V2J CORNELL UNIVERSITY LIBRARY FROM . Eexr Ap 4 '39 DATE U'uc WAY 1 Z.-^'^^ l«AY 6 1961 1^ a MAY- 719491 JUL211952Q Cornell University Library Z271 .C89 Bookbinding for amateurs: being descript olin 3 1924 029 504 192 The original of tliis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924029504192 BOOKBIIDmG FOR AMATEURS. IBookbiniiing for ^matpop^: BEINa DBSCKIPTIONS OF THE YARIOUS TOOLS AND APPLIANCES REQUIRED MINUTE INSTKirCTIONS POE THEIR BITECTIVE USE. By W. J. B. OKANE. ILLUSTRATED WITH 156 ENGRAVINGS. London : L. UPCOTT GILL, 170, STEAND. 1885, /¥^-SSJ^ K.3"]3S12^ LONDON : PRINTED BY A. BRADLEY, 170, BTHAND. PREPACE. Little prefatory remark is required in introducing tMs email book to the public. The present day is especially noticeable for the number of amateiir workers who are found in every department of art and technics. That being so, there is certainly no branch of work better fitted to claim their time and attention than that of Bookbinding. It is of great antiquity, of the utmost utility, and capable of almost any degree of artistic development. Looking back to the birth and early history of literature, we find all the oldest manuscripts, both classical and oriental, were written on sheets of parchment or papyrus, and rolled up when not in use. The bookbinder of those days was simply a maker of circular cabinets or repositories, suitable for containing these rolls; and these cases, when for biblio- philes, were often beautifully ornamented. When and by whom the plan of folding the sheet of parchment or paper into pages, and stitching sheets together at the back, was first introduced, is not exactly known ; but at that time, and not till then, the hook sprang into existence. This new back required the bookbinder as we know him now; and at the very outset of the trade, his work, though entirely different to the bibliopegistic productions of the present day, was elaborate and beautiful. The whole subsequent history of bookbinding has done credit to its briUiant beginning. There are many good reasons for commending this craft to the attention of amateurs, amongst which we will enumerate a few. First, it does not require any great strength or mechanical aptitude. Secondly, the plant is not expensive. Thirdly, it can be pursued anywhere. Fourthly, it is of VI. PEBFACE. unquestionable utility: how far preferable it is to have your cherished books, in handy accessible volumes, instead of in heaps of disorderly parts or numbers, almost mere litters, in which one can never find what one wants ! Fifthly, and by no means the least important, weU-bound books form an ornament to any roonj^ and are satisfactory to show one's friends. All amateurs are fond of, and^ proud of, exhibiting specimens of their handiwork to admiring friends and visitors ; and what better than books ? Fret-cutting, turning, illuminat- ing, &c., are so very common now, that they are almost "played out." BookbindiSig ' is not' so, and if ' the aiiaateul? becomes a good finisher, the amount of var;ied and interesting ornamentation that he can produce is infinite. ■ ' In this little Volume, full . particulars of every process and detail are given, especially adapted to the wants- of the amateur. That it may train many skilful bibliopegists; is the earnest aspiration of the Author. January 1, 1885. CONTENTS CHAPTER I. — Inteoductoet ... ... ... ... ... ... 1 II. — Tools and Appliances 8 III. — Mateeials 25 IV.— FoLDiNa 29 V. — PLAOiNa Plates, Beating and Peessino Books ... 38 VI. — Sawino and Sewino ... ... ... ... ... 46 VII. — Appixino End-papees, Eoundino and Backing ... 59 VIII. — Gettins into Boards ... ... ... 73 IX. — ClTTTINa AND BEVELLINft IN BOAKDS 80 X. — CoLOUEiNct Edges ... ... ... ... ... ... 85 XI. — Gilding Edges 90 Xn. — Mateeials poe Mabbling Edges ... ... ... 93 XIII. — Mabbling Edges oe Papbe 100 XIV. — Headbands and Eegistees 114 XV. — Lining the Back 117 XVI.— Coteking :.. 123 XVII. — Mabbling and Coloxteing Lbathbe 134 XVIII.— Plain Finishing 140 XIX. — Half and Full Gilt Finishing 150 XX. — Antique ob Monastic Finishing ... 162 XXI. — ^Whole-bound Finishing 168 XXII.— Conclusion 179 BOOKBINDING FOR AMATEURS. o>Ko CHAPTER I. IXTBODirCTORY. In the small book, of wMcli this is the preliminary chapter, we purpose to treat, succinctly but completely, of the various practical operations gone through in the binding of books, and in so doing we shall keep the wants of the amateur especially in mind. Unquestionably, the bibliopegistic art is one which any intelligent and fairly handy man can practise at home; and as the objects upon which his ingenuity would be exercised come necessarily much into his own hands and those of his friends afterwards, he will often experience the lively satisfaction of being praised for his taste and skill. Bookbinding is a clean and not too laborious occupation, which can be easily practised in any spare room, or even airtight shed where light is plentiful and the temperature can be raised to that of an ordinary sitting- room. We may premise that, after next chapter', we shall go on to describe, consecutively, the vai-ioua processes as practised by a professional bookbinder, following each by any expedients which may seem more within the power of the amateur. We shall adopt this course for several reasons. In the first place, it is best that the amateur should understand the correct process as practised by the tradesman, and, where possible, conform to it Z BOOKBINDING POE AMATEUK8. as nearly as practicable. In tie second place, it will render the book a complete manual of the art, useful alike to the amateur or youthful professional workman. We must, at the outset, beg those of our readers who purpose carrying out our instructions to lend their best attention to the subject. Bookbinding is, undoubtedly, a delicate and a difficult art, and it is almost impossible to describe some of even its simplest processes. In many cases, the slightest deviation from the teaching will risk inevitable failure in the process described; but to make up, as far as may be, for the lack of personal show- ing "how to do it,'' we shall sprinkle our text thickly with sketches of the various operations at different stages, of which we bespeak careful observation. Bookbinding is comparatively a modem art. The books of the ancient and classic nations were, as most people are aware, long rolls of skins or of Egyptian papyrus, which, when not in use, were rolled up and kept each in a species of circular box. When wanted, the roll had simply to be drawn out of its case and unrolled. The Jews use to this day, in their synagogue services, similar roUs of vellum, whereon is written the Pentateuch in Hebrew characters. Doubtless, the earliest specimens of bookbinding were those produced in the eastern branch of the Roman dominions, usually called the Byzantine Empire. These were generally of metal — gold, silver, or gilt copper. Of course, this kind of binding was produced by the goldsmith, silversmith, and jeweller, the pai-t of the bookbinder proper being confined to fastening the leaves together and securing them in the metal cover. Of these ancient bindings, some few specimens are still extant. It is difficult to trace the transition of the parchment from the roll foi-m to that of leaves. It is known that the Romans used small tablets of wood, and even leaves of lead, connected by rings at the back, so as to form a small book. Perhaps this gave the hint. It is clear that the book form is more ancient than was at one time believed. Dr. Hogg says : "Amongst the various objects of antiquity which were purchased from the Arabs, at Thebes, were two papyri, the one in Celtic, the other in Greek, in the form of books. ... The leaves were about lOin. in length by 7in. in width, and had been sewn together Hke INTEODTJCTOEY. 3 tiose of an ordinary boot." Once this step was attained, tie covering would quickly follow. In the reign of Charlemagne the art of bookbinding made rapid strides. Italian designers and artificers were em- ployed, and we read of the caskets in which books were pre- served as being of solid gold, and covered with precious stones. The clasps of the covers were often closely studded with jewels, and small gold nails were fi'equently scattered over the leather of which the cover was made. Ivory was also a favourite material for book sides. This was probably derived from the Roman diptychs. The next great step in the history of bookbinding was the general adoption of leather as a covering. Hitherto nearly all the binding had been done in monasteries, and, although they might use velvet, and call in the aid of the silversmith to ornament books bound for princes, yet those of the monastic library were generally supplied with a binding of plain vel- lum, or enclosed with heavy carved oaken boards of immense thickness. It is not known precisely who introduced leather binding, nor the date of its introduction. It would seem, to us to follow naturally on the use of vellum. To Matthias Oorvinus, the celebrated literary and chivalrous King of Hungary, the first use of morocco is credited. This may be true of the dressed skin of the goat (morocco), but deerskin had been employed long previous in the monastic binderies. Richard Chandos, Bishop of Chichester, mentions, in his will, as early as the year 1253, a " Bible with a rough cover of skins ; " and the " Accounts of the Households of Edwards I. and II.," contained in four MS. volumes, presented to the Society of Antiquaries by Sir Ashton Lever, were in the original binding of calfskin, dressed like parchment, but with the hair on, except where it had been removed to give space for the written inscription. It is thus evident that the practice of bookbinding was far advanced at the time of the discovery of printing. Of course, the introduction of that "art preservative" largely increased books, and hence bookbinding. As far back as the Wardrobe Account of Edward IV. (1480), kept by Piers Courtneys, we find entries for " binding, gilding, and dressing " a certain book, and mentions of silk and velvet " purchased therefor." Among b2 4 BOOKBINDING FOE AMATEITES. later monarchs, Elizabeth and the first James seem especially weU afEected towards velvet. Henry YII. appeared to have heen the first English king who formed a Kbrary, and he had a magnificent one— the books being covered with splendid bindings. Soon after the introduction of vellum, it came into general use {circa 1460), almost ousting velvet, except for livres de luxe. Very soon we find the sides of such veUum books covered with an elaborate stamping of various designs— sometimes crowded and without merit; at others, so sharp, clear and well defined, that they have never been excelled, and scarcely rivalled, by any modern workmen. When we consider that these early binders could not have the aid of the powerful arming presses of to-day, we may well wonder how they managed to impress the large and elaborate blocks with the success to which they attained. James I. appears to have been an ardent bibliophile both before and after assuming the crown of Great Britain, and many of his bookbinders' bills are extant, showing entries for books bound in leather, vellum, and parchment. Although plain stamping ("blind tooling") is found very early in the history of leather binding, as is evinced by the vellum and " basil " book covers so ornamented, there seems little doubt that gilding the leather had its origin in Italy, probably Venice, and had been deiived by the Italian bookbinders from Eastern sources. To these same binders we probably owe the initiative of the burst of the bibliopegistic glory in the fifteenth century. It was in 1479 that Jean Grolier de Servia, Vicomte d'Aguisy, the founder of French bookbinding, was bom. He was him- self of Italian extraction, and was sent by Louis XII. to Milan in a diplomatic capacity. Probably he here imbibed his love for fine bindings, for, on his return, his famous libx-ary of finely bound books soon became celebrated. Gi-olier gave an immense impulse to French bookbinding, and appears to have brought Henry II. and his chere amie, Diana of Poitiers, to the same enthusiasm as himself, for they were both lavish in the bindings of their books. Grolier is supposed to have been the first man whose books were lettered on the back. INTEODTJCTOET. 5 By the sixteenth, century leather binding had assumed its per- fected form as seen at the present day, and its subsequent history showed few changes. Amongst those which have taken place, may be mentioned the substitution of " marbled " edges for gilded and self-coloured ones, and the introduction of stamped calico (cloth) in the present century by English binders (by Archi- bald Leighton, in 1825). The latter, as a cheap medium of binding, is an immense boon, and it is now being slowly adopted in other countries. It is, however, only a temporary vehicle for new books, and can never take any place as a library binding. Let us now, before proceeding to practical details, say a few words on taste in bookbinding. Most book lovers, in all ages, have desired to see their treasured volumes fitly, and even splendidly, clad. Chaucer's " Gierke of Oxenford " preferred to see At his bede's hede, Twenty bokes clothed in blake and rede, to any other spectacle which the world could aiford; and a magnificent binding so enraptured Skelton, the laureate of our eighth Henry, that he asseverates It would bane made a man whole that had been right sekely, To beholde how it was garnisshyd and bound, Encouerede over with golde of tissew fine ; The claspis and bullyons were worth a thousand pounde. It is a disputed question, among book lovers of taste, whether the whole of a small collection should be bound in the same material, and of the same colour, or whether a diversity should prevail. There are valid reasons for either plan. A library where both morocco and caM bindings are adopted, in the various hues which are given to each leather, has a pleasant and lively appearance, and if glaring contrasts in hues be avoided in neighbouring volumes as they stand upon the shelves, an air of lightness and vivacity wiU characterise the apartment. Bvit the contrast must by no means be too pro- nounced. Dr. Dibden, a great authority on all such m&,tters, warns us specially against the employment of either white vellum or scarlet morocco as a material for the jackets of our b BOOKBINDING POE AMATETJKS. volumes. Bott are too decided in appearance, and impart a "spotty" look to the shelves. Of course, this objection applies only to single volumes or small sets in libraries of limited extent. If, for instance, a whole press, or set of shelves, could be appropriated to vellum-clad volumes of the Fathers and patristic theology, the efEect would be good. The decision on the general question of uniformity versus variety must be left, in great measure, to individual taste. Where the collection is small, say, sufficient to fill two ordinary bookcases (about 600 volumes), an excellent plan is to resei-ve one case for standard English authors, and bestow in the other works on science, art, travels, foreign books, &c. Let all the bindings be of morocco, either " whole " binding (the term used when the book is wholly covered with leather), or half binding (where the back and comers only are leather covered, " cloth," of a similar colour to that of the leather, being used for the sides), according to the value and import- ance of the book. If maroon morocco be chosen for the books in the first press, and an olive green for those in the second, the effect will be chaste and massive. Both these leathers " throw up " the gilding of the back splendidly. Where expense is not a primai-y consideration, the backs should not be scrimped in this matter of gilding, or, as it is technically termed, "finishing."' A morocco bound book should bear a good amount of gold on the back ; but the patterns of the tools should be carefully selected. For all volumes of tolerable size, a bold, clear style of orna- mentation should be adopted, and raised " bands," crossing the back of the book, should be a sine qua non with every tasteful bibliophile. Not only should all the books in one case be in the same kind of leather (if the uniform plan be adopted), but the style of "finishing" should be the same. If lines have been chosen as the means of ornamentation, let all the books be decorated therewith. On the contrary, if a more florid style has found favour, let it be adhered to throughout. One of the most effective sets of books that ever came under our notice had all the volumes bound in blood-coloured morocco, richly gilt in the cinque cento style of ornament. The Empress Eugenie is stated to have had her books INTKODTJCTOEY. 7 imiformly bound in sky-blue morocco, thickly sprinkled with, the golden bees which form one of the emblems of the house of Bonaparte. It is, however, not unlikely that the amateur bookbinder will iatroduce greater variety amongst his bindings, for the simple reason that he will be desirous of trying his hand on morocco, calf, roan, vellum, and cloth — all of which we shall, in due course, describe. CHAPTER II. TOOLS AND AFFLZANCES. Let us now consider the tools necessary for a small bookbinding plant. The bookbinder's workshop may be fitted up in any spare room or weather-tight outbuilding. It should always, if possible, be on the ground ^oor, because the operations of beating, pulling down the standing-press, and even cutting, cause considerable concussion to the walls and joists of the place. The first fixed tool is the common screw " standing-press," which is similar to that used by packers, and in the making of cheese and cider. It usually consists of two heavy cheeks of wood, and a head and bed of the same, the whole forming a kind of parallelogram when put together. Through the head passes a brass box, in which revolves a long iron screw, with a tolerably fine thread, and from this screw depends a stout piece of wood called the " platen," or sometimes the " follower." The books are piled up between smpoth beech boai-ds, in the centre of the bed of the press, and the platen screwed down upon them, at first by the hands, then by the shoi't iron press-pin, and lastly by the long one, to which a couple (or more) men lend their force, one pulling and the other pushing. Sometimes a " purchase " is used ; this is a strong post, planted in the ground at some distance from the left side of the press. Fixed on this are a cogged wheel, pinion, and handle, which turn a wooden cylinder, around which a chain can coil. The free end of the chain is provided with a hook, and, this being fixed to the end of the long press-pin, when at the right cheek of the press, the TOOLS AND APPLIANCES. 9 ■windlass handle is worked by one or two men, and as the chain IS wound upon the barrel, the pin is necessarily brought over with more power than by muscular effort exerted directly. Standing-presses are also made wholly or partly of iron. The screw of the press should always be kept well oiled, and, to preserve it from dust, it is well to make a paper cylindrical case a little bigger than the screw, and put over it. The iron ring shown above the press (Fig. 1) is intended to support this Fig. 1.— Standing-press. pasteboard cap. The press should be firmly fixed by strong timbers braced to the walls and ceiling, in order to hold it quite firm, and resist the shocks of the pulling down. Each press should be supplied with a round piece of wood, about 18in. long, with which to screw it up and down when empty, and a short (4ft.) and a long (6ft.) iron press-pin, fitting the screw socket. There are several modifications of the screw press, amongst which the " Athol " press (Fig. 2) possesses much merit, as, from the position of the lever, this press does not jar the premises when fixed so much as the ordinai'y one, and, more- 10 BOOKBINDING FOE AMATETTES. over, requires no separate press-pin — the Isle of Man legs, seen on the right cheek, being used to pnll it down. Fig. 2.— "Athol" Press. Another novel and excellent press is the American " Boomer " (Fig. 3). This press consists essentially of screw pressiii-e Fig. 3. - " Boomer " Press. TOOLS AND APPLIANCES. 11 applied by a wheel until it is too great, when a lever working a rachet wlieel is brought into operation, and a very i];itense pressure is obtained— stated by the maker to be greater than that of the hydraulic press. With this press also there is but little jar or shock., Of the hydraulic press it is not needful to speak, as that is seldom used except in large establishments, and certainly never by amateurs. The price of a standing-press ranges from £8 for a small wooden press, and from £14 to £26 for an iron one; small Athol, £35 ; small Boomer, £28. In most cases (unless, indeed, the purpose is to do a great deal of work) it will not be necessary for the amateur to Fig. 4.— Auxiliary Screw Press. purchase a standing-press. If he beat his books effectually, he can make shift without one. They can be screwed up in the laying-pi-ess sufficiently tightly to get much smoothness. A large iron copying-press, or even a good wooden napkin- press, are not to be despised as auxiliaries. Mr. F. Ullmer, Cross-street, Farringdon-road, and Mr. Powell, of St. Bride- street, E.G., keep small iron screw bench-presses (Fig. 4), which would prove very useful, and cost about £5 each. "With every standing-press it is necessary to have a good supply of pressing-boards. These are rectangular pieces of 12 BOOKBINDING FOE AMATEUKS. beech, from §iii. to lin. thick, planed perfectly smooth and square, and varying in size, from those capable of receiving • a folio to those only large enough for a 12mo (these sizes •vrill be explained in due course). Next in importance comes the lying (or "laying," as it is invariably called by the professional bookbinders, which form we shall follow) press (Fig. 5). This consists of two large square cheeks of oak or beech connected by two large wood screws and two guide bars. On one side, which is kept upper- most for general purposes, the cheeks are simply planed smooth. "lit ' ■ Fig. 5.— Laying or Cutting Press. On the other side, however, which is used for cutting purposes, the left-hand cheek has two small pieces, screwed on in such a way as to leave a channel between them, in which the left- hand cheek of the " plough " slides in the operation of cutting. When this side is uppermost, the press is termed a " cutting press ' (it is in this position at Fig. 5). This press can be tightly screwed up by the short iron "press-pin" shown at B- When in use, the screws and guide bars should be treated with soft soap and blacklead, or some similai' lubricating composition, to allow of their working freely. If the two small square pins or keys (A, A, Fig. 5) be di-iven out (which can easily be done with a hammer and a square pin of hard wood), the grooves in the sci-ews, in which they work, can also be lubricated. TOOLS AND APPLIANCES. 13 Witli this press is used the "plough," a small apparatus of beech-wood, shown at Fig. 5. This consists of two flat cheeks, which can he brought together hy turning the screw. The right cheek of the plough is furnished with a sharp pointed knife, secured hy a screw. When the book is tightly screwed up in the cutting-press, with one of its edges slightly protruding, the binder places the plough with its left cheek in the groove, takes the plough by the handle in the right hand, resting, meanwhile, his left on the other end of' the screw, screws up the right cheek, until the point of the knife just touches the book, then begins to push the plough along the groove backwards and forwards, turning the screw a little every time the plough travels from him. The knife, by this method, gradually passes over and through the entire edge of the book, removing, in a series of shavings, the surplus portion of it that projects above the level of the press. There are various minutias which wUl be described particularly when we come to the section accorded to "cutting edges," the fore- going brief description being only intended to elucidate the uses of the press and plough. Plough-knives must be kept very sharp, and require some care in grinding. They are kept in two principal forms, the common knife, shown at Fig. 5 (C), and the Scotch, or sliding, at Fig. 5 (D). The first has a square hole in its butt, through which the plough screw passes, as shown at E (Fig. 5), while the Scotch knife has bevelled edges, and the end of the plough screw has a channel, G- (Fig. 6), formed in it, in which the knife slides, as shown at F (Fig. 5). Either knife is good, but our personal predilection is for the ordinary form, which, moreover, takes less grinding than the sliding one. The press can be had in various sizes, at different prices. The amateur wUl not require the largest size, and may get one to suit him, with plough and pin complete, at from 30s. to £2 2s. These two tools the amateur imust have. The " tub " (Fig. 6) is a rectangular wooden frame, upon which the laying-press rests, whichever side is in use. The ancient bookbinders used a veritable tub for the pui-pose, hence the present name. This should be strongly morticed and tenoned together, and can be made by any local joiner, or by the amateur 14 BOOKBINDING FOB AMATBtTES. Tiimself, if handy with carpenter's tools. It is best to put a bottom to it and board up the sides for 1ft. 6in. or 2ft., to keep Fig. 6.— The "Tub.' the shavings in. The stuff of an egg-box or two is very suitable for this purpose. We must here mention that in a large establishment the cutting of edges, "out of boards," is seldom done with the plough, but is accomplished by the " guillotine cutting-machine," in which, by lever power, a horizontal knife is brought forcibly down, and wiU pass thi-ough a pile of books at on© stroke. As the machine is expensive, and not at all in the amateur's line, we merely allude to it to render our list of tools complete. A " beating-stone " and hammer (Fig. 7) are indispensable. The hammer may be either of wrought or cast ii-on, something in the form shown at A (Fig. 7), with edges well rounded off and provided with a short wooden handle. It may weigh from 101b. to 141b. Any smith can make one. The "beating-stone" (Fig. 7) is a piece of York or Portland stone, or any stone capable of taking a smooth surface, about 2ft. by 2ft. or 1ft. 6in., and 2in. thick, ground upon its upper surface quite level. It should be firmly fixed on an upright support of wood, which should be a stout square log, firmly secured to the floor, or let into the ground, and covered on the top with saddle-cloth, felt, or TOOLS AND APPLIANCES. 15 several sheets of brown paper, to hinder, as far as possible, shocks or jars through the impact of the heavy beating- 1 Fig. 7.— Beating-stone and Hammer. Fig. 8,— Eolling-machine. 16 BOOKBINDING FOB AMATEtTES. hammer. Beating-hammers vary in price from about 5s. The stone can Le bought for a few pence; but the fitting of it up will depend upon the local charges for carpenters' work. In all extensive bookbiuding establishments the " beating " is now superseded by passing the books between the heavy rollers of the rolling-machine (Fig. 8), which was invented about fifty years since. If the amateur resides in a town, he can generally discover some binder who " rolls for the trade," and will pass his books thi'ough the machine at about an average of Id. per vol., unless very large or thick; in this case he will not need the beating-hammer or stone. The rolling-machine costs about £30, and is consequently out of the question as an amateur's tool. A small but important implement is the sewing-press (Fig. 9), which consists of a flat wooden bottom, provided with a vertical wooden screw at each end. On each of these screws revolves a Fig. 9.— Sewing-press. wooden nut, and these sustain the crossbar, from which depend the cords upon which the books are sewn. These cords are secured beneath the bottom of the press by brass keys of the form shown at A (Fig. 9), of which five form a set. Middle- sized press and keys can be purchased for about 10s. 6d. A pair of medium-sized millboard-shears are necessary. These cost about 25s., and consist of a large pair of iron shears, precisely similar to those used by the whitesmith to cut up tin TOOLS AND APPLIANCES. 17 plate and ziiic. They are screwed up in tte laying-press or fixed, in a hole in the work-bench, and are used for cutting up the millboard covers for the books ; though they are now almost superseded in establishments of any pretensions by the mill- board-cutting machine, which consists essentially of a single large blade, worked by the right hand, and sundry arrangements by which any number of boards can be cut to one gauge (when fixed) without marking off. There are various other machines used in large establishments, to which we need do no more than allude, as in small places, where great speed is a secondary condition, their work is accom- plished manually. Amongst these are Starr's backing-machine, or some modification of the original patent. This consists of two iron vice jaws, between which the back of the book can be Fig. 10.— Grindstone fob Plough-knives. locked, when a small iron roUer is worked across it to produce the proper curvature. The bookbinder's saw-bench, worked either by foot or steam, consists of several small saws arranged on a spindle, and is used for sawing the grooves to admit the cords in the back of a book instead of cutting them-individually by the tenon saw. The bookbinder's trimming-machine consists of a thin plate of steel something like a small circular saw, but quite sharp instead of toothed, usually driven by steam, and used to trim ofE rough edges and overplus of monthly magazines, &c., while still not removing sufficient to leave a smooth surface, as is done by the guillotine. A small grindstone for grinding plough-knives, &c. will be c 18 BOOKBINDING FOK AMATBTJES. required. The form stown at Fig. 10 is a good one, and can be driven by the foot. A 2ft. stone, costing about 30s., will answer. "We will now enumerate the minor forwarding tools. Two folding sticks (one pointed). These are pieces of flat bone, like small paper knives but without handles, 4d. and 6d. each ; pair large scissors, long blades, for squaring plates, 4s. 6d. ; small tenon-saw, 3s. 6d. ; small wooden tub to hold thick paste. Is. ; glazed earthenware pan to hold thin paste, Is. ; a glue-pot, 2s. ; several small " sash tools," as brushes for paste and glue, 6d. and 8d. ; backing-hammer, 2s. 6d. ; pair Lancashire wing compasses, 3s. 6d.; 9in. carpenter's square, Ss. 6d. ; knocking-down iron, 2s. 6d. ; bookbinder's rule, 4s. 6d.; scratcher-up, Is.; oilstone hone, 2s. ; shoemaker's knife for cutting out, 8d. ; French knife for paring leather, 2s.; pair band-nippers for setting bands nicely square, 3s. 6d. ; pair trindles, 2s. 6d. ; steel scraper for edges. Is. ; beech " backing -boards," per pair, according to size, from 4d. for 18mo to 2s. for imperial folio; beech "cutting- boards," per pair, according to size, from 2d. for 18mo to Is. 2d. for f oho ; agate or bloodstone burnisher, from 4s. 6d. ; pressing- tins, from 9d. each ; pallet knife. Is. 3d. ; packet bookbinder's needles, Is. The foregoing tools and machines can be obtained of the undernamed firms in London : Mr. Ullmer, Cross-street, Farringdon-road ; Messrs. Harrild, Fai-ringdon-road; Mr. Powell, St. Bride's-street,«Parringdon-road ; Messrs. Hughes and Kimber, West Harding-street, Fetter-lane, E.G.; and most printers' brokers. Having briefly enumerated the tools requisite for " foi"ward- ing " a book, let us now advert to those which appertain to the " finishing " department. In trade technical parlance, "forwarding" comprehends all the operations up to and including getting the book covered with leather or cloth ; and " finishing " is the affixing the gilt or other ornaments, and lettering the title on the back or sides. When space can be spared, the finishing is best carried on, not in the forwarding shop, but in a separate room, which should be well lighted. Here everything should be kept as clean and free from dust as possible, in order that the work in hand shall stand no chance of getting soiled. tools and appliances. Finishing Tools. 19 The necessary tools and appliances for finisting are neither numerous nor expensive, and tlie amateur would do well to obtain those named in tte following pages. A small gas stove for heating tte tools and letters, as illus- FiG. 11.— Tall Gas Finishing-stove. trated at Figs. 11 or 12. The tall one, which stands on the floor on tripod legs (Fig. 11), costs about £2 lOs.; the small one, Fig. 12.— Small Gas Finishing-stove. Both shown at Fig. 12, which stands on the bench, costs 16s. stoves are connected with the gas by an elastic tube. A stout bench, for finishing-press, &c., to stand on, is useful Some bookbinders do all their finishing at the ordinary laying- but the use of a. finishing-press, which can be moved c2 20 BOOKBINDING FOE AMATEURS. about on a shop bencli, is muoli more convenient. The cost of bench would depend upon carpenter's charges in vicinity; but a strong large kitchen table without leaves makes a very good substitute. A useful sized finishing-press, such as is illustrated at Pig. 13, costs about 12s. 6d. It consists of a couple of small but solid beech cheeks, connected by a wooden screw at each end; the right end of each screw is turned up to a handle for the right hand, for in screwing up the book about to be finished in this press the hands only are used, a press-pin not being required. Larger sizes can be had. The screws should be occasionally lubricated with blacklead and soft soap. Fig. 13.— Finishing-press. A single line, a two line, and a three line fillet are also re- quired by the bookbinder. These tools are small brass wheels, the peripheries of which have been turned up to one, two, or three fine lines. Their use will be explained when we come to the department of " Finishing." It is sufficient here to say that when heated, rolled on gold leaf, and applied to the back or sides of the book, they leave a gilded impression of one, two, or three lines respectively. Other kinds, either of plain line patterns or those which have their periphery, or rim, engraved with floral and other patterns, can be had, and the purchaser can consult his wants and means in adding to the three described above. The line fillets cost about 5s. each. More elaborate patterns mn up to 10s. and 128., or even more, according to intricacy of pattern. TOOLS AND APPLIANCES. 21 Pallets are very useful, and a few should be obtained. These are small brass tools, about 4m. or Sin. long, and have line and ornamental patterns cut on their curved edge. They are worked across the back of the book, either with gold or without. (The latter process is termed "blind tooling.") The binder should also have several alphabets^ of letters and figures and a bi-ass case. Formerly the letters used in book- binding were cut individually on the end of a small piece of brass, which was provided with a wooden handle, as shown in Fig. 15. Great dexterity was needed to properly " letter " the title of a book with these separate letters, and this undoubtedly led the bookbinder to use brass type, which he " sets up," as a printer might do, in the case shown in Pig. 14. These brass types are now sold in complete "founts," or sets of sufficient alphabets and figures for any ordinary works. The amateur can get price lists and specimens of the oast brass type of Messrs. UUmer, Harrild,, PoweU, or any other dealer. The price runs from 12s. per 100 letters upwards for types. Separate handled letters run from about 10s. to 30s. per set of one alphabet and ten figures. In the specimens given — BOOKBINDING BOOKBINDING BOOKBINDING the smallest size is suitable for 12mo and crown 8vo (these terms will be duly explained) volumes ; the next size larger, for demy 8vo ; and the largest for folio. These three alphabets should be nearly sufficient for an amateur. Some binders employ ordinary printing type (of type metal, which is principally com- posed of lead) ; but this, although cheap, is so easily m.elted that we cannot recommend it to the amateur. The " cases " or " type holders " (Fig. 14) are 10s. 6d. or 12s. 6d. each. We may mention that many of the best binders, both in London and the provinces, do' not adopt this plan, although decidedly the easier, but prefer to use the separate 22 BOOKBINDING FOK AMATEITES. handled letters, under the impression that this expedites the work. An alphabet of these, sviitable in size for the work in hand, is ranged round the top of the gas stove (Fig. 12), the handles resting in the recesses; and the finisher catches up each letter from its place as he requires it, brightens its face, presses it on its place on the back of the book, and replaces it on the stove. It need scarcely be said that it requires a very keen eye and steady hand to " work " a line of small Fig. 14.