1
FACSIMILES OF BOOK-BINDINGS.
A COLLECTION OF
FACSIMILES FROM
EXAMPLES OF HISTORIC OR ARTISTIC
BOOKBINDING, ILLUSTRATING THE HISTORY OF BINDING AS
A BRANCH OF THE DECORATIVE ARTS.
LONDON BERNARD QUARITCH, 1889.
15
PICCADILLY.
Digitized by the Internet Archive in
2015
https://archive.org/details/collectionoffacs01quar
TABLE OF CORRESPONDENCE Between the numbers on the plates as issued under the name of Quaritcli's Illustrations, and their numerical arrangement in the table of contents. Also reference to the pages of the Catalogue of Bindings.* Page
Order
Order
arrange-
bindings.
ment.
• ••
in
Catalogue of Book-
of
CI issue.
47
...
129
5i
...
186
32
...
II
••
33
...
II
42
5
••
3i
...
12
6
..
41
...
9
7 8
57
...
38
12
...
7
9 10
13
...
..
48
13
..
46
14
••
36
2
3
4
arrange-
72
..
29 IOO
...
101
•
.
.
•
7
73
137
84
•
...
129
49
6
...
129
50
55
19
55
...
24
57
20
..
28
...
24
58
•
63
...
32
68
•
24
..
98
...
25
••
99
...
26
21
27
39 90
59 61
62
••
35
...
184
22
...
20
65
...
19
...
14
66
14
70
94
194
77 81
99 100
11 ..
134
.
96
...
142
•
42
...
28
-
67
...
40
101
..
84
••
43
102
••
75 85
...
46
•
1
...
189
103
•
7 8
...
191
104
••
74
193
105
••
95 83
35 ••
45
...
129
7i
50
...
186
72
...
23
...
21
106
35
..
78
73
...
70
...
40
107
36
..
69
••
39
74
...
15
...
9
108
37
..
82
•
135
75
3
...
186
in
38
••
54
...
196
•
95
...
131
...
193
91
69
26
52
...
22
..
80
64
...
196
97 98
...
39
12
...
igo
58
...
...
25
17
...
68
53
96
63
191
•
•
2
90 20
...
4 184
46
...
18
...
47
93
30
90
...
...
...
...
...
61
...
9
27 26
87
...
66
...
..
39 36
67
41
52
140
76 86
••
8
...
•
43
64
23
..
•
185
.
...
94 20
..
92
...
93 88
185
49
91
24
3
...
...
38
30
•••
92
...
29
103
..
.
56
62
16
.
.
.
•
...
90
54
27
6
71
89
3
40
...
.
•
.
IO
5
18 ••
..
26
...
44
..
19
•
bindings.
16
87 88
•• ...
85 86
•
.
.
83
17
34
•
35
...
33
ment. .
59
53
32
arrange-
47 48
52
•
82
38
13
3i
81
...
27
..
16
65
...
28
6l
79 80
89
34 102
•
78
..
37
23
77
16
43
4
22
25
...
45 46
51
••
76
in
Catalogue of Book-
of
of issue.
135
Page
Order
Order
I
...
14
16
•
..
...
15
bindings.
ment. ..
..
in
Catalogue of Book-
of
of issue.
39 40 4i
i
Page
Order
Order
.
.
..
..
97
•
79 60
..
33 141
145 •••
133
130
(The missing Nos. 11, 12, 21, 44, 56, 109, no, refer to Facsimiles from miniatures which can of course have no place in this volume.) * This Catalogue, uniform in size and binding with the present work, can be
had
for 21s.
in
MSS.,
TABLE OF CONTENTS. The numbers on the
plates,
and
present arrangement of the plates, but will not be found
left indicate the
The numbers on
marked upon them.
1
German stamped binding:
2
Flemish stamped binding
3
Flemish stamped binding Small 8vo.
5
6
(No. 69.)
Bruges, 1525.
:
Venet.
:
Ghent
Camerarii Prsecepta.
or Bruges, 1536.
(No. 75.)
Basil. 1536.
English stamped binding London, 1532. Wliytforde's Pype of Perfection. London, 1532. Bound for Catherine of Aragon. (No. 51.) 4to. stamped binding London, 1532. Whytforde's Pype of Perfection. English London, 1532. The reverse cover. (No. 52.) 4to. German stamped binding, slightly gilt Bavaria, 1552. Jovii :
:
:
virorum
Illustrium
German
stamped
binding,
Florent.
Folio.
vitae.
Antiquitates Judaicse.
II.
Small 8vo.
Terentius.
(No. 62.)
Pfaltzgraf Otto Heinrich. 7
Psalterium Latein. und Teutsch.
Basel, 1503.
Basel, Furter, 1503.
Aldus, 1517.
4
right are the only ones which appear upon the
Gothic bindings stamped in blind-tooling.
I.
4to.
tlie
represent their accidental succession, as issued in fasciculi.
1549.
Bound
for
Basel,
1562.
Josephi
the
(No. 49.)
slightly
Folio.
gilt:
(No. 70.)
Basilese, 1559.
Modern European bindings: early examples derived from Saracenic models.
8
Spanish
9
Venetian
gilt
binding
Monederos.
11
8vo.
MS. on
Venetian gilt binding 8vo.
Aldus, 1501.
Venetian gilt binding 1521.
MS. on
Folio.
binding, slightly
Gentes. 10
Seville,
:
(No. 94.)
:
1448.
vellum.
gilt
vellum.
:
Carta de Previllegios
1470.
About 1470.
Venice, 1501.
los
(No. 71.)
1447.
Venice,
de
Athanasius contra
(No. 85.)
Martialis
Epigrammata.
Small
(No. 77.) :
Venice, 1521.
Sallustius.
Small 8vo.
Aldus,
TABLE OF CONTENTS.
8
Cameo-bindings of the sixteenth century.
III. 12
Venetian work, stamped and gilt: Venice, Small
in Aristotelem.
13
Venetian work, stamped and gilt
14
Venetian work, stamped and gilt
Small
in Aristotelem.
Commentarii.
15
Venetian
Small
(No.
medallion.
i2mo.
Cortegiano.
Joannes Grammaticus
The
reverse cover.
With
1539.
(No.
9.)
Capella (Galeazzo) the
Canevari
6.)
stamped and gilt
work,
8.)
Venice, 1540.
:
Venet.
4to.
(No.
Venice, 1525.
:
Venet. 1504.
folio.
Joannes Grammaticus
1525.
Venet. 1504.
folio.
Vinegia,
Venice,
:
With
1538.
Castiglione,
1540.
il
Canevari medallion.
the
(No. 74.)
IV. 16
Bindings of the sixteenth century in transitional
French
binding, stamped and gilt
Passio S. Dionysii. 17
German
Small
4to.
Wien
Denis, 1549.
St.
:
(No. 76.)
Gregor Nazanzenus,
Vienna, 1550.
:
Docaei Vita et
Printed on vellum.
(Paris) 1549.
binding, stamped and gilt
Predig.
Presentation copy to Maximilian
(1550).
(No. 95.)
II.
18
i2ino.
style.
German
stamped and
binding,
doctorum virorum.
gilt
:
Vienna,
Bound
Basil. 1556.
for
Elogia
Jovii
1557.
Anna, Duchess of Saxony.
(No. 30.) 19
Italian binding, stamped and gilt Furioso.
Venetia,
4to.
1562.
:
Rome, Bound
for
Orlando
Ariosto,
1565.
Annibale
d'Altems.
(No. 65.) 20
French binding, blind-tooled Paris, 1565. Dante, l'Amoroso Convivio. i2mo. Vinegia, 1531. Bound for Catherine de Medici. (No. 83.) :
V.
Bindings executed for Jean Grolier.
21
Italian binding
22
Italian
23
French binding
for
Venice, 1528.
:
Jean Grolier. (No. 26.) binding: Venice, 1528.
Reverse cover.
1540.
VI. 24
Macrobius.
Bound
Macrobius.
Brixise, 1501.
Folio.
Brixia?,
Roma.
Folio.
Bound 1501.
(No. 27.) Paris, 1540.
:
Folio.
for
Serlio, Antiquita di
Jean Grolier.
Venet.
(No. 72.)
Bindings done for Henri Deux and Diane de Poitiers.
French binding Lyons, 1545-46. Sallustius. Bound for the Dauphin, afterwards Henri II. :
Lugduni, 1545.
i2mo. (No. 29.)
TABLE OF CONTENTS. 25
French binding
:
Paris, 1550-55.
Bound
Paris, 1507.
4to.
Navis Stultiferae Collectanea.
Henri
for
9
II.
and Diane de
Poitiers.
Small (No.
88.)
26
French binding
Paris,
French binding folio.
:
Navis
1550-55.
Collectanea.
Small
Camerarius de Praedestinatione.
Small
Reverse cover.
Paris, 1507.
4to.
27
:
Paris, 1556-7.
Bound
Paris, 1556.
for
Stultiferae
(No. 89.)
Henri
II.
and Diane de
Poitiers.
(No,
19.)
28
French binding: folio.
29
Reverse cover.
French binding Paris, 1559-60. Bound for Diane de Poitiers.
Venice, 1540.
Small
(No. 20.)
Themistii Opera.
:
Folio.
Aldus, 1534.
(No. 40.)
Grolieresque bindings: Italian.
VII. 30
Camerarius de Praedestinatione.
Paris, 1556-7.
Paris, 1556.
Appiano, Guerre de Romani.
i2mo.
Vinegia, 1538.
(No.
Small 4to.
Vinegia, 1547.
(
28.)
31
Venice, 1550.
32
Venice, 1550.
Patrizzi,
il
Sacro Regno.
No
-
5-)
(No.
Boccaccio,
il
Decamerone.
Small 4to.
Vinegia,
1548.
3.)
34
Venice, 1550. Boccaccio, il Decamerone. Small 4to. Vinegia, 1548. Reverse cover. (No. 4.) Ferrara, 1552. Finaei (Orontii) Sphaera Mundi. Small 4to. Paris, 1551.
35
Bound for Ant. Brasavola. (No. 16.) Rome?, 1555. Petrarca, Rime. Small
33
Cardinal Alessandro Farnese. 36
Rome,
Pope Pius IV.
for
37
Rome?,
1565.
Vinegia,
1553.
Bound
for
(No. 32).
Niphi Libellus de Rege.
1565.
4to.
Small 4to.
Neapoli, 1523.
Bound
(No. 14.)
Turnebi Adversaria. 4to.
Parisiis, 1564.
Bound for Muretus (?).
(No. 15.)
38
Rome,
Heures a lusaige de Romme.
1565.
8vo.
Paris,
Hardouin, 1515.
(No. 46.)
VIII. 39
Paris, 1545. 1543.
40
Grolieresque bindings: French.
Dialogue des troys Estatz de Lorraine.
Bound
Paris, 1560.
for the
Postel (G.) de
Bound apparently 41
Paris, 1565.
Due de
Bembo
for
Mercceur.
Magistrates Athen.
Francois
II.
Folio.
