1 00:00:09,530 --> 00:00:15,050 So hello and welcome to the second talk in the textiles and libraries context and conservation series. 2 00:00:15,050 --> 00:00:19,160 My name is Alice Evans and I'm an assistant book conservator here at the Boston Library. 3 00:00:19,160 --> 00:00:25,150 And as you can see, I'm speaking to you from the confirmation she get here at the Western Library in Oxford. 4 00:00:25,150 --> 00:00:29,980 I hope some of you are able to join us at the first libraries talk two weeks ago. 5 00:00:29,980 --> 00:00:31,750 But for those of you who are new to the series, 6 00:00:31,750 --> 00:00:38,800 today's talk is part of a series organised by my team in the conservation and Collection Care Team and the Centre for the Study. 7 00:00:38,800 --> 00:00:47,080 The book and the whole series is exploring tech sales found across library collections and than many expected and unexpected forms. 8 00:00:47,080 --> 00:00:53,440 We have an amazing line-up of speakers who will be approaching this topic from many different perspectives and areas of expertise. 9 00:00:53,440 --> 00:00:58,820 Some conservatives and curators to pick artists. And as well as this series of public talks, 10 00:00:58,820 --> 00:01:04,280 the project is continuing behind the scenes at the body and as our team works to develop our understanding 11 00:01:04,280 --> 00:01:08,810 of all the different ways textiles can be found in the collections and how best to care for them. 12 00:01:08,810 --> 00:01:16,770 And we're doing that through a series of outreach, events and training, all of which has been generously funded by rented the library to a barren. 13 00:01:16,770 --> 00:01:23,850 So just to let you know a few practical things before we start the session today, we're recording this event, but it's a Zoom webinar. 14 00:01:23,850 --> 00:01:28,230 Your camera and audio are turned off and you won't appear in the video. 15 00:01:28,230 --> 00:01:38,240 We'll be sharing a link to the recording in a week or so's time, and it will also be available on university podcast channel and the YouTube channel. 16 00:01:38,240 --> 00:01:44,120 At the end of this presentation, we'll have some time for live question answer, which will just say, please, 17 00:01:44,120 --> 00:01:53,210 do you use the question and answer box to type any questions that you have as we go and we'll try to answer as many of them as we can at the end? 18 00:01:53,210 --> 00:01:55,990 You see, this is a thumbs up function in the Q and a box. 19 00:01:55,990 --> 00:02:03,950 So please do you upvote any questions that you are particularly interested in and will be able to prioritise those ones? 20 00:02:03,950 --> 00:02:11,790 We have had a few technical issues this afternoon unexpectedly, and I will be sharing to address it slides for him to do that. 21 00:02:11,790 --> 00:02:17,810 Bear with us as we kind of navigate that, but I'm sure everything will be fine. 22 00:02:17,810 --> 00:02:25,070 So yes, I'm very pleased to introduce our speaker today's talk. So I'm sure for many of you, no introduction at all. 23 00:02:25,070 --> 00:02:31,420 Georges Bootlegs has worked at the Museum of Byzantine Culture and. 24 00:02:31,420 --> 00:02:37,870 That's kicked Thessaloniki. I've been practising that, but light perfect. 25 00:02:37,870 --> 00:02:43,150 Thank you, Josh. Since 2000, where he is now the head of book and paper conservation. 26 00:02:43,150 --> 00:02:49,180 His recent research is focussed on the history of Byzantine and Byzantine book and the influences of other cross. 27 00:02:49,180 --> 00:02:54,260 Based on the study findings now in collections all over the world. In particular, 28 00:02:54,260 --> 00:03:03,680 Georgia has studied closely the library collections of the Environ Monastery on Mount Everest and St. Catharines Monastery of Mount Sinai. 29 00:03:03,680 --> 00:03:09,800 These collections have enabled him to develop insights into the features of the book Traditions of Eastern Mediterranean, 30 00:03:09,800 --> 00:03:13,840 from the late antiquity to the 18th centuries. In today's talk, 31 00:03:13,840 --> 00:03:21,280 studios will be looking in particular at the text elements found in some of these binding and some of the lesser known techniques used to create them. 32 00:03:21,280 --> 00:03:29,450 So over to you, George, give me a second or two. Thank you very much, Alice. 33 00:03:29,450 --> 00:03:36,770 Thank you for the invitation, thank you, everybody, for attending tonight. 34 00:03:36,770 --> 00:03:46,280 Some of the stuff I will be showing you and speaking about are rather familiar to some of you, I'm sure. 35 00:03:46,280 --> 00:03:52,970 But there are other stuff that will be new as I haven't presented them before. 36 00:03:52,970 --> 00:03:58,670 We do have some issues, as Ali said, and it will be an awkward feeling. 37 00:03:58,670 --> 00:04:03,230 Maybe they will be trying to walk to work like with with other, 38 00:04:03,230 --> 00:04:08,480 with another person's shoes because I'm going to be speaking, that is will be changing the slides. 39 00:04:08,480 --> 00:04:13,580 Nevertheless, let's let's start. And Alice, can we have the first fight, please? 40 00:04:13,580 --> 00:04:22,330 Yes. OK, we will be I will be actually speaking about thick file techniques, 41 00:04:22,330 --> 00:04:28,870 is using the different parts of the Book of a Codex and specifically more specifically, 42 00:04:28,870 --> 00:04:36,910 I will be speaking about pixelated techniques on the sewing, on the spine, lining on the end buttons. 43 00:04:36,910 --> 00:04:41,050 The markers. The cover of the books. 44 00:04:41,050 --> 00:04:51,640 And the fastening straps. And last but not least, I will be speaking about ecstatic meakes as they appear on the illustrations of Byzantine goddesses. 45 00:04:51,640 --> 00:04:57,730 Next slide, please. So starting with the with the sewing. 46 00:04:57,730 --> 00:05:08,920 OK, so the sewing of codices is one of those parts of the book that, you know, that have attracted a lot of attention. 47 00:05:08,920 --> 00:05:18,430 Basically, Byzantine goddesses, as well as all the other eastern Mediterranean countries, are with what we call an unsupported sewing technique. 48 00:05:18,430 --> 00:05:28,630 And basically next like this basically consists in a number of looks, continuous loops. 49 00:05:28,630 --> 00:05:37,360 We will see in a second how these are made in what we normally call now usually links to technique 50 00:05:37,360 --> 00:05:45,680 or what I think maybe should be more properly and more accurately called the loop stitch technique. 51 00:05:45,680 --> 00:05:49,450 The technique is basically varied. 52 00:05:49,450 --> 00:05:52,780 Can we have the next slides? Alice with the animation? 53 00:05:52,780 --> 00:06:01,690 So the idea is that you open those reshape cards at the opening set design of the different gatherings, 54 00:06:01,690 --> 00:06:08,650 and you go with your thread through these openings, which marked the sewing stations and create these loops. 55 00:06:08,650 --> 00:06:18,820 So the thread of its gathering is so encouraging, its gathering looks around the threads in the in the previous gathering created at the end fabric. 56 00:06:18,820 --> 00:06:26,440 So basically, if you are able to somehow isolate the gatherings or out a separate the gatherings from the sewing structure, 57 00:06:26,440 --> 00:06:34,240 then what you end up with is a fabric basically like the fabric you see at the top right. 58 00:06:34,240 --> 00:06:39,430 And that's rather loose looking. Fabric is not any fabric. 59 00:06:39,430 --> 00:06:49,750 It is a fabric with a name, if you like. It is a looped fabric and it is a loop fabric like the one to the top left next slide, 60 00:06:49,750 --> 00:06:55,720 which is basically one of the many variations of loops, states and looks. 61 00:06:55,720 --> 00:06:59,860 This is one of the and here you see basically three variations loops. 