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A Manual of the Art of Bookbinding / Containing full instructions in the different branches of forwarding, gilding, and finishing. Also, the art of marbling book-edges and paper. cover

A Manual of the Art of Bookbinding / Containing full instructions in the different branches of forwarding, gilding, and finishing. Also, the art of marbling book-edges and paper.

Chapter 62: INDEX.
By James B. Nicholson
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About This Book

The manual opens with a historical sketch of binding practice and proceeds to deliver practical, step-by-step instruction for preparing sheets, sewing gatherings, attaching boards, and forwarding and finishing volumes. It explains edge treatment, marbling and gilding techniques, methods for covering in leather and cloth, and approaches to half- and blank binding. A detailed section addresses ornamental design, tooling, colour harmony, and gilding styles, followed by procedures for restoring worn bindings, repairing defects, and conserving collections. Practical advice for amateurs and collectors and a glossary of technical terms complete the work.

INDEX.

A | B | C | D | E | F | G | H | I | J | K | L | M | N | O | P | Q | R | S | T | U | V | W | Y

  • Affixing the stamps, 279, 280.
  • Agatine marble, on leather, 249.
  • Aldine, 198.
  • Aldus, 198.
  • Anonay paper, 150.
  • Antique, 231.
  • Arabesque, 210.
  • Assyrian, 179.
  • Aqua Regia, 237.
  • Backing-machine,173.
  • Backs, flexible, 54, 55.
    • India-rubber, 58.
  • Backing books, 43.
  • Bands, in finishing, 269.
  • Bands, raised, 53, 54.
    • parchment, 57.
  • Baumgarten, 20.
  • Beating, 41, 42.
  • Beating-hammer, 42.
  • Beckford, 206.
  • Bedford, 28.
  • Benedict, 20.
  • Bible, chained in churches, 16.
  • Bibliographical Decameron, 14, 26, 135.
  • Bindings of Corvinus, 14.
    • of Henry VII., 16.
    • of Henry VIII., 17.
    • of Elizabeth, 17.
    • of Grolier, 17.
    • of Maioli, 18.
    • of Diana of Poictiers, 18.
    • of Henry II., 18.
    • of De Thou, 19.
    • of the Chevalier D'Eon, 19.
    • of Oxford, 20.
    • of Mackinlay, 21.
    • of Roger Payne, 21-23.
    • of Mackenzie, 28.
    • of Charles Lewis, 28.
    • of Clarke, 28.
    • of Riviere, 28.
    • of Bedford, 28.
    • of Hayday, 28.
    • of Napoleon, 30.
    • of Lortic, 31.
    • of Duru, 32.
    • of Niédré, 32.
  • Bindings of Bauzonnet, 32, 142.
  • Black, for marbling, 85, 91.
  • Blacking the squares, 268.
  • Blank binding, 151.
  • Bleeding, 68.
  • Blind tooling, 230.
  • Block-finishing, 279.
  • Blue, for edges, 78.
    • for marbling, 85, 89, 90, 105.
    • ink, 156.
    • for marbling leather, 242.
    • uniform colour for leather, 258.
  • Blue agate marble on leather, 249.
    • Stormont marble, 105.
  • Boards, mode of making, 65.
    • squaring, 66.
  • Boarding, blank-work, 160.
    • printed work, 169.
  • Box marble, on leather, 253.
  • British marble, 119.
  • Brown, for edges, 79.
    • for marbling, 86, 91.
    • for marbling leather, 241, 242.