Strasbourg,
Small 4to.
Paris, 1541.
(No. 31.)
(No. 18.)
(Pietro) gl' Asolani.
121110.
Aldo, 1515.
(No. 84.)
TABLE OF CONTENTS.
IO
42
Paris, 1565.
Valerius Maximus.
43
Paris, 1565.
Coustumier de Normandie.
Folio.
(No. 99.) about 1460. (No. 55.)
Venetiis, 1478.
MS.
Grolieresque bindings: English.
IX.
46
Forme and Maner of making Bishops. Small 410. London, Bound for Edward VI. (No. 53.) London, 1550. Ochino, Primacie of Rome. Small 4to. London, 1549. Bound for (Sir) Thomas Wotton. (No. 33.) London, 1552. (Calvin) Exemplum desperationis in Francesco Spira. iamo.
47
London,
44
London,
1549.
1549.
45
Geneva?, 1550. (No.
1545.
48
London,
1559.
(No. 13.)
London, 1569. for
Biblia Latina.
51
52
The
Folio.
Venet. 1557.
Bound
for
Henry
(No. 10.)
Bishops' Bible,
Archbishop Parker.
first
quarto.
London, 1569.
Bound
(No. 54.)
Grolieresque bindings: Flemish and German.
X. 50
Geneve,
1.)
Fitz-Alan, Earl of Arundel.
49
i2mo.
Calvin, Instruction contre les Anabaptistes.
1552.
Antwerp, 1555. Seneca, Flores en Romance. i2mo. Anvers, Bound for L. Ploed. (No. 34.) Antwerp?, 1560. Vegece et Valturin. Folio. 2 vols, in 1. I 53 6 -55Bound for Count Mansfeld. (No. 2.) Einsideln, 1612. Annales Heremi monasterii. Folio. Friburg. Brsg.
1555.
Paris,
1612.
(No. 96.)
XI.
Veneto-Lyonese, stamped in the centres or corners with Grolieresque patterns.
53
Venice, 1550.
54
London, 1580. Justiniani Institutiones. i2mo. Geneva, for Queen Elizabeth. (No. 38.) Edinburgh, 1580. Bodin (Jean) la Republique. Folio. Bound for James VI. (afterwards James I.) (No. 50.)
1522.
55
.
Aldus,
1578.
Bound
(No. 87.)
XII. 56
8vo.
Alcyonii (Petri) Medices legatus de Exilio.
Paris, 1568.
Paris,
1577.
French Bindings by the Eve Family. Novum Testamentum Grascum.
Printed on vellum.
Grolieresque style.
The
i2mo.
Stephanus, 1568.
dedication copy bound in 2 vols, for Charles IX.
(No. 57.)
TABLE OF CONTENTS. 57
Paris,
Romanum.
Missale
1575.
Grolieresque and foliate. 58
Breviarium
Paris, 1575-80. style,
Folio.
60
Paris, 1585-90.
1581.
guerite de Valois style,
Paris, 1600.
63
style,
palm-wreaths and
?,
1580.
Rome,
Paris,
Bound
1584.
for
Psalmorum.
Bound
for
Early Bourbon
style,
Lion, 1558.
Folio.
Bourbon
Paris, 1619.
4to.
Louis XIII.
Early
(No. 61.)
fleurs-de-lis.
(No. 22.)
Theologorum aliquot Grascorum
Folio.
libri.
(Tiguri),
(No- 58.)
1559-
65
Mixed
(No. 63.)
Foreign imitations of Eve bindings.
XIII.
Geneva
1574.
lines.
(No. 59.)
Dupleix, Memoires des Gaules.
Paris, 1620.
style, fleurs-de-lis.
64
i2mo.
Rondelet, Histoire des Poissons.
Bourbon
Paris,
4to.
(No. 111.)
Apolinarii interpretatio
Paris, 1600.
style,
Small 8vo.
palm-wreath angles and centres. 62
Large
some gold dotted
iEliani varia historia.
Marguerite de Valois.
Mixed
1571.
H. Stephanus, 1581. Marwith palm-wreaths and daisies. (No. 47.)
Terentius Varro.
Paris,
Paris,
7.)
Romanum.
Grolieresque and foliate, with
59
61
(No.
1
Clavii
1588.
Novi Calendarii Romani apologia.
Romas, 1588.
4to.
(No. 45.)
66
Cordova, 1660.
Paris, 1620.
Heures a
l'usaige de Paris.
with inlaid centre-piece. 68
Paris, 1640.
69
Paris, 1649.
4to.
Heures de
la
Vostre, 1508.
8vo.
Vierge.
MS. about
i2mo.
1549.
Novum Testamentum Grsecum.
Pointille decoration.
(No.
Lomenii Itinerarium.
Paris, 1662. decoration.
(No. 66.)
Bound
Eve
style
(No. 100.)
decoration, with inlaid corner and centre-pieces.
70
1660.
Bindings by Le Gascon.
XIV. 67
MS.
Gongora, Obras poeticas.
for the
1640.
Pointille
(No. 23.)
i6mo.
2 vols.
R. Stephanus,
36.)
Small 8vo.
author, H. A.
Paris, 1662.
Pointille
Comte de Lomenie.
(No.
73-)
XV. 71
Rome,
1640.
pieces.
Foreign imitations of Le Gascon.
Bonarelli, Opere.
Bound
for
i6mo. Roma, 1640.
Cardinal Antonio Barberini.
Fan-shaped corner(No. 78.)
TABLE OF CONTENTS.
12
72
London,
1662.
Argyl (Condesa de)
Amberes, 1622.
Bound
for
Alma de San Augustin.
Small 8vo.
Catherine of Braganza, Queen of Charles
II.
(No. 39.)
73
London, 1683. Snape's Anatomy of a Horse. Bound for the Great Duke of Ormond. (No.
Paris,
76
Paris,
1630.
NeW
1640.
'AvdoXoylov.
Guillaume Marescot. 1640.
border
79 80
81
82
83
In
i2mo.
Romse,
i2mo. Early
Bound
1598.
for
Le Gascon's square-border style. (No. 102.) Paris, 1610. Le Gascon's square4to.
Tacitus, CEuvres.
style,
XVII.
78
48.)
Quatro Comedias de Gongora y Lope de Vega. Madrid, 1617. Bound for Louis Phelypeaux de la Vrilliere. Bourbon style. (No. 104.)
Paris,
75
77
London, 1683.
French Binding in the seventeenth century: Bourbon and Le Gasconesque.
XVI.
74
Folio.
with fan-shaped corners and centre-pieces.
(No. 91.)
English binding in the seventeenth century.
Basileae, 1557. London, 1610. Herold, Origines Germanicas. Folio. Bound for Henry, Prince of Wales. (No. 67.) London, 1611. Laud (Archb.) Treatise on Prelacy. Small 4to. MS. 1611. Bound for Henry, Prince of Wales. (No. 35.) London, 1633. Chalcondile, Decadence de PEmpire Grec. Folio. Paris, Bound for Charles I. Bourbon style. (No. 108.) 1632. London, 1635. White (Fr.) Treatise of the Sabbath-day. Small 4to. London, 1635. Bound for Archbishop Laud. (No. 97.) London, 1665. Common Prayer. Folio. Largest Paper. 1662. Inlaid with pieces of various coloured leathers. Bound for Charles II. (No. 68.) London, 1670. Primigeniae Voces linguae Graecae. 32mo. Paris, 1619. Bound for John Evelyn. (No. 37.) London, 1690. Ofncium Eucharisticum. i2mo. London, 1689. Eve-LeGascon style inlaid with variegated leathers. (No. 106.) ;
XVIII.
French binding,
late seventeenth
century: Boyer and 84
Paris, 1675. 1662.
85
Seuil.
Gustmeier (Fab.) Fecialis Germanicus. i6mo.
Bound
Paris, 1705.
Du
Du
and early eighteenth
Seuil.
for Colbert,
by Boyer.
Joubert, Traite du Ris.
(No. 103.)
Amstclodami,
(No. 101.)
Small 8vo.
Paris, 1579.
Bound by
TABLE OF CONTENTS. 86
by 87
Nouveau Testament.
Paris, 1715.
Du
Boccaccio, Decamerone.
Bound by Du
XIX.
89
Paris, 1756.
92 93
95
A. Derome.
J.
Edinburgh, Edinburgh, Edinburgh, Edinburgh,
1720.
The The The
1729.
Mitchelson
1717. 1717.
London,
97
London, 1790.
3 vols.
i2mo.
1659.
Edinburgh, 1717. (No. 86.) Edinburgh, 1715. (No.
Bible.
i2mo.
Bible.
Small 8vo.
Bible.
i8mo. (J.)
Edinburgh, 1716.
64.)
(No. 90.)
Disputatio Juridica.
Edinburgi,
4to.
Eve
Small 4to.
Paris,
Bound by
1502.
Mosaic and Grolieresque. Small 4to.
Paris, 1502.
(No. 24.) Inside
of
Book-covers of peculiar fabric.
MS.
Officia
sororum ordinis
of the fifteenth century.
With
Venetian gilt leather, Sec. XVI. Ducale appointing a governor of Vicenza. covers impressed, painted, and
gilt,
4to.
to
S. Augustini.
the copper-gilt plaque
from some earlier MS. affixed to the front of the cover.
(No. 42.)
London,
(No. 25.)
Lombard metal-work, Sec. XII. folio.
Lon-
(No. 98.)
Small 4to.
Outside of cover.
style.
XXII. Small
4to.
(No. 107.)
Artus de Bretaigne. Artus de Bretaigne.
Paris, 1870.
London, 1760.
Modern French imitative binding.
Marius-Michel.
cover.
Black.
Lilly (William) Christian Astrology.
Bound by Roger Payne.
Paris, 1870.
Londini, 1737.
(No. 105.)
Bound by Robert
XXI.
101
Mosaic
1756.
Anderson's Constitutions of the Freemasons.
1767.
don, 1767.
100
France.
(No. 80.)
96
99
la
(No. 43.)
London, 1737. Horatii Opera, incidit Pine. 2 vols. 8vo. Bound by Elliot and Chapman. (No. 82.) London, 1760. Conduct of the Dutch at Surinam. 8vo. Harleian style.
98
Londini,
English and Scottish binding in the eighteenth century.
1729.
94
Padeloup, Derome.
(No. 81.)
Goudar, Interets de
binding by
qi
(No. 93.)
Bound by Padeloup.
1737.
90
Firenze, Giunta, 1527.
4to.
Horatii Opera seneis tabulis incidit Pine. 2 vols. 8vo.
Paris, 1740.
XX.
Seuil.
Small
French binding, eighteenth century:
88
Bound
Mons. 1667.
i2mo.
2 vols.
(No. 92.)
Seuil.
Paris, 1715.
13
(No. 41.)
Doge Paschal Ciconia MS. Venetia, 1596. The
of the
resemble metal and enamel.
TABLE OF CONTENTS.
14
102
English silver embroidery, Sec. XVII. The Bible, Genevan version. 4to. London, 1599. Bound for a member of James I.'s family about
103
French metal-work, Sec. XVII. Bound in Paris about 1673, in
1615.
