and the panels -completed by mitreing the fillets that run across the -back. The entire operation requires the utmost -care, in order to have the lines parallel and the -mitres perfectly even and true. No ornament that -may be afterwards worked upon the back, beautiful -as it may be, can atone for negligence or want of -skill in the mitreing and running of the fillets. As -a matter of economy, sometimes the back is run up; -that is, instead of stopping where the lines or bands -intersect, the roll is run up the back from one end -to the other, without stopping; and, after wiping -the gold off along the joint outside the fillet, it is -run across the back on each side of the bands, and -head and tail in the same manner. After the back -is mitred, the finisher will proceed with the ornamental -tools, and work them carefully off. In -placing them, great attention should be paid to their -occupying precisely the same place in each panel; -and, in order to present an agreeable effect, the -<span class="pagenum"><a name="page221" id="page221"></a>[pg 221]</span> -tools should correspond in detail, and there should -be a geometrical fitness governing the selection and -arrangement of the tools.</p> - -<p>The judicious choice of ornaments for the back is -of the utmost importance. For instance, such as -represent animals, insects, or flowers, which are only -proper for works of natural history, entomology, and -botany, should never appear on the backs of works -on general literature, as it would be an evidence of -bad taste or carelessness.</p> - -<p>Every tool should be beautiful in itself, because -no accumulation of misshapen tools can make one -beautiful ornament. There is no objection to scrolls, -leaves, flowers, stops, or any of the usual kind of -ornaments; only let them all be in themselves beautiful. -It is appropriate to introduce a harp on a -book of songs, a stag's head on a book on hunting, -a recognised ecclesiastical pattern upon a book of -divinity or a prayer-book; a Greek or Roman design -upon a classical work, or a Gothic design upon -a book on Gothic architecture.</p> - -<p>Should it be desired to present on the back simply -an ornamental lettering-piece at the head, diverging -to a point towards the middle of the book, and the -rest of the volume left plain, it will be necessary to -impress the tools previous to glairing, and then apply -<span class="pagenum"><a name="page222" id="page222"></a>[pg 222]</span> -the glaire with a camel's-hair pencil in the indentations -the tools have formed. When dry, cover with -gold and reimpress the tool in the marks previously -made, and letter the title. This proceeding is -adopted in every pattern where part of the back is -intended to be left dull by being free from glaire.</p> - -<p>The title must next engage attention, and the -letters placed thereon, either singly or together, -with brass type properly fixed in the hand-chase. -If with single letters, the tail of the volume must -be lowered about an inch, and the workman draw a -thread of silk across the gold to direct the heads of -the letters. Taking each singly, he places them on -the back with the right hand, steadying the letter -with the forefinger of the left. If the title is set in -the chase, place the volume evenly in the press, and -apply the title, guided by the thumb, firmly across. -The title in either case must be justified, to produce -the best effect, taking care to avoid, if possible, -having two lines of the same length; and, where the -title can be measured, as in the type it may, the -exact centre should be ascertained before applying -it heated on the gold. The back may now be considered -finished. The gold which has not been impressed -by the gilding tools must be well rubbed off -with the <i>gold-rag</i> and minutely cleared off with a -<span class="pagenum"><a name="page223" id="page223"></a>[pg 223]</span> -piece of fine flannel or India-rubber, so as to display -the delicate lines of the ornaments as perfectly and -clearly as possible. Attention should be paid to -this particular; for, let a book be finished in the -most tasteful manner possible, unless well cleared -off the effect is entirely lost. If in calf, it must -now be polished, and the squares and edges of the -boards proceeded with.</p> - -<p class="center1sb">GILDING THE SQUARES, ETC.</p> - -<p>For gilding the edges of the boards, the gold -may be taken as for the bands,—on the roll,—and -the volume held firmly with the left hand; but, if -large, put into the press between boards, so as not -to injure the back. Where the ornament of the -inside-square is simple, the like proceeding of applying -the gold will be proper, resting the board -open on an elevation equal to the thickness of the -book. But if the square has been left large, with a -leather joint, so as to admit of being more elaborately -filled up, the gold must be laid on the whole -space with the tip and pressed close with the cotton. -The gilding is then proceeded with in the same -manner as detailed in the directions for the side-ornaments.</p> -<p><span class="pagenum"><a name="page224" id="page224"></a>[pg 224]</span></p> - -<p class="center1sb">GILDING THE SIDES.</p> - -<p>The sides, from affording more ample space, are -the part of the volume whereon the workman can -and is expected to show his taste and skill in gilding. -The proceedings are the same as before pointed out -where a simple roll is the only ornament round; -but where the pattern is extensive and the details -minute, it is necessary to have the whole worked -blind upon the volume before glairing, and then -apply the gold. If one side is done at a time, the -book is taken by the leaves with the left hand, the -board intended to be covered resting on the thumb, -and the gold laid on as for the squares, either over -the whole side or on such parts as the pattern indicates. -If the volume be small, the gold may be -laid on both sides and the leaves of the volume -placed in the finishing-press, allowing the boards to -rest on its surface. This affords greater facility for -placing uniformly and systematically the fillets, rolls, -and tools necessary to complete the design on each -side. Where the pattern has not been marked, and -one side only proceeded with, the roll is run in a -straight line, which should be made, previous to -covering with gold, on the board by the joint of the -back, the volume turned for the head and tail, and -<span class="pagenum"><a name="page225" id="page225"></a>[pg 225]</span> -laid open upon the board for the fore-edge, to give -it the firmness necessary.</p> - -<p>Directions for executing the most elaborate designs -have been previously given, whereby it will be -perceived that it requires but taste, and a just observation -of similarity of design and the geometrical -proportions of the ornaments, to execute them to -any extent. One variation from this rule will destroy -the effect of the whole pattern: it will therefore -be to the benefit of such as are not conversant -fully with the art, to assist themselves with designs -drawn on cartridge-paper, which may be marked -through on the leather and the pattern executed in -gold or blind as required. In all, the gilding will -be the same, either to glaire over the whole cover -after the design is stamped, or, if the plain part is to -be left dull, by glairing the impressions only with a -camel's-hair pencil.</p> - -<p class="center1sb">GILDING ON SILK AND VELVET.</p> - -<p>The proceedings necessary to be adopted for -gilding on silk and velvet are, from the delicate -nature of these substances, different from those laid -down for gilding on leather. The glaire used on -the latter would tend to stain, and therefore it is -necessary to employ other means for fixing the gold. -<span class="pagenum"><a name="page226" id="page226"></a>[pg 226]</span> -This is by drying the whites of eggs and reducing -them to a powder, which is put into a small bottle -and tightly tied over with a piece of fine muslin, -by which means it is equally distributed on the -space intended to be gilt. Gum-sandarac is now, -however, more generally used for this purpose, -although some use gum-copal. The powder being -applied, the gold is cut in slips and taken on a roll -of a circumference equal to the length of the space -intended for it to be applied on. The design is then -firmly impressed, and the superfluous gold brushed -off with a soft brush or clean piece of cotton, and -the other side alike executed. In lettering, or -fixing single tools on the back, the same proceedings -must be adopted, by taking the gold thereon and -applying it to the back or side of the volume. -Where the design is large, or elaborate work is required, -it will be better executed in the following -manner:—The design must be drawn on paper, and -worked through on silk, after which the impression -must be carefully glaired with a camel's-hair pencil; -when dry, rub the parts intended for the gold with -the finger passed through the hair or with a clean -rag slightly oiled, and, after laying on the gold as -directed for other styles, reimpress the tools, and -<i>whip</i> off the superfluous gold with a clean flannel.</p> -<p><span class="pagenum"><a name="page227" id="page227"></a>[pg 227]</span></p> - -<p>As there is no moisture in silk, the workman -must not lay on at one time so much as he does on -calf and other substances.</p> - -<h4 class="space-above2">ILLUMINATED BINDING.</h4> - -<p>This style, an invention of the French, was for -some time kept by them with the greatest secrecy. -It is a binding of the utmost magnificence, uniting -the varied beauties of the arabesque and gilt ornament, -blended with the illuminated decorations seen -on early MSS. before the invention of printing. -When executed in the best manner, nothing can exceed -the beauty of the whole <i>coup-d'œil</i>, rivalling, -as it does, in splendour, the most elaborately-finished -design of the painter. The time required to be -devoted, on its first introduction, to a single specimen, -appeared likely to confine this sort of ornament -to the finest treasures of literature, and even to -them in a limited degree. The improvements, however, -in machinery and the rapid advance of the arts -have, in a few years, brought this style into very -general use for albums and other works where embellished -covers are adopted; and even on the cheap -roan bindings used for Bibles, Prayers, &c. it may -be seen; though in effecting this cheapness it must -be premised that a less durable method is adopted.</p> - -<p><span class="pagenum"><a name="page228" id="page228"></a>[pg 228]</span></p> - -<p>To execute the more elaborate designs, practice -and a taste for the arts will here alone serve the -workman; without these requisites it would be futile -to make the attempt. But, as the proceedings require -to be executed with the utmost care, we shall -enter fully into such as are new, and, from their -importance, at the risk of being considered prolix, -again touch on those that may have been before -treated of.</p> - -<p>The description of one side will serve the purpose -of making the proceedings fully understood. Whether -the material be of morocco or white vellum, it must -be washed, if required, perfectly clean, and left to -dry. The first operation will be—if it be for stamp-work—to -place the side on the bed of the stamping-press -and boldly impress the design thereon. The -most elegant, and capable of the greatest display of -colour, are subjects of botany and natural history. -The next step will be to glaire with a camel's-hair -pencil such parts of the impression as it is intended -shall be afterwards covered with gold. This done, -the delicate operation of colouring may be proceeded -with. In London and Paris this is executed by -professed artists in no way conversant with book-binding. -The colours to be used must be such as -do not at all, or very slightly, fade on exposure to -<span class="pagenum"><a name="page229" id="page229"></a>[pg 229]</span> -the air or sun, such as carmine, ultramarine, indigo, -burnt sienna, gamboge, and sap-green. These must -be prepared, with fine gum, in the same manner as -for painting, and be lightly and delicately laid -on such parts of the design as it is intended the -colour should occupy, taking care that the ground-colour -or leather is entirely hid. Let every thing -be true to nature, each bird, plant, and flower its -proper colour, and a general harmony prevail -throughout. When finished, let the whole perfectly -dry, and then, in the manner directed, lay gold on -such parts as it is intended, in the reimpression of -the plate, should be further embellished. Heat the -plate, place the side again under it, and give it a -firm and sharp impression. Rub off the superfluous -gold, and the whole of the delicate lines of the ornament -will be found beautifully gilt, the colours firmly -fixed by the heat of the plate, and the rough edges -of the colour completely effaced by the reimpression -of the original design.</p> - -<p>In executing the less expensive and more simple -designs, the plate is impressed in gold on the side, -and the parts left ungilt on the leather; afterwards -coloured according to the taste of the workman.</p> - -<p>For the best class of work, after the design is -impressed, either by hand or the press, pieces are -<span class="pagenum"><a name="page230" id="page230"></a>[pg 230]</span> -cut out of variously-coloured morocco, pared thin, -and neatly pasted on the side, the design, when -worked, entirely concealing the edges of the morocco. -This is termed inlaid work.</p> - -<h4 class="space-above2">BLIND TOOLING.</h4> - -<p>This is an ornamental operation, applied either -before or after the book has been gilt and polished, -and, if judiciously intermingled with the gold, will -not fail to present a good effect. It is a style that -has been much used of late years, and is executed -in the same way and with the same tools as for gilding, -but without any gold applied on the places thus -ornamented. The rolls, pallets, and smaller tools, -are applied by the hand, and the large plates with -the press, with the same precautions as indicated in -the previous section. If the pattern consists of -straight lines, and the workman possesses a good -eye, the best manner of executing it is by making -use of a pallet, placing it firmly on the book, and -sliding it to the opposite point. It remains, therefore, -to consider such matters as more immediately -apply to this style of decoration.</p> - -<p>The tools for blind tooling should not be so warm -as for gilding, and particularly for morocco. If it -is wished to be left dull,—that is, free from glaire,—the -<span class="pagenum"><a name="page231" id="page231"></a>[pg 231]</span> -particles attaching themselves over the edge of -the gold ornaments must be removed with the end -of the finger, wrapped over with a piece of fine cloth, -and wetted. This will soon wash it clean, and -when dry the blind ornaments may be proceeded -with.</p> - -<p>Graining may be properly considered as a blind -ornament. This is where, by the means of wooden -or metal plates, the sides of a book are marked with -lines crossed over each other, so as to form innumerable -small squares in imitation of russia, or in -imitation of the grain of morocco, scales of fish, -and other substances. The operation is performed -by placing the volume between the two plates even -by the groove of the back, in the standing-press, -and pressing it tightly down, and so even that the -plate will be impressed equally over the whole surface. -Nothing will look worse than a bold impression -in one place and a slight one in another; and -therefore it becomes of importance to see that it is -evenly pressed, as a second application of some -kind of plates will never be found affixed to the -same places.</p> - -<p class="center1sb">MODERNIZED MONASTIC OR ANTIQUE.</p> - -<p>This style, whether done by the hand or the press, -is one that requires care and patience on the part -<span class="pagenum"><a name="page232" id="page232"></a>[pg 232]</span> -of the workman, so as to bring up the tools black, -without burning or otherwise injuring the leather. -We have spent much time in experiments, so as to -arrive at the most certain and perfect mode of producing -the desired result. The style emanated from -Mr. Hayday's bindery; and a volume executed in -this style for a connoisseur in this city, with tooling -of a brilliant black, fell into our hands some -years since, and we at once set about attempting to -produce the same effects. Our efforts were confined -to hand-tooling for some time; and, although inferior -in effect, they were generally well received; but we -were far from being satisfied. We tried every substance -that could be thought of, made the leather -and tools hot and dry, or wet and cold, as reason -seemed to point to one or the other as the proper -method. We will now communicate the results of -our labours:—In the first place, the material is of -the greatest importance; and the finest effects cannot -be produced except upon English calf or morocco. -American calf is entirely out of the question -for the purpose, as the morocco is too hard on the -surface, and there is not sufficient colour in the -body for the tools to draw and affix it by heat to -the surface; but some kinds are better adapted for -the purpose than others. To test this, apply the -<span class="pagenum"><a name="page233" id="page233"></a>[pg 233]</span> -tip of the tongue to the leather, and if the dampness -lies on the surface, without sinking in, reject -it; but if the dampness strikes instantly into the -leather,—the quicker the better,—the workman may -proceed with some hopes of success. After the -volume is covered and ready for finishing, wash it -evenly over with clean water; and, as soon as the -water ceases to lie upon the surface, apply the tool -moderately heated; this will bring up the dark -colour. Afterwards go over it again with the tool, so -as to make the impressions clear and bright. There -are, however, some colours, as well as particular -manufactures, that will not come up black; and we -were long satisfied that some colouring-matter -was employed. We wrote to a friend in London, -who sent us the material and the method of its use. -The material was common printers' ink. His communication -we now make public. "In the first -place, the leather should be quite damp, and the tools -used should be as hot as possible without the printers' -ink. Then again impressed with the printers' ink -upon the tools. We put the larger tools in again -without ink. When the ink is used upon the tools, -the leather should be rather damp, and the tools not -very hot. When the pattern is worked in the manner -described, it should be left until dry, and then -<span class="pagenum"><a name="page234" id="page234"></a>[pg 234]</span> -brushed with a brush, not very stiff, which will give -a brilliant gloss to the tooling." When using -printers' ink, be careful not to get too much on the -tools.</p> - -<p>Let the young workman but follow the directions -given, and, with a little patience and reflection, he -will be able to do work of the character under consideration, -fully equal to the efforts of the best -workman, provided that the tools be worked true -and even.</p> - -<h4 class="space-above2">POLISHING.</h4> - -<p>The details of this operation, which is performed -immediately after the gold ornaments have been -worked, have been reserved in order that the whole -of the ornamental department might be kept -together. Morocco, roan, silk, and velvet, and the -blind ornaments on any substance, must never be -submitted to the action of the polisher. A smart -rubbing with a piece of rough calf will be sufficient -for the two former, and the velvet or silk will merely -require cleaning with any smooth substance or with -India-rubber.</p> - -<p>There are two polishers,—one for the back and -bands, and another for the sides. The oil applied -on the cover previous to laying on the gold will be -<span class="pagenum"><a name="page235" id="page235"></a>[pg 235]</span> -sufficient to make the polisher glide easily over the -surface. The polisher must be heated, and well -cleaned on a board, and passed quickly and evenly -on the back, sides, or joints, as the case may be, -taking especial care that it is not too hot, as the -glaire would thereby be turned white and the work -damaged in appearance, nor so cold as to give a bad -polish.</p> - -<p>The book, as gilt, must be first polished on the -back, by taking it with the left hand, resting it on -the table, and polished with the right hand by -gliding backwards and forwards the smooth part of -the polisher on the whole extent of the back. This -not only polishes the surface, but smooths down the -indentations formed upon the leather by the gilding-tools, -bringing up the gilding to the surface. The -polisher must be passed on such places only as it is -wished to make brilliant, and great care taken not -to touch the places intended to be left dull.</p> - -<p>The sides are similarly polished, by laying the -volume on the table, covered with baize, and passing -the large iron quickly over, first from the fore-edge -towards the groove, and then, by turning the volume -in a contrary way, from the tail to the head.</p> - -<p>If the joint requires polishing, the book is laid -before the workman, the tail towards him, and the -<span class="pagenum"><a name="page236" id="page236"></a>[pg 236]</span> -iron applied on the side next the groove, polishing -the whole length of the board; then, turning round -the volume, and bringing the fore-edge towards him, -he polishes the side on the fore-edge, and, turning -again, completes the whole by polishing the parts at -the head and tail.</p> - -<p>In addition to polishing, it is desirable to give to -the sides the greatest possible smoothness by pressing -them between polished tins or horns. These -are placed on each side of the book even by the -groove, put between pressing-boards, and screwed -tightly in the press, and left for some time.</p> - -<p class="center1sb">COLOURING.</p> - -<p>Calf-skins of uniform tints, and also sprinkled, -can now be obtained of English manufacturers; yet -in many localities they are difficult to obtain. We -therefore make known the chemical substances and -ingredients required to execute them in the best -manner. Marbling is a process that must be executed -by the binder upon the cover, and, with many -other revival styles, is again coming into vogue. -The recipes given for the superior marbles and designs -will, it is presumed, present this branch of -the art on a higher footing, in a general point of -view, than is usually accorded to it; and it is confidently -<span class="pagenum"><a name="page237" id="page237"></a>[pg 237]</span> -asserted that not one of them will prove a -failure, if attention to the directions be only given. -Nothing has been omitted in the description of the -substances best for use, the mode of preparing -them, and the proceedings to be adopted, that can -tend to give to the covers all the elegance and -splendour of which they are susceptible. By the -aid of these, assisted by some taste, the workman -may vary the designs almost to infinity; but it -must be admitted that, unless he is devoted to his -art, no mere directions or casual advantages will -enable him to succeed in the more complicated or -delicate operations, while, with an ardour for it, all -difficulties will be easily overcome.</p> - -<h4 class="space-above2">CHEMICAL PREPARATIONS.</h4> - -<p>Under this head is included <i>aqua regia</i>, or killed -spirits, <i>nitric acid</i>, <i>marbling-water</i>, and <i>glaire</i> prepared -for marbling.</p> - -<p class="center1sb">AQUA REGIA,</p> - -<p>So called from its power to dissolve gold, is a -mixture of nitic acid (aquafortis) and muriatic -acid, (spirits of salts,) deprived of its burning qualities -by block-tin, which it dissolves. It is called by -the chemist <i>acid nitro-muriatic</i>: the muriatic also -<span class="pagenum"><a name="page238" id="page238"></a>[pg 238]</span> -contains a portion of alkali, which gives to red a -vinous tint, and for which colour it is principally -used.</p> - -<p>The two substances should be of the purest -quality, of a concentration of thirty-three degrees -for the nitric acid and of twenty degrees for the -muriatic. They must be mixed with the greatest -precaution. Having provided a clear glass bottle, -the neck rather long, capable of holding twice the -quantity to be prepared, place it upon a bed of -sand, the opening at top, and pour in <i>one part</i> -of pure nitric acid and <i>three</i> of muriatic. Let the -first vapours dispel, and then cover the orifice with -a small phial, which must not confine the vapour too -closely, as the bottle would be liable to burst, but -which retains as much as possible without risk. -Of block-tin, an eighth part of the weight of the -acid must then be dropped into the bottle, in small -pieces, a little at a time, covering the orifice with -the phial. The acid will immediately attack the -tin and dissolve it, when a second portion must be -put in with the same precaution, and so on till the -whole is dissolved. <i>Malacca</i> tin is the best for use, -and if pure there will be no sediment; but, as it -cannot always be obtained, a black sediment will be -left. The vapour having ceased, the acid must be -<span class="pagenum"><a name="page239" id="page239"></a>[pg 239]</span> -poured into bottles and secured with glass stoppers, -to preserve it. When used, a part is taken and -mixed with <i>one quarter</i> of its weight of distilled -water.</p> - -<p>It is usual with some workmen to perform this -operation in a common drinking-glass; but, as the -vapour is thereby all dispersed, the composition -loses a considerable portion of its best quality, for -it will be observed, if performed in a bottle as -above directed, that the vapour assumes a red tint, -which does not escape if the neck of the bottle be -of sufficient length.</p> - -<p class="center1sb">ANOTHER.</p> - -<p>Some binders adopt the following method; but, as -it is not capable of producing an equal beauty and -clearness of colour with the one above given, it will -not be advisable to use. The former, too, will be -equally effective to an indefinite period, while this -will not preserve more than two or three months.</p> - -<p>Put in a brown freestone pot two ounces of powdered -<i>sal-ammoniac</i>, six ounces of fine <i>Malacca tin</i>, -in strips or drops, twelve ounces of distilled water, -and, last, a pound of <i>nitric acid</i>, of thirty-three -degrees. Leave the whole till the tin is dissolved, -and then pour off and bottle as above directed.</p> -<p><span class="pagenum"><a name="page240" id="page240"></a>[pg 240]</span></p> - -<p class="center1sb">VITRIOL-WATER.</p> - -<p>Vitriol, as sold in the pure state, will not be -proper to use in marbling or sprinkling, as it would -corrode and destroy the leather. It must be weakened -at least in proportion of one ounce of vitriol -to three of water.</p> - -<p class="center1sb">MARBLING-WATER.</p> - -<p>It is usual with many to use the water pure; but -a few drops of <i>potash liquid</i> mixed with it will be -found to produce better effect, the marble being -rendered more distinct.</p> - -<p class="center1sb">GLAIRE.</p> - -<p>Put spirits of wine in a proportion of two drops to -the whites of twelve eggs, and beat the whole well -together till perfectly clear.</p> - -<h4 class="space-above2">PREPARATIONS OF THE COLOURS.</h4> - -<p>The preparations used by different binders vary -much, as will be seen by the recipes given for the -same colours, which we judge necessary to put on -record, that nothing connected with the subject -should be omitted, premising that each colour may -be depended upon for producing the most satisfactory -results. It may be proper also to observe -<span class="pagenum"><a name="page241" id="page241"></a>[pg 241]</span> -that the whole of the woods and other ingredients -used should be previously powdered or reduced to -small pieces, the colours being thereby much better -extracted.</p> - -<p class="center1sb">BLACK.</p> - -<p>1. Dissolve half a pound of green copperas in -two quarts of water. The oxide contained in the -sulphate of iron will combine with the tanning of the -leather, and produce a good black.</p> - -<p>2. Boil in a cast-iron pot a quart of vinegar, -with a quantity of rusty nails, or steel-filings, till -reduced one-third, taking off the scum as it rises to -the top. This liquid improves by age. To keep up -the quantity, boil with more vinegar.</p> - -<p>3. A cheaper liquid may be produced by boiling -two pints of beer and two pints of water with two -pounds of old iron and a pint of vinegar, scumming -as before, and bottling for use.</p> - -<p class="center1sb">BROWN.</p> - -<p>1. Half a pound of good Dantzic or American -potash dissolved in one quart of rain-water, and -preserved in a bottle well corked.</p> - -<p>2. Salts or oil of tartar, in the same proportions -as above.</p> -<p><span class="pagenum"><a name="page242" id="page242"></a>[pg 242]</span></p> - -<p>3. A beautiful brown may be procured from the -green shells of walnuts. To prepare this, a quantity -of the green shells, when the nuts are gathered, -must be pounded in a mortar to extract the juice, -and then put into a vessel capable of holding a sufficient -quantity of water. The water being put in, -the whole should be frequently stirred, and left to -soak, with the vessel covered. Afterwards the liquid -must be passed through a sieve, the juice well expressed, -and bottled, with some common salt, for -use. This liquid, after fermentation, will produce -the best effects, for the uniform tints, as it tends to -soften the leather, and will not corrode.</p> - -<p class="center1sb">BLUE.</p> - -<p>1. It is usual with many binders to use <i>Scott's -Liquid Blue</i>, but it is necessary to know the preparation -of the colour. Perhaps the best and most -simple one known is one given by <i>Poerner</i>, which is -as follows:—In four ounces of sulphuric acid, of 66 -degrees, mix gradually one ounce of finely-powdered -indigo, so as to form a sort of pulp. Place the -vessel in another containing boiling water, for some -hours, and then leave it to cool. Afterwards put -to it a small portion of good potash, dry and finely -powdered, stirring the whole well, and letting it rest -<span class="pagenum"><a name="page243" id="page243"></a>[pg 243]</span> -for twenty-four hours, when bottled, and use as required. -This colour will appear nearly black, but -may be made to any shade by adding water to it. -If any portion remain after being diluted, it must -be put into a separate bottle, as if mixed with the -first preparation the whole would be deteriorated.</p> - -<p>2. A readier blue may be prepared by mixing -one ounce of powdered indigo with two ounces of -oil of vitriol, and letting it stand for twenty-four -hours, and then adding twelve ounces of pure water.</p> - -<p class="center1sb">PURPLE.</p> - -<p>Boil half a pint of archill or logwood with vinegar -and water, of each half a pint.</p> - -<p class="center1sb">LILAC.</p> - -<p>Same as for the purple, with the addition of about -two table-spoonsful of potash.</p> - -<p class="center1sb">VIOLET.</p> - -<p>Half a pound of logwood chips and one ounce of -Brazil dust, boiled over a good fire in four pints of -water till reduced one-half, and left to clear. Then -throw in one ounce of powdered alum and two -grains of cream of tartar, and again boil till dissolved. -This liquid must be used warm.</p> -<p><span class="pagenum"><a name="page244" id="page244"></a>[pg 244]</span></p> - -<p class="center1sb">FAWN.</p> - -<p>In two pints of water boil one ounce of tan, and a -like portion of nutgall, till reduced to a pint.</p> - -<p class="center1sb">YELLOW.</p> - -<p>1. To one ounce of good caked saffron, turmeric, -or French berries, add a portion of spirits of wine -or <i>aqua regia</i>, and leave the mixture to macerate. -This liquid is used cold, and may be varied to any -shade by adding water when required.</p> - -<p>2. In two pints of water put eight ounces of -French berries, and boil till reduced one-half. Then -pass it through a sieve or fine cotton, and add a -small quantity of powdered alum, and again boil, -using it warm.</p> - -<p class="center1sb">ORANGE.</p> - -<p>In a pint and a half of potash liquid, boil a -quarter of a pound of fustic chips till reduced one-half; -then put in an ounce of good <i>annatto</i>, well -beaten, and, after boiling, a small portion of alum, -and use warm.</p> - -<p class="center1sb">GREEN.</p> - -<p>1. Liquid blue and yellow mixed will best suit -for general purposes.</p> - -<p>2. Dissolve in a bottle one ounce of verdigris in -<span class="pagenum"><a name="page245" id="page245"></a>[pg 245]</span> -an ounce of white wine vinegar, and place the -whole before a fire for four or five days, frequently -shaking the bottle.</p> - -<p class="center1sb">RED.</p> - -<p>There are three sorts of red,—viz.: common, fine, -and scarlet.</p> - -<p><i>Common.</i>—1. In a tinned kettle boil half a pound -of Brazil wood, eight grains of nutgalls, both powdered, -and three pints of water, till the whole is reduced -one-third. Then add powdered alum and -sal-ammoniac, of each one ounce, and when dissolved -strain through a sieve. This liquid must always be -used warm.</p> - -<p>2. Boil a quarter of a pound of Brazil dust, two -ounces of powdered cochineal, and a little alum, in -two pints of the best vinegar, till a bright red is -produced. Use warm.</p> - -<p><i>Fine.</i>—1. In three pints of water boil half a pound -of Brazil dust and half an ounce of powdered nutgalls. -Pass the whole through a fine cotton, and replace the -liquid on the fire, adding one ounce of powdered alum -and half an ounce of sal-ammoniac. Give the whole -another boil, and then add a portion of <i>aqua regia</i>, -according to the shade desired, and use warm.</p> - -<p>2. A quicker and cheaper proceeding is by putting -in a cup a portion of Brazil wood, and adding to it -<span class="pagenum"><a name="page246" id="page246"></a>[pg 246]</span> -the <i>aqua regia</i>, letting it stand for a quarter of an -hour to extract the colour.</p> - -<p><i>Scarlet.</i>—To one ounce of white nutgalls and one -ounce of cochineal, both finely powdered, add two -pints of boiling water. After boiling some time, add -half an ounce of <i>aqua regia</i>, and use warm.</p> - -<h4 class="space-above2">MARBLING.</h4> - -<p>Before proceeding to a description of the marbles, -and other designs on the covers coming under the -general head of marbling, it will be proper to give a -few directions relative to some important matters -required in the way of preparation. As the success -of many of the designs depends upon the quickness -with which they are executed, it will be important -that the colours, sponges, brushes, &c. are previously -disposed in the best order, so as to be of the -readiest access. Attention should be paid to the -probable quantity that may be required of each -colour, as many of them will not be available for -use another time.</p> - -<p>The books should all be previously washed with -paste and water to which has been added a little -pearlash liquid, and left to dry. After this they -must be glaired equally over, and when dry placed -<span class="pagenum"><a name="page247" id="page247"></a>[pg 247]</span> -upon the marbling-rods, the sides of the books extending -over and the leaves hanging between. The -rods must be placed on an elevation at the top, so as to -allow the water to run gradually towards the bottom -of the books; and, if the backs are required to be -left plain, another rod, or piece of board, grooved to -the shape of the back, placed on them. To avoid -the scum arising from the beating of the brushes -over the colours, it is better to rub the ends of the -bristles on the palm of the hand, on which a little -oil has been spread. These preliminaries being -settled, the operation of marbling commences, for -which we shall now give directions.</p> - -<p class="center1sb">COMMON MARBLE.</p> - -<p>The book being placed on the rods, throw on the -water prepared for marbling in large drops, with a -coarse brush, or bunch of quills, till the drops unite. -Then, with a brush charged with the black liquid -and beaten on the press-pin as directed for sprinkling -the edges, a number of fine streaks are produced -by throwing the colour equally over the -cover. Afterwards the brown liquid must be -similarly thrown over. When the veins are well -struck into the leather, the water must be sponged -off and the book placed to dry.</p> -<p><span class="pagenum"><a name="page248" id="page248"></a>[pg 248]</span></p> - -<p>If the volume has been previously coloured with -any of the preparations before described, and it is -wished to produce a marble thereon, the brown must -be thrown on first, and then the black; as without -this precaution the marble would not strike, because -of the acid which forms part of the colours. This -observation being applicable to all the other designs, -it will not be necessary again to repeat it.</p> - -<p class="center1sb">ANOTHER.</p> - -<p>Throw on the vinegar-black, then the brown, and -lastly a sprinkle of vitriol-water.</p> - -<p class="center1sb">PURPLE MARBLE.</p> - -<p>Colour the cover two or three times with hot -purple liquid, and, when dry, glaire. Then throw -on water, and sprinkle with strong vitriol-water, -which will form red veins.</p> - -<p class="center1sb">STONE MARBLE.</p> - -<p>After throwing on the water, sprinkle boldly with -the black liquid; then, with a sponge charged with -strong brown, drop the colour on the back in three -or four places, so that it may run down each side in -a broad stream, and afterwards operate with vitriol-water -on the parts the brown has not touched.</p> -<p><span class="pagenum"><a name="page249" id="page249"></a>[pg 249]</span></p> - -<p class="center1sb">GREEN AGATE.</p> - -<p>Sprinkle black, in nine times its quantity of water, -in large drops over the whole surface of the cover, -and when the drops unite apply on the back at -regular distances the green liquid, so that it may -flow on the boards and unite with the black.</p> - -<p class="center1sb">BLUE AGATE.</p> - -<p>Proceed as above, only substituting blue in place -of the green, weakened with water according to the -shade required.</p> - -<p class="center1sb">FAIR AGATE.</p> - -<p>Commence by sprinkling black in small drops -at a good distance from each other; afterwards -sprinkle equally over large drops of weak potash.</p> - -<p class="center1sb">AGATINE.</p> - -<p>Proceed as for the green agate, and then sprinkle -scarlet all over the cover; finally, throw on blue in -small drops, weakened in four times the quantity of -water.</p> - -<p class="center1sb">LEVANT MARBLE.</p> - -<p>After the water, throw on the back-brown in -broad streaks as directed for the <i>stone</i>, and then in -<span class="pagenum"><a name="page250" id="page250"></a>[pg 250]</span> -like manner the <i>aqua regia</i>. This will be found to -imitate closely the Levant marble.</p> - -<p class="center1sb">PORPHYRY VEIN.</p> - -<p>Throw on large drops of black diluted in double -the quantity of water. When the colour has struck -well into the leather, sprinkle in the same manner -brown mixed equally with water. Then apply a -sprinkle of scarlet, and afterwards large spots of -yellow, the liquid nearly boiling. While these -colours are uniting, throw on weak blue, and then -<i>aqua regia</i>, which, flowing together down the sides -of the book, will form the vein distinctly.</p> - -<p class="center1sb">RED PORPHYRY.</p> - -<p>Sprinkle with black in eight times the quantity -of water, very equal and in small spots. Let it -dry, rub, and glaire. Then give two or three -sprinkles of fine red, and one of scarlet, and again -leave to dry. Finally, sprinkle scarlet in small -spots as equally as possible.</p> - -<p class="center1sb">GREEN PORPHYRY.</p> - -<p>For this design the cover must be finely sprinkled -over three separate times, leaving the colour to -search and dry between each. The green must be -<span class="pagenum"><a name="page251" id="page251"></a>[pg 251]</span> -brought to the shade required by mixing with water. -To form a more elegant vein, sprinkle first with -weak black, and afterwards with green, and when -dry with fine red.</p> - -<p class="center1sb">PORPHYRY.</p> - -<p>This marble, imitating the <i>eye of the partridge</i>, -is executed by throwing on black in eight times its -volume of water, in small drops, but so close as to -just run into each other. When the black begins -to flow, sprinkle over brown mixed equally with -water. Let it dry, wash the whole with a sponge, -and before quite dry again give it two or three -coats of fine red. After being dry and well rubbed, -sprinkle equally over the surface large drops of -<i>aqua regia</i>.</p> - -<p class="center1sb">ANOTHER.</p> - -<p>Colour the cover with red, yellow, blue, or green, -and, when dry, with black diluted as above; let this -also dry, and then sprinkle over large or small drops -of aqua regia. The eye of the partridge is properly -formed with blue sprinkled upon the weakened -black, and, when dry, with the killed spirit or <i>aqua -regia</i>.</p> -<p><span class="pagenum"><a name="page252" id="page252"></a>[pg 252]</span></p> - -<p class="center1sb">ROCK.</p> - -<p>Throw on large drops of black prepared as for -the porphyry, and, when half dry, weakened potash -in the same manner. When dry again, sprinkle on -equally small spots of scarlet, and lastly <i>aqua regia</i>.</p> - -<p class="center1sb">GRANITE.</p> - -<p>Mix black in about fifty times its quantity of -water, and sprinkle equally over very fine, repeating -it as it dries five or six times. Then, in like -manner, sprinkle over with brown, and, after rubbing -well, glaire lightly. Finally, sprinkle finely over -with <i>aqua regia</i>.</p> - -<h4 class="space-above2">TREE-MARBLES.</h4> - -<p>These marbles, which were first executed in Germany, -from whence they passed into England, are -formed by bending the boards in the middle, so that -the water and colours flow from the back and fore-edge -to the centre, in the form of branches of trees. -Those who have never seen the tree-marbles of -Mr. Clarke, of London, can form but little idea of -the beauty of which this style is susceptible. The -name is also given to such as are made to imitate -the grain of the wood.</p> -<p><span class="pagenum"><a name="page253" id="page253"></a>[pg 253]</span></p> - -<p class="center1sb">WALNUT.</p> - -<p>Formed by sprinkling black and brown only, as -for the common marble.</p> - -<p class="center1sb">CEDAR.</p> - -<p>After sprinkling as for the walnut, and before -perfectly dry, apply lightly a sponge presenting -large holes dipped in orange upon various places on -the cover, so as to form a description of clouds. -Afterwards apply the fine red, with a similar -sponge, nearly upon the same places, and when dry -give the whole two or three coats of yellow, taking -care that each penetrates evenly into the leather.</p> - -<p class="center1sb">MAHOGANY.</p> - -<p>The proceedings are nearly the same as for the -walnut, the difference being merely in sprinkling -the black more boldly, and, when perfectly dry, -giving two or three uniform coats of red.</p> - -<p class="center1sb">BOX.</p> - -<p>In order to imitate the veins contained in box, -the boards must be bent in five or six different -places and in divers ways. After placing the book -between the rods, throw on the water in small drops, -and proceed as for the walnut. After being perfectly -<span class="pagenum"><a name="page254" id="page254"></a>[pg 254]</span> -dry, throw water again in large drops, and -sprinkle on small spots of blue, diluted equally -with water; and, when again dry and rubbed well, -apply the scarlet with a sponge as directed for the -cedar. Finally, when dry, give two or three coats -of orange, and the design is complete.</p> - -<p class="center1sb">WAINSCOT.</p> - -<p>Colour with strong brown, glaire, and place -between the rods, with the boards flat. Throw on -weak black in large spots, then brown in like manner, -and, lastly, sprinkle boldly with vitriol-water.</p> - -<p class="center1sb">VARIEGATED.</p> - -<p>Marble as for the walnut, and then put on each -board a circle, oval, or other figure, and apply weak -black on the outer parts. When dry, give it a good -coat of red, and, after throwing on spots of scarlet, -take off the figures, and wash well the parts where -the latter colour has been used. Finally, give the -oval two coats of yellow, or other colour, with a -camel's-hair brush.</p> - -<p class="center1sb">MARBLING ON PAPER.</p> - -<p>The sides of a half-bound book, which will be -covered with paper, may be marbled to correspond -<span class="pagenum"><a name="page255" id="page255"></a>[pg 255]</span> -with the effect produced on the leather by the action -of the black and brown at the same time. This is -performed by pasting firm white paper on the sides, -and colouring with a mixture of four ounces of nut-galls -and a small portion of powdered sal-ammoniac -boiled well together, which will take the black -and brown nearly equal to leather.</p> - -<h4 class="space-above2">SPRINKLES.</h4> - -<p>This is another ornament on the covers of books, -capable of being much varied. A few of the most -general use are given, premising that any of the -colours arranged as for the marbles above, or -sprinkled on the uniform colours, will be productive -of a beautiful effect. The books must be paste-washed -over, but not glaired.</p> - -<p class="center1sb">NUTMEG.</p> - -<p>Sprinkle very finely with black and then with -brown. If wished to produce a finer effect, give a -sprinkle of vitriol-water.</p> - -<p class="center1sb">RING.</p> - -<p>Put about a teaspoonful of vitriol to a cup of the -black, and sprinkle coarsely over. If the ring is -not sufficiently strong, add more vitriol.</p> -<p><span class="pagenum"><a name="page256" id="page256"></a>[pg 256]</span></p> - -<p class="center1sb">TORTOISE-SHELL.</p> - -<p>Wash the cover with yellow, and sprinkle very -boldly with black. When dry, spot with a sponge, -as before directed, with blue, red, and black, each -colour being left to dry before the next is applied.</p> - -<p>In concluding the description of the marbles and -sprinkles, it may be remarked that, with a little -taste, the workman might vary the designs to upwards -of one hundred different patterns; also that -each colour should be allowed to properly strike -into the leather before another is used. Panes, or -blank spaces, are formed by placing squares, &c. -of pasteboard on the sides, which prevents the -colours touching the leather when sprinkling. -After the design is completed, the covers should be -well rubbed with a woollen cloth or the ball of the -hand, to remove the whole of the refuse of the -colour, which will be found to corrode on the surface -of the leather.</p> - -<h4 class="space-above2">UNIFORM COLOURS.</h4> - -<p>Before proceeding to execute any of the colours, -the books must be well and evenly paste-washed, and -left till perfectly dry. It will also be necessary to -observe that the black will become darker in all the -<span class="pagenum"><a name="page257" id="page257"></a>[pg 257]</span> -subsequent operations of colouring, glairing, and -polishing, so that attention must be paid not to use -this liquid too strong.</p> - -<p class="center1sb">LIGHT BROWN.</p> - -<p>Wash the cover with vitriol-water till perfectly -uniform in colour, and then with brown to the shade -desired.</p> - -<p class="center1sb">ANOTHER.</p> - -<p>Mix a small quantity of annatto with the potash -liquid, and use hot. This will produce a beautiful -tint.</p> - -<p class="center1sb">DARK BROWN.</p> - -<p>Colour with weak black till a slate-shade is produced, -and then apply the brown three or four -times, as taste may dictate.</p> - -<p>Others might be added, but the proceedings are -the same, varying only the quantity of colour according -to the shade. The <i>nut-brown liquid</i> will -produce beautiful tints.</p> - -<p class="center1sb">CORINTHIAN GRAPE.</p> - -<p>The proceedings are the same as for the last -colour, adding two or three coats of <i>fine red</i>.</p> -<p><span class="pagenum"><a name="page258" id="page258"></a>[pg 258]</span></p> - -<p class="center1sb">COMMON GRAPE.</p> - -<p>Proceed as for the last, omitting the brown after -the black.</p> - -<p class="center1sb">BLUE.</p> - -<p>After giving four or five coats of the chemical -blue diluted with water, wash lightly with weakened -aqua regia, which will take off the green reflection -produced by the yellow tint of the leather.</p> - -<p class="center1sb">GREEN.</p> - -<p>Give three or four coats of the green liquid, extended -in water according to the shade required. -Any of the other colours noticed in the preparations -may be thus executed.</p> - -<p class="center1sb">OLIVE.</p> - -<p>After giving a slate-colour, apply yellow, boiled -with a small portion of blue, on the cover, rubbing -it equally in while hot, to insure uniformity.</p> - -<p class="center1sb">PEARL GRAY.</p> - -<p>This colour must be executed carefully, so as to -be perfectly uniform and without stains. Colour -over with exceedingly weak black liquid, till a pale -<span class="pagenum"><a name="page259" id="page259"></a>[pg 259]</span> -gray is produced. The weaker it is, the better will -the workman succeed. Then pass over a light coat -of fine red mixed in a large portion of water, so as -to give a light red reflection scarcely distinguishable.</p> - -<p class="center1sb">SLATE.</p> - -<p>Use the black liquid a little stronger than for the -last, and omit the red.</p> - -<p class="center1sb">BLACK.</p> - -<p>For common purposes, the black may be formed -in the way adopted for other colours; but, in many -instances, it is necessary to produce a colour having -the appearance of japan, and which will require -more labour and attention.</p> - -<p>Wash the book over with brown till a dark shade -is formed; then, with a piece of woollen cloth, apply -the black liquid mixed with japan, which will produce -a beautiful black. This colour should have a -good coat of vellum-size before glairing. Or it may -be better to finish off with the varnish given in -another part of the work.</p> - -<p>Nutgalls, copperas, and gum-arabic, are used by -many, and will be found to produce a good and -bright colour.</p> -<p><span class="pagenum"><a name="page260" id="page260"></a>[pg 260]</span></p> - -<h4 class="space-above2">GOLD MARBLES, LANDSCAPES, ETC.</h4> - -<p>These designs, if properly executed, are the most -beautiful that can be imagined. The labour and -care, however, requisite, must ever confine them to -superior bindings, for which a high price is given, to -indemnify the workman for the time required to -produce the proper effect. The imitation of the -gold marbles is not an easy task; but a knowledge -of the art of painting, and a clever management of -the brush, will enable the workman to imitate the -figure of the marble so true to nature as to be -scarcely distinguishable.</p> - -<p class="center1sb">GOLD MARBLE.</p> - -<p>This marble, which will not require the ability to -execute as those following it, is the invention of M. -Berthé, senior, bookbinder of Paris, and may be -executed on any kind of uniform substance. Take -a piece of cloth, exceeding the size of the volume, -and fold it equally; lay it, thus folded, evenly upon -a board, and then open the other half, and cover -the board; spread, upon the half towards the left, -gold leaf to the size of the cover, allowing such -portion as the roll intended to be worked on it may -<span class="pagenum"><a name="page261" id="page261"></a>[pg 261]</span> -take, which will be a saving of gold; then refold -the cloth on the gold, and press the hand above, -without moving the cloth, so as to divide the gold -into a number of small pieces. The gold being -thus prepared, moisten the side of the volume with -glaire mixed with water in equal proportion, and -place it on the cloth, pressing above firmly with the -hand. Care being taken not to disarrange it, turn -over the volume, cloth, and board, and take the -latter off, replacing it with a sheet of paper, and -rubbing smartly above, so as to attach the whole of -the gold to the cover. After this the cloth must be -removed, and the gold will be found equally fixed; -to further insure which lay on a sheet of paper, and -rub well with the palm of the hand.</p> - -<p>To remove any gold that may appear on the part -intended for the roll in gilding, wet the end of the -thumb, form a sort of square with the fore-finger on -the edge of the board to the size of the roll, and rub -the surface of the cover, which will clear it with -facility before the glaire is dry.</p> - -<p class="center1sb">LAPIS-LAZULI.</p> - -<p>This marble is of clear blue, veined with gold, -presenting an appearance of the utmost splendour. -It is executed as follows:—</p> -<p><span class="pagenum"><a name="page262" id="page262"></a>[pg 262]</span></p> - -<p>Place the volume between rods as for marbling, -and with a sponge full of large holes, dipped in -chemical blue mixed in six times its volume of -water, make light spots, similar to clouds, at irregular -distances; then put in a quarter part more blue, -and make new clouds or spots a little darker. -Repeat this operation six or seven times, each time -adding more blue. All these coats will form stains -in proper gradation, as in the natural marble; and -to operate more properly, it would be better to have -a model, either of the marble itself, or skilfully -painted.</p> - -<p>The veins of gold, which must not be laid on till -the book is gilt, and just previous to polishing, are -formed with gold in shell. The substance used to -make it take and hold firmly on the cover of the -book is prepared with white of egg and spirits of -wine in equal proportion, and two parts of water, -beating all well and leaving it to clear; then wet a -small portion of gold-powder with the liquid, mixing -it with the finger, and use it with a small camel's-hair -pencil. Pass it on in different places, so as to -imitate the model, according to the taste of the -workman; when done, let it perfectly dry, and -polish with the polisher scarcely warm.</p> - -<p>It will be perceived that by the use of other -<span class="pagenum"><a name="page263" id="page263"></a>[pg 263]</span> -colours, or two or three together, many beautiful -designs may be in like manner executed.</p> - -<p class="center1sb">LANDSCAPES.</p> - -<p>Many beautiful subjects may be formed on the -sides of books by the workman skilled in painting; -and, although coming more properly under the art -of painting, and being objectionable on account of -producing a mingling of the arts, so frequently exhibited -upon volumes where the art of the bookbinder -is superseded by that of the painter and -jeweller, the young workman should understand -at least the process by which they are produced. -The volume is prepared by being pastewashed, so -as to present a uniform fawn colour, the designs -slightly traced, and afterwards coloured according -to the pattern, the colours being mixed to the -proper shade with water. The shades must be -tried on pieces of refuse leather, as, being spirit-colours, -when once laid on, no art can soften them -down if too strong; and a peculiar lightness of touch -will be necessary to produce effect. Portraits, &c. -may also be executed in this manner, and many -superb designs have at times been executed by the -best binders of England and France. M. Didot, -bookseller of Paris, presented a copy of the "<i>Henriade</i>," -<span class="pagenum"><a name="page264" id="page264"></a>[pg 264]</span> -published by himself, to Louis XVIII., most -elegantly ornamented in this style. It was executed -by <i>M. Lunier Bellier</i>, bookbinder of Tours, -and exhibited on one side a miniature portrait of -Henry IV., and on the other a similar one of -Louis XVIII., both perfect likenesses. The greatest -difficulty consisted in the portraits, which were -first imprinted on paper, very moist, and immediately -applied to the cover, on which they were -impressed with a flat roller. When perfectly dry, -they were coloured with all the art of which the -binder was capable, and the other ornamental -paintings executed by hand. This proceeding requires -great care in the execution, and will be applicable -to any design where the binding will justify -the expense.</p> - -<p class="center1sb">TRANSFERRED LANDSCAPES.</p> - -<p>The art of transferring, long practised in the -ornamenting of fancy articles, was judged equally -practicable for forming a superior embellishment for -the sides of books. But the varnish necessary to -be employed in the operation rendered the invention -of no utility, from the action of the heated -polisher turning it white or causing it to shell off. -After several trials, this difficulty is believed to be -<span class="pagenum"><a name="page265" id="page265"></a>[pg 265]</span> -overcome, by the employment of a very simple and -common article in the office of the bookbinder,—viz.: -<i>new glaire</i>, well beaten up. The proceeding is as -follows:—Cut the print, intended to be transferred, -close to the design on all sides. Let it steep in the -glaire till it is well saturated with it. During this -time glaire the book twice, letting it dry on each -application. Take out the print, place it exactly in -the centre of the side-cover, and, laying a piece of -paper above, rub it sharply on the book, so that it -may adhere very closely. Remove the upper paper, -and with the finger rub off the paper gently until -the printed design begins to appear, wetting the -finger in <i>glaire</i> should the paper get too dry. The -utmost attention will now be necessary, for the -least carelessness in removing the paper that still -remains may entirely destroy the design, and the -whole of the previous labour be lost. The paper -must be gently removed, piece by piece, till the -design only appears on the leather while damp. -When dry, a white appearance will be presented, -arising from the small particles of paper adhering -to the ink; but these will be sufficiently hid on -glairing the side previous to finishing. The extent -and variety to which, at a small expense, these -designs may be carried, with the finish and beauty -<span class="pagenum"><a name="page266" id="page266"></a>[pg 266]</span> -given to the sides of books, renders the subject -worthy of the attention of the ornamental workman -particularly; but he must possess perseverance and -carefulness in an eminent degree, to carry it to -perfection. After the gilding or other ornament is -executed, the side must be finished off in the usual -manner. A slight coat of the varnish described in -a subsequent part of the work will, in this case, -give a superior finish.</p> - -<p>The following directions, and that of Mr. -Buchanan's, are taken from the circulars of the -Finishers' Friendly Association of London:—</p> - -<p>"<i>Pictures on Calf.</i>—We have heard of a process -for transferring prints from the paper on which -they had been printed to the sides of books bound -in calf; and in these days, when <i>novelty</i> is so much -sought after, it might be worth some Friendly's -while to test its efficacy. The side must be washed -clean, and, while damp, the print is laid thereon, -when, after remaining some time in the arming-press, -it is said that a copy of the engraving will be -found on the calf.</p> - -<p>"In sending one of these executed in colours by -him twenty years ago, a Friendly corrects an error -we committed, by terming <i>prints</i> <span class="sc">pictures</span>, and -writes, 'In preparing the calf, it is simply washed -<span class="pagenum"><a name="page267" id="page267"></a>[pg 267]</span> -with thin paste-water; when dry, a coat or two of -weak salts of tartar. When perfectly dry, you may -proceed with any subject; a very weak brown being -generally used for its outline. For all colours, I -use two cups of different strengths, with <i>quill</i>-pens -and brushes to each. The green is composed of -Scott's liquid blue and French berries. These are -bruised and simmered from half a pint to a quartern, -then caused to boil, and, while in that state, a -pinch of burnt alum should be added to set the -colour. The slate is weak copperas; red is obtained -from Brazil dust and vinegar, or Brazil chips boiled, -and solution of tin added. The books had generally -double bands—the lettering-pieces stained chocolate, -and the spaces between bands blacked, or the -colours "<i>moused</i>," morocco being too bright for the -stained calf. An octagon or square was coloured -brown, slate, or sprinkled, and in the centre a light -ground. Was the subject to my fancy, botanical -works with a group of plants on the sides, when -polished and pressed in japanned tins, had the -neatest appearance. Landscapes, animals, insects, -shells, &c. are all permanently fixed on the calf -by the above-named colours.' He concludes by -hoping 'the instructions are sufficiently plain to -<span class="pagenum"><a name="page268" id="page268"></a>[pg 268]</span> -induce some aspiring F. F.'s to practise this almost -forgotten branch of the art of finishing.'</p> - -<p class="author">"<span class="sc">W. Buchanan.</span>"</p> - -<p class="center1sb">ORNAMENTAL BLACK LINES.</p> - -<p>Black lines in rays, or intersecting each other in -the form of diamonds or other devices, on the sides -of books, which present a good appearance if well -executed, are ruled with steel or swan pens, the -nibs being formed to the size required by the boldness -of the lines. The vinegar-black mixed with a -portion of gum-arabic, to neutralize a part of the -action of the acid and make it of a stronger consistency, -will be found to answer best. Whatever the -pattern, it should be slightly traced with the folder, -and the design be afterwards marked with the pen, -kept steady by the aid of a ruler.</p> - -<p class="center1sb">BLACKING THE SQUARES.</p> - -<p>Unless coloured uniformly, the whole of the designs -before described will not produce the best -effect if the squares remain plain or variously -tinted; it is, therefore, necessary to black the -edges and squares of the board, and the cap over -the head-band. This is done with a piece of any -firm soft substance on the edges, and with a sponge -<span class="pagenum"><a name="page269" id="page269"></a>[pg 269]</span> -within the volume, sufficiently below the part where -the end-papers will cover. Finally, the covers -should be well pastewashed and left to dry.</p> - -<p class="center1sb">BANDS AND TITLE-PIECES.</p> - -<p>Where the backs are flat it will be necessary to -mark the place intended for the bands in gilding. -For this purpose the binder should have patterns -of the various forms and sizes cut out of thin -board, a little longer and double the breadth of -the volumes, so that they may be held firmly on -the sides, while the bands are marked across the -back through the apertures cut in the pattern. It -is usual to give a double band at the bottom of the -back, and therefore this must be allowed for in the -pattern, which lengthened portion must be placed -even with the edge of the boards at the tail of the -volume, and the bands marked with the folder. By -this plan the whole of the bands in sets of books -will present a parallel line, and the bad effect produced -by the inequalities arising from compassing -the distances and trusting to the sight will be -avoided. A great saving of time is also effected, as -the patterns once made will serve for a very considerable -period.</p> - -<p>On the fancy colours and sprinkles it is usual to -<span class="pagenum"><a name="page270" id="page270"></a>[pg 270]</span> -attach lettering-pieces of morocco. For this purpose -the morocco, or roan if common work, is cut -lengthways of the grain, according to the space -between the bands, and the slip placed across the -back to measure the breadth, and then cut off. Then, -slightly damping on the flesh-side, it must be pared -as thin and equal as possible, and the edges sloped -evenly down, so as to bring it to the exact size -of the square it is to occupy. Should the back -require two pieces,—viz.: another for the volume or -contents,—it may be proper to vary the colour. -These title-pieces are pasted evenly on, a portion -of paste rubbed over them with the finger, and then -attached firmly and equally by rubbing down the -edges with the folder, when the paste must be well -washed off with a clean sponge. Where economy -is an object, the squares intended for the title may -be darkened with brown or black, which will show -the lettering very well.</p> - -<p class="center1sb">INLAID ORNAMENTS.</p> - -<p>To give some bindings in vellum, calf, or morocco -an additional degree of splendour, it is sometimes -required to execute ornaments on the covers of a -different colour; and, as this is an important manipulation, -it will be necessary for the young workman -<span class="pagenum"><a name="page271" id="page271"></a>[pg 271]</span> -to understand it. Let the pattern be worked in -blind upon the volume, taking care to have it well -impressed. Pare morocco of the colour desired -evenly and thin. While damp, place it upon that -portion of the pattern to be inlaid, and press upon -it with the fingers. The outline of the figure will -appear through the morocco. Then lay it upon the -paring-stone; and, with the same gouges with -which the pattern has been executed, proceed to -cut out the morocco. The gouges used for this -kind of work should be made of steel.</p> - -<p>The same directions will apply to fancy titles for -flat backs.</p> - -<p>After the pieces have been properly cut out, the -workman will proceed to paste them evenly and -adjust them in their place upon the volume.</p> - -<p>When dry and prepared, the book will then be -ready for gilding, and when covered with the gold -ornament the joints of the leather will not be perceptible, -if well executed. The gouges must be -worked upon the edge of the morocco.</p> - -<p>This kind of ornament is more frequently executed -on calf than any other substance.</p> -<p><span class="pagenum"><a name="page272" id="page272"></a>[pg 272]</span></p> - -<div class="chapter"> -<h4 class="space-above2">COLOURS.</h4></div> - -<p>In connection with inlaid ornament, we give a -few hints to guide the workman in choice of colours. -Much of the effect produced will result from the -relations which the colours will bear to each other. -A well-executed piece of work may be spoiled by -the injudicious selection of colours. If the finisher -be ignorant of the lessons which nature teaches in -the distribution of colours, he cannot expect to -please a connoisseur whose taste has been corrected -and refined by a study of the harmonies of colours.</p> - -<p class="center1sb">NUMERICAL PROPORTIONS OF HOMOGENEOUS COLOURS.</p> - -<p class="center"><i>Yellow</i>, 3. <i>Red</i>, 5. <i>Blue</i>, 8.</p> - -<table summary="color proportions" border="0"> -<tr> - <td class="leftq" colspan="5">SECONDARIES.</td> -</tr> -<tr> - <td>3 Yellow</td> - <td rowspan="2"><span class="bigbrace">}</span></td> - <td rowspan="2" >Orange.</td> - <td rowspan="6"><img src="images/leftbraceab.png" width="20" height="150" alt="leftbrace" /></td> - <td rowspan="6">These are contrasting colours to the<br /> - primaries with which they produce<br /> - harmony in opposition:—the orange<br /> - with the blue, the purple with the<br /> - yellow, and the green with the red. - </td> -</tr> -<tr> - <td>5 Red</td> -</tr> -<tr> - <td>5 Red</td> - <td rowspan="2"><span class="bigbrace">}</span></td> - <td rowspan="2">Purple.</td> -</tr> -<tr> - <td>8 Blue</td> -</tr> -<tr> - <td>3 Yellow</td> - <td rowspan="2"><span class="bigbrace">}</span></td> - <td rowspan="2">Green.</td> -</tr> -<tr> - <td>8 Blue</td> -</tr> -<tr> - <td class="leftqz" colspan="5">TERTIARIES.</td> -</tr> -<tr> - <td>Purple</td> - <td rowspan="2"><span class="bigbrace">}</span></td> - <td rowspan="2" >Olive.</td> - <td rowspan="6"><img src="images/leftbraceab.png" width="20" height="150" alt="leftbrace" /></td> - <td rowspan="6">The tertiaries stand in the same relation<br /> - to the secondaries that the secondaries<br /> - do to the primaries:—olive to<br /> - orange, citron to purple, and russet<br /> - to green. - </td> -</tr> -<tr> - <td>Green</td> -</tr> -<tr> - <td>Green</td> - <td rowspan="2"><span class="bigbrace">}</span></td> - <td rowspan="2">Citron.</td> -</tr> -<tr> - <td>Orange</td> -</tr> -<tr> - <td>Orange</td> - <td rowspan="2"><span class="bigbrace">}</span></td> - <td rowspan="2">Russet.</td> -</tr> -<tr> - <td>Purple</td> -</tr> -</table> - -<p>Yellow is melodized by orange on one side and -green on the other; blue by green and purple, and -the red by purple and orange.</p> - -<p><span class="pagenum"><a name="page273" id="page273"></a>[pg 273]</span></p> - -<p class="center1sb">PASTING THE END-PAPERS, JOINTS, ETC.</p> - -<p>The volume being laid upon the table or press, -with the head towards the workman and the upper -board open, the guard or false end-paper must be -removed and all other substances cleared out of the -joint with the folder. The paper to be pasted on -the board is cut at each end, so as to show the same -margin as on the fore-edge, and pasted evenly over. -It is then carefully laid upon the board. The -position being adjusted, a piece of white paper -should be laid thereon, and the whole rubbed perfectly -even with the flat of the hand. Then with -the folder rub perfectly square on the joint. The -volume, with the board open, may then be turned, -and the other side done in the same way.</p> - -<p>If it is intended to execute a gilt border or blind -tooling in the interior of the cover, it will be important -that no part of the end-paper covers it. -To avoid this, a slip must be cut off at the head, -tail, and on the fore-edge, proportionate to the extra -breadth of the border over the square. Or, if -morocco joints have been placed in the volume, the -two corners of the portion left to be attached to the -boards must be cut, to prevent their showing above -the end-paper, which is to be pasted over and would -<span class="pagenum"><a name="page274" id="page274"></a>[pg 274]</span> -disfigure the edge, taking care to leave as much -leather as will cover perfectly such portion as is intended -for the joint and square of the board, so -that, when the paper is pasted on, it will not be -perceived that the corners have been cut off. Pare -the edge of the leather where the part is cut off on -a small board or folder placed underneath; afterwards -paste the joint on the edge of the board, -attach it neatly with the thumb, finger, and folder, -and, when dry, paste thereon the marbled or coloured -paper cut to the proper size. For the best class -of work the morocco joint is placed in the volume -by the finisher after the book is covered.</p> - -<p>If the ends are of silk, it will be necessary to -leave the silk sufficiently large to turn the edges -over a piece of paper that has been cut to the -required size, and in order to preserve the gloss -and richness of the silk it should not be pasted on -the paper upon which it is placed, except where it -is turned over the edge of the paper. The paper is -then lightly glued over and adjusted upon the board. -This method also prevents the silk from ravelling or -presenting a jagged edge. In all cases, however, -where the border is gilt or otherwise ornamented, -below the level of the edges of the volume, the -ends must not be pasted down till after that operation -<span class="pagenum"><a name="page275" id="page275"></a>[pg 275]</span> -is completed, as the glaire and oil would be -liable to stain, and present a bad effect.</p> - -<div class="figcenter" style="width: 280px;"> -<a href="images/275-600.png"><img src="images/275-280.png" width="280" height="460" alt="" /></a> -<p class="center">STANDING-PRESS.</p></div> - -<p>For inferior bindings, where the end-papers are -left plain, the last two leaves being merely pasted -<span class="pagenum"><a name="page276" id="page276"></a>[pg 276]</span> -together, the ends will only require pasting, and -attaching by placing the volume between boards, -and screwing firmly in the standing-press, immediately -after which it must be taken out and the -boards opened, so as to make the joints free. -Almost every class of work except velvet and Turkey -morocco requires to be submitted to the action -of the standing-press after the end-papers have -been pasted down, and then allowed to become perfectly -dry by leaving the boards open. Our illustration -is taken from a standing-press manufactured -by W. O. Hickok, Harrisburg, Pa.</p> - -<p>In all the departments, but especially in finishing, -cleanliness is of the utmost importance. It -matters not how graceful may be the design, how -perfectly the tools may be worked; all may be -spoiled by a volume having a dirty appearance. -Therefore, have every thing clean about you,—cups, -sponges, and brushes. Let your size, pastewash, -and glaire, be clean; your oil-cotton the same. -Do not lay on the gold until the preparation is dry. -After the working of your tools, be particular in -cleaning off the gold, so that no portions or specks -remain that should not, for they will have the appearance -of dirt. In calf-work, especially, be careful -of grease, or of any thing that will soil the -<span class="pagenum"><a name="page277" id="page277"></a>[pg 277]</span> -leather. In summer-time great care must be taken -to protect your work from the flies, particularly -after your backs are worked off. The little pests -will eat the glaire off in places, and give the book -an unsightly appearance.</p> - -<h4 class="space-above3">VARNISH,</h4> - -<p class="center1sb">AS USED IN BOOKBINDING.</p> - -<p>The first, by the celebrated <i>Tingry</i>, is made in -the following manner:—</p> - -<p>Put into a vessel six ounces of mastic, in drops, -three ounces of sandarac finely powdered, four -ounces of coarsely-broken glass, separated from the -dust by a sieve, and thirty-two ounces of spirits of -wine, of about forty degrees. Place the vessel upon -straw in another filled with cold water; put it on -the fire and let it boil, stirring the substances -together with a stick, to keep the resins from -uniting. When the whole appears well mixed, put -in three ounces of turpentine, and boil for another -half-hour, when the whole must be taken off and -stirred till the varnish and the water in which it is -placed cools. Next day, filter it through a fine -cotton, by which means it will acquire the greatest -degree of limpidity, and well cork up in a bottle.</p> -<p><span class="pagenum"><a name="page278" id="page278"></a>[pg 278]</span></p> - -<p>The other recipe is given by <i>Mons. F. Mairet</i>, of -<i>Châtillon sur Seine</i>, and may be prepared similar -to the above. The ingredients are, three pints of -spirits of wine, of thirty-six to forty degrees, eight -ounces of sandarac, two ounces of mastic in drops, -eight ounces of shell-lac, and two ounces of Venice -turpentine.</p> - -<p>The varnish is first put on the back of the book -with a camel's-hair brush as lightly as possible. -When nearly dry, it is polished with a ball formed -of fine white cotton, filled with wool, on which has -been rubbed a small quantity of olive-oil, to make -it glide freely; it must be rubbed at first lightly, -and, as fast as the varnish dries and becomes warm, -more sharply. The sides are in like manner -polished one after the other.</p> - -<p>Varnish is applied after the volume has been -polished by the iron, in order to retain the brilliancy -and preserve the volume from the bad effects produced -by flies eating off the glaire. The manufactured -article now in general use is applied by a -soft sponge being lightly passed over the volumes -after a small portion of varnish has been applied to -the sponge.</p> -<p><span class="pagenum"><a name="page279" id="page279"></a>[pg 279]</span></p> - -<h4 class="space-above2">STAMPING.</h4> - -<p>For gilding the sides and even backs of publishers' -work, or in fact any other where a quantity -of gilding is desired at little expense, the stamping-press -is brought into requisition, and by means of -tools cut for the purpose, called blocks or stamps, the -design is impressed on the side. These stamps may -be made of very small pieces, and, by having a number -of them, the patterns produced may be almost -indefinite. The stamps are affixed to an iron or brass -plate, called a back or foundation-plate, upon which -a piece of stout paper has been glued. Then let -the workman mark upon the plate the exact size of -the side to be stamped, marking it evenly with the -compasses, so as to justify the stamps; then strike -the centre, and draw lines upon the paper from the -centre, so as to divide it into squares or to any -given part, so as to afford freedom for selection in -the starting-point of the design. For it must be -manifest that if a workman starts all his patterns -from the same point, notwithstanding he may have -a variety of tools at his disposal, his patterns will -exhibit a great deal of uniformity. Let the paper -be glued equally over the surface, and proceed to -form the pattern by arranging the stamps upon the -<span class="pagenum"><a name="page280" id="page280"></a>[pg 280]</span> -plate so as to exhibit the design. A great deal of -taste can be displayed in the formation of patterns -for stamping; but, in consequence of the public -generally desiring a mass of gilt gingerbread-work, -this branch has been but little cultivated; the -prevalent opinion among stampers being that it is no -matter what is put upon the side so that it is well -covered with gold. Publishers find those books that -are the most tawdrily gilt are soonest disposed of; -hence, every thing is sacrificed to a gaudy exterior. -It is to be hoped that the art will be relieved from -this degraded ornamentation. Stampers themselves -can do something to purify and correct the public -taste by avoiding the unmeaning collections confusedly -huddled together, so often seen upon sides. -Every remark in regard to style, design, and combination -of tools in the hand-finisher's department -applies with equal force to stamp-work; and, although -the stamps used in the latter are not so plastic -as those in hand-work, still great results will be -achieved; for, notwithstanding the superiority of -hand-work for artistic expression and permanence, -press-work will always maintain a prominent position -in the art, producing, as it does, striking results -at a trifling expense. After the pattern is formed, -take a little paste and touch the under side of each -<span class="pagenum"><a name="page281" id="page281"></a>[pg 281]</span> -stamp, and place them in exact position. After -this is done and the paste has become hard, lay the -stamp or pattern thus formed upon the side of the -volume, taking care to have the same margin on the -front, back, and ends. Then place the board or -side upon which the stamp is placed upon the platen -or bed of the stamping-press, leaving the volume -hanging down in front of the platen, which is then -moved to the centre of the upper platen, so that the -clamps will touch the plate on both edges at the -same moment; then pull the lever so as to put a -slight pressure upon the plate in order to keep both -it and the side in their proper place; then adjust -the guides to the fore-edge and head or left-hand -side, and screw them fast; throw back the lever, take -out the book; examine and correct any irregularity -in the margin of the pattern by moving the guides. -When perfectly square, place a soft pasteboard -under the stamp, pull down the press, and apply -heat. This will set the stamps or harden the paste -and glue in a short time, so that they will not fall -off in stamping—a great annoyance. Work for -stamping does not require so much body or preparation -as if it were to be gilt by hand. Morocco can -be worked by merely being washed with urine; but -it is safer to use a coat of size, or glaire and water -<span class="pagenum"><a name="page282" id="page282"></a>[pg 282]</span> -mixed in proportions of one of the former to three -of the latter. Grained sheep, or, as it is called, -imitation-morocco, requires more body to gild well. -After the books are ready for laying on, the gold-leaf -is cut upon the cushion to the required size, or, -if the volume be large and the stamp will cover its -superficial extent, the leaf may be lifted from the -gold-book by means of a block covered with wadding -or cotton lap and laid immediately upon the side. -After an oiled rag has been lightly passed over the -surface of the leather to cause the gold to adhere -until it is put under the press, examine the press -to see if sufficiently heated for the purpose. A little -experience will soon determine the requisite amount -of heat as a general rule. Leather-work does not -require as hot a tool for stamping as for hand-work, -while cloth or muslin-work requires a short, quick -stroke, and the press to be hotter than for leather. -In most binderies the stamping-press is heated by -introducing steam or gas through tubes perforated -for the purpose; though a few still use the heaters, -which, after being heated in a furnace, are placed -in the holes of the upper platen. After the press -is properly heated, throw back the lever; take out -the pasteboard from under the stamp; regulate the -degree of pressure required for the stamp; then -<span class="pagenum"><a name="page283" id="page283"></a>[pg 283]</span> -place the side to be stamped upon the bed-plate, -holding it firmly against the guides with the left -hand, while with the right the lever is quickly -drawn to the front. This straightens the toggles and -causes a sharp impression of the stamp upon the -leather; immediately throw back the lever; take -out the side, and rub off with a rag the superfluous -gold. Repeat the operation upon the other side, -unless the stamp be of an upright design; it will -then be necessary to turn the stamp in the press -before operating upon the other side. Case-work -or covers that are stamped before being put upon -the books are done in the same manner, the backs -being also stamped before being glued on. The -preceding cut of a stamping-press for gilding light -<span class="pagenum"><a name="page284" id="page284"></a>[pg 284]</span> -work, lettering, &c., is of the most approved construction, -while for large, heavy work, either gilt or -stamped blind, (embossed, as it is erroneously called,) -and for cloth-work generally, the wheel-press is best -adapted. It can be worked either by hand or by -power. The fly-wheel can be kept revolving while -the workman is engaged in feeding the press. The -lever is used for light work. It will be perceived -that the upper platen of this press, to which the -<span class="pagenum"><a name="page285" id="page285"></a>[pg 285]</span> -stamp is attached, is stationary, thereby giving great -advantages in arranging pipes for heating by gas, -and also for carrying off the smoke and unconsumed -gas that would otherwise escape into the room. -These presses are manufactured by I. Adams & -Co., Boston.</p> - -<div class="figcenter" style="width: 500px;"> -<a href="images/283-1000.png"><img src="images/283-500.png" width="500" height="335" alt="" /></a> -<p class="center">LETTERING AND GILDING PRESS, No. 1.</p></div> - -<div class="figcenter" style="width: 450px; margin-top: 2em;"> -<a href="images/284-980.png"><img src="images/284-450.png" width="450" height="459" alt="" /></a> -<p class="center">EMBOSSING PRESS, No. 2.</p></div> - -<p>A description of the various processes to produce -by stamping the rich effects of inlaid work will be -found under the head of Illuminated Binding and -that of Inlaid Ornaments. For publishers' work -it is a point of economy to have a steel-cutter that -will cut out the pattern at one blow. For this kind -of work, coloured German paper is used instead of -leather for inlaying.</p> - -<p>Thin boards are cut out with the aid of steel-cutters -and the stamping-press, and affixed to the -volumes; and, after they are covered, they are -stamped in gold and blind with patterns corresponding -with the figure of the cutter. This can -only be applied where there are a large number -of volumes, although single volumes may be cut out -by hand at an increase of expense.</p> - -<p>The modernized Gothic design (Plate IX.) is intended -for a side-plate, to be worked either in gold -or blank. The light floriated design (Plate X.) is -calculated to be worked in gold, and is a good illustration -<span class="pagenum"><a name="page286" id="page286"></a>[pg 286]</span> -of the prevailing treatment of the style for -which it has been expressly designed. The pattern -upon Plate XI. is intended for press-work, to be -blank-stamped. The contrast of light and heavy -work producing a fine effect, it is well adapted for -a side-stamp, especially for cloth-work.</p> - -<div class="chapter"> -<div class="figcenter" style="width: 300px;"> -<p class="right">9.</p> -<a href="images/285afp9-600.jpg"><img src="images/285afp9-300.jpg" width="300" height="482" alt="" /></a> -<p class="center"><i>Modernized Gothic.</i></p></div></div> - -<div class="chapter"> -<div class="figcenter" style="width: 300px;"> -<p class="right">10.</p> -<a href="images/285bfp10-600.jpg"><img src="images/285bfp10-300.jpg" width="300" height="498" alt="" /></a> -<p class="center"><i>Modern Floriated Design.</i></p></div></div> - -<div class="chapter"> -<div class="figcenter" style="width: 300px;"> -<p class="right">11.</p> -<a href="images/286afp11-600.jpg"><img src="images/286afp11-300.jpg" width="300" height="488" alt="" /></a> -<p class="center"><i>Expressly for Cloth after Holbein's Style.</i></p></div></div> - -<p>Plate XII. is a graceful design from a "Hint" -of Mr. Leighton's. It is suited for a side-stamp, -to be worked in gold; and with it closes our illustrations -of design.</p> - -<div class="chapter"> -<div class="figcenter" style="width: 300px;"> -<p class="right">12.</p> -<a href="images/286bfp12-600.jpg"><img src="images/286bfp12-300.jpg" width="300" height="495" alt="" /></a> -<p class="center"><i>From a hint of Leighton.</i></p></div></div> - -<p>To obviate a difficulty that the young finisher -will experience in his first attempts at designing, -let him select a good quality of sized paper, cut it -to the required size, then fold it carefully into four -parts, and draw his pattern boldly upon one of the -four corners with a lead-pencil. After that is done, -slightly damp the opposite corner, fold the drawn -portion so that it comes in contact with the damp -surface, and rub it upon the back, so as to transfer -the outlines of the drawing. When it appears with -sufficient distinctness, trace it carefully over with -the pencil, and repeat the process upon the other -corners until the pattern is complete. This method -insures accuracy and expedition. In working a -pattern with gouges or with intersected lines, the -same principle is applied, so as to reproduce the -<span class="pagenum"><a name="page287" id="page287"></a>[pg 287]</span> -pattern precisely alike at the four corners, and to -save time. In this case the paper is folded, and one -impression of the tool answers for both sides of the -pattern.</p> - -<p>Let the young finisher but feel a love for his art, -make himself familiar with the best specimens, and -determine to excel; and eventually his productions -will be esteemed, his ability command the best -situations, and he will be recognised as an artist.</p> - -<p class="center1sb">CUTTING-MACHINES.</p> - -<p>For cutting paper, pamphlets, and books "out -of boards," a number of machines have been invented, -and are used in many binderies, especially -in those where large quantities of "cloth-work" -are bound. They have been found to answer for -this class of work very well. Some of them operate -with sufficient nicety to cut books for case-work -that are intended for gilt edges, when they -are not to be scraped. For first-class work, cut -"in boards," nothing has been discovered to supersede -the old-fashioned mode of cutting with the -plough and press.</p> -<p><span class="pagenum"><a name="page288" id="page288"></a>[pg 288]</span></p> - -<div class="figcenter" style="width: 400px;"> -<a href="images/288-800.png"><img src="images/288-400.png" width="400" height="359" alt="PATENT PAPER AND BOOK TRIMMER." /></a> -<p class="center">PATENT PAPER AND BOOK TRIMMER.</p></div> - -<p>The above cut of one of these machines, from -the manufactory of I. Adams & Co., Boston, will -serve to convey a general idea of its appearance; -and the names of the makers are a sufficient guarantee -of the mechanical perfection of its details.</p> -<p><span class="pagenum"><a name="page289" id="page289"></a>[pg 289]</span></p> - -<h4 class="space-above2">TRANSLATION OF DATES.</h4> - -<p>Many old books have their dates printed in a -manner which puzzles the finisher, should he be required -to date any so printed, which are too thin to -admit of its being done as on the title-page. The -following key is here given, as it may be found -useful in such cases:—<span class="sc1">c</span>. 100; IↃ, -or <span class="sc1">d</span>, 500; <span class="sc1">c</span>IↃ -or <span class="sc1">m</span>, 1000; IↃↃ, 5000; -<span class="sc1">cc</span>IↃↃ, 10,000; -IↃↃↃ, 50,000, -<span class="sc1">ccc</span>IↃↃↃ, 100,000. -Thus, <span class="sc1">c</span>IↃ, IↃ, -<span class="sc1">clxxxviii</span>—1688. -While on this subject, it may not be inappropriate -to notice the dating of some books printed -in France during the republic in that country. -Thus, "An. <span class="sc1">xiii.</span>"—1805, that being the thirteenth -year of the republic, which commenced -in 1792.</p> - -<h4 class="space-above2">RESTORING THE BINDINGS OF OLD BOOKS.</h4> - -<p>Old bindings often look badly on account of the -leather becoming dry and cracked, or the surface -of the skin having been rubbed off in places. -To obviate this, take a small quantity of paste -and rub it carefully with the finger upon the -<span class="pagenum"><a name="page290" id="page290"></a>[pg 290]</span> -portions that require it; after it is dry, wash the -volume carefully over with a thin solution of glue -size. When dry, the volume may be varnished, -and afterwards rubbed over with a cloth in which -a few drops of sweet oil have been dropped.</p> - -<h4 class="space-above2">SUPPLYING IMPERFECTIONS IN OLD BOOKS.</h4> - -<p>It often occurs that a valuable and rare work -has a leaf torn or missing. In order to supply it, -the first step will be to obtain the use of a perfect -copy as a model. Then procure paper of the -same colour as the leaf to be mended, and cut it -carefully to correspond with the torn portion. -After the piece has been neatly adjusted, tip -it and the leaf, very lightly, along the edges -with paste made of rice-flour; then place a piece -of tissue-paper on both sides of the leaf, and -smooth it carefully with the folder; then close -the volume and allow it to remain until perfectly -dry. Then proceed to remove the tissue-paper, -and it will be found that the portions that adhere -where the joining occurs will be strong enough -to secure the piece to the leaf of the book. The -<span class="pagenum"><a name="page291" id="page291"></a>[pg 291]</span> -letters may be then copied from the perfect copy -and traced upon the inserted piece. The general -appearance will depend upon the skill displayed -in order to produce a successful imitation of the -original.</p> -<p><span class="pagenum"><a name="page292" id="page292"></a>[pg 292]</span></p> - -<h3 class="space-above2">HINTS<br /><br /> - -<span class="less2">TO BOOK-COLLECTORS.</span></h3> - -<hr class="shorter" /> - -<p>Never write your name upon the title-page of a -book.</p> - -<p>Have your books cut as large as possible, so as to -preserve the integrity of the margin.</p> - -<p>Do not adopt one style of binding for all your -books.</p> - -<p>Let the bindings upon your books be characteristic -of the contents and of the value of the -work.</p> - -<p>Employ Turkey morocco for large works or for -books that you have in constant use. It is the -most durable material used in binding, except Levant -morocco, which is very expensive.</p> - -<p>English coloured calf makes a beautiful covering, -and bears full gilt tooling better than morocco. -The latter, if too richly charged, is apt to look -tawdry.</p> -<p><span class="pagenum"><a name="page293" id="page293"></a>[pg 293]</span></p> - -<p>Let the durability and neatness of your bindings -be the primary requisites. Ornament judiciously -and sparingly, rather than carelessly or -gaudily.</p> - -<p>Poetry and sermons are not to be treated alike, -either in colour or degree of ornament to be employed.</p> - -<p>The value of a library will be enhanced by the -amount of knowledge and taste displayed in the -bindings.</p> - -<p>Russia leather is no protection against worms, -and it speedily cracks along the joint.</p> - -<p>Uncut books will command a higher price than -those that are cropped.</p> - -<p>To bind a book well, it should have ample time to -dry after each process.</p> - -<p>When you receive a volume from the binder, -place it upon your shelf in such a manner that the -adjoining volumes will press tightly against it and -keep it closed; or, if you lay it upon your table, -place other volumes upon it, to prevent the boards -from warping, and do not, for some time, use it -near the fire.</p> - -<p>Upon opening a volume, do not grasp the -leaves tightly in your hands. You might thereby -break the back. If the book is too tight in the -<span class="pagenum"><a name="page294" id="page294"></a>[pg 294]</span> -back, lay it upon a flat surface, and open it by -taking a few sheets at a time, and lightly pressing -upon the open leaves, going thus from the beginning -to the end, until the requisite freedom is -obtained.</p> - -<p>Use a paper-knife, or folder, to cut up the -leaves of your uncut books, so that the edges -will be smooth and even; otherwise the book will -have to be cut down when it is bound.</p> - -<p>Do not bind a newly-printed book. It is liable -to set off in the pressing.</p> - -<p>Never destroy an original binding upon an old -volume if the binding be in tolerable condition. -An old book should not be rebound, unless it is -essential to its preservation; and then it should be, -as far as possible, a restoration.</p> - -<p>Carefully preserve old writings and autographs -upon fly-leaves, unless they are trivial. It is an -act of courtesy to the former owner of a book -to place his book-plate on the end-board of the -volume.</p> - -<p>Any blank-leaves that occur in old volumes -should not be removed. The bastard or half title -should always be preserved.</p> - -<p>Have all oblong plates placed in such a manner -<span class="pagenum"><a name="page295" id="page295"></a>[pg 295]</span> -that the inscription under them will read from the -tail to the head of the volume.</p> - -<p>Never bind a large map with a small volume. -It is liable to tear away; and, in pressing the -volume, it makes unseemly marks. Maps and plans -should be affixed to blank leaves, so as to open -clear of the volume, that the reader may have the -plan and text to examine together.</p> - -<p>It is a false economy to bind up a number of -volumes together, especially if they are of different -sizes and upon different subjects.</p> - -<p>Keep your books dry, but not too warm. Gas is -injurious in a library, especially to the gilding upon -the books.</p> - -<p>Do not place books with uncut tops where the -dust will fall upon them. It will penetrate between -the leaves and mar the interior of the volumes.</p> - -<p>Avoid placing books with clasps or carved sides -upon the shelves. They will mark and scratch -their neighbours.</p> - -<p>Never fold down corners, or wet your fingers, -when reading or turning over the pages of a book.</p> - -<p>Do not read a book at table. Crumbs are apt to -penetrate into the back-fold of the leaves.</p> - -<p>Books are not intended for card-racks or for -receptacles of botanical specimens.</p> -<p><span class="pagenum"><a name="page296" id="page296"></a>[pg 296]</span></p> - -<p>Never leave a book open, face downward, under -the pretext of keeping the place. If it remain -long in that condition, it will probably ever afterwards -jump open at that place.</p> - -<p>Never pull books out of the shelves by the head-bands, -or suffer them to stand long upon the -fore-edge.</p> - -<p>Books should not be toasted before a fire or be -converted into cushions to sit upon.</p> - -<p>Saturate a rag with camphor, and, when dry, -occasionally wipe the dust from your books with it, -and you will not be annoyed with book-worms.</p> - -<p>Treat books gently; for "books are kind friends. -We benefit by their advice, and they exact no confessions."</p> -<p><span class="pagenum"><a name="page297" id="page297"></a>[pg 297]</span></p> - -<div class="glossary"> - -<h3 class="space-above3"><span class="oes spaced2">Technical Terms</span><br /><br /> - -<span class="smaller">USED IN</span><br /><br /> - -BOOKBINDING.</h3> - -<hr class="shorter" /> - -<p><span class="def">All-Along.—</span>When a volume is sewed, and the -thread passes from kettle-stitch to kettle-stitch, -or from end to end in each sheet, it is -said to be sewed all-along.</p> - -<p><span class="def">Asterisk.—</span>A sign used by the printers at the -bottom of the front page of the duplicate-leaves -printed to supply the place of those -cancelled.</p> - -<p><span class="def">Backing-Boards.—</span>Are used for backing or forming -the joint. They are made of very hard -wood or faced with iron, and are thicker -on the edge intended to form the groove -than upon the edge that goes towards the -fore-edge, so that the whole power of the -laying-press may be directed towards the -back.</p> -<p><span class="pagenum"><a name="page298" id="page298"></a>[pg 298]</span></p> - -<p><span class="def">Backing-Hammer.—</span>The hammer used for backing -and rounding: it has a broad, flat face, similar -to a shoemaker's hammer.</p> - -<p><span class="def">Bands.—</span>The twines whereon the sheets of a volume -are sewn. When the book is sewed flexible -the bands appear upon the back. When -the back is sawn so as to let in the twine, -the appearance of raised bands is produced -by glueing narrow strips of leather across -the back before the volume is covered.</p> - -<p><span class="def">Band-Driver.—</span>A tool used in forwarding to correct -irregularities in the bands of flexible -backs.</p> - -<p><span class="def">Bead.—</span>The little roll formed by the knot of the -headband.</p> - -<p><span class="def">Bleed.—</span>When a book is cut into the print it is said -to bleed.</p> - -<p><span class="def">Bevelled Boards.—</span>Very heavy boards for the sides -champered around the edges.</p> - -<p><span class="def">Blind-Tooled.—</span>When the tools are impressed upon -the leather, without being gilt, they are said -to be blind or blank.</p> - -<p><span class="def">Boards.—</span>Are of various kinds, such as pressing, -backing, cutting, burnishing, gilding, &c. -The pasteboards used for side-covers are -termed boards. The boards used for cutting -<span class="pagenum"><a name="page299" id="page299"></a>[pg 299]</span> -books "out of boards" are called steamboat-boards. -Tinned boards are used for finished -work; while brass or iron-bound boards are -used for pressing cloth-work.</p> - -<p><span class="def">Bodkin or Stabbing-Awl.—</span>A strong point of iron -or steel, fixed on a wooden handle, to form -the holes in the boards required to lace in -the bands. Used also for tracing the lines -for cutting the fore-edge.</p> - -<p><span class="def">Bole.—</span>A preparation used in gilding edges.</p> - -<p><span class="def">Bolt.—</span>The fold in the head and fore-edge of the -sheets. Also the small bar with a screw -used to secure the knife to the plough.</p> - -<p><span class="def">Bosses.—</span>Brass plates attached to the sides of volumes -for their preservation.</p> - -<p><span class="def">Broke up.—</span>When plates are turned over and -folded at a short distance from the back-edge, -before they are placed so as to enable -them to turn easily in the volume, they are -said to be broke up. The same process -is sometimes applied to the entire volume.</p> - -<p><span class="def">Burnish.—</span>The effect produced by the application -of the burnisher to the edges.</p> - -<p><span class="def">Burnishers.—</span>Are pieces of agate or bloodstone -affixed to handles.</p> -<p><span class="pagenum"><a name="page300" id="page300"></a>[pg 300]</span></p> - -<p><span class="def">Cancels.—</span>Leaves containing errors which are to be -cut out and replaced with corrected pages.</p> - -<p><span class="def">Caps.—</span>The leather covering of the headband. -Applies also to the paper envelopes used to -protect the edges while the volume is being -covered and finished.</p> - -<p><span class="def">Case-Work.—</span>Work in which the boards are covered -and stamped. The volume is then glued -upon the back and stuck into them.</p> - -<p><span class="def">Catch-Word.—</span>A word met with in early-printed -books at the bottom of the page, which -word is the first on the following page. -Now used to denote the first and last -word in an encyclopædia or other book -of reference.</p> - -<p><span class="def">Centre-Tools.—</span>Are single, upright, or independent -tools used for the middle of the panels by -the finisher.</p> - -<p><span class="def">Clearing Out.—</span>Removing the waste-paper and -paring away any superfluous leather upon -the inside, preparatory to pasting down the -lining-paper.</p> - -<p><span class="def">Collating.—</span>Examining the signatures, after the -volume is gathered, to ascertain if they be -correct and follow in numerical order.</p> - -<p><span class="def">Corners.—</span>The triangular brass tools used in -<span class="pagenum"><a name="page301" id="page301"></a>[pg 301]</span> -finishing backs and sides. The gilt ornaments -used on velvet books. Also, the -leather pasted on the corners of half-bound -books.</p> - -<p><span class="def">Creaser.—</span>The tool used in marking each side of the -bands, generally made of steel.</p> - -<p><span class="def">Cropped.—</span>When a book has been cut down too -much it is said to be cropped.</p> - -<p><span class="def">Dentelle.—</span>A fine tooled border resembling lace-work.</p> - -<p><span class="def">Edge-Rolled.—</span>When the edges of the boards are -rolled. It may be either in gold or blind.</p> - -<p><span class="def">Embossed.—</span>When a plate is stamped upon the -cover so as to present a raised figure or -design, it is said to be embossed. Some -inappropriately term this kind of work Arabesque.</p> - -<p><span class="def">End-Papers.—</span>The paper placed at each end of the -volume, a portion of which is removed when -the lining-paper is pasted down upon the -boards. Also called Waste-Papers.</p> - -<p><span class="def">Fillet.—</span>The cylindrical ornament used in finishing -upon which simple lines are engraved.</p> -<p><span class="pagenum"><a name="page302" id="page302"></a>[pg 302]</span></p> - -<p><span class="def">Finishing.—</span>Is that department that receives the -volumes after they are put in leather, -and ornaments them as required. One -who works at this branch is termed a -finisher.</p> - -<p><span class="def">Finishers' Press.—</span>Is the same as a laying-press, -only much smaller.</p> - -<p><span class="def">Flexible.—</span>When a book is sewn on raised bands -and the thread is passed entirely round each -band.</p> - -<p><span class="def">Folder.—</span>This is a flat piece of bone or ivory used -in folding the sheets and in many other -manipulations. Also applied to a female -engaged in folding sheets.</p> - -<p><span class="def">Fore-Edge.—</span>The front edge of the book.</p> - -<p><span class="def">Foundation-Plate.—</span>A plate of iron or brass upon -which side-stamps are affixed.</p> - -<p><span class="def">Forwarding.—</span>Is that branch that takes the books -after they are sewed and advances them -until they are put in leather ready for the -finisher. One who works at this branch is -termed a forwarder.</p> - -<p><span class="def">Full-Bound.—</span>When the sides of a volume are entirely -covered with leather, it is said to be -full-bound.</p> -<p><span class="pagenum"><a name="page303" id="page303"></a>[pg 303]</span></p> - -<p><span class="def">Gathering.—</span>The process of arranging the sheets -according to the signatures.</p> - -<p><span class="def">Gauge.—</span>Used in forwarding to take the correct -size of the volume and to mark it upon the -boards for squaring.</p> - -<p><span class="def">Gilt.—</span>Is applied to both the edges and to the -ornaments in finishing.</p> - -<p><span class="def">Glaire.—</span>The whites of eggs.</p> - -<p><span class="def">Grater.—</span>An iron instrument used by the forwarder -for rubbing the backs after they are paste-washed.</p> - -<p><span class="def">Gouge.—</span>A tool used in finishing, the face of which -is a line forming the segment of a circle.</p> - -<p><span class="def">Guards.—</span>Strips of paper inserted in the backs of -books intended for the insertion of plates, -to prevent the book being uneven when -filled; also the strips upon which plates are -mounted.</p> - -<p><span class="def">Guides.—</span>The groove in which the plough moves -upon the face of the cutting-press.</p> - -<p><span class="def">Half-Bound.—</span>When a volume is covered with -leather upon the back and corners, and -the sides are covered with paper or -cloth.</p> - -<p><span class="def">Hand-Letters.—</span>Letters cut and affixed to handles, -<span class="pagenum"><a name="page304" id="page304"></a>[pg 304]</span> -and adjusted singly upon the volume when -lettering it.</p> - -<p><span class="def">Head and Tail.—</span>The top and bottom of a book.</p> - -<p><span class="def">Headband.—</span>The silk or cotton ornament worked at -the ends so as to make the back even with -the squares.</p> - -<p><span class="def">Imperfections.—</span>Sheets rejected on account of being -in some respect imperfect, and for which -others are required to make the work -complete.</p> - -<p><span class="def">In Boards.—</span>When a volume is cut after the paste-#boards -are affixed to form the sides, it -is said to be cut in boards. The term -is also applied to a style of binding in -which the boards are merely covered with -paper.</p> - -<p><span class="def">Inset.—</span>The pages cut off in folding and placed in -the middle of the sheet.</p> - -<p><span class="def">Inside Tins.—</span>So called from being placed inside -of the boards when the volume is put in the -standing-press.</p> - -<p><span class="def">Joints.—</span>The projections formed in backing to admit -the boards; applied also to the inside -when the volume is covered.</p> -<p><span class="pagenum"><a name="page305" id="page305"></a>[pg 305]</span></p> - -<p><span class="def">Justification.—</span>The observance that the pages of -a volume agree and are parallel throughout, -so as to insure a straight and equal -margin.</p> - -<p><span class="def">Kettle-Stitch.—</span>The stitch which the sewer makes at -the head and tail of a book; said to be a -corruption of chain-stitch.</p> - -<p><span class="def">Keys.—</span>The little instruments used to secure the -bands to the sewing-press.</p> - -<p><span class="def">Knocking-Down Iron.—</span>So called from having the -slips, when laced in, pounded down upon it, -so that they will not show when the book is -covered.</p> - -<p><span class="def">Laced In.—</span>When the boards are affixed to the -volume by means of the bands being passed -through holes made in the boards, they are -said to be laced in.</p> - -<p><span class="def">Lettering-Block.—</span>A piece of wood, the upper surface -being rounded, upon which side-labels -are lettered.</p> - -<p><span class="def">Lettering-Box.—</span>The box in which the type are -screwed up preparatory to lettering.</p> - -<p><span class="def">Lining-Paper.—</span>The coloured or marbled paper at -each end of the volume.</p> -<p><span class="pagenum"><a name="page306" id="page306"></a>[pg 306]</span></p> - -<p><span class="def">Marbler.—</span>The workman who marbles the edges of -books, &c.</p> - -<p><span class="def">Mitred.—</span>When the lines in finishing intersect each -other at right angles and are continued without -overrunning each other, they are said to -be mitred.</p> - -<p><span class="def">Out of Boards.—</span>When a volume is cut before the -boards are affixed, it is said to be done out -of boards.</p> - -<p><span class="def">Overcasting.—</span>An operation in sewing, when the -work consists of single leaves or plates.</p> - -<p><span class="def">Pallet.—</span>Name given to the tools used in gilding -upon the bands, sometimes applied to the -lettering-box.</p> - -<p><span class="def">Panel.—</span>The space between bands; also applied to -bevelled and sunk sides.</p> - -<p><span class="def">Papering Up.—</span>Covering the edges after they are -gilt, so as to protect them while the volume -is being covered and finished.</p> - -<p><span class="def">Paring.—</span>Reducing the edges of the leather by -forming a gradual slope.</p> - -<p><span class="def">Pastewash.—</span>A thin dilution of paste in water.</p> - -<p><span class="def">Pencil.—</span>A small brush of camel's hair.</p> - -<p><span class="def">Pieced.—</span>When the space between bands, upon -<span class="pagenum"><a name="page307" id="page307"></a>[pg 307]</span> -which the lettering is placed, has a piece of -leather upon it different from the back, it is -said to be pieced or titled.</p> - -<p><span class="def">Plough.—</span>The instrument used in cutting the edges -of books and pasteboards.</p> - -<p><span class="def">Points.—</span>Holes made in the sheets by the printer; -they serve as guides in folding.</p> - -<p><span class="def">Polisher.—</span>A steel implement used in finishing.</p> - -<p><span class="def">Press.—</span>There are various kinds of presses,—viz.: -laying or cutting, standing, stamping, embossing, -gilding, and finishing.</p> - -<p><span class="def">Rake.—</span>An instrument used in forwarding, to -harden the backs while being pastewashed -in the standing-press.</p> - -<p><span class="def">Rasped.—</span>The sharp edge taken off the boards.</p> - -<p><span class="def">Register.—</span>The ribbon placed in a volume for a -marker; also a list of signatures, attached to -the end of early-printed works, for the use -of the binder.</p> - -<p><span class="def">Rolls.—</span>The cylindrical ornaments used in finishing.</p> - -<p><span class="def">Run Up.—</span>When the back has a fillet run from -head to tail without being mitred at each -band, it is said to be run up.</p> - -<p><span class="def">Runner.—</span>The front board used in cutting -edges, &c.</p> -<p><span class="pagenum"><a name="page308" id="page308"></a>[pg 308]</span></p> - -<p><span class="def">Sewer.—</span>The person who sews the sheets together -on the sewing-press—generally a female.</p> - -<p><span class="def">Set-Off.—</span>Designates the transfer of the ink to the -opposite page.</p> - -<p><span class="def">Setting the Head.—</span>Is covering the headband neatly -with the leather, so as to form a kind -of cap.</p> - -<p><span class="def">Shaving-Tub.—</span>The paper cut from the edges of a -volume are called shavings. The receptacle -into which they fall while the forwarder is -cutting the edges is termed the shaving-tub.</p> - -<p><span class="def">Signature.—</span>The letter or figure under the footline -of the first page of each sheet to indicate the -order of arrangement in the volume; sometimes -applied to the sheet itself.</p> - -<p><span class="def">Size.—</span>A preparation used in finishing and gilding, -generally made from vellum.</p> - -<p><span class="def">Slips.—</span>The pieces of twine that project beyond the -volume after it is sewn.</p> - -<p><span class="def">Squares.—</span>The portions of the board that project -over the edges.</p> - -<p><span class="def">Stabbing.—</span>The operation of piercing the boards -with a bodkin for the slips to pass through; -also the piercing of pamphlets for the purpose -of stitching.</p> - -<p><span class="def">Stamps.—</span>The brass tools used in finishing to impress -<span class="pagenum"><a name="page309" id="page309"></a>[pg 309]</span> -a figure upon the leather; they are distinguished -by hand-stamps and stamps for -the press.</p> - -<p><span class="def">Start.—</span>When any of the leaves are not properly -secured in the back, upon opening the -volume they will project beyond the others, -and are said to start.</p> - -<p><span class="def">Steamboating.—</span>Cutting books out of boards, a -number being cut at the same time.</p> - -<p><span class="def">Stitching.—</span>The operation of passing the thread -through a pamphlet for the purpose of securing -the sheets together.</p> - -<p><span class="def">Stops.—</span>Are small circular tools, adapted to stop a -fillet when it intersects at right angles, to -save the time used in mitreing.</p> - -<p><span class="def">Title.—</span>The space between bands, upon which the -lettering is placed.</p> - -<p><span class="def">Tools.—</span>Applied particularly to the hand-stamps -and tools used in finishing.</p> - -<p><span class="def">Trindle.—</span>A strip of thin wood or iron.</p> - -<p><span class="def">Turning Up.—</span>The process of cutting the fore-edges -in such a manner as to throw the -round out of the back until the edge is cut.</p> - -<p><span class="def">Tying Up.—</span>The tying of a volume after the cover -has been drawn on, so as to make the leather -<span class="pagenum"><a name="page310" id="page310"></a>[pg 310]</span> -adhere to the sides of the bands; also for -setting the head.</p> - -<p><span class="def">Whipping.—</span>The process of overseaming plates.</p> - -<p><span class="def">Witness.—</span>When a volume is cut so as to show that -it has not been cut as small as some of the -leaves, their uncut edges prove this, and -are called witness and sometimes proof.</p> - -<p><span class="def">Wrinkle.—</span>The uneven surfaces in a volume, caused -by not being properly pressed or by dampness, -also caused by improper backing.</p> -</div> - -<p><span class="pagenum"><a name="page311" id="page311"></a>[pg 311]</span></p> - -<div class="chapter"> -<h3 class="space-above5">INDEX.</h3></div> - -<hr class="shorter" /> - -<div class="center"> -<p class="center"> -<a href="#A">A</a> | <a href="#B">B</a> | <a href="#C">C</a> | <a href="#D">D</a> | -<a href="#E">E</a> | <a href="#F">F</a> | <a href="#G">G</a> | <a href="#H">H</a> | -<a href="#I">I</a> | <a href="#J">J</a> | <a href="#K">K</a> | <a href="#L">L</a> | -<a href="#M">M</a> | <a href="#N">N</a> | <a href="#O">O</a> | <a href="#P">P</a> | -<a href="#Q">Q</a> | <a href="#R">R</a> | <a href="#S">S</a> | <a href="#T">T</a> | -<a href="#U">U</a> | <a href="#V">V</a> | <a href="#W">W</a> | <a href="#Y">Y</a><br /><br /></p> - -<div class="index"> - -<ul class="none"> - -<li class="top"><a name="A" id="A"></a>Affixing the stamps, <a href="#page279">279</a>, <a href="#page280">280</a>.</li> - -<li>Agatine marble, on leather, <a href="#page249">249</a>.</li> - -<li>Aldine, <a href="#page198">198</a>.</li> - -<li>Aldus, <a href="#page198">198</a>.</li> - -<li>Anonay paper, <a href="#page150">150</a>.</li> - -<li>Antique, <a href="#page231">231</a>. - -<ul class="index1"><li>bands, <a href="#page147">147</a>.</li> - -<li>marble, <a href="#page117">117</a>.</li> - -<li>Dutch, <a href="#page123">123</a>.</li></ul></li> - -<li>Arabesque, <a href="#page210">210</a>.</li> - -<li>Assyrian, <a href="#page179">179</a>.</li> - -<li>Aqua Regia, <a href="#page237">237</a>.</li> - -<li class="top"><a name="B" id="B"></a>Backing-machine,<a href="#page173">173</a>.</li> - -<li>Backs, flexible, <a href="#page54">54</a>, <a href="#page55">55</a>. - -<ul class="index1"><li>India-rubber, <a href="#page58">58</a>.</li></ul></li> - -<li>Backing books, <a href="#page43">43</a>.</li> - -<li>Bands, in finishing, <a href="#page269">269</a>.</li> - -<li>Bands, raised, <a href="#page53">53</a>, <a href="#page54">54</a>. - -<ul class="index1"><li>parchment, <a href="#page57">57</a>.</li></ul></li> - -<li>Baumgarten, <a href="#page20">20</a>.</li> - -<li>Beating, <a href="#page41">41</a>, <a href="#page42">42</a>.</li> - -<li>Beating-hammer, <a href="#page42">42</a>.</li> - -<li>Beckford, <a href="#page206">206</a>.</li> - -<li>Bedford, <a href="#page28">28</a>.</li> - -<li>Benedict, <a href="#page20">20</a>.</li> - -<li>Bible, chained in churches, <a href="#page16">16</a>.</li> - -<li>Bibliographical Decameron, <a href="#page14">14</a>, <a href="#page26">26</a>, <a href="#page135">135</a>.</li> - -<li>Bindings of Corvinus, <a href="#page14">14</a>. - -<ul class="index1"><li>of Henry VII., <a href="#page16">16</a>.</li> - -<li>of Henry VIII., <a href="#page17">17</a>.</li> - -<li>of Elizabeth, <a href="#page17">17</a>.</li> - -<li>of Grolier, <a href="#page17">17</a>.</li> - -<li>of Maioli, <a href="#page18">18</a>.</li> - -<li>of Diana of Poictiers, <a href="#page18">18</a>.</li> - -<li>of Henry II., <a href="#page18">18</a>.</li> - -<li>of De Thou, <a href="#page19">19</a>.</li> - -<li>of the Chevalier D'Eon, <a href="#page19">19</a>.</li> - -<li>of Oxford, <a href="#page20">20</a>.</li> - -<li>of Mackinlay, <a href="#page21">21</a>.</li> - -<li>of Roger Payne, <a href="#page21">21-23</a>.</li> - -<li>of Mackenzie, <a href="#page28">28</a>.</li> - -<li>of Charles Lewis, <a href="#page28">28</a>.</li> - -<li>of Clarke, <a href="#page28">28</a>.</li> - -<li>of Riviere, <a href="#page28">28</a>.</li> - -<li>of Bedford, <a href="#page28">28</a>.</li> - -<li>of Hayday, <a href="#page28">28</a>.</li> - -<li>of Napoleon, <a href="#page30">30</a>.</li> - -<li>of Lortic, <a href="#page31">31</a>.</li> - -<li>of Duru, <a href="#page32">32</a>.</li> - -<li>of Niédré, <a href="#page32">32</a>.</li></ul></li> - -<li>Bindings of Bauzonnet, <a href="#page32">32</a>, <a href="#page142">142</a>.<span class="pagenum"><a name="page312" id="page312"></a>[pg 312]</span></li> - -<li>Black, for marbling, <a href="#page85">85</a>, <a href="#page91">91</a>. - -<ul class="index1"><li>edges, <a href="#page136">136</a>.</li> - -<li>ink, <a href="#page156">156</a>, <a href="#page157">157</a>.</li> - -<li>for blank-work, <a href="#page165">165</a>.</li> - -<li>for marbling leather, <a href="#page241">241</a>.</li> - -<li>for leather, <a href="#page259">259</a>.</li> - -<li>lines, <a href="#page268">268</a>.</li></ul></li> - -<li>Blacking the squares, <a href="#page268">268</a>.</li> - -<li>Blank binding, <a href="#page151">151</a>.</li> - -<li>Bleeding, <a href="#page68">68</a>.</li> - -<li>Blind tooling, <a href="#page230">230</a>.</li> - -<li>Block-finishing, <a href="#page279">279</a>.</li> - -<li>Blue, for edges, <a href="#page78">78</a>. - -<ul class="index1"><li>for marbling, <a href="#page85">85</a>, <a href="#page89">89</a>, <a href="#page90">90</a>, <a href="#page105">105</a>.</li> - -<li>ink, <a href="#page156">156</a>.</li> - -<li>for marbling leather, <a href="#page242">242</a>.</li> - -<li>uniform colour for leather, <a href="#page258">258</a>.</li></ul></li> - -<li>Blue agate marble on leather, <a href="#page249">249</a>. - -<ul class="index1"><li>Stormont marble, <a href="#page105">105</a>.</li></ul></li> - -<li>Boards, mode of making, <a href="#page65">65</a>. - -<ul class="index1"><li>squaring, <a href="#page66">66</a>.</li></ul></li> - -<li>Boarding, blank-work, <a href="#page160">160</a>. - -<ul class="index1"><li>printed work, <a href="#page169">169</a>.</li></ul></li> - -<li>Box marble, on leather, <a href="#page253">253</a>.</li> - -<li>British marble, <a href="#page119">119</a>.</li> - -<li>Brown, for edges, <a href="#page79">79</a>. - -<ul class="index1"><li>for marbling, <a href="#page86">86</a>, <a href="#page91">91</a>.