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Prideaux</title> - <link rel="icon" href="images/cover.jpg" type="image/x-cover" /> - <style> /* <![CDATA[ */ - body { margin-left: 8%; margin-right: 10%; } - h1 { text-align: center; font-weight: bold; font-size: xx-large; } - h2 { text-align: center; font-weight: bold; font-size: x-large; } - h3 { text-align: center; font-weight: bold; font-size: large; } - .pageno { right: 1%; font-size: x-small; background-color: inherit; color: silver; - text-indent: 0em; text-align: right; position: absolute; - border: thin solid silver; padding: .1em .2em; font-style: normal; - font-variant: normal; font-weight: normal; text-decoration: none; } - p { text-indent: 0; margin-top: 0.5em; margin-bottom: 0.5em; text-align: justify; } - sup { vertical-align: top; font-size: 0.6em; } - .fss { font-size: 75%; } - .sc { font-variant: small-caps; } - .large { font-size: large; } - .xlarge { font-size: x-large; } - .small { font-size: small; } - .lg-container-b { text-align: center; } - .x-ebookmaker .lg-container-b { clear: both; 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} - .x-ebookmaker img {max-height: 30em; max-width: 100%; } - .footnote {font-size: .9em; } - div.footnote p {text-indent: 2em; margin-bottom: .5em; } - .chapter { clear: both; page-break-before: always; } - .ol_1 li {font-size: .9em; } - .x-ebookmaker .ol_1 li {padding-left: 1em; text-indent: 0em; } - body {font-family: Georgia, serif; text-align: justify; } - table {font-size: .9em; padding: 1.5em .5em 1em; page-break-inside: avoid; - clear: both; } - div.titlepage {text-align: center; page-break-before: always; - page-break-after: always; } - div.titlepage p {text-align: center; text-indent: 0em; font-weight: bold; - line-height: 1.5; margin-top: 3em; } - .ph1 { text-indent: 0em; font-weight: bold; font-size: xx-large; - margin: .67em auto; page-break-before: always; } - .ph2 { text-indent: 0em; font-weight: bold; font-size: x-large; margin: .75em auto; - page-break-before: always; } - .x-ebookmaker p.dropcap:first-letter { float: left; } - /* ]]> */ </style> - </head> - <body> -<p style='text-align:center; font-size:1.2em; font-weight:bold'>The Project Gutenberg eBook of Modern bookbindings, by S. T. Prideaux</p> -<div style='display:block; margin:1em 0'> -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms -of the Project Gutenberg License included with this eBook or online -at <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you -are not located in the United States, you will have to check the laws of the -country where you are located before using this eBook. -</div> - -<p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em'>Title: Modern bookbindings</p> -<p style='display:block; margin-left:2em; text-indent:0; margin-top:0; margin-bottom:1em;'>Their design and decoration</p> -<p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em'>Author: S. T. Prideaux</p> -<p style='display:block; text-indent:0; margin:1em 0'>Release Date: August 18, 2022 [eBook #68786]</p> -<p style='display:block; text-indent:0; margin:1em 0'>Language: English</p> - <p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em; text-align:left'>Produced by: Richard Tonsing and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive)</p> -<div style='margin-top:2em; margin-bottom:4em'>*** START OF THE PROJECT GUTENBERG EBOOK MODERN BOOKBINDINGS ***</div> - -<div class='tnotes covernote'> - -<p class='c000'><strong>Transcriber’s Note:</strong></p> - -<p class='c000'>The cover image was created by the transcriber and is placed in the public domain.</p> - -</div> - -<div class='chapter ph1'> - -<div class='nf-center-c0'> -<div class='nf-center c001'> - <div>MODERN BOOKBINDINGS</div> - </div> -</div> - -</div> - -<div id='I' class='figcenter id001'> -<img src='images/i_001.jpg' alt='' class='ig001' /> -<div class='ic001'> -<p>1. <span class='sc'>Bound by Zaehnsdorf.</span></p> -</div> -</div> - -<div class='titlepage'> - -<div> - <h1 class='c002'>MODERN BOOKBINDINGS<br /> <span class='xlarge'>THEIR DESIGN AND DECORATION</span></h1> -</div> - -<div class='nf-center-c0'> -<div class='nf-center c003'> - <div>BY</div> - <div><span class='large'>S. T. PRIDEAUX</span></div> - </div> -</div> - -<div class='figcenter id002'> -<img src='images/i_title.jpg' alt='' class='ig001' /> -</div> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>NEW YORK</div> - <div><span class='large'>E. P. DUTTON AND COMPANY</span></div> - <div>1906</div> - </div> -</div> - -</div> - -<div class='nf-center-c0'> -<div class='nf-center c001'> - <div><span class='small'>Edinburgh: <span class='sc'>T. and A. Constable</span>, Printers to His Majesty</span></div> - </div> -</div> - -<div class='chapter'> - <span class='pageno' id='Page_v'>v</span> - <h2 class='c004'>CONTENTS</h2> -</div> - -<table class='table0'> - <tr> - <th class='c005'></th> - <th class='c006'><span class='small'>PAGE</span></th> - </tr> - <tr> - <td class='c005'><span class='sc'>Modern English Binding</span></td> - <td class='c006'><a href='#Page_3'>3</a></td> - </tr> - <tr> - <td class='c005'><span class='sc'>Modern French Binding</span></td> - <td class='c006'><a href='#Page_59'>59</a></td> - </tr> - <tr> - <td class='c005'><span class='sc'>Edition Binding</span></td> - <td class='c006'><a href='#Page_105'>105</a></td> - </tr> -</table> - -<div class='chapter'> - <span class='pageno' id='Page_vii'>vii</span> - <h2 class='c004'>LIST OF ILLUSTRATIONS</h2> -</div> - -<table class='table0'> - <tr> - <th class='c007'><span class='small'>PLATE</span></th> - <th class='c008'> </th> - <th class='c006'> </th> - </tr> - <tr> - <td class='c007'><span class='fss'><a href='#I'>I</a>.</span></td> - <td class='c009'><span class='sc'>Bound by Zaehnsdorf</span>—<em>Frontispiece</em></td> - <td class='c006'> </td> - </tr> - <tr> - <th class='c007'></th> - <th class='c008'> </th> - <th class='c006'><span class='small'>AT PAGE</span></th> - </tr> - <tr> - <td class='c007'><span class='fss'><a href='#II'>II</a>.</span></td> - <td class='c008'>„ „</td> - <td class='c006'>6</td> - </tr> - <tr> - <td class='c007'><span class='fss'><a href='#III'>III</a>.</span></td> - <td class='c008'>„ „</td> - <td class='c006'>6</td> - </tr> - <tr> - <td class='c007'><span class='fss'><a href='#IV'>IV</a>.</span></td> - <td class='c008'>„ <span class='sc'>Rivière</span></td> - <td class='c006'>10</td> - </tr> - <tr> - <td class='c007'><span class='fss'><a href='#V'>V</a>.</span></td> - <td class='c008'>„ „</td> - <td class='c006'>10</td> - </tr> - <tr> - <td class='c007'><span class='fss'><a href='#VI'>VI</a>.</span></td> - <td class='c008'>„ <span class='sc'>Morrell</span></td> - <td class='c006'>14</td> - </tr> - <tr> - <td class='c007'><span class='fss'><a href='#VII'>VII</a>.</span></td> - <td class='c008'>„ „</td> - <td class='c006'>16</td> - </tr> - <tr> - <td class='c007'><span class='fss'><a href='#VIII'>VIII</a>.</span></td> - <td class='c008'>„ „</td> - <td class='c006'>16</td> - </tr> - <tr> - <td class='c007'><span class='fss'><a href='#IX'>IX</a>.</span></td> - <td class='c008'>„ <span class='sc'>De Coverly</span></td> - <td class='c006'>18</td> - </tr> - <tr> - <td class='c007'><span class='fss'><a href='#X'>X</a>.</span></td> - <td class='c008'>„ <span class='sc'>Fazakerly</span></td> - <td class='c006'>20</td> - </tr> - <tr> - <td class='c007'><span class='fss'><a href='#XI'>XI</a>.</span></td> - <td class='c008'>„ „</td> - <td class='c006'>20</td> - </tr> - <tr> - <td class='c007'><span class='fss'><a href='#XII'>XII</a>.</span></td> - <td class='c008'>„ <span class='sc'>Chivers</span></td> - <td class='c006'>26</td> - </tr> - <tr> - <td class='c007'><span class='fss'><a href='#XIII'>XIII</a>.</span></td> - <td class='c008'>„ „</td> - <td class='c006'>26</td> - </tr> - <tr> - <td class='c007'><span class='pageno' id='Page_viii'>viii</span><span class='fss'><a href='#XIV'>XIV</a>.</span></td> - <td class='c008'>„ <span class='sc'>the Oxford University Press</span></td> - <td class='c006'>30</td> - </tr> - <tr> - <td class='c007'><span class='fss'><a href='#XV'>XV</a>.</span></td> - <td class='c008'>„ „ „</td> - <td class='c006'>34</td> - </tr> - <tr> - <td class='c007'><span class='fss'><a href='#XVI'>XVI</a>.</span></td> - <td class='c008'>„ „ „</td> - <td class='c006'>34</td> - </tr> - <tr> - <td class='c007'><span class='fss'><a href='#XVII'>XVII</a>.</span></td> - <td class='c008'>„ <span class='sc'>the Guild of Handicraft</span></td> - <td class='c006'>38</td> - </tr> - <tr> - <td class='c007'><span class='fss'><a href='#XVIII'>XVIII</a>.</span></td> - <td class='c008'>„ <span class='sc'>Douglas Cockerell</span></td> - <td class='c006'>40</td> - </tr> - <tr> - <td class='c007'><span class='fss'><a href='#XIX'>XIX</a>.</span></td> - <td class='c008'>„ „ „</td> - <td class='c006'>40</td> - </tr> - <tr> - <td class='c007'><span class='fss'><a href='#XX'>XX</a>.</span></td> - <td class='c008'>„ <span class='sc'>F. Sangorski and G. Sutcliffe</span></td> - <td class='c006'>42</td> - </tr> - <tr> - <td class='c007'><span class='fss'><a href='#XXI'>XXI</a>.</span></td> - <td class='c008'>„ <span class='sc'>De Sauty</span></td> - <td class='c006'>44</td> - </tr> - <tr> - <td class='c007'><span class='fss'><a href='#XXII'>XXII</a>.</span></td> - <td class='c008'>„ „ „</td> - <td class='c006'>44</td> - </tr> - <tr> - <td class='c007'><span class='fss'><a href='#XXIII'>XXIII</a>.</span></td> - <td class='c008'>„ <span class='sc'>Miss Adams</span></td> - <td class='c006'>46</td> - </tr> - <tr> - <td class='c007'><span class='fss'><a href='#XXIV'>XXIV</a>.</span></td> - <td class='c008'>„ <span class='sc'>Miss MacColl</span></td> - <td class='c006'>48</td> - </tr> - <tr> - <td class='c007'><span class='fss'><a href='#XXV'>XXV</a>.</span></td> - <td class='c008'>„ <span class='sc'>Miss Alice Pattinson</span></td> - <td class='c006'>48</td> - </tr> - <tr> - <td class='c007'><span class='fss'><a href='#XXVI'>XXVI</a>.</span></td> - <td class='c008'>„ <span class='sc'>Miss Maude Nathan</span></td> - <td class='c006'>50</td> - </tr> - <tr> - <td class='c007'><span class='fss'><a href='#XXVII'>XXVII</a>.</span></td> - <td class='c008'>„ <span class='sc'>Miss Woolrich</span></td> - <td class='c006'>52</td> - </tr> - <tr> - <td class='c007'><span class='fss'><a href='#XXVIII'>XXVIII</a>.</span></td> - <td class='c008'>„ <span class='sc'>Miss Philpot</span></td> - <td class='c006'>54</td> - </tr> - <tr> - <td class='c007'><span class='fss'><a href='#XXIX'>XXIX</a>.</span></td> - <td class='c008'>„ <span class='sc'>Marius Michel</span></td> - <td class='c006'>60</td> - </tr> - <tr> - <td class='c007'><span class='fss'><a href='#XXX'>XXX</a>.</span></td> - <td class='c008'>„ „ „</td> - <td class='c006'>62</td> - </tr> - <tr> - <td class='c007'><span class='fss'><a href='#XXXI'>XXXI</a>.</span></td> - <td class='c008'>„ „ „</td> - <td class='c006'>62</td> - </tr> - <tr> - <td class='c007'><span class='pageno' id='Page_ix'>ix</span><span class='fss'><a href='#XXXII'>XXXII</a>.</span></td> - <td class='c008'>„ <span class='sc'>Léon Gruel</span></td> - <td class='c006'>64</td> - </tr> - <tr> - <td class='c007'><span class='fss'><a href='#XXXIII'>XXXIII</a>.</span></td> - <td class='c008'>„ „ „</td> - <td class='c006'>68</td> - </tr> - <tr> - <td class='c007'><span class='fss'><a href='#XXXIV'>XXXIV</a>.</span></td> - <td class='c008'>„ „ „</td> - <td class='c006'>68</td> - </tr> - <tr> - <td class='c007'><span class='fss'><a href='#XXXV'>XXXV</a>.</span></td> - <td class='c008'>„ „ „</td> - <td class='c006'>72</td> - </tr> - <tr> - <td class='c007'><span class='fss'><a href='#XXXVI'>XXXVI</a>.</span></td> - <td class='c008'>„ „ „</td> - <td class='c006'>72</td> - </tr> - <tr> - <td class='c007'><span class='fss'><a href='#XXXVII'>XXXVII</a>.</span></td> - <td class='c008'>„ <span class='sc'>Mercier</span></td> - <td class='c006'>76</td> - </tr> - <tr> - <td class='c007'><span class='fss'><a href='#XXXVIII'>XXXVIII</a>.</span></td> - <td class='c008'>„ „</td> - <td class='c006'>80</td> - </tr> - <tr> - <td class='c007'><span class='fss'><a href='#XXXIX'>XXXIX</a>.</span></td> - <td class='c008'>„ „</td> - <td class='c006'>82</td> - </tr> - <tr> - <td class='c007'><span class='fss'><a href='#XL'>XL</a>.</span></td> - <td class='c008'>„ „</td> - <td class='c006'>84</td> - </tr> - <tr> - <td class='c007'><span class='fss'><a href='#XLI'>XLI</a>.</span></td> - <td class='c008'>„ „</td> - <td class='c006'>84</td> - </tr> - <tr> - <td class='c007'><span class='fss'><a href='#XLII'>XLII</a>.</span></td> - <td class='c008'>„ <span class='sc'>Ruban</span></td> - <td class='c006'>88</td> - </tr> - <tr> - <td class='c007'><span class='fss'><a href='#XLIII'>XLIII</a>.</span></td> - <td class='c008'>„ „</td> - <td class='c006'>92</td> - </tr> - <tr> - <td class='c007'><span class='fss'><a href='#XLIV'>XLIV</a>.</span></td> - <td class='c008'>„ „</td> - <td class='c006'>92</td> - </tr> - <tr> - <td class='c007'><span class='fss'><a href='#XLV'>XLV</a>.</span></td> - <td class='c008'>„ <span class='sc'>Carayon</span></td> - <td class='c006'>94</td> - </tr> - <tr> - <td class='c007'><span class='fss'><a href='#XLVI'>XLVI</a>.</span></td> - <td class='c008'>„ „</td> - <td class='c006'>96</td> - </tr> - <tr> - <td class='c007'><span class='fss'><a href='#XLVII'>XLVII</a>.</span></td> - <td class='c008'>„ „</td> - <td class='c006'>96</td> - </tr> - <tr> - <td class='c007'><span class='fss'><a href='#XLVIII'>XLVIII</a>.</span></td> - <td class='c008'>„ <span class='sc'>Chambolle</span></td> - <td class='c006'>98</td> - </tr> - <tr> - <td class='c007'><span class='fss'><a href='#XLIX'>XLIX</a>.</span></td> - <td class='c008'>„ „</td> - <td class='c006'>106</td> - </tr> - <tr> - <td class='c007'><span class='fss'><a href='#L'>L</a>.</span></td> - <td class='c008'>„ „</td> - <td class='c006'>106</td> - </tr> - <tr> - <td class='c007'><span class='pageno' id='Page_x'>x</span><span class='fss'><a href='#LI'>LI</a>.</span></td> - <td class='c008'>„ <span class='sc'>Canape</span></td> - <td class='c006'>108</td> - </tr> - <tr> - <td class='c007'><span class='fss'><a href='#LII'>LII</a>.</span></td> - <td class='c008'>„ „</td> - <td class='c006'>112</td> - </tr> - <tr> - <td class='c007'><span class='fss'><a href='#LIII'>LIII</a>.</span></td> - <td class='c008'>„ „</td> - <td class='c006'>116</td> - </tr> - <tr> - <td class='c007'><span class='fss'><a href='#LIV'>LIV</a>.</span></td> - <td class='c008'>„ „</td> - <td class='c006'>120</td> - </tr> - <tr> - <td class='c007'><span class='fss'><a href='#LV'>LV</a>.</span></td> - <td class='c008'>„ „</td> - <td class='c006'>120</td> - </tr> - <tr> - <td class='c007'><span class='fss'><a href='#LVI'>LVI</a>.</span></td> - <td class='c008'>„ <span class='sc'>Kieffer</span></td> - <td class='c006'>124</td> - </tr> - <tr> - <td class='c007'><span class='fss'><a href='#LVII'>LVII</a>.</span></td> - <td class='c008'>„ „</td> - <td class='c006'>128</td> - </tr> - <tr> - <td class='c007'><span class='fss'><a href='#LVIII'>LVIII</a>.</span></td> - <td class='c008'>„ „</td> - <td class='c006'>128</td> - </tr> -</table> - -<div class='chapter'> - <span class='pageno' id='Page_xi'>xi</span> - <h2 id='ERRATUM' class='c004'>ERRATUM</h2> -</div> - -<p class='c010'><em>For</em> “Revière” <em>read</em> “Rivière” in List of Illustrations.</p> - -<p class='c011'><em>For</em> “Morell” <em>read</em> “Morrell” throughout.</p> - -<p class='c011'>The address of the Oxford University Press is still Amen -Corner, E.C., and <em>not</em> St. Dunstan’s House, Fetter Lane, as -stated on page <a href='#Page_35'>35</a>.</p> - -<div class='chapter'> - <span class='pageno' id='Page_3'>3</span> - <h2 class='c004'>MODERN ENGLISH BINDING</h2> -</div> - -<h3 class='c012'>I</h3> - -<p class='c013'>Within the last five-and-twenty years there -has been a marked revival in every department -of applied art. The influence of -William Morris, whose efforts in all the -accessories of house decoration were for -some time only recognized by the few, has -now spread to all classes. No longer confined -to the houses of the rich or of those -who profess the cult of aesthetics, it is -to be found with more or less of travesty -in country rectories and suburban villas, -catered for by the enterprising tradesman -on the monthly hire system. To those who -remember vividly the early Victorian surroundings -of the home and their prevailing -<span class='pageno' id='Page_4'>4</span>ugliness, the complete change which has -taken place has hardly yet ceased to be a -source of wonder. Nothing remains the -same: from wall-paper to coal-box, from -bedroom to kitchen, all has ‘suffered a sea -change.’ In any examination of the present -condition of the artistic crafts and the -promise they present of future development -on a sound basis, one cannot fail to observe -that the effort to promote taste has penetrated -to the commonest objects of daily -use. The thought that finds expression -in decoration has gone to salt-cellars and -buttons as well as to carpets, cabinets and -books. Some industries too, that may -almost be said to have died out for lack -of appreciation, have been revived on new -lines and taken up by the public with -enthusiastic approval. The use of enamel -in jewellery and in combination with wrought -metal may be mentioned as an instance of -this, as well as the inlaying of cabinet work -not only with coloured woods, but with -pewter, ivory and pearl. The spell of convention -<span class='pageno' id='Page_5'>5</span>once broken, the imagination of the -craftsman has found relief in flying to the -furthest distance from models that were -till recently his only guide. This freedom, -when restrained by genuine artistic feeling, -has given in many cases excellent results; -but in the majority of cases the sole -achievement has been an eccentricity that -shows few signs of a realization of what -is needed in applied art and of the laws -that should govern it.</p> - -<p class='c011'>In no sphere has there been a more -striking departure from the hitherto circumscribed -lines of ornamentation than in -everything that relates to books and their -decorative treatment. Paper and ink, type -and its massing on the page, illustration -both as a part of the text and outside it, -the materials and enrichment of the cover—all -have alike undergone fundamental reconsideration. -It is, however, with bindings -and not with the other features of book -production that we are now concerned; and -it is proposed in these pages to draw -<span class='pageno' id='Page_6'>6</span>attention to what is being done in England -and France in a field of work that has an -increasing number of recruits and a growing -and interested public.</p> - -<p class='c011'>It is now more than twenty years since the -movement spoken of began to include bookbinding. -During that time there has been -noted the trade opposition to Mr. Cobden-Sanderson -when he started as an amateur, -followed by an imitation in many quarters, -which, to say the least of it, is not the most -subtle form of flattery. There has been -also the later influence of Mr. Douglas -Cockerell—a result of his strenuous craft -teaching as well as of the work of his own -hands—and the tardy acknowledgment of -professional binders that the interest of the -amateur has been productive of good even -from the narrow standpoint of their class. -Nor has France escaped this wave of innovation, -though there formalism had a -stronger hold even than with us, inasmuch -as the traditions of what in the sixteenth -and seventeenth centuries had really been -more of a fine art than a craft were rooted -in the country with all the firmness that -national pride could give. Finally, one -may mark the growing enthusiasm of our -American neighbours in the subject and -their efforts to create a national taste in -fine bindings. They show a ready acknowledgment -of what is being done outside their -own country, and a willingness to recognize -that work directed by the artistic rather -than the commercial spirit must be paid -for according to a standard different to that -of the ordinary tradesman.