— Type-holder. separate letters straight across the curved back of a large volume. In order to do this more certainly, some binders lay a smaU piece of sewing silk across the gold in a straight line, as a guide in working the separate letters. A selection of various separate "tools," of small pieces of brass (handled), on the ends of which are cut different ornamental devices— as Maltese and other crosses, acoms, anchors, &c.— used in finishing, wUl also be found useful.' TOOLS AND APPLIANCES. 23 Tlie price ranges from 28. upwards, according to size and intricacy of design (Fig. 15). Fig. 15.— Finishing-tool. I .J Fig. 16.— Polisher. Amongst the minor but necessary, tools and appliances are the following : A polishing-iron (Fig. 16). Used to give increased smooth- ness or gloss to calf books. Price 10s. Pressing-tins and boards for the final pressing. Gold-cushion. A piece of fin. board, covered first with a couple of thicknesses of flannel or cloth, and then with Fig. 17.— Gold-cushion. calf leather, with the "flesh" (rough inside) side uppermost, and with a piece of vellum sticking up from one end and part 24 BOOKBINDING FOR AMATETTES. of one side as a guard (Fig. 17). This can be made by the binder. If purchased it will cost 2s. 6d. Gold-knife. A small, straight-edged knife, used for cutting and lifting the gold leaf. Price Is. 6d. or 2s. Gilder's tip. A few fibres of sable, fixed between a couple of cards. Used for lifting gold leaf. Costs 6d. Three small sponges, about the size of a peach, or rather larger. Small piece of flannel to oil books with. Small glazed pipkin in which to boU size. Is. Two or three gallipots. " Devil," or " frother." This is a slight piece of tough wood, about lOin. long. At one end four or more pieces of a quill. Fig. 18.— "Devil," or "Frother.' cut about Sin. long and split, are tied tightly to the wood at right angles, as shown at Fig. 18. This is used to froth up the " glaire,'' as will be explained in a subsequent section. The little wire " egg- whiskers," sold at American Novelty Stores in London, answer excellently. Gold-rag. A piece of coai-se canvas, well greased, for clear- ing off the gold first. CHAPTER III. ]X[ati:ria.ls. The materials brouglit into requisition in the binding of books are not Tery numei'ous, and the following may be taken as being all that will be required by the amateur, or even the professional bookbinder ; unless the latter be in a very large way of business, when crocodile skin and other novel covei-ings are sometimes called for : Morocco and Calf. — These leathers can be had in different colours, from about 7s. per skin upwards. Calf is a smooth leather, morocco one with a raised grain. One is the skin of the animal whose name it bears, the other that of the Oriental goat. Either is excellent leather for good books, although morocco is just now, perhaps, the favourite. At Messrs. Eadie's, Great Queen-street, Long Acre, either may be bought in half and quarter skins, or even enough for the back and comers of a single volume — of course, at slightly enhanced prices over the whole skin relatively. Persian. — We have said that morocco (Turkish understood) is the skin of the goat. Persian is also the skin of a small Eastern goat, but the leather is much harder and inferior to the Turkish. It is good leather, however, and very suitable to second-class work, and is only 3s. 6d. per skin. It may be had in various " grains " or surface patterns, but not in many hues — only, perhaps, plum-coloured and dark green. The "hard grain" Persian is the best, Russia. — This is a strong, brown, smooth leather, only used in " stationery binding " — i.e., for ledgers, pocket books, &o. It is occasionally used in bookbinding, and is a, good leather, but very thick, and needs careful pai-ing. It can be bought in 26 BOOKBINDING FOB AMATEURS. skins or small pieces, but is expensive. It is celebrated for its pleasant odour, due to the empyreumatic oil of the Russian birch bark employed in tanning it. Hogskin. — This shotdd never be used, as it engenders mildew and mould in other bindings placed near it. Boan. — This is a stout sheepskin, tanned with a smooth shiny surface and a straight grain. It is a common leather, but much used for half-bound books of no great value ; about 4s. per skin. Skiver. — This is the " grain " or outside portion of a sheepskin, split from the " flesh " or inside of the skin (of which the so- caUed "chamois" leather is made). Skiver is very thin, and will tear almost as readily as good paper. In appearance it is much like roan, but is only suited to very common work. Vellum. — This is made from calfskin by a peculiar process. It is a tough but intractable material, much used in the Middle Ages, but rarely now, and then generally for ancient theo- logical books. It resembles stout pai-chment. The skins are small, and cost from Ss. to 7s. 6d. or 10s., according to size. Velvet and Silk. — These materials are occasionally used by bookbinders, but we should not recommend them to the amateur. Prices vary, and cannot well be quoted. I Bookbinder's Cloth. — This is a textile fabric of about 30in. width usually, and sold in pieces of about 36yds., or can be bought for about Is. per yard; certain special colours, such as vermilion, scarlet, magenta, and mauve being dearer, and some common colom-s, as purple, &c., cheaper. Cloth can be had in a large range of colours, and of " grain," which is a small surface pattern, produced by passing the fabric through engraved rollers. Some grains, such as morocco, are old; others, such as pin-head, new. Cloth is much used to cover the sides of half-bound books. Marble Paper. — This is used for end-papers and book sides. In such cases the edges are marbled to match. Ooloui-ed papers, of various tints, such as the brown Cobb — so called from a bookbinder of that name — are used for end-papers. Marbled paper, 2s. 6d. or 3s. per quire; Cobb and coloured paper, 7d. and 9d. per qviire. Millboard is a hard board made from old rope. It is of different thicknesses, from "tip," which is not much thicker MATEEIALS. 27 than brown paper, to boards iin. thick — ^more used by portman- teau makers. It costs about 44s. per cwt., good quality, but commoner kinds are cheaper. Sirawboard is a common imitation of, and substitute for, mill- board. It is very brittle, and only suited for common work. About 20s. per cwt. Headbands, ready-made, per yard, according to size and quality. Stout Brown Paper for lining up the back of book. Glue, of good quality, 9d. or lOd. per lb. ; cheaper by the cwt. Paste, thick and thin. Gold Leaf, in books of twenty-five leaves, about 6s. per 100 leaves. Gold leaf varies in colour, some being " deep," or of a reddish hue, while " lemon " gold has a silvery lustre. Deep gold is preferred by most binders. Parchment Shavings or Ghippings, for size, may be bought by the pound, of account-book makers, &c. Glaire is the beaten-up whites of eggs. Pole Armenian, for making sprinkle for edges. Other materials for sprinkling and marbling colours are used, but if the binder intend to attempt the marbling of his edges himself, he will also require a marble slab and muller, a marbling trough, and sundry " combs ; " also " flea-seed," or gum traga- canth, and colours, as lake, indigo, orange, yellow, white, Chinese blue, black, green, and vermilion. These he can buy dry of any colourman, but his best plan will be to procure them in small jars (pounds), ready ground and prepared, of Mr. Oorfield, dealer in bookbinders' materials, St. Bride's-street, London, B.C. Though we shall, in its proper place, give a detailed account of the operation of marblLug, we would dissuade the small binder from attempting the process. It is both dirty and diffi- cult, and a man needs to be in constant practice to insure success. If he cannot be satisfied with gilt edges for valu- able books, and sprinkled edges for common ones, he had better keep the books by him until he can send them to one of the London marblers, who, for Id. or IJd. per volume, will marble them as they should be, and return them promptly. Either the Mr. Corfield just mentioned, or Messrs. Eadie, of Great 28 BOOKBINDING FOE AMATEtTES. Queen-street, Lone; Acre, can be depended upon for this pur- pose. Either of these two old-established firms will also supply the binder with all or any of the materials which we have enume- rated, with the exception that Mr. Corfield does not keep leathers. Messrs. Eadie do, and will even cut sufficient for a single volume (to match), either in morocco or calf. Most of the dealers in bookbinders' machines and tools also keep materials. CHAPTER IV. FOLDING. We now come to tlie first step in the actual process of Book- binding, viz., that of folding or re-folding; the first term applying to new work, the second to re-bound books. In new work, the bindeV receives the sheets of the book from the printer flat, and not folded, and his first duty is to fold them so as to bring the pages into order, with proper margins of plain paper all round. The manner of doing this Fig. 19.— Sheet of Folio. win depend upon the number of pages in each sheet, and the manner in which the pi'inter arranges (technically, "imposes") them. In the first place, if we take a sheet of white paper, of any size, and desire to have it occupied by four large pages. 30 BOOKBINDING POE AMATEITES. tlie printer will bo arrange them that when the sheet is printed there wiU be the impression of two pages on each side of the sheet, as at Kg. 19 (this shows both sides of pages). Thus, one side will bear pages 1 and 4, and the other pages 2 and 3. This size is termed " folio," from the Latin word folium, a leaf, and consists of two leaves only. Very many of the ancient books were folio, as the size was convenient to the printer. This sheet only requires folding up the back, in such sort that pages 2 and 3 fall accurately on each other. To do this, a clean miUboard is laid on the work-bench, and a pile of first sheets (or, as a binder would say, of " section B ") is Fig. 20.— Folding. laid upon it with the inner pages upwards, and the " head " on top of the pages farthest from the folder, page 2 being to his or her left hand, and page 3 to the right. The folder holds a bone " folding-stick " in his right hand. He slightly " fans " out the heap of sheets by a circular motion of his folding-stick or thumb nail on the top of the heap. This permits the respec- tive sheets to be seized expeditiously. The folder now, with his right hand, turns the right-hand portion of the top sheet (pages 1 and 4) over on to the left (pages 2 and 3), slightly doubling over the head of the page where the head-line and page figure are (as at Fig. 20), bending it a little over the folding-stick. He then advances the folding-stick and paper with his light hand until he sees that he has got the head-line and page figui-e FOLDING. 31 of page 3 exactly on, and over, those of page 2. "When this is achieved, he gives the folding-stick a rapid sweep down the centre of the doubled-over part (page 4), from head to tail, Fig. 21.— Folding. as at Fig. 21, and the sheet is folded. The sheet is now cut into halves, and doubled again up the back. It is then placed on the left, and a second sheet proceeded with. When all are Fig. 22.— Rubbing Down Backs. finished, it is well to put the thumb of the left hand at the bottom of the back of the heap, and let the sections pass down severally, meanwhile working the edge of the folder along the 32 BOOKBINDING FOR AMATEITES. back, as shown at Fig. 22. This presses the back fold close and tight. The next size to "folio" is the "quarto," from the Latin word quartus, meaning " four." In this case, the printers put eight pages in a sheet, four on each side (as shown at Fig. 23). This, of course, necessitates an extra fold. After the sheet is folded as in folio, it is turned with the fold away from the operator, and the right - hand side is brought over the left. I* z. 1 6 3 Fig. 23.— Sheet of Quarto. Thus, pages 3 and fi are brought down on pages 2 and 7, and the first fold made. The partly-folded sheet is then turned to the second position, and page 5 is brought accurately upon page 4, and the second fold made. The quarto is also an old-fashioned shape, but still lingers amongst us for certain books, principally family Bibles, dictionaries, atlases, and ency- clopaedias. The next size is the "octavo," from the Latin word for " eight," of sixteen pages to the sheet, eight on each side S 31 e a C 01 II 9 ^ 13 IB 1 B S pi 14 S Fig. 24.— Sheet ok Octavo. (Fig. 24). If the octavo were folded again, it would give small square pages of thirty-two to the sheet, called " 16mo," but this is such an awkward shape that it is vei"y seldom used. FOLDING. 33 Still anotter fold gives a "32mo." This is not infrequently met with for very small books. The next legitimate size to 8vo (or octavo) is " duodecimo," or "12mo," with twenty-four pages to the sheet (Fig. 25). It will be seen that the principle of dividing the sheet is diffe- rent from that before noticed. Here the third part of the sheet, with eight pages, is so arranged that it has to be folded down upon the other part of the sheet before the main fold of the sheet is made. Let us now describe the folding. In. folding the 8vo, the sheets are laid upon the bench, with the signature (which will be seen at the bottom of the first page) turned to the top of the table at the corner nearest to the left hand of the folder, and presents pages 2, 15, 14, 3, ^ Leil aJ |_g 2~ p3l p2l p ion risj r^ rn Fig. 25.— One Side of Duodecimo. below, and above, with their heads reversed, pages 7, 10, 11, 6, reading from left to right. The sheet is then taken with the left hand by the angle to the right and creased with the folding- stick in the right hand, in the direction of the two point- holes made in the printing, taking care, by shading to the light, that the figures of the pages fall exactly one on another, which wiU be 3 upon 2, and 6 upon 7, and thereby presenting uppermost pages 4 and 13, and above 5 and 12. The top part of the sheet is then brought down, with the left hand, upon the lower pages, 5 and 12, falling upon 4 and 13, directed properly, and again folded. The sheet then presents pages 8 and 9, which are then folded evenly, 9 upon 8, forming the third fold, finishing the sheet. In folding the 12mo (Fig. 25), the signatures, when placed D 34 BOOKBINDING POK AMATETJES. before the folder, should be at the top at his left hand, and towards the table, the sheet presenting pages 2, 7, 11, 23, 18, 14, 22, 19, 15, 3, 6, 10. On the right, pages 11, 14, 15, 10, are separated from the others by a large space, indicating that they should be cut off. The folder detaches this part with the folding- stick, and, bringing page 11 upon 10, makes a fold, and 13 upon 12, which will be uppermost, finishes the folding of what is termed the " inset," which bears the signature of the sheet it has been separated from, with the addition of a figui-e or asterisk, as A 5 or A*. The remaining eight pages are folded in the same way as the 8vo, and, when done, the inset is placed in the centi-e of them, taking care that the head- lines of both range correctly. Books are sometimes printed in what are called " half -sheets,'' but they are folded the same,, after being cut up. The next size (stUl diminishing) is octodecimo, or 18mo, with thirty-six pages to the sheet. There are a few books (principally Prayer-books and devo- tional manuals) which are still smaller (48mo and less), but these do not come much in the way of the ordinary bookbinder. It must be understood that each of the preceding denomina- tions and sizes applies to all sized sheets of paper, and hence die total number of book sizes is greatly enlarged. For example, demy (a sheet of which measures 21iin. by 19Jin.) may be teiined the usual or standard size of paper. Demy 8vo measures about 9fin. by Sjiu., and is a very usual size for modem books. All the reviews, and most of the maga- zines, are of this size. But there are also larger Svos. Thus, the Leisure Hour, of the Tract Society, is an imperial 8vo, and much larger ; Chambers's Journal is a super- royal 8vo, and also larger ; while All the Year Round is a royal 8vo, only a trifle larger superficially than the demy 8vo. The most impor- tant of the smaller-sized sheets is " post " or " crown.'' The 8vo of this paper is much used, both in this country and abroad, for popular handbooks. " Crown " (or " post ") 8vo is 4iin. by 7in. per page, is a very popular and useful size, and is much used for novels and the generality of cheap French works. Supposing the book to be bound is a volume consisting of monthly parts, you first see that they are in correct order. FOLDING. 35 then take the wrappers off; next, go through, them again, cut the thread that holds each part together, pull off the advertisement pages, take off the plates (illustrations), if any, and lay them, face downwards, in a pile in the order in which you remove them ; and, lastly, puU all the " sections " (sheets) of which the part is made up, apart, and lay them down in order, face downwards, proceeding thus through all the parts. The title-page and contents will usually be found at the end of the last part, and these must be placed at the beginning, before section B. When folding, you turn the pUe of separated sections, with the title-page upward, and place them on your left hand. Tou then take up the first section (the title-page), and having cleaned off any glue which may have adhered to the back, by rubbing the- edge of the folding- stick up and down it, from head to tail, a few times as it lies on the millboard, next, with the same tool, unturn any dog-eared corners, giving them afterwards a pinch with the thumb and forefinger of the right hand to make them retain their proper position; and, lastly, observe whether the sheet has been rightly folded, so that the lines of the title run straight across the page ; if not, you alter their position and give the back a fresh crease with the folder. Tou then put this sheet down, face downward, on your left hand, and, taking up section B, proceed to treat it in a sirailar manner. If the section is thick and has been badly folded, you will often find it necessary to divide it into portions of four leaves each, and fold them separately, afterwards re-inserting them in each other, taking care that all the head-lines and pages fall upon each other, which can be seen by holding the opened section up to the light. It will not unfrequently be found that when the head-lines are thus got to agree, the margin of plain paper above them is much more to some pairs of leaves than others. This must be obviated, or when the book is "knocked up" all the edges will come to correspond, and then the head-lines will get " out of register " (or correspondence) again. When you have got the-heai-lines right, therefore, and discover any pairs of leaves that have less margin than they should have, the middle of the back of the pairs of leaves inside these should d2 36 BOOKBINDING FOE AMATEmS. be touched with a pasty finger, so that the tiny portion of paste left on it will hold the short pairs of leaves down, with the head-lines in the right place. Half the surplus head margin on the other pages should then be cut off with a pair of scissors. When the whole of the sections have been re-folded, turn the pile (which will be rather higgledy-piggledy) again in a pile at your right hand, with the title-page upwards, and, taking from the top a parcel of about twenty sections, proceed to " knock-up " these, i.e., to tap their heads (top edges) and backs upon the millboard, until they are all quite level. When this is done, lay the parcel on the left, face downwards, serve the next twenty sections in a similar way, and so on, till the whole volume is perfectly level at the head and back, when it may ao ^^^ 1 1 z:::: Fig. 26.— Mending. be put aside on a shelf for rolling or beating, which must not be attempted until any paste used is quite dry. If any of the leaves of the book are torn, they may be mended by pasting small pieces of plain white printing paper (such as is used for the end papers) across the margin (on each side of the page) where the tear crosses it, as shown at Fig. 26. Some very dexterous menders can scrape away each of the edges of the tear with a sharp penknife, so that they resemble what carpenters call a " scarf," and cement them together with paste, so that no paper slips are required; but this skill is very rare, and only needed for valuable works. One of the menders employed by the celebrated Roger Payne was famous for her dexterity at this work, and commanded high prices. Lastly, we come to the re-folding of books which have been FOLDING. 37 previously bound. If these are clotli boarded, tbe two boards are first turned back, and held tightly in the left hand. The sections of the book are now held in the right, and, by a sudden jerk, are forcibly torn away from the boards. It will now be fouind that the back of the book is covered by a piece of canvas and brown paper. This being puUed oft", the back of the book will be exposed, as at Pig. 27. With a sharp knife, the tapes upon which the book is sewn (A, A), and the " kettle," or catch stitch, which secures the sewing (B, B), are now cut out, when the sections can be easily pulled apart. The glue is then cleared off, the thread taken out of the middle of each section, and any folding that may be required is effected. With " bound " books (those in leather) the procedure is nearly the same. The boards are first removed, by cutting fl/ 1 i x /\/ \ 13 . Fig. 27.— Back of Cloth-bound Book. through the cords which secure them to the back. The leather and paper are then scraped off the back, the cords and kettle stitches cut out, and the sections pulled apart. Some old " tight back " books, sewn upon raised bands, may present trouble from the tenacity with which the lining of paper and the leather adheres. If very refractory, it will be well to plaster the whole back over with thin paste, leave it to soak for an hour or two, lightly screw up the book in the laying press by its fore edge, and then scrape ofE the softened leather and paper with a blunt knife. The back may then be rubbed clean and dry with a handful of shavings, the cords cut out, the sections taken apart while damp, and the other operations proceeded with as before. CHAPTER V. PLACING PLATES, BEATING AND PRESSING BOOKS. When the books are folded or refolded, as tte case may be, the next step is to place tbe plates (if any) in their proper posi- tions. To aid the binder, there is always a printed list of plates, attached to the contents. Guided by this, the binder finds the place, and, having " squared " the first plate, dips his forefinger in some thick paste, and pastes the back of the plate for about Fig. 28.— Squaring Plate. an eighth of an inch in, and then puts it in its place and rubs it down with the back of hie finger.' The " squaring " consists in seeing that the margin of the plate at the back and head is uniform in quantity along the plate, or othei-wise it would be out of the straight when the book is cut. For instance, let JFig. 28 represent a plate printed on a piece of paper, of which the PLACING PLATES. 39 edges are represented by the black lines. It is obvious that, if it were pasted and fixed by the edge, B, D, it would be out of the square. Consequently, the binder cuts off the superfluous portion at the back along the dotted line B, A, and then makes another cut, at right angles with this, at the head, along the line B, C. This is generally done by eye with a pair of long-bladed scissors or shears, but sometimes the binder places the plate on a smooth cutting-board, and, placing a thin straight-edged board, called a " trindle," along the line he wishes to cut, draws a keen knife along the edge of the trindle, and then trims the head in the same manner. If the plates are numerous, he will some- times, instead of pasting each separately as he squares it, square a number, and then lay them down on a board one over the A Fig. 29.— Plates arranged for Pasting. other, leaving about an eighth of an inch of the back of each uncovered, as at Pig. 29, then place a board. A, over the top one, and, holding this down firmly with the fingers of his left hand, draw the paste-brush over all the exposed edges. It must be borne in mind that the plate must always be pasted at a back (behind the side of the printing) edge ; also that plates printed the long way of the paper must always be so fixed that the " inscription " line or title of the plate must be on the right hand of the page, as at A (Pig. 30), never reversed, as at B (in same figure). This is done in order that when the book is inspected the reader shall not have to reverse it in looking at such plates, and is de rigueur. In books consisting wholly of plates on plate paper, it is far 40 BOOKBINDING FOE. AMATETTES. best to square ttem with the boards, and, if folios, it is well to mark ofE the margia accurately with the compasses before cutting.' Maps or doubled plates should be " mounted " by pasting a slip of stout cartridge paper up the fold, leaving about half an inch of the paper to paste to. Maps or plates should never be folded in several folds to get them in. This is a clumsy ex- pedient, and, after the book has been used a little, the folds are sui-e to get out of ordei-, and the fore edge of the maps, &c., to protrude, causing the book to " gape " and look most unsightly. When all pasted places are dry and hard, the books are ready for " beating " or " rolling." Beating the book with a heavy hammer is of great antiquity. In one of the quaint sketches which the Dutch designer, Jacob i 1 " 1 1 i J A Q Fig. 30.— Position of Plates. Amman, has left us of contemporary trades, is one of a book- binder at the operation of beating. Unlike the modem, who always stands at the stone, the operator is comfortably seated on a cushioned stool. Unlike, too, the bookbinder of the present day, his ancient prototype grasps his hammer as a smith might do, and, raising it above his head, brings it down with the full force of his muscular arm. We gave an illustration of the hammer in a previous chapter. Let us now speak of the manner of holding it. As the hammer rests on the stone, the binder grasps its short handle firmly with his right hand in such a manner that his knuckles pomt to the stone, and his nails are upwards, the outer side of his forefinger resting against the inside of the head of the hammer (Fig. 3], as seen from above). The hand is then swung BEATINa AND PRESSING BOOKS. 41 over from tlie wrist, so that the operator can see the face of the hammer (Figs. 32 and 33). This peculiar action, with the back of the hand downwards, insures that the face of the hammer always descends perfectly flat, which is essential, or the paper would be out or bruised. Fig. 31.— Grasp of Beating-hammer. The learner should practise on a packet of waste paper, and must not be disheartened if, at his first essays, the paper be full of hills and holes, and perhaps with half a dozen long sharp cuts through it, where he has permitted the edge of the hammer to fall first. As he acquires dexterity and his wi-ist gains strength, he will soon get the " hang " of it and find it Fig. 32.— Beating. easy enough. The book or paper is held by one comer with the left hand, and moved about so that all its surface is successively brought under the action of the hammer. The operation is shown in side view at Fig. 32. The number of sections taken to a " beating " must be left to the discretion of the operator. If it is a re-bound book, care should be 42 BOOKBINDING POR AMATETIES. taken that the projection at the back of the section, where the former " joint " has been, should be well levelled. Perhaps it will be safest for the tyro to go over this with the backing hammer. The number of strokes necessary for each " beating " must be left to the judgment of the workman. The work looks very laborious, but is really not so when the knack is acquired, for we can well remember that in our apprentice days we have often stood at the beating-stone for three or four hours at a stretch. A piece of plain waste paper or part cover should be placed on each side of the beating, to preserve the first and last section from actual contact with the stone or the hammer. Before commencing to beat a book, the operator should refer to the date at the foot of the title-page, to ascertain when it Fig. 33.— Position of Hammer. was printed. This is necessary, because, if recently-printed books are exposed to very heavy beating, they will probably "set-ofE"; that is to say, the ink lines will be partly impressed on the opposite pages, thus rendering the printing more or less illegible, and much impairing the appearance of the book. New books should be beaten very cautiously. If the amateur has not provided himself with a beating- hammer and stone, he may make shift by screwing up the knocking-down iron in the end of the laying press, as at Fig. 34, and beating his books thereon with the "backing hammer." This is, of course, only a very inferior makeshift; still, the work may be done so. In all tolerably large establishments the rolling-machine has superseded the beating-hammer for many years past. Of this machine we have given an illustration. It consists essentially BEATING AND PRESSING BOOKS. 43 o£ two large smooth-surfaced iron cylinders, between wMcti tte books are passed ; it is provided with an apparatus by which the rollers or cylinders can be brought together or set further apart; it does its work well and quickly. The operator sets the roUers at what he considers a suitable distance asunder, then takes a number of sections and places them between a pair of tin plates of corresponding size, and puts them to the rollers, while an assistant turns the handle. The plates and sections are caught by the roUers and drawn between them, and are received by the assistant as they emerge at the other side. Precautions against " setting-ofE " are as necessary with the rolling-machine as with the beating-hammer. We may here remark that of late years a new kind of book illvistration has come into vogue which needs special precautions. riG. 31.— Knocking-down Iron and Press. We allude to the " chromo " plates, such as those issued with the Leisure Hour, Sunday at Home, &c. The coloured inks and oil colours used in printing these are very slow in drying. This is especially the case vrith the dark brown used in the shadows (probably asphaltum), which seems as if it would never dry; and if such a plate were inserted in its place before the book were beaten or rolled, it would be found to have adhered to the opposite page so tenaciously that it would be impossible to separate them. These plates must, therefore, never be " placed " until the book has been through these operations; but this is not all. They will even " stick " from the other ordinary pres- sure the book will have to go through. It is, therefore, neces- sary that, after each plate is placed, the binder put a piece of waste paper in front of it, to guard against sticking; though, in all probability, when the book is bound, he will not be able to 44 BOOKBINDING POE AMA.TETJES. get even ttis waste paper ofB wittout tlie use of moisture, whicli is objectionable. Perhaps, proper-sized pieces of tbe ordinary oiled tracing paper would answer better, altbough. we have not personally made the experiment. The whole of the "batch" of books which the binder has undertaken to " forward " together being now beaten or rolled, it is next usual to put them in the standing press and leave them there at least a night, to render them still more compact and level. We have given an illustration of the common screw standing- press, and also of the Athol and Boomer presses. The manner of " blocking up " is similar in all. The binder is provided with a number of pressing-boards of all the various sizes, and he begins by dividing each volume into several parcels, and putting in the largest first. Thus we will suppose the binder has several volumes of the Graphic (folio), two of OasseU's Bibles (4to), and twenty Quarterly Reviews (8vo). He first puts the Graphic in the folio boards, a board between each parcel, taking care to place it in the centre, then cautiously lifts them on to the bed of the press and takes care they occupy the centre of it. This may be effected by measuring the distance from the ends of the boards to each cheek of the press, and making this uniform on both sides; then, standing outside the left-hand cheek of the press, he judges by eye if the pile of boards and books occupies a central position as aligned against the inside of the other cheek. This should be done very carefully. The binder now divides the Bibles into parcels and places them between a suitable nvimber of quarto boards, then lifts these on to the folios already in the press, taking care that they stand in the centre of the uppermost folio board. Next the reviews are placed between octavo boards, and lifted in with similar precautions. Now, upon the top octavo board is put an octavo pressing block, which is a piece of deal or pine, about Sin. thick, planed level and square. Then, while the blocker upholds the pile of books and boards steady and upright, an assistant lowers the " platen " or " follower " of the press by turning the screw. When he can cause it to revolve no longer, he takes out the wooden peg, and, putting in the shorter iron pi-ess-pin, pulls down as long as he can from right to left. When this pin wUl BEATING AND PEESSING BOOKS. 45 actuate tlie screw no longer, the long pin is substituted, and one man pulls wkile the other pushes, till all is done that their united strength can achieve, when the shorter pin is placed in one of the screw holes in such a manner that one extremity rests against the right-hand cheek.. This is done to prevent the screw from receding during the night, and con- sequently relaxing the pressure, which a well-oiled iron screw will not infrequently do. The binder should examine the pile of books with his eye frequently as the " pulling down " goes on, not only from the front, but also from the sides — indeed, most from the latter ; for, if he has not blocked up the press truly perpendicularly, he may find his pile bend or bxdge, and, as the pressure increases, presently shoot out pell-mell, either behind or before the press. It is not advisable that there should be too great disparity in the sizes of the books put into the press at one time. If it begins with folios, it is better to end with octavos, and reserve the smaller sizes for another blocking up, or even, if there are only two or three, screw them firmly up in the laying-press. CHAPTER VI. SAWIXG AND SEWIKG. The press-load of books should be left in the standing-press all night, and the next morning they will be ready for sewing. The press is unscrewed by pulling the press-pin round the contrary way, viz., from left to right, and the boards and books lifted out. The various portions of the books are then taken from between the boards and laid together in proper order, so as to form volumes. The next operation is to saw the backs for sewing. If the reader will examine an ancient book, say, one bound 100 or 150 years ago, he will find the cords (" bands," they are ^■^'.^^.i^A Fig. 35.— Knocking Up. called) upon which it is sewn project fi-om the back. In process of time, however, this appearance of the bands came to be con- .sidered objectionable, and the adoption of the " open back," in place of the "tight back," rendered them inconvenient, and "kei-fs," or channels were cut with a saw in the back of the book, to permit the bands to sink in. A " tenon " saw is used for this pui-pose. It should be kept sharpened and properly set. Several books of the same size are laid together, say, four SAWING AND SEWING. 47 octavos {Quarterly Review), with their backs and heads together (leyel), and an octavo pressing-hoard is placed at each side of the parcel. They are then lifted in both outspread hands, as at Fig. 35, and brought down forcibly on the right-hand cheek of the laying -press. This is done several times to both the back and the head until all the sections are beaten up level at both places. This is termed " knocking-up." It may here be well to remind the reader that the four edges of a book or a leaf are termed : The top, " the head " ; the front, the " fore-edge " ; the bottom, the " tail " ; the other edge being, of course, the " back." When the books are knocked up level at the head and back, set the two boards, one on each side, about IJin. from the I I t Fig. 36.