Decorated Book Papers: Being an Account of Their Designs and Fashions, Second Edition [2nd ed. Reprint 2014] 9780674337060, 9780674336599

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Decorated Book Papers

DECORATED BOOK PAPERS BEING AN ACCOUNT OF THEIR DESIGNS AND FASHIONS By ROSAMOND B. LORING SECOND

EDITION

Edited by Philip Hofer

CAMBRIDGE HARVARD

UNIVERSITY 1952

PRESS

COPYRIGHT, 1942,

I9J2

B Y THE HARVARD COLLEGE LIBRARY DEPARTMENT OF PRINTING AND GRAPHIC ARTS

DISTRIBUTED IN GREAT BRITAIN B Y GEOFFREY

CUMBERLEGE

OXFORD UNIVERSITY PRESS LONDON

LIBRARY OF CONGRESS CATALOG CARD NUMBER A52-92OI PRINTED IN THE UNITED STATES OF AMERICA

To

. P. L. Jr.

FOREWORD I Ν 1942, the Department of Graphic Arts of the Harvard Library brought out a very limited first edition of this book, Mrs. Loring's major contribution to the history and techniques of making decorated book papers. Two hundred and fifty copies were printed, of which two hundred and thirty-four were for sale at the then considerable price of ten dollars. The remaining sixteen copies, containing additional specimens from Mrs. Loring's, and the writer's, collections were distributed among close friends, and to the Harvard Library itself. Within a very few months, despite the worst period of the war with Japan and Germany, the edition was sold out. It has since been so often solicited, and at such a premium in second-hand bookstores, that the present less expensive edition, without original paper specimens, but with three essays on different phases of Mrs. Loring's life and work, is the result. All purchasers will be indebted to Mrs. Loring's husband, the late Augustus Peabody Loring, Jr., for the price at which it can now be offered. As for the essays, and the preparation of this edition, they are a labor of love, spontaneously offered by the individuals concerned, and by the Harvard University

viii

Foreword

Press, in memory of Mrs. Loring. Her collection is now an integral, but specially segregated, part of the Harvard Graphic Arts Collection, where it may be consulted by all who are interested in this subject. It is very rare that one person combines expert knowledge, a great collecting achievement, and a superb public and private life. This is the reason that the following essays are added to the second, more practical, edition of this book. Not to have done so would have been to leave things due to Mrs. Loring's memory unsaid. Philip Hofer

PREFACE THE SUBJECT of decorated book papers is one of which little notice has been taken in the past, and, except for the bare mention of them from a technical point of view in works on bookbinding, nothing has been written of their history or fashions. The fascination of the subject lies chiefly in the fact that the great variety in the designs of these papers reflects the artistic taste of different periods of bookmaking. Those interested in bookbindings have taken end-papers for granted, though it seems strange that an integral part of bookmaking should have been so neglected and should have remained an unwritten chapter of bibliography for so long. In my search for end-papers this has meant taking down book after book from the shelves in public and private libraries; for no catalogue, however fully annotated, gives any clue as to what the end-papers in a book may be. Chance has therefore been one of the greatest factors in gathering the material for this account. In a record of end-papers made over a period of years, notes have been kept of the tide, the author, the imprint,

χ

Preface

and the library call number or, in the case of a private collection, the name of the owner. They have been classified according to type; a description of the design and color has been recorded; and if by chance the name of the maker has been left on the edge, as occasionally occurs on the printed papers, this has been noted with special interest, since it has been helpful in identifying papers in other books. The trade in decorated papers, which were used in many ways, was far-reaching by the end of the seventeenth century. Those made in Germany are found in the bindings of Italian books; French and German papers occur in books of English origin; and foreign papers were imported by some of the American book publishers as early as 1679. 1 On account of this general interchange of papers it is impossible, in most cases, to make any definite identification or to determine the exact date of the early ones. In judging the approximate age of an end-paper, the great question to consider is whether the book in which it appears is in its original, contemporary binding or not. This is of much more importance than the imprint, which is often of an earlier date than the binding. The following account has been written with the hope that it may prove an incentive to students of bibliography to investigate the subject and perhaps add something to the

Preface

xi

history of bookbinding. There are inevitably a great many omissions, and I shall be most grateful for help in filling in the gaps. I should like to thank many friends in England and Germany, as well as in the United States, through whose kind interest and cooperation I have had an opportunity to search for decorated end-papers. Among them are Mr. Charles Adams, Mr. William E. Baldwin, Mr. Robin Flower, Mr. Allyn B. Forbes, Mr. E. P. Goldschmidt, Mr. Charles E. Goodspeed, Mrs. Keyes D. Metcalf, Mr. Zoltan Haraszti, Mrs. Olga Hirsch, Mr. Philip Hofer, Mr. Dard Hunter, Dr. Hellmut Lehmann-Haupt, Mr. Milton Ε. Lord, Dr. Samuel Ε. Morison, Mr. William K. Richardson, Dr. A. S. W . Rosenbach, Mr. Henry P. Rossiter, Mr. Rudolph Ruzicka, Mr. Wilbur Macy Stone, Mr. Walter Schatzki, Mr. Daniel Berkeley Updike, Mr. Robert W. G. Vail, Dr. Lawrence C. Wroth, and the late Mr. Louis A. Holman. The papers for the illustrations have been provided by Mr. Oscar H. de Boyedon, Miss Dorothy Β. Moulton, Miss Veronica Ruzicka, the Stevens Nelson Paper Company, Tamm and Company, and the author. R . B. L. Boston, Massachusetts November, 1941

CONTENTS FOREWORD By Philip Hofer AUTHOR'S

Vli

PREFACE

IX INTRODUCTION

ROSAMOND B O W D I T C H LORING, BY

1889-I95O

WALTER MUIR WHITEHILL

XVLI

R O S A M O N D L O R I N G ' S P L A C E IN T H E S T U D Y M A K I N G OF DECORATED

AND

PAPERS

BY DARD HUNTER

XXVLI

R O S A M O N D L O R I N G AS A T E A C H E R A N D AN A R T I S T BY

XXXIII

VERONICA RUZICKA D E C O R A T E D

B O O K

P A P E R S

EARLY END-PAPERS

I

T H E E A R L Y H I S T O R Y OF M A R B L I N G

9

MARBLED END-PAPERS

21

PRINTED END-PAPERS

35

D U T C H GILT OR D U T C H F L O W E R E D PAPERS

47

PASTE END-PAPERS

63

SOME NINETEENTH-CENTURY END-PAPERS

71

PUBLISHERS' END-PAPERS

81

PICTORIAL END-PAPERS

91

APPENDICES

103

I.

THE ART OF M A R B L I N G

105

THE PREPARATION OF PASTE PAPERS

II9

II. III.

S O M E EARLY MAKERS OF D E C O R A T E D ARRANGED ALPHABETICALLY

PAPER

ACCORDING

T O THE CITIES I N W H I C H T H E Y W O R K E D

121

NOTES

147

INDEX

I6l

LIST OF PLATES 1.

EARLY ITALIAN PRINTED PAPER, C. 173Ο

2.

DUTCH GILT P A P E R — E u r o p e a n , c.

3.

DUTCH GILT P A P E R — J o h a t t Carl Muttck,

4.

FRENCH FLORAL PRINTED PAPER, C. 1 7 6 8

5·

FRENCH WOODBLOCK STENCILED PAPER, C. I 7 7 O

6.

GERMAN PASTE PAPER, C. I 7 7 O

7.

FRENCH "IMAGES POPULAIRES" P A P E R — C h e z Orleans,

1750 Augsburg,

Perdoux,

c. 1 7 8 0

8.

DUTCH GILT PAPER—Paul Reitnund,

9.

NINETEENTH-CENTURY GERMAN PATTERN PAPER

Nuremberg,

10.

MODERN FRENCH PATTERN PAPER—Oscar de

11.

MODERN COMB MARBLED PAPER

12.

MODERN WAVE MARBLED PAPER

13.

MODERN COMB MARBLED P A P E R — D o u g l a s

14.

MODERN AMERICAN BRUSHED PASTE PAPER— Rosamond B. Loring

15.

MODERN AMERICAN PRINTED PASTE PAPER— Veronica

16.

c. 1 7 5 0

1777-1782

Boyeden

Cockerell

Ruzicka

MODERN END-PAPER

The end-papers of this volume are a photolithographic reproduction of the paper by Veronica Ruzicka used in the binding of the first edition.

R O S A M O N D Β ΟW D I T C H

LORING

1889-1950 By Walter Muir Whitehill I N T H E W I N T E R OF 1936-37 I went to 2 Gloucester Street, Boston, in search of memorabilia of Nathaniel Bowditch for a special exhibition to be held at the Peabody Museum of Salem. A few weeks before, I had joined the museum staff— supposedly only to sit out the civil war that had interrupted some years of medieval studies in Spain — and I knew little enough of the history of my native Massachusetts. The figure of Nathaniel Bowditch attracted me, and I can never be sufficiently grateful for his posthumous kindness in bringing me to the house of his great-granddaughter, Mrs. Augustus Peabody Loring, Jr. On that visit I found what I sought — including a bust of the Navigator, consigned characteristically to the wood closet because its owner was tired of having her children's friends inquire if it were Julius Caesar — and came to know a rare person whose friendship brightened the next fourteen years. The dining room and library windows of 2 Gloucester Street overlooked the Charles River Basin from the Harvard to the Longfellow bridge, for the house, in spite of the deceptive numbering that has ensnared and plagued so many cab drivers, stood on the water side of Beacon Street. It was a vast house, built for Judge William Caleb Loring in the period when a somewhat

xviii

Introduction

overornate revival of Georgian decoration had tempered the original brownstone character of the Back Bay, with a tremendous central hall, in which a broad staircase easily led the visitor past a tapestry bristling with Gothic dragons to the second floor library. There book cases extending from floor to ceiling framed the river views, except on the interior wall where their height was reduced to allow space for two Stuart portraits and a Copley. An enormous table occupying the center of this huge apartment, was usually loaded with piles of books, papers, letters, gadgets and children's toys. Ample window seats were available for anyone who did not wish to risk sinking into the deep red plush sofas and armchairs. In other hands, the library at 2 Gloucester Street might have become portentous and somber, but with Gus and Rose Loring as its occupants it was easily the most delightful and comfortable room in Boston. Rowlandson and Gillray cartoons came out of print boxes, Strawberry Hill imprints off the shelves, and bottles and cigars never remained long in their cupboards. Good talk flourished early and late, with a freedom and wit reminiscent of the eighteenth century, and laughter abounded. Even the papers of the acid and austere Nathaniel Bowditch took on a lively and delightful character when Rose Loring pulled them out of a battered leather trunk in that room. Sometimes in New England traditions, houses and possessions come to dominate their heirs and in the end own their owners. In 2 Gloucester Street, however, there lived a warm, generous and rotund pair of New Englanders, marvelously suited to each other in tastes and temperament, who, while inheriting all the good qualities of the past, had added

Rosamond Bowditch Loring

xix

thereunto a great variety of original and unanticipated interests and talents, and who were always the masters of themselves and of their surroundings. The combined gaiety and serenity that characterized Rose Loring came from a happy childhood in Jamaica Plain, by turns admonished or petted by nurses and older sisters, in a house that had plenty of fireplaces, and corners to play in, with pastures and woodland close by. In 1854, Jonathan Ingersoll Bowditch — son of Nathaniel the Navigator — had bought Moss Hill, on the western side of Jamaica Pond, five miles from Boston. On this two hundred acre property houses were subsequently built for his sons, Henry Ingersoll, Charles Pickering and Alfred. Alfred, the youngest son, married Mary Louise Rice in January 1880 and had two daughters, Margaret (Mrs. N. Penrose Hallowell) and Mary Orne, born before the family moved to Moss Hill in 1885. There Rosamond Bowditch was born on May 2, 1889. Moss Hill in the eighties and nineties combined the merits of city and country. It was near enough Boston to allow Alfred Bowditch to go regularly to his trustee's office without the sorrows of modern commuting, and sufficiently rural to permit his wife unbroken enjoyment of the peace of her garden. Miss Mary Orne Bowditch's reminiscences of the place, written in 1950 for her sisters, make it seem an ideal scene for childhood, and Rose, as the baby of the family, was particularly cherished by her older sisters. She was both wise and gay, full of whimsical pranks, and on occasion would from the pure joy of living emit long, shrill and clear ecstatic cries, called by her sisters "piercers." One of her early delights was a collection of broken

XX

Introduction

bits of colored glass and china that she kept under a pine tree at the foot of the driveway, whose colors, shining in the sun on their bed of pine needles, gave her endless delight. Balfour, the coachman, who tended the children's pony named Poppy, taught little Rose to sing "Sweet Rosie O'Grady" with style and spirit. She loved the garden, and, with her tan and white Boston terrier, Jury, would spend long hours there, helping her mother by carrying tools. One of her great pets was Jimmy, a crow that she had tamed so thoroughly that, when the mail arrived by bicycle, Jimmy would frequently be seen riding on the postman's hat. In 1896 the Bowditches moved to Boston for the winters and the Jamaica Plain house was occupied only in spring and autumn. Summers were spent in North Haven, Maine. Rose attended the Haskell School. On June 22, 1911 — when twenty-two — she was married to Augustus Peabody Loring, Jr., of the Harvard class of 1908. After graduation he studied law briefly, and then entered Alfred Bowditch's office to assist in the management of estates. In 1913 he became a director of the Plymouth Cordage Company, a business founded by his great-great-grandfather, Caleb Loring, in 1824, and of which his father was and grandfather had been president. For the first eight years of their married life Gus and Rose Loring lived summer and winter at Prides Crossing. In 1920 they bought 81 Marlborough Street, and spent the winters there until 1931 when, after the death of Gus's uncle, they moved to 2 Gloucester Street. Their original house at Prides Crossing they continued to use in summer until 1945, when they took over Burnside, the house built by Gus's grand-

Rosamond Bowditch Loring

xxi

father, Caleb William Loring, in 1852. In these houses an active family of five daughters and two sons — Mary Bowditch (Mrs. Nathaniel D. Clapp), Rose (Mrs. Townsend Heard), Augustus Peabody, III, Ellen Gardner (who died at four), Elizabeth Smith Peabody (Mrs. Augustus H. Fiske), William Caleb, and Jane Gray — were brought up and endless friends were made welcome. Although she had a full-time career as a wife and mother, Rose Loring somehow found the leisure to take up bookbinding. The practice of this craft in a fifth floor studio at 81 Marlborough Street led to the discovery that good decorated papers were not easy to come by, and so she experimented with making both marble and paste papers. Presently she gave up bookbinding, for the beauty and originality of her end paper designs caused her work to be sought after by the Merrymount Press, the Club of Odd Volumes, and publishers concerned with fine book making. Dard Hunter and Veronica Ruzicka will explain in detail what this craft involved, but it is significant to remember that, in spite of a full and busy life, Rose Loring not only created designs of extraordinary beauty and originality, but produced them in quantity as professionally as if she had not another obligation in the world. The search for examples of decorated papers led her to form a unique collection. If a fine paper appeared on the binding of Benjamin Franklin's edition of Cato Major, she bought it with no less enthusiasm than she would acquire a French children's book or a German Lutheran sermon. This collection, together with her Kate Greenaways and children's books, was housed in

Introduction

XXII

a tall little room on the third floor o f 2 Gloucester Street, and the librarians and collectors w h o found their way there to see the papers marvelled no less at the books that they enclosed.

Al-

though the most modest o f scholars, she was unsurpassed in her field, and her books Marbled Papers, published by the Club o f O d d Volumes in 1933, and this one, originally published by the Department o f Printing and Graphic Arts o f the Harvard College Library in 1942, are unique sources in regard to the craft that she practiced with such skill. Although Gus Loring's business responsibilities were varied and exacting, he began in the nineteen thirties to take an active part in many of the learned societies, institutions and clubs o f Boston.

In 1932 he joined the Club of O d d Volumes; the fol-

lowing year he was elected its Clerk and continued until 1942 when he became President.

In the fall o f 1936 his wife was

appointed Assistant Librarian, and until 1949 she made

herself

responsible for the library, and quietly did all the hard work in connection with the Club's exhibitions.

Similarly in 1942,

when the staff o f the Peabody Museum of Salem (of which Gus had become a Trustee in 1939 and President in 1942) was depleted, Rose Loring was appointed Honorary Curator of E x hibitions, and ably and unobtrusively filled the places o f those absent upon military service.

Anyone privileged to see her ar-

ranging an exhibition marvelled both at the sure taste o f her choices and the ease and skill with which she executed plans. While it was fitting that the first woman to serve as a Trustee o f the Peabody Museum o f Salem should be a great-granddaughter o f Nathaniel Bowditch, it was entirely for her own outstanding

Rosamond Bowditch Loring

xxiii

qualifications that Rose Loring was elected to the board in 1946. Although a graceful and very feminine person, with devoted women friends, Rose Loring had unusual skill in working on an equal basis with men. Every summer she cruised with Gus along the Maine coast, and from this understood the terms upon which men enjoy one another's company. Consequendy at Salem one thought of her not as the "first woman" but as a valued and well nigh indispensable worker, and as a warmhearted, sympathetic and outspoken friend. Her work at the Peabody Museum and the Club of Odd Volumes indeed showed her ability to share her husband's interests with enthusiasm matched by intelligence, but it was in her own home that the capacity was supremely demonstrated. With Gus's genial but shrewd appreciation of other men went an instinct for abundant hospitality. He was the host at innumerable men's dinners (and famous dinners they were); but when he was not, as the moment came for the company to separate, he found it natural to ask some of them to go home with him afterwards. And there in the library would be Rose. If it was like most of her days, this day might have been crowded with obligations and activities, yet, however late the hour, she managed to greet the new arrivals with an air of tranquil enjoyment. If Gus brought old friends she met them with delight; if they were strangers she conveyed in her greeting some air of sympathetic expectation. Then while some of the guests converged on the fire in the big hearth, Gus would bring out crackers and cheese and a thoughtful choice of botdes, and Rose with unobtrusive skill would set the entire group at ease. She had as quick an in-

XXIV

Introduction

tuition as he, perhaps an even wider imagination; if the talk were running easily she was content to listen, only filling the occasional pauses with an interjection. If, as now and again happened, the guests were awkward and Gus faltered for a remark, that was the moment when Rose appeared to be feeling, "Here is what I have been waiting for!" and she forthwith gathered them to her, her audience of friends, to whom she told whatever story came into her head. Very soon her spontaneity would kindle theirs. On such occasions her behavior always seemed prompted by her own kindly ingenuity, never by preconceived formula, and the dignity she achieved sprang from adapting her actions to the particular circumstances. The same spontaneous ingenuity solved many problems of daily life, as it did on 15 February 1940, when Sam Morison was to give the Colonial Society his first account of the Harvard Columbus Expedition at the Club of Odd Volumes. The Peabody punch that Gus had brewed for the occasion was still at 2 Gloucester Street, and because of the St. Valentine's Day blizzard no cabs dared to venture up Beacon Hill. Consequently Rose perfectly simply trudged up to Mount Vernon Street, dragging the jug of punch behind her on a child's sled. From the summer of 1949 Rose Loring had not been well, but her death on September 17, 1950 surprised her friends quite as much as it grieved them. A few weeks later Gus remarked to me that forty years before Dr. George Minot had given her not more than ten years to live. She characteristically told Dr. Minot that she had consulted him as a physician and not as an undertaker; changed doctors, and outlived him.

Rosamond Bowditch Loring

xxv

In January 1951 an exhibition of RoseLoring's book papers and the tools used in their production was held at the Boston Athenaeum, and in February it was shown at the library of Boston University. Her collection has a permanent place in the Harvard College Library. It was her husband's wish that her book might be made available to the students and craftsmen who would care for it, and the plans for this edition were completed before his death on October 1, 1951. Neither this nor any other memorial could adequately recall the many facets of the woman who was at once the ideal wife, the selflessly loyal, energetic, humorous and sympathetic mother of a numerous family, a highly successful working craftsman, a distinguished and original collector, a valuable museum curator and trustee and a warm and generous friend. There was singular appropriateness in the seventeenth century verse chosen by M. A. DeWolfe Howe for the broadside announcing her death to the Club of Odd Volumes: Death! ere thou has slain another Fair and learn'd and good as she Time shall throw a dart at thee.

R O S A M O N D LORING'S

PLACE

IN THE S T U D Y A N D M A K I N G DECORATED

OF

PAPERS

By Dard Hunter

M Y A C Q U A I N T A N C E S H I P W I T H Rosamond Bowditch Loring was not of lifelong duration; I had known her only sixteen years. But during those years she became one of my most beloved and most cherished friends. M y initial introduction to the Loring family was in February 1934, when I was invited to stay in their home, No. 2 Gloucester Street, for a week while I was in Boston. Although I had previously received many letters from Rose Loring regarding paper ornamentation and allied crafts, it was during this visit that I became really aware of her keen interest in decorated papers, and at this time it was my privilege to examine many specimens in her extensive collection. During my stay in the Gloucester Street house in 1934, she was diligently occupied in her wellequipped studio on the fourth floor, overlooking the Charles River. She was marbling a large number of sheets of paper for use by a well-known Boston publisher — an undertaking which was far more arduous than she rightfully should have attempted. But Rose Loring never considered herself when there was work to be done. At the turn of the century, while attending evening classes

xxviii

Introduction

at the old Kunstgewerbe Schule in Vienna, I had tried my own hand at the delicate and exacting art of marbling, so I was not totally ignorant of the technique used in this ancient method of embellishing paper, a form of decoration probably originally practiced in Persia. It was refreshing to meet such an ardent exponent of this elusive craft in America, wholeheartedly and ably handling a process of paper ornamentation that had been almost entirely neglected and forgotten. To be sure, there were a few transplanted European bookbinders who were making a prosaic type of "encyclopaedia" marbled papers for commercial use, but naturally these routine workers did not possess Rose Loring's aesthetic conception and understanding of so complicated an art. For she had already devoted years of study to the craft, not only to the many-sided techniques of actual manufacture, but also to the elusive and obscure history of marbled, paste, and wood-blocked papers. Rose Loring was never a dilettante; she was never desultory; she steadily persevered in the handicraft that she had made a life study. Each separate branch of paper decoration was undertaken with gusto and enthusiasm, always with a determination to master the particular technique she had set out to do. Rose Loring did not "play" at her hobby; she worked hard, long, and with a zeal and earnestness that stimulated and inspired everyone around her. In making marbled or paste papers for use in books printed by Daniel Berkeley Updike, or to be used as samples in her own books, she would sometimes find it necessary to finish literally hundreds of large sheets of paper, one after another, day after day, a task that could not have been other

The Study of Papers

xxix

than irksome and monotonous. Many another woman with less stamina and less strength of character would have given up through sheer exhaustion. Yet Rose Loring steadfastly persisted until the required number of sheets had received the intended all-over pattern and the work was entirely completed. Although Rose Loring's paramount interest was in the surface decorating of paper, she was, nevertheless, not unmindful of actual papermaking — the fabrication of the fibrous substance upon the surface of which her decorations were placed. To satisfy this quest for knowledge, she procured a pair of moulds from England for the forming of small sheets of handmade paper. These moulds were fitted with watermarking wires outlining her own monogram that she had designed. In forming sheets of paper upon these moulds in her own studio she gained, through first-hand experience, an appreciation of the complexities and hardships that had long been encountered by the commercial handmade papermakers. They did not daunt her, even though considerable more tedious work was involved than she had thought possible. She finished the paper as she finished everything she undertook, whether in her own workshop, or for her home and her family. Rose Loring's principal contribution to the enlightenment of future generations will doubtless be her unique collection of decorated papers. This assemblage will probably always remain the most comprehensive and the most intelligently gathered collection of its kind in America. It may be well, therefore, to define more precisely the types of paper decoration in which she was most interested.

