The Wines about Paris are very small, yet good in their kind; those de Surene are excellent some Years; but in all the Taverns they have a way to make them into a fashion of Champagne and Burgundy.
The Tax upon Wines is now so great, that whereas before the War they drank them at Retail at 5 d. the Quart, and now sell them at 15 d. the Quart, and dearer, which has enhanced the Rates of call Commodities, and Workmens Wages; and also caused many thousand private Families to lay in Wines in their cellars at the cheapest hand, which used to have none before.
The Wines of Burgundy and Champagne are most valued; and indeed not without reason; for they are light and easie upon the Stomach, and give little disturbance to the Brain, if drawn from the Hogshead, or loose bottled after their fashion.
The most esteemed Vin de Bonne of Burgundy, a red wine; which is Dolce Piquante in some measure, to me it seemed the very best Wine I met with.
Volne, a pale Champagne, but exceeding brisk upon the Palate. This is said to grow upon the very borders of Burgundy, and to participate of the Excellency of both Counties.
There is another sort of Wine, called Vin de Rhemins, this is also a pale or grey Wine; it is harsh, as all Champagne Wines are.
The White Wines of value are those of Mascon in Burgundy.
Mulso in Champagne, a small and not unpleasant White Wine.
Chabri is a quick and sharp White Wine, well esteemed.
From "A Journey to Paris in 1698" by Martin Lister.
17th Century Bindings
As a rare book dealer, and a bookbinder, I have found that above all other eras, I prefer the 17th century.
Back then, books were solid, sturdy, the bindings not created for show, but for longevity. I have sold many 17th century books that were in far better condition than books printed in 1900. What is true today was even true 100 or more years ago: they just don't make them like they used to.
17th books were bound in leather, chiefly calfskin and vellum. Most, save for the later part of the century, were full leather bound, and in the case of calfskin, in varying shades of brown, and sometimes red (much more rare, but splendid to look at, chiefly these are French books).
Decorations were at most times minimal, gold lines around the bands, a red title label (more often, the title was stamped directly onto the spine), or blindstamped (where the brass tools of decoration were heated, then applied to the spine without the use of gold leaf).
Sometimes, however, the spines and/or covers were elaborately gilded:
The paper was made from rag, giving it a supple feel, and even centuries later, a lasting power that no wove paper can touch.
Back then, books were solid, sturdy, the bindings not created for show, but for longevity. I have sold many 17th century books that were in far better condition than books printed in 1900. What is true today was even true 100 or more years ago: they just don't make them like they used to.
17th books were bound in leather, chiefly calfskin and vellum. Most, save for the later part of the century, were full leather bound, and in the case of calfskin, in varying shades of brown, and sometimes red (much more rare, but splendid to look at, chiefly these are French books).
Decorations were at most times minimal, gold lines around the bands, a red title label (more often, the title was stamped directly onto the spine), or blindstamped (where the brass tools of decoration were heated, then applied to the spine without the use of gold leaf).
Sometimes, however, the spines and/or covers were elaborately gilded:
The paper was made from rag, giving it a supple feel, and even centuries later, a lasting power that no wove paper can touch.
Two New Blogs Added to sidebar
At times I am frustrated at the lack of information on the internet concerning the 17th century, but then, I find not one, but two new blogs of note in one morning:
Baroque Explorations
Wonders and Marvels (not strictly 17th century, but still, I will take it)
Happy Day.
Baroque Explorations
Wonders and Marvels (not strictly 17th century, but still, I will take it)
Happy Day.
A Pomander
Silver pomander in the form of a book, 17th century
This pomander, with a rat engraved on its side, contains six compartments and has a chain for suspension. It was probably carried as a protector against the plague. Pomanders were popular in Medieval times. They contained sweet-smelling herbs and spices and were believed to ward off infections carried by foul-smelling air. Regular outbreaks of bubonic plague, a disease transmitted from rats to people by fleas, occurred in Medieval times and continued until the 17th century.
From the Science and Society Picture Library
Coach, early 17th century
This English model of a coach was given to Tsar Boris Godunuv of Russia by Queen Elizabeth I. It was originally in the armoury chamber of the Kremlin in Moscow.
Lantern Clock
Lantern timepiece by Thomas Knifton at the Cross Keys, Lothbury, London. The English lantern clock of the 17th century was the immediate successor of the German type of Gothic iron clock; of the same general layout but made mainly of brass rather than iron. The lantern clocks of the first half of the century had their timekeeping controlled by a balance wheel, but this was replaced by a pendulum in the latter half of the century. This clock is an example of the earlier type, controlled by a verge escapement with a wheel balance. With a balance of this type the only way to regulate the clock is by altering the amount of driving weight: a heavier weight makes the clock go faster. Knifton was a freeman of the Clockmakers' Company of London from 1640 to 1662.
Four Way Sand Glass
This four-way sand glass in a brass stand was hung on a wall so that the glasses could be inverted as required. They measure intervals of quarter, half, three-quarters and one hour, and are of a type formerly used by preachers for timing their sermons. The earliest known illustration of a sand glass is a large fresco of 1337-9 depicting 'Good Government' by Ambrogio Lorenzetti (c 1280-1348) in the ‘Palazzo Publico’ in Siena, Italy.
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