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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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