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THE ART OF THE BOOK IN FRANCE. BY E. A. TAYLOR

LINGERING in thought over the far-away days of the glorious bibliographic and typographical past that France has enjoyed, one finds little has happened, amidst all the changes which have swept over those arts in recent years, to disturb the employment of her bibliopegic artists. There are few of her remaining old streets through which one passes without being attracted in one way or another to the sign of the relieur-doreur. To give a remarkable instance of this unique position one has only to recall the sale of the collection of the Vicomte de la Croix-Laval in 1902, in which the books were not catalogued in the names of the author but in that of the bookbinder. But this is not surprising when we consider the excellent craftsmanship of such men as G. Canape, Chambolle-Duru, S. David, Charles LanoË, Marius Michel, G. Mercier, RenÉ Kieffer, and the fascinating execution of the designs on vellum by AndrÉ Mare. Yet it is not uncommon to hear the travellers' comment that books with an attractive outside appearance are non-existent in Paris. Unlike England, France expends little additional labour on the lasting, apart from the certain attractive qualities of cloth or paper-covered board casings, while modern end-papers, as known in other countries, have so far found little consideration. Much energy is focussed on the edition de luxe, embodying the work of popular artists, good paper and type, the result being a limited number of paper-covered volumes, all excellently produced, but very often disappointing in their page arrangement and design and the suitability of text to type and type to illustration.

But this leads me into an explanatory discussion on the old printer's independence of other craftsmen whose art is now divided into separate and recognised trades. And it is remarkable that it should be so to such a great extent, for fewer places other than Paris are so sympathetically enjoined to their artists. It may be the fault of the artist who is more enwrapped in his craft than the art evolved in its ultimate end.

Within the last few years, however, printing has vastly improved, and this has been due in no small measure to the efforts of MM. G. Peignot and Sons. As early as 1900 the Peignot type foundry introduced a new typography with frankly modern tendencies, the best testimony of their efforts at that time being the productions of “Grasset,” following with the “Auriol,” and later on the Bellery-Desfontaines types and ornaments. At the same time, not desiring to lose touch with that which in typography of the past is most intrinsically valuable for to-day, a little booklet issued lately, entitled “Les Cochins,” by the two brothers Peignot, clearly demonstrates the results of their attainment. This booklet, apart from being a catalogue of their research, has behind it the primary desire that editors and printers should try to realise the significance of a typographical revival in France, and the influence it would have on all branches of the graphic arts.

Despite the remarkable progress that process work has made, apart from the most ingenious inventions and machinery being of French origin, wood-engravers and wood-engraving, as employed for illustrative purposes, maintain a prominent and more unique position in France than in any other European country. Amongst the most recent productions of note “Daphnis et ChloÉ” (p. 190), printed and published by M. L. Pichon, is uncommonly good, in fact all that issues from M. Pichon's little establishment is unusually refined. Then there are others, but space will not permit me to dwell on each one's excellent qualities. However, I must not neglect to mention the remarkable edition of “Le Grand Testament de FranÇois Villon,” which I have seen in preparation by M. A. M. Peignot, with illustrations and especially designed type by Bernard Naudin; also some thoughtful little volumes in the series “Les MaÎtres du Livre,” published by MM. Georges CrÈs et Cie under the direction of M. Ad. van Bever; and if it were not for the thoughtful, untiring efforts of such editors as M. Lucien Vogel, of the “Gazette du Bon Ton,” and publishers of Éditions d'art as MM. A. Blaizot, L. Carteret, H. Floury, F. Ferroud, Jules Meynial, R. Helleu, RenÉ Kieffer, E. Rey, Octave Charpentier, E. LÉvy, and H. Piazza, the bibliophiles of Paris would have a poor output from which to select. From amongst others the notable and varied publications of the libraries Ollendorff, Larousse, Hachette et Cie, A. Fayard et Cie, Caiman Levy, Plon-Nourrit et Cie, Adrian Sporck, L. Michaud, E. Flammarion and A. Vaillant should be noted. Finally I must not forget to mention the powerful influence of the “SociÉtÉ des Amis des Livres,” “Les Cent Bibliophiles,” the “SociÉtÉ Normande du Livre illustrÉ,” and the “SociÉtÉ du Livre d'Art Contemporain” ; and without a prolonged description of each SociÉtÉ it must suffice to mention the prosperity the “SociÉtÉ des Amis des Livres” enjoys under the presidency of M. Henri Beraldi, the originator of the “SociÉtÉ des Bibliophiles de Paris” and a publisher of note. Amongst his first efforts “Paysages Parisiens,” by Emile Goudeau, and G. Montorgueil's “Paris au Hasard,” both illustrated by Auguste LepÈre, are the most distinguished, and to him my thanks are due for his kindly interest in my bibliographical quest, and to the President of “Les Cent Bibliophiles,” M. EugÈne Rodrigues, for his generosity in placing at my disposal pages and illustrations from his admirable collection.

After all, it is to men like these, and to the organizations to which they belong, that France owes the prominent bibliographical position she holds, and the freedom her excellent artists and craftsmen enjoy in retaining for us in fitting garb the minds of the great, be they echoes of the past or turbulent cries in the dark, the songs of the open and sunlight, the sonnets of autumn and shade, or the love in the laughter of children.

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