ALUM WATER.

ALUM WATER.

In the chapter upon gall I have mentioned in a general way the action of alum water upon the edges, it remains only therefore to explain the preparation and application of the same.

To achieve beautiful results from the colors it is indispensable to wet the book edges or the paper, to be marbled, with concentrated alum water, so that no spot is left free from moisture, because at that spot the color would not take.

Concentrated alum water is prepared in the following way; put 2 quarts of water and 13 ounces of alum into a pot and heat until the alum is entirely dissolved. This concentrated solution is permitted to cool and is bottled tightly.

A solution of alum in cold water is much too weak for the above purpose as alum is but sparingly soluble in cold water.

The book edge or paper, which is to be marbled, is wet with a sponge dipped into this cold concentrated alum solution and must be allowed to dry for from 5 to 8 minutes, after which the produced edge may be lifted from the size. Generally this point finds but too little consideration in our book-binding establishments.

Edges which have not been treated with this alum water show as a consequence poor and blotted results, although such little trouble is necessary to wet the edges with alum water.

With hair-veined edges, where colors are thrown on the size only in very small quantities, this wetting may be omitted; but with comb, peacock and bouquet edges, for which four to six colors are used, it is unavoidably necessary to prepare the edges with alum water because the glycocholate aluminium formed by the color while in connection with the alum water is essential to fix the color in such quantities.

Therefore, if it is desired to produce clean and lustrous edges in which the white lines appear without a trace of color, then this advice is to be followed, the small trouble being amply repaid by the beauty of the edges.

Ordinary earth and several of the lake-colors take without wetting of edges with alum water, but these colors leave much to be desired in their divisibility and fineness and always appear rugged.

A much finer fixing medium is the acetate of aluminium which can be easily produced.

Dissolve 1 pound of alum in 3 quarts of warm water, prepare another solution with the same quantity of soda, mix these two, whereupon the hydrate of aluminium is precipitated. Allow the latter to settle, pour the water above carefully off, and filter; the white body which remains consists of hydrate of aluminium which is readily dissolved by a little acetic acid, into a clear fluid and can be diluted with the same volume of water. Then heat the whole liquid, when the excess of acetic acid is evaporated, we have the desired acetate of aluminium which can be used in the same way as alum water.

Edges and paper which are to be marbled should only be moistened with alum water or aluminium acetate shortly before the marbling and should stand not longer than a half-hour after the sizing of the edges, because later on, an insoluble layer is formed which only takes color with great difficulty. It is therefore best to prepare the colors before commencing the sizing of the edges. If there are a large number of books, it is better to divide them into two or three lots.

The Preparation of the Colors
for Marbling.

THE PREPARATION OF THE COLORS
FOR MARBLING.

The want of knowledge of colors gave me the greatest trouble when I began their manufacture as I had no information as to why this or that color was unfit for marbling.

The numberless experiments I made to this end remained without results. It was an exceedingly great trial to my patience, but by the pertinacity with which I clung to my investigations, I, at last, succeeded in making the important discovery, that the real value of color for marbling purposes is its body and that the color itself, which is bound to the body either naturally or chemically, is of less importance. By this discovery every difficulty that I had so long experienced was cleared away and it was made manifest, why it had been impossible for the marbling art to become sufficiently popular.

From this time on I had a foundation, upon which to continue my investigations with greater surety. Finally I succeeded in finding that the colors named later on are good and useful marbling colors.

When we look over the different special branches of our trade, we find everywhere great progress, which is even noticeable in the smallest workshop. Already, these wonderful achievements have become common property, only the art of marbling stood still on account of insufficient instruction and it has not made any progress in the last decade. This was due to a large number of men in our trade using mechanical marblers to avoid those obstacles, which had hitherto offered themselves in marbling.

The expectations which were placed on the mechanical marblers were not fulfilled, because, after a short use, and when not carefully kept clean, they became sticky from dust and color mixing so that they gave but very indifferent productions. The necessity of continually cleaning these mechanical marblers and their lack of uniformity are by no means recommendable properties.

Mechanical marblers should be retired to small book-binderies for use upon single books, where they are eminently in the right place, driving away the primitive sprinkled or starched edges.

The interest which was shown in mechanical marblers is a proof that all members of our trade, who use them, possess a liking for the marbling art and would be zealous friends of the same, if they but knew of the methods of marbling, that would give beautiful results without great difficulty.

