,,library ,,bookbinding         ,library
 ,bookbinding       by ,arthur ,l4      
,bailey     ,librarian ,wilmington      
7,delaware7 ,institute ,free ,library   
,illustration      ,,the ,h4 ,w4        
,,wilson ,,company     ,white ,plains1  
,n4 ,y41 and ,new ,york ,city     #aiaf 
,published ,may1 #aiaf       ,copyright1
 #aiaf     ,by ,the ,h4 ,w4 ,wilson     
,company     ,,preface   ,it has been   
the purpose of the writer in these      
chapters on library bookbinding to set  
forth as clearly as possible the best   
information relating to processes1      
materials1 routine and various other    
lesser matters pertaining to bookbinding
 which must be taken into consideration 
by librarians1 or by assistants in      
charge of binding departments4 ,although
 much of this information exists        
elsewhere in printed form1 it is        
scattered through various books and     
articles4 ,in some respects1 therefore1 
this book is a gathering together of    
scattered material4 ,it is hoped1       

however1 that there is enough new       
material to make the book of interest to
 those who deal daily with binding      
problems1 and that the book as a whole  
may help to solve some of the questions 
relating to binding in libraries both   
large and small4  ,most books on binding
 and all books on library binding have  
devoted some space to paper1 its        
composition1 manufacture1 finish and    
use4 ,as the subject is so fully dealt  
with elsewhere it has not been included 
here4 ,those who are interested will    
find full information in the technical  
books on paper1 in ,mr4 ,dana's ,notes  
on book binding for libraries1 and in   
,messrs4 ,coutts and ,stephen's ,manual 
of library binding4 ,there is also an   
excellent article on wood pulp paper in 
the ,scientific ,american of ,october   
#d1 #aiac4  ,nor has it seemed desirable
 to include chapters on commercial      
binding nor on historical bindings4     
,both of these subjects are treated     
adequately in ,coutts and ,stephen's    

,manual4 ,the present writer has limited
 his discussion to matters dealing      
directly with the binding of books for  
libraries4  ,in one or two cases the    
same subject has been treated in two    
different chapters because the subject  
matter belonged in both places1 and in  
neither case would the discussion be    
complete without it4  ,a4 ,l4 ,b4       
,december #i1 #aiae4     ,,table ,,of   
,,contents       ,chapter ,i4           
,introduction                           
#c              ,,ii4 ,selection of a   
binder                      #i          
,,iii4 ,processes                       
#ac              ,,iv4 ,materials       
#ea               ,v4 ,specifications   
#hg              ,,vi4 ,binding before  
purchase and reinforcing  #ajc          
,,vii4 ,cost                            
#aae            ,,viii4 ,preparing for  
the bindery                #abe         
,,ix4 ,binding records and routine      
#adi               ,x4 ,repairing1      
recasing1 recovering etc4     #afe      

,,xi4 ,magazine binders                 
#aii             ,,xii4 ,pamphlets      
#bje            ,,xiii4 ,bindery in the 
library building          #bji          
,appendix ,a4 ,specifications of the ,u4
 ,s4 ,bureau                 of         
,standards for book cloths              
#bag               ,b4 ,reading list on 
binding                  #bba           
,c4 ,list of technical terms            
#bbe                  ,index            
#bde     ,,library ,,bookbinding        
,,library ,,bookbinding  ,,chapter ,i   
,,introduction   ,an examination of the 
annual reports of libraries in the      
,united ,states shows that from four to 
eight per cent of the total income is   
spent for binding2 the amounts ranging  
from #b1jjj to over #dj1jjj a year for  
this one item4 ,it must be admitted that
 these are large sums and that a        
knowledge of binding materials and      
processes is necessary in order to spend
 this money wisely4 ,in many libraries  
the appropriation for books includes    

binding and periodicals4 ,it is evident1
 therefore1 that every dollar saved on  
binding can be devoted to the purchase  
of books4 ,and what librarian does not  
desire more money for new books8  ,in   
spite of the importance of the subject a
 great deal of ignorance has prevailed  
in years past1 and far too many         
librarians of the present day fail to   
realize that here is one place where    
money can be easily wasted4 ,possibly   
one reason for the ignorance about      
binding is that1 except in a minor      
degree1 it does not directly affect the 
public1 for librarians are quick to make
 changes which will increase the        
interest of the public in the library4  
,another reason is that experiments are 
necessary2 and since it takes time to   
draw conclusions from experiments1      
definite rules have not been formulated4
  ,in fact1 experiments are still being 
tried4 ,but while in the past they were 
along the line of making books stronger1
 the experiments of the present are     

rather along the line of adapting       
different methods to different books1   
according to the paper on which they are
 printed1 or according to the kind of   
use they will receive4 ,it is reasonably
 safe to say that present methods of the
 best library binders make a book as    
strong as it is possible to make it4    
,progress no longer lies along the line 
of strength4  ,in order to administer a 
binding department wisely1 the librarian
 or assistant in charge of binding must 
know materials1 processes1 and books2   
and especially must he know how books   
should be bound to meet the use they are
 to receive4 ,for example1 fiction that 
is very popular should be bound         
differently from fiction which must be  
kept on the shelves1 but which is not   
popular2 it is easily apparent that     
,mc,cutcheon's ,graustark should be     
bound differently from ,henry ,james'   
,golden bowl4 ,heavy reference books    
constantly consulted should be bound    
differently from reference books used   

only occasionally1 while it may be wise 
to bind magazines differently from      
either4 ,a librarian of a reference     
library will adopt methods differing    
from those which are used in public     
libraries4 ,a good working knowledge of 
materials and processes can be easily   
obtained4 ,the saving of expense comes  
in applying them to use4  ,a recent     
advertisement of a binder stated that   
his books were rebound more times than  
the books of any other binder4 ,this    
statement is a sad commentary on the    
serviceability of his books and calls to
 mind a practice of twenty years ago    
which is too prevalent even at the      
present time4 ,at that time it was the  
recognized custom to bind as cheaply as 
possible books which circulated rapidly 
and wore out quickly4 ,those who favor  
this custom fail to realize that in the 
case of books which are constantly used 
the actual cost of binding does not     
depend on the initial cost per volume1  
but on the ratio of cost to circulation4

 ,this is a point first brought out by  
,mr4 ,j4 ,c4 ,dana in his ,notes on     
bookbinding for libraries1 and one on   
which it is impossible to lay too much  
emphasis4 ,a book which costs #ce;c4 to 
bind and which circulates #ce times has 
cost one cent for each time it has been 
issued after rebinding2 while a book    
which has cost #ej;c4 to bind and has   
been issued #ajj times 7a fair average  
for a #ej;c4 binding7 costs one half    
cent for each time it has been issued4  
,obviously the #ej;c4 binding is much   
cheaper4 ,it is probable that the #ce;c4
 book must either be rebound at an      
additional expense of #ce;c4 or else a  
new copy must be purchased at a cost of 
#a1 while the #ej;c4 binding may carry  
the book to a point where it can be     
discarded absolutely4 ,certainly it     
should never be rebound again4 ,it is   
important1 therefore1 that the librarian
 who does not know what his binding is  
costing per issue should keep statistics
 of circulation for a sufficient length 

of time to obtain general averages which
 will be fairly accurate4  ,while a very
 strong binding is necessary for fiction
 and juvenile books in public libraries1
 it is probable that on many books of a 
serious character some of the           
strengthening processes which must be   
used on fiction and juveniles may be    
omitted4 ,it should be noted that while 
this is true of public libraries1 the   
reverse would probably be true in       
college and reference libraries where a 
much larger proportion of serious books 
should be bound as strongly as possible4
  ,there are three general kinds of     
binding3  7a7 ,commercial1 or edition   
binding4  7b7 ,artistic binding4  7c7   
,library binding4  ,commercial binding  
is that in which practically all books  
come from the publishers4 ,for the most 
part it is the product of machinery from
 beginning to end1 and the material used
 is generally poor4 ,apparently the sole
 object in view of most publishers is to
 turn out a book that will attract the  

eye4 ,strength is not an element for    
which they strive4 ,from their point of 
view they cannot be severely blamed for 
making strength a secondary             
consideration4 ,by far the largest part 
of their product is sold to individuals1
 and the strength of the binding is     
adequate for the amount of use that     
these books will receive4 ,from the     
library point of view1 however1         
publishers' bindings are entirely       
inadequate4 ,one cannot expect1 of      
course1 that the publisher will put a   
popular novel into a binding strong     
enough to meet the demands of library   
use4 ,on the other hand1 one cannot     
blame librarians for being exasperated  
when heavy books of travel1 history1 or 
biography part from their covers when   
they have been in the hands of less than
 ten readers4  ,the distinguishing      
characteristics of commercial binding1  
and at the same time its greatest       
weaknesses1 are the machine sewing and  
the insecure way in which the book is   

fastened into the cover4 ,very little   
extra expense either in material1 care1 
or workmanship1 would make most books   
outside of fiction sufficiently strong  
to withstand all the wear that they will
 receive4 ,unfortunately the publishers 
fail to realize this1 and books by the  
thousands come from the binderies       
covered on the back with the coarsest   
kind of super which does not even extend
 to the head or tail of the book4 ,a    
stouter cloth1 carefully applied1       
running the entire length of the back   
would cost very little more per volume1 
but would strengthen it materially4     
,while practically all commercial       
binding is lacking in strength1 this is 
due almost wholly to trade conditions1  
for commercial binding can be made      
exceedingly strong4 ,one has only to    
turn to the #aiab edition of the        
,century ,dictionary or to the ,united  
,states ,catalog1 which are practically 
machine bound throughout1 to realize    
this fact4 ,however1 until librarians   

are united in their demands for stronger
 bindings1 we can expect to see the     
present poor work turned out in as large
 quantities as ever4  ,there is another 
kind of binding which is1 if possible1  
even more unsuitable for libraries4     
,this is artistic binding which is done 
exclusively for individuals1 beauty of  
appearance being the chief object in    
view4 ,it differs from commercial       
binding in being all hand work instead  
of machine work4 ,since hand work is    
used and the main object in view is     
beauty1 it follows1 of course1 that such
 books are much stronger than those     
bound by publishers4 ,but the strength  
of these books is in many cases not     
proof against the wear that they would  
receive in libraries4 ,no special       
methods of sewing or strengthening the  
first and last sections are used4       
,practically all artistic books are     
bound in leather and frequently in full 
leather4 ,whenever the leather used is  
anything other than good morocco1 it is 

an element of weakness rather than      
strength4 ,in addition to these         
objections1 artistic bindings are       
usually so expensive as to be beyond the
 reach of any library4  ,in library     
binding the main consideration is       
strength4 ,not only is beauty a         
secondary consideration1 it is scarcely 
taken into consideration at all4 ,for it
 must be confessed that library bindings
 are seldom attractive4 ,no library can 
afford to pay for ornamentation of backs
 and sides of books4 ,library binding is
 all hand work4 ,although machine       
binding can be made exceedingly strong1 
machines cannot be used on library      
binding1 because the books vary so much 
in size and lettering4 ,the main reason 
why commercial binding can be done by   
machinery is because a large number of  
books are bound exactly alike4 ,in      
library binding it seldom happens that  
more than two volumes1 the same in size 
and lettering1 are bound at the same    
time4 ,library binding also differs from

 other bindings in that the use the book
 is to receive is made the basis of     
selection of materials and methods4     
,,chapter ,,ii  ,,selection ,,of ,a     
,,binder   ,since library binding       
differs widely from other kinds of      
binding1 it follows naturally that it is
 best to have this work done by men who 
understand its special requirements4    
,unfortunately1 there are comparatively 
few binders who make a specialty of this
 kind of work4 ,librarians of most of   
the smaller libraries are forced by     
local prejudice to give their work to   
the local binder or to the nearest      
outside binder in order to save the     
expense of transportation4 ,if the work 
is sent to the local binder1 it must be 
sent to one who is doing other kinds of 
binding and to whom the library work is1
 in a way1 a minor consideration4 ,he   
would object if the work were sent out  
of town1 but the total amount of the    
library work is small compared with his 
other work4 ,such binders usually have  

one way for binding all books 7except   
those which come under the head of      
blank-book work7 and the library books  
go through the regular process of being 
sewed on twine and put into covers with 
no special reinforcements4 ,the         
materials used are not the best and the 
workmanship is generally poor4 ,local   
binders1 realizing that the funds are   
usually inadequate for the needs of the 
library1 frequently do this work at a   
price which at first sight seems cheap4 
,when1 however1 the poor service which  
the bindings give is taken into         
consideration the price is really very  
high4 ,many of these binders have been  
in business for years2 and although they
 may be good workmen and do honest work1
 they are very sure that they know more 
about binding than any librarian1 and it
 is with difficulty that they can be    
prevailed upon to adopt suggestions4    
,it is only fair1 of course1 that a     
library which is supported either in    
whole or in part by public funds should1

 when possible1 have its work done by   
residents of the town4 ,for this reason1
 therefore1 the librarian should learn  
in just what ways good library binding  
differs from other binding4 ,all the    
good materials and processes1 and all   
the various methods of strengthening a  
book should be studied carefully so that
 the binder can be told exactly how the 
work should be done4 ,the binder will   
probably rebel1 but perhaps he can be   
converted and the effort is worth while4
  ,if the binder fails to grasp the     
ideas of the librarian1 or refuses to   
carry them out1 the work should be sent 
out of town to a good binder1 for       
deference to local prejudice does not   
require that the efficiency of the      
library be impaired4 ,when work is sent 
out of town the librarian is somewhat at
 a disadvantage1 for no examination of  
the work can be made while the books are
 in process4 ,that the binder chosen    
should do honest work goes without      
saying4 ,the work of a dishonest or     

incompetent binder always shows in the  
poor service which the books give1 but  
inasmuch as dishonest work is generally 
covered up1 it takes time to discover   
it4 ,therefore1 great care must be taken
 to select a good binder in the first   
place4 ,librarians who are in doubt     
should consult the librarians of large  
libraries1 or apply to the ,binding     
committee of the ,american ,library     
,association for the names of reliable  
binders4  ,while librarians should be   
able to give suggestions to binders who 
are not accustomed to library binding1  
and failing that should exercise good   
judgment in selecting a binder at a     
distance1 they should not expect the    
impossible4 ,the writer has seen books  
sent to binders which were in such bad  
condition that no binder could bind them
 satisfactorily4 ,some librarians expect
 too much of a binder2 others do not    
realize that they are not demanding all 
that they should receive4  ,having      
selected a competent binder the         

librarian should not insist that        
unimportant details be done according to
 his own ideas4 ,if the binder          
understands that he may have the work   
only so long as he follows the          
specifications faithfully1 one may      
safely leave the details to him4  ,it   
should further be borne in mind that    
good binding is seldom obtained at low  
prices4 ,a library book well bound      
requires good material1 good workmanship
 and special reinforcements which take  
time4 ,since the largest part of the    
cost of a book is due to the labor spent
 on it1 it follows that low prices can  
prevail only in those localities where  
the cost of labor is below the standard4
  ,since workmanship has as much to do  
with good binding as specifications it  
is not wise to submit specifications to 
different binders for bids4 ,it is      
better to ask binders to submit samples 
of their work with specifications of the
 way in which the books are bound4 ,if1 
however1 it seems wise to ask for bids1 

it is far from wise to choose the lowest
 bidder unless absolutely assured that  
the workmanship and material will be    
satisfactory4     ,,chapter ,,iii       
,,processes   ,the processes of         
bookbinding have been so fully covered  
in the books of ,messrs4 ,cockerell1    
,zaehnsdorf1 ,crane1 and others1 that   
the need of further material of a       
similar character is not readily        
apparent4 ,the only excuse the writer   
has to offer for discussing the matter  
of processes at any length is that there
 seems to exist nowhere any description 
of the processes that are used in the   
best library binderies4 ,mr4 ,dana in   
his ,notes on bookbinding for libraries 
touches only certain points of the      
processes here and there4 ,mr4 ,stephen 
in ,coutts and ,stephen's ,manual of    
library binding has a chapter on hand   
bookbinding1 but confines himself       
closely to the general processes that   
have been in vogue for years2 the       
modifications used in library binding   

are not touched upon4 ,in other words   
the works of ,cockerell1 ,zaehnsdorf1   
,crane and others are too full1 while   
descriptions in books devoted to library
 binding are not full enough4  ,it is   
the purpose of this chapter to cover    
somewhat in detail the main processes as
 they are carried out in the best       
library binderies4 ,explanations of the 
technical terms used will be found in   
the list of technical terms at the end  
of the book4  ,without discussing the   
composition of paper it is necessary to 
state that the paper of a book has a    
very important effect upon its binding4 
,its thickness1 tensile strength1       
firmness1 toughness1 strength after     
being sawed or perforated for sewing1   
and strength after folding1 all have an 
effect on its durability4 ,especial     
emphasis must be laid upon strength     
after folding1 for it must be remembered
 that it is through the fold that the   
book is sewed4 ,if a crease or a fold in
 a piece of paper weakens that piece of 

paper1 it will be impossible to make a  
strong book by sewing in the ordinary   
way4 ,if a fold has very little effect  
upon the strength of the paper ordinary 
sewing may be satisfactory4 ,the folding
 of paper in #ie per cent of fiction and
 juvenile books weakens it at the fold  
over #ej per cent4 ,in a good piece of  
paper the fold weakens it not over #e   
per cent4  ,the problem of paper is a   
modern one1 due to the use of wood pulp 
and other short-fibred materials in     
paper manufacture4 ,all binders complain
 bitterly of the impossibility of       
binding it properly4 ,the librarian1    
however1 should know the way in which it
 can be bound to give the maximum amount
 of service and should not allow a      
binder to blame the paper for faults    
which are due to his ignorance or to    
poor workmanship4  ,while the customs of
 library binders vary somewhat according
 to the prejudices of the different men1
 the following description covers the   
binding processes carried out at most   

binderies4  #a4 ,,taking ,,apart  ,after
 the books have been checked with the   
statement of the librarian to see that  
the correct number has been received1   
each one is taken apart carefully and   
all old threads1 glue1 paste1 etc41     
removed from the back4 ,if the book is  
in a regular machine sewed publisher's  
cover it will be comparatively easy to  
remove old threads and glue from the    
back4 ,if in an old hand sewed one1 it  
may be a little more difficult4  ,the   
book is first removed from the cover4   
,the first signature is then turned back
 and threads cut with a sharp knife4    
,generally this will loosen the         
signature so that it can be separated   
easily from the rest of the volume4 ,if 
it is still held by glue and there is   
danger of injuring the back of the      
signature1 a bone folder is used4 ,if   
the book had a tight back and the       
leather1 back-lining paper and glue form
 a very firm back not easily separated  
in the manner described1 the glue may be

 softened with paste or warm water1 with
 care necessary to prevent the dampness 
from penetrating the book4  #b4         
,,collation  ,the book should then be   
collated4 ,the best library binders make
 themselves responsible for page        
collation but they do not bother to see 
that all plates1 illustrations1 maps1   
etc41 which may be called for by the    
table of contents1 are in proper place4 
,in the case of periodicals they do not 
always discover the fact that certain   
parts1 not included in the main paging1 
are missing4 ,their collation is that of
 main paging only4 ,periodicals must1   
therefore1 have title page1 table of    
contents and index in their proper      
places4 ,books with two or more main    
pagings or many unpaged illustrations   
must be collated at the library4 7,see  
,preparing for the bindery1 p4 #abe47   
#c4 ,,knocking ,,down  7a7 ,backs of    
signatures are then pounded down so that
 they may be as nearly as possible the  
same thickness as the front of the      

signatures4 ,care must be taken to have 
a clean hammer and to let it fall evenly
 on the paper4 ,if the backs are not    
properly pounded down there is likely to
 be too much swell in the back of the   
book when it is finally sewed4 ,in all  
the first processes of binding the      
question of undue swelling of the back  
must be taken into consideration4  7b7  
,if the book must be overcast when it   
comes to be sewed1 the back is not only 
pounded down at this stage1 but it is   
also put under the knife and entirely   
cut off1 leaving single leaves instead  
of folded sections4 ,if it is not       
pounded it cannot be cut properly4 ,the 
success of overcasting depends largely  
on the amount of margin at the back1 so 
that care must be taken not to cut more 
than is absolutely necessary4  #d4      
,,mending  ,leaves are mended with thin 
tough paper4 ,the librarian should not1 
however1 expect binders to mend books   
which have a large number of torn leaves
 without making an extra charge4  #e4   

,,gluing  ,books which are to be        
overcast and which have had the backs   
cut off are slightly glued to hold the  
leaves together4 ,a sufficient number   
can then be taken off and handled as a  
section without coming apart4  #f4 ,,fly
 ,,leaves ,,guarded  ,fly-leaves1 made  
of kraft or manila paper running about  
#fj pounds to the ream1 which have      
previously been guarded with cloth are  
added to the book4 ,in guarding1 a strip
 of cloth is pasted around the back of  
the folded fly-leaf covering about one  
quarter of an inch on each side4 ,when  
the book is sewed the needle passes     
through the cloth as well as the paper4 
,different binders use different        
materials for guarding fly-leaves1 end  
papers and signatures4 ,it must1        
however1 be a cloth of close weave1     
strong1 and light in weight4 ,the       
,english cloth called jaconet1 used by  
some binders1 is probably as            
satisfactory as any4  ,this is one part 
of library binding which differs        

radically from the custom in ordinary   
hand work4 ,old-fashioned binders1      
unless properly instructed1 will simply 
fold a piece of paper1 and tip it on to 
the first and last signatures with      
paste1 thus forming an element of       
weakness instead of strength4 ,when the 
fly-leaves are guarded and properly     
sewed they become an integral part of   
the book and no tipping is necessary4   
#g4 ,,sections ,,guarded  ,at this point
 it is also necessary to guard the first
 and last signatures of books which are 
to be sewed in the regular way4         
,overcast books do not need such guards4
  ,guarding of first and last signatures
 is another of the distinctive features 
of library binding4 ,in the case of     
books bound in the regular fashion the  
sewing invariably first gives way at the
 first and last signatures4 ,guarding   
with jaconet prevents the threads which 
lie in the middle of the signatures from
 pulling through the paper4 ,this method
 is essential if it is supposed that the

 book will be much used4 ,it is not     
essential for books which will be used  
only occasionally4  #h4 ,,illustrations 
,,guarded  ,illustrations are guarded   
with a thin1 tough paper1 not with      
cloth4 ,the guard folds around an       
adjoining signature and is sewed        
through4  #i4 ,,sawing  ,if the book is 
not to be overcast1 it is screwed       
tightly into the backing-press and sawed
 to make the grooves in which the bands 
or twines are laid when the book is     
sewed4 ,grooves for three bands must be 
made for books eight inches high1 four  
for twelve-inch books and five for      
fifteen-inch books4 ,for fiction two    
bands are used4 ,there must also be two 
additional grooves1 much shallower than 
the others1 about one half inch from the
 head and tail of the book for the      
kettlestitch4  ,after the grooves for   
kettlestitch have been sawed the two    
grooves for bands will divide the rest  
of the back into three equal parts4 ,for
 fine work it is necessary to measure   

the book carefully and mark with a      
pencil2 but in most library work        
measurement by the eye alone is         
sufficient4 ,in sawing1 care must be    
taken not to saw too deeply1 since too  
deep a cut allows the signature to play 
back and forth and is plainly visible   
inside4  ,there are some good library   
binders who overcast books in the modern
 way1 and yet who sew on bands4 ,such   
binders will at this point saw all      
books4 ,there are also some good library
 binders who use no bands when          
overcasting and who sew all other books 
on tapes4 ,these binders omit sawing4   
#aj4 ,,end ,,papers ,,added  ,at this   
point it is best to add end papers4     
,these are always guarded on the outside
 of the fold and sometimes on the       
inside4 ,they should be made of good1   
strong paper somewhat heavier than that 
used for fly-leaves4 ,some binders have 
special papers made to order with a     
design which serves as a trade mark4    
,end papers1 in the same way as         

fly-leaves1 are prepared with guards in 
quantity and simply need to be trimmed  
to the size of the book4 ,they are not  
added at the same time as fly-leaves    
because they must not be sawed4 ,if this
 is done the holes show through after   
the end paper is pasted down4  #aa4     
,,sewing  ,regular or ,bench ,sewing4   
,when the signatures are ready for      
sewing1 twines 7or bands as they are    
commonly called7 are stretched taut on  
the sewing bench and adjusted so that   
they will fit into the saw-cuts in      
signatures4 7,fig4 #a47  ,,figure       
#a4--,sewing bench showing bands        
adjusted4  ,,figure #b4--,sewing on     
sunken cords4 ,based on illustration in 
,report of the ,committee on            
,bookbinding4 ,edited for ,society of   
,arts1 ,london1 #aije4  ,the book is    
placed back of the sewing bench with the
 fore-edge toward the sewer and with the
 first section on top4 ,the first       
section 7i4 e4 the end paper7 to be     
sewed is then turned over1 opened in the

 middle by the left hand1 and placed on 
the sewing bench4 ,the sewer1 as she    
faces toward the right1 with the right  
hand passes the needle from the outside 
through the sawcut for the kettlestitch1
 where it is taken by the left hand     
along the inside of the section and     
passed out on the near side of the first
 band1 then in again on the far side of 
the first band1 along the inside of the 
section to the second band1 where the   
process is repeated2 and so on1 bringing
 the needle out in the far kettlestitch4
 7,fig4 #b47 ,the thread is pulled tight
 at each stitch and about two inches of 
thread is allowed to hang from the first
 kettlestitch4 ,in some few cases it may
 be advisable to bring the needle out on
 the far side of the band and in again  
on the near side1 thus entirely         
encircling the band with the thread4    
,the next section 7i4 e4 the fly-leaves7
 is then laid on and the process        
repeated1 except that the sewing        
proceeds from the far end to the near   

end4 ,when the thread is brought out of 
the kettle stitch of the second section 
the end of the thread left projecting   
from the first section is securely tied 
to it1 and the sewer proceeds with the  
third section4 ,this will be the first  
signature of the book4 ,on reaching the 
last sawcut at the far end in the third 
section the needle is put between the   
second and first sections carrying the  
thread down in such a way as to form a  
buttonhole stitch4 7,fig4 #c47  ,,figure
 #c4--,kettle stitch4  ,all other       
signatures are sewed in the same way1   
the last section sewed being securely   
fastened to the others4 ,it is possible 
to sew a number of books one after      
another without removing them from the  
sewing-bench4 ,if the back swells unduly
 the sections can be pounded down with a
 piece of wood1 care being taken not to 
drive them inward4 ,the sewing should be
 neither too loose nor too tight4 ,if   
too loose a firm1 compact book cannot be
 made2 if too tight the threads may     

break in the process of backing4 ,bands 
are allowed to project about an inch on 
each side of the book4  ,formerly it was
 the practice of some binders to sew in 
a way technically called two-on4 ,this  
simply means that the sewer when        
reaching the middle of the signature1   
passes the needle into the corresponding
 sawcut of the signature above and sews 
through to the other end4 ,this always  
leaves an end of a signature unsewed4   
,this way of sewing is permissible on   
books which have a large number of thin 
signatures1 in order to prevent the     
thread from unduly swelling the back4   
,it is never permissible on other books4
  ,the foregoing account gives a very   
brief description of ordinary sewing4   
,it is easily understood when once seen4
 ,librarians who have charge of binding 
should keep the process thoroughly in   
mind for it is the most important single
 process in the making of a book4 ,such 
sewing will be used on a large number of
 books which have to be rebound1 but a  

still larger number1 practically all    
fiction and juvenile books1 should be   
sewed in a different manner2 that is1   
with some kind of an overcast stitch4   
,overcasting4 ,the modern overcasting   
stitch resembles in principle the       
old-fashioned whipstitching1 but differs
 radically in actual performance4 ,it is
 exceedingly strong1 while the          
old-fashioned whipstitching is not4 ,it 
has been objected that modern           
overcasting takes away much of the      
flexibility of a book and that books    
once sewed in this way can never be     
rebound4 ,it is true that an oversewed  
book is not as flexible as one sewed    
through the signatures1 yet most of them
 are more flexible than one might       
suppose4 ,it is also true that the book 
can never be rebound1 but if the        
overcasting is properly done1 the sewing
 will last until the book is discarded4 
,it is for this reason that it is used  
on practically all fiction and juvenile 
books4  ,according to the old-fashioned 

method of whipstitching it was the      
custom to cut off the backs of          
signatures1 glue them slightly1 take a  
few leaves and sew them over and over   
making five or six stitches to a        
section1 as shown in ,figure #d4 ,the   
next section was then sewed in the same 
way1 but it was not joined in any way to
 the section beneath except by the      
kettlestitch and occasionally by a      
little paste4 ,when sewed in this way   
the leaves inside of each arbitrary     
section would open only as far back as  
the threads of the stitches1 while      
between the sections the book would open
 to the back of the section4 ,if paste  
had been used the strain of opening     
tended to pull the leaves apart4 ,if the
 book was subjected to hard wear the    
thread cut into the paper4  ,,figure    
#d4--,old-fashioned whipstitching4 ,each
 section is sewed separately4  ,today   
every progressive library binder has a  
special method of overcasting and each  
claims that his method is the best4     

,librarians1 however1 can see many      
points of resemblance between them1 and 
few points of difference4 ,in actual    
wearing qualities the sewing of one     
seems as good as that of another4 ,when 
properly done the sewing prescribed by  
all of the methods is still in good     
condition when the books have to be     
withdrawn from circulation4  ,in        
overcasting1 as in old-fashioned        
whipstitching1 the sewer selects a      
certain number of sheets for sewing4    
,bands are placed on the sewing-bench as
 in regular sewing1 though some binders 
claim that it is not necessary to sew   
either on bands or tapes4 ,the sections 
are first perforated by a machine to    
facilitate the work of the sewer and to 
insure that all stitches shall be       
equidistant from the back of the book4  
,so far as is known no machine for this 
purpose is on the market4 ,it is        
certain1 however1 that the best binders 
have machines for this purpose4 ,they   
have either designed their own machines 

or have adapted those made for other    
purposes4 ,if the book is printed on    
thick1 spongy paper it will increase    
flexibility if the paper is creased     
along the line of perforation4  ,,figure
 #e4--,one kind of modern overcast      
stitch4 ,there are others equally good4 
,note that each stitch extends through  
two sections4  ,it is difficult to give 
a description of modern overcasting     
which can be easily understood by one   
unfamiliar with sewing processes4 ,the  
reader will be helped by looking closely
 at ,figure #e while reading the        
following description1 but one can      
understand it best by seeing it done or 
by tearing a book apart and examining   
the sewing4  ,the first section of the  
book is sewed over and over in the same 
way as in the old-fashioned method of   
whipstitching1 except that a great many 
more stitches are taken4 ,the second    
section1 when placed on the first1 is   
also sewed over and over but a certain  
number of stitches are also made which  

connect the second section with the     
first4 ,in the same way the third       
section is sewed to the second and so on
 through the book1 so that when the book
 is finally sewed it is tight and       
compact2 its weakness lies in the paper 
itself1 not in the sewing4 ,some binders
 add three kettlestitches at the end of 
the book instead of one1 believing that 
when all kettlestitches are placed in   
one sawcut the swell at the head and    
tail of the book is too great4  ,,figure
 #f4--;,from ,about ,public ,library    
,books and ,their ,binding by ,cedric   
,chivers4  ,,figure #g4--,sewing on     
tapes4 ,sawcuts made only for kettle    
stitches4 ,based on illustration in     
,report of the ,committee on ,leather   
for ,bookbinding4 ,edited for ,society  
of ,arts1 ,london1 #aije4  ,overcasting 
is the most expensive way of sewing a   
book1 so that it is advantageous to     
binders to place as large a number of   
leaves as possible in a section4 ,the   
more careful binders1 however1 regulate 

the number of leaves in a section       
according to the kind of paper in the   
book4 ,a larger number of leaves can be 
taken in books printed on thin paper    
than in those printed on thick1 spongy  
or heavy papers4  ,,figure              
#h4--,stitching4  ,in deciding how a    
book ought to be sewed one must         
consider3 7a7 ,the use the book is to   
receive4 ,if it will not receive hard   
usage sew through the signatures2       
otherwise overcast4 7b7 ,paper on which 
the book is printed4 ,poor paper should 
be oversewed4 7,fig4 #f47  ,tapes4 ,when
 it does not seem necessary to overcast 
it may be advantageous to sew on tapes  
instead of bands4 ,this method          
eliminates saw-cuts since the narrow    
tapes are simply laid against the back  
of the book and the needle passed around
 them1 as indicated in ,figure #g4      
,sewing on tapes makes a book much more 
flexible than it can be made any other  
way except by sewing on raised bands4   
,music should always be sewed in this   

way4 ,until recently it was supposed    
that tapes added strength1 but it is    
certain that they do not if the book is 
properly bound in other respects4 ,if   
used at all1 tapes should be narrow4    
,wide ones take up a great deal of      
surface and when glue is applied this   
surface remains untouched1 unless the   
sewer has sewed through them instead of 
around them4  ,stitching4 ,stitching is 
the process of sewing loose leaves      
lengthwise on a sewing machine1 after   
which the stitched sections are sewed in
 the regular way on bands4 7,fig4 #h47  
,the objection made to old-fashioned    
whipstitching1 that between the sections
 the book opens all the way to the back 
while inside the section it opens only  
as far as the threads1 is equally       
applicable to a stitched book4 ,any one 
who has read a book sewed in this way   
will remember how difficult it was to   
hold in the hands4 ,stitching makes a   
stronger book than the old-fashioned    
whipstitching but cannot compare in     

strength with the modern overcasting4   
,in some few cases it may be used       
advantageously on the first and last    
signatures of a book1 but its use on the
 entire book cannot be too strongly     
condemned4  ,it may be inferred by what 
has been said about sewing that it is a 
comparatively simple matter to sew books
 properly4 ,it is right at this point1  
however1 that the librarian and the     
binder who does not understand the      
requirements of library work will come  
into conflict4 ,the binder will insist  
that all books must be sewed on bands4  
,when the backs of sections are very    
badly worn he will agree to whipstitch1 
but will use the old method4 ,the       
librarian will insist not only that     
nine-tenths of fiction and juvenile     
books must be overcast1 but that a      
special kind of overcasting must be     
used4 ,the binders who make a specialty 
of library work do all this as a matter 
of course4 ,at least one binder tests   
the thickness1 tensile strength and     

other qualities of the paper and sews   
each book in the way that experience has
 shown to be the best4   ,,forwarding   
,after the book is sewed it goes to the 
forwarder who has charge of the book    
during all processes which the book     
passes through between sewing and       
finishing4 ,forwarding includes         
trimming1 gluing1 rounding1 backing1    
putting on back-lining1 making the case 
7or lacing-in1 see page #db71 casing-in1
 pressing4  #ab4 ,,fly ,,leaves ,,pasted
  ,the end papers and fly-leaves which  
lie together are pasted together1 making
 one thick fly-leaf4 ,when it is        
remembered that both end papers and     
fly-leaves are guarded with cloth1 it   
will be seen that pasting the two       
together adds materially to the strength
 of the book4  #ac4 ,,bands ,,frayed    
,the bands which project about an inch  
and a half on each side of the book are 
frayed out at the end and pasted to the 
end papers4 ,the fraying is done so that
 they will paste down flat1 and the     

pasting so that they will be out of the 
way during succeeding processes4  #ad4  
,,trimming  ,the book is squared up by  
tapping on a flat surface1 and trimmed  
at the head1 fore-edge and tail4 ,as    
little as possible must be trimmed1 but 
binders find that if less than an eighth
 of an inch is cut the cutting machine  
does not work well4 ,trimming makes the 
edges even and what is more important in
 rebound books1 removes much dirt4  #ae4
 ,,sprinkling  ,at this point edges are 
sprinkled4 ,this process is not         
essential either for strength or beauty1
 but it helps to keep the book from     
becoming soiled1 or at least from       
showing dirt4 ,it cannot be expected on 
cheap work4 ,the process was formerly   
done by hand1 using a brush and shaking 
the coloring matter on the book4 ,it can
 now be done with a machine operated by 
hand which sprays the coloring matter on
 the book4 ,occasionally the top of the 
book is burnished with an agate or blood
 stone4  ,occasionally also it may be   

desirable to gild the top of a book     
which is being rebound4 ,when this      
occurs it is not a process to which the 
librarian need give much attention1     
except to be sure that good gold is     
used4  #af4 ,,gluing  ,the back of the  
book is then slightly glued4 ,the glue  
must be very hot and quite thin1 and    
must be thoroughly worked into the back4
 ,by placing books in a pile a number   
can be done at a time4  #ag4 ,,rounding 
,as soon as the glue has stiffened but  
before it is hard the book is rounded4  
,this must be done by experts and is a  
process which must be seen to be        
understood4 ,the book is placed on the  
table with the fore edge toward the     
workman who then hammers the part of the
 back lying uppermost in such a way as  
to force the upper part of the book     
toward the workman4 ,the book is then   
turned over and the process repeated4   
,after a few operations like this the   
back of the book becomes rounded and the
 fore edge concave4  #ah4 ,,backing     

,the book is then placed in a backing   
press allowing about an eighth of an    
inch to project1 and screwed very tight4
 ,with a backing hammer the rounding    
process is continued and the sides of   
the book forced down over the edge of   
the press to form a projection against  
which the edge of the board for the side
 rests1 forming the joint4 ,in          
hammering1 the workman begins at the    
proper distance from the center of the  
back so that he can force the backs of  
the other signatures over on each side  
toward the edge4 7,fig4 #i47  ,,figure  
#i4--;,a book rounded and backed4  ,this
 process is the most important one in   
forwarding1 calling for skilled labor4  
,if the hammer is not used in exactly   
the right way the backs of the          
signatures may be crushed in1 the       
stitches broken1 or the paper or bands  
cut4 ,in any case the book is materially
 weakened4 ,a good workman will make a  
sharp joint and round the book perfectly
 without injuring its strength in any   

way4  #ai4 ,,back ,,lining  ,all books  
have a lining of one kind or another on 
the back4 ,machine-bound books are      
generally lined with a coarse super1 as 
it is called in this country1 or mull as
 it is called in ,england4 ,some library
 binders use a thin muslin1 but the best
 material is canton flannel cut in      
strips wide enough to cover the back of 
the book and also to project about one  
inch on each side4 ,the back of the book
 is glued1 while the nap or fuzzy side  
of the canton flannel is pasted and then
 put on the back and well rubbed down4  
,it is very important that both the glue
 and the paste be used4 ,experience has 
proved that when only one is used the   
canton flannel will come off1 but when  
both are used1 it becomes an integral   
part of the book4  ,the flannel which   
projects on the sides must be pasted to 
the end papers4 ,when the paste and the 
glue have dried1 the canton flannel     
shrinks tight to the back and adds      
materially to the strength of the book4 

