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works of great rarity or value should be full bound in morocco. If we have the luck to light on a Shakespeare quarto, on some masterpiece of Aldus Manutius, by all means let us entrust it to the most competent binder, and instruct him to do justice to the volume. Let old English books, as More's "Utopia," have a cover of stamped and blazoned calf. Let the binder clothe an early Rabelais or Marot in the style favoured by Grolier, in leather tooled with geometrical patterns. Let a Molière or Corneille be bound in the graceful contemporary style of Le Gascon, where the lace-like pattern of the gilding resembles the Venetian point-lace, for which La Fontaine liked to ruin himself. Let a binding, á la fanfare, in the style of Thouvenin, denote a novelist of the last century, let panelled Russia leather array a folio of Shakespeare, and let English works of a hundred years ago be clothed in the sturdy fashion of Roger Payne. Again, the bibliophile may prefer to have the leather stamped with his arms and crest, like de Thou, Henri III., D'Hoym, Madame du Barry, and most of the collectors of the seventeenth and eighteenth centuries. Yet there are books of great price which one would hesitate to bind in new covers. An Aldine or an Elzevir, in its old vellum or paper wrapper, with uncut leaves, should be left just as it came from the