As far as I am aware there are only four bookbinders in London who may be trusted not to mutilate a book, and there are only two who have any sense of design and harmony of colour. In sending a book to be bound, if you value the book, you cannot be too careful or minute in giving instructions as to your wishes.

I think the best way to assist by advice is to picture a number of everyday instances of people requiring books to be bound, and to take such familiar cases instancing well-known books and show how each case can best be dealt with.

First of all, the right leather to use for binding is morocco. This is best; more durable, and a better choice of colour is given you. Half-morocco is good, but see that you get a good wide strip of morocco, and that it is not all cloth sides with a very narrow spine of leather. Valuable books should never be cut down. In many cases the top edges may be gilded which is a preservative from dust, but there are many other cases where instructions should be given to 'gild on the rough,' the three other sides should be left alone.

I will first take the case of the 'Cambridge' Shakespeare, the hand-made paper edition, already spoken of, where each play has been issued in a separate volume, and in all forty thin volumes. Now the first question to settle is: Shall I have each of the forty volumes bound separately, or shall I bind the forty in twenty double volumes? or another question may arise in your mind, Shall I keep the book in its neat linen cover as published, and get another small paper copy, and bind that instead? Such questions must be settled—each one for himself. All I will say now is that the large paper forty volume edition when bound in twenty double volumes makes a very ideal copy of a great English classic; so, presuming that it is to be bound, you must choose the style of binding. It should rest between half-morocco and whole morocco, the latter costing about double the former. I think half-morocco is right for the book in most cases, whole morocco being unnecessarily expensive. Then comes colour, which must largely be referred to your own taste—olive-green, brown, dark red, and light apple green, would all be appropriate colours to choose from. The binder should have a book of colours and shades ready for you to select one from. Be sure and see that you have a coarse-grained levant morocco, which is much handsomer than the less good hard fine-grained morocco; of course it should be a polished or crushed levant binding, though when you see the pattern piece of leather it will be rough and unpolished. At any rate select a colour which, when polished, will work 'clean.' Do not select anything very light in morocco, it will probably not work 'clean,' but come out spotted even when new.

You will now select 'end papers.' These, I am sorry to say, are mostly very ugly, though there have recently been made some beautiful cloudy coloured papers, which now and then, and apparently by accident, are very beautiful, and they are also rather expensive. Some of the Japanese papers have pretty and very unobtrusive marblings worked upon them, and occasionally, too, a brocade paper looks well; but for a classic, the plainer the better, and very often a monotint end paper, or even a plain white, looks exceedingly well. In the matter of end and side papers, it is as well to know that these can very easily be altered even after the book is finished. The revival of flat backs has been the cause of some disputing. I think myself that the pleasure with which the trained eye regards the flat back is sufficient excuse for it. As far as technique goes, the flat back is, I believe, just as lasting and as flexible as the round. Much must however be determined by the size and shape of the book as to whether a flat back is adopted or not. The Shakespeare which is now under consideration, when bound in double volumes, would, I think, look well with a flat back, and with flat raised bands between the panels; whereas, when bound in forty single volumes, it would be better to have a round back.

As to decoration and finish, the most lamentable errors of taste are often committed. Over-adornment is a curse. A person sees an attractive pattern lying in a shop, and wants all his or her books bound like it, without for a moment considering the anachronisms and impossible combinations that will thereby be perpetrated. It is the same with clothes. A man sees another man with a fine coat, and he straightway thinks he, too, will have a coat of that same make and pattern. Never does it occur to him to gauge the stature or character of the man who was first wearing the coat. There is yet a good deal of the monkey and the ape left in us. We seem to do our best to stifle our individuality, and reduce our souls to one sad dead level of accursed and wicked imitation. Some day we shall have our eyes opened, and then see that a man may break the whole of the Ten Commandments at once, and yet he shall be saved if he be not vulgar, and it is both senseless and vulgar to copy old bindings on to modern books. The only decoration which the copy of Shakespeare could require is a gilt line, or double gilt lines, round the panels of the back. The full gilt back is fortunately becoming extinct. It may well die.

Decoration of books should only be carried out when we are sure we have an appropriate design, and when we are sure that the book is worth it.

There are now some other details to be looked after. I refuse to class them as minor details, because towards the making of the perfect book everything right is essential.

(1) The Shakespeare, being a book printed on paper of good quality, should have the top edge gilt, but the other sides should be left untouched or very slightly trimmed. (2) There should be one or two markers in each volume, and the colour of these markers should harmonise with the colour of the binding. (3) The lettering should be chosen yourself. There should be a principal title stamped boldly and deeply, and subordinate lettering stamped lower down and in smaller type. Thus SHAKESPEARE'S WORKS or SHAKESPEARE merely in the top panel, with the editor's name underneath, and then below should be lettered the plays contained in each volume, and below that, at the foot, the date of publication. (4) Three weeks to a month at least should be allowed for the binding of such a work. (5) A folded copy in quires of a book is always preferable to a cloth-bound copy. (6) If a binder should ever suggest either a padded binding, a russia leather binding, or a tree calf binding, you may instantly leave his premises, for he cannot understand his business.

It will be understood that the rules which apply to the binding of this Shakespeare equally apply to most other books. I propose, however, to take such instances as I think present difficulties not already met, and see how they can be overcome.