</p> -<div id='II' class='figcenter id003'> -<img src='images/i_002.jpg' alt='' class='ig001' /> -<div class='ic001'> -<p>2. <span class='sc'>Bound by Zaehnsdorf.</span></p> -</div> -</div> - -<div id='III' class='figcenter id003'> -<img src='images/i_003.jpg' alt='' class='ig001' /> -<div class='ic001'> -<p>3. <span class='sc'>Bound by Zaehnsdorf.</span></p> -</div> -</div> - -<p class='c011'><span class='pageno' id='Page_7'>7</span>That an increasing number of people -appreciate the problem of designing book -covers may be judged from the fact that -of late years nearly every illustrated paper -has had an occasional article on one or -another binder anxious to attract the public -to the originality of his work. Assuming -this appreciation, we will touch briefly on -the craft in England before its revitalization -during the last quarter of a century, and -then pass in review those who are now -<span class='pageno' id='Page_8'>8</span>occupied with its decorative side and who -are trying to remove it from the traditional -grooves in which it lay for so long. -Unfortunately, many binders doing excellent -and conscientious work, on lines far -more valuable than that of pattern making, -must remain unnoticed, for it is only work -that is striving after an effect of ornament -that is capable of illustration. Of this, -too, the amount has so much increased of -late that it is impossible to give examples -of much that equally deserves representation -with what has been selected.</p> - -<p class='c011'>For a true understanding of modern -effort it is necessary to realize that the -art history of binding is an important one, -especially in Italy and France; but in this -very brief review of English binding before -1850, we need not start further back than -the time when gilt tooling was brought from -France. Before that period the heavier -covers had been decorated with stamps often -of a very beautiful kind and impressed upon -the leather without gold. But in the reign -<span class='pageno' id='Page_9'>9</span>of Henry <span class='fss'>VIII.</span>, Thomas Berthelet, the King’s -printer, first executed gold-tooled bindings, -the designs on which were frankly adopted -from those that prevailed in Italy, the -models, no doubt, being found among the -large number of books imported from abroad -at that time. Later on, when Italian binding -as a fine art had been merged in that of -France, the influence of the latter country -is seen, as, for example, in the books bound -for Thomas Wotton in imitation of Grolier, -one of the most famous collectors of any -age or country. Throughout the reigns of -the Stuarts, English binding continues to -show French influence, as a glance at the -books exhibited to the public in the British -Museum will show to the most casual observer. -Nor had we a binder who can be -said to have shown any tendency towards -a native style till the time of the Restoration, -when Samuel Mearne, bookbinder to -the King, inaugurated what is known as -the ‘cottage’ form of decoration. Though -the elaborate filigree work on his books -<span class='pageno' id='Page_10'>10</span>reminds one that Le Gascon exercised an -important influence, the form of the ornaments -and their arrangement remain distinctly -English. A development of this -style, equally native in character, may be -found a little later, during the first part -of the eighteenth century, chiefly on the -Bibles and Prayer-Books of the time. In -these there is a certain amount of rough -inlay, either in the form of a panel or in -that of tulips and other conventional flowers -outlined in gold, though with a dotted instead -of a solid line. These ornaments, -poor in themselves, which form the main -part of the decoration, are often combined -with great skill and sense of effect. An -unusual number of such books were collected -at the time of the Exhibition of Bindings -at the Burlington Fine Arts Club, and -were found both charming and effective -notwithstanding a somewhat rough and -hasty workmanship. From the reign of -James <span class='fss'>II.</span> to the time of Roger Payne there -are no names associated with any bindings -<span class='pageno' id='Page_11'>11</span>of importance; and with the passing of the -prevailing fashion of ornament on the books -just described, design reached its lowest -point towards the end of the century. Of -Roger Payne, who effected a genuine revival -of bookbinding somewhere about 1770, it -is not necessary to say much. His style -is well known to all book lovers, and the -details of his eccentric life have been so -often recorded that the reader must be more -than weary of them. One point in connexion -with his work is, however, I think, -worth mentioning, and that is that his style -has never lent itself to that modification in -imitation which enables any artist to become -the founder of a school. Any one of the -skilled binders will do you a ‘Roger Payne’ -as he will do you a ‘Grolier’ or a ‘Le -Gascon’; but it will be a reproduction of -the real Roger’s work, with the exact details -and precise arrangement of them that are -to be found on his authentic bindings. So -that, notwithstanding his originality, he inspired -no following, though his imitators -have been perhaps more numerous than -those of any other binder.</p> -<div id='IV' class='figcenter id001'> -<img src='images/i_004.jpg' alt='' class='ig001' /> -<div class='ic001'> -<p>4. <span class='sc'>Bound by Rivière.</span></p> -</div> -</div> - -<div id='V' class='figcenter id001'> -<img src='images/i_005.jpg' alt='' class='ig001' /> -<div class='ic001'> -<p>5. <span class='sc'>Bound by Rivière.</span></p> -</div> -</div> - -<p class='c011'><span class='pageno' id='Page_12'>12</span>Charles Lewis and Frances Bedford, -followed by Robert Rivière and Joseph -Zaehnsdorf, did much good work in the -early part of the last century, especially -Bedford; but they can lay no claim to an -originality which disappeared with Payne, -and which was not seen again until Mr. -Cobden-Sanderson attempted to do for the -binding of books what William Morris had -already done for the other decorative arts. -It is the result of this revived interest in -handicrafts and the attempted application -to binding of the more vital principles of -art which it is proposed to illustrate here. -One must say attempted, because success -by no means always results. In this review, -however, of modern binders, definite -criticism is not an object, though the difficulties -attendant on their efforts naturally -come up for consideration and necessarily -involve some expression of opinion.</p> -<div id='VI' class='figcenter id001'> -<img src='images/i_006.jpg' alt='' class='ig001' /> -<div class='ic001'> -<p>6. <span class='sc'>Bound by Morrell.</span></p> -</div> -</div> - -<p class='c011'><span class='pageno' id='Page_13'>13</span>Both Zaehnsdorf and Rivière left representatives to carry on their work, the former -a son, and the latter two nephews, Mr. -Percy and Mr. Arthur Calkin. From the -small establishments in which both houses -originated there has developed in each case -an important business in which an exceedingly -large number of books are bound for -the export as well as the retail trade. In -a bindery of this nature there would not be -time for the serious consideration of artistic -problems unless it contained what Mr. -Lethaby so aptly describes as ‘a “quality” -department in a “quantity” business.’ It -remains as true now as it has always been -that the craftsman who is also an artist -must work in his own way and at his own -speed—a fact well realized in the French -workshops, which are altogether outside the -rush and pressure of commercial life. So -in each of these houses we find a certain -number of the more intelligent and skilful -men employed only upon the best work, and -engaged in carrying out designs which they -either make up themselves from certain -<span class='pageno' id='Page_14'>14</span>recognised types or which are made for -them by more practised designers. This introduces -the question—which is a practical -one for the large employer, though it need -not exist for those having a comparatively -limited output—whether it produces better -results to keep a trained designer, or to -give the pattern making into the hands -of the more artistically disposed ‘finishers.’ -Some consider that it is impossible, so long -as the education of the workman is so -lamentably defective on the side of taste -as it is, to expect him to plan book covers -above the ordinary level of presents and -school prizes; others hold that his feeling -for what is good and appropriate can only -be cultivated by encouraging him to the -interest and responsibility of planning what -he is going to execute. Mr. Calkin has -long kept a designer entirely occupied on -the decorated work that many of his clients -demand. Other houses have tried the practice -of getting drawings made by the general -decorative artist, and have given it up in -<span class='pageno' id='Page_15'>15</span>disgust at the unpractical character of the -results obtained. And it is true that it -takes time and patience to train one accustomed -to a free hand in invention to a -realization of the limitations necessitated by -the use of rigid stamps and the comparatively -small number of them that can be -employed on a binding.<a id='r1'></a><a href='#f1' class='c014'><sup>[1]</sup></a> Ask any professed -<span class='pageno' id='Page_16'>16</span>pattern maker to make you a device for a -book cover, and you will get something -which, though it may be satisfactory and -attractive in itself, will be either impossible -of execution or give the most disappointing -results. Naturally, where any firm happens -to possess workmen of the required taste -and ability, they should be encouraged to -the utmost to give effect to their sense of -drawing in its application to their own -trade. Messrs. Morrell, whose large business -is entirely a wholesale one, supplies -all the booksellers with bindings designed -by his men and remarkable for their variety -<span class='pageno' id='Page_17'>17</span>and merit. It is too early to speak of the -influence of the technical schools upon the -output of the large workshops, but when -one knows that the three houses above -mentioned employ some 200 men between -them, it can easily be imagined that the -training of the workman is a serious consideration.<a id='r2'></a><a href='#f2' class='c014'><sup>[2]</sup></a> -It is customary now for binders -to keep a record of their more special work, -and in this way the extent of their range -can be noted by the employer and undue -repetition prevented. Another improvement -on the past is that designs are not -now multiplied as they used to be—that -is to say, in the best class of work. A -specially planned cover is not repeated or -even published without the owner’s consent; -and this is a wise plan, for all art, even the -best, suffers by vain repetition, and a good -and appropriate pattern on a book will be -but a weariness to the eye when it is seen -in multiplicity in booksellers’ windows.</p> -<div id='VII' class='figcenter id001'> -<img src='images/i_007.jpg' alt='' class='ig001' /> -<div class='ic001'> -<p>7. <span class='sc'>Bound by Morrell.</span></p> -</div> -</div> - -<div id='VIII' class='figcenter id001'> -<img src='images/i_008.jpg' alt='' class='ig001' /> -<div class='ic001'> -<p>8. <span class='sc'>Bound by Morrell.</span></p> -</div> -</div> - -<p class='c011'><span class='pageno' id='Page_18'>18</span>The concluding illustrations in this chapter -show work done by Mr. Roger de Coverly -and Mr. Harry Wood. Mr. de Coverly -served his apprenticeship to the elder -Zaehnsdorf, and was afterwards employed -for many years by Messrs. Leighton. In -1863 he set up for himself, and his sound -taste being discovered by Mr. F. S. Ellis -and Mr. William Morris, he soon got the -custom of many of those who were then -seeking its application to bindings. In 1883 -he took one of his clients, Mr. Cobden-Sanderson, -as a pupil, and has had others -since. He considers his speciality to be -vellum work; but unfortunately this does -not show well in reproduction. Mr. Wood -was also with Zaehnsdorf, working for him -as a finisher for twelve years. He subsequently managed and in the end bought the -business of Mr. Kaufmann in Soho, which -he has greatly expanded, and which is now -managed by his son. Neither he nor de -Coverly have ever sought the heavy expenses -and responsibilities of a large undertaking, -but have been content with a -personal business in which they themselves -have always taken an active part.</p> -<div id='IX' class='figcenter id001'> -<img src='images/i_009.jpg' alt='' class='ig001' /> -<div class='ic001'> -<p>9. <span class='sc'>Bound by de Coverly.</span></p> -</div> -</div> - -<div> - <span class='pageno' id='Page_19'>19</span> - <h3 class='c015'>II</h3> -</div> - -<p class='c013'>Although the chief place to study bookbinders -and their craft is naturally London, -there are several provincial centres where it -flourishes, and where it has been touched -by that movement for developing the artistic -as well as the business side which we -noticed in the previous chapter. In large -country towns it is impossible for work to -be as much specialized as it is in London; -consequently a large bindery will do business -of a most miscellaneous kind, embracing -everything from pamphlets to fine-tooled -morocco bindings, and including albums, -ledgers, library and school books for prizes. -Mr. Fazakerly in Liverpool, Mr. Birdsall -in Northampton, and Mr. Chivers in Bath, -all have establishments more or less of this -kind.</p> -<div id='X' class='figcenter id003'> -<img src='images/i_010.jpg' alt='' class='ig001' /> -<div class='ic001'> -<p>10. <span class='sc'>Bound by Fazakerly.</span></p> -</div> -</div> - -<div id='XI' class='figcenter id003'> -<img src='images/i_011.jpg' alt='' class='ig001' /> -<div class='ic001'> -<p>11. <span class='sc'>Bound by Fazakerly.</span></p> -</div> -</div> - -<p class='c011'><span class='pageno' id='Page_20'>20</span>Mr. Fazakerly was one of the first -binders, certainly outside of London, who -refused to support the excessive competition -in cheapness, and who struck out a department -in which fine work could be executed -at prices that were remunerative and not -prohibitive. Happily the result of his -efforts shows the success of a refusal to -pander to that desire for cutting prices -which has done so much to ruin the crafts -on their artistic side. For some time after -he had educated his workmen to the -responsibility of his new venture, he found -that the taste of his customers lay towards -a reproduction of old models, but he has of -late been quite successful in directing it on -to new lines. One feature may be noted in -connexion with the morocco work of Mr. -Fazakerly, namely, that the under cover is -rarely decorated with the same design as the -upper. If the lower cover is left quite -plain, the effect is poor, and suggests that -trouble has been spared on the book as a -whole; but there is no reason for the convention, -<span class='pageno' id='Page_21'>21</span>almost universally adopted, whereby -the two sides are entirely alike. The -same tools and elements of design should -appear in each cover, only disposed in -different schemes of ornament, and such -variation naturally implies more thought, the -thought that avoids repetition. One of Mr. -Fazakerly’s innovations was the employment -of embossed leather, which has since spread -to many other houses; and another which -he considers a specialty of his business is -the decoration of the edges of books, both -by means of tooling on them or gauffering, -as it is more generally called, and also by -painting underneath the gold. We may -recall that in the sixteenth century this extension -of ornament to the leaves of a book -was very prevalent, and was only one of -many indications that the workman spent -ungrudging time and thought on the details -of what was intended to be a work of art -throughout.<a id='r3'></a><a href='#f3' class='c014'><sup>[3]</sup></a> Some very fine specimens of -<span class='pageno' id='Page_22'>22</span>gauffered edges may be seen on the works -of Luther in seven folio volumes, dated Jena -1572–1581, now in South Kensington -Museum. The volumes being very thick -offer fine scope for ornament, which consists -of the shield of Saxony painted in the centre -of each foredge, the rest of the space being -filled with arabesques and Renaissance -ornaments. And there is, we believe, still -in this country part of the library that once -belonged to Odonico Pillone of Belluno, -comprising some hundred and forty folios -with foredges painted by the hand of -Cesare Vecellio, a nephew of Titian.<a id='r4'></a><a href='#f4' class='c014'><sup>[4]</sup></a></p> - -<p class='c011'><span class='pageno' id='Page_23'>23</span>The painting of edges was revived in -England, and reappears in thoroughly -native style on books of the latter half of -the eighteenth century. Charming little -English landscapes are to be found on some -of them, which, as the painting is done when -the leaves are fanned out and held in that -expanded position, are not in evidence when -the book is shut, but when open appear at -once. The name of William Edwards of -Halifax and his son James is especially -associated with this work, and their books -are not very rare. Mr. Fazakerly has done -a great deal of this decoration, which requires -certain conditions to ensure success. -The painter must be an artist, and the -paper on which he works should be rather -thin than thick; the modern fashion of -printing on a sort of cardboard handicaps the -binder not only in this, but other and far -more important ways. Mr. Fazakerly has -<span class='pageno' id='Page_24'>24</span>also made some innovations in ‘doublures,’ -a term applied to the inside face of the -boards when lined with leather or decorative -material. In the matter of doublures -the last word has not been said, and there -is still room for experiment. The French -custom of violent-coloured watered silks -or equally salient inlays has never found -much favour in this country; but there has -been a great dearth both of invention and -taste in dealing with this feature of a binding. -Some of Zaehnsdorf’s doublures have -silk either of the same colour as the cover, -or in harmony with it, and he has tried -Russia leather with considerable success. -Unsuitable as it is for the outside cover -from its tendency to rapid deterioration, it -makes a very good board lining, and can be -employed as well for the flyleaf opposite; -indeed, it is better where possible that -doublure and flyleaf should be the same. It -is with calf that Mr. Fazakerly has made -his innovation, and when delicately tinted -and incised, but not embossed, the results -<span class='pageno' id='Page_25'>25</span>seem pleasant and appropriate. On books -relating to Japan, the number of which is -largely on the increase, some of the coloured -Japanese embossed papers make excellent -doublures. Before dismissing this subject, -we may mention the attempt of Mr. -Bagguley, a binder at Newcastle-under-Lyme, -to tool on vellum in colour. Some -of this work, designed by Léon Solon and -Miss Talbot, is very delicate and attractive; -so delicate, in fact, that it is only suitable -for the inside of a book. His patterns are -composed chiefly of gouge and line work, as -no effect of solid mass can be apparently got -in the colour, and the effect is enhanced by -dots and other small tools worked in gold. -The excessively detailed nature of this work, -which is made up of ‘tools’ small and light -in character, heavier dies not being suitable -for the stamping of colour, render it costly -of execution, but there is no doubt that its -occasional use offers a desirable variation on -the ordinary inside lining. It is difficult to -close this subject without a few words in -condemnation of the coloured papers used -by most binders for ordinary work which -does not admit of anything more elaborate. -It is time they gave up the German marbled -patterns, the French ‘combs,’ and even the -spirit marbles which produce the effect of -violent colour thrown on wet blotting-paper -and appear to be the latest fashion of monstrosity -in such things. Good white handmade -papers or vellum papers are the -most suitable, while if coloured ones are -deemed essential, the French and Van -Gelder crayon papers toning harmoniously -with the morocco are not likely to be an -offence.