BOOKBINDING  . Bindings or covers to protect written or printed See also:

• MATTER

matter have always followed the shapes of the material on which the See also:

• WRITING
• WRITING (the verbal noun of " to write," O. Eng. writan, to inscribe)

writing or See also:

• PRINTING (from Lat. imprimere, O. Fr. empreindre)

printing was done . Very See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early See also:

• INSCRIPTIONS (from Lat. inscribere, to write upon)

inscriptions on rocks or See also:

• WOOD, ANTHONY A2 (1632-1695)
• WOOD, JOHN GEORGE (1827—1889)
• WOOD, MRS HENRY [ELLEN] (1814—1887)
• WOOD, SEARLES VALENTINE (1798—188o)

wood needed no coverings, and the earliest instances of protective covers are to be found among the smaller See also:

• ASSYRIAN

Assyrian tablets of about the 8th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century B.C . These tablets, with See also:

• CUNEIFORM (from Lat. cuneus, a wedge)

cuneiform inscriptions recording sales of slaves, loans of See also:

• MONEY

money and small matters generally, are often enclosed in an See also:

• OUTER

outer See also:

• SHELL
• SHELL (O. Eng. scell, scyll, cf. Du. sceel, shell, Goth. skalja, tile; the word means originally a thin flake,. cf. Swed. skalja, to peel off; it is allied to " scale " and " skill," from a root meaning to cleave, divide, separate)

shell of the same shape and impressed with a See also:

• SHORT, FRANCIS JOB (1857– )

short See also:

• TITLE (0. Fr. title, mod. titre, from Lat. titulus)

title . See also:

• EGYPTIAN

Egyptian See also:

• PAPYRUS

papyrus rolls were generally kept in See also:

• ROLL (O. Fr. rolle, roulle, mod. role, Lat. rotulus, dim. of rota, wheel)
• ROLL, ALFRED PHILIPPE (1846– )

roll See also:

• FORM (Lat. forma)

form, See also:

• BOUND, or BOUNDARY (from O. Fr. bonde, Med. Lat. bodena or butina, a frontier line)

bound See also:

• ROUND (O. Fr. rond, Lat. rotundus, the Fr. is the source also of Du. rond; Ger., Swed., Dan. and Nor. rond)

round with papyrus tape and often sealed with See also:

• SEALS

seals origins. of See also:

• NILE
• NILE, BATTLE OF THE
• NILE, SOBAT

Nile mud; and the rolls in turn were often preserved in rectangular hollows cut in wood . The next earliest material to papyrus used for writing upon was See also:

• TREE (0. Eng. treo, treow, cf. Dan. tree, Swed. Odd, tree, trd, timber; allied forms are found in Russ. drevo, Gr. opus, oak, and 36pv, spear, Welsh derw, Irish darog, oak, and Skr. dare, wood)
• TREE, SIR HERBERT BEERBOHM (1853- )

tree bark . Bark books, still commonly used by uncultured nations, often consisting of collections of magical formulae or medical receipts, are generally rolls, folded backwards and forwards upon themselves like the sides of a See also:

• CONCERTINA, or MELODION (Fr. concertina, Ger. Ziehharmonica or Bandoneon)

concertina . At See also:

• POMPEII

Pompeii in 1875 several diptychs were found, the wooden leaves hollowed on the inner sides, filled with blackened See also:

• WAX

wax, and hinged together at the back with See also:

• LEATHER (a word which appears in all Teutonic languages; cf. Ger. Leder, Dutch leer or leder, Swed. leder, and in such Celtic forms as Welsh llader)
• LEATHER, ARTIFICIAL

leather thongs . Writings were found scratched on the wax, one of them being a See also:

• RECORD (Lat. recordari, to recall to mind, from cor, heart or mind)

record of a See also:

• PAYMENT (Fr. paiement, from payer, to pay; Lat. pacare, to appease, pax, peace)

payment to Umbricia Januaria in A.D . 55 . This is the earliest known Latin See also:

• MANUSCRIPT

manuscript . The diptychs are the prototypes of the See also:

• MODERN

modern See also:

• BOOK

book .

From about the 1st to the 6th century, ornamental diptychs were made of carved See also:

• IVORY (Fr. ivoire, Lat. ebur)
• IVORY, SIR JAMES (1765-1842)

ivory, and presented to See also:

• GREAT

great personages by the See also:

• ROMAN

Roman consuls . Rolls of papyrus, vellum or See also:

• PAPER
• PAPER (Fr. papier, from Lat. papyrus)

paper were written upon in three ways . (I) In short lines, at right angles to the length of the roll . (2) In See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long lines each the entire length of the roll . (3) In short lines parallel to the length of the roll, each See also:

• COLUMN (Lat. columna)

column or See also:

• PAGE
• PAGE, THOMAS NELSON (1853- )
• PAGE, WILLIAM (1811-1885)

page of writing having a space See also:

• LEFT

left on each See also:

• SIDE
• SIDE (mod. Eski Adalia)

side of it . Rolls written in the first of these ways were simply rolled up and kept in cylinders of like shape, sometimes several together, with a title tag at the end of each, in a See also:

• BOX
• BOX (Gr. irl or, Lat. buxus, box-wood; cf. 2r6Eir, a pyx)

box called a scrinium . In the See also:

• CASE
• CASE, JOHN (d. 1600)

case of the second form, the most obvious instances of which are to be found in the Buddhist See also:

• PRAYER (from Lat. precari, entreat; Ital. pregaria, Fr. priere)
• PRAYER, BOOK OF COMMON

prayer-wheels, the rolls were and are kept in circular boxes with handles through the centres so that.they can revolve easily . In the third manner of arranging the manuscript the page formsshow very clearly, and it is still used in the scrolls of the See also:

• LAW
• LAW (0. Eng. lagu, M. Eng. lawe; from an old Teutonic root lag, " lie," what lies fixed or evenly; cf. Lat. lex, Fr. loi)
• LAW, JOHN (1671—1729)
• LAW, WILLIAM (1686-1761)

law in Jewish synagogues, kept on two rollers, one at each end . But this form of writing also See also:

• DEVELOPED

developed a new method for its own more convenient preservation . A roll of this See also:

• KIND (O. E. ge-cynde, from the same root as is seen in " kin," supra)

kind can be folded up, backwards and forwards, the See also:

• BEND

bend coming in the vacant spaces between the columns of writing . When this is done it at once becomes a book, and takes the See also:

• CHINESE, JAPANESE AND

Chinese and See also:

• JAPANESE

Japanese form known as orihon—all the writing on one side of the roll or See also:

• STRIP

strip of paper and all the other side See also:

• BLANK (from the Fr. blanc, white)

blank . Some books of this kind are simply guarded by two boards, but generally they are fastened together along one of the sides, which then becomes the back of the book .

