Greek Binding

What is Greek-style Binding?

Greek-style bindings are made in the bookbinding tradition associated with the later Byzantine Empire (A.D. ca 1000-1453), though they were not strictly produced within the empire’s borders. The features that define Greek-style bindings are:

unsupported loop-stitch sewing and consequently a smooth spine,
wooden boards,
a sewn board attachment,
projecting endbands that extend onto the boards
textblock cut to the same size as the boards.

Example of an original Greek Binding, CUL MS Add. 7593.

They are often found with grooved board edges and interlaced straps laced through one board with ring clasps at the end, which attach to edge pins on the other board. Many of the Greek-style bindings in our collection have suffered damage; some through use, others through neglect and many through inappropriate repair. This has resulted in the irreversible loss of important historical evidence about the structural features of these bindings. It is therefore vitally important for conservators working on these objects to be able to accurately identify, record and preserve these precious bindings and their history.

What is Greek-style binding? Shaun Thompson (Conservator at Cambridge University Library) explains in detail.

Unsupported loop-stitch sewing on Add.3048 photographed during treatment.

Projecting endband on Clare MS 31.

Remnant of an interlaced strap on CUL Add.3048.

Binding Models

At the start of the project the conservators made binding models, with all the distinctive features of the style. This allowed them to learn firsthand about all the elements of the style and the binding technique, and understand how the binding functioned.

Another advantage of using models, is that the conservators could practise the sewing of two endband styles - the Greek-on-two-cores and the compact-chevron-and-crowning-core. A historical binding would have only one style on both ends of the spine, unlike our models. Creating the models gives an appreciation of the different craft-skills involved in creating a Greek-style bindings. The conservators employed needlework to sew the gatherings and endbands, woodwork to fashion the boards, metalwork for the fastenings, and leatherwork to create the covering.

The practice of model making also helps inform conservation decisions. The conservator can better identify why a binding has broken down, how it should function and how to re-establish proper function through repair. When a part of the original sewing is broken or missing, the conservator will use new thread to reinstate the sewing, while keeping as much of the original sewing as possible. Making decisions such as choosing the weight of the thread, the path the sewing thread will take and the tension of the sewing is aided by having trained these skills by making a model and studying historic bindings.

Sewing the text block using a loop-stitch.

The Greek-on-two-cores and compact-chevron-and-crowning-core endbands.

The finished model.

Studying historical bindings

It is a privilege to study the work of a bookbinder from hundreds of years ago. To be able to distinguish their work, even through small details, is something even more special. The binding of CUL MS Add.720, from Cambridge University Library’s collections, has evidence of one of those very small actions.

CUL MS Add.720, front board.

CUL MS Add.720, front board.

CUL MS Add.720 is a late 10^th or early 11^th century Gospel book in a Greek-style binding. It has all the distinctive features of the style: protruding endbands sewn in undyed thread, a loop-stitch sewing structure and a textblock cut to the size of grooved wooden boards. There is even evidence of it once having interlaced straps and edge pins. What is most charming about this book is its size, small enough to fit in the hand, and its deep red covering leather.

The back board. Note that the tooling is exactly the same as the front but upside down!

The back board. Note that the tooling is exactly the same as the front but upside down!

The leather is blind tooled, and this is where the bookbinder’s action can be seen. After tooling the front board the bookbinder has flipped the book top to bottom and tooled again, leaving the tooling on the back board upside-down! It is wonderful how such a small action has left such an enduring mark.

Unusually, they have also made impressions on the turn-ins on the inside of the back board.

Tooling on the turn-ins of the back board. Note the preserved red colour of the leather covering.

Tooling on the turn-ins of the back board. Note the preserved red colour of the leather covering.

CULS MS Add.3047

CUL MS Add.3047 is another fascinating binding. The text from this book dates from 1550, too late for its bindings to be of the Greek-style, though it looks very similar at first.

The binding carries some features of a Greek-style binding such as an intricately sewn protruding endbands that extend onto the wooden boards.

Interestingly, from between the headband and textblock project two loops wound in green thread, likely to have once been anchor points for page markers.

It has fastenings at the edge, though they are hooked clasps, not pin clasps.

The textblock is not cut flush to the boards. The spine is smooth but on further investigation the sewing is not a loop-stich but is sewn on cord sewing supports, a technique associated with Northern Europe at that time.

Through these observations we can see that this binding is not of the Greek-style but it is a hybrid, a product of merging and developing techniques from across Europe.

Codex Zacynthius (CUL MS Add.10062) displays evidence of another craft at work.

The work of the parchment-maker can often be seen through striations along the parchments surface. Such marks were created by a lunalarium (half-moon shaving knife) used to remove excess tissue while the skin is stretched out in a frame.

What is less common to see are marks made by parchment-makers to identify their skins, like a signature but created by piercing holes through the skin.

On folios 82 (and 135) these marks can be seen – five holes forming a cross. Though they have been stretched during the production of the parchment, their pattern can still be identified.

Imaging the codex to recover erased undertext.

It is a privilege to work with these manuscripts and their bindings and to discover the craft traditions that led to their creation. The craftspeople who created the bindings did not leave instructions or written accounts. All the evidence of their traditions is held within the object they created. That is why it is vitally important that this historical physical evidence is preserved. That is the only way we can continue to learn about the techniques and materials used to create them.

Words by Samuel Foley

Samuel Foley was a Project Conservator on the Polonsky Foundation Greek Manuscripts Project (2018-2021).