— Sawing-bench. back, lower the fore-edges into the laying-press, and screw up with the hands. Stand at the side of the tub, so that you face the side of the press, and, taking the tenon saw m the right hand, make a cut (or " kerf," as the carpenters call it) across the back, about an inch from the head (as at Fig. 36). This is to receive the top " kettle-stitch " (or " catch-stitch "), so will not require to be very deep, about the sixteenth of an inch, or rather more if you are going to sew the book with large thread. Next, make a corresponding kerf at about Ijin. from the tail of the 48 BOOKBINDING FOE AMATETTES. book. Tten, supposing the book is an 8vo, witli eigbt leaves to the section, measure with the end of the saw (as at X, Fig. 37) to find the centre between the two kettle - stitches. When found, make a saw-cut there. With a book of 8vo size, it is usual to sew " two on " with good sized threads, so that three cords will be required; conse- quently, the distance between each of the kettle-stitches and the last cut made must be judged by eye, and another saw-kerf made between them. This process is shown at Fig. 37, where 1 Fig. 37.— Saw-kerfs. A and B are the two kettle-stitches. Then the central saw- kerf, 0, is made ; then D, between the head kettle-stitch and C; and, last, E, midway between the tail kettle-stitch and C. The three latter saw-kerfs should be deeper than the kettle- stitches, say, about ^in. It is a good plan to have at hand the ball of cord upon which the volume is to be sewn, and to lay the cord in the kerf. The form of the latter should not be a simple " cut," as for the kettle-stitches ; but the kerf should SA Fig. 38.— Positions of Saw. be wider at the bottom. This is effected by slanting the saw first to one side and then to the other as the sawing goes on, as at Fig. 38. By this means the bottom of the kerf is enlarged; it must not be too big, however. The size of the cord used for the bands depends upon that of the book ; generally the warehouseman where you deal will sell you the usual size. The number of bands and saw-cuts depends upon the number of leaves to the section, as a rule. After the book is sawed, and before sewing, it should be SAWING AND SEWING. 49 "collated," in order to verify that the sections are still in proper order. This is effected by holding the volume in the left hand by the angle of the back and head, the tail of the book being upwards; the whole of the sections held by the right hand are permitted to escape from the restraint of the right thumb, one by one, and to fall upon the left hand, the eye attending to the signature of each section as it falls over, and seeing that the sections follow in order, as "Title, b, c, D," &c. In order to get a nice round back to the book, when backing, there must be a certain am.ount of thread in the back, so as to spread it out sufficiently. On the other hand, if you get too much thread in the back, the book becomes unmanageable. As a general rule, small books (18mo and 12mo), with twelve or more leaves to the section, are sawed for two bands, and sewed all the length of each section with fine thread. Octavo, of whatever sized sheets, may be sawed for three cords, and sewed two sheets on, as follows : The first section (title - page) is laid on the bed of the sewing-press (which was illustrated at page 16, Fig. 9), with its back to the cords ; the saw-marks are brought to the cords, and the cords are moved to the proper place, so that the latter enter them ; the press is screwed up, so that the cords are tight. The needle (threaded) is now intro- duced in the tail kettle-stitch saw-cut, and brought out at the saw-cut D (Fig. 37) ; there it passes around the band (cord), and re-enters the section again at D, but on the other side of the band. It then passes along, inside the section, to kerf (Fig. 37), where it emerges, and is re-inserted in the same saw-kerf, after having gone round the band ; and so on, passing round each cord, until the needle finally emerges at the head kettle-stitch kerf, A (Fig. 37). The next section is then laid on, and the needle passed into the head kettle-stitch, A, and the same process of sewing round the cords repeated, only in reverse order, viz., from head to tail, instead of from tail to head. "When the thread comes out at the tail kettle-stitch of the second section, it is tied to the end of the needleful which is stiU projecting from the tail kettle-stitch kerf of the first section sewed. E 50 BOOKBINDINa FOB AMATETJES. It must be understood that the thread is not drawn entirely through or out. The usual way of making this knot is to throw the thread attached to the needle over and around the forefinger and thumb of the left hand, and then, with the finger and thumb, take hold of the end of thread which projects from the tail stitch of the previous section, gradually ptdling the top of thread across the fingers, tight, with the ' Fig. 39.— Fastening Off. right hand. (Fig. 39 gives some idea of the position.) This 18 the first kettle (catch) stitch, and these two sections have been sewn " through," i.e., they have thread all through their length. Now we will begin to sew " two on." We will place a third section on those just sewn, as A, Fig. 40, and, passing the needle in at the kettle-stitch a, let it emerge at the band kerf 6. The fourth section, B, is now laid on, and the needle, ^ i- J } i a m I Tt 9 c b c c d B a h e f A S X Fig. 40.— Stitches. having gone round the band, enters this at h, being on the other side of the cord to that at which it emerged at 6 from section A. The needle now passes to c, round the cord, and from c to d, along the middle of the inside of section B, coming out at d. Here it goes round the cord, and is then pushed into section A again at e, passing fi-om e to / along the middle of the section, and coming out at /, where another SAWING AND SEWING. 51 kettle-Btitch is made. This is efEeoted by passing the needle in between the two previously-connected sections from the hack inwards, as at Fig. 41, so that it can come out between the Fig. 41.— First Stage of Kettle-Stitch. section at the head, as shown. The needle is then passed upwards through the loop there made as at Fig. 42, and then drawn gradually up, as at Fig. 43, until it draws into a tight Fig. 42.— Second Stage of Kettle-Stitch. knot, which slips into the kerf of the kettle - stitch, so that it is below the surface of the back. The previous process is then repeated (sewing towards the tail) with the next sections. Fig. 43.— Third Stage of Kettle-Stitch. C and D, the kettle-stitch being passed under the sheet last secured ; and so on. In larger books, with still thinner sections (say four leaves E 2 52 BOOKBINDING FOE AMATETTES. to the section), it will he necessary to lay on more than two sheets in sewing, and, therefore, they must be sawed for more bands. Thus, a quarto, of four leaves to the section, should be sewed on five bands. In sawing this, the kerfs should be arranged at about the proportional distances of Kg. 44. In B D E C F c A r — ■ 1 \ 1 I 1 r Fig. 44.— Sawn Back of Large Book. sewing, three sections are laid on, thus : First section sewn from B (kettle-stitch) to D; second section from D to E, third section from E, around to P. As this stitch has no hold at either end, it is made longer; then, going back to first section, it is sewn from P to G, and then the second one from G to A, Fig. 45.— Saw-Bench. the kettle-stitch securing the whole. In all cases, the first two and the last two sections of every volume should be sewn all the way along, as shown at Pig. 40. In large establishments it is common now to supersede the manual use of the tenon saw by the bookbinder's saw -bench SAWING AND SEWING. 63 (Fig. 45). THs machine, wMct is worked either by the foot or by steam power, is very useful. The saws (of which seven are supplied with the machine) are circular and small. They are arranged on the saw spindle by placing collars between them, so as to separate the saws as desired (Pig. 45). The washers will give a change for every quarter of an inch. Of course, this is only for new work. The top edges of the saws project through the slots in the plate, and the pile of books, -MIL Fig. 46.— Saw-Spindle and Saws. well knocked up, is gradually drawn across the plate, on which, of course, the backs rest. Price from £18 upwards. When the first section of a book has a steel engraving pasted to it, or is otherwise composed of separate leaves pasted together, it cannot be sewn all along the middle of the section. It is, therefore, " overcast," by making a small hole through it on each side of each kerf (Fig. 47), and passing the needle and thread through up and down, and around the various cords and bands, so that when it is sewn the stitches on the top side lie as in Fig.> 47. Before the next section is laid down a small piece of thick paste is taken on the end of the fore- finger, and the section and stitches are well pasted up to the Cjl- — ...1=^ j_™ L._z:ii2q Fig. 47.— Overcast. dotted line (Fig. 47). The next section is then laid on, and this should be well pressed down on to the pasted section with the edge of the folder. In all sewing every few sections should be pressed down with the folder, especially at each side of the cords. When sewing two or more on, the foldiug-stick is also used to keep the middle of the lower section. When yon lay the first section, A, on, and sew from a to h (Fig. 40), leave the folding-stick 54 BOOKBINDING FOE AMATEUES. there, projecting from the end. Then section B is sewed on. Now, in order to take the second stitch in section A, from e to / (Fig. 40), all that is necessary is to find the folder, and then the middle of section A is known directly. When a volume consists of maps, plates, or single leaves, it should be " knocked up " on the laying-press, held between a pair of pressing - boards of the proper size, imtil every leaf is up true at the head and back, the pressing - boards being also level with the leaves. The lot is then lowered into the laying - press, and screwed up moderately tight, back ~Tr Fig. 48.— Overcast. upwards. The entire back is then lightly but well glued over with thin glue. When the glue is diy (but not hard), the back is sawed as usual. The volum6 is then divided into three or four portions, according to thickness; each of these is pierced on each side of the kerf (kettle-stitch only one side), as at Fig. 48. This may either be done by a fine bradawl, wriggled first a little one way, then a little on the other, or by the ordinary bookbinder's bodkin (Fig. 49), which will require to be assisted by a smart tap or two of the backing hammer. Fig. 49.— Bodkin. They may then be pulled into sections of eight or ten leaves, according to size of thread, and sewed as the section at Fig. 47 is, each following section in the same manner, and each section being well pasted. Music may be "overcast" in the way just described. There is another way of overcasting more used in London. Suppose it is a volume of music : Cut away as much of the book with the plough as will make a good surface ; then screw SAWING AND SEWING. 65 it up and glue it. Saw, and divide into suoli thicknesses as you think suitable, say ten leaves. When divided, take a small needle, threaded with fine thread, make a knot at one end, pass it through the first section, close to a kettle-stitch kerf, and draw it through till the knot rests against the paper ; then whip the section over and over, as at Fig. 50 ; finish ofE safely \V///////.V////y/.////,\////////////Xw///////A 1 Fig. 50.— Ovekcast. at the end. Now take the next ten leaves or so, £ind whip them over in the same way. These leaves are thus formed into sections hy the stitching, and can now be sewed along the middle of the section exactly as if it were a folded sheet, and will not need pasting, although some binders never omit to run. a bit of paste along. When the skein of whitey-brown thread (which is the kind used in bookbinding) is undone, each of the little knots is cut with the scissors, which leaves the thread in nee^efuls. The usual knot for connecting these, as the work goes on, is the well-known Weaver's Knot (Kg. 51), one manner of doing which Fig. 51.— Weaver's Knot. is to turn the end of the first needleful over the first two fingers and thumb of the left hand, so as to form a loop, as at Fig. 51. Thus, loop B is then passed over the end of A of the used-up thread projecting from the last section, and the knot pulled tight, taking care that the end B is meanwhile kept taut or extended. This is a good and safe knot. 56 BOOKBINDING FOE AMATBTJBS. To seoui-e the cords in the press, the bottom of each cord is wound round the "key" two or three times, and then the key is turned, so that it takes the end into its forked portion. The key is then pushed longitudinally through th6 slot of the sewing-press, and then turned at right angles, so that it rests against the bottom. The crossbar is now raised by screwing the nuts up, which tightens the cords that are held by the keys, until they are taut enough to sew to, which may be known by their emitting sound when "twanged." Tig. 52 Fig Sewer at Work. is an excellent representation of the position of the sewer at the press. The left hand is kept in the centre of the section, to seize the needle when it is passed into one of the saw-kerfs from the outside. The size of the thread used in sewing any particular book should be considered. If the book consist of thick sections, a stouter thread may be used than if they are thin. Only practice will teach the tyro when his book has its back of the SAWING AND SEWING. 57 proper thickness. If it have too much thread in it, it will be unwieldy and unmanageable ; while, on the other hand, if it have not suificient, the back will not take a proper degree of curvature. French and other Continental paper-covered new books are generally sewed with cotton. They have no bands or cords; but the cotton takes one stitch in the centre of the first section, then the needle emerges from the back and is thrust into the second section at the same place. It makes a stitch in B V C .) Fig. 53.— Pamphlet Stitch. the middle of the second section; then, emerging, is plimged into the third section, and a single stitch taken backward ; and the whole of the book is thus sewed with one length of cotton, and each section has but one stitch, there being no kettle- stitches. It may here be well to mention that a single sheet pamphlet, as a sermon, list, or catalogue, is generally secured by a single stitch at the middle of the back, as at Fig. 53. The needle is pricked through the centre of the back, as at A; it is then put through the back from the outside, a little lower down, as at B. The needle is then passed upwards, inside the section, to 0, as much above A as B was below it, 'and is here passed I Fig. 54.— Pamphlet Stitch. through the section to the outside. Lastly, the needle is brought down outside to A again, and is passed through beside it at D. The stitch B, 0, is now between the two ends of the thread, and when these are tied together the whole stitch is secure. When there are more sheets than one, they are placed on each other, and three holes made through them, as at Fig. 54, with the bodkin and hammer. "Where much of this stitch- ing is done, the amateur had better have a wooden stabbing- 58 BOOKBIWBUrG TOB AMATEUES. machine (Fig. 55), whicli forces three hodkin blades through at one ptill of the lever. The price is about 12s. Mr. Frederick UUmer, of Cross-street, Farringdon-road, recently introduced Fig. 55.— Hand Stabbing Machine. a treadle machine of this kind (see Fig. 56), which is very useful, as it leaves both hands free. Book-sewing machines have lately been introduced from Germany. They are very Fig. 55.— Treadle Stabbing Machine. ingenious, the sections being secured to the back by little links of steel wire ; but they are only adapted for new cloth boarded work, so we need not enter into any detailed description. CHAPTER VII. AFFIXING END FAFEKS, BOUNDING AND BACKING. Aftee the book is sewed, tLe next operation is to affix the end papers. The " end papers " are those blank leaves which are found at the beginning and end of every bound book, and are popularly termed "fly leaves." The number and style of these differ, to some degree, in various establishments, but we will describe the more usual. In making the end papers, various kinds of paper are em- ployed, viz. -. Marbled paper is used both for half-bound, extra, and whole-bound books, principally the latter. The making of marbled paper originated in the Low Countries, but was subse- quently introduced into this country, and our marbled papers are now equal to any. Marbled paper ranges in price from 2s. 6d. per quire upwards, and is generally royal or super-royal in size. Marbled paper of every description can be obtained of Messrs. Eadie, Great Queen-street, Lincoln's Inn- fields, and Mr. Oorfield, St. Bride's-street, E.G. Cobb paper, so-called from the binder who invented it, is used for ordinary haK-calf work. It is a seK pulp-coloured paper, a reddish-brown and an olive being the favourite hues. Surface paper is that which has one side coloured by pigment spread on with a brush. A pale yellow or buff is the usual tinge, but darker colours (as olive) are used for Bibles, and of late a chocolate has been popular for general work. Fancy printed papers of various kinds are much used as end papers by the French binders, and sometimes in this country. They generally consist of small patterns printed in gold and colours, some being very elaborate. When used for new cloth 60 BOOKBINDING FOE AMATETIES. work, there is often a tablet in tlie centre, in whioh tlie publisher's advei-tisements are insei-ted. Paste paper is often used in Germany, and can be made by the binder for himself. Any pigment that may be selected is mixed with paste and a small piece of soap until it is about the thick- ness of cream, or a little thicker ; it is then ground on the slab by the muUer. One side of each of a couple of sheets of white paper is then covered with the colour by the aid of a brush. The two coloured surfaces are next placed together, and when pulled apart there will be certain marks, beaiing some resem- blance to a pattern. These sheets should then be hung up over strings to dry. "When dry, they may be polished by passing a hot flat ii'on over them; but a better polish will be got by rubbing them with a hot polisher such as bookbinders use. End papers are cut from sheets of paper of the same size as that on which the book is printed (sometimes a size larger), and are of ordinary white printing paper, of pale yellow surface coloured paper, of the self-coloured brown paper, technically called " Oobb," and of marbled paper. Say it is desired to prepare " Cobb " end papers for eight demy octavo volumes : take foui- sheets of 201b. white printing demy paper, cut them carefully down the back fold, fold them again carefully with the folding stick, so as to bring them to quai'to size, and cut them along the fold. You will now have sixteen pieces of paper of quai'to size. Next take four sheets of " Oobb," and cut them in a similar manner, and you wiU have sixteen quarto pieces of brown-coloured paper. These are next to be pasted together in pairs. Lay the white (or brown) papers in a heap, one on the other, and paste the top one carefully over with a large brush and thin paste. If any lumps of paste or hair from the brush ai"e seen on the pasted surface, remove them with the finger nail. Now lay one of the white pasted pieces on one of the " Oobb " pieces, or vice versa, and nib it well down with the palm of the hand, so that the two adhere everywhere, and there are no " blisters " or air-bubbles. The rubbing or pressing should proceed from the centre of the piece of paper to the edges, so as to drive out the air systematically. Proceed thus with the other pieces, so that you have at least eight pasted pieces, which will, of course, be white on one side and brown or AFFIXING END PAPERS. 61 olive on the other. Now fold each one down the centre, with the coloured side inwaids; "this will bring them to octavo size. Take another sheet of white demy and cut it into single octavo leaves. Paste one of these to each of the double sheets, by pasting the edge of the latter for about ^in. at the back and attaching the single leaf to it. Place all of them under a few millboards to ensure their drying flat. There is another method of making end papers, followed by many binders. Suppose they ai-e for demy octavo : the sheets, both white and coloured, are cut into quarto, and then doubled up the middle to octavo (in the case of marbled paper the coloured side is folded inside). A folded white paper is now laid on the pasting board, and evenly pasted over with thin paste, then one side of one of the coloured pieces is laid to this, and well pressed down. By this means half the white end paper will adhere to half the marbled or coloured one. When all required are thus made, they should have a nip in the press, and then be hung up on strings to dry. In pasting, do not load the brush with paste. Draw the brush over all the surface of the paper, and fromi the centre to the sides. Do not remove the brush until it reaches the side. Lay the paste on evenly. As we are now beginning to deal with the use of paste and glue, it will be well to speak of the preparation of the same. Thick Paste. — Fill a small iron saucepan half fuU of water, and throw into it a teaspoonf ul of powdered alum ; let it melt ; now add as much good wheaten flour as, when well stirred lq, wiU make a thin batter. Get a few sprigs of birch (from a new broom), and tie them into a small bundle. Place the sauce- pan on a clear fire, and stir the paste continually (in one direc- tion) with this brush. By-and-bye you will find it get so thick that you cannot stir it with the birch bi-ush; take it out and use instead a smooth stick about the size of the finger, and 15in. or 18in. long. Let the paste continue to boil (never inter- mitting the stirring, or it will bum) until you can hardly stir it, then empty it. The best vessel to keep it in is a small oaken tub (which yon can purchase at a cooperage) ; or, next to that, one made of leather, which any harness maker will construct for you. Earthenware or metallic vessels cause the 62 BOOKBINDINO FOR AMATETJES. paste to become thin, wateiy, and useless. It is well to keep it covered for the prevention of mould. Thin Paste. — In a glazed vessel or basin mix good wheaten flour and water to about the consistence of a batter for batter pudding or pancakes, adding a teaspoonful of alum. Put a kettle of water on the fire. Now, with a spoon, beat up the batter until it is perfectly smooth, witb no kind of lumpiness about it. By this time we will suppose the water is boiling. Hold the kettle in your left hand, and pour the contents on the batter, stirring the latter round meanwhile with the spoon in your right hand. If all has been managed rightly, the batter will for some time continue to get thinner; but when a certain amount of the boiling water has been added it Fig. 57.— Brush for Thin Paste. will begin to thicken. When it is thick enough (which must be learnt by experience), leave off adding the boiling water. This paste may be kept in the earthen pan in which it is made. The alum is added in both cases, because it is supposed that its astringent qualities prevent blisters or wrinkles in the paper, &c., pasted. A small " sash-tool " (such as painters use) is the best tool for thick paste, which is principally used for leather. A large and less stiff tool does well for the thin paste, which is used for paper. A small whitewash brush (see Fig. 57) will do. Glue. — Glue is manufactured from the cuttings and parings of hides, bones, &c., and varies much in quality. Scotch glue is AFFIXING END PAPEEB. 63 generally esteemed the best. The very thin amber-coloured glue is the most superior ; but this is rarely used, save by cabinet-makers in veneering. As a rule, price is the criterion. If you go to a good house, and give a good price, you will generally receive a good article. The binder requires glue of two descriptions, and should therefore have a couple of gluepots, with brushes. One, a small pot, must contain thick glue, for lining, &c. ; the other, much larger, thin glue, for glueing cloth, &c. The tyro will I'eceive his glue in good-sized cakes, as it came from the drying-nets, and the first thing is to reduce it to small pieces, of about lia. each. If the glue be dry and hard, as it is in fine weather, the most ready way of effecting this is to wrap up a few pieces in thick brown paper and pound vigorously upon them with the backing hammer • they will soon break up. Should it, however, be soft from, moisture, this plan would fail. Instead, screw up the millboard shears in the laying-press, and you will find that you can readily cut the glue up into pieces somewhat resembling jujubes. If necessary, holding a piece to the fire for a minute will tend to soften it. Good glue should contain no specks, but be transparent when held up to the light. When you have broken up the glue, place it in an earthen- ware pipkin, and pour on as much soft water as will cover it. Let it soak for from twelve to twenty hours, and then place it in the inner pot of the gluepot, add some water, fill the outer pot with water, and place the whole on the fire, and gradually raise the temperature until all is dissolved, stirring frequently when melting. If the outer pot boils over, lift the inner one up, and, removing the whole from the fire, replace it on a duller place. It does not require boiling. Prepared in this way, it cools down into a thick jelly, which requires only a little warming to fit it for use. The glue for putting cloth on should be thin and well melted. Take the brush out and stamp down its hairs on a piece of dry rough brown paper, with the handle upright; place the palms of both hands on either side of the handle, and rub them backwards and forwards, so as to cause the brush to rotate briskly. After doing this a' few moments, put the brush back in the same position in the gluepot, and revolve it in the same manner. Presently, a slight 64 BOOKBINDING TOB AMATETJBS. foam or froth should appear on the top of the glue, which should increase till the pot becomes well-nigh filled with glue froth. It is now in good order for spreading on the cloth, and should look white and frothy when applied. Some binders believe in mixing tallow, &c.; but all that is really necessary is to cause the brush to revolve briskly upon a rough surface for a short tiipe, which initiates the tendency to froth. When the end papers are dry, they are pasted to the sewed book, one at the beginning and one at the end. The end papers are laid over each other, leaving about i-in. of the back on the side where the single leaf is, and the exposed part pasted with thick paste. The pasted end-paper is then placed at the beginning or end of the book, with its pasted portion next to the book, and level with the back and head, and carefully rubbed down. Fig. 58.— Reducing Back. Take the books that you have sewn, one by one, and, holding in the right hand, beat the back against the laying-press, so as to bring up the backs of all the sections perfectly level. If they will not come up readily, lay the book down flat and work them up level with the fingers and thumb. Next, take the book in the left hand, head towards you, and smooth down the cords in the last section ; place a backing-board level with the back, at about ^in. therefrom (Pig. 58). Then turn the book, tail to you, and place another board similarly on the other side (but leaving the cords free here). Holding the boards and book tightly in the left hand, lower it carefully into the laying-press and screw it up BOUNDING AND BACKING. 65 with the hand. Take a pair of backing-boards (or cutting- boards), one in each hand, and strike each side of the back simnltaneously (see Fig. 59), until the sections are driven close together, and the swell of the back is lessened. Fig. 59.— Reducing Back. Some binders simply place the book on the laying-press, and beat it up the back with the backing-hammer until the back becomes thinner; Others flatten the book in the laying-press, leaving the back out. The press is then screwed up tightly, a knooking-down iron held against- the projecting portion of the back at the left side, and the back hammered on the right. It is usual to paste the first and last sections to those next them. Place the book on the laying-press, turn the top section back ; lay a slip of paper along the section at about ^in. (more for large books) from back of section to waste paper, paste along it, take waste paper away, and replace section, rubbing down with he finger; serve last section at other side of book similarly. The middle finger of right hand is best for pasting with. When all the end-papers are pasted on and dry, the next step is the " glueing-up." There are difEerent ways of accom- plishing this. Some binders place one or more volumes between a pair of pressing-boards of proper size, and, holding them between the palms of the hands, as at Fig. 35, beat the backs and heads on the cheeks of the laying-press until they are quite square ; then draw the boai-ds about lin. down from the back, lower the books and boards into the laying-press, and screw them up by the hands. Lastly, having the pot of 66 BOOKBINDING FOE AMATEURS. glue hot, the brush is dipped in, and the whole of the back well glued over, working the glue in between the sections, but taking care that none smears over the end-papers nor on the bands. Thin glue is employed. Other binders knock each volume up at back and head while it is held in the right hand, and then pile them upon each other on the right hand cheek of the laying-press, with the backs projecting over on the right hand, the largest size book being laid down first. When a tolerable number have been thus piled up, a boai-d is placed on the top, and the pile is held down and kept steady by placing the left hand on this board. The brush, weU replenished with glue, is now worked over the backs, beginning with the top one. This operation should be performed expeditiously but carefully. Fig. 60.— Bad Glueixg-up. The first plan is the safer, but the second is the quicker. It must be understood that it is indispensable that the sec- tions be well up at the back, and that the head be quite square. If this last requirement be not attentively obsei-ved, the head of the book may present a "nose" on one side, as at Fig. 60, and, of course, when the edge is cut more will be removed from this portion than from the other. The books are now left for the glue to set, and meanwhile the millboards are cut out on the same principles as the end- papers were. The millboards are made to regular sizes, like sheets of paper. They are divided as desired by the aid of a large pair of Lancashire compasses, and then marked off with a bodkin, drawn along the side of a straight edge, held from one compass mark to another. Thus, Fig., 61 represents a millboard marked off to octavo size. BOUNDING- AND BACKING. 67 The boards are generally out up with the miUboard shears. These are screwed up in the end of the laying-press nearest to the operator, and, the millboard being placed between the jaws, the edge of the upper jaw coinciding with the mark upon the board, the upper handle is worked by the right hand, and the board is readily and quickly cut. The mill- board is held in the left hand during the operation. In most regular establishments of any pretensions, the shears are now almost superseded by the board-cutting machine. This consists essentially of a long, slightly curved blade, working against an iron edge, while on the right hand is a gauge^ (Fig. 62). With this, in the first place, a pattern piece or size pattern is prepared, having the exact size and (I — • 1 » — • « — e e. Fig. 61.— Marked Millboard. form of the boards to be out. The machine is then adjusted by setting a movable grooved and raised edge at a certain distance from the place where the knife works (Fig. 62). The arrangement of this machine enables the pieces to be cut with perfect accuracy, both as to size and rectangular form. In order to have boards of the right thickness, it is some- times necessary to " make " them. This is effected by pasting one board over with thin paste, laying it on the other to which it is to be attached, and screwing them up in the press for a short time. In placing them to the book, the side formed of the thinnest board should go next to the book. This is done in order that the boards should bend to the 1-2 BOOKBINDING FOE AMATEUKS. book, not from it. With tte same object, it is sometimes usual to paste a wrapper or piece o£ paper on tbe inside of a board, or a couple of crossed strips, as shown at Pig. 63 : these wiU cause the board to warp towards them. Fig 62.— Board-Cutting Machine. Let us return to our glned-up books. The glue should now be nearly dry ; it must not be quite dry, but so nearly so that it does not retain any " tackiness," or it will stick to the hammer. We have now to i-ound the book, that is to say, impart a curvature to the glued back. This is effected Fig. 63.— Paper Slips. by laying a volume on the cheek of the laying-press, placing the thumb of the left hand against the fore edge, and with the fingers of the same hand drawing the top end-paper and sections towards the workman, who, while he is performing these movements, gently strikes the edges of the back of the EOUNDIlia AND BACKING. 69 book with the backing bammer (Fig. 64). Tbis is done to botb sides, and is an important operation. Many people (not practical) bave conjectured bow tbe graceful concavity of tbe fore edge of a book is produced, and wby it sbould corre- spond so perfectly with tbe convexity of tbe back. Tbe secret lies in tbe present operation and one or two others about to be described. Fig. 64.— Bounding Back of Book. We have said nothing about the proper thickness of board for each description of binding, because no useful rule can be given. This must be a matter of individual judgment. A half- bound book requires a thicker board than does cloth, and whole-bound thicker than that for half; also, as a matter of course, a large book requires thicker boards than a small one, and a thick book thicker boards than a thin book. Here let me impress upon the amateur binder the importance of closely inspecting every well-bound book that comes into his hands, whether in libraries or booksellers' shops. He may thus 70 BOOKBINDING FOB AMATEITES. learn much of fhe minutiae of good work, the proper thickness of boards amongst them. A little thought will show that when the boards are placed to the book, those of them that are thick will project beyond the back, and make a stiff and awkward hinge. To obviate this, the book must be " backed" ; that is to say, a groove must be formed at the back for the board to repose in. For this purpose, the Fig. 65.— Placing Backing-Board. book is held in the left hand, tail from operator, and a backing- board placed at its side, at a suitable distance from the back to make a groove of sufficient depth for the millboards (Kg. 65). The book is then turned, and another backing-board placed to it in the same manner. The book and boards must now be care- fully lowered into the laying-press, keeping the relative jjosi- tion of book and boards unaltered, until the outer edges of Fig. 55.— Backing-Board. the backing-boards are level with the cheek of the press. The inner side of the board is the straight one (A, Fig. 66), and this, in all cases, goes next the book; the sloping side (B) going towards the cheek. If the tyro finds the boards slip or change their position on the book, he may obviate this by expectorating slightly upon them before placing. The laying-press should now be screwed up with the press-pin as tightly as possible, and the KOrNDING AND BACKING. 71 workman, taking the backing-hammer in his right hand, proceed to "back." This is efEeoted by hammering the back smartly down each side, so that a portion of the back of the outside sections is hammered down on the top surface of the backing- boards, and forms a clear and well-defined groove. This is an operation that looks very simple, but, as a matter of Fig. 67.— Babbit Back. fact, it requires both " nous " and knack. In the first place, the hammer must not be brought down edgeways on the portion of the book hammered down on the backing-board, or it will cut through it. Next, although the book should be mainly struck down the sides, an occasional tap must be given to the middle, or the book will be " rabbit-backed," as shown in section at Fig. 67, Fig. 68.