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[BKARTS] MONTEFIASCONE PROJECT, Summer 2009, in bella Italia...
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- Subject: [BKARTS] MONTEFIASCONE PROJECT, Summer 2009, in bella Italia...
- From: "Peter D. Verheyen" <verheyen@xxxxxxxxxxxxxxx>
- Date: Fri, 6 Feb 2009 16:45:19 -0500
- Message-id: <200902062145.n16LjFxQ010359@mx2.syr.edu>
- Reply-to: Book_Arts-L <BOOK_ARTS-L@xxxxxxxxxxxxxxxx>
Montefiascone is a small medieval walled city
about 100 k (80 miles) north of Rome, on Lake
Bolsena. Since 1988 conservators and others
interested in books and their history have come
together to work, to learn and to enjoy this
special place. The summer 2009 programme is as follows:
Week 1: July 27th-31st
Re-creating the medieval Palette
Through illustrated lectures, participants will
examine the story of colour in medieval times.
The class will address the history, geography,
chemistry and iconographic importance, and the
actual techniques of colour manufacture, with
special reference to manuscript painting. Using
original recipes, participants will make and
paint out the colours. No previous experience is necessary.
Course tutor: Cheryl Porter
Week 2: August 3rd-7th
Multi-quire, wooden boarded codex from Egypt
The multi-quire, wooden boarded codex from Egypt
is a small family of bindings that structurally
predate the familiar sewn through the fold, laced
on wooden board, leather covered binding of later
eras. The model made in this class is based on a
reconstruction by Charles Lamacraft, restorer at
the British Museum in the early decades of the
20th c. In 1925, a ceramic jar was uncovered in
Egypt containing 5 parchment codices dating to
the 6th c. AD. Two of the five had bare wood
boards, stamped leather spines and multiple
leather slips laced through the boards (with no
connection to the unsupported sewing) leather
wrapping bands terminating in large, decorated
bone slips to secure the bands and a large decorative bookmarker.
Charles Lamacraft studied these early bindings
and published an early analysis and photographs
of them. He made at least 2 models of the book
structure based on the fairly complete but
fragmented pieces of the bindings. One was for
Chester Beatty, who purchased 3 of the ancient
books, and now resides in the Chester Beatty
Library and another for Prof. Kelsey of the University of Michigan who
purchased the other 2 remaining manuscripts in
the jar. Kelsey's model resides in the Rare Book
Room of the University of Michigan Library.
Course tutor: Pamela Spitzmueller
Week 3: August 10th-14th
Late 18th century French Binding Structures
Apart from the French Revolution, one of the most
exciting aspects of late 18th C. French culture
is the existence of two full-length bookbinding
manuals. This workshop will focus on
reconstructing a typical full calf French
structure of this time period, by comparing and
contrasting the descriptions in these manuals and
examining extant bindings. In some respects,
this structure is the end of 1,200 years of
utilitarian leather binding 50 years later the
cloth case begins to predominate. Some of the
interesting features of this style include:
sewing on thin double cords; edges trimmed with a
plough in-boards and colored; double core
endbands, vellum ?comb? spine liners and
sprinkled cover decoration. Special emphasis will
be placed on using reproductions of period tools,
constructed from Dudin and Diderot?s Encylopedie
(1751-1780). Participants will learn to use and
maintain a plough, and become fluent in
translating written descriptions of bookbinding
into the construction of a model. Extensive
notations (in English) on Gauffecourt?s Traite de
la Relieure des Livres (1763) and Dudin?s L?Art
du Relieur-doreur de Livres (1772) will be
provided. Basic bookbinding skills are a
prerequisite and materials will be supplied at a nominal cost.
Course tutor: Jeff Peachey
Week 4: August 17th-21st
Ethiopian Bindings Workshop
This five day course is aimed at conservators
interested in the history of the book. The course
will give an introduction to the history of
Ethiopian Bindings. Through a series of practical
demonstrations and exercises, participants will
gain an understanding of the construction of an
Ethiopian binding within a cultural and historical context.