</p> -<div id='XII' class='figcenter id001'> -<img src='images/i_012.jpg' alt='' class='ig001' /> -<div class='ic001'> -<p>12. <span class='sc'>Bound by Chivers.</span></p> -</div> -</div> - -<div id='XIII' class='figcenter id001'> -<img src='images/i_013.jpg' alt='' class='ig001' /> -<div class='ic001'> -<p>13. <span class='sc'>Bound by Chivers.</span></p> -</div> -</div> - -<p class='c011'><span class='pageno' id='Page_26'>26</span>The business of Messrs. Birdsall at Northampton -takes us to another centre of provincial -activity in binding, and it has an -especial interest in being one of the oldest -bookbinding businesses in the country. It -has been in the hands of the present proprietors’ -family well over a hundred years, -and has a connected history since 1757, -when John Lacy, a banker of Northampton, -<span class='pageno' id='Page_27'>27</span>acquired it and associated with it a bookselling -business which he had also in the -town. On giving up work in 1792 he sold -both to William Birdsall, a Yorkshireman -by birth, who had settled there, and in this -family it has remained ever since. We -spoke before of the varied nature of the -work carried out by country binders, and on -Messrs. Birdsall’s premises we find a department -of manufacturing stationery, another -for the wholesale paper trade, a third for -commercial bindings in which are included -certain special registered bindings patented -for serial work, such as the ‘Stronghold’ -and ‘Biblia fortis,’ suitable for free libraries -where the usage is rough and constant, and -lastly, one set apart for highly finished -leather and vellum books. The works are -always kept in the highest state of efficiency, -and the workmen are encouraged to excel in -skilled and conscientious work. Many of -these have passed a lifetime there, and -though the business is not of a co-operative -character, a bonus is distributed to the older -and more efficient workers at the end of the -year.</p> -<div id='XIV' class='figcenter id001'> -<img src='images/i_014.jpg' alt='' class='ig001' /> -<div class='ic001'> -<p>14. <span class='sc'>Bound by the Oxford University Press</span>.</p> -</div> -</div> - -<p class='c011'><span class='pageno' id='Page_28'>28</span>Mr. Chivers, of Bath, has brought an unusual -amount of originality and enthusiasm -into the service of his craft. His father -was a binder there before him, and the son, -after working with Chatelain in London, -decided to settle in his native town. For -some time his specialty was a binding for -public libraries patented under the name of -‘Duro-flexile,’ and this, together with other -library appliances, brought him a connexion -with librarians all over the country who -were occupied with the problems presented -by the particular nature of their work. He -has brought considerable invention to bear -upon these problems, and in certain cases it -is not likely that a more satisfactory -solution will be found than that which he -has introduced. Besides these practical -matters he has made certain styles of decorating -book covers especially his own, and -one of these he has developed with considerable -success. This consists in a scheme -<span class='pageno' id='Page_29'>29</span>whereby designs are painted on paper and -then covered with transparent vellum, so -that there is no limit to the colour effect -that may be produced. We have already -mentioned James Edwards, of Halifax, who -settled in 1784 as a bookseller in Pall Mall, -and whose love of books caused him to -direct his coffin to be made from the shelves -of his libraries. In 1785 he took out a -patent ‘for embellishing books bound in -vellum and making drawings on the vellum -which are not liable to be defaced by destroying -the vellum itself.’ The description -further contained in the patent has never -been found possible of imitation, which may -or may not have been intentional on his -part. The British Museum shows a Prayer-Book -bound by him in this style for Queen -Charlotte, wife of George <span class='fss'>III</span>., which has -likewise a foredge painting beneath the gold. -His patterns were frequently Etruscan in -character; but as his range of decoration -was limited and the vellum he used insufficiently -transparent, his books are only -<span class='pageno' id='Page_30'>30</span>of moderate interest. Mr. Chivers’ plan is -a much simpler one, and if the designs are -given into the hands of artists, very original -results can be obtained. The French have -one binder—M. Carayon—who is famed -for a class of book cover that gives something -of the same effect. The best-known -painters both in water colours and black and -white are employed to decorate the white -vellum that clothes so sumptuously the -finely illustrated books that his countrymen -admire so much. These will, however, -stand no usage of any kind, and can only be -kept in cases carefully made for their protection. -The vellucent work of Mr. Chivers -being beneath the vellum runs no risk of -deterioration and can stand even more than -the usual wear and tear. Sometimes it -appears as if the colours chosen were too -strong, producing in some cases rather the -effect of the highly coloured supplements -that appear at Christmas in our illustrated -papers; but that, of course, is not a criticism -that belongs to the method, but is rather a -<span class='pageno' id='Page_31'>31</span>counsel of perfection for a more delicate -application of that method. The desire for -colour has appeared constantly in the history -of bookbinding. We see it first in the -Venetian books brilliantly painted in lacquer -in the Persian and Saracenic style taken -from Arabian manuscripts, then in the strapwork -coloured with a varnished incrustation -like enamel, the best of which, French and -Italian, is found about the middle of the sixteenth -century. This method has proved -very perishable, and has never been revived. -Later on we get the inlaying of coloured -leathers, which reached its most interesting -development in the eighteenth century, and -has retained its hold on public taste ever -since. The earlier painted strapwork was -freely copied in mosaics of leather; and -when we come to deal with present-day -French bindings, we shall see the new style -of inlaid decoration to which these have -given place. The vellucent method of Mr. -Chivers is full of delightful possibilities if -confined to books to which it is suited, and -<span class='pageno' id='Page_32'>32</span>when employed in a rather lower colour -scheme as suggested. Nor is it necessary -for the whole cover to be of vellum, for -it is possible to introduce a panel only -of the transparent material over a picture, -and to incorporate this in the morocco, -giving the effect of an enrichment of -enamel.</p> - -<p class='c011'>Another style which Mr. Chivers has -done much to popularise is calf, embossed -and incised and sometimes coloured by hand. -In this, as for the vellucent bindings, he -draws freely upon outside talent. Mr. H. -Granville-Fenn is general artistic adviser, -and Miss Alice Shepherd and Mr. S. Poole -have long been associated with him in the -execution of this work.<a id='r5'></a><a href='#f5' class='c014'><sup>[5]</sup></a> Some of the ‘cuir -<span class='pageno' id='Page_33'>33</span>ciselé’ that has come down to us from the -past, and which originated in Germany, is -very fine in character, as any one can see -who studies some excellent examples exposed -in the British Museum. There seems -no reason why it should not have a satisfactory -revival; in France, indeed, this has -already taken place, as we shall see later -on, but in England there is still too much -‘prettiness’ associated with it, and one is -apt to think it more suitable for card-cases -and blotting-cases than for bindings. What -results it can yield when the design is -severe and dignified and the treatment finely -chiselled may be observed on the <cite>Pantheologia</cite> -by Rainesius de Pisa, a folio dated -about 1475, one of the Museum books just -mentioned.</p> -<div id='XV' class='figcenter id001'> -<img src='images/i_015.jpg' alt='' class='ig001' /> -<div class='ic001'> -<p>15. <span class='sc'>Bound by the Oxford University Press</span>.</p> -</div> -</div> - -<div id='XVI' class='figcenter id001'> -<img src='images/i_016.jpg' alt='' class='ig001' /> -<div class='ic001'> -<p>16. <span class='sc'>Bound by the Oxford University Press</span>.</p> -</div> -</div> - -<p class='c011'><span class='pageno' id='Page_35'>35</span>The last illustrations in this chapter show -work from the binding department of the -Oxford University Press. The Press itself, -located in special buildings in Oxford built -in 1830, is divided into two parts, one -devoted chiefly to the printing of Bibles -and Prayer-Books, the other to classical, -scientific and general printing. It is entirely -self-contained, making its own paper, -ink, type, stereo- and electro-plates. The -University type foundry is the oldest in -England, and at the paper mills at Wolvercote, -near Oxford, the famous India -paper is made which has brought very -great changes into the book trade. The -publishing and binding house, lately at -Amen Corner in the City, is now at St. -Dunstan’s House, Fetter Lane, and thither -are sent all the books from the Press as -soon as printed. In the Paris Exhibition -of 1900 the Press showed a considerable -number of decorated bindings in addition to -the exhibits from the other departments. -The Oxford Press designs are very varied -in character and include some excellent -<span class='pageno' id='Page_36'>36</span>inlays; they are made by the more artistic -among the workmen, and speak highly -for the level of taste attained in the -bindery.</p> -<div id='XVII' class='figcenter id001'> -<img src='images/i_017.jpg' alt='' class='ig001' /> -<div class='ic001'> -<p>17. <span class='sc'>Bound by the Guild of Handicraft.</span></p> -</div> -</div> - -<div> - <span class='pageno' id='Page_37'>37</span> - <h3 class='c015'>III</h3> -</div> - -<p class='c013'>In bringing forward what may be called -the younger generation of binders, it is -natural to speak first of Mr. Cobden-Sanderson -as the source from which they have -drawn much of their inspiration. His work, -however, is not represented here, as it would -be discourteous to go against his wishes in -the matter. Whatever may be the reasons -for his change of attitude in this respect, -he has in the past done a great deal to -introduce his work personally to the public -and to explain his method and ideals. The -pages of the <cite>British Bookmaker</cite>, a trade -journal no longer in existence, the <cite>English -Illustrated Magazine</cite>, the <cite>Fortnightly Review</cite>, -testify to his former willingness that -his work should be known and appreciated. -He has also been one of the main supporters -<span class='pageno' id='Page_38'>38</span>of the Arts and Crafts Society since its -inception in 1888, and his books have been -the largest contribution to binding in its -occasional exhibitions. There too, as well -as at the Society of Arts and elsewhere in -London and the provinces, he has lectured -on the craft, setting forth what he conceives -to be its purport both in the limited matter -of its processes and achievements and in -the wider aspect of its relation to the wants -and progress of society. Not long ago he -published a book on <cite>Industrial Ideals</cite>, which -it is interesting to compare with the collected -papers by Mr. William Morris which -have appeared on that and kindred subjects. -Mr. Morris always held up the ideal of the -Middle Ages as the goal towards which to -strive. It was a time, he considered, when -the processes or means by which life is -lived constituted the end of life itself, without -seeking for some other end external -to them and often incompatible with them. -This idea of ‘art being the highest function -of life’ was the gospel to which he never -<span class='pageno' id='Page_39'>39</span>ceased to direct the attention of his followers, -and the next step—the attempted -re-organization of life into conditions that -enable art to realize itself—thus followed -as a matter of course. As a protest against -the mechanical exploitation of the arts for -the sake of commercial success in its worst -sense, and with the attendant evils of excessive -competition, such a creed is most -valuable, and has already had an important -effect on the decorative arts which we trust -may be permanent. But it would seem -mistaken in theory and impossible of practice -to attempt a reversion to mediaeval -ideals with the wholly altered conditions of -production, distribution and mode of living -that are now part and parcel of modern life. -A crusade against the existing conditions -in which works of art are produced must, -one would think, if its criticism is to be -operative, find some way of including in -its scheme of regeneration the great movements -of commercial life which is one of -the features of the age, and which even the -<span class='pageno' id='Page_40'>40</span>most optimistic could hardly hope to stem. -Here and there an individual may achieve -a career somewhat in accordance with -mediaeval ways, content with the limitations -imposed by this ideal; but except in -such isolated instances it does not seem -possible to return to the practice of the -past, when, as Mr. Lethaby says, ‘the -designer of a gold cup made it and sold -it over the counter, and the art was thrown -in like a Christmas almanack.’ Here comes -in the problem mentioned in a previous -chapter. If, on the one hand, there is too -much tendency for the designer to be occupied -only in planning ornament for others -to execute with the result that a certain -inevitableness is nearly always wanting in -the finished product, yet it may be better -for a skilled workman to carry out the views -of an artist rather than try and evolve -variants from a few types set before him. -In the frequent advocacy of a revival of -past conditions which would benefit the -workman, there is one point that seems -<span class='pageno' id='Page_41'>41</span>always left unnoticed—a point of great importance; -and that is the stringent means -taken in those days to protect the purchaser -also. In the scholarly little introduction -called ‘Art in the Netherlands’ which Mr. -W. H. James Weale contributed to the -Catalogue of the picture exhibition held -at Bruges in 1902, he gives a concise -account of the conditions under which alone -a man could become a painter in the fourteenth -and fifteenth centuries; and what -held good for painting held good also for -the minor arts of life. As long as the -craftsman belonged to the guild of his craft, -he was bound by its rules to carry out his -work honestly and conscientiously, to use -good materials, and to beautify it as far as -he was able. The corporation arranged for -the education of its members. They were -apprenticed to masters responsible both for -their technical efficiency and the fulfilment -of their duties of citizenship. Each was -bound to the other; the apprentice was to -give zeal in his service and the master to -<span class='pageno' id='Page_42'>42</span>impart all he knew of his trade. Once the -apprenticeship at an end, the youth could -work, as what would now be known as an -‘improver,’ with any master he liked, and -in any town that he chose. Later on, in -order to become a master, he had to present -himself before the heads of the guild and -give proofs of efficiency, promise obedience -to the rules of the corporation, and swear -to carry on his work well and honestly. -Observe, however, that, although a master, -he remained all his life under the control -of the governing body of the corporation, -the members of which could enter his shop -at any moment, seize his materials if of -inferior quality, confiscate them, and inflict -punishment upon him. Lastly, in disputes -between himself and his clients the guild -was called in to decide between them. We -can imagine no condition less in touch with -the schemes of modern and social democracy, -which so often deal exclusively with the -needs of the worker and neglect those both -of the employer and the consumer.</p> -<div id='XVIII' class='figcenter id001'> -<img src='images/i_018.jpg' alt='' class='ig001' /> -<div class='ic001'> -<p>18. <span class='sc'>Bound by Douglas Cockerell.</span></p> -</div> -</div> - -<div id='XIX' class='figcenter id001'> -<img src='images/i_019.jpg' alt='' class='ig001' /> -<div class='ic001'> -<p>19. <span class='sc'>Bound by Douglas Cockerell.</span></p> -</div> -</div> -<div id='XX' class='figcenter id001'> -<img src='images/i_020.jpg' alt='' class='ig001' /> -<div class='ic001'> -<p>20. <span class='sc'>Bound by F. Sangorski and G. Sutcliffe.</span></p> -</div> -</div> - -<p class='c011'><span class='pageno' id='Page_43'>43</span>In connexion with this topic, mention -should be made of Mr. C. R. Ashbee’s -experiment with the Guild and School of -Handicraft. It began its existence at Essex -House in East London, and, after fourteen -years, in May 1902, removed to Chipping -Campden, a small Cotswold village where -the wool trade flourished during the Middle -Ages and the silk trade in the eighteenth -century. The aim of the Guild is set forth -in a little pamphlet, distributed to visitors -at the Dering Yard Gallery, 67<span class='fss'>A</span> New Bond -Street, where the work of the school is annually -exhibited. It need only be said here -that its object is to set a higher standard -of craftsmanship by liberating the workman -from the restrictions of the trade shop, and -directing his independence away from purely -individualistic efforts on to lines of art -service to the community, and that it is -conducted co-operatively, the men having -an interest and a share in the concern and -its government. While recognizing the -importance of what a man does and the -<span class='pageno' id='Page_44'>44</span>conditions under which he does it, both to -himself as a citizen and to the community -for which he labours, the Guild endeavours -to strike a mean between the socialism that -cares only for the worker and the commercialism -that disregards him and his -idealistic as well as material needs. The -work carried out at Chipping Campden is -very various, and includes furniture, metal -work, jewellery, printing and binding. After -Mr. Morris’s death, Mr. Ashbee acquired -the plant hitherto in use at the Kelmscott -Press, and began a series of books, first in -a Caxton type and later from a fount of -his own design. Binding followed almost -as a matter of course on these issues from -the Essex House Press; and in connexion -with it, besides the ordinary plain-tooled -leather bindings, excellent in restrained -ornament, he has revived certain fifteenth-century -styles for which he has a special -predilection, and which include the use of -enamels and wooden boards, the latter often -carved in low relief. The bindings, though -designed for the most part by Mr. Ashbee, -are carried out by Miss Power, who is in -the main responsible for them. These -books raise again the question whether -such deviations from the ordinary paths -are legitimate attempts to enlarge the -limitations of the binder’s art. The ultimate -serviceable use of a book should ever -be kept in sight, and must in the end -determine the matter. Leather and vellum, -tooled with a few fine stamps, disposed with -taste and restraint, will always remain the -best coverings for books, because they are -unobtrusive and can be pleasantly handled -and easily disposed. Work that is embossed, -enamelled, carved, or even too decorative in -colour for unlimited production, can only be -desired as occasional specimens of interest -in themselves, and as exceptions proving the -rule.