2010年--書籍裝幀書籍設計外文翻譯---論1880-1910書籍封面美學設計（節(jié)選）

1、<p>　　3100單詞，1.6萬英文字符，5000漢字</p><p>　　出處：Thomson E M. Aesthetic Issues in Book Cover Design 1880–1910[J]. Journal of Design History, 2010, 23(3):229-245.</p><p>　　Aesthetic Issues in Book C

2、over Design 1880-1910</p><p>　　EM Thomson</p><p>　　This essay examines the aesthetic issues that book binders and their chroniclers addressed in France, England and America from 1880 to 1910, a

3、period during which the aesthetics of book covers became a topic of passionate debate. In this debate, the distinction between fine hand binding and commercial cloth binding was of less concern than the function of

4、the book as a designed object, the book cover's relation to the text it enclosed and the appropriate forms of decoration for book binding</p><p>　　Keywords: bookbinders-book binding-book design-decorativ

5、e arts-decorative design-ornament</p><p>　　'Modern book-bindings and their designers,' the 1899-1900 special issue of The Studio, began with the statement: 'Books hold a distinct place among the

6、subjects of applied art. Whatever beauty they may claim in form and ornament belongs to an order quite their own'. Sarah Wyman Whitman (1842-1904), the leading designer of cloth bindings for Houghton Mifflin,

7、 wrote that the well designed book was 'an aesthetic tract' and argued that the book should not be thought of as simply a three-di</p><p>　　When we speak of book-illustrating in any of its forms I

8、feel that we should be thinking of the book all the time, of this thing as apart from everything else. A book is a little issue all by itself. It is like nothing else, and the method of its decoration must be in a sense

9、unique also.</p><p>　　For bibliophiles in the last decades of the nineteenth century, the aesthetics of book covers became a topic of intense interest and sometimes passionate debate. Numerous national and i

10、nternational expositions included bookbinding exhibits and were regularly reviewed in the press. Historical studies, manuals and many periodicals devoted to the subject were published in France, England and the USA. Bi

11、bliophiles and binders founded book clubs. In order to raise the quality of American binding, m</p><p>　　New technologies of manufacture played a key role in driving this intense interest in the aesthetics

12、of mass produced objects, including book bindings. All objects of common use-from shoes to tableware, chairs to hammers-were reproducible in standard sizes and patterns and priced for all markets. Contemporary transporta

13、tion systems made possible their dissemination throughout Europe and America. In the process, the value of the individual objects, including books, was changed. The value of 'u</p><p>　　The German soci

14、ologist Georg Simmel characterized the human response to this glut of objects as a sense of estrangement, of 'alienation'. At the beginning of the nineteenth century, he wrote, people of all classes enjoyed a ple

15、asurable and natural relationship with their possessions. By the end of the century, the sheer quantity of objects made the individual's relationship to possessions problematic, more self-conscious. The multiplicity

16、of things created a feeling of oppression-of being overwh</p><p>　　In this context, the rapid development of machinery able to produce books by the millions began in the 1820s and resulted in bindings made o

17、f cloth-covered boards called publisher or edition bindings. American publishers, unlike those abroad, regarded cloth bindings as permanent, rather than temporary covering and saw decorated cloth as an important advertis

18、ing tool. Whitman, speaking of the indus­ trialization of, and dramatic increase in, book production, believed this gave designers the oppor</p><p>　　The following essay examines the aesthetic issues th

19、at binders and their chroniclers addressed in France, England and America from 1880 to 1910. Histories of bookbinding by nationality and by individual binders were published during the period, but they did not focus on d

20、esign issues.6 Two excellent modern studies of French cultural life during this period describe the interest in book binding design, and English and American publishers' bindings have been studied in some detail.7 Mo

21、st current l</p><p>　　Two mutually antagonistic impulses were at work: an attempt at universalizing ideas of beauty and a drive to return to pre-industrial national roots. By the middle of the nineteenth c

22、entury in England, Owen Jones, and later Christopher Dresser proclaimed the universality of design, derived from the historical past and other cultures, freeing (or ripping) ornament from its historical and cultural cont