62 00:06:59,860 --> 00:07:05,740 This is one of the most universal kind of fabric making techniques. 63 00:07:05,740 --> 00:07:14,380 It's probably older than weaving itself, and you find it throughout history and throughout the globe. 64 00:07:14,380 --> 00:07:18,490 What interests us? Here are just three of the many variations of looping. 65 00:07:18,490 --> 00:07:26,110 What is interesting for us is the variation at the bottom right, which is called the cross knit looping. 66 00:07:26,110 --> 00:07:33,070 Now that might look too many lost while modernised familiar. 67 00:07:33,070 --> 00:07:37,510 It will be familiar because of meeting, so we might actually think this is knitting. 68 00:07:37,510 --> 00:07:42,610 It is not. It is looping and actually looking. It is the ancestor of meeting. 69 00:07:42,610 --> 00:07:48,130 Can we see the animation in the next slide, please? So this is how I looked. 70 00:07:48,130 --> 00:07:51,940 Textile with the cross needs looping technique is done. 71 00:07:51,940 --> 00:07:58,690 Think of it as a sewing rather than his knitting, because basically you have one needle and one thread, 72 00:07:58,690 --> 00:08:04,150 and it is that single thread which is looped around itself in the process. 73 00:08:04,150 --> 00:08:10,510 And so this is what you end up with if you consistently do that, 74 00:08:10,510 --> 00:08:16,960 and the sock that is sold in the next slide is basically the kind of artefacts that 75 00:08:16,960 --> 00:08:27,970 are very commonly found in the late Roman entirely late antiquity sites from Egypt. 76 00:08:27,970 --> 00:08:35,620 So this is a cross knit looping technique, which was very common apparently in the time and in the cultural context and 77 00:08:35,620 --> 00:08:40,090 chronological context where the Codex appears and is established gradually. 78 00:08:40,090 --> 00:08:45,490 This was the kind of artefact where this krosnick looping technique was extensively used. 79 00:08:45,490 --> 00:08:49,660 There is evidence to suggest that this was a technique that was rather widespread 80 00:08:49,660 --> 00:08:55,270 in the whole Roman world and the whole of the at least eastern Mediterranean. 81 00:08:55,270 --> 00:09:00,610 So it wasn't specifically Egyptian, but it was within the Roman, 82 00:09:00,610 --> 00:09:08,770 despite the fact that all of the of the remains that we have about technique from great antiquity comes from Egypt for the obvious reasons. 83 00:09:08,770 --> 00:09:15,050 So if we see the next slide, this juxtaposition of photographs of. 84 00:09:15,050 --> 00:09:21,410 The one at the at the in the background is, is a sock basically a sock like that. 85 00:09:21,410 --> 00:09:30,200 So this is an exact copy of one of these Egyptian late antique socks made by the dean of the Giovanni, 86 00:09:30,200 --> 00:09:34,400 whose hands appear in the photograph in the background. 87 00:09:34,400 --> 00:09:42,920 So between the making of that sock, with the cross knit looping technique and the photographic the foreground, 88 00:09:42,920 --> 00:09:49,370 which is a photoshop immense detail of a codex fine where what they did is that they are both close, 89 00:09:49,370 --> 00:09:52,310 close the the chains, if you like, 90 00:09:52,310 --> 00:10:03,770 formed by the sewing process is to basically give you a visual aid in order to hopefully understand that basically both structures are identical. 91 00:10:03,770 --> 00:10:12,770 The difference in structural terms in identical. The difference is that interconnects this showing in the process of the looping 92 00:10:12,770 --> 00:10:20,630 process of the thread goes through the fold of the galaxy because otherwise, 93 00:10:20,630 --> 00:10:25,880 as I said before, if you separate the structure, then if the sewing structure from the gatherings, 94 00:10:25,880 --> 00:10:36,170 you end up with exactly the same fabric and hence looks like Greece and hence the idea of of of the book as a fabric, 95 00:10:36,170 --> 00:10:45,500 which I consider to be an important concept because it somehow gives us, I think, 96 00:10:45,500 --> 00:10:51,170 a better understanding, a deeper understanding of the book of the of the of the structure of the book. 97 00:10:51,170 --> 00:11:00,890 Next slide, please. So a book is a fabric in the same sense that this panel of which is which our feathers. 98 00:11:00,890 --> 00:11:05,000 Next slide, please. Knotted with threads. 99 00:11:05,000 --> 00:11:07,520 So you don't see, of course, the underlying structure. 100 00:11:07,520 --> 00:11:15,980 But there is no way that you could possibly separate the feathers and the structure that holds the feathers in place. 101 00:11:15,980 --> 00:11:21,290 So in the same way that we consider that as a fabric in the same way, 102 00:11:21,290 --> 00:11:32,480 we should consider the book as whole as a fabric and not separate the two things unless it is really necessary. 103 00:11:32,480 --> 00:11:38,400 Next slide, please. The same idea is with the carpets, with the notes of a carpet, 104 00:11:38,400 --> 00:11:45,180 there is no way you could consider separately the pile of a carpet from the structure that keeps it in place. 105 00:11:45,180 --> 00:11:50,360 OK, so that's that's a basic concept to to start with. 106 00:11:50,360 --> 00:11:58,670 And so, so summing up the very structure of the codex of the book, I think, is the structure of the fabric. 107 00:11:58,670 --> 00:12:03,740 And that's that's a very important starting point for our discussion. 108 00:12:03,740 --> 00:12:15,180 Next slide, please. The next the next part of the book, where one can find textiles or textile techniques, is obviously the spine lining for this. 109 00:12:15,180 --> 00:12:19,910 This binding of the Eastern Mediterranean spine lining means a piece of textile, 110 00:12:19,910 --> 00:12:26,150 normally a single piece of textile which covers the spine throughout and which extends on both 111 00:12:26,150 --> 00:12:31,820 ends and the two ends of the textile extending on the outer face of the boat where they are based. 112 00:12:31,820 --> 00:12:40,280 Like the example to the right and normally just very plain textile is used for the purpose normally not coloured at all, 113 00:12:40,280 --> 00:12:49,760 but often it is coloured with this kind of indigo dye like like the example we see here or next slide, 114 00:12:49,760 --> 00:13:02,000 please, for in more or imported textiles like the example to the left or the example the which is now in the Michigan Michigan University Library. 115 00:13:02,000 --> 00:13:07,820 Next slides. And occasionally you can see that actually the textile use, 116 00:13:07,820 --> 00:13:18,950 these are parts of some fabric because some of these exotic stands are really more elaborate, not plain at all. 117 00:13:18,950 --> 00:13:25,700 And next slide, please. And there are examples of spine linings. 118 00:13:25,700 --> 00:13:38,900 We have these crosses on their surface, either stitched or attached like this or sewn on on the on this canvas. 119 00:13:38,900 --> 00:13:44,870 Like this style? Next, next slide, please. And that's another example. 120 00:13:44,870 --> 00:13:53,660 And still another example in the next slide where basically you get these this impression or this, 121 00:13:53,660 --> 00:14:00,680 this feeling that these are pieces of recycled liturgical vestments, possibly. 122 00:14:00,680 --> 00:14:10,310 And also the fact that there is a possibility that whoever did that deliberately placed the cross in the spine of the book as a kind, 123 00:14:10,310 --> 00:14:14,590 as a sort of talisman for the book. Because consider that this. 124 00:14:14,590 --> 00:14:21,850 The book would be normally would be normally covered by the by the cover, 125 00:14:21,850 --> 00:14:28,870 normally leather, but sometimes fabric as well as we will see in a few moments. 126 00:14:28,870 --> 00:14:36,020 The next part of the book and I'm dealing with this Boxing Day in the conventional sequence that the book binder would have followed. 