,after drying the flannel is trimmed at 
the head and tail close to the back4    
,if the book is a valuable one that will
 receive hard usage and therefore should
 be as strong as possible1 the flesh    
side of a piece of split goat skin can  
be used for back-lining1 covering the   
back from joint to joint4 ,it will      
seldom be necessary1 however1 to employ 
this method4  ,perhaps nothing better   
shows the difference between old methods
 of library binding and new than this   
one item of back-lining4 ,in the old    
methods the binders depended for        
strength largely upon the bands4 ,in the
 new the bands are practically          
immaterial when the book is fastened    
into the cover4  #bj4 ,,rebacking  ,at  
this point some binders reback to make a
 sharp joint1 and to make the book open 
more easily4 ,when the canton flannel   
dries it may pull the back somewhat out 
of shape4 ,it is doubtful1 however1 if  
rebacking is always necessary4  #ba4    
,,boards ,,cut  ,the book is then       

measured for boards which are cut to the
 proper size4 ,in measuring it must be  
remembered that the boards must project 
an eighth of an inch on all edges       
7except the back7 forming what is called
 the squares4 ,it will also make a      
difference in measuring if the book is  
to have a ,french joint4 7,see page     
#df47  #bb4 ,,cloth ,,cut  ,if the book 
is to be bound in cloth1 this is cut the
 proper size4 ,if leather backs are to  
be used the covering material consists  
of two pieces of cloth and one of       
leather1 all of which must be cut to the
 proper size4  #bc4 ,,loose ,,back  ,if 
the book is to be made a loose back1 a  
piece of coarse paper is cut the size of
 the book from joint to joint and the   
length of the back4 ,this is placed in  
the book4  #bd4 ,,making ,,the ,,case   
7a7 ,the cloth for a full cloth book is 
now glued all over on the inside4 ,the  
boards are adjusted on the book 7setting
 the square1 as the binders call it7 as 
they ought to be when the book is       

finally bound1 and the book is placed on
 the right-hand side of the glued cloth1
 with the back toward the middle of the 
case1 leaving enough cloth projecting on
 all sides to turn in4 ,the other side  
of the case is then drawn up over the   
board on top and pressed down firmly    
enough so that when it is laid back     
again1 the board which has been         
uppermost goes with it4 ,the book itself
 is laid aside4 ,the paper which is to  
prevent the glued cloth from sticking to
 the back of the book is then placed in 
the space between the two boards1 and   
all edges of the cloth turned in on the 
boards4 ,this forms the complete cover  
or case4  7b7 ,if the book is to have a 
leather back1 the boards are tipped     
lightly with paste to the end papers1   
allowing for the ,french joint4 ,the    
leather is pasted and the book is then  
laid on the leather in the right        
position so that the rest of the leather
 can be pulled up over the back on the  
top board4 ,the top cover is then laid  

back1 the paper forming a loose back    
inserted1 the leather turned in1 and    
cloth sides put on and turned in4  #be4 
,,making ,,of ,a ,,french ,,joint  ,the 
book is now set back in the cover just  
described and the space between the     
boards and the back is creased with a   
bone folder while the cloth or leather  
is damp4 ,this forms the ,french joint4 
#bf4 ,,pasting ,,down ,,end ,,papers    
,end papers are then pasted down to the 
boards and the book1 so far as strength 
is concerned1 is finished4 ,it will be  
remembered that the end papers were     
guarded with muslin1 or jaconet1 that   
the bands projected beyond the sides and
 were pasted to the end papers1 and that
 the canton flannel also projected      
beyond the sides and was pasted to the  
end papers4 ,therefore1 when the end    
paper is pasted to the board it carries 
with it first the canton flannel1 then  
the bands and lastly the jaconet guard4 
,this is as true of leather-backed books
 as of full cloth4  ,strictly speaking1 

this makes what is technically known as 
a cased book1 i4 e41 the case is made in
 one whole piece and the book fastened  
into it4 ,because leather bound books   
have always been considered stronger    
than others1 and because they have      
always been laced-in to the boards 7see 
page #db7 before the leather has been   
put on1 a prejudice against cased books 
has arisen4 ,if the prejudice be        
directed against the usual commercial   
binding it is justified1 but if directed
 against library books properly cased it
 is not justified4  #bg4 ,,pressing  ,at
 this stage the book is put under heavy 
pressure in the standing press until    
dry4 ,a number of books are placed in   
the press at one time1 separated by     
backing boards having metal projections 
which fit into the ,french joints4 ,they
 should be left twelve hours at least1  
longer if necessary4 ,after pressing1   
the book goes through a general cleaning
 process4 ,in applying the glue or paste
 there are many chances of soiling the  

book4 ,the great pressure which is      
applied also squeezes out glue at the   
head and tail4 ,this must all be cleaned
 off before the book goes to the        
finisher4   ,,finishing  #bh4 ,,gilding 
,the gilding of a library book is a     
simple matter compared with that of     
books bound for individuals4 ,such books
 are usually meant to be artistic and   
their covers bear elaborate designs in  
gold1 generally limited only by the size
 of the owner's pocketbook or by his    
taste4#a ,in library binding gilding is 
confined to the furnishing of necessary 
information4 ,tooling of all kinds1 with
 the possible exception of that which   
divides the back into panels1 is        
unnecessary4 ,a description of finishing
 processes is unnecessary here since    
they add nothing to the strength of a   
book4 ,a description of the method of   
gilding call numbers will be found on   
page #aid4  ,there are three different  
ways of lettering books bound in light  
colored cloths on which gold cannot be  

used3 7a7 ,in gold on leather labels    
pasted to the back4 7b7 ,in gold on     
panels which have been stained black4   
7c7 ,in black ink directly on the back4 
,the first two methods make more        
attractive-looking books but the process
 adds to the expense1 and in the first  
case the labels have a tendency to peel 
off4 ,the last method is the one        
generally used4   ,in this description  
of processes numerous details have been 
omitted1 because they would add little1 
if anything1 to the librarian's ability 
to criticize properly the work being    
done by his binder4#b ,in some respects 
the order here outlined may differ in   
different binderies1 but the majority   
follow it closely4  ,the processes as   
outlined are those which should be used 
in library binding4 ,there are1 however1
 several additional points relating to  
binding processes with which it is well 
to be familiar4      ,footnote #a3      
,finishing from the artistic point of   
view with an     excellent description  

of tools1 materials and processes will  
be     found in ,cockerell's ,binding   
and the care of books1 ,chapter #ad4    
,footnote #b3 ,for instructions to the  
binder about type1 space1     lettering1
 etc41 see under ,lettering1 page #ada4 
,,raised ,,bands  ,in looking at many   
old books bound in the eighteenth or    
early part of the nineteenth century1 or
 at books bound within recent years for 
individuals1 one will find many that    
have the back divided by ridges4 ,these 
are known as raised bands4 ,they are    
formed by sewing the book differently   
from either of the methods described up 
to this point4  ,according to this      
method the bands are not placed in      
grooves which sink them below the       
surface of the back1 but are simply laid
 against the back4 ,in sewing the thread
 may come out at the near side of the   
band and in at the far side1 thus going 
around the band on the back of the book2
 or it may come out at the far side and 
in at the near side1 thus entirely      

encircling the band4 ,in either case the
 sewing is exceedingly strong4 ,since   
the bands are entirely on the surface1  
the leaves open all the way to the back 
of the signatures and greater           
flexibility can be obtained thereby4    
7,fig4 #aj47  ,,figure #aj4--,sewing on 
raised bands4 ,no saw cuts except for   
kettle stitches4 ,based on illustration 
in ,report of the ,committee on ,leather
 for ,bookbinding4 ,edited for ,society 
of ,arts1 ,london1 #aije4  ,as it is    
much more difficult to sew and forward  
books with raised bands1 they are not   
used in ordinary library work4 ,it may  
be advisable1 however1 to use them      
occasionally on a few large reference   
books such as dictionaries1 where great 
flexibility combined with strength is   
essential4 ,in fact the merits of       
binding in this way are not recognized  
as generally as they should be4  ,many  
books look as if they were sewed on     
raised bands when in reality they are   
sewed in the ordinary way1 with false   

raised bands pasted on the back4 ,they  
add nothing to strength and have no     
place in library binding4               
,,lacing-,,in  ,lacing-in is a method of
 attaching the bands to the book1 which 
is in general use for all leather books 
bound by hand4 ,this method requires    
that the boards which have been cut to  
the proper size be laid against the     
grooves formed in backing and marks be  
made about half an inch in from the     
back1 opposite each band4 ,at these     
points holes are punched through the    
board which is then turned over and     
other holes are punched about half an   
inch from the first ones4 ,it is        
generally desirable to cut a groove in  
the board from the first holes to the   
edge of the board1 for the bands to lie 
in1 so that there will not be an        
unsightly protuberance when the book is 
bound4 ,the bands which have been frayed
 out are then threaded through the first
 holes from the outside of the board    
inward and again through the second     

holes4 ,they are drawn up tightly enough
 so that the board will fit close to the
 joint1 but not enough to prevent it    
from lying flat4 ,the ends of the bands 
are spread out fan-wise1 pasted1 and    
hammered down smooth on the board4      
,before any back-lining has been put on1
 the boards are attached to the book    
simply by these bands4 7,fig4 #aa47     
,,figure #aa4--;,bands laced in1 and    
ends frayed out4 ,based on illustration 
in ,report of the ,committee on ,leather
 for ,bookbinding4 ,edited for ,society 
of ,arts1 ,london1 #aije4  ,when bands  
are laced-in it is not customary to use 
anything stronger than paper for back   
lining2 the strength of the book lies in
 the bands and the leather which covers 
the back4 ,as long as the leather       
remains strong and the book does not    
receive hard usage this method is       
satisfactory4 ,as soon1 however1 as the 
leather begins to disintegrate more     
strain is placed upon the bands4 ,when  
the leather breaks completely the bands 

bear the entire burden at the joint1 and
 eventually break4 ,with the process as 
outlined in the preceding pages one need
 never fear that the book will come out 
of the cover1 or that the sides will    
break at the joint4 ,even if the leather
 should break the canton flannel will   
hold4 ,the best library binders do no   
lacing-in at the present time4  ,,figure
 #ab4--,split boards4 ,in actual work   
the back-lining would cover the entire  
back4   ,,split ,,boards  ,while the old
 method of lacing-in is not desirable in
 library binding1 the method of using   
split boards makes a very strong book4  
,instead of making a case of cloth1 or  
cloth and leather1 the back lining and  
the bands 7or tapes7 are inserted in    
boards which have been split1 or between
 two thin boards glued together with a  
space left unglued for this purpose4    
,the covering material is put on after  
the book is in boards and the book is   
made tight backed4 ,this is probably the
 strongest method of attaching a book to

 the boards4 ,in fact it is stronger    
than is necessary for any except very   
heavy books which receive hard wear4    
7,fig4 #ab47   ,,tight ,,and ,,loose    
,,backs  ,for years there has been a    
certain mild controversy regarding the  
relative merits of tight and loose backs
 for leather bound books4 ,tight backs  
are those in which the material used for
 covering the book is pasted or glued to
 the back4 ,loose backs are those which1
 by means of folded paper or a piece of 
paper put in as described on page #cg1  
are prevented from adhering to the back4
 ,when the book is opened the back      
springs out4 7,fig4 #ac47  ,the tight   
back book always forms a hinge at the   
place where the book is opened4 ,since  
the place of the hinge is constantly    
changing the back of the book after much
 use becomes concave instead of convex1 
and the appearance of the book is       
seriously marred4 ,also the constant    
creasing of the back tends to erase the 
gold lettering1 so that it becomes      

indistinct4 ,if labels are put on they  
speedily come off4 ,it is customary to  
use tight backs on very heavy books1    
though there are cases where such books 
have been put in loose backs4  ,,figure 
#ac4--,tight back and loose back4  ,the 
loose-back book always preserves its    
shape and good appearance1 even when the
 paper on the inside may be so badly    
worn that the book should be withdrawn4 
,the strain1 however1 always comes at   
the joint2 therefore if poor leather is 
used it will quickly wear out at this   
point4  ,each method has its advocates1 
but so far as the present writer can    
learn1 there seems to be little to      
choose from the standpoint of strength4 
,it might seem that the tight-back book 
would be the stronger1 but as a matter  
of fact in actual wear loose-back books 
seem to hold their own with the others4 
,in fact when the soft1 spongy papers   
are used the loose backs are obviously  
stronger4 ,it seems clear that there is 
little choice one way or the other1 and 

the question must be decided by the     
personal preference of the librarian4   
,,joints  ,in library binding ,french   
joints are now used in place of regular 
joints4 ,figure #ad shows plainly the   
difference between the two4 ,in the     
regular joint it will be noticed that   
when the book is opened there is a sharp
 crease in one line from head to tail4  
,in the ,french joint the strain is     
distributed over a much greater area4   
,in regular joints the leather is       
sometimes pared at the joints to permit 
of easier opening of the book4 ,in      
,french joints the full thickness of the
 leather can be used4 ,french joints are
 made by setting the boards away from   
the back about one-eighth of an inch4   
,when the cover is put on it is         
necessary to crease between the board   
and the back while the leather is still 
damp4  ,an excellent illustration       
showing the anatomy of a joint may be   
found on page #ea of ,dana's ,notes on  
bookbinding for libraries1 ed4 #b4      

,illustration3 ,a ,section of an        
,ordinary ,joint with the board open    
shows that the creasing of the leather  
is concentrated on one line4            
,illustration3 ,a ,section of a ,french 
,joint shows how this creasing is       
distributed over a great surface1 and so
 enables sufficient flexibility to be   
obtained with much thicker leather than 
can be used with an ordinary joint4     
,,figure #ad4--;,french joint4 ,from    
,report of the ,committee on ,leathers  
for ,bookbinding4 ,edited for ,society  
of ,arts1 ,london1 #aije4   ,,corners   
,corners on library books should be     
rounded to prevent the board from       
breaking if the book falls and to       
prevent the cloth from wearing through  
at this point4 ,rounded corners are     
peculiar to library binding4 ,as a rule 
they are not made by cutting off a      
corner of the board1 but by turning in  
the cloth diagonally from the corner and
 then from the side and end4 ,sometimes 
both methods are adopted4 ,if government

 specification cloth is used it is      
probable that library corners will not  
be necessary4  ,in some libraries pieces
 of leather or vellum are put on        
corners4 ,leather is put on in order to 
raise the bottom of the boards from the 
shelf1 while vellum is used to make the 
corners hard and prevent them from      
breaking or showing signs of wear4      
,while both serve the purpose for which 
they are intended1 the process of       
putting them on adds materially to the  
expense1 and in most cases this is not  
warranted by the increased use of the   
book4   ,,trimming  ,binders should be  
instructed to trim as little as         
possible4 ,this is important for all    
books1 but most of all for periodicals4 
,in fiction and juvenile books it is    
important to have wide margins1 because 
the text will remain legible for a      
longer period of time if protected by a 
margin from the contact of hands4       
,non-fiction books which are likely to  
remain in use for a longer period of    

years may need to be rebound and trimmed
 again4 ,therefore wide margins are     
essential to good wear as well as to    
good appearance4  ,it is customary to   
bind front covers of periodicals4       
,sometimes it is desirable to bind      
advertising pages1 and it is necessary  
to do so when the publishers follow the 
pernicious practice of continuing       
regular articles on advertising pages4  
,covers and advertising pages are       
generally printed with much narrower    
margins than the body of the magazine   
and unless great care is taken in       
trimming parts of the printed matter    
will be cut off4   ,,headbands  ,cotton 
headbands can be added during the       
forwarding but inasmuch as they are     
simply pasted on they add nothing to the
 strength and very little to the beauty 
of the book4 ,when silk headbands are   
carefully sewed on they add both        
strength and beauty4 ,an excellent      
description of the process of putting on
 headbands will be found in ,cockerell's

 ,binding and the care of books1 page   
#adg4   ,,how ,,to ,,recognize ,a ,,well
 ,,bound ,,book  ,the ability to        
recognize a well bound book is necessary
 when comparing the work of different   
binders4 ,a book should be bound in     
material suitable for the use which the 
book is to receive and in such a way as 
to give the maximum amount of service4  
,it should also be as attractive in     
appearance as is compatible with these  
two requirements4 ,in deciding whether a
 book is suitably bound for library use 
the following points should be kept in  
mind3  #a4 ,a volume must show evidence 
of neat and careful workmanship4  #b4   
,if the book is to be used constantly   
leather is essential2 if occasionally   
only1 leather is an element of weakness4
  #c4 ,all books that receive hard usage
 should have end papers and fly-leaves  
guarded with cloth4 ,if sewed regularly 
the first and last signatures also      
should be guarded4  #d4 ,saw cuts should
 not be deep4  #e4 ,the book should be  

flexible and stay flat wherever opened4 
7,this is not always possible in the    
case of overcast books or books printed 
on stiff1 brittle paper47  #f4 ,when the
 book is lying flat the top should      
remain flat4 ,when standing on end the  
sections should not separate slightly at
 the back4  #g4 ,the book should feel   
firm and compact to the hand4  #h4 ,when
 opened the volume should not make a    
crackling noise due to too much glue on 
the back4  #i4 ,the book should have a  
well rounded back and the cover should  
fit well at the joint4 ,flat backs are  
not desirable4  #aj4 ,margins should be 
wide and cut straight4 ,periodicals     
should not be trimmed so that printing  
on covers or advertisements is cut off4 
#aa4 ,the book should have ,french      
joints4  #ab4 ,the cover should not     
separate easily from the book when      
pressure is applied4  #ac4 ,lettering on
 the back should be legible and put on  
straight4  #ad4 ,on opening the book    
sections at the back should be perfectly

 smooth1 showing that they have not been
 crushed in backing4  #ae4 ,guards for  
plates1 maps1 sections1 etc41 should be 
so applied as to leave the paper        
unwrinkled4     ,,chapter ,,iv          
,,materials   ,in a recent pamphlet     
issued by the ,government ,printing     
,office1 containing a list of materials 
and articles used in the printing and   
binding of public documents1 the number 
of items for binding alone reaches the  
surprising total of #aga4 ,many of these
 are materials used in marbling1 others 
indicate slight variations of color and 
weight in standard leathers and cloths4 
,but exclusive of all these the number  
of materials called for is over forty4  
,it is not the writer's purpose to      
discuss all of these forty or more      
materials1 but it seems necessary to    
mention that many materials other than  
those used in covering books 7always    
some kind of cloth or leather7 are used 
in binding4 ,furthermore1 the strength  
of the book after it is bound will      

depend almost as much upon the materials
 used in its inner construction as upon 
those used in covering it4 ,the inner   
materials1 if not wisely selected as to 
quality or in reference to the kind of  
service which the book is to receive1   
may cause an otherwise excellently bound
 book to give poor service4  ,in        
general1 however1 a reference to binding
 materials means those which are used in
 covering books4 ,it is the cover which 
renders a book attractive or            
unattractive1 and which contributes more
 than any other one item1 except        
possibly sewing1 to the long life of the
 book4 ,we should therefore know the    
initial cost of different covering      
materials and the length of service     
which each material will give under     
different conditions4 ,when they are not
 imitations we should be able to        
recognize the best-known materials1     
either on or off the books4 ,an         
unscrupulous binder can easily take     
advantage of ignorance of these matters4

  ,so far as the librarian is concerned 
only two classes of materials need be   
considered for the covers of            
books--leathers and book cloths4 ,this  
does not indicate a restriction of      
choice1 for when we consider that       
leather comes from a large number of    
animals1 that there are a great many    
different kinds of cloth1 that cloths   
and leathers can be obtained in a great 
variety of colors1 there seems to be an 
embarrassment of riches4 ,as a matter of
 fact most librarians confine themselves
 to four kinds of leather and four or   
five kinds of cloth1 each in three or   
four different shades4   ,,leather  ,the
 most expensive materials used in       
covering books and those which vary most
 in quality are leathers1 the skins of  
animals which have been tanned and made 
flexible4 ,the best bookbinding leathers
 are those which are flexible both in   
the skin and on books1 and the surface  
of which is not easily damaged by       
friction4 ,owing to the many kinds of   

leathers and their variation in quality1
 it is difficult to learn to know them  
well4  ,the skins of all sorts of       
animals have been used for covering     
books4 ,certain ones1 not suitable for  
library binding1 are still used for the 
purpose in various parts of the country1
 so that librarians need to become      
expert in their knowledge of which      
leathers may be employed and which ought
 to be rejected4  ,variations in the    
same kinds of leathers are caused by3   
7a7 ,age4 ,skins of animals which have  
not reached full growth should not be   
used for binding library books4 ,since  
they are immature1 the fibres have not  
become tough1 and they have not reached 
their maximum thickness4 ,if the skins  
which the binder is using are           
exceptionally small1 it is probable that
 the animals from which they were       
obtained were too young4 ,on the other  
hand1 the skins of very old animals     
should not be used1 since the fibres of 
the skins have lost something of their  

flexibility and strength4 ,they cannot  
be readily detected1 but they are sure  
to give poor service4 ,as an            
illustration of the effect which age has
 upon leather it will be sufficient to  
note the well-known fact that calf skin 
is useless for library purposes1 while  
cowhide within certain well-defined     
limits is exceedingly useful4  7b7 ,the 
sex of the animal4 ,it has been proved  
beyond question that the skin from the  
female of some animals1 notably goats1  
does not wear as well as that from the  
male4  7c7 ,country from which they     
come4 ,it is an interesting fact that   
the skin of a sheep which comes from    
,persia is not the same kind of a skin  
as that of a sheep which is raised in   
the ,united ,states4 ,in general1 it may
 be said that skins from animals        
inhabiting warm countries are more      
likely to be serviceable than those from
 the same kind of animals inhabiting    
cold countries4 ,in the cold countries  
more of the strength goes into the fur  

or hair which protects it1 while in warm
 countries a greater amount of strength 
goes into the skin itself4  ,in addition
 to variations due to these causes there
 is likely to be a certain amount of    
variation in different parts of the same
 skin4 ,that part of the skin which     
comes from the back of the animal is    
tougher than that which comes from the  
abdomen4 ,the difference is very        
noticeable in the skins of some animals1
 less so in others4  ,decay of ,leather4
 ,of late years there has been much     
dissatisfaction expressed over the decay
 of modern leathers4 ,in many cases     
leathers #ajj years old or more are in a
 fair state of preservation1 while many 
leathers--perhaps we should say most    
leathers--#cj1 #bj or even #aj years    
old1 show signs of decay1 and some have 
rotted away almost entirely4 ,in no way 
is the decay of modern leathers shown   
more conclusively than in a long file of
 the sheep-bound set of the ,united     
,states ,public ,documents4 ,the earlier

 volumes1 covering the #aeth ,congress  
up to the #cfth1 will in general be     
found to be in a good state of          
preservation4 ,about the year #ahfj1    
however1 marked deterioration appears4  
,in some cases it seems as if the backs 
had entirely disintegrated4 ,while a    
sheep-bound set is the best example of  
the decay of modern leathers1 many      
libraries have been greatly annoyed by  
the decay of other leathers which are   
supposed to be much stronger than       
sheepskin4  ,so great was the           
dissatisfaction with modern leathers    
that in the year #aijj the ,society of  
,arts in ,london appointed a committee  
to investigate modern leathers and to   
ascertain the best methods for preparing
 leathers for binding4 ,the report of   
this committee was published in #aije1  
and a general knowledge of its contents 
is necessary for those who wish to know 
why leathers decay and how they may be  
preserved4 ,another valuable work which 
should be carefully studied is entitled 

,leathers for libraries1 published by   
the ,sound ,leather ,committee of the   
,library ,association in ,england4 ,in a
 chapter of this book ,j4 ,gordon       
,parker1 ,ph4 ,d41 ,director of the     
,london ,leather ,industries ,research  
,laboratories1 tells us that the chief  
causes of decay are as follows3      #a4
 ,the introduction of tanning materials 
other than oak and sumac1     stronger  
in tannin1 and more rapid in their      
action4 ,many of these     tanning      
materials are unstable1 and the leather 
produced     disintegrates on exposure  
to light and air4  ,tanning is the      
process of changing hides1 which are    
animal matter subject to decay1 into    
material which is strong and flexible   
and which is not subject to decay4      
,there are two groups of tanning        
materials4 ,the one called the          
pyrogallol group1 which includes sumac1 
gall nuts and oak bark1 is commended by 
the ,committee of the ,society of ,arts4
 ,the other is called the catechol group

 and is strongly condemned4 ,among the  
materials belonging to the catechol     
group are hemlock bark and larch1 used  
chiefly in this country1 and turwar bark
 used largely in tanning ,east ,indian  
goat and sheep skins4  ,the ,united     
,states ,government ,printing ,office   
proposals call for leathers tanned with 
a pyrogallol tannin1 since it has been  
proved that such leathers prove most    
resistant to the evil effects of light1 
heat and gas4 ,if a skin has been tanned
 with sumac1 or sumac in combination    
with oak bark1 it has received the best 
possible preparation for its life as a  
bookbinding leather4  ,it is not        
possible1 neither is it necessary1 to   
have all leathers tanned with sumac4    
,those leathers which are intended to   
remain on the shelves for many decades1 
should be in this tannage4 ,those which 
will be discarded in a few years may be 
tanned in a less expensive manner4 ,even
 some of the quick1 modern materials1   
which accomplish in a few hours what    

once would have taken weeks1 are not too
 poor for leathers which are not to be  
kept indefinitely4  ,even the expert    
cannot detect skins which have not been 
tanned and dyed properly1 but leathers  
which last a short time may be suspected
 either of being improperly tanned or of
 having some kind of injurious acid in  
their composition4      #b4 ,the use of 
dried and cured skins of variable       
soundness imported     from abroad4     
,goat1 calf and sheep skins are imported
 into this     country 7,england7 from  
all over the world2 some are simply     
dried in     the sun1 some salted1      
whilst others are cured with various    
ingredients4      #c4 ,the use of       
infusions of acids and other bleaching  
agents to     produce bright and even   
shades of colour4  ,skins tanned with   
sumac are light-colored and can be dyed 
any desired color4 ,most other tanning  
materials1 however1 make darker-colored 
skins1 which can be dyed only with dark 
colors4 ,it has been found possible to  

scour and bleach skins with sulphuric   
acid and to re-tan with sumac4      #d4 
,the use of sulphuric or other mineral  
acids for the purpose of     developing 
the depth of colour during the process  
of dyeing4  ,sulphuric acid is the cause
 of decay of over #ij of modern         
bookbinding leathers4 ,having once been 
used1 it cannot be wholly removed       
without the use of other chemicals4     
#e4 ,the shaving and splitting of skins 
for producing an even     substance4    
,in splitting and shaving1 the long1    
strongest fibres of the skin are torn or
 cut off1 and the part which remains for
 binding purposes is the weakest part of
 the skin4      #f4 ,printing and       
embossing grains upon leather1 together 
with other     methods of finishing now 
in common use4  ,there are various ways 
of bringing out the natural grain of    
leathers which are perfectly legitimate 
and which do no harm4 ,the danger in    
graining comes when the grain is        
embossed by means of a plate1 which is  

heated and pressed on the skin4 ,no good
 leather should ever be embossed4       
#g4 ,the stripping1 scouring1 souring   
and re-tanning of ,east ,india          
leathers 7,persians74  ,some imported   
skins are only partially tanned1 and it 
is necessary to wash out the tannin with
 some kind of alkali1 which also takes  
out much of the natural grease of the   
skin4 ,they are then treated with       
sulphuric acid and re-tanned4 ,they are 
always poor and are seldom sold as      
re-tanned skins4      #h4 ,the removal  
of the natural grease or nourishment of 
the skin4  ,the foregoing eight causes  
of decay are beyond our direct control4 
,the leathers are manufactured and put  
on the market1 and the binder has to use
 such as he is able to obtain4 ,no      
matter how much the librarian may insist
 upon leathers free-from-acid1 he is    
helpless if the binder cannot obtain    
them4 ,all that he can do is to insist  
that leathers without acid must be used1
 if obtainable4  ,although these causes 

of decay are beyond the librarian's     
control1 there are several causes of    
decay quite within his power to avoid4  
,they are the following1 due to improper
 methods used in binding1 or to physical
 conditions after the book is on the    
shelf3  #a4 ,direct sunlight4  #b4 ,gas 
fumes4 ,this evil is hard to guard      
against if there are gas pipes in the   
building4 ,there is sure to be more or  
less leakage1 and even a small amount of
 gas in the air has a bad effect upon   
leather4  #c4 ,tobacco smoke4 ,this is  
not likely to be very detrimental in    
libraries1 since the rules generally    
forbid smoking4  #d4 ,excessive         
dampness1 which encourages mildew4  #e4 
,extreme dry heat4 ,a temperature much  
in excess of #gj deg4 ,fahrenheit is    
likely to dry up the oil which gives    
flexibility to leather4  #f4 ,undue     
wetting or stretching the leather in    
covering4 ,some binders soak the        
leathers and stretch them in placing    
them on the books4 ,when the leathers   

dry they shrink1 the fibres are strained
 and the life of the leather shortened4 
#g4 ,use of poor paste in binding4 ,this
 frequently sets up a fermentation that 
is very harmful to leathers4  #h4 ,dust1
 especially in conjunction with         
dampness1 is very injurious to leather4 
,doubtless there are other things which 
have a deleterious effect upon leathers 
in libraries2 but if a library is well  
ventilated1 if leather-covered books are
 not kept in cellars or basements that  
are very damp1 or where direct sunlight 
can fall upon them1 and if the binder   
uses good paste and proper care in      
covering the books1 we may reasonably   
place the responsibility of undue decay 
of leathers upon the manufacturers4     
,the various reports quoted so far have 
dealt with qualities of leathers due to 
tanning1 manufacture1 method of binding 
and time in use4 ,natural or mechanical 
qualities of leathers have not been     
touched upon4 ,those who are interested 
in this phase of the question should    

read the report of ,mr4 ,cedric ,chivers
 on ,the relative value of leathers and 
other binding materials1 made at the    
meeting of the ,american ,library       
,association at ,pasadena in #aiaa4 ,mr4
 ,chivers employed ,mr4 ,alfred ,seymour
 ,jones1 in ,england1 to make tests     
which would show the tearing and        
breaking strain of various leathers4    
,these natural qualities of leathers are
 obviously important1 but too much      
stress must not be laid upon them4 ,it  
is possible that a leather naturally    
strong and tough when new would rapidly 
deteriorate with age4 ,the records as   
presented in ,mr4 ,chivers' report must 
be taken in conjunction with facts      
determined by the investigation of the  
,society of ,arts4 ,in the main1        
however1 it will be found that leathers 
which best stood the tests of the       
,society of ,arts also showed the       
greatest resistance to the tearing and  
breaking strains made by ,mr4 ,chivers4 
,preservation of ,leather4 ,various     

attempts have been made both by         
librarians and others to discover some  
substance which would preserve leather  
effectually after the book is bound4    
,some of these attempts have been       
temporarily successful1 but time alone  
will tell whether leathers are          
permanently preserved by the treatments 
used1 or whether applications of the    
preservative must be frequently made4   
,owing to the fact that in law libraries
 practically all the books published    
previous to #aijj were bound in         
sheepskin1 the lasting qualities of     
leathers is a question that affects law 
libraries more than any other4 ,dr4     
,wire1 of the ,worcester 7,mass47       
,county ,law ,library1 who has made a   
careful study of the problem1 advises   
the use of vaseline or some other       
similar by-product of petroleum well    
rubbed into the leather with the bare   
hand and allowed to dry in the air until
 the leather has absorbed it4 ,better   
results were obtained by allowing the   

volumes to dry in the summer by natural 
heat instead of artificial heat in the  
winter4 ,for some books ,dr4 ,wire makes
 use of a bookbinder's varnish after the
 softening product has thoroughly       
penetrated the leather4 ,a full         
description of the processes may be     
obtained from ,dr4 ,wire's pamphlet1    
,leather preservation1 published in     
#aiaa4  ,some of the disadvantages of   
,dr4 ,wire's method are3  #a4 ,the      
necessity of rubbing in the preservative
 from three to five times1 according to 
the condition of the leather at the time
 of first treatment4  #b4 ,the care     
necessary to prevent the material used  
from smearing tables1 trucks1 floor1    
shelves and clothing at time of         
application2 also when books are back on
 the shelves the care required to keep  
from rubbing against them and the       
necessity of wiping them off when they  
are handed to readers4  #c4 ,the        
tendency of books to swell at the back  
when first treated in this way1         

demanding extra care lest1 in an effort 
to pull out one book1 a whole shelf-full
 fall to the floor4  #d4 ,the repetition
 of the process after ten years4  ,it is
 possible that these drawbacks will be  
sufficient to dissuade all except the   
most stout-hearted from using this      
method of preserving leather4 ,rebinding
 in cloth seems to be much more simple  
and1 on the whole1 not much more        
expensive4  ,the question of a          
preservative is discussed in the ,report
 of the ,society of ,arts1 from which   
the following quotation is taken3       
,enquiries have frequently been made as 
to the use of   preservative pastes upon
 old bindings4 ,it has been mentioned   
that the seasonings of white of egg or  
blood albumen usually   employed in     
finishing leather have some preservative
 effect1   and no harm can arise from   
the application of very thin   coatings 
of white of egg4 ,the use of ammonia to 
thin or   preserve the solution must be 
avoided1 but the whites1 after          

thorough beating1 may be rendered       
antiseptic by the addition   of a small 
quantity of camphor1 thymol1 or some    
essential oil4   ,vaseline has been     
employed as a dressing1 and1 if         
otherwise   suitable1 will no doubt have
 a preservative effect upon the         
leather4 ,a very moderate use of the    
wax1 soap1 and turpentine   preparations
 made as shoe pastes1 is also likely to 
be   beneficial1 and no doubt a special 
preparation might be made   on these    
lines which would be still more         
suitable4 ,paraffin wax   dissolved in  
benzine is also harmless1 and the       
surface to   which it has been applied  
takes a good polish with a flannel      
after drying4 ,professor ,proctor has   
experimented with a   finish introduced 
by the ,berlin ,aniline ,company some   
years   ago for coloured leathers1 with 
apparently satisfactory results4   ,the 
preparation is practically a very hard  
stearine soap with   excess of stearic  
acid1 and is made by boiling #h parts of

   stearic acid with #a part of caustic 
soda and #ej parts of water   until     
thoroughly dissolved1 and then adding   
#aej parts of cold   water and stirring 
till the material sets to a jelly4 ,it  
is   applied very thinly with a sponge  
or rag1 and after thorough   drying is  
polished with a soft brush or flannel4  
,the alkali   present in the soap is    
useful in neutralising any mineral acids
   contained in the leather4 ,in very   
acid leathers it has been   noticed that
 the sodium sulphate so formed will     
sometimes   appear upon the surface as a
 white film1 but this is easily         
removed with a damp cloth1 and the      
surface1 after drying1   repolished with
 flannel4  ,old books which it is       
desirable to preserve as long as        
possible in their original bindings and 
books which will be used very little may
 be treated with some form of           
preservative4 ,if the book is to be much
 used1 it would better be rebound4 ,dr4 
,wire's experiments have been carried on

 exclusively with law books4 ,whether   
the same processes could be used on     
books bound in morocco or pigskin is    
something that has not yet been         
determined4 ,most leather-bound books   
break first at the joint4 ,the sheep    
bindings in a law library would show    
signs of disintegration long before the 
leather reached the breaking point1     
whereas the librarian would first notice
 that morocco was decaying when the     
leather actually cracked4 ,once cracked1
 no amount of preservative would do any 
good4   ,,kinds ,,of ,,leather#c  ,the  
leathers that have been used in binding 
books have come from all sorts of       
animals1 but so far as the librarian is 
concerned the skins of four animals only
 need be taken into consideration--the  
sheep1 the cow1 the pig and the goat4   
,in ,england some experiments have been 
made with sealskin1 but it has not been 
used long enough to give any definite   
idea of its resistance to the           
encroachments of time4      ,footnote   

#c3 ,the prices of leathers given in the
 text are those     which prevailed     
during the summer of #aiae4  ,,sheepskin
  ,sheepskin is a soft1 flexible leather
 with weak fibres1 and with a surface   
easily abraded4 ,it has been used for   
bindings practically ever since books   
were put into leathers2 and1 under the  
old methods of tanning and              
manufacturing1 proved satisfactory4 ,in 
many libraries it is possible to see    
leather books bound in sheep in the     
#agth century which are in a good state 
of preservation4 ,even the sheep of the 
beginning of the #aith century is       
frequently well preserved4 ,since #ahfj1
 however1 the quality of sheep has      
greatly deteriorated4 ,this is bad      
enough1 but unfortunately sheep likes to
 masquerade under the name of morocco   
and other leathers of a better grade1 so
 that its use is much more extensive    
than appears at first sight4 ,in the    
process of imitation the grain of the   
leather imitated is stamped on the skin4

 ,when this is done it generally takes  
an expert to detect the fact that the   
leather is not what it pretends to be1  
and even experts are sometimes deceived 
after the leather is on a book4  ,the   
strongest sheepskins are made when      
tanned with oak bark4 ,sumac1 which is  
such a valuable tanning material with   
other leathers1 is here inferior to oak4
  ,there are two kinds of sheepskin1 the
 wool sheep which is known to all1 and  
the hair sheep which is not found in the
 ,united ,states1 and which in reality  
is a cross between a sheep and a goat4  
,the hair sheep comes from ,india1      
,china1 ,south ,america and ,africa1    
generally from mountainous districts4   
,it has a much tougher fibre and is a   
better wearing skin than that of the    
wool sheep4 ,unfortunately most of these
 skins1 which are all imported1 are made
 into shoe leather4 ,when properly      
tanned they are very suitable for       
library binding1 and their use for that 
purpose is increasing4  ,the wool       

sheepskin in its natural color has been 
used for many years for binding law     
books4 ,it is seldom used for anything  
except government documents and law     
books1 and for this reason is known as  
law-sheep4  ,roan4 ,roans1 the term used
 for sheepskins after they are dyed1 can
 be used advantageously on books which  
will be handled a great deal1 and which 
in any event will not stay on the       
shelves indefinitely4 ,properly tanned  
and dyed1 they make a satisfactory      
leather for a time1 but their life under
 the best of conditions seldom exceeds  
ten or twelve years4 ,while this is true
 of good roans1 it unfortunately remains
 true that in the ,united ,states1 at   
least1 it is difficult to get roans that
 are properly tanned and dyed4          
,therefore1 unless one is sure that the 
quality of the skin is the best1 he     
should use no sheep under any           
conditions4  ,skiver4 ,skiver is the    
outside of a sheepskin which has been   
split1 the inner side being known as the

 flesher4 ,it is a leather much used for
 commercial binding1 but since the      
splitting process takes away a great    
part of the strength of the skin1       
leaving it not much stronger than strong
 paper1 skiver is wholly unfitted for   
library use4  ,,cowhide  ,cowhide1      
sometimes known as ,american russia1 is 
a leather which has increased enormously
 in use in the last twenty-five years4  
,it is a thick1 coarse leather1 rather  
unattractive in appearance1 strong when 
new1 but with age rapidly deteriorating 
in quality1 even when no deleterious    
substance has been used in tanning or   
dyeing4 ,it is a harder leather to work 
than roan1 but the quality is much more 
uniform and it can be used              
advantageously for binding fiction and  
other books which will be much used4 ,in
 its natural state 7undyed7 it can be   
used in place of law-sheep for law      
books1 but has a tendency to become     
dark4 ,it can be obtained in many       
colors4 ,since it is too thick a leather

 to be used in full thickness1          
practically all skins are split1 and the
 amount of flesh left with the grain    
determines the weight of the leather4 ,a
 greater or less amount is taken off    
according to the purpose for which the  
leather is intended4 ,bookbinding       
cowhide costing #bj;c to #be;c4 a square
 foot is the lightest weight leather    
that has the right to be called cow4#d  
,the life of cowhide is from five to    
twelve years4  ,buffing4 ,buffing is    
practically only the grain of cowskin   
from which almost all the flesh has been
 split4 ,it is not suitable for library 
books1 since it is very thin and begins 
to disintegrate in less than five years4
 ,after it is on the volume it is hard  
to detect1 so that some library binders 
have been tempted to use it instead of  
cow4 ,but as buffing is never sold as   
cow1 the library binder has no excuse   
for keeping it in stock4      ,footnote 
#d3 ,this is the normal price of cow4   
,the ,european war has     had the      

disastrous effect of raising the price  
and lowering the     quality4 ,until    
conditions become normal again all      
cowhide should be     shunned4          
,,pigskin  ,pigskin is one of the       
strongest leathers1 having a hard1      
resisting surface and a good1 tough     
fibre4 ,in the grain1 the holes which   
were left when bristles were removed are
 plainly visible1 giving the leather a  
distinctive appearance1 which can be    
imitated successfully1 but which is much
 less often imitated than the grain of  
morocco4 ,if there be doubt of the      
genuineness of pig1 soak a piece of the 
leather until it has absorbed a quantity
 of water1 and then stretch it4 ,if the 
grain pulls out1 it is imitation2 if    
genuine1 the bristle holes still show   
plainly4 ,oak bark tanning is the best  
for this leather1 and1 since it is more 
nearly gristle 7less fibrous7 than other
 leathers1 dyes and chemicals should not
 be used which will interfere with its  
quality of resisting friction4 ,it      

should be used in its natural color     
whenever possible4  ,pigskin frequently 
comes in skins which are too thick for  
the binder to work easily1 or which are 
very uneven in thickness4 ,in such cases
 the paring down of the skin is likely  
to injure its strength4 ,because of its 
thickness pig is generally supposed to  
be more suitable for large than for     
small books1 but inasmuch as several    
binders have used it successfully for   
years on small books1 it may be taken   
for granted that it can be used with    
good results on all books1 large or     
small1 which are to receive hard usage4 
,it needs constant handling1 and the    
absorption of a certain amount of oil   
from the hands to keep it pliable4      
,otherwise it dries rapidly and cracks  
along the joint4 ,this1 however1 is true
 of all leathers to a greater or less   
extent4 ,pig costs from #dj;c4 to #de;c4
 a square foot4  ,,goat  ,the leather   
which makes the strongest and most      
attractive binding comes from the skins 

of goats and is called morocco1 because 
it originally came from that country4   
,in the course of time goat skins from  
other countries were tanned with sumac  
7originally a distinguishing            
characteristic of a genuine morocco71   
but the same name was applied so that we
 now have the paradoxical terms1 ,turkey
 morocco1 ,levant morocco1 etc4         
,moroccos have a beautiful grain1 are   
flexible1 soft and pliable to the hand1 
and resist hard wear2 qualities which   
contribute to their great popularity4   
,morocco varies greatly in quality as   
well as in appearance4 ,unfortunately   
the skins which are best in quality1    
considering the length of time they will
 wear1 are not always those best in     
appearance4 ,the skins of goats with    
long hair from the colder countries make
 beautiful bindings2 but the skins of   
goats from the hot countries1 such as   
the interior of ,africa1 having short   
hair1 while not so attractive in        
appearance1 are tougher and wear longer4

