Part 9

Where the leader may have a great number of books to bind, he will find it an economy or a means to secure good work to hire a girl who is an experienced book-stitcher to come and work for him. He can thus be _sure_ of having his works _well_ sewed from top to bottom with strongest linen-thread in ancient style, instead of their being shabbily wired (and all wiring is shabby, since the thin does not hold, and the thick bursts the binding), or still more shabbily looped together with weak cotton-thread. This effected, he can easily do his own binding. He may not rival a Grolier, or turn out such exquisite “gems” as require to be kept in caskets, and are utterly unsuitable for use or reading, and, like most “elegant and unrivalled” modern binding, marvels of tooling and gilding. But he can most assuredly hope to bind strongly in parchment as books were bound in the olden time, and if he chooses to also ornament them with richly stamped leather covers, he can in a short time learn to do the latter, as may be seen in the _Manual of Leather-Work_.

The great test of excellence in a book is, Can it be freely handled and read without injury? The most careless examination of most books will convince the reader that this test is almost unknown. The exquisitely whitened vellum bindings of Florence and Venice, which are stained almost with the pressure of a lady’s clean finger; the photograph album, so beautifully stamped in leather as thin as blotting-paper, which scratches and wears into shabbiness in a week, if often opened--all the show-pieces of exhibitions will not endure _use_. And it seems as if, after all the binding of this decade shall have perished, that of the common, cheap books of the seventeenth century will be as good as ever.

A great number of the adhesives and cements mentioned in this book are quite applicable to mending bindings or making paper stick to paper, &c. The following is, however, not only a paste, but also a glaze, and is extensively used as such on labels, boxes, and cards:--

Boil borax with water, and work it thoroughly into caseine till it forms a clear, thick, and extremely adhesive cement, which is also much used to varnish leather or muslins.

It is often desirable to have a varnish or glaze for the covers of books, and still more frequently a paste, which will hold very firmly and yet not penetrate, as glue and paste very often do.

To make such a cement, mix heavy solution of warm glue with freshly made starch or flour-paste. Add to this one-fourth part of turpentine and one-fourth of spirits of wine. This excellent cement is applicable to many purposes.

To paper walls _well_ we make flour-paste, and to every quart add ten grammes of alum dissolved in hot water. Then wash the wall with glue-water, and cover the paper with the paste. The alum and glue form a combination which is leathery and insoluble, and not only arrests decay, but clings with great force. Most wall-paper put on with common paste decays more or less in time, and becomes simply poisonous.

A STRONG GUM OR ADHESIVE FOR PAPER, CARDBOARD WORK, OR BINDING:--

I.

Dissolve:--

Gilder’s glue 100 Water 200

Add to this:--

Bleached shellac 2 Alcohol 10

II.

Dissolve together:--

Dextrine 50 Water 50

Unite the two solutions thus formed; pass them through a cloth, so as to fall into a flat mould. When dry, use by dissolving in hot water.

AMERICAN GLAZE FOR POSTAGE-STAMPS:--

Dextrine 2 Vinegar 1 Water 5 Alcohol 1

Stamps are, however, very often surreptitiously removed by means of moisture. The following recipe renders this difficult. It consists of two preparations, one of which is applied to the stamp and one to the letter. It is particularly needed in America, where, according to a statement in a newspaper, _nearly one-third_ of all the postage-stamps are removed from letters, cleaned, and used over again.

I. _For the Letter._

Chromic acid 2.5 gr. Caustic potash 15.0 ” Water 15.0 ” Sulphuric acid 0.5 ” Sulphuric copper-oxide of ammonia 30.0 ” Fine paper 4.0 ”

II. _On the Stamp._

Sturgeon’s bladder in water 7.0 gr. Vinegar 1.0 ”

The chromic acid forms with the glue a substance insoluble in water, which causes the stamp not to yield to moisture. The two should be kept in two cups, and the letter first smeared with one and the stamp with the other. I have read of a physician who, finding that his postage-stamps were often stolen, adopted the precaution of giving their backs an application of croton-oil, or some similar powerful “anti-thief-matic,” the result of which was great temporary illness in his landlady and her family. For this recipe the reader must apply to a chemist!