127 00:14:36,020 --> 00:14:41,590 So starting with the showing, the spine laying next thing in the process would be and binding. 128 00:14:41,590 --> 00:14:48,790 So the process of 10 months. Next slide, please. And and once full of frame. 129 00:14:48,790 --> 00:14:54,430 For those of you who know me is one of my favourite subjects, 130 00:14:54,430 --> 00:15:02,170 I've been doing consistent research on elements for several years and what I came out of. 131 00:15:02,170 --> 00:15:08,560 That is basically the fact that the number of bands in the Eastern Mediterranean 132 00:15:08,560 --> 00:15:14,170 book bindings at least is much greater than we have originally suspected. 133 00:15:14,170 --> 00:15:23,680 And that's one thing. The second thing is that, well, of course, things like the primary end point in the secondary end bonds. 134 00:15:23,680 --> 00:15:33,700 I suppose these are things we're familiar with. Primary end point is the one who is directly sold on the book a compound and buy. 135 00:15:33,700 --> 00:15:38,020 A secondary component is the one which is shown on top of the primary punch of 136 00:15:38,020 --> 00:15:41,770 the thread for the secondary component does not go through the book block, 137 00:15:41,770 --> 00:15:50,140 but it totally worked around the primary component. These are all things I think we are all more or less familiar with. 138 00:15:50,140 --> 00:16:05,260 Next slide, please. What is interesting to notice is that next slide as well is that we go to the previous story. 139 00:16:05,260 --> 00:16:12,190 Is that basically in the same idea that the book is a fabric? 140 00:16:12,190 --> 00:16:24,340 If we consider that as a principle, then any make perfect sense because they basically work in the same way that edge finishes work for textiles. 141 00:16:24,340 --> 00:16:33,340 And that explains a few things, one of which is not the same exactly the same techniques and used both in its finishes and in inventory, 142 00:16:33,340 --> 00:16:34,990 like the example you see here, 143 00:16:34,990 --> 00:16:44,560 which is an endowment from a century Georgian binding from the St. Catharines monastery on way to a very peculiar, peculiar and rather uncommon end. 144 00:16:44,560 --> 00:16:54,040 But these use, which is exactly exactly the same technique as the one used for the sleeve of that unique, which appears in the background. 145 00:16:54,040 --> 00:16:58,990 So there are different techniques used for the buttons. We will see them very quickly now. 146 00:16:58,990 --> 00:17:05,560 The first one is showing. Next slide, please. And so ink is what we all know. 147 00:17:05,560 --> 00:17:14,500 And I'm sure we are all familiar with the idea of so many buttons at the edges of the book, so there is nothing much to say about that. 148 00:17:14,500 --> 00:17:20,920 I'm just showing you here two examples one of a simple and the one thing that is right and one of the 149 00:17:20,920 --> 00:17:28,910 compound and one the example to the left of the idea that the term simple and does not imply and then build, 150 00:17:28,910 --> 00:17:34,780 which is very easy to make. It just implies that it is an end which is done in one single sequence. 151 00:17:34,780 --> 00:17:43,510 So this amendment, which is directly sold in one go as opposed to compound and bunch, which, as I said, have two different components. 152 00:17:43,510 --> 00:17:48,640 OK, so in good one technique, the next technique looks like this is they is weaving. 153 00:17:48,640 --> 00:17:58,540 And although actually this is an example of very decorative example of a song and one of a compound compound compound and bands 154 00:17:58,540 --> 00:18:06,880 are normally much more decorative than the simple ones because they're using coloured silk threads for the that's showing. 155 00:18:06,880 --> 00:18:11,710 And of course, underneath that and one that you see, there is now a primary component, 156 00:18:11,710 --> 00:18:20,080 which is not possible to see because of course, there is this secondary component which covers it. 157 00:18:20,080 --> 00:18:27,910 Can we have this next slide, please? So next technique, which is, if used in advance, 158 00:18:27,910 --> 00:18:36,340 is weaving and weaving being extremely widespread throughout history and throughout in time and space space. 159 00:18:36,340 --> 00:18:43,210 Let's say one would have expected it to be much more common in then, but it is not. 160 00:18:43,210 --> 00:18:57,010 Next slide, please. This is one of the few examples of ten months I've woven bands that I know and weaving, like the drawing at the bottom, you see, 161 00:18:57,010 --> 00:19:06,310 is one of those techniques where, according to specialists in textile making and engineering, you have two sets of elements. 162 00:19:06,310 --> 00:19:11,050 The first set of elements is the work and the other is the weft. 163 00:19:11,050 --> 00:19:15,170 OK. Can we go quickly back to the previous slides? Alice. 164 00:19:15,170 --> 00:19:23,720 OK, so we have the world and the West. That's not the the these are the two elements that make a woven fabric. 165 00:19:23,720 --> 00:19:29,390 The important thing to remember because we will come back to that when speaking about planning is that in weaving, 166 00:19:29,390 --> 00:19:33,830 the two are independent of the West in general, an independent one from the other. 167 00:19:33,830 --> 00:19:40,130 So it's where works on its own right? OK, that's a basic distinction to remember to keep in mind. 168 00:19:40,130 --> 00:19:44,540 Next slide, please. OK. I said this is a yes. 169 00:19:44,540 --> 00:19:54,320 That's another example of a woven endowment, in which case that band you see at the front of the blue and yellow band is one of the book. 170 00:19:54,320 --> 00:19:58,490 It can be woven in different ways. We're not going to go into that now. 171 00:19:58,490 --> 00:20:07,010 And then once woven that that bag is stitched or sewn all the primary on the primary component. 172 00:20:07,010 --> 00:20:16,610 So these are the only two examples of Lebanon bonds that I know, and it is a very small number compared to the number of twine backpacks that we have. 173 00:20:16,610 --> 00:20:31,190 Next slide, please. And Twining is, in fact again a fabric making technique which many people confuse or consider as same as weaving. 174 00:20:31,190 --> 00:20:38,000 In fact, it is. It is a branch of weaving, let's say, because again, here we have two sets of element. 175 00:20:38,000 --> 00:20:47,870 We have the work and the with the the major distinction is that entwining at least two lifts are working together, 176 00:20:47,870 --> 00:20:52,010 so one way it is intertwined with with at least another one. 177 00:20:52,010 --> 00:20:56,510 OK. And that creates those those two. 178 00:20:56,510 --> 00:20:58,850 And then once next slide, please. 179 00:20:58,850 --> 00:21:13,160 Which I'm sure most of us are familiar with, and mostly because of the Islamic bonds, has the end point in the next slide. 180 00:21:13,160 --> 00:21:17,630 Next slide, please, yes. OK, so this is applying them. 181 00:21:17,630 --> 00:21:18,020 OK. 182 00:21:18,020 --> 00:21:27,770 And I remember the basic distinction that entwined then once the two left are worked together or what actually works and we will see examples of that. 183 00:21:27,770 --> 00:21:32,240 Next slide, please. Now, Twining is a very ancient technique. 184 00:21:32,240 --> 00:21:42,950 Scholars believe that is older than weaving itself. And as as as it is older and universal and still very much used today, 185 00:21:42,950 --> 00:21:50,750 you can find it in all sorts of artefacts like baskets or like next slide plays like fences. 186 00:21:50,750 --> 00:22:04,760 This is this is embarked today, back today, or like in fabrics like the next slide, which shows basically a carpet from Uzbekistan. 187 00:22:04,760 --> 00:22:10,910 Next slide in which the axing of the fabric is made with Twining. 