by
thoroughly studying the detailed directions for this work which may be
found in text-books on binding, and by extensive practice on odd pieces of
various leathers. M. S. B.

[23] All set, of course, in wooden or pottery handles. Wooden handles for
such tools, or the tools themselves, may be procured at moderate prices
from dealers in bookbinders' materials. M. S. B.

[24] The impression should first be made on the leather by the hot tool,
without gold, and painted with glaire. When the glaire is nearly dry, a
fragment of gold-leaf is picked up on a pad of cotton wool slightly
touched with cocoanut oil and pressed down on the blind impression of the
tool. The tool is then pressed into its former impression, setting the
gold. The process is very delicate; the tool must be perfectly clean and
the gold-leaf, which is very difficult to handle, worked from a padded
cloth dusted with brick-dust, or a similar substance, to prevent the leaf
from adhering there while it is being cut to the proper size. M. S. B.

[25] Wax would, of course, be used hot. M. S. B.

[26] As mentioned in a note above, gold may often be loosened by merely
removing the varnish and thoroughly moistening with water, after which the
metal may be coaxed out with a thin, smooth, wooden splinter, preferably
wound on the end with a bit of cotton wool. M. S. B.

[27] Or: Gilt edges. (This requires, in many cases, considerable trimming
all around.) Or: Bottom and fore edges gilt on uncut edges. (This is a
more expensive process and a rather delicate one. It is not in general
use.)

[28] It is often difficult to persuade a binder to sew on flat bands or
outside cords. The usual, and easiest method is to saw into the backs of
the signatures and lay the cords in the "V" shaped cut thus made. This
method of sewing should be protested against unless the book has already
been so treated in a former binding and no additional cutting is required.
Most of the raised bands found on modern bindings are "false," being in no
way an essential part of the binding and serving no practical purpose.
Even their use as guides for decoration is doubtful, as they tend to
unnecessary convention.

[29] On a valuable book in an expensive binding, the end papers should be
sewn in. This means extra trouble for the binder and calls for a little
extra charge. End papers are very seldom sewn in on modern bindings,
although often so secured in bindings of a century or