,illustration3 #a ,montague ,style ,harleian ,style ,aldine ,style ,harleian ,border ,a ,,manual ,,of ,,the ,,art ,,of ,,bookbinding3 ,,containing ,,full ,,instructions ,,in ,,the ,,different ,,branches ,,of ,,forwarding1 ,,gilding1 ,,and ,,finishing4 ,,also1 ,the ,art of ,marbling ,book-,edges and ,paper4 ,,the ,,whole ,,designed ,,for ,,the ,,practical ,,workman1 ,,the ,,amateur1 ,,and ,,the ,,book-,,collector4 ,,by ,,james ,b4 ,,nicholson4 ,,philadelphia3 ,,henry ,,carey ,,baird ,,co41 ,,industrial ,,publishers1 ,,booksellers ,,and ,,importers1 #haj ,,walnut ,,street4 #ahgh4 ,entered according to ,act of ,congress1 in the year #ahef1 by ,,jas4 ,b4 ,,nicholson1 in the ,clerk's ,office of the ,district ,court of the ,united ,states for the ,eastern ,district of ,pennsylvania4 ,,stereotyped ,,by ,l4 ,,johnson ,,co4 ,,philadelphia4 ,,preface4 ,the progress of the ,art of ,bookbinding has made nearly all the works written upon the subject obsolete2 their descriptions no longer apply to the methods practised by the best workmen4 ,throughout this work1 the opinions and remarks of other writers have been adopted without alteration1 unless they came in contact with practical knowledge4 ,every thing that would not bear that test has been rejected1 and in lieu thereof those modes of operation described that the young binder will have to learn and practise if he desires to emulate the skill of the best artists4 ,the plan of the work is taken from ,arnett's ,bibliopegia2 and every thing given in that work that has any approach to utility will be found in these pages4 ,it was at first intended merely to revise that production2 but during the progress of revision so much was rejected that it was deemed better to pass under notice at the same time the labours of others4 ,cundall's ,ornamental ,art has furnished the early incidents in the ,sketch of the ,progress of the ,art of ,bookbinding2 and1 as the best authority upon the subject1 ,woolnough's ,art of ,marbling has been adapted to this country4 ,mr4 ,leighton's ,suggestions in ,design has been laid under contribution in order to enrich the subject of ,ornamental ,art4 ,the ,london ,friendly ,finishers' ,circulars have been a valuable acquisition to the writer1 and it is trusted will make this work equally so to the young finisher4 ,cowie's ,bookbinders' ,manual1 ,arnett's ,school of ,design1 ,gibb's ,hand-book of ,ornament1 and ,scott's ,essay on ,ornamental ,art1 in addition to those acknowledged in the body of the work1 have supplied some valuable hints4 ,it is hoped that this volume will prove useful to those forming libraries1 by imparting correct information upon subjects that to the book-collector are important1 and that its tendencies will be to increase and strengthen a love for the art4 ,j4 ,b4 ,n4 ,,philadelphia1 #ahef4 ,,contents4 ,,introduction4 ,,page ,,sketch of the ,progress of ,bookbinding #i ,,part ,i4 ,sheet-,work #cd ,,part ,,ii4 ,forwarding #ei ,the ,edges #gd ,marbling #hb ,gilding the ,edges #acj ,covering #ada ,half-,binding #adi ,blank ,binding #aea ,boarding #afi ,cloth-,work #agj ,,part ,,iii4 ,ornamental ,art #agh ,finishing3 ,taste and ,design #ahf ,styles #aih ,gilding #bae ,illuminated ,binding #bbg ,blind ,tooling #bcj ,antique #bca ,colouring #bcf ,marbling #bdf ,uniform ,colours #bef ,gold ,marbles1 ,landscapes1 c4 #bfj ,inlaid ,ornaments #bgj ,harmony of ,colours #bgb ,pasting ,down1 c4 #bgc ,stamp or ,press-,work #bgi ,restoring the ,bindings of ,old ,books #bhi ,supplying ,imperfections in ,old ,books #bij ,hints to ,book-,collectors #bib ,technical ,terms #big ,,introduction4 ,,sketch ,,of ,,the ,,progress ,,of ,,bookbinding4 ,the earliest records of ,bookbinding that exist prove that the art has been practised for nearly two thousand years4 ,in past ages1 books were written on long scrolls of parchment or papyrus1 and were rolled up and fastened with a thong which was made of coloured leather and often highly ornamented4 ,these scrolls were usually attached to one1 or1 occasionally1 two rollers of wood or ivory1 or sometimes of gold1 much as our large maps are now mounted1 and the bosses at the end of the rollers were frequently highly decorated4 ,this decoration may be called the first step toward ,ornamental ,art applied to the exterior of books4 ,a learned ,athenian1 named ,phillatius1 to whom his countrymen erected a statue1 at length found out a means of binding books with glue4 ,the sheets of vellum or papyrus were gathered two or four together1 sewn much in the same way as at the present day2 and then1 in order to preserve these sheets1 there came1 as a matter of course1 a covering for the book4 ,the probability is that the first book-covers were of wood--plain oaken boards1 perhaps2 then1 as books in those days were all in manuscript1 and very valuable1 carved oak bindings were given to those which were the most decorated within4 ,to cover the plain wooden board with vellum or leather would1 in the course of years1 be too apparent an improvement to be neglected2 and specimens of books so bound1 of the great antiquity of which there are undoubted proofs1 exist at the present day4 ,there is reason to believe that the ,romans carried the ,art of ,binding to considerable perfection4 ,some of the public offices had books called ,dyptichs1,a in which their acts were written4 ,the binding of one of these in carved wood is thus described3--,seated in the centre of each board is a consul1 holding in one hand a baton1 and in the other1 upraised1 a purse1 as if in the act of throwing it to some victor in the games4 ,above these are miniature portraits1 various other ornaments1 and an inscription2 below1 on one board1 are two men leading out horses for the race1 and beneath them a group1 with a ludicrous representation of two other men1 exhibiting their endurance of pain by allowing crabs to fasten on their noses4 ,a small print of an ivory dyptich of the fifth century1 in ,mr4 ,arnett's ,books of the ,ancients1 may be consulted as a specimen of the kind of ornament then adopted4 ,an old writer says1 that about the time of the ,christian era the books of the ,romans were covered with red1 yellow1 green1 and purple leather1 and decorated with gold and silver4 ,footnote ,a3 ,the antiquity of illuminated missals has been traced1 conjecturally1 even to the time of the apostles themselves4 ,at the beginning of the ,christian era1 missive letters were usually written on tablets of wood1 hollowed so as to present something of the appearance of a boy's slate in a frame4 ,two of these were placed face to face to preserve the writing1 which was on wax1 and a pair of boards thus prepared was called a ,dyptich4 ,the ,epistles of ,st4 ,paul and the other apostles to the primitive churches were1 in fact1 missive letters despatched to their distant congregations2 and there is every probability that imaginary or real portraits of the writers accompanied the letters1 and headed the contents of the ,christian dyptichs1 in order to insure to them the same degree of reverence which was paid to the missives of the government when headed by the imperial effigies4 ,the compact form of the dyptich suited the purposes of a movable altar-piece admirably4 ,and the names dyptic or triptic1 which implied at first but a double or triple page1 came with time to designate those folding altarpieces so frequently found in the earliest ,christian churches4--,lady ,calcott's ,essay4 ,if we pass on to a few centuries later1 we find that the monks were almost the only literati4 ,they wrote chiefly on subjects of religion1 and bestowed the greatest pains upon the internal and external decorations of their books4 ,in the thirteenth century some of the gospels1 missals1 and other service-books for the ,greek and ,roman churches1 were ornamented with silver and gold1 apparently wrought by the hammer2 sometimes they were enamelled and enriched with precious stones1 and pearls of great value4 ,carved oak figures of the ,virgin1 or the ,infant ,saviour1 or of the ,crucifixion1 were also the frequent adornments of the outside covers4 ,one of these ancient relics is thus described by the librarian of ,henry ,,viii4 ,all ,i have to do is to observe1 that this book 7which the more ,i have look'd upon the more ,i have always admired7 hath two thick boards1 each about an inch in thickness1 for its covers1 and that they were joined with the book by large leather thongs1 which boards are now by length of time become very loose4 ,tho' ,i have seen a vast number of old books and oftentimes examined their covers1 yet ,i do not remember ,i ever saw boards upon any of them of so great thickness as these4 ,this was the manner of ,binding1 it seems1 of those times1 especially if the books were books of extraordinary value1 as this is4 ',twas usual to cut ,letters in the ,covers1 and such letters were the better preserv'd by having them placed in some hollow part1 which might easily be made if the boards were pretty thick4 ,i suppose1 therefore1 that even the copies of ,gregory's ,pastoral that were given to ,cathedral ,churches by ,king ,alfred had such thick covers also1 that these by the stals might be fix'd the better4 ,what makes me think so is1 that the outside of one of the covers of this book is made hollow1 and there is a rude sort of figure upon a brass plate that is fastened within the hollow part1 which figure ,i take to have been designed for the ,virgin ,mary1 to whom the ,abbey was dedicated4 ,over it there was once fastened another much larger plate1 as is plain from the ,nails that fixed it and from some other small indications now extant1--and this 'tis likely was of silver1 and perhaps there was an anathema against the ,person that should presume to alienate it1 engraved upon it--together with the ,name of the ,person 7who it may be was ,roger ,poure7 that was the ,donor of the ,book4 ,this will make it to have been nothing else but an stal1 such a one 7tho' not so valuable7 as was fastened upon ,gregory's ,pastoral4 ,but this ,i leave to every man's judgment4,b ,footnote ,b3 ,leland's ,itin4 vol4 ii4 p4 #hf1 ,oxford1 #agfi4 ,at a later period we find on the binding of books gold and silver ornaments of very beautiful design1 enclosing precious stones of great variety2 carved ivory tablets let into framework of carved oak2 rich-coloured velvets1 edged with morocco1 with bosses1 clasps1 and corners of solid gold2 white vellum stamped in gold and blind tooling2 and morocco and calf covers inlaid with various colours and adorned in every conceivable way4 ,this was at the end of the fourteenth and in the fifteenth and sixteenth centuries1 when the love of ,art was universal1 in the land where ,michael ,angelo1 and ,raffaelle1 and ,da ,vinci produced their great works1 and where1 under the auspices of the ,medici1 the ,art of ,bookbinding as well as all other arts was encouraged4 ,mr4 ,dibdin1 in his ,bibliographical ,decameron1 to which we are much indebted1 has given an account of the library of ,corvinus1 ,king of ,hungary1 who died at ,buda about the year #adij4 ,this library consisted of about thirty thousand volumes1 mostly manuscripts of the ,greek and ,latin poets and historians1 and was contained in large vaulted galleries1 in which1 among other works of art1 were two fountains1 one of marble and the other of silver4 ,the binding of the books were mostly of brocade1 protected with bosses and clasps of gold and silver2 and these1 alas6 were the subsequent cause of the almost entire destruction of the library2 for1 when the city of ,buda was taken by assault1 in #aebf1 the ,turkish soldiers tore the precious volumes from their covers for the sake of the ornaments that were upon them4 ,the general use of calf and morocco binding seems to have followed the invention of printing4 ,there are many printed books1 still in good preservation1 that were bound in calf with oaken boards at the end of the fifteenth and beginning of the sixteenth centuries4 ,these are mostly stamped with gold or blind tools4 ,the earliest of these tools generally represent figures1 such as ,christ1 ,st4 ,paul1 the ,virgin1 coats of arms1 legends1 and monograms1 according to the contents of the book4 ,afterward attempts were made to produce pictures1 but these were necessarily bad4 ,in ,england1 the earliest binding with ornament was about the time of ,henry ,,vii41 when we find the royal arms supported by two angels2 the heraldic badge of the double rose and pomegranate1 the fleur-de-lys1 the portcullis1 the emblems of the evangelists1 and small ornaments of grotesque animals4 ,there are in the ,british ,museum and in the ,record ,office many ,english bindings which undoubtedly were executed in the time of ,henry ,,vii4 ,in the reign of ,henry ,,viii41 about #aech1 ,grafton1 the printer1 undertook to print the great ,bible4 ,not finding sufficient men or types in ,england1 he went to ,paris and there commenced it4 ,he had not1 however1 proceeded far1 before he was stopped in the progress of this heretical book2 and he then took over to ,england the presses1 type1 printers1 and bookbinders1 and finished the work in #aeci4 ,the edition consisted of #bejj copies1 one of which was set up in every church in ,england1 secured to a desk by a chain4 ,within three years there were seven distinct editions of this work2 which1 supposing each edition to consist of the same number of copies as the first1 would amount to #ag1ejj folio volumes4 ,the binding1 therefore1 of so great a number of this book would alone give some importance to the ,art of ,bookbinding at that period4 ,we know that ,henry ,,viii4 had many splendid volumes bound in velvet with gold bosses and ornaments4 ,in his reign the stamping of tools in gold appears to have been first introduced in ,england2 and some beautiful rolls1 probably from ,holbein's designs1 were used as well on the sides as on the gilded edges of books still in existence4 ,in the reign of ,elizabeth some exquisite bindings were done in embroidery4 ,the queen herself used to work covers with gold and silver thread1 spangles1 and coloured silk1 for ,bibles and other devotional books which she presented to her maids of honour and her friends4 ,from these brilliant external decorations1 many of them entirely inappropriate for a book1 we turn to a purer taste1 the exercise of which will be found to reside within the peculiar limits of the ,bookbinder's ,art4 ,we return to ,continental binding1 and pass to the time of the ever-famous ,jean ,grolier4 ,this nobleman was the first to introduce lettering upon the back2 and he seems to have taken especial delight in having the sides of his books ornamented with very beautiful and elaborate patterns1 said to have been drawn by his own hand4 ,many of them exist at the present day1 either original ,groliers or copies4 ,books from his library are eagerly sought for4 ,all ,grolier's books were bound in smooth morocco or calf1 the pattern being formed of intersected line-work1 finished by hand with a fine one-line fillet and gouges to correspond1 with the occasional introduction of a conventional flower4 ,sometimes also the patterns were inlaid with morocco of different colours2 and it is our opinion that no style of book-ornamentation has been since introduced that is worthy of entirely superseding the ,grolier1 a specimen of which will be given when treating on style4 ,very many of the ,chevalier's volumes have the ,latin inscription ,johanni ,grolierii et amicorum at the bottom1 signifying that ,grolier wished his books to be used by his friends as well as by himself4 ,connoisseurs rejoice when they meet with a work from the library of ,maioli1 a disciple of ,grolier1 or those of ,diana of ,poictiers1 the mistress of ,henry ,,ii41 and whose books1 in consequence of her influence and taste1 are elegantly bound4 ,it is supposed that the bindings for ,diana of ,poictiers were designed by ,petit ,bernard4 ,they were bound in morocco of all colours1 and usually ornamented with the emblems of the crescent and bow and quiver4 ,among the earliest ,french binders must be mentioned ,padeloup1 ,derome1 and ,de ,seuil4 ,pope celebrates ,de ,seuil in one of his poems4 ,derome's plain morocco bindings are excellent2 they are sewn on raised bands1 are firm and compact1 and the solid gilding upon the edges is worthy of commendation2 his dentelle borders are fine1 but unfortunately he was not careful of the trenchant steel4 ,padeloup's tooling or ornaments consist chiefly of small dots1 and the forms he invented are elegant4 ,when met with in good state1 they look like gold lace upon the sides and backs of the books4 ,the bindings of books which belonged to ,de ,thou are highly prized4 ,he possessed a magnificent library1 mostly bound in smooth deep-toned red1 yellow1 and green morocco4 ,de ,thou died in #afag4 ,the ,chevalier ,d',eon used to bind books in a sort of ,etruscan calf1 the ornaments on which were copied from the ,etruscan vases4 ,the use of the black and red dyes have very frequently corroded the leather4 ,we must now resume our account of binding in ,england4 ,during the early part of the last century the general bindings were1 with the exception of what was called ,cambridge binding1 7from being executed at that place17 of a depreciated character1 many of them very clumsy1 and devoid of taste in their ornament4 ,toward the middle some degree of attention had begun to be paid to the improvement of bindings1 the general kinds being1 up to the end of the eighteenth century1 nearly all executed to one pattern1--viz43 the sides marbled1 the backs coloured brown1 with morocco lettering-pieces1 and gilt4 ,the artists of the earlier part of the period of which we have been treating must have been numerous2 but few are known4 ,two ,german binders1 of the name of ,baumgarten and ,benedict1 were of considerable note and in extensive employment in ,london during the early part of this century4 ,the bindings of ,oxford were also very good at this period4 ,who the distinguished parties at ,oxford were has not been recorded2 but a person of the name of ,dawson1 then living at ,cambridge1 has the reputation of being a clever artist1 and may be pronounced as the binder of many of the substantial volumes still possessing the distinctive binding we have before referred to4 ,baumgarten and ,benedict would1 doubtless1 be employed in every style of binding of their day1 but the chief characteristics of their efforts are good substantial volumes in russia1 with marbled edges4 ,to these succeeded ,mr4 ,john ,mackinlay and two other ,binders1 named ,kalthoeber and ,staggemier2 but to ,mackinlay may1 perhaps1 be attributed the first impulse given to the improvements which have been introduced into bindings4 ,he was one of the largest and most creditable binders in ,london of the period of which we are treating4 ,several specimens of his1 in public and private libraries1 remain to justify the character given of him2 and of the numerous artists that his office produced1 many have since given evidence1 by their work1 that the lessons they received were of a high character4 ,the specimens alluded to exhibit a degree of care1 ingenuity1 and skill1 highly creditable to them as binders4 ,though well executed1 they did not pay the time and attention devoted1 in later times1 to the finishing or gilding of their work1 and it was not till ,roger ,payne exhibited the handiwork of the craft1 that any decided impulse was given to the progress of the art1 which has gone on1 under able successors1 from one improvement to another till there exists much doubt whether or no we have not now1 so far as mechanical execution depends1 arrived at perfection4 ,about the year #aggj ,roger ,payne went to ,london1 and1 as his history is an epoch in the history of the art1 we will devote some space to it4 ,the personal history of ,roger ,payne is one among the many of the ability of a man being rendered nearly useless by the dissoluteness of his habits4 ,he stands an example to the young1 of mere talent1 unattended with perseverance and industry1 never leading to distinction1--of great ability1 clouded by intemperance and consequent indiscretion1 causing the world only to regret how much may have been lost that might have been developed had the individual's course been different and his excellences directed so as to have produced the best results4 ,roger ,payne was a native of ,windsor ,forest1 and first became initiated in the rudiments of the art he afterward became so distinguished a professor of1 under the auspices of ,mr4 ,pote1 bookseller to ,eton ,college4 ,from this place he went to ,london1 where he was first employed by ,mr4 ,thomas ,osborne1 the bookseller1 of ,holborn1 ,london4 ,disagreeing on some matters1 he subsequently obtained employment from ,mr4 ,thomas ,payne1 of the ,king's ,mews1 ,st4 ,martin's1 who ever after proved a friend to him4 ,mr4 ,payne established him in business near ,leicester ,square1 about the year #agfi-gj1 and the encouragement he received from his patron1 and many wealthy possessors of libraries1 was such that the happiest results and a long career of prosperity might have been anticipated4 ,his talents as an artist1 particularly in the finishing department1 were of the first order1 and such as1 up to his time1 had not been developed by any other of his countrymen4 ,he adopted a style peculiarly his own1 uniting a classical taste in the formation of his designs1 and much judgment in the selection of such ornament as was applicable to the nature of the work it was to embellish4 ,many of these he made himself of iron1 and some are yet preserved as curiosities and specimens of the skill of the man4 ,to this occupation he may have been at times driven from lack of money to procure them from the tool-cutters2 but it cannot be set down as being generally so1 for1 in the formation of the designs in which he so much excelled1 it is but reasonable to suppose1 arguing upon the practice of some others in later times1 he found it readier and more expedient to manufacture certain lines1 curves1 c4 on the occasion4 ,be this as it may1 he succeeded in executing binding in so superior a manner as to have no rival and to command the admiration of the most fastidious book-lover of his time4 ,he had full employment from the noble and wealthy1 and the estimation his bindings are still held in is a sufficient proof of the satisfaction he gave his employers4 ,his best work is in ,earl ,spencer's library4 ,his reputation as an artist of the greatest merit was obscured1 and eventually nearly lost1 by his intemperate habits4 ,he loved drink better than meat4 ,of this propensity an anecdote is related of a memorandum of money spent1 and kept by himself1 which runs thus3-- ,for bacon #a halfpenny4 ,for liquor #a shilling4 ,no wonder then1 with habits like these1 that the efforts of his patron1 in fixing him1 were rendered of no avail4 ,instead of rising to that station his great talent would have led to1 he fell by his dissolute conduct to the lowest depths of misery and wretchedness4 ,in his wretched working-room was executed the most splendid specimens of binding2 and here on the same shelf were mixed together old shoes and precious leaves--bread and cheese1 with the most valuable and costly of ,,mss4 or early-printed books4 ,that he was characteristic or eccentric may be judged by what has been related of him4 ,he appears to have also been a poet on the subject of his unfortunate propensity1 as the following extract from a copy of verses sent with a bill to ,mr4 ,evans1 for binding ,barry on the ,wines of the ,ancients1 proves4 ,homer the bard1 who sung in highest strains ,the festive gift1 a goblet for his pains2 ,falernian gave ,horace1 ,virgil fire1 ,and ,barley ,wine my ,british ,muse inspire4 ,barley ,wine first from ,egypt's learned shore2 ,and this the gift to me of ,calvert's store4 ,the following bill is1 like himself1 a curiosity3-- ,vanerii ,praedium ,rusticum4 ,parisiis4 ,,mdcclxxiv4 ,bound in the very best manner in the finest ,green ,morocco4 ,the back lined with ,red ,morrocco4 ,fine ,drawing paper and very neat ,morrocco ,joints inside4 ,their was a few leaves stained #j 3 #j 3 #f at the foredge1 which is washed and cleaned444 ,the subject of the ,book being ,rusticum1 ,i have ventured to putt ,the ,vine ,wreath on it4 ,i hope ,i have not bound it in too rich a manner for the ,book4 ,it takes up a great deal of time to do these ,vine ,wreaths4 ,i guess within ,time ,i am certain of measuring and working the different and various small tools required to fill up the ,vine ,wreath that it takes very near #c days' work in finishing the two sides only of the ,book--but ,i wished to do my best for the ,work--and at the same time ,i cannot expect to charge a full and proper price for the ,work1 and hope that the price will not only be found reasonable but cheap #j 3 #ah 3 #j ,roger commenced business in partnership with his brother ,thomas ,payne1 and subsequently was in like manner connected with one ,richard ,weir1 but did not long agree with either1 so that separation speedily took place4 ,he afterward worked under the roof of ,mr4 ,mackinlay1 but his later efforts showed that he had lost much of that ability he had been so largely endowed with4 ,pressed down with poverty and disease1 he breathed his last in ,duke's ,court1 ,st4 ,martin's ,lane1 on the #bjth of ,november1 #agig4 ,his remains were interred in the burying-ground of ,st4 ,martin's-in-the-,fields1 at the expense of ,mr4 ,thomas ,payne1 who1 as before stated1 had been his early friend1 and who1 for the last eight years of his life1 had rendered him a regular pecuniary assistance both for the support of his body and the performance of his work4 ,of the excellencies and defects of his bindings1 ,dr4 ,dibdin1 in his ,bibliographer's ,decameron1 has thus recorded his opinion3-- ,the great merit of ,roger ,payne lay in his taste--in his choice of ornaments1 and especially in the working of them4 ,it is impossible to excel him in these two particulars4 ,his favourite colour was that of olive1 which he called ,venetian4 ,in his lining1 joints1 and inside ornaments1 our hero generally1 and sometimes melancholily1 failed4 ,he was fond of what he called purple paper1 the colour of which was as violent as its texture was coarse4 ,it was liable also to change and become spotty1 and as a harmonizing colour with olive it was odiously discordant4 ,the joints of his books were generally disjointed1 uneven1 carelessly tooled1 and having a very unfinished appearance4 ,his backs are boasted of for their firmness4 ,his work excellently forwarded--every sheet fairly and bona fide stitched into the back1 which was afterward usually coated in russia2 but his minor volumes did not open well in consequence4 ,he was too fond of thin boards1 which1 in folios1 produces an uncomfortable effect1 from fear of their being inadequate to sustain the weight of the envelop4 ,though ,roger ,payne's career had not been successful1 so far as he was personally concerned1 it had the effect of benefiting the whole race of ,english bookbinders4 ,a new stimulus had been given to the trade1 and a new and chastened style introduced among the more talented artists of the metropolis4 ,the unmeaning ornaments we have before alluded to were discarded1 and a series of classical1 geometrical1 and highly-finished designs adopted4 ,the contemporaries of ,roger--,kalthoeber1 ,staggemier1 ,walther1 ,hering1 ,falkner1 c4--exerted themselves with a generous rivalry to execute the most approved bindings4 ,mr4 ,mackenzie deserves to be mentioned with respect among modern binders4 ,charles ,lewis1 so highly eulogized by ,mr4 ,dibdin1 attained great celebrity1 and his bindings are much prized4 ,his style of ornament was very neat1 the panels of the backs generally double-mitred1 and the sides finished in a corresponding manner4 ,mr4 ,clarke deserves especial commendation2 for tree-marbled calf he stands unrivalled1 although ,mr4 ,riviere has executed some beautiful specimens4 ,mr4 ,bedford also enjoys considerable reputation2 but it is to ,mr4 ,hayday that the leading position among the ,london artists is now generally assigned4 ,his quaint old-fashioned morocco bindings are inimitable4 ,lady ,willoughby's ,diary has been extensively copied1 but not equalled4 ,his ,bibles and ,prayer ,books are well forwarded2 the edges are solidly gilt with gold of a very deep colour1 while the finishing is rich and massive without being gaudy4 ,a book in the library of ,j4 ,w4 ,king ,eyton1 ,esq41 bound by ,hayday1 is thus described3-- ,the work is a large paper copy of the late ,mr4 ,blakeway's ',sheriffs of ,shropshire1' in imperial folio1 with the armorial bearings beautifully coloured4 ,the binding is of blood-coloured morocco1 extending an inch and a half all round the inside of the cover1 on which is placed a bold but open border tooled in gold1 forming a fine relief to the rest of the inside1 which is in purple1 elegantly worked all over in hexagons running into each other in the ,venetian style4 ,in each compartment is placed the lion rampant and fleur-de-lis alternately4 ,the fly-leaves are of vellum1 ornamented with two narrow gold lines1 and the edges are tooled4 ,the back consists of hexagons1 inlaid with purple1 containing the lion and fleur-de-lis aforesaid1 but somewhat smaller than those in the interior4 ,the design on the outside is a triumphal arch1 occupying the entire side1 highly enriched1 with its cornices1 mouldings1 c4 executed in suitable small ornamental work2 from its columns1 7which are wreathed with laurel17 and other parts of the structure1 are suspended the shields of the ,sheriffs1 seventy in number1 the quarterings of which1 with their frets1 bends1 c41 are curiously inlaid in different colours of morocco1 and1 with the ornamental parts of the bearings1 have been blazoned with heraldic accuracy on both sides of the volume4 ,when we state that more than #eg1jjj impressions of tools have been required to produce this wonderful exemplar of ingenuity and skill1 some idea may be formed of the time and labour necessary for its execution4 ,this volume was finished by ,thomas ,hussey1 who is now employed in ,philadelphia1 and who has in his possession the patterns executed upon the sides and back4 ,the ,french degenerated in binding from the time of ,louis ,,xiv4 until they became far inferior to the ,english4 ,this continued to the beginning of the present century2 the books bound for the ,emperor ,napoleon1 upon which no expense appears to have been spared1 are clumsy1 disjointed1 and the tools coarse and unevenly worked4 ,they were generally bound in red morocco1 with morocco joints1 lined with purple silk1 upon which the imperial bee was stamped repeatedly4 ,thouvenin enjoys the honour of rescuing the art from its long-continued degradation in ,france1 and of founding a school whose disciples are now acknowledged to rank with the great masters of the art4 ,his tools and patterns were designed and cut by artists in his employ2 his establishment was on a large scale2 but at his death he left nothing behind him but his reputation as an artist1 to stimulate others to attain excellence in workmanship and a cultivated taste in ornament and design4 ,among the most celebrated binders of the present day in ,france are1 ,trautz et ,bauzonnet1 ,nidr1 ,duru1 ,cap and ,lortic4 ,the books of these artists are distinguished for solidity1 squareness1 freedom of the joints1 firmness of the heads and back1 and extreme nicety of finish4 ,the fore-edges are gilt with the round in them1 giving them a solid rich appearance1 as yet unequalled4 ,the material employed is of the choicest kind1--soft1 rich ,levant morocco being the favourite covering for choice books4 ,this leather1 in the hands of an ordinary workman1 would make a clumsy covering upon account of its great thickness2 for it cannot be shaved down by a skin-dresser without destroying the natural grain of the leather1 and1 with it1 its velvet-like richness and beauty2 and yet1 under the manipulations of these ,french artists1 it becomes one of the most plastic of materials2 rare volumes of the smallest dimensions1 containing but one or two sheets1 are not only covered on the exterior1 but the interior of the boards1 and even the joints are of ,levant morocco4 ,there are many specimens of binding executed in ,france for gentlemen of taste and lovers of the art in this country2 and1 in speaking of the productions of ,french artists1 it is to these that we refer4 ,as a binder1 ,lortic appears to be the least known2 but he will probably become more so4 ,cap is rapidly growing into favour4 ,duru is celebrated for the excellence of his forwarding4 ,in this respect he cannot be surpassed4 ,the full morocco specimens that we have seen have generally been bound la ,janseniste1 and were truly exemplars4 ,in exterior gilding he is not so happy as some of his brethren4 ,nidr possesses fine taste2 his styles of finishing are varied and graceful in design1 and the execution admirable4 ,the reputation of ,trautz et ,bauzonnet has been established principally by the senior partner1 ,bauzonnet1 ,trautz being his son-in-law1 and whose name has recently been placed at the head of the firm1 perhaps to anticipate others in claiming to be the inheritors of the skill1 and pupils of his father-in-law's school4 ,bauzonnet's bindings combine excellence in every department4 ,they are specimens of the art in its highest state1 being solid1 firm1 and square in every portion of the forwarding department4 ,the covering1 joints1 and inside linings are matchless4 ,the finishing may safely be pronounced perfection1 so far as any thing produced by human agency can be4 ,in style of finishing he generally confines himself to modifications of the ,grolier1 or to a broad border1 composed of fine tools2 and in the tooling the execution is faultless4 ,those who are accustomed to ,english bindings are apt to find fault with the firmness of his backs1 as they do not throw out like ,english loose backs2 but this subject of loose backs is but little understood2 for1 when it is known that what is generally esteemed an excellence is often but an indication of weakness1--that1 in order to make the book throw out and lie open flat1 the substance by which the sheets are secured together is a single strip of paper1--and that1 where the band upon which the book is sewn can be plainly seen upon the opening of the volume1 there is a strain upon it1 the result of which must be its breakage1 if in constant use1 7a catastrophe that will never happen to one of ,bauzonnet's books17--the firm back will be preferred4 ,in tracing the progress of the ,art1 and upon comparing the merits of artists of ancient and modern times1 it is to the moderns that we assign the palm of superiority1 especially for perfection of detail in the ornamentation4 ,,manual ,,of ,,the ,,art ,,of ,,bookbinding4 ,,part ,i4 ,,sheet ,,work4 ,as the gathering of the sheets of a book1 after they have been printed and dried off1 is nearly always performed at the printer's1 it will not be necessary to enter into any details on that subject1 but to consider1 as the commencement of binding1 the operation of ,,folding1 which is of great importance1 the beauty of a book depending on its being properly and correctly folded1 so that1 when it is cut1 the margin of the different pages may be uniform throughout1 and present no transpositions1 to the inconvenience of the reader and deterioration of the work4 ,the various sizes of books are denominated according to the number of leaves in which the sheet is folded2 as folio1 quarto1 octavo1 #abmo1 #afmo1 #ahmo1 #bdmo1 #cbmo1 c4 ,each form presents a certain number of pages1 so disposed that1 when the sheet is properly folded1 they will follow the numeric order4 ,in commencing the folding of any work1 particular attention should be paid1 in opening out the quires or sets1 to observe that the signatures follow each other alphabetically1 and1 if consisting of two or more volumes1 that the whole of the sheets belong to the right one4 ,although each form is folded in a different manner1 it will not be requisite to detail the whole1 as a description of the octavo and twelvemo will amply furnish an idea of the proper way of folding the larger and smaller sizes4 ,octavo4--,the sheets being placed on the table with the signature1 which will be seen at the bottom of the first page1 turned towards the table at the corner nearest to the left hand of the workman1 will present pages #b1 #ae1 #ad1 #c1 below1 and above1 with their heads reversed1 pages #g1 #aj1 #aa1 #f1 7reading from left to right47 ,the sheet is then taken with the left hand1 by the angle to the right1 and creased with the folder in the right hand1 in the direction of the points made in the printing1 taking care1 by shading to the light1 that the figures of the pages fall exactly one on the other1 which will be #c upon #b1 and #f upon #g1 and thereby presenting uppermost pages #d and #ac1 and above #e and #ab4 ,the top part of the sheet is then brought down1 with the left hand1 upon the lower1 pages #e and #ab falling upon #d and #ac1 directed properly1 and again folded4 ,the sheet then presents pages #h and #i1 which are then folded evenly1 #i upon #h1 forming the third fold and finishing the sheet4 ,twelvemo4--,the signature to this size1 when placed before the workman1 should be at the top1 on his left hand1 and towards the table1 the sheet presenting pages #b1 #g1 #aa2 #bc1 #ah1 #ad2 #bb1 #ai1 #ae2 #c1 #f1 #aj4 ,on the right1 pages #aa1 #ad1 #ae1 #aj1 are separated from the others by a larger space1 in the middle of which are the points1 indicating the proper place where the pages should be cut off4 ,the folder detaches this part1 and1 placing page #aa upon #aj1 makes a fold1 and #ac upon #ab1 which will be uppermost1 finishes the folding of what is called the inset1 and which bears the signature of the sheet it has been separated from1 with the addition of a figure or asterisk1 as ,a#e or ,a994 ,the remaining eight pages are folded in the same way as the octavo1 and when done the inset is placed in the middle of it1 taking care that the head-lines arrange properly4 ,books are sometimes printed in what is called half sheets1 but they are folded the same1 after cutting them up2 the octavo in the direction of the points1 the twelvemo in oblong direction of the paper1 and laying them apart from each other4 ,there are also oblong octavos1 which are folded in the middle in a line with the points1 the second fold in the same direction between the heads of the pages1 and the third on the length of the paper4 ,in the first fold of the octavo sheet is shown the manner of folding the folio1 and in the second the quarto2 the twelvemo also presents us with the eighteens1 after the sheet is cut into three divisions4 ,little or no difficulty will be experienced in folding any other size that may occur1 attention to the disposition of the pages and signatures being only required4 ,it will often be found necessary to refold a book which1 previous to being bound1 may have been done up in boards1 sewed1 or otherwise4 ,this should in all cases be carefully attended to1 after the book has been taken to pieces1 the back divested of the glue and thread1 and the corners or other parts which may have been doubled turned up4 ,this is usually done by examining if the margin at the head and fore-edge is equal throughout1 bringing those to their proper place that are too short1 and cutting those that are longer than the general margin4 ,by these means a uniformity will be presented after the edges of the book are cut1 which could never be attained if not attended to while the book is in this state4 ,the sheets of the book1 being all folded1 are then laid out along the edge of the gathering table1 in the regular order of the signatures2 the gatherer then commences at the last sheet or signature1 takes one sheet from the parcel1 one from the next1 and so on until the first sheet or title is placed upon the top of the rest4 ,the sheets are then held loosely in the hand1 and allowed to fall lightly upon their backs and heads upon a smooth board1 until they arrange themselves in an even1 uniform manner4 ,they are then ,,collated1 to see that the whole of the sheets belong to the same work and volume1 as also that none are wanting4 ,this is done by taking the book in the right hand by the upper corner of the fore-edge1 and with the left opening the sheets on the back and letting them fall successively one after the other4 ,the signatures will be thus seen in alphabetical or arithmetical order1 as ,a1 ,b1 ,c1 c41 or #a1 #b1 #c1 #d1 c41 to the last1 which should always be examined to ascertain that it is the completion of the book4 ,by these means any sheet incorrectly folded is also detected4 ,books in folio and quarto are generally collated with a needle or pricker1 by raising the sheets singly from the table2 but this practice should be resorted to as little as possible1 as the work is liable to be damaged4 ,if any sheet is wanting1 or belongs to another volume1 or is a duplicate1 the further progress of the work must be suspended till the imperfection is procured or exchanged4 ,those that have been wrong folded must be corrected1 and any cancels occurring in the work cut out and replaced by the reprints1 which will generally be found in the last sheet of the book4 ,it is usual also with some binders to place any plates belonging to the volume1 at this period2 but as the liability of damage to them is great in the process of beating1 or rolling1 it will be much better to perform that operation after the book is brought from the stone1 for which directions will be given4 ,the book1 being found correct1 will be ready for the beating-stone1 which1 although it has been almost entirely superseded by the introduction of machinery1 will always be invaluable to a binder of limited means2 and the amateur will find it to be an essential process to secure the first great requisite of good binding1--solidity ,,beating1 ,,pressing1 ,,etc4 ,the first operation is commenced by shaking the volume upon the stone by the back and head1 so as to make the whole even and facilitate the division of it into as many equal parts1 which are called sections or beatings1 as may be judged necessary according to the thickness and other circumstances4 ,a section is then taken and well beaten over1 drawing it with the hand towards the body so as to bring the various parts successively under the hammer1 and carefully avoiding striking more blows in one part than the other1 except giving the edges a slight extra tap round4 ,the section is then turned1 and the like proceeding gone through2 as also on each side after it has been separated and the bottom part placed on the top1 the middle of the section being thereby brought under the action of the hammer4 ,this being done1 the sheets are replaced in their proper order1 and two or three taps of the hammer given to make them lie even4 ,in beating those books with which1 from their value1 greater care is required1 it is usual to place a guard or waste leaf of paper on each side of the section1 to avoid any stains or marks which the stone or hammer might be liable to make4 ,it requires more skill than actual strength in beating1 the weight of the hammer being nearly sufficient for many works4 ,attention must be paid to the hammer descending parallel to the surface of the stone1 to avoid marking or cutting the sheets with the edge4 ,illustration ,before beating a book1 care should be taken to observe if it has been recently printed1 for if so it would set off by being beaten too much4 ,this will be easily ascertained by referring to the date at the foot of the title1 or by smelling the ink it has been printed with1 which1 being composed partly of oil1 will not have got perfectly dry4 ,this will particularly be the case with machine-printed works4 ,as1 however1 it is frequently necessary to bind a volume immediately after being printed1 it will be requisite to take every precaution against its setting off1 which would destroy the beauty of the work4 ,it is the practice of some to put the book into an oven after the bread has been taken out1 or into a stove heated sufficiently to dry the ink and make it search into the paper2 but1 as these means are not without danger of getting the paper blackened or soiled1 it is a better plan to interleave the sheets with white paper1 which will receive all the ink set off4 ,should the sheets have been hotpressed1 which is readily distinguished1 this precaution will not be necessary4 ,when employed at the beating-stone1 the workman should keep his legs close together1 to avoid hernia1 to which he is much exposed if1 with the intention of being more at ease1 he contracts the habit of placing them apart4 ,a rolling-machine has been invented as a substitute for the beating which books require previous to being bound4 ,the book is divided into parts1 according to the thickness of the book2 each part is then placed between tins1 or pieces of sole-leather2 the rollers are then put in motion1 and the part passed through4 ,this is repeated until the requisite degree of solidity is obtained4 ,the great objections to the rolling-machine are the liabilities to cause a set-off1 or transfer of the printing-ink1 upon the opposite page1 by the friction which is produced by passing between the rollers1 and the bow-like appearance which they give the book1 and which is to the forwarder a serious cause of annoyance1 and sometimes all his skill and care are insufficient to remedy the evil caused by the rollers4 ,a powerful embossing press1 technically called a smasher1 has lately been employed with great advantage4 ,a book is placed between tins1 the platen is adjusted to a proper height1 and the large fly-wheels set in motion4 ,the platen descends in a perpendicular manner2 then1 upon its ascending1 by means of a small handle the distance between the platens is decreased2 the wheels still continuing in motion1 the book1 upon the descent of the platen1 is compressed more forcibly than at first4 ,the operation is repeated until the book has experienced the whole power of the press4 ,it has been calculated that by this process a single volume will1 if necessary1 undergo a pressure equal to a weight of from fifty to eighty tons4 ,this process has an advantage over every other hitherto employed in which machinery has been engaged2 and it is1 in some respects1 preferable to beating1 as the book is of the same thickness in every part1 while in beating there is a great liability to beat the edges thinner than the centre2 and the air appears to be as completely forced out as if the beating-hammer had been used2 and there seems to be no disposition in the book to swell up again after undergoing this crushing process4 ,in some binderies a hydraulic press is relied upon for compressing the sheets1 without their undergoing the beating or rolling process4 ,for publishers' work it has been found to answer the purpose for which it is employed1 as the press can be filled up by placing the books in layers of from one to four or eight1 according to their size1 between iron plates2 and the immense power of the press is thus evenly distributed through a large quantity of sheets at the same time4 ,illustration3 ,,hydraulic ,,press1 ,,from ,,the ,,manufactory ,,of ,,isaac ,,adams ,,co41 ,,boston4 ,the power of compression is derived from the pump to the left of the press1 which is supplied with water from a cistern sunk under it4 ,the water thus sent1 by means of the tube seen passing from it to the centre of the foot of the press1 causes the cylinder to which the bed is fixed to rise and compress the books or paper tightly between the bed and head of the press4 ,when it is forced as high as can be by means of the pump-handle seen1 a larger bar is attached and worked by two men4 ,the extraordinary power of this press is so great as to cause1 particularly in common work1 a saving of more than three-fourths of the time required in bringing books to a proper solidity by the common press4 ,when it is wished to withdraw the books1 the small cock at the end of the tube at the foot of the press is turned1 the water flows into the cistern below1 and the bed with the books glides gently down in front of the workman4 ,two presses are frequently worked by the same pump1 one being on each side4 ,the hydraulic press is manufactured by nearly all the press-makers1 differing only in the general design1 the application of power being the same4 ,after beating1 should there be any plates to the work1 they1 as before stated1 must now be placed among the text4 ,great care must be taken to make the justification of the plates uniform with the text1 by cutting off any superfluity at the head or back1 and by placing them exactly facing the pages to which they refer1 pasting the edge next to the back4 ,any that may be short at the head must be brought down1 to preserve a uniformity4 ,it is advisable to place a leaf of tissue-paper before each plate1 particularly when newly printed1 as the ink of copper-plates is longer in drying than that of letter-press4 ,when a work contains a great number of plates1 which are directed to be placed at the end1 they are sewn on the bands by overcasting1 which operation will shortly be treated of in full4 ,the book1 being now ready for pressing1 is taken in sections1 according to the work and the judgment of the workman1 and placed between pressing-boards the size of the volume1 one on the other1 and conveyed to the standing-press1 which is pulled down as tight as possible by the press-pin1 or fly-wheel1 according to the nature of the standing-press2 although it must be premised that when a book has been through the smasher1 no further pressing will be required until it reaches the hands of the forwarder4 ,after the book has been sufficiently pressed1 it will be necessary again to collate it1 to correct any disarrangement that may have taken place during the beating and pressing4 ,it is then ready for being sawn out4 ,,sawing ,,the ,,backs4 ,this operation is performed in order to save the expense of sewing upon raised bands1 and also to prevent the bands on which a book is sewn appearing on the back4 ,after beating the book up well on the back and head1 it is placed between two cutting-boards1 the back projecting a little over the thick edge1 and tightly screwing in the laying or cutting-press1 the whole being elevated sufficiently to prevent the saw damaging the cheeks of the press4 ,then with a tenant-saw the proper number of grooves are made1 in depth and width according to the diameter of the band intended to be used1 which will depend on the size of the book4 ,a slight cut must also be given above the first and under the last band1 for lodging the chain or kettle-stitch4 ,it is very necessary that the saw should be held parallel with the press1 without which precaution1 the grooves being deeper on one side than the other1 the work will present1 when opened1 a defect to the eye4 ,the end-papers1 which should consist of four leaves of blank paper1 folded according to the size of the book1 are now prepared1 and one placed at the beginning and end of each volume4 ,,sewing4 ,according to the number of bands wanted1 must be attached to the loops on the cross-bar of the sewing-press as many pieces of cord1 of proper length and thickness1 and fastened with the aid of the keys in the groove of the press as nearly equal in tightness as possible4 ,when this is done1 the back of the first sheet in the book is placed against the cords1 which must be moved upwards or the contrary to the marks of the saw1 when the small screws at each end under the cross-bar must be moved upwards till the strings are equally tight4 ,all this being disposed1 the book is commenced sewing by placing the end-paper1 which has no marks of the saw1 on the sheet before laid down1 and sewing it throughout1 leaving a small end of thread to form the knot1 after sewing the first sheet1 which is then taken from under and sewn the whole length4 ,illustration ,there