Book of Common Prayer is an ‘all-over style’, so named by bibliographer Graham Pollard, where the finishing (the decoration) extends over the entire cover area, with little if any blank space left for anything else. The profuse gold tooling of flowers, birds, dogs, and short fillets (lines) is laid out in a cottage-roof style, where the top and bottom of a centre rectangular panel slope away from a broken centre, producing a gabled effect. Popular in England in the late 17th century, the style continued to be used for almanacs and devotional works. The name ‘M. Pimlowe, 1763’ is pasted on the front marbled endpaper; perhaps he commissioned the binding?]]> Church of England]]> Book of Common Prayer is an ‘all-over style’, so named by bibliographer Graham Pollard, where the finishing (the decoration) extends over the entire cover area, with little if any blank space left for anything else. The profuse gold tooling of flowers, birds, dogs, and short fillets (lines) is laid out in a cottage-roof style, where the top and bottom of a centre rectangular panel slope away from a broken centre, producing a gabled effect. Popular in England in the late 17th century, the style continued to be used for almanacs and devotional works. The name ‘M. Pimlowe, 1763’ is pasted on the front marbled endpaper; perhaps he commissioned the binding?]]> Church of England]]> Book of Common Prayer is an ‘all-over style’, so named by bibliographer Graham Pollard, where the finishing (the decoration) extends over the entire cover area, with little if any blank space left for anything else. The profuse gold tooling of flowers, birds, dogs, and short fillets (lines) is laid out in a cottage-roof style, where the top and bottom of a centre rectangular panel slope away from a broken centre, producing a gabled effect. Popular in England in the late 17th century, the style continued to be used for almanacs and devotional works. The name ‘M. Pimlowe, 1763’ is pasted on the front marbled endpaper; perhaps he commissioned the binding?]]> Church of England]]> Histoire de l'Académie Royale des Sciences avec les Mémoires de Mathématique et Physique of 1708 has its origins in France. It carries a gold-stamped central medallion with the royal arms of Louis XIV, the Sun King (1638-1715), and could have been bound by Luc Antoine Boyet, the King’s binder from 1698. The patterned border decoration around the front and back edges repeats the use of the fleur-de-lys. This book was once owned by Lytton Strachey, founding member of the Bloomsbury Group.]]> Académie Royale des Sciences]]> Histoire de l'Académie Royale des Sciences avec les Mémoires de Mathématique et Physique of 1708 has its origins in France. It carries a gold-stamped central medallion with the royal arms of Louis XIV, the Sun King (1638-1715), and could have been bound by Luc Antoine Boyet, the King’s binder from 1698. The patterned border decoration around the front and back edges repeats the use of the fleur-de-lys. This book was once owned by Lytton Strachey, founding member of the Bloomsbury Group.]]> Académie Royale des Sciences]]> Histoire de l'Académie Royale des Sciences avec les Mémoires de Mathématique et Physique of 1708 has its origins in France. It carries a gold-stamped central medallion with the royal arms of Louis XIV, the Sun King (1638-1715), and could have been bound by Luc Antoine Boyet, the King’s binder from 1698. The patterned border decoration around the front and back edges repeats the use of the fleur-de-lys. This book was once owned by Lytton Strachey, founding member of the Bloomsbury Group.]]> Académie Royale des Sciences]]> Evricii Cordi Simesusii Germani, Poetae Lepidissimi, possibly printed in Leipzig in 1550. The recycled waste can often be old legal documents, business records, or occasionally (and excitedly) a fragmentary survivor of some unknown text. Because of this, binding fragments are now a growth area of study in book history circles. The medieval script on this book remains unidentified.]]> Euricius Cordus]]> Evricii Cordi Simesusii Germani, Poetae Lepidissimi, possibly printed in Leipzig in 1550. The recycled waste can often be old legal documents, business records, or occasionally (and excitedly) a fragmentary survivor of some unknown text. Because of this, binding fragments are now a growth area of study in book history circles. The medieval script on this book remains unidentified.]]> Euricius Cordus]]> Evricii Cordi Simesusii Germani, Poetae Lepidissimi, possibly printed in Leipzig in 1550. The recycled waste can often be old legal documents, business records, or occasionally (and excitedly) a fragmentary survivor of some unknown text. Because of this, binding fragments are now a growth area of study in book history circles. The medieval script on this book remains unidentified.]]> Euricius Cordus]]> ___]]> ___]]> Giacomo, or Jacobus Mazzocchi]]> Giacomo, or Jacobus Mazzocchi]]> ___]]> ___]]> ___]]> ___]]> ]]> Augustus Hamilton]]> Augustus Hamilton]]> Augustus Hamilton]]> Conrad of Brundelsheim]]> Opera Medicinalia, his best known work, is a survivor. The text block on display reveals four double-sewn bands that continue to hold the sections of paper together to form a book of 294 leaves. The ends of the cord bands have long gone; so too the wooden boards to which they were once attached. Five patches of leather have been pasted in each compartment along the spine to strengthen and secure the sections. Hanging by a thread are two uncoloured head and tail bands.]]> Yūḥannā Ibn Māsawayh, or Johannes Mesue]]> Missal is impressive, with its detailed engraved initials, the printed music, and its printing in red and black. Externally it is equally impressive. The decorative brass bosses and clasps are intact, as too the green silk page-markers. Usually ten bosses were fastened: one on each corner, and one in the middle of each cover. Bosses not only provided ornamentation, but also prevented the cover (in this instance goatskin) from being scratched. This Missal has also been gauffered (Fr. Tranches ciselées), a repeat pattern delicately tooled on the edge of a book and here just visible among the faded gilding.]]> Catholic Church]]> ]]> Catholic Church]]> Missal is impressive, with its detailed engraved initials, the printed music, and its printing in red and black. Externally it is equally impressive. The decorative brass bosses and clasps are intact, as too the green silk page-markers. Usually ten bosses were fastened: one on each corner, and one in the middle of each cover. Bosses not only provided ornamentation, but also prevented the cover (in this instance goatskin) from being scratched. This Missal has also been gauffered (Fr. Tranches ciselées), a repeat pattern delicately tooled on the edge of a book and here just visible among the faded gilding.]]> Catholic Church]]>