5.

Covering material is “wrong” color or does not match previously-bound

materials.
6. Spine lining is crooked.
7. Spine lining extends beyond text block at head or tail.
8. Squares are unusually wide or narrow.
9. Edges of leaves stuck together by adhesive (usually seen at outer edges of
text block at head and tail).
10. Spine lettering crooked, positioned improperly, or of a less than optimal
size.
11. Endpapers torn due to excessive adhesive on leaves.
12. Endpapers not smoothly adhered to boards.
C. Structural Problems:
1. Leaf attachment method is inappropriate for the volume.
2. Sewing not done correctly or done well (e.g., too few stitches, broken
threads).
3. Adhesive not applied well on double-fan adhesive bound volumes –
especially head or tail; leaves may be loose as a result.
4. Spine of recased volume not cleaned adequately before application of
new spine lining.
5. Spine lining not smoothly and adequately adhered.
6. Spine lining on double fan adhesive bindings stops more than ¼” short
of the head and tail edges.
7. Spine lining on other bindings stops short more than ½” short of the
head and tail edges.
8. Spine lining extends onto the front and back boards less than one full
inch.
9. Spines of large or heavy items not reinforced with an additional layer of
material (either paper or extra spine lining cloth).
a. 1 ½” thick for sew through fold or recased items.
b. 2 ½” for all other volumes.
10. Endpapers are not attached properly, or as agreed upon for the particular
leaf attachment:
a. Recases: Endpapers shall be sewn onto the text block in a
manner compatible with the original sewing structure.
b. Sewn through fold: Endpapers shall be sewn onto the text block
as if the signatures were the outermost signatures.
c. DFA: Endpapers shall be adhesive bound with text block.
d. Oversewn: Endpapers shall be sewn onto the text block with
outermost leaves.
11. Board thickness inadequate for size and thickness of volume.
12. Text block cased in crookedly.
13. Spine not properly shaped.
14. Joints not parallel, evenly wide and deep, and firmly impressed.
15. Text block not flush with bottom of case, if the option was specified, or
if the volume was:
a. Over 3” thick.
41
Silvia Pugliese
technical innovations of this industry and its market and
exchange activities drew in foreign craftsmen and clients [3].
On the other hand the geographical restriction of this survey
offers the possibility of identifying groups of books bound by
the same binder or for the same purchaser.
A short outline of the binding will be given first to give an
idea of the basic features which made it widely used among
the types of bindings available on the market at those times.
A full description of the main steps of the binding will then fol-
low in the order of execution, focusing on variations and
peculiarities found in the Marciana group. The actual condi-
tion of the volumes ranges from very good to poor, so special
attention will be given to the elements which did or did not
contribute to preserving the bindings over the centuries.
Finally, the inquiry has also left a tangible impact (the
last one, hopefully) on this collection, giving the occasion for
in-situ repair of some volumes and extensive boxing.
General outline
Description of the binding technique
The textblock is sewn on raised supports and the slips are then
laced through the boards as for other in boards bindings. The
spine is slightly rounded and lined, accurate endbands are
sewn on the head and tail, and then, to keep the cover close to
the spine, slots are cut in the vellum, a sort of buttonhole
exactly fitting the sewing supports protruding on the spine. In
fact the sewing supports have been previously covered with
patches of alum-tawed skin ending on the outer side of the
boards. This protects the sewing thread and highlights the
sequence of bands on the spine. It also makes the binding
immediately recognisable on the shelves, especially when
associated with reused manuscript parchment for the cover.
Very often ties were added, whereas other decorative elements
such as coloured edges or tooling of the cover were not so
common (fig. 1).
3 Text editions
2 The two volumes (1546 and 1549, [4]) come from diffe-
rent collections but present the same construction and
materials: three alum-tawed double sewing supports,
endleaves and endbands type, velvety alum-tawed bands,
large slots on the spine, washed manuscript fragment for
the cover, two alum-tawed ties.
16th century vellum binding techniques
From a general point of view, among the bindings where vel-
lum is the main material at the beginning of the 16th century,
we first of all find the economical limp binding. It goes back
to a medieval tradition and turns out to be an optimal solu-
tion from the conservation point of view (Clarkson 1982; Fitz-
simons 1986), together with a number of variations (Pick-
woad 1995). Bound in boards we find the full vellum with
tight-back, which is not so well known but widespread in Ita-
lian libraries until the 18th century. Here the vellum is moul-
ded on the sewing supports and a large amount of adhesive is
put on the spine, giving a solid and plain binding for large
formats. It however presents a certain stiffness and rigidity in
the opening, especially when the rounding is pronounced. I
will leave aside the most common solution in the 17th and
18th centuries, the laced-case binding with stiff-boards (the
so-called Dutch binding, in Italian “all’olandese”), because
it appears later and with its hollow back it falls into another
category.
We could assume that the model for a tight-back structure
with raised supports on the spine was the leather one. This was
then copied using vellum, a material of a high standard of
manufacture in Italy. Despite its greater stability and endu-
rance it displays a completely different behaviour when is
rigid, stretched and glued. On the contrary when alum-tawed
pigskin is used, such as for wooden board bindings of the Ger-
man tradition (Montelatici 1992), or in the few existing exam-
ples of reverse alum-tawed skin in boards (chamois, with a
very elegant appearance), the tight-back still keeps its func-
tion.
In case of this slotted spine technique, an original struc-
ture was created assembling two materials with a long tradi-
tion and widely available in the bookbinderies of the country,
to get a refined and easily flexible product. The alum-tawed
skin patches protect the raised supports; besides, the vellum
with its slots cut to measure can follow exactly the shape of the
spine and does not need to be heavily glued or stretched, espe-
cially when rounding is not pronounced.
ranging from
1569 to 1596
bound at the
same moment
with the same
style [5]. For
full description
of the varia-
tions of pat-
ches material
see p. 99.
Moreover, if we imagine the bound book just issued by the
shop, the alternation of white and cream colours on the spine
must have been very attractive to customers. Sometimes this
alternation is also underlined by putting out the flesh side of
the alum-tawed skin, or slightly sanding the grain, so that its
smoothness contrasts with the polished surface of vellum.
Another possibility is the use of brown tanned leather instead
of alum-tawed skin (fig. 2 and 3).
Dating, format and content
With twenty manuscripts on a total of 360 volumes, the large
majority of the texts are printed ones, distributed over almost
two centuries. If we only consider the edition dates, in fact, we
have the first entry on an incunabulum dating 1496, and the
last on a Venetian imprint of 1670 (see fig. 1).
A printed text could receive a binding many years after its
printing, and it could also be the case that a cover would be
added at some point to an earlier sewn textblock. Considering
these possibilities, the incunabulum actually shows some
quite “archaic“ characteristics in comparison with the other
early examples (the second one twelve years later, in 1508)
and it could be assumed that it was covered not a long time
after it was printed. For the next three decades there are a
moderate number of findings, but we see that this typology
became more common from the 1540s and undoubtedly rea-
ched its peak of popularity in the 1580s, with one out of seven
books coming from this decade. Then it gradually decreased
and rapidly dropped after the beginning of the 17th century,
even if one should consider that other historical events like the
pest epidemic of 1630 caused a general economic crisis. In the
meantime other binding structures, especially the Dutch
binding, developed and came into fashion (fig. 4).
