International studio (24.1904/1905(1905))

Design in Gold-Tooled Bookbinding

The artist-binder has, however, no cause of com-
plaint by reason of this restricted field in the way
of material; for, as a matter of fact, the very finest
results in gold-tooling are only to be obtained from
morocco ; and the artificer who has once produced,
upon this leather, some design that satisfies the
soul of the artist within him, will never willingly
go back to any other material.
But it is Design that mainly concerns us here—
that all-important section of “ finishing,” or second
division of the craft of bookbinding. Technique
of a high order is, of course, essential to a first-class
“finisher,” but skilful technique in a “finisher”
who works out some ignoble design is calculated
only, in Hamlet’s phrase, to “make the judicious
grieve.” The book may
be perfect to the touch in
all the delicacy of its
polished exquisiteness, the
lustre of each separate
gold impression may be
all that eye could wish
for; each tool be grace-
fully and correctly cut;
but the tools, as they
show in the design, are
themselves gathered into
some fantastic medley of
incongruous detail which,
though it cover the field
with brilliancy, yet lacks
the convincing and satisfy-
ing effect which is alone
the outcome of an artist’s
mind working artistically
within the limits of an
art that he loves and
understands.
Then, again, a good
design in the case of a
“mosaic” pattern may be
completely spoiled by a
want of harmony in the
colours of the inlaid
leathers; for although gold-
tooling goes far to soften
the crudities of clashing
colours, there are certain
combinations of hue which
can never be reduced to
anything approaching tran-
quillity when in juxtaposi-
tion
It is in the case of such
36

extravagances—too often met with in recent times
—one cannot but feel that the first canons of
artistic treatment have been set aside in the
framing of the design, or that the designer has
shown himself to be ignorant of the especial con-
dition of true ornament—that it be beautiful in
its place.
It is undoubtedly a fact, however, that the last
fifteen or twenty years have seen a vast improve-
ment in the matter of design in English book-
ornamentation. For quite a long time previously
there had been little in the way ot originality to
commend the work that was being produced, or
to distinguish it from the somewhat commonplace
conventional forms which had been adopted by


BOOKBINDING

BY SIR EDWARD SULLIVAN