Bookbinder

“ But in the hands of men who possess the spark of creative artistry, bookbinding can be more than pure craft work. Although the binder’s decorative tools are forever prefixed, each to reproduce its own set and simple pattern, they are infinitely flexible in the ways they can be combined. It is not the tool that makes a binding beautiful or ugly, but the hand that holds the tool—and even more the mind and eye that guide the hand. The history of bookbinding is studded with the names of men who were true artists in leather. ”

“ The history of modern bookbinding is not therefore to be identified with the name of a bookbinder previously to the year 1641, when flourished Le Gascon, to whom Jerome Pinchon has attributed the bindings of the library of De Thou’s sons. Le Gascon is only a surname, and the real name of the artist is as unknown as his history, but his binding of “La Guirlande de Julie” is ever to remain a model. ”

“ On the other hand, some branches of the bookbinder's craft have now become quite distinct, and have developed into special industries, and have so enlarged and extended that even their particular methods of working and technical terms have quite changed. Cardboard goods, leather goods, photo albums, maps, and even account-books are treated by particular firms as specialities. ”

“ Others, whose ideas of design were not contemptible, could not tool two panels of a back in perfect uniformity. Some also have so little idea of harmony of colour, that without strict supervision they would give every volume the coat of a harlequin. In a word, a first-rate bookbinder is nascitur non ƒit, and although the hints and instructions I have penned may not be sufficient to make a workman, I trust they will be found of some value to the skilled as well as to the less practised craftsman. ”

“ Archaeological excavations on the site of the Printing Office have yielded examples of these tools, some for stamping letters and 10 others for impressing the gilded decoration that made the eighteenth-century bookbinder’s products as attractive as they were useful.
Under the eye of microscope and enlarging camera even mass-produced typewriters reveal slight irregularities that are unique to each machine. The brass stamps and rolls used by eighteenth-century binders for working decorations into leather were all made by hand. ”

“ The manufacture of account-books, and other blank or stationary work, constitutes an extensive branch of the bookbinder's business. It is not necessary, however, to be particular in noticing it, as the general process is similar to that of common bookbinding. Those binders who devote much attention to this branch of the trade, have a machine by which paper is ruled to suit any method of keeping books, or any other pattern which may be desired. ”

“ There's no knowing where the artistic temperament may break out. "I don't think that a person ought to come to the binder and just say to him, 'Bind that book for so much money.' I think the binder ought to say, 'Is the book worth binding?' and that if it were not he ought to refuse." The applications of this remarkable principle, enunciated by a bookbinder, are obvious. Applied universally it would reform the race. The tailor, when a man came to be measured, would say, "Yes, but are you worth measuring?" ”

“ When speaking of fragments of books as binder’s waste, I mean books which have been in circulation, and have been thrown away as useless. The value of such fragments is principally in themselves. They may or may not be of interest. But by printer’s waste I mean ... waste, proof, or cancelled sheets in the printer’s office, which, in the early days when printers were their own bookbinders, would be used by the bookbinder for lining the boards, or the centres of quires, of books bound in the same office where they were printed. ”

“ The lower grades are seldom used, the better qualities being mostly taken.
To-day velvet is still used in the bindery, chiefly as a covering for portfolios, albums, and addresses, and except for metal clasps remains without ornamentation.
The bookbinder's best material, to which is given the choicest, most expensive, and most painstaking decoration, is leather in its various kinds. Sheep-skin, undyed or split and dyed, serves for school books and other cheap work. Goat-skin and morocco are better kinds, the latter being preferable both as regards price and quality. ”

“ But the varnish necessary to be employed in the operation rendered the invention of no utility, from the action of the heated polisher turning it white or causing it to shell off. After several trials, this difficulty is believed to be [pg 265] overcome, by the employment of a very simple and common article in the office of the bookbinder,—viz.: new glaire, well beaten up. The proceeding is as follows:—Cut the print, intended to be transferred, close to the design on all sides. Let it steep in the glaire till it is well saturated with it. ”

“ This desideratum is noticeably appreciated by the artists of the United States, wherefore the American bibliophiles entrust to them the work that they were wont to send to European bookbinders, in spite of the most vexatious delays. Assuredly, fostered and encouraged, American bookbinders are to attain the highest niche in the temple. ”

“ The work of the finisher is not represented, but the brushes, the burnishers, the sprinklers and the wheel-shaped gilding tools hanging against the wall leave us no doubt as to their use. There is an air of antiquity about everything connected with this bookbindery which suggests the thought that its [xvii] tools and usages are much older than those of printing. Chevillier says that seventeen professional bookbinders found regular employment in making up books for the University of Paris, as early as 1292. ”

“ The beautiful products of the modern bookbinding art are familiar to us all. Beautiful and costly as they are, they are commonplace as compared with the decoration of the early bookbinders. It must be remembered that these books were never intended to be crowded in serried ranks into shelves from which they should present only their backs to the world. ”

“ Beautiful, rare, and interesting as their work is, I venture to say that we have [Pg 42] modern bookbinders in England and France who can, and do, if you give them plenty of time and a free hand as to price, produce work as fine, as original, as closely thought out, as beautiful in design, material, and colour, as that of any of the great masters of the craft of olden days.
For perfectly simple work of the best kind, examine the bindings of the late Francis Bedford ”