23、ext. To escape what was universally conceded to have been a century in which book binders endle</p><p>　　It was generally accepted by their contemporaries that bookbinding was reinvigorated, if not transform

24、ed by Thomas James Cobden-Sanderson ( 1840-1922) in England10 and Henri Francois Marius Michel (1846-1925) in France.11 Both men rejected the replication of traditional decorative schemes and aspired to a more personal,

25、artistic expression. Cobden-Sanderson dismissed Morris's medievalizing and wrote in his Journal: We are the men of the middle and all other ages, but our</p><p>　　setting, actual and acquired, is differe

26、nt, and consequently our "creations" take other forms. To force ourselves into the forms of other times is to be affected, and to be useless for our time that is.</p><p>　　Henri Marius Michel in

27、sisted, above all, that the decoration of the book cover reflect its content. More than any other binder during the period, he proclaimed necessary and special the relationship between book design and book contents. The

28、binding should be designed to enclose a specific work whose meaning, tone and character would be evoked for the reader before he opened it. For Cobden­ Sanderson, however, the beautiful binding was only one aspect o

29、f creating a total experience of beauty: th</p><p>　　The function of the book as a designed object, the book cover's relation to the text it enclosed and the appropriate forms of decoration for book bind

30、ings were the issues central to this debate.</p><p>　　The book as art object</p><p>　　Marius Michel criticized those who admired bindings on the basis of their price, provenance or the rarity of

31、 the book. The primary function of a book cover, wrote Cobden-Sanderson, is to protect the text and is, 'an act of homage to the genius of the writer whose book is bound'. He argued that book cover decoration

32、 should be a 'tribute of the binder to the author' and not attempt to enhance the prestige of its owner. Ellen Gates Starr, who had been apprenticed with Cobden-Sanderson and shar</p><p>　　Writers o

33、f the period relied on two analogies to explain the function of the book cover: as an element in interior decorating, or as clothing. Books were objets d'art. Libraries in wealthy homes were treasure rooms cre

34、ated for display-as much as they may have been places to store books or to read them. Douglas Cockerell, Cobden-Sanderson's first student and an accomplished binder and teacher in his own right, believed that a boo

35、k cover could not be designed as a beautiful object in iso</p><p>　　Important books used in public, such as Bibles, 'may be decorated with gold and colour until they seem to be covered in a golden mater

36、ial. They will be but spots of gorgeousness in a great church or cathedral, and they cannot be said to be over­ decorated as long as the decoration is good'.17</p><p>　　French avant-garde bibliophil

37、es such as Robert de Montesquiou also valued books as treasures to display, as elements in an interior environment designed to dazzle and inspire occupants and visitors. But he also eulogized the bookbinder Charles Meuni

38、er (1866-1940) as a 'clother of dreams', a designer of bindings that lured the viewer into the text by animating the inanimate: 'when you dress our Book/If it is mortal; make it live/Under the embossing of le

39、ather'.</p><p>　　Other writers of the period also drew a parallel between clothing the human figure and the author's text. Esther Wood wrote that 'the nearest analogy to the art of bookbinding is

40、 that of dress. The apparel we associate with some gracious personality, the garments of ceremonial or of daily use and wont, have their counterpart in the covering and adornment of books ....The, art of the bookbinder i

41、s to contrive a garb becoming to the author and to the nature of his work, just as the art of dress is</p><p>　　Or the reader might respond to a cover that mirrored his state of mind, as did Oscar Wilde'

42、s protagonist, Dorian Gray: 'He procured from Paris no less than nine large-paper copies of the first edition, and had them bound in different colours, so that they might suit his various moods and the changing fanci

43、es of a nature over which he seemed, at times, to have almost entirely lost control'.21</p><p>　　During this period, two recognized masterpieces of book art raised issues about the meaning or purp

44、ose of decorated books. The Kelmscott Press's The Works of Geoffrey Chaucer ( 1896) is a massive folio of 554 pages. Considered by many bibliophiles, then and now, to be one of the greatest examples of bookmak