</li> - -<li>for marbling leather, <a href="#page241">241</a>, <a href="#page242">242</a>.</li> - -<li>uniform colour for leather, <a href="#page257">257</a>.</li></ul></li> - -<li>Burnt ochre, <a href="#page88">88</a>.</li> - -<li>Burnishing, <a href="#page126">126</a>, <a href="#page129">129</a>, <a href="#page133">133</a>.</li> - -<li>Byzantine, <a href="#page181">181</a>.</li> - -<li class="top"><a name="C" id="C"></a>Cambridge, <a href="#page208">208</a>. - -<ul class="index1"><li>binding, <a href="#page19">19</a>.</li></ul></li> - -<li>Cancels, <a href="#page40">40</a>.</li> - -<li>Caoutchouc, <a href="#page58">58</a>.</li> - -<li>Capé, <a href="#page31">31</a>, <a href="#page32">32</a>.</li> - -<li>Carved oak boards, description of, <a href="#page12">12</a>, <a href="#page211">211</a>. - -<ul class="index1"><li>precious stones let into, <a href="#page12">12</a>, <a href="#page14">14</a>.</li></ul></li> - -<li>Case-work, stamping, <a href="#page283">283</a>.</li> - -<li>Cedar sprinkle, on leather, <a href="#page253">253</a>.</li> - -<li>Chemical preparations, <a href="#page237">237</a>.</li> - -<li>Chinese blue, <a href="#page89">89</a>.</li> - -<li>Chrome, <a href="#page90">90</a>.</li> - -<li>Clarke, <a href="#page28">28</a>.</li> - -<li>Clasps, <a href="#page167">167</a>.</li> - -<li>Cleanliness, <a href="#page276">276</a>.</li> - -<li>Cloth-work, <a href="#page170">170</a>.</li> - -<li>Collating, <a href="#page39">39</a>. - -<ul class="index1"><li>description of, <a href="#page39">39</a>, <a href="#page40">40</a>.</li></ul></li> - -<li>Coleridge, <a href="#page190">190</a>.</li> - -<li>Colours, for edges, <a href="#page74">74-82</a>. - -<ul class="index1"><li>for marbling, <a href="#page84">84</a>.</li> - -<li>grinding, <a href="#page98">98</a>.</li> - -<li>uniform, for leather, <a href="#page256">256</a>.</li> - -<li>harmony of, <a href="#page272">272</a>.</li></ul></li> - -<li>Colouring, for leather, <a href="#page236">236</a>.</li> - -<li>Comb marble, <a href="#page115">115</a>.</li> - -<li>Combs, for marbling, <a href="#page127">127</a>.</li> - -<li>Corners, <a href="#page167">167</a>.</li> - -<li>Corvinus, library of, <a href="#page14">14</a>.</li> - -<li>Covering, <a href="#page141">141</a>. - -<ul class="index1"><li>blank-work, <a href="#page163">163</a>.</li> - -<li>Cropping, <a href="#page67">67</a>.</li> - -<li>Curl marble, <a href="#page109">109</a>.</li> - -<li>Cutting in boards, <a href="#page72">72</a>.</li> - -<li>Cutting-machines, <a href="#page288">288</a>.</li></ul></li> - -<li class="top"><a name="D" id="D"></a>Dawson, <a href="#page20">20</a>.<span class="pagenum"><a name="page313" id="page313"></a>[pg 313]</span></li> - -<li>Derome, <a href="#page18">18</a>, <a href="#page19">19</a>, <a href="#page67">67</a>.</li> - -<li>De Seuil, <a href="#page18">18</a>, <a href="#page19">19</a>.</li> - -<li>Design, <a href="#page186">186</a>.</li> - -<li>Designing, <a href="#page286">286</a>.</li> - -<li>De Thou, bindings of, <a href="#page19">19</a>.</li> - -<li>Dibdin, his account of the library of Corvinus, <a href="#page14">14</a>. - -<ul class="index1"><li>of Roger Payne, <a href="#page26">26</a>, <a href="#page191">191</a>, <a href="#page195">195</a>.</li></ul></li> - -<li>Diptych, description of, <a href="#page11">11</a>.</li> - -<li>Drag Spanish marble, <a href="#page114">114</a>.</li> - -<li>Drop ivory black, <a href="#page91">91</a>.</li> - -<li>Drop lake, <a href="#page86">86</a>.</li> - -<li>Duru, <a href="#page31">31</a>, <a href="#page32">32</a>.</li> - -<li>Dutch marble, <a href="#page120">120</a>.</li> - -<li>Dutch pink, <a href="#page90">90</a>.</li> - -<li class="top"><a name="E" id="E"></a>Edges, colouring and sprinkling, <a href="#page74">74</a>. - -<ul class="index1"><li>colours for, <a href="#page74">74-79</a>.</li> - -<li>blue, <a href="#page78">78</a>.</li> - -<li>yellow, <a href="#page78">78</a>.</li> - -<li>green, <a href="#page78">78</a>.</li> - -<li>orange, <a href="#page78">78</a>.</li> - -<li>red, <a href="#page78">78</a>.</li> - -<li>purple, <a href="#page79">79</a>.</li> - -<li>brown, <a href="#page79">79</a>.</li> - -<li>black, <a href="#page136">136</a>.</li> - -<li>rice marbled, <a href="#page80">80</a>.</li> - -<li>white spotted, <a href="#page80">80</a>.</li> - -<li>fancy marbled, <a href="#page81">81</a>.</li> - -<li>gold sprinkle, <a href="#page81">81</a>.</li> - -<li>marbled, <a href="#page82">82</a>, <a href="#page125">125</a>.</li> - -<li>burnishing, <a href="#page126">126</a>, <a href="#page129">129</a>.</li> - -<li>gilt, <a href="#page130">130</a>.</li> - -<li>antique, <a href="#page134">134</a>.</li> - -<li>gold upon marble, <a href="#page135">135</a>.</li> - -<li>black, <a href="#page136">136</a>.</li></ul></li> - -<li>Edge-gilding, <a href="#page130">130</a>. - -<ul class="index1"><li>antique, <a href="#page134">134</a>.</li> - -<li>on marble, <a href="#page135">135</a>.</li> - -<li>on landscapes, <a href="#page135">135</a>.</li></ul></li> - -<li>Eighteenmo, <a href="#page36">36</a>.</li> - -<li>Elizabethan, <a href="#page184">184</a>.</li> - -<li>End-papers, <a href="#page59">59</a>, <a href="#page60">60</a>, <a href="#page273">273</a>.</li> - -<li>Etruscan, <a href="#page180">180</a>.</li> - -<li>Eyton, J. W. King, binding belonging to, <a href="#page28">28</a>, <a href="#page29">29</a>.</li> - -<li class="top"><a name="F" id="F"></a>Fair agate marble, on leather, <a href="#page249">249</a>.</li> - -<li>Falkner, <a href="#page28">28</a>.</li> - -<li>Fancy titles, <a href="#page221">221</a>, <a href="#page271">271</a>.</li> - -<li>Fawn, colour for leather, <a href="#page244">244</a>.</li> - -<li>Finishing, blank-work, <a href="#page168">168</a>.</li> - -<li>Finisher's standing press, <a href="#page275">275</a>.</li> - -<li>Flea-seed, <a href="#page94">94</a>.</li> - -<li>Flexible, mode of sewing, <a href="#page53">53</a>. - -<ul class="index1"><li>marking off, <a href="#page54">54</a>, <a href="#page55">55</a>.</li></ul></li> - -<li>Folding, <a href="#page35">35</a>. - -<ul class="index1"><li>blank-work, <a href="#page157">157</a>.</li></ul></li> - -<li>Folio, <a href="#page36">36</a>.</li> - -<li>Font Hill, <a href="#page150">150</a>, <a href="#page205">205</a>.</li> - -<li>Forwarding, job-work, mode of operation, <a href="#page59">59</a><span class="pagenum"><a name="page314" id="page314"></a>[pg 314]</span>. - -<ul class="index1"><li>making end-papers, <a href="#page60">60</a>.</li> - -<li>putting in joints, <a href="#page61">61</a>.</li> - -<li>glueing up, rounding, <a href="#page62">62</a>.</li> - -<li>backing, <a href="#page63">63</a>, <a href="#page64">64</a>.</li> - -<li>cutting, <a href="#page65">65</a>, <a href="#page70">70</a>.</li> - -<li>making boards, <a href="#page65">65</a>.</li> - -<li>squaring, <a href="#page66">66</a>.</li> - -<li>lacing in, <a href="#page68">68</a>.</li> - -<li>pastewashing back, <a href="#page69">69</a>.</li> - -<li>cutting round, <a href="#page71">71</a>.</li> - -<li>turning up, <a href="#page73">73</a>.</li></ul></li> - -<li>Foundation-plate, <a href="#page279">279</a>.</li> - -<li class="top"><a name="G" id="G"></a>Gilding, preparations for, <a href="#page216">216</a>. - -<ul class="index1"><li>the back, <a href="#page217">217</a>.</li> - -<li>the squares, <a href="#page223">223</a>.</li> - -<li>the sides, <a href="#page224">224</a>.</li> - -<li>on silk and velvet, <a href="#page225">225</a>.</li></ul></li> - -<li>Gilt edges, <a href="#page130">130</a>. - -<ul class="index1"><li>upon marbled, <a href="#page135">135</a>.</li></ul></li> - -<li>Glaire, for marbling leather, <a href="#page240">240</a>.</li> - -<li>Gold marble on leather, <a href="#page260">260</a>.</li> - -<li>Gold sprinkle, <a href="#page81">81</a>.</li> - -<li>Gothic, <a href="#page183">183</a>.</li> - -<li>Grafton, the printer, <a href="#page16">16</a>.</li> - -<li>Grained sheep, <a href="#page282">282</a>.</li> - -<li>Graining, <a href="#page231">231</a>.</li> - -<li>Grolier, bindings of, <a href="#page17">17</a>. - -<ul class="index1"><li>style, <a href="#page212">212</a>.</li></ul></li> - -<li>Green, for edges, <a href="#page78">78</a>. - -<ul class="index1"><li>for blank-work, <a href="#page164">164</a>.</li> - -<li>for leather, <a href="#page244">244</a>.</li> - -<li>uniform colour for leather, <a href="#page258">258</a>.</li> - -<li>agate marble on leather, <a href="#page249">249</a>.</li> - -<li>Italian marble, <a href="#page106">106</a>.</li> - -<li>porphyry marble on leather, <a href="#page250">250</a>.</li></ul></li> - -<li>Greek, <a href="#page180">180</a>.</li> - -<li>Gum, <a href="#page92">92</a>. - -<ul class="index1"><li>directions for preparing for marbling, <a href="#page93">93</a>.</li></ul></li> - -<li>Guards, sewing on, <a href="#page53">53</a>, <a href="#page56">56</a>. - -<ul class="index1"><li>mode of mounting, <a href="#page56">56</a>.</li></ul></li> - -<li>Gum-sandarac, <a href="#page226">226</a>.</li> - -<li class="top"><a name="H" id="H"></a>Harleian, <a href="#page202">202</a>.</li> - -<li>Harmony of colours, <a href="#page272">272</a>.</li> - -<li>Half-binding, <a href="#page149">149</a>.</li> - -<li>Hayday, <a href="#page28">28</a>, <a href="#page29">29</a>, <a href="#page232">232</a>.</li> - -<li>Headbands, <a href="#page137">137</a>. - -<ul class="index1"><li>single, <a href="#page138">138</a>.</li> - -<li>double, <a href="#page140">140</a>.</li> - -<li>gold and silver, <a href="#page140">140</a>.</li> - -<li>ribbon, <a href="#page141">141</a>.</li></ul></li> - -<li>Heat, degree required for stamping, <a href="#page282">282</a>.</li> - -<li>Hints to book-collectors, <a href="#page292">292</a>.</li> - -<li>Henry VII., time of, <a href="#page16">16</a>. - -<ul class="index1"><li>VIII., bindings of, <a href="#page17">17</a>.</li></ul></li> - -<li>Hering, <a href="#page28">28</a>.</li> - -<li>Holbein, <a href="#page213">213</a>.</li> - -<li>Hydraulic press, <a href="#page45">45</a>.</li> - -<li class="top"><a name="I" id="I"></a>Illuminated binding, <a href="#page227">227</a>.</li> - -<li>Imperfections in old books, <a href="#page290">290</a>.</li> - -<li>Indigo, <a href="#page89">89</a>.</li> - -<li>Inlaid work, <a href="#page229">229</a>. - -<ul class="index1"><li>ornaments, <a href="#page270">270</a>.</li></ul></li> - -<li>Irish moss, <a href="#page94">94</a>.</li> - -<li>Italian marble, <a href="#page106">106</a>.</li> - -<li class="top"><a name="J" id="J"></a>Janseniste, <a href="#page208">208</a>.</li> - -<li>Joint, mode of forming, <a href="#page63">63</a>.</li> - -<li>Joints, inside, <a href="#page273">273</a>.</li> - -<li class="top"><a name="K" id="K"></a>Kalthœber, <a href="#page20">20</a>.</li> - -<li>Kettle-stitch, <a href="#page51">51</a>, <a href="#page53">53</a>, <a href="#page55">55</a>.</li> - -<li>Keys for securing bands on sewing-bench, <a href="#page49">49</a><span class="pagenum"><a name="page315" id="page315"></a>[pg 315]</span>. - -<ul class="index1"><li>detaching, <a href="#page57">57</a>.</li></ul></li> - -<li class="top"><a name="L" id="L"></a>Lacing in, <a href="#page68">68</a>.</li> - -<li>Landscapes on sides, <a href="#page263">263</a>. - -<ul class="index1"><li>transferred, <a href="#page264">264</a>.</li></ul></li> - -<li>Lapis Lazuli marble on leather, <a href="#page261">261</a>.</li> - -<li>Lay on, <a href="#page218">218</a>.</li> - -<li>Leland's Itinerary, <a href="#page14">14</a>.<br /></li> - -<li class="space-below">Lettering-press, <a href="#page283">283</a>.</li> - -<li>Levant marble on leather, <a href="#page249">249</a>.</li> - -<li>Levant morocco, <a href="#page31">31</a>, <a href="#page142">142</a>.</li> - -<li>Lewis, Charles, <a href="#page28">28</a>.</li> - -<li>Light Italian marble, <a href="#page106">106</a>.</li> - -<li>Lilac, for leather, <a href="#page243">243</a>.</li> - -<li>Lining-papers, mode of making, <a href="#page60">60</a>.</li> - -<li>Linseed, <a href="#page94">94</a>.</li> - -<li>Lortic, <a href="#page31">31</a>, <a href="#page32">32</a>.</li> - -<li>Louis Quatorze, <a href="#page184">184</a>.</li> - -<li class="top"><a name="M" id="M"></a>Mackenzie, <a href="#page28">28</a>.</li> - -<li>Mackinlay, John, <a href="#page20">20</a>. - -<ul class="index1"><li>bindings of, <a href="#page21">21</a>.</li></ul></li> - -<li>Mahogany sprinkle on leather, <a href="#page253">253</a>.</li> - -<li>Maioli, <a href="#page18">18</a>.</li> - -<li>Malacca tin, <a href="#page238">238</a>.</li> - -<li>Marbling on leather, <a href="#page246">246-254</a>. - -<ul class="index1"><li>on paper sides, <a href="#page254">254</a>.</li></ul></li> - -<li>Marbling-water for leather, <a href="#page240">240</a>.</li> - -<li>Marbled cloth, <a href="#page128">128</a>.</li> - -<li>Marbled edges, <a href="#page125">125</a>. - -<ul class="index1"><li>gilt upon, <a href="#page135">135</a>.</li></ul></li> - -<li>Making cases, <a href="#page174">174</a>.</li> - -<li>Missals, antiquity of, <a href="#page10">10</a>.</li> - -<li>Mitreing, <a href="#page219">219</a>.</li> - -<li>Modernized monastic, <a href="#page231">231</a>.</li> - -<li>Montague, <a href="#page201">201</a>.</li> - -<li>Moorish, <a href="#page182">182</a>.</li> - -<li class="top"><a name="N" id="N"></a>Niédré, <a href="#page31">31</a>, <a href="#page32">32</a>.</li> - -<li>Nonpareil, <a href="#page115">115</a>. - -<ul class="index1"><li>raked, <a href="#page116">116</a>.</li> - -<li>reversed, <a href="#page116">116</a>.</li></ul></li> - -<li>Numerical proportions of colours, <a href="#page272">272</a>.</li> - -<li>Nutmeg sprinkle on leather, <a href="#page255">255</a>.</li> - -<li class="top"><a name="O" id="O"></a>Oak boards, <a href="#page15">15</a>, <a href="#page211">211</a>.</li> - -<li>Octavo, <a href="#page36">36</a>.</li> - -<li>Old bindings, <a href="#page289">289</a>.</li> - -<li>Olive, for leather, <a href="#page258">258</a>.</li> - -<li>Orange, for edges, <a href="#page78">78</a>. - -<ul class="index1"><li>for marbling, <a href="#page86">86</a>, <a href="#page91">91</a>.</li> - -<li>for leather, <a href="#page244">244</a>.</li></ul></li> - -<li>Orange lead, <a href="#page91">91</a>.</li> - -<li>Ornamental art, <a href="#page178">178</a>.</li> - -<li>Oxford, bindings of, <a href="#page20">20</a>.</li> - -<li>Oxford ochre, <a href="#page88">88</a>.</li> - -<li>Ox-gall, <a href="#page96">96</a>.</li> - -<li class="top"><a name="P" id="P"></a>Padeloup, <a href="#page18">18</a>.</li> - -<li>Paging-machine, <a href="#page154">154</a>.</li> - -<li>Paper and book trimmer, <a href="#page288">288</a>.</li> - -<li>Paring-knife, <a href="#page149">149</a>.</li> - -<li>Pasting down, <a href="#page273">273</a>.</li> - -<li>Payne, Roger, history of, <a href="#page21">21</a>. - -<ul class="index1"><li>his bindings, <a href="#page23">23</a>.</li> - -<li>bill of, <a href="#page25">25</a>.<span class="pagenum"><a name="page316" id="page316"></a>[pg 316]</span></li> - -<li>his favourite colour, <a href="#page26">26</a>.</li></ul></li> - -<li>Pearl-gray for leather, <a href="#page258">258</a>.</li> - -<li>Petit, Bernard, bindings designed by, <a href="#page18">18</a>.</li> - -<li>Phillatius the Athenian, <a href="#page9">9</a>.</li> - -<li>Pictures on calf, <a href="#page266">266</a>.</li> - -<li>Pickering, <a href="#page200">200</a>.</li> - -<li>Plates, mode of sewing, <a href="#page53">53</a>.</li> - -<li>Polishing, <a href="#page234">234</a>.</li> - -<li>Porphyry marble on leather, <a href="#page251">251</a>.</li> - -<li>Porphyry vein marble on leather, <a href="#page251">251</a>.</li> - -<li>Preparations for marbling, <a href="#page96">96</a>. - -<ul class="index1"><li>chemical, <a href="#page237">237</a>.</li> - -<li>for stamping, <a href="#page281">281</a>.</li> - -<li>for gilding, <a href="#page216">216</a>.</li> - -<li>for marbling leather, <a href="#page240">240</a>.</li></ul></li> - -<li>Press-work, <a href="#page279">279</a>.</li> - -<li>Primary colours, <a href="#page272">272</a>.</li> - -<li>Prints on calf, <a href="#page266">266</a>.</li> - -<li>Progress of the art, <a href="#page10">10</a>, <a href="#page33">33</a>.</li> - -<li>Prussian blue, <a href="#page90">90</a>.</li> - -<li>Purple, for edges, <a href="#page79">79</a>. - -<ul class="index1"><li>for blank-work, <a href="#page165">165</a>.</li> - -<li>for leather, <a href="#page243">243</a>.</li> - -<li>marble on leather, <a href="#page248">248</a>.</li></ul></li> - -<li class="top"><a name="Q" id="Q"></a>Quarto, <a href="#page36">36</a>.</li> - -<li class="top"><a name="R" id="R"></a>Raw ochre, <a href="#page90">90</a>.</li> - -<li>Red, for edges, <a href="#page78">78</a>. - -<ul class="index1"><li>for marbling, <a href="#page85">85-88</a>.</li> - -<li>ink, <a href="#page156">156</a>.</li> - -<li>for blank-work, <a href="#page164">164</a>.</li> - -<li>for leather, <a href="#page245">245</a>.</li></ul></li> - -<li>Red porphyry marble on leather, <a href="#page250">250</a>.</li> - -<li>Register, <a href="#page137">137</a>.</li> - -<li>Renaissance, <a href="#page183">183</a>.</li> - -<li>Restoring old bindings, <a href="#page289">289</a>.</li> - -<li>Revival, <a href="#page183">183</a>.</li> - -<li>Rock marble on leather, <a href="#page252">252</a>.</li> - -<li>Rolling-machine, substitute for beating; mode of operation;</li> -<li class="isub5">advantages and disadvantages of, <a href="#page43">43</a>, <a href="#page44">44</a>.</li> - -<li>Roman, <a href="#page181">181</a>.</li> - -<li>Rose-pink, <a href="#page87">87</a>.</li> - -<li>Rounding, <a href="#page62">62</a>.</li> - -<li>Rice marble, <a href="#page80">80</a>.</li> - -<li>Ring sprinkle on leather, <a href="#page255">255</a>.</li> - -<li>Riviere, <a href="#page28">28</a>.</li> - -<li>Ruling, <a href="#page152">152</a>.</li> - -<li>Run up, <a href="#page220">220</a>.</li> - -<li>Russian bands, <a href="#page165">165</a>.</li> - -<li class="top"><a name="S" id="S"></a>Sawing, <a href="#page48">48</a>, <a href="#page49">49</a>.</li> - -<li>Sawing-machine, <a href="#page171">171</a>.</li> - -<li>Scraping, <a href="#page132">132</a>.</li> - -<li>Secondary colours, <a href="#page272">272</a>.</li> - -<li>Setting the head, <a href="#page145">145</a>. - -<ul class="index1"><li>the stamp, <a href="#page281">281</a>.</li></ul></li> - -<li>Set off, <a href="#page42">42</a>, <a href="#page43">43</a>.</li> - -<li>Sewing, process of, <a href="#page49">49</a>, <a href="#page50">50</a>. - -<ul class="index1"><li>two sheets on, <a href="#page50">50</a>.</li> - -<li>all along; quartos; plates or maps, <a href="#page52">52</a>.</li> - -<li>whipping, sewing on guards, <a href="#page53">53</a>.</li> - -<li>on raised bands; pure flexible, <a href="#page54">54</a>, <a href="#page55">55</a>, <a href="#page56">56</a>.</li> - -<li>blank-work, <a href="#page159">159</a>.</li></ul></li> - -<li>Sewing-bench, <a href="#page49">49</a>, <a href="#page50">50</a>.<span class="pagenum"><a name="page317" id="page317"></a>[pg 317]</span></li> - -<li>Shell marble, <a href="#page100">100</a>, <a href="#page103">103</a>, <a href="#page104">104</a>.</li> - -<li>Sheriffs of Shropshire, <a href="#page28">28</a>.</li> - -<li>Sheet-work, <a href="#page35">35</a>.</li> - -<li>Silk lining, <a href="#page274">274</a>.</li> - -<li>Sixteenmo, <a href="#page36">36</a>.</li> - -<li>Sizing the paper, <a href="#page127">127</a>.</li> - -<li>Slate, uniform colour for leather, <a href="#page259">259</a>.</li> - -<li>Smasher, substitute for beating, <a href="#page44">44</a>. - -<ul class="index1"><li>mode of operation; amount of pressure; advantage of, <a href="#page45">45</a>.</li></ul></li> - -<li>Spanish marble, <a href="#page110">110</a>. - -<ul class="index1"><li>olive, <a href="#page111">111</a>.</li> - -<li>blue, <a href="#page112">112</a>.</li> - -<li>brown, <a href="#page112">112</a>.</li> - -<li>fancy, <a href="#page113">113</a>.</li> - -<li>drag, <a href="#page114">114</a>.</li></ul></li> - -<li>Spring-back, blank-work, <a href="#page161">161</a>.</li> - -<li>Sprinkles, <a href="#page255">255</a>, <a href="#page256">256</a>.</li> - -<li>Sprinkling, mode of, <a href="#page75">75</a>, <a href="#page76">76</a>. - -<ul class="index1"><li>colours for, <a href="#page74">74</a>.</li> - -<li>rice-marble, <a href="#page80">80</a>.</li> - -<li>white spot, <a href="#page80">80</a>.</li> - -<li>gold sprinkle, <a href="#page81">81</a>.</li></ul></li> - -<li>Staggemier, <a href="#page20">20</a>.</li> - -<li>Stamping, <a href="#page279">279</a>.</li> - -<li>Steamboating, <a href="#page172">172</a>.</li> - -<li>Stabbing, <a href="#page68">68</a>.</li> - -<li>Steel gouges, <a href="#page271">271</a>.</li> - -<li>Stone marble, on leather, <a href="#page248">248</a>.</li> - -<li>Sunk boards, <a href="#page285">285</a>.</li> - -<li>Supplying imperfections in old books, <a href="#page290">290</a>.</li> - -<li class="top"><a name="T" id="T"></a>Table-shears, <a href="#page177">177</a>.</li> - -<li>Taste, <a href="#page186">186</a>.</li> - -<li>Technical terms, <a href="#page297">297-310</a>.</li> - -<li>Tertiary colours, <a href="#page272">272</a>.</li> - -<li>Thirty-twomo, <a href="#page36">36</a>.</li> - -<li>Thouvenin, bindings of, <a href="#page30">30</a>.</li> - -<li>Titles, <a href="#page269">269</a>. - -<ul class="index1"><li>fancy, <a href="#page271">271</a>.</li></ul></li> - -<li>Tortoise-shell sprinkle on leather, <a href="#page256">256</a>.</li> - -<li>To dissolve gold, <a href="#page237">237</a>.</li> - -<li>Transfers, <a href="#page264">264</a>, <a href="#page266">266</a>.</li> - -<li>Transferring designs, <a href="#page286">286</a>.</li> - -<li>Translation of dates, <a href="#page289">289</a>.</li> - -<li>Trautz et Bauzonnet, <a href="#page31">31</a>, <a href="#page32">32</a>, <a href="#page142">142</a>.</li> - -<li>Tree-marbled calf, <a href="#page28">28</a>, <a href="#page252">252</a>.</li> - -<li>Troughs for marbling, <a href="#page100">100</a>.</li> - -<li>Turning up, <a href="#page73">73</a>.</li> - -<li>Twelvemo, <a href="#page36">36</a>, <a href="#page37">37</a>.</li> - -<li>Twenty-fourmo, <a href="#page36">36</a>.</li> - -<li>Tying up, <a href="#page146">146</a>.</li> - -<li class="top"><a name="U" id="U"></a>Ultramarine, <a href="#page89">89</a>.</li> - -<li>Umber, <a href="#page91">91</a>.</li> - -<li>Uncut books, <a href="#page151">151</a>.</li> - -<li>Uniform colours on leather, <a href="#page256">256-259</a>.</li> - -<li class="top"><a name="V" id="V"></a>Variegated marble, on leather, <a href="#page254">254</a>.</li> - -<li>Varnish, <a href="#page277">277</a>.</li> - -<li>Vegetable black, <a href="#page91">91</a>.</li> - -<li>Vermilion, <a href="#page87">87</a>.</li> - -<li>Violet for leather, <a href="#page243">243</a>.</li> - -<li>Vitriol-water for marbling leather, <a href="#page240">240</a>.</li> - -<li class="top"><a name="W" id="W"></a>Wainscot sprinkle on leather, <a href="#page254">254</a>.<span class="pagenum"><a name="page318" id="page318"></a>[pg 318]</span></li> - -<li>Walnut sprinkle on leather, <a href="#page253">253</a>.</li> - -<li>Walther, <a href="#page28">28</a>.</li> - -<li>Water for marbling, <a href="#page96">96</a>.</li> - -<li>Wave-marble, <a href="#page118">118</a>.</li> - -<li>Wax for marbling, <a href="#page99">99</a>.</li> - -<li>West-End marble, <a href="#page107">107</a>, <a href="#page108">108</a>.</li> - -<li>Whipping, <a href="#page53">53</a>.</li> - -<li>White for marbling, <a href="#page86">86</a>, <a href="#page91">91</a>.</li> - -<li>White-spotted edges, <a href="#page80">80</a>.</li> - -<li>Wood-lake, <a href="#page88">88</a>.</li> - -<li class="top"><a name="Y" id="Y"></a>Yellow for edges, <a href="#page78">78</a>. - -<ul class="index1"><li>for marbling, <a href="#page85">85</a>.</li> - -<li>for blank-work, <a href="#page165">165</a>.</li> - -<li>for leather, <a href="#page244">244</a>.</li></ul></li> -</ul> -</div></div> - -<p class="center space-above5 space-below5">THE END.</p> - -<hr class="short" /> - -<p class="center1s">STEREOTYPED BY L. JOHNSON AND CO.<br /> -PHILADELPHIA.</p> - -<hr /> - -<p><span class="pagenum"><a name="catpage1" id="catpage1"></a>[pg 1]</span></p> - -<h2><span class="cat spaced1">CATALOGUE</span><br /><br class="b40" /> -<span class="smaller">OF</span><br /><br class="b40" /> -<span class="center3 spaced1m">PRACTICAL AND SCIENTIFIC BOOKS,</span><br /><br class="b40" /> -<span class="pub smaller spaced1">PUBLISHED BY</span><br /><br class="b40" /> -<span class="less">HENRY CAREY BAIRD & CO.,</span><br /><br class="b40" /> -<span class="less3">Industrial Publishers and Booksellers,</span><br /><br class="b40" /> -<span class="less2 spaced1 wsp">NO. 810 WALNUT STREET,</span><br /><br class="b40" /> -<span class="small pub spaced1">PHILADELPHIA.</span></h2> - -<div class="container"><div class="encl"> - -<div class="figcenter"><img src="images/fancy-rule-200.png" width="200" height="8" alt="fancy-rule" /></div> - -<p class="center less"><img src="images/finger.png" width="32" height="14" alt="finger pointing" />Any of the Books -comprised in this Catalogue will be sent by mail, free of -postage, at the publication price.</p> -<p class="center less"><img src="images/finger.png" width="32" height="14" alt="finger pointing" />A Descriptive Catalogue, -96 pages, 8vo., will be sent, free of postage, to any one who will furnish the publisher with his address.</p> -<div class="figcenter"><img src="images/fancy-rule-200.png" width="200" height="8" alt="fancy-rule" /></div> - -</div><div class="catalogue"> - -<p class="heading">ARLOT.—A Complete Guide for Coach Painters.</p> - -<p class="ind less"> -Translated from the French of <span class="sc">M. Arlot</span>, Coach Painter; for eleven -years Foreman of Painting to M. Eherler, Coach Maker, Paris. By -<span class="sc">A. A. Fesquet</span>, Chemist and Engineer. To which is added an Appendix, -containing Information respecting the Materials and the -Practice of Coach and Car Painting and Varnishing in the United -States and Great Britain. 12mo. <span class="price">$1.25</span></p> - -<p class="head1"><span class="outdent">ARMENGAUD, AMOROUX, and JOHNSON.—</span>The -Practical Draughtsman's Book of Industrial Design, -and Machinist's and Engineer's Drawing -Companion:</p> - -<p class="ind less">Forming a Complete Course of Mechanical Engineering and Architectural -Drawing. From the French of M. Armengaud the elder, Prof. -of Design in the Conservatoire of Arts and Industry, Paris, and MM. -Armengaud the younger, and Amoroux, Civil Engineers. Rewritten -and arranged with additional matter and plates, selections from and -examples of the most useful and generally employed mechanism of -the day. By <span class="sc">William Johnson</span>, Assoc. Inst. C. E., Editor of "The -Practical Mechanic's Journal." Illustrated by 50 folio steel plates, -and 50 wood-cuts. A new edition, 4to. <span class="price">$10.00</span> -</p> -<p><span class="pagenum"><a name="catpage2" id="catpage2"></a>[pg 2]</span></p> - -<p class="heading">ARROWSMITH.—Paper-Hanger's Companion:</p> - -<p class="ind less"> -A Treatise in which the Practical Operations of the Trade are Systematically -laid down: with Copious Directions Preparatory to Papering; -Preventives against the Effect of Damp on Walls; the Various -Cements and Pastes Adapted to the Several Purposes of the Trade; -Observations and Directions for the Panelling and Ornamenting of -Rooms, etc. By <span class="sc">James Arrowsmith</span>, Author of "Analysis of Drapery," -etc. 12mo., cloth. <span class="price">$1.25</span></p> - -<p class="head1"><span class="outdent"> -ASHTON.—</span>The Theory and Practice of the Art of Designing -Fancy Cotton and Woollen Cloths from -Sample:</p> - -<p class="ind less"> -Giving full Instructions for Reducing Drafts, as well as the Methods -of Spooling and Making out Harness for Cross Drafts, and Finding -any Required Reed, with Calculations and Tables of Yarn. By -<span class="sc">Frederick T. Ashton</span>, Designer, West Pittsfield, Mass. With 52 -Illustrations. One volume, 4to. <span class="price">$10.00</span></p> - -<p class="head1"><span class="outdent"> -BAIRD.—</span>Letters on the Crisis, the Currency and the -Credit System.</p> - -<p class="ind less"> -By <span class="sc">Henry Carey Baird</span>. Pamphlet. <span class="price">05</span></p> - -<p class="head1"><span class="outdent"> -BAIRD.—</span>Protection of Home Labor and Home Productions -necessary to the Prosperity of the American -Farmer.</p> - -<p class="ind less"> -By <span class="sc">Henry Carey Baird</span>. 8vo., paper. <span class="price">10</span></p> - -<p class="head1"><span class="outdent"> -BAIRD.—</span>Some of the Fallacies of British Free-Trade -Revenue Reform.</p> - -<p class="ind less"> -Two Letters to Arthur Latham Perry, Professor of History and Political -Economy in Williams College. By <span class="sc">Henry Carey Baird</span>. -Pamphlet. <span class="price">05</span></p> - -<p class="head1"><span class="outdent"> -BAIRD.—</span>The Rights of American Producers, and the -Wrongs of British Free-Trade Revenue Reform.</p> - -<p class="ind less"> -By <span class="sc">Henry Carey Baird</span>. Pamphlet. <span class="price">05</span></p> - -<p class="heading">BAIRD.—Standard Wages Computing Tables:</p> - -<p class="ind less"> -An Improvement in all former Methods of Computation, so arranged -that wages for days, hours, or fractions of hours, at a specified rate per -day or hour, may be ascertained at a glance. By <span class="sc">T. Spangler Baird</span>. -Oblong folio. <span class="price">$5.00</span></p> - -<p class="head1"><span class="outdent"> -BAIRD.—</span>The American Cotton Spinner, and Manager's -and Carder's Guide:</p> - -<p class="ind less"> -A Practical Treatise on Cotton Spinning; giving the Dimensions and -Speed of Machinery, Draught and Twist Calculations, etc.; with -notices of recent Improvements: together with Rules and Examples -for making changes in the sizes and numbers of Roving and Yarn. -Compiled from the papers of the late <span class="sc">Robert H. Baird</span>. 12mo. <span class="price">$1.50</span></p> - -<p><span class="pagenum"><a name="catpage3" id="catpage3"></a>[pg 3]</span></p> - -<p class="heading">BAKER.—Long-Span Railway Bridges:</p> - -<p class="ind less"> -Comprising Investigations of the Comparative Theoretical and Practical -Advantages of the various Adopted or Proposed Type Systems -of Construction; with numerous Formulæ and Tables. <br />By <span class="sc">B. Baker</span>. -12mo. <span class="price">$2.00</span></p> - -<p class="heading">BAUERMAN.—A Treatise on the Metallurgy of Iron:</p> - -<p class="ind less"> -Containing Outlines of the History of Iron Manufacture, Methods of -Assay, and Analysis of Iron Ores, Processes of Manufacture of Iron -and Steel, etc., etc. By <span class="sc">H. Bauerman</span>, F. G. S., Associate of the -Royal School of Mines. First American Edition, Revised and Enlarged. -With an Appendix on the Martin Process for Making Steel, -from the Report of <span class="sc">Abram S. Hewitt</span>, U. S. Commissioner to the -Universal Exposition at Paris, 1867. Illustrated. 12mo. <span class="price">$2.00</span></p> - -<p class="head1"><span class="outdent"> -BEANS.—</span>A Treatise on Railway Curves and the Location -of Railways.</p> - -<p class="ind less"> -By <span class="sc">E. W. Beans</span>, C. E. Illustrated. 12mo. Tucks. <span class="price">$1.50</span></p> - -<p class="heading">BELL.—Carpentry Made Easy:</p> - -<p class="ind less"> -Or, The Science and Art of Framing on a New and Improved System. -With Specific Instructions for Building Balloon Frames, Barn Frames, -Mill Frames, Warehouses, Church Spires, etc. Comprising also a -System of Bridge Building, with Bills, Estimates of Cost, and valuable -Tables. Illustrated by 38 plates, comprising nearly 200 figures. By -<span class="sc">William E. Bell</span>, Architect and Practical Builder. 8vo. <span class="price">$5.00</span></p> - -<p class="heading">BELL.—Chemical Phenomena of Iron Smelting:</p> - -<p class="ind less"> -An Experimental and Practical Examination of the Circumstances -which determine the Capacity of the Blast Furnace, the Temperature -of the Air, and the proper Condition of the Materials to be operated -upon. By <span class="sc">I. Lowthian Bell</span>. Illustrated. 8vo. <span class="price">$6.00</span></p> - -<p class="heading">BEMROSE.—Manual of Wood Carving:</p> - -<p class="ind less"> -With Practical Illustrations for Learners of the Art, and Original and -Selected Designs. By <span class="sc">William Bemrose</span>, Jr. With an Introduction -by <span class="sc">Llewellyn Jewitt</span>, F. S. A., etc.<br /> -With 128 Illustrations. 4to., -cloth. <span class="price">$3.00</span></p> - -<p class="heading">BICKNELL.—Village Builder, and Supplement:</p> - -<p class="ind less"> -Elevations and Plans for Cottages, Villas, Suburban Residences, -Farm Houses, Stables and Carriage Houses, Store Fronts, School -Houses, Churches, Court Houses, and a model Jail; also, Exterior and -Interior details for Public and Private Buildings, with approved -Forms of Contracts and Specifications, including Prices of Building -Materials and Labor at Boston, Mass., and St. Louis, Mo. Containing -75 plates drawn to scale; showing the style and cost of building in -different sections of the country, being an original work comprising -the designs of twenty leading architects, representing the New England, -Middle, Western, and Southwestern States. 4to. <span class="price">$12.00</span></p> - -<p><span class="pagenum"><a name="catpage4" id="catpage4"></a>[pg 4]</span></p> - -<p class="head1"><span class="outdent"> -BLENKARN.—</span>Practical Specifications of Works executed -in Architecture, Civil and Mechanical Engineering, -and in Road Making and Sewering:</p> - -<p class="ind less"> -To which are added a series of practically useful Agreements and Reports. -By <span class="sc">John Blenkarn</span>. Illustrated by 15 large folding plates. -8vo. <span class="price">$9.00</span></p> - -<p class="head1"><span class="outdent"> -BLINN.—</span>A Practical Workshop Companion for Tin, -Sheet-Iron, and Copperplate Workers:</p> - -<p class="ind less"> -Containing Rules for describing various kinds of Patterns used by -Tin, Sheet-Iron, and Copper-plate Workers; Practical Geometry; -Mensuration of Surfaces and Solids; Tables of the Weights of Metals, -Lead Pipe, etc.; Tables of Areas and Circumferences of Circles; -Japan, Varnishes, Lackers, Cements, Compositions, etc., etc. By -<span class="sc">Leroy J. Blinn</span>, Master Mechanic. With over 100 Illustrations. -12mo. <span class="price">$2.50</span></p> - -<p class="heading">BOOTH.—Marble Worker's Manual:</p> - -<p class="ind less"> -Containing Practical Information respecting Marbles in general, their -Cutting, Working, and Polishing; Veneering of Marble; Mosaics; -Composition and Use of Artificial Marble, Stuccos, Cements, Receipts, -Secrets, etc., etc. Translated from the French by <span class="sc">M. L. Booth</span>. -With an Appendix concerning American Marbles. 12mo., cloth<span class="price">$1.50</span></p> - -<p class="head1"><span class="outdent"> -BOOTH AND MORFIT.—</span>The Encyclopedia of Chemistry, -Practical and Theoretical:</p> - -<p class="ind less"> -Embracing its application to the Arts, Metallurgy, Mineralogy, Geology, -Medicine, and Pharmacy. By <span class="sc">James C. Booth</span>, Melter and -Refiner in the United States Mint, Professor of Applied Chemistry in -the Franklin Institute, etc., assisted by <span class="sc">Campbell Morfit</span>, author -of "Chemical Manipulations," etc. Seventh edition. Royal 8vo., -978 pages, with numerous wood-cuts and other illustrations. <span class="price">$5.00</span></p> - -<p class="heading">BOX.—A Practical Treatise on Heat:</p> - -<p class="ind less"> -As applied to the Useful Arts; for the Use of Engineers, Architects, -etc. By <span class="sc">Thomas Box</span>, author of "Practical Hydraulics." Illustrated -by 14 plates containing 114 figures. 12mo<span class="price">$4.25</span></p> - -<p class="heading">BOX.—Practical Hydraulics:</p> - -<p class="ind less"> -A Series of Rules and Tables for the use of Engineers, etc. By -<span class="sc">Thomas Box</span>. 12mo. <span class="price">$2.50</span></p> - -<p class="head1"><span class="outdent"> -BROWN.—</span>Five Hundred and Seven Mechanical -Movements:</p> - -<p class="ind less"> -Embracing all those which are most important in Dynamics, Hydraulics, -Hydrostatics, Pneumatics, Steam Engines, Mill and other Gearing, -Presses, Horology, and Miscellaneous Machinery; and including -many movements never before published, and several of which have -only recently come into use. By <span class="sc">Henry T. Brown</span>, Editor of the -"American Artisan." In one volume, 12mo. <span class="price">$1.00</span></p> - -<p><span class="pagenum"><a name="catpage5" id="catpage5"></a>[pg 5]</span></p> - -<p class="heading">BUCKMASTER.—The Elements of Mechanical Physics:</p> - -<p class="ind less"> -By <span class="sc">J. C. Buckmaster</span>, late Student in the Government School of -Mines; Certified Teacher of Science by the Department of Science -and Art; Examiner in Chemistry and Physics in the Royal College -of Preceptors; and late Lecturer in Chemistry and Physics of the -Royal Polytechnic Institute. Illustrated with numerous engravings. -In one volume, 12mo. <span class="price">$1.50</span></p> - -<p class="heading">BULLOCK.—The American Cottage Builder:</p> - -<p class="ind less"> -A Series of Designs, Plans, and Specifications, from $200 to $20,000, -for Homes for the People; together with Warming, Ventilation, -Drainage, Painting, and Landscape Gardening. By <span class="sc">John Bullock</span>, -Architect, Civil Engineer, Mechanician, and Editor of "The Rudiments -of Architecture and Building," etc., etc. Illustrated by 75 engravings.<br /> -In one volume, 8vo. <span class="price">$3.50</span></p> - -<p class="head1"><span class="outdent"> -BULLOCK.—</span>The Rudiments of Architecture and -Building:</p> - -<p class="ind less"> -For the use of Architects, Builders, Draughtsmen, Machinists, Engineers, -and Mechanics. Edited by <span class="sc">John Bullock</span>, author of "The -American Cottage Builder." Illustrated by 250 engravings.<br /> -In one volume, 8vo. <span class="price">$3.50</span></p> - -<p class="head1"><span class="outdent"> -BURGH.—</span>Practical Illustrations of Land and Marine -Engines:</p> - -<p class="ind less"> -Showing in detail the Modern Improvements of High and Low Pressure, -Surface Condensation, and Super-heating, together with Land -and Marine Boilers. By <span class="sc">N. P. Burgh</span>, Engineer. Illustrated by -20 plates, double elephant folio, with text. <span class="price">$21.00</span></p> - -<p class="head1"><span class="outdent"> -BURGH.—</span>Practical Rules for the Proportions of Modern -Engines and Boilers for Land and Marine -Purposes.</p> - -<p class="ind less"> -By <span class="sc">N. P. Burgh</span>, Engineer. 12mo. <span class="price">$1.50</span></p> - -<p class="heading">BURGH.—The Slide-Valve Practically Considered.</p> - -<p class="ind less"> -By <span class="sc">N. P. Burgh</span>, Engineer. Completely illustrated. 12mo. <span class="price">$2.00</span></p> - -<p class="head1"><span class="outdent"> -BYLES.—</span>Sophisms of Free Trade and Popular Political -Economy Examined.</p> - -<p class="ind less"> -By a <span class="sc">Barrister</span> (Sir <span class="sc">John Barnard Byles</span>, Judge of Common -Pleas). First American from the Ninth English Edition, as published -by the Manchester Reciprocity Association.<br /> -In one volume, 12mo. -Paper, <span class="price">75 cts.</span><br /> Cloth. <span class="price">$1.25</span></p> - -<p class="heading">BYRN.—The Complete Practical Brewer:</p> - -<p class="ind less"> -Or Plain, Accurate, and Thorough Instructions in the Art of Brewing -Beer, Ale, Porter, including the Process of making Bavarian Beer, -all the Small Beers, such as Root-beer, Ginger-pop, Sarsaparilla-beer, -Mead, Spruce Beer, etc., etc. Adapted to the use of Public -Brewers and Private Families. By <span class="sc">M. La Fayette Byrn</span>, M. D.<br /> -With illustrations. 12mo. <span class="price">$1.25</span></p> - -<p><span class="pagenum"><a name="catpage6" id="catpage6"></a>[pg 6]</span></p> - -<p class="heading">BYRN.—The Complete Practical Distiller:</p> - -<p class="ind less"> -Comprising the most perfect and exact Theoretical and Practical Description -of the Art of Distillation and Rectification; including all of -the most recent improvements in distilling apparatus; instructions -for preparing spirits from the numerous vegetables, fruits, etc.; directions -for the distillation and preparation of all kinds of brandies and -other spirits, spirituous and other compounds, etc., etc. By <span class="sc">M. La -Fayette Byrn</span>, M. D. Eighth Edition. To which are added, Practical -Directions for Distilling, from the French of Th. Fling, Brewer -and Distiller.<br /> -12mo. <span class="price">$1.50</span></p> - -<p class="head1"><span class="outdent"> -BYRNE.—</span>Handbook for the Artisan, Mechanic, and -Engineer:</p> - -<p class="ind less"> -Comprising the Grinding and Sharpening of Cutting Tools, Abrasive -Processes, Lapidary Work, Gem and Glass Engraving, Varnishing -and Lackering, Apparatus, Materials and Processes for Grinding and -Polishing, etc. By <span class="sc">Oliver Byrne</span>. Illustrated by 185 wood engravings. -In one volume, 8vo. <span class="price">$5.00</span></p> - -<p class="head1"><span class="outdent">BYRNE.—</span>Pocket Book for Railroad and Civil Engineers:</p> - -<p class="ind less"> -Containing New, Exact, and Concise Methods for Laying out Railroad -Curves, Switches, Frog Angles, and Crossings; the Staking -out of work; Levelling; the Calculation of Cuttings; Embankments; -Earth-work, etc. By <span class="sc">Oliver Byrne</span>. 18mo., full bound, pocket-book -form. <span class="price">$1.75</span></p> - -<p class="heading">BYRNE.—The Practical Model Calculator:</p> - -<p class="ind less"> -For the Engineer, Mechanic, Manufacturer of Engine Work, Naval -Architect, Miner, and Millwright. By <span class="sc">Oliver Byrne</span>. 1 volume, -8vo., nearly 600 pages. <span class="price">$4.50</span></p> - -<p class="heading">BYRNE.—The Practical Metal-Worker's Assistant:</p> - -<p class="ind less"> -Comprising Metallurgic Chemistry; the Arts of Working all Metals -and Alloys; Forging of Iron and Steel; Hardening and Tempering; -Melting and Mixing; Casting and Founding; Works in Sheet Metal; -The Processes Dependent on the Ductility of the Metals; Soldering; -and the most Improved Processes and Tools employed by Metal-Workers. -With the Application of the Art of Electro-Metallurgy to -Manufacturing Processes; collected from Original Sources, and from -the Works of Holtzapffel, Bergeron, Leupold, Plumier, Napier, -Scoffern, Clay, Fairbairn, and others. By <span class="sc">Oliver Byrne</span>. A new, -revised, and improved edition, to which is added An Appendix, containing -<span class="sc">The Manufacture of Russian Sheet-Iron</span>. By <span class="sc">John -Percy</span>, M. D., F.R.S. <span class="sc">The Manufacture of Malleable Iron -Castings</span>, and <span class="sc">Improvements in Bessemer Steel</span>. By <span class="sc">A. A. -Fesquet</span>, Chemist and Engineer. With over 600 Engravings, illustrating -every Branch of the Subject. 8vo. <span class="price">$7.00</span></p> - -<p class="heading">Cabinet Maker's Album of Furniture:</p> - -<p class="ind less"> -Comprising a Collection of Designs for Furniture. Illustrated by 48 -Large and Beautifully Engraved Plates. In one vol., oblong. <span class="price">$5.00</span> -</p> - -<p><span class="pagenum"><a name="catpage7" id="catpage7"></a>[pg 7]</span></p> - -<p class="heading">CALLINGHAM.—Sign Writing and Glass Embossing:</p> - -<p class="ind less"> -A Complete Practical Illustrated Manual of the Art. By <span class="sc">James -Callingham</span>. In one volume, 12mo. <span class="price">$1.50</span></p> - -<p class="head1"><span class="outdent">CAMPIN.—</span>A Practical Treatise on Mechanical Engineering:</p> - -<p class="ind less"> -Comprising Metallurgy, Moulding, Casting, Forging, Tools, Workshop -Machinery, Mechanical Manipulation, Manufacture of Steam-engines, -etc., etc. With an Appendix on the Analysis of Iron and -Iron Ores. By <span class="sc">Francis Campin</span>, C. E. To which are added, Observations -on the Construction of Steam Boilers, and Remarks upon -Furnaces used for Smoke Prevention; with a Chapter on Explosions. -By <span class="sc">R. Armstrong</span>, C. E., and <span class="sc">John Bourne</span>. Rules for Calculating -the Change Wheels for Screws on a Turning Lathe, and for a Wheel-cutting -Machine. By <span class="sc">J. La Nicca</span>. Management of Steel, Including -Forging, Hardening, Tempering, Annealing, Shrinking, and Expansion. -And the Case-hardening of Iron. By <span class="sc">G. Ede</span>. 8vo.<br /> -Illustrated with 29 plates and 100 wood engravings. <span class="price">$6.00</span></p> - -<p class="head1"><span class="outdent">CAMPIN.—</span>The Practice of Hand-Turning in Wood, -Ivory, Shell, etc.:</p> - -<p class="ind less"> -With Instructions for Turning such works in Metal as may be required -in the Practice of Turning Wood, Ivory, etc. Also, an Appendix -on Ornamental Turning. By <span class="sc">Francis Campin</span>; with Numerous -Illustrations. 12mo., cloth. <span class="price">$3.00</span></p> - -<p class="heading">CAREY.—The Works of Henry C. Carey:</p> - -<p> -FINANCIAL CRISES, their Causes and Effects. 8vo. paper. <span class="price">25</span></p> - -<p>HARMONY OF INTERESTS: Agricultural, Manufacturing, and -Commercial. 8vo., cloth. <span class="price">$1.50</span></p> - -<p>MANUAL OF SOCIAL SCIENCE. Condensed from Carey's "Principles -of Social Science." By <span class="sc">Kate McKean</span>. 1 vol. 12mo. <span class="price">$2.25</span></p> - -<p>MISCELLANEOUS WORKS: comprising "Harmony of Interests," -"Money," "Letters to the President," "Financial Crises," "The -Way to Outdo England Without Fighting Her," "Resources of -the Union," "The Public Debt," "Contraction or Expansion?" -"Review of the Decade 1857-'67," "Reconstruction," etc., etc. -Two vols., 8vo., cloth. <span class="price">$10.00</span></p> - -<p>PAST, PRESENT, AND FUTURE. 8vo. <span class="price">$2.50</span></p> - -<p>PRINCIPLES OF SOCIAL SCIENCE. 3 vols., 8vo., cloth. <span class="price">$10.00</span></p> - -<p>THE SLAVE-TRADE, DOMESTIC AND FOREIGN; Why it Exists, -and How it may be Extinguished (1853). 8vo., cloth. <span class="price">$2.00</span></p> - -<p>LETTERS ON INTERNATIONAL COPYRIGHT (1867) <span class="price">50</span></p> - -<p>THE UNITY OF LAW: As Exhibited in the Relations of Physical, -Social, Mental, and Moral Science (1872). In one volume, 8vo., -pp. xxiii., 433. Cloth. <span class="price">$3.50</span></p> - -<p class="heading">CHAPMAN.—A Treatise on Ropemaking:</p> - -<p class="ind less"> -As Practised in private and public Rope yards, with a Description -of the Manufacture, Rules, Tables of Weights, etc., adapted to the -Trades, Shipping, Mining, Railways, Builders, etc. By <span class="sc">Robert -Chapman</span>, 24mo. <span class="price">$1.50</span></p> - -<p><span class="pagenum"><a name="catpage8" id="catpage8"></a>[pg 8]</span></p> - -<p class="heading">COLBURN.—The Locomotive Engine:</p> - -<p class="ind less"> -Including a Description of its Structure, Rules for Estimating its Capabilities, -and Practical Observations on its Construction and Management. -By <span class="sc">Zerah Colburn</span>. Illustrated.<br /> -A new edition. 12mo. <span class="price">$1.25</span></p> - -<p class="head1"><span class="outdent"> -CRAIK.—</span>The Practical American Millwright and -Miller.</p> - -<p class="ind less"> -By <span class="sc">David Craik</span>, Millwright. Illustrated by numerous wood engravings, -and two folding plates. 8vo. <span class="price">$5.00</span></p> - -<p class="heading">DE GRAFF.—The Geometrical Stair Builders' Guide:</p> - -<p class="ind less"> -Being a Plain Practical System of Hand-Railing, embracing all its -necessary Details, and Geometrically Illustrated by 22 Steel Engravings; -together with the use of the most approved principles of Practical -Geometry. By <span class="sc">Simon De Graff</span>, Architect. 4to. <span class="price">$5.00</span></p> - -<p class="head1"><span class="outdent"> -DE KONINCK.—</span>DIETZ.—A Practical Manual of Chemical -Analysis and Assaying:</p> - -<p class="ind less"> -As applied to the Manufacture of Iron from its Ores, and to Cast Iron, -Wrought Iron, and Steel, as found in Commerce. By <span class="sc">L. L. De Koninck</span>, -Dr. Sc., and <span class="sc">E. Dietz</span>, Engineer. Edited with Notes, by <span class="sc">Robert -Mallet</span>, F.R.S., F.S.G., M.I.C.E., etc. American Edition, Edited -with Notes and an Appendix on Iron Ores, by <span class="sc">A. A. Fesquet</span>, Chemist -and Engineer. One volume, 12mo. <span class="price">$2.50</span></p> - -<p class="heading">DUNCAN.—Practical Surveyor's Guide:</p> - -<p class="ind less"> -Containing the necessary information to make any person, of common -capacity, a finished land surveyor without the aid of a teacher. By -<span class="sc">Andrew Duncan</span>. Illustrated. 12mo., cloth. <span class="price">$1.25</span></p> - -<p class="head1"><span class="outdent"> -DUPLAIS.—</span>A Treatise on the Manufacture and Distillation -of Alcoholic Liquors:</p> - -<p class="ind less"> -Comprising Accurate and Complete Details in Regard to Alcohol from -Wine, Molasses, Beets, Grain, Rice, Potatoes, Sorghum, Asphodel, -Fruits, etc.; with the Distillation and Rectification of Brandy, Whiskey, -Rum, Gin, Swiss Absinthe, etc., the Preparation of Aromatic Waters, -Volatile Oils or Essences, Sugars, Syrups, Aromatic Tinctures, -Liqueurs, Cordial Wines, Effervescing Wines, etc., the Aging of Brandy -and the Improvement of Spirits, with Copious Directions and Tables -for Testing and Reducing Spirituous Liquors, etc., etc. Translated -and Edited from the French of MM. <span class="sc">Duplais</span>, Ainé et Jeune. By -<span class="sc">M. McKennie</span>, M. D. To which are added the United States Internal -Revenue Regulations for the Assessment and Collection of Taxes on -Distilled Spirits. Illustrated by fourteen folding plates and several -wood engravings.<br /> -743 pp., 8vo. <span class="price">$10.00</span></p> - -<p class="head1"><span class="outdent"> -DUSSAUCE.—</span>A General Treatise on the Manufacture -of Every Description of Soap:</p> - -<p class="ind less"> -Comprising the Chemistry of the Art, with Remarks on Alkalies, Saponifiable -Fatty Bodies, the apparatus necessary in a Soap Factory, -Practical Instructions in the manufacture of the various kinds of Soap, -the assay of Soaps, etc., etc. Edited from Notes of Larmé, Fontenelle, -Malapayre, Dufour, and others, with large and important additions by -Prof. <span class="sc">H. Dussauce</span>, Chemist. Illustrated. In one vol., 8vo. <span class="price">$10.00</span></p> - -<p><span class="pagenum"><a name="catpage9" id="catpage9"></a>[pg 9]</span></p> - -<p class="head1"><span class="outdent"> -DUSSAUCE.—</span>A General Treatise on the Manufacture -of Vinegar:</p> - -<p class="ind less"> -Theoretical and Practical. Comprising the various Methods, by the -Slow and the Quick Processes, with Alcohol, Wine, Grain, Malt, Cider, -Molasses, and Beets; as well as the Fabrication of Wood Vinegar, etc., -etc. By Prof. <span class="sc">H. Dussauce</span>. In one volume, 8vo. <span class="price">$5.00</span></p> - -<p class="head1"><span class="outdent"> -DUSSAUCE.—</span>A New and Complete Treatise on the -Arts of Tanning, Currying, and Leather Dressing:</p> - -<p class="ind less"> -Comprising all the Discoveries and Improvements made in France, -Great Britain, and the United States. Edited from Notes and Documents -of Messrs. Sallerou, Grouvelle, Duval, Dessables, Labarraque, -Payen, René, De Fontenelle, Malapeyre, etc., etc. By Prof. <span class="sc">H. Dussauce</span>, -Chemist. Illustrated by 212 wood engravings. 8vo. <span class="price">$25.00</span></p> - -<p class="heading">DUSSAUCE.—A Practical Guide for the Perfumer:</p> - -<p class="ind less"> -Being a New Treatise on Perfumery, the most favorable to the Beauty -without being injurious to the Health, comprising a Description of the -substances used in Perfumery, the Formulæ of more than 1000 Preparations, -such as Cosmetics, Perfumed Oils, Tooth Powders, Waters, -Extracts, Tinctures, Infusions, Spirits, Vinaigres, Essential Oils, Pastels, -Creams, Soaps, and many new Hygienic Products not hitherto -described. Edited from Notes and Documents of Messrs. Debay, Lanel, -etc. With additions by Prof. <span class="sc">H. Dussauce</span>, Chemist. 12mo. <span class="price">$3.00</span></p> - -<p class="head1"><span class="outdent"> -DUSSAUCE.—</span>Practical Treatise on the Fabrication -of Matches, Gun Cotton, and Fulminating Powders.</p> - -<p class="ind less"> -By Prof. <span class="sc">H. Dussauce</span>. 12mo. <span class="price">$3.00</span></p> - -<p class="heading">Dyer and Color-maker's Companion:</p> - -<p class="ind less"> -Containing upwards of 200 Receipts for making Colors, on the most -approved principles, for all the various styles and fabrics now in existence; -with the Scouring Process, and plain Directions for Preparing, -Washing-off, and Finishing the Goods. In one vol., 12mo. <span class="price">$1.25</span></p> - -<p class="head1"><span class="outdent"> -EASTON.—</span>A Practical Treatise on Street or Horsepower -Railways.</p> - -<p class="ind less"> -By <span class="sc">Alexander Easton</span>, C. E. Illustrated by 23 plates.<br /> -8vo., cloth. <span class="price">$2.00</span></p> - -<p class="heading">ELDER.—Questions of the Day:</p> - -<p class="ind less"> -Economic and Social. By Dr. <span class="sc">William Elder</span>. 8vo. <span class="price">$3.00</span></p> - -<p class="head1"><span class="outdent"> -FAIRBAIRN.—</span>The Principles of Mechanism and Machinery -of Transmission:</p> - -<p class="ind less"> -Comprising the Principles of Mechanism, Wheels, and Pulleys, -Strength and Proportions of Shafts, Coupling of Shafts, and Engaging -and Disengaging Gear. By Sir <span class="sc">William Fairbairn</span>, C. E., LL.D., -F.R.S., F.G.S. Beautifully illustrated by over 150 wood-cuts. In -one volume, 12mo. <span class="price">$2.50</span></p> - -<p class="head1"><span class="outdent"> -FORSYTH.—</span>Book of Designs for Headstones, Mural, -and other Monuments:</p> - -<p class="ind less"> -Containing 78 Designs. By <span class="sc">James Forsyth</span>. With an Introduction -by <span class="sc">Charles Boutell</span>, M. A. 4to., cloth. <span class="price">$5.00</span></p> - -<p><span class="pagenum"><a name="catpage10" id="catpage10"></a>[pg 10]</span></p> - -<p class="heading">GIBSON.—The American Dyer:</p> - -<p class="ind less"> -A Practical Treatise on the Coloring of Wool, Cotton, Yarn and -Cloth, in three parts. Part First gives a descriptive account of the -Dye Stuffs; if of vegetable origin, where produced, how cultivated, -and how prepared for use; if chemical, their composition, specific -gravities, and general adaptability, how adulterated, and how to detect -the adulterations, etc. Part Second is devoted to the Coloring of -Wool, giving recipes for one hundred and twenty-nine different colors -or shades, and is supplied with sixty colored samples of Wool. Part -Third is devoted to the Coloring of Raw Cotton or Cotton Waste, for -mixing with Wool Colors in the Manufacture of all kinds of Fabrics, -gives recipes for thirty-eight different colors or shades, and is supplied -with twenty-four colored samples of Cotton Waste. Also, recipes for -Coloring Beavers, Doeskins, and Flannels, with remarks upon Anilines, -giving recipes for fifteen different colors or shades, and nine -samples of Aniline Colors that will stand both the Fulling and Scouring -process. Also, recipes for Aniline Colors on Cotton Thread, and -recipes for Common Colors on Cotton Yarns. Embracing in all over -two hundred recipes for Colors and Shades, and ninety-four samples -of Colored Wool and Cotton Waste, etc. By <span class="sc">Richard H. Gibson</span>, -Practical Dyer and Chemist.<br /> -In one volume, 8vo. <span class="price">$12.50</span></p> - -<p class="heading">GILBART.—History and Principles of Banking:</p> - -<p class="ind less"> -A Practical Treatise. By <span class="sc">James W. Gilbart</span>, late Manager of the -London and Westminster Bank. With additions. In one volume, -8vo., 600 pages, sheep. <span class="price">$5.00</span></p> - -<p class="heading">Gothic Album for Cabinet Makers:</p> - -<p class="ind less"> -Comprising a Collection of Designs for Gothic Furniture. Illustrated -by 23 large and beautifully engraved plates. Oblong. <span class="price">$3.00</span></p> - -<p class="heading"> -GRANT.—Beet-root Sugar and Cultivation of the -Beet.</p> - -<p class="ind less"> -By <span class="sc">E. B. Grant</span>. 12mo. <span class="price">$1.25</span></p> - -<p class="heading">GREGORY.—Mathematics for Practical Men:</p> - -<p class="ind less"> -Adapted to the Pursuits of Surveyors, Architects, Mechanics, and -Civil Engineers. By <span class="sc">Olinthus Gregory</span>. 8vo., plates, cloth. <span class="price">$3.00</span></p> - -<p class="head1"><span class="outdent"> -GRISWOLD.—</span>Railroad Engineer's Pocket Companion -for the Field:</p> - -<p class="ind less"> -Comprising Rules for Calculating Deflection Distances and Angles, -Tangential Distances and Angles, and all Necessary Tables for Engineers; -also the art of Levelling from Preliminary Survey to the Construction -of Railroads, intended Expressly for the Young Engineer, -together with Numerous Valuable Rules and Examples. By <span class="sc">W. -Griswold</span>. 12mo., tucks. <span class="price">$1.75</span></p> - -<p class="heading">GRUNER.—Studies of Blast Furnace Phenomena.</p> - -<p class="ind less"> -By <span class="sc">M. L. Gruner</span>, President of the General Council of Mines of -France, and lately Professor of Metallurgy at the Ecole des Mines. -Translated, with the Author's sanction, with an Appendix, by L. D. B. -Gordon, F.R.S.E., F.G.S. Illustrated. 8vo. <span class="price">$2.50</span></p> - -<p><span class="pagenum"><a name="catpage11" id="catpage11"></a>[pg 11]</span></p> - -<p class="heading">GUETTIER.—Metallic Alloys:</p> - -<p class="ind less"> -Being a Practical Guide to their Chemical and Physical Properties, -their Preparation, Composition, and Uses. Translated from the -French of <span class="sc">A. Guettier</span>, Engineer and Director of Foundries, author -of "La Fouderie en France," etc., etc. By <span class="sc">A. A. Fesquet</span>, Chemist -and Engineer. In one volume, 12mo. <span class="price">$3.00</span></p> - -<p class="heading">HARRIS.—Gas Superintendent's Pocket Companion.</p> - -<p class="ind less"> -By <span class="sc">Harris & Brother</span>, Gas Meter Manufacturers, 1115 and 1117 -Cherry Street, Philadelphia. Full bound in pocket-book form. <span class="price">$2.00</span></p> - -<p class="heading">Hats and Felting:</p> - -<p class="ind less"> -A Practical Treatise on their Manufacture. By a Practical Hatter. -Illustrated by Drawings of Machinery, etc. 8vo. <span class="price">$1.25</span></p> - -<p class="head1"><span class="outdent"> -HOFMANN.—</span>A Practical Treatise on the Manufacture -of Paper in all its Branches.</p> - -<p class="ind less"> -By <span class="sc">Carl Hofmann</span>. Late Superintendent of paper mills in Germany -and the United States; recently manager of the Public Ledger -Paper Mills, near Elkton, Md. Illustrated by 110 wood engravings, -and five large folding plates. In one volume, 4to., cloth; 398 -pages. <span class="price">$15.00</span></p> - -<p class="head1"><span class="outdent">HUGHES.—</span>American Miller and Millwright's Assistant.</p> - -<p class="ind less"> -By <span class="sc">Wm. Carter Hughes</span>. A new edition. In one vol., 12mo. <span class="price">$1.50</span></p> - -<p class="head1"><span class="outdent"> -HURST.—</span>A Hand-Book for Architectural Surveyors -and others engaged in Building:</p> - -<p class="ind less"> -Containing Formulæ useful in Designing Builder's work, Table of -Weights, of the materials used in Building, Memoranda connected -with Builders' work, Mensuration, the Practice of Builders' Measurement, -Contracts of Labor, Valuation of Property, Summary of the -Practice in Dilapidation, etc., etc. By <span class="sc">J. F. Hurst</span>, C. E. Second -edition, pocket-book form, full bound. <span class="price">$2.50</span></p> - -<p class="heading">JERVIS.—Railway Property:</p> - -<p class="ind less"> -A Treatise on the Construction and Management of Railways; designed -to afford useful knowledge, in the popular style, to the holders -of this class of property; as well as Railway Managers, Officers, and -Agents. By <span class="sc">John B. Jervis</span>, late Chief Engineer of the Hudson -River Railroad, Croton Aqueduct, etc. In one vol., 12mo., cloth. <span class="price">$2.00</span></p> - -<p class="head1"><span class="outdent"> -JOHNSTON.—</span>Instructions for the Analysis of Soils, -Limestones, and Manures.</p> - -<p class="ind less"> -By <span class="sc">J. F. W. Johnston</span>. 12mo. <span class="price">38</span></p> - -<p><span class="pagenum"><a name="catpage12" id="catpage12"></a>[pg 12]</span></p> - -<p class="heading">KEENE.—A Hand-Book of Practical Gauging:</p> - -<p class="ind less"> -For the Use of Beginners, to which is added, A Chapter on Distillation, -describing the process in operation at the Custom House for -ascertaining the strength of wines.<br /> -By <span class="sc">James B. Keene</span>, of H. M. -Customs. 8vo. <span class="price">$1.25</span></p> - -<p class="head1"><span class="outdent"> -KELLEY.—</span>Speeches, Addresses, and Letters on Industrial -and Financial Questions.</p> - -<p class="ind less"> -By Hon. <span class="sc">William D. Kelley</span>, M. C.<br /> -In one volume, 544 pages, -8vo. <span class="price">$3.00</span></p> - -<p class="heading">KENTISH.—A Treatise on a Box of Instruments,</p> - -<p class="ind less"> -And the Slide Rule; with the Theory of Trigonometry and Logarithms, -including Practical Geometry, Surveying, Measuring of Timber, -Cask and Malt Gauging, Heights, and Distances. By <span class="sc">Thomas -Kentish</span>. In one volume. 12mo. <span class="price">$1.25</span></p> - -<p class="heading">KOBELL.—ERNI.—Mineralogy Simplified:</p> - -<p class="ind less"> -A short Method of Determining and Classifying Minerals, by means -of simple Chemical Experiments in the Wet Way. Translated from -the last German Edition of <span class="sc">F. Von Kobell</span>, with an Introduction to -Blow-pipe Analysis and other additions. By <span class="sc">Henri Erni</span>, M. D., -late Chief Chemist, Department of Agriculture, author of "Coal Oil -and Petroleum." In one volume, 12mo. <span class="price">$2.50</span></p> - -<p class="heading">LANDRIN.—A Treatise on Steel:</p> - -<p class="ind less"> -Comprising its Theory, Metallurgy, Properties, Practical Working, -and Use. By <span class="sc">M. H. C. Landrin</span>, Jr., Civil Engineer. Translated -from the French, with Notes, by <span class="sc">A. A. Fesquet</span>, Chemist and Engineer. -With an Appendix on the Bessemer and the Martin Processes -for Manufacturing Steel, from the Report of Abram S. Hewitt, United -States Commissioner to the Universal Exposition, Paris, 1867. In one -volume, 12mo. <span class="price">$3.00</span></p> - -<p class="head1"><span class="outdent"> -LARKIN.—</span>The Practical Brass and Iron Founder's -Guide:</p> - -<p class="ind less"> -A Concise Treatise on Brass Founding, Moulding, the Metals and their -Alloys, etc.: to which are added Recent Improvements in the Manufacture -of Iron, Steel by the Bessemer Process, etc., etc. By <span class="sc">James -Larkin</span>, late Conductor of the Brass Foundry Department in Reany, -Neafie & Co's. Penn Works, Philadelphia. Fifth edition, revised, -with Extensive additions. In one volume, 12mo. <span class="price">$2.25</span></p> - -<p class="heading">LEAVITT.—Facts about Peat as an Article of Fuel:</p> - -<p class="ind less"> -With Remarks upon its Origin and Composition, the Localities in -which it is found, the Methods of Preparation and Manufacture, and -the various Uses to which it is applicable; together with many other -matters of Practical and Scientific Interest. To which is added a chapter -on the Utilization of Coal Dust with Peat for the Production of an -Excellent Fuel at Moderate Cost, specially adapted for Steam Service. -By <span class="sc">T. H. Leavitt</span>. Third edition. 12mo. <span class="price">$1.75</span></p> - -<p><span class="pagenum"><a name="catpage13" id="catpage13"></a>[pg 13]</span></p> - -<p class="head1"><span class="outdent"> -LEROUX, C.—</span>A Practical Treatise on the Manufacture -of Worsteds and Carded Yarns:</p> - -<p class="ind less"> -Comprising Practical Mechanics, with Rules and Calculations applied -to Spinning; Sorting, Cleaning, and Scouring Wools; the English -and French methods of Combing, Drawing, and Spinning Worsteds -and Manufacturing Carded Yarns. Translated from the French of -<span class="sc">Charles Leroux</span>, Mechanical Engineer, and Superintendent of a -Spinning Mill, by <span class="sc">Horatio Paine</span>, M. D., and <span class="sc">A. A. Fesquet</span>, -Chemist and Engineer. Illustrated by 12 large Plates. To which is -added an Appendix, containing extracts from the Reports of the International -Jury, and of the Artisans selected by the Committee appointed -by the Council of the Society of Arts, London, on Woollen and Worsted -Machinery and Fabrics, as exhibited in the Paris Universal Exposition, -1867. 8vo., cloth. <span class="price">$5.00</span></p> - -<p class="heading">LESLIE (Miss).—Complete Cookery:</p> - -<p class="ind less"> -Directions for Cookery in its Various Branches. By <span class="sc">Miss Leslie</span>. -60th thousand. Thoroughly revised, with the addition of New Receipts. -In one volume, 12mo., cloth. <span class="price">$1.50</span></p> - -<p class="heading">LESLIE (Miss).—Ladies' House Book:</p> - -<p class="ind less"> -A Manual of Domestic Economy. 20th revised edition. 12mo., cloth.</p> - -<p class="heading"> -LESLIE (Miss).—Two Hundred Receipts in French -Cookery.</p> - -<p class="ind less"> -Cloth, 12mo.</p> - -<p class="heading">LIEBER.—Assayer's Guide:</p> - -<p class="ind less"> -Or, Practical Directions to Assayers, Miners, and Smelters, for the -Tests and Assays, by Heat and by Wet Processes, for the Ores of all -the principal Metals, of Gold and Silver Coins and Alloys, and of -Coal, etc. By <span class="sc">Oscar M. Lieber</span>. 12mo., cloth. <span class="price">$1.25</span></p> - -<p class="heading">LOTH.—The Practical Stair Builder:</p> - -<p class="ind less"> -A Complete Treatise on the Art of Building Stairs and Hand-Rails, -Designed for Carpenters, Builders, and Stair-Builders. Illustrated -with Thirty Original Plates. By <span class="sc">C. Edward Loth</span>, Professional -Stair-Builder. One large 4to. volume. <span class="price">$10.00</span></p> - -<p class="head1"><span class="outdent"> -LOVE.—</span>The Art of Dyeing, Cleaning, Scouring, and -Finishing, on the Most Approved English and -French Methods:</p> - -<p class="ind less"> -Being Practical Instructions in Dyeing Silks, Woollens, and Cottons, -Feathers, Chips, Straw, etc. Scouring and Cleaning Bed and Window -Curtains, Carpets, Rugs, etc. French and English Cleaning, any -Color or Fabric of Silk, Satin, or Damask. By <span class="sc">Thomas Love</span>, a -Working Dyer and Scourer. Second American Edition, to which are -added General Instructions for the Use of Aniline Colors. In one -volume, 8vo., 343 pages. <span class="price">$5.00</span></p> - -<p><span class="pagenum"><a name="catpage14" id="catpage14"></a>[pg 14]</span></p> - -<p class="head1"><span class="outdent"> -MAIN and BROWN.—</span>Questions on Subjects Connected -with the Marine Steam-Engine:</p> - -<p class="ind less"> -And Examination Papers; with Hints for their Solution. By <span class="sc">Thomas -J. Main</span>, Professor of Mathematics, Royal Naval College, and <span class="sc">Thomas -Brown</span>, Chief Engineer, R. N. 12mo., cloth. <span class="price">$1.50</span></p> - -<p class="head1"><span class="outdent">MAIN and BROWN.—</span>The Indicator and Dynamometer:</p> - -<p class="ind less"> -With their Practical Applications to the Steam-Engine. By <span class="sc">Thomas -J. Main</span>, M. A. F. R., Assistant Professor Royal Naval College, Portsmouth, -and <span class="sc">Thomas Brown</span>, Assoc. Inst. C. E., Chief Engineer, R. -N., attached to the Royal Naval College. Illustrated. From the -Fourth London Edition. 8vo. <span class="price">$1.50</span></p> - -<p class="heading">MAIN and BROWN.—The Marine Steam-Engine.</p> - -<p class="ind less"> -By <span class="sc">Thomas J. Main</span>, F. R.; Assistant S. Mathematical Professor at -the Royal Naval College, Portsmouth, and <span class="sc">Thomas Brown</span>, Assoc. -Inst. C. E., Chief Engineer R. N. Attached to the Royal Naval College. -Authors of "Questions connected with the Marine Steam-Engine," -and the "Indicator and Dynamometer." With numerous Illustrations.<br /> -In one volume, 8vo. <span class="price">$5.00</span></p> - -<p class="head1"><span class="outdent"> -MARTIN.—</span>Screw-Cutting Tables, for the Use of Mechanical -Engineers:</p> - -<p class="ind less"> -Showing the Proper Arrangement of Wheels for Cutting the Threads -of Screws of any required Pitch; with a Table for Making the Universal -Gas-Pipe Thread and Taps. By <span class="sc">W. A. Martin</span>, Engineer. -8vo. <span class="price">50</span></p> - -<p class="heading">Mechanics' (Amateur) Workshop:</p> - -<p class="ind less"> -A treatise containing plain and concise directions for the manipulation -of Wood and Metals, including Casting, Forging, Brazing, Soldering, -and Carpentry. By the author of the "Lathe and its Uses." -Third edition. Illustrated. 8vo. <span class="price">$3.00</span></p> - -<p class="head1"><span class="outdent"> -MOLESWORTH.—</span>Pocket-Book of Useful Formulæ -and Memoranda for Civil and Mechanical Engineers.</p> - -<p class="ind less"> -By <span class="sc">Guilford L. Molesworth</span>, Member of the Institution of Civil -Engineers, Chief Resident Engineer of the Ceylon Railway. Second -American, from the Tenth London Edition. In one volume, full -bound in pocket-book form. <span class="price">$2.00</span></p> - -<p class="heading">NAPIER.—A System of Chemistry Applied to Dyeing.</p> - -<p class="ind less"> -By <span class="sc">James Napier</span>, F. C. S. A New and Thoroughly Revised Edition. -Completely brought up to the present state of the Science, including -the Chemistry of Coal Tar Colors, by <span class="sc">A. A. Fesquet</span>, Chemist -and Engineer. With an Appendix on Dyeing and Calico Printing, as -shown at the Universal Exposition, Paris, 1867. Illustrated. In one -Volume, 8vo., 422 pages. <span class="price">$5.00</span></p> - -<p><span class="pagenum"><a name="catpage15" id="catpage15"></a>[pg 15]</span></p> - -<p class="heading">NAPIER.—Manual of Electro-Metallurgy:</p> - -<p class="ind less"> -Including the Application of the Art to Manufacturing Processes. By -<span class="sc">James Napier</span>. Fourth American, from-the Fourth London edition, -revised and enlarged. Illustrated by engravings. In one vol., 8vo. <span class="price">$2.00</span></p> - -<p class="head1"><span class="outdent"> -NASON.—</span>Table of Reactions for Qualitative Chemical -Analysis.</p> - -<p class="ind less"> -By <span class="sc">Henry B. Nason</span>, Professor of Chemistry in the Rensselaer Polytechnic -Institute, Troy, New York. Illustrated by Colors. <span class="price">63</span></p> - -<p class="head1"><span class="outdent"> -NEWBERY.—</span>Gleanings from Ornamental Art of -every style:</p> - -<p class="ind less"> -Drawn from Examples in the British, South Kensington, Indian, -Crystal Palace, and other Museums, the Exhibitions of 1851 and 1862, -and the best English and Foreign works. In a series of one hundred -exquisitely drawn Plates, containing many hundred examples. By -<span class="sc">Robert Newbery</span>. 4to. <span class="price">$15.00</span></p> - -<p class="heading">NICHOLSON.—A Manual of the Art of Bookbinding:</p> - -<p class="ind less"> -Containing full instructions in the different Branches of Forwarding, -Gilding, and Finishing. Also, the Art of Marbling Book-edges and -Paper. By <span class="sc">James B. Nicholson</span>. Illustrated, 12mo., cloth. <span class="price">$2.25</span></p> - -<p class="heading">NICHOLSON.—The Carpenter's New Guide:</p> - -<p class="ind less"> -A Complete Book of Lines for Carpenters and Joiners. By <span class="sc">Peter -Nicholson</span>. The whole carefully and thoroughly revised by <span class="sc">H. K. -Davis</span>, and containing numerous new and improved and original Designs -for Roofs, Domes, etc. By <span class="sc">Samuel Sloan</span>, Architect. Illustrated -by 80 plates. 4to. <span class="price">$4.50</span></p> - -<p class="head1"><span class="outdent"> -NORRIS.—</span>A Hand-book for Locomotive Engineers -and Machinists:</p> - -<p class="ind less"> -Comprising the Proportions and Calculations for Constructing Locomotives; -Manner of Setting Valves; Tables of Squares, Cubes, Areas, -etc., etc. By <span class="sc">Septimus Norris</span>, Civil and Mechanical Engineer. -New edition. Illustrated. 12mo., cloth. <span class="price">$2.00</span></p> - -<p class="head1"><span class="outdent"> -NYSTROM.—</span>On Technological Education, and the -Construction of Ships and Screw Propellers:</p> - -<p class="ind less"> -For Naval and Marine Engineers. By <span class="sc">John W. Nystrom</span>, late Acting -Chief Engineer, U. S. N. Second edition, revised with additional -matter. Illustrated by seven engravings. 12mo. <span class="price">$1.50</span></p> - -<p class="heading">O'NEILL.—A Dictionary of Dyeing and Calico Printing:</p> - -<p class="ind less"> -Containing a brief account of all the Substances and Processes in use -in the Art of Dyeing and Printing Textile Fabrics; with Practical -Receipts and Scientific Information. By <span class="sc">Charles O'Neill</span>, Analytical -Chemist; Fellow of the Chemical Society of London; Member -of the Literary and Philosophical Society of Manchester; Author of -"Chemistry of Calico Printing and Dyeing." To which is added an -Essay on Coal Tar Colors and their application to Dyeing and Calico -Printing. By <span class="sc">A. A. Fesquet</span>, Chemist and Engineer. With an Appendix -on Dyeing and Calico Printing, as shown at the Universal -Exposition, Paris, 1867. In one volume, 8vo., 491 pages. <span class="price">$6.00</span></p> - -<p><span class="pagenum"><a name="catpage16" id="catpage16"></a>[pg 16]</span></p> - -<p class="heading">ORTON.—Underground Treasures:</p> - -<p class="ind less"> -How and Where to Find Them. A Key for the Ready Determination -of all the Useful Minerals within the United States. By <span class="sc">James -Orton</span>, A. M. Illustrated, 12mo. <span class="price">$1.50</span></p> - -<p class="heading">OSBORN.—American Mines and Mining:</p> - -<p class="ind less"> -Theoretically and Practically Considered. By Prof. <span class="sc">H. S. Osborn</span>. -Illustrated by numerous engravings. 8vo. (<i>In preparation.</i>)</p> - -<p class="heading">OSBORN.—The Metallurgy of Iron and Steel:</p> - -<p class="ind less"> -Theoretical and Practical in all its Branches; with special reference -to American Materials and Processes. By <span class="sc">H. S. Osborn</span>, LL. D., -Professor of Mining and Metallurgy in Lafayette College, Easton, -Pennsylvania. Illustrated by numerous large folding plates and -wood-engravings.<br /> -8vo. <span class="price">$15.00</span></p> - -<p class="heading">OVERMAN.—The Manufacture of Steel:</p> - -<p class="ind less"> -Containing the Practice and Principles of Working and Making Steel. -A Handbook for Blacksmiths and Workers in Steel and Iron, Wagon -Makers, Die Sinkers, Cutlers, and Manufacturers of Files and Hardware, -of Steel and Iron, and for Men of Science and Art. By <span class="sc">Frederick -Overman</span>, Mining Engineer, Author of the "Manufacture of -Iron," etc. A new, enlarged, and revised Edition. By <span class="sc">A. A. Fesquet</span>, -Chemist and Engineer. <span class="price">$1.50</span></p> - -<p class="head1"><span class="outdent"> -OVERMAN.—</span>The Moulder and Founder's Pocket -Guide:</p> - -<p class="ind less"> -A Treatise on Moulding and Founding in Green-sand, Dry-sand, Loam, -and Cement; the Moulding of Machine Frames, Mill-gear, Hollow-ware, -Ornaments, Trinkets, Bells, and Statues; Description of Moulds -for Iron, Bronze, Brass, and other Metals; Plaster of Paris, Sulphur, -Wax, and other articles commonly used in Casting; the Construction -of Melting Furnaces, the Melting and Founding of Metals; the Composition -of Alloys and their Nature. With an Appendix containing -Receipts for Alloys, Bronze, Varnishes and Colors for Castings; also, -Tables on the Strength and other qualities of Cast Metals. By <span class="sc">Frederick -Overman</span>, Mining Engineer, Author of "The Manufacture -of Iron." With 42 Illustrations. 12mo. <span class="price">$1.50</span></p> - -<p class="heading">Painter, Gilder, and Varnisher's Companion:</p> - -<p class="ind less"> -Containing Rules and Regulations in everything relating to the Arts -of Painting, Gilding, Varnishing, Glass-Staining, Graining, Marbling, -Sign-Writing, Gilding on Glass, and Coach Painting and Varnishing; -Tests for the Detection of Adulterations in Oils, Colors, etc.; and a -Statement of the Diseases to which Painters are peculiarly liable, with -the Simplest and Best Remedies. Sixteenth Edition. Revised, with -an Appendix. Containing Colors and Coloring-Theoretical and -Practical. Comprising descriptions of a great variety of Additional -Pigments, their Qualities and Uses, to which are added, Dryers, and -Modes and Operations of Painting, etc. Together with Chevreul's -Principles of Harmony and Contrast of Colors, 12mo., cloth. <span class="price">$1.50</span></p> - -<p><span class="pagenum"><a name="catpage17" id="catpage17"></a>[pg 17]</span></p> - -<p class="head1"><span class="outdent"> -PALLETT.—</span>The Miller's, Millwright's, and Engineer's -Guide.</p> - -<p class="ind less"> -By <span class="sc">Henry Pallett</span>. Illustrated. In one volume, 12mo. <span class="price">$3.00</span></p> - -<p class="heading">PERCY.—The Manufacture of Russian Sheet-Iron.</p> - -<p class="ind less"> -By <span class="sc">John Percy</span>, M. D., F.R.S., Lecturer on Metallurgy at the Royal -School of Mines, and to The Advanced Class of Artillery Officers at -the Royal Artillery Institution, Woolwich; Author of "Metallurgy." -With Illustrations. 8vo., paper. <span class="price">50 cts.</span></p> - -<p class="heading">PERKINS.—Gas and Ventilation.</p> - -<p class="ind less"> -Practical Treatise on Gas and Ventilation. With Special Relation to -Illuminating, Heating, and Cooking by Gas. Including Scientific -Helps to Engineer-students and others. With Illustrated Diagrams.<br /> -By <span class="sc">E. E. Perkins</span>. 12mo., cloth. <span class="price">$1.25</span></p> - -<p class="head1"><span class="outdent"> -PERKINS and STOWE.—</span>A New Guide to the Sheet-iron -and Boiler Plate Roller:</p> - -<p class="ind less"> -Containing a Series of Tables showing the Weight of Slabs and Piles -to produce Boiler Plates, and of the Weight of Piles and the Sizes of -Bars to produce Sheet-iron; the Thickness of the Bar Gauge in -decimals; the Weight per foot, and the Thickness on the Bar or Wire -Gauge of the fractional parts of an inch; the Weight per sheet, and -the Thickness on the Wire Gauge of Sheet-iron of various dimensions -to weigh 112 lbs. per bundle; and the conversion of Short Weight -into Long Weight, and Long Weight into Short. Estimated and collected -by <span class="sc">G. H. Perkins</span> and <span class="sc">J. G. Stowe</span>. <span class="price">$2.50</span></p> - -<p class="head1"><span class="outdent"> -PHILLIPS and DARLINGTON.—</span>Records of Mining -and Metallurgy;</p> - -<p class="ind less"> -Or Facts and Memoranda for the use of the Mine Agent and Smelter. -By <span class="sc">J. Arthur Phillips</span>, Mining Engineer, Graduate of the Imperial -School of Mines, France, etc., and <span class="sc">John Darlington</span>. Illustrated -by numerous engravings. In one volume, 12mo. <span class="price">$2.00</span></p> - -<p class="head1"><span class="outdent"> -PROTEAUX.—</span>Practical Guide for the Manufacture -of Paper and Boards.</p> - -<p class="ind less"> -By <span class="sc">A. Proteaux</span>, Civil Engineer, and Graduate of the School of Arts -and Manufactures, and Director of Thiers' Paper Mill, Puy-de-Dôme. -With additions, by <span class="sc">L. S. Le Normand</span>. Translated from the French, -with Notes, by <span class="sc">Horatio Paine</span>, A. B., M. D. To which is added a -Chapter on the Manufacture of Paper from Wood in the United -States, by <span class="sc">Henry T. Brown</span>, of the "American Artisan." Illustrated -by six plates, containing Drawings of Raw Materials, Machinery, -Plans of Paper-Mills, etc., etc. 8vo. <span class="price">$10.00</span></p> - -<p class="heading">REGNAULT.—Elements of Chemistry.</p> - -<p class="ind less"> -By <span class="sc">M. V. Regnault</span>. Translated from the French by <span class="sc">T. Forrest -Betton</span>, M. D., and edited, with Notes, by <span class="sc">James C. Booth</span>, Melter -and Refiner U. S. Mint, and <span class="sc">Wm. L. Faber</span>, Metallurgist and Mining -Engineer. Illustrated by nearly 700 wood engravings. Comprising -nearly 1500 pages. In two volumes, 8vo., cloth. <span class="price">$7.50</span></p> - -<p><span class="pagenum"><a name="catpage18" id="catpage18"></a>[pg 18]</span></p> - -<p class="ind less"> -REID.—A Practical Treatise on the Manufacture of -Portland Cement:</p> - -<p class="ind less"> -By <span class="sc">Henry Reid</span>, C. E. To which is added a Translation of M. A. -Lipowitz's Work, describing a New Method adopted in Germany for -Manufacturing that Cement, by <span class="sc">W. F. Reid</span>. Illustrated by plates -and wood engravings. 8vo. <span class="price">$6.00</span></p> - -<p class="head1"><span class="outdent"> -RIFFAULT, VERGNAUD, and TOUSSAINT.—</span>A -Practical Treatise on the Manufacture of Varnishes.</p> - -<p class="ind less"> -By MM. <span class="sc">Riffault</span>, <span class="sc">Vergnaud</span>, and <span class="sc">Toussaint</span>. Revised and -Edited by <span class="sc">M. F. Malepeyre</span> and Dr. <span class="sc">Emil Winckler</span>. Illustrated. -In one volume, 8vo. (<i>In preparation.</i>)</p> - -<p class="head1"><span class="outdent"> -RIFFAULT, VERGNAUD, and TOUSSAINT.—</span>A -Practical Treatise on the Manufacture of Colors -for Painting:</p> - -<p class="ind less"> -Containing the best Formulæ and the Processes the Newest and in -most General Use. By MM. <span class="sc">Riffault</span>, <span class="sc">Vergnaud</span>, and <span class="sc">Toussaint</span>. -Revised and Edited by <span class="sc">M. F. Malepeyre</span> and Dr. <span class="sc">Emil Winckler</span>. -Translated from the French by <span class="sc">A. A. Fesquet</span>, Chemist and Engineer. -Illustrated by Engravings. In one volume, 650 pages, 8vo. <span class="price">$7.50</span></p> - -<p class="heading">ROBINSON.—Explosions of Steam Boilers:</p> - -<p class="ind less"> -How they are Caused, and how they may be Prevented. By <span class="sc">J. R. -Robinson</span>, Steam Engineer. 12mo. <span class="price">$1.25</span></p> - -<p class="head1"><span class="outdent"> -ROPER.—</span>A Catechism of High Pressure or Non-Condensing -Steam-Engines:</p> - -<p class="ind less"> -Including the Modelling, Constructing, Running, and Management -of Steam Engines and Steam Boilers. With Illustrations. By -<span class="sc">Stephen Roper</span>, Engineer. Full bound tucks. <span class="price">$2.00</span></p> - -<p class="heading">ROSELEUR.—Galvanoplastic Manipulations:</p> - -<p class="ind less"> -A Practical Guide for the Gold and Silver Electro-plater and the -Galvanoplastic Operator. Translated from the French of <span class="sc">Alfred -Roseleur</span>, Chemist, Professor of the Galvanoplastic Art, Manufacturer -of Chemicals, Gold and Silver Electro-plater. By <span class="sc">A. A. Fesquet</span>, -Chemist and Engineer. Illustrated by over 127 Engravings on wood. -8vo., 495 pages. <span class="price">$6.00</span></p> - -<p><img src="images/finger.png" width="32" height="14" alt="pointing hand" /><i>This Treatise is the fullest and by far the best on -this subject ever published in the United States.</i></p> - -<p class="head1"><span class="outdent"> -SCHINZ.—</span>Researches on the Action of the Blast -Furnace.</p> - -<p class="ind less"> -By <span class="sc">Charles Schinz</span>. Translated from the German with the special -permission of the Author by <span class="sc">William H. Maw</span> and <span class="sc">Moritz Muller</span>. -With an Appendix written by the Author expressly for this -edition. Illustrated by seven plates, containing 28 figures.<br /> -In one volume, 12mo. <span class="price">$4.25</span></p> - -<p><span class="pagenum"><a name="catpage19" id="catpage19"></a>[pg 19]</span></p> - -<p class="heading">SHAW.—Civil Architecture:</p> - -<p class="ind less"> -Being a Complete Theoretical and Practical System of Building, containing -the Fundamental Principles of the Art. By <span class="sc">Edward Shaw</span>, -Architect. To which is added a Treatise on Gothic Architecture, etc. -By <span class="sc">Thomas W. Silloway</span> and <span class="sc">George M. Harding</span>, Architects. -The whole illustrated by One Hundred and Two quarto plates finely -engraved on copper. Eleventh Edition. 4to., cloth. <span class="price">$10.00</span></p> - -<p class="head1"><span class="outdent"> -SHUNK.—</span>A Practical Treatise on Railway Curves -and Location, for Young Engineers.</p> - -<p class="ind less"> -By <span class="sc">William F. Shunk</span>, Civil Engineer. 12mo. <span class="price">$2.00</span></p> - -<p class="heading">SLOAN.—American Houses:</p> - -<p class="ind less"> -A variety of Original Designs for Rural Buildings. Illustrated by 26 -colored Engravings, with Descriptive References. By <span class="sc">Samuel Sloan</span>, -Architect, author of the "Model Architect," etc., etc. 8vo. <span class="price">$2.50</span></p> - -<p class="heading">SMEATON.—Builder's Pocket Companion:</p> - -<p class="ind less"> -Containing the Elements of Building, Surveying, and Architecture; -with Practical Rules and Instructions connected with the subject. -By <span class="sc">A. C. Smeaton</span>, Civil Engineer, etc. In one volume, 12mo. <span class="price">$1.50</span></p> - -<p class="heading">SMITH.—A Manual of Political Economy.</p> - -<p class="ind less"> -By <span class="sc">E. Peshine Smith</span>. A new Edition, to which is added a full -Index. 12mo., cloth. <span class="price">$1.25</span></p> - -<p class="heading">SMITH.—Parks and Pleasure Grounds:</p> - -<p class="ind less"> -Or Practical Notes on Country Residences, Villas, Public Parks, and -Gardens. By <span class="sc">Charles H. J. Smith</span>, Landscape Gardener and -Garden Architect, etc., etc. 12mo. <span class="price">$2.25</span></p> - -<p class="heading">SMITH.—The Dyer's Instructor:</p> - -<p class="ind less"> -Comprising Practical Instructions in the Art of Dyeing Silk, Cotton, -Wool, and Worsted, and Woollen Goods: containing nearly 800 -Receipts. To which is added a Treatise on the Art of Padding; and -the Printing of Silk Warps, Skeins, and Handkerchiefs, and the -various Mordants and Colors for the different styles of such work. -By <span class="sc">David Smith</span>, Pattern Dyer. 12mo., cloth. <span class="price">$3.00</span></p> - -<p class="heading">SMITH.—The Practical Dyer's Guide:</p> - -<p class="ind less"> -Comprising Practical Instructions in the Dyeing of Shot Cobourgs, -Silk Striped Orleans, Colored Orleans from Black Warps, Ditto from -White' Warps, Colored Cobourgs from White Warps, Merinos, Yarns, -Woollen Cloths, etc. Containing nearly 300 Receipts, to most of which -a Dyed Pattern is annexed. Also, A Treatise on the Art of Padding. -By <span class="sc">David Smith</span>. In one volume, 8vo. Price. <span class="price">$25.00</span></p> - -<p class="heading">STEWART.—The American System.</p> - -<p class="ind less"> -Speeches on the Tariff Question, and on Internal Improvements, principally -delivered in the House of Representatives of the United States. -By <span class="sc">Andrew Stewart</span>, late M. C. from Pennsylvania. With a Portrait, -and a Biographical Sketch. In one volume, 8vo., 407 pages. <span class="price">$3.00</span></p> - -<p><span class="pagenum"><a name="catpage20" id="catpage20"></a>[pg 20]</span></p> - -<p class="head1"><span class="outdent">STOKES.—</span>Cabinet-maker's and Upholsterer's Companion:</p> - -<p class="ind less"> -Comprising the Rudiments and Principles of Cabinet-making and Upholstery, -with Familiar Instructions, illustrated by Examples for -attaining a Proficiency in the Art of Drawing, as applicable to Cabinet-work; -the Processes of Veneering, Inlaying, and Buhl-work; the -Art of Dyeing and Staining Wood, Bone, Tortoise Shell, etc. Directions -for Lackering, Japanning, and Varnishing; to make French -Polish; to prepare the Best Glues, Cements, and Compositions, and a -number of Receipts particularly useful for workmen generally. By -<span class="sc">J. Stokes</span>. In one volume, 12mo. With Illustrations. <span class="price">$1.25</span></p> - -<p class="heading">Strength and other Properties of Metals:</p> - -<p class="ind less"> -Reports of Experiments on the Strength and other Properties of Metals -for Cannon. With a Description of the Machines for testing Metals, -and of the Classification of Cannon in service. By Officers of the Ordnance -Department U. S. Army. By authority of the Secretary of War. -Illustrated by 25 large steel plates. In one volume, 4to. <span class="price">$10.00</span></p> - -<p class="heading">SULLIVAN.—Protection to Native Industry.</p> - -<p class="ind less"> -By Sir <span class="sc">Edward Sullivan</span>, Baronet, author of "Ten Chapters on -Social Reforms." In one volume, 8vo. <span class="price">$1.50</span></p> - -<p class="head1"><span class="outdent"> -Tables Showing the Weight</span> of Round, Square, and -Flat Bar Iron, Steel, etc.,</p> - -<p class="ind less"> -By Measurement. Cloth. <span class="price">63</span></p> - -<p class="heading">TAYLOR.—Statistics of Coal:</p> - -<p class="ind less"> -Including Mineral Bituminous Substances employed in Arts and -Manufactures; with their Geographical, Geological, and Commercial -Distribution and Amount of Production and Consumption on the -American Continent. With Incidental Statistics of the Iron Manufacture. -By <span class="sc">R. C. Taylor</span>. Second edition, revised by <span class="sc">S. S. Haldeman</span>. -Illustrated by five Maps and many wood engravings.<br /> -8vo., cloth. <span class="price">$10.00</span></p> - -<p class="head1"><span class="outdent"> -TEMPLETON.—</span>The Practical Examinator on Steam -and the Steam-Engine:</p> - -<p class="ind less"> -With Instructive References relative thereto, arranged for the Use of -Engineers, Students, and others. By <span class="sc">Wm. Templeton</span>, Engineer.<br /> -12mo. <span class="price">$1.25</span></p> - -<p class="heading">THOMAS.—The Modern Practice of Photography.</p> - -<p class="ind less"> -By <span class="sc">R. W. Thomas</span>, F. C. S. 8vo., cloth. <span class="price">75</span></p> - -<p class="heading">THOMSON.—Freight Charges Calculator.</p> - -<p class="ind less"> -By <span class="sc">Andrew Thomson</span>, Freight Agent. 24mo. <span class="price">$1.25</span></p> - -<p class="head1"><span class="outdent"> -TURNING: Specimens of Fancy Turning</span> Executed -on the Hand or Foot Lathe:</p> - -<p class="ind less"> -With Geometric, Oval, and Eccentric Chucks, and Elliptical Cutting -Frame. By an Amateur. Illustrated by 30 exquisite Photographs.<br /> -4to. <span class="price">$3.00</span></p> - -<p><span class="pagenum"><a name="catpage21" id="catpage21"></a>[pg 21]</span></p> - -<p class="heading">Turner's (The) Companion:</p> - -<p class="ind less"> -Containing Instructions in Concentric, Elliptic, and Eccentric Turning: -also various Plates of Chucks, Tools, and Instruments; and Directions -for using the Eccentric Cutter, Drill, Vertical Cutter, and -Circular Rest; with Patterns and Instructions for working them. A -new edition in one volume, 12mo. <span class="price">$1.50</span></p> - -<p class="head1"><span class="outdent"> -URBIN.—</span>BRULL.—A Practical Guide for Puddling -Iron and Steel.</p> - -<p class="ind less"> -By <span class="sc">Ed. Urbin</span>, Engineer of Arts and Manufactures. A Prize Essay -read before the Association of Engineers, Graduate of the School of -Mines, of Liege, Belgium, at the Meeting of 1865-6. To which is added -<span class="sc">A Comparison of the Resisting Properties of Iron and Steel</span>. -By <span class="sc">A. Brull</span>. Translated from the French by <span class="sc">A. A. Fesquet</span>, Chemist -and Engineer. In one volume, 8vo. <span class="price">$1.00</span></p> - -<p class="heading">VAILE.—Galvanized Iron Cornice-Worker's Manual:</p> - -<p class="ind less"> -Containing Instructions in Laying out the Different Mitres, and Making -Patterns for all kinds of Plain and Circular Work. Also, Tables -of Weights, Areas and Circumferences of Circles, and other Matter calculated -to Benefit the Trade. By <span class="sc">Charles A. Vaile</span>, Superintendent -"Richmond Cornice Works," Richmond, Indiana. Illustrated -by 21 Plates. In one volume, 4to. <span class="price">$5.00</span></p> - -<p class="heading">VILLE.—The School of Chemical Manures:</p> - -<p class="ind less"> -Or, Elementary Principles in the Use of Fertilizing Agents. From the -French of <span class="sc">M. George Ville</span>, by <span class="sc">A. A. Fesquet</span>, Chemist and Engineer. -With Illustrations. In one volume, 12 mo. <span class="price">$1.25</span></p> - -<p class="head1"><span class="outdent"> -VOGDES.—</span>The Architect's and Builder's Pocket Companion -and Price Book:</p> - -<p class="ind less"> -Consisting of a Short but Comprehensive Epitome of Decimals, Duo-decimals, -Geometry and Mensuration; with Tables of U. S. Measures, -Sizes, Weights, Strengths, etc., of Iron, Wood, Stone, and various -other Materials, Quantities of Materials in Given Sizes, and Dimensions -of Wood, Brick, and Stone; and a full and complete Bill of -Prices for Carpenter's Work; also, Rules for Computing and Valuing -Brick and Brick Work, Stone Work, Painting, Plastering, etc. By -<span class="sc">Frank W. Vogdes</span>, Architect. Illustrated. Full bound in pocket-book -form. <span class="price">$2.00</span><br /> -Bound in cloth. <span class="price">1.50</span></p> - -<p class="heading">WARN.—The Sheet-Metal Worker's Instructor:</p> - -<p class="ind less"> -For Zinc, Sheet-Iron, Copper, and Tin-Plate Workers, etc. Containing -a selection of Geometrical Problems; also, Practical and Simple -Rules for describing the various Patterns required in the different -branches of the above Trades. By <span class="sc">Reuben H. Warn</span>, Practical Tin-plate -Worker. To which is added an Appendix, containing Instructions -for Boiler Making, Mensuration of Surfaces and Solids, Rules for -Calculating the Weights of different Figures of Iron and Steel, Tables -of the Weights of Iron, Steel, etc. Illustrated by 32 Plates and 37 -Wood Engravings. 8vo. <span class="price">$3.00</span></p> - -<p><span class="pagenum"><a name="catpage22" id="catpage22"></a>[pg 22]</span></p> - -<p class="head1"><span class="outdent"> -WARNER.—</span>New Theorems, Tables, and Diagrams -for the Computation of Earth-Work:</p> - -<p class="ind less"> -Designed for the use of Engineers in Preliminary and Final Estimates, -of Students in Engineering, and of Contractors and other non-professional -Computers. In Two Parts, with an Appendix. Part I.—A -Practical Treatise; Part II.—A Theoretical Treatise; and the Appendix. -Containing Notes to the Rules and Examples of Part I.; Explanations -of the Construction of Scales, Tables, and Diagrams, and a -Treatise upon Equivalent Square Bases and Equivalent Level Heights. -The whole illustrated by numerous original Engravings, comprising -Explanatory Cuts for Definitions and Problems, Stereometric Scales -and Diagrams, and a Series of Lithographic Drawings from Models, -showing all the Combinations of Solid Forms which occur in Railroad -Excavations and Embankments. By <span class="sc">John Warner</span>, A. M., Mining -and Mechanical Engineer. 8vo. <span class="price">$5.00</span></p> - -<p class="heading">WATSON.—A Manual of the Hand-Lathe:</p> - -<p class="ind less"> -Comprising Concise Directions for working Metals of all kinds, Ivory, -Bone and Precious Woods; Dyeing, Coloring, and French Polishing; -Inlaying by Veneers, and various methods practised to produce Elaborate -work with Dispatch, and at Small Expense. By <span class="sc">Egbert P. -Watson</span>, late of "The Scientific American," Author of "The Modern -Practice of American Machinists and Engineers." Illustrated by 78 -Engravings. <span class="price">$1.50</span></p> - -<p class="head1"><span class="outdent"> -WATSON.—</span>The Modern Practice of American Machinists -and Engineers:</p> - -<p class="ind less"> -Including the Construction, Application, and Use of Drills, Lathe -Tools, Cutters for Boring Cylinders, and Hollow Work Generally, -with the most Economical Speed for the same; the Results verified by -Actual Practice at the Lathe, the Vice, and on the Floor. Together -with Workshop Management, Economy of Manufacture, the Steam-Engine, -Boilers, Gears, Belting, etc., etc. By <span class="sc">Egbert P. Watson</span>, -late of the "Scientific American." Illustrated by 86 Engravings. In -one volume, 12mo. <span class="price">$2.50</span> -</p> - -<p class="head1"><span class="outdent"> -WATSON.—</span>The Theory and Practice of the Art of -Weaving by Hand and Power:</p> - -<p class="ind less"> -With Calculations and Tables for the use of those connected with the -Trade. By <span class="sc">John Watson</span>, Manufacturer and Practical Machine -Maker. Illustrated by large Drawings of the best Power Looms. -8vo. <span class="price">$10.00</span></p> - -<p class="head1"><span class="outdent"> -WEATHERLY.—</span>Treatise on the Art of Boiling Sugar, -Crystallizing, Lozenge-making, Comfits, Gum -Goods.</p> - -<p class="ind less">12mo. <span class="price">$2.00</span></p> - -<p class="heading">WEDDING.—The Metallurgy of Iron;</p> - -<p class="ind less"> -Theoretically and Practically Considered. By Dr. <span class="sc">Hermann Wedding</span>, -Professor of the Metallurgy of Iron at the Royal Mining -Academy, Berlin. Translated by <span class="sc">Julius Du Mont</span>, Bethlehem, Pa. -Illustrated by 207 Engravings on Wood, and three Plates. In one -volume, 8vo. (<i>In press.</i>) -</p> -<p><span class="pagenum"><a name="catpage23" id="catpage23"></a>[pg 23]</span></p> - -<p class="heading">WILL.—Tables for Qualitative Chemical Analysis.</p> - -<p class="ind less"> -By Professor <span class="sc">Heinrich Will</span>, of Giessen, Germany. Seventh edition. -Translated by <span class="sc">Charles F. Himes</span>, Ph. D., Professor of Natural -Science, Dickinson College, Carlisle, Pa. <span class="price">$1.50</span></p> - -<p class="heading">WILLIAMS.—On Heat and Steam:</p> - -<p class="ind less"> -Embracing New Views of Vaporization, Condensation, and Explosions. -By <span class="sc">Charles Wye Williams</span>, A. I. C. E. Illustrated. 8vo. <span class="price">$3.50</span></p> - -<p class="heading">WOHLER.—A Hand-Book of Mineral Analysis.</p> - -<p class="ind less"> -By <span class="sc">F. Wohler</span>, Professor of Chemistry in the University of Göttingen. -Edited by <span class="sc">Henry B. Nason</span>, Professor of Chemistry in the -Rensselaer Polytechnic Institute, Troy, New York. Illustrated.<br /> -In one volume, 12mo. <span class="price">$3.00</span></p> - -<p class="heading">WORSSAM.—On Mechanical Saws:</p> - -<p class="ind less"> -From the Transactions of the Society of Engineers, 1869. By <span class="sc">S. W. -Worssam</span>, Jr. Illustrated by 18 large plates. 8vo. <span class="price">$5.00</span></p> - -</div></div> -<hr /> - -<div class="tn"> - -<h4>Transcriber's Note</h4> - -<p>The Book Cover has been constructed by the transcriber and placed in the Public Domain.</p> - -<p>Sundry missing or damaged punctuation has been repaired.</p> - -<p>Both hyphenated and non-hyphenated variants of many words occur in -this book. All have been retained.</p> - -<p>This book has some older spellings or grammatical constructions, which have been -retained. Though published Philadelphia 1878, parts of the book date from 1856, -and would thus appear to pre-date modern American spelling conventions. -(See note on the Catalogue advertisements which were placed after the Index.)</p> - -<p>Any illustration which interrupted a paragraph was moved to a more convenient -location, between paragraphs.</p> - -<p>There is some discrepancy between the TOC and the book's layout. Some -rationalization has been attempted.</p> - -<p>'Blank work' appears to refer to blank book-keeping books sold by stationers for use in business offices.</p> - -<p>Pages 18-19, 67: Derome also appears as De Rome. (Index: Derome)</p> - -<p>Page 23: 'him' and 'self' re-joined over line-break.</p> - -<p class="ind">"Many of these he made himself of iron,..."</p> - -<p>Page 57: 'Societé' corrected to 'Société'.</p> - -<p class="ind">"... in a Memoir presented by him to the "<i>Société d' Encouragement</i>,"</p> - -<p>Page 78: 'faustic chips'; 'faustic' would appear to be correct. -From [http://www.] faculty.ucr.edu/~legneref/botany/tandye.htm#fusticdyes -"Tanning" ... "Wood Dyes" ... "Fustic":<br /> -This is the main source of natural yellows, olives and browns and ranks with -logwood in importance. It is used for leather and in combination with logwood -for silk, wool, nylon and rayon. It comes from the heartwood of Chlorophora -tinctoria, a forest tree of the West Indies, Central and South America. The -light-yellow wood turns a dark yellow-brown when exposed to air.<br /> -Faustic is exported as short logs, chips, powder or paste. -The dye is frequently called Old Fustic to distinguish it from Young Fustic, -once obtained from the twigs of Cotinus coggygria."</p> - -<p>Page 128: 'papier D'Anonay', should perhaps be 'papier D'Annonay'. -Also Page 150, so perhaps 'papier D'Anonay' was an accepted spelling (in the -bookbinding trade) at the time of publication.</p> - -<p>Page 151: 'STATIONERY OR VELLUM BINDING.' is 'Blank Binding' in TOC (p. 7).</p> - -<p>Page 181: "... but the character of the ornaments are generally dissimilar." is -as printed, though the author does seem to have confused his tenses.</p> - -<p>Page 203: 'anti-tiquities' corrected to 'antiquities' - letters duplicated at -line-break.</p> - -<p class="ind"> "... and illustrate the history, laws, customs, and antiquities,..."</p> - -<p>Pages 214-5: Plate 8.: 'Pattern's' corrected to 'Patterns'.</p> - -<p class="ind"> "Selection from Gaskill, Copper & Fry's Book of Patterns"</p> - -<p>Page 237 (also pp. 244, 246, 246. 250, 251, 252, 258, and Index): 'AQUA REGII' -corrected to 'AQUA REGIA' ('royal water' or 'king's water'), a mixture of nitric -acid and hydrochloric acid <span class="less2">(The transcriber could not find any reference to 'aqua regii', -and assumes it to be a spelling error by either the author or the printer.)</span>.</p> - -<p>'nitrous acid' corrected to 'nitric acid', which appears in the next paragraph.</p> - -<p class="ind"> "So called from its power to dissolve gold, is a - mixture of nitric acid (aquafortis) and muriatic - acid, (spirits of salts,)...."</p> - -<p>Page 244: 'OHANGE' corrected to 'ORANGE'.</p> - -<p>Page 289: If you have an older browser which does not display Latin reversed 'c', -here is a workaround, using instead Latin small letter open 'o' (which looks a bit similar):</p> - -<p class="center1c space-above2">TRANSLATION OF DATES.</p> - -<p class="ind">Many old books have their dates printed in a -manner which puzzles the finisher, should he be required -to date any so printed, which are too thin to -admit of its being done as on the title-page. The -following key is here given, as it may be found -useful in such cases:—<span class="sc">c</span>. 100; I<span class="lm">ɔ</span>, -or <span class="sc">d</span>, 500; <span class="sc">c</span>I<span class="lm">ɔ</span> -or <span class="sc">m</span>, 1000; I<span class="lm">ɔɔ</span>, 5000; -<span class="sc">cc</span>I<span class="lm">ɔɔ</span>, 10,000; -I<span class="lm">ɔɔɔ</span>, 50,000, -<span class="sc">ccc</span>I<span class="lm">ɔɔɔ</span>, 100,000. -Thus, <span class="sc">c</span>I<span class="lm">ɔ</span>, I<span class="lm">ɔ</span>, -<span class="sc">clxxxviii</span>—1688. -While on this subject, it may not be inappropriate -to notice the dating of some books printed -in France during the republic in that country. -Thus, "An. <span class="sc">xiii.</span>"—1805, that being the thirteenth -year of the republic, which commenced -in 1792.</p> - -<p>Page 313 et seq.: Some Index entries which had been transposed have been -returned to their correct places.</p> -<p>The dashes (——) in the index have been replaced by double spaces, - making it a simple nested list.</p> - -<p class="title4">INDEX:</p> - -<p>'Antique Dutch': Page number corrected from 29 to 123 (No 29.)</p> - -<p>'Maiolo, 17' corrected to 'Maioli, 18'. (also later occurrence)</p> - -<p>'Carved oak boards, description of, 12, 211'.</p> - -<p class="ind1">'precious stones let into, 12, 14.</p> - -<p>P. 211 had been incorrectly assigned to 'precious stones let into', -and the 'precious stones' are mentioned on pp. 12 and 14.</p> - -<p>'Edges, Burnishing': P. 125 corrected to 126.</p> - -<p>'Forwarding': p. 72 corrected to 73.</p> - -<p>'Hints to Book Collectors': p. 291 corrected to 292.</p> - -<p>'Mahogany sprinkle on leather': P. 252 corrected to 253.</p> - -<p>'Marbled cloth': p. 127 corrected to 128.</p> -<p>'Turning up': p. 72 corrected to 73.</p> - -<p class="title4">CATALOGUE:</p> - -<p>Page 1, et seq.: Catalogue of Practical and Scientific Books (etc.): -MM is an abbreviation for Messieurs. Abbreviations for technical and -professional qualifications, etc. are not always consistently spaced. They have -been retained as printed.</p> - -<p>Prices for books have been retained, as printed. Those less than $1.00, with a couple of -exceptions (50cts,) are printed, e.g. 63, 75, etc., aligned right.</p> - -<p>The spelling in the descriptions of books in the Catalogue sometimes depended on -whether the author was American or English.</p> - -<p>The word 'Price' appears only in the description of one book. It has been -retained.</p> - -<p>Page 13: The price was omitted from two of Miss Leslie's books.</p> -</div> - -<hr /> - - - - - - - - -<pre> - - - - - -End of the Project Gutenberg EBook of A Manual of the Art of Bookbinding, by -James B. 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100644 index c097795..0000000 --- a/old/55056-h/images/frontis-600.png +++ /dev/null diff --git a/old/55056-h/images/leftbraceab.png b/old/55056-h/images/leftbraceab.png Binary files differdeleted file mode 100644 index 2f60c96..0000000 --- a/old/55056-h/images/leftbraceab.png +++ /dev/null diff --git a/old/old-2025-01-30/55056-0.txt b/old/old-2025-01-30/55056-0.txt deleted file mode 100644 index 00e28f1..0000000 --- a/old/old-2025-01-30/55056-0.txt +++ /dev/null @@ -1,9693 +0,0 @@ -*** START OF THE PROJECT GUTENBERG EBOOK 55056 *** - -[Illustration: 1 - -_Montague Style_ - -_Harleian Style_ - -_Aldine Style_ - -_Harleian Border_] - - - - - A - - MANUAL - - OF THE - - ART OF BOOKBINDING: - - CONTAINING - - FULL INSTRUCTIONS IN THE DIFFERENT BRANCHES OF - FORWARDING, GILDING, AND FINISHING. - - ALSO, - - +The Art of Marbling Book-Edges and Paper.+ - - THE WHOLE DESIGNED FOR - - THE PRACTICAL WORKMAN, THE AMATEUR, AND THE - BOOK-COLLECTOR. - - BY - - JAMES B. NICHOLSON. - - - 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 desires 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 revision so much was rejected -that it was deemed better to pass under notice at the same time the -labours of others. "Cundall's Ornamental Art" has furnished the early -incidents in the "Sketch of the Progress of the Art of Bookbinding;" -and, as the best authority upon the subject, "Woolnough's Art -of Marbling" has been adapted to this country. Mr. Leighton's -"Suggestions in Design" has been laid under contribution 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 acknowledged in the body of the work, have supplied some -valuable hints. - -It is hoped that this volume will prove useful to those forming -libraries, by imparting correct information upon subjects that to -the book-collector are important, and that its tendencies will be to -increase and strengthen 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 - - - PART III. - - Ornamental Art 178 - - Finishing: - - Taste and Design 186 - - Styles 198 - - Gilding 215 - - Illuminated Binding 227 - - Blind Tooling 230 - - Antique 231 - - Colouring 236 - - Marbling 246 - - Uniform Colours 256 - - Gold Marbles, Landscapes, &c. 260 - - Inlaid Ornaments 270 - - Harmony of Colours 272 - - Pasting Down, &c. 273 - - Stamp or Press-Work 279 - - Restoring the Bindings of Old Books 289 - - Supplying Imperfections in Old Books 290 - - Hints to Book-Collectors 292 - - Technical Terms 297 - - - - -INTRODUCTION. - -SKETCH OF THE PROGRESS OF BOOKBINDING. - - -The earliest records of Bookbinding that exist prove that the art has -been practised for nearly 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 ornamented. 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 Ornamental 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 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 covering -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 valuable, 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 apparent 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 carried the Art of Binding -to considerable perfection. Some of the public offices had books -called Dyptichs,[A] in which their acts were written. The binding of -one of these in carved wood is thus described:--"Seated in the centre -of each board is a consul, holding in one hand a baton, and in the -other, upraised, a purse, as if in the act of throwing it to some -victor in the games. Above these are miniature portraits, various -other ornaments, and an inscription; below, on one board, are two -men leading out horses for the race, and beneath them a group, with a -ludicrous representation of two other men, exhibiting their endurance -of pain by allowing crabs to fasten on their noses." A small print of -an ivory dyptich of the fifth century, in Mr. Arnett's "Books of the -Ancients," may be consulted as a specimen of the kind of ornament then -adopted. An old writer says, that about the time of the Christian -era the books of the Romans were covered with red, yellow, green, and -purple leather, and decorated with gold and silver. - - [Footnote A: "The antiquity of illuminated missals has been - traced, conjecturally, even to the time of the apostles - themselves. At the beginning of the Christian era, missive - letters were usually written on tablets of wood, hollowed so - as to present something of the appearance of a boy's slate in - a frame. Two of these were placed face to face to preserve the - writing, which was on wax, and a pair of boards thus prepared - was called a Dyptich. The Epistles of St. Paul and the other - 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 altarpieces so - frequently found in the earliest Christian churches."--_Lady - Calcott's Essay._] - -If we pass on to a few centuries later, we find that the monks were -almost the only literati. They wrote chiefly on subjects of religion, -and bestowed the greatest pains upon the internal and external -decorations of their books. In the thirteenth century 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 number of -old books and oftentimes examined their covers, yet I do not remember -I ever saw boards upon any of them of so great thickness as these. -This was the manner of Binding, it seems, of those times, especially -if the books were books of extraordinary value, as this is. 'Twas -usual to cut Letters in the Covers, and such letters were the better -preserv'd by having them placed in some hollow part, which might -easily be made if the boards were pretty thick. I suppose, therefore, -that even the copies of _Gregory's_ Pastoral that were given to -Cathedral Churches by King _Alfred_ had such thick covers also, that -these by the _Æstals_ might be fix'd the better. What makes me think -so is, that the outside of one of the covers of this book is made -hollow, and there is a rude sort of figure upon a brass plate that -is fastened within the hollow part, which figure I take to have been -designed for the Virgin _Mary_, to whom the Abbey was dedicated. Over -it there was once fastened another much larger plate, as is plain -from the Nails that fixed it and from some other small indications now -extant,--and this 'tis likely was of silver, and perhaps there was -an _anathema_ against the Person that should presume to alienate it, -engraved upon it--together with the Name of the Person (who it may be -was _Roger Poure_) that was the Donor of the Book. This will make -it to have been nothing else but an Æstal, such a one (tho' not so -valuable) as was fastened upon _Gregory's_ Pastoral. But this I leave -to every man's judgment."[B] - - [Footnote B: Leland's Itin. vol. ii. p. 86, Oxford, 1769.] - -At a later period we find on the binding of books gold and silver -ornaments of very beautiful design, enclosing precious stones of -great variety; carved ivory tablets let into framework of carved oak; -rich-coloured velvets, edged with morocco, with bosses, clasps, and -corners of solid gold; white vellum stamped in gold and blind tooling; -and morocco 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 died at Buda about the year 1490. This library consisted -of about thirty thousand volumes, mostly manuscripts of the Greek -and Latin poets and historians, and was contained in large vaulted -galleries, in which, among other works of art, were two fountains, -one of marble and the other of silver. The binding of the books -were mostly of brocade, protected with bosses and clasps of gold -and silver; and these, alas! 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 -preservation, 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. - -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 animals. There are in the British Museum and in the Record -Office many English bindings which undoubtedly were executed in the -time of Henry VII. - -In the reign of Henry VIII., about 1538, Grafton, the printer, -undertook to print the great Bible. Not finding sufficient men or -types in England, he 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, supposing 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 importance to the Art of Bookbinding -at that period. We 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, -were 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 decorations, 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 for. All Grolier's books -were bound in smooth morocco or calf, the pattern being formed of -intersected 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 -morocco of different colours; and it is our opinion that no style -of book-ornamentation has been since introduced 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 Grolierii et amicorum" at the bottom, -signifying that Grolier wished his books to be used by his friends as -well as by himself. Connoisseurs rejoice when they meet with a work -from the library of Maioli, a disciple of Grolier, or those of -Diana of Poictiers, the mistress of Henry II., and whose books, in -consequence of her influence and taste, are elegantly bound. It is -supposed that the bindings for Diana of Poictiers were designed by -Petit Bernard. They were bound in morocco of all colours, and usually -ornamented with the emblems of the crescent and bow and quiver. - -Among the earliest French binders must be mentioned Padeloup, Derome, -and De Seuil. Pope 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 commendation; his dentelle borders are fine, but unfortunately -he was not careful of the trenchant steel. Padeloup's tooling or -ornaments consist chiefly of small dots, and the forms he invented are -elegant. When met with in good state, they look like gold lace upon -the sides and backs of the books. - -The bindings of books which belonged to De Thou are highly prized. -He possessed a magnificent library, mostly bound in smooth deep-toned -red, yellow, and green morocco. De Thou died in 1617. The Chevalier -D'Eon used to bind books in a sort of Etruscan calf, the ornaments on -which were copied from the Etruscan vases. The use of the black and -red dyes have very frequently corroded the leather. - -We must now resume our account of binding in England. - -During the early part of the last century the general bindings were, -with the exception of what was called Cambridge binding, (from being -executed at that place,) of a depreciated character, many of them very -clumsy, and devoid of taste in their ornament. Toward the middle -some degree of attention had begun to be paid to the improvement of -bindings, the general kinds being, up to the end of the eighteenth -century, nearly all executed to one pattern,--viz.: the sides marbled, -the backs coloured brown, with morocco lettering-pieces, and gilt. - -The artists of the earlier part of the period of which we have been -treating must have been numerous; but few are known. Two German -binders, of the name of Baumgarten and Benedict, were of considerable -note and in extensive employment in London during the early part -of this century. The bindings of Oxford were also very good at this -period. Who the distinguished parties at Oxford were has not -been recorded; but a person of the name of Dawson, then living at -Cambridge, has the reputation of being a clever artist, and may be -pronounced as the binder of many of the substantial volumes still -possessing the distinctive binding we have before referred to. -Baumgarten and Benedict would, doubtless, be employed in every style -of binding of their day, but the chief characteristics of their -efforts are good substantial volumes in russia, with marbled edges. - -To these succeeded Mr. John Mackinlay and two other Binders, named -Kalth[oe]ber and Staggemier; but to Mackinlay may, perhaps, be -attributed the 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 specimens of his, in public and private libraries, remain to -justify the character given of him; and of the numerous artists that -his office produced, many have since given evidence, by their work, -that the lessons they received were of a high character. The specimens -alluded to exhibit a degree of care, ingenuity, and skill, highly -creditable to them as binders. Though well 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 -perfection. About the year 1770 Roger Payne went to London, and, as -his history is an epoch in the history of the art, we will devote some -space to it. - -The personal history of Roger Payne is one among the many of the -ability of a man being rendered nearly useless by the dissoluteness -of his habits. He stands an example to the young, of mere talent, -unattended with perseverance and industry, never leading to -distinction,--of great ability, 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 -Leicester 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, were 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 ornament as was applicable to the nature of the work it was to -embellish. Many of these he made himself of iron, and some are yet -preserved as curiosities and specimens of the skill of the man. To -this occupation he may have been at times driven from lack of money to -procure them from the tool-cutters; but it cannot be set down as being -generally so, for, in the formation of the designs in which he so much -excelled, it is but reasonable to suppose, arguing upon the practice -of some others in later times, he found it readier and more expedient -to manufacture certain lines, curves, &c. 