XXX

Introduction

First were colored marbled and paste papers from all periods and from all countries. Next, in her esteem, came the papers that had been decorated and ornamented by the use of woodblocks printed in a single tint or from many blocks in a combination of colors, in the manner of the Giuseppe Rizzi papers of Italy. Following the block-printed papers were the Dutch, French, German, and Italian gilt papers, both plain and embossed, as well as all types of smaller papers decorated by the mediums of lithography and stencils. Rose Loring was not especially concerned with wall- or screen-papers, as these are usually of larger pattern and are used for a totally diiferent purpose. She liked all-over patterns and designs that were made primarily for the end-papers and covers of books and pamphlets, and for the covering and lining of small boxes, and also employed in the pre-machine era in toy-making. When I first knew Rose Loring, her collection was predominantly devoted to ornamental papers of European origin. But since I had been gathering the elaborately decorated papers of China, Japan, Korea, and other Asiatic countries, we made many exchanges of duplicates. My own smaller and less important collection was also constandy enriched through her generous gifts. In forming a collection of decorated papers, one is not necessarily limited to the handmade type; for such a limitation would exclude many of the papers that had been surface decorated after the first quarter of the nineteenth century. Prior to the introduction of the paper-machine in England, France, Germany, Holland, Italy, and America, all paper was made by the tra-

The Study of Papers

xxxi

ditional hand method with each sheet formed individually in a hand-mould. This manner of making paper limited the sizes of the single sheets to thirty-one by fifty-three inches in the Occident, and forty-eight by eighty-four inches in the Orient. In the same way, the early wall- and screen-papers were limited in size so that each unit of block-printed paper, either Occidental or Oriental, had to be applied to the walls or screens individually — or the single sheets were pasted together before printing. It was not until the introduction in Europe of the paper-machine with its continuous reel of paper that wall-paper could be procured in long unpasted strips or rolls. Rose Loring's collection of book, box, and toy papers included both hand- and machinemade papers. She did not exclude the later, commoner product. And she was right, since she intended to form a truly comprehensive collection. When the decorated papers in the Paper Museum at the Massachusetts Institute of Technology were being listed, Rose Loring, on numerous occasions, graciously came to the Museum workroom laden with great boxes of papers from her own collection so they might be referred to during the cataloguing. In many instances, she could designate the place of origin, give the name and history of the decorator, and fix the approximate date of the marbled and paste papers about which we had but scant knowledge. Also, she invited Miss C. V. Ahearn, who had undertaken the cataloguing, to her Gloucester Street house where she gave unstintingly of her time and knowledge, so that the descriptions of our modest collection might be accurate. Rose Loring never tired in her endeavor to uncover obscure

XXX11

Introduction

facts relating to mar biers or decorators in centuries past; she was ever searching in books and manuscripts for even the smallest detail regarding any paper which she possessed. In this same quest, she traveled all over Europe to interview museum curators, bookbinders, and other artisans, about their work. It is not surprising, therefore, that she was successful in piecing together so many facts about the uncommon patterns and designs of the decorated papers in her collection. Quite aside from her knowledge and technical skill, Rose Loring was a remarkable woman; she was modest, gracious, and considerate. As Mr. Whitehill has so truly pointed out, her personality will long remain a cherished memory to everyone who knew her. To those who never shared this privilege, she will be remembered for her important contributions to the subject of paper decoration, as well as for her unique collection of examples of this art. These accomplishments will be Rosamond Bowditch Loring's perpetual monument.

ROSAMOND

LORING

AS A T E A C H E R A N D A N

ARTIST

By Veronica Ruzicka A B O U T T E N Y E A R S A G O I had the honor of going to No. 2 Gloucester Street, Boston, and of being initiated into the mysteries of paste paper making by Mrs. Loring. Addresses are soon forgotten; teachers may be remembered all too easily though some unpleasantly, but the charming home on Gloucester Street and my delightful and expert instructor, I will never forget. One thing which remains in my memory especially is Mrs. Loring's generosity in being willing and, as it seemed to me, loving to impart the secrets of her art. However, one secret remained her own: her great skill in handling the tools of her craft. I was struck anew by this at the exhibition of her papers at the Boston Athenaeum in January 1951. The drawn papers especially excited my admiration, since each stroke of the comb or brush was done with such forethought and precision. It is easy enough to scrawl pleasant patterns over a fresh damp paper, temptingly spread with colored paste, but to do the work symmetrically and accurately, over dozens or hundreds of sheets, in designs suitable for book covers or end-papers, is another matter. I have heard paste papers compared to finger painting, and the comparison always seems to me derogatory.

XXXIV

Introduction

Uninhibited self-expression is an important thing in these psychologically involved days, and a worthy outlet for our tensions, but it seems to me that some discipline and obedience to the rules of a game are equally important. Mrs. Loring's ingenuity in devising effective tools from the most unexpected sources showed great imagination. Patterns made from lace, gaily cut out cooky rollers, and btitter molds are more noticeably decorative, but who would think of using the rubber pad off an automobile clutch pedal to produce a design for a paper? When I was in her studio, I noticed an ordinary wire potato masher. I am sorry to say that I never discovered its use, but undoubtedly with Mrs. Loring behind it and a paste covered paper beneath it, some ingenious pattern was achieved. Her "feather" pattern, done with a twist of the brush, looks like a simple design to make, but skill and control are needed to make the feathers come out all one size and evenly spaced across a large sheet. In spite of careful examination, however, some of her paste papers defy analysis of the tools used to make the pattern. Design is not all that makes a paste paper; much depends on the use of color, and in this Mrs. Loring excelled. Her choice of color was always tasteful and pleasant, besides being appropriate to the use of the paper. In rereading the chapters on paste papers in the first edition of this book, I noticed that the procedure sounds quite simple so perhaps it would not be amiss to point out some of the hazards of the occupation. I am only sorry that I could not compare notes with Mrs. Loring on this aspect of the game. There is the obvious one of the amount of color which manages to spread

Teacher and Artist

xxxv

itself in great profusion over other things besides the paper. Curtains are best eliminated beforehand, but walls, floors, door knobs (not necessarily just in the workroom), besides one's own person from hair to shoes, may get liberally spattered during the process. Then the weather sometimes fails to cooperate: the hot dry day when the paper dries before the design is finished, or the damp rainy day when the paper refuses to dry and, after using up the drying rack, one spreads sheet after sheet on the floor until one is imprisoned in the middle of the room. In the latter case it is advisable to keep the family pets outside the room. As Mrs. Loring points out, a small quantity of color should be added to the paste at one time, but it is still possible to put in too much and then comes the mad dash to the kitchen to cook up a new batch of paste! Or even worse, to run out of color — and, of course, the art store will be "just out of it," and the deadline for delivery is just around the corner. I am sure everyone who knew her was impressed by Mrs. Loring's modesty; a great quality in someone who knew her subject so thoroughly. She had done scholarly research in the history of decorated book papers and made a fine collection of both old and modern ones. Her proficiency in making paste papers was equaled by her meticulous craftsmanship in binding books, as well as the skillful execution of the difficult art of marbling. Although I did not see her very often, her generous encouragement combined with a delightful personality made me appreciate the privilege of knowing Mrs. Loring.

Early End-Papers

EARLY E N D - P A P E R S

E

ND-PAPERS have been defined as "paper, white or colored, printed or unprinted, placed at the beginning and end of a book, one half pasted to the inside of the cover," 1 the other half remaining free. In general, papers used for end-papers fall into four definite groups: marbled, paste, printed, and undecorated or plain colored papers. In making a study of end-papers one finds that respect for the written or printed word early led men to protect their manuscripts from the wear a scroll or book was likely to get from handling. In the days before books, a wide space, which was sometimes decorated in color, was left at the beginning of parchment scrolls. This gave the reader something to hold and prevented dirt and finger marks from soiling the manuscript. In oriental palm-leaf books there are protecting blank palm leaves between the painted wooden covers and the inscribed pages. Manuscripts and the earliest printed books, however, often had no proper end-papers, the text coming directly next to the covers. As books at first belonged only to churches and monasteries and were among their most

4

Decorated Book Papers

cherished possessions, it was not until printing was well established and books were plentiful that the common people had access to them. With the freer use of books it became necessary to protect them both from hard wear and from the bindings themselves. These were often of thick hides crudely stretched over heavy wooden boards, with the turned edges of the leather left unpared. This made a rough surface to face the lovely illuminated initial letters that occur at the beginning of early manuscripts and printed books. As a result, one finds that some of the books written on paper at the end of the fifteenth century are lined with vellum taken from earlier manuscripts. In a manuscript life of St. Catherine of Siena,2 finished in 1476, the back flyleaf is a set of knitting directions on vellum, and the lining of the front cover is a fragment from an early manuscript. The ordinary stamped bindings of the sixteenth century were staunch and solid. Heavy hides or pigskin stretched over wooden boards and decorated with the impressions of small stamps, distributed to form borders and panels on the covers, were the style of this period. These books were lined with paper, vellum, or scraps of manuscript from other works. Some of the fine books bound for Jean Grolier, the great sixteenth-century collector, had combinations of one vellum end-paper and three or four white

Early End-Papers

5

papers at each end. Many of the beautiful French bindings of this period, which were decorated with fine gold tooling and mosaics of colored leather, had vellum and white paper end sheets. An example of a later date showing the use of manuscript as end-papers is a Welsh Book of Common Prayer printed in London in 1621 by Bonham Norton and John Bill. 3 This has a binding of stamped calf on heavy oak boards, with a panel design of interlaced strappings and fleurs-de-lis. The four bands on which the book was sewn were not set into the boards deep enough, and in order to protect the manuscript from being damaged by these lacings a double fold of an early manuscript was sewn in at each end of the book next to the text, inside white paper end sheets. A strip of manuscript with a bar of music was pasted down on the inside of the back cover. In going through a number of the books of the first part of the sixteenth century to the end of the seventeenth century, it is interesting to note the varying arrangement of the end-papers. There seems to have been no set rule as to the number a book might have. If an early book boasted any end-papers at all, they were likely to be of vellum, or a combination of vellum and paper, placed at both the front and the back. One finds three vellum sheets at the beginning and four at the end, or a single sheet of vellum

6

Decorated Book Papers

lining the front cover and one at the end as a fly, with the back cover left unlined. There are books with three endpapers at the front and four at the back, or two, three, or four at each end, and so on. In some cases, however, endpapers are not paper at all. Silk for several centuries has been used for end-papers in fine bindings, and there are a few books in which materials strangely unrelated to either paper or silk have been used. For example, a copy of Aesop's Fables,4 in a contemporary binding by Sangorski and Sutcliffe, the English binders, in green levant with attractive panels of birds and flowers on the sides, has flyleaves and an inside lining of rattlesnake skin. A French children's picture and writing book of about i860 has heavy cardboard "slates" lining both covers. The slates are incised with letters and figures to be used as guides for penmanship. Though unfortunately the flyleaves are missing, the contents of the book leave little doubt that they were plain black paper, to be used for the practice of writing and figure-drawing. Even earlier is a miniature calendar printed in Vienna in 1765. 6 It is about an inch wide and not more than two and a half inches long. The covers are of white enamel, the front one decorated with the figure of a lady standing beside a pedestal on which is an urn filled with flowers; the back cover shows a jester in the traditional Harlequin costume. The front end-papers are light green

Early End-Papers

η

glazed paper, and on the inside of the back cover there is a little mirror. As time went on, bookbinders came to realize that endpapers themselves could be developed into a field for great artistic effect, and more and more attention was given to the use of decorated end-papers in their books.

The Early History of Marbling

THE EARLY HISTORY OF MARBLING HE EARLIEST of the decorated papers to be used for end-papers were the marbled ones, which as their name implies, have a pattern that imitates the veining of marble. There has been great difference of opinion as to where the art of marbling originated, and the question has not yet been fully answered. It seems certain, however, that it came from the East and that the Persians were the first people to make use of it in books. The earliest examples of marbling to be found are borders surrounding the miniatures and the pages of calligraphy of some of the finest Persian manuscripts of the sixteenth century.

T

A particularly fine example of marbling forms the outer border of a beautiful Persian miniature known as "The Princes on the Hunt." 1 This is of the Shah Tahmasp period, 1524-1570. The brilliant colors of the miniature are set off to great advantage by the soft reds and dull blues of the marbling on gold-flecked paper. Another oriental book of miniatures,2 which, according to Mr. Strickland Gibson, can be dated about 1600, is interleaved with marbled papers. Some of these pages display two types of marbling,

12

Decorated Book Papers

one on either side of the page. A number of the pages are stained in pale colors, as if they had been made for an album amicorum,3 and there are a few blank pages. There is no writing except on the pages with the miniatures, which are of horsemen, costumed figures, etc. In the Victoria and Albert Museum, in an album of Persian paintings,4 bound in red morocco and stamped in gold, there are three miniatures with marbled borders. T w o of them are in the large "stone" marble pattern, and the other is of the very fine combed variety in yellow and blue. The combing of the latter has been drawn out into curls and is the earliest example of this pattern known. The insides of the covers are marbled in black and bright green in the "stone" pattern. B y the end of the sixteenth century marbled paper had been introduced into western Europe. There is a dated album amicorum 5 in the Bodleian Library which is interleaved with pale blue marbled paper. It is a thin oblong volume bound in dark brown leather, with a panel in blind tooling on each cover; on one are the words "Theodora van Was Senaer: en Dwenvoerden," and on the other, "Rien sans Dieu Anno 1598." Another album amicorum6 in which these papers form an important part helps to throw some light on the probable history of marbling and bears out the idea that it is of oriental origin. The book originally belonged to Wolfgang

The Early History of Marbling

13

LeutkaufF, a Viennese gentleman who left Vienna in 1616 for a journey to Constantinople. From there he went to Adrianople and thence to Philippopolis and Belgrade. Most of the autographs and coats of arms that appear in the book are those of German or Italian friends, but there are a number of oriental signatures. The earliest entry is dated May 14, 1616. The book contains 288 leaves, of which forty-six are marbled. These are of thirty-four varieties. Since all the examples of French or Dutch papers which can be attributed to an earlier date than 1680 are of the fine combed variety, it seems likely that those in the LeutkaufF book are oriental in origin. There are about eighty pages with a space for writing or painting inside wide borders which are ornamented with small floral decorations like those of the Persian paintings of the sixteenth century. The decorations are made by an unknown process in color in the paper, which shows the pattern equally on either side of the page. Mr. F. R . Martin says of this process: "It is said to be a specialty of Tabriz. The oldest manuscript in which it occurs dates from the beginning of the fifteenth century. . . . In Persia this method was chiefly used for borders." 7 It might be observed in this connection that, if oriental designs found their way into western Europe by means of book decoration, the reverse may sometimes have oc-

14

Decorated Book Papers

curred. In regard to a figure of a man on horseback and some animals, on marbled paper, of about 1500, Mr. Martin says: "These drawings are in my opinion a reminiscence of the European representations of Death, and there is a marvelous similitude between Dürer's drawing of King Death in the British Museum and the horseman in Sir Charles H. Read's Collection. The Scythe is wanting, but the man's position and the horse are too alike for there to be any doubt that some connection exists between the two. What is most peculiar is that in the Read examples the drawing is on a white ground and the whole surface of the paper surrounding the design has been marbled. This effect has been obtained by covering the design entirely before marbling the remainder of the paper. In the Goloubeff Collection is a copy of the same drawing of a horse (though without the rider) which has been subject to the reverse method of marbling. The drawing itself has been marbled while the remaining surface of the paper has been left blank. "Since we know paper was sent from Europe to Constantinople to be ornamented with marbled figures and designs, the technique of which was then unknown in Europe, it is natural to suppose that the Turks utilized as models for their drawings such European engravings as by chance fell into their hands and that such

The Early History of Marbling

15

drawings later on managed to gain a certain popularity." 8 As for the origin of marbling itself, it would seem likely that if the Turks, who had so little artistic originality, took some of their designs from European engravings, they might also have gladly borrowed from the Persians an art which could be used for book decoration without violating their religious principles and the tradition that forbade the representation of living figures. It is interesting to find that Sir Francis Bacon was convinced that marbling was a Turkish invention. He writes in his Sylva Sylvarum: "The Turks have a pretty art of chamoletting of paper which is not with us in use. They take divers oyled colors and put them severally in drops upon the water and stir the water lightly and then wet their paper (being of some thickness) with it and the paper will be waved and veined like chamolet or marble." In an early book of travels {A Relation of a Journey Begun in 1610, Foure Bookes containing a description of the Turkish Empire of Aegypt, of the Holy Land, of the Remote parts of Italy and the Islands adjoining) George Sandys writes: "The Turkes curiously sleeke their paper which is thicke much of it being colored and dappled like chamolets done by a tricke they have in dipping it in water. They have painters amongst them, exquisite in their Kind (for they are not to

16

Decorated Book Papers

draw by their Law, nor to have the figures of anything living) yet how many privately begin to infringe that precept and the Grand Signor himself hath a fan whereon the Battles of Hungry are painted. Colors also they have, not lesse faire then durable." There are still other opinions about the matter. Mr. W . H. James Weale 9 believes that we owe marbling to the Germans. John Knuckel, 10 the earliest writer to describe the method of making marbled papers, claims the invention for Germany and says that the method had been kept a secret up to that time. On the other hand, Jean La Caille, in his Histoire de l'imprimerie (Paris, 1689), asserts that Mace Ruette, a Parisian stationer and bookbinder of about 1606, invented the art of marbling and used marbled paper for end-papers. There was doubtless good reason for these men, whose integrity is not to be questioned, to believe that marbling and the use of marbled paper originated in the country which each names. Because this craft was so simple and needed so little paraphernalia, it could easily be carried from one place to another, and it is not unlikely that it began as an industry in several different countries at about the same time. In spite of this, the craft was long shrouded in mystery, and it is easy to understand why those who knew how to

The Early History of Marbling

17

make such charming color effects by means of such simple apparatus should have guarded their secret closely. When the guilds were the centers of learning and industry, a young man who became an apprentice in the craft of marbling soon found that he was kept as much as possible in ignorance and that he was not allowed to learn many things that might have led to his advancement. Each boy was carefully trained to a separate part of the work and taught to excel in the making of one, or possibly two, patterns, so that he would not know enough to set up a rival establishment for himself. Some extracts from a very old daybook of a papermaker named Ulman Stromer, u who lived in Nuremberg in 1390, give some idea of the relation between masters and their apprentices and show what great authority employers had over their workmen. The later history of marbling is somewhat easier to trace. The great wars which successively swept over Europe from the East in the sixteenth and seventeenth centuries had a great part in spreading knowledge of the different crafts. Refugees driven from one country to another took up their old work in new homes. It is probable that the art of marbling originally filtered into Italy and Spain from Persia and Turkey by way of the Mediterranean. After the wars it came into Germany and France through the great

18

Decorated Book Papers

commercial trading which was carried on between middle Europe and the East. The Rhine, the Danube, and the Elbe, with smaller connecting rivers and canals, formed a network of inland waterways which made trading possible in days when traveling by road was most difficult. As a result, Hamburg became the great commercial center of Germany and one of the greatest ports in Europe. This city on the river Elbe, which opened up communications with upper and lower Saxony, Austria, and Bohemia, was also connected with canals which led into the Spree to join the Oder into Poland. Hundreds of English ships came annually to Hamburg laden with goods from Spain, Portugal, and Italy. The great fairs held each year in Leipzig also brought merchants from every part of Europe. All the manufacturers of Italy, France, Germany, Belgium, Holland, and England met here. Great bazaars were set up, and East India goods of all sorts were sold. Wine and fruit, hemp and flax, silk and wool, great quantities of paper and cotton fabrics, gold and silver laces, and articles made in Leipzig itself were all for sale at these fairs. Commerce between Germany, Holland, and England flourished through the shipping. The Dutch acted as commission merchants for the Germans, buying and selling commodities which they reexported. By the middle of the seventeenth century the industrious

The Early History of Marbling

19

city of Nuremberg was sending a great variety of manufactured goods to England, particularly toys, which came to be known as "Dutch" toys because they were imported by way of Holland. Zaehnsdorf 12 says that there is no doubt that marbled paper was first brought into England as wrappings on small parcels of these toys in order to avoid the heavy English duty on paper. The bookbinders to whom these gay-colored marbled papers were sold carefully smoothed them out and used them as end-papers or for the linings of boxes. A charter box belonging to the Poulterers' Company, formerly kept in the Guildhall in London, was lined with a fine combed, marbled paper of the seventeenth century. After the revocation of the Edict of Nantes in 1685, Holland became a center of actual papermaking. The French Huguenots, having been driven from France, found sympathetic surroundings among the Dutch. Many of them were masters of the craft of papermaking, and they carried on their industry in Holland. Paper of fine quality was sent to England, where there was a ready market for their products. It might be mentioned incidentally in this connection that the Dutch were the first people known to marble the edges of their books, an application of marbling which dates from about 1675.

Marbled

End-Papers

MARBLED END-PAPERS

A

N U M B E R of different types of marbled papers have been used as end-papers. Among the earliest were

the soft blue and pink drawn pattern and the fine combed

variety of dull blue or black and yellow. These appear as early as the end of the sixteenth century, but they were not in general use for this purpose until nearly a hundred years later. French binders seem to have used these papers from the early seventeenth century on. La Caille asserts that marbled papers were used in several bindings by Le Gascon between 1 6 1 7 and 1630. One of these books, now in the British Museum, has end-papers of the fine combed type. 1 Le Gascon, who was probably the first to use the leather doublure, used marbled papers for the opposing flyleaves, which later gave way to the more elaborate silk linings of the end of the seventeenth century. Florimond Badier, the French bookbinder, used marbled papers as linings for the covers of his books, with paper flyleaves, about 1650; and fine combed marbled papers and the Old Dutch pattern were used more commonly from this date.

