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different content
manufacture, nor are they much known in that country. The gilt
leather hangings which come to us from Flanders are nearly all
made at Lille, Brussels, Antwerp and Mechlin; those derived from the
last-named place are the most prized of all. Some very fine ones
which we have attempted to imitate are made in Venice;
manufactures were also started at Lyons and met with success.
“It was only about two centuries ago that this trade was
established in Paris. We owe it to some Flemish workmen who
settled in the capital and left successors there. But on account of the
nation’s prejudice in favour of all that comes from abroad, the
hangings from Holland and Flanders were always preferred to those
of our own manufacture, although they did not surpass the latter in
quality or in beauty.
“Though equalling those of Holland and Flanders, it was not
possible to find a sale for our hangings unless they were passed off
as having been made in one or other of those provinces, and this
was frequently done by our manufacturers. It must, however, be
admitted that certain gilt leather hangings from England and Venice
have never been equalled here. We are forced to allow their
superiority in brilliancy, beauty of design and durability. Perhaps all
that our workmen needed to be able to imitate them perfectly was
to feel the assurance of greater constancy in our tastes, and to
witness the cessation of that affection and preference for everything
foreign, which might lead to the more favourable treatment of the
native industry.
“Gilt leather hangings were at one time much sought after. Their
qualities of being, unlike woollen and other materials, unaffected by
damp and insects, of retaining their brilliancy unimpaired by time, of
not attracting dust, and of allowing it to be easily removed by
washing with a sponge, and finally, of not lending themselves to the
multiplication of the insects which in summer infest the capital and
which find in other tapestries convenient nests for depositing their
eggs, were all advantages, forming so many reasons for their being
in demand and gaining for them a place in the apartments of the
great, of which they frequently constituted the ornament. But to-
day, a change of taste and the dictates of fashion which outweighs
even the advantages and conveniences of life, have caused them to
be almost forgotten and relegated them to the ante-rooms of a few
county houses where some of the earliest are to be found, nearly as
beautiful as when they were first made in Paris.
“Now that the art is less in vogue, we think it a suitable time to
describe it to the public, thus following the intention of the Academy
of allowing nothing to be lost that may now or hereafter be useful to
the cause of art. We may at any time be desirous of returning to
these older fashions, no longer being able to vary them, and this
may be among those destined to return to favour. At any rate, it will
be agreed that some of its processes merit description, and might
find their application in other arts and help in bringing them to
perfection.”
 20. Embossed calf binding. Book of Common
Prayer. Executed by Rosalie Vigers from a design
by Frederick Vigers. Modern English.

The same author describes minutely and very clearly the various
processes in use at the time for gilding or silvering leather. Instead
of silver-gilt, which is necessarily very costly, he recommends silver
leaf burnished and covered with a varnish, for which he gives the
following recipe, found by him, as he modestly acknowledges,
among the papers of Mons. de Réaumur:—
“Take four and a half pounds of colophony, the same quantity of
ordinary resin, two and a half pounds of sandarach and two of aloes;
mix these four drugs together, after having broken up those which
are in large pieces, and put them in an earthen pot on a good
charcoal fire. It is better for the fire to be of charcoal, because it
makes but little flame, which would be dangerous if it should enter
the vessel, as the ingredients are very inflammable. To guard against
this accident and others of which we will speak later on, the vessel
must be chosen large enough not to be more than half-filled by the
drugs already mentioned and the others yet to be added, as will
presently be explained. It is well also for it to widen out at the top,
or to have a rim that will project the flame outwards. These are
small precautions which it is always better to take; some, however,
neglect them, and make their varnish on a wood fire, and then
double attention must be given to prevent the drugs igniting.
“Melt all these drugs in the pot and stir them with a spatula so
that they mix together and do not stick to the bottom. When they
are well melted, pour in seven pints of linseed oil and mix it with the
drugs, using the spatula. Cook the whole, stirring it from time to
time to prevent as much as possible a kind of sediment which forms
and does not mix with the oil from sticking to the bottom of the
vessel. When the varnish is cooked, pass it through a cloth or
strainer.
“This quantity of varnish should, according to workmen, remain
seven to eight hours on the fire to cook, but this cannot be regarded
as an invariable rule. It will not take so long to cook on a large fire.
A better test used by workmen in manufacturing varnish is to take a
few drops of the liquid with the spatula and lay it over silver leaf on
some leather; or else they take some of the varnish in a silver spoon
and, by trying it with the finger tip as if it were syrup, find out if it is
cooked enough. If it ropes in cooling, or if the finger has a tendency
to stick when it is gently withdrawn, it is a sign that it is sufficiently
cooked, that is to say that it has arrived at the consistency of a
thickish syrup. The varnish is then brown in colour, and curiously
enough when laid over silver it becomes transparent and gives the
effect of brilliant gold.”
While on the subject of gold groundwork made with gold or
silver leaf or tin-foil covered with varnish to imitate the colour of
gold, it is curious to note how far back in the history of art its origin
can be traced; after the Greeks, the Byzantines made use of and, it
may also be said, abused it. This want of moderation in the use of
gold is to be met with long afterwards, for it is mentioned in his
book on painting by L. Benedetto Alberti who died in Rome in 1472.
[18]

