What can we learn from historical bookbindings?
Accurately describing historical bookbindings - their provenance, structures and the materials used in their construction - is a key skill required in book conservation.
Until the 19th century, when hand-work was superseded by machine, bookbindings were essentially unique hand-made artefacts. Each book tells us specific information about its status and use. For example, the cheapest books are bound in sheepskin, run-of-the-mill books in calfskin, and the most expensive books in goatskin leather. Decoration too comes at a cost, and elaborate gold-tooling on fine bindings reflects the status of the owner.
The majority of the books in the Old Library are not deluxe items; the bookbinders created plain, sturdy, inexpensive and clearly-labelled calfskin leather bindings that were fit for the study and research purposes of library readers.
Understanding the significance of a binding allows us to make informed decisions about how best it should be treated and preserved for the future.
These books show us how we can interpret bookbindings to reveal information about their makers and consumers.
Joannis Lorini In Acta Apostolrum Comentaria
Lugduni, 1605
This book was bound in 1608 by the Dublin bookbinder, printer and bookseller, John Franckton. Franckton charged the library 3 shillings (approx. €17 today) for the work. It is still in its contemporary full sheepskin binding, with blind tooling.
B.aa.4
Sir James Ware De Praesulibus Hiberniae
Dublin, 1665
The author of this book is James Ware. He was an ex-Trinity student, historian and close friend of James Ussher. The alum-tawed leather sewing supports, pulp boards and the dark brown stain applied to the outer covers are typical features for this 17th-century bookbinding. Books, in the library, were originally shelved with their foredges facing out. Its original manuscript shelfmark can be seen.
P.c.21
Chinese Tales
Dublin, 1765
This sheepskin leather binding is an example of a very cheaply produced book. Chinese Tales contains a bookseller's list, which shows binding options and costs for the prospective purchaser. At this time, books were purchased in 'sheet' form and then bound to suit an individual's taste and pocket. Certain categories of book, like almanacs, bibles and school books would have been available bound.
H.nn.53, p.239 v
A Collection of Apothegms & Maxims for the Good Conduct of Life
Dublin, 1767
Paraphrase on the Four Evangelists Vol. I
Dublin, 1737
Horatii Flacci Opera Vol. II,
London, 1739
The first bookbindings in the library collections were imported in bound format from England. Many of them are in English centrepiece style bindings. However, by the 18th-century a distinctly Irish bookbinding style developed. The flame tools on the spine of A Collection of Apothegms & Maxims for the Good Conduct of Life and radiating from the centre of the design on Paraphrase on the Four Evangelists are typically Irish.
Horatii Flacci Opera was bound by Joseph Leathley who was bookseller to the College for 25 years. He charged 11s 6d (approx. €58 today) for this binding.
I.k.27, left board
Armoire, left board
Armoire (R.ff.37), left board