be as clear as
possible, and should fully identify the volume.

For lettering half-bindings and other books on which much time cannot
be spared, it would take too long to make out a paper, as described
for extra bindings, nor is there on such work much occasion for it.
For such books the lettering should be written out carefully, the
whole panel prepared and glaired in, and the gold laid on. Then with a
piece of fine silk or thread lines may be marked across the gold as a
guide to the finisher, and the letters worked from the centre
outward, as described for making out the paper pattern. Of course this
method does not allow of such nice calculation and adjustment as when
a paper pattern is made out; but if a general principle of clear
lettering is recognised and accepted, very good results may be
obtained.

BLIND TOOLING

[Illustration: FIG. 96.]

At the end of the book characteristic examples of blind-tooled books
are given (pages 321-25). It will be seen that most of the tools form
complete designs in themselves. Although the use of detached die-sunk
tools was general, there were also simple tools used, which, when
combined, made up more or less organic designs, and allowed more
freedom to the finisher (see figs. 96 and 97).

[Illustration: FIG. 97.]

Some use may also be made of interlaced strap-work designs, either
worked with gouges, or a small fillet. A book bound in oaken boards,
with a leather back with knotted decoration, is shown at page 330. I
have found that such binding and decoration is more satisfactory in
scheme for old books, than most forms of modern binding.

If a design is simple, the cover is marked up with dividers, and the
tools impressed direct upon the leather; or, if it is elaborate, a
paper pattern is made out, and the tools blinded through the paper, as
described for gold tooling. The leather is then damped with water, and
the impressions retooled.

[Illustration: FIG. 98.]

The panel lines on most of the bindings before 1500 show evidence of
having been put in with a tool which has been pushed along the
leather, and not with a wheel. I have found that a tool guided by a
straight-edge, and "jiggered" backwards and forwards, makes by far the
best lines for blind-tool work. It should be borne in mind that the
line is formed by the raised portion of leather, and so the tool
should be cut somewhat as at fig. 98. This should leave three ridges