 ,in addition to the many grades of     
genuine morocco there are as many more  
imitations of it made from sheepskin1   
cowhide1 etc4 ,only the expert can      
detect some of them in the skin1 and    
even he may be deceived when the leather
 is on the back of the book4  ,in       
general it should be said that genuine  
morocco is the most expensive leather   
that a library can use1 and that it can 
be used to the greatest advantage only  
occasionally4 ,it makes an excellent    
binding for large reference books which 
are constantly handled1 for art books   
which must be attractively bound1 and   
for some periodicals which are much used
 in reference work4 ,it is not used     
nearly so much in libraries to-day as it
 was ten or fifteen years ago1 and it is
 quite safe to say that it will be used 
less ten years from to-day than it is   
now4  ,levant morocco1 made from the    
skins of ,angora goats1 is the most     
expensive and most beautiful leather    
used in binding4 ,it has a large1       

prominent grain1 but is far too         
expensive for any library to use1       
especially when it must be conceded that
 in its wearing quality it does not     
equal that of some less expensive       
moroccos4 ,mr4 ,chivers' test showed    
that so far as tensile strength goes1   
this leather is very much weaker than   
many leathers much less expensive4 ,when
 the skin has been subjected to pressure
 until the surface is smooth it is known
 as crushed levant4  ,turkey morocco1   
made of skins of goats from ,turkey1 is 
a very strong1 durable leather which all
 libraries will find occasion to use    
from time to time4 ,it is very easily   
imitated4 ,under exposure to atmospheric
 conditions existing in many libraries  
its life may not extend beyond thirty   
years4 ,in one library at least1 where  
conditions of light and heat were poor1 
the best ,turkey morocco that the market
 afforded showed signs of disintegration
 within twelve years4 ,good ,turkey     
morocco can be obtained for #ce;c4 a    

square foot4  ,persian morocco1 which   
comes from the skin of a ,persian sheep 
7not goat71 is not particularly         
attractive in appearance and is very    
poor in quality4 ,it is used extensively
 for commercial work1 but is absolutely 
valueless for library binding4  ,niger  
morocco is a goat skin which comes from 
the interior of ,africa1 generally by   
way of ,tripoli1 and is by no means a   
recent discovery1 though we knew little 
about it five years ago4 ,it is tanned  
by natives according to some method of  
vegetable tanning not completely known  
at this time4 ,while in appearance it is
 not so attractive as some other        
moroccos1 because of blemishes due to   
carelessness in handling and to the     
imperfect removal of some of the hairs1 
it has been proved by the tests made    
under the direction of ,mr4 ,chivers to 
be stronger than all other moroccos2 the
 inference is that it is more durable4  
,until recently it has been very hard to
 obtain in the ,united ,states4  ,bock  

morocco is not a morocco but a split    
,persian sheep so poor in quality that  
it is mentioned only to be condemned4   
,,calfskin  ,calfskin in all its various
 characters1 such as divinity1 kip1     
marbled1 mottled1 smooth1 tree1 or just 
plain calf is a very beautiful leather  
much used in the past for binding books 
for individuals4 ,for this purpose it   
has1 of late years1 been crowded out by 
,levant morocco4 ,it has a soft1 smooth 
surface which disintegrates rapidly     
under the action of heat and gas and has
 little strength even for temporary use4
 ,for the library it is useless4        
,,russia ,,leather  ,this is a          
brownish-red leather made from the skins
 of different animals1 tanned with      
willow bark and filled with a           
preparation of birch oil which gives it 
its peculiar odor4 ,neither in its      
genuine form nor in imitation is it a   
useful leather for libraries4           
,,sealskin  ,although experiments have  
been made with it in some ,english      

libraries sealskin has never been much  
used in the ,united ,states for library 
binding4 ,it is made from the skins of  
the hair seal1 the supply coming from   
all parts of the ,north ,atlantic       
,ocean4 ,according to ,mr4 ,douglas     
,cockerell and other binding experts in 
,england1 the skin is peculiarly suited 
for library use4 ,it is reported to be a
 hard-wearing leather1 tough and        
pliable1 even in quality so that no part
 of the skin must be discarded because  
too thin or too weak1 and possessing a  
beautiful grain4 ,the price ranges from 
a point somewhat higher than that of the
 poorer moroccos to one somewhat lower  
than the higher prices4 ,unfortunately  
it can be easily imitated4  ,,vellum    
,probably no discussion of leather is   
complete without mentioning vellum1 a   
binding material which does not resemble
 leather1 but which nevertheless is made
 from calfskin or sometimes from goat   
skin4 ,it is prepared by the use of     
lime1 and as far as the actual wear on  

flat surface is concerned1 is perhaps   
better than any leather4 ,it is1        
however1 very susceptible to moisture1  
which makes it warp2 and to light1 which
 makes it hard and brittle4 ,since it is
 very hard1 does not bend easily and is 
hard to work1 its chief use is on the   
corners of books to protect them and    
make them less likely to break or rub4  
,large libraries have used it somewhat  
for this purpose1 but the use is dying  
out4  ,in making a study of leathers it 
is well to obtain samples of all kinds1 
including those which are unsuitable for
 library use1 and to examine them       
carefully1 noting the appearance of the 
grain1 thickness of skin1 flexibility1  
and softness of surface4 ,perhaps more  
money can be wasted through ignorance of
 the comparative values of different    
kinds of leather which it is permissible
 to use in library binding1 than in     
mismanagement of any other part of      
binding4   ,,cloth  ,cloth is fully as  
important as leather in the economy of  

binding4 ,several years ago it was the  
custom to bind periodicals and other    
books which were used comparatively     
seldom in leather1 while fiction1       
juvenile and other books which wore out 
quickly were bound in cloth4 ,recently  
the opposite course has been more       
favored4 ,books which receive unusually 
hard usage and are in the hands of      
readers constantly are bound in leather2
 while those which are used seldom1     
including periodicals1 are bound in some
 kind of cloth4 ,without doubt the      
change is a wise one4 ,even the best of 
leather disintegrates in time under the 
action of heat1 gas1 light1 etc41 and   
to-day many a volume bound in leather   
ten or fifteen years ago has parted from
 its sides1 necessitating rebinding or  
recovering4 ,had it been bound in a good
 quality of cloth it would to-day be in 
good condition1 and probably would      
remain in good condition for a hundred  
years4 ,it requires considerable courage
 to change the binding of a good set of 

a standard periodical1 such as the      
,atlantic or ,harper's1 from an         
attractive half morocco binding to an   
unattractive buckram4 ,unquestionably1  
if economy is an object1 the change     
should be made1 except possibly in the  
case of a library which uses these      
periodicals daily4 ,every librarian must
 decide each case for himself strictly  
according to the use the set is to      
receive1 always bearing in mind the fact
 that leather disintegrates with time1  
whereas cloth does not unless exposed to
 excessive moisture4  ,no cloth which is
 suitable for library use is perfectly  
satisfactory because it has not the     
strength of good leather1 cannot be used
 advantageously on very heavy books1    
soils easily and with use grows soft and
 flabby1 especially along the joints4   
,but on the other hand even those not   
suitable for libraries which are used by
 the publisher on cheap books are much  
better than poor grades of leathers1    
such as skiver1 bock1 buffing1 etc4     

,the requisite qualities of a good cloth
 are3  7a7 ,endurance when folded back  
and forth in the same place1 so that it 
may withstand the wear at the joint     
caused by opening the book4  7b7        
,smoothness1 so that there will be a    
comparatively small amount of friction  
when withdrawing a book from between two
 others on the shelf4  7c7 ,ability to  
withstand constant rubbing back and     
forth on tables4  7d7 ,color that is    
fast when exposed to light2 if possible 
it should be fast to water also1 though 
this is less important4  7e7 ,color     
should be dyed in the piece1 not pressed
 in by machinery4  ,many cloths have    
some of these qualities but few have all
 of them4 ,so far as is known to the    
writer only the grade of cloth described
 on page #gg has the last qualification4
  ,practically all cloth used in the    
,united ,states is made of cotton4 ,the 
best cloths are manufactured by ,the    
,holliston ,mills1 ,norwood1 ,mass42    
,the ,interlaken ,mills1 ,new ,york     

,city2 ,the ,joseph ,bancroft  ,sons    
,company1 ,wilmington1 ,del41 and by the
 ,winterbottom ,company and the         
,manchester ,book ,cloth ,company in    
,england4 ,since a number of grades are 
made in several different patterns and a
 great number of shades for each grade  
and each pattern1 a variety of choice is
 permitted4 ,as a matter of fact1       
however1 most librarians select a good  
grade with a regular weave and confine  
themselves to a few standard shades1    
such as dark green1 brown1 red1 dark    
blue1 and tan4  ,since the strength of  
the warp is much greater than that of   
the weft1 it is advisable when possible 
to cover books with the warp running    
across the cover4 ,this1 however1 may   
entail some hardship on the binder for  
it may frequently happen that in order  
to cut his cover economically he must   
make the warp run lengthwise of the     
book4 ,if a strong cloth is used the    
advantage is not great enough to be     
insisted upon4  ,each of the ,american  

firms mentioned makes three distinct    
grades1 all of which libraries may use4 
,each firm uses a different name for    
each grade4 ,in other words1 there are  
no general names which can be used for  
the corresponding grade in all makes4   
,therefore for the purposes of this     
chapter these cloths will be considered 
under the heads of ,grades #a1 #b and   
#c1 but it must be remembered that this 
is an arbitrary designation not known to
 the trade4 ,under each grade will be   
given the specific names used by the    
three manufacturers4  ,,grade #a  ,grade
 one of cloth1 the cheapest that a      
librarian may use1 is not made of the   
best quality of cotton thread and should
 never be used under any circumstances  
for full binding4 ,it may be used on the
 sides of books bound in leather2 if    
this be done the corners should be      
covered with vellum1 for this cloth does
 not withstand hard usage and is likely 
to fray at the corners4 ,it is a cloth  
commonly used by publishers1 but should 

be used sparingly by the librarian4 ,art
 vellum made by the ,interlaken ,mills1 
,aldine vellum made by the ,holliston   
,mills1 and ,linen finish made by the   
,joseph ,bancroft  ,sons ,company1 come 
within this grade4  ,,grade #b  7a7     
,grade two is made of a better grade of 
cotton and with a closer weave than the 
preceding1 but is not sufficiently      
strong to be used for full binding4 ,it 
can be used more satisfactorily than the
 preceding on the sides of books bound  
in leather or duck4 ,in common with all 
cloths1 except the buckram made         
according to the government             
specifications 7which will be discussed 
later71 the different colors are not    
made1 as one might suppose1 by dyeing   
the cloth after it is woven1 but by     
mixing the color with the sizing or     
starch which is used in finishing the   
cloth1 and pressing it into the cloth by
 machinery4 ,as a natural result the    
color rubs off with wear and the natural
 gray of the original cloth as first    

woven appears4 ,art canvas made by the  
,interlaken ,mills1 ,classic buckram    
made by the ,holliston ,mills1 and      
,polished buckram1 by the ,joseph       
,bancroft  ,sons ,company come within   
this grade4  7b7 ,buckram4 ,under the   
name of buckram various grades of cloth 
are manufactured which resemble to a    
greater or less degree those mentioned  
under ,grade #b 7a74 ,generally it is a 
coarsely woven cloth stiffened with glue
 or sizing1 and the term originally     
indicated that the cloth was made of    
linen4 ,at the present time linen       
buckram made in ,england can be         
obtained1 but all that is manufactured  
in the ,united ,states is made of       
cotton4 ,linen buckram costs much more  
than cotton and it is doubtful if it is 
any more serviceable4 ,all of the three 
manufacturers mentioned make buckrams4  
,,grade #c  ,prior to #aijg the         
,congressional set of government        
documents distributed to the depository 
libraries had been bound in sheepskin   

and the leather on the volumes had      
disintegrated so much as to make the set
 a hard one to care for4 ,in #aijg the  
,congressional ,printing ,investigation 
,commission asked librarians of         
depository libraries to suggest1 without
 considering cost1 suitable binding     
materials for ,government ,documents4   
,the number of replies received was     
#abd1 embodying suggestions as follows3 
full sheep1 #aa2 half-russia1 #gh2      
cloth1 #be2 buckram1 #gj2 linen duck1   
#bj2 canvas1 #ai4 ,some librarians      
expressed more than one preference1 so  
that the total number of preferences was
 greater than the total of those        
replying4 ,most of those who favored    
sheep did so because of their desire for
 uniformity4 ,those who favored         
half-russia undoubtedly desired half    
,american russia1 or cowhide4 #acd      
expressed preference for some form of   
cloth4  ,after receiving the replies    
from librarians the ,printing           
,investigation ,commission obtained     

samples of cloth from various cloth     
manufacturers in the ,united ,states and
 the ,bureau of ,standards made a series
 of chemical and physical tests to      
determine the durability of these       
cloths4 ,chemical tests were made to    
discover whether the colors were fast   
when exposed to light4 ,it is to be     
regretted perhaps that no tests were    
made to determine whether the cloths    
were fast to water and that this        
qualification was not included in the   
final specifications4 ,admitting1       
however1 that a cloth which is fast to  
sun and water both is a valuable cloth  
for bookbinding1 it is evident that the 
quality of fastness to water is not a   
vitally important one for cloth used in 
the ,united ,states4 ,the total number  
of books injured by water is so small as
 to make insistence upon this quality   
entirely unnecessary4 ,if books become  
so soiled that they need to be washed   
they should be bound in waterproof      
cloth4  ,because many volumes of        

,government ,documents are sent to      
,porto ,rico and the ,philippines where 
insects eat almost anything of an animal
 or vegetable character1 the            
desirability of the cloth as an article 
of diet for insects1 was also tested4   
,the physical tests indicated3  a4      
,number of threads per inch of warp and 
weft4  b4 ,absorption of moisture4  c4  
,weight per yard4  d4 ,tensile strength4
  e4 ,amount of stretch4  f4 ,amount of 
friction developed by rubbing two pieces
 of cloth together4  ,this test was made
 because the friction developed in      
taking a book from between two others is
 an important matter when a shelf is    
full of books4 ,if the friction is great
 the wear on the back of the book is    
correspondingly excessive4  g4          
,endurance when folded back and forth in
 the same place4  h4 ,endurance under   
extraordinary conditions of rubbing4    
,some of these qualities1 such as       
tensile strength1 amount of stretch1    
etc41 were comparatively unimportant1   

but the tests for all were severe and   
contributed much to our knowledge of the
 qualities which should enter into the  
composition of durable book cloths4     
,after a very careful consideration of  
the results of the tests and a thorough 
examination of the samples submitted1 a 
committee of librarians and government  
officials unanimously chose three       
samples as the best of all those        
submitted by the manufacturers4 ,of     
these three samples the cloth numbered  
#fff was considered the most            
satisfactory4  ,although these three    
samples were excellent1 they all had one
 defect--the color was pressed in by    
machinery1 not dyed in the piece4 ,after
 various experiments had been made by   
the manufacturers this defect was       
remedied4 ,the ,government ,printing    
,office then advertised for bids on     
cloths which would meet the             
,specifications drawn up by the ,bureau 
of ,standards 7,see ,appendix ,a74      
,since that time all the ,government    

documents which continue the old        
sheep-bound set have been sent to       
depository libraries bound in cloth made
 according to these specifications4     
,this cloth is known sometimes as       
,government ,specification ,cloth1 but  
is manufactured under the specific name 
of ,library buckram by the ,holliston   
,mills1 ,art buckram by the ,interlaken 
,mills1 and ,legal buckram by the       
,joseph ,bancroft  ,sons ,company4 ,the 
first two are made in pieces about #dj  
yards long and #ch inches wide1 the     
,bancroft cloth in pieces #dc yards long
 and #dc inches wide4 ,it must be       
admitted that this cloth is not quite so
 attractive in appearance as some of the
 old cloths which are not so durable4   
,some binders claim that it is hard to  
use4 ,on the whole1 however1 it supplies
 a long felt want and is the strongest  
cloth made that is at all attractive in 
appearance4  ,,duck  ,duck or canvas1 a 
rough1 heavy cloth much the same in     
quality as sail cloth1 is the strongest 

cloth used in binding1 but has some very
 decided drawbacks which militate       
against its use1 except when the        
question of strength overshadows all    
others4 ,it always makes an             
unattractive-looking volume--some of the
 more fastidious librarians rebel       
against its use2 and it readily absorbs 
dirt and moisture1 making it            
disagreeable to handle if the book has  
been much used4 ,duck having a double   
twisted thread in the weft is much more 
compact and absorbs dirt and moisture   
much less rapidly than other kinds4 ,it 
should be used on the backs 7never for  
full binding7 of newspapers and such    
periodicals as are too heavy to put in  
library or legal buckram4  ,,imperial   
,,morocco ,,cloth  ,imperial morocco    
cloth1 manufactured by the ,winterbottom
 ,book ,cloth ,company in ,england1 is  
made of linen thread and finished with a
 grain to resemble leather4 ,the kind   
most used in the ,united ,states        
resembles a straight-grained morocco4   

,it is an excellent cloth in appearance1
 as well as in durability1 but its cost 
is #ej greater than that of the         
,government ,specification ,cloth4 ,it  
may be used on semi-popular books which 
will not receive a great amount of use1 
but which should be as attractive in    
appearance as possible4  ,,water-,,proof
 ,,cloths  ,there are several cloths    
which are waterproof and therefore      
easily cleaned when the covers become   
soiled4 ,the best of these are          
durabline1 used exclusively by ,cedric  
,chivers2 rexine and pluviusin1 used    
almost exclusively in ,england2 keratol1
 made in ,newark1 ,new ,jersey2 and     
fabrikoid1 made by the du ,pont ,powder 
,company1 ,wilmington1 ,delaware4 ,all  
of these cloths are said to be acid1    
alkali and germ proof1 do not absorb    
grease and can be washed with soap and  
water4 ,they are strong1 durable cloths1
 but they have at first a disagreeable  
odor1 are hard to work and hard to      
letter in gold4 ,in the application of  

paste to most waterproof cloths1 either 
in the process of binding or in         
attaching labels to the back1 it is     
first necessary to break down the       
surface of the cloth or the paste will  
not hold4 ,this disadvantage no longer  
exists in the case of fabrikoid4        
,keratol and fabrikoid are made to      
imitate leather and are frankly sold as 
such4 ,probably the use of these cloths 
in libraries will always be             
comparatively small4 ,because they can  
be easily cleaned they may be used on   
the sides of juvenile books1 and in rare
 cases for full binding4   ,,glue  ,no  
very definite rules can be laid down as 
to what kind of glue should be used4    
,the matter must be left largely in the 
hands of the binder1 who must see that  
it is strong1 yet flexible2 not too poor
 in quality nor yet the most expensive  
kind which is generally used on         
furniture4 ,this is too brittle for     
bookbinding use4  ,the best glue for    
bookbinding is made from skins and shows

 a dark wine color in the cake4 ,light  
colored glues are made chiefly from     
bones and are not usually so good4 ,to  
prepare glue for use1 soak small pieces 
in water over night and in the morning  
melt in the glue pot4 ,it should never  
be boiled4 ,a careful binder will see   
that utensils are kept clean and that   
glue is used in the proper thickness4   
,flexible glue1 which does not become   
too hard either before or after use1 is 
made by mixing glycerine with good glue4
 ,it has no special advantages for use  
by binders1 but can be used in the      
library itself for some of the repairs  
which assistants may have to make4      
,,paste  7,for paste used in mending1   
see p4 #afg74  ,the best paste is that  
made in the ordinary way with flour and 
water4 ,the paste should be fresh1 for  
if it is not a certain fermentation     
takes place which is injurious to the   
book1 especially to leather4   ,,boards 
,not the least important part of the    
make-up of a finished book are the      

boards forming the sides4 ,there are    
practically four grades of boards which 
are known as strawboards2 binders1 cloth
 or millboards2 semi-tar1 and tar       
boards4 ,the cheapest grade is the      
strawboard1 for which there is no place 
in library work4  ,mill or cloth boards1
 used for practically all library work1 
are generally made from waste papers of 
all kinds1 though some may have an      
admixture of rags4 ,clay is also mixed  
with the waste paper pulp and the whole 
subjected to heavy pressure in the final
 stages of manufacture4 ,they are made  
in two sizes1 #bj x #cj and #bc x #bi   
inches1 and are put up in #ej-pound     
bundles1 the number of sheets in the    
bundle indicating the thickness of the  
board4 ,the thickest is a ,no4 #ab which
 has #ab sheets in a #ej-pound bundle4  
,they may have as many as #gj sheets in 
a bundle1 which makes a very thin board4
 ,a #bj or #be board should be used for 
fiction and juvenile books and a #af or 
#ah for heavier books such as magazines4

 ,prices of good cloth boards run from  
#dj to #ej a ton4  ,semi-tar boards1    
made from better grade stock than mill  
board1 should have in their composition 
a certain amount of rags and hemp or    
naval cordage4 ,they come in the same   
sizes and weights1 costing about #gj a  
ton4  ,tar boards are the best boards   
obtainable4 ,made of naval cordage1 they
 are very tough and hard to work4 ,many 
of them are allowed to season1 in much  
the same way as lumber seasons1 in order
 to prevent warping4 ,they are much too 
expensive for library use1 sometimes    
costing as much as #aaj a ton4  ,the    
matter of boards is not one about which 
the librarian need exercise great       
watchfulness4 ,binders generally use a  
very good quality1 though they sometimes
 use too thin a board on a heavy book1  
such as a newspaper or large folio4 ,in 
such cases a board of suitable thickness
 can be made by pasting or gluing two or
 more together4   ,,thread  ,at one time
 there was no question but that the best

 thread to be used in binding was linen4
 ,in the light of present knowledge it  
may be doubted if this is true under all
 circumstances4 ,all commercially bound 
books1 without exception1 are sewed with
 cotton thread4 ,even such large books  
as the ,century ,dictionary1 ,webster's 
,dictionary and the ,united ,states     
,catalog of #aiab are sewed with cotton 
thread4 ,since it was unquestionably the
 aim of the publishers of all these     
books to issue them in the strongest    
possible bindings1 it is reasonable to  
suppose that linen would have been used 
if it were really the best for the      
purpose4 ,the main reason linen thread  
has been advised for so long is because 
its tensile strength is much greater    
than that of cotton4 ,on the other hand1
 it is just as true that what we may    
call the fraying resistance of a cotton 
thread is greater than that of linen4   
,take two threads of the same size1 one 
cotton and the other linen1 make a loop 
of each thread with one inside the      

other1 saw back and forth1 and the      
cotton will always cut the linen thread4
 ,furthermore1 linen thread deteriorates
 in quality unless very carefully       
stored4 ,the publishers soon discovered 
these facts1 and since tensile strength 
is not an important attribute in a      
thread that is being used in a book     
sewing-machine1 they use a cotton thread
 with thoroughly satisfactory results4  
,in the case of library binding1        
however1 the books are always sewed by  
hand and the sewer1 as she draws the    
thread tight1 is obliged to use some    
strength2 for this reason tensile       
strength is an important attribute4     
,hayes' ,irish linen thread is generally
 specified4 ,the ,barbour thread is     
referred to by ,mr4 ,dana and by others1
 but the writer is not familiar with its
 use4  ,other materials used in binding 
are gold leaf1 paper for end papers1    
tape1 headbands1 cord and various       
concoctions used in finishing the books4
 ,gold leaf should be #ah to #bb karat1 

and neither aluminum nor silver leaf    
should be used4 ,paper for end papers   
will vary somewhat with the size of the 
book1 but should never be lighter in    
weight than a #fj-pound manila4 ,large  
libraries may find it desirable to have 
an end paper specially made for their   
own use4 ,tapes should be linen and not 
over three-eighths of an inch wide4     
,cord for use in sewing in the regular  
way 7not overcasting7 is a soft twine   
which can be obtained from all dealers  
in bookbinding supplies4 ,for all books 
less than twelve inches in height use   
four-ply cord2 for larger books1        
five-ply4     ,,chapter ,v              
,,specifications   ,after the librarian 
has definitely decided upon the binder  
whom he wishes to employ he must1       
especially in dealing with binders who  
are not accustomed to library work1 draw
 up specifications as to ways in which  
he wishes different classes of books    
bound4 ,if he has employed a binder who 
thoroughly understands library binding1 

he may make use of the binder's         
knowledge in drawing up the             
specifications4 ,under certain          
circumstances it may be wise to enter   
into a contract with the binder1 but    
ordinarily in the ,united ,states such a
 course will not be necessary4 ,after   
the specifications have been prepared   
and a schedule of prices agreed upon1   
the librarian always has the right to   
refuse to pay for books not bound       
according to specifications4 ,therefore1
 a definite legal contract is not       
necessary4 ,the librarian1 except in the
 case of a few libraries which according
 to law must give their work to state   
officials1 is always at liberty to take 
his custom from one binder and give it  
to another4 ,thus sufficient pressure is
 brought to bear on the binder4         
,although the present chapter gives     
definite specifications for the binding 
of various classes of books1 it is      
always wise to show a certain latitude  
in the use of specifications4 ,local    

conditions1 the papers used in          
bookmaking which seem to become poorer  
and poorer with each succeeding year1   
and the kind of a library which is to   
use the specifications--all these must  
be taken into consideration when        
specifications are drawn up4 ,moreover1 
the best specifications will accomplish 
little if they are not followed by the  
binder in a workmanlike manner1 while   
good workmanship will sometimes make up 
for omission of important details in the
 specifications4  ,in the main1 it will 
be found that the following             
specifications may be used as a guide1  
except possibly in the case of some     
reference and college libraries which do
 not issue books for home use4 ,it has  
seemed best to place first general      
specifications which apply to all books1
 followed by additional specifications  
for each kind of books treated4 ,the way
 in which these specifications are      
carried out is described in the chapter 
on ,processes4   ,,general              

,,specifications  #a4 ,the binder is    
responsible for all books consigned to  
his care and must replace or pay for all
 books lost or injured4 ,when one       
considers the large number of volumes   
passing through a bindery1 coming from  
many different libraries1 the number of 
books for which the binder is unable to 
account is surprisingly small4  #b4 ,the
 librarian is the judge of whether the  
book is bound according to the          
specifications4 ,since he has submitted 
the specifications and the binder has   
agreed to them he should be the sole    
judge of the result4  #c4 ,the binder   
will be allowed to depart from any      
specification if it is desirable in the 
interests of good binding4 ,he must1    
however1 prove that he is justified in  
so doing4  #d4 ,books must be paid for  
according to a schedule of prices agreed
 upon by the binder and librarian4  #e4 
,the size should be determined by       
measuring at the back of the volume     
after it is bound4 ,it might be wiser1  

perhaps1 to measure the book before the 
boards are put on1 so that binders would
 be sure to trim the book as little as  
possible4 ,it is the universal custom1  
however1 to pay according to the measure
 of the book with the boards on4 ,this  
may possibly tempt the binder to        
increase the square of the book just    
enough to group it with the next larger 
size so that he can charge more for it4 
#f4 ,all items not covered in the       
schedule of prices may be charged for at
 the regular rates of the binder for    
such work4  #g4 ,all books not oversewed
 are to be sewed all-along with ,hayes' 
,irish linen thread1 suiting the size of
 the thread to the requirements of the  
book2 ,no4 #be for light1 ,no4 #bj for  
medium and ,no4 #af for heavy sections4 
#h4 ,cloth must be used for sides of all
 books bound in half-leather or         
half-duck4 ,never use marbled paper     
except occasionally on newspapers4  #i4 
,unless otherwise specified1 cloth which
 conforms to the specifications of the  

,bureau of ,standards1 or ,imperial     
morocco cloth1 must be used for full    
binding4 ,for sides of leather bound    
books a somewhat cheaper grade may be   
used4  #aj4 ,duck should have a twisted1
 double thread in the weft4  #aa4       
,moroccos or pigskins must be guaranteed
 by the manufacturer to be              
free-from-acid4  #ab4 ,glue must be best
 quality of binders' or flexible glue1  
and must be used sparingly4  #ac4 ,poor 
materials of any kind must not be used4 
#ad4 ,in taking books apart1 all old    
glue1 paste1 back-lining1 paper1 etc41  
should be carefully removed4  #ae4 ,the 
binder should expect to do a certain    
amount of mending of torn pages and     
guarding of weak signatures1 but should 
be allowed to charge extra when the     
amount is excessive4  #af4 ,the text of 
all books must be collated by binder and
 imperfect books returned to the        
library4 7,see under ,processes1        
,collation1 p4 #ae74  #ag4 ,all         
illustrations of whatever character     

printed on single leaves must be guarded
 with thin1 tough paper and the guard   
folded around the adjoining sections4   
,some librarians and binders advocate   
the use of cloth guards but this seems  
hardly necessary4 ,the cloth guards tend
 to swell the back of the book1         
especially if there be many plates1     
while the thin1 tough paper is strong   
enough for ordinary books4 ,folded      
plates should never be sewed through the
 middle of the fold1 but should be      
mounted on guards so that the plates    
will open out nearly flat when the book 
is opened4 ,folded maps1 or other folded
 plates which may be consulted often    
should1 unless otherwise specified1 be  
guarded with cloth which is as wide as  
the book1 so that they may be thrown    
entirely outside the book and lie flat  
on a table4  #ah4 ,illustrations which  
are folded more than once1 such as maps1
 should be carefully cut and mounted on 
thin cloth in such a way as to allow for
 the folding to come on the cloth alone1

 not on the paper4  #ai4 ,stitching     
7that is1 sewing signatures lengthwise  
with a sewing-machine7 or old-fashioned 
whipstitching1 is not permitted for any 
books2 with the possible exception of   
newspapers4  #bj4 ,in sewing three bands
 or tapes must be used for eight-inch   
books1 four for twelve-inch1 etc4  #ba4 
,tapes1 or bands1 and back-lining must  
project at least an inch and a quarter  
on each side of the book4  #bb4 ,all    
books should be lined on the back with  
canton flannel as described in the      
chapter on ,processes1 except in a few  
cases where it may be advisable to use  
duck or a flesher4 ,this eliminates     
lacing-on of boards4  #bc4 ,adjoining   
leaves of fly leaves and end papers must
 always be pasted together4  #bd4 ,books
 must be trimmed as little as possible4 
#be4 ,all books should have rounded     
corners4  #bf4 ,all books must have     
,french joints4  #bg4 ,all books1 unless
 otherwise specified1 will be fastened  
finally into the covers by pasting down 

end papers4 ,tight-back books will in   
addition have the back glued to the     
book4  #bh4 ,books should be loose-back 
unless otherwise specified4  #bi4 ,edges
 should be sprinkled unless the library 
specifies gilding on top4 ,the color    
used may be varied to harmonize with the
 color of the book4  #cj4 ,books must be
 pressed until thoroughly dry4  #ca4    
,binders must keep a record of each     
book1 whether periodical or not1 which  
has a volume number4  ,this record1     
commonly known as a rub or rub-off1     
shows the size of the book1 kind of     
binding and exact lettering4 ,whenever  
other volumes of the same work or same  
periodical are received they will be    
bound according to this record1 unless  
the librarian has specified a different 
material1 or different lettering4 ,in   
such a case the matter must be referred 
to the librarian before the book is     
bound4 ,if a binder receives a book with
 a volume number and has no record of   
previous volumes1 he should ask the     

librarian for a sample volume1 unless it
 is obviously a book for which there    
could be no sample1 such as the first   
volume of a periodical giving           
contemporary dates4  #cb4 ,the binder is
 expected to paste in book-pockets and  
book-plates when furnished by the       
library but may charge extra for the    
work4  #cc4 ,the best gold leaf must be 
used in lettering unless cover is light 
enough in color to take ink4 ,leather   
labels should never be used4   ,,fiction
 ,,and ,,juvenile ,,books  ,it seems to 
be fairly well proven that all fiction  
and juvenile books should be bound in   
some kind of leather1 preferably        
cowhide4#e ,objections to this are heard
 from time to time1 but the objections  
come chiefly from the large steel towns 
where the sulphur in the air has a bad  
effect on leathers4 ,in most communities
 leather will outwear cloth and in any  
event cloth becomes shabby1 even when   
perfectly strong1 much more quickly than
 leather4 ,when the ,french joint is    

used the leather need not be pared and  
ordinarily will outwear the paper of the
 book4  ,follow general specifications  
as outlined above1 supplemented by the  
following3  #a4 ,books should be bound  
in one-half cowhide 7,american russia74 
,roan may be used if the librarian is   
sure that it is good4  #b4 ,fly-leaves  
should be made of white book paper1 #gj 
pounds to the ream and guarded with     
jaconet4  ,it is apparent that when     
fly-leaves are guarded with cloth they  
are sewed as a separate section and not 
tipped on as is done in ordinary        
binding4 ,since practically all fiction 
and juvenile books are oversewed1 it    
will not be necessary to carry the guard
 around to the inner side of the fold4  
#c4 ,end papers may be made of paper    
specially made for the binder1 but it   
should be equal in strength to an       
#hj-pound manila paper and should be    
guarded with jaconet on the outside of  
the fold in the same way as fly-leaves4 
#d4 ,if book is not oversewed the first 

and last sections must be guarded with  
jaconet4  #e4 ,nearly all books should  
be sewed with some modern method of     
overcasting4  ,it is probable that in   
every lot of books sent to the binder   
there will be some fiction and juvenile 
books which could be sewed in the       
regular way through the signatures      
either on bands or on tapes1 but the    
number is so small that the binder finds
 it easier to sew all the books alike4  
,in any event only those which have the 
backs of the sections unbroken the      
entire length and which1 in addition1   
are seldom used1 should be sewed in the 
regular way4      ,footnote #e3 ,see    
footnote1 page #ff4   ,,non-,,fiction   
#a4 ,books should be bound in full      
cloth4  #b4 ,books in which the backs of
 sections are not injured1 or which     
cannot be easily mended may be sewed    
regularly4 ,the rest must be oversewed4 
#c4 ,in all other respects the preceding
 specifications should be followed4     
,,periodicals  ,there is no place in a  

small library where good judgment will  
do more to make the library efficient at
 a minimum cost than in the binding of  
periodicals4 ,the use of libraries for  
reference purposes is increasing and the
 use of periodicals is made easy by     
means of the periodical indexes4 ,the   
enthusiastic librarian who wishes to    
answer all questions will be tempted to 
bind more periodicals than are really   
needed1 thus impairing the efficiency of
 the book fund4 ,on the other hand1 to  
some the cost of binding may seem so    
great that some useful periodicals will 
remain unbound4 ,but it is not necessary
 to throw away unbound periodicals4 ,if 
they are to be used only now and then in
 reference work1 it is a good plan to   
wrap them in stout manila paper with    
stiff boards on the outside1 letter     
carefully on the back and file away on  
the shelves in their regular places     
among other periodicals4  ,supplement   
the general specifications by the       
following3  #a4 ,fly-leaves should be   

made of white book paper1 #hj pounds to 
the ream1 guarded with jaconet on both  
sides4  #b4 ,end papers may be made of  
special papers used by the binder1 but  
it is wise to have a #ajj-pound manila  
guarded with jaconet on the outside and 
also on the inside of the fold4  #c4    
,first and last sections must be guarded
 with jaconet4  #d4 ,books #aj inches in
 height should be sewed regularly on    
four bands or on tapes one-quarter of an
 inch wide2 larger volumes on five bands
 or tapes4 ,sew all-along1 passing      
needle through center of tapes4  #e4 ,a 
millboard as heavy as the weight of the 
book will allow must be used4  #f4 7a7  
,books should be bound in full cloth    
made according to the specifications of 
the ,bureau of ,standards4 ,as light    
colors1 which may be lettered in ink1   
show dirt very readily it seems better  
to use a dark color and letter in gold4 
7b7 ,in large reference or college      
libraries there are certain periodicals 
that receive constant use4 ,it would be 

a mistake to bind such volumes in cloth1
 because no cloth will endure the wear  
that they receive4 ,they should be bound
 in leather1 preferably ,turkey or      
,niger morocco4 ,on no account should   
,american russia be used4  #g4 ,if      
leather is used the sides should be     
covered with ,bureau of ,standards      
cloth4   ,,newspapers  ,because         
newspapers are printed on wretched paper
 which it is freely admitted will       
disintegrate in a comparatively short   
time1 the question when to bind and when
 to throw away is a hard one to decide4 
,for the small library it is surely     
unwise to bind any except the local     
paper1 which will be used from time to  
time for local history4 ,in many cases  
it may be wiser simply to wrap the      
volumes to protect them from the light  
and file them chronologically4 ,the     
librarian of the large library1 however1
 no matter how disgusted he may be with 
the poor quality of paper used finds it 
necessary to bind a number of           

newspapers4 ,when bound they will last  
twenty-five years or more1 during which 
time they are sure to be used           
sufficiently to warrant binding4        
,newspapers must be kept away from      
light1 heat and moisture4 ,if possible1 
keep in a dark closet until ready for   
binding4 ,publishers of local papers    
ought to give a copy for binding4  #a4  
,newspapers must be bound in one-half   
duck1 best quality4  ,it is never under 
any circumstances wise to bind          
newspapers in leather4 ,duck1 to be     
sure1 gathers dirt easily1 but it seems 
to be the only material sufficiently    
strong and long-lived for binding       
newspapers4  #b4 ,fly-leaves and end    
papers should be made of extra heavy    
paper well guarded inside and outside   
the fold4  #c4 ,it is permissible to    
stitch sections lengthwise before sewing
 regularly on bands1 but oversewing is  
preferable4  #d4 ,boards of double      
thickness must be used4 ,it is best1    
perhaps1 to make the boards by gluing or

 pasting two boards of ordinary         
thickness together4  #e4 ,corners should
 be covered with vellum tips4  #f4      
,tight backs must be used4  #g4 ,sides  
must be covered with paper4  ,this      
facilitates the handling of the volumes4
 ,if cloth sides are used on newspapers 
it increases enormously the labor in    
shelving them and even of using them on 
ordinary library tables4 ,in libraries  
that can afford to shelve newspapers on 
patent shelving with rollers1 cloth     
sides are preferable4  #h4 ,libraries   
that can afford it should use a         
fibre-filling preservative on the edges4
 7,see page #aaf of the ,bulletin of the
 ,american ,library ,association for    
#aiab47   ,,reference ,,books           
,reference books should be bound in the 
same way as fiction or juvenile books1  
except that morocco1 instead of cowhide1
 should be used for books constantly    
handled4 ,books used only occasionally  
should be covered with cloth made       
according to the ,specifications of the 

