![]() ![]() Here we meet our curious situation: the best moment to study the binding of a book is when it is deteriorated and its structural elements are visible, since when a bookbinding is in a perfect state, these remain hidden. Nowadays, things have changed and the codicological modus operandi is reconstructing the technical process that was followed in each period. Before that only lavishly decorated bookbindings received attention, and only from an artistic point of view, as one of the minor arts and therefore, only decoration of the covers was taken into consideration. The study of bookbinding, at least from a codicological point of view is no older than the middle decades of the 20th century. ![]() And, what is most appalling, until relatively recently, manuscript restoration didn't give much attention to book bindings, and many of them were separated from their original text-block, and even discarded and thrown away. Not many medieval bookbindings have been preserved, in part because the sole use of the book can end up breaking the bonds, and then a rebinding becomes necessary, but also because many of the great collectors and bibliophiles liked to have all their books bound similarly, and as a consequence they had too many codices rebound. Although, as a matter of fact, we know that some books were circulated just being sewn, without any boards or cover. The function of bookbinding is not only keeping all gatherings bound together and in the correct order, but also to protect them, and it could confer decoration and luxury to the codex as well. It was the last operation the codex underwent, with which it was already complete. Ver programaīook binding is the result of binding and sewing several quires or gatherings in order to form a volume. The best of these peer-evaluated projects will be posted on the Deciphering Secrets website, which is our collective citizen scholarship web presence that encourages and supports our global citizen scholars appreciation and contributions to transcription of medieval manuscripts.įinally, we wish to highlight that this course is an exciting international collaboration between the University of Colorado (USA) and Universidad Complutense Madrid (Spain). ![]() In their final projects students will either (1) produce a board of commented images about medieval manuscripts or (2) prepare a physical manuscript using medieval methods. Student achievement will be assessed using not only traditional multiple-choice quizzes, but more importantly will be evaluated based on individual student projects. Students will acquire an introductory knowledge of their distinguishing characteristics, their cataloguing and periodization (when they were created), the methods utilized to produce them, and their historical context and value. In this seven-week course, students will explore the material creation, content, and historical context of illuminated medieval European manuscripts. In this fashion, illuminated manuscripts are dynamic messages from our communal past that are still relevant today in fields like graphic design and typography. Serving as windows unto a lost world of kings, ladies, faith, war, and culture, they communicate complex visual and textual narratives of Europe’s collective cultural heritage and patrimony. Perhaps no other relic of the European Middle Ages captures our imagination more than illuminated medieval manuscripts, or those documents decorated with images and colored pigments.
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