To judge rightly the value of a new invention, we have only to see, whether it is introduced into the wholesale trade and is in continual use. This is the best test of inventions and the only proper basis, upon which to judge them correctly. We find the mechanical marblers exclusively in the small shop, because they do not answer the demands of the wholesale manufacturer in any way.

What the marbling art is able to offer, a person can only judge, who has seen exemplary edges and to whom marbling is not a stranger. No kind of edge, to which color is applied, can be compared to the effective splendor of marbled edges. In thousands of variations it imitates nature and delights the eye by its products. Although marbling has hardly reached the middle rung of the ladder of its development, it to-day stands unrivalled.

It is clear, that such an art should be fostered and nursed, if it is to grow to its full development. But here the investigation of one man is insufficient, a general interest is demanded and I hope, that this will be aroused by my work. After this slight diversion I will now begin to treat my real subject, the preparation of colors, and for that purpose, I will divide the marbling art into three important parts: the size, the color and the technical application.

The size and the technical application of the colors demand great attention and practice; on the other hand, the preparation of colors but labor. The colors are divided into two groups, mineral and lake colors. In the lake colors, if they are good and strong, the coloring matter bound to the metallic oxides is equal to one-half of the whole weight of the color, therefore they can be prepared as good marbling colors without adding anything but gall. On the other hand, in mineral colors, which in a natural or chemical way are bound to bodies, the body weighs much more than the coloring substance and even if the metallic oxide is the real coloring substance, as is the case with ferric hydrate, the organic coloring matters derived from the vegetable or animal kingdom are preferable to the inorganic substances.

Why this is the case we shall see further on. In those coloring substances, which I have recommended as good marbling colors, the aggregate state of the body is amorphous and admits of the greatest divisibility. If such a coloring substance is ground in the finest way possible, the division of the body is a very great one, but an intimate union of the particles can never take place because first, the color is insoluble in water and, second, because the division (diminution) of a body has its limits. For this reason particles are isolated and lay loosely alongside of each other.

If a mineral color is mixed with the necessary amount of water and gall and thrown upon the size the drop expands to a round disc, which upon close investigation, is found to consist of numberless small dots. When such coloring stuffs are used, the union of the particles must be brought about by some glutinous matter. This is unnecessary with lake colors, where the coloring matter is as heavy as the body to which it is bound, as all organic substances possess a sufficient quantity of glutinous matter to form a union of the particles.

The clearest proof of the correctness of my allegations we find in a mineral color, in which the metallic oxide was precipitated by a semi organic salt, I mean French blue, which without any substance unites the particles quite well if the washing of the precipitate after the blueing, was a perfect one.

The glutinous matter used with mineral colors must be entirely free of any acids as the smallest particle of acid, which in warm weather is often formed after long standing causes an isolation of the coloring matter in such a way, that it will become curdled when thrown upon the size. The best glutinous matter, that can be used, is dissolved isinglass or parchment-glue with gum tragacanth. As the first two named materials are expensive they can be replaced by fine gum arabic free of acid. Take 4/6 of an ounce of gum tragacanth let it swell in 1 pint of water and dissolve fully by boiling. In this way we obtain a glutinous mass, which is mixed by stirring with a thick solution of gum-arabic. This mixture is used to unite the particles of the body of mineral colors.

To grind the colors use a very smooth marble slab, a roller and a palette knife, of wood or horn, as those of steel produce some change upon red colors.

The colors which are sold in the market are either in the form of grooved pieces, little cones, or powder. If the color is in pieces or little cones, it is first ground to powder in a dry state and is then mixed with a little water and from 10 to 15 drops of ox-gall to a thick paste. If a mineral color, add a piece of the glutinous matter the size of a nut, if, on the contrary, we have a lake color, the addition of water and gall is fully sufficient.

Now commences the grinding. With a muller you continually run in a circular motion over the color using a moderate pressure of the hands. After about two or three hours have elapsed the color will have the requisite fineness which is shown by its greasy, lacquer-lustrous appearance. During the grinding, move the color from time to time into the center of the marble with the palette knife and at the same time the adhering color is removed from the roller.

When the color is ground fine it must be diluted with water in a glass vessel and is then ready for use. Bottle tightly and keep it in a cool place, best in the cellar.