[18] Sunt qui auro immodice utantur, quam aurum putent

historiæ affere majestatem. L. B. Alberti, De Pictura, Book 2, page
25, ad finem Vitruv. Elzevir. f.

Van Orley, Raphael’s pupil, when painting his “Last Judgment” at

Antwerp, had his panel gilt in order to obtain “a beautiful
transparency.”[19]
[19] Decamps. Vie des peintres flamands. Paris, 1753, 4 vols.
Vol. 1, page 39.

We have quoted above the formula for golden varnish given by

Fougeroux de Boudaroy which he ascribes to Réaumur. It may be
found interesting to compare with it that given by the Monk
Theophilus in his Diversarum Artium Schedula:—
“Put some linseed oil in a small new pot; add some gum arabic
called fornis pounded very fine; this gum is like very light incense,
but is more brilliant when broken up. Place it on a charcoal fire and
cook it carefully without allowing it to boil, until it is reduced by one
third. Be very careful of flames, for they are very dangerous, and the
preparation is difficult to extinguish if it once catches fire. Any
painting coated with this varnish becomes brilliant, beautiful and
perfectly lasting....
“Another method. Arrange three or four stones which will stand
the fire without breaking, or bricks may be used instead. On these
place a new pot, pour into it some fornis mentioned above, called by
the Romans “glossa,” otherwise gum arabic. Over the opening of the
pot, put a smaller one having a little hole at the bottom; fill in with
clay so that no space remains between them. Carefully light a fire
underneath the apparatus until the gum liquefies. You will also have
a thin tool with a handle which will serve to stir the gum and to find
out the exact moment when it becomes perfectly liquid. Have a third
pot on charcoal by you in which there is hot linseed oil; when the
gum is quite liquid, so that a thread of it hangs from the tool when it
is withdrawn, pour in the hot oil, stir with the tool, and, when in this
condition, cook all together without letting it boil, take out the tool
from time to time and spread a little of the mixture on wood or
stone to try its density. With regard to the proportion, be careful that
there are two thirds of oil to one of gum. When it is cooked
according to your judgment, take it off the fire and, covering it with
care, let it cool.
“Of the Method of Colouring Tinfoil to give it the Appearance of
being Gilt, so that it may be used when Gold cannot be had.
“Place the pieces (of tinfoil) side by side on the board, fasten
them one by one to the wood with wax, so that they cannot get
displaced, spread over them with the hand a coating of the varnish
described above, and let them dry in the sun. After that take some
sticks of rotten wood cut in April, slit in half and smoke dried. Peel
off the outer bark and the second, which is the colour of saffron;
scrape it into a clean vessel, adding to it a fifth part of saffron,
macerate it well in old wine or ale; after letting it stand during the
night, make it lukewarm the next morning. When in this condition,
dip in the sheets of tinfoil one by one, frequently taking them out
until you find them assume a golden shade, when you will again fix
them on the wooden board and apply a coat of varnish as before;
when dry you will have sheets of tinfoil that you can use as you wish
in your work....”[20]
[20] Diversarum artium schedula, Book 1. Chapters 21 and
36.

