CHAPTER XXIV.

WASHING AND CLEANING.

The binder is often called upon to clean books; to many he is a sort of Aladdin, who makes old books into new; the consequence is that he often has placed in his hands a lot of dirty, miserable-looking books, and is expected to turn them into first-class copies. To renovate such books requires time and experience, and unfortunately very little is known among binders as a body about cleaning. Outside the trade, I am sorry to say, even less is known, for if a book be received from a binder bleached, it seems to satisfy the owner, and to be all that is desired. By such treatment of bleaching a quantity of lime is generally left in the paper, the goodness is destroyed, and naturally the paper must suffer in a short time. To test such treatment one has only to apply the tongue to the paper, it will at once absorb any moisture, as blotting paper does, and often the lime can be distinctly tasted.

But books are often washed and given out to the binder to rebind in this state. In such a case it remains with the binder not to associate himself with the book; for if he rebinds such a book the stigma will attach itself to him when the period of rotting, falling to pieces, and other misfortunes has arrived.

It is the practice of many who profess to wash books or prints to use chlorine at every washing; this is not necessary; often a simple bath of hot water, with perhaps the |158| addition of a little alum, is all that is required. An important thing is to know the different kinds of stains when looking through the book; there may be many in one book, each from a different cause. In such a case it will be best to go for the majority, and to use the bath that will move them. Often the one bath is sufficient, but should there be any stains that are not touched, these leaves must be treated again.

When there are stains of different character in the one book, such as oil stains on a few leaves, and, say, coffee stains in other parts, the oil must be first removed; the one bath will not touch both stains.

Often when the bath is used wrongly it will fix the stain in the paper, and not remove it, the chemical used acting as a mordant.

It is impossible for me to describe the various stains, the intelligence of the workman must be brought to bear on the subject; and I advise a small memo. book be used to jot down the difficulties that may occur from time to time, and so to act as a guide for future work; to the use of such a book I am enabled to lay before my readers the methods of working with the various receipts collected in France and Germany, and used by me in my business.

To wash a book it is absolutely necessary to pull it to pieces. Should there be much glue on the back, and difficulty arise in the pulling, the book may be treated as given in Chapter II.: or sections of six or eight sheets may be left together; the hot water and soaking to which the book will be subjected in the washing will dissolve the glue or paste that may be on the back, and the sheets will readily part whilst in the solution. Washing must be conducted with great care; the handling of the wet sheets will demand the most delicate touch, for one can reasonably understand that paper left in water for twelve or more hours is likely to be very tender. In nearly every case when a book has been washed it will be found necessary to size it: the size |159| gives back the body or goodness that the hot water and chemical has extracted. Often the virtue is extracted by damp, through the book being left in some damp situation, or by imperfect sizing the paper has first received; in such cases, although the book may not require washing, sizing will be of benefit.

_Requisites._—The necessary articles required for washing, etc., are dishes. Those of porcelain are perhaps the best; they may be bought at any photographic material dealers. If much work is done, it is advantageous to have a set or sets of two or three sizes. In using the various dishes, ample room should be given to allow the hands to enter the water and pick up the sheets or leaves without any danger of tearing. Should the pans be of such a size as to be too heavy to move when full of water, they may be emptied by means of a syphon, the short end of the syphon placed, in preference, at one of the corners of the dish, so as not to touch the sheets. The dishes may also be made of wood, lined with zinc or lead: for very large work these must be used, the porcelain are not made above a certain size.

A _kettle_ for boiling water in.

A _gas-stove_, or substitute, for heating purposes.

A _peel_, made of wood, to hang the sheets on the lines. The sheets are placed on the peel, from which they are transferred to the lines.

_Chloride of lime for solution of chloride of lime._—Make a saturated solution of chloride of lime by mixing intimately the lime with water in a large jar. When clear the solution may be used. To every gallon of hot water take from this stock solution two or three ounces.

NOTE.—_Chlorine bleaches all vegetable matter._

_Hydrochloric acid_, also known as muriatic acid or spirits of salts (poison).

_Oxalic acid_ (poison).

_Powdered alum._ |160|

A _hair sieve_. This is not absolutely necessary, as a fine piece of linen will answer as well.

_Size_:—

(1.) 1 quart of water. 1/2 ounce of powdered alum. 1 ounce of isinglass. 1 scruple of soap.

Simmer the whole for about one hour, then pass through a fine hair sieve or piece of linen. Use this whilst warm.

(2.) 1 gallon of water. 1/2 lb. of best glue. 2 ounces of powdered alum.

Simmer and use as above.

(3). 1 quart of water. 2-1/2 ounces of isinglass. 2 drachms of alum.

Simmer the whole for about one hour, strain as above.

It must be remembered that a size too strong in glue or isinglass is liable to make the paper too brittle; again, some papers require a stronger size than others.

(4). A size that may be used cold, and is recommended in France, to keep at hand and to use when only a single leaf requires sizing, such as when a name has been erased from a title-page, is as follows:—Boil about a quart of water in a saucepan. Whilst boiling, add about two oz. of shellac and 1/2 oz. of borax; the borax will dissolve the shellac, which will be held in suspension; the whole must then be passed through a fine hair sieve, or piece of linen, to rid it of all pieces or impurities. This will keep a very long time, and may be used over and over again.

Great care must be exercised that not too much shellac is used, or the paper will be rendered transparent. |161|

MANIPULATION.

_Dust._—The careful application of india-rubber or bread will generally take away all dust. In using india-rubber, hold the sheet or leaf down by the left hand, and rub gently away from it. If the rubber is used in a to and fro motion, there is great danger of the sheet doubling back and breaking. The bread may be used in a circular motion; and if a book be cleaned from dust by this means without pulling to pieces, all crumbs must be brushed away from the back very carefully before closing the book.

_Water stains._—If the stains be from water, the application of boiling water and alum will take them out. This stain is the one most usually found in books, it may be distinguished from other stains by leaving a mark having a sharp edge.

To take such a stain away, pull the book to pieces, strew on the bottom of the pan a handful of powdered alum, on this pour a quantity of boiling water. Immerse each section leaf by leaf in the liquid, and allow to remain for some hours. It may be found rather difficult to get the sheets to go under the water; and as one cannot press them under by hand, on account of the heat, make a substitute by wrapping strips of linen on the end of a piece of wood; keep this handy, it will be found very useful; being round at the end, and soft, it does not tear or go through the paper, as will anything sharp.

The alum water will, after a time, become very discoloured; this is only the stain and other dirt extracted from the paper; throw this away by tipping the dish, or by the use of the syphon; add fresh water, either warm or cold, but preferably warm, to dissolve any excess of alum that may have soaked into the paper, and to further clear it. After a time the whole book may be taken out, placed between pressing boards, and excess of water pressed away by the laying |162| press. The sections are then carefully opened, and hung upon lines or cords stretched across the workshop to dry. When dry, should the paper require it, pass the whole book, section by section, or leaf by leaf, through a size, press, and again hang up to dry. When dry, it will be ready for re-binding. It may happen that only a single leaf is stained; do _not cut_ this out as is usually done, but wet a piece of fine string, which lay on the leaf as far in the back as possible; close the book and allow to remain a few minutes; the leaf may then be readily drawn out, the moisture of the string having made the paper soft where it was placed. It may then be cleaned, and when dry and pressed, replaced.

_Damp stains_ may be treated as for water stains, but, as a rule, a book damaged by damp has little or no chance of being made good again. A book so damaged can only be strengthened by re-sizing or some artificial means. To re-size leaves that cannot be plunged into the solution, the sizing may be done with a soft brush. Place the leaf on a piece of glass or marble, and use the brush to the leaf as one would do in pasting; when sized, lift the leaf up very gently and lay it out on paper to dry; when dry, the reverse side is treated in like manner; or a thin paper of a transparent character may be pasted over the pages, either on one or both sides.