24

Decorated Book Papers

Two famous French makers of marbled papers in the seventeenth century were the Le Bretons, father and son. They made finely veined papers in imitation of real marble. Some of them, with fine veins of gold and silver, were very beautiful. Papillon tells us that the Le Bretons had so perfected their art that they could imitate the real stone more exactly with their marbled papers than an artist with his brush.2 Some other lovely papers that they made were stenciled with figures of flowers on a highly calendered surface. The early marbled papers were greatly prized by seventeenth-century collectors. Pierre de l'Estoile writes in his diary in 1608: " I gave today to M. du Pin a little book of Chinese paper covered with a very handsome marbleized paper which I kept in my cabinet. I have another just like it." He writes again in 1609: " I gave M. du Pin six sheets of my marbleized paper very very fine which I promised him, I know he is a collector like myself who always has a reserve in his cabinet." 3 In the front of a book of engravings printed in Paris in 1651, 4 the flyleaves of which are marbled on both sides in a very fine combed pattern in red, blue, and yellow, there is an engraved bookplate, printed in orange, bearing the name F. I. Pins. There is little chance that this was the friend of Pierre de l'Estoile, but it is certain that the

Marbled End-Papers

25

two were gentlemen whose tastes, like their names, were similar. Good examples of the fine combed patterns, on both sides of the flyleaves, are in another book printed in Paris in the same year. The papers are a dull slate-blue combined with crimson and black. An added pair of white end-papers of the same paper as that on which the text is printed are used in both the front and the back of the book. 5 About the end of the sixteenth century the coarser pattern of combed marbling called Old Dutch began to take the place of the early fine combed papers. This pattern was used in the larger books of the early seventeenth century and was common in both English and Continental books until the first part of the nineteenth. The earliest example noted of this pattern used for end-papers is in a New Testament printed in Lyons in 1569.6 It is bound in dark red morocco, the back powdered with fleurs-de-lis and the sides decorated with an armorial stamp. A variation of the Old Dutch pattern is made with whorls introduced at intervals in the straight combed marble pattern. The names of so few early bookbinders are connected with marbling that it is of great interest to find a note by a former owner in a Book of Common Prayer (bound in red morocco inlaid with green, with marbled end-papers)

26

Decorated Book Papers

which says: "Bound by Richard Dymott opposite Somerset House in the Strand. A rare English bookbinder and publisher of whom little seems to be known, he worked in or about the middle of the eighteenth century. An advertisement at the end of a pamphlet he published informs us that he 'brought to Perfection the Art of Making French and Dutch Marble Paper in England . . . makes several curious marbles on leather . . . and binds most superbly in embroidered velvet.' He does not seem to have signed his bindings often but the present example of his work has his name on the back." 7 Marbled end-papers were used in the shop of Roger Payne, the famous English bookbinder, though in the books which he himself forwarded Payne preferred a heavy paper stained dark purple.8 Payne began his profession as a binder in London about 1768; he worked with the help of his brother Thomas and had Richard Weir and his wife in his employ. The French Curl or Snail pattern has been used for endpapers, particularly in French books, since about 1660. Many fine armorial bindings have the large red and blue pattern as linings. Padeloup and Derome both used these marbled papers as end-papers in the books they bound for the French nobility. This pattern remained popular, and continued to be used in Europe and England, until about 1870. While it was used much for end-papers, it is rarely,

Marbled End-Papers

27

if ever, found as cover papers on the books of the seventeenth and eighteenth centuries. The Spanish marbled papers are a type which was very much identified with one country. They were used in Spanish books from the early seventeenth century and were a most harmonious blend of soft colors. The pale green, old rose, and brown or fawn-colored papers had a characteristic moire effect that is found in the later and more familiar Spanish marble papers which have been used in England and the United States from the end of the eighteenth century to the present day. The moire effect is the result of the way in which the paper is laid on the surface of the floating color, and it takes an expert marbler to achieve the pattern with any sort of success. Several stories are traditional as to the origin of this particular pattern. One is as follows: A man who was working at his marbling trough was about to lower his sheet of paper onto the gum when a fellow workman knocked against his trough with such force that the whole surface of the size was set in motion, and the striped or moire effect was thus produced. The master of the establishment was so much interested in this chance development that further study and experiments were made to perfect it. Another story runs: A workman who had been drinking

28

Decorated Book Papers

heavily came to work with unsteady nerves and shaking hands. When he came to lay the paper on the size his hand trembled so that the paper shook, and in this way every sheet that he made was spoiled. This was brought to the notice of the master of the shop, who, far from being angry with the workman, investigated the cause of the waved stripes in the marbling and became interested enough to develop the type as a new and popular pattern. Stormont is the name of a pattern made by adding turpentine to the color so as to produce a lacy network of fine veins. It is usually in dull slate-blue or black, with a coarser vein of crimson running through it. This pattern is identified with a number of interesting eighteenth-century printers and bookbinders. The earliest note that has been taken of this pattern is in a Book of Common Prayer printed in Dublin in 1750. 9 The large folio of Addison's works printed by Baskerville in 1761 1 0 is bound in boards with Stormont sides, and Hugh Gaine of N e w York and Jacob Johnson of Philadelphia both used Stormont endpapers. The Shell pattern, sometimes known as French Shell, is particularly identified with France and began to be used in the last part of the eighteenth century. The pattern is made by adding oil to the color, which, instead of spreading evenly, forms in drops with an outer circle or shell of

Marbled End-Papers

29

lighter color. Brown, orange, and blue seem to have been the colors most used. Shell papers are commonly found as end-papers in the calf books and half-bindings of the early nineteenth century. Later, when marbling deteriorated, the Shell pattern was done on a very thin paper of poor quality and used for cheap commercial work. The marbled papers known as Nonpareil came into use about 1838. They were a revival of the early fine combed pattern. These papers, however, were less artistic than the early ones and were produced in a more mechanical way, although they were marbled by hand. (A machine for making them was put on the market about 1891.) Nonpareil was usually made in red, black, yellow, blue, and buff, with red the predominating color. The papers, having been marbled, were put through hot rollers and the surface made smooth and glossy. This pattern was used all through the middle of the nineteenth century for endpapers, and later as covers for all kinds of commercial books — office account books, journals, and ledgers. Toward the end of the nineteenth century marbled papers of all kinds were used in fine bindings. Machinemade marbled papers, which were then in fashion, were often used in highly polished tree-calf bindings and in sets with half morocco bindings, as well as in the commerical work — ledgers, account books, etc. — of the period. In

30

Decorated Book Papers

1891 Messrs. W. Powell & Sons were among English firms advertising a great choice of marbled papers among their other bookbinding supplies. The firm of Barry and Robert sent out specimen books of papers marbled with gold veins and advertised that they would be glad to supply the same colors to the binder who did his own marbling on his book edges.11 In 1884 Joseph Halfer wrote an authentic book on handmarbling on a size of Carrageen, or Irish moss.12 In this he described the technique in minute detail and gave bookbinders a comprehensive work that could be used as a textbook for the study of marbling. The Halfer method was used in Germany and later in England and in the United States with great success. Small binderies took up the method and made their own papers. This book did much to keep alive a dying craft, for machine-made marbled papers were at the height of their popularity, and Halfer's book and the lectures he delivered did much to revive interest in hand-marbled papers, both here and abroad. Present-day marbling both in the United States and abroad is of high quality. The most outstanding maker of marbled papers is Douglas Cockerell, the well-known English bookbinder, who has a marbling establishment at Letchworth, England. The papers designed and executed

Marbled End-Papers

31

there are without equal. The perfect technique with which the patterns are handled, the lovely colors, and the perfection with which one sheet matches another make these papers the envy of marblers and the joy of the fine binder. Many of them are marbled on a thin, tough brown paper which is easy to handle, and which often serves as a ground color for the patterns. Mr. Sydney Cockerell, a son, has a school for marblers and is himself an expert. Some fine marbling is done for the English bookbinders Sangorski and SutclifFe, who recommend the work of several marblers besides Mr. Cockerell in a specimen book sent out to the trade. These papers are largely modern reproductions of the early patterns of combed and antique marbled papers. The colors are well-chosen, and the marbling is so well done by hand that it would be hard to tell these from the early papers if one were not familiar with the quality of paper and the finish of the old ones. In Denmark, Ingeborg Borjeson of Copenhagen marbles beautifully. Her designs are drawn in great leafy patterns in soft greens, browns, and blues; while they are not altogether suitable for small books, they are extremely original and well executed. Guy de Sen, another Danish marbler, works in an unusual way and gets most artistic effects. He draws with color on the surface of paper covered with a size, which carries the color out in uneven but grace-

32

Decorated Book Papers

ful lines. His control of color is so perfect that he is able to make formal flower arrangements which might almost be termed "marbled paintings." Franzi Heil and Paul Kersten in Germany and Henri Farge in France are all fine marblers. Oscar H. de Boyedon, the well-known French bookbinder, shows his versatility as a craftsman by designing and executing beautiful enamels on gold, fine bindings, and unusual book papers. The latter are of various types, from most elaborate patterns intended for individual books to extremely simple ones that are suitable for any binding. M. de Boyedon's use of gold is attractive, and his choice of colored papers, which he uses with great success, makes his work desirable for fine bindings. There are a number of excellent American marblers. Peter Frank uses colored papers of soft greens, grays, and blues as a background and draws his free designs with a stylus. With their soft blending of subdued colors, his papers harmonize with any cloth or leather and are most usable as end-papers. Mrs. Thomas H. Shipman has a good eye for color, which she uses generously in beautiful combinations^ Most of the designs are drawn on the surface of the paper, the currents in the size carrying the color freely. The results are both unconventional and most artistic. Dorothy B. Moulton's feeling for color gives her

Marbled End-Papers

33

papers life and gaiety. While many of the designs are drawn freehand, Miss Moulton has such control of color that they retain their form and have both originality and charm. Mrs. George Bullock and Mrs. Irving Cox have taken high honors for a number of years with their "B and C" papers, which are used for fine bindings. Mrs. Henry F. James of New York, who has done a great deal with textiles as well as paper, has introduced marbling once more as an interesting feature of modern interior decoration and has thus brought the craft back to one of its original uses.13

Printed End-Papers

P R I N T E D END-PAPERS E F O R E beginning a discussion of printed end-papers,

B

it is necessary to go back a litde into the history of

decorative papers. The earliest makers of marbled papers

who can lay claim to any historical importance were the dominotiers of France, their name being derived from the Italian word domino, litde cloak or hood, part of the costume worn by the men who did marbling. B y the end of the sixteenth century they were flourishing, for in 1586 the First and Real Dominotiers, by permission of King Henry III of France, joined with some wood engravers to enlarge their industry, and formed a guild whose members were called dominotiers, tapissiers, and imagiers — dominotiers because they made paper hangings to be used as wall decorations and coverings which were often marbled, and imagiers because they had the right to print portraits or scenes from the Old and the New Testaments, or from mythology, by means of woodblocks made on pearwood. The men who specialized in making marbled papers were called marbreurs. Their papers were used in bindings for books, as linings for boxes and cupboards, and for decorating the

38

Decorated Book Papers

backs of mirrors, while the papers printed from woodblocks (called tour de la cheminee) were used by the poorer people to decorate the rough walls around fireplaces and on stairs and in hallways, serving as a substitute for the more expensive textile hangings so much used in early times. The name dominotier ultimately came into general use to describe the men who did these various kinds of work, and people soon forgot that the name had been applied in the beginning only to those who made marbled papers. The center of the industry was Normandy, where several small paper mills offered a ready supply of material. As the work of the dominotiers was of an extremely perishable nature, very little of it has survived, and their early history is somewhat obscure. In the late sixteenth and early seventeenth centuries, however, the Guild of Dominotiers became involved in a series of controversies with the Guild of Printers and Booksellers. The imagiers began making woodblocks which bore, in addition to pictures, names and descriptive legends. This added greatly to the popularity of their products, but was considered by the Guild of Printers and Booksellers to infringe on its monopoly of the right to use type. There was a great deal of legisla tion concerning these rights, and decrees were obtained in 1586, 1618, and 1649 by the Corporation of Booksellers and

Printed End-Papers

39

Printers restricting the dominotiers, under pain of having their equipment confiscated, to certain processes which did not involve the use of any font of type that could be used in printing. In consequence, the latter ultimately gave up this sort of work 1 and concentrated on making marbled papers, which did not involve them with the other guilds. The dominotiers and the men who followed them in the eighteenth century printed a group of patterned papers which were closely related to the early wall papers. Most of these were of smaller designs than those used for wall decoration and are lovely in coloring. They were printed on small sheets of paper in every possible type of design. There were floral patterns printed in two or more colors, and simple, rather crude woodcuts in one color. There were stripes of every description: wide bands of color with a floral stripe between; horizontal lines broken with sprays of flowers tied with knots of ribbon; delicate designs of small flowers on cream grounds; bold patterns with conventional carnations, grapes, and roses, in imitation of the handsome brocades; intricate strapwork in three colors, and stripes that would as well have graced a lady's gown. These small-patterned papers, while often inferior in design to the wall papers, had great charm, and some of them were made for special purposes. Black and white papers were made for funeral notices, checkered papers for

40

Decorated Book Papers

the tops of chessboards. Others were used for the backs of playing cards or in the form of colored sheets in small designs for the game of lotto. Boxes and cupboards of all sorts were lined with them; they were used for covering the backs of mirrors; small pamphlets and almanacs were bound in them. They were used in France, Italy, Germany, and England both for book covers and for end-papers all through the eighteenth century. The papers are difficult to identify, with the exception of some of the French ones made in Orleans by the men who printed the images populaires.2 At the end of the eighteenth century one finds printed on the edges of the simple pattern papers such names as Frangois Pelle a Orleans, Jean Baptiste Ghys dans la Rue de Pont, Aumans chez Leloup, Chez Perdoux, Chez Letourmey, LeBlond et Sevestre, or Chez Rabier-Boulard. J6rome LeBlond, one of the first to make these prints at Orleans, died in 1671. His work was carried on by the family until 1751, when Jean LeBlond's daughter married Jean Baptiste Sevestre, who was taken into the business as a partner. From 1751 to 1771 the firm was known as LeBlond et Sevestre. In 1780, before his death, Sevestre sold the business to the house of Perdoux, which flourished in Orleans from 1780 to 1805. Two of Perdoux's papers used as end-papers for books have been identified by the name

Printed End-Papers

41

on the edges. One of these patterns is of blue squares connected at the corners by red circles, each having a small blue flower in the center; another is of alternating stripes, white with red flowers and blue with small yellow dots. The types of papers made by Perdoux were also made and sold by the house of Letourmey, perhaps the most famous establishment in Orleans to make these pattern papers. This house was founded about 1774 by Jean Baptiste Letourmey, who, fired with the ideals of the French Revolution, made popular prints and caricatures attacking the nobility and the clergy. The firm made political, decorative, and religious papers. Some of the smaller designs from this shop, printed on paper of a rather poor quality in reds and blues, were used for books. On Letourmey's death his son, Jean Baptiste Letourmey II, took over the business and in 1812 sold his share to Anna Boulard, who in the same year married Michel Rabier and established the firm of Rabier-Boulard, which carried on until 1843. A simple but charming paper identified with this shop and used as an end-paper has a plain white ground spangled with blue stars and dots. Another less well-known papermaker who lived in Orleans about 1776 used a yellow paper with diamonds connected with each other at the corners by small conventional roses stenciled in red; "A. Orleans chez Pelle" is

42

Decorated Book Papers

in one corner on a black band at the bottom o f the sheet. Francois Pelle is k n o w n to have made a popular print o f St. Nicholas, the details showing that he was used to cutting blocks for papier peint, o f which he is supposed to have made a great number o f patterns. The Italian papers are a large and varied group o f pattern papers, the most interesting collection o f which is the Remondini papers. Many o f the designs in this group were gathered together through the interest and untiring work o f a group o f Italian gentlemen w h o tracked d o w n the discarded woodblocks used in the early manufacture o f the Remondini papers. A small brochure from Florence, 3 written anonymously and issued in a limited edition bound in a reproduction o f one o f the early patterned papers, says that "Giannantonio Remondini o f Padua in the year 1649 set up a small printing press in Bassano Veneto and with a few rough wooden characters, aided b y an extraordinary skill and a profound passion for the art o f printing, succeeded in the course o f twenty years o f assiduous work in raising his undertaking from its modest beginnings to such importance and celebrity that in 1670 the Giannantonio Remondini printing presses numbered twelve. The most famous w o o d carvers o f the time flocked

to his workshop, adding ever greater lustre to

his work so that the magistrate o f the 'Cinque Savii alia

Printed End-Papers

43

Mercanzia' in the Senate of the Venetian Republic entrusted him with important and delicate commissions relating to his industry." "Giannantonio Remondini," the writer goes on to say, "was therefore the inventor of those papers printed in many colors in imitation of stuff being used at that period as wallpaper and which before the middle of the 18 th century had made its way into all Venetian houses and was used for many other gaily decorative purposes. "These papers were printed by hand presses by means of artistically carved dies, one for each design and color, each color being printed separately upon a given sheet of paper, a process by which an indescribably harmonious fusion of tints was obtained. The colors used were of vegetable origin extracted from the bark or skin of various plants and unalterable. "In 1 7 1 1 Giannantonio Remondini died leaving a large fortune to his son, Giuseppe, who, following in the footsteps of his father, made his establishment in the opinion of De la Lande the most important of the kind in Europe, employing as it did over a thousand persons with thirtyeight printing presses and including a paper mill with ten vats and a die foundry. "In 1732 Giuseppe Remondini instituted in connection with his establishment a school for the art of wood carving

44

Decorated Book Papers

to supply his factory, the management of which he intrusted to Giubiano Giampiccoli and Antonio Duratte, supervised and influenced by the famous Giovanni Volpato, so that the Remondini prints grew ever in perfection and variety. The types of 'Carte Privilegiate Dall Eccellentissime Senato' were now numbered by the thousands, there being twenty-one presses especially devoted to their printing. "In 1796 we find Giuseppe Remondini owner of the Casde of Goremburgo and Count of Goremburgo by will of the Venetian Republic, with his son, Count Francesco Remondini. Afterwards, when that son's widow in her turn gave way to the Countess Giuseppina Remondini, began the decline of the Remondini's house; and in consequence of certain political events, the last heir, Countess Teresa Remondini, closed the establishment in 1861. Thus, after two hundred and twelve years from the date of its founding, the famous Remondini Establishment disappeared from the ken of the industrial world upon which it had left traces glorious and never-to-be-forgotten. Of the thousands of Remondini dies of carved wood sometimes inlaid with metal, scattered and forgotten after closing the establishment, some thousand were traced and recovered through the patient labor of the Nobles Pasolini, Esengrini, Ponti, and Suardi, who are their present owners,

Printed End-Papers

45

and with these dies the Cartiera Molina of Varese, (afterwards changed to the present Carture Valle Olana) gave to the world the first reproduction of the Antique R e mondini Papers with all their traditional characteristics whence they are also known as Varese Papers." Just what connection there was between the papers manufactured by the Remondini family and a group of elaborate gilt-embossed papers signed on the lower edge with the words "Cum Privilegio Fratrum Remondini de Joseph" is not clear. These particular papers, the designs of which are the conventional strap and scroll of the Renaissance, are found on small books of poetry and drama printed either in Macerata or Modena between 1740 and 1760. Another maker of decorative papers of this period was Carlo Bertinazzi of Bologna. His name occurs again and again on the edges of his papers, which vary from the simplest diamond pattern, printed in a single color, to the most elaborate designs, printed in three or four colors. Those printed in a single color are paste prints, as the impressions have the veined effect which paste invariably gives. Other of the early Italian papermakers were Antonio Benucci of Florence and Topai and Morand of Rome. There are at present two firms in Italy that are reproducing patterns from some of the early blocks. The Rizzi papers of Varese, most of which are the delightful repeat

4-6

Decorated Book Papers

patterns, and those reproduced by Eleonora dei Conti Gallo da Osimo are designs taken from early woodblocks. These patterns are somewhat crude and are not so well designed as the embroideries and woven textiles of northern Italy, but they have great charm and are not unlike the peasant embroideries of middle Europe of the eighteenth century.