Although it may not be possible for an amateur, incompletely

equipped with the necessary implements, to reproduce the
marvellous work of a byegone age, there are still many methods of
decoration for him to attempt which will be equally attractive in
modern surroundings.
 NOTE

SOME EXTRACTS FROM THE REPORT OF

THE COMMITTEE ON
LEATHER FOR BOOKBINDING,
APPOINTED BY THE COUNCIL
OF THE SOCIETY OF ARTS, FEBRUARY,
1900.

“This Committee met for the first time on May 3, 1900.... Its
first step was to appoint two Sub-Committees from amongst its
members. The first of these was to visit a selected number of
libraries, and to ascertain the comparative durability of the various
bookbinding leathers used at different periods and preserved under
different conditions.... The second ... was appointed to deal with the
scientific side of the matter, to ascertain the cause of any
deterioration noticed, and, if possible, to suggest methods for its
prevention in the future....
“The first step taken by the (first) Sub-Committee was to visit a
number of libraries, including that of the British Museum, the
Bodleian Library, Oxford, the University Library, Cambridge, the
libraries of the Athenæum Club, of the Patent Office and of the
Chemical Society, also the valuable private library of Mr. Huth....
 “As regards the common belief that modern binding leather
does decay prematurely, the Sub-Committee satisfied themselves
that books bound during the last eighty or hundred years showed far
greater evidence of deterioration than those of an earlier date. Many
recent bindings showed evidence of decay after so short a period as
ten, or even five years. The Sub-Committee came to the conclusion
that there is ample justification for the general complaint that
modern leather is not so durable as that formerly used. To fix the
date of the commencement of this deterioration was a difficult
matter; but they came to the conclusion that while leather of all
periods showed some signs of decay, the deterioration becomes
more general on books bound after 1830, while some leathers seem
to be generally good until about 1860, after which date nearly all
leathers seem to get worse. The deterioration of calf bindings at the
latter end of the nineteenth century may be attributed as much to
the excessive thinness as to the poor quality of the material.
“With regard to the conditions under which books are kept,
ventilation, lighting, heating, etc., the Committee were satisfied that
in libraries where there was no artificial light used, and where the
ventilation was good, the bindings were generally in a better state
than elsewhere. Where gas is used the bindings are in the worst
state noticed, especially on the higher shelves.... Daylight and still
more direct sunlight, has a disintegrating effect on leather....
“As to the suitability of various leathers, the Sub-Committee
came to the conclusion that of the old leathers (fifteenth and
sixteenth century), white pigskin, probably alum tanned, is the most
durable, but its excessive hardness and want of flexibility renders
this leather unsuitable for most modern work. Old brown calf has
lasted fairly well, but loses its flexibility, and becomes stiff and brittle
when exposed to light and air. Some of the white tawed skins of the
fifteenth and sixteenth century, other than white pigskin, and
probably deerskin, have lasted very well. Some fifteenth and
sixteenth century sheepskin bindings have remained soft and
flexible, but the surface is soft and usually much damaged by
friction. Vellum seems to have lasted fairly well, but is easily
influenced by atmospheric changes, and is much affected by light.
Early specimens of red morocco from the sixteenth to the end of the
eighteenth century were found in good condition, and of all the
leathers noticed, this seems to be the least affected by the various
conditions to which it had been subjected. In the opinion of the
Committee, most of this leather has been tanned with sumach or
some closely allied tanning material. Morocco bindings earlier than
1860 were generally found to be in fairly good condition, but
morocco after that date seems to be much less reliable, and in many
cases has become utterly rotten. During the latter part of the
eighteenth century it became customary to pare down calf until it
was as thin as paper. Since about 1830 hardly any really sound calf
seems to have been used, as, whether thick or thin, it appears
generally to have perished. Sheepskin bindings of the early part of
the century are many of them still in good condition. Since about
1860 sheepskin as sheepskin is hardly to be found. Sheepskins are
grained in imitation of other leathers and these imitation-grained
leathers are generally found to be in a worse condition than any of
the other bindings, except, perhaps, some of the very thin calf skin.
Undyed modern pigskin seems to last well, but some coloured
pigskin bindings had entirely perished. Modern leathers dyed with
the aid of sulphuric acid are all to be condemned. In nearly every
case Russia leather was found to have become rotten, at least in
bindings of the last fifty years....
“The work of the second Sub-Committee, which was composed
of chemists specially conversant with the treatment of leather, was
directed specially to the elucidation of the following points; an
investigation of the nature of the decay of leather used for
bookbinding; an examination of the causes which produced this
decay; a research into the best methods of preparing leather for
bookbinding; and a consideration of the points required to be dealt
with in the preservation of books....
 “The Sub-Committee made a number of tests and analyses of
samples of decayed leather bookbindings, as well as of leathers used
for binding. The Committee found that the most prevalent decay was
what they termed a red decay, and this they think may be
differentiated into old and new, the old red decay being noticeable
up to about 1830, and the new decay since that date. In the old
decay the leather becomes hard and brittle, the surface not being
easily abraded by friction. The older form is specially noticed in calf-
