[8] Before and after using oxalic acid on ink stains, it is best to wash the spot or page with hydrochloric acid mixed with about seven times its volume of water. In bleaching ink from a page, a white mark almost always remains, especially noticeable if the paper is tinted with age. It is far better to soak the whole page, to secure uniform bleaching, and then, if necessary, retint the page to its former color, than to attempt to operate on part of a page only. Sometimes, when a book is loosely bound, the page can be carefully cut out, close to the sewing, and pasted in again when it has been washed and dried as desired. This is, however, a questionable practice, and may seriously injure the value of the book, and on a valuable book it is better to cut the sewing and remove the entire signature, then have the book rebound, or resewn and returned to the old covers, as may be most advisable. M. S. B.
[9] Bonnardot mentions several processes for bleaching a print, equally applicable to the same operation on the pages of a book. I translate the process which seems to be the simplest and most effective. It will be noted that he does not mention the size of the bottle in which the amount of chemical he advises is to be dissolved. I would suggest a full quart bottle, and also that the amateur operator thoroughly try the effect of his solution on some old pieces of paper to make sure it is too weak to injure the body of the paper. M. S. B.
[10] Bonnardot, at this point, discusses in considerable detail various opinions as to the removal of these iron oxide stains, but without coming to any definite conclusion except that they are “of all stains, the most tenacious.” Experiments in chemistry, especially upon any binding of value, should not be lightly undertaken. The use of water-colors for retinting the spot of yellowish bleach might be tried with more safety and a greater possibility of success. M. S. B.
[11] Certain bindings of the sixteenth century have on their covers designs in tint formed simply of water colors. In such cases, the flour paste should not be used, or else the designs should first be accurately traced so that they can be restored, if necessary, after the operation.
[12] Centigrade, i. e. ninety-seven to one hundred and four degrees Fahrenheit. M. S. B.
[13] At the beginning. M. S. B.
[14] The best modern practice in making glaire is to beat up the white of an egg with about half its quantity of vinegar, allowing the mixture to stand over night. This mixture, covered, will keep for several days, or until it gets thick and cloudy. M. S. B.
[15] Unbroken surfaces of white vellum can easily be cleaned with a soft pencil-eraser. A vellum binding which is “tacky” may be rubbed over with powdered soapstone after cleaning. M. S. B.
[16] Whiting (chalk) used as a pigment. M. S. B.
[17] One hundred and fifty-eight degrees Fahrenheit. M. S. B.