When the composition filled more than one quire, the quires were originally fastened together in a manner derived, probably, from the method of fastening tablets. That is to say, holes were stabbed through the margin and thongs were passed through the holes and tied at the back. This method of binding, however, had obvious disadvantages and it shortly occurred to some one that thongs, or strips of vellum, could be laid across the backs of the quires at right angles to their length and the stitches by which the quires were held together could be passed over these thongs. This method of binding the quires together is still used in making the best bindings. At this stage of proceedings the loosely fastened bundle of quires was not firmly held together and the unprotected folds of the sheets were exposed to wear. This was remedied by covering the backs with a strip of leather running lengthwise of the sheets. Vellum, however, is particularly liable to warp and twist. This was prevented by putting the sheets between boards. The next step was to fasten the boards to the package of leaves by extending the edges of the leather strip on the back and fastening them to the edges of the boards, which were then fastened at the opposite edges by clasps. The bound book was then complete so far as utility was concerned. It was soon seen, however, that the extension of the leather back to cover the boards entirely added to the beauty and durability of the book and opened a wide field for the exercise of the decorator's art and taste. It is needless to say that great use was made of this opportunity. The beautiful products of the modern bookbinding art are familiar to us all. Beautiful and costly as they are, they are commonplace as compared with the decoration of the early bookbinders. It must be remembered that these books were never intended to be crowded in serried ranks into shelves from which they should present only their backs to the world. They were precious treasures to be kept by themselves, handled reverently, laid on tables or shelves, often enclosed in bags. The covers, often blazing with jewels, were adorned by all the resources of many kinds of art. Some were plates of ivory or rare wood covered with wonderful carvings. Some were plates of chiseled gold or silver. Some were brilliant with enamel. Medallions and pictures in the best style of art ornamented them. Gems of every kind, cut and uncut, added color and brilliancy to the effect. As late as 1583 when the great age of book-cover ornamentation was already past, Henry III of France decreed that ordinary citizens should not use more than four diamonds to the decoration of one book, but nobles might use five.