On Ornamental Art, Applied to Ancient and Modern Bookbinding (Joseph Cundall, 1847)

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APPLIED TO

A N C IEN T AND MODER N B O O K B IN D IN G .

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ORNAM ENTAL

ART,

APPLIED TO ANCIENT AND MODERN BOOKBINDING. ILLUSTRATED W ITH SPECIMENS OF VARIOUS DATES AND COUNTRIES, c

BY JO S E P H

CUNDALL.

READ TO THE MEETING OF THE SOCIETY OF ARTS HELD NOVEMBER 1847.

PUBLISHED AT THE HOUSE OF THE SOCIETY OF ARTS, JOHN ST. ADELPHI, AND SOLD BY JOSEPH CUNDALL, 12, OLD BOND STREET, AND ALL BOOKSELLERS.

ON ORNAMENTAL ART APPLIED TO ANCIENT AND MODERN BOOKBINDING. H E earliest records of Bookbinding that exist prove that the A rt has been practised for nearly two thousand years. In past ages books were written on long scrolls of parchment or papyrus, and were rolled up, (hence the word volume, from the latin volutus,') and fastened with a thong, which was made of coloured leathers, and oftentimes much ornamented. These scrolls were usually attached to one or occasionally two rollers of wood or ivory, or sometimes of gold, much as our large maps are now mounted, and the bosses at the end of the rollers were frequently highly decorated.

This decoration may be called the first step towards Ornamental Art applied to the exterior of books.

A learned Athenian, named Phillatius, to whom his countrymen erected a statue, at length found out a means of binding books with glue : the sheets of vellum or papyrus were gathered two or four together, sewn much in the same way as at the present day; and then, in order to preserve these sheets, there came, as a matter of course, a covering for the book.

The probability is, that the first book-covers were of wood, plain

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ON ORNAMENTAL ART AS APPLIED TO

oaken boards perhaps ; then, as books in those days were all in manu­ script and very valuable, carved oak bindings were given to those which were the most decorated within.

To cover the plain wooden board with vellum or leather would, in the course of years, be too apparent an improvement to be neglected; and specimens of books so bound, of the great antiquity of which there are undoubted proofs, exist at the present day.

There is reason to believe that the Romans carried the A rt of Bind­ ing to considerable perfection. Some of the public officers had books called Diptychs, in which their acts were written. The binding of one of these in carved wood is thus described : “ Seated in the centre of each board is a consul, holding in one hand a baton, and in the other, upraised, a purse, as if in the act of throwing it to some victor in the games. Above these are miniature portraits, various other ornaments, and an inscription ;—below, on one board, are two men leading out horses for the race, and beneath them a group, with a ludicrous repre­ sentation of two other men, exhibiting their endurance of pain by allow­ ing crabs to fasten on their noses.”—A small print of an ivory Diptych of the fifth century, in Mr. A rnett’s Books o f the Ancients, may be consulted as a specimen of the kind of ornament then adopted. An old writer says, that about the time of the Christian era the books of the Romans were covered with red, yellow, green, and purple leather, and decorated with silver and gold.

If we pass on to a few centuries later, we find that the monks were almost the only literati. They wrote chiefly on subjects of religion, and bestowed the greatest pains upon the internal and external decorations of their books. In the thirteenth century some of the gospels, missals, and other service books for the use of the Greek and Roman churches, were ornamented with silver and gold, apparently wrought by the ham m er: sometimes also they were enamelled and enriched with pre­ cious stones and pearls of great value. Carved oak figures of the Virgin, or the Infant Saviour, or of the Crucifixion, were also the fre­ quent adornments of the outside covers. A t a later period, we find on

ANCIENT AND MODERN BOOKBINDING.

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the bindings of books, gold and silver ornaments of very beautiful design, enclosing precious stones of great variety : carved ivory tablets, let into frame-works of carved o ak ; rich coloured velvets edged with morocco, with bosses, clasps, and corners, of solid gold; white vellum stamped in gold or blind-tool; and morocco and calf covers inlaid with various colours, and adorned in every conceivable way. This was at the end of the fourteenth and in the fifteenth and sixteenth centuries, when the love of art was universal; in the land where Michael Angelo, and Raffaelle, and D a Vinci, produced their great works, and where, under the auspices of the House of Medici, the A rt of Bookbinding, as well as all other arts, was *encouraged.

