Enter in the bindery-book consecutive bindery number, book-number, author, title, binding to be used, date sent to bindery, date returned from bindery, and cost of binding.
Books subject to much wear should be sewn on tapes, not on strings; should have cloth joints, tight backs, and a tough, flexible leather, or a good, smooth cloth of cotton or linen such as is now much used by good binders. Most of the expensive leather, and all cheap leather, rots in a short time; good cloth does not. Very few libraries can afford luxurious binding. Good material, strong sewing, and a moderate degree of skill and taste in finishing are all they can pay for. Learn to tell a substantial piece of work when you see it, and insist that you get such from your binder. The beginners' first business is to inform himself carefully as to character, value, cost and strength of all common binding materials.
[From binders, or from dealers in binding material, you can get samples of cloth, leather, tapes, string, thread, etc.], which will help you to learn what to ask for from your local binder.
The following notes are from a lecture by John H. H. McNamee before the Massachussets library club in 1896, on the Essentials of good binding:
"Had I the ordering of bindings for any public or circulating library where books are given out to all classes of people, and subjected to the handling which such books must receive, I should, from my experience as a binder, recommend the following rules:
For the smaller volumes of juveniles, novels, and perishable books (by which I mean books which are popular for a short time, and then may lie on the shelves almost as so much lumber), have each book pulled to pieces and sewed with Hayes' linen thread on narrow linen tapes, with edges carefully trimmed.
Have the books rounded and backed, but not laced in. Have the boards placed away from the backs about one-fourth of an inch, in order to give plenty of room for them to swing easily and avoid their pulling off the first and last signatures of the book when opened. Give the back and joint a lining of super or cheese cloth. Have them covered with American duck or canvas pasted directly to the leaves, pressed well and given plenty of time to dry under pressure, and so avoid as much as possible all warping of boards and shrinkage of the cloth. For all large folios, newspapers and kindred works, use heavy canvas, as it is somewhat cheaper than sheep, and as easily worked. Have them sewed strongly on the requisite number of bands, [every band laced into the boards, which should be made by pasting two heavy binder's boards together, to prevent warping and give solidity to the volume.]
The reason I say lace in large volumes is that the heavy books will sag and pull out of covers by their great weight unless tightly fastened to a solid board, thus giving the book a good foundation to stand on.
For all periodicals not bound in leather I should prescribe the same treatment. These volumes can be lettered in ink on the canvas, or in gold on a colored leather label pasted on the cloth. But for all books which are destined to be bound in leather I should surely, and without any hesitation whatever, order morocco, and by this I mean goat skin, and I should go still further and demand a good German or French goat; boards hard and laced in at every band, super joints, full, open backs, lettering clear and distinct, and the paper on the sides to match the leather.
I would also recommend that a schedule be used, giving a space for schedule number; then the name of book or books, or lettering to be used on each volume; space for the number of volumes, space for description of binding, and finally for price, thus giving the binder a complete order on a large sheet, which he is in no danger of losing. All he will have to do is to mark on the title of each volume, in small figures, its schedule number, and, when the books are done, put down the prices and add up the column of figures, and make out his statement as per the number of schedule.