— Creases at Back. which is very objectionable. Lastly, the process must be so regular and careful, that no creases along the back of the section shall be seen when the volume is opened (Fig. 68). When the sheets are beaten in one direction, they should not be knocked back again. The hammer shoidd be so manipulated that it 72 BOOKBINDING FOE AMATETIES. always strikes away from the centre of the back, and that the course of the head should be circular. The right shape of the back (in section) is about (Fig. 69) one-third of a circle, or more, according to present taste. Fig, 69.— Shape op Back. We gave an illustration of a backing-machine in a previous chapter ; but its use is not to be recommended, as it is rather liable to cut the work. CHAPTER VIII. GETTING INTO BOAKBS. The next operation after backing tte book is cutting the boards. These have, of course, been brought to an approximate size by the shears or the cutting-machine (illustrated in our last chapter), and also approximately square, but in neither respect are sufficiently accurate. They have now to be cut to exact squareness, and the precise size requisite for each book, by the agency of the cutting-press and plough. For cloth boarded books and case work this operation is frequently omitted. For cutting the boards, they are placed in the press between two cutting-boards, one behind the board called a " cut-against," because against this the plough-knife cuts, and one in front, to guide the knife, termed the " ninner." It is usu.al to place a strip of millboard in front of the " cut-against," to receive the first impact of the knife, and preserve the board in some measure. The first step in cutting the boards is to place a pair (or more) destined for a certain sized book with their edges level, and remove as small a portion of the edges with the plough as will leave them perfectly smooth. Fig. 70 is a sketch of boards between the cutting-boards, ready to be lowered into the press. A is the " cut-against," B the millboards, and C the runner. One edge of the board being thus cut, the opposite one is operated on. For this it is necessary to ascertain the ■ exact width that the board must be when affixed to the book, in- cluding the square of the fore edge. (The " squares " of a board are those portions of the boards which project beyond the edges of the book when cut.) For this purpose, the book is 74 BOOKBINDING FOR AMATEUES. laid down upon its side on the cutting-presB, and, taking the compasBes in his right hand, the workman rests the point of one leg in the groove made in backing, and, opening out the other leg, searches for the naiTowest leaf in the book (Pig. 71). Fig. 70.— Cutting-board. When this is found, he has to consider that in cutting the edges he will have to cut down to this, and hence the millboard must be the amount of the " square " wider than this ; con- Fig. 71.— Compassing. sequently, he opens out the compasses the amount of the " squai-e " beyond this narrowest leaf which he has found, and fixes them in this position by screwing them tight. He now places the point of one leg of the compasses to the cut edge of GETTING INTO BOARDS. 75 the millboard, and presses tte other on to the other side of the millboard; the operation is then repeated at the other end of the board (Fig. 72). This ^art of the millboard is then placed on the cut-against, the runner adjusted to the two dots, and the superfluous millboard ploughed ofE. It is now necessary to cut the head and tail. The wooden stock of the square is Fig. 72,— Marking Board. adjusted to one of the cut edges, the steel blade being a little below the end of the millboard, and a bodkin is drawn along the blade (Fig. 73), or a couple of dots made, either mark to serve as a guide for the edge of the runner. The superfluous board being ploughed off, the book is placed upon the Fig. 73.— Marking Board. cheek of the cutting-press with the head to the operator, and looked through for the shortest leaf. When this is found, one point of the compasses is placed to the head and the other to the bottom (tail) of the shortest leaf, and the compasses fixed. This distance is then set off on the millboards from the head just cut, and the point 'at the other end, where the other leg 76 BOOKBINDING FOE AMATETJE8. of the compasses reaches, is squared, as at Fig. 74, and the surplus ploughed ofE. A millboard is now adjusted to each side of the book (if made boards or lined boards, with the right side inwards), and strokes Fig. 74.— Compassing. made with the bodkin along them for each cord, as at Tig. 75. It is now necessary to pierce the boards so that the bands may- be passed through them. This consists in making a hole from 6 T= Fig. 75.— Lacing. the outside of the board inwards at each bodkin mai-k, about Jin. from the end. This hole is shown by an O in Tig. 75. Similar holes are now made from the inside, shown at Fig. 75 by black dots. Fig. 76.— Piekcer. These holes are made either by foi-cing the bodkin through the boards, or, preferably, by lajring the millboard on a piece of smooth hard wood, and driving the " piercer " (Fig. 76) through by a blow from a hammer. GETTING INTO BOARDS. 77 The bands (or cords in whioh the book is sewed), already Tinravened, as before described, are now saturated with paste, and their ends then twisted up, by the finger and thumb, to a pomt. Each cord is then put inwards through one of the holes nearest to the edge of the board, and outwards through one of those farthest from the back. The cords are then drawn tolerably tight, and all the projecting part, except about Jin., is cut ofi, the piece remaining smoothed down on the board and secured by being struck with the hammer. Each band now forms a kind of hinge, serving to hold the board to the book. The board is now extended flat upon the knocking-down iron, and aU the cords knocked down (or riveted, as some riG. 77.— Knocking Down. term it) with the backing-hammer, as at Pig. 77. Then the book is reversed, so that the cords can be beaten down on the inside of the board also, until they are smooth and level. Great care must be taken, during this operation, that the bands do not get cut. If it chance that the part of the band between the back and the board, which forms the hinge, gets drawn tightly [over the sharp edge of the knocking-down iron, and struck by the hammer, it will be severed immediately. The batch of books thus got " into boards " should now be placed between pressing-boards, with the backs projecting, in the standing-press (largest at bottom), and pulled down tightly. In this position their backs are smeared over with the thin 78 BOOKBINDING FOB AMATBUES. paste brush. The operator then takes the scratoher-up (Fig. 78, A) in his right hand, and draws it down the back of the Fig. 78.— Back and Scratcher-up. books fi'om heads to tails, in such a manner that the teeth of the tool penetrate between the sections. The brush is then drawn along them again, so as to work the paste into these channels, and then the scratcher-up is drawn forcibly across the back in every direction. Next, the paste is partially cleaned ofE, and the scratches rubbed out by rubbing each back in the dii-ection of its length with the end of a cutting or backing board. Finally, the backs are rubbed clean and dry with a handful of paper shavings, and most binders then apply a coating of thin glue thereto. Some binders, especially in the country, prefer to screw the books up in the laying-press, three or four together, with back- ing or cutting boards between each, and then scratch them up, subsequently glueing the back of each, and blocking up in the standing-press, where they should be left all night. It is well to put a piece of waste paper inside the millboard, to prevent the pasted bands sticking to the end-papers. Before concluding this chapter, we think it well to specify the different kinds of millboard which the amateur would re- quire for the boards of his book. The quality of these wiU depend in a material degree upon the kind of binding he is desirous of adopting. If for leather work, it will be well for him to buy the beat quality millboards, which will cost him from 32s. to 40s. per cwt., according to his market. These are made of the best old ropes and sacking, and, from having much tar m them, are very dark brown, mottled with black. They are also so well rolled at the mills that they ax-e extremely hard, and the labour of cutting them is considerable. The inferior GETTING INTO BOABDS. 79 kind will do very well for cloth, or lialf roan books. They are much lighter in colour, being a kind of dull grey, and very much softer. These are about 20s. per cwt., or even less, Lastly come the strawboards, which are made of straw in- stead of hemp. These are m.uoh used now for common bindings, and are hard and smooth, but so brittle that they cannot be recommended. If a volume bound in strawboard fall to the ground, the corners are mostly so bruised that the book is irretrievably spoiled; but a good millboard will stand this casualty. Strawboards cost about 10s. per cwt. All boards can be obtained of Messrs. Eadie and Messrs. Obrfield, whom we previously mentioned, and of othei- dealers. Boards are divided, according to their thickness, into what are called "tenpenny" (the thickest), "X" and "XX," " eightpenny," " sevenpenny," and "tip" (the thinnest). The tyro should ask the dealer of whom he buys to show him the different denomiuations, and remember them, as it may be useful to him in orderiug. He had better give his first order for a 4cwt. or Jcwt. " assorted." " Tip " is excellent for lining board. Thus, instead of using a millboard of the proper thickness for a certain book, it is far better to use one rather thinner, and paste a thickness of tip on. This causes the board to have an inclination to concavity, which keeps the book compact. It must be carefully remembered that the lined side of a lined board, or the side on which the thinnest board is pasted in a " made " boai-d, must always be put next the book, otherwise the boards, instead of curving inwards, will have a tendency to turn outwards at the corners. CHAPTER IX. CUTTING AND BEVELLING IN BOARDS. When the press is unblocked, and the boarded books are taken out, the next operation is that of cutting the edges, to which, accordingly, we will now proceed. Here let us impress upon the reader the necessity of having his plough-knife in good order. It must be very sharp, and have a smooth edge. He must learn to grind it up at the ordinary grindstone, so as to keep the point the same shape it had when new, and it must be ground thin for edge cutting. For cutting mitlboards it may be rather what engineers call " stunt," but for edge cutting it must be ground thin. Then it should be carefully whetted on the oil-stone after grinding, in order that all the roughness of edge left by the grindstone be removed. It is best to keep two ploughs in use, one for the millboard cutting, and one for the edges of the books. The knife should be perfectly straight and tme in the plough. By screwing the cheeks of the plough together, and noticing where the point of the knife falls, you can form some judgment, but when you begin the cutting you will soon discover how it is mnning. The knife is regulated (that is to say, its point is elevated or depressed) by adding to, or removing from,'the pieces of waste paper put between it and the cheek of the plough on each side of the knife-bolt. In cutting, begin with the head, holding the back of the book towards you. Pull up the millboard on the left-hand side level with the head (top) of the book, and place it against the " cut-against." Then draw down the millboard at the front (right hand), until it is as much below the head as you want CUTTING AND BEVELLING IN BOAEDS. 81 to cut off. Then place the "rmmer" precisely level -with the top of the millboard, lower the whole carefully into the press, and screw up as tightly as you can. The sectional position is shown at Mg. 79, where A is the book, B the " cut-against," Fig. 79.— Cutting Head. and the "runner." Now place the plough in the rods, and slowly and carefuUy work it to and fro, holding it firmly down, and turning the screw as the plough recedes from you. The head being cut, turn the book and cut the tail in a similar manner. Next lay the book on the cheek of the press, and draw the bodkin along the front edge of each board, making a line and an occasional indentation. A cutting-board should be placed /^ O Fig. 80.— Trindles. under the end paper while this is done. Now beat the back of the book quite flat against the cheek of the press, and push the trindles under the back. The trindles (of which a pair are required) are pieces of thin iron of the shape of A (Pig. 80). 82 BOOKBINDING FOE AMATEUES. One of these is pushed between the back and the boards at the head of the book, and one at the tail, so that the first and last bands go in their insides respectively, as shown (from above) in Fig. 81. This is done to push up the back, and make it quite flat. Some bookbinders prefer a piece of plain iron. Fig. 81.— Use of Trindles. as at B (Fig. 80), thicker at one edge than the other, as shown in section in same figure. These are pushed in under the head and tail kettle-stitch. Whichever kind of trindle is used, a piece of string is next wound several times around the leaves of the book, and secured by the end being pushed under, as in Fig. 82. This is to keep the leaves in their places. The Fig. 82.— Tying Up. back is then struck once or twice more on the press, with the title-page to the right hand, the cut-against placed on the left-hand side, level along the mark made with the bodkin, and the runner similarly placed on the right-hand side, but below the line by as much as it is desired to remove. The CUTTING AND BEVELLING IN BOARDS. 83 book is now firmly grasped by tlie fore edge, and these boards (without shifting them) elevated above the open press, the millboards (which hang pendant) guided into it with the right hand, the trindles carefully snatched out, and the book and boards lowered. The runner should now be level with the top of the right-hand cheek of the press, and the out-against elevated above the left cheek by just as much as the runner is below the bodkin mark; in other words, by the quantity which is to be cut off. Great care must be taken about this and the whole operation. All being right, the press must be screwed up tightly, and the fore edge cut precisely in the same way Fig. 83.— Cutting Fore Edges. as the head and tail have been (Fig. 83). The cutting of the fore edge is shown in section at Fig. 83, where A is the book half cut through, B the cut-against, and the runner; D, D being the cheeks of the laying-press. "When the book is removed from the press, the striiig is taken off, and the leaves are struck smartly against the cheek of the press, when they will separate, the back spring again to its convex form, and the fore edge assume a similar concavity. The boards are now put back to the proper place, when the squares (that is to say, the portion of the millboard projecting beyond the edges of the book) should be of equal size and G 2 84 BOOKBINDING FOE AMATEFES. level all round. If tkey are not, the edge which is not cu sufficiently should have a little more removed. The foregoing method of cutting is tenned " cutting in boards." Fig. 84.— Section of Bevelling Apparatus. Bevelled boards are very popular just now both for morocco and cloth books. The operation can be executed by laying the board on the cheek of the laying-press, and filing off the proper quantity with a rough file or a carpenter's rasp. The amateur can easily make a guide apparatus, sufficient for his purpose, by screwing a couple of pieces of hard wood, Fig. 85.— Angle of Bevel such as beech, together, leaving an opening between them for the board to pass through (Pig. 84). The edges can be brought to the right bevel, which is that of 45deg., or half a right angle, which may be obtained by drawing a line diagonally from one comer of a square to the opposite comer, as shown at Fig. 85. CHAPTER X. COLOUBIKG EDGES. The edges of tlie books being cut, the next operation is to decorate their white surfaces in some manner. This may be done by colouring with sprinkle, self-colour, gilding or marbling. In this chapter we shall treat of the first two methods. Sprinkled Edges. — This is the simplest and commonest kind of edge decoration, but very chaste and effective for some kinds of work when well done. The sprinkle is composed of some earthy pigment ground up with paste, and dissolved in water. Bole Armenian, or Armenian earth, a common red pigment, is generally employed. A quan- tity of this is piled up upon a marble slab, and a depression made in the centre of it. Into this hole a little thin paste and a few drops of oil are put. The sides of the heap are then drawn over this, and the whole amalgamated together by a palette knife. When all is well mixed, the mass is drawn to the side of the slab, and a small piece, about the size of a walnut, brought with the kaif e to the centre of the slab. This portion is then carefully ground by the action of a marble or granite muller, such as is used by artists in grinding their colours. The action of the muller should be rotatory, and the pigment should often be gathered together with the palette knife, so as to ensure every portion being well and properly grotmd. When all the pigment has been thus reduced to the utmost fineness, it is placed in a large brown stoneware pot or other vessel, and sufficient clean water added to dissolve it all perfectly. The books to be sprinkled are next either placed in the laying- press, with their fore edges upward, and screwed up, or laid side 86 BOOKBINDING FOE AMATETJKS. by side on their backs on a board, and tightly corded roxmd with a piece of string. The operator now takes the " sprinkling-brush " — a large brush, the hairs of which are secured by a strong wrought iron rim (Fig. 86) — soaks it well in the " sprinkle," and then presses out as much as he can against the side of the pot. Next, holding the brush by the handle in the right hand, and the short press-pin of the laying-pi-ess in his left, he strikes the fonner against the latter over the top of the pot until he has beaten Fig. 86.— Sprinkling-Brush. most of the sprinkle out of the brush, and the spots which fall are very fine and regular. He carefully wipes the ring of the brush and the press-pin on a bunch of paper shavings. Then he goes to the row of books, and repeats the operation over their edges, holding the press-pin about two or three feet above them. Some dexterity and experience are required for the successful performance of this operation, as it is necessary that the spots should be very fine and regularly laid on. The higher the press- pin is held and the less sprinkle there is in the brush, the finer the spots will be. The whole of the edge should be carefully COLOTJEING EDGES. 87 gone over, so as to keep the sprinkle very regular. The ring of the brush, and the press-pin must be frequently wiped on the shavings, or the sprinkle will accumulate and be thrown down in great blots, destructive to the work. If necessary, the brush can be recharged and the surface again gone over. "When the fore edges are finished, the heads and tails should be similarly treated, the backs of the books being from the operator. Care should be taken to give these edges the same amount of colour as the fore edges. It should be remembered that the sprinkle dries rather lighter. Occasionally school books and legal books have their edges sprinkled blue. Any good blue ink will answer the purpose. Other colours are rarely used, though sometimes foreign books are sprinkled in fancy colours; and such expedients as, say, colouring the edge over with yellow or pLnk, and then laying grains of rice or pieces of breadcmmb over the edge at intervals, and sprinkling it -with blue, are resorted to. The rice or breadcrumb being then removed, the edge appears blue or purple, with yellow or pink interspaces. The effects of this kind of thing, however, are hardly sufficiently good to be worth the trouble. Although the sprinkie-brush described and illustrated is that used almost everywhere, it may be well to mention that there still remain a few old-fashioned bookbinders who adhere to what is termed the "finger-brush.'' This is a brush about the size of a shaving-brush, of stiff hairs cut square at the ends. The brush, being dipped in the colour, is drawn across the fingers, so as to jerk the colour off in spots. The fingers should be slightly oiled. There is still another plan adopted by some. An ordinary nail- brush is dipped in the sprinkle. A common clean wire cinder- sifter is then held in the left hand above the row of books, and the brush, held in the right hand, is then worked round and round the sieve vdth the bristle next to the wires, when the spots will fall in a regular shower. Self-colowred Edges. — At the present time these are almost ■confined to red edges, which is the revival of a very old fashion. During the last century, however, other colours were in use, especially a lemon colour for whole calf books, which has been 88 BOOKBINDING FOE AMATETTES. recently, in some degree, revived. Red edges are very smtable to devotional books, and tave lately almost superseded gilt edges for prayer and hymn books. The pigment chosen is generally a vermilion of good quality, to which some binders choose to add more or less of carmine. The colour should be carefully ground with the muUer upon a slab, some paste being mixed with it as for sprinkle. It is well to add a couple of drops of oil, and the same of vinegar and water. Some binders mix up the colour with paste and water only to the proper consistence ; others prepare the colour with glair e. In colouring the edges equally over, the boai-ds at the head of the volume must be beaten even with the edges, and the book rested on the edge of the press or table ; then the back must be held with the left hand, and the colour applied with a small sponge, passed evenly over the edge, towards the back one way and the gutter the other, to avoid a mass of colour being lodged in the angle of the fore edge. This done, the other parts are similarly coloured, the fore edge being laid open from the boards, and a runner held firmly above to prevent the colour searching into the book. It will be perceived that a dozen volumes may be done as easily as one. For further security, and to prevent the colour searching into the bo«ks, it may be advisable to put them into the laying-press and screw them moderately tight. Black Edges. — Books of devotion were generally boimd in black leather, and the edges blacked to correspond with the covers, so that it will be as well to describe the process : Put the book in the press as for gilding, and sponge it with black ink ; then take ivory black, lampblack, or antimony, mixed well with a little paste, and i-ub it on the edge with the finger or ball of the hand tiU it is perfectly black and a good polish produced, when it must be cleai-ed with a brush, burnished, and cased with paper. This kind of edge has, however, quite dropped out of favour, and is now rarely seen. Colours. — The following are the principal pigments used for colouring and sprinkling book edges: Blue — indigo and Prus- sian blue, with flake white or whiting for lighter shades ; yellow — Dutch pink. King's yellow, and yellow orpiment; brown — umber burnt over the fire; red — vermilion, or Oxford ochre, burnt in a pan ; pink — rose pink (lake wiU make it brighter) ; COLOUKING EDGES. 89 green — the first and second mixed to any sliade. But spirit colours are the best, because they will not rub in burnishing. These are generally made by mixing the colours in vinegar or mineral acid. Judson's dyes make very good colours for the purpose. CHAPTER XI. GILDING EDGES. Edges of books are no doubt best preserved by being gilt, and tbis may be done either plain or ornamented. The former process being the easier and the more general, we will describe it first. Guiding Plain Edges. — The fore edge of the book is first gilt. It is screwed as tight as possible between boards placed even with the edge in the laying-press, and then the edge is scraped perfectly smooth with a steel scraper, round on one end and flat on the other, for the better execution of such parts as present slight inequalities of surface. After the edge is well scraped, it must be burnished with the burnisher, then coloured over with red bole or chalk ground in soap, rubbed imme- diately dry with fine clean paper shavings, and again well burnished. This gives a deeper appearance to the gilding, and hides any slight defect that a white edge at times presents. The gold is next cut on the gold cushion to the sizes required, and each piece taken off with a small slip of paper folded with one smooth edge, or with an instrument called a tip, by rubbing it on the head and attaching the gold by gently pressing upon it. Sometimes a piece of tissue paper (very slightly greased) is used. This is much adopted by painters in lettering facias, &c. The size (prepared with the white of an egg in three times the quantity of water, well beaten together) must then be applied evenly on the edge with a large camel-hair pencil, and the gold immediately placed thereon. Should any breaks appear in the gold, other portions must be applied with a piece of cotton wool. A size made of writing parchment, applied warm, with six or GILDING EDGES. 91 eight di-ops of vitriol in a cupful of the size, is used by some gUders ; but the former is more simple and equally effective. After the edge is dry, it must be burnished lightly and carefully, to avoid rubbing off any of the gold ; and the better to insui-e this, a piece of tissue paper should be placed on the edge during the first operation, and the edge itself afterwards bur- nished until it is perfectly uniform and clear. The head and tail of the volume must be gilt with the same precaution, the back towards the workman. The burnisher is worked across the leaves. 'Gilding a V Antique. — Should it be considered desirable to give the book the character of the period in which it was written, or an additional degree of beauty and elegance, the ornamentation of the edges may be pursued farther in the manner we shall now describe. After the edge is finished as directed, and before taking out of the press, ornaments, such as flowers or designs in compartments, may 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 with palm oil, and cover with gold of a colour different from that of the first. Then, with 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 remain only the designs the tools have imprinted, which produce a fine effect. This mode is, however, now seldom used, though almost all books in the original binding of the sixteenth century are so adorned. Gilding Marbled Edges. — This edge, which Dr. Dibden, 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. After the edges have been taste- fully 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 on lightly, to prevent unsettling the colours of the marble, and the gold immediately applied, and finished off as in other edges. When dry, the marble is perceived through the gold. 92 BOOKBINDING rOB AMATEURS. Gilding Landscapes, &e. — 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 wiU 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 time and labour required make this operation expensive, and, consequently, it is very seldom performed. After the edges have been gilt by any of the foregoing methods, the rounding must be examined and corrected, and the book should be put into the standing-press for two or three hours, to set it. The whole of the edges should be wrapped up with paper to keep them clean during the remainder of the process of binding. Gold Sprinhle. — After the edges of the book are coloured with any of the self -colours already alluded to, whether mineral pig- ments or Judson's or spii'it dyes, a good efPect may be given by sprinkling with a gold liquid, made in the following manner : Take a book of gold and ^oz. of honey, and rub them together in a mortar until they are very fine ; then add half a pint of clear water, and mix them well together ; after the water clears, pour it off, and put in more till the honey is all extracted and nothing left but the gold; mix one grain of con-osive sublimate with a teaspoonful of spirits of wine, and, when dissolved, put the same, with a little thick gum-water, to the gold, and bottle it, always shaking well before using. When di-y, burnish the edges and cover with paper till the work is finished. CHAPTER XII. MATESIAI.S FOR MARBLIKG ESGES. Mabbling may be defined as the art of so arranging moist colours upon an elastic surface, that they either will or can be made to readily assume sundry fantastic forms, such colours being transferable from the medium on which they lie to the edges of the book. The process, viewed by a casual spectator, appears wonderfully easy and simple ; but it is, nevertheless, most difficidt to describe or practice, and the tyro who at- tempts it must not be discouraged if he fails at first. Fio. 87.— Marbling-Trough. The tools required for marbling are a shallow wooden trough, about 2in. deep, and of size suited to your work, generally about 16in. to 20in. in length, and 6in. to Sin. wide will be large enough. It may be of pine, dovetailed at the corners, pitched along the joints, and painted (Fig. 87). Some- times zinc is the material of the trough. A little round stick; several combs, of which the one for small Dutch (Fig. 88) is 94 BOOKBINDING POE AMATEUBS. made of many short pieces of fine brass wire set between a couple of pieces of wood (see Pig. 89) ; a marble slab and muller for grinding ; and an earthenware cup and small brush for each coloui-. Colomrs used in Marhling. — The colours used for this purpose are the same as those ordinarily used for painting, both in oil and distemper, but you must procure them in their dry state, just as they are produced or manufactured, either in lump or powder, and grind them yourself ; they may be obtained at almost any oil and colour shop. We subjoin a list : Beds — Fig. 88.— Makbling-Comb. drop lake, peach wood red, vermilion, rose pink; Oxford ochre (burnt); blues — indigo, Chinese blue, ultramarine, Prussian blue; yellows— lemon chrome, Dutch pink, Oxford ochre (raw) ; blacks ^vegetable lampblack, drop ivory black ; brown — Turkey umber (burnt) ; orange — orange lead, orange chrome ; whites — china clay, pipeclay, flake white, Paris white. a Fig. 89.— Section of Comb. All the coloui-s must be well ground with a muller and marble slab in the manner prescribed in a former chapter for grinding sprinkle. It is of the greatest importance that the colour should be ground until perfectly impalpable. Drop Lahe.— This is the most beautiful, but the most ex- pensive, of all the reds, and is used only for book edges and the most superior kinds of work. There are different shades of this colour, viz., scarlet, crimson, and purple. The scarlet is the most expensive, and looks best on book edges, possessing a brilliancy which no other colour will produce; but there is MATERIALS FOB MARBLING EDGES. 96 a great quantity of a very inferior kind of drop lake about wMch is of no use whatever to tie marbler, as, wlien it comes to be worked, it is found to possess no body at all. In ord^r to ascertain wlietber the article you are about to purchase is likely to do, take a piece of the colour, and, breaking it, apply the broken part to your tongue : if it adheres to your tongue, it is doubtful whether it wiU do ; but if it takes up the moisture without manifesting any inclination to adhere, you may try it with better expectations. This colour is sold in the form of small cones or drops, from which it derives its name, and is a preparation of cochineal, therefore the value of it depends much upon the price of that article. Vermilion. — This colour is but little used, ou account of its great specific gravity, and seldom without being combined with some other colour. It is a preparation of mercury, and, though nominally a much lower price than lake, it is so heavy that it comes nearly as dear as that article. Rose Pirik. — This is a very useful, though common, colour; it is composed of chalk or whiting, coloured with Brazil wood, consequently it is what is termed a fugitive colour, the pink very quickly fading on exposure to the atmosphere or heat. When combined with indigo or a little Chinese blue, it makes a good purple. Burnt Ochre. — This colour is sometimes called stone ochre. It is one of the most useful colours we have, and, as the price is low, it is extensively used. With the addition of a little black it makes a good brown; with a little blue or indigo it makes a good olive ; or it is a good colour used by itself, and not liable to change. Wood Lake. — This is a preparation of peach wood, and has only been introduced of late years to the notice of marblers. It is manufactured at Birmingham. This colour is an exception to the rule, as it is sold in the pulp or damp state, and may be mixed and even used without grinding, being made almost exclusively for marbling. It is the best red we have for general purposes, and for appearance comes next to the drop lake. Chinese Blue. — This is a very beautiful, but not a very durable, colour. It is, however, an almost indispensable one to the 96 BOOKBINDING FOE AMATETTES. marbler, as it will produce nearly every shade of blue by the addition of certain proportions of white. This colour requires particularly well grinding, as, indeed, do all the blues; it is also sold at some places in the pulp or damp state. There is a very good damp blue made in Birmingham. Indigo. — This is a most valuable colour, and cannot be dis- pensed with under any consideration. It is too well known to require any description here. Though not a bright colour, it is one of the most durable, and for mixing and producing greens and purples of a permanent kind is invaluable ; neither can you make a good black without its help : but be sure you procure it good. Ultramarine. — This is a very beautiful colour, but must be used sparingly, as it will not glaze or take any polish, and is always inclined to rub off. The kinds now in general use are the French and German, the genuine article being far too high in price for this kind of work. Prussian Blue. — This colour has of late been almost super- seded by the Chinese blue, which is a much brighter colour; Prussian blue is darker and much heavier looking, and is, moreover, a very bad colour for glazing. Dutch Pink. — This is a common, but very useful, colour. It is a preparation of whiting and quercitron bark, and is used in making greens, no other colour answering the purpose so well. It is also very useful in mixing with chrome to produce the various shades of yellow you may require. Chrome. — This is of various shades, varying from a light lemon colour to a deep orange, approaching to red. It is a useful colour ; but, unless it is pure, it is very difa^cult to get it to work properly. Raw Ochre or Oxford Ochre. — This may be used in certain proportions for making olive tints, combined with Dutch pink and blue or black. It is also of use in small quantities to mix with yellows when they are inclined to run off, this colour being of a very adhesive nature. Drop Ivory Black. — This colour cannot well be used alone; it may, therefore, be called only an auxiliary to others. Vegetable Black. — This is a superior kind of lampblack, but prepared from vegetable instead of animal matter. It is sur- MATERIALS FOR MARBLING EDGES. 