</p> -<div id='XXI' class='figcenter id001'> -<img src='images/i_021.jpg' alt='' class='ig001' /> -<div class='ic001'> -<p>21. <span class='sc'>Bound by de Sauty.</span></p> -</div> -</div> - -<div id='XXII' class='figcenter id001'> -<img src='images/i_022.jpg' alt='' class='ig001' /> -<div class='ic001'> -<p>22. <span class='sc'>Bound by de Sauty.</span></p> -</div> -</div> - -<p class='c011'><span class='pageno' id='Page_45'>45</span>Mr. Douglas Cockerell, a pupil of Mr. -Cobden-Sanderson, has written the first of -a new series of technical handbooks on -the artistic crafts which is a model of the -<span class='pageno' id='Page_46'>46</span>kind and should prove the text-book for -all future binders. It is, no doubt, the -outcome of some years’ teaching at the -County Council School in Regent Street, -where, for many years, he did excellent -work in training the younger men to an -intelligent interest in the various processes -of their craft. No craft can be well learned -anywhere but in a practical workshop; and -he considers the value of class teaching to -be limited to helping those engaged in a -trade, and that such help is of great value -in giving higher ideals and encouraging experimental -work. From the beginning Mr. -Cockerell has been specially interested in -the repairing of books and in the preservation -of old covers, and has given his pupils -some training in all that relates to the -care of books. There are numbers of old -bindings that after four hundred years of -wear and tear are still capable of fulfilling -their original purpose of protection, with -a little help from modern hands. To give -a new lease of life to fine old books is really -of far greater importance than the continual -production of new and pretty bindings. Mr. -Cockerell’s original work is well known both -here and in America, and there is luckily -a great deal of it that is simple as well -as highly decorated. It is comparatively -easy to do the latter; but a plain binding -that yet has the stamp of the maker’s -individuality is a very exceptional achievement, -and in work of that character Mr. -Cockerell is unsurpassed.</p> -<div id='XXIII' class='figcenter id001'> -<img src='images/i_023.jpg' alt='' class='ig001' /> -<div class='ic001'> -<p>23. <span class='sc'>Bound by Miss Adams.</span></p> -</div> -</div> - -<p class='c011'><span class='pageno' id='Page_47'>47</span>Mr. F. Sangorski and Mr. G. Sutcliffe, -who were formerly with Mr. Cockerell, have -started a bindery of their own, and are -engaged both in teaching and doing varied -work of a pleasant character. Trained in -the methods of Mr. Cockerell at the -Technical School at 316 Regent Street, -Mr. Sutcliffe now controls the teaching for -the County Council at its branch establishment -in Camberwell, and Mr. Sangorski -that of the Northampton Institute in -Clerkenwell.</p> - -<p class='c011'>Mr. de Sauty is another young binder, -<span class='pageno' id='Page_48'>48</span>and his work is of considerable merit. His -inlays are distinguished for the taste shown -in the association of colours, and his finishing -has some of the brilliant qualities of -the French school, seen particularly in the -finely studded tooling of which he seems -particularly fond. He has now the post -formerly held by Mr. Cockerell.</p> -<div id='XXIV' class='figcenter id001'> -<img src='images/i_024.jpg' alt='' class='ig001' /> -<div class='ic001'> -<p>24. <span class='sc'>Bound by Miss MacColl.</span></p> -</div> -</div> - -<div id='XXV' class='figcenter id001'> -<img src='images/i_025.jpg' alt='' class='ig001' /> -<div class='ic001'> -<p>25. <span class='sc'>Bound by Miss Alice Pattinson.</span></p> -</div> -</div> - -<p class='c011'><span class='pageno' id='Page_49'>49</span>In concluding this sketch of Bookbinding -in England as it appears to-day, we must -not omit to speak of the entrance recently -effected by women in many of the handicrafts, -and notably in the one under consideration. -Quite a number are now trying -to make a livelihood out of bookbinding; -and possibly, therefore, a few words less -of criticism than of counsel may not come -amiss. It may be said that there are -certain conditions absolutely necessary for -successful achievement, quite apart from -financial gain, which is another matter. -The first of these is a workshop training, -which, though impossible some years ago, -is now no longer so within certain limits; -that is to say, there are one or two binders -with small workshops who undertake to give -women systematic teaching for a limited -time. In a workshop they will see a -variety of work that they will miss if -taught privately, and they will learn the -habit of rapid and dexterous manipulation -of tools and materials without which it is -impossible to work quickly enough for a -profitable return upon the outlay. A -second most necessary qualification is that -they should have the physique for standing -and working at a bench during the hours -of an ordinary working day. For binding -is not like other less specialized crafts that -can be taken up at odd hours and laid aside -with equal facility, but needs concentration -of mind as well as sureness of hand. A -third element in the desirable equipment -is a certain faculty of imagination controlled -by right feeling or good taste, so that the -results of workmanship have the note of -individuality without eccentricity. In art -as in life, personality is the one thing needful, -<span class='pageno' id='Page_50'>50</span>and we may fairly look to women to -show the realization of it that can hardly -be expected from those working in the -stereotyped grooves of production.</p> -<div id='XXVI' class='figcenter id001'> -<img src='images/i_026.jpg' alt='' class='ig001' /> -<div class='ic001'> -<p>26. <span class='sc'>Bound by Miss Maude Nathan.</span></p> -</div> -</div> - -<p class='c011'><span class='pageno' id='Page_51'>51</span>And what is to be said of binding as -a means of livelihood? Experience has -shown that properly trained women can -do as good binding as men, though not -upon large and heavy work, and if they -do it well enough some of them can earn -a fair wage, while if they fail to reach a -high standard they had better for all practical -purposes let it alone. But to hold out -any inducement to the woman who really -needs bread-and-butter to take up binding -as a lucrative employment, as is done in -some quarters, should be characterized with -the severity it deserves. Many women need -but an addition to their income, and to such, -if they are willing to incur the expense of -training and plant, and if they realize the -experimental nature of the undertaking, -binding may be recommended as a sufficiently -pleasant occupation. Whether financial success comes, however, or not, must -depend upon the amount of work turned -out, on the originality and finish with which -it is executed, and last, but not least in importance, -on the finding of a market. Booksellers -are now so overstocked with so-called -artistic bindings of moderate merit, and it -may also be said of moderate price, that they -are not eager to accept those of average quality -at the more than average price that many -women expect their work to command. A -market can always be found for the best of -everything; but as far as bindings are concerned -it is certainly at present overstocked -with the second best, and attention may -well be directed to other branches of decorative -work. There are more than enough -half-trained workers, both male and female; -and it would be a most undesirable result of -what in itself is so eminently desirable—the -opening of the artistic crafts to women—if -there were to be a great deal of inferior -work put into circulation obviously from -the hands of those who have never left the -<span class='pageno' id='Page_52'>52</span>amateur stage. Women make a mistake, -too, in specializing in the production of -decorated bindings. It is no doubt a right -principle to take the everyday things of life -and decorate them rather than invent useless -ones for the purpose. It has, however, this -disadvantage, that it has now become almost -impossible to get any of these homely things -made with the severe simplicity of mere -purposefulness. If one does not want the -useless things, at least one need not buy -them; but it seems hard that the necessary -ones should become the <i><span lang="la" xml:lang="la">corpora vile</span></i> on -which the professed decorator exercises his -too frequently disordered imagination. One -is unfortunately as little likely nowadays to -find a plain pepper-pot as one is to find a -bound book on which there is not some -flower sprawling over its cover in a meaningless -attempt to be Japanese in sentiment. -We want to get rid of the affectation of -contorted pattern and have more of the -plain things of life plainly made. As far as -bindings are concerned, in addition to this -<span class='pageno' id='Page_53'>53</span>much-desired simplicity, there is, as has been -said above, far more important and useful -work to be done than pattern making, in -the repairing and preserving of old books -and records. An instance of this may be -seen at the present moment in an extensive -matter undertaken by Mr. Cockerell -for the Middlesex County Council. A large -number of their ancient Sessions Books, -many of them crumbling to pieces, are -being put in a condition for reference, the -whole business of mending being done by -women under the direction formerly of Miss -Wilkinson and now of Miss M‘Ewan both -pupils of Mr. Cockerell. Again, many more -women might adventure starting a business -in the country or in a provincial town. In -America there is hardly a centre where -there is any interest shown in books which -has not a woman binder who has probably -been trained by Mr. Cobden-Sanderson. -We are glad to notice that Miss Adams has -a bindery at Broadway, that Miss Paget is -at Farnham doing good honest work of a -comparatively simple nature, and that Miss -Philpot has established herself at Cambridge. -Space forbids more than a few illustrations -from the work of women binders, numerous -as they now are. Miss MacColl’s books -have for some time excited interest both on -account of the character of her brother’s -designs and her manner of executing them -by means of a small wheel, which is an -attempt to overcome the restrictions of the -finisher’s ordinary methods. Miss Nathan, -Miss Pattinson and Miss Stebbing are all -doing well-considered and tasteful work on -sound principles. Of those at work in -Scotland we need only mention the names -of Miss Jessie King, Miss McClure and -Miss Jane F. Hamilton, Miss Alice -Gairdner and Miss Agnes Watson of Glasgow, -as their work has recently been -specially dealt with in a paper by Mr. Lewis -F. Day.</p> -<div id='XXVII' class='figcenter id001'> -<img src='images/i_027.jpg' alt='' class='ig001' /> -<div class='ic001'> -<p>27. <span class='sc'>Bound by Miss Woolrich.</span></p> -</div> -</div> -<div id='XXVIII' class='figcenter id001'> -<img src='images/i_028.jpg' alt='' class='ig001' /> -<div class='ic001'> -<p>28. <span class='sc'>Bound by Miss Philpot.</span></p> -</div> -</div> - -<p class='c011'><span class='pageno' id='Page_54'>54</span>In conclusion, it is necessary to keep in -mind that binding is but one of the sub-crafts -that contribute to the production of -books. Of late each of these has pursued -its own often faulty ideals regardless of its -relationship to the other contributory crafts. -The paper-maker, the printer and the -binder would be more likely to work -intelligently if they had some mutual knowledge -of each other’s needs and limitations. -The habit has been growing for some time -of looking on the binding of a book as the -most important thing in connexion with it. -But the binder of the future, if his work is -to be an effective contribution to decorative -art, must look on the book itself as the unit -of interest, the thought, embodied in typography -and illustration, constituting a whole -to which in the decorated cover he adds, not -an essential part, but as it were the crown -or coping-stone.</p> -<div id='XXIX' class='figcenter id001'> -<img src='images/i_029.jpg' alt='' class='ig001' /> -<div class='ic001'> -<p>29. <span class='sc'>Bound by Marius Michel.</span></p> -</div> -</div> - -<div class='chapter'> - <span class='pageno' id='Page_59'>59</span> - <h2 class='c004'>MODERN FRENCH BINDING</h2> -</div> - -<h3 class='c012'>I</h3> - -<p class='c013'>In the spring of 1902 there took place in -Paris the first of the exhibitions to which -the new Galliera Museum is henceforth to -be devoted. This Gallery, still unknown to -a considerable number of English visitors, -was built by Ginain in the style of the -French Renaissance, and is all that a small -museum should be. Its history is briefly as -follows. In 1878, the Duchesse de Galliera -presented to the City of Paris a plot of -ground situated in the Rue Pierre-Charron -by the Trocadero avenue, and undertook to -erect upon it a suitable building in which -to house the collection of works of art that -she proposed leaving to the nation. Before, -however, it was finished, and in consequence -<span class='pageno' id='Page_60'>60</span>of the political events that resulted in the -expulsion of the heads of princely houses -from France, the Duchess had made a will -in which she left her pictures to her native -town of Genoa, only making provision for -the completion of the Gallery. She died -in 1888, and soon afterwards Paris found -herself in possession of this fine museum, -surrounded with gardens, and admirably -appointed in the architectural detail so well -understood by the French, but empty of all -the treasures it was to have housed. What -was to become of it? The municipal -council decided that it should be devoted to -industrial art, forming a sort of supplement -to the Carnavalet Museum, and the necessary -furnishing was undertaken with a view -to that end. It was formally opened in -1895, but for five years after that remained -practically empty, though purchases were -made from successive Salons of different -kinds of decorative art and disposed among -the vacant rooms to form a nucleus for -future acquisitions. In 1900 the Council, -<span class='pageno' id='Page_61'>61</span>after much deliberation, decided that the -museum should be devoted to periodical -industrial exhibitions, and the first one, of -a miscellaneous character, took place in the -following year. Its distinctive feature consisted -in what was an entirely new departure -for France, namely, that every craftsman -signed his work instead of being represented -only in the name of the firm which employed -him. This idea, to which we have now long -been accustomed through the efforts of the -Arts and Crafts Society, was a very novel -one for our neighbours, and is to be adopted -henceforth in all the Galliera exhibitions. -The initiative met with such undoubted -success that the Germans proceeded at once -to start a museum at Mulhouse on similar -lines. The organizing jury of the Council, -which includes the foremost men of letters, -artists and critics, next decided that the -yearly exhibitions should each be devoted to -a special branch of decorative art. The first -of these was inaugurated in May 1892, in -an admirably planned show of modern bindings -<span class='pageno' id='Page_62'>62</span>comprising the latest developments, -and, it must be added, eccentricities of ornamental -book covers. The number sent in necessitated -the largest gallery being set aside -for their reception, and was a testimony to -the confidence felt by the binders that merit -would be the sole criterion. And indeed, -though much interesting work was rejected, -not only were the well-known artists well -represented, such as Michel, Mercier, Gruel, -Ruban, Canape, Lortic, Carayon, etc., but -room was found for the curious vellum -covers of Pierre Roche and the incised and -modelled leather of Lepère with whom -Michel and others so happily collaborate. -The impression made upon the visitor was at -once one of careful selection and admirable -disposition. In contrast to the wretched -instalment offered by the great Exhibition -of 1900, the work of every binder was seen -to the best advantage, the eye was not -fatigued by too many show-cases, and the -harmony of surroundings left nothing to be -desired. The display of works of art is in -itself a study, and we could undoubtedly -learn much from the French in the excellent -arrangement of their galleries. But what a -strange transition from that great room in -the Bibliothèque Nationale, where rest at -last the classic specimens of work that may -without exaggeration be included among the -fine arts, to this most modern of collections! -When in the Bibliothèque Nationale we -are reminded of that exquisite sonnet of -Hérédia—</p> -<div id='XXX' class='figcenter id001'> -<img src='images/i_030.jpg' alt='' class='ig001' /> -<div class='ic001'> -<p>30. <span class='sc'>Bound by Marius Michel.</span></p> -</div> -</div> - -<div id='XXXI' class='figcenter id001'> -<img src='images/i_031.jpg' alt='' class='ig001' /> -<div class='ic001'> -<p>31. <span class='sc'>Bound by Marius Michel.</span></p> -</div> -</div> - -<div class='lg-container-b c016'> - <div class='linegroup'> - <div class='group'> - <div class='line in16'><span class='pageno' id='Page_63'>63</span><span lang="fr" xml:lang="fr">VÉLIN DORÉ</span></div> - </div> - <div class='group'> - <div class='line'><span lang="fr" xml:lang="fr">Vieux maître relieur, l’or que tu ciselas</span></div> - <div class='line'><span lang="fr" xml:lang="fr">Au dos du livre et dans l’épaisseur de la tranche</span></div> - <div class='line'><span lang="fr" xml:lang="fr">N’a plus, malgré les fers poussés d’une main franche</span></div> - <div class='line'><span lang="fr" xml:lang="fr">La rutilante ardeur de ses premiers éclats.</span></div> - </div> - <div class='group'> - <div class='line'><span lang="fr" xml:lang="fr">Les chiffres enlacés que liait l’entrelacs</span></div> - <div class='line'><span lang="fr" xml:lang="fr">S’effacent chaque jour de la peau fine et blanche;</span></div> - <div class='line'><span lang="fr" xml:lang="fr">A peine si mes yeux peuvent suivre la branche</span></div> - <div class='line'><span lang="fr" xml:lang="fr">De lierre que tu fis serpenter sur les plats.</span></div> - </div> - <div class='group'> - <div class='line'><span lang="fr" xml:lang="fr">Mais cet ivoire souple et presque diaphane,</span></div> - <div class='line'><span lang="fr" xml:lang="fr">Marguerite, Marie, ou peut-être Diane,</span></div> - <div class='line'><span lang="fr" xml:lang="fr">De leurs doigts amoureux l’ont jadis caressé;</span></div> - </div> - <div class='group'> - <div class='line'><span lang="fr" xml:lang="fr">Et ce vélin pâli que dora Clovis Éve</span></div> - <div class='line'><span lang="fr" xml:lang="fr">Évoque, je ne sais par quel charme passé,</span></div> - <div class='line'><span lang="fr" xml:lang="fr">L’âme de leur parfum et l’ombre de leur rêve.</span></div> - </div> - </div> -</div> - -<div id='XXXII' class='figcenter id001'> -<img src='images/i_032.jpg' alt='' class='ig001' /> -<div class='ic001'> -<p>32. <span class='sc'>Bound by Léon Gruel.