For grinding the colors and diluting the same, river or rain water should be used, of course, proportionately to the quantity of color so that the latter will not become too thin.

The grinding of a color is done mostly by apprentices as the time of a journeyman would be too valuable. In most cases this part of the preparation gives the greatest trouble, since the colors are seldom gotten to that fineness necessary to marbling. This is easily explained as the grinding demands practice and a certain perseverance. From the point of view that time is money, the majority of book-binders concluded to use ready ground colors and this was profitable to them as they could buy them better and finer ground and much cheaper. But, even here, we sometimes find articles, which leave much to be desired, but which, in most cases, can be used.

For fifteen years I have been carrying on the manufacture of marbling colors and must always endeavor to keep pace with the progress of the chemistry of the colors as new products are continually offered for sale superior to the old in quality and beauty.

To give to the trade an idea of the manufacture of marbling colors I will briefly describe it.

It is a well known fact that among the great number of colors produced by a factory, there are always several, which excel by their especially good quality. I selected, therefore, from among the colors of several factories, those which were especially excellent and I now control an assortment, which hardly any single factory is able to supply.

In preparing them 20 pounds are always ground at once. The color is ground upon a large marble slab with water and gall, to mineral colors the necessary glutinous matter is added and this is formed to a thick paste and then ground in the color-mill. The grinding in the mill is essential to obtain a homogeneous mass and then this paste is ground twice on a color grinding machine with three porphyry rollers in the finest possible way.

The color having been diluted is then prepared on a size, which is gotten up for this purpose and then preserved in stone jugs.

It is easily explainable, that the best results must be obtained with such a carefully and excellently prepared color, I, therefore recommend to my fellow marblers, the marbling colors manufactured by me.[A]

Before using, the color must always be well shaken and there must only be taken from the bottle enough necessary to one marbling process. The remaining portion of the color must not be poured back into the bottle, because if this be repeated several times the whole color would be spoiled by the gall.

A small quantity of, say from 40 to 50 drops of color, is sufficient for marbling the edges of even a large number of books, the colors must always be kept tightly bottled up as they may be spoiled by being exposed to the air for a longer period.

The Marbling of Book Edges
and Paper.

THE MARBLING OF BOOK EDGES
AND PAPER.

The Marbling consists, generally speaking in this, that finely ground fluid colors are thrown in drops by the aid of brushes on a thickly fluid size contained in a flat trough, that then by the aid of gall, different marble-like designs are formed, that they are lifted off the size by immersing the edge of the book and by that are transferred on this edge.

Before speaking of the different kinds of edges, I will mention something of the harmony of colors, as in drawn edges the real harmonious combination of colors is of great influence on their beauty. The application of color in the art of marbling gives us certainly extraordinary freedom and a wide range to our fancy, but nevertheless there are certain principles or laws necessary to make the colors appear in an effective and beautiful way. Those tones of color which lie between yellow and reddish yellow are called warm, those between blue and the middle of reddish blue, cold colors. In the center lies red by its strength and effectiveness forming the dividing line between the warm and cold.

To explain the principles of color harmony, the colors are divided into three groups, first, primary colors, second, secondary, and third, tertiary.

Primary colors are those which cannot obtain their inherent purity by any mixture, namely red, yellow, blue, white and black. Secondary are those which are generated by a combination of two primary colors, for instance, orange, purple, green and grey. Tertiary, or broken colors, are those which are obtained by mixing two equally powerful secondary colors, for instance, brownish red, olive, slate grey, etc.

In the harmony of colors luminosity and intensity play the main parts. The darkest color must occupy three times as much space as the lightest and the succession must be kept up in this way always taking into consideration the luminosity of the colors.

Which colors must now be placed alongside one another to produce a harmonious effect? The laws for this are founded on the peculiarity of the power of man's vision. The eye, demands to be satisfied, an accord of primary colors. Red requires to annihilate one sided irritation the two primary colors, yellow and blue. The secondary green is obtained by a combination of yellow and blue, for that reason green is the color demanded by red to please the eye. But there must be a contrast of colors, for instance light red and dark green or dark red and light green must be brought together. The same thing is the case with other primary colors. The primary color yellow demands the secondary purple, blue, the secondary orange, the tertiary color olive, the secondary orange, brownish red and green, brimstone yellow and violet.