97 prisingly light, and cannot be used alone ; it will not produce a black for marbling, except in combination with, double its own weight of good indigo. Turkey Umber (burnt). — This colour produces a very good brown, but it is hardly required if you have the burnt Oxford ochre ; as, with the aid of that colour and a little indigo and black, you may produce almost any shade of brown you may require. Orange Lead. — This is a very heavy colour, and is but little used, except for the edges of account books. White. — For this an article called china clay is used ; also, for some purposes, the common pipeclay. Flake white may also be used, but the others are much cheaper, and answer every pur- pose. Paris white is a similar thing to the former. Marbling Qum. — Of all the varieties of gum, there is but one that is of any use to the marbler, and that one is called gum tragaoanth, or gum dragon. You cannot be too particular in your choice of this article, on which so much of the excellence of your work depends. It should be large, white, and flaky. Good gum will produce a good surface, but bad gumi will often yield a rough one, which is unsuitable to the purpose. Again, a bad gum will sometimes give a smooth surface, and yet possess no strength : the colours will flow well upon it, and form properly, and when the paper is taken off it will look at first very beautiful; but, five or ten minutes after, you will find the colours all running off, to your indescribable annoyance and mortification. To properly prepare the gum, procure a large earthen pan, glazed on the inside, capable of containing from eight to twelve gallons of water ; put therein lib. of gum tragaoanth, and on it pour about two gallons of soft water ; stir it every few hours with a clean birch broom, kept expressly for the purpose, breaking the lumps, and adding more water as it thickens or absorbs that which was first put to it : in about forty-eight hours you may venture to make use of it, but seventy-two hours would be better, and we have known some gum to be all the better for a longer period ; as, although a considerable portion of the gum may be dissolved, yet the best properties of it are not extracted till the whole is dissolved. It must be strained H 98 BOOKBINDING FOE AMATEURS. through a fine hair sieve before using, and if any lumps remain, put them back into the pan in which you soak them, until they are all dissolved. Linseed. — It is possible to marble some patterns on mucilage of linseed, but it can never be made to produce a satisfactory effect. It is made either by boiling one quart of linseed in sis or eight gallons of water, or by pouring that quantity of boiling water upon the linseed, and well stirring it tiU it extracts the mucilaginous properties of the seed; but it very soon decom- poses or turns to water. Carrageen, or Irish Moss. — This is sometimes used, but can be dispensed with altogether. It is not a necessary thing : we simply mention it because it is made use of by a few. When used, it should be well picked (the white being the best) and washed ; then set to simmer in a gentle heat for an hour or two, and strain through your fine hair sieve. It will then be ready for use, but will require a proportion of the solution of gum tragacanth, or you will not be able to do much with it. Flea Seed. — This is an article but little known, except to those who have occasion to use it. It is a small, brown, hard seed, in size, shape, and colour closely resembling the annoying little insect whose name it bears. It produces a very strong and powerful mucilage, far stronger than that which can be obtained from linseed ; and what enhances its value is, that it does not so soon lose its strength, or turn to water, but wiU keep several days. It is a great assistant, mixed with gum, in the making of French and Spanish marbles; but is worse than useless for Nonpareils and Drawn Patterns. To prepare it, put Jib. of the seed into a pan, pour upon it a gallon of boiling water, keep it well stirred for ten minutes, and let it stand for half an hour ; then stir it again for ten minutes more, and in another half hour add another gallon of boiling water, stirring it, as before, at intervals for one hour after which, let it remain, and the seed will settle at the bottom of the pan. "When cold, pour ofB the top for use, and the seed wiU bear more boiling water, though not so much as at first. Sometimes the seed will yield a third extract, but this you must determine by your own judgment, as the seed, when exhausted, will lose its viscid property, and must then be thi-own MATERIALS FOR MAEBLING EDGES. 99 away. Do not stir up your seed after it Las cooled, or it will never settle until again heated, or having more boiling water added to it. Ox Gall. — The surest way of ohtaioing this article genuine is to procure it in the bladder as it is taken from the animal, if you are acquainted with any butcher upon whom you can depend, for you must ascertain that the bag or bladder has never been broken. As we have been deceived ourselves in this way, we here expose the m.anner of the fraud. We had for some time been supplied with galls from a slaughter-house : but, finding that, notwithstanding they were brought in the bladder, the gall itself was very weak, we set to work to find out the cause, and discovered that the man who brought them procured one or two good galls and two or three empty gall bladders, the gall for which had been emptied out and sold to some one else ; and, mixing the contents of the full ones with a quantity of water, he refilled the whole lot, carefully tying them up with a fine string, and selling them for the proper article. The gall from some animals is very thick, but will after keeping for some time, get thin without at all losing its properties; in fact, gall is all the better for being kept, and is none the worse for stinking. Water. — Soft, or rain water, when it can be procured, is the best adapted for all the preparations in marbling. H 2 CHAPTER XIII. MARBLIN'O EDGES OR PAPER. In tliia chapter we shall describe how the various marble patterns for book edges or paper are produced, commencing with the easiest and most common kind of marbled papers. French, or Shell, Marble. — Tour trough being placed on a firm table or bench of convenient height, with some feet of spare room on either side, you place the pots containing the colours on your right hand and the paper or books to be M Fig. 90.— Large French, or Shell, Marble. marbled on your left ; let there be a small brush in each of your pots of vein coloui-s, and a larger one in your last or body coloui'. Pi-ovide yourself with a small iron rod or bar, about 12in. or 14in. long, and about iin. in thickness ; this you place so as to be able to take up when required in your left hand. KU your trough to about Jin. or Jin. from the top with a solution of gum tragacanth and flea seed, as directed, and proceed to mix your colours. MAEBLING EDGES OE PAPEE. 101 To produce the pattern called large brown French, or shell pattern (see Fig. 90) with three veins, viz., red, yellow, and black), mix together ox gall and water, in the proportion of one-eighth of the former to seven-eighths of the latter; into this put your vein colours, a little at a time, and gently stir the mixture with the brush (but be very careful you do not make it froth by too rapid stirring) until it amives at the proper consistence, which must be ascertained by sprinkling a little colour on the solution in the trough : if the colour sinks and does not spread out, add a little neat gall; but should it spread too far, mix a little more colour with water only, and put it to that which opens too much. The brown will require more gall, less water, and a very few drops of the best olive oil, which will cause it to form itself in rings, or shells, as it falls on the surface of the solution ia the trough. This colour will requii-e to be thicker than the vein colours, and, when thrown or sprinkled on, should drive or force the other coloua-s into the form of veius. By increasing the quantity of gaU in the last colour, you may bring the veins to almost any degree of fineness, but there is a point beyond which it is not advisable to go. This you must ascertain by your own judgment. If the brown does not shell enough, but forms in holes, add a few more drops of oil and well mix it ; but should you pour in the oil in too great a quantity, it will spoil the effect of the shell altogether, and this you will not be able to counteract except by adding some more colour mixed without any oil. Having, then, all in readiness, first skim the surface of the solution lightly all over, and immediately (for, when you begin, you must move quickly till you have all your colour on) sprinkle on your colours, beginning with the red, next yellow, thirdly black, then your principal or body colours. Go well and equally all over, taking care that you throw as much colour on one part of the surface as another. Tou then carefully bend the boards of your book level with the edges, and, holding the leaves to- gether, dip the edges in the size. "Withdraw it immediately, and shake or blow off as quickly as possible the size adhering to the edge with the colour, to prevent its running into the book. The tail is next dipped in a similar manner. Before marbling the 102 BOOKBINDING FOB AMATErES. fore edge, the boards must be laid back and the edge flattened on the press, holding the leaves firmly together at each end, taking the colours with the same precautions, and replacing the boards immediately after dipping. It is necessary, previous to throwing on the colour ^r each dipping, to clear the size of all the colour left on the surface from the previous one by taking it well ofE with waste paper. Small French, or Small Shell, Marble. — This pattern (Fig. 91) is produced with precisely the same colour as the preceding. It is called in distinction " small brown." But you now require the iron rod alluded to; hold it' firmly in your left hand, and, instead of throwing on the colours as before, knock FiQ. 91.— Small French, or Small Shell, Marble. the handle of your brush, near the stock, against the bar; this causes the colour to fall in small spots. Vein Shell Marble. — This pattern has three veins and two French coloui-s, or colours that have been mixed as French — that is, with oil in them — the last of which (in this instance purple) is mixed with a little more both of oil and gall than the other, in order to make it flow out over and drive up the other colours. Blue Stormont Marble. — This pattern (Fig. 92), though ap- parently veiy simple and easy of execution, is, nevertheless, very difficult to keep in order, in consequence of the speedy evaporation and the chemical changes which are continually MARBLING EDGES OE PAPER. 103 taking place among the ingredients witli wMoh it is made; it requires great quickness and acute observation on the part of the workman. The same preparation of gum and flea seed is used for this as for the French marble. Mix your red for vein, a,S usual, with gall and water; the other colour must consist of good indigo alone, without which you cannot pro- duce the proper efEect. The indigo being ground, as before directed in the instructions for grinding colours, you proceed to mix it with gall, water, and spirits of turpentine, of which last ingredient it will require a considerable proportion : you will find that when sprinkled upon the trough it will imme- diately fly out and then close up again, and will appear to be in constant motion on the surface of the solution. The effect Fig. 92.— Blue Stormont Marble. produced by the spirits of turpentine is to make it break full of little holes, and the acme of this pattern is to get it to look like a fine network. Sometimes it will happen that at first mixing you can do nothing with it, but, after standing a day or two, it will work well; while at other times it will work well immediately. If your holes come too large from excess of turpentine (for they will sometimes come too large from not having enough), add a little more gall and some fresh indigo, putting in a few drops of alum water; but be very careful of this, for if you pat in too much you will make the colour thick and clotted, in which case you must have re- course to a little of the solution of potash: but it is best, if 104 BOOKBINDING FOB AMATETTES. possible, to do without either of them. This pattern, though old, is still considerably used by stationers. Italian itfarfcZe.— This (Fig. 93) is a pretty, though simple, pattern, but requires great cleanliness of working to turn it out well. Your colours beiug ground as before directed, you proceed to mix them with gall and water only, as though they were for veins. Tour last colour is white ; this requires a greater proportion of gall than the other colours, and a larger bmsh, as in French. After skimming your size, you proceed by beating or knocking on your colours, as in small French, taking especial care to have the rings of your brushes free from any accumulation of colour, or you will have large '=J^ ^^^^^^JK^i ^^^^<^^^^ ^^^-"=2 ^K ^^^^tt^^ ^s^^^^^^ Kfe Y JSjbF^^^^^^^^^^ *ssJh H p^^^^^^ ^^^p s |^^T^^g=^^^*^ jn^ Z\^=M^^^:^^^^B =^y^feju^.js^_ !^^S- -•^^ "i^ilJ^r^-^^^^--- 'hy^^'^^^^^^-C 7^^^=^ ^^^4' ^^ ■j^ zJr^ ~^ — "" — 'Ji ^^~ ^•'^^^ ^^^ M ^^^^^^ ^^s tel T==\"^"-- --y ^^ &- '^V:^b^=^=^ ^^r=/4t?^^-A^ '^iz^si^? r^^ ^=3 ^^''=^'^\^^^^ ;.. ■SzSSL—-;;;^^-^ - 'W-aMMV *jt=; ^M Ss^^fa ^X^^^^^^^Tjf ■^fi^t^^J ^^ m W^^m ^K Fig. 93.— Italian Marble. spots or blotches, which will spoil the appearance of the work. One difference between this and the small Fi-ench is that you use no oil in any of these colours. Anothev method is to use a mixture of weak gall and water, instead of the white colour, which must be firmly knocked or beaten on; this must be proportioned by your own judgment. This method is pre- ferable to the former for book edges, and we like it quite as well for paper. West End Marble. — This very neat pattern (Fig. 94) is in every respect similar to the Spanish in the working, only it is not shaded. It consists of two prominent colours besides the veins. One of these is dark and dotted all over with small white spots ; the other, which is the top or last colour, MARBLING EDGES OE PAPEE. 105 ie ligM, and is made by taking a portion of tbe darker colour and mixing a quantity of white with it, sufficient to bring it to the desired tint; so that, whether it be green, blue, or brown, the same rule may be observed. You proceed to mix Fig. 94.— West End Marble. the veins in the ordinary way, viz., with the usual propor- tions of gall and water. Tou then mix your brown with a larger proportion of gall, and spfimkle it on so as to drive the other colours into veins ; you then take the white, or gall and water, as in Italian, and beat it finely and equally all over, but not so much as for the Italian pattern. Lastly, Fig. 95.— French Curl Marble. take your light or top colour, which must be stronger in gall than any of the others, and sprinkle it lightly and evenly over the whole. Lay on the paper or book as quickly as possible. 106 BOOKBINDING FOK AMATEUE8. French Curl Marble. — This pattern (Pig. 95), after the de- scription of the French marble which has been given, will not require much explanation, the only difference in working being this — you must not have any preparation of the flea seed with the gum. Tou must also procure a frame (Fig. 96) with as many pegs as you require curls on yoiu: sheet of paper; these pegs must be about Sin. long, and about the thickness of a stout goose quill, rather tapering towards a point. Throw on your colours in the same manner as for large French, take your frame of pegs, and, holding it with both hands, put the pegs down to the bottom of the trough ; give it a slight rotary motion, then lift it out quickly, so that no drops fall from the pegs into the trough, and lay on the paper as usual, taking care to lay it down true and even, or the whole pattern will be askew. Fig. 96.— Peg Frame. Spanish Marble. — This is distinguished from all others by having a series of light and dark shades traversing the whole extent of the sheet of paper in a diagonal direction (see Fig. 97) ; and, as it is not our design to puzzle or mislead the inquirer, but to simplify as much as possible, we will here state that all the plain Spanish patterns may be worked and managed without the aid of any other agents than ox gall and water; of coui-se, presuming that the coloui-s are ground and prepared as before directed. We will commence with one of the most simple and easy patterns. This is called olive Spanish, with red and blue veins. Mix the veins with gall and water, as in the previous kinds of marbling, until you bring them to the requisite consistence ; and, as it is not pos- sible to state any given measure for proportioning the gall MARBLING EDGES OE PAPEK. 107 and water exactly, you must be guided by your own judg- ment, observing the effect produced ia your colours as you try tbem on tlie solution; for our experience bas often proved tbat the gall taken from one animal bas been more powerful than that taken from another. But this rule is almost with- out an exception: That each successive colour requires more gall than the one that preceded it, and that the principal or body colour requires to be thicker in itself, and stronger in gall, than any of the others. Having, therefore, mixed and prepared your colours, and placed the preparation of gum and flea seed in the trough, you proceed to sprinkle on lightly — first the red, then the blue, and, lastly, with a good brush, full of colour, the oKve, beginning at the left-hand corner of Fig. 97.— Spanish Mabble. the trough farthest from you, and working down and up closely all over, taking care not to go twice over the same place, or you will produce rings by the falling of one spot upon another, which is considered objectionable (we do not mean to say that it can be avoided altogether, but to a certain extent it can). You now take up the paper by the two opposite comers, and, holding it as nearly upright as possible, yet with a degree of ease and looseness only to be attained by practice, you let the comer in your right hand gently touch the colour in the trough, while at the same time you shake or move it to and fro with a regular motion, letting the other part of the sheet gradually descend with the left hand till it all lies flat upon the sui-face of the solution. On taking it out, you will 108 BOOKBINDING FOE AMATEURS. find it shaded in stripes ; but practice will be required before you will be able to produce it with certainty and regularity. Treat book edges in the same way. Fig. 98.— Nonpareil Marble. Nonpareil Marhle. — The process for producing this pattern (Fig. 98) is precisely the same in every respect as the preceding one, up to the point of raking it with the peg-frame. Tou then take your comb, which is a much larger one, draw it through your colour, from left to right, then immediately reverse it, and draw it back again, from right to left, and you will have the desired effect. Fig. 99.— Antique Marble. Antique Marhle. — To make the pattern shown at Fig. 99 throw on the first three colours (red, black, and yellow), rake it once up and down with your peg-frame, and then MAEBLING EDGES OE PAPER. 109 proceed to throw on your green ; follow with the pink spots, and, lastly, beat or knock on the small white spots. Some antique patterns are made with a blue or some other coloured spot, in lieu of tke pink ; but the process is the same as the one we have just described. Fig. 100.— Zebea Marble. Zebra Marble. — This .pattern (Pig. 100) is done with colours prepared the same as for ordinary Nonpareil. When you have put on the four colours, viz., red, black, yellow, and blue, you rake it the same as for Nonpareil, after which you throw on the Fig. 101.— Wave Marble. spot and lay on your paper, shading the same as for Spanish. Sometimes it is made without shading, and thus passes for another pattern. Wave Marble. — ^In this pattern (Pig. 100) the colours are drawn into a kind of undulating form, in which the points 110 BOOKBINDING FOB AMATEUES. of the rowB meet each other. The colours are prepared in the same manner as for the Nonpareil patterns. The red, yellow, blue, and green are thrown on, over which is beaten or knocked the small white, but not too abundantly. You »ow require a kind of double rake or frame, with teeth of stout wire, about Sin. or 4in. apart, and let the teeth of the hinder ones be so adjusted as to be exactly in the centre of the spaces left open by the first ones; the second, or hindermost, row of teeth must be lin. or liin. behind the foi-mer. The two should be firmly fixed together, forming but one instrument ; draw this through your colour as you would a comb, from left to right, but with an undulating or seesaw motion, just sufficient to make the top of Fig. 102.— Dutch Marble. the hindermost wave catch or touch the bottom of the foremost one, by which means it will produce an uniform appearance all over the sheet, something in the form of diamonds or squares. There are some other patterns of a similar kind, but made without the small white spots, and the same design is some- times worked upon a French marble; but these requii-e no addi- tional explanation. Dutch Marble. — This is one of the oldest, and, at the same time, one of the most difficult patterns (Figs. 102 and 103), and is performed by a process very different from any of the preceding. If you examine a sheet attentively, you will perceive that the colours are not scattered here and there in an indiscriminate manner, but follow each other in a kind of MAEBLING EDGES OE PAPEE. Ill regular succession in a diagonal direction across tie steet, the red being tlie preponderating colour. In order to do this well, your colours must be particularly well ground and of the first quality, and they ought to be mixed a few days before using. Tou will require a number of little tins or pots, l^in. wide, and about the same or 2in. in depth. Tou will also require two frames the size of the paper you intend using, with wooden pegs in them, shghtly tapering, about iin. in thickness, and fixed about Sin. apart, at regular distances over the whole extent of the space required. Tour colours will be all the better for this class of work by the addition of a little spirits Fig. 103.— Dutch Marble. of wine ; with this exception, the colours will not require any different treatment from the Nonpareil. Mix each of your colours in a large jug having a spout, so that you may be able to pour them out of that into the small tins before mentioned. The colours required ■\vill be red, yellow, green, blue, and white. The two frames of pegs must be made exactly alike, so that if the pegs in one frame make an impression in a sheet of paper, the pegs in the other fit exactly in the sames pots. Having mixed the colours in your large pots, and tried them by dropping a little of each on the solution in the trough, you proceed to fill as many of your little pots of colour as you may require, and arrange them in the following order, about Sin. 112 BOOKBINDING FOE AMATErES. apart, so that the pegs in the above-mentioned frames may di'op 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 you gently and evenly touch the surface of the size, taking care that you do not put them too deep, but, at the same time, being quite sure that they all do touch. The tins or pots of colour must be arranged as in the following diagram, about Sin. apart : G- T G T G Y G T B T B T B T G T G T G T G T B T B T B T G T G T G T G I have put only the initial letters of the colours to* be in this lot of pots, G standing for green, T for yellow, and B for blue. You must now fill the same number of tins or pots with white, which must be composed of pipeclay ground and prepared as the other colours, and arrange them in precisely the same manner, using the second or duplicate frame of pegs to them. Having arranged all these, you now commence operations by first skimming your size (which must consist of gum tragacanth alone), then well cover the whole surface with red, which you must throw on plentifully with a brush ; you then lift carefully your first f i-ame, consisting of the three colours, giving it a slight rotary motion, so as to stir the colours, which soon settle, but still not so violently as to upset them. Let one drop from each touch the surface of the size upon the red, ah-eady thrown on, then quickly take the one with the white and drop that just ia the centre of the spots you have ah-eady placed on the trough. You next take a rounded piece of tapering wood (a bmsh handle is as good a thing as any), and pass it up and down through the colours as they are now disposed on your trough, from front to back, at regular distances, till you have gone aU over the whole extent of the trough. Then pass your comb through it, from left to right, and lay on your paper. As soon as you have hung it up, pom- over it, from a jug MARBLINa EDGES OE PAPEE. 113 ■with a spout, about a pint of clear water, to wash, off all tlie superfluous loose Colour and gum, and make it look clean, and bright, which it wiU not do without this washing, as the body of colour is so much greater than in other patterns. "When dry, it will require sizing befoi-e it can be glazed. When curls are required, you must have a third frame, with as many pegs as you require curls in the sheet of paper. The marbled or sprinkled book has next to have its edges " burnished." This is effected by screwing up each end of the book alternately in the laying-press between backing-boards, and rubbing the burnisher forcibly up and down it. Then the fore edge is done. For this the back need not be knocked up flat, but the fore edge is left curved. Some binders leave the burnishing until after the books are finished, but we regard the pi'eaent as the best time. The book can afterwards be "capped," or have its edges enveloped in paper if considered desirable or prudent to protect them. "We have now gone through the processes for producing the different denominations of marbles for edges or paper very exhaustively, and in such detail that no one can mistake the stage of any process. CHAPTER XIV. HEADBANDS AND REGISTERS. The headband is an ornamental appendage, formed in thread and silk of various colours, which is placed at the back of a book at the head and tail. Besides its ornamental appearance, it serves to support that part of the cover projecting above the back of the book in consequence of the square of the boards. This part of the leather is upheld level -with the square of the board by the headband, which gives a much more finished appearance to a volume. Thus it will be seen that the headband must equal in size the amount allowed for the square of a board. For common work, the headband used to be made of paper well rolled between two boards and slightly pasted to hold the paper firm ; but for extra work, and for volumes requiring gi-eater dui-ability, 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 round ones. There are two kiads of headbands, viz., single and double. For ordinary work, cloth pasted round cord or common thread is used; for extra, silk, and even gold and silver thread. If the volume is small, it is placed, with the boards closed and drawn down even with the edges, between the knees ; or, if larger, placed at the end of the laying-press, with the fore edge projecting towards the body of the workman. 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, and the white is 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 kettle-stitch of the sewing, and the thread drawn until it is stopped by the knot, which will HEADBANDS AND EEGISTERS. 115 be tidden 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 brought 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 the white thread being passed over it in the same way. Take care that the bead formed by these crossings touches the edge of the volume. In thus alternately repeating the operation, crossing the tied threads and passing each time under the band, which is thereby covered, you must occasionally fasten it 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 keep it to the exact curve of the back. The two projecting sides of the bands must be cut off near the silk, giving the band a slight inclination upwards to prevent the work slipping off before covering. Double Seadband. — This headband is made of silk of various colours, and differs from the single both in being composed of two bands, a large one and a 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 before directed near the edge of the book. The white silk is then passed in the same way, and so on alternately till the whole is completed. If the amateur be desirous of accomplishing the foregoing well, he is earnestly advised to take an old book with a worked headband, and, by dissecting it, observe the manner in which it has been worked. The binder of the present day, however, rarely works his own headbands, unless it is for some particu- larly important job. He can purchase of the material dealers headbands very perfectly worked by machinery, in either silk or l2 116 BOOKBINDING FOE AMATEURS. cotton, on a slip of fine canvas. These need simply to be cut ofE to the breadth of the book and glued on the back at the head and tail, when their appearance is as good as that of the worked headband. Registers. — Registers are narrow ribbons affiled to a book to enable the reader to keep his place. When they are very narrow it may suffice simply to place them in the book when the binding is completed ; but broad ribbons, as for Church Services, Bibles, &c., should have one end glued to the back at the head before the headbands are fixed. Some broad registers have gold fringe at the bottom. Registers are usually deep blue in colour. The loose ends should be turned back in the leaves to pi-otect them while the binding is progressing. CHAPTEE XV. LISTING THE BACK. Thbee are two methods of dealing with the hack of a book before covering : it may be either what is called " tight " or " open." In the first, one or two thicknesses of paper are glued to the back, and when the book is covered with leather, the leather which falls on the back is pasted to this paper. The result, of course, is that, in this case, the leather has to take any form that the back itself does. Thus, for instance, when the book is open the back rises up, as at B, Fig. 104. In the " hollow," or " open," back, some slips of paper are glued Fig. 104.— Loose Back. to the back, over which are placed others free from the back. When the book is covered, part of the leather is turned in between these, so that the covering of the back only adheres to the loose paper. The consequence is that, when the book is opened, the real back flies up ; but the loose back, to which the leather cover is attached, retains its shape. This is shown at Fig. 104, where a loose-backed book is shown open. B is the back of the book, which has naturally sprung up ; A is the outer part of the lining, with the leather, attached, which, being detached 118 BOOKBINDING FOE AMATEUES. from the actual book, keeps its regular shape. Each method has its advantages. The " tight " back is undoubtedly the more antique and the stronger system. All old books have tight backs, so have most small Church Services of the present day (of which more anon) and large pulpit Bibles. But the hollow back opens better, and the " finishing " is less liable to damage; and, in short, this kind of back is almost universal at the present day. Before lining the back, the headband should be set. This is done by means of glue. If the headband be worked, it is glued over both at head and tail, and then, by the aid of a folder, the headband is made to take the same curve as the back of the book. This is accomplished by holding the book, with its back downwards, on the cheek of the press, in the left hand, whUe with a pointed folder, held in the right hand, the bead of the headband is rubbed down and manipulated to make it of good shape. The silk or cambric at the back is then rubbed down as closely as possible, and the book allowed to di-y. In lining a tight back, the book is screwed up in the laying- press, back projecting ; the back of the book is carefully glued over with glue of tolerable thickness. A piece of smooth brown paper is now taken, which has one edge cut quite straight. This straight edge is applied to the left side of the back, the paper put down on the glued siu-face, and then well rubbed down to the back with a stout bone folder and the palm of the hand. It is then out ofE straight with a sharp knife at the right side of the back. It is well to glue this brown paper over, and apply a second piece ; or, stiU better, a thickness of stout smooth cartridge paper. The paper should be long enough to project a little over the headbands at head and tail. For hollow backs the proceedings differ somewhat. The first thickness of brown paper is glued on, as described. This is next glued over, and another piece put above it, but not quite up to the edge of the back on the left-hand side. This stage of the lining is represented at Fig. 105, where A shows the glued portion of the first thickness of the paper, not covered by the second thickness (B). The second thickness is rubbed well down with the hand and the thick folding-stick ; then it is creased or folded straight along the right-hand side of the book at B, LINING THE BACK. 119 and the surplus portion, 0, is brought over to the left hand, where it adheres to the glued part, and again folded down. "When this is done, the small amount of glued space left at A will he found enough to hold this fresh fold of the paper down. This being done, the top of this last fold of paper is again glued and folded over from left to right, and then cut off level by folding it back and running a sharp knife along the fold. This style of lining up is technically known as " two on and two off," because, as will be understood from the preceding description, there will be two thicknesses of paper glued to the back of the book, and two others semi-detached from it, being only connected at each edge, so that, when the opened A B C Fig. 105.— Lining-up. book is viewed from the head or tail, it will present the appear- ance shown at Fig. 104, where A is the loose thickness of the lining paper, and B that which adheres to the book and as- sumes its shape. For thru books, one thickness on the back and two on the hollow will be sufficient. Thick or large books may have more paper applied, in proportion to their size. Overcast books should be rather strongly lined to relieve the strain. Good paper should be used for this important operation. Flabby brown paper, with a liability to stretch, is quite unsuited. Old writing, account-book, or copy-book paper is fairly suit- able; tough smooth brown paper is better; and good quality cartridge is best of all. 120 BOOKBINDING FOK AMATBUES. When the lining is dry, the overplus paper at the head and tan should be cut ofE with the scissors level with the top of the headband. With a sharp penknife inserted into the hollow of the back, each side should be cut down for a couple of inches at the head and tail, so as to allow the leather to be turned in when covering. If the book is to have bands, these shoiild now be placed. Bands are those projections on the back of a well-bound book which represent the projection of the actual band upon which antique books were bound. Some binders use string or cord for these, but they generally consist of two or three thick- ' IIP ill If Fig. 105.— Bands. nesses of leather glued together and dried under pressure, then cut into slips one-eighth of an inch or less wide, with a shai-p knife and the cutting-board. A single thickness of stout morocco will generally be sufficient. A piece of thin white paper is usually glued inside the leather, whether it be of a single thickness or made of several. Of coui-se, the larger the book the wider the band. The book is how placed in the press and marked up. The general number of bands is live, and they ai-e placed equidistant, rather more space being allowed at the tail than at the head of the book. Fig. 106 shows a small sketch of a back so marked and proportioned. The inside (paper side) LINING THE BACK. 121 of the leather hand is then glued, and it is applied to the hack of the hook, just under the holes made with the compasses in marking up. Any superfluous glue that may squeeze out from under the band must he carefully wiped ofE; for if the hook he covered with delicate calf, all spots or smears of glue, either Fig. 107.— Cutting Off Bands. upon the hack or sides, will inevitably cause ill-looking stains upon the leather when it is covered. When the bands are quite dry, their ends must be cut off with a sharp knife at a bevel, as shown by the arrows in Fig. 107. I Fig. 108.— Cutting Corners of Boards. It may be mentioned here also that it is well, at this point, to cut off a small piece of the boards from the inside comer at the back, at head and tail, as at Fig. 108. This should be cut slanting, so that only the inside is cut away. This, like sloping off the sharp ends of the bands, is done in order that 122 BOOKBINDING POB AMATETTES. those sharp comers should not penetrate the soft damp leather when the book is covered. For roan and morocco backs the whole of the back may now be lightly glued over. It will not stain or show through these leathers, and will much aid in their proper, adhesion, a thing which their thickness and unpliability render much more difficult than with calf. CHAPTER XVI. COVERING. The materials of the cover vary widely, and comprise most kinds of leather, parchment, vellum, bookbinders' cloth, velvet, needlework, wood, and imitations of difEerent kinds, such as leatherette and feltine. Amongst the leather we have various kinds of morocco, goat- skin, or imitation morocco, such as " levant," calf of different kinds, and imitation calfs, roan, sheep, and occasionally russia — never hogskin. Fig. 109.