bound books, tanned presumably with oak bark. The new form
affects nearly all leathers, and, in extreme cases, seems absolutely
to destroy the fibres. Another form of deterioration, more noticeable
in the newer books, renders the grain of the leather liable to peel off
when exposed to the slightest friction. This is the most common
form of decay noted in the most recent leathers. In nearly all
samples of Russia leather, a very violent form of red decay was
noticed. In many cases the leather was found to be absolutely rotten
in all parts exposed to light and air....
“An extensive series of experiments was carried out with a view
of determining the causes of the decay of bindings. The Sub-
Committee find that this is caused by both mechanical and by
chemical influences. Of the latter some are due to the mistakes of
the leather manufacturer and the bookbinder, others to the want of
ventilation, and to improper heating and lighting of libraries. In some
cases inferior leathers are finished (by methods in themselves
injurious) so as to imitate the better class leathers, and of course,
where these are used, durability cannot be expected. But in the
main, the injury for which the manufacturer and the bookbinder are
responsible must be attributed rather to ignorance of the effect of
the means employed to give the leather the outward qualities
required for binding, than to the intentional production of an inferior
article....
 “We are of opinion that no special skin can be condemned in its
original condition, although goat, seal, pig, and calf are probably
superior in strength of texture to sheep. Sheepskins are, however,
equally resistant to chemical agencies, and being naturally soft and
flexible, are extremely suitable for use for purposes where they are
not much exposed to mechanical wear.
“Fresh market skins, dry skins, or wet salted skins are much to
be preferred to those known as ‘drysalted,’ since the crystallization of
the salt which takes place in the drysalting process, tends to weaken
the structural fibre of the pelt. No tainted or putrefied skins, even if
only slightly affected, are suitable for the manufacture of
bookbinding leather, both for the same reason, and because the
weakness of grain so produced leads to uneven dyeing.
“In the soaking of skins we would strongly condemn the use of
old putrid soaks, or the addition of salt to the soaks to assist in the
softening, as both methods weaken the skin. ... Violent mechanical
treatment such as ‘stocking’ is injurious....
“The liming should be done in mellow, weak limes. Old limes
smelling strongly of ammonia, and containing large quantities of
bacteriological products, must be avoided....
“Special care should be taken with regard to the beamhouse
work after unhairing and fleshing, as, by excessive or unsound
puering and drenching of the skins, their whole natural strength is
frequently destroyed.... Great damage is frequently caused by the
use of foul puers or foul bates, in which putrefaction has taken
place.
“Pure sumach is the tannage we would most strongly
recommend for high class bookbinding....
“The tannage of bookbinding leathers must be a mellow one,
and must not be carried too far, as we have found in many cases the
cause of decay in tanned leather has been the fact that the leather
was overloaded with tannin. Tanning has throughout a hardening
effect on the leather fibre, which, if pushed too far, ends in
brittleness and loss of tenacity....
“We must absolutely condemn the use of any but mild vegetable
acids in souring or scouring the leather, or in the dye bath, and as
far as possible would avoid the use of acids and alkalis on tanned
leather, both being equally injurious.
“It has been shown by careful experiment, that even a minute
quantity of sulphuric acid used in the dye bath to liberate the colour,
is at once absorbed by the leather, and that no amount of
subsequent washing will remove it. In a very large proportion of
cases, the decay of modern sumach-tanned leather has been due to
the sulphuric acid used in the dye bath, and retained in the skin....
“We ... advise that the glazing of skins by friction in a damp
‘seasoned’ condition should be avoided.
“The use of nitric acid as a preparation for glazing is absolutely
destructive....
“The use of oxalic acid for washing backs of books, or of leather
for bookbinding, is fatal to their durability....
“The sprinkling of leather with ferrous sulphate (green vitriol),
either for the production of ‘sprinkled’ calf or ‘tree’ calf, must be
most strongly condemned, as the iron combines with and destroys
the tan in the leather, and free sulphuric acid is liberated which is
still more destructive....
“The stretching of leather tightly over books in a wet condition
... should be strongly condemned....
“It is shown conclusively that the catechol tannins, which
include turwar, quebracho, hemlock and larch barks, and gambier,
are unsuitable for bookbinding leathers where durability is expected,
and that sumach yields a much more permanent leather, while
myrobalans occupy an intermediate place, but nearly approaching
sumach. It is unfortunate that cassia bark, which is the tanning
material employed for East Indian sheep and goat skins, should have
proved so unreliable, since these leathers have been largely used in
bookbinding without suspicion, and are in other respects a cheap
and good article. With regard to sumach leathers themselves, it is
possible that some of the darkening noticed may be due to the
presence of adulterants, such as pistacia leaves, in the sumach used,
as it is almost impracticable to obtain absolutely pure sumach, and
the pistacia tannin is allied to that of the cassia.
“Of all the influences to which books are exposed in libraries,
gas fumes—no doubt because of the sulphuric and sulphurous acid
which they contain—are shown to be the most injurious, but light
and especially direct sunlight and hot air, are shown to possess
deleterious influences which had scarcely been suspected previously,
and the importance of moderate temperature and thorough
ventilation of libraries cannot be too much insisted on.”
 INDEX