The earliest fastening of such books consists of a lacing with some See also:

• CORD (derived through the Fr. corde, from the Lat. chorda, Gr. xop(5rt, the string of a musical instrument)

cord or fibre run through holes stabbed right through the substance of the roll, near the edge . Now the orihon is See also:

• COMPLETE

complete, and it is the See also:

• LINK

link between the roll and the book . This " stabbed " form of binding is the earliest method of keeping the leaves of a book together; it occurs in the case of a Coptic papyrus of about the 8th century found at See also:

• THEBES (anciently &Oat, Thebae, or in poetry sometimes Oif3a, in modern Greek Phiva, or, according to the corrected pronunciation, Thivae)
• THEBES (e 3a1)
• THEBES, ROMANCE OF

Thebes, but it is rarely used in the case of papyrus, as the material is too brittle to retain the threads properly . The method of folding vellum into pages seems to have been first followed about the 5th century . The sheets were folded once, and gatherings of four or more folded sheets were made, so that stitches through the See also:

• FOLD

fold at the back would hold all the sheets together and each See also:

• LEAF (O. Eng. leaf, cf. Dutch loof, Ger. Laub, Swed. lof, &c.; possibly to be referred to the root seen in Gr. Ma-eta, to peel, strip)

leaf could be conveniently turned over . Very soon an obvious See also:

• PLAN
• PLAN (from Lat. planes, flat)

plan of fixing several of these gatherings, or quires, together was followed by the See also:

• SIMPLE

simple expedient of fastening the threads at the back round a strong strip of leather or vellum held at right angles to the See also:

• LINE

line of the backs . This early plan of " sewing " books is to-See also:

• DAY (O. Eng. dreg, Ger. Tag; according to the New English Dictionary, " in no way related to the Lat. dies")
• DAY, JOHN (1574-1640?)
• DAY, THOMAS (1748-1789)

day used in the case of valuable books; it is known as " flexible " See also:

• WORK

work, and has never been improved upon . As soon as the method of sewing quires together in this way became well understood, it was found that the projecting bands at the back needed See also:

• PROTECTION

protection, so that when all the quires were joined together and, so far, finished, strips of leather were fastened all over the back . But it was also found that vellum leaves were See also:

• APT

apt to curl strongly, and to counteract this tendency strong wooden boards were put on each side . The loose ends of the bands were fastened to the boards, which hinged upon them, and the protecting strip of leather at the back was See also:

• DRAWN

drawn over the boards far enough to See also:

• COVER (from the Fr. convert, from couvrir, to cover, Lat. cooperire)

cover the See also:

• HINGE (in Mid. Eng. henge or heeng, from hengen, to hang)

hinge . So we get the See also:

• MEDIEVAL

medieval " See also:

• HALF

half-binding " which shows the strip of leather over the back of the book, projecting for a short way over the boards, the See also:

• REST (O. Eng. rest, reste, bed, cognate with other Teutonic forms, e.g. Ger. Rast, Riiste, rest, and probably Gothic Rasta, league, i.e. resting or stopping place)

rest of which is left uncovered . The boards were usually kept closed by means of clasps in front .

The leather strip soon developed, and covered the whole of the boards, " whole " binding as it is called, and it was quickly found that these See also:

• FINE

fine See also:

• FLAT (a modification of O. Eng. flet, an obsolete word of Teutonic origin, meaning the ground beneath the feet)

flat pieces of leather offered a splendid See also:

• FIELD (a word common to many West German languages, cf. Ger. Feld, Dutch veld, possibly cognate with O.E. f olde, the earth, and ultimately with root of the Gr. irAaror, broad)
• FIELD, CYRUS WEST (1819-1892)
• FIELD, DAVID DUDLEY (18o5-1894)
• FIELD, EUGENE (1850-1895)
• FIELD, FREDERICK (18o1—1885)
• FIELD, HENRY MARTYN (1822-1907)
• FIELD, JOHN (1782—1837)
• FIELD, MARSHALL (183 1906)
• FIELD, NATHAN (1587—1633)
• FIELD, STEPHEN JOHNSON (1816-1899)
• FIELD, WILLIAM VENTRIS FIELD, BARON (1813-1907)

field for See also:

• ARTISTIC

artistic decoration . The first ornamentation on leather bindings was probably made by means of impressions from small See also:

• METAL
• METAL (through Fr. from Lat. metallum, mine, quarry, adapted from Gr. µATaXAov, in the same sense, probably connected with ,ueraAAdv, to search after, explore, µeTa, after, aAAos, other)

metal points or lines, pressed upon the leather . This in See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time led to the p''oof sslc purposeful cutting of small decorative stamps to be ar tlst binding, used in the same way . It is considered that See also:

• ENGLISH

English binders excelled in this See also:

• ART

art of " See also:

• BLIND, MATHILDE (1841—1896)

blind"' stamping, that is, without the use of See also:

• GOLD
• GOLD [symbol Au, atomic weight 195.7(H = 1),197.2(0 =16)]

gold leaf . Most of the stamps were cut See also:

• INTAGLIO (an Ital. word, from intagliare, to incise, cut into)

intaglio, so that their impressions are in See also:

• CAMEO

cameo form . Such bindings were made to perfection during the 12th and 13th centuries at See also:

• DURHAM
• DURHAM, JOHN GEORGE LAMBTON, 1ST EARL OF (1792–1840)

Durham, See also:

• OXFORD
• OXFORD, EARLS OF
• OXFORD, EDWARD DE VERE, 17TH EARL
• OXFORD, JOHN DE VERE, 13TH EARL OF (1443-1513)
• OXFORD, PROVISIONS OF
• OXFORD, ROBERT DE VERE, 9TH EARL OF (1362-1392)
• OXFORD, ROBERT HARLEY, 1ST

Oxford, See also:

• CAMBRIDGE
• CAMBRIDGE, EARLS AND DUKES OF
• CAMBRIDGE, RICHARD OWEN (1717-1802)

Cambridge, See also:

• LONDON

London and other places . One of the most charming examples left is the binding of the See also:

• WINCHESTER
• WINCHESTER, EARLS AND MARQUESSES OF

Winchester Domesday Book of the 12th century (See also:

• PLATE

Plate, fig . 1), now belonging to the Society of Antiquaries of London . From about the 7th to the 16th century illuminated See also:

