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.
The Project Gutenberg eBook of The Art of
Bookbinding: A practical treatise, with
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Title: The Art of Bookbinding: A practical treatise, with plates and diagrams

Author: Joseph William Zaehnsdorf

Release date: February 14, 2016 [eBook #51213]

Most recently updated: October 23, 2024

Language: English

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*** START OF THE PROJECT GUTENBERG EBOOK THE ART OF

BOOKBINDING: A PRACTICAL TREATISE, WITH PLATES AND
DIAGRAMS ***
table of contents transcriber's notes
T H E A RT O F B O O K ­B I N D ­I N G . A P R A C ­T I ­C A L
T R E A­T I S E . B Y J O ­S E P H W. Z A E H N S ­D O R F.
TECHNOLOGICAL HANDBOOKS.
ART OF BOOKBINDING.
 TECHNOLOGICAL HANDBOOKS.

1. DYEING AND TISSUE-PRINTING. By William Crookes,

F.R.S., V.P.C.S. 5s.
2. GLASS MANUFACTURE. I NTRODUCTORY E SSAY , by H. J.
Powell, B.A. (Whitefriars Glass Works); C ROWN AND S HEET
G LASS , by Henry Chance, M.A. (Chance Bros.,
Birmingham); P LATE G LASS , by H. G. Harris, Assoc. Memb.
Inst. C.E. 3s. 6d.
3. COTTON SPINNING; Its Devel­op­ment, Prin­ci­ples, and Prac­‐
tice. By R. Mars­den, Ed­i­tor of the “Tex­tile Mer­cury.” With
an Ap­pen­dix on Steam En­gines and Boil­ers. 3rd edition,
revised, 6s. 6d.
4. COAL-TAR COLOURS, The Chemistry of. With special
reference to their application to Dyeing, &c. By Dr. R.
Benedikt. Trans­lated from the German by E. Knecht,
Ph.D. 2nd edition, en­larged, 6s. 6d.
5. WOOLLEN AND WORSTED CLOTH MAN­U­FAC­TURE. By
Professor Roberts Beau­mont. 2nd edition, revised. 7s.
6d.
6. PRINTING. By C. T. Jacobi, Manager of the Chis­wick Press.
5s.
7. BOOKBINDING. By J. W. Zaehns­dorf.
9. COTTON WEAVING. By R. Mars­den. In pre­par­a­tion.
FLORENTINE.
Small folio.
TECHNOLOGICAL HANDB OOKS.

T H E A RT
OF

B OOKB IN DIN G .
A P R A C T I C A L T R E AT I S E .
BY

J O S E P H W. Z A E H N S D O R F.
W ITH P LATES AND D IAGRAMS.

SECOND EDITION, REVISED AND ENLARGED.

LO N D O N : G E O R G E B E L L A N D S O N S,
YO R K S T R E E T, C O V E N T G A R D E N .
1890.
CHIS­W IC K P RESS:—C . WHIT­T ING­H AM AND C O.,
TO O KS CO URT, C HAN­C ERY LANE.
 DEDICATED TO

H U G H O W E N , E S Q., F. S. A .,
AS A S L I G H T A C K ­N O W ­L E D G ­M E N T O F H I S
C O U N ­S E L A N D F R I E N D ­S H I P, A N D I N A D ­‐
M I R ­A T
­ I O N O F H I S K N O W ­L E D G E O F

BOOKBINDING.
 PREFACE TO THE SECOND
EDITION.
The first edition of this book was written for the use of
amateurs, but I found that amongst the members of the
trade my little volume had a large sale, and in a short time
the edition became exhausted. Repeated applications for the
book have induced me to issue this second edition. I have
adhered to the arrangement of the first, but a great deal of
fresh matter has been added, which I trust will be found
useful. Should any of my fellow-workmen find anything new
to them I shall be satisfied, knowing that I have done my
duty in spreading such knowledge as may contribute towards
the advancement of the beautiful art of bookbinding.
I have to record my obligations to those gentlemen who
have assisted me by courteously describing the various
machines of their invention with which the book is illustrated.
The object, however, of illustrating this work with engravings
of machines is simply to recognize the fact that books are
bound by machinery. To a mechanical worker must be left the
task of describing the processes used in this method.
LIST OF PLATES.

