use. The latter was especially preferred on account of its peculiar softness, smooth surface, and great aptitude for receiving impressions of dumb or blind tooling. It was only towards the latter part of the sixteenth centuiy that the English binders began to employ delicate or fine tooling.
During the seventeenth century the names of Du Sueil and Le Grascon were known for the delicacy and extreme minuteness of their finishing. Not disdaining the bindings of the Italian school, they took from them new ideas; for whilst the Grolier bindings were bold, the Du Sueil and Le Gascon more resembled fine lace work of intricate design, with harmonizing flowers and other objects, from which we may obtain a great variety of artistic character. During this period embroidered velvet was much in use. Then a change took place and a style was adopted which by some people would be preferred to the gorgeous bindings of the sixteenth century. The sides were finished quite plainly with only a line round the edge of the boards (and in some instances not even that) with a coat of arms or some badge in the centre.
Towards the end of the seventeenth century bookbinding began to improve, particularly with regard to forwarding. The joints were true and square, and the back was made to open more freely. In the eighteenth century the names of Derome, Roger Payne, and others are prominent as masters of the craft, and the Harleian style was introduced
The plate facing may be fairly estimated as a good specimen of Derome. Notice the extreme simplicity and yet the symmetry of the design; its characteristic feature being the boldness of the corners and the gradual diminishing of the scroll work as it nears the centre of the panel. Morocco and calf were the leathers used for this binding.
Hand coloured calf was at this period at its height, and
