Studio: international art (10.1897)

Recent Bookbindings

stamps he uses, in each case cut from his
own designs, are probably little over thirty
or forty, if we leave out mere curves,
straight lines, and dots. A fine binding
illustrated in The Studio, vol. ii. p. 55,
reveals upon analysis, one rose-shaped
device, three leaves—right, central, and
left, and another floral shape. From
these five, with certain curves, lines, and
dots, is built up a most gorgeous pattern.
Whether this self-imposed limitation is
more than theoretically advantageous is
another matter. One thing is certain,
that it provokes the decorator to increased
effort, that it calls for all his ingenuity in
recombining the motives, and that the
result in his case is to impart a " Cobden-
Sanderson " style to dozens of designs
entirely differing in their broad effect.
The economy of this method is not worth
considering. Bindings that cost many
guineas need not be restricted to a few
stamps merely on account of the cost ;
but he has shown that the frugal material
has produced a far more varied display of
really elaborate and memorable designs
than many of his predecessors achieved
who employed a far greater number of
bookbinding separate stamps. The books Mr. Cob-

dbsigned and executed by t. j. cobden-sanderson den-Sanderson has decorated, with so few

tools, are wonderfully unlike each other,
pictorial style, using, indeed, a new convention Yet a close study of a dozen volumes, each entirely
which suggests figures, and even landscapes, by independent of its neighbours, fails to discover
arbitrary curves and lines, a convention which impressions from more than a score of tools in
refuses to be classed under any previously existing all, and of these the greater portions are simple
type of decoration. In placing them together, no leaf-forms of different sizes; a large daisy and "a
equality is inferred, still less is any invidious com- rose " are the only two which can be fairly called
parison suggested. No wise person sets Wagner " ornaments " in themselves, the rest are fragmentary
and Chopin in opposition. Each composer materials, whence the true ornaments are built up.
achieved what he set out to attempt; so each is a As might be expected, the innovator has not been
master, and no mortal should be rash enough to allowed to develop his individual system without
apportion the relative value of masters. That is a many imitators who have copied the particular
task for the high gods. motives of his ornament closely enough. But if

Before referring to the illustrations which accom- any one of these is likely to betray the fertility of
pany this paper, it will be well to explain the design which has resulted from so few tools in Mr.
methods of both workers. Especially is it necessary Cobden-Sanderson's hands (and there is no sign at
to call attention to a very important limitation which present), it will be a regret that so ingenious a
Mr. T. J. Cobden-Sanderson set himself at first, disciple did not break away from precedent entirely
and has most loyally obeyed hitherto. This con- and start with a completely fresh set of motives. But
sists in employing as small a number as possible of the decoration of the finished book is by no means
tools, " stamps," as they are technically called, the chief purpose of Mr. Cobden-Sanderson's work.
The stock rolls, "pallets," and stamps of various Indeed, he has spoken most emphatically against
designs which are to be found by the hundred the custom of considering the "finishing" of a
in many binderies he dispenses with entirely. The book apart from the real handiwork of binding.

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