The format is usually the folio (72 % of entries), but even
three small sextodecimo editions got this cover. Another point
is the kind of texts contained in the volumes; law and theo-
logy were two best-seller subjects because of University and
Church, but they are not the predominant ones. In the first
place there is literature: Latin and Greek classics, Italian au-
thors, grammars and rhetoric texts. Next in order, and almost
at the same level, we find theology, then philosophy, and then
law. But there are also many medicine and history authors, so
that it is not possible to put this binding style in relation with
a particular discipline or the kind of customers.
Number of volumes
5 Materials used for sewing supports, grouped by twenty
4 The date distribution by decades.
Stiff-Board Vellum Binding
Sewing
The first thing to be noticed as an indicator of accuracy in the
execution of this kind of binding is the sewing structure. It is
always and with no exceptions an all along sewing, even in the
later examples. A common trend in book production by the
second half of the 16th century is speeding up this crucial step
by means of alternate or bypass sewing. This refers to sewing
two or more sections together (with the additional result of
saving thread) or skipping one or more stations while sewing
every section (Pickwoad 1994).
At this date this phenomenon is widely found in low-cost
bindings, such as limp vellum or paper bindings and book-
seller’s wrappings, and also in decorated full leather bindings.
In our collection this tendency is not evident even in later edi-
tions. On the contrary we even found a few examples with all
along sewing carried out with double thread, probably with
the intention of creating a more consistent, more protruding
support on the spine. The effect of protrusion is intentional in
this model of binding.
In other examples the binder produced this result by
sewing on double supports made of alum-tawed skin. The
double supports are present only in one volume out of five, the
single rolled sewing support being the most common solution
adopted. Some observations can be made about the decline of
this medieval tradition, which had for so long guaranteed a
resistant material and a sound sewing structure, and its effect
on the functionality and durability of books. The last double
alum-tawed sewing support was found on an elegant German
print dating 1596, but apart from this late example, this
ancient typology extended over the three decades, from 1530-
1560. A variation with two rolls of alum-tawed skin side by
side, instead of one strip with a central cut as sewing support,
was in use for a few more decades.
Material of the sewing supports
The single supports in rolled alum-tawed skin were predomi-
nant only before 1550. After this date we found one example
out of three, and tanned leather became the main material
(fig. 5).
Leather was easier to find on the market, but it did not
offer the same durability as alum-tawed skin. The rolled sup-
ports often broke in pieces on the spine—even thick ones—
years.
 b. Exceedingly heavy.
16. Text along binding margin is invaded by adhesive, notching, or sewing.
17. Test, illustrations, or fold outs are trimmed or caught in binding.
18. Text obscured by adhesive that has flowed between pages.
19. Text is covered or pulled off by adhesive portion of binding slip.
20. Poor adhesion in joint/hinge area.
21. Spine of volume to be double-fan adhesive bound is not milled entirely
free of original adhesive or folds.
22. Are the edges straight and smooth?
23. Text trimmed.
24. Fold-outs bound in.
This document is based on “Binding Problems to Watch Out For: Mistakes, Cosmetic Problems, Structural
Problems” by Carol E. Eyler. It was produced for Mercer University.
42
Silvia Pugliese
and almost always at the joints, giving a weaker structure
especially when associated with partial lacing through the
boards. Sometimes this deterioration offers interesting fin-
dings, as in two large folios of 1642. They have been sewn on
five single 8 mm thick leather rolls, which are now in very
poor condition: the front boards are completely detached from
the books, the sewing thread is torn and the sewing supports
are broken in several pieces. By unrolling a fragment of them
it is possible to obtain a leather strip of approximately 5 by
3 cm with gold and blind tooling, which had clearly been
taken from the leather cover of another book (fig. 6). The idea
of unrolling all ten of the strips could be tempting even for a
conservator.
It is interesting to note a similar change in the quality of
the material used to support the sewing in another typical Ita-
lian structure, the limp paper binding. This structure was very
common on books from the 16th to the 19th century, even if
it was intended for a completely different purpose (Cloonan
1990). A glance at the external lacing of the supports through
the cartonnage cover gives a clue to their evolution from
alum-tawed skin to leather, ending up in cords.
Other options are cord or a combination of alum-tawed
skin with leather in the same volume, which could be evi-
dence of the inconsistent introduction of a new method, or
simply of the fact that in a bindery is practice of using the first
material to come to hand.
Number of sewing supports
In opposition to the commercial search for cheapness, and
associated to the general change in decoration of books, the
increasing number of sewing supports is to be considered,
regardless of the size of the volumes. From the widespread pre-
sence of three supports, uncontested until 1540 in octavos as
in folios, we gradually and very clearly shift to four and five,
with a few six and seven. From the 1590s onwards no exam-
ple is found with less than four supports. Together with other
indicators, such as the watermark in endleaves, and the mate-
rial of the supports, it contributes to date a binding, for exam-
ple a Neapolitan imprint of 1535 which has been sewn much
later on seven double cords [6].
7 Endleaves types: the most common hooked single fold
6 Unrolling a fragment of a sewing support made of a deco-
rated strip of leather. [7].
As one can imagine, it also puts this binding on the same
level of execution as the other contemporary in boards bind-
ings found close to it on the height-based shelves of the Lib-
rary, whereas limp neighbours usually present a lower num-
ber of supports.
This is again confirmed by looking at the volumes lined
on the shelves. But in a couple of cases we found some strict
examples of this practice. The first is the second tome of an
octavo edition, printed in Venice in 1563 [8], and sewn on four
single supports of alum-tawed skin; its first tome, dated 1549,
has been bound in a limp vellum binding with only three sup-
ports. The second case is a mathematics text printed in Venice
in 1589 [9], with five expected alum-tawed supports and
crowning core in the endbands; next to it there is the same text
printed one year before in Pesaro, bound again in limp vel-
lum, but only on three leather sewing supports, and without
crowning core.
Endleaves
In the group of bindings examined there is not a great variety
in endleaf formats, with two main categories—if we consider
the time spent to sew them. The first, and definitely most com-
mon (present in one out of two books), is a single sheet fol-
ded with a stub and hooked around the first and last gathe-
rings, which avoids any extra sewing. Moreover it hides com-
pletely the inner side of the binding at the joints and the
thread is sewn through a good number of folds. This last fea-
ture prevents an easy tearing of the paper caused by the thread
pulling when the binding is opened. The second format is a
separate gathering made of one folded sheet, sewn as the other
gatherings of the textleaves (fig. 7).