(No. 17.)
painted enamels.
(No. 79.)
Officium B.V.M. silver filigree, set
32do.
Paris, 1673.
with amethysts and
HE
volume now offered to the public claims rank
This assertion
not merely as a collection of plates.
a book,
as is
based,
not upon any vain belief in the value of the text, but upon nature
the
of the
They have been
illustrations.
selected
with a clear purpose from examples of the art of ornamental book-
which range consecutively over three centuries of European
binding, practice,
and exhibit the successive styles that have prevailed
in the
ornamentation of books, from the Revival of Letters to the middle of the eighteenth
Since the latter period there has been no
century.
among
boldness of conception
originality or
the binders.
Bibliophiles
whose eyes have been accustomed to dwell with pleasure upon the
may
grandeur of Bedford's work, and the exquisite delicacy of Trautz, be shocked by this statement fair
and
full
and
1785
consideration. 1820,
by
Kalthoeber, and Lewis strike out
we
are
its
truth must be recognized after
we exclude
the attempts made, between
bound
to confess that there has
A. M. Padeloup
made by
a couple
of
Roger Payne, in
as applied to
been no binder of
in
What
1759.
be conjectured from the gallant
store can only
as
and by Bozerian and Thouvenin
independent methods of decoration
since the death of
being
but
few English binders such
a ;
If
;
to
book-covers; original merit
which are now
emancipate their
labours from the stigma of secular thraldom to old models. the former
home (though
regeneration
;
tradition
not the cradle) of the has
become
a
art,
— to
the future has in
efforts
young Englishmen
France,
there
In France, is
no sign of
law rather than an inspiring
influence.
In the eyes of most people, bookbinding
is
a trivial handicraft
;
yet
INTRODUCTION.
i6
as
much
as
upon the cultivation of
of
and splendour has been lavished
skill, taste,
loftier
forms of
The
art.
examples are
finest
unfortunately found associated with books that are
tomes of divinity and philology, or of annals
in its exercise,
"no books,"
dull
written by Latinists
as
insensible to style and to the spirit of history.
The dry and
nature of such books has caused their preservation
;
dismal
while the frequent
handling of those which belong to true literature has led to the almost
complete destruction of well-bound copies. but rather to rejoice furnish the to save
limits
ought not to regret,
the unreadable quality of the books which
most beautiful specimens of old binding, since
what we should otherwise have wholly
Amongst sists,
in,
We
it
has helped
lost.
the hundred and three plates of which this volume con-
two or three may be found which do not of time.
Such, for instance,
maybe
plate 100, which
is
fall
within the prescribed
the example of metal-work on
referred to the end of the twelfth century.
accompanied by three other specimens of binding (101,
102, 103),
It is
which
are also different in character from the kind treated of in the present
Such likewise
introduction.
is
the example of
modern decoration due
Messrs. Marius-Michel, on plates 98 and 99.
be said of plate 8
but
;
which, notwithstanding cally to our subject,
The
essential
this its
is
The same might perhaps
an example of Spanish leather-binding
age and insulated character, belongs emphati-
and deserves to be regarded
difference
as its starting-point.
between hand-work and stamp-work
external decoration of books, should always be borne in
would be
times,
mind
in ;
the
but
it
injudicious, in a collection of illustrations like the present, to
keep them all
to
apart.
Each method borrowed something from
and we find many instances
combined.
In
Germany
in
the other at
which the two processes were
the mechanical
mode
prevailed at
and the credit of the ornamental designs which we
find
all
time:
upon
olJ
hogskins of the sixteenth century belongs not to the binder, but usually to artists quite
unconnected with bookbinding.
At
an earlier time the
INTRODUCTION. bookbinder was frequently an engraver
also,
upon the plates or blocks with which
his
540- 1 550, and were adaptations,
rich
They were
own
designs
The
Venice about
in
by means of engraved
hand-worked designs created by French binders
compeers.
his
books were stamped.
examples of the mechanical system originated
finest 1
and made
speedily adopted in
of the
plates,
and
for Grolier
his
countries, as being at
all
once cheap and elegant. Lyons, Paris, and London made use extensively of this
of
method of book-decoration, which
James
I
and Louis
XIII.
Of
lasted
course
down not
did
it
contemporary practice of handwork of another fashion which
in
successors,
its
turn,
was
as
as
Down
and to
time
exclude
— the Eve
Legasconesque
its
mechanically imitated.
also
mechanical method
well
to the
the
style
Boyeresque
our time, the
pursued for the use of publishers who like to send
is
out their books in numbers, in showy, uniform bindings. It will be seen,
from our plates, that except
in
we have avoided
the selection of stamped work,
such departments of ornamental
binding
as
allowed no
alternative.
After the preliminary general remarks offered above, address the subject in
its
particular bearings.
that one should begin at the beginning,
writers
before
its
a
good old maxim
poraries of
many
phases
devotees discovered that there was nothing like leather.
Augustus bound their folded books
volumina or rolled ones) must search the
of small value.
the sheets
The
observance.
and the craft of the binder must have passed through its
time to
those of the Egyptians in
in clay,
Those who desire to know something of the mode
their
is
is
and a goodly number of Teutonic
have set some wonderful examples of
books of the Babylonians were bound stone,
It
it
We is
which the contem-
(as distinguished
from
classical writers for hints
can only conjecture that the practice of stitching
together
boards as covers
in
is
very ancient
;
that
the imposition of
of nearly equal antiquity
wrapping the boards
in velvet
or
;
some such
wooden
and that the custom of pliable material
was
in
INTRODUCTION.
1
vogue
at a
empire
it
very early date.
In the flourishing days of the Byzantine
was not unusual to decorate the outside coverings of the more
precious tomes with ivory carvings and with gems
was imitated with
In his time also arose the custom of
calligraphers.
superposing metal plaques (of gold,
silver,
picturesque
(see
or
symbolical
metal work formed a frame
became not unusual
price,
plate
which an ivory carving was
it is
and
it
we
follow
it,
would be
frequently transferred, either wholly or
from one book to another during the course of many centuries
Books of minor importance must
also
to find at the
it
was
originally
have had coverings, and
allowable to suppose that the value of calf-skin and sheep-skin for
that purpose
must have been discovered not very much
usefulness for writing-material.
was employed
in
England
It
is
latter substance
later than their
certain that the hide of the sheep
for centuries before Caxton's time,
not altogether superseded by calf leather
The
set,
often studded with stones of great
present day any such binding on the work to which applied.
into
Sometimes the
100).
would indeed be an extraordinary circumstance
it
wrought
brass)
gilt
their history, could
They were
extremely curious.
and
in
this kind,
were so valuable that
in parts,
designs
or
to beautify portions of the gilt surface with bands of
Book-covers of
enamel.
and the practice
West, when Charles the Great surrounded himself
in the
bookmen and
;
till
the reign of
and
it
was
Henry VIII.
was used more exclusively on the continent
at
an
earlier date.
The
oldest
known examples
in
Western Europe of decorative
binding in leather, have been ascertained by Mr.
England
in the twelfth
Weale
and thirteenth centuries.
to belong to
The ornamentation
was effected by means of metal stamps cut with rude designs the rose was a favourite figure (a fers
fvoids, the
progress
of the
French
call
;
and impressed forcibly
it).
In France and the
in
in blind-tooling
Low
Countries, the
same method was probably contemporaneous
towards the close of the fifteenth century,
we
which
for, ;
find in all those countries
INTRODUCTION.
19
examples of similar kind, the Netherlandish being the In Germany,
ornamental of the three.
much
its
finest
use was later and continued
longer, a relic of the Gothic times long after the Renaissance
At
triumphed completely throughout the rest of Europe.
we may
estimate,
leather
had
a rough
say that the secular career of Gothic bookbinding
stamped with blind-tooling
twelfth century and the
and most
—
Western Europe, began
in
in the
ended with the reigns of Henry VIII, Francis
and
I,
Emperor Charles V.
A
different
temporaneously
style in
of decoration
the
upon
and
empire
Eastern
bookcovers
Levant generally.
the
Although derived unquestionably from Byzantine sources, and adaptation call this
in
its
adoption
as Oriental,
and we may
from the Gothic.
Its features
Syria and Egypt stamped
style Saracenic as distinguished
con-
existed
it
were of purely geometrical character, with knots and interlacements,
A
usually effected in blind-tooling.
single or double rectangular border,
formed of continuous rope-twist, and a circular central ornament up with convolutions of similar pattern.
At
plaits,
were the chief elements of the
brown
duced into Venice and Naples relations with the East.
as
a natural result of their
From Venice
binding," simply because they of Saracenic type. in
The
of decorative
or dark red leather) had been intro-
it
intimate
passed into other Italian
and we frequently hear books spoken of as
unknown
mode
the end of the fourteenth century this
binding (usually applied to
filled
" in
cities,
the original Medicean
were Venetian or Florentine specimens
use of gold instead of blind-tooling was not
the Levant, but
it
was not adopted
beginning of the last quarter of the fifteenth century.
one of the earliest examples, in which only timidly and tentatively added.
it
Its
will
in
Venice
Plate No.
till
1
the
shows
be seen that the gilding
is
ornamental value was, however,
soon recognized, and from 1490 onwards the use of gold has been general. In the workshop of Aldus at Venice, in addition to the style of ornamental borders
on the sides of
books,
such as the
example on plate
10
INTRODUCTION.
20
(Martial) and an occasional indulgence in Persian decoration derived
from Egyptian models (probably by Levantine hands), we plainer bindings
were
precisely like the
with simple
gilt
work of ordinary modern
was a smooth morocco, usually olive
The
fillets
forming rectangular
The
binders.
figures,
leather he used
in tint.
classical taste prevalent in Italy in the early part of the six-
teenth century led to the creation of what
They
find that his
by the impression,
are distinguished
of books,
of designs
within
relief
in
called cameo-bindings.
as centre-pieces
circular
gems or medals.
subjects found on antique beautiful examples
we have
frames,
Demetrio Canevari belong to the same
Most of the specimens of the
latter
sides
representing
Plates 12 and 13 furnish
and the bindings usually described
;
on the
class.
as
executed for
(See plates 14 and
15.)
kind were produced in Venice
between 1540 and 1560, and cannot therefore have been made Demetrio Canevari who was born
in
1559; but he
may have
for
inherited
them.
About 1520
new and
a
into fashion in Venice Its influence
;
beautiful
which
is
came
was so powerful that the old Gothic mode of Western
work.
pigments as well
as
in the efforts of
bookbinders to imitate
principal characteristic was the
Its
application of
gold to elaborate geometrical patterns formed by
parallels, interlacements,
The suddenness
merit.
of decorating books
usually called Grolieresque or Maiolesque.