are various ways of sewing1 according to the size and thickness of the sheets of a book4 ,a volume consisting of thick sheets1 or a sheet containing a plate or map1 should be sewn singly the whole length1 in order to make the work more secure and solid4 ,great care should also be taken not to draw the thread too tight at the head or foot of the book4 ,the thread1 in order to keep the book of the same thickness at the ends and centre1 should be drawn parallel with the bench1 and not downwards1 as is too frequently the case4 ,upon the proper swelling of the back mainly depends the regularity of the round and firmness of the back in the after-stages of the binding4 ,when a book is sewed two sheets on1 three bands are generally used4 ,taking the sheet and fixing it on the bands1 the needle is inserted in the mark made for the kettle-stitch and brought out by the first band2 another sheet is then placed1 and the needle introduced on the other side of the band1 thus bringing the thread round it1 sewn in like manner to the middle band1 and continued to the third1 when1 taking again the first sheet1 it is sewn from the third band to the other kettle-stitch1 where it is fastened1 and another course of two sheets commenced1 and so continued to the last sheet but one1 which is sewn the whole length1 as directed for the first sheet1 as also the end-paper4 ,three bands are preferable to two1 the book being more firm from being fastened in the middle1 which is the only difference in sewing on two and three bands4 ,half-sheets1 to obviate the swelling of the back too much1 are usually sewn on four bands1 which admit of three on a course3 the first sheet is sewn as in three bands1 from the kettle-stitch to the first band1 the next to the second1 and the third takes the middle space2 then the second sheet again from the third to the fourth band1 and the first from thence to the other kettle-stitch4 ,the third sheet having only one stitch1 it is necessary that1 in sawing1 the distance from the second to the third band should be left considerably longer than between the others4 ,quartos are generally sewn on five bands to make the work firmer1 but if in half-sheets1 as in the folio size1 six or more are used1 sewing as many sheets on as bands1 giving each sheet but one tack or sewing1 and piercing the needle through the whole of the course at each end or kettle-stitch before fastening the thread4 ,this1 which gives sufficient firmness1 is necessary to prevent the swelling of the back which a less number of sheets in a course would make and spoil the appearance of the binding4 ,when the book is composed of single leaves1 plates1 or maps1 or1 as in the case of music1 where1 from the decayed state of the back1 it is necessary to cut off a portion with the plough in the manner pointed out for cutting edges1 the whole must be attached to the bands by what is called whipping or overcasting4 ,this is by taking a section1 according to the thickness of the paper1 and forcing the needle through the whole at the kettle-stitch1 and on each side of all the bands1 at a distance sufficient to secure the stitches from tearing1 bringing the thread round each band1 as before directed1 and fastening it at the end before proceeding with another course4 ,to keep the whole of the sheets properly even1 the back is sometimes glued immediately after cutting1 and when dry divided into sections4 ,atlases and books of prints1 when folded in the middle1 will require a guard1 or slip of paper1 to be pasted to them1 so as to allow them to open flat1 which they could not do if attached to the back1 and which would destroy the engraving4 ,these guards must be of strong paper about an inch in breadth and folded to the right size4 ,they are sewn by overcasting1 as above directed4 ,a better method for books of plates1 or single leaves1 is1 after cutting the back evenly with the plough1 to lay it between boards and glue the back evenly over with thin glue4 ,after it has become dry and hard1 separate it into thin sections2 then let it be sawn out in the usual manner2 it should then be taken and whipped1 or overcast in separate sections with fine thread1 care being taken in whipping the sections that it be evenly and neatly done4 ,after the sections are all whipped1 they should be sewn or affixed to the bands in the same manner as folded sheets4 ,the old mode of sewing on raised bands combines many advantages4 ,this style is still adopted with many works1 particularly with those having a small margin2 in fact1 it is1 both for elasticity and durability1 far superior to any mode that is practised2 it is1 however1 a very slow process1 and necessarily an expensive one2 and many binders who pretend to bind in this manner1 to obviate this1 have their books sewed in the ordinary way1 and then1 by sticking false bands upon the back1 give them the appearance of having been sewn on raised bands4 ,if it is intended to sew a book purely flexible1 it should be knocked up even and square1 placed between two pieces of pasteboard1 and placed in a laying-press2 then draw a line across the back1 near the head1 where it will be cut by the forwarder in cutting the edges4 ,next take a pair of compasses and divide the back lengthwise into six even portions1 except the bottom or tail1 which should be longer than the rest1 in order to preserve a proper symmetry of appearance2 then draw lines square across the back with a black lead-pencil from the compass-points of the five inner divisions1 for the places upon which the bands are to be sewed2 then make a slight scratch with a saw about one-quarter of an inch inside of where the book will be cut1 for the kettle-stitch at the head and likewise at the tail4 ,upon taking the book out of the laying-press1 take the pasteboards and saw them at the points marked by the lead-pencil of a depth sufficient to allow the cords upon which the book is to be sewn to enter4 ,the boards will then serve as a guide to set the bands of the sewing-press at the commencement of the operation1 and afterwards1 during the progress of the work1 will be found useful to regulate any deviations that may be inadvertently taking place4 ,after the sewing-press is properly regulated and the end-paper sewn as previously described1 the sheets should then be taken1 one at a time1 in their regular order1 and sewn all along1 from one end of the sheet to the other1 or1 more properly1 from one kettle-stitch to the other1 taking especial pains to observe that in sewing each sheet1 after the first kettle-stitch has been caught1 the needle must be passed to the farthest side of the nearest band1 then passed to the other side of the band1 and so on for each successive band4 ,by this means the thread will have passed completely round each band1 upon which the sheet will revolve as upon a hinge1 without the slightest strain upon either the band or the thread4 ,the inner margin is thus preserved its full size1 and the freedom of the volume much increased4 ,if you desire to revel in the full enjoyment of a flexible back1 have it sewn with silk upon silken bands or cords1 and you will have a combination of elasticity and strength that cannot be surpassed4 ,for large volumes of engravings1 the best mode of binding1 so as to secure strength and also to allow the plates to lie flat when the volume is open1 is to mount the plates with linen upon guards4 ,to do this properly1 select paper of the same thickness as the plates1 cut it in strips an inch or an inch and a half wide1 paste the back edge of the plate about a quarter of an inch in depth1 from top to bottom2 then lay a strip of thin linen or paper-muslin along the pasted edge of the plate1 and rub it so that it will adhere4 ,the strips of linen must be sufficiently wide to project beyond the plate as far as the width of the paper guards4 ,one of the latter is then to be evenly pasted over and laid upon the projecting strip of linen1 carefully smoothed1 and laid between pasteboards to dry after they are thus mounted4 ,the plates are then whipped along the back edge of the guard1 and sewed in the usual manner4 ,it was proposed by ,m4 ,lesne1 bookbinder of ,paris1 in a ,memoir presented by him to the ,socit d' ,encouragement1 ,january #ah1 #ahah1 that in order to give to books the three essential qualities of binding1 elasticity1 solidity1 and elegance1 they should be sewn similar to the ,dutch method1 which is on slips of parchment1 instead of packthread2 but to remedy the inconvenience arising from one slip being insufficient to make the back of a proper solidity1 as well as being liable to break1 and1 if doubled or trebled1 presenting a bad effect on the back when covered1 he suggested the adoption of silk for the bands1 which in a much less diameter is far stronger than packthread double the thickness4 ,it is also preferable for sheets that require sewing the whole length to use silk1 this being much stronger than thread1 and insuring a greater solidity to the work4 ,it will be observed that the cuts of the saw1 apparent in other bindings1 are not seen in opening the volume4 ,when the volume is entirely sewn1 the screws are loosened1 the cords detached from the keys1 and about two inches of the cord left on each side of the book to attach the boards that are to form the sides4 ,,india-,,rubber ,,backs4 ,in those instances where the leaves of a book are held together by caoutchouc cement instead of by sewing1 the sheets are cut up into separate leaves1 and every leaf made true and square at the edges4 ,the back edge is then brought to a rounded form1 by allowing the sheets to arrange themselves in a grooved recess or mould2 and in that state the leaves are all moistened at the back edges with a cement of liquid caoutchouc or ,india-rubber4 ,the quantity so applied is very small4 ,in a few hours1 it is sufficiently dry to take another coat of a somewhat stronger caoutchouc solution4 ,in forty-eight hours1 four applications of the caoutchouc may be made and dried4 ,the back and the adjoining part of the sides are next covered with the usual band or fillet of cloth glued on with caoutchouc2 after which the book is ready to have the boards attached1 and to be covered with leather or parchment1 as may be desired4 ,,part ,,ii4 ,,forwarding4 ,this branch of the art may be divided into several parts4 ,we will give precedence to that branch or class of forwarding that requires the utmost precision and opens to the ambitious forwarder a field of exertion worthy of his best efforts4 ,let the workman who strives to excel in his art remember that his work goes through the hands of critics and judges2 that it possibly may be compared with the productions of the most celebrated artists4 ,let him1 then1 look well to his laurels if engaged upon first-class job or ,,customer ,,work4 ,the book being taken from the sewing-press1 the end-papers and the first sheet are then turned back4 ,a strip of paper is placed about one-eighth of an inch from the back1 so as to prevent the paste from spreading unevenly1 and paste is then applied with the finger along the edge of the sheet4 ,the sheet is turned over1 and the same process repeated to the first and second leaves of the end-papers1 if the book is to be lined with buff or brown paper4 ,after the papers have been cut to the proper size and evenly folded1 they are pasted along the folded edge in the same manner as the end-papers were4 ,the first leaf of the end-paper is then turned over1 and the lining-paper laid full up to the back-edge of the book4 ,if this be done carelessly1 or not entirely straight and square from end to end1 the future appearance of the book will be considerably marred4 ,as much of the beauty of the joint depends upon the manner in which the lining has been performed1 if it is intended to line with marbled paper1 after turning over the end-leaf1 place the lining as near as possible to the back-edge1 so as to expose to the action of the brush almost the entire leaf of the end-paper that lies on the book4 ,paste this lightly over2 then place the lining upon it1 and rub it even and smooth with the hand4 ,in either case it should be left to dry before the end-paper is folded down to its place1 as it is liable to force the lining-paper from the back4 ,a better method is to paste the marble-paper upon the white end-paper before it is inserted in the book4 ,the papers may then be lightly pressed1 to make them perfectly smooth1 and hung upon lines to dry4 ,by this process there is no fear of the book being wrinkled by the dampness from the lining-paper4 ,attention should be paid that such papers only as will blend well with the colour of the leather intended for the cover are used4 ,if a joint of calf or morocco is required1 all that is necessary for the forwarder to do is to tip the back-edge of the lining that goes next to the book very slightly1 merely to secure it until it reaches the finisher1 and place one or two guards of stout paper along the joint1 to be afterwards torn out by the finisher4 ,these matters being adjusted1 the end-paper turned back to its place1 and the twine on which the book has been sewn pulled tight1 care having been taken to avoid pressing the twine against the end-papers1 on account of their liability to tear near the bands1 the bands which are intended to be laced in the boards must be opened1 or the strands separated with a bodkin and scraped with a dull knife so as to bring them to a point and make them more convenient to pass through the boards which are to form the side covers4 ,the book is now taken between the hands and well beaten up at the back and head on a smooth board1 or on the laying-press1 to bring the sheets level and square1 as the beauty of the book1 in all the subsequent operations1 depends much on the care and attention paid in this place4 ,the volume is then laid carefully upon a board1 with the back to the edge of the board1 a strip of pasteboard is laid on the upper side1 the book placed in the laying-press1 and the back evenly glued4 ,the glue should be well rubbed in between the sheets1 taking care that the sheets are even on the back and the volume equal in thickness throughout the whole length4 ,it is then laid on a board to dry1 but must not be placed before the fire1 as1 by so doing1 the glue becomes hard and liable to crack in the process of ,,rounding4 ,in commencing this operation1 the book is placed upon the laying-press with the fore-edge towards the workman2 the left hand should then be placed flat and open upon it1 the thumb towards the fore-edge4 ,with the four fingers the volume is slightly bent and the upper portion of the back drawn towards the workman4 ,the right hand is then engaged with a backing-hammer in lightly tapping the sheets with an upward motion from the centre of the back4 ,the volume is then turned upon the other side1 and the operation is repeated until it is evident that the book has acquired a sufficient round4 ,the left hand is held to the back while the round is pressed into the fore-edge with the fingers of the right4 ,the volume is then held up and the back carefully examined to ascertain if the round is perfectly regular1 and1 if not1 it must be again submitted to light blows of the hammer until the back describes a portion of a perfect circle4 ,care should be taken that the round be not too flat for the thickness of the volume1 or1 on the other hand1 that it does not become what is called a pig-back1--a horrible monstrosity in binding1 having a sharp ridge in the centre of the back4 ,if the round be not regular and even from the centre to the edges1 as well as from head to tail1 and entirely free from twist1 no after-skill or care can overcome the evil1 but it will ever remain to prove the want of care or the incapacity of the workman4 ,the next process1 and equally important1 is that of ,,backing1 which is done to form the groove for the reception of the boards4 ,one of the backing-boards is placed upon the volume at an equal distance from the back1 the distance depending upon the thickness of the board2 then1 turning the volume1 the other is placed in a similar manner2 the boards are then firmly grasped by the left hand across the back1 and1 with the assistance of the right hand1 the whole carefully put into the laying-press1 the edge of the boards nearest the back of the volume even with the cheeks of the press1 and screwed up with the press-pin as tight as possible4 ,the backing-hammer is then taken in the right hand and employed in turning the sheets from the centre over the backing-boards1 to form the necessary groove4 ,for this purpose the first blows should commence near the centre of the volume1 and should be as light as possible1 the blows glancing towards the edge1 so as to merely commence the turning of the sheets1 without causing any indentations or wrinkles on the inside of the volume4 ,this should be proceeded with lengthwise of the volume1 each series of blows growing gradually nearer to the edge or backing-board1 and1 as they approach1 becoming more firm1 until the sheets are turned over the backing-board1 so as to form a regular and solid groove4 ,the process is repeated up the other side1 the volume examined to see if the back is regular and equal in its circle throughout1 and any slight irregularities corrected by light taps of the beating-hammer2 but nothing can justify a workman in striking a heavy blow near the centre of the back1 as it must inevitably crush and wrinkle the paper on the inside4 ,it serves but to prove his ignorance of the principle upon which the entire operation is based4 ,there is nothing connected with the forwarding of a book that requires more attention1 patience1 and skill1 than the rounding and backing1 and there is nothing that contributes more to the general appearance of the volume4 ,if well done1 it gives a character and a tone to all the subsequent operations2 if done badly1 no care or skill that may be afterwards employed can hide it4 ,it remains an enduring mark of a careless or inefficient workman4 ,the volume is now ready for the boards1 which have been previously prepared4 ,this is done by cutting the sheets of milled-boards according to the size of the book1 with the table or patent-shears4 ,one side of the board is then lined with paper1 the shrinkage of which will cause the board to curl towards it4 ,if the volume be large1 or a thick board be required1 it will be necessary to paste two or more thicknesses of board together4 ,place them in the standing-press1 under pressure1 until dry2 then take them out and line them on the side of the board that has been pasted1 or1 if one board be thinner than the other1 upon the thin board1 in the same manner as the single board4 ,boards made in this manner should always be prepared some length of time before they are used4 ,the boards being in readiness1 the volume is taken and one point of the compasses placed at the centre of the back1 and the other point extended towards the fore-edge until it reaches the edge of the smallest bolt4 ,this will give the proper size to cut the boards1 as the groove or joint will give the projection or square of the board4 ,if the volume be rare and valuable1 let the workman be merciful in the use of his steel1 as the cropping of ignorant workmen has impaired the value of many a choice tome4 ,if it be intended that the leaves are to remain uncut1 previous to the rounding of the volume1 take a large butcher's-knife and carefully trim the extreme ends of the projecting leaves4 ,after the size has been obtained1 the next operation is ,,squaring ,,the ,,boards4 ,this is done by cutting the back-edge of the boards with a plough in the laying-press2 the boards are then marked with the compasses from the edge which has been squared towards the front2 the front cutting-board is placed at the compass-holes1 and again put in press1 with the front cutting-board or runner level with the cheek of the press1 the back-board being a little higher1 so as to allow the plough-knife to cut against it4 ,the rough part is cut off with the plough as hereafter described1 with this difference3--that1 in cutting pasteboards1 the workman cuts towards him4 ,the boards are then taken out of press1 and the square applied to the head1 and marked with the point of a bodkin2 this is cut off in the same manner4 ,the volume is then opened and examined for the purpose of finding a leaf of an average length1 which is measured by placing the thumb of the left hand against the edge of the head and applying against it one of the points of the compasses1 carrying the other so much over the end of the leaf as will allow for the square of the boards at the tail2 and if the volume be large for a portion of the square at the head1 the superfluous portion is then cut off with the plough4 ,in taking the size1 let the workman recognise as a rule that every book should be cut as large as possible1 lest he be suspected of having an eye more to the shaving-tub than to his reputation as a binder4 ,among the early binders1 ,de ,rome is noted for his merciless cropping4 ,but few volumes have preserved the integrity of their margins after having been submitted to the cruel operation of his steel4 ,a volume cut to the print is said to bleed2 therefore be careful to avoid the slightest approach towards the commission of such an act of ,vandalism4 ,the boards having been squared for the back1 front1 head1 and tail1 they are placed1 with the lined side of the board next to the book1 preparatory to the ,,lacing ,,in4 ,each board is then marked with a bodkin opposite to the slips intended to be laced in2 a hole in a vertical position is then made through the board1 and being turned1 another in the same way near to the first4 ,the bands1 having been pasted and passed in above1 are returned through the other hole1 and1 being pulled tight1 the boards will necessarily be perpendicular to the back1 and confined in the groove4 ,after cutting off the end of the strings near to the lace-holes1 they must be beaten well and evenly into the board by placing the under part on an iron 7called the knocking-down iron7 fixed at the end of the laying-press1 and beating above with the backing-hammer4 ,if it be desirable that the bands should not be seen inside1 the hole may be made so vertical that1 by placing the bodkin in the same on the other side1 another verging a contrary way to the first may be made1 and the band1 being passed in this one continued hole1 will not be seen underneath4 ,the liability1 however1 of its tearing out is an objection1 and from this cause the common way1 with care in beating down1 is preferable4 ,after the slips have been well beaten down1 the roundness of the back must be examined1 and any twist that is perceptible corrected with the backing-hammer4 ,a piece of smooth tin1 larger than the volume1 must then be inserted between each board and the book1 with one edge of the tin full up to the joint4 ,the volume is next placed between pressing-boards even with the joint1 and put into the standing-press1 which must be screwed tight and evenly down4 ,stewart's double-screw iron standing-press is well adapted for the purpose1 and is in very general use4 ,after the press has been screwed down1 the back of the volume is then damped with thin paste1 and1 according to the firmness of the sewing and book1 grated and scraped1 and finally rubbed smooth with paper-shavings1 and left to dry in the press for as long a time as possible4 ,if a large volume1 it is usual to apply a little glue to the back4 ,when taken out of the press1 the boards must be disengaged from the end-papers1 where they adhere1 so that they may move freely up and down in the cutting4 ,,cutting ,,the ,,edges4 ,illustration ,the manner of preparing the volume for cutting is very important1 as swerving from right angles in cutting the head and tail will present a disagreeable appearance4 ,every precaution must be taken to insure the volume being cut perfectly square4 ,the front-board is drawn down from the head just sufficient for the knife to operate upon in the cutting4 ,a piece of trindle is inserted between the volume and the back-board for the point of the knife to cut against4 ,the volume is then placed1 with the back towards the workman1 on a cutting-board in the left hand2 the runner or smooth-edged board is then fixed on the other side1 with the right hand1 even and square with the edge of the mill-board1 and the whole1 held tight with the left hand1 put into the cutting-press1 to the level of the right-hand cheek of the same1 taking care that the volume hangs perpendicular to the cheeks of the press4 ,being screwed tight with the pin1 the workman then takes the plough with the right hand1 by the head of the screw1 and1 placing it on the groove of the press1 proceeds to cut the book1 holding the other end of the screw firmly with the left hand1 and causing the knife to advance gradually through the book by turning the screw gently as he cuts1 which should be all one way1--viz43 as the arms are removed from the body4 ,the plough must be held firm in the groove or guides of the press1 to prevent the knife jumping or cutting the edges uneven2 and1 should the knife be found to run up or down1 the defect must be remedied by removing some of the paper or boards placed under the knife where it is fastened to the plough4 ,if there should be none required to bring the knife even with the plough1 then a piece must be placed on whichever side of the bolt the defect may require4 ,the head being cut1 the same operation is repeated for the tail4 ,much precaution is necessary in cutting the fore-edge4 ,mark the book with a bodkin on the projecting part of the end-papers1 and on each side1 at the head and foot1 close to the square side of the boards1 drawing a line from one to the other2 then1 laying the boards open1 insert a trindle at each end of the volume1 under the back1 so as to throw the round out2 then wind a piece of fine cord several times round from the head to the tail1 to prevent the leaves returning after the back is made flat1 to form the gutter on the fore-edge4 ,this done1 beat the back flat on the press1 and place one of the cutting-boards at the end of the book1 even with the line before made2 turn it1 and place the runner as much below the line on the title-side as has been allowed for the square on the fore-edge4 ,taking the whole in the left hand1 the volume must be examined to remedy any defects1 should it not be regular and equal on both sides1 and then put into the press1 the runner as before even with the right cheek1 taking care to keep the other board projected above the left1 equal to the square allowed in front1 so that1 when cut through1 the fore-edge may be equally square with the boards on each side4 ,after the fore-edge is cut1 the string is taken off1 the back resumes its circular form1 and the edge in consequence presents a grooved appearance1 which puzzles the uninitiated to ascertain how it is produced4 ,the method above described is called cutting in boards1 and is superior to any other4 ,it is of the utmost importance to the young workman that he should pursue and acquire a methodical system in all his operations4 ,select the best method1 as a matter of course1 and then adhere to it4 ,do not1 every time you perform one particular process1 do it in a different manner4 ,for instance3 in backing or in turning up your books1 it is better to always have the head towards you2 in cutting head and tail1 to have the back nearest you4 ,in laying your work down1 always do it in one way4 ,let that way be the one whereby you can most conveniently take it up again4 ,much time may be wasted1 from inattention to these particulars1 in the unnecessary handling and confused manner of working4 ,it will be found that the best and most expeditious workmen are those who do their work in a systematical manner4 ,in taking leave of this department1 our parting admonition to the young workman is1 ,,strive ,,to ,,excel4 ,do not be content if your work will merely pass1 and say to yourself1 ,oh1 that is good enough6 ,if it is possible for you to do it better1 it is not good enough4 ,employ your reasoning faculties as well as your physical powers1 so that you do not sink into a mere machine4 ,when performing a process1 ask yourself the question1 ,why is this done8 ,what is the object of it8 ,can the process be improved8 ,you will find the hand to be an apt instrument of the mind and will1 and that you will speedily be recognised as an intelligent workman4 ,have1 at least1 this much ambition4 ,the next process which the volume must undergo is the gilding or colouring of ,,the ,,edges4 ,colouring the edges with one colour1 equally sprinkling over1 marbling1 and gilding1 come under this head2 and the style of ornament of this description must depend on the price allowed for the work1 and will vary according to the taste of the workman and wish of the employer4 ,,of ,,colouring ,,and ,,sprinkling4 ,the colours most used are brown and red1 in preparing which it is necessary to grind them in water1 very fine1 on a slab1 with a muller4 ,each colour is then placed in a separate vase1 and mixed up with a little paste and water to the proper consistency for use4 ,to procure a better edge1 two drops of oil and about an equal quantity of vinegar and water may be mixed with the paste4 ,in colouring the edges equally over1 the boards at the head of the volume must be beat even with the edges1 and the book rested on the edge of the press or table2 then1 holding the book firm with the left hand1 the colours must be applied with a small sponge or brush1 passing it evenly upon the edge1 proceeding towards the back one way and the gutter the other1 to avoid a mass of colour being lodged in the angle of the fore-edge4 ,this done1 the other parts are similarly coloured1 the fore-edge being laid open from the boards and a runner held firm above to prevent the colour searching into the book4 ,it will be perceived that a dozen volumes may be done at the same time with scarcely more than the additional trouble of placing one above the other4 ,for further security1 and to prevent the colour searching into the books1 it is advisable to put them into the laying-press and screw them moderately tight4 ,in fact1 for all good work1 this must be done4 ,in sprinkling1 it is usual to tie together a number of volumes with a board on each side of the outside books1 or place them in the laying-press first1 with the heads upwards2 then1 with a large brush1 similar to a painter's1 dipped in whatever colour may be wished1 and well beat on the press-pin over the pot till the sprinkle becomes fine1 the edges are covered4 ,the pin and brush are held sufficiently above the book1 and the edge sprinkled by beating lightly at first1 and stronger as the brush becomes less charged with colour1 being careful that the spots are as fine as possible1 the sprinkle being thereby made more beautiful4 ,the cleanest method1 and at the same time the surest to produce a fine sprinkle1 is to use a wire sieve and a stiff brush1 something like a shoe-brush1 for convenience4 ,the sieve should be oval in form1 with a very thick wire running round the edge until they meet1 then projecting about a foot from the sieve so as to form a handle1 the whole somewhat resembling in shape the bat used by ball-players4 ,fine brass wire is the best for the sieve4 ,the wire should be about one-fourth of an inch apart4 ,after every thing is in readiness1 dip the stiff brush in the colour and lay the sieve over the pan1 and rub the brush over it to get rid of the superfluous colour1 which will drop into the pan2 then knock off all the loose colour adhering to the sieve2 then hold the sieve over the books1 and rub the brush over the wires1 lightly at first1 and afterwards harder as the brush loses the colour4 ,the colour will descend like a fine mist1 and the effect produced upon the edge cannot be equalled by the old method4 ,several colours are sometimes used with very pleasing effect2 some of these combinations will be described1 and many others will readily occur to the workman as his taste may suggest4 ,,colours4 ,of vegetable colours1 and ochres1 directions for mixing which have been given above1 it will only be necessary to particularize the most approved and generally-used substances4 ,the liquid ones will require a more lengthened description4 ,,blue4--,indigo and ,prussian blue1 with whiting for lighter shades4 ,,yellow4--,dutch pink1 ,king's yellow1 and yellow orpine4 ,,brown4--,umber1 burnt over the fire4 ,,red4--,vermilion2 or ,oxford ochre1 burnt in a pan4 ,,pink4--,rose-pink2 to make it brighter1 add lake4 ,,green4--,the first and second mixed to any shade4 ,the liquid or spirit colours will be found best for use1 as the edges will not rub1 which all other colours are liable to do4 ,some of the receipts are well known2 but1 it being necessary to give a faithful record of the art1 the whole of the colours used and modes of preparation will be presented4 ,,blue4 ,two ounces of the best indigo1 finely powdered1 mixed with a teaspoonful of spirit of salts and two ounces of best oil of vitriol4 ,put the whole into a bottle1 and let it remain in boiling water for six or eight hours1 and mix with water as wanted to the shade required4 ,,yellow4 ,french berries1 saffron1 or faustic chips4 ,boil with a small portion of alum2 strain and bottle for use4 ,,green4 ,the two colours above will make an excellent green used in proportions as the shade required4 ,another green may be made by boiling four ounces of verdigris and two ounces of cream of tartar till a good colour is produced4 ,,orange4 ,two ounces of ,brazil dust1 one ounce of ,french berries1 bruised1 and a little alum4 ,boil in water and strain4 ,,red4 ,brazil dust1 half a pound2 alum1 two ounces1 well powdered2 boiled in a pint of vinegar and a pint of water till brought down to a pint4 ,strain and bottle4 ,the red edges now in vogue are made with vermilion1 mixed with vellum-size4 ,the better class are scraped before they are coloured1 and afterwards they are burnished4 ,,purple4 ,logwood chips1 in the proportion of half a pound to two ounces of alum1 and a small piece of copperas1 boiled in three pints of soft water till reduced a third1 will make a good purple4 ,brazil dust1 submitted to the action of strong potash water1 will make a good purple for immediate use1 but will not keep4 ,,brown4 ,a quarter of a pound of logwood1 and the same quantity of ,french berries1 boiled together4 ,if a darker shade is required1 add a little copperas4 ,plain brown edges are made with burnt umber1 in the same manner as that described for red edges4 ,with these colours1 edges of books may be sprinkled to almost an infinite number of patterns4 ,a few will be given2 for1 though fancy sprinkles are seldom used where the binder can get the edges of extra books marbled1 they will be of use to those who would find marbling a work of too great preparation and expense for a small number of books in places where there is no marbler4 ,,rice ,,marble4 ,this pattern has been so called from the use of rice2 but linseed1 or bread crumbs1 will answer the same purpose4 ,the rice is laid on the edge of the book according to fancy1 and the edge sprinkled with any colour1 the rice thus forming blank spaces4 ,the edge may be coloured previously all over1 or sprinkled with a lighter shade4 ,,white ,,spot4 ,take white wax and melt it in a pot2 then with a brush throw some upon the edge of the book2 when it is set1 colour the edge with a sponge4 ,take the book and give it two or three smart knocks on the end of the press1 when the wax will fly off and a beautiful white spot remain4 ,this pattern may be much varied by using two or three colours or sprinkling the edge before the wax is thrown on1 and1 after it is1 again with other colours4 ,whiting mixed with water to a thick consistency will nearly answer the same purpose1 and is less expensive than wax4 ,,fancy ,,marble4 ,take a small portion of rose-pink1 green1 or any other vegetable colour1 and well bray it on the slab with the muller1 till reduced to a fine powder4 ,prepare a dish1 or other vessel1 large enough to admit the fore-edge of the book1 and filled with clear water2 then with the palette-knife mix a portion of the colours with spirits of wine1 and convey with the knife some of the same to the middle of the vessel1 and allow it to flow gradually on the surface of the water4 ,the spirit of wine will cause it to spread in a diversity of pleasing forms1 when the edge of the book must be dipped in the same manner as for marbling1 and a very neat pattern will be produced at a trifling cost1 as no more colour need be mixed than wanted at each time4 ,,gold ,,sprinkle4 ,after the edges of the book are stained with any of the colours above described1 a good effect may be given by sprinkling with a gold liquid1 made in the following manner3--,take a book of gold and half an ounce of honey1 and rub them together in a mortar until they are very fine2 then add half a pint of clear water and mix them well together4 ,after the water clears1 pour it off and put in more1 till the honey is all extracted and nothing left but the gold2 mix one grain of corrosive sublimate with a teaspoonful of spirits of wine1 and when dissolved put the same1 with a little thick gum-water1 to the gold1 and bottle it1 always shaking it well before using4 ,when dry1 burnish the edge1 and cover it with paper till the work is finished4 ,,marbling4 ,marbling is an art which consists in the production of certain patterns and effects by means of colours so prepared as to float upon a preparation of mucilaginous liquid1 possessing certain antagonistic properties to the colours prepared for the purpose1 and which colours1 when so prepared1 floated and formed into patterns upon the surface of the liquid1 are taken off by laying thereon a piece or sheet of paper or dipping therein the smoothly-cut edges of a book4 ,it is a process which it is not very easy to describe2 and yet1 to any one beholding it for the first time1 nothing appears more simple or easy of execution4 ,yet the difficulties are many2 and the longer any one practises it1 the more he will become convinced that there are many more discoveries to be made before the art can be brought to any thing like perfection or effects produced with that certainty which the workman could desire4 ,in short1 it may be said to be still in its infancy4 ,when the art was first discovered1 and by whom1 or in what city or country it was first practised1 it is hardly possible to determine4 ,it is supposed that we cannot go farther back for its origin than the beginning of the seventeenth century1 and that ,holland has the honour of being the birthplace of the art1--the old ,dutch and some drawn and antique patterns1 with stormont and other spots1 being considered the most original4 ,many years ago this old ,dutch paper1 in the size of foolscap1 was imported into ,england1 wrapped round small parcels of ,dutch toys1 and thus passed free of duty4 ,when taken off1 it was carefully smoothed and sold to bookbinders1 commanding a high price1 being only used on the better kinds of work4 ,indeed1 so choice was it that you may still see in some old books the inside-linings made of pieces carefully joined together4 ,something of the art has unfortunately been lost since that time1 for both the colours and the execution of some of these old specimens far surpass the best efforts of the most celebrated modern marblers4 ,it is proposed1 however1 to show1 as clearly and briefly as possible1 how it is done and practised at the present day by the best ,english workmen1 and to describe the various processes in such a manner as will enable any individual possessed of a common share of understanding and discernment1 to do it himself2 and1 where there are two ways of doing it1 that will be described which experience has pronounced to be easiest and best4 ,in describing one pattern1 that will be considered sufficient to include all of the same class1 or that are done in the same manner1 although different colours may be used4 ,for instance1 a brown may be described1 and green1 being the same in every respect as regards the mixing and working the colours1 may be substituted for the brown2 and so in regard to other colours4 ,,colours4 ,the colours required for marbling are the same as those ordinarily used for painting both in oil and distemper4 ,they should be procured in a dry state1 just as they are produced or manufactured1 and ground by the marbler himself4 ,a list is subjoined3-- ,,reds4 ,drop ,lake4 ,peach-wood ,lake4 ,vermilion4 ,rose-,pink4 ,oxford ,ochre1 ,burnt4 ,,blues4 ,indigo4 ,chinese ,blue4 ,ultramarine4 ,prussian ,blue4 ,,yellows4 ,lemon ,chrome4 ,dutch ,pink4 ,oxford ,ochre1 ,raw4 ,,blacks4 ,vegetable ,lamp-,black4 ,drop ,ivory-,black4 ,,brown4 ,turkey ,umber ,burnt4 ,,orange4 ,orange ,lead4 ,orange ,chrome4 ,,white4 ,china ,clay4 ,pipe-,clay4 ,flake ,white4 ,paris ,white4 ,,drop ,,lake4 ,this is the most beautiful1 but the most expensive1 of all the reds1 and is used only for book-edges and the most superior kinds of work4 ,there are different shades of this colour1 viz43--scarlet1 crimson1 and purple4 ,the scarlet is the most expensive1 and looks the best on edges1 possessing a brilliancy which no other colour will produce2 but there is a great quantity of a very inferior kind of drop lake about1 which is of no use whatever to a marbler1 for1 when it comes to be worked1 it is found to possess no body4 ,in order to ascertain whether the article about to be purchased will answer1 take a piece of the colour1 and1 breaking it1 apply the broken part to the tongue4 ,if it adhere to the tongue1 it is very doubtful whether it will do2 but if it hold up the moisture without any inclination to adhere1 it may be tried with better expectations4 ,this colour is sold in the form of small cones or drops1 from which it derives its name1 and is a preparation of cochineal2 therefore the value of it depends much upon the price of that article4 ,,vermilion4 ,this colour is but little used1 on account of its great specific gravity1 and seldom without being combined with some other colour4 ,it is a preparation of mercury1 and1 though nominally at a much lower price than lake1 yet so little of it goes to a pound1 it comes nearly as dear as that article4 ,,rose-,,pink4 ,this is a very useful though common colour4 ,it is composed of chalk or whiting coloured with ,brazil wood2 consequently it is what is termed a fugitive colour1 the pink very quickly fading on exposure to the atmosphere or to heat4 ,when combined with indigo or a little ,chinese blue it makes a good purple4 ,,burnt ,,ochre4 ,this colour is obtained in its native state from pits dug in the earth in the neighbourhood of ,oxford2 hence1 it is called ,oxford ochre1 and sometimes stone ochre4 ,it is in fact a kind of clay1 and when made red-hot turns to a kind of red colour4 ,it is one of the most useful colours1 and1 as the price is low1 is extensively used4 ,with the addition of a little black it makes a good brown2 with a little blue or indigo it makes a good olive2 or it is a good colour used by itself1 and is not liable to change4 ,,wood ,,lake4 ,this is a preparation of peach-wood1 and has only been introduced of late years to the notice of marblers4 ,it is manufactured at ,birmingham4 ,this colour is an exception to the rule1 as it is sold in the pulp or damp state1 and may be mixed and even used without grinding1 being made almost exclusively for marbling4 ,it is the best red that can be used for general purposes1 and for appearance comes next to the drop lake4 ,,chinese ,,blue4 ,this is a very beautiful but not a very durable colour4 ,it is1 however1 an almost indispensable one to the marbler1 as it will produce nearly every shade of blue by the addition of certain proportions of white4 ,this colour requires to be particularly well ground1 as indeed do all the blues4 ,it is also sold at some places in the pulp or damp state4 ,there are some very good damp blues made4 ,,indigo4 ,this colour is a most valuable article1 and cannot be dispensed with under any consideration4 ,it is too well known to require describing4 ,though not a bright colour1 it is one of the most durable1 and for mixing and producing greens and purples of a permanent kind is invaluable4 ,neither can a good black be made without it4 ,care should1 however1 be taken to procure it of the best quality4 ,,ultramarine4 ,this is a very beautiful colour1 but must be used very sparingly1 as it will not glaze or take any kind of polish1 and is always inclined to rub off4 ,the kinds now in general use are the ,french and ,german1 the genuine article being far too high in price for this kind of work4 ,,prussian ,,blue4 ,this colour has been of late almost entirely superseded by the ,chinese blue1 which is a much brighter colour1 ,prussian blue being darker and heavier looking1 and is a very bad colour for glazing4 ,,dutch ,,pink4 ,this is a common but very useful colour4 ,it is a preparation of whiting and quercitron bark1 and is used in making greens1 no other colour answering the purpose so well4 ,it is also very useful in mixing with chrome to produce the various shades of yellow required4 ,,chrome4 ,this is of various shades1 varying from a light lemon colour to a deep orange approaching to a red4 ,it is a useful colour2 but1 unless you get it genuine1 it is very difficult to get it to work properly4 ,,raw ,,ochre1 ,or ,oxford ochre in its native state4 ,this may be used in certain proportions for making olive tints combined with ,dutch pink and blue or black4 ,it is also of use in small quantities to mix with yellow when it is inclined to run off1 this colour being of a very adhesive nature4 ,,drop ,,ivory-,,black4 ,this colour cannot be well used alone4 ,it may1 therefore1 be called only an auxiliary to others4 ,,vegetable-,,black4 ,this is a superior kind of lamp-black1 but prepared from vegetable instead of animal matter4 ,it is surprisingly light1 and cannot be used alone1 and will not produce a black for marbling except in combination with double its weight of good ,indigo4 ,,turkey ,,umber1 ,,burnt4 ,this colour produces a very good brown1 but it is not required if you have the burnt ,oxford ochre1 as1 with the aid of that colour and a little indigo and black1 any shade of brown may be produced4 ,,orange ,,lead4 ,this is a very heavy colour1 and is but little used1 except for the edges of account books4 ,,white4 ,for this an article called ,china clay is used2 also1 for some purposes1 the common pipe-clay4 ,,gum4 ,of all the varieties of gum1 there is but one that is of any use to the marbler1 and that is called gum-tragacanth or gum-dragon4 ,too much care cannot be exercised in the choice of this article1 as much of the excellence of the work depends upon it4 ,it should be large1 white1 and flaky4 ,occasionally there will be found some very good in small white flakes2 but let that in dark brown lumps be rejected at once1 no matter at what price it may be offered4 ,if used at all1 it would only do for the most common kind of work2 but there is1 in reality1 no saving in an inferior article1 as one pound of a really good sort will go as far as two of a bad1 and produce a far more satisfactory result4 ,good gum ought to dissolve in cold water2 it requires at least forty-eight hours soaking1 being well stirred about at intervals2 but some gums take longer to dissolve4 ,good gum will produce a smooth surface1 but bad gum will often yield a rough one1 which is inimical to the purpose4 ,again1 some will give a smooth surface1 and yet possess no strength2 the colours will flow well upon it and form properly1 and1 when the paper is taken off1 will look1 at first1 very beautiful1 but upon looking at it five or ten minutes after it has been hung up1 the colours will be found running off1 causing indescribable annoyance and mortification4 ,,directions ,,for ,,preparing ,,the ,,gum4 ,procure a large earthen pan1 glazed on the inside1 capable of containing from eight to twelve gallons of water4 ,put therein one pound of gum-tragacanth1 and on it pour about two gallons of soft water4 ,stir it every few hours with a clean birch broom kept expressly for the purpose1 breaking the lumps and adding more water as it thickens or absorbs that previously put in4 ,in about forty-eight hours you may venture to use it2 but seventy-two hours would be better4 ,some gum is all the better for a longer period1 as1 although a considerable portion of the gum may be dissolved1 yet the best properties of it are not extracted till the whole is dissolved4 ,it must be strained through a fine hair sieve before using1 and if any lumps remain1 put them back into the pan until they are all dissolved4 ,,of ,,linseed4 ,it is possible to marble some patterns on mucilage of linseed1 but it is a very objectionable vehicle to work upon1 and can never be made to produce a satisfactory result4 ,it is made either by boiling one quart of linseed in six or eight gallons of water1 or by pouring the boiling water upon the linseed and stirring it until it extracts the mucilaginous properties of the seed2 but it very soon decomposes or turns to water4 ,,carrageen1 ,,or ,,irish ,,moss4 ,this is an article used by some1 and can be dispensed with altogether3 it is not a necessary article4 ,when used1 it should be picked 7the white being the best7 and well washed2 then set it to simmer in a gentle heat for an hour or two1 strain it through a fine hair sieve1 and it will be ready for use2 but it will require a portion of the solution of gum-tragacanth to be able to do much with it4 ,,flea-,,seed4 ,this is an article but little known except to those who have occasion to use it4 ,it is a small1 brown1 hard seed1 in size1 shape1 and colour closely resembling the annoying little insect whose name it bears1 and from which it may possibly derive its appellation4 ,it produces a very strong and powerful mucilage--far stronger than that which can be obtained from linseed2 and what enhances its value is that it will not so soon lose its strength or turn to water1 but will keep several days4 ,it is a great assistant1 mixed with gum1 in the making of ,french and ,spanish marbles1 but is a total enemy to nonpareil and drawn patterns4 ,to prepare it1 put a quarter of a pound of the seed into a pan1 pour upon it a gallon of boiling water1 keep it well stirred for ten minutes1 and let it stand for half an hour2 then stir it again for ten minutes more1 and in another half-hour add another gallon of boiling water1 stirring it as before1 at intervals1 for one hour2 after which let it remain1 and the seed will settle at the bottom of the pan4 ,when cold1 pour off the top for use1 and the seed will bear more boiling water1 though not so much as at first4 ,sometimes the seed will yield a third extract2 but this must be determined by your judgment1 as the seed1 when exhausted1 will lose its viscid property1 and must then be thrown away4 ,the seed should never be stirred up after it has cooled1 for it will settle without being again heated or having more boiling water added to it4 ,,ox-,,gall4 ,the surest way of obtaining this article genuine is by procuring it in the bladder as it is taken from the animal1 if you are acquainted with any butcher upon whom you can depend4 ,the gall from some animals is very thick1 but will1 after keeping some time1 get thin1 without at all losing its properties2 in fact1 gall is all the better for being kept1 and is none the worse for a strong smell4 ,,water4 ,soft or rain water1 when it can be procured1 is the best adapted for all the preparations in marbling4 ,,of ,,the ,,preparations ,,or ,,vehicles ,,required ,,for ,,marbling ,,upon4 ,for ,spanish1 ,french1 ,italian1 ,west ,end1 and ,british patterns1 there will be required a mixture of gum-tragacanth and the mucilage of flea-seed1 in the proportions of one quart of the latter to two gallons of the former4 ,beat them well up together till they are thoroughly mixed or incorporated with each other1 strain it through a fine hair sieve into the