THE LIBRARY 
 
 OF 
 
 THE UNIVERSITY 
 
 OF CALIFORNIA 
 
 IRVINE 
 
 GIFT OF 
 
 MR. J. L. PETERSON
 
 Oliver Cromwell 
 
 Green Levant— inlays of red and blatk leather. 
 Decorative tooling in gold.
 
 Bib-li-op-e-gis-tic 
 
 (Pertaining to the art of bindinj^ books. — Dibuin) 
 
 to which is appended 
 
 a g-lossary of some 
 
 terms used in 
 
 the craft 
 
 ■/r^i 
 
 ^,9tr5> 
 
 JVitk Illustrations of 
 
 Bindings Designed and Executed by 
 
 The Trow Press, New York
 
 Bibliopc^istic 
 
 TITK cratl of the bookbinder is older than 
 that of the printer. (^iiotiii<r from Mr. 
 Hrander JMattliews: 
 
 "Perhaps the first bookbinder was the hunil)le 
 workman who collected the baked clay tiles on 
 which the Assyrians wrote their laws; and he was 
 a bookbinder also who prepared a protectin<^ cyl- 
 inder to guard the scrolls of pa})yrus on which 
 Vergil, and Horace, and Martial had written their 
 verses.' 
 
 Modern art in l)()()kbinding began in Italy in 
 the fifteenth century. The invention of printing 
 had so multiplied books that the work got out of 
 the hands of the monks, and workmen from other 
 trades were pressed into service, bringing with 
 them their skill in working leather, as well as their 
 tools, and designs which they had previously used 
 to decorate their work. 
 
 xVt this time the libraries were shelves, so 
 inclined, as to allow of the books lying on their 
 sides, inviting their decoration. At first the em- 
 bellishment Avas suggested or influenced l)y the 
 work ill the volume, and \ery often there would be 
 
 3
 
 Cnrols V. Genchtsoi(lnuii<( (1597) 
 
 Vine colored Levant — inlays of red and fxrcen icjitlur. Interlacing 
 bands and decoration tooled in gold.
 
 found on the cover, repetition of the typogiapliic 
 ornunients used by the printer. 
 
 Hut with the nssocijitions and infhienee of the 
 other decorative arts, there came the use of inter- 
 lacing bands, scrolls, and geometric designs, followed 
 by copies of patterns and parts of designs from 
 laces, embroideries, pottery and ironwork of the 
 times. And with the broadening in the ideas of 
 decoration, came the use of irdays of leather of 
 harmonizing colors, and even of precious stones. 
 
 While the art was developing in Italy, largely 
 under French patronage, it was also beginning to 
 flourish in France, where later it readied its su- 
 premacy. So nujch so that up to the nineteenth 
 century it was " France first and the rest nowhere." 
 
 In no work more than in binding have the 
 French shown their fine artistic taste, and in the 
 famous collections of the world the choicest speci- 
 mens are by French binders of the sixteenth to 
 the eighteenth centuries. 
 
 France to-day has many binders of great skill 
 and good taste, but no longer holds the supremacy 
 of the earlier days. England has developed some 
 craftsmen of great skill and original artistic feeling, 
 even though their best efforts are many times but 
 reproductions of older models. 
 
 Barely fifty years ago .America did not ha\ e a 
 binder capable of covering a volume to compare 
 
 5
 
 witli the work of the artisans of France or even 
 Entrland. Hut in that time tliere have developed 
 shops wliere work of such merit is done that it is 
 now no h3n<rer necessary to send one's precious 
 tomes abroad to be properly clothed. 
 
 The true book lover as well as the collector 
 desires for his treasures a suitable binding, and 
 there is to-day an increasing demand for fine bind- 
 inir on individual volumes as well as on sets. 
 
 This demand is not satisfied with " commercial 
 binding" and is too intelligent to accept extrav- 
 agant work, extravagant in over-decoration as well 
 as in price. 
 