Europe was speedily extinguished the Italian
method
and convolutions of the highest decorative of
its
appearance, in consummate perfection,
without any traces of preliminary development, has led to the belief that
its
There
is
between of
its
origin a
must be referred to a single
manuscript of the Epistles of Cassiodorus executed for Leo
15 13
and 151
illumination,
the sides
atelier or a single artist.
we
5,
which, although Florentine in the character
must have been written and bound
find the Pope's
ornament, with outer
X
fillets
at
arms painted on the leather
Rome.
On
as a central
of simple silver lines, which are shaped as a
INTRODUCTION. The
lozenge within a square.
Rome
therefore, earlier at
21
use of various pigments on leather was,
than
at
Venice
;
but the geometrical inter-
lacements which were introduced at a somewhat later date
work at
Venice for Grolier, and bearing examples of the
oldest
name, are the
his
style in question
and were
;
(the date
of Grolier's death) other
France, at
first in
finest as well as the
all
probably sent out
From 1530
from Aldus' workshop between 151 8 and 1530.
volumes were bound
to
1565
him
for
in
a style similar to that of his Venetian books, but less
rigidly geometrical, and, in course of time,
more
The books bound
merely imitations of the Venetian designs.
are
Roman
in
more simply composed and
elegant, with single flowing lines of gold substituted for the painted
compartments of the Italian patterns. predominant successively
in his
In
;
the third
distinct
on plate
21, the
styles
his forty or
second on
not figured here under his name, but
is
is
fairly
Such an unbroken succession
represented by the Henri II plate 25). of achievements
there are three
books during the course of
forty-five years of book-collecting (the first
plate 23
fact,
ornamental bookbinding, with results so clearly
in
and yet so much akin, produced
in three centres so far apart as
Venice, Lyons, and Paris, by the hands of craftsmen differing from each other in training, custom, and nationality,
is
sufficient to
prove that the
collector, not the binder,
was the real designer of the work of decoration.
We
the argument
may even extend
still
further,
and conclude that
Grolier was the creator of the school of binding bearing his name, and that
it
was he who suggested or furnished designs for ornamental book-
binding to Aldus Manutius.
Jean Grolier (born 1479, died 1565) was not a mere book-collector.
The book-collector
is
a benefactor of
due to benefactors of every kind. find that to him,
tunity of
mankind, and deserves the respect
Scholars
who
live after him,
and to him only, they are indebted
and who
for the rare oppor-
examining those forgotten weeds of an elder literature which
frequently reveal
mora
to the historical student than the finest
and best
INTRODUCTION.
22
known
flowers of the
creed
is
—
But
will bless the book-collector.
nurture any high esteem for the amiable being whose
difficult to
it is
same period
Sic vos non vobis.
Grolier was, by profession, a financier and
statesman, by education a scholar, and a book-collector simply because
he was a scholar
who
Many modern
loved books.
been book-collectors because they were not
omne ignotum pro magnifico. by no book of
his
own
Grolier's
writing, but
and took, therefore,
scholars,
eminence
bibliophiles have
in learning
shown
is
by the dedications of many books
to
of the Aldine
Academy
— consisting entirely of men devoted to the revival of classical
literature,
members
him, and the fact that he was one of the
procurement of correct
to the
history daring those eight
the Apostate. the case as
—but we cannot
can no more blame him than
all
Marot, and Ronsard
we might blame
Francis
The
European countries was the
restora-
and schools of a knowledge of those antique models
which had been caricatured
in the literary essays of the
was a reaction powerful enough to blind scholars,
to the healthy
whether such was
tell
works of Shakespeare.
for his lack of appreciation of the
tion to colleges
and
illustration of art
— so completely relish the works of Villon,
primary movement of the age in
It
and to the
happy centuries that divided Xerxes from Julian
If Grolier did not
we do now, we
Bacon
texts,
developments of vernacular
About 1530 Grolier brought
his
Middle Ages.
as well as divines,
literature.
books to France.
From
that time
till
1565 (with a few short exceptions) he lived in Lyons or in Paris.
His
Italian bindings led to the creation of a fashion
men
;
or, at
the least,
we must suppose
their
At
him and
the
French bindings done
the French-
that he contrived to inspire
French workmen to emulate the success of first
among
for
some
Venetian contemporaries. for his friends
were
wholly similar to those of the Italian craftsmen, and their gorgeousness
was more of the
attractive to book-lovers than the simple
purely French work done afterwards
shows the
style of the Italian artificers ;
for
and sober elegance himself.
plate 23, that of the
Plate
21
Frenchmen.
INTRODUCTION.
23
In the former, the geometrical design which constitutes the decoration, appears in relief through the use of pigment between the outlines the latter
is
it
style imitated
Italian
by simple gold
indicated
by
a
Lyonese workman
we
In plate 23
lines.
in
;
see the
young Dauphin
for the
(afterwards Henri II), and plate 24 shows us that the prince, then King, retained the Italian
groundwork
mixed with the newer French
Of
newer French
that
Tory,
w ho
there
is
it is
T
in the
in the
is
as his patron
name
present work no specimen bearing Grolier's
is
it
—probably suggested or created by GeofFroy
Champ-Fleury speaks already of Grolier
Plate 42
in execution,
although
later,
which had been adopted by Grolier.
style
and
sufficiently exemplified in plate 25,
English).
is
style
some years
still
in plate
49 (although
but
;
this
is
French example of the same kind, but weaker
a
and not so elegant
former two.
as either of the
Plate 39
another instance of Italian Grolieresque done for a semi-French prince,
Comte
Nicolas
de Vaudemont.
In England,
same
the
cultivated for a short while with great success, and the
of the
warm brown
calf
worked out
in black,
44 and 45 illustrate the English manner
47 the
mode
smooth surface
used in England served to heighten the effect
of the ornamental design
see the inceptive
was
style
;
edged with gold.
in the latter of
which we can
encroachment of the new French patterns.
of execution
is
still
Plates
In 46 and
the same, but the forms are already
varied from the sharp and angular characteristics of Italian geometrical
work, inclining more to the free and curved style of the latest French Italianesque work, as seen in plate 41
(Bembo), which, although behind
the date of the English specimens,
anterior in origin.
in fact, a
is
second Italianesque mode adopted by the Frenchmen, perhaps
contemporaneous with,
method referred
certainly not
above
to
earlier
little
influence.
while
:
than,
the
pure French
as Grolier's third style.
Grolier binding was imitated everywhere.
but a
It represents,
In England
it
flourished
twenty years bound the extremest stretch of
Introduced
in the first
year of
its
Edward VPs reign, patronized
INTRODUCTION.
24
by the young King
himself,
by
Sir
William Cecil (afterwards Lord
by Thomas Wotton (afterwards
Burleigh),
the famous Sir Henry, and by a few others
bound
we It
Matthew Parker
for
;
it
reached the end of
The one example
Italianesque career about 1560.
the Bible
Thomas), the father of
Sir
its
after that period,
1569, shows the only attempt
in
aware of to introduce the French Grolieresque (plate 48).
are
has been suggested that foreign
workmen were employed
in
London
The
to execute these bindings, but the conjecture seems unfounded.
leather alone
work done
not the only criterion which distinguishes Grolieresque
is
in
England from that done on the Continent
fact that
it
plate 49 bears on
was bound
its
is
a
and the
;
MS. reference
fly-leaf a
"Master Parker,"
for
there
which marks the English hand
certain individuality of style
book represented on
:
to the
undeniable phrasing
in the
of an English craftsman.
Germany we
In
(on plate 52) an example of Grolieresque
find
hand-work so recent
seventeenth century.
as the early part of the
In Italy, Grolieresque methods rapidly degenerated into extrava-
A gradually
gant luxuriousness. in
such bindings
are
many specimens
have not thought
examples (such
on plates
are given
as
of a
declining and corrupted taste
more
as that
porary French work
37
seen
and there
;
existence which
hor. ible kind in
The
necessary to reproduce.
it
36,
32,
31,
is
less
we
detestable
on plate 38) are simply imitations of contem-
in its
weaker- stages.
French binding had not
escaped from the deteriorating influence of excess, and we find on
40 a proof of
plate
it.
binding, attributed on the plate itself to
ought probably to be referred to Francis
Francis
I,
1560.
Such execrably
first
The
florid
work was unknown
II,
in the time of the
Francis, although he died only thirteen years earlier.
Italian
models which suggested the binding
followed in Flanders,
which
is,
as
in
to a
The depraved
question,
seen in plate 50 and plate
by the way, referred
and to the year
were
51— the
also
latter of
French craftsman of 1556, upon
INTRODUCTION.
the plate
itself,
but should rather be ascribed to a Flemish imitator
On
about 1560.
25
bound
plate 47 (Biblia Latina,
and on the binding of a book not figured
in 1559),
in these facsimiles
(Bouchet, Genealogies des Roys de France, Poictiers, 1545 Sir in
Thomas Wotton about
we
1560)
Arundel
for the Earl of
— bound
for
see a similar corruption of taste
English instances. In
plate 43
(Coutumier de Normandie) the transition may
between pure Grolieresque and the Grolieresque
observed
Veneto-Lyonese mechanical type.
It
is
of
be the
hand-work, but there are
all
only angle and centre-pieces, leaving a large portion of the leather
The Farnese volume on
plain.
same direction, but
less
plate
markedly.
35 also evinces a step in the
The mechanical
style alluded to
seen on plate 54 (Queen Elizabeth's Justinian), and, with
new Bourbon
ture of a for
James
work
—
is
I).
A
type, on plate 55 (a
less typical
but far more
Bodin bound
artistic
appearance
its
A
That
and beautiful no one can deny who looks on plate 56
is
bastard
1568 in the work of the
in
Royal Binders during about seventy years.
Testamentum Graecum), but
it
sins
by multiplication
in
it
was
(Novum
form.
The
smaller in scale than that of the true Grolieresque, and over-
harmonized by repetition of the decoration that every portion
is
parts.
One may
patterns are plainly imperfect entirety exhibit the absolute
Towards
began to show
say of the
as elegant as the whole,
well suffice for the entire decorative surface
whole.
—Venetian
family of binders at Paris who, from father to son, occupied the
position of
design
Scotland
in
given on plate 53 (Alcyonius).
French Grolieresque made
tasteful
some admix-
specimen
True Grolieresque binding disappeared about 1570.
Eves— a
is
if
and
;
Eve mode
and would equally
while the Grolieresque
broken into parts
at
all,
and
in their
just subordination of the parts to the
1580, the pure geometrical patterns of the
.slight signs
of
of further decoration
— not,
first
Eve
as in the Grolier-
esque books, blending naturally in the plan of the whole ornamental
INTRODUCTION.