45、ing ever produced, it represents an impressive achievement of artistic printing. It was laid out in two columns on handmade paper with 13 copies printed on vellum. The volume inc</p><p>　　Similarly, for aest

46、hetes such as the French bibliophile, Gustave Uzanne, it was important that a book cover be a unique creation and like any work of art, it might be exhibited in a private room or an art gallery, like a painting or a piec

47、e of sculpture. He cited Charles Meunier's cover for Histoire des quatre fils Aymon as a '[m]asterpiece of binding; one of the most beautiful examples of incised leather of this time'.23 The Histoire des quat

48、re fils Aymon was designed by Eugene Grasset and publ</p><p>　　Charles Marcilly wrote the introduction and notes. Like many books of the time, it was issued in a limited livre de luxe edition and a larger co

49、mmercial edition. It was a huge undertaking, a technical challenge for Gillot, a long-term commitment for Grasset, and a financial gamble for the publisher. At the outset, the buying public ignored the book but, accordi

50、ng to Beraldi, Marius-Michel volunteered to execute fifteen bindings and his former pupil, Charles Meunier, then bound almost forty more</p><p>　　These French and English leather-bound books exemplified the

51、handcrafted objects that provoked one of Thorstein Veblen's mordant diatribes. Veblen derided luxury volumes for their cost and unwieldiness, their barely legible type, exaggerated margins, use of archaic spelling an

52、d often uncut pages. In their nostalgic appeal to a pre-industrial, pre-machine aesthetics of limited luxury editions, he wrote that 'the law of conspicuous waste' is fulfilled. 'That is to say, while the dec

53、adent book may </p><p>　　Certainly, the socialist sympathies of the Arts and Crafts proponents were irreconcilable with such finely bound books. Cobden-Sanderson loftily dismissed this by saying that no one

54、needed to own many books, 'One or two beautiful things should be enough to live with, and if we limit ourselves to one or two we can generally afford to pay for them'. Yet Ellen Gates Starr's oft quoted st

55、atement, 'If I had thought it through, I would have realized that I would be using my hands to create</p><p>　　Ellen Mazur Thomson</p><p>　　books that only the rich could buy', is a

56、t variance with what she herself had written in earlier essays. Starr acknowledged what all hand binders took for granted, that her bindery could not produce books for the masses. Handcrafted books, she admitted, 'we

57、re very expensive, and the people who most deserve to have choice books, choicely bound, cannot always, or usually have them. That is to be regretted, but it is not the main question in doing any piece of work. The chief

58、 question is where [sic</p><p>　　The relationship between designer, book and owner was potentially closest when the book was hand bound to order, but the proliferation of books made this less likely; and eve

59、n hand binders sold their work through book sellers rather than directly to individuals. </p><p>　　論1880-1910書籍封面美學設計</p><p>　　EM Thomson</p><p>　　本文討論了從1880至1910年，來自法國、英國和美國的書籍裝

60、幀者和編撰記錄者對書籍的美學研究。在這個時期，迎來了關于一場書籍封面美學的激烈辯論。此次辯論重點不在于是否為手工裝幀或商業(yè)布面裝幀，而在于書籍設計的功能。書籍設計意為文本與封面的關系以及適于裝幀的設計。英國的Thomas James Cobden­ Sanderson (1840-1922)和法國的Henri Francois Marius Michel (1846--1925)都是書籍裝幀商，他們振興了書籍裝幀業(yè)，這一點是得

61、到大家公認的。二人都反對復刻傳統(tǒng)裝幀，而尋求更加凸顯個人風格的藝術表達，他們的觀點對挑戰(zhàn)大眾的設計觀念做出了回應。</p><p>　　關鍵詞：書籍裝幀商 書籍裝幀 書籍設計 裝飾藝術 裝飾設計 裝飾</p><p>　　The Studio節(jié)目于1899-1900年舉辦過一次關于“現(xiàn)代設計師和書籍裝幀”的專題講座，其開場白是這樣的：在實用藝術中，書籍有著特殊的地位。無論其外觀和裝飾有多么