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 employers. His best -work is in Earl Spencer's library. - -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 -dissolute conduct to the lowest depths of misery and wretchedness. In -his wretched working-room was executed the most splendid specimens of -binding; and here on the same shelf were mixed together old shoes and -precious leaves--bread and cheese, with the most valuable and costly -of MSS. or early-printed books. - -That he was characteristic or eccentric may be judged by what has been -related of him. He appears to have also been a poet on the subject of -his unfortunate propensity, as the following extract from a copy of -verses sent with a bill to Mr. Evans, for binding "Barry on the Wines -of the Ancients," proves. - - "Homer the bard, who sung in highest strains - The festive gift, a goblet for his pains; - Falernian gave Horace, Virgil fire, - And Barley Wine my British Muse inspire. - Barley Wine first from Egypt's learned shore; - And this the gift to me of Calvert's _store_." - -The following bill is, like himself, a curiosity:-- - - "Vanerii Praedium 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 } - Joints inside. Their was a few leaves stained } 0 : 0 : 6 - at the foredge, which is washed and cleaned... } - - "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" - -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 pecuniary assistance -both for the support of his body and the performance of his work. - -Of the excellencies and defects of his bindings, Dr. Dibdin, in his -"Bibliographer's Decameron," has 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 generally, and sometimes melancholily, failed. He -was fond of what he called purple paper, the colour of which was as -violent as its texture was coarse. It was liable also to change and -become spotty, and as a harmonizing colour with olive it was odiously -discordant. The joints of his books were generally _disjointed_, -uneven, carelessly tooled, and having a very unfinished appearance. -His backs are boasted of for their firmness. His work excellently -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 successful, so far as he was -personally concerned, it had the effect of benefiting the whole race -of English bookbinders. A new stimulus had been given to the trade, -and a new and chastened style introduced among the more talented -artists of the metropolis. The unmeaning ornaments we have before -alluded to were discarded, and a series of classical, geometrical, -and highly-finished designs adopted. The contemporaries of -Roger--Kalth[oe]ber, Staggemier, 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, while 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. The binding is of blood-coloured morocco, -extending 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 -Sheriffs, seventy in number, the quarterings of which, with their -frets, bends, &c., are curiously inlaid in different colours of -morocco, and, with the ornamental parts of the bearings, have been -blazoned with heraldic accuracy on both sides of the volume. When we -state that more than 57,000 impressions of tools have been required to -produce this wonderful exemplar of ingenuity and skill, some idea may -be formed of the time and labour necessary for its execution." - -This volume was finished by Thomas Hussey, who is now employed in -Philadelphia, and who has in his possession the patterns executed upon -the sides and back. - -The French degenerated in binding from the time of Louis XIV. until -they became far inferior to the English. This continued to the -beginning of the present century; the books bound for the Emperor -Napoleon, upon which no expense appears to have been spared, are -clumsy, disjointed, and the tools coarse and unevenly worked. They -were generally bound in red morocco, with morocco joints, lined with -purple silk, upon which the imperial bee was stamped repeatedly. -Thouvenin enjoys the honour of rescuing the art from its -long-continued degradation in France, and of founding a school whose -disciples are now acknowledged to rank with the great masters of the -art. His tools and patterns were designed and cut by artists in his -employ; his establishment 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 the present -day in France are, Trautz et Bauzonnet, Niédré, Duru, Capé and Lortic. -The books of these artists are distinguished for solidity, squareness, -freedom of the joints, firmness of the heads and back, and extreme -nicety of finish. The fore-edges are gilt with the round in them, -giving them a solid rich appearance, as yet unequalled. The material -employed is 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 destroying the natural grain of the leather, and, with it, its -velvet-like richness and beauty; and yet, under the manipulations of -these French artists, it becomes one of the most plastic of materials; -rare volumes of the smallest dimensions, containing but one or two -sheets, are not only covered on the exterior, but the interior of -the boards, 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 speaking 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 more -so. Capé 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 -_à la Janseniste_, and were truly exemplars. In exterior gilding he is -not so happy as some of his brethren. Niédré 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 -pronounced 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 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 -known that what is generally esteemed 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 comparing 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 printed -and dried off, is nearly always performed at the printer's, it will -not be necessary to enter into any details on that subject, but to -consider, as the commencement of binding, the operation of - - -FOLDING, - -which is of great importance, the beauty of a book depending on its -being properly and correctly folded, so that, when it is cut, the -margin of the different pages may be uniform throughout, and -present no transpositions, to the inconvenience of the reader and -deterioration of the work. - -The various sizes of books are denominated according to the number of -leaves in which the sheet is folded; as folio, quarto, octavo, 12mo, -16mo, 18mo, 24mo, 32mo, &c. Each form presents a certain number of -pages, so disposed that, when the sheet is properly folded, they -will follow the numeric order. In commencing the folding of any work, -particular attention should be paid, in opening out the quires -or sets, to observe that the _signatures_ follow each other -alphabetically, and, if consisting of two or more volumes, that the -whole of the sheets belong to the right one. - -Although each form is folded in a different manner, it will not be -requisite to detail the whole, as a description of the octavo and -twelvemo will amply furnish an idea of the 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, with their heads -reversed, pages 7, 10, 11, 6, (reading from left to right.) The sheet -is then taken with the left hand, by the angle to the right, and -creased with the _folder_ in the right hand, in the direction of the -_points_ made in the printing, taking care, by shading to the light, -that the figures of the pages fall exactly one on the other, which -will be 3 upon 2, and 6 upon 7, and thereby presenting uppermost -pages 4 and 13, and above 5 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 -workman, should be at the top, on his left hand, and towards the -table, the sheet presenting pages 2, 7, 11; 23, 18, 14; 22, 19, 15; -3, 6, 10. On the right, pages 11, 14, 15, 10, are separated from -the others by a larger space, in the middle of which are the points, -indicating the proper place where the pages should be cut off. The -_folder_ detaches this part, and, placing page 11 upon 10, makes a -fold, and 13 upon 12, which will be uppermost, finishes the folding of -what is called the _inset_, and which bears the signature of the sheet -it has been separated from, with the addition of a figure or asterisk, -as A5 or A*. The remaining eight pages are folded in the same way as -the octavo, and when done the inset is placed in the middle of it, -taking care that the head-lines arrange properly. - -Books are sometimes printed in what is called half sheets, 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 eighteens, after the sheet is cut into three divisions. -Little or no difficulty will be experienced in folding any other -size that may occur, attention to the disposition of the pages and -signatures being only required. - -It will often be found necessary to refold a book which, previous to -being bound, 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. 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 manner. They are then - - -COLLATED, - -to see that the whole of the sheets belong to the same work and -volume, as also that none are wanting. This is done by taking the book -in the right hand by the upper corner of the fore-edge, and with the -left opening the sheets on the back and 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 duplicate, the further progress of the work -must be suspended till the imperfection is procured or exchanged. -Those that have been wrong folded must be corrected, and any _cancels_ -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 _beating_, or rolling, it will be much better to perform that -operation after the book is brought from the stone, for which -directions will be given. The book, being found correct, will be ready -for the beating-stone, which, although it has 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 according to the thickness -and other circumstances. A section is then taken and well beaten over, -drawing 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 -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. - -[Illustration] - -Before beating a book, care should be taken to observe if it has been -recently printed, for if so it would _set off_ by being beaten too -much. This will be easily ascertained by referring to the date at the -foot of the title, or by smelling the ink it has been printed with, -which, being composed partly of oil, will not have got perfectly dry. -This will particularly 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 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 make -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 workman should keep his legs -close together, to avoid _hernia_, to which he is much exposed if, -with the intention of being more at ease, he contracts the habit of -placing them apart. - -A rolling-machine has been invented as a substitute for the beating -which books require previous to being bound. The book is divided -into parts, according 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 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 sometimes all his skill and care are -insufficient to remedy the evil caused by the rollers. - -A powerful embossing press, technically called a smasher, has lately -been employed with great advantage. 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 operation is repeated until the book has experienced the whole -power of the press. It has been calculated 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 engaged; and it is, in some respects, -preferable to beating, as the book is of the same thickness in every -part, while in beating there is a great liability 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. - -[Illustration: HYDRAULIC PRESS, FROM THE MANUFACTORY OF ISAAC ADAMS & -CO., BOSTON.] - -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 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, -differing only in the general design, the application of power being -the same. - -After beating, should there be any plates to the work, they, as before -stated, must 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 number of plates, which -are directed to be placed at the end, they are sewn on the bands by -overcasting, which operation will shortly be treated of in full. - -The book, being now ready for pressing, is taken in sections, -according to the work and the judgment of the workman, and placed -between pressing-boards the size of the volume, one on the other, and -conveyed to the _standing-press_, which is 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 -sewn appearing on the back. After beating the book up well on the -back and head, it is placed between two _cutting-boards_, the back -projecting a little over the thick edge, and tightly screwing in the -_laying_ or _cutting-press_, the whole being elevated sufficiently -to prevent the saw damaging the cheeks of the press. Then with a -_tenant-saw_ the proper number of grooves are made, in depth and width -according to the diameter of the band intended to be used, which will -depend on the size of the book. A slight cut must also be given -above the first and under the last band, for lodging the _chain_ or -_kettle-stitch_. It is very necessary that the saw should be held -parallel with the press, without which precaution, the grooves being -deeper on one side than the other, the work will present, when opened, -a defect to the eye. - -The _end-papers_, which should consist of four leaves of blank paper, -folded according to the size of the book, are now prepared, and one -placed at the beginning and end of each volume. - - -SEWING. - -According to the number of _bands_ wanted, must be attached to the -loops on the cross-bar of the _sewing-press_ as many pieces of cord, -of proper length and thickness, and fastened with the aid of the -_keys_ in the groove of the press as nearly equal in tightness as -possible. When this is done, the back of the first sheet in the -book is placed against the cords, which must be moved upwards or the -contrary to the marks of the saw, when the small screws at each end -under the cross-bar must be moved upwards till the strings are equally -tight. All this being disposed, the book is commenced sewing by -placing the end-paper, which has no marks of the saw, on the sheet -before laid down, and sewing it throughout, leaving a small end of -thread to form the knot, after sewing the first sheet, which is then -taken from under and sewn the whole length. - -[Illustration] - -There are various ways of sewing, according to the size and thickness -of the sheets of a book. A volume consisting of thick sheets, or -a sheet containing a plate or map, should be sewn singly the whole -length, in order to make the work more secure and solid. Great care -should also be taken not to draw the thread too tight at the head or -foot of the book. 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 downwards, as is too frequently the case. Upon the -proper swelling of the back mainly depends the regularity of the round -and firmness of the back in the after-stages of the binding. - -When a book is sewed _two sheets on_, three bands are generally used. -Taking the sheet and fixing it on the bands, the needle is inserted in -the mark made for the kettle-stitch and brought out by the first band; -another sheet is then placed, and the needle introduced on the other -side of the band, thus bringing the thread round it, sewn in like -manner to the middle band, and continued to the third, when, taking -again the first sheet, it is sewn from the third band to the other -kettle-stitch, where it is fastened, and another course of two sheets -commenced, and so continued to the last sheet but one, which is -sewn the whole length, as directed for the first sheet, as also the -end-paper. Three bands are preferable to two, the book being more firm -from being fastened in the middle, which is the only difference in -sewing on two and three bands. - -Half-sheets, to obviate the swelling of the back too much, are usually -sewn on four bands, which 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 sawing, 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 -swelling of the back which a less number of sheets in a course would -make and spoil the appearance of the binding. - -When the book is composed of single leaves, plates, or maps, or, as -in the case of music, where, from the decayed state of the back, it is -necessary to cut off a portion with the plough in the manner pointed -out for cutting edges, the whole must be attached to the bands by -what is called whipping or 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 sufficient to secure the stitches from tearing, -bringing the thread round each band, as before directed, and fastening -it at the end before proceeding with another course. To keep the whole -of the sheets properly even, the back is sometimes glued immediately -after cutting, and when dry divided into sections. Atlases and books -of prints, when folded in the middle, will require a guard, or slip of -paper, to be pasted to them, so as to allow them to open flat, which -they could not do if attached to the back, and which would destroy -the engraving. These guards must be of strong paper about an inch in -breadth and folded to the 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 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 combines 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 process, and necessarily an expensive one; and many binders who -pretend to bind in this manner, to obviate this, have their books -sewed in the ordinary 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 pasteboard, 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 appearance; then -draw lines square across the back with a black lead-pencil from the -compass-points of the five inner divisions, for the places upon which -the bands are to be sewed; then make a slight scratch with a saw about -one-quarter of an inch inside of where the book will be cut, for the -kettle-stitch at the head and likewise at the tail. Upon taking the -book out of the laying-press, take the pasteboards and saw them at the -points marked by the lead-pencil of a depth sufficient to allow the -cords upon which the book is to be sewn to enter. The boards 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 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 sufficiently 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. The plates are then whipped along the back edge of the guard, -and sewed in the usual manner. - -It was proposed by _M. Lesne_, bookbinder of _Paris_, in a Memoir -presented by him to the "_Société d' Encouragement_," January 18, -1818, that in order to give to books the three essential qualities -of binding, elasticity, solidity, and elegance, they should be sewn -similar to the Dutch method, which is on slips of parchment, instead -of packthread; but to remedy the inconvenience arising from one slip -being insufficient to make the back of a proper solidity, as well as -being liable to break, and, if doubled or trebled, presenting a bad -effect on the back when covered, he suggested the adoption of silk -for the 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 solidity 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. - - -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 somewhat -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. - - - - -PART II. - -FORWARDING. - - -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 forwarder 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 compared 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 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 -entirely 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 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 by the finisher. - -These matters being adjusted, the end-paper turned back to its place, -and the twine on which the book has been sewn pulled tight, care -having been taken to avoid pressing the twine against the 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 convenient 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 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 engaged -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 the operation is repeated until it is 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 submitted 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 board; -then, turning the volume, the other is placed in a 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 turning 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 possible, the blows glancing towards the edge, so as -to merely commence the turning of the sheets, without causing any -indentations or wrinkles on the inside of the volume. 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 -backing-board, so as to form a regular and solid groove. The process -is repeated up the other side, the volume examined to see if the -back is regular and equal in its circle throughout, and any slight -irregularities corrected by light taps of the beating-hammer; but -nothing can justify a workman in striking a heavy blow near the centre -of the back, as it must inevitably crush and wrinkle the paper on the -inside. It serves but to prove his ignorance of the principle upon -which the entire operation is based. There is nothing connected with -the forwarding of a book that requires more attention, patience, -and skill, than the rounding and backing, and there is nothing that -contributes 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 -employed 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 previously 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 thicknesses of board together. Place them in the -standing-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 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 front -cutting-board is placed at the compass-holes, and again put in press, -with the front cutting-board or 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 difference:--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 integrity of their margins after having been -submitted to the cruel operation of his steel. A volume cut to the -print is said to bleed; therefore be careful to avoid the slightest -approach towards the commission of such an act of Vandalism. The -boards having been squared for the back, front, head, and tail, -they are placed, with the lined side of the board next to the book, -preparatory to the - - -LACING IN. - -Each board is then marked with a bodkin opposite to the slips intended -to be laced in; a hole in a vertical position is then made through the -board, and being turned, another in the same way near to the first. -The bands, having been pasted and passed in above, are returned -through the other hole, and, being pulled tight, the boards will -necessarily be perpendicular to the back, and confined in the groove. -After cutting off the end of the strings near to the lace-holes, they -must be beaten well and evenly into the board by placing the under -part on an iron (called the _knocking-down iron_) fixed at the end of -the laying-press, and beating above with the backing-hammer. - -If it be desirable that the bands should not be seen inside, the hole -may be made so vertical that, by placing the bodkin in the same on the -other side, another verging a contrary way to the first may be made, -and the band, being passed in this one continued hole, will not be -seen underneath. The liability, however, of its tearing out is an -objection, and from this cause the common way, with care in beating -down, is preferable. - -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 -pressing-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 screwed down, the back of the -volume is then damped with thin paste, and, according to the firmness -of the sewing and book, grated and scraped, and finally rubbed smooth -with paper-shavings, and left to dry in the press for as long a time -as possible. If a large volume, it is usual to apply a little glue to -the back. When taken out of the press, the boards must be disengaged -from the end-papers, where they adhere, so that they may move freely -up and down in the cutting. - - -CUTTING THE EDGES. - -[Illustration] - -The manner of preparing the volume for cutting is very important, as -swerving from right angles in cutting the head and tail will present a -disagreeable appearance. Every precaution must be taken to insure the -volume being cut perfectly square. The front-board is drawn down from -the head just sufficient for the knife to operate upon in the cutting. -A piece of trindle is inserted between the volume and the back-board -for the point of the knife to cut against. The volume is then placed, -with the back towards the workman, on a cutting-board in the left -hand; the _runner_ or smooth-edged board is then fixed on the other -side, with the right hand, even and square with the edge of the -mill-board, and the whole, held tight with the left hand, put into -the cutting-press, to the level of the right-hand cheek of the same, -taking care that the volume hangs perpendicular to the cheeks of the -press. Being screwed tight with the pin, the workman then takes the -plough with the right hand, by the head of the screw, and, placing -it on the groove of the press, proceeds to cut the book, holding the -other end of the screw firmly with the left hand, and causing the -knife to advance gradually through the book by turning the 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 _bolt_ 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 projecting part of the end-papers, and on each -side, at the head and foot, close to the square side of the boards, -drawing a line from one to the other; then, laying the boards open, -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 cutting-boards -at the end of the book, even with the line before made; turn it, and -place the runner as much below the line on the title-side as has been -allowed for the square on the fore-edge. Taking the whole in the left -hand, the volume must be examined to remedy any defects, should it not -be regular and equal on both sides, and then put into the press, the -runner as before even with the right cheek, taking care to keep the -other board projected above the left, equal to the square allowed in -front, so that, when cut through, the fore-edge may be equally square -with the boards on each side. 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 produced. The method above -described is called "cutting in boards," and is superior to any other. - -It is of the utmost importance to the young workman that he should -pursue and acquire a methodical system in all his operations. Select -the best method, as a matter of course, and then adhere to it. Do not, -every time you perform one particular process, do it in a different -manner. For instance: in backing or in turning up your books, it is -better to always have the head towards you; in cutting head and 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 inattention to these -particulars, in the unnecessary handling and confused manner of -working. It will be found that the best and most expeditious workmen -are those who do their work in a systematical manner. In taking leave -of this department, our parting 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 process, ask yourself the -question, "Why is this done? What is the object of it? Can the process -be improved?" 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 description must depend on the price allowed for the work, -and will vary according to the taste of the workman and wish of the -employer. - - -OF COLOURING AND SPRINKLING. - -The colours most used are brown and red, in preparing which it is -necessary to grind them in water, very fine, on a slab, with a muller. -Each colour is then placed in a separate vase, and mixed up with a -little paste and water to the proper consistency for use. To procure -a better edge, two drops of oil and about an equal quantity of vinegar -and 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 with the edges, and the book rested on the -edge of the press or table; then, holding the book firm with the -left hand, the colours must be applied with a small sponge 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 work, this must be done. - -In sprinkling, it is usual to tie together a number of volumes with -a board on each side of the outside books, or place them in the -laying-press first, with the heads upwards; then, with a large brush, -similar to a painter's, dipped in whatever colour may be wished, and -well beat on the press-pin over the pot till the sprinkle becomes -fine, the edges are covered. The pin and brush are held sufficiently -above the book, and the edge sprinkled by beating lightly at first, -and stronger as the brush becomes less charged with colour, being -careful that the spots are as fine as possible, the sprinkle being -thereby made more beautiful. - -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 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 require a -more lengthened description. - -BLUE.--Indigo and Prussian blue, with whiting for lighter shades. - -YELLOW.--Dutch pink, King's yellow, and yellow orpine. - -BROWN.--Umber, burnt over the fire. - -RED.--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 faithful -record of the art, the whole of the colours used and modes of -preparation will be presented. - - -BLUE. - -Two ounces of the best indigo, finely powdered, mixed with a -teaspoonful of spirit of salts and two ounces of best oil of vitriol. -Put the whole into a bottle, and let it remain in boiling water -for six or eight hours, and mix with water as wanted to the shade -required. - - -YELLOW. - -French berries, saffron, or faustic chips. Boil with a small portion -of alum; strain and bottle for use. - - -GREEN. - -The two colours above will make an excellent green used in proportions -as the shade required. Another green may be made by boiling four -ounces of verdigris and two ounces of cream of tartar till a good -colour is produced. - - -ORANGE. - -Two ounces of Brazil dust, one ounce of French berries, bruised, and a -little alum. Boil in water and strain. - - -RED. - -Brazil dust, half a pound; alum, two ounces, well powdered; boiled -in a pint of vinegar and a pint of water till brought down to a pint. -Strain and bottle. 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 copperas, boiled in three pints of soft -water till reduced a third, will make a good purple. - -Brazil dust, submitted to the action of strong potash water, will make -a good purple for immediate use, but will not keep. - - -BROWN. - -A quarter of a pound of logwood, and the same quantity of French -berries, boiled together. 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 of extra -books marbled, they will be of use to those who would find marbling a -work of too great preparation and expense for a small number of books -in places where there is no marbler. - - -RICE MARBLE. - -This pattern has been so called from the use of rice; but linseed, or -bread crumbs, will answer the same purpose. The rice is laid on the -edge of the book according to fancy, and the edge sprinkled with any -colour, the rice thus forming blank spaces. The edge may be coloured -previously all over, or sprinkled with a lighter shade. - - -WHITE SPOT. - -Take white wax and melt it in a pot; then with a brush throw some upon -the edge of the book; when it is set, colour the edge with a sponge. -Take the book and give it two or three smart knocks on the end of the -press, when the wax will fly off and a beautiful white spot remain. -This pattern may be much varied by using two or three colours or -sprinkling the edge before the wax is thrown on, and, after it is, -again with other colours. - -Whiting mixed with water to a thick consistency will 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-knife_ mix a portion of the colours with spirits of wine, and -convey with the knife some of the same to the middle of the vessel, -and allow it to flow gradually on the surface of the water. 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 effect may be given by sprinkling with a gold -liquid, made in the following manner:--Take a book of gold and half an -ounce of honey, and rub them together in a mortar until they are very -fine; then add half a pint of clear water and mix them well together. -After the water clears, pour it off and put in more, till the honey -is all extracted and nothing left but the gold; mix one grain of -corrosive sublimate with a teaspoonful of spirits of wine, and when -dissolved put the same, with a little thick gum-water, to the gold, -and bottle it, always shaking it well before using. When dry, burnish -the edge, and cover it with paper till the work is finished. - - -MARBLING. - -Marbling is an art which consists in the production of certain -patterns and effects by means of colours so prepared as to float upon -a preparation of mucilaginous liquid, possessing certain antagonistic -properties to the colours prepared for the purpose, and which colours, -when 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 describe; and yet, to any -one beholding it for the first time, nothing appears more simple or -easy 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 discoveries 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 what 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 -antique 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 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 -pronounced to be easiest and best. - -In 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 -described, 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, just as they are produced or manufactured, and ground -by the marbler himself. A list is subjoined:-- - - -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. - - -BROWN. - - Turkey Umber Burnt. - - -ORANGE. - - Orange Lead. - Orange Chrome. - - -WHITE. - - China Clay. - Pipe-Clay. - Flake White. - Paris White. - - -DROP LAKE. - -This is the most beautiful, but the most expensive, of all the reds, -and is used only for book-edges and the most superior kinds of work. -There are different shades of this colour, viz.:--scarlet, crimson, -and purple. The scarlet is the most expensive, 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. - -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 small cones or drops, from which it -derives its name, and is a preparation of cochineal; 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 preparation 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 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 Oxford; hence, it is called Oxford ochre, and -sometimes 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 exclusively for marbling. It is the best -red that can be used for general purposes, and for appearance comes -next to the drop lake. - - -CHINESE BLUE. - -This is a very beautiful but not a very durable colour. It is, -however, an almost indispensable one to the marbler, as it will -produce nearly every shade of blue by the addition of certain -proportions of white. This colour requires to be particularly well -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 colour, 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 kinds now in general use are the French and German, -the 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 mixing -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 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 prepared 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, with the aid of that colour and a -little indigo and black, any shade of brown may be produced. - - -ORANGE LEAD. - -This is a very heavy colour, and is but little used, except for the -edges of account books. - - -WHITE. - -For this an article called China clay is used; 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 offered. 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 satisfactory -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 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 annoyance 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 considerable -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 pan until they are all dissolved. - - -OF LINSEED. - -It is possible to marble some patterns on mucilage 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 resembling the annoying little insect whose name it bears, and -from which it may possibly derive its appellation. It produces a very -strong and powerful 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 -water, 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 judgment, 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 cooled, -for it will settle without being again heated or having more boiling -water added to it. - - -OX-GALL. - -The surest way of obtaining this article genuine 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 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 difficulty 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 weight 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 solution, 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 skimmer is drawn along, -and, upon sprinkling on the colours, they crack, and are a long while -spreading out, it is a sign it is too thick; but a little practice -will soon enable the learner to form a correct judgment 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 well. 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 particularly -well ground upon a slab, with a muller, the mill not grinding so -finely as by this method. - -The colours must all be ground with a preparation of beeswax, in the -average proportion of one ounce of the prepared beeswax to one pound -of colour. Blues and greens require rather more. This will prevent -the colour rubbing off on the hand, and will make it burnish or glaze -easily. - - -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 -with it a quarter of a pound of the very best curd-soap cut into small -or thin pieces; place it in a moderate heat, and when both soap and -wax are quite dissolved, (but be sure they are not boiling,) put the -pipkin containing the hot liquid upon a table, take in one hand a pot -of cold water, and, gently stirring the melted wax with the other, -pour in the water, a little at a time, keeping 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 properly 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. - - -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 without 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 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. - -[Illustration] - -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, putting 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. - -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 fineness; 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 -altogether, which cannot be counteracted in any other way than by -mixing some more colour without any oil, and adding it thereto. - -Having, then, all in readiness, first skim the surface of the solution -lightly all over, and immediately (for when 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 two opposite corners, and let the corner -between the finger and thumb of the right hand touch the surface -first, while with the left you let the paper gradually descend, till -it lies flat upon the liquid. If it is let down too quickly, or the -paper gets rumpled, 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. - - -No. 3.--BROWN 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 two 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 unburnt 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 these instructions, to imitate any French pattern, whether -there be more or less colours in them. - - -No. 6.--BLUE STORMONT - -Is an old pattern, but well worthy of being revived. Though apparently -very simple and easy of execution, 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 observation on the part of the workman. - -There is but one vein-colour, (red,) and the ground or body-colour is -blue. The same preparation 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 like fine network. Sometimes it -will happen 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. - -[Illustration] - -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 -accumulation of colour, or they will cause large spots or 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. - -[Illustration] - -Another method is to use a mixture of weak gall and water instead -of the white 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 sufficiently 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 a portion of the darker colour and mixing a quantity of 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. - - -No. 10.--WEST END, (GREEN, WITH LIGHT SPOT.) - -An excellent pattern may be made similar to No. 9 in all the details -of mixing, working, and putting on the colours, the only difference -being in the colours, which may be made of two shades of green or -olive, and the veins red, yellow, and blue. - -[Illustration] - - -No. 11.--CURL. - -The pattern called French Curl, after the description of the French -marble (see No. 1) will not require much explanation, the only -difference in the working being, that there must not be any of the -preparation of the flea-seed with the gum; but it must be done on the -solution of the gum alone, without any admixture. 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 ordinary French; it is the easiest of the two to -make. - - -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 proper -consistence; and, as it is not possible to state any given measure -for proportioning the gall and water exactly, some gall being stronger -than other, that must be determined by observing the effect produced -in the colours as they are tried on the solution. But each successive -colour requires more gall than the one which preceded it, and 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 exception. - -[Illustration] - -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 blue, and lastly, with a large brush full of -colour, the olive; beginning at the left-hand corner of the trough, -farthest from you, and working down and up closely all over, taking -care not to go twice over the same place, or you will produce rings -by the falling of one spot upon another, which is considered -objectionable. It cannot, however, 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 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 required -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 composed of good burnt ochre, darkened with a little black. - - -No. 17.--DOUBLE BROWN SPANISH. - -This pattern has four colours for veins 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. 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 considerably thinner, as they would get so thick upon the paper, -from one sheet being drawn over and taking up a surface of colour -usually allowed for two, that it would peel and crumble off and not -burnish. - -[Illustration] - -[Illustration] - - -No. 21.--NONPAREIL OR COMB. - -We now come to this well-known and very popular pattern, which has had -a most extraordinary run, and which some people hardly seem tired of, -although it has become so common of late as to be used on almost every -kind of work. - -For this description of marbling use the solution of gum alone in the -trough. Mix the colours with gall and water, taking particular care -to avoid all oil and grease of every description; but the colours will -require to be thicker, and more colour thrown on, than for Spanish, -with the exception of the last, which will not require to be so -heavily thrown on as the last Spanish colour. Let all the colours -be thrown on in about equal proportions. In commencing, proceed as -usual:--first, skim the surface of the solution, and immediately -follow with the red so as to well cover the whole surface of the -solution; then black; next, orange or yellow; fourthly, blue; and, -lastly, the top colour, of whatever 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 wood having pegs inserted about an -inch and a half apart and about three inches long, tapering towards -the point, and having the appearance of the head of a rake. Pass -this once up and down through the colour from front to back, taking -especial care that when you draw it back the teeth come exactly -between where they went up. Having raked the colour into the proper -form, take the comb, which must reach the whole width of the trough -from front to back, and draw 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 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. - - -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 will 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 worked upon a French -marble, but these require no additional explanation. We now come to - - -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 work. 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 -considerable 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 dark and light spots will fall together, intermingling -with each other and producing that variegated 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 patterns, and is performed by a very -different process to any of the preceding. Upon examining this -pattern, 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. It will also require two frames the size of the -paper, with wooden pegs in them, slightly tapering, about a quarter of -an inch in thickness, and fixed about 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 addition of a -little spirits of wine. With this exception, the colours will not -require any different treatment 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 with great caution,) 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 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 -with 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 take the one with the white and drop that just in the -centre of the spots already 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 over; then pass the comb -through it from left to right, and lay on the paper. - -As soon as you have hung it up, pour over it, from a jug with a spout, -about a pint of clear water, to wash off the loose colour and gum and -make it look clean and bright, after which, when dry, it will require -sizing before it can be burnished. - -When curls are required, it will be necessary to have a third frame, -with as many pegs as you may require curls upon the sheet of paper. - - -No. 29.--ANTIQUE DUTCH. - -Is done in a different manner to any of the processes 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 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 full.) 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; and the -green, indigo and Dutch pink. These must be ground and mixed, as -before directed, to the consistence of cream. The lake should be -ground one day and the other colours a few days before using, and kept -moist. The gum will require to be used 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 with 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 the order in which the colours should be arranged on the -trough:-- - - G B R O R G B R O R G B R O R G B - -As in the former instance, the initial letters signify the colours. -Draw the comb through and the 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 particular care in -marbling, or the colour and size will run in and spoil the appearance -of the plates. To obviate this, keep the book tightly compressed, and -where the plates are at the beginning of the book only, lay it down, -when marbled, the beginning side-upwards. For edges you may do with a -smaller trough, also a smaller quantity of colour than for paper. The -solution to work upon had better be gum-tragacanth alone. Colours for -edges will look all the brighter by the addition of alcohol, spirits -of wine, or whiskey; but they will evaporate more quickly. Having -every thing in readiness, take the book, or, if more than one, as many -as you can conveniently manage to hold tightly, with the backs in -the right hand and the fore-edge in the left, and let them touch the -colour, the back first, allowing them gradually to descend till the -whole end is covered; but be very careful that none of the size or -colour comes over the fore-edge, which it will do if dipped too deep, -and leave a nasty unsightly mark, and greatly disfigure the book. In -doing the fore-edge, the beginner had better place the volume between -a pair of cutting-boards, and, having thrown out the round, turn -back the boards, and proceed as with the end; when done, wipe off the -superfluous size from the boards 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 it to work backwards and forwards upon a plank -hollowed out for the purpose. The paper is moved over the plank, and -the friction of the flint in passing to and fro over the surface of -the paper produces a high polish. Sometimes the paper is calendered by -means of friction cylinders--a superior method. - - -COMBS. - -These are made in various ways, 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 constantly stirred, to prevent the soap and -glue from 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 D'Anonay_ -for durability. - - -ADDENDA. - -In taking leave of the subject of marbling, there is but little more -to add. For, when 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 principles that govern in mixing and distributing -the colours, and, with the aid of his own experience, his chance of -accomplishing it will be as good as any one else's. As a step to the -attainment of mastery in the art, let the workman divest himself of -the various nostrums he has been put in possession of by interested -parties, and give himself up with assiduity to the directions 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 prominent 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, with the fore-edge -between boards, similar to backing-boards, in the laying-press, and -screwing it tightly therein; then with the burnisher rubbing the edge -firmly and smartly over till it presents 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 head and -tail burnished in a similar manner, the ends of the boards resting in -the groove by the joints, the covered boards of the volume being open. -Common calf, sheep, and half-binding, may be burnished with the boards -closed, six or eight together, but it will be necessary to delay -pasting the sides on the latter till after the operation, to avoid the -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 groundwork 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 summer-time to chill it, as a test of -its strength. If too strong or thick, add water, then warm it to melt -the size and allow the water to become incorporated with it. To become -a good gilder requires considerable judgment, as every variety of -paper requires a different treatment. No rule can be laid down that -will answer in every case; but if the workman will but pay attention -to the directions here given, exercise patience, and above all reflect -upon the effects of his operations, ultimate success will be certain. -English books are made from linen rags, and the paper is sized. They -gild more easily and the edge looks better than American books. They -do not require as strong a size for gilding as books printed on paper -made from cotton. Books printed in this country are generally -made from cotton rags. Quantities of alum and lime are employed in -bleaching the pulp, to the sore annoyance of many a gilder, who has -found that a damp day would invariably put both his skill and patience -to the test. The best qualities of American paper are sized; the -generality, however, is not. To determine 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 were sized paper. The liability 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 difficult 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 with 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 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 sufficient celerity not to allow the gold -to be drawn from the paper in portions by the size. To do this well -will require some practice and a steady hand. Should there be any -breaks in the gold, other portions 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, which generally happens in from one to -two hours, it must be burnished. For this purpose a flat bloodstone -burnisher is the best, to be afterwards followed by a flat 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 the same precaution, the back towards the -workman. The foregoing direction 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 farther in the manner we shall now describe. - - -ANTIQUE STYLE. - -After the edge is finished as above directed, and before taking out -of the press, ornaments, such as flowers, or designs in compartments, -must be stamped upon it in the following manner. A coat of size is -passed quickly over with great precaution and lightness, and only once -in a place, to avoid detaching any of the gold. When dry, rub the -edge as lightly as possible with palm-oil, and cover with gold of a -different 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 off with a clean cotton, and there remains -only the designs the tools have imprinted, which produce a fine -effect. This mode is, however, now seldom used, though almost all -the books in the original binding of the sixteenth century are so -executed. - - -GILDING UPON MARBLED EDGES. - -This edge, which Dr. Dibdin, in his "Bibliographer's Decameron," calls -"the very luxury, the _ne plus ultra_ of the Bibliopegistic Art," is -one requiring great care and expertness in the execution. The edges -must be scraped before marbling. 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 painted thereon in water-colours, according to the fancy of the -operator. When perfectly dry, untie the boards and let the leaves take -their proper position. Then place the volume in the press, lay on the -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 necessary to -describe the proceeding, as the taste or wishes of some may render it -necessary that the workman should know how to operate. - -After the volume is gilt, the edges must be enveloped in clean paper, -by glueing the extremities one upon the other, to preserve the edges -from injury in the subsequent operations. This is taken off when the -volume is completed. - - -BLACK EDGES. - -Books of devotion are generally bound in black leather, and, instead -of being gilt on the edge, blacked to correspond with the covers. It -will therefore be necessary in this place to describe the process. - -Put the book in the press as for gilding, and sponge it with black -ink; then take ivory-black, lamp-black, or antimony, mixed well with -a little paste, and rub it on the edge with the finger or ball of the -hand till it is perfectly black and a good polish produced, when it -must be cleared with a brush, burnished, and cased with paper. - -Coloured edges, to look well, require to be scraped in the same manner -as for gilt. To lay the colour on evenly, and produce a high burnish, -requires more labour than gilding. They are therefore quite as -expensive. After the colouring or gilding of the edges, the next -process is to attach the - - -REGISTER, - -To do which the back, near the head, is lightly touched with glue, and -one end of a piece of ribbon proportioned to the volume is affixed. -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 book on the edge of the back, -and serves to support that part of the cover projecting above in -consequence of the squares of the boards, giving to the volume a more -finished appearance. Thus it will be seen that the headband must equal -the square allowed for the boards. For common work, the headband is -made of 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 the ends of the two together. -Supposing red and white to have been taken, the white attached to the -needle, it is placed in the volume five or six leaves from the left -side, and forced out on the back immediately under the chain-stitch -of the sewing, and the thread drawn until it is stopped by the knot, -which will be hid in the sheet; the needle is then passed a second -time in 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 -the back with a knot. These fastenings give firmness 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 inclination -upwards, to prevent the work slipping off before covering. - - -DOUBLE HEADBAND. - -This headband is made of silk of various colours, and differs from the -single, both in being composed of two bands, a large and small one, -and in the manner of passing the silk. 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. Great care must be here observed in -tightening the thread at the bead. - - -RIBBON HEADBAND. - -This style varies but little from the other, the same-coloured thread -being only passed several times round, instead of alternately with the -other, and making the bead at each turn, taking care that the under -thread is not observed, and then passing the other colour, in a -similar manner, as many or more times than the former. This will -produce a band--from which it is named--having the appearance of -narrow ribbons of various colours. Three or more colours may be used -in a pattern. - - -COVERING. - -The skins prepared for binding are dressed in a peculiar manner. They -are soft and of equal thickness throughout. The cutting out of -covers is an important operation, as by attention much economy may be -effected. For this purpose patterns in pasteboard of all the sizes -of books should be made, and such as are required placed on the skin, -turning them every way, so as to obtain the greatest number of pieces -possible, allowing about an inch round for paring and turning in. -Should the books be of the same size, a volume taken by the fore-edge -and the boards laying open on the leather will enable the workman to -judge to a nicety the most advantageous 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 confessed 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 possession 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 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 position that the back of the volume, which is from the -workman, will be in the middle. The far part is then brought over -to the other side, and care taken not to disarrange the squares. -The cover, which now projects an inch all round the volume, is drawn -tightly on the back with the open hands, by turning the projecting -portion of the cover outward and resting the book on the fore-edge, at -the same 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 binding. After the back has been -sufficiently manipulated, 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 headband, 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 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 operation, 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 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 performed 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_, which is done by placing -a board, longer than the book, on each side, projecting slightly over -the fore-edge, and tying them tightly with a cord from end to end. -Then, with a smaller cord, the leather is confined to the sides of the -bands, by crossing the string. For example: suppose the book had three -bands, one towards the head, one towards the tail, and the other -in the middle; the book would be taken in the left hand, the head -upwards, the cord by the help of a noose passed 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, -tightened, is thus crossed on the other side of the volume, and the -band held between it. The cord is in like manner carried on to the -second and third bands, fastened, and the whole set square with the -folder. It will be best understood by the following engraving. - -[Illustration] - -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 well worked 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 avoid stains and alterations in the colours. -Covers of the former description must not be drawn on too tight or -rubbed with the folder, as the grain or pattern 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 -previously, by pasting a piece of paper thereon, and be left to dry, -so that, when pasted for covering, the dampness will not affect its -appearance. Velvet will require great care, from its peculiar texture -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 proceeding 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. - - - - -HALF-BINDING. - - -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 wondered at; -for, while it combines economy and durability, 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 transition 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 sufficient 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 inside of -the board far enough to be covered by the end-papers. The width of the -back should be governed by the size of the volume. A narrow back gives -a very meagre appearance to a book. The size of the corners should be -determined by the width 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 the _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 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. - - - - -STATIONERY OR VELLUM BINDING. - - -This branch of the Art of Bookbinding, in large towns, is a distinct -business, and presents some difference in the mode of proceeding in -several of the manipulations required. These, as in previous parts -of the work, will be minutely entered into for the instruction of the -young workman, 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 of the -merchant and banker. Of the more simple and common bindings, it will -not be necessary to enter into minute details, the proceedings being -the same as for others, only omitting the more expensive operations, -the price allowed making it necessary to bind them in a more simple -manner. The first proceeding, should the work require it, will be the - - -RULING. - -This is done by a machine. Formerly it was done by hand. After the -pens are properly adjusted, 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 superseded the old process -of ruling by hand, yet to some a brief description of the process may -not be unacceptable. - -The paper, which is generally procured from the wholesale stationers -ruled with blue lines, must be opened out by breaking the back of the -fold, and 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 sections, and, with a round ruler -and tin pen, proceed to rule the whole of the head-lines on one side -of the paper. This, as well as every division of $ 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., taking especial care -that the pen always commences by the line at the head, and that it -never entrenches on the space above, which would disfigure the work. -As for the head-line, so here the whole of one side of the paper must -be completed before the other is commenced, attention being paid -to each line being perpendicular, clear, and as even in colour as -possible. - -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 complete 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 that page the leaves after -the volume is bound, the principal objection to which appears to be -the liability to soil or otherwise injure the binding; notwithstanding -this there are some binders who give them the preference. Those who -have used the machines of Mr. Griffin speak of them in the highest -terms. - -[Illustration] - - -INKS. - -To give to the work the best effect, it will be necessary to be -provided with good inks, and, it being connected with the subject, -some receipts for their preparation are subjoined. - - -RED INK. - -Mix together a quarter of a pound of Brazil dust, a quarter of an -ounce of cochineal, a small piece of lump-sugar, and two quarts of -vinegar: let these steep ten hours, and afterwards boil them on a slow -fire till of a good red colour. When settled, strain the ink through a -piece of fine cotton, and bottle it for use. - - -ANOTHER. - -Boil in a quart of soft water a quarter of a pound of Brazil dust; -when boiled, put in one ounce of ground alum, one ounce of white stone -crystal, and boil for three minutes, and strain. - - -BLUE INK. - -A good blue ink may be obtained by diffusing Prussian blue or indigo -through strong gum-water. The common water-colour cakes, diffused also -in gum-water, will produce a tolerably good blue for common purposes; -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-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 sewing. The number of leaves in each must -depend on the thickness of the paper and size of the book, taking care -that there are not so many as, when cut, to cause the leaves to start, -or so few that the backs will be swollen too much by the thread. -Then place the whole evenly in the standing-press for some time, and -prepare the end-papers, which must be of blank paper, and outsides, -unless the work is 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. - - -SEWING. - -The sewing of stationery differs much from that of printed books. To -allow of the greatest possible strength, elasticity, and freedom, they -are sewn on slips of vellum without being marked with the saw, and the -whole length of each sheet, with waxed thread. For small books, two -slips will be sufficient; for foolscap folio, three will be required; -and, where larger, the number must be increased, according to the -length of the back, leaving a space of about two inches between -each. The plan laid down by _M. Lesne_, (page 27,) might, perhaps, be -adopted here with fine and light work to great advantage. The slips -should be cut about an inch wide, and of sufficient length to extend -about an inch over each side of the back. This portion being bent down -at one end of the slips, they must be placed under the end-paper on -the table at such places as may be deemed proper, and the section sewn -the whole length; and so followed by every portion till the whole -are attached in the same manner, taking care that the slips retain -a perpendicular position and that the back be not too much swollen. -Should a morocco joint have been inserted, it must be sewn on -with strong silk of the same colour. When 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 difference in -operation. The book will now be ready for colouring the edges, the -processes of which have 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 leather and under the vellum slips on the back, -appears inside on the spaces where no thread has before passed. For -ornament, another thread is twisted round the gut on the back, so -as to present the appearance of a double cord. These matters being -adjusted, the 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 screwed tightly in the -standing-press for some time. - - -THE SPRING-BACK. - -There are numerous ways of forming this description of back, and as -generally adopted in different offices. As in other particulars, two -or three of the best will here be given: 1. Having ascertained -the width and length of the back, and provided a piece of strong -pasteboard, or thin milled board, of little more than twice the width, -fold one side rather more than half, and then the other, so that the -middle space left will be the exact size required, which should be -about a quarter of an inch wider than the back of the book; then cut -evenly another piece, a little less than the width, then another still -less, and so on for six or seven, lessening the width each time till -the last is merely a narrow slip. Let the edges of the first, or cover -for the whole, be pared, and laid open on the table; then glue the -middle space, and place thereon the largest slip, which also glue, and -add the next in size, 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 with linen cloth. - -2. Cut a piece of firm milled board to the size required, and pare -down the edges; then hold the board to the fire till it is found soft -enough to model almost into any shape, and form to the back as above -directed. The board is sometimes wetted, but does not answer so well. - -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 during the operation of -covering, it is laid on, and a piece of cloth glued over and attached -to the sides, similarly to the back of a half-bound book. This tends -also to materially strengthen the back. - - -COVERING. - -The materials generally used for stationery-binding are russia, rough -calf, green and white vellum, and rough sheep, according 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 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 headbands must be -squarely set, taking care to rub out any wrinkles that may have been -formed in turning in the cover. Should the book be very large, it may -be advisable to give it a nip in the press immediately after folding -in the fore-edges of the boards, and then finish the covering by -turning in the head and tail. - -As circumstances--such as the fancy of some previous workman, or -coloured vellum not to be obtained so early as required--may make -it necessary to execute the proper colours, the proceedings are here -given. - - -GREEN. - -Put one ounce of verdigris and one ounce of white wine vinegar into a -bottle, and place them near the fire for five days, shaking it three -or four times each day. Wash the vellum over with weak 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. 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 into before, it will not be -necessary here to repeat them. Where russia bands are not added, the -end-papers must now be pasted down, and the lettering, &c. proceeded -with. If bands are attached, the pasting down of the end-papers and -joints must be deferred 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 about half-way down the sides, and _double_ when those at -the head and tail reach to the corners of the boards, and are turned -over the edges in the same manner as the cover. For _single_;--having -ascertained the breadth by dividing the back with the compasses into -_seven_ spaces, cut three pieces of russia perfectly square and the -exact size of the spaces they are to occupy, and paste them on the -_second_, _fourth_, and _sixth_ divisions of the back, thereby leaving -in sight the first, third, fifth, and seventh spaces with the cover -only; draw them squarely on the sides, and place the volume in the -press, with the rods fixed to force the 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 manner; 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. - - -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 appearance in the whole, the workman's attention -must be directed to their fitting exactly in every particular of -length, breadth, and thickness. The clasps may be purchased of the -makers, but it may be found necessary to place the making of the -bands and corners in the hands of the brass-worker, to whom particular -directions and sizes must be given. They must fit tightly to the -boards, run exactly parallel with the edges, and have the holes for -the rivets 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 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, particularly of early-bound -Bibles, &c., in churches, are fastened in the same manner. - - -FINISHING. - -The placing of lettering-pieces, gilding, and blind-tooling, is -exactly the same as for printed books. Rough calf must be dressed with -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. - - - - -BOARDING. - - -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 manipulations in a previous part of this work, -that, in attempting 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 of paper must be pasted in the centre of the coloured paper -previously to applying it on the volume. When covered and pasted down, -the printed label must be fixed evenly on the back, and the book will -be finished. - - - - -CLOTH-WORK. - -In the year 1825 a great revolution in boarding was begun by the -introduction of cloth covers in place of the drab-coloured paper -previously in use. The late Archibald Leighton, of London, was the -inventor; and Mr. Pickering was the first publisher who adopted it. -The first cloth covers had printed labels; but very soon Mr. Leighton -made the discovery that cloth could be stamped with gold very -beautifully. Lord Byron's works (the edition in 17 volumes) were the -first books to which gold-lettering on cloth was applied. Cloth-work -is now done with full gilt sides and back and gilt edges; but, from -the temporary character of this style, the question may arise whether -it is not a useless expenditure of time and money to produce it. But, -so long as the public remain unacquainted with its want of capability -for use, and desire a mass of gold upon the sides,--so long, in fact, -as there is a large class who desire books for mere show and not -for use,--it will be the interest of publishers to gratify them by -furnishing cloth-gilt work. - -Expedition being so important in cloth-work, a machine has been -introduced to facilitate the operation of sawing the backs, and it is -now in general use for the purpose. The appended cut gives an accurate -idea of the machine as manufactured by W. O. Hickok, Harrisburg, Pa. - -[Illustration] - -For this and all other species of case-work (morocco is sometimes done -in this manner) the lining-papers are inserted and pasted over so as -to adhere to the end-paper, and the slips, having been cut short, are -scraped or rubbed smooth. The volumes are then knocked up and touched -on the back in one or two places with the glue-brush. They are then -cut upon the fore-edge, by being placed between two boards, one of -which is precisely the width that it is intended to cut the volumes; -the boards and books are placed upon the laying-press, and the backs -knocked evenly up; the whole is then placed in the laying-press, and -cut with the plough. The back-board being wider than the front, the -knife cuts against it. If the volumes are small, a number may be cut -at the same time. This mode of cutting is called "steamboating." After -the whole lot that the workman "has on" have been cut on the fronts, -they are then placed between cutting-boards again, of the proper size, -and knocked up on the head; they are then laid upon the press, with -the runner or front-board up; the board is then moved about a quarter -of an inch below the heads of the volumes as they are arranged in -layers or piles. The workman will then grasp the boards firmly, so as -not to allow the books to slip, and place them in the cutting-press, -and, after screwing it up tightly with the press-pin, proceed to -cut the heads in the same manner as the fronts. After this is done, -unscrew the press partially, so as to allow the volumes to be turned -without slipping in the tub; then, with one hand beneath the press, -depress one end of the boards, while the other is elevated, until the -whole is turned completely over, with the tails upward. The runner is -adjusted even with the cheek of the press, the press is screwed up, -and the volumes cut at the tail. If the edges are to be gilt, they are -now prepared for that operation. Afterwards they are glued upon the -backs and rounded, care being taken not to start the sheets or mark -the gilding upon the fore-edge with the thumb. They are then backed in -the same manner as bound books, except that they have larger joints. -Care is requisite at the ends, or the blows of the hammer will crush -the paper and thus give the gilding an unsightly appearance at the -joints. - -A machine has been invented for the purpose of backing books, and it -appears to be growing in favour for cloth-work, and, in fact, for all -work where expedition is a primary essential. It is the invention of -Mr. Sanborn, of Portland, Maine. The annexed cut gives an idea of the -general appearance of the machine. - -[Illustration] - -The next process is lining the backs, which is done by pasting strips -of paper or muslin upon the back, having it of sufficient width to -cover the joints on each side. The volumes are then prepared for the -cases, which have been previously got ready. The boards are cut to -a uniform square size by the table-shears. The cloth covers, after -having been cut out, have the corners cut off to a pattern made for -the purpose, just sufficient to allow them to lap when the cloth is -turned over the edge of the boards. The cover is then glued equally -over, and the T square laid upon it,--the square having been made -of the proper width to allow for the back, joints, and groove of the -volume. A board is then laid on each side of the centre of the square; -the latter is then lifted off, and a strip of paper, of the length -of the boards and nearly the width of the back of the book, placed -between the boards. The cloth projecting beyond the boards is then -turned over their edges. The cover is then turned over, and the cloth -rubbed smooth on the sides by means of a woollen or cotton pad. It is -then placed between pasteboards to dry. After the cases are all made -and have become perfectly dry, they are ready for stamping. Cloth for -ordinary stamping requires no preparation, but if the stamp be large -or very heavy it will be safer to use a coat of size. For this purpose -Russian isinglass is preferable; fresh glaire will answer the same -purpose. After the cases are stamped, the volumes being ready, they -are arranged with their heads the same way, and the end-paper of the -volume is pasted equally over. The book is then laid, pasted side -downwards, upon a case, adjusting the squares properly at the same -time; the other end-paper is then pasted, and the other board or side -of the case drawn over the back and placed upon the volume. After a -number are pasted, they are placed in pressing-boards having a brass -band affixed to the edges of the boards. The band, being rather wider -than the thickness of the board, causes a slight projection. The -volumes are adjusted in the pressing-boards in such a manner as to -cause the back and joint of the volumes to be on the outer, while the -pasteboard is on the inner, side of the brass rim. In this position -the volumes are placed in the standing-press and screwed tightly down; -they are then tapped lightly at the heads with a small backing-hammer, -and allowed to remain until dry. They are then taken out, and the -end-papers opened up or separated with a folding-stick. They are then -ready for the bookseller's shelves. - -[Illustration - -TABLE-SHEARS.] - - - - -PART III. - - - - -ORNAMENTAL ART. - - -In treating upon this subject, we are led back to the land of the -Pharaohs; for the earliest Art records that have come down to us (and, -perhaps, the most perfect) are from the banks of the Nile, remarkable -for their severely massive character, calm and frigid. The few -ornamental details are chosen rather for their symbolical than -æsthetic beauty, consisting of local forms slightly conventionalized -and heightened with colour. Their ornaments were types and symbols -intended to address themselves to the eye, heart, and soul of the -beholder, the most frequent in recurrence being the winged globe,--a -sacred emblem the Egyptians used in their ornamental designs,--the -human figure, their sacred animals, and the lotus, reed, asp, and -papyrus. Upon the capitals of Egyptian columns are represented -nearly all the flowers peculiar to the country, the petals, capsules, -pistils, seeds, and most minute parts, being often exhibited. Capitals -are often seen resembling a vase, and at other times a bell reversed. -There is little in this style applicable to the decoration of books, -unless it be upon works relating to Egypt. Then its symbols afford the -binder an opportunity to employ its symbolic ornamentation. - - -ASSYRIAN AND ANCIENT PERSIAN. - -Of this style it is only lately that we have become slightly -acquainted; and, though partly coeval with the Egyptian, the Assyrians -have borrowed little from them, the details being remarkable for -their classic character, at times approaching the Ionic, but greatly -dependent upon animal forms for its ornamentation, and upon painting -and sculpture for its expression. The forms, often graceful, are -less arbitrary than the Egyptian, (where symbolism is paramount,) -containing those elements afterwards elaborated into beauty by the -Greeks. There is an appropriate fitness in Assyrian ornament that -constitutes one of its prominent characteristics. In addition to -animals, the pomegranate, fir-cones, lotus-flower and reeds, rosettes, -and a fan-shaped ornament supposed to be the origin of the Greek -honeysuckle, distinguish the Assyrian style. - - -GREEK. - -Under the ancient Greeks, Art attained a refined and exalted -character, material beauty being developed to the utmost; elegance -of proportion, chaste simplicity, and conventionalism, triumphant; -symbolism disregarded. The principal elements of Greek ornament were -the honeysuckle, the lotus-leaves, the wave-line and scroll, the -zig-zag, and the universal fret. The beauty of Grecian ornament -consists in its equality of foliage, starting-points, stalks, and -groundwork. Its running figures are well adapted to and are employed -for rolls, in side-finishing, and the proportions of this style of Art -should be carefully studied by the finisher. - - -ETRUSCAN. - -Simplicity and elegance of form, combined with strong contrast -in colour, constitute the distinguishing marks of this style. The -Etruscan vases still form models for the artist. The novel appearance -of these vessels, all uniformly painted with a tracery of black on a -natural groundwork of brownish red, is extremely pleasing, proving the -high artistic capability of their makers. In the British Museum there -is one room entirely devoted to a collection of these remains of -ancient Art. This style is approached in its effects by inlaying -with black upon a brownish red. A copy of Caxton's "Recuyell of the -Historyes of Troye," bound in this style by Whittaker, has been highly -extolled. It is in the possession of the Marquis of Bath. The general -effects of this style are represented by a style now much in vogue, -called antique, a reddish-brown morocco being stamped upon so as -to produce a dark or black figure thereon; but the character of the -ornaments are generally dissimilar. - - -ROMAN. - -Roman art is a redundant elaboration of the Greek, in which purity -gives way to richness, grotesque combinations become common, and false -principles creep in. Mosaic pavements are rendered pictorial by the -introduction of light and shade, the flat and round not kept distinct. -In the remains of Pompeii we find the degradation of classic Art by -the violation of true principles. There is nothing in this style to -commend it to the artist, especially in decorating books. - - -BYZANTINE, LOMBARD, NORMAN. - -These varieties of kindred ornament, commencing with the rise of -Christianity, were founded on classic details, having a distinct -expression of their own. There is much symbolism in the Byzantine, -but all are appropriate to their several wants,--the parts rich, -judiciously disposed, and purely conventional. In these styles, so -intimately connected, we find the interlaced strap-work that suggested -Gothic tracery to the great mediæval artists. - - -MOORISH. - -The decorative art of the Arabs is more conventional than any other, -it being in most cases extremely difficult to trace the origin of -their forms. All animal representations are strictly excluded by the -religion of Mohammed. The union of geometrical with floral forms seems -to have supplied the expression, many ornaments resembling the ovary -of plants, transversely cut and connected with crystalline shapes. The -abstract and superficial treatment is perfect, the forms are extremely -graceful, and the colouring gorgeous. The interlaced strap-work is -highly elaborated. This style is sometimes called the Arabesque, and -forms the chief decoration of the Alhambra, an ancient fortress and -residence of the Moorish monarchs of Granada. For grace and liveliness -this style is unrivalled, and it affords many useful and beautiful -hints to the finisher in his hand-tooling, and is well calculated to -produce fine effects in stamps designed for the embossing-press. - - -GOTHIC. - -The Gothic is founded upon geometrical forms. The strap-work of former -styles is elaborated into tracery, the main lines being circular or -curved, starting from vertical lines, ending in points, enclosing -spaces divided and subdivided in the same manner, further decorated -with conventional ornaments derived from local nature. For bookbinding -it is sometimes employed, but without much judgment. The judicious -finisher will reject it on account of its inapplicability to -superficial decoration. - - -THE RENAISSANCE. - -The Renaissance or Revival arose in Italy in the fifteenth century, by -the appropriation of classic details in connection with prior styles, -the traditionary giving way to selection and freedom; Art gaining but -few entirely new forms, rather subjecting all that had gone before to -a new treatment, which in the hands of the great artists of the period -produced agreeable results, showing the importance of general design, -rendering even incongruous materials pleasing from that cause alone. -The Cinque-cento has been considered the goal of the Renaissance -and its characteristics,--strap, tracery, arabesque, and pierced -scroll-work, a mixture of the conventional with natural forms, and -every detail of ancient Art,--producing, under different masters, -varied results. Thus, in Raphael's Loggie of the Vatican are to be -found, as at Pompeii, elements piled one above the other, without any -regard to construction. The same with the works of Julio Romano at -Mantua,--painted imitation of bas-reliefs suspended above fountains, -temples, &c., the parts often finely drawn and treated, but, taken as -a whole, little removed from the absurd, quite unlike the works of the -Greeks and Etruscans they sought to rival. - - -ELIZABETHAN. - -The Elizabethan was an English version of the Renaissance, being a -special elaboration of the strap and bolt-work, and has been highly -useful to the stamp-cutter. Many of its forms can be advantageously -employed by the finisher. - - -LOUIS QUATORZE. - -This distinct expression of Art is of Italian origin, being the last -of the Renaissance, and end of ornamental styles. It consists of -scrolls and shells, an alternation of curves and hollows, the concave -and convex in contrast, the broken surfaces affording a brilliant play -of light and shade. The effect when gilt being extremely magnificent, -colour was abandoned, construction hidden, and symmetry often -disregarded, especially in its decline. As to superficial treatment, -flat surfaces were studiously avoided, and the few that remained were -treated pictorially, in a mellifluous, pastoral style, known as that -of Watteau. Under Louis XV. the forms degenerated: symmetrical -balance and flow of line were disregarded, giving way to the degraded -ornamentation called the Rococo--the prevailing style of the last and -earlier part of the present century--depriving Europe for more than -one hundred years of true superficial decoration, without which no Art -can be considered complete. An attempt at this style may be seen -upon the sides of some of the gaudily-gilt albums and books of like -character. No finisher need cultivate a love for it, for it is the -aversion of all refined artists. - - - - -FINISHING. - - -TASTE AND DESIGN. - -It is of the utmost importance to a young workman that he have correct -ideas in regard to taste, and be able to distinguish it from caprice -or mere fancy. It is in the power of all to acquire a correct taste, -for it is governed by laws that can be easily learned, and they are -unchangeable. Taste may be said to be a perception and an appreciation -of the principles of beauty and harmony as revealed by Nature through -Art. Nothing contrary to nature, no violation of any law of proportion -or of fitness, can be in good taste. The amateur and book-collector, -in commencing the foundation of a library, will do well to pause -before they adopt a species of binding that will in after years create -a feeling of annoyance, and perhaps lead to pecuniary sacrifice. - -A recent writer upon the New York Exhibition of the Industry of all -Nations discourses thus:--"We call bookbinding an art; and when we -consider all that is necessary to the perfect covering of a fine book, -it must be admitted to be an art; less important, it is true, but -similar in kind to architecture. - -"The first requisition upon the skill of the binder is to put the book -into a cover which will effectually protect it, and at the same time -permit it to be used with ease. If he do not accomplish this, his -most elaborate exhibition of ornamental skill is worth nothing; for he -fails in the very end for which his services are required. It was in -this regard, too, that most of our binders failed in past years. -Who that remembers the hideous, harsh, speckled sheep covers which -deformed our booksellers' shelves not long ago, can forget the added -torment which they inflicted upon their unhappy purchaser, by curling -up palpably before his very eyes, as he passed his first evening over -them, and by casting out loose leaves or whole signatures before he -had finished his first perusal? In those days, too, there was morocco -binding, with a California of gold upon the sides; and such morocco! -it felt to the fingers like a flattened nutmeg-grater, seeming to -protect the book by making it painful for any one to touch it. This -was as useless as the humbler though not more vulgar sheep. It would -hardly last through the holiday season on the centre-table which it -was made to adorn. - -"The binder's next task is to give his work the substantial appearance -without which the eye of the connoisseur will remain unsatisfied. -The volume must not only be well protected, but seem so. It should -be solid, compact, square-edged, and enclosed in firm boards of a -stoutness proportionate to its size, and these should be covered with -leather at once pliable and strong. Unless it present this appearance, -it will be unsatisfactory in spite of the richest colours and the most -elaborate ornament. Thus far the mere mechanical skill of the binder -goes. In the choice of his style of binding, and in the decoration of -his book, if he perform his task with taste and skill, he rises to the -rank of an artist. - -"The fitness of the binding to the character of the volume which it -protects, though little regarded by many binders, and still less by -those for whom they work, is of the first importance. Suppose Moore's -Lalla Rookh bound in rough sheep, with dark russia back and -corners, like a merchant's ledger, or Johnson's folio Dictionary in -straw-coloured morocco elaborately gilded, and lined with pale blue -watered-silk, is there an eye, no matter how uneducated, which would -not be shocked at the incongruity? Each book might be perfectly -protected, open freely, and exhibit evidence of great mechanical and -artistic skill on the part of the binder; but his atrocious taste -would insure him a just and universal condemnation. And yet there are -violations of fitness to be seen daily, on the majority of public and -private shelves, little less outrageous than those we have supposed. -Books of poetry, and illustrated works on art bound in sober speckled -or tree-marbled calf, with little gold upon the backs and sides, -and none upon the edges! Histories, statistical works, and books of -reference, in rich morocco, splendidly gilded!--the idea that the -styles ought to change places seeming never to enter the heads of the -possessors of these absurdly-covered volumes. But a little reflection -by any person of taste, and power to discern the eternal fitness -of things, will make it apparent that there should be congruity and -adaptation in the binding of books. Sober, practical volumes should be -correspondingly covered; calf and russia leather, with marbled paper -and edges, become them; while works of imagination, such as poetry -and books of engravings, demand rich morocco, fanciful ornaments, and -gilding. To bind histories, philosophical works, dictionaries, books -of reference and the like, in plain calf or dark russia,--travels, -novels, essays, and the lighter kind of prose writing, in tinted calf -or pale russia with gilding,--poetry in full morocco richly gilded, -and works on art in half morocco, with the top edge only cut and -gilded,--seems a judicious partition of the principal styles of -binding. The margins of an illustrated work on Art should never be cut -away, except where it is absolutely necessary for the preservation of -the book from dust, and the convenience of turning the leaves--that -is, at the top. It is well here to enter a protest against the -indiscriminate use of the antique style of binding, with dark-brown -calf, bevelled boards, and red edges. This is very well in its place; -but it should be confined to prose works of authors who wrote not -later than one hundred and fifty years ago. What propriety is there in -putting Scott, or Irving, or Dickens, or Longfellow, in such a dress?" - -Hartley Coleridge's opinion on the subject of taste in Bookbinding is -thus given:--"The binding of a book should always suit its complexion. -Pages venerably yellow should not be cased in military morocco, but in -sober brown russia. Glossy hot-pressed paper looks best in vellum. We -have sometimes seen a collection of whitey-brown black-letter ballads, -&c. so gorgeously tricked out that they remind us of the pious -liberality of the Catholics, who dress in silk and gold the images -of saints, part of whose saintship consisted in wearing rags and -hair-cloth. The costume of a volume should also be in keeping with its -subject, and with the character of its author. How absurd to see the -works of William Penn in flaming scarlet, and George Fox's Journal in -bishops' purple! Theology should be solemnly gorgeous. History should -be ornamented after the antique and Gothic fashion; works of science, -as plain as is consistent with dignity; poetry, _simplex munditis_." - -And it may not be irrelevant here to introduce the opinion of Dr. -Dibdin, whose connection with some of the first libraries in England, -and whose intimate knowledge of all the great book-collectors of the -same, must tend to stamp him as a good authority on the subject:-- - -"The general appearance of one's library is by no means a matter of -mere foppery or indifference; it is a sort of cardinal point, to -which the tasteful collector does well to attend. You have a right to -consider books, as to their _outsides_, with the eye of a _painter_; -because this does not militate against the proper use of the contents. - -"Be sparing of red morocco or vellum. They have each so distinct, -or what painters call spotty, an appearance, that they should be -introduced but circumspectly. Morocco, I frankly own, is my favourite -surtout; and the varieties of them--_blue_, (dark and light,) -_orange_, _green_, and _olive-colour_--are especially deserving of -your attention. - -"The colour of the binding may often be in harmony with its contents. -Books of poetry may be red, or light green, or blue, and have as much -ornament as may be desired. And Fine Art books, above all others, -ought to rejoice in beautiful coloured moroccos and gorgeous -ornaments. In the British Museum, books of divinity are bound in blue, -history in red, poetry in yellow, and biography in olive. - -"Let _russia_ claim your volumes of architecture or other antiquities, -of topography, of lexicography, and of other works of reference. Let -your romances and chronicles aspire to _morocco_ or _velvet_; -though, upon second thoughts, _russia_ is well suited to history -and chronicles. And for your fifteeners, or volumes printed in the -fifteenth century, whether Greek, Latin, Italian, or English, let me -entreat you invariably to use _morocco_: for theology, _dark blue_, -_black_, or _damson-colour_; for history, _red_ or _dark green_; -while, in large paper quartos, do not fail to remember the _peau -de veau_ (calf) of the French, with gilt upon marbled edges. My -abhorrence of _hogskin_ urges me to call upon you to swear eternal -enmity to that engenderer of mildew and mischief. Indeed, at any rate, -it is a clumsy coat of mail. For your Italian and French, especially -in long suites, bespeak what is called _French calf binding_, spotted, -variegated, or marbled on the sides, well covered with ornament on the -back, and, when the work is worthy of it, with gilt on the edges. Let -your English octavos of history or belles-lettres breathe a quiet tone -of chastely-gilded white calf with marbled edges; while the works -of our better-most poets should be occasionally clothed in a morocco -exterior." - -The further opinion of the doctor on the style of ornament, &c. in -gilding, will be given in its proper place, and which, with that -cited above, may be safely acted upon by the binder, blended with such -additions as his own taste may dictate. - -It is in this state that the defects of forwarding will become -more apparent, and which no tact or ingenuity of the finisher can -effectually remedy; for, unless the bands are square, the joints free, -and the whole book geometrically just, the defect, whatever it may -be, will appear throughout, and tend to destroy the beauty of every -subsequent operation, from the constraint required to make the general -appearance of the work effective. - -Before proceeding to a description of the various manipulations -required in gilding a book, it will be necessary to direct the -attention of the young workman again to what has been advanced -relative to care and attention in previous parts of this work, and -follow up the remarks there made with others on the taste necessary -to be displayed in this most important part of the art of bookbinding. -When it is considered that the most celebrated artists have arrived -at the eminence awarded to them not only through the elasticity, -solidity, and squareness of their bindings, but also from the -judicious choice of their ornaments for gilding, and the precision and -beauty with which they have been executed, it cannot be too strongly -impressed on the workman that this should ever occupy his first -attention. Nothing is so disagreeable to the eye as injudicious -or badly-executed ornaments; while with chaste and classical -embellishments, tastefully applied, an appearance of richness is -produced on the volumes that cannot fail to give satisfaction to the -most fastidious critic. The sides of the volumes present the field -most favourable for the display of ornamental taste, admitting, from -their extent, the execution of the most complicated designs. This -elaborate style of ornament has been carried to such perfection and -splendour as, in many instances, to have occupied several days in -the execution of one side alone; but it is only by the most vigorous -application, greatest care, and correct taste, that proficiency -therein can be attained. With these, success will soon crown the -endeavours of the workman; and he will have the satisfaction of -finding himself able to imitate any pattern, however difficult, as -well as to execute many new designs and compartments, of which, till -he applied himself, he had not previously an idea. - -As regards the style of ornament, it must be left to taste; but, as -before promised, it will now be proper to introduce the remarks of Dr. -Dibdin on the general effect of gilding and blind tooling, leaving the -detail to be suggested to the mind of the gilder. - -"First, let your books be well and evenly lettered, and let a -tolerable portion of ornament be seen upon the backs of them. I love -what is called an _overcharged back_, At first the appearance may be -flaunting and garish; but time, which mellows down book ornaments as -well as human countenances, will quickly obviate this inconvenience; -and about a twelvemonth, or six months added to the said twelvemonth, -will work miracles upon the appearance of your book. Do not be meagre -of your ornaments on the back, and never suffer _blind tooling_ wholly -to pervade a folio or quarto; for, by so doing, you convert what -should look like a _book_ into a piece of mahogany furniture. - -"In large libraries there should not be too much blind tooling or too -great a want of gilt. No doubt the ornament should be as appropriate -as possible to the book. One could not endure gingerbread-gilt -_Bibles_ and _Prayer-Books_, or _Chronicles_ or _Dictionaries_, or -other books of reference. Let these have a subdued decoration on their -backs; bands only full-gilt, or a running edge-tool in the centres of -them, with small ornaments between the bands. - -"I would recommend the lettering of a volume to be as _full_ as -possible; yet sententiousness must sometimes be adopted. The lines -should be straight, and the letters of one and the same form or -character within the line; yet the name of the author may be executed -a size larger than that of the date or place of its execution, and the -lettering may be between the top and bottom bands, or it may occupy -the spaces between three bands, or even more. Re-letter old books -perpendicularly, as was the custom. In all fresh bindings, however, -prefer horizontal to perpendicular lettering."[A] - - [Footnote A: We sometimes fear that Dr. Dibden's commendation - of an overcharged back has produced a bad effect. It should be - borne in mind that, when the doctor wrote, calf was the - prevailing material employed in binding, and that of a light - colour.] - -It remains to urge that particular attention be paid to the lettering -of books being their right titles, as the contrary will present to -the judicious an effect the most disagreeable, and may be the cause of -producing dissatisfaction with the whole of the binding in the mind of -the owner; and also to avoid the contrast which the different shade or -colour of new lettering-pieces will give to some bindings. - -As it is requisite that the workman should form an idea of the style -and design to be executed on the volume before he prepares it for -gilding, we will proceed to point out the peculiarities of some of the -most prominent styles and of the tools required to produce them. We -hope to convey a faithful idea of the latter with the aid of the tools -and ornaments executed expressly for this work by Gaskill, Copper & -Fry, bookbinders' tool-cutters, Philadelphia, who have secured for -themselves, by their taste and skill, an enviable reputation as -artists. Plate I. contains an illustration of the species of ornament -termed - - -THE ALDINE STYLE, - -Which derives its name from a noted printer named Aldus Manutius, a -Roman by birth, who was born in the year 1446 or 1447. His Christian -name, Aldus, was a contraction of Theobaldus; and to this surname he -sometimes added the appellation of Pius, or Bassianus, or Romanus. The -first of these appellatives was assumed by Aldus from his having been -the tutor of Albertus Pius, a prince of the noble house of Carpi; and -the second was derived from the birthplace of the printer--namely, -Bassian, a small town in the Duchy of Lermonetta. - -Aldus is supposed to have taken up his residence at Venice, as the -favourite city wherein to mature his plans, about the year 1488; and -about 1494-95 he there put forth the first production of his press. -He introduced Roman types of a neater cut than had previously been -in use, and invented that beautiful letter which is now known as -_Italic_, though, in the first instance, it was termed _Venetian_, -from Manutius being a resident of Venice when he brought it to -perfection; but, not long after, it was dedicated to the State of -Italy, to prevent any dispute that might arise from other nations -claiming a priority, as was the case concerning the first inventor of -printing. - -Prior to the time of Aldus, the only points used in punctuation -were the comma, colon, and full-point or period; but he invented -the semicolon, gave a better shape to the comma, and connected the -punctuation by assigning to the various points more proper places. -About the period of his marriage, (in 1500,) he invented a mode -of imposing a work in such a manner that two languages might be -interleaved and bound together, or separately, at the option of the -purchaser; and, about the same date, he printed the first leaf, in -folio, of a proposed edition of the BIBLE in the Hebrew, Greek, and -Latin languages; so that he has the honour of having first suggested -the plan of a Polyglott Bible. However, the plan failed of being then -carried into effect. Printing different languages in opposite columns -was not accomplished till 1530. - -The mind of Aldus was entirely engaged in the care of his -printing-house; for, as soon as he had ordered his other necessary -affairs, he shut himself up in his study, where he employed himself -in revising his Greek and Latin MSS., reading the letters which he -received from the learned out of all parts of the world, and writing -answers to them. To prevent interruption by impertinent visits, -he caused the following inscription to be placed over his -door:--"_Whoever you are, Aldus earnestly entreats you to despatch -your business as soon as possible, and then depart: unless you come -hither, like another Hercules, to lend him some friendly assistance; -for here will be work sufficient to employ you and as many as enter -this place._" - -The mark or device which Aldus--who died in 1515--made use of to -distinguish works issued from his press was an anchor, round which a -dolphin seemed to twist. It must be familiar to every amateur,--Mr. -Pickering, the London publisher, having adopted the Aldine anchor as -his device. To attempt any description of the Aldine class of tools -would be superfluous after so fair a specimen in the illustration. -It will be perceived they are entirely free from shading, and, -consequently, much more effective for that description of work for -which they are generally used,--viz., blind tooling. Both tools and -patterns are much lighter and more ornamental than the old Monastic -school, of which the Aldine in some degree partook. - -Upon the same plate there is exhibited the arrangement of a back-panel -and tools in the - - -MONTAGUE STYLE, - -Which derives its name from Montague, (of the firm of Montague and -Johnson,) a bookbinder of considerable eminence, who flourished -about the year 1780. The chief features of this style are corners and -centre, filled up with stops, &c. similar to illustration. The tools -are of an open, leafy description, flowing from a stem free from any -thing of the scroll or curl. The panel given has been copied from -a book supposed to have been done by Montague himself. The bar, or -barleycorn, on the head and tail and on the bands, likewise on the -insides and edges. Books in volumes, pieced red and green on adjoining -panels, frequently a lozenge of red on the second piece, and filled -up with corners and stops similar to the other panels; sometimes both -pieces green; sides generally plain, or a flowery flowing roll, for -which a two-line is now usually substituted; sewed on raised bands; -colour, brown calf, sometimes highly sprinkled. - -There is also upon Plate I. an illustration of - - -THE HARLEIAN STYLE, - -A style not behind Montague in beauty of ornament, and superior -in elegance and variety of arrangement. Before entering into a -description of the style, we will give what information we have gained -respecting its founder, trusting that it will not be unacceptable. We -find that "Robert Harley, Esq., of Frampton-Bryan, in the county of -Hereford, (the gentleman from whom the style derives its name,) was in -1700 chosen Speaker of the House of Commons, and in May, 1711, he -was created Earl of Oxford and Mortimer, and five days afterwards -was promoted to the important station of Lord High-Treasurer of Great -Britain." - -In the Preface to the Harleian MSS., now in the British Museum, -speaking of Mr. Harley, it states that "his innate love of books was -such as to determine him in early life to undertake the formation of -a new library, regardless of the disadvantages with which he must -contend, as great exertions had previously been made in collecting -MSS. for the Bodleian, Cottonian, and other valuable though smaller -collections, so that the prospect of forming a new library with any -considerable number of MSS. was indeed very unpromising. But, urged -on by a love of learning, and a strong desire to search into the -transactions of former ages, determined Mr. Harley to purchase -whatever curious MSS. he could meet with, more especially such as -might in any wise tend to explain and illustrate the history, laws, -customs, and antiquities, of his native country. The principal -point which the founder of the Harleian Library had in view was the -establishment of a MS. English Historical Library, and the rescuing -from oblivion and destruction of such valuable records of our national -antiquities as had escaped the diligence of former collectors. - -"At the decease of his son, (Edward Lord Harley, in 1741,) who had -been a powerful auxiliary in enriching the collection, the MS. library -consisted of nearly 8000 volumes. At the death of Mr. Harley, his -library was bequeathed to the University of Oxford. To such men we owe -a debt of gratitude for the improvement of the art and for introducing -a style of finishing that still remains the admiration of the -connoisseur. - -"The books in the Harleian Collection are principally bound in red -morocco, well sewed on raised bands, tight backs, (as were all the -books of that period,) Dutch marble end-papers, and gilt edges." - -Harleian tools are more wiry and much closer than the Montague, -interspersed with fine-line curls, fine pinhead curve-lines, rosettes, -acorns, solid stops, single rings, and cross-buns. - -The border upon the same plate illustrates the Harleian pane-side. In -the Harleian style there are three distinctly different arrangements -for sides and backs, (independent of the flights of fancy in which -finishers indulge.) There are on the sides,--first, the two or -three-line fillet, stopped; second, the Harleian tooled or spikey -border,--a style of finishing peculiarly neat and rich, and well -adapted for nearly every description of books. - -On original Harleys the tooling went right on from corner to corner, -as if worked by a very broad roll; but modern finishers prefer a -made-up corner,--that is, a tool or tools projecting at right angles -with the corner, up to which the border-tools are worked, thus -rendering the whole more harmonious and perfect. The spikey border -is worked up to a two or three-line fillet, with the cat-tooth roll -worked on the outer line towards the edge of the board. (We may -here mention that the cat-tooth, although purely French, may be also -considered Harleian, as it is on all the originals we have seen, -and accords well with the style.) Third, the pane or panelled side, -similar to the illustration. Sometimes a double pane was formed by -throwing in a two-line fillet and working a roll on the inside. - -On the backs there is the upright centre, the diamond centre and -corner, as in the illustration, and the semi-circle with open centre. - -The diamond centre was not much used on books of light reading, such -as novels, but rather on works of a graver nature, such as divinity, -philosophy, and history. It seems to have been the favourite style of -the earl's binders; and we must acknowledge that a book never looks so -like a book as when finished with a good diamond centre and corner. -In forming the diamond centre, the spikes ought to project beyond the -stops, as it is then more graceful and pleasing to the eye than when -the stop and spikes are flush one with the other. - - -THE FONTHILL STYLE. - -The following account of Fonthill Abbey will, no doubt, be acceptable, -in connection with our description of the "style" which has derived -its name therefrom. - -"Fonthill Abbey, in Wiltshire, justly ranks as one of the grandest -structures in the United Kingdom, combining all the elegance of modern -architecture with the sublime grandeur of the conventual style. It was -built about the end of the last century, at an expense of £400,000, by -Mr. William Beckford, son of the public-spirited Lord Mayor of London -of that name, whose statue now stands in Guildhall, with a copy of the -memorable speech and remonstrance which he addressed to George III. in -1770. Succeeding to almost unbounded wealth, (nearly £100,000 a year,) -endowed with an extraordinary mind, literary talents of the highest -order, and an exquisite taste for the arts, the young owner of -Fonthill Abbey determined to erect an edifice uncommon in design, -and to adorn it with splendour; and, with an energy and enthusiasm -of which duller minds can form but a poor conception, he soon had his -determination carried into effect. - -"The gorgeous edifice reared for Mr. B. contained many magnificent -suites of apartments. We need only notice two, denominated St. -Michael's, and King Edward the Third's Gallery. They are of the most -stately and interesting description that can be conceived or imagined: -the former filled with the choicest books and many articles of -_vertu_; the latter also employed as a library, but enriched with a -much greater number of choice and curious productions, and terminating -in an oratory, unique for its elegant proportions and characteristic -consistency. It is at once rich and luxurious as the temple of which -it forms an appendage,--sombre and soothing as the religious feelings -with which its designation associates it. - - 'Meditation here may think down hours and moments; - Here the heart may give a useful lesson to the head, - And learning wiser grow without its books.' - -It is but the drawing of a curtain, and not only all the glitter of -the adjoining splendour, but all the pomps and vanities of the world -seem to the meditative mind to be shut out forever. Perhaps its -pensive cast is more deeply experienced from the immediate contrast: -dazzled with objects of show, fatigued with the examination of rare -and costly commodities, and bewildered with the multitude of precious -devices which everywhere surround him, the soul of the visitant -retires with tenfold delight to the narrow walls of the oratory." - -Our brief description of the Fonthill style cannot fail to strike the -reader as being remarkably appropriate to the sombre character of -that part of the abbey which contained the library,--the one being in -strict keeping with the other. - -Half-bound olive-brown morocco; sewed on raised bands; gilt tops; -marble-paper sides and insides; with no finishing whatever, except the -lettering and date at bottom. - - -À LA JANSENISTE. - -This chaste and beautiful style is said to be derived from a religious -order, and is highly esteemed by amateurs. Books bound à la janseniste -are full-bound Turkey or Levant morocco, with a broad turn in on the -inside of the board, gilt edges with a fine one-line fillet each side -of the bands and head and tail, and neatly mitred on the side, all in -blind, there being no gilding on the outside but the lettering; on -the inside a broad-tooled border of very fine tooling in gold, a -fine two-line in gold on the edges of the boards, and the cap of the -headbands tipped with the same. - - -THE CAMBRIDGE STYLE - -Is practised, we may say exclusively, on theological works. At what -period it gained its name is uncertain; doubtless, it was the style in -which some of the university libraries were chiefly bound; and, in all -probability, the idea of the Harley paned side was first copied from -it. Books bound in this style are sewed on raised bands, brown calf, -pane-sprinkled sides, Dutch marble end-papers, and red edges. Back -pieced with red russia, and a two-line fillet head and tail, and on -each side of the bands, _blind_. Sides, two-line fillet close to the -edge and on each side of the pane, with a narrow flower-roll worked on -each side of the pane, close to the lines. The fillets in the pane to -be connected together at the corners with the two-line fillet, and a -tool worked from the corner of the pane towards the edge of the book, -_all blind_. Bar-roll on the edges, in gold. - -[Illustration: - - 2. - -_Modern Monastic._] - - -MODERNIZED MONASTIC. - -This style is now in great vogue, under the appellation of the -antique. The materials employed are divinity calf and brown or -Carmelite morocco, with very thick boards, edges either red, brown, -or matted gilt; very high raised bands. The style of ornament is -illustrated by Plate II., intended for a side-stamp to be done by -the press. It can also be done by hand, with rolls, fillets, and -hand-stamps, omitting the broad and narrow fillet, and substituting -either a one or two-line, working the circles with gouges. The tools -are all worked blind. This style of binding, when appropriate to the -book, produces a very pleasing effect. - - -ARABESQUE. - -"The term is more commonly applied to the species of ornament used -in adorning the walls, pavements, and roofs of Moorish and Arabian -buildings, consisting of an intricate heterogeneous admixture of -fruits, flowers, scrolls, and other objects, to the exclusion of -animals, the representation of which is forbidden by the Mohammedan -religion. This kind of ornament is now frequently used in the -adorning of books, plate, &c. Foliage very similar to that used by the -Arabians, intermixed with griffins, &c., were frequently employed on -the walls and friezes of temples, and on many of the ancient Greek -vases; on the walls of the baths of Titus, at Pompeii, and many other -places."