Doosan Dielsel Forklift d50s 5 d60s 5 d70s 5 d80s 5 d90s 5 g50s 5 g60s 5 g70s 5 Electric Schematic Service Operaton Maintenance Manual Cd4271e 05
Doosan Dielsel Forklift d50s 5 d60s 5 d70s 5 d80s 5 d90s 5 g50s 5 g60s 5 g70s 5 Electric Schematic Service Operaton Maintenance Manual Cd4271e 05
Doosan Dielsel Forklift d50s 5 d60s 5 d70s 5 d80s 5 d90s 5 g50s 5 g60s 5 g70s 5 Electric Schematic Service Operaton Maintenance Manual Cd4271e 05
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Doosan Dielsel Forklift D50S-5 D60S-5 D70S-5 D80S-5 D90S-5 G50S-5 G60S-5
G70S-5 Electric Schematic, Service, Operaton & Maintenance Manual CD4271E
05.2013 Size: 131 MB Format: PDF Language: English Brand: Doosan Type of
Machine: Dielsel Forklift Type of Document: Electric Schematic, Service, Operaton
& Maintenance Manual Model: Doosan Dielsel Forklift D50S-5 D60S-5 D70S-5
D80S-5 D90S-5 G50S-5 G60S-5 G70S-5 Number of Pages: 1896 Pages Date:
05.2013 Form Number: CD4271E
Download all on: manualpost.com.
Language: English
Only a thousand copies of this book are printed and type distributed.
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By
MITCHELL S. BUCK
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VELLUM BINDINGS
(1674 and 1878)
Before discussing the means of attacking stains which may blemish a
book or a precious print, I am going to say that, in certain cases, it
might be very desirable to allow them to remain. If I possessed, for
example, a missive addressed to Charles IX during the night of Saint
Bartholomew, and stained with bloody finger-prints, I would take
great care not to disturb these marks which, supposing their
authenticity established, would increase tenfold the value of the
autograph. If the custodian of the Laurentian Library at Florence
should efface, from his Longus manuscript, Paul Louis Courier’s
puddle of ink, he would commit an act of vandalism, for that ink
stain is a literary celebrity.[2]
To speak of more ordinary examples: one often finds on a book or
print, a signature or inscription which may sometimes be an
autograph well worth preservation.[3] I very rarely efface signatures
or the notes of early, unknown owners; I find it pleasanter to respect
these souvenirs of the past. In the same way, some curious objects
have certain defects which, I think, add to their interest. For
example, a statuette of the Virgin, in silver or ivory, of which the
features and hands are half effaced by the frequent contact of pious
lips. Restore such worn parts, and the sentiment is stripped from a
relic of past ages. It is far better to leave untouched such scars,
which attest the antique piety of the cloister. A vellum Book of Hours
of the Fifteenth Century, worn and soiled through prayer, has, to my
mind, acquired a venerable patina. Here, a spot of yellow wax;
there, the head of a saint blemished by the star-print from a tear of
devotion: are not these stains which should be respected? On the
other hand, a blot of ink or an oily smear point only to carelessness
and should be removed.
About the year 1846, I was invited by M. A. Farrens, a skilful restorer
of old books, to see in his work-shop a Dance Macabre in quarto,
imprinted on paper, at Paris, toward the end of the Fifteenth
Century; a rare volume which he was restoring for M. Techner.
The portions already cleaned and restored, compared with those still
untouched, excited my admiration. The numerous worm holes, the