— Book Placed on Leather. Whole-binding. — If the book is to be entirely covered with leather, the skin, whether of calf or morocco, is laid down upon a large smooth board, with the " flesh" or i-ough side upwards. Then the book is grasped by the fore edge of the leaves with the left hand, the millboard hanging loose, and lowered down on the leather, so that the book rests on it and the boards lie on it flat (Fig. 109). The leather can now be cut with a sharp- pointed knife round the book, allowing enough all round to turn 124 BOOKBINDING FOE AMATETJES. in, wMcli may be about fin. for an octavo, and less or more for smaller or larger books. Next, tie exact size of the book may be marked on the leather with a soft blacklead pencil. Some binders keep paper or millboard patterns for the covers of all sizes of books, and cut out by these. The edges of the leather must now be "pared," "skived," or shaved down aU round, so that they will cause no unsightly protuberances when the leather is pasted on. The part between the pencil marks and the edge is the portion to be pared. The operatioil is performed with a long sharp knife, on a marble slab, a bit of lithographic stone, or a piece of plate glass. The Trench paring knivgs, sold by Messrs. Eadie, of Great Queen-street, Lincoln's Inn (whose name we have previously mentioned), are by far the best in the market. The leather is laid on the slab with the grain side downwards, and drawn tight by the fingers and thumb of the left hand, while the blade of the knife is laid almost flat upon the edge of the leather, and gradually pushed forward by the right hand. More or less leather will be removed according to the angle at which the knife is held, and if it be held too upright it will go through the leather before the edge is reached, and make bad work. In setting the knife upon the oilstone, the " burr " should be left on the side which is to go towards the leather in paring ; for, if the burr be on the other side, the knife will slip off the leather or not cut. What is especially necessary, when some skill is attained, is to take off a level shaving of the right thickness, and not to leave a series of ridges on the leather by uneven cutting. To overcome some of the difficulty which morocco and roan present in paring, it is the usual practice to damp the edges of the cover for a little way in, with a sponge and water. The same plan is occasionally practised with rough calf, that is to say, calf which is dressed inside out, so that, when the book is covered, the " flesh " side is placed outwards. This is usually a " stationery " binding on account books, but occasionally law books or books of reference are bovuid in "rough" calf. Great care must be taken in paring the back, both at the head and tail, or when turned in the effect will be bad. It requires great practice to pare leather properly. COVERING. 125 If the cover be of morocco, it should now he well wetted with a sponge and grained up eithfer with the hand or a piece of cork. The leather is then folded together, and rubhed in all directions with the cork until the " grain " is sufficiently developed, when the cover is pasted over on the flesh side with thin paste and hung up to dry. For " straight grain," the leather should only be rubbed one way. Where it is desired to have the morocco quite smooth, to imitate some antique book, the leather should be soaked with water, and the grain quite rolled out with a rolling- _pin, used with good pressure; or, if the cover be small, it maybe beaten out by the careful use of the backing-hammer. Russia also should be moistened and well rolled with the rolling-pin. The cover (if of morocco) should now be well pasted with good thick paste, made as before directed, applied with a small brush (what painters call a " sash tool " is best). The paste should be spi'ead evenly, and no more should be left on than is required to make the cover adhere to the book. Any lumps or hairs from the brush should be carefully removed. The cover is then laid on a clean millboard on the bench, fore edge to the operator, and pasted surface upwards, the squares at the book's head and taU carefully adjusted, a slight touch of paste applied with the finger to each band, and then lowered down upon the cover, as at Fig. 109, in such a position that the back of the volume which is farthest from the workman will be in the middle (see B). The far part (A) is then brought over the board which is upper- most, and fastened at the fore edge. The square portion (C) is then treated in a similar manner. Care must be taken during this manipulation that the squares are not disarranged. The voltime is now placed on its fore edge, and the leather tightly strained over the back with the hands and rubbed smooth with the folder. The leather is then alternately raised from each side board, drawn as tightly as it can be, turned in again at the fore edges, and smoothed down well on the sides and back with the hand and the folder. In manipulating morocco covers, care must be taken at every stage not to mark the covers with the folder. The bands (if any) should now be pinched slightly with a pair of band-nippers. The cover at the head and tail of the book must at this stage be turned in; to do so, take it by the fore edge, and place it upright on the bench with the 126 BOOKBINDING FOE AMATBUES. boards slightly extended, and with the hands, one on each side, slightly pushing back the board close to the headband, and folding the cover over and into the back with the thumbs, drawing in so tightly that no wrinkle or fold is seen. If the back is an open one, the loose part o£ the fold previously made must be covered over with the leather, in the same way as the boards. The leather on both boards being turned in along the fore edge, and the edges rubbed well down and square, the parts of the cover are next brought together at the comers, pulled up almost perpendicularly with the board, pinched, together, and nearly all above the angle of the comer cut ofE with the shears. The portion on the side is then turned down (Fig. 110), and the other, on the fore edge, wi-apped a little over Fig. 110.— Turning in Corner. it, the comer being set by the aid of the thumb-nail, and folded as neatly as possible, and so that no raw edge of the cover is visible. The folder should also be well i-ubbed in the joints to make the cover adhere to those parts where the back is likely to hold the leather off. If any derangement of the squares has taken place, it must now be rectified. The headband must next be set; this is an important operation, upon which much of the beauty of the work depends. It is usual to tie a piece of fine twine round the book between the back and the boards before the headband is set. This cord rests in the places where the iimer comers of the bands at head and tail are cut off (Fig. Ill), and should be tied in a knot. COVEKING. 127 With a small smootli folder, one end a little pointed, tlie double fold of tlie leather at head must be rubbed, to make it adhere; and if the boards have been cut at the corners, the hand must be applied thereon, and headband forced close to the leather and made even on the back with the fingers, while a neat cap is formed of the projecting part on the top of it. The folder is then applied again to the edges of the boards, to ensure their square appearajice. The cap of the headband should be exactly level with the boards, and yet cover the headband neatly and completely. The grain of the morocco should be nowhere marked or obliterated. The perfection of covering in Fig. 111.— Tying Up. morocco is to have all the edges of the boards sharp and square, without the grain of the leather being anywhere destroyed. In some cases, when the leather is unusually thick or untract- able some binders " tie up " the bands, to ensure the adhesion of the cover to the back, in the manner following. A pair of back- ing-boards are placed on each side of the book at the fore edge in such manner that they project slightly over it, and are then secured by a cord with a slip-knot (see Kg. 112). Another knot of the same kind is made at the end of a longer piece of cord, and the loop is placed crossways around one of the end bands. It is then drawn in a slanting direction over the backing-board at the fore edge, and drawn tight; next passed round the other band, then over the fore edge agaiu, and so on with the other 128 BOOKBINDING FOE AMATEUES. bands. This is rougUy shown at Fig. 112, whence it will be seen that the cord, which should be kept fairly tight, presses down on each side of each band and drives the leather home there, while the backing- boards prevent the cord leaving any impression on the edge of the boards at the fore edge. This cord is left on aU night until the cover is dry. Fig. 112.— Tying up Bands. Salf -binding. — The same general directions as given for whole binding are applicable to half-binding. The comers are put on first, and afterwards the backs. With calf, the comers are first rolled up in the backs, flesh side out, tied tightly round with a strip of paring, and thrown into a pail of water. When they are sufficiently soaked, the water is squeezed out, and Fig. 113.— Cdtting out Corners. they are then untied and smoothed out well with the hands on a flat board, ready for pasting. The shape of the comers is shown in Fig. 113. As mentioned in the covering of whole- bound books, great care should be given to tui-ning in the comers neatly. The corner should be put on slightly aside, COVEKING. 129 SO that when the side of it is turned over, there is a slight double of the leather at the extreme point, as at A, Pig. 114. Now when the top fold, B, is turned down, it is easy to see that the corner at the extreme angle will be a double or fold of the pared leather instead of a raw edge, and, therefore, much more durable. Fig. 114.— Turning in Corner. All calf books, whether whole or half bound, will require a small piece of morocco leather affixed to the back, to receive the lettering. The calf itself, when pi-operly prepared, will form a surface sufficiently good to i-eceive, and retain, a fairly perfect A Fig. 115.— Marking Off. impression, in gold, of the ordinary ornamental finishing tools ; but good impressions of the letters cannot be depended upon, especially if small. When the back of the book is provided with>five bands, the lettering generally occupies the space from 130 BOOKBINDING POK AMATEtTES. the first to the second, as in Fig. 115 at A. Occasionally there is a subsidiary lettering of the volumes, author's name, &c. This is sometimes placed on the single space just spoken of, sometimes on the space between the second and third band, as at B (Pig. 115), or more frequently between the fourth and fifth, as at C. Where the back is not provided with bands, the space should be divided off by the compasses, and the places where the bands would be, and where the fillet wiU be worked across, should be well and distinctly creased with the edge of a shai-p folder, so as to leave a clearly perceptible channel. A single mark should be also made at the head, and a double one at the tail, as at Fig. 116. A piece of smooth morocco, which has no grain, or from which the grain has been entirely removed by wetting the leather and rolling it with a rolling-pin on a marble slab, or smooth board, or glass, or by rubbing it well with a blunt folder. Fig. 116.— Shape op Side. is selected. A slip of the width between the bands is now set ofE with the compass, and cut ofE with a sharp-pointed knife on the cutting-hoard. Each edge of this is pared very carefully, and pieces are accurately out off the slip of the width necessary for the various volumes. Each of these has now its other two edges carefully pared. The lettering pieces are then well pasted over with good thick paste, stuck on the proper place, and well beaten and rubbed down with the folder. Scarlet, bright green, or purple, and occasionally blue, are the colours usually chosen for lettering pieces. "Where there are two, they are generally of difEerent colours. Half-bound books have their sides covered with cloth or marbled paper, the first being the more substantial. Either is folded ajid cut to the shape of Fig. 116, so as to aUow enough to turn over, and to permit sufficient of the corner to show. COVEEING. 131 The comer space must be of tke same size on both sides. The cloth sides are glued as previously described; the marbled paper sides are pasted with thin paste. Both should be care- fully rubbed down, and made nicely square and sharp over the edges of the board with the folder. The cloth is usually selected to match the leather in colour and (if morocco) in grain as far as possible. Some binders think that the sides of half calf should contrast, but this is not good taste. Marbled paper should match the end-papers and edges. The new leatherette, f eltine, &c., may at times be used advantageously. Cloth Binding. — The covers are cut out, like the leather ones, a little larger than the size of the book, to allow for turning in. They are then each rolled up with the hand the contrary way to what they have been in the roll. This is to take the curvature out of them, and make them lie flat. Each one is now laid, right side down, upon the glueing-board, and is lightly but completely glued over. To make a good job of this, it is in- dispensable that the glue should be in good condition. In the first place, it should be thoroughly melted, and so thin that it will run easily from the brush when the latter is raised from the glue-pot. But it may be all this, and still be stripy and scummy when applied, as the grain of the cloth offers some obstacle to complete distribution. To " cut up " the glue, there- fore, it is best to take the glue-brush (which should be a good sized one) out of the pot while filled with glue, dab it down on a piece of waste brown paper, and, with the handle between the open palms of both hands, give the brush a rapid rotary motion, while held upright, for a few minutes. The brush is then replaced in the pot and the same motion imparted to it. In a few minutes the glue-pot will be filled with froth. The glue is now well " cut up," and, if the cloth be rapidly but perfectly glued over, there wiH be no streakiness, but the whole surface will look, as it were, frothy, as did the glue in the pot. The book is now laid upon the glued cloth, and the manipula- tion of covering proceeded with, much the same as the covering of a whole-boxmd book in leather. The cloth must be well rubbed down, so as to thoroughly adhere both to the back and boards, and the edges of the boards must be made nicely square. K 2 132 BOOKBINDING POK AMATEUES. The joints should also receive particular attention, but great care should be taken not to mark the cloth with the folder, nor damage the grain more than possible. If necessary, through the glue getting too cold to work, the book may be held to the fire for a few seconds, when the glue will again become fluid. The " forwarding " of the book is now practically finished, and it is ready for the finisher. Some binders paste down the end- papers now, while others prefer to leave that operation until the book has been finished. Whenever the former plan is carried out, it is best to cut a slight shaving only from all i-ound the outside loose end-paper with the knife and cutting-board, as this obviates any unsightly projection of the end-paper inside the board, caused by the stretching of the end-paper from the damping with the paste. The board of the book is laid back, and the end-paper pasted over with thin paste by the brush, and the boai-d lowered upon it, when it will adhere. The board is then again raised, and the end-paper rubbed down with the hand and folding-stick, the latter being especially applied with great care at the joints. This is very necessary, or the paper may not properly " go home " and adhere here, and, if it should not, an unsightly protuberance of loose paper at the joint will be the result, which is generally termed u. " pencil case," and is a clear mark of bad bookbinding. Flexible Binding. — The kind of work thus denominated con- cerns those books which, as before explained, ai-e sewn upon the bands without any saw-kerfs being made in them, so that the bands or cords stand up from the back, as in old books. This kind of work is not lined up, and the leather is attached directly upon the backs of the sections themselves ; but a piece of fine linen is glued over the headband and well rubbed down, the surplus being cut off when dry. The bands are damped, and then knocked up perfectly straight and square with the end of a cutting-board or a blunt chisel. If there are any saw-kerfs in the back from former binding, pieces of untwisted cord are pasted and carefully worked in. These are all well smoothed when dry, and no means should be neglected to make the back perfectly level, as any ineqiialities will show through the leather when the book is covered. COVEEING. 133 In th.e style called " flexible, not to show," a piece of stijBE muslin, called " mull," is glued on tlie back first, and then one piece of paper. For the hollow, three, four, or even five pieces are glued one on the other to gain firmness, whilst the book itself will appear as if it had a flexible back. CHAPTER XVII. MARBLIITG AND COLOURING LEATHER. This part of bookbinding is a matter of some importance, especially as tree-marbled calf patterns bave again recently revived in popularity. "We will first speak of the preparation of the colours and solutions necessary. Binders difEer mucb amongst themselves in the formulae they prefer ; but the following, mainly those given by John Hannett, ia his " BibUopegia," may be i-elied upon. All the woods and other ingredients named should be reduced to powder or small pieces before being used. Black. — 1. Dissolve Jib. green copperas in a couple of quarts of water. The oxide contained in the sulphate of iron will com- bine with the tannin of the leather and produce a good black. 2. Boil in a cast-iron pot a quart of vinegar with a quantity of rasty nails or steel fiUngs till reduced one-third, taking ofE the scum as it rises to the top. This liquid improves with age. To keep up the quantity, boil with more vinegar. Brown. — 1. Half-pound of good Dantzig or American potash dissolved in one quart of rain-water, and preserved in a bottle, well corked. 2. Salts or oil of tartai* in the same proportion as above. 3. A beautiful brown may be procui-ed fi"om the green shells of walnuts. To prepare this, a quantity of the green shells, when the nuts are gathered, must be pounded in a mortar, to extract the juice, and then put into a vessel capable of holding a sufficient quantity of water. The water being put in, the whole should be frequently stirred, and left to soak, with the vessel covered. Afterwards, the liquid must be passed through a sieve, the juice well expressed, and bottled, with some common salt, for use. This liquid, after fermentation, will pro- MARBLING AND COLOTJEING LEATHEE. 135 duce the best effects for the uniform tints, as it tends to soften the leather, and will not corrode. Blue. — 1. It is usual with many binders to use " Scott's Liquid Blue," but it is well to know the composition of the colour. Perhaps the best and most simple one is that given by Poerner, which is as follows : In 4oz. of sulphuric acid of 66deg. mix gradually loz. of finely-powdered indigo, so as to form a kind of pulp. Place the vessel in another containing boiling water for some hours, and leave it to cool; afterwards put in a small portion of good potash, di-y and finely powdered, stirring the whole well, and letting it rest for twenty-four hours, when bottle, and use as required. This colour will appear nearly black, but may be made any shade by adding water to it. If any portion remains after being diluted, it must be put into a separate bottle, as if mixed with the first preparation the whole would be deteriorated. 2. A readier blue may be pre- pared by mixing loz. of powdered indigo with 2oz. of oil of vitriol (sulphuric acid), and letting it stand for twenty-four hours, and then adding 12oz. of pure water. Purple. — Boil half a pint of archil, or logwood, with vinegar and water, of each half a pint. Lilac. — Same as the purple, with the addition of about two tablespoonfuls of potash. Violet. — Half-pound of logwood chips and loz. of Brazil dust, boiled over a good fire in four pints of water, until reduced one- half, and left to clear. Then throw in loz. of powdered alum and 2gr. of cream of tartar, and boU again till dissolved. This liquid must be used warm. Fawn. — In two pints of water boil loz. of tan and a like poi-tion of nutgaUs, till reduced to a pint. Yellow. — 1. To loz. of good caked saffron, turmeric, or French berries, add a portion of spirits of wine or hydrochloric acid, and leave the mixture to macerate. This liquid is used cold, and may be varied to any shade by adding water as required. 2. In two pints of water put 8oz. of French berries, and boil till reduced one-half ; then pass it through a sieve or fine cotton, add a small quantity of powdered alum, and again boil, using it warm. Orange. — In a pint and a half of potash liquid boil ilb. of 136 BOOKBINDING FOK AMATETTES. fustic chips till reduced one-half; then put in loz. of good annatto, well beaten, and, after boiling, a small portion of alum, and use warm. Green. — 1. Liquid blue and yellow, mixed, will best suit for general purposes. 2. Dissolve in a bottle loz. of verdigris in loz. of best white wine vinegar, and place the whole before a fire for four or five days, frequently shaking the bottle. Red. — There are three sorts of red, viz., common, fine, and scarlet. Common : 1. In a tin kettle, boil Jib. of Brazil wood, 8gr. of nutgaUs, both powdered, and three pints of water, till the whole is reduced one-third. Then add powdered alum and sal ammoniac, of each loz., and, when dissolved, strain through a sieve. This liquid must always be used warm. 2. Boil Jib. of Brazil dust, 2oz. of powdered cochineal, and a little alum, in two pints of the best vinegar, till a bright red is produced. Use warm. Fine : 1. In three pints of water boil ^Ib. of Brazil dust and Joz. of powdered nutgalls; pass the whole through a fine cotton, and replace the liquid on the fire, adding loz. of powdered alum and Joz. of sal ammoniac; give another boil, and then add a portion of hydrochloric acid, according to the shade desired, and use warm. 2. A quicker and cheaper proceeding is by putting in a cup a portion of Brazil wood, and adding to it the hydrochloric acid, letting it stand for a quarter of an hour to extract the coloui-. Scarlet: To loz. of white nutgalls and loz. of cochineal, both finely powdered, add two pints of boiling water. After boiling some time, add Joz. of hydrochloric acid, and use warm. Vitriol Water. — Vitriol, as sold in the pure state, should not be used in marbling or sprinkling, as it would coiTode ' and destroy the leather. It must be weakened at least in a propor- tion of loz. of vitiiol to 3oz. of water. Marbling Water. — It is usual with many to use the water pui-e, but a few drops of potash liquid used with it renders the marble more distinct. Glaire. — Put sprits of wine in the proportion of two drops to the whites of twelve eggs, and beat the whole well together until perfectly clear. Marbling. — Before going into details of the different marbles, it may be well to give some general information. It must be MARBLING AND COLOUBING LEATHER. 137 borne in mind that success in many of the marbles depends largely upon prompt and quick execution, and therefore the operator should have his colours, brushes, and preparations so disposed that everthing is ready to his hand in the order required. In preparing the colours, only suflB.cient for the job should be made ready, because, as a rule, when mixed, they will not keep well. The covers of the books to be marbled should be washed over with paste water, to which has been added a small quantity of pearl-ash liquid ; this should be done with a sponge, and the books allowed to dry afterwards. Next, the books should be glaired carefully and equally over, and again allowed to dry. The books are then placed upon the marbling-rods. These rods are in pairs, and slope towards the operator. The books are placed in them so that the boards rest extended on the rods, and the leaves hang between them ; the tail of the book is thus lower than the head. In some cases the back is required to be left plain, and not mai-bled. When this is the case, a piece of wood grooved to the shape of the back, or even a piece of thin millboard or pasteboard, curved by the fingers, is placed over it. To avoid the scum arising from the beating of the brushes over the coloui-s, it is better to rub the ends of the bristles upon the palms of the hands, on which a little oil has been spread. All these details being settled, let us begin with the simplest marble. Common Marbles. — The book being placed on the rods, throw on the water prepared for marbling in large drops, with a coarse brush, or a bunch of quills, till the drops unite ; then, with a brush charged with the black liquid, and beaten on the press-pin as directed for sprinkling the edges, a number of fine streaks are produced by throwing the colour equally over the cover. After- wards, the brown liquid must be similarly thrown over. When the veins are well struck into the leather, the water must be sponged off, and the book placed to dry. Another plan is to throw on the vinegar-black, then the brown, and lastly a fine sprinkle of vitriol water. If the volume has been previously coloured with any of the preparations before described, and it is wished to produce a marble thereon, the brown must be thrown on first, and then the 138 BOOKBINDING FOR AMATEXTES. black, as, without this precaution the marble would not strike, because of the acid which forms part of the colours. This observation is also applicable to all the other designs. Pv/rple Marble. — Colour the cover two or three times with hot purple liquid, and, when dry, glaire. Then throw on water, and sprinkle with strong vitriol water, which will form red veins. Stone Marble. — After throwing on the water, sprinkle boldly with the black liquid, then, with a sponge charged with strong brown, drop the colour on the back in three or four places, so that it may run down each side in a broad stream, and after- wards operate with vitriol water on the parts the brown has not touched. Green Agate. — Sprinkle black, in nine times its quantity of water, in large drops over the whole surface of the cover, and, when the drops unite, apply on the back, at regular distances, the green liquid, so that it may flow on the boards and unite with the black. Blue Agate. — Proceed as above, only substituting blue in place of the green, weakened with water according to the shade re- quired. Porphyry Vein. — Throw on large drops of black diluted in double the quantity of water. When the colour has struck well into the leather, sprinkle in the same manner brown mixed equally with water ; then apply a sprinkle of scarlet, and after- wards large spots of yellow, the liquid nearly boiling. Whilst these colours are uniting, throw on weak blue, and then nitro- muriatic acid, which, flowing together down the sides, will form the vein distinctly. Tree Marbles. — These had their origin in Germany, whence they passed into this country ; they are great favourites, and, when well executed, are very elegant. They are foimed by bending each board down the middle, so that the water and colours flow from the back and fore edge to the centre of the board in the form of branches of trees. The name is also given to such as are made to imitate the gi-ain of wood, but those are rare. Walnut. — Formed by sprinkling black and brown only, as for the common marble. Cedar. — After sprinkling as for walnut, and before perfectly MAEBLING AND COLOURING LEATHEE, 139 ^.*. CHAPTEE XXI. WHOLE-BOnND FINISHING. In whole-bound works a roll of sufficient breadth is generally run along the edges of the boards and the inside of the squares. This may be done by taking the gold upon the roll as usual and holding the volume on the work-bench firmly with the left hand. It is, however, generally best, especially if the volume be large, to screw it up in boards, either in the finishing-press or the laying-press, according to size. The boards are used to prevent the back being injured. "When the end-papers have Fig. 144.— Finishing Sidk a broad leather joint, which is to be finished, it is best to lay on gold over all the space, with the tip or cotton, and then work the ornaments as desired. It is upon the sides of whole-bound books that the competent finisher usually finds the best scope for his talent and can show his taste and skill. Where the ornamentation is confined to a simple roll worked round the side, a line made with the folder will be sufficient guide, and the gold can be taken upon the roll WHOLB-BOTJND FINISHING. 169 and worked direct. But when tlie pattern is large and com- plicated, and with mucli detail, it will be well to work all the tools upon the side before glairing, and apply the gold sub- sequently. The gold may be laid on one side only, and that side be finished first, and the book be screwed up in the laying- press. Or, still better, the book may be placed between a couple of firm billets of wood resting steadily on the work-bench (Fig. 144) ; and thus the gold may be laid on both boards. The whole of the boards may be glaired over with the sponge, or the whole be first worked, and the impressions only glaired with the brush. To gild silk or velvet, it is necessary, owing to their delicate character, to adopt a different procedure to that used with leather. Wet glaire would, of course, permanently stain them, and therefore the whites of eggs are carefully dried, and brought to a very fine powder; this is placed in a small bottle, with a piece of fine muslin tied over the mouth, and can then be shaken and powdered over the place desired. On this powder the gold is applied, and the tools worked. Many modem bookbinders prefer powdered gum sandarach to the egg albumen. As there is no moisture in silk, the finisher must not lay on so much gold at one time as he would on calf or morocco. We will now' give an example of a side finished in gold. We cannot give more than one, owing to the space which such illustrations w6uld take up. The principle, however, is in all cases the same, and the operator, if possessed of a little good taste and self-reliance, should have no difficulty in so combining a small collection of suitable tools as to make plenty of efEective designs for himself. In our example (Fig. 145) it will be seen that the tools required are a single-line fillet, several semi- circular gouges of different sizes, some circles, and the line and corner tools shown at Fig. 146, of which two are volutes or scrolls. The single-line fillet is first worked round the side, equidistant from each of the edges. The tool A is then worked at each corner, as shown. Inside this, again, the fillet is used so as to produce a square incomplete at the comers, which are afterwards finished ofE with a gouge. The central omament should be 170 BOOKBINDING FOB AMATEITES. worked blind first. The middle knot is formed witli gouges carefully worked so that the lines iaterlace. At their ends the volute (Fig. 146, B) is placed, and to this is added the smaller Fig. 1*5.— Side Tooling. volute, 0. The circles worked within each other finish the design, which is chaste and pretty. Of course, the design is mainly one of lines. In others the ornaments preponderate, ■ABC FiQ. 146.— Link and Corner Tools. and a few lines are only used to bind them together in some- thing like a coherent decoration. Other designs have more of a border chai-acter consisting of a wide square or oval frame- ■WHOLE-BOUND FINISHING. 171 work, formed by working broad rolls or a multiplicity of tools round, while the middle of the design has no ornament. Tor look, few methods are better than to cover the sid^s with scrolls or gouges carefully arranged to run into or branch out from each other, while small terminal tools spring from their extremities. Some of the smaller tools shown at Fig. 125, p. 151, are well adapted for this. Ancient binders of repute seem to have been very fond of a style of decoration which secured the most massive and showy appearance at little cost of designing skiU. This was done by running a couple of broad rolls round the boards, working some large ornaments — say, a crown or a mitx-e — in the middle, and filling up all the interspaces by continued repetitions of some small tool, as a fleur de lis or a rose. Many of the books of Henri II. and Diane de Poitiers are finished thus; and the famous French binder Le Gascon was also much addicted to this manner. A side can be also completed by the use of rolls alone, working them in gradually lessening squares, or, rather, parallelograms, inside each other, and ending with a centre tool in character with the rolls. Blind Tooling. — This is seldom done upon the sides of morocco-covered books. With calf it is not uncommon to run a roll round the board, and to fill up the central space with blind work produced by plates, and known as "graining."' The plates are of metal, and bear the "grain" that it is de- sired to impart to the leather on one side. One of tlie most common patterns is that termed " russia." For this, slight file-cuts are made round a sheet iron or copper plate, and thin copper wire is coiled around, passing into each of these saw- slots. When all the wire is wound, the plate is covered with molten solder on one side, which solders the wire firmly to that side of the plate. The folds of loose wire on the other side are then removed, and the working face of the plate resembles A (Fig. 147), the lines of wire standing up boldly. To use these plates, one is placed on each side of the book, the whole put between boards, well pulled down in the standing-press, and left in all night, or longer. When removed, it will be found that the plates have stamped in the pattern A (Fig. 147) on each side. The plates are now 172 BOOKBINDING FOE AMATETTES. reversed, so that the lines run across those already made, and again screwed down in the press. When taken out, the side will be found to bear the complete russia pattern, as at B (Pig. 147). Besides the above pattern, there are others known as morocco, turkey, fish scale, basket, shagreen, waving, and double pat- terns. These are engraved in solid metal plates, and are used the same as the " russia " plates, but do not need reversal and a second impression. Inlaying. — From a very early period in the history of book- binding, endeavours have been made to get variety by em- bellishing the sides of the boards in various devices with pieces of leather of different colour to that which the book Fig. 147.— Russian Grains. was bound in. This is termed " inlaying." Most of the larger volumes in the famous library of the celebrated Grolier, chancellor of France, were inlaid. The pattern generally used was that of interlaced strapwork. la Grolier's time, this peculiar kind of ornament was very popular, especially in Flanders and Germany, and to some extent in France, as a general decorative enrichment; it consists of a nari'ow fillet or band folded and crossed, and occasionally interlaced with another, the convolutions some- times exhibiting much ingenious elaboration. The style originated, however, at a much earlier period. A specimen which dates as far back as the eleventh century, and possesses all the characteristics of the Byzantine art of that time, is sculptured in stone over the church gate at WHOLE-BOTIND FINISHING. 173 Nassau, Saxony. The adoption of tMs pecuHar ornament was exceedingly common in the later days of the Renaissance, and became a prevailing characteristic of that style. It was carried to perfection under Henri IT. of France, and hence it is not surprising to find it brought into the bookbinding of that era. Books so bound are often called " Groliers " in the present day, from those of that chancellor bound in this style. FiQ. 148.— Grolier Pattern. Fig. 148 exemplifies a simple pattern of this description ; it consists of an interlaced square and diamond. Patterns of this kind are easy for anyone to design in great variety. It is only necessary to bear in mind that any under of either ribbon must be followed by an over. Fig. 149 shows a more complex comer strapwork ornament of the time of Henri II. The pattern is usually cut out of morocco of two or more colours, differing from that of the book cover. For instance, if the book be bound in purple morocco, the square (Fig. 148) may be scarlet, and the diamond bright green. They may be 174 BOOKBINDING FOB AMATBUBS. cut out with a sharp-pointed knife. Of course, the leather is only used single; that is to say, when one colour appears to go under the other, that portion is omitted. The leather should be pared thin before the ornament is cut out, as other- wise it may be found very difficult to pare it. It should also be cut from morocco which either has no grain or from which the grain has been rubbed out. The various portions of the ornament are carefully pasted over with thick paste; laid accurately in the position which they are to occupy on the book side, and rubbed down scrupulously with the folder; care also being taken not to stretch the leather. When the Fig. 149.