,bureau of ,standards4 ,very heavy1     
thick volumes1 such as dictionaries1    
should have all the strengthening       
devices and especially should have the  
bands and canton flannel on the back    
placed in split boards or between two   
boards glued together4 ,it is impossible
 to bind such books too strongly4 ,in   
rare cases it may be well to sew heavy  
books constantly used on raised bands1  
to have leather corners1 and a strip of 
leather along the bottom of each board4 
,,law ,,books  ,some of the professions 
have conventional ways of binding       
professional books4 ,in the law1 for    
example1 it was formerly customary to   
bind all law books in full sheep of the 
natural color4 ,when sheep fell into    
disrepute1 the law publishers began to  
substitute cloth similar in shade to the
 sheep generally used--a decided gain   
for law libraries4  ,supplement the     
general specifications by the following3
  #a4 ,end papers and fly-leaves must be
 guarded with jaconet1 as described in  

specifications for fiction and juvenile 
books1 page #ic4  #b4 ,first and last   
sections must be guarded with jaconet4  
#c4 ,all maps and charts must be backed 
with muslin and not folded unless       
necessary4  #d4 7a7 ,bancroft ,legal    
buckram 7the lightest shade made71 or   
,holliston ,mills ,library buckram ,no4 
#cb1 should be used for covering4  7b7  
,books used constantly should be bound  
in half ,turkey morocco or ,niger       
morocco4   ,,music  #a4 ,the most       
essential quality of a well-bound book  
of music is its ability to lie flat     
wherever opened4 ,it is unwise therefore
 to use any kind of an overcast stitch  
in sewing4 ,regular sewing on tapes1    
instead of bands1 must be used4  #b4    
,the square at the bottom of the book   
should be greater than at the top so    
that leaves will not catch on the       
music-rack when turned over4  #c4       
,imperial morocco cloth should be used  
for covering4 ,if hard usage is expected
 half cowhide1 with sides of some kind  

of washable cloth1 is preferable4  #d4  
,part music for various instruments or  
solos with accompaniment must have one  
strong binding for the part which takes 
the most space1 with pocket on the      
inside of the back cover to hold the    
other parts4 ,if these are bulky        
compensating guards should be inserted  
in the back of the book4   ,,books ,,of 
,,illustrations  ,every library finds it
 necessary to bind a few books1 such as 
,racinet's ,le costume historique1 which
 have very little text and a great      
number of illustrations4 ,it is evident 
that the illustrations in such books are
 most useful if kept in unbound form in 
portfolios1 but when kept in such a way 
they are likely to be lost1 torn1       
mutilated or misplaced4  #a4 ,each plate
 should be guarded with thin1 tough     
paper and the guards overcast4  ,this   
insures a good strong sewing2 in        
addition the guard forms a hinge where  
it meets the plate and the plate will   
lie flat and can easily be examined when

 the book is opened4  #b4 ,because of   
the artistic nature of such books1 they 
should be bound in one-half morocco1    
taking extra care to see that acid-free 
leather is used4  #c4 ,canton flannel   
and bands1 or tapes1 should be inserted 
between split boards4 ,if the book is   
very heavy1 it would be wise to line the
 back with duck or a flesher rather than
 with canton flannel4   ,,commercial    
,,binding ,,for ,,reference ,,books     
,while they are not a part of library   
binding1 it may not be amiss to include 
specifications for commercial binding of
 heavy reference books1 such as         
dictionaries1 cyclopedias1 etc4 ,it is  
done with the hope that librarians will 
exert pressure upon the publishers to   
induce them to adopt these or other     
specifications which will produce       
equally good results4  #a4 ,four tapes  
should be used in sewing2 the tapes must
 extend on each side of the book at     
least two inches4 ,the book should      
contain as many stitches as possible1   

using the best four-strand cotton       
thread4 ,the thickness of the thread    
will depend somewhat upon the number of 
pages in a signature4 ,books should be  
sewed all along with no splitting of    
signatures at head or tail4  #b4 ,first 
and last signatures should be reinforced
 inside and outside of the fold with a  
strip of strong1 thin muslin which      
passes around the outside of the end    
papers4 ,the ,english cloth called      
jaconet is the best for this purpose4   
#c4 ,the second signature and the next  
to the last should be reinforced with   
muslin on the inside of the fold4  #d4  
,the end papers should also be lined on 
the inside4  #e4 ,illustrations should  
be guarded with muslin which is folded  
around the next signature4  #f4 ,books  
should be lined with a medium grade of  
canton flannel1 with the fuzzy side to  
the back and extending from one-half    
inch from the head to within one-half   
inch of the tail of the book1 lapping   
over at least two inches on the side4   

#g4 ,the flannel1 together with the     
tapes1 should be inserted between split 
boards4  #h4 ,over the canton flannel1  
but not extending over to the sides1    
there should be pasted a good quality of
 linen1 rope or manila paper of         
sufficient thickness to make the book   
firm4 ,in putting on this lining paper  
paste instead of glue must be used4  #i4
 ,volumes should have ,french joints4   
#aj4 ,the best quality millboard of     
suitable thickness with rounded corners 
should be used4  #aa4 ,leather should be
 made1 if possible1 according to the    
specifications of the ,london ,society  
of ,arts4 ,niger morocco is probably the
 best4 ,volumes should have leather     
corners as well as backs4  #ab4 ,for    
cloth sides1 ,winterbottom's ,imperial  
morocco cloth1 ,bancroft's ,legal       
buckram1 or ,holliston's ,library       
buckram should be used4     ,,chapter   
,,vi  ,,binding ,,before ,,purchase     
,,and ,,reinforcing   ,one way of       
economizing in libraries is to buy books

 that have been bound in strong binding 
before they come to the library4 ,it is 
not1 however1 a universal panacea which 
will reduce binding bills to a minimum4 
,on the contrary1 if not used with      
caution1 this plan will result in the   
expenditure of large sums of money for  
which the library will never receive a  
return in actual wear of the books4     
,library binders who adopt this scheme  
buy books in the sheets from the        
publishers1 put them into a strong      
binding and sell them directly to the   
library4 ,mr4 ,cedric ,chivers of ,bath1
 ,england1 was the first to adopt this  
plan4 ,later he started a bindery in    
this country1 and since then other      
binders have followed his practice4 ,for
 the librarian there are several        
advantages in this method of buying     
books4  #a4 ,books can be bound         
according to the library's special needs
 before they have received any wear1    
while the paper is fresh and clean4     
,books printed on very thick1 spongy    

paper must be sewed very strongly and   
receive special reinforcements that are 
not necessary on paper which is more    
suitable for binding4 ,if a good library
 binder buys the sheets from the        
publishers1 he can test the paper to see
 what kind of treatment it should       
receive1 and he can then bind it        
suitably for library wear4 ,if the book 
is used in the original publishers'     
binding it deteriorates much more       
rapidly than when properly bound at the 
beginning4  #b4 ,the book can remain in 
circulation at the time when it is most 
needed4 ,formerly one of the greatest   
trials in public libraries was the      
necessity of withdrawing from the       
shelves practically all the copies of a 
popular novel in order to send them to  
the bindery where they remained from    
four to six weeks1 the public meanwhile 
hurling anathemas at the librarian for  
not providing sufficient copies of the  
book4 ,not only were the books out of   
circulation when most needed1 but much  

time was used in preparing them for the 
bindery1 checking them up on return1    
putting on the library marks of         
ownership1 making cards1 marking        
pockets1 etc41 all of which added to the
 expense4 ,today1 in the case of new    
novels which are sure to be popular1    
such troubles are unnecessary4 ,instead 
of buying the original publishers'      
binding1 the wise librarian buys a      
sufficient number of copies bound from  
the sheets2 if the binding is properly  
done1 he need pay no more attention to  
them until they are worn out4 ,he has   
done what he could to prevent the public
 from becoming dissatisfied1 and he has 
saved the cost of the work required to  
send them to the bindery4  #c4 ,not only
 has he served his public better and    
saved the time of assistants1 but in    
most cases he has actually saved money  
on his binding bills4 ,let us suppose   
that he pays #a4ej for a book bound from
 the sheets2 and suppose that he also   
buys a copy of the same book in the     

publisher's cover at a cost of #a4bb1   
which1 after it has been issued twenty  
times1 has to be bound at a cost of #ej 
cents1 making a total cost of #a4gb4 ,if
 they are issued the same number of     
times there is a clear saving of #bb    
cents in favor of the book bound from   
the sheets4 ,as a matter of fact1       
however1 statistics kept by the         
,wilmington ,institute ,free ,library   
indicate that the first book will be    
issued #abe times before it is          
discarded1 and the second #ajj          
times--twenty before binding and eighty 
afterward4 ,if this be true1 it is clear
 that there is a further saving1        
provided that both have to be replaced  
when finally worn out4  ,while these    
advantages are well worth considering1  
the librarian should not necessarily get
 all his books in this form4 ,it is a   
plan which is peculiarly advantageous in
 the case of fiction and those few other
 books which are in constant use4 ,in   
the case of juvenile books one must be  

cautious4 ,juvenile books1 particularly 
books for boys1 become soiled so much   
more quickly than the adult books that  
they frequently have to be discarded    
because they are dirty rather than      
because they are worn out4 ,if the books
 were bound before purchase the library 
may have lost money1 because one can    
frequently buy a publisher's book and   
rebind it more cheaply than he can      
purchase the book bound from the sheets4
  ,most books in the classes should be  
purchased in the regular publisher's    
binding unless they are constantly used4
 ,in other words1 the use a book is to  
receive is the test of whether it should
 be bound from the sheets before        
purchase4 ,having decided that the use  
of a book warrants binding from the     
sheets1 it is well to consider other    
facts4  #a4 ,it may not always be wise  
to bind from the sheets all the copies  
of a new book by a well-known author    
whose works are always popular and      
likely to continue so for years4 ,if ten

 copies are approximately sufficient for
 use during the first year1 it is safe  
to say that in most cases they will be  
too many for the needs of the library   
during the second and third years4 ,if  
they are bound in leather before        
purchase they will not wear out and     
during the third and succeeding years a 
number of them may be deadwood on the   
shelves4 ,it is therefore wiser to buy a
 few copies in leather binding and the  
others either in a regular publishers'  
binding1 or in some publisher's cover   
reinforced4 ,when these volumes have    
come to the point where they need       
binding the period of greatest          
popularity may have passed and they may 
be withdrawn1 thus saving the library   
the expense of binding4  #b4 ,when the  
book is finally worn out and must be    
withdrawn from circulation1 the question
 always arises1 must it be replaced with
 a new copy8 ,the majority of fiction   
and juvenile books so replaced are books
 of wide popularity4 ,occasionally a    

book1 such as ,henry ,james' ,princess  
,casamassima1 or ,w4 ,d4 ,howells'      
,modern instance1 is replaced because   
the library must have it on the shelves1
 not because it is popular4 ,but        
ordinarily the popularity of a book is  
the determining factor in replacing     
worn-out copies4 ,the decision to       
replace carries with it the decision to 
keep a book on the shelves indefinitely4
 ,since the book has proved its worth   
and is to receive hard wear1 the reasons
 which prevailed against buying it in a 
strong binding when it was new no longer
 exist4 ,the strongest binding that can 
be obtained suited to the strength of   
the paper is none too strong4  ,perhaps 
the most vehement objection to books    
bound from the sheets comes from those  
librarians who have a strong sense of   
aesthetic values and who claim that     
these books are not so attractive to the
 eyes as the regular books in their     
bright and gay publishers' covers4 ,the 
objection is valid4 ,it must be admitted

 that the leather-covered books have the
 appearance of strength and             
serviceability1 but not of beauty4 ,if a
 reader knows that he wishes a          
particular book1 he will not be         
prevented from taking it because of its 
appearance1 but if it is bound in       
leather and he knows nothing about it1  
he will very likely pass it over and    
select some book which has a bright1    
attractive cover4 ,this is true even of 
adults1 while of children it is doubly  
true4 ,a large part of the popularity of
 that well-known book1 ,fighting a fire1
 is due to the attractive cover which   
almost always excites the interest of   
boys who happen to see it4  ,although   
the first cost of books bound from the  
sheets is always greater than that of   
books in the regular publishers' covers1
 it is hoped that the economy of buying 
them under certain conditions has been  
made clear4 ,there is1 however1 a       
cheaper way of buying some books which  
one would otherwise obtain in this form4

 ,every year many copies of popular     
fiction and juvenile books find their   
way to the shelves of second-hand book  
dealers4 ,some of these copies show     
signs of wear1 while some of them are in
 excellent condition4 ,in any event it  
is always wise to submit a list of      
replacements to some large dealer in    
second-hand books2 to buy such books as 
may be obtained from him 7generally at  
considerably less than one-half the     
published price72 and to send them at   
once to a good library binder for       
rebinding before placing upon the       
shelves of the library4 ,in this way one
 should get from #be per cent to        
#cc-a_/c per cent of fiction            
replacements in a substantial binding at
 a cost much less than the cost of a    
book in the original publishers'        
binding4   ,,reinforced ,,books  ,for   
those who wish strong bindings1 but who 
wish them attractive also1 reinforced   
bindings can be recommended4 ,reinforced
 books are those which have been        

strengthened either by the publishers in
 the regular course of manufacture1 or  
by some binder who takes the book as it 
comes from the publisher1 removes the   
cover1 strengthens the book and puts it 
back into the same cover4 ,a reinforced 
book generally appears in the attractive
 publisher's cover1 and it always       
appears in some form of cloth1 never in 
leather4  ,owing to the small number of 
times which books in the original       
publishers' binding were issued1 the    
committee on binding of the ,american   
,library ,association made an effort in 
#aijf to induce the publishers to issue 
a special edition for library use4 ,as  
it was recognized that the publishers   
would not take kindly to elaborate      
specifications for stronger bindings1   
the improvements asked for were made as 
few in number as possible4 ,they were   
the following3  #a4 ,sewed on three     
tapes 7very small books sewed on two    
tapes74  #b4 ,first and last signatures 
reinforced with muslin4  #c4 ,cloth     

strip in joints pasted on fly leaf and  
sewed through4  #d4 ,thin strong muslin 
over backs4  ,an attempt to demand      
hand-sewed books was abandoned when it  
was discovered that this stipulation    
added greatly to the cost of the binding
 without noticeably increasing its      
strength4 ,the main strength of a book  
bound according to these specifications 
lay in the guarding of the first and    
last signatures4  ,the honor of issuing 
the first reinforced book for library   
use belongs to ,charles ,scribner's     
,sons ,co41 who in the summer of #aijf  
bound #aejj copies of ,f4 ,hopkinson    
,smith's ,tides of ,barnegat4 ,their    
specifications1 based on those submitted
 by the ,a4 ,l4 ,a4 committee on        
binding1 required that3  #a4 ,signatures
 contain not more than sixteen pages2   
#b4 ,first and last signatures be       
guarded with muslin before sewing2  #c4 
,first and last signatures be oversewed 
7actually they were run through a sewing
 machine72  #d4 ,lining papers be       

guarded with strong drill and sewed     
through2  #e4 ,the book be sewed on two 
tapes2  #f4 ,highest grade super be used
 for back-lining2  #g4 ,books be glued  
to the back of the cover2 making a tight
 back book2  #h4 ,buckram be used for   
the covers instead of the regular       
publisher's cover4  ,the extra cost of  
the book was ten cents1 and it was an   
excellent piece of work4 ,in actual wear
 the books far exceeded the hopes of    
those who favored the plan1 for they all
 went through the period of greatest    
popularity without being withdrawn from 
circulation4 ,when they came to the     
point where they could no longer be     
circulated1 most of them were discarded 
instead of being sent to the bindery4   
,the initial success of the plan induced
 other publishers to try the experiment4
 ,in #aijh one hundred and twenty       
different books could be obtained in    
reinforced bindings from seventeen      
publishers4 ,among these publishers were
 the firms of ,century ,company1        

,harper1 ,houghton1 ,little ,brown      
,company1 ,mc,clurg1 ,putnam1           
,scribner's1 ,stokes1 and ,warne4 ,some 
of these books were well-bound1 the     
publishers evidently making a           
conscientious effort to meet the demands
 of the committee2 others were          
makeshifts not worth one-half the extra 
cost4  ,the success of ,tides of        
,barnegat encouraged ,charles           
,scribner's ,sons to give the experiment
 further trial1 and from time to time   
during a period of several months this  
firm issued books bound in this way4 ,in
 no case1 however1 was the initial      
success repeated4 ,after the experiments
 had been tried by the different        
publishers for several months the       
obstacles to the plan1 several of which 
had been foreseen1 grew greater rather  
than less1 and in the end the publishers
 gave up the plan of providing special  
editions of new fiction and juvenile    
books for library use4  ,the main       
obstacle to the successful culmination  

of the plan lay in the inability of     
librarians to order books before        
publication1 and in the inability of    
publishers to make special editions     
after the book had been published4 ,the 
success of ,tides of ,barnegat was due  
largely to the fact that the author and 
book were well known in advance of      
publication4 ,librarians knew at once   
that they wanted the book and the orders
 were filed promptly4 ,in the case of   
nearly every other book which ,scribner 
published in this way librarians could  
not decide until they had actually seen 
the book1 or at least had seen reviews  
of it4 ,quite naturally they sent in few
 orders for the books4 ,on the other    
hand ,scribner did not care to bind a   
large number of books in special binding
 unless they had some assurance that the
 books would be sold2 and they could not
 at any time afford to manufacture a    
very small number4 ,it seemed impossible
 to bridge this gap which existed       
between the publisher and the librarian4

  ,other reasons which worked against   
the success of the plan were3  7a7 ,the 
apathy of the library world in general4 
,in spite of efforts made both by       
publishers and by those librarians      
specially interested2 in spite of the   
proved success and economy of the best  
reinforced bindings1 librarians in      
general paid little attention to them4  
7b7 ,the opposition of booksellers4     
,this opposition was not violent at any 
time2 but a special edition for one     
class of buyers inevitably entailed more
 labor upon jobbers and booksellers with
 no financial return1 since there was no
 discount on the #aj;c4 extra cost4 ,it 
followed that orders from librarians for
 the special library editions were      
filled by some jobbers with regular     
editions2 and the time required to      
exchange the copy of a regular edition  
for one of a special edition was        
generally sufficient to prevent the     
librarian from returning the books4 ,had
 it been possible to have one central   

bureau to bunch orders and to distribute
 them1 greater success might have       
resulted4  ,while the effort to induce  
publishers to issue special library     
editions and to keep them in stock was a
 failure1 there were nevertheless good  
results from the venture4 ,while most of
 the commercial bindings are no better  
to-day than they were ten years ago1 yet
 the publishers know that something     
better is needed for library use4 ,small
 books which are used by children and   
receive hard usage are as a rule much   
stronger bound than formerly1 and will  
last as long as they are needed4 ,as one
 direct result of the agitation1 the    
well-known ,everyman's set can now be   
obtained in a library binding4 ,certain 
large reference books1 such as          
,webster's and the ,century             
dictionaries1 ,u4 ,s4 ,catalog1 etc41   
have been put into the strongest        
possible binding4 ,in these cases the   
publishers have tried to meet the       
demands of librarians4  ,when the       

publishers ceased to make special       
editions for libraries several library  
binders undertook to supply books in    
this form4 ,their method was to buy the 
books from the publishers1 remove the   
covers1 resew the books in the most     
approved library style and replace the  
books in the publisher's covers4 ,when  
this cover wears out the sewing is so   
good that it is only necessary to       
recover either with a regular           
leather-back binder's cover1 or with a  
home-made cloth cover4 ,by this method  
the librarian is assured of a book in   
the same cover as the regular edition1  
the necessity of sending orders in      
advance of publication is obviated1 and 
the publishers1 jobbers and booksellers 
do not have to keep a stock of a special
 edition4 ,in practice the plan works   
well4  ,librarians for years have been  
annoyed because certain books1 such as  
the ,brownie books1 have given such poor
 service no matter how they were bound4 
,in the original boards they went to    

pieces very quickly and the paper was of
 such a character that they were hard to
 rebind4 ,the strong leather bindings   
bound from the sheets were too strong   
because the paper wore out long before  
the binding4 ,in #aiab books of this    
character1 through the initiative of    
,mr4 ,h4 ,r4 ,huntting in ,springfield1 
,massachusetts1 were sewed by the       
,samson-back method1 a strong machine   
sewing2 they were then covered with     
cloth and the paper covers1 so          
attractive to children1 pasted on the   
outside4 ,the cost of the books was much
 less than that of the leather-back     
binding and they were much more         
attractive4 ,the ,samson-back method of 
reinforcement therefore practically     
solved the problem of binding large thin
 books with wide margins at the back1   
precisely the books that had given      
librarians the most trouble4            
,,chapter ,,vii  ,,cost   ,binding is a 
work of repair1 not one of expansion1   
and consequently the amount spent for   

this purpose adds little to the         
resources of the library4 ,the modern   
librarian does not begrudge money for   
salaries2 heat1 light and the general   
up-keep are items that cannot be reduced
 materially in most libraries4 ,but     
money spent on binding reduces the funds
 available for new books4 ,therefore1 a 
study of the many ways in which binding 
bills can be made smaller is well worth 
while4  ,two elements1 material and     
labor1 enter into the cost of binding1  
labor of course forming the larger part4
 ,since the cost of labor varies in     
different parts of the ,united ,states1 
it is impossible to give figures of cost
 applicable to all places4 ,furthermore1
 as the cost of both material and labor 
is increasing constantly any statement  
made at the present time might be wrong 
a year from now4  ,so far as figures of 
cost are concerned1 it therefore seems  
best to discuss maximum and minimum     
figures4 ,on this basis it is fair to   
assume that it will not be necessary at 

any time in the near future to pay more 
than fifty cents a book for fiction and 
juvenile books eight inches or less in  
height1 bound in cowhide1 government    
cloth1 or the more expensive imperial   
morocco cloth4 ,for this amount the     
librarian should get the best binding   
obtainable4 ,as high a price as this is 
actually charged by a few binders only1 
some of whom are justified in so doing  
because they give full value for the    
money1 or because the cost of their     
labor is high4  ,if less than           
thirty-five cents is paid for fiction   
and juvenile books eight inches high1 it
 is probable that the binding is not    
serviceable and therefore not           
economical2 but in rare cases bindings  
costing thirty cents a volume will give 
excellent service4 ,when low prices are 
charged the librarian should be sure    
that1 taking the ratio of cost to       
circulation into consideration1 he is   
getting full value4 ,in general1 it may 
be said that he who gets fiction and    

juvenile books well bound for less than 
forty cents a volume is to be           
congratulated4 ,naturally1 this         
statement does not apply to the large   
libraries which bind a large number of  
books every month1 and can therefore    
obtain better rates than the smaller    
libraries4  ,for books bound in cowhide 
or cloth1 the cost increases at the rate
 of from fifteen to twenty cents a      
volume for every two inches in height4  
,the price of the smallest volumes bound
 in morocco is considerably greater than
 of those bound in other materials1 and 
the increase according to size is also  
somewhat greater4 ,one dollar is the    
highest price paid within the knowledge 
of the writer for an eight-inch morocco 
book1 and sixty cents the lowest price4 
,the difference in the value of the work
 about corresponds to the difference in 
price4  ,periodicals bound in government
 cloth1 or duck1 may cost from          
fifty-five cents to eighty cents a      
volume ten inches or less in height1    

increasing fifteen cents to twenty cents
 a volume for every two inches in       
height4  ,newspapers well bound should  
not cost less than #b4jj a volume1 nor  
over #d4jj4 ,more variations will be    
found in the prices for newspapers than 
in any other kind of binding4  ,most    
binders are paid a certain amount for   
books eight inches high or less1 the    
prices differing according to the       
material used4 ,the price in a few cases
 increases with each inch or fraction   
thereof in height to ten inches2 in most
 cases the increase is for each two     
inches or fraction4 ,for example1 a book
 which measures eight and one quarter   
inches in height is charged for at the  
ten inch rate4 ,one which measures ten  
and one quarter inches at the twelve    
inch rate4 ,sometimes an extra charge   
for books which are much thicker than   
usual is justified4  ,the following     
schedule covers practically all the     
different sizes and materials which the 
librarian must take into consideration4 

,the prices given are those actually    
charged by a good library binder4       
,,rebinding  ,adult and ,juvenile and   
,miscellaneous ,books ,not ,exceeding #b
 ,inches in ,thickness                  
#h in4  #i in4  #aj in4  #ab in4        
,half ,pigskin or ,cowhide        #de   
#ee      #fe      #he     ,full ,cloth  
7,library ,buckram7   #dj     #ej       
#fj      #hj     ,full ,imperial        
,morocco ,cloth    #de     #ee      #fe 
#he                                     
,extra sizes                            
#ad in4  #af in4   per inch     ,half   
,pigskin or ,cowhide        #a4aj       
#a4cj    #bj cents     ,full ,cloth     
7,library ,buckram7   #a4jj    #a4bj    
#ae cents     ,full ,imperial ,morocco  
,cloth    #a4aj    #a4cj    #bj cents   
,books over #b inches thick charged at  
rate of size above4  ,magazines1        
,periodicals1 ,sheet and ,folio ,music  
,not ,exceeding #d ,inches in ,thickness
                                        
#h in4  #i in4  #aj in4  #ab in4        

,full ,cloth 7,lib4 ,buck47 or ,full    
,duck    #de     #ee      #fe      #he  
,full ,imperial ,morocco ,cloth         
#ej     #fj      #gj      #ie     ,half 
,cowhide                            #ej 
#fe      #he    #a4aj     ,half ,pigskin
 7,english7                  #ee     #gj
      #ij    #a4ae     ,half ,pigskin   
7,american7                 #ej     #fe 
#he    #a4aj     ,half ,morocco         
#fe     #hj    #a4jj    #a4be     ,half 
,duck 7,waterproof sides7            #de
     #ee      #fe      #he              
,extra sizes                            
#ad in4  #af in4   per inch     ,full   
,cloth ,lib4 ,buck4 or ,full ,duck      
#a4aj    #a4ce    #ae cents     ,full   
,imperial ,morocco ,cloth               
#a4bj    #a4de    #bj cents     ,half   
,cowhide                          #a4cj 
#a4fj    #bj cents     ,half ,pigskin   
7,english7                #a4ce    #a4fe
    #bj cents     ,half ,pigskin        
7,american7               #a4cj    #a4fj
    #bj cents     ,half ,morocco        

#a4ej    #a4he    #be cents     ,half   
,duck 7,waterproof sides7          #a4aj
    #a4ce    #ae cents  ,above prices   
include all lettering on books4  ,books 
over #d inches thick charged at rate of 
size larger4  ,newspapers not over #cj  
inches1 in half library buckram or half 
duck #b4be1 or in full duck1 #b4dj4     
,special prices for dictionaries1       
cyclopedias and other sizes not in above
 schedules4   ,,suggestions ,,for       
,,reducing ,,cost  ,following is a      
statement of plans for cutting down the 
cost of binding1 a few of them being    
obviously makeshifts for the benefit of 
poor or very small libraries4  ,,books  
,,bound ,,before ,,purchase  ,under this
 head will be found 7in ,chapter #f7 a  
full statement of reasons for buying    
books bound from the sheets4  ,,reprints
 ,,bound ,,before ,,purchase  ,the cheap
 reprints of popular novels which cost  
less than one-half as much as the       
original edition1 although attractive in
 appearance1 are very poorly bound and  

if bought in original covers must be    
rebound within a short time after they  
are first placed on the shelves4 ,some  
librarians find that it pays to send    
orders for books which can be obtained  
in cheap reprints directly to their     
binders1 who buy the books and rebind   
them in the regular half-leather binding
 which the library uses for its rebound 
fiction and juvenile4 ,he bills the     
books to the library at the cost of the 
volume plus the cost of binding1 the    
total in any event being considerably   
less than one dollar4 ,not over ninety  
cents should be paid and eighty-five    
cents is the general price for such     
books4 ,in this way the library gets a  
book in a good1 strong library binding  
for less than the cost of the original  
edition in publisher's cover4           
,furthermore all labor involved in      
sending the book to the bindery and     
receiving it again--no inconsiderable   
item--is eliminated4  ,,second-,,hand   
,,books  ,akin to the foregoing plan is 

the practice which some libraries have  
of sending lists of replacements to     
dealers in second-hand books and having 
all books obtained in this way rebound  
at once before putting them into        
circulation4 ,moreover this arrangement 
eliminates the time and labor necessary 
to send a book to the bindery4          
,binderies in large cities can undertake
 to supply second-hand books1 with      
advantages both to themselves and to the
 libraries employing them4 ,the library 
is relieved from the necessity of       
searching for second-hand volumes1 while
 the binder can well afford to do this  
service for a stated price per volume   
which will be reasonable from the       
library point of view1 but which will   
allow the binder profit on all books    
which he can find at very cheap prices4 
,when such a plan is adopted the binder 
should understand that the library wants
 neither the cheap books printed on     
wretched paper and having very small    
print1 nor the very fine editions with  

colored illustrations4  ,,reinforcements
  ,a reinforced book is one which has   
been removed from the original          
publisher's cover1 strengthened in      
various ways and put back into the same 
cover4 7,see chapter on this subject1   
page #ajh47 ,in its best form it means  
the complete resewing of the book with  
an overcast stitch4 ,it is advisable to 
buy such books frequently1 since they   
preserve the attractive publisher's     
cover and since they can also be        
recovered by the library itself without 
resewing4 ,statistics kept by the       
,wilmington ,institute ,free ,library   
show that such books when properly      
recovered give as good relative service 
as those which have been bound before   
purchase4 ,the main advantage lies in   
the elimination of the time necessary to
 send them to the bindery and the       
greater length of service which they    
give at the height of their popularity4 
,,recovering ,,at ,,the ,,library  ,many
 books which come to the binding        

department require rebinding in order to
 put them into the best condition1 but  
the books will be used so little that   
rebinding would not pay4 ,in the        
numerous cases in which the sewing is in
 good condition it will be possible to  
recover them at the library and letter  
them by hand4 ,in cases where the sewing
 is poor it will be possible to resew   
and recover4 ,such books are neither so 
strong nor so attractive as books which 
have been wholly rebound1 but they can  
be recovered at an expenditure of less  
than fifteen cents a volume1 as against 
forty to fifty cents a volume for       
binding1 and are in sufficiently good   
condition to wear a long time1 perhaps  
as long as the library needs them4 7,for
 description of the process of          
recovering see page #ahe47  ,,discarding
 ,,valueless ,,books  ,in the preceding 
case it has been taken for granted that 
the books in question add something to  
the resources of the library and that   
they must be kept4 ,books that have     

outlived their usefulness because they  
have been superseded by later editions1 
or by other books more authoritative1 in
 all except the largest libraries should
 be discarded4 7,for arguments in favor 
of this see ,chapter #h1 p4 #aca47      
,,leather ,,vs4 ,,cloth                 
,notwithstanding that he is repeating   
himself1 the writer wishes to emphasize 
one point4 ,it may almost be made a     
general rule1 though like other rules1  
it will not work well at all times4     
,never bind a seldom used book in       
leather1 or a much used one in cloth4   
,,cheap ,,editions  ,money may be saved 
by replacing books which need rebinding 
with good editions cheaper than the cost
 of binding4 7,see 7f71 page #abi47     
,,proper ,,care  ,the life of the book  
in the library may be prolonged in      
several ways4  #a4 ,in opening the      
leaves of uncut books at the top the    
paper knife should be carried to the    
back of the book1 using a dull knife    
that is thin1 long and tapering4  #b4   

,many books should be carefully opened  
before being placed on the shelves4     
,this is done by resting the book on its
 back and dropping the covers on the    
table4 ,taking a few leaves at a time   
first at the front and then at the back1
 press them down carefully until the    
middle of the book is reached4 ,if this 
be done there is little chance that the 
back of the book will be broken if the  
book is suddenly opened4  #c4 ,books    
should not be pressed tightly together  
on the shelves4  #d4 ,they should not be
 piled on other books resting on their  
fore-edge4  #e4 ,they should not be     
pulled from the shelves by the head     
bands4  #f4 ,they should be dusted      
frequently4  #g4 ,they should be kept   
upright on the shelves instead of       
half-fallen over4  #h4 ,in every way    
they should be handled as if they were  
books1 not bricks4     ,,chapter ,,viii 
,,preparing ,,for ,,the ,,bindery   ,to 
decide properly what books should be    
rebound and how they should be rebound  

is not a simple matter nor one which    
should be left to an inexperienced or   
uneducated assistant4 ,in addition to a 
good working knowledge of materials and 
processes the assistant in charge of    
this work should have a general         
knowledge of books--paper1 editions1    
prices1 literary value1 timeliness1     
etc4--and good judgment in deciding     
whether a book should be bound or       
whether it should be mended1 recased1   
wrapped in paper1 recovered1 or thrown  
away4 ,the binding1 therefore1 should be
 in the hands of an assistant who       
understands the demands of this         
department of library service1 and for  
economy's sake as well as for the sake  
of efficiency it should not be shifted  
from one person to another4  ,mr4 ,dana 
has shown in his ,notes on bookbinding  
for libraries how essential it is that  
binding assistants should know books4   
,credit for much of what here appears in
 support of that viewpoint is due him   
and is herewith acknowledged4  ,in      

considering the binding of fiction and  
juvenile books the following are some of
 the questions which the binding        
assistant must ask and decide before    
determining whether a book is to go to  
the shelves in a new dress1 or to the   
junk-man as waste paper3  7a7 ,is the   
book in such poor condition that it     
cannot be rebound or recased8 ,if so1 it
 must be discarded4 ,while this decision
 is generally easy to make1 it is       
sometimes made difficult by books which 
are in too good condition to throw away 
and in too poor condition to rebind4 ,in
 such cases the decision must depend on 
the popularity of the book4 ,if very    
popular1 it may be wise to rebind it1   
for it must be remembered that good     
library binders can accomplish wonders  
with books that are in poor condition4  
,sometimes the question arises whether  
the book is in poor enough condition to 
need rebinding4 ,perhaps it will survive
 a few more issues just as it stands4   
,if the book is a trifle shaky in its   

covers1 the decision should be to       
rebind4 ,the binder can do a better job 
at this time than he can when the book  
becomes more worn1 and the life of the  
book will be prolonged by prompt        
binding4 ,if the assistant decides not  
to rebind it1 the book will be issued   
only a few more times before it will    
have to be withdrawn from circulation   
and sent to the repair room again4 ,the 
result is a greater loss of time with no
 actual gain in wear4  7b7 ,is the book 
much read8 ,if it is an old one that is 
evidently popular1 it is reasonable to  
suppose that it is the policy of the    
library to supply the demand for this   
book1 and the book will be rebound as a 
matter of course4 ,a decision about new 
books which are popular is harder to    
make because it is fair to ask3  7c7 ,is
 the demand falling off8 ,it is here    
that the assistant must show good       
judgment4 ,it may be that the book can  
be rebound easily with profit1 if there 
is a sufficient demand to keep all the  

copies in circulation4 ,it may be that  
the book is waning in popularity and    
that other copies in the library are    
ample to supply present demands4 ,if    
they are1 the copy in hand should be    
canceled1 since the cost of binding will
 then be saved4 ,but the assistant      
should ascertain the condition of the   
remaining copies4 ,let us take the case 
of a novel which has been withdrawn from
 circulation because it needs rebinding4
 ,the assistant looks at the record of  
circulation on the book card or pocket  
and discovers that last year the book   
was issued four times a month1 while now
 it is issued only twice a month4 ,he   
finds also that there are four other    
copies4 ,these four copies should be    
sufficient to meet present demands1 and 
the book in hand may be withdrawn4 ,but 
suppose that further investigation shows
 that two of the four copies are in very
 poor condition and cannot be rebound4  
,if he withdraws the one in hand1 only  
two good copies will remain1 and perhaps

 these are not sufficient to supply the 
demand4 ,on the other hand1 it is       
possible that they are sufficient to    
supply the demand4 ,in any event1 the   
situation is one which requires a       
knowledge of the book itself1 its       
popularity with the public1 and general 
good judgment4 ,the question may be     
summed up in this way3  #a4 ,it is      
cheaper to rebind a book than it is to  
discard it and later be obliged to buy a
 new copy4  #b4 ,it is cheaper to       
discard a book when it seems assured    
that the book's popularity is over1 than
 to bind it and have it remain for years
 unused4  7d7 ,if the book is much used1
 is it a book that the library wishes to
 circulate8 ,every library has certain  
books on its shelves of which those in  
authority somewhat disapprove1 but which
 are very popular and not poor enough to
 be done away with altogether4 ,it is   
sometimes the policy to supply only     
partially the demand for such books2    
sometimes to discard them entirely when 

worn out4 ,the good binding assistant   
will remember the titles of these books 
and use good judgment in dealing with   
them when they come into his hands4  7e7
 ,if the book is not much read1 is it a 
standard work8 ,for example1 in the case
 of a work of ,anthony ,trollope the    
assistant discovers that it was issued  
only once during the last year and that 
it is the only copy in the library4 ,if 
he does not know books1 he will be led  
to believe that the book has no value   
and will cancel it4 ,in a large library 
an action of this sort would be unwise2 
in a small library the decision would   
depend upon the particular title4 ,most 
libraries keep a book of this particular
 class in order to supply the occasional
 demand for it4 ,there are many books   
not written by men with the reputation  
of ,anthony ,trollope which1            
nevertheless1 have intrinsic worth and  
have a small circle of admirers4 ,they  
may not have great merit1 but on no     
account should the library be without   

them4 ,as examples of books of this kind
 we may take ,mrs4 ,brush's ,colonel's  
opera cloak and ,theodore ,winthrop's   
,john ,brent4  7f7 ,can the book be     
replaced with a good reprint which will 
wear as long as a new binding and cost  
less8 ,while there are not many cases in
 which this can be done1 the assistant  
should watch for them4 ,the most        
noteworthy reprints which will meet     
these requirements are the volumes in   
,everyman's ,library4 ,in the original  
,everyman's edition these were entirely 
unsuited for library use1 but in #aiaj  
they were all put into a strong library 
binding4 ,in the cloth edition they sell
 for thirty-five cents a volume and can 
easily be issued from forty to fifty    
times before being discarded4 ,this     
makes the cost for each issue as small  
as can be obtained by binding           
higher-priced editions4  ,the following 
case1 which actually happened1          
illustrates the point1 although the     
books are not fiction4 ,grote's ,history

 of ,greece1 in twelve volumes1 was in  
bad condition2 several of the cloth     
backs were torn and the sewing of all   
the volumes was loose4 ,it was decided  
to send the books to be rebound at a    
cost of #e4dj4 ,before doing so1 the    
list of ,everyman's ,library was        
consulted and it was found that the work
 could be obtained in that form in      
twelve volumes at a cost of #d4bj1 a    
clear saving of #a4bj1 or over #bj per  
cent4 ,the work was seldom used1 yet it 
was necessary to have the set on the    
shelves2 the ,everyman's edition        
answered every purpose1 and will        
undoubtedly last as long as the rebound 
set would have done4 ,unfortunately1    
owing to copyright provisions1          
comparatively few of the books which are
 constantly wearing out can be obtained 
in this edition4  7g7 ,is it an old     
edition1 with poor paper and poor type8 
,a book of this sort should never be    
rebound but should be discarded and a   
new copy purchased even if the cost of a

 new copy be much greater than that of  
rebinding4  7h7 ,if the book is the only
 copy in the library and is read not    
oftener than once in ten years1 should  
it be kept because it is important      
historically8 ,good examples of this    
class of unused books are the works of  
,charles ,brockden ,brown4 ,they are not
 interesting at the present time1 but   
when first published were much read4    
,every student of ,american literature  
should read them1 and they should be on 
the shelves of all except the small     
libraries4 ,here again good judgment is 
called for on the part of the assistant4
  7i7 ,is the book used so seldom that  
it can be recased or recovered by the   
library8 ,the process of recasing       
7described on page #ahd7 can be used in 
the case of small-sized books which have
 covers showing little evidence of wear1
 and which do not receive hard usage4   
,the process of recovering 7described on
 page #ahe7 can be used on leather-bound
 books which have cracked at the joints4