_Mud._—Luckily a book stained with mud is not of frequent occurrence. Mud seems to be a combination of all that is objectionable, generally it is a mixture of iron and grease. Wash the leaf well in cold water, then in a weak solution of muriatic acid, after which, plunge in a weak solution of chloride of lime. Rinse well, dry, and size. Sometimes it will be necessary to wash the leaf with soap water. Make a soap solution, and gently go over the whole sheet with a soft brush, a shaving brush for instance; this may be done by laying the leaf on a slab of glass: use great care with |163| the brush, or the surface of the paper will be abraised; after which, rinse well with water.

Very often such stains, if fresh, will disappear if a fine jet of water be allowed to play on the parts dirtied, the water being ejected through a fine rose jet.

_Fox-marks._—Books so stained may generally be cleaned by immersing the leaves into a weak solution of hydrochloric acid; one must not make the bath too strong, 1/2 ounce of the acid to 1 pint of water, using the bath hot, will be found about right. Should the marks not give to this treatment, plunge the book, sheet by sheet, into a weak bath of chlorine water. The book may be left in for some hours, taken out and replaced in the hydrochloric bath; after a half hour it may be rinsed with cold water, hung up to dry, and sized.

_Finger-marks, commonly called “thumb-marks.”_—These are the most difficult to erase, the dirt being generally of a greasy nature, and forced into the fibres of the paper. Make a jelly of white or curd soap, apply to the stain, and leave it on for some time, then wash away gently by means of a soft brush _while the leaf is in cold water_; this will, as a rule, take all, or nearly all, away. A slight rinsing in very weak acid water, again with cold water, and when dry size.

_Blood stains._—The leaves stained must be plunged into cold water; when thoroughly soaked, the stains may be washed with a soft brush charged with soap, then well rinsed with water again. Dry.

If hot water be used, the heat renders the albumen of the blood insoluble, and the stain will be difficult to erase.

_Ink stains (writing)._—Some inks are more difficult to erase than others. As a rule ink gives way if the writing be treated with a solution of oxalic acid, and afterwards to a weak solution of chloride of lime. It is perhaps better to immerse the whole leaf in the solution, as the lime is likely to bleach and leave a mark; the leaf should in any |164| case be plunged in warm water afterwards, to wash away the lime and acid, and, after drying, it should be sized.

_Ink stains (marking ink, silver)_ may be removed by a solution of tincture of iodine; nitrate of silver, the basis of the ink, is changed into iodide of silver, this is then treated with a solution of cyanide of potassium. It may perhaps be necessary to repeat this two or three times; when quite dissolved out, it must be well washed. As the cyanide is a deadly poison, one may substitute _hyposulphite of sodium_.

_Fat stains._—(1.) Place a piece of blotting-paper on each side of the stain, apply a hot polishing iron very carefully to the paper; this will, in most cases, melt the fat, which will be absorbed by the blotting-paper.

(2.) Scrape pipe clay, or French chalk, which place on the stain, then use the hot iron. The iron must not be used too hot, or the paper will be scorched; a piece of paper should always be placed between the iron and the leaf stained. The powder may be afterwards brushed away.

(3.) May be removed by washing the leaf with ether, or benzoline, placing a pad of blotting-paper under and over the leaf, dabbing the benzoline or ether on the spot with a piece of cotton wool. This process must not be conducted near a flame, both are highly inflammable.

(4.) A mixture of 1 part nitric acid, 10 parts water, is useful in many instances for oil stains. When erased, plunge the whole sheet or leaf into water, changing the water several times. Dry and size.

_Ink._—When the writing-paper has been made from inferior rags bleached with excess of chlorine the best ink becomes discoloured.

_Reviving old writings._—(1.) Brush the paper over carefully with a solution of sulpho-cyanide of potassium (1 in 20). Then, while still damp, hold over a dish containing hot muriatic acid; the writing will develop deep red. |165|

(2.) Wash the writing with a very weak solution of hydrochloric acid, then carefully apply infusion of galls.

(3.) For letters that have been in sea water, wash with warm water to remove the salt, then soak in weak solution of gallic acid, about 3 grains to the ounce. If this does not make the writing legible enough, wash thoroughly in clean water, and soak in a solution of protosulphate of iron, 10 grains to the ounce.

_To restore writing effaced by chlorine._—(1.) Expose the writing to the vapour of sulphuret of ammonia, or dip it into a solution of the sulphuret.

(2.) Ferro-cyanide of potassium, 5 parts. Water, 85 parts.

Dissolve and immerse the paper in the fluid, then slightly acidulate the solution with sulphuric acid.

Guitaud discovered that sulphuret of ammonia and prussiate of potash revives writing effaced by oxymuriatic acid.

_To restore MSS. faded by time._—A moderately concentrated solution of tannin washed over the paper. The MS. to be carefully dried.

_To preserve drawings or manuscripts._—Mix with every 100 parts of collodion 2 parts of sterine. Place the paper in question on a perfectly level and even surface, such as a marble table or large slab of glass. Give the paper a thin coat of this collodion, and in about twenty minutes it will be protected by a transparent, brilliant, and imperishable envelope.

_To fix drawings or pencil marks._—Pass the paper through a bath of thin size, made either from gelatine or isinglass; or a bath of skim milk.

_To render paper waterproof._—Take of borax 100 parts, water 2,250 parts; boil, and while stirring, gradually add powdered shellac 300 parts. When the whole is dissolved, strain through muslin. This will keep a long time and may be bottled. |166|

_To render paper incombustible._—Pass the paper through a strong solution of alum, and hang up to dry.

The following, taken from the “English Mechanic,” June 19th, 1874, is, I think, of great use to the professional restorer of old books, and will give the binder an idea of what has to be done sometimes:—

“DECIPHERING BURNT DOCUMENTS.

“M. Rathelot, an officer of the Paris Law Courts, has succeeded in an ingenious manner in transcribing a number of the registers which were burnt during the Commune. These registers had remained so long in the fire that each of them seemed to have become a homogeneous block, more like a slab of charcoal than anything else; and when an attempt was made to detach a leaf it fell away into powder.

“He first cut off the back of the book; he then steeped the book in water, and afterwards exposed it, all wet as it was, to the heat at the mouth of a warming pipe (_calorifère_). The water as it evaporated raised the leaves one by one, and they could be separated, but with extraordinary precaution. Each sheet was then deciphered and transcribed. The appearance of the pages was very curious—the writing appeared of a dull black, while the paper was of a lustrous black, something like velvet decorations on a black satin ground, so that the entries were not difficult to decipher.”

_Insects._—A library has generally three kinds of enemies to be guarded against, viz.: insects, dampness, and rats or mice.[12]

[12] Blades, in his “Enemies of Books,” includes bookbinders.

Everyone is supposed to know how to guard against dampness and rats or mice. Several means are known how to keep insects at a distance. The first consists in the |167| proper choice of woods for the book-case: these are cedar, cypress, mahogany, sandal, or very dry and sound oak. All these are compact or of very strong aroma, and are such as insects do not like to pierce. Another source of danger is the use of chemicals in the binding of books.

The insects that make ravages in books multiply very rapidly, and very few libraries are free from them. The microscopic eggs that are left by the female give birth to a small grub, which pierces the leather boards and book for its nourishment, and to get to the air. These are familiarly called bookworms, but by the scientific world they are known as _hypothenemus eruditus_ which eats the leather, and _anobium striatum_ which bores through the paper. The larvæ of the _dermestes_ also attack wood as well as books.

An instance of how these insects were once managed:—M. Fabbroni, Director of the Museum of Florence, who possessed a magnificent library, found, after a year’s absence, in the wood and furniture, great havoc made by insects, and his books spoilt by the larvæ, so much so that it gave a fair promise of the total destruction of the whole, unless he could find a method to exterminate the pests. He first painted the holes over with wax, but shortly after he found new worms which killed every particle of wood they touched. He plunged the ordinary wood in arsenic and oil, and other portions he anointed once every month with olive oil, in which he had boiled arsenic, until the colour and odour announced that the solution was perfect. The number then diminished. But a similar method could not be employed for books. M. Fabbroni resolved to anoint the back and sides with aquafortis; in an instant the dermestes abandoned their habitation, and wandered to the wood; the oil having evaporized they commenced to develop again, and again began their attacks on the newly bound books. He saw amongst the many spoilt books one |168| remaining intact, and on inquiry found that turpentine had been used in the paste. He then ordered that for the future all paste should be mixed with some such poison. This precaution had the _beneficial_ result.