 The art of bookbinding is now so widely 
 known and the taste and judgment of the public 
 so thoroughly educated by tlie efforts of the Grolier 
 Club and similar associations that good work and 
 good material are appreciated, gemiine and suitable 
 decoration recognized and the best results obtained 
 in the combination of an intelligent customer and 
 a skilled and artistic workman.
 
 The liook of the Presidents 
 
 Maroon Levant — "arms" ('rifTaiiy & Co. clesifj:ii) inlaid in colored 
 leather. Plain mitred panels, tooled in gold.
 
 r'^T^^'^^^j^vin-^ 
 
 ^.i^^:^:Wx:^.^;;.%r^:im^^smM 
 
 The Book of the Presidents— Double 
 Levant — national colors. Tooled in gold. 
 
 8
 
 The Trow Bindery 
 
 TllK production of fine l)iiHlinL»s is not Ji new 
 departure witli us, hut lius been carried on 
 for many years in wliat lias been aptly de- 
 scribed as, a "quality" department of a "quantity" 
 business, where tine work can be executed at prices 
 that are not prohibitive. 
 
 It is under the direction of a skilled craftsman, 
 and the workmen are encoura<red to excel in care- 
 ful and conscientious work. 
 
 Our endeavor is to produce books which are 
 not surpassed for elegance, elasticity, and dura- 
 bility — the three great requisites of a well bound 
 book. 
 
 AVith technical knowledge to aid us in the 
 selection of the best materials, and excellent tools, 
 we strive for that result which is described as 
 "flawless material faultlessly treated." 
 
 The decoration, if any, is designed in complete 
 harmony with the text, and where warranted, we 
 call to our aid the foremost decorative designers 
 and artists of the day. 
 
 The older models are followed where original 
 designs are not required; and where simplicity is
 
 -^""!. ^ • ^h^ 
 
 
 • :■ '..l^'!'- 
 
 "'■^''W 
 
 /'iH ■■,:•■:.. 
 
 No. I. \'<-lluii 
 
 ■ ^ 
 
 ^^^^^^^mmju/gjl^' 
 
 No. 2. Linen 
 
 llf^ti tTH irTj?.;r'Trr*r^r*H.i: -'Wfil^JftS ; r*mmt.^t^!nt: -.; ' 
 
 No. 3. Buckram 
 
 Samples of specially desit^ned "Marbled" cloths 
 
 F'or sides and iininfrs of half, three-(|uarter or full leather hindinfrs 
 
 10
 
 desired, we hold to the hehef in "the undeconitcd 
 surface of flawless niateriiil, ' bearin«( in mind the 
 sobriety of treatment, but careful execution which 
 distinguishes the best work of the past. 
 
 AS a new departure we are showin<r the use 
 of specially designed cloths for sides and 
 linings, in place of tlie (German marbled 
 papers and French " combs," the most of which as 
 Miss Prideaux says "produce the effect of violent 
 color thrown on wet blotting paper." 
 
 Used as sides on half or three-(niarter leather 
 styles, the cloth gives greater durability, as the 
 surface does not rub, nor will the edges wear off 
 where turned over, as happens with the use of 
 marbled papers. 
 
 As linings they obviate the use of the extra 
 cloth joint, which is unsightly, but necessary for 
 strength with the use of marbled paper ; witii 
 their use the folded edge is pasted in the joint, 
 allowing the cover to be lifted without drawing the 
 end papers away from the book. 
 
 Good taste, and harmony of color are assured 
 by their wide variety, and in addition some new 
 and novel effects may sometimes be secured. 
 
 11
 
 The llistoiic Hudson — Double 
 Green Levant. Pictorial inlay and decoration tooled in gold. 
 
 1-2
 
 rf 
 
 The Scope of our Work 
 
 WE solicit the hiiuliii^ of n single voluine, 
 in any manner, whether it be in half, 
 tliree-quarter, or full leather, with simple 
 or elaborate treatment. 
 
 We will undertake tlie binding of a complete 
 collection or library and will submit quotations 
 w'here desired, or proceed under an appropriation 
 by the customer. 
 