— Strapwork Corner. paste has got a little set, clear away any that has squeezed out, place a piece of clean waste paper on each side, screw the book in the press and leave it there until dry. The inlaid ornament is finished by working pallets and line tools in gold around all its outlines. These had better be in fine lines. If the binder have a tolerable assortment of single-line pallet gouges, and the others recommended in Chapter XIX., he should have no trouble in matching any pattern ; but, if he have any doubt, then, in designing his pattern, he must take into consideration what tools he has, and modify it accordingly. WHOLE-BOUND riNISHING. 176 Fig. 150 shows a side of an ancient book in tie Grolier style, from the Morante collection. This pattern is a very good one. Fig. 151 shows a less complicated pattern of the same period. Mruscam. — In this style, instead of heing covered with gold, the back is ornamented with Gothic and Arabesque compart- FiG. 150.— Grolier Side, from Morante Collection. ments, or imitations of Greek borders and Etruscan vases, in their proper colours, which, when well executed, have a good efEect. The Marquis of Bath possesses a copy of Caxton's " Recuyell of the Historyes of Troye," bound in this coloured manner by Whittaker, of London, who some years ago brought it to great perfection. The back represents a tower, in imitation of stone, on the battlements of which is a flag, 176 BOOKBINDING FOE AMATETJES. bearing the title, and on a projection of the tower the name of the printers is impressed. On the sides are Trojan and Grecian armour in reliefs, round which is a raised impression of the reeded axe. The insides, which are also of russia, are ornamented with drawings, in Indian ink, of Andromache im- ploring Hector not to go out to fight, and the death of Hector. Fig. 151.— Side of Old Book. The edges of the leaves are gilt, on which various Greek devices are painted. To execute this kind of work properly, the design must be carefully marked out on the covers. The proper tints and shades for the colour must be ascertained by trials on waste pieces of the same leather as the book is bound in. Painting. — Another variety of ornamentation for the sides "WHOLE BOUND FINISHING. 177 of whole-bound books are landscapes. These can of course only be done if the -workman be skilled in painting. The volume is prepared by being paste-washed, so as to present an uniform fawn colour, the designs slightly traced and afterwards coloured, according to the pattern, the colour being mixed to the proper shade with water. The shades must be tried on pieces of refuse leather, as, being spirit colour, when once laid on, no art can soften them down if too strong, and a peculiar lightness of touch will be necessary to produce effect. Portraits, &c., may also be executed in this manner and many superb designs have at times been executed by the best binders of France. M. Didot, the celebrated Parisian printer, presented a copy of the " Henriade," published by himself, and most elegantly ornamented in this style, to Louis XYIII. It was executed by M. Leniers Belliers, book- binder, of Tours, and exhibited on one side a miniature of Henri lY., and on the other a similar one of Louis XVIII., both perfect likenesses. The greatest difficulty consisted in the portraits, which were first imprinted on paper, very moist, and immediately applied to the cover, on which they were impressed with a flat roller. When perfectly dry, they were coloured with all the art of which the binder was capable, and the other ornamental paintings were executed by hand. This kind of work demands much time and care." When this style of ornamentation is required, and the workman does not possess the i-equisite skill to properly paint a landscape, the same, or nearly the same, effect may be attained by the use of " transfer " pictures. The proceed- ing is as follows : Out the print intended to be transferred close to the design on the sides. Let it steep in glaire till it is well saturated. During this time, glaire the book twice, letting it dry on each application. Take out the print, place it exactly in the centre of the side cover, and, lay- ing a piece of paper above, rub it sharply on the book, so that it may adhere very closely. Remove the upper paper, and with the fingers rub off the paper gently until the printed design begins to appear, wetting the fingers in glaire should the paper get too dry. The utmost attention will now be necessary, for the least carelessness in removing the N 178 BOOKBINDING FOE AMATETJES. paper that still remains may entirely destroy the design, and the whole of the previous labour be lost. The paper must be gently removed piece by piece, till the design only appears in the leather while damp. When dry, a whiter appearance will be presented, arising from the small particles of paper adhering to the ink; but these will be sufficiently hidden in glairing the side previous to finishing. The extent and variety to which, at a small expense, these designs may be carried, with the finish and beauty given to the sides of the books, render the subject worthy of the ornamental work- man particularly; but he must possess perseverance and carefulness in an eminent degree to carry it to perfection. After the gilding or other ornament is executed, the side must be finished ofE in the usual manner. A slight coat of varnish will give a superior finish. CHAPTER XXII. CONCLUSIOIT. In finisliiiig books, the operator stould exercise Ms best discrimination with, regard to the selection of tools, so that they shall be appropriate to the subject of which the book treats. In order to succeed in this, the finisher in all cases needs to be a man of wide reading and good knowledge. It is an excellent plan for the finisher, ambitious of at- taining exoelleace in his art, to devote some time to the study of the different styles of various countries and historical epochs. Beginning with the Egyptian form of ornament, and casually glancing at those prevailing at Nineveh and Babylon, as exemplified by the disinterred remains, he will next consider the ornamentation of Greece and Rome, and, on the fall of the latter empire, the modification of decoration which grew out of Roman art, as the Byzantine, Mauresque, or Saracenesque, and the early Gothic. Later Gothic will lead on to Renaissance, and, gradually, to modern art. Abundant materials exist in modern literature to aid the inquirer; while in our museums can be found actual remains of Egyptian, Assyrian, Greek, and Roman art, and our ancient churches will give plenty of Gothic examples. A careful tour through the " courts " of the Crystal Palace is, in itself, a fair education ia styles of ornament. In finishing books to which the different classes of ornament are applicable, care should be taken not to mix the styles. When a certain class of ornament is decided upon, it should be carried consistently through. With regard to the ornamentation of modern books, some few general rules may be given, as suggesting hints to guide the taste. Works upon religious topics would seem to require N 2 180 BOOKBINDING FOB AMATEUES. a sobriety of embelUstmeiit, as being more in harmony with their character than ornament of a Kghter kind. The decora- tions should not only be few and simple, but executed in blind, tooling — that is to say, without any gold ; or if gold be employed at all, it should be confined to the edges of the cover or panels, while the whole of the centre is left blind. History and biography, if we adopt this principle, may be less gravely embellished than religious works, but still should have weight and solidity of decoration, as far as the phrase can be applied with propriety to anything in the way of ornament. Poetry and fiction in general would be most characteristic- ally dressed in a light, elegant, and graceful binding, except, indeed, as regards tragedy, which should be clothed in what our old dramatists would have called sad ornament. In short, the bindings should not only assimilate with the taste of the time the work treats of, but the colour should also be in harmony with its subject. It would at first sight seem somewhat inconsistent with the rules laid down, that we should embellish the binding of a modern author, and upon a modem subject, with Greek or Roman ornaments. But this is a necessity growing out of the very narrow limits of human invention, or, it may be, of the forms on which that invention had to work. Certain it is, that all the ingenuity of our artists, of every description, has not been able to add a single combination to those invented by the Greeks and Romans, and even they appear to be only modifications of the old Egyptian. In modern binding, there- fore, we consider the whole range of ancient embellishments as being equally appropriate to our time, only taking care to associate the grave with the grave, the light with the light, and the fanciful with the fanciful, according to the sugges- tions ah-eady given. We repeat this fundamental principle of the art, since, of all others, it is the most frequently neglected. The moment any ornament has been brought forward that at all catches the public taste, the binders, for the most part, snatch at it with avidity, and employ it on all occasions, right or wrong, till it is superseded by some new combination from the storehouse of antiquity. This is more particularly the CONCLUSION. 181 case with binders in cloth ; a Mauresque tool is cut for a work on the Arabian dynasty, when, forthwith, they transfer it to the cover of a volume on the cathedrals of England, or a crimson cloth is with propriety adopted for a life of "Wellington, and soon after we find it covering a biography of Bishop Heber. It is hardly necessary to dwell any longer upon this topic ; but, to avoid all possibility of mistake, we add a few further iUutrations. For example, we would bind a French military history in blue and an Enghsh one ia scarlet. For a book on the life of Nelson, we would let the ornamentation be in imitation of cable, with, perhaps, a couple of boarding- pikes crossed in the centre of the square (see Fig. 155). The cable makes a very beautiful roU or fillet. We should bind Fig. 155.— Nelson Panel. a treatise on the celestial bodies in cerulean blue, with stars and crescents ; a botanical work in green, with a flowery border; Euclid should be tooled in squares, triangles, circles, and rhombojds; and a Moore's "Irish Melodies" ornamented with leaves and flowers, either in wreaths or in borders, or with an Irish harp (Fig. 156) in the centre. Works relating to India would seem to be most fitly embellished with the vegetable and animal productions of that country ; or if the subject be historical, or of ancient date, appropriate ornaments may be found in the sculpture and architecture of the Hindoo race. Fluted pUasters, the zodiac, and figures of various kinds belonging either to their religion or their history, form the principal features to be borrowed for the purposes of the binder. 182 BOOKBINDING TOE AMATEUES. It may be difficult to determine any exact style in whicb. encyclopsedias and serials treating of all subjects and all times should be bound. We would, bowever, suggest some plain ornament, such as the Grecian ornamented panel. If tbe bookbinder carefully follows tbe directions given in Fig. 156.— Irish Harp. tbe preceding cbapters, and carries out tbe bints contained in tbis (tbe last), be will bave no cause to regret any trouble be may bave taken in tbe covering of bis books ; for bis library will present a mucb more cbaste appearance tban it would if bis books were bound in tbe indiscriminate and tbougbt- lesB style of tbe present day. INDEX Aldine toola, 167 Antique fimshiog, 162 Marble, 108 "Athol" press, 9 B. Back, lining, 117 Eubbing down, 31 Backing, 64 ' • Bands, tying up, 127 Beating, 40 Stone and hammer, 14 Binding, cloth, 131 Early specimens of, 2 Flexible, 132 Half, 128 Materials used for, 3, 25, 123 Music, 54 Whole, 123 Black edges, 88 Blind tooling, 145, 171 Blocking-np, 44 Bine Stormont marble, 102 Board-cutting machine, 68 Boards, bevelling, 84 Cutting, 80 Catting in, 83 Getting into, 73 Making, 66 "Boomer" press, 10 C. Circles, 160 Cloth binding, 131 Collating, 48 Compassing, 74 Conclusion, 179 Covering, 123 Materials used for, 3, 25, 123 Cutting-board, 74 D. "Devil" or"frother," 24 Dutch marble, 110 E. Early specimens of binding, 2 Edges, colouring, 85 Cutting, 83 * Gilding, "90 Marbling, 93 Sprinkling, 85 End-papers, making and affixing, 59 Etruscan fiaishing, 175 P. Filleting, 141 Finishing, antique or monastic, 162 Etruscan, 175 Half and full gilt, 150 Plain, 140 Tools, 19 Whole-bound, 168 Flea seed, 98 Flexible binding, 132 Folding, 29 Fore edges, cutting, 83 Forwarding tools, 8 French curl marble, 106 Marble, 100, 102 G. Gilding h I'antique, 91 Edges, 90 184 INDEX. Gildings landscapes on edges, 92 Marbled edges, 91 Plain edges, 90 Glaire, recipe for, 140 Glue, 62 Glneing-up, 65 Gold eprinkle, 92 Gonges, 159 Grolier patterns, 173, 175 H. Half-binding, 128 Headbands, 114 Head, cntting, 81 History of the art, 2 I. Inlaying, 172 Introductory, 1 Italian marble, 104 K. E!ettle-stitob, 51 Knooking-down boards, 77 Knocking up' 46 L. Lacing, 76 Landscapes on edges, gilding, 92 " Laying " or catting press, 12 Leather, marbling and ooloaring, 134 Lettering, 142 Types for, 21 Library, arrangement of, 5 M. Maps, mounting, 40 Marbled edges, gilding, 91 Marbling, colours used in, 94, 112 Edges, materials for, 93 Gum, 97 Leather, 134 Various patterns of, 100 Marking board, 75 Mending, 36 Millboard, pnrahasing, 78 Shears, 16 Monastic finishing, 162 Music, binding, 54 N. Nonpareil marble, 108 Overcasting, 54 P. Painting, 1 76 Pallets, 145, 150 Pamphlet stitch, 57 Paste, recipes for, 61, 62 Piercer, 76 Plates, placing, 38 Flongh and plough knives, 13, 80 Presses, 8 E. Rabbit back, 71 Be-folding, 36 Begisters, 116 Boiling-machine, 16 Bounding backs, 69 S. Saw-bench, 47, 52 Savring and sewing, 46 Sewing, 49 Press, 16 Self-coloured edges, 87 Setting-off, precautions against, 42 SheU marble, 100, 102 Spanish marble, 106 Sprinkled edges, 85 Sprinkling-brush, 86 Stabbing machines, 58 Standing-press, 8 Strapwork comer, 174 T. Tooling, 150, 169 Blind, 145, 171 Tools and appliance, 8 Trindles, 81 "Tub," 13 Tying up, 82 V. Varnishing, 147 Vein shell marble, 102 W. Wave marble, 109 Weaver's knot, 55 West End marble, 104 Whole-binding, 123 Whole-bound finishing, 168 Z. Zebra marble, 109 ATALOGUE New and Practical BOOKS. CONTENTS. Animals 3 Art and Virtu 4 Bees and Birds 7 Dogs 3 Games 23 Gardening 9 General Literature .... 12 Guides to Places 14 Household «S Ladies' Work 15 Mechanics 16 Natural History 19 Poultry 7 Sports and Pastimes .... 20 These Books may also he obtained at— BirmingjM'm . . Midland Educational Co. Bradford S. Waterhouse. Burnley J. and A. Lupton. Dublin C. Combridge. Glasgow W. and E. Holmes. Hull Brown and Son. V. Leed^ Walker and Laycock. Leicester Midland EducationalCo. Manchester . . J. Hey wood. Nottinghatn ..R. Denham. Scarborough . . E. T. W. Dennis, "■ " " ....T. Widdison. No. I.— 1885. ^v^L^^ ^>^ LONDON: L. UPCOTT GILL, 170, STRAND. Advertisements. v^t^^ Why Does Hair Fall Off? From many cansea. 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Wholesale and Betall by the Proprietors. c. & a. oldridge, 22, Wellingt on St., Strand. London, W.C. Established Ufwabsb of Sixty Teabs. Catalogue of Practical Handbooks. *«* All Books sent Carriage Free on Receipt of Remittance. ANIMALS. BRITISH DOGS: Their Varieties, History, CharacteriBticB, Breeding, Management, and Exhibition. Ultie- trated with 52 Portraits of the Chief Doira of the Day, By Hugh Dalziel C" Corsincon,* Author of "The Diseases ofDogp," "The Diseases of Horses," &c.), asaifited by Eminent Fanciers. Bevelled boards, extra gilt, (dlt edees. price lOs. " TTill gi«e yow oXl in/ormation." — Kennel Eeview. DISEASES or DOGS: Their Pathology, Diagnosis, and Treatment ; to which is added a complete Dictionary of Canine Materia Medica; Modes of Administering Medicines; Treatment in cases of Poisoning, and the Value of Disinfectants. For the Use of Amateurs. By Hugh Dalziel (Author ' of *' British Dogs," &c.). NEW, REVISED, AND GKEATLY ENIlARG-ED EDITION. In paper, price Is.; in cloth gilt, 2s. ••Tfill enable ani/body who fceepsct d^oq to deal with cases of ordinary indisposition or injury,'* —The Scotsman. OF DNGLISHE DOGGES: The Diversities, the names, the natures, and the properties. Date 1576. Eepiintecl verbatim. [Note.— This is the earliest book in the English language on the subject, and should be in the hands of all who take an interest in Dogs,] In boards, price 2b. 6d. " It cannot fail to commend itself to all,'* — Live Stock Journal. KENNEL DIART: A Register for Owners, Breeders, and Exhibitors of Dogs, wherein they can keep full par- ticulars of their Stads In a convenient and comprehensive manner. Oontains: 1. Index Diary; 2. Owner's Diary j 8. Breeder's Diary; 4. Diary of Pups; 5. Stud Diary; 6. Ex- hibition Diary; 7. General Diary; 8. Pedigree Diary; 9. Receipts; 10. Expenditure; 11. General Balance Sheet. In cloth, with pockets for certificates. Si*. 6d. 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(Forming Part II. of ** Rabbits for Prizes and Profit,") In paper, price Is. FEBBETS AND FEBBETING: Containing InBtructions for the Breeding, Management, and Working of Ferrete, In paper, price 6d. " Well worthy of perusal , . . contains valuable information," — Sportsman. FANCY MICE: Their Varieties, Management, and Breeding. Re-issue, with Criticisms, ftc„ by Dr. Carter Blake. Illustrated. In paper, price 6d, *• Qoes thoroughly into the subject." — Cambeidge Chronicle. ART AND VIRTU. OLD VIOLINS AND THEIB MAEEBS : Including Bome references tu those of modern times. By Jahes M^ Flbhinq (Author of '•Oq Learcinir to Plav the VioUn.'*) Uluafcrated with Fac-similea of Tickets and Sonnd Holes, ftc. In the new *' Renoissance " binding, price 6s. 6d. "Embraces a qrsaier numbei- of features tJwin luill he found in anj/ other single uolume," —Daily Chronicle. All Books sent Carriage Free. Z.. Upcott Gill J Publisher, 170, Strand, W,C^ 6 Practical Handbooks. — Art and Virtu. CHin-A PAINTING: Its Principles and Practice. By Walter Habvei. Illoatrated, In paper, price Is. " .Tust what is v:anted." — Ladies* JotTBNAL. ALI. ABOUT FAINTING ON CHINA: With Twelve Descriptive LesBODs. By Mas. Convebs Mobrell, Second Edition. Price 9d. ARTISTIC AmVSEMENTS : Beintr InBtmctiona in ColourinEr Photographs. Imitation Stained Glass, Decalcomanie. Siieen Shell Work, Painting on China, Japanese Lacqner Work^ Stencilling, Painting agio Lantern Slides, Menn and Ouesc Cards, Spatter 'Work, E^ctnre and Scrajp Screens. Frosted Silver Work, Picture Cleaning and Restoring, lUnminating and Sylnbolical Colouring. IlluHtrated. In cloth pilt, price 2s. 6d. '* Practical, satisfactory in its treatvient, and very interesting^' — The Queen. ENGLISH POTTERY AND PORCELAIN: A Manual for CollectocR. Reiug a Concise A.ccoanr, of the Development of the Potter's Art in England. Profusely Illustrated with Marks, Monograms, and Engravings of cbarac^ teristic Specimens. New Edition. In cloth gilt, price 3s. «d. *' The collector willjind the worh invaluable.'*— Bno ad Aebovt. DECORATIVE PAINTING: A Practical Handbook on '^'lintin? anrt Etf'hinff upon Textiles, Pottery, Porcelain, Paper, Vellam, Leather, Glass, Wood, Stone, Metals, and Plaster for the Decoration of our Hornet By B. C. Sa-waro. In 'hi new •■ R-nai^t-ance" blndins'. P'ice?**. fi^. •' Spared no paina to give use/til information as to tkevariousproceisesof Decorative Painting." — Academy, FaOKTiBPiE.E, A (from " A Guide to the Coins of Great Britain end Ireland," Price 6". 6d,), A GUIDE TO THE COINS OP GREAT BRITAIN AND IREI.AII'D, in Gold, Silver, and Copper, from the earUest period to the present time, with their value : i-ciriuu. ?N fi??r°D^H?r^vw^''^A^T?^''?,??^d.»9J immense valne to collectors and dealers. PT,ATES price Caed ^'''^■'^^' ^^^ COPPBB. In gold clotb, with silver tac-.imUe« of coins, " S''c'' a /"O'' ns this has n-ver he/ore been placed wi-hin tlu reach of tlu ordinaru collector A model of can-Jul and accurate u-orfc."— The Qdeen, wi».,n,r. , . ENGLISH, SCOTCH & IRISH COINS: t^^f^t^■J°^^P''?V'^°'^'i '• !l?™-5 " History and Description of the Coinage of Great Britain from the Earhest Ages to the Present Time. Profusety Elustrated. In cloth gUt, prira tel "A more useful compen^iov.'. and reliable guide to the study amd arrangement of the Coins of Great Britain could not well he placed in the Collector's haiidii."-TFE Eeliquaet. All Books sent Carriage Free. Z, [/^cott Gill, Publisher, 170, Strand, W.C. Practical Handbooks. — Bees and Birds, BEES AND BIRDS, PRACTICAL BEH-EEEFING: Being Plain Instructions to the Amateur for the Sucoeasful Management of the Honey Bee. Second Edicion. With numerous illuBtrations. By Frank Cheshibe. In cloth gilt, price t^. 6d. '* Sere are full and -plain instvu-clions to the amateur on event point."— Journal of Hoeti- -CULTURE. BEH-KEEFING FOR AMATEURS: Bsing a Short Treatise on Apiculture on Humane and Successful Principles. By Thomas ADDKT (the Lincolnshire Apiarian). In paper, price 6d. " Full of useful infoYmation," — Bell's Life in London. POULTRY rOK FRIZES AND PROFIT: Contains : Breeding Poultry for Prizes, Exhibition Poultry, and Management of the Poultry Yard. Handsomely Illustrated. New Edition, Revised and Enlarged. By James Lono In cloth gilt, price 2s. 6d. [iVeM» and Enlarged Edition in the Press. EXHIBITION ACCOUNT BOOKS: For use at all Dog, Poultry, Pigeon, Babbit, and Cage Bird Shows. In Four Books, comprising: I. Minute Book; II. Gash Book; III. Entries Book; IV. Ledger. With Full Directions and Illustrative Examples for Working them. N.B.— The set of Four Books is kept in Three Semes : No. 1, for Show of 500 Entries, 5s. the set; No. 2, for 1000 Entries, 7s. 6d. the set; and No. 3, for 1500 Entries, 12s. 6d. the set. Larger sizes in proportion. The books can behai separate. Mirute Book STo. 1, Is. Od. ; No. 2. Is. 3d.; No. 8, 2s. od. Cash Book ... No. 1, 2s. (Id.; No. 2, !8. lid.; No. S, 4s. Od. Entries Book No. l, 2s. Od.: No. 2, 2a. ed.; No. s, 4a. Od. Ledger , .. No. 1, 23. Od. ; No. 2, 23. ed. ; No. 8, 4s. Od. " We can recommend the hooks as aimirahly adapted for the purposes for Khxch they are intended." — The Fielj>. DUCKS AN1> GEESE: Their Characteristics, Points, and Management. By Vakious Breeders. Splendidly Illustrated. In paper, price la. 6d. "A very desirahle little worlc." — The Queen, POREIGir CAGE BIRDS: Containing Full Directions for SaccesBfully Breeding, Bearing, and Managing the Tarious Beautiful Cage Birds imnorted into this Countrrk Beautifully Illnstrated. By C. W. Gedkby. In cloth gilt, in two vols., price 8s. 6d.: in extra cloth gilt, gilt edges, in one vol., price 93. 6d. " Full of information on every point." — Public Opinion. PARROTS, FARRAEEETS, COCKATOOS, LORIES, AND Macaws : Their Varieties. Breeding and Management. Illustrated. (Forming Vol.1, of "Foreign Cage Birds.") In cloth gilt, price Ss, 6d, WAXBII^LS, FINCHES, WEAVERS, ORIOLES, and Other Small Foreign Aviary Birds: I'heir Varieties, Brpeding, and Manairement. Beautifully Illustrated ^Forming Vol. II. of ** Foreign Cage Birds") In cloth gilt, price 5s. GENERAL MANAGEMENT OF CANARIES: Including Cages and Cage Making, Breeding, Managing, Mule BreedingjDiseaees and their Treatment, Moulting, Rats and Mice, &c. Illustrated. SEOONl) EDITION. REVISED AMD GREAi'ljY ENIjARGED. {Forming tection I. of the *' Canary £oo/t,") In cloth, price 2s. 6d, EXHIBITION CANARIES: Containing Full Particulars of all the difEerent Varieties, their Points of Excellence, Pre- ' paring Birds for Exhibition, Formation and Management of Canary Societies and Ex- hibitions, niuetrated. [Forming Section II. of the " Oanarn Book.") SECOND EDITION, REVISED AND ENLARGED. In oloth, price 2s. 6d. All Books sent Carriage Free. . L. Upcott Gill J Publisher, 170^ Strand, W.C. Practical Handbooks. — Bees and Birds. ToRKSHiBE Fancy (from " The Canary Book.'* Price 5a.). CAITART BOOK: Containing Full Directions for the Breeding, Rearing, and Management of all Varieties of Cananes and Canary Mules, the Promotion and Management of Canary Societies and Exhibitions, and all ot>ier matters connected with this Fancy. By Robert L. Wallace. SECOND EDITION, ENLARGED AND REVISED, "WITH MANY NEW ILLUS- TRATIONS of Prize Birds, Cages, &c. In cloth gilt, price Ss. [May also be had in two Sections, as follow:] " IITiis vert/ comprf/ieiisvue i/joi'fc . . , w?n'c7i is one of a most practical ckaraciet , , . may he €a/ely consulted by all canary fanciers." — The Field. All Books sent Carriage Free. L, Upcott Gills Publisher, I'jOj Strand, W,C, Practical Handbooks. — Bees £r Birds, Gardening. 9 FANCT PIGEONS: rS^^-S^/^t' Directions for the Breeding and Management of Fancy Pigeons, and Sffi ???-VS,„ W»^^?" ''"g™ 7?'??i5'.. together with all other information of interest or WJ„fl.o^plv T&,!ff :, Second Edition, bringing the sub eot down to the present time, aandsomely Illustrated. By J. C. Lyell. In extra cloth gilt, price ?b. ed. " Cue 0/ f?ie best 0/ its Jciiid."— Bell's Life. AMATEUR'S AVIARY OP FOREIGN BIRDS: ^oV»H°'" -nS -^^ V'°^ 'B,T:ee:A. Foreign Birds with Pleasure and Profit in England. Dins ^Xt^--.Ji7 ^■JL-J^^^l'^.T'i,^-^"^;^- I^-Z-S-. F.S.S., &c., Author of "Parrots in Captivity," and Editor of " Notes on Cage Birds." In cloth giit, price Ss. 6d. "Is TOOi-fTiy 0/ a, hearty welcome from all ireeders and Iceeriers of foreiqn birds."— Lite Stock Jouksal. Spice Bikds (from •* Amateur's Aviary of Foreign Birde " Price 3a 6d.). THE SFEAEING PARROTS: A Scientific Manual on tbe Art of Keeping and Breeoiing' the principal Talking Parrots in confinement, by Dr. Karl Rues (Author of "Tb« Fnreig-n Aviarv Birds," "Manual for Bird Fanciers." &c.). Illustrated with COLOURED PLATES. la Monthly Parts, price 7d.i or complete in cloth gilc, price 6s. 6d. GARDENING. GREENHOUSE MANAGEMENT FOR AMATEURS: Descriptions of tbe best GreenbouEes and Frames, with Instructions for Building them particulars of the various methods of Heating, Llostrated Depcriptions of the most suitable Placts, with general and special Cultural Directions, and all necessary information for the Guidance or the Amateur. SECOND EDITION, revised and enlarged. Mag- nificently Illustrated. By W. J, May. In cloth gilc, price 5s. " Ought to be in the lianis of everybody." — The Qtjeen, LILY OF THE VALLEY: All About It, and Hovr to Grow It. Forced indoors, and out of doors in various ways. By William Roberts, In paper covers, price 6d. ** "Lovers of these beautiful jlowers will welcome this edition." — Paper and Pbintinq Trades Journal. All Books sent Carriage Free. L, Upcott Gill J Publisher, 170, Strand, W,C. FWWEn QF AKTIBBHlNtM OECKTirM. HiN A^D ThICKEKS DilST (BVLLIS PBBIKN15 PROLirKBAl, (From Vol. I. of " The nitiBtrated Dictionary of Gardening." Price 15b,1 Practical Handbooks. — Gai^detiing: 1 1 THE ILI.USTRATED DICTIOITABY OF GARDENING: ■A .Practical Encyclopsedia of Horticulture for Amateurs and Professionals, lUustrated with upwards o| 150U iengravings. Vol. I,, 55ipp,, 743 Illustrations, now ready, price 15s. aIbo in Monthly Parts, pric^ Is. •* Jfo worfc of the Idnd could he of more use to the professional and amateur gardener." — Public Opinion. ** The f Idlest information is given^ a/nd the illustrations^ which are exceedingly nv/merouSf are first rate." — The 'Wvrlh. HABDY FBUIT BOOK : Contains: The most desirable sorts, the beat Methods of Cultivation, the Prevention or Cureof the Dise^es of the Apple, Pear, Peach and Nectarine, Apricot, Cherr^, Chestnur., Currant, Fis, Filbert oi; Hazel JSut, Gooseberry, Medlar, Mulberty or Moras, Plum, Qaince. Raspberry, tsiir&wberry, and Walnut. Fully Illustrated. By D. T. Fish. In cloth, price 5-. "Treats m close and critical detail of every practical process in tJi§ rearing, training, and culture of hardy frwit8,"^T-H.E Garden, HABBT PERENNIALS AND OLD-FASHIONED GAB- DEN FIiOWEKS : Descriptions, alphabetically arranged, of the most desirable Plants for Borders, Rockeries, and Shrubberiei!, including Foliage as well as Flowering Plants. Profusely Illustrated. By J. Wood. In cloth, price 5*. *' Seems particularly useful." — Athen^tjm. VINE CULTURE FOB AIKCATEUBS : Being Plain Directions ' for the successful Growine of Grapes with the Means and Appliances usually at the command of Amateurs. Illustrated'. By W. J. Mat. In paperi price is. *' Plain and practical,"'^TKE Queen, ^ PRUNING, GRAFTING, & BUDDING PRUIT TREES: Illustrated with ninety-three Diagrams. By D, T. Fish. In paper, price is. ^ " One of-thefm gardening hoolzs that will suit everT/body."— Gaedenee's Magazine. GARDEN FESTS AND THEIR ERADICATION : Gontainin? Practical InBtructions for the Amateur to Overcome the Enemies of the Garden. With niimerons lliustrationa. In paper, price Is. "It is just the sort of book one wovli refer to in emergency."— The Flobist akd Pomo- iOQIST.' ORCHIDS FOR AMATEURS: ContaininET Descriptions of Orchids suited to the requirements of the Amateur, with full Instructions for their successful Cultivation. With numerous beautiful Illustrations, By Jaues Britten, F.L.S., and W. H. Gowke. In cloth gilt, price 7s. 6d. '* The joint worle of a^cortipeient botanist . . . and a successful cultivator v:ilhihe experience of a quarter of a century."— Gauh-eshr's Chkonicle. ROSE BUDDING : Containing full Instructions for the successful performance of this interesting opera- tion. ' niustraced. By D. 1. Fish. In paper, price 6d. " Full, practical . . . and contains many valuable hints." — Garden. CHRYSANTHEMUIKt : Its History, Varieties, Cultivation, and Diseases. By D. T, Fish. In paper, price 6d. " Replete with valuable hints and sound information." —Ike Stationek. arboricui;ture 1'or amateurs : Being- Instructions for the Mahting and Cultivation of Trees for Ornament or Tse, and seleotionfi and descriptions of those suited to special requirements as to Boil, Situation, ^. By William H. Ablet* (Author of "English Trees and Tree Planting," &o.). In cloth gilt, pric& 2s. 6d. "Full of practical remarlcs, tending to male it a reliable and useful guide to amateur gardeners."— iwe Paemee. All Books sent Carriage Free. L. Upcott Gill, Publisher, 170^ Strand, W.C. 12 Practical Handbooks. — Gardening, General. BULBS AITD BULB CULTURE. Dlaatrated, Bv D, T, Fish. In cloth gilt, in one toI., 465pp., price S?, by post 5s, 6d, also in PaxtB,a8 under. Is. each : Part I.— Snowdrop, Bulbocodium, Stebnbeegia, Cbocus, Colchicum, Ttjltp, and Hyacinth Part 11.— Anemone, Narcissus, and Lilt. Part III.— Gladiolus, Lachenalia, Ctcx-amen, Banunculus, and Scilla or Squill (Star Hyacinth). Part IV.— IxiAS, Spabaxib, Tbitoniab, and Babianas; Ibis, Tigeb Ibis; Schizostylis CocciNEA; and The Dahlia. Tart v.— Gloxinias, The Pancratium, The Tubebose, The Fhitillahia, The Alstbce- MBRIA8, The Tbitkleia XIniflora, The Agapantbus Umbbllatus, The MuscariCMusk or Grape Hyacinth), The Pjeonia, The Oxalis, The Amaryllis. Part VI.— Thb Arum, The Allium, The Ornithogalum or 8tar of Bethlbhxh, The Anomatheca, The H^manthus or Blood Flower, The Brunsvigia or Candelabra FlowEr. Erythronium Den** Canis iDop'a Tooth Violet^, The Anthericum, The Antholyz*. The Gloriosa (ClyDOBrylisj, Thb Camassia, The Puscbkinia, The Tbo- p^oLUM OR Indian Cress, The Zephyranthbs, The Orinum, The Calochohtus and Cyclobothha, The Nerine, Thb Lycoris or Gtolden Lilt, The IEranthis or Wintsb Aconite, The Bomarba, " One of the best and most tru'^irorthy hooki on btilb culture tTiaf Tiaue teen put be/ora the public."— Gardener's Chronicle. cucumber culture for amateurs : Inclndin? also Melons, Vegetable Marrows, and Qoords. niostrated. By W. J. Mat. In paper, price Is. " Evidently tTie v^ork of a thorowgTily 'practical writer." — Brief, VEGETABLE CULTURE FOB AMATEURS : Ooncise Directions for the Cnltivation of Vegetables, so as to insure good crops in small (hardens, with Lists of the best Varieties of each sort. By W. J. Mat. In paper, price is. •' None more simple andi praciically us«/ul," — The British Mail, profitable market gardening : Adapted for the use of all Growers and Gardeners. By William Eabley (Author of "High Glass Kitchen Gardening." &c.). In cloth, price 2s. •' iabour greatly assisted by a 'perusal oj fbi'a u'or/L-," — Noeth British Agriculturist, mushroom culture for amateurs : with fall Directions for Saccessfnl Growth in Houses. Sheds. Gellars, and Pots, on Shelvpp. and Ont of Doors. lUustrated. B? W. J. Mat (Author of "Vine Culture for Amateors," ** Vegetable Culture for Amateurs," " Cucumber Culture for Amateurs "). In paper, price is. •' T?ii8 eJceHent XiiWe took gives crtry direction necfssai-y."— Daily Bristol Times and Mirror. ■ ^ ♦■ tt; « GENERA L LIT ERA TURE. ■B'B.lLC'SXCh.lM JOURNALISM: How to Enter Thereon and Succeed. A Manual for Beginners and Amateurs. By John' Dawson. Price 2s. Cd. THE I.IBRAKY MANUAL: A Guide to the Formation of a Library, and the Valuation of Bare and Standard BookP, By J. H. bLATER, Barrieier-at-Lftw, Author of "* A Guide to the Legal ProfesBion." Second Bdition. In cloth, 118pp., price 2s. 6d. ** A moat ea'cellrHt and useful Jiandboofc." — Public Opinion. A GUIDE TO THE MEDICAL PROFESSION: Showing Clearly and Concisely the Method of Procedure Necessary to Become a Physician, Unrgeon, Apothecary, Chemist and Druggist, JJental Sargeon, and Veterinary Surgeon, Tralbed Murf>e. ftc, in the United Kingdom, the Colonlen. the Continent, and the United Htates. The Work gives all Requisite InformAtiou as to Fets, Books, Examinations, Ac. By E. WooTON (Author of "A Guide to Degrflps"). Edited by Db. Forbes Winslow, Price 68. " TJiero IB }xBrz presented,^ in haudy shapes a qreat mass of information." — The Scotsman, AU Books sent Carriage Free. Z. Upcott Gill,. Publisher, ijo,, Strand, W,C. TcLTPA Turcica (Pabbot TclipJ. Gladiolus Psittacinus. NabCIBSUS CALATHINU". OB REFLBXUS (Reflexed Daffodil). Anemone tulgens, ob Shining Anemone. Scilla Pebuviana. (From "Bulbs and Bulb Culture." Price 5e.) 14 Practical Handbooks. — General, Guides to Places. A GUIDE TO THE LEGAL FBOFESSIOH' : A Practical Treatise on the various methods of entering either branch of the Legal Pro- fession; also a Course of Study for each of the Examinations, and Belecten pApere of Quei-ton>: forming a COMPLETE GUtDbi TO EVBkY DBPaKTMENT OF LEO^L ■ KBPA-KATlON. By J. H. Slater, Barriuter-at-Law, of the Middle Temple. Just ready Price Ia, 6d. ** jlnyone ix;7io, hefof^ entering on eiiher branch of the 'profession, Aesirps information to determine which hranch it shall he, u-iU find a great deal here that uill asbist him." — The Law Student's Jouenal. A GUIDE TO DEGREES: In Arts, Beiecce. Literature, Law, Music an'^ Divinity, in th*! United Elntrdom, the Colonies. »he Contioent, and the United Sta'es. By E. Wooton ( Authur of '* A Guide to the Medical ProfeEBion," Ac }. In cloth, price loe. " Is a complete storehouse of educational information."— Tse Graphic. SHORTHAND SYSTEMS: WMcli is tlie Best? BeiDf? a DiBcnssion by variouB EngliBh Authors and Experts on the merits of the several Btyles. with Specimpns o( Taylor"?, Qurney's, E^itman's. Everett's, .Taaes', PodmeU's. Peacbey'e, Guent's, Williame', OdeU'e, R-dffira'p. &c. Kditftrt by Thohah iNDERso^ (Author of •' History of Bhnrthand," fArmerly Shorthand Writer in the Glasgow Law OouTts. Parliameatary Reporter, &c.i. In paper, price l^. "Is certain to he very much appreciated." — The Deket MEECtrET. I^ESSOKS IN SHORTHAND, ON GURNET'S SYSTEM (IMFBOVED) : Being Instruction in the Art of Shorthand Writing, as used in the Service of the Two Houses of Parliament, By R. E. Miller (of Dublin University j formerly Parhamentary Reporter; Fellow of the Shorthand Society). In paper, price Is. church festival DECORATIONS: Comprising Directions and Designs for the Suitable Decoration of Churches for Christmas. Easter, Whit&nntide, and Harvest. Ulustrated. In paper, price Is. " Much valuable and practical information." — Sylvia's Home Journal. GUIDES TO PLACES. WINTER HAVENS IN THE SUNNY SOUTH: A complete Handbook to the Rivlers^ with a notice of the new station, Alas»io Splendidly Illustrated. By Rosa Badohan (Author of " Character Indicated by Handwiiting," '* The Northern Watering Places of France "). In cloth gilt, price 2b. 6d. " Itia a model 'guide/ and supplies a u'ant." — The Field. BICTIONAHY OF FOREIGN WATERING FI.ACES, Seaside and Inland: Contains Routes, Climate, and Season. Waters recommended for. Scenery, Objef'ts of Interest, Amusements, Churches. Doctors. Boaidmg Establishnaents. Hotels. House Ageiitd, Newspapers, &c. Id cloth, piici 2 . " We Icnow of no other work tn which all this infoTTnation is io he obtained" — The Broad Arrow. THE UFFER THAMES: From Richmond to Oxford : A Guide for Boating Men. Anglers, Pic-nic Parties, and all Pleasure Seekers on the River. Arranged on an entirely new plan. Illustrated with Soecially Prepared Engravings of Pome of the most Beautiful Scenery and Striking Ob'ects met with on the Thames. In paper, price Is. ; in cloth, with elastic band and pocket, 28. *' One of the most useful handboolis to the river yet published." —Ti^BE Graphic. All Books sent Carriage Free. L. Upcott Gill 3 Publisher y 170, Strand, W.C, Practical' Handbooks. — Gutde.s to Places, Household. 