A Manual of the Art of Bookbinding / Containing full instructions in the different branches of forwarding, gilding, and finishing. Also, the art of marbling book-edges and paper.

by James B. Nicholson

ADDENDA.

In taking leave of the subject of marbling, there is but little more to add. For, when the learner is master of all this book teaches, he will have attained such proficiency in the art as to require nothing further in the way of instruction. Should some new pattern come up, let him apply the principles that govern in mixing and distributing the colours, and, with the aid of his own experience, his chance of accomplishing it will be as good as any one else's. As a step to the attainment of mastery in the art, let the workman divest himself of the various nostrums he has been put in possession of by interested parties, and give himself up with assiduity to the directions here laid down. What is here given is the result of twenty-five years' actual experience of C. W. Woolnough, of London, whose marbles rank among the most beautiful productions of the present day. Therefore let the workman adhere to the instructions, and ultimate success will crown his efforts. Should there be any difficulty in obtaining any of the articles described, they may be procured from Mr. Charles Williams, No. 213 Arch St., Philadelphia. The specimens of marbled paper accompanying these pages, illustrate the prominent classes or patterns of marbling. They were executed by him, and show his mastery of the art.

BURNISHING.

The edges are burnished by placing the volume open, with the fore-edge between boards, similar to backing-boards, in the laying-press, and screwing it tightly therein; then with the burnisher rubbing the edge firmly and smartly over till it presents a uniformly bright surface, and free from any dents or inequalities. When the fore-edge is finished, the volume must be taken out of the press, and the head and tail burnished in a similar manner, the ends of the boards resting in the groove by the joints, the covered boards of the volume being open. Common calf, sheep, and half-binding, may be burnished with the boards closed, six or eight together, but it will be necessary to delay pasting the sides on the latter till after the operation, to avoid the liability of tearing.

GILT EDGES.

This description of edge is the best preservative against external injury and damp. Previous to laying on the gold, the workman must have in readiness the articles necessary to form the groundwork and cause the gold to adhere to the edge. The first is a mixture of red bole or chalk and black lead, well-ground and reduced by water to a fluid consistence, after having added to it a few drops of muriatic acid or vitriol. The size used by some is made from the white of an egg in five times the quantity of water well beaten together; but that most generally used is made from parchment or vellum shavings boiled in water to extract the gluten. It is then passed through a piece of fine muslin and set aside to cool. When cold it is very easy to judge of its strength. Some use ice in summer-time to chill it, as a test of its strength. If too strong or thick, add water, then warm it to melt the size and allow the water to become incorporated with it. To become a good gilder requires considerable judgment, as every variety of paper requires a different treatment. No rule can be laid down that will answer in every case; but if the workman will but pay attention to the directions here given, exercise patience, and above all reflect upon the effects of his operations, ultimate success will be certain. English books are made from linen rags, and the paper is sized. They gild more easily and the edge looks better than American books. They do not require as strong a size for gilding as books printed on paper made from cotton. Books printed in this country are generally made from cotton rags. Quantities of alum and lime are employed in bleaching the pulp, to the sore annoyance of many a gilder, who has found that a damp day would invariably put both his skill and patience to the test. The best qualities of American paper are sized; the generality, however, is not. To determine whether the paper is sized or not, apply the tip of the tongue to it; if it adhere to the tongue, it is not sized, and will consequently require a stronger size for gilding than if it were sized paper. 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 acid. Having every thing in readiness, put the book in the laying-press, between the gilding-boards, placed even with the fore-edge of the book and with the cheeks of the press; screw up as tightly as possible with the press-pin.

Then commences the most difficult operation, and one upon which the beauty of the edge almost entirely depends—namely, that of scraping. This is done with a steel scraper. A piece of saw-blade answers the purpose very well. After being ground square on the edge and rubbed perfectly smooth upon the oil-stone, it is kept in order by a smooth steel. The edge must be scraped perfectly smooth, so as not to show the marks of the knife in cutting, or of the scraper. After this is done, it must be coloured lightly over with the bole or chalk, rubbed immediately dry with fine clean paper shavings. This process will have to be repeated three times; it is then well burnished with the agate, and, with a broad, flat camel's-hair pencil, or piece of soft sponge, a coat of size laid evenly on the surface.

The gold is next cut on the gold-cushion to the size required. A slip of paper larger than the edge is drawn over the head of the workman, and by a light pressure upon the cushion the gold will attach itself to the paper; it is then turned, with the gold upwards, (care being taken to have sufficient upon the paper to cover the entire edge,) and laid upon the cheek of the press; then pass a flat camel's-hair pencil, dipped in clean water, evenly over the edge, and immediately lay on the gold by taking up the paper, turning the gold towards the edge, and presenting it with sufficient celerity not to allow the gold to be drawn from the paper in portions by the size. To do this well will require some practice and a steady hand. Should there be any breaks in the gold, other portions must be applied, and, if dry, moisten with water applied by a fine pencil, and lay on the gold.

After the edge is entirely dry, which generally happens in from one to two hours, it must be burnished. For this purpose a flat blood-stone burnisher is the best, to be afterwards followed by a flat agate. Let there be no marks of the burnisher, but spare no pains in burnishing to have the edge perfectly uniform and clear. The head and tail of the volume must be gilt with the same precaution, the back towards the workman. The foregoing direction have been derived from the practical experience of Mr. James Pawson, one of the best gilders in this country.

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 written, or an additional degree of beauty and elegance, this part of book-ornament may be pursued farther in the manner we shall now describe.