Within these two formats there are a few variations which
(top), the single fold without sewing and high incidence
of the three mounts watermark (middle), and the single
fold sewn as a separate gathering (bottom).
Silvia Pugliese
Stiff-Board Vellum Binding with Slotted Spine
A Survey of a Historical Bookbinding Structure*
A type of stiff-board vellum binding, with a tight-back structure,
slots cut in the spine cover and alum-tawed skin patches pro-
tecting the sewing supports, has been examined through the
examples surviving in the National Library Marciana in Venice
(Italy). This binding is found in the 16th and 17th centuries
and presents typical Italian characteristics. This paper analyses
the main features and variations of construction techniques
and materials such as sewing supports, shapes of alum-tawed
patches and vellum slots, quality of the covering, in the general
evolution of bookbinding practices. The survey was limited to a
few hundred volumes from a restricted geographical area and
therefore it has been possible to identify some matches and com-
binations. Since this model had always been replaced by the
more common hollow back Dutch vellum binding, special
attention has been given to conservation outcomes of the diffe-
rent elements.
In bookbinding studies the main effort is usually applied to
the analysis of decoration, i.e. gold and blind tooling on lea-
ther covers, trying to research a binder’s style or to get clues of
geographical and chronological provenance.
However it should not be forgotten that in Italy printed
books bound in leather are actually a minority of the vast hol-
dings of libraries, and that important works have been hand-
led with less attractive covers made of vellum or paper. These
bindings also present specific characteristics of historical peri-
ods or geographical areas and can reveal the social status of
the owner as well as the history of collections by more “struc-
tural” means.
In this paper a vellum binding structure found on books
of the 16th and 17th centuries will be investigated through the
examples surviving in the Manuscript and the Rare Printed
Collections of the Marciana National Library in Venice (Italy).
They amount to 318 instances [1] and to these are to be added
42 more covers: in the recent past they were detached from
their textblocks for rebinding within the Library and—fortu-
nately and strangely—not thrown away. A database has been
therefore set up to record and then process the analytical
description of each volume.
The starting point for this research and the definition of
the binding itself—stiff-board vellum binding in which the
covering has been slotted across the spine to accommodate
raised bands—are in a paper presented some years ago by
Christopher Clarkson. He designed a modified version with a
“casing-type hollow” to meet conservation purposes (Clarkson
1999). A historical approach has been tried here, aiming to
understand a typology which is no longer adopted, or even
recognised, but presents some interesting features for local
Kurztitel
Ein besonderer Typus des Ganzpergament-Einbandes mit fe-
stem Rücken wurde an den noch vorhandenen Exemplaren der
National Bibliothek Marciana in Venedig (Italien) untersucht.
Kennzeichnend für diesen Einbandtyp sind im Buchrücken
eingeschnittene Aussparungen, die mit alaungegerbten Leder-
streifen unterlegt sind, welche die erhabenen Bünde schützen.
Diese Bindeweise ist im 16. und 17. Jahrhundert anzutreffen
und weist typisch italienische Charakteristiken auf. Der vorlie-
gende Artikel analysiert die Hauptmerkmale und Variationen
der Bindetechnik und der verwendeten Materialien, z.B. der
Bünde, die Form der Aussparungen und der alaungegerbten
Lederstreifen sowie die Qualität der Einbandmaterialien im
Hinblick auf die allgemeine Entwicklung der Bindepraktiken.
Die Erhebung war auf ein paar hundert Bücher aus einem
begrenzten geographischen Gebiet beschränkt. So konnten
einige Übereinstimmungen und Kombinationen identifziert
werden. Da dieser Typus schon immer durch den bekannteren
Niederländischen Pergamenteinband mit hohlem Rücken er-
setzt wurde, wurde der Rolle der verschiedenen Elemente bei
der Konservierung besondere Aufmerksamkeit gewidmet.
libraries. In fact it is usually said that the manufacture of this
kind of binding is typically Italian. In our case it is confirmed
by bindings on both Italian and foreign text editions, which
bear definite local characteristics in materials and style of
execution.
It is important to stress the fact that the results presented
here are based on the holdings of an important, but single,
library, and that one should consider a broad number of books
from different places in Italy, as well as the examples found
abroad, to get a clear and complete picture of the evolution
and variations of a model, especially for its earlier develop-
ment. Venice is a significant location for study, because of its
importance in the 16th century as a market and a centre of
book production. The city has often played a leading role in
1 The first (1496,
right) and last
(1670, left)
stiff-board vel-
lum bindings
with slotted
spine recorded
in the Mar-
ciana National
Library collec-
tions. [2].
BINDERY HANDBOOK – INSTRUCTIONS FOR DEPARTMENTS PREPARING THESES AND
DISSERTATIONS FOR BINDING
Rationale: The purpose of this section is to outline the steps necessary for preparing
theses and dissertations for library binding. The Library’s Bindery
Preparations Unit traditionally serves as a conduit for departments seeking
this type of service. However, it is imperative that materials are sent to the
binding unit properly prepared and packaged for shipping.
I. Definitions and Contact Information
A. Binder – Used interchangeably with the word Bindery, a Binder provides a
service to the University in the form of library binding. Generally, this
practice involves producing new bindings for loose serials and replacement
bindings for damaged books. Binders also bind theses and dissertations.
Currently, the University employs the services of:
1. The HF Group
1010 North Sycamore Street
North Manchester, IN 46962
T: 800-334-3628
B. Bindery Preparations Unit – Located in Room 44 of the Main Library
Building, the Bindery Preparations Unit coordinates the preparation of
library materials for library binding.
C. Department – A department, in this case, is any unit outside the Library
system that wishes to bind materials commercially. Payment and labor is
provided by the department. The Bindery Preparations Unit serves as a
shipping and receiving point and informational resource for the department.
II. Required Materials
A. Theses and/or Dissertations – Available from your students.
B. Folders – Manila or accordion-style folders. One per thesis or dissertation to
be bound.
C. Rubber Bands– Used to secure: (a) loose items into folders, or (b) multiple
copies of the same thesis or dissertation together.
D. Boxes – Containers with lids that close and will remain secure. Xerox boxes,
etc… are superb examples of the containers to use.
E. Binding Kit – Requested directly from the Binder, the Binding Kit contains
most of the basics that a department needs to do its binding work: Buckram
Color Guide, Binding Tickets, Instructions for Completing Binding Slips, a
43

BINDERY HANDBOOK – RUSH SERVICES FOR LIBRARY BINDING
Rationale: This section of the Bindery handbook details the rush services that are
available for library binding.
I. Normal Rush Delivery
A. As has always been the case, any items that are sent to Bindery Preparations
that are marked as "Rush" are packed separately and returned with our
regular shipment marked "hand-carry." This means that they will be the first
items to be unpacked, processed, and returned.
B. For items to be properly processed, there are a couple issues that must be
considered before sending items for processing.