 Wg will carefully attend to special instructions 
 for the extending, interleaving or rebinding of 
 extra illustrated work, presentation copies, memorial 
 editions, etc. 
 
 We also undertake the repairing of any bind- 
 ings, carefully and skillfully mending any torn 
 leaves, and properly guarding any loose sheets or 
 inserts. 
 
 13
 
 Memorial Volume — Double 
 Royal Purple Levant. Floral design inlaid and hand colored. 
 
 14
 
 Glossary of Terms 
 
 Azttred. Ornanientation outliiu'd in i^old and crossed with 
 horizontal Uir's. 
 
 Jiund.s. (1) The cord whereon the slieets of u vohune are 
 sewn. {^) The ridges on the back caused by the l)aiids rais- 
 ing the leather. Hind Band. A knitting of silk or thread 
 worked in at the head and foot of the shelf back of the book. 
 
 Boards. A temporary binding with a cover made of boards 
 and paper. Mill Boards. Tiie boards that are attached to 
 the book, giving stiffening to the cover. 
 
 Bosses. Brass or other metal pieces attached to the covers 
 of a book, for ornamentation or protection. 
 
 Burnish. The gloss produced by the application of the 
 
 burnisher to the edges after coloring, marbling or gilding. 
 
 Collating. Examining the signatures, after a volume has 
 
 been folded and gathered, to ascertain if they be in correct 
 
 sequence. 
 
 Dentelle. A style resembling lace work, finished with very 
 
 finely cut tools. 
 
 Double. When tiie inside of the cover is lined with leather, 
 
 it is termed a double. 
 
 End Papers or Lining Papers. The papers, plain or fancy, 
 
 placed at each end of the volume and pasted down upon 
 
 the boards. 
 
 Fillet. A cylindrical tool used in finishing, upon which 
 
 a line or lines are engraved. 
 
 Finishing. Comprises tooling, lettering, polishing, etc. 
 
 Flexible. A book sewn on raised bands, witli the thread 
 
 passed entirely around each band, allowing tiie book to 
 
 open freely. 
 
 15
 
 16
 
 Fore edge. The front ed^n- of flu- Imvps. 
 
 Forwarding. Comprises .ill I he ()|)crali(ins hot wren prepar- 
 ing and finishing, inchuhng the forming and trinuning of 
 tlic hooks, and the covering of the boards. 
 
 Gmifre Fdge.s. Inipressions made with the finisher's tools 
 on the edges of the book after gihhng. 
 
 (rouge. A finishing tool foiniing the segment of a circle. 
 
 Guards. Strips of paper inserted in the backs of l)ooks, 
 upo)i which inserts are mounted, intended to j)revent the 
 books })eing imeven in Ihickness when filled. 
 
 Inhn/'nig. (1) Extending "extra" illustrations by inserting 
 them in leaves to correspond to the si/e of a l)ook. (2) A 
 stvle of Mosaic work made by the insertion of \aii colored 
 leathers or otiier material on the cover or double-. 
 
 Kettle-SiHch. A catch-stitch formed in sewing at the head 
 and foot. 
 
 Lachig-lu. Lacing the bands on which the book is sewn 
 throuirh holes in the boards to attach them. 
 
 lAmp. A cover without boards or other stiff" materials, 
 allowing the sides to be pliable. 
 
 Marbling. A method of coloring the edges or end papers 
 in various patterns, obtained hy floating colors on a gum 
 solution. 
 
 AFitred. Tooled lines meeting at a right angle without 
 overrunning. 
 
 Morocco. A fine kind of grained leather picpared from 
 goatskin. Levatd Morocco: The skin of the monarch breed 
 of goat ; a large grained Morocco. 
 
 Overcasting. Oversewing the back edges of single leaves of 
 weak sections; also called whipstitching or whipping. 
 
 Pointille. The dotted style of Le Gascon. 
 
 17
 
 Preparing. Comprising all the preliminary operations up to 
 " forwarding,"' including folding, gathering, collating, and 
 
 sewing. 
 