    • uniform colour for leather, 257.
  • Burnt ochre, 88.
  • Burnishing, 126, 129, 133.
  • Byzantine, 181.
  • Cambridge, 208.
    • binding, 19.
  • Cancels, 40.
  • Caoutchouc, 58.
  • Capé, 31, 32.
  • Carved oak boards, description of, 12, 211.
    • precious stones let into, 12, 14.
  • Case-work, stamping, 283.
  • Cedar sprinkle, on leather, 253.
  • Chemical preparations, 237.
  • Chinese blue, 89.
  • Chrome, 90.
  • Clarke, 28.
  • Clasps, 167.
  • Cleanliness, 276.
  • Cloth-work, 170.
  • Collating, 39.
    • description of, 39, 40.
  • Coleridge, 190.
  • Colours, for edges, 74-82.
    • for marbling, 84.
    • grinding, 98.
    • uniform, for leather, 256.
    • harmony of, 272.
  • Colouring, for leather, 236.
  • Comb marble, 115.
  • Combs, for marbling, 127.
  • Corners, 167.
  • Corvinus, library of, 14.
  • Covering, 141.
    • blank-work, 163.
    • Cropping, 67.
    • Curl marble, 109.
    • Cutting in boards, 72.
    • Cutting-machines, 288.
  • Dawson, 20.
  • Derome, 18, 19, 67.
  • De Seuil, 18, 19.
  • Design, 186.
  • Designing, 286.
  • De Thou, bindings of, 19.
  • Dibdin, his account of the library of Corvinus, 14.
  • Diptych, description of, 11.
  • Drag Spanish marble, 114.
  • Drop ivory black, 91.
  • Drop lake, 86.
  • Duru, 31, 32.
  • Dutch marble, 120.
  • Dutch pink, 90.
  • Edges, colouring and sprinkling, 74.
    • colours for, 74-79.
    • blue, 78.
    • yellow, 78.
    • green, 78.
    • orange, 78.
    • red, 78.
    • purple, 79.
    • brown, 79.
    • black, 136.
    • rice marbled, 80.
    • white spotted, 80.
    • fancy marbled, 81.
    • gold sprinkle, 81.
    • marbled, 82, 125.
    • burnishing, 126, 129.
    • gilt, 130.
    • antique, 134.
    • gold upon marble, 135.
    • black, 136.
  • Edge-gilding, 130.
    • antique, 134.
    • on marble, 135.
    • on landscapes, 135.
  • Eighteenmo, 36.
  • Elizabethan, 184.
  • End-papers, 59, 60, 273.
  • Etruscan, 180.
  • Eyton, J. W. King, binding belonging to, 28, 29.
  • Fair agate marble, on leather, 249.
  • Falkner, 28.
  • Fancy titles, 221, 271.
  • Fawn, colour for leather, 244.
  • Finishing, blank-work, 168.
  • Finisher's standing press, 275.
  • Flea-seed, 94.
  • Flexible, mode of sewing, 53.
    • marking off, 54, 55.
  • Folding, 35.
    • blank-work, 157.
  • Folio, 36.
  • Font Hill, 150, 205.
  • Forwarding, job-work, mode of operation, 59.
    • making end-papers, 60.
    • putting in joints, 61.
    • glueing up, rounding, 62.
    • backing, 63, 64.
    • cutting, 65, 70.
    • making boards, 65.
    • squaring, 66.
    • lacing in, 68.
    • pastewashing back, 69.
    • cutting round, 71.
    • turning up, 73.
  • Foundation-plate, 279.
  • Gilding, preparations for, 216.
    • the back, 217.
    • the squares, 223.
    • the sides, 224.
    • on silk and velvet, 225.
  • Gilt edges, 130.
    • upon marbled, 135.
  • Glaire, for marbling leather, 240.
  • Gold marble on leather, 260.
  • Gold sprinkle, 81.
  • Gothic, 183.
  • Grafton, the printer, 16.
  • Grained sheep, 282.
  • Graining, 231.
  • Grolier, bindings of, 17.