</span></p> -</div> -</div> - -<p class='c011'><span class='pageno' id='Page_64'>64</span>Here in the Galliera we realize how complete -is the revolution now finally effected -by a people who clung long and faithfully -to the traditions of a style made famous -by Grolier and by the Eves, Le Gascon -and Derôme. All through the nineteenth -century these traditions were adhered to, -carried out by Thouvenin, Simier and Capé, -by Chambolle, Duru, Trautz and Cuzin, -the inspired copyists of the great masters. -These looked on originality as the most -dangerous of innovations and a sort of disloyalty -to the precedents handed down to -them across the ages. Nevertheless the -impending change was slowly and surely -making way, fostered by Lortic and Marius -Michel, the latter through his writings as -well as in his work. Henri Marius Michel -followed in his father’s steps: his essay -on <cite><span lang="fr" xml:lang="fr">L’ornamentation des reliures modernes</span></cite> -showed clearly the direction taken by the -modern school; while the sumptuous book, -<cite><span lang="fr" xml:lang="fr">La reliure du XIX siècle</span></cite>, by Henri Béraldi, -who is both a patron and collector of distinction, -<span class='pageno' id='Page_65'>65</span>may be said to have given final -expression to the movement as a whole. -Bookbinding, in common with larger subjects, -has its bibliography. A glance over -the names of the books that relate to it -published during the last half-century shows -well enough how interest has been displaced -from the historic schools to those which -have initiated entirely new forms of decoration -as applied to book covers. If, then, -we are struck by the contrast between -past and present as regards the nature of -this application of art to bindings, we are -equally impressed by the contrast between -the position of the binder then and now. -It is no wonder that the small world of -binders and their patrons in Paris were -proud of the position of honour assigned -to their craft in 1902. They inaugurated -a series of exhibitions, which is to include -ivories, lace, jewellery, furniture—every art, -in fact, to which there attaches the personality -that can only come from having at -some time had as its exponents ‘the masters -<span class='pageno' id='Page_66'>66</span>of those who know.’ Even so late as 1870 -the name of Trautz was unknown, not only -to the ordinary public, but to such collectors -as Eugène Paillet and Quentin Bauchart, -though he had been producing admirable -work for thirty years. In 1878 he was -decorated with the Legion of Honour, the -first time that any such distinction had -been offered to a binder. It was only -after his retirement and subsequent return -to business at the age of sixty that his -fame grew till it culminated in a sort -of worship that is inconceivable outside of -France. Nowadays the many means of -publicity would render such a state of -things quite impossible. It is an age in -which every one longs to see himself reflected -in print or show-case; and if the -workman in any line does not himself take -measures for bringing his efforts to the light, -there is a class whose chief occupation it -is to be the discoverers of hidden talent, -and to act as middlemen between the producer -and the public. In Paris, binders -<span class='pageno' id='Page_67'>67</span>have now a status that is looked upon with -surprise and envy in England. They are -still, it is true, mostly congregated on the -left bank of the Seine, the quarter which -was formerly in the parish of Saint-André-des-Arts, -and where their guild had its -church of that name, now no longer in existence. -Up to five-and-twenty years ago -there was hardly one that lived elsewhere, -and even now it is the exception to find -a binder in the more fashionable quarter. -One has to climb high to reach their ateliers, -invariably of very modest dimensions and -where but few workmen are employed. -The extensive businesses that we know in -London hardly exist in Paris, and M. -Gruel’s is probably the only one employing -a large number of hands. For the most -part two or three ‘forwarders’ and the -same number of ‘finishers’ will suffice for -the yearly output of a single workshop. -But to these ateliers go personally the -great collectors who are wealthy patrons, -to discuss in detail different points of design -<span class='pageno' id='Page_68'>68</span>and technique with a connoisseurship that -is reserved with us for painting or sculpture. -To the unstinted help and intelligent appreciation -afforded by such a class of amateurs -is undoubtedly due the superior position of -the artistic crafts in France. Many of the -bindings in the Galliera were achieved at -a cost of two thousand francs, and others -for three and even four thousand. There -are two papers entirely devoted to the -craft—<cite><span lang="fr" xml:lang="fr">La Reliure</span></cite>, which is the organ of -the Chambre Syndicale, an association of -master binders founded by M. Gruel; and -<cite><span lang="fr" xml:lang="fr">Le Relieur</span></cite>, organ of the Chambre Syndicale -Ouvrière, which is the corresponding association -for workmen. Every year binders -can exhibit at each of the rival Salons, at -the Société des Artistes Français and the -Société Nationale des Beaux-Arts, and the -Galliera Exhibition is but the latest and -most effective of the special exhibitions -organized from time to time for the exclusive -display of their work. There is a -desire to make such exhibitions recurrent -<span class='pageno' id='Page_69'>69</span>every ten years, so as to get a periodic -outlook on the art as a whole; but it is -unlikely that the next few decades will show -such marked characteristics of difference as -may be seen by comparison of this collection -with that even of 1892 organized by the -Cercle de la Librairie. It may, in fact, -be suggested that the evolution—or revolution, -according to the point of view taken—now -at its height, will probably produce -a reaction towards that greater sobriety -of treatment which distinguished the best -work of the past. There are, indeed, -already signs that the future of binding -will not lie in that emancipation from all -restrictions of form and material which -would seem to be the ideal of some. Precisely -what that future will be rests largely, -no doubt, with the collectors, who are, as -has been indicated, a powerful body in -France, largely on the increase. It is they -who, like MM. Béraldi, Spencer, Bordes, -Villebœuf, Roger, Marx, Claude Lafontaine, -Baron de Claye, Louis Barthou, and many -others, not only furnish binders with the -means of giving full play to their imagination, -but often devote their pens with -enthusiasm to introducing new efforts to -the numerous body of amateurs who look -to them for guidance in matters of taste and -are ready enough to follow their initiative.</p> -<div id='XXXIII' class='figcenter id001'> -<img src='images/i_033.jpg' alt='' class='ig001' /> -<div class='ic001'> -<p>33. <span class='sc'>Bound by Léon Gruel.</span></p> -</div> -</div> - -<div id='XXXIV' class='figcenter id001'> -<img src='images/i_034.jpg' alt='' class='ig001' /> -<div class='ic001'> -<p>34. <span class='sc'>Bound by Léon Gruel.</span></p> -</div> -</div> - -<p class='c011'><span class='pageno' id='Page_70'>70</span>The modern movement in binding may -be said to have sprung out of the new -form of book-collecting which began about -1870. Up to that time the book lover -had confined himself entirely to eighteenth-century -literature. For forty or fifty years -there had been a mad rush in the salerooms -for books of that period, which -were then confided to Thouvenin, Simier, -or Trautz, who had exercised their skill in -marvellous imitations of the past, with an -execution often more technically perfect -than the originals. There came a time, -however, when such works were exhausted—already -stored away, that is to say, -on the shelves of collectors, the few that -occasionally appeared on the market being -<span class='pageno' id='Page_71'>71</span>only to be had at prohibitive prices. Book-buyers -were thus faced with the problem -of what was to be their next move. Obviously -to create a new taste in books and -establish a fresh motive for collecting was -a necessity, and a few pioneers decided to -set the fashion in illustrated books of the -nineteenth century. Léon Conquet, whose -reputation as a publisher is associated with -the production of many fine works, at once -rose to the occasion, and made a name first -with his editions of the romantics of the -nineteenth century, and then with original -editions of contemporary authors. Clients -for whom the old tastes had become too -rare and costly an indulgence were thus -provided with the means of gratifying a -new enthusiasm.</p> -<div id='XXXV' class='figcenter id001'> -<img src='images/i_035.jpg' alt='' class='ig001' /> -<div class='ic001'> -<p>35. <span class='sc'>Bound By Léon Gruel.</span></p> -</div> -</div> - -<div id='XXXVI' class='figcenter id001'> -<img src='images/i_036.jpg' alt='' class='ig001' /> -<div class='ic001'> -<p>36. <span class='sc'>Bound by Léon Gruel.</span></p> -</div> -</div> - -<p class='c011'><span class='pageno' id='Page_72'>72</span>In 1874 an association sprang up of -about fifty-five collectors who called themselves -‘Les amis des livres,’ from which -sprang the new departure which has had -far-reaching results in book production. -The members determined that henceforth, -instead of reprints from the past, there -should be books specially illustrated and -specially produced in small editions for the -society, thus reviving the traditions of the -days of Grolier and De Thou, when book -collectors were also book makers in the -best sense of the word. Authors and -artists were to collaborate with printers -and publishers to produce the perfect work. -In this way came into existence <cite>Eugénie -Grandet</cite> with the drawings of Dagnan engraved -by Le Rat, <cite><span lang="fr" xml:lang="fr">Monsieur, Madame et -Bébé</span></cite>, illustrated by Edmond Morin and -many another, to which Meissonier, Vierge -and Lepère devoted their best efforts. -Illustrated books have always presented a -special attraction for our neighbours, and -this new stimulus gave the most surprising -results. Out of it arose, too, all the excessive -preoccupation with ‘states,’ ‘papier -de chine,’ ‘papier de japon,’ and the like -which has been carried to a ridiculous -extent. The cult of rarity in all such -matters surely reached its highest point -<span class='pageno' id='Page_73'>73</span>when single copies were specially illustrated -for individual collectors, such as the <cite><span lang="fr" xml:lang="fr">Fleurs -du Mal</span></cite>, which Paul Gallimond had ornamented -with marginal notes by Rodin, and -<cite><span lang="fr" xml:lang="fr">Les Trois Mousquetaires</span></cite> with water-colour -sketches by Maurice Leloir. The original -drawings for <cite><span lang="fr" xml:lang="fr">Notre Dame de Paris</span></cite> by Luc -Olivier Merson were bought for 20,000 francs -in the open market, while those for <cite><span lang="fr" xml:lang="fr">Les -Trois Mousquetaires</span></cite> and <cite><span lang="fr" xml:lang="fr">Manon Lescaut</span></cite> -by Maurice Leloir fetched the extravagant -price of 60,000 francs apiece. These facts -are interesting as showing how a small -number of genuine book lovers and collectors -can constitute a real power, and so -far control the character of the book market -that they create a new taste which will be -recorded in history as the fashion of the -age in which they lived. The success of -the ‘Société des amis des livres’ and the -response of the editors such as Conquet, -Quantin, Testaud, and others, to their -initiation, gave such encouragement to -amateurs that two new clubs were soon -<span class='pageno' id='Page_74'>74</span>formed, ‘Les amis des livres de Lyon’ -and ‘Les bibliophiles contemporains.’ The -last was founded by Octave Uzanne with -a membership of 160, and ceased to exist -only to be re-established as the ‘Société -des cent bibliophiles,’ presided over by -M. Eugène Roderigues. Besides all these -associations there grew up a class of literature -entirely devoted to the instruction of -the amateur and the development of his -taste in all matters relating to books and -their bindings. The earlier literature of -binding had been devoted to reproductions -of fine specimens from historic collections, -but now there appeared in profusion such -books as <span lang="fr" xml:lang="fr"><cite>L’art d’aimer les livres et de les -connaître</cite>, <cite>Connaissances nécessaires à un -bibliophile</cite>, <cite>Les livres modernes qu’il convient -d’acquérir</cite>, <cite>De la reliure, examples à imiter -ou à rejeter</cite></span>, not to mention monthly reviews -such as <span lang="fr" xml:lang="fr"><cite>Le Livre Moderne</cite>, <cite>L’Art et l’Idée</cite>, -<cite>Le Livre et l’Image</cite></span>, and the like.</p> - -<p class='c011'>Grolier took the best books he could find, -and put them into the best bindings he could -<span class='pageno' id='Page_75'>75</span>find, and the motto of the collectors of -to-day was henceforth to be, as M. Béraldi -says in the work previously mentioned, ‘le -livre de son temps dans la reliure originale -de son temps.’ Thus out of the new -bibliomania grew naturally the reaction in -binding with which we are now dealing, -and the latest expression of which was seen -in the Galliera Museum. These books of -fine illustrations must have an appropriate -decoration; nothing will do that has served -its turn elsewhere, and every amateur -stipulates that his binding shall be unique. -‘Doublures,’ formerly the exception, are now -the rule; ‘tools’ are cut freely for fresh -designs, and expense increases with the -initiative demanded of the binder, till there -seems no limit to what will be paid by the -enthusiast. With the craving for novelty -there naturally arises the problem, so difficult -of solution, concerning the limitations -of material and how far audacity may be -risked in decoration without extravagance or -eccentricity. Cuzin, at the height of his -<span class='pageno' id='Page_76'>76</span>reputation in 1885, was possibly the first to -leave the grooves of tradition and to create -a style that he considered appropriate to the -books of the time. It consisted for the -most part on the outer covers of what the -French call <i><span lang="fr" xml:lang="fr">jeu de filets</span></i>, or line patterns -which are capable of much diversity, while -wreaths of flowers inside took the place of -the lace patterns that had hitherto formed -the ornament of ‘doublures.’ He also -adopted emblematic designs, but these were -exceedingly moderate in their symbolism. -Marius Michel, too, devoted himself to the -research for fresh motives of decoration. In -1889, when eighteen years of age, he had -gone into Gruel’s atelier and rapidly became -a gilder of consummate taste and skill. Ten -years later he set up for himself as a finisher, -working for Duru, Capé, Chambolle, Cuzin -and other binders. For the next twenty -years or more his fine talent was devoted to -the reproduction of bindings of the sixteenth -and seventeenth centuries, to perfect copies -of Grolier, Le Gascon and others put upon -the books of that time, which were still to -be bought freely and at moderate price. -Some of his best work is to be seen now in -the library at Chantilly; for the late Duc -d’Aumale during his exile intrusted large -numbers of books to Capé, always accompanied -with detailed instructions, and it is -these which constitute a large part of the -elder Marius Michel’s title to fame.</p> -<div id='XXXVII' class='figcenter id001'> -<img src='images/i_037.jpg' alt='' class='ig001' /> -<div class='ic001'> -<p>37. <span class='sc'>Bound by Mercier.</span></p> -</div> -</div> - -<div> - <span class='pageno' id='Page_77'>77</span> - <h3 class='c015'>II</h3> -</div> - -<p class='c013'>In 1866 Henri Marius Michel, though only -twenty years of age, had taken an important -position in the business, maintaining the -traditions of his father with equal zest and -talent; and ten years later the atelier became -one for binding in all its branches, a -change which enabled Henri to develop -his instincts for originality, the firstfruits of -which were seen in the incised and modelled -leather covers exhibited by him at L’Union -Centrale des Arts Décoratifs in 1881. But -it was the days of the Trautz mania; and -no collector would hear of any binder but -Trautz. All the old books must be broken -up to be recovered by him, and even bindings -by Bozérian were destroyed to be replaced -by those of Trautz. Notwithstanding -his enormous output, the workshop was -<span class='pageno' id='Page_78'>78</span>filled with books which he kept years -without touching, and prices continued to -increase until the Lacarelle sale in 1888, -when there were signs of a change. In one -auction-room there were 420 Trautz bindings, -in another 380; in the library of James -de Rothschild there were 2800 items, of -which 1400 were in nineteenth-century binding, -a thousand of these latter being bound -by Trautz. But time brings its revenges; -the place of Trautz is possibly now as much -below his deserts as it was then above, while -Henri Marius Michel, whose gifts of invention -were long ignored as revolutionary, is -now at the height of his reputation. M. -Béraldi calls him the finest binder since the -Renaissance, and there are those who say -that the idolatry of Trautz has given place -to another and no less extravagant form of -hero worship.</p> - -<p class='c011'>Unceasingly occupied with decoration, he -gave up the practice of gilding with his -own hand, but has continued to execute the -Cuir Ciselé, which is one of the styles in -<span class='pageno' id='Page_79'>79</span>which he first achieved success and in which -he is undoubtedly past master. Another -style that has been associated with his name -since 1885 is that known as <i><span lang="fr" xml:lang="fr">le flore stylisé</span></i>, in -which flower motives are very slightly conventionalized, -but with a certain individuality -that makes his work unmistakable, -notwithstanding the number of his imitators. -Modern French designs of this type are -not nearly enough conventionalized for our -English taste, where a frankly realistic -treatment of natural growths has always -been considered unsound.</p> -<div id='XXXVIII' class='figcenter id001'> -<img src='images/i_038.jpg' alt='' class='ig001' /> -<div class='ic001'> -<p>38. <span class='sc'>Bound by Mercier.</span></p> -</div> -</div> - -<p class='c011'><span class='pageno' id='Page_80'>80</span>With the death of Trautz and the rise -of the new book-collecting had come the -moment for a revolution in binding, and -Henri Marius Michel was quickly followed -by others. He had, in fact, set the ball -rolling, and broken with the long-kept -traditions of symmetry, only to let loose a -flood of eccentric work for which there was -little to be said, and which often had not -even the saving grace of technique. He at -once became reactionary, and there was a -period during which he returned to repeated -patterns, simple line borders and the ordinary -corner and centre ornaments, rendered with -faultless execution. But Marius might -turn reactionary for a time; the craze for -<i><span lang="fr" xml:lang="fr">l’art nouveau</span></i>, as it was termed, was not to -be lightly checked. Everything was now -pressed into the service for the mere sake of -novelty—leather, wood-carving, bronzes, -ivories, enamels, miniatures, all found a place -until a binding looked like any but what it -should be, namely, a thing to be pleasant in -the hand and intended to protect a book, -without needing protection for itself. Curiosity -shops were ransacked for silks and -satins as board-linings. Japan yielded its -papers and its embossed leathers, flowers of -exotic growth lent strange forms to design, -and symbolism became rampant. For a -time, indeed, emblematic bindings were -accepted as the note of the new style which -was to mark the century, and in the hands -of the indifferent artist became a real terror. -There is obviously no such thing as ‘new -<span class='pageno' id='Page_81'>81</span>art’—there is simply art or there is not, -and there can be no real art without good -craftsmanship. Under pretext of inventing -a style that was to belong to the century, -all that was done was to perpetuate -grotesqueness instead of originality and a -burlesque of ideas in their application to -binding.