trough1 and it will be fit for use4 ,for ,dutch1 nonpareil1 curls1 antiques1 and1 in short1 all patterns which require to be formed with any kind of instrument on the preparation in the trough1 use nothing but the pure solution of the gum-tragacanth2 in fact1 you may marble all the patterns on this alone1 so that if there be any difficulty in procuring the other articles1 and you can procure good gum1 you may do any or all of the patterns upon it1 although some of them are improved by the addition of the mucilage of the flea-seed4 ,as some gum is stronger than other1 it is hardly prudent or possible to give any exact weight of gum to any certain quantity of water4 ,practice and your own judgment must determine this4 ,besides1 if the gum be not sufficiently soaked or beaten up1 it will not yield so much or so good size as it would were it in its right state4 ,the following will give some idea to guide in the matter3--,if1 on skimming the surface and sprinkling on the colours1 they lose their shape and appear to turn round on the solution1 especially in the corners of the trough1 it is a sign that it is too thin2 if1 on the other hand1 on skimming there is a great resistance when the skimmer is drawn along1 and1 upon sprinkling on the colours1 they crack1 and are a long while spreading out1 it is a sign it is too thick2 but a little practice will soon enable the learner to form a correct judgment in this matter4 ,,of ,,grinding ,,the ,,colours4 ,on this head you must be very particular indeed2 for1 if the colours are not finely or properly ground1 it cannot be expected that the work will look well4 ,when a large quantity is required1 a colour-mill is the most advantageous method2 but if on a small scale1 or for edges1 the ordinary stone and muller will be best adapted for the purpose4 ,indeed1 all colours required for edges ought to be most particularly well ground upon a slab1 with a muller1 the mill not grinding so finely as by this method4 ,the colours must all be ground with a preparation of beeswax1 in the average proportion of one ounce of the prepared beeswax to one pound of colour4 ,blues and greens require rather more4 ,this will prevent the colour rubbing off on the hand1 and will make it burnish or glaze easily4 ,,directions ,,for ,,preparing ,,the ,,wax ,,for ,,grinding4 ,to attempt to grind beeswax in its native state would be a fruitless task1 as it would stick to the stones and not unite with the other ingredients4 ,to obviate this1 prepare it in the following manner3 ,take of the very best beeswax two pounds1 put it in an earthen pipkin1 and with it a quarter of a pound of the very best curd-soap cut into small or thin pieces2 place it in a moderate heat1 and when both soap and wax are quite dissolved1 7but be sure they are not boiling17 put the pipkin containing the hot liquid upon a table1 take in one hand a pot of cold water1 and1 gently stirring the melted wax with the other1 pour in the water1 a little at a time1 keeping it constantly stirred1 and it will gradually thicken1 until at last it can hardly be stirred at all4 ,care must be taken not to have it too hot when the water is poured in1 as there is danger of it flying out of the pipkin and scalding the workman4 ,if properly mixed1 when cool1 it can be pulverized between the finger and thumb2 and in this state it will mix or grind with the colour easily1 but ought to be rubbed or worked in with the dry colour before wetting it for grinding4 ,,troughs4 ,the troughs should be made of wood1 perfectly flat and smooth at the bottom1 and of sufficient thickness to keep them from warping4 ,they should be about two and a half inches deep inside1 and about two inches larger than the sheet of paper you intend marbling1 or your edges will be imperfect4 ,there should be about three inches parted off on the right-hand side by a sloping partition1 which should be about an eighth of an inch below the sides1 that the waste may be skimmed over it without running it over the top4 ,the whole should be perfectly level and true2 and1 if the joints are stopped with white lead1 be sure it is quite dry and hard1 or it will entirely spoil the solution1 and will fill the pattern with white4 ,,french ,,or ,,shell ,,marble4 ,to commence with the easiest and most common kinds of marbled papers3--the colours being properly ground1 and the trough placed on a level table or fixed bench of convenient height1 with some feet of spare room on each side1 place the pots containing the colours on the right-hand side1 and the paper or books to be marbled on the left4 ,let there be a small brush in each of the pots of vein-colours1 and a larger one in the last or body-colour4 ,have a small iron rod or bar about twelve or fourteen inches long1 placed so that you may be able to take it up when required with the left hand4 ,fill the trough to about one-half or three-quarters of an inch from the top with the solution of gum-tragacanth and flea-seed1 as previously described1 and proceed to mix the colours4 ,illustration ,for convenience of reference1 the various patterns described and processes employed will be numbered4 ,no4 #a4--,,large ,,brown ,,french ,,or ,,shell1 ,,with ,,three ,,veins1 ,,viz43 ,,red1 ,,yellow1 ,,and ,,black4 ,mix together ox-gall and water in the proportion of one-eighth of the former to seven-eighths of the latter4 ,mix the vein-colours with this mixture1 putting in a little at a time1 and gently stirring it about with the brush 7but be careful not to make it froth by too rapid stirring7 until you arrive at the proper consistence1 which must be ascertained by sprinkling a little colour on the solution in the trough4 ,if the colour sinks1 and does not spread out1 add a little neat-gall2 but1 should it spread too far and open too much1 mix a little more colour with water only1 and put it to that which spreads too much4 ,the brown will require more gall1 less water1 and a few drops of the very best olive-oil1 which will cause it to form itself into rings or shells as it falls on the solution in the trough4 ,this colour will require to be thicker than the vein-colours1 and1 when thrown or sprinkled1 should drive or force the other colours into the form of veins4 ,by increasing the quantity of gall in the last colour1 it will bring the veins to almost any degree of fineness2 but there is a point beyond which it is not advisable to go4 ,if the brown does not shell enough1 but forms in holes1 add a few more drops of oil1 and well mix it2 but if there be too much oil it will spoil the effect of the shell altogether1 which cannot be counteracted in any other way than by mixing some more colour without any oil1 and adding it thereto4 ,having1 then1 all in readiness1 first skim the surface of the solution lightly all over1 and immediately 7for when you begin it is necessary to move quickly till all the colours are on7 sprinkle on the colours1 beginning with the red1 next yellow1 thirdly1 black2 then with the principal or body-colour go well and equally all over1 taking care to throw as much colour on one part of the surface as another2 then take up a sheet of paper by the two opposite corners1 and let the corner between the finger and thumb of the right hand touch the surface first1 while with the left you let the paper gradually descend1 till it lies flat upon the liquid4 ,if it is let down too quickly1 or the paper gets rumpled1 so as to allow the air to get under it1 white blotches will appear when it is taken out of the trough2 and if the paper be allowed to lie long enough upon the size to draw out the blisters1 still the marks will show4 ,in order to take the paper out1 lay a lath or thin stick across the centre of the paper as it lies in the trough2 let it be long enough for the ends to rest upon the edges of the trough2 then take hold of the paper by the two parallel corners1 lay it back over the stick1 lift it out of the trough by the stick1 in the same manner as it might hang across a line1 and place it on a rack to dry4 ,no4 #b4--,,small ,,brown ,,french4 ,this pattern is produced with precisely the same colours as ,no4 #a1 by using the iron rod previously described4 ,it is held in the left hand1 and the brush knocked against it1 which causes the colour to fall in small spots1 and reproduces the ,no4 #a pattern1 as it were1 in miniature4 ,no4 #c4--;,,brown ,,french1 ,,with ,,light ,,spot4 ,this pattern has but two vein-colours--the red and the black4 ,these are mixed with the mixture of gall and water1 as described for the veins of ,no4 #a4 ,it has also two other colours4 ,the brown is mixed in a similar manner to the brown for ,no4 #a1 but not quite so much gall and oil1 to allow for the other colour flowing out upon it2 and the last1 or light spot1 is composed of raw or unburnt ,oxford ochre1 and is mixed with gall1 water1 a few drops of olive-oil1 and a portion of spirits of turpentine4 ,no4 #d4--,,small ,,yellow ,,shell4 ,this is done in the same manner as ,no4 #b as regards the mixing and working1 the only difference being in the body-colour4 ,no4 #e4--;,,brown ,,and ,,purple ,,shell4 ,this pattern has three veins and two ,french colours1 or colours that have been mixed as ,french1--that is1 with oil in them1--the last of which1 in this instance1 is the purple4 ,being mixed with a little more both of the gall and oil than the other1 in order to make it flow out1 over1 and drive up the other colours1 a marbler will be able1 if he follows these instructions1 to imitate any ,french pattern1 whether there be more or less colours in them4 ,no4 #f4--;,,blue ,,stormont ,is an old pattern1 but well worthy of being revived4 ,though apparently very simple and easy of execution1 it is nevertheless very difficult to keep in order1 in consequence of the speedy evaporation and the chemical changes which are continually taking place among the ingredients with which it is mixed4 ,it requires great quickness and acute observation on the part of the workman4 ,there is but one vein-colour1 7red17 and the ground or body-colour is blue4 ,the same preparation of gum and flea-seed is used for this as for the ,french marble4 ,mix the red for vein1 as usual1 with gall and water4 ,the other colour must consist of good indigo alone1 without which the proper effect cannot be produced4 ,the indigo being ground1 as before directed in the instructions for grinding the colours1 proceed to mix the indigo with gall1 water1 and spirits of turpentine1--of which last ingredient it will require a considerable proportion1 in order to make it break full of little holes4 ,the acme of this pattern is to make it look like fine network4 ,sometimes it will happen that at first mixing it will not work1 but after standing a day or two it will work well1 while at other times it will work immediately4 ,if the holes come too large from an excess of turpentine1 7for they will sometimes come too large from not having enough17 add a little more gall and some fresh indigo1 putting in a few drops of alum-water2 but be very careful of this2 for1 if there be too much1 it will make the colour thick and clotted3 in which case have recourse to a little of the solution of potash2 but it is best1 if possible1 to do without either of them4 ,no4 #g4--,,light ,,italian4 ,a very pretty though simple pattern1 but requires great cleanliness of working to turn it out well4 ,the colours being ground as before directed1 proceed to mix them with gall and water only1 as though they were for veins4 ,the last colour is white2 this requires a greater proportion of gall than the other colours1 and a larger brush1 as in the ,french patterns4 ,illustration ,after skimming the size1 proceed by beating or knocking on the colours1--viz43 red1 green1 and black1 as in small ,french1 taking especial care to have the rings of the brushes free from any accumulation of colour1 or they will cause large spots or blotches1 which will spoil the appearance of the work4 ,one difference between this and the small ,french is that there is no oil used in any of the colours4 ,illustration ,another method is to use a mixture of weak gall and water instead of the white colour1 and which must be firmly knocked or beaten on1 proportioned by the judgment of the marbler4 ,this method is preferable to the former for edges1 and will answer quite as well for paper4 ,,no4 #h4--,,small ,,green ,,italian4 ,a very neat pattern1 may be made of one colour only1 which must be mixed with gall and water sufficiently strong to cover the whole surface of the solution on the trough2 after which1 beat on the white1 or gall and water1 as before4 ,the same size1 or preparation of gum and flea-seed1 will do for this as for the previous marbles2 it must1 however1 be kept clean1 to make the work look nice and bright4 ,no4 #i4--,,west ,,end1 7,,brown1 ,,with ,,light ,,spot47 ,this pattern consists of two prominent colours besides the veins2 one of these is dark and dotted all over with small white spots2 the other1 which is the last or top colour1 is light1 and is made by taking a portion of the darker colour and mixing a quantity of white with it1 sufficient to bring it to the desired tint4 ,mix the colours for veins in the ordinary way1 viz43 with the usual proportions of gall and water2 then mix the brown with a larger proportion of gall1 and sprinkle it on as full as to drive the other colours into veins2 then take the white1 or gall and water1 as in ,italian1 and beat it finely and equally all over1 but not so much as for the ,italian pattern4 ,lastly1 take the light or top colour1 which will require to be stronger in gall than any of the others1 and must be sprinkled lightly and evenly over the whole2 lay on the paper as quickly as possible4 ,this pattern is known by the name of ,west ,end1 and is in every respect similar to the ,spanish in the working1 only it is not shaded4 ,no4 #aj4--,,west ,,end1 7,,green1 ,,with ,,light ,,spot47 ,an excellent pattern may be made similar to ,no4 #i in all the details of mixing1 working1 and putting on the colours1 the only difference being in the colours1 which may be made of two shades of green or olive1 and the veins red1 yellow1 and blue4 ,illustration ,no4 #aa4--;,,curl4 ,the pattern called ,french ,curl1 after the description of the ,french marble 7see ,no4 #a7 will not require much explanation1 the only difference in the working being1 that there must not be any of the preparation of the flea-seed with the gum2 but it must be done on the solution of the gum alone1 without any admixture4 ,it will also require a frame with as many pegs as you may require curls on the paper2 these pegs must be about three inches long1 and about the thickness of a stout goose-quill1 tapering toward a point4 ,throw on the colours the same as for ,no4 #a large ,french2 take the frame of pegs1 and1 holding it with both hands1 put the pegs down to the bottom of the trough1 give it a slight rotary motion1 then lift it out quickly1 so that no drops fall from the pegs into the trough1 and lay on the paper as usual1 taking care to lay it down straight and even1 or the whole pattern will be askew4 ,no4 #ab4--;,,brown ,,curl4 ,a pattern of curl may be made of one colour only1 mixed with the same ingredients as the ordinary ,french2 it is the easiest of the two to make4 ,,no4 #ac4--,,red ,,curl4 ,a curl pattern may be made of the same colours used for nonpareil1 only the colours and gum are both used rather thicker than for the ,french curl1 and the colours must have no oil in them4 ,,spanish4 ,this marble is distinguished from all others by having a series of light and dark shades traversing the whole extent of the sheet of paper in a diagonal direction4 ,and1 as it is the design of this work to simplify as much as possible1 the marbler will bear in mind that all the plain ,spanish patterns may be worked and managed without the aid of any other agents than ox-gall and water1 of course presuming that the colours are ground and prepared as before directed4 ,no4 #ad4--,,olive1 ,,or ,,light ,,green1 ,,spanish4 ,one of the most simple and easy patterns is called ,olive ,spanish1 with red and blue veins4 ,the veins are mixed with gall and water1 as in the previous kinds of marbling1 till they are brought to the proper consistence2 and1 as it is not possible to state any given measure for proportioning the gall and water exactly1 some gall being stronger than other1 that must be determined by observing the effect produced in the colours as they are tried on the solution4 ,but each successive colour requires more gall than the one which preceded it1 and the principal or body-colour requires to be both thicker in itself and stronger in gall than any of the others4 ,this rule is almost without an exception4 ,illustration ,having1 therefore1 mixed and prepared the colours1--having the preparation of gum and flea-seed in the trough1--proceed to throw on1 first the red1 then the blue1 and lastly1 with a large brush full of colour1 the olive2 beginning at the left-hand corner of the trough1 farthest from you1 and working down and up closely all over1 taking care not to go twice over the same place1 or you will produce rings by the falling of one spot upon another1 which is considered objectionable4 ,it cannot1 however1 be entirely avoided4 ,now take up the paper by the two opposite corners1 and1 holding it as nearly upright as possible1 yet with a degree of ease and looseness only to be attained by practice1 let the corner in the right hand gently touch the colour on the trough1 while1 at the same time1 you shake or move it to and fro by a regular motion1 at the same time1 with the left hand1 letting the sheet regularly and gradually descend till it lies flat upon the surface of the solution4 ,practice will be required before the stripes or shades will be produced with certainty and regularity4 ,we will next take a pattern with three veins4 ,no4 #ae4--;,,blue ,,or ,,slate ,,spanish4 ,this is performed in a similar manner to the one just described4 ,first1 throw on red1 next yellow1 thirdly ,blue1 and lastly the slate1 or body-colour1 which is composed of indigo1 ,chinese blue1 and a portion of white4 ,we now advance a step further and take up a pattern with four veins4 ,no4 #af4--;,,brown ,,spanish4 ,this is a well-known pattern4 ,perhaps as much or more of it has been made than of any other1 and it always will be a standing pattern4 ,proceed in the same manner as before1 throwing on first1 the red2 then yellow2 thirdly1 blue2 fourthly1 black2 and lastly1 the brown1 which should be composed of good burnt ochre1 darkened with a little black4 ,no4 #ag4--;,,double ,,brown ,,spanish4 ,this pattern has four colours for veins and two body-colours1 the last or top colour being a dilution of the other with white4 ,the veins are thrown on in the following order3--first1 red2 then black2 next yellow1 7some work the yellow before the black27 fourthly1 green2 then the brown1 which must not be quite so powerful or put on quite so heavy as for brown ,spanish1 and on this sprinkle the light or top colour1 which requires to be stronger in gall than the others4 ,no4 #ah4--;,,fancy ,,spanish4 ,the pattern so designated has something of the appearance of a ,spanish being worked over an ,italian4 ,it requires seven colours and brushes to execute this pattern1 although it may be made of less4 ,commence1 as usual1 with red first2 then black2 thirdly1 yellow2 fourthly1 blue2 fifthly1 green4 ,these being all thrown or sprinkled on1 next throw on the white1 by using the iron rod1 as for ,west ,end or ,italian1 and beat or knock it on very firmly all over these colours1 but not so much as you would do for ,italian2 and lastly1 the principal or body-colour1--say dark olive-green4 ,shade it by shaking or waving the paper in the same way as for other ,spanish4 ,no4 #ai4--;,,fancy ,,spanish4 ,another compound or fancy ,spanish pattern is made by introducing a small ,french pattern instead of veins4 ,in doing this1 be careful not to have so much gall or oil in the colours as though you were going to make ,french only1 and the top or body-colour will require more gall than any of the plain patterns in order to make it work over the ,french colour4 ,beautiful effects may be produced by folding the paper in squares or bending the sheets in various parts before shading1 some of which cause the shades to assume an undulating appearance1 as though it had been watered like silk4 ,no4 #bj4--;,,drag ,,or ,,extra ,,spanish4 ,to do which you must have a trough twice the length of the sheet of paper2 as1 in order to produce the elongated form of spots1 you will have to drag or push it from one end of the trough to the other in the course of laying down the sheet of paper4 ,the colours and preparation are the same for this as for the other ,spanish1 only the colours are used considerably thinner1 as they would get so thick upon the paper1 from one sheet being drawn over and taking up a surface of colour usually allowed for two1 that it would peel and crumble off and not burnish4 ,illustration ,illustration ,no4 #ba4--,,nonpareil ,,or ,,comb4 ,we now come to this well-known and very popular pattern1 which has had a most extraordinary run1 and which some people hardly seem tired of1 although it has become so common of late as to be used on almost every kind of work4 ,for this description of marbling use the solution of gum alone in the trough4 ,mix the colours with gall and water1 taking particular care to avoid all oil and grease of every description2 but the colours will require to be thicker1 and more colour thrown on1 than for ,spanish1 with the exception of the last1 which will not require to be so heavily thrown on as the last ,spanish colour4 ,let all the colours be thrown on in about equal proportions4 ,in commencing1 proceed as usual3--first1 skim the surface of the solution1 and immediately follow with the red so as to well cover the whole surface of the solution2 then black2 next1 orange or yellow2 fourthly1 blue2 and1 lastly1 the top colour1 of whatever shade it may be required4 ,now take the peg-rake1 which must be as long as the trough from right to left1 and which consists of a piece of wood having pegs inserted about an inch and a half apart and about three inches long1 tapering towards the point1 and having the appearance of the head of a rake4 ,pass this once up and down through the colour from front to back1 taking especial care that when you draw it back the teeth come exactly between where they went up4 ,having raked the colour into the proper form1 take the comb1 which must reach the whole width of the trough from front to back1 and draw it steadily through the colour1 and the pattern is ready for the laying on of the paper1 which must be done with a steady hand1 or there will be shades in it4 ,no4 #bb4--,,raked ,,nonpareil4 ,a very good pattern is made by following the directions for ,no4 #ba until the colours are properly raked1 then beat a little white evenly over it1 and it is ready for the paper4 ,no4 #bc4--,,nonpareil1 7,,reversed47 ,another pattern is made by precisely the same process as ,no4 #ba1 till the colours have been raked with the peg2 then take the comb1 which should be a much larger one1 and draw it through the colour from left to right1 then immediately reverse it and draw it back again from right to left1 and the desired effect will be produced4 ,no4 #bd4--;,,antique4 ,the antique marble is executed thus3 after the three first colours have been thrown on1 namely1 red1 black1 and yellow1 rake it once up and down with the peg-rake1 after which proceed to throw on the green1 follow with the pink spot1 and lastly1 beat or knock on small white spots4 ,some antique patterns are made with a blue or other coloured spot1 in lieu of the pink here described1 but the process is the same4 ,no4 #be4--;,,antique1 7,,zebra47 ,this is done with colours prepared the same as for ordinary nonpareil2 throw on four colours1 viz43 red1 black1 yellow1 and blue2 then rake the same as for nonpareil1 after which throw on a light colour for a spot2 lay on the paper the same as for ,spanish4 ,sometimes it is made without shading1 and passes for another pattern4 ,no4 #bf4--,,wave4 ,in this pattern the colours are drawn into an undulating form1 the points of each row meeting each other4 ,the colours are prepared the same as for nonpareil4 ,the red1 yellow1 blue1 and green are thrown on1 over which is beaten or knocked a small white1 but not too abundantly2 there is now required a kind of double rake or frame1 with teeth of stout wire about three or four inches apart1 and let the teeth of the hinder one be so adjusted as to be exactly in the centre of the spaces left open by the first one2 the second or hindmost row of teeth should be an inch and a half behind the former1 the two forming but one instrument4 ,draw this through the colour similar to a comb1 from left to right1 but with an undulating or see-saw motion1 just sufficient to make the top of the hindermost wave catch or touch the bottom of the foremost one1 by which means it will produce a uniform appearance all over the sheet1 something in the appearance of irregular squares4 ,there are some other patterns of a similar kind made without a small white spot1 and the same design is sometimes worked upon a ,french marble1 but these require no additional explanation4 ,we now come to ,no4 #bg4--;,,british4 ,the pattern so called is by no means easy to execute1 as it requires a considerable amount of judgment to maintain any thing like uniformity4 ,some ,british patterns are made with and some without veins4 ,they require a trough double the length of the paper1 as it is dragged or pushed from one end of the trough to the other in the same manner as the drag ,spanish1 7,no4 #bj27 and the size or preparation must be the same as for that kind of work4 ,a good pattern may be made of one colour1--viz43 black4 ,the colour for this description of marbling will be all the better for being mixed and well stirred about a few days before using1 so as to become mellow for working4 ,two jars or pots1 and a large common plate1 will be required4 ,mix the colour in one of the jars1 as if for ordinary ,spanish1 but not with quite so much gall2 then pour a little of it into the other jar1 and add to it a considerable portion of gall and water1 so as to make it very thin and strong2 now pour a small quantity of the strong colour 7about a teaspoonful7 on the plate1 and1 taking the brush out of the thicker colour and pressing it hard on the plate1 take up with it a portion of the strong colour1 and proceed to sprinkle it on quickly all over the trough4 ,the dark and light spots will fall together1 intermingling with each other and producing that variegated effect which is characteristic of the pattern4 ,lay on the paper the same as for drag ,spanish4 ,brown1 green1 and other colours1 are done in the same manner2 but the colours require to be mellow and the paper soft-sized1 or they are apt to run off4 ,no4 #bh4--;,,dutch4 ,the pattern now under consideration is one of the oldest and at the same time most difficult patterns1 and is performed by a very different process to any of the preceding4 ,upon examining this pattern1 it will be perceived that the colours are not scattered here and there in an indiscriminate manner1 but follow each other1 in a kind of regular succession1 in a diagonal direction across the sheet1 red being the preponderating colour4 ,in order to make this well1 the colours must be particularly well ground1 and of the first quality4 ,they ought to be mixed a few days before using4 ,it will be useless to expect a satisfactory result with either inferior or badly-prepared materials4 ,in order to accomplish this pattern1 there will be required a number of little tins or pots1 an inch and a half wide and about the same1 or two inches1 in depth4 ,it will also require two frames the size of the paper1 with wooden pegs in them1 slightly tapering1 about a quarter of an inch in thickness1 and fixed about three inches apart1 at regular distances1 over the whole extent of the space required4 ,the colours will be all the better for this class of work by the addition of a little spirits of wine4 ,with this exception1 the colours will not require any different treatment from the nonpareil4 ,mix each of the colours in a large jug1 having a spout1 so that you may be able to pour them out into the small tins before mentioned4 ,the colours required will be red1 yellow1 green1 blue1 and white4 ,the two frames of pegs must be made exactly alike4 ,one ought to be an exact duplicate of the other4 ,having mixed the colours1 and tried them by dropping a little of each on the solution in the trough1 proceed to fill as many of the little pots with colour as there are pegs on the frame1 and arrange them about three inches apart1 so that the pegs in the frames may drop into the centre of each pot1 and1 when lifted out1 7which will require to be done with great caution17 will convey one large drop of colour on each peg1 with which the surface of the size is to be gently and evenly touched1 taking care not to put them in too deep1 but at the same time being quite sure they all do touch the size4 ,the tins or pots of colour must be arranged as in the following diagram1 about three inches apart3-- ,g ,y ,g ,y ,g ,y ,g ,y ,b ,y ,b ,y ,b ,y ,g ,y ,g ,y ,g ,y ,g ,y ,b ,y ,b ,y ,b ,y ,g ,y ,g ,y ,g ,y ,g ,g standing for green1 ,y for yellow1 and ,b for blue4 ,then fill the same number of tins or pots with white1 which must be composed of pipe-clay ground and prepared as the other colours1 and arrange them in precisely the same manner1 using the second or duplicate frame of pegs to these4 ,having arranged all these1 commence operations by first skimming the size1 7which must consist of gum-tragacanth alone17 and then well cover the whole surface with red1 which must be thrown on plentifully with a brush4 ,then carefully lift the first frame standing in the pots of the three colours1 giving it a slight rotary motion1 so as to stir the colours1 which soon settle1 being careful not to upset them4 ,let one drop from each peg touch the surface of the red upon the size1 then quickly take the one with the white and drop that just in the centre of the spots already placed on the trough2 next take a rounded piece of tapering wood1 7a brush handle is as good a thing as any17 and pass it up and down through the colours as they are now disposed in the trough1 from front to back1 at regular distances1 till the whole extent of the trough has been gone over2 then pass the comb through it from left to right1 and lay on the paper4 ,as soon as you have hung it up1 pour over it1 from a jug with a spout1 about a pint of clear water1 to wash off the loose colour and gum and make it look clean and bright1 after which1 when dry1 it will require sizing before it can be burnished4 ,when curls are required1 it will be necessary to have a third frame1 with as many pegs as you may require curls upon the sheet of paper4 ,no4 #bi4--;,,antique ,,dutch4 ,is done in a different manner to any of the processes hitherto described4 ,the colours used for this kind of work must be of first-rate quality1 and must be ground with spirits of wine or extra strong gin1 and mixed up with the same and a little gall1 just sufficient to make them float and spread to the extent required4 ,instead of brushes1 have a tapering piece of wood1 about the thickness of a little finger1 in each pot of colour1 7small pots will do1 capable of holding about a tea-cup full47 ,the colours required are red1 orange1 blue1 and green4 ,the red must be the best scarlet lake2 the orange1 orange lead2 the blue1 ultramarine and indigo2 and the green1 indigo and ,dutch pink4 ,these must be ground and mixed1 as before directed1 to the consistence of cream4 ,the lake should be ground one day and the other colours a few days before using1 and kept moist4 ,the gum will require to be used thicker for this work than for any other4 ,having every thing in readiness1 take a pot of colour in the left hand1 and with the right proceed to lay on the colour with a piece of wood or with a quill1 in sloping stripes1 like those made by a school-boy in learning to write4 ,commence with the red and make two strokes almost together1 leaving a small open space1 and then making two more1 and so on1 until the required extent has been gone over4 ,next take the orange1 and make one stripe between the two stripes of red2 then proceed to fill up the wider space with a stripe of green and a stripe of blue4 ,perhaps the following may more clearly illustrate the order in which the colours should be arranged on the trough3-- ,g ,b ,r ,o ,r ,g ,b ,r ,o ,r ,g ,b ,r ,o ,r ,g ,b ,as in the former instance1 the initial letters signify the colours4 ,draw the comb through and the pattern is complete4 ,,edges4 ,the patterns for edges are produced in the same manner as those for paper2 and having already devoted so much space to this beautiful art1 hitherto confined to a few1 it would be useless to repeat the processes4 ,yet there are some things in regard to edges which every good marbler should understand4 ,when plates are interspersed in any book along with the letter-press1 it will require particular care in marbling1 or the colour and size will run in and spoil the appearance of the plates4 ,to obviate this1 keep the book tightly compressed1 and where the plates are at the beginning of the book only1 lay it down1 when marbled1 the beginning side-upwards4 ,for edges you may do with a smaller trough1 also a smaller quantity of colour than for paper4 ,the solution to work upon had better be gum-tragacanth alone4 ,colours for edges will look all the brighter by the addition of alcohol1 spirits of wine1 or whiskey2 but they will evaporate more quickly4 ,having every thing in readiness1 take the book1 or1 if more than one1 as many as you can conveniently manage to hold tightly1 with the backs in the right hand and the fore-edge in the left1 and let them touch the colour1 the back first1 allowing them gradually to descend till the whole end is covered2 but be very careful that none of the size or colour comes over the fore-edge1 which it will do if dipped too deep1 and leave a nasty unsightly mark1 and greatly disfigure the book4 ,in doing the fore-edge1 the beginner had better place the volume between a pair of cutting-boards1 and1 having thrown out the round1 turn back the boards1 and proceed as with the end2 when done1 wipe off the superfluous size from the boards with a sponge1 put the boards back in their place1 and let the volume dry4 ,,glazing ,,or ,,burnishing4 ,the sheets of paper are burnished by a machine constructed for the purpose4 ,a smoothly-faced flint is fixed in a block of wood1 in which is inserted one end of a pole about five feet in length1 the other end being attached to and working in a cavity in a spring-board fixed overhead1 allowing it to work backwards and forwards upon a plank hollowed out for the purpose4 ,the paper is moved over the plank1 and the friction of the flint in passing to and fro over the surface of the paper produces a high polish4 ,sometimes the paper is calendered by means of friction cylinders--a superior method4 ,,combs4 ,these are made in various ways1 some to be worked on the top of the trough and called top-combs1 others to be worked by putting the points down to the bottom of the trough and called bottom-combs4 ,the best thing for making them is of brass pin-wire4 ,the comb for small nonpareil ought to have from twelve to fourteen teeth to the inch1 for the second size eight1 and for large1 four4 ,,sizing ,,the ,,paper4 ,it is sometimes necessary to size the paper after marbling4 ,the way of making the size is as follows3--,take of the best white soap two pounds1 put it in a large copper with about twenty gallons of water2 when it is quite dissolved1 add thereto about four pounds of the best glue1 keeping the whole constantly stirred1 to prevent the soap and glue from burning2 when both are quite dissolved1 strain it into a tub1 and when cool1 it is ready for use4 ,should it be found too thick1 add more hot water4 ,the best way of sizing is to fill a trough with the liquor and to lay the marbled surface of the paper down upon it1 then hang it on the sticks to dry4 ,,patent ,,marbled ,,cloth4 ,this is an article recently introduced1 and in some quarters meets with considerable favour4 ,there are as yet no manufactories of it in this country4 ,it1 however1 possesses no advantages over good marbled paper1 and for outsides will not compare with the papier ,d',anonay for durability4 ,,addenda4 ,in taking leave of the subject of marbling1 there is but little more to add4 ,for1 when the learner is master of all this book teaches1 he will have attained such proficiency in the art as to require nothing further in the way of instruction4 ,should some new pattern come up1 let him apply the principles that govern in mixing and distributing the colours1 and1 with the aid of his own experience1 his chance of accomplishing it will be as good as any one else's4 ,as a step to the attainment of mastery in the art1 let the workman divest himself of the various nostrums he has been put in possession of by interested parties1 and give himself up with assiduity to the directions here laid down4 ,what is here given is the result of twenty-five years' actual experience of ,c4 ,w4 ,woolnough1 of ,london1 whose marbles rank among the most beautiful productions of the present day4 ,therefore let the workman adhere to the instructions1 and ultimate success will crown his efforts4 ,should there be any difficulty in obtaining any of the articles described1 they may be procured from ,mr4 ,charles ,williams1 ,no4 #bac ,arch ,st41 ,philadelphia4 ,the specimens of marbled paper accompanying these pages1 illustrate the prominent classes or patterns of marbling4 ,they were executed by him1 and show his mastery of the art4 ,,burnishing4 ,the edges are burnished by placing the volume open1 with the fore-edge between boards1 similar to backing-boards1 in the laying-press1 and screwing it tightly therein2 then with the burnisher rubbing the edge firmly and smartly over till it presents a uniformly bright surface1 and free from any dents or inequalities4 ,when the fore-edge is finished1 the volume must be taken out of the press1 and the head and tail burnished in a similar manner1 the ends of the boards resting in the groove by the joints1 the covered boards of the volume being open4 ,common calf1 sheep1 and half-binding1 may be burnished with the boards closed1 six or eight together1 but it will be necessary to delay pasting the sides on the latter till after the operation1 to avoid the liability of tearing4 ,,gilt ,,edges4 ,this description of edge is the best preservative against external injury and damp4 ,previous to laying on the gold1 the workman must have in readiness the articles necessary to form the groundwork and cause the gold to adhere to the edge4 ,the first is a mixture of red bole or chalk and black lead1 well-ground and reduced by water to a fluid consistence1 after having added to it a few drops of muriatic acid or vitriol4 ,the size used by some is made from the white of an egg in five times the quantity of water well beaten together2 but that most generally used is made from parchment or vellum shavings boiled in water to extract the gluten4 ,it is then passed through a piece of fine muslin and set aside to cool4 ,when cold it is very easy to judge of its strength4 ,some use ice in summer-time to chill it1 as a test of its strength4 ,if too strong or thick1 add water1 then warm it to melt the size and allow the water to become incorporated with it4 ,to become a good gilder requires considerable judgment1 as every variety of paper requires a different treatment4 ,no rule can be laid down that will answer in every case2 but if the workman will but pay attention to the directions here given1 exercise patience1 and above all reflect upon the effects of his operations1 ultimate success will be certain4 ,english books are made from linen rags1 and the paper is sized4 ,they gild more easily and the edge looks better than ,american books4 ,they do not require as strong a size for gilding as books printed on paper made from cotton4 ,books printed in this country are generally made from cotton rags4 ,quantities of alum and lime are employed in bleaching the pulp1 to the sore annoyance of many a gilder1 who has found that a damp day would invariably put both his skill and patience to the test4 ,the best qualities of ,american paper are sized2 the generality1 however1 is not4 ,to determine whether the paper is sized or not1 apply the tip of the tongue to it2 if it adhere to the tongue1 it is not sized1 and will consequently require a stronger size for gilding than if it were sized paper4 ,the liability of parchment size to decompose or turn to water in hot weather can be entirely counteracted by adding a very small portion of oxalic acid4 ,having every thing in readiness1 put the book in the laying-press1 between the gilding-boards1 placed even with the fore-edge of the book and with the cheeks of the press2 screw up as tightly as possible with the press-pin4 ,then commences the most difficult operation1 and one upon which the beauty of the edge almost entirely depends--namely1 that of scraping4 ,this is done with a steel scraper4 ,a piece of saw-blade answers the purpose very well4 ,after being ground square on the edge and rubbed perfectly smooth upon the oil-stone1 it is kept in order by a smooth steel4 ,the edge must be scraped perfectly smooth1 so as not to show the marks of the knife in cutting1 or of the scraper4 ,after this is done1 it must be coloured lightly over with the bole or chalk1 rubbed immediately dry with fine clean paper shavings4 ,this process will have to be repeated three times2 it is then well burnished with the agate1 and1 with a broad1 flat camel's-hair pencil1 or piece of soft sponge1 a coat of size laid evenly on the surface4 ,the gold is next cut on the gold-cushion to the size required4 ,a slip of paper larger than the edge is drawn over the head of the workman1 and by a light pressure upon the cushion the gold will attach itself to the paper2 it is then turned1 with the gold upwards1 7care being taken to have sufficient upon the paper to cover the entire edge17 and laid upon the cheek of the press2 then pass a flat camel's-hair pencil1 dipped in clean water1 evenly over the edge1 and immediately lay on the gold by taking up the paper1 turning the gold towards the edge1 and presenting it with sufficient celerity not to allow the gold to be drawn from the paper in portions by the size4 ,to do this well will require some practice and a steady hand4 ,should there be any breaks in the gold1 other portions must be applied1 and1 if dry1 moisten with water applied by a fine pencil1 and lay on the gold4 ,after the edge is entirely dry1 which generally happens in from one to two hours1 it must be burnished4 ,for this purpose a flat bloodstone burnisher is the best1 to be afterwards followed by a flat agate4 ,let there be no marks of the burnisher1 but spare no pains in burnishing to have the edge perfectly uniform and clear4 ,the head and tail of the volume must be gilt with the same precaution1 the back towards the workman4 ,the foregoing direction have been derived from the practical experience of ,mr4 ,james ,pawson1 one of the best gilders in this country4 ,should the work be of such a nature that it is desirable to give it the character of the period in which the book was written1 or an additional degree of beauty and elegance1 this part of book-ornament may be pursued farther in the manner we shall now describe4 ,,antique ,,style4 ,after the edge is finished as above directed1 and before taking out of the press1 ornaments1 such as flowers1 or designs in compartments1 must be stamped upon it in the following manner4 ,a coat of size is passed quickly over with great precaution and lightness1 and only once in a place1 to avoid detaching any of the gold4 ,when dry1 rub the edge as lightly as possible with palm-oil1 and cover with gold of a different colour to the first2 then with the tools used in gilding leather1 warmed in the fire1 proceed to form the various designs by firmly impressing them on the edge4 ,the gold that has not been touched by the tools is then rubbed off with a clean cotton1 and there remains only the designs the tools have imprinted1 which produce a fine effect4 ,this mode is1 however1 now seldom used1 though almost all the books in the original binding of the sixteenth century are so executed4 ,,gilding ,,upon ,,marbled ,,edges4 ,this edge1 which ,dr4 ,dibdin1 in his ,bibliographer's ,decameron1 calls the very luxury1 the ne plus ultra of the ,bibliopegistic ,art1 is one requiring great care and expertness in the execution4 ,the edges must be scraped before marbling4 ,after the edges have been tastefully marbled1 and not overcharged with colour1 the book must be put in the press1 and well burnished as before directed4 ,the size must then be laid lightly on1 to prevent unsettling the colour of the marble1 by which the edge would be destroyed1 and the gold immediately applied and finished off as in other edges4 ,when dry the marble is perceived through the gold1 and presents an appearance of great beauty4 ,,gilding ,,on ,,landscapes1 ,,etc4 ,when the edge is well scraped and burnished1 the leaves on the fore-edge must be evenly bent in an oblique manner1 and in this position confined by boards tied tightly on each side1 until a subject is painted thereon in water-colours1 according to the fancy of the operator4 ,when perfectly dry1 untie the boards and let the leaves take their proper position4 ,then place the volume in the press1 lay on the size and gold1 and1 when dry1 burnish4 ,the design will not be apparent when the volume is closed1 from the gold covering it2 but when the leaves are drawn out it will be perceived easily1 the gilding disappearing1 and a very unique effect will be produced4 ,the time and labour required makes this operation expensive1 and it is consequently very seldom performed4 ,it is1 however1 considered necessary to describe the proceeding1 as the taste or wishes of some may render it necessary that the workman should know how to operate4 ,after the volume is gilt1 the edges must be enveloped in clean paper1 by glueing the extremities one upon the other1 to preserve the edges from injury in the subsequent operations4 ,this is taken off when the volume is completed4 ,,black ,,edges4 ,books of devotion are generally bound in black leather1 and1 instead of being gilt on the edge1 blacked to correspond with the covers4 ,it will therefore be necessary in this place to describe the process4 ,put the book in the press as for gilding1 and sponge it with black ink2 then take ivory-black1 lamp-black1 or antimony1 mixed well with a little paste1 and rub it on the edge with the finger or ball of the hand till it is perfectly black and a good polish produced1 when it must be cleared with a brush1 burnished1 and cased with paper4 ,coloured edges1 to look well1 require to be scraped in the same manner as for gilt4 ,to lay the colour on evenly1 and produce a high burnish1 requires more labour than gilding4 ,they are therefore quite as expensive4 ,after the colouring or gilding of the edges1 the next process is to attach the ,,register1 ,to do which the back1 near the head1 is lightly touched with glue1 and one end of a piece of ribbon proportioned to the volume is affixed4 ,the leaves are opened1 and the other portion of the ribbon placed between the leaves2 the portion intended to hang out at the bottom being turned back until the book is completed1 to prevent its being soiled4 ,,headbands4 ,the headband is an ornament in thread or silk1 of different colours1 placed at the head and tail of a book on the edge of the back1 and serves to support that part of the cover projecting above in consequence of the squares of the boards1 giving to the volume a more finished appearance4 ,thus it will be seen that the headband must equal the square allowed for the boards4 ,for common work1 the headband is made of muslin pasted upon twine2 but for extra work1 and volumes requiring greater durability1 it is made of thin board and parchment pasted together and cut into strips of the breadth required4 ,these flat headbands produce a much better effect than the round ones4 ,there are two kinds of headbands1--viz43 single and double4 ,for ordinary work1 cloth pasted round the band1 or common thread1 is used2 for extra1 silk and sometimes gold and silver thread4 ,if the volume is small1 it is placed1 with the boards closed and drawn down even with the edge1 between the knees2 or1 if larger1 placed at the end of the laying-press1 with the fore-edge projecting towards the body of the workwoman4 7,the headbands are usually worked by females47 ,,single ,,headband4 ,take two lengths of thread or silk1 of different colours1 threading one in a long needle1 and tying the ends of the two together4 ,supposing red and white to have been taken1 the white attached to the needle1 it is placed in the volume five or six leaves from the left side1 and forced out on the back immediately under the chain-stitch of the sewing1 and the thread drawn until it is stopped by the knot1 which will be hid in the sheet2 the needle is then passed a second time in or near the same place1 and1 after placing the prepared band under the curl thus made1 the thread is drawn tight1 so as to hold it firm4 ,before placing the band1 it must be bent with the fingers to the curve of the back of the book4 ,the red thread is now taken with the right hand1 and1 bringing it from the left to the right1 crossed above the white thread1 passed under the band1 and brought round to the front again and fastened by passing over it1 in the same way1 the white thread1 taking care that the bead formed by these crossings touches the edge of the volume4 ,in repeating thus alternately the operation1 crossing the two threads and passing each time under the band1 which is thereby covered1 it must be occasionally fastened to the book by inserting the needle1 as before directed1 once in as many places as the thickness of the book may require1 and giving it a double tack on the right side on completing the band1 fastening it on the back with a knot4 ,these fastenings give firmness to the headband and the exact curve of the back4 ,the two projecting sides of the band must be cut off near the silk1 giving the band a slight inclination upwards1 to prevent the work slipping off before covering4 ,,double ,,headband4 ,this headband is made of silk of various colours1 and differs from the single1 both in being composed of two bands1 a large and small one1 and in the manner of passing the silk4 ,it is commenced in the same way as the single2 but1 when the bands are fastened1 the smaller above the larger1 the red silk is taken with the right hand and passed above the white1 under the bottom or larger band1 brought out under the upper or small one1 carried over it1 brought out again over the large band1 and the bead formed1 as above directed1 near to the edge of the book4 ,the white silk is then passed in the same way1 and so on alternately till the whole is completed4 ,,gold ,,and ,,silver ,,headband ,both single and double made as above1 the only difference being in the use of gold or silver thread4 ,great care must be here observed in tightening the thread at the bead4 ,,ribbon ,,headband4 ,this style varies but little from the other1 the same-coloured thread being only passed several times round1 instead of alternately with the other1 and making the bead at each turn1 taking care that the under thread is not observed1 and then passing the other colour1 in a similar manner1 as many or more times than the former4 ,this will produce a band--from which it is named--having the appearance of narrow ribbons of various colours4 ,three or more colours may be used in a pattern4 ,,covering4 ,the skins prepared for binding are dressed in a peculiar manner4 ,they are soft and of equal thickness throughout4 ,the cutting out of covers