of the bands were fastened to the boards, which hinged upon
them, and the protecting strip of leather at the back was drawn over the
boards far enough to cover the hinge. So we get the medieval
"half-binding" which shows the strip of leather over the back of the
book, projecting for a short way over the boards, the rest of which is
left uncovered. The boards were usually kept closed by means of clasps
in front.

The leather strip soon developed, and covered the whole of the boards,
"whole" binding as it is called, and it was quickly found that these
fine flat pieces of leather offered a splendid field for artistic
decoration.

Progress of artistic binding.

The first ornamentation on leather bindings was probably made by means
of impressions from small metal points or lines, pressed upon the
leather. This in time led to the purposeful cutting of small decorative
stamps to be used in the same way. It is considered that English binders
excelled in this art of "blind" stamping, that is, without the use of
gold leaf. Most of the stamps were cut intaglio, so that their
impressions are in cameo form. Such bindings were made to perfection
during the 12th and 13th centuries at Durham, Oxford, Cambridge, London
and other places. One of the most charming examples left is the binding
of the Winchester Domesday Book of the 12th century (Plate, fig. 1), now
belonging to the Society of Antiquaries of London.

From about the 7th to the 16th century illuminated manuscripts were held
in the greatest esteem. Among them can be found not only exquisite
calligraphy but exquisite miniature painting. Moreover, the gorgeousness
of the illuminations inside suggested gorgeousness of the outside
coverings, so we find splendid work in metals with jewels, enamels and
carved ivory, dating from the 7th-century _Gospels of Theodolinda_ at
Monza, the Irish cumdach of the _Stowe Missal_, the _Lindau Gospels_ now
in America, and the _Gospels of Charlemagne_ in the Victoria and Albert
Museum at South Kensington, to the magnificent bindings of 14th-century
Limoges enamel in the British Museum. Such English bindings of this
kind--intrinsically precious--as may have existed have all
disappeared,--most likely they were melted up by Henry VIII. or Edward
VI.; but at Stonyhurst there is a book known as _St Cuthbert's Gospels_,
which is bound in red leather with a repousse design upon it, and is
probably the work of the 7th or 8th century (Plate, fig. 2