Dutch Gilt or Dutch Flowered Papers

D U T C H GILT OR D U T C H FLOWERED PAPERS HE D U T C H GILT or Dutch Flowered papers, a variety of printed papers, are one of the most interesting and lovely groups of book papers of the eighteenth century. The manufacture of these papers flourished in Augsburg, Nuremberg, and Fürth in Germany, and in Bassano in Italy, from about 1700 to the first part of the nineteenth century. The names, Dutch Gilt and Dutch Flowered, by which these papers have long been known, are in a way misleading. These names must have been given them from the fact that enterprising Dutch traders imported them into Holland at an early date and then exported them again to France and England. The papers made in Bassano and those made in Augsburg and Nuremberg are so similar that it is difficult to tell whether they are Italian or German unless the maker's name appears, the main difference being that the paper used by the Italians was of a lighter quality than that used by the Germans. In those times, as we have seen, because transportation was slow, culture spread along the great trade routes of

50

Decorated Book Papers

Europe. Craftsmen traveled from place to place, settling in a town for a time and moving on when work was slack, and it was in this manner that the patterns were carried between southern Germany and Italy, the changing fashions of the day being largely responsible, in both countries, for vagaries in the designs. The close trade relations which existed between the great Fugger family of Augsburg and the Medici in Florence in the fifteenth and sixteenth centuries may also have had some part in connecting the two countries at this later date. Gilt papers were used at first as covers for pamphlets, music scores, dramas, poems, and commemorative literature, as well as for the gay little chapbooks and early juveniles. They have been found as cover papers on an Italian drama printed in Florence as early as 1704 1 and as endpapers in a Book of Common Prayer, printed by Charles Bill in London, in 1707, 2 and, while they seem to have been used more consistendy as bindings, one finds diem as end-papers in books of all kinds through the eighteenth century. There is an infinite variety in the designs of these Dutch Gilt papers, which were printed from woodblocks and from metal plates. Many of the patterns were in imitation of the brocades and damasks of the period, and this gave them a ready market in Germany, Italy, and France. It is

Dutch Gilt or Dutch Flowered Papers

51

interesting to see how well the makers carried out the quality of design and the feeling of the textiles of the eighteenth century. The richness of the gold and the lovely combinations of color gave most decorative results. An early type which was not embossed was printed in gold on smooth, colored paper. Most of the designs were leafy scrolls, though occasionally figures of huntsmen, animals, and birds were introduced. Examples of these papers are found as end-papers in a book printed in Paris in 1 7 1 5 3 and in a Spanish drama printed in Lisbon in 1737. 4 A German book printed in Frankfort in 1755, 5 bound in rose-colored velvet, has Dutch Gilt end-papers printed in gold on a pink ground, with a handsome scroll and floral design. It is unusual in the fact that the lining of the front cover has a small heart-shaped window cut in the paper, the sides of which, when folded back, disclose a red leather label "with the initials "F. G. F. 1758" tooled on it. There are groups of floral patterns which range from simple sprays of roses, lilies, and carnations to the most elaborate conventional scrolls of acanthus leaves and pomegranates; simple papers spangled with tiny stars; papers with charming oriental figures in cartouches, showing Chinese influence; Renaissance strap and scroll designs; groups of birds and mythical animals; papers printed in panels with saints on them, and blocks of gilded alphabets;

52

Decorated Book Papers

lovely designs introducing costumes, hunting scenes, and amusing groups of caricatures. All these may be found printed with plain or dotted gold backgrounds on different colored papers, or printed in gold or silver with the colored paper as the background. Some of the earliest and most artistic of those printed from woodblocks are in solid gold, with the design faintly raised on the gilt paper. Besides those of floral design in imitation of brocades and damasks, there were the religious papers. These were printed in gold on colored paper in panels, each panel forming the frame around the figure of a saint carrying his or her special symbol, with the name in a band beneath or in a cartouche forming part of the design. These sheets were printed in two or four rows, with four or nine panels in each row. The panels were each printed with a double border, so that they could be cut apart without injury. An excellent example of one of these religious papers is used as a cover on the Catechism of Nature by Dr. Joannes Florentius Martinet, printed in Philadelphia in 1799.® T w o panels of saints form the front and back covers of this book and are the work of Johan Carl Munck of Augsburg. He and Paul Reymund of Nuremberg, and at a later date G. N . Renner and Abel, specialized in these religious papers. The early bookbinders who used these must have chosen them for the brilliant gilding, for they had such little re-

Dutch Gilt or Dutch Flowered Papers

53

gard for the designs that when the papers are used as bindings for small books the saints are sometimes found to be standing on their heads. They are rarely found as endpapers, and may possibly have been used, when cut apart, as awards of merit for children or as tokens for church pilgrimages. In the eighteenth century men thought nothing of buying, borrowing, or pirating one another's plates or woodblocks. An outstanding example of this practice is seen in two charming colored papers printed with gilt figures showing the different trades;7 one bears the name of Johan Carl Munck in Augsburg, while the other, with the same pattern printed in reverse, was made by Paul Reymund of Nuremberg. These men were contemporaries, and the names of both occur on numerous Dutch Gilt papers. A scrap of one of Johan Carl Munck's papers of this "trade" pattern was used as a cover for Hymns for Little Children, printed by J. Metcalf of Wendell, Massachusetts, in 1826.8 American bookmakers used these Dutch Flowered papers at an early period in the colonies. There is mention of them in an invoice dated London, May 13, 1679: "An invoice of Goods laden by Mr. John Ive on board the Unity Mr. Wm. Condy, bound for Boston in New England and consigned to Mr. John Asher March't and being for his

54

Decorated Book Papers

proper account. . . 10 Reames fine Dutch Flowerdel." 9 An example of this type of paper used at a much later date by the Germans of the Ephrata Cloister in Bethlehem, Pennsylvania, is to be found in a copy of Der Blutige SchauPlatz (1748); 10 the Brothers have embellished with a fine Dutch Gilt end-paper by J. Michael Munck one of the solemn, heavy, brass-studded volumes which they bound. Charming unidentified Dutch Gilt papers are used as covers on a copy of Cicero's Cato Major, printed by Benjamin Franklin in Philadelphia in 1744. 11 The paper is orangered, with a gold background. The design of straps and scrolls combined with flowers and grapes suggests papers designed by Jacob Enderlin of Augsburg. The Newberys of London, famous publishers of children's books, and Isaiah Thomas of Worcester, Massachusetts, who imitated them closely, both used these papers for the little juveniles which were the first books made with the idea of giving pleasure to children. These gay gilt and colored papers, often crudely stenciled in blue, orange, red, and purple, were used as covers. In an advertisement in the Worcester Magazine of June 27, 1786, Isaiah Thomas claims that in his work "the papers, printing, cuts and bindings in every way equal those imported from England." The names of four of the makers of Dutch Gilt paper occur on the covers of Isaiah Thomas' books, which proves con-

Dutch Gilt or Dutch Flowered Papers

55

clusively that he imported these papers from Europe to enhance the charm of his publications. Johan Carl Munck's name appears on the edge of the binding of a copy of Isaiah Thomas' Brother's Gift of 1786, 12 that of Andreas Reymund on the cover of The Bag of Nuts (1787), 13 Paul Reymund's on a copy of the 1798 edition of the same book, 14 and that of A. Mieser on The History of Tommy Careless (1799). 15 A number of American bookmakers of the eighteenth and early nineteenth centuries used these papers as covers and end-papers for their books in an attempt to set a pace and to keep American bookmaking abreast of the fashions in England and on the Continent. The efforts of these men to further education and culture in colonial America through their publishing and printing have set them apart in this field. It may be of interest to note the names of these printers and publishers: Albany, Ν . Y . Bethlehem, Pa. Boston, Mass.

Hartford, Conn.

E. and E. Horsford Ephrata Cloister T. and J. Fleet S.Hall Manning and Loring Hosea Sprague David Carlyle for John West J. Babcock J . Babcock and Son

1805 1748 1785

1794 1802 1804 n.d. 1796 1798

56 New Haven, Conn. New York

Northampton, Mass Philadelphia, Pa.

Wendell, Mass. Worcester, Mass.

Decorated Book Papers Sidneys Press 1796-1820 John Peter Zenger 1735 Hugh Gaine 1769 W. Durrel for Longworth & Wheeler 1800 Samuel Wood 1816 William Adam 1776 Benjamin Franklin 1744 R. Aitken 1774 Thomas Dobson 1788 E. Barley 1792 John Bioren 1799 Spotswood 1802 G. W . Mentz 1804 Β. & T. Kite 1807 Joseph & James Crukshank n.d. J. Metcalf 1826 Isaiah Thomas 1784 Isaiah Thomas, Jr. 1799

Another group o f Dutch Gilt papers consists o f alphabets, which, like the religious papers, are printed in sheets o f panels, evidently meant to be cut apart. These were probably separated and mounted on w o o d or cards and may have been used as hornbooks. 16 These sheets were printed in gold on colored paper in two rows o f four panels each. The alphabet appears on each panel, usually in both upper and lower case letters, with the

Dutch Gilt or Dutch Flowered Papers

57

numerals from one to ten at the bottom. Three varieties of alphabets have been found: in one the panels are identical; in another the initial letter A varies in design; in the third all the letters are capitals. In the first of these three varieties, an alphabet by Johan Carl Munck of Augsburg, there is a decorative A, the bar of which is formed by the loincloth of a seated figure of the Infant Jesus, who holds an orb surmounted with the cross. This would seem to represent one of the essential features of the hornbook, that of the crisscross, or christcross, as a heading. Both the upper and lower case letters follow, and are separated by, a single gold line. In a band at the bottom of the alphabet the numerals from one to ten form a border. In Mr. George A. Plimpton's collection of hornbooks at Columbia University there is a portion of one of these sheets, or "golden" hornbooks. There is no maker's name on this, but the word "Nuremberg" appears in the lower left corner in the type used by Paul Reymund, and, as Johan Carl Munck and Paul Reymund used several of the same plates in reverse of each other's work, it is not unlikely that this hornbook in the Plimpton Collection is one of Paul Reymund's papers. Mr. Plimpton, in speaking of this specimen in his collection, calls it "the Golden Hornbook," since its letters are printed in gold. He adds, "It is

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Decorated Book Papers

o f the seventeenth century and is the only one I have which was made in Germany. It came from Nuremburg [sic]." 17 In the second type o f alphabet there are three variations o f the initial letter A in the eight panels o f the printed sheet. In two of these initials there is a figure o f the Christ Child. In four of the letters a simple halo is used as a central portion; in the other two appears an inverted orb with a crown and a galaxy of stars. There is also a difference in the decoration o f the lower line on either side o f the last three letters in several of the panels of this alphabet. The third type o f alphabet is printed in gold on a blue ground. It is made up o f capital letters placed in the upper left-hand corners o f square blocks. The blocks are filled with scenes or figures, the names of which are represented by the capital letter in each block. Mr. Worthington C . Ford tells o f hornbooks imported into the American colonies from England, and cites an "Inventory of the Estate of Michael Perry, Bookseller o f Boston 1700" 18 in which there are listed two dozen gilt and one dozen plain "Home Books." In the same inventory, under the heading "Books etc., in the Chamber, vizes," there is further mention of "Sixteen dozen gilt hornebookes and thirty-eight dozen plain." These may possibly have been the uncut sheets o f gilt alphabets that have just been described.

Dutch Gilt or Dutch Flowered Papers

59

These gilt papers were made in England as well as in Germany and Italy in the eighteenth century. A sheet of English paper with a well-distributed floral design in the collection of end-papers in the Victoria and Albert Museum bears the name " B . Moore Newgate St. London 1763." 1 9 While the paper has been crudely stenciled in green, crimson, and red, this has not been done without relation to the design, and it gives a rather gay and attractive affect which has enhanced rather than spoiled the pattern. It was interesting to find in a bookshop not far from the British Museum a Bible printed in Edinburgh in 176420 in a finely tooled binding lined with the same paper, the name appearing on the fore edge of the front flyleaf. This is the only Dutch Gilt paper to have been identified as English, but there is no reason to suppose that B. Moore was the only person to manufacture such papers in England at this period. In making a study of these Dutch Gilt papers as bindings and end-papers, one seldom finds two alike, whether they are used on Italian books, on the Newbery classics, or on books issued by the early American presses. In tracking down this rather ephemeral type of book the writer has found only four copies of any one tide, and of the same edition, bound in these papers; no two of them are of the same pattern.

6o

Decorated Book Papers

That these papers were valued by at least some publishers is suggested by a warning to the youthful owner printed at the end of a copy of The House that Jack Built, printed in 1798 21 and bound in a stenciled gilt paper: "Remember to put this in your bookcase and not to rub the gold off the cover." Little attention has been paid to the old woodblocks from which such papers were made, but there are a few collections to be seen. In the German National Museum in Nuremberg there is a reconstruction of a little workshop for printing decorative papers and calicos. It is fitted up much as it was in the eighteenth century. On one paneled wall samples of printed cloth and papers are hung, while on the other are shelves filled with woodblocks laid on their sides, their numbers showing on their edges. These blocks were used for printing both cloth and paper. In the center of the room are long tables that hold heavy wooden zinc-lined trays for the colors, which were put on with wide, soft brushes much like those used for whitewashing. A great screw press stands at one side, its dark wood polished with age, the old roller on which the cotton cloth was rolled and stretched for printing beside it. Wide oak planks are laid over the stone floor, as in the old days, for the workmen to stand on to keep them from the cold and wet. Another group of woodblocks is to be seen in the Steen

Dutch Gilt or Dutch Flowered Papers

61

in Antwerp. As one goes up a narrow stone stair to the great hall of the old building there is a tiny landing from which one steps through a small door into a little round tower room with narrow slit windows. Here, piled high from the floor almost to the ceiling in scattered disorder, are hundreds of the blocks that were used in making the early patterned papers. Dust has gathered on them; no mention is made of them in the guidebook; here they are stored for lack of better space to show them. In answer to those who might care to see them, a placard with the word Verboten hangs on the handle of the door. In great contrast to this is a third collection at Columbia University, where the blocks are placed on fireproof shelves in an air-conditioned room, accessible to students and only waiting to be handled and studied by those interested in the history of pattern design.

Paste End-Papers

PASTE END-PAPERS A S T E papers, one of the early forms of decorated paper, were used for both covers and end-papers in books from the late sixteenth century through the eighteenth century. The fact that there is no maker's name connected with this type of decoration leads one to suppose that bookbinders did the work in their own shops. In classifying paste papers a definite line should be drawn between those that were printed and those on which the design was made with freehand brush strokes or drawn with some tool directly on the colored, paste-covered surface of the paper.

P

Some of the printed paste papers differ from ordinary prints in the fact that the paste, as a substitute for ink, is first applied to the paper, and that the print is made by the impression of a metal plate or woodblock on the pastecovered surface. One type of these papers is made by a metal plate or woodblock with the design cut in relief; displacing the paste, this strikes through to the surface of the paper, making an indistinct impression. Another type is made by a metal plate or woodblock with the design cut intaglio. The design remains in the clear color of the paste-

66

Decorated Book Papers

covered sheet, while the smooth surface of the plate picks up part of the paste and leaves a veined pattern in a lighter color as a background for the incised design. A second group of printed paste papers may properly be called "prints in paste," since in this type colored paste is applied to the plate or block in place of ink and the impression is printed on the paper in the usual manner. A fine example of these prints in paste used for end-papers is to be found in a historical dictionary printed in Paris by Charles Stephens in 1553. 1 The design is made up of simple floral sprays on a solid red ground, the flowers being in white. A Bible printed in Copenhagen in 1740,2 bound in red morocco with engraved silver clasps, also has charming red end sheets with the design in white. Another, with a pattern of large fan-shaped leaves on a green background, is bound in a book printed in Lisbon in 1678. 3 There were also several methods of making designs without the aid of a woodblock or metal plate. An early type, often used for end-papers, is one in which the colored paste was applied to the surface of two sheets of paper. These were placed with the paste-covered sides together, like a sandwich, and the upper surface was gently rubbed over with the palm of the hand. The sheets were then pulled slowly apart, and, when separated, revealed a veined or feathery design on both the paste-covered surfaces. If

Paste End-Papers

67

more than one color was used, the paste mixed with the contrasting color was made thinner, so that the colors would blend and not appear in set spots. Blue, red, and yellow were used again and again in making these "pulled paste" papers, as they are called. They are found as bindings for German and Italian pamphlets and as end-papers for the heavy stamped or plain leather bindings of the eighteenth century. One of this type, done in four colors, makes an attractive lining in a German edition of Anson's Voyages printed in Leipzig and Göttingen in 1749. 4 A variation of these pulled paste papers was made by laying soft string or thin strips of felt between the two sheets. When these were rubbed over and pressed down, the material which had been inserted left white marks on the paper in whatever pattern it had been laid in. These papers seem to have been made most often in a single color, in dull blue or terra cotta; there are, however, fine examples in red, yellow, and violet, in which felt circles, laid in, have made an odd effect of small round doughnuts — a pattern often found in German and Italian books of the eighteenth century. Combed paste-paper patterns were made by drawing across the sheet a broad flat-toothed comb which threw the paste aside, much as a graver throws up the metal of an engraved line, leaving the white paper exposed to make

68

Decorated Book Papers

the design. These combed patterns were often used for endpapers. A variety of more elaborate design was made by running narrow rollers cut with conventional leaves or small floral sprays across the paste-covered paper. Other designs, which were most effective, were made by combining these roller patterns with a series of spots or whorls made in the paste at intervals with a rotary motion of the thumb or finger. A fine example of this finger pattern in red, blue, and yellow is found in a plain calf binding on the Bilder Bibel engraved by Johann Ulrich Krausen in Augsburg in 1705. 5 Another German binding of 1769 6 is lined with papers decorated with a combination of combing and finger prints done in the same colors, while a French edition of Franklin's works which is dated 1763 7 is lined with green paste papers that are combed in a diagonal pattern. There is another form of paste paper, used for many of the early wage books, almanacs, and simple pamphlets, both in Europe and in America, which was almost always done in blue or rose-red. This type of decoration was made by spreading colored paste on the paper and then rapidly going over the sheet in a tapping motion with a piece of sponge, the small holes of which picked up the paste from the surface and made a fine stipple pattern on the paper. Fine bindings of the middle of the eighteenth century were often lined with these papers. Derome Le Jeune used clear

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69

blue end-papers of this type in some of his bindings, and they are found both in blue and red in a number of books printed by John Baskerville in Birmingham about 1757. A coarser type of this daubed paper, used in Spain and Italy for covers and end-papers, was also made with a sponge, the difference being that the color for making this coarser pattern was first put on the sponge and then daubed onto the paper, leaving a series of small uneven marks. Several colors were used, a common combination being red, yellow, and black, or, occasionally, yellow, orange, and blue. These papers, used so much in Spain, found great favor in the Americas, and they were used as end-papers in books printed in Mexico and the United States from 1750 to the middle of the nineteenth century. Spatter papers are still another form of paste paper. The colored paste, which was made very thin, was applied to the paper by rubbing a stiff brush filled with paste across a hair sieve. The sieve was held well above the paper and moved across the surface as the fine specks of color were sprayed through it onto the paper. Three or four colors were used in making these fine spatter papers, and they were often done on a colored paper background. This simple form of decoration was used for the sides of the half calf or sheep bindings of the early nineteenth century. These papers were made everywhere in Europe until about

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1850; they are found as end sheets in books with marbled paper covers but seldom in full leather bindings. A variation of this type was used in France, England, and America in the later part of the nineteenth century. Dull gray-blue or lavender-purple paper was spattered with coarse black spots. This was done by striking a brush filled with color on a metal bar or stick and distributing the color as it fell from the brush over the surface of the paper. These papers were used as covers on the cheaper books; they seldom appear as end-papers. The earlier ones had a dull finish, but others were made with a glossy surface for music scores and large books. These spatter papers were sometimes hung up before they were dry and the surplus paint allowed to run down across the paper in uneven streaks. This dribbled pattern is almost always found in tones of brown or orange and black, or a dull blue and black, and is far less attractive than that of the simple spatter papers. The various methods used in decorating these paste papers needed but little experience or skill, and the variety of the patterns that could be produced was limited only by the imagination of the craftsman. Rules, stripes, diapers, plaids, and curves could be made with great uniformity, for, while no two papers were exactly alike, a craftsman with a sure eye and a steady hand could make sheets so similar as to appear identical.8

Some Nineteenth-Century End-Papers

SOME N I N E T E E N T H - C E N T U R Y END-PAPERS HE BOOKBINDING of the nineteenth century is characterized by two divergent tendencies. On the one hand, it continued certain developments of the eighteenth century, particularly in the fine bindings of the period; on the other, it tended to introduce new and cheaper materials and methods. A special type of end-paper that was used in the fine bindings of the nineteenth century was made of silk. These silk end-papers began to appear in the early part of the eighteenth century and are still being used at the present time. Many of the French armorial bindings are lined with such colors as robin's-egg blue or rich crimson, and some of the books bound in red morocco by Padeloup and Derome about 1750 are embellished with elaborate silk end-papers. A binding attributed to Derome,1 in blue morocco inlaid with an elaborate design in citron, pale green, and red, has lovely pink silk linings and flys with two additional white paper end sheets. A book printed in Paris in 1765, 2 once owned by the Due de Berry, has blue

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silk end-papers, and two volumes of poems by Cazotte, bound in bright green morocco with the arms of Charles X , have green silk ends.3 Still another volume, in red morocco with the arms of the little dauphin, is lined with blue watered silk.4 The French binders of the nineteenth century used silk ends more often and with greater artistic success than the binders of other countries. Lortic, Chambolle-Duru, Joly, Cuzin, Marius Michel, and Meunier all used silk with great effect in their bindings. In some it is used in combination with elaborate doublures of gold-tooled and inlaid morocco; in others it is in simple panels with gilt dentelle borders. In a book bound in brown levant in the style of Grolier, Lortic used a blue morocco doublure and blue silk flyleaves. In a binding by Meunier 5 of gray-blue levant decorated with a panel of gold lines and flowers, with a doublure of salmon-pink leather inlaid with sprays of blue forget-me-nots and an informal vine, there are very lovely pale-green and old-rose striped brocade flyleaves. Another elaborate nineteenth-century binding of orange levant, with a simple panel of gold lines on the covers, has very fine inlaid green doublures with a design of green carnations. The flyleaves are of changeable green silk and are lined on the back with marbled paper; there are extra marbled endpapers at both ends of the book.

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In a list of books exhibited at the Paris Exposition of 1888 several silk-lined books are mentioned: one with a terracotta-colored morocco doublure had a light-blue moire silk fly, while still another with an olive-green lining was faced with deep crimson silk end-papers. This style was used in the French fine bindings of the period, a time when the technique of gold tooling was at its height. Fine gold lines and broad decorative rolls or intricate inlays of multicolored leathers made up the sumptuous doublures, which were often the most ornamental part of the binding, and the flys in many cases were lined with a contrasting rather than a matching silk.6 The popularity of silk end-papers near the close of the nineteenth century is shown by the experience of Mr. and Mrs. James Tregaskis of the Caxton Head in London, who in 1891 invited a number of the best English and European binders each to bind a copy of Kingsley's Water Babies in an appropriate binding. Copies of the book were sent to the various binders with the same instructions, though with no mention of the fact that they were intended for an exhibition. The results, from both an artistic and a practical point of view, were interesting, for the designs, styles, and range of prices differed greatly. Of the forty-one books exhibited, however, more than a quarter were bound with silk ends and flys; and in others Japanese vellum paper

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was used for flyleaves, with silk as a lining for the covers. Most elaborate and very unusual contemporary bindings where silk has been used have been designed by Sangorski and SutclifFe for a four-volume life of Napoleon by W . H. Ireland (London, 1828). 7 On the red levant covers is a heraldic design bearing the monogram of Napoleon surrounded by a green inlaid Empire wreath with a crown. The background is diapered with ermine and the orb, while the border is made up of the crown and bees. The doublure on the inside of the front cover of the first volume is paneled with dark blue morocco. A sunken panel in the center in which there is a miniature of Napoleon on porcelain is set in a frame of gold laurel leaves with moonstones and garnets. This is faced by a plain blue silk flyleaf. At the end of the book is a blue morocco doublure on which there is a crowned Ν surrounded by sprays of laurel leaves. The other volumes are equally elaborate, the second having a miniature on porcelain of the Empress Josephine, the third a miniature of the Empress Marie Louise, and the fourth a miniature of the young King of Rome. Bindings such as these show what superb work some of the binders of the nineteenth centiry were capable of. The wonderful technique displayed in the gold tooling and the leather inlays makes them outstanding examples of a period in which workmanship far outshone design.

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A change in the bindings of ordinary books occurred at the beginning of the century, a change in the direction of cheapness and rapidity of production. For example, about 1806 moire papers embossed by heated rollers were introduced to take the place, in the cheaper books, of the beautiful silk used so much in the fine bindings of the period. At first they were made in plain white, blue, or pink, but by 1823 the fine veined pattern of marbling was being used on them as an additional decoration, and about 1840 one finds white watered-silk papers printed in gold in small allover diaper and drop-repeat patterns. About 182$, at the time when cloth bindings were first being used, a heavy coated paper with the two sides of different colors began to appear as end-papers in the larger books, and these plain, bright glazed papers in orange, pink, or lemon-yellow made a cheerful contrast with the somber brown, dark blue, or dull maroon of the cloth covers. These plain end-papers in more recent years have at times been the means of settling bibliographical questions having to do with editions or dates of issue. In "Notes on Sales" in the London Times Literary Supplement for February 1 1 , 1932, the faking of end-papers is discussed with reference to a letter from Mr. Michael Sadleir drawing attention to the similarity in the end-papers of the first edition of Dickens' A Christmas Carol and those in Haz-

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litt's Romanticist and Novelist's Library, and to the improper use to which the latter may have been put. The collector's only protection against this particular bit of faking is perhaps hinted at in Mr. Sadleir's statement that the ends of the Romanticist are "vivid and even-toned" while genuine Carol ends are "patchy." "Stone" papers began to be used in Bibles about 1821, and a short time later these plain, dull coated brown, green, and slate-gray end-papers appeared in the early cloth bindings. Their smooth-coated finish in somber shades reeked of Victorian respectability. They may have been practical, but they were far from attractive; nevertheless, they continued in use with unshaken popularity to the end of the century. Highly glazed papers of another type were made in Germany in the first quarter of the nineteenth century. These were originally used as wrappers for Lebkuchen, a sweet cake sold in southern Germany at Christmas time. Some of these cakes, made in the form of saints embellished with painted paper heads held in place by the decorative frosting, were wrapped in gaily colored papers with a design printed in white or in colored paint that was slightly raised on the surface of the paper. These Lebkuchen papers were used as end-papers in German books bound in half calf or sheep with covers of fine spattered paste papers.

