Besides, Derome massacred without pity the rarest works. He loved edges very regularly cut, and he did not fail to hew down margins opposed to his taste. He sawed books as well; that is to say, in place of sewing the sheets on to projecting bands, he made a groove in the back, in which the cord was embedded. The books have no resistance. To these celebrated names of French binders of the eighteenth century we may add Le Monnier, who worked for the Orleans princes; Tessier, his successor; Laferté, who decorated the small volumes of the Duc de la Vallière as Chamot covered the large ones; in 1766 Chamot was royal binder. There was also Pierre Engerrand, then Biziaux, an original, who worked for Madame de Pompadour and Beaumarchais. Boyet, or Boyer, worked (1670-80) in the style of Le Gascon, with the same minute tooling, but simpler in character. Duseuil put very elaborate and delicate tooling on his covers from about 1710 to 1720. The Revolution effaced many of the fine works which displayed the symbols "of a royalty justly detested," and Mercier wrote certain wicked little poems against binding. Lesné was the poet of bookbinding, and he invented the process of plain calf without boards. Certainly from Grolier to Lesné there were numerous changes, so numerous that, in spite of the nude calf, it may be said that the art was nearly dead. In our days it has a little recovered. Amateurs have found new names, and often artists, to patronise: Trautz-Bauzonnet, Capé, Duru, Lortic, Marius Michel, in France; Bedford, Rivière, Zaehnsdorf, Pratt, in England; Matthews, Bradstreet, Smith, in the United States; and many others. Unhappily, fortune does not permit every one to furnish his library luxuriously; the true connoisseur searches rather for Groliers, Eves, and Le Gascons, than concerns himself about modern workmanship. Whatever may be its value, it is only fit to clothe the works of the time. A book published by Lemerre and bound by Petit is in true character, but a fifteenth or sixteenth century book passed under the hands of Trautz-Bauzonnet himself will be very much like an ancient enamel in a modern frame newly gilt.