Absorbent leather: colouring, 69

Acid
: hydrochloric, 30, 66, 71
: muriatic, 71
: nitric, 71
: oxalic, 71
: picric, 66, 67, 68
: sulphuric, 71
Acids, 66
as decolorants, 71
: diluting, 71
: effect of, on steel tools, 30
: injurious effect of, on leather, 72
Alberti: L. B., author of De Pictura, 87
Albumen: colours based on, 67
Alizarin, 66, 67
Alkalis, 66
Aniline dyes: stability of, 64
Apparatus for pyrogravure, 36-37
Archil, 66
Arnotto, 66
Aumaître: Mons. E., 38, 42, 52, 59

Baryta: chromate of, 66

Bed-furniture: leather, 84
Belleville: Mons., author of Le cuir dans la Décoration Moderne, 62,
71
Bénard: Pierre, author, 84
Bérain: leather decorated in style of, 84
Blacks, 66
Blues, 67, 74
Bookbinding
: carved leather, 14
: choice of design for, 77
: crushed morocco for, 17
: first use of leather for, 14
: gold-tooled leather, 14
: mosaic leather, 14
: pigskin in, 17-18
: report of Committee on leather for, 90-95
: vellum in, 18
Boudaroy: Fougeroux de
: remarks on leather hangings, 84-86
: recipe for golden varnish, 86-87
Bronzes, 35, 68, 73, 74, 78
Browns, 65
Brush
: couch-grass, 70
: flannel, for rubbing leather, 73
for gold leaf, 74
for powder colours, 74
for sprinkling, 70
for stencilling, 72
for tree marbling, 70
Buckthorn berries, 67
Burgundy: leather decoration in, 14
Burnishers, 63, 75

