Book binding in early modern Europe came a long way from the papyrus scrolls used in antiquity. In addition to scrolls, wax tablets became popular in ancient Rome. Two or three wax tablets (later parchment or vellum paper) would be bound together with a wooden board (acting as a flat spine). This early type of book was known as a codex in Latin, and by 450 C.E the codex had completely replaced the scroll. Codexes were cheaper to produce and also more decorative than scrolls and also allowed for pagination. Between 400-700 C.E, European bookbinders began introducing leather and metal to their products. These materials were necessary to keep these books closed, but also served as a form of ornamentation. The metal clasps you see on many books in early modern Europe are known as “book furniture.”

The book as an art form is most clearly illustrated with treasure bindings. These appeared in Late Antiquity through the early part of the Middle Ages. Treasure bindings were leather or vellum book covers that were embellished with gold, silver, ivory, and/or jewels. This kind of binding was reserved for illuminated manuscripts (manuscripts embellished with illustrations or decorative text) and gospel/liturgical texts. These expensive books were only commissioned by wealthy noble families or members of the clergy.

The invention of the printing press in the 15th century standardized the production of books, but it wasn’t until the 16th century that book publishing became an industry unto itself. I recently curated an exhibit on 16th and 17th century English book binding for my library, and it focused primarily on Bibles and the Book of Common Prayer. Publishers began using their own logos to differentiate themselves from other brands. In London, publishers began their own trade guild named the Company of Stationers. Bookbinders also turned to the past for inspiration. For example, stamping (using a stamp to decorate a cover) was popular in the 15th century but had a revival in the mid 16th century. There’s also the gaufre (French for waffle) design, which is used on the corners of covers.

The 18th century saw the continued popularity of book binding. John Baskerville was a typeface designer in the 1750s, and his Baskerville font is still in use today. In 1741, Christoph Ernst Prediger published an exhaustive 4 volume work on bookbinding entitled Der in aller heut zu Tag üblichen Arbeit wohl anweisende accurate Buchbinder. He gave details on everything from the cost of materials to rules for apprentices. Additionally, the dust jacket was introduced in Philadelphia in 1791.

In early modern Europe, bookbinders were heavily inspired by the past as the publishing industry grew. Books were often ornate, but practical. The publisher now had an identity of his own, and consumers had more options in terms of where they could get their books.

Sources

Eliason, Craig (October 2015). ""Transitional" Typefaces: The History of a Typefounding Classification". Design Issues. 31 (4): 30–43.

Feather, John. A History of British Publishing, 2nd ed.

Foot, Miriam M. & Ackers, Robert. "Bookbinding". Oxford Art Online.

Masters, Kristin. A Quick history of Book Binding. https://blog.bookstellyouwhy.com/bid/230074/a-quick-history-of-book-binding

Steinberg, S.H. Five hundred years of printing.