26
design, but simply additional, for the purpose of filling
the naked spaces.
thrown
in
formed
a short
up portions
of
Small wreaths of leaves and palm-branches were
here and there
curved
and occasionally a few
;
line springing
little
gold dots
from some of the corners of the
The wreaths
ground pattern and ending nowhere.
of foliage
became
so fashionable in time that they were multiplied to such an extent as to
conceal the beauty of the geometrical design. transition at a period before disfigurement
effect solely
red leather.
began
:
upon the employment of gold on
The
it is
a specimen of
work produced by the Eves, depending
the finest and most elegant its
Plate 58 exhibits the
Missale on plate 57
is
a surface of bright
less pleasing,
in
consequence
of an injudicious combination of pigments and silver with the gold the ground-pattern
is
simpler and very graceful.
shows an attempt to adapt the the
new Veneto-Lyonese with
junction artificial
in the
square
style
little
;
but
Plate 61 (Apollinarius)
palm-branch ornamentation to
of corners and centre-pieces, in con-
The
outer-borders.
and incongruous, but the
effect
is
details
look
somewhat
not unpleasing, and
we
find
treatment of the back, and the olive colour of the morocco, an
early example of the
reign of Louis XIII.
first
Bourbon
style
which prevailed throughout the
Plates 59 and 60 represent the binding in which
Marguerite de Valois loved to dress her books. identical with those
are
for
worked
on plate
61,
The
chief details are
but the palm-branches on the sides
into oval shapes over the
surface (excepting the
entire
square outer border), and within the ovals are set daisies, roses, and other flowers.
A
central
oval
encloses
the
escutcheon
of
Queen
Marguerite (as a child of France simply, not as a Queen or as a
The back and the
is
wife).
similar to the sides, with the exception of the escutcheon,
entire effect
is
fine
but not elegant.
The
design
is
too
much
crowded, too rich and too pretentious to be compared with the beautiful
work which had been done
for other
thirty or forty years earlier.
Clovis
members
of the house of Valois
Eve was almost unquestionably
the
INTRODUCTION. who worked
artist
probably of her
mode
The
selection.
but the
galante,"
transition
of decoration to that of the early
style
from the Eve-Marguerite
Bourbon work
seen on plate
is
untouched by the palm-branch corner and centre-pieces a semis or strowage of fleurs-de-lis,
on plate 63
worked
in
which the semis of golden
in
covered with
is
gold and harmonizing
The purer Bourbon
elegantly with the olive morocco.
pattern
fleurs-de-lis
is
shown
is
the only
ornament beside the central escutcheon, which bears the Royal
English brother-in-law, Charles
artificer
fleur-de-lis
success,
as
I,
from which to compose
Bourbon
and period
style
his pattern,
some very
fine
not distinctively are seen
The most
in
his.
is
French work are represented on ;
and plates
75, 76,
work done by Paris contemporaries of Le Gascon although the principle of the decoration
Foreign imitations of the richer style of Clovis
on plates 64 and
hand-work.
master
his
elegant examples of the
65.
The
first,
done perhaps
overcharged with decoration, and owes probably very to
an imitation
79,
he failed to achieve
executed for Louis Phelypeaux
— perhaps, indeed, by himself, Eve
on plate
and the clumsy volume which he returned to
plate 74 in a binding
is
find
enjoyed, in having the rose and thistle as well as the
merely an evidence of bad taste.
exhibit
we
In spite of the advantage which the
executed for the English King.
London
Arms
This stvle seems to have had some attraction for his
of Louis XIII.
early
is
which, on the sides of the book depicted, the entire surface
in
62,
own
Dame
"
for the royal
27
The second
— an
Italian
one
—
is
at
of
little
clearly
Geneva, its
is
effect
produced by the
impression of a plate (except the imperial escutcheon in the centre);
but the gold pattern stands out, nevertheless, in very elegant and effective relief, is
on the red ground of the leather.
a belated
rich
Spanish example
and not without merit,
The normal
;
if
rather
A third imitation
stiff
and awkward
somewhat peculiar
in
character of English binding in the
(on plate 66)
in design,
but
appearance. first
half of the
seventeenth century (as distinguished from the Veneto-Lyonese decora-
INTRODUCTION.
28
tion
which
still
that of Charles
two are
first
third
is
It is in
survived in rarer examples, and sporadic imitations like
Chalcondyle)
I's
tasteless
work executed
a plain specimen of
Henry Prince
for
good binding done
for
morocco which then began
the smooth blue
The
seen on plates 77, 78, and 80.
is
of
Wales
the
;
Archbishop Laud.
amongst
to prevail
English binders as a covering for the choicer kind of books, and which
remained largely
in use for that
ornamentation
effected
lines, edgings,
The
till
by the sparse employment of gold
centre-piece
result
is
is
The
the end of the century.
and small corner-pieces that round
The
the angles.
arms.
is
purpose
in simple
off the sharpness of
nothing more than the Archbishop's
not inelegant.
The great scholar and
lawyer, Jacques Augustin de Thou, was flourish-
ing as a book-collector in Paris towards the close of the sixteenth and
Books bound
the beginning of the seventeenth century.
recognized
at sight
upon them.
No
facsimiles, simply
from their
specific
is
given in the present collection of
in his library
fillets
and nothing more, beyond the central escutcheon
were, for the most part, decorated with simple gold
the exact prototypes of the later
Bourbon
volumes bearing the arms of Louis
XIV
Thou's books were, however, bound
in a
Eve Breviarium on
was the
first
his binder.
collector
to
and served
and Louis
XV.
Some
who procured
of
manner exactly resembling
plate 58, but the examples are rare.
skins.
it,
De
that
De Thou
While others preferred the exclusive employment of red
of his
large
library
by causing
his
;
he diversified the
books to be arrayed
The morocco which we now
Spanish, was one of his favourite materials, and as he was the
use
as
a variety of leathers for the use of
variously in citron, olive, red, or brown. call
;
binding, familiar to us on
morocco, or of olive morocco, or of brown calf character
The
because they are so numerous and well-known.
books
of the
are
and the armorial bearings stamped
style
example
him
for
we may assume
that he
was himself the importer
first
of the
INTRODUCTION.
A binding of such
29
Spanish morocco, decorated in simple gold lines
with a geometrical pattern which might be attributed to Clovis his simpler days,
but which
is
shown by several
details to
represented on plate 67.
This
productions of a binder famous under the
name
XIII's time,
is
of a very different kind.
nymic or a local designation of a recently published
known whether
not
It is
Le Gascon
of
name
the
in
belong to Louis
one of the
is
Eve
earliest
for
is
work
a patro-
and some persons, including the editor
;
volume of specimens of binding
in
the Biblio-
theque Nationale, are inclined to think that Florimont Badier (known
Gascon who
from a single signed example of his work) was the
acknowledged by everybody
lightly to
however, whose
Marius-Michel,
decoration.
having been the #chief
as
is
artist in pointille
artistic
instinct
not
is
be rejected, holds that the signed volume of Badier
an
is
example of such execrably bad taste that he cannot have been Le Gascon.
Of Le Gascon we only know
really that
1640, decorated with masses of gold
some volumes bound about
produced by an
infinite variety
by contemporaries
repetition of dots arranged in curved lines, are said to
been
have
the
attribute all the best are in the
Eve
style,
To
work of "Le Gascon." achievements because
in
in that line,
some of the
no pointille whatever, but the
outside,
and a few others which
latter the pointille gilding
In plate 67, there
line of triangular dots, inside as well as
which flanks the external
fillet
of the framework, belongs to a
period not earlier than the year 1620, and was frequently used great pointille binder of 1640.
We
Gascon rather than to Clovis Eve that
Le Gascon made
his
we
him, therefore,
appears as a subsidiary branch of the ornamentation. is
and
by the
Le
therefore assign the volume to
— in whose
house we may conjecture
acquaintance with the art he
practised so
successfully.
Plates 68 and 69 represent the full perfection
enable us to assure ourselves that binders
who
created a school of
art.
of pointille,
and
Le Gascon was one of the few great There was no lack of imitators
in
INTRODUCTION.
30
Paris
—witness the Florimont Badier
tried to follow his
—the
patience
above referred to
Few, indeed, were endowed with that
example.
truest element of genius
the brilliant success of his career
means, to some
;
and most of
to be assigned to the master's hand, but
whom
not to
to ascribe
crowning triumph of
bound books down exist
his artistic life
was engaged
his rivals
used mechanical
if it
in
The
results.
perhaps, too late in date
were not Le Gascon's, we
were
it
;
is,
his,
was the
it
last
and
and we must suppose that he
to the seventieth year of his age.
no exact data to verify
that he
If
it.
enabled him to achieve
Le Gasconesque
obtain
degree, to
— which
beautiful specimen reproduced on plate 70
know
— and many men
this conjecture,
nearly ascertainable
it is still
binding as early as 1620
;
Although there
and few
men
in that
handicraft enjoyed an active career so protracted as that of the late
who was
Francis Bedford,
at
work on
his
own account
for nearly half
a century.
We the
Eve
have mentioned two methods of decoration used by Le Gascon: kind, in
which geometrical patterns are worked out
simple
in
gold lines; the pointille, in which delicate curves of minute gold dots are so disposed as to occupy precisely those portions of the leathersurface which
would have been
left
blank
in bindings of the
so that the geometrical design was ingeniously
former
sort,
formed by the spaces of
red leather rising in apparent relief between the masses of glittering pointille.
A
third
mode was
borders on the sides, but that each border
simply the old fashion of double rectangular
made
was broadened
daintier to a
style has
in
;
referred
to
in
its
in all countries,
Two
lace.
a preceding
connection with the early Bourbon bindings.
had a continuous vogue
have reached
petits fers so
deep fringe of gold
examples appear on plates 75 and 76 paragraph
by the use of
The
and may be
highest excellence in the borders of Boyer,
last
said to
Du
Seuil,
Padeloup, and Derome. Plate 71 shows the state of binding in Italy in
Le Gascon's
time.
INTRODUCTION.
3i
Like some other specimens of the same age,
and more
creditable than
the
— and
handsomer
ridiculously gorgeous attempts of the
was never effectually stemmed.
work
infinitely
is
preceding century; but the progress of debasement in
latter part of the
taste
it
Spanish also
— has
been
From
at a
that time to this, Italian
very low stage, and needs no
further mention.
In England, in the second half of the seventeenth century, a great diversity
is
The
to be observed.
in the ugliest
a few expert
vast majority of the books
and plainest covers which bad taste could imagine
workmen produced such
on plates 72 and
73, the
Duke
which Boyer however,
that
all
native style,
English binders
usually
worked out
name of Hugh
binding-offices in
the second
Hutchins
style,
a foreign
as
we
see
make
remarkably
a
is
John Evelyn
in
fine
square Le Gasconesque
his
This was not,
own.
A
could accomplish. blue morocco,
is
thoroughly
connected with
London, and with contemporary
in
Oxford and Cambridge.
Bourbon
no suggestion of
in imitation of the
Paris was beginning to
in
Le Gascon
Ormonde.
of
introduced models, and on plate 74 there
example of English work done
the
imitations of
while
;
former being a book bound for Catherine of
Braganza, the latter done for James also
were bound
It
was evidently based upon
but so completely individualized as to present
model. The ornamentation
in
gold was simple
and used with restraint, and only a French connoisseur would deny to
many
of the extant examples the
solidity.
In
credit of
the minor details of the
appearance of a number of
little
good
taste,
decoration,
we
sobriety, and find
the
ornaments which became distinctively
English throughout the period between Charles II
and George
The books, which were most expensively bound
for
Sunderland and for the
first
Earl of Oxford,
are
that kind; usually less excellent than their prototypes.
method, comparatively here
between
1665
florid
the
17 10.