The correct treatment of the shadow tone of a given color depends upon the knowledge of the laws of the annihilation of color effect. As in nature, a shadow is formed by obstructing the light, so in the technic of coloring the shadow is obtained by the annihilation of the light-color. By combination of a primary color with a harmonizing secondary color of equal strength, we obtain the right shadow tone of the first color. In this way, by experiments in mixing, the right shadow tones, which form in a multi-colored edge, the gradual transitions of primary colors can be easily detected.

THE COMB MARBLE.

THE COMB MARBLE.
(SEE [SPECIMEN PLATES].)

The comb or nonpareil marble belongs to those edges which are not so frequently used, although it is superior in brightness and variety of colors to other marbles, provided the combination of colors is a correct one and there are no entire blotches of the same color present. For the comb-marble in general use, four colors are mostly employed, namely black, blue, yellow and red. To these white is added, but not as a color, as it is formed by the stylus in drawing the colors.

For precaution's sake let me here repeat the description of the preparation of colors: before using them shake well and then pour into the different small vessels as much of the same as is necessary for one marbling operation only, then put them away handy for use in the following order, black, blue, yellow and red. Black is used for shading all other colors, therefore, it should be thrown on first as the ground color. As I mentioned before, the colors are to be prepared upon a small surface of size so that the whole size may not be soiled, as it is nearly unavoidable during the preparation to prevent several drops from sinking. Whether the colors are suitable to each other as regards their expanding power or whether the size is too thick or too thin for comb-marble is determined in the following manner; draw off the size in a dish, by a strip of paper, throw on a drop of black, which if size and color are correctly proportioned must expand to a spot of 4 inches in diameter. If the drop does not expand in this way the size is either too thick or more gall must be added to the color. Add from 5 to 10 drops of gall to the black color and repeat the experiment. If then the color does not expand to the given diameter take a stylus and draw it in wavy lines such as used for comb-marble. If the color can be drawn into beautiful straight lines, without following the stylus, the size possesses the normal consistency and more gall must be added to the color, until it reaches the aforementioned diameter, but if the color is drawn along by the stylus or cannot be easily cut by it, then the size is too thick and must be carefully diluted with water. If, on the other hand, the color in drawing with the stylus should run, then the size is too thin. This can also be easily seen by the extraordinary quivering of the size. Such a size cannot be used for comb-marble, either you must add some thick size or you must use it for common marble edges. The black color is the key to the success of a beautiful edge; the other colors must be prepared according to the strength of the black.

When the ground color has spread out to the desired dimension, throw on the black a drop of blue, then yellow on the blue and red on the yellow which must all expand to a diameter of 1-1/2 inches. Should this not be the case then several drops of gall are to be added in the order aforesaid. The three latter colors must be prepared by themselves, and if, after throwing a drop of blue on the black, the former does not reach the necessary expansion, gall must be added in drops until this is achieved, then the yellow is manipulated in the same way.

When all colors are toned in regard to their power of expansion, then and not before then, can the marbling commence.

With a little experience or practice the whole manipulation is finished in less time than it takes to describe it.

Pour the size into the trough, take the top of it off with a thin piece of wood which fits into the trough closely, smooth it over with the wood so that the surface is free of bubbles, then throw on, by the aid of a hair brush, the black in the direction of the length of the trough towards the centre of the size in such a way that the first drop comes in contact with the rim of the second, the second with that of the third, the third with the fourth, etc., so that a ribbon from 4 to 5 inches wide is formed. Then throw on the blue in drops at both sides of the black following the length of the trough, but the joining of the drops must be avoided. Yellow is thrown on at both rims of the black just as the blue was but in such a way that each drop of blue has a yellow centre. Finally red is thrown on the yellow so that each drop of yellow receives a red centre. By this means we produce a beautiful combination of colors. Then take a thick knitting needle or a thin stylus of wood and draw the colors in wavy lines through each other but so that the stylus will pass the boundary of the black. By doing this white lines will be produced between the colors, adding at the same time, the fifth color white which causes the marble to attain a brighter aspect. If then the comb is drawn across, beautiful scales will be produced.

The books which have been wetted shortly before with alum water, are now placed between boards or clamps and are dipped from right to left, somewhat obliquely, into the trough so that the left end of the book touches the size first, and then with a firm hand the book is inserted towards the right until the right end has touched the size. This must be quickly done to avoid the formation of air bubbles. As soon as the marble edge is taken off, the superfluous size is carefully removed from the edge by a moist, soft sponge so as to prohibit moisture from penetrating too much into the leaves of the book. In this operation great care must be exercised to prevent the marble edge being rubbed out or spoiled.

