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    The Decoration of Leather From the French of Georges de Récy
    The Decoration of Leather From the French of Georges de Récy
    The Decoration of Leather From the French of Georges de Récy
    Ebook191 pages1 hour

    The Decoration of Leather From the French of Georges de Récy

    By Maude Nathan and Georges de Récy

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    LanguageEnglish
    PublisherArchive Classics
    Release dateNov 15, 2013
    The Decoration of Leather From the French of Georges de Récy

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      Book preview

      The Decoration of Leather From the French of Georges de Récy - Maude Nathan

      The Project Gutenberg EBook of The Decoration of Leather, by Georges de Récy

      This eBook is for the use of anyone anywhere at no cost and with

      almost no restrictions whatsoever.  You may copy it, give it away or

      re-use it under the terms of the Project Gutenberg License included

      with this eBook or online at www.gutenberg.org/license

      Title: The Decoration of Leather

             From the French of Georges de Récy

      Author: Georges de Récy

      Translator: Maude Nathan

      Release Date: July 20, 2012 [EBook #40286]

      Language: English

      *** START OF THIS PROJECT GUTENBERG EBOOK THE DECORATION OF LEATHER ***

      Produced by Chris Curnow, Henry Gardiner and the Online

      Distributed Proofreading Team at http://www.pgdp.net (This

      file was produced from images generously made available

      by The Internet Archive)

      Transcriber’s Note: The original publication has been replicated faithfully except as listed here.

      The text conforms to changes in window size.

      1. Blind-stamped leather binding of the Winchester Domesday Book. English, 12th Century.

      THE DECORATION

      OF LEATHER

      FROM THE FRENCH OF

      GEORGES DE RÉCY

      BY

      MAUDE NATHAN

      WITH ILLUSTRATIONS AND EXAMPLES OF

      LEATHER DECORATION FROM VARIOUS

      SOURCES

      LONDON

      ARCHIBALD CONSTABLE & CO Ltd

      1905

      BUTLER & TANNER,

      THE SELWOOD PRINTING WORKS,

      FROME, AND LONDON.

      TRANSLATOR’S NOTE

      In a preface which is omitted from this translation, the author claims for his work a place between the books dealing solely with the history and development of the art of working in leather and those of which the object is to impart a knowledge of the technique of its various processes to amateurs who may be unable or unwilling to undertake a regular course of instruction. He points out that leather, in its adaptability to many different kinds of treatment, is a material eminently suited to the interpretation of the style of decoration known as modern art.

      In the French edition there are numerous reproductions of examples of leather decoration and of ornament intended for adaptation to leather-work. In the following translation these illustrations and also a short chapter referring to them are omitted, and some examples of leather-work derived from various English sources are substituted. The text of the work has been generally somewhat abridged. The fact that there are many technical and other terms in French that have no exact equivalent in our own language, has rendered a free translation desirable, but the meaning of the original text has been carefully preserved.

      CONTENTS

      LIST OF ILLUSTRATIONS

      ILLUSTRATIONS IN THE TEXT

      FULL-PAGE ILLUSTRATIONS

      INTRODUCTION

      THE DECORATION OF LEATHER IN THE PAST

      The following remarks, without attempting a description in detail of the different phases through which the art of decorating leather has passed since its origin in primitive times, deal with the treatment of leather solely from the decorative point of view, the present volume being limited to the consideration of this aspect of the subject.

      In all ages man has sought to develop to their fullest extent the possibilities of splendour in the materials of his dress, and an important place in the wardrobes of our early ancestors was filled by skins shorn of hair, thus lending themselves easily to decoration in many different ways.

      The nomadic races, described to us as at first riding their horses barebacked to the conquest of the West, soon adopted ornamental trappings more suited to their position as conquerors, as shown by the marvellous mosaics of piqué leather which from an early date constituted the foundation of the war-like equipment of the Tartars and Moguls.

      In addition to magnificently woven materials and damascened arms, the Crusaders brought back with them to Europe, leather ornamented with wool, silk and precious metals. Europe set itself to imitate this art of working in leather, and found a source of faultless taste and purest models in Spain, then occupied by the Moors.

      For several centuries the art of decorating leather remained the speciality of Spain. The word cordwainer, derived from Cordova, is a witness of this monopoly by the Peninsula of everything connected with leather-work, apart from the modelled and stamped leathers, introduced into Venice from the East.

      Other countries, however, were doing better work than that of imitating the celebrated manufactures of Cordova. In Germany especially, leather was discovered to be an ideal material for rendering the mantles and plumed helmets of heraldry, while the marvels of carved and embossed leather preserved in the Dijon Museum are a proof of the interest taken in leather-work by the great decorative school of the court of Burgundy.

      In the Middle Ages precious stuffs adorned with enamels,

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