F LORENTINE … Frontispiece
G ROLIER … ◊
G ASCON … ◊
R ENAISSANCE … ◊
A NTIQUE WITH GOLD LINE … ◊
D EROME … ◊
G ROLIER … ◊
M AIOLI … ◊
 CONTENTS.

PART I.—FORWARDING. PAGE

C HAPTER I. Folding: Re­fold­ing — Ma­chines — Gath­er­ing 3–8

C HAPTER II. Beating and Rolling: Machines 9–12

C HAPTER III. Collating: Interleaving 13–19

C HAPTER IV. Marking up and Sawing in 20–23
C HAPTER V. Sewing: Flexible — Ordinary 23–32
C HAPTER VI. Forwarding: End Papers — Cobb Paper —
Surface Paper — Marbled Paper — Printed and
other Fancy Paper — Coloured Paste Paper 33–36
C HAPTER VII. Pasting up 36–37

C HAPTER VIII. Putting on the End Papers 38–41

C HAPTER IX. Trimming 41–44

C HAPTER X. Gluing up 45–46

C HAPTER XI. Rounding 46–48

C HAPTER XII. Backing 48–51

C HAPTER XIII. Mill-boards 51–57
C HAPTER XIV. Drawing-in and Pressing 57–59
C HAPTER XV. Cutting 59–66

C HAPTER XVI. Colouring the Edges: Sprinkled Edges —

Colours for Sprinkling — Plain Colouring — Marbled
Edges — Spot Marble — Comb or Nonpareil Marble
— Spanish Marble — Edges — Sizing 67–77
C HAPTER XVII. Gilt Edges: The Gold Cushion — Gold
Knife — Burnishers — Glaire Water or Size —
Scrapers — The Gold Leaf — Gilt on Red — Tooled
Edges — Painted Edges 78–83

C HAPTER XVIII. Head-Banding 83–86

C HAPTER XIX. Preparing for Covering: lining up 87–90
C HAPTER XX. Covering: Russia — Calf — Vellum or
Parch­ment — Roan — Cloth — Vel­vet — Silk and
Satin — Half-bound Work 90–97

C HAPTER XXI. Pasting Down: Joints — Calf, Russia, etc. 97–100

C HAPTER XXII. Calf Colouring: Black — Brown — Yellow 100–
— Sprinkles — Marbles — Tree-marbles — Dabs 108

PART II. — FINISHING.

C HAPTER XXIII. Finishing: Tools and Materials required
for Finishing — Polishing Irons — Gold-rag — India-
rubber — Gold-cushion — Gold Leaf — Sponges —
Glaire — Cotton Wool — Varnish — Finishing —
Morocco — Gold Work — Inlaid Work — Porous —
Full Gilt Back — Run-up — Mitred Back — Pressing
— Graining — Finishing with Dry Preparation — 111–
Velvet — Silk — Vellum — Blocking 153
 GENERAL INFORMATION.
C HAPTER XXIV. Washing and Cleaning: Requisites —
Manipulation — Dust — Water Stains — Damp
Stains — Mud — Fox-marks — Finger-marks,
commonly called “Thumb-marks” — Blood Stains
— Ink Stains (writing) — Ink Stains (Marking Ink,
Silver) — Fat Stains — Ink — Reviving Old Writings
— To Restore Writing effaced by Chlorine — To
Restore MSS. faded by time — To Preserve
Drawings or Manuscripts — To fix Drawings or
Pencil Marks — To render Paper Waterproof — To
render Paper Incombustible — Deciphering Burnt
Documents — Insects — Glue — Rice Glue or Paste
— Paste — Photographs — Albumen — To Prevent
Tools, Machines, etc., from Rusting — To Clean 157–
Silver Mountings — To Clean Sponges 172

