A Book for All Readers Part 3

Of notable auction sales of books, and of the extravagant prices obtained for certain editions by ambitious and eager compet.i.tion, there is little room to treat. The oft-told story of the Valdarfer Boccaccio of 1471, carried off at the Roxburghe sale in 1812, at 2,260 from Earl Spencer by the Marquis of Blandford, and re-purchased seven years after at another auction for 918, has been far surpa.s.sed in modern bibliomania. "The sound of that hammer," wrote the melodramatic Dibdin, "echoed through Europe:" but what would he have said of the Mazarin Bible of Gutenberg and Fust (1450-55) sold in 1897, at the Ashburnham sale, for four thousand pounds, or of the Latin Psalter of Fust and Schoeffer, 2d ed.

1459, which brought 4,950 at the Syston Park sale in 1884? This last sum (about twenty-four thousand dollars) is the largest price ever yet recorded as received for a single volume. Among books of less rarity, though always eagerly sought, is the first folio Shakespeare of 1623, a very fine and perfect copy of which brought 716.2 at Daniel's sale in 1864. Copies warranted perfect have since been sold in London for 415 to 470. In New York, a perfect but not "tall" copy brought $4,200 in 1891 at auction. Walton's "Compleat Angler," London, 1st ed. 1653, a little book of only 250 pages, sold for 310 in 1891. It was published for one s.h.i.+lling and sixpence. The first edition of Robinson Crusoe brought 75 at the Crampton sale in 1896.

The rage for first editions of very modern books reached what might be called high-water mark some time since, and has been on the decline.

Sh.e.l.ley's "Queen Mab," 1st ed. 1813, was sold at London for 22.10, and his "Refutation of Deism," 1814, was sold at 33, at a London sale in 1887. In New York, many first editions of Sh.e.l.ley's poems brought the following enormous prices in 1897.

Sh.e.l.ley's Adonais, 1st ed. Pisa, Italy, 1821, $335.

Alastor, London, 1816, $130.

The Cenci, Italy, 1819, $65.

h.e.l.las, London, 1822, $13.

But these were purely advent.i.tious prices, as was clearly shown in the sale at the same auction rooms, a year or two earlier, of the following:

Sh.e.l.ley's Adonais, 1st ed. Pisa, 1821, $19.

Alastor, London, 1816, $32.

The Cenci, Italy, 1819, $21.

h.e.l.las, London, 1822, $2.

The sales occasionally made at auction of certain books at extraordinary prices, prove nothing whatever as to the real market value, for these reasons: (1) The auctioneer often has an unlimited bid, and the price is carried up to an inordinate height. (2) Two or more bidders present, infatuated by the idea of extreme rarity, bid against one another until all but one succ.u.mb, when the price has reached a figure which it is a mild use of terms to call absurd. (3) Descriptions in sale catalogues, though often entirely unfounded, characterising a book as "excessively rare;" "only -- copies known," "very scarce," "never before offered at our sales," etc., may carry the bidding on a book up to an unheard-of price.

The appeal always lies to the years against the hours; and many a poor book-mad enthusiast has had to rue his too easy credulity in giving an extravagant sum for books which he discovers later that he could have bought for as many s.h.i.+llings as he has paid dollars. Not that the _rarissimi_ of early printed books can ever be purchased for a trifle; but it should ever be remembered that even at the sales where a few--a very few--bring the enormous prices that are bruited abroad, the ma.s.s of the books offered are knocked down at very moderate figures, or are even sacrificed at rates very far below their cost. The possessor of one of the books so advertised as sold at some auction for a hundred dollars or upwards, if he expects to realise a t.i.the of the figure quoted, will speedily find himself in the vocative.

While there are almost priceless rarities not to be found in the market by any buyer, let the book collector be consoled by the knowledge that good books, in good editions, were never so easy to come by as now. A fine library can be gathered by any one with very moderate means, supplemented by a fair amount of sagacity and common sense. The buyer with a carefully digested list of books wanted will find that to buy them wisely takes more time and less money than he had antic.i.p.ated. The time is required to acquaint himself with the many competing editions, with their respective merits and demerits. This involves a comparison of type, paper, and binding, as well as the comparative prices of various dealers for the same books. No one who is himself gifted with good perceptions and good taste, should trust to other hands the selection of his library.

