[18] This operation does not seem entirely clear, but the idea is evidently to fold a thin strip of the skin into a “V” shape, inserting the strip, folded edge up or down, as the condition of the hinge may require, into the broken hinge all along its length, gluing the arms of the “V,” one to the back and one to the cover to form a new, folded hinge. The operator will probably find, however, that when the hinges of a book are broken through a better and more lasting procedure is to reback the book. Gold-beaters skin is the outside membrane of the large intestine of the ox, properly prepared. Where the hinges of a book are broken, it is better to provide new leather hinges, using strips about half an inch wide slipped in under the broken edges and carried over the edge of the boards at top and bottom. Raise the broken edges, for the proper distance, from back and boards, and paste down again over the new hinge. M. S. B.
[19] To prevent wear on the lower corners and edges of books in the library, strips of velvet may be laid along the shelves under the books. If this is done, the little extra care required in removing and replacing the books without wrinkling up the velvet will be more than offset by the protection which the velvet gives. M. S. B.
[20] Gilding, especially if modern, is apt to soften and come off if rubbed with water. M. S. B.
[21] See my remarks on lining up with Japan vellum in the chapter on General Restoration. M. S. B.
[22] In this place, Bonnardot gives a few simple suggestions for repairing broken fragments of the gold tooling. The amateur is cautioned not to attempt the application of hot gilding tools and gold leaf to any binding for which he has any regard unless he has carefully prepared himself by thoroughly studying the detailed directions for this work which may be found in text-books on binding, and by extensive practice on odd pieces of various leathers. M. S. B.
[23] All set, of course, in wooden or pottery handles. Wooden handles for such tools, or the tools themselves, may be procured at moderate prices from dealers in bookbinders’ materials. M. S. B.
[24] The impression should first be made on the leather by the hot tool, without gold, and painted with glaire. When the glaire is nearly dry, a fragment of gold-leaf is picked up on a pad of cotton wool slightly touched with cocoanut oil and pressed down on the blind impression of the tool. The tool is then pressed into its former impression, setting the gold. The process is very delicate; the tool must be perfectly clean and the gold-leaf, which is very difficult to handle, worked from a padded cloth dusted with brick-dust, or a similar substance, to prevent the leaf from adhering there while it is being cut to the proper size. M. S. B.
[25] Wax would, of course, be used hot. M. S. B.
[26] As mentioned in a note above, gold may often be loosened by merely removing the varnish and thoroughly moistening with water, after which the metal may be coaxed out with a thin, smooth, wooden splinter, preferably wound on the end with a bit of cotton wool. M. S. B.
[27] Or: Gilt edges. (This requires, in many cases, considerable trimming all around.) Or: Bottom and fore edges gilt on uncut edges. (This is a more expensive process and a rather delicate one. It is not in general use.)