188 00:22:10,910 --> 00:22:22,010 And I'm sure we will all recognise here the same effect, as well as the same structure with the with the at least the Islamic. 189 00:22:22,010 --> 00:22:26,990 But Twining is not confined to Islamic Islamic bindings. 190 00:22:26,990 --> 00:22:32,700 But all these eastern Mediterranean banks? Next slide, please. 191 00:22:32,700 --> 00:22:38,040 So basically on top of the primary and bottom, you have an ambition tying binding, 192 00:22:38,040 --> 00:22:43,920 and what you see here is a typical the typical endowment you have in most of the business and binding. 193 00:22:43,920 --> 00:22:51,570 This is what we often call a grip on the byzantine part for for for the sake of simplicity. 194 00:22:51,570 --> 00:22:59,580 Now that's the primary component. And on top of that, in order to create a timetable, you have to first provide the works. 195 00:22:59,580 --> 00:23:08,460 And in order to make the work, you have a thread which widens around the primary component, as shown in the going next slide, please. 196 00:23:08,460 --> 00:23:11,590 And so here we will. I will. 197 00:23:11,590 --> 00:23:16,800 So in a sort of very simple animation, how training is made. 198 00:23:16,800 --> 00:23:20,880 Again, I'm sure that most of you will know that Alice. 199 00:23:20,880 --> 00:23:27,110 Can we do that? Yes. Okay, so. 200 00:23:27,110 --> 00:23:38,150 So the works and on top of the works, the with two of them working from one end of the one to the other end and then back and back and forth until the 201 00:23:38,150 --> 00:23:47,570 whole surface of the NBN is covered in order to create something like like the fabric you see at the bottom. 202 00:23:47,570 --> 00:23:55,250 Next slide, please. And that is to try and then bunkmate in the 15th century or early 16th century. 203 00:23:55,250 --> 00:24:03,470 This is a typical advent of the bindings made in creating the island of grey concrete in the 15th and 16th centuries, 204 00:24:03,470 --> 00:24:11,010 a period when the grid was under Venetian domination and it was a major centre of book production. 205 00:24:11,010 --> 00:24:15,590 Book production and book banking, obviously, after the fall of Constantinople, of course, 206 00:24:15,590 --> 00:24:27,080 no book production moved a great part of that book production of Greek books destined for the Renaissance, a scholarly market in Italy and elsewhere. 207 00:24:27,080 --> 00:24:31,550 Most of the book of those books are a great part of those books was produced in Greece. 208 00:24:31,550 --> 00:24:36,830 So that pattern and that combination of colours is typical of bindings making great. 209 00:24:36,830 --> 00:24:38,210 Next slide, please. 210 00:24:38,210 --> 00:24:49,070 And this is the back of that end where basically, I think you have a very clear idea of a clear view of the whole structure of that. 211 00:24:49,070 --> 00:24:54,440 And so with the thick, linear thread, you have the primary component, the primary element. 212 00:24:54,440 --> 00:24:58,970 And then around that you have with a thinner plate where the linen threads. 213 00:24:58,970 --> 00:25:02,720 You have these this works works. 214 00:25:02,720 --> 00:25:10,910 And then at the front of the end and around these works, you have the actual binding, which is made with red and green threads. 215 00:25:10,910 --> 00:25:17,750 Secrets, not much. Next slide, please. And as I said, Twining can be done with Norm. 216 00:25:17,750 --> 00:25:25,400 It's often done with two colours, but more twining with three or even more colours is not are not uncommon. 217 00:25:25,400 --> 00:25:30,890 This is a typical and one of Syriac bindings. 218 00:25:30,890 --> 00:25:37,310 So Twining made with three colours in this case yellow, green and red. 219 00:25:37,310 --> 00:25:45,740 Next slide, please. So I mentioned at the beginning that there are many variations of combining. 220 00:25:45,740 --> 00:25:55,010 I'm not. There isn't the time to go through all of them, but one I find particularly interesting is this one we are in the process of finding. 221 00:25:55,010 --> 00:26:04,220 The threads do not only go around the world and around themselves, but they also go around what they call an additional core. 222 00:26:04,220 --> 00:26:12,080 And next slide, please. And so this is the image of such an environment which, because of it, is not very good preservation. 223 00:26:12,080 --> 00:26:23,270 It actually shows the underlying structure. Next slide the actual amount, if well-preserved, is looks like that. 224 00:26:23,270 --> 00:26:26,390 So these are really quite 10 months. 225 00:26:26,390 --> 00:26:34,590 But compared to those seen previously, like the one concrete or the one from the Islamic binding, they have much more volume. 226 00:26:34,590 --> 00:26:40,190 They're much more sculptural, if like. Next slide, please. 227 00:26:40,190 --> 00:26:43,420 This is another example of this type of once these are flattened. 228 00:26:43,420 --> 00:26:49,140 And so the code behind this entrance is a flat, normally a flat parchment thick parchment core. 229 00:26:49,140 --> 00:26:55,040 OK, so they have a distinctive flat and vertical for, let's say. 230 00:26:55,040 --> 00:27:02,060 Next slide, please. And this is still another and one of a kind you can actually see better here. 231 00:27:02,060 --> 00:27:10,730 I think the the the the the fact that under these coloured threads, there is a need of this trying robes. 232 00:27:10,730 --> 00:27:15,230 There is a coach under the the silk threads, 233 00:27:15,230 --> 00:27:24,650 and these are very typical of the best bindings produced in Byzantium in the late, 14th and 15th centuries. 234 00:27:24,650 --> 00:27:34,100 And it isn't by chance that you find this in bunting in bindings which are related to the to the best book binding. 235 00:27:34,100 --> 00:27:40,310 So the books which have been bound for the imperial family. And in fact, next slide, please. 236 00:27:40,310 --> 00:27:47,910 This example of a book bound for the Imperial Palace Lodge Families of the final. 237 00:27:47,910 --> 00:27:55,730 The last family of the Imperial Family of Byzantium. This is the monogram of the paleobiology family. 238 00:27:55,730 --> 00:28:00,590 This is the end of this binding. This is from the National Library in Paris. 239 00:28:00,590 --> 00:28:05,420 Next slide. This is from the National Library of Greece in Athens. 240 00:28:05,420 --> 00:28:10,880 Again, a binding not very well preserved, but still binding with the monograph of the imperial family. 241 00:28:10,880 --> 00:28:20,240 What remains of the endowment is still enough to identify it as one of these elaborate flying tenements with additional cost. 242 00:28:20,240 --> 00:28:26,730 The next example in the next slide is an example from the Bodleian Library from one of the Perotti codices of. 243 00:28:26,730 --> 00:28:33,230 Very, extremely beautifully, well executed binding of the declaration of the cover is extremely beautiful. 244 00:28:33,230 --> 00:28:40,780 The by the book has been Reebok, but of course the men are still there pretty much intact. 245 00:28:40,780 --> 00:28:50,080 So these end points are related, as I said, with the best book production the last period of Byzantium of the Byzantine Empire. 246 00:28:50,080 --> 00:28:57,160 But next slide, please. As I mentioned, these 10 points are very common, also in Syriac bindings. 247 00:28:57,160 --> 00:29:08,110 This is an example of these. It might not be a straightforward clear to you, but there are in each of these trying throws, 248 00:29:08,110 --> 00:29:12,160 there is a code underneath the colour of the colour bridge. 249 00:29:12,160 --> 00:29:17,230 So this is designed with addition, of course. Next slide, please. 250 00:29:17,230 --> 00:29:21,650 The next one is again a twined and one with additional cores. 251 00:29:21,650 --> 00:29:25,960 But and then buttons, which are which we normally call an Armenian in, 252 00:29:25,960 --> 00:29:32,320 but not just because it is found on normally on on manuscripts written in Armenian, 253 00:29:32,320 --> 00:29:38,300 but it has some peculiar features like me the size of the additional course. 