Calf leather, 16
: characteristics and methods of decorating, 17
: colouring, 69, 72
 for modelling, 29
for mosaic, 43, 56
: monochrome mosaic on, 45
Canson paper, 45, 58
Cape morocco, 17, 42, 78
Cardboard
for use in cutting out inlay, 48
padding, 34
Carpets: leather, 81
Carthamine, 66
Carthamus Tinctorius, 66
Carton Jacquart, 45, 51
Carved leather, 16, 27-28
bookbinding, 14
: choice of design for, 27
: gold on, 27
in Dijon Museum, 14, 27
Carving
: leather for, 17
mosaic in relief, 61, 62
: tools for, 27
Cassaigre tannin, 16
Catechol, 65
Cathedral style, 27
Chairs: leather, 84
Chamois leather, 16
: use and methods of decorating, 18
Chestnut tannin, 16
Chinese vermilion, 74
Choice of design and colour, 76-79
Choice of skins, 15-18
Chromate of baryta, 66
Chromate of zinc, 66
Coal-tar, 66
Cochineal, 66
Coffers: leather, 77-79, 82
 : choice of design for, 78
: mosaic for, 78
: mounting leather for, 78
: outlining design for, 78
: padding relief for, 78
: punched groundwork for, 78
Colour
: applying, to leather, 68-69
: choice of design and, 76-79
: combination of, 76-77
: for groundwork, 68, 77
: influence of light on, of leather, 16, 64
: influence of tanning process on, of leather, 15-16, 64
: introduction of, into decoration of leather hangings, 81
Colouring
absorbent leather, 69
calf leather, 69, 72
cut leather, 26-27
hollows of cut and punched leather, 27, 35, 65, 68, 73-74, 78
: leather for, 69
leather for mosaic, 42, 69
leather: methods of, 68-75
modelled leather, 71-72
monochrome mosaic on calf, 45
morocco leather, 69
mosaic in relief, 62
oxhide, 69
pigskin, 69
sheepskin, 16
split sheepskins, 69
tinfoil to give it the appearance of being gilt, 89
Colours
based on albumen, 67
based on glycerine, 67
for leather work, 64-68
for stencilling, 72
 : oil, 67, 83
: powder, used with varnish, 73-74
: spirit, 67
: water, 67
Composition of ornament, 77-79
Copper nails: leather ornamented with, 84
Copper-plate etching on leather, 39
Cordouans, 80
Cordwainer, 14
Cork padding, 34
Cotton cord padding, 34
Couch-grass whisk, 70
Cowhide, 16
: characteristics and methods of decorating, 17
for mosaic in relief, 61
Cuir bouilli, 28
Cushion for gold leaf, 74
Cut leather, 16, 25-27
: colouring, 26-27
: colouring hollows of, 27 68, 73-74
: opening the outline of, 23, 25-26
Cutting
: leather for, 17
stamped leather, 39
Cutting out
incrusted mosaic, 62-63
inlay: cardboard for use in, 48
inlay for mosaic, 46-49
inlay for mosaic in relief, 61
inlay for polychrome mosaic, 58-59
open-work leather, 40
Cutting-out knives, 40, 46-48