</p> - -<p class='c011'>Meanwhile discussion as to the limitations -of material naturally became faster and more -furious, while the literature on the subject -grew apace. In 1896 a controversy arose -between Gruel and Michel, the former being -supported by Bosquet, a binder holding an -important position in the library of Messrs. -Hachette and a frequent writer on his craft -both in its historical and technical aspects. -We, for whom the artistic crafts occupy a -very subordinate position, can hardly imagine -the heat of discussion that rages round -a subject like this in France. The combatants -at once range themselves on opposite -sides, and the weapons used are all the -resources of a language pre-eminently suited -to satire and ridicule, but which somehow -seem an armoury out of place on so restricted -a battlefield. The Frenchman, -however, is never so happy himself, nor, may -we say, so entertaining to his neighbours, -as when his tongue and his pen are giving -effect to the ready wit that seems always at -his service.</p> -<div id='XXXIX' class='figcenter id001'> -<img src='images/i_039.jpg' alt='' class='ig001' /> -<div class='ic001'> -<p>39. <span class='sc'>Bound by Mercier.</span></p> -</div> -</div> - -<p class='c011'><span class='pageno' id='Page_82'>82</span>M. Gruel, whose efforts were directed -towards stemming the tide of eccentricity -associated with <i><span lang="fr" xml:lang="fr">l’art nouveau</span></i>, pointed out -the impossibility that a new style should -spring up on demand, and recommended a -return to the study of past models and a -gradual transformation of these into fresh -departures. M. Michel replied that a firm -break with tradition was necessary in order -to avoid the constant repetition of the past -and the mixture of styles which had long -been the only resource of the ineffective -designer. It was necessary, he said, either -to return to nature or to seek inspiration -from other arts besides binding. So the -excitement grew, aided that same year by -<span class='pageno' id='Page_83'>83</span>an exhibition in the Champ de Mars in -which bindings from the school of Nancy, -under the direction of Wiener, achieved a -notoriety which only fanned the flame. -These bindings soon got the nickname of -<i><span lang="fr" xml:lang="fr">reliures d’affiche</span></i>, and painting was the art -from which they derived their inspiration. -The book was now looked on as a canvas -on which to depict in different-coloured -moroccos various scenes from life or nature. -In some cases the composition was not even -contained on one panel, but strayed over -the back to finish on the under cover. The -symbolist school with its picture binding -has had a considerable vogue, though not -in the extreme of violent reproduction of -the Nancy school. Michel was himself -influenced by it, and both he and Meunier -were represented in this same exhibition -with subjects in relief and allegorical representations -in mosaic. The next development -was the sculpture binding, which -Michel distinctly furthered by suggesting -to Lepère that he should model a cover -<span class='pageno' id='Page_84'>84</span>for the solitary copy on Japan paper of -<cite><span lang="fr" xml:lang="fr">Paysages Parisiens</span></cite>, which he had not only -illustrated, but the drawings for which he -had also engraved on wood and on copper. -Since that time the modelled leather work -of Lepère has taken a permanent place -among book covers of the day; it is -masterly in conception and execution, but -would be as fine and more appropriate in -a panel framed on a wall than on a binding. -The art of the leather worker is one, -whether applied to the coffer, the blotter, -or the book—it is but the shape and the -purpose that defines the appropriateness or -inappropriateness of any particular treatment. -Marius and Lepère represent the -highest point attained by <i><span lang="fr" xml:lang="fr">le cuir incisé</span></i>. -Artists of their attainments are rare, and -it is only such artists who can be tolerated -in deviations from the normal and whose -inventions can in any sense be held to -justify the result. Most collectors content -themselves with a specimen or two in their -libraries of the sculptured or symbolic or -bejewelled binding, be it ever so curious, and -turn with satisfaction to the more ordered -ways of some modification or another of past -traditions.</p> -<div id='XL' class='figcenter id001'> -<img src='images/i_040.jpg' alt='' class='ig001' /> -<div class='ic001'> -<p>40. <span class='sc'>Bound by Mercier.</span></p> -</div> -</div> - -<div id='XLI' class='figcenter id001'> -<img src='images/i_041.jpg' alt='' class='ig001' /> -<div class='ic001'> -<p>41. <span class='sc'>Bound by Mercier.</span></p> -</div> -</div> - -<p class='c011'><span class='pageno' id='Page_85'>85</span>To turn now from this brief account of -the recent developments of French binding -to the Galliera exhibition.</p> - -<p class='c011'>The books shown by M. Léon Gruel, -whom his son Paul now most ably seconds, -were, as may be supposed, of the highest -importance. The house is one of the oldest -in Paris, having been established in 1811 -by Deforge, by whom M. Gruel’s father was -employed. M. Léon Gruel is an enthusiast -who has all the antiquarian as well as the -practical knowledge of binding at his fingers’ -ends. He has a fine collection of old bindings -and all sorts of documents relating to -them, and some of these he used for his -important publication in 1887, <cite><span lang="fr" xml:lang="fr">Manuel historique -et bibliographique de l’amateur de -reliures</span></cite>, a second instalment of which appeared -in 1904. The characteristic of the -business has always been the production -<span class='pageno' id='Page_86'>86</span>of fine editions of liturgies and books of a -devotional character, which made it famous -long ago, and the bindings of which have -always been specially designed and carried -out under the direction of M. Gruel. It -would have been natural enough had he -been content with the great commercial -success attained by the house, due to the -industry and business qualities of the -direction of successive members of his -family. But instead of that, it has been -his ambition to show that he could with -equal success follow every turn taken by -the art in the various directions that its -recent evolution has demanded. The styles -associated with the names of Grolier, the -Eves, and le Gascon, are reproduced for -those clients who demand them, while the -more modern mosaic work, blind-tooled or -with gold, is invented and executed with -equal facility. One style revived from the -past, that of <i><span lang="fr" xml:lang="fr">le cuir incisé</span></i>, he has made -especially his own, and he treats it in an -entirely different manner to that of Marius. -<span class='pageno' id='Page_87'>87</span>The difference in procedure is briefly this: -the incised leather of Marius is not one -with the binding, but is a thick piece of -calf, worked first by cutting and modelling, -and then introduced as a panel sunk into -the cover. In Gruel’s method the cover is -the unit on which the design is modelled -while damp, then coloured, and finally -hardened. To succeed in this technique -needs great delicacy of handling and a -constant practice in its methods. It gives -plenty of scope for emblematic treatment, -which, in the hands of Rossigneux, who -designed much of this work in former days -for Gruel, was of great artistic merit: at -the present time it is executed mainly by -a son of M. Bosquet, already spoken of as -an important writer on the critical and -technical aspects of what is also his own -craft. Rossigneux was an architect and -designer of surprising talent, who did not -hesitate to learn the technicalities of binding -that he might devote himself to the decoration -of book covers, not only in leather -but in carved wood, for which he was -especially famous. M. Léon Gruel is the -master of a large workshop to which his -men are proud to belong. As President -of the Chambre Syndicate he has rendered -important services, freely acknowledged, in -an insistence on sound teaching and a wise -encouragement of the coming generation of -binders. The variety of his achievement is -a constant surprise even to those who know -his versatility, for at each successive exhibition -he seems able to add fresh laurels -to those which have always surrounded the -name of his house.</p> -<div id='XLII' class='figcenter id003'> -<img src='images/i_042.jpg' alt='' class='ig001' /> -<div class='ic001'> -<p>42. <span class='sc'>Bound by Ruban.</span></p> -</div> -</div> - -<p class='c011'><span class='pageno' id='Page_88'>88</span>Émile Mercier has the reputation of being -the finest gilder in Paris—<i><span lang="fr" xml:lang="fr">l’artiste impeccable</span></i>, -as his fellows call him—and he is -perhaps the one man in whom they and the -public recognize the chief exponent of the -best traditions without being in any sense -a servile imitator of the past. His individuality -is a sympathetic one to all, and even -in that little world of keen opposition and -personal jealousy he cannot count a single -<span class='pageno' id='Page_89'>89</span>enemy. He took over the atelier of Cuzin -in 1890, at the age of thirty-six, on the -death of his chief, with whom his relations -had long been of the happiest kind, and for -whose clients he had executed all the fine -designs associated with the name of Cuzin. -There is an immense difference in the mere -technique of ‘tooling,’ or gilding as it is -always called abroad—a difference almost -impossible to put into words, but which is -none the less visible to the eye for such -distinctions. No French gilding could possibly -be mistaken for English, and the -reverse is also true. But even among -French gilders, where the method prevails -of laborious and patient but absolutely -certain reworking of the tools in impressions -previously made, Mercier stands out -as pre-eminent. His work has a vigour -and sureness of handling, his gilding a -brilliancy and solidity as well as elegance -of appearance that are beyond criticism. -Though he himself works as hard as ever, -he has already brought up in his workshop -<span class='pageno' id='Page_90'>90</span>several young finishers of great merit, -among whom Mayloender is mentioned as -already of fine performance as well as of -future promise. Content to quietly excel, -Mercier has raised no opposition by any -manifesto, and his position of first rank is -accepted by all without hesitation as to its -justice.</p> - -<p class='c011'>Pétrus Ruban, born at Villefranche in -1851, seemed for some time undecided as -to whether he should join the ranks of the -traditional or the revolutionary binders. -He was at first obviously inspired by the -newer decorative attempts of Henri Marius -Michel, but has recently left the circle of -innovators for the more restricted ranks of -the <i><span lang="fr" xml:lang="fr">relieurs-doreurs</span></i>, of whom Mercier is -the head. Nevertheless M. Ruban’s power -of invention has enabled him to produce -some remarkably fine ‘blind-tooled’ mosaics, -in which striking effects of colour have been -managed without a sacrifice of taste. The -finish of his craftsmanship is undoubted: -no one has finer mastery over tools and -<span class='pageno' id='Page_91'>91</span>leather, and a faultless treatment of exquisite -material distinguishes everything he -turns out. It may seem as if too much -stress is laid upon this perfection of execution -which characterises French work in -a way that is unknown to our craftsmen. -And it is true that it too often proves a -snare, giving an occasion for making difficulties -merely to show how they can be -triumphed over. But, on the other hand, -it is a matter in which we in England are -all too negligent. The insistence of late on -the comparative unimportance of technique -in relation to originality of invention has -been disastrous, and the Arts and Crafts -Society has, if we may venture to say so, -given far too much encouragement to that -point of view. There have been bindings -shown there which were defective in the -very elements of sound ‘forwarding’—in -the finish that comes of an effective <i><span lang="fr" xml:lang="fr">corps -d’ouvrage</span></i>, and that should never have been -admitted into an exhibition supposed to be -especially selective. It may be truly said -that nothing is a work of art unless it -attains to a fairly perfect technique, even -though the decorative conception may be -of considerable value.</p> -<div id='XLIII' class='figcenter id001'> -<img src='images/i_043.jpg' alt='' class='ig001' /> -<div class='ic001'> -<p>43. <span class='sc'>Bound by Ruban.</span></p> -</div> -</div> - -<div id='XLIV' class='figcenter id001'> -<img src='images/i_044.jpg' alt='' class='ig001' /> -<div class='ic001'> -<p>44. <span class='sc'>Bound by Ruban.</span></p> -</div> -</div> - -<p class='c011'><span class='pageno' id='Page_92'>92</span>Charles Meunier, born in 1866, served a -short but energetic apprenticeship to Marius -Michel, and then at the age of twenty -decided to start for himself. Keen to -succeed and make a place among the foremost -binders of Paris, he worked with a -restless and unceasing effort that might well -have proved disastrous to his career. The -increasing costliness of whole-binding due -to the demands for originality made by amateurs -had given an impetus to half-binding -which Meunier was not slow to avail -himself of. He at once set about supplying -the demand, executing some five or six -hundred, each with a different emblematic -design upon the back. It was the moment -when, as has been shown, the symbolist -movement was at its height, and the young -binder naturally echoed the note of the day. -It was the same with the <i><span lang="fr" xml:lang="fr">cuir ciselé</span></i>, in which -<span class='pageno' id='Page_93'>93</span>he quickly attained great skill, doing forty -copies alone, with as many different designs -of <cite><span lang="fr" xml:lang="fr">L’histoire des quatre fils d’Aymon</span></cite>, a book -illustrated by Eugène Grasset, which proved -a failure commercially until Marius floated -it by means of his fine bindings with -motives taken from the illustrations themselves. -Meunier has now almost attained -the position he coveted. His style has -become chastened in accordance with the -increasing distaste of eccentricity, and -he gives greater care to the details of -execution, which, according to French -standards, left something to be desired in -the early days of his rather too exuberant -fancy. Last year he held a special exhibition -in New York, showing some seventy -specimens in which his decorative skill was -extensively represented. His taste in colour -may seem somewhat crude and his motives -bizarre, but of the mastery over his materials -there is no doubt. His snare is that he is -a decorator before anything else, and not -always sufficiently restrained, or mindful of -the best traditions of decoration in its particular -application to binding.</p> -<div id='XLV' class='figcenter id003'> -<img src='images/i_045.jpg' alt='' class='ig001' /> -<div class='ic001'> -<p>45. <span class='sc'>Bound by Carayon.</span></p> -</div> -</div> - -<p class='c011'><span class='pageno' id='Page_94'>94</span>The reputation of M. Carayon is based -upon <i><span lang="fr" xml:lang="fr">le cartonnage</span></i>, or ‘casing’ as we call -it, and which is with us an inferior form -of binding mainly confined to publishers’ -editions. In this work the cases or covers, -whether of cloth or leather, are made -separately and the book held to them by the -very slight attachment of pasting down the -endpapers, instead of the slips on which the -book is sewn being laced into the boards and -then being subsequently covered with the -material selected. But in France <i><span lang="fr" xml:lang="fr">cartonnage -à la Bradel</span></i> has become a fine art -mainly through the instrumentality of M. -Carayon. Supposed to be of German origin, -it takes its name from the binder who first -used it in France, where for some time it -was considered as a temporary binding for -books of value which in this way were left -uncut at the edges and handled as little as -possible. M. Carayon, born in 1840, started -life as a soldier, soon giving up that career -<span class='pageno' id='Page_95'>95</span>to become a decorative painter; but his -love of books and all that concerns them -finally decided his occupation. Type of the -true art worker, he is to be found all day -long in his atelier, though sadly crippled -with rheumatism, devising some new application -of <i><span lang="fr" xml:lang="fr">le genre Bradel</span></i>. All materials -come alike to him; morocco, calf, vellum, -brocade, velvet, even simple paper, produce -in his hands the most exquisite results. -Amateurs confide to his charge their most -costly possessions, and the first artists of -the day, such as Robaudi, Henriot and -Louis Morin, decorate his vellum work with -pen-and-ink and water-colour drawings. If -one wants, indeed, to realize that the beauty -of a binding does not lie in tooling, or indeed -in any kind of ornament, one need only -handle the little paper-covered books turned -out by Carayon for a few francs. At the -same time neither inlaying nor gilding has -any secrets from him, and he devises the -modelled, leather work executed for him -by Rudeaux with the delicacy and sureness of taste that distinguish all he undertakes.</p> -<div id='XLVI' class='figcenter id001'> -<img src='images/i_046.jpg' alt='' class='ig001' /> -<div class='ic001'> -<p>46. <span class='sc'>Bound by Carayon.</span></p> -</div> -</div> - -<div id='XLVII' class='figcenter id001'> -<img src='images/i_047.jpg' alt='' class='ig001' /> -<div class='ic001'> -<p>47. <span class='sc'>Bound by Carayon.</span></p> -</div> -</div> - -<p class='c011'><span class='pageno' id='Page_96'>96</span>Chambolle most worthily continues the -traditions associated with the name of his -father. As an interpreter of the past he -has a place apart and almost untouched by -the main revolutionary movement that has -penetrated nearly every atelier in Paris, -and modified, if not overturned, its inherited -traditions. To him are confided the classics -of former times, which he clothes in the -styles appropriate to them, keeping to a -simplicity of ornamentation which reveals -great taste and feeling for composition. -Wisely enough, he rarely goes outside his -own domain, where, in these days of reckless -pursuit of novelty, he remains almost -supreme.</p> - -<p class='c011'>Canape is a young binder of increasing reputation. -At present he seems to specialize -in what is called <i><span lang="fr" xml:lang="fr">la gaufrure à froid</span></i>, in -which different-coloured moroccos are tooled -without gold—a style which has been much -in favour of late years, and in which Marius -<span class='pageno' id='Page_97'>97</span>Michel was the first to effect great -triumphs. His career has been watched -with much interest for the last few years, -and he is thought to be steadily taking -place in the first rank.</p> - -<p class='c011'>Kieffer, too, is a binder whose work has a -distinctly personal touch, and whose bindings -have an individuality of their own. -The reproductions shown testify to a certain -largeness of conception in design, which, -though somewhat mannered, has distinct -value.</p> - -<p class='c011'>M. Pierre Roche has struck a new note -in what he calls <i><span lang="fr" xml:lang="fr">la reliure églomisée</span></i>. It is -work done on something of the same lines -as that attempted by Mr. Cedric Chivers of -Bath. He uses a transparent vellum which -covers and protects the decoration, which -thus appears, to use his own words, as if -behind a veil. ‘C’est l’esprit du livre qui -vient du dedans en dehors apparaître au -travers des matières solides qui le protègent.’ -A sculptor of great talent, this has been -merely a recreation to him. He has done -but a small number of books for a few distinguished -clients, and, notwithstanding -their success, has, like a true artist, refused -to be drawn into manufacturing them, feeling -it doubtful whether it is a style that -should be popularized to any great extent, -or rather remain as an occasional variation -of the more accredited ways of book-cover -decoration.