The beautiful bindings need to be seen to be appreciated, but every phase of artistic adornment in books was exhausted. While leather was the favorite material for binding, silk and tapestry and plush were used, and ornamentation of all kinds, metal, tortoise shell and precious stones, was employed. There probably was never more taste displayed than at this time, and though subsequent workmen learned to finish much better, the best bindings of the modern time scarcely compare with those of Columbus' period in artistic quality.
Brander Matthews in his "Bookbindings, Old and New," said: "We must confess that there are very few finishers (of books) of our time who have originality of invention, freshness of composition or individuality of taste." He proceeds to say that in our time we have a more certain handicraft, but less artistic quality. The handicraft has improved, the art has declined. The hand has gained skill, but the head has lost its force.
In our time we are again coming to appreciate properly the value of beautiful books. There have been periods between ours and Columbus' Century when only the most sordid ideas obtained in the book world, or when bad taste ruled and book-binding, like printing and the other arts, had a period of decadence after the sixteenth century, that is hard to explain, though it is easy to find reasons for it, and which continued to sink books into ever greater and greater lack of artistic qualities until almost the twentieth century. Out of that pit dug by neglect of interest in the beautiful as well as the useful we are now climbing, but unfortunately many of our time are inclined to think that this is the first time there has been that emergence, though we are only beginning, as yet distantly, to imitate the beauties of book-making in the mediaeval and Renaissance periods.
Even more interesting for the modern time is the attitude of these great collectors of books of Columbus' time toward their precious treasures. They did not consider that they belonged to themselves alone, but to all those capable of using them. The distinguished Italian collector who preceded Grolier, Maioli, had the motto printed on his books, Tho. Maioli et amicorum--that is, "the property of Thomas Maioli and his friends." A number of other book-collectors, including Grolier, imitated this. Maioli is said to have had the true amateur spirit and to have taken up the making of beautiful bindings for himself. Geoffrey Tory also devoted himself to [{167}] bookbinding as well as to wood-engraving and his work for the printers. In a word it was a time when men were intent on making the book just as beautiful as possible, while all the time bearing in mind that its utility must be its principal characteristic.
PLAYING CARD, FRANCE, FIFTEENTH CENTURY