and grace of design the best English Jacobean and Chippendale specimens
seem to me the most pleasing of their kind, and certainly in our own day
the work of Mr. Sherborn has no rival, except in that of Mr. French,
who, in technique, would, I imagine, not refuse to call himself his
disciple.

I have purposely left to the last the subject of Bindings, as this,
being more immediately cognate to Mr. Davenport's book, may fairly be
treated at rather greater length. If the French dictum 'la reliure est
un art tout français' is not without its historical justification, it is
at least possible to show that England has done much admirable work, and
that now and again, as in the other bookish arts, she has attained
preeminence.

The first point which may fairly be made is that England is the only
country besides France in which the art has been consistently practised.
In Italy, binding, like printing, flourished for a little over half a
century with extraordinary vigour and grace, and then fell suddenly and
completely from its high estate. From 1465 to the death of Aldus the
books printed in Italy were the finest in the world; from the beginning
of the work of Aldus to about 1560 Italian bindings possess a freedom of
graceful design which even the superior technical skill quickly gained
by the French does not altogether outbalance. But just as after about
1520 a finely printed Italian book can hardly be met with, so after
1560, save for a brief period during which certain fan-shaped designs
attained prettiness, there have been no good Italian bindings. In
Germany, when in the fifteenth century, before the introduction of gold
tooling, there was a thriving school of binders working in the mediæval
manner, the Renaissance brought with it an absolute decline. Holland,
again, which in the fifteenth century had made a charming use of large