A second instance shall be the new edition of Pepys' Diary. The fact that this, and many other books, are published volume by volume makes it somewhat difficult to know whether to bind them at once or not to do so. In the case of the new edition of Pepys' Diary, as neither the binding of the large or small paper is unsightly, it should be left until complete, one good reason for this being that, if it be bound volume by volume as published, the binder will require a pattern volume each time, and your pattern volume will be lying about his workshop each time a volume is published. To register a pattern is by no means advisable in the case of a really well-bound series of books. It may do well enough for scientific and other journals, when great nicety of detail is not so much required. In the case of well-bound volumes, a pattern should accompany the order. A book like Murray's Dictionary, volumes of which are slow in completing themselves, the parts of the volumes, current and incomplete, should either be tied up in paper, and kept together, or they should be placed between two pieces of millboard on the shelf where they will finally be placed.

A third instance shall be an old book which requires repairing or restoring. We will suppose that it is an old copy of Clarissa Harlowe, which you have picked up on a country book-stall. Now the binding is probably very much broken, and, being very dry, is getting rapidly worse. It is time, therefore, that it went into hospital, and at the bookbinder's hospital very clever operations are performed. To restore a binding, paste is rubbed over the leather, and, after it is dry, it is washed over with a thin solution of glue size. Again, when dry, the volume is varnished and afterwards rubbed over with a cloth upon which a few drops of sweet oil have been dropped. Here is one operation just in outline. There are very many others, which I can only refer to. If there are ink marks on any of the volumes of your Clarissa, which you wish removed, this can probably be done so that no trace is left. Similarly many grease-spots can be effectually removed. If a page is torn, it can be repaired, or if a piece of it is missing, it can be facsimiled, and the whole of the inside of the volume can be washed throughout. Never destroy an old binding if you can help it, and never obliterate marks of ownership, for it is interesting to trace the owners of a book. If a bookplate is in your Clarissa, and you wish your own to appear, transplant the former one to the end cover, and put your own in the front if you wish. Never have such a book as we are now discussing cut down. A book has recently been written and published by Mr. C. G. Leland on Mending and Repairing, in which the author recommends the amateur to repair his own books. I believe Mr. Leland is an expert hand at many arts and crafts, but I do not think that every amateur should attempt experiments in repairing his own books unless he means to give a great deal of time to it, which very few would, I think, care to do.

The following remarks, taken from a review, I think by Mr. A. Lang, are valuable:—'The binder is often very mischievous. He not only "cuts down" books, impairing their shapeliness and ruining them for sale, nay, even cutting off lines, but he is apt to lose fly-leaves, with imprints, and rare autographs. What he rejects may have a merely fanciful or sentimental interest, still that interest can be expressed in terms of currency. An eighth of an inch in margin may represent a large sum of money, and it is just as easy not to cut down the volume. Old bookplates ought to be kept, on new bindings of old books. They are the pedigree of a volume. The ancient covers, if discarded, should be examined. They are often packed with fragments of old manuscripts, deeds, woodcuts, or engravings. The ages have handed books on to us; it is our duty to hand them on to coming generations, clean, sound, uninjured.'

The fourth case shall be paper-bound novels, English and French editions, and Tauchnitz copies. I have no hesitation in saying that the best material is Buckram. It has the merit of being good—that is to say, durable, cheap, artistic, and not harsh to handle, as many linens are. There are some half-a-dozen good colours in Buckram, and these, when relieved by lettering-pieces of some contrasting colour, can be made most decorative and economical. I believe buckram is in every way a most excellent material for binding, and for students who buy and use German and French text-books published in paper, this material is excellent for their libraries as well.

Here may be added a few words as to Pamphlets and Magazines. It has been recommended that Pamphlets be kept in boxes, which may be placed upon the shelves as books, but this will not be found either convenient or secure. The best way is to bind Pamphlets in volumes according to size, or if very numerous, according to date or subject, and let them each be entered separately in the catalogue. In the cataloguing of private libraries it is sometimes thought that certain sections, such as pamphlets and magazines, are not worth entering, but the only safe rule is that, if it is worth keeping, it is worth cataloguing. Single pamphlets should be bound in limp roan, and volumes of pamphlets in buckram or half-calf, with full lettering on the back.

Magazines, when they are kept complete, should, of course, be bound up in their volumes, either yearly or half-yearly; but it often happens that a magazine is bought for a single article, and many of these accumulating, it is quite easy for such articles as are of special interest to be taken from the remainder, and treated as pamphlets. In the case of magazines and scientific periodicals of importance, it is well to keep the covers and bind them at the end of each volume. Music should be bound in limp roan in preference to limp calf, because the latter would sooner show scratches and marks, particularly as a large surface is exposed.

If you want your pamphlets and novels to look nice, beware of your binder using what he calls his odd pieces, generally monsters of ugliness.

Family papers, autograph letters, and MS. matter of all kinds should be placed in the hands of an expert, with instructions to calendar them, viz., catalogue them, giving a prÉcis of the contents of each one. They should then be mounted and bound up in volumes, with abstract of contents in front of the volume. It will be well to consider the advisability of having typed copies made of the whole wherever unpublished records exist.

Much, very much, more might be written about practical details in bookbinding, but nothing is so valuable as experience, and a few mistakes will be the best teacher. Remember that morocco is the best material, whether it be half or whole morocco, pigskin is second, calf is third, vellum is fourth, roan is fifth, buckram is sixth, though it may frequently take the place of calf.