We must pass on from these, and make another pause, when vellum strips were attached together in one continuous length with a roller at each end. The reader unrolled the one, and rolled the other as he perused the work. Books, prized either for their rarity, sacred character, or costliness, would be kept in a round box or case, so that the appearance of a library in Ancient Jerusalem would seem to us as if it were a collection of canisters. The next step was the fastening of separate leaves together, thus making a back, and covering the whole as a protection in a most simple form; the only object being to keep the several leaves in connected sequence. I believe the most ancient form of books formed of separate leaves, will be found in the sacred books of Ceylon which were formed of palm leaves, written on with a metal style, and the binding was merely a silken string tied through one end so loosely as to admit of each leaf being laid down flat when turned over. When the mode of preserving MS. on animal membrane or vellum in separate leaves came into use, the binding was at first only a simple piece of leather wrapped round the book and tied with a thong. These books were not kept on their edges, but were laid down flat on the shelves, and had small cedar tablets hanging from them upon which their titles were inscribed.
The ordinary books for general use were only fastened strongly at the back, with wooden boards for the sides, and simply a piece of leather up the back.
In the sixth century, bookbinding had already taken its place as an “Art,” for we have the “Byzantine coatings,” as they are called. They are of metal, gold, silver or copper gilt, and sometimes they are enriched with precious stones. The monks, during this century, took advantage of the immense thickness of the wooden boards and frequently hollowed them out to secrete their relics in the cavities. Bookbinding was then confined entirely to the monks who were the literati of the period. Then the art was neglected for some centuries, owing to the plunder and pillage that overran Europe, and books were destroyed to get at the jewels that were supposed to be hidden in the different parts of the covering, so that few now remain to show how bookbinding was then accomplished and to what extent.
We must now pass on to the middle ages, when samples of binding were brought from the East by the crusaders, and these may well be prized by their owners for their delicacy of finish. The monks, who still held the Art of Bookbinding in their hands, improved upon these Eastern specimens. Each one devoted himself to a different branch: one planed the oaken boards to a proper size, another stretched and coloured the leather; and the work was thus divided into branches, as it is now. The task was one of great difficulty, seeing how rude were the implements then in use.
| Monastic. | Venetian. |
The art of printing gave new life to our trade, and, during the fifteenth century bookbinding made great progress on account of the greater facility and cheapness with which books were produced. The printer was then his own binder; but as books increased in number, bookbinding became a separate art-trade of itself. This was a step decidedly in the right direction. The art improved so much, that in the sixteenth century some of the finest samples of bookbinding were executed. Morocco having been introduced, and fine delicate tools cut, the art was encouraged by great families, who, liking the Venetian patterns, had their books bound in that style. The annexed woodcut will give a fair idea of a Venetian tool. During this period the French had bookbinding almost entirely in their hands, and Mons. Grolier, who loved the art, had his books bound under his own supervision in the most costly manner. His designs consisted of bold gold lines arranged geometrically with great accuracy, crossing one another and intermixed with small leaves or sprays. These were in outlines shaded or filled up with closely worked cross lines. Not, however, satisfied with these simple traceries, he embellished them still more by staining or painting them black, green, red, and even with silver, so that they formed bands interlacing each other in a most graceful manner. Opposite is a centre block of Grolier. It will be seen how these lines entwine, and how the small tools are shaded with lines. If the reader has had the good fortune to see one of these specimens, has he not wondered at the taste displayed? To the French must certainly be given the honour of bringing the art to such a perfection. Francis I. and the succeeding monarchs, with the French nobility, placed the art on such a high eminence, that even now we are compelled to look to these great masterpieces as models of style. Not only was the exterior elaborate in ornament, but the edges were gilded and tooled; and even painted. We must wonder at the excellence of the materials and the careful workmanship which has preserved the bindings, even to the colour of the leather, in perfect condition to the present day.
GROLIER.
Royal folio