From the above it can be understood that illustrations in relief can easily be introduced into the composition, whether in combination with text or in separate pages. Another question presents itself: Did the old printers employ casting, or did they print directly from the wood block itself? In other words, the block having been cut, did they make with it a mould into which melted metal could be poured to obtain a more resistant relief? The fact is difficult to elucidate. It appears to-day that Simon Vostre, Verard, and others printed relief engravings on metal, but were they cut directly or obtained by casting, as they are now? It cannot be determined yet. CHAPTER VIII. BOOKBINDING. The binding of the first printed books--Ancient German bindings--Binding in the time of Louis XII.--Italian bindings--Aldus--Maioli--Grolier--Francis I.--Henri II. and Diane de Poitiers--Catherine de Medicis--Henri III.--The Eves--The "fanfares"--Louis XIII.--Le Gascon--Florimond Badier--Louis XIV.--Morocco leathers--Cramoisy--The bindings of the time of Louis XIV.--The regency--Pasdeloup--The Deromes--Dubuisson--Thouvenin--Lesné--The nineteenth century--English binders--Roger Payne--Francis Bedford. Leading the reader now towards the final perfection of the Book: printing, which had stirred up and reversed so many things, created, so to speak, the art of binding. Previously the binder was simply a workman sewing together the leaves of a manuscript, with no science or device but to clasp the whole together solidly with cord and string. As luxury increased the old binder was no longer thought of. On the wooden boards which closed the Book, jewellers encrusted their wares, lavishing ivory and precious stones to the taste of the amateur or the bookseller. Generally these works covered books of precious miniatures, the _Horoe_, or manuscripts that were deemed worthy of such magnificent clothing, rarely copies without importance. Printing at once disordered the tribe of copyists as well as the binders did jewellers. The demand increasing, rich bindings were soon abandoned, and each bookseller applied himself to the work, or at least covered in his own house books intended for sale. The fashion was not then to expose for sale, as now, unbound books. Purchasers wanted an article easy to handle, and which they were not obliged to return for ulterior embellishment.