</p> -<div id='XLVIII' class='figcenter id001'> -<img src='images/i_048.jpg' alt='' class='ig001' /> -<div class='ic001'> -<p>48. <span class='sc'>Bound by Chambolle.</span></p> -</div> -</div> - -<p class='c011'><span class='pageno' id='Page_98'>98</span>We have perhaps said enough to indicate -the variety of the work shown at the -Galliera Museum, its high attainment in the -field of design, and its still higher achievement -in the matter of craftsmanship. One -impression remains very clearly, that there -were two distinct classes of exhibitors, the -professional binder, so to speak, and the -artist intent on producing decorative -material for bindings. The first looks at a -book as a thing to bind and handle, and is -restrained in his methods by the use and -purpose to which it is to be put. The second -considers it as a surface to decorate, by -means of painting or the aid of any other of -<span class='pageno' id='Page_99'>99</span>the arts. The modelled work of Lepère, -above alluded to, is an instance of this; so -also is that of Mdme. Vallgren, which likewise -consist of panels that are let into bindings -prepared for that purpose by Marius -and others. Admirable in their way, they -would be equally effective as decorative -objects framed upon a wall, and can but be -considered a fantasy in connexion with -books. Bibliomania in France is responsible -for much that is disastrously eccentric -and decadent. It is a form of vanity in -which collectors vie with each other, and involves -an expenditure not only on books but -on bindings that would now seem to have -reached the limit of extravagance. But -such eccentricity is less than it was, and -need no longer fill the eye to the exclusion -of what is really finely conceived as well as -exquisitely executed. If Paris still produces -too many bindings of the bizarre and -overdecorated kind, we can still go to her -for the masterpieces of simplicity and for -flawlessness of material faultlessly treated. -<span class='pageno' id='Page_100'>100</span>Some day even the best binders may cease -to support <i><span lang="fr" xml:lang="fr">l’art nouveau</span></i> by the force of -their skill and energy, but will rather -confine themselves, as in the past, to the -simple dignity that distinguished bindings -in the best periods, and to the accomplishment -of that fine restraint which must -always be the high-water mark of bookbinding -as a fine art.</p> - -<div class='chapter'> - <span class='pageno' id='Page_105'>105</span> - <h2 class='c004'>EDITION BINDING<a id='r6'></a><a href='#f6' class='c014'><sup>[6]</sup></a></h2> -</div> - -<p class='c010'>Of late years, with that revival of craftsmanship, -according to the gospel of Ruskin and -William Morris, already dwelt upon, there -has been a rush into all the departments of -manual dexterity needing for successful -achievement the guidance of artistic feeling. -The result of this has been that there is a -tendency to exaggerate the importance of -the ornamental and the decorated, to the -exclusion of not only simplicity but, let us -say frankly, of plainness and the undecorated -surface of flawless material. The over-elaboration -of the decorative arts must -inevitably produce a reaction sooner or later, -very quickly for those who prefer restraint, -more slowly for the majority of the public, -<span class='pageno' id='Page_106'>106</span>to whom ornament is always synonymous -with art. For such as these fashion counts -for much; and it is in the hope that those -who lead taste in the matter of edition -bindings may find a scope for their enterprise -on somewhat new lines that I ask consideration -for this chapter.</p> -<div id='XLIX' class='figcenter id001'> -<img src='images/i_049.jpg' alt='' class='ig001' /> -<div class='ic001'> -<p>49. <span class='sc'>Bound by Chambolle.</span></p> -</div> -</div> - -<div id='L' class='figcenter id001'> -<img src='images/i_050.jpg' alt='' class='ig001' /> -<div class='ic001'> -<p>50. <span class='sc'>Bound by Chambolle.</span></p> -</div> -</div> - -<p class='c011'><span class='pageno' id='Page_107'>107</span>After all, the costly bindings achieved -for wealthy amateurs must always constitute -but a small portion of the output of bound -work. There will remain the cloth or -leather-covered book in greater or smaller -editions, for which covers are made in -quantities by machinery, separately from the -book, and for decorating which metal dies -are cut and stamped by means of an embossing -press, either with or without the -addition of colours or gold leaf. It is of -this class of work that I propose to treat, -giving first a brief account of the stages -through which it has passed in modern -times, then showing how it was dealt with, -though on a much smaller scale, in the early -days of printing, and finally offering some -suggestions for its more varied and, as I -think, more artistic treatment in the -future. This treatment would necessitate -the employment of leather; but there -is no reason why the less expensive kinds -of skins should not be used, not perhaps for -books issued in large numbers, but for small -editions where a little extra outlay could be -easily recovered on the published price of -the work. Roans made from the best sheepskins, -which are the hides of Scotch sheep, -would not be a costly material, and would -give good results in the embossing press. -Pigskin is a very suitable material for the -better class of bindings on which stamps are -to be used, and is both strong and comparatively -inexpensive, considering the size of -the skins. Vellum, again, might be occasionally -used for small editions; it blocks well, -and is most effective with but little ornament. -At one time much in demand for -bindings, it ceased for many years to be -used at all in England, except in account-book -manufacture, when it was generally -<span class='pageno' id='Page_108'>108</span>stained green. It has lately come into -fashion again, chiefly for limp work, through -the initiative of William Morris, who introduced -it on most of the works issued by -him from the Kelmscott Press; and both -the Doves Press and the Ashendene Press -have continued to employ it. To observe -its suitability for blocking, either when -used limp or on boards, we have only to -turn to the coats-of-arms which frequently -decorated it on the books of the great -collectors of past times. There was a very -fine specimen of vellum, ornamented in -black, shown at the Burlington Fine Arts -Exhibition in 1891. But before considering -in detail how edition bindings were -treated in the days when, comparatively -speaking, books were few in number, we -will get some idea of their treatment in -more recent times, starting with the last -century.</p> -<div id='LI' class='figcenter id001'> -<img src='images/i_051.jpg' alt='' class='ig001' /> -<div class='ic001'> -<p>51. <span class='sc'>Bound by Canape.</span></p> -</div> -</div> - -<p class='c011'><span class='pageno' id='Page_109'>109</span>Up to, roughly speaking, about 1825, -books of the type of dictionaries, classics, -school books, and books of reference were -mostly bound in roan or sprinkled sheep; -while books of history, poetry, and novels -were issued in drab or olive-coloured paper -boards, with a printed label pasted on the -back, or the full title printed on the back -and sides, as in the case of Walker’s <cite>British -Classics</cite> (1818). It was very rarely that -anything but a dull colour was used, though -Whittingham’s <cite>British Poets</cite> (1816) had a -dark Venetian red paper, and the class of -literature known in those days as gift-books -or annuals occasionally appeared in vellum-coloured -paper, stamped with gold. The -more valuable of these, however, filled with -choice steel engravings and prepared for the -Christmas market, were bound in morocco -and silk, and issued under such titles as <cite>The -Keepsake</cite>, <cite>The Bijou</cite>, <cite>Friendship’s Offering</cite>, -<cite>The Book of Beauty</cite>, <cite>The Landscape Annual</cite>, -and so on. Such books commanded a large -sale, even in those days; and a writer on -the subject, in the first volume of <cite>The -Bookbinder</cite>, mentions Finden’s <cite><span lang="fr" xml:lang="fr">Tableaux</span></cite>, -two thousand imperial quarto volumes, full -<span class='pageno' id='Page_110'>110</span>bound in best morocco, gilt. The paper-covered -boards, which clothed the larger -number of the books of that time, had a -way of cracking at the hinge, and so becoming -disconnected, a difficulty which was -got over about 1822 by covering the back -with calico or cloth. As an illustration -of this step we may take Scott’s <cite>Waverley -Novels</cite>. The <cite>Novels and Tales</cite>, in twelve -volumes, appeared in 1819 in pink paper, -with white labels; the <cite>Historical Romances</cite>, -in six volumes, followed in 1822, in blue -paper, with pink cloth back and white -paper labels; and <cite>Novels and Romances</cite> in -1824 in the same fashion. The next step -was that of covering books entirely with -cloth, introduced by Mr. Archibald Leighton, -one of the most enterprising and -successful of modern binders, whose business -capacity and energy secured for him -the patronage of the chief publishers of -the day. He bound for Murray, Pickering, -Colbourn, Tilt, Charles Knight, Moon, -Boys, Graves, and many others, and died -<span class='pageno' id='Page_111'>111</span>prematurely in 1841, leaving to his family -a well-established business which, under a -somewhat varying character, has remained -in their hands up to the present time.</p> - -<p class='c011'>In the <cite>Bookseller</cite> of July 4, 1881, there -is an interesting account, by Mr. Robert -Leighton, of the invention of bookbinders’ -cloth by his father, and of how the subsequent -embossing of it came about. The -exact date of cloth binding he is not able -to state, but says that he has in his library -a volume, presented to his father by the -author, bound in smooth, red cloth, with -a paper label. The publishers’ names are -Lackington, Hughes, Harding and Lepard, -and the date on the title-page is 1822. -There is every reason to believe that it -is one of a number similarly bound in that -year. In those days the white calico was -bought in London, sent to the dyers to be -dyed, and thence to Mr. John Southgate, -of 3 Crown Court, Old Change, to be -stiffened and calendered. The embossing -of bookbinders’ cloth was suggested by -<span class='pageno' id='Page_112'>112</span>Mr. Archibald Leighton to the late Mr. de -la Rue, and was carried out so admirably -by him, with the appliances he possessed for -embossing paper, that his process remains -still comparatively unaltered. The desired -pattern was engraved on a gun-metal -cylinder, and transferred in reverse to one -made of compressed paper, strung upon an -iron spindle and turned in the lathe to the -exact circumference of the gun-metal one, -and these two being worked together in a -machine, and the pattern transferred from -one to the other, the cloth was passed -between them and received the impress -of the pattern engraved on the metal -cylinder.</p> -<div id='LII' class='figcenter id001'> -<img src='images/i_052.jpg' alt='' class='ig001' /> -<div class='ic001'> -<p>52. <span class='sc'>Bound by Canape.</span></p> -</div> -</div> - -<p class='c011'><span class='pageno' id='Page_113'>113</span>In this way the whole of the cloth used -by Messrs. Leighton was for many years -embossed upon their own premises. The -cylinders were only fourteen or fifteen -inches wide, and the machine was turned -by manual labour and heated by red-hot -irons, which were placed in the gun-metal -cylinder and replaced by others when cold. -In those days it was customary to engrave -special cylinders for books of importance, -and you may still occasionally meet with -stray volumes of <cite>The Penny Cyclopædia</cite> or -Knight’s <cite>Pictorial England</cite>, and such like -popular works, with embossed cloth covers -so prepared. Mr. Pickering was the first -person for whom Mr. Leighton bound books -in cloth, and either his ‘Aldine Poets’ or -the ‘Diamond Classics’ were the first books -on which it was put. The first person to -undertake the embossing of bookbinders’ -cloth on cylinders a yard wide was Mr. -Law, of Monkwell Street, and for years -he embossed all the cloth sold by Mr. -James Leonard Wilson, of St. John Street, -who had followed Mr. Leighton’s methods -in the preparation and sale of the cloth. -Mr. Wilson sold his business to Messrs. -Duffield, who established a manufactory of -bookbinders’ cloth at Hoxton, and so improved -it that for years he held practically -a monopoly of its output. The exact period -when gold-stamping was first applied to -<span class='pageno' id='Page_114'>114</span>cloth is clearly marked by the publication -of Lord Byron’s life and works, in seventeen -volumes, by Mr. John Murray, of Albemarle -Street. The volumes were published -monthly, and had a sale of about 20,000. -They were bound in green cloth, and the -first volume was issued in 1832, with a -green paper label on the back, matching -the cloth in colour, on which was printed -in bronze the title and a coronet; on the -second and succeeding volumes the paper -label was dispensed with, and the coronet -and title were stamped in gold upon the -cloth itself. Mr. Henry George Bohn, in -a letter addressed to the <cite>Art Journal</cite>, -says that his father, John Henry Bohn, -a German bookbinder, established about -1795 in Frith Street, Soho, had a special -reputation for gilding on the silk linings -of books, as well as calf-graining, tree-marbling, -and other special processes, all -of which he himself made acquaintance -with when a boy. ‘In later life,’ he -continues, ‘the knowledge of the peculiar -<span class='pageno' id='Page_115'>115</span>dressing used for gilding on silk enabled -me to communicate to Mr. Leighton the -means of getting cloth prepared so as to -take gilding by heated machinery at the -rolling or stamping press, which a leading -trade firm said was impracticable. The -process, however, after a few weeks’ experiments -conducted by the late Mr. James -Leonard Wilson, was successfully accomplished; -and Mr. Leighton thereupon wrote -to me triumphantly announcing the fact, -and undertaking in consequence to bind -in gilt cloth several thousand volumes at -half the price I should previously have -had to pay, on account of the necessity -of having to add leather backs for taking -the gold by hand tooling. The book was -Martin and Westall’s <cite>Bible Points</cite>, which I -brought out in 1832. What to me at the -time seemed an accomplishment of little -moment has now become of such importance -to cloth binders that, could the discovery -have been patented, it would have yielded -a considerable income.’</p> -<div id='LIII' class='figcenter id003'> -<img src='images/i_053.jpg' alt='' class='ig001' /> -<div class='ic001'> -<p>53. <span class='sc'>Bound by Canape.</span></p> -</div> -</div> - -<p class='c011'><span class='pageno' id='Page_116'>116</span>This Mr. Robert Leighton, who thus -wrote of his father’s invention, was himself -the pioneer in the use of steam machinery -in bookbinding, and he adopted in his own -business nearly all the machinery which has -since become indispensable to the wholesale -binder. He was also the first to use steam -power for blocking in gold; the first to use -aluminium, and black and coloured inks for -cloth cases, examples of which he showed -in the exhibition of 1851. He had a great -reputation for the designs of his cloth -bindings, which he devised in conjunction -with his artist cousin, John Leighton, -known as Luke Limner, a good instance -being the pleasant and appropriate covers -for Mrs. Jameson’s <cite>Legends of the Madonna</cite> -and <cite>Legends of the Monastic Orders</cite>. The -two Leightons, father and son, thus inaugurated -and furthered the great revolution -in the art of edition binding associated -with the employment for the purpose of -specially prepared cloth, and its decoration -by means of steam-blocking in gold and -<span class='pageno' id='Page_117'>117</span>colours. It was natural that such an -invention should lead to abuse; and in a -short time, unfortunately, there was so -much gilt ornament that a strong reaction -took place, and, while cloth as a material -for the cover continued to be used, it was -either left plain or had a single bordering -line in gold, with or without the title likewise -in gold upon the sides. More recently -colour printing upon cloth has been revived -with excellent results in many cases, especially -where an artist who understands -the power and limitations of the blocking -process has been employed upon the designs. -Many of these are entirely without gold, -and give representations of scenes taken -from the books with excellent impressionist -effect. One may mention as instances in -England the novels published by Messrs. -Hodder and Stoughton, such as <cite>In Our -Town</cite>, <cite>Her Majesty’s Minister</cite>, <cite>Mrs. Wiggs -of the Cabbage Patch</cite>, <cite>The Hebrew</cite>, and -many others of the same firm, one of whose -members gives special attention to the -<span class='pageno' id='Page_118'>118</span>successful production of cloth covers. The -bindings of books issued by Mr. John Lane -are also frequently very successful, though -it is not so easy to keep in touch with the -output of American work on similar lines. -Messrs. Puttenham have produced some excellent -examples of taste in colour printing, -notably <cite>The Romance of the Colorado River</cite>, -<cite>Puerto Rican</cite>, <cite>Lights of Childhood</cite>, and <cite>The -Romance of the Renaissance Chateaux</cite>, in -which the castle of Langeais is shown in -black on a grey cloth. The same house -publish likewise one or two books bound -in plain cloth, with a photographic print on -the cover, which seemed a pleasant variation -not in use over here; while <cite>Twenty-Six -Historic Ships</cite>, also issued by them, is a -most satisfactory example of blocking with -white foil on a blue ground. At Messrs. -Appleton’s are to be found several specimens -of bookbinders’ cloth which do not come -over here at all. We have but little variety -in the nature and preparation of our cloth; -while in America it is treated in many -<span class='pageno' id='Page_119'>119</span>different ways, which naturally give very -varied results in the blocking-press.</p> - -<p class='c011'>Messrs. Gay and Bird issue some effective -colour printing on <cite>In South Africa with -Buller</cite>, and an attractive example of a loch -and mountain scene in four sombre colours -on <cite>The Story of Gösta Berling</cite>. There is -little doubt that the most artistic effects are -got by using very few colours in harmony -rather than in contrast with the cloth. -Gold is much more sparingly used for cloth -work than formerly, and with far better -taste. <cite>Paris in its Splendour</cite>, published by -the last-named firm, is an interesting example -of the different effects that can be -obtained from the gold by varieties of -matted ground in the block; while in -<cite>Walden</cite>, issued by Messrs. Houghton and -Mifflin, the cloth of the cover represents -the design, the gold being confined to -suggesting the background, with a decidedly -original result.</p> - -<p class='c011'>This, then, is the position of cloth binding -at the present time as shown by the -<span class='pageno' id='Page_120'>120</span>leading publishers’ work. The technical -processes are probably as perfect as such -things can be, the drawings are frequently -the work of artists, there is far more restraint -than formerly both in the matter of -design and the employment of colour, while -the taste in colour schemes is often as -good as possible, and a great advance on -that shown a decade or two ago. We do -not think that in that special branch of -edition bindings there is any great advance -to be made or novelty to be assumed, though -no doubt we may expect a wider diffusion -of the taste that we have noted in the best -work and an increasingly small number of -book covers inferior in design, colour, and -general effect.