An Essay in the History of Gold-Tooled
Bindings by Herbert P. Horne
London 1894
copy of Joannis Cassiani Eremitae, bound for Sir Kenelm Digby, is figured by MM. Marius-Michel in
La Reliure Francaise [PI. x.J, and another of a simpler character, in the British Museum, covers a
New Testament in Greek, Amsterdam, 1633 [675. a. 2Q.]. The edges of this little volume are
marbled under the gold: while the end-papers, covering the boards, are of marbled, and the
fly-leaves of white, paper; an arrangement common to many books of this period. Like the other
productions of this master, and unlike those earlier bindings, from which their general design is
copied, books tooled in this style have the whole of their figured tools engraved, au pointille.'
These tools, of which the design may have been suggested by metal filigree work, are of an
uniform character; and, from their nature, always appear as detail, subordinated to the chief
lines and masses of the composition, in which they occur. In this, lies their peculiar excellence:
extraordinary care, and thought, moreover, being always shown in the design of the
geometrical framework to which they are applied; especially when this framework consists of
the interlaced fillet. The figures and disposition of the compartments thus formed, the
application of the subordinate ornament, and the due relation of every one part to every other,
is contrived and executed with incomparable felicity, and in a most distinguished taste. In these
bindings, the courtly styles of France have their climax; brilliant, exquisite, and of extraordinary
accomplishment; yet worthy to go in paragon with the more virile and scholarly art of the finest
Italian binders of the first half of the sixteenth century. The perfection of finishing distinguishes
this age of French binding; as that of forwarding distinguishes the succeeding one.
Clovis Eve was succeeded by Mace Ruette, as Binder in Ordinary to the King. I t appears from
records, that he was the son of one Michel Ruette, Chargeur de bois au port de l'Escale de Saint
Germain I' Auxerrois,' and that, on 5th March, 1598, he was bound apprentice for the term of
four years to Dominique Salis, stationer and bookbinder, living in the Rue Saint Jean de Latran.
According to La Caille, 'c'est Mace Ruette, qui a trouve l'invention du papier marbre, et du
Marroquin jaune marbre,' [Hzstoire de l'l1nprimerie, Paris, 1689, p. 213.]: but the first ascription
is as improbable, as the second is indefinite. I have already touched upon what seems to be
the origin of marbled paper. Mace Ruette was master of the Guild of St. Jean, from 1629 to
1634: he was still working for the King in 1638, but had died before the year 1644. One of his
bindings may, perhaps, be seen on a copy of Ammianus Mareellinus, Hamburg, 1609, in the
British Museum, the boards of which are tooled with the arms of Louis XIII., and a 'semis' of
crowned L's, and fleur-de-Iys [G. 9116.].