 Jifff'i.stiT. When the printing on one side of a leaf falls 
 exactly over that on the other it is said to " register/' 
 
 RoU.s. Cvlindiical ornamental tools used in finishing. 
 
 Suic\n>r-in. When grooves are made in the back with a saw 
 to receive the bands. 
 
 Semis. A diaper design made up of the repetition of one or 
 more small tools. 
 
 Signature. Each folded sheet or section of a book. 
 
 Squares. The portion of the covers projecting beyond the 
 edges of the book. 
 
 Tall Copy. So called when the book has not been reduced 
 in size by trinnning, with the leaves entirely uncut. 
 Tooling. Impressing the design or pattern in gold leaf, with 
 finishing tools, by hand. Blind Tooling. The impression 
 of finishing tools without gold leaf. 
 
 Specimen decorative backs for half or full leather bindings. 
 Edition work or single volumes. 
 
 18
 
 Intcrpretutioii of Styles 
 
 ALDINK OR ITALIAN' 
 
 Ornanieiits of solid face w itliout any sliadinir wliatevcr, such 
 as used by Aldus and other early Italian jjrintcrs. The 
 ornaments are of Aral)ic character. A style appropiiati- for 
 early printed literature. 
 
 GROLIER 
 
 An interlaced framework of geometrical fijrures — circles, 
 squares, and diamonds — with scrollwork rumiinj^ through it, 
 the ornaments which ai"e of Morescjue chai-acter, generally 
 a/ured in whole or in part, sometimes in outliiu- only. Paits 
 of the design are often studded with gold dots. Time, fiist 
 half of the 16th century. 
 
 MAIOLI 
 
 A style prior to and contemporary with the early (Italian) 
 examples of the Grolier. Generally comjjosed of a framework 
 of shields or medallions, with a design of scrollwoik flowing 
 through it. Portions of the design ai'e usually studded with 
 gold dots. Ornaments are of Moresque character. 
 
 feVE 
 
 A framework of various geometrical-sha})ed compartments 
 linked together by interlaced circles ; the centers of the 
 compartments are tilled with small floral ornaments, and the 
 irregular spaces surrounding them, with circular scrolls and 
 branches of laurel and palm. An elaborate style used at 
 the end of the 16th and beginning of the 17th century. 
 
 MOSAIC 
 
 A design inlaid with different colors. The cover may l)e 
 of any shade, but the style is especially ctlcctive when the 
 cover is of white vellum in imitation of illuminateil 
 manuscripts. 
 
 19
 
 I.E GASCON 
 
 'I'lu' (li^till^llislling feature of this style is the dotted face of 
 the oriiaineiits instead of the continuous or solid line. In 
 voiTue the first half of the 17th century, inuiiediately sue- 
 ceedintj; the period of Nicholas and Clo\ is Kve. 
 
 n E R o M E 
 
 This stvle has ornaments of a leafy character, with a more 
 solid face, though li^jhtly shaded by the graver and is best 
 exemplified in borders. The ornaments are often styled 
 lU-naissauce, being an entire change fiom the Gascon. 
 Time, 18th century. 
 
 KOr. ER I'AYNE 
 
 The ornaments of this style are easily identified, being free 
 and Mowing in stem and flower; wliereas before Payne's time 
 they had been stiff' and formal. The honeysuckle is a cus- 
 tomary ornament. The impressions of the tools are usually 
 studded round witii gold dots, whether used in borders, 
 cornel's, or center pieces. 
 
 .1 A x S I'. N 
 
 Without line or ornament either in blank or gold. It 
 permits decoration on the inside of the cover, but demands 
 absolute plainness on the outside, with the exception of 
 lettering. It is only aj)propriate for crushed levant, being 
 dependent for its beauty on the polished surface of the 
 leatlier. It takes its name from the followers of Jansenius, 
 liishop of Vpres, who were advocates of plainness in worship. 
 
 20
 
 Trow Directory, Printiiif^ and Bookbindiiiff Company 
 
 201-213 East 12th Street 
 
 New York City
 
 i 
 
 AA 000 607 0GG c