,transcriber's ,notes3      ,every     
effort has been made to replicate this  
text as faithfully     as possible1     
including any inconsistencies in the    
original4      ,italic text has been    
marked with underscores4                
,illustration3 ,oliver ,cromwell        
,green ,levant--inlays of red and black 
leather4 ,decorative tooling in   gold4 
,bib-li-op-e-gis-tic    7,pertaining to 
the art of binding books4--,dibdin7     
to which is appended   a glossary of    
some   terms used in   the craft        
,with ,illustrations of   ,bindings     
,designed and ,executed by   ,the ,trow 
,press1 ,new ,york     ,bibliopegistic  
,the craft of the bookbinder is older   
than that of the printer4 ,quoting from 
,mr4 ,brander ,matthews3  ,perhaps the  
first bookbinder was the humble workman 
who collected the baked clay tiles on   
which the ,assyrians wrote their laws2  
and he was a bookbinder also who        
prepared a protecting cylinder to guard 
the scrolls of papyrus on which ,vergil1

 and ,horace1 and ,martial had written  
their verses4  ,modern art in           
bookbinding began in ,italy in the      
fifteenth century4 ,the invention of    
printing had so multiplied books that   
the work got out of the hands of the    
monks1 and workmen from other trades    
were pressed into service1 bringing with
 them their skill in working leather1 as
 well as their tools1 and designs which 
they had previously used to decorate    
their work4  ,at this time the libraries
 were shelves1 so inclined1 as to allow 
of the books lying on their sides1      
inviting their decoration4 ,at first the
 embellishment was suggested or         
influenced by the work in the volume1   
and very often there would be found on  
the cover1 repetition of the typographic
 ornaments used by the printer4         
,illustration3 ,carols ,v4              
,gerichtsordnung 7#aeig7    ,vine       
colored ,levant--inlays of red and green
 leather4 ,interlacing   bands and      
decoration tooled in gold4  ,but with   

the associations and influence of the   
other decorative arts1 there came the   
use of interlacing bands1 scrolls1 and  
geometric designs1 followed by copies of
 patterns and parts of designs from     
laces1 embroideries1 pottery and        
ironwork of the times4 ,and with the    
broadening in the ideas of decoration1  
came the use of inlays of leather of    
harmonizing colors1 and even of precious
 stones4  ,while the art was developing 
in ,italy1 largely under ,french        
patronage1 it was also beginning to     
flourish in ,france1 where later it     
reached its supremacy4 ,so much so that 
up to the nineteenth century it was     
,france first and the rest nowhere4  ,in
 no work more than in binding have the  
,french shown their fine artistic taste1
 and in the famous collections of the   
world the choicest specimens are by     
,french binders of the sixteenth to the 
eighteenth centuries4  ,france to-day   
has many binders of great skill and good
 taste1 but no longer holds the         

supremacy of the earlier days4 ,england 
has developed some craftsmen of great   
skill and original artistic feeling1    
even though their best efforts are many 
times but reproductions of older models4
  ,barely fifty years ago ,america did  
not have a binder capable of covering a 
volume to compare with the work of the  
artisans of ,france or even ,england4   
,but in that time there have developed  
shops where work of such merit is done  
that it is now no longer necessary to   
send one's precious tomes abroad to be  
properly clothed4  ,the true book lover 
as well as the collector desires for his
 treasures a suitable binding1 and there
 is to-day an increasing demand for fine
 binding on individual volumes as well  
as on sets4  ,this demand is not        
satisfied with commercial binding and is
 too intelligent to accept extravagant  
work1 extravagant in over-decoration as 
well as in price4  ,the art of          
bookbinding is now so widely known and  
the taste and judgment of the public so 

thoroughly educated by the efforts of   
the ,grolier ,club and similar          
associations that good work and good    
material are appreciated1 genuine and   
suitable decoration recognized and the  
best results obtained in the combination
 of an intelligent customer and a       
skilled and artistic workman4           
,illustration3 ,the ,book of the        
,presidents    ,maroon ,levant--arms    
7,tiffany  ,co4 design7 inlaid in       
colored   leather4 ,plain mitred panels1
 tooled in gold4    ,illustration3 ,the 
,book of the ,presidents--,double       
,levant--national colors4 ,tooled in    
gold4     ,the ,trow ,bindery   ,the    
production of fine bindings is not a new
 departure with us1 but has been carried
 on for many years in what has been     
aptly described as1 a quality department
 of a quantity business1 where fine work
 can be executed at prices that are not 
prohibitive4  ,it is under the direction
 of a skilled craftsman1 and the workmen
 are encouraged to excel in careful and 