--_Craig's Universal Dictionary._ - -As regards book-finishing, we have looked into more than one -authority, and are really unable to define what the "arabesque" style -is or ought to be. The well-understood term "roan embossed" is, in our -opinion, the nearest approach to it at the present day. - -Plate III. is an adaptation of an old German design for embossing. The -figure is raised, the plate being worked with a counter, in a powerful -press. - -[Illustration: - - 3. - -_Old German Style for Embossed Work._] - -This style can only be executed upon publishers' work where there is -a quantity of the same book to be done in this style. By it a good -effect is produced upon an inferior material and at a trifling cost. -The covers are embossed before they are applied to the volumes, and -in order to preserve the sharpness of the design they must be covered -with glue and not pressed afterwards. - - -ANTIQUE OAK AND OTHER BINDINGS. - -Great varieties of style in the covers of bindings have been -introduced within the last few years; but these must be left to the -imitative powers of the skilful workman, as no written description -would give the requisite information and guidance. Should he be -desirous of executing these, he will do well to study some good -specimen. Among others may be mentioned the Antique Oak Bindings, -adopted by Mr. Murray, for his "Illuminated Prayer-Book," and Messrs. -Longman and Co., for "Gray's Elegy." Also the Iron Binding,--viz.: -covers in imitation of cast-iron,--in which Messrs. Longman and Co. -have had bound the "Parables of our Lord." Bibles and Prayers are -now frequently bound to imitate the antique, having heavy boards with -clasps and corners, and finished in the monastic style. - - -GROLIER STYLE. - -This beautiful style of ornament is so well illustrated by Plate IV. -that it scarcely needs any remark. We will merely observe that this -style is well calculated for hand-work, being entirely superficial in -character. The pattern presented can be worked with a one-line fillet -and gouges, with a few leaves of a conventional character. The design -should be first traced upon paper of the proper size, the paper -lightly tipped at the corners with paste upon the side, then worked -with the fillet and gouges through the paper upon the leather. The -paper is then removed, and the blind impression appears upon the side. -All vestiges of the paper are carefully washed off, and the pattern -pencilled in,--that is, each portion of the figure is carefully traced -with a fine camel's-hair pencil saturated with glaire. When dry it is -lightly passed over with a piece of cotton in which sweet oil has been -dropped, and the gold leaf laid on. The pattern is then reworked upon -the gold. - -[Illustration: - - 4. - -_Grolier about 1530._] - -The design upon Plate V. is a modern elaboration of the Grolier, and -is intended for a side-plate, to be executed by the stamping-press. -It is well calculated for blind or blank stamping, the solid line -producing by its intersections a fine effect. By omitting the inner -and working the out lines, this elaboration of lines and circles can -be worked by hand. - -[Illustration: - - 5. - -_Modernized Grolier._] - -The Louis Quatorze is illustrated, by a pattern for a back, upon Plate -VI. This can be worked either by hand-stamps or by the press. The -centre pattern is a very pretty illustration of the prevailing style -of backs for case-work. This must be stamped before the cover is -applied to the book. - -The third pattern for flat backs is adapted for hand-tools, and -when executed upon light-coloured English calf produces a beautiful -appearance. From its light, graceful character, it is well suited to -modern poetry and light literature in general. This style gives scope -to an almost endless variety of patterns, regulated only by the taste -of the finisher. - -[Illustration: - - _6._ - - _Louis XIV._ _Modern._ _French._ -] - -Plate VII. is a design drawn by Holbein for a side-ornament in metal. -This beautiful pattern can be adapted either to hand or press work. -Its graceful and harmonious proportions should be well studied by the -young workman. - -[Illustration: - - _7._ - -_Drawn after a design by Holbein A.D. 1550._] - -Upon Plate VIII. will be found specimens of rolls and hand-stamps used -in finishing. The numbers affixed refer to the order of arrangement -in the Book of Patterns published by Gaskill, Copper & Fry, containing -over two thousand specimens with their prices attached. They have also -an immense number of patterns, executed since the publication of their -book for binders in various parts of the country. - -[Illustration: - - _8._ - -_Selection from Gaskill, Copper & Fry's Book of Patterns (18 Minor -S^t.)_] - -Having given the prominent distinct styles,--of which there are, -however, many combinations, both of style, ornament, and tooling, -originating more nondescripts than we have space to treat upon,--we -proceed to the gilding, trusting that what has been pointed out to -the attention of the young workman will induce him to neglect no -opportunities of becoming acquainted with the works of artists of -celebrity, not for the purpose of servile imitation, but to examine -their adaptations of ornamental art as a study, to enable him to trace -superficial decoration back to its originators. Having acquired this -knowledge, he may by his treatment of ornament take rank as an artist. - -The examples given will be sufficient for the intellectual workman -to conceive many patterns which his taste will suggest, forming an -infinite variety of beautiful designs. In all combinations, a rigorous -observance of the symmetrical proportions of the tools must be his -first care, so that the union of any number of designs present a form -agreeable and chaste. It would be superfluous to add more; but from -the importance of the subject, on closing the directions for the -ornamental department of binding, it may be repeated that there is no -greater evidence of the ignorance or carelessness of the workman than -an ornament of any kind unevenly or unequally worked. Let the young -binder especially bear this in mind: it is a defect which nothing can -effectually remedy; instead of an embellishment it is a detriment to -the binding, and his reputation as a clever workman is consequently -placed in jeopardy. - -Preparatory to gilding, the back must be compassed off and carefully -marked with a folding-stick and a straight-edge or piece of vellum, -wherever it is intended to run a straight line. This serves as a guide -when the gold is laid on. For work of the best class, the fillets must -be first put in blind, and the tooling done in the same manner. For -sides where the design is elaborate, or a degree of perfection in -the tooling is desirable, the entire pattern must be first worked in -blind, and, after being washed with a dilution of oxalic acid or -a thin paste-wash, it must be carefully pencilled in with the -glaire-pencil; but this comes more appropriately under the head of - - -PREPARATIONS FOR GILDING. - -To operate successfully, it will be necessary that the workman provide -himself with good size, glaire, and oil. The first is prepared -by boiling fine vellum slips till a good size is produced, of a -consistency that will lie equally on the volume without blotches or -ropes, and must be used warm. The glaire is formed of the whites of -eggs, beaten well with a _frother_ till it is perfectly clear, and the -froth taken off. This liquid will improve by keeping, and should never -be used new if it can possibly be avoided. For morocco bindings, the -glaire is sometimes diluted with water. The oil adopted by various -binders is different. Some use palm-oil for calf, sweet oil for -morocco or russia; others prefer hog's lard, or fine mould-candle, for -light-coloured calf; but sweet oil is well adapted for almost every -kind of leather. Vellum-size is the best preparation for coloured -calf. On books thus prepared, the glaire must be applied two or three -times, taking care that each coat is quite dry before the next is -added, and that it lies perfectly even on the whole surface, free -from globules or any substance whatever. Great care is required -in preparing coloured calf; for, if there be too much body in -the preparation, it will crack on the surface and present a bad -appearance. Morocco and roan will not require more than one coat, -and, where practicable, only on such parts of the morocco as are to -be gilt. The state of the weather must ever determine the number of -volumes to be proceeded with at one time, as in the winter double the -number may be glaired to what the dryness of a summer's day will admit -of, so as to work with safety and produce effect. A good paste-wash -before glairing is always advisable, as it prevents the glaire from -sinking into the leather. - -In preparing glaire from the egg for immediate use, a few drops of -oxalic acid added thereunto will be found to be of essential service. - -The volumes being thus prepared, the operation of - - -GILDING THE BACK - -Is commenced by oiling slightly, with a small piece of cotton, -the whole length of the back. If the book is merely intended to be -_filleted_ for the economy of the gold, small strips are cut on the -gold-cushion, attached to the heated fillet by rolling it slightly -over, and affixed to the volume by passing it firmly on the lines -previously marked. But if the back is to be fully ornamented, it will -be necessary to cover it entirely with gold-leaf. - -The hand-stamps should be disposed on the table before him, so as to -be selected with the greatest facility, and in readiness for every -purpose for which they may be required. - -To lay on the gold, the workman takes a book of the metal, opens the -outside leaf, and passes the knife underneath the gold; with this -he raises it, carries it steadily on to the cushion, and spreads it -perfectly even, by a light breath on the middle of the leaf, taking -care also that not the least current of air has access to the room -he may be operating in. Afterwards the gold must be cut with the -gold-knife to the breadth and length of the places to be covered, by -laying the edge upon it and moving the knife slightly backwards and -forwards. Then rub upon the back the oil, and apply the gold upon the -places to be ornamented with a cotton or tip, rubbed on the forehead -or hair to give it a slight humidity and cause the gold to adhere. But -if the whole of the back is to be gilt, it will be more economical to -entirely cover it by cutting the gold in slips the breadth of the -book and applying the back on it; afterwards press it close with the -cotton, with which any breaks in the gold must also be covered, -by placing small slips where required. The humidity of the hair or -forehead will be sufficient to make the gold adhere to the cotton or -other instrument with which it may be conveyed to the book. The fillet -or roll must then be heated to a degree proper for the substance on -which it is to be worked. Calf will require them hotter than morocco -and roan, and these warmer than russia and vellum. To ascertain their -proper heat, they are applied on a damp sponge, or rubbed with the -finger wetted, and by the degree of boiling that the water makes, -their fitness is known; but a little exercise and habit will render -this easy of judging. To further insure this, the roll or pallet is -passed over the cap of the headband; if too hot, the gold will be -dull; if too cool, the impression will be bad, from the gold not -adhering in every part. - -After the gold is laid on, the volume is laid upon the side, with the -back elevated, and the workman proceeds to mitre the fillets that run -lengthwise of the back, commencing at the line that has been traced -across the back, by pressing lightly with the point of the mitred roll -and running it carefully till near the line that marks the end of -the panel; then lift the fillet and turn it with the finger until the -other or reverse mitre, or nick in the fillet, is reached; then place -the fillet in the lines already gilt, adjusting it with the left hand -until the extreme point of the mitre will just reach the line traced -across. After both edges of the back have been done along the joint in -this way, the volume is then placed evenly in the finishing-press, and -the panels completed by mitreing the fillets that run across the back. -The entire operation requires the utmost care, in order to have the -lines parallel and the mitres perfectly even and true. No ornament -that may be afterwards worked upon the back, beautiful as it may be, -can atone for negligence or want of skill in the mitreing and running -of the fillets. As a matter of economy, sometimes the back is run up; -that is, instead of stopping where the lines or bands intersect, the -roll is run up the back from one end to the other, without stopping; -and, after wiping the gold off along the joint outside the fillet, it -is run across the back on each side of the bands, and head and tail in -the same manner. After the back is mitred, the finisher will proceed -with the ornamental tools, and work them carefully off. In placing -them, great attention should be paid to their occupying precisely -the same place in each panel; and, in order to present an agreeable -effect, the tools should correspond in detail, and there should be -a geometrical fitness governing the selection and arrangement of the -tools. - -The judicious choice of ornaments for the back is of the utmost -importance. For instance, such as represent animals, insects, -or flowers, which are only proper for works of natural history, -entomology, and botany, should never appear on the backs of works -on general literature, as it would be an evidence of bad taste or -carelessness. - -Every tool should be beautiful in itself, because no accumulation of -misshapen tools can make one beautiful ornament. There is no objection -to scrolls, leaves, flowers, stops, or any of the usual kind of -ornaments; only let them all be in themselves beautiful. It is -appropriate to introduce a harp on a book of songs, a stag's head on -a book on hunting, a recognised ecclesiastical pattern upon a book of -divinity or a prayer-book; a Greek or Roman design upon a classical -work, or a Gothic design upon a book on Gothic architecture. - -Should it be desired to present on the back simply an ornamental -lettering-piece at the head, diverging to a point towards the middle -of the book, and the rest of the volume left plain, it will be -necessary to impress the tools previous to glairing, and then apply -the glaire with a camel's-hair pencil in the indentations the tools -have formed. When dry, cover with gold and reimpress the tool in -the marks previously made, and letter the title. This proceeding is -adopted in every pattern where part of the back is intended to be left -dull by being free from glaire. - -The title must next engage attention, and the letters placed thereon, -either singly or together, with brass type properly fixed in the -hand-chase. If with single letters, the tail of the volume must be -lowered about an inch, and the workman draw a thread of silk across -the gold to direct the heads of the letters. Taking each singly, he -places them on the back with the right hand, steadying the letter with -the forefinger of the left. If the title is set in the chase, place -the volume evenly in the press, and apply the title, guided by the -thumb, firmly across. The title in either case must be justified, to -produce the best effect, taking care to avoid, if possible, having two -lines of the same length; and, where the title can be measured, as -in the type it may, the exact centre should be ascertained before -applying it heated on the gold. The back may now be considered -finished. The gold which has not been impressed by the gilding tools -must be well rubbed off with the _gold-rag_ and minutely cleared off -with a piece of fine flannel or India-rubber, so as to display the -delicate lines of the ornaments as perfectly and clearly as possible. -Attention should be paid to this particular; for, let a book be -finished in the most tasteful manner possible, unless well cleared off -the effect is entirely lost. If in calf, it must now be polished, and -the squares and edges of the boards proceeded with. - - -GILDING THE SQUARES, ETC. - -For gilding the edges of the boards, the gold may be taken as for the -bands,--on the roll,--and the volume held firmly with the left hand; -but, if large, put into the press between boards, so as not to injure -the back. Where the ornament of the inside-square is simple, the like -proceeding of applying the gold will be proper, resting the board open -on an elevation equal to the thickness of the book. But if the square -has been left large, with a leather joint, so as to admit of being -more elaborately filled up, the gold must be laid on the whole space -with the tip and pressed close with the cotton. The gilding is then -proceeded with in the same manner as detailed in the directions for -the side-ornaments. - - -GILDING THE SIDES. - -The sides, from affording more ample space, are the part of the volume -whereon the workman can and is expected to show his taste and skill -in gilding. The proceedings are the same as before pointed out where -a simple roll is the only ornament round; but where the pattern is -extensive and the details minute, it is necessary to have the whole -worked blind upon the volume before glairing, and then apply the gold. -If one side is done at a time, the book is taken by the leaves with -the left hand, the board intended to be covered resting on the thumb, -and the gold laid on as for the squares, either over the whole side -or on such parts as the pattern indicates. If the volume be small, the -gold may be laid on both sides and the leaves of the volume placed in -the finishing-press, allowing the boards to rest on its surface. This -affords greater facility for placing uniformly and systematically the -fillets, rolls, and tools necessary to complete the design on each -side. Where the pattern has not been marked, and one side only -proceeded with, the roll is run in a straight line, which should be -made, previous to covering with gold, on the board by the joint of the -back, the volume turned for the head and tail, and laid open upon the -board for the fore-edge, to give it the firmness necessary. - -Directions for executing the most elaborate designs have been -previously given, whereby it will be perceived that it requires -but taste, and a just observation of similarity of design and the -geometrical proportions of the ornaments, to execute them to any -extent. One variation from this rule will destroy the effect of the -whole pattern: it will therefore be to the benefit of such as are not -conversant fully with the art, to assist themselves with designs drawn -on cartridge-paper, which may be marked through on the leather and -the pattern executed in gold or blind as required. In all, the gilding -will be the same, either to glaire over the whole cover after the -design is stamped, or, if the plain part is to be left dull, by -glairing the impressions only with a camel's-hair pencil. - - -GILDING ON SILK AND VELVET. - -The proceedings necessary to be adopted for gilding on silk and velvet -are, from the delicate nature of these substances, different from -those laid down for gilding on leather. The glaire used on the latter -would tend to stain, and therefore it is necessary to employ other -means for fixing the gold. This is by drying the whites of eggs -and reducing them to a powder, which is put into a small bottle and -tightly tied over with a piece of fine muslin, by which means it is -equally distributed on the space intended to be gilt. Gum-sandarac is -now, however, more generally used for this purpose, although some -use gum-copal. The powder being applied, the gold is cut in slips and -taken on a roll of a circumference equal to the length of the space -intended for it to be applied on. The design is then firmly impressed, -and the superfluous gold brushed off with a soft brush or clean piece -of cotton, and the other side alike executed. In lettering, or fixing -single tools on the back, the same proceedings must be adopted, by -taking the gold thereon and applying it to the back or side of the -volume. Where the design is large, or elaborate work is required, it -will be better executed in the following manner:--The design must be -drawn on paper, and worked through on silk, after which the impression -must be carefully glaired with a camel's-hair pencil; when dry, rub -the parts intended for the gold with the finger passed through the -hair or with a clean rag slightly oiled, and, after laying on the gold -as directed for other styles, reimpress the tools, and _whip_ off the -superfluous gold with a clean flannel. - -As there is no moisture in silk, the workman must not lay on at one -time so much as he does on calf and other substances. - - - - -ILLUMINATED BINDING. - - -This style, an invention of the French, was for some time kept by them -with the greatest secrecy. It is a binding of the utmost magnificence, -uniting the varied beauties of the arabesque and gilt ornament, -blended with the illuminated decorations seen on early MSS. before the -invention of printing. When executed in the best manner, nothing can -exceed the beauty of the whole _coup-d'[oe]il_, rivalling, as it does, -in splendour, the most elaborately-finished design of the painter. The -time required to be devoted, on its first introduction, to a single -specimen, appeared likely to confine this sort of ornament to the -finest treasures of literature, and even to them in a limited degree. -The improvements, however, in machinery and the rapid advance of the -arts have, in a few years, brought this style into very general use -for albums and other works where embellished covers are adopted; and -even on the cheap roan bindings used for Bibles, Prayers, &c. it may -be seen; though in effecting this cheapness it must be premised that a -less durable method is adopted. - -To execute the more elaborate designs, practice and a taste for the -arts will here alone serve the workman; without these requisites it -would be futile to make the attempt. But, as the proceedings require -to be executed with the utmost care, we shall enter fully into such as -are new, and, from their importance, at the risk of being considered -prolix, again touch on those that may have been before treated of. - -The description of one side will serve the purpose of making the -proceedings fully understood. Whether the material be of morocco or -white vellum, it must be washed, if required, perfectly clean, and -left to dry. The first operation will be--if it be for stamp-work--to -place the side on the bed of the stamping-press and boldly impress the -design thereon. The most elegant, and capable of the greatest display -of colour, are subjects of botany and natural history. The next -step will be to glaire with a camel's-hair pencil such parts of the -impression as it is intended shall be afterwards covered with gold. -This done, the delicate operation of colouring may be proceeded with. -In London and Paris this is executed by professed artists in no way -conversant with book-binding. The colours to be used must be such as -do not at all, or very slightly, fade on exposure to the air or sun, -such as carmine, ultramarine, indigo, burnt sienna, gamboge, and -sap-green. These must be prepared, with fine gum, in the same manner -as for painting, and be lightly and delicately laid on such parts of -the design as it is intended the colour should occupy, taking care -that the ground-colour or leather is entirely hid. Let every thing be -true to nature, each bird, plant, and flower its proper colour, and -a general harmony prevail throughout. When finished, let the whole -perfectly dry, and then, in the manner directed, lay gold on such -parts as it is intended, in the reimpression of the plate, should be -further embellished. Heat the plate, place the side again under it, -and give it a firm and sharp impression. Rub off the superfluous gold, -and the whole of the delicate lines of the ornament will be found -beautifully gilt, the colours firmly fixed by the heat of the -plate, and the rough edges of the colour completely effaced by the -reimpression of the original design. - -In executing the less expensive and more simple designs, the plate -is impressed in gold on the side, and the parts left ungilt on the -leather; afterwards coloured according to the taste of the workman. - -For the best class of work, after the design is impressed, either by -hand or the press, pieces are cut out of variously-coloured morocco, -pared thin, and neatly pasted on the side, the design, when worked, -entirely concealing the edges of the morocco. This is termed inlaid -work. - - - - -BLIND TOOLING. - - -This is an ornamental operation, applied either before or after the -book has been gilt and polished, and, if judiciously intermingled with -the gold, will not fail to present a good effect. It is a style that -has been much used of late years, and is executed in the same way and -with the same tools as for gilding, but without any gold applied on -the places thus ornamented. The rolls, pallets, and smaller tools, -are applied by the hand, and the large plates with the press, with the -same precautions as indicated in the previous section. If the pattern -consists of straight lines, and the workman possesses a good eye, the -best manner of executing it is by making use of a pallet, placing it -firmly on the book, and sliding it to the opposite point. It remains, -therefore, to consider such matters as more immediately apply to this -style of decoration. - -The tools for blind tooling should not be so warm as for gilding, and -particularly for morocco. If it is wished to be left dull,--that is, -free from glaire,--the particles attaching themselves over the edge of -the gold ornaments must be removed with the end of the finger, wrapped -over with a piece of fine cloth, and wetted. This will soon wash it -clean, and when dry the blind ornaments may be proceeded with. - -Graining may be properly considered as a blind ornament. This is -where, by the means of wooden or metal plates, the sides of a book are -marked with lines crossed over each other, so as to form innumerable -small squares in imitation of russia, or in imitation of the grain -of morocco, scales of fish, and other substances. The operation is -performed by placing the volume between the two plates even by the -groove of the back, in the standing-press, and pressing it tightly -down, and so even that the plate will be impressed equally over the -whole surface. Nothing will look worse than a bold impression in -one place and a slight one in another; and therefore it becomes of -importance to see that it is evenly pressed, as a second application -of some kind of plates will never be found affixed to the same places. - - -MODERNIZED MONASTIC OR ANTIQUE. - -This style, whether done by the hand or the press, is one that -requires care and patience on the part of the workman, so as to bring -up the tools black, without burning or otherwise injuring the leather. -We have spent much time in experiments, so as to arrive at the most -certain and perfect mode of producing the desired result. The style -emanated from Mr. Hayday's bindery; and a volume executed in this -style for a connoisseur in this city, with tooling of a brilliant -black, fell into our hands some years since, and we at once set about -attempting to produce the same effects. Our efforts were confined to -hand-tooling for some time; and, although inferior in effect, they -were generally well received; but we were far from being satisfied. We -tried every substance that could be thought of, made the leather and -tools hot and dry, or wet and cold, as reason seemed to point to one -or the other as the proper method. We will now communicate the results -of our labours:--In the first place, the material is of the greatest -importance; and the finest effects cannot be produced except upon -English calf or morocco. American calf is entirely out of the question -for the purpose, as the morocco is too hard on the surface, and there -is not sufficient colour in the body for the tools to draw and affix -it by heat to the surface; but some kinds are better adapted for the -purpose than others. To test this, apply the tip of the tongue to the -leather, and if the dampness lies on the surface, without sinking -in, reject it; but if the dampness strikes instantly into the -leather,--the quicker the better,--the workman may proceed with some -hopes of success. After the volume is covered and ready for finishing, -wash it evenly over with clean water; and, as soon as the water ceases -to lie upon the surface, apply the tool moderately heated; this will -bring up the dark colour. Afterwards go over it again with the tool, -so as to make the impressions clear and bright. There are, however, -some colours, as well as particular manufactures, that will not come -up black; and we were long satisfied that some colouring-matter was -employed. We wrote to a friend in London, who sent us the material -and the method of its use. The material was common printers' ink. His -communication we now make public. "In the first place, the leather -should be quite damp, and the tools used should be as hot as possible -without the printers' ink. Then again impressed with the printers' ink -upon the tools. We put the larger tools in again without ink. When the -ink is used upon the tools, the leather should be rather damp, and -the tools not very hot. When the pattern is worked in the manner -described, it should be left until dry, and then brushed with a brush, -not very stiff, which will give a brilliant gloss to the tooling." -When using printers' ink, be careful not to get too much on the tools. - -Let the young workman but follow the directions given, and, with a -little patience and reflection, he will be able to do work of the -character under consideration, fully equal to the efforts of the best -workman, provided that the tools be worked true and even. - - -POLISHING. - -The details of this operation, which is performed immediately after -the gold ornaments have been worked, have been reserved in order -that the whole of the ornamental department might be kept together. -Morocco, roan, silk, and velvet, and the blind ornaments on any -substance, must never be submitted to the action of the polisher. A -smart rubbing with a piece of rough calf will be sufficient for the -two former, and the velvet or silk will merely require cleaning with -any smooth substance or with India-rubber. - -There are two polishers,--one for the back and bands, and another for -the sides. The oil applied on the cover previous to laying on the gold -will be sufficient to make the polisher glide easily over the surface. -The polisher must be heated, and well cleaned on a board, and passed -quickly and evenly on the back, sides, or joints, as the case may -be, taking especial care that it is not too hot, as the glaire would -thereby be turned white and the work damaged in appearance, nor so -cold as to give a bad polish. - -The book, as gilt, must be first polished on the back, by taking it -with the left hand, resting it on the table, and polished with the -right hand by gliding backwards and forwards the smooth part of the -polisher on the whole extent of the back. This not only polishes the -surface, but smooths down the indentations formed upon the leather -by the gilding-tools, bringing up the gilding to the surface. The -polisher must be passed on such places only as it is wished to make -brilliant, and great care taken not to touch the places intended to be -left dull. - -The sides are similarly polished, by laying the volume on the table, -covered with baize, and passing the large iron quickly over, first -from the fore-edge towards the groove, and then, by turning the volume -in a contrary way, from the tail to the head. - -If the joint requires polishing, the book is laid before the workman, -the tail towards him, and the iron applied on the side next the -groove, polishing the whole length of the board; then, turning round -the volume, and bringing the fore-edge towards him, he polishes the -side on the fore-edge, and, turning again, completes the whole by -polishing the parts at the head and tail. - -In addition to polishing, it is desirable to give to the sides the -greatest possible smoothness by pressing them between polished tins or -horns. These are placed on each side of the book even by the groove, -put between pressing-boards, and screwed tightly in the press, and -left for some time. - - - - -COLOURING. - - -Calf-skins of uniform tints, and also sprinkled, can now be obtained -of English manufacturers; yet in many localities they are difficult -to obtain. We therefore make known the chemical substances and -ingredients required to execute them in the best manner. Marbling is a -process that must be executed by the binder upon the cover, and, with -many other revival styles, is again coming into vogue. The recipes -given for the superior marbles and designs will, it is presumed, -present this branch of the art on a higher footing, in a general -point of view, than is usually accorded to it; and it is confidently -asserted that not one of them will prove a failure, if attention -to the directions be only given. Nothing has been omitted in the -description of the substances best for use, the mode of preparing -them, and the proceedings to be adopted, that can tend to give to the -covers all the elegance and splendour of which they are susceptible. -By the aid of these, assisted by some taste, the workman may vary the -designs almost to infinity; but it must be admitted that, unless he -is devoted to his art, no mere directions or casual advantages will -enable him to succeed in the more complicated or delicate operations, -while, with an ardour for it, all difficulties will be easily -overcome. - - -CHEMICAL PREPARATIONS. - -Under this head is included _aqua regia_, or killed spirits, _nitric -acid_, _marbling-water_, and _glaire_ prepared for marbling. - - -AQUA REGIA, - -So called from its power to dissolve gold, is a mixture of nitic acid -(aquafortis) and muriatic acid, (spirits of salts,) deprived of its -burning qualities by block-tin, which it dissolves. It is called -by the chemist _acid nitro-muriatic_: the muriatic also contains a -portion of alkali, which gives to red a vinous tint, and for which -colour it is principally used. - -The two substances should be of the purest quality, of a concentration -of thirty-three degrees for the nitric acid and of twenty degrees for -the muriatic. They must be mixed with the greatest precaution. Having -provided a clear glass bottle, the neck rather long, capable of -holding twice the quantity to be prepared, place it upon a bed of -sand, the opening at top, and pour in _one part_ of pure nitric acid -and _three_ of muriatic. Let the first vapours dispel, and then cover -the orifice with a small phial, which must not confine the vapour too -closely, as the bottle would be liable to burst, but which retains -as much as possible without risk. Of block-tin, an eighth part of -the weight of the acid must then be dropped into the bottle, in small -pieces, a little at a time, covering the orifice with the phial. The -acid will immediately attack the tin and dissolve it, when a second -portion must be put in with the same precaution, and so on till the -whole is dissolved. _Malacca_ tin is the best for use, and if pure -there will be no sediment; but, as it cannot always be obtained, a -black sediment will be left. The vapour having ceased, the acid must -be poured into bottles and secured with glass stoppers, to preserve -it. When used, a part is taken and mixed with _one quarter_ of its -weight of distilled water. - -It is usual with some workmen to perform this operation in a common -drinking-glass; but, as the vapour is thereby all dispersed, the -composition loses a considerable portion of its best quality, for it -will be observed, if performed in a bottle as above directed, that the -vapour assumes a red tint, which does not escape if the neck of the -bottle be of sufficient length. - - -ANOTHER. - -Some binders adopt the following method; but, as it is not capable of -producing an equal beauty and clearness of colour with the one above -given, it will not be advisable to use. The former, too, will be -equally effective to an indefinite period, while this will not -preserve more than two or three months. - -Put in a brown freestone pot two ounces of powdered _sal-ammoniac_, -six ounces of fine _Malacca tin_, in strips or drops, twelve ounces of -distilled water, and, last, a pound of _nitric acid_, of thirty-three -degrees. Leave the whole till the tin is dissolved, and then pour off -and bottle as above directed. - - -VITRIOL-WATER. - -Vitriol, as sold in the pure state, will not be proper to use in -marbling or sprinkling, as it would corrode and destroy the leather. -It must be weakened at least in proportion of one ounce of vitriol to -three of water. - - -MARBLING-WATER. - -It is usual with many to use the water pure; but a few drops of -_potash liquid_ mixed with it will be found to produce better effect, -the marble being rendered more distinct. - - -GLAIRE. - -Put spirits of wine in a proportion of two drops to the whites of -twelve eggs, and beat the whole well together till perfectly clear. - - - - -PREPARATIONS OF THE COLOURS. - -The preparations used by different binders vary much, as will be seen -by the recipes given for the same colours, which we judge necessary -to put on record, that nothing connected with the subject should be -omitted, premising that each colour may be depended upon for producing -the most satisfactory results. It may be proper also to observe that -the whole of the woods and other ingredients used should be previously -powdered or reduced to small pieces, the colours being thereby much -better extracted. - - -BLACK. - -1. Dissolve half a pound of green copperas in two quarts of water. The -oxide contained in the sulphate of iron will combine with the tanning -of the leather, and produce a good black. - -2. Boil in a cast-iron pot a quart of vinegar, with a quantity of -rusty nails, or steel-filings, till reduced one-third, taking off the -scum as it rises to the top. This liquid improves by age. To keep up -the quantity, boil with more vinegar. - -3. A cheaper liquid may be produced by boiling two pints of beer and -two pints of water with two pounds of old iron and a pint of vinegar, -scumming as before, and bottling for use. - - -BROWN. - -1. Half a pound of good Dantzic or American potash dissolved in one -quart of rain-water, and preserved in a bottle well corked. - -2. Salts or oil of tartar, in the same proportions as above. - -3. A beautiful brown may be procured from the green shells of walnuts. -To prepare this, a quantity of the green shells, when the nuts are -gathered, must be pounded in a mortar to extract the juice, and then -put into a vessel capable of holding a sufficient quantity of water. -The water being put in, the whole should be frequently stirred, and -left to soak, with the vessel covered. Afterwards the liquid must be -passed through a sieve, the juice well expressed, and bottled, with -some common salt, for use. This liquid, after fermentation, will -produce the best effects, for the uniform tints, as it tends to soften -the leather, and will not corrode. - - -BLUE. - -1. It is usual with many binders to use _Scott's Liquid Blue_, but it -is necessary to know the preparation of the colour. Perhaps the best -and most simple one known is one given by _Poerner_, which is as -follows:--In four ounces of sulphuric acid, of 66 degrees, mix -gradually one ounce of finely-powdered indigo, so as to form a sort of -pulp. Place the vessel in another containing boiling water, for some -hours, and then leave it to cool. Afterwards put to it a small portion -of good potash, dry and finely powdered, stirring the whole well, -and letting it rest for twenty-four hours, when bottled, and use as -required. This colour will appear nearly black, but may be made to -any shade by adding water to it. If any portion remain after being -diluted, it must be put into a separate bottle, as if mixed with the -first preparation the whole would be deteriorated. - -2. A readier blue may be prepared by mixing one ounce of powdered -indigo with two ounces of oil of vitriol, and letting it stand for -twenty-four hours, and then adding twelve ounces of pure water. - - -PURPLE. - -Boil half a pint of archill or logwood with vinegar and water, of each -half a pint. - - -LILAC. - -Same as for the purple, with the addition of about two table-spoonsful -of potash. - - -VIOLET. - -Half a pound of logwood chips and one ounce of Brazil dust, boiled -over a good fire in four pints of water till reduced one-half, and -left to clear. Then throw in one ounce of powdered alum and two grains -of cream of tartar, and again boil till dissolved. This liquid must be -used warm. - - -FAWN. - -In two pints of water boil one ounce of tan, and a like portion of -nutgall, till reduced to a pint. - - -YELLOW. - -1. To one ounce of good caked saffron, turmeric, or French berries, -add a portion of spirits of wine or _aqua regia_, and leave the -mixture to macerate. This liquid is used cold, and may be varied to -any shade by adding water when required. - -2. In two pints of water put eight ounces of French berries, and boil -till reduced one-half. Then pass it through a sieve or fine cotton, -and add a small quantity of powdered alum, and again boil, using it -warm. - - -ORANGE. - -In a pint and a half of potash liquid, boil a quarter of a pound -of fustic chips till reduced one-half; then put in an ounce of good -_annatto_, well beaten, and, after boiling, a small portion of alum, -and use warm. - - -GREEN. - -1. Liquid blue and yellow mixed will best suit for general purposes. - -2. Dissolve in a bottle one ounce of verdigris in an ounce of white -wine vinegar, and place the whole before a fire for four or five days, -frequently shaking the bottle. - - -RED. - -There are three sorts of red,--viz.: common, fine, and scarlet. - -_Common._--1. In a tinned kettle boil half a pound of Brazil wood, -eight grains of nutgalls, both powdered, and three pints of water, -till the whole is reduced one-third. Then add powdered alum and -sal-ammoniac, of each one ounce, and when dissolved strain through a -sieve. This liquid must always be used warm. - -2. Boil a quarter of a pound of Brazil dust, two ounces of powdered -cochineal, and a little alum, in two pints of the best vinegar, till a -bright red is produced. Use warm. - -_Fine._--1. In three pints of water boil half a pound of Brazil dust -and half an ounce of powdered nutgalls. Pass the whole through a -fine cotton, and replace the liquid on the fire, adding one ounce -of powdered alum and half an ounce of sal-ammoniac. Give the whole -another boil, and then add a portion of _aqua regia_, according to the -shade desired, and use warm. - -2. A quicker and cheaper proceeding is by putting in a cup a portion -of Brazil wood, and adding to it the _aqua regia_, letting it stand -for a quarter of an hour to extract the colour. - -_Scarlet._--To one ounce of white nutgalls and one ounce of cochineal, -both finely powdered, add two pints of boiling water. After boiling -some time, add half an ounce of _aqua regia_, and use warm. - - - - -MARBLING. - - -Before proceeding to a description of the marbles, and other designs -on the covers coming under the general head of marbling, it will be -proper to give a few directions relative to some important matters -required in the way of preparation. As the success of many of the -designs depends upon the quickness with which they are executed, -it will be important that the colours, sponges, brushes, &c. are -previously disposed in the best order, so as to be of the readiest -access. Attention should be paid to the probable quantity that may be -required of each colour, as many of them will not be available for use -another time. - -The books should all be previously washed with paste and water to -which has been added a little pearlash liquid, and left to dry. After -this they must be glaired equally over, and when dry placed upon the -marbling-rods, the sides of the books extending over and the leaves -hanging between. The rods must be placed on an elevation at the top, -so as to allow the water to run gradually towards the bottom of the -books; and, if the backs are required to be left plain, another rod, -or piece of board, grooved to the shape of the back, placed on them. -To avoid the scum arising from the beating of the brushes over the -colours, it is better to rub the ends of the bristles on the palm of -the hand, on which a little oil has been spread. These preliminaries -being settled, the operation of marbling commences, for which we shall -now give directions. - - -COMMON MARBLE. - -The book being placed on the rods, throw on the water prepared for -marbling in large drops, with a coarse brush, or bunch of quills, till -the drops unite. Then, with a brush charged with the black liquid and -beaten on the press-pin as directed for sprinkling the edges, a number -of fine streaks are produced by throwing the colour equally over the -cover. Afterwards the brown liquid must be similarly thrown over. When -the veins are well struck into the leather, the water must be sponged -off and the book placed to dry. - -If the volume has been previously coloured with any of the -preparations before described, and it is wished to produce a marble -thereon, the brown must be thrown on first, and then the black; as -without this precaution the marble would not strike, because of -the acid which forms part of the colours. This observation being -applicable to all the other designs, it will not be necessary again to -repeat it. - - -ANOTHER. - -Throw on the vinegar-black, then the brown, and lastly a sprinkle of -vitriol-water. - - -PURPLE MARBLE. - -Colour the cover two or three times with hot purple liquid, and, -when dry, glaire. Then throw on water, and sprinkle with strong -vitriol-water, which will form red veins. - - -STONE MARBLE. - -After throwing on the water, sprinkle boldly with the black liquid; -then, with a sponge charged with strong brown, drop the colour on the -back in three or four places, so that it may run down each side in a -broad stream, and afterwards operate with vitriol-water on the parts -the brown has not touched. - - -GREEN AGATE. - -Sprinkle black, in nine times its quantity of water, in large drops -over the whole surface of the cover, and when the drops unite apply on -the back at regular distances the green liquid, so that it may flow on -the boards and unite with the black. - - -BLUE AGATE. - -Proceed as above, only substituting blue in place of the green, -weakened with water according to the shade required. - - -FAIR AGATE. - -Commence by sprinkling black in small drops at a good distance from -each other; afterwards sprinkle equally over large drops of weak -potash. - - -AGATINE. - -Proceed as for the green agate, and then sprinkle scarlet all over the -cover; finally, throw on blue in small drops, weakened in four times -the quantity of water. - - -LEVANT MARBLE. - -After the water, throw on the back-brown in broad streaks as directed -for the _stone_, and then in like manner the _aqua regia_. This will -be found to imitate closely the Levant marble. - - -PORPHYRY VEIN. - -Throw on large drops of black diluted in double the quantity of water. -When the colour has struck well into the leather, sprinkle in the -same manner brown mixed equally with water. Then apply a sprinkle -of scarlet, and afterwards large spots of yellow, the liquid nearly -boiling. While these colours are uniting, throw on weak blue, and then -_aqua regia_, which, flowing together down the sides of the book, will -form the vein distinctly. - - -RED PORPHYRY. - -Sprinkle with black in eight times the quantity of water, very equal -and in small spots. Let it dry, rub, and glaire. Then give two or -three sprinkles of fine red, and one of scarlet, and again leave to -dry. Finally, sprinkle scarlet in small spots as equally as possible. - - -GREEN PORPHYRY. - -For this design the cover must be finely sprinkled over three separate -times, leaving the colour to search and dry between each. The green -must be brought to the shade required by mixing with water. To form a -more elegant vein, sprinkle first with weak black, and afterwards with -green, and when dry with fine red. - - -PORPHYRY. - -This marble, imitating the _eye of the partridge_, is executed by -throwing on black in eight times its volume of water, in small drops, -but so close as to just run into each other. When the black begins to -flow, sprinkle over brown mixed equally with water. Let it dry, wash -the whole with a sponge, and before quite dry again give it two or -three coats of fine red. After being dry and well rubbed, sprinkle -equally over the surface large drops of _aqua regia_. - - -ANOTHER. - -Colour the cover with red, yellow, blue, or green, and, when dry, -with black diluted as above; let this also dry, and then sprinkle -over large or small drops of aqua regia. The eye of the partridge is -properly formed with blue sprinkled upon the weakened black, and, when -dry, with the killed spirit or _aqua regia_. - - -ROCK. - -Throw on large drops of black prepared as for the porphyry, and, when -half dry, weakened potash in the same manner. When dry again, sprinkle -on equally small spots of scarlet, and lastly _aqua regia_. - - -GRANITE. - -Mix black in about fifty times its quantity of water, and sprinkle -equally over very fine, repeating it as it dries five or six times. -Then, in like manner, sprinkle over with brown, and, after rubbing -well, glaire lightly. Finally, sprinkle finely over with _aqua regia_. - - -TREE-MARBLES. - -These marbles, which were first executed in Germany, from whence they -passed into England, are formed by bending the boards in the middle, -so that the water and colours flow from the back and fore-edge to the -centre, in the form of branches of trees. Those who have never seen -the tree-marbles of Mr. Clarke, of London, can form but little idea of -the beauty of which this style is susceptible. The name is also given -to such as are made to imitate the grain of the wood. - - -WALNUT. - -Formed by sprinkling black and brown only, as for the common marble. - - -CEDAR. - -After sprinkling as for the walnut, and before perfectly dry, apply -lightly a sponge presenting large holes dipped in orange upon various -places on the cover, so as to form a description of clouds. Afterwards -apply the fine red, with a similar sponge, nearly upon the same -places, and when dry give the whole two or three coats of yellow, -taking care that each penetrates evenly into the leather. - - -MAHOGANY. - -The proceedings are nearly the same as for the walnut, the difference -being merely in sprinkling the black more boldly, and, when perfectly -dry, giving two or three uniform coats of red. - - -BOX. - -In order to imitate the veins contained in box, the boards must be -bent in five or six different places and in divers ways. After placing -the book between the rods, throw on the water in small drops, and -proceed as for the walnut. After being perfectly dry, throw water -again in large drops, and sprinkle on small spots of blue, diluted -equally with water; and, when again dry and rubbed well, apply the -scarlet with a sponge as directed for the cedar. Finally, when dry, -give two or three coats of orange, and the design is complete. - - -WAINSCOT. - -Colour with strong brown, glaire, and place between the rods, with the -boards flat. Throw on weak black in large spots, then brown in like -manner, and, lastly, sprinkle boldly with vitriol-water. - - -VARIEGATED. - -Marble as for the walnut, and then put on each board a circle, oval, -or other figure, and apply weak black on the outer parts. When dry, -give it a good coat of red, and, after throwing on spots of scarlet, -take off the figures, and wash well the parts where the latter colour -has been used. Finally, give the oval two coats of yellow, or other -colour, with a camel's-hair brush. - - -MARBLING ON PAPER. - -The sides of a half-bound book, which will be covered with paper, may -be marbled to correspond with the effect produced on the leather by -the action of the black and brown at the same time. This is performed -by pasting firm white paper on the sides, and colouring with a -mixture of four ounces of nutgalls and a small portion of powdered -sal-ammoniac boiled well together, which will take the black and brown -nearly equal to leather. - - -SPRINKLES. - -This is another ornament on the covers of books, capable of being much -varied. A few of the most general use are given, premising that any -of the colours arranged as for the marbles above, or sprinkled on the -uniform colours, will be productive of a beautiful effect. The books -must be pastewashed over, but not glaired. - - -NUTMEG. - -Sprinkle very finely with black and then with brown. If wished to -produce a finer effect, give a sprinkle of vitriol-water. - - -RING. - -Put about a teaspoonful of vitriol to a cup of the black, and sprinkle -coarsely over. If the ring is not sufficiently strong, add more -vitriol. - - -TORTOISE-SHELL. - -Wash the cover with yellow, and sprinkle very boldly with black. -When dry, spot with a sponge, as before directed, with blue, red, and -black, each colour being left to dry before the next is applied. - -In concluding the description of the marbles and sprinkles, it may be -remarked that, with a little taste, the workman might vary the designs -to upwards of one hundred different patterns; also that each colour -should be allowed to properly strike into the leather before another -is used. Panes, or blank spaces, are formed by placing squares, &c. -of pasteboard on the sides, which prevents the colours touching the -leather when sprinkling. After the design is completed, the covers -should be well rubbed with a woollen cloth or the ball of the hand, to -remove the whole of the refuse of the colour, which will be found to -corrode on the surface of the leather. - - - - -UNIFORM COLOURS. - - -Before proceeding to execute any of the colours, the books must be -well and evenly paste-washed, and left till perfectly dry. It will -also be necessary to observe that the black will become darker in all -the subsequent operations of colouring, glairing, and polishing, so -that attention must be paid not to use this liquid too strong. - - -LIGHT BROWN. - -Wash the cover with vitriol-water till perfectly uniform in colour, -and then with brown to the shade desired. - - -ANOTHER. - -Mix a small quantity of annatto with the potash liquid, and use hot. -This will produce a beautiful tint. - - -DARK BROWN. - -Colour with weak black till a slate-shade is produced, and then apply -the brown three or four times, as taste may dictate. - -Others might be added, but the proceedings are the same, varying only -the quantity of colour according to the shade. The _nut-brown liquid_ -will produce beautiful tints. - - -CORINTHIAN GRAPE. - -The proceedings are the same as for the last colour, adding two or -three coats of _fine red_. - - -COMMON GRAPE. - -Proceed as for the last, omitting the brown after the black. - - -BLUE. - -After giving four or five coats of the chemical blue diluted with -water, wash lightly with weakened aqua regia, which will take off the -green reflection produced by the yellow tint of the leather. - - -GREEN. - -Give three or four coats of the green liquid, extended in water -according to the shade required. Any of the other colours noticed in -the preparations may be thus executed. - - -OLIVE. - -After giving a slate-colour, apply yellow, boiled with a small portion -of blue, on the cover, rubbing it equally in while hot, to insure -uniformity. - - -PEARL GRAY. - -This colour must be executed carefully, so as to be perfectly uniform -and without stains. Colour over with exceedingly weak black liquid, -till a pale gray is produced. The weaker it is, the better will the -workman succeed. Then pass over a light coat of fine red mixed in a -large portion of water, so as to give a light red reflection scarcely -distinguishable. - - -SLATE. - -Use the black liquid a little stronger than for the last, and omit the -red. - - -BLACK. - -For common purposes, the black may be formed in the way adopted for -other colours; but, in many instances, it is necessary to produce a -colour having the appearance of japan, and which will require more -labour and attention. - -Wash the book over with brown till a dark shade is formed; then, with -a piece of woollen cloth, apply the black liquid mixed with japan, -which will produce a beautiful black. This colour should have a good -coat of vellum-size before glairing. Or it may be better to finish off -with the varnish given in another part of the work. - -Nutgalls, copperas, and gum-arabic, are used by many, and will be -found to produce a good and bright colour. - - - - -GOLD MARBLES, LANDSCAPES, ETC. - - -These designs, if properly executed, are the most beautiful that -can be imagined. The labour and care, however, requisite, must ever -confine them to superior bindings, for which a high price is given, -to indemnify the workman for the time required to produce the proper -effect. The imitation of the gold marbles is not an easy task; but -a knowledge of the art of painting, and a clever management of the -brush, will enable the workman to imitate the figure of the marble so -true to nature as to be scarcely distinguishable. - - -GOLD MARBLE. - -This marble, which will not require the ability to execute as those -following it, is the invention of M. Berthé, senior, bookbinder of -Paris, and may be executed on any kind of uniform substance. Take a -piece of cloth, exceeding the size of the volume, and fold it equally; -lay it, thus folded, evenly upon a board, and then open the other -half, and cover the board; spread, upon the half towards the left, -gold leaf to the size of the cover, allowing such portion as the roll -intended to be worked on it may take, which will be a saving of gold; -then refold the cloth on the gold, and press the hand above, without -moving the cloth, so as to divide the gold into a number of small -pieces. The gold being thus prepared, moisten the side of the volume -with glaire mixed with water in equal proportion, and place it on the -cloth, pressing above firmly with the hand. Care being taken not to -disarrange it, turn over the volume, cloth, and board, and take the -latter off, replacing it with a sheet of paper, and rubbing smartly -above, so as to attach the whole of the gold to the cover. After this -the cloth must be removed, and the gold will be found equally fixed; -to further insure which lay on a sheet of paper, and rub well with the -palm of the hand. - -To remove any gold that may appear on the part intended for the roll -in gilding, wet the end of the thumb, form a sort of square with the -fore-finger on the edge of the board to the size of the roll, and rub -the surface of the cover, which will clear it with facility before the -glaire is dry. - - -LAPIS-LAZULI. - -This marble is of clear blue, veined with gold, presenting an -appearance of the utmost splendour. It is executed as follows:-- - -Place the volume between rods as for marbling, and with a sponge full -of large holes, dipped in chemical blue mixed in six times its volume -of water, make light spots, similar to clouds, at irregular distances; -then put in a quarter part more blue, and make new clouds or spots -a little darker. Repeat this operation six or seven times, each -time adding more blue. All these coats will form stains in proper -gradation, as in the natural marble; and to operate more properly, -it would be better to have a model, either of the marble itself, or -skilfully painted. - -The veins of gold, which must not be laid on till the book is gilt, -and just previous to polishing, are formed with gold in shell. The -substance used to make it take and hold firmly on the cover of the -book is prepared with white of egg and spirits of wine in equal -proportion, and two parts of water, beating all well and leaving it to -clear; then wet a small portion of gold-powder with the liquid, mixing -it with the finger, and use it with a small camel's-hair pencil. Pass -it on in different places, so as to imitate the model, according to -the taste of the workman; when done, let it perfectly dry, and polish -with the polisher scarcely warm. - -It will be perceived that by the use of other colours, or two or three -together, many beautiful designs may be in like manner executed. - - -LANDSCAPES. - -Many beautiful subjects may be formed on the sides of books by the -workman skilled in painting; and, although coming more properly under -the art of painting, and being objectionable on account of producing -a mingling of the arts, so frequently exhibited upon volumes where -the art of the bookbinder is superseded by that of the painter and -jeweller, the young workman should understand at least the process by -which they are produced. The volume is prepared by being pastewashed, -so as to present a uniform fawn colour, the designs slightly traced, -and afterwards coloured according to the pattern, the colours being -mixed to the proper shade with water. The shades must be tried on -pieces of refuse leather, as, being spirit-colours, when once laid on, -no art can soften them down if too strong; and a peculiar lightness of -touch will be necessary to produce effect. Portraits, &c. may also be -executed in this manner, and many superb designs have at times -been executed by the best binders of England and France. M. Didot, -bookseller of Paris, presented a copy of the "_Henriade_," published -by himself, to Louis XVIII., most elegantly ornamented in this style. -It was executed by _M. Lunier Bellier_, bookbinder of Tours, and -exhibited on one side a miniature portrait of Henry IV., and on the -other a similar one of Louis XVIII., both perfect likenesses. The -greatest difficulty consisted in the portraits, which were first -imprinted on paper, very moist, and immediately applied to the cover, -on which they were impressed with a flat roller. When perfectly dry, -they were coloured with all the art of which the binder was capable, -and the other ornamental paintings executed by hand. This proceeding -requires great care in the execution, and will be applicable to any -design where the binding will justify the expense. - - -TRANSFERRED LANDSCAPES. - -The art of transferring, long practised in the ornamenting of fancy -articles, was judged equally practicable for forming a superior -embellishment for the sides of books. But the varnish necessary to be -employed in the operation rendered the invention of no utility, from -the action of the heated polisher turning it white or causing it to -shell off. After several trials, this difficulty is believed to be -overcome, by the employment of a very simple and common article in -the office of the bookbinder,--viz.: _new glaire_, well beaten up. The -proceeding is as follows:--Cut the print, intended to be transferred, -close to the design on all sides. Let it steep in the glaire till it -is well saturated with it. During this time glaire the book twice, -letting it dry on each application. Take out the print, place it -exactly in the centre of the side-cover, and, laying a piece of paper -above, rub it sharply on the book, so that it may adhere very closely. -Remove the upper paper, and with the finger rub off the paper gently -until the printed design begins to appear, wetting the finger in -_glaire_ should the paper get too dry. The utmost attention will now -be necessary, for the least carelessness in removing the paper that -still remains may entirely destroy the design, and the whole of the -previous labour be lost. The paper must be gently removed, piece by -piece, till the design only appears on the leather while damp. When -dry, a white appearance will be presented, arising from the small -particles of paper adhering to the ink; but these will be sufficiently -hid on glairing the side previous to finishing. The extent and variety -to which, at a small expense, these designs may be carried, with the -finish and beauty given to the sides of books, renders the subject -worthy of the attention of the ornamental workman particularly; but -he must possess perseverance and carefulness in an eminent degree, -to carry it to perfection. After the gilding or other ornament is -executed, the side must be finished off in the usual manner. A slight -coat of the varnish described in a subsequent part of the work will, -in this case, give a superior finish. - -The following directions, and that of Mr. Buchanan's, are taken from -the circulars of the Finishers' Friendly Association of London:-- - -"_Pictures on Calf._--We have heard of a process for transferring -prints from the paper on which they had been printed to the sides -of books bound in calf; and in these days, when _novelty_ is so much -sought after, it might be worth some Friendly's while to test its -efficacy. The side must be washed clean, and, while damp, the print is -laid thereon, when, after remaining some time in the arming-press, it -is said that a copy of the engraving will be found on the calf. - -"In sending one of these executed in colours by him twenty years -ago, a Friendly corrects an error we committed, by terming _prints_ -PICTURES, and writes, 'In preparing the calf, it is simply washed with -thin paste-water; when dry, a coat or two of weak salts of tartar. -When perfectly dry, you may proceed with any subject; a very weak -brown being generally used for its outline. For all colours, I use two -cups of different strengths, with _quill_-pens and brushes to each. -The green is composed of Scott's liquid blue and French berries. These -are bruised and simmered from half a pint to a quartern, then caused -to boil, and, while in that state, a pinch of burnt alum should be -added to set the colour. The slate is weak copperas; red is obtained -from Brazil dust and vinegar, or Brazil chips boiled, and solution of -tin added. The books had generally double bands--the lettering-pieces -stained chocolate, and the spaces between bands blacked, or the -colours "_moused_," morocco being too bright for the stained calf. An -octagon or square was coloured brown, slate, or sprinkled, and in the -centre a light ground. Was the subject to my fancy, botanical works -with a group of plants on the sides, when polished and pressed in -japanned tins, had the neatest appearance. Landscapes, animals, -insects, shells, &c. are all permanently fixed on the calf by the -above-named colours.' He concludes by hoping 'the instructions are -sufficiently plain to induce some aspiring F. F.'s to practise this -almost forgotten branch of the art of finishing.' - - "W. BUCHANAN." - - -ORNAMENTAL BLACK LINES. - -Black lines in rays, or intersecting each other in the form of -diamonds or other devices, on the sides of books, which present a good -appearance if well executed, are ruled with steel or swan pens, the -nibs being formed to the size required by the boldness of the lines. -The vinegar-black mixed with a portion of gum-arabic, to neutralize a -part of the action of the acid and make it of a stronger consistency, -will be found to answer best. Whatever the pattern, it should be -slightly traced with the folder, and the design be afterwards marked -with the pen, kept steady by the aid of a ruler. - - -BLACKING THE SQUARES. - -Unless coloured uniformly, the whole of the designs before described -will not produce the best effect if the squares remain plain or -variously tinted; it is, therefore, necessary to black the edges and -squares of the board, and the cap over the head-band. This is done -with a piece of any firm soft substance on the edges, and with a -sponge within the volume, sufficiently below the part where the -end-papers will cover. Finally, the covers should be well pastewashed -and left to dry. - - -BANDS AND TITLE-PIECES. - -Where the backs are flat it will be necessary to mark the place -intended for the bands in gilding. For this purpose the binder should -have patterns of the various forms and sizes cut out of thin board, a -little longer and double the breadth of the volumes, so that they may -be held firmly on the sides, while the bands are marked across the -back through the apertures cut in the pattern. It is usual to give -a double band at the bottom of the back, and therefore this must be -allowed for in the pattern, which lengthened portion must be placed -even with the edge of the boards at the tail of the volume, and the -bands marked with the folder. By this plan the whole of the bands -in sets of books will present a parallel line, and the bad effect -produced by the inequalities arising from compassing the distances and -trusting to the sight will be avoided. A great saving of time is also -effected, as the patterns once made will serve for a very considerable -period. - -On the fancy colours and sprinkles it is usual to attach -lettering-pieces of morocco. For this purpose the morocco, or roan if -common work, is cut lengthways of the grain, according to the space -between the bands, and the slip placed across the back to measure the -breadth, and then cut off. Then, slightly damping on the flesh-side, -it must be pared as thin and equal as possible, and the edges sloped -evenly down, so as to bring it to the exact size of the square it is -to occupy. Should the back require two pieces,--viz.: another for -the volume or contents,--it may be proper to vary the colour. These -title-pieces are pasted evenly on, a portion of paste rubbed over them -with the finger, and then attached firmly and equally by rubbing down -the edges with the folder, when the paste must be well washed off with -a clean sponge. Where economy is an object, the squares intended for -the title may be darkened with brown or black, which will show the -lettering very well. - - - - -INLAID ORNAMENTS. - - -To give some bindings in vellum, calf, or morocco an additional degree -of splendour, it is sometimes required to execute ornaments on -the covers of a different colour; and, as this is an important -manipulation, it will be necessary for the young workman to understand -it. Let the pattern be worked in blind upon the volume, taking care to -have it well impressed. Pare morocco of the colour desired evenly -and thin. While damp, place it upon that portion of the pattern to be -inlaid, and press upon it with the fingers. The outline of the figure -will appear through the morocco. Then lay it upon the paring-stone; -and, with the same gouges with which the pattern has been executed, -proceed to cut out the morocco. The gouges used for this kind of work -should be made of steel. - -The same directions will apply to fancy titles for flat backs. - -After the pieces have been properly cut out, the workman will proceed -to paste them evenly and adjust them in their place upon the volume. - -When dry and prepared, the book will then be ready for gilding, and -when covered with the gold ornament the joints of the leather will not -be perceptible, if well executed. The gouges must be worked upon the -edge of the morocco. - -This kind of ornament is more frequently executed on calf than any -other substance. - - - - -COLOURS. - - -In connection with inlaid ornament, we give a few hints to guide the -workman in choice of colours. Much of the effect produced will result -from the relations which the colours will bear to each other. -A well-executed piece of work may be spoiled by the injudicious -selection of colours. If the finisher be ignorant of the lessons which -nature teaches in the distribution of colours, he cannot expect to -please a connoisseur whose taste has been corrected and refined by a -study of the harmonies of colours. - - -NUMERICAL PROPORTIONS OF HOMOGENEOUS COLOURS. - -_Yellow_, 3. _Red_, 5. _Blue_, 8. - - SECONDARIES. - - 3 Yellow } Orange. { - 5 Red } { These are contrasting colours to the - { primaries with which they produce - 5 Red } Purple. { harmony in opposition:--the orange - 8 Blue } { with the blue, the purple with the - { yellow, and the green with the red. - 3 Yellow } Green. { - 8 Blue } { - - TERTIARIES. - - Purple } Olive. { - Green } { The tertiaries stand in the same relation - { to the secondaries that the secondaries - Green } Citron. { do to the primaries:--olive to - Orange } { orange, citron to purple, and russet - { to green. - Orange } Russet. { - Purple } { - -Yellow is melodized by orange on one side and green on the other; blue -by green and purple, and the red by purple and orange. - - - - -PASTING THE END-PAPERS, JOINTS, ETC. - - -The volume being laid upon the table or press, with the head towards -the workman and the upper board open, the guard or false end-paper -must be removed and all other substances cleared out of the joint with -the folder. The paper to be pasted on the board is cut at each end, -so as to show the same margin as on the fore-edge, and pasted evenly -over. It is then carefully laid upon the board. The position being -adjusted, a piece of white paper should be laid thereon, and the whole -rubbed perfectly even with the flat of the hand. Then with the folder -rub perfectly square on the joint. The volume, with the board open, -may then be turned, and the other side done in the same way. - -If it is intended to execute a gilt border or blind tooling in the -interior of the cover, it will be important that no part of the -end-paper covers it. To avoid this, a slip must be cut off at the -head, tail, and on the fore-edge, proportionate to the extra breadth -of the border over the square. Or, if morocco joints have been placed -in the volume, the two corners of the portion left to be attached to -the boards must be cut, to prevent their showing above the end-paper, -which is to be pasted over and would disfigure the edge, taking care -to leave as much leather as will cover perfectly such portion as is -intended for the joint and square of the board, so that, when the -paper is pasted on, it will not be perceived that the corners have -been cut off. Pare the edge of the leather where the part is cut off -on a small board or folder placed underneath; afterwards paste the -joint on the edge of the board, attach it neatly with the thumb, -finger, and folder, and, when dry, paste thereon the marbled or -coloured paper cut to the proper size. For the best class of work the -morocco joint is placed in the volume by the finisher after the book -is covered. - -If the ends are of silk, it will be necessary to leave the silk -sufficiently large to turn the edges over a piece of paper that has -been cut to the required size, and in order to preserve the gloss and -richness of the silk it should not be pasted on the paper upon which -it is placed, except where it is turned over the edge of the paper. -The paper is then lightly glued over and adjusted upon the board. This -method also prevents the silk from ravelling or presenting a jagged -edge. In all cases, however, where the border is gilt or otherwise -ornamented, below the level of the edges of the volume, the ends must -not be pasted down till after that operation is completed, as the -glaire and oil would be liable to stain, and present a bad effect. - -[Illustration: STANDING-PRESS.] - -For inferior bindings, where the end-papers are left plain, the last -two leaves being merely pasted together, the ends will only require -pasting, and attaching by placing the volume between boards, and -screwing firmly in the standing-press, immediately after which it must -be taken out and the boards opened, so as to make the joints free. -Almost every class of work except velvet and Turkey morocco requires -to be submitted to the action of the standing-press after the -end-papers have been pasted down, and then allowed to become perfectly -dry by leaving the boards open. Our illustration is taken from a -standing-press manufactured by W. O. Hickok, Harrisburg, Pa. - -In all the departments, but especially in finishing, cleanliness is of -the utmost importance. It matters not how graceful may be the design, -how perfectly the tools may be worked; all may be spoiled by a volume -having a dirty appearance. Therefore, have every thing clean about -you,--cups, sponges, and brushes. Let your size, pastewash, and -glaire, be clean; your oil-cotton the same. Do not lay on the gold -until the preparation is dry. After the working of your tools, be -particular in cleaning off the gold, so that no portions or specks -remain that should not, for they will have the appearance of dirt. In -calf-work, especially, be careful of grease, or of any thing that will -soil the leather. In summer-time great care must be taken to protect -your work from the flies, particularly after your backs are worked -off. The little pests will eat the glaire off in places, and give the -book an unsightly appearance. - - -VARNISH, - -AS USED IN BOOKBINDING. - -The first, by the celebrated _Tingry_, is made in the following -manner:-- - -Put into a vessel six ounces of mastic, in drops, three ounces of -sandarac finely powdered, four ounces of coarsely-broken glass, -separated from the dust by a sieve, and thirty-two ounces of spirits -of wine, of about forty degrees. Place the vessel upon straw in -another filled with cold water; put it on the fire and let it boil, -stirring the substances together with a stick, to keep the resins from -uniting. When the whole appears well mixed, put in three ounces of -turpentine, and boil for another half-hour, when the whole must be -taken off and stirred till the varnish and the water in which it is -placed cools. Next day, filter it through a fine cotton, by which -means it will acquire the greatest degree of limpidity, and well cork -up in a bottle. - -The other recipe is given by _Mons. F. Mairet_, of _Châtillon sur -Seine_, and may be prepared similar to the above. The ingredients are, -three pints of spirits of wine, of thirty-six to forty degrees, eight -ounces of sandarac, two ounces of mastic in drops, eight ounces of -shell-lac, and two ounces of Venice turpentine. - -The varnish is first put on the back of the book with a camel's-hair -brush as lightly as possible. When nearly dry, it is polished with a -ball formed of fine white cotton, filled with wool, on which has been -rubbed a small quantity of olive-oil, to make it glide freely; it -must be rubbed at first lightly, and, as fast as the varnish dries and -becomes warm, more sharply. The sides are in like manner polished one -after the other. - -Varnish is applied after the volume has been polished by the iron, in -order to retain the brilliancy and preserve the volume from the bad -effects produced by flies eating off the glaire. The manufactured -article now in general use is applied by a soft sponge being lightly -passed over the volumes after a small portion of varnish has been -applied to the sponge. - - - - -STAMPING. - - -For gilding the sides and even backs of publishers' work, or in fact -any other where a quantity of gilding is desired at little expense, -the stamping-press is brought into requisition, and by means of tools -cut for the purpose, called blocks or stamps, the design is impressed -on the side. These stamps may be made of very small pieces, and, -by having a number of them, the patterns produced may be almost -indefinite. The stamps are affixed to an iron or brass plate, called -a back or foundation-plate, upon which a piece of stout paper has been -glued. Then let the workman mark upon the plate the exact size of the -side to be stamped, marking it evenly with the compasses, so as to -justify the stamps; then strike the centre, and draw lines upon the -paper from the centre, so as to divide it into squares or to any given -part, so as to afford freedom for selection in the starting-point of -the design. For it must be manifest that if a workman starts all his -patterns from the same point, notwithstanding he may have a variety -of tools at his disposal, his patterns will exhibit a great deal -of uniformity. Let the paper be glued equally over the surface, and -proceed to form the pattern by arranging the stamps upon the plate so -as to exhibit the design. A great deal of taste can be displayed in -the formation of patterns for stamping; but, in consequence of the -public generally desiring a mass of gilt gingerbread-work, this branch -has been but little cultivated; the prevalent opinion among stampers -being that it is no matter what is put upon the side so that it is -well covered with gold. Publishers find those books that are the -most tawdrily gilt are soonest disposed of; hence, every thing is -sacrificed to a gaudy exterior. It is to be hoped that the art will be -relieved from this degraded ornamentation. Stampers themselves can -do something to purify and correct the public taste by avoiding the -unmeaning collections confusedly huddled together, so often seen upon -sides. Every remark in regard to style, design, and combination of -tools in the hand-finisher's department applies with equal force to -stamp-work; and, although the stamps used in the latter are not so -plastic as those in hand-work, still great results will be achieved; -for, notwithstanding the superiority of hand-work for artistic -expression and permanence, press-work will always maintain a prominent -position in the art, producing, as it does, striking results at a -trifling expense. After the pattern is formed, take a little paste and -touch the under side of each stamp, and place them in exact position. -After this is done and the paste has become hard, lay the stamp or -pattern thus formed upon the side of the volume, taking care to have -the same margin on the front, back, and ends. Then place the board -or side upon which the stamp is placed upon the platen or bed of -the stamping-press, leaving the volume hanging down in front of the -platen, which is then moved to the centre of the upper platen, so that -the clamps will touch the plate on both edges at the same moment; then -pull the lever so as to put a slight pressure upon the plate in order -to keep both it and the side in their proper place; then adjust the -guides to the fore-edge and head or left-hand side, and screw them -fast; throw back the lever, take out the book; examine and correct any -irregularity in the margin of the pattern by moving the guides. When -perfectly square, place a soft pasteboard under the stamp, pull down -the press, and apply heat. This will set the stamps or harden the -paste and glue in a short time, so that they will not fall off in -stamping--a great annoyance. Work for stamping does not require so -much body or preparation as if it were to be gilt by hand. Morocco can -be worked by merely being washed with urine; but it is safer to use a -coat of size, or glaire and water mixed in proportions of one of the -former to three of the latter. Grained sheep, or, as it is called, -imitation-morocco, requires more body to gild well. After the books -are ready for laying on, the gold-leaf is cut upon the cushion to the -required size, or, if the volume be large and the stamp will cover its -superficial extent, the leaf may be lifted from the gold-book by means -of a block covered with wadding or cotton lap and laid immediately -upon the side. After an oiled rag has been lightly passed over the -surface of the leather to cause the gold to adhere until it is put -under the press, examine the press to see if sufficiently heated for -the purpose. A little experience will soon determine the requisite -amount of heat as a general rule. Leather-work does not require as -hot a tool for stamping as for hand-work, while cloth or muslin-work -requires a short, quick stroke, and the press to be hotter than for -leather. In most binderies the stamping-press is heated by introducing -steam or gas through tubes perforated for the purpose; though a few -still use the heaters, which, after being heated in a furnace, are -placed in the holes of the upper platen. After the press is properly -heated, throw back the lever; take out the pasteboard from under the -stamp; regulate the degree of pressure required for the stamp; then -place the side to be stamped upon the bed-plate, holding it firmly -against the guides with the left hand, while with the right the lever -is quickly drawn to the front. This straightens the toggles and causes -a sharp impression of the stamp upon the leather; immediately -throw back the lever; take out the side, and rub off with a rag the -superfluous gold. Repeat the operation upon the other side, unless the -stamp be of an upright design; it will then be necessary to turn the -stamp in the press before operating upon the other side. Case-work or -covers that are stamped before being put upon the books are done in -the same manner, the backs being also stamped before being glued -on. The preceding cut of a stamping-press for gilding light work, -lettering, &c., is of the most approved construction, while for -large, heavy work, either gilt or stamped blind, (embossed, as it is -erroneously called,) and for cloth-work generally, the wheel-press -is best adapted. It can be worked either by hand or by power. The -fly-wheel can be kept revolving while the workman is engaged in -feeding the press. The lever is used for light work. It will be -perceived that the upper platen of this press, to which the stamp is -attached, is stationary, thereby giving great advantages in arranging -pipes for heating by gas, and also for carrying off the smoke and -unconsumed gas that would otherwise escape into the room. These -presses are manufactured by I. Adams & Co., Boston. - -[Illustration: LETTERING AND GILDING PRESS, No. 1.] - -[Illustration: EMBOSSING PRESS, No. 2.] - -A description of the various processes to produce by stamping the rich -effects of inlaid work will be found under the head of Illuminated -Binding and that of Inlaid Ornaments. For publishers' work it is a -point of economy to have a steel-cutter that will cut out the pattern -at one blow. For this kind of work, coloured German paper is used -instead of leather for inlaying. - -Thin boards are cut out with the aid of steel-cutters and the -stamping-press, and affixed to the volumes; and, after they -are covered, they are stamped in gold and blind with patterns -corresponding with the figure of the cutter. This can only be applied -where there are a large number of volumes, although single volumes may -be cut out by hand at an increase of expense. - - -The modernized Gothic design (Plate IX.) is intended for a side-plate, -to be worked either in gold or blank. The light floriated design -(Plate X.) is calculated to be worked in gold, and is a good -illustration of the prevailing treatment of the style for which it has -been expressly designed. The pattern upon Plate XI. is intended for -press-work, to be blank-stamped. The contrast of light and heavy -work producing a fine effect, it is well adapted for a side-stamp, -especially for cloth-work. - -[Illustration: - - _9._ - -_Modernized Gothic._] - - -[Illustration: - - _10._ - -_Modern Floriated Design._] - -[Illustration: - - _11._ - -_Expressly for Cloth after Holbein's Style._] - -Plate XII. is a graceful design from a "Hint" of Mr. Leighton's. It is -suited for a side-stamp, to be worked in gold; and with it closes our -illustrations of design. - -[Illustration: - - _12._ - -_From a hint of Leighton._] - -To obviate a difficulty that the young finisher will experience in his -first attempts at designing, let him select a good quality of sized -paper, cut it to the required size, then fold it carefully into four -parts, and draw his pattern boldly upon one of the four corners with -a lead-pencil. After that is done, slightly damp the opposite corner, -fold the drawn portion so that it comes in contact with the damp -surface, and rub it upon the back, so as to transfer the outlines of -the drawing. When it appears with sufficient distinctness, trace it -carefully over with the pencil, and repeat the process upon the other -corners until the pattern is complete. This method insures accuracy -and expedition. In working a pattern with gouges or with intersected -lines, the same principle is applied, so as to reproduce the pattern -precisely alike at the four corners, and to save time. In this case -the paper is folded, and one impression of the tool answers for both -sides of the pattern. - -Let the young finisher but feel a love for his art, make himself -familiar with the best specimens, and determine to excel; and -eventually his productions will be esteemed, his ability command the -best situations, and he will be recognised as an artist. - - -CUTTING-MACHINES. - -For cutting paper, pamphlets, and books "out of boards," a number -of machines have been invented, and are used in many binderies, -especially in those where large quantities of "cloth-work" are bound. -They have been found to answer for this class of work very well. Some -of them operate with sufficient nicety to cut books for case-work -that are intended for gilt edges, when they are not to be scraped. -For first-class work, cut "in boards," nothing has been discovered to -supersede the old-fashioned mode of cutting with the plough and press. - -[Illustration: PATENT PAPER AND BOOK TRIMMER.] - -The above cut of one of these machines, from the manufactory of -I. Adams & Co., Boston, will serve to convey a general idea of its -appearance; and the names of the makers are a sufficient guarantee of -the mechanical perfection of its details. - - -TRANSLATION OF DATES. - -Many old books have their dates printed in a manner which puzzles the -finisher, should he be required to date any so printed, which are too -thin to admit of its being done as on the title-page. The following -key is here given, as it may be found useful in such cases:--c. 100; -I[c], or D, 500; cI[c] or M, 1000; I[cc], 5000; ccI[cc], -10,000; I[ccc], 50,000, cccI[ccc], 100,000. Thus, cI[c], I[c], -CLXXXV111--1688. While on this subject, it may not be inappropriate to -notice the dating of some books printed in France during the republic -in that country. Thus, "An. XIII."--1805, that being the thirteenth -year of the republic, which commenced in 1792. - - - - -RESTORING THE BINDINGS OF OLD BOOKS. - - -Old bindings often look badly on account of the leather becoming dry -and cracked, or the surface of the skin having been rubbed off in -places. To obviate this, take a small quantity of paste and rub it -carefully with the finger upon the portions that require it; after it -is dry, wash the volume carefully over with a thin solution of glue -size. When dry, the volume may be varnished, and afterwards rubbed -over with a cloth in which a few drops of sweet oil have been dropped. - - - - -SUPPLYING IMPERFECTIONS IN OLD BOOKS. - - -It often occurs that a valuable and rare work has a leaf torn or -missing. In order to supply it, the first step will be to obtain -the use of a perfect copy as a model. Then procure paper of the same -colour as the leaf to be mended, and cut it carefully to correspond -with the torn portion. After the piece has been neatly adjusted, tip -it and the leaf, very lightly, along the edges with paste made of -rice-flour; then place a piece of tissue-paper on both sides of the -leaf, and smooth it carefully with the folder; then close the volume -and allow it to remain until perfectly dry. Then proceed to remove the -tissue-paper, and it will be found that the portions that adhere where -the joining occurs will be strong enough to secure the piece to the -leaf of the book. The letters may be then copied from the perfect copy -and traced upon the inserted piece. The general appearance will depend -upon the skill displayed in order to produce a successful imitation of -the original. - - - - -HINTS - -TO BOOK-COLLECTORS. - - -Never write your name upon the title-page of a book. - -Have your books cut as large as possible, so as to preserve the -integrity of the margin. - -Do not adopt one style of binding for all your books. - -Let the bindings upon your books be characteristic of the contents and -of the value of the work. - -Employ Turkey morocco for large works or for books that you have in -constant use. It is the most durable material used in binding, except -Levant morocco, which is very expensive. - -English coloured calf makes a beautiful covering, and bears full gilt -tooling better than morocco. The latter, if too richly charged, is apt -to look tawdry. - -Let the durability and neatness of your bindings be the primary -requisites. Ornament judiciously and sparingly, rather than carelessly -or gaudily. - -Poetry and sermons are not to be treated alike, either in colour or -degree of ornament to be employed. - -The value of a library will be enhanced by the amount of knowledge and -taste displayed in the bindings. - -Russia leather is no protection against worms, and it speedily cracks -along the joint. - -Uncut books will command a higher price than those that are cropped. - -To bind a book well, it should have ample time to dry after each -process. - -When you receive a volume from the binder, place it upon your shelf in -such a manner that the adjoining volumes will press tightly against -it and keep it closed; or, if you lay it upon your table, place other -volumes upon it, to prevent the boards from warping, and do not, for -some time, use it near the fire. - -Upon opening a volume, do not grasp the leaves tightly in your hands. -You might thereby break the back. If the book is too tight in the -back, lay it upon a flat surface, and open it by taking a few sheets -at a time, and lightly pressing upon the open leaves, going thus from -the beginning to the end, until the requisite freedom is obtained. - -Use a paper-knife, or folder, to cut up the leaves of your uncut -books, so that the edges will be smooth and even; otherwise the book -will have to be cut down when it is bound. - -Do not bind a newly-printed book. It is liable to set off in the -pressing. - -Never destroy an original binding upon an old volume if the binding be -in tolerable condition. An old book should not be rebound, unless it -is essential to its preservation; and then it should be, as far as -possible, a restoration. - -Carefully preserve old writings and autographs upon fly-leaves, unless -they are trivial. It is an act of courtesy to the former owner of a -book to place his book-plate on the end-board of the volume. - -Any blank-leaves that occur in old volumes should not be removed. The -bastard or half title should always be preserved. - -Have all oblong plates placed in such a manner that the inscription -under them will read from the tail to the head of the volume. - -Never bind a large map with a small volume. It is liable to tear away; -and, in pressing the volume, it makes unseemly marks. Maps and plans -should be affixed to blank leaves, so as to open clear of the volume, -that the reader may have the plan and text to examine together. - -It is a false economy to bind up a number of volumes together, -especially if they are of different sizes and upon different subjects. - -Keep your books dry, but not too warm. Gas is injurious in a library, -especially to the gilding upon the books. - -Do not place books with uncut tops where the dust will fall upon -them. It will penetrate between the leaves and mar the interior of the -volumes. - -Avoid placing books with clasps or carved sides upon the shelves. They -will mark and scratch their neighbours. - -Never fold down corners, or wet your fingers, when reading or turning -over the pages of a book. - -Do not read a book at table. Crumbs are apt to penetrate into the -back-fold of the leaves. - -Books are not intended for card-racks or for receptacles of botanical -specimens. - -Never leave a book open, face downward, under the pretext of keeping -the place. If it remain long in that condition, it will probably ever -afterwards jump open at that place. - -Never pull books out of the shelves by the head-bands, or suffer them -to stand long upon the fore-edge. - -Books should not be toasted before a fire or be converted into -cushions to sit upon. - -Saturate a rag with camphor, and, when dry, occasionally wipe the dust -from your books with it, and you will not be annoyed with book-worms. - -Treat books gently; for "books are kind friends. We benefit by their -advice, and they exact no confessions." - - - - -+Technical Terms+ - -USED IN - -BOOKBINDING. - - - _All-Along._--When a volume is sewed, and the thread passes - from kettle-stitch to kettle-stitch, or from end to end in - each sheet, it is said to be sewed all-along. - - _Asterisk._--A sign used by the printers at the bottom of the - front page of the duplicate-leaves printed to supply the place - of those cancelled. - - - _Backing-Boards._--Are used for backing or forming the joint. - They are made of very hard wood or faced with iron, and are - thicker on the edge intended to form the groove than upon the - edge that goes towards the fore-edge, so that the whole power - of the laying-press may be directed towards the back. - - _Backing-Hammer._--The hammer used for backing and rounding: - it has a broad, flat face, similar to a shoemaker's hammer. - - _Bands._--The twines whereon the sheets of a volume are sewn. - When the book is sewed flexible the bands appear upon the - back. When the back is sawn so as to let in the twine, the - appearance of raised bands is produced by glueing narrow - strips of leather across the back before the volume is - covered. - - _Band-Driver._--A tool used in forwarding to correct - irregularities in the bands of flexible backs. - - _Bead._--The little roll formed by the knot of the headband. - - _Bleed._--When a book is cut into the print it is said to - bleed. - - _Bevelled Boards._--Very heavy boards for the sides champered - around the edges. - - _Blind-Tooled._--When the tools are impressed upon the - leather, without being gilt, they are said to be blind or - blank. - - _Boards._--Are of various kinds, such as pressing, backing, - cutting, burnishing, gilding, &c. The pasteboards used for - side-covers are termed boards. The boards used for cutting - books "out of boards" are called steamboat-boards. Tinned - boards are used for finished work; while brass or iron-bound - boards are used for pressing cloth-work. - - _Bodkin or Stabbing-Awl._--A strong point of iron or steel, - fixed on a wooden handle, to form the holes in the boards - required to lace in the bands. Used also for tracing the lines - for cutting the fore-edge. - - _Bole._--A preparation used in gilding edges. - - _Bolt._--The fold in the head and fore-edge of the sheets. - Also the small bar with a screw used to secure the knife to - the plough. - - _Bosses._--Brass plates attached to the sides of volumes for - their preservation. - - _Broke up._--When plates are turned over and folded at a short - distance from the back-edge, before they are placed so as to - enable them to turn easily in the volume, they are said to be - broke up. The same process is sometimes applied to the entire - volume. - - _Burnish._--The effect produced by the application of the - burnisher to the edges. - - _Burnishers._--Are pieces of agate or bloodstone affixed to - handles. - - - _Cancels._--Leaves containing errors which are to be cut out - and replaced with corrected pages. - - _Caps._--The leather covering of the headband. Applies also to - the paper envelopes used to protect the edges while the volume - is being covered and finished. - - _Case-Work._--Work in which the boards are covered and - stamped. The volume is then glued upon the back and stuck into - them. - - _Catch-Word._--A word met with in early-printed books at the - bottom of the page, which word is the first on the following - page. Now used to denote the first and last word in an - encyclopædia or other book of reference. - - _Centre-Tools._--Are single, upright, or independent tools - used for the middle of the panels by the finisher. - - _Clearing Out._--Removing the waste-paper and paring away any - superfluous leather upon the inside, preparatory to pasting - down the lining-paper. - - _Collating._--Examining the signatures, after the volume - is gathered, to ascertain if they be correct and follow in - numerical order. - - _Corners._--The triangular brass tools used in finishing backs - and sides. The gilt ornaments used on velvet books. Also, the - leather pasted on the corners of half-bound books. - - _Creaser._--The tool used in marking each side of the bands, - generally made of steel. - - _Cropped._--When a book has been cut down too much it is said - to be cropped. - - - _Dentelle._--A fine tooled border resembling lace-work. - - - _Edge-Rolled._--When the edges of the boards are rolled. It - may be either in gold or blind. - - _Embossed._--When a plate is stamped upon the cover so as to - present a raised figure or design, it is said to be embossed. - Some inappropriately term this kind of work Arabesque. - - _End-Papers._--The paper placed at each end of the volume, a - portion of which is removed when the lining-paper is pasted - down upon the boards. Also called Waste-Papers. - - - _Fillet._--The cylindrical ornament used in finishing upon - which simple lines are engraved. - - _Finishing._--Is that department that receives the volumes - after they are put in leather, and ornaments them as required. - One who works at this branch is termed a finisher. - - _Finishers' Press._--Is the same as a laying-press, only much - smaller. - - _Flexible._--When a book is sewn on raised bands and the - thread is passed entirely round each band. - - _Folder._--This is a flat piece of bone or ivory used in - folding the sheets and in many other manipulations. Also - applied to a female engaged in folding sheets. - - _Fore-Edge._--The front edge of the book. - - _Foundation-Plate._--A plate of iron or brass upon which - side-stamps are affixed. - - _Forwarding._--Is that branch that takes the books after they - are sewed and advances them until they are put in leather - ready for the finisher. One who works at this branch is termed - a forwarder. - - _Full-Bound._--When the sides of a volume are entirely covered - with leather, it is said to be full-bound. - - - _Gathering._--The process of arranging the sheets according to - the signatures. - - _Gauge._--Used in forwarding to take the correct size of the - volume and to mark it upon the boards for squaring. - - _Gilt._--Is applied to both the edges and to the ornaments in - finishing. - - _Glaire._--The whites of eggs. - - _Grater._--An iron instrument used by the forwarder for - rubbing the backs after they are paste-washed. - - _Gouge._--A tool used in finishing, the face of which is a - line forming the segment of a circle. - - _Guards._--Strips of paper inserted in the backs of books - intended for the insertion of plates, to prevent the book - being uneven when filled; also the strips upon which plates - are mounted. - - _Guides._--The groove in which the plough moves upon the face - of the cutting-press. - - - _Half-Bound._--When a volume is covered with leather upon - the back and corners, and the sides are covered with paper or - cloth. - - _Hand-Letters._--Letters cut and affixed to handles, and - adjusted singly upon the volume when lettering it. - - _Head and Tail._--The top and bottom of a book. - - _Headband._--The silk or cotton ornament worked at the ends so - as to make the back even with the squares. - - - _Imperfections._--Sheets rejected on account of being in some - respect imperfect, and for which others are required to make - the work complete. - - _In Boards._--When a volume is cut after the pasteboards are - affixed to form the sides, it is said to be cut in boards. The - term is also applied to a style of binding in which the boards - are merely covered with paper. - - _Inset._--The pages cut off in folding and placed in the - middle of the sheet. - - _Inside Tins._--So called from being placed inside of the - boards when the volume is put in the standing-press. - - - _Joints._--The projections formed in backing to admit the - boards; applied also to the inside when the volume is covered. - - _Justification._--The observance that the pages of a volume - agree and are parallel throughout, so as to insure a straight - and equal margin. - - - _Kettle-Stitch._--The stitch which the sewer makes at the head - and tail of a book; said to be a corruption of chain-stitch. - - _Keys._--The little instruments used to secure the bands to - the sewing-press. - - _Knocking-Down Iron_.-- So called from having the slips, when - laced in, pounded down upon it, so that they will not show - when the book is covered. - - - _Laced In._--When the boards are affixed to the volume by - means of the bands being passed through holes made in the - boards, they are said to be laced in. - - _Lettering-Block._--A piece of wood, the upper surface being - rounded, upon which side-labels are lettered. - - _Lettering-Box._--The box in which the type are screwed up - preparatory to lettering. - - _Lining-Paper._--The coloured or marbled paper at each end of - the volume. - - _Marbler._--The workman who marbles the edges of books, &c. - - _Mitred._--When the lines in finishing intersect each other at - right angles and are continued without overrunning each other, - they are said to be mitred. - - - _Out of Boards._--When a volume is cut before the boards are - affixed, it is said to be done out of boards. - - _Overcasting._--An operation in sewing, when the work consists - of single leaves or plates. - - - _Pallet._--Name given to the tools used in gilding upon the - bands, sometimes applied to the lettering-box. - - _Panel._--The space between bands; also applied to bevelled - and sunk sides. - - _Papering Up._--Covering the edges after they are gilt, so - as to protect them while the volume is being covered and - finished. - - _Paring._--Reducing the edges of the leather by forming a - gradual slope. - - _Pastewash._--A thin dilution of paste in water. - - _Pencil._--A small brush of camel's hair. - - _Pieced._--When the space between bands, upon which the - lettering is placed, has a piece of leather upon it different - from the back, it is said to be pieced or titled. - - _Plough._--The instrument used in cutting the edges of books - and pasteboards. - - _Points._--Holes made in the sheets by the printer; they serve - as guides in folding. - - _Polisher._--A steel implement used in finishing. - - _Press._--There are various kinds of presses,--viz.: laying - or cutting, standing, stamping, embossing, gilding, and - finishing. - - - _Rake._--An instrument used in forwarding, to harden the backs - while being pastewashed in the standing-press. - - _Rasped._--The sharp edge taken off the boards. - - _Register._--The ribbon placed in a volume for a marker; also - a list of signatures, attached to the end of early-printed - works, for the use of the binder. - - _Rolls._--The cylindrical ornaments used in finishing. - - _Run Up._--When the back has a fillet run from head to tail - without being mitred at each band, it is said to be run up. - - _Runner._--The front board used in cutting edges, &c. - - - _Sewer._--The person who sews the sheets together on the - sewing-press--generally a female. - - _Set-Off._--Designates the transfer of the ink to the opposite - page. - - _Setting the Head._--Is covering the headband neatly with the - leather, so as to form a kind of cap. - - _Shaving-Tub._--The paper cut from the edges of a volume are - called shavings. The receptacle into which they fall while the - forwarder is cutting the edges is termed the shaving-tub. - - _Signature._--The letter or figure under the footline of the - first page of each sheet to indicate the order of arrangement - in the volume; sometimes applied to the sheet itself. - - _Size._--A preparation used in finishing and gilding, - generally made from vellum. - - _Slips._--The pieces of twine that project beyond the volume - after it is sewn. - - _Squares._--The portions of the board that project over the - edges. - - _Stabbing._--The operation of piercing the boards with a - bodkin for the slips to pass through; also the piercing of - pamphlets for the purpose of stitching. - - _Stamps._--The brass tools used in finishing to impress a - figure upon the leather; they are distinguished by hand-stamps - and stamps for the press. - - _Start._--When any of the leaves are not properly secured in - the back, upon opening the volume they will project beyond the - others, and are said to start. - - _Steamboating._--Cutting books out of boards, a number being - cut at the same time. - - _Stitching._--The operation of passing the thread through a - pamphlet for the purpose of securing the sheets together. - - _Stops._--Are small circular tools, adapted to stop a fillet - when it intersects at right angles, to save the time used in - mitreing. - - - _Title._--The space between bands, upon which the lettering is - placed. - - _Tools._--Applied particularly to the hand-stamps and tools - used in finishing. - - _Trindle._--A strip of thin wood or iron. - - _Turning Up._--The process of cutting the fore-edges in such a - manner as to throw the round out of the back until the edge is - cut. - - _Tying Up._--The tying of a volume after the cover has been - drawn on, so as to make the leather adhere to the sides of the - bands; also for setting the head. - - - _Whipping._--The process of overseaming plates. - - _Witness._--When a volume is cut so as to show that it has - not been cut as small as some of the leaves, their uncut edges - prove this, and are called witness and sometimes proof. - - _Wrinkle._--The uneven surfaces in a volume, caused by not - being properly pressed or by dampness, also caused by improper - backing. - - - - -INDEX. - - - Affixing the stamps, 279, 280. - - Agatine marble, on leather, 249. - - Aldine, 198. - - Aldus, 198. - - Anonay paper, 150. - - Antique, 231. - - bands, 147. - - marble, 117. - - Dutch, 123. - - Arabesque, 210. - - Assyrian, 179. - - Aqua Regia, 237. - - - Backing-machine, 173. - - Backs, flexible, 54, 55. - - India-rubber, 58. - - Backing books, 43. - - Bands, in finishing, 269. - - Bands, raised, 53, 54. - - parchment, 57. - - Baumgarten, 20. - - Beating, 41, 42. - - Beating-hammer, 42. - - Beckford, 206. - - Bedford, 28. - - Benedict, 20. - - Bible, chained in churches, 16. - - Bibliographical Decameron, 14, 26, 135. - - Bindings of Corvinus, 14. - - of Henry VII., 16. - - of Henry VIII., 17. - - of Elizabeth, 17. - - of Grolier, 17. - - of Maioli, 18. - - of Diana of Poictiers, 18. - - of Henry II., 18. - - of De Thou, 19. - - of the Chevalier D'Eon, 19. - - of Oxford, 20. - - of Mackinlay, 21. - - of Roger Payne, 21-23. - - of Mackenzie, 28. - - of Charles Lewis, 28. - - of Clarke, 28. - - of Riviere, 28. - - of Bedford, 28. - - of Hayday, 28. - - of Napoleon, 30. - - of Lortic, 31. - - of Duru, 32. - - of Niédré, 32. - - Bindings of Bauzonnet, 32, 142. - - Black, for marbling, 85, 91. - - edges, 136. - - ink, 156, 157. - - for blank-work, 165. - - for marbling leather, 241. - - for leather, 259. - - lines, 268. - - Blacking the squares, 268. - - Blank binding, 151. - - Bleeding, 68. - - Blind tooling, 230. - - Block-finishing, 279. - - Blue, for edges, 78. - - for marbling, 85, 89, 90, 105. - - ink, 156. - - for marbling leather, 242. - - uniform colour for leather, 258. - - Blue agate marble on leather, 249. - - Stormont marble, 105. - - Boards, mode of making, 65. - - squaring, 66. - - Boarding, blank-work, 160. - - printed work, 169. - - Box marble, on leather, 253. - - British marble, 119. - - Brown, for edges, 79. - - for marbling, 86, 91. - - for marbling leather, 241, 242. - - uniform colour for leather, 257. - - Burnt ochre, 88. - - Burnishing, 126, 129, 133. - - Byzantine, 181. - - - Cambridge, 208. - - binding, 19. - - Cancels, 40. - - Caoutchouc, 58. - - Capé, 31, 32. - - Carved oak boards, description of, 12, 211. - - precious stones let into, 14. - - Case-work, stamping, 283. - - Cedar sprinkle, on leather, 253. - - Chemical preparations, 237. - - Chinese blue, 89. - - Chrome, 90. - - Clarke, 28. - - Clasps, 167. - - Cleanliness, 276. - - Cloth-work, 170. - - Collating, 39. - - description of, 39, 40. - - Coleridge, 190. - - Colours, for edges, 74-82. - - for marbling, 84. - - grinding, 98. - - uniform, for leather, 256. - - harmony of, 272. - - Colouring, for leather, 236. - - Comb marble, 115. - - Combs, for marbling, 127. - - Corners, 167. - - Corvinus, library of, 14. - - Covering, 141. - - blank-work, 163. - - Cropping, 67. - - Curl marble, 109. - - Cutting in boards, 72. - - Cutting-machines, 288. - - - Dawson, 20. - - Derome, 18, 19, 67. - - De Seuil, 18, 19. - - Design, 186. - - Designing, 286. - - De Thou, bindings of, 19. - - Dibdin, his account of the library of Corvinus, 14. - - of Roger Payne, 26, 191, 195. - - Diptych, description of, 11. - - Drag Spanish marble, 114. - - Drop ivory black, 91. - - Drop lake, 86. - - Duru, 31, 32. - - Dutch marble, 120. - - Dutch pink, 90. - - - Edges, colouring and sprinkling, 74. - - colours for, 74-79. - - blue, 78. - - yellow, 78. - - green, 78. - - orange, 78. - - red, 78. - - purple, 79. - - brown, 79. - - black, 136. - - rice marbled, 80. - - white spotted, 80. - - fancy marbled, 81. - - gold sprinkle, 81. - - marbled, 82, 125. - - burnishing, 126, 129. - - gilt, 130. - - antique, 134. - - gold upon marble, 135. - - black, 136. - - Edge-gilding, 130. - - antique, 134. - - on marble, 135. - - on landscapes, 135. - - Eighteenmo, 36. - - Elizabethan, 184. - - End-papers, 59, 60, 273. - - Etruscan, 180. - - Eyton, J. W. King, binding belonging to, 28, 29. - - - Fair agate marble, on leather, 249. - - Falkner, 28. - - Fancy titles, 221, 271. - - Fawn, colour for leather, 244. - - Finishing, blank-work, 168. - - Finisher's standing press, 275. - - Flea-seed, 94. - - Flexible, mode of sewing, 53. - - marking off, 54, 55. - - Folding, 35. - - blank-work, 157. - - Folio, 36. - - Font Hill, 150, 205. - - Forwarding, job-work, mode of operation, 59. - - making end-papers, 60. - - putting in joints, 61. - - glueing up, rounding, 62. - - backing, 63, 64. - - cutting, 65, 70. - - making boards, 65. - - squaring, 66. - - lacing in, 68. - - pastewashing back, 69. - - cutting round, 71. - - turning up, 73. - - Foundation-plate, 279. - - - Gilding, preparations for, 216. - - the back, 217. - - the squares, 223. - - the sides, 224. - - on silk and velvet, 225. - - Gilt edges, 130. - - upon marbled, 135. - - Glaire, for marbling leather, 240. - - Gold marble on leather, 260. - - Gold sprinkle, 81. - - Gothic, 183. - - Grafton, the printer, 16. - - Grained sheep, 282. - - Graining, 231. - - Grolier, bindings of, 17. - - style, 212. - - Green, for edges, 78. - - for blank-work, 164. - - for leather, 244. - - uniform colour for leather, 258. - - agate marble on leather, 249. - - Italian marble, 106. - - porphyry marble on leather, 250. - - Greek, 180. - - Gum, 92. - - directions for preparing for marbling, 93. - - Guards, sewing on, 53, 56. - - mode of mounting, 56. - - Gum-sandarac, 226. - - - Harleian, 202. - - Harmony of colours, 272. - - Half-binding, 149. - - Hayday, 28, 29, 232. - - Headbands, 137. - - single, 138. - - double, 140. - - gold and silver, 140. - - ribbon, 141. - - Heat, degree required for stamping, 282. - - Hints to book-collectors, 291. - - Henry VII., time of, 16. - - VIII., bindings of, 17. - - Hering, 28. - - Holbein, 213. - - Hydraulic press, 45. - - - Illuminated binding, 227. - - Imperfections in old books, 290. - - Indigo, 89. - - Inlaid work, 229. - - ornaments, 270. - - Irish moss, 94. - - Italian marble, 106. - - - Janseniste, 208. - - Joint, mode of forming, 63. - - Joints, inside, 273. - - - Kalth[oe]ber, 20. - - Kettle-stitch, 51, 53, 55. - - Keys for securing bands on sewing-bench, 49. - - detaching, 57. - - - Lacing in, 68. - - Landscapes on sides, 263. - - transferred, 264. - - Lapis Lazuli marble on leather, 261. - - Lay on, 218. - - Leland's Itinerary, 14. - - Lettering-press, 283. - - Levant marble on leather, 249. - - Levant morocco, 31, 142. - - Lewis, Charles, 28. - - Light Italian marble, 106. - - Lilac, for leather, 243. - - Lining-papers, mode of making, 60. - - Linseed, 94. - - Lortic, 31, 32. - - Louis Quatorze, 184. - - - Mackenzie, 28. - - Mackinlay, John, 20. - - bindings of, 21. - - Mahogany sprinkle on leather, 252. - - Maiolo, 17. - - Malacca tin, 238. - - Marbling on leather, 246-254. - - on paper sides, 254. - - Marbling-water for leather, 240. - - Marbled cloth, 127. - - Marbled edges, 125. - - gilt upon, 135. - - Making cases, 174. - - Missals, antiquity of, 10. - - Mitreing, 219. - - Modernized monastic, 231. - - Montague, 201. - - Moorish, 182. - - - Niédré, 31, 32. - - Nonpareil, 115. - - raked, 116. - - reversed, 116. - - Numerical proportions of colours, 272. - - Nutmeg sprinkle on leather, 255. - - - Oak boards, 15, 211. - - Octavo, 36. - - Old bindings, 289. - - Olive, for leather, 258. - - Orange, for edges, 78. - - for marbling, 86, 91. - - for leather, 244. - - Orange lead, 91. - - Ornamental art, 178. - - Oxford, bindings of, 20. - - Oxford ochre, 88. - - Ox-gall, 96. - - - Padeloup, 18. - - Paging-machine, 154. - - Paper and book trimmer, 288. - - Paring-knife, 149. - - Pasting down, 273. - - Payne, Roger, history of, 21. - - his bindings, 23. - - bill of, 25. - - his favourite colour, 26. - - Pearl-gray for leather, 258. - - Petit, Bernard, bindings designed by, 18. - - Phillatius the Athenian, 9. - - Pictures on calf, 266. - - Pickering, 200. - - Plates, mode of sewing, 53. - - Polishing, 234. - - Porphyry marble on leather, 251. - - Porphyry vein marble on leather, 251. - - Preparations for marbling, 96. - - chemical, 237. - - for stamping, 281. - - for gilding, 216. - - for marbling leather, 240. - - Press-work, 279. - - Primary colours, 272. - - Prints on calf, 266. - - Progress of the art, 10, 33. - - Prussian blue, 90. - - Purple, for edges, 79. - - for blank-work, 165. - - for leather, 243. - - marble on leather, 248. - - - Quarto, 36. - - - Raw ochre, 90. - - Red, for edges, 78. - - for marbling, 85-88. - - ink, 156. - - for blank-work, 164. - - for leather, 245. - - Red porphyry marble on leather, 250. - - Register, 137. - - Renaissance, 183. - - Restoring old bindings, 289. - - Revival, 183. - - Rock marble on leather, 252. - - Rolling-machine, substitute for beating; mode of operation; - advantages and disadvantages of, 43, 44. - - Roman, 181. - - Rose-pink, 87. - - Rounding, 62. - - Rice marble, 80. - - Ring sprinkle on leather, 255. - - Riviere, 28. - - Ruling, 152. - - Run up, 220. - - Russian bands, 165. - - - Sawing, 48, 49. - - Sawing-machine, 171. - - Scraping, 132. - - Secondary colours, 272. - - Setting the head, 145. - - the stamp, 281. - - Set off, 42, 43. - - Sewing, process of, 49, 50. - - two sheets on, 50. - - all along; quartos; plates or maps, 52. - - whipping, sewing on guards, 53. - - on raised bands; pure flexible, 54, 55, 56. - - blank-work, 159. - - Sewing-bench, 49, 50. - - Shell marble, 100, 103, 104. - - Sheriffs of Shropshire, 28. - - Sheet-work, 35. - - Silk lining, 274. - - Sixteenmo, 36. - - Sizing the paper, 127. - - Slate, uniform colour for leather, 259. - - Smasher, substitute for beating, 44. - - mode of operation; amount of pressure; advantage of, 45. - - Spanish marble, 110. - - olive, 111. - - blue, 112. - - brown, 112. - - fancy, 113. - - drag, 114. - - Spring-back, blank-work, 161. - - Sprinkles, 255, 256. - - Sprinkling, mode of, 75, 76. - - colours for, 74. - - rice-marble, 80. - - white spot, 80. - - gold sprinkle, 81. - - Staggemier, 20. - - Stamping, 279. - - Steamboating, 172. - - Stabbing, 68. - - Steel gouges, 271. - - Stone marble, on leather, 248. - - Sunk boards, 285. - - Supplying imperfections in old books, 290. - - - Table-shears, 175. - - Taste, 186. - - Technical terms, 297-310. - - Tertiary colours, 272. - - Thirty-twomo, 36. - - Thouvenin, bindings of, 30. - - Titles, 269. - - fancy, 271. - - Tortoise-shell sprinkle on leather, 256. - - To dissolve gold, 237. - - Transfers, 264, 266. - - Transferring designs, 286. - - Translation of dates, 289. - - Trautz et Bauzonnet, 31, 32, 142. - - Tree-marbled calf, 28, 252. - - Troughs for marbling, 100. - - Turning up, 73. - - Twelvemo, 36, 37. - - Twenty-fourmo, 36. - - Tying up, 146. - - - Ultramarine, 89. - - Umber, 91. - - Uncut books, 151. - - Uniform colours on leather, 256-259. - - - Variegated marble, on leather, 254. - - Varnish, 277. - - Vegetable black, 91. - - Vermilion, 87. - - Violet for leather, 243. - - Vitriol-water for marbling leather, 240. - - - Wainscot sprinkle on leather, 254. - - Walnut sprinkle on leather, 253. - - Walther, 28. - - Water for marbling, 96. - - Wave-marble, 118. - - Wax for marbling, 99. - - West-End marble, 107, 108. - - Whipping, 53. - - White for marbling, 86, 91. - - White-spotted edges, 80. - - Wood-lake, 88. - - - Yellow for edges, 78. - - for marbling, 85. - - for blank-work, 165. - - for leather, 244. - - -THE END. - - STEREOTYPED BY L. JOHNSON AND CO. - PHILADELPHIA. - - - * * * * * - - - - - CATALOGUE - OF - PRACTICAL AND SCIENTIFIC BOOKS, - PUBLISHED BY - HENRY CAREY BAIRD & CO., - Industrial Publishers and Booksellers, - NO. 810 WALNUT STREET, - PHILADELPHIA. - - * * * * * - -[right-pointing hand] Any of the Books comprised in this Catalogue -will be sent by mail, free of postage, at the publication price. - -[right-pointing hand] A Descriptive Catalogue, 96 pages, 8vo., will be -sent, free of postage, to any one who will furnish the publisher with -his address. - - * * * * * - - - ARLOT.