We must now pass on to the middle ages, when samples of binding were brought from the East by the crusaders, and these may well be prized by their owners for their delicacy of finish. The monks, who still held the Art of Bookbinding in their hands, improved upon these Eastern |xiii| specimens. Each one devoted himself to a different branch: one planed the oaken boards to a proper size, another stretched and coloured the leather; and the work was thus divided into branches, as it is now. The task was one of great difficulty, seeing how rude were the implements then in use.
The art of printing gave new life to our trade, and, during the fifteenth century bookbinding made great progress on account of the greater facility and cheapness with which books were produced. The printer was then his own binder; but as books increased in number, bookbinding became a separate art-trade of itself. This was a step decidedly in the right direction. The art improved so much, that in the sixteenth century some of the finest samples of bookbinding were executed. Morocco having been introduced, and fine delicate tools cut, the art was encouraged by great families, who, liking the Venetian patterns, had their books bound in that style. The annexed |xiv| woodcut will give a fair idea of a Venetian tool. During this period the French had bookbinding almost entirely in their hands, and Mons. Grolier, who loved the art, had his books bound under his own supervision in the most costly manner. His designs consisted of bold gold lines arranged geometrically with great accuracy, crossing one another and intermixed with small leaves or sprays. These were in outlines shaded or filled up with closely worked cross lines. Not, however, satisfied with these simple traceries, he embellished them still more by staining or painting them black, green, red, and even with silver, so that they formed bands interlacing each other in a most graceful manner. Opposite is a centre block of Grolier. It will be seen how these lines entwine, and how the small tools are shaded with lines. If the reader has had the good fortune to see one of these specimens, has he not wondered at the taste displayed? To the French must certainly be given the honour of bringing the art to such a perfection. Francis I. and the succeeding monarchs, with the French nobility, |xv| placed the art on such a high eminence, that even now we are compelled to look to these great masterpieces as models of style. Not only was the exterior elaborate in ornament, but the edges were gilded and tooled; and even painted. We must wonder at the excellence of the materials and the careful workmanship which has preserved the bindings, even to the colour of the leather, in perfect condition to the present day.