It
is
III.
Earl
of
examples of
—Another English
rare, distinguishes the finest bindings
and
first
produced
of a highly decorative
kind,
INTRODUCTION.
32
dependent
for
effect
its
upon
and an elaborate
a rich display of gold
inlaying of pieces of leather different in colour from the blue
ground.
This mosaic work
on plate
81,
not always so magnificent as the specimen
is
or so elegant as that on plate 83
of ornamental
cultivation
among some
art
Bindings of that sort ceased to appear
Queen Anne models,
and
morocco
in
;
but
marks
it
London
of the
England
a high
binders.
after the death of
but Parisian craftsmen were attracted by the English
;
Monnier, Derome, signalized themselves by
Padeloup,
dazzling and splendid achievements of similar character between 1720
and 1750.
(See plate 89, which
however, but a weak representative
is,
of the French mosaic school.)
The Boyer to
or
Boyet family of binders flourished
in Paris
As compared with everything which had gone
1730.
adopted by them
style of binding
;
some were
Many
of
simply selected from the work of their
the ornamental details were
predecessors
before, the
own.
distinctively their
is
from 1670
quite
new
and the mode
;
which they were
in
applied to the red or blue morocco coverings, manipulated with great skill,
was fresh and elegant.
countries ever since, in substitute
new methods.
of facsimiles
flower
in the present collection little
;
the surface of these being
other decoration than the gold
book bound
at
An
elegant ornament
is
left to a large
fillets
and the
the figure of a
the angles on the sides and in the panels on
but this had been used by contemporaries and followers of
Le Gascon before the a
to
a
The only example
than the sides
gilt
sometimes placed ;
few weak occasional attempts
spite of
corner-pieces of dentelle-work.
the back
all
seen on plate 84, which represents a
is
extent blank, without
vase,
has been followed bv the binders of
In the Boyer books, the backs of the volumes are more
for Colbert.
elaborately
It
or
a
corner-pieces lozenge-shapes.
in
bit
of
first
Boyer's time.
lace-work
which,
The in
usual
combination with
the panels on the back, left the
The morocco
lining
is
ornament was
morocco blank
a characteristic
the in
of the better
INTRODUCTION. kind of Boyer bindings
it
:
33
was usually plain with the exception of a
dentelle-edging of gold.
During the
Du
Seuil,
famous
twenty years of the eighteenth century, Augustin
first
who had
evidently been brought up in Boyer's house,
His work
as a binder.
is
more ornate than
and shows a renewal of some of the fine
Le Gascon's
time.
morocco
olive
86, 87.
Boyer's.
for
He
Padeloup.
in
of Boyer, but he
This
artist,
seen on plate 88
decorated than the Padeloups,
member was Antoine
His
One
style
Du
a
Seuil by adding a
who
The
one under the name of success between
a decorator he
The two
Derome
first
is
Derome
cut the margins of his books in
manner and who evidently did not mean
followed similar methods.
work
of the best examples of his dentelle
a binder of considerable merit,
As
was usually that
which have been adopted or copied
details
— a beautiful copy of Pine's Horace.
be opened for reading.
J.
85,
between 1730 and 1759, produced
improved both on Boyer and
his successors.
a deplorable
chief
symmetry and elegance.
number of small ornamental
was
See plates
the production of his best effects.
bindings in red and blue morocco, which have never
fine
been surpassed
all
and delicate methods of
He likewise affected leather linings more richly Du Seuil connected himself by marriage with
number of
by
that of his teacher,
indulged in broad dentelle borders and preferred
another great family of binders, whose
Michel
became
was
that they should
inferior to
Padeloup but
binders usually classed together as
le jeune,
imitated Padeloup with great
1760 and the Revolution, but although superior to
A. Derome, they never equalled the other master.
The
last
years of the eighteenth century witnessed the extinction of the
twenty
Derome
school and the utter debasement of French binding.
With Padeloup's Horace may be compared
a fine specimen of
contemporary English work applied to another copy of the same work (plate 94).
In the latter
which prevailed
we
see the best kind of English bookbinding
in the last century,
and which
is
usually identified with
INTRODUCTION.
34
the
names of
books
Elliot
and Chapman. During about thirty years they bound
George
for the chief collectors of the time of
successors inherited their
the famous Harleian Library.
while on plate 96
we
decorating volumes which passed into
in
skill
and some worthy
II,
Plate 95
good example of
a
is
this style
contemporary workman, who placed
his
attacked the suffering leather upon
all
sides with that powerful
—which
is
The
morocco
blue
displays the It
come
is
;
see an extravagant achievement of bad taste bv a
lining
faith
plenty of gold, and
in
reproduced
not
weapon.
the plate
in
same profuse elaboration.
time to mention a Scottish school of bookbinding which had
into existence towards the
end of the seventeenth centurv, and
which disappeared about 1730-40. petits fers,
It
made
a very
remarkable use of
and produced wonderfully bright and sparkling
The
tiny dots and leaves of gold.
over-elaborate,
execution
but the
design
is
always
effects with
usually somewhat creditable
stiff
and
and ingenious.
Plates 90, 91, 92, 93, are good specimens of the Scottish manner.
The renown
of
Roger Payne
that he loved his art,
is
great in England.
No
one can deny
and produced with small means some
and characteristic examples of bookbinding.
which he worked was russia
which he employed were
leather,
The
striking
favourite material on
and the methods of decoration
almost wholly his own.
The
grotesque
accounts in his handwriting which owners of books bound by him are
fond of preserving, show
how
defective
how
must have
been
his
knowledge of what
accomplished by the binders of a former time skill
of no
common
order.
Plate 97
kind of work which he preferred of an ordinary sort, for patrons
was Roger Payne and
utterly illiterate
;
—but
who
is
;
a fairly
had been
yet he had taste and
good specimen of the
he also produced " pot-boilers
"
did not appreciate his characteristic
methods.
When
Roger Payne died
in 1797, there
were several craftsmen
in
London, whose work was considered so good on the continent that the
INTRODUCTION.
35
Paris binders Bozerian, Thouvenin, Simier, and others, revolting from
the decay of native
art,
made strenuous
efforts to imitate
but not just
They
its style.
earnestness and solidity,
infused fresh vitality into English methods, and
enough of their native manner to produce an agreeable
Kalthoeber was the most his
its
work
is
it.
Germans who
Benedict, Walther, Staggemeier, and Kalthoeber, were
had imported from their own country only
and adopt
prolific
and
coarse, gaudy,
and excellent of them
cross.
Some
all.
of
but he introduced motifs of
tasteless,
decoration which had the charm of novelty, and he covered his books with a polished red morocco so exquisitely rosy in
Hering
the eye.
at
Lewis, tasteful, elegant, and
binder
Clarke,
who was
England.
aristocratic
1820 and
the
reproducer
first
Bedford,
Next came Charles
Germanic school.
between
models, but whose usual
as to fascinate
same time copied Roger Payne, but with
the
modifications derived from the
English
its tint
in
1840;
style,
the chief
contemporary with him,
our age of sixteenth-century
in
work was the respectable
who had worked with
who was
gilt-calf of
modern
Lewis, continued his traditions,
allied himself
with Clarke, and reached the summit of his profession.
He was
chief of English
the
binders
produced splendidly dull bindings,
all
between
very much
1850 and 1870, and alike,
except in a few
instances in which he copied Venetian-Saracenic patterns of the fifteenth
He
century.
also imitated
sixteenth century, styles, all
French work of the present century, and many other
copied with scrupulous
about Bedford
:
may be In
said that there
it
artist
There was nothing
seem
to be
original
As
of the highest order.
would be invidious
France, about 1830, the
against the
fidelity.
he was a mechanical
for the binders of to-day, it
Veneto-Lyonese work of the end of the
to
make
some prospects of
allusions
;
but
a brighter future.
bookbinding world began to rebel
Bozerian, Thouvenin, and
Napoleonic fashions
tendency was to return to Boyer and Padeloupian methods.
;
and the It
was
wise and judicious revolution, and ought to have been the genesis of
a
new
INTRODUCTION.
36
Bauzonnet, Simier
excellence.
way
and
;
and
in
the hands of several
delicacy
of
contemporaries,
execution well
as
themselves with glory
No
—
as
Duru, and Niedree, led the
le jeune,
men
been
have
reached.
binders
several
in so far
of taste the utmost perfection
and
his
of to-day, have covered
glory can
as
Trautz
be won by imitation.
trace of originalitv can be discovered in the brilliant and beautiful O J
accomplishments of modern French
compassed by conscientious spirit
is
for the
taste,
skill,
painstaking,
absent,
—the
Avork.
Everything which could be
ingenuity, fulness of resource,
— has
earnest and
Only the
been achieved.
vivifying
one indispensable quality which would console us
absence of the most exquisite neatness and regularity.
The
artist
of the sixteenth century worked with a few simple and imperfect
tools,
used the rule and compass very sparingly, trusted to
to his
hand
in
a
sublime confidence that they would
inspirations with sufficient accuracy
and boldness
Facsimiles he will be found justified.
—
his
eye and
carry out his
in this collection of
Griggs fecit 1889.
Quaritch's Illustrations, No. 62.
FLEMISH STAMPED BINDING, SEC. Terentius.
Small &vo.
Bound, probably
XVI.
Venehis in aedibus Aldi, 1617. in Bruges, about 1525.
ENGLISH STAMPED TUDOR BINDING, SEC.
XVI.
Whytforde (Rich.) Pype or Tonne of Perfeeti on. 4ito, London, Redman, 1532. Jor Catherine of Ar agon ; the royal arms of Henri/ VIII stamped on the upper cover, and repeated, impaling those of Aragon, on the lower.
(Lower)
Qua titch's
Griggs jecit 1889.
Illustrations, No. -19
GERMAN
BINDING, MIDDLE OF
THE SIXTEENTH CENTURY.
Jovii (Pauli) Illustrium virorum vita.
Bound for
the
and
Flo,
Folio.
Pfalzgraf Otto Heinrich, Duke of Bavt.ria, in 1552 his crm-t on the lower, cover.
;
with
entice,,
1549.
Ms portrait on
the upper,
itch's Illustrations, No. 70.
Griggs fecit 1889.
GERMAN STAMPED BINDING
IN
Josephi Antiquitates Judaicce.
Sound
in,
1562
;
THE SIXTEENTH CENTURY. Folio.
Basilece, 1559.
probably at Basel.
Quaritoh's Illustrations, No. 71.
Griggs fecit 1889.
SPANISH BINDING
IN
THE FIFTEENTH CENTURY.
Carta de Prcuillegios de los Monederos de Sevilla.
Bownd
in Seville in the year 1447-48.
Folio.
MS.
1447.
Quaritch's Illustrations, No. 85.
VENETIAN BINDING Athanasius contra gentes.
Bound
at Venice about 1470,
IN
THE FIFTEENTH CENTURY.