254 00:29:38,300 --> 00:29:43,240 So the top court is always much thicker than the other ones and the combination of colours with red, 255 00:29:43,240 --> 00:29:50,260 white and black like here being the very typical Armenian combination. 256 00:29:50,260 --> 00:29:54,640 Next slide, please. Or even in Georgian bindings. 257 00:29:54,640 --> 00:30:03,340 And this is one of these twin 10 bands with additional colour from the 10th century Georgian binding from the St. Catharines Monastery. 258 00:30:03,340 --> 00:30:07,240 Next slide. The only way still today, 259 00:30:07,240 --> 00:30:11,980 the only way to mechanise to do to speed up training there is that there has 260 00:30:11,980 --> 00:30:17,170 never been a machine invented for speeding up training or mechanised twining. 261 00:30:17,170 --> 00:30:25,450 The only device ever used is tablet. OK, and tablet waving is an ancient craft is a natural technique. 262 00:30:25,450 --> 00:30:30,730 We find that in classical antiquity in Egypt, in Rome, everywhere and in our lives. 263 00:30:30,730 --> 00:30:39,340 Until today, it's still used today, and there are plenty of emerging mediaeval mediaeval manuscripts like the two 264 00:30:39,340 --> 00:30:44,560 miniatures to the right and the photograph to the left showing a woman in Sweden, 265 00:30:44,560 --> 00:30:49,330 I think practising tablet weaving in the 20th century. 266 00:30:49,330 --> 00:31:00,160 Next slide, please. My my first contact with tablet waving is because of this very beautiful bond and this beautiful book. 267 00:31:00,160 --> 00:31:05,920 When we were assessing the condition of the Sinai collection and this is a unique example, 268 00:31:05,920 --> 00:31:14,110 it's the only example of such of such a tablet woven and banned in the Sinai at the time. 269 00:31:14,110 --> 00:31:18,130 When we came across that we didn't really know what tablet with because we thought 270 00:31:18,130 --> 00:31:23,740 this is just a more elaborate version of Twining made with red and medium, 271 00:31:23,740 --> 00:31:29,170 as you know, as the in of showing you as the Islamic emblem, et cetera. 272 00:31:29,170 --> 00:31:33,040 But then I met a joy, but you are very. Next slide, please. 273 00:31:33,040 --> 00:31:41,710 As a friend and colleague, she's a text black engineer actress's is professor of Physics, an engineer in Denmark. 274 00:31:41,710 --> 00:31:46,630 So I sent her a photograph of the the photographs to the top. 275 00:31:46,630 --> 00:31:55,210 And a week or so later, I received in the post and the envelope with the unbanked or with the band at the bottom, 276 00:31:55,210 --> 00:32:00,190 which is basically a band woven with tablet living in the same colours, 277 00:32:00,190 --> 00:32:09,670 etc. Do notice at the middle of that balance in the book, where there is a point in the middle of the strap where the pattern becomes a. 278 00:32:09,670 --> 00:32:14,240 OK, so the pattern to the left to the right is mirroring the pattern to the right. 279 00:32:14,240 --> 00:32:21,320 Do you see that? I hope. We will come back to that later on, just keep that in mind. 280 00:32:21,320 --> 00:32:23,330 So tablet waving. Next slide, please. 281 00:32:23,330 --> 00:32:35,100 This is a rather I mean, it's not an extremely complicated picnic, but for us, we are completely unfamiliar with that technique. 282 00:32:35,100 --> 00:32:44,900 It's a bit of a surprise. So consider that for each of these twined rows and next slide, please. 283 00:32:44,900 --> 00:32:50,900 For each of the design rows of the unbent and two to draw in the drawing to the top right, 284 00:32:50,900 --> 00:33:00,140 you see that the the end point that was showing you just before has one two three four five six seven eight nine rows of trying. 285 00:33:00,140 --> 00:33:03,260 Therefore, there will be nine tablets. OK. 286 00:33:03,260 --> 00:33:11,150 And there are specific weights in which one has to pass the threads through the tablets, et cetera, et cetera. 287 00:33:11,150 --> 00:33:16,700 So it isn't the place to explain all these particularities. 288 00:33:16,700 --> 00:33:26,630 The next slide we show was assured the very short video of my first attempt with tablet waving a few years ago. 289 00:33:26,630 --> 00:33:37,670 Alice, can we have the next slide, please? OK. And so that's these are the tablets I made the tablets with comic books, really? 290 00:33:37,670 --> 00:33:48,320 These are the silk threads. These are how they are laced through the tablets, and both ends need to be in tension so the twins need to be stretched. 291 00:33:48,320 --> 00:33:52,520 Okay. And then this is the process of tablet weaving. 292 00:33:52,520 --> 00:34:01,860 So every time you turned the tablets a quarter forward and you pass the the left. 293 00:34:01,860 --> 00:34:08,400 Then we turn another quarter. There is a set or bent in the process. 294 00:34:08,400 --> 00:34:20,800 And then from that, you pass again the threat. 295 00:34:20,800 --> 00:34:27,430 Now when when this tabloid weaving is done for remember, you have to have the cool because the elements have shown you before. 296 00:34:27,430 --> 00:34:32,410 As I said, I've made on a parchment thick parchment call. 297 00:34:32,410 --> 00:34:36,610 And so this is what I was doing here. 298 00:34:36,610 --> 00:35:01,630 I just put a strip of parchment at the back in order to create and then one to 10 one tablet woven twine, then bent around the parchment called. 299 00:35:01,630 --> 00:35:11,870 It's very it's a very quick once you set up everything and once once you lace you, yes, you lace your threads through the holes of the tablet, 300 00:35:11,870 --> 00:35:18,310 then the rest is very quick so you can make a tiny, tiny band in a fraction of the time. 301 00:35:18,310 --> 00:35:22,750 You would need to do the same end on the book with thread and needle. 302 00:35:22,750 --> 00:35:55,370 OK, so that's one of the reasons why I use tablets tablets we think about, apparently. 303 00:35:55,370 --> 00:36:00,800 OK. And so this is the final and bumped from. 304 00:36:00,800 --> 00:36:09,950 That's how it looks from the box. So you have a strip, a tablet woven, a strip made around department court. 305 00:36:09,950 --> 00:36:12,290 Next slide, please. And once this is done, 306 00:36:12,290 --> 00:36:22,460 you cut your your strip to the length of the end you want to create and then you up the show that's on the edge of the book like in different ways. 307 00:36:22,460 --> 00:36:26,480 There are different ways. One of which is just showing the drawing. 308 00:36:26,480 --> 00:36:33,830 And it was the way Stone actually used in the in the actual end of this from the Sinai next slide. 309 00:36:33,830 --> 00:36:39,800 Please. It is this one. OK, now next slide. 310 00:36:39,800 --> 00:36:43,850 Tablet weaving is common was common, very much common in antiquity. 311 00:36:43,850 --> 00:36:51,200 These are examples from Egypt. Next slide. This is an example from the Peloponnese in the 14th century. 312 00:36:51,200 --> 00:36:58,010 This is an example. Yes, that's that's an example from Byzantine of the 14th century excavated in the properties in Greece. 313 00:36:58,010 --> 00:37:03,530 The next example in the next slide is from Russia. 314 00:37:03,530 --> 00:37:10,130 And it is a tablet woven strip with a name on top of it written in Greek. 315 00:37:10,130 --> 00:37:12,050 Next slide. I mean, 316 00:37:12,050 --> 00:37:23,210 the technique can create such us so I can work so nicely and so delicately that you can actually write texts on these by twining of these banks. 317 00:37:23,210 --> 00:37:28,010 And this is the same idea but used in Burma. These are from Burma. 318 00:37:28,010 --> 00:37:33,740 Next example next slide, please. These are examples from mediaeval Russia. 