</p> - -<p class='c011'>In what direction, then, can we hope for -any new departure? In order to answer -the question, and complete the scope of -this chapter, it is necessary to spend a -short time in studying the bindings in -which books were clothed when they were -less numerous, and during a period when -they reached what many think the high-water -mark of successful decoration.</p> -<div id='LIV' class='figcenter id001'> -<img src='images/i_054.jpg' alt='' class='ig001' /> -<div class='ic001'> -<p>54. <span class='sc'>Bound by Canape.</span></p> -</div> -</div> - -<div id='LV' class='figcenter id001'> -<img src='images/i_055.jpg' alt='' class='ig001' /> -<div class='ic001'> -<p>55. <span class='sc'>Bound by Canape.</span></p> -</div> -</div> - -<p class='c011'><span class='pageno' id='Page_121'>121</span>The work of the early printers was issued -in trade bindings just as publishers’ work is -now sent out, but in those days stationers -combined the craft of binding with the business -of bookselling. The earliest of all were -decorated by building up designs from dies, -these being arranged in pattern schemes -which Mr. W. H. James Weale was the -first to analyze and set forth in the catalogue -of the fine collection of rubbings of -bindings which he presented to the National -Art Library of South Kensington in 1894. -These schemes were taken from the covers -of manuscripts from the twelfth to the -fifteenth centuries, but the same kind of -arrangement, though not so elaborate, may -be seen on the earliest printed books; also -witness the illustrations to the monographs -on early Oxford and Cambridge bindings -issued by the Bibliographical Society. -Small books were stamped with a panel on -the sides, and these often had the initials or -<span class='pageno' id='Page_122'>122</span>mark of the binder, which have led in many -instances to the ascription of particular -bindings to the stationers who issued them, -though a still greater number still remain to -be identified. The blocks were generally -small, and were used sometimes one on each -side between a bordering of roughly drawn -lines; sometimes two together were placed -upon one side, and connected with lines or -some simple device; and occasionally on -large books four panels were arranged in -rows of two. The material of the binding -was ass’s-skin, pigskin, calfskin,—though -not the fragile kind now associated with the -name—and vellum, but chiefly the three -first. The stamps or blocks used were cut -in intaglio, either on hard wood or on metal, -producing the impression in cameo; the -design was often both strong and delicate in -treatment, the impression after all these -years showing great artistic vigour and -inventiveness. Indeed, nothing can be -more excellent than the dragons, gryphons, -and other mythical animals in the pear-shaped, -<span class='pageno' id='Page_123'>123</span>triangular, circular, or square dies -arranged within the pattern schemes of the -very early bindings. It is known exactly -how these stamps were used upon the bindings; -it is probable that, when panel stamps -were used, the leather was thoroughly -wetted and the book then placed in a screw -press, under a block of wood or metal, for -the length of time needed to obtain a clear -impression. In <cite><span lang="fr" xml:lang="fr">Marques Typographiques</span></cite> by -Silvestre, there is a printers’ mark, used by -Petrus Cesar Gaudanus, otherwise Pierre de -Keyser, of Ghent, between 1516 and 1547, -which represents a book undergoing pressure -in a printers’ press; and Josse Bade, -likewise a stationer and printer of Paris, -who died in 1535, used a somewhat similar -one. Though there is obviously a book in -the press, the picture may relate to a process -not connected with binding; but in any -case it probably represents what must have -been the procedure used in impressing the -stamps. These dies passed from one workshop -to another, and none of them are -<span class='pageno' id='Page_124'>124</span>extant to my knowledge in England, though -the heraldic blocks used on books in the -reigns of Henry <span class='fss'>VII.</span> and Henry <span class='fss'>VIII.</span> were -decidedly numerous and of great artistic -merit. In the Netherlands these designs -were the binders’ property and protected as -such, but in England, where the binders -were not organized into separate guilds, this -was not the case, and piracy was everywhere -prevalent.</p> -<div id='LVI' class='figcenter id001'> -<img src='images/i_056.jpg' alt='' class='ig001' /> -<div class='ic001'> -<p>56. <span class='sc'>Bound by Kieffer.</span></p> -</div> -</div> - -<p class='c011'><span class='pageno' id='Page_125'>125</span>On many of the blocks there appear two -indentations or holes about a quarter of an -inch in diameter, situated within the border -at the top and bottom of the panel. The -precise purport of these is unknown, and -many plausible theories have been invented -to account for them. One such suggests -that they were stop buttons to prevent the -stamp from sinking too far into the leather, -but it is more probable that they indicate -the heads of nails or pegs which fastened -the carved block or metal stamp to another -piece of wood. Sometimes the impressions -made by them are almost imperceptible, at -others there has been an attempt at concealment -by carrying the ornament across. -Many of the subjects pictured on these -stamps were of a religious character: thus -the Baptism of Christ, Saint John the -Baptist, the Crucifixion, Our Lady of Pity, -the Ara Cœli, and the different saints and -apostles, are all represented upon these -early book covers. For an account of them, -and for a general history of early stamped -bindings, which contains also a certain -amount of illustration, the interested reader -cannot do better than procure the two -volumes, published at half a crown by the -Department of Science and Art, at South -Kensington, entitled <cite>Bookbindings and -Rubbings of Bindings in the National Art -Library of South Kensington Museum</cite>, by -W. H. James Weale. This class of binding -has given rise to much dispute of an archæological -kind, with which, happily, we are -not concerned at the moment. Whether -the stamps were of wood or metal, in what -country they originated, their authorship as -<span class='pageno' id='Page_126'>126</span>indicated by initials incorporated in the -design, their <i><span lang="fr" xml:lang="fr">provenance</span></i> as apart from the -country in which they were in use, who was -the inventor of the pattern roller,—all such -questions we may leave aside, the point of -interest being the fact of the stamp and its -astonishing variety of character, for many -styles were represented by it, all, with but -few exceptions, of great merit and suitability -to their end. For the present purpose, and -as far as ornament is concerned, they may -be classified somewhat as follows:—</p> - -<p class='c011'>1. Small Gothic dies with palmated leaves, -animals, and so on, combined in design -according to certain fixed patterns, such as -those on the Bible written and bound in the -monastery at Durham for Hugh Pudsey, -bishop of that diocese from 1153 to 1195, -and other books in the same cathedral -library.</p> - -<p class='c011'>2. Interlaced ornament of several distinct -types, some Celtic in character, on the -earliest books in leather that have come -down to us, executed in the north of -<span class='pageno' id='Page_127'>127</span>England in the twelfth century, others -recalling the designs on Roman mosaic -pavement; others, again, Eastern in character. -Perhaps the most beautiful interlaced -patterns of all belong to the latter -class, and are the cablework designs found -on Italian books of the last half of the -fifteenth century, no doubt copied from -Arabian examples.</p> - -<p class='c011'>The Spanish bindings of the first half of -the sixteenth century have interlaced ornament -of as fine a kind, but often lacking in -the comparative simplicity of the Italian.</p> - -<p class='c011'>3. The Gothic stamps of mythical animals, -enclosed in circles or scrollwork, bordered -with Gothic foliage, and frequently containing -a legend. These were mostly of -German origin, and were no doubt inspired -by the work of Albert Dürer and his -contemporaries.</p> - -<p class='c011'>4. The heraldic panels decorated with -royal badges, used in England during the -reigns of Henry <span class='fss'>VII.</span> and Henry <span class='fss'>VIII.</span></p> - -<p class='c011'>5. The panel stamps of a purely decorative -<span class='pageno' id='Page_128'>128</span>kind, such as those with the religious -subjects above mentioned; others like the -well-known two used by Moulin, of a miller -with his sacks, in punning allusion to his -name; and those in use by Norins, in which -the acorn figures largely as an ornament.</p> - -<p class='c011'>6. Lastly, the panel stamps with two -profile busts in medallion within a framework -of Renaissance ornament, thoroughly -debased in character, and marking the -complete decline of the binder’s stamp.</p> - -<p class='c011'>I would sum up, in conclusion, the points -I have desired to emphasize, and which are -as follows:—</p> - -<p class='c011'>That the flat blocking of cloth work in -gold and colours by no means exhausts the -treatment possible for edition or publishers’ -bindings. It has undoubtedly been largely -overdone, for lavish ornament is distinctly -out of place as applied to cheap material, -such as cloths and linens. Indeed, as -decoration for the ordinary novel of a few -shillings nothing is in better taste than a -single design carried out in two or three -colour printings without gold, such as some -of those mentioned.</p> -<div id='LVII' class='figcenter id001'> -<img src='images/i_057.jpg' alt='' class='ig001' /> -<div class='ic001'> -<p>57. <span class='sc'>Bound by Kieffer.</span></p> -</div> -</div> - -<div id='LVIII' class='figcenter id001'> -<img src='images/i_058.jpg' alt='' class='ig001' /> -<div class='ic001'> -<p>58. <span class='sc'>Bound by Kieffer.</span></p> -</div> -</div> - -<p class='c011'><span class='pageno' id='Page_129'>129</span>That there is room for a totally distinct -class of bindings for small editions of more -important publications, which should be in -leather and blocked with a stamp of fine -design without gold, which will give a -raised impression. For this purpose zincographic -blocks are of no use, but brass, -as a material which admits of modelling, -would be imperative.</p> - -<p class='c011'>That the designing of such stamps should -be put in the hands of the few artists -having a genius for the work, which is -quite special in character, and belongs more -to the art of the medallist than to that -of the maker of patterns. We in no way -want their undue multiplication, but would -rather, indeed, that they should be reserved -for a limited number of publications, for -which the subject-matter, paper and type -constitute together a whole, worthy of a -dignified cover that will stand the lapse -of time. In these days of book lovers and -<span class='pageno' id='Page_130'>130</span>collectors of every sort, it is certainly not -unlikely that there are many who would -welcome a new venture of this kind, in -which they would associate the binding -with the book, and have no desire to -separate the one from the other. In the -little Bibelot series, Messrs. Gay and Bird -have already made a slight attempt on the -lines I am suggesting.</p> - -<p class='c011'>Lastly, we have tried to show that there -is no dearth of material from which the -designer of such work may glean the principles -on which it should be based, in order -to secure satisfactory results. Apart from -the bindings still extant, which may be -studied for the purpose, such sources as -the <cite>Book of Kells</cite> and <cite>Early Christian Art -in Ireland</cite>, by Margaret Stokes, are full -of illustrations in a field strangely little -explored by the pattern maker of to-day.</p> - -<p class='c011'>While only a limited number of early -examples have been instanced, they are -suggestive of what was done in edition -binding in the past, and may be done -<span class='pageno' id='Page_131'>131</span>again in the future. Such a departure -needs, no doubt, the initiative of a printer-publisher -who does the best kind of work, -and in a field that commands the interested -support of the genuine book lover. Surely, -however, to find such an one ought not to -be difficult with the widespread interest now -shown in every detail of book production.</p> - -<hr class='c017' /> -<div class='footnote' id='f1'> -<p class='c011'><a href='#r1'>1</a>. For the benefit of those who are interested in the technicality -of what is known as ‘tooling,’ we will briefly describe -in what it consists. ‘Finishing tools’ are stamps of metal -that have a pattern cut on the face, and the shanks of which -are held in wooden handles. Such patterns can be complete -in themselves, or the single ‘tools’ may have only the elements -of a pattern that needs to be built up, for the ‘tools’ must not -be too large, or they cannot be worked with sureness of result. -The design is composed of these ‘tools’ in combination with -gouges which are curved lines. The drawing is first made -accurately on paper by means of blackening the tools in a -candle or lightly impressing them on an ink-pad. This paper -is then placed on the book and slightly attached with paste -at each corner. The tools are next gently heated and reworked -on the drawing, leaving an impression in ‘blind,’ as -it is called, on the leather sufficient to be seen through the -gold leaf when this is applied ready for the next operation. -The cover is now damped with water and the impressions left -by the tools pencilled over with a preparation of white of egg -known as glaire, applied with a camel-hair brush. When this -is sufficiently dry, but not too dry, the gold leaf is put on, -and the individual ‘tools,’ taken at just the right heat, are -reworked in the impressions seen faintly beneath the gold. -Fresh gold may have to be applied and the pattern reworked -several times if the tools are solid or the leather for any reason -presents special difficulties. These are, roughly speaking, the -processes necessary to the working of a design, though many -small ones have been omitted. It will be seen at once, however, -from this brief account: firstly, that there are no freehand -possibilities about the operation; and secondly, that to -be a good finisher a workman should know something of -drawing, for he cannot make a correct pattern, much less one -that has any organic meaning, unless he understands how to -combine small tools with taste and judgment. He must know -what to leave out as well as what to put in; if there is inlaying, -he must have a sense of colour-harmony and contrast, -and he must understand enough of styles not to mix up those -of different periods, nor to select one that is unsuitable to the -special character of the book.</p> -</div> -<div class='footnote' id='f2'> -<p class='c011'><a href='#r2'>2</a>. The technical schools, it may be noted, with the exceptions -perhaps of the Borough Polytechnic, are not looked on -with favour by the trade, who are ever adverse to any alteration -in the traditional habits of a craft; but it is difficult to see, -without some experiments of the kind, how the learner is to get -the advantages of intelligent training, which he did under the -old system of apprenticeship. Now that Trades Unions have a -tendency to deteriorate the quality and limit the output of the -adult worker, it is well that there should be some influences -brought to bear upon him in the earlier stages of his career -that make for appreciative insight into the meaning of his -work and cultivate his taste in its more artistic possibilities.</p> -</div> -<div class='footnote' id='f3'> -<p class='c011'><a href='#r3'>3</a>. With tooled edges the leaves of the book are gilt as usual, -and while still in the press, the head, tail and foredge are -worked over with ‘tools’ that are open in character, the finer -ones being preferable. These tools must be slightly warmed, -so that the impression may be firm. Sometimes the edge is -tooled on the gold before burnishing, when the impressed -pattern will naturally be of a different colour to the burnished -part, as the burnisher will glide over the indentations. At -others a different-coloured gold is laid on the top of the first -and tooled upon, when the pattern will be left in the new gold -on the original colour.</p> -</div> -<div class='footnote' id='f4'> -<p class='c011'><a href='#r4'>4</a>. This painting can be with or without gold. In any case, -it is necessary that the leaves should be fanned out and tied -slightly between boards. While in this position the colour is -applied, which can be either a stain or water-colour moistened -with size. When dry, the leaves are released, and may be left -as they are or gilt in the ordinary way, when the colour will -show through the gold, gaining a lustre and richness it would -not otherwise have.</p> -</div> -<div class='footnote' id='f5'> -<p class='c011'><a href='#r5'>5</a>. The process of leather cutting and embossing is briefly as -follows. The design is first drawn on paper, then transferred -to tracing paper and traced through from this on to the -leather, which is shoe-calf prepared for the purpose as to -quality and thickness. The process is very much like beaten -and chased silver work, except that the soft leather has to be -reinforced at the back with a cement, and while this cement -is hardening the front has to be modelled. It is a mistake -to suppose that this work is of a delicate nature. If the -design is fairly evenly distributed over the decorated space, -handling and the slight friction a well-bound book is subject -to in the course of time enhance its appearance. Again, by -tracing and cutting the design without embossing it a different -surface is obtained, while the application of gold tooling and -that of various colour tints are additions of treatment that -give considerable scope to the finisher.</p> -</div> -<div class='footnote' id='f6'> -<p class='c011'><a href='#r6'>6</a>. The author wishes to acknowledge permission, which she -has received from <cite>The Printing Art</cite>, to print in this country -this last chapter, which first appeared in that periodical.</p> -</div> - -<div class='nf-center-c0'> -<div class='nf-center c003'> - <div><span class='small'>Printed by <span class='sc'>T. and A. Constable</span>, Printers to His Majesty at the Edinburgh University Press</span></div> - </div> -</div> - -<div class='pbb'> - <hr class='pb c018' /> -</div> -<div class='tnotes x-ebookmaker'> - -<div class='chapter ph2'> - -<div class='nf-center-c0'> -<div class='nf-center c001'> - <div>TRANSCRIBER’S NOTES</div> - </div> -</div> - -</div> - - <ol class='ol_1 c003'> - <li>Silently corrected obvious typographical errors and variations in spelling. - - </li> - <li>Retained archaic, non-standard, and uncertain spellings as printed. - - </li> - <li>Re-indexed footnotes using numbers and collected together at the end of the last - chapter. - - </li> - <li>Corrected the first two items in the <a href='#ERRATUM'>Erratum</a>. The last item was left - unchanged. - - </li> - <li>Moved some illustrations several pages to prevent them from breaking paragraphs. - Altered the links in the table of illustrations accordingly. - - </li> - </ol> - -</div> - -<div style='display:block; margin-top:4em'>*** END OF THE PROJECT GUTENBERG EBOOK MODERN BOOKBINDINGS ***</div> -<div style='text-align:left'> - -<div style='display:block; margin:1em 0'> -Updated editions will replace the previous one—the old editions will -be renamed. -</div> - -<div style='display:block; margin:1em 0'> -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. 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