File:Historic bindings in the Bodleian Library, Oxford - with reproductions of twenty-four of the finest bindings (1891) (14597390120).jpg

Identifier: historicbindings00bras (find matches)
Title: Historic bindings in the Bodleian Library, Oxford : with reproductions of twenty-four of the finest bindings
Year: 1891 (1890s)
Authors: Brassington, William Salt, 1859-1939 Bodleian Library
Subjects: Bookbinding
Publisher: London : Sampson Low, Marston and Co.
Contributing Library: Boston Public Library
Digitizing Sponsor: Boston Public Library

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Text Appearing Before Image:
his sumptuous copy of the Coustumes du Bailliagede Sens, has the appearance of having beenprinted and bound specially for presentation tothe king. It is in every way a most beautifuland artistic production, worthy of the bestperiod of French art; boldness of conception,simplicity and gracefulness of treatment, arethe leading characteristics of the design. Inpoint of date, the binding cannot be much later than the yearin which the book was printed (1556). The style of ornament, too,agrees with this supposition, and the binding may have beenexecuted by one of Geoffroy Torys pupils. (Tory himself died in:533-) To quote from the introduction to his Champfleury, he hadbeen employed by Monseigneur the treasurer for war, MasterJehan Grolier, councillor and secretary of our lord the king, loverof fine arts, and of all learned personages, both as designer ofletters and of bookbindings. Many of the finely woven and inter-twined designs known to us by the name of the amateur were, I
Text Appearing After Image:
Plate XII. COUSTUMES DU BAILLIAGE DE SENS. hi brown leather, with cameo portrait of Henri II. PLATE XII. 25 imagine, the product of Torys brain and pencil. The so-calledGrolieresque style was to a great extent though not entirely due toTorys pupils, who developed the style brought from Italy by theirmaster. The effect of the gold-tooling upon the brown leather of theexample before us is heightenedby broad black lines twining aroundthe gold medallion in the centre, upon which is stamped in highrelief a portrait of Henry II. of France ; above and below appearthe crescents of Diana; but the other emblems of the HuntressQueen and of her frail namesake are absent. Blue, green, and white pigments add lightness to the generaleffect; these colours are used as edgings to the black scrollwork,and upon rosettes. It should be noted that the colour upon thisand similar bindings was applied moist by brush or knife, and it ispigment not leather. The inlaying of leather upon leather was notgenerally

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