It is not only in Europe that these worms make such ravages in libraries. In the warmer climes they appear to be even more dangerous. And it is a fact that certain libraries are almost a mass of dust, by the books (and valuable ones) falling to pieces. Nearly all authors on this subject agree that the paste which is used is the first cause, or a great help, to all the waste committed by these dangerous _bibliophobes_. Then something must be put into the paste which will resist all these insects and keep them at a distance. The most suitable for this is a mineral salt, such as alum or vitriol; vegetable salts, such as potash, dissolve readily in a moist air and make marks or spots in the books. From experience, it is most desirable to banish everything that may encourage worms, and as it is very rare that persons who occupy themselves with books are not in want of paste, for some repairs or other, either to the bindings or to the books, subjoined is a method of preserving the paste and keeping it moist and free from insects.

Alum, as employed by binders, is not an absolute preservative, although it contributes greatly to the preservation of the leather. Resin as used by shoemakers is preferable, and in effect works in the same way; but oil of turpentine has a greater effect. Anything of strong odour, like aniseed, bergamot, mixed perfectly but in small quantities, preserves the paste during an unlimited time.

Or, make the paste with flour, throw in a small quantity of ground sugar and a portion of _corrosive sublimate_. The sugar makes it pliant and prevents the formation of crust on the top. The sublimate prevents insects and fermentation. This salt does not prevent moisture, but as two or |169| three drops of oil are sufficient to prevent it, all causes of destruction are thus guarded against. This paste exposed to the air hardens without decomposition. If it is kept in an air-tight pot or jar, it will be always ready, without any other preparation.

Books placed in a library should be thoroughly dusted two or three times a year, not only to keep them in all their freshness, but also to prevent any development of insects and to examine for signs of dampness. The interior of a book also asks that care, which unfortunately is neglected very often. After having taken a book from the shelves it should not be opened before ascertaining if the top edge be dusty. If it is a book that has had the edge cut, the dust should be removed with a soft duster, or simply blown off. If it is a book which has uncut edges it should be brushed with rather a hard brush. By this method in opening the volume one need not be afraid that the dirt will enter between the leaves and soil them.

_Glue._—The best glue may be known by its paleness, but French glue is now manufactured of inferior quality, made pale by the use of acid, but which on boiling turns almost black. Good glue immersed in water for a day will not dissolve, but swell, while inferior will partly or wholly do so, according to quality.

In preparing glue, a few cakes should be broken into pieces and placed in water for twelve hours, then boiled and turned out into a pan to get cold; when cold, pieces may be cut out and placed in the glue-pot as wanted. This naturally refers to when large quantities are used, but small portions may be boiled in the glue-pot after soaking in water.

Glue loses a great deal of its strength by frequent re-melting. It should always be used as hot as possible.

_Rice glue or paste._—By mixing rice flour intimately with |170| cold water, and then gently boiling it, a beautifully white and strong paste is made. It dries almost transparent, and is a most useful paste for fine or delicate work.

_Paste._—For ordinary purposes paste consists simply of flour made into a thin cream with water and boiled. It then forms a stiffish mass, which may be diluted with water so as to bring it to any required condition. It is sometimes of advantage to add a little common glue to the paste. Where paste is kept for a long time, various ingredients may be added to prevent souring and moulding. A few cloves form perhaps the best preservative for small quantities; on the larger scale carbolic acid may be used; salicylic acid is also a good preservative, a few grains added to the freshly prepared paste will entirely prevent souring and moulding.

Paste is now made on a commercial scale by various Paste Cos., who send it out to all parts. The paste is exceedingly good, and keeps a long time.

_Photographs._—A few words respecting the treatment of photographs may not be out of place here.

To remove a photograph from an old or dirty mount, the surplus of the mount should be cut away; it should then be put into a plate of cold water and be allowed to float off. A little warm water will assist in its coming away more easily, but should it not do so, the photograph has probably been mounted with a solution of india-rubber, and in that case, by holding it near the fire, the rubber will soften, and the print may easily be peeled off.

Very hot water is likely to set up a reaction if the prints were not well washed by the photographer when first sent out.

In mounting photographs, white boards should, as a rule, be avoided, because the colour of the boards is more pure than the lights of the photograph, and deaden the effect. A toned or tinted board is more suitable. |171|

They should be damped, and evenly trimmed and pasted all over with thin best glue or starch, and well rubbed down with a piece of clean paper over the print. If any of the glue or starch oozes out from the sides, it should be wiped off with a clean damp sponge. As photographs lose their gloss in mounting, they must be rolled afterwards in order to restore it. A special machine is used for this.

But it may be wished to introduce the silver print without mounting on a board. To do so, and to keep the print straight, paste a very thin paper on the back, stretching the paper well; this will counteract the pulling power albumen has, and the print will, if this be done properly, remain perfectly straight and not curl up.

_Albumen._—Desiccated egg-albumen is now well known in the market in the form of powder. Three teaspoonfuls of cold water added to every 1/2 teaspoonful of powder represents the normal consistency of egg-albumen.[13]

[13] See Chapter on Finishing—“Albumen.”

The manufacture of egg-albumen in the neighbourhood of Moscow is carried on in the houses of the country people. The albumen however is generally roughly prepared and of bad appearance, and often spoils. But egg-albumen is also produced on a manufacturing scale in the neighbourhood of Korotscha, the largest establishment there numbering sixty to seventy workwomen, using about eight million eggs yearly, other establishments using less in proportion.

Albumen is also largely manufactured from blood; 5 oxen or 20 sheep or 34 calves are said to yield the same quantity of dry albumen, viz., 2 lbs. In producing blood-albumen for commerce, the objects borne in mind are the attainment of a substance whose solution is free from colour, possesses coagulation, and which is cheap.

_To prevent tools, machines, etc., from rusting._—Boiled linseed oil, if allowed to dry on polished tools, will keep them |172| from rusting; the oil forms a coat over them which excludes contact from air.

Dissolve 1/2 oz. of camphor in 1 lb. of lard; take off the scum, and mix as much blacklead as will give the mixture an iron colour. All kinds of machinery, iron or steel, if rubbed over with this mixture, and left on for 24 hours, and then rubbed with a linen cloth, will keep clean for months.

_To clean silver mountings._—To restore the colour of tarnished silver clasps, etc., boil the goods, either silver or plated, in enough water to cover them. For every pint of water put into it 2 ounces of carbonate of potash and a 1/4 lb. of whiting. After boiling them for about a quarter of an hour, clean with a leather, brush, and whiting. They will then look as good as new.

_To clean sponges._—Soak the sponge well in diluted muriatic acid for twelve hours. Wash well, then immerse in a solution of hyposulphate of soda to which a few drops of muriatic acid has been added a few moments before. When sufficiently bleached, wash well, and dry in a current of air.

|173|

GLOSSARY

OF THE

TECHNICAL TERMS AND IMPLEMENTS USED IN BOOKBINDING.

ALL-ALONG.—When a volume is sewed, and the thread passes from kettle-stitch to kettle-stitch, or from end to end in each sheet, it is said to be sewed “all-along.”

ARMING PRESS.—A species of blocking press used by hand; so called from the use of it to impress armorial bearings on the sides of books.

ASTERISK.—A star used by printers at the bottom of the pages meant to supply the places of those cancelled (_see also_ CANCEL).

BACKING BOARDS.—Used when backing and for forming the groove. They are made of very hard wood, and sometimes faced with iron; are thicker on the edge intended to form the groove than upon the edge that goes towards the foredge, so that the whole power of the lying press may be directed towards the back.

BACKING HAMMER.—The hammer used for backing and rounding; it has a broad flat face similar to a shoemaker’s hammer.

BACKING MACHINE.—A machine for backing cheap work.