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Toward the end of the nineteenth century inartistic red and blue combed marble papers were often used in fine bindings.8 These were calendered and were done on a rather poor quality of paper. With few exceptions, they had little to recommend them. Some of the Shell pattern, in clear orange or russet brown, made attractive endpapers. Those in pale pastel colors, called "Morris" papers, are charming, and, while they had little character, they made exquisite linings for the highly polished calf bindings then in fashion. About the same time lithographed papers began to be used. In 1892 D. F. Tayler and Company of London issued a specimen book of end-papers and cover linings. These lithographed papers in small patterns were known as the " N e w Hall" series. They were neat, conventional bird and foliage patterns and could be procured in different colors and ground tints. They were commonly used in lining the cloth bindings of the last of the nineteenth century. Printed in shades of brown, green, and gray, they were nearly as popular for end-papers for inexpensive books as the much-used "stone" papers. In educational books useful tables and graphs were occasionally used as end-papers. A primer published by Ginn and Company, Boston, in 1885, has end-papers in a pattern of alternating gray and white diamonds on which there are two alphabets, one in Roman letters, the other in script.

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Schoolbook^ began to appear with pictorial end-papers, as well as illustrations to stir the child's imagination, for, as John Newbery said, quoting Locke's treatise on education, thus children might "be cozen'd into a knowledge of the letters, be taught to read without perceiving it to be anything but a sport and play themselves into that which others are whipped for." At the very end of the century end-papers designed for individual books began to come into fashion. Books of travel and adventure were lined with maps or with reproductions of photographs. On the whole, however, with the machine-marbled papers, the dull, coated "stone" papers, and the poorly designed lithographic end-papers that were used in the late nineteenth century, standards of book decoration sank to dreary depths, and it was not until William Morris and his followers turned their talents to book design that end-papers again became an artistic part of bookbinding.

Publishers' End-Papers

PUBLISHERS' END-PAPERS HE U S E of end-papers for advertising is a device of the middle nineteenth century which developed in an interesting way. One finds in such books as almanacs advertisements of the most diverse sort. In the Boston Almanac of 1840 1 the front and back flyleaves are printed with lists of articles supplied at the "Account Book, Stationery and Paper Warehouse" of Thomas Groom, who published this useful almanac, directory, and book of general information. In the year 1841 Samuel N. Dickinson, the printer of the almanac, took the opportunity to paste his trade card on the inside of the front and back covers. On this elaborate card, embossed with figures and flowers, Mr. Dickinson announces in flaming red letters that he is able "to execute any and all kinds of printing with which the Public may favor him in any style at the lowest cash prices." On the back cover is a card giving a specimen of his printing in gold on black paper. In 1846 he again takes this means of advertising his cards and "Fancy Printing," this time pasting two fine copperplate engravings on the covers.

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This method of advertising must have proved a great success, for in the next few years some almanacs have as many as twenty-two pages of this sort, and both covers are filled with notices of all kinds. In 1854 the Almanac has bright-blue coated end-papers printed in gold, and in 1856 the same type on crimson paper around four pages of advertisements forms end-papers at both the front and the back of the book. Some of the well-known local products to be advertised in this way were Fairbanks' Patent Platform Scales, Walter Baker's Chocolate, and Chickering's New Style Premium Piano, a cut of which shows a piano with most amazingly twisted legs. William and Robert Chambers of Edinburgh and Henry G. Bohn of London, whose popular "standard libraries" were established to satisfy the demand for inexpensive editions of the classics, used end-papers as a means of advertising. In these appear printed lists of recent publications of the firms, a method that is still occasionally used. Among the books issued by the Chambers brothers about 1850 were A Cyclopaedia of English Literature, Information for the People, Papers for the People, and a Library for Young People. In Papers for the People the end-papers are printed in green ink, the flyleaf decorated with a small pattern in ruled lines. Inside the front cover is a white panel on which is printed an index to the book, and on the

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back cover is a list of the "libraries" and other books of reference published by the firm. A cheap edition of this work came out in yellow paper covers with the title and ornamental borders in red and yellow; the more expensive set was issued in cloth. Bohn's various "libraries" used the end-papers and several extra pages for catalogues of their publications. These appeared in both the front and the back of the books and were printed in colored ink on yellow or blue paper. These "libraries" covered a wide range. The Standard Library was a series comprising the works of the best English and foreign authors; besides this there were the Historical Library, the Antiquarian Library, the Ecclesiastical Library, etc. The National Illustrated Library was another series of popular educational works published in London. These books, bound in dull brown cloth, had yellow end-papers with a design of interlaced circles, with advertisements printed in panels on both covers and flyleaves setting forth the latest works by various authors. Similar end-papers were used by Lee and Shepherd of Boston in Oliver Optics Magazine, and about 1876 Henry Holt and Company of New York, in their Leisure Hour Series, printed lists of the new books in the series, as well as some of their other publications. These end-papers were printed in red on the white paper of the book.

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In a small book published by J. E. Tilton and C o m pany o f Boston in 1861 there is an unusual arrangement o f end-papers. 2 A n extra sheet of white paper with an advertisement and press notices o f one of Tilton's publications is pasted in between the proper brown stone endpapers in a cloth-bound book. A variation o f this arrangement is to be seen in a copy o f Baron Munchausen published b y James Miller in N e w Y o r k . In this case a simple label with a list o f juveniles for i860 was pasted in between the cream-colored end-papers. The next step was to decorate the end-papers with patterns that made use o f the publisher's device or initials. 3 Some o f these end-papers, which were used as early as 1880, had wide ornamental borders with the publisher's monogram in the center; others had repeat patterns introducing the initials o f the publisher or the author. As end-papers for his books on pattern design, Lewis D a y used a white " L . D . " entwined on a colored ground, and books by H. G. Wells had the author's initials worked into a design o f alternating lavender and white triangles, the letters in white on the colored triangles and a small crown in color on the white ones. The familiar Everyman's Library, published by J. M . Dent and Sons, which has made great literature, including books o f travel, science, fiction, history, and the classics,

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available at a low price, has distinctive end-papers. The books are bound in colored cloth, with end-papers printed in buff. The design on the end-papers is of a large leafy scroll, with a figure of Knowledge holding a spray of fruit, and a cartouche with the words, "Everyman, I will go with thee, & be thy guide in thy most need to go by thy side." Another English firm, Frederick Warne & Company, used end-papers with its initials worked into a design. Its "F. W . & C o . " on a yellow-buff coated paper is to be found in Randolph Caldecott's Collection of Pictures and Songs. Among American publishers, Ives Washburn of New York has used effective gray papers with a white scroll and a narrow paneled border at the bottom with the name of the firm in white. Harper and Brothers have used variations of their initials, " H " and " B , " in a drop-repeat pattern on gray end-papers. David McKay of Philadelphia has used several types of initialed end-papers. One design is of a woman's head with an open book concealing the lower part of her face, the initials " D . M. and C o . " used as a connecting link between the heads. This pattern has been printed in different colors. Another of the McKay endpapers is a pattern of diamonds and squares in color, with a white frame of interlacing lines in the center of each paper surrounding the same head and book, on the latter of which

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the initials "D. M. and Co." appear. Covici-McGee of Chicago worked the initials " C . M . " into medallions connected by links, with an uneven ribbon running between, on which appeared the words "Covici-McGee, Publishers, Chicago." Frederick Stokes and Company, of New York, have used the white figure of a winged horse surrounded by a ribbon on which their name appears. These endpapers are printed on a yellow, gray, or cream background, with stars of various sizes scattered across the pages. Alfred Knopfs trademark of the running dog, designed by Rudolph Ruzicka, has been made into a repeat pattern and used for end-papers. The words "Borzoi Books" appear in squares above and below the figure of the dog; several different color combinations are used, with the letters and the dog in white. A variation of this design, made by Richard Floethe, has the dog and the words in a diagonal repeat pattern in two shades of blue. Occasionally, a publisher had a special end-paper designed for particular books. The Macmillan Company had special end-papers made for its Bolpur edition of Songs of Kabir by Tagore. A small flower in an oval forms an Indian motif in a repeat pattern in gray on a white ground, with a band at the bottom on which "Bolpur Edition" appears in gray letters. Dodd, Mead has given special endpapers to an inexpensive edition of mystery-detective

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stories known as the Red Badge Books. These are printed in blue on cream paper with two diagonal zigzag lines running across the pages. A shield appears in the upper and lower corners with "Dodd Mead — 449 — 4A — Red Badge Books, Mystery Detective" printed on it. Thomas Nelson and Son, in the Teaching of English series, use an attractive end-paper of colonial figures, houses, and trees which form a drop-repeat pattern printed on brown or buff. In 1920 the Curwen Press brought out a group of pattern papers, known as the St. Alban's papers, which were designed by such artists as Lovat Fraser, Albert Rutherston, Paul Nash, Eric Ravilious, Enid Marx, and others whose gay and charming papers have added so much to the production of beautiful books in recent years.

Pictorial End-Papers

PICTORIAL END-PAPERS1 N D E R the influence of William Morris, Emery Walker, and Charles Ricketts, nineteenth-century artists did much to change the format and decoration of books of their time. Among these men and women, in England, were Walter Crane, Kate Greenaway, Lewis Day, and Aubrey Beardsley; in the United States, Joseph Pennell and Howard Pyle. These artists produced illustrations that were examples both of fine draughtsmanship and of rich imagination, drawings which are today inseparable from the characters they depict. Walter Crane is one of the best known of the English illustrators of children's books which were published both in England and in America. His pattern papers, while not so elaborate as his pictorial ones, have great originality, and all his work has charm, whether a repeat pattern, a silhouette, or a delicate outline drawing on a plain or colored ground. In his book, Of the Decorative Illustration of Books Old and New, he says of end-papers: "Here the problem is to cover two leaves entirely in a suggestive and agreeable, but not obtrusive way. One way is to design a

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repeating pattern much on the principle of a small printed textile or miniature wall-paper in one or more colors. Something delicately suggestive of the character and contents of the book is in place here, but nothing that competes with the illustration proper. It may be considered as a kind of quadrangle, fore-court, or even a garden or grass plot before the door." This kind of paper Crane designed with great skill. For example, a charming "grass plot," pied with daisies, a repeat pattern in pink and green, makes an attractive entrance to The Old Garden, by Margaret Deland. In one of his early books, Flora's Feast, a Masque of Flowers, the endpapers are decorated with small, dull yellow flowers and leaves. In Pan-Pipes the end-papers are striped with an informal arrangement of grasses in two tones on terra cotta. In the end-papers for Spenser's Shepheard's Calender, stalks of tall green grasses form irregular stripes, while Pan and a female figure in white are placed in two green circles in the upper right- and left-hand sides of the pages; a wide border of green runs down the joint of the book. In The Baby's Own Atsop a square trellis with a conventional vine of green leaves has been used The designing of distinctive books for children was one of Crane's serious interests. As the quotation above shows, he felt the need of harmony between text and illustration,

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and to achieve this he sometimes did the lettering as well as the decoration. One of his early children's books, published by Marcus Ward in 1885, is Slate and Pencil-vania. The end-papers — gray, with the design in white — represent a school slate, with pencil and string forming the borders of the papers. The figures of a sailor and a savage are shown holding up a small slate with numbers on it. The Echoes of Hellas (London: Marcus Ward, 1888) is a large book of music, in which the end-papers are decorated with entwined circles of laurel leaves in an allover pattern on a red ground. Little Queen Anne has end-papers decorated with delicate stylized lilies and large suns in buff on a pink background; verses run irregularly across the pages between the flowers and the suns. Rumbo Rhymes, by Alfred C. Calmour, has pale green end-papers with figures of cows, geese, and a fox in white silhouette in a frame; a border in outline with fish and nets to square out the pages. One cannot but be surprised that so many fine illustrators should have used their talents to make decorative endpapers. It is for children's books, in particular, that the most interesting and delightful end-papers have been designed, and to these books the work of such artists as Maxfield Parrish, Jessie Willcox Smith, Leslie Brooke, N. C. Wyeth, Arthur Rackham, Edmund Dulac, Dorothy Lathrop,

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Reginald Birch, Hugh Lofting, Carl Anderson, Ε. H. Shepard, Jean de BrunhofF, Boutet de Monvel, Boris ArtzybashefF, Rockwell Kent, Hendrik van Loon, Lynd Ward, and Tony Sarg have given great charm. The names of these artists, who are identified with the last fifty years of bookmaking, represent but a small group of the men and women, too numerous to mention individually, who have produced beautiful end-papers. The well-known English illustrator Arthur Rackham, whose work is characterized by a fertile imagination, love of variety, and interest in the proper relation of illustration to the material illustrated, used colored silhouettes as end-papers with great success. For The Compleat Angler he used light green end-papers, with a scene silhouetted in dark green of men fishing on the bank of a stream under pollard willows. In Ibsen's Peer Gynt the end-papers are brown and white, with goblins and pixies dancing among the trees. In The Sleeping Beauty, re-told by C. S. Evans, the background is green, with the white figure of an old granny telling the story to a group of attentive boys and girls. Clement Moore's The Night before Christmas (London: Harrap, 1931) has red and white end-papers of dancing children and Christmas trees; The King of the Golden River has end-papers of alternate blue and white squares, decorated with figures of little jesters, in blue on the white

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squares, in white on the blue ones. In Poe's Tales of Mystery and Imagination there are grim black and white endpapers with skeletons and coffins, the skeletons doing a wild death-dance among the trees. In The Legend of Sleepy Hollow the end-papers, printed in three colors, show men and girls standing under shade trees in a village square, gossiping. Among French artists Edmund Dulac is outstanding. For his own book, Lyrics Pathetic and Humorous from A-Z, he designed a most enchanting set of end-papers. The front cover and flyleaf show a minstrel before the curtain tuning up his lute, with four flaming candles as footlights; on the back end-paper he is seen walking off-stage with a most complacent air, the four guttered candles sending up streaks of smoke. For the Rubaiyat of Omar Khayyam (New York: Doubleday Doran, 1934) Dulac made a lovely feather design, suggestive of the Indian palm, in a droprepeat pattern printed in pale buff; and in a book of the fairy tales of Hans Andersen published by Hodder and Stoughton in 1911, he used a similar design in gray, the head and crest of a peacock with four curling tail feathers. In America, Howard Pyle and his pupil and admirer, N. C. Wyeth, have re-created the Golden Age of romance with their illustrations. While the techniques of these two men differ greatly, they are equally satisfying and con-

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vincing. Pyle's wonderful pen and ink drawings in Robin Hood take us straight to Sherwood Forest, and Wyeth, with his brilliant color and vigorous figures, brings back both early colonists and daring buccaneers. In his end-papers for Pepper and Salt, Pyle shows a dashing knight on horseback in the act of slaying a dragon with a well-aimed thrust of his lance. The Wonder Clock has designs in yellow of a fiddler and a young girl curtseying across the pages; these figures, in central panels, are surrounded by a border with Pan playing his pipe to a crane and a group of reclining animals. Wyeth has illustrated and made decorated end-papers for many of the classic stories of adventure published by Charles Scribner's Sons: Treasure Island, with the pirates tramping across the beach, the yellow light from the setting sun behind them; Kidnapped, in soft green-blues and brown, with a ship sailing along a mountainous coast, "The Covenant of Dysart" printed on a ribbon on the lower edge; Michael Strogojf, by Jules Verne, with endpapers showing the Kremlin and its many towers silhouetted against an evening sky. Rip van Winkle, in the edition published by David McKay of Philadelphia, has most appropriate ends showing Hendrick Hudson and his little men in the Catskills at night watching a bonfire. Other fine end-papers by Wyeth may be found in the Scribner's

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edition of Westward Ho!, The Black Arrow, and Cooper's Deerslayer and The Last of the Mohicans. Rockwell Kent is another contemporary artist who has done interesting end-papers. Those for Voyaging Southward are maps done in the style of the early cartographers, with a cartouche, the compass, spouting whales, and fullrigged vessels. The map at the back of the book differs from the one in the front. In the lower corner is a rocky beacon, seated on top of which, according to Mr. Kent, is "a Fijian Cannibal devouring young clams," while swimming along below is a "Prevailing Wind" with puffedout cheeks; in the upper corner is a "Warning to Navigators" not to attempt to navigate by this chart "as there is nothing accurate about it." In the black and white map used as the end-papers for Wilderness, the style is quite different but no less attractive. Neptune is rising from the sea, holding the East, West, and South Winds in harness; in the foreground the North Wind leaps toward them across a bay dotted with mountainous islands. The endpapers for the Halcyon House edition of Candide are in red outlines; two slim trees, from the upper branches of which hang signboards, stand with a broken garden fence between them. Boris Artzybasheff has proved himself to be one of the most versatile of the contemporary artists who have de-

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signed end-papers. In a set for Ghond the Hunter, by Dhan Gopal Mukerji (New York: Dutton, 1928), he has used a conventional· scroll of dark red-purple on a lighter ground of the same color, not unlike some of the Indian prints on cotton. In his own took, The Seven Simeons, a Russian tale which he has re-told and illustrated in his own way, he has made a charming design in the style of the early books of calligraphy, with figures of the sun, moon, and stars in three colors. One of his most successful end-papers is in Anna G. Hall's Nansen (New York: Viking Press, 1940), where the aurora borealis in deep blue and white gives a wonderful effect of a flaming burst of light behind dark mountains. Hendrik Willem van Loon, who has made such attractive and surprising book jackets for several of his own books, has recently drawn decorated end-papers. In his Songs America Sings he has drawn in black and white splendid mountains through which the songs may echo, and in his Around the World with the Alphabet the orange endpapers show a fleet of boats, the sails of which have been blown into the shapes of the letters from A to M, while a spouting whale leaves one uncertain as to the fate of the ships from Ν to Z . In the latter book an enchanting label on which the name of the fortunate owner may be printed is pinned with four large pins through the sky.

Pictorial End-Papers

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Few artists draw children with such spontaneity and understanding as Jessie Willcox Smith. In her green endpapers for Charles Kingsley's Water Babies, the sturdy little figure of Tom standing with tousled hair on the back of a great fish leads one directly to the heart of the story. In A Child's Book of Stories, arranged by Penryn W. Coussins, one cannot help wishing that the little girls in sunbonnets and blue pinafores on the end-papers would turn around so that their faces might be seen. There are a number of other American artists who have designed interesting and attractive end-papers. Those of Dorothy Lathrop, who won the Caldecott medal for the most beautiful picture book of 1939, are unusually lovely. Bright-eyed chipmunks, slim-tailed field mice, timid rabbits, racing antelope, and flying squirrels adorn them, the line simple and delicate. Another artist who excels in drawing young animals, particularly kittens, is Clare T. Newberry; the flyleaves of her April's Kittens show her inimitable black and gray kittens drinking out of a red saucer. Hugh Lofting, author of the much-loved Dr. Doolittle books, decorates his end-papers with colored silhouettes of his characters; Lucy Fitch Perkins introduces her twins, in the Twin series, on the end-papers; and in Walt Disney's Three Little Pigs, Mickey Mouse, and Pluto rush across end-papers to greet the reader.

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Decorated Book Papers

An interesting variation on the usual end-paper has been devised by the Walt Disney Enterprises and registered under the trade-mark "Pop-up." A "Pop-up" edition of the story of Mickey Mouse was published in 1933. In these books mechanical end-papers are made by pasting a portion of a picture down on a back-fold in a diagonal position across the joint of the book; when the book is opened, the fold of paper is pulled up into an upright position. There is a crease in the center of the picture which allows it to fall back into place when the book is closed again. The endpapers are printed so as to form both a foreground and a background for the "pop-up." The front end-papers of this book show Mickey and Minnie Mouse outside a circus tent, meeting the circus barker and a midget, and ready for a good time. The back end-paper shows all the circus animals embarking on a tugboat, while Minnie and Mickey wave goodbye from the end of the wharf.

Appendices

I. THE ART OF MARBLING is the ancient craft of producing patterns by floating prepared colors on the surface of a gelatinous liquid, or size; this color is taken up by or transferred to a sheet of paper when it is laid on the colored surface of the size. The container to hold the size should be a heavy trough of seasoned wood about three inches deep and one inch larger all around than the sheets of paper to be marbled. There should be an additional space four inches wide partitioned off at one end of the trough as a spillway to receive the scum of color which is left on the surface of the size after each sheet has been marbled. It is important that this scum be removed before the color for the succeeding sheet is thrown on, since any specks of paint left on the surface of the size are apt to spread again and change the color of the marbling, or remain to be taken up and form spots on the paper. A skimmer for removing the scum is made of a piece of wood three inches wide, with a beveled edge cut as long as the inside measurement of the width of the trough. With this, the color that remains on the surface of the size may be cleared off and pushed into the spillway at the end. Small earthenware bean pots make excellent jars for holding the colors. Special care should be taken in the choice of brushes, which must be of a good quality, with soft bristles and in proportion to the size of the trough being used. One cannot be too MARBLING

io6

Appendices

careful about keeping the brushes clean, for an apparent trifle may affect the color. The presence of oil, essential for making the Shell patterns, would ruin the color to be used for any of the combed marbling. Combs used in making the Nonpareil and other combed patterns may be bought ready-made from supply companies. But, if the marbler wishes to make his own, a simple way is to take two strips of stiff binder board about two inches wide and as long as the inside measurement of the width of the trough. Spaces for grooves may then be carefully marked out and the grooves made with a graver. In these are laid large pins, or fine brass wires cut in even lengths, for the teeth. These are set in with heavy glue or cement, and the two strips of binder board are glued together. The strips should be put in a press and kept under pressure until thoroughly dry. Combs made in this way may be made with the teeth wide apart or close together, depending on the pattern desired. Home-made combs are not as durable as those made with wooden backs and pointed wire teeth, but they serve the purpose well. Wooden "peg rakes" are used in making some of the coarser and less regular patterns. The teeth are made of round pegs set in a strip of wood and should be long enough to reach to the bottom of the trough. They should be smooth and taper slightly at the points, and should be set about an inch and a quarter apart. A single one of these pegs used as a stylus makes an excellent tool for drawn patterns, where there is no set form and the marbler makes his own design by drawing the point through the floating colors, which follow the motion of the tool closely and blend but do not mix. Arrangements of stems and leaves, of whorls and

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scallops, may be made freehand, and some most interesting and artistic papers are produced in this way. One of the secrets of success in marbling is to have everything in readiness. Speed in throwing the colors on the size and catching the pattern as it floats on the surface and before it changes is as necessary as having the size and color perfecdy controlled. Since the relation of the color to the size is of the utmost importance and often presents problems, the marbler should experiment before he begins work. It is best to carry out these tests in a small pan or trough, using special brushes, so as not to waste the color or dirty the main quantity of size with a color which may prove to be unadapted to it. If the size is too thin, it cannot be controlled. Furthermore, it is difficult to draw the pattern, for the size moves after the comb has been drawn through it and the color follows the motion of the currents. The color also spreads out too much over the surface of size which is too thin and loses the desired shade. If, on the other hand, the size is too thick, the color remains in small spots and does not spread out enough, or else sinks to the bottom of the trough. If the color spreads and then shrinks back into small drops, the size is too cold, and a small amount of warm water may be poured slowly in and mixed carefully, so that bubbles will not form on the surface. The fault may also He with the colors. If they have not been properly ground, they will fail to spread; or if too much gall has been added, they will spread too much and will lose the desired density of color. The size must be of room temperature. When not in use it should be kept covered. If it is not, the ordinary amount of dust in the air will make the surface rough and keep the colors from spreading properly.

