d lived in the 17th and 18th
centuries.

The Deromes were another of the great French families of binders; the
most celebrated was Nicholas Denis, called "Le Jeune," born in 1731. He
used dentelle borders resembling those of Padeloup, but with little
birds interspersed among the arabesques--"dentelles a l'oiseau."

Among the many French binders of the 18th century who used delicate
inlays of coloured leathers, Jean Charles le Monnier was perhaps the
most skilled. He often signed his bindings in small capitals impressed
in gold somewhere about the inlaid part.

Eliot and Chapman bound the library of Robert Harley, earl of Oxford,
about the middle of the 18th century. The bindings are in morocco, with
broad, richly gold-tooled borders, and usually a diamond-shaped
centre-piece. This is known as the Harleian style.

Thomas Hollis had his books bound in fine red morocco, ornamented with
small, well-cut stamps engraved by Thomas Pingo, the medallist. These
stamps comprise a cap of liberty, a figure of liberty, a figure of
Britannia and several smaller ones.

Towards the end of the 18th century, when binding in England was
decoratively at a low level, Roger Payne, a native of Windsor, came to
London and set up as a bookbinder. He was a splendid workman, and
introduced richly gold-tooled corner-pieces, ornamental "doublures" or
inside linings, and also invented the graining of morocco, graining it,
however, in one direction only, known as the "straight grain." It is
said that Payne cut his own binding tools of iron; they certainly are
exquisitely made, and in many of his bindings he has put a written
description of loving work he has done upon them. Payne was,
unfortunately, a drunkard, but he has in spite of this rendered an
immortal service to the art of bookbinding in England.

In 1785 John Edwards of Halifax patented a method of making vellum
transparent, and using it as a covering over delicate paintings. He also
painted pictures on the fore-edges of many of his books in the same
manner as that followed by Samuel Mearne in the 17th century, so that
they did not show until the book was opened. John Whitaker used calf for
his bindings, but ornamented the calf in a curious way with strong acids
and with prints from engraved metal plates. Both Edwards and Whitaker
liked classical borders and ornaments, and their bindings are in
consequence often known as "Etruscan."

The main styles used in England at the beginning of