8vo.
MS.
on vellum.
(Venice, about 1470).
and shewing an early use of gold
in the ornament.
Griggs fecit 18S9.
Quaritch's Illustrations, No. 77.
ITALIAN BINDING
OF THE SIXTEENTH CENTURY.
Martialis Epigrammata.
Bound
in the Aldine
\2mo.
workshop soon afler
Venetiis, Aldus, 3501.
the publication oj the book.
Quaritch's Illustrations, No. 94.
ITALIAN BINDING
Griggs fecit 1889.
IN
THE SIXTEENTH CENTURY.
Sallustius de conjuratione Catilince, etc
Bound
Small 8vo.
Aldus, 1521.
in Venice, about 1521, in the publisher's house.
Qrigga fecit 1888.
ITALIAN CAMEO-BINDING
ABOUT
1525.
Joannes Grammatieus in Aristotelem. Small folio.
Venetiis, 1504.
Quaritch's Illustrations, No. 9
Griggs
ITALIAN CAMEO-BINDING
ABOUT
1525.
Joannes Grammaticus in Aristotclem. Small folio.
Veni/iit, 1501.
'fecit
1868.
Qriggs fecit 7888.
Quaritch's Illustrations, No. 6.
ITALIAN CAMEO-BINDING
ABOUT
154-0-1550,
Capella (Galeazzo) Commentarii.
Small
ilo.
Venet. Qiolito, 1539.
Bearing the Medallion ascribed to Canevari.
Quart tchs Illustrations, No. 74.
Italian"
Castiglione (Baldesar)
Hound, probably
Griggs fecit 1889.
cameo binding
in Venice, about
il
in
the sixteenth century.
Cortegiano.
1540-50; and stamped wiih
12mo.
Yinegia, 1538.
the medallion ascribed to
Bemetrio Canevari.
Griggs fecit 1889.
Quaritch'e Illustrations, No. 76.
FRENCH BINDING
IN
THE SIXTEENTH CENTURY.
Doecei (Io.) vita et passio Dionysii.
Bound
in the
V2mo. printed on vellum.
Abbey of
St. Denis.
.
1549.
Quaritch's Illustrations, No. 95.
GERMAN
.
BINDING
IN
THE SIXTEENTH CENTURY.
Nazanzeni vnd Gregor. Nisseni Predig. Bound in Vienna about 1550 for presentation to
Gregor.
Griggs fecit
Wien (about 1550). Emperor Maximilian II.
Small Mo. the
Griggs fecit 1889.
Quarltch's Illustrations, No. 85.
ITALIAN BINDING IN
THE SIXTEENTH CENTURY.
Ariosto, Orlando Furioso.
Bound
in
Home for Annibale
4to.
Venetia, 1562.
d'Altems, about 1565.
Griggs fecit 1880.
aritch's Illustrations, No. 83.
FRENCH BINDING Dante,
I'
IN
Amoroso Conuivio.
THE SIXTEENTH CENTURY. 12mo.
Bound, probably for Catherine dc Medici,
Vinegia, in
M.
Sessa, 1531.
Paris about 15G0-65.
Quaritch s Illustrations, No. 26.
Griggs fecit 1889.
GROLIER BINDING, 1520-1565. Macrobius de Somno Scipionis.
Bound for Jean Qrolier about
Folio.
1528.
Brixicz, 1501.
(Upper Cover.
QuanUh's
Griggs fecit 1889.
Illustrations. No. 27.
GROLIER BINDING, 1520-1565. Macrobius de Somno Seipionis.
Bound for Jean
Folio.
Orolier about 1528.
Brixice, 1501.
(Lower Cover.
/
Griggs fecit 1889.
Quarltch'a Illustrations, No. 29.
FRENCH ROYAL VALOIS BINDING Sallustius.
Bound
12mo.
1540-65.
Lugduni, 1545.
about 1546, probably at Lyons, for the Dauphin, afterwards Henri II.
V Griggs fecit 1889.
uaritch'a Illustrations, No. 88.
FRENCH BINDING
IN
THE SIXTEENTH CENTURY.
Navis Stultifere collectanea.
Bound for Henri II and Diane de
Small
4to.
Poitiers about 1555.
Paris, 1507.
(Upper Cover).
Quaritch'a Illustrations, No. 89.
FRENCH BINDING
Qrigg3 feeit 188g
IN
THE SIXTEENTH CENTURY.
Navis Stultifere collectanea. Small Mo. Paris, 1507. Bound for Renri II and Diane de Poitiers about 1655. {Lower Cover).
_
Quantch'a Illustrations, No.
19.
it
FRENCH ROYAL VALOIS BINDING Camerarius (Barth.) de Prmdestinatione.
Hound for Henri
II.
1540-65.
Small folio. Paris, 1556. and Diane de Poitiers about 155G-7. (
Upper Cover.)
.
7SS8
Quarttch's Illustrations, No. 20.
Griggs fecit 1888
FRENCH ROYAL VALOIS BINDING Camerarius (Barth.) de Prwdestinatione.
Hound for Henri
II.
1540-65.
Small folio.
Paris, 1556.
and Diane de Poitiers about 155G-7. (Lower Corer.)
Quaritcha Illustrations, No. 28.
ITALIAN
Appiano, Guerre de Romani.
Bound
Griggs fecit 1889
GROLIERESQUE BINDING ABOUT \2mo.
1540.
Vinegia, 1538.
in Venice about 1539-40, perhaps for Orolier.
VENETIAN GROLIERESQUE BINDING ABOUT 1550. Patrizzi, •'
Small
4<o.
il
Sacro Regno. Finegia, 1647.
Boccaccio,
Small
4fo.
il
Decamerone.
Vinegiu, Qiuli/u, 1548.
ITALIAN
GROLIERESQUE BINDING DATED
Orontii Finwi Sphcera Mundi.
Bound for Antonio Brasacola
4to.
1552,
Paris, 1551.
at Ferrara in 1552.
ITALIAN BINDING OF Niplu
Small
<ie
4lo.
THE SIXTEENTH CENTURY.
Mcdicis Libellus de
liege.
Bound for Pope Pius
Neapoli, 1523.
IV., about 1660-65.
Quarltck's Illustrations, No. 15.
Griggs fecit 1888.
FRENCH BINDING OF THE SIXTEENTH CENTURY. Turnebi Adversaria.
Bound apparently for
4to.
Parisiis, 1564.
Mitretus about 1565, with cipher and motto.
Griggs fecit 1889,
ITALIAN
GROLIERESQUE OF THE SIXTEENTH CENTURY.
a lusaige de Romme.
LarqeBvo.
Bound probably
in
Printed on vellum.
Rome
about 1560-70.
Paris, Hardouin (1515)!
Griggs fecit 1889.
Quaritch's Illustrations, No. 31.
FRENCH GROLIERESQUE BINDING Dialogues des troys Entutz de Lorraine.
Folio.
1540-65. Strasbourg,
154-3.
Bound for Nicholas Comte d? Vaudernont (afterwards Due de MercmurJ about
1544.
FRENCH ROYAL VALOIS BINDING Postel (G.) de Magistratibus Atheniensium.
Sound for Francois
I. in
1540-65.
Small 1541-42.
4to.
Pari*, 1541.
Griggs fecit 1889.
Quaritch's Illustrations, No. 84.
FRENCH GROLIERESQUE BINDING Bembo
(Pietro) gl' Asolani.
Bound
IN
THE SIXTEENTH CENTURY. \2mo.
Aldo, 1515.
in Paris ahout 1560-65.
Griggs fecit 1889.
Quarltch s Illustrations, No. 99.
FRENCH BINDING
IN
THE SIXTEENTH CENTURY.
Valerius Maximus.
Bound, probably
Folio.
in Paris, about 1565,
Venetixs, 1478.
for
MDT (or
TDM).
Qriggs fecit 1889.
Quaritch's Illustrations, No. 56.
FRENCH GROLIERESQUE Le Grand Coustumier de Normandie.
Bound about 1565
in a style which
BINDING, 1540-1565. French
MS.
about 1460-70.
shows a survival of Orolieresque methods combined of corner and centre ornaments only.
tvilh the
new fashion
ritch's Illustrations, No. 53.
Griggs fecit
ENGLISH GROLIER ESQUE BINDING, 1548-60. Uo. The Forme and Maner of making and consecrating Bishops. Edward Vl's copy, bound for him in London in 1549.
London, 1549.
Quarltch's Illustrations, No. 33.
ENGLISH GROLIERESQUE BINDING 1548-1560. Oehino, Primacie of Rome, translated by Ponet.
Bound for
(Sir)
Thomas Wotton
Small
4,to.
in 1549-50.
London, 1549
Quai itch's Illustrations, No.
Griggs fecit 1888.
13.
ENGLISH GROLIERESQUE BINDING DATED Exemplum Desperation is
in Francescc Spira.^
IZmo. Genesee, 1550.
1552.
Griggs fecit 138S.
GROLIERESQUE ENGLISH BINDING DATED
1552.
Calvin,, Brieve Instruction eontre lex Anabaptistes.
\2mo.
Geneve, 1545.
Quaritch's Illustrations, Mo.
Orlggs feeit 1888.
10.
ENGLISH GROLIERESQUE BINDING 1550-60. 'ulgata.
Bound for
Folio.
Fern
Henri/ Fiiz Alan, Earl of Arundel, about 1558-59.
Griggs fecit 1889.
Quaritch's Illustrations, No. 54.
ENGLISH FRANCO-GROLIERESQUE, 1569-70. â&#x20AC;˘
Bound
in 15(!9 or
The Bishops' Bible, first Quarto edition.
corner and centre-pieces toilh
London, 1569.
combining the Anglo-Venetian manner of azure the second or French mode of Grolieresque ornament.
1570 for Archbishop Matthew Parker,
in a rare style,
Quari ten's Illustrations, No.
Grigts fecit 1888.
2.
FRENCH GROLIERESQUE BINDING ABOUT Vegece et Valturin (sur I'Art de la Guerre). 2 vols, in
1,
Folio.
Paris, 153(»-1555.
Bound for Count Peter Ernest of Mansfeld.
1556.
Quaritch's Illustrations, No. 96.
GERMAN BINDING
IN
Annales Heremi monasterii
Bound
THE SEVENTEENTH CENTURY. in Helvetia.
Folio.
,
Frib. Brisg. 1612.
in the monastery of Einsideln, in Switzerland, about 1612.
I
, I
I
i
Quaritch's Illustrations, No. 87.
VENETIAN BINDING
IN
THE SIXTEENTH CENTURY.
Aleyonii (Petri) Medices Legatus de Exilio.
Bound
in Venice about 1550.
800.
Aldus, 1522.
1
Griggs fecit
QuaritchS Illustrations, No. 38.
ENGLISH BINDING
IN
THE TIME OF ELIZABETH.
Justiniani Institutiones.
\2mo.
Geneva, 1578.
Bound for Queen Elizabeth about 1578-80.
Griggs fecit 1889.
Quaritch's Illustrations, No. 50.