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Appendices

The preparation of the sire plays a most important part in the making of fine marbled papers and is a laborious undertaking. Gum tragacanth, otherwise known as "gum dragon," is most commonly used by marblers. The large white flakes of this gum are best suited for marbling, and only the best quality should be used. Good gum produces a fine, smooth surface when dissolved; a poor gum will be rough and will not take the color well. These flakes should be soaked in cold rain water or distilled water until they are thoroughly dissolved. Care should be taken to beat out all the lumps with a small stick, or birch broom, until the water has been absorbed and a thick, gelatinous mass is formed. More cold water may then be added until the whole becomes the consistency of thick cream. It should then be strained through a hair sieve or muslin so that it will be clear. The gum requires a long time to dissolve, and no definite time can be given for preparing it. One lot of gum may be ready for use in forty-eight hours; another lot may take very much longer. Gum which has been exposed to the air for a long time, though it is of apparently good quality, possesses no strength or holding power. The color flows evenly and forms the desired patterns, and yet, when lifted off on the paper after a few moments, it runs off and leaves the sheet streaked and dirty. In preparing gum tragacanth to be used for Nonpareil or combed marbling, special care should be taken to see that there are no lumps or foreign matter in the size, since they clog the combs and drag the color unevenly. In making it ready for either the Spanish or the Shell pattern the size should be diluted to a thinner consistency. Flaxseed, linseed, and fleaseed are all used for marbling in a

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more limited way. These are prepared by saturating the seed with boiling water and stirring well, and are used in combination with gum tragacanth. Fleaseed makes a strong mucilage and keeps well for days. The addition of this glue improves gum tragacanth for making the Spanish and Shell patterns. It is useless, however, for all drawn or combed work, since it drags the color and does not allow the comb to pass through smoothly. Irish, or carrageen, moss makes an excellent size and is very much less work to prepare than gum tragacanth. It is made as follows: Put about six handfuls of the dried moss into an agate pail and add six quarts of soft or distilled water. Bring it slowly to the boiling point and allow it to boil for three minutes. Then remove it from the stove, add two quarts of cold water, and allow it to stand for twenty-four hours. Enough cold water is then added to make it the consistency of thick cream. It should then be strained through muslin until it is clear. A small amount of borax may be added to soften the water if rain water has not been available. When Irish moss is used as a size, each sheet of paper to be marbled should be prepared beforehand by sponging the sheet thoroughly with a saturate solution of alum. This acts as a mordant and keeps the color from running. The sheets should then be laid under press boards to keep them from cockling. They should be still slightly damp when used, as it is more difficult to lay them down on the size when they are thoroughly dry. Paper marbled with this type of size should have water poured over it as soon as it has been marbled, to wash off any surplus size or color, and should be hung up to dry immediately. There are so many things which contribute to success or failure

no

Appendices

in the preparation of colors that most marblers buy those put up by marbling supply companies. If a marbler grinds and prepares the colors himself, both skill and patience are required. The colors are most important in marbling, and particular attention should be paid to them. They must be finely ground on a stone slab or in a colorgrinding machine with an equal proportion of prepared beeswax. To make this preparation, put two pounds of pure beeswax in a double boiler. Add to this one-half pound of white soap which has been finely shaved. Allow the wax and soap to dissolve, but do not let them come to the boiling point. When they have become thoroughly blended, slowly add cold water, stirring constantly until the wax thickens. When it becomes difficult to stir, set it aside to harden. This mixture should crumble in the fingers when cold and may be easily ground in with the color. Certain colors need to be ground with more of this prepared beeswax than others. All blues and Dutch pink require more on account of their tendency to rub off. Raw ochre, on the other hand, needs less than any other color, as it has in itself a somewhat adhesive quality. The colors best suited to marbling are those which do not have a mineral base, since the latter are too heavy to float on the surface of the size. When a color has been ground with the prepared wax a small amount of it should be put in a bottle and a few grains of powdered gum arable added. The botde should be filled with boiling water and shaken constandy until it is cool. This forms the basic color for marbling. The different patterns are produced by slight changes in the sequence of the colors thrown on or by the addition of such simple ingredients as ox gall, turpentine, or

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olive oil, which cause the colors to spread in different characteristic ways or to remain in circles on the surface of the size. Among the colors suitable for marbling are: Red

Scarlet drop lake Marblers' damp red Rose pink Oxford ochre

Blue

Indigo Ultramarine Marblers' damp blue

Yellow Orange chrome Dutch pink Raw (Oxford) ochre Marblers' damp yellow Black

Vegetable lampblack Drop ivory black

White

Chinese white

Red. Scarlet drop lake is expensive but by far the best red to use in marbling. It is particularly fine for the Old Dutch and Nonpareil patterns because it is brighter and more lasting than other reds. It is a preparation of cochineal and comes in small cones or drops; hence its name. Burnt ochre may be used alone for certain patterns. It will not fade. Rose pink is a fairly good color but fades when used alone. It may be used as a vein color to advantage.

112

Appendices

Blue. Indigo, while not a bright color, is most useful in marbling, and there are certain patterns, such as Stormont, that could not be made without it. Ultramarine is indispensable to the marbler but should be used sparingly, as the cheaper qualities rub off. Yellow. The best yellow for general purposes is marblers' damp yellow. Raw ochre or Oxford ochre, as it is often called, may be used alone, but it is especially good to use with a color that is likely to rub off. Dutch pink is not what its name implies but a useful yellow for making a good green. It should not be used alone, being neither a clear yellow nor a green. It is a preparation of quercitron bark. Black. The best black is made from one part vegetable lampblack and one part indigo. White. Chinese white or China clay may be used. Gall. Ox gall is necessary in all marbling, and it is important that it be pure and unmixed with water. It is best to obtain it fresh in the bladder. When in its original state it is a thick yellowish fluid. This should be allowed to settle until it becomes clear and dark brown; the liquid may then be drawn off and alcohol added to it. The longer gall is kept the better it works with the color. Its effect on the color is to cause it to spread out in a large flat ring when thrown or dropped from a brush on the surface of the gum. A very litde goes a long way; for this reason it is best to keep it for immediate use in a small drop-botde and add it to the color a drop at a time. Fresh gall should be tested with the color, for it often proves that gall taken from one animal is more powerful than that taken from another.

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When the size and colors have been properly adjusted and are ready to use, a brush is dipped into one of the pots of color, and the color is sprinkled lighdy over the entire surface of the size by knocking the brush gendy against a stick or metal rod. A second, and contrasting, color is then sprinkled on top of the first, which will cause it to contract into veins or small spots and circles. In some patterns a third color, to which still more gall has been added, may be thrown on. This brings about an additional change in the formation of the first two colors on the surface of the size. The French Shell pattern is one which has been used in France from the later part of the eighteenth century to the present time, although the more modern Shell marbling is of inferior quality. It is seldom used for fine bindings on account of the poor quality of paper on which this particular pattern seems invariably to be done, but it often appears in cheap commercial work. It is made with any three colors. The first two colors thrown on the size are known as "vein" colors. These are mixed with ox gall and water. The third color is known as the "French" color or "body" color. It requires more gall and water and the addition of a few drops of olive oil, which cause it to form in flat rings or circles on the surface and drive the two preceding colors into the form of fine veins. In throwing the French color onto the size, care should be taken to sprinkle the color evenly and to hold the brush at a uniform height above the trough. Variations of the pattern are made by slight changes in the method of throwing on the color or in the number of vein colors used. Blue Stormont, another early pattern, is more particularly identified with England and is sometimes called English Stormont. It is easily recognized by its red vein running through a network

114

Appendices

of slaty blue. It is best made on a size of gum tragacanth and fleaseed. In preparing the color, beeswax should be omitted, since the wax gives it a certain adhesive quality; indigo is especially suitable for making this pattern on account of the absence of any pasty or sticky quality in it. Instead of ox gall, a small amount of spirits of turpentine is added to the blue; this causes the color to break up into a fine network of lacy spots. Owing to the rapid evaporation of the spirits of turpentine the marbler must handle his colors quickly and keep them constandy stirred. The name "Stormont" applies to all colors mixed with turpentine. These may be used in combination with a French or Shell color;1 if this is thrown on last, the result is a particularly fine marbled paper. Light Italian or Vein marble is another pattern which is closely identified with the country from which it derives its name. It is often found as end-papers in Italian books of the late eighteenth and nineteenth centuries and occasionally as cover papers. This attractive type of marbling is distinguished by a network of fine veins or lines. The size for making Light Italian should be made of a mixture of gum tragacanth andfleaseed.Usually four colors are used. Each color thrown on needs to contain a little more gall and water than the color preceding it and must be strong enough to spread into large spots in such a way as to drive the other colors into veins. When the different colors and the gall water have been properly adjusted to each other and thrown on, a larger brush dipped in clear gall water, of a stronger mixture than any contained in the colors, is held high over the trough and struck sharply against a rod held in the left hand. In this way the gall is beaten from the brush and falls evenly over the entire surface. This drives the

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115

color into the fine hair veins which are characteristic of the pattern. French Curl is a very early pattern which was used in France from the middle of the seventeenth century to the last part of the nineteenth century. An interesting point in connection with it is that, in spite of its being common as end-papers, it is rarely found as a cover paper, while the less symmetrical Old Dutch patterns, combed with the curl introduced at irregular intervals, were used as much for covers as for end-papers. This pattern is made on a size of gum tragacanth. The colors are mixed with ox gall and water, and are thrown on in the same way as for the Nonpareil pattern. The curls are made with the help of an ingenious tool, a wooden frame made like a small harrow, the parallel bars each set with as many tapering wooden pegs as there are curls desired on the sheets of paper to be marbled. When everything is in readiness and the colors thrown on, this frame is held so that the ends of the pegs are brought into contact with the surface of the size. A turn with a rotary motion is then made with the frame; this is then carefully lifted out and the sheet to be marbled quickly laid on. The difficulty in making this pattern is to "catch" the curls before they lose their shape. The best size for making Spanish marble is made of a combination of gum tragacanth and fleaseed. In mixing the colors for this pattern each successive color thrown on requires more gall than the preceding one. The main, or body, color must be thicker in itself and mixed with more gall than any of the others. The wavy effect in the early Spanish marbles was not nearly so even as in the later ones, and they were almost invariably marbled on rather a heavy quality of laid paper. The distinguishing moire or watered effect, which sets Spanish marbling quite apart from

ii6

Appendices

all other types, is produced by a series of lines, shading from dark to light, crossing the entire sheet of paper in a diagonal direction. These are produced only by marblers of great skill, the method by which the paper is laid on the size after the color has been thrown on being responsible for them. The sheet of paper is held by two diagonally opposite corners and must be kept as much in an upright position as possible. With the sheet of paper inclined toward the left, the corner held by the right hand is allowed to barely touch the floating color. As soon as the paper starts to fall onto the surface, it is slighdy agitated with a regular motion; at the same time it is gradually lowered with the left hand until the entire sheet rests on the size. If this is properly done, shaded stripes will appear on the paper when it is picked up. These stripes vary in width, depending on how much the paper was agitated while it was being lowered onto the surface of the gum. While the Nonpareil pattern in the highly calendered machinemade marbled paper of modern times is thoroughly inartistic, hand-made examples are charming and serve very well to explain the method of combed marbling. This pattern is made on a size of gum tragacanth, and the colors are mixed with ox gall and water, the color being used in larger quantities than in making Spanish marble. With a medium-sized brush, enough red is thrown on to cover the entire surface of the size. Black is next thrown on; then yellow, blue, and last a buff color are added. A peg rake which is the length of the trough is then drawn steadily across the surface of the size. Great care must be taken to keep the lines as even as possible, and skill is required in drawing the rake back again so that the teeth are brought precisely between the lines in the color through which they have just passed. This makes

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117

a pattern in itself, but the next step in making the Nonpareil pattern is to take a fine comb and gently draw it from left to right through the color. This finishes the drawing of the pattern, and it is then ready to receive the paper, which should be laid on as quickly as possible because sometimes currents stirred in the water cause slight unevennesses in the pattern to increase. There are many varieties of these fine combed marbled papers. Some marblers use a stylus instead of the peg rake and draw the color one stripe at a time across the width of the trough before using the fine comb. This makes a freer and sometimes a more interesting paper. Old Dutch is another pattern which has been used since the middle of the seventeenth century. The name is given to a combed pattern made with certain colors put on in a definite sequence. A number of appliances are needed for making this pattern, which is accomplished in a more mechanical way than any of the others that have been described. The colors are contained in a series of small tin pots set in a frame so that they stand in a row about three inches apart from center to center, each holding one of the four colors, red, yellow, green, and blue. The number of pots of color is determined by the length of the rake, which must be as long as the trough is wide. Two rakes are made with a number of wooden pegs set in a strip of wood in such a way that the point of each may slip easily into the mouth of one of the pots of color. One of these rakes is used to dip up the color, so that it may be dropped with gende precision on the surface of the size. Another rake, set with pegs spaced at the same intervals as the first, is used to dip into a small shallow trough filled with Chinese white.

ii8

Appendices

In making the pattern, a good quality of red is first thrown with a brush onto the size, which is made of gum tragacanth. Next the rake dipped into the Chinese white is lowered onto the surface of the size, so that each peg drops a spot of the white paint onto the red, which has already spread out. The points of the other rake are then lowered into the pots of color, and they are quickly and carefully placed on the surface of the size so as to allow the deposit of a single drop of color as near the center of the recendy placed white spot as possible. A stylus, or pointed stick, is dien drawn through the colors from the front to the back of the trough until the whole surface has been gone over. A fine or coarse comb is then drawn through the color from left to right, and the pattern appears with well-distributed color in even scales of red, white, yellow, green, and blue. It is only a very short step from the combed marbles, which have for years been made in every sort of color combination, to the simple marbles drawn with a stylus. Some of these are most attractive. Plain color, leaving the white paper to make the contrast, is made by throwing on a single color and then drawing with a stylus through the trough in circles, waves or scallops; the paper shows white wherever the paint has not spread over it. These were made by the more humble marblers and bookmakers and date back as far as the sixteenth century.

Π. THE PREPARATION OF PASTE PAPERS papers, as has been said, are a form of decorated paper in which paper is covered with a ground of specially prepared paste, on which designs are then stamped or drawn. To prepare the paste used for these papers, moist water color should be added to a small amount of flour paste. The color should be stirred well into the paste, and when the two have been thoroughly blended, the resulting mixture should be put through a fine hair sieve. This should then be added to the main supply of paste and again stirred well. Liquid soap and glycerine should be mixed with this, which is then ready to test for color. When the paste is spread out on the surface of the paper, it becomes several shades lighter. If more color must be added to get the desired shade, the operation of mixing the color first with a small quantity of paste should be repeated, as it is best to add the color a little at a time. It is well to note just how much color has been used, so that the formula may be repeated to get the same shade in a given quantity of paste. Before the colored paste is applied to the paper, the sheet should be laid on a smooth surface and thoroughly goneoverwithasponge of clear water. A common paintbrush three or four inches wide may be used to apply the paste, which should be well worked into the brush before it is laid on the paper. The paste is spread on as evenly as possible; both the length and breadth of the sheet should be gone over several times with long, firm strokes. This should be done as rapidly as possible, since the design must be made before the paste dries on the paper. PASTE

120

Appendices

Patterns for making the decoration may be cut in linoleum or cork, and an infinite number of designs can be made by printing with these in combination with combs or brush strokes. Deeply cut wooden rolling-pins used for stamping cookies or small butter prints make charming effects. A small flat-tined fork will make bands of white on the colored ground, and if a sideways motion is used as the tool is drawn across the paste-covered sheet, it will give a wavy effect. A house-painter's set of graining combs may be used successfully; to vary the width of the stripes one has only to break out the metal teeth at intervals. A recipe for making the rice-flour paste used in paste papers is as follows: 2 tbs. flour 3 tbs. rice flour ι heaping teaspoon powdered alum Stir all the dry ingredients together and add enough cold water to make a smooth paste the thickness of soft custard. Add two cups of boiling water and cook until it thickens. Another cup of boiling water is then added and stirred constantly. When the paste thickens for the second time, pour it out into a bowl. When it is cold, add one teaspoon of liquid soap, which should be beaten into the paste thoroughly.

IN. S O M E E A R L Y M A K E R S

OF D E C O R A T E D

PAPER

ARRANGED ALPHABETICALLY ACCORDING TO T H E CITIES IN W H I C H T H E Y

WORKED

AUGSBURG JOH. GEORG EDER Victoria and Albert Museum, GG23 £4780*97 — R. B. L. Rose-lavender paper, gold background. Design of floral spray. Marked on the lower edge: In Augsp — Bey. Joh. Georg Eder No. 2. Victoria and Albert Museum, GG23E5249 — 1908 White paper printed in silver. Design of floral spray stenciled in red, yellow, green, purple, and orange. Marked: George Eder R. B. L. White paper, gold background. Design of large floral spray stenciled in green, red, and purple. Marked: Georg Eder — No. 1. R. B. L. White paper, gold background. Large design of floral sprays stenciled in green, orange, yellow, purple, and crimson. This pattern was used as covers for three early books, Theses juridicae inaugurates by Antonius van Styrum (Utrecht, 1788). JACOB ENDERLIN

Victoria and Albert Museum, GG32 C

Rose-red paper. Design of leafy scroll printed in gold and stenciled in red, blue, and crimson. The name in script becomes unnoticed as part of the design. Marked: Jacob Enderlin Augspberg R. B. L. Yellow paper, gold background. Design of strap and scroll with grapes and

122

Appendices flowers. Inside covers on The Propagation of the Gospel by John Gowdie (Edinburgh, 1735). Outside covers marbled in Old Dutch pattern. R. B. L.

Same pattern, purple paper, gold background. F. LEOPOLD

Victoria and Albert Museum, Woodblocks and Stencils

White paper, gold background. Design of floral sprays stenciled in diamond-shaped blocks of red, yellow, and light blue. Marked: F. Leopold: 75; lower right: Cum. Privl. S.C.M. JOHANN CHRISTIAN LEOPOLD

Victoria and Albert Museum,

GG23E4785'97

White paper, printed in gold in an allover diamond pattern with a flower in the center of each diamond, the diamonds being held together with connecting cross-straps. Marked: Johann Christian Leopold Excudit Augusta Vindelicorum cum Gratia et Privilegio Sac: Caes May— R. B. L.

Same plate, pale blue paper printed in silver. Same plate, green paper printed in gold. J o s . FRID. LEOPOLD

R. B. L.

White paper, gold background. Large floral sprays with wide decorated stems. Stenciled in small spots of purple, crimson, bright orange, red, and green. Used as covers for Dissertatio juridica inauguralis de usufructu (Leiden, 1778). Marked in gold on a white panel: Jos. Frid: Leopold. Excud: Aug: Vind: R. B. L.

White paper spangled with stars and dots. Marked: Jos: Frid: Leopold. Excud: Aug. British Museum, 684.a.io White paper spangled with six-pointed gold stars with small circles en-

A List of Early Papermakers

123

closing tiny dots. Used as end-papers in CEuvre De Brantome a La Hate (Aux Depens du Libraire, 1740). Marked: J. Leopold. Excud. Aug. V — R. B. L.

Rose-red paper printed in gold. Design made by printing small floral sprays in circles. Marked: Priv. Sac. Caes. - - 58 Jos Frid Leopold Excudit Augusta Vindelicorum J o s : FRID: LEOPOLD

R. B. L.

White paper, dotted gold background. Design o f floral sprays and grapes. Stenciled in orange, red, yellow, and green. Cover for Dissertatio juridica de usufructu. Marked: C u m . Privilegio. Sac: Caes: M a y - - Jos Frid. Leopold Excud: A u g : Vind. JOH: WILH: MAYR

Victoria and Albert Museum,

GG28E4790-1897

Dark green paper printed in gold. Design o f figures and animals. Marked on the lower edge: In Augsp. Bey Joh Wilh: Mayr. N o 20 R. B. L.

Same plate, green paper, gold ground. Same plate, orange paper, gold background. JOH. WILHELM M A Y R

R. B. L.

Yellow paper, gold background. Large floral scroll. End-papers in a hymnbook bound in red morocco with silver clasps and gauifred edges, printed in Frankfurt am Main, 1764. J. W . M A Y R

R. B. L.

White paper printed in gold. Large floral design stenciled in orange, red, green, and yellow. Cover for Specimen juridicum by Joh Theodori Rossijn, printed in Utrecht, 1778.

124

Appendices R. Β. L.

Purple paper, gold background. Design of sprays of rather deep-cut leaves with fruit and flowers. Covers for Phytographice saace by Johanne Gesnero (Turici, 1768). WILHELM M A Y R

Victoria and Albert Museum, GG23E479i'97 and GG23E4792*97 Two small book covers marked Wilhelm Mayr No 12 on the edge of one cover and Augsp Bey on the edge of the other. Hofer Collection, Harvard College Library Same plate. R. B. L.

White paper printed in checks of solid gold squares and squares outlined in gold enclosing five gold dots. Columbia University Library Pink paper, gold background. Design of large flowers in an imitation of old brocade. MATHEUS MERCKTL

Victoria and Albert Museum, GG23E4793*97

Rose-red paper, gold background. Design of sprays of flowers. Marked on the edge: Matheus Merkd Aug

Vin

JOHAN WILHELM MEYER

R. B. L.

Pink paper, gold background. Small sprays of flowers in an allover pattern. Marked on lower edge inside the border: Augspurg. Bey Joh. Wilhelm Meyer No. 18. Orange paper, gold background. Another design of small sprays of flowers in an allover pattern. Marked in the border of the lower edge: In Augsp Wilhelm Mey(e)r.

bei

Johan R. B. L.

Cream paper, gold background. Large floral scroll with decorated stems. Marked inside the border: Joh. Wilh. Meyer No 19

A List of Early Papermakers WILHELM MEYER

125

Victoria and Albert Museum, German Pattern Papers, 18th Cent., E5250-1908

White paper, gold background. Large floral spray stenciled in diamondshaped blocks of purple, green, orange, blue, and yellow. Marked on the edge: Wilhelm Meyer No 13 R. B. L.