319 00:37:33,740 --> 00:37:41,960 Next example next slide. This is a tablet of an endowment from a 16th century bound book in Russia, 320 00:37:41,960 --> 00:37:49,630 which a colleague of ours, Alexander Kruger, has repaired and has published in Anarchical Day. 321 00:37:49,630 --> 00:37:56,990 The Strip. You see at the left bottom is what remains of the endowment. 322 00:37:56,990 --> 00:38:03,690 Excuse me, next slide, please. And these are different patterns of swords. 323 00:38:03,690 --> 00:38:12,480 Assad's tablet tablet woven in buns and looks like these are examples from such 15th 324 00:38:12,480 --> 00:38:18,780 century Russian bindings from the Lenin library I was able to see three years ago. 325 00:38:18,780 --> 00:38:24,640 This slide next slide, please also. Next slide. 326 00:38:24,640 --> 00:38:28,480 And next slide as well. 327 00:38:28,480 --> 00:38:37,810 OK, next slide is about breaking, so there are elements in the 16th and 17th century which are not made with binding, but they are made with braiding. 328 00:38:37,810 --> 00:38:42,970 I don't know how many of you are familiar with braiding. Let's see the next slide, please. 329 00:38:42,970 --> 00:38:51,550 Braiding again is an antique technique. This is an image from the 15th century showing exactly the practise of look braiding. 330 00:38:51,550 --> 00:39:02,920 Next slide and look braiding. Bathed basically consists of one person working with five loops threaded in three and two fingers in the two hats. 331 00:39:02,920 --> 00:39:07,450 And basically all you do is you alternate looks from one hand to the other. 332 00:39:07,450 --> 00:39:13,390 OK, that's that's very roughly what it is about. 333 00:39:13,390 --> 00:39:21,100 Next slide, please. And this is, for example, such a braided then made of the book and then stitch the book. 334 00:39:21,100 --> 00:39:23,980 This is 17th-century next slide. 335 00:39:23,980 --> 00:39:37,420 And one of the interesting things that I almost came across by accident is this miniature from a book copied in 13 62 in the Peloponnese. 336 00:39:37,420 --> 00:39:44,500 It's a Greek manuscript showing these three women working on different textile making processes. 337 00:39:44,500 --> 00:39:51,610 Next slide the woman to the to the left bottom is the one which is the most interesting for us. 338 00:39:51,610 --> 00:39:55,890 Can we see the next slide? Next slide. 339 00:39:55,890 --> 00:40:04,270 Yes, so if you look closer, although the image is badly damaged, even one can survive and survives intact. 340 00:40:04,270 --> 00:40:09,100 It's definitely shown as working look great and tend to my on my understanding. 341 00:40:09,100 --> 00:40:17,570 This is the only image we have. And one of the very few images from the mediaeval in the times of low rating. 342 00:40:17,570 --> 00:40:25,120 So although I don't think if look, bilinguals is a cog in the Byzantine cortex on the next slide, please. 343 00:40:25,120 --> 00:40:32,620 Although Byzantine been bit famous for the fabrics and the luxurious dresses he produced, 344 00:40:32,620 --> 00:40:35,230 it wouldn't be surprising that all these different techniques, 345 00:40:35,230 --> 00:40:41,140 which have been very well known and very well practised in the Byzantine context, very, very quickly. 346 00:40:41,140 --> 00:40:45,310 Next. Next slide, please. He's the technical shoemaker. 347 00:40:45,310 --> 00:40:50,770 It's a very widespread technique for tablets and carpet weaving, but not as common in buttons. 348 00:40:50,770 --> 00:40:55,600 Although you do find it, I know only two examples, but they are there. 349 00:40:55,600 --> 00:41:00,970 Next slide. This is one of the examples of the Byzantine. This is your five minute. 350 00:41:00,970 --> 00:41:09,850 Oh OK, I have to ask. Thank you. OK, so that's that's as well as Schumacher-Matos, and it might look like a twining. 351 00:41:09,850 --> 00:41:17,290 It's not whining. And the standard might not be very easy to understand from the photograph and next slide, please. 352 00:41:17,290 --> 00:41:21,490 That's the another example from the National Library in Athens. 353 00:41:21,490 --> 00:41:29,890 Very quickly, Marcus is the next part of the book where the fabric making techniques are used and basically here as well. 354 00:41:29,890 --> 00:41:34,180 We are dealing with braiding. Next slide, please. 355 00:41:34,180 --> 00:41:43,630 And in braiding, we distinguish between between unorthodox look braiding like here when? 356 00:41:43,630 --> 00:41:49,030 Well, never mind. Unorthodox is shown here in orthodoxy, shown in the next slide. 357 00:41:49,030 --> 00:41:53,690 I don't think it's very easy to explain it right now. 358 00:41:53,690 --> 00:41:58,060 It's just a small change in the way loops are passing one from the other. 359 00:41:58,060 --> 00:42:02,800 All I know about braiding the very few things I know about braiding all come from. 360 00:42:02,800 --> 00:42:07,780 Next slide, please. No, I'm going spacers and joy, but oops. 361 00:42:07,780 --> 00:42:14,590 Books on loop braiding, which are here, several of which are so here. 362 00:42:14,590 --> 00:42:26,410 And Jodi Bootloop was very generous in sending me back the actual facsimiles of braided markers I sent your photographs of. 363 00:42:26,410 --> 00:42:33,020 Next slide, please. So this is an example. Next slide. 364 00:42:33,020 --> 00:42:37,850 And that's the facsimile next example. Another one. 365 00:42:37,850 --> 00:42:44,030 Next, next slide. Next. 366 00:42:44,030 --> 00:42:47,960 These are all different bookmarks from the books. 367 00:42:47,960 --> 00:42:50,030 Basically, all of them, the in the Sinai. 368 00:42:50,030 --> 00:42:57,590 This is an interesting one because it is made with 10 loops, so it is not made in one person, but two persons working together. 369 00:42:57,590 --> 00:43:07,160 Next slide, please. In that way, so two women probably work in one thing and one next to the other and exchanging looks in their house. 370 00:43:07,160 --> 00:43:11,060 OK, so next, next slide, please. 371 00:43:11,060 --> 00:43:16,550 Is also this idea of free and braiding like the braids we use for hair. 372 00:43:16,550 --> 00:43:20,810 That's the same technique. And of course, next slide tablets. 373 00:43:20,810 --> 00:43:25,730 Woven bands were also used for for bookmarks, and this is an example of that. 374 00:43:25,730 --> 00:43:32,100 Do not these the small how to say a seam at the middle of the bank? 375 00:43:32,100 --> 00:43:44,600 That is where this is a feature. This is a typical feature we all have, and this is a feature which can exist only when a bank is made in public. 376 00:43:44,600 --> 00:43:48,030 It's not easy here to explain now why it is there, but it is there. 377 00:43:48,030 --> 00:43:52,220 If you ever see that, then there is no question about the way this bank was made. 378 00:43:52,220 --> 00:44:01,070 It was definitely made weaving. Next slide is another example of this idea of using public woven bonds as bookmarks. 379 00:44:01,070 --> 00:44:05,750 And very quickly, the next slide, please. The last part? 380 00:44:05,750 --> 00:44:10,850 Well, not exactly. The last part was the last part is the cover. The idea is very clear. 381 00:44:10,850 --> 00:44:16,220 You can understand that the idea of covering books with rich textiles. 382 00:44:16,220 --> 00:44:20,900 There are several examples if we can go through them quickly. 383 00:44:20,900 --> 00:44:25,400 The idea is that at least in the basic Byzantine context, 384 00:44:25,400 --> 00:44:35,960 these rich textiles were used only for the for the most precious books if we stop there only for the most precious books like the gospel, basically. 385 00:44:35,960 --> 00:44:41,660 So you would expect to find velvet and silk patterned or not used in gospel books. 