1. First, binding shipments are sent every other week. In the early
morning hours the day before each shipment, the Binder
Preparations Unit completes a closing. At this point, no other items
can be added to that out-going binding shipment. This means that for
an item to be processed and added to shipment X, it must be
received in the Bindery Preparations Unit a minimum of two days
before that shipment is picked up by the bindery. A schedule of pick-
up dates can be obtained from the Bindery Preparations Unit.
2. The Library's common practice for sending items anywhere for
"Rush" processing is that they be accompanied by a pink streamer.
Unfortunately, Bindery Preparations occasionally receives an item
marked "Rush" at the bottom of the normal binding streamers (i.e.,
the space inside the book) without any accompanying pink streamer.
Occasionally, this hidden instruction has been missed. To ensure that
your item is actually processed as a rush item, please do one of the
following (1) include the eye-catching pink streamer with the normal
binding streamers, or (2) hand carry the item down and delivery it.
II. Expedited Service
A. As we all know, extenuating circumstances sometimes apply. On rare
occasions, we can ask the Bindery to UPS/Fed Ex items back to us as they
are completed. Generally, the items still need to be processed to go out with a
normal shipment, but they will be returned as they are completed. Please use
this option exceedingly judiciously as this option costs the Library the price of
the binding (between $5.00 and $35.00), plus one or more hours of special
handling ($25.00/hour), plus the cost of overnight delivery. This option is
best employed if your book falls apart mid-semester and needs to be made
available ASAP.
50
cover a restricted number of examples. The more interesting
one is represented by a group of twenty books with text editi-
ons ranging from 1529 to 1576. It is again a single folded
sheet, which is neither hooked nor sewn: the outer leaf is sim-
ply pasted onto the board, and there is no sign of holes or
sewing thread. This structure in other words is not connected
to the textblock, and its interest lies in the high incidence of
the same watermark, three mountains in a circle with a long
cross on the central one, found in books dated 1536-1551. We
found very similar watermarks in papers produced in the area
of the Lake Garda (Mazzoldi 1990: vol. II, no. 787). In those
times it was part of the Venetian Republic and the main sup-
plier of the primary resources to Venetian printers [10].
If we consider this combination of endleaf format/water-
mark in relation to other features common to these volu-
mes—titling on the tail edge of the textblock with a heavily
inked pen, signs of heavy use, water stains, and in general a
plain and neat execution—it is possible to argue an attribu-
tion of these volumes to the library of Melchiorre Guilandino.
He was a botany professor who taught at the nearby Univer-
sity of Padua and died in 1589. In his will, his 2200 books were
bequeathed to the Marciana Library (Zorzi 1987: chapter VII),
and they represent the oldest core of printed volumes to enter
the Library. Unfortunately an identification of these books
among the rare collections of the Library has not been accom-
plished yet, and it would be quite difficult, as he did not mark
his holdings with any ex-libris or possession note. Only in a
few cases there are autograph annotations, and when present
these marginal notes confirm the material elements mentio-
ned before. This leads us to presume that he used a binder who
bound in a specific style the text editions bought by the pro-
fessor during a particular period of time. He added endleaves
made of paper from the Garda papermills and his bindery
might have been located for example in Padua or Venice. We
also find that these Guilandino volumes frequently lacked
endband secondary sewing, they have four alum-tawed skin
ties, or they have covers composed of three pieces of vellum—
one for the spine and two on the boards. This confirms the
theory that Guilandino asked for simple and practical models.
8 Particular of a board spine edge: a single piece of a
laminated board folded at the centre [11].
Stiff-Board Vellum Binding
One of the possible approaches to the study of his collection
would therefore be that of surveying the materials and con-
struction of volumes from a large private library which was
mainly intended for medical research.
Spine
As stated before, the rounding of the spine is generally mini-
mal and a great number of books have spines that are almost
flat. The lining material we found most was parchment, often
fragments of manuscript books. The less common paper
linings began to appear in the late 16th century, and the only
type is a transverse lining between the supports (Szirmai 1999:
195). It is made of strips that extend over the spine with
straight edges and are pasted on the inner face of the boards.
Endbands
Endbands are always carefully executed, and even in the later
entries they never loose their structural function, confirming
that this type of binding, perhaps more than others, remained
close to a tradition of high quality craftsmanship. The thread
stitches in the textblock are numerous, and in many of the
volumes they even pass through almost every gathering [12].
The thread is double or single with a back bead, and usually
covered with secondary sewing in coloured silk [13]. More
than half is also embellished by a crowning core.
Compared with the variety in material we found used as
sewing support, for the endband treatment there is an unex-
pected fidelity to tradition. Over 80 % of the endbands are still
in alum-tawed skin and only 10 % in leather, with a small
number in cord and parchment, as if the binder knew that lea-
ther was weaker or perhaps because it was easier to make thin
rolls with alum-tawed skin. Unlike normal in boards bind-
ings, the core slips are not cut at the joints; instead they are
laced through two or even three holes in the boards. They do
not show outside as they would in Dutch bindings, and the
board corners usually do not receive a special treatment.
Board treatment
A couple of notations regard the board treatment, legible
because of the critical condition of some volumes. As far as
one can see boards usually do not receive any bevelling on the
spine edge. However in a handful of cases it is apparent that
the board is formed by a single piece of laminated cartonnage
folded at the centre. The fold is at the spine edge (fig. 8), while
at the front edge the two parts separate to a deep extent, so that
it is not even sure if some adhesive was pasted in the middle.
This folding solution gives a gently rounded shape and an
easy opening. If we consider that papermakers could use nor-
mal paper moulds to make layers for paste boards, it makes
sense from an economical point of view. In this way the folio
mould would have given a perfect piece to be folded and used
on a folio volume, without any extra work.
On the other hand in two instances the boards are made
of two thinner boards of different colours (creamy and blue)
pasted together. The blue one is on the inside so that it does
not show through the cover.
 blank Shipping Record, Instructions for Binding Periodicals, and Instructions
for Preparing the Shipment.
F. Binding Tickets – Paper binding tickets used to give the bindery
instructions about the pieces to be bound. One must be completed for each
title. They are available in the Binding Kit.
G. Shipping Record – Blank shipping records are available from the Bindery.
They indicate what, in terms of quantity of boxes and pieces to be bound, is
being sent. They are available in the Binding Kit. The department must
record a valid account number for billing and complete contact information for
the department (including the name of a contact person) on the shipping
record.
H. Shipping Labels – Blank shipping labels are available from the Bindery.
They are used to indicate what department the materials belong to and what
type of binding (e.g., thesis) is being sent. They are available from the
Bindery Preparations Unit.
III. Preparing Theses and Dissertations for Binding
A. Request a Binding Kit from the Bindery using the contact information above.
When requesting the kit, specify how many pieces you are binding so that the
Binder can send enough Binding Tickets.
B. Once you are ready to begin, select the unit that is to be bound. This unit
should be no thicker than 2 – 2.5” (if thicker, you will need to bind as
volumes one and two).
C. Make sure that the piece is complete and that all the pages are in the correct
order.