BANDS.—The cord whereon the sheets of a volume are sewn. When a book is sewn “flexible” the bands appear upon the back. When the back is sewn so as to imbed the cord in the back, the appearance of raised bands is produced by gluing narrow strips of leather across the back before the volume is covered.

BAND DRIVER.—A blunt chisel used in forwarding, to correct any irregularities in the bands of flexible backs.

BAND NIPPERS.—Flat pincers used for nipping up the band in covering.

BEADING.—The small twist formed when twisting the silk or cotton in head-banding.

BEATING HAMMER.—The heavy short-handled hammer used in beating (generally about 10 lbs.).

BEATING STONE.—The bed on which books are beaten.

BEVELLED BOARDS.—Very heavy boards with bevelled edges; used for antique work.

BLEED.—When a book has been cut down into the print it is said to have been bled.

BLIND-TOOLED.—When a book has been impressed with tools |174| without being gilt, it is said to be “blind-tooled” or “antique.”

BLOCKING PRESS.—Another and more general term for the arming press; one of the chief implements used in cloth work. Used for finishing the side of a cover by a mechanical process.

BLOCKS OR BLOCKING TOOLS.—An engraved stamp used for finishing by means of the blocking press.

BOARDS.—Are of various kinds, each denoting the work it is intended for, such as pressing boards, backing, cutting, burnishing, gilding, etc.

BODKIN.—A strong and short point of steel fixed in a wooden handle, for making the holes through the mill-boards. The slips upon the back of the book are laced through the holes for attaching the mill-board to the book.

BOLE.—A red earthy mineral, resembling clay in character, used in the preparation for gilding edges.

BOLT.—The fold in the head and foredge of the sheets. The iron bar with a screw and nut which secures the knife to the plough.

BOSSES.—Brass or other metal ornamentations fastened upon the boards of books; for ornament or preservation.

BROKEN OVER.—When plates are turned over or folded a short distance from the back edge, before they are placed in the volume, so as to facilitate their being turned easily or laid flat, they are said to be broken over. When a leaf has been turned down the paper is broken.

BURNISH.—The gloss produced by the application of the burnisher to the edges.

BURNISHERS.—Pieces of agate or bloodstone affixed to convenient handles.

CANCELS.—Leaves containing errors which are to be cut out and replaced by corrected pages (_see_ ASTERISK).

CAP.—The envelope of paper used to protect the edges while the volume is being covered and finished.

CASE-WORK.—When the cover is made independent of the book, the book being afterwards fastened into it. Refers principally to cloth and bible work.

CATCH-WORD.—A word used and seen in early printed books at the bottom of the page, which word is the first on the following page. To denote the first and last word in an encyclopædia or other book of reference.

CENTRE TOOLS.—Independent tools cut for the ornamentation of the centre of panels and sides.

CLASP.—The hook or catch used for fastening the boards together when the book is closed; used formerly on almost every book.

CLEARING-OUT.—Removing the waste-paper, and paring away any superfluous leather upon the inside, preparatory to pasting down the end-papers.

CLOTH.—Prepared calico, sometimes embossed with different patterns, used for cloth bindings.

COLLATING.—Examining the sheets by the signatures after the volume has been folded, |175| to ascertain if they be in correct sequence.

COMBS.—Instruments with wire teeth used in marbling.

CORNERS.—The triangular tools used in finishing backs and sides. The leather or material covering the corners of half-bound books. The metal ornaments used usually in keeping with clasps.

CROPPED.—When a book has been cut down too much it is said to be cropped.

CUT DOWN.—When a plough-knife dips downward out of the level it is said to “cut down”; on the contrary, if the point is out of the level upwards it is said to “cut up.”

CUT UP.—Same as the last explanation.

DIVINITY CALF.—A dark brown calf used generally for religious books, and worked in blind or antique.

DENTELLE.—As the word expresses. A style resembling lace work, finished with very finely cut tools.

DOUBLED.—When in working a tool a second time it is inadvertently not placed exactly in the previous impression, it is said to be “doubled.”

EDGE-ROLLED.—When the edges of the boards are rolled, either in blind or in gold.

END-PAPERS.—The papers placed at each end of the volume and pasted down upon the boards.

FILLET.—A cylindrical tool used in finishing, upon which a line or lines are engraved.

FINISHING.—The department that receives the volumes after they are put in leather. The ornaments placed on the volume. The person who works at this branch is termed a finisher.

FINISHING PRESS.—A small press, used for holding books when being finished.

FINISHING STOVE.—A heating box or fire used for warming the various tools used in finishing.

FLEXIBLE.—When a book is sewn on raised bands, and the thread is passed entirely round each band. It is the strongest sewing done at the present time. This term is often misused for limp work, because the boards are limp or flexible.

FOLDER.—A flat piece of bone or ivory used in folding sheets, and in many other manipulations; called also a folding stick. A female engaged in folding sheets.

FOLDING MACHINE.—A machine invented to fold sheets, generally used in newspaper offices.

FOREDGE.—The front edge of a book.

FORWARDING.—The branch that takes the books after they are sewed, and advances them until they are put into leather ready for the finisher. The one who works at this branch is called a forwarder.

FULL-BOUND.—When the sides and back of a volume are covered with leather it is said to be full-bound.

GATHERING.—Collecting the various sheets from piles when folded, so that the |176| arrangement follows the sequence of the signature.

GILT.—Applies to both the edges and to the ornaments in finishing.

GLAIRE.—The white of eggs beaten up.

GOLD CUSHION.—A cushion for cutting the gold leaf on.

GOLD KNIFE.—The knife for cutting the gold; long and quite straight.

GOUGE.—A tool used in finishing; it is a line forming the segment of a circle.

GRAINING BOARDS.—Boards used for producing a grain on calf and russia books. Grain of various form is cut in wood, and by pressure the leather upon which the boards are laid receives the impression.

GRAINING PLATES.—Metal plates same as above.

GUARDS.—Strips of paper inserted in the backs or books intended for the insertion of plates, to prevent the book being uneven when filled; also the strips upon which plates are mounted.

GUIDES.—The groove in which the plough moves upon the face of the cutting press.

GUILLOTINE.—A machine used for cutting paper.

GUINEA-EDGE.—A roll with a pattern similar to the edge of an old guinea.

HALF-BOUND.—When a volume is covered with leather upon the back and corners; and the sides with paper or cloth.

HAND-LETTERS.—Letters fixed in handles; used singly for lettering.

HEAD AND TAIL.—The top and bottom of a book.

HEAD-BAND.—The silk or cotton ornament worked at the head and tail of a volume, as a finish and to make the back even with the boards.

IMPERFECTIONS.—Sheets rejected on account of being in some respect imperfect, and for which others are required to make the work complete.

IN BOARDS.—When a volume is cut after the mill-boards are attached, it is said to be cut in boards.

INSET.—The inner pages of a sheet, cut off in folding certain sizes; to be inset in the centre of the sheet.

JOINTS.—The projection formed in backing to admit the mill-boards. The leather or cloth placed from the projection on to the mill-board is called a joint.

KETTLE-STITCH.—The chain-stitch which the sewer makes at the head and tail of a book. A corruption of either chain-stitch, or catch-up stitch.

KEYS.—Little metal instruments used to secure the bands to the sewing press.

KNOCKING-DOWN IRON.—A piece of iron having a small leg in the centre by which it is secured in the lying press. When fastened there it is used to pound or beat with a hammer the slips into the boards after they are laced in, so that they do not show when the book is covered.

LACED IN.—When the mill-boards are attached to the volume by means of the slips being passed through holes |177| made in the boards, they are said to be laced in or drawn in.

LAW CALF.—Law books are usually bound in calf left wholly uncoloured, hence the term for white calf.

LETTERING BLOCK.—A piece of wood, the upper surface being slightly rounded, upon which side labels are lettered.

LETTERING BOX.—A wooden box in which hand-letters are kept (_see_ HAND-LETTERS).

LINING-PAPERS.—The coloured or marbled paper at each end of the volume. Called also end-papers.