Damping leather, 19-20

Decolorants, 70-71, 76
on modelled leather, 71-72
 : tracing design for, 71
Design
based on chestnut tree, 76
based on sea subjects, 76
: detached portions of leather in, 77
: choice of, for bookbinding, 77
: choice of, for carved leather, 27
: choice of, for coffers, 77
: choice of, for large surfaces, 79
: choice of, for marbled leather, 77
: choice of, for modelled leather, 77
in leather hangings and furniture, 82-84
: Japanese school of, 79
: study of, 79
Design and colour: choice of, 76-79
Dijon Museum: examples of carved leather in, 14, 27
Dollage de gants padding, 34
Dyes, 64-74
: aniline, stability of, 64
: superposed, 65, 68, 76
: uncertain effect of, on leather, 77
: vegetable, stability of, 64

Embossed leather, see Modelled leather

Encaustic: rubbing leather with, 65, 72-73
England: manufacture of leather hangings and furniture in, 83, 85
Engraved leather, see Cut leather
Europe: introduction of decorated leather into, 13, 14, 80

Flanders: manufacture of leather hangings and furniture in, 83, 85

France
: introduction of gilt or silvered leather hangings into, 85
: manufacture of leather hangings and furniture in, 85
: popularity of leather hangings and furniture in, 84

Garlande: Jehan de, author, 80

Germany: leather decoration in, 14
Ghadames: leather industry at, 80
Gilding, 74-75, 80-81, 83, 86
: bookbinders’ tools for, 75
: decline of art, 84-86
outline of incrusted mosaic, 63
: process described by Theophilus, 80-81
Gilt leather chairs, 84
Gilt or silvered leather hangings and furniture, 84, 85-86
Gilt panel for painting on, 87-88
Gloves for protecting hands from dyes, 68
Glycerine
: colours based on, 67
inks, 72
Gobelin tapestries: leather hangings and furniture replaced by, 84
Gold, 68, 83
groundwork: origin of, 87
leaf, 28, 74-75, 83
leaf: brush for, 74
leaf: cushion for, 74
leaf first employed on leather hangings and furniture, 83
leaf: knife for, 74
: liquid, 75
on carved and embossed leather, 27
powder, 73, 74, 75
: punches used on, 28, 75
: shell, 28, 74, 75
: want of moderation in the use of, 87
Golden varnish
: recipe for (Boudaroy), 86-87
: recipe for (Theophilus), 88
Gold-tooled leather bookbinding, 14
Gold-tooling, 28, 74-75
: powder for, 74
Gouache, 35, 68, 73, 74, 78
Grating: sprinkling, 70
Greens, 66, 67, 74
Greys, 65

Hammered leather, 16, 28

Hammering: leather for, 17
Hematoxylin, 66
Heraldic decoration on leather, 14, 83
Holland: manufacture of leather hangings in, 85
Hydrochloric acid, 30, 66, 71

Incising, 20-24, 26
for inserted mosaic, 60
for modelled leather, 22, 30
knives, 15, 20-24
oxhide, 22
slanting cut, 23, 24
Indigo, 67
Inks
containing nitrate of silver, 72
for stamping leather, 39
for stencilling, 72
: glycerine, 72
Inlaid leather, see Mosaic leather

Japanese school of design, 79

Kip-skins, 61
Knives
: cutting-out, 40, 46-48
: gold, 74
: incising, 15, 20-24
: paring, 43
: stencil-cutter’s, 46, 61

Leather
: absorbent quality of, 64-65
 bed-furniture, 84
carpets, 81
chairs, 84
coffers, 77-79, 82
decoration in Burgundy, 14
decoration in dress, 13
decoration in Germany, 14
decoration in Spain, 13, 14, 80
decoration in style of Bérain, 84
decoration in the past, 13-14
decoration in war-like equipment, 13
decoration: introduction into Europe, 13, 14, 80
: first use of, for bookbinding, 14
hangings and furniture, 80-89
: heraldic decoration on, 14, 83
industry at Ghadames, 80
: methods of working in, 16, 19-41
: report of Committee on, for bookbinding, 90-95
: Spanish, 84
: varieties of, 16
Light: influence of, on colour of leather, 16, 64
Lignereux: Mons. de Saint André de, author of Le Cuir d’Art français,
28
Lithographic stone, 15, 44
Logwood, 66
Lyons: manufacture of gilt or silvered leather hangings at, 85