D. Place the item into a folder and secure with a rubber band.
E. Using a typewriter, complete the binding ticket following the Bindery’s
instructions in the Binding Kit.
1. Under the section labeled Copy, list the number of pieces to be bound
with that title, i.e., if you are binding two duplicate copies of that
particular title
F. Make a copy of the binding slip and keep for your records. This will tell you
if errors in the spine stamping, etc… resulted from mistakes at the Bindery
or within your unit.
G. Secure the completed binding slip with the item to be bound.
44
Silvia Pugliese
Covering
Use of fragments of medieval manuscripts
The use of manuscript parchment from books for lining (65 %
of parchment linings) can be explained in the general atti-
tude where waste materials were normally and exhaustively
recycled, as seen in the gilted leather rolls used for sewing
supports, or in the printed leaves sometimes visible under the
pastedowns, or as pastedowns themselves. It finds its clearest
correspondence in the covers made of reused manuscripts,
which are thirty examples among the slotted spine vellum
bindings. They range in date from 1519 to 1617, with a peak
in the years 1530-1550. Manuscript leaves from books [14]
were usually put on with the original fold along the spine and
in more than half of the instances the ancient inks had been
washed away. An unusual combination is that of a Paduan
manuscript written around 1527; it is covered with a printed
bifolio of parchment (fig. 9). All these examples have been
phase-boxed to prevent contact and further abrasion by the
other books on the shelves.
The habit of recycling comes from the medieval tradition,
showing that even in the first quarter of the 17th century vel-
lum was still an expensive material, and thus it was worth-
while to look for “second hand” sources. Incidentally, al-
though all of these bindings lack fancy elements, such as the
crowning core, or even the silk sewing in the endbands, they
are carefully and traditionally executed. Ten of them have
double alum-tawed sewing supports, and two out of three
have alum-tawed ties on the edges—data above the average.
Finally, the contrast of the written inks with the bright alum-
tawed skin evident from the slots makes these volumes parti-
cularly attractive.
Flesh or grain-side out vellum
The most popular cover material in the first period is however
vellum with flesh outside. It gives a clear colour together with
an elegant and plain look, and it seems to be characteristic of
Italian vellum bindings. It is possible to date quite exactly the
9 The fragment
for the cover
comes from a
book printed
on parchment
[15].
shifting from flesh side to grain side in the decade 1550-1560.
Before that period, grain side out examples were sporadic,
while from this point onwards the situation gets inverted with
increasing evidence. After 1591 flesh side out cases are very  DOC – Items processed for Government Documents do not receive
isolated, one curiously on the latest surveyed binding of the a streamer. They should be sorted and processed as follows before
1670 edition, almost greyish/white in colour (Reed 1991). being put onto a labeled shelf for retrieval.
Compared to vellum with grain side out, where the flesh  STD – Items processed for Government Document’s Stacks do not
is not so worked and polished, flesh of course is weaker and receive a streamer. They should be sorted and processed as follows
offers less protection. It is easier to find cracks or splitting before being placed onto a labeled shelf for retrieval.
along the joints and abrasions on the edges. As nowadays it is
the main reason for critical condition, it is not to be preferred C. Marking: Marking helps the library maintain access to its collections by
from a conservation point of view, especially when the spine discouraging theft. Marking consists of three steps: property stamping,
has a good rounding. location stamping, and security stripping the piece.
Alum-tawed skin patches
1. Property Stamping: Property stamps identify a physical piece as
In many cases of a vellum cover with broken joints, a firm being a part of the University of Illinois at Urbana-Champaign’s
attachment to the boards is supplied by the patches of alum- collection. All items shall receive a property stamp on the top and
tawed skin, which once more confirms it to be a long lasting bottom edge of their text block.
and resistant material. These patches were presumably cut 2. Location Stamping: Location stamps identify the intended
before putting them on the sewing supports. Anyhow their location of a physical piece within the Library’s collection. All items shall
ends are often shaped in precise patterns, and some damaged receive a location stamp on the inside of their front cover (their front
covers have revealed the knife sign on the boards (fig. 10). paste-down).
The ends are usually squared or pointed like an arrow, but 3. Security Stripping: All items processed receive a security strip.
they can also be rounded, irregular, or a combination of two Instructions for security stripping materials are available in the section
or more patterns, or even not visible. entitled Bindery Handbook – Security Stripping.
It looks as if the potential decorative element of the alum
tawed patches on the boards was slowly exploited by binders D. Inspection: All materials processed as binding returns shall be
and ultimately produced some beautiful examples, in parti-
inspected as outlined in the following two sections of this document: Bindery
cular when the number of sewing supports were high. The
Handbook – QC and Inspection and Bindery Handbook – Mistakes, Cosmetic and
arrow profiles, underlined by a grain-side out vellum with an
Structural Problems.
accurate pasting on the boards, were very rarely adopted
before 1580 (fig. 11). Squared patches—the easiest—were
more or less distributed all through the 16th century. Then
they almost disappeared after the beginning of the 17th cen-
tury. Rounded patches were likely to be more popular in the
middle of the 16th century.
Slot cutting
In the slot cutting of the vellum cover we also find variations.
The most common cases have squared ends. The first cuts
were presumably the two ends, measuring the width of the
spine or slightly over the joints, then the two long lines along
the sewing supports were made.
The question whether the cuts were made directly on the
10 Board inci-
sions from
alum-tawed
bands cutting. 49
[16].
 1. As noted in section III.E. above, one slip may be completed for
multiple copies of the same title. These pieces should all be secured
How to Make Book Cloth together after being secured into their individual folders. Failure to secure
each individual copy may result in pages getting mixed up in transit.
H. Keep a tally of how many pieces you are binding.
Materials & Tools:
I. Place the pieces into a box. Multiple titles may be placed into the same box
as long as: (a) they are properly secured, and (b) the binding slips are properly
100% cotton quilting fabric, ironed
secured to the pieces.
Sumi sketch paper or other lightweight paper, 1” larger than fabric
Non-stick surface, such as glass, plexiglass, teflon/silicone mat or freezer paper J. Repeat above steps as necessary.
Large piece of cardboard
2 Glue brushes (I use inexpensive 2” bristle brushes) K. Complete a Shipping Record. Make a copy and keep for your records.
Wheat/rice paste powder
Saucepan L. Fill out the Shipping Labels. One is required for each box. Include return
Heat proof bowl shipping/billing address, the work Thesis in the section labeled “Binding
Whisk Type”, and a contact name.
Craft knife
M. Deliver the materials to the Bindery Preparations Unit in the Main Library.
Ruler They may be contacted by calling 333-1997. If you have any questions about
preparing your materials, contact the Bindery Preparations Unit before
delivering the material to the Library. If corrections are required, your unit
Make Wheat Paste will have to come to the Library to complete them prior to shipping.
• Put a couple of inches of water in the saucepan and bring to a boil. N. Once materials are returned to the Library, the Bindery Preparations Unit
• Place bowl over a pan. will contact the department to notify a pick-up is required.
