Introduction:

Medieval books can be found in a variety of bindings, some early and contemporary with their first appearance, and some later rebindings.
As bindings wear out through use books can often go through several rebindings in their lifetime.
These medieval books show a range of contemporary and later bindings, illustrating both the techniques used and later interpretations of a “medieval” style.

This binding is one of two volumes made up from four original parts and probably bound in the late 19th century. The vellum text has been sewn onto five double bands with fine green and yellow silk endbands. The volume has been bound in red velvet (now faded and worn) over very thick, shaped wooden boards and as a result the book is extremely heavy. The text edges are all gilt with a diagonal gauffered design. The gold coloured metal furniture has been attached to both boards including corners, clasps and centre bosses. 

Bible. Latin. Netherlands, not later than 1419. Med. Ms G128.

This binding is one of two volumes made up from four original parts and probably bound in the late 19th century. The vellum text has been sewn onto five double bands with fine green and yellow silk endbands. The volume has been bound in red velvet (now faded and worn) over very thick, shaped wooden boards and as a result the book is extremely heavy. The text edges are all gilt with a diagonal gauffered design. The gold coloured metal furniture has been attached to both boards including corners, clasps and centre bosses. 

Bible. Latin. Netherlands, not later than 1419. Med. Ms G128.

This is an unusual binding consisting of calf leather over wooden boards (probably oak) and sewn onto six single cords. The binding was probably completed in the late 19th century and is a copy of a French binding made for Francis I. The design of the boards consists of a central hand-tooled gilt leather panel surrounded by a tooled and painted border with a full gilt spine. This design is carried over onto the text edges where it has been painted and ‘gauffered’ (the pattern being impressed into the text block with hot tools). The metal corners are present but parts of the clasps have been lost.

Nicholas de Lyre. Moralia super totam Bibliam (Commentary on the whole Bible). Strasburg: G. Husner, about 1478.

This is an unusual binding consisting of calf leather over wooden boards (probably oak) and sewn onto six single cords. The binding was probably completed in the late 19th century and is a copy of a French binding made for Francis I. The design of the boards consists of a central hand-tooled gilt leather panel surrounded by a tooled and painted border with a full gilt spine. This design is carried over onto the text edges where it has been painted and ‘gauffered’ (the pattern being impressed into the text block with hot tools). The metal corners are present but parts of the clasps have been lost.

Nicholas de Lyre. Moralia super totam Bibliam (Commentary on the whole Bible). Strasburg: G. Husner, about 1478.

This is an unusual binding consisting of calf leather over wooden boards (probably oak) and sewn onto six single cords. The binding was probably completed in the late 19th century and is a copy of a French binding made for Francis I. The design of the boards consists of a central hand-tooled gilt leather panel surrounded by a tooled and painted border with a full gilt spine. This design is carried over onto the text edges where it has been painted and ‘gauffered’ (the pattern being impressed into the text block with hot tools). The metal corners are present but parts of the clasps have been lost.

Nicholas de Lyre. Moralia super totam Bibliam (Commentary on the whole Bible). Strasburg: G. Husner, about 1478.

This is an unusual binding consisting of calf leather over wooden boards (probably oak) and sewn onto six single cords. The binding was probably completed in the late 19th century and is a copy of a French binding made for Francis I. The design of the boards consists of a central hand-tooled gilt leather panel surrounded by a tooled and painted border with a full gilt spine. This design is carried over onto the text edges where it has been painted and ‘gauffered’ (the pattern being impressed into the text block with hot tools). The metal corners are present but parts of the clasps have been lost.

Nicholas de Lyre. Moralia super totam Bibliam (Commentary on the whole Bible). Strasburg: G. Husner, about 1478.