In which, perhaps, the book-lover will see a parable. For, after all, the book is the thing, and the cover a mere circumstance, and those who wish to make books merely pegs to hang bindings upon deserve to have no books at all. Yet it is right that though the binding should not be raised above the book, it should be worthy of the book, and much of the cheap and good literature which is now within the reach of all who care to stretch out their hands for it, is clothed in a manner to which no exception can be taken on any score. Those who have not realised how charming some of the modern bookbindings can be, should consult the winter number of The Studio for 1899–1900.
[CHAPTER XV
HOW A MODERN BOOK IS PRODUCED]
A description of the methods by which a modern book is produced has to begin at the second stage of the proceedings. The processes of the first stage, including the writing of the book and the arrangements between the publisher and the author, differ, of course, in individual cases. The processes of the second stage, however, are common to a large proportion of the books produced at the present day, though it will be easily understood that they can be dealt with but summarily in this chapter, and that as regards detail much variation is possible.
The second stage in the history of a modern book may be said to begin with the overhauling which the manuscript receives at the hands of the printer's “Reader,” who goes over it with the view of instructing the compositor regarding capitals, punctuation, chapter headings and other details. Although these are considered minor and merely clerical details which are frequently neglected or misused in writing, it is essential that they be carefully attended to in print. Many examples can be given of amusing misprints and alterations of meaning caused by even such a trifle as the misplacing of a comma. When this overhauling is completed the manuscript is ready to be sent to the composing room where the types are set up.
From experience the printer knows that many authors get a different impression of what they have written when they see it in type from what they had when they read it in manuscript, and it frequently happens that alterations on proof are very numerous in consequence. When either from this or any other cause numerous alterations are anticipated, the matter is first set up in long slips called “galleys,” and not put at once into page form. As soon as a few of those galleys are composed an impression called a “proof” is taken from the types so set, and this proof is passed to a reader whose duty is to see that a correct copy is made of the manuscript, and that the spelling is accurate and the punctuation good. This is a work commanding considerable intelligence and experience, as the number of types required for a printed page is very great, and even the most expert compositor cannot avoid mistakes. This marked proof is returned to the compositor to make the necessary corrections. Fresh proofs are got till no further errors are detected, when a final proof is pulled and sent to the author, who makes such alterations as he may desire.
When the corrected proofs are returned by the author they are given to the compositor, who makes the required alterations in the type. After this a revised proof is submitted. When the author is satisfied that the reading is as he wishes he returns the proofs, and the galleys are now made into page form. If it is not expected that the author will make many changes the types are arranged in page shape before any proofs are shown to him, and the work goes through somewhat more quickly.
When the types are divided into pages they are placed in sets or “formes,” each forme being secured in an iron frame called a “chase,” which can be conveniently moved about. Each chase is of a size to enclose as many pages as will cover one side of the sheet of paper to be used in printing. Fifty years ago only one or two sizes of paper were made, and the size of sheet generally used for books was that which allowed eight pages of library size on one side, hence called “octavo” size, or when folded another way allowed twelve pages, hence “twelvemo” or “duodecimo.” Other sizes occasionally used are called “sixteenmo” or “sextodecimo,” “eighteenmo” or “octodecimo,” etc.
With larger sized printing machines now driven by steam or electricity, there is greater variety in the size of formes and papers used in printing. In all cases, however, the number of pages laid down for one side of paper must divide by four. The pages are set in the chase in special positions, so that when the sheet is printed on both sides and folded over and over for binding they will appear in proper sequence.
When only a small edition of a book is wanted the printing is generally done direct from the types, but when a large number of copies is required or frequent editions are expected, stereotype or electrotype plates are made. By this means the types are released for further use and other advantages obtained.
Stereotype plates are cakes of white metal carrying merely the face of the types, and were formerly made by taking from the types a mould of plaster of Paris. They are now formed by beating or pressing a prepared pulp of papier-mâché into the face of the lettering. The mould thus obtained is dried and hardened by heat, then molten metal is run into it of requisite thickness. This plate after being properly dressed is fitted on a block equal in height to the type stem, and takes the place in the frame or chase that would have been occupied by the types.