386 00:44:41,660 --> 00:44:52,790 These are, of course, a more luxurious examples embroidered with metal threads in silver or gold silver threads covers which have been used. 387 00:44:52,790 --> 00:44:59,360 These are the only two examples of such bindings we know of. Both of them are related to the imperial family, to their right, 388 00:44:59,360 --> 00:45:04,580 to the imperial family of the clergy, and hence the the monogram that appears in both of them. 389 00:45:04,580 --> 00:45:08,420 The one to the left is now the offered at the monastery outside Rome. 390 00:45:08,420 --> 00:45:13,910 The one to the right is in the Alice Coriander Library in Spain, and they are both, 391 00:45:13,910 --> 00:45:20,420 as I said, closely related to people, to persons of the imperial family. 392 00:45:20,420 --> 00:45:32,090 And of course. Next slide, please. Embroidering embroidered with embroidery with silver and gold silver thread was one of the speciality of Byzantine. 393 00:45:32,090 --> 00:45:38,000 Not very much has survived. This is one of the few treasures from around the thirteen hundreds that survived 394 00:45:38,000 --> 00:45:41,900 until just now preserved in the Museum of Byzantine Culture in Thessaloniki, 395 00:45:41,900 --> 00:45:51,710 where I work. Next slide, please. And this is a detail which gives you an idea of the refinement that such embroideries could achieve. 396 00:45:51,710 --> 00:45:54,350 Last part of the book is Next slide, please. 397 00:45:54,350 --> 00:46:00,740 The fastenings and typical four Byzantine fastenings are the interlaced leather straps, as you can see here. 398 00:46:00,740 --> 00:46:11,890 But then occasionally, like you next slide, you can see the suit threads have been used in this case braided as well as in the next slide, please. 399 00:46:11,890 --> 00:46:23,680 Also here and next example, I think also these straps were made with two people working two together with Lou braiding. 400 00:46:23,680 --> 00:46:32,490 Next slide. This is another example with breaking a next example. 401 00:46:32,490 --> 00:46:39,450 And these are just a few images in order to say that most of these eckstine of this 402 00:46:39,450 --> 00:46:48,780 fabric or silk straps are used in books bound or covered in velvet or silk colours. 403 00:46:48,780 --> 00:46:58,990 And next slide, please. This is an example of tablet woven bands used from Fastenings Next slide. 404 00:46:58,990 --> 00:47:03,850 And these are another three examples of such stops. Now it will be closing, 405 00:47:03,850 --> 00:47:11,920 there are five more slides very quickly with what I consider to be a very interesting feature on these books and next slide, please. 406 00:47:11,920 --> 00:47:18,790 This feature is the idea that several of these rather stylised decorative bounds 407 00:47:18,790 --> 00:47:24,100 you find the manuscripts can be related directly to fabric making techniques. 408 00:47:24,100 --> 00:47:26,830 So this is that doodle, basically. 409 00:47:26,830 --> 00:47:39,460 And next slide, please, is the image of from from from a book on textile classification, which basically tries to show the structure of these books. 410 00:47:39,460 --> 00:47:49,460 Some of these illustrations, they seem they are almost they seem like instruction drawings for fabric making, 411 00:47:49,460 --> 00:47:55,990 and we will see very quickly a few examples. Next slide, please. 412 00:47:55,990 --> 00:48:08,560 This is braiding as as illustrated in the book, and the other is braiding as used the decoration of one of these manuscripts. 413 00:48:08,560 --> 00:48:16,410 Next slide. This is a looping, mixed light. 414 00:48:16,410 --> 00:48:22,050 This is also looking to use as decoration or used as as a classification tool. 415 00:48:22,050 --> 00:48:27,820 Next slide, please. Weaving. 416 00:48:27,820 --> 00:48:29,860 And then next slide. 417 00:48:29,860 --> 00:48:39,940 And this looks like looping, basically the one we discussed earlier when speaking about the sewing and the last slide is the next one. 418 00:48:39,940 --> 00:48:47,440 As I said, some of these images are exact copies of the actual fabric making techniques, 419 00:48:47,440 --> 00:48:55,450 and it is it is an issue which I have just started to investigate. 420 00:48:55,450 --> 00:49:02,470 And these decorations seem to appear in Byzantine manuscripts more or less the same, potentially on work. 421 00:49:02,470 --> 00:49:08,230 And the last line, which is the next one, ends with the phrase I quite like to make research, not work. 422 00:49:08,230 --> 00:49:14,650 And my email for whoever wants to do contact for, you know, 423 00:49:14,650 --> 00:49:21,190 if you have questions or you have links or ideas you want to share, I'm very happy always to be in contact. 424 00:49:21,190 --> 00:49:24,790 Thank you very much. Thank you so much, Judith. 425 00:49:24,790 --> 00:49:30,670 I'm going to stop sharing now and we will move on to some questions. 426 00:49:30,670 --> 00:49:38,330 Answers just give me a second to. So just the first question that I can see, which has had some upvotes. 427 00:49:38,330 --> 00:49:48,380 What type of threat is used for the looting? I'm not sure. Normally, or for all of them, it's either secret which is the norm or later on. 428 00:49:48,380 --> 00:49:53,000 I think cotton. Yeah. Thank you for that. 429 00:49:53,000 --> 00:50:04,720 But more ballistic. So I've got another question which is being upvoted tablet living is much faster, as you said, than something then banned. 430 00:50:04,720 --> 00:50:10,300 Yet we seem to see much more soon end bans. There are particular reason for the bias in that. 431 00:50:10,300 --> 00:50:14,710 Well, I think about it, it was not a widespread technique amongst bankers. 432 00:50:14,710 --> 00:50:18,370 That's that's what they think is especially in the Byzantine context. 433 00:50:18,370 --> 00:50:22,960 I don't know if actually trying to get rid of an endowment whenever used. 434 00:50:22,960 --> 00:50:28,720 All the examples they know Wolf, with the exception of one, seem to be related to Russia. 435 00:50:28,720 --> 00:50:36,040 In Russia, they were very, very common, apparently not in the Byzantine, in the proper Byzantine banks. 436 00:50:36,040 --> 00:50:43,320 But I think that's just that's just because it was a technique Bookbinder did not adopt for some reason. 437 00:50:43,320 --> 00:50:54,440 Mm-Hmm. I think she. Another question. 438 00:50:54,440 --> 00:50:57,710 So thank you for the amazing presentation. 439 00:50:57,710 --> 00:51:03,200 Can you please explain a bit the reasons or motivations behind certain complexity and sophistication of buttons? 440 00:51:03,200 --> 00:51:07,840 Does that kind of relate to? See, binding, do you think? 441 00:51:07,840 --> 00:51:14,190 I don't I cannot really understand. I cannot really be sure about that. 442 00:51:14,190 --> 00:51:20,490 The thing is that you find the more elaborate and often on the most elaborate bindings 443 00:51:20,490 --> 00:51:24,980 show those bindings of the imperial family definitely have the most elaborate inputs. 444 00:51:24,980 --> 00:51:30,990 But that's not that's not necessarily always the case. I mean, even in the Sinai, which is in the middle of the desert, 445 00:51:30,990 --> 00:51:40,590 you get the feeling that some of the banks made in the monastery were really using very beautiful silk and rather elaborate techniques. 446 00:51:40,590 --> 00:51:48,570 But I think those are rather the exception. The rule would be that the more elaborate entrance would be, the more for the more luxurious bindings. 447 00:51:48,570 --> 00:51:54,790 Hmm. That's the idea behind that. Yeah. And another question. 448 00:51:54,790 --> 00:52:05,020 Have you come across any records of kind of the artisans and craftsmen and workshops kind of who were making these no element of Byzantine ways, 449 00:52:05,020 --> 00:52:10,990 amongst other things, is is is notorious for not paying much attention to the craftsmanship. 450 00:52:10,990 --> 00:52:15,910 Yeah. So there is nothing like the manuals we have in bookbinding manuals for the Islamic world. 