limited. These are the stamped metal rims and corner pieces, which are indispensable in the manufacture of sample cases, &c. The fancy goods with their decorated borders which were so popular at one time have disappeared from the trade; on the other hand, there has been a demand for fancy coloured cords made by twisting cords together.
D.—Tools.
The bookbinder's workshop of to-day presents quite a different aspect from that of our forefathers, even if we go back only 50 years.
The work benches as now found in small leather or jobbing shops stand near wide and lofty windows, each bench having a large drawer at each worker's place. Underneath, between the legs of the bench, there is a board fixed on supports upon which boxes containing colours or any other materials in use are placed within easy reach; and so that the board may not inconvenience the worker sitting in front of it, a semi-circular opening is cut at each worker's place. At each place there is a stool, somewhat higher than an ordinary chair, with three legs and a round flat seat. The legs are connected by strong bars for the worker to rest his feet upon. Shelves for the larger tools are conveniently arranged on the walls, so as not to be a hindrance, but still within easy reach. A few smaller chests with drawers are required for the storing of smaller tools and pieces of metal ornament, &c.
A sufficient number of wooden presses, pressing boards in folio, quarto, and octavo, with the screw key, as well as the press jack belonging thereto, must be conveniently placed. The screw key is used when applying heavy pressure; the press jack serves as a support during certain work which necessitates laying the press on the edge of the bench. If we add a few larger and smaller cutting boards and a few sewing frames, we have completed the list of the large wooden tools.
The bookbinder requires very many small tools, even if we take into account only those necessary for ordinary shop-work. Iron rules and squares in various sizes, shears, knives, compasses and spring dividers, folders, files, pincers and hammers of different sizes, chisels, gouges, and punches.
The finisher's tools are: Gold cushion, gold knife, scraper, steel; and furthermore, for hand-tooling, letter-box, fillets, rolls, ornaments, and letters, all very fine and very dear tools, which must be kept in special cupboards and boxes so as to protect from possible injury. The higher the class of work done in the shop, the larger must be the stock of these tools.
These are the tools for general work and which no shop could be without; but what makes our modern workshop so different in character from what it was in former times are the many mechanical contrivances without the aid of which practical and profitable work is now inconceivable.
The most necessary iron ally of the bookbinder is the cutting machine, either with lever or wheel action, the former for light, the latter for heavy work. Machine manufacturers vie with one another in their efforts to introduce inventions and improvements; but to-day it would seem impossible to make a discovery likely to be of any importance.
The second most necessary machine is for cutting boards. Those with a wooden pedestal and table are not so much to be recommended as those made entirely of iron.
When gilding in large quantities has to be done, a blocking press is necessary; lever action is always to be preferred to the balance or rotary action, the latter being of advantage for blocking or relief work, and also for fancy paper work. Even the best blocking press has some drawback; to be of any value, it necessitates quite an arsenal of plates and dies for blocking, and also calls for the constant replenishing and renewing of the same.
The standing press is used for heavy pressure applied to large batches of books. An iron press with two uprights will be found sufficient even for heavy use in most bookbinderies.
The rounding machine is now out of use. The binder rounds the back of the book with a hammer, and then it is backed in a backing machine, which puts the ridges on both sides of the book. The latest machine now being used in some of our large binding shops for this purpose is called the rounding and backing machine, which completely rounds and backs the book.
The rolling machine of to-day is lighter than were the first models of this machine; besides, the work is in many cases unnecessary, as modern printed books are generally carefully rolled before they leave the printer.
The wire-stitching machine came into use in England about 20 years ago, but is now abandoned. The wire-stapling machine is used for pamphlets, school-books, &c. Eyeleting and round-cornering machines are smaller appliances, whilst the backing machine mentioned above is a very useful ally. Machines for scraping and paring leather are used least of all, as there is little for them to do in a small bookbindery.
The foregoing is not an exhaustive list of our tools and machines, but we will bring to a close these introductory remarks on the usual appliances, as mention will be made of the others in their proper place.
PART I.
FORWARDING.
CHAPTER I.
General Preparatory Work.
Books reach the bookbinder either in the sheets just as they left the printing press or folded and stitched. This folding and stitching is, of course, part of the binder's work, so we will begin with the sheet as it left the press; this sheet must in the first place be folded ready for further manipulations.
By folding we mean the arranging of the parts of a sheet in the order of succession required for reading. To facilitate this work the printer marks not only the page numbers on each sheet but also gives each sheet a number, these numbers being known as signatures. Every sheet is printed on both sides; the front side is called the first side, the other side the perfecting impression. Both sides are marked by a number or (more rarely) a letter. This mark stands at the right-hand side at foot of first page and is called the first signature; the second signature takes the same position on the second side of the sheet, that is, on page 3. Take any book haphazard and you will find the true signature on the first and the second signature on the perfecting impression, always in the same position. In order to show at a glance whether the signature is the first or the second, the compositor adds an asterisk, thus—
| 1 | 1* | or | A | A* | |
| first | second | first | second | signature. |
We