G LOSSARY 173
I NDEX 181
 INTRODUCTION.
Bookbinding carries us back to the time when leaden tablets
with inscribed hieroglyphics were fastened together with
rings, which formed what to us would be the binding of the
volumes. We might go even still further back, when tiles of
baked clay with cuneiform characters were incased one within
the other, so that if the cover of one were broken or
otherwise damaged there still remained another, and yet
another covering; by which care history has been handed
down from generation to generation. The binding in the
former would consist of the rings which bound the leaden
tablets together, and in the latter, the simple covering formed
the binding which preserved the contents.
We must pass on from these, and make another pause,
when vellum strips were attached together in one continuous
length with a roller at each end. The reader unrolled the one,
and rolled the other as he perused the work. Books, prized
either for their rarity, sacred character, or costliness, would be
kept in a round box or case, so that the appearance of a
library in Ancient Jerusalem would seem to us as if it were a
collection of canisters. The next step was the fastening of
separate leaves together, thus making a back, and covering
the whole as a protection in a most simple form; the only
object being to keep the several leaves in connected
sequence. I believe the most ancient form of books formed of
separate leaves, will be found in the sacred books of Ceylon
which were formed of palm leaves, written on with a metal
style, and the binding was merely a silken string tied through
one end so loosely as to admit of each leaf being laid down
flat when turned over. When the mode of preserving MS. on
animal membrane or vellum in separate leaves came into use,
the binding was at first only a simple piece of leather
wrapped round the book and tied with a thong. These books
were not kept on their edges, but were laid down flat on the
shelves, and had small cedar tablets hanging from them upon
which their titles were inscribed.
The ordinary books for general use were only fastened
strongly at the back, with wooden boards for the sides, and
simply a piece of leather up the back.
In the sixth century, bookbinding had already taken its
place as an “Art,” for we have the “Byzantine coatings,” as
they are called. They are of metal, gold, silver or copper gilt,
and sometimes they are enriched with precious stones. The
monks, during this century, took advantage of the immense
thickness of the wooden boards and frequently hollowed
them out to secrete their relics in the cavities. Bookbinding
was then confined entirely to the monks who were the literati
of the period. Then the art was neglected for some centuries,
owing to the plunder and pillage that overran Europe, and
books were destroyed to get at the jewels that were
supposed to be hidden in the different parts of the covering,
so that few now remain to show how bookbinding was then
accomplished and to what extent.
We must now pass on to the middle ages, when samples of
binding were brought from the East by the crusaders, and
these may well be prized by their owners for their delicacy of
finish. The monks, who still held the Art of Bookbinding in
their hands, improved upon these Eastern specimens. Each
one devoted himself to a different branch: one planed the
oaken boards to a proper size, another stretched and
coloured the leather; and the work was thus divided into
branches, as it is now. The task was one of great difficulty,
seeing how rude were the implements then in use.

Monastic. Venetian.

