Illuminated Binding
This style, an invention of the French, was for some time kept by them with the greatest secrecy. It is a binding of the utmost magnificence, uniting the varied beauties of the arabesque and gilt ornament, blended with the illuminated decorations seen on early MSS. before the invention of printing. When executed in the best manner, nothing can exceed the beauty of the whole coup-d’œil, rivalling, as it does, in splendour, the most elaborately-finished design of the painter. The time required to be devoted, on its first introduction, to a single specimen, appeared likely to confine this sort of ornament to the finest treasures of literature, and even to them in a limited degree. The improvements, however, in machinery and the rapid advance of the arts have, in a few years, brought this style into very general use for albums and other works where embellished covers are adopted; and even on the cheap roan bindings used for Bibles, Prayers, &c. it may be seen; though in effecting this cheapness it must be premised that a less durable method is adopted.
To execute the more elaborate designs, practice and a taste for the arts will here alone serve the workman; without these requisites it would be futile to make the attempt. But, as the proceedings require to be executed with the utmost care, we shall enter fully into such as are new, and, from their importance, at the risk of being considered prolix, again touch on those that may have been before treated of.
The description of one side will serve the purpose of making the proceedings fully understood. Whether the material be of morocco or white vellum, it must be washed, if required, perfectly clean, and left to dry. The first operation will be—if it be for stamp-work—to place the side on the bed of the stamping-press and boldly impress the design thereon. The most elegant, and capable of the greatest display of colour, are subjects of botany and natural history. The next step will be to glaire with a camel’s-hair pencil such parts of the impression as it is intended shall be afterwards covered with gold. This done, the delicate operation of colouring may be proceeded with. In London and Paris this is executed by professed artists in no way conversant with book-binding. The colours to be used must be such as do not at all, or very slightly, fade on exposure to the air or sun, such as carmine, ultramarine, indigo, burnt sienna, gamboge, and sap-green. These must be prepared, with fine gum, in the same manner as for painting, and be lightly and delicately laid on such parts of the design as it is intended the colour should occupy, taking care that the ground-colour or leather is entirely hid. Let every thing be true to nature, each bird, plant, and flower its proper colour, and a general harmony prevail throughout. When finished, let the whole perfectly dry, and then, in the manner directed, lay gold on such parts as it is intended, in the reimpression of the plate, should be further embellished. Heat the plate, place the side again under it, and give it a firm and sharp impression. Rub off the superfluous gold, and the whole of the delicate lines of the ornament will be found beautifully gilt, the colours firmly fixed by the heat of the plate, and the rough edges of the colour completely effaced by the reimpression of the original design.
In executing the less expensive and more simple designs, the plate is impressed in gold on the side, and the parts left ungilt on the leather; afterwards coloured according to the taste of the workman.
For the best class of work, after the design is impressed, either by hand or the press, pieces are cut out of variously-coloured morocco, pared thin, and neatly pasted on the side, the design, when worked, entirely concealing the edges of the morocco. This is termed inlaid work.