--A Complete Guide for Coach Painters. - - Translated from the French of M. ARLOT, Coach Painter; for - eleven years Foreman of Painting to M. Eherler, Coach Maker, - Paris. By A. A. FESQUET, Chemist and Engineer. To which is - added an Appendix, containing Information respecting the - Materials and the Practice of Coach and Car Painting and - Varnishing in the United States and Great Britain. 12mo. $1.25 - - - ARMENGAUD, AMOROUX, and JOHNSON.--The Practical Draughtsman's - Book of Industrial Design, and Machinist's and Engineer's - Drawing Companion: - - Forming a Complete Course of Mechanical Engineering and - Architectural Drawing. From the French of M. Armengaud the - elder, Prof. of Design in the Conservatoire of Arts and - Industry, Paris, and MM. Armengaud the younger, and Amoroux, - Civil Engineers. Rewritten and arranged with additional matter - and plates, selections from and examples of the most useful - and generally employed mechanism of the day. By WILLIAM - JOHNSON, Assoc. Inst. C. E., Editor of "The Practical - Mechanic's Journal." Illustrated by 50 folio steel plates, and - 50 wood-cuts. A new edition, 4to. $10.00 - - - ARROWSMITH.--Paper-Hanger's Companion: - - A Treatise in which the Practical Operations of the Trade are - Systematically laid down: with Copious Directions Preparatory - to Papering; Preventives against the Effect of Damp on Walls; - the Various Cements and Pastes Adapted to the Several Purposes - of the Trade; Observations and Directions for the Panelling - and Ornamenting of Rooms, etc. By JAMES ARROWSMITH, Author of - "Analysis of Drapery," etc. 12mo., cloth. $1.25 - - - ASHTON.--The Theory and Practice of the Art of Designing Fancy - Cotton and Woollen Cloths from Sample: - - Giving full Instructions for Reducing Drafts, as well as the - Methods of Spooling and Making out Harness for Cross Drafts, - and Finding any Required Reed, with Calculations and Tables of - Yarn. By FREDERICK T. ASHTON, Designer, West Pittsfield, Mass. - With 52 Illustrations. One volume, 4to. $10.00 - - - BAIRD.--Letters on the Crisis, the Currency and the Credit - System. - - By HENRY CAREY BAIRD. Pamphlet. 05 - - - BAIRD.--Protection of Home Labor and Home Productions - necessary to the Prosperity of the American Farmer. - - By HENRY CAREY BAIRD. 8vo., paper. 10 - - - BAIRD.--Some of the Fallacies of British Free-Trade Revenue - Reform. - - Two Letters to Arthur Latham Perry, Professor of History and - Political Economy in Williams College. By HENRY CAREY BAIRD. - Pamphlet. 05 - - - BAIRD.--The Rights of American Producers, and the Wrongs of - British Free-Trade Revenue Reform. - - By HENRY CAREY BAIRD. Pamphlet. 05 - - - BAIRD.--Standard Wages Computing Tables: - - An Improvement in all former Methods of Computation, so - arranged that wages for days, hours, or fractions of hours, - at a specified rate per day or hour, may be ascertained at a - glance. By T. SPANGLER BAIRD. Oblong folio. $5.00 - - - BAIRD.--The American Cotton Spinner, and Manager's and - Carder's Guide: - - A Practical Treatise on Cotton Spinning; giving the Dimensions - and Speed of Machinery, Draught and Twist Calculations, etc.; - with notices of recent Improvements: together with Rules and - Examples for making changes in the sizes and numbers of Roving - and Yarn. Compiled from the papers of the late ROBERT H. - BAIRD. 12mo. $1.50 - - - BAKER.--Long-Span Railway Bridges: - - Comprising Investigations of the Comparative Theoretical and - Practical Advantages of the various Adopted or Proposed Type - Systems of Construction; with numerous Formulæ and Tables. By - B. BAKER. 12mo. $2.00 - - - BAUERMAN.--A Treatise on the Metallurgy of Iron: - - Containing Outlines of the History of Iron Manufacture, - Methods of Assay, and Analysis of Iron Ores, Processes of - Manufacture of Iron and Steel, etc., etc. By H. BAUERMAN, F. - G. S., Associate of the Royal School of Mines. First American - Edition, Revised and Enlarged. With an Appendix on the Martin - Process for Making Steel, from the Report of ABRAM S. HEWITT, - U. S. Commissioner to the Universal Exposition at Paris, 1867. - Illustrated. 12mo. $2.00 - - - BEANS.--A Treatise on Railway Curves and the Location of - Railways. - - By E. W. BEANS, C. E. Illustrated. 12mo. Tucks. $1.50 - - - BELL.--Carpentry Made Easy: - - Or, The Science and Art of Framing on a New and Improved - System. With Specific Instructions for Building Balloon - Frames, Barn Frames, Mill Frames, Warehouses, Church Spires, - etc. Comprising also a System of Bridge Building, with Bills, - Estimates of Cost, and valuable Tables. Illustrated by 38 - plates, comprising nearly 200 figures. By WILLIAM E. BELL, - Architect and Practical Builder. 8vo. $5.00 - - - BELL.--Chemical Phenomena of Iron Smelting: - - An Experimental and Practical Examination of the Circumstances - which determine the Capacity of the Blast Furnace, the - Temperature of the Air, and the proper Condition of - the Materials to be operated upon. By I. LOWTHIAN BELL. - Illustrated. 8vo. $6.00 - - - BEMROSE.--Manual of Wood Carving: - - With Practical Illustrations for Learners of the Art, and - Original and Selected Designs. By WILLIAM BEMROSE, Jr. With - an Introduction by LLEWELLYN JEWITT, F. S. A., etc. With 128 - Illustrations. 4to., cloth. $3.00 - - - BICKNELL.--Village Builder, and Supplement: - - Elevations and Plans for Cottages, Villas, Suburban - Residences, Farm Houses, Stables and Carriage Houses, Store - Fronts, School Houses, Churches, Court Houses, and a model - Jail; also, Exterior and Interior details for Public and - Private Buildings, with approved Forms of Contracts and - Specifications, including Prices of Building Materials and - Labor at Boston, Mass., and St. Louis, Mo. Containing 75 - plates drawn to scale; showing the style and cost of building - in different sections of the country, being an original - work comprising the designs of twenty leading architects, - representing the New England, Middle, Western, and - Southwestern States. 4to. $12.00 - - - BLENKARN.--Practical Specifications of Works executed in - Architecture, Civil and Mechanical Engineering, and in Road - Making and Sewering: - - To which are added a series of practically useful Agreements - and Reports. By JOHN BLENKARN. Illustrated by 15 large folding - plates. 8vo. $9.00 - - - BLINN.--A Practical Workshop Companion for Tin, Sheet-Iron, - and Copperplate Workers: - - Containing Rules for describing various kinds of Patterns - used by Tin, Sheet-Iron, and Copper-plate Workers; Practical - Geometry; Mensuration of Surfaces and Solids; Tables of - the Weights of Metals, Lead Pipe, etc.; Tables of Areas and - Circumferences of Circles; Japan, Varnishes, Lackers, Cements, - Compositions, etc., etc. By LEROY J. BLINN, Master Mechanic. - With over 100 Illustrations. 12mo. $2.50 - - - BOOTH.--Marble Worker's Manual: - - Containing Practical Information respecting Marbles in - general, their Cutting, Working, and Polishing; Veneering of - Marble; Mosaics; Composition and Use of Artificial Marble, - Stuccos, Cements, Receipts, Secrets, etc., etc. Translated - from the French by M. L. BOOTH. With an Appendix concerning - American Marbles. 12mo., cloth. $1.50 - - - BOOTH AND MORFIT.--The Encyclopedia of Chemistry, Practical - and Theoretical: - - Embracing its application to the Arts, Metallurgy, Mineralogy, - Geology, Medicine, and Pharmacy. By JAMES C. BOOTH, Melter - and Refiner in the United States Mint, Professor of Applied - Chemistry in the Franklin Institute, etc., assisted by - CAMPBELL MORFIT, author of "Chemical Manipulations," etc. - Seventh edition. Royal 8vo., 978 pages, with numerous - wood-cuts and other illustrations. $5.00 - - - BOX.--A Practical Treatise on Heat: - - As applied to the Useful Arts; for the Use of Engineers, - Architects, etc. By THOMAS BOX, author of "Practical - Hydraulics." Illustrated by 14 plates containing 114 figures. - 12mo. $4.25 - - - BOX.--Practical Hydraulics: - - A Series of Rules and Tables for the use of Engineers, etc. By - THOMAS BOX. 12mo. $2.50 - - - BROWN.--Five Hundred and Seven Mechanical Movements: - - Embracing all those which are most important in Dynamics, - Hydraulics, Hydrostatics, Pneumatics, Steam Engines, Mill and - other Gearing, Presses, Horology, and Miscellaneous Machinery; - and including many movements never before published, and - several of which have only recently come into use. By HENRY T. - BROWN, Editor of the "American Artisan." In one volume, 12mo. - $1.00 - - - BUCKMASTER.--The Elements of Mechanical Physics: - - By J. C. BUCKMASTER, late Student in the Government School - of Mines; Certified Teacher of Science by the Department of - Science and Art; Examiner in Chemistry and Physics in the - Royal College of Preceptors; and late Lecturer in Chemistry - and Physics of the Royal Polytechnic Institute. Illustrated - with numerous engravings. In one volume, 12mo. $1.50 - - - BULLOCK.--The American Cottage Builder: - - A Series of Designs, Plans, and Specifications, from $200 - to $20,000, for Homes for the People; together with Warming, - Ventilation, Drainage, Painting, and Landscape Gardening. - By JOHN BULLOCK, Architect, Civil Engineer, Mechanician, and - Editor of "The Rudiments of Architecture and Building," etc., - etc. Illustrated by 75 engravings. In one volume, 8vo. $3.50 - - - BULLOCK.--The Rudiments of Architecture and Building: - - For the use of Architects, Builders, Draughtsmen, Machinists, - Engineers, and Mechanics. Edited by JOHN BULLOCK, author of - "The American Cottage Builder." Illustrated by 250 engravings. - In one volume, 8vo. $3.50 - - - BURGH.--Practical Illustrations of Land and Marine Engines: - - Showing in detail the Modern Improvements of High and Low - Pressure, Surface Condensation, and Super-heating, together - with Land and Marine Boilers. By N. P. BURGH, Engineer. - Illustrated by 20 plates, double elephant folio, with text. $21.00 - - - BURGH.--Practical Rules for the Proportions of Modern Engines - and Boilers for Land and Marine Purposes. - - By N. P. BURGH, Engineer. 12mo. $1.50 - - - BURGH.--The Slide-Valve Practically Considered. - - By N. P. BURGH, Engineer. Completely illustrated. 12mo. $2.00 - - - BYLES.--Sophisms of Free Trade and Popular Political Economy - Examined. - - By a BARRISTER (Sir JOHN BARNARD BYLES, Judge of Common - Pleas). First American from the Ninth English Edition, as - published by the Manchester Reciprocity Association. In one - volume, 12mo. Paper, 75 cts. Cloth. $1.25 - - - BYRN.--The Complete Practical Brewer: - - Or Plain, Accurate, and Thorough Instructions in the Art of - Brewing Beer, Ale, Porter, including the Process of making - Bavarian Beer, all the Small Beers, such as Root-beer, - Ginger-pop, Sarsaparilla-beer, Mead, Spruce Beer, etc., etc. - Adapted to the use of Public Brewers and Private Families. By - M. LA FAYETTE BYRN, M. D. With illustrations. 12mo. $1.25 - - - BYRN.--The Complete Practical Distiller: - - Comprising the most perfect and exact Theoretical and - Practical Description of the Art of Distillation and - Rectification; including all of the most recent improvements - in distilling apparatus; instructions for preparing spirits - from the numerous vegetables, fruits, etc.; directions for - the distillation and preparation of all kinds of brandies and - other spirits, spirituous and other compounds, etc., etc. By - M. LA FAYETTE BYRN, M. D. Eighth Edition. To which are added, - Practical Directions for Distilling, from the French of Th. - Fling, Brewer and Distiller. 12mo. $1.50 - - - BYRNE.--Handbook for the Artisan, Mechanic, and Engineer: - - Comprising the Grinding and Sharpening of Cutting Tools, - Abrasive Processes, Lapidary Work, Gem and Glass Engraving, - Varnishing and Lackering, Apparatus, Materials and Processes - for Grinding and Polishing, etc. By OLIVER BYRNE. Illustrated - by 185 wood engravings. In one volume, 8vo. $5.00 - - - BYRNE.--Pocket Book for Railroad and Civil Engineers: - - Containing New, Exact, and Concise Methods for Laying out - Railroad Curves, Switches, Frog Angles, and Crossings; the - Staking out of work; Levelling; the Calculation of Cuttings; - Embankments; Earth-work, etc. By OLIVER BYRNE. 18mo., full - bound, pocket-book form. $1.75 - - - BYRNE.--The Practical Model Calculator: - - For the Engineer, Mechanic, Manufacturer of Engine Work, Naval - Architect, Miner, and Millwright. By OLIVER BYRNE. 1 volume, - 8vo., nearly 600 pages. $4.50 - - - BYRNE.--The Practical Metal-Worker's Assistant: - - Comprising Metallurgic Chemistry; the Arts of Working all - Metals and Alloys; Forging of Iron and Steel; Hardening and - Tempering; Melting and Mixing; Casting and Founding; Works in - Sheet Metal; The Processes Dependent on the Ductility of the - Metals; Soldering; and the most Improved Processes and Tools - employed by Metal-Workers. With the Application of the Art of - Electro-Metallurgy to Manufacturing Processes; collected from - Original Sources, and from the Works of Holtzapffel, Bergeron, - Leupold, Plumier, Napier, Scoffern, Clay, Fairbairn, and - others. By OLIVER BYRNE. A new, revised, and improved edition, - to which is added An Appendix, containing THE MANUFACTURE - OF RUSSIAN SHEET-IRON. By JOHN PERCY, M. D., F.R.S. THE - MANUFACTURE OF MALLEABLE IRON CASTINGS, and IMPROVEMENTS IN - BESSEMER STEEL. By A. A. FESQUET, Chemist and Engineer. With - over 600 Engravings, illustrating every Branch of the Subject. - 8vo. $7.00 - - - Cabinet Maker's Album of Furniture: - - Comprising a Collection of Designs for Furniture. Illustrated - by 48 Large and Beautifully Engraved Plates. In one vol., - oblong. $5.00 - - - CALLINGHAM.--Sign Writing and Glass Embossing: - - A Complete Practical Illustrated Manual of the Art. By JAMES - CALLINGHAM. In one volume, 12mo. $1.50 - - - CAMPIN.--A Practical Treatise on Mechanical Engineering: - - Comprising Metallurgy, Moulding, Casting, Forging, Tools, - Workshop Machinery, Mechanical Manipulation, Manufacture of - Steam-engines, etc., etc. With an Appendix on the Analysis - of Iron and Iron Ores. By FRANCIS CAMPIN, C. E. To which are - added, Observations on the Construction of Steam Boilers, - and Remarks upon Furnaces used for Smoke Prevention; with - a Chapter on Explosions. By R. ARMSTRONG, C. E., and JOHN - BOURNE. Rules for Calculating the Change Wheels for Screws - on a Turning Lathe, and for a Wheel-cutting Machine. By J. - LA NICCA. Management of Steel, Including Forging, Hardening, - Tempering, Annealing, Shrinking, and Expansion. And the - Case-hardening of Iron. By G. EDE. 8vo. Illustrated with 29 - plates and 100 wood engravings. $6.00 - - - CAMPIN.--The Practice of Hand-Turning in Wood, Ivory, Shell, etc.: - - With Instructions for Turning such works in Metal as may be - required in the Practice of Turning Wood, Ivory, etc. Also, - an Appendix on Ornamental Turning. By FRANCIS CAMPIN; with - Numerous Illustrations. 12mo., cloth. $3.00 - - - CAREY.--The Works of Henry C. Carey: - - FINANCIAL CRISES, their Causes and Effects. 8vo. paper 25 - - HARMONY OF INTERESTS: Agricultural, Manufacturing, and - Commercial. 8vo., cloth. $1.50 - - MANUAL OF SOCIAL SCIENCE. Condensed from Carey's "Principles - of Social Science." By KATE MCKEAN. 1 vol. 12mo. $2.25 - - MISCELLANEOUS WORKS: comprising "Harmony of Interests," - "Money," "Letters to the President," "Financial Crises," "The - Way to Outdo England Without Fighting Her," "Resources of the - Union," "The Public Debt," "Contraction or Expansion?" "Review - of the Decade 1857-'67," "Reconstruction," etc., etc. Two - vols., 8vo., cloth. $10.00 - - PAST, PRESENT, AND FUTURE. 8vo. $2.50 - - PRINCIPLES OF SOCIAL SCIENCE. 3 vols., 8vo., cloth. $10.00 - - THE SLAVE-TRADE, DOMESTIC AND FOREIGN; Why it Exists, and How - it may be Extinguished (1853). 8vo., cloth. $2.00 - - LETTERS ON INTERNATIONAL COPYRIGHT (1867) 50 - - THE UNITY OF LAW: As Exhibited in the Relations of Physical, - Social, Mental, and Moral Science (1872). In one volume, 8vo., - pp. xxiii., 433. Cloth. $3.50 - - - CHAPMAN.--A Treatise on Ropemaking: - - As Practised in private and public Rope yards, with a - Description of the Manufacture, Rules, Tables of Weights, - etc., adapted to the Trades, Shipping, Mining, Railways, - Builders, etc. By ROBERT CHAPMAN, 24mo. $1.50 - - - COLBURN.--The Locomotive Engine: - - Including a Description of its Structure, Rules for - Estimating its Capabilities, and Practical Observations on its - Construction and Management. By ZERAH COLBURN. Illustrated. A - new edition. 12mo. $1.25 - - - CRAIK.--The Practical American Millwright and Miller. - - By DAVID CRAIK, Millwright. Illustrated by numerous wood - engravings, and two folding plates. 8vo. $5.00 - - - DE GRAFF.--The Geometrical Stair Builders' Guide: - - Being a Plain Practical System of Hand-Railing, embracing all - its necessary Details, and Geometrically Illustrated by 22 - Steel Engravings; together with the use of the most approved - principles of Practical Geometry. By SIMON DE GRAFF, - Architect. 4to. $5.00 - - - DE KONINCK.--DIETZ.--A Practical Manual of Chemical Analysis - and Assaying: - - As applied to the Manufacture of Iron from its Ores, and to - Cast Iron, Wrought Iron, and Steel, as found in Commerce. By - L. L. DE KONINCK, Dr. Sc., and E. DIETZ, Engineer. Edited - with Notes, by ROBERT MALLET, F.R.S., F.S.G., M.I.C.E., etc. - American Edition, Edited with Notes and an Appendix on Iron - Ores, by A. A. FESQUET, Chemist and Engineer. One volume, - 12mo. $2.50 - - - DUNCAN.--Practical Surveyor's Guide: - - Containing the necessary information to make any person, of - common capacity, a finished land surveyor without the aid of a - teacher. By ANDREW DUNCAN. Illustrated. 12mo., cloth. $1.25 - - - DUPLAIS.--A Treatise on the Manufacture and Distillation of - Alcoholic Liquors: - - Comprising Accurate and Complete Details in Regard to Alcohol - from Wine, Molasses, Beets, Grain, Rice, Potatoes, - Sorghum, Asphodel, Fruits, etc.; with the Distillation and - Rectification of Brandy, Whiskey, Rum, Gin, Swiss Absinthe, - etc., the Preparation of Aromatic Waters, Volatile Oils - or Essences, Sugars, Syrups, Aromatic Tinctures, Liqueurs, - Cordial Wines, Effervescing Wines, etc., the Aging of Brandy - and the Improvement of Spirits, with Copious Directions and - Tables for Testing and Reducing Spirituous Liquors, etc., etc. - Translated and Edited from the French of MM. DUPLAIS, Ainé - et Jeune. By M. MCKENNIE, M. D. To which are added the United - States Internal Revenue Regulations for the Assessment and - Collection of Taxes on Distilled Spirits. Illustrated by - fourteen folding plates and several wood engravings. 743 pp., - 8vo. $10.00 - - DUSSAUCE.--A General Treatise on the Manufacture of Every - Description of Soap: - - Comprising the Chemistry of the Art, with Remarks on Alkalies, - Saponifiable Fatty Bodies, the apparatus necessary in a Soap - Factory, Practical Instructions in the manufacture of the - various kinds of Soap, the assay of Soaps, etc., etc. Edited - from Notes of Larmé, Fontenelle, Malapayre, Dufour, and - others, with large and important additions by Prof. H. - DUSSAUCE, Chemist. Illustrated. In one vol., 8vo. $10.00 - - - DUSSAUCE.--A General Treatise on the Manufacture of Vinegar: - - Theoretical and Practical. Comprising the various Methods, by - the Slow and the Quick Processes, with Alcohol, Wine, Grain, - Malt, Cider, Molasses, and Beets; as well as the Fabrication - of Wood Vinegar, etc., etc. By Prof. H. DUSSAUCE. In one - volume, 8vo. $5.00 - - - DUSSAUCE.--A New and Complete Treatise on the Arts of Tanning, - Currying, and Leather Dressing: - - Comprising all the Discoveries and Improvements made in - France, Great Britain, and the United States. Edited from - Notes and Documents of Messrs. Sallerou, Grouvelle, Duval, - Dessables, Labarraque, Payen, René, De Fontenelle, Malapeyre, - etc., etc. By Prof. H. DUSSAUCE, Chemist. Illustrated by 212 - wood engravings. 8vo. $25.00 - - - DUSSAUCE.--A Practical Guide for the Perfumer: - - Being a New Treatise on Perfumery, the most favorable to the - Beauty without being injurious to the Health, comprising a - Description of the substances used in Perfumery, the Formulæ - of more than 1000 Preparations, such as Cosmetics, Perfumed - Oils, Tooth Powders, Waters, Extracts, Tinctures, Infusions, - Spirits, Vinaigres, Essential Oils, Pastels, Creams, Soaps, - and many new Hygienic Products not hitherto described. Edited - from Notes and Documents of Messrs. Debay, Lanel, etc. With - additions by Prof. H. DUSSAUCE, Chemist. 12mo. $3.00 - - - DUSSAUCE.--Practical Treatise on the Fabrication of Matches, - Gun Cotton, and Fulminating Powders. - - By Prof. H. DUSSAUCE. 12mo. $3.00 - - - Dyer and Color-maker's Companion: - - Containing upwards of 200 Receipts for making Colors, on - the most approved principles, for all the various styles and - fabrics now in existence; with the Scouring Process, and - plain Directions for Preparing, Washing-off, and Finishing the - Goods. In one vol., 12mo. $1.25 - - - EASTON.--A Practical Treatise on Street or Horsepower - Railways. - - By ALEXANDER EASTON, C. E. Illustrated by 23 plates. 8vo., - cloth. $2.00 - - - ELDER.--Questions of the Day: - - Economic and Social. By Dr. WILLIAM ELDER. 8vo. $3.00 - - - FAIRBAIRN.--The Principles of Mechanism and Machinery of - Transmission: - - Comprising the Principles of Mechanism, Wheels, and Pulleys, - Strength and Proportions of Shafts, Coupling of Shafts, and - Engaging and Disengaging Gear. By Sir WILLIAM FAIRBAIRN, C. - E., LL.D., F.R.S., F.G.S. Beautifully illustrated by over 150 - wood-cuts. In one volume, 12mo. $2.50 - - - FORSYTH.--Book of Designs for Headstones, Mural, and other - Monuments: - - Containing 78 Designs. By JAMES FORSYTH. With an Introduction - by CHARLES BOUTELL, M. A. 4to., cloth. $5.00 - - - GIBSON.--The American Dyer: - - A Practical Treatise on the Coloring of Wool, Cotton, Yarn and - Cloth, in three parts. Part First gives a descriptive account - of the Dye Stuffs; if of vegetable origin, where produced, - how cultivated, and how prepared for use; if chemical, their - composition, specific gravities, and general adaptability, how - adulterated, and how to detect the adulterations, etc. Part - Second is devoted to the Coloring of Wool, giving recipes for - one hundred and twenty-nine different colors or shades, and - is supplied with sixty colored samples of Wool. Part Third - is devoted to the Coloring of Raw Cotton or Cotton Waste, for - mixing with Wool Colors in the Manufacture of all kinds of - Fabrics, gives recipes for thirty-eight different colors or - shades, and is supplied with twenty-four colored samples of - Cotton Waste. Also, recipes for Coloring Beavers, Doeskins, - and Flannels, with remarks upon Anilines, giving recipes - for fifteen different colors or shades, and nine samples of - Aniline Colors that will stand both the Fulling and Scouring - process. Also, recipes for Aniline Colors on Cotton Thread, - and recipes for Common Colors on Cotton Yarns. Embracing - in all over two hundred recipes for Colors and Shades, and - ninety-four samples of Colored Wool and Cotton Waste, etc. By - RICHARD H. GIBSON, Practical Dyer and Chemist. In one volume, - 8vo. $12.50 - - - GILBART.--History and Principles of Banking: - - A Practical Treatise. By JAMES W. GILBART, late Manager of the - London and Westminster Bank. With additions. In one volume, - 8vo., 600 pages, sheep. $5.00 - - - Gothic Album for Cabinet Makers: - - Comprising a Collection of Designs for Gothic Furniture. - Illustrated by 23 large and beautifully engraved plates. - Oblong. $3.00 - - - GRANT.--Beet-root Sugar and Cultivation of the Beet. - - By E. B. GRANT. 12mo. $1.25 - - - GREGORY.--Mathematics for Practical Men: - - Adapted to the Pursuits of Surveyors, Architects, Mechanics, - and Civil Engineers. By OLINTHUS GREGORY. 8vo., plates, cloth. - $3.00 - - - GRISWOLD.--Railroad Engineer's Pocket Companion for the Field: - - Comprising Rules for Calculating Deflection Distances and - Angles, Tangential Distances and Angles, and all Necessary - Tables for Engineers; also the art of Levelling from - Preliminary Survey to the Construction of Railroads, intended - Expressly for the Young Engineer, together with Numerous - Valuable Rules and Examples. By W. GRISWOLD. 12mo., tucks. $1.75 - - - GRUNER.--Studies of Blast Furnace Phenomena. - - By M. L. GRUNER, President of the General Council of Mines of - France, and lately Professor of Metallurgy at the Ecole - des Mines. Translated, with the Author's sanction, with an - Appendix, by L. D. B. Gordon, F.R.S.E., F.G.S. Illustrated. - 8vo. $2.50 - - - GUETTIER.--Metallic Alloys: - - Being a Practical Guide to their Chemical and Physical - Properties, their Preparation, Composition, and Uses. - Translated from the French of A. GUETTIER, Engineer and - Director of Foundries, author of "La Fouderie en France," - etc., etc. By A. A. FESQUET, Chemist and Engineer. In one - volume, 12mo. $3.00 - - - HARRIS.--Gas Superintendent's Pocket Companion. - - By HARRIS & BROTHER, Gas Meter Manufacturers, 1115 and 1117 - Cherry Street, Philadelphia. Full bound in pocket-book form. $2.00 - - - Hats and Felting: - - A Practical Treatise on their Manufacture. By a Practical - Hatter. Illustrated by Drawings of Machinery, etc. 8vo. $1.25 - - - HOFMANN.--A Practical Treatise on the Manufacture of Paper in - all its Branches. - - By CARL HOFMANN. Late Superintendent of paper mills in Germany - and the United States; recently manager of the Public - Ledger Paper Mills, near Elkton, Md. Illustrated by 110 wood - engravings, and five large folding plates. In one volume, - 4to., cloth; 398 pages. $15.00 - - - HUGHES.--American Miller and Millwright's Assistant. - - By WM. CARTER HUGHES. A new edition. In one vol., 12mo. $1.50 - - - HURST.--A Hand-Book for Architectural Surveyors and others - engaged in Building: - - Containing Formulæ useful in Designing Builder's work, Table - of Weights, of the materials used in Building, Memoranda - connected with Builders' work, Mensuration, the Practice - of Builders' Measurement, Contracts of Labor, Valuation of - Property, Summary of the Practice in Dilapidation, etc., etc. - By J. F. HURST, C. E. Second edition, pocket-book form, full - bound. $2.50 - - - JERVIS.--Railway Property: - - A Treatise on the Construction and Management of Railways; - designed to afford useful knowledge, in the popular style, - to the holders of this class of property; as well as Railway - Managers, Officers, and Agents. By JOHN B. JERVIS, late Chief - Engineer of the Hudson River Railroad, Croton Aqueduct, etc. - In one vol., 12mo., cloth. $2.00 - - - JOHNSTON.--Instructions for the Analysis of Soils, Limestones, - and Manures. - - By J. F. W. JOHNSTON. 12mo. 38 - - - KEENE.--A Hand-Book of Practical Gauging: - - For the Use of Beginners, to which is added, A Chapter on - Distillation, describing the process in operation at the - Custom House for ascertaining the strength of wines. By JAMES - B. KEENE, of H. M. Customs. 8vo. $1.25 - - - KELLEY.--Speeches, Addresses, and Letters on Industrial and - Financial Questions. - - By Hon. WILLIAM D. KELLEY, M. C. In one volume, 544 pages, - 8vo. $3.00 - - - KENTISH.--A Treatise on a Box of Instruments, - - And the Slide Rule; with the Theory of Trigonometry and - Logarithms, including Practical Geometry, Surveying, Measuring - of Timber, Cask and Malt Gauging, Heights, and Distances. By - THOMAS KENTISH. In one volume. 12mo. $1.25 - - - KOBELL.--ERNI.--Mineralogy Simplified: - - A short Method of Determining and Classifying Minerals, - by means of simple Chemical Experiments in the Wet Way. - Translated from the last German Edition of F. VON KOBELL, with - an Introduction to Blow-pipe Analysis and other additions. - By HENRI ERNI, M. D., late Chief Chemist, Department of - Agriculture, author of "Coal Oil and Petroleum." In one - volume, 12mo. $2.50 - - - LANDRIN.--A Treatise on Steel: - - Comprising its Theory, Metallurgy, Properties, Practical - Working, and Use. By M. H. C. LANDRIN, Jr., Civil Engineer. - Translated from the French, with Notes, by A. A. FESQUET, - Chemist and Engineer. With an Appendix on the Bessemer and the - Martin Processes for Manufacturing Steel, from the Report of - Abram S. Hewitt, United States Commissioner to the Universal - Exposition, Paris, 1867. In one volume, 12mo. $3.00 - - - LARKIN.--The Practical Brass and Iron Founder's Guide: - - A Concise Treatise on Brass Founding, Moulding, the Metals and - their Alloys, etc.: to which are added Recent Improvements in - the Manufacture of Iron, Steel by the Bessemer Process, etc., - etc. By JAMES LARKIN, late Conductor of the Brass Foundry - Department in Reany, Neafie & Co's. Penn Works, Philadelphia. - Fifth edition, revised, with Extensive additions. In one - volume, 12mo. $2.25 - - - LEAVITT.--Facts about Peat as an Article of Fuel: - - With Remarks upon its Origin and Composition, the Localities - in which it is found, the Methods of Preparation and - Manufacture, and the various Uses to which it is applicable; - together with many other matters of Practical and Scientific - Interest. To which is added a chapter on the Utilization of - Coal Dust with Peat for the Production of an Excellent Fuel at - Moderate Cost, specially adapted for Steam Service. By T. H. - LEAVITT. Third edition. 12mo. $1.75 - - - LEROUX, C.--A Practical Treatise on the Manufacture of - Worsteds and Carded Yarns: - - Comprising Practical Mechanics, with Rules and Calculations - applied to Spinning; Sorting, Cleaning, and Scouring Wools; - the English and French methods of Combing, Drawing, and - Spinning Worsteds and Manufacturing Carded Yarns. Translated - from the French of CHARLES LEROUX, Mechanical Engineer, and - Superintendent of a Spinning Mill, by HORATIO PAINE, M. D., - and A. A. FESQUET, Chemist and Engineer. Illustrated by - 12 large Plates. To which is added an Appendix, containing - extracts from the Reports of the International Jury, and - of the Artisans selected by the Committee appointed by the - Council of the Society of Arts, London, on Woollen and Worsted - Machinery and Fabrics, as exhibited in the Paris Universal - Exposition, 1867. 8vo., cloth. $5.00 - - - LESLIE (Miss).--Complete Cookery: - - Directions for Cookery in its Various Branches. By MISS - LESLIE. 60th thousand. Thoroughly revised, with the addition - of New Receipts. In one volume, 12mo., cloth. $1.50 - - - LESLIE (Miss).--Ladies' House Book: - - A Manual of Domestic Economy. 20th revised edition. 12mo., - cloth. - - - LESLIE (Miss).--Two Hundred Receipts in French Cookery. - - Cloth, 12mo. - - - LIEBER.--Assayer's Guide: - - Or, Practical Directions to Assayers, Miners, and Smelters, - for the Tests and Assays, by Heat and by Wet Processes, for - the Ores of all the principal Metals, of Gold and Silver - Coins and Alloys, and of Coal, etc. By OSCAR M. LIEBER. 12mo., - cloth. $1.25 - - - LOTH.--The Practical Stair Builder: - - A Complete Treatise on the Art of Building Stairs and - Hand-Rails, Designed for Carpenters, Builders, and - Stair-Builders. Illustrated with Thirty Original Plates. By - C. EDWARD LOTH, Professional Stair-Builder. One large 4to. - volume. $10.00 - - - LOVE.--The Art of Dyeing, Cleaning, Scouring, and Finishing, - on the Most Approved English and French Methods: - - Being Practical Instructions in Dyeing Silks, Woollens, and - Cottons, Feathers, Chips, Straw, etc. Scouring and Cleaning - Bed and Window Curtains, Carpets, Rugs, etc. French and - English Cleaning, any Color or Fabric of Silk, Satin, or - Damask. By THOMAS LOVE, a Working Dyer and Scourer. Second - American Edition, to which are added General Instructions for - the Use of Aniline Colors. In one volume, 8vo., 343 pages. $5.00 - - - MAIN and BROWN.--Questions on Subjects Connected with the - Marine Steam-Engine: - - And Examination Papers; with Hints for their Solution. By - THOMAS J. MAIN, Professor of Mathematics, Royal Naval College, - and THOMAS BROWN, Chief Engineer, R. N. 12mo., cloth. $1.50 - - - MAIN and BROWN.--The Indicator and Dynamometer: - - With their Practical Applications to the Steam-Engine. By - THOMAS J. MAIN, M. A. F. R., Assistant Professor Royal Naval - College, Portsmouth, and THOMAS BROWN, Assoc. Inst. C. E., - Chief Engineer, R. N., attached to the Royal Naval College. - Illustrated. From the Fourth London Edition. 8vo. $1.50 - - - MAIN and BROWN.--The Marine Steam-Engine. - - By THOMAS J. MAIN, F. R.; Assistant S. Mathematical Professor - at the Royal Naval College, Portsmouth, and THOMAS BROWN, - Assoc. Inst. C. E., Chief Engineer R. N. Attached to the Royal - Naval College. Authors of "Questions connected with the Marine - Steam-Engine," and the "Indicator and Dynamometer." With - numerous Illustrations. In one volume, 8vo. $5.00 - - - MARTIN.--Screw-Cutting Tables, for the Use of Mechanical - Engineers: - - Showing the Proper Arrangement of Wheels for Cutting the - Threads of Screws of any required Pitch; with a Table for - Making the Universal Gas-Pipe Thread and Taps. By W. A. - MARTIN, Engineer. 8vo. 50 - - - Mechanics' (Amateur) Workshop: - - A treatise containing plain and concise directions for the - manipulation of Wood and Metals, including Casting, Forging, - Brazing, Soldering, and Carpentry. By the author of the "Lathe - and its Uses." Third edition. Illustrated. 8vo. $3.00 - - - MOLESWORTH.--Pocket-Book of Useful Formulæ and Memoranda for - Civil and Mechanical Engineers. - - By GUILFORD L. MOLESWORTH, Member of the Institution of Civil - Engineers, Chief Resident Engineer of the Ceylon Railway. - Second American, from the Tenth London Edition. In one volume, - full bound in pocket-book form. $2.00 - - - NAPIER.--A System of Chemistry Applied to Dyeing. - - By JAMES NAPIER, F. C. S. A New and Thoroughly Revised - Edition. Completely brought up to the present state of the - Science, including the Chemistry of Coal Tar Colors, by A. A. - FESQUET, Chemist and Engineer. With an Appendix on Dyeing and - Calico Printing, as shown at the Universal Exposition, Paris, - 1867. Illustrated. In one Volume, 8vo., 422 pages. $5.00 - - - NAPIER.--Manual of Electro-Metallurgy: - - Including the Application of the Art to Manufacturing - Processes. By JAMES NAPIER. Fourth American, from-the - Fourth London edition, revised and enlarged. Illustrated by - engravings. In one vol., 8vo. $2.00 - - - NASON.--Table of Reactions for Qualitative Chemical Analysis. - - By HENRY B. NASON, Professor of Chemistry in the Rensselaer - Polytechnic Institute, Troy, New York. Illustrated by Colors. 63 - - - NEWBERY.--Gleanings from Ornamental Art of every style: - - Drawn from Examples in the British, South Kensington, Indian, - Crystal Palace, and other Museums, the Exhibitions of 1851 and - 1862, and the best English and Foreign works. In a series of - one hundred exquisitely drawn Plates, containing many hundred - examples. By ROBERT NEWBERY. 4to. $15.00 - - - NICHOLSON.--A Manual of the Art of Bookbinding: - - Containing full instructions in the different Branches of - Forwarding, Gilding, and Finishing. Also, the Art of Marbling - Book-edges and Paper. By JAMES B. NICHOLSON. Illustrated, - 12mo., cloth. $2.25 - - - NICHOLSON.--The Carpenter's New Guide: - - A Complete Book of Lines for Carpenters and Joiners. By PETER - NICHOLSON. The whole carefully and thoroughly revised by H. K. - DAVIS, and containing numerous new and improved and original - Designs for Roofs, Domes, etc. By SAMUEL SLOAN, Architect. - Illustrated by 80 plates. 4to. $4.50 - - - NORRIS.--A Hand-book for Locomotive Engineers and Machinists: - - Comprising the Proportions and Calculations for Constructing - Locomotives; Manner of Setting Valves; Tables of Squares, - Cubes, Areas, etc., etc. By SEPTIMUS NORRIS, Civil and - Mechanical Engineer. New edition. Illustrated. 12mo., cloth. $2.00 - - - NYSTROM.--On Technological Education, and the Construction of - Ships and Screw Propellers: - - For Naval and Marine Engineers. By JOHN W. NYSTROM, late - Acting Chief Engineer, U. S. N. Second edition, revised with - additional matter. Illustrated by seven engravings. 12mo. $1.50 - - - O'NEILL.--A Dictionary of Dyeing and Calico Printing: - - Containing a brief account of all the Substances and Processes - in use in the Art of Dyeing and Printing Textile Fabrics; - with Practical Receipts and Scientific Information. By CHARLES - O'NEILL, Analytical Chemist; Fellow of the Chemical Society - of London; Member of the Literary and Philosophical Society - of Manchester; Author of "Chemistry of Calico Printing and - Dyeing." To which is added an Essay on Coal Tar Colors and - their application to Dyeing and Calico Printing. By A. A. - FESQUET, Chemist and Engineer. With an Appendix on Dyeing and - Calico Printing, as shown at the Universal Exposition, Paris, - 1867. In one volume, 8vo., 491 pages. $6.00 - - - ORTON.--Underground Treasures: - - How and Where to Find Them. A Key for the Ready Determination - of all the Useful Minerals within the United States. By JAMES - ORTON, A. M. Illustrated, 12mo. $1.50 - - - OSBORN.--American Mines and Mining: - - Theoretically and Practically Considered. By Prof. H. - S. OSBORN. Illustrated by numerous engravings. 8vo. (_In - preparation._) - - - OSBORN.--The Metallurgy of Iron and Steel: - - Theoretical and Practical in all its Branches; with special - reference to American Materials and Processes. By H. S. - OSBORN, LL. D., Professor of Mining and Metallurgy in - Lafayette College, Easton, Pennsylvania. Illustrated by - numerous large folding plates and wood-engravings. 8vo. $15.00 - - - OVERMAN.--The Manufacture of Steel: - - Containing the Practice and Principles of Working and Making - Steel. A Handbook for Blacksmiths and Workers in Steel and - Iron, Wagon Makers, Die Sinkers, Cutlers, and Manufacturers of - Files and Hardware, of Steel and Iron, and for Men of Science - and Art. By FREDERICK OVERMAN, Mining Engineer, Author of - the "Manufacture of Iron," etc. A new, enlarged, and revised - Edition. By A. A. FESQUET, Chemist and Engineer. $1.50 - - - OVERMAN.--The Moulder and Founder's Pocket Guide: - - A Treatise on Moulding and Founding in Green-sand, Dry-sand, - Loam, and Cement; the Moulding of Machine Frames, Mill-gear, - Hollow-ware, Ornaments, Trinkets, Bells, and Statues; - Description of Moulds for Iron, Bronze, Brass, and other - Metals; Plaster of Paris, Sulphur, Wax, and other articles - commonly used in Casting; the Construction of Melting - Furnaces, the Melting and Founding of Metals; the Composition - of Alloys and their Nature. With an Appendix containing - Receipts for Alloys, Bronze, Varnishes and Colors for - Castings; also, Tables on the Strength and other qualities of - Cast Metals. By FREDERICK OVERMAN, Mining Engineer, Author of - "The Manufacture of Iron." With 42 Illustrations. 12mo. $1.50 - - - Painter, Gilder, and Varnisher's Companion: - - Containing Rules and Regulations in everything relating to - the Arts of Painting, Gilding, Varnishing, Glass-Staining, - Graining, Marbling, Sign-Writing, Gilding on Glass, and - Coach Painting and Varnishing; Tests for the Detection of - Adulterations in Oils, Colors, etc.; and a Statement of the - Diseases to which Painters are peculiarly liable, with the - Simplest and Best Remedies. Sixteenth Edition. Revised, with - an Appendix. Containing Colors and Coloring-Theoretical and - Practical. Comprising descriptions of a great variety of - Additional Pigments, their Qualities and Uses, to which are - added, Dryers, and Modes and Operations of Painting, etc. - Together with Chevreul's Principles of Harmony and Contrast of - Colors, 12mo., cloth. $1.50 - - - PALLETT.--The Miller's, Millwright's, and Engineer's Guide. - - By HENRY PALLETT. Illustrated. In one volume, 12mo. $3.00 - - - PERCY.--The Manufacture of Russian Sheet-Iron. - - By JOHN PERCY, M. D., F.R.S., Lecturer on Metallurgy at the - Royal School of Mines, and to The Advanced Class of Artillery - Officers at the Royal Artillery Institution, Woolwich; Author - of "Metallurgy." With Illustrations. 8vo., paper. 50 cts. - - - PERKINS.--Gas and Ventilation. - - Practical Treatise on Gas and Ventilation. With Special - Relation to Illuminating, Heating, and Cooking by Gas. - Including Scientific Helps to Engineer-students and others. - With Illustrated Diagrams. By E. E. PERKINS. 12mo., cloth. $1.25 - - - PERKINS and STOWE.--A New Guide to the Sheet-iron and Boiler - Plate Roller: - - Containing a Series of Tables showing the Weight of Slabs and - Piles to produce Boiler Plates, and of the Weight of Piles and - the Sizes of Bars to produce Sheet-iron; the Thickness of the - Bar Gauge in decimals; the Weight per foot, and the Thickness - on the Bar or Wire Gauge of the fractional parts of an inch; - the Weight per sheet, and the Thickness on the Wire Gauge of - Sheet-iron of various dimensions to weigh 112 lbs. per bundle; - and the conversion of Short Weight into Long Weight, and Long - Weight into Short. Estimated and collected by G. H. PERKINS - and J. G. STOWE. $2.50 - - PHILLIPS and DARLINGTON.--Records of Mining and Metallurgy; - - Or Facts and Memoranda for the use of the Mine Agent and - Smelter. By J. ARTHUR PHILLIPS, Mining Engineer, Graduate - of the Imperial School of Mines, France, etc., and JOHN - DARLINGTON. Illustrated by numerous engravings. In one volume, - 12mo. $2.00 - - - PROTEAUX.--Practical Guide for the Manufacture of Paper and - Boards. - - By A. PROTEAUX, Civil Engineer, and Graduate of the School - of Arts and Manufactures, and Director of Thiers' Paper Mill, - Puy-de-Dôme. With additions, by L. S. LE NORMAND. Translated - from the French, with Notes, by HORATIO PAINE, A. B., M. D. To - which is added a Chapter on the Manufacture of Paper from - Wood in the United States, by HENRY T. BROWN, of the "American - Artisan." Illustrated by six plates, containing Drawings of - Raw Materials, Machinery, Plans of Paper-Mills, etc., etc. - 8vo. $10.00 - - - REGNAULT.--Elements of Chemistry. - - By M. V. REGNAULT. Translated from the French by T. FORREST - BETTON, M. D., and edited, with Notes, by JAMES C. BOOTH, - Melter and Refiner U. S. Mint, and WM. L. FABER, Metallurgist - and Mining Engineer. Illustrated by nearly 700 wood - engravings. Comprising nearly 1500 pages. In two volumes, - 8vo., cloth. $7.50 - - - REID.--A Practical Treatise on the Manufacture of Portland - Cement: - - By HENRY REID, C. E. To which is added a Translation of M. A. - Lipowitz's Work, describing a New Method adopted in Germany - for Manufacturing that Cement, by W. F. REID. Illustrated by - plates and wood engravings. 8vo. $6.00 - - - RIFFAULT, VERGNAUD, and TOUSSAINT.--A Practical Treatise on - the Manufacture of Varnishes. - - By MM. RIFFAULT, VERGNAUD, and TOUSSAINT. Revised and Edited - by M. F. MALEPEYRE and Dr. EMIL WINCKLER. Illustrated. In one - volume, 8vo. (_In preparation._) - - - RIFFAULT, VERGNAUD, and TOUSSAINT.--A Practical Treatise on - the Manufacture of Colors for Painting: - - Containing the best Formulæ and the Processes the Newest and - in most General Use. By MM. RIFFAULT, VERGNAUD, and TOUSSAINT. - Revised and Edited by M. F. MALEPEYRE and Dr. EMIL WINCKLER. - Translated from the French by A. A. FESQUET, Chemist and - Engineer. Illustrated by Engravings. In one volume, 650 pages, - 8vo. $7.50 - - - ROBINSON.--Explosions of Steam Boilers: - - How they are Caused, and how they may be Prevented. By J. R. - ROBINSON, Steam Engineer. 12mo. $1.25 - - - ROPER.--A Catechism of High Pressure or Non-Condensing - Steam-Engines: - - Including the Modelling, Constructing, Running, and Management - of Steam Engines and Steam Boilers. With Illustrations. By - STEPHEN ROPER, Engineer. Full bound tucks. $2.00 - - - ROSELEUR.--Galvanoplastic Manipulations: - - A Practical Guide for the Gold and Silver Electro-plater and - the Galvanoplastic Operator. Translated from the French of - ALFRED ROSELEUR, Chemist, Professor of the Galvanoplastic Art, - Manufacturer of Chemicals, Gold and Silver Electro-plater. By - A. A. FESQUET, Chemist and Engineer. Illustrated by over 127 - Engravings on wood. 8vo., 495 pages. $6.00 - - [right-pointing hand] _This Treatise is the fullest and - by far the best on this subject ever published in the - United States._ - - - SCHINZ.--Researches on the Action of the Blast Furnace. - - By CHARLES SCHINZ. Translated from the German with the special - permission of the Author by WILLIAM H. MAW and MORITZ MULLER. - With an Appendix written by the Author expressly for this - edition. Illustrated by seven plates, containing 28 figures. - In one volume, 12mo. $4.25 - - - SHAW.--Civil Architecture: - - Being a Complete Theoretical and Practical System of Building, - containing the Fundamental Principles of the Art. By EDWARD - SHAW, Architect. To which is added a Treatise on Gothic - Architecture, etc. By THOMAS W. SILLOWAY and GEORGE M. - HARDING, Architects. The whole illustrated by One Hundred and - Two quarto plates finely engraved on copper. Eleventh Edition. - 4to., cloth. $10.00 - - - SHUNK.--A Practical Treatise on Railway Curves and Location, - for Young Engineers. - - By WILLIAM F. SHUNK, Civil Engineer. 12mo. $2.00 - - - SLOAN.--American Houses: - - A variety of Original Designs for Rural Buildings. Illustrated - by 26 colored Engravings, with Descriptive References. By - SAMUEL SLOAN, Architect, author of the "Model Architect," - etc., etc. 8vo. $2.50 - - - SMEATON.--Builder's Pocket Companion: - - Containing the Elements of Building, Surveying, and - Architecture; with Practical Rules and Instructions connected - with the subject. By A. C. SMEATON, Civil Engineer, etc. In - one volume, 12mo. $1.50 - - - SMITH.--A Manual of Political Economy. - - By E. PESHINE SMITH. A new Edition, to which is added a full - Index. 12mo., cloth. $1.25 - - - SMITH.--Parks and Pleasure Grounds: - - Or Practical Notes on Country Residences, Villas, Public - Parks, and Gardens. By CHARLES H. J. SMITH, Landscape Gardener - and Garden Architect, etc., etc. 12mo. $2.25 - - - SMITH.--The Dyer's Instructor: - - Comprising Practical Instructions in the Art of Dyeing Silk, - Cotton, Wool, and Worsted, and Woollen Goods: containing - nearly 800 Receipts. To which is added a Treatise on the - Art of Padding; and the Printing of Silk Warps, Skeins, and - Handkerchiefs, and the various Mordants and Colors for the - different styles of such work. By DAVID SMITH, Pattern Dyer. - 12mo., cloth. $3.00 - - - SMITH.--The Practical Dyer's Guide: - - Comprising Practical Instructions in the Dyeing of Shot - Cobourgs, Silk Striped Orleans, Colored Orleans from Black - Warps, Ditto from White' Warps, Colored Cobourgs from White - Warps, Merinos, Yarns, Woollen Cloths, etc. Containing nearly - 300 Receipts, to most of which a Dyed Pattern is annexed. - Also, A Treatise on the Art of Padding. By DAVID SMITH. In one - volume, 8vo. Price. $25.00 - - - STEWART.--The American System. - - Speeches on the Tariff Question, and on Internal Improvements, - principally delivered in the House of Representatives of - the United States. By ANDREW STEWART, late M. C. from - Pennsylvania. With a Portrait, and a Biographical Sketch. In - one volume, 8vo., 407 pages. $3.00 - - - STOKES.--Cabinet-maker's and Upholsterer's Companion: - - Comprising the Rudiments and Principles of Cabinet-making - and Upholstery, with Familiar Instructions, illustrated by - Examples for attaining a Proficiency in the Art of Drawing, - as applicable to Cabinet-work; the Processes of Veneering, - Inlaying, and Buhl-work; the Art of Dyeing and Staining - Wood, Bone, Tortoise Shell, etc. Directions for Lackering, - Japanning, and Varnishing; to make French Polish; to prepare - the Best Glues, Cements, and Compositions, and a number of - Receipts particularly useful for workmen generally. By J. - STOKES. In one volume, 12mo. With Illustrations. $1.25 - - - Strength and other Properties of Metals: - - Reports of Experiments on the Strength and other Properties - of Metals for Cannon. With a Description of the Machines - for testing Metals, and of the Classification of Cannon in - service. By Officers of the Ordnance Department U. S. Army. - By authority of the Secretary of War. Illustrated by 25 large - steel plates. In one volume, 4to. $10.00 - - - SULLIVAN.--Protection to Native Industry. - - By Sir EDWARD SULLIVAN, Baronet, author of "Ten Chapters on - Social Reforms." In one volume, 8vo. $1.50 - - - Tables Showing the Weight of Round, Square, and Flat Bar Iron, - Steel, etc., - - By Measurement. Cloth. 63 - - - TAYLOR.--Statistics of Coal: - - Including Mineral Bituminous Substances employed in Arts - and Manufactures; with their Geographical, Geological, - and Commercial Distribution and Amount of Production and - Consumption on the American Continent. With Incidental - Statistics of the Iron Manufacture. By R. C. TAYLOR. Second - edition, revised by S. S. HALDEMAN. Illustrated by five Maps - and many wood engravings. 8vo., cloth. $10.00 - - - TEMPLETON.--The Practical Examinator on Steam and the - Steam-Engine: - - With Instructive References relative thereto, arranged for - the Use of Engineers, Students, and others. By WM. TEMPLETON, - Engineer. 12mo. $1.25 - - - THOMAS.--The Modern Practice of Photography. - - By R. W. THOMAS, F. C. S. 8vo., cloth. 75 - - - THOMSON.--Freight Charges Calculator. - - By ANDREW THOMSON, Freight Agent. 24mo. $1.25 - - - TURNING: Specimens of Fancy Turning Executed on the Hand or - Foot Lathe: - - With Geometric, Oval, and Eccentric Chucks, and Elliptical - Cutting Frame. By an Amateur. Illustrated by 30 exquisite - Photographs. 4to. $3.00 - - - Turner's (The) Companion: - - Containing Instructions in Concentric, Elliptic, and - Eccentric Turning: also various Plates of Chucks, Tools, and - Instruments; and Directions for using the Eccentric Cutter, - Drill, Vertical Cutter, and Circular Rest; with Patterns and - Instructions for working them. A new edition in one volume, - 12mo. $1.50 - - - URBIN.--BRULL.--A Practical Guide for Puddling Iron and Steel. - - By ED. URBIN, Engineer of Arts and Manufactures. A Prize Essay - read before the Association of Engineers, Graduate of the - School of Mines, of Liege, Belgium, at the Meeting of 1865-6. - To which is added A COMPARISON OF THE RESISTING PROPERTIES OF - IRON AND STEEL. By A. BRULL. Translated from the French by A. - A. FESQUET, Chemist and Engineer. In one volume, 8vo. $1.00 - - - VAILE.--Galvanized Iron Cornice-Worker's Manual: - - Containing Instructions in Laying out the Different Mitres, - and Making Patterns for all kinds of Plain and Circular Work. - Also, Tables of Weights, Areas and Circumferences of Circles, - and other Matter calculated to Benefit the Trade. By CHARLES - A. VAILE, Superintendent "Richmond Cornice Works," Richmond, - Indiana. Illustrated by 21 Plates. In one volume, 4to. $5.00 - - - VILLE.--The School of Chemical Manures: - - Or, Elementary Principles in the Use of Fertilizing Agents. - From the French of M. GEORGE VILLE, by A. A. FESQUET, Chemist - and Engineer. With Illustrations. In one volume, 12 mo. $1.25 - - - VOGDES.--The Architect's and Builder's Pocket Companion and - Price Book: - - Consisting of a Short but Comprehensive Epitome of Decimals, - Duo-decimals, Geometry and Mensuration; with Tables of U. - S. Measures, Sizes, Weights, Strengths, etc., of Iron, Wood, - Stone, and various other Materials, Quantities of Materials in - Given Sizes, and Dimensions of Wood, Brick, and Stone; and a - full and complete Bill of Prices for Carpenter's Work; also, - Rules for Computing and Valuing Brick and Brick Work, - Stone Work, Painting, Plastering, etc. By FRANK W. VOGDES, - Architect. Illustrated. Full bound in pocket-book form. $2.00 - Bound in cloth. 1.50 - - - WARN.--The Sheet-Metal Worker's Instructor: - - For Zinc, Sheet-Iron, Copper, and Tin-Plate Workers, etc. - Containing a selection of Geometrical Problems; also, - Practical and Simple Rules for describing the various Patterns - required in the different branches of the above Trades. By - REUBEN H. WARN, Practical Tin-plate Worker. To which is - added an Appendix, containing Instructions for Boiler Making, - Mensuration of Surfaces and Solids, Rules for Calculating the - Weights of different Figures of Iron and Steel, Tables of the - Weights of Iron, Steel, etc. Illustrated by 32 Plates and 37 - Wood Engravings. 8vo. $3.00 - - - WARNER.--New Theorems, Tables, and Diagrams for the - Computation of Earth-Work: - - Designed for the use of Engineers in Preliminary and Final - Estimates, of Students in Engineering, and of Contractors - and other non-professional Computers. In Two Parts, with - an Appendix. Part I.--A Practical Treatise; Part II.--A - Theoretical Treatise; and the Appendix. Containing Notes - to the Rules and Examples of Part I.; Explanations of the - Construction of Scales, Tables, and Diagrams, and a Treatise - upon Equivalent Square Bases and Equivalent Level Heights. The - whole illustrated by numerous original Engravings, comprising - Explanatory Cuts for Definitions and Problems, Stereometric - Scales and Diagrams, and a Series of Lithographic Drawings - from Models, showing all the Combinations of Solid Forms which - occur in Railroad Excavations and Embankments. By JOHN WARNER, - A. M., Mining and Mechanical Engineer. 8vo. $5.00 - - - WATSON.--A Manual of the Hand-Lathe: - - Comprising Concise Directions for working Metals of all kinds, - Ivory, Bone and Precious Woods; Dyeing, Coloring, and French - Polishing; Inlaying by Veneers, and various methods practised - to produce Elaborate work with Dispatch, and at Small Expense. - By EGBERT P. WATSON, late of "The Scientific American," Author - of "The Modern Practice of American Machinists and Engineers." - Illustrated by 78 Engravings. $1.50 - - - WATSON.--The Modern Practice of American Machinists and - Engineers: - - Including the Construction, Application, and Use of Drills, - Lathe Tools, Cutters for Boring Cylinders, and Hollow Work - Generally, with the most Economical Speed for the same; the - Results verified by Actual Practice at the Lathe, the Vice, - and on the Floor. Together with Workshop Management, Economy - of Manufacture, the Steam-Engine, Boilers, Gears, Belting, - etc., etc. By EGBERT P. WATSON, late of the "Scientific - American." Illustrated by 86 Engravings. - In one volume, 12mo. $2.50 - - - WATSON.--The Theory and Practice of the Art of Weaving by Hand - and Power: - - With Calculations and Tables for the use of those connected - with the Trade. By JOHN WATSON, Manufacturer and Practical - Machine Maker. Illustrated by large Drawings of the best Power - Looms. 8vo. $10.00 - - - WEATHERLY.--Treatise on the Art of Boiling Sugar, - Crystallizing, Lozenge-making, Comfits, Gum Goods. - 12mo. $2.00 - - - WEDDING.--The Metallurgy of Iron; - - Theoretically and Practically Considered. By Dr. HERMANN - WEDDING, Professor of the Metallurgy of Iron at the Royal - Mining Academy, Berlin. Translated by JULIUS DU MONT, - Bethlehem, Pa. Illustrated by 207 Engravings on Wood, and - three Plates. In one volume, 8vo. (_In press._) - - - WILL.--Tables for Qualitative Chemical Analysis. - - By Professor HEINRICH WILL, of Giessen, Germany. Seventh - edition. Translated by CHARLES F. HIMES, Ph. D., Professor of - Natural Science, Dickinson College, Carlisle, Pa. $1.50 - - - WILLIAMS.--On Heat and Steam: - - Embracing New Views of Vaporization, Condensation, and - Explosions. By CHARLES WYE WILLIAMS, A. I. C. E. Illustrated. - 8vo. $3.50 - - - WOHLER.--A Hand-Book of Mineral Analysis. - - By F. WOHLER, Professor of Chemistry in the University of - Göttingen. Edited by HENRY B. NASON, Professor of Chemistry - in the Rensselaer Polytechnic Institute, Troy, New York. - Illustrated. In one volume, 12mo. $3.00 - - - WORSSAM.--On Mechanical Saws: - - From the Transactions of the Society of Engineers, 1869. By S. - W. WORSSAM, Jr. Illustrated by 18 large plates. 8vo. $5.00 - - - * * * * * - - - - - Transcriber's Note - - - _ _ represents italic text - - = = represents bold text - - + + represents black-letter, or Old English text - - - Sundry missing or damaged punctuation has been repaired. - - Both hyphenated and non-hyphenated variants of many words occur - in this book. All have been retained. - - This book has some older spellings or grammatical constructions, - which have been retained. Though published in Philadelphia in - 1878, parts of the book date from 1856, and would thus appear to - pre-date modern American spelling conventions. (See note on the - Catalogue advertisements which were placed after the Index.) - - Any illustration which interrupted a paragraph was moved to a - more convenient location, between paragraphs. - - There is some discrepancy between the TOC and the book's layout. - Some rationalization has been attempted. - - 'Blank work' appears to refer to blank book-keeping books sold by - stationers for use in business offices. - - Pages 18-19, 67: Derome also appears as De Rome. (Index: Derome) - - Page 23: 'him' and 'self' re-joined over line-break. - - "Many of these he made himself of iron,..." - - Page 57: 'Societé' corrected to 'Société'. - - "... in a Memoir presented by him to the "_Société - d' Encouragement_," - - Page 78: 'faustic chips'; 'faustic' would appear to be correct. - From [http://www.] - faculty.ucr.edu/~legneref/botany/tandye.htm#fusticdyes "Tanning - ... "Wood Dyes" ... "Fustic": - This is the main source of natural yellows, olives and browns and - ranks with logwood in importance. It is used for leather and in - combination with logwood for silk, wool, nylon and rayon. It - comes from the heartwood of Chlorophora tinctoria, a forest tree - of the West Indies, Central and South America. The light-yellow - wood turns a dark yellow-brown when exposed to air. - Faustic is exported as short logs, chips, powder or paste. The - dye is frequently called Old Fustic to distinguish it from Young - Fustic, once obtained from the twigs of Cotinus coggygria." - - Page 128: 'papier D'Anonay', should perhaps be 'papier - D'Annonay'. Also Page 150, so perhaps 'papier D'Anonay' was an - accepted spelling (in the bookbinding trade) at the time of - publication. - - Page 151: 'STATIONERY OR VELLUM BINDING.' is 'Blank Binding' in - TOC (p. 7). - - Page 181: "... but the character of the ornaments are generally - dissimilar." is as printed, though the author does seem to have - confused his tenses. - - Page 203: 'anti-tiquities' corrected to 'antiquities' - letters - duplicated at line-break. - - "... and illustrate the history, laws, customs, and - antiquities,..." - - Pages 214-5: Plate 8.: 'Pattern's' corrected to 'Patterns'. - - "Selection from Gaskill, Copper & Fry's Book of Patterns" - - Page 237 (also pp. 237, 244, 246, 246. 250, 251, 252, 258, and Index): - 'AQUA REGII' corrected to 'AQUA REGIA' ('royal water' or 'king's - water'), a mixture of nitric acid and hydrochloric acid. - (The transcriber could not find any reference to 'aqua regii', - and assumes it to be a spelling error by either the author or - the printer.) - - 'nitrous acid' corrected to 'nitric acid', which appears in the - next paragraph. - - "So called from its power to dissolve gold, is a mixture of - nitric acid (aquafortis) and muriatic acid, (spirits of - salts,)...." - - Page 244: 'OHANGE' corrected to 'ORANGE'. - - Page 313 et seq.: Some Index entries which had been transposed - have been returned to their correct places. - - The dashes (----)in the index have been replaced by double spaces, - making it a simple nested list. - - - INDEX: - - 'Antique Dutch': Page number corrected from 29 to 123 (No 29.) - - 'Maiolo, 17' corrected to 'Maioli, 18'. (also later occurrence) - - 'Carved oak boards, description of, 12, 211'. - - 'precious stones let into, 12, 14'. - - P. 211 had been incorrectly assigned to 'precious stones let - into', and the 'precious stones' are mentioned on pp. 12 and 14, - - 'Edges, Burnishing': P. 125 corrected to 126. - - 'Forwarding': p. 72 corrected to 73. - - 'Hints to Book Collectors': p. 291 corrected to 292. - - 'Mahogany sprinkle on leather': P. 252 corrected to 253. - - 'Marbled cloth': p. 127 corrected to 128. - - 'Turning up': p. 72 corrected to 73. - - - CATALOGUE: - - Page 1, et seq.: Catalogue of Practical and Scientific Books - (etc.): MM is an abbreviation for Messieurs. Abbreviations for - technical and professional qualifications, etc. are not always - consistently spaced. They have been retained as printed. - - Prices for books have been retained, as printed. Those less than - $1.00, with a couple of exceptions (50cts,) are printed, - e.g. 63, 75, etc., aligned right. - - The spelling in the descriptions of books in the Catalogue - sometimes depends on whether the author was American or English. - - The word 'Price' appears only in the description of one book. It - has been retained. - - Page 13: The price was omitted from two of Miss Leslie's books. - - - - - - - -End of the Project Gutenberg EBook of A Manual of the Art of Bookbinding, by -James B. 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font-size: 1.0em; font-weight: normal; text-decoration: none;} - a.toc:link {color: #330066; text-decoration: none;} - a.toc:visited {color: #cc3399; text-decoration: none;} - -@media handheld { -body { -margin-left : 2%; -margin-right : 2%; -margin-top : 1%; -margin-bottom : 1%; -} -hr { -margin-top : 0.1em; -margin-bottom : 0.1em; -visibility : hidden; -color : white; -display : none; -} -} -@media print { -span.pagenum { -visibility : hidden; -color : white; -display : none; -} -} - - </style> -</head> -<body> -<div>*** START OF THE PROJECT GUTENBERG EBOOK 55056 ***</div> - -<p><span class="pagenum"><a name="page1" id="page1"></a></span></p> - -<div class="figcenter" style="width: 300px;"> -<p class="right">1</p> -<a href="images/frontis-600.png"><img src="images/frontis-300.png" width="300" height="497" alt="fontispiece" /></a> - -<p class="center2"><i>Harleian Border: <br /><br />Montague Style; Harleian Style; Aldine Style</i></p></div> - -<p><span class="pagenum"><a name="page3" id="page3"></a></span></p> - -<div class="chapter"> -<h1 class="space-above5"><span class="less2">A</span><br /><br /> - -<span class="spaced1">MANUAL</span><br /><br /> - -<span class="smaller">OF THE</span><br /><br /> - -<span class="spaced1 wsp"><span style="font-weight: normal"><big>ART OF BOOKBINDING:</big></span></span><br /><br /> - -<span class="smaller">CONTAINING</span><br /><br /> - -<small><span class="wsp">FULL INSTRUCTIONS IN THE DIFFERENT BRANCHES OF<br /> -FORWARDING, GILDING, AND FINISHING.</span></small><br /><br /> - -<span class="smaller">ALSO,</span><br /><br /> - -<span class="oes"><span class="less2">The Art of Marbling Book-Edges and Paper.</span></span><br /><br /> - -<span class="smaller">THE WHOLE DESIGNED FOR</span><br /><br class="b30" /> - -<span class="less2">THE PRACTICAL WORKMAN, THE AMATEUR, AND THE<br /> -BOOK-COLLECTOR.</span><br /><br /> - -<span class="smaller">BY</span><br /><br /> - -<span class="less">JAMES B. NICHOLSON.</span></h1><br /><br /><br /></div> - -<p class="title1">PHILADELPHIA:</p> -<p class="title1a"><span class="spaced2">HENRY CAREY BAIRD & CO.,</span></p> -<p class="title1"><span class="spaced1m">INDUSTRIAL PUBLISHERS, BOOKSELLERS AND IMPORTERS,</span></p> -<p class="title1"><span class="sc">810 Walnut Street</span>.</p> - -<p class="title1">1878.</p> - -<p><span class="pagenum"><a name="page4" id="page4"></a></span></p> - -<div id="half-title"> - -<hr /> -<p class="center">Entered according to Act of Congress, in the year 1856, by<br /><br /> - -JAS. B. NICHOLSON,<br /><br /> - -in the Clerk's Office of the District Court of the United States for the<br /> -Eastern District of Pennsylvania.</p> - -<hr class="medium" /> - -<p class="center">STEREOTYPED BY L. JOHNSON & CO.<br /> -PHILADELPHIA.</p> - -<hr /> -</div> - -<p><span class="pagenum"><a name="page5" id="page5"></a></span></p> -<div class="chapter"> -<h2>PREFACE.</h2></div> - -<hr class="shorter" /> - -<p>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 desires -to emulate the skill of the best artists.</p> - -<p>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 revision -so much was rejected that it was -<span class="pagenum"><a name="page6" id="page6"></a>[pg 6]</span> -deemed better to pass under notice at the -same time the labours of others. "Cundall's -Ornamental Art" has furnished the -early incidents in the "Sketch of the Progress -of the Art of Bookbinding;" and, as -the best authority upon the subject, "Woolnough's -Art of Marbling" has been adapted -to this country. Mr. Leighton's "Suggestions -in Design" has been laid under contribution -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 acknowledged -in the body of the work, have -supplied some valuable hints.</p> - -<p>It is hoped that this volume will prove -useful to those forming libraries, by imparting -correct information upon subjects that to -the book-collector are important, and that its -tendencies will be to increase and strengthen -a love for the art.</p> - -<p class="author">J. B. N.</p> - -<p class="ind"><span class="sc">Philadelphia, 1856.</span></p> - -<p><span class="pagenum"><a name="page7" id="page7"></a>[pg 7]</span></p> -<div class="chapter"> -<h2>CONTENTS.</h2></div> - -<hr class="shorter" /> - -<table class="toc" summary="contents" border="0"> -<tr> - <td class="center" colspan="2"><span class="title">INTRODUCTION.</span></td> -</tr> -<tr> - <td class="left"> </td> - <td class="right">PAGE</td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page9"><span class="sc">Sketch</span> of the Progress of Bookbinding</a></td> - <td class="right"><a href="#page9">9</a></td> -</tr> -<tr> - <td class="center" colspan="2"><span class="title">PART I.</span></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page34">Sheet-Work</a></td> - <td class="right"><a href="#page34">34</a></td> -</tr> -<tr> - <td class="center" colspan="2"><span class="title">PART II.</span></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page59">Forwarding</a></td> - <td class="right"><a href="#page59">59</a></td> -</tr> -<tr> - <td class="left1"><a class="toc" href="#page74">The Edges</a></td> - <td class="right"><a href="#page74">74</a></td> -</tr> -<tr> - <td class="left1"><a class="toc" href="#page82">Marbling</a></td> - <td class="right"><a href="#page82">82</a></td> -</tr> -<tr> - <td class="left1"><a class="toc" href="#page130">Gilding the Edges</a></td> - <td class="right"><a href="#page130">130</a></td> -</tr> -<tr> - <td class="left1"><a class="toc" href="#page141">Covering</a></td> - <td class="right"><a href="#page141">141</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page149">Half-Binding</a></td> - <td class="right"><a href="#page149">149</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page151">Blank Binding</a></td> - <td class="right"><a href="#page151">151</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page169">Boarding</a></td> - <td class="right"><a href="#page169">169</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page170">Cloth-Work</a><span class="pagenum"><a name="page8" id="page8"></a>[pg 8]</span></td> - <td class="right"><a href="#page170">170</a></td> -</tr> -<tr> - <td class="center" colspan="2"><span class="title">PART III.</span></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page178">Ornamental Art</a></td> - <td class="right"><a href="#page178">178</a></td> -</tr> -<tr> - <td class="left">Finishing:</td> - <td class="right"> </td> -</tr> -<tr> - <td class="left1"><a class="toc" href="#page186">Taste and Design</a></td> - <td class="right"><a href="#page186">186</a></td> -</tr> -<tr> - <td class="left1"><a class="toc" href="#page198">Styles</a></td> - <td class="right"><a href="#page198">198</a></td> -</tr> -<tr> - <td class="left1"><a class="toc" href="#page215">Gilding</a></td> - <td class="right"><a href="#page215">215</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page227">Illuminated Binding</a></td> - <td class="right"><a href="#page227">227</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page230">Blind Tooling</a></td> - <td class="right"><a href="#page230">230</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page231">Antique</a></td> - <td class="right"><a href="#page231">231</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page236">Colouring</a></td> - <td class="right"><a href="#page236">236</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page246">Marbling</a></td> - <td class="right"><a href="#page246">246</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page256">Uniform Colours</a></td> - <td class="right"><a href="#page256">256</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page260">Gold Marbles, Landscapes, &c.</a></td> - <td class="right"><a href="#page260">260</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page270">Inlaid Ornaments</a></td> - <td class="right"><a href="#page270">270</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page272">Harmony of Colours</a></td> - <td class="right"><a href="#page272">272</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page273">Pasting Down, &c.</a></td> - <td class="right"><a href="#page273">273</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page279">Stamp or Press-Work</a></td> - <td class="right"><a href="#page279">279</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page289">Restoring the Bindings of Old Books</a></td> - <td class="right"><a href="#page289">289</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page290">Supplying Imperfections in Old Books</a></td> - <td class="right"><a href="#page290">290</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page292">Hints to Book-Collectors</a></td> - <td class="right"><a href="#page292">292</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page297">Technical Terms</a></td> - <td class="right"><a href="#page297">297</a></td> -</tr> -</table> - -<p><span class="pagenum"><a name="page9" id="page9"></a>[pg 9]</span></p> -<div class="chapter"> -<h2>INTRODUCTION.</h2></div> - -<hr class="short" /> - -<p class="title2">SKETCH OF THE PROGRESS OF BOOKBINDING.</p> - -<hr class="shorter" /> - -<p>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 ornamented. -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 Ornamental -Art applied to the exterior of books.</p> - -<p>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 -<span class="pagenum"><a name="page10" id="page10"></a>[pg 10]</span> -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 covering -for the book.</p> - -<p>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 valuable, -carved oak bindings were given to those which -were the most decorated within.</p> - -<p>To cover the plain wooden board with vellum or -leather would, in the course of years, be too apparent -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.</p> - -<p>There is reason to believe that the Romans carried -the Art of Binding to considerable perfection. -Some of the public offices had books called Dyptichs,<a id="footnotetag1" name="footnotetag1"></a><a href="#footnote1">*</a> -in which their acts were written. The binding -<span class="pagenum"><a name="page11" id="page11"></a>[pg 11]</span> -of one of these in carved wood is thus described:—"Seated -in the centre of each board is a consul, -holding in one hand a baton, and in the other, upraised, -a purse, as if in the act of throwing it to -some victor in the games. Above these are miniature -portraits, various other ornaments, and an inscription; -below, on one board, are two men leading -out horses for the race, and beneath them a group, -with a ludicrous representation of two other men, -exhibiting their endurance of pain by allowing crabs -to fasten on their noses." A small print of an -ivory dyptich of the fifth century, in Mr. Arnett's -"Books of the Ancients," may be consulted as a -specimen of the kind of ornament then adopted. -<span class="pagenum"><a name="page12" id="page12"></a>[pg 12]</span> -An old writer says, that about the time of the Christian -era the books of the Romans were covered with -red, yellow, green, and purple leather, and decorated -with gold and silver.</p> - -<p>If we pass on to a few centuries later, we find -that the monks were almost the only literati. They -wrote chiefly on subjects of religion, and bestowed -the greatest pains upon the internal and external -decorations of their books. In the thirteenth century -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.</p> - -<p>"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 number -<span class="pagenum"><a name="page13" id="page13"></a>[pg 13]</span> -of old books and oftentimes examined their -covers, yet I do not remember I ever saw boards -upon any of them of so great thickness as these. -This was the manner of Binding, it seems, of those -times, especially if the books were books of extraordinary -value, as this is. 'Twas usual to cut Letters -in the Covers, and such letters were the better -preserv'd by having them placed in some hollow -part, which might easily be made if the boards were -pretty thick. I suppose, therefore, that even the -copies of <i>Gregory's</i> Pastoral that were given to -Cathedral Churches by King <i>Alfred</i> had such thick -covers also, that these by the <i>Æstals</i> 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 <i>Mary</i>, to whom the Abbey was dedicated. -Over it there was once fastened another much -larger plate, as is plain from the Nails that fixed -it and from some other small indications now extant,—and -this 'tis likely was of silver, and perhaps -there was an <i>anathema</i> against the Person that -should presume to alienate it, engraved upon it—together -with the Name of the Person (who it may -<span class="pagenum"><a name="page14" id="page14"></a>[pg 14]</span> -be was <i>Roger Poure</i>) that was the Donor of the -Book. This will make it to have been nothing else -but an Æstal, such a one (tho' not so valuable) as -was fastened upon <i>Gregory's</i> Pastoral. But this I -leave to every man's judgment."<a id="footnotetag2" name="footnotetag2"></a><a href="#footnote2">†</a></p> - -<p>At a later period we find on the binding of books -gold and silver ornaments of very beautiful design, -enclosing precious stones of great variety; carved -ivory tablets let into framework of carved oak; -rich-coloured velvets, edged with morocco, with -bosses, clasps, and corners of solid gold; white vellum -stamped in gold and blind tooling; and morocco -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.</p> - -<p>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 -<span class="pagenum"><a name="page15" id="page15"></a>[pg 15]</span> -died at Buda about the year 1490. This library -consisted of about thirty thousand volumes, mostly -manuscripts of the Greek and Latin poets and historians, -and was contained in large vaulted galleries, -in which, among other works of art, were two fountains, -one of marble and the other of silver. The -binding of the books were mostly of brocade, protected -with bosses and clasps of gold and silver; -and these, alas! 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.</p> - -<p>The general use of calf and morocco binding -seems to have followed the invention of printing. -There are many printed books, still in good preservation, -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.</p> -<p><span class="pagenum"><a name="page16" id="page16"></a>[pg 16]</span></p> - -<p>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 animals. -There are in the British Museum and in the -Record Office many English bindings which undoubtedly -were executed in the time of Henry VII.</p> - -<p>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, supposing -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 importance -to the Art of Bookbinding at that period. We -<span class="pagenum"><a name="page17" id="page17"></a>[pg 17]</span> -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, -were used as well on the sides as on the gilded edges -of books still in existence.</p> - -<p>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 decorations, -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.</p> - -<p>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 -<span class="pagenum"><a name="page18" id="page18"></a>[pg 18]</span> -for. All Grolier's books were bound in smooth -morocco or calf, the pattern being formed of intersected -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 morocco -of different colours; and it is our opinion that -no style of book-ornamentation has been since introduced -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 Grolierii -et amicorum" at the bottom, signifying that -Grolier wished his books to be used by his friends -as well as by himself. Connoisseurs rejoice when -they meet with a work from the library of Maioli, -a disciple of Grolier, or those of Diana of Poictiers, -the mistress of Henry II., and whose books, in -consequence of her influence and taste, are elegantly -bound. It is supposed that the bindings for Diana -of Poictiers were designed by Petit Bernard. They -were bound in morocco of all colours, and usually -ornamented with the emblems of the crescent and -bow and quiver.</p> - -<p>Among the earliest French binders must be mentioned -Padeloup, Derome, and De Seuil. Pope -<span class="pagenum"><a name="page19" id="page19"></a>[pg 19]</span> -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 commendation; -his dentelle borders are fine, but unfortunately -he was not careful of the trenchant steel. -Padeloup's tooling or ornaments consist chiefly of -small dots, and the forms he invented are elegant. -When met with in good state, they look like gold -lace upon the sides and backs of the books.</p> - -<p>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.</p> - -<p>We must now resume our account of binding in -England.</p> - -<p>During the early part of the last century the -general bindings were, with the exception of what -was called Cambridge binding, (from being executed -at that place,) of a depreciated character, many of -them very clumsy, and devoid of taste in their ornament. -Toward the middle some degree of attention -<span class="pagenum"><a name="page20" id="page20"></a>[pg 20]</span> -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.</p> - -<p>The artists of the earlier part of the period of -which we have been treating must have been numerous; -but few are known. Two German binders, -of the name of Baumgarten and Benedict, were of -considerable note and in extensive employment in -London during the early part of this century. The -bindings of Oxford were also very good at this -period. Who the distinguished parties at Oxford -were has not been recorded; but a person of the -name of Dawson, then living at Cambridge, has the -reputation of being a clever artist, and may be pronounced -as the binder of many of the substantial -volumes still possessing the distinctive binding we -have before referred to. Baumgarten and Benedict -would, doubtless, be employed in every style of -binding of their day, but the chief characteristics of -their efforts are good substantial volumes in russia, -with marbled edges.</p> - -<p>To these succeeded Mr. John Mackinlay and two -other Binders, named Kalthœber and Staggemier; -but to Mackinlay may, perhaps, be attributed the -<span class="pagenum"><a name="page21" id="page21"></a>[pg 21]</span> -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 specimens -of his, in public and private libraries, remain -to justify the character given of him; and of the -numerous artists that his office produced, many have -since given evidence, by their work, that the lessons -they received were of a high character. The specimens -alluded to exhibit a degree of care, ingenuity, -and skill, highly creditable to them as binders. -Though well 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 perfection. -About the year 1770 Roger Payne went to -London, and, as his history is an epoch in the history -of the art, we will devote some space to it.</p> - -<p>The personal history of Roger Payne is one -among the many of the ability of a man being rendered -nearly useless by the dissoluteness of his -<span class="pagenum"><a name="page22" id="page22"></a>[pg 22]</span> -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.</p> - -<p>Roger Payne was a native of Windsor Forest, and -first became initiated in the rudiments of the art he -afterward became so distinguished a professor of, -under the auspices of Mr. Pote, bookseller to Eton -College. From this place he went to London, where -he was first employed by Mr. Thomas Osborne, the -bookseller, of Holborn, London. Disagreeing on -some matters, he subsequently obtained employment -from Mr. Thomas Payne, of the King's Mews, St. -Martin's, who ever after proved a friend to him. -Mr. Payne established him in business near Leicester -Square, about the year 1769-70, and the -encouragement he received from his patron, and -many wealthy possessors of libraries, was such that -the happiest results and a long career of prosperity -might have been anticipated. His talents as an -artist, particularly in the finishing department, were -<span class="pagenum"><a name="page23" id="page23"></a>[pg 23]</span> -of the first order, and such as, up to his time, had -not been developed by any other of his countrymen.</p> - -<p>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 ornament -as was applicable to the nature of the work -it was to embellish. Many of these he made himself -of iron, and some are yet preserved as curiosities -and specimens of the skill of the man. To this -occupation he may have been at times driven from -lack of money to procure them from the tool-cutters; -but it cannot be set down as being generally -so, for, in the formation of the designs in -which he so much excelled, it is but reasonable to -suppose, arguing upon the practice of some others -in later times, he found it readier and more expedient -to manufacture certain lines, curves, &c. 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 employers. -His best work is in Earl Spencer's -library.</p> -<p><span class="pagenum"><a name="page24" id="page24"></a>[pg 24]</span></p> - -<p>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:—</p> - -<table summary="memorandum of money spent" border="0"> -<tr> - <td class="left">For bacon <span style="padding-left: 1em"><big>.</big></span><span style="padding-left: 1em"><big>.</big></span> - <span style="padding-left: 1em"><big>.</big></span><span style="padding-left: 1em"><big>.</big></span> - <span style="padding-left: 1em"><big>.</big></span><span style="padding-left: 1em"><big>.</big></span></td> - <td class="right1">1 halfpenny.</td> -</tr> -<tr> - <td class="left">For liquor <span style="padding-left: 1em"><big>.</big></span><span style="padding-left: 1em"><big>.</big></span> - <span style="padding-left: 1em"><big>.</big></span><span style="padding-left: 1em"><big>.</big></span> - <span style="padding-left: 1em"><big>.</big></span><span style="padding-left: 1em"><big>.</big></span></td> - <td class="right1">1 shilling.</td> -</tr> -</table> - -<p>No wonder then, with habits like these, that the -efforts of his patron, in fixing him, were rendered -of no avail. Instead of rising to that station his -great talent would have led to, he fell by his dissolute -conduct to the lowest depths of misery and -wretchedness. In his wretched working-room was -executed the most splendid specimens of binding; -and here on the same shelf were mixed together old -shoes and precious leaves—bread and cheese, with -the most valuable and costly of MSS. or early-printed -books.</p> - -<p>That he was characteristic or eccentric may be -judged by what has been related of him. He appears -to have also been a poet on the subject of his -unfortunate propensity, as the following extract -from a copy of verses sent with a bill to Mr. Evans, -for binding "Barry on the Wines of the Ancients," -proves.</p> -<p><span class="pagenum"><a name="page25" id="page25"></a>[pg 25]</span></p> - -<div class="poem width21"> <div class="stanza"> -<p>"Homer the bard, who sung in highest strains</p> -<p>The festive gift, a goblet for his pains;</p> -<p>Falernian gave Horace, Virgil fire,</p> -<p>And Barley Wine my British Muse inspire.</p> -<p>Barley Wine first from Egypt's learned shore;</p> -<p>And this the gift to me of Calvert's <i>store</i>."</p> - </div> </div> - -<p>The following bill is, like himself, a curiosity:—</p> - -<table summary="bill" border="0"> -<tr> - <td class="left"><br />"Vanerii Praedium Rusticum. Parisiis. <span class="sc">mdcclxxiv.</span><br /> - Bound in the very best manner in the finest Green Morocco.<br /> - The back lined with Red Morrocco.<br /><br /></td> - <td> </td> - <td> </td> -</tr> -<tr> - <td class="left">"Fine Drawing paper and very neat Morrocco<br /> - Joints inside. Their was a few leaves stained<br /> - at the foredge, which is washed and cleaned...</td> - <td class="left2"><span class="bigbrace">}</span></td> - <td class="right2"><br class="b30" />0 : 0 : 6</td> -</tr> -<tr> - <td class="left"><br />"The subject of the Book being Rusticum, I<br /> - have ventured to putt The Vine Wreath on it.<br /> - I hope I have not bound it in too rich a manner<br /> - for the Book. It takes up a great deal of time<br /> - to do these Vine Wreaths. I guess within Time<br /> - I am certain of measuring and working the<br /> - different and various small tools required to fill<br /> - up the Vine Wreath that it takes very near 3<br /> - days' work in finishing the two sides only of the<br /> - Book—but I wished to do my best for the Work—<br /> - and at the same time I cannot expect to charge a<br /> - full and proper price for the Work, and hope that<br /> - the price will not only be found reasonable but<br /> - cheap</td> - <td> </td> - <td class="right1">0 : 18 : 0"</td> -</tr> -</table> - -<p><span class="pagenum"><a name="page26" id="page26"></a>[pg 26]</span></p> - -<p>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 pecuniary -assistance both for the support of his body -and the performance of his work.</p> - -<p>Of the excellencies and defects of his bindings, -Dr. Dibdin, in his "Bibliographer's Decameron," -has thus recorded his opinion:—</p> - -<p>"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 <i>olive</i>, which he called <i>Venetian</i>. In -his lining, joints, and inside ornaments, our hero -<span class="pagenum"><a name="page27" id="page27"></a>[pg 27]</span> -generally, and sometimes melancholily, failed. He -was fond of what he called purple paper, the colour -of which was as violent as its texture was coarse. -It was liable also to change and become spotty, and -as a harmonizing colour with olive it was odiously -discordant. The joints of his books were generally -<i>disjointed</i>, uneven, carelessly tooled, and having -a very unfinished appearance. His backs are -boasted of for their firmness. His work excellently -forwarded—every sheet fairly and <i>bona fide</i> -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."</p> - -<p>Though Roger Payne's career had not been successful, -so far as he was personally concerned, it -had the effect of benefiting the whole race of English -bookbinders. A new stimulus had been given -to the trade, and a new and chastened style introduced -among the more talented artists of the metropolis. -The unmeaning ornaments we have before -alluded to were discarded, and a series of classical, -geometrical, and highly-finished designs adopted. -The contemporaries of Roger—Kalthœber, Staggemier, -<span class="pagenum"><a name="page28" id="page28"></a>[pg 28]</span> -Walther, Hering, Falkner, &c.—exerted -themselves with a generous rivalry to execute the -most approved bindings.</p> - -<p>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, while 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:—</p> - -<p>"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. -<span class="pagenum"><a name="page29" id="page29"></a>[pg 29]</span> -The binding is of blood-coloured morocco, extending -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 Sheriffs, seventy in number, the -quarterings of which, with their frets, bends, &c., -are curiously inlaid in different colours of morocco, -and, with the ornamental parts of the bearings, -have been blazoned with heraldic accuracy on both -sides of the volume. When we state that more than -57,000 impressions of tools have been required to -produce this wonderful exemplar of ingenuity and -<span class="pagenum"><a name="page30" id="page30"></a>[pg 30]</span> -skill, some idea may be formed of the time and -labour necessary for its execution."</p> - -<p>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.</p> - -<p>The French degenerated in binding from the time of -Louis XIV. until they became far inferior to the -English. This continued to the beginning of the -present century; the books bound for the Emperor -Napoleon, upon which no expense appears to have -been spared, are clumsy, disjointed, and the tools -coarse and unevenly worked. They were generally -bound in red morocco, with morocco joints, lined -with purple silk, upon which the imperial bee was -stamped repeatedly. Thouvenin enjoys the honour -of rescuing the art from its long-continued degradation -in France, and of founding a school whose disciples -are now acknowledged to rank with the great -masters of the art. His tools and patterns were -designed and cut by artists in his employ; his establishment -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 -<span class="pagenum"><a name="page31" id="page31"></a>[pg 31]</span> -the present day in France are, Trautz et Bauzonnet, -Niédré, Duru, Capé and Lortic. The books of -these artists are distinguished for solidity, squareness, -freedom of the joints, firmness of the heads -and back, and extreme nicety of finish. The fore-edges -are gilt with the round in them, giving them -a solid rich appearance, as yet unequalled. The material -employed is 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 destroying -the natural grain of the leather, and, with it, its -velvet-like richness and beauty; and yet, under the -manipulations of these French artists, it becomes one -of the most plastic of materials; rare volumes of the -smallest dimensions, containing but one or two -sheets, are not only covered on the exterior, but the -interior of the boards, 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 speaking -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 -<span class="pagenum"><a name="page32" id="page32"></a>[pg 32]</span> -more so. Capé 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 <i>à la Janseniste</i>, and were truly exemplars. -In exterior gilding he is not so happy as some of his -brethren. Niédré 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 pronounced -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 -<span class="pagenum"><a name="page33" id="page33"></a>[pg 33]</span> -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 known that what is generally esteemed -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 comparing -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.</p> - -<p class="footnote1"><a id="footnote1" name="footnote1"></a><a class="footnote" href="#footnotetag1"><sup>*</sup></a> -"The antiquity of illuminated missals has been traced, -conjecturally, even to the time of the apostles themselves. -At the beginning of the Christian era, missive letters were -usually written on tablets of wood, hollowed so as to present -something of the appearance of a boy's slate in a frame. -Two of these were placed face to face to preserve the writing, -which was on wax, and a pair of boards thus prepared was -called a Dyptich. The Epistles of St. Paul and the other -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.</p> - -<p class="footnote">"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 altarpieces -so frequently found in the earliest Christian churches."—<i>Lady -Calcott's Essay.</i></p> - -<p class="footnote1b"><a id="footnote2" name="footnote2"></a><a class="footnote" href="#footnotetag2"><sup>†</sup></a> -Leland's Itin. vol. ii. p. 86, Oxford, 1769.]</p> - -<p><span class="pagenum"><a name="page34" id="page34"></a>[pg 34]</span><br /> -<span class="pagenum"><a name="page35" id="page35"></a>[pg 35]</span></p> - -<div class="chapter"> -<h2 class="space-above4"><span class="spaced1">MANUAL</span><br /><br /> - -<span class="smaller">OF THE</span><br /><br /> - -<span class="spaced1 wsp"><span style="font-weight: normal"><big>ART OF BOOKBINDING.</big></span></span></h2></div> - -<hr class="short" /> - -<h3>PART I.</h3> - -<p class="title3">SHEET WORK.</p> - -<p>As the gathering of the sheets of a book, after -they have been printed and dried off, is nearly -always performed at the printer's, it will not be -necessary to enter into any details on that subject, -but to consider, as the commencement of binding, -the operation of</p> - -<p class="center1sb">FOLDING,</p> - -<p>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.</p> - -<p>The various sizes of books are denominated -<span class="pagenum"><a name="page36" id="page36"></a>[pg 36]</span> -according to the number of leaves in which the -sheet is folded; as folio, quarto, octavo, 12mo, -16mo, 18mo, 24mo, 32mo, &c. Each form presents -a certain number of pages, so disposed that, -when the sheet is properly folded, they will follow -the numeric order. In commencing the folding -of any work, particular attention should be paid, -in opening out the quires or sets, to observe that -the <i>signatures</i> follow each other alphabetically, -and, if consisting of two or more volumes, that the -whole of the sheets belong to the right one.</p> - -<p>Although each form is folded in a different manner, -it will not be requisite to detail the whole, as a -description of the octavo and twelvemo will amply -furnish an idea of the proper way of folding the -larger and smaller sizes.</p> - -<p><i>Octavo.</i>—The sheets being placed on the table -with the signature, which will be seen at the bottom -of the first page, turned towards the table at the -corner nearest to the left hand of the workman, -will present pages 2, 15, 14, 3, below, and above, -with their heads reversed, pages 7, 10, 11, 6, -(reading from left to right.) The sheet is then -taken with the left hand, by the angle to the right, -and creased with the <i>folder</i> in the right hand, in -the direction of the <i>points</i> made in the printing, -<span class="pagenum"><a name="page37" id="page37"></a>[pg 37]</span> -taking care, by shading to the light, that the figures -of the pages fall exactly one on the other, which -will be 3 upon 2, and 6 upon 7, and thereby presenting -uppermost pages 4 and 13, and above 5 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.</p> - -<p><i>Twelvemo.</i>—The signature to this size, when -placed before the workman, should be at the top, -on his left hand, and towards the table, the sheet -presenting pages 2, 7, 11; 23, 18, 14; 22, 19, 15; -3, 6, 10. On the right, pages 11, 14, 15, 10, are -separated from the others by a larger space, in the -middle of which are the points, indicating the -proper place where the pages should be cut off. -The <i>folder</i> 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 <i>inset</i>, and which bears the signature of the -sheet it has been separated from, with the addition -of a figure or asterisk, as A5 or A*. The remaining -eight pages are folded in the same way as the -octavo, and when done the inset is placed in the -<span class="pagenum"><a name="page38" id="page38"></a>[pg 38]</span> -middle of it, taking care that the head-lines arrange -properly.</p> - -<p>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 <i>oblong</i> 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.</p> - -<p>In the first fold of the octavo sheet is shown the -manner of folding the folio, and in the second the -quarto; the twelvemo also presents us with the -eighteens, after the sheet is cut into three divisions. -Little or no difficulty will be experienced in folding -any other size that may occur, attention to the disposition -of the pages and signatures being only -required.</p> - -<p>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. -<span class="pagenum"><a name="page39" id="page39"></a>[pg 39]</span> -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.</p> - -<p>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 manner. -They are then</p> - -<p class="center1sb">COLLATED,</p> - -<p>to see that the whole of the sheets belong to the -same work and volume, as also that none are wanting. -This is done by taking the book in the right -hand by the upper corner of the fore-edge, and -with the left opening the sheets on the back and -<span class="pagenum"><a name="page40" id="page40"></a>[pg 40]</span> -letting them fall successively one after the other. -The signatures will be thus seen in alphabetical or -arithmetical order, as <span class="sc">a</span>, <span class="sc">b</span>, <span class="sc">c</span>, &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 duplicate, -the further progress of the work must be suspended -till the imperfection is procured or exchanged. -Those that have been wrong folded -must be corrected, and any <i>cancels</i> 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 <i>beating</i>, or rolling, it will be much -better to perform that operation after the book is -brought from the stone, for which directions will be -given. The book, being found correct, will be -ready for the beating-stone, which, although it has -<span class="pagenum"><a name="page41" id="page41"></a>[pg 41]</span> -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</p> - -<p class="center1sb">BEATING, PRESSING, ETC.</p> - -<p>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 -<i>sections</i> or <i>beatings</i>, as may be judged necessary according -to the thickness and other circumstances. -A section is then taken and well beaten over, drawing -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 -<span class="pagenum"><a name="page42" id="page42"></a>[pg 42]</span> -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.</p> - -<p>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.</p> - -<div class="figcenter" style="width: 200px;"> -<a href="images/042-600.jpg"><img src="images/042-200.jpg" width="200" height="160" alt="beating with the hammer" title="beating with the hammer" /></a></div> - -<p>Before beating a book, care should be taken to -observe if it has been recently printed, for if so it -would <i>set off</i> 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 particularly -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 -<span class="pagenum"><a name="page43" id="page43"></a>[pg 43]</span> -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 make 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.</p> - -<p>When employed at the beating-stone, the workman -should keep his legs close together, to avoid -<i>hernia</i>, to which he is much exposed if, with the -intention of being more at ease, he contracts the -habit of placing them apart.</p> - -<p>A rolling-machine has been invented as a substitute -for the beating which books require previous to -being bound. The book is divided into parts, according -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 -<span class="pagenum"><a name="page44" id="page44"></a>[pg 44]</span> -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 sometimes -all his skill and care are insufficient to remedy -the evil caused by the rollers.</p> - -<p>A powerful embossing press, technically called a -smasher, has lately been employed with great advantage. -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 operation -is repeated until the book has experienced -the whole power of the press. It has been calculated -that by this process a single volume will, if -necessary, undergo a pressure equal to a weight of -from fifty to eighty tons.</p> - -<p>This process has an advantage over every other -hitherto employed in which machinery has been engaged; -and it is, in some respects, preferable to -beating, as the book is of the same thickness in -every part, while in beating there is a great liability -<span class="pagenum"><a name="page45" id="page45"></a>[pg 45]</span> -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.</p> - -<p>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.</p> -<p><span class="pagenum"><a name="page46" id="page46"></a>[pg 46]</span></p> - -<div class="figcenter" style="width: 330px;"> -<a href="images/046-700.png"><img src="images/046-330.png" width="330" height="467" alt="" /></a> -<p class="center">HYDRAULIC PRESS, FROM THE MANUFACTORY OF<br /> -ISAAC ADAMS & CO., BOSTON.</p></div> - -<p>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 -<span class="pagenum"><a name="page47" id="page47"></a>[pg 47]</span> -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.</p> - -<p>The hydraulic press is manufactured by nearly -all the press-makers, differing only in the general -design, the application of power being the same.</p> - -<p>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 <i>tissue-paper</i> 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 -<span class="pagenum"><a name="page48" id="page48"></a>[pg 48]</span> -number of plates, which are directed to be placed -at the end, they are sewn on the bands by overcasting, -which operation will shortly be treated of -in full.</p> - -<p>The book, being now ready for pressing, is taken -in sections, according to the work and the judgment -of the workman, and placed between pressing-boards -the size of the volume, one on the other, -and conveyed to the <i>standing-press</i>, which is pulled -down as tight as possible by the <i>press-pin</i>, 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.</p> - -<p>After the book has been sufficiently pressed, it -will be necessary again to <i>collate</i> it, to correct any -disarrangement that may have taken place during -the beating and pressing. It is then ready for -being sawn out.</p> - -<p class="center1sb">SAWING THE BACKS.</p> - -<p>This operation is performed in order to save the -expense of sewing upon raised bands, and also to -prevent the bands on which a book is sewn appearing -on the back. After beating the book up well -<span class="pagenum"><a name="page49" id="page49"></a>[pg 49]</span> -on the back and head, it is placed between two -<i>cutting-boards</i>, the back projecting a little over the -thick edge, and tightly screwing in the <i>laying</i> or -<i>cutting-press</i>, the whole being elevated sufficiently -to prevent the saw damaging the cheeks of the press. -Then with a <i>tenant-saw</i> 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 <i>chain</i> or <i>kettle-stitch</i>. 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.</p> - -<p>The <i>end-papers</i>, 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.</p> - -<p class="center1sb">SEWING.</p> - -<p>According to the number of <i>bands</i> wanted, must -be attached to the loops on the cross-bar of the -<i>sewing-press</i> as many pieces of cord, of proper -length and thickness, and fastened with the aid of -the <i>keys</i> in the groove of the press as nearly equal -<span class="pagenum"><a name="page50" id="page50"></a>[pg 50]</span> -in tightness as possible. When this is done, the -back of the first sheet in the book is placed against -the cords, which must be moved upwards or the -contrary to the marks of the saw, when the small -screws at each end under the cross-bar must be -moved upwards till the strings are equally tight. -All this being disposed, the book is commenced sewing -by placing the end-paper, which has no marks -of the saw, on the sheet before laid down, and sewing -it throughout, leaving a small end of thread to -form the knot, after sewing the first sheet, which is -then taken from under and sewn the whole length.</p> - -<div class="figcenter" style="width: 500px;"> -<a href="images/050-1000.png"><img src="images/050-500.png" width="500" height="316" alt="the sewing press" title="the sewing press" /></a></div> - -<p>There are various ways of sewing, according to -the size and thickness of the sheets of a book. A -volume consisting of thick sheets, or a sheet containing -a plate or map, should be sewn singly the -whole length, in order to make the work more -secure and solid. Great care should also be taken -not to draw the thread too tight at the head or foot -<span class="pagenum"><a name="page51" id="page51"></a>[pg 51]</span> -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 -downwards, as is too frequently the case. Upon the -proper swelling of the back mainly depends the -regularity of the round and firmness of the back -in the after-stages of the binding.</p> - -<p>When a book is sewed <i>two sheets on</i>, 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.</p> - -<p>Half-sheets, to obviate the swelling of the back -too much, are usually sewn on four bands, which -<span class="pagenum"><a name="page52" id="page52"></a>[pg 52]</span> -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 sawing, -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 swelling -of the back which a less number of sheets in a -course would make and spoil the appearance of the -binding.</p> - -<p>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 -<span class="pagenum"><a name="page53" id="page53"></a>[pg 53]</span> -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 sufficient to -secure the stitches from tearing, bringing the -thread round each band, as before directed, and -fastening it at the end before proceeding with -another course. To keep the whole of the sheets -properly even, the back is sometimes glued immediately -after cutting, and when dry divided into -sections. Atlases and books of prints, when folded -in the middle, will require a guard, or slip of paper, -to be pasted to them, so as to allow them to open -flat, which they could not do if attached to the -back, and which would destroy the engraving. -These guards must be of strong paper about an -inch in breadth and folded to the right size. -They are sewn by overcasting, as above directed.</p> - -<p>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 -<span class="pagenum"><a name="page54" id="page54"></a>[pg 54]</span> -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.</p> - -<p>The old mode of sewing on raised bands combines -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 process, -and necessarily an expensive one; and many -binders who pretend to bind in this manner, to -obviate this, have their books sewed in the ordinary -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 pasteboard, -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 appearance; -then draw lines square across the back with -<span class="pagenum"><a name="page55" id="page55"></a>[pg 55]</span> -a black lead-pencil from the compass-points of the -five inner divisions, for the places upon which the -bands are to be sewed; then make a slight scratch -with a saw about one-quarter of an inch inside of -where the book will be cut, for the kettle-stitch at -the head and likewise at the tail. Upon taking the -book out of the laying-press, take the pasteboards -and saw them at the points marked by the lead-pencil -of a depth sufficient to allow the cords upon -which the book is to be sewn to enter. The boards -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 -<span class="pagenum"><a name="page56" id="page56"></a>[pg 56]</span> -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.</p> - -<p>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.</p> - -<p>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 sufficiently -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. -<span class="pagenum"><a name="page57" id="page57"></a>[pg 57]</span> -The plates are then whipped along the back edge -of the guard, and sewed in the usual manner.</p> - -<p>It was proposed by <i>M. Lesne</i>, bookbinder of <i>Paris</i>, -in a Memoir presented by him to the "<i>Société d' Encouragement</i>," -January 18, 1818, that in order to -give to books the three essential qualities of binding, -elasticity, solidity, and elegance, they should -be sewn similar to the Dutch method, which is on -slips of parchment, instead of packthread; but to -remedy the inconvenience arising from one slip -being insufficient to make the back of a proper -solidity, as well as being liable to break, and, if -doubled or trebled, presenting a bad effect on the -back when covered, he suggested the adoption of -silk for the 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 solidity -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.</p> -<p><span class="pagenum"><a name="page58" id="page58"></a>[pg 58]</span></p> - -<p class="center1sb">INDIA-RUBBER BACKS.</p> - -<p>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 somewhat -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.</p> -<p><span class="pagenum"><a name="page59" id="page59"></a>[pg 59]</span></p> - -<div class="chapter"> -<h3 class="space-above4">PART II.</h3> -</div> - -<p class="title3">FORWARDING.</p> - -<p>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 forwarder -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 compared -with the productions of the most celebrated -artists. Let him, then, look well to his laurels if -engaged upon first-class job or</p> - -<p class="center1sb">CUSTOMER WORK.</p> - -<p>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 -<span class="pagenum"><a name="page60" id="page60"></a>[pg 60]</span> -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 entirely -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 -<span class="pagenum"><a name="page61" id="page61"></a>[pg 61]</span> -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.</p> - -<p>If a joint of calf or morocco is required, all that -is necessary for the forwarder to do is to tip the -back-edge of the lining that goes next to the book -very slightly, merely to secure it until it reaches -the finisher, and place one or two guards of stout -paper along the joint, to be afterwards torn out by -the finisher.</p> - -<p>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 convenient -to pass through the boards which are to -form the side covers.</p> - -<p>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 -<span class="pagenum"><a name="page62" id="page62"></a>[pg 62]</span> -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</p> - -<p class="center1sb">ROUNDING.</p> - -<p>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 engaged -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 the operation is repeated until it is -<span class="pagenum"><a name="page63" id="page63"></a>[pg 63]</span> -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 submitted -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</p> - -<p class="center1sb">BACKING,</p> - -<p>which is done to form the groove for the reception of -the boards. One of the backing-boards is placed upon -the volume at an equal distance from the back, the -distance depending upon the thickness of the board; -then, turning the volume, the other is placed in a -<span class="pagenum"><a name="page64" id="page64"></a>[pg 64]</span> -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 turning -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 possible, -the blows glancing towards the edge, so as to -merely commence the turning of the sheets, without -causing any indentations or wrinkles on the inside -of the volume. 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 backing-board, -so as to form a regular and solid groove. The process -is repeated up the other side, the volume examined -to see if the back is regular and equal in its -circle throughout, and any slight irregularities corrected -by light taps of the beating-hammer; but -nothing can justify a workman in striking a heavy -<span class="pagenum"><a name="page65" id="page65"></a>[pg 65]</span> -blow near the centre of the back, as it must inevitably -crush and wrinkle the paper on the inside. -It serves but to prove his ignorance of the principle -upon which the entire operation is based. There is -nothing connected with the forwarding of a book -that requires more attention, patience, and skill, -than the rounding and backing, and there is nothing -that contributes 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 employed -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 previously -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 thicknesses -of board together. Place them in the standing-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 -<span class="pagenum"><a name="page66" id="page66"></a>[pg 66]</span> -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</p> - -<p class="center1sb">SQUARING THE BOARDS.</p> - -<p>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 front -cutting-board is placed at the compass-holes, and -again put in press, with the front cutting-board or -<span class="pagenum"><a name="page67" id="page67"></a>[pg 67]</span> -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 difference:—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 integrity -of their margins after having been submitted -to the cruel operation of his steel. A volume cut -<span class="pagenum"><a name="page68" id="page68"></a>[pg 68]</span> -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</p> - -<p class="center1sb">LACING IN.</p> - -<p>Each board is then marked with a bodkin opposite -to the slips intended to be laced in; a hole in a -vertical position is then made through the board, -and being turned, another in the same way near to -the first. The bands, having been pasted and passed -in above, are returned through the other hole, and, -being pulled tight, the boards will necessarily be -perpendicular to 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 <i>knocking-down iron</i>) -fixed at the end of the laying-press, and beating -above with the backing-hammer.</p> - -<p>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 -<span class="pagenum"><a name="page69" id="page69"></a>[pg 69]</span> -made, and the band, being passed in this one continued -hole, will not be seen underneath. The -liability, however, of its tearing out is an objection, -and from this cause the common way, with care in -beating down, is preferable.</p> - -<p>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 pressing-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 screwed -down, the back of the volume is then damped with -thin paste, and, according to the firmness of the -sewing and book, grated and scraped, and finally -rubbed smooth with paper-shavings, and left to dry -in the press for as long a time as possible. If a -large volume, it is usual to apply a little glue to the -back. When taken out of the press, the boards -must be disengaged from the end-papers, where they -<span class="pagenum"><a name="page70" id="page70"></a>[pg 70]</span> -adhere, so that they may move freely up and down -in the cutting.</p> - -<p class="center1sb">CUTTING THE EDGES.</p> - -<div class="figcenter" style="width: 300px;"> -<a href="images/070-650.png"><img src="images/070-300.png" width="300" height="361" alt="the cutting-press" title="the cutting-press" /></a></div> - -<p>The manner of preparing the volume for cutting -is very important, as swerving from right angles in -cutting the head and tail will present a disagreeable -appearance. Every precaution must be taken to -insure the volume being cut perfectly square. The -front-board is drawn down from the head just sufficient -for the knife to operate upon in the cutting. A -piece of trindle is inserted between the volume and -the back-board for the point of the knife to cut -against. The volume is then placed, with the back -towards the workman, on a cutting-board in the left -hand; the <i>runner</i> 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 -<span class="pagenum"><a name="page71" id="page71"></a>[pg 71]</span> -cutting-press, to the level of the right-hand cheek -of the same, taking care that the volume hangs perpendicular -to the cheeks of the press. Being -screwed tight with the pin, the workman then takes -the plough with the right hand, by the head of the -screw, and, placing it on the groove of the press, -proceeds to cut the book, holding the other end of -the screw firmly with the left hand, and causing the -knife to advance gradually through the book by -turning the 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 <i>bolt</i> the -defect may require. The head being cut, the same -operation is repeated for the tail.</p> - -<p>Much precaution is necessary in cutting the fore-edge. -Mark the book with a bodkin on the projecting -part of the end-papers, and on each side, at the -head and foot, close to the square side of the boards, -<span class="pagenum"><a name="page72" id="page72"></a>[pg 72]</span> -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 cutting-boards -at the end of the book, even with the -line before made; turn it, and place the runner as -much below the line on the title-side as has been -allowed for the square on the fore-edge. Taking -the whole in the left hand, the volume must be examined -to remedy any defects, should it not be -regular and equal on both sides, and then put into -the press, the runner as before even with the right -cheek, taking care to keep the other board projected -above the left, equal to the square allowed -in front, so that, when cut through, the fore-edge -may be equally square with the boards on each side. -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 produced. -The method above described is called -"cutting in boards," and is superior to any other.</p> -<p><span class="pagenum"><a name="page73" id="page73"></a>[pg 73]</span></p> - -<p>It is of the utmost importance to the young workman -that he should pursue and acquire a methodical -system in all his operations. Select the best method, -as a matter of course, and then adhere to it. Do not, -every time you perform one particular process, do it -in a different manner. For instance: in backing or -in turning up your books, it is better to always have -the head towards you; in cutting head and 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 inattention -to these particulars, in the unnecessary handling -and confused manner of working. It will be -found that the best and most expeditious workmen -are those who do their work in a systematical manner. -In taking leave of this department, our parting -admonition to the young workman is, <span class="sc">strive to excell</span>. -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 process, -ask yourself the question, "Why is this done? -What is the object of it? Can the process be improved?" -<span class="pagenum"><a name="page74" id="page74"></a>[pg 74]</span> -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.</p> - -<p>The next process which the volume must undergo -is the gilding or colouring of</p> - -<p class="center1sb">THE EDGES.</p> - -<p>Colouring the edges with one colour, equally -sprinkling over, marbling, and gilding, come under -this head; and the style of ornament of this description -must depend on the price allowed for the -work, and will vary according to the taste of the -workman and wish of the employer.</p> - -<p class="center1sb">OF COLOURING AND SPRINKLING.</p> - -<p>The colours most used are brown and red, in -preparing which it is necessary to grind them in -water, very fine, on a slab, with a muller. Each -colour is then placed in a separate vase, and mixed -up with a little paste and water to the proper consistency -for use. To procure a better edge, two -drops of oil and about an equal quantity of vinegar -and water may be mixed with the paste.</p> - -<p>In colouring the edges equally over, the boards -at the head of the volume must be beat even with -the edges, and the book rested on the edge of the -<span class="pagenum"><a name="page75" id="page75"></a>[pg 75]</span> -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 work, this -must be done.