For the best class of work, after the design is impressed, either by hand or the press, pieces are cut out of variously-coloured morocco, pared thin, and neatly pasted on the side, the design, when worked, entirely concealing the edges of the morocco. This is termed inlaid work.

BLIND TOOLING.

This is an ornamental operation, applied either before or after the book has been gilt and polished, and, if judiciously intermingled with the gold, will not fail to present a good effect. It is a style that has been much used of late years, and is executed in the same way and with the same tools as for gilding, but without any gold applied on the places thus ornamented. The rolls, pallets, and smaller tools, are applied by the hand, and the large plates with the press, with the same precautions as indicated in the previous section. If the pattern consists of straight lines, and the workman possesses a good eye, the best manner of executing it is by making use of a pallet, placing it firmly on the book, and sliding it to the opposite point. It remains, therefore, to consider such matters as more immediately apply to this style of decoration.

The tools for blind tooling should not be so warm as for gilding, and particularly for morocco. If it is wished to be left dull,—that is, free from glaire,—the particles attaching themselves over the edge of the gold ornaments must be removed with the end of the finger, wrapped over with a piece of fine cloth, and wetted. This will soon wash it clean, and when dry the blind ornaments may be proceeded with.

Graining may be properly considered as a blind ornament. This is where, by the means of wooden or metal plates, the sides of a book are marked with lines crossed over each other, so as to form innumerable small squares in imitation of russia, or in imitation of the grain of morocco, scales of fish, and other substances. The operation is performed by placing the volume between the two plates even by the groove of the back, in the standing-press, and pressing it tightly down, and so even that the plate will be impressed equally over the whole surface. Nothing will look worse than a bold impression in one place and a slight one in another; and therefore it becomes of importance to see that it is evenly pressed, as a second application of some kind of plates will never be found affixed to the same places.

MODERNIZED MONASTIC OR ANTIQUE.

This style, whether done by the hand or the press, is one that requires care and patience on the part of the workman, so as to bring up the tools black, without burning or otherwise injuring the leather. We have spent much time in experiments, so as to arrive at the most certain and perfect mode of producing the desired result. The style emanated from Mr. Hayday's bindery; and a volume executed in this style for a connoisseur in this city, with tooling of a brilliant black, fell into our hands some years since, and we at once set about attempting to produce the same effects. Our efforts were confined to hand-tooling for some time; and, although inferior in effect, they were generally well received; but we were far from being satisfied. We tried every substance that could be thought of, made the leather and tools hot and dry, or wet and cold, as reason seemed to point to one or the other as the proper method. We will now communicate the results of our labours:—In the first place, the material is of the greatest importance; and the finest effects cannot be produced except upon English calf or morocco. American calf is entirely out of the question for the purpose, as the morocco is too hard on the surface, and there is not sufficient colour in the body for the tools to draw and affix it by heat to the surface; but some kinds are better adapted for the purpose than others. To test this, apply the tip of the tongue to the leather, and if the dampness lies on the surface, without sinking in, reject it; but if the dampness strikes instantly into the leather,—the quicker the better,—the workman may proceed with some hopes of success. After the volume is covered and ready for finishing, wash it evenly over with clean water; and, as soon as the water ceases to lie upon the surface, apply the tool moderately heated; this will bring up the dark colour. Afterwards go over it again with the tool, so as to make the impressions clear and bright. There are, however, some colours, as well as particular manufactures, that will not come up black; and we were long satisfied that some colouring-matter was employed. We wrote to a friend in London, who sent us the material and the method of its use. The material was common printers' ink. His communication we now make public. "In the first place, the leather should be quite damp, and the tools used should be as hot as possible without the printers' ink. Then again impressed with the printers' ink upon the tools. We put the larger tools in again without ink. When the ink is used upon the tools, the leather should be rather damp, and the tools not very hot. When the pattern is worked in the manner described, it should be left until dry, and then brushed with a brush, not very stiff, which will give a brilliant gloss to the tooling." When using printers' ink, be careful not to get too much on the tools.

Let the young workman but follow the directions given, and, with a little patience and reflection, he will be able to do work of the character under consideration, fully equal to the efforts of the best workman, provided that the tools be worked true and even.

POLISHING.

The details of this operation, which is performed immediately after the gold ornaments have been worked, have been reserved in order that the whole of the ornamental department might be kept together. Morocco, roan, silk, and velvet, and the blind ornaments on any substance, must never be submitted to the action of the polisher. A smart rubbing with a piece of rough calf will be sufficient for the two former, and the velvet or silk will merely require cleaning with any smooth substance or with India-rubber.