The remainder of the color is to be taken off the size by the aid of strips of paper and this is done in the following way: one strip is inserted into the size at the left end of the trough in such a way that it slightly enters the size, then by the aid of a second strip of paper, the top of the color is taken off beginning at the right end of the trough and moving the film to the left till it is brought between the two strips of paper and can be removed from the trough into a basin which is kept ready, to receive the waste color. If the colors are quickly removed in this way, the size itself remains perfectly clean even though a large number of books be treated.

On good work, the book at first is only cut in front. As soon as the front edge is marbled and dry the book is backed, and cut at the top and bottom; both edges are wetted with alum water and again the colors are thrown upon the size taking care, that the scales of the upper edge run in the same direction towards the fore-edge as those of the lower one. In more common bindings, all three sides are cut together and after the front edge is marbled and the book is rounded and backed, the marbling of the upper and lower edges is executed without delay.

The rounding of the book must be done before the marbling of the upper and lower edges, because the comb would become disarranged, if the rounding were executed afterwards. Remember that always before throwing on the colors, the top of the size must be taken off by the aid of the piece of board, as, by evaporation, a film is formed over the surface which does not permit the expanding of the colors. The quicker the marbling is executed, so much more beautiful will be the edges.

PEACOCK MARBLE.

PEACOCK MARBLE.
(SEE [SPECIMEN PLATES].)

Peacock marble is one of the newest and prettiest of marbles. It has been much used in recent times for end papers of books, which receive the same edges and in this connection gives a beautiful effect. The method of preparation is generally the same as that of the comb-edge, the difference being this, that, after the colors have been drawn by the stylus into wavy lines, it is drawn by the aid of a movable comb, (the preparation of which I shall describe among the tools) in such a way, that for a distance of 1/2 inch the comb is made wider and again after a distance of 1/2 inch is made narrower. This is continued until the entire marble is crossed by this opening and closing comb; of which a trial is all that is necessary to make it all clear.

THE BOUQUET MARBLE.

THE BOUQUET MARBLE.
(SEE [SPECIMEN PLATES].)

There is no doubt that from among the drawn marbles the bouquet marble is one of the most brilliant, as it can be compared to a number of buttonieres placed alongside each other, if the combination of colors is a good one.

In the manufacture of colored paper, the bouquet marble is mostly produced from two or three browns and one black, and is often used for lining end papers in fine books.

After the colors have been thrown on, drawn by the stylus and combed in the ordinary way, a rake-like wooden instrument is moved through the colors right and left across the whole surface of the size so that in moving the rake the teeth of the second row trace those of the first row precisely, and so on until the rake has been moved over the whole surface from the right end of the trough to the left. A somewhat changed design is produced by treatment of the colors in the same way leaving out the marbling comb and spreading the drops of color thrown on only by the aid of the stylus into very narrow cross-lines and then using the aforementioned rake as already explained. The rake consists of a piece of board of hard wood, of about 1 inch less in length, than the width of the trough, 1-1/4 inches wide and 1/2 inch thick, into which are inserted two rows of sharply pointed wooden teeth about 1 inch distant from each other and leaving a space of about 1 inch between the two rows, in such a way that the teeth of the second row are situated precisely between the teeth of the first row.

ENTWINED COMB MARBLE.

THE ENTWINED COMB MARBLE.
(SEE [SPECIMEN PLATES].)

This comb-marble, produced by drawing the comb back, is a great favorite on account of its beautiful designs, but is more adapted for thicker books as on those only can the pattern be seen to full advantage.

The production is entirely the same as that of comb marbles, but the teeth of the comb must be about 1/2 inch distant from each other and the comb must be 1/2 inch less in width than the trough so that it can be moved right and left at will, when the marble is drawn by this comb the latter is drawn back in such a way that the teeth cross the centre of the scales.

THE SNAIL MARBLE.

THE SNAIL MARBLE.
(SEE [SPECIMEN PLATES].)

The production of this marble is very simple. The colors are thrown on as for comb-marble and are drawn by the stylus into wavy lines and then, one by one, by the aid of the stylus, snail forms are produced.