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ancient arabesques art of binding artistic bands beauty best of boards Biblio bibliomania Bibliophile book is sewed book-lover bookbinding bound book calf cautious binder century charming choice Cockerell collector color connoisseur copies cords corner cover craft craftsman crushed damp decoration doublure early Early bindings EDGE GILDING end papers fact fair fibre finest finish flexible France full gilt Gascon genius gilt edges glue GOLD TOOLING golden mean Grolier hand headband ideal instinct Italian Italy Jansenist laced leaf leather joint leaves levant liophile marbled papers margin material matter ment minute modern binder Niger NOTE ON COLLATION Octave Uzanne old books original outer leather paring past petits fers printed proper Renaissance rococo Saracenic sections sewn skill skin smooth morocco solecism solid stamped stamping press stand strength strips struck style surface taste technical thick tion to-day treatment true ture vellum washing William Morris wrought
Page 23 - They take divers oiled colours, and put them severally (in drops) upon water ; and stir the water lightly ; and then wet their paper (being of some thickness) with it; and the paper will be waved and veined, like chamolet or marble.
Page 104 - Cause was, inasmuch as the best Books, when they fell into unlearned men's hands ill-accoutred, were pitifully used ; he therefore endeavoured, that they might be prized at least for the beauty of their binding, and so escape the danger of the Tobacconist and Grocer.
Page 53 - Theatre. this is probably the most extraordinary.* It may be defined a passion to possess books of which the edges have never been sheared by the binder's tools. And here I find myself walking upon doubtful ground : — your friend [turning towards me] Atticus's uncut Hearnes rise up in " rough majesty " before me, and almost
Page 125 - ... of the seventeenth and eighteenth centuries gave to their work. The tooling, especially, is executed with great freedom, but slight attention being given to any nicety in the joints of the fillets and gouges. A celebrated Parisian binder used to show an original Grolier, beside a copy of its design made by himself, in which he had corrected all the curves of the original with a geometrical accuracy, and executed the joints and mitres with absolute precision. In brief, he had expressed, in his...
Page 56 - First, he finds beauty in the deckle edge. He cherishes even those folds which have escaped the paper cutter. Let not the profane tell him that he cannot read the book. We grant that none but a Philistine could make this trivial retort. And equally foolish is it to dwell upon the difficulty of turning uncut leaves. No patience is too minute for the true collector.
Page 55 - He can advance nothing for his aberration, except that it is in the best state for binding. Therefore he retains it coverless. Not thus did the poet dream to see his book, nor in this form did he love it. Why not collect the type from which the book was printed, or the pulp from which the craftsman made the paper ? Both are very
Page 53 - Bibliophile may leave the edges untouched, in the virgin yet crass state in which the printer left them. Or, the edges may be cut and full gilt; or, gilt on the top only, " other edges uncut" ; or, while uncut, they may be gilded
Page 65 - THE headband serves a double purpose— strengthens the book at a weak point, and raises the back to the same height as the projecting boards. And, moreover, though serving these wholly utilitarian ends, it invariably effloresces in a bit of decoration — crowns the work with brilliant woven silk.
Page 69 - In trade binding they are a commercial necessity; and, it is true, serve the purpose for which they are invented; but there is no excuse for putting them on any "extra" book. Hand work in headbanding is neither difficult nor long to learn, and not many minutes are wasted in weaving it into the book. It is...
Page 59 - The effect is often, to my mind, finer than a solidly gilt edge. The mosaics at Ravenna, in which the tesserae are not polished to a level, reflect the light from a thousand gilded facets — incomparably deeper and more brilliant than a polished surface. The same beauty may be found in the unequal surface of rough gilt edges.