ffy heap of paper,
but pressing, rolling, or beating soon reduces it to normal dimensions,
and it is then carried forward to the important process of sewing. This
is the very heart of the whole work. If the book is badly sewed, it will
be badly bound, though a thousand dollars were to be spent upon the
decoration of its covering. There is only one best method of sewing, and
that is around raised cords, in the way followed by the earliest
binders. There are modern machine methods that are very good, but they
are only cheap substitutes for the best. The cords must be of good,
long-fibered hemp, and the thread of the best quality and the right size
drawn to the right degree of tension without missing a sheet. After the
sewing the end papers are put in place, the back is glued and rounded,
and the mill boards are fitted. Into these last the ends of the cords
are laced and hammered. The book is then pressed to set its shape, being
left in the press for some days or even weeks. After it is taken out, if
the edges are to be treated, they are trimmed and then gilded, marbled,
sprinkled, or otherwise decorated. The head band--for which many French
binders substitute a fold in the leather--is now added. It was formerly
twisted as the book was sewn, but at present is too often bought
ready-made and simply glued on. The book is now forwarded.

The business of the finisher is to cover and protect the work already
done on the book, but in such a way as not to interfere with the
strength and flexibility that have been gained, and, finally, to add
such decoration as may be artistically demanded or within the means of
the purchaser. If leather is employed, it must be carefully shaved to
give an easily opening hinge, yet not enough to weaken it unnecessarily.
This is a most important process and one that must be left largely to
the good faith of the binder. If he is unworthy of confidence, his
mistakes may long escape notice, but, though buried, they are doomed to
an inglorious resurrection, albeit he may count on a sufficient lapse of
time to protect himself.

The next and last process of finishing is that of the decorator, whose
work passes out of the sphere of handicraft into that of art. His
problem is no easy one; it is to take a surface of great beauty in
itself, as of calf or morocco, and so treat it as to increase its
beauty. Too often, after he has done his utmost, the surface is less
attractive to the eye than it was at the be