Some of the German panel stamps are very large, also numerous and finely cut. There are splendidly executed stamps of Charles V. and other distinguished personages, emperors and grand dukes, Rudolf and many others, and others of Luther and Melancthon. Some of these are set in an arabesque framing with a space left in the middle for an insertion. These are found impressed on calf and on pig skin, and the dies of many of them are most beautifully cut.
Several of the later calf bindings, done in the eighteenth and nineteenth century, show an infinite variety of marblings, sprinklings and “tree” patternings, done with one or other of the most appropriate chemicals--potash, soda, oxalic acid--run on when the leather is wet. But one and all of these rot away the surface wherever they touch it, and many of these books can now be found from which the original dyed spots have all entirely disappeared, leaving, however, a little eaten-out depression in every case.
James Edwards, of Halifax, invented a style of ornamenting calf by means of ordinary book stamps loaded with acid. The result is not unpleasing, and such books are known as “Etruscan,” because many of the designs are of classical feeling--little urns, the Greek fret and the like. But Edwards’ little acid burnt designs are only used as accessories; there is plenty of gold work and ordinary blind work upon them as well.
John Whitaker, another eighteenth century binder, went a step further, and drew designs upon his calf bindings with pen or brush. Some of these are very effective, but as a rule they are now showing the effects of time, the original darkest places, where the acid has been most freely applied, suffering first, and showing the pale calf underneath. But a fine specimen of Whitaker’s work is much to be prized. He also used the “Etruscan” style. He had many imitators, but whereas Whitaker’s bindings are generally ornamented with figure drawings, the imitators as a rule preferred easier subjects--ruins or landscapes.
Calf with the rough side outwards, like brown velvet, was used in England from the seventeenth to the nineteenth century, sometimes tooled in blind and sometimes in gold.
Vellum was used at Little Gidding. One such book is covered in vellum painted orange colour and overlaid with openwork designs cut in white vellum. It is a harmony of the Gospels. The centre design is circular, and the corners have quarter circles. They are all helped with a little gold tooling.