19th Century Bookbindings
1840
Though velvet covered books were popular in the 15th and 16th centuries, this 1840 prayer book incorporates some of the same decorative qualities. The book is bound in a plush reddish-brown velvet, with a gold crest-shaped emblem in the center, which reads “Church Services.” The outer periphery of the cover is gold plated, and the edges of the pages are tinged with gold.
Velvet books of the past were associated with royalty, and therefore it is interesting that, almost 2 and a ½ centuries after its “popular era,” this decorative style made a comeback. Unlike earlier velvet books, this one lacks a highly decorative element: oftentimes these books would additionally incorporate intricate metalwork cornerpieces that would protect the velvet bindings from being worn down. In an 1849 version of the book found online, the pages are still gilded, but with a patterned relief stamped into the pages.
One additional decorative element of note is the clasp on the side, attached by hinges on the back cover and the catch in the front. These, too, were common in 15th and 16th century velvet books, and oftentimes the placement on the book differed based on the book’s country of origin.
Although simple in design compared to earlier and later versions of books, this velvet book showcases a particular aesthetic that regained popularity in the 19th century. Moreover, as this style was previously associated with royalty, we can infer that the aesthetic of this type of book decoration also promotes an idea of luxury.
1842
This is a prayer book from 1842, made from metal, velvet, and paper. Both the cover and spine are bound in brown velvet with metal work covering the cover and spine. This book also has metal clasps and gold gilded pages containing a repeated rectangular and circle pattern. The spine metal work is a repeated floral and diamond design that is repeated four time. The cover metal work has a vegetal motif with a blank medallion in the center. Since the cover and spine are made of metal, there are hinges on the edges for the reader to be able to open and close the book
In the 1830’s we see covers being made separate from the books and attached to the book later. Since this book was made in 1842, this idea of the cover being made separately was a relatively new practice being implemented. Not too long after this book was made, the practice of making the cover a completely solid piece of decorated metal came into popularity. This is why we see that this book's exterior is almost completely metal. What is also interesting is this book has a vegetal or botanical motif in the metal work, but the popularity of that style in metalwork of covers was not present until the late 1800’s, early 1900’s.
This book is important in the timeline of exterior book decoration as it is right in between the change in styles. It still has some fabric on the cover, but is mainly metal which is right in between the style change of fabric to solid metal covers. It also has the botanical motif before it became popular, foreshadowing the incoming new style.
1855
The other velvet book in the exhibition, this book is bound in red velvet with gold metal corner plates along the edges of the front and back cover. Just 15 years after the 1840 velvet book, this one is much more elaborate and rich in design. Though the book contains gold lined pages, its gold clasp and corner pieces have a much more intricate decoration, similar to velvet books of the 15th and 16th centuries.
The clasp, particularly, is of interest when comparing it to the 1840 velvet book. Unlike the other book’s solid clasp, this one has been cut into a floral design with excess metal removed, demonstrating a mastered technique. Additionally, the metal corner pieces are vegetative in design, with interwoven leaves and flowers that are seemingly identical between each corner.
Interestingly enough, this book is also decorated somewhat lavishly on the interior. There is velvet on the inside of the front cover, with a front page made of fabric covered in floral decorations, that catch the light and whose floral motifs match the exterior corner pieces.