Rose-red paper printed in gold. An allover pattern of birds. Marked in a gold border: Wilhelm Meyer No 27 WILHELM MEYR

R. B. L.

Pink paper printed in gold. Design of roses and tulips in sprays. Covers for An Apology for the Baptists by Abraham Booth, printed by Thomas Dobson (Philadelphia, 1788). Marked in a gold border: Wilhelm Meyr No 17 WILHELM MIER

R. B. L.

White paper, gold background. Large flowered pattern stenciled in red, yellow, green, and crimson. End-papers in Breviarium romanum — ex ducali campidonensi typographeo per Englebertum Stadler, 1768 JOH. CARL M U N C K

R. B. L.

Rose-red paper printed in gold. Fine design of carnations, roses, and small floral sprays. Marked in gold band at the bottom: Carl Munck No 13 R. B. L.

Gray-green paper printed in gold. Alphabets in two rows of four panels each. Alphabets printed in gothic and roman letters, with a band of numerals at the bottom of each panel. Marked in a gold band at the bottom: In Augsp. Bey Joh Carl Munck No 134

Appendices

126

Victoria and Albert Museum,

GG23E48oo'97

Rose-red paper, gold background. Small floral sprays and the letter Η worked into the design just above the name, which appears on the edge: Aug. Bey. Joh. Carl. Munck. Victoria and Albert Museum,

GG23E4796'97

Rose-red paper printed in gold. A bold design o f flowers and birds. Marked in small panels on the edge: J. C . M . N ° . 33. JOHAN CARL MUNCK

Hofer Collection, Harvard College

Library

Rose paper, gold background. Six bands of figures showing carriages, sleighs, wheelbarrows, coaches, and different vehicles. A dated paper. Marked: 1782 in Augspurg bei Johan Carl Munck N o 224 R. B. L.

Same plate, printed in gold on pink paper in reverse, with no name or date. Columbia University Library Colored paper printed in gold. Rural scene of dancing peasants, musicians, and lovers under a central tree. The figures are larger than most and in small panels o f gold in the border is marked: In Augsp bey Joh Carl Munck N o 21 R. B. L.

White paper printed with gold background. Large sprays o f small flowers and grapes stenciled in blue, green, yellow, and orange-red. Marked above the border on the plate: In Augsp bey Johan Carl Munck No. i. R. B. L.

White paper printed in gold. Figures in religious scenes: the Killing of the Innocents, the Annunciation, the finding of Moses, etc. Stenciled in small spots o f blue, orange, and rose-red. Marked in small panels along the lower border: In Augspurg bei Johan Carl Munck N o 222

A List of Early Papermakers

127 R. B. L.

Same plate, printed in gold on a rose-red paper. R. B. L.

Tan paper printed in gold. A "trade" paper, eight bands of figures representing various trades, showing printing press, cooper, musician, artist, papermaker, wheelwright, etc. In a band at the bottom: 1777 in Augspurg bei Johan Carl Munck No (?) *** R. B. L.

Same plate, white paper printed in gold, stenciled in orange, dark blue, light blue, crimson, and yellow. This plate is the reverse of one by Paul Reymund, Nuremberg, No. 40.

JOHANN C A R L M U N C K

R. B. L.

Lavender paper printed in gold. Four rows of six panels with saints in elaborate cartouches. Upper left panel, "Pasto Bon"; lower right panel, "S. Mathias." Marked on the lower edge in a gold band: In Augsp bey Johann Carl Munck No (— ?) R. B. L.

Same plate, printed in gold on blue paper. Columbia University Library White paper, gold background. Finefloralspray stenciled in orange, green, blue. Some of the leaves and part of the name, which appears at the bottom, left white. Marked: In Augsp. Bey Johann Carl Munck American Antiquarian Society, Ti Same pattern used as binding for The Brother's Gift, printed by Isaiah Thomas (Worcester, 1786).

128

Appendices

JOHN CARL MUNCK

R. B. L.

White paper printed in gold. Four rows of grotesque figures showing a man with a Punch and Judy show, a Scotchman, a gentleman taking snuff, a lawyer, a scholar, figures dancing, etc. Marked in small gold panels inside the border: In Augsp. Bey John Carl Munck No: 18 R. B. L.

Orange paper printed in gold. Four rows of six panels of saints in elaborate cartouches. The saints in this paper are unnamed, as in most of the other religious papers. Marked in a gold band at the bottom: In Augsp bey John Carl Munck No 26. R. B. L.

Rose-red paper printed in gold. Two rows of four panels of saints in elaborate cartouches. "St. Matheus," upper left, and "St. Joanes," lower right. The names of the saints are introduced into the design of each panel. This paper was used as covers for The Catechism of Nature for the Use of Children by Dr. Martinet, printed by John Bioren (Philadelphia, 1799), in the John Carter Brown Library (A 28°). JOH. CARL MUNCK

R. B. L.

Pale blue paper, gold background. Large floral design. Covers for Phytographite sacree generalis by Johanne Gesnero (Turici, 1764). Marked: N N . Carl Munck No 25 American Antiquarian Society, Ti White paper, gold background. Design of large floral sprays stenciled in orange, purple, and light green. Marked: Joh. Carl Mu . Covers for The Brothers Gift or The Naughty Girl Reformed printed by Isaiah Thomas (Worcester, 1786). Early American Children's Books by A. S.W. Rosenbach [187]. Same book in blue and gold flowered wrappers.

A List of Early Papermakers

129

JOH CARLE MUNCK Victoria and Albert Museum, Pattern Papers, £4794*97 Red paper. Design of animals, birds, and beasts printed in gold. Marked: Augspurg bey Joh. Carle Munck C. S. P. sh. N o 103

JOHAN MUNCK

Victoria and Albert Museum,

GG23 £4804^7

Part of a paper depicting the seasons. Printed in gold in panels. The figure of a lady in winter costume with skaters in a landscape in the background is marked Winter; the figure of a man in peasant costume with a landscape showing men at work digging and planting in the background is marked Frühling. Gold border marked: Bei Johan Munck No. 138

JOHNN MICHAEL MUNCK Victoria and Albert Museum,

GG23E48o5'97

White paper, gold background. Floral sprays in an allover pattern. Marked: Aug. Bey Johnn Michael Munck N - 2 1 Victoria and Albert Museum, GG23E48o4'97 A portion of a paper showing the seasons, which are represented by figures of men and women in frames or panels. That of winter is of a lady with skaters in the background, and that of spring is of a man with peasants digging and planting behind him. The words Bey Johnn appear under the panel of winter and Munck No 138 under the figure of spring. R. B. L.

Pink paper printed in gold. Design of a large floral spray with birds. Marked on the edge: Johann Michel Munck N o 50 R. B. L.

White paper, gold background. Design of a large floral spray, stenciled.

130

Appendices

MICHAEL MUNCK Victoria and Albert Museum, GG25E47I4'97

R. B. L.

White paper printed in a gold design spangled with six-pointed stars and dots. End-papers in Cornelius Nepos printed at the Barbou press, Paris, 1767. Marked in a gold panel in white letters: Michael Munck No 30 R. B. L. White paper, gold ground. Large flower design stenciled in red, green, yellow, orange, and blue. A decorated inner border with Michael Munck Augs Ν: ίο worked into the design. JOH: MICH: MUNCK

R. B. L.

Pink paper printed in gold. Design of large sprays of tulips, roses, carnations, and fruit, with a bird in the center. On the lower edge in small gold panels inside the border: Augsp. Bei Joh: Mich Munck No 52

J. Μ MUNCK

Victoria and Albert Museum,

GG23E48o3'97

Red paper, gold background. Large flower design. Book cover made up of three pieces of paper of the same design with monkey, ram, and wolf's head, with the name worked into the design: No 18. J. M. Munck A.V. - - - Tam. J. Μ. M.

Victoria and Albert Museum, GG23E48oi'97

Purple paper, gold ground. Small floral design with grapes. Marked on the edge: J. Μ Μ GEORG REYMUND

Columbia University

R. B. L.

White paper, gold background. Fine sprays of flowers and fruit. No border. Marked on the edge of the plate: Georg Reymund. R. B. L.

White paper printed in gold. Design of stripes with scrolls, birds, and

A List of Early Papermakers

131

flowers. Covers on an early cyphering book belonging to Nathan Gorgas. A label on the front cover with an ornamented border is marked "Sold by G. W . Mentz, No 71 Race Street (Phila)." Marked in a white panel in gold on the side: Augsp. Bey Georg Reymund. Victoria and Albert Museum, Pattern Papers,

GEORG DANIEL (REYMUND)

German, 18th Cent., E5256-1908 Orange paper, gold background, with an allover design of small floral sprays. Marked in a panel on the lower edge: Georg Daniel [probably Georg Daniel Reymund] GEORG REYMUND

R. B. L.

White paper spangled with gold stars, in a volume of Juvenal printed in Paris by Joan August Grange in 1747. Georg Reymund Augspurg in large type on the end-papers at the back next the joint. JOHAN MICHAEL SCHWIBECHER

Victoria and Albert Museum,

GG23E48i2'97

White paper, gold background. Design a leafy scroll into which the figures of birds, animals, and huntsmen with bows, spears, dogs, and guns are introduced. This paper is used as end-papers and pockets both at the front and back of a Kort Kalendar for 1738 which is in the Library of the Victoria and Albert Museum (L. 1321-1888). Marked in a band at the bottom: Augspurg Bey Johann Michael Schwibecher J . H . MICHAEL SCHWIBECH -

-

Victoria and Albert Museum, GG23E4812*97 Rose-red paper, gold background, with a design of stripes on which are large and small sprays of flowers.

132

Appendices

FG. CHRISTOP. STOY

Victoria and Albert Museum, GG23E4814*97

Turquoise-blue paper printed in gold in stripes of figures and animals and arabesques. Marked: F G Christop. Stoy - - - C. P. S. C. M. Victoria and Albert Museum,

GG24E4575'97

Large rose and lily design in rose-red on a dotted gold background. Marked: (Christoper) R. B. L.

White paper, dotted gold ground. Large flower design stenciled in red, green, and purple. R. B. L.

Same design on yellow paper with fine dotted gold background. Covers on poems printed in Macerata in 1727.

BASSANO ? REMONDINI DE JOSEPH

Victoria and Albert Museum, G G 2 3 E 4 8 0 7 - 9 7

Purple paper, gold ground. Large floral scroll. Marked on the top edge: — emondini de Joseph Victoria and Albert Museum, GG.23.E4808-97 White paper, solid gold ground. Small floral strap and scroll design. Marked on the edge: Cum Privilegio Fratrum Remondini de Joseph. R. B. L.

Pale green paper, gold ground. Scroll and strap design with a cartouche with fruit and birds. R. B. L.

Cream paper, gold ground. Small strap and floral scroll. Cover for an early drama, II sacrifizio d'Abramo printed in Camerino in 1753.

A List of Early Papermakers

133

Marked on the lower edge: Cum privilegio Fratrum Remondini de Joseph. R. B. L.

Dark green paper, gold ground. Same pattern as above. Cover of Rime poetiche by Maddalena Ricci, printed in Macerata in 1760. Marked on edge: Cum privilegio Fratrum Remondini de Joseph. R. B. L.

Dark green paper, gold ground. Cartouche of fruit and birds. Used as covers for Compotiimentipoetici by the Marchesa Lucrezia Ciccolini, printed in Macerata in 1759. R. B. L.

Lavender paper, gold ground. Cartouche of fruit and birds. Used as covers for Poesie in Lode, by Lucrezia Asclepi, printed in Macerata in 1744. Marked on edge: Cum Privelegio Fratrum Remondini de Joseph.

BOLOGNA CARLO BERTINAZZI

Victoria and Albert Museum, GG28, Spot and Diaper Large black and white diamonds with a conventional flower in the center of each, the diamonds being separated by a white zigzag line in a band of black. Marked on the edge: Carlo Bertinaz

ogna.

Victoria and Albert Museum, GG28, Spot and Diaper Pattern of circles and diamonds with conventional leaves between; printed in gray on thin white paper. Marked on the edge: Bolona Carlo Bertinazzi Victoria and Albert Museum, GG3oE57i2'97 Same pattern as GG28, Spot and Diaper, with leaves in white on blue background, diamonds in white with a red circle in the center of each. Marked on the edge: Del Bertinazzi in Bologna.

134

Appendices Victoria and Albert Museum, GG3iE5720-'97 Diaper pattern in black on white background, with brown flowers and red spots. Marked in a band on lower edge: Bolg = A = Carlo · = Bert+nazzi. R. B. L.

Square dots and small red diamonds in allover pattern. Marked on the edge in white on a red band: Carlo Bertinazzi Bologna. CARLO BERTINAZZI IN BOLOGNA

Victoria and Albert Museum, GG3 IE5932-'97 Diaper and circles with flowers in the circles printed in blue, rose, yellow, and black. Marked: Bologna Carlo Bertinazzini. Victoria and Albert Museum,

GG3iE5930-'97

Zigzag stripe pattern in red, white, and blue on a yellow background. Marked on the edge: Carlo Bertinazzi — in Bologna. Victoria and Albert Museum, GG3 IE5934*-97 Diamond pattern, enclosing petaled flowers with red and yellow ribbon running through the diamonds, on a gray background. Marked on the edge: Carlo Bertinazzi Bologna No. 13. R. B. L.

Same plate in sepia printed on white paper. Victoria and Albert Museum, GG3 IE5928-'97 Pattern of circles with red stars, alternating with yellow diamonds, surrounded by dark green leaves on a pale rose background. Marked on the edge: Carlo Bertinazzi — No V. R. B. L.

Repeat pattern of four-petaled flower with a dot and diamond, printed in sepia on a white background. Marked on the edge: Carlo Bertinazzi — in — Bologna.

A List of Early Papermakers

135

FIRENZE ANTONIO BENUCCI

Victoria and Albert Museum, GG28

Red and white allover pattern on white paper. Marked in white letters on a red band at the bottom: Antonio Benuccd Firenze. Victoria and Albert Museum, GG30E5705'97 Blue background, white flowers with red and blue centers, placed in the spaces formed by the interlacing of blue straps with white dots. Marked in white letters on blue: Antonio Benucci Firenze. FÜRTH — FUERTH — FYRTH JOHANN KOCHEL

Victoria and Albert Museum, GG.23E4784-97

Rose-red paper, dotted gold ground. Large floral scroll and strap design, into which the initials and name have been worked: J. K. F. R. Η. M. Fyrth Bey. Johann Kochel. Victoria and Albert Museum, Pattern Papers, German, E4783-1897 Orange paper, dotted gold ground. Scrolls and arabesques with oriental figures. Marked on lower edge: J. Κ. Β. Η. M. Fürth. Bey Johann Kochel. R. Β. L.

Yellow paper, dotted gold ground. Largefloralsprays with edges of leaves outlined in gold. Marked in panel on edge: Johan Kochel. JOHAN FRIDERIC KOST

R. B. L.

Rose-red paper, gold background. Large sprays of flowers — tulips, carnations, etc. Marked in a panel inside the border: Johan Frideric Kost**** Furth.

Appendices

136 JOHANN LECHNER

American Antiquarian Society,

ΤΙ

Same pattern, No. 16, found as covers for Gaffer Goose's Golden Plaything, published in London by John Marshall about 1790. White paper instead of the gray-blue. R. B. L. Rose-red paper background. Figures of soldiers, horsemen, etc., printed in gold. Marked in lower left side in border: Johann Lechner in Furth 292 R. Β. L. Rose-red paper background. Figures o f horsemen, chariots, men fishing, soldiers gaming, and garden scenes, printed in gold and arranged in irregular lines. Marked in the lower left-hand border: Johan Lechner in Furth N o 295. The figures are printed in six lines, or rows, and many o f them are identical with those found on a similar paper by Johan Carl Munck (No. 224). Some figures are omitted in one of the papers, and there is a difference in the arrangement of the figures in the rows. The Munck paper, which is in Mr. Philip Hofer's collection at the Harvard College Library, is dated and marked: 1782 in Augspurg Bei Johan Carl Munck N o 224. Plimpton Library, Columbia

University, j A 8 i 3

Tan paper, green-gold background. Large floral spray. Covers for The Instructive History of Industry and Sloth, printed at Sidneys Press (New Haven, 1810). Marked: Joh. Lechner Columbia University

Library

Deep rose-red paper, gold background. Small floral sprays, stenciled. Marked on edge: Jo. Lechner N o 1 R. B. L. Same pattern on gray-blue paper, gold ground. Stenciled in light and dark blue, orange, crimson, and yellow. Marked inside the border: Joh: Lechner N ° 1.

A List of Early Papermakers

137 R. B. I .

Rose-red paper, gold background. Allover design of floral sprays. Marked inside the border in small type: Jo. Lechner No 7 R. B. L.

Rose-red paper. Small allover design of floral sprays printed in gold. Used as covers on The Medley, printed and sold by S. Wood and Sons (New York, 1816). Marked on edge in a wide panel: Johan Lech— Victoria and Albert Museum, G G 3 2 A 2 9 3 0 i , and R. B. L. Blue paper background, design printed in gold. Figures of huntsmen under tree, shepherd with flock of sheep, birds, animals, and insects. Marked in a wide gold panel in a decorated border: Johann Lechner In Fuerth. No. 9. Victoria and Albert Museum, G G 3 2 A 2 9 3 0 i . 8 and R. B. L. Same plate printed in gold on yellow paper. Victoria and Albert Museum, GG32 A 2930i-9 and R. B. L. Same plate printed in gold on orange-red paper. Victoria and Albert Museum, GG32A2930i.6 Blue paper background. Four rows of nine saints each, printed in gold. Upper right, "St. Salutor"; upper left, "S. Dominicus." One of the few dated papers; marked in a gold border on the lower edge: Johann Lechner in Fuerth No 10. Anno 1811 Columbia University Library Gray-blue paper printed in gold. Large floral spray stenciled in dark blue, orange, red, light blue, and rose-red. Marked: Joh Lechner. No. 16. R. B. I .

Dark purple paper printed in gold. Design of alternating squares of solid gold and a rosette and five gold dots.

138

Appendices Marked in a wide gold band at the bottom: Johann Lechner in Fürth. R. Β. L.

Same plate printed in gold on yellow paper. R. B. L.

Orange paper printed in gold. Design of alternating six-pointed stars and large dots. Marked in a gold panel at the bottom: Johann Lechner in Fürth.

JOHAN PAULUS SCHINDLER

R. Β. L.

Dark purple paper. Design of stripes entwined with flowers printed in gold. Marked on lower edge: Johan Paulus Schindler in Fürth No 21. Columbia University Library Colored paper, gold background, small floral sprays. Marked on lower edge: Johan Paulus Schindler in Fuerth, No. 17.

LONDON B . MOORE

Victoria and Albert Museum, Woodblocks and Stencils, Ε 1 9 7 2 - 1 9 2 7 White paper, gold background. Large floral design with the flowers stenciled in orange, red, and yellow, and the leaves in green. Marked on lower edge: B. Moore Newgate Street London 1763 R. B. L.

Same pattern in the Bible printed by Alexander Kincaid in Edinburgh in 1764. Used as end papers in a red morocco tooled binding. Marked on the fore edge of the front end-paper: B. Moore Ν

A List of Early Papermakers

139

NUREMBERG F . G . ECKARTS FABRIK BUNTER PAPIERS IN NÜRNBERG.

R. Β. L.

Purple paper with birds of all kinds printed in gold. Marked in script lettering in a wide, decorated border on gold: F. G Eckarts Fabrik Bunter Papiers ECKART'SCHE BUNTE PAPIER FABRIK IN NÜRNBERG

R. B. L.

Purple paper with six rows of animals printed in gold. The name in script in a wide decorated border: Eckart'sche Bunte Papier Fabrik in Nürnberg No 70 PAUL RAYMUND IN NÜRNBERG.

R. B. L.

Rose-pink paper with figures of all kinds of trades, printed in gold in eight rows. Printing press, upper right-hand corner. Some of the trades represented are those of wheelwright, baker, butcher, blacksmith, cooper, bookbinder, papermaker, artist, sculptor, moneylender, etc. Marked on the lower edge: Paul Raymund in Nürnberg, No. 40. R. Β. L.

Dark purple paper printed from the same plate. PAUL REIMUND

R. B. L.

Rose-pink paper, solid gold background. Figures in pink outline of birds, animals, flowers, hunters, and houses. This plate is very much the same as one by Joh: Wilh: Mayr of Augsburg. Marked in a decorated gold border: Paul Reimund in Nürnberg No 171. G . N . RENNER & ABEL

R. B. L.

Blue paper printed in gold. Figures of saints in four rows of seven panels, each panel forming a frame around the saint, bearing his or her special symbol with the name in a band beneath.

140

Appendices

Marked in gold script in the lower right-hand corner: Nürnberg Bei G. Ν. Renner & Abel. R. Β. L.

Same plate, printed in gold on white paper. Same plate, printed in gold on rose-red paper. Same plate, printed in gold on dull blue paper. Same plate, printed in gold on orange paper.

R. Β. L.

R. B. L.

R. B. L.

R. B. L.

Same plate, printed in silver on orange paper. G . N . RENNER AND ABEL

R. B. L.

Green paper, figures printed in gold. Large cut of Adam and Eve under tree, with arrangement of animals and birds surrounding them. Marked in the right-hand lower corner of a wide decorated border: G. N. Renner & Abel. R. Β. I .

Same plate, printed in gold on white paper. R. B. L.

Same plate printed in gold on orange paper. R. B. L.

Same plate printed in gold on blue paper. R. B. L.

Design on blue paper with a gold background; small sprays of flowers making a large diaper pattern. R. B. L.

Same design on orange paper with a gold background.

A List of Early Papermakers

141 R. B. L.

Same design on green paper with a gold background. R. B. L. Same design on red paper with a silver background. G . N . RENNER & ABEL

R. B. L.

Orange paper, printed in gold with groups of animals, with an elephant in the center enclosed in a decorated border, on which appears in the lower left-hand corner, G. N. Renner & Abel. R. B. L.

Same plate printed in gold on yellow paper. R. B. L.

Same plate printed in gold on green paper. R. B. L.

Same plate printed in gold on blue paper. PAULUS REUMUND

R. Β. L.

Orange paper, gold background. Small floral sprays in an allover pattern. Marked inside the border: Paulus Reumund Numb. Nö 18 ANDREAS REYMUND

Victoria and Albert Museum, GG23E.45I3'97

White paper, gold background. Design of fruit and floral scroll, stenciled in orange, green, yellow, rose-red. Marked: Nürnberg bey Andreas Reymund N.i. Victoria and Albert Museum,

GG32A2930i.i5

An all-silver embossed paper in a small floral spray. Marked: Zu Finden bey - - Andreas Reymund in Nürnberg. R. B. L.

Same plate in all silver. R. B. L.