is an important operation1 as by attention much economy may be effected4 ,for this purpose patterns in pasteboard of all the sizes of books should be made1 and such as are required placed on the skin1 turning them every way1 so as to obtain the greatest number of pieces possible1 allowing about an inch round for paring and turning in4 ,should the books be of the same size1 a volume taken by the fore-edge and the boards laying open on the leather will enable the workman to judge to a nicety the most advantageous way to cut4 ,the narrow pieces1 c4 left on the sides will do for the backs and corners of half-bound work4 ,the leather must be cut out dry1 except russia1 which must be well soaked with warm water1 care being taken to avoid creasing4 ,it will also require to be well rubbed out on a marble slab with the folder4 ,if the russia is grained properly in the skin1 it will not require wetting or rubbing4 ,each cover must be pared round the edges with a long knife1 called the paring-knife2 and great care and skill are requisite in order to do it well4 ,the ,french binders use a knife for this purpose somewhat similar to a chisel1 and it must be confessed that their bindings surpass in this respect those of any other country4 ,it is impossible to determine the precise point at which the paring commences4 ,the declension is so gradual that it cannot be perceived4 ,as an illustration of this fact1 there is a specimen of ,bauzonnet's in the possession of a connoisseur of this city1 covered with very thick ,levant morocco1 with a joint of the same material1 and the interior of the board lined with morocco1 thus making three different pieces4 ,and the paring is so exquisitely done that1 were it not for the colours1 it would be impossible to tell where they joined4 ,the whole interior of the board is as level as a piece of polished marble4 ,whatever may be the substance or material with which a book is covered1 the manipulations are the same4 ,it is well pasted over with the brush and placed on the volume in the same way1 care being taken to preserve from stains those that are costly and delicate1 particularly morocco and calf4 ,the cover should be placed on a board1 and the side of the skin which is to be applied to the volume pasted well and evenly upon the surface1 leaving no more than what is necessary to make it adhere4 ,the cover being then laid on a table1 or clean milled board1 the volume is taken in the hands1 the squares at head and tail equally adjusted1 and placed upon the nearest side of it1 in such a position that the back of the volume1 which is from the workman1 will be in the middle4 ,the far part is then brought over to the other side1 and care taken not to disarrange the squares4 ,the cover1 which now projects an inch all round the volume1 is drawn tightly on the back with the open hands1 by turning the projecting portion of the cover outward and resting the book on the fore-edge1 at the same time working the leather in such a manner that it will adhere closely to the sides of the raised bands as well as to the back4 ,a square band1 with the leather fitting closely and evenly to the back on each side of the band1 is a great point to attain1 and any thing short of it is a blur upon the binding4 ,after the back has been sufficiently manipulated1 lay the cover perfectly smooth upon each side1 then open the boards and lay one upon the paring-stone1 and pass the paring-knife between the board and the cover diagonally across the corner of the latter1 in such a manner that1 when the leather is turned over1 one edge will merely fold over the other2 turn the book and operate in a similar manner on the other corners4 ,the cover at the head and tail of the book must next be turned in1 by taking it by the fore-edge and placing it upright on the table with the boards extended1 and with the hands1 one on each side1 slightly forcing back the boards close to the headband1 and folding the cover over and into the back with the thumbs1 drawing it in so that no wrinkle or fold is seen4 ,having turned in the cover the whole length of the boards1 the volume must be turned and operated on at the bottom in a similar manner4 ,the volume is then laid flat upon one side1 and the cover turned over the fore-edge of the other1 the corners being set by the aid of the thumb-nail and folder as neatly as possible2 the same operation is repeated upon the other side4 ,any derangement of the square of the boards that may have taken place in covering must also be rectified4 ,the setting of the headband is the next operation1 which is very important to the beauty of the binding1 by properly forming a sort of cap over the worked headband of the leather projecting across the back a little above a right line from the square of one board to the other4 ,with a small smooth folder1 one end a little pointed1 the double fold of the leather must be rubbed together to make it adhere1 and1 if the boards have been cut at the corners1 the hand applied thereon1 and finally forcing the headband close to the leather1 staying it even on the back with the finger1 and forming a neat cap of the projecting part on the top of it4 ,the folder is then applied on the edges of the boards1 to give them a square appearance and make the leather adhere4 ,one board is then thrown back1 the folder placed lengthwise along the joint or groove1 holding it firmly by the right hand2 the board is then gently forced by the left hand until it projects slightly within or over the joint4 ,upon this depends the freedom and squareness of the joint1--one of the most charming features of a well-bound book4 ,after this operation has been performed upon both boards1 the headbands will again require attention2 and1 in order to set them firmly1 pass a piece of sewing-thread around the book between the back and the boards1 and1 after it is tied1 manipulate the head as before1 so as to make it perfectly square and even with the boards and back4 ,the volume is rubbed alongside of the bands1 and then set aside until nearly dry1 when the thread is taken off and the boards again set in the joint4 ,if the book has been sewn on bands1 or if the artificial bands are large1 it is sometimes necessary1 to make the leather adhere to the back1 that the volume should be tied up1 which is done by placing a board1 longer than the book1 on each side1 projecting slightly over the fore-edge1 and tying them tightly with a cord from end to end4 ,then1 with a smaller cord1 the leather is confined to the sides of the bands1 by crossing the string4 ,for example3 suppose the book had three bands1 one towards the head1 one towards the tail1 and the other in the middle2 the book would be taken in the left hand1 the head upwards1 the cord by the help of a noose passed round close to the inside of the band nearest to the tail and drawn tight1 then carried round again and brought close to the other side4 ,the string1 tightened1 is thus crossed on the other side of the volume1 and the band held between it4 ,the cord is in like manner carried on to the second and third bands1 fastened1 and the whole set square with the folder4 ,it will be best understood by the following engraving4 ,illustration ,for morocco1 and books in other substances1 having but small bands1 tying up is not resorted to1 being generally rubbed close in with the folder1 or a box stick for the purpose4 ,antique work having high1 narrow bands1 must have the leather well worked in between the bands by the hands1 and then the bands must be compressed by the band-nippers4 ,for morocco1 however1 where the beauty of the grain is liable to be destroyed1 great care must be taken1 as the slightest mark or scratch is indelible4 ,a few observations must not be omitted relative to morocco1 velvet1 silk1 and coloured calf1 which1 from their nature1 require the greatest neatness to avoid stains and alterations in the colours4 ,covers of the former description must not be drawn on too tight or rubbed with the folder1 as the grain or pattern of the material would thereby be destroyed2 and extra care must be taken with the coloured calf to prevent damage4 ,they must be drawn on with the hands on each side at the same time4 ,the table should be covered with a marble slab1 and the hands kept perfectly clean4 ,silk should be prepared previously1 by pasting a piece of paper thereon1 and be left to dry1 so that1 when pasted for covering1 the dampness will not affect its appearance4 ,velvet will require great care1 from its peculiar texture making it necessary that it be rubbed one way only in covering4 ,from this cause1 having ascertained the direction of the nap1 the back of the book is glued and laid upon it and drawn smoothly2 then the sides are in like manner glued over1 and afterwards the edges turned in4 ,this proceeding causes the whole to lie perfectly smooth1 which velvet would not do if drawn in a contrary way to the grain or nap1 or if the glue was applied to the velvet4 ,,half-,,binding4 ,half-binding--so called from the backs and corners only being covered with leather--has come so much into vogue that it may now be said to be the favourite style of binding4 ,this is not to be wondered at2 for1 while it combines economy and durability1 it can also be made to exhibit a great deal of neatness4 ,to do this1 however1 requires more care and skill in paring the back and corners than is generally required for full binding4 ,the transition from the thick morocco to the paper used on the sides can be made almost imperceptible to the touch by a skilful use of the paring-knife or chisel4 ,the general directions for covering will be sufficient for the class of work under consideration4 ,after the back is lettered or finished1 the corners may then be put on2 and1 after carefully marking and cutting the paper selected for the purpose1 the sides should be glued carefully over and affixed to the boards1 having sufficient projection to turn inside of the board far enough to be covered by the end-papers4 ,the width of the back should be governed by the size of the volume4 ,a narrow back gives a very meagre appearance to a book4 ,the size of the corners should be determined by the width of the back4 ,the end-papers are pasted down and the work finished in the same way as will be pointed out for binding in general4 ,the colour of the paper used for sides should harmonize with the colour of the leather4 ,the ,english generally prefer the inside-paper1 the edges1 and the outside-paper1 to match2 and it must be confessed that1 when the paper is of good quality and the edges correspond1 the effect is extremely good4 ,the ,french generally use a light tint of marble-paper for the inside1 and a darker shade for the outside4 ,for durability as an outside-paper1 there is nothing equal to the papier d' ,anonay1 vellum being one of its components4 ,of this article there are many worthless imitations1 which yet in external appearance are well calculated to deceive4 ,the real article will wear as well as the morocco used for the back and corners4 ,the best class of half-binding for amateurs is the ,font ,hill style1 half morocco1 of the best quality2 uncut leaves1 so as to preserve the integrity of the margin2 top-edge gilt1 as a protection from dust2 lined with the best ,english paper2 worked-silk headbands2 outside-paper to harmonize with the back2 no gilding on the back except the lettering4 ,this style requires extra pains in the forwarding and covering1 as the slightest defect in these particulars cannot be remedied by the finisher4 ,in other bindings1 the brilliancy of the gilding often serves to conceal or to allure the eye from those portions of the binding that a workman would pronounce to be botched4 ,uncut books are trimmed to a general line with a large knife1 similar to a butcher's-knife1 previous to being glued up4 ,they are the special favourites of book-collectors4 ,an uncut copy of a scarce work will always command a higher price than one that has been cropped4 ,,stationery ,,or ,,vellum ,,binding4 ,this branch of the ,art of ,bookbinding1 in large towns1 is a distinct business1 and presents some difference in the mode of proceeding in several of the manipulations required4 ,these1 as in previous parts of the work1 will be minutely entered into for the instruction of the young workman1 while those which are executed in the same manner as directed for printed books will be merely referred to in the order they will be required to be executed4 ,stationery binding includes every description of paper-book1 from the ,memorandum1 which is simply covered with marble-paper1 to the most firm and elaborately bound book used in the counting-house of the merchant and banker4 ,of the more simple and common bindings1 it will not be necessary to enter into minute details1 the proceedings being the same as for others1 only omitting the more expensive operations1 the price allowed making it necessary to bind them in a more simple manner4 ,the first proceeding1 should the work require it1 will be the ,,ruling4 ,this is done by a machine4 ,formerly it was done by hand4 ,after the pens are properly adjusted1 the paper to be ruled is placed upon the table in front of the ruling-machine1 and the rollers set in motion4 ,the sheet is caught and passed under the pens4 ,it is then carried by the cloth and cords and laid away to give place to another4 ,the most elaborate patterns can be executed upon the ruling-machine4 ,although machine-ruling has almost entirely superseded the old process of ruling by hand1 yet to some a brief description of the process may not be unacceptable4 ,the paper1 which is generally procured from the wholesale stationers ruled with blue lines1 must be opened out by breaking the back of the fold1 and refolded evenly in small sections4 ,the pattern for the red lines being placed in front1 the whole must be knocked evenly up at the back and head1 put between boards1 the top of the paper projecting1 and screwed in the laying-press4 ,then1 with the saw1 let the marks of the red ink on the pattern be sawn across the whole1 which will denote the places for the lines on the right-hand side pages throughout the book4 ,in like manner1 placing the pattern on the other side1 and sawing the bottom of the paper1 will the marks of the left-hand pages be denoted4 ,care must be taken to leave a larger space on the fore-edge1 to allow for cutting4 ,should a head-line be required1 it must be similarly marked on the fore-edge of the paper4 ,this done1 reopen the whole of the sections1 and1 with a round ruler and tin pen1 proceed to rule the whole of the head-lines on one side of the paper4 ,this1 as well as every division of cts41 or other distinct column1 must be ruled double1 as close as possible1 taking care that both are distinct1 and that they do not run into each other4 ,the head-line being completed on one side1 turn the whole of the paper1 and operate in like manner on the other4 ,then1 turning the paper1 so as to have the head-lines to the left1 proceed to rule the columns marked for the date1 amount1 c41 taking especial care that the pen always commences by the line at the head1 and that it never entrenches on the space above1 which would disfigure the work4 ,as for the head-line1 so here the whole of one side of the paper must be completed before the other is commenced1 attention being paid to each line being perpendicular1 clear1 and as even in colour as possible4 ,the cut on the following page represents a machine for printing the figures upon the head of the pages1 formerly done by the accountant with a pen2 but now no blank bindery is considered complete without a paging-machine4 ,these machines are manufactured by ,h4 ,griffin1 ,new ,york4 ,the sheets are paged by this machine before they are sewed together4 ,there are other machines in use that page the leaves after the volume is bound1 the principal objection to which appears to be the liability to soil or otherwise injure the binding2 notwithstanding this there are some binders who give them the preference4 ,those who have used the machines of ,mr4 ,griffin speak of them in the highest terms4 ,illustration ,,inks4 ,to give to the work the best effect1 it will be necessary to be provided with good inks1 and1 it being connected with the subject1 some receipts for their preparation are subjoined4 ,,red ,,ink4 ,mix together a quarter of a pound of ,brazil dust1 a quarter of an ounce of cochineal1 a small piece of lump-sugar1 and two quarts of vinegar3 let these steep ten hours1 and afterwards boil them on a slow fire till of a good red colour4 ,when settled1 strain the ink through a piece of fine cotton1 and bottle it for use4 ,,another4 ,boil in a quart of soft water a quarter of a pound of ,brazil dust2 when boiled1 put in one ounce of ground alum1 one ounce of white stone crystal1 and boil for three minutes1 and strain4 ,,blue ,,ink4 ,a good blue ink may be obtained by diffusing ,prussian blue or indigo through strong gum-water4 ,the common water-colour cakes1 diffused also in gum-water1 will produce a tolerably good blue for common purposes2 but ,dyer's blue1 diluted with water is preferable to either4 ,,black4 ,half a pound of nutgalls1 a quarter of a pound of sulphate of zinc1 7white vitriol17 two ounces of gum-arabic1 and a handful of salt4 ,boil the nutgalls half an hour in three quarts of soft water1 then put the whole together1 and let stand for use4 ,,another4 ,for making a larger quantity1 put in ten gallons of rain-water1 five pounds and a quarter of nutgalls1 well bruised1 one pound and a half of logwood chips1 the like quantity of copperas1 and a quarter of a pound of alum4 ,let them stand a few days1 and then add two ounces of gum-arabic and an ounce and a half of verdigris4 ,stir them all well together two or three times a day for a fortnight or three weeks1 and the ink will then be fit for use4 ,,folding4 ,the whole being ruled1 it will be proper to fold the book to the size required into sections for sewing4 ,the number of leaves in each must depend on the thickness of the paper and size of the book1 taking care that there are not so many as1 when cut1 to cause the leaves to start1 or so few that the backs will be swollen too much by the thread4 ,then place the whole evenly in the standing-press for some time1 and prepare the end-papers1 which must be of blank paper1 and outsides1 unless the work is of a superior description4 ,should leather or cloth joints be placed1 it will be necessary to sew them on with the end-papers1 as before directed4 ,,sewing4 ,the sewing of stationery differs much from that of printed books4 ,to allow of the greatest possible strength1 elasticity1 and freedom1 they are sewn on slips of vellum without being marked with the saw1 and the whole length of each sheet1 with waxed thread4 ,for small books1 two slips will be sufficient2 for foolscap folio1 three will be required2 and1 where larger1 the number must be increased1 according to the length of the back1 leaving a space of about two inches between each4 ,the plan laid down by ,m4 ,lesne1 7page #bg17 might1 perhaps1 be adopted here with fine and light work to great advantage4 ,the slips should be cut about an inch wide1 and of sufficient length to extend about an inch over each side of the back4 ,this portion being bent down at one end of the slips1 they must be placed under the end-paper on the table at such places as may be deemed proper1 and the section sewn the whole length2 and so followed by every portion till the whole are attached in the same manner1 taking care that the slips retain a perpendicular position and that the back be not too much swollen4 ,should a morocco joint have been inserted1 it must be sewn on with strong silk of the same colour4 ,when finished1 the coloured end-papers1 if any1 must be pasted in1 and the first and last ruled leaves similarly attached to the end-papers4 ,if joints1 the same precautions must be adopted as before directed4 ,the book may then be beat even on the back and head1 placed again in the laying-press1 and glued up1 working the brush well on the back1 so as to force the glue between the sections4 ,,cutting4 ,when the ends and back are dry1 this will be the next operation4 ,here the fore-edge must be cut first4 ,it is done before altering the form of the book1 paying great attention to the knife running evenly across1 so that the column nearest the front is not cut too close1 and is parallel to the edge4 ,when taken out1 the back must be rounded with the hammer1 in a greater degree than for other bindings1 and placed again evenly in the standing-press4 ,after remaining a short time the head and tail must in like manner be cut1 but offer no difference in operation4 ,the book will now be ready for colouring the edges1 the processes of which have been already described4 ,in ,england1 the large ,dutch marble is generally used for stationers' work4 ,,boarding4 ,the next operation will be the preparation of the boards for the side-covers1 which should be formed of two or three thin milled boards pasted together4 ,these must be cut to the proper size with the plough1 so as to leave a perfectly even edge1 and will require to have a larger square allowed for than is usual in printed books4 ,when cut they must be pasted together1 leaving1 if the book is heavy and the slips on which it is sewn thick1 a space at the back to place them in4 ,the book must now be head-banded1 and then it will be proper to strengthen the back of the book by glueing across1 on the spaces between the slips1 strong pieces of canvas1 and at the head and tail a piece of calf1 leaving projections on each side to be attached to the board4 ,for additional firmness1 it was formerly usual1 where the work was of a superior description1 to sew the length of the book with catgut in about ten or fourteen places1 according to the thickness4 ,this is done by placing three strips of strong leather in spaces between the vellum ones1 and sewing as at first1 by which means the gut1 crossing over the leather and under the vellum slips on the back1 appears inside on the spaces where no thread has before passed4 ,for ornament1 another thread is twisted round the gut on the back1 so as to present the appearance of a double cord4 ,these matters being adjusted1 the slips of calf at the head and tail must be let in by cutting the end of the waste leaf and placing them under4 ,the other slips1 of every description1 after trimming1 must then be put into the space left between the boards1 which should be previously well pasted or glued1 the boards placed nearly half an inch from the back1 and perfectly square on the sides1 and the whole screwed tightly in the standing-press for some time4 ,,the ,,spring-,,back4 ,there are numerous ways of forming this description of back1 and as generally adopted in different offices4 ,as in other particulars1 two or three of the best will here be given3 #a4 ,having ascertained the width and length of the back1 and provided a piece of strong pasteboard1 or thin milled board1 of little more than twice the width1 fold one side rather more than half1 and then the other1 so that the middle space left will be the exact size required1 which should be about a quarter of an inch wider than the back of the book2 then cut evenly another piece1 a little less than the width1 then another still less1 and so on for six or seven1 lessening the width each time till the last is merely a narrow slip4 ,let the edges of the first1 or cover for the whole1 be pared1 and laid open on the table2 then glue the middle space1 and place thereon the largest slip1 which also glue1 and add the next in size1 proceeding in like manner till the smallest is fixed1 taking especial care that each occupies the exact centre of the one on which it is placed4 ,finally1 glue the whole space and the two side-slips of the first1 which must be brought over and firmly rubbed down4 ,shape it to the curve of the back of the book1 either on the back or a wooden roller of the same size1 and leave it to dry1 when the head and tail must be cut to the proper length with the shears4 ,for greater security the whole is often covered with linen cloth4 #b4 ,cut a piece of firm milled board to the size required1 and pare down the edges2 then hold the board to the fire till it is found soft enough to model almost into any shape1 and form to the back as above directed4 ,the board is sometimes wetted1 but does not answer so well4 #c4 ,a beaten iron plate of the exact size1 and covered with parchment or leather4 ,numerous patents have been obtained for this description of back1 but none have been found to answer the purpose1 on account of the metal cutting through the parchment or leather4 ,the spring-back is only used for the superior kind of account-books2 for common work1 a piece of thin pasteboard is merely laid on the back before covering1 the stress on the back being small4 ,to prevent the manufactured back slipping during the operation of covering1 it is laid on1 and a piece of cloth glued over and attached to the sides1 similarly to the back of a half-bound book4 ,this tends also to materially strengthen the back4 ,,covering4 ,the materials generally used for stationery-binding are russia1 rough calf1 green and white vellum1 and rough sheep1 according to the value of the work4 ,previous to pasting on vellum1 the book should be covered with a piece of strong paper1 as if for boards4 ,the process is the same as for other bindings2 but when completed1 it will be necessary to put the book in the standing-press1 having pieces of cane or wood for the purpose placed between the boards and the back1 so as to form a bold groove1 and force the leather close on the edge of the spring-back4 ,previous to and after pressing1 the headbands must be squarely set1 taking care to rub out any wrinkles that may have been formed in turning in the cover4 ,should the book be very large1 it may be advisable to give it a nip in the press immediately after folding in the fore-edges of the boards1 and then finish the covering by turning in the head and tail4 ,as circumstances--such as the fancy of some previous workman1 or coloured vellum not to be obtained so early as required--may make it necessary to execute the proper colours1 the proceedings are here given4 ,,green4 ,put one ounce of verdigris and one ounce of white wine vinegar into a bottle1 and place them near the fire for five days1 shaking it three or four times each day4 ,wash the vellum over with weak pearlash1 and then colour it to the shade desired4 ,,red4 ,to one pint of white wine vinegar1 put a quarter of a pound of ,brazil dust and a piece of alum4 ,cork the mixture up2 let it stand in a warm place for two or three days4 ,,purple4 ,proceed as for the red1 substituting logwood chips for the ,brazil dust4 ,,yellow4 ,half an ounce of turmeric to half a pint of spirits of wine1 prepared as above4 ,,black4 ,wash the vellum over three times with the red1 and while wet colour with strong marbling-ink4 ,marbles and other designs may be formed on white vellum2 but1 as the proceedings have been so fully entered into before1 it will not be necessary here to repeat them4 ,where russia bands are not added1 the end-papers must now be pasted down1 and the lettering1 c4 proceeded with4 ,if bands are attached1 the pasting down of the end-papers and joints must be deferred till they are executed4 ,,russia ,,bands4 ,to give to large books the greatest possible degree of strength1 it is usual to affix ,russia bands to them4 ,they are called single when they extend about half-way down the sides1 and double when those at the head and tail reach to the corners of the boards1 and are turned over the edges in the same manner as the cover4 ,for single2--having ascertained the breadth by dividing the back with the compasses into seven spaces1 cut three pieces of russia perfectly square and the exact size of the spaces they are to occupy1 and paste them on the second1 fourth1 and sixth divisions of the back1 thereby leaving in sight the first1 third1 fifth1 and seventh spaces with the cover only2 draw them squarely on the sides1 and place the volume in the press1 with the rods fixed to force the russia into the joints1 as before directed1 and then leave to dry4 ,when double bands are to be placed on a book1 divide the back into five spaces1 or seven if four bands4 ,the middle band or bands will be short1 like those above1 and placed on in the same manner2 but those at the head and tail1 which extend their whole length1 to the fore-edge of the boards1 will require paring on the edge intended to be turned in at the headbands and over the boards of the book1 cutting the corners and squaring the edges as in covering4 ,when done1 press the whole with rods as before1 to cause the russia to adhere well and evenly to the vellum or calf1 and leave it to dry4 ,,clasps1 ,,corners1 ,,and ,,brass ,,bands4 ,clasps are sometimes affixed to the better kind of stationery books1 as keeping them closed when not in use tends much towards their preservation4 ,and for still greater security1 they are often further protected with brass corners or bands4 ,to hide the projection the clasps would make on the fore-edge1 that part of the board must be cut away to admit the clasp1 so that when fixed it will be even with the edge of the board4 ,for the corners and bands this is not done2 but1 to insure a finished appearance in the whole1 the workman's attention must be directed to their fitting exactly in every particular of length1 breadth1 and thickness4 ,the clasps may be purchased of the makers1 but it may be found necessary to place the making of the bands and corners in the hands of the brass-worker1 to whom particular directions and sizes must be given4 ,they must fit tightly to the boards1 run exactly parallel with the edges1 and have the holes for the rivets drilled through previous to placing on4 ,where corners are put on1 no bands will be required4 ,bands which extend from the back to the fore-edge and form a corner equal to the breadth of the band1 being squarely soldered in front1 are placed at the head and tail of the book1 and fastened with rivets in the following manner1 as are also the clasps and corners3--,pierce the boards with a fine bodkin in such places as are previously drilled in the brass1 and force through brass rivets of a length sufficient to project about the eighth of an inch1 and with heads made to fit exactly to the cavities formed in the bands2 then fasten them firmly1 by placing the heads of each on an iron and beating down with a hammer the part projecting inside1 till it is smooth and even with the surface4 ,bosses1 which are seen fixed on the middle of the boards of old books1 particularly of early-bound ,bibles1 c41 in churches1 are fastened in the same manner4 ,,finishing4 ,the placing of lettering-pieces1 gilding1 and blind-tooling1 is exactly the same as for printed books4 ,rough calf must be dressed with pumice-stone1 cleaned with a brush1 and ornamented blind1 with the tools very hot1 to form a dark impression4 ,vellum will require the tools cooler than calf4 ,the book now being ready for the use of the accountant necessarily closes the details of this description of binding4 ,,boarding4 ,in large places1 this is another distinct branch of the art1 and consists of simply covering the book with coloured paper or other common substance4 ,in small towns1 it must necessarily be executed jointly with the other branches2 but so ample and minute has been the detail of the various manipulations in a previous part of this work1 that1 in attempting a description of ,,boarding1 little can be said without repetition4 ,this style1 too1 being the commonest mode of doing up books in this country1 also places the subject1 under any circumstances1 in a position requiring but little remark4 ,previous1 therefore1 to speaking of the few processes that are peculiar to boarding1 it will only be necessary to observe that the folding1 pressing1 sewing1 backing1 boarding1 covering1 and pasting down1 are the same as for regularly-bound books4 ,it remains1 then1 to add that the books will not require beating1 and1 for common boards1 are never cut round the edges4 ,the leaves are only dressed with the trimming-knife previous to rounding the back1 so as to present as neat an appearance as possible1 by removing every portion of the paper projecting over the general line4 ,for greater strength to the back1 a piece of paper must be pasted in the centre of the coloured paper previously to applying it on the volume4 ,when covered and pasted down1 the printed label must be fixed evenly on the back1 and the book will be finished4 ,,cloth-,,work4 ,in the year #ahbe a great revolution in boarding was begun by the introduction of cloth covers in place of the drab-coloured paper previously in use4 ,the late ,archibald ,leighton1 of ,london1 was the inventor2 and ,mr4 ,pickering was the first publisher who adopted it4 ,the first cloth covers had printed labels2 but very soon ,mr4 ,leighton made the discovery that cloth could be stamped with gold very beautifully4 ,lord ,byron's works 7the edition in #ag volumes7 were the first books to which gold-lettering on cloth was applied4 ,cloth-work is now done with full gilt sides and back and gilt edges2 but1 from the temporary character of this style1 the question may arise whether it is not a useless expenditure of time and money to produce it4 ,but1 so long as the public remain unacquainted with its want of capability for use1 and desire a mass of gold upon the sides1--so long1 in fact1 as there is a large class who desire books for mere show and not for use1--it will be the interest of publishers to gratify them by furnishing cloth-gilt work4 ,expedition being so important in cloth-work1 a machine has been introduced to facilitate the operation of sawing the backs1 and it is now in general use for the purpose4 ,the appended cut gives an accurate idea of the machine as manufactured by ,w4 ,o4 ,hickok1 ,harrisburg1 ,pa4 ,illustration ,for this and all other species of case-work 7morocco is sometimes done in this manner7 the lining-papers are inserted and pasted over so as to adhere to the end-paper1 and the slips1 having been cut short1 are scraped or rubbed smooth4 ,the volumes are then knocked up and touched on the back in one or two places with the glue-brush4 ,they are then cut upon the fore-edge1 by being placed between two boards1 one of which is precisely the width that it is intended to cut the volumes2 the boards and books are placed upon the laying-press1 and the backs knocked evenly up2 the whole is then placed in the laying-press1 and cut with the plough4 ,the back-board being wider than the front1 the knife cuts against it4 ,if the volumes are small1 a number may be cut at the same time4 ,this mode of cutting is called steamboating4 ,after the whole lot that the workman has on have been cut on the fronts1 they are then placed between cutting-boards again1 of the proper size1 and knocked up on the head2 they are then laid upon the press1 with the runner or front-board up2 the board is then moved about a quarter of an inch below the heads of the volumes as they are arranged in layers or piles4 ,the workman will then grasp the boards firmly1 so as not to allow the books to slip1 and place them in the cutting-press1 and1 after screwing it up tightly with the press-pin1 proceed to cut the heads in the same manner as the fronts4 ,after this is done1 unscrew the press partially1 so as to allow the volumes to be turned without slipping in the tub2 then1 with one hand beneath the press1 depress one end of the boards1 while the other is elevated1 until the whole is turned completely over1 with the tails upward4 ,the runner is adjusted even with the cheek of the press1 the press is screwed up1 and the volumes cut at the tail4 ,if the edges are to be gilt1 they are now prepared for that operation4 ,afterwards they are glued upon the backs and rounded1 care being taken not to start the sheets or mark the gilding upon the fore-edge with the thumb4 ,they are then backed in the same manner as bound books1 except that they have larger joints4 ,care is requisite at the ends1 or the blows of the hammer will crush the paper and thus give the gilding an unsightly appearance at the joints4 ,a machine has been invented for the purpose of backing books1 and it appears to be growing in favour for cloth-work1 and1 in fact1 for all work where expedition is a primary essential4 ,it is the invention of ,mr4 ,sanborn1 of ,portland1 ,maine4 ,the annexed cut gives an idea of the general appearance of the machine4 ,illustration ,the next process is lining the backs1 which is done by pasting strips of paper or muslin upon the back1 having it of sufficient width to cover the joints on each side4 ,the volumes are then prepared for the cases1 which have been previously got ready4 ,the boards are cut to a uniform square size by the table-shears4 ,the cloth covers1 after having been cut out1 have the corners cut off to a pattern made for the purpose1 just sufficient to allow them to lap when the cloth is turned over the edge of the boards4 ,the cover is then glued equally over1 and the ,t square laid upon it1--the square having been made of the proper width to allow for the back1 joints1 and groove of the volume4 ,a board is then laid on each side of the centre of the square2 the latter is then lifted off1 and a strip of paper1 of the length of the boards and nearly the width of the back of the book1 placed between the boards4 ,the cloth projecting beyond the boards is then turned over their edges4 ,the cover is then turned over1 and the cloth rubbed smooth on the sides by means of a woollen or cotton pad4 ,it is then placed between pasteboards to dry4 ,after the cases are all made and have become perfectly dry1 they are ready for stamping4 ,cloth for ordinary stamping requires no preparation1 but if the stamp be large or very heavy it will be safer to use a coat of size4 ,for this purpose ,russian isinglass is preferable2 fresh glaire will answer the same purpose4 ,after the cases are stamped1 the volumes being ready1 they are arranged with their heads the same way1 and the end-paper of the volume is pasted equally over4 ,the book is then laid1 pasted side downwards1 upon a case1 adjusting the squares properly at the same time2 the other end-paper is then pasted1 and the other board or side of the case drawn over the back and placed upon the volume4 ,after a number are pasted1 they are placed in pressing-boards having a brass band affixed to the edges of the boards4 ,the band1 being rather wider than the thickness of the board1 causes a slight projection4 ,the volumes are adjusted in the pressing-boards in such a manner as to cause the back and joint of the volumes to be on the outer1 while the pasteboard is on the inner1 side of the brass rim4 ,in this position the volumes are placed in the standing-press and screwed tightly down2 they are then tapped lightly at the heads with a small backing-hammer1 and allowed to remain until dry4 ,they are then taken out1 and the end-papers opened up or separated with a folding-stick4 ,they are then ready for the bookseller's shelves4 ,illustration ,,table-,,shears4 ,,part ,,iii4 ,,ornamental ,,art4 ,in treating upon this subject1 we are led back to the land of the ,pharaohs2 for the earliest ,art records that have come down to us 7and1 perhaps1 the most perfect7 are from the banks of the ,nile1 remarkable for their severely massive character1 calm and frigid4 ,the few ornamental details are chosen rather for their symbolical than sthetic beauty1 consisting of local forms slightly conventionalized and heightened with colour4 ,their ornaments were types and symbols intended to address themselves to the eye1 heart1 and soul of the beholder1 the most frequent in recurrence being the winged globe1--a sacred emblem the ,egyptians used in their ornamental designs1--the human figure1 their sacred animals1 and the lotus1 reed1 asp1 and papyrus4 ,upon the capitals of ,egyptian columns are represented nearly all the flowers peculiar to the country1 the petals1 capsules1 pistils1 seeds1 and most minute parts1 being often exhibited4 ,capitals are often seen resembling a vase1 and at other times a bell reversed4 ,there is little in this style applicable to the decoration of books1 unless it be upon works relating to ,egypt4 ,then its symbols afford the binder an opportunity to employ its symbolic ornamentation4 ,,assyrian ,,and ,,ancient ,,persian4 ,of this style it is only lately that we have become slightly acquainted2 and1 though partly coeval with the ,egyptian1 the ,assyrians have borrowed little from them1 the details being remarkable for their classic character1 at times approaching the ,ionic1 but greatly dependent upon animal forms for its ornamentation1 and upon painting and sculpture for its expression4 ,the forms1 often graceful1 are less arbitrary than the ,egyptian1 7where symbolism is paramount17 containing those elements afterwards elaborated into beauty by the ,greeks4 ,there is an appropriate fitness in ,assyrian ornament that constitutes one of its prominent characteristics4 ,in addition to animals1 the pomegranate1 fir-cones1 lotus-flower and reeds1 rosettes1 and a fan-shaped ornament supposed to be the origin of the ,greek honeysuckle1 distinguish the ,assyrian style4 ,,greek4 ,under the ancient ,greeks1 ,art attained a refined and exalted character1 material beauty being developed to the utmost2 elegance of proportion1 chaste simplicity1 and conventionalism1 triumphant2 symbolism disregarded4 ,the principal elements of ,greek ornament were the honeysuckle1 the lotus-leaves1 the wave-line and scroll1 the zig-zag1 and the universal fret4 ,the beauty of ,grecian ornament consists in its equality of foliage1 starting-points1 stalks1 and groundwork4 ,its running figures are well adapted to and are employed for rolls1 in side-finishing1 and the proportions of this style of ,art should be carefully studied by the finisher4 ,,etruscan4 ,simplicity and elegance of form1 combined with strong contrast in colour1 constitute the distinguishing marks of this style4 ,the ,etruscan vases still form models for the artist4 ,the novel appearance of these vessels1 all uniformly painted with a tracery of black on a natural groundwork of brownish red1 is extremely pleasing1 proving the high artistic capability of their makers4 ,in the ,british ,museum there is one room entirely devoted to a collection of these remains of ancient ,art4 ,this style is approached in its effects by inlaying with black upon a brownish red4 ,a copy of ,caxton's ,recuyell of the ,historyes of ,troye1 bound in this style by ,whittaker1 has been highly extolled4 ,it is in the possession of the ,marquis of ,bath4 ,the general effects of this style are represented by a style now much in vogue1 called antique1 a reddish-brown morocco being stamped upon so as to produce a dark or black figure thereon2 but the character of the ornaments are generally dissimilar4 ,,roman4 ,roman art is a redundant elaboration of the ,greek1 in which purity gives way to richness1 grotesque combinations become common1 and false principles creep in4 ,mosaic pavements are rendered pictorial by the introduction of light and shade1 the flat and round not kept distinct4 ,in the remains of ,pompeii we find the degradation of classic ,art by the violation of true principles4 ,there is nothing in this style to commend it to the artist1 especially in decorating books4 ,,byzantine1 ,,lombard1 ,,norman4 ,these varieties of kindred ornament1 commencing with the rise of ,christianity1 were founded on classic details1 having a distinct expression of their own4 ,there is much symbolism in the ,byzantine1 but all are appropriate to their several wants1--the parts rich1 judiciously disposed1 and purely conventional4 ,in these styles1 so intimately connected1 we find the interlaced strap-work that suggested ,gothic tracery to the great medival artists4 ,,moorish4 ,the decorative art of the ,arabs is more conventional than any other1 it being in most cases extremely difficult to trace the origin of their forms4 ,all animal representations are strictly excluded by the religion of ,mohammed4 ,the union of geometrical with floral forms seems to have supplied the expression1 many ornaments resembling the ovary of plants1 transversely cut and connected with crystalline shapes4 ,the abstract and superficial treatment is perfect1 the forms are extremely graceful1 and the colouring gorgeous4 ,the interlaced strap-work is highly elaborated4 ,this style is sometimes called the ,arabesque1 and forms the chief decoration of the ,alhambra1 an ancient fortress and residence of the ,moorish monarchs of ,granada4 ,for grace and liveliness this style is unrivalled1 and it affords many useful and beautiful hints to the finisher in his hand-tooling1 and is well calculated to produce fine effects in stamps designed for the embossing-press4 ,,gothic4 ,the ,gothic is founded upon geometrical forms4 ,the strap-work of former styles is elaborated into tracery1 the main lines being circular or curved1 starting from vertical lines1 ending in points1 enclosing spaces divided and subdivided in the same manner1 further decorated with conventional ornaments derived from local nature4 ,for bookbinding it is sometimes employed1 but without much judgment4 ,the judicious finisher will reject it on account of its inapplicability to superficial decoration4 ,,the ,,renaissance4 ,the ,renaissance or ,revival arose in ,italy in the fifteenth century1 by the appropriation of classic details in connection with prior styles1 the traditionary giving way to selection and freedom2 ,art gaining but few entirely new forms1 rather subjecting all that had gone before to a new treatment1 which in the hands of the great artists of the period produced agreeable results1 showing the importance of general design1 rendering even incongruous materials pleasing from that cause alone4 ,the ,cinque-cento has been considered the goal of the ,renaissance and its characteristics1--strap1 tracery1 arabesque1 and pierced scroll-work1 a mixture of the conventional with natural forms1 and every detail of ancient ,art1--producing1 under different masters1 varied results4 ,thus1 in ,raphael's ,loggie of the ,vatican are to be found1 as at ,pompeii1 elements piled one above the other1 without any regard to construction4 ,the same with the works of ,julio ,romano at ,mantua1--painted imitation of bas-reliefs suspended above fountains1 temples1 c41 the parts often finely drawn and treated1 but1 taken as a whole1 little removed from the absurd1 quite unlike the works of the ,greeks and ,etruscans they sought to rival4 ,,elizabethan4 ,the ,elizabethan was an ,english version of the ,renaissance1 being a special elaboration of the strap and bolt-work1 and has been highly useful to the stamp-cutter4 ,many of its forms can be advantageously employed by the finisher4 ,,louis ,,quatorze4 ,this distinct expression of ,art is of ,italian origin1 being the last of the ,renaissance1 and end of ornamental styles4 ,it consists of scrolls and shells1 an alternation of curves and hollows1 the concave and convex in contrast1 the broken surfaces affording a brilliant play of light and shade4 ,the effect when gilt being extremely magnificent1 colour was abandoned1 construction hidden1 and symmetry often disregarded1 especially in its decline4 ,as to superficial treatment1 flat surfaces were studiously avoided1 and the few that remained were treated pictorially1 in a mellifluous1 pastoral style1 known as that of ,watteau4 ,under ,louis ,,xv4 the forms degenerated3 symmetrical balance and flow of line were disregarded1 giving way to the degraded ornamentation called the ,rococo--the prevailing style of the last and earlier part of the present century--depriving ,europe for more than one hundred years of true superficial decoration1 without which no ,art can be considered complete4 ,an attempt at this style may be seen upon the sides of some of the gaudily-gilt albums and books of like character4 ,no finisher need cultivate a love for it1 for it is the aversion of all refined artists4 ,,finishing4 ,,taste ,,and ,,design4 ,it is of the utmost importance to a young workman that he have correct ideas in regard to taste1 and be able to distinguish it from caprice or mere fancy4 ,it is in the power of all to acquire a correct taste1 for it is governed by laws that can be easily learned1 and they are unchangeable4 ,taste may be said to be a perception and an appreciation of the principles of beauty and harmony as revealed by ,nature through ,art4 ,nothing contrary to nature1 no violation of any law of proportion or of fitness1 can be in good taste4 ,the amateur and book-collector1 in commencing the foundation of a library1 will do well to pause before they adopt a species of binding that will in after years create a feeling of annoyance1 and perhaps lead to pecuniary sacrifice4 ,a recent writer upon the ,new ,york ,exhibition of the ,industry of all ,nations discourses thus3--,we call bookbinding an art2 and when we consider all that is necessary to the perfect covering of a fine book1 it must be admitted to be an art2 less important1 it is true1 but similar in kind to architecture4 ,the first requisition upon the skill of the binder is to put the book into a cover which will effectually protect it1 and at the same time permit it to be used with ease4 ,if he do not accomplish this1 his most elaborate exhibition of ornamental skill is worth nothing2 for he fails in the very end for which his services are required4 ,it was in this regard1 too1 that most of our binders failed in past years4 ,who that remembers the hideous1 harsh1 speckled sheep covers which deformed our booksellers' shelves not long ago1 can forget the added torment which they inflicted upon their unhappy purchaser1 by curling up palpably before his very eyes1 as he passed his first evening over them1 and by casting out loose leaves or whole signatures before he had finished his first perusal8 ,in those days1 too1 there was morocco binding1 with a ,california of gold upon the sides2 and such morocco6 it felt to the fingers like a flattened nutmeg-grater1 seeming to protect the book by making it painful for any one to touch it4 ,this was as useless as the humbler though not more vulgar sheep4 ,it would hardly last through the holiday season on the centre-table which it was made to adorn4 ,the binder's next task is to give his work the substantial appearance without which the eye of the connoisseur will remain unsatisfied4 ,the volume must not only be well protected1 but seem so4 ,it should be solid1 compact1 square-edged1 and enclosed in firm boards of a stoutness proportionate to its size1 and these should be covered with leather at once pliable and strong4 ,unless it present this appearance1 it will be unsatisfactory in spite of the richest colours and the most elaborate ornament4 ,thus far the mere mechanical skill of the binder goes4 ,in the choice of his style of binding1 and in the decoration of his book1 if he perform his task with taste and skill1 he rises to the rank of an artist4 ,the fitness of the binding to the character of the volume which it protects1 though little regarded by many binders1 and still less by those for whom they work1 is of the first importance4 ,suppose ,moore's ,lalla ,rookh bound in rough sheep1 with dark russia back and corners1 like a merchant's ledger1 or ,johnson's folio ,dictionary in straw-coloured morocco elaborately gilded1 and lined with pale blue watered-silk1 is there an eye1 no matter how uneducated1 which would not be shocked at the incongruity8 ,each book might be perfectly protected1 open freely1 and exhibit evidence of great mechanical and artistic skill on the part of the binder2 but his atrocious taste would insure him a just and universal condemnation4 ,and yet there are violations of fitness to be seen daily1 on the majority of public and private shelves1 little less outrageous than those we have supposed4 ,books of poetry1 and illustrated works on art bound in sober speckled