There will be an introductory lecture on
Ethiopian Bindings, placing them in the context
of the history and development of book
structures. This will be followed by practical workshops focusing on:
Preparation of text block and wooden boards.
Sewing the text block and boards.
Endband construction and covering in leather.
Embossing leather with replica tools
The making of a traditional leather carrying pouch with camel skin
Participants will be required to bring some hand
tools, a list will be provided following
registration. All materials will be supplied at a
nominal cost. Some knowledge of the history of
bookbinding would be desirable but is not essential.
Tutors: John Mumford / Caroline Checkley-Scott
Cheryl Porter is Manager of Conservation and
Preservation at the Thesaurus Islamicus
Foundation and Deputy Director of the
Project. She has been Director of the
Montefiascone Project since its inception in
1988. After graduating from Camberwell College of
Arts and Crafts, she worked with the Paintings
Analysis Unit at University College London
analysing the use of pigments in manuscripts.
From 1992 to 2007 she worked as a freelance
conservator. She has published many articles
concerning colour in manuscripts and has lectured
in the USA, Australia and throughout Europe.
Pamela Spitzmueller is Needham Chief Conservator
for Special Collections at the Weissman
Preservation Center in the Harvard University
Libraries. Pam previously headed Rare Book
Conservation at the University of Iowa Libraries,
worked as Book Conservator at the Library of
Congress, and the Newberry Library in
Chicago. She specializes in historical book
structures and book sewing techniques, and
incorporates what she learns into conservation
treatments of rare books and creation of one of a
kind artists' books. She has taught many workshops on these topics.
Jeffrey S. Peachey is the owner of a New York
City-based studio for the conservation of books
the maker of conservation tools and machines. He
is a Professional Associate in the American
Institute for Conservation and chair emeritus of
the Conservators In Private Practice. For more
than 15 years, he has specialized in the
conservation of books and paper artifacts for
institutions and individuals. A consultant to
major libraries and university collections in the
New York City region and nationally, he has been
the recipient of numerous grants to support his
work. A well-known teacher, Peachey also provides
conservation-focused guidance to students in art,
archives, and bookbinding programs.
John Mumford is the currently head of Manuscript
Conservation at the Thesaurus Islamicus
Foundation. He was formally Head of Book
Conservation at the British Library. John served
a five year apprenticeship at the British Museum
and subsequently helped establish the Rare and
Early Book Conservation Studio at the British
Library. In 1992 he was appointed manager of the
Oriental and India Office Book Conservation
Studio, furthering his study of early Oriental
and Eastern binding structures. In 1998 he became
manager of the Oriental and Eastern Book
Conservation Studio at the new British Library at
St Pancras. He has taught frequently in
Montefiascone and lectured and run workshops
throughout the UK, Argentina, Patmos and many other European locations.
Caroline Checkley-Scott is currently head of
Collection Care at the John Ryland?s Library.
Caroline, studied printing and bookbinding in
Dublin, Ireland. She was appointed trainee book
conservator at the British Library, London in
1991, where she worked at the House of Lords in
the Palace of Westminster, and the Oriental and
India Office Library and Records. Here she
specialised in the conservation of early
Christian manuscripts from the Middle East.
Caroline was formally head of Conservation at the
Wellcome Library and organised the planning and
design of the new Wellcome Conservation Studios.
She is an accredited member of the Institute of
Paper Conservation. She has lectured both
nationally and internationally in Italy, Slovenia, Argentina and Brazil.
The cost of the classes is: 445 British
pounds ($640 US, 500 Euro) per week and includes
all tuition(which is in English) and (most)
materials. The Montefiascone Project is a
not-for-profit organization, and all extra monies
are used to finance the cataloguing and the
conservation and preservation of the collection.
For further information or to register for one
week or more, please contact Cheryl Porter:
More information is on the website: <http://www.monteproject.com>
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