With a
very little history of the evolution of graphic design and the
techniques of the decoration of leather."....binding
developed as a craft, one which has endured to this day. Over the years
as books proliferated the need for bookbinding increased; the invention
of printing provided a new impetus to the craft. The earliest printed
books were issued by their printers in unbound sheets; those who
purchased them arranged to have them bound according to their
individual requirements and taste.1"
"...The 16th
century bibliophile Jean Grolier,vicomte
d'aquisy. of Lyons, was first to develop a special style of designs
individual to himself. Although Jean Grolier is regarded correctly as a
French bibliophile, the bindings executed for him were essentially
Italian in their principles of design. Grolier possessed one of the
finest private libraries of his time (and
possibly any other time), consisting of some 3,000 volumes contained
within bindings of superlative richness and beauty. Grolier lived in
Italy, with only a few interruptions, between 1510 and about 1525, and,
while there, became the friend of the celebrated printer, Aldus
Manutius. It is said that in appreciation of Grolier's friendship and
financial assistance, Aldus printed several copies on vellum or large
paper for Grolier, several of which were dedicated to him. Grolier is
believed to have patronized several binders over the years he
collected, including Claude de Picques, and the
so-called fleur-de-lis and cupid's bow binders. The books which Grolier
acquired in his early years (including many of his Aldine volumes)
possess the distinguishing characteristics of Italian binding of the
time he lived in Italy. The Grolier bindings, the designs of which have
been imitated more than those of any other style, with the possible
exception of the pointillé bindings, are usually classified
into two distinct groups: 1) those executed expressly for him; and 2)
those bound before he acquired them either through purchase or gift.
Although the bindings executed for Grolier are distinctly similar in
style, they vary considerably in their ornamentation. The designs
generally consist of a geometrical pattern, occasionally colored,
combined with arabesque work, which is solid, azured, or only outlined.
On some of his bindings, however, the geometrical pattern has no
arabesques, while in others the arabesque work is found without the
geometrical design. Nearly all of the books of the first class, as well
as many of those of the second, include the altruistic inscription, lo.
Grolierii et Amicorvm (of Jean Grolier and his friends), usually at the
tail edge of the upper cover, which he apparently borrowed from his
contemporary, Mahieu. Both covers of most of
Grolier's bindings feature a central compartment, usually containing
the title of the book on the upper cover, and the expression Portia
Mea, Domine, Sit in Terra Vivetivm (Let my portion, O Lord. be in the
land of the living), on the lower cover. Other legends also at times
appear on his bindings. Grolier's signature, or his motto, with several
slight variations, is frequently found in his own hand inside the books
he collected before about 1536. This was usually written at the back.
There are two distinct features to Grolier's bindings which were not
consistently practiced by other contemporary collectors: 1) the
pastedowns are vellum, followed by two conjugate white paper flyleaves,
which are followed by a vellum leaf conjugate with the pastedown, which
is followed by a final conjugate pair of paper leaves; and 2) the edges
are gilt but not gauffered or otherwise further embellished."* Many
examples of his work still exist, and his name is perpetuated by many 
societies of the
present day. Since his day, binders of great repute have been more or
less numerous, and various styles of bindings have been originated and
are known by the names of such men as Le Gascon, Derome
(Seven generations of Deromes were binders for 100 years. Nicolas-Denis
was the best known member of the family), the Brothers Eve,
Jansen (These bindings only had lettering on
the outside of the cover, but had elaborately tooled doublures), "Padeloup,
le jeune,was probably the outstanding craftsman of a
distinguished family that was associated with the craft for more than
150 years. Padeloup was apprenticed to his father, Michel (c
1654-1725), and probably became a master bookbinder in about 1712. More
commonly known as Padeloupe "le jeune," he was appointed royal binder
to Louis XV in 1733, succeeding Luc Antoine Boyet. Padeloup was
esteemed both
for the solidity of his forwarding and the embellishment of his
bindings. He had an eclectic taste and most of his bindings displayed
several diverse styles of ornamentation mingled together. Padeloup
often decorated his books with DENTELLE (lace-work) borders, and has
even been credited by some with the introduction of this border,
although there is no real proof of this. He also executed, but with
less success, several bindings with onlaid work in different colored
leathers. Although these mosaics were well executed, the tile like
design of many of them is considered by some authorities to be too
feeble. He is also credited with the introduction of the "repetition"
design. Some of Padeloup's bindings are in imitation of the work of Florimond
Badier , sometimes repeating the silver-threaded headbands of
that period. Padeloup was also one of the first binders to "sign" his
bindings, by means of a ticket bearing his name and address."* Roger
Payne in England (His designs, made up of a few small tools
he cut himself, are splendidly simple. He is also well known for his
elaborately detailed bills). During this formative period, leather was
not as universally used as it is to-day, many bindings being made of
wood, silver, velvet, cloth of gold and embroideries on various
materials. Of the modern French school, we need only mention a few
names such as Trautz, ChambolleDuru,
Gruel, Lortic, Marius-Michel,
Ruban, and in England, Bedford,
Zaehnsdorf's (The firm was run by three
generations of Zaehnsdorfs from 1842 until ca. 1945), Riviere
(did a very large business in well executed bindings, many
retrospective, but some with fine designs.) and Cobden-Sanderson
([1840-1922] influential in the Arts and Crafts
movement. His designs were floral. "Cobden-Sanderson's binding had a
highly beneficial influence on the binding of his day. To a certain
extent, he started bookbinding on a path away from the situation in
which the vast majority of bookbinders seem unable or unwilling to
consider new approaches, except within the narrow limits of accepted
methods. His influence on his contemporaries was considerable, and it
is not unreasonable to maintain that his influence is being felt to
this day. Cobden-Sanderson gave up his own bindery in 1893 to establish
the Doves Bindery, originally for the purpose of binding the
publications of William Morris' Kelmscott Press."* ...Aside from those
mentioned, there are of course hosts of others, some of equal repute,
as well as many who hope to achieve fame.
