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In the late 19th century, new influences in design meant leaving behind the rigid conventions of the rectangle. Here, binder Petrus Ruban creates a pattern of gold-tooled rosettes that flows across the entire book, wrapping around both front and back and conveying a sense of movement. This is in direct contrast with the tradition of treating each cover and the book's spine independently from each other, enclosing the spaces in a border with symmetrical design elements at corners and center.
Page data
- Page
- 2
- Source index
- 0
- Type
- photo
- Media ID
- a6df6ea178ea17e2
- Size
- unknown
Document data
- ID
- 88124
- Core
- obj
- Type
- book
DTO data
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"title": "Paris qui crie, petits métiers",
"description": "In the late 19th century, new influences in design meant leaving behind the rigid conventions of the rectangle. Here, binder Petrus Ruban creates a pattern of gold-tooled rosettes that flows across the entire book, wrapping around both front and back and conveying a sense of movement. This is in direct contrast with the tradition of treating each cover and the book's spine independently from each other, enclosing the spaces in a border with symmetrical design elements at corners and center.",
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Context sent to Scholar
Document identity
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Document source metadata
{
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"provenance": "Acquired by Henry Walters, Baltimore, before 1931; Walters Art Museum, 1931, by bequest.",
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Document source extras
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Page context
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