• MANUSCRIPTS

manuscripts were held in the greatest esteem . Among them can be found not only exquisite calligraphy but exquisite See also:

• MINIATURE

miniature See also:

• PAINTING

painting . Moreover, the gorgeousness of the illuminations inside suggested gorgeousness of the outside coverings, so we find splendid work in metals with jewels, enamels and carved ivory, dating from the 7th-century Gospels of Theodolinda at See also:

• MONZA (locally Monscia)

Monza, the Irish cumdach of the See also:

• STOWE, HARRIET ELIZABETH [BEECHER] (1811-1896)

Stowe See also:

• MISSAL

Missal, the See also:

• LINDAU
• LINDAU, PAUL (1839– )

Lindau Gospels now in See also:

• AMERICA

America, and the Gospels of See also:

• CHARLEMAGNE [CHARLES THE GREAT] (c. 742-814)
• CHARLEMAGNE, JEAN ARMAND (1753–1838)

Charlemagne in the See also:

• VICTORIA
• VICTORIA (or VITTORIA), TOMMASSO LUDOVICO DA (C. I540-C. 1613)
• VICTORIA [ALEXANDRINA VICTORIA]

Victoria and See also:

• ALBERT
• ALBERT (1490'1545)
• ALBERT (149o-1568)
• ALBERT (1522–1557)
• ALBERT (FRANCIS CHARLES AUGUSTUS ALBERT EMMANUEL) (1819—1861)
• ALBERT (FRIEDRICH RUDOLF ALBRECHT)
• ALBERT, FREDERICK AUGUSTUS
• ALBERT, MADAME (c. 2805—2846)

Albert Museum at See also:

• SOUTH
• SOUTH, ROBERT (1634–1716)

South See also:

• KENSINGTON

Kensington, to the magnificent bindings of 14th-century See also:

• LIMOGES

Limoges See also:

• ENAMEL (formerly " amel," derived through the Fr. amail, emmll, esmail, from a Latin word smaltum, first found in a 9th-century life of Leo IV.)

enamel in the See also:

• BRITISH

British Museum . Such English bindings of this kind—intrinsically See also:

• PRECIOUS (O. Fr. precios, mod. precieux, Lat. pretiosus, of high value or price, pretium)

precious—as may have existed have all disappeared,—most likely they were melted up by See also:

• HENRY
• HENRY (1129-1195)
• HENRY (c. 1108-1139)
• HENRY (c. 1174–1216)
• HENRY (Fr. Henri; Span. Enrique; Ger. Heinrich; Mid. H. Ger. Heinrich and Heimrich; O.H.G. Haimi- or Heimirih, i.e. " prince, or chief of the house," from O.H.G. heim, the Eng. home, and rih, Goth. reiks; compare Lat. rex " king "—" rich," therefore " mig
• HENRY, EDWARD LAMSON (1841– )
• HENRY, JAMES (1798-1876)
• HENRY, JOSEPH (1797-1878)
• HENRY, MATTHEW (1662-1714)
• HENRY, PATRICK (1736–1799)
• HENRY, PRINCE OF BATTENBERG (1858-1896)
• HENRY, ROBERT (1718-1790)
• HENRY, VICTOR (1850– )
• HENRY, WILLIAM (1795-1836)

Henry VIII. or See also:

• EDWARD

Edward VI.; but at Stonyhurst there is a book known as St See also:

• CUTHBERT, SAINT (d. 687)

Cuthbert's Gospels, which is bound in red leather with a repousse See also:

• DESIGN (Fr. desiin, drawing; Lat. designare, to mark out)

design upon it, and is probably the work of the 7th or 8th century (Plate, fig .

2) . When printing was introduced into See also:

• EUROPE

Europe about the See also:

• MIDDLE

middle of the 15th century, there was very soon a reaction against the large, beautiful and valuable illuminated See also:

• MSS

MSS. and their equally precious covers . Printing brought small books, cheap books, ugly books, generally bound in See also:

• CALF
• CALF, THE GOLDEN

calf, goatskin or sheepskin, and ornamented with large See also:

• PANEL (O. Fr. panel, mod. panneau, piece of cloth, from Med. Lat. pannellus, diminutive of pannus, cloth)

panel stamps in blind . But a new art came into See also:

• BIRTH (a word common in various forms to Teutonic languages from the root of the verb " to bear ")

birth very shortly, namely the art of gold tooling on leather, which in capable hands is almost a great art, and specimens of the work of the few great masters that have practised it are now much sought after and likely to increase in estimation and value . All this, as usual, brings a school of skilled faussaires into the field, and already the See also:

• COLLECTOR

collector of fine bindings must be wary, or he may easily give thousands of pounds for forged or made-up See also:

• OBJECTS

objects that are See also:

• WORTH
• WORTH, CHARLES FREDERICK (1825-1895)

worth but little . In the matter of leather bindings with gold tooling, an art which was probably brought to See also:

• VENICE
• VENICE (continued)
• VENICE (Venezia)

Venice from the See also:

• EAST
• EAST, ALFRED (1849- )

East, the finest examples are to be found in See also:

• LATE

late 15th-century See also:

• ITALIAN

Italian work . The art quickly spread, and See also:

• THOMAS
• THOMAS (c. 1654-1720)
• THOMAS (d. 110o)
• THOMAS, ARTHUR GORING (1850-1892)
• THOMAS, CHARLES LOUIS AMBROISE (1811-1896)
• THOMAS, GEORGE (c. 1756-1802)
• THOMAS, GEORGE HENRY (1816-187o)
• THOMAS, ISAIAH (1749-1831)
• THOMAS, PIERRE (1634-1698)
• THOMAS, SIDNEY GILCHRIST (1850-1885)
• THOMAS, ST
• THOMAS, THEODORE (1835-1905)
• THOMAS, WILLIAM (d. 1554)

Thomas Berthelet, Royal Binder to Henry VIII., seems to have been the first binder who practised it in See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England . Berthelet's work is strongly Italian in feeling, especially at first, and it is likely that he was taught the new art by an Italian See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master; he worked until about 1558•217 During the late 15th and the 6th century in England, See also:

• NUMBERS, BOOK OF
• NUMBERS, PARTITION OF

numbers of fine printed books were bound in See also:

• VELVET

velvet and satin, sometimes set with enamels, sometimes embroidered . These books, having strong threads of metal freely used upon them, have lasted much better than would be expected, and instances of such work made for Henry VIII. are still in excellent See also:

• CONDITION (Lat. condicio, from condicere, to agree upon, arrange; not connected with conditio, from condere, conditum, to put together)

condition, and most decorative . The See also:

• FASHION (adapted from Fr. facon, agon, Lat. factio, making, facere, to do or make)

fashion of ornamenting English royal books with heraldic designs, which is considered to have begun in the reign of Edward IV., has continued without break . The same fashion in books belonging to private owners was first followed during the later Tudor See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

period, and then numbers were made, and have been, more or less, ever since . During the whole Tudor period several small bindings of gold ornamented with enamels were made .

