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by Joseph W. Zaehnsdorf
3rd Edition Published in London 1897
these interlacings served as a ground plan only for the brilliant fantasies of Le Gascon, a master who no doubt has
had the least number of imitators. Although he followed and to a certain extent kept the shapes, the aspect of his
bindings was very much changed by the application of pointed tools. Le Gascon rests for over as the most
renowned master of the 16th century. The number of tools necessary for the execution of a composition like on of
Le Gascon’s is large; and when one considers that these tools are repeated, perhaps a thousand times on each side
of the book, a fair idea may be formed of the magnitude of such a work. I am of opinion that Le Gason brought
bookbinding to its highest point of richness and finish. His drawings are always pure and correct; his squares,
lozenges, triangles, and ovals are so brought together as to form a series of compartments interlacing the one
within the other, with all incomparable boldness and perfect harmony; above all, one must remark with what
richness the compartments are filled. There is no doubt the ground work of the style was Grolier, but he never filled
his panels with such richness or with such taste as that displayed by Le Gascon. The difficulty of adapting such
designs to the different sized of books has no doubt deterred the various masters from imitating such works, so that
we see lee of Le Gascon’s style than of any other ancient master.
much in keeping for books of a serious character. They are original in shape, but their employment was only in
borders; leaving the centre of the book free from ornament. I do not pretend to give a history of the various
masters, but rather a practical descriptions of the art of bookbinding. Much has already been written about the
various works executed by these grand old masters; my endeavour has been to show, that whilst the various
masters of the art of bookbinding worked with tools but little altered from their original forms, they so modified and
changed them in their character and use, as to form a distinctive mark of style for each artists, by which his work
may be recognized.
A pamphlet, published in Paris, 1878, says: “One of the branches of artistic industry in which France posses
unquestionable superiority is certainly bookbinding; the International Exhibitions, and still more the sales of private
or other collections, have each day given evident proof of this. Italy, which initiated herself so perfectly in the
Renaissance style, and Holland, once her rival in the 17th century, have long ceased to produce any work worthy of
remark; everywhere books are being bound, but the ‘art’ of bookbinding is practiced only in France.”
I cannot agree with its authors that one must go to France now to have a book bound properly. The method of
bookbinding is quite differently managed and worked there than it is here. I have witnessed both methods, and
prefer the English one as being more substantial.
perhaps, by a novice, who wishes to get his books done before his glaire has dried. This method was to damp the
cover well with water, either with a wet sponge or by other means. The gold leaf was then laid on, and the tool
worked rather warm on the gold. Through the heat or steam generated the gold was burnt in, and the overplus
washed off with a damp sponge or rag, the gold being left only in the impressions. If, however, any block or centre
was used, it was impressed with heat upon the side in a small lying press in use at the period. This press was for
impressing armorial hearings and monograms on the sides. The term arming press is still used for the lighter kinds
of blocking presses.
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