fine cross lines, and retained their outlines only. France, during the reign of Henry II., left Italy far behind, and executed those grand compositions of Diane bindings. They are marvellous subjects, and are sometimes imitated at the present day, but are never surpassed in their wonderful originality.
After these masterpieces we find the curious bindings of Henry III., which instantly mark a distinct transformation. The interlacings are less bold and free, but more geometrically traced. The absence of filling in with small tools gives a coldness, which is increased by a heavy coat of 
Le Gascon.
arms on the sides. This form of decoration exercised a great influence, and from this epoch another school sprung up. Later on in time these interlacings served as a ground plan only for the brilliant fantasies of Le Gascon, a master who no doubt has had the least number of imitators. Although he followed and to a certain extent kept the shapes, the aspect of his bindings was very much changed by the application of pointed tools. Le Gascon rests for ever as the most renowned master of the 16th century. The number of tools necessary for the execution of a composition like one of Le Gascon's is large; and when one considers that these tools are repeated, perhaps a thousand