or tree-marbled calf1 with little gold upon the backs and sides1 and none upon the edges6 ,histories1 statistical works1 and books of reference1 in rich morocco1 splendidly gilded6--the idea that the styles ought to change places seeming never to enter the heads of the possessors of these absurdly-covered volumes4 ,but a little reflection by any person of taste1 and power to discern the eternal fitness of things1 will make it apparent that there should be congruity and adaptation in the binding of books4 ,sober1 practical volumes should be correspondingly covered2 calf and russia leather1 with marbled paper and edges1 become them2 while works of imagination1 such as poetry and books of engravings1 demand rich morocco1 fanciful ornaments1 and gilding4 ,to bind histories1 philosophical works1 dictionaries1 books of reference and the like1 in plain calf or dark russia1--travels1 novels1 essays1 and the lighter kind of prose writing1 in tinted calf or pale russia with gilding1--poetry in full morocco richly gilded1 and works on art in half morocco1 with the top edge only cut and gilded1--seems a judicious partition of the principal styles of binding4 ,the margins of an illustrated work on ,art should never be cut away1 except where it is absolutely necessary for the preservation of the book from dust1 and the convenience of turning the leaves--that is1 at the top4 ,it is well here to enter a protest against the indiscriminate use of the antique style of binding1 with dark-brown calf1 bevelled boards1 and red edges4 ,this is very well in its place2 but it should be confined to prose works of authors who wrote not later than one hundred and fifty years ago4 ,what propriety is there in putting ,scott1 or ,irving1 or ,dickens1 or ,longfellow1 in such a dress8 ,hartley ,coleridge's opinion on the subject of taste in ,bookbinding is thus given3--,the binding of a book should always suit its complexion4 ,pages venerably yellow should not be cased in military morocco1 but in sober brown russia4 ,glossy hot-pressed paper looks best in vellum4 ,we have sometimes seen a collection of whitey-brown black-letter ballads1 c4 so gorgeously tricked out that they remind us of the pious liberality of the ,catholics1 who dress in silk and gold the images of saints1 part of whose saintship consisted in wearing rags and hair-cloth4 ,the costume of a volume should also be in keeping with its subject1 and with the character of its author4 ,how absurd to see the works of ,william ,penn in flaming scarlet1 and ,george ,fox's ,journal in bishops' purple6 ,theology should be solemnly gorgeous4 ,history should be ornamented after the antique and ,gothic fashion2 works of science1 as plain as is consistent with dignity2 poetry1 simplex munditis4 ,and it may not be irrelevant here to introduce the opinion of ,dr4 ,dibdin1 whose connection with some of the first libraries in ,england1 and whose intimate knowledge of all the great book-collectors of the same1 must tend to stamp him as a good authority on the subject3-- ,the general appearance of one's library is by no means a matter of mere foppery or indifference2 it is a sort of cardinal point1 to which the tasteful collector does well to attend4 ,you have a right to consider books1 as to their outsides1 with the eye of a painter2 because this does not militate against the proper use of the contents4 ,be sparing of red morocco or vellum4 ,they have each so distinct1 or what painters call spotty1 an appearance1 that they should be introduced but circumspectly4 ,morocco1 ,i frankly own1 is my favourite surtout2 and the varieties of them--blue1 7dark and light17 orange1 green1 and olive-colour--are especially deserving of your attention4 ,the colour of the binding may often be in harmony with its contents4 ,books of poetry may be red1 or light green1 or blue1 and have as much ornament as may be desired4 ,and ,fine ,art books1 above all others1 ought to rejoice in beautiful coloured moroccos and gorgeous ornaments4 ,in the ,british ,museum1 books of divinity are bound in blue1 history in red1 poetry in yellow1 and biography in olive4 ,let russia claim your volumes of architecture or other antiquities1 of topography1 of lexicography1 and of other works of reference4 ,let your romances and chronicles aspire to morocco or velvet2 though1 upon second thoughts1 russia is well suited to history and chronicles4 ,and for your fifteeners1 or volumes printed in the fifteenth century1 whether ,greek1 ,latin1 ,italian1 or ,english1 let me entreat you invariably to use morocco3 for theology1 dark blue1 black1 or damson-colour2 for history1 red or dark green2 while1 in large paper quartos1 do not fail to remember the peau de veau 7calf7 of the ,french1 with gilt upon marbled edges4 ,my abhorrence of hogskin urges me to call upon you to swear eternal enmity to that engenderer of mildew and mischief4 ,indeed1 at any rate1 it is a clumsy coat of mail4 ,for your ,italian and ,french1 especially in long suites1 bespeak what is called ,french calf binding1 spotted1 variegated1 or marbled on the sides1 well covered with ornament on the back1 and1 when the work is worthy of it1 with gilt on the edges4 ,let your ,english octavos of history or belles-lettres breathe a quiet tone of chastely-gilded white calf with marbled edges2 while the works of our better-most poets should be occasionally clothed in a morocco exterior4 ,the further opinion of the doctor on the style of ornament1 c4 in gilding1 will be given in its proper place1 and which1 with that cited above1 may be safely acted upon by the binder1 blended with such additions as his own taste may dictate4 ,it is in this state that the defects of forwarding will become more apparent1 and which no tact or ingenuity of the finisher can effectually remedy2 for1 unless the bands are square1 the joints free1 and the whole book geometrically just1 the defect1 whatever it may be1 will appear throughout1 and tend to destroy the beauty of every subsequent operation1 from the constraint required to make the general appearance of the work effective4 ,before proceeding to a description of the various manipulations required in gilding a book1 it will be necessary to direct the attention of the young workman again to what has been advanced relative to care and attention in previous parts of this work1 and follow up the remarks there made with others on the taste necessary to be displayed in this most important part of the art of bookbinding4 ,when it is considered that the most celebrated artists have arrived at the eminence awarded to them not only through the elasticity1 solidity1 and squareness of their bindings1 but also from the judicious choice of their ornaments for gilding1 and the precision and beauty with which they have been executed1 it cannot be too strongly impressed on the workman that this should ever occupy his first attention4 ,nothing is so disagreeable to the eye as injudicious or badly-executed ornaments2 while with chaste and classical embellishments1 tastefully applied1 an appearance of richness is produced on the volumes that cannot fail to give satisfaction to the most fastidious critic4 ,the sides of the volumes present the field most favourable for the display of ornamental taste1 admitting1 from their extent1 the execution of the most complicated designs4 ,this elaborate style of ornament has been carried to such perfection and splendour as1 in many instances1 to have occupied several days in the execution of one side alone2 but it is only by the most vigorous application1 greatest care1 and correct taste1 that proficiency therein can be attained4 ,with these1 success will soon crown the endeavours of the workman2 and he will have the satisfaction of finding himself able to imitate any pattern1 however difficult1 as well as to execute many new designs and compartments1 of which1 till he applied himself1 he had not previously an idea4 ,as regards the style of ornament1 it must be left to taste2 but1 as before promised1 it will now be proper to introduce the remarks of ,dr4 ,dibdin on the general effect of gilding and blind tooling1 leaving the detail to be suggested to the mind of the gilder4 ,first1 let your books be well and evenly lettered1 and let a tolerable portion of ornament be seen upon the backs of them4 ,i love what is called an overcharged back1 ,at first the appearance may be flaunting and garish2 but time1 which mellows down book ornaments as well as human countenances1 will quickly obviate this inconvenience2 and about a twelvemonth1 or six months added to the said twelvemonth1 will work miracles upon the appearance of your book4 ,do not be meagre of your ornaments on the back1 and never suffer blind tooling wholly to pervade a folio or quarto2 for1 by so doing1 you convert what should look like a book into a piece of mahogany furniture4 ,in large libraries there should not be too much blind tooling or too great a want of gilt4 ,no doubt the ornament should be as appropriate as possible to the book4 ,one could not endure gingerbread-gilt ,bibles and ,prayer-,books1 or ,chronicles or ,dictionaries1 or other books of reference4 ,let these have a subdued decoration on their backs2 bands only full-gilt1 or a running edge-tool in the centres of them1 with small ornaments between the bands4 ,i would recommend the lettering of a volume to be as full as possible2 yet sententiousness must sometimes be adopted4 ,the lines should be straight1 and the letters of one and the same form or character within the line2 yet the name of the author may be executed a size larger than that of the date or place of its execution1 and the lettering may be between the top and bottom bands1 or it may occupy the spaces between three bands1 or even more4 ,re-letter old books perpendicularly1 as was the custom4 ,in all fresh bindings1 however1 prefer horizontal to perpendicular lettering4,a ,footnote ,a3 ,we sometimes fear that ,dr4 ,dibden's commendation of an overcharged back has produced a bad effect4 ,it should be borne in mind that1 when the doctor wrote1 calf was the prevailing material employed in binding1 and that of a light colour4 ,it remains to urge that particular attention be paid to the lettering of books being their right titles1 as the contrary will present to the judicious an effect the most disagreeable1 and may be the cause of producing dissatisfaction with the whole of the binding in the mind of the owner2 and also to avoid the contrast which the different shade or colour of new lettering-pieces will give to some bindings4 ,as it is requisite that the workman should form an idea of the style and design to be executed on the volume before he prepares it for gilding1 we will proceed to point out the peculiarities of some of the most prominent styles and of the tools required to produce them4 ,we hope to convey a faithful idea of the latter with the aid of the tools and ornaments executed expressly for this work by ,gaskill1 ,copper ,fry1 bookbinders' tool-cutters1 ,philadelphia1 who have secured for themselves1 by their taste and skill1 an enviable reputation as artists4 ,plate ,i4 contains an illustration of the species of ornament termed ,,the ,,aldine ,,style1 ,which derives its name from a noted printer named ,aldus ,manutius1 a ,roman by birth1 who was born in the year #addf or #addg4 ,his ,christian name1 ,aldus1 was a contraction of ,theobaldus2 and to this surname he sometimes added the appellation of ,pius1 or ,bassianus1 or ,romanus4 ,the first of these appellatives was assumed by ,aldus from his having been the tutor of ,albertus ,pius1 a prince of the noble house of ,carpi2 and the second was derived from the birthplace of the printer--namely1 ,bassian1 a small town in the ,duchy of ,lermonetta4 ,aldus is supposed to have taken up his residence at ,venice1 as the favourite city wherein to mature his plans1 about the year #adhh2 and about #adid-ie he there put forth the first production of his press4 ,he introduced ,roman types of a neater cut than had previously been in use1 and invented that beautiful letter which is now known as ,italic1 though1 in the first instance1 it was termed ,venetian1 from ,manutius being a resident of ,venice when he brought it to perfection2 but1 not long after1 it was dedicated to the ,state of ,italy1 to prevent any dispute that might arise from other nations claiming a priority1 as was the case concerning the first inventor of printing4 ,prior to the time of ,aldus1 the only points used in punctuation were the comma1 colon1 and full-point or period2 but he invented the semicolon1 gave a better shape to the comma1 and connected the punctuation by assigning to the various points more proper places4 ,about the period of his marriage1 7in #aejj17 he invented a mode of imposing a work in such a manner that two languages might be interleaved and bound together1 or separately1 at the option of the purchaser2 and1 about the same date1 he printed the first leaf1 in folio1 of a proposed edition of the ,,bible in the ,hebrew1 ,greek1 and ,latin languages2 so that he has the honour of having first suggested the plan of a ,polyglott ,bible4 ,however1 the plan failed of being then carried into effect4 ,printing different languages in opposite columns was not accomplished till #aecj4 ,the mind of ,aldus was entirely engaged in the care of his printing-house2 for1 as soon as he had ordered his other necessary affairs1 he shut himself up in his study1 where he employed himself in revising his ,greek and ,latin ,,mss41 reading the letters which he received from the learned out of all parts of the world1 and writing answers to them4 ,to prevent interruption by impertinent visits1 he caused the following inscription to be placed over his door3--,whoever you are1 ,aldus earnestly entreats you to despatch your business as soon as possible1 and then depart3 unless you come hither1 like another ,hercules1 to lend him some friendly assistance2 for here will be work sufficient to employ you and as many as enter this place4 ,the mark or device which ,aldus--who died in #aeae--made use of to distinguish works issued from his press was an anchor1 round which a dolphin seemed to twist4 ,it must be familiar to every amateur1--,mr4 ,pickering1 the ,london publisher1 having adopted the ,aldine anchor as his device4 ,to attempt any description of the ,aldine class of tools would be superfluous after so fair a specimen in the illustration4 ,it will be perceived they are entirely free from shading1 and1 consequently1 much more effective for that description of work for which they are generally used1--viz41 blind tooling4 ,both tools and patterns are much lighter and more ornamental than the old ,monastic school1 of which the ,aldine in some degree partook4 ,upon the same plate there is exhibited the arrangement of a back-panel and tools in the ,,montague ,,style1 ,which derives its name from ,montague1 7of the firm of ,montague and ,johnson17 a bookbinder of considerable eminence1 who flourished about the year #aghj4 ,the chief features of this style are corners and centre1 filled up with stops1 c4 similar to illustration4 ,the tools are of an open1 leafy description1 flowing from a stem free from any thing of the scroll or curl4 ,the panel given has been copied from a book supposed to have been done by ,montague himself4 ,the bar1 or barleycorn1 on the head and tail and on the bands1 likewise on the insides and edges4 ,books in volumes1 pieced red and green on adjoining panels1 frequently a lozenge of red on the second piece1 and filled up with corners and stops similar to the other panels2 sometimes both pieces green2 sides generally plain1 or a flowery flowing roll1 for which a two-line is now usually substituted2 sewed on raised bands2 colour1 brown calf1 sometimes highly sprinkled4 ,there is also upon ,plate ,i4 an illustration of ,,the ,,harleian ,,style1 ,a style not behind ,montague in beauty of ornament1 and superior in elegance and variety of arrangement4 ,before entering into a description of the style1 we will give what information we have gained respecting its founder1 trusting that it will not be unacceptable4 ,we find that ,robert ,harley1 ,esq41 of ,frampton-,bryan1 in the county of ,hereford1 7the gentleman from whom the style derives its name17 was in #agjj chosen ,speaker of the ,house of ,commons1 and in ,may1 #agaa1 he was created ,earl of ,oxford and ,mortimer1 and five days afterwards was promoted to the important station of ,lord ,high-,treasurer of ,great ,britain4 ,in the ,preface to the ,harleian ,,mss41 now in the ,british ,museum1 speaking of ,mr4 ,harley1 it states that his innate love of books was such as to determine him in early life to undertake the formation of a new library1 regardless of the disadvantages with which he must contend1 as great exertions had previously been made in collecting ,,mss4 for the ,bodleian1 ,cottonian1 and other valuable though smaller collections1 so that the prospect of forming a new library with any considerable number of ,,mss4 was indeed very unpromising4 ,but1 urged on by a love of learning1 and a strong desire to search into the transactions of former ages1 determined ,mr4 ,harley to purchase whatever curious ,,mss4 he could meet with1 more especially such as might in any wise tend to explain and illustrate the history1 laws1 customs1 and antiquities1 of his native country4 ,the principal point which the founder of the ,harleian ,library had in view was the establishment of a ,,ms4 ,english ,historical ,library1 and the rescuing from oblivion and destruction of such valuable records of our national antiquities as had escaped the diligence of former collectors4 ,at the decease of his son1 7,edward ,lord ,harley1 in #agda17 who had been a powerful auxiliary in enriching the collection1 the ,,ms4 library consisted of nearly #hjjj volumes4 ,at the death of ,mr4 ,harley1 his library was bequeathed to the ,university of ,oxford4 ,to such men we owe a debt of gratitude for the improvement of the art and for introducing a style of finishing that still remains the admiration of the connoisseur4 ,the books in the ,harleian ,collection are principally bound in red morocco1 well sewed on raised bands1 tight backs1 7as were all the books of that period17 ,dutch marble end-papers1 and gilt edges4 ,harleian tools are more wiry and much closer than the ,montague1 interspersed with fine-line curls1 fine pinhead curve-lines1 rosettes1 acorns1 solid stops1 single rings1 and cross-buns4 ,the border upon the same plate illustrates the ,harleian pane-side4 ,in the ,harleian style there are three distinctly different arrangements for sides and backs1 7independent of the flights of fancy in which finishers indulge47 ,there are on the sides1--first1 the two or three-line fillet1 stopped2 second1 the ,harleian tooled or spikey border1--a style of finishing peculiarly neat and rich1 and well adapted for nearly every description of books4 ,on original ,harleys the tooling went right on from corner to corner1 as if worked by a very broad roll2 but modern finishers prefer a made-up corner1--that is1 a tool or tools projecting at right angles with the corner1 up to which the border-tools are worked1 thus rendering the whole more harmonious and perfect4 ,the spikey border is worked up to a two or three-line fillet1 with the cat-tooth roll worked on the outer line towards the edge of the board4 7,we may here mention that the cat-tooth1 although purely ,french1 may be also considered ,harleian1 as it is on all the originals we have seen1 and accords well with the style47 ,third1 the pane or panelled side1 similar to the illustration4 ,sometimes a double pane was formed by throwing in a two-line fillet and working a roll on the inside4 ,on the backs there is the upright centre1 the diamond centre and corner1 as in the illustration1 and the semi-circle with open centre4 ,the diamond centre was not much used on books of light reading1 such as novels1 but rather on works of a graver nature1 such as divinity1 philosophy1 and history4 ,it seems to have been the favourite style of the earl's binders2 and we must acknowledge that a book never looks so like a book as when finished with a good diamond centre and corner4 ,in forming the diamond centre1 the spikes ought to project beyond the stops1 as it is then more graceful and pleasing to the eye than when the stop and spikes are flush one with the other4 ,,the ,,fonthill ,,style4 ,the following account of ,fonthill ,abbey will1 no doubt1 be acceptable1 in connection with our description of the style which has derived its name therefrom4 ,fonthill ,abbey1 in ,wiltshire1 justly ranks as one of the grandest structures in the ,united ,kingdom1 combining all the elegance of modern architecture with the sublime grandeur of the conventual style4 ,it was built about the end of the last century1 at an expense of #djj1jjj1 by ,mr4 ,william ,beckford1 son of the public-spirited ,lord ,mayor of ,london of that name1 whose statue now stands in ,guildhall1 with a copy of the memorable speech and remonstrance which he addressed to ,george ,,iii4 in #aggj4 ,succeeding to almost unbounded wealth1 7nearly #ajj1jjj a year17 endowed with an extraordinary mind1 literary talents of the highest order1 and an exquisite taste for the arts1 the young owner of ,fonthill ,abbey determined to erect an edifice uncommon in design1 and to adorn it with splendour2 and1 with an energy and enthusiasm of which duller minds can form but a poor conception1 he soon had his determination carried into effect4 ,the gorgeous edifice reared for ,mr4 ,b4 contained many magnificent suites of apartments4 ,we need only notice two1 denominated ,st4 ,michael's1 and ,king ,edward the ,third's ,gallery4 ,they are of the most stately and interesting description that can be conceived or imagined3 the former filled with the choicest books and many articles of vertu2 the latter also employed as a library1 but enriched with a much greater number of choice and curious productions1 and terminating in an oratory1 unique for its elegant proportions and characteristic consistency4 ,it is at once rich and luxurious as the temple of which it forms an appendage1--sombre and soothing as the religious feelings with which its designation associates it4 ',meditation here may think down hours and moments2 ,here the heart may give a useful lesson to the head1 ,and learning wiser grow without its books4' ,it is but the drawing of a curtain1 and not only all the glitter of the adjoining splendour1 but all the pomps and vanities of the world seem to the meditative mind to be shut out forever4 ,perhaps its pensive cast is more deeply experienced from the immediate contrast3 dazzled with objects of show1 fatigued with the examination of rare and costly commodities1 and bewildered with the multitude of precious devices which everywhere surround him1 the soul of the visitant retires with tenfold delight to the narrow walls of the oratory4 ,our brief description of the ,fonthill style cannot fail to strike the reader as being remarkably appropriate to the sombre character of that part of the abbey which contained the library1--the one being in strict keeping with the other4 ,half-bound olive-brown morocco2 sewed on raised bands2 gilt tops2 marble-paper sides and insides2 with no finishing whatever1 except the lettering and date at bottom4 ,,la ,,janseniste4 ,this chaste and beautiful style is said to be derived from a religious order1 and is highly esteemed by amateurs4 ,books bound la janseniste are full-bound ,turkey or ,levant morocco1 with a broad turn in on the inside of the board1 gilt edges with a fine one-line fillet each side of the bands and head and tail1 and neatly mitred on the side1 all in blind1 there being no gilding on the outside but the lettering2 on the inside a broad-tooled border of very fine tooling in gold1 a fine two-line in gold on the edges of the boards1 and the cap of the headbands tipped with the same4 ,,the ,,cambridge ,,style ,is practised1 we may say exclusively1 on theological works4 ,at what period it gained its name is uncertain2 doubtless1 it was the style in which some of the university libraries were chiefly bound2 and1 in all probability1 the idea of the ,harley paned side was first copied from it4 ,books bound in this style are sewed on raised bands1 brown calf1 pane-sprinkled sides1 ,dutch marble end-papers1 and red edges4 ,back pieced with red russia1 and a two-line fillet head and tail1 and on each side of the bands1 blind4 ,sides1 two-line fillet close to the edge and on each side of the pane1 with a narrow flower-roll worked on each side of the pane1 close to the lines4 ,the fillets in the pane to be connected together at the corners with the two-line fillet1 and a tool worked from the corner of the pane towards the edge of the book1 all blind4 ,bar-roll on the edges1 in gold4 ,illustration3 #b4 ,modern ,monastic4 ,,modernized ,,monastic4 ,this style is now in great vogue1 under the appellation of the antique4 ,the materials employed are divinity calf and brown or ,carmelite morocco1 with very thick boards1 edges either red1 brown1 or matted gilt2 very high raised bands4 ,the style of ornament is illustrated by ,plate ,,ii41 intended for a side-stamp to be done by the press4 ,it can also be done by hand1 with rolls1 fillets1 and hand-stamps1 omitting the broad and narrow fillet1 and substituting either a one or two-line1 working the circles with gouges4 ,the tools are all worked blind4 ,this style of binding1 when appropriate to the book1 produces a very pleasing effect4 ,,arabesque4 ,the term is more commonly applied to the species of ornament used in adorning the walls1 pavements1 and roofs of ,moorish and ,arabian buildings1 consisting of an intricate heterogeneous admixture of fruits1 flowers1 scrolls1 and other objects1 to the exclusion of animals1 the representation of which is forbidden by the ,mohammedan religion4 ,this kind of ornament is now frequently used in the adorning of books1 plate1 c4 ,foliage very similar to that used by the ,arabians1 intermixed with griffins1 c41 were frequently employed on the walls and friezes of temples1 and on many of the ancient ,greek vases2 on the walls of the baths of ,titus1 at ,pompeii1 and many other places4--,craig's ,universal ,dictionary4 ,as regards book-finishing1 we have looked into more than one authority1 and are really unable to define what the arabesque style is or ought to be4 ,the well-understood term roan embossed is1 in our opinion1 the nearest approach to it at the present day4 ,plate ,,iii4 is an adaptation of an old ,german design for embossing4 ,the figure is raised1 the plate being worked with a counter1 in a powerful press4 ,illustration3 #c4 ,old ,german ,style for ,embossed ,work4 ,this style can only be executed upon publishers' work where there is a quantity of the same book to be done in this style4 ,by it a good effect is produced upon an inferior material and at a trifling cost4 ,the covers are embossed before they are applied to the volumes1 and in order to preserve the sharpness of the design they must be covered with glue and not pressed afterwards4 ,,antique ,,oak ,,and ,,other ,,bindings4 ,great varieties of style in the covers of bindings have been introduced within the last few years2 but these must be left to the imitative powers of the skilful workman1 as no written description would give the requisite information and guidance4 ,should he be desirous of executing these1 he will do well to study some good specimen4 ,among others may be mentioned the ,antique ,oak ,bindings1 adopted by ,mr4 ,murray1 for his ,illuminated ,prayer-,book1 and ,messrs4 ,longman and ,co41 for ,gray's ,elegy4 ,also the ,iron ,binding1--viz43 covers in imitation of cast-iron1--in which ,messrs4 ,longman and ,co4 have had bound the ,parables of our ,lord4 ,bibles and ,prayers are now frequently bound to imitate the antique1 having heavy boards with clasps and corners1 and finished in the monastic style4 ,,grolier ,,style4 ,this beautiful style of ornament is so well illustrated by ,plate ,,iv4 that it scarcely needs any remark4 ,we will merely observe that this style is well calculated for hand-work1 being entirely superficial in character4 ,the pattern presented can be worked with a one-line fillet and gouges1 with a few leaves of a conventional character4 ,the design should be first traced upon paper of the proper size1 the paper lightly tipped at the corners with paste upon the side1 then worked with the fillet and gouges through the paper upon the leather4 ,the paper is then removed1 and the blind impression appears upon the side4 ,all vestiges of the paper are carefully washed off1 and the pattern pencilled in1--that is1 each portion of the figure is carefully traced with a fine camel's-hair pencil saturated with glaire4 ,when dry it is lightly passed over with a piece of cotton in which sweet oil has been dropped1 and the gold leaf laid on4 ,the pattern is then reworked upon the gold4 ,illustration3 #d4 ,grolier about #aecj4 ,the design upon ,plate ,v4 is a modern elaboration of the ,grolier1 and is intended for a side-plate1 to be executed by the stamping-press4 ,it is well calculated for blind or blank stamping1 the solid line producing by its intersections a fine effect4 ,by omitting the inner and working the out lines1 this elaboration of lines and circles can be worked by hand4 ,illustration3 #e4 ,modernized ,grolier4 ,the ,louis ,quatorze is illustrated1 by a pattern for a back1 upon ,plate ,,vi4 ,this can be worked either by hand-stamps or by the press4 ,the centre pattern is a very pretty illustration of the prevailing style of backs for case-work4 ,this must be stamped before the cover is applied to the book4 ,the third pattern for flat backs is adapted for hand-tools1 and when executed upon light-coloured ,english calf produces a beautiful appearance4 ,from its light1 graceful character1 it is well suited to modern poetry and light literature in general4 ,this style gives scope to an almost endless variety of patterns1 regulated only by the taste of the finisher4 ,illustration3 #f4 ,louis ,,xiv4 ,modern4 ,french4 ,plate ,,vii4 is a design drawn by ,holbein for a side-ornament in metal4 ,this beautiful pattern can be adapted either to hand or press work4 ,its graceful and harmonious proportions should be well studied by the young workman4 ,illustration3 #g4 ,drawn after a design by ,holbein ,a4,d4 #aeej4 ,upon ,plate ,,viii4 will be found specimens of rolls and hand-stamps used in finishing4 ,the numbers affixed refer to the order of arrangement in the ,book of ,patterns published by ,gaskill1 ,copper ,fry1 containing over two thousand specimens with their prices attached4 ,they have also an immense number of patterns1 executed since the publication of their book for binders in various parts of the country4 ,illustration3 #h4 ,selection from ,gaskill1 ,copper ,fry's ,book of ,patterns 7#ah ,minor ,st47 ,having given the prominent distinct styles1--of which there are1 however1 many combinations1 both of style1 ornament1 and tooling1 originating more nondescripts than we have space to treat upon1--we proceed to the gilding1 trusting that what has been pointed out to the attention of the young workman will induce him to neglect no opportunities of becoming acquainted with the works of artists of celebrity1 not for the purpose of servile imitation1 but to examine their adaptations of ornamental art as a study1 to enable him to trace superficial decoration back to its originators4 ,having acquired this knowledge1 he may by his treatment of ornament take rank as an artist4 ,the examples given will be sufficient for the intellectual workman to conceive many patterns which his taste will suggest1 forming an infinite variety of beautiful designs4 ,in all combinations1 a rigorous observance of the symmetrical proportions of the tools must be his first care1 so that the union of any number of designs present a form agreeable and chaste4 ,it would be superfluous to add more2 but from the importance of the subject1 on closing the directions for the ornamental department of binding1 it may be repeated that there is no greater evidence of the ignorance or carelessness of the workman than an ornament of any kind unevenly or unequally worked4 ,let the young binder especially bear this in mind3 it is a defect which nothing can effectually remedy2 instead of an embellishment it is a detriment to the binding1 and his reputation as a clever workman is consequently placed in jeopardy4 ,preparatory to gilding1 the back must be compassed off and carefully marked with a folding-stick and a straight-edge or piece of vellum1 wherever it is intended to run a straight line4 ,this serves as a guide when the gold is laid on4 ,for work of the best class1 the fillets must be first put in blind1 and the tooling done in the same manner4 ,for sides where the design is elaborate1 or a degree of perfection in the tooling is desirable1 the entire pattern must be first worked in blind1 and1 after being washed with a dilution of oxalic acid or a thin paste-wash1 it must be carefully pencilled in with the glaire-pencil2 but this comes more appropriately under the head of ,,preparations ,,for ,,gilding4 ,to operate successfully1 it will be necessary that the workman provide himself with good size1 glaire1 and oil4 ,the first is prepared by boiling fine vellum slips till a good size is produced1 of a consistency that will lie equally on the volume without blotches or ropes1 and must be used warm4 ,the glaire is formed of the whites of eggs1 beaten well with a frother till it is perfectly clear1 and the froth taken off4 ,this liquid will improve by keeping1 and should never be used new if it can possibly be avoided4 ,for morocco bindings1 the glaire is sometimes diluted with water4 ,the oil adopted by various binders is different4 ,some use palm-oil for calf1 sweet oil for morocco or russia2 others prefer hog's lard1 or fine mould-candle1 for light-coloured calf2 but sweet oil is well adapted for almost every kind of leather4 ,vellum-size is the best preparation for coloured calf4 ,on books thus prepared1 the glaire must be applied two or three times1 taking care that each coat is quite dry before the next is added1 and that it lies perfectly even on the whole surface1 free from globules or any substance whatever4 ,great care is required in preparing coloured calf2 for1 if there be too much body in the preparation1 it will crack on the surface and present a bad appearance4 ,morocco and roan will not require more than one coat1 and1 where practicable1 only on such parts of the morocco as are to be gilt4 ,the state of the weather must ever determine the number of volumes to be proceeded with at one time1 as in the winter double the number may be glaired to what the dryness of a summer's day will admit of1 so as to work with safety and produce effect4 ,a good paste-wash before glairing is always advisable1 as it prevents the glaire from sinking into the leather4 ,in preparing glaire from the egg for immediate use1 a few drops of oxalic acid added thereunto will be found to be of essential service4 ,the volumes being thus prepared1 the operation of ,,gilding ,,the ,,back ,is commenced by oiling slightly1 with a small piece of cotton1 the whole length of the back4 ,if the book is merely intended to be filleted for the economy of the gold1 small strips are cut on the gold-cushion1 attached to the heated fillet by rolling it slightly over1 and affixed to the volume by passing it firmly on the lines previously marked4 ,but if the back is to be fully ornamented1 it will be necessary to cover it entirely with gold-leaf4 ,the hand-stamps should be disposed on the table before him1 so as to be selected with the greatest facility1 and in readiness for every purpose for which they may be required4 ,to lay on the gold1 the workman takes a book of the metal1 opens the outside leaf1 and passes the knife underneath the gold2 with this he raises it1 carries it steadily on to the cushion1 and spreads it perfectly even1 by a light breath on the middle of the leaf1 taking care also that not the least current of air has access to the room he may be operating in4 ,afterwards the gold must be cut with the gold-knife to the breadth and length of the places to be covered1 by laying the edge upon it and moving the knife slightly backwards and forwards4 ,then rub upon the back the oil1 and apply the gold upon the places to be ornamented with a cotton or tip1 rubbed on the forehead or hair to give it a slight humidity and cause the gold to adhere4 ,but if the whole of the back is to be gilt1 it will be more economical to entirely cover it by cutting the gold in slips the breadth of the book and applying the back on it2 afterwards press it close with the cotton1 with which any breaks in the gold must also be covered1 by placing small slips where required4 ,the humidity of the hair or forehead will be sufficient to make the gold adhere to the cotton or other instrument with which it may be conveyed to the book4 ,the fillet or roll must then be heated to a degree proper for the substance on which it is to be worked4 ,calf will require them hotter than morocco and roan1 and these warmer than russia and vellum4 ,to ascertain their proper heat1 they are applied on a damp sponge1 or rubbed with the finger wetted1 and by the degree of boiling that the water makes1 their fitness is known2 but a little exercise and habit will render this easy of judging4 ,to further insure this1 the roll or pallet is passed over the cap of the headband2 if too hot1 the gold will be dull2 if too cool1 the impression will be bad1 from the gold not adhering in every part4 ,after the gold is laid on1 the volume is laid upon the side1 with the back elevated1 and the workman proceeds to mitre the fillets that run lengthwise of the back1 commencing at the line that has been traced across the back1 by pressing lightly with the point of the mitred roll and running it carefully till near the line that marks the end of the panel2 then lift the fillet and turn it with the finger until the other or reverse mitre1 or nick in the fillet1 is reached2 then place the fillet in the lines already gilt1 adjusting it with the left hand until the extreme point of the mitre will just reach the line traced across4 ,after both edges of the back have been done along the joint in this way1 the volume is then placed evenly in the finishing-press1 and the panels completed by mitreing the fillets that run across the back4 ,the entire operation requires the utmost care1 in order to have the lines parallel and the mitres perfectly even and true4 ,no ornament that may be afterwards worked upon the back1 beautiful as it may be1 can atone for negligence or want of skill in the mitreing and running of the fillets4 ,as a matter of economy1 sometimes the back is run up2 that is1 instead of stopping where the lines or bands intersect1 the roll is run up the back from one end to the other1 without stopping2 and1 after wiping the gold off along the joint outside the fillet1 it is run across the back on each side of the bands1 and head and tail in the same manner4 ,after the back is mitred1 the finisher will proceed with the ornamental tools1 and work them carefully off4 ,in placing them1 great attention should be paid to their occupying precisely the same place in each panel2 and1 in order to present an agreeable effect1 the tools should correspond in detail1 and there should be a geometrical fitness governing the selection and arrangement of the tools4 ,the judicious choice of ornaments for the back is of the utmost importance4 ,for instance1 such as represent animals1 insects1 or flowers1 which are only proper for works of natural history1 entomology1 and botany1 should never appear on the backs of works on general literature1 as it would be an evidence of bad taste or carelessness4 ,every tool should be beautiful in itself1 because no accumulation of misshapen tools can make one beautiful ornament4 ,there is no objection to scrolls1 leaves1 flowers1 stops1 or any of the usual kind of ornaments2 only let them all be in themselves beautiful4 ,it is appropriate to introduce a harp on a book of songs1 a stag's head on a book on hunting1 a recognised ecclesiastical pattern upon a book of divinity or a prayer-book2 a ,greek or ,roman design upon a classical work1 or a ,gothic design upon a book on ,gothic architecture4 ,should it be desired to present on the back simply an ornamental lettering-piece at the head1 diverging to a point towards the middle of the book1 and the rest of the volume left plain1 it will be necessary to impress the tools previous to glairing1 and then apply the glaire with a camel's-hair pencil in the indentations the tools have formed4 ,when dry1 cover with gold and reimpress the tool in the marks previously made1 and letter the title4 ,this proceeding is adopted in every pattern where part of the back is intended to be left dull by being free from glaire4 ,the title must next engage attention1 and the letters placed thereon1 either singly or together1 with brass type properly fixed in the hand-chase4 ,if with single letters1 the tail of the volume must be lowered about an inch1 and the workman draw a thread of silk across the gold to direct the heads of the letters4 ,taking each singly1 he places them on the back with the right hand1 steadying the letter with the forefinger of the left4 ,if the title is set in the chase1 place the volume evenly in the press1 and apply the title1 guided by the thumb1 firmly across4 ,the title in either case must be justified1 to produce the best effect1 taking care to avoid1 if possible1 having two lines of the same length2 and1 where the title can be measured1 as in the type it may1 the exact centre should be ascertained before applying it heated on the gold4 ,the back may now be considered finished4 ,the gold which has not been impressed by the gilding tools must be well rubbed off with the gold-rag and minutely cleared off with a piece of fine flannel or ,india-rubber1 so as to display the delicate lines of the ornaments as perfectly and clearly as possible4 ,attention should be paid to this particular2 for1 let a book be finished in the most tasteful manner possible1 unless well cleared off the effect is entirely lost4 ,if in calf1 it must now be polished1 and the squares and edges of the boards proceeded with4 ,,gilding ,,the ,,squares1 ,,etc4 ,for gilding the edges of the boards1 the gold may be taken as for the bands1--on the roll1--and the volume held firmly with the left hand2 but1 if large1 put into the press between boards1 so as not to injure the back4 ,where the ornament of the inside-square is simple1 the like proceeding of applying the gold will be proper1 resting the board open on an elevation equal to the thickness of the book4 ,but if the square has been left large1 with a leather joint1 so as to admit of being more elaborately filled up1 the gold must be laid on the whole space with the tip and pressed close with the cotton4 ,the gilding is then proceeded with in the same manner as detailed in the directions for the side-ornaments4 ,,gilding ,,the ,,sides4 ,the sides1 from affording more ample space1 are the part of the volume whereon the workman can and is expected to show his taste and skill in gilding4 ,the proceedings are the same as before pointed out where a simple roll is the only ornament round2 but where the pattern is extensive and the details minute1 it is necessary to have the whole worked blind upon the volume before glairing1 and then apply the gold4 ,if one side is done at a time1 the book is taken by the leaves with the left hand1 the board intended to be covered resting on the thumb1 and the gold laid on as for the squares1 either over the whole side or on such parts as the pattern indicates4 ,if the volume be small1 the gold may be laid on both sides and the leaves of the volume placed in the finishing-press1 allowing the boards to rest on its surface4 ,this affords greater facility for placing uniformly and systematically the fillets1 rolls1 and tools necessary to complete the design on each side4 ,where the pattern has not been marked1 and one side only proceeded with1 the roll is run in a straight line1 which should be made1 previous to covering with gold1 on the board by the joint of the back1 the volume turned for the head and tail1 and laid open upon the board for the fore-edge1 to give it the firmness necessary4 ,directions for executing the most elaborate designs have been previously given1 whereby it will be perceived that it requires but taste1 and a just observation of similarity of design and the geometrical proportions of the ornaments1 to execute them to any extent4 ,one variation from this rule will destroy the effect of the whole pattern3 it will therefore be to the benefit of such as are not conversant fully with the art1 to assist themselves with designs drawn on cartridge-paper1 which may be marked through on the leather and the pattern executed in gold or blind as required4 ,in all1 the gilding will be the same1 either to glaire over the whole cover after the design is stamped1 or1 if the plain part is to be left dull1 by glairing the impressions only with a camel's-hair pencil4 ,,gilding ,,on ,,silk ,,and ,,velvet4 ,the proceedings necessary to be adopted for gilding on silk and velvet are1 from the delicate nature of these substances1 different from those laid down for gilding on leather4 ,the glaire used on the latter would tend to stain1 and therefore it is necessary to employ other means for fixing the gold4 ,this is by drying the whites of eggs and reducing them to a powder1 which is put into a small bottle and tightly tied over with a piece of fine muslin1 by which means it is equally distributed on the space intended to be gilt4 ,gum-sandarac is now1 however1 more generally used for this purpose1 although some use gum-copal4 ,the powder being applied1 the gold is cut in slips and taken on a roll of a circumference equal to the length of the space intended for it to be applied on4 ,the design is then firmly impressed1 and the superfluous gold brushed off with a soft brush or clean piece of cotton1 and the other side alike executed4 ,in lettering1 or fixing single tools on the back1 the same proceedings must be adopted1 by taking the gold thereon and applying it to the back or side of the volume4 ,where the design is large1 or elaborate work is required1 it will be better executed in the following manner3--,the design must be drawn on paper1 and worked through on silk1 after which the impression must be carefully glaired with a camel's-hair pencil2 when dry1 rub the parts intended for the gold with the finger passed through the hair or with a clean rag slightly oiled1 and1 after laying on the gold as directed for other styles1 reimpress the tools1 and whip off the superfluous gold with a clean flannel4 ,as there is no moisture in silk1 the workman must not lay on at one time so much as he does on calf and other substances4 ,,illuminated ,,binding4 ,this style1 an invention of the ,french1 was for some time kept by them with the greatest secrecy4 ,it is a binding of the utmost magnificence1 uniting the varied beauties of the arabesque and gilt ornament1 blended with the illuminated decorations seen on early ,,mss4 before the invention of printing4 ,when executed in the best manner1 nothing can exceed the beauty of the whole coup-d'oeil1 rivalling1 as it does1 in splendour1 the most elaborately-finished design of the painter4 ,the time required to be devoted1 on its first introduction1 to a single specimen1 appeared likely to confine this sort of ornament to the finest treasures of literature1 and even to them in a limited degree4 ,the improvements1 however1 in machinery and the rapid advance of the arts have1 in a few years1 brought this style into very general use for albums and other works where embellished covers are adopted2 and even on the cheap roan bindings used for ,bibles1 ,prayers1 c4 it may be seen2 though in effecting this cheapness it must be premised that a less durable method is adopted4 ,to execute the more elaborate designs1 practice and a taste for the arts will here alone serve the workman2 without these requisites it would be futile to make the attempt4 ,but1 as the proceedings require to be executed with the utmost care1 we shall enter fully into such as are new1 and1 from their importance1 at the risk of being considered prolix1 again touch on those that may have been before treated of4 ,the description of one side will serve the purpose of making the proceedings fully understood4 ,whether the material be of morocco or white vellum1 it must be washed1 if required1 perfectly clean1 and left to dry4 ,the first operation will be--if it be for stamp-work--to place the side on the bed of the stamping-press and boldly impress the design thereon4 ,the most elegant1 and capable of the greatest display of colour1 are subjects of botany and natural history4 ,the next step will be to glaire with a camel's-hair pencil such parts of the impression as it is intended shall be afterwards covered with gold4 ,this done1 the delicate operation of colouring may be proceeded with4 ,in ,london and ,paris this is executed by professed artists in no way conversant with book-binding4 ,the colours to be used must be such as do not at all1 or very slightly1 fade on exposure to the air or sun1 such as carmine1 ultramarine1 indigo1 burnt sienna1 gamboge1 and sap-green4 ,these must be prepared1 with fine gum1 in the same manner as for painting1 and be lightly and delicately laid on such parts of the design as it is intended the colour should occupy1 taking care that the ground-colour or leather is entirely hid4 ,let every thing be true to nature1 each bird1 plant1 and flower its proper colour1 and a general harmony prevail throughout4 ,when finished1 let the whole perfectly dry1 and then1 in the manner directed1 lay gold on such parts as it is intended1 in the reimpression of the plate1 should be further embellished4 ,heat the plate1 place the side again under it1 and give it a firm and sharp impression4 ,rub off the superfluous gold1 and the whole of the delicate lines of the ornament will be found beautifully gilt1 the colours firmly fixed by the heat of the plate1 and the rough edges of the colour completely effaced by the reimpression of the original design4 ,in executing the less expensive and more simple designs1 the plate is impressed in gold on the side1 and the parts left ungilt on the leather2 afterwards coloured according to the taste of the workman4 ,for the best class of work1 after the design is impressed1 either by hand or the press1 pieces are cut out of variously-coloured morocco1 pared thin1 and neatly pasted on the side1 the design1 when worked1 entirely concealing the edges of the morocco4 ,this is termed inlaid work4 ,,blind ,,tooling4 ,this is an ornamental operation1 applied either before or after the book has been gilt and polished1 and1 if judiciously intermingled with the gold1 will not fail to present a good effect4 ,it is a style that has been much used of late years1 and is executed in the same way and with the same tools as for gilding1 but without any gold applied on the places thus ornamented4 ,the rolls1 pallets1 and smaller tools1 are applied by the hand1 and the large plates with the press1 with the same precautions as indicated in the previous section4 ,if the pattern consists of straight lines1 and the workman possesses a good eye1 the best manner of executing it is by making use of a pallet1 placing it firmly on the book1 and sliding it to the opposite point4 ,it remains1 therefore1 to consider such matters as more immediately apply to this style of decoration4 ,the tools for blind tooling should not be so warm as for gilding1 and particularly for morocco4 ,if it is wished to be left dull1--that is1 free from glaire1--the particles attaching themselves over the edge of the gold ornaments must be removed with the end of the finger1 wrapped over with a piece of fine cloth1 and wetted4 ,this will soon wash it clean1 