62、精美，人們認為那都是理所應當?shù)摹arah Wyman Whitman (1842-1904)是霍頓?米夫林公司的書籍布面裝幀的首席設計師。她在書中寫道：閱讀裝幀精美的書籍是一種美的享受。她還表示，書籍不應僅僅被當做一種三維的物體來進行裝飾。</p><p>　　無論我們以任何一種形式闡釋書籍，都應該考慮到書籍本身，并將其考慮為闡釋的一部分。一本書，就其本身而言是一件不足為奇且無關他物的物體，因此，其裝飾也必須獨

63、一無二。</p><p>　　對于19世紀末的藏書家而言，書籍封面美學激起了他們強烈的興趣，有時甚至會引起強烈的爭論。那時在國內外舉辦了眾多書籍及裝幀展覽，各種報道也常見報端。關于書籍美學的歷史研究、手冊和期刊相繼在英、法、美等國出版。藏書家和裝幀商創(chuàng)辦了讀書俱樂部。為了提高書籍的裝幀質量，美國的格羅里埃俱樂部會員甚至出資聘請法國大師級裝幀師到紐約經(jīng)營俱樂部。法國藏書家Henri Beraldi稱這一時期為“l(fā)e

64、 temps fameux （書籍裝幀復興之時）”。</p><p>　　工廠新技術使得包括書籍裝幀在內的美學作品得以批量生產，并且在激發(fā)人們興趣方面起到了重要作用。日常用品從鞋子、餐具，椅子到錘子都以標準尺寸和模板進行再生產，并在市場進行統(tǒng)一定價出售。現(xiàn)代運輸系統(tǒng)使這些物品銷往歐洲和美洲市場成為可能。生產過程改變了包括書籍在內的個人物品的價值，其獨一無二的價值不復存在。William Morris的觀點得到了許

65、多設計理論家的支持，他們堅持認為要么使工廠制造保持工業(yè)革命前的根基，要么批量生產應秉承手工制作的原則。</p><p>　　德國社會學家Georg Simmel認為市場大量供應會造成隔閡和疏離感。他在書中寫道：19世紀初，各個階級的人，都怡然自得地享受他們所擁有的。然而在19世紀末，人們與物品之間的所屬關系卻成了問題，人們占有欲更加強烈。商品批量生產讓人有了更多選擇，卻也無形中壓迫他們，從眾多物品中做出選擇和如何

66、關注、使用物品，以及怎樣以更能展現(xiàn)自我的方式利用他們，這些都對人們造成了壓迫感。潮流趨勢的改變以及時尚和階級的關系對物品獲取和展示造成緊張。美學運動和之后工藝美術運動和新藝術主義在一定程度上可被視為對物主關系改變的回應。</p><p>　　在這種情況下，19世紀20年代，機器的快速發(fā)展使得書籍以數(shù)以百萬計產量出版，同時使得書籍得以布面硬殼裝幀，也稱為出版裝幀或精裝版。與其他出版商不同，美國出版商認為布面 裝幀應

67、具有永久性，而不是暫時性，并且認為裝飾布面是非常重要的廣告工具。提到工業(yè)化和書籍出版大量增長時，Whitman認為這是設計者將藝術應用于商業(yè)出版的機會。芝加哥裝幀商Ellen Gates Starr（1859-1940）表示商業(yè)設計得益于手工裝幀，因為手工裝幀提供了“一個好品味的標準”范本。 隨著書籍出版增長及品質提高，出版商和批評家希望能提出美學原則以表示其對裝幀精致的書的特殊貢獻。</p><p>　　本文接

68、下來講述了從1880-1910年英、法、美國家有關裝幀商和編撰者的美學事宜。在此期間，各國與個體商出版了書籍裝幀史，但沒有一本得主題關于設計。同一時期，兩次關于法國現(xiàn)代文化生活的出色研究講述了書籍裝幀設計的趣味，此外，英國和美國出版商對此進行了細節(jié)研究。然而，多數(shù)現(xiàn)代文學作品都傾向于說明或贊美書籍裝幀。至今未有任何國家間的美學交流研究。雖然精美的手工裝幀和商業(yè)布面裝幀的區(qū)別在經(jīng)濟和文化價值上相差甚大，但在設計美學上影響不大。批量生產書籍