Mr. Dibdin, in his Bibliographical Decameron, to which I am much indebted, has given an account of the library of Corvinus, king of Hungary, who died at Buda about the year 1490.

This library consisted of about thirty thousand volumes, mostly manuscripts of the Greek and L atin poets and historians, and was contained in large vaulted galleries, in which, among other works of art, were two foun­ tains, one of marble, and the other of silver. The bindings of the books were mostly of brocade protected with bosses and clasps of gold and silver ; and these, alas, were the subsequent cause of the almost entire destruction of the lib rary ; for when the city of Buda was taken by assault in 1526, the Turkish soldiers tore the precious volumes from then’ covers for the sake of the ornaments that were upon them.

The general use of calf and morocco binding seems to have followed the invention of printing. There are many printed books, still in good preservation , that were bound in calf with oaken boards, at the end of the fifteenth and beginning of the sixteenth centuries; these are mostly stamped with gold and blind-tools, which are well worth our attention.

Let me here remark, for the benefit of non-professional hearers, that blind-toolin g is the impressing leathei’ with hot tools without gold. * Some modern reproductions of the art of the fifteenth century, modified to suit the style of binding of the present day, are given in the Appendix.

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ON ORNA MENTAL ART AS APPL IED TO

The earliest of these tools genera lly repres ent figures, such as Christ, St. Paul, the Virgin , coats of arms, legends, and monograms, according to the contents of the book. Afterw ards, the bookbinders attempted to produ ce little pictures, if I may so term them, with gold tools ; but these are necessarily bad; they are beyond the capabilities of the brass *blocks.

In Engla nd the earliest bindin g with ornam ent was about the time of Henry V II, when we find the royal arms suppo rted by two angel s; the herald ic badge of the double rose and pome grana te; the fleur-delis, the portcullis, the emblems of the Evangelists, and small ornam ents of grotesque animals. There are in the British Museum and in the Record Office many Englis h bindings, which, undou btedly , were exe­ cuted in the time of Henry VII. In the Reign of Henry V III, about 1538, Grafto n, the printe r, undertook to print the Great Bible. Not finding sufficient men or types in Engla nd, he went to Paris and there comm enced i t ; he had not, however, proceeded far, before he was stopped in the progre ss of this heretical book, and he then broug ht over to Engla nd the presses, type, printe rs and bookbinders, and finished the work in 1539. The edition consisted of 2,500 copies, one of which was set up in every church in Engla nd. W ithin three years there were seven distinc t edi­ tions of this work ; which, supposing each edition to consist of the same numbe r of copies as the first, would amount to 17,500 folio volumes— the bindin g therefore of so great a numbe r of this book would alone give some importance to the A rt of Bookb inding at that period. We know that Henry V III. had many splendid volumes bound in velvet, with gold bosses and ornam ents. In his reign, the stamp ing of tools in gold appears to have been first introd uced into this country ; and some beautiful rolls, probably from Holbe in’s designs, were used, as well on the sides as on the gilded edges of books still in existence.

In the reign of Elizab eth, some exquisite bindin gs were done in embroidery. The Queen herself used to work covers with gold and * See Appendix II, Plate I.

ANCIENT AND MODERN BOOKBINDING.

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silver thread , spangles, and coloured silk for bibles and other devotional books, which she presented to her maids of honour, and her friends.

W e will now return to Continenta l binding, and pass to the time of the famous Count G rolier : this nobleman seems to have taken especial delight in havin g the sides of his books ornam ented with very beautiful and elabo rate patte rns; many of them exist at the prese nt day, either origin al Groliers or copies. All Grolier’s books were bound in smooth morocco or calf and ornam ented with go ld ; some­ times also the patter ns were formed by inlaying leathers of different Very many of the volumes have the Latin inscription *colours. “ Iohan ni Groli erii et Amicorum ” at the bottom, signifying that Gro­ lier wished his books to be used by his friends as well as by himself.

Those who are conve rsant with the A rt of Bookbinding rejoice when they meet with works from the librar y of Maioli, whose style was very simila r to that of Grolier, or those of Diana of Poictiers, the mistress of Henr y II. of Franc e, who devoted much attention to the ornam ents on her books ; perha ps the bindings done for Diana of Poictiers are amongst the finest specim ens ever produced : they were, no doubt, de­ signed by Petit Berna rd, who also made drawings for her jewelry.