Neo
Classicism
imitative of classical antiquity (Hellenistic/ Roman), was much favored
at the new 
imperial
court of Napoleon in the early nineteenth century,
in France became "Empire" in England "Regency"
and with american motifs "Federal". Featuring
laurels, laurel lines, and Greek keys, it was a style that did not
suffer from understatement. Neo-classicism is described by Craig as
"wiry, linear, rigid, precise elegant but not genial". It was
influenced by the architects, James Stuart and Robert Adams in England.
The style has remained popular to the present day, and it has a
particularly rich look and is used today a good deal, on books of
military history, and laudatory text or awards. 
Mosaic... Bookbindings decorated by inlaying
or onlaying small pieces of leather of various colors to form patterns.
The technique is particularly associatedwith the work of the 19th
century French bookbinders, Antoine Michel Padeloup,
Louis Francois, and Jean Le Monier.
This form of decoration has been used for a considerable length of
time; examples of mosaics of inlaid leather, while extremely rare, date
back to the 16th century. Painted mosaics consist of geometrical
interlacings filled with a colored and varnished incrustation, with
borders of gold lines. Very brilliant when first executed, the
composition in time cracks and peels off, thus damaging the line work
of gold encircling it.Repetition mosaic bindings remained popular into
the 20th century.
Romantic... The western world, 19th century,
particularly popular in the 1830's to 1860's. A very curly, ornate
style, relatively restrained on fine leather bindings, but served as
the basis of the exuberant design on cloth bindings of the period.
Art Nouveau.....Pictorial
bindings with colored onlays or paintings, including the lettering as a
design element. Decorative floral designs were the most popular.
Art Deco ... Paris, 1917 to ca. 1940 Mostly
geometric forms. Characterized by the use of unusual materials:
snakeskin, sharkskin, lacquered eggshell, metal plates, etc.Reflecting
the sleekness of modern technology, Art Déco first became
popular in the 1920's and 1930's, and enjoyed a resurgence in the
1970's. Art Déco bindings utilize gold lines, and multihued
geometric inlays & onlays to produce the
characteristic"streamlined" effect..
Asymmetrical... In
the twentieth century parralleling the Modern School in other arts.
*From Bookbinding and the Conservation of Books, A Dictionary of Descriptive Terminology, Matt T. Roberts and Don Etherington
many excerpts taken from the following sources in a less than scholarly fashion:
ABC of Bookbinding by Jane Greenfield , Oak Knoll Press, 1998
Art Nouveau and Art Deco Bookbinding, Duncan & DeBartha, Abrams, 1989
Book Bindings: Historical & Decorative, Maggs Bros., 1927
Bookbindings by John P. Harthan, Her Majesty's Stationary Office, 1961
Bookbinding in America 1680-1910, William Spawn, Bryn Mawr, 1983
Bookbinding and the Conservation of Books, Roberts and Etherington, Library of Congress, 1982
Bookbinding in France by W. Y. Fletcher, F.S.A., Seeley and Co. 1895
Fine Bindings 1500-1700 from Oxford Library, Bodleian Library, Oxford, 1968
The History of Bookbinding 525 - 1950 A.D., Dorothy Miner, Trustees of the Walter Art Gallery, 1957
Royal English Bookbindings, by Cyril Davenport, F.S.A., Seeley and Co., 1896
1, Excerpts from FREDERICK R. GOFF Honorary Consultant in Early Printed Books Library of Congress.