69、在質量上無法與手工裝訂書籍匹敵，但于裝飾美學，二者皆可運用，且風格相似。個體作家傾向關注裝幀者和設計師的國籍，這與作品本身而言沒有太大關系，此點反映了這個時代的強烈的民族主義。</p><p>　　這個時代存在兩個相互對立的觀念，且互相作用：一是將美學觀念傳往全世界，二是回到工業(yè)革命前的根基。19世紀中期，英國的Owen Jones提出了設計全球化，隨后Christopher Dresser也提出了這一看法，設計

70、全球化來源已久且其他國家也提出過這一概念，意為使設計不受歷史文化限制。上，這是本世紀書商都避談大家都讓步問題，這是長久的歷史遺留問題。許多人都呼吁與時代接軌，然而矛盾的是，最受敬重的改革家們卻提倡傳統(tǒng)通用的設計方式。當William Morris研究中古世紀設計，以求從當時的政治文化中獲取靈感，他采用了那時的裝飾類型作為改革任務的一部分。他的研究同樣給予法國設計師靈感，即追溯至16世紀洛可可式裝幀以其為革新來源。他們將此與對大自然的研究

71、相結合，特別是法國鄉(xiāng)間植物。L'Ecole de Nancy（南希學校）是由法國設計師Emile Galle創(chuàng)辦的，學校也是此運動的成果。雖然在此期間的大多數(shù)文學作品都是國家組織撰寫的，且民族主義影響了工藝復興運動，但是事實證明，裝幀風格難以揭示裝幀的起源。為滿足市場需求，大多數(shù)裝幀工人和設計師都提出了多種風格，只有少數(shù)創(chuàng)造出個人特色。</p><p>　　英國的Thomas James Cobden&#

72、173; Sanderson (1840-1922)和法國的Henri Francois Marius Michel (1846--1925)做出的變革振興了書籍裝幀業(yè)，這一點是大家公認的。二人都反對復刻傳統(tǒng)裝幀，尋求更加凸顯個人風格的藝術表達。Cobden­ Sanderson反對Morris的追溯中古設計，他在日記中寫道：雖然我們已人近中年，但我們所接受的文化與成長的背景是不同的。因此，我們創(chuàng)造的作品形式也應不盡相同。將過

73、去時代的形式強加到我們的時代會造成消極影響，也會使我們時代的作品成為浪費。</p><p>　　Henri Marius Michel認為首要的是，書籍封面設計要反映其內容。相比這個時期的其他任何裝幀商，他考慮得更多的是書籍設計和內容的必要與特殊關系。讀者能在打開書前，通過裝幀設計解讀這一作品的意義、語調和特點。對于Cobden­ Sanderson,而言，精美的裝幀只是創(chuàng)造美的一方面，如精美的書籍或理

74、想的書籍。而紙張、字體、印刷和插圖以及書籍內的所有形式都展現(xiàn)了書籍美的方面。</p><p>　　書籍設計的功能、書籍封面與內容的關系和書籍裝幀的適當方式都是此次辯論的中心議題。</p><p><b>　　把書當做藝術品</b></p><p>　　Marius Michel批評欣賞書皮時卻對其價格、出處或其稀有度耿耿于懷的人。 Cobden

75、-Sanderson, 在寫文稱，書皮的基本功用就是保護圖書文本，也是“向該本書的天才作家致敬的舉動”。他認為封面裝幀應該是“對作者的褒獎”，而不是借以鼓噪作者名望的方法。Ellen Gates Starr曾師從于Cobden-Sanderson，他也贊同老師關于藝術和工藝的看法。Ellen Gates Starr比他老師看得更遠，他指出，一旦書籍泛濫，就將只有內容出色、個性特征鮮明有價值的書會成為掌中寶。但另一方面，Sarah Whi

