autograph notes recording the prices he paid for his treasures, and his assiduous collation of them, make them doubly precious in the eyes of subsequent owners.  Mr. Grenville also had his book-stamp, though there is little joy to be won from it, for it is unpleasing in itself, and is too often found spoiling a fine old binding.  Mr. Cracherode’s stamp was as graceful as Wodhull’s; but, as a rule, our English collectors, though, as Mr. Fletcher is discovering, many more of them than is generally known have possessed a stamp, have not often troubled to use it, and their collections have never obtained the reputation which they deserve, mainly for lack of marks of ownership to keep them green in the memory of later possessors.  That this should be so in a country where book-plates have been so common may at first seem surprising.  But book-plates everywhere have been used rather by the small collectors than the great ones, and the regrettable peculiarity of our English bookmen is, not that they despised this rather fugitive sign of possession, but that for the most part they despised book-stamps as well.

Of book-plates themselves I have no claim to speak; but for good taste 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 francais’ 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 mediaeval manner, the Renaissance brought with it an absolute decline.