The art of transferring, long practised in the ornamenting of fancy articles, was judged equally practicable for forming a superior embellishment for the sides of books. But the varnish necessary to be employed in the operation rendered the invention of no utility, from the action of the heated polisher turning it white or causing it to shell off. After several trials, this difficulty is believed to be overcome, by the employment of a very simple and common article in the office of the bookbinder,—viz.: new glaire, well beaten up. The proceeding is as follows:—Cut the print, intended to be transferred, close to the design on all sides. Let it steep in the glaire till it is well saturated with it. During this time glaire the book twice, letting it dry on each application. Take out the print, place it exactly in the centre of the side-cover, and, laying a piece of paper above, rub it sharply on the book, so that it may adhere very closely. Remove the upper paper, and with the finger rub off the paper gently until the printed design begins to appear, wetting the finger in glaire should the paper get too dry. The utmost attention will now be necessary, for the least carelessness in removing the paper that still remains may entirely destroy the design, and the whole of the previous labour be lost. The paper must be gently removed, piece by piece, till the design only appears on the leather while damp. When dry, a white appearance will be presented, arising from the small particles of paper adhering to the ink; but these will be sufficiently hid on glairing the side previous to finishing. The extent and variety to which, at a small expense, these designs may be carried, with the finish and beauty given to the sides of books, renders the subject worthy of the attention of the ornamental workman particularly; but he must possess perseverance and carefulness in an eminent degree, to carry it to perfection. After the gilding or other ornament is executed, the side must be finished off in the usual manner. A slight coat of the varnish described in a subsequent part of the work will, in this case, give a superior finish.
The following directions, and that of Mr. Buchanan's, are taken from the circulars of the Finishers' Friendly Association of London:—
"Pictures on Calf.—We have heard of a process for transferring prints from the paper on which they had been printed to the sides of books bound in calf; and in these days, when novelty is so much sought after, it might be worth some Friendly's while to test its efficacy. The side must be washed clean, and, while damp, the print is laid thereon, when, after remaining some time in the arming-press, it is said that a copy of the engraving will be found on the calf.
"In sending one of these executed in colours by him twenty years ago, a Friendly corrects an error we committed, by terming prints pictures, and writes, 'In preparing the calf, it is simply washed with thin paste-water; when dry, a coat or two of weak salts of tartar. When perfectly dry, you may proceed with any subject; a very weak brown being generally used for its outline. For all colours, I use two cups of different strengths, with quill-pens and brushes to each. The green is composed of Scott's liquid blue and French berries. These are bruised and simmered from half a pint to a quartern, then caused to boil, and, while in that state, a pinch of burnt alum should be added to set the colour. The slate is weak copperas; red is obtained from Brazil dust and vinegar, or Brazil chips boiled, and solution of tin added. The books had generally double bands—the lettering-pieces stained chocolate, and the spaces between bands blacked, or the colours "moused," morocco being too bright for the stained calf. An octagon or square was coloured brown, slate, or sprinkled, and in the centre a light ground. Was the subject to my fancy, botanical works with a group of plants on the sides, when polished and pressed in japanned tins, had the neatest appearance. Landscapes, animals, insects, shells, &c. are all permanently fixed on the calf by the above-named colours.' He concludes by hoping 'the instructions are sufficiently plain to induce some aspiring F. F.'s to practise this almost forgotten branch of the art of finishing.'
"W. Buchanan."
ORNAMENTAL BLACK LINES.
Black lines in rays, or intersecting each other in the form of diamonds or other devices, on the sides of books, which present a good appearance if well executed, are ruled with steel or swan pens, the nibs being formed to the size required by the boldness of the lines. The vinegar-black mixed with a portion of gum-arabic, to neutralize a part of the action of the acid and make it of a stronger consistency, will be found to answer best. Whatever the pattern, it should be slightly traced with the folder, and the design be afterwards marked with the pen, kept steady by the aid of a ruler.
BLACKING THE SQUARES.
Unless coloured uniformly, the whole of the designs before described will not produce the best effect if the squares remain plain or variously tinted; it is, therefore, necessary to black the edges and squares of the board, and the cap over the head-band. This is done with a piece of any firm soft substance on the edges, and with a sponge within the volume, sufficiently below the part where the end-papers will cover. Finally, the covers should be well pastewashed and left to dry.
BANDS AND TITLE-PIECES.