They were bound in morocco of all colours, and usually ornam ented with the emblems of the cresc ent and bow and quiver.

The bindings of books which belonged to De Thou are likewise much prize d; he possessed a magnificent Libra ry, mostly bound in smooth deep-toned red, yellow, and green morocco.— De Thou died in 1617The Chev alier D ’Eon used to bind books in a sort of Etrus can calf, the ornam ents on which were copied from the Etrus can vases. The use of the black and red dyes have, very frequently, corroded the leather.

Next, in rotati on among Frenc h Binders, may be mentioned Paudeloup, De Sued, and De Rome, three great masters of their Art. Pope celebrates De Sued in one of his poems. Paude loup’s tooling, or orna­ ments, consist chiefly of small dots, and the forms he inven ted are * Three Grolier pattern s are given in the Appendix.

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ON ORNAMENTAL ART AS A PPLIED TO

elegant. When met with in good state they look like gold lace upon the sides and back of the books. De Sued is much like him in style, but bolder; and De Rome's plain morocco binding as regards execution is perfect; the squareness of the boards, the trueness of his work, and the solid gilding of the edges can never be mistaken. His more deco­ rated patterns of the Louis Quatorze style, with the elegant dentelle borders, are very fine.

We must now resume our account of binding in England. Since the beginnin g of the eighteenth century we have arrived at the greatest possible pitch of mechanical sk ill; and, although we are unable at the present time to exhibit any very high standard of excellence in ornament, yet the improvem ents which have been lately made, and the attention which is now directed generally to Ornamen tal A rt augur that it will not be long before we shall join artistic merit to our perfect execution.

It will be said, that books are much better bound now than they were formerly : granted. The mechanical execution is better, the books open more freely, are more truly folded, have the squares more even, the head-bands much handsomer, and the sides and backs are richly enough g ilt; but where is the Ornamen tal Art of the fifteenth century ? Now and then we have good copies of old designs reproduc ed; and occasion­ ally a good original design, but we have no style whatever that is worth perpetua ting.

Roger Payne was the first Englishm an who produced a really good binding, and for the time in which he lived, the ornamen t on his books was very praisewo rthy: some of his best works, such as French ro­ mances, were powdered with fleur de lis : his books on chivalry had suitable devices, such as helmets, spurs, gauntlets, and the like ; and on poetical works he used a simple lyre. He did all with his own hands from the folding, beating, sewing, cutting, mending, headbanding, colouring his end-papers, to the making of his own tools and *letters. * A Fac-simile of one of his moderately charged hills, which, like himself, is a curiosity, is given in Appendix II. Plate 13.

ANCIENT AND MODERN BOOKBINDING. Harley, E arl of Oxford, who collected the famous Harleian Library, usually had his works bound in red morocco, with a broad tooled border and centre ornament, from which the Harleian style takes its name.

Old Johnson, an English binder of the last century, was remarkable for his excellent work, whether in morocco or calf; the backs were admirably formed, and the gilding massive and in good taste.

Kalthoeber, a German, bound with great taste; his plain morocco work is excellent: most of the books in the collection of the late Mr. Beckford, of Fonthill, were bound by him and Charles Lewis.

Baumgarte n, Staggemeir, Bohn, and other German binders executed good work in England, but not equal to those before mentioned.

Mr. Mackenzie must be spoken of with respect among modern binders ; he executed some most elaborate specimens of his art for Mr. H an ro tt; although good in workmanship, they were over-elaborated.

Mr. Clarke, who bound the greater portion of the books in the li­ brary of the Rev. Theodore Williams, deserves to be mentioned with great commend ation; although the books were, generally, plain mo­ rocco externally , they were finished with leathern joints inside, and sewn with silk upon bands. No binder can surpass these books in the “ forwardin g” and “ finishing.” He is also famous for his tree-marbled calf work. His partner Mr. Bedford, who lived foi' some time with the late Charles Lewis, deserves also to be mentioned. The late Hon. Thomas Grenville, who recently bequeathed his magnificent collection of books to the British Museum, said of Mr. Bedford, that he was the only bookbinde r in London, who knew how to rebind an old book. The Grenville Library contains many specimens of his work.

Charles Lewis and Hering attained to great celebrity, and deservedly; their bindings are much prized. But I must here observe that although the execution of all these famous binders is excellent, there is no artistic merit in the ornament on the best of their books.

