. The binding of books; an essay in the history of gold-tooled bindings. II., is a good example of whatsimple elements, a rich piece of gilding may be com-posed. Impressions of the whole of the gouges andfigured tools, which were used in working this design,are reproduced at their full size, in Fig. 3. Thedesign of this binding is com-posed of a geometrical, andsymmetrical, plan or frame-work, about which its orna-ment is disposed. This plan,or framework, is entirely con-structed by the single gouge,marked A in Fig. 3, variouslyrepeated ; to which the smallergouges, and the figured tools,are b
. The binding of books; an essay in the history of gold-tooled bindings. II., is a good example of whatsimple elements, a rich piece of gilding may be com-posed. Impressions of the whole of the gouges andfigured tools, which were used in working this design,are reproduced at their full size, in Fig. 3. Thedesign of this binding is com-posed of a geometrical, andsymmetrical, plan or frame-work, about which its orna-ment is disposed. This plan,or framework, is entirely con-structed by the single gouge,marked A in Fig. 3, variouslyrepeated ; to which the smallergouges, and the figured tools,are but ornamental flower is worked, as will be ^ seen, by a single tool: and trefoil leaf, by the repeti-tion of the tool marked B. In this way, both the toolsthemselves, and the principle of Mr. Sandersonsdesign, are reduced to the fewest and simplestelements. The mass of the several tools, I needscarcely add, is to be determined by the nature ofthe design, considered in relation to the size of thebook. It is desirable, in working a rich piece of gilding,. 218 Bookbinding that the figured tools should be of an elementalnature, because such tools are capable of the greatestnumber of combinations ; and it is necessary, thatthey should be small, as well as simple, so that everypart of them may be seen without difficulty in makingan impression ; for, unless they can be worked withease and directness, it is impossible to give that ex-pression to the gilding, in which the virtue of the artconsists. No more false standard of excellence wasever set up with regard to an art, than that which atthe present time prevails, especially in France, withregard to gold-tooling. The geometrical accuracy,and unfailing sharpness, of each part of the design, aswell as the absolute solidity of the gold in every im-pression, which this standard of excellence requires,and which involves an extraordinary expense of skill,and patient labour, can only result in a dead andmechanical effect. A t
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Keywords: ., bookcentury1800, bookdecade1890, bookpublisherlondo, bookyear1894