• In the bowl mix 1 part wheat paste to 6 parts cold water.
O. When unpacking materials, inspect the pieces against the Binding Ticket to
• Continually whisk paste to desired thickness (5-7 minutes).
ensure that the spine information is correct. Inspect the volumes to ensure
• Allow to cool to room temperature before using. that there are no visible physical errors in the binding , i.e., bound upside
• Paste can be kept in refrigerator for several days. down or backwards, etc….
• If using paste from the refrigerator, reheat in microwave for 30 seconds with a little water and
whisk out any lumps.
Make Book Cloth
• Place fabric right side facing down in the center of the cardboard and smooth flat with your
hand. Spritz with water if necessary.
• Place backing paper on non-stick surface, and cover thoroughly with a thin layer of glue.
• Gently lift paper and place it onto the fabric glue side down.
• Gently press down with your hands, taking extra care to adhere the edges.
• Smooth carefully with a clean dry brush.
• Leave overnight and cut away fabric in the morning with a sharp knife.
• Note: a small paper border will be left on the cardboard.
Vintage Page Designs/Handmade Book Club December 2019
45

BINDERY HANDBOOK – PROCESSING BINDING RETURNS
Rationale: This section outlines how the Bindery Preparations Unit processes materials
returned from the bindery before sending them to unit libraries.
I. Retrieving Bound Materials
A. Selecting Boxes: The materials returned from the bindery are sorted
into two broad classes based upon ownership and many sub-classes based
upon the type of material.
1. Ownership: The Bindery Preparations Unit serves as the shipping
point for units on campus that seek to employ our binder’s services.
Inspect the box label. Any materials without the name of the Bindery
Preparations Unit’s supervisor and with the name of another unit on
campus does not belong to the Library. These boxes should be
segregated and brought to the supervisor’s attention.
2. Type of Material: The Bindery Preparations Unit prioritizes the
processing of bindery returns. This priority list is as follows:
 Items labeled “Hand-Carry.” Bring these to the supervisor’s attention
immediately. They generally include rush items, materials with special
instructions, or other special order materials.
 Serials – these will come labeled as “Custom” or “Standard”
magazines or periodicals.
 Mylar Binding – as new monographs, these receive priority over
other monographs.
 Monographs – these may include a number of labels including
“Recase”, “Rebind”, “Economy”, etc….
 Theses and Dissertations.
B. Unpacking Boxes: Using a dolly or cart, move boxes closer to the
unpacking space before proceeding. Please use care in lifting boxes as they
frequently weight upwards of fifty pounds.
1. Opening the Cartons: Cartons may be opened with a box knife;
however, care should be taken to ensure that the knife does not cut into
the books.
2. Sorting: Materials should be unpacked and sorted according to the
size of their covers.
3. Streamers: Each item should receive a streamer indicating where
it should be sent. Using this streamer, items should then be sorted by
location. Items for three libraries do not receive streamers:
 STX – Items being sent to the Stacks do not receive a streamer.
They should be sorted and processed as follows before being placed
onto a Stacks cart for retrieval.
48
11
spine when the cover was already put on, or before this pas-
sage, is not completely clear. Of course it was easier to make
the cuts before, and there was no risk to lance the alum-tawed
patches underneath. I found only one binding with the long
lines traced on both vellum and alum-tawed skin, and
actually the mark on the alum-tawed patch is very deep. The
few other cases of cuts in the alum-tawed patches are very visi-
ble, and confined to the short cuts at the joints. A possible
explanation of these marks could be that the binder first cut
the two long lines apart and at an approximate measure—
they are often much larger than the supports—and then
made the short cuts once the cover was on. On the other side
a deliberate extension of the slots over both joints is present
in more or less half of the volumes, and somehow this inter-
ruption of the joint line facilitates the opening movement.
The other shapes of the slot ends are the rounded ones,
which gives a more accurate fitting of the protruding sewing
support, and the pointed one. The pointed shape is carried out
with two cuts over the joints and it is mainly associated with
arrow-pointed alum-tawed strips (fig. 12).
Variations of patches material
The binding model traditionally had alum-tawed skin pat-
ches, but this was not compulsory, and sometimes binders
tried other materials. Parchment appears in later examples,
not easily recognisable as it can look like thin and dirty alum-
tawed skin. Tanned leather on the contrary was a more defi-
nite choice and it gives a pleasant effect on the spine.
Even if it is not clear whether the binding is contemporary
or not to the text, the oldest volume with slotted spine binding
in the Marciana Library—the Venetian incunabulum of
1496—has its double sewing supports of alum-tawed skin
patched by thick pieces of leather. It is tanned in a brownish
purple colour (fig. 1). The large slots offer plain evidence of
this alternation of cream cover and dark patches.
A more refined result is that of the three bindings of fig. 3.
Here again we find double sewing supports, this time made of
cord, with the central groove nicely marked on the brown tan-
ned leather patches. The books have been printed in different
12
Alum-tawed skin bands with arrow points [17].
Stiff-Board Vellum Binding
places at different dates (from 1569 to 1596); two of them for-
merly belonged to the Jesuitical College in Padua, and the
third comes from a Venetian private library. On further consi-
deration, it is clear that the three volumes came out of the
same bindery more or less at the same time. The sewing and
covering techniques as well as the materials are exactly the
same, from packing of the sewing thread to partial lacing of
double cords (one slip out of two cut at the joint), endleaves
construction, endbands style and colours, and vellum cover
texture. The text subjects are also similar, theological contro-
versies between Catholics and Lutherans, so it is possible to
argue that the oldest text, edited in 1569, received its final
cover almost thirty years later.
Somehow these patches could be considered as a sort of
“complementary” lining before the final covering. They
involve the areas which have not been secured by the spine
lining on the spine itself, that is over the sewing supports, and
on the outer side of the board. This creates a sort of sandwich
where the board is the central layer. An odd solution is a single
large band of thin alum-tawed skin pasted onto the complete
spine, that is running from the tail to the head, instead of dif-
ferent patches covering only the support areas. It is clearly
visible under the vellum cover and it is significant that it was
tried in the last stiff-board vellum binding with slotted spine,
found up to now in the Marciana collection, dating 1670
(fig. 1).
As said before the alum-tawed patches keep the board
attachment when the vellum cover and the slips of sewing
supports are already broken along the joints. Moreover in this
arrangement the stress at the opening does not concentrate on
the vellum cover at the joint, as this line is interrupted by the
alum-tawed skin tracts. It means, for example, that the ope-
ning is easier than in in boards full vellum bindings with
tight-back, with their straight joint line and heavily glued
spine. In fact in the slotted spine model the vellum panels
between the patches are not very stretched, and also not so
firmly adhered to the spine; quite often they slightly lift away.