 ,in either case the sewing must be     
perfectly sound4  7j7 ,finally1 let us  
suppose that we have asked all the      
foregoing questions and are still       
undecided what to do4 ,there will be    
very few cases of the kind4 ,perhaps the
 best solution is to wrap the book in   
paper1 letter it with author1 title and 
call number1 and transfer it from the   
fiction shelves to the regular          
literature shelves4 ,it may stay there  
for years unused and yet be at hand when
 finally called for4  ,with books other 
than fiction and juvenile many of the   
same questions must be asked4 ,in       
addition1 however1 it is sometimes      
necessary to ask the following3  7a7    
,are there later editions which are more
 valuable8 ,this question will arise    
with frequency especially in the case of
 scientific1 technical and reference    
books1 and careful judgment must be     
exercised in making decisions4 ,it often
 happens that a later edition of a      
technical book has little more value    

than the one which precedes it2         
frequently it entirely supersedes the   
earlier edition4 ,in the one case the   
book can be rebound with profit1 in the 
other it is best to discard it and buy  
the latest edition4 ,some libraries keep
 all the editions of a book for         
historical purposes2 but most libraries1
 especially the smaller ones1 will do   
better to discard older editions when   
they are superseded by later ones4      
,sometimes a book has no later edition1 
but its place has been entirely taken by
 the work of other authors4 ,in such    
cases it should be remembered that an   
out-of-date technical book in the hands 
of an inexperienced person frequently   
causes more harm than good4 ,it may cost
 more to buy a new book than to rebind  
an old one2 yet this is exactly what    
should be done in every such case if the
 funds of the library permit4  7b7 ,may 
not the library be better off without   
either the book or a substitute8 ,in the
 past librarians have hesitated to      

discard any book which has once been    
placed on the shelves4 ,they have       
believed that all printed matter has    
value and that a book which belongs to  
the library is sacred and must on no    
account be destroyed4 ,it is difficult  
to defend such an attitude4 ,if we admit
 for the time being that the librarian  
never makes mistakes in acquiring books1
 still it is sure to happen that many   
books will outlive their usefulness1    
except as a part of the history or      
bibliography of the subject4 ,why should
 they be kept on the shelves when they  
are not used and ought not to be used8  
,it cannot1 of course1 be admitted that 
the librarian makes no mistakes in      
acquiring books2 every library in the   
country will show examples of poor      
selection4 ,why1 after a mistake has    
been made1 refuse to admit it8 ,if the  
original purchase 7or acceptance of a   
gift7 was a mistake1 to keep the book on
 the shelves simply perpetuates the     
mistake and adds to the expense of      

maintenance4 ,it is no crime to discard 
a book4 ,on the contrary1 in many cases1
 it is the only sensible thing to do4   
,in doubtful cases1 however1 the book   
should be kept4   ,,arrangement  ,if the
 final decision is to bind the book the 
next step is to arrange the book in the 
way in which it should be bound4 ,the   
question of collation is one on which   
there has been a difference of opinion4 
,some librarians have claimed that it is
 best to collate books at the library in
 order to prevent imperfect books being 
bound1 since it is always disappointing 
to discover1 after a book has been      
bound1 that it is incomplete4 ,in the   
great majority of cases1 however1       
collation is a waste of time1 since good
 binders refuse to bind imperfect       
volumes4 ,in the case of very valuable  
books1 especially those with many       
plates1 and even in the case of less    
valuable books which have many          
illustrations not paged-in1 it may be   
best to collate at the library since it 

is obviously unfair to the binder to    
expect him to be responsible for        
anything except the main paging4        
,fiction or juvenile books may sometimes
 be bound when one or two pages are     
missing4 ,juvenile books1 especially1   
often go to the bindery with missing    
pages4 ,many times these missing pages  
are not especially important and in     
these cases it seems more economical to 
bind the book than to buy a new copy4   
,if the number of missing pages is not  
too great they may be typewritten from  
other copies4 ,books other than fiction 
or juvenile should seldom be bound in an
 imperfect condition4  ,another         
exception to the rule of sending books  
uncollated is in the case of popular    
periodicals1 such as ,scribner's1       
,harper's1 ,century1 etc41 where the    
library has only one copy which it      
binds4 ,since periodicals frequently    
become torn and mutilated and must be   
replaced it will save delay in having   
the volumes bound1 if the collation is  

done at the library4  ,but while        
collation is generally unnecessary1     
arrangement in proper order is          
essential4 ,in dealing with periodicals 
this is not always an easy task4 ,they  
should first be examined to see that all
 the numbers are in hand1 and that there
 is a title-page and an index4 ,it would
 seem as if there were little chance to 
go astray in doing this1 yet the        
vagaries of periodicals are innumerable 
and nothing must be taken for granted4  
,if only five monthly numbers are found 
when there should be six to complete the
 volume1 it is not best to conclude     
hastily that it is incomplete4          
,sometimes the cover indicates that two 
numbers are published in one4 ,if it is 
not so indicated one must look at the   
paging4 ,if the paging is consecutive1  
and there is a title-page and index1 it 
is safe to assume that the volume is    
complete1 even if a number is apparently
 missing4  ,the general rule for        
arranging periodicals is3 ,place title  

page at the beginning1 followed by table
 of contents1 text1 and index at the    
end4 ,periodicals in ,english are       
generally easy to arrange1 though even  
in this case one must know whether the  
periodical in hand is in the habit of   
publishing supplements which are paged  
separately1 but which are called for by 
the table of contents4 ,if such         
supplements are omitted the volume is   
incomplete4 ,an example of a periodical 
of this class was the ,annals of the    
,american ,academy of ,political and    
,social ,science1 before it changed to  
its method of issuing each number as a  
separate volume4 ,many volumes of       
,english periodicals such as ,all the   
,year ,round1 ,household ,words1 etc41  
have been bound without the ,christmas  
supplements1 which those periodicals    
always issued4 ,a few periodicals in    
,english have two or more sets of       
pagings either in each number1 or in    
some of the numbers and not in others4  
,when the numbers are taken apart and   

the proper pagings grouped together1 the
 table of contents will generally       
indicate how these should be arranged4  
,but if not1 it is usually readily      
apparent which is the main paging and   
which the minor paging or pagings4      
,though rarely found in periodicals     
printed in ,english1 this exasperating  
condition of affairs frequently exists  
in foreign periodicals4 ,the ,germans   
are especially fond of printing several 
different parts in the same number4     
,frequently a long monograph will begin 
in the first number of a volume and     
extend through two or more volumes4     
,when completed it may or may not have a
 special title-page and index of its    
own4 ,perhaps the table of contents of  
the last volume in which part of it has 
appeared will call for it as a          
supplement to that volume4 ,perhaps it  
does not4 ,in any event the paging must 
be removed from the first and succeeding
 volumes until the monograph is finally 
complete4 ,if it is not called for by   

any regular title-page or table of      
contents1 it may be bound separately4   
,sometimes a periodical will appear in  
two or more parts each month1 each part 
covering some phase of the larger       
subject indicated by the general title  
of the periodical4 ,these parts will be 
paged separately and numbered           
differently but will have the same kind 
of cover1 and care must be used to keep 
the proper parts together4              
,peculiarities and irregularities of    
this sort make periodicals veritable    
puzzles1 some of which it may take      
months to solve4  ,in arranging         
periodicals1 front covers having a      
different color from the text must be   
kept to facilitate use4  ,advertisements
 as a rule should not be bound4 ,since  
they are a part of the history of the   
times1 it is desirable for a few of the 
largest libraries to bind the           
advertising pages of one or two numbers 
a year in each periodical4 ,other       
libraries should throw them away4 ,it is

 not necessary to remove them entirely  
before sending the volumes to the       
bindery2 tearing down two or three      
inches on pages which are to be         
discarded is sufficient indication to   
the binder that they are not to be      
bound4  ,several magazines1 such as     
,mc,clure's and ,everybody's1 have1 for 
several years1 made a practice of       
leaving articles unfinished in the main 
paging and continuing them on           
advertising pages4 ,this is an annoying 
practice since great care must be taken 
to see that all text matter is complete1
 even if it becomes necessary to bind   
all advertising pages4  ,many           
periodicals1 especially those of a      
scientific character1 contain plates    
which are not paged-in4 ,if these are   
scattered through the text they may be  
allowed to stay there1 but if they are  
grouped together at the end of each     
number they should be placed together in
 proper order at the end of the complete
 volume4  ,the vagaries of periodical   

publishers are shown as much in the way 
in which they issue 7or do not issue7   
title-pages and indexes as in any other 
way4 ,the proper way1 which is seldom   
done1 is to issue both title-page and   
index in the last number of each volume4
 ,some publishers issue them in the     
first number of the next volume2 some at
 various times during the publication of
 the succeeding volume4 ,some publish a 
title-page at the beginning of the first
 number of a volume and an index when   
the spirit moves4 ,some publish a       
title-page but no index or table of     
contents4 ,others publish a title-page  
and table of contents but do not send   
them unless requested to do so4 ,many   
publish neither title-page nor index1   
and perfectly reputable periodicals     
which have published these essential    
parts of a periodical for twenty years  
or more will suddenly cease publishing  
them4 ,it is evident that title-pages   
and indexes are nuisances in preparing  
periodicals for the bindery4  ,the      

assistant in charge should keep a record
 showing 7a7 which publishers must be   
asked to send title-pages and indexes1  
and this should be done as soon as      
possible after the volumes are complete2
 7b7 in which number of a periodical    
title-pages and indexes may be looked   
for if they come regularly2 7c7 which   
periodicals do not publish title-pages  
and indexes4  ,if lack of funds makes it
 impossible to bind periodicals and they
 must be wrapped in paper it is highly  
important that title-pages and indexes  
be included1 since it may be impossible 
to obtain them when funds permit        
binding4  ,changes in the size of       
periodicals are a cause of annoyance4   
,the annoyance is not great when the    
change is from a large quarto to an     
octavo1 for the cost of binding an      
octavo is considerably less than that of
 a quarto4 ,unfortunately1 the present  
tendency is almost wholly the other way4
 ,many periodicals1 for years published 
in a comfortable octavo size have been  

changed to a much larger size4 ,this in 
itself is exasperating1 but in addition 
the publishers apparently make no effort
 to change the size with the beginning  
of a new volume1 so that part of a      
volume will be of one size and part of  
another4 ,in such cases the troubles of 
the binding assistant may be readily    
imagined4  ,while it is highly important
 to bind only complete volumes of       
periodicals1 it is occasionally         
permissible to bind volumes with guards 
for missing numbers which may be        
inserted later if they are obtained4    
,this method makes it possible to put a 
volume into permanent form better suited
 for use than unbound numbers1 and      
prevents further loss of numbers already
 in hand4 ,it can be done only when the 
numbers are very thin1 particularly in  
the case of newspapers4  ,quite a number
 of periodicals have so few pages in    
each number that a complete volume makes
 a very thin book4 ,in such cases it is 
best to bind two volumes in one at the  

cost of one4  ,among other material     
which passes through the hands of a     
binding assistant are the annual reports
 of various organizations--religious1   
charitable1 fraternal1 governmental1    
etc4 ,in large libraries these must be  
bound for permanent preservation4 ,in   
small libraries the annual reports of   
all local organizations should be bound 
if funds permit1 others wrapped in paper
 and lettered on the wrapper4 ,whether  
they are to be bound or wrapped in      
paper1 they should be grouped by regular
 periods1 preferably five or ten reports
 in a volume1 according to size1        
following the decades or half decades4  
,,instructions ,,to ,,the ,,binder      
,having decided that the volume must be 
bound and having arranged it in its     
proper order1 the next step is to       
indicate to the binder how it is to be  
bound and lettered4 ,various methods    
have been used to indicate style and    
lettering4 ,some libraries have an      
elaborate binding slip1 giving on one   

side the different materials1 colors1   
etc41 and having the other divided into 
panels for lettering4 ,a slip is made   
for each book and the binder follows it 
carefully4 ,some libraries arrange an   
arbitrary system with the binder making 
one letter or figure indicate much that 
otherwise would have to be written in   
full4 ,for example1 ,c under such an    
arrangement might mean ,bind in one-half
 red cowhide with green cloth sides4    
,some librarians give a general blanket 
order to bind all fiction in one way and
 all juvenile books in another4  ,for   
most books in ,english1 except          
periodicals1 lettering need not be      
indicated on a binding slip4 ,all that  
is necessary is to underscore lightly on
 the title page the first letter of     
words which must be used4 ,the call     
number may be put on a binding slip     
enclosed in the book1 or in the case of 
fiction and juvenile books1 it may be   
penciled lightly on the title page1 thus
 doing away altogether with the binding 

slip4 ,if there is a chance for         
misunderstanding on the part of the     
finisher1 or if an author's real name   
must be used instead of a pseudonym     
which appears on the title page1 a      
binding slip must be filled out giving  
exact lettering4  ,while exact lettering
 on a binding slip is not essential for 
ordinary books1 it is necessary for     
periodicals1 each set of which should be
 bound and lettered uniformly4 ,this may
 be assured by making out a binding slip
 giving in full the title1 dates        
covered1 volume number and call number1 
if one is used4 ,the slip goes to the   
bindery with the book1 and when the     
volume is returned is filed so that when
 the next volume is to be bound the slip
 can be consulted and a new one written 
with the necessary changes in volume    
number and dates4 ,the chief value of   
the slip is to show exactly how the     
previous volume has been bound1 so that 
the following volumes can be made       
uniform if possible4  ,a carbon copy of 

binding slips for periodicals should be 
made1 to be kept at the library for     
charging purposes4  ,when binding       
volumes which are a part of a set1 other
 than a periodical1 a slip must be made 
to be kept on file so that when another 
volume of the set comes to hand it will 
not be necessary to visit the shelves to
 see whether other volumes have been    
bound and how they have been bound4  ,in
 finishing periodicals the position of  
lettering and the size of type used may 
be kept uniform if the binder takes what
 is called a rub or rub-off of the book 
after it is lettered and keeps it on    
file at the bindery4 ,this can easily be
 made by laying a sheet of thin1 but    
tough1 paper over the back and rubbing  
it with shoemaker's heel-ball which will
 show white lettering on a black        
background4 ,when the next volume comes 
to the bindery the rub-off shows exact  
height of boards1 exact position of     
lettering and size of type4  ,a few     
libraries have had a dummy back made for

 each periodical showing color and kind 
of material in addition to other        
details4 ,but the cost of a dummy is not
 slight and a new one must be made      
whenever any change in title or size    
occurs4 ,large college or reference     
libraries may need dummy backs for their
 numerous sets of foreign periodicals   
having various marks1 such as umlauts1  
etc41 over or under letters4 ,when a    
library operates its own bindery it is  
possible to send the last bound volume  
as a sample4 ,while this adds much to   
the routine1 its main advantage is that 
it eliminates the possibility of        
mistakes due to defective dummy or      
indistinct rub-off4   ,,lettering  ,it  
is necessary that binders understand    
exactly how books are to be lettered1   
what kind of type to use and the        
position on the back of the book which  
each item of information must have4     
,there are differences of opinion as to 
the best ways of lettering1 but it is   
essential that every librarian have     

uniformity in his own library1 even if  
he disagrees with his fellow workers4   
,in all lettering a bold1 clear type    
should be used1 and all figures should  
be in ,arabic1 since it is plainer than 
,roman4  ,in most leather bindings the  
back is divided into five or six panels1
 making it possible to obtain uniformity
 by setting aside each panel for a      
definite purpose4 ,if desired1 another  
narrow panel may be made in which to    
stamp a mark of ownership4 ,paneling is 
a useful device in the case of books    
which are eight inches or more in       
height1 but in the case of juvenile     
books and fiction it may be omitted     
entirely4 ,as most of these books       
require simply author1 title and call   
number1 if one be used1 the device of   
paneling adds to the labor in binding   
and serves no useful purpose in the     
library4 ,it should be used on most     
other books bound in leather and on all 
periodicals bound in cloth or duck4     
,which shall go at the top of the book1 

author or title8 ,in favor of the title 
it can be claimed that all publishers   
letter the title first with the author  
second2 and since in non-fiction the    
books in publishers' covers on the      
shelves will outnumber the rebound      
books1 it is advisable to put the title 
first in order to have uniformity4 ,on  
the other hand1 it can be claimed that  
the arrangement under the class is by   
author1 that most library assistants    
look for the author rather than the     
title1 and that it is therefore         
advisable to put the most important item
 of information at the top in the       
position of greatest prominence4 ,in the
 opinion of the writer this advantage   
outweighs any other4  ,it may be        
assumed1 therefore1 that the best       
arrangement is author1 title1 volume    
number if necessary1 and call number4   
,in the case of fiction1 juvenile books 
and all other books from which it seems 
desirable to omit panels1 these items   
will be put on with sufficient space    

between to make them independent of each
 other4 ,the bottom of the call number  
should be #a-a_/d or #a-a_/b inches from
 the tail of the book on all books in   
the library1 except oversized books1    
which should have the call number at the
 top 7,fig4 #af74 ,if panels are used1  
the author's name should be near the    
bottom of the first panel1 the title in 
the second1 volume number in the fourth 
and call number in the fifth 7,fig4     
#ae74  ,if two books are bound together1
 letter1 author and title of the second 
book in the third panel 7,fig4 #ag74    
,when a work is in more than one volume 
with separate titles for each volume1   
place the author's name in the first    
panel1 general title in the second1     
volume in the third and the title of the
 particular volume in the fourth 7,fig4 
#ah74  ,if six panels are used1 each    
item is dropped one panel4  ,in most    
cases the author's last name is         
sufficient1 but occasionally it may be  
necessary to use initials to distinguish

 between authors having the same name4  
,use both surnames of joint authors     
7,fig4 #ai74 ,for pseudonyms use the    
form adopted by the cataloging          
department4 ,for example1 if the catalog
 entry is under ,clemens instead of     
,twain1 letter ,clemens on the book4    
,both real name and pseudonym may be put
 on the back1 but it does not seem      
necessary4 ,in the case of the classics 
add the name of translator or editor in 
the panel under the title 7,fig4 #bj74  
------------  ------------  ------------
  ------------                    #iad4e
                                        
,beecher        q,j #bc         ,patton 
,bancroft                      ,james   
------------  ------------  ------------
  ------------                          
,home                        ,sermons   
,italian      ,and ,school      ,works  
,hours        ,sewing                   
------------  ------------  ------------
  ------------                          
,rarer                                  

,hot ,weather      #cj                  
,dishes                     ------------
  ------------  ------------            
------------                            
#a                                      
,oregon                                 
#b         ------------  ------------   
------------  ------------              
#beb                         #fda       
#igi4e         ,b #cih                  
,r #fid          ,b #bb                 
------------  ------------  ------------
  ------------                          
------------  ------------  ------------
  ------------       ,fig4 #ae          
,fig4 #af         ,fig4 #ag        ,fig4
 #ah     ------------  ------------     
------------  ------------     ,kipling 
,national                    ,balestier 
,plato       ,conference                
on ,city                                
,planning                   ------------
  ------------  ------------            
------------                            
,nineteenth     ,naulahka               

,dialogues    ,proceedings    ,century  
------------  ------------  ------------
  ------------                          
,jowett           #a                    
------------  ------------  ------------
  ------------                          
#a           ,chicago                   
------------  ------------  ------------
  ------------                          
,jan4-,june                       #hhh  
#ceb           #ahid           ,k #ege  
,p #fi         ,n #bc           #ce     
------------  ------------  ------------
  ------------                          
------------  ------------  ------------
  ------------       ,fig4 #ai          
,fig4 #bj         ,fig4 #ba             
,fig4 #bb    ------------  ------------ 
------------  ------------              
,nature                                 
------------  ------------  ------------
  ------------                          
,national      ,littel's                
,municipal      ,living                 
,independent                    ,review 

,age                      ------------  
------------  ------------  ------------
    ,nov4 #ahie                         
,apr4 #ahif                             
#ec                                     
------------   ------------             
------------  ------------   ,apr4-,june
                                        
,july-,sep4       #aijc                 
#aiac          #ahhh           #ee      
#b           #agh          ,part #b     
------------  ------------  ------------
  ------------                          
,series #e                              
#fc                        ------------ 
------------  ------------  ------------
                                        
------------  ------------  ------------
  ------------       ,fig4 #bc          
,fig4 #bd         ,fig4 #be             
,fig4 #bf     ------------      ------  
------------  ------------              
,griggs                                 
------------                ------------
  ------------                      ,use

       ,harper's                        
,punch            of       ,magazine    
,monist                          the    
------------      ,margin               
------------  ------------              
#agj-;,g                                
------------        #hg                 
------------  ------------              
#ahhb                        ,index     
#aijh           #hb-hc                  
#a-dj          #ah         ------------ 
------------  ------------              
,index                                  
#a-ag        ------------               
------------  ------------              
------------      ------    ------------
  ------------       ,fig4 #bg          
,fig4 #bh       ,fig4 #bi         ,fig4 
#cj  ,when the names of foreign cities  
or countries must be placed in the      
author panel1 use the ,english form4    
,names of government departments1       
bureaus1 etc41 should be inverted if    
necessary to bring the distinctive word 
first4 ,for example1 use ,health bureau1

 not ,bureau of health4  ,in lettering  
titles it is seldom desirable to omit   
the first part of the title in order to 
use words which are more distinctive1 in
 other words1 to use a binder's title4  
,if it is necessary it should be done   
with care and discrimination4           
,ordinarily1 give first words1 omitting 
articles4 ,very long titles must be     
condensed1 sometimes at the expense of  
clearness4  ,proceedings of             
organizations which meet in different   
cities should have the name of the place
 of the meeting lettered in the third   
panel 7,fig4 #ba74  ,on periodicals1 the
 author panel is left vacant and the    
title of the periodical given in full in
 the second panel4 ,here it is never    
permissible to omit first words1 except 
articles4 ,letter ,american review of   
reviews1 not ,review of reviews4 ,in    
case of foreign periodicals it may be   
necessary to place a sub-title in the   
third panel when a periodical is issued 
in two or more parts and each part bound

 separately with a distinct title page4 
,with this exception1 leave the third   
panel vacant and letter date and volume 
number in the fourth panel4 ,place first
 the months covered by the volume1      
followed by the year 7,figs4 #bb and    
#bc47 ,use the first three letters of   
each month1 except ,june and ,july1     
which should be given in full4 ,on      
foreign periodicals use the ,english    
abbreviations for months4 ,if the volume
 covers the calendar year the months may
 be omitted 7,fig4 #bd74 ,in the same   
panel place the volume number beneath   
the year4  ,if the periodical has more  
than one series give dates and total    
volume number1 placing underneath the   
series number and volume of series 7,fig
 #be74  ,if the unbound volume of a     
periodical is too large to be bound in  
one book1 bind it in two volumes and    
letter the exact months in each part1   
placing ,part #a and ,part #b underneath
 the volume number 7,fig4 #bf74  ,if two
 volumes are bound in one give the      

inclusive volume numbers 7,fig4 #bg74   
,in the case of periodicals having more 
than one series and which are indexed in
 ,poole's index or the ,readers' guide1 
the volume number given first should    
correspond with the one given in the    
indexes4  ,thin volumes must be lettered
 lengthwise in the same order as        
outlined above4 ,always letter from head
 to tail4 ,this facilitates reading on  
the shelves1 since shelves are naturally
 read from left to right4 ,in lettering 
lengthwise place the book number below  
the class number1 if there is room1 if  
not1 after the class number with a      
hyphen between 7,fig4 #bh74  ,oversized 
books which must be shelved on their    
sides should also be lettered from head 
to tail4  ,if the book is an index      
complete in itself letter the word      
,index in the fourth panel1 followed by 
the inclusive volume numbers covered by 
the index 7,fig4 #bi74  ,if a periodical
 index covering several volumes is      
included at the end of one of the       

volumes1 place the word ,index and the  
inclusive volume numbers underneath the 
dates and regular volume number 7,fig4  
#cj74  ,other questions are sure to     
arise1 but they can be solved           
satisfactorily if it be remembered that 
the essentials are definiteness and     
clearness4     ,,chapter ,,ix  ,,binding
 ,,records ,,and ,,routine   ,binding   
records must be as simple as possible1  
but they should  #a4 ,instruct the      
binder4  #b4 ,show what books are in the
 bindery and when they were sent4  #c4  
,show how previous volumes of a set have
 been bound4  #d4 ,act as a check on    
books when returned4  #e4 ,show the cost
 of binding4  ,some librarians keep a   
record of all books bound1 called a     
binding book4 ,to the writer the need of
 a permanent register of books bound is 
not apparent4 ,it is much easier to keep
 in other ways a record of books        
actually in the bindery and after the   
books have been bound and returned to   
the library the value of having the fact

 recorded in any other place than on the
 accession book is negligible4 ,in the  
case of popular books easily replaced we
 may even question the necessity of     
recording in the accession book the fact
 that a book has been bound4 ,any other 
permanent record seems useless4  #a4    
,when books are sent to the bindery the 
binder must be told3  a4 ,in what       
material each book is to be bound4  b4  
,how each book is to be lettered4  ,the 
best way to indicate lettering1 etc41   
has been shown in the chapter ,preparing
 for the bindery4 ,the designation of   
material and color can frequently be    
done by giving a blanket order if the   
books are of the same character4 ,for   
example1 if all the books are fiction it
 is perfectly feasible to send a written
 order1 stating that they are all to be 
bound in half brown cowhide with red    
cloth sides1 ,french joints1 etc4 ,if   
the shipment is a miscellaneous one of  
periodicals1 reference books1 fiction   
and juvenile books it may be necessary  

to state on the binding slips how each  
book is to be bound4  #b4 ,for public   
libraries the question of keeping a     
record of books that are in the bindery 
is a simple one4 ,the use of book cards 
for charging purposes is practically    
universal4 ,all that is necessary is to 
remove the book card from the book1     
stamp the name or first initial of the  
binder's name and the date after the    
last charging date 7,z#be;,ap#ad71 and  
file the cards just as they are filed at
 the loan desk4 ,if a book cannot be    
found on the shelves or in circulation1 
it takes but a few seconds to discover  
whether or not it is in the bindery4    
,when the book is returned the card is  
replaced in the book4 ,this is the      
easiest way of keeping this record and  
shows at once how many times a book     
circulated in the publisher's covers    
before it needed to be bound4  ,for     
books which have no book cards1 such as 
reference books and periodicals1 it will
 be necessary to write a slip which can 

be filed as a record with the book      
cards4 ,if a binding slip must be sent  
to the bindery1 by using carbon paper   
both slips can be made at the same time4
 ,the binder should be notified if books
 have not been returned2 if unable to   
find them he must pay for them4  ,it is 
possible that some may think this method
 of keeping records unduly lax2 that    
without a permanent record in book form 
many errors will creep in and that books
 will be lost4 ,the answer to such a    
criticism is that in the ,wilmington    
,institute ,free ,library it has worked 
for a period of ten years4 ,during that 
time more than #be1jjj volumes have been
 bound by five different binders1 and   
the writer does not recall that a single
 volume has gone astray or that there   
have been any errors which would have   
been avoided if a record had been kept  
which required a careful invoicing of   
each volume sent to the bindery4 ,when  
the books are shipped a statement is    
sent to the binder that so many volumes 

are in the shipment and it is his       
business to keep the books in this      
shipment together and return all at the 
same time4 ,it is his responsibility1   
not that of the librarian4  #c4 ,records
 showing how previous volumes of a set  
are bound should be kept as outlined    
under ,preparing for the bindery1 page  
#adj4 ,the binding slip for the last    
volume of the periodical will show how  
it is bound4 ,as an alternative to the  
carbon slip for periodicals it may be   
possible to keep a record of volumes in 
the bindery on the periodical checklist1
 if that be kept on sheets4 ,a similar  
record should be kept for all books with
 volume numbers4 ,for example1 if volume
 #aj of ,smith's works comes to the     
binding assistant a binding slip should 
be made out which records the material  
and color in which the book is to be    
bound1 together with exact lettering    
used4 ,when returned from the bindery   
this slip should be filed and referred  
to when another volume of the same work 

needs to be bound4 ,unless this is done 
it will be necessary to go to the       
shelves to see whether other volumes    
have been bound4 ,if only one volume has
 been bound and that is in the hands of 
a reader it will be necessary to wait   
until it is returned1 all of which means
 loss of time4 ,no book with a volume   
number should be sent to the bindery    
without consulting the file of binding  
slips4 ,if there is no record that a    
previous volume has been bound it may be
 advisable for the assistant to go to   
the shelves to see if there are other   
volumes of the same set which need      
binding4 ,it is little more work to send
 five volumes than to send one4  #d4    
,from what has been said it can readily 
be seen what sort of a check is placed  
upon the binder4 ,books sent to him are 
charged to him as if delivered to a     
borrower4 ,if he does not return them he
 must pay for them4 ,let the method be  
elaborate or simple1 this is all that it
 amounts to4 ,it behooves the librarian1

 therefore1 to make his charging as     
simple as is compatible with safety4    
#e4 ,records of cost may be kept in     
various ways1 but the essential facts   
which it is best to record are3  a4     
,number of volumes rebound2  b4 ,number 
newly bound2  c4 ,number resewed or     
recased2  d4 ,number repaired at the    
library2  e4 ,total cost4  ,if desired1 
the cost of each of the foregoing items 
may be kept4 ,a large library will also 
need to keep a record of the binding for
 each branch1 and possibly for each     
department in the main library4  ,in    
most cases it is not necessary for the  
binder to send a bill itemized by author
 and title4  ,it will be sufficient if  
he bill the books in some such way as   
this3      #eb vols4 ,cowhide           
#h in4  4#de #bc4dj     #af vols4       
,buckram                #aj in4  4#fe   
#aj4dj     #f vols4 ,imperial morocco   
cloth   #h in4  4#ej   #c4jj     #b     
vols4 ,morocco                  #h in4  
4#gj   #a4dj                            

------                                  
#ch4bj  ,books may more easily be       
checked with such a bill than with an   
itemized one4 ,the information may then 
be drawn off on a sheet1 allowing a     
column for each material and size1      
monthly and yearly statistics being     
easily compiled from these sheets4 ,if  
it is the policy of the library to send 
an itemized invoice of books to be bound
 the binder should return the invoice   
with prices for each volume added4  ,in 
large libraries1 such as the large      
college and reference libraries and     
public libraries with many branches1    
more elaborate binding records than     
those just outlined are necessary4      
,college libraries1 which do not as a   
rule have book cards1 will find it      
necessary to make out a slip of one kind
 or another for charging purposes4 ,in  
large library systems books should be   
sent directly from the branch to the    
binder and returned to the branch4 ,a   
record should be sent to the head of the

 binding department at the main library1
 showing the number of volumes sent with
 the date1 also the date when the books 
were returned to the branch4 ,each      
branch should1 of course1 keep records  
in much the same way as a single small  
library1 but the needs of statistics    
require further records at the main     
library4  ,it is probable that each     
large library will have to work out     
forms suitable for its own needs1 but   
the following are suggested as feasible4
                                        
----------------------------------------
----                                    
,volumes                                
#a_/b ,mor4                             
------------------------------          
,lib4 ,buck4                            
,cloth                                  
------------------------------          
#a_/b ,duck                             
#a_/b ,pig                              
------------------------------          
,light ,brown                           

,dark ,brown                            
------------------------------          
,black                                  
,dark ,blue                             
------------------------------          
,dark ,green                            
,red                                    
----------------------------------------
----              ,binding slip4 ,size  
#fx#d in4  ,material and color are      
indicated on the left by underlining4   
,author1 title1 volume number1 etc41 are
 written in proper panels4              
----------------------------------------
-------              ,blankton ,public  
,library                                
,branch                  ,date          
,following books are ready for binding3 
444444 vols4 to be bound in #a_/b       
morocco4            444444 vols4 to be  
bound in library buckram4        444444 
vols4 to be bound in #a_/b duck4        
444444 vols4 as samples4                
444444 vols4 to be repaired4            
444444 vols4 for corrections4           

4444444444444444444444444444            
,branch ,librarian4                     
----------------------------------------
-------                     ,size #e x  
#c in4  ,this slip is filled out by the 
branch librarian and sent to supervisor 
of binding1 who decides who shall bind  
the books and sends the order to the    
binder4                                 
----------------------------------------
-------------               ,blankton   
,public ,library                        
,order ,no4 #ajjb4                      
44444444444#aia                         
,messrs4 44444444444444444444444444     
,please send to 444444444444444444444   
,branch             for the following   
books3                                  
444444 vols4 to be rebound4             
444444 vols4 samples4                   
444444 vols4 to be repaired4            
444444 vols4 for corrections4           
,bind according to specifications1      
following           instructions for    
style on binder's slip in each book4    

,please return books with bill to the   
,branch4                                
4444444444444444444444444444444         
,supervisor4                            
----------------------------------------
-------------                           
,size #e x #c in4  ,when books are      
returned to the branch they are checked 
up with the bill4 ,if there are no      
discrepancies the bill is sent to the   
binding supervisor4                     
----------------------------------------
-----       ,order ,no4 #ajjb4          
,sent44444444444 #aia                   
from 444444444444444444444 ,branch      
to 4444444444444444444444444444444444   
444444 vols4 to be rebound4             
444444 vols4 samples4                   
444444 vols4 to be repaired4            
444444 vols4 for corrections4           
,returned 44444444444 #aia  ,amt4       
44444444                                
,blankton ,public ,library4             
----------------------------------------
-----                        ,size #e x 

#c in4  ,this slip1 made out at the     
central library upon advice from branch 
librarian that books have been shipped1 
is filed numerically4 ,when bill is     
received1 the information is drawn off  
on a monthly sheet4 ,a similar slip can 
be used to keep records for each branch 
separately4  ,the weekly or monthly     
statistics sheets ought to give in      
vertical columns the number of volumes  
and cost of each kind of binding and    
repair work used by the library4 ,they  
will include one-half cowhide1 one-half 
morocco1 library buckram1 one-half duck1
 reinforcing1 recasing1 lettering1 etc4 
,the first column at the left will have 
the names of different departments and  
branches4 ,the last column on the right 
will give the total expenditure for each
 department and branch1 and the footings
 of columns will give the cost of each  
kind of work4 ,if necessary this sheet  
can also indicate number of volumes     
rebound and the number of volumes newly 
bound4   ,,binding ,,routine  ,in       

preparing books for the bindery and     
keeping binding records a regular       
routine should be adopted which should  
be followed as closely as possible in   
order to avoid errors4 ,each library    
should adopt a routine suited to its    
needs1 modifying when necessary the     
following suggestions4  ,binding        
,routine for ,small ,library  #a4       
,examine book1 noticing condition1      
completeness1 title pages1 indexes1     
etc41 and decide how book is to be      
bound4  #b4 ,underline on title page the
 first letter of words which must be    
lettered on back4 ,pencil call number on
 reverse of title page4  #c4 ,if volume 
is a periodical or a volume in a set    
make out binding slip giving volume     
number and dates4  #d4 ,file book cards 
at loan desk4  #e4 ,send books to       
bindery4  #f4 ,when books are returned  
check bill with books to see that no    
mistake has been made in charges4  #g4  
,replace book cards in books4  #h4 ,file
 slips for periodicals4  ,binding       

,routine for ,medium-,sized ,library    
#a4 ,examine books for binding noticing 
condition1 completeness1 plates1 title  
pages1 indexes1 number and condition of 
copies1 editions and various other      
points noted under ,preparing for the   
,bindery4  #b4 ,if the book is a        
periodical find title page and index4 ,a
 special record ought to show when these
 are due and which periodicals do not   
publish them4 ,arrange exactly as the   
book is to be bound4  #c4 ,if the book  
is a periodical consult file showing how
 previous volumes have been bound and   
make out a binding slip with carbon     
copy1 making such changes as are        
required by changes in title1 date and  
volume number4 ,the binding slip should 
be laid in the front of the book4  #d4  
,if the book is one of a set see if     
other volumes have been bound4  #e4 ,for
 books1 not periodicals1 indicate       
lettering by underlining on the title   
page the first letter of each word that 
is to go on the back4  #f4 ,indicate    

color1 material1 volume number1 call    
number1 etc41 on a binding slip which   
should be laid in front of the book4 ,if
 the shipment is all fiction and no call
 number is used it will not be necessary
 to make out any slip of instruction4 ,a
 blanket order may be made saying that  
all books are to be bound in a certain  
way4  #g4 ,when ready to send to the    
bindery1 remove book card or carbon copy
 of binding slip4 ,leave slips          
containing information for the binder in
 the book4  #h4 ,pack books and send to 
the binder1 notifying him of the date of
 shipment and the number of volumes sent
 as follows3       #if vols4 to be      
rebound4      #be vols4 of periodicals4 
#c vols4 to be recased4       #d vols4  
of corrections4       #b vols4 of       
samples4     ---     #acj  7,it         
sometimes happens that a volume of a set
 is going to a binder who did not bind  
the previous volumes4 ,in such a case   
the second binder has no rubbing and a  
sample volume or a rubbing must be      

sent47  #i4 ,stamp carbon slips1 and    
book cards after the last charging date1
 with the name or initial of the binder 
and the date sent4  #aj4 ,file book     
cards and carbon slips alphabetically by
 author1 or first word of title in the  
case of periodicals4  #aa4 ,when books  
are returned from the bindery see that  
bill is correct4  #ab4 ,see that books  
are lettered correctly1 returning such  
as are incorrect4  #ac4 ,remove book    
cards from the file and place in the    
books4  #ad4 ,letter book pockets or    
book plates with call number and        
accession number1 if this is the custom 
of the library4  #ae4 ,send periodicals 
and other books which have not been     
properly recorded to the order or       
accession department to follow regular  
routine for new books4 ,books that have 
been rebound may go directly to the     
shelves4  #af4 ,file binding slips for  
periodicals and destroy slips for       
previous volumes4  #ag4 ,if it is the   
custom of the library to enter cost of  

binding in the accession book it will be
 necessary to put the accession number  
and cost on the binding slip4 ,these    
slips may then be arranged numerically  
by accession number and the cost entered
 in the accession book4   ,routine for  
,large ,college and ,reference          
,libraries  ,the routine just given is  
as simple as can be made without        
endangering the safety of books4 ,it is 
not sufficiently accurate for the large 
libraries1 especially the college       
libraries which bind a large number of  
periodicals belonging to many           
departments1 each department being      
obliged to pay for its own binding4     
,this requires complex records in the   
binding department4 ,in order to        
eliminate as many mistakes as possible  
it will be necessary to have a binding  
card for each periodical and for sets4  
7,see ,fig4 #ca7  ,this card has a line 
for the title1 a place for the          
description of the binding1 and is ruled
 on both sides4 ,on the right-hand side 

it is ruled in three columns--price1    
sent1 returned4 ,the lettering may be   
indicated by vertical lines in the      
title1 one for change of line in the    
same panel1 two for change of panel4    
,harper's ,magazine                     
,color         ,style                   
,volumes            ,price   ,sent      
,ret'd                                  
----------------------------------------
---------                               
----------------------------------------
--------                                
----------------------------------------
--------                                
----------------------------------------
--------                                
----------------------------------------
--------                                
----------------------------------------
--------                                
----------------------------------------
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----------------------------------------
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----------------------------------------
------------                ,,figure    
#ca4 ,size #e x #c in4  ,when no volume 
of a set is at the bindery the card is  
left in a permanent file of bindery     
cards4 ,when a volume is sent to the    
bindery the card is transferred to a    
temporary file1 showing what periodicals
 are at the bindery4  #a4 ,examine      
volumes for completeness2 see that all  
numbers of periodicals are included and 
arranged in proper order4 ,in the case  
of books examine quickly for missing    
signatures4 ,with both books and        
periodicals leave page collation to the 
binder4  #b4 ,make charging slip and    
send to the loan desk4 ,books for       
departments should be charged in the    
departments and not at the loan desk4   
#c4 ,if a periodical1 find title-page   
and index 7if one is not published there
 should be a note to that effect on the 
binding card72 and if separate1 lay     
inside the volume4  #d4 ,if volume is   
part of a set examine binding records to

 see if other volumes have been bound4  
,if no record is found in binding files 
look in catalog and order records to see
 if other volumes are already in the    
library1 or have been recently bought   
and are not yet cataloged4 ,if it is    
desirable to match exactly old sets     
bound elsewhere1 make a rub-off for the 
binder and indicate the material and    
color4 ,if the volume is one of a new   
set make decision in regard to style of 
binding and order a sample back4  #e4   
,if a periodical1 get old card from     
binding returned file4 ,in the case of  
new periodicals and books a card must be
 made1 and the binder instructed to make
 a sample back for future use4 ,enter   
volume on card 7one volume a line1      
unless several volumes are to be bound  
together74  #f4 ,fill out binding slip  
7see page #aed71 indicating full        
lettering1 proper spacing1 style and    
material4 ,also make note on bottom of  
slip for such directions as make sample 
back1 include all front covers1 no title

 page or index published1 etc4  #g4 ,in 
the case of separate books it will be   
necessary to make out a card similar to 
the periodical binding card to be used  
in sending invoice of shipment to the   
binder4  #h4 ,place binding slip in     
front of volume2 tie up periodicals and 
lay aside with the volumes waiting to be
 shipped4  #i4 ,when shipment is ready  
to be sent1 arrange cards3  a4 ,by      
departments which are responsible for   
the cost of binding2  b4 ,alphabetically
 by author or title under departments4  
#aj4 ,make typewritten list in          
triplicate 7or more if necessary7 of    
volumes for each department2 one copy   
for filing1 one for the binder and one  
to go to the order department with an   
estimate of the cost to serve as a      
charge against the proper department4   
,if the departments against which       
charges must be made are many it may be 
simpler to list the books as they come1 
even if several departments are on one  
page1 and to draw off from this the     

charges for the order department4 ,where
 departments are numerous and the record
 of each department is kept on a        
separate sheet there are a great number 
of sheets to handle1 causing annoyance  
both in the binding department and in   
the bindery4 ,two lists may be sent to  
the binder so that he may add prices to 
one when the books are returned4 ,this  
saves his time and also that of the     
binding assistant4  #aa4 ,stamp date on 
the binding card in the column marked   
sent4  #ab4 ,stamp name of binder on    
binding card if the work is divided     
among different binders4  ,if all the   
work of the library goes to one binder  
this will not be necessary4  #ac4 ,ship 
the books4  #ad4 ,file one copy of the  
list made out as noted in ,no4 #aj1 send
 one copy to the binder1 and add the    
estimated cost to the third list which  
is sent to the order department4  #ae4  
,file cards in binding sent file4  #af4 
,when books are returned itemized bills 
are sent by the binder made out to each 

department4  #ag4 ,check books with the 
bills1 arranging books in order of      
bills4  #ah4 ,take cards out of binding 
sent file in order of bills so that     
bills1 books and cards are in the same  
order4  #ai4 ,compare lettering with    
slip to see if correct1 lay aside such  
as are incorrect to be returned to the  
binder4 ,destroy slips4  #bj4 ,see if   
charge is correct and enter on binding  
card in column marked price4 ,if there  
is a sample back1 enter the cost and    
letters ,s4 ,b4 above the line of the   
volume for which it is made4  #ba4      
,stamp date of bill on card in column   
marked returned4  #bb4 ,stamp date of   
bill and cost in book on first recto    
after title page3 #bg ,june #aiad       
,binding #ge4  #bc4 ,send books to the  
cataloging department for cataloging1   
shelf-listing1 etc4  #bd4 ,draw off on  
statistics sheet number of volumes and  
cost4  #be4 ,send bills to the order    
department4  #bf4 ,file cards for       
periodicals and all books with volume   

numbers in permanent file4 ,destroy     
cards for single books4     ,,chapter ,x
  ,,repairing1 ,,recasing1 ,,recovering1
 ,,etc4   ,practically all repairs to a 
book short of rebinding should be made  
in the library1 since the work requires 
little space and no machinery1 and the  
books may speedily be replaced on the   
shelves for general use4 ,large or      
medium sized libraries can well afford  
to hire one or more girls as menders1   
while the small library must utilize the
 spare time of regular assistants4      
,when books are sent to the binding     
department they should be sorted into   
the following groups3  ,books to be 7a7 
rebound1 7b7 recased1 7c7 recovered1 7d7
 mended1 7e7 discarded2 to have 7f7 new 
sides1 7g7 new labels1 7h7 new book     
cards or pockets4  ,when menders are    
employed all except those in the first  
group may be cared for in the library4  
,in sorting the books the question of   
whether to rebind or repair at the      
library must be decided for all books1  

except those in the discarded class and 
those which need new records 7tags1     
pockets1 book cards1 etc474 ,the        
decision is not always an easy one to   
make4 ,the kind of library in question1 
whether public1 college1 subscription1  
etc41 will influence the decision1 as   
well as the actual condition of the     
book4 ,a few general rules about mending
 may help in making decisions4  #a4 ,if 
the book has never been rebound and in  
all probability must go to the bindery  
in a few months' time1 send to the      
bindery at once4 ,mending not only adds 
nothing to the life of this book1 but   
may easily shorten it4  #b4 ,mend books 
which have been rebound once but which  
it would not pay to rebind again4       
,judicious mending of such books may    
keep them in service for a long time1   
but there comes a day when the use      
gained does not pay for the time put    
upon them4  #c4 ,mend books which have  
nearly outlived their usefulness or     
which are to be withdrawn absolutely    

when worn out4 ,the question need be    
decided only when the book is fairly    
clean1 for if very soiled it should be  
withdrawn at once4  #d4 ,mend books     
which must be on the library shelves1   
but which are seldom used4  #e4 ,mend   
books printed on heavily loaded papers  
which will not pay to rebind4 ,there    
are1 unfortunately1 many of them4  #f4  
,mending cannot be done if the sewing is
 completely broken1 though it is        
sometimes possible to insert signatures 
which are loose4  #g4 ,books with broken
 corners must be rebound4  #h4 ,recase  
books which have sewing intact and      
covers in good condition1 if they will  
be used comparatively seldom4  #i4      
,recover books which have worn covers   
but firm sewing4   ,,mending ,,materials
  ,,adhesives  ,paste4 ,home-made pastes
 are cheapest4 ,while there are various 
recipes for paste1 either of the        
following will give satisfaction3       
7#a7      ,wheat flour1         #h oz4  
,powdered alum1     #a_/d oz4           

