Bookbinding, and the Care of Books A handbook for Amateurs, Bookbinders & Librarians

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Title: Bookbinding, and the Care of Books

A handbook for Amateurs, Bookbinders & Librarians

Author: Douglas Cockerell

Editor: W. R. Lethaby

Illustrator: Noel Rooke

Release Date: September 19, 2008 [EBook #26672]

Language: English

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THE ARTISTIC CRAFTS SERIES

OF TECHNICAL HANDBOOKS

EDITED BY W. R. LETHABY

BOOKBINDING

BOOKBINDING, AND

THE CARE OF BOOKS

A HANDBOOK FOR AMATEURS BOOKBINDERS & LIBRARIANS BY DOUGLAS COCKERELL

WITH

DRAWINGS BY NOEL ROOKE AND OTHER ILLUSTRATIONS

NEW YORK

D. APPLETON AND COMPANY

1910

Copyright, 1901,

By D. Appleton and Company

All rights reserved

White Pigskin.

—Basle, 1512.

EDITOR’S PREFACE

In issuing this volume of a series of Handbooks on the Artistic Crafts, it will be well to state what are our general aims.

In the first place, we wish to provide trustworthy text-books of workshop practice, from the points of view of experts who have critically examined the methods current in the shops, and putting aside vain survivals, are prepared to say what is good workmanship, and to set up a standard of quality in the crafts which are more especially associated with design. Secondly, in doing this, we hope to treat design itself as an essential part of good workmanship. During the last century most of the arts, save painting and sculpture of an academic kind, were little considered, and there was a tendency to look on design as a mere matter of appearance. Such ornamentation as there was was usually obtained by following in a mechanical way a drawing provided by an artist who often knew little of the technical processes involved in production. With the critical attention given to the crafts by Ruskin and Morris, it came to be seen that it was impossible to detach design from craft in this way, and that, in the widest sense, true design is an inseparable element of good quality, involving as it does the selection of good and suitable material, contrivance for special purpose, expert workmanship, proper finish and so on, far more than mere ornament, and indeed, that ornamentation itself was rather an exuberance of fine workmanship than a matter of merely abstract lines. Workmanship when separated by too wide a gulf from fresh thought—that is, from design—inevitably decays, and, on the other hand, ornamentation, divorced from workmanship, is necessarily unreal, and quickly falls into affectation. Proper ornamentation may be defined as a language addressed to the eye; it is pleasant thought expressed in the speech of the tool.

In the third place, we would have this series put artistic craftsmanship before people as furnishing reasonable occupation for those who would gain a livelihood. Although within the bounds of academic art, the competition, of its kind, is so acute that only a very few per cent. can fairly hope to succeed as painters and sculptors; yet, as artistic craftsmen, there is every probability that nearly every one who would pass through a sufficient period of apprenticeship to workmanship and design would reach a measure of success.

In the blending of handwork and thought in such arts as we propose to deal with, happy careers may be found as far removed from the dreary routine of hack labour, as from the terrible uncertainty of academic art. It is desirable in every way that men of good education should be brought back into the productive crafts: there are more than enough of us in the city, and it is probable that more consideration will be given in this century than in the last to Design and Workmanship.

W. R. LETHABY.

AUTHOR’S NOTE

It is hoped that this book will help bookbinders and librarians to select sound methods of binding books.

It is intended to supplement and not to supplant workshop training for bookbinders. No one can become a skilled workman by reading text-books, but to a man who has acquired skill and practical experience, a text-book, giving perhaps different methods from those to which he has been accustomed, may be helpful.

My thanks are due to many friends, including the workmen in my workshop, for useful suggestions and other help, and to the Society of Arts for permission to quote from the report of their Special Committee on leather for bookbinding.

I should also like to express my indebtedness to my master, Mr. T. J. Cobden-Sanderson, for it was in his workshop that I learned my craft, and anything that may be of value in this book is due to his influence.

D. C.

November 1901.

CONTENTS

PART I

BINDING

CHAPTER I

INTRODUCTION

The reasons for binding the leaves of a book are to keep them together in their proper order, and to protect them. That bindings can be made, that will adequately protect books, can be seen from the large number of fifteenth and sixteenth century bindings now existing on books still in excellent condition. That bindings are made, that fail to protect books, may be seen by visiting any large library, when it will be found that many bindings have their boards loose and the leather crumbling to dust. Nearly all librarians complain, that they have to be continually rebinding books, and this not after four hundred, but after only five or ten years.

It is no exaggeration to say that ninety per cent. of the books bound in leather during the last thirty years will need rebinding during the next thirty. The immense expense involved must be a very serious drag on the usefulness of libraries; and as rebinding is always to some extent damaging to the leaves of a book, it is not only on account of the expense that the necessity for it is to be regretted.

The reasons that have led to the production in modern times of bindings that fail to last for a reasonable time, are twofold. The materials are badly selected or prepared, and the method of binding is faulty. Another factor in the decay of bindings, both old and new, is the bad conditions under which they are often kept.

The object of this text-book is to describe the best methods of bookbinding, and of keeping books when bound, taking into account the present-day conditions. No attempt has been made to describe all possible methods, but only such as appear to have answered best on old books. The methods described are for binding that can be done by hand with the aid of simple appliances. Large editions of books are now bound, or rather cased, at an almost incredible speed by the aid of machinery, but all work that needs personal care and thought on each book, is still done, and probably always will be done, by hand. Elaborate machinery can only be economically employed when very large numbers of books have to be turned out exactly alike.