His enjoyment of it will be proportioned to the extent to which it is his own creation. The pa.s.sion for n.o.bly written books, handsomely printed, and clothed in a fitting garb, when it has once dawned, is not to be defrauded of its satisfaction by hiring a commission merchant to appease it. What we do for ourselves, in the acquirement of any knowledge, is apt to be well done: what is done for us by others is of little value.

We have heard of some uninformed _parvenus_, grown suddenly rich, who have first ordered a magnificent library room fitted with rose-wood, marble and gilded trappings, and then ordered it to be filled with splendidly bound volumes at so much per volume. And it is an authentic fact, that a bookseller to the Czar of Russia one Klostermann, actually sold books at fifty to one hundred roubles by the yard, according to the binding. The force of folly could no farther go, to debase the aims and degrade the intellect of man.

In the chapter upon rare books, the reader will find instances in great variety of the causes that contribute to the scarcity and enhancement of prices of certain books, without at all affecting their intrinsic value, which may be of the smallest.

CHAPTER 3.

THE ART OF BOOK BINDING.

In these suggestions upon the important question of the binding of books, I shall have nothing to say of the history of the art, and very little of its aesthetics. The plainest and most practical hints will be aimed at, and if my experience shall prove of value to any, I shall be well rewarded for giving it here. For other matters readers will naturally consult some of the numerous manuals of book-binding in English, French and German. The sumptuous bindings executed in the sixteenth century, under the patronage and the eyes of Grolier, the famous tooled masterpieces of Derome, Le Gascon, Padeloup, Trautz and other French artists, and the beautiful gems of the binder's art from the hands of Roger Payne, Lewis, Mackenzie, Hayday and Bedford, are they not celebrated in the pages of Dibdin, Lacroix, Fournier, Wheatley, and Robert Hoe?

There are some professed lovers of books who affect either indifference or contempt for the style in which their favorites are dressed. A well known epigram of Burns is sometimes quoted against the fondness for fine bindings which widely prevails in the present day, as it did in that of the Scottish Poet. A certain Scottish n.o.bleman, endowed with more wealth than brains, was vain of his splendidly bound Shakespeare, which, however, he never read. Burns, on opening the folio, found the leaves sadly worm-eaten, and wrote these lines on the fly-leaf:

"Through and through th' inspired leaves, Ye maggots make your windings; But O respect his lords.h.i.+p's taste, And spare the golden bindings!"

Yet no real book-lover fails to appreciate the neatness and beauty of a tasteful binding, any more than he is indifferent to the same qualities in literary style. Slovenly binding is almost as offensive to a cultivated eye as slovenly composition. No doubt both are "mere externals," as we are told, and so are the splendors of scenery, the beauty of flowers, and the comeliness of the human form, or features, or costume. Talk as men will of the insignificance of dress, it const.i.tutes a large share of the attractiveness of the world in which we live.

The two prime requisites of good binding for libraries are neatness and solidity. It is pleasant to note the steady improvement in American bindings of late years. As the old style of "Half cloth boards," of half a century ago, with paper t.i.tles pasted on the backs, has given way to the neat, embossed, full muslin gilt, so the clumsy and homely sheep-skin binding has been supplanted by the half-roan or morocco, with marble or muslin sides. Few books are issued, however, either here or abroad, in what may be called permanent bindings. The cheapness demanded by buyers of popular books forbids this, while it leaves to the taste and fancy of every one the selection of the "library style" in which he will have his collection permanently dressed.