conscientious work4  ,our endeavor is to
 produce books which are not surpassed  
for elegance1 elasticity1 and           
durability--the three great requisites  
of a well bound book4  ,with technical  
knowledge to aid us in the selection of 
the best materials1 and excellent tools1
 we strive for that result which is     
described as flawless material          
faultlessly treated4  ,the decoration1  
if any1 is designed in complete harmony 
with the text1 and where warranted1 we  
call to our aid the foremost decorative 
designers and artists of the day4       
,illustration3   ,no4 #a4 ,vellum   ,no4
 #b4 ,linen   ,no4 #c4 ,buckram         
,samples of specially designed ,marbled 
cloths    ,for sides and linings of     
half1 three-quarter or full leather     
bindings  ,the older models are followed
 where original designs are not         
required2 and where simplicity is       
desired1 we hold to the belief in the   
undecorated surface of flawless         
material1 bearing in mind the sobriety  

of treatment1 but careful execution     
which distinguishes the best work of the
 past4                     99       99  
99       99       99  ,as a new         
departure we are showing the use of     
specially designed cloths for sides and 
linings1 in place of the ,german marbled
 papers and ,french combs1 the most of  
which as ,miss ,prideaux says produce   
the effect of violent color thrown on   
wet blotting paper4  ,used as sides on  
half or three-quarter leather styles1   
the cloth gives greater durability1 as  
the surface does not rub1 nor will the  
edges wear off where turned over1 as    
happens with the use of marbled papers4 
,as linings they obviate the use of the 
extra cloth joint1 which is unsightly1  
but necessary for strength with the use 
of marbled paper2 with their use the    
folded edge is pasted in the joint1     
allowing the cover to be lifted without 
drawing the end papers away from the    
book4  ,good taste1 and harmony of color
 are assured by their wide variety1 and 

in addition some new and novel effects  
may sometimes be secured4               
,illustration3 ,the ,historic           
,hudson--,double    ,green ,levant4     
,pictorial inlay and decoration tooled  
in gold4     ,the ,scope of our ,work   
,we solicit the binding of a single     
volume1 in any manner1 whether it be in 
half1 three-quarter1 or full leather1   
with simple or elaborate treatment4  ,we
 will undertake the binding of a        
complete collection or library and will 
submit quotations where desired1 or     
proceed under an appropriation by the   
customer4  ,we will carefully attend to 
special instructions for the extending1 
interleaving or rebinding of extra      
illustrated work1 presentation copies1  
memorial editions1 etc4  ,we also       
undertake the repairing of any bindings1
 carefully and skillfully mending any   
torn leaves1 and properly guarding any  
loose sheets or inserts4                
,illustration3 ,memorial                
,volume--,double    ,royal ,purple      

,levant4 ,floral design inlaid and hand 
colored4     ,glossary of ,terms        
,azured4 ,ornamentation outlined in gold
 and crossed with horizontal lines4     
,bands4 7#a7 ,the cord whereon the      
sheets of a volume are sewn4 7#b7 ,the  
ridges on the back caused by the bands  
raising the leather4 ,head ,band4 ,a    
knitting of silk or thread worked in at 
the head and foot of the shelf back of  
the book4  ,boards4 ,a temporary binding
 with a cover made of boards and paper4 
,mill ,boards4 ,the boards that are     
attached to the book1 giving stiffening 
to the cover4  ,bosses4 ,brass or other 
metal pieces attached to the covers of a
 book1 for ornamentation or protection4 
,burnish4 ,the gloss produced by the    
application of the burnisher to the     
edges after coloring1 marbling or       
gilding4  ,collating4 ,examining the    
signatures1 after a volume has been     
folded and gathered1 to ascertain if    
they be in correct sequence4  ,dentelle4
 ,a style resembling lace work1 finished

 with very finely cut tools4  ,double4  
,when the inside of the cover is lined  
with leather1 it is termed a double4    
,end ,papers or ,lining ,papers4 ,the   
papers1 plain or fancy1 placed at each  
end of the volume and pasted down upon  
the boards4  ,fillet4 ,a cylindrical    
tool used in finishing1 upon which a    
line or lines are engraved4  ,finishing4
 ,comprises tooling1 lettering1         
polishing1 etc4  ,flexible4 ,a book sewn
 on raised bands1 with the thread passed
 entirely around each band1 allowing the
 book to open freely4    ,illustration3 
,a ,century of ,french ,romance         
,edition work4 ,french ,levant with     
colored inlays4 ,decoration stamped   in
 gold4    ,illustration3 ,a ,century of 
,french ,romance    ,edition work4      
,persian ,morocco4 ,semis 7powder or    
diaper design7   stamped in gold4  ,fore
 edge4 ,the front edge of the leaves4   
,forwarding4 ,comprises all the         
operations between preparing and        
finishing1 including the forming and    

trimming of the books1 and the covering 
of the boards4  ,gaufre ,edges4         
,impressions made with the finisher's   
tools on the edges of the book after    
gilding4  ,gouge4 ,a finishing tool     
forming the segment of a circle4        
,guards4 ,strips of paper inserted in   
the backs of books1 upon which inserts  
are mounted1 intended to prevent the    
books being uneven in thickness when    
filled4  ,inlaying4 7#a7 ,extending     
extra illustrations by inserting them in
 leaves to correspond to the size of a  
book4 7#b7 ,a style of ,mosaic work made
 by the insertion of vari-colored       
leathers or other material on the cover 
or double4  ,kettle-,stitch4 ,a         
catch-stitch formed in sewing at the    
head and foot4  ,lacing-,in4 ,lacing the
 bands on which the book is sewn through
 holes in the boards to attach them4    
,limp4 ,a cover without boards or other 
stiff materials1 allowing the sides to  
be pliable4  ,marbling4 ,a method of    
coloring the edges or end papers in     

