Book on the sewing frame

The sewing frame is a tremendous aid to the binder in keeping the cords at an appropriate tension while sewing the signatures on.  Incorrect tension leads to a floppy bookblock, and a sloppy binding.  It also makes it difficult to put the cover boards on correctly.

Book in the press

The press that you see here is a finishing press, with a sewn bookblock between two “backing boards” which are used to help the Finisher “back” the book properly.  Backing is what gives the distinctively rounded spine to a book. This shape also helps to keep the book from breaking the binding apart when opened, by having built-in stress-relief points.  The signatures farthest from the center of the block have a pronounced bend or crease into which the cover boards will sit when they are put together. 

 Bookblock

Canson Ingres paper: The Canson paper mill, located in Annonay, France, has been producing quality paper since 1557.  I prefer Canson Ingres to other papers because of the history associated with the company and the general reputation of having extremely high quality art papers, as well as the high rag content (65%) and gelatin sizing of this particular line.  It is a laid paper, giving it in integral texturing of lines and has a delightful hand-feel.  Additionally, I've been told by scribes that it holds both ink and paint without significant cockling.  Based on my observations of “scribbles and doodles” done on scraps of it, the paper gives beautiful results.

Thread

I prefer to use Barbour, 100% flax Irish linen thread (no 18, 3 ply) for my sewing, as it’s as close as I can come (based on my research to this point) to something that would have been used by medieval bookbinders.  Before setting thread to needle, I wax it with beeswax to help consolidate and lubricate the thread, helping to prevent the thread catching and tearing the signatures.

 Cords

Depending on the precise time in question, a number of different materials would have been used to make the cords to which the signatures are attached.  These could be strips of parchment, alum-tawed animal skin, tanned leather, or even “vegetable fiber” cords.  I assume, in the absence of scientific analysis, and based on limited examination of primary examples, that modern jute cord makes a believable substitute.  I’ve worked bindings with jute cords and “craft leather” thongs (similar to tawed skin) and I feel that the jute offers a slightly more sturdy binding.  Of note, it’s been shown that tawed skins fell out of favor with medieval craftsmen due to it (it’s suspected, and research tends to support) deteriorating in a rather short amount of time.

 Covers

The covers that I prefer to work with are quarter sawn oak, although other hardwoods have been documented by Szirmai in Archaeology of Medieval Bookbinding.  I specifically chose oak because I was able to find a source for some in the dimensions that I wanted.  Cover boards made out of what is essentially cardboard are known to have existed in late Period©, but I feel that the wood cover boards give a much more pleasant heft to the book, suggesting that it is meant to last generations.  In a pinch, a wood-covered book can be used as either a weapon or shield, although I recommend against abuse of this sort. 

The material covering the book here is a Morocco grained goatskin.  Calfskin, leather, goat and pigskin all were used at various points in Western European history to cover books.  I used Morocco due to the relative affordability of the material.  

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