To Mr. Hayday we owe much of the great improvem ent in Book­ binding which has lately been displayed; and as far as execution is concerned, he is faultless. Let us hope that he will one day turn his

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ON ORNAMENTAL ART AS APPLIED TO

attention to a more original treatment of ornam ent; for at present his designs consist almost invariably of adaptation s and modifications of ancient examples. The quaint, old-fashioned morocco garb of the Diary o f the Lady Willoughby, so appropriate to the style of the book, brought forth a host of imitations, none equal to the original.

The design on Macaulay’s Lays o f Rome and The Flower Garden of Persia (the morocco copies) are deserving of praise; and the beautifully bound Bibles and Prayer Books which Mr. Hayday introduced a few years since, have now become almost essentials.

Every one present must have been struck with the great beauty of the books now in this room to which the letter E has been affixed. To the courtesy of Mr. Walter King Eyton, we are indebted for these gems of the bookbinder’s art, and to his liberality that such splendid specimens have been executed. They are all the productions of Mr. Hayday, and for workmanship do him infinite cred it: I need hardly add, that finer examples cannot be produced, at the present day, by any bookbinder of any country. The large volume must have attracted every one’s attention; it is a large paper copy of the late Mr. Blakeway ’s Sheriff's o f Shropshire, in imperial folio, with the armorial bearings beautifullycoloured. The binding is of blood-coloured morocco, extending an inch and a half all round the inside of the cover, on which is stamped a bold open border tooled in gold, forming a fine relief to the rest of the inside, which is in purple, elegantly worked all over in hexagons, running into each other in the Venetian style. In each compartm ent is placed the lion rampant and fleur-de-lis alternately . The fly-leaves are of vellum, ornamented with two narrow gold lines, and the edges are tooled. The back consists of hexagons, inlaid with purple, con­ taining the lion and fleur-de-lis aforesaid, but somewhat smaller than those in the interior. The design on the outside is a triumphal arch, occupying the entire side, highly enriched with its cornices, mouldings, &c., executed in small ornamenta l w ork; from its columns (which are wreathed with laurel) and other parts of the structure are suspended the shields of the sheriffs, seventy in number, the quartering s of which,

ANCIENT AND MODERN BOOKBINDING.

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with their frets, bends, &c., are curiously inlaid in different colours of morocco, and, with the ornamental parts of the bearings, have been blazoned with heraldic accuracy on both sides of the volume. When it is stated, that more than 57,000 impressions of tools have been required to produce this wonderful example of ingenuity and skill, some idea may be formed of the time and labour necessary for its execution.

To Mr. Owen Jones we are indebted for several ornamental designs in embossed leather; but, from the peculiar treatment which that gentleman has given them, some few are more beautiful than appro­ priate. For instance, Gray's Elegy, one of the finest and most English of English poems appeared, dressed internally and externally in an oldfashioned, monkish garb. The bindings of the Floral Album, and Flowers ancl their Kindred Thoughts are more suitable, and the embossed covers of M urray s Prayer-book, and the little Prayer-books show that we have advanced in the right p a th : remembering, as we do, the great church windows and gothic doorways which used to be per­ petrated on our bibles.

The Bindings of the Miracles, the Good Shunamite, and the Parables are fair reproductio ns of the monastic style, and are appropriate. All these belong more to publishers’ binding; such covers can only be executed when great numbers are required, as they are cast in moulds, the first cost of which is very great.

In the year 1825 a great revolution in Bookbinding, or, what is more properly termed Boarding, was begun by the introduction of cloth covers in the place of the drab coloured paper, which had been previ­ ously in use. The late Mr. Archibald Leighton was the inventor of this great improvemen t; and Mr. Pickering, to whom I beg to tender my acknowledgments for his kind assistance in the compilation of this paper, was the first publisher who adopted it. The first cloth covers had printed labels instead of lettering ; but very soon Mr. Leighton made the discovery that cloth would yield an impression of a tool in gold very beautifully. Lord Byron’s Works (the edition in 17 volumes) were the first books to which gold-letterin g on cloth was applied.

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ON ORNAMENTAL ART AS APPLIED TO

But what advances have we made since th e n ! Artists are now daily sought for to make new designs for cloth covers; and every year wit­ nesses the reproduction of many beautiful patterns from the stores of bygone ages. The revival of these ancient styles has as yet been too much thought o f; but we shall get beyond that soon, and through the cloth binders, I fully expect that a better kind of art will force its way to the workers in calf and vellum and morocco and velvet. As cloth boarding is a branch of my subject of great importance, let me endeavour to point out its beauties and defects.