MARBLER.—One who marbles the edges of books and paper.

MARBLING.—The art of floating various colours on a size, from which it is transferred to paper or book edges. To stain or vein leather like marble.

MARKING-UP.—When the back of a book is being marked for flexible sewing.

MILL-BOARD.—The boards that are attached to the book. Various kinds are in use now; the most common is made of straw, the best of old naval cordage.

MITRED.—When the lines in finishing meet each other at right angles without overrunning each other, they are said to be mitred. Joined at an angle of 45°.

MUTTON-THUMPING.—A term used in bygone days, indicating the common binding of school books in sheep-skin.

MUTTON-THUMPER.—An old term indicating a bad workman.

OFF-SET.—The impression made by the print against the opposite page, when a book has been rolled or beaten before the ink be dried. (_Also_ SET-OFF.)

OUT OF BOARDS.—When a volume is cut before the boards are affixed, it is done out of boards. Nearly the whole of common work is done out of boards.

OUT OF TRUTH.—When a book is not cut square.

OVERCASTING.—An operation in sewing, when the work consists of single leaves or plates. Over-sewing.

PALLET.—The tools used for finishing across backs.

PANEL.—The space between the bands.

PAPERING-UP.—Covering the edges after they are gilt, to protect them while the volume is being covered and finished (_see_ CAP).

PARING.—Reducing the edges of the leather by forming a gradual slope.

PARING KNIFE.—The knife used for paring.

PASTE-WASH.—Paste diluted with water.

PEEL.—A wooden instrument used to hang up damp sheets for drying.

PENCIL.—A small brush of camel’s hair used for glairing.

PIECED.—Any space that has another leather upon it, as a lettering piece.

PLOUGH.—The instrument used for cutting the edges when the book is in the lying press.

PLOUGH KNIFE.—The knife attached to the plough. |178|

POLISHER.—A steel instrument for giving a gloss to the leather after finishing.

PRESS.—Of various kinds, viz.: lying, cutting, standing, blocking, finishing, etc.

PRESS PIN.—A bar of iron used as a lever for standing presses; a smaller kind for lying presses.

PRESSING BLOCKS.—Blocks of wood used for filling up a standing press when there are not enough books.

PRESSING BOARDS.—Boards used for pressing books between.

PROOF.—The rough edges of certain leaves left uncut by the plough, are “proof” that the book is not cut down (_see also_ WITNESS).

RASPED.—The sharp edge taken off mill-boards.

REGISTER.—The ribbon placed in a volume for a marker. A list of signatures attached to the end of early-printed books for the use of the binder. In printing—when on looking through a leaf the print on the recto and verso is not exactly opposite, it is said to be _out of register_.

ROLLING MACHINE.—A machine introduced to save the labour of beating, the sheets being passed between two revolving cylinders.

ROLLS.—Cylindrical ornamental tools used in finishing.

RUNNER.—The front board used in cutting edges.

RUN-UP.—When the back has a fillet ran from head to tail without being mitred at each band, it is said to be “run-up.”

SAWING-IN.—When the back is sawn for the reception of the cord in sewing.

SAWING MACHINE.—A machine for sawing the backs of books quickly.

SETTING THE HEAD-BAND.—Adjusting the leather in covering so as to form a kind of cap to the head-band.

SEWER.—The person who sews the sheets together on the sewing press—generally a female.

SEWING MACHINE.—A recent invention for the sewing of books with wire and thread.

SHAVING TUB.—The paper cut from the edges of a volume are called shavings. The receptacle into which they fall while the forwarder is cutting is termed the shaving tub.

SHEARS.—Large scissors used for cutting up mill-boards.

SHEEP.—An old term for all common work covered in sheep-skin.

SIGNATURE.—The letter or figure under the footline of the first page of each sheet, to indicate the order of arrangement in the volume.

SIZE.—A preparation used in finishing and gilding, formerly made with vellum, but can now be bought ready for use. When used on paper a thin solution of glue.

SLIPS.—The pieces of twine that project beyond the back of the volume after it is sewn.

SQUARES.—The portions of the boards that project beyond the edges after the book is cut.

STABBING.—The term used formerly for piercing the boards with a bodkin for the slips to pass through; more generally |179| known now as “holeing.” The operation of piercing pamphlets for the purpose of stitching.

STABBING MACHINE.—A small machine used for making the holes through the backs of pamphlets.

STANDING PRESS.—A fixed heavy press with a perpendicular screw over the centre.

START.—When any of the leaves are not properly secured in the back, and they project beyond the others, they are said to have started. When the back has been broken by forcing the leaves they start.

STIFFENER.—A thin mill-board used for various purposes.

STITCHING.—The operation of passing the thread through a pamphlet for the purpose of securing the sheets together.

STRAIGHT-EDGE.—A small board having one edge perfectly straight.

STOPS.—Small circular tools, adapted to “stop” a fillet when it intersects at right angles; used to save the time mitringmitreing would occupy.

TENON SAW.—A small saw used by bookbinders for sawing the books for sewing. More strictly speaking a carpenter’s tool.

TITLE.—The space between the bands upon which the lettering is placed. The leaf in the beginning of a book describing the subject.

TOOLS.—Applied particularly to the hand stamps and tools used in finishing.

TRIMMING.—Shaving the rough edge of the leaves of a book that is not to be cut.

TRINDLE.—A thin strip of wood or iron.

TURNING-UP.—The process of cutting the foredge in such a manner as to throw the round out of the back until the edge is cut. All books that are cut in boards have a pair of trindles thrust between the boards and across the back to assist the operation.

TYING-UP.—The tying of a volume after the cover has been drawn on, so as to make the leather adhere better to the sides of the bands; also for setting the head-band.

TYPE.—Metal letters used in printing and lettering.

TYPE-HOLDER.—An instrument for holding the type when used for lettering.

VARNISH.—Used as a protection to the glaire when polished on the covers of books.

WHIPPING.—Another term for overcasting, but when longer stitches are made.

WITNESS.—When a volume is cut so as to show that it has not been so cut down, but that some of the leaves have still rough edges. These uncut leaves are called “Witness” (_see_ PROOF).

WRINKLE.—The uneven surface in a volume, caused by not being properly pressed or by dampness, also caused by improper backing.

|181|

INDEX.

Acids, effect of, on leather, 133.

Advantage, comparative, of paste and glue, 93.

—— of flexible binding, 28.

—— of graining calf, 144.

—— of vinegar over paste water when finishing, 127.

Albumen, 171.

Antique finishing, 122.

—— tools, method of working, 122.

Arming press, 117.

Artificial heat, 46.

Artists’ vellum, 147.

Athenæum letter on trimming, 43.

Azuré tools, 113.

Back, calf, polishing a, 140.

—— finishing a (cut), 130.

—— full gilt, 129.

—— mitred, 129–139.

—— run up, 129–140.

Backs, flat, 48.

—— suitable for calf work (cut), 138.

Backing, 48.

—— (cut), 49.

—— boards (cut), 48, 50.

—— flexible work, 50.

—— hammer (cut), 49.

—— machines, 50.

Band nippers (cut), 93.

Bands, putting on, 88.

Bar roll, 133.

Bath, effect upon stains of wrong, 158.

Beating, 9.

—— hammer (cut), 9.

—— gold books, 10.

Beating stone, 9.

Bibles, etc., edges of, 122.

—— end papers for, 33.

—— finishing of, 122.

Bindings, monastic, 111.

Blind finishing, 122.

—— —— beauty of, 125.

—— —— colour of, 122.

Blocking, 149.

—— calf, 153.

—— cloth, 153.

—— in gold, 153.

—— morocco, 153.

—— old method of, 116.

—— press, 150.

—— sides, 151.

—— silk, 146.

—— velvet, 146.

Blocks, 151.

Blood stains, removing, 163.

Board, backing, 48.

—— cutting, 54.

—— trimming, 41.

Boards, cutting in, 64.

—— cutting out of, 64.

—— made, 55.

—— for photographs, 170.

Bolt knife (cut), 61.

Books, enemies of, 166.