The ordinary cloth binding of the trade, is better described as casing. The methods being different, it is convenient to distinguish between casing and binding. In binding, the slips are firmly attached to the boards before covering; in casing, the boards are covered separately, and afterwards glued on to the book. Very great efforts have been made in the decoration of cloth covers, and it is a pity that the methods of construction have not been equally considered. If cloth cases are to be looked upon as a temporary binding, then it seems a pity to waste so much trouble on their decoration; and if they are to be looked upon as permanent binding, it is a pity the construction is not better.

For books of only temporary interest, the usual cloth cases answer well enough; but for books expected to have permanent value, some change is desirable.

Valuable books should either be issued in bindings that are obviously temporary, or else in bindings that are strong enough to be considered permanent. The usual cloth case fails as a temporary binding, because the methods employed result in serious damage to the sections of the book, often unfitting them for rebinding, and it fails as a permanent binding on account of the absence of sound construction.

In a temporary publisher’s binding, nothing should be done to the sections of a book that would injure them. Plates should be guarded, the sewing should be on tapes, without splitting the head and tail, or sawing in the backs, of the sections; the backs should be glued up square without backing. The case may be attached, as is now usual. For a permanent publisher’s binding, something like that recommended for libraries (page 173) is suggested, with either leather or cloth on the back.

At the end of the book four specifications are given (page 307). The first is suggested for binding books of special interest or value, where no restriction as to price is made. A binding under this specification may be decorated to any extent that the nature of the book justifies. The second is for good binding, for books of reference and other heavy books that may have a great deal of wear. All the features of the first that make for the strength of the binding are retained, while those less essential, that only add to the appearance, are omitted. Although the binding under this specification would be much cheaper than that carried out under the first, it would still be too expensive for the majority of books in most libraries; and as it would seem to be impossible to further modify this form of binding, without materially reducing its strength, for cheaper work, a somewhat different system is recommended. The third specification is recommended for the binding of the general run of small books in most libraries. The fourth is a modification of this for pamphlets and other books of little value, that need to be kept together tidily for occasional reference.

Thanks, in a great measure, to the work of Mr. Cobden-Sanderson, there is in England the germ of a sound tradition for the best binding. The Report of the Committee appointed by the Society of Arts to investigate the cause of the decay of modern leather bindings, should tend to establish a sound tradition for cheaper work. The third specification at the end of this book is practically the same as that given in their Report, and was arrived at by selection, after many libraries had been examined, and many forms of binding compared.

Up to the end of the eighteenth century the traditional methods of binding books had altered very little during three hundred years. Books were generally sewn round five cords, the ends of all of these laced into the boards, and the leather attached directly to the back. At the end of the eighteenth century it became customary to pare down leather until it was as thin as paper, and soon afterwards the use of hollow backs and false bands became general, and these two things together mark the beginning of the modern degradation of binding, so far as its utility as a protection is concerned.

The Society of Arts Committee report that the bookbinders must share with the leather manufacturers and librarians the blame for the premature decay of modern bindings, because—

"1. Books are sewn on too few, and too thin cords, and the slips are pared down unduly (for the sake of neatness), and are not in all cases firmly laced into the boards. This renders the attachment of the boards to the book almost entirely dependent on the strength of the leather.

"2. The use of hollow backs throws all the strain of opening and shutting on the joints, and renders the back liable to come right off if the book is much used.

"3. The leather of the back is apt to become torn through the use of insufficiently strong headbands, which are unable to stand the strain of the book being taken from the shelf.

"4. It is a common practice to use far too thin leather; especially to use large thick skins very much pared down for small books.

5. The leather is often made very wet and stretched a great deal in covering, with the result that on drying it is further strained, almost to breaking point, by contraction, leaving a very small margin of strength to meet the accidents of use.

The history of the general introduction of hollow backs is probably somewhat as follows: Leather was doubtless first chosen for covering the backs of books because of its toughness and flexibility; because, while protecting the back, it would bend when the book was opened and allow the back to throw up (see fig. 1, A). When gold tooling became common, and the backs of books were elaborately decorated, it was found that the creasing of the leather injured the brightness or the gold and caused it to crack. To avoid this the binders lined up the back until it was as stiff as a block of wood. The back would then not throw up as the book was opened, the leather would not be creased, and the gold would remain uninjured (see fig. 1, B). This was all very well for the gold, but a book so treated does not open fully, and indeed, if the paper is stiff, can hardly be got to open at all. To overcome both difficulties the hollow back was introduced, and as projecting bands would have been in the way, the sewing cord was sunk in saw cuts made across the back of the book.

Fig. 1.

The use of hollow backs was a very ingenious way out of the difficulty, as with them the backs could be made to throw up, and at the same time the leather was not disturbed (see fig. 1, C). The method of sawing in bands was known for a long time before the general use of hollow backs. It has been used to avoid the raised bands on books covered with embroidered material.

If a book is sewn on tapes, and the back lined with leather, there is no serious objection to a carefully-made hollow back without bands. The vellum binders use hollow backs made in this way for great account books that stand an immense amount of wear. They make the hollow very stiff, so that it acts as a spring to throw the back up.

But although, if carefully done, satisfactory bindings may be made with hollow backs, their use has resulted in the production of worthless bindings with little strength, and yet with the appearance of better work.

The public having been accustomed to raised bands on the backs of books, and the real bands being sunk in the back, the binders put false ones over the hollow. To save money or trouble, the bands being out of sight, the book would be sewn on only three or sometimes only two cords, the usual five false ones still showing at the back. Often only two out of the three bands would be laced into the board, and sometimes the slips would not be laced in at all. Again, false headbands worked by the yard by machinery would be stuck on at the head and tail, and a hollow made with