International studio (33.1907/1908(1908))

Practical Bookbinding


various processes of covering one should from time
to time rub down the leather along the joints out-
side, as it is most important that it should stick
tightly along the joint.) The rising up of the board
may be due also to the leather not having been
pared out enough; in other words, there is too
much leather in the joint. This cannot now be
remedied, except it may be well moistened on the
outside and well-rubbed down as above. The
joint may remain clumsier and stiffer than it
should be. After each joint has been attended to in
this manner the book should be run over again,
smoothing the leather on the sides and back, pinch-
ing the bands, going over the folds of the head and
tail. Now take the book carefully, the fore edge
up, press the back (bands) on a flat stone and
by moving the fore edge backward and forward
roll the bands on the stone. This not only flattens
out the damp leather on the bands and renders
them more nearly square, but makes them (or
should make them) all of the same depth. It should
now be again carefully tied up.
The forwarding now being completed, the book
should be placed between pressing boards under
slight pressure and left at least twenty-four hours
to dry. Before putting the book away to dry, it
should be sponged off carefully to remove any
paste which may be left.
Leather joints, or hinges: If strength is specially
desired in the hinge because of the size of the book,
or if it is desired to carry the leather margin along
the inner edge of the cover for ornamental purposes,
it is done in the following manner (though other
methods are also used):
The end-papers are made and put in place as
before, but are pasted but lightly to the sections
(as later on they are taken out). After the book is
ready for finishing, cut two pieces of leather the
length of the joint and wide enough to correspond
with the width of the leather margin, plus enough
width to pass down over the joint and for one-

eighth to one-fourth inch on the upper section itself.
That part of the leather reaching from the edge of
the board over the joint, etc., is pared out very thin,
much thinner than any other part of the leather, as
it must take the place of the end-paper which
usually covers the joint.
When applying it, lay it along the joint (having
drawn a line on the board showing where the inside
margin should come) and draw a line with a folder
(from the spot it crosses the edge of the board at
head and tail), diagonally to the point where it laps
over the leather already on the cover, cut the
projecting triangle off and pare down the edges, so
they will not appreciably increase the thickness of
the leather at head and tail where it crosses the
leather edges. Paste it thoroughly (after wetting the
right side), rub plenty of stiff paste into the joint,
adjust it and rub it down into the joint until it is
dry. Too much care cannot be taken in this matter.
The thin leather edge should lap over on the section
a scant quarter-inch or so. All rubbing down of
leather should be done through manila paper.


The end-papers which were lifted out of place
should be cut—the lined leaf is cut to proper size,
pasted on the leather edge, covering it, forming the
usual end-paper. The other part is cut square and
pasted, after the inside margin has been tooled, on
the covers, inside the leather square. (It is usual
to do this after the “finishing” is completed.)
{To be continued)
The Boston Museum of Fine Arts has just issued
a useful handbook, a i6mo volume of 204 pages,
containing 183 illustrations of objects arranged
according to departments of the Museum. Each
illustration is accompanied by a title or a descrip-
tive text, and a few words about each department
introduce the illustrations referring to it. A gen-
eral introduction or guide to the whole Museum has
often been asked for by visitors, and it is hoped that
the present handbook may acceptably meet this need.

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