Some of these still exist, and they are charming little jewels . They were always provided with a See also:

• RING (O.E. hring; a word common to Teutonic languages; and probably cognate with the Lat. circus, Gr. KtpKOS or KpLKOS, Skt'. chakra, wheel, circle, cf. also " harangue "); in art, a band of circular shape of varying sizes, made of any material and used f

ring at the See also:

• TOP (cf. Dan. top, Ger. Topf, also meaning pot)

top, no doubt for attaching to the See also:

• GIRDLE (O. Eng. gyrdel, from gyrdan, to gird; cf. Ger. Gurtel, Dutch gordel, from giirten and gorden; "gird" and its doublet " girth " together with the other Teutonic cognates have been referred by some to the root ghar—to seize, enclose, seen in Gr. )(s

girdle . Aldus See also:

• MANUTIUS

Manutius, the great Venetian printer, had several of his books charmingly bound in dark See also:

• MOROCCO

morocco with " Aldine " See also:

• KNOT
• KNOT (O.E. cnotta, from a Teutonic stem knutt; cf. " knit," and Ger. knoten)

knot leaves and small dolphins both in blind and gold tooling; and Giunta, a Florentine printer, had his books bound in a similar way but without the dolphins . Many early Venetian bindings have recessed panels, made by the use of See also:

• DOUBLE
• DOUBLE (from the Mid. Eng. duble, the form which gives the present pronunciation, through the Old Er. duble, from Lat. duplus, twice as much)

double boards, the upper of which is pierced, finished in true See also:

• ORIENTAL

oriental fashion . See also:

• JEAN

Jean Grolier, See also:

• VISCOUNT (through O. Fr. viscomte, mod. vicomte, from Low Lat. vice-comes, cf. Portug. visconde, Ital. visconte)

viscount d'Aguisy, treasurer of See also:

• FRANCE
• FRANCE, ANATOLE (1844– )

France in 1545, was a great collector of fine books, most of which were bound for himself, and See also:

• BEAR
• BEAR, BLACK
• BEAR, BROWN
• BEAR, GRIZZLY
• BEAR, ISABELLINE
• BEAR, WHITE

bear upon them his See also:

• LEGEND (through the French from the med. Lat. legenda, things to be read, from legere, to read)

legend, Portio mea domine sit in terra viventium, and also his name, Io Grolierii et Amicorum (Plate, fig . 3) . Tommaso Maioli, an Italian collector of about the same time, used the same form of legend . Books bound for him are curiously marked with atoms of gold remaining in the irregularities of the leather . Demetrio Canevari, physician to See also:

• POPE (Gr. irarraas, post-classical Lat. papa, father)
• POPE, ALEXANDER (1688–1744)
• POPE, ALEXANDER (1763-1835)
• POPE, JANE (1742-1818)
• POPE, JOHN (1822-1892)
• POPE, SIR THOMAS (c. 1507-1559)

Pope See also:

• URBAN
• URBAN (Urbanus)

Urban VIII., had his books bound in dark See also:

• GREEN, A
• GREEN, ALEXANDER HENRY (1832—1896)
• GREEN, DUFF (1791—1875)
• GREEN, JOHN RICHARD (1837—1883)
• GREEN, MATTHEW (1696-1737)
• GREEN, THOMAS HILL (1836-1882)
• GREEN, VALENTINE (1739–1813)
• GREEN, WILLIAM HENRY (.1825–1900)

green or deep red morocco, and upon them is a fine cameo See also:

• STAMP (from " to stamp," to strike or tread heavily, hence to impress, O. Eng. stempen, Du. stampen, Ger. stampfen, whence, O. Fr. estamper, mod. etamper)

stamp with a design of See also:

• APOLLO (Gr. 'A2r6XXwv,'Airkkhwv)

Apollo See also:

• DRIVING (from " to drive," i.e. generally to propel, force along or in, a word common in various forms to the Teutonic languages)

driving a See also:

• CHARIOT (derived from an O. Fr. word, formed from char, a car)

chariot with one See also:

• WHITE
• WHITE, ANDREW DICKSON (1832– )
• WHITE, GILBERT (1720–1793)
• WHITE, HENRY KIRKE (1785-1806)
• WHITE, HUGH LAWSON (1773-1840)
• WHITE, JOSEPH BLANCO (1775-1841)
• WHITE, RICHARD GRANT (1822-1885)
• WHITE, ROBERT (1645-1704)
• WHITE, SIR GEORGE STUART (1835– )
• WHITE, SIR THOMAS (1492-1567)
• WHITE, SIR WILLIAM ARTHUR (1824--1891)
• WHITE, SIR WILLIAM HENRY (1845– )
• WHITE, THOMAS (1628-1698)
• WHITE, THOMAS (c. 1550-1624)

white See also:

• HORSE (a word common to Teutonic languages in such forms as hors, hros, ros; cf. the Ger. ross)

horse and one See also:

• BLACK
• BLACK, ADAM (1784-1874)
• BLACK, JEREMIAH SULLIVAN (1810–1883)
• BLACK, WILLIAM (1841-1898)

black horse towards a See also:

• MOUNTAIN (0. Fr. montaigne; popular Lat. montanea, an adjectival form from the classical mons, montis, whence Eng. " mount," a form usually used along with the name of an individual mountain, e.g. Mt Everest)
• MOUNTAIN, THE (La Montagne)

mountain on which is a See also:

• SILVER

silver See also:

• PEGASUS (from Gr. lrgyor, compact, strong)

Pegasus . The stamp was coloured, but in most cases the See also:

• COLOUR (Lat. color, connected with celare, to hide, the root meaning, therefore, being that of a covering)

colour has now worn off . Round the stamp is the legend OPOSEE KAI MH AOZISlE . The Italian bindings which were made for popes and cardinals are always of much See also:

• INTEREST

interest and often of high merit, but as a See also:

• RULE

rule later Italian bindings are disappointing .