Book-worms, 167.

—— to keep away, 168.

Brass type, 129.

Bread, cleaning with, 161.

Bronze end paper, 34.

Brush, finger, 68.

—— sprinkling, 68.

Burnishers, 79.

—— edge (cuts), 81.

Burnishing edges, 81.

—— marbled paper, 73.

Burnt documents, deciphering, 166.

Burr on knife, 79.

Calf, back polishing, 137.

—— blocking, 153.

—— Cambridge, 104.

—— colouring, 100.

—— colouring, preparing for, 102.

—— colouring, black, 101.

—— colouring, brown, 102.

—— colouring, yellow, 102.

—— covering in, 94.

—— dabbing, 106.

—— effect of glue on, 89.

—— extra, 142.

—— finishing, 135.

—— graining, 144.

—— graining, advantage of, 144.

—— green and light, 139–141.

—— handling, 94.

—— lettering, 140.

—— marbling, 105.

—— marbling, preparing for, 104.

—— neat, 137.

—— pasting down, 99.

—— sides, finishing, 141.

—— sides, polishing, 142.

—— work, backs suitable for (cut), 138.

—— sprinkling, 103.

—— sprinkling, emblematic, 103.

—— sprinkling, preparing for, 103.

Cambridge calf, 104.

Capping up edges, 82.

Cat’s paw, 106.

Charcoal fire for finishing, 121.

Chemical colouring of leather, 133.

Chloride of lime solution, 159.

Chlorine, restoring writing effaced by, 165.

Cleaning, 157.

—— off stick, 58–59.

—— removing single leaf for, 162.

Cleaning silver mountings, 172.

—— sponges, 172.

—— with india-rubber, 161.

—— with bread, 161.

Cloth blocking, 153.

—— covering with, 95.

—— joints, 38.

—— smooth, 95.

Cobb paper, 33.

Collating, 13.

Colour of blind work, 122.

Colours for books, suggested, 96.

—— for marbling, 69.

—— for sprinkling, 68.

Coloured edges, fancy, 69.

—— paste paper, 35.

—— plates, 17.

Colouring calf, 100.

—— calf preparing for, 102.

—— calf, black, 101.

—— calf, brown, 102.

—— yellow, 102.

Colouring edges, 67.

—— of leather, chemical, 133.

—— plain, for edges, 69.

Comb marble, 72.

Cord, sizes of, 22.

Cords, lay, 23.

Cotton wool, 120.

Covers, cutting leather, 90.

Covering, 90.

—— half bound work, 96.

—— preparing for, 87.

—— with calf, 94.

—— with cloth, 95.

—— with morocco, 90.

—— with parchment, 94.

—— with roan, 95.

—— with russia, 94.

—— with satin, 95.

—— with silk, 95.

—— with vellum, 94.

—— with velvet, 95.

Cut against, 54.

—— true, to tell if boards are, 56.

—— to tell if book is, 64.

Cushion, gold, 78.

Cutting, 59.

—— in boards, 64.

—— out of boards, 64.

—— board, 54.

—— foredge, 62.

—— gold leaf, 80.

—— head, 61.

—— leather covers, 90.

—— machines (cuts), 65, 66.

—— mill-board, 52.

—— press and plough (cut), 60.

—— tail, 62.

Dabbing calf, 106.

Damp stains, 162.

—— repairing books damaged by, 162.

Deciphering burnt documents, 166.

Dentelle border, 132.

Derome tools (cuts), 115.

Dibdin, Dr, 95.

Disadvantage of backing machines, 51.

—— flat backs, 48.

—— lettering pieces, 136.

—— wire sewing, 30.

Dishes for washing, 159.

Documents, deciphering burnt, 166.

Doublé, 132.

Down, pasting, 97.

Dragon, gum, 70.

Drawing in, 57.

Drawings, fixing, 165.

—— preserving, 165.

Dry preparation, 145.

—— making, 145.

Drying, artificial heat in, 46.

Duplicate sheets, 19.

Dust, removing, 161.

Dutch marble paper, 34.

Edge burnishers (cuts), 81.

Edges of bibles and religious books, 122.

—— of boards, finishing, 132.

—— burnishing, 81.

—— capping up, 82.

—— coloured, fancy, 69.

—— coloured, plain, 69.

—— colouring, 67.

—— gilding, 80.

—— gilt, 78.

—— gilt, dull, 81.

—— gilt, painted, 82.

—— gilt, on red, 82.

—— gilt, in the round, 81.

—— gilt, solid, 81.

—— gilt, tooled, 82.

—— marbled, 69.

—— marbled, paper, transferring to, 74–75.

—— marbling, 73.

—— marbled, on gilt, 78.

—— marbled, under gilt, 78.

—— sprinkled, 67.

—— sprinkled marble, 67.

—— transferring marbled paper to, 74–75.

—— uncut, 41.

Effaced by chlorine, restoring writing, 165.

—— by oxymuriatic acid, restoring writing, 165.

Emblematic sprinkling, 103.

—— tooling, 117.

End papers, 33.

—— papers, bronze, 34.

—— papers, cobb, 33.

—— papers, coloured paste, 35.

—— papers, making, 35.

—— papers, marbled, 33.

—— papers, printed and fancy, 34.

—— papers, putting on, 38.

—— papers, surface, 33.

—— papers, for bibles, etc., 33.

—— papers, for school and public library books, 41.

Ends, sewing (cut), 40.

Enemies of books, 166.

Extra, calf, 142.

Faded MSS., restoring, 165.

—— writing, restoring, 165.

Fat stains, removing, 164.

Fillet (cut), 118.

Filling up, 137.

—— up, saw cuts, 89.

Finger brush, 68.

Finger-marks, 163.

—— removing, 163.

Finishing, 111.

—— ancient, 117.

—— a back (cut), 130.

—— a back, calf, 135.

—— a back, full gilt, 137.

—— a back, run up, 139.

—— blind, antique or monastic, 122.

—— blind, tools for, 122.

—— calf sides, 141.

—— charcoal fire for, 121.

—— edges of boards, 132.

—— extra calf sides, 142.

—— flexible work, 124.

—— gold, 125.

—— gold, tools for, 122.

—— half morocco book, 127.

—— inside of a book, 132–141.

—— medium, 126.

—— medium, importance of proper, 126.

—— morocco sides, 131.

—— morocco imitation, 133.

—— paper, 144.

—— press (cuts), 121–122.

—— religious books, 122.

—— roan, 133.

—— russia, 145.

—— sides calf, 135.

—— sides calf extra, 142.

—— sides morocco, 131.

—— sides, morocco imitation, 133.

—— silk, 146.

—— stove (cuts), 120.

—— taste in, 117.

—— tools, 118–122.

—— tools, heat for, 128.

—— vellum, 147.

—— velvet, 146.

—— with dry preparation, 145.

Fixing drawings, 165.

Flat backs, 48.

Flexible binding, advantages of, 28.

—— how to tell, 29.

—— not to show, 29, 89.

Flexible work, backing, 50.

—— work, cleaning off, 59.

—— work, covering, preparing for, 89.

—— work, finishing, 124.

—— work, gluing up, 45.

—— work, marking up, 20.

—— work, mock, 90.

—— work, sewing, 23.

—— work, sewing (cut), 27.

Folding, 3.

—— stick, 4.

—— machine (cut), 7.

—— maps, 15.

Folio, 4.

Foredge, cutting, 62.

Forwarding, 33.

Fox-marks, 163.

—— marks, removing, 163.

French, dab, 106.

—— method of pressing, 19.

—— method of trimming, 42.

—— paring knife (cut), 90.

—— paring knife, method of using (cut), 91.

Full gilt back, finishing, 137.

Gall, ox, for marbling, 71.

Gascon, 115.

—— tools (cuts), 114.

Gathering, 8.

—— machine, 8.

German, method of gluing up, 45.

—— paring knife (cut), 91.

—— paring knife, method of using (cut), 91.

Giggering, 124.

Gilding edges, 80.

Gilt back, full, 129.

—— edges, 78.

