An Essay in the History of Gold-Tooled
Bindings by Herbert P. Horne
London 1894
books are ornamented by a fillet intricately interlaced. In the binding executed for the Treasurer,
the interlacing of this fillet, which is principally worked in right lines, are with great art massed by
themselves, and subtly contrasted with the other curved and angular forms of the design. In
that executed for the king, the interlacings of this fillet, which is almost entirely worked in curves,
form a continuous and intricate border, the principal member of a far less effective design. In the
interstices of this border, and in the central panel, are powdered the various cyphers and
devices of the king and his mistress: amongst which, the cypher of the reversed D's occurs in no
less than three, and the crescent moons in two, different sizes. Spaces are then filled in with
figured tools, which have no due relation to one another, nor to the ornament, which surrounds
them: and this is especially apparent in regard to the tool of the bow and quiver. Upon the
binding of Grolier, on the other hand, every element is of the most simple kind, and in the nicest
relation to every other; while the utmost effect is produced by their proper use and contrast,
which cannot be said of the binding executed for the king. This simplicity, unity, and proper
distribution of the parts, resulting in the most splendid and distinguished effect, go to make up
that subtle complexure of qualities, 'architectonice,' to repeat the expression of Goethe, which is
the grand characteristic of Italian art, in the art of modern Europe: and this it is, which separates
such bindings of Grolier, as Italian work, from the French work executed for Henri II. and Diane
de Poitiers. In regard to the actual workmanship of these bindings, it is to be observed, that
upon Grolier's binding, with the exception of the lettering and two figured tools, which are used
with great judgment and reticence, the whole of the design is worked by means of simple
gouges and wheels: while on the bindings of Henri II., not only are a far greater number of
figured tools used, but, also, a stamp of arms in the central panel. Again, there is a tendency in
these later bindings, to produce, by means of gouges alone, forms, which would be better and
more easily made by figured tools: as on an elaborate binding of Diane de Poi tiers', figured by
M. Bouchot in Les Reliures d'Art ala Bz'blz'otheque Natz'onale [PI. XLII.].
If I have pointed out that these French bindings are not as perfect works of art, however
technically accomplished, as are the finest Italian bindings executed for Grolier and a few other
collectors, let me not be thought to underrate the sumptuous beauty and historical interest,
which they unquestionably possess. The figure of Diane de Poitiers, her charm and fascination,
her patronage of such men as Delorme, and Goujon, in a great age of art, have justly done not a
little to increase the estimation, in which these bindings are held: but it is the part of the critic in
such matters, to distinguish between the intrinsic value of a work of art, and the glamour and
interest, which time and history have cast over it.