EDER’S GUM FOR PHOTOGRAPHS.--Dissolve oxyhydrate of ammonia in vinous acid, to one part of which add twenty of starch-paste.

CEMENT FOR LEATHER OR PAPER IN BINDING BOOKS, &C.--Take 1 kilogramme of wheat-flour, and make it to a paste with 20 grammes of finely powdered alum. Boil this till a spoon will stand uptight in it. Cover the cardboard or cover with this, lay the leather or muslin upon it, and then with a roller press one upon the other. Leather should first be damped. Care must be taken that the paste be not too moist; secondly, that it is laid on very evenly and thinly.

Engravings or texts which have had a piece torn out can be restored as follows:--

Obtain a photograph from a perfect copy on corresponding paper, then with gum set it in, so as to supply the deficiency.

As the ravages of the _Book-worm_ form an important item in mending books, and as there is always some interest for collectors regarding this much talked of and rarely seen insect, I take the liberty of reproducing from the American _Science_ of March 24, 1893, an article on the subject. An appropriate motto for it might be:--

“Come hither, boy; we’ll hunt to-day The book-worm, ravening beast of prey.”

THE RAVAGES OF BOOK-WORMS

At a meeting of the Massachusetts Historical Society, held February 9, 1893, Dr. Samuel A. Green, after showing two volumes that had been completely riddled by the ravages of insects, as well as some specimens of the animals in various stages, made the following remarks:--

* * * * *

For a long period of years I have been looking for living specimens of the so-called “book-worm,” of which traces are occasionally found in old volumes; and I was expecting to find an invertebrate animal of the class of annelids. In this library at the present time there are books perforated with clean-cut holes opening into sinuous cavities, which usually run up the back of the volumes, and sometimes perforate the leather covers and the body of the book; but I have never detected the live culprit that does the mischief. For the most part the injury is confined to such as are bound in leather, and the ravages of the insect appear to depend on its hunger. The external orifices look like so many shot-holes, but the channels are anything but straight. From a long examination of the subject I am inclined to think that all the damage was done before the library came to this site in the spring of 1833. At all events, there is no reason to suppose that any of the mischief has been caused during the last fifty years. Perhaps the furnace-heat dries up the moisture which is a requisite condition for the life and propagation of the little animal.

Nearly two years ago I received a parcel of books from Florida, of which some were infested with vermin, and more or less perforated in the manner I have described. It occurred to me that they would make a good breeding farm and experiment station for learning the habits of the insect; and I accordingly sent several of the volumes to my friend Mr. Samuel Garman, who is connected with the Museum of Comparative Zoology at Cambridge, for his care and observation. From him I learn that the principal offender is an animal known popularly as the Buffalo Bug, though he is helped in his work by kindred spirits, not allied to him according to the rules of natural history. Mr. Garman’s letter gives the result of his labours so fully as to leave nothing to be desired, and is as follows:--

“MUSEUM OF COMPARATIVE ZOOLOGY, CAMBRIDGE, MASS., _February 7, 1893_.

“DR. SAMUEL A. GREEN, BOSTON, MASS.

“SIR,--The infested books sent for examination to this Museum, through the kindness of Mr. George E. Littlefield, were received July 15, 1891. They were inspected, and, containing individuals of a couple of species of living insects, were at once enclosed in glass for further developments. A year afterward live specimens of both kinds were still at work. Besides those that reached us alive, a third species had left traces of former presence in a number of empty egg-cases.

