CHAPTER XXIII

.

FINISHING.

Finishing is the art of embellishing the covers of books with different designs. Finishing comprises the embellishment of the covers either with blind work, gold, silver or platina leaf, or with metal ornaments fastened through the boards, or by only a lettering on the back of the book.

The art of finishing does not comprise any embellishment done with the “blocking press.” Therein the art is more that of the block or tool cutter, who, working in concert with the artist who drew the design, cuts the metal accordingly. The binder’s use of these blocks is mechanical only.

The monks who cultivated all the arts, and enriched their _Hours_ and their _Missals_ with marvellous miniatures, gave great zeal to the occupation of binding. So charmingly were the bindings ornamented with tools and small blocks reproduced from the text, that we must regret that so few of these monastic bindings are now left to us.

A great number of these books were executed in Germany, where this mode of decoration remained a long time in use; and we find that other countries borrowed from the printer this primitive mode of decoration. As the art progressed the binder’s mark was impressed on the cover as an ornament, or as a distinction, such as we find at the present day at the end or after the title of books to denote by what printer the work was executed. Later on, when the Renaissance shone in all its glory and beauty, we find that it freed itself from this limited practice. A new mode |112| of decoration came into use, which we may well study, even at the present day; a style at once rich and varied. If we follow the bold interlacing lines which form the skeletons of those infinite and varied designs, we catch the imaginative caprices of their authors; and the details of their transformation gives us a guide to the different schools and art of their time. The execution of these linear designs is extremely difficult. It can be easily seen that they have not been done by a block engraved in one piece, but with small segments.[8] The art of putting together these small pieces, so as to form one complete and artistic pattern, is the skill of the _finisher_. Many books are now finished by means of the blocking press; but on close examination, these imitations may be readily distinguished. A blocked cover never has the life and spirit that a hand-finished one has. Of blocking I must speak in subsequent pages.

[8] There are a few exceptions to this on a few old books of 12mo. size. One may now and then see such designs worked in one piece certainly by a block.

[Illustration: Monastic Tools.]

[Illustration: ANTIQUE WITH GOLD LINE.

Imperial 8^{vo}.

T. Way, Photo Lith.]

[Illustration: Venetian.]

[Illustration: Grolier.]

These intrinsic designs were very much used by the |113| binders contemporary with _Grolier_, and the use of lined or azuré tools are a distinctive mark of the period. This is the connecting link with the Italian bindings. It will be observed that the Italian or Venetian tools are solid, while in the other style the tools, although of the same shape, are lined or azuré. A little later on other artists, not satisfied with this modification, dispensed with the |114| fine cross lines, and retained their outlines only. France, during the reign of Henry II., left Italy far behind, and executed those grand compositions of _Diane_ bindings. They are marvellous subjects, and are sometimes imitated at the present day, but are never surpassed in their wonderful originality.

[Illustration: Le Gascon.]

[Illustration: DEROME.

4^{to}

T. Way, Photo-lith.]

After these masterpieces we find the curious bindings of Henry III., which instantly mark a distinct transformation. The interlacings are less bold and free, but more geometrically traced. The absence of filling in with small tools gives a coldness, which is increased by a heavy coat of arms on the sides. This form of decoration exercised a great influence, and from this epoch another school sprung up. Later on in time these interlacings served as a ground plan only for the brilliant fantasies of _Le Gascon_, a master who no doubt has had the least number of imitators. Although he followed and to a certain extent kept the shapes, the aspect of his bindings was very much changed by the application of pointed tools. _Le Gascon_ rests for ever as the most renowned master of the 16th century. The number of tools necessary for the execution of a composition like one of _Le Gascon’s_ is large; and when one considers that these tools are repeated, perhaps a thousand |115| times on each side of the book, a fair idea may be formed of the magnitude of such a work. I am of opinion that _Le Gascon_ brought bookbinding to its highest point of richness and finish. His drawings are always pure and correct; his squares, lozenges, triangles, and ovals are so brought together as to form a series of compartments interlacing the one within the other, with an incomparable boldness and perfect harmony; above all, one must remark with what richness the compartments are filled. There is no doubt the ground work of the style was _Grolier_, but he never filled his panels with such richness or with such taste as that displayed by _Le Gascon_. The difficulty of adapting such designs to the different sizes of books has no doubt deterred the various masters from imitating such works, so that we see less of _Le Gascon’s_ style than of any other ancient master.

[Illustration: Derome.]