</p> - -<p>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, with -the heads upwards; then, with a large brush, similar -to a painter's, dipped in whatever colour may -be wished, and well beat on the press-pin over the -pot till the sprinkle becomes fine, the edges are -covered. The pin and brush are held sufficiently -above the book, and the edge sprinkled by beating -<span class="pagenum"><a name="page76" id="page76"></a>[pg 76]</span> -lightly at first, and stronger as the brush becomes -less charged with colour, being careful that the -spots are as fine as possible, the sprinkle being -thereby made more beautiful.</p> - -<p>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 -<span class="pagenum"><a name="page77" id="page77"></a>[pg 77]</span> -others will readily occur to the workman as his -taste may suggest.</p> - -<h4 class="space-above2">COLOURS.</h4> - -<p>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 require -a more lengthened description.</p> - -<p><span class="sc">Blue.</span>—Indigo and Prussian blue, with whiting -for lighter shades.</p> - -<p><span class="sc">Yellow.</span>—Dutch pink, King's yellow, and yellow -orpine.</p> - -<p><span class="sc">Brown.</span>—Umber, burnt over the fire.</p> - -<p><span class="sc">Red.</span>—Vermilion; or Oxford ochre, burnt in a -pan.</p> - -<p><span class="sc">Pink.</span>—Rose-pink; to make it brighter, add lake.</p> - -<p><span class="sc">Green.</span>—The first and second mixed to any -shade.</p> - -<p>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 faithful -record of the art, the whole of the colours used -and modes of preparation will be presented.</p> -<p><span class="pagenum"><a name="page78" id="page78"></a>[pg 78]</span></p> - -<p class="center1sb">BLUE.</p> - -<p>Two ounces of the best indigo, finely powdered, -mixed with a teaspoonful of spirit of salts and two -ounces of best oil of vitriol. Put the whole into a -bottle, and let it remain in boiling water for six or -eight hours, and mix with water as wanted to the -shade required.</p> - -<p class="center1sb">YELLOW.</p> - -<p>French berries, saffron, or faustic chips. Boil -with a small portion of alum; strain and bottle for -use.</p> - -<p class="center1sb">GREEN.</p> - -<p>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.</p> - -<p class="center1sb">ORANGE.</p> - -<p>Two ounces of Brazil dust, one ounce of French -berries, bruised, and a little alum. Boil in water -and strain.</p> - -<p class="center1sb">RED.</p> - -<p>Brazil dust, half a pound; alum, two ounces, well -powdered; boiled in a pint of vinegar and a pint of -<span class="pagenum"><a name="page79" id="page79"></a>[pg 79]</span> -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.</p> - -<p class="center1sb">PURPLE.</p> - -<p>Logwood chips, in the proportion of half a pound -to two ounces of alum, and a small piece of copperas, -boiled in three pints of soft water till reduced -a third, will make a good purple.</p> - -<p>Brazil dust, submitted to the action of strong -potash water, will make a good purple for immediate -use, but will not keep.</p> - -<p class="center1sb">BROWN.</p> - -<p>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.</p> - -<p>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 -<span class="pagenum"><a name="page80" id="page80"></a>[pg 80]</span> -of extra books marbled, they will be of use to those -who would find marbling a work of too great preparation -and expense for a small number of books -in places where there is no marbler.</p> - -<p class="center1sb">RICE MARBLE.</p> - -<p>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.</p> - -<p class="center1sb">WHITE SPOT.</p> - -<p>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.</p> - -<p>Whiting mixed with water to a thick consistency -<span class="pagenum"><a name="page81" id="page81"></a>[pg 81]</span> -will nearly answer the same purpose, and is less -expensive than wax.</p> - -<p class="center1sb">FANCY MARBLE.</p> - -<p>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 <i>palette-knife</i> 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.</p> - -<p class="center1sb">GOLD SPRINKLE.</p> - -<p>After the edges of the book are stained with -any of the colours above described, a good effect -may be given by sprinkling with a gold liquid, -made in the following manner:—Take a book of -<span class="pagenum"><a name="page82" id="page82"></a>[pg 82]</span> -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 sublimate -with a teaspoonful of spirits of wine, and -when dissolved put the same, with a little thick gum-water, -to the gold, and bottle it, always shaking it -well before using. When dry, burnish the edge, -and cover it with paper till the work is finished.</p> - -<h4 class="space-above2">MARBLING.</h4> - -<p>Marbling is an art which consists in the production -of certain patterns and effects by means of -colours so prepared as to float upon a preparation -of mucilaginous liquid, possessing certain antagonistic -properties to the colours prepared for the -purpose, and which colours, when 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.</p> - -<p>It is a process which it is not very easy to describe; -and yet, to any one beholding it for the -first time, nothing appears more simple or easy -<span class="pagenum"><a name="page83" id="page83"></a>[pg 83]</span> -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 discoveries -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.</p> - -<p>When the art was first discovered, and by whom, -or in what 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 antique -patterns, with stormont and other spots, being -considered the most original.</p> - -<p>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 -<span class="pagenum"><a name="page84" id="page84"></a>[pg 84]</span> -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.</p> - -<p>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 pronounced -to be easiest and best.</p> - -<p>In 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 described, -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.</p> - -<p class="center1sb">COLOURS.</p> - -<p>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, -<span class="pagenum"><a name="page85" id="page85"></a>[pg 85]</span> -just as they are produced or manufactured, and -ground by the marbler himself. A list is subjoined:—</p> - -<p class="center1sb">REDS.</p> - -<div class="center"><div class="content"> -<p>Drop Lake.</p> -<p>Peach-wood Lake.</p> -<p>Vermilion.</p> -<p>Rose-Pink.</p> -<p>Oxford Ochre, Burnt.</p> - </div> </div> - -<p class="center1sb">BLUES.</p> - -<div class="center"><div class="content"> -<p>Indigo.</p> -<p>Chinese Blue.</p> -<p>Ultramarine.</p> -<p>Prussian Blue.</p> - </div> </div> - -<p class="center1sb">YELLOWS.</p> - -<div class="center"><div class="content"> -<p>Lemon Chrome.</p> -<p>Dutch Pink.</p> -<p>Oxford Ochre, Raw.</p> - </div> </div> - -<p class="center1sb">BLACKS.</p> - -<div class="center"><div class="content"> -<p>Vegetable Lamp-Black.</p> -<p>Drop Ivory-Black.</p> - </div> </div> -<p><span class="pagenum"><a name="page86" id="page86"></a>[pg 86]</span></p> - -<p class="center1sb">BROWN.</p> - -<div class="center"><div class="content"> -<p>Turkey Umber Burnt.</p> - </div> </div> - -<p class="center1sb">ORANGE.</p> - -<div class="center"><div class="content"> -<p>Orange Lead.</p> -<p>Orange Chrome.</p> - </div> </div> - -<p class="center1sb">WHITE.</p> - -<div class="center"><div class="content"> -<p>China Clay.</p> -<p>Pipe-Clay.</p> -<p>Flake White.</p> -<p>Paris White.</p> - </div> </div> - -<hr class="shorter" /> - -<p class="center1sb">DROP LAKE.</p> - -<p>This is the most beautiful, but the most expensive, -of all the reds, and is used only for book-edges and -the most superior kinds of work. There are different -shades of this colour, viz.:—scarlet, crimson, -and purple. The scarlet is the most expensive, -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.</p> -<p><span class="pagenum"><a name="page87" id="page87"></a>[pg 87]</span></p> - -<p>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 small cones or drops, from which -it derives its name, and is a preparation of cochineal; -therefore the value of it depends much upon -the price of that article.</p> - -<p class="center1sb">VERMILION.</p> - -<p>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 preparation -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.</p> - -<p class="center1sb">ROSE-PINK.</p> - -<p>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 -<span class="pagenum"><a name="page88" id="page88"></a>[pg 88]</span> -indigo or a little Chinese blue it makes a good -purple.</p> - -<p class="center1sb">BURNT OCHRE.</p> - -<p>This colour is obtained in its native state from -pits dug in the earth in the neighbourhood of Oxford; -hence, it is called Oxford ochre, and sometimes -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.</p> - -<p class="center1sb">WOOD LAKE.</p> - -<p>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 exclusively -for marbling. It is the best red that can -be used for general purposes, and for appearance -comes next to the drop lake.</p> -<p><span class="pagenum"><a name="page89" id="page89"></a>[pg 89]</span></p> - -<p class="center1sb">CHINESE BLUE.</p> - -<p>This is a very beautiful but not a very durable -colour. It is, however, an almost indispensable one -to the marbler, as it will produce nearly every -shade of blue by the addition of certain proportions -of white. This colour requires to be particularly -well 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.</p> - -<p class="center1sb">INDIGO.</p> - -<p>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 colour, 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.</p> - -<p class="center1sb">ULTRAMARINE.</p> - -<p>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 -kinds now in general use are the French and German, -<span class="pagenum"><a name="page90" id="page90"></a>[pg 90]</span> -the genuine article being far too high in price -for this kind of work.</p> - -<p class="center1sb">PRUSSIAN BLUE.</p> - -<p>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.</p> - -<p class="center1sb">DUTCH PINK.</p> - -<p>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 mixing -with chrome to produce the various shades of -yellow required.</p> - -<p class="center1sb">CHROME.</p> - -<p>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.</p> - -<p class="center1sb">RAW OCHRE,</p> - -<p>Or Oxford ochre in its native state. This may -be used in certain proportions for making olive -<span class="pagenum"><a name="page91" id="page91"></a>[pg 91]</span> -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.</p> - -<p class="center1sb">DROP IVORY-BLACK.</p> - -<p>This colour cannot be well used alone. It may, -therefore, be called only an auxiliary to others.</p> - -<p class="center1sb">VEGETABLE-BLACK.</p> - -<p>This is a superior kind of lamp-black, but prepared -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.</p> - -<p class="center1sb">TURKEY UMBER, BURNT.</p> - -<p>This colour produces a very good brown, but -it is not required if you have the burnt Oxford -ochre, as, with the aid of that colour and a little -indigo and black, any shade of brown may be produced.</p> - -<p class="center1sb">ORANGE LEAD.</p> - -<p>This is a very heavy colour, and is but little -used, except for the edges of account books.</p> -<p><span class="pagenum"><a name="page92" id="page92"></a>[pg 92]</span></p> - -<p class="center1sb">WHITE.</p> - -<p>For this an article called China clay is used; -also, for some purposes, the common pipe-clay.</p> - -<p class="center1sb">GUM.</p> - -<p>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 offered. 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 satisfactory -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 -<span class="pagenum"><a name="page93" id="page93"></a>[pg 93]</span> -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 annoyance -and mortification.</p> - -<p class="center1sb">DIRECTIONS FOR PREPARING THE GUM.</p> - -<p>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 considerable -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 pan -until they are all dissolved.</p> -<p><span class="pagenum"><a name="page94" id="page94"></a>[pg 94]</span></p> - -<p class="center1sb">OF LINSEED.</p> - -<p>It is possible to marble some patterns on mucilage -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.</p> - -<p class="center1sb">CARRAGEEN, OR IRISH MOSS.</p> - -<p>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.</p> - -<p class="center1sb">FLEA-SEED.</p> - -<p>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 -<span class="pagenum"><a name="page95" id="page95"></a>[pg 95]</span> -resembling the annoying little insect whose name it -bears, and from which it may possibly derive its -appellation. It produces a very strong and powerful -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.</p> - -<p>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 water, 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 judgment, -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 -<span class="pagenum"><a name="page96" id="page96"></a>[pg 96]</span> -cooled, for it will settle without being again heated -or having more boiling water added to it.</p> - -<p class="center1sb">OX-GALL.</p> - -<p>The surest way 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.</p> - -<p class="center1sb">WATER.</p> - -<p>Soft or rain water, when it can be procured, -is the best adapted for all the preparations in -marbling.</p> - -<p class="center1sb">OF THE PREPARATIONS OR VEHICLES REQUIRED<br /> -FOR MARBLING UPON.</p> - -<p>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 -<span class="pagenum"><a name="page97" id="page97"></a>[pg 97]</span> -each other, strain it through a fine hair sieve into -the trough, and it will be fit for use.</p> - -<p>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 difficulty -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.</p> - -<p>As some gum is stronger than other, it is hardly -prudent or possible to give any exact weight of gum -to any certain quantity of water. Practice and -your own judgment must determine this. Besides, -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 solution, -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 skimmer -<span class="pagenum"><a name="page98" id="page98"></a>[pg 98]</span> -is drawn along, and, upon sprinkling on the -colours, they crack, and are a long while spreading -out, it is a sign it is too thick; but a little practice -will soon enable the learner to form a correct judgment -in this matter.</p> - -<p class="center1sb">OF GRINDING THE COLOURS.</p> - -<p>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 well. -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 particularly -well ground upon a slab, with a muller, -the mill not grinding so finely as by this method.</p> - -<p>The colours must all be ground with a preparation -of beeswax, in the average proportion of one ounce -of the prepared beeswax to one pound of colour. -Blues and greens require rather more. This will -prevent the colour rubbing off on the hand, and will -make it burnish or glaze easily.</p> -<p><span class="pagenum"><a name="page99" id="page99"></a>[pg 99]</span></p> - -<p class="center1sb">DIRECTIONS FOR PREPARING THE WAX FOR<br /> -GRINDING.</p> - -<p>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 with it a quarter of a -pound of the very best curd-soap cut into small or -thin pieces; place it in a moderate heat, and when -both soap and wax are quite dissolved, (but be sure -they are not boiling,) put the pipkin containing the -hot liquid upon a table, take in one hand a pot of -cold water, and, gently stirring the melted wax with -the other, pour in the water, a little at a time, keeping -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 properly -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.</p> -<p><span class="pagenum"><a name="page100" id="page100"></a>[pg 100]</span></p> - -<p class="center1sb">TROUGHS.</p> - -<p>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 without -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.</p> - -<p class="center1sb">FRENCH OR SHELL MARBLE.</p> - -<p>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 -<span class="pagenum"><a name="page101" id="page101"></a>[pg 101]</span> -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.</p> - -<div class="figcenter" style="width: 300px;"> -<a href="images/100fp-600.jpg"><img src="images/100fp-300.jpg" width="300" height="491" alt="FRENCH OR SHELL MARBLE." title="FRENCH OR SHELL MARBLE." /></a></div> - -<p>For convenience of reference, the various patterns -described and processes employed will be numbered.</p> - -<h4>No. 1.—<span class="sc">large brown french or shell, with -three veins, viz.: red, yellow, and black.</span></h4> - -<p>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, putting -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.</p> -<p><span class="pagenum"><a name="page102" id="page102"></a>[pg 102]</span></p> - -<p>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 fineness; -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 altogether, -which cannot be counteracted in any other -way than by mixing some more colour without any -oil, and adding it thereto.</p> - -<p>Having, then, all in readiness, first skim the surface -of the solution lightly all over, and immediately -(for when 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 -<span class="pagenum"><a name="page103" id="page103"></a>[pg 103]</span> -two opposite corners, and let the corner between the -finger and thumb of the right hand touch the surface -first, while with the left you let the paper gradually -descend, till it lies flat upon the liquid. -If it is let down too quickly, or the paper gets rumpled, -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.</p> - -<p>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.</p> - -<h4>No. 2.—<span class="sc">small brown french.</span></h4> - -<p>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.</p> -<p><span class="pagenum"><a name="page104" id="page104"></a>[pg 104]</span></p> - -<h4>No. 3.—<span class="sc">brown french, with light spot.</span></h4> - -<p>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 two 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 unburnt -Oxford ochre, and is mixed with gall, water, -a few drops of olive-oil, and a portion of spirits -of turpentine.</p> - -<h4>No. 4.—<span class="sc">small yellow shell.</span></h4> - -<p>This is done in the same manner as No. 2 as -regards the mixing and working, the only difference -being in the body-colour.</p> - -<h4>No. 5.—<span class="sc">brown and purple shell.</span></h4> - -<p>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 -<span class="pagenum"><a name="page105" id="page105"></a>[pg 105]</span> -these instructions, to imitate any French pattern, -whether there be more or less colours in them.</p> - -<h4>No. 6.—<span class="sc">blue stormont</span></h4> - -<p>Is an old pattern, but well worthy of being revived. -Though apparently very simple and easy of execution, -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 observation -on the part of the workman.</p> - -<p>There is but one vein-colour, (red,) and the -ground or body-colour is blue. The same preparation -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 like fine network. Sometimes it will happen -<span class="pagenum"><a name="page106" id="page106"></a>[pg 106]</span> -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.</p> - -<h4>No. 7.—<span class="sc">light italian.</span></h4> - -<p>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.</p> - -<div class="figcenter" style="width: 300px;"> -<a href="images/106afp-600.jpg"><img src="images/106afp-300.jpg" width="300" height="491" alt="Light Italian" title="Light Italian" /></a></div> - -<p>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 accumulation -of colour, or they will cause large spots or -<span class="pagenum"><a name="page107" id="page107"></a>[pg 107]</span> -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.</p> - -<div class="figcenter" style="width: 300px;"> -<a href="images/106bfp-600.jpg"><img src="images/106bfp-300.jpg" width="300" height="491" alt="marbling pattern" title="marbling pattern" /></a></div> - -<p>Another method is to use a mixture of weak gall -and water instead of the white 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.</p> - -<h4>NO. 8.—<span class="sc">small green italian.</span></h4> - -<p>A very neat pattern, may be made of one colour -only, which must be mixed with gall and water -sufficiently strong to cover the whole surface of the -solution on the trough; after which, beat 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.</p> - -<h4>No. 9.—<span class="sc">west end, (brown, with light spot.)</span></h4> - -<p>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 -<span class="pagenum"><a name="page108" id="page108"></a>[pg 108]</span> -a portion of the darker colour and mixing a quantity -of 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.</p> - -<p>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.</p> - -<h4>No. 10.—<span class="sc">west end, (green, with light spot.)</span></h4> - -<p>An excellent pattern may be made similar to -No. 9 in all the details of mixing, working, and putting -on the colours, the only difference being in the -colours, which may be made of two shades of green -or olive, and the veins red, yellow, and blue.</p> -<p><span class="pagenum"><a name="page109" id="page109"></a>[pg 109]</span></p> - -<div class="figcenter" style="width: 300px;"> -<a href="images/108fp-600.jpg"><img src="images/108fp-300.jpg" width="300" height="491" alt="curl" title="curl" /></a></div> - -<h4>No. 11.—<span class="sc">curl.</span></h4> - -<p>The pattern called French Curl, after the description -of the French marble (see No. 1) will not require -much explanation, the only difference in the working -being, that there must not be any of the preparation -of the flea-seed with the gum; but it must be done -on the solution of the gum alone, without any admixture. -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.</p> - -<h4>No. 12.—<span class="sc">brown curl.</span></h4> - -<p>A pattern of curl may be made of one colour -only, mixed with the same ingredients as the ordinary -French; it is the easiest of the two to make.</p> -<p><span class="pagenum"><a name="page110" id="page110"></a>[pg 110]</span></p> - -<h4>NO. 13.—<span class="sc">red curl.</span></h4> - -<p>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.</p> - -<h4>SPANISH.</h4> - -<p>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.</p> - -<h4>No. 14.—<span class="sc">olive, or light green, spanish.</span></h4> - -<p>One of the most simple and easy patterns is called -Olive Spanish, with red and blue veins. The veins -are mixed with gall and water, as in the previous -kinds of marbling, till they are brought to the proper -consistence; and, as it is not possible to state -any given measure for proportioning the gall and -<span class="pagenum"><a name="page111" id="page111"></a>[pg 111]</span> -water exactly, some gall being stronger than -other, that must be determined by observing the -effect produced in the colours as they are tried on -the solution. But each successive colour requires -more gall than the one which preceded it, and -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 exception.</p> - -<p>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 blue, and lastly, with a large brush -full of colour, the olive; beginning at the left-hand -corner of the trough, farthest from you, and working -down and up closely all over, taking care not to -go twice over the same place, or you will produce -rings by the falling of one spot upon another, -which is considered objectionable. It cannot, however, -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 -<span class="pagenum"><a name="page112" id="page112"></a>[pg 112]</span> -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 required -before the stripes or shades will be produced -with certainty and regularity. We will next take -a pattern with three veins.</p> - -<div class="figcenter" style="width: 300px;"> -<a href="images/110fp-600.jpg"> -<img src="images/110fp-300.jpg" width="300" height="491" alt="marbling pattern" title="marbling pattern" /></a></div> - -<h4>No. 15.—<span class="sc">blue or slate spanish.</span></h4> - -<p>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.</p> - -<h4>No. 16.—<span class="sc">brown spanish.</span></h4> - -<p>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 composed -of good burnt ochre, darkened with a little -black.</p> -<p><span class="pagenum"><a name="page113" id="page113"></a>[pg 113]</span></p> - -<h4>No. 17.—<span class="sc">double brown spanish.</span></h4> - -<p>This pattern has four colours for veins 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.</p> - -<h4>No. 18.—<span class="sc">fancy spanish.</span></h4> - -<p>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. -<span class="pagenum"><a name="page114" id="page114"></a>[pg 114]</span> -Shade it by shaking or waving the paper in the -same way as for other Spanish.</p> - -<h4>No. 19.—<span class="sc">fancy spanish.</span></h4> - -<p>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.</p> - -<p>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.</p> - -<h4>No. 20.—<span class="sc">drag or extra spanish.</span></h4> - -<p>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 -<span class="pagenum"><a name="page115" id="page115"></a>[pg 115]</span> -considerably thinner, as they would get so thick -upon the paper, from one sheet being drawn over -and taking up a surface of colour usually allowed -for two, that it would peel and crumble off and not -burnish.</p> - -<div class="figcenter" style="width: 300px;"> -<a href="images/114afp-600.jpg"><img src="images/114afp-300.jpg" width="300" height="491" alt="comb marbling pattern" title="comb marbling pattern" /></a></div> - -<div class="figcenter" style="width: 300px;"> -<a href="images/114bfp-600.jpg"><img src="images/114bfp-300.jpg" width="300" height="491" alt="comb marbling pattern" title="comb marbling pattern" /></a></div> - -<h4>No. 21.—<span class="sc">nonpareil or comb.</span></h4> - -<p>We now come to this well-known and very popular -pattern, which has had a most extraordinary -run, and which some people hardly seem tired of, -although it has become so common of late as to be -used on almost every kind of work.</p> - -<p>For this description of marbling use the solution -of gum alone in the trough. Mix the colours -with gall and water, taking particular care to avoid -all oil and grease of every description; but the -colours will require to be thicker, and more colour -thrown on, than for Spanish, with the exception of -the last, which will not require to be so heavily -thrown on as the last Spanish colour. Let all the -colours be thrown on in about equal proportions. -In commencing, proceed as usual:—first, skim the -surface of the solution, and immediately follow with -the red so as to well cover the whole surface of the -solution; then black; next, orange or yellow; -fourthly, blue; and, lastly, the top colour, of whatever -<span class="pagenum"><a name="page116" id="page116"></a>[pg 116]</span> -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 wood -having pegs inserted about an inch and a half apart -and about three inches long, tapering towards the -point, and having the appearance of the head of a -rake. Pass this once up and down through the -colour from front to back, taking especial care that -when you draw it back the teeth come exactly -between where they went up. Having raked the -colour into the proper form, take the comb, which -must reach the whole width of the trough from -front to back, and draw 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.</p> - -<h4>No. 22.—<span class="sc">raked nonpareil.</span></h4> - -<p>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.</p> - -<h4>No. 23.—<span class="sc">nonpareil, (reversed.)</span></h4> - -<p>Another pattern is made by precisely the same -process as No. 21, till the colours have been raked -<span class="pagenum"><a name="page117" id="page117"></a>[pg 117]</span> -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.</p> - -<h4>No. 24.—<span class="sc">antique.</span></h4> - -<p>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.</p> - -<h4>No. 25.—<span class="sc">antique, (zebra.)</span></h4> - -<p>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.</p> -<p><span class="pagenum"><a name="page118" id="page118"></a>[pg 118]</span></p> - -<h4>No. 26.—<span class="sc">wave.</span></h4> - -<p>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 will produce a uniform -appearance all over the sheet, something in the -appearance of irregular squares.</p> - -<p>There are some other patterns of a similar kind -made without a small white spot, and the same -design is sometimes worked upon a French marble, -but these require no additional explanation. We now -come to</p> -<p><span class="pagenum"><a name="page119" id="page119"></a>[pg 119]</span></p> - -<h4>No. 27.—<span class="sc">british.</span></h4> - -<p>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 work. 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 considerable -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 -<span class="pagenum"><a name="page120" id="page120"></a>[pg 120]</span> -dark and light spots will fall together, intermingling -with each other and producing that variegated -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.</p> - -<h4>No. 28.—<span class="sc">dutch.</span></h4> - -<p>The pattern now under consideration is one of -the oldest and at the same time most difficult patterns, -and is performed by a very different process -to any of the preceding. Upon examining this pattern, -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.</p> - -<p>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. -<span class="pagenum"><a name="page121" id="page121"></a>[pg 121]</span> -It will also require two frames the size of the paper, -with wooden pegs in them, slightly tapering, about -a quarter of an inch in thickness, and fixed about -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 addition -of a little spirits of wine. With this exception, -the colours will not require any different treatment -from the nonpareil.</p> - -<p>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.</p> - -<p>Having mixed the colours, and tried them by -dropping a little of each on the solution in the trough, -proceed to fill as many of the little pots with colour as -there are pegs on the frame, and arrange them about -three inches apart, so that the pegs in the frames -may drop into the centre of each pot, and, when lifted -out, (which will require to be done with great caution,) -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 -<span class="pagenum"><a name="page122" id="page122"></a>[pg 122]</span> -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:—</p> - -<table summary="grid" border="0"> -<tr> - <td class="grid">G</td> - <td class="grid">Y</td> - <td class="grid">G</td> - <td class="grid">Y</td> - <td class="grid">G</td> - <td class="grid">Y</td> - <td class="grid">G</td> -</tr> -<tr> - <td class="grid">Y</td> - <td class="grid">B</td> - <td class="grid">Y</td> - <td class="grid">B</td> - <td class="grid">Y</td> - <td class="grid">B</td> - <td class="grid">Y</td> -</tr> -<tr> - <td class="grid">G</td> - <td class="grid">Y</td> - <td class="grid">G</td> - <td class="grid">Y</td> - <td class="grid">G</td> - <td class="grid">Y</td> - <td class="grid">G</td> -</tr> -<tr> - <td class="grid">Y</td> - <td class="grid">B</td> - <td class="grid">Y</td> - <td class="grid">B</td> - <td class="grid">Y</td> - <td class="grid">B</td> - <td class="grid">Y</td> -</tr> -<tr> - <td class="grid">G</td> - <td class="grid">Y</td> - <td class="grid">G</td> - <td class="grid">Y</td> - <td class="grid">G</td> - <td class="grid">Y</td> - <td class="grid">G</td> -</tr> -</table> - -<p>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.</p> - -<p>Having arranged all these, commence operations -by first skimming the size, (which must consist of -gum-tragacanth alone,) and then well cover the -whole surface with red, which must be thrown on -plentifully with a brush. 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 -<span class="pagenum"><a name="page123" id="page123"></a>[pg 123]</span> -take the one with the white and drop that just in -the centre of the spots already 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 over; then pass the -comb through it from left to right, and lay on the -paper.</p> - -<p>As soon as you have hung it up, pour over it, -from a jug with a spout, about a pint of clear -water, to wash off the loose colour and gum and -make it look clean and bright, after which, when -dry, it will require sizing before it can be burnished.</p> - -<p>When curls are required, it will be necessary to -have a third frame, with as many pegs as you may -require curls upon the sheet of paper.</p> - -<h4>No. 29.—<span class="sc">antique dutch.</span></h4> - -<p>Is done in a different manner to any of the processes -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 -<span class="pagenum"><a name="page124" id="page124"></a>[pg 124]</span> -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 full.) 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; and -the green, indigo and Dutch pink. These must be -ground and mixed, as before directed, to the consistence -of cream. The lake should be ground one -day and the other colours a few days before using, -and kept moist. The gum will require to be used -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 with 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 -<span class="pagenum"><a name="page125" id="page125"></a>[pg 125]</span> -the order in which the colours should be arranged -on the trough:—</p> - -<p class="center2">G B R O R G B R O R G B R O R G B</p> - -<p>As in the former instance, the initial letters -signify the colours. Draw the comb through and -the pattern is complete.</p> - -<p class="center1sb">EDGES.</p> - -<p>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 particular -care in marbling, or the colour and size will -run in and spoil the appearance of the plates. To -obviate this, keep the book tightly compressed, and -where the plates are at the beginning of the book -only, lay it down, when marbled, the beginning side-upwards. -For edges you may do with a smaller -trough, also a smaller quantity of colour than for -paper. The solution to work upon had better be -gum-tragacanth alone. Colours for edges will look -all the brighter by the addition of alcohol, spirits -<span class="pagenum"><a name="page126" id="page126"></a>[pg 126]</span> -of wine, or whiskey; but they will evaporate more -quickly. Having every thing in readiness, take the -book, or, if more than one, as many as you can conveniently -manage to hold tightly, with the backs -in the right hand and the fore-edge in the left, and -let them touch the colour, the back first, allowing -them gradually to descend till the whole end is -covered; but be very careful that none of the size -or colour comes over the fore-edge, which it will do -if dipped too deep, and leave a nasty unsightly -mark, and greatly disfigure the book. In doing -the fore-edge, the beginner had better place the -volume between a pair of cutting-boards, and, having -thrown out the round, turn back the boards, -and proceed as with the end; when done, wipe off -the superfluous size from the boards with a sponge, -put the boards back in their place, and let the -volume dry.</p> - -<p class="center1sb">GLAZING OR BURNISHING.</p> - -<p>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 -<span class="pagenum"><a name="page127" id="page127"></a>[pg 127]</span> -it to work backwards and forwards upon a plank -hollowed out for the purpose. The paper is moved -over the plank, and the friction of the flint in passing -to and fro over the surface of the paper produces -a high polish. Sometimes the paper is -calendered by means of friction cylinders—a superior -method.</p> - -<p class="center1sb">COMBS.</p> - -<p>These are made in various ways, 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.</p> - -<p class="center1sb">SIZING THE PAPER.</p> - -<p>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 constantly -stirred, to prevent the soap and glue from -<span class="pagenum"><a name="page128" id="page128"></a>[pg 128]</span> -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.</p> - -<p class="center1sb">PATENT MARBLED CLOTH.</p> - -<p>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 -<i>papier D'Anonay</i> for durability.</p> - -<p class="center1sb">ADDENDA.</p> - -<p>In taking leave of the subject of marbling, there -is but little more to add. For, when 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 principles -that govern in mixing and distributing the -colours, and, with the aid of his own experience, his -chance of accomplishing it will be as good as any -one else's. As a step to the attainment of mastery -<span class="pagenum"><a name="page129" id="page129"></a>[pg 129]</span> -in the art, let the workman divest himself of the -various nostrums he has been put in possession of -by interested parties, and give himself up with -assiduity to the directions 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 prominent -classes or patterns of marbling. They were -executed by him, and show his mastery of the art.</p> - -<p class="center1sb">BURNISHING.</p> - -<p>The edges are burnished by placing the volume -open, with the fore-edge between boards, similar to -backing-boards, in the laying-press, and screwing it -tightly therein; then with the burnisher rubbing -the edge firmly and smartly over till it presents 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 -<span class="pagenum"><a name="page130" id="page130"></a>[pg 130]</span> -head and tail burnished in a similar manner, the -ends of the boards resting in the groove by the -joints, the covered boards of the volume being -open. Common calf, sheep, and half-binding, may -be burnished with the boards closed, six or eight -together, but it will be necessary to delay pasting -the sides on the latter till after the operation, to -avoid the liability of tearing.</p> - -<p class="center1sb">GILT EDGES.</p> - -<p>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 groundwork -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 summer-time -<span class="pagenum"><a name="page131" id="page131"></a>[pg 131]</span> -to chill it, as a test of its strength. If -too strong or thick, add water, then warm it to melt -the size and allow the water to become incorporated -with it. To become a good gilder requires considerable -judgment, as every variety of paper requires -a different treatment. No rule can be laid -down that will answer in every case; but if the -workman will but pay attention to the directions -here given, exercise patience, and above all reflect -upon the effects of his operations, ultimate success -will be certain. English books are made from linen -rags, and the paper is sized. They gild more easily -and the edge looks better than American books. -They do not require as strong a size for gilding as -books printed on paper made from cotton. Books -printed in this country are generally made from -cotton rags. Quantities of alum and lime are employed -in bleaching the pulp, to the sore annoyance -of many a gilder, who has found that a damp day -would invariably put both his skill and patience to -the test. The best qualities of American paper are -sized; the generality, however, is not. To determine -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 were sized paper. The liability -<span class="pagenum"><a name="page132" id="page132"></a>[pg 132]</span> -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.</p> - -<p>Then commences the most difficult 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 with 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.</p> - -<p>The gold is next cut on the gold-cushion to the -<span class="pagenum"><a name="page133" id="page133"></a>[pg 133]</span> -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 sufficient celerity -not to allow the gold to be drawn from the paper -in portions by the size. To do this well will -require some practice and a steady hand. Should -there be any breaks in the gold, other portions -must be applied, and, if dry, moisten with -water applied by a fine pencil, and lay on the -gold.</p> - -<p>After the edge is entirely dry, which generally -happens in from one to two hours, it must be -burnished. For this purpose a flat blood-stone -burnisher is the best, to be afterwards followed -by a flat 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 -<span class="pagenum"><a name="page134" id="page134"></a>[pg 134]</span> -the same precaution, the back towards the workman. -The foregoing direction have been derived -from the practical experience of Mr. James Pawson, -one of the best gilders in this country.</p> - -<p>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 farther in the manner we -shall now describe.</p> - -<p class="center1sb">ANTIQUE STYLE.</p> - -<p>After the edge is finished as above directed, and -before taking out of the press, ornaments, such as -flowers, or designs in compartments, must be stamped -upon it in the following manner. A coat of size is -passed quickly over with great precaution and lightness, -and only once in a place, to avoid detaching any -of the gold. When dry, rub the edge as lightly as -possible with palm-oil, and cover with gold of a different -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 off with a clean cotton, and -there remains only the designs the tools have imprinted, -<span class="pagenum"><a name="page135" id="page135"></a>[pg 135]</span> -which produce a fine effect. This mode is, -however, now seldom used, though almost all the -books in the original binding of the sixteenth century -are so executed.</p> - -<p class="center1sb">GILDING UPON MARBLED EDGES.</p> - -<p>This edge, which Dr. Dibdin, in his "Bibliographer's -Decameron," calls "the very luxury, the -<i>ne plus ultra</i> of the Bibliopegistic Art," is one requiring -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.</p> - -<p class="center1sb">GILDING ON LANDSCAPES, ETC.</p> - -<p>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 -<span class="pagenum"><a name="page136" id="page136"></a>[pg 136]</span> -painted thereon in water-colours, according to the -fancy of the operator. When perfectly dry, untie -the boards and let the leaves take their proper position. -Then place the volume in the press, lay on -the 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 necessary -to describe the proceeding, as the taste or -wishes of some may render it necessary that the -workman should know how to operate.</p> - -<p>After the volume is gilt, the edges must be enveloped -in clean paper, by glueing the extremities -one upon the other, to preserve the edges from injury -in the subsequent operations. This is taken -off when the volume is completed.</p> - -<p class="center1sb">BLACK EDGES.</p> - -<p>Books of devotion are generally bound in black leather, -and, instead of being gilt on the edge, blacked -to correspond with the covers. It will therefore be -necessary in this place to describe the process.</p> -<p><span class="pagenum"><a name="page137" id="page137"></a>[pg 137]</span></p> - -<p>Put the book in the press as for gilding, and -sponge it with black ink; then take ivory-black, -lamp-black, or antimony, mixed well with a little -paste, and rub it on the edge with the finger or ball -of the hand till it is perfectly black and a good -polish produced, when it must be cleared with a -brush, burnished, and cased with paper.</p> - -<p>Coloured edges, to look well, require to be scraped -in the same manner as for gilt. To lay the colour -on evenly, and produce a high burnish, requires -more labour than gilding. They are therefore quite -as expensive. After the colouring or gilding of the -edges, the next process is to attach the</p> - -<p class="center1sb">REGISTER,</p> - -<p>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 affixed. 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.</p> - -<p class="center1sb">HEADBANDS.</p> - -<p>The headband is an ornament in thread or silk, -of different colours, placed at the head and tail of a -<span class="pagenum"><a name="page138" id="page138"></a>[pg 138]</span> -book on the edge of the back, and serves to support -that part of the cover projecting above in consequence -of the squares of the boards, giving to the -volume a more finished appearance. Thus it will be -seen that the headband must equal the square -allowed for the boards. For common work, the -headband is made of 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.</p> - -<p>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.)</p> - -<p class="center1sb">SINGLE HEADBAND.</p> - -<p>Take two lengths of thread or silk, of different -colours, threading one in a long needle, and tying -<span class="pagenum"><a name="page139" id="page139"></a>[pg 139]</span> -the ends of the two together. Supposing red and -white to have been taken, the white attached to the -needle, it is placed in the volume five or six leaves -from the left side, and forced out on the back immediately -under the chain-stitch of the sewing, and -the thread drawn until it is stopped by the knot, -which will be hid in the sheet; the needle is then -passed a second time in 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 -<span class="pagenum"><a name="page140" id="page140"></a>[pg 140]</span> -the back with a knot. These fastenings give firmness -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 inclination -upwards, to prevent the work slipping off -before covering.</p> - -<p class="center1sb">DOUBLE HEADBAND.</p> - -<p>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.</p> - -<p class="center1sb">GOLD AND SILVER HEADBAND</p> - -<p>Both single and double made as above, the only -difference being in the use of gold or silver thread. -<span class="pagenum"><a name="page141" id="page141"></a>[pg 141]</span> -Great care must be here observed in tightening the -thread at the bead.</p> - -<p class="center1sb">RIBBON HEADBAND.</p> - -<p>This style varies but little from the other, the -same-coloured thread being only passed several -times round, instead of alternately with the other, -and making the bead at each turn, taking care that -the under thread is not observed, and then passing -the other colour, in a similar manner, as many or -more times than the former. This will produce a -band—from which it is named—having the appearance -of narrow ribbons of various colours. Three -or more colours may be used in a pattern.</p> - -<p class="center1sb">COVERING.</p> - -<p>The skins prepared for binding are dressed in a -peculiar manner. They are soft and of equal thickness -throughout. The cutting out of covers is an -important operation, as by attention much economy -may be effected. For this purpose patterns in pasteboard -of all the sizes of books should be made, and -such as are required placed on the skin, turning -them every way, so as to obtain the greatest number -of pieces possible, allowing about an inch round -for paring and turning in. Should the books be of -<span class="pagenum"><a name="page142" id="page142"></a>[pg 142]</span> -the same size, a volume taken by the fore-edge and -the boards laying open on the leather will enable -the workman to judge to a nicety the most advantageous -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.</p> - -<p>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 confessed -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 possession -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 -<span class="pagenum"><a name="page143" id="page143"></a>[pg 143]</span> -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.</p> - -<p>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 position -that the back of the volume, which is from the -workman, will be in the middle. The far part is -then brought over to the other side, and care taken -not to disarrange the squares. The cover, which -now projects an inch all round the volume, is drawn -tightly on the back with the open hands, by turning -the projecting portion of the cover outward -and resting the book on the fore-edge, at the same -<span class="pagenum"><a name="page144" id="page144"></a>[pg 144]</span> -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 binding. -After the back has been sufficiently manipulated, -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.</p> - -<p>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 headband, -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 -<span class="pagenum"><a name="page145" id="page145"></a>[pg 145]</span> -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.</p> - -<p>The setting of the headband is the next operation, -which is very important to the beauty of the -binding, by properly forming a sort of cap over the -worked headband of the 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 -<span class="pagenum"><a name="page146" id="page146"></a>[pg 146]</span> -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 performed -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.</p> - -<p>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 <i>tied up</i>, which is done by placing -a board, longer than the book, on each side, projecting -slightly over the fore-edge, and tying them -tightly with a cord from end to end. Then, with a -smaller cord, the leather is confined to the sides of -the bands, by crossing the string. For example: -suppose the book had three bands, one towards the -head, one towards the tail, and the other in the middle; -the book would be taken in the left hand, the -head upwards, the cord by the help of a noose passed -<span class="pagenum"><a name="page147" id="page147"></a>[pg 147]</span> -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, tightened, -is thus crossed on the other side of the volume, -and the band held between it. The cord is in like -manner carried on to the second and third bands, -fastened, and the whole set square with the folder. -It will be best understood by the following engraving.</p> - -<div class="figcenter" style="width: 200px;"> -<a href="images/147-400.jpg"><img src="images/147-200.jpg" width="200" height="135" alt="book 'tied up'" title="book 'tied up'" /></a></div> - -<p>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 well -worked 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.</p> - -<p>A few observations must not be omitted relative -to morocco, velvet, silk, and coloured calf, which, -from their nature, require the greatest neatness to -<span class="pagenum"><a name="page148" id="page148"></a>[pg 148]</span> -avoid stains and alterations in the colours. Covers -of the former description must not be drawn on too -tight or rubbed with the folder, as the grain or pattern -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 previously, -by pasting a piece of paper thereon, and -be left to dry, so that, when pasted for covering, -the dampness will not affect its appearance. Velvet -will require great care, from its peculiar texture -making it necessary that it be rubbed one -way only in covering. From this cause, having -ascertained the direction of the <i>nap</i>, 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 proceeding -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.</p> -<p><span class="pagenum"><a name="page149" id="page149"></a>[pg 149]</span></p> - -<div class="chapter"> -<h4 class="space-above3">HALF-BINDING.</h4> -</div> - -<p>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 wondered -at; for, while it combines economy and durability, -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 transition -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 sufficient -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 inside -of the board far enough to be covered by the end-papers. -The width of the back should be governed -by the size of the volume. A narrow back gives -a very meagre appearance to a book. The size -of the corners should be determined by the width -<span class="pagenum"><a name="page150" id="page150"></a>[pg 150]</span> -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 the <i>papier d' Anonay</i>, -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 -<span class="pagenum"><a name="page151" id="page151"></a>[pg 151]</span> -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."</p> - -<p>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.</p> - -<h4 class="space-above3">STATIONERY OR VELLUM BINDING.</h4> - -<p>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 entered -into for the instruction of the young workman, -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.</p> - -<p>Stationery binding includes every description of -paper-book, from the <i>Memorandum</i>, which is simply -covered with marble-paper, to the most firm and -elaborately bound book used in the counting-house -<span class="pagenum"><a name="page152" id="page152"></a>[pg 152]</span> -of the merchant and banker. Of the more simple -and common bindings, it will not be necessary to -enter into minute details, the proceedings being the -same as for others, only omitting the more expensive -operations, the price allowed making it necessary -to bind them in a more simple manner. The -first proceeding, should the work require it, will -be the</p> - -<p class="center1sb">RULING.</p> - -<p>This is done by a machine. Formerly it was -done by hand. After the pens are properly adjusted, -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.</p> - -<p>Although machine-ruling has almost entirely superseded -the old process of ruling by hand, yet to -some a brief description of the process may not be -unacceptable.</p> - -<p>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 -<span class="pagenum"><a name="page153" id="page153"></a>[pg 153]</span> -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 sections, -and, with a round ruler and tin pen, proceed -to rule the whole of the head-lines on one side -of the paper. This, as well as every division of -$ 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 <i>date</i>, <i>amount</i>, &c., -<span class="pagenum"><a name="page154" id="page154"></a>[pg 154]</span> -taking especial care that the pen always commences -by the line at the head, and that it never entrenches -on the space above, which would disfigure -the work. As for the head-line, so here the whole -of one side of the paper must be completed before -the other is commenced, attention being paid to -each line being perpendicular, clear, and as even in -colour as possible.</p> - -<p>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 complete -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 -that page the leaves after the volume is bound, the -principal objection to which appears to be the liability -to soil or otherwise injure the binding; notwithstanding -this there are some binders who give -them the preference. Those who have used the -machines of Mr. Griffin speak of them in the highest -terms.</p> -<p><span class="pagenum"><a name="page155" id="page155"></a>[pg 155]</span></p> - -<div class="figcenter" style="width: 500px;"> -<a href="images/155-1000.jpg"><img src="images/155-500.jpg" width="500" height="287" alt="paging machine" title="paging-machine" /></a></div> - -<p class="center1sb">INKS.</p> - -<p>To give to the work the best effect, it will be -necessary to be provided with good inks, and, it -being connected with the subject, some receipts for -their preparation are subjoined.</p> -<p><span class="pagenum"><a name="page156" id="page156"></a>[pg 156]</span></p> - -<p class="center1sb">RED INK.</p> - -<p>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.</p> - -<p class="center1sb">ANOTHER.</p> - -<p>Boil in a quart of soft water a quarter of a pound -of Brazil dust; when boiled, put in one ounce of -ground alum, one ounce of white stone crystal, and -boil for three minutes, and strain.</p> - -<p class="center1sb">BLUE INK.</p> - -<p>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.</p> - -<p class="center1sb">BLACK.</p> - -<p>Half a pound of nutgalls, a quarter of a pound of -sulphate of zinc, (white vitriol,) two ounces of gum-arabic, -<span class="pagenum"><a name="page157" id="page157"></a>[pg 157]</span> -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.</p> - -<p class="center1sb">ANOTHER.</p> - -<p>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.</p> - -<p class="center1sb">FOLDING.</p> - -<p>The whole being ruled, it will be proper to fold -the book to the size required into sections for sewing. -The number of leaves in each must depend -on the thickness of the paper and size of the book, -taking care that there are not so many as, when cut, -to cause the leaves to start, or so few that the backs -will be swollen too much by the thread. Then -place the whole evenly in the standing-press for -some time, and prepare the end-papers, which must -be of blank paper, and outsides, unless the work is -<span class="pagenum"><a name="page158" id="page158"></a>[pg 158]</span> -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.</p> - -<p class="center1sb">SEWING.</p> - -<p>The sewing of stationery differs much from that -of printed books. To allow of the greatest possible -strength, elasticity, and freedom, they are sewn -on slips of vellum without being marked with the -saw, and the whole length of each sheet, with waxed -thread. For small books, two slips will be sufficient; -for foolscap folio, three will be required; -and, where larger, the number must be increased, -according to the length of the back, leaving a space -of about two inches between each. The plan laid -down by <i>M. Lesne</i>, (page 27,) might, perhaps, be -adopted here with fine and light work to great -advantage. The slips should be cut about an inch -wide, and of sufficient length to extend about an -inch over each side of the back. This portion being -bent down at one end of the slips, they must be -placed under the end-paper on the table at such -places as may be deemed proper, and the section -sewn the whole length; and so followed by every -portion till the whole are attached in the same manner, -taking care that the slips retain a perpendicular -<span class="pagenum"><a name="page159" id="page159"></a>[pg 159]</span> -position and that the back be not too much -swollen. Should a morocco joint have been inserted, -it must be sewn on with strong silk of the -same colour. When 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.</p> - -<p class="center1sb">CUTTING.</p> - -<p>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 difference -in operation. The book will now be ready for -colouring the edges, the processes of which have -<span class="pagenum"><a name="page160" id="page160"></a>[pg 160]</span> -been already described. In England, the large -Dutch marble is generally used for stationers' work.</p> - -<p class="center1sb">BOARDING.</p> - -<p>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 -<span class="pagenum"><a name="page161" id="page161"></a>[pg 161]</span> -leather and under the vellum slips on the back, -appears inside on the spaces where no thread has -before passed. For ornament, another thread is -twisted round the gut on the back, so as to present -the appearance of a double cord. These matters -being adjusted, the 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 screwed tightly -in the standing-press for some time.</p> - -<p class="center1sb">THE SPRING-BACK.</p> - -<p>There are numerous ways of forming this description -of back, and as generally adopted in different -offices. As in other particulars, two or three -of the best will here be given: 1. Having ascertained -the width and length of the back, and provided -a piece of strong pasteboard, or thin milled -board, of little more than twice the width, fold one -side rather more than half, and then the other, so -that the middle space left will be the exact size required, -which should be about a quarter of an inch -<span class="pagenum"><a name="page162" id="page162"></a>[pg 162]</span> -wider than the back of the book; then cut evenly -another piece, a little less than the width, then -another still less, and so on for six or seven, lessening -the width each time till the last is merely a -narrow slip. Let the edges of the first, or cover -for the whole, be pared, and laid open on the table; -then glue the middle space, and place thereon the -largest slip, which also glue, and add the next in -size, 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 with linen cloth.</p> - -<p>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 wetted, -but does not answer so well.</p> -<p><span class="pagenum"><a name="page163" id="page163"></a>[pg 163]</span></p> - -<p>3. A beaten iron plate of the exact size, and -covered with parchment or leather.</p> - -<p>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.</p> - -<p>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.</p> - -<p>To prevent the manufactured back slipping during -the operation of covering, it is laid on, and a -piece of cloth glued over and attached to the sides, -similarly to the back of a half-bound book. This -tends also to materially strengthen the back.</p> - -<p class="center1sb">COVERING.</p> - -<p>The materials generally used for stationery-binding -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 the -<span class="pagenum"><a name="page164" id="page164"></a>[pg 164]</span> -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 headbands -must be squarely set, taking care to rub out -any wrinkles that may have been formed in turning -in the cover. Should the book be very large, it -may be advisable to give it a nip in the press immediately -after folding in the fore-edges of the -boards, and then finish the covering by turning in -the head and tail.</p> - -<p>As circumstances—such as the fancy of some -previous workman, or coloured vellum not to be -obtained so early as required—may make it necessary -to execute the proper colours, the proceedings -are here given.</p> - -<p class="center1sb">GREEN.</p> - -<p>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.</p> - -<p class="center1sb">RED.</p> - -<p>To one pint of white wine vinegar, put a quarter -of a pound of Brazil dust and a piece of alum. -<span class="pagenum"><a name="page165" id="page165"></a>[pg 165]</span> -Cork the mixture up; let it stand in a warm place -for two or three days.</p> - -<p class="center1sb">PURPLE.</p> - -<p>Proceed as for the <i>red</i>, substituting logwood chips -for the Brazil dust.</p> - -<p class="center1sb">YELLOW.</p> - -<p>Half an ounce of turmeric to half a pint of spirits -of wine, prepared as above.</p> - -<p class="center1sb">BLACK.</p> - -<p>Wash the vellum over three times with the red, -and while wet colour with strong marbling-ink.</p> - -<p>Marbles and other designs may be formed on -white vellum; but, as the proceedings have been so -fully entered into before, it will not be necessary -here to repeat them. Where russia bands are not -added, the end-papers must now be pasted down, -and the lettering, &c. proceeded with. If bands -are attached, the pasting down of the end-papers -and joints must be deferred till they are executed.</p> - -<p class="center1sb">RUSSIA BANDS.</p> - -<p>To give to large books the greatest possible -degree of strength, it is usual to affix Russia bands -to them. They are called <i>single</i> when they extend -<span class="pagenum"><a name="page166" id="page166"></a>[pg 166]</span> -about half-way down the sides, and <i>double</i> when -those at the head and tail reach to the corners of -the boards, and are turned over the edges in the -same manner as the cover. For <i>single</i>;—having -ascertained the breadth by dividing the back with -the compasses into <i>seven</i> spaces, cut three pieces -of russia perfectly square and the exact size of the -spaces they are to occupy, and paste them on the -<i>second</i>, <i>fourth</i>, and <i>sixth</i> 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, with the rods fixed to force the russia into -the joints, as before directed, and then leave to dry. -When <i>double</i> 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 manner; -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.</p> -<p><span class="pagenum"><a name="page167" id="page167"></a>[pg 167]</span></p> - -<p class="center1sb">CLASPS, CORNERS, AND BRASS BANDS.</p> - -<p>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 appearance -in the whole, the workman's attention must be -directed to their fitting exactly in every particular -of length, breadth, and thickness. The clasps may -be purchased of the makers, but it may be found -necessary to place the making of the bands and -corners in the hands of the brass-worker, to whom -particular directions and sizes must be given. They -must fit tightly to the boards, run exactly parallel -with the edges, and have the holes for the rivets -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 -<span class="pagenum"><a name="page168" id="page168"></a>[pg 168]</span> -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, particularly -of early-bound Bibles, &c., in churches, -are fastened in the same manner.</p> - -<p class="center1sb">FINISHING.</p> - -<p>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.</p> -<p><span class="pagenum"><a name="page169" id="page169"></a>[pg 169]</span></p> - -<div class="chapter"> -<h4 class="space-above4">BOARDING.</h4> -</div> - -<p>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 manipulations -in a previous part of this work, that, in attempting -a description of <span class="sc">boarding</span>, 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 -<span class="pagenum"><a name="page170" id="page170"></a>[pg 170]</span> -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.</p> - -<p class="center1sb">CLOTH-WORK.</p> - -<p>In the year 1825 a great revolution in boarding -was begun by the introduction of cloth covers in -place of the drab-coloured paper previously in use. -The late Archibald Leighton, of London, was the inventor; -and Mr. Pickering was the first publisher who -adopted it. The first cloth covers had printed labels; -but very soon Mr. Leighton made the discovery that -cloth could be stamped with gold very beautifully. -Lord Byron's works (the edition in 17 volumes) -were the first books to which gold-lettering on cloth -was applied. Cloth-work is now done with full gilt -sides and back and gilt edges; but, from the temporary -character of this style, the question may -arise whether it is not a useless expenditure of time -and money to produce it. But, so long as the -public remain unacquainted with its want of capability -for use, and desire a mass of gold upon the -sides,—so long, in fact, as there is a large class -who desire books for mere show and not for use,—it -<span class="pagenum"><a name="page171" id="page171"></a>[pg 171]</span> -will be the interest of publishers to gratify them -by furnishing cloth-gilt work.</p> - -<p>Expedition being so important in cloth-work, a -machine has been introduced to facilitate the operation -of sawing the backs, and it is now in general -use for the purpose. The appended cut gives an -accurate idea of the machine as manufactured by -W. O. Hickok, Harrisburg, Pa.</p> - -<div class="figcenter" style="width: 400px;"> -<a href="images/171-850.jpg"> -<img src="images/171-400.jpg" width="400" height="458" alt="machine for sawing the backs" title="machine for sawing the backs" /></a></div> - -<p><span class="pagenum"><a name="page172" id="page172"></a>[pg 172]</span></p> - -<p>For this and all other species of case-work (morocco -is sometimes done in this manner) the lining-papers -are inserted and pasted over so as to adhere -to the end-paper, and the slips, having been cut -short, are scraped or rubbed smooth. The volumes -are then knocked up and touched on the back in -one or two places with the glue-brush. They -are then cut upon the fore-edge, by being placed -between two boards, one of which is precisely -the width that it is intended to cut the volumes; -the boards and books are placed upon the laying-press, -and the backs knocked evenly up; the whole -is then placed in the laying-press, and cut with the -plough. The back-board being wider than the -front, the knife cuts against it. If the volumes are -small, a number may be cut at the same time. This -mode of cutting is called "steamboating." After -the whole lot that the workman "has on" have been -cut on the fronts, they are then placed between -cutting-boards again, of the proper size, and -knocked up on the head; they are then laid upon -the press, with the runner or front-board up; the -board is then moved about a quarter of an inch -below the heads of the volumes as they are arranged -in layers or piles. The workman will then grasp -the boards firmly, so as not to allow the books to -<span class="pagenum"><a name="page173" id="page173"></a>[pg 173]</span> -slip, and place them in the cutting-press, and, -after screwing it up tightly with the press-pin, proceed -to cut the heads in the same manner as the -fronts. After this is done, unscrew the press partially, -so as to allow the volumes to be turned -without slipping in the tub; then, with one hand -beneath the press, depress one end of the boards, -while the other is elevated, until the whole is -turned completely over, with the tails upward. The -runner is adjusted even with the cheek of the press, -the press is screwed up, and the volumes cut at the -tail. If the edges are to be gilt, they are now prepared -for that operation. Afterwards they are -glued upon the backs and rounded, care being -taken not to start the sheets or mark the gilding -upon the fore-edge with the thumb. They are then -backed in the same manner as bound books, except -that they have larger joints. Care is requisite at -the ends, or the blows of the hammer will crush the -paper and thus give the gilding an unsightly appearance -at the joints.</p> - -<p>A machine has been invented for the purpose -of backing books, and it appears to be growing in -favour for cloth-work, and, in fact, for all work -where expedition is a primary essential. It is the -invention of Mr. Sanborn, of Portland, Maine. -<span class="pagenum"><a name="page174" id="page174"></a>[pg 174]</span> -The annexed cut gives an idea of the general appearance -of the machine.</p> - -<div class="figcenter" style="width: 400px;"> -<a href="images/174-800.jpg"><img src="images/174-400.jpg" width="400" height="471" alt="machine for backing books" title="machine for backing books" /></a></div> - -<p>The next process is lining the backs, which is -done by pasting strips of paper or muslin upon -the back, having it of sufficient width to cover the -joints on each side. The volumes are then prepared -for the cases, which have been previously got -ready. The boards are cut to a uniform square -size by the table-shears. The cloth covers, after -having been cut out, have the corners cut off to a -pattern made for the purpose, just sufficient to -allow them to lap when the cloth is turned over -the edge of the boards. The cover is then glued -<span class="pagenum"><a name="page175" id="page175"></a>[pg 175]</span> -equally over, and the <span class="foo">T</span> square laid upon it,—the -square having been made of the proper width to -allow for the back, joints, and groove of the volume. -A board is then laid on each side of the centre of -the square; the latter is then lifted off, and a strip -of paper, of the length of the boards and nearly -the width of the back of the book, placed between -<span class="pagenum"><a name="page176" id="page176"></a>[pg 176]</span> -the boards. The cloth projecting beyond the boards -is then turned over their edges. The cover is then -turned over, and the cloth rubbed smooth on the -sides by means of a woollen or cotton pad. It is -then placed between pasteboards to dry. After the -cases are all made and have become perfectly dry, -they are ready for stamping. Cloth for ordinary -stamping requires no preparation, but if the stamp -be large or very heavy it will be safer to use a -coat of size. For this purpose Russian isinglass is -preferable; fresh glaire will answer the same purpose. -After the cases are stamped, the volumes -being ready, they are arranged with their heads -the same way, and the end-paper of the volume is -pasted equally over. The book is then laid, pasted -side downwards, upon a case, adjusting the squares -properly at the same time; the other end-paper is -then pasted, and the other board or side of the case -drawn over the back and placed upon the volume. -After a number are pasted, they are placed in -pressing-boards having a brass band affixed to the -edges of the boards. The band, being rather wider -than the thickness of the board, causes a slight projection. -The volumes are adjusted in the pressing-boards -in such a manner as to cause the back and -joint of the volumes to be on the outer, while the -<span class="pagenum"><a name="page177" id="page177"></a>[pg 177]</span> -pasteboard is on the inner, side of the brass rim. -In this position the volumes are placed in the standing-press -and screwed tightly down; they are then -tapped lightly at the heads with a small backing-hammer, -and allowed to remain until dry. They -are then taken out, and the end-papers opened up -or separated with a folding-stick. They are then -ready for the bookseller's shelves.</p> - -<div class="figcenter" style="width: 420px;"><a href="images/175-900.jpg"><img src="images/175-420.jpg" width="420" height="456" alt="" /></a> -<p class="center">TABLE-SHEARS.</p></div> - -<p><span class="pagenum"><a name="page178" id="page178"></a>[pg 178]</span></p> - -<div class="chapter"> -<h3 class="space-above4">PART III.</h3> -</div> - -<p class="title3">ORNAMENTAL ART.</p> - -<p>In treating upon this subject, we are led back -to the land of the Pharaohs; for the earliest Art -records that have come down to us (and, perhaps, -the most perfect) are from the banks of the Nile, -remarkable for their severely massive character, -calm and frigid. The few ornamental details are -chosen rather for their symbolical than æsthetic -beauty, consisting of local forms slightly conventionalized -and heightened with colour. Their ornaments -were types and symbols intended to address -themselves to the eye, heart, and soul of the beholder, -the most frequent in recurrence being the -winged globe,—a sacred emblem the Egyptians used -in their ornamental designs,—the human figure, their -sacred animals, and the lotus, reed, asp, and papyrus. -Upon the capitals of Egyptian columns are -represented nearly all the flowers peculiar to the -country, the petals, capsules, pistils, seeds, and -<span class="pagenum"><a name="page179" id="page179"></a>[pg 179]</span> -most minute parts, being often exhibited. Capitals -are often seen resembling a vase, and at other times -a bell reversed. There is little in this style applicable -to the decoration of books, unless it be upon -works relating to Egypt. Then its symbols afford -the binder an opportunity to employ its symbolic -ornamentation.</p> - -<p class="center1sb">ASSYRIAN AND ANCIENT PERSIAN.</p> - -<p>Of this style it is only lately that we have become -slightly acquainted; and, though partly coeval with -the Egyptian, the Assyrians have borrowed little -from them, the details being remarkable for their -classic character, at times approaching the Ionic, -but greatly dependent upon animal forms for its -ornamentation, and upon painting and sculpture for -its expression. The forms, often graceful, are less -arbitrary than the Egyptian, (where symbolism is -paramount,) containing those elements afterwards -elaborated into beauty by the Greeks. There is an -appropriate fitness in Assyrian ornament that constitutes -one of its prominent characteristics. In addition -to animals, the pomegranate, fir-cones, lotus-flower -and reeds, rosettes, and a fan-shaped -ornament supposed to be the origin of the Greek -honeysuckle, distinguish the Assyrian style.</p> -<p><span class="pagenum"><a name="page180" id="page180"></a>[pg 180]</span></p> - -<p class="center1sb">GREEK.</p> - -<p>Under the ancient Greeks, Art attained a refined -and exalted character, material beauty being developed -to the utmost; elegance of proportion, chaste -simplicity, and conventionalism, triumphant; symbolism -disregarded. The principal elements of -Greek ornament were the honeysuckle, the lotus-leaves, -the wave-line and scroll, the zig-zag, and -the universal fret. The beauty of Grecian ornament -consists in its equality of foliage, starting-points, -stalks, and groundwork. Its running figures -are well adapted to and are employed for rolls, in -side-finishing, and the proportions of this style of -Art should be carefully studied by the finisher.</p> - -<p class="center1sb">ETRUSCAN.</p> - -<p>Simplicity and elegance of form, combined with -strong contrast in colour, constitute the distinguishing -marks of this style. The Etruscan vases still -form models for the artist. The novel appearance -of these vessels, all uniformly painted with a tracery -of black on a natural groundwork of brownish red, -is extremely pleasing, proving the high artistic -capability of their makers. In the British Museum -there is one room entirely devoted to a collection -of these remains of ancient Art. This style is approached -<span class="pagenum"><a name="page181" id="page181"></a>[pg 181]</span> -in its effects by inlaying with black upon -a brownish red. A copy of Caxton's "Recuyell of -the Historyes of Troye," bound in this style by Whittaker, -has been highly extolled. It is in the possession -of the Marquis of Bath. The general effects -of this style are represented by a style now much -in vogue, called antique, a reddish-brown morocco -being stamped upon so as to produce a dark or -black figure thereon; but the character of the ornaments -are generally dissimilar.</p> - -<p class="center1sb">ROMAN.</p> - -<p>Roman art is a redundant elaboration of the -Greek, in which purity gives way to richness, -grotesque combinations become common, and false -principles creep in. Mosaic pavements are rendered -pictorial by the introduction of light and shade, the -flat and round not kept distinct. In the remains -of Pompeii we find the degradation of classic Art by -the violation of true principles. There is nothing -in this style to commend it to the artist, especially -in decorating books.</p> - -<p class="center1sb">BYZANTINE, LOMBARD, NORMAN.</p> - -<p>These varieties of kindred ornament, commencing -with the rise of Christianity, were founded on classic -<span class="pagenum"><a name="page182" id="page182"></a>[pg 182]</span> -details, having a distinct expression of their own. -There is much symbolism in the Byzantine, but all -are appropriate to their several wants,—the parts -rich, judiciously disposed, and purely conventional. -In these styles, so intimately connected, we find the -interlaced strap-work that suggested Gothic tracery -to the great mediæval artists.</p> - -<p class="center1sb">MOORISH.</p> - -<p>The decorative art of the Arabs is more conventional -than any other, it being in most cases extremely -difficult to trace the origin of their forms. -All animal representations are strictly excluded by -the religion of Mohammed. The union of geometrical -with floral forms seems to have supplied the expression, -many ornaments resembling the ovary of -plants, transversely cut and connected with crystalline -shapes. The abstract and superficial treatment -is perfect, the forms are extremely graceful, -and the colouring gorgeous. The interlaced strap-work -is highly elaborated. This style is sometimes -called the Arabesque, and forms the chief decoration -of the Alhambra, an ancient fortress and residence -of the Moorish monarchs of Granada. For grace -and liveliness this style is unrivalled, and it affords -many useful and beautiful hints to the finisher in -<span class="pagenum"><a name="page183" id="page183"></a>[pg 183]</span> -his hand-tooling, and is well calculated to produce -fine effects in stamps designed for the embossing-press.</p> - -<p class="center1sb">GOTHIC.</p> - -<p>The Gothic is founded upon geometrical forms. -The strap-work of former styles is elaborated into -tracery, the main lines being circular or curved, -starting from vertical lines, ending in points, enclosing -spaces divided and subdivided in the same -manner, further decorated with conventional ornaments -derived from local nature. For bookbinding -it is sometimes employed, but without much judgment. -The judicious finisher will reject it on account -of its inapplicability to superficial decoration.</p> - -<p class="center1sb">THE RENAISSANCE.</p> - -<p>The Renaissance or Revival arose in Italy in -the fifteenth century, by the appropriation of -classic details in connection with prior styles, the -traditionary giving way to selection and freedom; -Art gaining but few entirely new forms, rather -subjecting all that had gone before to a new treatment, -which in the hands of the great artists of -the period produced agreeable results, showing the -importance of general design, rendering even incongruous -materials pleasing from that cause alone. -<span class="pagenum"><a name="page184" id="page184"></a>[pg 184]</span> -The Cinque-cento has been considered the goal -of the Renaissance and its characteristics,—strap, -tracery, arabesque, and pierced scroll-work, a mixture -of the conventional with natural forms, and -every detail of ancient Art,—producing, under different -masters, varied results. Thus, in Raphael's -Loggie of the Vatican are to be found, as at Pompeii, -elements piled one above the other, without -any regard to construction. The same with the -works of Julio Romano at Mantua,—painted imitation -of bas-reliefs suspended above fountains, temples, -&c., the parts often finely drawn and treated, -but, taken as a whole, little removed from the absurd, -quite unlike the works of the Greeks and -Etruscans they sought to rival.</p> - -<p class="center1sb">ELIZABETHAN.</p> - -<p>The Elizabethan was an English version of the -Renaissance, being a special elaboration of the -strap and bolt-work, and has been highly useful -to the stamp-cutter. Many of its forms can be -advantageously employed by the finisher.</p> - -<p class="center1sb">LOUIS QUATORZE.</p> - -<p>This distinct expression of Art is of Italian -origin, being the last of the Renaissance, and end -<span class="pagenum"><a name="page185" id="page185"></a>[pg 185]</span> -of ornamental styles. It consists of scrolls and -shells, an alternation of curves and hollows, the -concave and convex in contrast, the broken surfaces -affording a brilliant play of light and shade. -The effect when gilt being extremely magnificent, -colour was abandoned, construction hidden, and -symmetry often disregarded, especially in its decline. -As to superficial treatment, flat surfaces were -studiously avoided, and the few that remained were -treated pictorially, in a mellifluous, pastoral style, -known as that of Watteau. Under Louis XV. the -forms degenerated: symmetrical balance and flow -of line were disregarded, giving way to the degraded -ornamentation called the Rococo—the prevailing -style of the last and earlier part of the -present century—depriving Europe for more than -one hundred years of true superficial decoration, -without which no Art can be considered complete. -An attempt at this style may be seen upon the -sides of some of the gaudily-gilt albums and books -of like character. No finisher need cultivate a -love for it, for it is the aversion of all refined -artists.</p> -<p><span class="pagenum"><a name="page186" id="page186"></a>[pg 186]</span></p> - -<div class="chapter"> -<h4 class="space-above4">FINISHING.</h4> -</div> - -<p class="center1sb">TASTE AND DESIGN.</p> - -<p>It is of the utmost importance to a young workman -that he have correct ideas in regard to taste, -and be able to distinguish it from caprice or mere -fancy. It is in the power of all to acquire a correct -taste, for it is governed by laws that can be easily -learned, and they are unchangeable. Taste may -be said to be a perception and an appreciation of -the principles of beauty and harmony as revealed -by Nature through Art. Nothing contrary to -nature, no violation of any law of proportion or -of fitness, can be in good taste. The amateur and -book-collector, in commencing the foundation of a -library, will do well to pause before they adopt a -species of binding that will in after years create a -feeling of annoyance, and perhaps lead to pecuniary -sacrifice.</p> - -<p>A recent writer upon the New York Exhibition -of the Industry of all Nations discourses thus:—"We -call bookbinding an art; and when we consider -all that is necessary to the perfect covering -of a fine book, it must be admitted to be an art; -less important, it is true, but similar in kind to -architecture.</p> -<p><span class="pagenum"><a name="page187" id="page187"></a>[pg 187]</span></p> - -<p>"The first requisition upon the skill of the binder -is to put the book into a cover which will effectually -protect it, and at the same time permit it to be used -with ease. If he do not accomplish this, his most -elaborate exhibition of ornamental skill is worth -nothing; for he fails in the very end for which his -services are required. It was in this regard, too, -that most of our binders failed in past years. Who -that remembers the hideous, harsh, speckled sheep -covers which deformed our booksellers' shelves not -long ago, can forget the added torment which they -inflicted upon their unhappy purchaser, by curling -up palpably before his very eyes, as he passed his -first evening over them, and by casting out loose -leaves or whole signatures before he had finished -his first perusal? In those days, too, there was -morocco binding, with a California of gold upon -the sides; and such morocco! it felt to the fingers -like a flattened nutmeg-grater, seeming to protect -the book by making it painful for any one to touch -it. This was as useless as the humbler though not -more vulgar sheep. It would hardly last through -the holiday season on the centre-table which it was -made to adorn.</p> - -<p>"The binder's next task is to give his work the -substantial appearance without which the eye of -<span class="pagenum"><a name="page188" id="page188"></a>[pg 188]</span> -the connoisseur will remain unsatisfied. The volume -must not only be well protected, but seem so. -It should be solid, compact, square-edged, and enclosed -in firm boards of a stoutness proportionate -to its size, and these should be covered with leather -at once pliable and strong. Unless it present this -appearance, it will be unsatisfactory in spite of the -richest colours and the most elaborate ornament. -Thus far the mere mechanical skill of the binder -goes. In the choice of his style of binding, and -in the decoration of his book, if he perform his task -with taste and skill, he rises to the rank of an -artist.</p> - -<p>"The fitness of the binding to the character of -the volume which it protects, though little regarded -by many binders, and still less by those for whom -they work, is of the first importance. Suppose -Moore's Lalla Rookh bound in rough sheep, with -dark russia back and corners, like a merchant's -ledger, or Johnson's folio Dictionary in straw-coloured -morocco elaborately gilded, and lined with -pale blue watered-silk, is there an eye, no matter -how uneducated, which would not be shocked at the -incongruity? Each book might be perfectly protected, -open freely, and exhibit evidence of great -mechanical and artistic skill on the part of the -<span class="pagenum"><a name="page189" id="page189"></a>[pg 189]</span> -binder; but his atrocious taste would insure him a -just and universal condemnation. And yet there -are violations of fitness to be seen daily, on the -majority of public and private shelves, little less -outrageous than those we have supposed. Books -of poetry, and illustrated works on art bound in -sober speckled or tree-marbled calf, with little gold -upon the backs and sides, and none upon the edges! -Histories, statistical works, and books of reference, -in rich morocco, splendidly gilded!—the idea that -the styles ought to change places seeming never to -enter the heads of the possessors of these absurdly-covered -volumes. But a little reflection by any -person of taste, and power to discern the eternal -fitness of things, will make it apparent that there -should be congruity and adaptation in the binding -of books. Sober, practical volumes should be correspondingly -covered; calf and russia leather, with -marbled paper and edges, become them; while -works of imagination, such as poetry and books -of engravings, demand rich morocco, fanciful ornaments, -and gilding. To bind histories, philosophical -works, dictionaries, books of reference and the -like, in plain calf or dark russia,—travels, novels, -essays, and the lighter kind of prose writing, in -tinted calf or pale russia with gilding,—poetry in -<span class="pagenum"><a name="page190" id="page190"></a>[pg 190]</span> -full morocco richly gilded, and works on art in half -morocco, with the top edge only cut and gilded,—seems -a judicious partition of the principal styles -of binding. The margins of an illustrated work -on Art should never be cut away, except where it is -absolutely necessary for the preservation of the -book from dust, and the convenience of turning the -leaves—that is, at the top. It is well here to enter -a protest against the indiscriminate use of the antique -style of binding, with dark-brown calf, bevelled -boards, and red edges. This is very well in its -place; but it should be confined to prose works of -authors who wrote not later than one hundred and -fifty years ago. What propriety is there in putting -Scott, or Irving, or Dickens, or Longfellow, in such -a dress?"</p> - -<p>Hartley Coleridge's opinion on the subject of -taste in Bookbinding is thus given:—"The binding -of a book should always suit its complexion. Pages -venerably yellow should not be cased in military -morocco, but in sober brown russia. Glossy hot-pressed -paper looks best in vellum. We have sometimes -seen a collection of whitey-brown black-letter -ballads, &c. so gorgeously tricked out that they -remind us of the pious liberality of the Catholics, -who dress in silk and gold the images of saints, -<span class="pagenum"><a name="page191" id="page191"></a>[pg 191]</span> -part of whose saintship consisted in wearing rags -and hair-cloth. The costume of a volume should -also be in keeping with its subject, and with the -character of its author. How absurd to see the -works of William Penn in flaming scarlet, and -George Fox's Journal in bishops' purple! Theology -should be solemnly gorgeous. History should -be ornamented after the antique and Gothic fashion; -works of science, as plain as is consistent with -dignity; poetry, <i>simplex munditis</i>."</p> - -<p>And it may not be irrelevant here to introduce -the opinion of Dr. Dibdin, whose connection with -some of the first libraries in England, and whose -intimate knowledge of all the great book-collectors -of the same, must tend to stamp him as a good -authority on the subject:—</p> - -<p>"The general appearance of one's library is by -no means a matter of mere foppery or indifference; -it is a sort of cardinal point, to which the tasteful -collector does well to attend. You have a right to -consider books, as to their <i>outsides</i>, with the eye -of a <i>painter</i>; because this does not militate against -the proper use of the contents.</p> - -<p>"Be sparing of red morocco or vellum. They have -each so distinct, or what painters call spotty, an -appearance, that they should be introduced but circumspectly. -<span class="pagenum"><a name="page192" id="page192"></a>[pg 192]</span> -Morocco, I frankly own, is my favourite -surtout; and the varieties of them—<i>blue</i>, -(dark and light,) <i>orange</i>, <i>green</i>, and <i>olive-colour</i>—are -especially deserving of your attention.</p> - -<p>"The colour of the binding may often be in harmony -with its contents. Books of poetry may be -red, or light green, or blue, and have as much -ornament as may be desired. And Fine Art books, -above all others, ought to rejoice in beautiful -coloured moroccos and gorgeous ornaments. In the -British Museum, books of divinity are bound in -blue, history in red, poetry in yellow, and biography -in olive.</p> - -<p>"Let <i>russia</i> claim your volumes of architecture -or other antiquities, of topography, of lexicography, -and of other works of reference. Let your romances -and chronicles aspire to <i>morocco</i> or <i>velvet</i>; though, -upon second thoughts, <i>russia</i> is well suited to history -and chronicles. And for your fifteeners, or -volumes printed in the fifteenth century, whether -Greek, Latin, Italian, or English, let me entreat you -invariably to use <i>morocco</i>: for theology, <i>dark blue</i>, -<i>black</i>, or <i>damson-colour</i>; for history, <i>red</i> or <i>dark -green</i>; while, in large paper quartos, do not fail to -remember the <i>peau de veau</i> (calf) of the French, -with gilt upon marbled edges. My abhorrence of -<span class="pagenum"><a name="page193" id="page193"></a>[pg 193]</span> -<i>hogskin</i> urges me to call upon you to swear eternal -enmity to that engenderer of mildew and mischief. -Indeed, at any rate, it is a clumsy coat of mail. -For your Italian and French, especially in long -suites, bespeak what is called <i>French calf binding</i>, -spotted, variegated, or marbled on the sides, well -covered with ornament on the back, and, when the -work is worthy of it, with gilt on the edges. Let -your English octavos of history or belles-lettres -breathe a quiet tone of chastely-gilded white calf -with marbled edges; while the works of our better-most -poets should be occasionally clothed in a -morocco exterior."</p> - -<p>The further opinion of the doctor on the style of -ornament, &c. in gilding, will be given in its proper -place, and which, with that cited above, may be -safely acted upon by the binder, blended with such -additions as his own taste may dictate.</p> - -<p>It is in this state that the defects of forwarding -will become more apparent, and which no tact or -ingenuity of the finisher can effectually remedy; -for, unless the bands are square, the joints free, and -the whole book geometrically just, the defect, whatever -it may be, will appear throughout, and tend to -destroy the beauty of every subsequent operation, -<span class="pagenum"><a name="page194" id="page194"></a>[pg 194]</span> -from the constraint required to make the general -appearance of the work effective.</p> - -<p>Before proceeding to a description of the various -manipulations required in gilding a book, it will be -necessary to direct the attention of the young workman -again to what has been advanced relative to -care and attention in previous parts of this work, -and follow up the remarks there made with others -on the taste necessary to be displayed in this most -important part of the art of bookbinding. When -it is considered that the most celebrated artists have -arrived at the eminence awarded to them not only -through the elasticity, solidity, and squareness of -their bindings, but also from the judicious choice of -their ornaments for gilding, and the precision and -beauty with which they have been executed, it cannot -be too strongly impressed on the workman that -this should ever occupy his first attention. Nothing -is so disagreeable to the eye as injudicious or badly-executed -ornaments; while with chaste and classical -embellishments, tastefully applied, an appearance -of richness is produced on the volumes that cannot -fail to give satisfaction to the most fastidious critic. -The sides of the volumes present the field most -favourable for the display of ornamental taste, -admitting, from their extent, the execution of the -<span class="pagenum"><a name="page195" id="page195"></a>[pg 195]</span> -most complicated designs. This elaborate style of -ornament has been carried to such perfection and -splendour as, in many instances, to have occupied -several days in the execution of one side alone; but -it is only by the most vigorous application, greatest -care, and correct taste, that proficiency therein can -be attained. With these, success will soon crown the -endeavours of the workman; and he will have the -satisfaction of finding himself able to imitate any -pattern, however difficult, as well as to execute many -new designs and compartments, of which, till he -applied himself, he had not previously an idea.</p> - -<p>As regards the style of ornament, it must be left -to taste; but, as before promised, it will now be -proper to introduce the remarks of Dr. Dibdin on -the general effect of gilding and blind tooling, -leaving the detail to be suggested to the mind of -the gilder.</p> - -<p>"First, let your books be well and evenly lettered, -and let a tolerable portion of ornament be seen upon -the backs of them. I love what is called an <i>over-charged -back</i>, At first the appearance may be -flaunting and garish; but time, which mellows down -book ornaments as well as human countenances, -will quickly obviate this inconvenience; and about -a twelvemonth, or six months added to the said -<span class="pagenum"><a name="page196" id="page196"></a>[pg 196]</span> -twelvemonth, will work miracles upon the appearance -of your book. Do not be meagre of your -ornaments on the back, and never suffer <i>blind tooling</i> -wholly to pervade a folio or quarto; for, by so -doing, you convert what should look like a <i>book</i> into -a piece of mahogany furniture.</p> - -<p>"In large libraries there should not be too much -blind tooling or too great a want of gilt. No doubt -the ornament should be as appropriate as possible -to the book. One could not endure gingerbread-gilt -<i>Bibles</i> and <i>Prayer-Books</i>, or <i>Chronicles</i> or -<i>Dictionaries</i>, or other books of reference. Let these -have a subdued decoration on their backs; bands -only full-gilt, or a running edge-tool in the centres -of them, with small ornaments between the -bands.</p> - -<p>"I would recommend the lettering of a volume -to be as <i>full</i> as possible; yet sententiousness must -sometimes be adopted. The lines should be straight, -and the letters of one and the same form or character -within the line; yet the name of the author -may be executed a size larger than that of the date -or place of its execution, and the lettering may be -between the top and bottom bands, or it may occupy -the spaces between three bands, or even more. -Re-letter old books perpendicularly, as was the custom. -<span class="pagenum"><a name="page197" id="page197"></a>[pg 197]</span> -In all fresh bindings, however, prefer horizontal -to perpendicular lettering."<a id="footnotetag3" name="footnotetag3"></a><a href="#footnote3">*</a></p> - -<p class="footnote1a"><a id="footnote3" name="footnote3"></a><a class="footnote" href="#footnotetag3"><sup>*</sup></a> - We sometimes fear that Dr. Dibden's commendation - of an overcharged back has produced a bad effect. It should be - borne in mind that, when the doctor wrote, calf was the - prevailing material employed in binding, and that of a light - colour.</p> - -<p>It remains to urge that particular attention be -paid to the lettering of books being their right -titles, as the contrary will present to the judicious -an effect the most disagreeable, and may be the -cause of producing dissatisfaction with the whole of -the binding in the mind of the owner; and also to -avoid the contrast which the different shade or -colour of new lettering-pieces will give to some -bindings.</p> - -<p>As it is requisite that the workman should form -an idea of the style and design to be executed on -the volume before he prepares it for gilding, we -will proceed to point out the peculiarities of some -of the most prominent styles and of the tools required -to produce them. We hope to convey a -faithful idea of the latter with the aid of the -tools and ornaments executed expressly for this -work by Gaskill, Copper & Fry, bookbinders' tool-cutters, -<span class="pagenum"><a name="page198" id="page198"></a>[pg 198]</span> -Philadelphia, who have secured for themselves, -by their taste and skill, an enviable reputation -as artists. Plate I. contains an illustration of -the species of ornament termed</p> - -<p class="center1sb">THE ALDINE STYLE,</p> - -<p>Which derives its name from a noted printer named -Aldus Manutius, a Roman by birth, who was born -in the year 1446 or 1447. His Christian name, -Aldus, was a contraction of Theobaldus; and to -this surname he sometimes added the appellation of -Pius, or Bassianus, or Romanus. The first of these -appellatives was assumed by Aldus from his having -been the tutor of Albertus Pius, a prince of the -noble house of Carpi; and the second was derived -from the birthplace of the printer—namely, Bassian, -a small town in the Duchy of Lermonetta.</p> - -<p>Aldus is supposed to have taken up his residence -at Venice, as the favourite city wherein to mature -his plans, about the year 1488; and about 1494-95 -he there put forth the first production of his press. -He introduced Roman types of a neater cut than -had previously been in use, and invented that -beautiful letter which is now known as <i>Italic</i>, -though, in the first instance, it was termed <i>Venetian</i>, -from Manutius being a resident of Venice -<span class="pagenum"><a name="page199" id="page199"></a>[pg 199]</span> -when he brought it to perfection; but, not long -after, it was dedicated to the State of Italy, to prevent -any dispute that might arise from other nations -claiming a priority, as was the case concerning the -first inventor of printing.</p> - -<p>Prior to the time of Aldus, the only points used -in punctuation were the comma, colon, and full-point -or period; but he invented the semicolon, -gave a better shape to the comma, and connected -the punctuation by assigning to the various points -more proper places. About the period of his marriage, -(in 1500,) he invented a mode of imposing a -work in such a manner that two languages might be -interleaved and bound together, or separately, at -the option of the purchaser; and, about the same -date, he printed the first leaf, in folio, of a proposed -edition of the <span class="sc">Bible</span> in the Hebrew, Greek, and -Latin languages; so that he has the honour of having -first suggested the plan of a Polyglott Bible. -However, the plan failed of being then carried into -effect. Printing different languages in opposite -columns was not accomplished till 1530.</p> - -<p>The mind of Aldus was entirely engaged in the -care of his printing-house; for, as soon as he had -ordered his other necessary affairs, he shut himself -up in his study, where he employed himself in -<span class="pagenum"><a name="page200" id="page200"></a>[pg 200]</span> -revising his Greek and Latin MSS., reading the -letters which he received from the learned out of all -parts of the world, and writing answers to them. -To prevent interruption by impertinent visits, he -caused the following inscription to be placed over his -door:—"<i>Whoever you are, Aldus earnestly entreats -you to despatch your business as soon as possible, -and then depart: unless you come hither, like another -Hercules, to lend him some friendly assistance; -for here will be work sufficient to employ -you and as many as enter this place.</i>"</p> - -<p>The mark or device which Aldus—who died in -1515—made use of to distinguish works issued from -his press was an anchor, round which a dolphin -seemed to twist. It must be familiar to every amateur,—Mr. -Pickering, the London publisher, having -adopted the Aldine anchor as his device. To attempt -any description of the Aldine class of tools would -be superfluous after so fair a specimen in the illustration. -It will be perceived they are entirely free -from shading, and, consequently, much more effective -for that description of work for which they are -generally used,—viz., blind tooling. Both tools and -patterns are much lighter and more ornamental -than the old Monastic school, of which the Aldine -in some degree partook.</p> -<p><span class="pagenum"><a name="page201" id="page201"></a>[pg 201]</span></p> - -<p>Upon the same plate there is exhibited the arrangement -of a back-panel and tools in the</p> - -<p class="center1sb">MONTAGUE STYLE,</p> - -<p>Which derives its name from Montague, (of the firm -of Montague and Johnson,) a bookbinder of considerable -eminence, who flourished about the year -1780. The chief features of this style are corners -and centre, filled up with stops, &c. similar to illustration. -The tools are of an open, leafy description, -flowing from a stem free from any thing of -the scroll or curl. The panel given has been copied -from a book supposed to have been done by Montague -himself. The bar, or barleycorn, on the head -and tail and on the bands, likewise on the insides -and edges. Books in volumes, pieced red and -green on adjoining panels, frequently a lozenge -of red on the second piece, and filled up with -corners and stops similar to the other panels; -sometimes both pieces green; sides generally -plain, or a flowery flowing roll, for which a -two-line is now usually substituted; sewed on -raised bands; colour, brown calf, sometimes highly -sprinkled.</p> - -<p>There is also upon Plate I. an illustration of</p> - -<p><span class="pagenum"><a name="page202" id="page202"></a>[pg 202]</span></p> - -<p class="center1sb">THE HARLEIAN STYLE,</p> - -<p>A style not behind Montague in beauty of ornament, -and superior in elegance and variety of arrangement. -Before entering into a description of -the style, we will give what information we have -gained respecting its founder, trusting that it will -not be unacceptable. We find that "Robert Harley, -Esq., of Frampton-Bryan, in the county of -Hereford, (the gentleman from whom the style -derives its name,) was in 1700 chosen Speaker -of the House of Commons, and in May, 1711, he -was created Earl of Oxford and Mortimer, and five -days afterwards was promoted to the important -station of Lord High-Treasurer of Great Britain."</p> - -<p>In the Preface to the Harleian MSS., now in the -British Museum, speaking of Mr. Harley, it states -that "his innate love of books was such as to determine -him in early life to undertake the formation of -a new library, regardless of the disadvantages with -which he must contend, as great exertions had previously -been made in collecting MSS. for the Bodleian, -Cottonian, and other valuable though smaller collections, -so that the prospect of forming a new library -with any considerable number of MSS. was indeed -very unpromising. But, urged on by a love of learning, -<span class="pagenum"><a name="page203" id="page203"></a>[pg 203]</span> -and a strong desire to search into the transactions -of former ages, determined Mr. Harley to purchase -whatever curious MSS. he could meet with, more -especially such as might in any wise tend to explain -and illustrate the history, laws, customs, and antiquities, -of his native country. The principal point -which the founder of the Harleian Library had in -view was the establishment of a MS. English Historical -Library, and the rescuing from oblivion and -destruction of such valuable records of our national -antiquities as had escaped the diligence of former -collectors.</p> - -<p>"At the decease of his son, (Edward Lord Harley, -in 1741,) who had been a powerful auxiliary in -enriching the collection, the MS. library consisted -of nearly 8000 volumes. At the death of Mr. Harley, -his library was bequeathed to the University -of Oxford. To such men we owe a debt of gratitude -for the improvement of the art and for introducing -a style of finishing that still remains the -admiration of the connoisseur.</p> - -<p>"The books in the Harleian Collection are principally -bound in red morocco, well sewed on raised -bands, tight backs, (as were all the books of that -period,) Dutch marble end-papers, and gilt edges."</p> - -<p>Harleian tools are more wiry and much closer -<span class="pagenum"><a name="page204" id="page204"></a>[pg 204]</span> -than the Montague, interspersed with fine-line curls, -fine pinhead curve-lines, rosettes, acorns, solid stops, -single rings, and cross-buns.</p> - -<p>The border upon the same plate illustrates the -Harleian pane-side. In the Harleian style there -are three distinctly different arrangements for sides -and backs, (independent of the flights of fancy in -which finishers indulge.) There are on the sides,—first, -the two or three-line fillet, stopped; second, -the Harleian tooled or spikey border,—a style of -finishing peculiarly neat and rich, and well adapted -for nearly every description of books.</p> - -<p>On original Harleys the tooling went right on -from corner to corner, as if worked by a very -broad roll; but modern finishers prefer a made-up -corner,—that is, a tool or tools projecting at right -angles with the corner, up to which the border-tools -are worked, thus rendering the whole more harmonious -and perfect. The spikey border is worked up -to a two or three-line fillet, with the cat-tooth roll -worked on the outer line towards the edge of the -board. (We may here mention that the cat-tooth, -although purely French, may be also considered -Harleian, as it is on all the originals we have seen, -and accords well with the style.) Third, the pane -or panelled side, similar to the illustration. Sometimes -<span class="pagenum"><a name="page205" id="page205"></a>[pg 205]</span> -a double pane was formed by throwing in a -two-line fillet and working a roll on the inside.</p> - -<p>On the backs there is the upright centre, the -diamond centre and corner, as in the illustration, -and the semi-circle with open centre.</p> - -<p>The diamond centre was not much used on books -of light reading, such as novels, but rather on -works of a graver nature, such as divinity, philosophy, -and history. It seems to have been the -favourite style of the earl's binders; and we must -acknowledge that a book never looks so like a book -as when finished with a good diamond centre and -corner. In forming the diamond centre, the spikes -ought to project beyond the stops, as it is then more -graceful and pleasing to the eye than when the stop -and spikes are flush one with the other.</p> - -<p class="center1sb">THE FONTHILL STYLE.</p> - -<p>The following account of Fonthill Abbey will, no -doubt, be acceptable, in connection with our description -of the "style" which has derived its name -therefrom.</p> - -<p>"Fonthill Abbey, in Wiltshire, justly ranks as -one of the grandest structures in the United Kingdom, -combining all the elegance of modern architecture -with the sublime grandeur of the conventual -<span class="pagenum"><a name="page206" id="page206"></a>[pg 206]</span> -style. It was built about the end of the last -century, at an expense of £400,000, by Mr. William -Beckford, son of the public-spirited Lord Mayor of -London of that name, whose statue now stands in -Guildhall, with a copy of the memorable speech -and remonstrance which he addressed to George III. -in 1770. Succeeding to almost unbounded wealth, -(nearly £100,000 a year,) endowed with an extraordinary -mind, literary talents of the highest order, -and an exquisite taste for the arts, the young owner -of Fonthill Abbey determined to erect an edifice -uncommon in design, and to adorn it with splendour; -and, with an energy and enthusiasm of which -duller minds can form but a poor conception, he -soon had his determination carried into effect.</p> - -<p>"The gorgeous edifice reared for Mr. B. contained -many magnificent suites of apartments. We need -only notice two, denominated St. Michael's, and -King Edward the Third's Gallery. They are of -the most stately and interesting description that -can be conceived or imagined: the former filled -with the choicest books and many articles of <i>vertu</i>; -the latter also employed as a library, but enriched -with a much greater number of choice and curious -productions, and terminating in an oratory, unique -for its elegant proportions and characteristic consistency. -<span class="pagenum"><a name="page207" id="page207"></a>[pg 207]</span> -It is at once rich and luxurious as the -temple of which it forms an appendage,—sombre -and soothing as the religious feelings with which its -designation associates it.</p> - -<div class="poem width24"> <div class="stanza"> -<p>'Meditation here may think down hours and moments;</p> -<p>Here the heart may give a useful lesson to the head,</p> -<p>And learning wiser grow without its books.'</p> - </div> </div> - -<p>It is but the drawing of a curtain, and not only all -the glitter of the adjoining splendour, but all the -pomps and vanities of the world seem to the meditative -mind to be shut out forever. Perhaps its -pensive cast is more deeply experienced from the -immediate contrast: dazzled with objects of show, -fatigued with the examination of rare and costly -commodities, and bewildered with the multitude of -precious devices which everywhere surround him, -the soul of the visitant retires with tenfold delight -to the narrow walls of the oratory."</p> - -<p>Our brief description of the Fonthill style cannot -fail to strike the reader as being remarkably appropriate -to the sombre character of that part of the -abbey which contained the library,—the one being -in strict keeping with the other.</p> - -<p>Half-bound olive-brown morocco; sewed on raised -bands; gilt tops; marble-paper sides and insides; -<span class="pagenum"><a name="page208" id="page208"></a>[pg 208]</span> -with no finishing whatever, except the lettering and -date at bottom.</p> - -<p class="center1sb">À LA JANSENISTE.</p> - -<p>This chaste and beautiful style is said to be -derived from a religious order, and is highly -esteemed by amateurs. Books bound à la janseniste -are full-bound Turkey or Levant morocco, -with a broad turn in on the inside of the board, gilt -edges with a fine one-line fillet each side of the -bands and head and tail, and neatly mitred on the -side, all in blind, there being no gilding on the -outside but the lettering; on the inside a broad-tooled -border of very fine tooling in gold, a fine -two-line in gold on the edges of the boards, and the -cap of the headbands tipped with the same.</p> - -<p class="center1sb">THE CAMBRIDGE STYLE</p> - -<p>Is practised, we may say exclusively, on theological -works. At what period it gained its name is -uncertain; doubtless, it was the style in which some -of the university libraries were chiefly bound; and, -in all probability, the idea of the Harley paned -side was first copied from it. Books bound in this -style are sewed on raised bands, brown calf, pane-sprinkled -sides, Dutch marble end-papers, and red -<span class="pagenum"><a name="page209" id="page209"></a>[pg 209]</span> -edges. Back pieced with red russia, and a two-line -fillet head and tail, and on each side of the -bands, <i>blind</i>. Sides, two-line fillet close to the -edge and on each side of the pane, with a narrow -flower-roll worked on each side of the pane, close -to the lines. The fillets in the pane to be connected -together at the corners with the two-line -fillet, and a tool worked from the corner of the -pane towards the edge of the book, <i>all blind</i>. Bar-roll -on the edges, in gold.</p> - -<div class="chapter"> -<div class="figcenter" style="width: 300px;"> -<p class="right">2.</p> -<a href="images/208fp2-600.jpg"><img src="images/208fp2-300.jpg" width="300" height="492" alt="" /></a> -<p class="center"><i>Modern Monastic.</i></p></div></div> - -<p class="center1sb">MODERNIZED MONASTIC.</p> - -<p>This style is now in great vogue, under the appellation -of the antique. The materials employed are -divinity calf and brown or Carmelite morocco, with -very thick boards, edges either red, brown, or -matted gilt; very high raised bands. The style of -ornament is illustrated by Plate II., intended for a -side-stamp to be done by the press. It can also be -done by hand, with rolls, fillets, and hand-stamps, -omitting the broad and narrow fillet, and substituting -either a one or two-line, working the circles -with gouges. The tools are all worked blind. This -style of binding, when appropriate to the book, produces -a very pleasing effect.</p> -<p><span class="pagenum"><a name="page210" id="page210"></a>[pg 210]</span></p> - -<p class="center1sb">ARABESQUE.</p> - -<p>"The term is more commonly applied to the species -of ornament used in adorning the walls, pavements, -and roofs of Moorish and Arabian buildings, consisting -of an intricate heterogeneous admixture of -fruits, flowers, scrolls, and other objects, to the exclusion -of animals, the representation of which is -forbidden by the Mohammedan religion. This kind -of ornament is now frequently used in the adorning -of books, plate, &c. Foliage very similar to that -used by the Arabians, intermixed with griffins, &c., -were frequently employed on the walls and friezes -of temples, and on many of the ancient Greek -vases; on the walls of the baths of Titus, at -Pompeii, and many other places."—<i>Craig's Universal -Dictionary.</i></p> - -<p>As regards book-finishing, we have looked into -more than one authority, and are really unable to -define what the "arabesque" style is or ought to be. -The well-understood term "roan embossed" is, in -our opinion, the nearest approach to it at the -present day.</p> - -<p>Plate III. is an adaptation of an old German -design for embossing. The figure is raised, the plate -being worked with a counter, in a powerful press.</p> - -<div class="chapter"> -<div class="figcenter" style="width: 300px;"> -<p class="right">3.</p> -<a href="images/210fp3-600.jpg"><img src="images/210fp3-300.jpg" width="300" height="489" alt="" /></a> -<p class="center"><i>Old German Style for Embossed Work.</i></p></div></div> - -<p><span class="pagenum"><a name="page211" id="page211"></a>[pg 211]</span></p> - -<p>This style can only be executed upon publishers' -work where there is a quantity of the same book -to be done in this style. By it a good effect is produced -upon an inferior material and at a trifling -cost. The covers are embossed before they are -applied to the volumes, and in order to preserve the -sharpness of the design they must be covered with -glue and not pressed afterwards.</p> - -<p class="center1sb">ANTIQUE OAK AND OTHER BINDINGS.</p> - -<p>Great varieties of style in the covers of bindings -have been introduced within the last few years; -but these must be left to the imitative powers of -the skilful workman, as no written description -would give the requisite information and guidance. -Should he be desirous of executing these, he will do -well to study some good specimen. Among others -may be mentioned the Antique Oak Bindings, -adopted by Mr. Murray, for his "Illuminated -Prayer-Book," and Messrs. Longman and Co., for -"Gray's Elegy." Also the Iron Binding,—viz.: -covers in imitation of cast-iron,—in which Messrs. -Longman and Co. have had bound the "Parables -of our Lord." Bibles and Prayers are now frequently -bound to imitate the antique, having heavy -<span class="pagenum"><a name="page212" id="page212"></a>[pg 212]</span> -boards with clasps and corners, and finished in the -monastic style.</p> - -<p class="center1sb">GROLIER STYLE.