—— edges, dull, 81.

—— edges, painted, 82.

—— edges, solid, 81.

—— edges, tooled, 82.

—— in the round, 81.

—— marbling on, 78.

—— marbling under, 78.

—— on red, 82.

—— top, 41.

Glaire, 119.

—— how to make, 119.

—— water, 79.

Glue, 169.

—— comparative advantages of paste and, 93.

—— effect on calf of, 89.

—— rice, 169.

—— to tell good, 169.

Gluing up, 45.

—— up flexible work, 45.

—— up, German method of, 45.

Gold, blocking in, 153.

—— cushion, 78.

—— finishing, 125.

—— finishing, tools for, 128.

—— knife, 79.

—— leaf, 79–119.

—— leaf, cutting, 80.

Grain, treatment of straight, 92.

—— treatment of leather with no, 92.

Graining calf, 144.

—— advantage of, 144.

Graining up, 92.

Grolier tools (cuts), 113.

Groove, 7.

Guarding plates, etc., 15.

Guards, object of, 16.

Gum Tragacanth (Gum Dragon), 70.

Half binding, 96.

—— binding, covering, 96.

—— binding, lining for, 53.

—— binding, pasting down, 100.

Hammer, beating (cut), 9.

Hand finishing, 116.

—— letters, 118.

Handling calf, 94.

Head band, setting, 93.

—— bands, stuck on, 80.

—— banding, 83.

—— banding (cut), 84.

—— banding on old books, 84.

—— of book cutting, 61.

Heat, artificial, 46.

—— for finishing tools, 128.

—— for polishing tools, 140.

Henry III., bindings of, 114.

Holes in back, filling up, 89.

Hollow backs, 87.

Imitation morocco, finishing, 133.

Importance of proper finishing medium, 126.

Incombustible, to render paper, 166.

India rubber, 119.

—— rubber, how to use, 161.

Ink stains, removing, 163.

—— stains, marking, 164.

Inlaid work, 133.

Inlaying, 134.

—— Viennese method of, 135.

Insects, 166.

—— poison for, 168.

Inside of book, finishing, 132–141.

Interleaving, 18.

Iron, knocking-down (cut), 6.

—— polishing (cut), 119.

Joint, 7.

Joints, cloth, 38–99.

—— morocco, 98.

Kettle stitch, 25–28.

Keys (sewing), 23.

Knife, bolt (cut), 61.

—— burr on, 79.

—— gold, 79.

—— paring, French (cut), 90.

—— paring, method of holding, (cut), 91.

—— paring, German (cut), 91.

—— paring, German, method of holding (cut), 92.

—— sliding (cut), 60.

—— trimming, 42.

Knocking down iron (cut), 6.

Lard, 124.

Lay cords, 23.

Lead type, 129.

Leaf, gold, 79.

—— gold, cutting, 80.

—— gold, thickness of, 80.

—— removing single, 162.

Leather covers, cutting, 90.

—— kinds of, 90.

—— non-porous, 126.

—— porous, 126.

Leaves, re-sizing, 162.

Lettering, 117.

—— calf, 140.

—— pieces, 136.

—— pieces, disadvantages of, 136.

—— pieces, for vellum books, 148.

—— pieces, substitute for, 136.

Letters, hand, 129.

Lining boards, 55.

—— boards, half binding, 55.

—— boards, whole binding, 55.

—— paper for, 88.

—— up, 87.

Machine, backing, 50.

—— cutting (cuts), 65, 66.

—— folding (cut), 7.

—— gathering, 8.

—— mill-board cutting (cuts), 54.

—— mill-board cutting, steam, (cut), 54.

—— rolling (cut), 11.

—— rounding, (cut), 47.

—— sawing in (cut), 22.

—— sewing (cut), 31.

—— sewing, 32.

—— sewing wire, 32.

Machines, to prevent, rusting, 171.

Making end papers, 35.

Maps, mounting (cut), 14.

—— throwing out, 13.

Marble comb, 72.

—— edges, sprinkled, 67.

—— nonpareil, 72.

—— shell, 72.

—— Spanish, 72.

—— spot, 72.

—— tree, 105.

Marbled edges, 69.

—— paper, 33.

—— paper, burnishing, 73.

—— paper, old Dutch, 34.

—— paper, transferring to edges, 74–75.

Marblers, mechanical (cuts), 75.

Marbling, 34–71.

—— ancient instructions for, 76.

—— calf, 105.

—— colours for, 69.

—— edges, 73.

—— edges, on gilt, 78.

—— edges, under gilt, 78.

—— ox gall for, 71.

—— paper, 73.

—— preparing for, 104.

—— requisites for, 69.

—— set, 77.

—— size for, 70.

—— trough (cut), 70.

Margins, 3–43.

Marking ink stains, removing, 164.

—— up, 20.

Mechanical marblers (cuts), 75.

Medium for finishing, 126.

—— importance of proper, 126.

Mill-board, cutting, 52.

—— cutting machine (cut), 53.

—— cutting machine, steam, (cut), 54.

—— shears, 52.

Mill-boards, 51.

—— made, 55.

—— name of, 51.

—— sizes of, 52.

—— price of, 51.

Missing sheets, 19.

Mitre piece (cut), 131.

Mitred back, 129.

Mock flexible binding, 90.

Monastic, bindings, 111.

—— finishing, 122.

—— tools (cuts), 112.

Morocco, blocking, 153.

—— imitation, finishing, 133.

—— joints, 98.

—— pasting down, 97.

—— sides, finishing, 141.

Mosaic work, 133.

Mounting, maps, 15.

—— photographs, 171.

Mountings, cleaning silver, 172.

MSS., preserving, 165.

—— restoring faded, 165.

Mull, 89.

Mud stains, 162.

—— removing, 162.

Neat, calf, 137.

Nippers, band (cut), 93.

Nitric acid, effect upon leather, 133.

Nonpareil marble, 72.

Non-porous leathers, 126.

Object of guards, 16.

—— of trimming, 42.

Old books, beating, 10.

—— head-banding in, 84.

—— sewing, 25.

Old writing, reviving, 164.

Opening books, care in, 169.

Overcasting, 18.

Oversewing, 18.

Ox gall for marbling, 71.

Oxford vellum, 147.

Oxymuriatic acid, restoring writing effaced by, 165.

Painting covers, 133.

Pallet (cut), 118.

—— using the, 123.

Paper, bronze end, 34.

—— burnishing marbled, 73.

—— Cobb, 33.

—— finishing, 145.

—— for lining up, 88.

—— incombustible, to render, 166.

—— marbled, 33.

—— marbled, old Dutch, 34.

—— marbling, 73.

—— paste, 35.

—— printed and fancy end, 34.

—— surface, 33.

—— waterproof, to render, 165.

Papers, end, 33.

—— end, making, 35.

Parchment, 147.

—— covering with, 94.

—— vegetable, 147.

Paring, 91.

—— knife, French (cut), 90.

—— knife, French, method of using (cut), 91.

—— knife, German (cut), 91.

—— knife, German, method of using, 92.

Paste, 170.

—— and glue, comparative advantages, 93.

—— for white morocco, 94.

—— for paper, 35.

—— rice, 169.

—— to prevent, moulding and souring, 170.

—— water, effect upon leather, 127.

Pasting, 36.

—— calf, 99.

—— down, 97.

—— down half bindings, 100.

—— Russia, 99.

—— single sheets, 17.

—— up, 36.

Peel, 159.

Photographs, boards for, 170.

—— mounting, 171.

—— removing, 170.

Pieces, lettering, 136.

—— lettering, disadvantages of, 136.

—— lettering, substitute for, 136.

Plates, 14.

—— coloured, 17.

—— guarding, 15.

Plough, round, 42.

Polishing calf back, 140.

—— calf sides, 142.

—— heat for, 140.

Polishing iron (cut), 119.

Porous leathers, 126.

Preparation, dry, 145.

Preparing for covering, 87.

—— for covering flexible work, 89.

—— for covering flexible work, not to show, 89.