Yellow paper, gold background. Six figures: four women with distaffs in

142

Appendices

the corners and two men in the center with skeins of wool and carding combs. Marked inside the border: Andreas Reymund Niirmberg No 12. American Antiquarian Society, Ti Design of scrolls of leaves and grapes stenciled in blue, green, and orange. Cover to Bag of Nuts, printed by Isaiah Thomas (Worcester, 1787). American Antiquarian Society, Ti Design of small sprays. White paper, gold background, stenciled in red, blue, and orange. Cover for The History of Tommy Careless (London: E. Newbery, 1788). Marked on edge: Andre PAUL REYMUND

R. B. L.

Blue paper. Large sprays of flowers printed in gold. Marked in a gold panel inside the plain gold border: No. 10. Paul Reymund R. B. L.

Same plate on yellow paper printed in gold. American Antiquarian Society, Ti Rose paper printed in gold. Large floral scroll. Covers for Bag of Nuts, printed by Isaiah Thomas (Worcester, 1798). Victoria and Albert Museum, Pattern Papers, German, 18th Cent., E.5255-1908 Rose-red paper with nine panels with figures of saints in rows, "S. Maroet" in lower left, "S. Marlor" in lower right. Marked: Paul - - Reymund in Nürnberg No 132. R. B. L.

Religious paper, blue paper printed in gold. Four rows of six panels with figures of saints. Upper left, "Pastor Bon"; lower left, "St. Bartholomo." Marked on the lower border: Paid Reymund Nürnberg

A List of Early Papermakers

143 R. B. L.

Dark purple paper printed in gold. Animals and figures; tree in center. Marked with name in small type on the side: Paul Reymund Nürnberg No 7. ORLEANS LETOURMI

John Carter Broum Library, A 4 - C

A pattern of small, blue, four-petaled flowers in a repeat with dots between them. Used for covers on a copy of Letters Sent to Great Britain by His Excellency Thomas Hutchinson, printed by Edes and Gill in Boston, 1773. Marked: Letourmi No 210 R. B. L.

A pattern of small blue squares connected by white rosettes; a white dot in the center of each square. Marked: A. Orleans. Chez Letourmi No 14. CHEZ PERDOUX

R. B. L.

White paper with a pattern of blue squares held together at the corners with a red spot. In the center of each square is a blue flower. Marked in a white border in blue: A Orleans Chez Perdoux No. 422 R. B. L.

Tfrhite paper with a striped floral design in black. Stenciled in wide blue stripes with pink flowers and green leaves. Marked in black in a white border: A. Orleans chez Perdoux No 306. PARIS HUQUIER

R. B. L.

White paper printed in black, with small flowers stenciled in red and blue. Used as covers for La Civilite qui se pratique en France parmi les honnetesgens (Orldans, 1781). Marked in a wide black border: Huquier No 127

144

Appendices ROME

TOPAI

Victoria and Albert Museum,

GG.23E4815V7

Orange paper printed in gold. Design of leafy scrolls and straps. A tiny angel at one side o f a panel at the bottom. Marked: Topai — Fabrica — in Roma. UNIDENTIFIED D A FERDINANDO-BON

Cooper

Union

White paper, red background. Design o f white circles on which are blue half-circles. Marked on the edge: Da Ferdinando Bon SIMON HALICHELE

Victoria and Albert Museum,

GG23E4782'97

Orange paper printed in gold with a small scroll design. Marked: Simon Halichele. 22. SIMON HELCHELE

British Museum, EG.3009

White paper printed in gold. A floral design stenciled in orange, purple, and yellow. Used on the Heath-Vernay Papers (London, 1769-1770). Marked: Simon Helchele. No. 28. C . LEDERGERBER

R. B. L.

Purple paper printed in gold. A n elaborate design of leafy scrolls, introducing small figures of cupids, jesters, birds, fruit, etc. Similar paper found in Psalterium cum canticus (Vienna, 1735). Marked on the edge: C . Ledergerber A . M(I)ESER

Mr. Wilbur Macy Stone

Purple paper, dotted gold background. Design o f large leafy scrolls with dolphins. Used as covers for The History of Tommy Careless, printed by Isaiah Thomas, Jr., Worcester, Mass., 1799. Marked A . Meser, which is worked into the design.

A List of Early Papermakers ABRAH. MIESER

145

Metropolitan Museum of Art, N e w Y o r k

Rose-red paper. Large scroll with military trophies, drums with flag, spear and halberd, and the double eagle introduced into the pattern. Marked: Bey Abrah. Mieser. R. B. L.

Same paper printed in gold on black paper. Used as cover paper for Ε natura del caffe (Florence, 1731). British Museum, 675.cl.10 Same pattern printed in gold on white paper, stenciled in red, blue, green, and yellow. Used as end-papers on a Greek Testament printed by Tho. Buck (Cambridge, 1632). CHEZ M O R A N D - R O

Victoria and Albert Museum, D . W . 26 End-Papers White paper printed in stripes with blue squares; small red flower with green leaves in center of each square. Marked in white letters on a blue band at the side: Chez Morand-Ro. LUIGI VALADIER

Victoria and Albert Museum, GG23E4816*97

Cream-yellow paper printed in gold. Small allover scroll. Marked in a wide gold band at the bottom: N . n Iviei Valadier Sculpi. Z W A R G GESELLSCHAFT

R. B. L.

A group of grotesque figures, in four rows of five figures each, printed in gold on different-colored papers. Marked in script in gold at the bottom: Zwarg Gesellschaft.

ISAAK VAN DOORN

UTRECHT

R. B. L.

Purple paper. Printed in gold are the words, Ick Macht Een Beter, in the style of the early calligraphers. A crowned shield at one side, marked: 1750 Utrect — Isaak van Doom, Fecit.

Notes

NOTES PREFACE

Ι. Worthington C. Ford, The Boston Book Market, 1679-1700 (Boston: Club of Odd Volumes, 1917), p. 81. EARLY END-PAPERS

1. John A. Holden, The Bookman's Glossary (New York: R. R. Bowker, 1931), p. 55. 2. R. B. Loring Collection. 3. Boston Public Library, Benton Collection (9-14-5). 4. Museum of Fine Arts, Boston; Sargent Collection (W. R. 457).

5. Philip Hofer Collection. THE EARLY HISTORY OF MARBLING

1. Metropolitan Museum of Art, New York City. 2. Bodleian Library, OR. 430. 3. A book used much as an autograph book, made with sheets of different colored and sometimes marbled paper, with occasional miniatures. 4. Victoria and Albert Museum, Sixteenth-Century Persian Miniatures, 140Β-Ε2273-2810-1913. 5. Bodleian Library, Douce MS. 221.

150

Notes

6. Victoria and Albert Museum, L8-AL1392-1889, Album Amicorum of W. Leutkauff, 1616-1632. 7. F. R. Martin, The Miniature Painting and Painters of Persia, India and Turkey (London: Bernard Quaritch, 1912), Π, 231, Turkish School. 8. Ibid., I, 94. 9. W. H. James Weale, Bookbindings and Rubbings of Bindings in the National Art Library, South Kensington Museum (London, 1898). 10. John Knuckel, Ars Vitraria Experimentalis (Danzig, 1679), pt. Π, no. XLm, pp. 86-88. 1 1 . Dard Hunter in Papermaking through Eighteen Centuries (New York: Rudge, 1930, pp. 1 0 - 1 1 ) quotes Stromer's diary. Stromer wrote that Closen Obsser, whom he had engaged as foreman, "promised to be faithful unto me and declared on his oath that he would be true to me and mine heirs; that he would be my overseer at the mill, keep me from harm, and that as long as he lived he would make paper for no one else save me and for my heirs and would not show or teach anyone to make paper in any way at all. This took place on the Sunday next to St. Lawrence Day in my room at the time of Evening Prayer in the year 1390 while my son, Jörg Stromer, was present." He then went on to swear in his other employees in much the same way: "On the day after St. Lawrence when Jörg Tyrmann promised to be true to me and with excited fingers swore on the oath to the Saints that he would be faithful to me and my heirs to help my progress and that for ten years from that day he would make no paper for anyone except myself and my heirs as 1 might order and that he would not teach the art of papermaking to anyone except when I wished. But when ten years are passed he can

Notes

151

make paper for himself, but for no one else, and he may then teach those who make paper for him, but for no one else as long as he lives." Stromer writes again on the twentieth of August, 1391, about some unruly workmen: "I took Franz and his brother Marcus and sent them in the tower over behind the water tower in a small room." On the fourth day of their imprisonment the workmen sent for Stromer's brother-in-law and pleaded to be let out. After a reconciliation with their master, they were taken from the tower, duly swore to give no more trouble, and promised that they would do their full share of work in the mill. 12. Joseph W. Zaehnsdorf, The Art of Bookbinding (London, 1880), p. 29. MARBLED END-PAPERS

1. Novum Testamentum Graece (Amsterdam, 1633). 2. J. M. Papillon, Tratte historique et pratique de la gravure en bois (Paris, 1766). 3. Nancy McClelland, Historic Wall Papers (Philadelphia, 1924), p. 25. 4. R. B. Loring Collection. Le Tableau de la Crox representέ dans les ceremonies de la Ste Messe (Paris, 1651). 5. R. B. Loring Collection. Explication familiere et morale par Frangois Pean (Chez Louis Boulanger, 1651). 6. Owned by Mr. William K. Richardson. 7. G. D. Hobson, Thirty Bindings (London: The First Editions Club, 1926), p. 66. 8. Payne mentions this paper in several instances. In a bill for binding he says:

152

Notes

"Versalii Humani Corpus Fabrica: "The title washed cleaned and thoroughly mended. "The opposite Leaf ditto. "The Portrait Margins cleaned and the opposite leaf ditto. "Fine drawing paper Inside exceedingly neat and strong morocco joints. "Fine purple paper inside very neat. "The outside finished with double panels and corner toole agreable to the Book! "The Back finished in a very elegant manner with small tools. The boards required piecing with strong boards and glue to prevent future damage to the corners of the book. "2 cutts new guarded. The former bookbinder had mended it very badly as usiel. "I have done the very Best work in my power according to Orders, took up a great deal of time." See Cyril Davenport, Roger Payne (Chicago: The Caxton Club, 1929), p- 72. 9. Boston Public Library, Benton Collection (19.2). 10. Boston Public Library (30.824,52.1). 11. "Transferred marbling" was a process of decorating book edges which was done in the smaller binderies most successfully about this time. The books, after being trimmed, were held tighdy in a press, and the edges to be marbled were covered with an egg size, made a little thicker than that used for gold tooling. The marbled paper was then laid on the edges, with the marbled surface next to the book. Muriatic acid was then applied to the back of the marbled paper and allowed to soak in until the figure

Notes

153

of the marbling showed plainly through the back of the paper. Then with a damp piece of paper the marbled paper was rubbed or pounded down on the edges of the book, and when it was removed the marbling of the paper was found transferred to the edges of the book. 12. Progress of the Marbling Art (Buffalo: Louis H. Kinder, 1893).

13. The author, who has made paste papers for a number of years, had an amusing experience in learning to marble. While she was giving a demonstration at the Craftsmen-at-Work Show in Boston, an old man stood quiedy in the crowd that was watching, fascinated by the process. Because he stood beside her for so long, she asked if there was anything that she could explain to him. He turned and, with the nicest smile, said: "Mrs. Loring, I like what you do, but you don't do it right." When he was questioned, he explained that he was a professional marbler and that it would give him great pleasure to tell her what he knew about marbling. PRINTED END-PAPERS

i. J. M. Gamier, in his Histoire de Vimagerie populaire et des cartes ä jouer a Chartres (Chartres, 1869), says that "a diligent worker gained but from seven livres, ten sous, to nine livres a week" (p. 150), or the equivalent of about a dollar and fifty cents. The cheap and popular papers made by the dominotiers fast disappeared, and the blocks from which they were taken had a similar fate. Gamier is said to have inherited a vast number of these blocks, but because they took up so much room in his workshop he eventually burned them all.

Notes

154

2. Crude prints made from woodblocks in France and Italy during the seventeenth and eighteenth centuries. These prints, often stenciled in bright colors, were of religious, political, or other popular subjects, with short captions in explanation, and were made to appeal to the poorer classes. 3. Historical Mention of the Remondini Papers (n.p., n.d.).

D U T C H GILT OR D U T C H FLOWERED END-PAPERS

1. R. B. Loring Collection. 2. O w n e d by Mr. Wilbur Macy Stone. 3. H. Gautier, Tratte de la construction des chemins; R. B. L o r ing Collection. 4. Eurene, drama per musica; R. B. Loring Collection. 5. R. B . Loring Collection. 6. John Carter B r o w n Library, Providence, R. I. (A 28c). 7. R. B . Loring Collection. 8. R. B . Loring Collection. 9. Worthington C . Ford, The Boston Book Market, p. 81. 10. R. B . Loring Collection. 11. R. B . Loring Collection. 12. American Antiquarian Society, T . 1. 13. American Antiquarian Society, T . 1. 14. American Antiquarian Society, T . 1. 15. O w n e d by Mr. Wilbur Macy Stone. 16. A hornbook was used as a primer from which children learned to read. It consisted o f a printed alphabet, and sometimes the Lord's Prayer, mounted on a piece o f wood, which was usu-

Notes

155

ally paddle-shaped, and covered with a thin sheet of horn to protect the paper from wear — hence the name hornbook. 17. G. A. Plimpton, Marks of Merit, Together with an Article on Horn Books (Boston, 19—), pp. 1 3 - 1 4 . 18. The Boston Book Market, pp. 177-178. 19. Victoria and Albert Museum, Wood Blocks and Stencils, Ε 1972-1927. 20. R. B. Loring Collection. 21. R. B. Loring Collection; published by J. & M. Robertson (Glasgow, 1798). PASTE END-PAPERS

χ. R. B. Loring Collection. 2. R. B. Loring Collection. 3. Europa Portuguese (Boston Public Library, D.191.4). 4. R. B. Loring Collection. 5. R. B. Loring Collection. 6. Owned by Mr. Wilbur Macy Stone. 7. R. B. Loring Collection. 8. The writer has made paste papers for several publishers which have been used as cover papers on small editions and on several of the Limited Editions Club books. She has taught a great many amateur and several professional bookbinders how to make their own paste papers, one of the most successful of her pupils being Veronica Ruzicka. Miss Ruzicka's use of color and charm of design have made her an outstanding artist in this field. She chooses her colors well, and her printed designs are small enough to be in perfect proportion for book papers. Among these are

156

Notes

dainty allover patterns of leaves which are well distributed, outdone only by a pattern with a beguiling squirrel sitting among leafy boughs. Black and white papers on which the designs have been made with a fine tool and gay two-toned papers are both original and well carried out. SOME NINETEENTH-CENTURY END-PAPERS

1. Museum of Fine Arts, Boston. 2. Owned by Mr. William K. Richardson. 3. Owned by Mr. William K. Richardson. 4. Owned by Mr. William K. Richardson. 5. Museum of Fine Arts, Boston. 6. The process of gold tooling on silk is a most difficult one, and only the most expert finishers are able to do it with any sort of success. The gold is laid on with oil, which, like the glair and the size, must be penciled into the impression. The impression itself has to be made with a very hot tool, much hotter than that required for leather. The beauty of gilding on silk depends largely on the cleanliness and precision of the workman, for any slight doubling of the impression or stain on the silk from the glair or the oil spoils the whole effect. 7. John Hay Library, Brown University, Providence, R. I. 8. For further information on nineteenth-century marbling, see the section "Marbled End-Papers." PUBLISHERS' END-PAPERS

i. Unless otherwise noted, the books mentioned in this section are in the R. B. Loring Collection.

Notes

157

2. The Parlor Gardener, by Cornelia J . Randolph; R. B. Loring Collection. 3. The interest in decorative end-papers was great enough by 1889 to lead the editor of the Bookbinder, an English publication, to say that he would like "to draw attention to the use of artistic endpapers" and to assure "any member of the book trade who cared to contribute suitable designs that they would be gratefully received and printed in future numbers of the magazine." PICTORIAL END-PAPERS

i. The books in which these pictorial end-papers appear are easily available in any good public library. APPENDIX I

i . French or Shell color is one that has had a few drops of oil mixed with it in addition to the gall.

Index

INDEX Addison, Joseph, works 28, Bacon, Sir Francis, 15 Advertising, 83-89 Badier, Florimond, 23 Aesop, Fables, 6 Bag of Nuts, The, 55 Album amicorum, 12-13 Baron Munchausen, 86 Almanacs, 83-84 Barry and Robert, 30 Alphabet papers, 51, $6-$8, 79-80. Baskerville, John, 28, 69 Bassano, 49; papermakers in, 132-133 See also App. ΠΙ Alphabets, 154 Beardsley, Aubrey, 93 Alum, 109, 130 Beeswax, n o , 114 America, Dutch Gilt papers in, $3-58, Belgium, 18 59; paste papers in, 68, 69, 70; print- Benucci, Antonio, 45, 135 ers and publishers in, 53-56 Berry, Due de, 73 American Antiquarian Society, 127, Bertinazzi, Carlo, 45, 133-134 Bethlehem, Pa., 54 128, 136, 142, 154 Bible, the, 59, 66, 78 Andersen, Hans, 97 Bilder Bibel, 68 Anderson, Carl, 96 Bill, Charles, 50 Animals, drawings of, 101 Bill, John, 5 Anson, Voyages, 67 Antwerp, 61 Bindings, early, 4-5. See also Fine bindApril's Kittens, 101 ings; Cloth bindings; Bookbinding Around the World with the Alphabet, 100Birch, Reginald, 96 Artzybasheff, Boris, 96, 99-100 Birmingham, 69 Asher, John, 53 Black Arrow, The, 99 Augsburg, 49, 50, 52-54. 57.68; paper- Blue Stormont, see Stormont pattern makers in, 121-132 Blutige Schau-Platz, Der, 54 Aumans chez Leloup, 40 Bodleian Library, 12,149 Austria, 18 "Body" color, see "French" color Bohemia, 8 Bohn, H. G., 84 "B and C " papers, 33 Bohn's libraries, 85 Baby's Own jEsop, The, 94

162

Index

Bologna, 45; papermakers in, 1 3 3 - 1 3 4 Bon, Ferdinando, 144 Book edges, marbled, 19, 30, 152-153 Book illustration, 95-96; Walter Crane on, 93-95 Bookbinder, 157 Bookbinding, eighteenth-century, 73; nineteenth-century, 6, 69, 73-80. See also Fine bindings Books, nineteenth-century, 93 ff.; palm-leaf, 3. See also Children's books Booksellers and Printers, Corporation of, 38-39 Borjeson, Ingeborg, 31 "Borzoi Books," 88 Boston, 53, 85, 86; Museum of Fine Arts, 149, 156; Public Library, 149, 152 Boston Almanac, 83, 84 Boulard, Anna, 41 Boutet de Monvel, 96 Boyedon, Oscar H. de, 32 British Museum, 14, 23, 59, 122, 144, 145

Brooke, Leslie, 95 Brother's Gift, The, 55 Brown University, 156 Brunhoff, Jean de, 96 Brushes, 69-70, 105-106 Bullock, Mrs. George, 33 Butter prints, 120 Caldecott, Randolph, 87 Caldecott medal, 101 Calendar, 6 Calmour, Alfred C., 95

Candide, 99 Caricatures, 41, 51 Carrageen moss, 30, 109 Catechism of Nature, 52 Cato Major, 54 Caxton Head, 75 Cazotte, 74 Chambers, Robert, 84 Chambers, William, 84 Chambolle-Duru, 74 Chamoletting, 15 Chapbooks, 50 Charles X , 74 Chessboards, 40 Chicago, 88 Children, drawings of, 101 Children's books, 6, 50, 54, 93-102 Child's Book of Stories, A, 101 China clay, 1 1 2 Chinese white, i n , 1 1 2 , 1 1 7 , 118 Christ Child, 57, 58 Christmas Carol, A, 77-78 Cicero, 54 Cloth bindings, 77, 78, 79, 85, 86, 87. See also Bindings Cochineal, h i Cockerell, Douglas, 30-31 Cockerell, Sydney, 31 Colors, for marbling, 1 1 0 - 1 1 8 ; preparation, n o - i i i ; characteristics, 1 1 1 1 1 2 ; methods of using, 1 1 3 - 1 1 8 Columbia University, 57, 61; library, 124, 126, 127, 130, 136, 137, 138 Combed marbling, 12, 13, 23, 24, 25, 29, 31, 79, 106; size for, 108, 109, 1 1 6 - 1 1 8 . See also Marbling Combed paste papers, see Paste papers

Index Combs, 6 7 , 1 0 6 , 1 1 7 , 1 1 8 ; graining, 120 Commercial books, 29, 68 Common Prayer, Book of, 5,25,28, 50 Compleat Angler, The, 96 Condy, William, 53 Constantinople, 13, 14 Conti Gallo da Osimo, Eleonora dei, 46 Cooper, James Fenimore, 99 Cooper Union, 144 Copenhagen, 3 1 , 66 Cork, 120 Coussins, Penryn W . , 100 Cover papers, Nonpareil, 29; Dutch Gilt, 50, 53-55, 60; French Curl, 27, 1 1 5 ; Old Dutch, 1 1 5 ; paste, 65, 67, 69, 70; printed, 40. See also App. ΙΠ Covici-McGee, 88 C o x , Mrs. Irving, 33 Crane, Walter, 93-95 Curwen Press, 89 Cuzin, 74 Cyclopedia of English Literature, Chambers', 84 Danube, 18 Davenport, Cyril, 152 Day, Lewis, 86, 93 Death, drawings of, 14 Deerslayer, The, 99 De la Lande, 43 Deland, Margaret, 94 Denmark, marbling in, 3 1 - 3 2 Dent, J . M., and Sons, 86 Derome, 26, 73 Derome Le Jeune, 68-69 Dickens, Charles, A Christmas Carol, 77-78

163

Dickinson, Samuel N . , 83 Disney, Walt, 1 0 1 - 1 0 2 Dodd, Mead and Company, 88-89 Dominotiers, 37-39, 153; First and Real, 37; Guild of, 38-39 Doolittle, Dr., 101 Doubleday, Doran, 97 Doublures, 23, 74, 75, 76 Drawn marbling, 23, 3 1 , 106, 1 1 8 . See also Marbling Drop ivory black, 1 1 1 Dublin, 28 Dürer, Albrecht, 14 Dulac, Edmund, 95, 97 Du Pin, M., 24 Duratte, Antonio, 44 Dutch Flowered papers, see Dutch Gilt papers Dutch Gilt papers, 49-61; origin of name, 49; uses, 50; patterns, 50-54, 56-60; variety, 59. See also Printed papers; App. III Dutch pink, m , 1 1 2 Dymott, Richard, 26 Echoes of Hellas, The, 95 Eckart, F. G., 139 Eder, J . G., 121 Edinburgh, 59, 84 Enderlin, Jacob, 54, 1 2 1 End-papers, defined, 3; early history, 3 - 7 ; in'sixteenth and seventeenth centuries, 2 - 4 , 24, 25, 26; in eighteenth century, 28, 40, 50, 51, 52, 67, 68; in nineteenth century, 29, 73-80, 84-85; silk, 6, 23, 73-76; marbled, I I , 23-33. 74. 1 1 5 ; printed, 37-4

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