untrained eye can make nothing at all out of the type
column, which has the same effect as the mirror reflection of an
ordinary page.

After all corrections are thus made, another galley-proof, called a
"revise," is pulled. Several copies of this are made, two of which are
sent to the author of the book. There is no prouder nor happier moment
in the life of an author than when he receives the first proofs of his
first book. Never again will they appear so beautiful or so precious,
though every author who is interested in his work always enjoys reading
the proofs of each new book, no matter how many he may write. His ideas
present such a different appearance in type from what they did in
manuscript that he hardly recognizes them. His characters have attained
such a dignity and reality that he almost needs an introduction to them.

On this galley-proof the author makes such changes and corrections as he
pleases, though of course the fewer the better, and then sends one copy
back to the composing-room, where all the alterations he has suggested
are made in type. The galley columns are now broken into pages of the
size previously agreed upon, and a set of page-proofs is pulled and sent
to the author for his final revision. He must read this proof very
carefully, for this is his last chance to make changes, and whatever
passes this time must go into the finished book. When this page-proof
returns to the composing-room, and the final corrections are made in the
types, they are sent to the foundry. Here stereotypes are made from them
in the manner described under the title "The Making of a Great
Newspaper" in Vol. XV. of HARPER'S YOUNG PEOPLE. For book-printing these
type-metal stereotypes are converted into electrotypes by being hung in
an acid bath, where, in a very short time, by the action of electricity,
they are coated with a thin film of copper.

[Illustration: PRINTING OF THE BOOK IN THE PRESS-ROOM.]

The finished plates are sent down to the basement of the great building,
where are the book-presses that will turn out printed sheets of from
four to thirty-two pages each, almost as fast as the huge cylinder
presses of a newspaper office can turn out newspapers.

On the press the printed pages of our book meet and make the
acquaintance of the illustrated or picture pages with which they are
henceforth to be so intimately associated. In the building of a book the
artist's part must by no means be overlooked, for a we