—— for covering mock flexible work, 90.

Preserving drawings, MSS., etc., 165.

Press, arming, 117.

—— blocking, 150.

—— cutting (cut), 60.

—— finishing (cut), 121–122.

—— lying, 7, 37.

—— sewing (cut), 24.

—— standing, 18.

—— standing, American (cut), 19.

Pressing, 58, 143.

—— Parisian, mode of, 19.

—— various sized books, 58.

Proof, 57.

Public library books, 41.

Pulling, 5.

Putting on bands, 88.

—— on end papers, 38.

Refolding, 5.

Register, 3.

Religious books, edges, 122.

—— books, end papers, 33.

—— books, finishing, 122.

Removing blood stains, 163.

—— damp stains, 162.

—— dust, 161.

—— fat stains, 164.

—— finger-marks, 163.

—— fox-marks, 163.

—— ink stains, 163.

—— marking ink stains, 164.

—— mud stains, 161.

—— single leaf for cleaning, 162.

—— photographs, 171.

—— water stains, 161.

—— writing, 163.

Repairing books damaged by damp, 162.

Re-sizing leaves, 162.

Restoring faded MSS., 165.

—— writing effaced by chlorine, 165.

—— writing effaced by oxymuriatic acid, 165.

—— writing effaced by sea water, 165.

—— writing faded by time, 165.

Reviving old writing, 164.

Rice glue or paste, 169.

Roan, covering with, 95.

—— finishing, 133.

Roll, bar, 133.

Rolling, 10.

Rolling machine (cut), 11.

Round plough, 42.

Rounding, 46.

—— machine, 47.

Roman vellum, 147.

Runner, 54.

Run up back, 129, 139.

Russia, finishing, 145.

—— imitation, 96.

—— pasting down, 99.

—— treatment of, 94.

Rusting, to prevent, tools, etc., 171.

Satin, covering with, 95.

Saw cuts, depth of, 22.

—— cuts, filling up, 89.

—— marks (cut), 21.

—— tennon, 21.

Sawing in, 21.

—— in machine (cut), 22.

School books, end papers for, 41.

Scrapers, 79.

Set, marbling, 77.

Set off, 12.

Setting head band, 93.

Sewing, 23.

—— disadvantage of wire, 30.

—— ends, mode of (cut), 40.

—— flexible (cut), 27.

—— flexible work, 23.

—— keys, 23.

—— machine, 32.

—— machine (cut), 31.

—— old books, 25.

—— ordinary (cuts), 26.

—— press (cut), 24.

—— thread, 27.

—— wire, 30.

—— machine, 32.

Shears, mill-board, 52.

Sheets, 3.

—— duplicate, 19.

—— missing, 19.

Shell marble, 72.

Sides, blocking, 151.

—— calf, finishing, 141.

—— calf, extra finishing, 142.

—— calf, polishing, 142.

—— morocco, finishing, 131.

—— siding, 142.

—— tooling, 125.

Sieve, sprinkling, 68.

Signatures, 4.

Silk blocking, 146.

—— covering with, 95.

—— finishing, 146.

Silver mountings, to clean, 172.

Single sheets, pasting, 17.

Size, 74–79, 160.

—— for marbling, 70.

Sizes of books, 4–5.

—— of cord, 22.

—— of mill-boards, 52.

Sizing, 74–159.

Siding sides, 142.

Sliding knife (cut), 60.

Smooth cloth, covering with, 95.

Spanish marble, 72.

Sponges, 119.

—— cleaning, 172.

Spot marble, 72.

Sprinkled edges, 67.

—— marble edges, 67.

Sprinkling brush, 68.

—— calf, 103.

—— calf, fancy, 103.

—— calf, preparing for, 103.

—— colours, 68.

—— sieve, 68.

Stains, blood, removing, 163.

—— damp, 162.

—— effect of wrong bath upon, 158.

—— fat, removing, 164.

—— ink, removing, 164.

—— mud, removing, 162.

—— removing, 158.

—— removing, different, 158.

—— water, how to tell, 161.

—— water, removing, 161.

Stamps, 151.

Standing press, 18.

—— press, American (cut), 19.

Steel-faced backing boards, 50.

Stick, folding, 4.

—— cleaning off, 58, 59.

Stone, beating, 9.

Stove, finishing (cut), 120.

Straight grain leather treatment, 92.

Stuck on head bands, 86.

Substitute for lettering pieces, 136.

Surface paper, 33.

Swelling, 27.

Tail, cutting, 62.

Taste in finishing, 117.

Tennon saw, 21.

Thread, sewing, 27.

Throw up backs, 89.

Throwing out maps (cut), 16.

Thumb marks, removing, 163.

Time, restoring writing faded by, 165.

Title, 128.

Tools, Derome, 115.

—— finishing, 118.

—— for antique finishing, 122.

—— for gold finishing, 122.

—— Grolier, 113.

—— Le Gascon, 114.

—— monastic, 112.

—— to prevent, rusting, 171.

—— Venetian (cuts), 113.

Tooled gilt edges, 82.

Tooling, emblematic, 117.

—— sides, 125.

Top, gilt, 41.

Tree marble, 105.

Trimming, 41.

—— board, 41.

——French method of, 42.

—— knife, 42.

—— letter on, 43.

—— machine, 44.

—— machine (cut), 42.

—— object of, 42.

Trindles, 62.

Trough, marbling (cut), 70.

—— two sheets on, 29.

Type, 118–128.

—— brass, 129.

—— holder (cut), 118.

—— lead, 129.

Uncut edges, 41.

Unsized paper, to tell, 80.

Varnish, 120.

Varnishing, 143.

—— object of, 120.

Vegetable parchment, 147.

Vellum artists, 147.

—— binding, lettering pieces, 149.

—— binding, old, 94.

—— covering with, 94.

—— finishing, 147.

—— Oxford, 147.

—— Roman, 147.

Velvet, blocking, 146.

—— covering with, 95.

—— finishing, 146.

Venetian tools (cuts), 113.

Viennese method of inlaying, 135.

Vinegar, advantage of, 127.

Washing, 158.

—— dishes for, 159.

—— requisites for, 159.

Water, glaire, 79.

—— stains, how to tell, 161.

—— stains, removing, 161.

Waterproof, rendering paper, 165.

White morocco, paste for, 92.

Whole binding, lining boards for, 55.

Wire sewing, 30.

—— sewing, disadvantage of, 30.

—— sewing, machine, 32.

Writing effaced by chlorine, restoring, 165.

—— effaced by oxymuriatic acid, restoring, 165.

—— faded by sea water, reviving, 165.

—— faded by time, reviving, 165.

—— removing, 164.

—— reviving old, 164.

Wrong bath, effect upon stains of, 158.

CHISWICK PRESS:—C. WHITTINGHAM AND CO., TOOKS COURT, CHANCERY LANE.

TRANSCRIBER’S NOTE

Original printed spelling and grammar are retained, with a few exceptions noted below. Small caps are changed to all capital letters. Italics _look like this_. Many illustrations have been moved from their original locations to nearby places between paragraphs. Original printed page numbers look like this: “|81|”.

Page 21. In “by sewing a small book on fine bands”, changed “fine” to “five”.

Page 46. Changed “spontanenusly” to “spontaneously”.

Page 52. A new KEY has been added to the table, so that the table can be displayed properly in this ebook edition. Furthermore, each pair of columns with headings “6d.”, “7d.”, “8d.”, “8x.”, “8xx.”, and “X.” was originally printed with an illustration of a black rectangle showing the relative size referred to. These illustrations are included in the html and epub editions.

Page 107. Changed “bason” to “basin”.

Page 121. A new paragraph break was inserted between “become dangerous” and “A _finishing press_ is”.

Page 164. Changed “subsitute” to “substitute”.

Page 179, Glossary, Entry “Stops”. Changed “mitring” to “mitreing”.

Page 182, Index, Entry “Covering”. In “preparing f r, 87”, changed “f r” to “for”.

End of Project Gutenberg's The Art of Bookbinding, by Joseph W. Zaehnsdorf