and when dry the blind ornaments may be proceeded with4 ,graining may be properly considered as a blind ornament4 ,this is where1 by the means of wooden or metal plates1 the sides of a book are marked with lines crossed over each other1 so as to form innumerable small squares in imitation of russia1 or in imitation of the grain of morocco1 scales of fish1 and other substances4 ,the operation is performed by placing the volume between the two plates even by the groove of the back1 in the standing-press1 and pressing it tightly down1 and so even that the plate will be impressed equally over the whole surface4 ,nothing will look worse than a bold impression in one place and a slight one in another2 and therefore it becomes of importance to see that it is evenly pressed1 as a second application of some kind of plates will never be found affixed to the same places4 ,,modernized ,,monastic ,,or ,,antique4 ,this style1 whether done by the hand or the press1 is one that requires care and patience on the part of the workman1 so as to bring up the tools black1 without burning or otherwise injuring the leather4 ,we have spent much time in experiments1 so as to arrive at the most certain and perfect mode of producing the desired result4 ,the style emanated from ,mr4 ,hayday's bindery2 and a volume executed in this style for a connoisseur in this city1 with tooling of a brilliant black1 fell into our hands some years since1 and we at once set about attempting to produce the same effects4 ,our efforts were confined to hand-tooling for some time2 and1 although inferior in effect1 they were generally well received2 but we were far from being satisfied4 ,we tried every substance that could be thought of1 made the leather and tools hot and dry1 or wet and cold1 as reason seemed to point to one or the other as the proper method4 ,we will now communicate the results of our labours3--,in the first place1 the material is of the greatest importance2 and the finest effects cannot be produced except upon ,english calf or morocco4 ,american calf is entirely out of the question for the purpose1 as the morocco is too hard on the surface1 and there is not sufficient colour in the body for the tools to draw and affix it by heat to the surface2 but some kinds are better adapted for the purpose than others4 ,to test this1 apply the tip of the tongue to the leather1 and if the dampness lies on the surface1 without sinking in1 reject it2 but if the dampness strikes instantly into the leather1--the quicker the better1--the workman may proceed with some hopes of success4 ,after the volume is covered and ready for finishing1 wash it evenly over with clean water2 and1 as soon as the water ceases to lie upon the surface1 apply the tool moderately heated2 this will bring up the dark colour4 ,afterwards go over it again with the tool1 so as to make the impressions clear and bright4 ,there are1 however1 some colours1 as well as particular manufactures1 that will not come up black2 and we were long satisfied that some colouring-matter was employed4 ,we wrote to a friend in ,london1 who sent us the material and the method of its use4 ,the material was common printers' ink4 ,his communication we now make public4 ,in the first place1 the leather should be quite damp1 and the tools used should be as hot as possible without the printers' ink4 ,then again impressed with the printers' ink upon the tools4 ,we put the larger tools in again without ink4 ,when the ink is used upon the tools1 the leather should be rather damp1 and the tools not very hot4 ,when the pattern is worked in the manner described1 it should be left until dry1 and then brushed with a brush1 not very stiff1 which will give a brilliant gloss to the tooling4 ,when using printers' ink1 be careful not to get too much on the tools4 ,let the young workman but follow the directions given1 and1 with a little patience and reflection1 he will be able to do work of the character under consideration1 fully equal to the efforts of the best workman1 provided that the tools be worked true and even4 ,,polishing4 ,the details of this operation1 which is performed immediately after the gold ornaments have been worked1 have been reserved in order that the whole of the ornamental department might be kept together4 ,morocco1 roan1 silk1 and velvet1 and the blind ornaments on any substance1 must never be submitted to the action of the polisher4 ,a smart rubbing with a piece of rough calf will be sufficient for the two former1 and the velvet or silk will merely require cleaning with any smooth substance or with ,india-rubber4 ,there are two polishers1--one for the back and bands1 and another for the sides4 ,the oil applied on the cover previous to laying on the gold will be sufficient to make the polisher glide easily over the surface4 ,the polisher must be heated1 and well cleaned on a board1 and passed quickly and evenly on the back1 sides1 or joints1 as the case may be1 taking especial care that it is not too hot1 as the glaire would thereby be turned white and the work damaged in appearance1 nor so cold as to give a bad polish4 ,the book1 as gilt1 must be first polished on the back1 by taking it with the left hand1 resting it on the table1 and polished with the right hand by gliding backwards and forwards the smooth part of the polisher on the whole extent of the back4 ,this not only polishes the surface1 but smooths down the indentations formed upon the leather by the gilding-tools1 bringing up the gilding to the surface4 ,the polisher must be passed on such places only as it is wished to make brilliant1 and great care taken not to touch the places intended to be left dull4 ,the sides are similarly polished1 by laying the volume on the table1 covered with baize1 and passing the large iron quickly over1 first from the fore-edge towards the groove1 and then1 by turning the volume in a contrary way1 from the tail to the head4 ,if the joint requires polishing1 the book is laid before the workman1 the tail towards him1 and the iron applied on the side next the groove1 polishing the whole length of the board2 then1 turning round the volume1 and bringing the fore-edge towards him1 he polishes the side on the fore-edge1 and1 turning again1 completes the whole by polishing the parts at the head and tail4 ,in addition to polishing1 it is desirable to give to the sides the greatest possible smoothness by pressing them between polished tins or horns4 ,these are placed on each side of the book even by the groove1 put between pressing-boards1 and screwed tightly in the press1 and left for some time4 ,,colouring4 ,calf-skins of uniform tints1 and also sprinkled1 can now be obtained of ,english manufacturers2 yet in many localities they are difficult to obtain4 ,we therefore make known the chemical substances and ingredients required to execute them in the best manner4 ,marbling is a process that must be executed by the binder upon the cover1 and1 with many other revival styles1 is again coming into vogue4 ,the recipes given for the superior marbles and designs will1 it is presumed1 present this branch of the art on a higher footing1 in a general point of view1 than is usually accorded to it2 and it is confidently asserted that not one of them will prove a failure1 if attention to the directions be only given4 ,nothing has been omitted in the description of the substances best for use1 the mode of preparing them1 and the proceedings to be adopted1 that can tend to give to the covers all the elegance and splendour of which they are susceptible4 ,by the aid of these1 assisted by some taste1 the workman may vary the designs almost to infinity2 but it must be admitted that1 unless he is devoted to his art1 no mere directions or casual advantages will enable him to succeed in the more complicated or delicate operations1 while1 with an ardour for it1 all difficulties will be easily overcome4 ,,chemical ,,preparations4 ,under this head is included aqua regia1 or killed spirits1 nitric acid1 marbling-water1 and glaire prepared for marbling4 ,,aqua ,,regia1 ,so called from its power to dissolve gold1 is a mixture of nitic acid 7aquafortis7 and muriatic acid1 7spirits of salts17 deprived of its burning qualities by block-tin1 which it dissolves4 ,it is called by the chemist acid nitro-muriatic3 the muriatic also contains a portion of alkali1 which gives to red a vinous tint1 and for which colour it is principally used4 ,the two substances should be of the purest quality1 of a concentration of thirty-three degrees for the nitric acid and of twenty degrees for the muriatic4 ,they must be mixed with the greatest precaution4 ,having provided a clear glass bottle1 the neck rather long1 capable of holding twice the quantity to be prepared1 place it upon a bed of sand1 the opening at top1 and pour in one part of pure nitric acid and three of muriatic4 ,let the first vapours dispel1 and then cover the orifice with a small phial1 which must not confine the vapour too closely1 as the bottle would be liable to burst1 but which retains as much as possible without risk4 ,of block-tin1 an eighth part of the weight of the acid must then be dropped into the bottle1 in small pieces1 a little at a time1 covering the orifice with the phial4 ,the acid will immediately attack the tin and dissolve it1 when a second portion must be put in with the same precaution1 and so on till the whole is dissolved4 ,malacca tin is the best for use1 and if pure there will be no sediment2 but1 as it cannot always be obtained1 a black sediment will be left4 ,the vapour having ceased1 the acid must be poured into bottles and secured with glass stoppers1 to preserve it4 ,when used1 a part is taken and mixed with one quarter of its weight of distilled water4 ,it is usual with some workmen to perform this operation in a common drinking-glass2 but1 as the vapour is thereby all dispersed1 the composition loses a considerable portion of its best quality1 for it will be observed1 if performed in a bottle as above directed1 that the vapour assumes a red tint1 which does not escape if the neck of the bottle be of sufficient length4 ,,another4 ,some binders adopt the following method2 but1 as it is not capable of producing an equal beauty and clearness of colour with the one above given1 it will not be advisable to use4 ,the former1 too1 will be equally effective to an indefinite period1 while this will not preserve more than two or three months4 ,put in a brown freestone pot two ounces of powdered sal-ammoniac1 six ounces of fine ,malacca tin1 in strips or drops1 twelve ounces of distilled water1 and1 last1 a pound of nitric acid1 of thirty-three degrees4 ,leave the whole till the tin is dissolved1 and then pour off and bottle as above directed4 ,,vitriol-,,water4 ,vitriol1 as sold in the pure state1 will not be proper to use in marbling or sprinkling1 as it would corrode and destroy the leather4 ,it must be weakened at least in proportion of one ounce of vitriol to three of water4 ,,marbling-,,water4 ,it is usual with many to use the water pure2 but a few drops of potash liquid mixed with it will be found to produce better effect1 the marble being rendered more distinct4 ,,glaire4 ,put spirits of wine in a proportion of two drops to the whites of twelve eggs1 and beat the whole well together till perfectly clear4 ,,preparations ,,of ,,the ,,colours4 ,the preparations used by different binders vary much1 as will be seen by the recipes given for the same colours1 which we judge necessary to put on record1 that nothing connected with the subject should be omitted1 premising that each colour may be depended upon for producing the most satisfactory results4 ,it may be proper also to observe that the whole of the woods and other ingredients used should be previously powdered or reduced to small pieces1 the colours being thereby much better extracted4 ,,black4 #a4 ,dissolve half a pound of green copperas in two quarts of water4 ,the oxide contained in the sulphate of iron will combine with the tanning of the leather1 and produce a good black4 #b4 ,boil in a cast-iron pot a quart of vinegar1 with a quantity of rusty nails1 or steel-filings1 till reduced one-third1 taking off the scum as it rises to the top4 ,this liquid improves by age4 ,to keep up the quantity1 boil with more vinegar4 #c4 ,a cheaper liquid may be produced by boiling two pints of beer and two pints of water with two pounds of old iron and a pint of vinegar1 scumming as before1 and bottling for use4 ,,brown4 #a4 ,half a pound of good ,dantzic or ,american potash dissolved in one quart of rain-water1 and preserved in a bottle well corked4 #b4 ,salts or oil of tartar1 in the same proportions as above4 #c4 ,a beautiful brown may be procured from the green shells of walnuts4 ,to prepare this1 a quantity of the green shells1 when the nuts are gathered1 must be pounded in a mortar to extract the juice1 and then put into a vessel capable of holding a sufficient quantity of water4 ,the water being put in1 the whole should be frequently stirred1 and left to soak1 with the vessel covered4 ,afterwards the liquid must be passed through a sieve1 the juice well expressed1 and bottled1 with some common salt1 for use4 ,this liquid1 after fermentation1 will produce the best effects1 for the uniform tints1 as it tends to soften the leather1 and will not corrode4 ,,blue4 #a4 ,it is usual with many binders to use ,scott's ,liquid ,blue1 but it is necessary to know the preparation of the colour4 ,perhaps the best and most simple one known is one given by ,poerner1 which is as follows3--,in four ounces of sulphuric acid1 of #ff degrees1 mix gradually one ounce of finely-powdered indigo1 so as to form a sort of pulp4 ,place the vessel in another containing boiling water1 for some hours1 and then leave it to cool4 ,afterwards put to it a small portion of good potash1 dry and finely powdered1 stirring the whole well1 and letting it rest for twenty-four hours1 when bottled1 and use as required4 ,this colour will appear nearly black1 but may be made to any shade by adding water to it4 ,if any portion remain after being diluted1 it must be put into a separate bottle1 as if mixed with the first preparation the whole would be deteriorated4 #b4 ,a readier blue may be prepared by mixing one ounce of powdered indigo with two ounces of oil of vitriol1 and letting it stand for twenty-four hours1 and then adding twelve ounces of pure water4 ,,purple4 ,boil half a pint of archill or logwood with vinegar and water1 of each half a pint4 ,,lilac4 ,same as for the purple1 with the addition of about two table-spoonsful of potash4 ,,violet4 ,half a pound of logwood chips and one ounce of ,brazil dust1 boiled over a good fire in four pints of water till reduced one-half1 and left to clear4 ,then throw in one ounce of powdered alum and two grains of cream of tartar1 and again boil till dissolved4 ,this liquid must be used warm4 ,,fawn4 ,in two pints of water boil one ounce of tan1 and a like portion of nutgall1 till reduced to a pint4 ,,yellow4 #a4 ,to one ounce of good caked saffron1 turmeric1 or ,french berries1 add a portion of spirits of wine or aqua regia1 and leave the mixture to macerate4 ,this liquid is used cold1 and may be varied to any shade by adding water when required4 #b4 ,in two pints of water put eight ounces of ,french berries1 and boil till reduced one-half4 ,then pass it through a sieve or fine cotton1 and add a small quantity of powdered alum1 and again boil1 using it warm4 ,,orange4 ,in a pint and a half of potash liquid1 boil a quarter of a pound of fustic chips till reduced one-half2 then put in an ounce of good annatto1 well beaten1 and1 after boiling1 a small portion of alum1 and use warm4 ,,green4 #a4 ,liquid blue and yellow mixed will best suit for general purposes4 #b4 ,dissolve in a bottle one ounce of verdigris in an ounce of white wine vinegar1 and place the whole before a fire for four or five days1 frequently shaking the bottle4 ,,red4 ,there are three sorts of red1--viz43 common1 fine1 and scarlet4 ,common4--#a4 ,in a tinned kettle boil half a pound of ,brazil wood1 eight grains of nutgalls1 both powdered1 and three pints of water1 till the whole is reduced one-third4 ,then add powdered alum and sal-ammoniac1 of each one ounce1 and when dissolved strain through a sieve4 ,this liquid must always be used warm4 #b4 ,boil a quarter of a pound of ,brazil dust1 two ounces of powdered cochineal1 and a little alum1 in two pints of the best vinegar1 till a bright red is produced4 ,use warm4 ,fine4--#a4 ,in three pints of water boil half a pound of ,brazil dust and half an ounce of powdered nutgalls4 ,pass the whole through a fine cotton1 and replace the liquid on the fire1 adding one ounce of powdered alum and half an ounce of sal-ammoniac4 ,give the whole another boil1 and then add a portion of aqua regia1 according to the shade desired1 and use warm4 #b4 ,a quicker and cheaper proceeding is by putting in a cup a portion of ,brazil wood1 and adding to it the aqua regia1 letting it stand for a quarter of an hour to extract the colour4 ,scarlet4--,to one ounce of white nutgalls and one ounce of cochineal1 both finely powdered1 add two pints of boiling water4 ,after boiling some time1 add half an ounce of aqua regia1 and use warm4 ,,marbling4 ,before proceeding to a description of the marbles1 and other designs on the covers coming under the general head of marbling1 it will be proper to give a few directions relative to some important matters required in the way of preparation4 ,as the success of many of the designs depends upon the quickness with which they are executed1 it will be important that the colours1 sponges1 brushes1 c4 are previously disposed in the best order1 so as to be of the readiest access4 ,attention should be paid to the probable quantity that may be required of each colour1 as many of them will not be available for use another time4 ,the books should all be previously washed with paste and water to which has been added a little pearlash liquid1 and left to dry4 ,after this they must be glaired equally over1 and when dry placed upon the marbling-rods1 the sides of the books extending over and the leaves hanging between4 ,the rods must be placed on an elevation at the top1 so as to allow the water to run gradually towards the bottom of the books2 and1 if the backs are required to be left plain1 another rod1 or piece of board1 grooved to the shape of the back1 placed on them4 ,to avoid the scum arising from the beating of the brushes over the colours1 it is better to rub the ends of the bristles on the palm of the hand1 on which a little oil has been spread4 ,these preliminaries being settled1 the operation of marbling commences1 for which we shall now give directions4 ,,common ,,marble4 ,the book being placed on the rods1 throw on the water prepared for marbling in large drops1 with a coarse brush1 or bunch of quills1 till the drops unite4 ,then1 with a brush charged with the black liquid and beaten on the press-pin as directed for sprinkling the edges1 a number of fine streaks are produced by throwing the colour equally over the cover4 ,afterwards the brown liquid must be similarly thrown over4 ,when the veins are well struck into the leather1 the water must be sponged off and the book placed to dry4 ,if the volume has been previously coloured with any of the preparations before described1 and it is wished to produce a marble thereon1 the brown must be thrown on first1 and then the black2 as without this precaution the marble would not strike1 because of the acid which forms part of the colours4 ,this observation being applicable to all the other designs1 it will not be necessary again to repeat it4 ,,another4 ,throw on the vinegar-black1 then the brown1 and lastly a sprinkle of vitriol-water4 ,,purple ,,marble4 ,colour the cover two or three times with hot purple liquid1 and1 when dry1 glaire4 ,then throw on water1 and sprinkle with strong vitriol-water1 which will form red veins4 ,,stone ,,marble4 ,after throwing on the water1 sprinkle boldly with the black liquid2 then1 with a sponge charged with strong brown1 drop the colour on the back in three or four places1 so that it may run down each side in a broad stream1 and afterwards operate with vitriol-water on the parts the brown has not touched4 ,,green ,,agate4 ,sprinkle black1 in nine times its quantity of water1 in large drops over the whole surface of the cover1 and when the drops unite apply on the back at regular distances the green liquid1 so that it may flow on the boards and unite with the black4 ,,blue ,,agate4 ,proceed as above1 only substituting blue in place of the green1 weakened with water according to the shade required4 ,,fair ,,agate4 ,commence by sprinkling black in small drops at a good distance from each other2 afterwards sprinkle equally over large drops of weak potash4 ,,agatine4 ,proceed as for the green agate1 and then sprinkle scarlet all over the cover2 finally1 throw on blue in small drops1 weakened in four times the quantity of water4 ,,levant ,,marble4 ,after the water1 throw on the back-brown in broad streaks as directed for the stone1 and then in like manner the aqua regia4 ,this will be found to imitate closely the ,levant marble4 ,,porphyry ,,vein4 ,throw on large drops of black diluted in double the quantity of water4 ,when the colour has struck well into the leather1 sprinkle in the same manner brown mixed equally with water4 ,then apply a sprinkle of scarlet1 and afterwards large spots of yellow1 the liquid nearly boiling4 ,while these colours are uniting1 throw on weak blue1 and then aqua regia1 which1 flowing together down the sides of the book1 will form the vein distinctly4 ,,red ,,porphyry4 ,sprinkle with black in eight times the quantity of water1 very equal and in small spots4 ,let it dry1 rub1 and glaire4 ,then give two or three sprinkles of fine red1 and one of scarlet1 and again leave to dry4 ,finally1 sprinkle scarlet in small spots as equally as possible4 ,,green ,,porphyry4 ,for this design the cover must be finely sprinkled over three separate times1 leaving the colour to search and dry between each4 ,the green must be brought to the shade required by mixing with water4 ,to form a more elegant vein1 sprinkle first with weak black1 and afterwards with green1 and when dry with fine red4 ,,porphyry4 ,this marble1 imitating the eye of the partridge1 is executed by throwing on black in eight times its volume of water1 in small drops1 but so close as to just run into each other4 ,when the black begins to flow1 sprinkle over brown mixed equally with water4 ,let it dry1 wash the whole with a sponge1 and before quite dry again give it two or three coats of fine red4 ,after being dry and well rubbed1 sprinkle equally over the surface large drops of aqua regia4 ,,another4 ,colour the cover with red1 yellow1 blue1 or green1 and1 when dry1 with black diluted as above2 let this also dry1 and then sprinkle over large or small drops of aqua regia4 ,the eye of the partridge is properly formed with blue sprinkled upon the weakened black1 and1 when dry1 with the killed spirit or aqua regia4 ,,rock4 ,throw on large drops of black prepared as for the porphyry1 and1 when half dry1 weakened potash in the same manner4 ,when dry again1 sprinkle on equally small spots of scarlet1 and lastly aqua regia4 ,,granite4 ,mix black in about fifty times its quantity of water1 and sprinkle equally over very fine1 repeating it as it dries five or six times4 ,then1 in like manner1 sprinkle over with brown1 and1 after rubbing well1 glaire lightly4 ,finally1 sprinkle finely over with aqua regia4 ,,tree-,,marbles4 ,these marbles1 which were first executed in ,germany1 from whence they passed into ,england1 are formed by bending the boards in the middle1 so that the water and colours flow from the back and fore-edge to the centre1 in the form of branches of trees4 ,those who have never seen the tree-marbles of ,mr4 ,clarke1 of ,london1 can form but little idea of the beauty of which this style is susceptible4 ,the name is also given to such as are made to imitate the grain of the wood4 ,,walnut4 ,formed by sprinkling black and brown only1 as for the common marble4 ,,cedar4 ,after sprinkling as for the walnut1 and before perfectly dry1 apply lightly a sponge presenting large holes dipped in orange upon various places on the cover1 so as to form a description of clouds4 ,afterwards apply the fine red1 with a similar sponge1 nearly upon the same places1 and when dry give the whole two or three coats of yellow1 taking care that each penetrates evenly into the leather4 ,,mahogany4 ,the proceedings are nearly the same as for the walnut1 the difference being merely in sprinkling the black more boldly1 and1 when perfectly dry1 giving two or three uniform coats of red4 ,,box4 ,in order to imitate the veins contained in box1 the boards must be bent in five or six different places and in divers ways4 ,after placing the book between the rods1 throw on the water in small drops1 and proceed as for the walnut4 ,after being perfectly dry1 throw water again in large drops1 and sprinkle on small spots of blue1 diluted equally with water2 and1 when again dry and rubbed well1 apply the scarlet with a sponge as directed for the cedar4 ,finally1 when dry1 give two or three coats of orange1 and the design is complete4 ,,wainscot4 ,colour with strong brown1 glaire1 and place between the rods1 with the boards flat4 ,throw on weak black in large spots1 then brown in like manner1 and1 lastly1 sprinkle boldly with vitriol-water4 ,,variegated4 ,marble as for the walnut1 and then put on each board a circle1 oval1 or other figure1 and apply weak black on the outer parts4 ,when dry1 give it a good coat of red1 and1 after throwing on spots of scarlet1 take off the figures1 and wash well the parts where the latter colour has been used4 ,finally1 give the oval two coats of yellow1 or other colour1 with a camel's-hair brush4 ,,marbling ,,on ,,paper4 ,the sides of a half-bound book1 which will be covered with paper1 may be marbled to correspond with the effect produced on the leather by the action of the black and brown at the same time4 ,this is performed by pasting firm white paper on the sides1 and colouring with a mixture of four ounces of nutgalls and a small portion of powdered sal-ammoniac boiled well together1 which will take the black and brown nearly equal to leather4 ,,sprinkles4 ,this is another ornament on the covers of books1 capable of being much varied4 ,a few of the most general use are given1 premising that any of the colours arranged as for the marbles above1 or sprinkled on the uniform colours1 will be productive of a beautiful effect4 ,the books must be pastewashed over1 but not glaired4 ,,nutmeg4 ,sprinkle very finely with black and then with brown4 ,if wished to produce a finer effect1 give a sprinkle of vitriol-water4 ,,ring4 ,put about a teaspoonful of vitriol to a cup of the black1 and sprinkle coarsely over4 ,if the ring is not sufficiently strong1 add more vitriol4 ,,tortoise-,,shell4 ,wash the cover with yellow1 and sprinkle very boldly with black4 ,when dry1 spot with a sponge1 as before directed1 with blue1 red1 and black1 each colour being left to dry before the next is applied4 ,in concluding the description of the marbles and sprinkles1 it may be remarked that1 with a little taste1 the workman might vary the designs to upwards of one hundred different patterns2 also that each colour should be allowed to properly strike into the leather before another is used4 ,panes1 or blank spaces1 are formed by placing squares1 c4 of pasteboard on the sides1 which prevents the colours touching the leather when sprinkling4 ,after the design is completed1 the covers should be well rubbed with a woollen cloth or the ball of the hand1 to remove the whole of the refuse of the colour1 which will be found to corrode on the surface of the leather4 ,,uniform ,,colours4 ,before proceeding to execute any of the colours1 the books must be well and evenly paste-washed1 and left till perfectly dry4 ,it will also be necessary to observe that the black will become darker in all the subsequent operations of colouring1 glairing1 and polishing1 so that attention must be paid not to use this liquid too strong4 ,,light ,,brown4 ,wash the cover with vitriol-water till perfectly uniform in colour1 and then with brown to the shade desired4 ,,another4 ,mix a small quantity of annatto with the potash liquid1 and use hot4 ,this will produce a beautiful tint4 ,,dark ,,brown4 ,colour with weak black till a slate-shade is produced1 and then apply the brown three or four times1 as taste may dictate4 ,others might be added1 but the proceedings are the same1 varying only the quantity of colour according to the shade4 ,the nut-brown liquid will produce beautiful tints4 ,,corinthian ,,grape4 ,the proceedings are the same as for the last colour1 adding two or three coats of fine red4 ,,common ,,grape4 ,proceed as for the last1 omitting the brown after the black4 ,,blue4 ,after giving four or five coats of the chemical blue diluted with water1 wash lightly with weakened aqua regia1 which will take off the green reflection produced by the yellow tint of the leather4 ,,green4 ,give three or four coats of the green liquid1 extended in water according to the shade required4 ,any of the other colours noticed in the preparations may be thus executed4 ,,olive4 ,after giving a slate-colour1 apply yellow1 boiled with a small portion of blue1 on the cover1 rubbing it equally in while hot1 to insure uniformity4 ,,pearl ,,gray4 ,this colour must be executed carefully1 so as to be perfectly uniform and without stains4 ,colour over with exceedingly weak black liquid1 till a pale gray is produced4 ,the weaker it is1 the better will the workman succeed4 ,then pass over a light coat of fine red mixed in a large portion of water1 so as to give a light red reflection scarcely distinguishable4 ,,slate4 ,use the black liquid a little stronger than for the last1 and omit the red4 ,,black4 ,for common purposes1 the black may be formed in the way adopted for other colours2 but1 in many instances1 it is necessary to produce a colour having the appearance of japan1 and which will require more labour and attention4 ,wash the book over with brown till a dark shade is formed2 then1 with a piece of woollen cloth1 apply the black liquid mixed with japan1 which will produce a beautiful black4 ,this colour should have a good coat of vellum-size before glairing4 ,or it may be better to finish off with the varnish given in another part of the work4 ,nutgalls1 copperas1 and gum-arabic1 are used by many1 and will be found to produce a good and bright colour4 ,,gold ,,marbles1 ,,landscapes1 ,,etc4 ,these designs1 if properly executed1 are the most beautiful that can be imagined4 ,the labour and care1 however1 requisite1 must ever confine them to superior bindings1 for which a high price is given1 to indemnify the workman for the time required to produce the proper effect4 ,the imitation of the gold marbles is not an easy task2 but a knowledge of the art of painting1 and a clever management of the brush1 will enable the workman to imitate the figure of the marble so true to nature as to be scarcely distinguishable4 ,,gold ,,marble4 ,this marble1 which will not require the ability to execute as those following it1 is the invention of ,m4 ,berth1 senior1 bookbinder of ,paris1 and may be executed on any kind of uniform substance4 ,take a piece of cloth1 exceeding the size of the volume1 and fold it equally2 lay it1 thus folded1 evenly upon a board1 and then open the other half1 and cover the board2 spread1 upon the half towards the left1 gold leaf to the size of the cover1 allowing such portion as the roll intended to be worked on it may take1 which will be a saving of gold2 then refold the cloth on the gold1 and press the hand above1 without moving the cloth1 so as to divide the gold into a number of small pieces4 ,the gold being thus prepared1 moisten the side of the volume with glaire mixed with water in equal proportion1 and place it on the cloth1 pressing above firmly with the hand4 ,care being taken not to disarrange it1 turn over the volume1 cloth1 and board1 and take the latter off1 replacing it with a sheet of paper1 and rubbing smartly above1 so as to attach the whole of the gold to the cover4 ,after this the cloth must be removed1 and the gold will be found equally fixed2 to further insure which lay on a sheet of paper1 and rub well with the palm of the hand4 ,to remove any gold that may appear on the part intended for the roll in gilding1 wet the end of the thumb1 form a sort of square with the fore-finger on the edge of the board to the size of the roll1 and rub the surface of the cover1 which will clear it with facility before the glaire is dry4 ,,lapis-,,lazuli4 ,this marble is of clear blue1 veined with gold1 presenting an appearance of the utmost splendour4 ,it is executed as follows3-- ,place the volume between rods as for marbling1 and with a sponge full of large holes1 dipped in chemical blue mixed in six times its volume of water1 make light spots1 similar to clouds1 at irregular distances2 then put in a quarter part more blue1 and make new clouds or spots a little darker4 ,repeat this operation six or seven times1 each time adding more blue4 ,all these coats will form stains in proper gradation1 as in the natural marble2 and to operate more properly1 it would be better to have a model1 either of the marble itself1 or skilfully painted4 ,the veins of gold1 which must not be laid on till the book is gilt1 and just previous to polishing1 are formed with gold in shell4 ,the substance used to make it take and hold firmly on the cover of the book is prepared with white of egg and spirits of wine in equal proportion1 and two parts of water1 beating all well and leaving it to clear2 then wet a small portion of gold-powder with the liquid1 mixing it with the finger1 and use it with a small camel's-hair pencil4 ,pass it on in different places1 so as to imitate the model1 according to the taste of the workman2 when done1 let it perfectly dry1 and polish with the polisher scarcely warm4 ,it will be perceived that by the use of other colours1 or two or three together1 many beautiful designs may be in like manner executed4 ,,landscapes4 ,many beautiful subjects may be formed on the sides of books by the workman skilled in painting2 and1 although coming more properly under the art of painting1 and being objectionable on account of producing a mingling of the arts1 so frequently exhibited upon volumes where the art of the bookbinder is superseded by that of the painter and jeweller1 the young workman should understand at least the process by which they are produced4 ,the volume is prepared by being pastewashed1 so as to present a uniform fawn colour1 the designs slightly traced1 and afterwards coloured according to the pattern1 the colours being mixed to the proper shade with water4 ,the shades must be tried on pieces of refuse leather1 as1 being spirit-colours1 when once laid on1 no art can soften them down if too strong2 and a peculiar lightness of touch will be necessary to produce effect4 ,portraits1 c4 may also be executed in this manner1 and many superb designs have at times been executed by the best binders of ,england and ,france4 ,m4 ,didot1 bookseller of ,paris1 presented a copy of the ,henriade1 published by himself1 to ,louis ,,xviii41 most elegantly ornamented in this style4 ,it was executed by ,m4 ,lunier ,bellier1 bookbinder of ,tours1 and exhibited on one side a miniature portrait of ,henry ,,iv41 and on the other a similar one of ,louis ,,xviii41 both perfect likenesses4 ,the greatest difficulty consisted in the portraits1 which were first imprinted on paper1 very moist1 and immediately applied to the cover1 on which they were impressed with a flat roller4 ,when perfectly dry1 they were coloured with all the art of which the binder was capable1 and the other ornamental paintings executed by hand4 ,this proceeding requires great care in the execution1 and will be applicable to any design where the binding will justify the expense4 ,,transferred ,,landscapes4 ,the art of transferring1 long practised in the ornamenting of fancy articles1 was judged equally practicable for forming a superior embellishment for the sides of books4 ,but the varnish necessary to be employed in the operation rendered the invention of no utility1 from the action of the heated polisher turning it white or causing it to shell off4 ,after several trials1 this difficulty is believed to be overcome1 by the employment of a very simple and common article in the office of the bookbinder1--viz43 new glaire1 well beaten up4 ,the proceeding is as follows3--,cut the print1 intended to be transferred1 close to the design on all sides4 ,let it steep in the glaire till it is well saturated with it4 ,during this time glaire the book twice1 letting it dry on each application4 ,take out the print1 place it exactly in the centre of the side-cover1 and1 laying a piece of paper above1 rub it sharply on the book1 so that it may adhere very closely4 ,remove the upper paper1 and with the finger rub off the paper gently until the printed design begins to appear1 wetting the finger in glaire should the paper get too dry4 ,the utmost attention will now be necessary1 for the least carelessness in removing the paper that still remains may entirely destroy the design1 and the whole of the previous labour be lost4 ,the paper must be gently removed1 piece by piece1 till the design only appears on the leather while damp4 ,when dry1 a white appearance will be presented1 arising from the small particles of paper adhering to the ink2 but these will be sufficiently hid on glairing the side previous to finishing4 ,the extent and variety to which1 at a small expense1 these designs may be carried1 with the finish and beauty given to the sides of books1 renders the subject worthy of the attention of the ornamental workman particularly2 but he must possess perseverance and carefulness in an eminent degree1 to carry it to perfection4 ,after the gilding or other ornament is executed1 the side must be finished off in the usual manner4 ,a slight coat of the varnish described in a subsequent part of the work will1 in this case1 give a superior finish4 ,the following directions1 and that of ,mr4 ,buchanan's1 are taken from the circulars of the ,finishers' ,friendly ,association of ,london3-- ,pictures on ,calf4--,we have heard of a process for transferring prints from the paper on which they had been printed to the sides of books bound in calf2 and in these days1 when novelty is so much sought after1 it might be worth some ,friendly's while to test its efficacy4 ,the side must be washed clean1 and1 while damp1 the print is laid thereon1 when1 after remaining some time in the arming-press1 it is said that a copy of the engraving will be found on the calf4 ,in sending one of these executed in colours by him twenty years ago1 a ,friendly corrects an error we committed1 by terming prints ,,pictures1 and writes1 ',in preparing the calf1 it is simply washed with thin paste-water2 when dry1 a coat or two of weak salts of tartar4 ,when perfectly dry1 you may proceed with any subject2 a very weak brown being generally used for its outline4 ,for all colours1 ,i use two cups of different strengths1 with quill-pens and brushes to each4 ,the green is composed of ,scott's liquid blue and ,french berries4 ,these are bruised and simmered from half a pint to a quartern1 then caused to boil1 and1 while in that state1 a pinch of burnt alum should be added to set the colour4 ,the slate is weak copperas2 red is obtained from ,brazil dust and vinegar1 or ,brazil chips boiled1 and solution of tin added4 ,the books had generally double bands--the lettering-pieces stained chocolate1 and the spaces between bands blacked1 or the colours moused1 morocco being too bright for the stained calf4 ,an octagon or square was coloured brown1 slate1 or sprinkled1 and in the centre a light ground4 ,was the subject to my fancy1 botanical works with a group of plants on the sides1 when polished and pressed in japanned tins1 had the neatest appearance4 ,landscapes1 animals1 insects1 shells1 c4 are all permanently fixed on the calf by the above-named colours4' ,he concludes by hoping 'the instructions are sufficiently plain to induce some aspiring ,f4 ,f4's to practise this almost forgotten branch of the art of finishing4' ,w4 ,,buchanan4 ,,ornamental ,,black ,,lines4 ,black lines in rays1 or intersecting each other in the form of diamonds or other devices1 on the sides of books1 which present a good appearance if well executed1 are ruled with steel or swan pens1 the nibs being formed to the size required by the boldness of the lines4 ,the vinegar-black mixed with a portion of gum-arabic1 to neutralize a part of the action of the acid and make it of a stronger consistency1 will be found to answer best4 ,whatever the pattern1 it should be slightly traced with the folder1 and the design be afterwards marked with the pen1 kept steady by the aid of a ruler4 ,,blacking ,,the ,,squares4 ,unless coloured uniformly1 the whole of the designs before described will not produce the best effect if the squares remain plain or variously tinted2 it is1 therefore1 necessary to black the edges and squares of the board1 and the cap over the head-band4 ,this is done with a piece of any firm soft substance on the edges1 and with a sponge within the volume1 sufficiently below the part where the end-papers will cover4 ,finally1 the covers should be well pastewashed and left to dry4 ,,bands ,,and ,,title-,,pieces4 ,where the backs are flat it will be necessary to mark the place intended for the bands in gilding4 ,for this purpose the binder should have patterns of the various forms and sizes cut out of thin board1 a little longer and double the breadth of the volumes1 so that they may be held firmly on the sides1 while the bands are marked across the back through the apertures cut in the pattern4 ,it is usual to give a double band at the bottom of the back1 and therefore this must be allowed for in the pattern1 which lengthened portion must be placed even with the edge of the boards at the tail of the volume1 and the bands marked with the folder4 ,by this plan the whole of the bands in sets of books will present a parallel line1 and the bad effect produced by the inequalities arising from compassing the distances and trusting to the sight will be avoided4 ,a great saving of time is also effected1 as the patterns once made will serve for a very considerable period4 ,on the fancy colours and sprinkles it is usual to attach lettering-pieces of morocco4 ,for this purpose the morocco1 or roan if common work1 is cut lengthways of the grain1 according to the space between the bands1 and the slip placed across the back to measure the breadth1 and then cut off4 ,then1 slightly damping on the flesh-side1 it must be pared as thin and equal as possible1 and the edges sloped evenly down1 so as to bring it to the exact size of the square it is to occupy4 ,should the back require two pieces1--viz43 another for the volume or contents1--it may be proper to vary the colour4 ,these title-pieces are pasted evenly on1 a portion of paste rubbed over them with the finger1 and then attached firmly and equally by rubbing down the edges with the folder1 when the paste must be well washed off with a clean sponge4 ,where economy is an object1 the squares intended for the title may be darkened with brown or black1 which will show the lettering very well4 ,,inlaid ,,ornaments4 ,to give some bindings in vellum1 calf1 or morocco an additional degree of splendour1 it is sometimes required to execute ornaments on the covers of a different colour2 and1 as this is an important manipulation1 it will be necessary for the young workman to understand it4 ,let the pattern be worked in blind upon the volume1 taking care to have it well impressed4 ,pare morocco of the colour desired evenly and thin4 ,while damp1 place it upon that portion of the pattern to be inlaid1 and press upon it with the fingers4 ,the outline of the figure will appear through the morocco4 ,then lay it upon the paring-stone2 and1 with the same gouges with which the pattern has been executed1 proceed to cut out the morocco4 ,the gouges used for this kind of work should be made of steel4 ,the same directions will apply to fancy titles for flat backs4 ,after the pieces have been properly cut out1 the workman will proceed to paste them evenly and adjust them in their place upon the volume4 ,when dry and prepared1 the book will then be ready for gilding1 and when covered with the gold ornament the joints of the leather will not be perceptible1 if well executed4 ,the gouges must be worked upon the edge of the morocco4 ,this kind of ornament is more frequently executed on calf than any other substance4 ,,colours4 ,in connection with inlaid ornament1 we give a few hints to guide the workman in choice of colours4 ,much of the effect produced will result from the relations which the colours will bear to each other4 ,a well-executed piece of work may be spoiled by the injudicious selection of colours4 ,if the finisher be ignorant of the lessons which nature teaches in the distribution of colours1 he cannot expect to please a connoisseur whose taste has been corrected and refined by a study of the harmonies of colours4 ,,numerical ,,proportions ,,of ,,homogeneous ,,colours4 ,yellow1 #c4 ,red1 #e4 ,blue1 #h4 ,,secondaries4 #c ,yellow ,orange4 #e ,red ,these are contrasting colours to the primaries with which they produce #e ,red ,purple4 harmony in opposition3--the orange #h ,blue with the blue1 the purple with the yellow1 and the green with the red4 #c ,yellow ,green4 #h ,blue ,,tertiaries4 ,purple ,olive4 ,green ,the tertiaries stand in the same relation to the secondaries that the secondaries ,green ,citron4 do to the primaries3--olive to ,orange orange1 citron to purple1 and russet to green4 ,orange ,russet4 ,purple ,yellow is melodized by orange on one side and green on the other2 blue by green and purple1 and the red by purple and orange4 ,,pasting ,,the ,,end-,,papers1 ,,joints1 ,,etc4 ,the volume being laid upon the table or press1 with the head towards the workman and the upper board open1 the guard or false end-paper must be removed and all other substances cleared out of the joint with the folder4 ,the paper to be pasted on the board is cut at each end1 so as to show the same margin as on the fore-edge1 and pasted evenly over4 ,it is then carefully laid upon the board4 ,the position being adjusted1 a piece of white paper should be laid thereon1 and the whole rubbed perfectly even with the flat of the hand4 ,then with the folder rub perfectly square on the joint4 ,the volume1 with the board open1 may then be turned1 and the other side done in the same way4 ,if it is intended to execute a gilt border or blind tooling in the interior of the cover1 it will be important that no part of the end-paper covers it4 ,to avoid this1 a slip must be cut off at the head1 tail1 and on the fore-edge1 proportionate to the extra breadth of the border over the square4 ,or1 if morocco joints have been placed in the volume1 the two corners of the portion left to be attached to the boards must be cut1 to prevent their showing above the end-paper1 which is to be pasted over and would disfigure the edge1 taking care to leave as much leather as will cover perfectly such portion as is intended for the joint and square of the board1 so that1 when the paper is pasted on1 it will not be perceived that the corners have been cut off4 ,pare the edge of the leather where the part is cut off on a small board or folder placed underneath2 afterwards paste the joint on the edge of the board1 attach it neatly with the thumb1 finger1 and folder1 and1 when dry1 paste thereon the marbled or coloured paper cut to the proper size4 ,for the best class of work the morocco joint is placed in the volume by the finisher after the book is covered4 ,if the ends are of silk1 it will be necessary to leave the silk sufficiently large to turn the edges over a piece of paper that has been cut to the required size1 and in order to preserve the gloss and richness of the silk it should not be pasted on the paper upon which it is placed1 except where it is turned over the edge of the paper4 ,the paper is then lightly glued over and adjusted upon the board4 ,this method also prevents the silk from ravelling or presenting a jagged edge4 ,in all cases1 however1 where the border is gilt or otherwise ornamented1 below the level of the edges of the volume1 the ends must not be pasted down till after that operation is completed1 as the glaire and oil would be liable to stain1 and present a bad effect4 ,illustration3 ,,standing-,,press4 ,for inferior bindings1 where the end-papers are left plain1 the last two leaves being merely pasted together1 the ends will only require pasting1 and attaching by placing the volume between boards1 and screwing firmly in the standing-press1 immediately after which it must be taken out and the boards opened1 so as to make the joints free4 ,almost every class of work except velvet and ,turkey morocco requires to be submitted to the action of the standing-press after the end-papers have been pasted down1 and then allowed to become perfectly dry by leaving the boards open4 ,our illustration is taken from a standing-press manufactured by ,w4 ,o4 ,hickok1 ,harrisburg1 ,pa4 ,in all the departments1 but especially in finishing1 cleanliness is of the utmost importance4 ,it matters not how graceful may be the design1 how perfectly the tools may be worked2 all may be spoiled by a volume having a dirty appearance4 ,therefore1 have every thing clean about you1--cups1 sponges1 and brushes4 ,let your size1 pastewash1 and glaire1 be clean2 your oil-cotton the same4 ,do not lay on the gold until the preparation is dry4 ,after the working of your tools1 be particular in cleaning off the gold1 so that no portions or specks remain that should not1 for they will have the appearance of dirt4 ,in calf-work1 especially1 be careful of grease1 or of any thing that will soil the leather4 ,in summer-time great care must be taken to protect your work from the flies1 particularly after your backs are worked off4 ,the little pests will eat the glaire off in places1 and give the book an unsightly appearance4 ,,varnish1 ,,as ,,used ,,in ,,bookbinding4 ,the first1 by the celebrated ,tingry1 is made in the following manner3-- ,put into a vessel six ounces of mastic1 in drops1 three ounces of sandarac finely powdered1 four ounces of coarsely-broken glass1 separated from the dust by a sieve1 and thirty-two ounces of spirits of wine1 of about forty degrees4 ,place the vessel upon straw in another filled with cold water2 put it on the fire and let it boil1 stirring the substances together with a stick1 to keep the resins from uniting4 ,when the whole appears well mixed1 put in three ounces of turpentine1 and boil for another half-hour1 when the whole must be taken off and stirred till the varnish and the water in which it is placed cools4 ,next day1 filter it through a fine cotton1 by which means it will acquire the greatest degree of limpidity1 and well cork up in a bottle4 ,the other recipe is given by ,mons4 ,f4 ,mairet1 of ,chtillon sur ,seine1 and may be prepared similar to the above4 ,the ingredients are1 three pints of spirits of wine1 of thirty-six to forty degrees1 eight ounces of sandarac1 two ounces of mastic in drops1 eight ounces of shell-lac1 and two ounces of ,venice turpentine4 ,the varnish is first put on the back of the book with a camel's-hair brush as lightly as possible4 ,when nearly dry1 it is polished with a ball formed of fine white cotton1 filled with wool1 on which has been rubbed a small quantity of olive-oil1 to make it glide freely2 it must be rubbed at first lightly1 and1 as fast as the varnish dries and becomes warm1 more sharply4 ,the sides are in like manner polished one after the other4 ,varnish is applied after the volume has been polished by the iron1 in order to retain