To begin with the “ revival” patterns. The ornaments on the Poet's Pleasaunce, are copied from a much more beautifully executed pattern called the Erasmus *pattern in Mr. Shaw’s Encyclopedia o f Ornament.

Mr. Pickering lately had the original book, from which Mr. Shaw took the design, in his possession; it bore the date of 1548 ; this is the fourth time this design has been borrowed within five years, so we must conclude that there is a real excellence about it. But why should it have been chosen to decorate a book outside, which is so differently, and at the same time, so beautifully ornamented within ; there, flower borders of a luxuriant richness surround many of the pages ; while outside, there are a series of lines which are not in the least in harmony or keeping. What a chance was here lost of giving an appropriate and really beautiful new binding.

Mr. Felix Summerly was one of the first to give us adaptations of old patterns on the bindings of books ; but I think it may be questioned whether Grolier patterns of the sixteenth century are very appropriate to modern guide books. The designs on the side of Bible Events and Sir Guy of Warwick]' are very good. The old fashioned paper dress imitation of the ancient Dutch paper which Lady Willoughby wears is harmonious and pleasing; and the stamped calf binding on the book lettered Albert Durer, of the very age and country of the wood-cuts inside, is a specimen of good taste in a reproduction. * Appendix II, Plate 6.

f Plate 4.

J Plate 5.

ANCIENT AND MODERN BOOKBINDING.

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Now let us turn to the original designs on cloth, morocco, and paper bindings, produced under the auspices of the publishers. I have not been able to choose many, for but few are worthy of notice. The design on Insect Changes is good, except the lettering, but it is not very appropriate; that on the Language of Flowers is pretty and appropriate, but too ambitious, attempting more than a brass block can accomplish ; this fault is almost universal where copies of pic­ tures are introduced. Considering the cost incurred in large brass blocks, especially for morocco, it is quite surprising that better designs have not been procured. For instance, on the binding of Finden's Beauties of Moore, the design is most elaborate, and the general effect rich, but there is little art in it. It may be safely predicted, that it will not be copied two hundred yeai’s hence. A French artist has this year been employed to ornament the Keepsake. I hope I shall not be accused of national prejudice, in saying it is among the poorest designs on the books in the room. The gold tools on the side of Mid­ summers Eve, and The Poetic Prism are at once beautiful and appro­ priate, and the artists have known the capability of their material. The colour-printed cover for Siegfried, the Dragon Slayer, is German in its style, to accord with the book, and is well designed. The same artist ornamented the cover of the Playmate; it is printed with wood-blocks at a comparatively small cost; and though rather too glaring in its colours, is handsome and as appropriate as need be, when the contents of the book are of a miscellaneous character.

The binding of the Flower Garden of Persia, The Booke of Christmas Carols, The Jar of Honey, and Lockhart's Spanish Ballads may fairly be commended for beauty and appropriateness.

One of the principles which I would seek to establish in Ornamental’ Art in Bookbinding is, that every book should be decorated as far as possible in accordance with its contents. Every tool should be beautiful in itself; because no accumulation of misshapen tools can make one beautiful ornament. There is no objection to scrolls, leaves, flowers, stars, or any of the usual kind of ornaments, only let them all be in

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ON ORNAMENTAL ART AS APPLIED TO

themselves beautiful. Let me particular ly direct attention to the brass rolls. They are very susceptible of beauty in design, so much of the pattern being seen; and yet the binders of the present day go on with their old and ugly tools, as though there were not an artist in the world. The centre of the side, where the great triumphs of the art in the fifteenth century were achieved, is now too often neglected, possibly for economy’s sake, but surely, no book is fully decorated without a centre ornament. It is appropria te to introduce a harp on a book of songs; a stag’s head on a book on hunting; a recognized ecclesiastical pattern on a prayer book, or a book of divinity; a Greek or Roman design on a classical work, or a book on ancient architectu re ; or a gothic design on a book of gothic architectu re. I saw the block cut for the side of Albert D urer,— a German monastic pattern,— used on the side of a book of American Poetry, and some war trophies, originally cut for a volume on the Indian Campaign, stamped on Songs, Not unfrequen tly you may find the back of a book ornamented with an arabesque design, and the sides with rolls and tools of Grecian, Gothic, and French patterns all at once. Pub­ lishers and booksellers should not pass such absurdities unnoticed .