What is the best style of binding for a select or a public library? is a question often discussed, with wide discrepancies of opinion. The so universally prevalent cloth binding is too flimsy for books subjected to much use--as most volumes in public collections and many in private libraries are likely to be. The choice of the more substantial bindings lies between calf and morocco, and between half or full bindings of either. For nearly all books, half binding, if well executed, and with cloth sides, is quite as elegant, and very nearly as solid and lasting as full leather; for if a book is so worn as to need rebinding, it is generally in a part where the full binding wears out quite as fast as the other. That is, it gets worn at the hinges and on the back, whether full or half-bound. The exceptions are the heavy dictionaries, encyclopaedias, and other works of reference, which are subjected to much wear and tear at the sides, as well as at the back and corners. Full leather is much more expensive than half binding, though not doubly so.

Every librarian or book collector should understand something of book-binding and its terms, so that he may be able to give clear directions as to every item involved in binding, repairing, or re-lettering, and to detect imperfect or slighted work.

The qualities that we always expect to find in a well-bound book are solidity, flexibility, and elegance. Special examination should be directed toward each of these points in revising any lot of books returned from a binder. Look at each book with regard to:--

1. Flexibility in opening.

2. Evenness of the cover, which should lie flat and smooth--each edge being just parallel with the others throughout.

3. Compactness--see that the volumes are thoroughly pressed--solid, and not loose or spongy.

4. Correct and even lettering of t.i.tles, and other tooling.

5. Good wide margins.

A well-bound book always opens out flat, and stays open. It also shuts up completely, and when closed stays shut. But how many books do we see always bulging open at the sides, or stiffly resisting being opened by too great tightness in the back? If the books you have had bound do not meet all these requirements, it is time to look for another binder.

The different styles of dressing books may all be summed up in the following materials: Boards, cloth, vellum, sheep, bock, pig-skin, calf, Russia, and morocco--to which may be added of recent years, buckram, duck, linoleum, and the imitations of leather, such as leatherette and morocco paper, and of parchment. I take no account here of obsolete styles--as ivory, wood, bra.s.s, silver and other metals, nor of velvet, satin, and other occasional luxuries of the binder's art. These belong to the domain of the amateur, the antiquary, or the book-fancier--not to that of the librarian or the ordinary book-collector.

Roan leather is nothing but sheep-skin, stained or colored; basil or basan is sheepskin tanned in bark, while roan is tanned in sumac, and most of the so called moroccos are also sheep, ingeniously grained by a mechanical process. As all the manufactures in the world are full of "shoddy," or sham materials, the bookbinder's art affords no exception.

But if the librarian or collector patronises shams, he should at least do it with his eyes open, and with due counting of the cost.

Now as to the relative merits and demerits of materials for binding. No one will choose boards covered with paper for any book which is to be subjected to perusal, and cloth is too flimsy and shaky in its attachment to the book, however cheap, for any library volumes which are to be constantly in use. It is true that since the bulk of the new books coming into any library are bound in cloth, they may be safely left in it until well worn; and by this rule, all the books which n.o.body ever reads may be expected to last many years, if not for generations. Cloth is a very durable material, and will outlast some of the leathers, but any wetting destroys its beauty, and all colors but the darkest soon become soiled and repulsive, if in constant use. In most libraries, I hold that every cloth-bound book which is read, must sooner or later come to have a stout leather jacket. It may go for years, especially if the book is well sewed, but to rebinding it must come at last; and the larger the volume, the sooner it becomes shaky, or broken at some weak spot.

The many beautiful new forms of cloth binding should have a word of praise, but the many more which we see of gaudy, fantastic, and meretricious bindings, and frightful combinations of colors must be viewed with a shudder.

Vellum, formerly much used for book-bindings, is the modern name for parchment. Parchment was the only known writing material up to the 12th century, when paper was first invented. There are two kinds--animal and vegetable. The vegetable is made from cotton fibre or paper, by dipping it in a solution of sulphuric acid and [sometimes] gelatine, then removing the acid by a weak solution of ammonia, and smooth finis.h.i.+ng by rolling the sheets over a heated cylinder. Vegetable parchment is used to bind many booklets which it is desired to dress in an elegant or dainty style, but is highly unsuitable for library books. Vellum proper is a much thicker material, made from the skins of calves, sheep, or lambs, soaked in lime-water, and smoothed and hardened by burnis.h.i.+ng with a hard instrument, or pumice-stone. The common vellum is made from sheep-skin splits, or skivers, but the best from whole calf-skins. The hard, strong texture of vellum is in its favor, but its white color and tendency to warp are fatal objections to it as a binding material.