SCOTTISH BINDING Bodin (Jean) Six Livres de
IN la
THE SIXTEENTH CENTURY. Republique.
Folio.
Paris. 1577.
Bound for James VI of Scotland (afterwards James I of Great Britain) probably
by his own binder John Gibson.
o co
oc 1-4
I
00 (O
e
If
> UJ
I IN
rH 111
X h >CD
O z Q 2 m
-
s
o
N
Quaritchs Illustrations, No.
7.
Griggs fecit 1888.
FRENCH BINDING BY Missale Romanum.
NIC.
Folio.
EVE ABOUT
1575.
Paris, Kerver, 1571.
Griggs fecit 1689.
Quariteha Illustrations, No. 63.
BINDINGS BY THE EVE FAMILY, 1568-1630. Breviarium Romanum.
Roy.
Bound by Nicholas Eve
4rfo.
Parisiis, J. Server, 1674.
at Paris, about 1575-80.
T3
O o (0
7
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k° ft.
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Griggs fecit 1889
Quaritch's Illustrations, No. 61.
BINDINGS 3Y THE EVE FAMILY, 1568-1630. Rondelet, Histoire des Poissons.
Bound about 1600
by Clovis
Eve; with
Folio.
the Qencien
Lion, 1658.
arms on
the sides.
FRENCH ROYAL BOURBON BINDING Dupleix (Scipion) Memoires des Gaules.
Bound for Louis XIII.
160O-164O.
4to.
Paris, 1619.
about 1619-20, perhaps ly Clotis Eve,
BINDINGS BY THE EVE FAMILY, 1568-1630. Theologorum aliquot Grwcorum
Bound
libri.
Folio.
(Tiguri) 1559.
about 1580 {perhaps hy Clovis Eve.)
Quaritch's Illustrations, No. 45.
Griggs fecit 1889.
ITALIAN BINDING OF The dedication-copy,
THE SIXTEENTH CENTURY.
Romani Apologia. 4to. JRomm, bound for the Emperor Rudolph II.
Clavii (Chr.) Novi Calendarii
1588.
SPANISH BINDING
IN
THE SEVENTEENTH CENTURY.
Gongora (Don Luis de) Obras poetieas.
MS.
Uo.
Bound, probably at Cordova, ubout 1660-65.
1660.
in
m o i
CO
h z UJ
< z
O UJ _l _J
H Z o
a
CL
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i o z UJ u.
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S T ^ CO
o
CO (o
h Z W < Z o
a s s
3
Hi _J _1
o n I 8
£ Q Z cc
I o LU
Griggs fecit 1889.
Quat
FRENCH BINDING WITH POINTILLE ORNAMENT, Small 8vo.
Bound for
1630-65.
Parisiis, 1662.
Lomenii Itinerarium. Gascon's house Comte de Lomenie de Brienne, probably in Le
the author, Henri-Auguste
1662.
Griggs fecit 1889.
Quaritch's Illustrations, No. 78.
ITALIAN BINDING OF
THE SEVENTEENTH CENTURY.
Bonarelli (Guid Vbaldo) Opere.
Bound
in
Rome
in
lGmo.
Roma,
1640.
1G40 for Cardinal Antonio Barberino.
Quaritch's Illustrations, No. 48.
ENGLISH LE GASCON ESQUE BINDING, 1560-1700. London, 1683. Folio. Snape (Andr.) Anatomy of a Horse. Bound for James, Duke of Ormond,in London about 1C83-4.
Qriggs fecit 18R9.
Griggs fecit
Quaritchs Illustrations, No. 104.
FRENCH BINDING
IN
li
THE SEVENTEENTH CENTURY.
\%mo. Quatro Comedias de Gongora y Lope de Vega. Bound in Paris, about 1630, for Louis Phelipeaux de
Madrid, 1617. la Vrilliere.
Griggs fecit 1889.
Quaritch's Illustrations, No. 102.
FRENCH BINDING
IN
THE SEVENTEENTH CENTURY.
12mo. Roma, 1598. Neon Anthologion. Bound in Paris for Guillaume Marescot about 1640.
Griggs fecit 1889.
Quaritch's Illustrations, No. 97.
FRENCH BINDING
IN
THE SEVENTEENTH CENTURY.
Oeuvres de Cornelius Tacitus,
Bound
in Paris,
etc.
4(o.
Paris, 1610.
perhaps by Le Gascon, about 1640.
Quaritch's Illustrations, No. 67.
Grigg.
ENGLISH BINDING Herold
(J. B.)
IN
THE REIGN OF JAMES
Originum ae Antiq. Germanicarum
Bound for Henry Prince of Wales about 1608-10.
libri.
With a rose
Folio.
I.
Basileee, 1557.
in the panels on the back.
Quaritch's Illustrations, No. 35.
Qri g gs fecit 188 g
ENGLISH BINDING
IN
THE TIME OF JAMES
[Laud (Archbishop)] Treatise on Prelacy.
Small Uo.
Bound for Henry Prince of Wales
I.
Unpublished
in 1611.
MS.
1611.
Quaritch's Illustrations, No- 70S.
Griggs
ENGLISH BINDING
IN
THE SEVENTEENTH CENTURY.
V Empire Grec. Folio. London for Charles I about 1633.
Chalcondile, Histoire de la decadence dc
Sound
in
Paris, 1632.
Gri S as
Quaritch's Illustrations, No. 97.
ENGLISH BINDING White
(Fr.)
IN
THE SEVENTEENTH CENTURY.
Treatise of the Sabbath-day.
Bound
in
Small
London for Archbishop Laud,
4-to.
London, 1635.
in 1635.
fecit 1889
-
Quaritch's lllustratle
ENGLISH BINDING
IN
THE TIME OF CHARLES
II.
Largest Paper. 1662. The Book of Common Prayer (the Sealed Book). Folio. The royal copy, bound for Charles II, in 1662-63. Now in the library of Lord Crewe, at Crewe Hall, Cheshire ; his
property by inheritance.
Griggs fecit 1889.
Quaritch's Illustrations, No. 101.
FRENCH BINDING
IN
THE SEVENTEENTH CENTURY.
Gustmeier (Fab.) Fecialis Germanieus.
Bound about 1675
16mo.
in Paris, by Boye.r,for the
Amstelodami, 1662.
French statesman Colbert.
Griggs fecit 1889.
Quaritch's Illustrations, No. 103.
FRENCH BINDING AT THE BEGINNING OF THE EIGHTEENTH CENTURY. Small 8vo.
Joubert (Laur.) Traite du Ris.
Bound
in Paris, probably by
Du
Paris, 1579.
Seuil, about 1700-05.
I-
Z LU
o
52
i
I Iz LU LU
h I q
a
LU LU
I h
a
% £ 5 m I o z LU ll
Quaritch's Illustrations, No. 81.
Griggs fecit 1889.
FRENCH BINDING
IN
THE EIGHTEENTH CENTURY.
Horatii Opera aneis tab'ulis incidit Johannes Pine.
Bound
hy A.
M.
2
vols.
1'adeloup about 1738-40.
8vo.
Londini, 1737.
Quailtch's Illustrations, No. 43.
Griggs fecit 1889.
FRENCH MOSAIC BINDING OF THE EIGHTEENTH CENTURY. 3 vols. \2mo. 1756. Goudar (Chevalier) Interets de la France. Bound with inlay* of variegated leather by Derome about 1756-7.
Gr'<>9 s fecit 188g
Quaritch's Illustrations, No. 64.
SCOTTISH BINDING The Holy
Bible.
Bound
in
IN
THE EIGHTEENTH CENTURY. Small
8vo.
Edinburgh, 1715.
Edinburgh about 1715-20.
-
Quar itch's
Illustrations, No. 90.
SCOTTISH BINDING Bible.
18mo.
IN
Griggs fecit 1889.
THE EIGHTEENTH CENTURY.
Edinburgh, James Watson, 1716.
Bound in Edinburgh
about 1716-20.
Quantch
s illustrations, No. oi).
SCOTTISH BINDING
IN
THE EIGHTEENTH CENTURY.
Mitchelson (Joan.) Disputatio Juridica.
Mo.
Edinburgh 1729.
Bound, probably for presentation, in Edinburgh in 1729.
Quaritch's Illustrations, No. 82.
ENGLISH BINDING
Griggs fecit 1889.
IN
THE EIGHTEENTH CENTURY.
Horatii Opera ceneis fabulis incidit Pine.
Bound for
the
2
vols.
8vo.
Londini, 1737.
Earl of Aylesford, about 1738-40; probably by Elliot and Chapman.
Qvar itch's
I
Griggs fecit 1889.
ENGLISH BINDING
IN
THE EIGHTEENTH CENTURY.
Conduct of the Dutch at Surinam.
Bound
in
London about 1760
in the
8vo.
London, 1760.
Harleian
style.
Quar itch's Illustrations, No. 98.
ENGLISH BINDING
IN
THE EIGHTEENTH CENTURY
Anderson's Constitutions of the Freemasons. Bound in London by Robert Black
4to. in
1767.
London, 1767.
ENGLISH BINDING TOWARDS THE CLOSE OF THE EIGHTEENTH CENTURY. Lilly (William) Christian Astrology.
Bound
in
Small Uo.
London, 1659.
London by Roger Payne, for Dr. Benj. Moseley, about 1785-90.
Quaritch's Illustrations, No. 24.
Griggs fecit 18
MODERN FRENCH A) ins de Bretagne
[Roman de
BINDING SEC.
Chevalerie].
Small
XIX. ito.
Bound by Chambolle-Dunt, and decorated by Mariiis-Michel, (Outside.)
Paris, 1502. about- 1870.
Quaritch's Illustrations. No. 25.
Griggs fecit 1888.
MODERN FRENCH Art us de Bretagne
[Roman do
BINDING SEC.
Chevaleriej.
Bound by Chambolle-Duru, and decorated (Inside.)
XIX.
Smalt Mo.
Paris, 1502.
by Marius-Michel, about 1870.
Quaritch's lllustratiom, No. 41.
Qriggs fecit 1889.
ANCIENT BOOK-COVER A plague of copper
Affixed to
IN
GILT METAL.
of God the Father and the symbols of the Evangelists in repousse and chiselled work, with crystals at the angles. Probably of the twelfth century. a fifteenth-century MS. " Officio, sororum ordinis beati Auyustmi." Small folio.
gilt bearing figures
Quaritch s Illustrations, No. 42.
Qriggs fecit 1889.
VENETIAN BINDING GILT AND PAINTED TO RESEMBLE METAL. Ducale of the Doge Paschal Cieonia, appointing Andrea Damula governor of Vicenza, Venetia, 1596. Mo. written on vellum. Bound for presentation from the Doge to the Governor. The lion of St. Hark occupies the centre on the upper cover
<aritch'a Illustration
>,
Griggs fee
No. 17.
ENGLISH EMBROIDERED BINDING ABOUT Bible, the
Genevan version.
Uo.
Bound for a member of ihe family of James
1615.
Barker, 1599. I.
of Great Britain.
i