The setting of the headband is the next operation, which is very important to the beauty of the binding, 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 other. With a small smooth folder, one end a little pointed, the double fold of the leather must be rubbed together to make it adhere, and, if the boards have been cut at the corners, the hand applied thereon, and finally forcing the headband close to the leather, staying it even on the back with the finger, and forming a neat cap of the projecting part on the top of it. The folder is then applied on the edges of the boards, to give them a square appearance and make the leather adhere. One board is then thrown back, the folder placed lengthwise along the joint or groove, holding it firmly by the right hand; the board is then gently forced by the left hand until it projects slightly within or over the joint. Upon this depends the freedom and squareness of the joint,—one of the most charming features of a well-bound book. After this operation has been performed upon both boards, the headbands will again require attention; and, in order to set them firmly, pass a piece of sewing-thread around the book between the back and the boards, and, after it is tied, manipulate the head as before, so as to make it perfectly square and even with the boards and back. The volume is rubbed alongside of the bands, and then set aside until nearly dry, when the thread is taken off and the boards again set in the joint.
If the book has been sewn on bands, or if the artificial bands are large, it is sometimes necessary, to make the leather adhere to the back, that the volume should be tied up, which is done by placing a board, longer than the book, on each side, projecting slightly over the fore-edge, and tying them tightly with a cord from end to end. Then, with a smaller cord, the leather is confined to the sides of the bands, by crossing the string. For example: suppose the book had three bands, one towards the head, one towards the tail, and the other in the middle; the book would be taken in the left hand, the head upwards, the cord by the help of a noose passed round close to the inside of the band nearest to the tail and drawn tight, then carried round again and brought close to the other side. The string, tightened, is thus crossed on the other side of the volume, and the band held between it. The cord is in like manner carried on to the second and third bands, fastened, and the whole set square with the folder. It will be best understood by the following engraving.
For morocco, and books in other substances, having but small bands, tying up is not resorted to, being generally rubbed close in with the folder, or a box stick for the purpose. Antique work having high, narrow bands, must have the leather well worked in between the bands by the hands, and then the bands must be compressed by the band-nippers. For morocco, however, where the beauty of the grain is liable to be destroyed, great care must be taken, as the slightest mark or scratch is indelible.
A few observations must not be omitted relative to morocco, velvet, silk, and coloured calf, which, from their nature, require the greatest neatness to avoid stains and alterations in the colours. Covers of the former description must not be drawn on too tight or rubbed with the folder, as the grain or pattern of the material would thereby be destroyed; and extra care must be taken with the coloured calf to prevent damage. They must be drawn on with the hands on each side at the same time. The table should be covered with a marble slab, and the hands kept perfectly clean. Silk should be prepared previously, by pasting a piece of paper thereon, and be left to dry, so that, when pasted for covering, the dampness will not affect its appearance. Velvet will require great care, from its peculiar texture making it necessary that it be rubbed one way only in covering. From this cause, having ascertained the direction of the nap, the back of the book is glued and laid upon it and drawn smoothly; then the sides are in like manner glued over, and afterwards the edges turned in. This proceeding causes the whole to lie perfectly smooth, which velvet would not do if drawn in a contrary way to the grain or nap, or if the glue was applied to the velvet.
HALF-BINDING.
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 binding. This is not to be wondered at; for, while it combines economy and durability, it can also be made to exhibit a great deal of neatness. To do this, however, requires more care and skill in paring the back and corners than is generally required for full binding. 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 chisel. The general directions for covering will be sufficient for the class of work under consideration. After the back is lettered or finished, the corners may then be put on; and, after carefully marking and cutting the paper selected for the purpose, the sides should be glued carefully over and affixed to the boards, having sufficient projection to turn inside of the board far enough to be covered by the end-papers. The width of the back should be governed by the size of the volume. A narrow back gives a very meagre appearance to a book. The size of the corners should be determined by the width of the back. The end-papers are pasted down and the work finished in the same way as will be pointed out for binding in general. The colour of the paper used for sides should harmonize with the colour of the leather. The English generally prefer the inside-paper, the edges, and the outside-paper, to match; and it must be confessed that, when the paper is of good quality and the edges correspond, the effect is extremely good. The French generally use a light tint of marble-paper for the inside, and a darker shade for the outside. For durability as an outside-paper, there is nothing equal to the papier d' Anonay, vellum being one of its components. Of this article there are many worthless imitations, which yet in external appearance are well calculated to deceive. The real article will wear as well as the morocco used for the back and corners. The best class of half-binding for amateurs is the Font Hill style, half morocco, of the best quality; uncut leaves, so as to preserve the integrity of the margin; top-edge gilt, as a protection from dust; lined with the best English paper; worked-silk headbands; outside-paper to harmonize with the back; no gilding on the back except the lettering. This style requires extra pains in the forwarding and covering, as the slightest defect in these particulars cannot be remedied by the finisher. In other bindings, 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 "botched."
Uncut books are trimmed to a general line with a large knife, similar to a butcher's-knife, previous to being glued up. They are the special favourites of book-collectors. An uncut copy of a scarce work will always command a higher price than one that has been cropped.