Vellum is wholly unfit for the shelves of a library; the elegant white binding soils with dust, or the use of the hands, more quickly than any other; and the vellum warps in a dry climate, or curls up in a heated room, so as to be unmanageable upon the shelves, and a nuisance in the eyes of librarian and reader alike. The thin vegetable parchment lately in vogue for some books and booklets is too unsubstantial for anything but a lady's boudoir, where it may have its little day--"a thing of beauty," but by no means "a joy forever."

Sheepskin--once the full binding for most school-books, and for a large share of law and miscellaneous works for libraries, is now but little used, except in its disguised forms. It is too soft a leather for hard wear and tear, and what with abrasion and breaking at the hinges (termed by binders the joints), it will give little satisfaction in the long run.

Under the effect of gas and heated atmospheres sheep crumbles and turns to powder. Its cheapness is about its only merit, and even this is doubtful economy, since no binding can be called cheap that has to be rebound or repaired every few years. In the form of half-roan or bock, colored sheep presents a handsome appearance on the shelf, and in volumes or sets which are reasonably secure from frequent handling, one is sometimes justified in adopting it, as it is far less expensive than morocco. Pig-skin has been recently revived as a binding material, but though extremely hard and durable, it is found to warp badly on the shelves.

Calf bindings have always been great favorites with book-lovers, and there are few things more beautiful--_prima facie_, than a volume daintily bound in light French calf, as smooth as gla.s.s, as fine as silk, with elegant gold tooling without and within, gilt edges, and fly-leaves of finest satin. I said beautiful, _prima facie_--and this calls to mind the definition of that law term by a learned Vermont jurist, who said: "Gentlemen of the jury, I must explain to you that a _prima facie_ case is a case that is very good in front, but may be very bad in the rear."

So of our so much lauded and really lovely calf bindings: they develop qualities in use which give us pause. Calf is the most brittle of the leathers--hence it is always breaking at the hinges; it is a very smooth leather--hence it shows every scratch instantly; it is a light and delicate leather--hence it shows soils and stains more quickly than any other. Out of every hundred calf-bound volumes in any well-used library, there will not remain ten which have not had to be re-bound or repaired at the end of twenty or thirty years. Heavy volumes bound in calf or half-calf leather will break by their own weight on the shelves, without any use at all; and smaller volumes are sure to have their brittle joints snapped asunder by handling sooner or later--it is only a question of time.

Next comes Russia leather, which is very thick and strong, being made of the hides of cattle, colored, and perfumed by the oil of birch, and made chiefly in Russia. The objections to this leather are its great cost, its stiffness and want of elasticity, and its tendency to desiccate and lose all its tenacity in the dry or heated atmosphere of our libraries. It will break at the hinges--though not so readily as calf.

Lastly, we have the morocco leather, so called because it was brought from Morocco, in Africa, and still we get the best from thence, and from the Mediterranean ports of the Levant--whence comes another name for the best of this favorite leather, "Levant morocco," which is the skin of the mountain goat, and reckoned superior to all other leathers. The characteristics of the genuine morocco, sometimes called Turkey morocco, having a pebbled grain, distinguis.h.i.+ng it from the smooth morocco, are its toughness and durability, combined with softness and flexibility. It has a very tenacious fibre, and I have never found a real morocco binding broken at the hinges. The old proverb--"there is nothing like leather"--is pregnant with meaning, and especially applies to the best morocco. As no material yet discovered in so many ages can take the place of leather for foot-wear and for harness, such is its tenacity and elasticity--so for book coverings, to withstand wear and tear, good leather is indispensable. There are thoroughly-bound books existing which are five centuries old--representing about the time when leather began to replace wood and metals for binding. The three great enemies of books are too great heat, too much moisture, and coal gas, which produces a sulphurous acid very destructive to bindings, and should never be used in libraries. From the dangers which destroy calf and Russia leather, morocco is measurably free.

