The next process is lining the backs, which is done by pasting strips of paper or muslin upon the back, having it of sufficient width to cover the joints on each side. The volumes are then prepared for the cases, which have been previously got ready. The boards are cut to a uniform square size by the table-shears. The cloth covers, after having been cut out, have the corners cut off to a pattern made for the purpose, just sufficient to allow them to lap when the cloth is turned over the edge of the boards. The cover is then glued equally over, and the T square laid upon it,—the square having been made of the proper width to allow for the back, joints, and groove of the volume. A board is then laid on each side of the centre of the square; the latter is then lifted off, and a strip of paper, of the length of the boards and nearly the width of the back of the book, placed between the boards. The cloth projecting beyond the boards is then turned over their edges. The cover is then turned over, and the cloth rubbed smooth on the sides by means of a woollen or cotton pad. It is then placed between pasteboards to dry. After the cases are all made and have become perfectly dry, they are ready for stamping. Cloth for ordinary stamping requires no preparation, but if the stamp be large or very heavy it will be safer to use a coat of size. For this purpose Russian isinglass is preferable; fresh glaire will answer the same purpose. After the cases are stamped, the volumes being ready, they are arranged with their heads the same way, and the end-paper of the volume is pasted equally over. The book is then laid, pasted side downwards, upon a case, adjusting the squares properly at the same time; the other end-paper is then pasted, and the other board or side of the case drawn over the back and placed upon the volume. After a number are pasted, they are placed in pressing-boards having a brass band affixed to the edges of the boards. The band, being rather wider than the thickness of the board, causes a slight projection. The volumes are adjusted in the pressing-boards in such a manner as to cause the back and joint of the volumes to be on the outer, while the pasteboard is on the inner, side of the brass rim. In this position the volumes are placed in the standing-press and screwed tightly down; they are then tapped lightly at the heads with a small backing-hammer, and allowed to remain until dry. They are then taken out, and the end-papers opened up or separated with a folding-stick. They are then ready for the bookseller's shelves.
TABLE-SHEARS.
PART III.
ORNAMENTAL ART.
In treating upon this subject, we are led back to the land of the Pharaohs; for the earliest Art records that have come down to us (and, perhaps, the most perfect) are from the banks of the Nile, remarkable for their severely massive character, calm and frigid. The few ornamental details are chosen rather for their symbolical than æsthetic beauty, consisting of local forms slightly conventionalized and heightened with colour. Their ornaments were types and symbols intended to address themselves to the eye, heart, and soul of the beholder, the most frequent in recurrence being the winged globe,—a sacred emblem the Egyptians used in their ornamental designs,—the human figure, their sacred animals, and the lotus, reed, asp, and papyrus. Upon the capitals of Egyptian columns are represented nearly all the flowers peculiar to the country, the petals, capsules, pistils, seeds, and most minute parts, being often exhibited. Capitals are often seen resembling a vase, and at other times a bell reversed. There is little in this style applicable to the decoration of books, unless it be upon works relating to Egypt. Then its symbols afford the binder an opportunity to employ its symbolic ornamentation.
ASSYRIAN AND ANCIENT PERSIAN.
Of this style it is only lately that we have become slightly acquainted; and, though partly coeval with the Egyptian, the Assyrians have borrowed little from them, the details being remarkable for their classic character, at times approaching the Ionic, but greatly dependent upon animal forms for its ornamentation, and upon painting and sculpture for its expression. The forms, often graceful, are less arbitrary than the Egyptian, (where symbolism is paramount,) containing those elements afterwards elaborated into beauty by the Greeks. There is an appropriate fitness in Assyrian ornament that constitutes one of its prominent characteristics. In addition to animals, the pomegranate, fir-cones, lotus-flower and reeds, rosettes, and a fan-shaped ornament supposed to be the origin of the Greek honeysuckle, distinguish the Assyrian style.