Page:EB1911 - Volume 04.djvu/231

 books; it is known as “flexible” work, and has never been improved upon.

As soon as the method of sewing quires together in this way became well understood, it was found that the projecting bands at the back needed protection, so that when all the quires were joined together and, so far, finished, strips of leather were fastened all over the back. But it was also found that vellum leaves were apt to curl strongly, and to counteract this tendency strong wooden boards were put on each side. The loose ends of the bands were fastened to the boards, which hinged upon them, and the protecting strip of leather at the back was drawn over the boards far enough to cover the hinge. So we get the medieval “half-binding” which shows the strip of leather over the back of the book, projecting for a short way over the boards, the rest of which is left uncovered. The boards were usually kept closed by means of clasps in front.

The leather strip soon developed, and covered the whole of the boards, “whole” binding as it is called, and it was quickly found that these fine flat pieces of leather offered a splendid field for artistic decoration.

The first ornamentation on leather bindings was probably made by means of impressions from small metal points or lines, pressed upon the leather. This in time led to the purposeful cutting of small decorative stamps to be used in the same way. It is considered that English binders excelled in this art of “blind” stamping, that is, without the use of gold leaf. Most of the stamps were cut intaglio, so that their impressions are in cameo form. Such bindings were made to perfection during the 12th and 13th centuries at Durham, Oxford, Cambridge, London and other places. One of the most charming examples left is the binding of the Winchester Domesday Book of the 12th century (Plate, fig. 1), now belonging to the Society of Antiquaries of London.

From about the 7th to the 16th century illuminated manuscripts were held in the greatest esteem. Among them can be found not only exquisite calligraphy but exquisite miniature painting. Moreover, the gorgeousness of the illuminations inside suggested gorgeousness of the outside coverings, so we find splendid work in metals with jewels, enamels and carved ivory, dating from the 7th-century Gospels of Theodolinda at Monza, the Irish cumdach of the Stowe Missal, the Lindau Gospels now in America, and the Gospels of Charlemagne in the Victoria and Albert Museum at South Kensington, to the magnificent bindings of 14th-century Limoges enamel in the British Museum. Such English bindings of this kind—intrinsically precious—as may have existed have all disappeared,—most likely they were melted up by Henry VIII. or Edward VI.; but at Stonyhurst there is a book known as St Cuthbert’s Gospels, which is bound in red leather with a repoussé design upon it, and is probably the work of the 7th or 8th century (Plate, fig. 2).

When printing was introduced into Europe about the middle of the 15th century, there was very soon a reaction against the large, beautiful and valuable illuminated MSS. and their equally precious covers. Printing brought small books, cheap books, ugly books, generally bound in calf, goatskin or sheepskin, and ornamented with large panel stamps in blind. But a new art came into birth very shortly, namely the art of gold tooling on leather, which in capable hands is almost a great art, and specimens of the work of the few great masters that have practised it are now much sought after and likely to increase in estimation and value. All this, as usual, brings a school of skilled faussaires into the field, and already the collector of fine bindings must be wary, or he may easily give thousands of pounds for forged or made-up objects that are worth but little.

In the matter of leather bindings with gold tooling, an art which was probably brought to Venice from the East, the finest examples are to be found in late 15th-century Italian work. The art quickly spread, and Thomas Berthelet, Royal Binder to Henry VIII., seems to have been the first binder who practised it in England. Berthelet’s work is strongly Italian in feeling, especially at first, and it is likely that he was taught the new art by an Italian master; he worked until about 1558.

During the late 15th and the 16th century in England, numbers of fine printed books were bound in velvet and satin, sometimes set with enamels, sometimes embroidered. These books, having strong threads of metal freely used upon them, have lasted much better than would be expected, and instances of such work made for Henry VIII. are still in excellent condition, and most decorative.

The fashion of ornamenting English royal books with heraldic designs, which is considered to have begun in the reign of Edward IV., has continued without break. The same fashion in books belonging to private owners was first followed during the later Tudor period, and then numbers were made, and have been, more or less, ever since.

During the whole Tudor period several small bindings of gold ornamented with enamels were made. Some of these still exist, and they are charming little jewels. They were always provided with a ring at the top, no doubt for attaching to the girdle.

Aldus Manutius, the great Venetian printer, had several of his books charmingly bound in dark morocco with “Aldine” knot leaves and small dolphins both in blind and gold tooling; and Giunta, a Florentine printer, had his books bound in a similar way but without the dolphins. Many early Venetian bindings have recessed panels, made by the use of double boards, the upper of which is pierced, finished in true oriental fashion.

Jean Grolier, viscount d’Aguisy, treasurer of France in 1545, was a great collector of fine books, most of which were bound for himself, and bear upon them his legend, Portio mea domine sit in terra viventium, and also his name, Io Grolierii et Amicorum (Plate, fig. 3). Tommaso Maioli, an Italian collector of about the same time, used the same form of legend. Books bound for him are curiously marked with atoms of gold remaining in the irregularities of the leather.

Demetrio Canevari, physician to Pope Urban VIII., had his books bound in dark green or deep red morocco, and upon them is a fine cameo stamp with a design of Apollo driving a chariot with one white horse and one black horse towards a mountain on which is a silver Pegasus. The stamp was coloured, but in most cases the colour has now worn off. Round the stamp is the legend .

The Italian bindings which were made for popes and cardinals are always of much interest and often of high merit, but as a rule later Italian bindings are disappointing.

Geoffrey Tory, printer and engraver to Francis I. of France, designed some fine bindings, some for himself and quite possibly some for Jean Grolier.

For Henry II. of France much highly decorative work in binding was done, richly gilded and coloured. These bindings have upon them the king’s initials, the initials of his queen, Catherine de’ Medici, and the emblems of crescents and bows. Henry’s device was a crescent with the legend, Donec impleat totum orbem. Bindings of similar style were made for Diane de Poitiers, duchesse de Valentinois, with her initials and the same devices of crescents and bows. They are always fine work.

German bindings are mostly in pigskin, finely stamped in blind. Several are, however, in calf. Gilding, when it exists, is generally bad.

In England during the 17th century much fine work was done in binding, most of it in morocco, but Henry, prince of Wales, always had his books bound in calf. The Jacobean style is heraldic, with semis of small stamps and heavy corners, but James I. has left some very fine bindings in another style (Plate, fig. 4), very possibly done for him by John Gibson, who bound the royal books while James was king of Scotland only. During the reign of Charles I. Nicholas Ferrar founded his curious establishment at Little Gidding, and there his niece Mary Collet and her sisters set up a bindery. They made large scrap-books, harmonies of the Gospels and other parts of the Bible, with illustrations, and bound them magnificently in velvet stamped in gold and silver. They were taught by a binder who worked for John and Thomas Buck, printers to the university of Cambridge, and the Little Gidding stamps are often identical with Buck’s.