the brilliancy and preserve the volume from the bad effects produced by flies eating off the glaire4 ,the manufactured article now in general use is applied by a soft sponge being lightly passed over the volumes after a small portion of varnish has been applied to the sponge4 ,,stamping4 ,for gilding the sides and even backs of publishers' work1 or in fact any other where a quantity of gilding is desired at little expense1 the stamping-press is brought into requisition1 and by means of tools cut for the purpose1 called blocks or stamps1 the design is impressed on the side4 ,these stamps may be made of very small pieces1 and1 by having a number of them1 the patterns produced may be almost indefinite4 ,the stamps are affixed to an iron or brass plate1 called a back or foundation-plate1 upon which a piece of stout paper has been glued4 ,then let the workman mark upon the plate the exact size of the side to be stamped1 marking it evenly with the compasses1 so as to justify the stamps2 then strike the centre1 and draw lines upon the paper from the centre1 so as to divide it into squares or to any given part1 so as to afford freedom for selection in the starting-point of the design4 ,for it must be manifest that if a workman starts all his patterns from the same point1 notwithstanding he may have a variety of tools at his disposal1 his patterns will exhibit a great deal of uniformity4 ,let the paper be glued equally over the surface1 and proceed to form the pattern by arranging the stamps upon the plate so as to exhibit the design4 ,a great deal of taste can be displayed in the formation of patterns for stamping2 but1 in consequence of the public generally desiring a mass of gilt gingerbread-work1 this branch has been but little cultivated2 the prevalent opinion among stampers being that it is no matter what is put upon the side so that it is well covered with gold4 ,publishers find those books that are the most tawdrily gilt are soonest disposed of2 hence1 every thing is sacrificed to a gaudy exterior4 ,it is to be hoped that the art will be relieved from this degraded ornamentation4 ,stampers themselves can do something to purify and correct the public taste by avoiding the unmeaning collections confusedly huddled together1 so often seen upon sides4 ,every remark in regard to style1 design1 and combination of tools in the hand-finisher's department applies with equal force to stamp-work2 and1 although the stamps used in the latter are not so plastic as those in hand-work1 still great results will be achieved2 for1 notwithstanding the superiority of hand-work for artistic expression and permanence1 press-work will always maintain a prominent position in the art1 producing1 as it does1 striking results at a trifling expense4 ,after the pattern is formed1 take a little paste and touch the under side of each stamp1 and place them in exact position4 ,after this is done and the paste has become hard1 lay the stamp or pattern thus formed upon the side of the volume1 taking care to have the same margin on the front1 back1 and ends4 ,then place the board or side upon which the stamp is placed upon the platen or bed of the stamping-press1 leaving the volume hanging down in front of the platen1 which is then moved to the centre of the upper platen1 so that the clamps will touch the plate on both edges at the same moment2 then pull the lever so as to put a slight pressure upon the plate in order to keep both it and the side in their proper place2 then adjust the guides to the fore-edge and head or left-hand side1 and screw them fast2 throw back the lever1 take out the book2 examine and correct any irregularity in the margin of the pattern by moving the guides4 ,when perfectly square1 place a soft pasteboard under the stamp1 pull down the press1 and apply heat4 ,this will set the stamps or harden the paste and glue in a short time1 so that they will not fall off in stamping--a great annoyance4 ,work for stamping does not require so much body or preparation as if it were to be gilt by hand4 ,morocco can be worked by merely being washed with urine2 but it is safer to use a coat of size1 or glaire and water mixed in proportions of one of the former to three of the latter4 ,grained sheep1 or1 as it is called1 imitation-morocco1 requires more body to gild well4 ,after the books are ready for laying on1 the gold-leaf is cut upon the cushion to the required size1 or1 if the volume be large and the stamp will cover its superficial extent1 the leaf may be lifted from the gold-book by means of a block covered with wadding or cotton lap and laid immediately upon the side4 ,after an oiled rag has been lightly passed over the surface of the leather to cause the gold to adhere until it is put under the press1 examine the press to see if sufficiently heated for the purpose4 ,a little experience will soon determine the requisite amount of heat as a general rule4 ,leather-work does not require as hot a tool for stamping as for hand-work1 while cloth or muslin-work requires a short1 quick stroke1 and the press to be hotter than for leather4 ,in most binderies the stamping-press is heated by introducing steam or gas through tubes perforated for the purpose2 though a few still use the heaters1 which1 after being heated in a furnace1 are placed in the holes of the upper platen4 ,after the press is properly heated1 throw back the lever2 take out the pasteboard from under the stamp2 regulate the degree of pressure required for the stamp2 then place the side to be stamped upon the bed-plate1 holding it firmly against the guides with the left hand1 while with the right the lever is quickly drawn to the front4 ,this straightens the toggles and causes a sharp impression of the stamp upon the leather2 immediately throw back the lever2 take out the side1 and rub off with a rag the superfluous gold4 ,repeat the operation upon the other side1 unless the stamp be of an upright design2 it will then be necessary to turn the stamp in the press before operating upon the other side4 ,case-work or covers that are stamped before being put upon the books are done in the same manner1 the backs being also stamped before being glued on4 ,the preceding cut of a stamping-press for gilding light work1 lettering1 c41 is of the most approved construction1 while for large1 heavy work1 either gilt or stamped blind1 7embossed1 as it is erroneously called17 and for cloth-work generally1 the wheel-press is best adapted4 ,it can be worked either by hand or by power4 ,the fly-wheel can be kept revolving while the workman is engaged in feeding the press4 ,the lever is used for light work4 ,it will be perceived that the upper platen of this press1 to which the stamp is attached1 is stationary1 thereby giving great advantages in arranging pipes for heating by gas1 and also for carrying off the smoke and unconsumed gas that would otherwise escape into the room4 ,these presses are manufactured by ,i4 ,adams ,co41 ,boston4 ,illustration3 ,,lettering ,,and ,,gilding ,,press1 ,no4 #a4 ,illustration3 ,,embossing ,,press1 ,no4 #b4 ,a description of the various processes to produce by stamping the rich effects of inlaid work will be found under the head of ,illuminated ,binding and that of ,inlaid ,ornaments4 ,for publishers' work it is a point of economy to have a steel-cutter that will cut out the pattern at one blow4 ,for this kind of work1 coloured ,german paper is used instead of leather for inlaying4 ,thin boards are cut out with the aid of steel-cutters and the stamping-press1 and affixed to the volumes2 and1 after they are covered1 they are stamped in gold and blind with patterns corresponding with the figure of the cutter4 ,this can only be applied where there are a large number of volumes1 although single volumes may be cut out by hand at an increase of expense4 ,the modernized ,gothic design 7,plate ,,ix47 is intended for a side-plate1 to be worked either in gold or blank4 ,the light floriated design 7,plate ,x47 is calculated to be worked in gold1 and is a good illustration of the prevailing treatment of the style for which it has been expressly designed4 ,the pattern upon ,plate ,,xi4 is intended for press-work1 to be blank-stamped4 ,the contrast of light and heavy work producing a fine effect1 it is well adapted for a side-stamp1 especially for cloth-work4 ,illustration3 #i4 ,modernized ,gothic4 ,illustration3 #aj4 ,modern ,floriated ,design4 ,illustration3 #aa4 ,expressly for ,cloth after ,holbein's ,style4 ,plate ,,xii4 is a graceful design from a ,hint of ,mr4 ,leighton's4 ,it is suited for a side-stamp1 to be worked in gold2 and with it closes our illustrations of design4 ,illustration3 #ab4 ,from a hint of ,leighton4 ,to obviate a difficulty that the young finisher will experience in his first attempts at designing1 let him select a good quality of sized paper1 cut it to the required size1 then fold it carefully into four parts1 and draw his pattern boldly upon one of the four corners with a lead-pencil4 ,after that is done1 slightly damp the opposite corner1 fold the drawn portion so that it comes in contact with the damp surface1 and rub it upon the back1 so as to transfer the outlines of the drawing4 ,when it appears with sufficient distinctness1 trace it carefully over with the pencil1 and repeat the process upon the other corners until the pattern is complete4 ,this method insures accuracy and expedition4 ,in working a pattern with gouges or with intersected lines1 the same principle is applied1 so as to reproduce the pattern precisely alike at the four corners1 and to save time4 ,in this case the paper is folded1 and one impression of the tool answers for both sides of the pattern4 ,let the young finisher but feel a love for his art1 make himself familiar with the best specimens1 and determine to excel2 and eventually his productions will be esteemed1 his ability command the best situations1 and he will be recognised as an artist4 ,,cutting-,,machines4 ,for cutting paper1 pamphlets1 and books out of boards1 a number of machines have been invented1 and are used in many binderies1 especially in those where large quantities of cloth-work are bound4 ,they have been found to answer for this class of work very well4 ,some of them operate with sufficient nicety to cut books for case-work that are intended for gilt edges1 when they are not to be scraped4 ,for first-class work1 cut in boards1 nothing has been discovered to supersede the old-fashioned mode of cutting with the plough and press4 ,illustration3 ,,patent ,,paper ,,and ,,book ,,trimmer4 ,the above cut of one of these machines1 from the manufactory of ,i4 ,adams ,co41 ,boston1 will serve to convey a general idea of its appearance2 and the names of the makers are a sufficient guarantee of the mechanical perfection of its details4 ,,translation ,,of ,,dates4 ,many old books have their dates printed in a manner which puzzles the finisher1 should he be required to date any so printed1 which are too thin to admit of its being done as on the title-page4 ,the following key is here given1 as it may be found useful in such cases3--c4 #ajj2 ,ic1 or ,d1 #ejj2 c,ic or ,m1 #ajjj2 ,icc1 #ejjj2 cc,icc1 #aj1jjj2 ,iccc1 #ej1jjj1 ccc,iccc1 #ajj1jjj4 ,thus1 c,ic1 ,ic1 ,,clxxxv#aaa--afhh4 ,while on this subject1 it may not be inappropriate to notice the dating of some books printed in ,france during the republic in that country4 ,thus1 ,an4 ,,xiii4--#ahje1 that being the thirteenth year of the republic1 which commenced in #agib4 ,,restoring ,,the ,,bindings ,,of ,,old ,,books4 ,old bindings often look badly on account of the leather becoming dry and cracked1 or the surface of the skin having been rubbed off in places4 ,to obviate this1 take a small quantity of paste and rub it carefully with the finger upon the portions that require it2 after it is dry1 wash the volume carefully over with a thin solution of glue size4 ,when dry1 the volume may be varnished1 and afterwards rubbed over with a cloth in which a few drops of sweet oil have been dropped4 ,,supplying ,,imperfections ,,in ,,old ,,books4 ,it often occurs that a valuable and rare work has a leaf torn or missing4 ,in order to supply it1 the first step will be to obtain the use of a perfect copy as a model4 ,then procure paper of the same colour as the leaf to be mended1 and cut it carefully to correspond with the torn portion4 ,after the piece has been neatly adjusted1 tip it and the leaf1 very lightly1 along the edges with paste made of rice-flour2 then place a piece of tissue-paper on both sides of the leaf1 and smooth it carefully with the folder2 then close the volume and allow it to remain until perfectly dry4 ,then proceed to remove the tissue-paper1 and it will be found that the portions that adhere where the joining occurs will be strong enough to secure the piece to the leaf of the book4 ,the letters may be then copied from the perfect copy and traced upon the inserted piece4 ,the general appearance will depend upon the skill displayed in order to produce a successful imitation of the original4 ,,hints ,,to ,,book-,,collectors4 ,never write your name upon the title-page of a book4 ,have your books cut as large as possible1 so as to preserve the integrity of the margin4 ,do not adopt one style of binding for all your books4 ,let the bindings upon your books be characteristic of the contents and of the value of the work4 ,employ ,turkey morocco for large works or for books that you have in constant use4 ,it is the most durable material used in binding1 except ,levant morocco1 which is very expensive4 ,english coloured calf makes a beautiful covering1 and bears full gilt tooling better than morocco4 ,the latter1 if too richly charged1 is apt to look tawdry4 ,let the durability and neatness of your bindings be the primary requisites4 ,ornament judiciously and sparingly1 rather than carelessly or gaudily4 ,poetry and sermons are not to be treated alike1 either in colour or degree of ornament to be employed4 ,the value of a library will be enhanced by the amount of knowledge and taste displayed in the bindings4 ,russia leather is no protection against worms1 and it speedily cracks along the joint4 ,uncut books will command a higher price than those that are cropped4 ,to bind a book well1 it should have ample time to dry after each process4 ,when you receive a volume from the binder1 place it upon your shelf in such a manner that the adjoining volumes will press tightly against it and keep it closed2 or1 if you lay it upon your table1 place other volumes upon it1 to prevent the boards from warping1 and do not1 for some time1 use it near the fire4 ,upon opening a volume1 do not grasp the leaves tightly in your hands4 ,you might thereby break the back4 ,if the book is too tight in the back1 lay it upon a flat surface1 and open it by taking a few sheets at a time1 and lightly pressing upon the open leaves1 going thus from the beginning to the end1 until the requisite freedom is obtained4 ,use a paper-knife1 or folder1 to cut up the leaves of your uncut books1 so that the edges will be smooth and even2 otherwise the book will have to be cut down when it is bound4 ,do not bind a newly-printed book4 ,it is liable to set off in the pressing4 ,never destroy an original binding upon an old volume if the binding be in tolerable condition4 ,an old book should not be rebound1 unless it is essential to its preservation2 and then it should be1 as far as possible1 a restoration4 ,carefully preserve old writings and autographs upon fly-leaves1 unless they are trivial4 ,it is an act of courtesy to the former owner of a book to place his book-plate on the end-board of the volume4 ,any blank-leaves that occur in old volumes should not be removed4 ,the bastard or half title should always be preserved4 ,have all oblong plates placed in such a manner that the inscription under them will read from the tail to the head of the volume4 ,never bind a large map with a small volume4 ,it is liable to tear away2 and1 in pressing the volume1 it makes unseemly marks4 ,maps and plans should be affixed to blank leaves1 so as to open clear of the volume1 that the reader may have the plan and text to examine together4 ,it is a false economy to bind up a number of volumes together1 especially if they are of different sizes and upon different subjects4 ,keep your books dry1 but not too warm4 ,gas is injurious in a library1 especially to the gilding upon the books4 ,do not place books with uncut tops where the dust will fall upon them4 ,it will penetrate between the leaves and mar the interior of the volumes4 ,avoid placing books with clasps or carved sides upon the shelves4 ,they will mark and scratch their neighbours4 ,never fold down corners1 or wet your fingers1 when reading or turning over the pages of a book4 ,do not read a book at table4 ,crumbs are apt to penetrate into the back-fold of the leaves4 ,books are not intended for card-racks or for receptacles of botanical specimens4 ,never leave a book open1 face downward1 under the pretext of keeping the place4 ,if it remain long in that condition1 it will probably ever afterwards jump open at that place4 ,never pull books out of the shelves by the head-bands1 or suffer them to stand long upon the fore-edge4 ,books should not be toasted before a fire or be converted into cushions to sit upon4 ,saturate a rag with camphor1 and1 when dry1 occasionally wipe the dust from your books with it1 and you will not be annoyed with book-worms4 ,treat books gently2 for books are kind friends4 ,we benefit by their advice1 and they exact no confessions4 ,technical ,terms ,,used ,,in ,,bookbinding4 ,all-,along4--,when a volume is sewed1 and the thread passes from kettle-stitch to kettle-stitch1 or from end to end in each sheet1 it is said to be sewed all-along4 ,asterisk4--,a sign used by the printers at the bottom of the front page of the duplicate-leaves printed to supply the place of those cancelled4 ,backing-,boards4--,are used for backing or forming the joint4 ,they are made of very hard wood or faced with iron1 and are thicker on the edge intended to form the groove than upon the edge that goes towards the fore-edge1 so that the whole power of the laying-press may be directed towards the back4 ,backing-,hammer4--,the hammer used for backing and rounding3 it has a broad1 flat face1 similar to a shoemaker's hammer4 ,bands4--,the twines whereon the sheets of a volume are sewn4 ,when the book is sewed flexible the bands appear upon the back4 ,when the back is sawn so as to let in the twine1 the appearance of raised bands is produced by glueing narrow strips of leather across the back before the volume is covered4 ,band-,driver4--,a tool used in forwarding to correct irregularities in the bands of flexible backs4 ,bead4--,the little roll formed by the knot of the headband4 ,bleed4--,when a book is cut into the print it is said to bleed4 ,bevelled ,boards4--,very heavy boards for the sides champered around the edges4 ,blind-,tooled4--,when the tools are impressed upon the leather1 without being gilt1 they are said to be blind or blank4 ,boards4--,are of various kinds1 such as pressing1 backing1 cutting1 burnishing1 gilding1 c4 ,the pasteboards used for side-covers are termed boards4 ,the boards used for cutting books out of boards are called steamboat-boards4 ,tinned boards are used for finished work2 while brass or iron-bound boards are used for pressing cloth-work4 ,bodkin or ,stabbing-,awl4--,a strong point of iron or steel1 fixed on a wooden handle1 to form the holes in the boards required to lace in the bands4 ,used also for tracing the lines for cutting the fore-edge4 ,bole4--,a preparation used in gilding edges4 ,bolt4--,the fold in the head and fore-edge of the sheets4 ,also the small bar with a screw used to secure the knife to the plough4 ,bosses4--,brass plates attached to the sides of volumes for their preservation4 ,broke up4--,when plates are turned over and folded at a short distance from the back-edge1 before they are placed so as to enable them to turn easily in the volume1 they are said to be broke up4 ,the same process is sometimes applied to the entire volume4 ,burnish4--,the effect produced by the application of the burnisher to the edges4 ,burnishers4--,are pieces of agate or bloodstone affixed to handles4 ,cancels4--,leaves containing errors which are to be cut out and replaced with corrected pages4 ,caps4--,the leather covering of the headband4 ,applies also to the paper envelopes used to protect the edges while the volume is being covered and finished4 ,case-,work4--,work in which the boards are covered and stamped4 ,the volume is then glued upon the back and stuck into them4 ,catch-,word4--,a word met with in early-printed books at the bottom of the page1 which word is the first on the following page4 ,now used to denote the first and last word in an encyclopdia or other book of reference4 ,centre-,tools4--,are single1 upright1 or independent tools used for the middle of the panels by the finisher4 ,clearing ,out4--,removing the waste-paper and paring away any superfluous leather upon the inside1 preparatory to pasting down the lining-paper4 ,collating4--,examining the signatures1 after the volume is gathered1 to ascertain if they be correct and follow in numerical order4 ,corners4--,the triangular brass tools used in finishing backs and sides4 ,the gilt ornaments used on velvet books4 ,also1 the leather pasted on the corners of half-bound books4 ,creaser4--,the tool used in marking each side of the bands1 generally made of steel4 ,cropped4--,when a book has been cut down too much it is said to be cropped4 ,dentelle4--,a fine tooled border resembling lace-work4 ,edge-,rolled4--,when the edges of the boards are rolled4 ,it may be either in gold or blind4 ,embossed4--,when a plate is stamped upon the cover so as to present a raised figure or design1 it is said to be embossed4 ,some inappropriately term this kind of work ,arabesque4 ,end-,papers4--,the paper placed at each end of the volume1 a portion of which is removed when the lining-paper is pasted down upon the boards4 ,also called ,waste-,papers4 ,fillet4--,the cylindrical ornament used in finishing upon which simple lines are engraved4 ,finishing4--,is that department that receives the volumes after they are put in leather1 and ornaments them as required4 ,one who works at this branch is termed a finisher4 ,finishers' ,press4--,is the same as a laying-press1 only much smaller4 ,flexible4--,when a book is sewn on raised bands and the thread is passed entirely round each band4 ,folder4--,this is a flat piece of bone or ivory used in folding the sheets and in many other manipulations4 ,also applied to a female engaged in folding sheets4 ,fore-,edge4--,the front edge of the book4 ,foundation-,plate4--,a plate of iron or brass upon which side-stamps are affixed4 ,forwarding4--,is that branch that takes the books after they are sewed and advances them until they are put in leather ready for the finisher4 ,one who works at this branch is termed a forwarder4 ,full-,bound4--,when the sides of a volume are entirely covered with leather1 it is said to be full-bound4 ,gathering4--,the process of arranging the sheets according to the signatures4 ,gauge4--,used in forwarding to take the correct size of the volume and to mark it upon the boards for squaring4 ,gilt4--,is applied to both the edges and to the ornaments in finishing4 ,glaire4--,the whites of eggs4 ,grater4--,an iron instrument used by the forwarder for rubbing the backs after they are paste-washed4 ,gouge4--,a tool used in finishing1 the face of which is a line forming the segment of a circle4 ,guards4--,strips of paper inserted in the backs of books intended for the insertion of plates1 to prevent the book being uneven when filled2 also the strips upon which plates are mounted4 ,guides4--,the groove in which the plough moves upon the face of the cutting-press4 ,half-,bound4--,when a volume is covered with leather upon the back and corners1 and the sides are covered with paper or cloth4 ,hand-,letters4--,letters cut and affixed to handles1 and adjusted singly upon the volume when lettering it4 ,head and ,tail4--,the top and bottom of a book4 ,headband4--,the silk or cotton ornament worked at the ends so as to make the back even with the squares4 ,imperfections4--,sheets rejected on account of being in some respect imperfect1 and for which others are required to make the work complete4 ,in ,boards4--,when a volume is cut after the pasteboards are affixed to form the sides1 it is said to be cut in boards4 ,the term is also applied to a style of binding in which the boards are merely covered with paper4 ,inset4--,the pages cut off in folding and placed in the middle of the sheet4 ,inside ,tins4--,so called from being placed inside of the boards when the volume is put in the standing-press4 ,joints4--,the projections formed in backing to admit the boards2 applied also to the inside when the volume is covered4 ,justification4--,the observance that the pages of a volume agree and are parallel throughout1 so as to insure a straight and equal margin4 ,kettle-,stitch4--,the stitch which the sewer makes at the head and tail of a book2 said to be a corruption of chain-stitch4 ,keys4--,the little instruments used to secure the bands to the sewing-press4 ,knocking-,down ,iron4-- ,so called from having the slips1 when laced in1 pounded down upon it1 so that they will not show when the book is covered4 ,laced ,in4--,when the boards are affixed to the volume by means of the bands being passed through holes made in the boards1 they are said to be laced in4 ,lettering-,block4--,a piece of wood1 the upper surface being rounded1 upon which side-labels are lettered4 ,lettering-,box4--,the box in which the type are screwed up preparatory to lettering4 ,lining-,paper4--,the coloured or marbled paper at each end of the volume4 ,marbler4--,the workman who marbles the edges of books1 c4 ,mitred4--,when the lines in finishing intersect each other at right angles and are continued without overrunning each other1 they are said to be mitred4 ,out of ,boards4--,when a volume is cut before the boards are affixed1 it is said to be done out of boards4 ,overcasting4--,an operation in sewing1 when the work consists of single leaves or plates4 ,pallet4--,name given to the tools used in gilding upon the bands1 sometimes applied to the lettering-box4 ,panel4--,the space between bands2 also applied to bevelled and sunk sides4 ,papering ,up4--,covering the edges after they are gilt1 so as to protect them while the volume is being covered and finished4 ,paring4--,reducing the edges of the leather by forming a gradual slope4 ,pastewash4--,a thin dilution of paste in water4 ,pencil4--,a small brush of camel's hair4 ,pieced4--,when the space between bands1 upon which the lettering is placed1 has a piece of leather upon it different from the back1 it is said to be pieced or titled4 ,plough4--,the instrument used in cutting the edges of books and pasteboards4 ,points4--,holes made in the sheets by the printer2 they serve as guides in folding4 ,polisher4--,a steel implement used in finishing4 ,press4--,there are various kinds of presses1--viz43 laying or cutting1 standing1 stamping1 embossing1 gilding1 and finishing4 ,rake4--,an instrument used in forwarding1 to harden the backs while being pastewashed in the standing-press4 ,rasped4--,the sharp edge taken off the boards4 ,register4--,the ribbon placed in a volume for a marker2 also a list of signatures1 attached to the end of early-printed works1 for the use of the binder4 ,rolls4--,the cylindrical ornaments used in finishing4 ,run ,up4--,when the back has a fillet run from head to tail without being mitred at each band1 it is said to be run up4 ,runner4--,the front board used in cutting edges1 c4 ,sewer4--,the person who sews the sheets together on the sewing-press--generally a female4 ,set-,off4--,designates the transfer of the ink to the opposite page4 ,setting the ,head4--,is covering the headband neatly with the leather1 so as to form a kind of cap4 ,shaving-,tub4--,the paper cut from the edges of a volume are called shavings4 ,the receptacle into which they fall while the forwarder is cutting the edges is termed the shaving-tub4 ,signature4--,the letter or figure under the footline of the first page of each sheet to indicate the order of arrangement in the volume2 sometimes applied to the sheet itself4 ,size4--,a preparation used in finishing and gilding1 generally made from vellum4 ,slips4--,the pieces of twine that project beyond the volume after it is sewn4 ,squares4--,the portions of the board that project over the edges4 ,stabbing4--,the operation of piercing the boards with a bodkin for the slips to pass through2 also the piercing of pamphlets for the purpose of stitching4 ,stamps4--,the brass tools used in finishing to impress a figure upon the leather2 they are distinguished by hand-stamps and stamps for the press4 ,start4--,when any of the leaves are not properly secured in the back1 upon opening the volume they will project beyond the others1 and are said to start4 ,steamboating4--,cutting books out of boards1 a number being cut at the same time4 ,stitching4--,the operation of passing the thread through a pamphlet for the purpose of securing the sheets together4 ,stops4--,are small circular tools1 adapted to stop a fillet when it intersects at right angles1 to save the time used in mitreing4 ,title4--,the space between bands1 upon which the lettering is placed4 ,tools4--,applied particularly to the hand-stamps and tools used in finishing4 ,trindle4--,a strip of thin wood or iron4 ,turning ,up4--,the process of cutting the fore-edges in such a manner as to throw the round out of the back until the edge is cut4 ,tying ,up4--,the tying of a volume after the cover has been drawn on1 so as to make the leather adhere to the sides of the bands2 also for setting the head4 ,whipping4--,the process of overseaming plates4 ,witness4--,when a volume is cut so as to show that it has not been cut as small as some of the leaves1 their uncut edges prove this1 and are called witness and sometimes proof4 ,wrinkle4--,the uneven surfaces in a volume1 caused by not being properly pressed or by dampness1 also caused by improper backing4 ,,index4 ,affixing the stamps1 #bgi1 #bhj4 ,agatine marble1 on leather1 #bdi4 ,aldine1 #aih4 ,aldus1 #aih4 ,anonay paper1 #aej4 ,antique1 #bca4 bands1 #adg4 marble1 #aag4 ,dutch1 #abc4 ,arabesque1 #baj4 ,assyrian1 #agi4 ,aqua ,regia1 #bcg4 ,backing-machine1 #agc4 ,backs1 flexible1 #ed1 #ee4 ,india-rubber1 #eh4 ,backing books1 #dc4 ,bands1 in finishing1 #bfi4 ,bands1 raised1 #ec1 #ed4 parchment1 #eg4 ,baumgarten1 #bj4 ,beating1 #da1 #db4 ,beating-hammer1 #db4 ,beckford1 #bjf4 ,bedford1 #bh4 ,benedict1 #bj4 ,bible1 chained in churches1 #af4 ,bibliographical ,decameron1 #ad1 #bf1 #ace4 ,bindings of ,corvinus1 #ad4 of ,henry ,,vii41 #af4 of ,henry ,,viii41 #ag4 of ,elizabeth1 #ag4 of ,grolier1 #ag4 of ,maioli1 #ah4 of ,diana of ,poictiers1 #ah4 of ,henry ,,ii41 #ah4 of ,de ,thou1 #ai4 of the ,chevalier ,d',eon1 #ai4 of ,oxford1 #bj4 of ,mackinlay1 #ba4 of ,roger ,payne1 #ba-bc4 of ,mackenzie1 #bh4 of ,charles ,lewis1 #bh4 of ,clarke1 #bh4 of ,riviere1 #bh4 of ,bedford1 #bh4 of ,hayday1 #bh4 of ,napoleon1 #cj4 of ,lortic1 #ca4 of ,duru1 #cb4 of ,nidr1 #cb4 ,bindings of ,bauzonnet1 #cb1 #adb4 ,black1 for marbling1 #he1 #ia4 edges1 #acf4 ink1 #aef1 #aeg4 for blank-work1 #afe4 for marbling leather1 #bda4 for leather1 #bei4 lines1 #bfh4 ,blacking the squares1 #bfh4 ,blank binding1 #aea4 ,bleeding1 #fh4 ,blind tooling1 #bcj4 ,block-finishing1 #bgi4 ,blue1 for edges1 #gh4 for marbling1 #he1 #hi1 #ij1 #aje4 ink1 #aef4 for marbling leather1 #bdb4 uniform colour for leather1 #beh4 ,blue agate marble on leather1 #bdi4 ,stormont marble1 #aje4 ,boards1 mode of making1 #fe4 squaring1 #ff4 ,boarding1 blank-work1 #afj4 printed work1 #afi4 ,box marble1 on leather1 #bec4 ,british marble1 #aai4 ,brown1 for edges1 #gi4 for marbling1 #hf1 #ia4 for marbling leather1 #bda1 #bdb4 uniform colour for leather1 #beg4 ,burnt ochre1 #hh4 ,burnishing1 #abf1 #abi1 #acc4 ,byzantine1 #aha4 ,cambridge1 #bjh4 binding1 #ai4 ,cancels1 #dj4 ,caoutchouc1 #eh4 ,cap1 #ca1 #cb4 ,carved oak boards1 description of1 #ab1 #baa4 precious stones let into1 #ad4 ,case-work1 stamping1 #bhc4 ,cedar sprinkle1 on leather1 #bec4 ,chemical preparations1 #bcg4 ,chinese blue1 #hi4 ,chrome1 #ij4 ,clarke1 #bh4 ,clasps1 #afg4 ,cleanliness1 #bgf4 ,cloth-work1 #agj4 ,collating1 #ci4 description of1 #ci1 #dj4 ,coleridge1 #aij4 ,colours1 for edges1 #gd-hb4 for marbling1 #hd4 grinding1 #ih4 uniform1 for leather1 #bef4 harmony of1 #bgb4 ,colouring1 for leather1 #bcf4 ,comb marble1 #aae4 ,combs1 for marbling1 #abg4 ,corners1 #afg4 ,corvinus1 library of1 #ad4 ,covering1 #ada4 blank-work1 #afc4 ,cropping1 #fg4 ,curl marble1 #aji4 ,cutting in boards1 #gb4 ,cutting-machines1 #bhh4 ,dawson1 #bj4 ,derome1 #ah1 #ai1 #fg4 ,de ,seuil1 #ah1 #ai4 ,design1 #ahf4 ,designing1 #bhf4 ,de ,thou1 bindings of1 #ai4 ,dibdin1 his account of the library of ,corvinus1 #ad4 of ,roger ,payne1 #bf1 #aia1 #aie4 ,diptych1 description of1 #aa4 ,drag ,spanish marble1 #aad4 ,drop ivory black1 #ia4 ,drop lake1 #hf4 ,duru1 #ca1 #cb4 ,dutch marble1 #abj4 ,dutch pink1 #ij4 ,edges1 colouring and sprinkling1 #gd4 colours for1 #gd-gi4 blue1 #gh4 yellow1 #gh4 green1 #gh4 orange1 #gh4 red1 #gh4 purple1 #gi4 brown1 #gi4 black1 #acf4 rice marbled1 #hj4 white spotted1 #hj4 fancy marbled1 #ha4 gold sprinkle1 #ha4 marbled1 #hb1 #abe4 burnishing1 #abf1 #abi4 gilt1 #acj4 antique1 #acd4 gold upon marble1 #ace4 black1 #acf4 ,edge-gilding1 #acj4 antique1 #acd4 on marble1 #ace4 on landscapes1 #ace4 ,eighteenmo1 #cf4 ,elizabethan1 #ahd4 ,end-papers1 #ei1 #fj1 #bgc4 ,etruscan1 #ahj4 ,eyton1 ,j4 ,w4 ,king1 binding belonging to1 #bh1 #bi4 ,fair agate marble1 on leather1 #bdi4 ,falkner1 #bh4 ,fancy titles1 #bba1 #bga4 ,fawn1 colour for leather1 #bdd4 ,finishing1 blank-work1 #afh4 ,finisher's standing press1 #bge4 ,flea-seed1 #id4 ,flexible1 mode of sewing1 #ec4 marking off1 #ed1 #ee4 ,folding1 #ce4 blank-work1 #aeg4 ,folio1 #cf4 ,font ,hill1 #aej1 #bje4 ,forwarding1 job-work1 mode of operation1 #ei4 making end-papers1 #fj4 putting in joints1 #fa4 glueing up1 rounding1 #fb4 backing1 #fc1 #fd4 cutting1 #fe1 #gj4 making boards1 #fe4 squaring1 #ff4 lacing in1 #fh4 pastewashing back1 #fi4 cutting round1 #ga4 turning up1 #gc4 ,foundation-plate1 #bgi4 ,gilding1 preparations for1 #baf4 the back1 #bag4 the squares1 #bbc4 the sides1 #bbd4 on silk and velvet1 #bbe4 ,gilt edges1 #acj4 upon marbled1 #ace4 ,glaire1 for marbling leather1 #bdj4 ,gold marble on leather1 #bfj4 ,gold sprinkle1 #ha4 ,gothic1 #ahc4 ,grafton1 the printer1 #af4 ,grained sheep1 #bhb4 ,graining1 #bca4 ,grolier1 bindings of1 #ag4 style1 #bab4 ,green1 for edges1 #gh4 for blank-work1 #afd4 for leather1 #bdd4 uniform colour for leather1 #beh4 agate marble on leather1 #bdi4 ,italian marble1 #ajf4 porphyry marble on leather1 #bej4 ,greek1 #ahj4 ,gum1 #ib4 directions for preparing for marbling1 #ic4 ,guards1 sewing on1 #ec1 #ef4 mode of mounting1 #ef4 ,gum-sandarac1 #bbf4 ,harleian1 #bjb4 ,harmony of colours1 #bgb4 ,half-binding1 #adi4 ,hayday1 #bh1 #bi1 #bcb4 ,headbands1 #acg4 single1 #ach4 double1 #adj4 gold and silver1 #adj4 ribbon1 #ada4 ,heat1 degree required for stamping1 #bhb4 ,hints to book-collectors1 #bia4 ,henry ,,vii41 time of1 #af4 ,,viii41 bindings of1 #ag4 ,hering1 #bh4 ,holbein1 #bac4 ,hydraulic press1 #de4 ,illuminated binding1 #bbg4 ,imperfections in old books1 #bij4 ,indigo1 #hi4 ,inlaid work1 #bbi4 ornaments1 #bgj4 ,irish moss1 #id4 ,italian marble1 #ajf4 ,janseniste1 #bjh4 ,joint1 mode of forming1 #fc4 ,joints1 inside1 #bgc4 ,kalthoeber1 #bj4 ,kettle-stitch1 #ea1 #ec1 #ee4 ,keys for securing bands on sewing-bench1 #di4 detaching1 #eg4 ,lacing in1 #fh4 ,landscapes on sides1 #bfc4 transferred1 #bfd4 ,lapis ,lazuli marble on leather1 #bfa4 ,lay on1 #bah4 ,leland's ,itinerary1 #ad4 ,lettering-press1 #bhc4 ,levant marble on leather1 #bdi4 ,levant morocco1 #ca1 #adb4 ,lewis1 ,charles1 #bh4 ,light ,italian marble1 #ajf4 ,lilac1 for leather1 #bdc4 ,lining-papers1 mode of making1 #fj4 ,linseed1 #id4 ,lortic1 #ca1 #cb4 ,louis ,quatorze1 #ahd4 ,mackenzie1 #bh4 ,mackinlay1 ,john1 #bj4 bindings of1 #ba4 ,mahogany sprinkle on leather1 #beb4 ,maiolo1 #ag4 ,malacca tin1 #bch4 ,marbling on leather1 #bdf-bed4 on paper sides1 #bed4 ,marbling-water for leather1 #bdj4 ,marbled cloth1 #abg4 ,marbled edges1 #abe4 gilt upon1 #ace4 ,making cases1 #agd4 ,missals1 antiquity of1 #aj4 ,mitreing1 #bai4 ,modernized monastic1 #bca4 ,montague1 #bja4 ,moorish1 #ahb4 ,nidr1 #ca1 #cb4 ,nonpareil1 #aae4 raked1 #aaf4 reversed1 #aaf4 ,numerical proportions of colours1 #bgb4 ,nutmeg sprinkle on leather1 #bee4 ,oak boards1 #ae1 #baa4 ,octavo1 #cf4 ,old bindings1 #bhi4 ,olive1 for leather1 #beh4 ,orange1 for edges1 #gh4 for marbling1 #hf1 #ia4 for leather1 #bdd4 ,orange lead1 #ia4 ,ornamental art1 #agh4 ,oxford1 bindings of1 #bj4 ,oxford ochre1 #hh4 ,ox-gall1 #if4 ,padeloup1 #ah4 ,paging-machine1 #aed4 ,paper and book trimmer1 #bhh4 ,paring-knife1 #adi4 ,pasting down1 #bgc4 ,payne1 ,roger1 history of1 #ba4 his bindings1 #bc4 bill of1 #be4 his favourite colour1 #bf4 ,pearl-gray for leather1 #beh4 ,petit1 ,bernard1 bindings designed by1 #ah4 ,phillatius the ,athenian1 #i4 ,pictures on calf1 #bff4 ,pickering1 #bjj4 ,plates1 mode of sewing1 #ec4 ,polishing1 #bcd4 ,porphyry marble on leather1 #bea4 ,porphyry vein marble on leather1 #bea4 ,preparations for marbling1 #if4 chemical1 #bcg4 for stamping1 #bha4 for gilding1 #baf4 for marbling leather1 #bdj4 ,press-work1 #bgi4 ,primary colours1 #bgb4 ,prints on calf1 #bff4 ,progress of the art1 #aj1 #cc4 ,prussian blue1 #ij4 ,purple1 for edges1 #gi4 for blank-work1 #afe4 for leather1 #bdc4 marble on leather1 #bdh4 ,quarto1 #cf4 ,raw ochre1 #ij4 ,red1 for edges1 #gh4 for marbling1 #he-hh4 ink1 #aef4 for blank-work1 #afd4 for leather1 #bde4 ,red porphyry marble on leather1 #bej4 ,register1 #acg4 ,renaissance1 #ahc4 ,restoring old bindings1 #bhi4 ,revival1 #ahc4 ,rock marble on leather1 #beb4 ,rolling-machine1 substitute for beating2 mode of operation2 advantages and disadvantages of1 #dc1 #dd4 ,roman1 #aha4 ,rose-pink1 #hg4 ,rounding1 #fb4 ,rice marble1 #hj4 ,ring sprinkle on leather1 #bee4 ,riviere1 #bh4 ,ruling1 #aeb4 ,run up1 #bbj4 ,russian bands1 #afe4 ,sawing1 #dh1 #di4 ,sawing-machine1 #aga4 ,scraping1 #acb4 ,secondary colours1 #bgb4 ,setting the head1 #ade4 the stamp1 #bha4 ,set off1 #db1 #dc4 ,sewing1 process of1 #di1 #ej4 two sheets on1 #ej4 all along2 quartos2 plates or maps1 #eb4 whipping1 sewing on guards1 #ec4 on raised bands2 pure flexible1 #ed1 #ee1 #ef4 blank-work1 #aei4 ,sewing-bench1 #di1 #ej4 ,shell marble1 #ajj1 #ajc1 #ajd4 ,sheriffs of ,shropshire1 #bh4 ,sheet-work1 #ce4 ,silk lining1 #bgd4 ,sixteenmo1 #cf4 ,sizing the paper1 #abg4 ,slate1 uniform colour for leather1 #bei4 ,smasher1 substitute for beating1 #dd4 mode of operation2 amount of pressure2 advantage of1 #de4 ,spanish marble1 #aaj4 olive1 #aaa4 blue1 #aab4 brown1 #aab4 fancy1 #aac4 drag1 #aad4 ,spring-back1 blank-work1 #afa4 ,sprinkles1 #bee1 #bef4 ,sprinkling1 mode of1 #ge1 #gf4 colours for1 #gd4 rice-marble1 #hj4 white spot1 #hj4 gold sprinkle1 #ha4 ,staggemier1 #bj4 ,stamping1 #bgi4 ,steamboating1 #agb4 ,stabbing1 #fh4 ,steel gouges1 #bga4 ,stone marble1 on leather1 #bdh4 ,sunk boards1 #bhe4 ,supplying imperfections in old books1 #bij4 ,table-shears1 #age4 ,taste1 #ahf4 ,technical terms1 #big-caj4 ,tertiary colours1 #bgb4 ,thirty-twomo1 #cf4 ,thouvenin1 bindings of1 #cj4 ,titles1 #bfi4 fancy1 #bga4 ,tortoise-shell sprinkle on leather1 #bef4 ,to dissolve gold1 #bcg4 ,transfers1 #bfd1 #bff4 ,transferring designs1 #bhf4 ,translation of dates1 #bhi4 ,trautz et ,bauzonnet1 #ca1 #cb1 #adb4 ,tree-marbled calf1 #bh1 #beb4 ,troughs for marbling1 #ajj4 ,turning up1 #gc4 ,twelvemo1 #cf1 #cg4 ,twenty-fourmo1 #cf4 ,tying up1 #adf4 ,ultramarine1 #hi4 ,umber1 #ia4 ,uncut books1 #aea4 ,uniform colours on leather1 #bef-bei4 ,variegated marble1 on leather1 #bed4 ,varnish1 #bgg4 ,vegetable black1 #ia4 ,vermilion1 #hg4 ,violet for leather1 #bdc4 ,vitriol-water for marbling leather1 #bdj4 ,wainscot sprinkle on leather1 #bed4 ,walnut sprinkle on leather1 #bec4 ,walther1 #bh4 ,water for marbling1 #if4 ,wave-marble1 #aah4 ,wax for marbling1 #ii4 ,west-,end marble1 #ajg1 #ajh4 ,whipping1 #ec4 ,white for marbling1 #hf1 #ia4 ,white-spotted edges1 #hj4 ,wood-lake1 #hh4 ,yellow for edges1 #gh4 for marbling1 #he4 for blank-work1 #afe4 for leather1 #bdd4 ,,the ,,end4 ,,stereotyped ,,by ,l4 ,,johnson ,,and ,,co4 ,,philadelphia4 99 99 99 99 99 ,,catalogue ,,of ,,practical ,,and ,,scientific ,,books1 ,,published ,,by ,,henry ,,carey ,,baird ,,co41 ,industrial ,publishers and ,booksellers1 ,,no4 #haj ,,walnut ,,street1 ,,philadelphia4 99 99 99 99 99 right-pointing hand ,any of the ,books comprised in this ,catalogue will be sent by mail1 free of postage1 at the publication price4 right-pointing hand ,a ,descriptive ,catalogue1 #if pages1 #hvo41 will be sent1 free of postage1 to any one who will furnish the publisher with his address4 99 99 99 99 99 ,,arlot4--,a ,complete ,guide for ,coach ,painters4 ,translated from the ,french of ,m4 ,,arlot1 ,coach ,painter2 for eleven years ,foreman of ,painting to ,m4 ,eherler1 ,coach ,maker1 ,paris4 ,by ,a4 ,a4 ,,fesquet1 ,chemist and ,engineer4 ,to which is added an ,appendix1 containing ,information respecting the ,materials and the ,practice of ,coach and ,car ,painting and ,varnishing in the ,united ,states and ,great ,britain4 #abmo4 #a4be ,,armengaud1 ,,amoroux1 and ,,johnson4--,the ,practical ,draughtsman's ,book of ,industrial ,design1 and ,machinist's and ,engineer's ,drawing ,companion3 ,forming a ,complete ,course of ,mechanical ,engineering and ,architectural ,drawing4 ,from the ,french of ,m4 ,armengaud the elder1 ,prof4 of ,design in the ,conservatoire of ,arts and ,industry1 ,paris1 and ,,mm4 ,armengaud the younger1 and ,amoroux1 ,civil ,engineers4 ,rewritten and arranged with additional matter and plates1 selections from and examples of the most useful and generally employed mechanism of the day4 ,by ,,william ,,johnson1 ,assoc4 ,inst4 ,c4 ,e41 ,editor of ,the ,practical ,mechanic's ,journal4 ,illustrated by #ej folio steel plates1 and #ej wood-cuts4 ,a new edition1 #dto4 #aj4jj ,,arrowsmith4--,paper-,hanger's ,companion3 ,a ,treatise in which the ,practical ,operations of the ,trade are ,systematically laid down3 with ,copious ,directions ,preparatory to ,papering2 ,preventives against the ,effect of ,damp on ,walls2 the ,various ,cements and ,pastes ,adapted to the ,several ,purposes of the ,trade2 ,observations and ,directions for the ,panelling and ,ornamenting of ,rooms1 etc4 ,by ,,james ,,arrowsmith1 ,author of ,analysis of ,drapery1 etc4 #abmo41 cloth4 #a4be ,,ashton4--,the ,theory and ,practice of the ,art of ,designing ,fancy ,cotton and ,woollen ,cloths from ,sample3 ,giving full ,instructions for ,reducing ,drafts1 as well as the ,methods of ,spooling and ,making out ,harness for ,cross ,drafts1 and ,finding any ,required ,reed1 with ,calculations and ,tables of ,yarn4 ,by ,,frederick ,t4 ,,ashton1 ,designer1 ,west ,pittsfield1 ,mass4 ,with #eb ,illustrations4 ,one volume1 #dto4 #aj4jj ,,baird4--,letters on the ,crisis1 the ,currency and the ,credit ,system4 ,by ,,henry ,,carey ,,baird4 ,pamphlet4 #je ,,baird4--,protection of ,home ,labor and ,home ,productions necessary to the ,prosperity of the ,american ,farmer4 ,by ,,henry ,,carey ,,baird4 #hvo41 paper4 #aj ,,baird4--,some of the ,fallacies of ,british ,free-,trade ,revenue ,reform4 ,two ,letters to ,arthur ,latham ,perry1 ,professor of ,history and ,political ,economy in ,williams ,college4 ,by ,,henry ,,carey ,,baird4 ,pamphlet4 #je ,,baird4--,the ,rights of ,american ,producers1 and the ,wrongs of ,british ,free-,trade ,revenue ,reform4 ,by ,,henry ,,carey ,,baird4 ,pamphlet4 #je ,,baird4--,standard ,wages ,computing ,tables3 ,an ,improvement in all former ,methods of ,computation1 so arranged that wages for days1 hours1 or fractions of hours1 at a specified rate per day or hour1 may be ascertained at a glance4 ,by ,t4 ,,spangler ,,baird4 ,oblong folio4 #e4jj ,,baird4--,the ,american ,cotton ,spinner1 and ,manager's and ,carder's ,guide3 ,a ,practical ,treatise on ,cotton ,spinning2 giving the ,dimensions and ,speed of ,machinery1 ,draught and ,twist ,calculations1 etc42 with notices of recent ,improvements3 together with ,rules and ,examples for making changes in the sizes and numbers of ,roving and ,yarn4 ,compiled from the papers of the late ,,robert ,h4 ,,baird4 #abmo4 #a4ej ,,baker4--,long-,span ,railway ,bridges3 ,comprising ,investigations of the ,comparative ,theoretical and ,practical ,advantages of the various ,adopted or ,proposed ,type ,systems of ,construction2 with numerous ,formul and ,tables4 ,by ,b4 ,,baker4 #abmo4 #b4jj ,,bauerman4--,a ,treatise on the ,metallurgy of ,iron3 ,containing ,outlines of the ,history of ,iron ,manufacture1 ,methods of ,assay1 and ,analysis of ,iron ,ores1 ,processes of ,manufacture of ,iron and ,steel1 etc41 etc4 ,by ,h4 ,,bauerman1 ,f4 ,g4 ,s41 ,associate of the ,royal ,school of ,mines4 ,first ,american ,edition1 ,revised and ,enlarged4 ,with an ,appendix on the ,martin ,process for ,making ,steel1 from the ,report of ,,abram ,s4 ,,hewitt1 ,u4 ,s4 ,commissioner to the ,universal ,exposition at ,paris1 #ahfg4 ,illustrated4 #abmo4 #b4jj ,,beans4--,a ,treatise on ,railway ,curves and the ,location of ,railways4 ,by ,e4 ,w4 ,,beans1 ,c4 ,e4 ,illustrated4 #abmo4 ,tucks4 #a4ej ,,bell4--,carpentry ,made ,easy3 ,or1 ,the ,science and ,art of ,framing on a ,new and ,improved ,system4 ,with ,specific ,instructions for ,building ,balloon ,frames1 ,barn ,frames1 ,mill ,frames1 ,warehouses1 ,church ,spires1 etc4 ,comprising also a ,system of ,bridge ,building1 with ,bills1 ,estimates of ,cost1 and valuable ,tables4 ,illustrated by #ch plates1 comprising nearly #bjj figures4 ,by ,,william ,e4 ,,bell1 ,architect and ,practical ,builder4 #hvo4 #e4jj ,,bell4--,chemical ,phenomena of ,iron ,smelting3 ,an ,experimental and ,practical ,examination of the ,circumstances which determine the ,capacity of the ,blast ,furnace1 the ,temperature of the ,air1 and the proper ,condition of the ,materials to be operated upon4 ,by ,i4 ,,lowthian ,,bell4 ,illustrated4 #hvo4 #f4jj ,,bemrose4--,manual of ,wood ,carving3 ,with ,practical ,illustrations for ,learners of the ,art1 and ,original and ,selected ,designs4 ,by ,,william ,,bemrose1 ,jr4 ,with an ,introduction by ,,llewellyn ,,jewitt1 ,f4 ,s4 ,a41 etc4 ,with #abh ,illustrations4 #dto41 cloth4 #c4jj ,,bicknell4--,village ,builder1 and ,supplement3 ,elevations and ,plans for ,cottages1 ,villas1 ,suburban ,residences1 ,farm ,houses1 ,stables and ,carriage ,houses1 ,store ,fronts1 ,school ,houses1 ,churches1 ,court ,houses1 and a model ,jail2 also1 ,exterior and ,interior details for ,public and ,private ,buildings1 with approved ,forms of ,contracts and ,specifications1 including ,prices of ,building ,materials and ,labor at ,boston1 ,mass41 and ,st4 ,louis1 ,mo4 ,containing #ge plates drawn to scale2 showing the style and cost of building in different sections of the country1 being an original work comprising the designs of twenty leading architects1 representing the ,new ,england1 ,middle1 ,western1 and ,southwestern ,states4 #dto4 #ab4jj ,,blenkarn4--,practical ,specifications of ,works executed in ,architecture1 ,civil and ,mechanical ,engineering1 and in ,road ,making and ,sewering3 ,to which are added a series of practically useful ,agreements and ,reports4 ,by ,,john ,,blenkarn4 ,illustrated by #ae large folding plates4 #hvo4 #i4jj ,,blinn4--,a ,practical ,workshop ,companion for ,tin1 ,sheet-,iron1 and ,copperplate ,workers3 ,containing ,rules for describing various kinds of ,patterns used by ,tin1 ,sheet-,iron1 and ,copper-plate ,workers2 ,practical ,geometry2 ,mensuration of ,surfaces and ,solids2 ,tables of the ,weights of ,metals1 ,lead ,pipe1 etc42 ,tables of ,areas and ,circumferences of ,circles2 ,japan1 ,varnishes1 ,lackers1 ,cements1 ,compositions1 etc41 etc4 ,by ,,leroy ,j4 ,,blinn1 ,master ,mechanic4 ,with over #ajj ,illustrations4 #abmo4 #b4ej ,,booth4--,marble ,worker's ,manual3 ,containing ,practical ,information respecting ,marbles in general1 their ,cutting1 ,working1 and ,polishing2 ,veneering of ,marble2 ,mosaics2 ,composition and ,use of ,artificial ,marble1 ,stuccos1 ,cements1 ,receipts1 ,secrets1 etc41 etc4 ,translated from the ,french by ,m4 ,l4 ,,booth4 ,with an ,appendix concerning ,american ,marbles4 #abmo41 cloth4 #a4ej ,,booth ,,and ,,morfit4--,the ,encyclopedia of ,chemistry1 ,practical and ,theoretical3 ,embracing its application to the ,arts1 ,metallurgy1 ,mineralogy1 ,geology1 ,medicine1 and ,pharmacy4 ,by ,,james ,c4 ,,booth1 ,melter and ,refiner in the ,united ,states ,mint1 ,professor of ,applied ,chemistry in the ,franklin ,institute1 etc41 assisted by ,,campbell ,,morfit1 author of ,chemical ,manipulations1 etc4 ,seventh edition4 ,royal #hvo41 #igh pages1 with numerous wood-cuts and other illustrations4 #e4jj ,,box4--,a ,practical ,treatise on ,heat3 ,as applied to the ,useful ,arts2 for the ,use of ,engineers1 ,architects1 etc4 ,by ,,thomas ,,box1 author of ,practical ,hydraulics4 ,illustrated by #ad plates containing #aad figures4 #abmo4 #d4be ,,box4--,practical ,hydraulics3 ,a ,series of ,rules and ,tables for the use of ,engineers1 etc4 ,by ,,thomas ,,box4 #abmo4 #b4ej ,,brown4--,five ,hundred and ,seven ,mechanical ,movements3 ,embracing all those which are most important in ,dynamics1 ,hydraulics1 ,hydrostatics1 ,pneumatics1 ,steam ,engines1 ,mill and other ,gearing1 ,presses1 ,horology1 and ,miscellaneous ,machinery2 and including many movements never before published1 and several of which have only recently come into use4 ,by ,,henry ,t4 ,,brown1 ,editor of the ,american ,artisan4 ,in one volume1 #abmo4 #a4jj ,,buckmaster4--,the ,elements of ,mechanical ,physics3 ,by ,j4 ,c4 ,,buckmaster1 late ,student in the ,government ,school of ,mines2 ,certified ,teacher of ,science by the ,department of ,science and ,art2 ,examiner in ,chemistry and ,physics in the ,royal ,college of ,preceptors2 and late ,lecturer in ,chemistry and ,physics of the ,royal ,polytechnic ,institute4 ,illustrated with numerous engravings4 ,in one volume1 #abmo4 #a4ej ,,bullock4--,the ,american ,cottage ,builder3 ,a ,series of ,designs1 ,plans1 and ,specifications1 from #bjj to #bj1jjj1 for ,homes for the ,people2 together with ,warming1 ,ventilation1 ,drainage1 ,painting1 and ,landscape ,gardening4 ,by ,,john ,,bullock1 ,architect1 ,civil ,engineer1 ,mechanician1 and ,editor of ,the ,rudiments of ,architecture and ,building1 etc41 etc4 ,illustrated by #ge engravings4 ,in one volume1 #hvo4 #c4ej ,,bullock4--,the ,rudiments of ,architecture and ,building3 ,for the use of ,architects1 ,builders1 ,draughtsmen1 ,machinists1 ,engineers1 and ,mechanics4 ,edited by ,,john ,,bullock1 author of ,the ,american ,cottage ,builder4 ,illustrated by #bej engravings4 ,in one volume1 #hvo4 #c4ej ,,burgh4--,practical ,illustrations of ,land and ,marine ,engines3 ,showing in detail the ,modern ,improvements of ,high and ,low ,pressure1 ,surface ,condensation1 and ,super-heating1 together with ,land and ,marine ,boilers4 ,by ,n4 ,p4 ,,burgh1 ,engineer4 ,illustrated by #bj plates1 double elephant folio1 with text4 #ba4jj ,,burgh4--,practical ,rules for the ,proportions of ,modern ,engines and ,boilers for ,land and ,marine ,purposes4 ,by ,n4 ,p4 ,,burgh1 ,engineer4 #abmo4 #a4ej ,,burgh4--,the ,slide-,valve ,practically ,considered4 ,by ,n4 ,p4 ,,burgh1 ,engineer4 ,completely illustrated4 #abmo4 #b4jj ,,byles4--,sophisms of ,free ,trade and ,popular ,political ,economy ,examined4 ,by a ,,barrister 7,sir ,,john ,,barnard ,,byles1 ,judge of ,common ,pleas74 ,first ,american from the ,ninth ,english ,edition1 as published by the ,manchester ,reciprocity ,association4 ,in one volume1 #abmo4 ,paper1 #ge cts4 ,cloth4 #a4be ,,byrn4--,the ,complete ,practical ,brewer3 ,or ,plain1 ,accurate1 and ,thorough ,instructions in the ,art of ,brewing ,beer1 ,ale1 ,porter1 including the ,process of making ,bavarian ,beer1 all the ,small ,beers1 such as ,root-beer1 ,ginger-pop1 ,sarsaparilla-beer1 ,mead1 ,spruce ,beer1 etc41 etc4 ,adapted to the use of ,public ,brewers and ,private ,families4 ,by ,m4 ,,la ,,fayette ,,byrn1 ,m4 ,d4 ,with illustrations4 #abmo4 #a4be ,,byrn4--,the ,complete ,practical ,distiller3 ,comprising the most perfect and exact ,theoretical and ,practical ,description of the ,art of ,distillation and ,rectification2 including all of the most recent improvements in distilling apparatus2 instructions for preparing spirits from the numerous vegetables1 fruits1 etc42 directions for the distillation and preparation of all kinds of brandies and other spirits1 spirituous and other compounds1 etc41 etc4 ,by ,m4 ,,la ,,fayette ,,byrn1 ,m4 ,d4 ,eighth ,edition4 ,to which are added1 ,practical ,directions for ,distilling1 from the ,french of ,th4 ,fling1 ,brewer and ,distiller4 #abmo4 #a4ej ,,byrne4--,handbook for the ,artisan1 ,mechanic1 and ,engineer3 ,comprising the ,grinding and ,sharpening of ,cutting ,tools1 ,abrasive ,processes1 ,lapidary ,work1 ,gem and ,glass ,engraving1 ,varnishing and ,lackering1 ,apparatus1 ,materials and ,processes for ,grinding and ,polishing1 etc4 ,by ,,oliver ,,byrne4 ,illustrated by #ahe wood engravings4 ,in one volume1 #hvo4 #e4jj ,,byrne4--,pocket ,book for ,railroad and ,civil ,engineers3 ,containing ,new1 ,exact1 and ,concise ,methods for ,laying out ,railroad ,curves1 ,switches1 ,frog ,angles1 and ,crossings2 the ,staking out of work2 ,levelling2 the ,calculation of ,cuttings2 ,embankments2 ,earth-work1 etc4 ,by ,,oliver ,,byrne4 #ahmo41 full bound1 pocket-book form4 #a4ge ,,byrne4--,the ,practical ,model ,calculator3 ,for the ,engineer1 ,mechanic1 ,manufacturer of ,engine ,work1 ,naval ,architect1 ,miner1 and ,millwright4 ,by ,,oliver ,,byrne4 #a volume1 #hvo41 nearly #fjj pages4 #d4ej ,,byrne4--,the ,practical ,metal-,worker's ,assistant3 ,comprising ,metallurgic ,chemistry2 the ,arts of ,working all ,metals and ,alloys2 ,forging of ,iron and ,steel2 ,hardening and ,tempering2 ,melting and ,mixing2 ,casting and ,founding2 ,works in ,sheet ,metal2 ,the ,processes ,dependent on the ,ductility of the ,metals2 ,soldering2 and the most ,improved ,processes and ,tools employed by ,metal-,workers4 ,with the ,application of the ,art of ,electro-,metallurgy to ,manufacturing ,processes2 collected from ,original ,sources1 and from the ,works of ,holtzapffel1 ,bergeron1 ,leupold1 ,plumier1 ,napier1 ,scoffern1 ,clay1 ,fairbairn1 and others4 ,by ,,oliver ,,byrne4 ,a new1 revised1 and improved edition1 to which is added ,an ,appendix1 containing ,,the ,,manufacture ,,of ,,russian ,,sheet-,,iron4 ,by ,,john ,,percy1 ,m4 ,d41 ,f4,r4,s4 ,,the ,,manufacture ,,of ,,malleable ,,iron ,,castings1 and ,,improvements ,,in ,,bessemer ,,steel4 ,by ,a4 ,a4 ,,fesquet1 ,chemist and ,engineer4 ,with over #fjj ,engravings1 illustrating every ,branch of the ,subject4 #hvo4 #g4jj ,cabinet ,maker's ,album of ,furniture3 ,comprising a ,collection of ,designs for ,furniture4 ,illustrated by #dh ,large and ,beautifully ,engraved ,plates4 ,in one vol41 oblong4 #e4jj ,,callingham4--,sign ,writing and ,glass ,embossing3 ,a ,complete ,practical ,illustrated ,manual of the ,art4 ,by ,,james ,,callingham4 ,in one volume1 #abmo4 #a4ej ,,campin4--,a ,practical ,treatise on ,mechanical ,engineering3 ,comprising ,metallurgy1 ,moulding1 ,casting1 ,forging1 ,tools1 ,workshop ,machinery1 ,mechanical ,manipulation1 ,manufacture of ,steam-engines1 etc41 etc4 ,with an ,appendix on the ,analysis of ,iron and ,iron ,ores4 ,by ,,francis ,,campin1 ,c4 ,e4 ,to which are added1 ,observations on the ,construction of ,steam ,boilers1 and ,remarks upon ,furnaces used for ,smoke ,prevention2 with a ,chapter on ,explosions4 ,by ,r4 ,,armstrong1 ,c4 ,e41 and ,,john ,,bourne4 ,rules for ,calculating the ,change ,wheels for ,screws on a ,turning ,lathe1 and for a ,wheel-cutting ,machine4 ,by ,j4 ,,la ,,nicca4 ,management of ,steel1 ,including ,forging1 ,hardening1 ,tempering1 ,annealing1 ,shrinking1 and ,expansion4 ,and the ,case-hardening of ,iron4 ,by ,g4 ,,ede4 #hvo4 ,illustrated with #bi plates and #ajj wood engravings4 #f4jj ,,campin4--,the ,practice of ,hand-,turning in ,wood1 ,ivory1 ,shell1 etc43 ,with ,instructions for ,turning such works in ,metal as may be required in the ,practice of ,turning ,wood1 ,ivory1 etc4 ,also1 an ,appendix on ,ornamental ,turning4 ,by ,,francis ,,campin2 with ,numerous ,illustrations4 #abmo41 cloth4 #c4jj ,,carey4--,the ,works of ,henry ,c4 ,carey3 ,,financial ,,crises1 their ,causes and ,effects4 #hvo4 paper #be ,,harmony ,,of ,,interests3 ,agricultural1 ,manufacturing1 and ,commercial4 #hvo41 cloth4 #a4ej ,,manual ,,of ,,social ,,science4 ,condensed from ,carey's ,principles of ,social ,science4 ,by ,,kate ,,mckean4 #a vol4 #abmo4 #b4be ,,miscellaneous ,,works3 comprising ,harmony of ,interests1 ,money1 ,letters to the ,president1 ,financial ,crises1 ,the ,way to ,outdo ,england ,without ,fighting ,her1 ,resources of the ,union1 ,the ,public ,debt1 ,contraction or ,expansion8 ,review of the ,decade #aheg-'fg1 ,reconstruction1 etc41 etc4 ,two vols41 #hvo41 cloth4 #aj4jj ,,past1 ,,present1 ,,and ,,future4 #hvo4 #b4ej ,,principles ,,of ,,social ,,science4 #c vols41 #hvo41 cloth4 #aj4jj ,,the ,,slave-,,trade1 ,,domestic ,,and ,,foreign2 ,why it ,exists1 and ,how it may be ,extinguished 7#ahec74 #hvo41 cloth4 #b4jj ,,letters ,,on ,,international ,,copyright 7#ahfg7 #ej ,,the ,,unity ,,of ,,law3 ,as ,exhibited in the ,relations of ,physical1 ,social1 ,mental1 and ,moral ,science 7#ahgb74 ,in one volume1 #hvo41 pp4 xxiii41 #dcc4 ,cloth4 #c4ej ,,chapman4--,a ,treatise on ,ropemaking3 ,as ,practised in private and public ,rope yards1 with a ,description of the ,manufacture1 ,rules1 ,tables of ,weights1 etc41 adapted to the ,trades1 ,shipping1 ,mining1 ,railways1 ,builders1 etc4 ,by ,,robert ,,chapman1 #bdmo4 #a4ej ,,colburn4--,the ,locomotive ,engine3 ,including a ,description of its ,structure1 ,rules for ,estimating its ,capabilities1 and ,practical ,observations on its ,construction and ,management4 ,by ,,zerah ,,colburn4 ,illustrated4 ,a new edition4 #abmo4 #a4be ,,craik4--,the ,practical ,american ,millwright and ,miller4 ,by ,,david ,,craik1 ,millwright4 ,illustrated by numerous wood engravings1 and two folding plates4 #hvo4 #e4jj ,,de ,,graff4--,the ,geometrical ,stair ,builders' ,guide3 ,being a ,plain ,practical ,system of ,hand-,railing1 embracing all its necessary ,details1 and ,geometrically ,illustrated by #bb ,steel ,engravings2 together with the use of the most approved principles of ,practical ,geometry4 ,by ,,simon ,,de ,,graff1 ,architect4 #dto4 #e4jj ,,de ,,koninck4--,,dietz4--,a ,practical ,manual of ,chemical ,analysis and ,assaying3 ,as applied to the ,manufacture of ,iron from its ,ores1 and to ,cast ,iron1 ,wrought ,iron1 and ,steel1 as found in ,commerce4 ,by ,l4 ,l4 ,,de ,,koninck1 ,dr4 ,sc41 and ,e4 ,,dietz1 ,engineer4 ,edited with ,notes1 by ,,robert ,,mallet1 ,f4,r4,s41 ,f4,s4,g41 ,m4,i4,c4,e41 etc4 ,american ,edition1 ,edited with ,notes and an ,appendix on ,iron ,ores1 by ,a4 ,a4 ,,fesquet1 ,chemist and ,engineer4 ,one volume1 #abmo4 #b4ej ,,duncan4--,practical ,surveyor's ,guide3 ,containing the necessary information to make any person1 of common capacity1 a finished land surveyor without the aid of a teacher4 ,by ,,andrew ,,duncan4 ,illustrated4 #abmo41 cloth4 #a4be ,,duplais4--,a ,treatise on the ,manufacture and ,distillation of ,alcoholic ,liquors3 ,comprising ,accurate and ,complete ,details in ,regard to ,alcohol from ,wine1 ,molasses1 ,beets1 ,grain1 ,rice1 ,potatoes1 ,sorghum1 ,asphodel1 ,fruits1 etc42 with the ,distillation and ,rectification of ,brandy1 ,whiskey1 ,rum1 ,gin1 ,swiss ,absinthe1 etc41 the ,preparation of ,aromatic ,waters1 ,volatile ,oils or ,essences1 ,sugars1 ,syrups1 ,aromatic ,tinctures1 ,liqueurs1 ,cordial ,wines1 ,effervescing ,wines1 etc41 the ,aging of ,brandy and the ,improvement of ,spirits1 with ,copious ,directions and ,tables for ,testing and ,reducing ,spirituous ,liquors1 etc41 etc4 ,translated and ,edited from the ,french of ,,mm4 ,,duplais1 ,ain et ,jeune4 ,by ,m4 ,,mckennie1 ,m4 ,d4 ,to which are added the ,united ,states ,internal ,revenue ,regulations for the ,assessment and ,collection of ,taxes on ,distilled ,spirits4 ,illustrated by fourteen folding plates and several wood engravings4 #gdc pp41 #hvo4 #aj4jj ,,dussauce4--,a ,general ,treatise on the ,manufacture of ,every ,description of ,soap3 ,comprising the ,chemistry of the ,art1 with ,remarks on ,alkalies1 ,saponifiable ,fatty ,bodies1 the apparatus necessary in a ,soap ,factory1 ,practical ,instructions in the manufacture of the various kinds of ,soap1 the assay of ,soaps1 etc41 etc4 ,edited from ,notes of ,larm1 ,fontenelle1 ,malapayre1 ,dufour1 and others1 with large and important additions by ,prof4 ,h4 ,,dussauce1 ,chemist4 ,illustrated4 ,in one vol41 #hvo4 #aj4jj ,,dussauce4--,a ,general ,treatise on the ,manufacture of ,vinegar3 ,theoretical and ,practical4 ,comprising the various ,methods1 by the ,slow and the ,quick ,processes1 with ,alcohol1 ,wine1 ,grain1 ,malt1 ,cider1 ,molasses1 and ,beets2 as well as the ,fabrication of ,wood ,vinegar1 etc41 etc4 ,by ,prof4 ,h4 ,,dussauce4 ,in one volume1 #hvo4 #e4jj ,,dussauce4--,a ,new and ,complete ,treatise on the ,arts of ,tanning1 ,currying1 and ,leather ,dressing3 ,comprising all the ,discoveries and ,improvements made in ,france1 ,great ,britain1 and the ,united ,states4 ,edited from ,notes and ,documents of ,messrs4 ,sallerou1 ,grouvelle1 ,duval1 ,dessables1 ,labarraque1 ,payen1 ,ren1 ,de ,fontenelle1 ,malapeyre1 etc41 etc4 ,by ,prof4 ,h4 ,,dussauce1 ,chemist4 ,illustrated by #bab wood engravings4 #hvo4 #be4jj ,,dussauce4--,a ,practical ,guide for the ,perfumer3 ,being a ,new ,treatise on ,perfumery1 the most favorable to the ,beauty without being injurious to the ,health1 comprising a ,description of the substances used in ,perfumery1 the ,formul of more than #ajjj ,preparations1 such as ,cosmetics1 ,perfumed ,oils1 ,tooth ,powders1 ,waters1 ,extracts1 ,tinctures1 ,infusions1 ,spirits1 ,vinaigres1 ,essential ,oils1 ,pastels1 ,creams1 ,soaps1 and many new ,hygienic ,products not hitherto described4 ,edited from ,notes and ,documents of ,messrs4 ,debay1 ,lanel1 etc4 ,with additions by ,prof4 ,h4 ,,dussauce1 ,chemist4 #abmo4 #c4jj ,,dussauce4--,practical ,treatise on the ,fabrication of ,matches1 ,gun ,cotton1 and ,fulminating ,powders4 ,by ,prof4 ,h4 ,,dussauce4 #abmo4 #c4jj ,dyer and ,color-maker's ,companion3 ,containing upwards of #bjj ,receipts for making ,colors1 on the most approved principles1 for all the various styles and fabrics now in existence2 with the ,scouring ,process1 and plain ,directions for ,preparing1 ,washing-off1 and ,finishing the ,goods4 ,in one vol41 #abmo4 #a4be ,,easton4--,a ,practical ,treatise on ,street or ,horsepower ,railways4 ,by ,,alexander ,,easton1 ,c4 ,e4 ,illustrated by #bc plates4 #hvo41 cloth4 #b4jj ,,elder4--,questions of the ,day3 ,economic and ,social4 ,by ,dr4 ,,william ,,elder4 #hvo4 #c4jj ,,fairbairn4--,the ,principles of ,mechanism and ,machinery of ,transmission3 ,comprising the ,principles of ,mechanism1 ,wheels1 and ,pulleys1 ,strength and ,proportions of ,shafts1 ,coupling of ,shafts1 and ,engaging and ,disengaging ,gear4 ,by ,sir ,,william ,,fairbairn1 ,c4 ,e41 ,,ll4,d41 ,f4,r4,s41 ,f4,g4,s4 ,beautifully illustrated by over #aej wood-cuts4 ,in one volume1 #abmo4 #b4ej ,,forsyth4--,book of ,designs for ,headstones1 ,mural1 and other ,monuments3 ,containing #gh ,designs4 ,by ,,james ,,forsyth4 ,with an ,introduction by ,,charles ,,boutell1 ,m4 ,a4 #dto41 cloth4 #e4jj ,,gibson4--,the ,american ,dyer3 ,a ,practical ,treatise on the ,coloring of ,wool1 ,cotton1 ,yarn and ,cloth1 in three parts4 ,part ,first gives a descriptive account of the ,dye ,stuffs2 if of vegetable origin1 where produced1 how cultivated1 and how prepared for use2 if chemical1 their composition1 specific gravities1 and general adaptability1 how adulterated1 and how to detect the adulterations1 etc4 ,part ,second is devoted to the ,coloring of ,wool1 giving recipes for one hundred and twenty-nine different colors or shades1 and is supplied with sixty colored samples of ,wool4 ,part ,third is devoted to the ,coloring of ,raw ,cotton or ,cotton ,waste1 for mixing with ,wool ,colors in the ,manufacture of all kinds of ,fabrics1 gives recipes for thirty-eight different colors or shades1 and is supplied with twenty-four colored samples of ,cotton ,waste4 ,also1 recipes for ,coloring ,beavers1 ,doeskins1 and ,flannels1 with remarks upon ,anilines1 giving recipes for fifteen different colors or shades1 and nine samples of ,aniline ,colors that will stand both the ,fulling and ,scouring process4 ,also1 recipes for ,aniline ,colors on ,cotton ,thread1 and recipes for ,common ,colors on ,cotton ,yarns4 ,embracing in all over two hundred recipes for ,colors and ,shades1 and ninety-four samples of ,colored ,wool and ,cotton ,waste1 etc4 ,by ,,richard ,h4 ,,gibson1 ,practical ,dyer and ,chemist4 ,in one volume1 #hvo4 #ab4ej ,,gilbart4--,history and ,principles of ,banking3 ,a ,practical ,treatise4 ,by ,,james ,w4 ,,gilbart1 late ,manager of the ,london and ,westminster ,bank4 ,with additions4 ,in one volume1 #hvo41 #fjj pages1 sheep4 #e4jj ,gothic ,album for ,cabinet ,makers3 ,comprising a ,collection of ,designs for ,gothic ,furniture4 ,illustrated by #bc large and beautifully engraved plates4 ,oblong4 #c4jj ,,grant4--,beet-root ,sugar and ,cultivation of the ,beet4 ,by ,e4 ,b4 ,,grant4 #abmo4 #a4be ,,gregory4--,mathematics for ,practical ,men3 ,adapted to the ,pursuits of ,surveyors1 ,architects1 ,mechanics1 and ,civil ,engineers4 ,by ,,olinthus ,,gregory4 #hvo41 plates1 cloth4 #c4jj ,,griswold4--,railroad ,engineer's ,pocket ,companion for the ,field3 ,comprising ,rules for ,calculating ,deflection ,distances and ,angles1 ,tangential ,distances and ,angles1 and all ,necessary ,tables for ,engineers2 also the art of ,levelling from ,preliminary ,survey to the ,construction of ,railroads1 intended ,expressly for the ,young ,engineer1 together with ,numerous ,valuable ,rules and ,examples4 ,by ,w4 ,,griswold4 #abmo41 tucks4 #a4ge ,,gruner4--,studies of ,blast ,furnace ,phenomena4 ,by ,m4 ,l4 ,,gruner1 ,president of the ,general ,council of ,mines of ,france1 and lately ,professor of ,metallurgy at the ,ecole des ,mines4 ,translated1 with the ,author's sanction1 with an ,appendix1 by ,l4 ,d4 ,b4 ,gordon1 ,f4,r4,s4,e41 ,f4,g4,s4 ,illustrated4 #hvo4 #b4ej ,,guettier4--,metallic ,alloys3 ,being a ,practical ,guide to their ,chemical and ,physical ,properties1 their ,preparation1 ,composition1 and ,uses4 ,translated from the ,french of ,a4 ,,guettier1 ,engineer and ,director of ,foundries1 author of ,la ,fouderie en ,france1 etc41 etc4 ,by ,a4 ,a4 ,,fesquet1 ,chemist and ,engineer4 ,in one volume1 #abmo4 #c4jj ,,harris4--,gas ,superintendent's ,pocket ,companion4 ,by ,,harris ,,brother1 ,gas ,meter ,manufacturers1 #aaae and #aaag ,cherry ,street1 ,philadelphia4 ,full bound in pocket-book form4 #b4jj ,hats and ,felting3 ,a ,practical ,treatise on their ,manufacture4 ,by a ,practical ,hatter4 ,illustrated by ,drawings of ,machinery1 etc4 #hvo4 #a4be ,,hofmann4--,a ,practical ,treatise on the ,manufacture of ,paper in all its ,branches4 ,by ,,carl ,,hofmann4 ,late ,superintendent of paper mills in ,germany and the ,united ,states2 recently manager of the ,public ,ledger ,paper ,mills1 near ,elkton1 ,md4 ,illustrated by #aaj wood engravings1 and five large folding plates4 ,in one volume1 #dto41 cloth2 #cih pages4 #ae4jj ,,hughes4--,american ,miller and ,millwright's ,assistant4 ,by ,,wm4 ,,carter ,,hughes4 ,a new edition4 ,in one vol41 #abmo4 #a4ej ,,hurst4--,a ,hand-,book for ,architectural ,surveyors and others engaged in ,building3 ,containing ,formul useful in ,designing ,builder's work1 ,table of ,weights1 of the materials used in ,building1 ,memoranda connected with ,builders' work1 ,mensuration1 the ,practice of ,builders' ,measurement1 ,contracts of ,labor1 ,valuation of ,property1 ,summary of the ,practice in ,dilapidation1 etc41 etc4 ,by ,j4 ,f4 ,,hurst1 ,c4 ,e4 ,second edition1 pocket-book form1 full bound4 #b4ej ,,jervis4--,railway ,property3 ,a ,treatise on the ,construction and ,management of ,railways2 designed to afford useful knowledge1 in the popular style1 to the holders of this class of property2 as well as ,railway ,managers1 ,officers1 and ,agents4 ,by ,,john ,b4 ,,jervis1 late ,chief ,engineer of the ,hudson ,river ,railroad1 ,croton ,aqueduct1 etc4 ,in one vol41 #abmo41 cloth4 #b4jj ,,johnston4--,instructions for the ,analysis of ,soils1 ,limestones1 and ,manures4 ,by ,j4 ,f4 ,w4 ,,johnston4 #abmo4 #ch ,,keene4--,a ,hand-,book of ,practical ,gauging3 ,for the ,use of ,beginners1 to which is added1 ,a ,chapter on ,distillation1 describing the process in operation at the ,custom ,house for ascertaining the strength of wines4 ,by ,,james ,b4 ,,keene1 of ,h4 ,m4 ,customs4 #hvo4 #a4be ,,kelley4--,speeches1 ,addresses1 and ,letters on ,industrial and ,financial ,questions4 ,by ,hon4 ,,william ,d4 ,,kelley1 ,m4 ,c4 ,in one volume1 #edd pages1 #hvo4 #c4jj ,,kentish4--,a ,treatise on a ,box of ,instruments1 ,and the ,slide ,rule2 with the ,theory of ,trigonometry and ,logarithms1 including ,practical ,geometry1 ,surveying1 ,measuring of ,timber1 ,cask and ,malt ,gauging1 ,heights1 and ,distances4 ,by ,,thomas ,,kentish4 ,in one volume4 #abmo4 #a4be ,,kobell4--,,erni4--,mineralogy ,simplified3 ,a short ,method of ,determining and ,classifying ,minerals1 by means of simple ,chemical ,experiments in the ,wet ,way4 ,translated from the last ,german ,edition of ,f4 ,,von ,,kobell1 with an ,introduction to ,blow-pipe ,analysis and other additions4 ,by ,,henri ,,erni1 ,m4 ,d41 late ,chief ,chemist1 ,department of ,agriculture1 author of ,coal ,oil and ,petroleum4 ,in one volume1 #abmo4 #b4ej ,,landrin4--,a ,treatise on ,steel3 ,comprising its ,theory1 ,metallurgy1 ,properties1 ,practical ,working1 and ,use4 ,by ,m4 ,h4 ,c4 ,,landrin1 ,jr41 ,civil ,engineer4 ,translated from the ,french1 with ,notes1 by ,a4 ,a4 ,,fesquet1 ,chemist and ,engineer4 ,with an ,appendix on the ,bessemer and the ,martin ,processes for ,manufacturing ,steel1 from the ,report of ,abram ,s4 ,hewitt1 ,united ,states ,commissioner to the ,universal ,exposition1 ,paris1 #ahfg4 ,in one volume1 #abmo4 #c4jj ,,larkin4--,the ,practical ,brass and ,iron ,founder's ,guide3 ,a ,concise ,treatise on ,brass ,founding1 ,moulding1 the ,metals and their ,alloys1 etc43 to which are added ,recent ,improvements in the ,manufacture of ,iron1 ,steel by the ,bessemer ,process1 etc41 etc4 ,by ,,james ,,larkin1 late ,conductor of the ,brass ,foundry ,department in ,reany1 ,neafie ,co's4 ,penn ,works1 ,philadelphia4 ,fifth edition1 revised1 with ,extensive additions4 ,in one volume1 #abmo4 #b4be ,,leavitt4--,facts about ,peat as an ,article of ,fuel3 ,with ,remarks upon its ,origin and ,composition1 the ,localities in which it is found1 the ,methods of ,preparation and ,manufacture1 and the various ,uses to which it is applicable2 together with many other matters of ,practical and ,scientific ,interest4 ,to which is added a chapter on the ,utilization of ,coal ,dust with ,peat for the ,production of an ,excellent ,fuel at ,moderate ,cost1 specially adapted for ,steam ,service4 ,by ,t4 ,h4 ,,leavitt4 ,third edition4 #abmo4 #a4ge ,,leroux1 ,c4--,a ,practical ,treatise on the ,manufacture of ,worsteds and ,carded ,yarns3 ,comprising ,practical ,mechanics1 with ,rules and ,calculations applied to ,spinning2 ,sorting1 ,cleaning1 and ,scouring ,wools2 the ,english and ,french methods of ,combing1 ,drawing1 and ,spinning ,worsteds and ,manufacturing ,carded ,yarns4 ,translated from the ,french of ,,charles ,,leroux1 ,mechanical ,engineer1 and ,superintendent of a ,spinning ,mill1 by ,,horatio ,,paine1 ,m4 ,d41 and ,a4 ,a4 ,,fesquet1 ,chemist and ,engineer4 ,illustrated by #ab large ,plates4 ,to which is added an ,appendix1 containing extracts from the ,reports of the ,international ,jury1 and of the ,artisans selected by the ,committee appointed by the ,council of the ,society of ,arts1 ,london1 on ,woollen and ,worsted ,machinery and ,fabrics1 as exhibited in the ,paris ,universal ,exposition1 #ahfg4 #hvo41 cloth4 #e4jj ,,leslie 7,miss74--,complete ,cookery3 ,directions for ,cookery in its ,various ,branches4 ,by ,,miss ,,leslie4 #fjth thousand4 ,thoroughly revised1 with the addition of ,new ,receipts4 ,in one volume1 #abmo41 cloth4 #a4ej ,,leslie 7,miss74--,ladies' ,house ,book3 ,a ,manual of ,domestic ,economy4 #bjth revised edition4 #abmo41 cloth4 ,,leslie 7,miss74--,two ,hundred ,receipts in ,french ,cookery4 ,cloth1 #abmo4 ,,lieber4--,assayer's ,guide3 ,or1 ,practical ,directions to ,assayers1 ,miners1 and ,smelters1 for the ,tests and ,assays1 by ,heat and by ,wet ,processes1 for the ,ores of all the principal ,metals1 of ,gold and ,silver ,coins and ,alloys1 and of ,coal1 etc4 ,by ,,oscar ,m4 ,,lieber4 #abmo41 cloth4 #a4be ,,loth4--,the ,practical ,stair ,builder3 ,a ,complete ,treatise on the ,art of ,building ,stairs and ,hand-,rails1 ,designed for ,carpenters1 ,builders1 and ,stair-,builders4 ,illustrated with ,thirty ,original ,plates4 ,by ,c4 ,,edward ,,loth1 ,professional ,stair-,builder4 ,one large #dto4 volume4 #aj4jj ,,love4--,the ,art of ,dyeing1 ,cleaning1 ,scouring1 and ,finishing1 on the ,most ,approved ,english and ,french ,methods3 ,being ,practical ,instructions in ,dyeing ,silks1 ,woollens1 and ,cottons1 ,feathers1 ,chips1 ,straw1 etc4 ,scouring and ,cleaning ,bed and ,window ,curtains1 ,carpets1 ,rugs1 etc4 ,french and ,english ,cleaning1 any ,color or ,fabric of ,silk1 ,satin1 or ,damask4 ,by ,,thomas ,,love1 a ,working ,dyer and ,scourer4 ,second ,american ,edition1 to which are added ,general ,instructions for the ,use of ,aniline ,colors4 ,in one volume1 #hvo41 #cdc pages4 #e4jj ,,main and ,,brown4--,questions on ,subjects ,connected with the ,marine ,steam-,engine3 ,and ,examination ,papers2 with ,hints for their ,solution4 ,by ,,thomas ,j4 ,,main1 ,professor of ,mathematics1 ,royal ,naval ,college1 and ,,thomas ,,brown1 ,chief ,engineer1 ,r4 ,n4 #abmo41 cloth4 #a4ej ,,main and ,,brown4--,the ,indicator and ,dynamometer3 ,with their ,practical ,applications to the ,steam-,engine4 ,by ,,thomas ,j4 ,,main1 ,m4 ,a4 ,f4 ,r41 ,assistant ,professor ,royal ,naval ,college1 ,portsmouth1 and ,,thomas ,,brown1 ,assoc4 ,inst4 ,c4 ,e41 ,chief ,engineer1 ,r4 ,n41 attached to the ,royal ,naval ,college4 ,illustrated4 ,from the ,fourth ,london ,edition4 #hvo4 #a4ej ,,main and ,,brown4--,the ,marine ,steam-,engine4 ,by ,,thomas ,j4 ,,main1 ,f4 ,r42 ,assistant ,s4 ,mathematical ,professor at the ,royal ,naval ,college1 ,portsmouth1 and ,,thomas ,,brown1 ,assoc4 ,inst4 ,c4 ,e41 ,chief ,engineer ,r4 ,n4 ,attached to the ,royal ,naval ,college4 ,authors of ,questions connected with the ,marine ,steam-,engine1 and the ,indicator and ,dynamometer4 ,with numerous ,illustrations4 ,in one volume1 #hvo4 #e4jj ,,martin4--,screw-,cutting ,tables1 for the ,use of ,mechanical ,engineers3 ,showing the ,proper ,arrangement of ,wheels for ,cutting the ,threads of ,screws of any required ,pitch2 with a ,table for ,making the ,universal ,gas-,pipe ,thread and ,taps4 ,by ,w4 ,a4 ,,martin1 ,engineer4 #hvo4 #ej ,mechanics' 7,amateur7 ,workshop3 ,a treatise containing plain and concise directions for the manipulation of ,wood and ,metals1 including ,casting1 ,forging1 ,brazing1 ,soldering1 and ,carpentry4 ,by the author of the ,lathe and its ,uses4 ,third edition4 ,illustrated4 #hvo4 #c4jj ,,molesworth4--,pocket-,book of ,useful ,formul and ,memoranda for ,civil and ,mechanical ,engineers4 ,by ,,guilford ,l4 ,,molesworth1 ,member of the ,institution of ,civil ,engineers1 ,chief ,resident ,engineer of the ,ceylon ,railway4 ,second ,american1 from the ,tenth ,london ,edition4 ,in one volume1 full bound in pocket-book form4 #b4jj ,,napier4--,a ,system of ,chemistry ,applied to ,dyeing4 ,by ,,james ,,napier1 ,f4 ,c4 ,s4 ,a ,new and ,thoroughly ,revised ,edition4 ,completely brought up to the present state of the ,science1 including the ,chemistry of ,coal ,tar ,colors1 by ,a4 ,a4 ,,fesquet1 ,chemist and ,engineer4 ,with an ,appendix on ,dyeing and ,calico ,printing1 as shown at the ,universal ,exposition1 ,paris1 #ahfg4 ,illustrated4 ,in one ,volume1 #hvo41 #dbb pages4 #e4jj ,,napier4--,manual of ,electro-,metallurgy3 ,including the ,application of the ,art to ,manufacturing ,processes4 ,by ,,james ,,napier4 ,fourth ,american1 from-the ,fourth ,london edition1 revised and enlarged4 ,illustrated by engravings4 ,in one vol41 #hvo4 #b4jj ,,nason4--,table of ,reactions for ,qualitative ,chemical ,analysis4 ,by ,,henry ,b4 ,,nason1 ,professor of ,chemistry in the ,rensselaer ,polytechnic ,institute1 ,troy1 ,new ,york4 ,illustrated by ,colors4 #fc ,,newbery4--,gleanings from ,ornamental ,art of every style3 ,drawn from ,examples in the ,british1 ,south ,kensington1 ,indian1 ,crystal ,palace1 and other ,museums1 the ,exhibitions of #ahea and #ahfb1 and the best ,english and ,foreign works4 ,in a series of one hundred exquisitely drawn ,plates1 containing many hundred examples4 ,by ,,robert ,,newbery4 #dto4 #ae4jj ,,nicholson4--,a ,manual of the ,art of ,bookbinding3 ,containing full instructions in the different ,branches of ,forwarding1 ,gilding1 and ,finishing4 ,also1 the ,art of ,marbling ,book-edges and ,paper4 ,by ,,james ,b4 ,,nicholson4 ,illustrated1 #abmo41 cloth4 #b4be ,,nicholson4--,the ,carpenter's ,new ,guide3 ,a ,complete ,book of ,lines for ,carpenters and ,joiners4 ,by ,,peter ,,nicholson4 ,the whole carefully and thoroughly revised by ,h4 ,k4 ,,davis1 and containing numerous new and improved and original ,designs for ,roofs1 ,domes1 etc4 ,by ,,samuel ,,sloan1 ,architect4 ,illustrated by #hj plates4 #dto4 #d4ej ,,norris4--,a ,hand-book for ,locomotive ,engineers and ,machinists3 ,comprising the ,proportions and ,calculations for ,constructing ,locomotives2 ,manner of ,setting ,valves2 ,tables of ,squares1 ,cubes1 ,areas1 etc41 etc4 ,by ,,septimus ,,norris1 ,civil and ,mechanical ,engineer4 ,new edition4 ,illustrated4 #abmo41 cloth4 #b4jj ,,nystrom4--,on ,technological ,education1 and the ,construction of ,ships and ,screw ,propellers3 ,for ,naval and ,marine ,engineers4 ,by ,,john ,w4 ,,nystrom1 late ,acting ,chief ,engineer1 ,u4 ,s4 ,n4 ,second edition1 revised with additional matter4 ,illustrated by seven engravings4 #abmo4 #a4ej ,o',,neill4--,a ,dictionary of ,dyeing and ,calico ,printing3 ,containing a brief account of all the ,substances and ,processes in use in the ,art of ,dyeing and ,printing ,textile ,fabrics2 with ,practical ,receipts and ,scientific ,information4 ,by ,,charles ,o',,neill1 ,analytical ,chemist2 ,fellow of the ,chemical ,society of ,london2 ,member of the ,literary and ,philosophical ,society of ,manchester2 ,author of ,chemistry of ,calico ,printing and ,dyeing4 ,to which is added an ,essay on ,coal ,tar ,colors and their application to ,dyeing and ,calico ,printing4 ,by ,a4 ,a4 ,,fesquet1 ,chemist and ,engineer4 ,with an ,appendix on ,dyeing and ,calico ,printing1 as shown at the ,universal ,exposition1 ,paris1 #ahfg4 ,in one volume1 #hvo41 #dia pages4 #f4jj ,,orton4--,underground ,treasures3 ,how and ,where to ,find ,them4 ,a ,key for the ,ready ,determination of all the ,useful ,minerals within the ,united ,states4 ,by ,,james ,,orton1 ,a4 ,m4 ,illustrated1 #abmo4 #a4ej ,,osborn4--,american ,mines and ,mining3 ,theoretically and ,practically ,considered4 ,by ,prof4 ,h4 ,s4 ,,osborn4 ,illustrated by numerous engravings4 #hvo4 7,in preparation47 ,,osborn4--,the ,metallurgy of ,iron and ,steel3 ,theoretical and ,practical in all its ,branches2 with special reference to ,american ,materials and ,processes4 ,by ,h4 ,s4 ,,osborn1 ,,ll4 ,d41 ,professor of ,mining and ,metallurgy in ,lafayette ,college1 ,easton1 ,pennsylvania4 ,illustrated by numerous large folding plates and wood-engravings4 #hvo4 #ae4jj ,,overman4--,the ,manufacture of ,steel3 ,containing the ,practice and ,principles of ,working and ,making ,steel4 ,a ,handbook for ,blacksmiths and ,workers in ,steel and ,iron1 ,wagon ,makers1 ,die ,sinkers1 ,cutlers1 and ,manufacturers of ,files and ,hardware1 of ,steel and ,iron1 and for ,men of ,science and ,art4 ,by ,,frederick ,,overman1 ,mining ,engineer1 ,author of the ,manufacture of ,iron1 etc4 ,a new1 enlarged1 and revised ,edition4 ,by ,a4 ,a4 ,,fesquet1 ,chemist and ,engineer4 #a4ej ,,overman4--,the ,moulder and ,founder's ,pocket ,guide3 ,a ,treatise on ,moulding and ,founding in ,green-sand1 ,dry-sand1 ,loam1 and ,cement2 the ,moulding of ,machine ,frames1 ,mill-gear1 ,hollow-ware1 ,ornaments1 ,trinkets1 ,bells1 and ,statues2 ,description of ,moulds for ,iron1 ,bronze1 ,brass1 and other ,metals2 ,plaster of ,paris1 ,sulphur1 ,wax1 and other articles commonly used in ,casting2 the ,construction of ,melting ,furnaces1 the ,melting and ,founding of ,metals2 the ,composition of ,alloys and their ,nature4 ,with an ,appendix containing ,receipts for ,alloys1 ,bronze1 ,varnishes and ,colors for ,castings2 also1 ,tables on the ,strength and other qualities of ,cast ,metals4 ,by ,,frederick ,,overman1 ,mining ,engineer1 ,author of ,the ,manufacture of ,iron4 ,with #db ,illustrations4 #abmo4 #a4ej ,painter1 ,gilder1 and ,varnisher's ,companion3 ,containing ,rules and ,regulations in everything relating to the ,arts of ,painting1 ,gilding1 ,varnishing1 ,glass-,staining1 ,graining1 ,marbling1 ,sign-,writing1 ,gilding on ,glass1 and ,coach ,painting and ,varnishing2 ,tests for the ,detection of ,adulterations in ,oils1 ,colors1 etc42 and a ,statement of the ,diseases to which ,painters are peculiarly liable1 with the ,simplest and ,best ,remedies4 ,sixteenth ,edition4 ,revised1 with an ,appendix4 ,containing ,colors and ,coloring-,theoretical and ,practical4 ,comprising descriptions of a great variety of ,additional ,pigments1 their ,qualities and ,uses1 to which are added1 ,dryers1 and ,modes and ,operations of ,painting1 etc4 ,together with ,chevreul's ,principles of ,harmony and ,contrast of ,colors1 #abmo41 cloth4 #a4ej ,,pallett4--,the ,miller's1 ,millwright's1 and ,engineer's ,guide4 ,by ,,henry ,,pallett4 ,illustrated4 ,in one volume1 #abmo4 #c4jj ,,percy4--,the ,manufacture of ,russian ,sheet-,iron4 ,by ,,john ,,percy1 ,m4 ,d41 ,f4,r4,s41 ,lecturer on ,metallurgy at the ,royal ,school of ,mines1 and to ,the ,advanced ,class of ,artillery ,officers at the ,royal ,artillery ,institution1 ,woolwich2 ,author of ,metallurgy4 ,with ,illustrations4 #hvo41 paper4 #ej cts4 ,,perkins4--,gas and ,ventilation4 ,practical ,treatise on ,gas and ,ventilation4 ,with ,special ,relation to ,illuminating1 ,heating1 and ,cooking by ,gas4 ,including ,scientific ,helps to ,engineer-students and others4 ,with ,illustrated ,diagrams4 ,by ,e4 ,e4 ,,perkins4 #abmo41 cloth4 #a4be ,,perkins and ,,stowe4--,a ,new ,guide to the ,sheet-iron and ,boiler ,plate ,roller3 ,containing a ,series of ,tables showing the ,weight of ,slabs and ,piles to produce ,boiler ,plates1 and of the ,weight of ,piles and the ,sizes of ,bars to produce ,sheet-iron2 the ,thickness of the ,bar ,gauge in decimals2 the ,weight per foot1 and the ,thickness on the ,bar or ,wire ,gauge of the fractional parts of an inch2 the ,weight per sheet1 and the ,thickness on the ,wire ,gauge of ,sheet-iron of various dimensions to weigh #aab lbs4 per bundle2 and the conversion of ,short ,weight into ,long ,weight1 and ,long ,weight into ,short4 ,estimated and collected by ,g4 ,h4 ,,perkins and ,j4 ,g4 ,,stowe4 #b4ej ,,phillips and ,,darlington4--,records of ,mining and ,metallurgy2 ,or ,facts and ,memoranda for the use of the ,mine ,agent and ,smelter4 ,by ,j4 ,,arthur ,,phillips1 ,mining ,engineer1 ,graduate of the ,imperial ,school of ,mines1 ,france1 etc41 and ,,john ,,darlington4 ,illustrated by numerous engravings4 ,in one volume1 #abmo4 #b4jj ,,proteaux4--,practical ,guide for the ,manufacture of ,paper and ,boards4 ,by ,a4 ,,proteaux1 ,civil ,engineer1 and ,graduate of the ,school of ,arts and ,manufactures1 and ,director of ,thiers' ,paper ,mill1 ,puy-de-,dme4 ,with additions1 by ,l4 ,s4 ,,le ,,normand4 ,translated from the ,french1 with ,notes1 by ,,horatio ,,paine1 ,a4 ,b41 ,m4 ,d4 ,to which is added a ,chapter on the ,manufacture of ,paper from ,wood in the ,united ,states1 by ,,henry ,t4 ,,brown1 of the ,american ,artisan4 ,illustrated by six plates1 containing ,drawings of ,raw ,materials1 ,machinery1 ,plans of ,paper-,mills1 etc41 etc4 #hvo4 #aj4jj ,,regnault4--,elements of ,chemistry4 ,by ,m4 ,v4 ,,regnault4 ,translated from the ,french by ,t4 ,,forrest ,,betton1 ,m4 ,d41 and edited1 with ,notes1 by ,,james ,c4 ,,booth1 ,melter and ,refiner ,u4 ,s4 ,mint1 and ,,wm4 ,l4 ,,faber1 ,metallurgist and ,mining ,engineer4 ,illustrated by nearly #gjj wood engravings4 ,comprising nearly #aejj pages4 ,in two volumes1 #hvo41 cloth4 #g4ej ,,reid4--,a ,practical ,treatise on the ,manufacture of ,portland ,cement3 ,by ,,henry ,,reid1 ,c4 ,e4 ,to which is added a ,translation of ,m4 ,a4 ,lipowitz's ,work1 describing a ,new ,method adopted in ,germany for ,manufacturing that ,cement1 by ,w4 ,f4 ,,reid4 ,illustrated by plates and wood engravings4 #hvo4 #f4jj ,,riffault1 ,,vergnaud1 and ,,toussaint4--,a ,practical ,treatise on the ,manufacture of ,varnishes4 ,by ,,mm4 ,,riffault1 ,,vergnaud1 and ,,toussaint4 ,revised and ,edited by ,m4 ,f4 ,,malepeyre and ,dr4 ,,emil ,,winckler4 ,illustrated4 ,in one volume1 #hvo4 7,in preparation47 ,,riffault1 ,,vergnaud1 and ,,toussaint4--,a ,practical ,treatise on the ,manufacture of ,colors for ,painting3 ,containing the best ,formul and the ,processes the ,newest and in most ,general ,use4 ,by ,,mm4 ,,riffault1 ,,vergnaud1 and ,,toussaint4 ,revised and ,edited by ,m4 ,f4 ,,malepeyre and ,dr4 ,,emil ,,winckler4 ,translated from the ,french by ,a4 ,a4 ,,fesquet1 ,chemist and ,engineer4 ,illustrated by ,engravings4 ,in one volume1 #fej pages1 #hvo4 #g4ej ,,robinson4--,explosions of ,steam ,boilers3 ,how they are ,caused1 and how they may be ,prevented4 ,by ,j4 ,r4 ,,robinson1 ,steam ,engineer4 #abmo4 #a4be ,,roper4--,a ,catechism of ,high ,pressure or ,non-,condensing ,steam-,engines3 ,including the ,modelling1 ,constructing1 ,running1 and ,management of ,steam ,engines and ,steam ,boilers4 ,with ,illustrations4 ,by ,,stephen ,,roper1 ,engineer4 ,full bound tucks4 #b4jj ,,roseleur4--,galvanoplastic ,manipulations3 ,a ,practical ,guide for the ,gold and ,silver ,electro-plater and the ,galvanoplastic ,operator4 ,translated from the ,french of ,,alfred ,,roseleur1 ,chemist1 ,professor of the ,galvanoplastic ,art1 ,manufacturer of ,chemicals1 ,gold and ,silver ,electro-plater4 ,by ,a4 ,a4 ,,fesquet1 ,chemist and ,engineer4 ,illustrated by over #abg ,engravings on wood4 #hvo41 #die pages4 #f4jj right-pointing hand ,this ,treatise is the fullest and by far the best on this subject ever published in the ,united ,states4 ,,schinz4--,researches on the ,action of the ,blast ,furnace4 ,by ,,charles ,,schinz4 ,translated from the ,german with the special permission of the ,author by ,,william ,h4 ,,maw and ,,moritz ,,muller4 ,with an ,appendix written by the ,author expressly for this edition4 ,illustrated by seven plates1 containing #bh figures4 ,in one volume1 #abmo4 #d4be ,,shaw4--,civil ,architecture3 ,being a ,complete ,theoretical and ,practical ,system of ,building1 containing the ,fundamental ,principles of the ,art4 ,by ,,edward ,,shaw1 ,architect4 ,to which is added a ,treatise on ,gothic ,architecture1 etc4 ,by ,,thomas ,w4 ,,silloway and ,,george ,m4 ,,harding1 ,architects4 ,the whole illustrated by ,one ,hundred and ,two quarto plates finely engraved on copper4 ,eleventh ,edition4 #dto41 cloth4 #aj4jj ,,shunk4--,a ,practical ,treatise on ,railway ,curves and ,location1 for ,young ,engineers4 ,by ,,william ,f4 ,,shunk1 ,civil ,engineer4 #abmo4 #b4jj ,,sloan4--,american ,houses3 ,a variety of ,original ,designs for ,rural ,buildings4 ,illustrated by #bf colored ,engravings1 with ,descriptive ,references4 ,by ,,samuel ,,sloan1 ,architect1 author of the ,model ,architect1 etc41 etc4 #hvo4 #b4ej ,,smeaton4--,builder's ,pocket ,companion3 ,containing the ,elements of ,building1 ,surveying1 and ,architecture2 with ,practical ,rules and ,instructions connected with the subject4 ,by ,a4 ,c4 ,,smeaton1 ,civil ,engineer1 etc4 ,in one volume1 #abmo4 #a4ej ,,smith4--,a ,manual of ,political ,economy4 ,by ,e4 ,,peshine ,,smith4 ,a new ,edition1 to which is added a full ,index4 #abmo41 cloth4 #a4be ,,smith4--,parks and ,pleasure ,grounds3 ,or ,practical ,notes on ,country ,residences1 ,villas1 ,public ,parks1 and ,gardens4 ,by ,,charles ,h4 ,j4 ,,smith1 ,landscape ,gardener and ,garden ,architect1 etc41 etc4 #abmo4 #b4be ,,smith4--,the ,dyer's ,instructor3 ,comprising ,practical ,instructions in the ,art of ,dyeing ,silk1 ,cotton1 ,wool1 and ,worsted1 and ,woollen ,goods3 containing nearly #hjj ,receipts4 ,to which is added a ,treatise on the ,art of ,padding2 and the ,printing of ,silk ,warps1 ,skeins1 and ,handkerchiefs1 and the various ,mordants and ,colors for the different styles of such work4 ,by ,,david ,,smith1 ,pattern ,dyer4 #abmo41 cloth4 #c4jj ,,smith4--,the ,practical ,dyer's ,guide3 ,comprising ,practical ,instructions in the ,dyeing of ,shot ,cobourgs1 ,silk ,striped ,orleans1 ,colored ,orleans from ,black ,warps1 ,ditto from ,white' ,warps1 ,colored ,cobourgs from ,white ,warps1 ,merinos1 ,yarns1 ,woollen ,cloths1 etc4 ,containing nearly #cjj ,receipts1 to most of which a ,dyed ,pattern is annexed4 ,also1 ,a ,treatise on the ,art of ,padding4 ,by ,,david ,,smith4 ,in one volume1 #hvo4 ,price4 #be4jj ,,stewart4--,the ,american ,system4 ,speeches on the ,tariff ,question1 and on ,internal ,improvements1 principally delivered in the ,house of ,representatives of the ,united ,states4 ,by ,,andrew ,,stewart1 late ,m4 ,c4 from ,pennsylvania4 ,with a ,portrait1 and a ,biographical ,sketch4 ,in one volume1 #hvo41 #djg pages4 #c4jj ,,stokes4--,cabinet-maker's and ,upholsterer's ,companion3 ,comprising the ,rudiments and ,principles of ,cabinet-making and ,upholstery1 with ,familiar ,instructions1 illustrated by ,examples for attaining a ,proficiency in the ,art of ,drawing1 as applicable to ,cabinet-work2 the ,processes of ,veneering1 ,inlaying1 and ,buhl-work2 the ,art of ,dyeing and ,staining ,wood1 ,bone1 ,tortoise ,shell1 etc4 ,directions for ,lackering1 ,japanning1 and ,varnishing2 to make ,french ,polish2 to prepare the ,best ,glues1 ,cements1 and ,compositions1 and a number of ,receipts particularly useful for workmen generally4 ,by ,j4 ,,stokes4 ,in one volume1 #abmo4 ,with ,illustrations4 #a4be ,strength and other ,properties of ,metals3 ,reports of ,experiments on the ,strength and other ,properties of ,metals for ,cannon4 ,with a ,description of the ,machines for testing ,metals1 and of the ,classification of ,cannon in service4 ,by ,officers of the ,ordnance ,department ,u4 ,s4 ,army4 ,by authority of the ,secretary of ,war4 ,illustrated by #be large steel plates4 ,in one volume1 #dto4 #aj4jj ,,sullivan4--,protection to ,native ,industry4 ,by ,sir ,,edward ,,sullivan1 ,baronet1 author of ,ten ,chapters on ,social ,reforms4 ,in one volume1 #hvo4 #a4ej ,tables ,showing the ,weight of ,round1 ,square1 and ,flat ,bar ,iron1 ,steel1 etc41 ,by ,measurement4 ,cloth4 #fc ,,taylor4--,statistics of ,coal3 ,including ,mineral ,bituminous ,substances employed in ,arts and ,manufactures2 with their ,geographical1 ,geological1 and ,commercial ,distribution and ,amount of ,production and ,consumption on the ,american ,continent4 ,with ,incidental ,statistics of the ,iron ,manufacture4 ,by ,r4 ,c4 ,,taylor4 ,second edition1 revised by ,s4 ,s4 ,,haldeman4 ,illustrated by five ,maps and many wood engravings4 #hvo41 cloth4 #aj4jj ,,templeton4--,the ,practical ,examinator on ,steam and the ,steam-,engine3 ,with ,instructive ,references relative thereto1 arranged for the ,use of ,engineers1 ,students1 and others4 ,by ,,wm4 ,,templeton1 ,engineer4 #abmo4 #a4be ,,thomas4--,the ,modern ,practice of ,photography4 ,by ,r4 ,w4 ,,thomas1 ,f4 ,c4 ,s4 #hvo41 cloth4 #ge ,,thomson4--,freight ,charges ,calculator4 ,by ,,andrew ,,thomson1 ,freight ,agent4 #bdmo4 #a4be ,,turning3 ,specimens of ,fancy ,turning ,executed on the ,hand or ,foot ,lathe3 ,with ,geometric1 ,oval1 and ,eccentric ,chucks1 and ,elliptical ,cutting ,frame4 ,by an ,amateur4 ,illustrated by #cj exquisite ,photographs4 #dto4 #c4jj ,turner's 7,the7 ,companion3 ,containing ,instructions in ,concentric1 ,elliptic1 and ,eccentric ,turning3 also various ,plates of ,chucks1 ,tools1 and ,instruments2 and ,directions for using the ,eccentric ,cutter1 ,drill1 ,vertical ,cutter1 and ,circular ,rest2 with ,patterns and ,instructions for working them4 ,a new edition in one volume1 #abmo4 #a4ej ,,urbin4--,,brull4--,a ,practical ,guide for ,puddling ,iron and ,steel4 ,by ,,ed4 ,,urbin1 ,engineer of ,arts and ,manufactures4 ,a ,prize ,essay read before the ,association of ,engineers1 ,graduate of the ,school of ,mines1 of ,liege1 ,belgium1 at the ,meeting of #ahfe-f4 ,to which is added ,a ,,comparison ,,of ,,the ,,resisting ,,properties ,,of ,,iron ,,and ,,steel4 ,by ,a4 ,,brull4 ,translated from the ,french by ,a4 ,a4 ,,fesquet1 ,chemist and ,engineer4 ,in one volume1 #hvo4 #a4jj ,,vaile4--,galvanized ,iron ,cornice-,worker's ,manual3 ,containing ,instructions in ,laying out the ,different ,mitres1 and ,making ,patterns for all kinds of ,plain and ,circular ,work4 ,also1 ,tables of ,weights1 ,areas and ,circumferences of ,circles1 and other ,matter calculated to ,benefit the ,trade4 ,by ,,charles ,a4 ,,vaile1 ,superintendent ,richmond ,cornice ,works1 ,richmond1 ,indiana4 ,illustrated by #ba ,plates4 ,in one volume1 #dto4 #e4jj ,,ville4--,the ,school of ,chemical ,manures3 ,or1 ,elementary ,principles in the ,use of ,fertilizing ,agents4 ,from the ,french of ,m4 ,,george ,,ville1 by ,a4 ,a4 ,,fesquet1 ,chemist and ,engineer4 ,with ,illustrations4 ,in one volume1 #ab mo4 #a4be ,,vogdes4--,the ,architect's and ,builder's ,pocket ,companion and ,price ,book3 ,consisting of a ,short but ,comprehensive ,epitome of ,decimals1 ,duo-decimals1 ,geometry and ,mensuration2 with ,tables of ,u4 ,s4 ,measures1 ,sizes1 ,weights1 ,strengths1 etc41 of ,iron1 ,wood1 ,stone1 and various other ,materials1 ,quantities of ,materials in ,given ,sizes1 and ,dimensions of ,wood1 ,brick1 and ,stone2 and a full and complete ,bill of ,prices for ,carpenter's ,work2 also1 ,rules for ,computing and ,valuing ,brick and ,brick ,work1 ,stone ,work1 ,painting1 ,plastering1 etc4 ,by ,,frank ,w4 ,,vogdes1 ,architect4 ,illustrated4 ,full bound in pocket-book form4 #b4jj ,bound in cloth4 #a4ej ,,warn4--,the ,sheet-,metal ,worker's ,instructor3 ,for ,zinc1 ,sheet-,iron1 ,copper1 and ,tin-,plate ,workers1 etc4 ,containing a selection of ,geometrical ,problems2 also1 ,practical and ,simple ,rules for describing the various ,patterns required in the different branches of the above ,trades4 ,by ,,reuben ,h4 ,,warn1 ,practical ,tin-plate ,worker4 ,to which is added an ,appendix1 containing ,instructions for ,boiler ,making1 ,mensuration of ,surfaces and ,solids1 ,rules for ,calculating the ,weights of different ,figures of ,iron and ,steel1 ,tables of the ,weights of ,iron1 ,steel1 etc4 ,illustrated by #cb ,plates and #cg ,wood ,engravings4 #hvo4 #c4jj ,,warner4--,new ,theorems1 ,tables1 and ,diagrams for the ,computation of ,earth-,work3 ,designed for the use of ,engineers in ,preliminary and ,final ,estimates1 of ,students in ,engineering1 and of ,contractors and other non-professional ,computers4 ,in ,two ,parts1 with an ,appendix4 ,part ,i4--,a ,practical ,treatise2 ,part ,,ii4--,a ,theoretical ,treatise2 and the ,appendix4 ,containing ,notes to the ,rules and ,examples of ,part ,i42 ,explanations of the ,construction of ,scales1 ,tables1 and ,diagrams1 and a ,treatise upon ,equivalent ,square ,bases and ,equivalent ,level ,heights4 ,the whole illustrated by numerous original ,engravings1 comprising ,explanatory ,cuts for ,definitions and ,problems1 ,stereometric ,scales and ,diagrams1 and a ,series of ,lithographic ,drawings from ,models1 showing all the ,combinations of ,solid ,forms which occur in ,railroad ,excavations and ,embankments4 ,by ,,john ,,warner1 ,a4 ,m41 ,mining and ,mechanical ,engineer4 #hvo4 #e4jj ,,watson4--,a ,manual of the ,hand-,lathe3 ,comprising ,concise ,directions for working ,metals of all kinds1 ,ivory1 ,bone and ,precious ,woods2 ,dyeing1 ,coloring1 and ,french ,polishing2 ,inlaying by ,veneers1 and various methods practised to produce ,elaborate work with ,dispatch1 and at ,small ,expense4 ,by ,,egbert ,p4 ,,watson1 late of ,the ,scientific ,american1 ,author of ,the ,modern ,practice of ,american ,machinists and ,engineers4 ,illustrated by #gh ,engravings4 #a4ej ,,watson4--,the ,modern ,practice of ,american ,machinists and ,engineers3 ,including the ,construction1 ,application1 and ,use of ,drills1 ,lathe ,tools1 ,cutters for ,boring ,cylinders1 and ,hollow ,work ,generally1 with the most ,economical ,speed for the same2 the ,results verified by ,actual ,practice at the ,lathe1 the ,vice1 and on the ,floor4 ,together with ,workshop ,management1 ,economy of ,manufacture1 the ,steam-,engine1 ,boilers1 ,gears1 ,belting1 etc41 etc4 ,by ,,egbert ,p4 ,,watson1 late of the ,scientific ,american4 ,illustrated by #hf ,engravings4 ,in one volume1 #abmo4 #b4ej ,,watson4--,the ,theory and ,practice of the ,art of ,weaving by ,hand and ,power3 ,with ,calculations and ,tables for the use of those connected with the ,trade4 ,by ,,john ,,watson1 ,manufacturer and ,practical ,machine ,maker4 ,illustrated by large ,drawings of the best ,power ,looms4 #hvo4 #aj4jj ,,weatherly4--,treatise on the ,art of ,boiling ,sugar1 ,crystallizing1 ,lozenge-making1 ,comfits1 ,gum ,goods4 #abmo4 #b4jj ,,wedding4--,the ,metallurgy of ,iron2 ,theoretically and ,practically ,considered4 ,by ,dr4 ,,hermann ,,wedding1 ,professor of the ,metallurgy of ,iron at the ,royal ,mining ,academy1 ,berlin4 ,translated by ,,julius ,,du ,,mont1 ,bethlehem1 ,pa4 ,illustrated by #bjg ,engravings on ,wood1 and three ,plates4 ,in one volume1 #hvo4 7,in press47 ,,will4--,tables for ,qualitative ,chemical ,analysis4 ,by ,professor ,,heinrich ,,will1 of ,giessen1 ,germany4 ,seventh edition4 ,translated by ,,charles ,f4 ,,himes1 ,ph4 ,d41 ,professor of ,natural ,science1 ,dickinson ,college1 ,carlisle1 ,pa4 #a4ej ,,williams4--,on ,heat and ,steam3 ,embracing ,new ,views of ,vaporization1 ,condensation1 and ,explosions4 ,by ,,charles ,,wye ,,williams1 ,a4 ,i4 ,c4 ,e4 ,illustrated4 #hvo4 #c4ej ,,wohler4--,a ,hand-,book of ,mineral ,analysis4 ,by ,f4 ,,wohler1 ,professor of ,chemistry in the ,university of ,gttingen4 ,edited by ,,henry ,b4 ,,nason1 ,professor of ,chemistry in the ,rensselaer ,polytechnic ,institute1 ,troy1 ,new ,york4 ,illustrated4 ,in one volume1 #abmo4 #c4jj ,,worssam4--,on ,mechanical ,saws3 ,from the ,transactions of the ,society of ,engineers1 #ahfi4 ,by ,s4 ,w4 ,,worssam1 ,jr4 ,illustrated by #ah large plates4 #hvo4 #e4jj 99 99 99 99 99 ,transcriber's ,note represents italic text represents bold text represents black-letter1 or ,old ,english text ,sundry missing or damaged punctuation has been repaired4 ,both hyphenated and non-hyphenated variants of many words occur in this book4 ,all have been retained4 ,this book has some older spellings or grammatical constructions1 which have been retained4 ,though published in ,philadelphia in #ahgh1 parts of the book date from #ahef1 and would thus appear to pre-date modern ,american spelling conventions4 7,see note on the ,catalogue advertisements which were placed after the ,index47 ,any illustration which interrupted a paragraph was moved to a more convenient location1 between paragraphs4 ,there is some discrepancy between the ,,toc and the book's layout4 ,some rationalization has been attempted4 ',blank work' appears to refer to blank book-keeping books sold by stationers for use in business offices4 ,pages #ah-ai1 #fg3 ,derome also appears as ,de ,rome4 7,index3 ,derome7 ,page #bc3 'him' and 'self' re-joined over line-break4 ,many of these he made himself of iron1444 ,page #eg3 ',societ' corrected to ',socit'4 444 in a ,memoir presented by him to the ,socit d' ,encouragement1 ,page #gh3 'faustic chips'2 'faustic' would appear to be correct4 ,from http3_/_/www4 faculty4ucr4edu_/legneref_/botany_/tandy e4htmfusticdyes ,tanning 444 ,wood ,dyes 444 ,fustic3 ,this is the main source of natural yellows1 olives and browns and ranks with logwood in importance4 ,it is used for leather and in combination with logwood for silk1 wool1 nylon and rayon4 ,it comes from the heartwood of ,chlorophora tinctoria1 a forest tree of the ,west ,indies1 ,central and ,south ,america4 ,the light-yellow wood turns a dark yellow-brown when exposed to air4 ,faustic is exported as short logs1 chips1 powder or paste4 ,the dye is frequently called ,old ,fustic to distinguish it from ,young ,fustic1 once obtained from the twigs of ,cotinus coggygria4 ,page #abh3 'papier ,d',anonay'1 should perhaps be 'papier ,d',annonay'4 ,also ,page #aej1 so perhaps 'papier ,d',anonay' was an accepted spelling 7in the bookbinding trade7 at the time of publication4 ,page #aea3 ',,stationery ,,or ,,vellum ,,binding4' is ',blank ,binding' in ,,toc 7p4 #g74 ,page #aha3 444 but the character of the ornaments are generally dissimilar4 is as printed1 though the author does seem to have confused his tenses4 ,page #bjc3 'anti-tiquities' corrected to 'antiquities' - letters duplicated at line-break4 444 and illustrate the history1 laws1 customs1 and antiquities1444 ,pages #bad-e3 ,plate #h43 ',pattern's' corrected to ',patterns'4 ,selection from ,gaskill1 ,copper ,fry's ,book of ,patterns ,page #bcg 7also pp4 #bcg1 #bdd1 #bdf1 #bdf4 #bej1 #bea1 #beb1 #beh1 and ,index73 ',,aqua ,,regii' corrected to ',,aqua ,,regia' 7'royal water' or 'king's water'71 a mixture of nitric acid and hydrochloric acid4 7,the transcriber could not find any reference to 'aqua regii'1 and assumes it to be a spelling error by either the author or the printer47 'nitrous acid' corrected to 'nitric acid'1 which appears in the next paragraph4 ,so called from its power to dissolve gold1 is a mixture of nitric acid 7aquafortis7 and muriatic acid1 7spirits of salts174444 ,page #bdd3 ',,ohange' corrected to ',,orange'4 ,page #cac et seq43 ,some ,index entries which had been transposed have been returned to their correct places4 ,the dashes 7----7in the index have been replaced by double spaces1 making it a simple nested list4 ,,index3 ',antique ,dutch'3 ,page number corrected from #bi to #abc 7,no #bi47 ',maiolo1 #ag' corrected to ',maioli1 #ah'4 7also later occurrence7 ',carved oak boards1 description of1 #ab1 #baa'4 'precious stones let into1 #ab1 #ad'4 ,p4 #baa had been incorrectly assigned to 'precious stones let into'1 and the 'precious stones' are mentioned on pp4 #ab and #ad1 ',edges1 ,burnishing'3 ,p4 #abe corrected to #abf4 ',forwarding'3 p4 #gb corrected to #gc4 ',hints to ,book ,collectors'3 p4 #bia corrected to #bib4 ',mahogany sprinkle on leather'3 ,p4 #beb corrected to #bec4 ',marbled cloth'3 p4 #abg corrected to #abh4 ',turning up'3 p4 #gb corrected to #gc4 ,,catalogue3 ,page #a1 et seq43 ,catalogue of ,practical and ,scientific ,books 7etc473 ,,mm is an abbreviation for ,messieurs4 ,abbreviations for technical and professional qualifications1 etc4 are not always consistently spaced4 ,they have been retained as printed4 ,prices for books have been retained1 as printed4 ,those less than #a4jj1 with a couple of exceptions 7#ej;cts17 are printed1 e4g4 #fc1 #ge1 etc41 aligned right4 ,the spelling in the descriptions of books in the ,catalogue sometimes depends on whether the author was ,american or ,english4 ,the word ',price' appears only in the description of one book4 ,it has been retained4 ,page #ac3 ,the price was omitted from two of ,miss ,leslie's books4