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.]