various patterns1 obtained by floating  
colors on a gum solution4  ,mitred4     
,tooled lines meeting at a right angle  
without overrunning4  ,morocco4 ,a fine 
kind of grained leather prepared from   
goatskin4 ,levant ,morocco4 ,the skin of
 the monarch breed of goat2 a large     
grained ,morocco4  ,overcasting4        
,oversewing the back edges of single    
leaves of weak sections2 also called    
whipstitching or whipping4  ,pointille4 
,the dotted style of ,le ,gascon4       
,preparing4 ,comprising all the         
preliminary operations up to forwarding1
 including folding1 gathering1          
collating1 and sewing4  ,register4 ,when
 the printing on one side of a leaf     
falls exactly over that on the other it 
is said to register4  ,rolls4           
,cylindrical ornamental tools used in   
finishing4  ,sawing-in4 ,when grooves   
are made in the back with a saw to      
receive the bands4  ,semis4 ,a diaper   
design made up of the repetition of one 
or more small tools4  ,signature4 ,each 

folded sheet or section of a book4      
,squares4 ,the portion of the covers    
projecting beyond the edges of the book4
  ,tall ,copy4 ,so called when the book 
has not been reduced in size by         
trimming1 with the leaves entirely      
uncut4  ,tooling4 ,impressing the design
 or pattern in gold leaf1 with finishing
 tools1 by hand4 ,blind ,tooling4 ,the  
impression of finishing tools without   
gold leaf4    ,illustration3 ,specimen  
decorative backs for half or full       
leather   bindings4 ,edition work or    
single volumes4     ,interpretation of  
,styles   ,,aldine ,,or ,,italian       
,ornaments of solid face without any    
shading whatever1 such as used by ,aldus
 and other early ,italian printers4 ,the
 ornaments are of ,arabic character4 ,a 
style appropriate for early printed     
literature4   ,,grolier  ,an interlaced 
framework of geometrical                
figures--circles1 squares1 and          
diamonds--with scrollwork running       
through it1 the ornaments which are of  

,moresque character1 generally azured in
 whole or in part1 sometimes in outline 
only4 ,parts of the design are often    
studded with gold dots4 ,time1 first    
half of the #afth century4   ,,maioli   
,a style prior to and contemporary with 
the early 7,italian7 examples of the    
,grolier4 ,generally composed of a      
framework of shields or medallions1 with
 a design of scrollwork flowing through 
it4 ,portions of the design are usually 
studded with gold dots4 ,ornaments are  
of ,moresque character4   ,,eve  ,a     
framework of various geometrical-shaped 
compartments linked together by         
interlaced circles2 the centers of the  
compartments are filled with small      
floral ornaments1 and the irregular     
spaces surrounding them1 with circular  
scrolls and branches of laurel and palm4
 ,an elaborate style used at the end of 
the #afth and beginning of the #agth    
century4   ,,mosaic  ,a design inlaid   
with different colors4 ,the cover may be
 of any shade1 but the style is         

especially effective when the cover is  
of white vellum in imitation of         
illuminated manuscripts4   ,,le ,,gascon
  ,the distinguishing feature of this   
style is the dotted face of the         
ornaments instead of the continuous or  
solid line4 ,in vogue the first half of 
the #agth century1 immediately          
succeeding the period of ,nicholas and  
,clovis ,eve4   ,,derome  ,this style   
has ornaments of a leafy character1 with
 a more solid face1 though lightly      
shaded by the graver and is best        
exemplified in borders4 ,the ornaments  
are often styled ,renaissance1 being an 
entire change from the ,gascon4 ,time1  
#ahth century4   ,,roger ,,payne  ,the  
ornaments of this style are easily      
identified1 being free and flowing in   
stem and flower2 whereas before ,payne's
 time they had been stiff and formal4   
,the honeysuckle is a customary         
ornament4 ,the impressions of the tools 
are usually studded round with gold     
dots1 whether used in borders1 corners1 

or center pieces4   ,,jansen  ,without  
line or ornament either in blank or     
gold4 ,it permits decoration on the     
inside of the cover1 but demands        
absolute plainness on the outside1 with 
the exception of lettering4 ,it is only 
appropriate for crushed levant1 being   
dependent for its beauty on the polished
 surface of the leather4 ,it takes its  
name from the followers of ,jansenius1  
,bishop of ,ypres1 who were advocates of
 plainness in worship4     ,illustration
    ,trow ,directory1 ,printing and     
,bookbinding ,company   #bja-bac ,east  
#abth ,street   ,new ,york ,city