“ To this end the old bindings, with their stout sewing cord, wooden boards, and clasps, may be taken as models.
The question is constantly asked, especially by women, if a living can be made by setting up as bookbinders. Cheap binding can most economically be done in large workshops, but probably the best bindings can be done more satisfactorily by binders working alone, or in very small workshops. ”

“ They were copied by Italian bookbinders, but were not adopted until the sixteenth century. The precious books of the fourteenth and fifteenth centuries were confided to goldsmiths, enamellers and illuminators, as heretofore. ”

“ Very little the binder had done so far would be visible in the finished product. But at this point he could begin to put his artistry on display. Selecting silk thread in two colors to suit his taste, he bound a narrow piece of leather across both the top and bottom of the spine, completely covering them with something like a buttonhole stitch. These “headbands” added little to the strength but much to the appearance of a book. Careful binders said that a book should no more be seen in a library without headbands than a gentleman should appear in public minus a collar. ”

“ To secure a good binding the spirit of the binder must go into it. In drawing the thread, in paring and placing the leather, in applying the paste and glue, and in every other of the many processes involved, the man without good will, as the man without skill, can spoil the whole binding. Librarians should learn to esteem bookbinding highly. It is a craft which lies close to them. It is preëminently their business to encourage it to grow in excellence. They should develop their local binder’s interest in his calling, stand by him, urge him on to better work, and pay him adequately for it. ”

“ The folding of paper in 95 per cent of fiction and juvenile books weakens it at the fold over 50 per cent. In a good piece of paper the fold weakens it not over 5 per cent.
The problem of paper is a modern one, due to the use of wood pulp and other short-fibred materials in paper manufacture. All binders complain bitterly of the impossibility of binding it properly. The librarian, however, should know the way in which it can be bound to give the maximum amount of service and should not allow a binder to blame the paper for faults which are due to his ignorance or to poor workmanship. ”

“ Sometimes the book’s back is still further reinforced by pasting or gluing to it a piece of vellum, leather or heavy cloth before the process of putting on the cover begins.
Set rules for sewing books should not be laid down. Each book is treated by the skillful binder, or should be, in accordance with the character of its paper, the number of inserts, the thickness of the paper, the size of the signatures, the size of the leaves, the use it is to receive, and other facts. The good binder binds each book well according to its kind. ”

“ All are hard to hold in the hands. On an average a new binder is put on the market each year with the assurance of the maker that all faults have been eliminated. A trial soon convinces the librarian that it is no better than others and that the perfect binder does not exist.
For the small library the problem is not an important one, since it is entirely feasible in such libraries to place current numbers without covers on reading room tables, or to cover them with tough paper. Mr. Dana advocates using most magazines without binders even in the reading room of a large library. ”

“ The rivalry, which should have been universal, existed between France and England only. France excelled in taste and finish, but at some sacrifice of flexibility; while in England the soft and coaxing manner in which, by the skill of Hering or Mackinlay, “leaf succeeds to leaf,” was marred by the tarnishing of the once blazing gilt edges. It was of interest to American bibliophiles, as an evidence of the fact that the decline of the art of bookbinding was due to the apathy of the book collectors. ”

“ The librarian cannot become a skilled binder. He should become familiar with the results of the binding he gets by a study of his books. If he finds they do not wear well, but rot, break or show loose pages, let him keep a few statistics, and if he learns he is wasting money on cheap work or poor material, let him change his material and his processes, and perhaps his binder. I hope this book may lead some to test the work they are now getting, and may help some to get more satisfactory workmanship and more enduring materials. It is not a guide to the craft of binding. ”

“ The volume must not only be well protected, but seem so. It should be solid, compact, square-edged, and enclosed in firm boards of a stoutness proportionate to its size, and these should be covered with leather at once pliable and strong. Unless it present this appearance, it will be unsatisfactory in spite of the richest colours and the most elaborate ornament. Thus far the mere mechanical skill of the binder goes. In the choice of his style of binding, and in the decoration of his book, if he perform his task with taste and skill, he rises to the rank of an artist. ”

“ Side by side with printing, it strives after that perfection which shall ensure the perpetuity of human thought. Thus a book, clothed in morocco, is not a mere piece of mechanism, but a vehicle in which the intellectual life of writers no longer on earth is transmitted from age to age. And it is the art of book-binding which renders libraries possible. What the author, the printer, and the binder create, the library takes charge of and preserves. ”

“ 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. ”

“ Some of the larger libraries have found it economic to have a binder's printing outfit for lettering call numbers on all books, even when the library does not bind books. Such an outfit may be used of course for lettering author and title, but there will be little occasion to do this except in connection with a regular bindery. Call numbers, however, are so much more legible and permanent when put on with type that it should always be done whenever the number of accessions is sufficiently large to warrant the employment of some person to do the work. ”

“ Russia leather is no protection against worms, and it speedily cracks along the joint.
Uncut books will command a higher price than those that are cropped.
To bind a book well, it should have ample time to dry after each process.
When you receive a volume from the binder, place it upon your shelf in such a manner that the adjoining volumes will press tightly against it and keep it closed; or, if you lay it upon your table, place other volumes upon it, to prevent the boards from warping, and do not, for some time, use it near the fire. ”