Madder, 66
Marble: slab of, 15, 44
Marbled leather: choice of design for, 77
Marbling, 69-70
: tree, 70
Metal block for stamping leather, 39
Metal ornaments on leather hangings, 81
Metallic salts, 66
Mimosa tannin, 16
Modelled leather, 16, 28-36
: choice of design for, 77
: colouring, 71-72
: decolorants on, 71-72
: incising for, 22, 30
in hangings and furniture, 83
: introduction into Venice, 14
: opening the outline of, 26, 29, 32, 33-34
: softening the outline of, 32-33
with punched background, 16, 28, 34-36
Modellers, 15, 29, 30, 38
Modelling, 30-34
: ball-shaped steel tool for, 31, 32
: leather for, 17, 29, 61
leather on plaster cast, 39-40
mosaic in relief, 61
reed decoration, 34
: sandbag for, 32
stamped leather, 39
: tools for, 29-32
: tracing design for, 32, 33
: wax for, 33-34
Mordants, 67
Morocco leather, 16
: Cape, 17, 42, 78
: characteristics and methods of decorating, 17
: colouring, 69
: crushed, 17
for mosaic, 42, 58, 59
: grain of, 17
groundwork: pasting inlay on, 59
groundwork: polychrome mosaic on, 58-59
groundwork: tool for sticking inlay on, 59, 60
: paring, for inlay of polychrome mosaic, 58-59
: tanning materials used for, 15
Mosaic, 16, 42-63
bookbinding, 14
: calf leather for, 43, 56
: colouring leather for, 42, 69
: cutting out inlay for, 46-49
for coffers, 78
: incrusted, 62-63
: incrusted, cutting out, 62-63
: incrusted, gilding outline of, 63
: incrusted, outlining, 63
: incrusted, tracing design for, 62
in relief, 61-62
in relief: carving, 61, 62
in relief: colouring, 62
in relief: cowhide for, 61
in relief: cutting out inlay for, 61
in relief: depressing groundwork for inlay of, 61
in relief: leather for, 61
in relief: modelling, 61
in relief: tracing design for, 61
: inserted, 59-60
: inserted, incising leather for, 60
: inserted, outlining, 60
: leather for groundwork of, 17, 42-43
: leather for inlay of, 45
: monochrome, on calf, 45
: morocco leather as groundwork of, 42, 58, 59
: mounting inlay on paper lining for, 45-46
on modelled leather, 59
on modelled leather: paring leather for, 59
: outlining, 52-56
: pasting inlay on groundwork for, 49-50, 59
: paring leather for, 43-44
: pincers for, 50
: polishing, 56, 57
: polychrome, 57-59
: polychrome, cutting out inlay for, 58-59
 : polychrome, morocco leather as inlay for, 58
: polychrome, on morocco groundwork, 58-59
: polychrome, outlining, 59
: polychrome, paring morocco leather for inlay of, 58-59
: polychrome, split sheepskins for, 58
: polychrome, stencil for marking out, 58
: polychrome, tracing design for, 57-58
: preparation of leather for groundwork of, 43-45
: removing paper lining from inlay of, 52
: roller for, 50, 51
: setting in the inlay of, 50-52
: tracing design for, 46
Mosaics of piqué leather, 13
Mosaïque par incrustation, see Incrusted mosaic
Muriatic acid, 71

Nitrate of silver: inks containing, 72

Nitric acid, 71

Oak tannin, 15, 16

Oil colours, 67, 83
Openers, 15, 23, 25-26
Opening the outline
of cut leather, 23, 25-26
of modelled leather, 26, 29, 32, 33-34
Open-work leather, 16, 18, 40, 41
: cutting out, 40
: groundwork for, 18, 40, 41
hangings, 40
in relief, 40
: plaited ornament on borders of, 40-41
Or basané, 83, 84
Outliners, 52-56
Outlining
design for coffers, 78
incrusted mosaic, 63
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