From _Le Gascon’s_ period the tools became thicker and thicker, until we have the heavy tools of _Derome_, which are much in keeping for books of a serious character. They are original in shape, but their employment was only in borders, leaving the centre of the book free from ornament. |116| I do not pretend to give a history of the various masters, but rather a practical description of the art of bookbinding. Much has already been written about the various works executed by these grand old masters; my endeavour has been to show, that whilst the various masters of the art of bookbinding worked with tools but little altered from their original forms, they so modified and changed them in their character and use, as to form a distinctive mark of style for each artist, by which his work may be recognized.

A pamphlet, published in Paris, 1878, says: “One of the branches of artistic industry in which France possesses unquestionable superiority is certainly bookbinding; the International Exhibitions, and still more the sales of private or other collections, have each day given evident proof of this. Italy, which initiated herself so perfectly in the Renaissance style, and Holland, once her rival in the 17th century, have long ceased to produce any work worthy of remark; everywhere books are being bound, but the ‘art’ of bookbinding is practised only in France.”

I cannot agree with its authors that one must go to France now to have a book bound properly. The method of bookbinding is quite differently managed and worked there than it is here. I have witnessed both methods, and prefer the English one as being more substantial.

HAND-FINISHING.—We were first taught to work the gold leaf on books by a method not now employed, except, perhaps, by a novice, who wishes to get his books done before his glaire has dried. This method was to damp the cover well with water, either with a wet sponge or by other means. The gold leaf was then laid on, and the tool worked rather warm on the gold. Through the heat or steam generated the gold was burnt in, and the overplus washed off with a damp sponge or rag, the gold being left only in the impressions. If, however, any block or centre |117| was used, it was impressed with heat upon the side in a small lying press in use at the period. This press was known then as an _arming press_, because used commonly for impressing armorial bearings and monograms on the sides. The term arming press is still used for the lighter kinds of blocking presses.

Hand-finishing, as before stated, is really an _art_. The finisher should be able to draw, or at least have some knowledge of composition, and also know something about the harmony of colours. The workman not having any knowledge of drawing cannot expect to be a good finisher; because he cannot possibly produce any good designs, or by a combination of the small tools form a perfect and correct pattern. Taste has no small influence in the success of the workman in this branch of the art. It is better to finish books plainly, rather than put on the least portion of gold more than is necessary. If the intentions of the books’ owner is to put some special style or design into his bookcase, it will be well to think over the various styles before deciding upon any particular one. Before going thoroughly into the working details a few preliminary words may be permitted.

Let the tools be always in keeping with the book, both in size and character. Large ones should be used only on a large book, and those of less size for smaller works. A book on Natural History should have a bird, insect, shell, or other tool indicative of the contents. A flower should be used on works on Botany, and all other works be treated in the same emblematical manner; so that the nature of the book may be understood by a glance at the back. In lettering, see that the letters are of a size proportionate to the book—legible, but not too bold. They should neither be so large as to prevent the whole of the title being read at one view, nor so small as to present a difficulty in ascertaining the subject of a book when on the shelf. |118| Amongst a large number of books there should be an agreeable variety of styles, so that the effect may be in harmony with the colours around, and produce as pleasing a contrast as possible.

[Illustration: Type-holder.]

[Illustration: Pallet.]

[Illustration: Fillet.]

_Tools and Materials required for Finishing._—_Rolls_, _fillets_, _pallets_, centre and corner tools of every possible class and character; type of various sizes for the lettering of books or labels. The type may be either of brass or of the usual printer’s metal; if the latter be chosen, care must be taken that it be not left at the fire too long, or it will melt. Type-holders to hold the type, which are made to fit the respective sizes are necessary, but one or two with a spring side, adjusted by screw at the side, will be found convenient for any sized type. In England it is the custom to letter books with _hand letters_, each letter being separate and fixed in a handle. I have, however, little doubt that these will in time be laid aside, and that the type and type case will be found in every bookbinder’s shop.

_Polishing irons._ Of these two are necessary—one for the sides and one for the backs. There is generally a third |119| kept for polishing the board end papers when pasted down, which should be kept for this purpose only.

[Illustration: Polishing Iron.]

_A gold-rag_, to wipe off the surplus gold from the back or side of a book. It should have a little oil well worked into it, so that when it has been wiped over the back or side the gold may adhere and remain in it. This rag when full of gold will be of a dirty yellow, and may then be melted down by any of the gold-refiners and the waste gold recovered.

_India-rubber_, cut up very small—the smaller the better—and steeped in turpentine, so as to render it as soft as possible, to be used for clearing away any gold not taken off by the gold-rag. This should also be melted down when full.[9]

[9] Messrs. Cow and Co., Cheapside, have lately prepared my rubber ready for use. I find it of great convenience.

_Gold-cushion_, for use as explained in