| The Macé Ruette binding shown above next to the Bnf RES 8-Z ADLER-343 is found in the British Library and can be seen online in one of their old PDF files (click here to see it). The first thing that caught my attention is the small vase of flowers in the framework corners, this is the tool that was replaced around 1630, Even though we do not have precision high resolution images we can still try to compare these imprints... if the BnF binding is a fake we should see some significant differences in this very precisely formed small tool to which has been added some small dotted lines. |
| In comparative Diagram 1, we see a collection of 7 of these imprints from the RES 8-Z Adler-343 and below this the imprints from C109e41 as well as a reversed copy of Esmerian's 1972 illustrated model of this imprint A close examination of the uppermost flower reveals that there are more than 4 petals as shown in Esmerian's model. The first obvious thing about these imprints is that the small dotted lines have been added later and are not part of the original tool, this means that the imitator must have had also these small tools to add to his corner imprints... would an imitator not have had a single tool to replace the Ruette example with its added work that requires more work and exacting precision! |
| In Comparative Diagram 2, we see greatly enlarged, comparative images of these imprints, one would expect to see some differences in such a small tool. However the evidence is quite the reverse, these two examples are so similar that we are tempted to proclaim them as being the same.There are so many small matching details without a single obvious significant difference in any detail. This appears to be convincing evidence that these imprints derive from the same Ruette tool. |
| After making the diagrams above I realized that higher resolution images were needed. I searched the internet again and sure enough, after a prolonged search, as if by a miracle, I found them. In Comparative Diagram 3 we see images that are much clearer, we can see even the cross hatching on the vases. The "A" examples are the BnF RES 8-Z Adler-343 images that were originally 600dpi downloaded from Gallica, then tripled to 1800dpi to match the C.109.e.41. resolution "B" examples. These imprints are very small and have been greatly enlarged. We can see that they are the same size and share many of the same characteristics. I show a number of examples because they can vary due to any number of reasons, the quality of the leather, the quality of the gold, the temperature of the tool and the amount of gold left in the imprint, the steadiness of the hand placing down the imprints, the lighting in the workshop, time of day, time of year, distractions of all kinds, mental and physical, all this and more can make two imprints from the same tool look very different. Also not forgetting the lighting of the photographer as well as scanner lighting orientation, color saturation and image sharpness all to be tweeked and mastered in photoshop. |
| In Comparative Diagram 4, it dawned on me that the accessory segmented lines were all the same with the same characteristics. This is a semi ovaloid bar that has been cut in 3 places to make four distinct sections of varying size and proportion. The green arrows are pointing to a cut that appears larger than all of the examples. Normally all the cuts should be roughly equal, Now my reasoning is this, what are the chances of this cut being the same and indeed the entire bar being exactly the same in both of these bindings if one is only a copy of Macé Rurttes original tool. This bar is the proof needed to show that these imprints are the same, deriving from the same tools. |
| In Comparative Diagram 5, I show 3 examples of Ruette tool mr-16a, again these are greatly enlarged images, I have not made bead models to show that these tools are the same, we can see that their very construction intimates that they are the same, with the width of the curve increasing towards the middle, and terminating in the center of the imprint with two proportionally smaller beads. |
| In Comparative Diagram 6, we look at the large gerbes, It appears that the pre 1630 Macé Ruette bindings made for Henri-Louis Habert de Montmor with the small vase in the corners, are decorated with a slightly different gerbe design. When we compare these gerbes we cannot help but notice the close correspondence between them. If the ADLER binding is an imitation, then the imitator must have had one of these bindings in front of him, as well as a complete collection of the tools required. This is no small affair and further to this, the imitator had to be on par with Mace Ruette in terms of skills, to even consider making such a close copy, and if such an imitator existed why would he be imitating Ruette in the first place. At this point in time, c.1630 as calculated by the BnF, Macé Ruette was not yet the King's binder. He was however "administrateur de la Confrérie" i.e. in charge of the Administration of the bookbinder's brotherhood/union/syndicate, who then would dare to make copies of his bindings? Now, considering all the difficulties involved in supposing that this is the work of an imitator... what if this is not an imitation at all! |
| In Comparative Diagram 7, we see the Macé Ruette tool mr-1, greatly enlarged. If we had even better images of this i.e. scanned at 4800 dpi we would be able to claim irrefutable proof that these imprints derive from the same Macé Ruette tool, even so just looking at what we in this diagram, I would say that it would be miraculous if these imprints were not the same. |
|
click here to see an Inventory Index of Macé and Antoine Ruette bindings click here to return to the HOME page. click here to see an INDEX of the 2017 pages. see below links to previous work |
| Even experts are sometimes wrong, before you spend thousands on a book, please do your own research! Just because I say a certain binding can be attributed to le Maitre isn't any kind of guarantee, don't take my word for it, go a step further and get your own proof. In these pages I have provided you with a way of doing just that. |
| Virtual Bookings, created by L. A. Miller | return to the Home page of VIRTUAL BOOKBINDINGS |