It is a disputed question, among book lovers of taste, whether the whole of a small collection should be bound in the same material, and of the same color, or whether a diversity should prevail. There are valid reasons for either plan. A library where both morocco and calf bindings are adopted, in the various 'hues which are given to each leather, has a pleasant and lively appearance, and if glaring contrasts in hues be avoided in neighboring volumes as they stand upon the shelves, an air of lightness and vivacity will characterize the apartment. But the contrast must by no means be too pronounced. Dr. Dibden, a great authority on all such matters, warns us specially against the employment of either white vellum or scarlet morocco as a material for the jackets of our volumes. Both are too decided in appearance, and impart a "spotty" look to the shelves.

Of course, this objection applies only to single volumes or small sets in libraries of limited extent. If, for instance, a whole press, or set of shelves, could be appropriated to vellum-clad volumes of the Fathers and patristic theology, the effect would be good. The decision on the general question of uniformity versus variety must be left, in great measure, to individual taste.
Where the collection is small, say, sufficient to fill two ordinary bookcases (about 500 volumes), an excellent plan is to reserve one case for standard English authors, and bestow in the other works on science, art, travels, foreign books, &c.

Let all the bindings be of morocco, either" whole" binding' (the term used when the book is wholly covered with leather), or half binding (where the back and corners only are leather covered, "cloth," of a similar color to that of the leather, being used for the sides), according to the value and importance of the book. If maroon morocco be chosen for the books in the first press, and an olive green for those in the second, the effect will be chaste and massive. Both these leathers "throw up" the gilding of the back splendidly. Where expense is not a primary consideration, the backs should not be scrimped in this matter of gilding, or, as it is technically termed, "finishing." A morocco bound book should bear a good amount of gold on the back; but the patterns of the tools should be carefully selected.

For all volumes of tolerable size, a bold, clear style of ornamentation should be adopted and raised "bands," crossing the back of the book should be a sine qua non with every tasteful bibliophile. Not only should all the books in one case be in the same kind of leather (if the uniform plan be adopted), but the style of "finishing" should be the same. If lines have been chosen as the means of ornamentation, let all the books be decorated therewith. On the contrary, if a more florid style has found favor, let it be adhered to throughout. One of the most effective sets of books that ever came under our notice had all the volumes bound in blood-colored morocco, richly gilt in the cinque cento style of ornament.

The Empress Eugenie is stated to have had her books uniformly bound in sky-blue morocco, thickly sprinkled with the golden bees which form one of the emblems of the house of Bonaparte. It is, however, not unlikely that the amateur bookbinder will introduce greater variety amongst his bindings, for the simple reason that he will be desirous of trying his hand on morocco, calf, roan, vellum, and cloth-all of which we shall, in due course, describe.

Introduction Part 3