From Manuscripts to Marbling
The earliest endpapers were pieces of vellum or manuscript fragments. These endpapers can provide us with glimpses of texts that may otherwise have been lost.
By the 17th century, there was a shift to marbled endpaper. Originally used in Japan, China, Persia, and India, marbling techniques came to Turkey, and then to Europe. In the marbling process, a thickened liquid called size is placed in a flat tray. Marbling paints are then sprinkled onto the size, where they can float or be manipulated by tools like needles or combs. Moistened paper is laid on top and the pattern is transferred to the paper. Some early marbling techniques are shown here, along with an example of manuscript waste.
12th-Century Manuscript Fragment
Fulke, William. The Text of the New Testament of Iesvs Christ ... Imprinted at London: By the deputies of Christopher Barker, Printer to the Qveenes most excellent Maiestie, 1589 with medieval manuscript fragment First homily of Gregory the Great on the Prophet Ezekiel.
An example of a manuscript fragment used as endpapers. At some point in its history, this book suffered water damage, enabling us to see both sides of the fragment. With the help of Dr. Jessica Lockhart (UofT) and Dr. Julia Mattison (University of Georgia) from the Old Books New Science Lab, we have identified the fragment as the 12th century First homily of Gregory the Great on the Prophet Ezekiel.
Marbling Workshop
Diderot, Denis, and Jean Le Rond d’ Alembert. Encyclopédie, ou, Dictionnaire raisonné des sciences, des arts et des métiers. Geneve; Chez Briasson [and others], 1754.
The first plate in the Encyclopédie, depicting marbling processes and tools.
Turkish Marbling
Sternhold, Thomas, and John Hopkins. The Book of Common Prayer, and Administration of the Sacraments, and Other Rites and Ceremonies of the Church, according to the Use of the Church of England …. Cambridge: Printed by J. Archdeacon, Printer to the University, and sold by J. Beecroft, J. Rivington, B. White, and C. Dilly in London, and T. & J. Merrill, in Cambridge, 1781.
Turkish marbling is created when three to five colours are thrown onto a size with a marbling brush. This early style of marbling emerged in the mid-15th century.
Snail Marbling
Petrarca, Francesco, Alessandro Tassoni, Girolamo Muzio, and Lodovico Antonio Muratori. Le rime di Francesco Petrarca: riscontrate co i testi a penna della Libreria estense, e co i fragmenti dell’ originale d’esso poeta. In Modena: Per Bartolomeo Soliano, stamp. ducale, 1711.
Snail, or French curl, marbling was popular from about 1660 – 1870. A marbler used a comb or stylus to create the curls.
Old Dutch Marbling
The Book of Common Prayer, and Administration of the Sacraments, and Other Rites and Ceremonies of the Church, according to the Use of the Church of England: Together with the Psalter or Psalms of David, Pointed as They Are to Be Sung or Said in Churches. Oxford: Printed at the Clarendon Press, by W. Dawson, T. Bensley, & Joshua Cooke ..., 1797.
Old Dutch marbling gained prominence in the early 17th century. After the colours were dropped onto the size, a comb was moved from left to right, shifted slightly, and then moved back to the left.