451 00:52:15,910 --> 00:52:24,580 Nothing like that. So it seems almost nothing survives on the craftsmanship of the craftspeople, 452 00:52:24,580 --> 00:52:30,430 even icon painting, which was probably the major artistic expression of Byzantium. 453 00:52:30,430 --> 00:52:34,570 You have to arrive to the eighteenth century or 17th century, actually 18th, I think, 454 00:52:34,570 --> 00:52:47,590 to get the earliest painters money so well after the end of the Byzantine Byzantine mandate in the mid 16th century, 14th century, 15th century. 455 00:52:47,590 --> 00:52:54,010 So we don't we don't get unfortunately nothing like not even terms. 456 00:52:54,010 --> 00:52:59,080 I mean, it would be, you know, we would be happy if we had terms describing all these different parts. 457 00:52:59,080 --> 00:53:04,210 But no, all the terms used to describe the the external appearance of the book, 458 00:53:04,210 --> 00:53:08,170 rather nothing like the, you know, end bunch of fastening straps fastening. 459 00:53:08,170 --> 00:53:16,000 Sometimes, yes, but nothing like sewing or things more more internal, more structural fix from the. 460 00:53:16,000 --> 00:53:22,240 She. Got another quick technical question. 461 00:53:22,240 --> 00:53:29,320 With the twin dam, bans can be seen to be continuous as they work back and forth or the brakes at the end. 462 00:53:29,320 --> 00:53:30,730 Well, that's an interesting question. 463 00:53:30,730 --> 00:53:40,420 That's one of the the features that are actually that can actually help us tell if the mind and one is made with thread the needle on the book. 464 00:53:40,420 --> 00:53:50,890 Or maybe we split within copybook because in a tablet woven in just cut the part off from from the woven from the fabric woven bonds. 465 00:53:50,890 --> 00:53:56,350 OK. So if you cut the threads, then at the end of the of the end of the bundle have loose threads. 466 00:53:56,350 --> 00:54:03,190 Basically, while in amendment at the time on the book, you're using one single thread going front and back. 467 00:54:03,190 --> 00:54:08,670 So at the edges of the end, the thread really locks and goes back. 468 00:54:08,670 --> 00:54:17,590 OK, so if you look at the edges of the pants, if you have cut threads, then that's probably an indication that that's made with tablet weaving. 469 00:54:17,590 --> 00:54:21,160 If you don't have cut threads, but the thread continues from the other end, the other way, 470 00:54:21,160 --> 00:54:30,520 the other direction, then it is a clear indication that that is made with thread the needle on the book. 471 00:54:30,520 --> 00:54:36,650 Thank you. And scroll down. 472 00:54:36,650 --> 00:54:40,100 We're lots and lots of thank you, Stuart. Yes, I'm just going through that. 473 00:54:40,100 --> 00:54:46,650 Yeah. Yes. And lots of people shouting out your fabulous book, which is. 474 00:54:46,650 --> 00:54:58,330 The correct answer to those questions about, yes, that will and another whining and reading, Ken Burns, what material is good for the world? 475 00:54:58,330 --> 00:55:07,050 Yeah, normally it's linen, it's a thin thread, but what we call a plain thread, which means either linen or shouldn't. 476 00:55:07,050 --> 00:55:09,900 I think normally it's linen because it's very fine quality. 477 00:55:09,900 --> 00:55:16,590 Occasionally you do find silk threads as well, but still been, I think, more thin and more delicate. 478 00:55:16,590 --> 00:55:22,500 It wasn't used for the actual what the works normally are made with linen print. 479 00:55:22,500 --> 00:55:30,010 And yes, the type of thread which for the look, we've already replied, that's an that. 480 00:55:30,010 --> 00:55:42,170 You've got time for one more question. 481 00:55:42,170 --> 00:55:50,750 Oh, just a question, would Typekit leaving create a stronger core that Keith against sorry, would tablet leaving create a stronger core? 482 00:55:50,750 --> 00:55:59,330 I don't know. Probably, yes, because the the the band produce the fabric produced is much more compact and much cheaper. 483 00:55:59,330 --> 00:56:05,330 See what I mean, because when you do that twining, we thread the needle and you have to pull the thread yourself. 484 00:56:05,330 --> 00:56:10,070 And you know, it's very hard to keep this the exact same bullying for all the threads. 485 00:56:10,070 --> 00:56:15,530 Why would tablet waving that becomes automatically and is consistent throughout? 486 00:56:15,530 --> 00:56:19,580 You see what I mean? So that's also I mean for for a rather trained guy, 487 00:56:19,580 --> 00:56:30,950 that's that's one of the ways to turn the tablet woven bands from Entwined Band on on the book because the tablet woman band looks very consistent, 488 00:56:30,950 --> 00:56:38,020 looks like made by a machine because actually effectively a tablet tablet, we think is a machine process. 489 00:56:38,020 --> 00:56:42,170 OK, although it's very it's not very sophisticated. 490 00:56:42,170 --> 00:56:50,720 While modernised, it's still a machine only machine ever invented and never used for speeding up training. 491 00:56:50,720 --> 00:56:56,180 Yeah. OK, just one more question. Sneak one more in from Nicky, she said. 492 00:56:56,180 --> 00:57:02,600 An interesting observation about representation of weaving and twining in headpieces, beetles, et cetera. 493 00:57:02,600 --> 00:57:10,690 Is there a time at which the start? So is there a kind of what is there a time at which this starts? 494 00:57:10,690 --> 00:57:17,090 Oh yeah. Well, as I said, I think as I said, it's not a completed research. 495 00:57:17,090 --> 00:57:19,600 So this is very much an ongoing research. 496 00:57:19,600 --> 00:57:31,000 But it seems that these set pieces with these patterns, with these, this pixel patterns become more common from the 13th century. 497 00:57:31,000 --> 00:57:34,900 And and yes, perfect on the manuscripts. Yeah. 498 00:57:34,900 --> 00:57:41,050 Yes. I think I think now we're yeah, we're approaching five o'clock. 499 00:57:41,050 --> 00:57:44,800 So as to just said, see his email. 500 00:57:44,800 --> 00:57:50,590 So any other questions or things he'd be happy to add directly to him? 501 00:57:50,590 --> 00:57:59,170 I said, if anybody wants to know or to ask a specific question or there is something they would like no more or whatever, 502 00:57:59,170 --> 00:58:03,370 he made me up happy to to reply. Well, thank you so much. 503 00:58:03,370 --> 00:58:07,210 So to wrap up, I'd like to say thank you so much for joining us. 504 00:58:07,210 --> 00:58:11,080 Thank you so much for you, us and sharing his research today. 505 00:58:11,080 --> 00:58:15,880 And thank you, everyone, for your patience with the slight technical problems. Alex, thank you. 506 00:58:15,880 --> 00:58:22,630 Thank you for what I forgot to mention that thank you for the good work given the circumstances. 507 00:58:22,630 --> 00:58:25,660 I mean, you know that we haven't had that before, 508 00:58:25,660 --> 00:58:33,370 so we try to thank you very much and thank you to everyone at the body and to the public engagement team and the rest of my conservation colleagues, 509 00:58:33,370 --> 00:58:39,760 and especially also to Karen, who's been in the background today in the session doing some pretty things for us as well. 510 00:58:39,760 --> 00:58:43,180 And to to Barron for funding this series. 511 00:58:43,180 --> 00:58:49,660 And I just like to finish off by saying we very much hope you'll join us for the next talk in the Texas Library series, 512 00:58:49,660 --> 00:58:55,960 which will be on the 9th of December. And I'm going to be joined at the podium by artist Alice Fox, which will be great. 513 00:58:55,960 --> 00:59:02,080 And tickets for that talk and the rest of the series are still available online and they're free to do. 514 00:59:02,080 --> 00:59:05,020 Please check out the body website for that. 515 00:59:05,020 --> 00:59:12,730 So, yeah, without further ado, I hope you have a look the rest of your day and thank you again, George and goodbye. 516 00:59:12,730 --> 00:59:20,574 Thank you. Hi, bye.