,glycerine1       #a-a_/b oz4     ,oil  
wintergreen1   #a dram4     ,water1     
#a-a_/b pts4  ,dissolve the alum in     
water and mix gradually with the flour  
into a smooth1 thin paste2 cook in a    
double boiler until smooth and clear2   
take from the fire and add the glycerine
 and oil of wintergreen4 ,this quantity 
will make about one quart4 ,if after    
standing a day a watery fluid collects1 
stir it into the paste4 ,keep this paste
 covered4                   7#b7        
#a_/d pound of flour 7#a cup74     #a   
teaspoonful of alum1 dissolved4     #a  
generous fourth teaspoonful of oil of   
clove4     #d   cups of boiling water4  
,mix the flour well with a little cold  
water1 beating until perfectly smooth4  
,add the alum dissolved in a little cold
 water4 ,pour on two cups of the boiling
 water1 strain through a wire sieve4    
,add the remainder of the boiling water 
and cook1 stirring constantly until     
partially clear4 ,add the oil of clove  
and put into a clean1 covered earthen   

jar4 ,the paste thickens as it cools4   
,take out small quantities for use4 ,the
 materials for this paste cost less than
 #b cents for a hundred books4  ,to all 
pastes it is best to add a spoonful of  
carbolic acid or formaldehyde to prevent
 spoiling4 ,a small quantity of         
corrosive sublimate will make paste     
unattractive to bugs4  ,although        
home-made pastes are cheapest1 they are 
a bother to make and the saving of      
expense over commercial pastes is not   
worth while except in the very small    
library4 ,besides paste in bulk which   
can be obtained from the local binder   
there are many kinds of commercial      
paste4 ,some may be bought in powders2  
others1 designed primarily for mounting 
photographs1 in glass jars2 still others
 in cans ready to use4 ,the powders are 
cheap1 keep indefinitely1 but when      
needed must be mixed with water1 and as 
a rule are not very satisfactory4       
,higgins' and other photo-mounting      
pastes are expensive and dry too        

quickly1 but keep indefinitely4 ,in the 
long run the most satisfactory pastes   
are those in tin cans with tight lids2  
these are ready to use1 do not dry up   
and the preservative which they contain 
keeps them indefinitely4 ,the ,arabol   
,manufacturing ,company1 #ajj ,william  
,street1 ,new ,york1 makes several      
varieties4 ,their ,sphinx paste1 which  
gives excellent satisfaction1 can be    
bought in six one-gallon can lots at #ge
 cents a gallon1 f4 o4 b41 and in larger
 quantities at slightly reduced rates4  
,great care should be used to avoid     
having the paste so thin that it makes  
the paper stretch4  ,although paste is a
 necessity in every library1 there is a 
tendency to use too much of it1 and to  
use it when it is not necessary4        
,ordinarily it will injure the book less
 than other adhesives1 but it should be 
used sparingly on books that must be    
rebound4 ,when applied to the backs of  
loose signatures they become brittle2   
then when the book goes to the bindery a

 much larger amount must be cut from the
 back than would otherwise be the case4 
,if paste is to be applied to part of   
the paper only1 the easiest way is to   
lay the paper on a board1 place another 
piece of paper over it1 leaving exposed 
the surface to which paste is to be     
applied4 ,it can be spread more evenly  
with the finger1 faster with a soft1    
long-handled brush4 ,the larger         
libraries will find a pasting-machine a 
great time-saver4 ,book labels1 book    
pockets1 new end papers to freshen      
soiled books--anything which needs to   
have the entire surface covered--is     
pasted on the machine in one-tenth the  
time required by hand4  ,glue4 ,for     
ordinary mending1 glue should never be  
used4 7,see ,materials1 p4 #hb47        
,flexible glue1 however1 is a necessity 
for recasing and recovering books4 ,it  
keeps indefinitely1 can be used easily  
by those who acquire the knack of using 
it1 and it sticks everlastingly4        
,mucilage4 ,mucilage has no real place  

in a library4 ,if paste is not the      
suitable material to use1 substitute    
flexible glue1 never mucilage4  ,,cloth 
,cheesecloth4 ,this well-known cloth is 
used when pressing down paper or book   
labels after they have been pasted and  
applied1 and for quickly cleaning the   
hands of superfluous paste or glue4 ,it 
should be cut in pieces of convenient   
size and not used many times before     
being discarded4  ,jaconet4 ,a thin1    
strong muslin will be needed for        
guarding sections and occasionally for  
forming joints4 ,jaconet is the best and
 may be obtained from a few library     
binders4  ,canton flannel4 ,a medium    
grade of this cloth is used for         
back-lining4  ,book cloth4 ,if          
recovering or re-siding is done the     
library must have a supply of book      
cloths in the shades preferred4 ,for    
re-siding1 any cloth in grade #a 7see   
page #ge7 is sufficiently good4 ,for    
recovering cloths in the grade which    
meets the requirements of the ,bureau of

 ,standards are none too good4 ,if much 
recovering is done it is best to buy the
 cloth by the piece4  ,crepeline4 ,this 
very thin cotton cloth1 also called     
mousseline1 through which print is      
easily read1 is sometimes pasted over   
the entire surface of pages which       
receive very hard usage1 and which would
 otherwise be literally thumbed to      
pieces long before the rest of the book4
  ,specially prepared cloth4 ,the       
,gaylord ,bros41 of ,syracuse1 and the  
,multum in ,parvo ,binder ,co41 of      
,philadelphia1 manufacture hinges made  
of cloth4 ,while these are often useful 
they cannot be used under any and all   
conditions1 as one might be led to      
believe from the claims of the          
manufacturers4  ,,papers  ,onion skin4  
,onion skin is a very thin1 tough paper1
 used for mending torn pages1           
illustrations1 etc41 where print must   
show through4 ,while it may be obtained 
gummed on one side1 very little is      
gained1 for it is nearly as easy to     

paste the ungummed onion skin as to     
moisten the gummed4 ,for tears which do 
not run into the text2 a thin1 strong   
bond paper will be satisfactory4  ,kraft
 or manila paper4 ,a #cjx#dj #fj-pound  
kraft paper makes good end papers in    
recasing and recovering4 ,a #gj-pound   
manila paper may be used instead of     
kraft1 if desired4  ,red rope manila4   
,this is a very strong1 tough fibred    
cardboard which may sometimes be used as
 covers for books that it will scarcely 
pay to put into stouter covers4 ,it may 
be obtained in several weights1 the     
lighter weights being sufficiently      
strong for library use4  ,,thread  ,even
 if no resewing is done1 thread is      
necessary for making various repairs4   
,the best are ,hayes' linen thread ,no4 
#be1 and ,barbour's ,no4 #dj4  ,,ammonia
  ,this is necessary for breaking down  
surfaces of highly glazed cloths so that
 labels will stick4  ,,shellac  ,after  
labels or the backs of books have been  
lettered in white or black ink they     

should have a covering of shellac4 ,a   
supply of the best white shellac may be 
obtained from the local paint dealer4   
,occasional use is found for various    
other materials1 such as powdered pumice
 stone1 sponge rubber1 ,india rubber    
erasers and art gum4   ,,tools          
,,folders  ,several binder's bone       
folders1 costing fifteen cents each1    
should be kept in the binding           
department4  ,,knives  ,a long knife1   
broad at the point1 thin-bladed but     
dull1 is needed for cutting paper after 
it is folded and for various other uses4
 ,a sharp1 pointed knife is needed for  
removing books from the covers1 or old  
labels from the back4  ,,scissors       
,long1 thin-bladed1 best quality4       
,,needles  ,regular book-sewing needles4
  ,,hammer  ,a broad-faced hammer may be
 required for beating down the backs of 
sections1 or the entire book when it is 
difficult to replace it in its old      
cover4  ,,press  ,books wet with paste  
or glue must be pressed4 ,an            

old-fashioned letter-press which screws 
down by hand will answer all purposes in
 a small library4 ,as they are now      
out-of-date1 second-hand ones can be    
purchased for a small sum4 ,there are   
one or two inexpensive small presses    
which are not so heavy as the           
letter-press1 but which hold a larger   
number of books and are fairly          
satisfactory4 ,the most satisfactory    
press is a stationary one which holds a 
number of books and which will exert    
great pressure4 ,on account of lack of  
space and the cost it is inadvisable to 
use this in a mending room1 and         
makeshifts are generally necessary4     
,,press-,,board  ,a few press-boards    
with projections which will fit into the
 joints of books may be necessary4 ,they
 may be obtained from any dealer in     
binders' supplies4  ,,sewing ,,bench    
,if any resewing is done a sewing bench 
is a necessity4 ,ordinarily books       
needing resewing should be sent to the  
bindery4  ,,glue-,,pot  ,a double-boiler

 glue-pot is a necessity if recovering  
or recasing is to be done4 ,it should be
 kept clean4  ,,brushes  ,a             
long-handled1 small-sized brush with    
soft bristles will be used for pasting1 
while glue will require a large1 round  
brush such as is commonly used in       
binderies4  ,,pasting ,,machine  ,a good
 pasting machine will cost about ten    
dollars1 but it is a great time saver4  
,there are several on the market4 ,in   
the ,wilmington ,library the ,universal 
is used and gives satisfaction in all   
cases when a machine can be used4       
,,cutting-,,board  ,a small-sized       
cutting-board1 such as is used by       
photographers1 is useful in the mending 
room as well as in other parts of the   
library4   ,,cleaning  ,a part of the   
duty of the mending department is to    
remove such dirt or stains as can       
readily be removed without injury to the
 books4  ,,pages  ,various materials may
 be used for cleaning books which show  
soiled pages here and there1 but which  

are in the main fairly clean4 ,a red    
rubber or a sponge rubber is much better
 than an ,india rubber eraser4 ,the     
latter should never be used unless the  
paper is excellent in quality4 ,bread   
crumbs rolled in a ball or powdered     
pumice stone put on with a dry cloth    
will often give good results4 ,if the   
book is much soiled1 or has mud stains1 
it may be advisable to use ivory soap   
and water with a few drops of ammonia1  
applied with a piece of cheesecloth well
 wrung out4  ,if the paper is of good   
quality it may be washed with ,javelle  
water1 a preparation used in ,french    
laundries4 ,this may be made by the     
following recipe3  ,to one pound of     
chloride of lime add four and a half    
pints of water1 and put in a jar with   
tight cover4 ,in a separate vessel1     
dissolve #bj oz4 of ordinary washing    
soda in four and a half pints of boiling
 water1 and immediately pour it into the
 first mixture4 ,when cold add enough   
water to make eleven pints in all4      

,strain through muslin1 settle1 and pour
 off the clear solution4 ,after using it
 care must be taken to rinse the paper  
thoroughly with water1 as it tends to   
rot paper4  ,in the cleaning of pages   
care should be taken not to erase any   
marks made by the cataloging or         
accession departments4 ,rubbing must be 
done slowly and the pages held flat to  
prevent tearing4 ,rub from the inside   
outward4 ,all traces of pumice stone1   
rubber1 etc41 should be carefully       
removed4 ,if water and soap have been   
used1 it may be necessary to put a      
pressing tin under the leaf1 placing    
blotting paper on each side4  ,fox marks
 may be removed by immersing the leaves 
in a weak solution of chlorine water and
 then transferring to a hot bath of very
 weak hydrochloric acid4  ,to remove    
creases from leaves accidentally folded1
 place the leaves between moistened     
blotters enclosed between dry blotters  
and press4 ,this can be repeated until  
the crease is entirely removed4         

,sometimes creases may be ironed out    
with a hot iron4  ,ink stains can be    
removed by any one of the standard      
eradicators 7oxalic acid followed by    
chloride of lime74 ,stains from pad ink 
used for dating stamps can be removed   
with benzine4  ,the edges of leaves on  
very soiled books may be sandpapered4   
,in this case the book should be held   
very firm1 if possible in a vise4  ,to  
,prevent ,mildew or ,mold  ,occasionally
 books are accidentally soaked with     
water4 ,in many a fire more damage is   
done by water than by fire4 ,in such    
cases it may be a waste of time and     
money to reclaim ordinary books which   
can easily be replaced4 ,it is a        
different matter when it comes to rare  
books and especially to manuscripts     
which cannot be replaced4 ,mr4 ,j4 ,i4  
,wyer1 ,jr41 director of the ,new ,york 
,state ,library1 in his annual report   
for #aiaa describes as follows the      
method used in that library after the   
disastrous fire of that year4       ,the

 first step was to remove all covers4   
,each volume was then taken      apart  
leaf by leaf1 and each sheet was laid   
between print paper for      drying4    
,after twenty-four hours every leaf was 
again handled and      placed between   
heavy blotting paper2 after twenty-four 
hours here1      each leaf was again    
removed to a second blotting paper4 ,at 
all of      these stages pressure was   
applied to facilitate the drying and    
keep      the documents from            
wrinkling4444 ,when each leaf had thus  
passed      through these three drying  
processes1 those belonging to the same  
volume were collected and carefully tied
 up in boxes or separate      packages  
to wait until all the manuscripts were  
thus treated4444      ,when all were    
dried1 the manuscripts were arranged in 
volumes4444      ,the rarest pieces will
 in time be mended1 nearly all will be  
covered with crepeline1 all will be     
mounted on fresh paper and              
carefully bound into new volumes4       

,,covers  ,covers may be cleaned by the 
same materials as those used on pages1  
but the best method is to wash them with
 soap and water4 ,for this reason the   
use of a washable cloth for covers1 such
 as keratol1 durabline1 or fabrikoid1 is
 an advantage4 ,miss ,margaret ,brown1  
in her pamphlet on mending1 ,library    
handbook ,no4 #f1 advises the use of a  
wash as follows3 ,two parts good vinegar
 and one part water4 ,apply with a clean
 cloth and rub hard until dirt is       
removed1 then place upright to dry4     
,this should not be used on leather4    
,grease spots may be removed from both  
leather and cloth by covering with a    
blotter and ironing with a hot iron4    
,the same method will partially remove  
paint or varnish4  ,for a great variety 
of cleansing receipts see ,coutts and   
,stephen's ,manual of library           
bookbinding1 ,chapter ,x4  ,covers that 
have warped must be dampened and put    
under pressure4  ,shellacking of covers 
has been advocated by some librarians1  

but it is doubtful if it pays4 ,it may  
be used in the interests of cleanliness 
on books bound in light colored cloth   
and on books in towns where the         
atmosphere is very smoky4 ,it is a      
process which takes some time since two 
coats of shellac must be applied1 and it
 does not increase the wear of the cloth
 to any great extent4 ,as a regular part
 of preparing the book for use it takes 
more time and material than it is worth4
  ,sometimes a book becomes wonderfully 
rejuvenated simply by having its cover  
and edges cleaned and a new pocket      
pasted in the back4   ,,mending  ,it is 
very desirable that mending should not  
be done by inexperienced assistants1 for
 an uninstructed beginner may do as much
 harm as good4  ,,torn ,,pages  ,torn   
pages may be mended in any one of the   
following ways3  #a4 ,if the tear does  
not affect the printing1 cut a strip of 
thin1 tough bond paper one-half inch    
wide1 a little longer than the tear to  
be covered1 put through pasting-machine 

and cover the tear1 trimming the        
overhang even with the page4  #b4 ,if   
the page is torn into the text1 and the 
book is not valuable commercially1 use  
ungummed onion skin about one-half inch 
wide and apply as above4 ,if onion skin 
is not available a very thin1 tough bond
 paper will do very well4 ,use a thin   
coating of paste1 first putting a piece 
of white paper under the page to absorb 
extra paste4  #c4 ,if torn in the text  
and it is desirable to make as good a   
job as possible1 use the following      
method3  ,rub a very little paste on the
 torn edges1 and place them together4   
,then take a rather large piece of      
ordinary tissue paper and rub it gently 
along the tear so that the tissue paper 
will adhere to the torn edges4 ,put     
under the press2 when dry the           
superfluous tissue paper should be torn 
off1 taking care to pull always toward  
the tear and from both sides at the same
 time4 ,the delicate fibre of the tissue
 paper acts as an adhesive in such a way

 that it is almost impossible to discern
 how the mending was done4  #d4 ,if the 
margin of the leaf of a valuable book is
 torn in several places1 take two sheets
 of paper the size of the leaf1 cut out 
from the middle of each a piece a little
 larger than the letter-press of the    
book2 trim the torn leaf so that it     
remains somewhat larger than the space  
cut out of the blank leaves2 place it   
between these two leaves and paste down1
 thus forming new margins4  ,books that 
have torn leaves mended may be put into 
the press1 but it is not strictly       
necessary4 ,when very much of this      
mending is done pressing is impossible  
unless a standing press is at hand4  ,a 
few books such as ,granger's ,index and 
some of the ,poole's ,index volumes     
should have the first few pages entirely
 reinforced with cloth4 ,the best cloth 
for this purpose is crepeline1 through  
which the text can be easily read4 ,when
 applying it put a thin layer of paste  
on the leaf and then put on the cloth4  

,the book should then be pressed1 first 
protecting adjoining pages with paper4  
,,loose ,,leaves  ,loose leaves may be  
inserted in several ways3  #a4 ,lay a   
piece of white paper over the leaf1     
allowing one-eighth of an inch of back  
margin of the leaf to project4 ,paste   
this exposed surface and attach it to   
the adjoining leaf in the book1 pressing
 down firmly4 ,this can be done only    
when adjoining leaves are firm4  #b4    
,sometimes the leaf when inserted will  
extend beyond the fore edge of the book4
 ,trimming of either back margin or fore
 edge is inadvisable4 ,it is possible to
 turn over about one-eighth of an inch  
of back margin1 using some kind of      
straight edge for this purpose4 ,apply  
paste to turned over part and press the 
fold well down into the book4 ,this will
 give more freedom to the leaf than if  
one-eighth of an inch has been cut off  
and another eighth of an inch pasted4   
#c4 ,fold strips of thin bond paper cut 
with the grain1 three-fourths of an inch

 in width1 through the center4 ,paste   
the outside4 ,attach the loose leaf to  
one side and attach the other side to   
the adjoining leaf in the book4 ,it will
 be necessary to work quickly because   
the paper strips when wet will cause a  
wrinkling of the leaf4 ,this method can 
be used only if adjoining leaf is firm1 
but can never be employed with          
overcasting4  #d4 ,if necessary to use  
as little paste as possible1 apply paste
 to a piece of common soft string by    
drawing it over a board covered with    
paste4 ,then draw the string through the
 book at the back4 ,the leaf may then be
 inserted4  ,,loose ,,signatures        
,ordinarily when one signature becomes  
loose others speedily follow1 and the   
book must be sent to the bindery unless 
it is withdrawn absolutely4 ,sometimes1 
however1 one section will become loose  
when the rest of the book is firm and   
solid1 sometimes also the use a book    
will receive does not warrant binding4  
,in such cases1 if the book has a loose 

back1 open the section in the middle and
 place it in its proper place in the    
book4 ,thread a darning-needle with     
,hayes' ,no4 #be thread 7or ,barbour    
,no4 #dj71 pass the needle through the  
hole at top of the section 7the         
kettlestitch hole7 in such a way as to  
bring it out at the top of the book     
between the book and the loose back4    
,draw thread through1 allowing a few    
inches to remain inside the section4    
,drop needle through the loose back1    
insert it from the back through the     
kettlestitch hole at tail of the book4  
,the thread can then be tied to the     
thread projecting at the upper          
kettlestitch hole4 ,this is a makeshift1
 but may answer if the book is not to   
receive hard usage4 ,if the back of the 
signature is badly worn1 mend it by     
guarding with jaconet on the outside1 or
 by pasting a strip of bond paper down  
through the center of the fold4  ,tight 
,backs  ,for tight backs cut a guard of 
firm1 thin cloth1 such as cambric or    

jaconet1 about three-fourths of an inch 
wide and as long as the book4 ,sew the  
section to the middle of the guard1 and 
paste the guard to the book1 one-half to
 each of the adjoining leaves4 ,press   
this guard well back into the book4     
,this can be done only when the         
adjoining pages are securely held4      
,,loose ,,joints  ,it frequently happens
 that a book in the original publisher's
 cover becomes loose at the joint1      
because the super used as back-lining   
cannot stand the strain put upon it4    
,ordinarily1 a book defective in this   
manner should be bound at once2 but if  
it is deemed best to attempt mending it1
 a strip of jaconet should be cut       
#a-a_/d inches wide and the length of   
the book4 ,paste one-half of this to the
 cover and the other to the adjoining   
fly-leaf1 thus transferring the strain  
from the super to the fly-leaf4 ,this   
method can also be used to mend a break 
in the middle of a book1 but should     
never be used if the book must          

eventually be rebound4  ,another method 
of mending a loose joint is to remove   
the book entirely from the cover1 sew on
 new end papers guarded with muslin1 and
 cover the back of the book with canton 
flannel which extends three-fourths of  
an inch on each side4 ,when dry1 paste  
the entire back of book and sides and   
put the book back into the cover1       
pasting down the new end paper4 ,this   
is1 in effect1 recasing4 7,see page     
#ahd47  ,sometimes books which are loose
 at the joints and have loose signatures
 may be mended by applying paste with a 
long-handled paste brush to the backs of
 the signatures4 ,this must never be    
done if it is possible that the book    
will need to be rebound later4          
,,fly-,,leaves  ,to add new fly-leaves1 
cut paper suitable for this purpose the 
same length as the old fly-leaves and   
one-half inch wider4 ,fold over this    
one-half inch1 paste it on the outside  
and attach it to the old fly-leaf4 ,if  
necessary1 this may be used as a new end

 paper and pasted to the cover over the 
old end paper4 ,if used as an end paper1
 the book should be pressed promptly to 
prevent it from warping4  ,,repair ,,of 
,,maps  ,all old or mutilated maps or   
charts must be flattened out by placing 
the maps between large millboards with  
heavy weights over them1 before they can
 be inserted in books4 ,repairs may be  
made with onion skin paper or any other 
thin1 tough paper1 the same as is done  
with torn leaves in books4 ,if the map  
is very old and valuable1 it may be     
advisable to use paper which resembles  
in a way the texture and color of the   
map itself4  ,it is advisable to mount  
all maps on some kind of cloth4 ,it is  
best to have this done by a regular     
binder1 but it may be done in the       
library if there is sufficient room4    
,if the map is to go on rollers1 a piece
 of cotton cloth is tacked to a large   
table1 the top of the cloth pasted1 and 
the map placed on top1 back down1 all   
wrinkles having been removed4           

,millboards or strawboards are then     
placed on the map and weights placed on 
top until it is dry4 ,this may take some
 time1 after which it may be tacked to  
the rollers4  ,if it is a folding map or
 chart1 it may be necessary to cut the  
map into sections before mounting4 ,when
 mounted there will be one-eighth of an 
inch space between sections1 so that the
 map itself will not be defaced through 
constant folding4 ,the mounting of such 
maps is a difficult task and should be  
done only by an expert4   ,,recasing    
,,books  #a4 ,remove book from the      
cover2 cut out old super from the back  
of the cover2 thoroughly clean the back 
of the book of super and glue without   
injuring the backs of the signatures4   
,lift the lining-paper from the back and
 front boards of the cover and remove   
the old super4 ,scrape with a knife the 
glue which does not come off with the   
super4 ,if the back of the book seems to
 be much thicker than the fore edge1    
pound down with a backing-hammer4  #b4  

,cut strips of muslin 7or canton        
flannel7 a little shorter than the      
height of the book1 wide enough to cover
 the back and to extend over the boards 
#a-a_/d inches on each side4  #c4 ,cut  
enough flexible glue to fill a          
double-boiler glue pot half full when   
dissolved4 ,when the water comes to a   
boil the glue1 which must be used hot to
 get good results1 will generally be    
ready to use4 ,if it is still too thick1
 add a little hot water to thin it4  #d4
 ,turn back the lining paper on front   
and back covers1 spread the glue on the 
inside of the back of the cover and on  
the boards where the lining has been    
turned back4  #e4 ,put the strip of     
muslin in the place just glued2 then rub
 down the lining paper over the muslin4 
#f4 ,even up the book by tapping it on  
the table so that no leaves will project
 at the top1 bottom or front4  #g4      
,holding the book firmly in the hand1   
glue the back4  #h4 ,place the back on  
the muslin lining previously glued to   

the back of the cover1 care being taken 
to see that the book is not put in      
upside down4  #i4 ,fold over the cover  
and1 taking the entire book firmly in   
the left hand1 with the right hand push 
the book firmly back into the cover4    
,this will prevent it from becoming     
concave4  #aj4 ,crease the joints with a
 bone folder and rub down the back4     
#aa4 ,when the book is dry1 open it and1
 if necessary1 paste new papers over the
 inside covers4 ,this is necessary1     
because it is frequently impossible to  
turn back the lining and remove the old 
super without making an unsightly piece 
of work4   ,,recovering  ,rules for     
recovering can be used only when books  
do not need to be resewed4  #a4 ,remove 
cover from the main part of the book4   
#b4 ,remove with a dull knife the cloth 
from the outside and inside of the cover
 until the two boards are clean1 being  
careful not to cut into the board       
itself4 ,it is not worth while to remove
 old paper sides or end papers4  #c4    

,remove superfluous glue1 super1 etc41  
from the back4 ,if the book has been    
overcast1 and small strips of leather   
have been placed over the back1 paste   
the ends of these strips of leather to  
the end papers4 ,such a book will also  
have end papers guarded which will      
remain as an integral part of the book4 
#d4 ,if the book has not been overcast1 
it will be necessary to add end papers4 
,this can be done by using two sheets   
which when folded once will be the size 
of the leaves of the book4 ,one of these
 should be a #fj-pound and the other an 
#hj-pound manila paper1 both guarded    
entirely around the fold with jaconet4  
,whipstitch the #fj-pound fly-leaves to 
the first and last sections of the book1
 then whipstitch the #hj-pound1 being   
careful to pass the needle back through 
the first section4 ,paste one of the    
fly-leaves and one of the end papers    
together4  ,if the book has been        
oversewed1 cut the end papers of        
#hj-pound manila or #fj-pound kraft     

paper the size of the book and paste on 
the entire surface of the fly leaves    
which are integral parts of the book4   
,it will not be necessary to guard these
 new end papers4  #e4 ,trim the new fly 
leaves and end papers the exact size of 
the book4  #f4 ,mark the boards and book
 with corresponding numbers so as to    
identify them4  #g4 ,place boards on the
 book to within one-eighth of an inch of
 the back and mark the distance from the
 back4  #h4 ,measure exactly the        
distance across the back between marks  
just made on the end papers4  #i4       
,select the proper cloth with which to  
cover the book4 ,place the boards on the
 cloth1 allowing the width necessary for
 the back as measured in ,no4 #h4  #aj4 
,mark around boards on cloth4  #aa4 ,cut
 cloth1 allowing approximately an inch  
and a quarter all around outside edge of
 the boards4  #ab4 ,glue the entire     
surface of the cloth4  #ac4 ,place      
boards on markings previously made1     
pressing down firmly on the glued cloth4

  #ad4 ,put stiff paper1 previously cut 
to the proper size1 on the glued cloth  
between the boards1 to prevent the glue 
from sticking to the back of the book4  
,this should not be done if the book    
must have a tight back4  #ae4 ,turn in  
the corners as follows3 ,take the exact 
corner of the cloth and turn it straight
 in over the corner of the board4 ,next 
turn in the end and then the side4 ,rub 
down well with a bone folder4  #af4     
,with bone folder1 round the corners1   
and crease the joints at the back4  #ag4
 ,put the case so formed into a press   
for a few minutes4  #ah4 ,cut a strip of
 thin1 tough muslin or canton flannel   
one-half inch shorter than the height of
 the book and wide enough to extend an  
inch on each side of the book4  #ai4    
,glue the back of the book and put on   
the muslin or canton flannel4  #bj4     
,glue the entire surface of the         
completed case4  #ba4 ,with the fore    
edge in the right hand1 lay book in its 
proper place on the right-hand cover1   

draw up the left-hand cover and lay it  
on top4 ,open the book1 rub down the end
 papers well with bone folder1 and rub  
down the back2 also crease the joints4  
#bb4 ,put book in press over night4     
#bc4 ,letter by hand either with black  
or white ink as the case demands4       
,,re-,,siding  ,many books which have   
been rebound with leather backs come to 
the binding department with the cloth   
sides badly frayed at the corners or    
edges4 ,if the sewing is good and the   
book is clean1 it is worth while to put 
on new sides4  #a4 ,remove cloth sides  
and smooth off the inside of the board  
with a dull knife4  #b4 ,cut two pieces 
of cloth a little larger than the sides4
  #c4 ,glue the inner surface of the    
cloth and place on the book1 turning in 
the corners as described in #ae on page 
#ahg4  #d4 ,put book in the press4  #e4 
,after book is dry1 paste a single end  
paper over the inside of each cover4    
,,reinforcing  ,in ,chapter #f will be  
found a discussion of the advisability  

of purchasing books bound from the      
sheets or in reinforced publisher's     
covers4 ,while it is advisable on the   
whole to have reinforcing done by       
regular library binders1 the work can be
 done in large libraries that have      
proper equipment and labor4 ,the        
essential principles of reinforcing are 
the same in all libraries that practice 
it1 though they may differ as to minor  
details4 ,the following method has      
proved satisfactory4  #a4 ,remove the   
book from its cover1 which is laid aside
 for future use4 ,if the call number is 
to be gilded it will be easier to do it 
before the cover is removed than after  
it is replaced4  #b4 ,make end papers   
and fly-leaves of #fj-pound kraft paper 
or #hj-pound manila1 guarded with       
jaconet on one side of the sheet4 ,end  
papers should be guarded on the inside  
of the fold4  #c4 ,oversew the          
fly-leaves to the first and last        
sections of the book1 being careful that
 stitches are not over one-eighth of an 

inch deep4  #d4 ,sew the end papers to  
the fly-leaves which have just been     
oversewed1 and paste fly-leaves and end 
papers together4  #e4 ,apply a thin     
coating of flexible glue to the back of 
the book and put over it a piece of thin
 canton flannel cut as long as the book 
and wide enough to extend an inch on    
each side4 ,this should be well rubbed  
down4  #f4 ,paste the canton flannel    
which projects on the side to the end   
papers4  #g4 ,glue one side of the book 
and place it on the proper side of the  
cover4 ,glue the side remaining         
uppermost and draw the cover up over it4
   #h4 ,rub both sides and back until   
sure that the glue is well forced into  
them4  #i4 ,if desired1 the book may be 
given a coat of white shellac and one of
 varnish1 after which it should be wiped
 with a paraffine cloth4   ,,magazine   
,,or ,,pamphlet ,,covering  #a4 ,cut red
 rope manila cardboard the exact size of
 the two covers plus the width of the   
back4  #b4 ,remove the cover of magazine

 or pamphlet1 if possible keeping it in 
one piece4  #c4 ,fit the red rope cover 
over the magazine1 creasing carefully at
 the joints with a folder so that it    
will lie flat across the back as well as
 over the sides4  #d4 ,glue the back of 
the magazine with flexible glue and     
press it firmly into the improvised     
cover4 ,rub down the back with a folder4
  #e4 ,thread a needle with stout linen 
thread and1 using it double1 at the     
middle of the book put the needle       
through from the inside to the outside4 
,leave about two inches of thread       
projecting on the inside4  #f4 ,put the 
needle through from the outside about an
 inch from the head of the book4 ,the   
needle must come through in the same    
section where the thread is projecting4 
#g4 ,carry the thread through to about  
the same distance from the tail of the  
book and again put the needle through   
from the inside to the outside4  #h4    
,return the needle at the same place    
where the first stitch was taken and tie

 to the thread left projecting in such a
 way as to hold fast the long thread    
through the center4  #i4 ,paste the     
paper cover previously removed on to the
 new cover4  ,this method can be used   
for all pamphlets one-half inch or more 
thick2 even for those two inches thick1 
provided that the use they will receive 
is slight4 ,in the case of the thicker  
unbound books1 it is necessary to sew   
them in two or three places4            
,,labeling  ,few libraries can afford to
 have all call numbers gilded4          
,therefore it is necessary either to    
letter directly on the book1 or to put  
call numbers in ink on a white label    
which has first been placed on the book4
 ,much objection exists to these gummed 
labels1 because it is claimed that they 
come off very easily and the work soon  
has to be done over again4 ,undoubtedly 
this is true if the labels are not      
properly put on2 but if care be taken1  
there is no reason why the white gummed 
labels should not last until it is      

necessary to rebind a book1 when of     
course the call number will be gilded4  
,two points must be remembered in       
applying labels4  #a4 ,they must be put 
on at an even distance from the bottom  
of the book4 ,perhaps nothing else will 
give a library such an unsightly        
appearance as uneven labels--some at the
 top1 some in the middle and some at the
 bottom4 ,the exact distance from the   
bottom of the book is not one of great  
importance1 but the bottom of the label 
should not be less than #a-a_/d inches  
from the bottom of the book1 nor more   
than two inches4 ,whatever distance is  
adopted1 it will be necessary to have a 
piece of cardboard which may be used as 
a measure when applying the label4  #b4 
,labels must be fastened so securely    
that they will not come off4 ,this seems
 sufficiently obvious1 but as a matter  
of fact many assistants who do this work
 do not spend sufficient time to do it  
right4  ,the following directions should
 be followed3  a4 ,if the book is new1  

it will be necessary to break down the  
glazed surface of the cloth or leather  
where the label is to be placed4 ,to do 
this1 use ammonia diluted somewhat with 
water4 ,use a brush about the width of  
the label and draw across the back of   
the book at the proper place4 ,after    
having done ten or a dozen books1 it is 
best to wipe off the ammonia with a     
piece of cheesecloth which brings with  
it the glaze4  b4 ,labels are not put on
 until books are dry4 ,use labels made  
of extra heavy paper1 so that they will 
not turn dark when shellac is applied   
later4 ,they may be moistened on a wet  
sponge or on some one of the numerous   
moisteners1 or better still1 they may be
 dipped quickly in hot water with a pair
 of tweezers4 ,in using some labels it  
is not inadvisable to cover the gummed  
surface with a thin coating of paste4   
,as soon as the label is pasted on the  
book straight and in proper alignment1  
it should be pressed firmly down with a 
piece of cheesecloth4 ,this part of the 

operation should not be hurried and     
considerable pressure should be used    
until the label has firmly adhered4  c4 
,when dry1 letter with ,india ink and   
cover label with a very thin coating of 
white shellac4 ,later1 when the first   
coating is thoroughly dry1 cover with a 
thicker coating of shellac4 ,this should
 be done quickly and neatly4 ,if the    
line of shellac is uneven the book has  
an unsightly appearance4  d4 ,if books  
are thin1 it is best to put labels on   
lengthwise4 ,if very thin1 put labels on
 front covers1 near the back4 ,if labels
 project over the back1 trim with       
scissors4  ,if books have been used or  
have already had labels1 the process is 
the same1 except that no ammonia need be
 used4  ,old labels which have been     
shellaced are hard to remove4 ,the best 
way is to apply ammonia and water to the
 label1 allowing it to soak in4 ,when   
thoroughly moistened1 remove with a dull
 knife4 ,removing dry labels by scraping
 with a knife injures the back of the   

book4   ,,lettering  ,,by ,,hand  ,it is
 sometimes feasible to letter with ink  
on the back of a book instead of putting
 on a label which holds the lettering4  
,if the surface be glazed1 it can be    
broken down with diluted ammonia1 or    
sometimes merely a damp cloth will be   
sufficient4  ,so far as possible1 letter
 with black ,india ink4 ,carter's white 
ink is the best for lettering dark      
colored cloths4 ,it is sometimes        
difficult for a novice to use white ink1
 but it can be handled satisfactorily if
 one uses a stub pen which is kept      
perfectly clean and is always wiped     
before being dipped in the ink4 ,shake  
the bottle often and add water if ink is
 too thick4 ,gold ink should never be   
used4  ,when lettering is dry1 apply    
shellac as described under ,labeling4   
,,with ,,type  ,some of the larger      
libraries have found it economic to have
 a binder's printing outfit for         
lettering call numbers on all books1    
even when the library does not bind     

books4 ,such an outfit may be used of   
course for lettering author and title1  
but there will be little occasion to do 
this except in connection with a regular
 bindery4 ,call numbers1 however1 are so
 much more legible and permanent when   
put on with type that it should always  
be done whenever the number of          
accessions is sufficiently large to     
warrant the employment of some person to
 do the work4 ,it does not1 however1    
need experienced finishers and1 if time 
permits1 may be done by regular library 
assistants after some instruction and   
practice4 ,it will be discovered1       
however1 that lettering in gold on cloth
 is more difficult than on leather4 ,for
 the benefit of those who wish to try it
 the following description is given4    
,tools4 ,the tools necessary are a      
pallet to hold the type2 four fonts of  
brass type 7lead1 or type other than    
brass should never be used72 long-bladed
 knife with straight edge for cutting   
gold leaf2 cutting pad2 gas burner      