The colour of the binding may often be in harmony with its contents; Books of Poetry may be red, or light green, or blue, and have as much ornament as is desired ; and Fine A rt Books, above all others, ought to rejoice in beautiful coloured moroccos and gorgeous ornaments. In the British Museum, Books of Divinity are bound in blue, History in red, Poetry in yellow, and Biograph y in olive coloured leather. This is an excellent plan in a large library.

The master-binders, with a little trouble, might do something for themselves and for their workmen by soliciting the Trustees of the British Museum to place under glass, in a room where the public are indiscrim inately admitted, some of the best specimens of binding in their collection. This only requires to be asked. It wrould give an oppor­ tunity for those who love their art, and are anxious to excel, to steal an hour now and then for the study of the works of their ancient brethren.

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In conclusion; all must acknowledge, that to the publisher s great praise is due for the improvements recently made in the Art of Book­ binding, and it is to them that I strenuously appeal for furth er assist­ ance. The public taste is now awakened, and will not put up with mediocrity; the demand for good designs for the covers of Book s must keep pace with the demand for art in all branches of man ufactures: and every year better artists must be sought, and better desig ns given.

Let us hope then, that it will not be long ere such original Orna mental Art shall be wedded to our present perfect execution, that the nineteenth century will be able, like the fifteenth, to boast a style of its own.

APPENDIX I. Consisting o f E ight coloured Designs, copied by M r. C. Tuckett,jun. from the Bindings o f Books in the B ritish Museum.

P late 1. Italian Design, painted in oil upon brown calf. The edges are gilt, and tooled with dotted lines. About a. d . 1551.

P late 2. Chevalier Grolier’s Design. About a. d . 1530.

P late 3. Venetian Binding, in dark green morocco. About a. d . 1521.

P late 4. Borrowed from an old German Design of about a. d . 1483.

P late 5. English Design of the time of James L About a. d . 1580.

(From a volume formerly in the possession of James I.) P late 6. Probably a French Design of about a. d . 1550.

P late 7. Probably a French Design of about a. d . 1550.

(From a volume formerly in the possession of Sir Thomas Wotton.)

P late 8. English Design, on brown calf, inlaid with white morocco, a. d . 1571.

(From “ The Gospels of the Fower Euangelistes.” Belonged to Queen Eliza­ beth.) — T v .......

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APPENDIX II. P late 1. An old German Design, with very curious picture-block, stamped in blind-tool upon calf. About a. d. 1450.

P late 2. Chevalier Grolier’s Design. About a. d . 1530.

P late 3. In the Style of the Chevalier Grolier. About a. d . 1530.

P lates 4 and 5. Copies of Designs made by Hans Holbein for bindings in silver.

About a. d. 1550.

P late 6. The Erasmus Pattern. About a. d . 1550.

P late 7. Probably a French Design. About a. d . 1600.

P late 8. A modern French adaptation of Arabesque.

P late 9. A modern French adaptation of old German.

P late 10. A modern adaptation of a Design in the style of Hans Holbein.

P late 11. Modern English Design.

P late 12. Modern English Design.

P late 13. Fac-simile of a bill for binding, by Roger Payne.

P R IN T E D BY C. W H IT T IN G H A M , C HISW ICK .

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Plate 2.

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PLATE I.

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OLD GERMAN DESIGN.

PLATE 11.

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GROWER, About A.D. 1530.

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PLATE 111.

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GROLIER. About A.D. 1550.

PLATE IV.

DESIGNED FOR A BINDING IN SILVER, BY HOLBEIN, About A.D. 1550.

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PLATE V.

DESIGNED FORA BINDING IN SILVER, BY HOLBEIN, About A.D. 1550.

PLATE VI.

THE ERASMUS PATTERN, About A.H. 1550.

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PLATE Vll

•FRENCH DESIGN, About A.D. 1600.

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MODERN FRENCH ADAPTATION OF ARABESQUE.

PLATE IX.

MODERN FRENCH ADAPTATION OF OLD GERMAN.

PLATE X.

ADAPTATION OF A DESIGN. AFTER HOLBEIN.

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PLATE XI.

MODERN ENGLISH DESIGN.

PLATE XII.

MODERN ENGLISH DESIGN.

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