“Five of the volumes were bound in cloth. On these the principal damage appeared at the edges, which were eaten away and disfigured by large burrows extending inward. Two volumes were bound in leather. The edges of these were not so much disturbed; but numerous perforations, somewhat like shot-holes externally, passed through the leather, enlarging and ramifying in the interior. As if made by smaller insects, the sides of these holes were neater and cleaner cuttings than those in the burrows on the edges of the other volumes.

“The insects were all identified as well known enemies of libraries, cabinets, and wardrobes. One of them is a species of what are commonly designated ‘fish bugs,’ ‘silver fish,’ ‘bristle tails,’ &c. By entomologists they are called _Lepisma_; the species in hand is probably _Lepisma saccharina_. It is a small, elongate, silvery, very active creature, frequently discovered under objects, or between the leaves of books, whence it escapes by its extraordinary quickness of movement. Paste and the sizing or enamel of some kinds of paper are very attractive to it. In some cases it eats off the entire surface of the sheet, including the ink, without making perforations; in others the leaves are completely destroyed. The last specimen of this insect in these books was killed February 5, 1893, which proves the species to be sufficiently at home in this latitude.

“The second of the three is one of the ‘Buffalo Bugs.’ or ‘Carpet Bugs,’ so called; not really bugs, but beetles. The species before us is the _Anthrenus varius_ of scientists, very common in Boston and Cambridge, as in other portions of the temperate regions and the tropics. Very likely the ‘shot-holes’ in the leather-bound volumes are of its making, though it may have been aided in the deeper and larger chambers by one or both of the others. The damage done by this insect in the house, museum, and library is too well known to call for further comment. Living individuals were taken from the books nearly a year after they were isolated.

“The third species had disappeared before the arrival of the books, leaving only its burrows, excrement, and empty egg-cases, which, however, leave no doubt of the identity of the animal with one of the cockroaches, possibly the species _Blatta Australasiæ_. The cases agree in size with those of _Blatta Americana_, but have thirteen impressions on each side, as if the number of eggs were twenty-six. The ravages of the cockroaches are greatest in the tropics, but some of the species range through the temperate zones and even northward. An extract from Westwood and Drury will serve to indicate the character of their work:--

“‘They devour all kinds of victuals, dressed and undressed, and damage all sorts of clothing, leather, books, paper, &c., which, if they do not destroy, at least they soil, as they frequently deposit a drop of their excrement where they settle. They swarm by myriads in old houses, making every part filthy beyond description. They have also the power of making a noise like a sharp knocking with the knuckle upon the wainscotting, _Blatta gigantea_ being thence known to the West Indies by the name of drummer; and this they keep up, replying to each other, throughout the night. Moreover, they attack sleeping persons, and will even eat the extremities of the dead.’

“This quotation makes it appear that authors as well as books are endangered by this outlaw. With energies exclusively turned against properly selected examples of both, what a world of good it might do mankind! The discrimination lacking, the insect must be treated as a common enemy. As a bane for ‘silver fish’ and cockroaches, pyrethrum insect powder is said to be effectual. For a number of years I have used, on lepisma and roach, a mixture containing phosphorus, ‘The Infallible Water Bug and Roach Exterminator,’ made by Barnard & Co., 7 Temple Place, Boston, and, without other interest in advertising the compound, have found it entirely satisfactory in its effects. Bisulphide carbon, evaporated in closed boxes or cases containing the infested articles, is used to do away with the ‘Buffalo Bugs.’--Very respectfully yours,

“SAMUEL GARMAN.”

I can remember that many years ago there was to be seen in the bookshop of John Penington, Philadelphia, a book-worm preserved in spirits in a vial. The manner in which this species of teredo penetrates wood and leather as well as paper is not the least curious of its habits.

The great amount of injury inflicted by boring-insects in books, wood, and all weak substances is sufficient reason for giving so much space to this subject. From a ship to a manuscript, nothing is safe from them.