76、tman卻認為封面裝幀應該要直指讀者喜好而非恭維作者。讀者才是買書，關心書，會對書皮裝飾有一定感覺的人，只有對他們而言，封面裝幀才是有意義的。</p><p>　　這一時期的作家主要用兩種類比解釋圖書封面的功用：內部裝飾的一部分或者起保護作用。書籍曾是藝術品。豪門家族的圖書館曾是珍藏室，盡可能多地陳列所有的書籍，僅供珍藏或者閱讀。Douglas Cockerell是 Cobden-Sanderson的第一個學生，

77、其自身也是個優(yōu)秀的圖書裝幀者和教師，他認為圖書封面不應該單單設計得漂亮，還應該是其內容的一部分。因此，圖書封面應該被視為“周遭環(huán)境中的一抹亮點和出彩點。如果一個房間及其所有內部物件都被刻意裝飾，那么任何“素顏出鏡”的物件都會讓人覺得釋然；但在一個沒有特殊修飾的房間里，稍微一點亮眼的裝飾都會讓人為之神往。</p><p>　　重要的公共用書（比如圣經(jīng)）封面或許會飾有很多金色圖樣以至于使其看起來像是“金裝華裹”。這些

78、書只是堂皇的基督教堂或天主教堂中一個小小的閃光點，因此只要裝飾得體，就絕算不上是過分。</p><p>　　在法國，像Robert de Montesquiou 這樣的前衛(wèi)藏書家也認為書籍是可用于展覽的珍品，是吸引且啟發(fā)圖書所有者和參觀者的組成部分。他贊揚裝幀商 Charles Meunier (1866-1940) 是“夢想的外衣”。這個裝訂設計師為封面注入生命，吸引讀者翻開書頁：“當你著上我們的書、如果書有生

79、命，它會在皮革壓花中獲得生命。</p><p>　　這一時期其他的作家發(fā)現(xiàn)了人類穿衣與圖書封面之間的相似之處。Esther Wood寫文道“對圖書封面設計最貼切的比喻就是穿衣打扮。使人顯得優(yōu)雅的衣服，正式場合禮服或者日常著裝都可以找到與其對應的圖書封面。圖書裝幀的藝術在于設計出一套彰顯書籍作者或其作品本色的外衣，正如著裝的藝術是為了從某種程度上表現(xiàn)出著裝著的性格或職業(yè)。 Pene du Bois也贊成這個比喻，對

80、于保守的圖書裝幀工，他批評他們生產的封面毫無特色：那些只是制服，絕非禮服。 這些談不上是裝幀藝術，而不過是帶有所有權的標識或慣常設計的封面裝飾技術罷了。他認為圖書裝訂藝術就是，通過封面構圖設計，在讀者心中創(chuàng)造作者期望的心境。</p><p>　　讀者也可能會對反映自身心境的封面有感覺，就像奧斯卡 王爾德書中的主人公道林格雷一樣， </p><p>　　“他至少從巴黎買了九份第一版書的摹本，

81、用不同的顏色的書皮包上，這樣就能滿足他不同心情和想象的需要，他有時候看起來幾乎完全失控。”</p><p>　　在這一時期，兩本廣為人知的杰作指出了裝幀圖書的意義與目的，Kelmscott印刷出版的the Works of Geoffrey Chaucer ( 1896)共有554頁。很多藏書家都將其看做迄今為止裝幀最優(yōu)秀的書之一，是藝術印刷杰出的成就。設計為兩個欄目，用羊皮紙復印13份。每欄包括 87個Edwa

82、rd Burne-Jones 畫作的木刻版本以及 William Morris設計的精美首字母和鑲邊設計。出版了435本立馬銷售一空，供不應求。T. J. Cobden-Sanderson 采用 William Morris的設計用豬皮裝幀了一版，飾有壓印浮凸字體和銀扣。只有字母是鍍金。如今在牛津大學的Bodleian圖書館中，它無疑是意義非凡的人工制品。是一本只能放在讀經(jīng)臺上而非輕松坐下閱讀的書，（如同圣經(jīng)），因為書頁太大，只有這樣才