  • Green, for edges, 78.
    • for blank-work, 164.
    • for leather, 244.
    • uniform colour for leather, 258.
    • agate marble on leather, 249.
    • Italian marble, 106.
    • porphyry marble on leather, 250.
  • Greek, 180.
  • Gum, 92.
    • directions for preparing for marbling, 93.
  • Guards, sewing on, 53, 56.
    • mode of mounting, 56.
  • Gum-sandarac, 226.
  • Harleian, 202.
  • Harmony of colours, 272.
  • Half-binding, 149.
  • Hayday, 28, 29, 232.
  • Headbands, 137.
    • single, 138.
    • double, 140.
    • gold and silver, 140.
    • ribbon, 141.
  • Heat, degree required for stamping, 282.
  • Hints to book-collectors, 292.
  • Henry VII., time of, 16.
    • VIII., bindings of, 17.
  • Hering, 28.
  • Holbein, 213.
  • Hydraulic press, 45.
  • Illuminated binding, 227.
  • Imperfections in old books, 290.
  • Indigo, 89.
  • Inlaid work, 229.
    • ornaments, 270.
  • Irish moss, 94.
  • Italian marble, 106.
  • Janseniste, 208.
  • Joint, mode of forming, 63.
  • Joints, inside, 273.
  • Kalthœber, 20.
  • Kettle-stitch, 51, 53, 55.
  • Keys for securing bands on sewing-bench, 49.
    • detaching, 57.
  • Lacing in, 68.
  • Landscapes on sides, 263.
    • transferred, 264.
  • Lapis Lazuli marble on leather, 261.
  • Lay on, 218.
  • Leland's Itinerary, 14.
  • Lettering-press, 283.
  • Levant marble on leather, 249.
  • Levant morocco, 31, 142.
  • Lewis, Charles, 28.
  • Light Italian marble, 106.
  • Lilac, for leather, 243.
  • Lining-papers, mode of making, 60.
  • Linseed, 94.
  • Lortic, 31, 32.
  • Louis Quatorze, 184.
  • Mackenzie, 28.
  • Mackinlay, John, 20.
    • bindings of, 21.
  • Mahogany sprinkle on leather, 253.
  • Maioli, 18.
  • Malacca tin, 238.
  • Marbling on leather, 246-254.
    • on paper sides, 254.
  • Marbling-water for leather, 240.
  • Marbled cloth, 128.
  • Marbled edges, 125.
    • gilt upon, 135.
  • Making cases, 174.
  • Missals, antiquity of, 10.
  • Mitreing, 219.
  • Modernized monastic, 231.
  • Montague, 201.
  • Moorish, 182.
  • Niédré, 31, 32.
  • Nonpareil, 115.
  • Numerical proportions of colours, 272.
  • Nutmeg sprinkle on leather, 255.
  • Oak boards, 15, 211.
  • Octavo, 36.
  • Old bindings, 289.
  • Olive, for leather, 258.
  • Orange, for edges, 78.
    • for marbling, 86, 91.
    • for leather, 244.
  • Orange lead, 91.
  • Ornamental art, 178.
  • Oxford, bindings of, 20.
  • Oxford ochre, 88.
  • Ox-gall, 96.
  • Padeloup, 18.
  • Paging-machine, 154.
  • Paper and book trimmer, 288.
  • Paring-knife, 149.
  • Pasting down, 273.
  • Payne, Roger, history of, 21.
    • his bindings, 23.
    • bill of, 25.
    • his favourite colour, 26.
  • Pearl-gray for leather, 258.
  • Petit, Bernard, bindings designed by, 18.
  • Phillatius the Athenian, 9.
  • Pictures on calf, 266.
  • Pickering, 200.
  • Plates, mode of sewing, 53.
  • Polishing, 234.
  • Porphyry marble on leather, 251.
  • Porphyry vein marble on leather, 251.
  • Preparations for marbling, 96.
    • chemical, 237.
    • for stamping, 281.
    • for gilding, 216.
    • for marbling leather, 240.
  • Press-work, 279.