Decoration and fastenings
The last features to be considered are the decorative elements
of these bindings, as not all of them present a plain cover. The
findings are rare, but quite varied. There are blind or gold
toolings; elaborate drawings of coats of arms; edges which are
coloured in blue, red or purple, hand drawn or even gauffer-
ed.
Fastenings, another tradition going back to medieval
structures, are very common—almost 50 % of volumes—
Variations in alum-tawed bands shape and in cover slots
cutting.
 Stiff-Board Vellum Binding
De Consecratione, mystico sacrificio, et duplici Christi Hobson, Anthony (1999): Renaissance Book Collecting.
oblatione adversus Vannium …, Paris: Sébastien Nivelle, Jean Grolier and Diego Hurtado de Mendoza, their books
1569 (right). and bindings, Cambridge: Cambridge University Press.
[6] Tiberius Claudius Donatus, In libris duodecim Aeneidos quae Mazzoldi, Leonardo (1990): Filigrane di cartiere bresciane,
Guidelines for Choosing Stabilizing Enclosures for Rare Book Room Materials antea desiderabatur absoluta interpretatio, Napoli: Giovanni Brescia: Ateneo di Scienze Lettere ed Arti.
Sultzbach et Mattia Cancer, 1535. Montelatici, Claudio (1992): Le legature dei libri antichi tra
Name Description Special Best Used For Miscellaneous [7] Mario Bettini, Apiaria Universae Philosophiae Mathematicae, comportamento e conservazione. In Kermes, V, no. 13, 27-35.
Requirements Notes Bologna: Gianbattista Ferroni, 1642. Pickwoad, Nicholas (1994): Onward and Downward: How
[8] Marsilio Ficino, Delle lettere tradotte per Felice Figliucci Binders Coped with the Printing Press Before 1800.
Double Wall, Require  Show pieces. Due to their senese, Venezia: Gabriele Giolito de’ Ferrari, 1563. In: A Millennium of the Book: Production, Design and Illustra-
A Clamshell is a
Drop-spine Box specification of  Items that passive closing [9] Pappus Alexandrinus, Mathematicae collectiones a Federico tion in Manuscript and Print, 900-1900, ed. R. Myers and
box made with M. Harris, Winchester: St. Paul’s Bibliographies; Delaware:
(a.k.a., clamshell) cloth type and require mechanism, Commandino in Latino converse, Venezia: Francesco de Fran-
two trays that fit Oak Knoll Press, pp. 209-249.
color. For protection due commercially ceschi Senense, 1589; and Pesaro: Girolamo Concordia, 1588,
into one another. both folios. Pickwoad, Nicholas (1995): The Interpretation of Bookbinding
These trays are buckram seen the to regular produced
[10] Other watermarks from this area are easily found, for example Structure. An Examination of Sixteenth-Century Bindings in
lined with either bindery’s handling, clamshells are not
the cardinal hat, and when identified in catalogues all the end- the Ramey Collection in the Pierpont Morgan Library. In: The
conservation- buckram color access, or very appropriate Library, VI Series, no. 17,3, 209-249.
leaves papers proved to be of North-Italian origin.
guide. For transport. for warped
quality paper or [11] Flavio Torti, Annotationes seu lucubrationes ad statuta inclytae Reed, Ronald (1991): Some Thoughts on Parchment for Book-
cloth. The outer canapetta, you  Items that will vellum bindings. binding. In: Pergament: Geschichte, Struktur, Restaurierung
civitatis Papiae, Pavia: Pietro Bartoli, 1617.
trays are covered may choose be loaned. und Herstellung, hrsg. von Peter Ruck, Sigmaringen: Thorbecke,
between Can be produced [12] On the other side, always in combination with this accurate
with F-grade  Intended as a pp. 217-220.
passages, I found the few single thread with no back bead,
burgandy, blue, or permanent by the Bindery or Szirmai, J.A. (1999): The Archaeology of Medieval Book-
buckram, grey until 1550. The last packed tying down is not much later, in
linen cloth, or an unbleached, enclosure, so in-house. a 1562 edition. binding, Aldershot, Burlington: Ashgate.
natural color. not for items Zorzi, Marino (1987): La Libreria di San Marco. Libri, lettori,
canapetta. [13] In one single case, an Ambrosius Calepinus Dictionarium of
that will 1579 with cord supports and endbands core in parchment, the società nella Venezia dei Dogi, Milano: Mondadori.
receive primary sewing has been carried out with silk thread directly
conservation and very few tie-downs. Author
treatment. [14] One instance is interesting as it is in three folio volumes, Silvia Pugliese graduated in Humanities at the University of
Phase Box Typically made of None  Vellum bound The active closing where three complete folds from the same manuscript with Bologna and attended the European School for the Conserva-
blue-grey barrier books. mechanism an elegant humanistic writing have been used. A documentary tion and Restoration of Book Materials in Spoleto (Perugia).
origin of the manuscript is more rare, or at least more difficult She worked for two years as a free-lance book and paper con-
board, these  Books at least makes a phase
to find out, as it was usually hidden in the inner side of the servator at the conservation facilities of the Province of Trento
boxes feature 1.5” thick and box perfect for cover. and from 1999 is Book Assistant Conservator at the National
either a button-tie not meeting keeping vellum- Library Marciana, Venice.
[15] Venezia, BN Marciana, Cod. Lat. VII, 50 (= 3570), containing
or a Velcro requirements bound items from lectures on medicine given at Padua University around 1527. Silvia Pugliese, Conservation Department, National Library
fastener. for other, warping in Marciana, Piazzetta S. Marco, 7, I-30124 Venezia,
[16] Iohannes Grammaticus Philoponus, In tres libros De Anima
lightweight inappropriate Fax +39-041-523-8803, pugliese@marciana.venezia.sbn.it
Aristotelis breves annotationes …, Venezia: Eredi Girolamo
enclosures. environmental Scoto, 1581.
 Items that will conditions. [17] Giovanni Talentoni, Variarum et reconditarum rerum Thesau-
likely receive rus, Frankfurt: Collegio Musarum Paltheniano, 1605.
conservation Produced in- [18] Thomas Harriot, Admiranda narratio fida tamen, de commodis
treatment in house or by the et incolarum ritis Virginiae … pars prima – pars duodecima,
the future. bindery. Frankfurt am Main: Theodor de Bry, 1590-1624.
StorPak (a.k.a., Typically Smallest:  Weak, 19th These boxes
Pizza Box) constructed of e- Century require some References
101.6mm x
flute, corrugated 76.2mm x 20mm publisher’s assembly as they Clarkson, Christopher (1999): A stiff-board vellum binding
board or other cloth bindings are shipped from in which the covering has been slotted across the spine
(4" x 3" x 3/4" )
lightweight  Volumes that the vendor flat. to accommodate raised bands. In International Conference
boards, the only need a on Conservation and Restoration of Archival and Library
Materials (Eric, 22th-29th April 1996), edited by C. Federici
construction of Largest: 609.6mm little bit of They are only
and P.F. Munafò, Palermo: G.B. Palumbo, vol. II, 537-549.
these boxes x 381mm x support. available from the
Clarkson, Christopher (1982): Limp Vellum Binding and Its
resembles that of 101.6mm ( 24" x  Volumes that vendor.