See also:

• GEOFFREY
• GEOFFREY (1158-1186)
• GEOFFREY (c. I152-1212)

Geoffrey Tory, printer and engraver to See also:

• FRANCIS
• FRANCIS (FRarrcols) OF SALES, ST (1567-1622)
• FRANCIS (Lat. Franciscus, Ital. Francesco, Span. Francisco, Fr. Francois, Ger. Franz)
• FRANCIS, SIR PHILIP (174o-1818)

Francis I. of France, designed some fine bindings, some for himself and quite possibly some for Jean Grolier . For Henry II. of France much highly decorative work in binding was done, richly gilded and coloured . These bindings have upon them the See also:

• KING
• KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
• KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
• KING, CHARLES WILLIAM (1818-1888)
• KING, CLARENCE (1842–1901)
• KING, EDWARD (1612–1637)
• KING, EDWARD (1829–1910)
• KING, HENRY (1591-1669)
• KING, RUFUS (1755–1827)
• KING, THOMAS (1730–1805)
• KING, WILLIAM (1650-1729)
• KING, WILLIAM (1663–1712)

king's See also:

• INITIALS (Lat. initialis, of or belonging to a beginning, initium)

initials, the initials of his See also:

• QUEEN
• QUEEN (O.E. cwen, wife, related to "quean," O.E. cwene, a hussy; cf. Gr. yvvi7: from root gan-, to produce; cf. genus, " kin," &c.)

queen, See also:

• CATHERINE
• CATHERINE, SAINT

Catherine de' See also:

• MEDICI
• MEDICI, GIACOMO (1817-1882)

Medici, and the emblems of crescents and bows . Henry's See also:

• DEVICE

device was a See also:

• CRESCENT (Lat. crescens, growing)

crescent with the legend, Donec impleat totum orbem . Bindings of similar See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style were made for Diane de See also:

• POITIERS

Poitiers, duchesse de See also:

• VALENTINOIS

Valentinois, with her initials and the same devices of crescents and bows . They are always fine work . See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German bindings are mostly in pigskin, finely stamped in blind . Several are, however, in calf . See also:

• GILDING

Gilding, when it exists, is generally See also:

• BAD, BCD

bad . In England during the 17th century much fine work was done in binding, most of it in morocco, but Henry, See also:

• PRINCE
• PRINCE (Lat. princeps, from primus capio, " I am the first to take "; Ital. principe, Fr. prince)

prince of See also:

• WALES (Cymru, Gwalia, Cambria)

Wales, always had his books bound in calf . The Jacobean style is heraldic, with semis of small stamps and heavy corners, but See also:

• JAMES
• JAMES (Gr. 'IlrKw,l3or, the Heb. Ya`akob or Jacob)
• JAMES (JAMES FRANCIS EDWARD STUART) (1688-1766)
• JAMES, 2ND EARL OF DOUGLAS AND MAR(c. 1358–1388)
• JAMES, DAVID (1839-1893)
• JAMES, EPISTLE OF
• JAMES, GEORGE PAYNE RAINSFOP
• JAMES, HENRY (1843— )
• JAMES, JOHN ANGELL (1785-1859)
• JAMES, THOMAS (c. 1573–1629)
• JAMES, WILLIAM (1842–1910)
• JAMES, WILLIAM (d. 1827)

James I. has left some very fine bindings in another style (Plate, fig . 4), very possibly done for him by See also:

• JOHN
• JOHN (1167–1216)
• JOHN (1290-c. 1320)
• JOHN (1296-1346)
• JOHN (1371–1419)
• JOHN (1468-1532)
• JOHN (1801-1873)
• JOHN (Heb. llni')
• JOHN (ZAPOLYA) (1487-1540)
• JOHN, 4TH MARQUESS OF TWEEDDALE (c. 1695-1762)
• JOHN, DON (1545-1578)
• JOHN, DON (1629–1679)
• JOHN, GOSPEL OF ST
• JOHN, or HAYS (1513–1571)
• JOHN, THE APOSTLE
• JOHN, THE EPISTLES OF

John See also:

• GIBSON, CHARLES DANA (1867- )
• GIBSON, EDMUND (1669-1748)
• GIBSON, JOHN (1790-1866)
• GIBSON, THOMAS MILNER (1806-1884)
• GIBSON, WILLIAM HAMILTON (1850-1896)

Gibson, who bound the royal books while James was king of See also:

• SCOTLAND
• SCOTLAND, CHURCH OF
• SCOTLAND, EPISCOPAL CHURCH OF

Scotland only .

During the reign of See also:

• CHARLES
• CHARLES (1270-1325)
• CHARLES (1421-1461)
• CHARLES (1525-1574)
• CHARLES (c. 1319-1364)
• CHARLES (Fr. Charles; Span. Carlos; Ital. Carlo; Ger. Karl; derived from O.H.G. Charal,latinized as Carolus, meaning originally " man ": cf. Mod.Ger., Kerl," fellow," A.S. ceorl, Mod. Eng. " churl ")
• CHARLES (KARL EITEL ZEPHYRIN LUDWIG; in Rum. CAROL)
• CHARLES [KARL ALEXANDER] (1712-1780)
• CHARLES, ELIZABETH (1828-1896)
• CHARLES, JACQUES ALEXANDRE CESAR (1746-1823)
• CHARLES, THOMAS (1755-1814)

Charles I . See also:

• NICHOLAS
• NICHOLAS (1841– )
• NICHOLAS (or NICLAES), HENRY (or HENDRIK) (c. 1501-C. 158o)
• NICHOLAS, SIR EDWARD (1593-1669)
• NICHOLAS, ST

Nicholas See also:

• FERRAR, NICHOLAS (1592-1637)
• FERRAR, ROBERT (d. 1555)

Ferrar founded his curious See also:

• ESTABLISHMENT (0. Fr. establissement, Fr. etablissement, late Norm. Fr. establishement, from O. Fr. establir, Fr. etablir, Lat. stabilire, to make stable)

establishment at Little Gidding, and there his niece See also:

• MARY
• MARY (1457-1482)
• MARY (1496-1533)
• MARY, QUEEN OF SCOTS

Mary Collet and her sisters set up a bindery . They made large scrap-books, harmonies of the Gospels and other parts of the See also:

• BIBLE
• BIBLE, ENGLISH

Bible, with illustrations, and bound them magnificently in velvet stamped in gold and silver . They were taught by a binder who worked for John and Thomas See also:

• BUCK
• BUCK, CARL DARLING (1866– )
• BUCK, DUDLEY (1839-1909)

Buck, printers to the university of See also:

• CAM (CAO), DIOGO (fl. 1480-1486)

Cam-See also:

• BRIDGE

bridge, and the Little Gidding stamps are often identical with Buck's . See also:

• SAMUEL

Samuel Mearne (d . 1683) was royal binder to Charles II., and invented the cottage style of decoration, a style which has lasted till the See also:

• PRESENT

present day; the Bible on which Edward VII. took the See also:

• CORONATION (Lat. corona, crown)

coronation See also:

• OATH (0. Eng. ddh)

oath was ornamented in that way . An inner rectangle is run parallel to the edges of the book, and the upper and See also:

• LOWER

lower lines are broken outwards into the outline of a gable roof . Mearne's work as a binder (Plate, fig . 5) is of the highest merit . Many of his books have their fore-edge painted in such a way that the work is invisible when the book is shut, and only shows when the edges are fanned out . In France 16th- and 17th-century binding is distinguished by the work of such masters as Nicholas See also:

• EVE

Eve, who bound the beautiful Livre See also:

• DES

des Stands et Ordonnances de l'ordre du Benvist Sai-nci Esprit for Henry III . (Plate, fig .