  • Primary colours, 272.
  • Prints on calf, 266.
  • Progress of the art, 10, 33.
  • Prussian blue, 90.
  • Purple, for edges, 79.
    • for blank-work, 165.
    • for leather, 243.
    • marble on leather, 248.
  • Quarto, 36.
  • Raw ochre, 90.
  • Red, for edges, 78.
  • Red porphyry marble on leather, 250.
  • Register, 137.
  • Renaissance, 183.
  • Restoring old bindings, 289.
  • Revival, 183.
  • Rock marble on leather, 252.
  • Rolling-machine, substitute for beating; mode of operation;
  • advantages and disadvantages of, 43, 44.
  • Roman, 181.
  • Rose-pink, 87.
  • Rounding, 62.
  • Rice marble, 80.
  • Ring sprinkle on leather, 255.
  • Riviere, 28.
  • Ruling, 152.
  • Run up, 220.
  • Russian bands, 165.
  • Sawing, 48, 49.
  • Sawing-machine, 171.
  • Scraping, 132.
  • Secondary colours, 272.
  • Setting the head, 145.
    • the stamp, 281.
  • Set off, 42, 43.
  • Sewing, process of, 49, 50.
    • two sheets on, 50.
    • all along; quartos; plates or maps, 52.
    • whipping, sewing on guards, 53.
    • on raised bands; pure flexible, 54, 55, 56.
    • blank-work, 159.
  • Sewing-bench, 49, 50.
  • Shell marble, 100, 103, 104.
  • Sheriffs of Shropshire, 28.
  • Sheet-work, 35.
  • Silk lining, 274.
  • Sixteenmo, 36.
  • Sizing the paper, 127.
  • Slate, uniform colour for leather, 259.
  • Smasher, substitute for beating, 44.
    • mode of operation; amount of pressure; advantage of, 45.
  • Spanish marble, 110.
  • Spring-back, blank-work, 161.
  • Sprinkles, 255, 256.
  • Sprinkling, mode of, 75, 76.
    • colours for, 74.
    • rice-marble, 80.
    • white spot, 80.
    • gold sprinkle, 81.
  • Staggemier, 20.
  • Stamping, 279.
  • Steamboating, 172.
  • Stabbing, 68.
  • Steel gouges, 271.
  • Stone marble, on leather, 248.
  • Sunk boards, 285.
  • Supplying imperfections in old books, 290.
  • Table-shears, 177.
  • Taste, 186.
  • Technical terms, 297-310.
  • Tertiary colours, 272.
  • Thirty-twomo, 36.
  • Thouvenin, bindings of, 30.
  • Titles, 269.
  • Tortoise-shell sprinkle on leather, 256.
  • To dissolve gold, 237.
  • Transfers, 264, 266.
  • Transferring designs, 286.
  • Translation of dates, 289.
  • Trautz et Bauzonnet, 31, 32, 142.
  • Tree-marbled calf, 28, 252.
  • Troughs for marbling, 100.
  • Turning up, 73.
  • Twelvemo, 36, 37.
  • Twenty-fourmo, 36.
  • Tying up, 146.
  • Ultramarine, 89.
  • Umber, 91.
  • Uncut books, 151.
  • Uniform colours on leather, 256-259.
  • Variegated marble, on leather, 254.
  • Varnish, 277.
  • Vegetable black, 91.
  • Vermilion, 87.
  • Violet for leather, 243.
  • Vitriol-water for marbling leather, 240.
  • Wainscot sprinkle on leather, 254.
  • Walnut sprinkle on leather, 253.
  • Walther, 28.
  • Water for marbling, 96.
  • Wave-marble, 118.
  • Wax for marbling, 99.
  • West-End marble, 107, 108.
  • Whipping, 53.
  • White for marbling, 86, 91.
  • White-spotted edges, 80.
  • Wood-lake, 88.
  • Yellow for edges, 78.
    • for marbling, 85.
    • for blank-work, 165.
    • for leather, 244.

THE END.

STEREOTYPED BY L. JOHNSON AND CO.
PHILADELPHIA.