83、能一覽全頁。文本是深黑色和深紅色哥特風格，使用Chaucer 學者重新編排的拼寫系統(tǒng)，但這種系統(tǒng)既沒有完全忠于Chaucer的拼寫方法，也不適用于現(xiàn)代讀者。不過對于很多人而言，這是當被視作奇跡永遠紀念的榮譽出品。裝幀著William Dana Orcut寫</p><p>　　同樣地，對于 唯美主義者（如法國的藏書家Gustave Uzanne）而言，圖書封面像藝術品一樣獨一無二非常重要，可陳列在私人展室或者藝廊

84、里，就像繪畫作品或者一尊雕像。他認為 Charles Meunier為Histoire des quatre fils Aymon設計的封面堪稱裝幀杰作，是當時切割皮革最漂亮的范例。Histoire des quatre fils Aymon 由Eugene Grasset操刀設計，1883年在巴黎的H. Launette出版。 共240頁四開書頁。 Grasset的水彩畫每頁都有裝飾，在文本周圍或者文本底部。繪畫部分由Charles

85、Gillot采用彩色鉛印術完成，這種新型平板印刷術是印刷技術的一次進步，史無前例地將文本和制圖完美結合。文本以20世紀法國歌曲de geste of Renaut de Montauban為基礎，歌曲是關于中世紀時期查理曼大帝宮廷中四兄弟的故事。</p><p>　　Charles Marcilly為其編寫引言和注釋。和同時期其他書籍一樣，它也是以livre de luxe版本和更大的商業(yè)版本發(fā)行。這對Gillo

86、t而言是巨大的責任和技術挑戰(zhàn)，是對Grasset的長期追隨，對出版商而言也是一場豪賭。一開始，消費大眾并不關注書籍，但 Beraldi指出，Marius-Michel自愿發(fā)行15種裝幀樣板，他的學生Charles Meunie，也裝幀了近40種。由于 Marius Michel身份地位顯赫，很快就引起了公眾關注，書籍立馬變?yōu)闀充N品。書皮采用鑲嵌繪制皮革，彰顯中世紀戰(zhàn)爭和紋章的概念。</p><p>　　這些英法皮

87、革書皮是手工藝品的典范，引發(fā)了Thorstein Veblen的諷刺。他鄙視裝幀奢華的書籍，因為這類書籍又昂貴又笨重，通常都采用夸張的邊緣裝飾，拼寫浮夸，書頁通常都沒有切開（開頁很大）。他們懷念工業(yè)革命前，機器時代以前裝飾得體的版本，他寫道“實現(xiàn)了突出的浪費”。也就是說，這種風格的書籍或許漂亮，但設計者要解決的其內部的局限性又不是美學成分決定的。如果書籍外觀精美，那么它一定花費不菲卻并不值價。</p><p>　

88、　當然，社會學者對Arts and Crafts的同情與裝幀精美的書籍是不可調和的。Cobden-Sanderson不贊同這種觀點，他說道，沒有人需要很多書，如果我們將自身局限于一兩個本能夠支付得起的書籍，那么一兩本精美讀物足矣。而 Ellen Gates Starr認為，如果我想曾思維清晰。我就會自己親手制作只有有錢人才能買得起的Ellen Mazur Thomson，這與她從前在文章中所表達的態(tài)度有些出入。Starr意識到所有圖書裝

89、幀商都覺得理所當然的一件事，就是她的裝幀廠產出的書籍并不符合大眾需求。她承認，手工制作的書籍確實很貴，而人們在可以選擇書目或裝幀的情況下，通常很少選擇這類書籍。這很讓人遺憾，但這卻不是制作藝術品主要的問題。最大的問題是在于一件作品的價值體現(xiàn)在何處。</p><p>　　當一本書是由手工制作而成時，設計者、圖書和所有者之間的潛在關系是最緊密的，但隨著圖書不斷再版，手工裝幀商甚至開始通過圖書經(jīng)銷商出售書籍而不是直接與