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