There is so much art in the making of a book that by the aid of large type, wide spaces between lines, heavy paper, and broad margins a small manuscript may suffice for a large volume; while by the use of small type set "solid," thin paper, and narrow margins an immense amount of matter may be compressed into very small compass. As a rule the large or medium-sized volumes, especially among those known to the trade as "Juveniles," sell best, for there are many people who in the purchase of books follow the plan of the Chinaman in buying shoes, and select the largest size to be had for the money.
SETTING UP THE BOOK.
After forming the subject of innumerable consultations between those interested in its success, our manuscript book is finally "put in hand," or sent to the foreman of the composing-room, who scatters its pages here and there among his printers. As soon as half a dozen or ten or twenty sheets have been "set up" or turned into type, a galley-proof is "pulled" and handed to the proof-reader for correction. The galley is a long, narrow, brass-lined frame, in which a column of type is placed. The face of this type is inked with a hand-roller, a long strip of white paper is laid over it, and the whole goes into a hand-press. The printing thus done is not very fine, but it is plenty good enough to enable the keen-eyed proof-reader to detect any errors that have been made. He marks these on the margins of the proof, and hands it back to the compositors, each of whom corrects the mistakes appearing in the portion he has set. There is no more interesting sight in a composing-room than that of a skilled compositor making these corrections, picking out and replacing the little black types, transferring whole lines or paragraphs from one place to another, spacing, leading, punctuating, without dropping a type or making a mistake. The untrained eye can make nothing at all out of the type column, which has the same effect as the mirror reflection of an ordinary page.
After all corrections are thus made, another galley-proof, called a "revise," is pulled. Several copies of this are made, two of which are sent to the author of the book. There is no prouder nor happier moment in the life of an author than when he receives the first proofs of his first book. Never again will they appear so beautiful or so precious, though every author who is interested in his work always enjoys reading the proofs of each new book, no matter how many he may write. His ideas present such a different appearance in type from what they did in manuscript that he hardly recognizes them. His characters have attained such a dignity and reality that he almost needs an introduction to them.
On this galley-proof the author makes such changes and corrections as he pleases, though of course the fewer the better, and then sends one copy back to the composing-room, where all the alterations he has suggested are made in type. The galley columns are now broken into pages of the size previously agreed upon, and a set of page-proofs is pulled and sent to the author for his final revision. He must read this proof very carefully, for this is his last chance to make changes, and whatever passes this time must go into the finished book. When this page-proof returns to the composing-room, and the final corrections are made in the types, they are sent to the foundry. Here stereotypes are made from them in the manner described under the title "The Making of a Great Newspaper" in Vol. XV. of Harper's Young People. For book-printing these type-metal stereotypes are converted into electrotypes by being hung in an acid bath, where, in a very short time, by the action of electricity, they are coated with a thin film of copper.
PRINTING OF THE BOOK IN THE PRESS-ROOM.
The finished plates are sent down to the basement of the great building, where are the book-presses that will turn out printed sheets of from four to thirty-two pages each, almost as fast as the huge cylinder presses of a newspaper office can turn out newspapers.
On the press the printed pages of our book meet and make the acquaintance of the illustrated or picture pages with which they are henceforth to be so intimately associated. In the building of a book the artist's part must by no means be overlooked, for a well-illustrated book, especially if intended for youthful readers, like the one we are considering, is doubled in value by its pictures. For ordinary books very little engraving or wood-cutting is now done, since by the aid of photography and electricity so many cheap processes for reproducing drawings have been discovered that the slower methods of the engraver are only employed for the very best and finest work. If the picture is to be engraved it is either drawn directly on the wood or transferred to it by photography; while if it is to be reproduced by one of the cheaper processes, it is photographed on a prepared plate of metal, from which the light spaces are eaten out by acids, while the shadows remain untouched. The thin plate is given a substantial wood-backing to preserve its form, and is then ready for use.