15 TOUB IN THE STATES AND CANADA: Oiit and Home in Six Weeks. By Thomas Greenwood. Illustrated. In cloth gilt, price 2s. 6a, " We can coiiftdcjitly recommend t)its boofc."— The Liteeakt World. SEASIDE WATERING PLACES: ^°lv^ ^ '''Jj'^.? *° PMBons in Search of a Suitable Place in which to Spend their Holidays, on the English and Welsh Coasts. New and Revised Edition, with Uescnptions of over 140 Places. In paper, price 28. ; with coloured Map, 64. extra. " Av, extremelij handy little boo/t."— City Fbess. MAP or THE SEASIDE AND INLAND WATERING FI.ACES OF THE BRITISH ISI.ES : Showing, the Railway and Steamboat Uommunications, the Central Points, and varioue places of interest to tourists, m addition to all the Watering Places mentioned in the British Section of the "Dictionary of Watering Places," and in "Seaside Watering Places.* Size of plate, 15in. by UJin, Coloured, price fid. ; plain, price »d. NORTHERN WATERING PLACES OF FRANCE : • A Guide for Euglisli People to the Holiday Reeorts on the Coasts of the French Nether- lands* Picardy, Normandy, and Brittany. By Rosa Badghan (Author of " Winter Havens m the Sunny South," &c.). In paper, price 2b. " We Tiave pleasure in recommending this uor/c."— Cook's Excuesionist, HOUSEHOLD. HONITON LACE BOOK: Containing Full and Practical Instructions for Making Honiton Lace. With numerous Illustrations, In cloth gilt, price Ss. 6d. "We Tiave seldom, seen a book of tliis class ictter got up." — Bell's Weekly, Messenger, PRACTICAL DRESSMAKING: Being Plain Directions for Taking Patterns, Fitting on, Cutting out. Making up, an,d Trimming Ladies' and Children's Dresses. By R. Munroe. In paper, price Is, "It is just tlie sort of h'oolc that anyone bhould have at hand to talce counsel with." — The QuEENi. ARTISTIC FANCY WORE SERIES: A series of Illustrated Manuals on ArtiE^ic and Popular Fancy Work of various kinds. Each number in complete in iLtelf, and issued at the uniform price of 6d. Now ready— Macrame Iiace I Tatting* I ApplicLne, Patchwork I Crewel Work I " Will prove a valuable acquisition io the siudentof art needlewor/:,"— The Englishwomak's Review, COOEERT FOK AMATEURS; or, French Dishes for English Homes of all Classes : Includes Simple Cookery, Middle-class Cookery, Superior Cookery, Cookery for Invalids, and Breakfast and Luncheon Cookery. By Madame Valerie. Second Edition, In paper, price Is. ' "Is admirably suited to its -purpose." — The Broad Arrow. INDIAN OUTFITS AND ESTABLISHMENTS: A Practical Guide for Persons about to reside in India; detailing the articles which bhould be taken out, and the requirements of home life aad management there. By an Anglo-Iwdian. In cloth, price 2s. 6d. •' Is thoroughly healthy in tone, and practical." — Saturday Review. LEATHER WORK BOOK : Containing Full Instructions for Making and Ornamenting Articles so as to successfully imitate Carved Oak; specially written for the use of Amateurs. By Rosa Bauqbak. illustrated. In cloth gilt, price Ss. 6d. All Books sent Carriage Free. Z. Upcott Gill J Publisher t 170, Strand j W.C. 1 6 Practical Handbooks. — Household, Mechanics. TEE DICTIOlTARr OF NEEDLEWORK: An Eocyclopffidia of Artistic. Plain, and Fancy Needlework : Plain, practicEJ, complete, and magniflcently lUoBtrated. By S. F. A. Caule-eild and B. C. 8a ward. Accepted by H,M. the Qaeec. H.B.H. cbe PriDoeHB oF Wales. H.R.H. the Duchess of Edinburgh. H.B.H. the Duchess of Oonnaaerht. and H.B.H. the Duchess of Albany. Dedicated by special per- misfllon to H.B.H. Princess Louise, Marchioness of Lome. In demy 4to, 52Spp.. 829 iHns- trations. extra cloth gilt, plain edges, cushioned bevelled boarde, price Sis.; with COLOURED FLATEa. elegant fancy binding, and coloured edges (for presentation). Sis. 6d. ** ITiis very complete and ratJwr \'\xsiV.riou9 volume i« a i\orov^'h enf)jd,o'pm3,i(i of artistic, plain, and fancy needleu-orfc. . . . After heing avhrtdtted to the severe test of feminine criticism,, the Dictionary emerges triunnphant. , , . The volv/me, as a whole, deserves no smaU commenda- tion."— The Standard. **ThiB volume, one of the handsomest of its kind, is illuslrated in the best sense of the ttrm. . . . It is itseful and concise — in fact, it is exactly what it professes to be. . , , This hook has endured the severest test at our command vsith rare success." — The Athen^idm:, SICE irUBSZlTG AT HOIIE : Being Plain Directions and Hints for the Proper Nursing of Sick Persons, and the Home Treatment of Diseases and Accidents in case of sadden emergencies. By S. F. A. Caulfeild. In paper, price Is.; in cloth, price Is. 6d. *'A copy ought to he in every nursery."— Society. TOILET MEDICINE: A Scientific Manual on the Correction of Bodily Defects, and the Improvement and Preservation of Personal Appearance ; together with Formulse for all the Special Pre- parations Becommended. tiecond Edition, revised. By Edwin Wooton. In cloth gilt, price 28. 6d. Cheap Edition,. Is. "A valuable hook of reference for the toilet,"— Weldon'S Ladies' Journal, ■ ?3 «*«g : — MECHANICS. BOOKBINDING FOB AMATETTBS: Being Descriptions of the various Tools "and Appliances required, and Minute Instructions for their Effective Use. By W. J. E. Uhane. Illustrated witn 156 Engravings. Price 2s. 6d. PRACTICAL ABCHITECTUBE : At applied to Farm Buildings of every description (Cow. Cattle and Calf Honses, Btables, Piggeries, Sheep Shelter Sheds, Boot and other Stores, Poultry Houses), Dairies, and Country Houses and Cottages. Profusely liluatrated with Diagrams and Plans, By KoBERT Scott Bdjin. In clo^ gilt, price 6s. "A ualuable hanSbook for ready ivA reiics."— Joorsal or FoHEaiET. Plas of AHERicis SHOOTiNa PoHT (hom "Practical Boat Ballding for Amateurs." Price is.6d.) PRACTICAL BOAT BUILDING FOR AMATEURS: Containing full Instructions for Designing and Building Punts. Skiffs, Canoes, Sailing Boats, &o. Fully illustrated with working diagrams. By Adrian Neison, C.B. New Edition, revised and enlarged by Dixon Eehf (Author of "Yacht Designing," "A Mannal of Yacht aad Boat Bailing," ftc). In cloth gilt, price Ss. 6d. "Possesses (ho great merit of being thorougMij practical." — Bell's Life. All Books sent Carriage Free. L. Upcott Gill, Publisher, 170^ Strand, W.C. 1! Practical Handbooks. — Mechanics. FICTURi: FRAME MAKING FOB AMATEURS: Being: Practical InBtructions in the Making of various kinds of Frames for Paintings* Drawings, Photographs, and Engravings. Illustrated. By ihe Author of "Carpentry ana Joinery for Amateurs," &c. In cloth gUc, price 28. 'The boofc is tft.oroug?ii]/ eicTiawsfive," — The Building "Woeld. WOBEIITG IN SHEET METAL: Being Practical Instructions for Making and Mending small Articles in Tin. Coppr, Iron, Zinc, and Brass. Illnstrated. Third Edition. By the Author of "Turning for Amateurs," &c. In paper, price 6d. " Eueri/ possible in/"ormatio« is qi^i&ti'' — The Eehquabt. ART OF FTROTECHIl'T : Being Comprehensive and Practical Instmctions for the Manufacture of Fireworks, Hpecial^ designed for the use of Amateurs. Profusely IlloBtrated. By W. H, Bbowhe^ Ph.D., M.A., L.B.C.P., &c. Second Edition. In cloth gilt, price 2b, 6d. ** A most comp'-efe lit'le 7ia«clbco7;."— The Field. CARFENTRT AND JOINERY FOR AMATEURS: Containa fall Descriptions of the various Tools required in the above Arts, together with Practical Instructions for their use. By the Author of "Turning for Amateurs,"" ** Working in Sheet Metal," &c. In doth rllt, price Ss. ^. " TTie best o/the yiook cousists o/ practical instructions."— Iron. Price 2e. Gd.). TUBNING FOB AMATEURS: Being DeBcriptions of the Lathe and its Attachments and Tools, with Minutn Infitru''- 'inn« for their Effecti-fl TJro on Wood, Mecal, Ivory, and oth«r Materials. NEW EDITION, REVISED AND ENLARGED. By James Lukin.B.A. (Reotorof Wickfortt; Auihor it "The Lathe and its Uses," "Carpentry aud Joinery for Amateure," "Working in Sheet Metal," **ToymakiDg for AmateuTP." "Picture-Frame Making for AmatenrSi" &c.). IUlb- trated with 14i Engraviogp. In cloth gilr, price 23. Gd. . , " Gxxe^ (he amateur copious ^eicri-^tid'a^ o/ fools ond me(?iods o/u:oWL^>lg," — The Builder. FRINTING FOR AMATEURS: A Practical Guide to the Art of Printing; containing Descriptions of Presses and Materials, together with Details of the Processes employed, to whiob is added a Glossary of Technical Terms. Illustrated. By P. E. Katnor. In paper, price Is. ConcMG and comprehflnsi-ue."— The Figaro. All Books sent Carriage Free. L, Upcott Gill, Publisher, 170, Strand, W,C, Practical Handbooks.-^Mechanics, Natural History. 19 WOOD CABVin-G rOR AmATEUBS : GontE^ning Descriptions of all the requisite Tools, and full Instruotions for theij use izt produoinR different Tarieties of Carrings. Illnstrated. In p&per, price Is. •' TTtU be/ounii 0/ great interest."— Illustrated Carpenter akd Builder. ORGANS AND ORGAN BUILDING: Givinff the History and Construction of the Modern Organ, and Descriptions of the most remarkable Instruments. With Important Specificationb of celebrated Organs. .ILluBtrated.. By G. A. Edwards. In cloth gilt, ptice 5s. **^n ea^cellent treatise."— Midland Counties Herald. TUNING AND REPAIRING PIANOFORTES: The Amateur's Guide to the Practical Management of a Piano without the intervention ol a Professional. By -Charles Babbington. In paper, price 6d. "A uery -u^/'al lii^B 'book" — Sylvia's Home Journal. MODEL YACHTS AND BOATS: Their Designing, Making, and Sailing. Illustrated with 118 DeslgiiB and Working Diagrams. By J. Du V. Gbosvenob. In leatherette, price 5s. *' Wb can sa/ely commend tTw volume." — The Graphic. TOYIIAEING FOR AMATEURS: Containing Instructions for the Home Construction of Simple Wooden Toyn, and of others that are moved oy driven by Weights, Clockwork, Steam, Electricity, &c. Illustrated. By Jahes Lukin, B.A. (Author of "Turning for Amateurs"). In cloth ^It, price Is. "A copifaX hoolifor hoys.*' — Dispatch. NA TURA L HISTOR Y. Stabliko propehly made isto a Skin withLabei. attached (from "Practical Taxidermy. Pries 79. 6d.l. PRACTICAL TAXIDERMY: A Manual of Instruction to the Amateur in Collecting, Preserving, and Settlng-nn Natural SiKtorv Mnecimens of all kinds- Fully Illustrated, with Engravings of Tools, Examolef, Sid Wor^ng^Slrams: By Montagu Beowhe. NEW AND ENLABGBD BDITION. In cloth gilt, price 78. 6d. Throuij/iout the doIutm is esseiittnlly practical.-"'-DAll,T Teleskaph. All Books sent Carriage Free. L. Upcptt Gill, .Publisher, I'jo, .Strand, W.C. 20 Practical Handbooks, — Natural History, Sports, ZOOLOGICAL NOTES: On the Structure, Affinities, Habita, and Faculties of Anf male ; with AdventureB amon? and Anecdotes of them. By Arthub Nicols. F.G.8., r.B.G.S. ( Author of " The Puzzle of Life, and How it Hoe Been Put Tugecber." '^Ohaptersfrom the Physical History of the Earch"). In walnut or sycam,ore, 8vo, price 7fl. 6d. . , ,- , -. . , Prom Professor Euskin, — " I houe just opened i/our woofs, and am entirbZy delighted hy the glance at them. , . The engraving of the cohra — Mr, Bahoage's — i» the only true drawing of it I ever sau'." IfATUBAL HISTORY SKETCHES AMONG THE CAR- NITORA: Wild and Domesticated, With observations on tbeir babite and mental faculties. By ARTHnB Nicols. F.G.8., F.R.6.S., Author of " Zoological Notes," "Chapters from the Physical History of the Earth," " The Puzzle of Life, and How It has been Put Together," and " The Acclimatisation ol the Salmonidee at the Antipodes— its History and Resnlts." Illustrated by J. T. Nettleship 0. E. Brittan, and T, W, Wood. Price 6a. BRITISH UARINE ALGA!: Bein? a Popular Account of the Seaweeds of Great Britain, their Collection and Preservation. Ma^flcently illustrated with 205 engraTings. By W. H. Grattan. In cloth gilt, price 5s. tid. ** A really useful handhoolc." — Public Opinion. coi;lecting butterfi.ies and ICOTHS: Being Directions for Capturing, Killing, and Preserving Lepidoptera and their Larvce. Illustrated . Reprinted, with additions, from ** Practical Taxidexmy." By Montagu Browne (Author of "Practical Taxidermy"). In paper, price Is* " One of the handiest little helps yet published." — Excelsior. SPORTS AND PASTIMES. SEATING CARDS: A Series ot Cards of convenient size for use on the Ice, containing Clear Instructions and DiagramR, for Learning cbe whole arc of Figure Skating. Tbece Cards can be held in the hand whilst Skating, so that the directions can be properly followed at the time. Tinted cards, gilt, edges, round cotners, inclosed in strong leather pocket book, price Ss. 6d.; or in extra calf, eatin lined (For preBentalion), price Gb. 6d. PRACTICAL BOAT BUILDING AND SAILING: on taining Full Instmctions for Degigning and Building Punts. HkifCs, Canoes, Sailing Boats. &c. Particulars of the most suitable Sailing Boats and Yachts for Ajnatenrs, and Instructions for their proper handling. Fully lUusfrated with Designs and "Working Diaerams. By Adrian Neison, C.E., Dixon Kehf, A.I.SiT.A., and G. Christopher Davies. In One Volume, cloth gilt, price 7b. ** A capiial "inanual. , . . Allis clearly and concitely explained."— ^'b.^ Graphic. PRACTICAL GAME PRESERVING: Containing the fullest Directions for. Rearing and Preserving both Winged and Ground Game, and Destinving Vermin ; with other information of -value to the Game Preserver. lUuBtrated. By William Carnegie. In cloth giit, demy 8vo, price Sis. , . "Mr. Carnegie gives a great variety of useful information as to game and game preserving. .... HV are glad to repeat Ihatthe volume contains much vsejul information with many valuable suggestions. . . , The instructions as to pheasant rearing are sound ond nearly exhaustive."— Thk Times. . "It i?, pracMcal, straightforward, and always lucid. The cTutpters on poaching and poochers, hoth human and aniTnal, are particularly to the point, and amusing withal," — Thk World. NOTES ON GABIE AND GAME SHOOTING: Miscellaneous Observations on Birds and Animals, and on the Sport they Afford for the Gun in Great Britain, including Grouoe, "PaTtrldges. Pheasants, Hares, Babbits Qu^s, Woodcocks, Snipe, and Rooka. By J. J, Manley, M.A. (Author of "Notes on Fish ana Fishing"). Illustrated with Sporting bketctaes by J. Temple. In cloth gilt, 400 pp.. price 7s. 6d. " A thoroughly practical, as well as a very interesting hoolc." — The Graphic, PRACTICAL FISHERMAN: Dealinir with the Natural History, the Legendary Lore, the Capture of British Tresh- water Fish, and Tackle and Tackle Making. Beautifully Ulnstrated. By Ji H. £eshe. In cloth gilt, gilt edges, price lOs. 6d, " It is by a thornughly jiractical angler . . . Witt /orm a ualuobla addition fo ths anglers library/." — Fishing Gazette. All Books sent Carriage Free. L. Upcott Gill, Publisher, 170^ Strand, W.C. Stons Loach and Ecale. SiKOLi Hook X^ing. HsBL AND Hackle on Hook. Bobbing Needle. Tbe Obdinaby Li IHook, Becdbed, (From the " Practical Fisheiman." Price 10s. ed.) 22 Practical Handbooks. — Sports and Pastimes. FKACTICAL TBAFFIITG: Being some Papers on Trapn and Trapping for Vermin, with a chapter on General Bird Trapping and Snaring. By W. Carnegie ('^Moorman"). In paper, price Is. " CleverV^ ''ariiieti and. tUiwfrafed."— Sportsman. FI&ACTICAI. FHOTOGBAFHT : Being the Science and Art of Photography, both Wet Collodion and the various Dry Flftte ProcesaeB. Developed for Amatenrs and Beginnern. Illustrated. By O. E. Wheeler. In cloth gilt, price 4s. [May alAO be had in Farts as under :] " 4Itfce ualuaWe to the heginner and the practised photographer." — PHOToaiiAPHic News. WET COIiLODZOlV FHOTOGBAFHY: iSeino Part I. of '* Practical Photograph^/ "). In paper, price l6, DBT PLATE PHOTOGBAPHT: (Beiiig Part II, of " Practical Phoiographp"), In paper, price Is, PHOTOGRAPHIC MISCELLANEA: {Being Part III. of *' Practical Photography "); In paper, price IB. Thi Quadbant No. S Roasstxr (from " Tricycles of the Year, 1884 ; Second Beries." Price 1b.). TRICYCLES OF THE YEAR: DeecriptioDS of the New Inventions and ImprovementR for the present Season. Designed to ansiot intending pnrcbas'^rd ia the choice of a ini]10. •• Contains a vast amount of practical information." — Sporting Life. THEATRICALS AND TABLEAUX VIVANTS FOB AMATEURS : f^iving full Directions as to Stare Arranppments, " Making up," Costumes, and Acting, with numerous Illuatrations. By Chas. Harrison. In cloth gilt, price Ss. 6d. •' Will he found invaluable." — Court Journal. All Books sent Carriage Free. Z. Upcott Gill, Publisher J lyo^ Strand^ W,C, M. Mahius {Shotoittg OtitUne of Features.) M. Mabius in "Olivette." (ifahe-up Complete witTi Exception of Wig.) M, Mabius in "Olivettb." iS^oicivg Finished Preparation.) (From "Theatricals and Tableaux Vivante for AmateurB." Price is, 6d.) 24 Practical Handbooks. — Sports and Pastimes. BICYCLES OF THE YEAR: Degcriptions of the New Inventions and Improvements for the present Season. Desijrned to asBist intending purchasers ia the choice of a machine. lUustrated, By Habbt Hewitt Gbiffin. (Published Annually.) In paper, price Is. ** -411 the necessary details rec^voe S'\iM attentiou." — The Coumtt Gentleman, CABBS AND CABS TBICES: Containing a brief History of Playing Oards, Full Instructions, with Illastrated HandK for playing nearly all known games of chance or skill, from Whist to Napoleon and Patience, and directions for performing a number of amusing Tricks. Illustrated. By H. B. Heatheb. In cloth gilt, price 5s. "Deser^jesa large sliare o/'populariti/." — The FiGAEOf BOAT SAILING FOB AMATEUBS : Containing Particulars of the most Suitable iSailing Boats and Yachtu for Amatenrs, and Instructions for their Proper Handling. Ac. Illustrated with numerous Diagrams. By 6. Cbbistopheb Da vies (Author of "The Swan and Her Crew," &c.). In cloth giU^. price 5b. •• "We "know of no better compamon/or the yoixng Yachtsman." — Spokting Cheonicle, SIX FLAYS FOB CHILDBEN: Written specially for Representation b; Children, and Designed to Interest both Actors end Audience. With lostroctions for Impromptu Scenery, CostumeB. and EfCeccs, aud the A^rrt of the various Songp. By Chas. Habbison (Author ol "Amateur Theatricals and Tableaux Vivants"). Price la. BAZAABS AND FANCY FAIBS. A Guide To: Their Organisation and Management, with Details of Various Devices for Extracting Money from the Visitors. In paper, price is. " Mo&t amusing. , , . A hotter look cannot he purchased." — Weldon's Ladies' Joubnai. All Books sent Carriage Free. L. Upcott Gill, Publisher J 170^ Strand, W.C. HAIR DESTROYER. MRS. JAMES'S DEPILATORY INSTANTLY AND PERMANENTLY REMOVES SUPERFLUOUS HAIRS PKOM THE FACE, NECK, OR ARMS, WITHOUT INJURY TO THE SKIN. ITO I.ADT SHOUI.D BE WITHOUT IT. To he had of most Chemists, or a box of it sent (with directions for use) free from observation, Post Free, for 15 Stamps. MRS. A. JAMES, 226a. CALEDONIAN ROAD, LONDON, N. Advertisements. 25 ''When the Public find they c^an get, in 1batpet'6 * nn)ontbIi2 « HDaoasine, One Hundred and Sixty royal octavo pages of Letter-press, and about Seventy Illustrations for Is., they are pretty sure to invest in it"— nius. London News. Ask to See it at your Bookseller's. Circulation nearly 30,000 Copies per month. ^LONDON: SAMPSON LOW, MARSTON, SEARLE, AND RIVINGTON,-^ CROWN BUILDINGS, 188, FLEET STREET, E.C. UOW'S * 8TANDARP * NOVEUS, Small post 8vOy cloth extraj price 6s. each (except tvhere otherwise stated). By K. D. BLACKMOBE. Lorna Doone. (Illustrated Edition, 31s. 6d. , Alice Loira^ne. [and SSs.) Cradock Nowell. Clara Vanghan. Crips the Carrier. Erema ; Or, my Father's Sin. Mary Anerley. ChristoweU : a Dartmoor Tale. By WILLIAM: BLACK. Three Feathers. A Daughter of Heth. Kilmeny. In Silk Attire. Lady Silverdale's Sweetheart. Sunrise. By THOMAS HABDY. A Pair of Blue Eyes. The Return of the Native. The Trumpet Major. Far from the Maddinff Crowd. The Hand of Ethelberta. A Laodicean. Two on a Tower. By GEOBG-E MAC DOWALD. Mary Marston. Guild Court. The Vicar's Daughter. Adela Cathcart. Stephen Archer and other Tales. Orts, "Weighed and "Wanting. By VT. CLABK BITSSELL. A Sea Queen. Wreck of the *' GroBvenor." John Holdsworth (Chief Mate). A Sailor's Sweetheart. The " Lady Maud." Little Loo. By JOSEPH HATTON. ^. , ,, . Three Recruits and the Girls they left • behind them, LONDON : By VICTOB HITG-O. Ninety-three. History of a Crime ; the Story of the Coup d'Etat. By CONSTANCE PENIMOBE WOOLSON' Anne ; a Novel. iSecond Edition nearly ready. . For the Major. Illustrated, uniform with the above, price 5s. \_Nearly ready. By HELEN MATHEBS, Authoress of "Comin' through, the Bye," "Cherry Bipe," &c. My Lady Greensleeves. By Mrs. BEECHEB STCWE. My Wife and I. Poganuc People, their Loves and Lives. Old Town Folk. By MBS. BIDDELL. Alaric Spenceley. The Senior Partner. A Struggle for Fame. , Daisies and Buttercups. By Mrs. CASHEL HOEY. A Golden Sorrow. Out of Court. By LEWIS WALLACE. Ben Hur ; a Tale of the Christ. By Mrs. MACQTTOID, Elinor Dryden. Diane. By MISS COLEBIDQE. An English Squire. By the Bev. E. G-ILLIAT, M.A. A Story of the Dragonades. By LOTTISA M. ALCOTT. Work ; a Story of Experience. By the Author of "ONE ONLY," "CON- STANTIA," &e. A French Heiress in her own Chateau. Six Illustrations. SAMPSON LOW. MABSTON, SEARLE, AND RIVINGTON, Crown Buildings, 188, Fleet Street, E.C. 26 Advertisements. #K^^ Price One Published First of eacli Montli. HilUra,- ni, A HIGH-CLASS FASHION JOUHNAL. "A very superior Publication , at a Shilling, in which the highest styles of Fashion are accurately represented."— Fr//(s and Gloucester Herald. EACH NUMBER CONTAINS: FOUR BEAUTIFULLY-COLOURED FASHION PLATES, Expressly designed for this tToumal, and Copyright, Thirty-two Pages of Letter-press, splendidly Illustrated with Over One Hundred Engravings of the Latest Fashions from Paris, and a new serial story. A Review of the Fashions. New Styles and Coming Fashions. Children's Dress in London and Paris. Notes of the Month. Fashionable Chapeaux. A Glance at the Theatres. New Fnmitnre and Ornaments. Costumes for Town and Country Wear. New Serial Story, &c. Fashionable Fine Art Needlework, PnMslied First of each Month. Price Sixpence. MYRA'S JOURNAI. is the most leidylike and economical Fashion Magazine in the world. Its increasing circulation in the United Kingdom, the Colonies, Empire of India, and the United States, attests its success and popularity. EACH NUMBER CONTAINS : Forty-Eight Pages Letterpress, Profusely Illustrated, Music Size. A SUPERBLY COLOURED FASHION PLATE of the Newest Toilets for Ladies and Children. In May and IfoTemlier, a Treble Size Coloured Fashion Plate (Fourteen Figures) is Given. A LARGE DIAGRAM SHEET lor cutting out Life-sized Patterns of all kinds of Articles of Dress, A FULL-SIZED CUT-OUT PAPER PATTERN of & Coming Mode. CHILDREN'S DRESS for Outdoor, Indoor, School, and Home Wear. DRESS AND FASHION IN PARIS. SPINNINGS IN TOWN. By The Silkworm. What Dress to Wear and How to alter Dresses. Models from the Grands Magasins du Louvre, Paris. New Needlework of all descriptions. MYRA'S ANSWERS. Latest from Paris. Dress, Etiqtiette, Health, and Peesonal Attention. Needlework. Musib. Books and Authors. The Cuisine. Modes for Children, House Furniture and Fur- nishing, Miscellaneous, &c. A FREE EXCHANGEis open to all who have Articles to dispose of or barter for. MYRA'S JOURNAL can be obtained through any Bookseller, or direct from the Publishers. Flat Paper Patterns of any Garment Illustrated in above Journals can be had of Madame Goubaud, by return of Post, price One Shillinir each; for Children under lO years of Age, Sixpence each. GOUBAUD & SON, 39 & 40, Bedford Street, Covent Garden, W.C. Advertisements. 2,1 ROWLANDS' MACASSAR OIL, Known for more than 80 years as the best and safest preserver of the hair ; it contains no Lead, Mineral, Poisonous, or Spirituous ingredients, and is especially adapted for the hair of children. It can now also be had in a golden colour, which is specially suited for fair and golden- haired persons and children. Sizes, 3s. 6d., 7s., 10s. 6d., and 21s. ROWLANDS' KALYDOR Beautifies the complexion and removes all cutaneous defects; it is a most cooling wash for the face and hands during hot weather, and eradicates aU Treokies, Tan, Sunburn, Stings of Insects, &c. The bottle has on it a. 6d. Government Stamp. ROWLANDS' ODONTO Is the purest and most fragrant dentifrice ever made ; all dentists wiU allow that neither washes nor pastes can possibly be as efficacious for polishing the teeth and keeping them sound and white as a. pure and non-gritty tooth powder. Such Eowlands' Odonto has always proved itseU to be. The box has on it a 3d. Government Stamp. ROWLANDS' EUKONIA Is a beautifully pure, delicate, and fragrant Toilet Powder, and has lately been much improved. Each box has inside the lid a certificate of purity from Dr. Redwood, Ph.D., F.C.S., &o. Sold in three tints, white, rose, and cream, 2s. 6d. per box ; double that size, with puff, 43. JLsk any Chemist or Hairdresser for Rowlands' Articles, of 20, Ration Garden and avoid spurious worthless imitations under the same or similar names. Any.of tUese can lie sent by post on receipt of 3d. above these prices. 28 A dvertisements. Why many Persons Permanently Submit to the ' "Eiyt fltjeri/ de/ect of Ifatu-re Art offerB a remedy,' GREY HAIR Rather than attempt to Restore it. Ist. — Because the old fashioned and objectionable Hair Dyea dry np and spoil the Hair. 2nd.— Because the majority of "Hair Eeatorers" bring the users into ridicule by pro- ducing only a sickly yellow tint or dirty greenish stain, instead of a proper colour. The following Testimonials (of many hundreds received) declare tlie value of LATREILLE'S HYPERION HAIR RESTORER As positively restoring grey or white liair to the REALLY NATUKAL colonr. gloBS, BOftness, Inxnri&nce, and beauty of youth; it so perfectly accomplishes its work and fulfils its promise, that in brilliant sun- shine, or under glaring gaslight, the user can alike defy detection in ever having been grey, or used a remedy, while as a nourisher and strengtheuer of weak hair it has no equal. Price 3s. 6d., sent in return for Postal Order or Stamps, by the Proprietors, ZiATSEXl^LE ft CO.. Walwortli, London, or may be had of Chemists; But it is strongly advised that anything else, offered from interested motives, be resolutely refused, as Latreille'a Hyperion NEVER DISAPPOINTS. All Chemists can readily procure through wholesale houses, if they have it not themselves in stock. SFECIMEZr TESTIMONIAI.S. 20, Royal George-street, Stockport, February 26, 1880. Deab Bib,— My hair went white through trouble and sickness, but one bottle of your Hyperion Hair Restorer brought it back to a splendid brown, as nice as It was in my young days. I am now forty years old, and all my friends wonder to see me restored from white to broWn. You can make what use you like of this. Youre truly, (Mrs.) Maria Wobthington. 132, High-street, Stourbridge, May 16, 1878. Siiu— I find your Hyperion Hair Restorer is a first-class and really genuine article, and is well worth the money. After using it thrice, my hair began to turn the natural colour whereas before it was quite grev ; it also keeps the hair from falling off, and I shall always recommend it to everj; one 1 know. You are at liberty to pubhsh this if you choose. Yours truly, (Mrs.) M, Davis, Thirsk, Yorks, January 26, 1876. Dear Sir, — I use your Hyi>erion Hair Restorer, and find it everything which has been said in its favour. I am, dear Sir, yours truly, T. Coates. Porchester, near Pareham, Hants, Oct.16. 1875. Sir,— Please send me another bottle of your Hyperion Hair Restorer ; it is better than any other ._r. ... ^,.__._. ,., Yours faithfully^ (Mrs.) C. CHRiariB. jpei istoi restorer I have tried, High-street, Corsham, Wilts, December 2, 1874. Dear Sir,~I enclose stamps for another bottle of your Hyperion Hair Restorer ; its clean qualities are sufficient to recommend it anywhere. Yours respectfully, E. Matnakd, St. Heliers, Jersey, August 1, 1873. SiBr-Please send me another bottle of your Hyp^ rion Hair Restorer : I bear willing testimony to its being very pleasant to use, both as to cleanliness and absence of disagreeable smell. Yours truly, F. de Lusionan. 2, Fir-street, Sydenham, July 15, 1878. Dear Sir,— I am most happy to tell you that I have reason to commend your excellent Hyperion Hair Restorer, as it has already turned the grey hair of a person fifty-seven years old to its natnnu colour. Yours respectfully, T. Whathobb. 83, Dewsbnry-road, Leeds, May 23, 187S. Dear Sib,— I want half -a^ozen more bottles of your Hyperion Hair Restorer, some for friends and the remainder for myself ; it is the best restorer of grey hair to its natural colour. Yours tru ly. Jambs Dawsoh. •*• Bd oarefiil to aak for Xjatreille's Hyperion Hair Bestorer, as the manu- faotureriB also proprietor of Iiatreille's Excelsior Iiotion, which is a separate preparation, or universal repute for 20 years past, as a Producer of £Uir. A dvertisemen is. 2g fl ^^ 6— ' ■^ -sal &q CO DC ('"^ 525 ^^ •*a5 < E-^ X ««: pc; 4^ X 4 p"^ -^ NOTHING EVEE INTRODUCED HAS BEEN FOUND TO EQUAL Latreille's Excelsior Lotion Celebrated among all classes of Society all over the World as the only Heal Producer of WHISKERS AND MOUSTACHIOS, Remedy for Baldness, Weak and Falling Hair, &c., and Cnrer of Scurf or Dandriff. Frice 2s. 6d. per Bottle. Can be had of any Chemist, through Barclay, Sanqeb, Neweert, Edwards, StiTTON, Thompson, Hovenden, Maw & Co., or any other Wholesale Chemist, or direct from the Proprietors, LATREILLE & CO., Walworth, London. S.E., On remitting Postal Order or Stamps. CAUTION. — Be careful to ask for Latreille' s "jSxcelsior Lotion," and refuse anything else that may he offered, as the enormous success, extending over twenty years, has led to mang useless imitations, which can only disappoint. The title " EXCELSIOB LOTION" is a registered Trade MarTc, to copy which will incur criminal prosecution. 30 A dvertisements. IIIo Amateurs. The following can be readily Procured or Disposed of by Amateurs and Private Persons, with Ease, Economy, and Expedition — LIBRARY.— Albums, Art and Yirtu, Country Books, Educational, Fiction, Guides and Directories, History and Travel, Maga- zines, Manuscripts, Maps, Newspapers, Old Literatiu*e, Poetry and Drama, Religious, Scientific and Professional. MECHANICS.— Fretwork, Machinerj-, Models, Printing, Tools, Turning. MUSIC. — Accordions, Banjoes, Bassoons, Bells, Clarionets, Concertinas, Comets, Double Basses, Drums, Dulcimers, Flageo- lets, Flutes, Guitars, Harmoniums, Harps, Horns, Metronomes, Music, Musical Boxes, Organs, Pianos, Piccolos, Violas, Violins, Violoncellos. PIGEONS.— Appliances, Antwerps and Homers, Carriers, Fantails, Jacobins, Mag- pies, Nuns, Owls, Pouters, Rocks, Rollers, Trumpeters, Tumblers, Turbits. POTTIiTRY. — Appliances, Bantams, Brahmas, Broody Hens, Cochins, Crfeve- cceurs, Cross Breeds, Dorkings, Ducks, Eggs, Game, Geese, Guinea Fowl, Hamburgns, Houdans, Leghorns, Peafowl, Plymouth Rocks, Polands, Silkies, Spanish, Turkeys. RABBITS.— Appliances, Angoras, Bel gian Hares, Dutch, Himalayans, Lops, Sil ver Creams, Silver Greys. RIDING & DRIVING.-AppUances, Carnages, Carts, Chairs, Horses, Rugs, Saddlery. SCIENTIFIC. — Botany, Chemistry, Conchology, Electrical, Entomology, Geo- logy, Glasses, Instruments, Medical, Micro- scopic, iMineralogy, Natural History, Pho- tography, Telescopes. SPORTS & PASTIMES.— Angling Aquatics, Athletics, Bicycles, Cricket, Cro quet. Flags, Hammocks, Indoor Games, Magic Lanterns, Shooting (Guns, Rifles Pistols, &c.). Smoking, Swords, Tennis, Tents, Theatricals, Toys, IMcycles. TRADE APPLIANCES.— Machmery Shop Fittings, Vehicles, and Various. AMATEURS' WORK. — Children's Dress, Colouring Photos, Fancy Work Pat- terns, Dress Patterns, Fancy Work, Plain M'ork, and other things the handiwo]:k of Amateurs. AVIARY.— Appliances, British Birds, Canaries, Doves, Foreign Birds, Mule Birds, Partridges, Pheasants, Eggs. BRIC-A-BRAC— Coins, Crests, Curio- sities, Medals, Notes, Pottery, Stamps.. COUNTRY HOUSB.-Apiary, Aquaria, Badgers, Cats, Ferrets, Foxes, Guinea Pigs, Hares, Hedgehogs, Mice, Monkeys, Rats, Silkworms, Squirrels, Vivarium. DOMESTIC— Bags, Bedding, Blinds, Boxes, China, Clocks, Culinary, Cutlery, Furniture, Knitting, Linen, Machines, Ornaments, Perambulatoi-s, Provisions, Safes, Screens, Sewing Machines, Stoves, Upholstery, Urns, Work Boxes, &c. DRESS.— New Boots, Dresses, Feathers, Furs, Habits, Hosiery, Lace, Linen, Macin- toshes, Mantles, Materials, Millinery, Para- sols, Petticoats, Shawls, Suits, Trimmings, Uniforms, »fec. FARM.— Appliances, Cattle, Fodder, Goats, Pigs. FINANCIAL.— Businesses, Chambers and Apartments, Houses, Shares. FINE ARTS.— Appliances, Drawings, Engravings, Etchings, Frames, Oleographs, Paintings, Photographs, Prints, Scraps. GARDEN.-Appliances, Blossoms, Bulbs and Tubers, Fernery, Fruit, Plants, Seeds, Vegetables and Herbs. JEWELLERY & PLATE.— Brace- lets, Brooches, Chains, Ear-rings, Lockets, Pins, Plate, Rings, Sets, Watches. KENNEL.— Appliances, Beagles, Boar- hounds, BuUdogs, Colleys, Cross Breeds, Daclishunds,Dalmatians,Deerhounds,Foster Mothers, Fox and all other Terriers, Grey- hounds, Italian Greyhounds, Mastiffs, New- foundlands, Pointers, Pomeranians, Poodles, Retrievers, Setters, Sheepdogs, Spaniels, St. Bernards. THROUGH ITbe Basaar, 4- ^bc ♦ Eycbange ♦ anb ♦ flHJart, -^ Price 2d., Of all Newsagents and Boolcstalls, or at the Office: 170, STRAND, LONDON, W.C. Advertisements. "I g||..,-.-o.,^o _ ealiy practical Articles on all sorts of ^ subjects, and such as are of service ^^ to Annateurs.form the staple of the Literary portion ' of "The Bazaar, Exchange & Mart." Amongst the Serial Articles now appearing, or arranged for, are the following : Bqtisehold Glectric Light- ing. Illustrated. Aids in emergencies. Illustrated. Amateur Woodworking. Illustrated. Building Photo Studios. ° lUustrated. (Collecting Gngravings. Rouses: Plans, Bills of Quantities, and (Jost of Building. mustrated. Doves and Pigeons for Aviaries. mustrated. Gngraving on UJood. ° " Illustrated. I Hems for Amateurs. Guinea Pigs. Besides these serial papers, there are Articles m current Music, Literature, Art, Dress, Drama, m^ other matters of interest; and Notes, Corres- pondence, and Replies on a vast variety of subjects. Illustrated. Illustrated. I Learning to Play the Violin. ° Illustrated. Lithography. mustrated. modern Kitchens, mustrated. Garden UJork for Future GneCt. Illustrated. Poultry Keeping, mustrated. Provincial (fopper Coins. Illustrated. Scene Painting, mustrated. The Telephone. mustrated. Tricycles of the Year &c., &c. Illustrated. I i jUT-n-nj-u-i rn-»~»~i'~~ — — — ■"■ — '••^^^ .^t^t^i^t^,^ BUY A COPY AND Price 2d. SEE. At any Newsagent's or Mailway Bookstall. Office r XVO, STUAJXrii, aLi03XnD03Sr, -w.c. 32 Advertisements. INTERNATIONAL HEALTH EXHIBITION, m ♦-«■ PRIZE MEPAU ♦-<■ AWARDED TO SPRATTS PATENT, Being the only Medal granted for mannfacturea of the kind. Patent Meat "Pibrine" Vegetable DOG CAKES (WITH BEETROOT). Used in the Royal Kennels. Awarded over 70 Gold, Sllvei; and Sronze Jtfedala, . Purveyors to tjif Kennel Club, Hi vtningKatn National, Societe St. Sttbert, Cercle de fa Chasse, and to -I?7 the Principal JBngllsh and Foreign Canine Societies. BEWARE OF WORTSLESS IMITATIONS! Pushed by certain Dealers for the sake of extra profit. See each Cake is Stamped "SPRATTS PATENT" and a "X." FOR CONDITIONING DOGS ! PATENT GOD LIVER OIL DOG GAKES. Of aU our AGENTS, In 71b. and lUb. Tins. For Dainty Feeders, Delicate Dogs, and assisting Conralesoence. Invalu- able for Pet Dogs, and also as a piok-me-up for Sporting Dogs on retnru from a hard day's work. MEDIGINES For the cure of Distemper, Worms, Mange, Eczema, Ear Canker, Eheumatism, and the yarious other Canine Diseases. Fnll List post free. "GOMMON SENSE OF DOG DOGTORING." PRICE 6d., or POST FREE Sd. This work contains 12(V pages of thoroughly Practical Information with regard to the treatment of Canine Diseases and Breeding and Rearing of Dogs, DOG SOAP. Non-poisonous and free from the objectionable smell, and danger in use, of Carbolic Acid. SPRA.TTS P^TE]S"T, S.E.