Continued professional development (CPD) is very important when you are working as a book conservator, because there is always something to learn! Whether it’s a type of binding, a technique that you haven’t come across at an earlier date, or the chance to meet fellow conservators. If you are an accredited conservator working in Ireland, CPD is a significant activity used to maintain your accredited status. This summer both Julia Poirier and Dorothea Müller had the opportunity to undertake training at the Montefiascone Conservation Project in Italy, as part of their CPD. The Project was originally conceived in order to raise money to save the virtually derelict late medieval library of Cardinal Barbarigo and, thanks to the tireless work of Project Director Cheryl Porter, it has now been running for over 25 years.
31st July- 4th August, Dorothea’s experience:
In the first week of August I attended the course titled An Italian fifteenth century binding. The course tutors were Jim Bloxam and Shaun Thompson from the Conservation and Collection Care Department at Cambridge University Library and Dr. Alison Ohta, director of the Royal Asiatic Society in London.
During the course we recreated the binding of Manuscript CUL Add. 8445, a copy of Cicero’s Topica (circa 1480) from the collection of Cambridge University Library. It has a contemporary binding with interesting structural features, including a covering of leather over beech boards. The binding has the addition of intricate blind and gold tooling, showing the influence of Near and Middle Eastern bindings.
Working in the beautiful Montefiascone Seminary we sewed our textblock on split alum-tawed calfskin supports with a packed straight sewing. Next we created our endbands with a core also made of tawed calfskin. The wooden boards were shaped into a cushion form and recesses were made for the sewing supports and the strap attachment. We attached the boards by gluing the sewing and endband supports down and fastening them with brass nails.
The book was fully covered in leather goatskin, with a strap made out of the same leather but with a parchment centre. The leather above the headband was tucked in to form an endcap and the spine was left hollow.
To save time on this busy course, the tooling for the central decoration was done with a single brass plate rather than individual tools so that we could instead concentrate on painting it with lapis lazuli and shell gold diluted in gum Arabic and water in equal parts. We then added the border, which was cold tooled using two hand tools, a bar and an arc. The border was framed with double lines made using a small bone folder. For the spine we used a fillet with double lines in a geometric pattern. The foredge clasp was made of brass and was trimmed to shape and rolled by hand before finally being fitted to the book once the tooling was complete.
The workshop further developed my skills in bookbinding, as the complex binding combined so many different techniques, including wood and metal work, hot and cold tooling, and painting on leather. Apart from the practical work, the presentations given during the theoretical part of the course also provided participants with a lot of background information about this particular kind of binding which will certainly be of use as I return to the studio.
The Montefiascone Conservation Project provides an excellent place to learn more about historic bindings, while also helping to preserve a local book collection. I am grateful to ICRI for the funding which made my attendance possible. It was a brilliant experience and I would love to come back to the Summer School in the following years!
14th– 18th August, Julia’s experience:
I was extremely lucky to attend the final week of the 2017 Montefiascone Conservation Project, and took part in the workshop taught by Marco di Bella and Nikolas Sarris, on the Ethiopic binding structure and a conservation variation, which they devised.
While working in Ethiopia on the Ethio-SPaRe project with Hamburg University, Marco and Nikolas have observed and recorded many characteristics of the Ethiopian binding structure, some of which they adapted and re-used for the conservation of a large Ethiopian manuscript from the church of ʿrom Qirqos (UM-018). They have found these adaptations to be historically accurate and yet structurally suitable for the conservation of this material.
During the week-long workshop we made two book models. One was a historical model, using known and characteristic features of Ethiopian bindings and the second one was an adapted conservation structure. We also got to make a traditional parchment satchel for one of the models.
Needless to say, we were kept busy and many an afternoon was spent in the lovely, high ceiling room at the Seminary, overlooking the Italian hills on one side and the old crumbling village on the other. Both the teachers were very knowledgeable and keen to share and demonstrate each step of the process; the overall atmosphere in the classroom was serene and this made for a very pleasant experience.
I particularly loved preparing the leather endbands and sewing them onto the textblock. The blind tooling we added was done using real Ethiopian tools. The tutors bought them in a market in Ethiopia dedicated to all things book related. What a wonderful sight it must have been!
Although a lovely and fun experience, this workshop was a prime example of how re-creating and understanding the functionality of a traditional book structure has a direct link to contemporary conservation practices which informs our work on historical bindings.
I learned a great deal in those five days and could not recommend attending the Montefiascone summer school enough. The Chester Beatty Library is the custodian of a large number of Ethiopian manuscripts and, whilst the large majority of them are in stable condition, being more familiar with their structure will help us to assess their preservation needs more sensitively in the future.