6); See also:

• CLOVIS [Chlodovech] (c. 466-511)

Clovis Eve, who is credited with the invention of the style known as " fanfare," a delicate See also:

• TRACERY

tracery over the boards of a book, filled out with spirals of leafy stems; and Le Gascon, who invented the dotted work which has been used more or less ever since . Le Gascon caused his small gilding tools—curves and arabesques—to be scored across, so that when impressions were made from them a dotted line showed instead of a right line . Florimond Badier worked in a style very similar to that of Le Gascon and sometimes signed his work, which Le Gascon never did . Le Gascon had many imitators, the best and closes. being Poncyn and See also:

• MAGNUS, HEINRICH GUSTAV (1802-1870)

Magnus, Dutch binders who worked at See also:

• AMSTERDAM
• AMSTERDAM (NEw AMSTERDAM)

Amsterdam in the 17th century, and his style has been continuously followed to the present day . The bindings of Padeloup le Jeune often have small tickets with his name upon them; they usually have See also:

• BORDERS, THE

borders of See also:

• LACE (corresponding to Ital. merletto, trina; Genoese Pizzo; Ger. spitzen; Fr. dentelle; Dutch kanten; Span. encaje; the English word owes something to the Fr. lassis or laces, but both are connected with the earlier Lat. laqueus; early French laces were

lace-like gold tooling known as "dentelle " and are often inlaid . He belonged to a See also:

• FAMILY

family of binders, all of whom were excellent workmen, and lived in the 17th and 18th centuries . The Deromes were another of the great See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French families of binders; the most celebrated was Nicholas See also:

• DENIS (DIoNysms), SAINT
• DENIS, JOHANN NEPOMUK COSMAS MICHAEL (1729-1800)

Denis, called " Le Jeune," See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born in 1731 . IIe used dentelle borders resembling those of Padeloup, but with little birds interspersed among the arabesques—" dentelles a l'oiscau." Among the many French binders of the 18th century who used delicate inlays of coloured leathers, jean Charles le See also:

• MONNIER, MARC (1827-1885)

Monnier was perhaps the most skilled . He often signed his bindings in small capitals impressed in gold somewhere about the inlaid See also:

• PART

part . See also:

• ELIOT, CHARLES WILLIAM (1834– )
• ELIOT, GEORGE
• ELIOT, JOHN (1604-1690)
• ELIOT, SIR JOHN (1592-1632)

Eliot and See also:

• CHAPMAN (from O. Eng. ceap, and Mid. Eng. ,heap, to barter, cf. " Cheapside " in London, and Ger. Kaufmann)
• CHAPMAN, GEORGE (? 1559–1634)

Chapman bound the library of See also:

• ROBERT
• ROBERT (1275—1343)
• ROBERT, HUBERT (1753-1808)
• ROBERT, LOUIS LEOPOLD (1794-1835)

Robert Harley, See also:

• EARL

earl of Oxford, about the middle of the 18th century . The bindings are in morocco, with broad, richly gold-tooled borders, and usually a See also:

• DIAMOND

diamond-shaped centre-piece . This is known as the Harleian style .

Thomas Hollis had his books bound in fine red morocco, ornamented with small, well-cut stamps engraved by Thomas Pingo, the medallist . These stamps comprise a cap of See also:

• LIBERTY (Lat. libertas, from liber, free)

liberty, a figure of liberty, a figure of Britannia and several smaller ones . Towards the end of the 18th century, when binding in England was decoratively at a See also:

• LOW, SETH (1850- )
• LOW, WILL HICOK (1853- )

low level, See also:

• ROGER (d. 1139)
• ROGER (d. 1181)

Roger See also:

• PAYNE, PETER (c. 138o-1455)

Payne, a native of See also:

• WINDSOR
• WINDSOR (properly NEw WINDSOR)

Windsor, came to London and set up as a bookbinder . He was a splendid workman, and introduced richly gold-tooled corner-pieces, ornamental " doublures " or inside linings, and also invented the graining of morocco, graining it, however, in one direction only, known as the " straight See also:

• GRAIN (derived through the French from Lat. granum, seed, from an Aryan root meaning " to wear down," which also appears in the common Teutonic word " corn ")

grain." It is said that Payne cut his own binding tools of See also:

• IRON [symbol Fe, atomic weight 55.85 (0=16)]

iron; they certainly are exquisitely made, and in many of his bindings he has put a written description of loving work he has done upon them . Payne was, unfortunately, a drunkard, but he has in spite of this rendered an immortal service to the art of bookbinding in England . In 1785 John See also:

• EDWARDS, AMELIA ANN BLANDFORD (1831-1892)
• EDWARDS, BELA BATES (18o2-1852)
• EDWARDS, BRYAN (1743–1800)
• EDWARDS, GEORGE (1693–1773)
• EDWARDS, HENRY THOMAS (1837–1884)
• EDWARDS, JONATHAN (1703—1758)
• EDWARDS, LEWIS (1806–1887 )
• EDWARDS, RICHARD (c. 1523–1566)
• EDWARDS, T
• EDWARDS, THOMAS CHARLES (1837–1900)

Edwards of See also:

• HALIFAX
• HALIFAX, CHARLES MONTAGUE, EARL OF (1661–1715)
• HALIFAX, GEORGE MONTAGU DUNK, 2ND EARL OF (1716-1771)
• HALIFAX, GEORGE SAVILE, 1ST MARQUESS OF (1633-1695)

Halifax patented a method of making vellum transparent, and using it as a covering over delicate paintings . He also painted pictures on the fore-edges of many of his books in the same manner as that followed by Samuel Mearne in the 17th century, so that they did not show until the book was opened . John See also:

• WHITAKER, JOSEPH (1820-1895)

Whitaker used calf for his bindings, but ornamented the calf in a curious way with strong acids and with prints from engraved metal plates . Both Edwards and Whitaker liked classical borders and ornaments, -and their bindings are in consequence often known as " See also:

• ETRUSCAN

Etruscan." The See also:

• MAIN (from the Aryan root which appears in " may " and " might," and Lat. magnus, great)
• MAIN (Lat. Moenus)

main styles used in England at the beginning of the 19thcentury were nothing more than distant imitations of Roger Payne . Kalthoeber, Staggemeier, See also:

• WALTHER, BERNHARD (1430-15o4)

Walther and Hering were all disciples of this master, but Charles See also:

• LEWIS, HENRY CARVILL
• LEWIS, JOHN FREDERICK (180 1876)
• LEWIS, MATTHEW GREGORY (1775-1818)
• LEWIS, MERIWETHER (1774-1809)
• LEWIS, SIR GEORGE CORNEWALL, BART

Lewis worked on See also:

• ORIGINAL

original lines . He developed arabesques and paid particular See also:

• ATTENTION (from Lat. ad-tendo, await, expect; the condition of being " stretched " or " tense ")

attention to richly gold-tooled doublures . He also used gold end papers, and the bands at the back of his bindings are often double and always broad, flat and gold-tooled .

His workmanship is excellent; he worked largely for Thomas See also:

• GRENVILLE (or GRANVILLE), SIR RICHARD (r600-1658)
• GRENVILLE (or GREYNVILE), SIR RICHARD (c. 1541-1591)
• GRENVILLE, GEORGE (1712-1770)
• GRENVILLE, SIR BEVIL (1596-1643)
• GRENVILLE, WILLIAM WYNDHAM GRENVILLE, BARON (1759-1834)

Grenville and other great collectors . French binding of the 19th century is remarkable for wonderful technical excellence in every part . Among the most skilled of these admirable workmen and artists may be particularly mentioned Thouvenin, Bauzonnet, Lortic, Niedree, Cape and Duru, and fortunately they generally sign their work in small gold lettering either on the back of their bindings or inside along the lower edge . See also:

• RECENT

Recent years have witnessed a marked revival of interest in the art of bookbinding, but modern binders have two serious difficulties to contend with . One of these is the pre-See also:

• VALENCE

valence of bad paper, overladen with See also:

• CLAY (from O. Eng. claeg, a word common in various forms to Teutonic languages, cf. Ger. Klei)
• CLAY, CASSIUS MARCELLUS (1810-1903)
• CLAY, CHARLES (1801–1893)
• CLAY, FREDERIC (1838–1889)
• CLAY, HENRY (1777–1852)

clay and with Modern methods . wood pulp, and also the fact that many of the modern leathers are badly prepared and dangerously treated with sulphuric See also:

• ACID (from the Lat. root ac-, sharp; acere, to be sour)

acid, which in time inevitably rots the fibre . The Society of Arts has appointed committees of experts to See also:

• REPORT (O.Fr. report or raport, modern rapport, from O.Fr. reporter, mod. rap porter, Lat. reportare, to bring back, in poetical use only, of bringing back an account, news, &c.)

report upon both of these evils, and the published accounts of both inquiries are of much value, and it is to be hoped that the results may be beneficial . Concurrently with the revival of the artistic side of the subject, there has also arisen a remarkable development in the technical processes, owing to the invention of ingenious and delicate machinery which is capable of executing the work which had hitherto been always laboriously done by See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand . The processes of folding the printed sheets, and sewing them together on bands, rounding the backs when sewn, and of making the outer cases, covering them with See also:

• CLOTH

cloth or leather and stamping designs upon them, can now all be efficiently executed by means of See also:

• MACHINES

machines . The saving in time and labour thus effected is very great, although it must be said that the old methods of carrying out the See also:

• PROCESS

process of sewing and rounding the backs of books by hand labour were safer and stronger, as well as being much less liable to bruise and injure the paper . These processes unfortunately are not only slow but also necessitate highly skilled labour . Already the larger See also:

• TRADE (O. Eng. trod, footstep, from tredan, to tread; in M. Eng. the forms teed, trod and trade appear, the last in the sense of a beaten track)
• TRADE, BOARD OF

trade binders utilize machines extensively and advantageously, but exclusively high-class trade binders do not as yet materially depart from the older methods .

Private binders have naturally no See also:

• REASON (Lat. ratio, through French raison)

reason to use machines at all . Fine and delicate examples of large metal blocks or See also:

• DIES, CHRISTOPH ALBERT (1755-1822)

dies have been very successfully used for the decoration of covers measuring about 112 by 8 in . Besides the large trade binders working mainly by the help of machinery, and producing a great quantity of bound work which is not expected to last long, there also exists in London, See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris, New See also:

• YORK
• YORK (HOUSE OF)
• YORK, EDMUND OF LANGLEY, DUKE OF (1341-1402)
• YORK, EDWARD
• YORK, FREDERICK AUGUSTUS, DUKE OF (1763-1827)
• YORK, RICHARD, DUKE

York and other large cities, a small class of art binders who work throughout upon the principles which have been continuously in use for first-class work ever since about the 5th century . The initial impetus to this school can be traced to See also:

• WILLIAM
• WILLIAM (1143-1214)
• WILLIAM (1227-1256)
• WILLIAM (1J33-1584)
• WILLIAM (A.S. Wilhelm, O. Norse Vilhidlmr; O. H. Ger. Willahelm, Willahalm, M. H. Ger. Willehelm, Willehalm, Mod.Ger. Wilhelm; Du. Willem; O. Fr. Villalme, Mod. Fr. Guillaume; from " will," Goth. vilja, and " helm," Goth. hilms, Old Norse hidlmr, meaning
• WILLIAM (c. 1130-C. 1190)
• WILLIAM, 13TH

William See also:

• MORRIS
• MORRIS [MORRISON], CLARA (1849– )
• MORRIS, GOUVERNEUR (1752–1816)
• MORRIS, JOHN (1810-1886)
• MORRIS, RICHARD (1833–1894)
• MORRIS, ROBERT (1734–1806)
• MORRIS, SIR LEWIS (1833–1907)
• MORRIS, WILLIAM (1834-1896)

Morris, who himself made some beautiful designs for bookbindings, to be executed both in gold and in blind . Although he probably did not fully appreciate either the See also:

• PECULIAR

peculiar limitations or the possibilities of the art of gold-tooling on leather, nevertheless his See also:

• GENIUS (from Lat. genere, gignere)

genius guided him truly as to the spirit in which the designs should be conceived . The revived art soon reached its first See also:

• STAGE (Fr. 6/age; from Lat. stare, to stand)

stage of development under the guidance of Mr T . J . See also:

• COBDEN, RICHARD (1804-1865)

Cobden-See also:

• SANDERSON, ROBERT (1587-1663)

Sanderson, who may fairly be considered as the founder of the modern school of design for gold-tooling on book-covers, the pre-See also:

• EMINENCE (Lat. eminentia)

eminence and individuality of his work in this direction being proved by the number of his imitators . Among the most successful of his pupils is Mr See also:

• DOUGLAS
• DOUGLAS, GAVIN (1474?-1522)
• DOUGLAS, JOHN (1721—1807.)
• DOUGLAS, SIR CHARLES
• DOUGLAS, SIR HOWARD
• DOUGLAS, STEPHEN ARNOLD (18,3–1861)

Douglas See also:

• COCKERELL, CHARLES ROBERT (1788-1863)

Cockerell, whose work (Plate, fig . 7) is distinguished by a marked originality of treatment, while it shows a scholarly appreciation of See also:

• ANCIENT
• ANCIENT (also spelt ANTIENT; derived, through the Fr. ancien, old, from the late Lat. antianum, from ante, before)

ancient methods . Mr See also:

• ALFRED

Alfred de Sauty has succeeded in developing a new and admirable style in inlaid leathers, combined with delicate pointille work . A number of See also:

• WOMEN

women artists, both in England and in America, have already discovered in bookbinding a fitting and lucrative field for their energies .

One, See also:

• MISS

Miss Sarah Prideaux, is not only skilled and original in her own work, but she has also given us much valuable literature on her subject . Miss E . M . See also:

• MACCOLL, MALCOLM (c. 1838-1907)

MacColl may claim to be the inventor of the small curved gold line produced by means of a tiny See also:

• WHEEL (0. Eng. hweol, hweohl, &c., cognate with Icel. hjol, Dan. hiul, the Indo-European root is seen in Sanskrit chakra, Gr. r in Aos, circle, whence " cycle ")
• WHEEL, BREAKING ON THE

wheel, for though the possibility of producing such a line in blind was known for a long time, it was rarely used . The graceful curves and lines found on Miss MacColl's work have been designed for her by her See also:

• BROTHER

brother, Mr D . S . MacColl (Plate, fig . 8) . Miss See also:

• JOANNA (1479-1555)

Joanna Birkenruth recalls the highly decorative medieval binding by her use of jewels cut en cabochon, but set in morocco instead of gold or silver, and there are many others who are working well and earnestly at art binding with delicate skill and See also:

• TASTE (from Lat. taxare, to touch sharply; tangere, to touch)

taste . Outside full See also:

• ADVANTAGE

advantage of them can only be taken where there is a large edition of one book . Book-sewing machines (fig . 9) are of two kinds: one sews the books on bands, either flat or round, and the other supplies the See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place of bands by a kind of See also:

• CHAIN (through the O. Fr. citable, chcene, &c., from Lat. catena)

chain stitch .

The See also:

• BAND

band-working sewing. machines bring the return See also:

• THREAD (0. Eng. praed, literally, that which is twisted, prawan, to twist, to throw, cf. " throwster," a silk-winder, Ger. drehen, to twist, turn, Du. draad, Ger. Draht, thread, wire)

thread back by pulling it through the upper and lower edges of the back of each See also:

• SECTION
• SECTION (Lat. sectio, cutting, secare, to cut)

section, there-by to some extent weakening each section, but at the same time this weakening can be to some extent neutralized by careful See also:

• HEAD (in 0. Eng. heafad; the word is common to Teutonic languages; cf. Dutch hoofd, Ger. Haupt, generally taken to be in origin connected with Lat. caput, Gr. KerbOvi7)
• HEAD, SIR EDMUND WALKER, BART
• HEAD, SIR FRANCIS BOND, BART

head-banding . The other See also:

• SYSTEM

system, where the band is replaced by a chain stitch, brings back the return thread inside each section; the objection to this is that there is a flattening out of the back of the book, which becomes a difficulty when the subsequent operation of covering the book begins . The sections are sewn continuously in a long line, and are afterwards cut apart . The threads catch into hooked needles and are drawn through holes made by piercers set to a certain distance; a See also:

• SHUTTLE (O. Eng. shitel, &c.; from the same word as " shoot ")

shuttle like that used in an See also:

• ORDINARY (med. Lat. ordinarius, Fr. ordinaire)

ordinary sewing-See also:

• MACHINE
• MACHINE (through Fr. from Lat. form machina of Gr. µnxavil)

machine the inner circle of professional bookbinders there has grown up a new profession, that of the designer for pictorial book-covers, especially those intended to be shown in colour on cloth or paper . Among notable designers may be mentioned Lewis F . Day, A . A . Turbayne, See also:

• WALTER, HUBERT (d. 1205)
• WALTER, JOHN (1738/9-1812)

Walter See also:

• CRANE (in Dutch, Kraan; O. Ger. Kraen; cognate, as also the Lat. grus, and consequently the Fr. grue and Span. grulla, with the Gr. dpavos)
• CRANE, STEPHEN (1870-1900)
• CRANE, WALTER (1845– )
• CRANE, WILLIAM HENRY (1845– )

Crane and Charles Ricketts . Machine-binding.—The See also:

• PRINCIPAL

principal types of machine for commercial binding are described below . They are almost all due to See also:

• AMERICAN

American or German ingenuity . It may be noted that, while books sewn by hand on bands have the loose ends of the bands actually drawn through the boards and strongly fastened to them through their substance, no machines for covering sewn books will do this so effectively . All they will do as a rule is to See also:

• PASTE (O. Fr. paste, modern pate, Late Lat. pasta, whence also in Span., Port. and Ital., from Gr. 1r&vrrl or 1raara, barley porridge, or salted pottage, ir&ao'ety, to sprinkle with salt)

paste down to the inner surfaces of the boards the loose ends of the tapes on which the sewing is done .

So that, although it may last a long time if not much used, a " cased " book is likely to slip out of its cover as soon as the paste fixing it perishes . Modern bookbinding machines of all kinds are usually driven by See also:

• POWER [WILLIAM GRATTAN] TYRONE (1797-1841)

power, and in consequence of the necessary setting of most of them accurately to some particular See also:

• SIZE

size of book, they are not suitable for binding books of different sizes; thesews the inner thread backwards and forwards . Each section is placed upon a sort of metal See also:

• SADDLE (a word