Potential as a Conservation Type Structure for the Rebinding
a pizza box. 15" x 4") could of Early Printed Books—A Break with the 19th- and 20th-
Inexpensive and otherwise go We recommend a Century Rebinding Attitudes and Practices (ICOM Committee
light-weight, these into a phase minimum for Conservation, 4th Triennal Meeting, Venice, 1975),
are good for box but are thickness of ¾”. London: The Red Gull Press.
general “standard” Below that, see Cloonan, Michele Valerie (1990): Early Bindings in Paper:
A Brief History of European Hand-made Paper Covered Books.
With a Multilingual Glossary, London, Hansell.
Fitzsimons, Eileen (1986): Limp Vellum Bindings: Their Value
as a Conservation Binding. In: Restaurator, vol. 7, no. 3,
46 125-142.
Silvia Pugliese

and a few of them date from the 17th century. The great majo- Given that binding practices have never been entirely con-
rity are pairs of ties of alum-tawed skin on the front edge, sistent, a misunderstanding of the importance and role of this
often with two more placed on the head and tail edges. There uncommon binding style has probably led to inappropriate
are also a good number of silk ribbons in alternate colours, a choices and eventually to loss of information in recent resto- collections sized. “Tux Box”
few in velvet, and even metal clasps. One of them is worth ration practices. For example in an octavo volume’s new cover maintenance  Small volumes below.
noticing as it has been made with an elaborate punch of a lion the slots have been cut without putting any alum-tawed pat- that need
within a laurel crown; another one with exactly the same ches, because they were abraded in the original binding. As a some
figure was found somewhere in the Library in the past and result, the thread passages around the sewing supports are protection due
ended up in the “lost clasps collection“ of the Conservation now exposed. to size.
Department. Within the limits of the Marciana collection the survey has  Items that will
This small particular recalls the forty-two slotted spine therefore defined the main features of this kind of binding— likely receive
conservation
vellum bindings among the hundreds which where detached, the sewing and sewing supports, the kinds of endbands, the
treatment in
approximately in the years 1950-70, by the internal Library variations in covering patches as well as slot cutting, and the future.
binder. They were all found by chance years later still with the cover materials—and traced some variations that occurred Portfolio Require  Collections of Can be produced
shelf mark indication, piled up and hidden behind some shel- during two centuries in a structure we have found to be quite A Portfolio is a
wrap-around style specification of loose material, by the Bindery or
ves, and allowed a privileged observation of the binding tech- complex and slow to change. This makes it possible to under- cloth type and such as galley in-house. Please
enclosure
niques. The point I would like to focus on is that the original stand better now the books function and to produce the same
comprising a color. For proofs, consult with
textblocks were of course never rebound in the same way, but structure with some conscious modification.
front and back buckram seen the unbound Preservation and
almost all of them are now in Dutch bindings. Many questions remain, such as the origin of this model cover with a bindery’s materials, and Conservation
and the incidence of its use in other Italian libraries. To dis- multi-flap buckram color other prior to ordering.
Conclusions cover whether it was used beyond its Italian area, a broad enclosure guide. For collections of
The slotted spine technique was quite soon replaced or aban- number of examples in foreign libraries should be investiga- attached to the canapetta, you loose,
doned in favour of other in boards vellum bindings, probably ted. Another interesting point would be the contemporary ter- back cover. The may choose published
because of the complexity of its construction. This structure minology used to describe it, if ever there has been one. For flaps of the between material.
enclosure burgandy, blue, or  Intended as a
remained close to its tradition of high quality, which made it these research directions, this survey of the Marciana collec-
completely cover an unbleached, permanent
less competitive in the contemporary market. tion would like to be a sort of springboard. natural color.
the contents. enclosure, so
A set of folio volumes about the traditions of the New not for items
World inhabitants, edited in Frankfurt over a long period of Acknowledgements
that will
35 years, exemplifies this historical evolution and destiny I would like to thank Gabriele Mazzucco, my colleague at the receive
(fig. 13): the first three volumes from 1590 to 1594 have been Conservation Department of the National Library Marciana,
conservation
who generously shared his extensive knowledge of the Mar-
bound according to our model. Then a volume was bound in
ciana collections. I would also like to thank Nicholas Pickwoad
treatment.
limp paper sewn on a smaller number of supports, then in (Norwich, UK) for his teaching and careful advice, and finally Four Flap A four flap Under 3/4” thick.  Intended for Commercially
1602 a volume was bound in an in boards, full vellum with Silvia Sotgiu (Istituto Centrale per la Patologia del Libro, Rome, resembles a For specifics, see pamphlet-like produced and
tight-back. Finally, in 1624, a Dutch binding was used. When Italy) and Luca Richard de Bella (Conservation Department of pamphlet binder the Conservation materials. procured through
rebound in the 17th century, an in boards vellum binding with the National University Library, Turin, Italy), for their consulta- in construction. lab. Preservation and
a hollow back would have been chosen, and there are a cou-
tion and suggestions. The drawings have been kindly made by However, the Conservation.
Anniina Koivu.
ple of examples of this choice in editions of various volumes Tux Box A lightweight Under ¾” thick. Thin, lightweight Commercially
that had suffered some early damage. Annotations folding enclosure Not for items that volumes. produced and
for small items are oversized. procured through
* This contribution was held as a lecture during the Parchment (i.e., under ¾” Preservation and
Conference of the Austrian State Archive from 20th to 22th
thick and not Conservation.
November 2002 at Vienna, and is revised for print.
large enough to
[1] Zorzi 1987 for the history of the Marciana Library and of the
require a
donations which built up the actual collections.
portfolio).
[2] Joseph de Gibalin, Scientia canonica et hieropolitica, Lyon:
Laurent Arnaud et Pierre Borde, 1670 (left); Priscianus Caesa-
riensis, Habes candide lector … Volumen maius [et] volumen
minus, Venezia: Octaviano Scoto, 1496 (right).
[3] Interesting but limited to decorated leather bindings, Hobson
1999: in particular the chapter „Venetian sixteenth-century
bookbinders“.
[4] Fortunio Affaitati, Ad Paulum III – Phisycae ac Astronomicae
considerationes, Venezia: Niccolò Bascarini, 1549, bound with
other works (top); Niccolò Martelli, Il primo libro delle lettere
di Nicolo Martelli, Firenze: 1546 (underneath).
[5] Iosé De Acosta, De Christo revelato libri novem, Roma:
Giacomo Tornieri, 1590 (left); Thomas Stapleton, Triplicatio
13 Different choice of binding models for a text issued over incohata adversus Guilielmi Whitakeri …, Antwerpen: Jan van 47
35 years [18]. Keerberghen, 1596 (middle); Nicolas Durand de Villegagnon,