As to color, I usually choose red for books which come to binding or rebinding, for these reasons. The bulk of every library is of dark and sombre color, being composed of the old-fas.h.i.+oned calf bindings, which grow darker with age, mingled with the cloth bindings of our own day, in which dark colors predominate. Now the intermixture of red morocco, in all or most of the newly bound books, relieves the monotony of so much blackness, lights up the shelves, and gives a more cheerful aspect to the whole library. Some there are who insist upon varying the colors of bindings with the subjects of the books--and the British Museum Library actually once bound all works on botany in green, poetry in yellow, history in red, and theology in blue; but this is more fanciful than important. A second reason for preferring red in moroccos is that, being dyed with cochineal, it holds its color more permanently than any other--the moroccos not colored red turning to a dingy, disagreeable brown after forty or fifty years, while the red are found to be fast colors. This was first discovered in the National Library of France, and ever since most books in that great collection have been bound in red. A celebrated binder having recommended this color to a connoisseur who was having fine morocco binding done, instanced the example of the Paris Library, whose books, said he, are "mostly red," to which the amateur replied that he hoped they were.

Add to the merits of morocco leather the fact that it is not easily scratched nor stained, that it is very tough in wear, and resists better than any other the moisture and soiling of the hands--and we have a material worthy of all acceptance.

In half-binding chosen for the great majority of books because it is much cheaper than full leather, the sides are covered with muslin or with some kind of colored paper--usually marble. The four corners of every book, however, should always be protected by leather or, better still, by vellum, which is a firmer material--otherwise they will rapidly wear off, and the boards will break easily at their corners. As to the relative merits of cloth and paper for the sides of books, cloth is far more durable, though it costs more. Paper becomes quickly frayed at the edges, or is liable to peel where pasted on, though it may be renewed at small expense, and may properly be used except upon the much-read portion of the library. The cloth or paper should always harmonize in color with the leather to which it is attached. They need not be the same, but they should be of similar shade.

One more reason for preferring morocco to other leathers is that you can always dispense with lettering-pieces or patches in gilding the t.i.tles on the back. All light-colored bindings (including law calf) are open to the objection that gold lettering is hardly legible upon them. Hence the necessity of stamping the t.i.tles upon darker pieces of leather, which are fastened to the backs. These lettering-pieces become loose in over-heated libraries, and tend continually to peel off, entailing the expense of repairing or re-lettering. Every morocco bound book can be lettered directly upon the leather. Bock is made of the skin of the Persian sheep, and is called Persian in London. It is a partially unsuccessful imitation of morocco, becoming easily abraded, like all the sheep-skin leathers, and although it is to be had in all colors, and looks fairly handsome for a time, and is tougher than skiver (or split sheep-skin), the books that are bound in it will sooner or later become an eyesore upon the shelves.

A skin of Persian leather costs about one-third the price of genuine morocco, or goat. But the actual saving in binding is in a far less ratio--the difference being only six to eight cents per volume. It is really much cheaper to use morocco in the first place, than to undergo all the risks of deterioration and re-binding.

Of the various imitations of leather, or subst.i.tutes for it, we have leatherette, leather-cloth, duck, fibrette, feltine, and buckram. Buckram and duck are strong cotton or linen fabricks, made of different colors, and sometimes figured or embossed to give them somewhat the look of leather. Hitherto, they are made mostly in England, and I have learned of no American experience in their favor except the use of stout duck for covering blank books and binding newspapers. The use of buckram has been mostly abandoned by the libraries. Morocco cloth is American, but has no advantage over plain muslin or book cloth, that I am aware of.

Leatherette, made princ.i.p.ally of paper, colored and embossed to simulate morocco leather, appears to have dropped out of use almost as fast as it came in, having no quality of permanence, elegance, or even of great cheapness to commend it. Leatherette tears easily, and lacks both tenacity and smoothness.