</p> - -<p>This beautiful style of ornament is so well illustrated -by Plate IV. that it scarcely needs any -remark. We will merely observe that this style is -well calculated for hand-work, being entirely superficial -in character. The pattern presented can be -worked with a one-line fillet and gouges, with a few -leaves of a conventional character. The design -should be first traced upon paper of the proper size, -the paper lightly tipped at the corners with paste -upon the side, then worked with the fillet and -gouges through the paper upon the leather. The -paper is then removed, and the blind impression -appears upon the side. All vestiges of the paper -are carefully washed off, and the pattern pencilled -in,—that is, each portion of the figure is carefully -traced with a fine camel's-hair pencil saturated -with glaire. When dry it is lightly passed over with -a piece of cotton in which sweet oil has been -dropped, and the gold leaf laid on. The pattern is -then reworked upon the gold.</p> - -<div class="chapter"> -<div class="figcenter" style="width: 300px;"> -<p class="right">4.</p> -<a href="images/212afp4-600.jpg"><img src="images/212afp4-300.jpg" width="300" height="484" alt="" /></a> -<p class="center"><i>Grolier about 1530.</i></p></div></div> - -<p>The design upon Plate V. is a modern elaboration -of the Grolier, and is intended for a side-plate, -<span class="pagenum"><a name="page213" id="page213"></a>[pg 213]</span> -to be executed by the stamping-press. It is well -calculated for blind or blank stamping, the solid line -producing by its intersections a fine effect. By omitting -the inner and working the out lines, this elaboration -of lines and circles can be worked by hand.</p> - -<div class="chapter"> -<div class="figcenter" style="width: 300px;"> -<p class="right">5.</p> -<a href="images/212bfp5-600.jpg"><img src="images/212bfp5-300.jpg" width="300" height="492" alt="" /></a> -<p class="center"><i>Modernized Grolier.</i></p></div></div> - -<p>The Louis Quatorze is illustrated, by a pattern -for a back, upon Plate VI. This can be worked -either by hand-stamps or by the press. The centre -pattern is a very pretty illustration of the prevailing -style of backs for case-work. This must be -stamped before the cover is applied to the book.</p> - -<p>The third pattern for flat backs is adapted for -hand-tools, and when executed upon light-coloured -English calf produces a beautiful appearance. From -its light, graceful character, it is well suited to -modern poetry and light literature in general. -This style gives scope to an almost endless variety -of patterns, regulated only by the taste of the -finisher.</p> - -<div class="chapter"> -<div class="figcenter" style="width: 300px;"> -<p class="right">6.</p> -<a href="images/213afp6-600.jpg"><img src="images/213afp6-300.jpg" width="300" height="483" alt="" /></a> -<p class="center"><i>Louis XIV.</i> <span style="padding-left:3em;"><i>Modern.</i></span><span style="padding-left:3em;"><i>French.</i></span></p></div> -</div> -<p>Plate VII. is a design drawn by Holbein for a -side-ornament in metal. This beautiful pattern can -be adapted either to hand or press work. Its graceful -and harmonious proportions should be well studied -by the young workman.</p> - -<div class="chapter"> -<div class="figcenter" style="width: 300px;"> -<p class="right">7.</p> -<a href="images/213bfp7-600.jpg"><img src="images/213bfp7-300.jpg" width="300" height="495" alt="" /></a> -<p class="center"><i>Drawn after a design by Holbein A.D. 1550.</i></p></div></div> - -<p>Upon Plate VIII. will be found specimens of -rolls and hand-stamps used in finishing. The numbers -<span class="pagenum"><a name="page214" id="page214"></a>[pg 214]</span> -affixed refer to the order of arrangement in -the Book of Patterns published by Gaskill, Copper -& Fry, containing over two thousand specimens -with their prices attached. They have also an immense -number of patterns, executed since the publication -of their book for binders in various parts -of the country.</p> - -<div class="chapter"> -<div class="figcenter" style="width: 300px;"> -<p class="right">8.</p> -<a href="images/214fp8-600.jpg"><img src="images/214fp8-300.jpg" width="300" height="488" alt="" /></a> -<p class="center"><i>Selection from Gaskill, Copper & Fry's Book of Patterns (18 Minor S^t.)</i></p></div></div> - -<p>Having given the prominent distinct styles,—of -which there are, however, many combinations, both -of style, ornament, and tooling, originating more -nondescripts than we have space to treat upon,—we -proceed to the gilding, trusting that what has -been pointed out to the attention of the young -workman will induce him to neglect no opportunities -of becoming acquainted with the works of artists of -celebrity, not for the purpose of servile imitation, -but to examine their adaptations of ornamental art -as a study, to enable him to trace superficial decoration -back to its originators. Having acquired this -knowledge, he may by his treatment of ornament -take rank as an artist.</p> - -<p>The examples given will be sufficient for the intellectual -workman to conceive many patterns -which his taste will suggest, forming an infinite -variety of beautiful designs. In all combinations, -a rigorous observance of the symmetrical proportions -<span class="pagenum"><a name="page215" id="page215"></a>[pg 215]</span> -of the tools must be his first care, so that the -union of any number of designs present a form -agreeable and chaste. It would be superfluous to -add more; but from the importance of the subject, -on closing the directions for the ornamental department -of binding, it may be repeated that there is -no greater evidence of the ignorance or carelessness -of the workman than an ornament of any kind -unevenly or unequally worked. Let the young -binder especially bear this in mind: it is a defect -which nothing can effectually remedy; instead of -an embellishment it is a detriment to the binding, -and his reputation as a clever workman is consequently -placed in jeopardy.</p> - -<p>Preparatory to gilding, the back must be compassed -off and carefully marked with a folding-stick -and a straight-edge or piece of vellum, wherever it -is intended to run a straight line. This serves as a -guide when the gold is laid on. For work of the -best class, the fillets must be first put in blind, and -the tooling done in the same manner. For sides -where the design is elaborate, or a degree of perfection -in the tooling is desirable, the entire pattern -must be first worked in blind, and, after being -washed with a dilution of oxalic acid or a thin paste-wash, -it must be carefully pencilled in with the -<span class="pagenum"><a name="page216" id="page216"></a>[pg 216]</span> -glaire-pencil; but this comes more appropriately -under the head of</p> - -<p class="center1sb">PREPARATIONS FOR GILDING.</p> - -<p>To operate successfully, it will be necessary that -the workman provide himself with good size, glaire, -and oil. The first is prepared by boiling fine vellum -slips till a good size is produced, of a consistency -that will lie equally on the volume without blotches -or ropes, and must be used warm. The glaire is -formed of the whites of eggs, beaten well with a -<i>frother</i> till it is perfectly clear, and the froth taken -off. This liquid will improve by keeping, and -should never be used new if it can possibly be -avoided. For morocco bindings, the glaire is sometimes -diluted with water. The oil adopted by -various binders is different. Some use palm-oil for -calf, sweet oil for morocco or russia; others prefer -hog's lard, or fine mould-candle, for light-coloured -calf; but sweet oil is well adapted for almost every -kind of leather. Vellum-size is the best preparation -for coloured calf. On books thus prepared, -the glaire must be applied two or three times, taking -care that each coat is quite dry before the next is -added, and that it lies perfectly even on the whole -surface, free from globules or any substance whatever. -<span class="pagenum"><a name="page217" id="page217"></a>[pg 217]</span> -Great care is required in preparing coloured -calf; for, if there be too much body in the preparation, -it will crack on the surface and present a -bad appearance. Morocco and roan will not require -more than one coat, and, where practicable, -only on such parts of the morocco as are to be gilt. -The state of the weather must ever determine the -number of volumes to be proceeded with at one -time, as in the winter double the number may be -glaired to what the dryness of a summer's day will -admit of, so as to work with safety and produce -effect. A good paste-wash before glairing is always -advisable, as it prevents the glaire from sinking -into the leather.</p> - -<p>In preparing glaire from the egg for immediate -use, a few drops of oxalic acid added thereunto will -be found to be of essential service.</p> - -<p>The volumes being thus prepared, the operation of</p> - -<p class="center1sb">GILDING THE BACK</p> - -<p>Is commenced by oiling slightly, with a small piece -of cotton, the whole length of the back. If the -book is merely intended to be <i>filleted</i> for the economy -of the gold, small strips are cut on the gold-cushion, -attached to the heated fillet by rolling it slightly -over, and affixed to the volume by passing it firmly -<span class="pagenum"><a name="page218" id="page218"></a>[pg 218]</span> -on the lines previously marked. But if the back is -to be fully ornamented, it will be necessary to cover -it entirely with gold-leaf.</p> - -<p>The hand-stamps should be disposed on the table -before him, so as to be selected with the greatest -facility, and in readiness for every purpose for -which they may be required.</p> - -<p>To lay on the gold, the workman takes a book of -the metal, opens the outside leaf, and passes the -knife underneath the gold; with this he raises it, -carries it steadily on to the cushion, and spreads it -perfectly even, by a light breath on the middle of -the leaf, taking care also that not the least current -of air has access to the room he may be operating -in. Afterwards the gold must be cut with the gold-knife -to the breadth and length of the places to be -covered, by laying the edge upon it and moving -the knife slightly backwards and forwards. Then -rub upon the back the oil, and apply the gold upon -the places to be ornamented with a cotton or tip, -rubbed on the forehead or hair to give it a slight -humidity and cause the gold to adhere. But if the -whole of the back is to be gilt, it will be more economical -to entirely cover it by cutting the gold -in slips the breadth of the book and applying -the back on it; afterwards press it close with the -<span class="pagenum"><a name="page219" id="page219"></a>[pg 219]</span> -cotton, with which any breaks in the gold must also -be covered, by placing small slips where required. -The humidity of the hair or forehead will be sufficient -to make the gold adhere to the cotton or -other instrument with which it may be conveyed to -the book. The fillet or roll must then be heated to -a degree proper for the substance on which it is to -be worked. Calf will require them hotter than morocco -and roan, and these warmer than russia and -vellum. To ascertain their proper heat, they are -applied on a damp sponge, or rubbed with the finger -wetted, and by the degree of boiling that the water -makes, their fitness is known; but a little exercise -and habit will render this easy of judging. To -further insure this, the roll or pallet is passed over -the cap of the headband; if too hot, the gold will -be dull; if too cool, the impression will be bad, -from the gold not adhering in every part.</p> - -<p>After the gold is laid on, the volume is laid upon -the side, with the back elevated, and the workman -proceeds to mitre the fillets that run lengthwise of -the back, commencing at the line that has been -traced across the back, by pressing lightly with the -point of the mitred roll and running it carefully -till near the line that marks the end of the panel; -then lift the fillet and turn it with the finger until -<span class="pagenum"><a name="page220" id="page220"></a>[pg 220]</span> -the other or reverse mitre, or nick in the fillet, is -reached; then place the fillet in the lines already -gilt, adjusting it with the left hand until the extreme -point of the mitre will just reach the line traced -across. After both edges of the back have been -done along the joint in this way, the volume is then -placed evenly in the finishing-press, and the panels -completed by mitreing the fillets that run across the -back. The entire operation requires the utmost -care, in order to have the lines parallel and the -mitres perfectly even and true. No ornament that -may be afterwards worked upon the back, beautiful -as it may be, can atone for negligence or want of -skill in the mitreing and running of the fillets. As -a matter of economy, sometimes the back is run up; -that is, instead of stopping where the lines or bands -intersect, the roll is run up the back from one end -to the other, without stopping; and, after wiping -the gold off along the joint outside the fillet, it is -run across the back on each side of the bands, and -head and tail in the same manner. After the back -is mitred, the finisher will proceed with the ornamental -tools, and work them carefully off. In -placing them, great attention should be paid to their -occupying precisely the same place in each panel; -and, in order to present an agreeable effect, the -<span class="pagenum"><a name="page221" id="page221"></a>[pg 221]</span> -tools should correspond in detail, and there should -be a geometrical fitness governing the selection and -arrangement of the tools.</p> - -<p>The judicious choice of ornaments for the back is -of the utmost importance. For instance, such as -represent animals, insects, or flowers, which are only -proper for works of natural history, entomology, and -botany, should never appear on the backs of works -on general literature, as it would be an evidence of -bad taste or carelessness.</p> - -<p>Every tool should be beautiful in itself, because -no accumulation of misshapen tools can make one -beautiful ornament. There is no objection to scrolls, -leaves, flowers, stops, or any of the usual kind of -ornaments; only let them all be in themselves beautiful. -It is appropriate to introduce a harp on a -book of songs, a stag's head on a book on hunting, -a recognised ecclesiastical pattern upon a book of -divinity or a prayer-book; a Greek or Roman design -upon a classical work, or a Gothic design upon -a book on Gothic architecture.</p> - -<p>Should it be desired to present on the back simply -an ornamental lettering-piece at the head, diverging -to a point towards the middle of the book, and the -rest of the volume left plain, it will be necessary to -impress the tools previous to glairing, and then apply -<span class="pagenum"><a name="page222" id="page222"></a>[pg 222]</span> -the glaire with a camel's-hair pencil in the indentations -the tools have formed. When dry, cover with -gold and reimpress the tool in the marks previously -made, and letter the title. This proceeding is -adopted in every pattern where part of the back is -intended to be left dull by being free from glaire.</p> - -<p>The title must next engage attention, and the -letters placed thereon, either singly or together, -with brass type properly fixed in the hand-chase. -If with single letters, the tail of the volume must -be lowered about an inch, and the workman draw a -thread of silk across the gold to direct the heads of -the letters. Taking each singly, he places them on -the back with the right hand, steadying the letter -with the forefinger of the left. If the title is set in -the chase, place the volume evenly in the press, and -apply the title, guided by the thumb, firmly across. -The title in either case must be justified, to produce -the best effect, taking care to avoid, if possible, -having two lines of the same length; and, where the -title can be measured, as in the type it may, the -exact centre should be ascertained before applying -it heated on the gold. The back may now be considered -finished. The gold which has not been impressed -by the gilding tools must be well rubbed off -with the <i>gold-rag</i> and minutely cleared off with a -<span class="pagenum"><a name="page223" id="page223"></a>[pg 223]</span> -piece of fine flannel or India-rubber, so as to display -the delicate lines of the ornaments as perfectly and -clearly as possible. Attention should be paid to -this particular; for, let a book be finished in the -most tasteful manner possible, unless well cleared -off the effect is entirely lost. If in calf, it must -now be polished, and the squares and edges of the -boards proceeded with.</p> - -<p class="center1sb">GILDING THE SQUARES, ETC.</p> - -<p>For gilding the edges of the boards, the gold -may be taken as for the bands,—on the roll,—and -the volume held firmly with the left hand; but, if -large, put into the press between boards, so as not -to injure the back. Where the ornament of the -inside-square is simple, the like proceeding of applying -the gold will be proper, resting the board -open on an elevation equal to the thickness of the -book. But if the square has been left large, with a -leather joint, so as to admit of being more elaborately -filled up, the gold must be laid on the whole -space with the tip and pressed close with the cotton. -The gilding is then proceeded with in the same -manner as detailed in the directions for the side-ornaments.</p> -<p><span class="pagenum"><a name="page224" id="page224"></a>[pg 224]</span></p> - -<p class="center1sb">GILDING THE SIDES.</p> - -<p>The sides, from affording more ample space, are -the part of the volume whereon the workman can -and is expected to show his taste and skill in gilding. -The proceedings are the same as before pointed out -where a simple roll is the only ornament round; -but where the pattern is extensive and the details -minute, it is necessary to have the whole worked -blind upon the volume before glairing, and then -apply the gold. If one side is done at a time, the -book is taken by the leaves with the left hand, the -board intended to be covered resting on the thumb, -and the gold laid on as for the squares, either over -the whole side or on such parts as the pattern indicates. -If the volume be small, the gold may be -laid on both sides and the leaves of the volume -placed in the finishing-press, allowing the boards to -rest on its surface. This affords greater facility for -placing uniformly and systematically the fillets, rolls, -and tools necessary to complete the design on each -side. Where the pattern has not been marked, and -one side only proceeded with, the roll is run in a -straight line, which should be made, previous to -covering with gold, on the board by the joint of the -back, the volume turned for the head and tail, and -<span class="pagenum"><a name="page225" id="page225"></a>[pg 225]</span> -laid open upon the board for the fore-edge, to give -it the firmness necessary.</p> - -<p>Directions for executing the most elaborate designs -have been previously given, whereby it will be -perceived that it requires but taste, and a just observation -of similarity of design and the geometrical -proportions of the ornaments, to execute them to -any extent. One variation from this rule will destroy -the effect of the whole pattern: it will therefore -be to the benefit of such as are not conversant -fully with the art, to assist themselves with designs -drawn on cartridge-paper, which may be marked -through on the leather and the pattern executed in -gold or blind as required. In all, the gilding will -be the same, either to glaire over the whole cover -after the design is stamped, or, if the plain part is to -be left dull, by glairing the impressions only with a -camel's-hair pencil.</p> - -<p class="center1sb">GILDING ON SILK AND VELVET.</p> - -<p>The proceedings necessary to be adopted for -gilding on silk and velvet are, from the delicate -nature of these substances, different from those laid -down for gilding on leather. The glaire used on -the latter would tend to stain, and therefore it is -necessary to employ other means for fixing the gold. -<span class="pagenum"><a name="page226" id="page226"></a>[pg 226]</span> -This is by drying the whites of eggs and reducing -them to a powder, which is put into a small bottle -and tightly tied over with a piece of fine muslin, -by which means it is equally distributed on the -space intended to be gilt. Gum-sandarac is now, -however, more generally used for this purpose, -although some use gum-copal. The powder being -applied, the gold is cut in slips and taken on a roll -of a circumference equal to the length of the space -intended for it to be applied on. The design is then -firmly impressed, and the superfluous gold brushed -off with a soft brush or clean piece of cotton, and -the other side alike executed. In lettering, or -fixing single tools on the back, the same proceedings -must be adopted, by taking the gold thereon and -applying it to the back or side of the volume. -Where the design is large, or elaborate work is required, -it will be better executed in the following -manner:—The design must be drawn on paper, and -worked through on silk, after which the impression -must be carefully glaired with a camel's-hair pencil; -when dry, rub the parts intended for the gold with -the finger passed through the hair or with a clean -rag slightly oiled, and, after laying on the gold as -directed for other styles, reimpress the tools, and -<i>whip</i> off the superfluous gold with a clean flannel.</p> -<p><span class="pagenum"><a name="page227" id="page227"></a>[pg 227]</span></p> - -<p>As there is no moisture in silk, the workman -must not lay on at one time so much as he does on -calf and other substances.</p> - -<h4 class="space-above2">ILLUMINATED BINDING.</h4> - -<p>This style, an invention of the French, was for -some time kept by them with the greatest secrecy. -It is a binding of the utmost magnificence, uniting -the varied beauties of the arabesque and gilt ornament, -blended with the illuminated decorations seen -on early MSS. before the invention of printing. -When executed in the best manner, nothing can exceed -the beauty of the whole <i>coup-d'œil</i>, rivalling, -as it does, in splendour, the most elaborately-finished -design of the painter. The time required to be -devoted, on its first introduction, to a single specimen, -appeared likely to confine this sort of ornament -to the finest treasures of literature, and even to -them in a limited degree. The improvements, however, -in machinery and the rapid advance of the arts -have, in a few years, brought this style into very -general use for albums and other works where embellished -covers are adopted; and even on the cheap -roan bindings used for Bibles, Prayers, &c. it may -be seen; though in effecting this cheapness it must -be premised that a less durable method is adopted.</p> - -<p><span class="pagenum"><a name="page228" id="page228"></a>[pg 228]</span></p> - -<p>To execute the more elaborate designs, practice -and a taste for the arts will here alone serve the -workman; without these requisites it would be futile -to make the attempt. But, as the proceedings require -to be executed with the utmost care, we shall -enter fully into such as are new, and, from their -importance, at the risk of being considered prolix, -again touch on those that may have been before -treated of.</p> - -<p>The description of one side will serve the purpose -of making the proceedings fully understood. Whether -the material be of morocco or white vellum, it must -be washed, if required, perfectly clean, and left to -dry. The first operation will be—if it be for stamp-work—to -place the side on the bed of the stamping-press -and boldly impress the design thereon. The -most elegant, and capable of the greatest display of -colour, are subjects of botany and natural history. -The next step will be to glaire with a camel's-hair -pencil such parts of the impression as it is intended -shall be afterwards covered with gold. This done, -the delicate operation of colouring may be proceeded -with. In London and Paris this is executed by -professed artists in no way conversant with book-binding. -The colours to be used must be such as -do not at all, or very slightly, fade on exposure to -<span class="pagenum"><a name="page229" id="page229"></a>[pg 229]</span> -the air or sun, such as carmine, ultramarine, indigo, -burnt sienna, gamboge, and sap-green. These must -be prepared, with fine gum, in the same manner as -for painting, and be lightly and delicately laid -on such parts of the design as it is intended the -colour should occupy, taking care that the ground-colour -or leather is entirely hid. Let every thing -be true to nature, each bird, plant, and flower its -proper colour, and a general harmony prevail -throughout. When finished, let the whole perfectly -dry, and then, in the manner directed, lay gold on -such parts as it is intended, in the reimpression of -the plate, should be further embellished. Heat the -plate, place the side again under it, and give it a -firm and sharp impression. Rub off the superfluous -gold, and the whole of the delicate lines of the ornament -will be found beautifully gilt, the colours firmly -fixed by the heat of the plate, and the rough edges -of the colour completely effaced by the reimpression -of the original design.</p> - -<p>In executing the less expensive and more simple -designs, the plate is impressed in gold on the side, -and the parts left ungilt on the leather; afterwards -coloured according to the taste of the workman.</p> - -<p>For the best class of work, after the design is -impressed, either by hand or the press, pieces are -<span class="pagenum"><a name="page230" id="page230"></a>[pg 230]</span> -cut out of variously-coloured morocco, pared thin, -and neatly pasted on the side, the design, when -worked, entirely concealing the edges of the morocco. -This is termed inlaid work.</p> - -<h4 class="space-above2">BLIND TOOLING.</h4> - -<p>This is an ornamental operation, applied either -before or after the book has been gilt and polished, -and, if judiciously intermingled with the gold, will -not fail to present a good effect. It is a style that -has been much used of late years, and is executed -in the same way and with the same tools as for gilding, -but without any gold applied on the places thus -ornamented. The rolls, pallets, and smaller tools, -are applied by the hand, and the large plates with -the press, with the same precautions as indicated in -the previous section. If the pattern consists of -straight lines, and the workman possesses a good -eye, the best manner of executing it is by making -use of a pallet, placing it firmly on the book, and -sliding it to the opposite point. It remains, therefore, -to consider such matters as more immediately -apply to this style of decoration.</p> - -<p>The tools for blind tooling should not be so warm -as for gilding, and particularly for morocco. If it -is wished to be left dull,—that is, free from glaire,—the -<span class="pagenum"><a name="page231" id="page231"></a>[pg 231]</span> -particles attaching themselves over the edge of -the gold ornaments must be removed with the end -of the finger, wrapped over with a piece of fine cloth, -and wetted. This will soon wash it clean, and -when dry the blind ornaments may be proceeded -with.</p> - -<p>Graining may be properly considered as a blind -ornament. This is where, by the means of wooden -or metal plates, the sides of a book are marked with -lines crossed over each other, so as to form innumerable -small squares in imitation of russia, or in -imitation of the grain of morocco, scales of fish, -and other substances. The operation is performed -by placing the volume between the two plates even -by the groove of the back, in the standing-press, -and pressing it tightly down, and so even that the -plate will be impressed equally over the whole surface. -Nothing will look worse than a bold impression -in one place and a slight one in another; and -therefore it becomes of importance to see that it is -evenly pressed, as a second application of some -kind of plates will never be found affixed to the -same places.</p> - -<p class="center1sb">MODERNIZED MONASTIC OR ANTIQUE.</p> - -<p>This style, whether done by the hand or the press, -is one that requires care and patience on the part -<span class="pagenum"><a name="page232" id="page232"></a>[pg 232]</span> -of the workman, so as to bring up the tools black, -without burning or otherwise injuring the leather. -We have spent much time in experiments, so as to -arrive at the most certain and perfect mode of producing -the desired result. The style emanated from -Mr. Hayday's bindery; and a volume executed in -this style for a connoisseur in this city, with tooling -of a brilliant black, fell into our hands some -years since, and we at once set about attempting to -produce the same effects. Our efforts were confined -to hand-tooling for some time; and, although inferior -in effect, they were generally well received; but we -were far from being satisfied. We tried every substance -that could be thought of, made the leather -and tools hot and dry, or wet and cold, as reason -seemed to point to one or the other as the proper -method. We will now communicate the results of -our labours:—In the first place, the material is of -the greatest importance; and the finest effects cannot -be produced except upon English calf or morocco. -American calf is entirely out of the question -for the purpose, as the morocco is too hard on the -surface, and there is not sufficient colour in the -body for the tools to draw and affix it by heat to -the surface; but some kinds are better adapted for -the purpose than others. To test this, apply the -<span class="pagenum"><a name="page233" id="page233"></a>[pg 233]</span> -tip of the tongue to the leather, and if the dampness -lies on the surface, without sinking in, reject -it; but if the dampness strikes instantly into the -leather,—the quicker the better,—the workman may -proceed with some hopes of success. After the -volume is covered and ready for finishing, wash it -evenly over with clean water; and, as soon as the -water ceases to lie upon the surface, apply the tool -moderately heated; this will bring up the dark -colour. Afterwards go over it again with the tool, so -as to make the impressions clear and bright. There -are, however, some colours, as well as particular -manufactures, that will not come up black; and we -were long satisfied that some colouring-matter -was employed. We wrote to a friend in London, -who sent us the material and the method of its use. -The material was common printers' ink. His communication -we now make public. "In the first -place, the leather should be quite damp, and the tools -used should be as hot as possible without the printers' -ink. Then again impressed with the printers' ink -upon the tools. We put the larger tools in again -without ink. When the ink is used upon the tools, -the leather should be rather damp, and the tools not -very hot. When the pattern is worked in the manner -described, it should be left until dry, and then -<span class="pagenum"><a name="page234" id="page234"></a>[pg 234]</span> -brushed with a brush, not very stiff, which will give -a brilliant gloss to the tooling." When using -printers' ink, be careful not to get too much on the -tools.</p> - -<p>Let the young workman but follow the directions -given, and, with a little patience and reflection, he -will be able to do work of the character under consideration, -fully equal to the efforts of the best -workman, provided that the tools be worked true -and even.</p> - -<h4 class="space-above2">POLISHING.</h4> - -<p>The details of this operation, which is performed -immediately after the gold ornaments have been -worked, have been reserved in order that the whole -of the ornamental department might be kept -together. Morocco, roan, silk, and velvet, and the -blind ornaments on any substance, must never be -submitted to the action of the polisher. A smart -rubbing with a piece of rough calf will be sufficient -for the two former, and the velvet or silk will merely -require cleaning with any smooth substance or with -India-rubber.</p> - -<p>There are two polishers,—one for the back and -bands, and another for the sides. The oil applied -on the cover previous to laying on the gold will be -<span class="pagenum"><a name="page235" id="page235"></a>[pg 235]</span> -sufficient to make the polisher glide easily over the -surface. The polisher must be heated, and well -cleaned on a board, and passed quickly and evenly -on the back, sides, or joints, as the case may be, -taking especial care that it is not too hot, as the -glaire would thereby be turned white and the work -damaged in appearance, nor so cold as to give a bad -polish.</p> - -<p>The book, as gilt, must be first polished on the -back, by taking it with the left hand, resting it on -the table, and polished with the right hand by -gliding backwards and forwards the smooth part of -the polisher on the whole extent of the back. This -not only polishes the surface, but smooths down the -indentations formed upon the leather by the gilding-tools, -bringing up the gilding to the surface. The -polisher must be passed on such places only as it is -wished to make brilliant, and great care taken not -to touch the places intended to be left dull.</p> - -<p>The sides are similarly polished, by laying the -volume on the table, covered with baize, and passing -the large iron quickly over, first from the fore-edge -towards the groove, and then, by turning the volume -in a contrary way, from the tail to the head.</p> - -<p>If the joint requires polishing, the book is laid -before the workman, the tail towards him, and the -<span class="pagenum"><a name="page236" id="page236"></a>[pg 236]</span> -iron applied on the side next the groove, polishing -the whole length of the board; then, turning round -the volume, and bringing the fore-edge towards him, -he polishes the side on the fore-edge, and, turning -again, completes the whole by polishing the parts at -the head and tail.</p> - -<p>In addition to polishing, it is desirable to give to -the sides the greatest possible smoothness by pressing -them between polished tins or horns. These -are placed on each side of the book even by the -groove, put between pressing-boards, and screwed -tightly in the press, and left for some time.</p> - -<p class="center1sb">COLOURING.</p> - -<p>Calf-skins of uniform tints, and also sprinkled, -can now be obtained of English manufacturers; yet -in many localities they are difficult to obtain. We -therefore make known the chemical substances and -ingredients required to execute them in the best -manner. Marbling is a process that must be executed -by the binder upon the cover, and, with many -other revival styles, is again coming into vogue. -The recipes given for the superior marbles and designs -will, it is presumed, present this branch of -the art on a higher footing, in a general point of -view, than is usually accorded to it; and it is confidently -<span class="pagenum"><a name="page237" id="page237"></a>[pg 237]</span> -asserted that not one of them will prove a -failure, if attention to the directions be only given. -Nothing has been omitted in the description of the -substances best for use, the mode of preparing -them, and the proceedings to be adopted, that can -tend to give to the covers all the elegance and -splendour of which they are susceptible. By the -aid of these, assisted by some taste, the workman -may vary the designs almost to infinity; but it -must be admitted that, unless he is devoted to his -art, no mere directions or casual advantages will -enable him to succeed in the more complicated or -delicate operations, while, with an ardour for it, all -difficulties will be easily overcome.</p> - -<h4 class="space-above2">CHEMICAL PREPARATIONS.</h4> - -<p>Under this head is included <i>aqua regia</i>, or killed -spirits, <i>nitric acid</i>, <i>marbling-water</i>, and <i>glaire</i> prepared -for marbling.</p> - -<p class="center1sb">AQUA REGIA,</p> - -<p>So called from its power to dissolve gold, is a -mixture of nitic acid (aquafortis) and muriatic -acid, (spirits of salts,) deprived of its burning qualities -by block-tin, which it dissolves. It is called by -the chemist <i>acid nitro-muriatic</i>: the muriatic also -<span class="pagenum"><a name="page238" id="page238"></a>[pg 238]</span> -contains a portion of alkali, which gives to red a -vinous tint, and for which colour it is principally -used.</p> - -<p>The two substances should be of the purest -quality, of a concentration of thirty-three degrees -for the nitric acid and of twenty degrees for the -muriatic. They must be mixed with the greatest -precaution. Having provided a clear glass bottle, -the neck rather long, capable of holding twice the -quantity to be prepared, place it upon a bed of -sand, the opening at top, and pour in <i>one part</i> -of pure nitric acid and <i>three</i> of muriatic. Let the -first vapours dispel, and then cover the orifice with -a small phial, which must not confine the vapour too -closely, as the bottle would be liable to burst, but -which retains as much as possible without risk. -Of block-tin, an eighth part of the weight of the -acid must then be dropped into the bottle, in small -pieces, a little at a time, covering the orifice with -the phial. The acid will immediately attack the -tin and dissolve it, when a second portion must be -put in with the same precaution, and so on till the -whole is dissolved. <i>Malacca</i> tin is the best for use, -and if pure there will be no sediment; but, as it -cannot always be obtained, a black sediment will be -left. The vapour having ceased, the acid must be -<span class="pagenum"><a name="page239" id="page239"></a>[pg 239]</span> -poured into bottles and secured with glass stoppers, -to preserve it. When used, a part is taken and -mixed with <i>one quarter</i> of its weight of distilled -water.</p> - -<p>It is usual with some workmen to perform this -operation in a common drinking-glass; but, as the -vapour is thereby all dispersed, the composition -loses a considerable portion of its best quality, for -it will be observed, if performed in a bottle as -above directed, that the vapour assumes a red tint, -which does not escape if the neck of the bottle be -of sufficient length.</p> - -<p class="center1sb">ANOTHER.</p> - -<p>Some binders adopt the following method; but, as -it is not capable of producing an equal beauty and -clearness of colour with the one above given, it will -not be advisable to use. The former, too, will be -equally effective to an indefinite period, while this -will not preserve more than two or three months.</p> - -<p>Put in a brown freestone pot two ounces of powdered -<i>sal-ammoniac</i>, six ounces of fine <i>Malacca tin</i>, -in strips or drops, twelve ounces of distilled water, -and, last, a pound of <i>nitric acid</i>, of thirty-three -degrees. Leave the whole till the tin is dissolved, -and then pour off and bottle as above directed.</p> -<p><span class="pagenum"><a name="page240" id="page240"></a>[pg 240]</span></p> - -<p class="center1sb">VITRIOL-WATER.</p> - -<p>Vitriol, as sold in the pure state, will not be -proper to use in marbling or sprinkling, as it would -corrode and destroy the leather. It must be weakened -at least in proportion of one ounce of vitriol -to three of water.</p> - -<p class="center1sb">MARBLING-WATER.</p> - -<p>It is usual with many to use the water pure; but -a few drops of <i>potash liquid</i> mixed with it will be -found to produce better effect, the marble being -rendered more distinct.</p> - -<p class="center1sb">GLAIRE.</p> - -<p>Put spirits of wine in a proportion of two drops to -the whites of twelve eggs, and beat the whole well -together till perfectly clear.</p> - -<h4 class="space-above2">PREPARATIONS OF THE COLOURS.</h4> - -<p>The preparations used by different binders vary -much, as will be seen by the recipes given for the -same colours, which we judge necessary to put on -record, that nothing connected with the subject -should be omitted, premising that each colour may -be depended upon for producing the most satisfactory -results. It may be proper also to observe -<span class="pagenum"><a name="page241" id="page241"></a>[pg 241]</span> -that the whole of the woods and other ingredients -used should be previously powdered or reduced to -small pieces, the colours being thereby much better -extracted.</p> - -<p class="center1sb">BLACK.</p> - -<p>1. Dissolve half a pound of green copperas in -two quarts of water. The oxide contained in the -sulphate of iron will combine with the tanning of the -leather, and produce a good black.</p> - -<p>2. Boil in a cast-iron pot a quart of vinegar, -with a quantity of rusty nails, or steel-filings, till -reduced one-third, taking off the scum as it rises to -the top. This liquid improves by age. To keep up -the quantity, boil with more vinegar.</p> - -<p>3. A cheaper liquid may be produced by boiling -two pints of beer and two pints of water with two -pounds of old iron and a pint of vinegar, scumming -as before, and bottling for use.</p> - -<p class="center1sb">BROWN.</p> - -<p>1. Half a pound of good Dantzic or American -potash dissolved in one quart of rain-water, and -preserved in a bottle well corked.</p> - -<p>2. Salts or oil of tartar, in the same proportions -as above.</p> -<p><span class="pagenum"><a name="page242" id="page242"></a>[pg 242]</span></p> - -<p>3. A beautiful brown may be procured from the -green shells of walnuts. To prepare this, a quantity -of the green shells, when the nuts are gathered, -must be pounded in a mortar to extract the juice, -and then put into a vessel capable of holding a sufficient -quantity of water. The water being put in, -the whole should be frequently stirred, and left to -soak, with the vessel covered. Afterwards the liquid -must be passed through a sieve, the juice well expressed, -and bottled, with some common salt, for -use. This liquid, after fermentation, will produce -the best effects, for the uniform tints, as it tends to -soften the leather, and will not corrode.</p> - -<p class="center1sb">BLUE.</p> - -<p>1. It is usual with many binders to use <i>Scott's -Liquid Blue</i>, but it is necessary to know the preparation -of the colour. Perhaps the best and most -simple one known is one given by <i>Poerner</i>, which is -as follows:—In four ounces of sulphuric acid, of 66 -degrees, mix gradually one ounce of finely-powdered -indigo, so as to form a sort of pulp. Place the -vessel in another containing boiling water, for some -hours, and then leave it to cool. Afterwards put -to it a small portion of good potash, dry and finely -powdered, stirring the whole well, and letting it rest -<span class="pagenum"><a name="page243" id="page243"></a>[pg 243]</span> -for twenty-four hours, when bottled, and use as required. -This colour will appear nearly black, but -may be made to any shade by adding water to it. -If any portion remain after being diluted, it must -be put into a separate bottle, as if mixed with the -first preparation the whole would be deteriorated.</p> - -<p>2. A readier blue may be prepared by mixing -one ounce of powdered indigo with two ounces of -oil of vitriol, and letting it stand for twenty-four -hours, and then adding twelve ounces of pure water.</p> - -<p class="center1sb">PURPLE.</p> - -<p>Boil half a pint of archill or logwood with vinegar -and water, of each half a pint.</p> - -<p class="center1sb">LILAC.</p> - -<p>Same as for the purple, with the addition of about -two table-spoonsful of potash.</p> - -<p class="center1sb">VIOLET.</p> - -<p>Half a pound of logwood chips and one ounce of -Brazil dust, boiled over a good fire in four pints of -water till reduced one-half, and left to clear. Then -throw in one ounce of powdered alum and two -grains of cream of tartar, and again boil till dissolved. -This liquid must be used warm.</p> -<p><span class="pagenum"><a name="page244" id="page244"></a>[pg 244]</span></p> - -<p class="center1sb">FAWN.</p> - -<p>In two pints of water boil one ounce of tan, and a -like portion of nutgall, till reduced to a pint.</p> - -<p class="center1sb">YELLOW.</p> - -<p>1. To one ounce of good caked saffron, turmeric, -or French berries, add a portion of spirits of wine -or <i>aqua regia</i>, and leave the mixture to macerate. -This liquid is used cold, and may be varied to any -shade by adding water when required.</p> - -<p>2. In two pints of water put eight ounces of -French berries, and boil till reduced one-half. Then -pass it through a sieve or fine cotton, and add a -small quantity of powdered alum, and again boil, -using it warm.</p> - -<p class="center1sb">ORANGE.</p> - -<p>In a pint and a half of potash liquid, boil a -quarter of a pound of fustic chips till reduced one-half; -then put in an ounce of good <i>annatto</i>, well -beaten, and, after boiling, a small portion of alum, -and use warm.</p> - -<p class="center1sb">GREEN.</p> - -<p>1. Liquid blue and yellow mixed will best suit -for general purposes.</p> - -<p>2. Dissolve in a bottle one ounce of verdigris in -<span class="pagenum"><a name="page245" id="page245"></a>[pg 245]</span> -an ounce of white wine vinegar, and place the -whole before a fire for four or five days, frequently -shaking the bottle.</p> - -<p class="center1sb">RED.</p> - -<p>There are three sorts of red,—viz.: common, fine, -and scarlet.</p> - -<p><i>Common.</i>—1. In a tinned kettle boil half a pound -of Brazil wood, eight grains of nutgalls, both powdered, -and three pints of water, till the whole is reduced -one-third. Then add powdered alum and -sal-ammoniac, of each one ounce, and when dissolved -strain through a sieve. This liquid must always be -used warm.</p> - -<p>2. Boil a quarter of a pound of Brazil dust, two -ounces of powdered cochineal, and a little alum, in -two pints of the best vinegar, till a bright red is -produced. Use warm.</p> - -<p><i>Fine.</i>—1. In three pints of water boil half a pound -of Brazil dust and half an ounce of powdered nutgalls. -Pass the whole through a fine cotton, and replace the -liquid on the fire, adding one ounce of powdered alum -and half an ounce of sal-ammoniac. Give the whole -another boil, and then add a portion of <i>aqua regia</i>, -according to the shade desired, and use warm.</p> - -<p>2. A quicker and cheaper proceeding is by putting -in a cup a portion of Brazil wood, and adding to it -<span class="pagenum"><a name="page246" id="page246"></a>[pg 246]</span> -the <i>aqua regia</i>, letting it stand for a quarter of an -hour to extract the colour.</p> - -<p><i>Scarlet.</i>—To one ounce of white nutgalls and one -ounce of cochineal, both finely powdered, add two -pints of boiling water. After boiling some time, add -half an ounce of <i>aqua regia</i>, and use warm.</p> - -<h4 class="space-above2">MARBLING.</h4> - -<p>Before proceeding to a description of the marbles, -and other designs on the covers coming under the -general head of marbling, it will be proper to give a -few directions relative to some important matters -required in the way of preparation. As the success -of many of the designs depends upon the quickness -with which they are executed, it will be important -that the colours, sponges, brushes, &c. are previously -disposed in the best order, so as to be of the -readiest access. Attention should be paid to the -probable quantity that may be required of each -colour, as many of them will not be available for -use another time.</p> - -<p>The books should all be previously washed with -paste and water to which has been added a little -pearlash liquid, and left to dry. After this they -must be glaired equally over, and when dry placed -<span class="pagenum"><a name="page247" id="page247"></a>[pg 247]</span> -upon the marbling-rods, the sides of the books extending -over and the leaves hanging between. The -rods must be placed on an elevation at the top, so as to -allow the water to run gradually towards the bottom -of the books; and, if the backs are required to be -left plain, another rod, or piece of board, grooved to -the shape of the back, placed on them. To avoid -the scum arising from the beating of the brushes -over the colours, it is better to rub the ends of the -bristles on the palm of the hand, on which a little -oil has been spread. These preliminaries being -settled, the operation of marbling commences, for -which we shall now give directions.</p> - -<p class="center1sb">COMMON MARBLE.</p> - -<p>The book being placed on the rods, throw on the -water prepared for marbling in large drops, with a -coarse brush, or bunch of quills, till the drops unite. -Then, with a brush charged with the black liquid -and beaten on the press-pin as directed for sprinkling -the edges, a number of fine streaks are produced -by throwing the colour equally over the -cover. Afterwards the brown liquid must be -similarly thrown over. When the veins are well -struck into the leather, the water must be sponged -off and the book placed to dry.</p> -<p><span class="pagenum"><a name="page248" id="page248"></a>[pg 248]</span></p> - -<p>If the volume has been previously coloured with -any of the preparations before described, and it is -wished to produce a marble thereon, the brown must -be thrown on first, and then the black; as without -this precaution the marble would not strike, because -of the acid which forms part of the colours. This -observation being applicable to all the other designs, -it will not be necessary again to repeat it.</p> - -<p class="center1sb">ANOTHER.</p> - -<p>Throw on the vinegar-black, then the brown, and -lastly a sprinkle of vitriol-water.</p> - -<p class="center1sb">PURPLE MARBLE.</p> - -<p>Colour the cover two or three times with hot -purple liquid, and, when dry, glaire. Then throw -on water, and sprinkle with strong vitriol-water, -which will form red veins.</p> - -<p class="center1sb">STONE MARBLE.</p> - -<p>After throwing on the water, sprinkle boldly with -the black liquid; then, with a sponge charged with -strong brown, drop the colour on the back in three -or four places, so that it may run down each side in -a broad stream, and afterwards operate with vitriol-water -on the parts the brown has not touched.</p> -<p><span class="pagenum"><a name="page249" id="page249"></a>[pg 249]</span></p> - -<p class="center1sb">GREEN AGATE.</p> - -<p>Sprinkle black, in nine times its quantity of water, -in large drops over the whole surface of the cover, -and when the drops unite apply on the back at -regular distances the green liquid, so that it may -flow on the boards and unite with the black.</p> - -<p class="center1sb">BLUE AGATE.</p> - -<p>Proceed as above, only substituting blue in place -of the green, weakened with water according to the -shade required.</p> - -<p class="center1sb">FAIR AGATE.</p> - -<p>Commence by sprinkling black in small drops -at a good distance from each other; afterwards -sprinkle equally over large drops of weak potash.</p> - -<p class="center1sb">AGATINE.</p> - -<p>Proceed as for the green agate, and then sprinkle -scarlet all over the cover; finally, throw on blue in -small drops, weakened in four times the quantity of -water.</p> - -<p class="center1sb">LEVANT MARBLE.</p> - -<p>After the water, throw on the back-brown in -broad streaks as directed for the <i>stone</i>, and then in -<span class="pagenum"><a name="page250" id="page250"></a>[pg 250]</span> -like manner the <i>aqua regia</i>. This will be found to -imitate closely the Levant marble.</p> - -<p class="center1sb">PORPHYRY VEIN.</p> - -<p>Throw on large drops of black diluted in double -the quantity of water. When the colour has struck -well into the leather, sprinkle in the same manner -brown mixed equally with water. Then apply a -sprinkle of scarlet, and afterwards large spots of -yellow, the liquid nearly boiling. While these -colours are uniting, throw on weak blue, and then -<i>aqua regia</i>, which, flowing together down the sides -of the book, will form the vein distinctly.</p> - -<p class="center1sb">RED PORPHYRY.</p> - -<p>Sprinkle with black in eight times the quantity -of water, very equal and in small spots. Let it -dry, rub, and glaire. Then give two or three -sprinkles of fine red, and one of scarlet, and again -leave to dry. Finally, sprinkle scarlet in small -spots as equally as possible.</p> - -<p class="center1sb">GREEN PORPHYRY.</p> - -<p>For this design the cover must be finely sprinkled -over three separate times, leaving the colour to -search and dry between each. The green must be -<span class="pagenum"><a name="page251" id="page251"></a>[pg 251]</span> -brought to the shade required by mixing with water. -To form a more elegant vein, sprinkle first with -weak black, and afterwards with green, and when -dry with fine red.</p> - -<p class="center1sb">PORPHYRY.</p> - -<p>This marble, imitating the <i>eye of the partridge</i>, -is executed by throwing on black in eight times its -volume of water, in small drops, but so close as to -just run into each other. When the black begins -to flow, sprinkle over brown mixed equally with -water. Let it dry, wash the whole with a sponge, -and before quite dry again give it two or three -coats of fine red. After being dry and well rubbed, -sprinkle equally over the surface large drops of -<i>aqua regia</i>.</p> - -<p class="center1sb">ANOTHER.</p> - -<p>Colour the cover with red, yellow, blue, or green, -and, when dry, with black diluted as above; let this -also dry, and then sprinkle over large or small drops -of aqua regia. The eye of the partridge is properly -formed with blue sprinkled upon the weakened -black, and, when dry, with the killed spirit or <i>aqua -regia</i>.</p> -<p><span class="pagenum"><a name="page252" id="page252"></a>[pg 252]</span></p> - -<p class="center1sb">ROCK.</p> - -<p>Throw on large drops of black prepared as for -the porphyry, and, when half dry, weakened potash -in the same manner. When dry again, sprinkle on -equally small spots of scarlet, and lastly <i>aqua regia</i>.</p> - -<p class="center1sb">GRANITE.</p> - -<p>Mix black in about fifty times its quantity of -water, and sprinkle equally over very fine, repeating -it as it dries five or six times. Then, in like -manner, sprinkle over with brown, and, after rubbing -well, glaire lightly. Finally, sprinkle finely over -with <i>aqua regia</i>.</p> - -<h4 class="space-above2">TREE-MARBLES.</h4> - -<p>These marbles, which were first executed in Germany, -from whence they passed into England, are -formed by bending the boards in the middle, so that -the water and colours flow from the back and fore-edge -to the centre, in the form of branches of trees. -Those who have never seen the tree-marbles of -Mr. Clarke, of London, can form but little idea of -the beauty of which this style is susceptible. The -name is also given to such as are made to imitate -the grain of the wood.</p> -<p><span class="pagenum"><a name="page253" id="page253"></a>[pg 253]</span></p> - -<p class="center1sb">WALNUT.</p> - -<p>Formed by sprinkling black and brown only, as -for the common marble.</p> - -<p class="center1sb">CEDAR.</p> - -<p>After sprinkling as for the walnut, and before -perfectly dry, apply lightly a sponge presenting -large holes dipped in orange upon various places on -the cover, so as to form a description of clouds. -Afterwards apply the fine red, with a similar -sponge, nearly upon the same places, and when dry -give the whole two or three coats of yellow, taking -care that each penetrates evenly into the leather.</p> - -<p class="center1sb">MAHOGANY.</p> - -<p>The proceedings are nearly the same as for the -walnut, the difference being merely in sprinkling -the black more boldly, and, when perfectly dry, -giving two or three uniform coats of red.</p> - -<p class="center1sb">BOX.</p> - -<p>In order to imitate the veins contained in box, -the boards must be bent in five or six different -places and in divers ways. After placing the book -between the rods, throw on the water in small drops, -and proceed as for the walnut. After being perfectly -<span class="pagenum"><a name="page254" id="page254"></a>[pg 254]</span> -dry, throw water again in large drops, and -sprinkle on small spots of blue, diluted equally -with water; and, when again dry and rubbed well, -apply the scarlet with a sponge as directed for the -cedar. Finally, when dry, give two or three coats -of orange, and the design is complete.</p> - -<p class="center1sb">WAINSCOT.</p> - -<p>Colour with strong brown, glaire, and place -between the rods, with the boards flat. Throw on -weak black in large spots, then brown in like manner, -and, lastly, sprinkle boldly with vitriol-water.</p> - -<p class="center1sb">VARIEGATED.</p> - -<p>Marble as for the walnut, and then put on each -board a circle, oval, or other figure, and apply weak -black on the outer parts. When dry, give it a good -coat of red, and, after throwing on spots of scarlet, -take off the figures, and wash well the parts where -the latter colour has been used. Finally, give the -oval two coats of yellow, or other colour, with a -camel's-hair brush.</p> - -<p class="center1sb">MARBLING ON PAPER.</p> - -<p>The sides of a half-bound book, which will be -covered with paper, may be marbled to correspond -<span class="pagenum"><a name="page255" id="page255"></a>[pg 255]</span> -with the effect produced on the leather by the action -of the black and brown at the same time. This is -performed by pasting firm white paper on the sides, -and colouring with a mixture of four ounces of nut-galls -and a small portion of powdered sal-ammoniac -boiled well together, which will take the black -and brown nearly equal to leather.</p> - -<h4 class="space-above2">SPRINKLES.</h4> - -<p>This is another ornament on the covers of books, -capable of being much varied. A few of the most -general use are given, premising that any of the -colours arranged as for the marbles above, or -sprinkled on the uniform colours, will be productive -of a beautiful effect. The books must be paste-washed -over, but not glaired.</p> - -<p class="center1sb">NUTMEG.</p> - -<p>Sprinkle very finely with black and then with -brown. If wished to produce a finer effect, give a -sprinkle of vitriol-water.</p> - -<p class="center1sb">RING.</p> - -<p>Put about a teaspoonful of vitriol to a cup of the -black, and sprinkle coarsely over. If the ring is -not sufficiently strong, add more vitriol.</p> -<p><span class="pagenum"><a name="page256" id="page256"></a>[pg 256]</span></p> - -<p class="center1sb">TORTOISE-SHELL.</p> - -<p>Wash the cover with yellow, and sprinkle very -boldly with black. When dry, spot with a sponge, -as before directed, with blue, red, and black, each -colour being left to dry before the next is applied.</p> - -<p>In concluding the description of the marbles and -sprinkles, it may be remarked that, with a little -taste, the workman might vary the designs to upwards -of one hundred different patterns; also that -each colour should be allowed to properly strike -into the leather before another is used. Panes, or -blank spaces, are formed by placing squares, &c. -of pasteboard on the sides, which prevents the -colours touching the leather when sprinkling. -After the design is completed, the covers should be -well rubbed with a woollen cloth or the ball of the -hand, to remove the whole of the refuse of the -colour, which will be found to corrode on the surface -of the leather.</p> - -<h4 class="space-above2">UNIFORM COLOURS.</h4> - -<p>Before proceeding to execute any of the colours, -the books must be well and evenly paste-washed, and -left till perfectly dry. It will also be necessary to -observe that the black will become darker in all the -<span class="pagenum"><a name="page257" id="page257"></a>[pg 257]</span> -subsequent operations of colouring, glairing, and -polishing, so that attention must be paid not to use -this liquid too strong.</p> - -<p class="center1sb">LIGHT BROWN.</p> - -<p>Wash the cover with vitriol-water till perfectly -uniform in colour, and then with brown to the shade -desired.</p> - -<p class="center1sb">ANOTHER.</p> - -<p>Mix a small quantity of annatto with the potash -liquid, and use hot. This will produce a beautiful -tint.</p> - -<p class="center1sb">DARK BROWN.</p> - -<p>Colour with weak black till a slate-shade is produced, -and then apply the brown three or four -times, as taste may dictate.</p> - -<p>Others might be added, but the proceedings are -the same, varying only the quantity of colour according -to the shade. The <i>nut-brown liquid</i> will -produce beautiful tints.</p> - -<p class="center1sb">CORINTHIAN GRAPE.</p> - -<p>The proceedings are the same as for the last -colour, adding two or three coats of <i>fine red</i>.</p> -<p><span class="pagenum"><a name="page258" id="page258"></a>[pg 258]</span></p> - -<p class="center1sb">COMMON GRAPE.</p> - -<p>Proceed as for the last, omitting the brown after -the black.</p> - -<p class="center1sb">BLUE.</p> - -<p>After giving four or five coats of the chemical -blue diluted with water, wash lightly with weakened -aqua regia, which will take off the green reflection -produced by the yellow tint of the leather.</p> - -<p class="center1sb">GREEN.</p> - -<p>Give three or four coats of the green liquid, extended -in water according to the shade required. -Any of the other colours noticed in the preparations -may be thus executed.</p> - -<p class="center1sb">OLIVE.</p> - -<p>After giving a slate-colour, apply yellow, boiled -with a small portion of blue, on the cover, rubbing -it equally in while hot, to insure uniformity.</p> - -<p class="center1sb">PEARL GRAY.</p> - -<p>This colour must be executed carefully, so as to -be perfectly uniform and without stains. Colour -over with exceedingly weak black liquid, till a pale -<span class="pagenum"><a name="page259" id="page259"></a>[pg 259]</span> -gray is produced. The weaker it is, the better will -the workman succeed. Then pass over a light coat -of fine red mixed in a large portion of water, so as -to give a light red reflection scarcely distinguishable.</p> - -<p class="center1sb">SLATE.</p> - -<p>Use the black liquid a little stronger than for the -last, and omit the red.</p> - -<p class="center1sb">BLACK.</p> - -<p>For common purposes, the black may be formed -in the way adopted for other colours; but, in many -instances, it is necessary to produce a colour having -the appearance of japan, and which will require -more labour and attention.</p> - -<p>Wash the book over with brown till a dark shade -is formed; then, with a piece of woollen cloth, apply -the black liquid mixed with japan, which will produce -a beautiful black. This colour should have a -good coat of vellum-size before glairing. Or it may -be better to finish off with the varnish given in -another part of the work.</p> - -<p>Nutgalls, copperas, and gum-arabic, are used by -many, and will be found to produce a good and -bright colour.</p> -<p><span class="pagenum"><a name="page260" id="page260"></a>[pg 260]</span></p> - -<h4 class="space-above2">GOLD MARBLES, LANDSCAPES, ETC.</h4> - -<p>These designs, if properly executed, are the most -beautiful that can be imagined. The labour and -care, however, requisite, must ever confine them to -superior bindings, for which a high price is given, to -indemnify the workman for the time required to -produce the proper effect. The imitation of the -gold marbles is not an easy task; but a knowledge -of the art of painting, and a clever management of -the brush, will enable the workman to imitate the -figure of the marble so true to nature as to be -scarcely distinguishable.</p> - -<p class="center1sb">GOLD MARBLE.</p> - -<p>This marble, which will not require the ability to -execute as those following it, is the invention of M. -Berthé, senior, bookbinder of Paris, and may be -executed on any kind of uniform substance. Take -a piece of cloth, exceeding the size of the volume, -and fold it equally; lay it, thus folded, evenly upon -a board, and then open the other half, and cover -the board; spread, upon the half towards the left, -gold leaf to the size of the cover, allowing such -portion as the roll intended to be worked on it may -<span class="pagenum"><a name="page261" id="page261"></a>[pg 261]</span> -take, which will be a saving of gold; then refold -the cloth on the gold, and press the hand above, -without moving the cloth, so as to divide the gold -into a number of small pieces. The gold being -thus prepared, moisten the side of the volume with -glaire mixed with water in equal proportion, and -place it on the cloth, pressing above firmly with the -hand. Care being taken not to disarrange it, turn -over the volume, cloth, and board, and take the -latter off, replacing it with a sheet of paper, and -rubbing smartly above, so as to attach the whole of -the gold to the cover. After this the cloth must be -removed, and the gold will be found equally fixed; -to further insure which lay on a sheet of paper, and -rub well with the palm of the hand.</p> - -<p>To remove any gold that may appear on the part -intended for the roll in gilding, wet the end of the -thumb, form a sort of square with the fore-finger on -the edge of the board to the size of the roll, and rub -the surface of the cover, which will clear it with -facility before the glaire is dry.</p> - -<p class="center1sb">LAPIS-LAZULI.</p> - -<p>This marble is of clear blue, veined with gold, -presenting an appearance of the utmost splendour. -It is executed as follows:—</p> -<p><span class="pagenum"><a name="page262" id="page262"></a>[pg 262]</span></p> - -<p>Place the volume between rods as for marbling, -and with a sponge full of large holes, dipped in -chemical blue mixed in six times its volume of -water, make light spots, similar to clouds, at irregular -distances; then put in a quarter part more blue, -and make new clouds or spots a little darker. -Repeat this operation six or seven times, each time -adding more blue. All these coats will form stains -in proper gradation, as in the natural marble; and -to operate more properly, it would be better to have -a model, either of the marble itself, or skilfully -painted.</p> - -<p>The veins of gold, which must not be laid on till -the book is gilt, and just previous to polishing, are -formed with gold in shell. The substance used to -make it take and hold firmly on the cover of the -book is prepared with white of egg and spirits of -wine in equal proportion, and two parts of water, -beating all well and leaving it to clear; then wet a -small portion of gold-powder with the liquid, mixing -it with the finger, and use it with a small camel's-hair -pencil. Pass it on in different places, so as to -imitate the model, according to the taste of the -workman; when done, let it perfectly dry, and -polish with the polisher scarcely warm.</p> - -<p>It will be perceived that by the use of other -<span class="pagenum"><a name="page263" id="page263"></a>[pg 263]</span> -colours, or two or three together, many beautiful -designs may be in like manner executed.</p> - -<p class="center1sb">LANDSCAPES.</p> - -<p>Many beautiful subjects may be formed on the -sides of books by the workman skilled in painting; -and, although coming more properly under the art -of painting, and being objectionable on account of -producing a mingling of the arts, so frequently exhibited -upon volumes where the art of the bookbinder -is superseded by that of the painter and -jeweller, the young workman should understand -at least the process by which they are produced. -The volume is prepared by being pastewashed, so -as to present a uniform fawn colour, the designs -slightly traced, and afterwards coloured according -to the pattern, the colours being mixed to the -proper shade with water. The shades must be -tried on pieces of refuse leather, as, being spirit-colours, -when once laid on, no art can soften them -down if too strong; and a peculiar lightness of touch -will be necessary to produce effect. Portraits, &c. -may also be executed in this manner, and many -superb designs have at times been executed by the -best binders of England and France. M. Didot, -bookseller of Paris, presented a copy of the "<i>Henriade</i>," -<span class="pagenum"><a name="page264" id="page264"></a>[pg 264]</span> -published by himself, to Louis XVIII., most -elegantly ornamented in this style. It was executed -by <i>M. Lunier Bellier</i>, bookbinder of Tours, -and exhibited on one side a miniature portrait of -Henry IV., and on the other a similar one of -Louis XVIII., both perfect likenesses. The greatest -difficulty consisted in the portraits, which were -first imprinted on paper, very moist, and immediately -applied to the cover, on which they were -impressed with a flat roller. When perfectly dry, -they were coloured with all the art of which the -binder was capable, and the other ornamental -paintings executed by hand. This proceeding requires -great care in the execution, and will be applicable -to any design where the binding will justify -the expense.</p> - -<p class="center1sb">TRANSFERRED LANDSCAPES.</p> - -<p>The art of transferring, long practised in the -ornamenting of fancy articles, was judged equally -practicable for forming a superior embellishment for -the sides of books. But the varnish necessary to -be employed in the operation rendered the invention -of no utility, from the action of the heated -polisher turning it white or causing it to shell off. -After several trials, this difficulty is believed to be -<span class="pagenum"><a name="page265" id="page265"></a>[pg 265]</span> -overcome, by the employment of a very simple and -common article in the office of the bookbinder,—viz.: -<i>new glaire</i>, well beaten up. The proceeding is as -follows:—Cut the print, intended to be transferred, -close to the design on all sides. Let it steep in the -glaire till it is well saturated with it. During this -time glaire the book twice, letting it dry on each -application. Take out the print, place it exactly in -the centre of the side-cover, and, laying a piece of -paper above, rub it sharply on the book, so that it -may adhere very closely. Remove the upper paper, -and with the finger rub off the paper gently until -the printed design begins to appear, wetting the -finger in <i>glaire</i> should the paper get too dry. The -utmost attention will now be necessary, for the -least carelessness in removing the paper that still -remains may entirely destroy the design, and the -whole of the previous labour be lost. The paper -must be gently removed, piece by piece, till the -design only appears on the leather while damp. -When dry, a white appearance will be presented, -arising from the small particles of paper adhering -to the ink; but these will be sufficiently hid on -glairing the side previous to finishing. The extent -and variety to which, at a small expense, these -designs may be carried, with the finish and beauty -<span class="pagenum"><a name="page266" id="page266"></a>[pg 266]</span> -given to the sides of books, renders the subject -worthy of the attention of the ornamental workman -particularly; but he must possess perseverance and -carefulness in an eminent degree, to carry it to -perfection. After the gilding or other ornament is -executed, the side must be finished off in the usual -manner. A slight coat of the varnish described in -a subsequent part of the work will, in this case, -give a superior finish.</p> - -<p>The following directions, and that of Mr. -Buchanan's, are taken from the circulars of the -Finishers' Friendly Association of London:—</p> - -<p>"<i>Pictures on Calf.</i>—We have heard of a process -for transferring prints from the paper on which -they had been printed to the sides of books bound -in calf; and in these days, when <i>novelty</i> is so much -sought after, it might be worth some Friendly's -while to test its efficacy. The side must be washed -clean, and, while damp, the print is laid thereon, -when, after remaining some time in the arming-press, -it is said that a copy of the engraving will be -found on the calf.</p> - -<p>"In sending one of these executed in colours by -him twenty years ago, a Friendly corrects an error -we committed, by terming <i>prints</i> <span class="sc">pictures</span>, and -writes, 'In preparing the calf, it is simply washed -<span class="pagenum"><a name="page267" id="page267"></a>[pg 267]</span> -with thin paste-water; when dry, a coat or two of -weak salts of tartar. When perfectly dry, you may -proceed with any subject; a very weak brown being -generally used for its outline. For all colours, I -use two cups of different strengths, with <i>quill</i>-pens -and brushes to each. The green is composed of -Scott's liquid blue and French berries. These are -bruised and simmered from half a pint to a quartern, -then caused to boil, and, while in that state, a -pinch of burnt alum should be added to set the -colour. The slate is weak copperas; red is obtained -from Brazil dust and vinegar, or Brazil chips boiled, -and solution of tin added. The books had generally -double bands—the lettering-pieces stained chocolate, -and the spaces between bands blacked, or the -colours "<i>moused</i>," morocco being too bright for the -stained calf. An octagon or square was coloured -brown, slate, or sprinkled, and in the centre a light -ground. Was the subject to my fancy, botanical -works with a group of plants on the sides, when -polished and pressed in japanned tins, had the -neatest appearance. Landscapes, animals, insects, -shells, &c. are all permanently fixed on the calf -by the above-named colours.' He concludes by -hoping 'the instructions are sufficiently plain to -<span class="pagenum"><a name="page268" id="page268"></a>[pg 268]</span> -induce some aspiring F. F.'s to practise this almost -forgotten branch of the art of finishing.'</p> - -<p class="author">"<span class="sc">W. Buchanan.</span>"</p> - -<p class="center1sb">ORNAMENTAL BLACK LINES.</p> - -<p>Black lines in rays, or intersecting each other in -the form of diamonds or other devices, on the sides -of books, which present a good appearance if well -executed, are ruled with steel or swan pens, the -nibs being formed to the size required by the boldness -of the lines. The vinegar-black mixed with a -portion of gum-arabic, to neutralize a part of the -action of the acid and make it of a stronger consistency, -will be found to answer best. Whatever the -pattern, it should be slightly traced with the folder, -and the design be afterwards marked with the pen, -kept steady by the aid of a ruler.</p> - -<p class="center1sb">BLACKING THE SQUARES.</p> - -<p>Unless coloured uniformly, the whole of the designs -before described will not produce the best -effect if the squares remain plain or variously -tinted; it is, therefore, necessary to black the -edges and squares of the board, and the cap over -the head-band. This is done with a piece of any -firm soft substance on the edges, and with a sponge -<span class="pagenum"><a name="page269" id="page269"></a>[pg 269]</span> -within the volume, sufficiently below the part where -the end-papers will cover. Finally, the covers -should be well pastewashed and left to dry.</p> - -<p class="center1sb">BANDS AND TITLE-PIECES.</p> - -<p>Where the backs are flat it will be necessary to -mark the place intended for the bands in gilding. -For this purpose the binder should have patterns -of the various forms and sizes cut out of thin -board, a little longer and double the breadth of -the volumes, so that they may be held firmly on -the sides, while the bands are marked across the -back through the apertures cut in the pattern. It -is usual to give a double band at the bottom of the -back, and therefore this must be allowed for in the -pattern, which lengthened portion must be placed -even with the edge of the boards at the tail of the -volume, and the bands marked with the folder. By -this plan the whole of the bands in sets of books -will present a parallel line, and the bad effect produced -by the inequalities arising from compassing -the distances and trusting to the sight will be -avoided. A great saving of time is also effected, as -the patterns once made will serve for a very considerable -period.</p> - -<p>On the fancy colours and sprinkles it is usual to -<span class="pagenum"><a name="page270" id="page270"></a>[pg 270]</span> -attach lettering-pieces of morocco. For this purpose -the morocco, or roan if common work, is cut -lengthways of the grain, according to the space -between the bands, and the slip placed across the -back to measure the breadth, and then cut off. Then, -slightly damping on the flesh-side, it must be pared -as thin and equal as possible, and the edges sloped -evenly down, so as to bring it to the exact size -of the square it is to occupy. Should the back -require two pieces,—viz.: another for the volume or -contents,—it may be proper to vary the colour. -These title-pieces are pasted evenly on, a portion -of paste rubbed over them with the finger, and then -attached firmly and equally by rubbing down the -edges with the folder, when the paste must be well -washed off with a clean sponge. Where economy -is an object, the squares intended for the title may -be darkened with brown or black, which will show -the lettering very well.</p> - -<p class="center1sb">INLAID ORNAMENTS.</p> - -<p>To give some bindings in vellum, calf, or morocco -an additional degree of splendour, it is sometimes -required to execute ornaments on the covers of a -different colour; and, as this is an important manipulation, -it will be necessary for the young workman -<span class="pagenum"><a name="page271" id="page271"></a>[pg 271]</span> -to understand it. Let the pattern be worked in -blind upon the volume, taking care to have it well -impressed. Pare morocco of the colour desired -evenly and thin. While damp, place it upon that -portion of the pattern to be inlaid, and press upon -it with the fingers. The outline of the figure will -appear through the morocco. Then lay it upon the -paring-stone; and, with the same gouges with -which the pattern has been executed, proceed to -cut out the morocco. The gouges used for this -kind of work should be made of steel.</p> - -<p>The same directions will apply to fancy titles for -flat backs.</p> - -<p>After the pieces have been properly cut out, the -workman will proceed to paste them evenly and -adjust them in their place upon the volume.</p> - -<p>When dry and prepared, the book will then be -ready for gilding, and when covered with the gold -ornament the joints of the leather will not be perceptible, -if well executed. The gouges must be -worked upon the edge of the morocco.</p> - -<p>This kind of ornament is more frequently executed -on calf than any other substance.</p> -<p><span class="pagenum"><a name="page272" id="page272"></a>[pg 272]</span></p> - -<div class="chapter"> -<h4 class="space-above2">COLOURS.</h4></div> - -<p>In connection with inlaid ornament, we give a -few hints to guide the workman in choice of colours. -Much of the effect produced will result from the -relations which the colours will bear to each other. -A well-executed piece of work may be spoiled by -the injudicious selection of colours. If the finisher -be ignorant of the lessons which nature teaches in -the distribution of colours, he cannot expect to -please a connoisseur whose taste has been corrected -and refined by a study of the harmonies of colours.</p> - -<p class="center1sb">NUMERICAL PROPORTIONS OF HOMOGENEOUS COLOURS.</p> - -<p class="center"><i>Yellow</i>, 3. <i>Red</i>, 5. <i>Blue</i>, 8.</p> - -<table summary="color proportions" border="0"> -<tr> - <td class="leftq" colspan="5">SECONDARIES.</td> -</tr> -<tr> - <td>3 Yellow</td> - <td rowspan="2"><span class="bigbrace">}</span></td> - <td rowspan="2" >Orange.</td> - <td rowspan="6"><img src="images/leftbraceab.png" width="20" height="150" alt="leftbrace" /></td> - <td rowspan="6">These are contrasting colours to the<br /> - primaries with which they produce<br /> - harmony in opposition:—the orange<br /> - with the blue, the purple with the<br /> - yellow, and the green with the red. - </td> -</tr> -<tr> - <td>5 Red</td> -</tr> -<tr> - <td>5 Red</td> - <td rowspan="2"><span class="bigbrace">}</span></td> - <td rowspan="2">Purple.</td> -</tr> -<tr> - <td>8 Blue</td> -</tr> -<tr> - <td>3 Yellow</td> - <td rowspan="2"><span class="bigbrace">}</span></td> - <td rowspan="2">Green.</td> -</tr> -<tr> - <td>8 Blue</td> -</tr> -<tr> - <td class="leftqz" colspan="5">TERTIARIES.</td> -</tr> -<tr> - <td>Purple</td> - <td rowspan="2"><span class="bigbrace">}</span></td> - <td rowspan="2" >Olive.</td> - <td rowspan="6"><img src="images/leftbraceab.png" width="20" height="150" alt="leftbrace" /></td> - <td rowspan="6">The tertiaries stand in the same relation<br /> - to the secondaries that the secondaries<br /> - do to the primaries:—olive to<br /> - orange, citron to purple, and russet<br /> - to green. - </td> -</tr> -<tr> - <td>Green</td> -</tr> -<tr> - <td>Green</td> - <td rowspan="2"><span class="bigbrace">}</span></td> - <td rowspan="2">Citron.</td> -</tr> -<tr> - <td>Orange</td> -</tr> -<tr> - <td>Orange</td> - <td rowspan="2"><span class="bigbrace">}</span></td> - <td rowspan="2">Russet.</td> -</tr> -<tr> - <td>Purple</td> -</tr> -</table> - -<p>Yellow is melodized by orange on one side and -green on the other; blue by green and purple, and -the red by purple and orange.</p> - -<p><span class="pagenum"><a name="page273" id="page273"></a>[pg 273]</span></p> - -<p class="center1sb">PASTING THE END-PAPERS, JOINTS, ETC.</p> - -<p>The volume being laid upon the table or press, -with the head towards the workman and the upper -board open, the guard or false end-paper must be -removed and all other substances cleared out of the -joint with the folder. The paper to be pasted on -the board is cut at each end, so as to show the same -margin as on the fore-edge, and pasted evenly over. -It is then carefully laid upon the board. The -position being adjusted, a piece of white paper -should be laid thereon, and the whole rubbed perfectly -even with the flat of the hand. Then with -the folder rub perfectly square on the joint. The -volume, with the board open, may then be turned, -and the other side done in the same way.</p> - -<p>If it is intended to execute a gilt border or blind -tooling in the interior of the cover, it will be important -that no part of the end-paper covers it. -To avoid this, a slip must be cut off at the head, -tail, and on the fore-edge, proportionate to the extra -breadth of the border over the square. Or, if -morocco joints have been placed in the volume, the -two corners of the portion left to be attached to the -boards must be cut, to prevent their showing above -the end-paper, which is to be pasted over and would -<span class="pagenum"><a name="page274" id="page274"></a>[pg 274]</span> -disfigure the edge, taking care to leave as much -leather as will cover perfectly such portion as is intended -for the joint and square of the board, so -that, when the paper is pasted on, it will not be -perceived that the corners have been cut off. Pare -the edge of the leather where the part is cut off on -a small board or folder placed underneath; afterwards -paste the joint on the edge of the board, -attach it neatly with the thumb, finger, and folder, -and, when dry, paste thereon the marbled or coloured -paper cut to the proper size. For the best class -of work the morocco joint is placed in the volume -by the finisher after the book is covered.</p> - -<p>If the ends are of silk, it will be necessary to -leave the silk sufficiently large to turn the edges -over a piece of paper that has been cut to the -required size, and in order to preserve the gloss -and richness of the silk it should not be pasted on -the paper upon which it is placed, except where it -is turned over the edge of the paper. The paper is -then lightly glued over and adjusted upon the board. -This method also prevents the silk from ravelling or -presenting a jagged edge. In all cases, however, -where the border is gilt or otherwise ornamented, -below the level of the edges of the volume, the -ends must not be pasted down till after that operation -<span class="pagenum"><a name="page275" id="page275"></a>[pg 275]</span> -is completed, as the glaire and oil would be -liable to stain, and present a bad effect.</p> - -<div class="figcenter" style="width: 280px;"> -<a href="images/275-600.png"><img src="images/275-280.png" width="280" height="460" alt="" /></a> -<p class="center">STANDING-PRESS.</p></div> - -<p>For inferior bindings, where the end-papers are -left plain, the last two leaves being merely pasted -<span class="pagenum"><a name="page276" id="page276"></a>[pg 276]</span> -together, the ends will only require pasting, and -attaching by placing the volume between boards, -and screwing firmly in the standing-press, immediately -after which it must be taken out and the -boards opened, so as to make the joints free. -Almost every class of work except velvet and Turkey -morocco requires to be submitted to the action -of the standing-press after the end-papers have -been pasted down, and then allowed to become perfectly -dry by leaving the boards open. Our illustration -is taken from a standing-press manufactured -by W. O. Hickok, Harrisburg, Pa.</p> - -<p>In all the departments, but especially in finishing, -cleanliness is of the utmost importance. It -matters not how graceful may be the design, how -perfectly the tools may be worked; all may be -spoiled by a volume having a dirty appearance. -Therefore, have every thing clean about you,—cups, -sponges, and brushes. Let your size, pastewash, -and glaire, be clean; your oil-cotton the same. -Do not lay on the gold until the preparation is dry. -After the working of your tools, be particular in -cleaning off the gold, so that no portions or specks -remain that should not, for they will have the appearance -of dirt. In calf-work, especially, be careful -of grease, or of any thing that will soil the -<span class="pagenum"><a name="page277" id="page277"></a>[pg 277]</span> -leather. In summer-time great care must be taken -to protect your work from the flies, particularly -after your backs are worked off. The little pests -will eat the glaire off in places, and give the book -an unsightly appearance.</p> - -<h4 class="space-above3">VARNISH,</h4> - -<p class="center1sb">AS USED IN BOOKBINDING.</p> - -<p>The first, by the celebrated <i>Tingry</i>, is made in -the following manner:—</p> - -<p>Put into a vessel six ounces of mastic, in drops, -three ounces of sandarac finely powdered, four -ounces of coarsely-broken glass, separated from the -dust by a sieve, and thirty-two ounces of spirits of -wine, of about forty degrees. Place the vessel upon -straw in another filled with cold water; put it on -the fire and let it boil, stirring the substances -together with a stick, to keep the resins from -uniting. When the whole appears well mixed, put -in three ounces of turpentine, and boil for another -half-hour, when the whole must be taken off and -stirred till the varnish and the water in which it is -placed cools. Next day, filter it through a fine -cotton, by which means it will acquire the greatest -degree of limpidity, and well cork up in a bottle.</p> -<p><span class="pagenum"><a name="page278" id="page278"></a>[pg 278]</span></p> - -<p>The other recipe is given by <i>Mons. F. Mairet</i>, of -<i>Châtillon sur Seine</i>, and may be prepared similar -to the above. The ingredients are, three pints of -spirits of wine, of thirty-six to forty degrees, eight -ounces of sandarac, two ounces of mastic in drops, -eight ounces of shell-lac, and two ounces of Venice -turpentine.</p> - -<p>The varnish is first put on the back of the book -with a camel's-hair brush as lightly as possible. -When nearly dry, it is polished with a ball formed -of fine white cotton, filled with wool, on which has -been rubbed a small quantity of olive-oil, to make -it glide freely; it must be rubbed at first lightly, -and, as fast as the varnish dries and becomes warm, -more sharply. The sides are in like manner -polished one after the other.</p> - -<p>Varnish is applied after the volume has been -polished by the iron, in order to retain the brilliancy -and preserve the volume from the bad effects produced -by flies eating off the glaire. The manufactured -article now in general use is applied by a -soft sponge being lightly passed over the volumes -after a small portion of varnish has been applied to -the sponge.</p> -<p><span class="pagenum"><a name="page279" id="page279"></a>[pg 279]</span></p> - -<h4 class="space-above2">STAMPING.</h4> - -<p>For gilding the sides and even backs of publishers' -work, or in fact any other where a quantity -of gilding is desired at little expense, the stamping-press -is brought into requisition, and by means of -tools cut for the purpose, called blocks or stamps, the -design is impressed on the side. These stamps may -be made of very small pieces, and, by having a number -of them, the patterns produced may be almost -indefinite. The stamps are affixed to an iron or brass -plate, called a back or foundation-plate, upon which -a piece of stout paper has been glued. Then let -the workman mark upon the plate the exact size of -the side to be stamped, marking it evenly with the -compasses, so as to justify the stamps; then strike -the centre, and draw lines upon the paper from the -centre, so as to divide it into squares or to any -given part, so as to afford freedom for selection in -the starting-point of the design. For it must be -manifest that if a workman starts all his patterns -from the same point, notwithstanding he may have -a variety of tools at his disposal, his patterns will -exhibit a great deal of uniformity. Let the paper -be glued equally over the surface, and proceed to -form the pattern by arranging the stamps upon the -<span class="pagenum"><a name="page280" id="page280"></a>[pg 280]</span> -plate so as to exhibit the design. A great deal of -taste can be displayed in the formation of patterns -for stamping; but, in consequence of the public -generally desiring a mass of gilt gingerbread-work, -this branch has been but little cultivated; the -prevalent opinion among stampers being that it is no -matter what is put upon the side so that it is well -covered with gold. Publishers find those books that -are the most tawdrily gilt are soonest disposed of; -hence, every thing is sacrificed to a gaudy exterior. -It is to be hoped that the art will be relieved from -this degraded ornamentation. Stampers themselves -can do something to purify and correct the public -taste by avoiding the unmeaning collections confusedly -huddled together, so often seen upon sides. -Every remark in regard to style, design, and combination -of tools in the hand-finisher's department -applies with equal force to stamp-work; and, although -the stamps used in the latter are not so plastic -as those in hand-work, still great results will be -achieved; for, notwithstanding the superiority of -hand-work for artistic expression and permanence, -press-work will always maintain a prominent position -in the art, producing, as it does, striking results -at a trifling expense. After the pattern is formed, -take a little paste and touch the under side of each -<span class="pagenum"><a name="page281" id="page281"></a>[pg 281]</span> -stamp, and place them in exact position. After -this is done and the paste has become hard, lay the -stamp or pattern thus formed upon the side of the -volume, taking care to have the same margin on the -front, back, and ends. Then place the board or -side upon which the stamp is placed upon the platen -or bed of the stamping-press, leaving the volume -hanging down in front of the platen, which is then -moved to the centre of the upper platen, so that the -clamps will touch the plate on both edges at the -same moment; then pull the lever so as to put a -slight pressure upon the plate in order to keep both -it and the side in their proper place; then adjust -the guides to the fore-edge and head or left-hand -side, and screw them fast; throw back the lever, take -out the book; examine and correct any irregularity -in the margin of the pattern by moving the guides. -When perfectly square, place a soft pasteboard -under the stamp, pull down the press, and apply -heat. This will set the stamps or harden the paste -and glue in a short time, so that they will not fall -off in stamping—a great annoyance. Work for -stamping does not require so much body or preparation -as if it were to be gilt by hand. Morocco can -be worked by merely being washed with urine; but -it is safer to use a coat of size, or glaire and water -<span class="pagenum"><a name="page282" id="page282"></a>[pg 282]</span> -mixed in proportions of one of the former to three -of the latter. Grained sheep, or, as it is called, -imitation-morocco, requires more body to gild well. -After the books are ready for laying on, the gold-leaf -is cut upon the cushion to the required size, or, -if the volume be large and the stamp will cover its -superficial extent, the leaf may be lifted from the -gold-book by means of a block covered with wadding -or cotton lap and laid immediately upon the side. -After an oiled rag has been lightly passed over the -surface of the leather to cause the gold to adhere -until it is put under the press, examine the press -to see if sufficiently heated for the purpose. A little -experience will soon determine the requisite amount -of heat as a general rule. Leather-work does not -require as hot a tool for stamping as for hand-work, -while cloth or muslin-work requires a short, quick -stroke, and the press to be hotter than for leather. -In most binderies the stamping-press is heated by -introducing steam or gas through tubes perforated -for the purpose; though a few still use the heaters, -which, after being heated in a furnace, are placed -in the holes of the upper platen. After the press -is properly heated, throw back the lever; take out -the pasteboard from under the stamp; regulate the -degree of pressure required for the stamp; then -<span class="pagenum"><a name="page283" id="page283"></a>[pg 283]</span> -place the side to be stamped upon the bed-plate, -holding it firmly against the guides with the left -hand, while with the right the lever is quickly -drawn to the front. This straightens the toggles and -causes a sharp impression of the stamp upon the -leather; immediately throw back the lever; take -out the side, and rub off with a rag the superfluous -gold. Repeat the operation upon the other side, -unless the stamp be of an upright design; it will -then be necessary to turn the stamp in the press -before operating upon the other side. Case-work -or covers that are stamped before being put upon -the books are done in the same manner, the backs -being also stamped before being glued on. The -preceding cut of a stamping-press for gilding light -<span class="pagenum"><a name="page284" id="page284"></a>[pg 284]</span> -work, lettering, &c., is of the most approved construction, -while for large, heavy work, either gilt or -stamped blind, (embossed, as it is erroneously called,) -and for cloth-work generally, the wheel-press is best -adapted. It can be worked either by hand or by -power. The fly-wheel can be kept revolving while -the workman is engaged in feeding the press. The -lever is used for light work. It will be perceived -that the upper platen of this press, to which the -<span class="pagenum"><a name="page285" id="page285"></a>[pg 285]</span> -stamp is attached, is stationary, thereby giving great -advantages in arranging pipes for heating by gas, -and also for carrying off the smoke and unconsumed -gas that would otherwise escape into the room. -These presses are manufactured by I. Adams & -Co., Boston.</p> - -<div class="figcenter" style="width: 500px;"> -<a href="images/283-1000.png"><img src="images/283-500.png" width="500" height="335" alt="" /></a> -<p class="center">LETTERING AND GILDING PRESS, No. 1.</p></div> - -<div class="figcenter" style="width: 450px; margin-top: 2em;"> -<a href="images/284-980.png"><img src="images/284-450.png" width="450" height="459" alt="" /></a> -<p class="center">EMBOSSING PRESS, No. 2.</p></div> - -<p>A description of the various processes to produce -by stamping the rich effects of inlaid work will be -found under the head of Illuminated Binding and -that of Inlaid Ornaments. For publishers' work -it is a point of economy to have a steel-cutter that -will cut out the pattern at one blow. For this kind -of work, coloured German paper is used instead of -leather for inlaying.</p> - -<p>Thin boards are cut out with the aid of steel-cutters -and the stamping-press, and affixed to the -volumes; and, after they are covered, they are -stamped in gold and blind with patterns corresponding -with the figure of the cutter. This can -only be applied where there are a large number -of volumes, although single volumes may be cut out -by hand at an increase of expense.</p> - -<p>The modernized Gothic design (Plate IX.) is intended -for a side-plate, to be worked either in gold -or blank. The light floriated design (Plate X.) is -calculated to be worked in gold, and is a good illustration -<span class="pagenum"><a name="page286" id="page286"></a>[pg 286]</span> -of the prevailing treatment of the style for -which it has been expressly designed. The pattern -upon Plate XI. is intended for press-work, to be -blank-stamped. The contrast of light and heavy -work producing a fine effect, it is well adapted for -a side-stamp, especially for cloth-work.</p> - -<div class="chapter"> -<div class="figcenter" style="width: 300px;"> -<p class="right">9.</p> -<a href="images/285afp9-600.jpg"><img src="images/285afp9-300.jpg" width="300" height="482" alt="" /></a> -<p class="center"><i>Modernized Gothic.</i></p></div></div> - -<div class="chapter"> -<div class="figcenter" style="width: 300px;"> -<p class="right">10.</p> -<a href="images/285bfp10-600.jpg"><img src="images/285bfp10-300.jpg" width="300" height="498" alt="" /></a> -<p class="center"><i>Modern Floriated Design.</i></p></div></div> - -<div class="chapter"> -<div class="figcenter" style="width: 300px;"> -<p class="right">11.</p> -<a href="images/286afp11-600.jpg"><img src="images/286afp11-300.jpg" width="300" height="488" alt="" /></a> -<p class="center"><i>Expressly for Cloth after Holbein's Style.</i></p></div></div> - -<p>Plate XII. is a graceful design from a "Hint" -of Mr. Leighton's. It is suited for a side-stamp, -to be worked in gold; and with it closes our illustrations -of design.</p> - -<div class="chapter"> -<div class="figcenter" style="width: 300px;"> -<p class="right">12.</p> -<a href="images/286bfp12-600.jpg"><img src="images/286bfp12-300.jpg" width="300" height="495" alt="" /></a> -<p class="center"><i>From a hint of Leighton.</i></p></div></div> - -<p>To obviate a difficulty that the young finisher -will experience in his first attempts at designing, -let him select a good quality of sized paper, cut it -to the required size, then fold it carefully into four -parts, and draw his pattern boldly upon one of the -four corners with a lead-pencil. After that is done, -slightly damp the opposite corner, fold the drawn -portion so that it comes in contact with the damp -surface, and rub it upon the back, so as to transfer -the outlines of the drawing. When it appears with -sufficient distinctness, trace it carefully over with -the pencil, and repeat the process upon the other -corners until the pattern is complete. This method -insures accuracy and expedition. In working a -pattern with gouges or with intersected lines, the -same principle is applied, so as to reproduce the -<span class="pagenum"><a name="page287" id="page287"></a>[pg 287]</span> -pattern precisely alike at the four corners, and to -save time. In this case the paper is folded, and one -impression of the tool answers for both sides of the -pattern.</p> - -<p>Let the young finisher but feel a love for his art, -make himself familiar with the best specimens, and -determine to excel; and eventually his productions -will be esteemed, his ability command the best -situations, and he will be recognised as an artist.</p> - -<p class="center1sb">CUTTING-MACHINES.</p> - -<p>For cutting paper, pamphlets, and books "out -of boards," a number of machines have been invented, -and are used in many binderies, especially -in those where large quantities of "cloth-work" -are bound. They have been found to answer for -this class of work very well. Some of them operate -with sufficient nicety to cut books for case-work -that are intended for gilt edges, when they -are not to be scraped. For first-class work, cut -"in boards," nothing has been discovered to supersede -the old-fashioned mode of cutting with the -plough and press.</p> -<p><span class="pagenum"><a name="page288" id="page288"></a>[pg 288]</span></p> - -<div class="figcenter" style="width: 400px;"> -<a href="images/288-800.png"><img src="images/288-400.png" width="400" height="359" alt="PATENT PAPER AND BOOK TRIMMER." /></a> -<p class="center">PATENT PAPER AND BOOK TRIMMER.</p></div> - -<p>The above cut of one of these machines, from -the manufactory of I. Adams & Co., Boston, will -serve to convey a general idea of its appearance; -and the names of the makers are a sufficient guarantee -of the mechanical perfection of its details.</p> -<p><span class="pagenum"><a name="page289" id="page289"></a>[pg 289]</span></p> - -<h4 class="space-above2">TRANSLATION OF DATES.</h4> - -<p>Many old books have their dates printed in a -manner which puzzles the finisher, should he be required -to date any so printed, which are too thin to -admit of its being done as on the title-page. The -following key is here given, as it may be found -useful in such cases:—<span class="sc1">c</span>. 100; IↃ, -or <span class="sc1">d</span>, 500; <span class="sc1">c</span>IↃ -or <span class="sc1">m</span>, 1000; IↃↃ, 5000; -<span class="sc1">cc</span>IↃↃ, 10,000; -IↃↃↃ, 50,000, -<span class="sc1">ccc</span>IↃↃↃ, 100,000. -Thus, <span class="sc1">c</span>IↃ, IↃ, -<span class="sc1">clxxxviii</span>—1688. -While on this subject, it may not be inappropriate -to notice the dating of some books printed -in France during the republic in that country. -Thus, "An. <span class="sc1">xiii.</span>"—1805, that being the thirteenth -year of the republic, which commenced -in 1792.</p> - -<h4 class="space-above2">RESTORING THE BINDINGS OF OLD BOOKS.</h4> - -<p>Old bindings often look badly on account of the -leather becoming dry and cracked, or the surface -of the skin having been rubbed off in places. -To obviate this, take a small quantity of paste -and rub it carefully with the finger upon the -<span class="pagenum"><a name="page290" id="page290"></a>[pg 290]</span> -portions that require it; after it is dry, wash the -volume carefully over with a thin solution of glue -size. When dry, the volume may be varnished, -and afterwards rubbed over with a cloth in which -a few drops of sweet oil have been dropped.</p> - -<h4 class="space-above2">SUPPLYING IMPERFECTIONS IN OLD BOOKS.</h4> - -<p>It often occurs that a valuable and rare work -has a leaf torn or missing. In order to supply it, -the first step will be to obtain the use of a perfect -copy as a model. Then procure paper of the -same colour as the leaf to be mended, and cut it -carefully to correspond with the torn portion. -After the piece has been neatly adjusted, tip -it and the leaf, very lightly, along the edges -with paste made of rice-flour; then place a piece -of tissue-paper on both sides of the leaf, and -smooth it carefully with the folder; then close -the volume and allow it to remain until perfectly -dry. Then proceed to remove the tissue-paper, -and it will be found that the portions that adhere -where the joining occurs will be strong enough -to secure the piece to the leaf of the book. The -<span class="pagenum"><a name="page291" id="page291"></a>[pg 291]</span> -letters may be then copied from the perfect copy -and traced upon the inserted piece. The general -appearance will depend upon the skill displayed -in order to produce a successful imitation of the -original.</p> -<p><span class="pagenum"><a name="page292" id="page292"></a>[pg 292]</span></p> - -<h3 class="space-above2">HINTS<br /><br /> - -<span class="less2">TO BOOK-COLLECTORS.</span></h3> - -<hr class="shorter" /> - -<p>Never write your name upon the title-page of a -book.</p> - -<p>Have your books cut as large as possible, so as to -preserve the integrity of the margin.</p> - -<p>Do not adopt one style of binding for all your -books.</p> - -<p>Let the bindings upon your books be characteristic -of the contents and of the value of the -work.</p> - -<p>Employ Turkey morocco for large works or for -books that you have in constant use. It is the -most durable material used in binding, except Levant -morocco, which is very expensive.</p> - -<p>English coloured calf makes a beautiful covering, -and bears full gilt tooling better than morocco. -The latter, if too richly charged, is apt to look -tawdry.</p> -<p><span class="pagenum"><a name="page293" id="page293"></a>[pg 293]</span></p> - -<p>Let the durability and neatness of your bindings -be the primary requisites. Ornament judiciously -and sparingly, rather than carelessly or -gaudily.</p> - -<p>Poetry and sermons are not to be treated alike, -either in colour or degree of ornament to be employed.</p> - -<p>The value of a library will be enhanced by the -amount of knowledge and taste displayed in the -bindings.</p> - -<p>Russia leather is no protection against worms, -and it speedily cracks along the joint.</p> - -<p>Uncut books will command a higher price than -those that are cropped.</p> - -<p>To bind a book well, it should have ample time to -dry after each process.</p> - -<p>When you receive a volume from the binder, -place it upon your shelf in such a manner that the -adjoining volumes will press tightly against it and -keep it closed; or, if you lay it upon your table, -place other volumes upon it, to prevent the boards -from warping, and do not, for some time, use it -near the fire.</p> - -<p>Upon opening a volume, do not grasp the -leaves tightly in your hands. You might thereby -break the back. If the book is too tight in the -<span class="pagenum"><a name="page294" id="page294"></a>[pg 294]</span> -back, lay it upon a flat surface, and open it by -taking a few sheets at a time, and lightly pressing -upon the open leaves, going thus from the beginning -to the end, until the requisite freedom is -obtained.</p> - -<p>Use a paper-knife, or folder, to cut up the -leaves of your uncut books, so that the edges -will be smooth and even; otherwise the book will -have to be cut down when it is bound.</p> - -<p>Do not bind a newly-printed book. It is liable -to set off in the pressing.</p> - -<p>Never destroy an original binding upon an old -volume if the binding be in tolerable condition. -An old book should not be rebound, unless it is -essential to its preservation; and then it should be, -as far as possible, a restoration.</p> - -<p>Carefully preserve old writings and autographs -upon fly-leaves, unless they are trivial. It is an -act of courtesy to the former owner of a book -to place his book-plate on the end-board of the -volume.</p> - -<p>Any blank-leaves that occur in old volumes -should not be removed. The bastard or half title -should always be preserved.</p> - -<p>Have all oblong plates placed in such a manner -<span class="pagenum"><a name="page295" id="page295"></a>[pg 295]</span> -that the inscription under them will read from the -tail to the head of the volume.</p> - -<p>Never bind a large map with a small volume. -It is liable to tear away; and, in pressing the -volume, it makes unseemly marks. Maps and plans -should be affixed to blank leaves, so as to open -clear of the volume, that the reader may have the -plan and text to examine together.</p> - -<p>It is a false economy to bind up a number of -volumes together, especially if they are of different -sizes and upon different subjects.</p> - -<p>Keep your books dry, but not too warm. Gas is -injurious in a library, especially to the gilding upon -the books.</p> - -<p>Do not place books with uncut tops where the -dust will fall upon them. It will penetrate between -the leaves and mar the interior of the volumes.</p> - -<p>Avoid placing books with clasps or carved sides -upon the shelves. They will mark and scratch -their neighbours.</p> - -<p>Never fold down corners, or wet your fingers, -when reading or turning over the pages of a book.</p> - -<p>Do not read a book at table. Crumbs are apt to -penetrate into the back-fold of the leaves.</p> - -<p>Books are not intended for card-racks or for -receptacles of botanical specimens.</p> -<p><span class="pagenum"><a name="page296" id="page296"></a>[pg 296]</span></p> - -<p>Never leave a book open, face downward, under -the pretext of keeping the place. If it remain -long in that condition, it will probably ever afterwards -jump open at that place.</p> - -<p>Never pull books out of the shelves by the head-bands, -or suffer them to stand long upon the -fore-edge.</p> - -<p>Books should not be toasted before a fire or be -converted into cushions to sit upon.</p> - -<p>Saturate a rag with camphor, and, when dry, -occasionally wipe the dust from your books with it, -and you will not be annoyed with book-worms.</p> - -<p>Treat books gently; for "books are kind friends. -We benefit by their advice, and they exact no confessions."</p> -<p><span class="pagenum"><a name="page297" id="page297"></a>[pg 297]</span></p> - -<div class="glossary"> - -<h3 class="space-above3"><span class="oes spaced2">Technical Terms</span><br /><br /> - -<span class="smaller">USED IN</span><br /><br /> - -BOOKBINDING.</h3> - -<hr class="shorter" /> - -<p><span class="def">All-Along.—</span>When a volume is sewed, and the -thread passes from kettle-stitch to kettle-stitch, -or from end to end in each sheet, it is -said to be sewed all-along.</p> - -<p><span class="def">Asterisk.—</span>A sign used by the printers at the -bottom of the front page of the duplicate-leaves -printed to supply the place of those -cancelled.</p> - -<p><span class="def">Backing-Boards.—</span>Are used for backing or forming -the joint. They are made of very hard -wood or faced with iron, and are thicker -on the edge intended to form the groove -than upon the edge that goes towards the -fore-edge, so that the whole power of the -laying-press may be directed towards the -back.</p> -<p><span class="pagenum"><a name="page298" id="page298"></a>[pg 298]</span></p> - -<p><span class="def">Backing-Hammer.—</span>The hammer used for backing -and rounding: it has a broad, flat face, similar -to a shoemaker's hammer.</p> - -<p><span class="def">Bands.—</span>The twines whereon the sheets of a volume -are sewn. When the book is sewed flexible -the bands appear upon the back. When -the back is sawn so as to let in the twine, -the appearance of raised bands is produced -by glueing narrow strips of leather across -the back before the volume is covered.</p> - -<p><span class="def">Band-Driver.—</span>A tool used in forwarding to correct -irregularities in the bands of flexible -backs.</p> - -<p><span class="def">Bead.—</span>The little roll formed by the knot of the -headband.</p> - -<p><span class="def">Bleed.—</span>When a book is cut into the print it is said -to bleed.</p> - -<p><span class="def">Bevelled Boards.—</span>Very heavy boards for the sides -champered around the edges.</p> - -<p><span class="def">Blind-Tooled.—</span>When the tools are impressed upon -the leather, without being gilt, they are said -to be blind or blank.</p> - -<p><span class="def">Boards.—</span>Are of various kinds, such as pressing, -backing, cutting, burnishing, gilding, &c. -The pasteboards used for side-covers are -termed boards. The boards used for cutting -<span class="pagenum"><a name="page299" id="page299"></a>[pg 299]</span> -books "out of boards" are called steamboat-boards. -Tinned boards are used for finished -work; while brass or iron-bound boards are -used for pressing cloth-work.</p> - -<p><span class="def">Bodkin or Stabbing-Awl.—</span>A strong point of iron -or steel, fixed on a wooden handle, to form -the holes in the boards required to lace in -the bands. Used also for tracing the lines -for cutting the fore-edge.</p> - -<p><span class="def">Bole.—</span>A preparation used in gilding edges.</p> - -<p><span class="def">Bolt.—</span>The fold in the head and fore-edge of the -sheets. Also the small bar with a screw -used to secure the knife to the plough.</p> - -<p><span class="def">Bosses.—</span>Brass plates attached to the sides of volumes -for their preservation.</p> - -<p><span class="def">Broke up.—</span>When plates are turned over and -folded at a short distance from the back-edge, -before they are placed so as to enable -them to turn easily in the volume, they are -said to be broke up. The same process -is sometimes applied to the entire volume.</p> - -<p><span class="def">Burnish.—</span>The effect produced by the application -of the burnisher to the edges.</p> - -<p><span class="def">Burnishers.—</span>Are pieces of agate or bloodstone -affixed to handles.</p> -<p><span class="pagenum"><a name="page300" id="page300"></a>[pg 300]</span></p> - -<p><span class="def">Cancels.—</span>Leaves containing errors which are to be -cut out and replaced with corrected pages.</p> - -<p><span class="def">Caps.—</span>The leather covering of the headband. -Applies also to the paper envelopes used to -protect the edges while the volume is being -covered and finished.</p> - -<p><span class="def">Case-Work.—</span>Work in which the boards are covered -and stamped. The volume is then glued -upon the back and stuck into them.</p> - -<p><span class="def">Catch-Word.—</span>A word met with in early-printed -books at the bottom of the page, which -word is the first on the following page. -Now used to denote the first and last -word in an encyclopædia or other book -of reference.</p> - -<p><span class="def">Centre-Tools.—</span>Are single, upright, or independent -tools used for the middle of the panels by -the finisher.</p> - -<p><span class="def">Clearing Out.—</span>Removing the waste-paper and -paring away any superfluous leather upon -the inside, preparatory to pasting down the -lining-paper.</p> - -<p><span class="def">Collating.—</span>Examining the signatures, after the -volume is gathered, to ascertain if they be -correct and follow in numerical order.</p> - -<p><span class="def">Corners.—</span>The triangular brass tools used in -<span class="pagenum"><a name="page301" id="page301"></a>[pg 301]</span> -finishing backs and sides. The gilt ornaments -used on velvet books. Also, the -leather pasted on the corners of half-bound -books.</p> - -<p><span class="def">Creaser.—</span>The tool used in marking each side of the -bands, generally made of steel.</p> - -<p><span class="def">Cropped.—</span>When a book has been cut down too -much it is said to be cropped.</p> - -<p><span class="def">Dentelle.—</span>A fine tooled border resembling lace-work.</p> - -<p><span class="def">Edge-Rolled.—</span>When the edges of the boards are -rolled. It may be either in gold or blind.</p> - -<p><span class="def">Embossed.—</span>When a plate is stamped upon the -cover so as to present a raised figure or -design, it is said to be embossed. Some -inappropriately term this kind of work Arabesque.</p> - -<p><span class="def">End-Papers.—</span>The paper placed at each end of the -volume, a portion of which is removed when -the lining-paper is pasted down upon the -boards. Also called Waste-Papers.</p> - -<p><span class="def">Fillet.—</span>The cylindrical ornament used in finishing -upon which simple lines are engraved.</p> -<p><span class="pagenum"><a name="page302" id="page302"></a>[pg 302]</span></p> - -<p><span class="def">Finishing.—</span>Is that department that receives the -volumes after they are put in leather, -and ornaments them as required. One -who works at this branch is termed a -finisher.</p> - -<p><span class="def">Finishers' Press.—</span>Is the same as a laying-press, -only much smaller.</p> - -<p><span class="def">Flexible.—</span>When a book is sewn on raised bands -and the thread is passed entirely round each -band.</p> - -<p><span class="def">Folder.—</span>This is a flat piece of bone or ivory used -in folding the sheets and in many other -manipulations. Also applied to a female -engaged in folding sheets.</p> - -<p><span class="def">Fore-Edge.—</span>The front edge of the book.</p> - -<p><span class="def">Foundation-Plate.—</span>A plate of iron or brass upon -which side-stamps are affixed.</p> - -<p><span class="def">Forwarding.—</span>Is that branch that takes the books -after they are sewed and advances them -until they are put in leather ready for the -finisher. One who works at this branch is -termed a forwarder.</p> - -<p><span class="def">Full-Bound.—</span>When the sides of a volume are entirely -covered with leather, it is said to be -full-bound.</p> -<p><span class="pagenum"><a name="page303" id="page303"></a>[pg 303]</span></p> - -<p><span class="def">Gathering.—</span>The process of arranging the sheets -according to the signatures.</p> - -<p><span class="def">Gauge.—</span>Used in forwarding to take the correct -size of the volume and to mark it upon the -boards for squaring.</p> - -<p><span class="def">Gilt.—</span>Is applied to both the edges and to the -ornaments in finishing.</p> - -<p><span class="def">Glaire.—</span>The whites of eggs.</p> - -<p><span class="def">Grater.—</span>An iron instrument used by the forwarder -for rubbing the backs after they are paste-washed.</p> - -<p><span class="def">Gouge.—</span>A tool used in finishing, the face of which -is a line forming the segment of a circle.</p> - -<p><span class="def">Guards.—</span>Strips of paper inserted in the backs of -books intended for the insertion of plates, -to prevent the book being uneven when -filled; also the strips upon which plates are -mounted.</p> - -<p><span class="def">Guides.—</span>The groove in which the plough moves -upon the face of the cutting-press.</p> - -<p><span class="def">Half-Bound.—</span>When a volume is covered with -leather upon the back and corners, and -the sides are covered with paper or -cloth.</p> - -<p><span class="def">Hand-Letters.—</span>Letters cut and affixed to handles, -<span class="pagenum"><a name="page304" id="page304"></a>[pg 304]</span> -and adjusted singly upon the volume when -lettering it.</p> - -<p><span class="def">Head and Tail.—</span>The top and bottom of a book.</p> - -<p><span class="def">Headband.—</span>The silk or cotton ornament worked at -the ends so as to make the back even with -the squares.</p> - -<p><span class="def">Imperfections.—</span>Sheets rejected on account of being -in some respect imperfect, and for which -others are required to make the work -complete.</p> - -<p><span class="def">In Boards.—</span>When a volume is cut after the paste-#boards -are affixed to form the sides, it -is said to be cut in boards. The term -is also applied to a style of binding in -which the boards are merely covered with -paper.</p> - -<p><span class="def">Inset.—</span>The pages cut off in folding and placed in -the middle of the sheet.</p> - -<p><span class="def">Inside Tins.—</span>So called from being placed inside -of the boards when the volume is put in the -standing-press.</p> - -<p><span class="def">Joints.—</span>The projections formed in backing to admit -the boards; applied also to the inside -when the volume is covered.</p> -<p><span class="pagenum"><a name="page305" id="page305"></a>[pg 305]</span></p> - -<p><span class="def">Justification.—</span>The observance that the pages of -a volume agree and are parallel throughout, -so as to insure a straight and equal -margin.</p> - -<p><span class="def">Kettle-Stitch.—</span>The stitch which the sewer makes at -the head and tail of a book; said to be a -corruption of chain-stitch.</p> - -<p><span class="def">Keys.—</span>The little instruments used to secure the -bands to the sewing-press.</p> - -<p><span class="def">Knocking-Down Iron.—</span>So called from having the -slips, when laced in, pounded down upon it, -so that they will not show when the book is -covered.</p> - -<p><span class="def">Laced In.—</span>When the boards are affixed to the -volume by means of the bands being passed -through holes made in the boards, they are -said to be laced in.