RERAMIC STUDIO 
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later and need only be folded in so as to leave the edges of 
the board clear, and allow them to be rubbed down with 
the bone folder. At the head and tail the loose leather 
forms "head-caps." These are made by standing the book 
on one end, fore-edge in front, and gently tapping it on the 
stone, tipping it a little backwards. The little extra 
leather, where the corners of the book were cut away, is 
pushed into the shape shown in the sketch with a folder, 
and a long silk cord is tied around, after both head-caps 
are made, to keep them in place till dry. The book may 
now be put between tins and put in press with the silk thread 
still on. It is well to leave it thus over night. When about 
to open, moisten the joints on the outside, to prevent the 
leather cracking. The corners must then be slightly wet, 
by slipping a wet folder under each one, the superflous 
leather cut away as shown in Illus. No. 15 and the corners 
neatly pasted down again — and rubbed well — and dried 
between tins in press. The forwarding is now completed. 
The next steps include the removal of the waste or tip and 
the pasting down of the first end-paper. These are known 
as "assistant finishing" and will be described in detail. 
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,T 'The waste end paper is torn out and the joint cleaned 
carefully with a wet folder. Then a piece of thick paper 
the size of the board is stuck to the cover, and a line marked 
with the bone folder an equal distance from the edge all 
around, three-eighths inch is a good distance. This being 
cut with a sharp knife through both paper and leather 
leaves a paper exactly corresponding to the inside space, 
and the waste leather inside the margin is taken out with 
a wet folder. The thick paper is then pasted in and well 
rubbed down. The first, end paper must be cut to fit, and 
little corners left as in Illus. No. 15, sketch "A" be pasted 
down with the cover opened back on a wooden board, as 
thick as the book. Paste should be allowed to soak into 
the joint (over which the paper must be rubbed until it is 
perfectly dry) and when the two covers are done they should 
be left open with the book on end. Stand the book on end, 
held in a piece of cardboard cut as in the sketch in Illus. 
No. 16, till the joints are dry. 
This completes the book up to decoration or finishing 
and lettering. Finishing is an art in itself. Many good 
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binders know nothing of it, and the amateur who attempted 
to even letter a title from printed instructions would prob- 
ably come to grief ; in order to get the decoration done proper 
erly it is necessary to have a slight knowledge of the tools 
and processes employed, and of styles of work. Several 
photographs are used in this article which show the beauty 
of gold decoration, as used by the most famous binders of 
the past. Some of them, like Le Gascon, Illus. No. 1 7, estab- 
lished styles still known by their names. Le Gascon revels 
in delicate and intricate design. Contrast his work with 
that of the simply and richly bound volume done to order 
for Louis le Grand Dauphin. (Illus. No. 18.) 
The decoration or "tooling" is done in gold, or in what 
is called "blind", burned darker than the leather. In either 
case the impression is made with a heated tool pressed into 
the leather. This process must be repeated several times. 
To follow this through step by step, a design is first 
planned out on paper, using tools which are at hand, or can 
be procured easily ready made, as any original tool must be 