PAPIER-MÂCHÉ

REPAIRING TOYS--MAKING GROUNDS FOR PICTURES AND WALLS--CARTON-CUIR AND CARTON-PIERRE

Soft paper, when mixed with water, gum, or, better still, with flour-paste, forms a substance which can be moulded to any form, and which, when dry, will be as hard as cardboard. Its hardness and durability may be increased by mingling with it many substances.

Combined with soft leather in small fragments or with the dust of leather, it forms what the French call _carton-cuir_. In this, or even in its natural state--that is, paper and paste--_papier-mâché_, as it is termed, can under pressure be made as hard as any wood. I have seen all kinds of articles of furniture made from it. In America there are manufactories in which pails or buckets, tubs, firkins, and even durable boats, are thus manufactured. There is in Bergen, Norway, a church built entirely of it mixed with lime. For certain kinds of mending it is very valuable.

Though not so plastic as clay, _papier-mâché_ can, with a little practice, be moulded into any form. It consists simply of pasting piece on to piece, pressing it meantime as much as possible with the fingers or a wooden implement like a pestle. The pressure should be applied as it gradually dries. Any one can thus make very hard cardboard with a bread-roller on a board.

If you have the cardboard cover of a book badly damaged, with even a portion gone, it can be restored by using _papier-mâché_ in which a solution of glue or gum has been infused. Glue it specially at the edges. For such repairing take paper-dust or pulp, combined with gum-arabic in alum-water solution, or simply the gum. This is easily moulded and smoothed into any cracks or torn places.

If _parchment_ be torn away it is easily replaced. Cut a piece to replace the missing portion, dampen it and the edge which it is to join till quite soft, then glue the two together, using pressure. I have just effected this myself with a cover of which half was gone, and the mending is hardly visible. Use the broad knife freely to press down the edges.

By combination with a mixture of nitric or sulphuric acid and water, _soft_ paper becomes parchment-like and very hard. This requires careful experimenting, for its success depends on the quality of the acid and the texture of the paper. Very remarkable results have been obtained from this, such as material resembling ivory, horn, and tortoise-shell, in large blocks.

Waste-paper is so common and cheap that _papier-mâché_ can always be made anywhere. It is well adapted to close cracks in wood, walls, or elsewhere; and for those who wish for an employment or amusement, it affords endless facilities. One of these is the mending or making of toys.

A common mask is made as follows. On a face carved in wood and oiled there is spread common coarse soft paper wetted, which is carefully pressed down, and more paper and paste added, till it is of the requisite thickness. It is then, when rather dry, taken off and left to dry perfectly. It is then painted and varnished. Should a mask be broken, wet it, paste glue-paper over it, and paint it again.

_Papier-mâché_ is popularly synonymous with that which is trashy and sham in art, simply because its capacities and applications are not known. Thus leather-work was long despised as only affording imitations of carved wood. But in the hands of a true artist--that is, of an _original designer_, who applies, and not a mere artisan, who imitates or copies--_papier-mâché_ is as much a subject for art as any other material. It can be used in many ways, more or less allied to mending, as are all arts. Thus paper in fine powder, or reduced to a fine paste--or pulp--can be, with a little practice, mixed with gum and _painted_ with a brush on a surface so as to produce relief. A very little elevation or depression thus serves to produce grounds which may serve to give light or shadow to pictures. Thus pastel painting or crayon in colours rubbed in, which has always been, even in the most vigorous hands, a weak or “softly sweet” art, may be made very vigorous by firmly relieving and roughening the ground; for, as the great American painter, ALLSTON, often strengthened his colours by mixing sand with them, so pastel painting which lacks “sand” can have it supplied by mixing it with the gum for the ground.

To understand this process more clearly, let it be observed that, as the illuminators of mediæval manuscripts gave relief and the appearance of solidity to gold by making a raised surface with a powder of _gesso_ (plaster of Paris) and clay and gum, so this principle can be carried out to a far greater extent by giving relief to a ground. Here those of limited views, who never get beyond the merely artisan stage of art, will at once decry this as shamming, and as imitating effect by the aid of modelling, and not being true art, quite forgetting that all is true to genius, and everything more or less sham in the mere imitation.

