All work not turned in which requires repeat blocking, and all such as requires blocking in more than one color, is "pinned on." On the other hand, covers which are finished after being once blocked on back or side which require no second impression may be adjusted with the angle gauge or blocks. Many make use of both at the same time. Such covers then have been turned in all round when being worked, whilst" pinning on" requires that the covers should not have been turned in.

The practical bookbinder who has to deal with turned in covers frequently gets over the difficulty by making two incisions about 2 cm apart with the knife upon the turned in edge at the place where it should be pinned on, and opening out the material at the incisions, thus making a loose margin for pinning on.

For pinning on covers as well as backs, a template is cut from wrappers or thin board, which is adjusted on the cover and the register holes made with an awl. When pinning on has to be done for blocking which has to be repeated very many times, the register points are strengthened behind with stiff paper to prevent them from breaking or tearing away and thus becoming inaccurate.

To enable the most various widths of backs to be quickly inserted and to supply a substitute for the thick layers of cardboard packing which make a fine impression impossible, a special contrivance with metal pads has been made. This is shown in the Sketch herewith.

Mention has already been made of the table (or matrix). This is a bed of stout boards which is intended to serve the double purpose of saving the blocks when blocking thin articles (backs of covers, &c.) and also for st1'engthening and equalizing the resistance from below when working on heavier articles. Faults arising during working, such as insufficient adhesion of the gold (and an increased pressure) may be set right by pasting on pieces of paper to the matrix or table.

The matrices consist of strong but thin material; the best is wrappers or the thinnest board. After use they are kept for subsequent repetitions of the same or for other work.

The lettering must always be set up fresh for each job, whilst the ornamental pieces may be arranged on the tables or matrices at hand after the existing original impression.

Setting the type is a special art and calls for considerable taste and skill; the letters very easily slip out of the type holder, especially where very small type is used, unless special precautions are taken to prevent this. Here we will pass over the most important point in the arrangement of the types and refer to the paragraph dealing with "Lettering" under" Hand-tooling"; what holds good there always holds good here.

Lettering is always set upon special pieces of board and afterwards encased in a type holder, as it demands much more attention and subsequent correction. These boards should likewise be wrappers of the same thickness as those used at the same time for the ornaments. For fixing, cobblers' wax is likewise used. The favorite method frequently adopted of using glue coated with paste is not to be recommended, because the letters do not admit of proper setting upon this gelatinous mass. Not only do the lines of letters require to be kept right by means of a strip of metal or metal line, they must be carefully adjusted after taking a light impression, especially when using a very small type. The first pull must be under so light a pressure that on a soft paper everything is distinctly visible. The lines are arranged from this proof, whilst each single letter is carefully checked. Where letters do not show up properly they must he backed up with paper of suitable thickness on the board until all unevenness disappears. The lighter the pressure applied the easier it will be to make corrections. Letters heavily pressed at the outset can seldom be properly rectified afterwards.

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