Library Bookbinding. Arthur Low Bailey

tried. But while in the past they were along the line of making books stronger, the experiments of the present are rather along the line of adapting different methods to different books, according to the paper on which they are printed, or according to the kind of use they will receive. It is reasonably safe to say that present methods of the best library binders make a book as strong as it is possible to make it. Progress no longer lies along the line of strength.

      In order to administer a binding department wisely, the librarian or assistant in charge of binding must know materials, processes, and books; and especially must he know how books should be bound to meet the use they are to receive. For example, fiction that is very popular should be bound differently from fiction which must be kept on the shelves, but which is not popular; it is easily apparent that McCutcheon's "Graustark" should be bound differently from Henry James' "Golden bowl." Heavy reference books constantly consulted should be bound differently from reference books used only occasionally, while it may be wise to bind magazines differently from either. A librarian of a reference library will adopt methods differing from those which are used in public libraries. A good working knowledge of materials and processes can be easily obtained. The saving of expense comes in applying them to use.

      A recent advertisement of a binder stated that his books were rebound more times than the books of any other binder. This statement is a sad commentary on the serviceability of his books and calls to mind a practice of twenty years ago which is too prevalent even at the present time. At that time it was the recognized custom to bind as cheaply as possible books which circulated rapidly and wore out quickly. Those who favor this custom fail to realize that in the case of books which are constantly used the actual cost of binding does not depend on the initial cost per volume, but on the ratio of cost to circulation. This is a point first brought out by Mr. J. C. Dana in his "Notes on bookbinding for libraries," and one on which it is impossible to lay too much emphasis. A book which costs 35c. to bind and which circulates 35 times has cost one cent for each time it has been issued after rebinding; while a book which has cost 50c. to bind and has been issued 100 times (a fair average for a 50c. binding) costs one half cent for each time it has been issued. Obviously the 50c. binding is much cheaper. It is probable that the 35c. book must either be rebound at an additional expense of 35c. or else a new copy must be purchased at a cost of $1, while the 50c. binding may carry the book to a point where it can be discarded absolutely. Certainly it should never be rebound again. It is important, therefore, that the librarian who does not know what his binding is costing per issue should keep statistics of circulation for a sufficient length of time to obtain general averages which will be fairly accurate.

      While a very strong binding is necessary for fiction and juvenile books in public libraries, it is probable that on many books of a serious character some of the strengthening processes which must be used on fiction and juveniles may be omitted. It should be noted that while this is true of public libraries, the reverse would probably be true in college and reference libraries where a much larger proportion of serious books should be bound as strongly as possible.

      There are three general kinds of binding:

      (a) Commercial, or edition binding.

      (b) Artistic binding.

      (c) Library binding.

      Commercial binding is that in which practically all books come from the publishers. For the most part it is the product of machinery from beginning to end, and the material used is generally poor. Apparently the sole object in view of most publishers is to turn out a book that will attract the eye. Strength is not an element for which they strive. From their point of view they cannot be severely blamed for making strength a secondary consideration. By far the largest part of their product is sold to individuals, and the strength of the binding is adequate for the amount of use that these books will receive. From the library point of view, however, publishers' bindings are entirely inadequate. One cannot expect, of course, that the publisher will put a popular novel into a binding strong enough to meet the demands of library use. On the other hand, one cannot blame librarians for being exasperated when heavy books of travel, history, or biography part from their covers when they have been in the hands of less than ten readers.

      The distinguishing characteristics of commercial binding, and at the same time its greatest weaknesses, are the machine sewing and the insecure way in which the book is fastened into the cover. Very little extra expense either in material, care, or workmanship, would make most books outside of fiction sufficiently strong to withstand all the wear that they will receive. Unfortunately the publishers fail to realize this, and books by the thousands come from the binderies covered on the back with the coarsest kind of super which does not even extend to the head or tail of the book. A stouter cloth, carefully applied, running the entire length of the back would cost very little more per volume, but would strengthen it materially.

      While practically all commercial binding is lacking in strength, this is due almost wholly to trade conditions, for commercial binding can be made exceedingly strong. One has only to turn to the 1912 edition of the Century Dictionary or to the United States Catalog, which are practically machine bound throughout, to realize this fact. However, until librarians are united in their demands for stronger bindings, we can expect to see the present poor work turned out in as large quantities as ever.

      There is another kind of binding which is, if possible, even more unsuitable for libraries. This is artistic binding which is done exclusively for individuals, beauty of appearance being the chief object in view. It differs from commercial binding in being all hand work instead of machine work. Since hand work is used and the main object in view is beauty, it follows, of course, that such books are much stronger than those bound by publishers. But the strength of these books is in many cases not proof against the wear that they would receive in libraries. No special methods of sewing or strengthening the first and last sections are used. Practically all artistic books are bound in leather and frequently in full leather. Whenever the leather used is anything other than good morocco, it is an element of weakness rather than strength. In addition to these objections, artistic bindings are usually so expensive as to be beyond the reach of any library.

      In library binding the main consideration is strength. Not only is beauty a secondary consideration, it is scarcely taken into consideration at all. For it must be confessed that library bindings are seldom attractive. No library can afford to pay for ornamentation of backs and sides of books. Library binding is all hand work. Although machine binding can be made exceedingly strong, machines cannot be used on library binding, because the books vary so much in size and lettering. The main reason why commercial binding can be done by machinery is because a large number of books are bound exactly alike. In library binding it seldom happens that more than two volumes, the same in size and lettering, are bound at the same time. Library binding also differs from other bindings in that the use the book is to receive is made the basis of selection of materials and methods.

CHAPTER II

       Table of Contents

SELECTION OF A BINDER

       Table of Contents

      Since library binding differs widely from other kinds of binding, it follows naturally that it is best to have this work done by men who understand its special requirements. Unfortunately, there are comparatively few binders who make a specialty of this kind of work. Librarians of most of the smaller libraries are forced by local prejudice to give their work to the local binder or to the nearest outside binder in order to save the expense of transportation. If the work is sent to the local binder, it must be sent to one who is doing other kinds of binding and to whom the library work is, in a way, a minor consideration. He would object if the work were sent out of town, but the total amount of the library work is small compared with his other work. Such binders usually have one way for binding all books (except those which come under the head of blank-book work) and the library books go through the regular process of being sewed on twine and put into covers with no special reinforcements.