Having a surface, either panel or Bristol board, which latter had better be pasted to a panel or good thick solid cardboard, begin by taking a little gum or glue in tolerably fluid solution on the point of a brush, and incorporating with it the paper pulp or cloth-dust to a very soft paste, with which paint what is to be in relief. The same effect is produced in oil by using a heavier, thicker kind of paint. That is all the difference, one being as legitimate as the other. By intermixing chalk or sand or clay, and by using glass-paper where the crayon, &c., refuse to take easily, the relief adapts itself to every substance. In this, as in every process known, the artist must at first experiment a little, according to his materials.

Solid sheets of fine hard paper, with strong paste between, when passed between rollers form a kind of _papier-mâché_ which, is as hard as wood, fire-proof, and, what is most singular, more durable than iron. Wheels for railway carriages are often made of it, and they never warp under the action of heat or cold, neither do they crack nor bend. You can make this cardboard for yourself of very good quality by this process:--Take a sheet of writing-paper--the better the quality the better the result will be--cover it with good flour-paste in which there is a little alum and glue and a few drops of oil of cloves, which latter will prevent paste from turning or souring. Then lay on this another sheet, apply another coat of paste, and when it is a little dry or past the softer stage, yet while still capable of adhesion, lay the sheets on a hard, smooth slab or table, and pass a roller over them, at first gently, but eventually frequently, and with force. Add as many sheets as necessary for the thickness required. It will be understood that if the surface on which this sheet is formed were an intaglio-cut die or mould, the cardboard when taken up would present a bas-relief of it as hard as any wood, and the whole would form a panel which could be used for the side of a box or to be set in a cabinet. If made of good paper and firmly rolled, this panel will be in every respect equal to wood for all decorative purposes.

As anybody who can carve wood at all can cut moulds, and as a wooden mould, if kept well oiled (or otherwise secured from yielding to moisture), will serve for _papier-mâché_ and leather or wood-paste casting, it is remarkable that such work is so very little practised by the students of the minor arts. That such panels can be very easily and rapidly made I know by experience; that the materials for the work are cheap speaks for itself; and, finally, that beautiful panels for cabinets and doors, whether made of carved wood, stamped leather, or _papier-mâché_ bring a very good price will also be most apparent to anybody who will go to a fashionable cabinetmaker and order them. Thus we will say that a small plain cabinet costs £5. Put into it six panels, really costing about 6d. each to mould, and the price will be £10. Such pressed panels are admirably adapted for binding books, as, when properly made and dried, they cannot warp or bend. If covered with relief they may be made very beautiful. Simply blackened or browned, then rubbed with oil, varnished with SOEHNÉE, No. 3, and rubbed by hand, they are as beautiful as polished wood or leather.

_Papier-mâché_, pulp, or paper powder can be combined with caoutchouc or indiarubber, which latter can be itself dissolved in benzine, camphine, sulphuric ether, and other solvent mediums, so as to form a paste which becomes like indiarubber when dry or as it hardens. Mixed with sulphur this forms vulcanite. Or it may be combined with white colouring matter of almost any kind. This can be applied to mending the broken noses of dolls, or any other wounds which these pretty semblances of humanity often receive, their beauty being unfortunately generally more shortlived than that of their prototypes. The final finish of such reparation is a coat of paint. In many cases this is better when rubbed on with the finger than when directly painted. The reader who shall have studied this work will find no difficulty in restoring any toy.

I may, however, here remark that “no solution of india rubber can be well moulded without intimate intermixture of sulphur, aided by heat and pressure. This is a difficult process, and the amateur would do well, therefore, to purchase rubber composition, which he may do at any large shop in which rubber goods are made as a specialty” (_Work_, May 21, 1892).