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by Joseph W. Zaehnsdorf
3rd Edition Published in London 1897
Finishing is the art of embellishing the covers of books with
different designs. Finishing comprises the embellishment of the
covers either with blind work, gold, silver or platina leaf, or with
metal ornaments fastened through the boards, or by only a
lettering on the back of the book
The art of finishing does not comprise any embellishment done
with the “blocking press.” Therein the art is more that of the
block or tool cutter, who, working in concert with the artist who
drew the design, cuts the metal accordingly. The binder’s use
of these blocks is mechanical only.
The monks who cultivated all the arts, and enriched their Hours
and their Missals with marvelous miniatures, gave great zeal to
the occupation of binding. So charmingly were the bindings
ornamented with tools and small blocks reproduced from the
text, that we must regret that so few of these monastic
A great number of these books were executed in Germany, where this mode of decoration remained a long time in
use; and we find that other countries borrowed from the printer this primitive mode of decoration. As the art
progressed the binder’s mark was impressed on the cover as an ornament, or as a distinction, such as we find at the
present day at the end or after the title of books to denote by what printer the work was executed. Later on, when
the Renaissance shone in all its glory and beauty, we find that it freed itself from this limited practice. A new mode of
decoration came into use which we may well study even at the present day; a style at once rich and varied.
varied designs, we catch the imaginative caprices of their authors; and the details of
their transformation gives us a guide to the different schools and art of their time. The
execution of these linear designs is extremely difficult. It can be easily seen that they
have not been done by a block engraved in one piece, but with small segments. The
art of putting together these small pieces, so as to form one complete and artistic
pattern, is the skill of the finisher. Many books are now finished by means of the
blocking press; but on close examination, these imitations may be readily
distinguished. A blocked cover never has the life and spirit that a hand-finished one
has. Of blocking I must speak in subsequent pages.
These intrinsic designs were very much used by the binders contemporary with Grolier,
and the use of lined or azure tools are a distinctive mark of the period.
while in the other style the tools, although of the same shape, are lined or azure. A little later on other artists, not
satisfied with this modification, dispensed with the fine cross lines, and retained their outlines only. Franco, during the
reign of Henry II, left Italy far behind, and executed those grand compositions of Diane bindings. They are marvelous
subjects, and are sometimes imitated at the present day, but are never surpassed in their wonderful originality.
After these masterpieces we find the curious bindings of Henry III., which instantly mark a distinct transformation. The
interlacings are less bold and free, but more geometrically traced. The absence of filling in the small tools gives a
coldness, which is increased by a heavy coat of arms on the sides.
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