The art of printing gave new life to our trade, and, during
the fifteenth century bookbinding made great progress on
account of the greater facility and cheapness with which
books were produced. The printer was then his own binder;
but as books increased in number, bookbinding became a
separate art-trade of itself. This was a step decidedly in the
right direction. The art improved so much, that in the
sixteenth century some of the finest samples of bookbinding
were executed. Morocco having been introduced, and fine
delicate tools cut, the art was encouraged by great families,
who, liking the Venetian patterns, had their books bound in
that style. The annexed woodcut will give a fair idea of a
Venetian tool. During this period the French had bookbinding
almost entirely in their hands, and Mons. Grolier, who loved
the art, had his books bound under his own supervision in the
most costly manner. His designs consisted of bold gold lines
arranged geometrically with great accuracy, crossing one
another and intermixed with small leaves or sprays. These
were in outlines shaded or filled up with closely worked cross
lines. Not, however, satisfied with these simple traceries, he
embellished them still more by staining or painting them
black, green, red, and even with silver, so that they formed
bands interlacing each other in a most graceful manner.
Opposite is a centre block of Grolier. It will be seen how these
lines entwine, and how the small tools are shaded with lines.
If the reader has had the good fortune to see one of these
specimens, has he not wondered at the taste displayed? To
the French must certainly be given the honour of bringing the
art to such a perfection. Francis I. and the succeeding
monarchs, with the French nobility, placed the art on such a
high eminence, that even now we are compelled to look to
these great masterpieces as models of style. Not only was the
exterior elaborate in ornament, but the edges were gilded
and tooled; and even painted. We must wonder at the
excellence of the materials and the careful workmanship
which has preserved the bindings, even to the colour of the
leather, in perfect condition to the present day.
GROLIER.
Royal folio
 Grolier.
There is little doubt that the first examples of the style now
known as “Grolier ” were produced in Venice, under the eye of
Grolier himself, and according to his own designs; and that
workmen in France, soon rivalled and excelled the early
attempts. The work of Maioli may be distinctly traced by the
bold simplicity and purity of his designs; and more especially
by the broader gold lines which margin the coloured bands of
geometric and arabesque ornamentation.
All books, it must be understood, were not bound in so
costly a manner, for we find pigskin, vellum and calf in use.
The latter was especially preferred on account of its peculiar
softness, smooth surface, and great aptitude for receiving
impressions of dumb or blind tooling. It was only towards the
latter part of the sixteenth century that the English binders
began to employ delicate or fine tooling.
During the seventeenth century the names of Du Sueil and
Le Gascon were known for the delicacy and extreme
minuteness of their finishing. Not disdaining the bindings of
the Italian school, they took from them new ideas; for whilst
the Grolier bindings were bold, the Du Sueil and Le Gascon
more resembled fine lace work of intricate design, with
harmonizing flowers and other objects, from which we may
obtain a great variety of artistic character. During this period
embroidered velvet was much in use. Then a change took
place and a style was adopted which by some people would
be preferred to the gorgeous bindings of the sixteenth
century. The sides were finished quite plainly with only a line
round the edge of the boards (and in some instances not
even that) with a coat of arms or some badge in the centre.
Towards the end of the seventeenth century bookbinding
began to improve, particularly with regard to forwarding. The
joints were true and square, and the back was made to open
more freely. In the eighteenth century the names of Derome,
Roger Payne, and others are prominent as masters of the
craft, and the Harleian style was introduced.
The plate facing may be fairly estimated as a good
specimen of Derome. Notice the extreme simplicity and yet
the symmetry of the design; its characteristic feature being
the boldness of the corners and the gradual diminishing of
the scroll work as it nears the centre of the panel. Morocco
and calf were the leathers used for this binding.
 GASCON.
8vo
T. Way, Photo-lith.

Hand coloured calf was at this period at its height, and the
Cambridge calf may be named as a pattern of one of the
various styles, and one that is approved of by many at the
present day—the calf was sprinkled all over, save a square
panel left uncoloured in the centre of the boards.

Harleian.
The Harleian style took its name from Harley, Earl of
Oxford. It was red morocco with a broad tooled border and
centre panels. We have the names of various masters who
pushed the art forward to very great excellence during this
century. Baumgarten and Benedict, two Germans of
considerable note in London; Mackinly, from whose house
also fine work was sent out, and by whom good workmen
were educated whose specimens almost equal the work of
their master. There were two other Germans, Kalthoeber and
Staggemeier, each having his own peculiar style. Kalthoeber is
credited with having first introduced painting on the edges.
This I must dispute, as it was done in the sixteenth century.
To him, however, must certainly be given the credit of having
discovered the secret, if ever lost, and renewing it on his best
work. We must now pass on to Roger Payne, that unfortunate
and erring man but clever workman, who lived during the
latter part of the eighteenth century. His taste may be seen
from the woodcut. He generally used small tools, and by
combining them formed a variety of beautiful designs. He cut
most of these tools himself, either because he could not find
a tool cutter of sufficient skill, or that he found it difficult to
pay the cost. We are told by anecdote, that he drank much
and lived recklessly; but notwithstanding all his irregular
habits, his name ought to be respected for the work he
executed. His backs were firm, and his forwarding excellent;
and he introduced a class of finishing that was always in
accordance with the character or subject of the book. His only
fault was the peculiar coloured paper with which he made his
end papers.

Roger Payne.

Coloured or fancy calf has now taken the place of the

hand-coloured. Coloured cloth has come so much into use,