similar to the burners on cook stoves2  
and a frame with wooden screws in which 
to hold the book while it is being      
stamped4  ,materials4 ,the materials    
needed are the best ,american gold leaf1
 cotton batting1 sweet oil1 some        
specially prepared rubber for removing  
the excess gold leaf1 and glaire4  ,the 
tools or materials which are used       
exclusively by binders can be obtained  
from any binders' supply house4 ,glaire 
is easily made as follows3  ,take whites
 of three eggs2 add three teaspoonfuls  
of vinegar and beat until it is a light 
froth4 ,let stand a few hours and strain
 through a piece of muslin into a       
bottle4 ,if kept corked glaire will keep
 for some time4  ,process4 #a4 ,place on
 finishing bench1 backs up1 books on    
which call numbers are to be gilded4    
#b4 ,with a small sponge1 apply the     
glaire to the part of the back which is 
to receive the call number1 taking care 
to draw the sponge evenly across the    
back1 leaving a straight line4 ,if the  

application of glaire makes that part of
 the book appear radically different    
from the rest of the back1 the glaire   
may be applied to the entire back4 ,it  
should not be allowed to run over on the
 sides4 ,allow the glaire to dry        
thoroughly4  #c4 ,with a long-bladed    
knife1 transfer a sheet of gold leaf to 
the cutting pad which must be thoroughly
 protected by screens from all draughts4
 ,if the gold leaf does not lie         
unwrinkled on the cutting pad breathe on
 it lightly4 ,with the knife1 cut the   
leaf in proper size for work to be done1
 being careful to make the cuts clean1  
not ragged4  #d4 ,arrange type in the   
pallet1 beginning at the right1 and put 
type in the gas to heat4  #e4 ,screw    
book1 back up1 firmly in the frame4  #f4
 ,with cotton batting1 apply sweet oil  
to the part to be stamped1 being careful
 to cover thoroughly this surface with  
the oil4 ,this is done to make the gold 
stick4  #g4 ,apply a piece of cotton1   
slightly oiled1 to the gold leaf which  

will instantly stick4 ,it can then be   
transferred to the book1 where the sweet
 oil will hold it securely4  #h4 ,test  
the type for heat4 ,a little practice   
will soon teach the novice when the type
 is hot enough4 ,the object of heating  
the type is to make the gold combine    
with the glaire in such a way as to     
cause the gold to adhere4 ,it is better 
to have the type too cold rather than   
too hot4 ,if it is too cold1 the gold   
will not stick and the work must be done
 over again2 if too hot1 it burns the   
leather or cloth and the damage is      
irremediable4 ,for cloth work the type  
can be used hotter than for leather4    
#i4 ,apply type to the book1 pressing   
down firmly4 ,the pressure makes an     
indentation4 ,if the materials are of   
the right quality1 the work carefully   
done and the type of the right degree of
 heat1 the gold will be firmly embedded4
  #aj4 ,with the specially prepared     
rubber remove the waste gold4 ,when the 
rubber has absorbed all the gold that it

 is capable of taking up1 it may be sent
 to a dealer who will refine it and give
 credit for the gold which it contains4 
,about one-third of the original cost of
 the gold should be obtained from the   
sale of the waste4  ,whenever books are 
bound in light colored cloths on which  
gold does not readily show use a black  
ink specially made for this purpose4 ,it
 is much easier to use than gold1 since 
the ink is evenly spread on a smooth1   
hard surface and the type is used cold4 
,no glaire is necessary4     ,,chapter  
,,xi  ,,magazine ,,binders   ,one of the
 vexing questions which properly comes  
under the head of binding is that of    
magazine binders used on current        
periodicals in reading rooms4 ,the      
binding of current numbers for          
circulation is described on page #aij4  
,it must be admitted that no binder on  
the market is perfectly satisfactory4   
,some hold the periodicals              
satisfactorily but are hard to adjust4  
,others are easy to adjust but the      

magazines slip out easily1 or can with  
ease be surreptitiously removed4 ,some  
have keys which become lost or will not 
work2 some are clumsy2 and some have    
projections which scratch tables4 ,all  
are hard to hold in the hands4 ,on an   
average a new binder is put on the      
market each year with the assurance of  
the maker that all faults have been     
eliminated4 ,a trial soon convinces the 
librarian that it is no better than     
others and that the perfect binder does 
not exist4  ,for the small library the  
problem is not an important one1 since  
it is entirely feasible in such         
libraries to place current numbers      
without covers on reading room tables1  
or to cover them with tough paper4 ,mr4 
,dana advocates using most magazines    
without binders even in the reading room
 of a large library4 ,possibly this may 
be done advantageously in some          
libraries1 but it will depend upon the  
atmosphere of the city1 the character of
 those who use the library and the ease 

with which assistants can keep all      
readers under observation4 ,librarians  
for the most part will continue to      
believe that a temporary binder of one  
kind or another is necessary for current
 periodicals in the general reading     
room4  ,binders in the reading room     
serve two purposes4 ,they protect the   
magazine and they help to remind readers
 that the magazines are public property4
 ,some magazines--the ,scientific       
,american1 for example--are very thin   
and may be easily folded and put into an
 inside pocket4 ,a binder does not      
prevent theft1 but its tendency is to   
reduce it4  ,the qualifications of a    
good binder are3  #a4 ,ease of          
fastening1 together with difficulty in  
removing magazines by the uninitiated4  
#b4 ,comparative ease of holding in the 
hand4  #c4 ,durability of surface and of
 device used for fastening the magazine4
  #d4 ,preservation of the magazine     
without injury4  #e4 ,firmness when     
finally fastened4  ,even the best       

magazine binders are far from being     
perfect in any of these requirements1   
except in ease with which they are      
fastened4  ,there are many kinds of     
magazine binders4 ,mr4 ,dana1 in the    
second edition of his ,notes on         
bookbinding for libraries1 mentions by  
name twelve different makes2 and as many
 more1 some of which are equally good1  
are known to the writer4 ,but were there
 twice as many it is probable that they 
would fall1 as they do now1 into five   
classes4  #a4 ,spring back4  #b4 ,eyelet
 and tape4  #c4 ,sewed4  #d4 ,rod4  #e4 
,clamp which is screwed up tight4  ,the 
well known spring-back variety is1 in   
principle1 a semi-circular steel tube   
longer than the magazine to be held1 to 
which board sides are attached4 ,when   
the cover is closed the jaws of the     
steel are close together4 ,in order to  
insert the magazine the covers are bent 
back toward each other4 ,this opens wide
 the jaws and the magazine is slipped   
in4 ,when the covers are released the   

steel tube is firmly fastened to the    
back of the magazine4 ,this kind of     
binder is probably the easiest of all to
 adjust4 ,it is1 however1 equally easy  
to remove1 is clumsy and is harder to   
hold in the hand than others4  ,in the  
eyelet and tape class there are holes in
 the back of the cover4 ,in fastening   
the magazine1 tape or cord 7generally a 
shoe string7 is passed through the      
center of the magazine1 laced into the  
eyelet and tied4 ,the main objections to
 this kind of a binder are that it takes
 some time to fasten them and the       
magazine is generally loose in the      
binder when fastened4  ,binders which   
require sewing have holes in the sides  
near the back4 ,instead1 however1 of    
passing the cord through the center of  
the magazine1 holes corresponding to    
holes in the binder are punched directly
 through the magazine at the back1 one  
near the head1 one near the tail and    
another in the middle4 ,the binder is   
then sewed on through these holes4 ,the 

chief merit of these binders is that    
they are inexpensive2 but it takes      
longer to attach them than other binders
 and the magazine is injured by the     
holes which have been punched4  ,there  
are various kinds of binders which use  
steel rods or bars through the center of
 the magazine4 ,some use one rather     
heavy rod which is hinged at one end1   
and hooked or fastened into a slot at   
the other end when the magazine has been
 inserted4 ,some have two or more thin  
steel rods hinged or pivoted at one end 
and held by a pin or a lock at the other
 end4 ,and one at least has steel bars  
not permanently attached1 the ends of   
which are in the form of a semi-circle1 
which are dropped between rigid uprights
 and prevented from slipping off by caps
 screwed on the uprights4  ,the writer  
knows of only two binders which use a   
clamp which must be screwed tightly in  
order to hold the magazine firmly4 ,the 
great merit of these binders is that    
they hold the magazine firmly1 so that  

it can by no possibility be removed     
except by the assistant who has the key4
 ,they are1 however1 clumsy and unduly  
large at the back and it takes some time
 to fasten them to the magazine4        
,taking into consideration all points of
 excellence it is probable that some    
form of rod binder is the best4 ,rod    
binders are not hard to apply2 they     
require some effort to remove           
them--those which lock cannot be removed
 without a key2 they are firm when      
applied2 and many of them do not injure 
the magazine4 ,nearly every librarian   
has his own personal preference among   
such binders4  ,since binders receive   
very hard wear it is important that they
 should be made of good material4 ,those
 which are used for popular magazines   
should have cowhide backs and buckram or
 imitation leather 7keratol or          
fabrikoid7 sides4 ,a full leather       
binding would help solve the question of
 dirt1 but it is equally well and less  
expensively solved by using imitation   

leather on the side4 ,in reading rooms  
frequented only by educated persons     
binders with flexible leather covers are
 desirable and are greatly enjoyed by   
readers4 ,the cheaper grades of cloth1  
such as are used by the publishers1     
should never be used1 as they soon wear 
through at the edges and corners4 ,in   
many cases it is wise to use pigskin or 
morocco on the back1 though if this is  
done1 the cloth sides and the boards    
themselves may become disreputable      
before the back is worn4 ,in nearly all 
binders the mechanism can be removed    
from the boards when they become shabby1
 and new covers attached4 ,this will    
save some of the expense of a new       
binder4 ,a clever mender can do such    
work so that it need not be sent to a   
regular library binder4 ,the boards     
should not be made of mill boards1 but  
of semi-tar or tar boards4     ,,chapter
 ,,xii  ,,pamphlets   ,fortunately it is
 not necessary to decide here the       
ever-vexing question ,when is a pamphlet

 not a pamphlet8 ,from the binding      
viewpoint any printed matter of more    
than four pages which does not have a   
stiff cover is a pamphlet and it is     
within the province of the binding      
assistant to prepare it for the shelves4
  ,unbound material in libraries is of  
three kinds3 periodicals2 serial        
publications which are not periodicals  
such as annual reports1 bulletins of    
societies or government bureaus1 etc42  
and separate pamphlets not numbered1 of 
a monographic character4 ,the binding of
 periodicals forms part of the regular  
routine and is discussed elsewhere in   
this book4  ,annual reports and other   
publications of a serial character      
should be filed in pamphlet boxes on the
 regular shelves at the end of the bound
 set4 ,when a sufficient number of      
reports have collected they may be bound
 in cloth by decades or half-decades1   
according to the thickness of the       
reports4 ,in many libraries most of such
 publications need not be bound at all1 

but will answer every purpose if wrapped
 in paper and lettered by hand4 ,serials
 other than annual reports generally    
give some indication of which numbers   
should be bound together1 if bound at   
all4 ,if there be no change of numbering
 or no completion of volume numbers to  
indicate a separation1 they should be   
arbitrarily grouped in volumes of a     
convenient size1 conforming if possible 
to one or more calendar years1 and bound
 or wrapped in paper4 ,if series are not
 to be kept together they should be     
treated as described in the following   
paragraphs4  ,monographic works in      
unbound form range in size from those of
 a dozen pages to those of several      
hundred4 ,probably the best arrangement 
for a large part of this material is to 
assign a subject heading or a class     
number and keep in a vertical file      
alphabetically or by class number4 ,with
 this the binding department has no     
concern1 but there are always a number  
of pamphlets which have permanent value 

for the library and which should be     
treated in the same way as a book with  
stiff covers4  ,undoubtedly the cheapest
 way to prepare pamphlets not over      
one-half inch thick for the shelves is  
to put them into ,gaylord binders4      
,these are made of board sides connected
 at the back by a strip of cloth and    
having on the inside gummed flaps which 
can be attached to the back of the      
pamphlet4 ,there are thirty different   
sizes ranging from #e by #g inches to   
#ab-a_/b by #ag inches4 ,they are made  
in two qualities1 the photo-mount       
costing from #c4ae to #ac4fj per hundred
 and press board costing from #d4be to  
#ag4fj a hundred4#f ,if the pamphlet has
 a cover as well as a title page1 the   
cover should be taken off and pasted to 
the outside of the front cover of the   
binder4 ,in addition to moistening and  
attaching the gummed flaps1 it will be  
found necessary in many cases either to 
wire through the back of the pamphlet   
with some kind of a stapling machine1 or

 to sew through as described on page    
#aij for attaching red rope manila to   
circulating magazines4      ,footnote   
#f3 ,prices increased #aj per cent      
,april #aj1 #aiaf4  ,when the pamphlet  
is firmly attached in the binder it     
should be lettered in white ink along   
the back4 ,if the pamphlet is very thin 
it will be necessary to letter author1  
title and call number along the back    
edge of the front cover1 close to the   
back4 ,if the original cover has not    
been pasted on the outside it will also 
be necessary to letter author and title 
across the front cover4  ,pamphlets     
which are too big to go into the binders
 can be bound in regular book form if   
their use will warrant the expense4 ,if 
the use will be slight they can be made 
very serviceable by using the red rope  
manila as described on page #aij4  ,very
 large libraries keep all pamphlets     
permanently4 ,those which are not       
sufficiently important to treat as books
 are generally kept in classified order 

in temporary cases4 ,when a sufficient  
number have been collected on any       
subject they may be bound together in   
volumes of proper size4 ,so far as      
possible pamphlets of the same size     
should be bound together in cloth1 but  
they may vary a little if they are level
 on top4 ,the expense of binding in this
 way is1 of course1 much less than if   
each pamphlet had been put in a binder4 
,smaller libraries may perhaps be well  
advised to bind in this way pamphlets   
having a local interest which must be   
kept permanently4  ,it is not necessary 
to discuss here the various kinds of    
temporary homes of pamphlets1 such as   
manila folders1 envelopes1 wooden or    
pasteboard boxes1 ,ballard klips1 etc4  
,they all have their uses1 and each     
librarian must work out whatever scheme 
seems best to him4     ,,chapter ,,xiii 
,,bindery ,,in ,,the ,,library          
,,building   ,how large an amount of    
binding must a library have before it   
becomes economical to establish a       

bindery in the library building8 ,this  
question is frequently asked and is     
difficult to answer4 ,in the first      
place1 local conditions must be taken   
into consideration4 ,is there in the    
same city a library bindery which does  
satisfactory work at reasonable prices1 
or must work be sent a long distance    
away8 ,is there ample room in the       
building and is it easily adapted to    
binding purposes8 ,can a good foreman be
 employed8 ,is the local rate of wages  
so high as to make the cost of the      
binding in the library equal the cost in
 a good bindery outside the city8 ,these
 are some of the questions which must be
 considered4  ,some of the advantages in
 having a bindery in the building are as
 follows3  #a4 ,it is more convenient4  
,when books are much needed they can be 
found and generally used1 even if       
incompletely bound4  #b4 ,there is less 
chance of losing books4 ,when books are 
sent to a binder who does the work of   
other libraries also there is always a  

chance of loss4 ,the binder1 of course1 
is responsible1 but one would always    
rather have the book than the cash      
value4  #c4 ,there is no chance of      
damage to books in transit4  #d4        
,repairs which are too difficult for the
 ordinary library mender to make can    
easily be done in the library bindery at
 slight cost4  #e4 ,the books need not  
as a rule spend so long a time in the   
bindery4 ,if perchance the bindery      
becomes clogged with extra work the     
librarian can rush the books that are   
needed most4 ,if such books are in      
another bindery1 especially when that   
bindery is outside the city1 it is      
difficult to get the books that are     
needed first4  #f4 ,there is a certain  
amount of competition which works to    
advantage if part of the books have to  
be bound outside4 ,the outside binder   
knows that the librarian who operates a 
bindery in his own building knows       
something about the cost of binding1 and
 he realizes that unless his prices are 

reasonable and his work good he need not
 expect to be favored4  #g4 ,the        
librarian can at all times inspect      
materials on hand and see the books in  
the process of binding4 ,the bindery    
outside the building can sometimes      
substitute inferior materials without   
fear of detection for many months4  #h4 
,when the work reaches a certain amount 
it can be done at reduced cost in the   
library1 since the ordinary profits of  
the bindery will accrue to the library4 
#i4 ,it is much easier to make          
experiments with new materials or new   
processes4 ,while the outside binder    
does not care to get a small quantity of
 a new material1 the library which owns 
its own bindery can do so easily4  #aj4 
,a bindery in the library can do much   
work1 such as the mounting of maps or   
photographs1 gilding of call numbers and
 book-mending1 which needs skilled      
workmen4 ,such work frequently remains  
undone1 either because the regular      
library force has no time to do it or   

because it seems unwise to send it      
outside the library4  ,such are some of 
the benefits1 but only the larger       
libraries which bind many thousands of  
volumes can take advantage of them      
successfully from the financial         
standpoint4 ,in order to be administered
 economically there must be sufficient  
work to keep several workmen busy4 ,it  
probably is not wise to open a bindery  
when the annual expenditure for binding 
is less than #d1jjj4  ,there are two    
ways in which a library bindery may be  
administered4 ,under the first plan the 
library buys all material and hires all 
the workmen1 employing a foreman on     
salary to take charge4 ,a schedule of   
prices which is lower than the prices   
paid to outside binders should be       
adopted1 and the total value of binding 
in a year based on this schedule must   
equal the cost of material1 wages and   
depreciation on the value of the plant4 
,under this plan the work may be        
unexcelled in quality1 but there is no  

incentive to produce it in quantity4 ,so
 long as the work turned out balances   
the outlay the employees1 unless they   
are exceptionally conscientious1 are    
satisfied4 ,there is also the added     
difficulty of finding a competent       
foreman4 ,any man who is able to manage 
a library bindery successfully is able  
to manage any bindery successfully and  
he will not be willing to work for the  
salary which the library can afford to  
pay4 ,the librarian himself1 harassed as
 he is with many problems1 must of      
necessity leave such matters as the     
purchase of material and the hiring of  
workmen to the foreman in whom he must  
have implicit confidence4 ,the librarian
 cannot assume the same attitude toward 
his bindery foreman that the proprietor 
of a regular bindery may assume4 ,he is 
not skilled in the craft1 does not know 
about materials1 especially leathers1   
and cannot direct the work4  ,under the 
second plan the library lets the work   
out by contract to some binder who      

agrees to do the work in the building4  
,the contractor is under no expense for 
rent1 heat and light1 and in arranging  
prices this is taken into consideration4
 ,it is obvious that it is to the       
interest of the binder to turn out as   
large a number of books as possible4    
,since the librarian has safeguarded the
 library in the contract by specifying  
that all materials and work must meet   
with his approval1 this plan is more    
advantageous to him than the former     
plan4 ,the contract should allow for    
frequent revision of schedule4  ,under  
the first plan the librarian will be    
obliged to buy all machinery1 tools and 
materials1 and to hire the workmen4     
,under the second plan he may have to   
buy the machinery and tools1 but the    
purchase of materials and the hiring of 
labor will be in the hands of the       
contractor4  ,a good binding plant will 
contain the articles in the following   
list4 ,those marked 99 are necessary1   
even when the amount of work turned out 

is small3      99 #a sewing frame       
99 #a standing press      99 #d dozen   
press-boards 7all sizes7      99 #a glue
 pot      99 #c hammers      99 #a board
 shears      99 #a lever paper cutter   
#a perforating machine        #b extra  
cutting knives      99 #a               
hammering-block with plate        #a    
grindstone      99 #a paring stone      
99 #a oil stone      99 #b pairs of     
shears      99 #b paring knives      99 
#h bone folders      99 #d brushes      
99 #a monkey wrench        #a sandstone 
99 #b saws      99 #a book-backing      
machine      99 #b dozen sewing needles 
#a ruler      99 #a screw driver        
#a lying press      99 #a finishing     
press        #a steel square      99 #a 
pair pliers        #b straight-edges    
99 #c awls      99 #a iron divider      
99 #a oil can      99 #a paste bucket   
99 #a complete set of brass type      99
 #a pallet      99 #a gold cushion      
99 #a gold knife      99 #f gilding     
rolls      99 #a imprint stamp      99  

#a single fillet        #a two-line     
fillet      99 #a finishing gas stove   
99 #a ten-drawer type cabinet        #a 
flat agate polisher        #a flat steel
 polisher        #a round agate polisher
        #a gas stove for heating glue   
99 #a forwarder's bench      99 #a      
sewing table      99 #a finisher's bench
        #a small table        #a band   
nippers        #a creaser  ,the total   
cost of the plant will vary in various  
sections of the country1 but it ought   
not to cost more than #hjj4 ,if         
second-hand cutting machines1 benches1  
etc41 can be obtained it is possible    
that the cost may be reduced to #fej or 
less4 ,the ,st4 ,louis ,public ,library 
recently equipped a bindery at a cost of
 #ehg4 ,during the first year1 with a   
force of fifteen1 it turned out work to 
the value of #i1fji4     ,,appendixes   
,,appendix ,a  ,,specifications ,,of    
,,the ,u4 ,s4 ,,bureau ,,of ,,standards 
,,for ,,book ,,cloths   ,,fabric  ,the  
fabric shall be made from first-quality 

staple cotton1 uniformly woven and of a 
grade known as firsts4 ,the weave shall 
be two up and two down in the warp and  
one up and one down in the weft4  ,the  
gray cloth shall consist of from #cc to 
#cf threads per centimeter 7#he to #ij  
per inch7 in the warp1 and #ab to #ae   
threads per centimeter 7#cj to #ch per  
inch7 in the weft4  ,the surface shall  
be finished smooth and hard and show no 
tendency to stick when folded upon      
itself4   ,,thickness1 ,,tensile        
,,strength ,,and ,,weight  ,the         
thickness of the finished fabric shall  
not exceed #j4cj millimeter 7#j4jab     
inch7 or be less than #j4bj millimeter  
7#j4jjh inch74 ,the tensile strength of 
the gray cloth shall be not less than   
#ah kilograms per centimeter 7#ajj      
pounds per inch7 of width in the warp1  
and #i kilograms per centimeter 7#ej    
pounds per inch7 in the weft4 ,the      
average value for the warp and weft in  
the finished fabric must show an        
increase over the average value for the 

warp and weft in the gray cloth of at   
least #aj per cent of the strength of   
the gray cloth4  ,the finished fabric1  
when dry1 shall weigh not more than #bej
 grams per square meter 7#j4e pound per 
yard71 or less than #bjj grams per      
square meter 7#j4d pound per yard74     
,,absorption ,,of ,,moisture  ,at a     
normal relative humidity of #fe per cent
 it shall not absorb more than #e per   
cent of moisture1 or expand 7an average 
of both directions7 to exceed #j4de per 
cent1 and when subjected in a closed    
case to a saturated atmosphere for two  
hours at a temperature of #bj deg4 ,c4  
7#fh deg4 ,f47 shall not absorb more    
than #aj per cent of moisture or expand 
7an average of both directions7 to      
exceed #b per cent4 ,all increases to be
 computed on the basis of the dry weight
 and dimensions4   ,,folding ,,endurance
  ,the folding endurance1 as determined 
by the ,schopper folder1 shall be not   
less than #fe1jjj double folds for the  
warp and not less than #aj1jjj for the  

weft4   ,,color  ,before coating1 the   
fabric must be dyed with a purely       
mineral or inorganic color 7such as iron
 salts71 so as to imitate the color of  
the finished cloth1 but somewhat lighter
 in shade1 so as to give the desired    
linen effect4 ,all coal-tar1 aniline1   
vegetable1 or other organic dyes and    
lakes must be strictly excluded from    
both fabric and coating1 even in traces2
 except where necessary to match color1 
lake may be used in red1 blue1 or brown4
 ,the following substances must be also 
excluded3 ,chrome yellow and other      
chromates1 ultramarine1 browns          
containing bituminous or other organic  
matter1 compounds of lead and arsenic4  
,the color of the finished fabric should
 be slightly darker than the standard   
sample1 which will be furnished on      
application1 and it must not show the   
slightest change of color after exposure
 under prescribed conditions to direct  
sunlight1 or to the action of ammonia   
gas1 sulphuretted-hydrogen gas1         

sulphur-dioxide gas1 or illuminating    
gas4   ,,resistance ,,to ,,mold ,,and   
,,insects  ,the finished fabric shall be
 immune to the growth of mold or the    
attack of insects4   ,,tests  ,physical 
and chemical tests to verify the        
properties required by these            
specifications will be made according to
 the ,standard method for testing book  
cloths as used by the ,bureau of        
,standards1 copies of which can be      
obtained on application4     ,,appendix 
,b  ,,reading ,,list ,,on ,,binding     
,adam1 ,paul4 ,practical bookbinding4   
#aijc4 ,van ,nostrand4 #a4be4      ,a   
translation of a ,german work4          
,american library association4          
,committee on bookbinding4 ,binding for 
libraries4 #aiae4 ,a4 ,l4 ,a4           
,publishing ,board4 4#ae4 7,library     
handbook ,no4 #e4 ,second edition1      
revised47      ,binding specifications  
which may be used by large as well as   
small     libraries4  ,bailey1 ,a4 ,l4  
,bookbinding4 #aiaa4 ,a4 ,l4 ,a4        

,publishing ,board4 4#aj4      ,preprint
 of ,manual of library economy1 ,chapter
 #bf4  ,bindery talk4 #aiab-ac4 v4 #a-b4
 ,all published4      ,a periodical     
published by ,w4 ,e4 ,reavis1 ,los      
,angeles1 ,california1     covering     
various phases of library binding4      
,bliss1 ,h4 ,e4 ,better bookbinding for 
libraries4 ,library ,journal1 #aije1    
#cj3hdi-eg4      ,brief article on      
methods and materials4  ,brown1 ,j4 ,d4 
,bookbinding and repairing4 ,in his     
,manual of library economy1 pp4 #cbh-dh4
      ,valuable chiefly for its section 
on lettering4  ,brown1 ,m4 ,w4 ,mending 
and repair of books4 ,a4 ,l4 ,a4        
,publishing ,board4 4#ae4 7,library     
handbook ,no4 #f47  ,caldwell1 ,m4 ,r4  
,preparing for the binder4 ,public      
,libraries1 #aijf1 #aa3cjb-c4  ,chivers1
 ,cedric4 ,paper and binding of lending 
library books4 ,american ,library       
,association4 ,bulletin4 #aiji1         
#c3bca-ei4      ,also published         
separately by ,mr4 ,chivers4 ,a record  

of experiments     and tests of modern  
book papers4  ,chivers1 ,cedric4        
,relative value of leathers and other   
binding materials4 #aiaa4 ,published by 
the author4      ,a record of tests of  
leathers4 ,practically the same article 
will be     found in the ,bulletin of   
the ,american ,library ,association for 
#aiaa1     p4 #afd4  ,cockerell1        
,douglas4 ,bookbinding and the care of  
books4 #aijb4 ,appleton4 #a4be4         
,best general book on binding processes1
 but does not cover all     library     
requirements4  ,coutts1 ,h4 ,t41 and    
,stephen1 ,g4 ,a4 ,manual of library    
bookbinding4 #aiaa4 ,libraco ,limited4  
#gs4 #f;d4 net4      ,a valuable book   
for all libraries4 ,gives the ,english  
point of view4  ,crane1 ,w4 ,j4 ,e4     
,bookbinding for amateurs4 #aijc4       
,scribner4 4#fe4  ,cundall1 ,joseph1 ed4
 ,on bookbindings1 ancient and modern4  
#ahha4 ,bell1 ,lond4 #ab4      ,will be 
used mainly by those interested in the  
history and artistic     side of        

bookbinding4  ,dana1 ,j4 ,c4 ,notes on  
bookbinding for libraries4 ,ed4 #b4     
#aiaj4 ,library ,bureau4 #a4      ,the  
best single book for the librarian4     
,drury1 ,f4 ,k4 ,w4 ,on protecting      
pamphlets4 ,library ,journal1 #aiaj1    
#ce3 #aah-ai4  ,field1 ,c4 ,book        
repairing4 ,california ,news ,notes1 #b3
 #aje-h4  ,hasluck1 ,p4 ,n41 ed4        
,bookbinding4 #aijc4 ,mc,kay4 4#ej4     
,practical handbook4 ,does not cover    
strong binding for libraries4  ,horne1  
,h4 ,p4 ,binding of books4 #ahid4       
,scribner4 #b4      ,for those          
interested in the artistic side of      
binding4  ,hulme1 ,e4 ,w41 and others4  
,leather for libraries4 #aije4 ,library 
,supply ,co41 ,london4 #bs4 #f;d4 net4  
,lowe1 ,j4 ,a4 ,permanent book marking4 
,library ,journal4 #aiaj1 #ce3 #ae-ag4  
,macleod1 ,r4 ,d4 ,preservation of books
 in libraries4 ,library ,world1 #aa3    
#bef1 #cca1 #cfh1 #dag4      ,deals with
 general repairs1 etc4 ,the second part 
7p4 #cca7 is     especially valuable for

 the large number of cleaning recipes4  
,memoranda relative to binding          
publications for distribution to state  
and territorial libraries and           
depositories4 #aijh4 ,u4 ,s4            
,superintendent of ,documents4      ,an 
account of the tests of book cloths made
 by the ,bureau of     ,standards4      
,philip1 ,a4 ,j4 ,the business of       
bookbinding from the viewpoint of the   
binder1 the publisher1 the librarian and
 the general reader4 #aiab4 ,s4 ,paul4  
#fs4 net4      ,in spite of the title   
the viewpoint is that of the librarian4 
,prideaux1 ,s4 ,t4 ,historical sketch of
 bookbindings4 #ahic4 ,lawrence1        
,london4 #a4ej net4  ,sawyer1 ,h4 ,p4   
,how to care for books in a library4    
#aiab4 ,democrat ,printing ,co41        
,madison1 ,wis4 4#aj4      ,a good      
article on mending4  ,society of arts4  
,report of the ,committee on leathers   
for bookbinding4 #aije4 ,bell4 #ajs4    
#f;d4  ,stephen1 ,g4 ,a4 ,commercial    
bookbinding4 #aiaj4 ,stonhill1 ,london4 

#bs4 #f;d4      ,the best book on this  
subject4  ----4 ,machine book-sewing4   
#aijh4 ,aberdeen ,university ,press4    
,reprinted from the ,library association
 record1 ,june #aijh4  ----4 ,notes on  
materials for library bookbinding4      
,library ,assistant1 #aije-g1 #e3adc-f1 
#afb-d4  ,swezey1 ,a4 ,d4 ,binding      
records4 ,public ,libraries1 #aiji1 #ad3
 #e-g4  ,worcester 7,mass47 ,county law 
library4 ,leather preservation4 #aiaa4  
----4 ,a small binding plant in the     
building4 #aiab4  ,zaehnsdorf1 ,joseph4 
,bookbinding4 ,macmillan4 #a4ej4  ,zahn1
 ,otto4 ,on art binding4 #aijd4 ,toof   
,co41 ,memphis4 #a4ej4      ,by a well  
known artistic bookbinder4              
,,appendix ,c  ,,list ,,of ,,technical  
,,terms   ,in this list terms relating  
to paper1 to materials described in the 
body of this work and to historical     
bindings1 and terms seldom used have    
been omitted4  ,acid free leather4      
,leather which is manufactured without  
using acid4 ,as interpreted by some     

dealers1 it means leather from which all
 acid has been removed4  ,aldine style4 
,decorative design consisting of solid  
face ornaments without shading4 ,first  
used by ,aldus and other early ,italian 
printers4  ,all-along4 ,in hand-sewing  
when the thread passes from kettlestitch
 to kettlestitch in each signature it is
 sewed all-along4  ,antique4 ,see       
,blind-tooled4  ,arabesque4 ,decorative 
design consisting of many interwoven    
lines and curves arranged in            
conventional patterns4 ,sometimes       
applied to a design consisting of       
interwoven plants1 animals1 birds1 etc4 
,arming press4 ,see ,blocking press4    
,asterisk4 ,this well known sign is     
sometimes used to indicate that the     
printed matter on which it appears is to
 take the place of pages previously     
printed4  ,awl4 ,see ,bodkin4  ,azure   
tools4 ,tools with a series of          
horizontal lines parallel on their      
faces4  ,back lining4 ,cloth or paper   
glued to the back of a book to help hold

 the signatures together4  ,backing4    
,forcing over the folds on each side at 
the back to form grooves into which     
boards fit1 forming the joint4  ,backing
 boards4 ,used for backing or forming   
the joint4 ,made of hardwood sometimes  
faced with iron4 ,have a beveled edge1  
over which the paper is forced by       
hammering and are thicker at this edge  
than at the other1 so that when placed  
one on each side of the book and all are
 placed in the lying press1 the power of
 the press is brought to bear on the    
part of the book nearest the back4      
,backing hammer4 ,has a broad1 flat face
 and short handle4 ,used in rounding and
 backing4  ,backing machine4 ,machine   
run by power used in edition work for   
backing books4  ,backing press4 ,a press
 having vertical steel plates brought   
together with a screw4 ,when the book is
 placed in it with the back slightly    
projecting it can be backed in exactly  
the same way as if backing boards were  
used4  ,band-driver4 ,used in forwarding

 to eliminate irregularities of raised  
bands4  ,band nipper4 ,pincers used     
after leather has been put on over      
raised bands in order to straighten     
them4  ,banding4 ,decorating by means of
 horizontal stripes4  ,bark skiver4     
,tanned with oak bark4  ,bastard title4 
,see ,half title4  ,beading4 ,small     
twist or roll formed when winding the   
cotton or silk in head-banding4         
,beating4 ,process of flattening and    
smoothing out the folded sheets to make 
the leaves lie closely together4        
,beating hammer4 ,heavy1 short-handled  
hammer used for beating books to make   
the leaves lie closely together4        
,beating stone4 ,stone or iron bed on   
which books are beaten4  ,beveled       
boards4 ,heavy boards with beveled      
edges1 sometimes used for the sides of  
very heavy or large books4  ,binder4 #a4
 ,case used for the temporary protection
 of pamphlets and periodicals4 ,can be  
detached and used on succeeding numbers4
 #b4 ,one whose business it is to bind  

books4  ,binder's title4 ,title lettered
 on the back of a book4 ,frequently     
differs from that on the title page4    
,binder's board4 ,see ,boards4  ,binding
 slip4 ,sheet of paper containing       
instructions to the binder inserted in  
each book sent to the bindery4  ,blanks4
 ,books with blank leaves of good paper 
used for keeping records which are more 
or less permanent4 ,the binding of such 
books is a special trade4  ,bleed4 ,when
 books are trimmed so that part of the  
print is cut off they are said to bleed4
  ,blind-tooled4 ,books on which        
impressions have been made by tools     
without the use of gilt are             
blind-tooled4 ,sometimes called ,antique
 tooling4  ,block4 ,the solid metal     
stamp used for impressing a design on a 
book cover4  ,blocking4 ,stamping the   
design in gold or other material on book
 covers4  ,blocking press4 ,used in     
stamping designs on cloth book covers or
 back4 ,known also as stamping press and
 arming press4  ,board papers4 ,the     

parts of end papers pasted to the       
boards4  ,board shears4 ,heavy shears   
with a gauge1 for cutting boards for the
 sides of books4  ,boards4 ,boards for  
the sides of books are called cloth     
board1 binder's board1 mill board1 tar  
board4 ,they are called boards in the   
full size and also when cut for sides4  
,bodkin4 ,an awl used for punching holes
 in boards through which the bands are  
laced4  ,body4 ,main part of the book1  
from ,chapter ,i to the end of the text4
  ,bolt4 ,the folded edge of signatures 
at the head1 fore edge and tail of      
books4  ,book card1 or ,book slip4 ,card
 kept in the book1 used in charging the 
book when it is borrowed4  ,book label4 
,see ,label4  ,book pocket4 ,a pocket   
made of paper1 generally pasted on the  
last fly-leaf to hold the book card when
 the book is on the shelf1 or to hold   
the reader's card when the book is      
borrowed4  ,bosses4 ,metal ornaments    
fastened on the boards of books4        
,broken4 #a4 ,paper folded over4 #b4    

,the back of a book which has been      
cracked open from head to tail is       
broken4  ,broken up 7or over74 ,plates  
are broken up when they are folded over 
a short distance from the back before   
being placed in the book4  ,burnish4    
,the gloss produced by the application  
of a burnisher to the edges of a book4  
,burnisher4 ,piece of agate or          
blood-stone set in handles and used to  
produce a gloss on the edges of books4  
,calendered paper4 ,paper with a highly 
polished surface4  ,cancels4 ,leaves    
containing errors which are to be       
replaced with corrected pages4 ,the     
replacements are frequently marked with 
an asterisk4  ,canvas4 ,same as duck4   
,see page #hj4  ,caps4 ,coverings which 
protect the edges of books during the   
processes of covering and finishing4    
,case4 #a4 ,a cover for a book made     
independently of the book1 i4 e4 the    
boards are not laced in4 #b4 ,cover made
 to fit over book already bound in order
 to protect it4  ,case bindings4 ,books 

in which the boards and covering        
materials are made into a case and the  
book glued into it4 ,term generally     
applied to commercial work1 which is    
practically all done by machinery4      
,casing-in4 ,the operation of putting a 
sewed and forwarded book into its case4 
,catchword4 ,in old books and in a few  
modern books the first word of a page is
 printed under the last line on the     
preceding page4 ,this is called the     
catchword4  ,center tools4              
,specially-cut tools for ornamenting the
 centers of panels4  ,circuit edges4    
,projecting flexible covers turned over 
to protect the leaves of the book4 ,used
 almost wholly on ,bibles and prayer    
books4 ,sometimes called divinity edges4
  ,clasp4 ,a catch for fastening the    
covers of a book together4              
,clearing-out4 ,the process of removing 
the waste paper and paring away         
superfluous leather on the inside of the
 covers before pasting down end papers4 
,cloth boards4 #a4 ,boards covered with 

cloth4 #b4 ,boards used for the sides   
are sometimes called cloth boards       
instead of mill boards4  ,collation4 ,an
 examination of a book to see if it is  
complete4 ,may be done by signatures    
before book is bound4 ,must be done page
 by page in books which are to be       
rebound4  ,combs4 ,an instrument with   
wire teeth used in marbling4            
,compensating guards4 ,short stubs bound
 in the back to equalize space taken up 
by thick folded plates4  ,creaser4 ,the 
tool used in marking on each side of    
raised bands4 ,generally made of steel4 
,cropped4 ,term applied to books which  
have been trimmed too much4  ,crushed4  
,term applied to leather1 generally     
morocco1 which has been pressed so that 
the surface1 naturally grained1 is made 
smooth4  ,cut edges4 ,see ,edges cut4   
,cut flush4 ,in very cheap binding the  
book is trimmed after the cover is on   
and edges of boards are cut flush with  
the leaves4  ,cutter1 or ,cutting       
machine4 ,a machine used for trimming   

the edges of books4 ,sometimes called   
guillotine4  ,cutting boards4 ,boards   
similar to backing boards1 except that  
they are not beveled4 ,used in trimming4
  ,cutting in boards4 ,see ,in boards4  
,cutting press4 ,the lying press turned 
over so that the runners are uppermost4 
,deckle edge4 ,the rough untrimmed edge 
of hand-made paper4  ,dentelle4 ,a form 
of book ornament which supposedly       
represents lace4  ,derome4 ,a style of  
ornament having dentelle border with    
small birds among the arabesques4       
,diaper4 ,a form of ornament consisting 
of a small pattern repeated in          
geometrical form4  ,divinity calf4 ,dark
 brown calfskin blind-stamped and       
without gilding1 formerly used in       
binding religious books4  ,divinity     
edges4 ,see ,circuit edges4  ,die4 ,an  
engraved stamp used for stamping a      
design4  ,double4 ,see ,doublure4       
,doubled4 ,a design is doubled when the 
finisher tries to make a second         
impression and the tool does not quite  

follow the lines of the first           
impression4  ,doublure4 ,the lined and  
decorated inside face of boards on fine 
bindings4 ,when so lined the cover is   
said to be double4  ,dummy4 #a4 ,a book 
made up of blank leaves to show style of
 binding and grade of workmanship4 #b4  
,a piece of leather or cloth mounted on 
a board to show exact size and lettering
 of a periodical4  ,duodecimo4 ,book    
printed on paper folded into twelve     
leaves4 ,generally written #abmo4       
,loosely applied to books from six to   
eight inches high4  ,dutch metal4 ,an   
imitation of gold leaf which soon       
tarnishes4  ,edges cut4 ,a book which   
has all edges trimmed smooth4  ,edges   
gilt4 ,all edges trimmed smooth and     
gilded4  ,edges opened4 ,a book which   
has the folds of leaves cut by hand with
 a paper knife1 has its edges opened4   
,edges rolled4 ,the edges of the covers 
are marked with a roll4  ,edges trimmed4
 ,edges cut somewhat1 but not enough to 
cut all the folds4  ,edges uncut4 ,uncut

 edges have not been trimmed in any way1
 though they may have been opened with a
 paper knife4  ,edition de luxe4 ,fine  
editions of books printed on large paper
 and handsomely bound4 ,many books      
so-called are in reality cheaply bound4 
,eighteenmo4 ,a book printed on paper   
folded into eighteen leaves4 ,not often 
found4  ,elephant folio4 ,see ,folio4   
,embossing4 ,the process of producing   
raised designs by means of stamps4 ,used
 in imitating leathers4  ,end papers4   
,folded sheets at the beginning and end 
of books1 half of which are pasted to   
the boards4 ,sometimes called lining    
papers4  ,eve style4 ,decorative design 
consisting of geometrical figures joined
 by interlaced circles4 ,the figures    
contain flowers and the space           
surrounding them contains scroll work   
and branches of laurel and palm4  ,extra
 binding4 ,trade term for the best work4
  ,fanfare style4 ,leafy spirals        
interwoven with a delicate tracery over 
the cover4  ,fast4 ,colors are fast to  

sunlight if they do not fade2 to water  
if they do not wash off4  ,fillet4 #a4  
,plain lines stamped upon the back or   
cover of the book4 #b4 ,the tool with   
which the work is done4  ,filling4 ,see 
,weft4  ,finishing4 #a4 ,all processes  
after the book leaves the hand of the   
forwarder are known as finishing        
processes4 #b4 ,the ornaments stamped on
 a book4  ,finishing press4 ,a small    
wooden press with wooden screws which   
holds a book with the back up4          
,finishing stove4 ,a small gas or       
electric stove used for heating         
finishing tools4  ,flexible4 ,a form of 
binding in which the book is sewed on   
raised bands1 the thread being passed   
entirely around the bands4  ,flush cut4 
,see ,cut flush4  ,fly leaves4 ,blank   
leaves at the beginning and end of the  
book between end papers and the book    
itself4  ,folder4 #a4 ,small flat piece 
of bone used in folding sheets and in   
other binding processes4 #b4 ,person    
engaged in folding sheets4  ,folding    

machines4 ,power machine for folding    
sheets4  ,folio4 #a4 ,a book printed on 
paper folded in two leaves--four pages4 
,loosely applied to books over fifteen  
inches high4 ,very large books are      
sometimes called elephant folios4 #b4   
,consecutive page numbers of a book4    
,fore-edge4 ,the front edge of the      
leaves of a book4  ,font4 ,the complete 
number of letters1 figures1 etc41       
forming a set of type4  ,format4 ,size  
and shape of a book4  ,forwarding4 #a4  
,all processes between sewing and       
finishing4 #b4 ,the department which    
takes charge of books during these      
processes4 ,those who work in it are    
called forwarders4  ,foxed4 ,books      
having leaves stained by dampness are   
said to be foxed4  ,french guard4 ,the  
back edge of an illustration turned over
 and folded around the adjoining        
signature4  ,french joint4 ,joint formed
 by setting the boards a short distance 
away from the back4 ,see page #df4      
,french morocco4 ,a very inferior       

quality of levant morocco4 ,many skins  
so-called are sheep skins or cowhide4   
,frontispiece4 ,illustration facing the 
title page4  ,full-bound4 ,term applies 
to books entirely covered1 back and     
sides1 with the same material1 whether  
cloth or leather4  ,gascon style4 ,the  
distinguishing characteristic of this   
style of decoration is that dotted lines
 are used instead of lines which are    
continuous4  ,gathering4 ,collecting the
 folded sheets1 or signatures1 in the   
order in which they are bound4  ,gaufre 
edges4 ,edges which have had impressions
 made by finishing tools after the edges
 have been gilded4  ,gauge4 ,a tool used
 for obtaining the correct size of a    
volume in order to mark it on boards for
 squaring4  ,gilding press4 ,same as the
 finishing press4  ,gilt edge4 ,see     
,edges gilt4  ,gilt tops4 ,top edges    
gilded4  ,glaire4 ,a liquid made by     
beating whites of eggs4 ,used in        
lettering and gilding4 ,see page #aie4  
,goffered edges4 ,see ,gaufre edges4    