</p> - -<p><span class="def">Lettering-Block.—</span>A piece of wood, the upper surface -being rounded, upon which side-labels -are lettered.</p> - -<p><span class="def">Lettering-Box.—</span>The box in which the type are -screwed up preparatory to lettering.</p> - -<p><span class="def">Lining-Paper.—</span>The coloured or marbled paper at -each end of the volume.</p> -<p><span class="pagenum"><a name="page306" id="page306"></a>[pg 306]</span></p> - -<p><span class="def">Marbler.—</span>The workman who marbles the edges of -books, &c.</p> - -<p><span class="def">Mitred.—</span>When the lines in finishing intersect each -other at right angles and are continued without -overrunning each other, they are said to -be mitred.</p> - -<p><span class="def">Out of Boards.—</span>When a volume is cut before the -boards are affixed, it is said to be done out -of boards.</p> - -<p><span class="def">Overcasting.—</span>An operation in sewing, when the -work consists of single leaves or plates.</p> - -<p><span class="def">Pallet.—</span>Name given to the tools used in gilding -upon the bands, sometimes applied to the -lettering-box.</p> - -<p><span class="def">Panel.—</span>The space between bands; also applied to -bevelled and sunk sides.</p> - -<p><span class="def">Papering Up.—</span>Covering the edges after they are -gilt, so as to protect them while the volume -is being covered and finished.</p> - -<p><span class="def">Paring.—</span>Reducing the edges of the leather by -forming a gradual slope.</p> - -<p><span class="def">Pastewash.—</span>A thin dilution of paste in water.</p> - -<p><span class="def">Pencil.—</span>A small brush of camel's hair.</p> - -<p><span class="def">Pieced.—</span>When the space between bands, upon -<span class="pagenum"><a name="page307" id="page307"></a>[pg 307]</span> -which the lettering is placed, has a piece of -leather upon it different from the back, it is -said to be pieced or titled.</p> - -<p><span class="def">Plough.—</span>The instrument used in cutting the edges -of books and pasteboards.</p> - -<p><span class="def">Points.—</span>Holes made in the sheets by the printer; -they serve as guides in folding.</p> - -<p><span class="def">Polisher.—</span>A steel implement used in finishing.</p> - -<p><span class="def">Press.—</span>There are various kinds of presses,—viz.: -laying or cutting, standing, stamping, embossing, -gilding, and finishing.</p> - -<p><span class="def">Rake.—</span>An instrument used in forwarding, to -harden the backs while being pastewashed -in the standing-press.</p> - -<p><span class="def">Rasped.—</span>The sharp edge taken off the boards.</p> - -<p><span class="def">Register.—</span>The ribbon placed in a volume for a -marker; also a list of signatures, attached to -the end of early-printed works, for the use -of the binder.</p> - -<p><span class="def">Rolls.—</span>The cylindrical ornaments used in finishing.</p> - -<p><span class="def">Run Up.—</span>When the back has a fillet run from -head to tail without being mitred at each -band, it is said to be run up.</p> - -<p><span class="def">Runner.—</span>The front board used in cutting -edges, &c.</p> -<p><span class="pagenum"><a name="page308" id="page308"></a>[pg 308]</span></p> - -<p><span class="def">Sewer.—</span>The person who sews the sheets together -on the sewing-press—generally a female.</p> - -<p><span class="def">Set-Off.—</span>Designates the transfer of the ink to the -opposite page.</p> - -<p><span class="def">Setting the Head.—</span>Is covering the headband neatly -with the leather, so as to form a kind -of cap.</p> - -<p><span class="def">Shaving-Tub.—</span>The paper cut from the edges of a -volume are called shavings. The receptacle -into which they fall while the forwarder is -cutting the edges is termed the shaving-tub.</p> - -<p><span class="def">Signature.—</span>The letter or figure under the footline -of the first page of each sheet to indicate the -order of arrangement in the volume; sometimes -applied to the sheet itself.</p> - -<p><span class="def">Size.—</span>A preparation used in finishing and gilding, -generally made from vellum.</p> - -<p><span class="def">Slips.—</span>The pieces of twine that project beyond the -volume after it is sewn.</p> - -<p><span class="def">Squares.—</span>The portions of the board that project -over the edges.</p> - -<p><span class="def">Stabbing.—</span>The operation of piercing the boards -with a bodkin for the slips to pass through; -also the piercing of pamphlets for the purpose -of stitching.</p> - -<p><span class="def">Stamps.—</span>The brass tools used in finishing to impress -<span class="pagenum"><a name="page309" id="page309"></a>[pg 309]</span> -a figure upon the leather; they are distinguished -by hand-stamps and stamps for -the press.</p> - -<p><span class="def">Start.—</span>When any of the leaves are not properly -secured in the back, upon opening the -volume they will project beyond the others, -and are said to start.</p> - -<p><span class="def">Steamboating.—</span>Cutting books out of boards, a -number being cut at the same time.</p> - -<p><span class="def">Stitching.—</span>The operation of passing the thread -through a pamphlet for the purpose of securing -the sheets together.</p> - -<p><span class="def">Stops.—</span>Are small circular tools, adapted to stop a -fillet when it intersects at right angles, to -save the time used in mitreing.</p> - -<p><span class="def">Title.—</span>The space between bands, upon which the -lettering is placed.</p> - -<p><span class="def">Tools.—</span>Applied particularly to the hand-stamps -and tools used in finishing.</p> - -<p><span class="def">Trindle.—</span>A strip of thin wood or iron.</p> - -<p><span class="def">Turning Up.—</span>The process of cutting the fore-edges -in such a manner as to throw the -round out of the back until the edge is cut.</p> - -<p><span class="def">Tying Up.—</span>The tying of a volume after the cover -has been drawn on, so as to make the leather -<span class="pagenum"><a name="page310" id="page310"></a>[pg 310]</span> -adhere to the sides of the bands; also for -setting the head.</p> - -<p><span class="def">Whipping.—</span>The process of overseaming plates.</p> - -<p><span class="def">Witness.—</span>When a volume is cut so as to show that -it has not been cut as small as some of the -leaves, their uncut edges prove this, and -are called witness and sometimes proof.</p> - -<p><span class="def">Wrinkle.—</span>The uneven surfaces in a volume, caused -by not being properly pressed or by dampness, -also caused by improper backing.</p> -</div> - -<p><span class="pagenum"><a name="page311" id="page311"></a>[pg 311]</span></p> - -<div class="chapter"> -<h3 class="space-above5">INDEX.</h3></div> - -<hr class="shorter" /> - -<div class="center"> -<p class="center"> -<a href="#A">A</a> | <a href="#B">B</a> | <a href="#C">C</a> | <a href="#D">D</a> | -<a href="#E">E</a> | <a href="#F">F</a> | <a href="#G">G</a> | <a href="#H">H</a> | -<a href="#I">I</a> | <a href="#J">J</a> | <a href="#K">K</a> | <a href="#L">L</a> | -<a href="#M">M</a> | <a href="#N">N</a> | <a href="#O">O</a> | <a href="#P">P</a> | -<a href="#Q">Q</a> | <a href="#R">R</a> | <a href="#S">S</a> | <a href="#T">T</a> | -<a href="#U">U</a> | <a href="#V">V</a> | <a href="#W">W</a> | <a href="#Y">Y</a><br /><br /></p> - -<div class="index"> - -<ul class="none"> - -<li class="top"><a name="A" id="A"></a>Affixing the stamps, <a href="#page279">279</a>, <a href="#page280">280</a>.</li> - -<li>Agatine marble, on leather, <a href="#page249">249</a>.</li> - -<li>Aldine, <a href="#page198">198</a>.</li> - -<li>Aldus, <a href="#page198">198</a>.</li> - -<li>Anonay paper, <a href="#page150">150</a>.</li> - -<li>Antique, <a href="#page231">231</a>. - -<ul class="index1"><li>bands, <a href="#page147">147</a>.</li> - -<li>marble, <a href="#page117">117</a>.</li> - -<li>Dutch, <a href="#page123">123</a>.</li></ul></li> - -<li>Arabesque, <a href="#page210">210</a>.</li> - -<li>Assyrian, <a href="#page179">179</a>.</li> - -<li>Aqua Regia, <a href="#page237">237</a>.</li> - -<li class="top"><a name="B" id="B"></a>Backing-machine,<a href="#page173">173</a>.</li> - -<li>Backs, flexible, <a href="#page54">54</a>, <a href="#page55">55</a>. - -<ul class="index1"><li>India-rubber, <a href="#page58">58</a>.</li></ul></li> - -<li>Backing books, <a href="#page43">43</a>.</li> - -<li>Bands, in finishing, <a href="#page269">269</a>.</li> - -<li>Bands, raised, <a href="#page53">53</a>, <a href="#page54">54</a>. - -<ul class="index1"><li>parchment, <a href="#page57">57</a>.</li></ul></li> - -<li>Baumgarten, <a href="#page20">20</a>.</li> - -<li>Beating, <a href="#page41">41</a>, <a href="#page42">42</a>.</li> - -<li>Beating-hammer, <a href="#page42">42</a>.</li> - -<li>Beckford, <a href="#page206">206</a>.</li> - -<li>Bedford, <a href="#page28">28</a>.</li> - -<li>Benedict, <a href="#page20">20</a>.</li> - -<li>Bible, chained in churches, <a href="#page16">16</a>.</li> - -<li>Bibliographical Decameron, <a href="#page14">14</a>, <a href="#page26">26</a>, <a href="#page135">135</a>.</li> - -<li>Bindings of Corvinus, <a href="#page14">14</a>. - -<ul class="index1"><li>of Henry VII., <a href="#page16">16</a>.</li> - -<li>of Henry VIII., <a href="#page17">17</a>.</li> - -<li>of Elizabeth, <a href="#page17">17</a>.</li> - -<li>of Grolier, <a href="#page17">17</a>.</li> - -<li>of Maioli, <a href="#page18">18</a>.</li> - -<li>of Diana of Poictiers, <a href="#page18">18</a>.</li> - -<li>of Henry II., <a href="#page18">18</a>.</li> - -<li>of De Thou, <a href="#page19">19</a>.</li> - -<li>of the Chevalier D'Eon, <a href="#page19">19</a>.</li> - -<li>of Oxford, <a href="#page20">20</a>.</li> - -<li>of Mackinlay, <a href="#page21">21</a>.</li> - -<li>of Roger Payne, <a href="#page21">21-23</a>.</li> - -<li>of Mackenzie, <a href="#page28">28</a>.</li> - -<li>of Charles Lewis, <a href="#page28">28</a>.</li> - -<li>of Clarke, <a href="#page28">28</a>.</li> - -<li>of Riviere, <a href="#page28">28</a>.</li> - -<li>of Bedford, <a href="#page28">28</a>.</li> - -<li>of Hayday, <a href="#page28">28</a>.</li> - -<li>of Napoleon, <a href="#page30">30</a>.</li> - -<li>of Lortic, <a href="#page31">31</a>.</li> - -<li>of Duru, <a href="#page32">32</a>.</li> - -<li>of Niédré, <a href="#page32">32</a>.</li></ul></li> - -<li>Bindings of Bauzonnet, <a href="#page32">32</a>, <a href="#page142">142</a>.<span class="pagenum"><a name="page312" id="page312"></a>[pg 312]</span></li> - -<li>Black, for marbling, <a href="#page85">85</a>, <a href="#page91">91</a>. - -<ul class="index1"><li>edges, <a href="#page136">136</a>.</li> - -<li>ink, <a href="#page156">156</a>, <a href="#page157">157</a>.</li> - -<li>for blank-work, <a href="#page165">165</a>.</li> - -<li>for marbling leather, <a href="#page241">241</a>.</li> - -<li>for leather, <a href="#page259">259</a>.</li> - -<li>lines, <a href="#page268">268</a>.</li></ul></li> - -<li>Blacking the squares, <a href="#page268">268</a>.</li> - -<li>Blank binding, <a href="#page151">151</a>.</li> - -<li>Bleeding, <a href="#page68">68</a>.</li> - -<li>Blind tooling, <a href="#page230">230</a>.</li> - -<li>Block-finishing, <a href="#page279">279</a>.</li> - -<li>Blue, for edges, <a href="#page78">78</a>. - -<ul class="index1"><li>for marbling, <a href="#page85">85</a>, <a href="#page89">89</a>, <a href="#page90">90</a>, <a href="#page105">105</a>.</li> - -<li>ink, <a href="#page156">156</a>.</li> - -<li>for marbling leather, <a href="#page242">242</a>.</li> - -<li>uniform colour for leather, <a href="#page258">258</a>.</li></ul></li> - -<li>Blue agate marble on leather, <a href="#page249">249</a>. - -<ul class="index1"><li>Stormont marble, <a href="#page105">105</a>.</li></ul></li> - -<li>Boards, mode of making, <a href="#page65">65</a>. - -<ul class="index1"><li>squaring, <a href="#page66">66</a>.</li></ul></li> - -<li>Boarding, blank-work, <a href="#page160">160</a>. - -<ul class="index1"><li>printed work, <a href="#page169">169</a>.</li></ul></li> - -<li>Box marble, on leather, <a href="#page253">253</a>.</li> - -<li>British marble, <a href="#page119">119</a>.</li> - -<li>Brown, for edges, <a href="#page79">79</a>. - -<ul class="index1"><li>for marbling, <a href="#page86">86</a>, <a href="#page91">91</a>.</li> - -<li>for marbling leather, <a href="#page241">241</a>, <a href="#page242">242</a>.</li> - -<li>uniform colour for leather, <a href="#page257">257</a>.</li></ul></li> - -<li>Burnt ochre, <a href="#page88">88</a>.</li> - -<li>Burnishing, <a href="#page126">126</a>, <a href="#page129">129</a>, <a href="#page133">133</a>.</li> - -<li>Byzantine, <a href="#page181">181</a>.</li> - -<li class="top"><a name="C" id="C"></a>Cambridge, <a href="#page208">208</a>. - -<ul class="index1"><li>binding, <a href="#page19">19</a>.</li></ul></li> - -<li>Cancels, <a href="#page40">40</a>.</li> - -<li>Caoutchouc, <a href="#page58">58</a>.</li> - -<li>Capé, <a href="#page31">31</a>, <a href="#page32">32</a>.</li> - -<li>Carved oak boards, description of, <a href="#page12">12</a>, <a href="#page211">211</a>. - -<ul class="index1"><li>precious stones let into, <a href="#page12">12</a>, <a href="#page14">14</a>.</li></ul></li> - -<li>Case-work, stamping, <a href="#page283">283</a>.</li> - -<li>Cedar sprinkle, on leather, <a href="#page253">253</a>.</li> - -<li>Chemical preparations, <a href="#page237">237</a>.</li> - -<li>Chinese blue, <a href="#page89">89</a>.</li> - -<li>Chrome, <a href="#page90">90</a>.</li> - -<li>Clarke, <a href="#page28">28</a>.</li> - -<li>Clasps, <a href="#page167">167</a>.</li> - -<li>Cleanliness, <a href="#page276">276</a>.</li> - -<li>Cloth-work, <a href="#page170">170</a>.</li> - -<li>Collating, <a href="#page39">39</a>. - -<ul class="index1"><li>description of, <a href="#page39">39</a>, <a href="#page40">40</a>.</li></ul></li> - -<li>Coleridge, <a href="#page190">190</a>.</li> - -<li>Colours, for edges, <a href="#page74">74-82</a>. - -<ul class="index1"><li>for marbling, <a href="#page84">84</a>.</li> - -<li>grinding, <a href="#page98">98</a>.</li> - -<li>uniform, for leather, <a href="#page256">256</a>.</li> - -<li>harmony of, <a href="#page272">272</a>.</li></ul></li> - -<li>Colouring, for leather, <a href="#page236">236</a>.</li> - -<li>Comb marble, <a href="#page115">115</a>.</li> - -<li>Combs, for marbling, <a href="#page127">127</a>.</li> - -<li>Corners, <a href="#page167">167</a>.</li> - -<li>Corvinus, library of, <a href="#page14">14</a>.</li> - -<li>Covering, <a href="#page141">141</a>. - -<ul class="index1"><li>blank-work, <a href="#page163">163</a>.</li> - -<li>Cropping, <a href="#page67">67</a>.</li> - -<li>Curl marble, <a href="#page109">109</a>.</li> - -<li>Cutting in boards, <a href="#page72">72</a>.</li> - -<li>Cutting-machines, <a href="#page288">288</a>.</li></ul></li> - -<li class="top"><a name="D" id="D"></a>Dawson, <a href="#page20">20</a>.<span class="pagenum"><a name="page313" id="page313"></a>[pg 313]</span></li> - -<li>Derome, <a href="#page18">18</a>, <a href="#page19">19</a>, <a href="#page67">67</a>.</li> - -<li>De Seuil, <a href="#page18">18</a>, <a href="#page19">19</a>.</li> - -<li>Design, <a href="#page186">186</a>.</li> - -<li>Designing, <a href="#page286">286</a>.</li> - -<li>De Thou, bindings of, <a href="#page19">19</a>.</li> - -<li>Dibdin, his account of the library of Corvinus, <a href="#page14">14</a>. - -<ul class="index1"><li>of Roger Payne, <a href="#page26">26</a>, <a href="#page191">191</a>, <a href="#page195">195</a>.</li></ul></li> - -<li>Diptych, description of, <a href="#page11">11</a>.</li> - -<li>Drag Spanish marble, <a href="#page114">114</a>.</li> - -<li>Drop ivory black, <a href="#page91">91</a>.</li> - -<li>Drop lake, <a href="#page86">86</a>.</li> - -<li>Duru, <a href="#page31">31</a>, <a href="#page32">32</a>.</li> - -<li>Dutch marble, <a href="#page120">120</a>.</li> - -<li>Dutch pink, <a href="#page90">90</a>.</li> - -<li class="top"><a name="E" id="E"></a>Edges, colouring and sprinkling, <a href="#page74">74</a>. - -<ul class="index1"><li>colours for, <a href="#page74">74-79</a>.</li> - -<li>blue, <a href="#page78">78</a>.</li> - -<li>yellow, <a href="#page78">78</a>.</li> - -<li>green, <a href="#page78">78</a>.</li> - -<li>orange, <a href="#page78">78</a>.</li> - -<li>red, <a href="#page78">78</a>.</li> - -<li>purple, <a href="#page79">79</a>.</li> - -<li>brown, <a href="#page79">79</a>.</li> - -<li>black, <a href="#page136">136</a>.</li> - -<li>rice marbled, <a href="#page80">80</a>.</li> - -<li>white spotted, <a href="#page80">80</a>.</li> - -<li>fancy marbled, <a href="#page81">81</a>.</li> - -<li>gold sprinkle, <a href="#page81">81</a>.</li> - -<li>marbled, <a href="#page82">82</a>, <a href="#page125">125</a>.</li> - -<li>burnishing, <a href="#page126">126</a>, <a href="#page129">129</a>.</li> - -<li>gilt, <a href="#page130">130</a>.</li> - -<li>antique, <a href="#page134">134</a>.</li> - -<li>gold upon marble, <a href="#page135">135</a>.</li> - -<li>black, <a href="#page136">136</a>.</li></ul></li> - -<li>Edge-gilding, <a href="#page130">130</a>. - -<ul class="index1"><li>antique, <a href="#page134">134</a>.</li> - -<li>on marble, <a href="#page135">135</a>.</li> - -<li>on landscapes, <a href="#page135">135</a>.</li></ul></li> - -<li>Eighteenmo, <a href="#page36">36</a>.</li> - -<li>Elizabethan, <a href="#page184">184</a>.</li> - -<li>End-papers, <a href="#page59">59</a>, <a href="#page60">60</a>, <a href="#page273">273</a>.</li> - -<li>Etruscan, <a href="#page180">180</a>.</li> - -<li>Eyton, J. W. King, binding belonging to, <a href="#page28">28</a>, <a href="#page29">29</a>.</li> - -<li class="top"><a name="F" id="F"></a>Fair agate marble, on leather, <a href="#page249">249</a>.</li> - -<li>Falkner, <a href="#page28">28</a>.</li> - -<li>Fancy titles, <a href="#page221">221</a>, <a href="#page271">271</a>.</li> - -<li>Fawn, colour for leather, <a href="#page244">244</a>.</li> - -<li>Finishing, blank-work, <a href="#page168">168</a>.</li> - -<li>Finisher's standing press, <a href="#page275">275</a>.</li> - -<li>Flea-seed, <a href="#page94">94</a>.</li> - -<li>Flexible, mode of sewing, <a href="#page53">53</a>. - -<ul class="index1"><li>marking off, <a href="#page54">54</a>, <a href="#page55">55</a>.</li></ul></li> - -<li>Folding, <a href="#page35">35</a>. - -<ul class="index1"><li>blank-work, <a href="#page157">157</a>.</li></ul></li> - -<li>Folio, <a href="#page36">36</a>.</li> - -<li>Font Hill, <a href="#page150">150</a>, <a href="#page205">205</a>.</li> - -<li>Forwarding, job-work, mode of operation, <a href="#page59">59</a><span class="pagenum"><a name="page314" id="page314"></a>[pg 314]</span>. - -<ul class="index1"><li>making end-papers, <a href="#page60">60</a>.</li> - -<li>putting in joints, <a href="#page61">61</a>.</li> - -<li>glueing up, rounding, <a href="#page62">62</a>.</li> - -<li>backing, <a href="#page63">63</a>, <a href="#page64">64</a>.</li> - -<li>cutting, <a href="#page65">65</a>, <a href="#page70">70</a>.</li> - -<li>making boards, <a href="#page65">65</a>.</li> - -<li>squaring, <a href="#page66">66</a>.</li> - -<li>lacing in, <a href="#page68">68</a>.</li> - -<li>pastewashing back, <a href="#page69">69</a>.</li> - -<li>cutting round, <a href="#page71">71</a>.</li> - -<li>turning up, <a href="#page73">73</a>.</li></ul></li> - -<li>Foundation-plate, <a href="#page279">279</a>.</li> - -<li class="top"><a name="G" id="G"></a>Gilding, preparations for, <a href="#page216">216</a>. - -<ul class="index1"><li>the back, <a href="#page217">217</a>.</li> - -<li>the squares, <a href="#page223">223</a>.</li> - -<li>the sides, <a href="#page224">224</a>.</li> - -<li>on silk and velvet, <a href="#page225">225</a>.</li></ul></li> - -<li>Gilt edges, <a href="#page130">130</a>. - -<ul class="index1"><li>upon marbled, <a href="#page135">135</a>.</li></ul></li> - -<li>Glaire, for marbling leather, <a href="#page240">240</a>.</li> - -<li>Gold marble on leather, <a href="#page260">260</a>.</li> - -<li>Gold sprinkle, <a href="#page81">81</a>.</li> - -<li>Gothic, <a href="#page183">183</a>.</li> - -<li>Grafton, the printer, <a href="#page16">16</a>.</li> - -<li>Grained sheep, <a href="#page282">282</a>.</li> - -<li>Graining, <a href="#page231">231</a>.</li> - -<li>Grolier, bindings of, <a href="#page17">17</a>. - -<ul class="index1"><li>style, <a href="#page212">212</a>.</li></ul></li> - -<li>Green, for edges, <a href="#page78">78</a>. - -<ul class="index1"><li>for blank-work, <a href="#page164">164</a>.</li> - -<li>for leather, <a href="#page244">244</a>.</li> - -<li>uniform colour for leather, <a href="#page258">258</a>.</li> - -<li>agate marble on leather, <a href="#page249">249</a>.</li> - -<li>Italian marble, <a href="#page106">106</a>.</li> - -<li>porphyry marble on leather, <a href="#page250">250</a>.</li></ul></li> - -<li>Greek, <a href="#page180">180</a>.</li> - -<li>Gum, <a href="#page92">92</a>. - -<ul class="index1"><li>directions for preparing for marbling, <a href="#page93">93</a>.</li></ul></li> - -<li>Guards, sewing on, <a href="#page53">53</a>, <a href="#page56">56</a>. - -<ul class="index1"><li>mode of mounting, <a href="#page56">56</a>.</li></ul></li> - -<li>Gum-sandarac, <a href="#page226">226</a>.</li> - -<li class="top"><a name="H" id="H"></a>Harleian, <a href="#page202">202</a>.</li> - -<li>Harmony of colours, <a href="#page272">272</a>.</li> - -<li>Half-binding, <a href="#page149">149</a>.</li> - -<li>Hayday, <a href="#page28">28</a>, <a href="#page29">29</a>, <a href="#page232">232</a>.</li> - -<li>Headbands, <a href="#page137">137</a>. - -<ul class="index1"><li>single, <a href="#page138">138</a>.</li> - -<li>double, <a href="#page140">140</a>.</li> - -<li>gold and silver, <a href="#page140">140</a>.</li> - -<li>ribbon, <a href="#page141">141</a>.</li></ul></li> - -<li>Heat, degree required for stamping, <a href="#page282">282</a>.</li> - -<li>Hints to book-collectors, <a href="#page292">292</a>.</li> - -<li>Henry VII., time of, <a href="#page16">16</a>. - -<ul class="index1"><li>VIII., bindings of, <a href="#page17">17</a>.</li></ul></li> - -<li>Hering, <a href="#page28">28</a>.</li> - -<li>Holbein, <a href="#page213">213</a>.</li> - -<li>Hydraulic press, <a href="#page45">45</a>.</li> - -<li class="top"><a name="I" id="I"></a>Illuminated binding, <a href="#page227">227</a>.</li> - -<li>Imperfections in old books, <a href="#page290">290</a>.</li> - -<li>Indigo, <a href="#page89">89</a>.</li> - -<li>Inlaid work, <a href="#page229">229</a>. - -<ul class="index1"><li>ornaments, <a href="#page270">270</a>.</li></ul></li> - -<li>Irish moss, <a href="#page94">94</a>.</li> - -<li>Italian marble, <a href="#page106">106</a>.</li> - -<li class="top"><a name="J" id="J"></a>Janseniste, <a href="#page208">208</a>.</li> - -<li>Joint, mode of forming, <a href="#page63">63</a>.</li> - -<li>Joints, inside, <a href="#page273">273</a>.</li> - -<li class="top"><a name="K" id="K"></a>Kalthœber, <a href="#page20">20</a>.</li> - -<li>Kettle-stitch, <a href="#page51">51</a>, <a href="#page53">53</a>, <a href="#page55">55</a>.</li> - -<li>Keys for securing bands on sewing-bench, <a href="#page49">49</a><span class="pagenum"><a name="page315" id="page315"></a>[pg 315]</span>. - -<ul class="index1"><li>detaching, <a href="#page57">57</a>.</li></ul></li> - -<li class="top"><a name="L" id="L"></a>Lacing in, <a href="#page68">68</a>.</li> - -<li>Landscapes on sides, <a href="#page263">263</a>. - -<ul class="index1"><li>transferred, <a href="#page264">264</a>.</li></ul></li> - -<li>Lapis Lazuli marble on leather, <a href="#page261">261</a>.</li> - -<li>Lay on, <a href="#page218">218</a>.</li> - -<li>Leland's Itinerary, <a href="#page14">14</a>.<br /></li> - -<li class="space-below">Lettering-press, <a href="#page283">283</a>.</li> - -<li>Levant marble on leather, <a href="#page249">249</a>.</li> - -<li>Levant morocco, <a href="#page31">31</a>, <a href="#page142">142</a>.</li> - -<li>Lewis, Charles, <a href="#page28">28</a>.</li> - -<li>Light Italian marble, <a href="#page106">106</a>.</li> - -<li>Lilac, for leather, <a href="#page243">243</a>.</li> - -<li>Lining-papers, mode of making, <a href="#page60">60</a>.</li> - -<li>Linseed, <a href="#page94">94</a>.</li> - -<li>Lortic, <a href="#page31">31</a>, <a href="#page32">32</a>.</li> - -<li>Louis Quatorze, <a href="#page184">184</a>.</li> - -<li class="top"><a name="M" id="M"></a>Mackenzie, <a href="#page28">28</a>.</li> - -<li>Mackinlay, John, <a href="#page20">20</a>. - -<ul class="index1"><li>bindings of, <a href="#page21">21</a>.</li></ul></li> - -<li>Mahogany sprinkle on leather, <a href="#page253">253</a>.</li> - -<li>Maioli, <a href="#page18">18</a>.</li> - -<li>Malacca tin, <a href="#page238">238</a>.</li> - -<li>Marbling on leather, <a href="#page246">246-254</a>. - -<ul class="index1"><li>on paper sides, <a href="#page254">254</a>.</li></ul></li> - -<li>Marbling-water for leather, <a href="#page240">240</a>.</li> - -<li>Marbled cloth, <a href="#page128">128</a>.</li> - -<li>Marbled edges, <a href="#page125">125</a>. - -<ul class="index1"><li>gilt upon, <a href="#page135">135</a>.</li></ul></li> - -<li>Making cases, <a href="#page174">174</a>.</li> - -<li>Missals, antiquity of, <a href="#page10">10</a>.</li> - -<li>Mitreing, <a href="#page219">219</a>.</li> - -<li>Modernized monastic, <a href="#page231">231</a>.</li> - -<li>Montague, <a href="#page201">201</a>.</li> - -<li>Moorish, <a href="#page182">182</a>.</li> - -<li class="top"><a name="N" id="N"></a>Niédré, <a href="#page31">31</a>, <a href="#page32">32</a>.</li> - -<li>Nonpareil, <a href="#page115">115</a>. - -<ul class="index1"><li>raked, <a href="#page116">116</a>.</li> - -<li>reversed, <a href="#page116">116</a>.</li></ul></li> - -<li>Numerical proportions of colours, <a href="#page272">272</a>.</li> - -<li>Nutmeg sprinkle on leather, <a href="#page255">255</a>.</li> - -<li class="top"><a name="O" id="O"></a>Oak boards, <a href="#page15">15</a>, <a href="#page211">211</a>.</li> - -<li>Octavo, <a href="#page36">36</a>.</li> - -<li>Old bindings, <a href="#page289">289</a>.</li> - -<li>Olive, for leather, <a href="#page258">258</a>.</li> - -<li>Orange, for edges, <a href="#page78">78</a>. - -<ul class="index1"><li>for marbling, <a href="#page86">86</a>, <a href="#page91">91</a>.</li> - -<li>for leather, <a href="#page244">244</a>.</li></ul></li> - -<li>Orange lead, <a href="#page91">91</a>.</li> - -<li>Ornamental art, <a href="#page178">178</a>.</li> - -<li>Oxford, bindings of, <a href="#page20">20</a>.</li> - -<li>Oxford ochre, <a href="#page88">88</a>.</li> - -<li>Ox-gall, <a href="#page96">96</a>.</li> - -<li class="top"><a name="P" id="P"></a>Padeloup, <a href="#page18">18</a>.</li> - -<li>Paging-machine, <a href="#page154">154</a>.</li> - -<li>Paper and book trimmer, <a href="#page288">288</a>.</li> - -<li>Paring-knife, <a href="#page149">149</a>.</li> - -<li>Pasting down, <a href="#page273">273</a>.</li> - -<li>Payne, Roger, history of, <a href="#page21">21</a>. - -<ul class="index1"><li>his bindings, <a href="#page23">23</a>.</li> - -<li>bill of, <a href="#page25">25</a>.<span class="pagenum"><a name="page316" id="page316"></a>[pg 316]</span></li> - -<li>his favourite colour, <a href="#page26">26</a>.</li></ul></li> - -<li>Pearl-gray for leather, <a href="#page258">258</a>.</li> - -<li>Petit, Bernard, bindings designed by, <a href="#page18">18</a>.</li> - -<li>Phillatius the Athenian, <a href="#page9">9</a>.</li> - -<li>Pictures on calf, <a href="#page266">266</a>.</li> - -<li>Pickering, <a href="#page200">200</a>.</li> - -<li>Plates, mode of sewing, <a href="#page53">53</a>.</li> - -<li>Polishing, <a href="#page234">234</a>.</li> - -<li>Porphyry marble on leather, <a href="#page251">251</a>.</li> - -<li>Porphyry vein marble on leather, <a href="#page251">251</a>.</li> - -<li>Preparations for marbling, <a href="#page96">96</a>. - -<ul class="index1"><li>chemical, <a href="#page237">237</a>.</li> - -<li>for stamping, <a href="#page281">281</a>.</li> - -<li>for gilding, <a href="#page216">216</a>.</li> - -<li>for marbling leather, <a href="#page240">240</a>.</li></ul></li> - -<li>Press-work, <a href="#page279">279</a>.</li> - -<li>Primary colours, <a href="#page272">272</a>.</li> - -<li>Prints on calf, <a href="#page266">266</a>.</li> - -<li>Progress of the art, <a href="#page10">10</a>, <a href="#page33">33</a>.</li> - -<li>Prussian blue, <a href="#page90">90</a>.</li> - -<li>Purple, for edges, <a href="#page79">79</a>. - -<ul class="index1"><li>for blank-work, <a href="#page165">165</a>.</li> - -<li>for leather, <a href="#page243">243</a>.</li> - -<li>marble on leather, <a href="#page248">248</a>.</li></ul></li> - -<li class="top"><a name="Q" id="Q"></a>Quarto, <a href="#page36">36</a>.</li> - -<li class="top"><a name="R" id="R"></a>Raw ochre, <a href="#page90">90</a>.</li> - -<li>Red, for edges, <a href="#page78">78</a>. - -<ul class="index1"><li>for marbling, <a href="#page85">85-88</a>.</li> - -<li>ink, <a href="#page156">156</a>.</li> - -<li>for blank-work, <a href="#page164">164</a>.</li> - -<li>for leather, <a href="#page245">245</a>.</li></ul></li> - -<li>Red porphyry marble on leather, <a href="#page250">250</a>.</li> - -<li>Register, <a href="#page137">137</a>.</li> - -<li>Renaissance, <a href="#page183">183</a>.</li> - -<li>Restoring old bindings, <a href="#page289">289</a>.</li> - -<li>Revival, <a href="#page183">183</a>.</li> - -<li>Rock marble on leather, <a href="#page252">252</a>.</li> - -<li>Rolling-machine, substitute for beating; mode of operation;</li> -<li class="isub5">advantages and disadvantages of, <a href="#page43">43</a>, <a href="#page44">44</a>.</li> - -<li>Roman, <a href="#page181">181</a>.</li> - -<li>Rose-pink, <a href="#page87">87</a>.</li> - -<li>Rounding, <a href="#page62">62</a>.</li> - -<li>Rice marble, <a href="#page80">80</a>.</li> - -<li>Ring sprinkle on leather, <a href="#page255">255</a>.</li> - -<li>Riviere, <a href="#page28">28</a>.</li> - -<li>Ruling, <a href="#page152">152</a>.</li> - -<li>Run up, <a href="#page220">220</a>.</li> - -<li>Russian bands, <a href="#page165">165</a>.</li> - -<li class="top"><a name="S" id="S"></a>Sawing, <a href="#page48">48</a>, <a href="#page49">49</a>.</li> - -<li>Sawing-machine, <a href="#page171">171</a>.</li> - -<li>Scraping, <a href="#page132">132</a>.</li> - -<li>Secondary colours, <a href="#page272">272</a>.</li> - -<li>Setting the head, <a href="#page145">145</a>. - -<ul class="index1"><li>the stamp, <a href="#page281">281</a>.</li></ul></li> - -<li>Set off, <a href="#page42">42</a>, <a href="#page43">43</a>.</li> - -<li>Sewing, process of, <a href="#page49">49</a>, <a href="#page50">50</a>. - -<ul class="index1"><li>two sheets on, <a href="#page50">50</a>.</li> - -<li>all along; quartos; plates or maps, <a href="#page52">52</a>.</li> - -<li>whipping, sewing on guards, <a href="#page53">53</a>.</li> - -<li>on raised bands; pure flexible, <a href="#page54">54</a>, <a href="#page55">55</a>, <a href="#page56">56</a>.</li> - -<li>blank-work, <a href="#page159">159</a>.</li></ul></li> - -<li>Sewing-bench, <a href="#page49">49</a>, <a href="#page50">50</a>.<span class="pagenum"><a name="page317" id="page317"></a>[pg 317]</span></li> - -<li>Shell marble, <a href="#page100">100</a>, <a href="#page103">103</a>, <a href="#page104">104</a>.</li> - -<li>Sheriffs of Shropshire, <a href="#page28">28</a>.</li> - -<li>Sheet-work, <a href="#page35">35</a>.</li> - -<li>Silk lining, <a href="#page274">274</a>.</li> - -<li>Sixteenmo, <a href="#page36">36</a>.</li> - -<li>Sizing the paper, <a href="#page127">127</a>.</li> - -<li>Slate, uniform colour for leather, <a href="#page259">259</a>.</li> - -<li>Smasher, substitute for beating, <a href="#page44">44</a>. - -<ul class="index1"><li>mode of operation; amount of pressure; advantage of, <a href="#page45">45</a>.</li></ul></li> - -<li>Spanish marble, <a href="#page110">110</a>. - -<ul class="index1"><li>olive, <a href="#page111">111</a>.</li> - -<li>blue, <a href="#page112">112</a>.</li> - -<li>brown, <a href="#page112">112</a>.</li> - -<li>fancy, <a href="#page113">113</a>.</li> - -<li>drag, <a href="#page114">114</a>.</li></ul></li> - -<li>Spring-back, blank-work, <a href="#page161">161</a>.</li> - -<li>Sprinkles, <a href="#page255">255</a>, <a href="#page256">256</a>.</li> - -<li>Sprinkling, mode of, <a href="#page75">75</a>, <a href="#page76">76</a>. - -<ul class="index1"><li>colours for, <a href="#page74">74</a>.</li> - -<li>rice-marble, <a href="#page80">80</a>.</li> - -<li>white spot, <a href="#page80">80</a>.</li> - -<li>gold sprinkle, <a href="#page81">81</a>.</li></ul></li> - -<li>Staggemier, <a href="#page20">20</a>.</li> - -<li>Stamping, <a href="#page279">279</a>.</li> - -<li>Steamboating, <a href="#page172">172</a>.</li> - -<li>Stabbing, <a href="#page68">68</a>.</li> - -<li>Steel gouges, <a href="#page271">271</a>.</li> - -<li>Stone marble, on leather, <a href="#page248">248</a>.</li> - -<li>Sunk boards, <a href="#page285">285</a>.</li> - -<li>Supplying imperfections in old books, <a href="#page290">290</a>.</li> - -<li class="top"><a name="T" id="T"></a>Table-shears, <a href="#page177">177</a>.</li> - -<li>Taste, <a href="#page186">186</a>.</li> - -<li>Technical terms, <a href="#page297">297-310</a>.</li> - -<li>Tertiary colours, <a href="#page272">272</a>.</li> - -<li>Thirty-twomo, <a href="#page36">36</a>.</li> - -<li>Thouvenin, bindings of, <a href="#page30">30</a>.</li> - -<li>Titles, <a href="#page269">269</a>. - -<ul class="index1"><li>fancy, <a href="#page271">271</a>.</li></ul></li> - -<li>Tortoise-shell sprinkle on leather, <a href="#page256">256</a>.</li> - -<li>To dissolve gold, <a href="#page237">237</a>.</li> - -<li>Transfers, <a href="#page264">264</a>, <a href="#page266">266</a>.</li> - -<li>Transferring designs, <a href="#page286">286</a>.</li> - -<li>Translation of dates, <a href="#page289">289</a>.</li> - -<li>Trautz et Bauzonnet, <a href="#page31">31</a>, <a href="#page32">32</a>, <a href="#page142">142</a>.</li> - -<li>Tree-marbled calf, <a href="#page28">28</a>, <a href="#page252">252</a>.</li> - -<li>Troughs for marbling, <a href="#page100">100</a>.</li> - -<li>Turning up, <a href="#page73">73</a>.</li> - -<li>Twelvemo, <a href="#page36">36</a>, <a href="#page37">37</a>.</li> - -<li>Twenty-fourmo, <a href="#page36">36</a>.</li> - -<li>Tying up, <a href="#page146">146</a>.</li> - -<li class="top"><a name="U" id="U"></a>Ultramarine, <a href="#page89">89</a>.</li> - -<li>Umber, <a href="#page91">91</a>.</li> - -<li>Uncut books, <a href="#page151">151</a>.</li> - -<li>Uniform colours on leather, <a href="#page256">256-259</a>.</li> - -<li class="top"><a name="V" id="V"></a>Variegated marble, on leather, <a href="#page254">254</a>.</li> - -<li>Varnish, <a href="#page277">277</a>.</li> - -<li>Vegetable black, <a href="#page91">91</a>.</li> - -<li>Vermilion, <a href="#page87">87</a>.</li> - -<li>Violet for leather, <a href="#page243">243</a>.</li> - -<li>Vitriol-water for marbling leather, <a href="#page240">240</a>.</li> - -<li class="top"><a name="W" id="W"></a>Wainscot sprinkle on leather, <a href="#page254">254</a>.<span class="pagenum"><a name="page318" id="page318"></a>[pg 318]</span></li> - -<li>Walnut sprinkle on leather, <a href="#page253">253</a>.</li> - -<li>Walther, <a href="#page28">28</a>.</li> - -<li>Water for marbling, <a href="#page96">96</a>.</li> - -<li>Wave-marble, <a href="#page118">118</a>.</li> - -<li>Wax for marbling, <a href="#page99">99</a>.</li> - -<li>West-End marble, <a href="#page107">107</a>, <a href="#page108">108</a>.</li> - -<li>Whipping, <a href="#page53">53</a>.</li> - -<li>White for marbling, <a href="#page86">86</a>, <a href="#page91">91</a>.</li> - -<li>White-spotted edges, <a href="#page80">80</a>.</li> - -<li>Wood-lake, <a href="#page88">88</a>.</li> - -<li class="top"><a name="Y" id="Y"></a>Yellow for edges, <a href="#page78">78</a>. - -<ul class="index1"><li>for marbling, <a href="#page85">85</a>.</li> - -<li>for blank-work, <a href="#page165">165</a>.</li> - -<li>for leather, <a href="#page244">244</a>.</li></ul></li> -</ul> -</div></div> - -<p class="center space-above5 space-below5">THE END.</p> - -<hr class="short" /> - -<p class="center1s">STEREOTYPED BY L. JOHNSON AND CO.<br /> -PHILADELPHIA.</p> - -<hr /> - -<p><span class="pagenum"><a name="catpage1" id="catpage1"></a>[pg 1]</span></p> - -<h2><span class="cat spaced1">CATALOGUE</span><br /><br class="b40" /> -<span class="smaller">OF</span><br /><br class="b40" /> -<span class="center3 spaced1m">PRACTICAL AND SCIENTIFIC BOOKS,</span><br /><br class="b40" /> -<span class="pub smaller spaced1">PUBLISHED BY</span><br /><br class="b40" /> -<span class="less">HENRY CAREY BAIRD & CO.,</span><br /><br class="b40" /> -<span class="less3">Industrial Publishers and Booksellers,</span><br /><br class="b40" /> -<span class="less2 spaced1 wsp">NO. 810 WALNUT STREET,</span><br /><br class="b40" /> -<span class="small pub spaced1">PHILADELPHIA.</span></h2> - -<div class="container"><div class="encl"> - -<div class="figcenter"><img src="images/fancy-rule-200.png" width="200" height="8" alt="fancy-rule" /></div> - -<p class="center less"><img src="images/finger.png" width="32" height="14" alt="finger pointing" />Any of the Books -comprised in this Catalogue will be sent by mail, free of -postage, at the publication price.</p> -<p class="center less"><img src="images/finger.png" width="32" height="14" alt="finger pointing" />A Descriptive Catalogue, -96 pages, 8vo., will be sent, free of postage, to any one who will furnish the publisher with his address.</p> -<div class="figcenter"><img src="images/fancy-rule-200.png" width="200" height="8" alt="fancy-rule" /></div> - -</div><div class="catalogue"> - -<p class="heading">ARLOT.—A Complete Guide for Coach Painters.</p> - -<p class="ind less"> -Translated from the French of <span class="sc">M. Arlot</span>, Coach Painter; for eleven -years Foreman of Painting to M. Eherler, Coach Maker, Paris. By -<span class="sc">A. A. Fesquet</span>, Chemist and Engineer. To which is added an Appendix, -containing Information respecting the Materials and the -Practice of Coach and Car Painting and Varnishing in the United -States and Great Britain. 12mo. <span class="price">$1.25</span></p> - -<p class="head1"><span class="outdent">ARMENGAUD, AMOROUX, and JOHNSON.—</span>The -Practical Draughtsman's Book of Industrial Design, -and Machinist's and Engineer's Drawing -Companion:</p> - -<p class="ind less">Forming a Complete Course of Mechanical Engineering and Architectural -Drawing. From the French of M. Armengaud the elder, Prof. -of Design in the Conservatoire of Arts and Industry, Paris, and MM. -Armengaud the younger, and Amoroux, Civil Engineers. Rewritten -and arranged with additional matter and plates, selections from and -examples of the most useful and generally employed mechanism of -the day. By <span class="sc">William Johnson</span>, Assoc. Inst. C. E., Editor of "The -Practical Mechanic's Journal." Illustrated by 50 folio steel plates, -and 50 wood-cuts. A new edition, 4to. <span class="price">$10.00</span> -</p> -<p><span class="pagenum"><a name="catpage2" id="catpage2"></a>[pg 2]</span></p> - -<p class="heading">ARROWSMITH.—Paper-Hanger's Companion:</p> - -<p class="ind less"> -A Treatise in which the Practical Operations of the Trade are Systematically -laid down: with Copious Directions Preparatory to Papering; -Preventives against the Effect of Damp on Walls; the Various -Cements and Pastes Adapted to the Several Purposes of the Trade; -Observations and Directions for the Panelling and Ornamenting of -Rooms, etc. By <span class="sc">James Arrowsmith</span>, Author of "Analysis of Drapery," -etc. 12mo., cloth. <span class="price">$1.25</span></p> - -<p class="head1"><span class="outdent"> -ASHTON.—</span>The Theory and Practice of the Art of Designing -Fancy Cotton and Woollen Cloths from -Sample:</p> - -<p class="ind less"> -Giving full Instructions for Reducing Drafts, as well as the Methods -of Spooling and Making out Harness for Cross Drafts, and Finding -any Required Reed, with Calculations and Tables of Yarn. By -<span class="sc">Frederick T. Ashton</span>, Designer, West Pittsfield, Mass. With 52 -Illustrations. One volume, 4to. <span class="price">$10.00</span></p> - -<p class="head1"><span class="outdent"> -BAIRD.—</span>Letters on the Crisis, the Currency and the -Credit System.</p> - -<p class="ind less"> -By <span class="sc">Henry Carey Baird</span>. Pamphlet. <span class="price">05</span></p> - -<p class="head1"><span class="outdent"> -BAIRD.—</span>Protection of Home Labor and Home Productions -necessary to the Prosperity of the American -Farmer.</p> - -<p class="ind less"> -By <span class="sc">Henry Carey Baird</span>. 8vo., paper. <span class="price">10</span></p> - -<p class="head1"><span class="outdent"> -BAIRD.—</span>Some of the Fallacies of British Free-Trade -Revenue Reform.</p> - -<p class="ind less"> -Two Letters to Arthur Latham Perry, Professor of History and Political -Economy in Williams College. By <span class="sc">Henry Carey Baird</span>. -Pamphlet. <span class="price">05</span></p> - -<p class="head1"><span class="outdent"> -BAIRD.—</span>The Rights of American Producers, and the -Wrongs of British Free-Trade Revenue Reform.</p> - -<p class="ind less"> -By <span class="sc">Henry Carey Baird</span>. Pamphlet. <span class="price">05</span></p> - -<p class="heading">BAIRD.—Standard Wages Computing Tables:</p> - -<p class="ind less"> -An Improvement in all former Methods of Computation, so arranged -that wages for days, hours, or fractions of hours, at a specified rate per -day or hour, may be ascertained at a glance. By <span class="sc">T. Spangler Baird</span>. -Oblong folio. <span class="price">$5.00</span></p> - -<p class="head1"><span class="outdent"> -BAIRD.—</span>The American Cotton Spinner, and Manager's -and Carder's Guide:</p> - -<p class="ind less"> -A Practical Treatise on Cotton Spinning; giving the Dimensions and -Speed of Machinery, Draught and Twist Calculations, etc.; with -notices of recent Improvements: together with Rules and Examples -for making changes in the sizes and numbers of Roving and Yarn. -Compiled from the papers of the late <span class="sc">Robert H. Baird</span>. 12mo. <span class="price">$1.50</span></p> - -<p><span class="pagenum"><a name="catpage3" id="catpage3"></a>[pg 3]</span></p> - -<p class="heading">BAKER.—Long-Span Railway Bridges:</p> - -<p class="ind less"> -Comprising Investigations of the Comparative Theoretical and Practical -Advantages of the various Adopted or Proposed Type Systems -of Construction; with numerous Formulæ and Tables. <br />By <span class="sc">B. Baker</span>. -12mo. <span class="price">$2.00</span></p> - -<p class="heading">BAUERMAN.—A Treatise on the Metallurgy of Iron:</p> - -<p class="ind less"> -Containing Outlines of the History of Iron Manufacture, Methods of -Assay, and Analysis of Iron Ores, Processes of Manufacture of Iron -and Steel, etc., etc. By <span class="sc">H. Bauerman</span>, F. G. S., Associate of the -Royal School of Mines. First American Edition, Revised and Enlarged. -With an Appendix on the Martin Process for Making Steel, -from the Report of <span class="sc">Abram S. Hewitt</span>, U. S. Commissioner to the -Universal Exposition at Paris, 1867. Illustrated. 12mo. <span class="price">$2.00</span></p> - -<p class="head1"><span class="outdent"> -BEANS.—</span>A Treatise on Railway Curves and the Location -of Railways.</p> - -<p class="ind less"> -By <span class="sc">E. W. Beans</span>, C. E. Illustrated. 12mo. Tucks. <span class="price">$1.50</span></p> - -<p class="heading">BELL.—Carpentry Made Easy:</p> - -<p class="ind less"> -Or, The Science and Art of Framing on a New and Improved System. -With Specific Instructions for Building Balloon Frames, Barn Frames, -Mill Frames, Warehouses, Church Spires, etc. Comprising also a -System of Bridge Building, with Bills, Estimates of Cost, and valuable -Tables. Illustrated by 38 plates, comprising nearly 200 figures. By -<span class="sc">William E. Bell</span>, Architect and Practical Builder. 8vo. <span class="price">$5.00</span></p> - -<p class="heading">BELL.—Chemical Phenomena of Iron Smelting:</p> - -<p class="ind less"> -An Experimental and Practical Examination of the Circumstances -which determine the Capacity of the Blast Furnace, the Temperature -of the Air, and the proper Condition of the Materials to be operated -upon. By <span class="sc">I. Lowthian Bell</span>. Illustrated. 8vo. <span class="price">$6.00</span></p> - -<p class="heading">BEMROSE.—Manual of Wood Carving:</p> - -<p class="ind less"> -With Practical Illustrations for Learners of the Art, and Original and -Selected Designs. By <span class="sc">William Bemrose</span>, Jr. With an Introduction -by <span class="sc">Llewellyn Jewitt</span>, F. S. A., etc.<br /> -With 128 Illustrations. 4to., -cloth. <span class="price">$3.00</span></p> - -<p class="heading">BICKNELL.—Village Builder, and Supplement:</p> - -<p class="ind less"> -Elevations and Plans for Cottages, Villas, Suburban Residences, -Farm Houses, Stables and Carriage Houses, Store Fronts, School -Houses, Churches, Court Houses, and a model Jail; also, Exterior and -Interior details for Public and Private Buildings, with approved -Forms of Contracts and Specifications, including Prices of Building -Materials and Labor at Boston, Mass., and St. Louis, Mo. Containing -75 plates drawn to scale; showing the style and cost of building in -different sections of the country, being an original work comprising -the designs of twenty leading architects, representing the New England, -Middle, Western, and Southwestern States. 4to. <span class="price">$12.00</span></p> - -<p><span class="pagenum"><a name="catpage4" id="catpage4"></a>[pg 4]</span></p> - -<p class="head1"><span class="outdent"> -BLENKARN.—</span>Practical Specifications of Works executed -in Architecture, Civil and Mechanical Engineering, -and in Road Making and Sewering:</p> - -<p class="ind less"> -To which are added a series of practically useful Agreements and Reports. -By <span class="sc">John Blenkarn</span>. Illustrated by 15 large folding plates. -8vo. <span class="price">$9.00</span></p> - -<p class="head1"><span class="outdent"> -BLINN.—</span>A Practical Workshop Companion for Tin, -Sheet-Iron, and Copperplate Workers:</p> - -<p class="ind less"> -Containing Rules for describing various kinds of Patterns used by -Tin, Sheet-Iron, and Copper-plate Workers; Practical Geometry; -Mensuration of Surfaces and Solids; Tables of the Weights of Metals, -Lead Pipe, etc.; Tables of Areas and Circumferences of Circles; -Japan, Varnishes, Lackers, Cements, Compositions, etc., etc. By -<span class="sc">Leroy J. Blinn</span>, Master Mechanic. With over 100 Illustrations. -12mo. <span class="price">$2.50</span></p> - -<p class="heading">BOOTH.—Marble Worker's Manual:</p> - -<p class="ind less"> -Containing Practical Information respecting Marbles in general, their -Cutting, Working, and Polishing; Veneering of Marble; Mosaics; -Composition and Use of Artificial Marble, Stuccos, Cements, Receipts, -Secrets, etc., etc. Translated from the French by <span class="sc">M. L. Booth</span>. -With an Appendix concerning American Marbles. 12mo., cloth<span class="price">$1.50</span></p> - -<p class="head1"><span class="outdent"> -BOOTH AND MORFIT.—</span>The Encyclopedia of Chemistry, -Practical and Theoretical:</p> - -<p class="ind less"> -Embracing its application to the Arts, Metallurgy, Mineralogy, Geology, -Medicine, and Pharmacy. By <span class="sc">James C. Booth</span>, Melter and -Refiner in the United States Mint, Professor of Applied Chemistry in -the Franklin Institute, etc., assisted by <span class="sc">Campbell Morfit</span>, author -of "Chemical Manipulations," etc. Seventh edition. Royal 8vo., -978 pages, with numerous wood-cuts and other illustrations. <span class="price">$5.00</span></p> - -<p class="heading">BOX.—A Practical Treatise on Heat:</p> - -<p class="ind less"> -As applied to the Useful Arts; for the Use of Engineers, Architects, -etc. By <span class="sc">Thomas Box</span>, author of "Practical Hydraulics." Illustrated -by 14 plates containing 114 figures. 12mo<span class="price">$4.25</span></p> - -<p class="heading">BOX.—Practical Hydraulics:</p> - -<p class="ind less"> -A Series of Rules and Tables for the use of Engineers, etc. By -<span class="sc">Thomas Box</span>. 12mo. <span class="price">$2.50</span></p> - -<p class="head1"><span class="outdent"> -BROWN.—</span>Five Hundred and Seven Mechanical -Movements:</p> - -<p class="ind less"> -Embracing all those which are most important in Dynamics, Hydraulics, -Hydrostatics, Pneumatics, Steam Engines, Mill and other Gearing, -Presses, Horology, and Miscellaneous Machinery; and including -many movements never before published, and several of which have -only recently come into use. By <span class="sc">Henry T. Brown</span>, Editor of the -"American Artisan." In one volume, 12mo. <span class="price">$1.00</span></p> - -<p><span class="pagenum"><a name="catpage5" id="catpage5"></a>[pg 5]</span></p> - -<p class="heading">BUCKMASTER.—The Elements of Mechanical Physics:</p> - -<p class="ind less"> -By <span class="sc">J. C. Buckmaster</span>, late Student in the Government School of -Mines; Certified Teacher of Science by the Department of Science -and Art; Examiner in Chemistry and Physics in the Royal College -of Preceptors; and late Lecturer in Chemistry and Physics of the -Royal Polytechnic Institute. Illustrated with numerous engravings. -In one volume, 12mo. <span class="price">$1.50</span></p> - -<p class="heading">BULLOCK.—The American Cottage Builder:</p> - -<p class="ind less"> -A Series of Designs, Plans, and Specifications, from $200 to $20,000, -for Homes for the People; together with Warming, Ventilation, -Drainage, Painting, and Landscape Gardening. By <span class="sc">John Bullock</span>, -Architect, Civil Engineer, Mechanician, and Editor of "The Rudiments -of Architecture and Building," etc., etc. Illustrated by 75 engravings.<br /> -In one volume, 8vo. <span class="price">$3.50</span></p> - -<p class="head1"><span class="outdent"> -BULLOCK.—</span>The Rudiments of Architecture and -Building:</p> - -<p class="ind less"> -For the use of Architects, Builders, Draughtsmen, Machinists, Engineers, -and Mechanics. Edited by <span class="sc">John Bullock</span>, author of "The -American Cottage Builder." Illustrated by 250 engravings.<br /> -In one volume, 8vo. <span class="price">$3.50</span></p> - -<p class="head1"><span class="outdent"> -BURGH.—</span>Practical Illustrations of Land and Marine -Engines:</p> - -<p class="ind less"> -Showing in detail the Modern Improvements of High and Low Pressure, -Surface Condensation, and Super-heating, together with Land -and Marine Boilers. By <span class="sc">N. P. Burgh</span>, Engineer. Illustrated by -20 plates, double elephant folio, with text. <span class="price">$21.00</span></p> - -<p class="head1"><span class="outdent"> -BURGH.—</span>Practical Rules for the Proportions of Modern -Engines and Boilers for Land and Marine -Purposes.</p> - -<p class="ind less"> -By <span class="sc">N. P. Burgh</span>, Engineer. 12mo. <span class="price">$1.50</span></p> - -<p class="heading">BURGH.—The Slide-Valve Practically Considered.</p> - -<p class="ind less"> -By <span class="sc">N. P. Burgh</span>, Engineer. Completely illustrated. 12mo. <span class="price">$2.00</span></p> - -<p class="head1"><span class="outdent"> -BYLES.—</span>Sophisms of Free Trade and Popular Political -Economy Examined.</p> - -<p class="ind less"> -By a <span class="sc">Barrister</span> (Sir <span class="sc">John Barnard Byles</span>, Judge of Common -Pleas). First American from the Ninth English Edition, as published -by the Manchester Reciprocity Association.<br /> -In one volume, 12mo. -Paper, <span class="price">75 cts.</span><br /> Cloth. <span class="price">$1.25</span></p> - -<p class="heading">BYRN.—The Complete Practical Brewer:</p> - -<p class="ind less"> -Or Plain, Accurate, and Thorough Instructions in the Art of Brewing -Beer, Ale, Porter, including the Process of making Bavarian Beer, -all the Small Beers, such as Root-beer, Ginger-pop, Sarsaparilla-beer, -Mead, Spruce Beer, etc., etc. Adapted to the use of Public -Brewers and Private Families. By <span class="sc">M. La Fayette Byrn</span>, M. D.<br /> -With illustrations. 12mo. <span class="price">$1.25</span></p> - -<p><span class="pagenum"><a name="catpage6" id="catpage6"></a>[pg 6]</span></p> - -<p class="heading">BYRN.—The Complete Practical Distiller:</p> - -<p class="ind less"> -Comprising the most perfect and exact Theoretical and Practical Description -of the Art of Distillation and Rectification; including all of -the most recent improvements in distilling apparatus; instructions -for preparing spirits from the numerous vegetables, fruits, etc.; directions -for the distillation and preparation of all kinds of brandies and -other spirits, spirituous and other compounds, etc., etc. By <span class="sc">M. La -Fayette Byrn</span>, M. D. Eighth Edition. To which are added, Practical -Directions for Distilling, from the French of Th. Fling, Brewer -and Distiller.<br /> -12mo. <span class="price">$1.50</span></p> - -<p class="head1"><span class="outdent"> -BYRNE.—</span>Handbook for the Artisan, Mechanic, and -Engineer:</p> - -<p class="ind less"> -Comprising the Grinding and Sharpening of Cutting Tools, Abrasive -Processes, Lapidary Work, Gem and Glass Engraving, Varnishing -and Lackering, Apparatus, Materials and Processes for Grinding and -Polishing, etc. By <span class="sc">Oliver Byrne</span>. Illustrated by 185 wood engravings. -In one volume, 8vo. <span class="price">$5.00</span></p> - -<p class="head1"><span class="outdent">BYRNE.—</span>Pocket Book for Railroad and Civil Engineers:</p> - -<p class="ind less"> -Containing New, Exact, and Concise Methods for Laying out Railroad -Curves, Switches, Frog Angles, and Crossings; the Staking -out of work; Levelling; the Calculation of Cuttings; Embankments; -Earth-work, etc. By <span class="sc">Oliver Byrne</span>. 18mo., full bound, pocket-book -form. <span class="price">$1.75</span></p> - -<p class="heading">BYRNE.—The Practical Model Calculator:</p> - -<p class="ind less"> -For the Engineer, Mechanic, Manufacturer of Engine Work, Naval -Architect, Miner, and Millwright. By <span class="sc">Oliver Byrne</span>. 1 volume, -8vo., nearly 600 pages. <span class="price">$4.50</span></p> - -<p class="heading">BYRNE.—The Practical Metal-Worker's Assistant:</p> - -<p class="ind less"> -Comprising Metallurgic Chemistry; the Arts of Working all Metals -and Alloys; Forging of Iron and Steel; Hardening and Tempering; -Melting and Mixing; Casting and Founding; Works in Sheet Metal; -The Processes Dependent on the Ductility of the Metals; Soldering; -and the most Improved Processes and Tools employed by Metal-Workers. -With the Application of the Art of Electro-Metallurgy to -Manufacturing Processes; collected from Original Sources, and from -the Works of Holtzapffel, Bergeron, Leupold, Plumier, Napier, -Scoffern, Clay, Fairbairn, and others. By <span class="sc">Oliver Byrne</span>. A new, -revised, and improved edition, to which is added An Appendix, containing -<span class="sc">The Manufacture of Russian Sheet-Iron</span>. By <span class="sc">John -Percy</span>, M. D., F.R.S. <span class="sc">The Manufacture of Malleable Iron -Castings</span>, and <span class="sc">Improvements in Bessemer Steel</span>. By <span class="sc">A. A. -Fesquet</span>, Chemist and Engineer. With over 600 Engravings, illustrating -every Branch of the Subject. 8vo. <span class="price">$7.00</span></p> - -<p class="heading">Cabinet Maker's Album of Furniture:</p> - -<p class="ind less"> -Comprising a Collection of Designs for Furniture. Illustrated by 48 -Large and Beautifully Engraved Plates. In one vol., oblong. <span class="price">$5.00</span> -</p> - -<p><span class="pagenum"><a name="catpage7" id="catpage7"></a>[pg 7]</span></p> - -<p class="heading">CALLINGHAM.—Sign Writing and Glass Embossing:</p> - -<p class="ind less"> -A Complete Practical Illustrated Manual of the Art. By <span class="sc">James -Callingham</span>. In one volume, 12mo. <span class="price">$1.50</span></p> - -<p class="head1"><span class="outdent">CAMPIN.—</span>A Practical Treatise on Mechanical Engineering:</p> - -<p class="ind less"> -Comprising Metallurgy, Moulding, Casting, Forging, Tools, Workshop -Machinery, Mechanical Manipulation, Manufacture of Steam-engines, -etc., etc. With an Appendix on the Analysis of Iron and -Iron Ores. By <span class="sc">Francis Campin</span>, C. E. To which are added, Observations -on the Construction of Steam Boilers, and Remarks upon -Furnaces used for Smoke Prevention; with a Chapter on Explosions. -By <span class="sc">R. Armstrong</span>, C. E., and <span class="sc">John Bourne</span>. Rules for Calculating -the Change Wheels for Screws on a Turning Lathe, and for a Wheel-cutting -Machine. By <span class="sc">J. La Nicca</span>. Management of Steel, Including -Forging, Hardening, Tempering, Annealing, Shrinking, and Expansion. -And the Case-hardening of Iron. By <span class="sc">G. Ede</span>. 8vo.<br /> -Illustrated with 29 plates and 100 wood engravings. <span class="price">$6.00</span></p> - -<p class="head1"><span class="outdent">CAMPIN.—</span>The Practice of Hand-Turning in Wood, -Ivory, Shell, etc.:</p> - -<p class="ind less"> -With Instructions for Turning such works in Metal as may be required -in the Practice of Turning Wood, Ivory, etc. Also, an Appendix -on Ornamental Turning. By <span class="sc">Francis Campin</span>; with Numerous -Illustrations. 12mo., cloth. <span class="price">$3.00</span></p> - -<p class="heading">CAREY.—The Works of Henry C. Carey:</p> - -<p> -FINANCIAL CRISES, their Causes and Effects. 8vo. paper. <span class="price">25</span></p> - -<p>HARMONY OF INTERESTS: Agricultural, Manufacturing, and -Commercial. 8vo., cloth. <span class="price">$1.50</span></p> - -<p>MANUAL OF SOCIAL SCIENCE. Condensed from Carey's "Principles -of Social Science." By <span class="sc">Kate McKean</span>. 1 vol. 12mo. <span class="price">$2.25</span></p> - -<p>MISCELLANEOUS WORKS: comprising "Harmony of Interests," -"Money," "Letters to the President," "Financial Crises," "The -Way to Outdo England Without Fighting Her," "Resources of -the Union," "The Public Debt," "Contraction or Expansion?" -"Review of the Decade 1857-'67," "Reconstruction," etc., etc. -Two vols., 8vo., cloth. <span class="price">$10.00</span></p> - -<p>PAST, PRESENT, AND FUTURE. 8vo. <span class="price">$2.50</span></p> - -<p>PRINCIPLES OF SOCIAL SCIENCE. 3 vols., 8vo., cloth. <span class="price">$10.00</span></p> - -<p>THE SLAVE-TRADE, DOMESTIC AND FOREIGN; Why it Exists, -and How it may be Extinguished (1853). 8vo., cloth. <span class="price">$2.00</span></p> - -<p>LETTERS ON INTERNATIONAL COPYRIGHT (1867) <span class="price">50</span></p> - -<p>THE UNITY OF LAW: As Exhibited in the Relations of Physical, -Social, Mental, and Moral Science (1872). In one volume, 8vo., -pp. xxiii., 433. Cloth. <span class="price">$3.50</span></p> - -<p class="heading">CHAPMAN.—A Treatise on Ropemaking:</p> - -<p class="ind less"> -As Practised in private and public Rope yards, with a Description -of the Manufacture, Rules, Tables of Weights, etc., adapted to the -Trades, Shipping, Mining, Railways, Builders, etc. By <span class="sc">Robert -Chapman</span>, 24mo. <span class="price">$1.50</span></p> - -<p><span class="pagenum"><a name="catpage8" id="catpage8"></a>[pg 8]</span></p> - -<p class="heading">COLBURN.—The Locomotive Engine:</p> - -<p class="ind less"> -Including a Description of its Structure, Rules for Estimating its Capabilities, -and Practical Observations on its Construction and Management. -By <span class="sc">Zerah Colburn</span>. Illustrated.<br /> -A new edition. 12mo. <span class="price">$1.25</span></p> - -<p class="head1"><span class="outdent"> -CRAIK.—</span>The Practical American Millwright and -Miller.</p> - -<p class="ind less"> -By <span class="sc">David Craik</span>, Millwright. Illustrated by numerous wood engravings, -and two folding plates. 8vo. <span class="price">$5.00</span></p> - -<p class="heading">DE GRAFF.—The Geometrical Stair Builders' Guide:</p> - -<p class="ind less"> -Being a Plain Practical System of Hand-Railing, embracing all its -necessary Details, and Geometrically Illustrated by 22 Steel Engravings; -together with the use of the most approved principles of Practical -Geometry. By <span class="sc">Simon De Graff</span>, Architect. 4to. <span class="price">$5.00</span></p> - -<p class="head1"><span class="outdent"> -DE KONINCK.—</span>DIETZ.—A Practical Manual of Chemical -Analysis and Assaying:</p> - -<p class="ind less"> -As applied to the Manufacture of Iron from its Ores, and to Cast Iron, -Wrought Iron, and Steel, as found in Commerce. By <span class="sc">L. L. De Koninck</span>, -Dr. Sc., and <span class="sc">E. Dietz</span>, Engineer. Edited with Notes, by <span class="sc">Robert -Mallet</span>, F.R.S., F.S.G., M.I.C.E., etc. American Edition, Edited -with Notes and an Appendix on Iron Ores, by <span class="sc">A. A. Fesquet</span>, Chemist -and Engineer. One volume, 12mo. <span class="price">$2.50</span></p> - -<p class="heading">DUNCAN.—Practical Surveyor's Guide:</p> - -<p class="ind less"> -Containing the necessary information to make any person, of common -capacity, a finished land surveyor without the aid of a teacher. By -<span class="sc">Andrew Duncan</span>. Illustrated. 12mo., cloth. <span class="price">$1.25</span></p> - -<p class="head1"><span class="outdent"> -DUPLAIS.—</span>A Treatise on the Manufacture and Distillation -of Alcoholic Liquors:</p> - -<p class="ind less"> -Comprising Accurate and Complete Details in Regard to Alcohol from -Wine, Molasses, Beets, Grain, Rice, Potatoes, Sorghum, Asphodel, -Fruits, etc.; with the Distillation and Rectification of Brandy, Whiskey, -Rum, Gin, Swiss Absinthe, etc., the Preparation of Aromatic Waters, -Volatile Oils or Essences, Sugars, Syrups, Aromatic Tinctures, -Liqueurs, Cordial Wines, Effervescing Wines, etc., the Aging of Brandy -and the Improvement of Spirits, with Copious Directions and Tables -for Testing and Reducing Spirituous Liquors, etc., etc. Translated -and Edited from the French of MM. <span class="sc">Duplais</span>, Ainé et Jeune. By -<span class="sc">M. McKennie</span>, M. D. To which are added the United States Internal -Revenue Regulations for the Assessment and Collection of Taxes on -Distilled Spirits. Illustrated by fourteen folding plates and several -wood engravings.<br /> -743 pp., 8vo. <span class="price">$10.00</span></p> - -<p class="head1"><span class="outdent"> -DUSSAUCE.—</span>A General Treatise on the Manufacture -of Every Description of Soap:</p> - -<p class="ind less"> -Comprising the Chemistry of the Art, with Remarks on Alkalies, Saponifiable -Fatty Bodies, the apparatus necessary in a Soap Factory, -Practical Instructions in the manufacture of the various kinds of Soap, -the assay of Soaps, etc., etc. Edited from Notes of Larmé, Fontenelle, -Malapayre, Dufour, and others, with large and important additions by -Prof. <span class="sc">H. Dussauce</span>, Chemist. Illustrated. In one vol., 8vo. <span class="price">$10.00</span></p> - -<p><span class="pagenum"><a name="catpage9" id="catpage9"></a>[pg 9]</span></p> - -<p class="head1"><span class="outdent"> -DUSSAUCE.—</span>A General Treatise on the Manufacture -of Vinegar:</p> - -<p class="ind less"> -Theoretical and Practical. Comprising the various Methods, by the -Slow and the Quick Processes, with Alcohol, Wine, Grain, Malt, Cider, -Molasses, and Beets; as well as the Fabrication of Wood Vinegar, etc., -etc. By Prof. <span class="sc">H. Dussauce</span>. In one volume, 8vo. <span class="price">$5.00</span></p> - -<p class="head1"><span class="outdent"> -DUSSAUCE.—</span>A New and Complete Treatise on the -Arts of Tanning, Currying, and Leather Dressing:</p> - -<p class="ind less"> -Comprising all the Discoveries and Improvements made in France, -Great Britain, and the United States. Edited from Notes and Documents -of Messrs. Sallerou, Grouvelle, Duval, Dessables, Labarraque, -Payen, René, De Fontenelle, Malapeyre, etc., etc. By Prof. <span class="sc">H. Dussauce</span>, -Chemist. Illustrated by 212 wood engravings. 8vo. <span class="price">$25.00</span></p> - -<p class="heading">DUSSAUCE.—A Practical Guide for the Perfumer:</p> - -<p class="ind less"> -Being a New Treatise on Perfumery, the most favorable to the Beauty -without being injurious to the Health, comprising a Description of the -substances used in Perfumery, the Formulæ of more than 1000 Preparations, -such as Cosmetics, Perfumed Oils, Tooth Powders, Waters, -Extracts, Tinctures, Infusions, Spirits, Vinaigres, Essential Oils, Pastels, -Creams, Soaps, and many new Hygienic Products not hitherto -described. Edited from Notes and Documents of Messrs. Debay, Lanel, -etc. With additions by Prof. <span class="sc">H. Dussauce</span>, Chemist. 12mo. <span class="price">$3.00</span></p> - -<p class="head1"><span class="outdent"> -DUSSAUCE.—</span>Practical Treatise on the Fabrication -of Matches, Gun Cotton, and Fulminating Powders.</p> - -<p class="ind less"> -By Prof. <span class="sc">H. Dussauce</span>. 12mo. <span class="price">$3.00</span></p> - -<p class="heading">Dyer and Color-maker's Companion:</p> - -<p class="ind less"> -Containing upwards of 200 Receipts for making Colors, on the most -approved principles, for all the various styles and fabrics now in existence; -with the Scouring Process, and plain Directions for Preparing, -Washing-off, and Finishing the Goods. In one vol., 12mo. <span class="price">$1.25</span></p> - -<p class="head1"><span class="outdent"> -EASTON.—</span>A Practical Treatise on Street or Horsepower -Railways.</p> - -<p class="ind less"> -By <span class="sc">Alexander Easton</span>, C. E. Illustrated by 23 plates.<br /> -8vo., cloth. <span class="price">$2.00</span></p> - -<p class="heading">ELDER.—Questions of the Day:</p> - -<p class="ind less"> -Economic and Social. By Dr. <span class="sc">William Elder</span>. 8vo. <span class="price">$3.00</span></p> - -<p class="head1"><span class="outdent"> -FAIRBAIRN.—</span>The Principles of Mechanism and Machinery -of Transmission:</p> - -<p class="ind less"> -Comprising the Principles of Mechanism, Wheels, and Pulleys, -Strength and Proportions of Shafts, Coupling of Shafts, and Engaging -and Disengaging Gear. By Sir <span class="sc">William Fairbairn</span>, C. E., LL.D., -F.R.S., F.G.S. Beautifully illustrated by over 150 wood-cuts. In -one volume, 12mo. <span class="price">$2.50</span></p> - -<p class="head1"><span class="outdent"> -FORSYTH.—</span>Book of Designs for Headstones, Mural, -and other Monuments:</p> - -<p class="ind less"> -Containing 78 Designs. By <span class="sc">James Forsyth</span>. With an Introduction -by <span class="sc">Charles Boutell</span>, M. A. 4to., cloth. <span class="price">$5.00</span></p> - -<p><span class="pagenum"><a name="catpage10" id="catpage10"></a>[pg 10]</span></p> - -<p class="heading">GIBSON.—The American Dyer:</p> - -<p class="ind less"> -A Practical Treatise on the Coloring of Wool, Cotton, Yarn and -Cloth, in three parts. Part First gives a descriptive account of the -Dye Stuffs; if of vegetable origin, where produced, how cultivated, -and how prepared for use; if chemical, their composition, specific -gravities, and general adaptability, how adulterated, and how to detect -the adulterations, etc. Part Second is devoted to the Coloring of -Wool, giving recipes for one hundred and twenty-nine different colors -or shades, and is supplied with sixty colored samples of Wool. Part -Third is devoted to the Coloring of Raw Cotton or Cotton Waste, for -mixing with Wool Colors in the Manufacture of all kinds of Fabrics, -gives recipes for thirty-eight different colors or shades, and is supplied -with twenty-four colored samples of Cotton Waste. Also, recipes for -Coloring Beavers, Doeskins, and Flannels, with remarks upon Anilines, -giving recipes for fifteen different colors or shades, and nine -samples of Aniline Colors that will stand both the Fulling and Scouring -process. Also, recipes for Aniline Colors on Cotton Thread, and -recipes for Common Colors on Cotton Yarns. Embracing in all over -two hundred recipes for Colors and Shades, and ninety-four samples -of Colored Wool and Cotton Waste, etc. By <span class="sc">Richard H. Gibson</span>, -Practical Dyer and Chemist.<br /> -In one volume, 8vo. <span class="price">$12.50</span></p> - -<p class="heading">GILBART.—History and Principles of Banking:</p> - -<p class="ind less"> -A Practical Treatise. By <span class="sc">James W. Gilbart</span>, late Manager of the -London and Westminster Bank. With additions. In one volume, -8vo., 600 pages, sheep. <span class="price">$5.00</span></p> - -<p class="heading">Gothic Album for Cabinet Makers:</p> - -<p class="ind less"> -Comprising a Collection of Designs for Gothic Furniture. Illustrated -by 23 large and beautifully engraved plates. Oblong. <span class="price">$3.00</span></p> - -<p class="heading"> -GRANT.—Beet-root Sugar and Cultivation of the -Beet.</p> - -<p class="ind less"> -By <span class="sc">E. B. Grant</span>. 12mo. <span class="price">$1.25</span></p> - -<p class="heading">GREGORY.—Mathematics for Practical Men:</p> - -<p class="ind less"> -Adapted to the Pursuits of Surveyors, Architects, Mechanics, and -Civil Engineers. By <span class="sc">Olinthus Gregory</span>. 8vo., plates, cloth. <span class="price">$3.00</span></p> - -<p class="head1"><span class="outdent"> -GRISWOLD.—</span>Railroad Engineer's Pocket Companion -for the Field:</p> - -<p class="ind less"> -Comprising Rules for Calculating Deflection Distances and Angles, -Tangential Distances and Angles, and all Necessary Tables for Engineers; -also the art of Levelling from Preliminary Survey to the Construction -of Railroads, intended Expressly for the Young Engineer, -together with Numerous Valuable Rules and Examples. By <span class="sc">W. -Griswold</span>. 12mo., tucks. <span class="price">$1.75</span></p> - -<p class="heading">GRUNER.—Studies of Blast Furnace Phenomena.</p> - -<p class="ind less"> -By <span class="sc">M. L. Gruner</span>, President of the General Council of Mines of -France, and lately Professor of Metallurgy at the Ecole des Mines. -Translated, with the Author's sanction, with an Appendix, by L. D. B. -Gordon, F.R.S.E., F.G.S. Illustrated. 8vo. <span class="price">$2.50</span></p> - -<p><span class="pagenum"><a name="catpage11" id="catpage11"></a>[pg 11]</span></p> - -<p class="heading">GUETTIER.—Metallic Alloys:</p> - -<p class="ind less"> -Being a Practical Guide to their Chemical and Physical Properties, -their Preparation, Composition, and Uses. Translated from the -French of <span class="sc">A. Guettier</span>, Engineer and Director of Foundries, author -of "La Fouderie en France," etc., etc. By <span class="sc">A. A. Fesquet</span>, Chemist -and Engineer. In one volume, 12mo. <span class="price">$3.00</span></p> - -<p class="heading">HARRIS.—Gas Superintendent's Pocket Companion.</p> - -<p class="ind less"> -By <span class="sc">Harris & Brother</span>, Gas Meter Manufacturers, 1115 and 1117 -Cherry Street, Philadelphia. Full bound in pocket-book form. <span class="price">$2.00</span></p> - -<p class="heading">Hats and Felting:</p> - -<p class="ind less"> -A Practical Treatise on their Manufacture. By a Practical Hatter. -Illustrated by Drawings of Machinery, etc. 8vo. <span class="price">$1.25</span></p> - -<p class="head1"><span class="outdent"> -HOFMANN.—</span>A Practical Treatise on the Manufacture -of Paper in all its Branches.</p> - -<p class="ind less"> -By <span class="sc">Carl Hofmann</span>. Late Superintendent of paper mills in Germany -and the United States; recently manager of the Public Ledger -Paper Mills, near Elkton, Md. Illustrated by 110 wood engravings, -and five large folding plates. In one volume, 4to., cloth; 398 -pages. <span class="price">$15.00</span></p> - -<p class="head1"><span class="outdent">HUGHES.—</span>American Miller and Millwright's Assistant.</p> - -<p class="ind less"> -By <span class="sc">Wm. Carter Hughes</span>. A new edition. In one vol., 12mo. <span class="price">$1.50</span></p> - -<p class="head1"><span class="outdent"> -HURST.—</span>A Hand-Book for Architectural Surveyors -and others engaged in Building:</p> - -<p class="ind less"> -Containing Formulæ useful in Designing Builder's work, Table of -Weights, of the materials used in Building, Memoranda connected -with Builders' work, Mensuration, the Practice of Builders' Measurement, -Contracts of Labor, Valuation of Property, Summary of the -Practice in Dilapidation, etc., etc. By <span class="sc">J. F. Hurst</span>, C. E. Second -edition, pocket-book form, full bound. <span class="price">$2.50</span></p> - -<p class="heading">JERVIS.—Railway Property:</p> - -<p class="ind less"> -A Treatise on the Construction and Management of Railways; designed -to afford useful knowledge, in the popular style, to the holders -of this class of property; as well as Railway Managers, Officers, and -Agents. By <span class="sc">John B. Jervis</span>, late Chief Engineer of the Hudson -River Railroad, Croton Aqueduct, etc. In one vol., 12mo., cloth. <span class="price">$2.00</span></p> - -<p class="head1"><span class="outdent"> -JOHNSTON.—</span>Instructions for the Analysis of Soils, -Limestones, and Manures.</p> - -<p class="ind less"> -By <span class="sc">J. F. W. Johnston</span>. 12mo. <span class="price">38</span></p> - -<p><span class="pagenum"><a name="catpage12" id="catpage12"></a>[pg 12]</span></p> - -<p class="heading">KEENE.—A Hand-Book of Practical Gauging:</p> - -<p class="ind less"> -For the Use of Beginners, to which is added, A Chapter on Distillation, -describing the process in operation at the Custom House for -ascertaining the strength of wines.<br /> -By <span class="sc">James B. Keene</span>, of H. M. -Customs. 8vo. <span class="price">$1.25</span></p> - -<p class="head1"><span class="outdent"> -KELLEY.—</span>Speeches, Addresses, and Letters on Industrial -and Financial Questions.</p> - -<p class="ind less"> -By Hon. <span class="sc">William D. Kelley</span>, M. C.<br /> -In one volume, 544 pages, -8vo. <span class="price">$3.00</span></p> - -<p class="heading">KENTISH.—A Treatise on a Box of Instruments,</p> - -<p class="ind less"> -And the Slide Rule; with the Theory of Trigonometry and Logarithms, -including Practical Geometry, Surveying, Measuring of Timber, -Cask and Malt Gauging, Heights, and Distances. By <span class="sc">Thomas -Kentish</span>. In one volume. 12mo. <span class="price">$1.25</span></p> - -<p class="heading">KOBELL.—ERNI.—Mineralogy Simplified:</p> - -<p class="ind less"> -A short Method of Determining and Classifying Minerals, by means -of simple Chemical Experiments in the Wet Way. Translated from -the last German Edition of <span class="sc">F. Von Kobell</span>, with an Introduction to -Blow-pipe Analysis and other additions. By <span class="sc">Henri Erni</span>, M. D., -late Chief Chemist, Department of Agriculture, author of "Coal Oil -and Petroleum." In one volume, 12mo. <span class="price">$2.50</span></p> - -<p class="heading">LANDRIN.—A Treatise on Steel:</p> - -<p class="ind less"> -Comprising its Theory, Metallurgy, Properties, Practical Working, -and Use. By <span class="sc">M. H. C. Landrin</span>, Jr., Civil Engineer. Translated -from the French, with Notes, by <span class="sc">A. A. Fesquet</span>, Chemist and Engineer. -With an Appendix on the Bessemer and the Martin Processes -for Manufacturing Steel, from the Report of Abram S. Hewitt, United -States Commissioner to the Universal Exposition, Paris, 1867. In one -volume, 12mo. <span class="price">$3.00</span></p> - -<p class="head1"><span class="outdent"> -LARKIN.—</span>The Practical Brass and Iron Founder's -Guide:</p> - -<p class="ind less"> -A Concise Treatise on Brass Founding, Moulding, the Metals and their -Alloys, etc.: to which are added Recent Improvements in the Manufacture -of Iron, Steel by the Bessemer Process, etc., etc. By <span class="sc">James -Larkin</span>, late Conductor of the Brass Foundry Department in Reany, -Neafie & Co's. Penn Works, Philadelphia. Fifth edition, revised, -with Extensive additions. In one volume, 12mo. <span class="price">$2.25</span></p> - -<p class="heading">LEAVITT.—Facts about Peat as an Article of Fuel:</p> - -<p class="ind less"> -With Remarks upon its Origin and Composition, the Localities in -which it is found, the Methods of Preparation and Manufacture, and -the various Uses to which it is applicable; together with many other -matters of Practical and Scientific Interest. To which is added a chapter -on the Utilization of Coal Dust with Peat for the Production of an -Excellent Fuel at Moderate Cost, specially adapted for Steam Service. -By <span class="sc">T. H. Leavitt</span>. Third edition. 12mo. <span class="price">$1.75</span></p> - -<p><span class="pagenum"><a name="catpage13" id="catpage13"></a>[pg 13]</span></p> - -<p class="head1"><span class="outdent"> -LEROUX, C.—</span>A Practical Treatise on the Manufacture -of Worsteds and Carded Yarns:</p> - -<p class="ind less"> -Comprising Practical Mechanics, with Rules and Calculations applied -to Spinning; Sorting, Cleaning, and Scouring Wools; the English -and French methods of Combing, Drawing, and Spinning Worsteds -and Manufacturing Carded Yarns. Translated from the French of -<span class="sc">Charles Leroux</span>, Mechanical Engineer, and Superintendent of a -Spinning Mill, by <span class="sc">Horatio Paine</span>, M. D., and <span class="sc">A. A. Fesquet</span>, -Chemist and Engineer. Illustrated by 12 large Plates. To which is -added an Appendix, containing extracts from the Reports of the International -Jury, and of the Artisans selected by the Committee appointed -by the Council of the Society of Arts, London, on Woollen and Worsted -Machinery and Fabrics, as exhibited in the Paris Universal Exposition, -1867. 8vo., cloth. <span class="price">$5.00</span></p> - -<p class="heading">LESLIE (Miss).—Complete Cookery:</p> - -<p class="ind less"> -Directions for Cookery in its Various Branches. By <span class="sc">Miss Leslie</span>. -60th thousand. Thoroughly revised, with the addition of New Receipts. -In one volume, 12mo., cloth. <span class="price">$1.50</span></p> - -<p class="heading">LESLIE (Miss).—Ladies' House Book:</p> - -<p class="ind less"> -A Manual of Domestic Economy. 20th revised edition. 12mo., cloth.</p> - -<p class="heading"> -LESLIE (Miss).—Two Hundred Receipts in French -Cookery.</p> - -<p class="ind less"> -Cloth, 12mo.</p> - -<p class="heading">LIEBER.—Assayer's Guide:</p> - -<p class="ind less"> -Or, Practical Directions to Assayers, Miners, and Smelters, for the -Tests and Assays, by Heat and by Wet Processes, for the Ores of all -the principal Metals, of Gold and Silver Coins and Alloys, and of -Coal, etc. By <span class="sc">Oscar M. Lieber</span>. 12mo., cloth. <span class="price">$1.25</span></p> - -<p class="heading">LOTH.—The Practical Stair Builder:</p> - -<p class="ind less"> -A Complete Treatise on the Art of Building Stairs and Hand-Rails, -Designed for Carpenters, Builders, and Stair-Builders. Illustrated -with Thirty Original Plates. By <span class="sc">C. Edward Loth</span>, Professional -Stair-Builder. One large 4to. volume. <span class="price">$10.00</span></p> - -<p class="head1"><span class="outdent"> -LOVE.—</span>The Art of Dyeing, Cleaning, Scouring, and -Finishing, on the Most Approved English and -French Methods:</p> - -<p class="ind less"> -Being Practical Instructions in Dyeing Silks, Woollens, and Cottons, -Feathers, Chips, Straw, etc. Scouring and Cleaning Bed and Window -Curtains, Carpets, Rugs, etc. French and English Cleaning, any -Color or Fabric of Silk, Satin, or Damask. By <span class="sc">Thomas Love</span>, a -Working Dyer and Scourer. Second American Edition, to which are -added General Instructions for the Use of Aniline Colors. In one -volume, 8vo., 343 pages. <span class="price">$5.00</span></p> - -<p><span class="pagenum"><a name="catpage14" id="catpage14"></a>[pg 14]</span></p> - -<p class="head1"><span class="outdent"> -MAIN and BROWN.—</span>Questions on Subjects Connected -with the Marine Steam-Engine:</p> - -<p class="ind less"> -And Examination Papers; with Hints for their Solution. By <span class="sc">Thomas -J. Main</span>, Professor of Mathematics, Royal Naval College, and <span class="sc">Thomas -Brown</span>, Chief Engineer, R. N. 12mo., cloth. <span class="price">$1.50</span></p> - -<p class="head1"><span class="outdent">MAIN and BROWN.—</span>The Indicator and Dynamometer:</p> - -<p class="ind less"> -With their Practical Applications to the Steam-Engine. By <span class="sc">Thomas -J. Main</span>, M. A. F. R., Assistant Professor Royal Naval College, Portsmouth, -and <span class="sc">Thomas Brown</span>, Assoc. Inst. C. E., Chief Engineer, R. -N., attached to the Royal Naval College. Illustrated. From the -Fourth London Edition. 8vo. <span class="price">$1.50</span></p> - -<p class="heading">MAIN and BROWN.—The Marine Steam-Engine.</p> - -<p class="ind less"> -By <span class="sc">Thomas J. Main</span>, F. R.; Assistant S. Mathematical Professor at -the Royal Naval College, Portsmouth, and <span class="sc">Thomas Brown</span>, Assoc. -Inst. C. E., Chief Engineer R. N. Attached to the Royal Naval College. -Authors of "Questions connected with the Marine Steam-Engine," -and the "Indicator and Dynamometer." With numerous Illustrations.<br /> -In one volume, 8vo. <span class="price">$5.00</span></p> - -<p class="head1"><span class="outdent"> -MARTIN.—</span>Screw-Cutting Tables, for the Use of Mechanical -Engineers:</p> - -<p class="ind less"> -Showing the Proper Arrangement of Wheels for Cutting the Threads -of Screws of any required Pitch; with a Table for Making the Universal -Gas-Pipe Thread and Taps. By <span class="sc">W. A. Martin</span>, Engineer. -8vo. <span class="price">50</span></p> - -<p class="heading">Mechanics' (Amateur) Workshop:</p> - -<p class="ind less"> -A treatise containing plain and concise directions for the manipulation -of Wood and Metals, including Casting, Forging, Brazing, Soldering, -and Carpentry. By the author of the "Lathe and its Uses." -Third edition. Illustrated. 8vo. <span class="price">$3.00</span></p> - -<p class="head1"><span class="outdent"> -MOLESWORTH.—</span>Pocket-Book of Useful Formulæ -and Memoranda for Civil and Mechanical Engineers.</p> - -<p class="ind less"> -By <span class="sc">Guilford L. Molesworth</span>, Member of the Institution of Civil -Engineers, Chief Resident Engineer of the Ceylon Railway. Second -American, from the Tenth London Edition. In one volume, full -bound in pocket-book form. <span class="price">$2.00</span></p> - -<p class="heading">NAPIER.—A System of Chemistry Applied to Dyeing.</p> - -<p class="ind less"> -By <span class="sc">James Napier</span>, F. C. S. A New and Thoroughly Revised Edition. -Completely brought up to the present state of the Science, including -the Chemistry of Coal Tar Colors, by <span class="sc">A. A. Fesquet</span>, Chemist -and Engineer. With an Appendix on Dyeing and Calico Printing, as -shown at the Universal Exposition, Paris, 1867. Illustrated. In one -Volume, 8vo., 422 pages. <span class="price">$5.00</span></p> - -<p><span class="pagenum"><a name="catpage15" id="catpage15"></a>[pg 15]</span></p> - -<p class="heading">NAPIER.—Manual of Electro-Metallurgy:</p> - -<p class="ind less"> -Including the Application of the Art to Manufacturing Processes. By -<span class="sc">James Napier</span>. Fourth American, from-the Fourth London edition, -revised and enlarged. Illustrated by engravings. In one vol., 8vo. <span class="price">$2.00</span></p> - -<p class="head1"><span class="outdent"> -NASON.—</span>Table of Reactions for Qualitative Chemical -Analysis.</p> - -<p class="ind less"> -By <span class="sc">Henry B. Nason</span>, Professor of Chemistry in the Rensselaer Polytechnic -Institute, Troy, New York. Illustrated by Colors. <span class="price">63</span></p> - -<p class="head1"><span class="outdent"> -NEWBERY.—</span>Gleanings from Ornamental Art of -every style:</p> - -<p class="ind less"> -Drawn from Examples in the British, South Kensington, Indian, -Crystal Palace, and other Museums, the Exhibitions of 1851 and 1862, -and the best English and Foreign works. In a series of one hundred -exquisitely drawn Plates, containing many hundred examples. By -<span class="sc">Robert Newbery</span>. 4to. <span class="price">$15.00</span></p> - -<p class="heading">NICHOLSON.—A Manual of the Art of Bookbinding:</p> - -<p class="ind less"> -Containing full instructions in the different Branches of Forwarding, -Gilding, and Finishing. Also, the Art of Marbling Book-edges and -Paper. By <span class="sc">James B. Nicholson</span>. Illustrated, 12mo., cloth. <span class="price">$2.25</span></p> - -<p class="heading">NICHOLSON.—The Carpenter's New Guide:</p> - -<p class="ind less"> -A Complete Book of Lines for Carpenters and Joiners. By <span class="sc">Peter -Nicholson</span>. The whole carefully and thoroughly revised by <span class="sc">H. K. -Davis</span>, and containing numerous new and improved and original Designs -for Roofs, Domes, etc. By <span class="sc">Samuel Sloan</span>, Architect. Illustrated -by 80 plates. 4to. <span class="price">$4.50</span></p> - -<p class="head1"><span class="outdent"> -NORRIS.—</span>A Hand-book for Locomotive Engineers -and Machinists:</p> - -<p class="ind less"> -Comprising the Proportions and Calculations for Constructing Locomotives; -Manner of Setting Valves; Tables of Squares, Cubes, Areas, -etc., etc. By <span class="sc">Septimus Norris</span>, Civil and Mechanical Engineer. -New edition. Illustrated. 12mo., cloth. <span class="price">$2.00</span></p> - -<p class="head1"><span class="outdent"> -NYSTROM.—</span>On Technological Education, and the -Construction of Ships and Screw Propellers:</p> - -<p class="ind less"> -For Naval and Marine Engineers. By <span class="sc">John W. Nystrom</span>, late Acting -Chief Engineer, U. S. N. Second edition, revised with additional -matter. Illustrated by seven engravings. 12mo. <span class="price">$1.50</span></p> - -<p class="heading">O'NEILL.—A Dictionary of Dyeing and Calico Printing:</p> - -<p class="ind less"> -Containing a brief account of all the Substances and Processes in use -in the Art of Dyeing and Printing Textile Fabrics; with Practical -Receipts and Scientific Information. By <span class="sc">Charles O'Neill</span>, Analytical -Chemist; Fellow of the Chemical Society of London; Member -of the Literary and Philosophical Society of Manchester; Author of -"Chemistry of Calico Printing and Dyeing." To which is added an -Essay on Coal Tar Colors and their application to Dyeing and Calico -Printing. By <span class="sc">A. A. Fesquet</span>, Chemist and Engineer. With an Appendix -on Dyeing and Calico Printing, as shown at the Universal -Exposition, Paris, 1867. In one volume, 8vo., 491 pages. <span class="price">$6.00</span></p> - -<p><span class="pagenum"><a name="catpage16" id="catpage16"></a>[pg 16]</span></p> - -<p class="heading">ORTON.—Underground Treasures:</p> - -<p class="ind less"> -How and Where to Find Them. A Key for the Ready Determination -of all the Useful Minerals within the United States. By <span class="sc">James -Orton</span>, A. M. Illustrated, 12mo. <span class="price">$1.50</span></p> - -<p class="heading">OSBORN.—American Mines and Mining:</p> - -<p class="ind less"> -Theoretically and Practically Considered. By Prof. <span class="sc">H. S. Osborn</span>. -Illustrated by numerous engravings. 8vo. (<i>In preparation.</i>)</p> - -<p class="heading">OSBORN.—The Metallurgy of Iron and Steel:</p> - -<p class="ind less"> -Theoretical and Practical in all its Branches; with special reference -to American Materials and Processes. By <span class="sc">H. S. Osborn</span>, LL. D., -Professor of Mining and Metallurgy in Lafayette College, Easton, -Pennsylvania. Illustrated by numerous large folding plates and -wood-engravings.<br /> -8vo. <span class="price">$15.00</span></p> - -<p class="heading">OVERMAN.—The Manufacture of Steel:</p> - -<p class="ind less"> -Containing the Practice and Principles of Working and Making Steel. -A Handbook for Blacksmiths and Workers in Steel and Iron, Wagon -Makers, Die Sinkers, Cutlers, and Manufacturers of Files and Hardware, -of Steel and Iron, and for Men of Science and Art. By <span class="sc">Frederick -Overman</span>, Mining Engineer, Author of the "Manufacture of -Iron," etc. A new, enlarged, and revised Edition. By <span class="sc">A. A. Fesquet</span>, -Chemist and Engineer. <span class="price">$1.50</span></p> - -<p class="head1"><span class="outdent"> -OVERMAN.—</span>The Moulder and Founder's Pocket -Guide:</p> - -<p class="ind less"> -A Treatise on Moulding and Founding in Green-sand, Dry-sand, Loam, -and Cement; the Moulding of Machine Frames, Mill-gear, Hollow-ware, -Ornaments, Trinkets, Bells, and Statues; Description of Moulds -for Iron, Bronze, Brass, and other Metals; Plaster of Paris, Sulphur, -Wax, and other articles commonly used in Casting; the Construction -of Melting Furnaces, the Melting and Founding of Metals; the Composition -of Alloys and their Nature. With an Appendix containing -Receipts for Alloys, Bronze, Varnishes and Colors for Castings; also, -Tables on the Strength and other qualities of Cast Metals. By <span class="sc">Frederick -Overman</span>, Mining Engineer, Author of "The Manufacture -of Iron." With 42 Illustrations. 12mo. <span class="price">$1.50</span></p> - -<p class="heading">Painter, Gilder, and Varnisher's Companion:</p> - -<p class="ind less"> -Containing Rules and Regulations in everything relating to the Arts -of Painting, Gilding, Varnishing, Glass-Staining, Graining, Marbling, -Sign-Writing, Gilding on Glass, and Coach Painting and Varnishing; -Tests for the Detection of Adulterations in Oils, Colors, etc.; and a -Statement of the Diseases to which Painters are peculiarly liable, with -the Simplest and Best Remedies. Sixteenth Edition. Revised, with -an Appendix. Containing Colors and Coloring-Theoretical and -Practical. Comprising descriptions of a great variety of Additional -Pigments, their Qualities and Uses, to which are added, Dryers, and -Modes and Operations of Painting, etc. Together with Chevreul's -Principles of Harmony and Contrast of Colors, 12mo., cloth. <span class="price">$1.50</span></p> - -<p><span class="pagenum"><a name="catpage17" id="catpage17"></a>[pg 17]</span></p> - -<p class="head1"><span class="outdent"> -PALLETT.—</span>The Miller's, Millwright's, and Engineer's -Guide.</p> - -<p class="ind less"> -By <span class="sc">Henry Pallett</span>. Illustrated. In one volume, 12mo. <span class="price">$3.00</span></p> - -<p class="heading">PERCY.—The Manufacture of Russian Sheet-Iron.</p> - -<p class="ind less"> -By <span class="sc">John Percy</span>, M. D., F.R.S., Lecturer on Metallurgy at the Royal -School of Mines, and to The Advanced Class of Artillery Officers at -the Royal Artillery Institution, Woolwich; Author of "Metallurgy." -With Illustrations. 8vo., paper. <span class="price">50 cts.</span></p> - -<p class="heading">PERKINS.—Gas and Ventilation.</p> - -<p class="ind less"> -Practical Treatise on Gas and Ventilation. With Special Relation to -Illuminating, Heating, and Cooking by Gas. Including Scientific -Helps to Engineer-students and others. With Illustrated Diagrams.<br /> -By <span class="sc">E. E. Perkins</span>. 12mo., cloth. <span class="price">$1.25</span></p> - -<p class="head1"><span class="outdent"> -PERKINS and STOWE.—</span>A New Guide to the Sheet-iron -and Boiler Plate Roller:</p> - -<p class="ind less"> -Containing a Series of Tables showing the Weight of Slabs and Piles -to produce Boiler Plates, and of the Weight of Piles and the Sizes of -Bars to produce Sheet-iron; the Thickness of the Bar Gauge in -decimals; the Weight per foot, and the Thickness on the Bar or Wire -Gauge of the fractional parts of an inch; the Weight per sheet, and -the Thickness on the Wire Gauge of Sheet-iron of various dimensions -to weigh 112 lbs. per bundle; and the conversion of Short Weight -into Long Weight, and Long Weight into Short. Estimated and collected -by <span class="sc">G. H. Perkins</span> and <span class="sc">J. G. Stowe</span>. <span class="price">$2.50</span></p> - -<p class="head1"><span class="outdent"> -PHILLIPS and DARLINGTON.—</span>Records of Mining -and Metallurgy;</p> - -<p class="ind less"> -Or Facts and Memoranda for the use of the Mine Agent and Smelter. -By <span class="sc">J. Arthur Phillips</span>, Mining Engineer, Graduate of the Imperial -School of Mines, France, etc., and <span class="sc">John Darlington</span>. Illustrated -by numerous engravings. In one volume, 12mo. <span class="price">$2.00</span></p> - -<p class="head1"><span class="outdent"> -PROTEAUX.—</span>Practical Guide for the Manufacture -of Paper and Boards.</p> - -<p class="ind less"> -By <span class="sc">A. Proteaux</span>, Civil Engineer, and Graduate of the School of Arts -and Manufactures, and Director of Thiers' Paper Mill, Puy-de-Dôme. -With additions, by <span class="sc">L. S. Le Normand</span>. Translated from the French, -with Notes, by <span class="sc">Horatio Paine</span>, A. B., M. D. To which is added a -Chapter on the Manufacture of Paper from Wood in the United -States, by <span class="sc">Henry T. Brown</span>, of the "American Artisan." Illustrated -by six plates, containing Drawings of Raw Materials, Machinery, -Plans of Paper-Mills, etc., etc. 8vo. <span class="price">$10.00</span></p> - -<p class="heading">REGNAULT.—Elements of Chemistry.</p> - -<p class="ind less"> -By <span class="sc">M. V. Regnault</span>. Translated from the French by <span class="sc">T. Forrest -Betton</span>, M. D., and edited, with Notes, by <span class="sc">James C. Booth</span>, Melter -and Refiner U. S. Mint, and <span class="sc">Wm. L. Faber</span>, Metallurgist and Mining -Engineer. Illustrated by nearly 700 wood engravings. Comprising -nearly 1500 pages. In two volumes, 8vo., cloth. <span class="price">$7.50</span></p> - -<p><span class="pagenum"><a name="catpage18" id="catpage18"></a>[pg 18]</span></p> - -<p class="ind less"> -REID.—A Practical Treatise on the Manufacture of -Portland Cement:</p> - -<p class="ind less"> -By <span class="sc">Henry Reid</span>, C. E. To which is added a Translation of M. A. -Lipowitz's Work, describing a New Method adopted in Germany for -Manufacturing that Cement, by <span class="sc">W. F. Reid</span>. Illustrated by plates -and wood engravings. 8vo. <span class="price">$6.00</span></p> - -<p class="head1"><span class="outdent"> -RIFFAULT, VERGNAUD, and TOUSSAINT.—</span>A -Practical Treatise on the Manufacture of Varnishes.</p> - -<p class="ind less"> -By MM. <span class="sc">Riffault</span>, <span class="sc">Vergnaud</span>, and <span class="sc">Toussaint</span>. Revised and -Edited by <span class="sc">M. F. Malepeyre</span> and Dr. <span class="sc">Emil Winckler</span>. Illustrated. -In one volume, 8vo. (<i>In preparation.</i>)</p> - -<p class="head1"><span class="outdent"> -RIFFAULT, VERGNAUD, and TOUSSAINT.—</span>A -Practical Treatise on the Manufacture of Colors -for Painting:</p> - -<p class="ind less"> -Containing the best Formulæ and the Processes the Newest and in -most General Use. By MM. <span class="sc">Riffault</span>, <span class="sc">Vergnaud</span>, and <span class="sc">Toussaint</span>. -Revised and Edited by <span class="sc">M. F. Malepeyre</span> and Dr. <span class="sc">Emil Winckler</span>. -Translated from the French by <span class="sc">A. A. Fesquet</span>, Chemist and Engineer. -Illustrated by Engravings. In one volume, 650 pages, 8vo. <span class="price">$7.50</span></p> - -<p class="heading">ROBINSON.—Explosions of Steam Boilers:</p> - -<p class="ind less"> -How they are Caused, and how they may be Prevented. By <span class="sc">J. R. -Robinson</span>, Steam Engineer. 12mo. <span class="price">$1.25</span></p> - -<p class="head1"><span class="outdent"> -ROPER.—</span>A Catechism of High Pressure or Non-Condensing -Steam-Engines:</p> - -<p class="ind less"> -Including the Modelling, Constructing, Running, and Management -of Steam Engines and Steam Boilers. With Illustrations. By -<span class="sc">Stephen Roper</span>, Engineer. Full bound tucks. <span class="price">$2.00</span></p> - -<p class="heading">ROSELEUR.—Galvanoplastic Manipulations:</p> - -<p class="ind less"> -A Practical Guide for the Gold and Silver Electro-plater and the -Galvanoplastic Operator. Translated from the French of <span class="sc">Alfred -Roseleur</span>, Chemist, Professor of the Galvanoplastic Art, Manufacturer -of Chemicals, Gold and Silver Electro-plater. By <span class="sc">A. A. Fesquet</span>, -Chemist and Engineer. Illustrated by over 127 Engravings on wood. -8vo., 495 pages. <span class="price">$6.00</span></p> - -<p><img src="images/finger.png" width="32" height="14" alt="pointing hand" /><i>This Treatise is the fullest and by far the best on -this subject ever published in the United States.</i></p> - -<p class="head1"><span class="outdent"> -SCHINZ.—</span>Researches on the Action of the Blast -Furnace.</p> - -<p class="ind less"> -By <span class="sc">Charles Schinz</span>. Translated from the German with the special -permission of the Author by <span class="sc">William H. Maw</span> and <span class="sc">Moritz Muller</span>. -With an Appendix written by the Author expressly for this -edition. Illustrated by seven plates, containing 28 figures.<br /> -In one volume, 12mo. <span class="price">$4.25</span></p> - -<p><span class="pagenum"><a name="catpage19" id="catpage19"></a>[pg 19]</span></p> - -<p class="heading">SHAW.—Civil Architecture:</p> - -<p class="ind less"> -Being a Complete Theoretical and Practical System of Building, containing -the Fundamental Principles of the Art. By <span class="sc">Edward Shaw</span>, -Architect. To which is added a Treatise on Gothic Architecture, etc. -By <span class="sc">Thomas W. Silloway</span> and <span class="sc">George M. Harding</span>, Architects. -The whole illustrated by One Hundred and Two quarto plates finely -engraved on copper. Eleventh Edition. 4to., cloth. <span class="price">$10.00</span></p> - -<p class="head1"><span class="outdent"> -SHUNK.—</span>A Practical Treatise on Railway Curves -and Location, for Young Engineers.</p> - -<p class="ind less"> -By <span class="sc">William F. Shunk</span>, Civil Engineer. 12mo. <span class="price">$2.00</span></p> - -<p class="heading">SLOAN.—American Houses:</p> - -<p class="ind less"> -A variety of Original Designs for Rural Buildings. Illustrated by 26 -colored Engravings, with Descriptive References. By <span class="sc">Samuel Sloan</span>, -Architect, author of the "Model Architect," etc., etc. 8vo. <span class="price">$2.50</span></p> - -<p class="heading">SMEATON.—Builder's Pocket Companion:</p> - -<p class="ind less"> -Containing the Elements of Building, Surveying, and Architecture; -with Practical Rules and Instructions connected with the subject. -By <span class="sc">A. C. Smeaton</span>, Civil Engineer, etc. In one volume, 12mo. <span class="price">$1.50</span></p> - -<p class="heading">SMITH.—A Manual of Political Economy.</p> - -<p class="ind less"> -By <span class="sc">E. Peshine Smith</span>. A new Edition, to which is added a full -Index. 12mo., cloth. <span class="price">$1.25</span></p> - -<p class="heading">SMITH.—Parks and Pleasure Grounds:</p> - -<p class="ind less"> -Or Practical Notes on Country Residences, Villas, Public Parks, and -Gardens. By <span class="sc">Charles H. J. Smith</span>, Landscape Gardener and -Garden Architect, etc., etc. 12mo. <span class="price">$2.25</span></p> - -<p class="heading">SMITH.—The Dyer's Instructor:</p> - -<p class="ind less"> -Comprising Practical Instructions in the Art of Dyeing Silk, Cotton, -Wool, and Worsted, and Woollen Goods: containing nearly 800 -Receipts. To which is added a Treatise on the Art of Padding; and -the Printing of Silk Warps, Skeins, and Handkerchiefs, and the -various Mordants and Colors for the different styles of such work. -By <span class="sc">David Smith</span>, Pattern Dyer. 12mo., cloth. <span class="price">$3.00</span></p> - -<p class="heading">SMITH.—The Practical Dyer's Guide:</p> - -<p class="ind less"> -Comprising Practical Instructions in the Dyeing of Shot Cobourgs, -Silk Striped Orleans, Colored Orleans from Black Warps, Ditto from -White' Warps, Colored Cobourgs from White Warps, Merinos, Yarns, -Woollen Cloths, etc. Containing nearly 300 Receipts, to most of which -a Dyed Pattern is annexed. Also, A Treatise on the Art of Padding. -By <span class="sc">David Smith</span>. In one volume, 8vo. Price. <span class="price">$25.00</span></p> - -<p class="heading">STEWART.—The American System.</p> - -<p class="ind less"> -Speeches on the Tariff Question, and on Internal Improvements, principally -delivered in the House of Representatives of the United States. -By <span class="sc">Andrew Stewart</span>, late M. C. from Pennsylvania. With a Portrait, -and a Biographical Sketch. In one volume, 8vo., 407 pages. <span class="price">$3.00</span></p> - -<p><span class="pagenum"><a name="catpage20" id="catpage20"></a>[pg 20]</span></p> - -<p class="head1"><span class="outdent">STOKES.—</span>Cabinet-maker's and Upholsterer's Companion:</p> - -<p class="ind less"> -Comprising the Rudiments and Principles of Cabinet-making and Upholstery, -with Familiar Instructions, illustrated by Examples for -attaining a Proficiency in the Art of Drawing, as applicable to Cabinet-work; -the Processes of Veneering, Inlaying, and Buhl-work; the -Art of Dyeing and Staining Wood, Bone, Tortoise Shell, etc. Directions -for Lackering, Japanning, and Varnishing; to make French -Polish; to prepare the Best Glues, Cements, and Compositions, and a -number of Receipts particularly useful for workmen generally. By -<span class="sc">J. Stokes</span>. In one volume, 12mo. With Illustrations. <span class="price">$1.25</span></p> - -<p class="heading">Strength and other Properties of Metals:</p> - -<p class="ind less"> -Reports of Experiments on the Strength and other Properties of Metals -for Cannon. With a Description of the Machines for testing Metals, -and of the Classification of Cannon in service. By Officers of the Ordnance -Department U. S. Army. By authority of the Secretary of War. -Illustrated by 25 large steel plates. In one volume, 4to. <span class="price">$10.00</span></p> - -<p class="heading">SULLIVAN.—Protection to Native Industry.</p> - -<p class="ind less"> -By Sir <span class="sc">Edward Sullivan</span>, Baronet, author of "Ten Chapters on -Social Reforms." In one volume, 8vo. <span class="price">$1.50</span></p> - -<p class="head1"><span class="outdent"> -Tables Showing the Weight</span> of Round, Square, and -Flat Bar Iron, Steel, etc.,</p> - -<p class="ind less"> -By Measurement. Cloth. <span class="price">63</span></p> - -<p class="heading">TAYLOR.—Statistics of Coal:</p> - -<p class="ind less"> -Including Mineral Bituminous Substances employed in Arts and -Manufactures; with their Geographical, Geological, and Commercial -Distribution and Amount of Production and Consumption on the -American Continent. With Incidental Statistics of the Iron Manufacture. -By <span class="sc">R. C. Taylor</span>. Second edition, revised by <span class="sc">S. S. Haldeman</span>. -Illustrated by five Maps and many wood engravings.<br /> -8vo., cloth. <span class="price">$10.00</span></p> - -<p class="head1"><span class="outdent"> -TEMPLETON.—</span>The Practical Examinator on Steam -and the Steam-Engine:</p> - -<p class="ind less"> -With Instructive References relative thereto, arranged for the Use of -Engineers, Students, and others. By <span class="sc">Wm. Templeton</span>, Engineer.<br /> -12mo. <span class="price">$1.25</span></p> - -<p class="heading">THOMAS.—The Modern Practice of Photography.</p> - -<p class="ind less"> -By <span class="sc">R. W. Thomas</span>, F. C. S. 8vo., cloth. <span class="price">75</span></p> - -<p class="heading">THOMSON.—Freight Charges Calculator.</p> - -<p class="ind less"> -By <span class="sc">Andrew Thomson</span>, Freight Agent. 24mo. <span class="price">$1.25</span></p> - -<p class="head1"><span class="outdent"> -TURNING: Specimens of Fancy Turning</span> Executed -on the Hand or Foot Lathe:</p> - -<p class="ind less"> -With Geometric, Oval, and Eccentric Chucks, and Elliptical Cutting -Frame. By an Amateur. Illustrated by 30 exquisite Photographs.<br /> -4to. <span class="price">$3.00</span></p> - -<p><span class="pagenum"><a name="catpage21" id="catpage21"></a>[pg 21]</span></p> - -<p class="heading">Turner's (The) Companion:</p> - -<p class="ind less"> -Containing Instructions in Concentric, Elliptic, and Eccentric Turning: -also various Plates of Chucks, Tools, and Instruments; and Directions -for using the Eccentric Cutter, Drill, Vertical Cutter, and -Circular Rest; with Patterns and Instructions for working them. A -new edition in one volume, 12mo. <span class="price">$1.50</span></p> - -<p class="head1"><span class="outdent"> -URBIN.—</span>BRULL.—A Practical Guide for Puddling -Iron and Steel.</p> - -<p class="ind less"> -By <span class="sc">Ed. Urbin</span>, Engineer of Arts and Manufactures. A Prize Essay -read before the Association of Engineers, Graduate of the School of -Mines, of Liege, Belgium, at the Meeting of 1865-6. To which is added -<span class="sc">A Comparison of the Resisting Properties of Iron and Steel</span>. -By <span class="sc">A. Brull</span>. Translated from the French by <span class="sc">A. A. Fesquet</span>, Chemist -and Engineer. In one volume, 8vo. <span class="price">$1.00</span></p> - -<p class="heading">VAILE.—Galvanized Iron Cornice-Worker's Manual:</p> - -<p class="ind less"> -Containing Instructions in Laying out the Different Mitres, and Making -Patterns for all kinds of Plain and Circular Work. Also, Tables -of Weights, Areas and Circumferences of Circles, and other Matter calculated -to Benefit the Trade. By <span class="sc">Charles A. Vaile</span>, Superintendent -"Richmond Cornice Works," Richmond, Indiana. Illustrated -by 21 Plates. In one volume, 4to. <span class="price">$5.00</span></p> - -<p class="heading">VILLE.—The School of Chemical Manures:</p> - -<p class="ind less"> -Or, Elementary Principles in the Use of Fertilizing Agents. From the -French of <span class="sc">M. George Ville</span>, by <span class="sc">A. A. Fesquet</span>, Chemist and Engineer. -With Illustrations. In one volume, 12 mo. <span class="price">$1.25</span></p> - -<p class="head1"><span class="outdent"> -VOGDES.—</span>The Architect's and Builder's Pocket Companion -and Price Book:</p> - -<p class="ind less"> -Consisting of a Short but Comprehensive Epitome of Decimals, Duo-decimals, -Geometry and Mensuration; with Tables of U. S. Measures, -Sizes, Weights, Strengths, etc., of Iron, Wood, Stone, and various -other Materials, Quantities of Materials in Given Sizes, and Dimensions -of Wood, Brick, and Stone; and a full and complete Bill of -Prices for Carpenter's Work; also, Rules for Computing and Valuing -Brick and Brick Work, Stone Work, Painting, Plastering, etc. By -<span class="sc">Frank W. Vogdes</span>, Architect. Illustrated. Full bound in pocket-book -form. <span class="price">$2.00</span><br /> -Bound in cloth. <span class="price">1.50</span></p> - -<p class="heading">WARN.—The Sheet-Metal Worker's Instructor:</p> - -<p class="ind less"> -For Zinc, Sheet-Iron, Copper, and Tin-Plate Workers, etc. Containing -a selection of Geometrical Problems; also, Practical and Simple -Rules for describing the various Patterns required in the different -branches of the above Trades. By <span class="sc">Reuben H. Warn</span>, Practical Tin-plate -Worker. To which is added an Appendix, containing Instructions -for Boiler Making, Mensuration of Surfaces and Solids, Rules for -Calculating the Weights of different Figures of Iron and Steel, Tables -of the Weights of Iron, Steel, etc. Illustrated by 32 Plates and 37 -Wood Engravings. 8vo. <span class="price">$3.00</span></p> - -<p><span class="pagenum"><a name="catpage22" id="catpage22"></a>[pg 22]</span></p> - -<p class="head1"><span class="outdent"> -WARNER.—</span>New Theorems, Tables, and Diagrams -for the Computation of Earth-Work:</p> - -<p class="ind less"> -Designed for the use of Engineers in Preliminary and Final Estimates, -of Students in Engineering, and of Contractors and other non-professional -Computers. In Two Parts, with an Appendix. Part I.—A -Practical Treatise; Part II.—A Theoretical Treatise; and the Appendix. -Containing Notes to the Rules and Examples of Part I.; Explanations -of the Construction of Scales, Tables, and Diagrams, and a -Treatise upon Equivalent Square Bases and Equivalent Level Heights. -The whole illustrated by numerous original Engravings, comprising -Explanatory Cuts for Definitions and Problems, Stereometric Scales -and Diagrams, and a Series of Lithographic Drawings from Models, -showing all the Combinations of Solid Forms which occur in Railroad -Excavations and Embankments. By <span class="sc">John Warner</span>, A. M., Mining -and Mechanical Engineer. 8vo. <span class="price">$5.00</span></p> - -<p class="heading">WATSON.—A Manual of the Hand-Lathe:</p> - -<p class="ind less"> -Comprising Concise Directions for working Metals of all kinds, Ivory, -Bone and Precious Woods; Dyeing, Coloring, and French Polishing; -Inlaying by Veneers, and various methods practised to produce Elaborate -work with Dispatch, and at Small Expense. By <span class="sc">Egbert P. -Watson</span>, late of "The Scientific American," Author of "The Modern -Practice of American Machinists and Engineers." Illustrated by 78 -Engravings. <span class="price">$1.50</span></p> - -<p class="head1"><span class="outdent"> -WATSON.—</span>The Modern Practice of American Machinists -and Engineers:</p> - -<p class="ind less"> -Including the Construction, Application, and Use of Drills, Lathe -Tools, Cutters for Boring Cylinders, and Hollow Work Generally, -with the most Economical Speed for the same; the Results verified by -Actual Practice at the Lathe, the Vice, and on the Floor. Together -with Workshop Management, Economy of Manufacture, the Steam-Engine, -Boilers, Gears, Belting, etc., etc. By <span class="sc">Egbert P. Watson</span>, -late of the "Scientific American." Illustrated by 86 Engravings. In -one volume, 12mo. <span class="price">$2.50</span> -</p> - -<p class="head1"><span class="outdent"> -WATSON.—</span>The Theory and Practice of the Art of -Weaving by Hand and Power:</p> - -<p class="ind less"> -With Calculations and Tables for the use of those connected with the -Trade. By <span class="sc">John Watson</span>, Manufacturer and Practical Machine -Maker. Illustrated by large Drawings of the best Power Looms. -8vo. <span class="price">$10.00</span></p> - -<p class="head1"><span class="outdent"> -WEATHERLY.—</span>Treatise on the Art of Boiling Sugar, -Crystallizing, Lozenge-making, Comfits, Gum -Goods.</p> - -<p class="ind less">12mo. <span class="price">$2.00</span></p> - -<p class="heading">WEDDING.—The Metallurgy of Iron;</p> - -<p class="ind less"> -Theoretically and Practically Considered. By Dr. <span class="sc">Hermann Wedding</span>, -Professor of the Metallurgy of Iron at the Royal Mining -Academy, Berlin. Translated by <span class="sc">Julius Du Mont</span>, Bethlehem, Pa. -Illustrated by 207 Engravings on Wood, and three Plates. In one -volume, 8vo. (<i>In press.</i>) -</p> -<p><span class="pagenum"><a name="catpage23" id="catpage23"></a>[pg 23]</span></p> - -<p class="heading">WILL.—Tables for Qualitative Chemical Analysis.</p> - -<p class="ind less"> -By Professor <span class="sc">Heinrich Will</span>, of Giessen, Germany. Seventh edition. -Translated by <span class="sc">Charles F. Himes</span>, Ph. D., Professor of Natural -Science, Dickinson College, Carlisle, Pa. <span class="price">$1.50</span></p> - -<p class="heading">WILLIAMS.—On Heat and Steam:</p> - -<p class="ind less"> -Embracing New Views of Vaporization, Condensation, and Explosions. -By <span class="sc">Charles Wye Williams</span>, A. I. C. E. Illustrated. 8vo. <span class="price">$3.50</span></p> - -<p class="heading">WOHLER.—A Hand-Book of Mineral Analysis.</p> - -<p class="ind less"> -By <span class="sc">F. Wohler</span>, Professor of Chemistry in the University of Göttingen. -Edited by <span class="sc">Henry B. Nason</span>, Professor of Chemistry in the -Rensselaer Polytechnic Institute, Troy, New York. Illustrated.<br /> -In one volume, 12mo. <span class="price">$3.00</span></p> - -<p class="heading">WORSSAM.—On Mechanical Saws:</p> - -<p class="ind less"> -From the Transactions of the Society of Engineers, 1869. By <span class="sc">S. W. -Worssam</span>, Jr. Illustrated by 18 large plates. 8vo. <span class="price">$5.00</span></p> - -</div></div> -<hr /> - -<div class="tn"> - -<h4>Transcriber's Note</h4> - -<p>The Book Cover has been constructed by the transcriber and placed in the Public Domain.</p> - -<p>Sundry missing or damaged punctuation has been repaired.</p> - -<p>Both hyphenated and non-hyphenated variants of many words occur in -this book. All have been retained.</p> - -<p>This book has some older spellings or grammatical constructions, which have been -retained. Though published Philadelphia 1878, parts of the book date from 1856, -and would thus appear to pre-date modern American spelling conventions. -(See note on the Catalogue advertisements which were placed after the Index.)</p> - -<p>Any illustration which interrupted a paragraph was moved to a more convenient -location, between paragraphs.</p> - -<p>There is some discrepancy between the TOC and the book's layout. Some -rationalization has been attempted.</p> - -<p>'Blank work' appears to refer to blank book-keeping books sold by stationers for use in business offices.</p> - -<p>Pages 18-19, 67: Derome also appears as De Rome. (Index: Derome)</p> - -<p>Page 23: 'him' and 'self' re-joined over line-break.</p> - -<p class="ind">"Many of these he made himself of iron,..."</p> - -<p>Page 57: 'Societé' corrected to 'Société'.</p> - -<p class="ind">"... in a Memoir presented by him to the "<i>Société d' Encouragement</i>,"</p> - -<p>Page 78: 'faustic chips'; 'faustic' would appear to be correct. -From [http://www.] faculty.ucr.edu/~legneref/botany/tandye.htm#fusticdyes -"Tanning" ... "Wood Dyes" ... "Fustic":<br /> -This is the main source of natural yellows, olives and browns and ranks with -logwood in importance. It is used for leather and in combination with logwood -for silk, wool, nylon and rayon. It comes from the heartwood of Chlorophora -tinctoria, a forest tree of the West Indies, Central and South America. The -light-yellow wood turns a dark yellow-brown when exposed to air.<br /> -Faustic is exported as short logs, chips, powder or paste. -The dye is frequently called Old Fustic to distinguish it from Young Fustic, -once obtained from the twigs of Cotinus coggygria."</p> - -<p>Page 128: 'papier D'Anonay', should perhaps be 'papier D'Annonay'. -Also Page 150, so perhaps 'papier D'Anonay' was an accepted spelling (in the -bookbinding trade) at the time of publication.</p> - -<p>Page 151: 'STATIONERY OR VELLUM BINDING.' is 'Blank Binding' in TOC (p. 7).</p> - -<p>Page 181: "... but the character of the ornaments are generally dissimilar." is -as printed, though the author does seem to have confused his tenses.</p> - -<p>Page 203: 'anti-tiquities' corrected to 'antiquities' - letters duplicated at -line-break.</p> - -<p class="ind"> "... and illustrate the history, laws, customs, and antiquities,..."</p> - -<p>Pages 214-5: Plate 8.: 'Pattern's' corrected to 'Patterns'.</p> - -<p class="ind"> "Selection from Gaskill, Copper & Fry's Book of Patterns"</p> - -<p>Page 237 (also pp. 244, 246, 246. 250, 251, 252, 258, and Index): 'AQUA REGII' -corrected to 'AQUA REGIA' ('royal water' or 'king's water'), a mixture of nitric -acid and hydrochloric acid <span class="less2">(The transcriber could not find any reference to 'aqua regii', -and assumes it to be a spelling error by either the author or the printer.)</span>.</p> - -<p>'nitrous acid' corrected to 'nitric acid', which appears in the next paragraph.</p> - -<p class="ind"> "So called from its power to dissolve gold, is a - mixture of nitric acid (aquafortis) and muriatic - acid, (spirits of salts,)...."</p> - -<p>Page 244: 'OHANGE' corrected to 'ORANGE'.</p> - -<p>Page 289: If you have an older browser which does not display Latin reversed 'c', -here is a workaround, using instead Latin small letter open 'o' (which looks a bit similar):</p> - -<p class="center1c space-above2">TRANSLATION OF DATES.</p> - -<p class="ind">Many old books have their dates printed in a -manner which puzzles the finisher, should he be required -to date any so printed, which are too thin to -admit of its being done as on the title-page. The -following key is here given, as it may be found -useful in such cases:—<span class="sc">c</span>. 100; I<span class="lm">ɔ</span>, -or <span class="sc">d</span>, 500; <span class="sc">c</span>I<span class="lm">ɔ</span> -or <span class="sc">m</span>, 1000; I<span class="lm">ɔɔ</span>, 5000; -<span class="sc">cc</span>I<span class="lm">ɔɔ</span>, 10,000; -I<span class="lm">ɔɔɔ</span>, 50,000, -<span class="sc">ccc</span>I<span class="lm">ɔɔɔ</span>, 100,000. -Thus, <span class="sc">c</span>I<span class="lm">ɔ</span>, I<span class="lm">ɔ</span>, -<span class="sc">clxxxviii</span>—1688. -While on this subject, it may not be inappropriate -to notice the dating of some books printed -in France during the republic in that country. -Thus, "An. <span class="sc">xiii.</span>"—1805, that being the thirteenth -year of the republic, which commenced -in 1792.</p> - -<p>Page 313 et seq.: Some Index entries which had been transposed have been -returned to their correct places.</p> -<p>The dashes (——) in the index have been replaced by double spaces, - making it a simple nested list.</p> - -<p class="title4">INDEX:</p> - -<p>'Antique Dutch': Page number corrected from 29 to 123 (No 29.)</p> - -<p>'Maiolo, 17' corrected to 'Maioli, 18'. (also later occurrence)</p> - -<p>'Carved oak boards, description of, 12, 211'.</p> - -<p class="ind1">'precious stones let into, 12, 14.</p> - -<p>P. 211 had been incorrectly assigned to 'precious stones let into', -and the 'precious stones' are mentioned on pp. 12 and 14.</p> - -<p>'Edges, Burnishing': P. 125 corrected to 126.</p> - -<p>'Forwarding': p. 72 corrected to 73.</p> - -<p>'Hints to Book Collectors': p. 291 corrected to 292.</p> - -<p>'Mahogany sprinkle on leather': P. 252 corrected to 253.</p> - -<p>'Marbled cloth': p. 127 corrected to 128.</p> -<p>'Turning up': p. 72 corrected to 73.</p> - -<p class="title4">CATALOGUE:</p> - -<p>Page 1, et seq.: Catalogue of Practical and Scientific Books (etc.): -MM is an abbreviation for Messieurs. Abbreviations for technical and -professional qualifications, etc. are not always consistently spaced. They have -been retained as printed.</p> - -<p>Prices for books have been retained, as printed. Those less than $1.00, with a couple of -exceptions (50cts,) are printed, e.g. 63, 75, etc., aligned right.</p> - -<p>The spelling in the descriptions of books in the Catalogue sometimes depended on -whether the author was American or English.</p> - -<p>The word 'Price' appears only in the description of one book. It has been -retained.</p> - -<p>Page 13: The price was omitted from two of Miss Leslie's books.</p> -</div> - -<hr /> - -<div>*** END OF THE PROJECT GUTENBERG EBOOK 55056 ***</div> -</body> -</html> - diff --git a/old/old-2025-01-30/55056-h/images/042-200.jpg b/old/old-2025-01-30/55056-h/images/042-200.jpg Binary files differdeleted file mode 100644 index 9ef3b88..0000000 --- a/old/old-2025-01-30/55056-h/images/042-200.jpg +++ /dev/null diff --git a/old/old-2025-01-30/55056-h/images/042-600.jpg b/old/old-2025-01-30/55056-h/images/042-600.jpg Binary files differdeleted file mode 100644 index 2cd4175..0000000 --- a/old/old-2025-01-30/55056-h/images/042-600.jpg +++ /dev/null diff --git a/old/old-2025-01-30/55056-h/images/046-330.png b/old/old-2025-01-30/55056-h/images/046-330.png Binary files differdeleted file mode 100644 index 310eda1..0000000 --- a/old/old-2025-01-30/55056-h/images/046-330.png +++ /dev/null diff --git a/old/old-2025-01-30/55056-h/images/046-700.png 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