EDGES.
The patterns for edges are produced in the same manner as those for paper; and having already devoted so much space to this beautiful art, hitherto confined to a few, it would be useless to repeat the processes. Yet there are some things in regard to edges which every good marbler should understand. When plates are interspersed in any book along with the letter-press, it will require particular care in marbling, or the colour and size will run in and spoil the appearance of the plates. To obviate this, keep the book tightly compressed, and where the plates are at the beginning of the book only, lay it down, when marbled, the beginning side-upwards. For edges you may do with a smaller trough, also a smaller quantity of colour than for paper. The solution to work upon had better be gum-tragacanth alone. Colours for edges will look all the brighter by the addition of alcohol, spirits of wine, or whiskey; but they will evaporate more quickly. Having every thing in readiness, take the book, or, if more than one, as many as you can conveniently manage to hold tightly, with the backs in the right hand and the fore-edge in the left, and let them touch the colour, the back first, allowing them gradually to descend till the whole end is covered; but be very careful that none of the size or colour comes over the fore-edge, which it will do if dipped too deep, and leave a nasty unsightly mark, and greatly disfigure the book. In doing the fore-edge, the beginner had better place the volume between a pair of cutting-boards, and, having thrown out the round, turn back the boards, and proceed as with the end; when done, wipe off the superfluous size from the boards with a sponge, put the boards back in their place, and let the volume dry.
GLAZING OR BURNISHING.
The sheets of paper are burnished by a machine constructed for the purpose. A smoothly-faced flint is fixed in a block of wood, in which is inserted one end of a pole about five feet in length, the other end being attached to and working in a cavity in a spring-board fixed overhead, allowing it to work backwards and forwards upon a plank hollowed out for the purpose. The paper is moved over the plank, and the friction of the flint in passing to and fro over the surface of the paper produces a high polish. Sometimes the paper is calendered by means of friction cylinders—a superior method.
COMBS.
These are made in various ways, some to be worked on the top of the trough and called top-combs, others to be worked by putting the points down to the bottom of the trough and called bottom-combs. The best thing for making them is of brass pin-wire. The comb for small nonpareil ought to have from twelve to fourteen teeth to the inch, for the second size eight, and for large, four.
SIZING THE PAPER.
It is sometimes necessary to size the paper after marbling. The way of making the size is as follows:—Take of the best white soap two pounds, put it in a large copper with about twenty gallons of water; when it is quite dissolved, add thereto about four pounds of the best glue, keeping the whole constantly stirred, to prevent the soap and glue from burning; when both are quite dissolved, strain it into a tub, and when cool, it is ready for use. Should it be found too thick, add more hot water. The best way of sizing is to fill a trough with the liquor and to lay the marbled surface of the paper down upon it, then hang it on the sticks to dry.
PATENT MARBLED CLOTH.
This is an article recently introduced, and in some quarters meets with considerable favour. There are as yet no manufactories of it in this country. It, however, possesses no advantages over good marbled paper, and for outsides will not compare with the papier D'Anonay for durability.