Bookbinding for bibliophiles; being notes on some technical features of the well bound book for the aid of connoisseurs, together with a sketch of gold tooling, ancient and modern by Battershall Fletcher W. (Fletcher Williams) 1866-1929

Author:Battershall, Fletcher W. (Fletcher Williams), 1866-1929
Language: eng
Format: epub
Tags: Bookbinding
Publisher: Greenwich, Conn., The Literary Collector Press
Published: 1905-03-25T05:00:00+00:00

Of Covering

most loved of the Bibliophile, the square corner, neat cap to the headband, and the free joint, are to be had in their last perfection only at our peril. Of some books as of some women it may be said that they have the fatal gift of beauty.

The Bibliophile sees that the binder is not to be charged with the iniquity. It is an inherent vice, a sort of original sin in bookbinding, inexplicable, like all evil to the eyes of our desire.

One should not be over zealous for "silken hinges." It is best to prize a temperate, wholesome beauty in our books. We must remember that in covering, the craftsman is ever betwixt the devil and the deep sea; that he can, if we urge him, easily enchant us by a free use of the paring knife. If he refuse, we should hold him as an honest man who has never thought in his heart, Apres moi^ le de--luge.

Still, books must open graciously and be fair to see. The consummate craftsman finds the golden mean. He

Bookbinding for Bibliophiles

has at hand many little matters of technical finesse which enable him to work with sound material.

I will not discuss the manipulations of the coverer. In these articles it is not sought to initiate the reader into the art and mystery of bookbinding; but rather to offer a few suggestions to the book-lover as a judge of binding — to do a little to minister to the polite pleasures of the connoisseur. Methods are described only that their merits may become more clear.

There are a few points still to be considered. Putting aside tooling, we have still the crushing, the polishing, the varnishing and pressing of the book.

Our present manner is to "crush" our moroccos and levants. The results are beautiful, necessary in fact to a small book covered with grosgrain leather. It is, likewise, a prerequisite to a high polish. To a certain extent, though not seriously, it weakens and makes the leather brittle. But there are artistic considerations. Many of our grained leathers are beautiful as they stand; they have artifice enough

Of Covering

without the added artifice of crushing —undoing what was first thought worthy to be done. On large books, and especially on old books, an un-crushed grain is sympathetic. Blind tooling looks especially well on un-crushed leather.

Varnish is a preservative when considerately used. It should, however, be like the hidden coat of mail, which, unobtrusive, deflects the dagger thrust. It should not be pompous and aggressive; though it is well to bear in mind that time will dull and mellow the highest polish. Leather left neat has a charming eflFect when the book is new; but it is not fortified against finger marks, damp and scratches, as when lightly varnished.

The craftsman deems his labor ended when, at last, the book is resting in its final pressure, growing shapely, firm and flexible — a work which he can turn over with an honest pride, but with a pleasure measured largely by the appreciation of its owner.

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