,gold cushion4 ,leather cushion on which
 the finisher cuts gold leaf4  ,gold    
knife4 ,a long straight knife used in   
cutting gold leaf4  ,gold leaf4 ,gold   
beaten very thin1 used for lettering and
 gilding4  ,gouge4 ,a finishing tool    
used to stamp the segment of a circle on
 a book4  ,grain4 ,the outer surface of 
a piece of leather from which the hair  
has been removed4 ,generally used with  
adjectives which indicate the appearance
 of the grain in question4  ,graining4  
#a4 ,process of bringing up the natural 
grain of leather by artificial means4   
#b4 ,process of embossing leather to    
produce a fictitious grain4  ,grater4   
,tool used for rubbing backs after they 
are paste-washed4  ,grolier4 ,an        
elaborate style of ornament consisting  
of scroll work with interwoven squares1 
circles and diamonds1 parts of the      
design being studded with gold dots4    
,grooves4 ,projections at the back      
against which boards rest to form the   
joint4 ,made by the backing hammer4     

,sometimes called joints4  ,guards4 #a4 
,narrow strips of paper bound in books  
to which plates or leaves are attached  
later4 #b4 ,narrow strips of cloth or   
paper used to reinforce the folds of    
signatures1 or pasted to single leaves  
and folded around adjoining signatures4 
,guides4 ,the grooves in which the      
plough moves on the face of the cutting 
press4  ,guillotine4 ,see ,cutter1 or   
,cutting machine4  ,half-bound4 ,term   
indicating that leather is used on the  
back1 with cloth or paper on the sides4 
,if small pieces of leather are placed  
on the corners the book is still        
half-bound4 ,if the corner pieces are   
large the book is three-quarters bound4 
,half-title4 ,brief title on the leaf   
preceding the main title page4 ,also    
called ,bastard title4  ,hand letters4  
,single letters affixed to handles and  
used in lettering4  ,head4 ,the top of  
the back of the book4  ,headband4 ,a    
silk or cotton band attached to the head
 of the book to strengthen it1 improve  

its appearance1 and make the back even  
in thickness with the boards4  ,head    
cap4 ,fold of leather over the headband4
  ,heel-ball4 ,shoemaker's preparation  
of wax used for taking rubbings of the  
backs of books4  ,holeing4 ,piercing the
 boards with an awl so that bands can be
 laced-in4  ,hollow back4 ,see ,loose   
back4  ,imperfections4 ,in commercial   
binderies1 sheets rejected because      
imperfect4  ,in boards4 #a4 ,term used  
when books are cut after boards have    
been attached4 #b4 ,style of binding    
which has a very narrow cloth back and  
paper covered sides4  ,in print4        
,obtainable from the publishers4        
,india-rubbered4 ,when the backs of     
books consisting of single leaves are   
covered with a solution of india rubber 
instead of being sewed they are said to 
be ,india-rubbered4 ,not practicable for
 permanent bindings4  ,inlaid4 ,the     
cover of a book bound in leather in     
which leather of a different kind or    
color has been inlaid4  ,in quires4     

,unbound books in sheets4  ,inset4 ,a   
folded sheet laid inside of another4    
,in sheets4 ,a book is said to be in    
sheets before it has been bound1 whether
 the sheets are folded or not4  ,inside 
margin4 ,the border made by the         
turned-in leather on the inside face of 
the boards4  ,inside tins4 ,sheets of   
tin sometimes placed in books which are 
to receive heavy pressure4  ,jansen     
style4 ,a style of decoration in which  
the book is absolutely plain on the     
outside except for lettering4 ,the      
inside covers1 however1 may be          
elaborately decorated4  ,joints4 ,the   
part of the book which bends when the   
book is opened4 ,see also ,grooves2     
,french joint4  ,kettlestitch4 ,the     
stitch made at the head and tail of the 
book fastening a signature at these     
points to the preceding signature4      
,keys4 ,small metal objects which fasten
 the bands to the under side of the     
sewing bench4  ,kip calf4 ,made from the
 skin of a heifer4 ,stronger than       

calfskin4  ,knocking-down iron4 ,iron   
plate on which books are placed when it 
is necessary to hammer down the ends of 
laced-in bands to prevent them from     
showing4  ,label4 ,a piece of paper or  
leather affixed to the back of a book on
 which to letter information4           
,lacing-in4 ,process of attaching the   
ends of bands to boards through holes   
made with an awl4 ,see page #db4        
,large-paper edition4 ,copies of a book 
printed on paper with wide margins4     
,laying press4 ,see ,lying press4  ,law 
sheep4 ,uncolored sheepskin4 ,so-called 
because at one time it was generally    
used on law books4 ,see page #fe4  ,lay 
cords4 ,the bands when stretched on the 
sewing bench ready for the signatures4  
,leatherette4 ,imitation leather1       
generally made of cloth4  ,lettering    
block4 ,a dummy book made of wood on    
which leather labels that are to be     
lettered are placed for greater ease in 
gilding4  ,lettering box4 ,that part of 
the pallet in which type is screwed up  

before lettering4  ,limp leather4 ,books
 bound in full leather without stiff    
boards are said to be bound in limp     
leather4  ,lining papers4 ,see ,end     
papers4  ,loose back4 ,books are loose  
backed when the covering material is not
 glued to the back1 but springs out when
 the book is opened4 ,called hollow back
 in ,england4  ,lying press4 ,the under 
side of the cutting press used in       
backing4 ,sometimes called laying press4
  ,magazine binder4 ,see ,binder4       
,maioli style4 ,decoration formed of    
shields or medallions with scroll work  
running through them4  ,marbled calf4   
,calfskin treated with acid so that it  
resembles marble4  ,marbling4 ,process  
of staining the paper or the edges of   
books with colors irregularly combined1 
similar to the irregular colorings and  
markings in marble4  ,marker4 ,piece of 
ribbon fastened to the headband and used
 as a book mark4 ,also called ,register4
  ,marking-up4 ,marking the position of 
the cords on the back4  ,millboard4 ,see

 ,boards4  ,millboard machine4 ,used for
 cutting and squaring boards4  ,mitred4 
,term indicating that lines in finishing
 meeting each other at right angles1    
continue but do not overrun each other4 
,mosaic binding4 ,a leather binding     
ornamented by designs made of inlaid    
pieces of leather or other material of  
different colors4  ,mottled calf4 ,light
 brown calf treated with acid to give it
 a mottled appearance4  ,mull4 ,see     
,super4  ,octavo4 ,book printed on paper
 folded into eight leaves4 ,usually     
written #hvo4 ,loosely used to indicate 
that the size of a book is between eight
 and ten inches in height4  ,off and on4
 ,term used in machine sewing1 meaning  
that certain stitches in each signature 
are skipped4  ,off-set4 ,marks made on  
opposite page because the printer's ink 
had not become thoroughly dry4 ,in case 
of illustrations tissue paper is        
frequently inserted to prevent this4    
,also called set-off4  ,opened edges4   
,see ,edges opened4  ,out of boards4 ,a 

book trimmed before the boards have been
 fastened to it4  ,out of print4 ,not   
obtainable from the publishers4         
,overcasting4 ,process of sewing single 
leaves over and over4 ,also called      
whipstitching4 ,see page #bc4  ,pallet4 
,a tool used in lettering having an     
adjustable box for holding type         
securely1 with a handle attached4       
,panel4 #a4 ,space between raised bands1
 or between stamped lines on the back4  
#b4 ,a square or rectangular space on   
the side of a book1 whether sunken or   
enclosed by beveled edges or gilded     
lines4  ,papering-up4 ,covering the     
leaves of a book1 especially if it has  
gilded edges1 to protect it during      
further processes4  ,parchment4 ,a      
material similar to vellum1 but not so  
thick4  ,paring4 ,process of thinning   
the edges of leather with a sharp knife1
 so that there will not be a rough edge 
when it is on the book4 ,sometimes      
called skiving4  ,pastewash4 ,paste     
diluted with water4  ,pasting-down4     

,operation of pasting end papers to the 
boards4  ,payne1 ,roger4 ,style of      
decoration distinguished by gold-tooled 
corner pieces and by the grace and      
freedom of ornamentation4               
,pebble-grained4 ,covering material     
grained in an irregular manner4         
,pegamoid4 ,an imitation leather made in
 ,england4  ,perforating machine4 ,a    
machine which punches holes in sections 
so that they can be more easily         
overcast4  ,petits fers4 ,small hand    
tools used in finishing1 as             
distinguished from the stamps or blocks 
used in a press4  ,pieced4 ,any space on
 the cover of a book which has a piece  
of another material attached to it4     
,most often used to mean leather which  
is used as labels for titles2 also      
called titled4  ,plate4 #a4             
,illustration printed from a plate4 ,the
 term is often used incorrectly for wood
 cuts4 #b4 ,in library usage any        
full-page illustration not paged-in4    
,plough4 ,a tool used for trimming      

books4  ,pluviusin4 ,an imitation       
leather made in ,england4  ,pocket4 ,an 
envelope made of paper or cardboard     
generally attached to the inside of the 
back cover and used to hold loose maps  
or plates4 ,see also ,book pocket4      
,pointille style4 ,a form of decoration 
in which the design is marked with small
 dots or points4  ,points4 ,holes made  
in sheets during the process of printing
 which serve as guides in registering   
and folding4  ,polisher4 ,a steel tool  
used to give a gloss to leather after   
finishing4  ,portfolio4 ,a case made for
 holding loose plates or maps4  ,powder1
 ,seme4 ,a form of decoration in which a
 small figure is repeated regularly4    
,preliminary matter4 ,half title1 title1
 table of contents and preface1 and all 
other matter preceding the main part of 
the book4  ,press pin4 ,an iron bar used
 to turn the screws of standing presses4
  ,presses4 ,for various kinds see      
,lying press2 ,cutting press2 ,finishing
 press2 ,blocking press4  ,pressing     

boards4 ,wooden boards placed between   
books in the standing press4 ,brass     
strips which project over the edges of  
the board fit into the grooves of the   
joint4  ,pressing plates4 ,japanned or  
nickeled plates1 which1 when placed next
 to leather bindings under heavy        
pressure give them a finish4  ,pulled4  
,a book taken from its cover and the    
signatures separated is said to be      
pulled4  ,puppy4 ,the specially prepared
 rubber used to remove superfluous gold 
leaf from a book is sometimes called the
 puppy4  ,quarto4 ,a book printed on    
paper folded into four leaves 7eight    
pages74 ,generally written #dto4        
,loosely applied to books between ten   
and fifteen inches high4  ,quire4       
,twenty-four sheets4  ,raised bands4    
,see ,bands4  ,recasing4 ,replacing a   
book in its original cover1 either with 
or without resewing4  ,recto4 ,right    
hand page of an open book4  ,register4  
#a4 ,ribbon attached to a book to be    
used as a book mark4 #b4 ,term          

indicating that the print on the verso  
falls exactly over that on the recto4   
,rexine4 ,an imitation leather made in  
,england4  ,roll4 ,finishing tool with  
brass wheel having a design on the      
circumference4 ,used in decorating      
leather bound books4  ,rolled edges4    
,see ,edges rolled4  ,rolling machine4  
,used in publisher's binding to press   
the leaves firmly together4  ,roulette  
border4 ,border design made with a roll4
  ,rounding hammer4 ,heavy hammer used  
in rounding4  ,roundlet4 ,small circle  
in gold used in decorating books4       
,roxburgh binding4 ,plain leather backed
 book1 lettering near the top enclosed  
in gold lines1 gilt top1 and cloth or   
paper sides4  ,rub-off1 or ,rubbing4 ,a 
copy of the back of a book showing exact
 lettering4 ,made by placing a sheet of 
thin strong paper on the back and       
rubbing it with a piece of heel-ball    
until all lettering is fully outlined4  
,run-up4 ,the back of a book with a     
fillet from head to tail not mitred at  

the bands is said to be run-up4         
,running title4 ,short title of a book  
or chapter appearing at the head of the 
page throughout the book or chapter4    
,saddle stitching4 ,a machine process   
which either sews or staples pamphlets  
of one signature4  ,sawing-in4 ,sawing  
the back of a book to make grooves in   
which the bands will rest when the book 
is sewed4  ,section4 ,see ,signature4   
,seme4 ,see ,powder4  ,set-off4 ,see    
,off-set4  ,setting the headband4       
,adjusting the leather so that it covers
 the headband with a kind of cap4       
,sewer4 ,the person who sews the        
signatures together on a sewing bench to
 form a book4  ,sewing bench4 ,a board  
about two feet long having at each end  
on the front edge an upright4 ,these are
 connected by a bar which is adjustable 
in height and between which and the     
board are stretched the bands or tapes  
on which the book is sewed4             
,sextodecimo4 ,see ,sixteenmo4  ,shears4
 ,see ,board shears4  ,sheets in4 ,see  

,in sheets4  ,signature4 #a4 ,the letter
 or figure on the first page of each    
folded sheet to ensure its proper place 
in the book when bound4 #b4 ,the folded 
sheet itself4 ,often called section4    
,sixteenmo4 ,a book printed on sheets   
folded into sixteen leaves4 ,generally  
written #afmo4  ,size4 ,a preparation   
used in gilding and finishing4          
,skiving4 ,see ,paring4  ,slips4 ,the   
pieces of bands or tapes projecting     
beyond the book after it is sewed4      
,smooth calf4 ,plain1 undecorated calf4 
,split boards4 #a4 ,boards split at the 
edge to admit slips and back-lining4 #b4
 ,boards made of two boards glued       
together1 leaving a space for insertion 
of slips and back-lining4  ,sprinkled   
calf4 ,calf treated with acid so that it
 looks as if it had been sprinkled with 
dye4  ,sprinkled edges4 ,edges which    
have been colored by shaking or spraying
 coloring matter on them4  ,squares4    
,the parts of the board projecting      
beyond the edges of the leaves of the   

book4  ,stabbing4 #a4 ,process of       
fastening together the signatures of a  
pamphlet with wire4 #b4 ,piercing the   
boards for lacing-in4  ,stabbed4 ,a     
pamphlet is said to be stabbed when the 
signatures are held together by wire    
staples driven in vertically near the   
back and clinched on the other side4    
,stamping press4 ,see ,blocking press4  
,stamps4 ,blocks or dies used to impress
 designs upon leather4  ,standing press4
 ,a large fixed press capable of holding
 many books4  ,start4 ,sections which   
after cutting project beyond the others1
 are said to have started4              
,steamboating4 ,cutting a number of     
books at the same time4  ,stitching4    
,process of sewing signatures lengthwise
 with a sewing machine4 ,see also       
,saddle stitching4  ,strawboard4 ,very  
soft paper board easily broken or cut4  
,sometimes used in cheap work4  ,super4 
,a thin1 coarsely woven cotton cloth    
used for back-lining4 ,called mull in   
,england4  ,tacky4 ,glue that is still  

sticky but not wet is tacky4  ,tail4    
,the bottom of the back of the book4    
,tar board4 ,see ,boards4               
,thirty-twomo4 ,a book printed on sheets
 folded into thirty-two leaves4 ,written
 #cbmo4  ,three-quarters bound4 ,see    
,half-bound4  ,thrown out4 ,folded maps 
or diagrams which are likely to be used 
a great deal can be mounted on cloth    
guards the width of the book4 ,when     
opened they will be entirely outside the
 book and are said to be thrown out4    
,tight back4 ,a book on which the       
covering material is glued to the back4 
,see page #dd4  ,title4 ,space between  
the bands upon which the title is       
lettered4  ,title skiver4 ,very thin    
skiver used as labels on which to gild  
lettering4  ,titled4 ,see ,pieced4      
,tooling4 ,the decoration of leather    
made by stamping designs in gold leaf   
upon it4  ,tools4 ,brass stamps used in 
tooling4  ,top gilt4 ,indicates that    
only the top edge of the book is gilded4
  ,tree calf4 ,imitation of the trunk   

and branches of a tree made with acid on
 the sides of a book bound in full calf4
  ,trimmed4 #a4 ,books which have only  
the edges of projecting leaves1 not the 
folds1 cut off are said to be trimmed4  
#b4 ,in library binding the term        
generally means that all edges have been
 trimmed even4  ,trindle4 ,a small tool 
used to take out the round of a book    
when it is being cut4  ,tub4 ,stand     
supporting the lying press4 ,formerly a 
tub used to catch the paper cut from the
 edges4  ,turning up4 ,when books are   
cut in boards it is necessary to take   
the round out of the back4 ,the process 
is assisted by the use of trindles and  
is called turning up4  ,twelvemo4 ,see  
,duodecimo4  ,twenty-fourmo4 ,a book    
having twenty-four leaves to a sheet4   
,two on4 ,see page #bc4  ,tying up4     
,when leather covers are put on over    
raised bands it is necessary to tie them
 with twine so that the leather will    
stick to the sides of the bands4        
,uncut4 ,see ,edges uncut4  ,unopened4  

,when the folds of signatures have not  
been cut the book is unopened4          
,varnish4 ,bookbinder's varnish is used 
to give a gloss to leather4 ,it is      
claimed that it acts as a preservative  
also4  ,verso4 ,left hand page of an    
open book4  ,warp4 ,the threads running 
lengthwise in cloth4  ,waste papers4    
,the part of the end papers or fly      
leaves which in some kinds of work are  
removed when the end paper is pasted to 
the cover4 ,the terms end papers1 fly   
leaves and waste papers are used in     
different binderies with much the same  
meaning4  ,waterproof sheets4 ,sheets of
 waterproof cardboard sometimes laid in 
or between books when pressing4  ,weft4 
,the threads running crosswise in cloth4
 ,also called woof1 and filling4        
,whipping1 or whipstitching4 ,see       
,overcasting4  ,whole bound4 ,term      
indicating that a book is bound in full 
leather4 ,see also ,full bound4  ,wire  
sewing4 ,sewing the signatures of a book
 to cloth by means of wire staples      

driven through their centers4  ,wired4  
,pamphlets held together by wire staples
 driven through and clinched near the   
back edge1 are said to be wired4        
,witness4 ,the leaves of a book which   
show the original size of the sheet1    
although other sheets have been trimmed1
 are a witness to the fact that the book
 has not been cut down4  ,woof4 ,see    
,weft4     ,,index      ,acid-free      
leather1                                
#eh1 #ij      ,acids used in dyeing1    
effects1                          #eg   
,adhesives1                             
#afg      ,advertisements1 when to bind1
                          #ace      ,age
 of animals1 effect on leather1         
#ec      ,aldine vellum1                
#gf      ,a4 ,l4 ,a4 ,committee on      
,binding1                          #aa  
,a4 ,l4 ,a4 ,specifications for         
reinforced books1          #aji         
,american russia1                       
#fe      ,ammonia1                      
#aga      ,angora goatskin1             

#fi      ,arrangement for binding1      
#acb      ,art canvas1                  
#gf      ,art vellum1                   
#gf      ,artistic binding1             
#g      ,back-lining1                   
#cd      ,backing1                      
#cc      ,backs1 loose1 mending1        
#aha      ,backs1 tight1 mending1       
#aha      ,backs1 tight and loose1      
#dd      ,bands1                        
#ai      ,bands1 frayed1                
#cb      ,bands1 number necessary1      
#ah1 #ia      ,bands1 raised1           
#dj      ,barbour's thread1             
#he      ,bench sewing1                 
#ai      ,bibliography of binding1      
#bba      ,bids for binding1            
#aa      ,binder1 instructions for1     
#aci      ,binders' boards1             
#hc      ,binders for magazines1        
#aii      ,binders ignorant of library  
binding1                     #i         
,bindery in the library1                
#bji      ,bindery1 equipment1          
#bac      ,binding before purchase1     

#ajc      ,binding records1             
#adi      ,binding routine1             
#aeg      ,binding slip1 use of1        
#aci1 #adj      ,boards1                
#hc      ,boards1 cut1                  
#cf      ,bock1                         
#gj      ,bone folders1                 
#agb      ,bookbinding terms1           
#bbe      ,books1 discarding of1        
#aca      ,books1 opening of1           
#abb      ,books1 proper care1          
#abb      ,booksellers1 oppose          
reinforced books1                  #aab 
,brownie books1 strong binding1         
#aac      ,brushes1                     
#agc      ,buckram1                     
#gf      ,buffing1                      
#ff      ,bureau of ,standards1         
,specifications for cloth1         #bag 
,bureau of ,standards1 tests of cloth1  
#gh      ,burnishing1                   
#cb      ,calfskin1                     
#gj      ,calfskin vs4 cowhide1         
#ec      ,call number1 location of1     
#adc      ,call numbers gilded1         

#ci      ,canton flannel for lining1    
#ce      ,canvas1                       
#hj      ,care of books1                
#abb      ,case1 making of1             
#cf      ,cased books1                  
#ch      ,catechol group1               
#ef      ,cheesecloth1                  
#agj      ,chivers1 ,cedric1 binding    
from sheets1                  #ajc      
,chivers1 tests of leather1             
#fj      ,chivers1 test of levant       
morocco1                        #fi     
,classic buckram1                       
#gf      ,cleaning cover1               
#agg      ,cleaning pages1              
#agd      ,climate1 effect on leather1  
#ed      ,cloth1                        
#gb      ,cloth boards1                 
#hc      ,cloth1 cutting of1            
#cf      ,cloth for sides1              
#hi      ,cloth1 government             
specifications1                  #gi1   
#bag      ,cloth1 grades of1            
#ge      ,cloth guards1                 
#ij      ,cloth1 manufacturers of1      

#gd      ,cloth1 qualities of1          
#gd      ,cloth1 tests of1              
#gh      ,cloth used in mending1        
#agj      ,cloth vs4 leather1           
#abb      ,collation1                   
#ae1 #acc      ,commercial binding1     
#f      ,commercial binding1            
specifications1                    #ajj 
,copying press1                         
#agc      ,corners of vellum1           
#gb      ,corners rounded1              
#dg      ,cost of binding1              
#e1 #aa1 #aae      ,cost of binding1    
records of1                             
#aeb      ,cost of binding1 suggestions 
for reducing1        #ajd1 #aai         
,cotton vs4 linen thread1               
#he      ,covers1 how cleaned1          
#agg      ,covers of periodicals1 when  
to bind1                   #ace         
,cowhide1                               
#fe      ,cowhide for fiction and       
juvenile1                       #ic     
,creases1 how removed1                  
#age      ,creasing for flexibility1    

#be      ,crepeline1                    
#agj1 #agi      ,crushed levant1        
#fi      ,cutting board1                
#agd      ,dampness1 effect on leather1 
#ei      ,decay of leather1             
#ed      ,discarding books1             
#aba1 #aca      ,duck1                  
#hj1 #ij      ,duck for newspapers1     
#ig      ,dummy backs1                  
#ada      ,durabline1                   
#ha      ,embossing leather1            
#eg      ,end papers1                   
#ai      ,end papers and fly leaves     
pasted together1              #ca       
,end papers pasted down1                
#cg      ,end papers1 quality1          
#he      ,english buckram1              
#gg      ,everyman's library1 library   
edition1              #aab1 #abi        
,eyelet and tape binders1               
#bja      ,fabrikoid1                   
#ha1 #hb      ,fibre-filling            
preservative1                           
#ig      ,fiction1 specifications1      
#ic      ,finishing1                    

#ci      ,flesher for back-lining1      
#ce      ,flexible glue1                
#hb      ,flexible sewing1              
#dj      ,fly leaves and end papers     
pasted together1              #ca       
,fly leaves guarded1                    
#ag      ,fly leaves tipped on1         
#ag      ,fly leaves1 renewal1          
#ahc      ,folded plates1 guarded1      
#ij      ,folders1 bone1                
#agb      ,forwarding1                  
#ca      ,fox marks1 how removed1       
#age      ,french joints1               
#cg1 #df1 #ia      ,gall nuts for       
tanning1                                
#ee      ,gas1 effect on leather1       
#eh      ,gaylord binders1              
#bjf      ,gilding1                     
#ci      ,gilding tops1                 
#cc      ,glaire1                       
#aie      ,glue1                        
#hb1 #afi      ,glue1 flexible1         
#hb      ,glue pot1                     
#agc      ,glue1 removed from back of   
books1                       #ae        

,gluing1                                
#cc      ,gluing for overcasting1       
#ag      ,goatskins1                    
#fh      ,gold leaf1                    
#he      ,government cloth1             
#gg      ,government cloth1             
specifications1                         
#bag      ,government documents1 binding
 of1                   #ed1 #gg         
,government documents1 materials used in
 binding1        #ea      ,graining     
leather1                                
#eg      ,grease in leather1            
#eh      ,grease spots1 how removed1    
#agg      ,guarding fly leaves1         
#ag      ,guarding illustrations1       
#ah      ,guarding signatures1          
#ag      ,hair sheep1                   
#fd      ,hayes' thread1                
#he      ,headbands1                    
#di      ,heat1 effect on leather1      
#ei      ,hemlock bark1                 
#ef      ,home binderies1               
#bji      ,huntting1 ,h4 ,r41           
,samson-back sewing1                    

#aac      ,illustrations guarded1       
#ah1 #ij      ,illustrations mounted on 
cloth1                         #ia      
,imitation of morocco1                  
#fd1 #fh      ,imperfect books1 when to 
bind1                         #acc      
,imperial morocco cloth1                
#ha1 #ij      ,incomplete volumes1 when 
to bind1                      #ach      
,index1 where to place1                 
#acd      ,index volumes1 lettering of1 
#adg      ,ink stains1 how removed1     
#agf      ,instructions to binder1      
#aci      ,jaconet1                     
#ag1 #agj      ,javelle water1          
#age      ,joint authors1 lettering1    
#adc      ,joints1                      
#df      ,juvenile books bound from     
sheets1                      #aje       
,juvenile books1 specifications1        
#ic      ,keratol1                      
#ha1 #hb      ,kettlestitch1            
#bb      ,kettlestitch1 sawing for1     
#ah      ,kettlestitch1 three for       
overcast books1                 #bg     

,knives1                                
#agb      ,knocking down1               
#af      ,kraft paper1                  
#aga      ,kraft paper for fly leaves1  
#ag      ,labeling1 process1            
#aia      ,labels made of leather1      
#ci      ,labels on tight-back books1   
#de      ,labels1 removal of1           
#aic      ,labor1 effects on cost of    
binding1                     #aae       
,lacing-in1                             
#ch1 #db      ,larch1 for tanning1      
#ef      ,law books1 specifications1    
#ih      ,law sheep1                    
#fe      ,leather1                      
#eb      ,leather1 causes of variation  
in1                        #ec          
,leather corners1                       
#dh      ,leather1 decay of1            
#ed1 #gc      ,leather1 embossed1       
#eg      ,leather for back-lining1      
#ce      ,leather imitation of1         
#ha      ,leather kinds of1             
#fc      ,leather labels1               
#ci      ,leather1 mechanical qualities1

                          #fj           
,leather1 preservation of1              
#fj      ,leather vs4 cloth1            
#abb      ,legal buckram1               
#hj      ,lettering1 arrangement1       
#ada      ,lettering by hand1           
#aic      ,lettering1 how indicated1    
#aci      ,lettering in white ink1      
#aic      ,lettering1 joint authors1    
#adc      ,lettering1 oversized books1  
#adg      ,lettering1 pamphlets1        
#bjg      ,lettering1 periodicals1      
#adf      ,lettering1 pseudonyms1       
#adc      ,lettering1 thin volumes1     
#adg      ,lettering1 two books in one1 
#adc      ,lettering with type1         
#aid      ,levant morocco1              
#fi      ,library binderies1            
#bji      ,library binderies1           
administration1                     #baa
      ,library binderies1 cost of1      
#bad      ,library binding1             
#h      ,library buckram1               
#hj      ,linen buckram1                
#gg      ,linen finish cloth1           

#gf      ,linen vs4 cotton thread1      
#he      ,loose back1                   
#cf1 #dd      ,loose joints1 how mended1
                              #ahb      
,loose leaves1 inserting1               
#ahj      ,loose signatures1 inserting1 
#aha      ,machine-bound books1         
#f      ,magazine binders1              
#aii      ,making the case1             
#cf      ,manila paper1                 
#aga      ,manila paper for fly leaves1 
#ag      ,maps1 repair of1              
#ahc      ,materials1                   
#ea      ,materials for lettering1      
#aie      ,materials for repairing1     
#afg      ,mending1                     
#af1 #agh      ,mending by binder1      
#ij      ,mending materials1            
#afg      ,mending1 rules for1          
#aff      ,mildew1 how prevented1       
#agf      ,millboards1                  
#hc      ,morocco1                      
#fh      ,morocco1 bock1                
#gj      ,morocco1 imitation of1        
#fd      ,morocco1 ,levant1             

#fi      ,morocco1 ,niger1              
#gj      ,morocco1 ,persian1            
#gj      ,morocco1 ,turkey1             
#fi      ,mucilage1                     
#afi      ,music1 specifications for1   
#ii      ,newspapers1 specifications1   
#if      ,newspapers1 wrapped in paper1 
#if      ,niger morocco1                
#gj      ,non-fiction1 specifications1  
#id      ,oak bark1                     
#ee1 #ef      ,oak bark for pigskin1    
#fg      ,oak bark for sheepskin1       
#fd      ,onion skin1                   
#aga      ,overcast books1 cut before   
sewing1                      #af        
,overcasting1                           
#bc1 #be      ,overcasting1 sawing for1 
#ai      ,oversized books1 lettering1   
#adg      ,pages1 cleaning of1          
#agd      ,pages1 how mended1           
#agh      ,pages missing1               
#acc      ,pamphlets1 binding1          
#bje      ,pamphlets1 binding single    
copies1                      #aij       
,pamphlets1 lettering1                  

#bjg      ,panels1                      
#adb      ,panels1 staining of1         
#ci      ,paper1 effect of folding1     
#ad      ,paper1 effect on binding1     
#ad      ,parker1 ,j4 ,gordon1 on causes
 of decay in leathers1      #ee         
,paste1                                 
#hc1 #afg      ,paste1 poor1 effect on  
binding1                         #ei    
,pasting down1                          
#cg      ,pasting machine1              
#afi1 #agd      ,perforating machine1   
#be      ,periodicals1 arrangement of1  
#af1 #acd      ,periodicals1 binding    
single copies1                    #aij  
,periodicals1 lettering1                
#adf      ,periodicals1 specifications1 
#id      ,periodicals1 two volumes in   
one1                       #ach         
,periodicals1 vagaries of1              
#acd      ,periodicals1 when to bind    
incomplete1                  #ach       
,persian morocco1                       
#gj      ,plates1 folded1 guarding1     
#ij      ,plates1 unpaged1 where to     

place1                       #acf       
,preparing for the bindery1             
#abe      ,press used in mending1       
#agc      ,pressing1                    
#ch      ,pigskin1                      
#fg      ,pluviusin1                    
#ha      ,polished buckram1             
#gf      ,preservation of leather1      
#fj      ,prices1 schedule of1          
#aah      ,printing ,investigation      
,committee1                       #gg   
,processes1                             
#ac      ,pseudonyms1 lettering1        
#adc      ,publishers' binding1         
#f      ,publishers' reinforced books1  
#aji      ,publishers' reinforced books1
 failure of1              #aaa          
,pyrogallol group1                      
#ee      ,questions binding assistants  
must ask1                 #abe          
,raised bands1                          
#dj      ,ratio of cost to circulation1 
#e      ,reading list1                  
#bba      ,rebacking1                   
#cf      ,recasing instead of rebinding1

                         #acj           
,recasing1 process1                     
#ahd      ,records for large libraries1 
#aec      ,records of binding1          
#adi      ,records of previous volumes1 
#adj1 #aea      ,recovering1            
#aba      ,recovering1 process1         
#ahe      ,red rope manila1             
#aga      ,reference books1             
specifications1                         
#ih      ,regular sewing1               
#ai      ,reinforced books1             
#ajh1 #abj      ,reinforced books1      
specifications1                         
#aji      ,reinforcing1 process1        
#ahh      ,repairing1                   
#afe      ,reports1 binding of1         
#ach1 #bje      ,reprints1 bound before 
purchase1                       #aai    
,reprints1 use instead of rebinding1    
#abi      ,resewed commercial books1    
#aac      ,re-siding1 process1          
#ahh      ,retanning1                   
#eh      ,rexine1                       
#ha      ,roan1                         

#fe      ,rod binders1                  
#bjb      ,rounding1                    
#cc      ,routine of binding1           
#aeg      ,royal ,society of ,arts1     
investigation of leather1        #ee    
,rub or rub-off1                        
#ib1 #adj      ,russia leather1         
#ga      ,samson-back sewing1           
#aac      ,sawing1                      
#ah      ,scientific books1 when to     
rebind1                      #aca       
,scribner's1 ,charles1 ,sons ,co41      
reinforced books1       #aji            
,sealskin1                              
#fc1 #ga      ,second-hand books1       
rebound before using1          #ajh1    
#abj      ,selection of binder1         
#i      ,semi-tar boards1               
#hd      ,setting the square1           
#cf      ,sewing1                       
#ai      ,sewing1 affected by paper1    
#ad      ,sewing bench1                 
#bj      ,sewing on tapes1              
#cj      ,sewing two-on1                
#bc      ,sex of animals1 effect on     

leather1                      #ec       
,shaving of skins1                      
#eg      ,sheep-bound set of ,u4 ,s4    
documents1                     #ed      
,sheepskin1                             
#fc      ,sheets1 binding from1         
#ajc      ,shellac1                     
#agb      ,shellacking of covers1       
#agg      ,signatures1 guarding of1     
#ag-ah      ,size1 basis for prices1    
#hi      ,skiver1                       
#fe      ,society of ,arts1             
investigation of leather1               
#ee      ,society of ,arts1 on          
preservation of leather1            #fb 
,sound ,leather ,committee of the       
,library ,association1     #ee          
,specifications1                        
#hg      ,specifications1 books of      
illustrations1                #ajj      
,specifications1 commercial binding1    
#ajj      ,specifications1 fiction1     
#ic      ,specifications1 general1      
#hh      ,specifications1 juvenile1     
#ic      ,specifications1 law books1    

#ih      ,specifications1 music1        
#ii      ,specifications1 newspapers1   
#if      ,specifications1 non-fiction1  
#id      ,specifications1 periodicals1  
#id      ,specifications1 reference     
books1                        #ih       
,specifications1 reinforced books1      
#aji      ,split boards1                
#dd      ,split cowhide1                
#ff      ,split sheepskins1             
#fe      ,splitting of skins1           
#eg      ,spring-back binders1          
#bja      ,sprinkling1                  
#cb      ,squares1                      
#cf      ,stained labels1               
#ci      ,stitching1                    
#ia      ,strawboards1                  
#hc      ,sulphuric acid1               
#eg1 #eh      ,sumac1                   
#ee1 #ef1 #eg      ,sumac for sheepskin1
                                    #fd 
,sunlight1 effect on leather1           
#eh      ,super1                        
#ce      ,supplements to periodicals1   
#acd      ,taking apart1                

#ae      ,tanning materials1            
#ee      ,tapes1                        
#he      ,tapes1 sewing on1             
#cj      ,tar boards1                   
#hd      ,technical books1 when to      
rebind1                       #aca      
,technical terms1                       
#bbe      ,thread1                      
#hd1 #aga      ,tides of ,barnegat1     
reinforced1                         #aji
      ,tight backs1                     
#dd      ,tight backs1 mending1         
#aha      ,title page1 where to place1  
#acd      ,title pages1 vagaries of1    
#acf      ,tobacco smoke1 effect on     
leather1                       #eh      
,tooling1                               
#ci      ,tools for repairing1          
#agb      ,tools used in lettering1     
#aid      ,tools used in mending1       
#agb      ,torn leaves1 mending1        
#agh      ,trimming1                    
#cb1 #dh      ,turkey morocco1          
#fi      ,turwar bark1                  
#ef      ,two-on1 sewing1               

#bc      ,use determines kind of        
binding1                          #d    
,valueless books1 discarding of1        
#aba      ,vaseline for leathers1       
#fa      ,vellum1                       
#ga      ,vellum corners1               
#dh      ,warp1 strength of1            
#ge      ,waterproof cloths1            
#ha      ,weft1 strength of1            
#ge      ,well-bound book1 how to       
recognize1                      #di     
,whipstitching1                         
#bd      ,white ink1 when used1         
#aic      ,wire1 ,dr4 ,g4 ,e41 on       
preservation of leather1            #fj 
,wool sheep1                            
#fd