From the twelfth century onward Oxford appears to have been a great centre of book-binding, not only as the seat of a University, but from the number and importance of the religious houses in its immediate neighbourhood. From various records and registers we get the names of individual binders in an unbroken series. While we can point to exquisite bindings produced at London, Durham, and Winchester as early as the twelfth century, and while doubtless similar fine bindings were produced in Oxford, yet strangely enough and very unfortunately we cannot point to any definite specimen of a decorated Oxford binding earlier than the second half of the fifteenth century. From about 1460 to the end of the century, on the other hand, examples are plentiful, and the bindings of this period have a very distinctive style of their own. The old styles of binding seem to have lingered on in Oxford and even some of the old tools.
The earliest binding which we can definitely point to as executed there is on a volume of sermons written in 1460. The decoration consists of stamps arranged as parallelograms one inside the other and covering the main part of the side. One of the stamps used on this binding, depicting a strange bird, is the identical stamp found on a twelfth-century binding in the British Museum. On the back are found small roundels arranged in sets of three, an ornament very common on all early Oxford bindings, and a single stamp on which the three roundels are engraved seems peculiar to Oxford work. Three manuscripts in Magdalen College, Oxford, written and bound between 1462 and 1470, are of similar early style, and might from their appearance and dies be considered two centuries older. The advent of Rood in Oxford agrees in point of time with the introduction of a class of binding very distinctive in style. The centre of the side contains a panel composed of horizontal rows of stamps and enclosed by a frame formed with an oblong stamp of foliage twined round a staff. On spaces outside the frame are stamped roses and roundels in sets of three. The stamps employed on these bindings show a distinct foreign influence, and many of them are almost identical with those used by foreign binders notably of the Low Countries. Some bindings, certainly produced in Oxford about this time, have not only foreign dies upon them but have them disposed in quite a foreign style, and are probably the work of foreign binders settled in the town. The number of different dies used on Oxford bindings, between 1480 and 1500, is very large. Gibson, in his work on the subject, gives drawings of nearly a hundred; and though some of these are of the simplest character and in no way distinctive, many of them are both clever in design and extremely well engraved.
One or two Oxford bindings of the time show a curious return to another early English style in which the ornament was disposed in circles or part of circles. The finest example is on the Lathbury in the University Library. The centre of each side is ornamented with a circle formed by the repetition of a die depicting two birds drinking from a cup. This die was evidently cut for use in this special way, for the top is wider than the bottom, like the stones of the arch of a bridge, so that when stamped side by side they would work round into a circular form. Another binding of the same style is in the library of St John’s College, Cambridge, and both bear the most extraordinary resemblance, allowing for the different shape and style of the dies, to the covers of the Winchester Domesday book written in 1148 and bound about the same time.
Early bindings fall into three classes, those ornamented with small dies, in vogue until about the end of the fifteenth century, panel stamped bindings used in the early part of the sixteenth, and, finally, the bindings decorated by a roll tool which begin about 1520. We cannot suppose that the Oxford stationers did not use panel stamps, but so far none can be identified as peculiar to Oxford. The panels of Peter Actoris have been already spoken of, but it is not certain they were ever used in Oxford. Henry Jacobi, who came to Oxford from London about 1512 and died in 1514, had certainly various panels which he had used in London, but he may not have transferred them to Oxford. Of stationers or binders who lived and worked in Oxford alone no single panel has yet been identified. Unfortunately, not a single book printed for or at Oxford in the early sixteenth century is known in an original binding.
In good specimens of roll-tooled bindings again Oxford is singularly deficient, in curious contrast to Cambridge, which rivals if not surpasses London in this class of work. There are no fine broad rolls, and only one bearing initials. This is a roll engraved with a waving spray of foliage containing in the curves the initials R. H. M. I. What these initials stand for is unknown, and the roll is only claimed as an Oxford one from its use on the covers of a Brasenose College register. For the rest of the century Oxford binding is entirely uninteresting.
LECTURE II.
SAINT ALBAN’S, YORK, AND HEREFORD.
The only other provincial town besides Oxford which possessed a printing press in the fifteenth century was St Alban’s, where an unnamed printer started to work about the year 1479. As to who the printer was we have no clue beyond the simple statement made by Wynkyn de Worde in the colophon of his edition of the Chronicles of England, “Here endyth this present cronycle of Englonde wyth the frute of tymes, compiled in a booke and also enprynted by one somtyme scole master of saynt Albons, on whoos soule God have mercy.” The printer is therefore generally known as the schoolmaster-printer. Sir Henry Chauncy, when he wrote his history of Hertfordshire, was not to be deterred by this vagueness from giving this printer a name, and he appears in that work, and others based on it, as John Insomuch. The proof is clear. The printer printed only two books in English. One begins: “In so muche that it is necessari to all creaturis of cristen religyon;” the other, “In so much that gentill men and honest persones.” What further proof could be wanted that the printer’s surname was Insomuch? As to the printer’s Christian name having been John, the arguments would appear to have been less weighty, at any rate no authority has condescended to mention them.
Whoever the printer may have been, he was probably not a foreigner, at any rate no foreign design can be traced in his type, which is perhaps modelled on Caxton’s, though differing considerably. Though as a schoolmaster he might be supposed to have been connected with the Abbey, there is no reference to it in his colophons, which always mention clearly the town of St Alban’s. The saltire on a shield, which occurs in his mark, was alike the arms of the Abbey and of the town.
The first book issued from this press was a small work of Augustinus Datus, usually called Super eleganciis Tullianis, of which the only known copy is in the Cambridge University Library. It is a small quarto of eighteen leaves and is printed in a peculiarly delicate gothic letter. It has no date, only the simple colophon, “Impressum fuit opus hoc apud Sanctum Albanum.” The type is very graceful and clear; it looks almost like the production of an Italian workman copying from a Caxton model, though, as I have said, we have no reason for supposing the printer to have been a foreigner. For some reason he seems not to have been satisfied with it, and so far as we know no other book was ever printed in it and beyond being used for signatures in two later books, no further use was made of it. This first book also stands apart from the rest in being without printed signatures, which would at once place it without any further proof at the head of the list of St Alban’s books.