At the end of October we were lucky enough to have Jeff Peachey come to the Lab for a week-long workshop on Leather Conservation. We covered sewing extensions, joint tacketing, board splitting and cotton hinges, leather rebacks, and knife sharpening. In the weeks following the workshop we shared highlights from the workshop on our Instagram…
Leather rebacks, including board slitting, inserting a cloth hinge, lifting the original leather, dyeing the new leather, and paring and attaching the reback.
Finally, conservation ASMR…Jeff Peachey style! Make sure the sound is on for this one…
We had the best time with Jeff. He is such a knowledgable and approachable instructor, and we learned so much from him. Thanks for coming to the Preservation Lab, Jeff!
Each year, the Preservation Lab hosts an annual open house during ALA’s Preservation Week, inviting the entire community to visit the Lab and tour our facilities. Each Preservation Week we choose a theme and dedicate our annual open house to that theme. For instance, last year was dedicated to the history of the codex, where the community was able to discover and explore hands-on the evolution and history of the codex, through various book models created by the Preservation Lab staff. This was a great opportunity to share, with the public, the importance of the materiality of the book and how we can use primary resources as teaching tools.
The history of the codex is a subject that I am deeply interested and has led me to meet and learn from great scholars such as Julia Miller, an expert in early book forms. As a result, I have been developing my own research skills, learning more about the history of the codex, creating historical book models, and sharing this knowledge with my colleagues and with different communities through opportunities such as Preservation Week.
One of the most famous pictures of the Nag Hammadi Codices. Image retrieved from https://www.biblicalarchaeology.org/daily/biblical-artifacts/the-nag-hammadi-codices/
My interest in the history of the codex has led to a fascination for the Nag Hammadi Codices (NHC), also known as Gnostic Gospels. The Nag Hammadi Codices were discovered in 1945 in Upper Egyptian town of Nag Hammadi. The Nag Hammadi Codices appear to have been written during the fourth century. These codices are among some of the oldest codices to have survived with their bindings still intact. There were thirteen codices found, but only eleven bindings have survived. At the time of the discovery eleven covers were found with their texts, text fragments of a twelfth codex, and one text unbound (Codex XIII – tractate (treatise))1.The codices were leather bound with Coptic text written on papyrus sheets. The writings in these codices include fifty-two mostly Gnostic treatises, but they also include other works, such as the Corpus Hermeticum.
This discovery was extremely important, since there were many texts within the Nag Hammadi Codices that were not known elsewhere at the time. For instance, one of the most famous writings is the Gospel of Thomas which is only complete in the Nag Hammadi Codices2. This was an incredible discovery not only in the world of paleography, religion but also codicology.
Because of my fascination with the Nag Hammadi Codices, I decided to dedicate some time to creating my own Nag Hammadi models over the years; creating to-scale the eleven bindings found in 1945.
There are many reasons one chooses to make a model of a book structure, to learn its unique features, how the different materials work together, among others. In my case, I wanted to understand the differences between each of the covers, what features made each cover unique and not exactly the same as the others, and the differences between cover and quire attachment, as well as why some of the codices were more elaborate than others, with cover decoration and blind tooling. This has not been an easy task and has become much longer journey than expected. The tremendous research conducted by scholars and researchers over the years on the study of these texts within the Nag Hammadi Codices, as well as the bindings itself, has helped a great deal in my task of model making. I still have so much more to learn.
The long journey of model making
I should start by saying that over the years, Julia Miller has been a great mentor to me; providing resources, guidance and advice throughout my endeavors to complete my full set of the NHC models.
My first NHC model with its many mistakes, such as parchment tackets (not found in any NHC).
My first attempt to create a Nag Hammadi Codex (NHC) model was back in 2013. I started by reading The Archaeology of Medieval Bookbinding by J.A. Szirmai, where the NHC are explored in the first chapters related to single-quire codices. I also based my initial model from one created by the Lab’s conservator, Ashleigh Schieszer. At that time, I knew little about the unique features of each Nag Hammadi Codex and their bindings.
In 2017, I was able to attend a week-long course at the American Academy of Bookbinding (AAB) on early book forms with the conservator and researcher, Julia Miller. It was at the AAB that my interest for these historical structures solidified and where I learned a lot more about early codex forms. It was also in this workshop that I learn about the mistakes I had made with my first NHC model. This only deepened my interest and conviction that I had to make my own set of NHC to understand how these early codices were made.
Codex VI created in the Morgan Conservatory workshop
Codex VI – A very interesting feature of Codex VI is the fact that Codex XIII was found loosely inside the cover of Codex VI. Codex XIII has been left unbound.
Codex XIII, also created at the Morgan Conservatory workshop
I would come to learn from Julia Miller again when I attended a weekend workshop at the Morgan Conservatory. During this weekend workshop, I created my first full-scale Nag Hammadi Codex VI model. In addition, as a side project I was able to create a small version of Nag Hammadi Codex VIII. This was a great opportunity to learn about each codex and their unique binding and quire attachment features. With the full-scale model of Codex VI, I was on the right path to continue with my other full-scale models.
Another model created at the Morgan Conservatory workshop.
This model illustrates the different quire-cover attachments found in the NHC.
Two resources that have been extremely helpful in creating the full-scale models are the Meeting by Accident, by Julia Miller, where there is a dedicated chapter on the Nag Hammadi Codices with full descriptions, measurements and pictures of each codex; and The facsimile edition of the Nag Hammadi codices by James M. Robinson. At times I became lost reading Robinson’s description of the measurements of each codex cover, and other features as it is all written in a continuous text. Luckily, Julia Miller’s book has each description organized, which makes the task of taking notes and model making a lot simpler.
Another resource that has helped me immensely in this process was studying Julia’s own set of NHC models and paper templates. Seeing Julia’s physical models provided me further insights into visualizing and understanding the descriptions within her book and Robinson’s descriptions.
For the rest of the NHC models, I started by attempting to make Codex I without any paper template. I soon learned that this was a big mistake, as I ended up making the wrong dimensions of the cover and ruining the model. I realized that by first making a paper template, it allowed me to make mistakes without wasting materials such as leather and papyrus. Even though these were only models, representations of the NHC, I wanted to be as accurate as possible.
Paper template for Codex I
Paper template for Codex IV
As I mentioned before, my model making journey has been long; each model beginning with research and note taking. Once I am satisfied with my research, I create a paper template that I will use to create the model with materials used at the time, such as leather and papyrus. This process of model making has been a great learning opportunity for me.
Paper template for Codex VIII
Paper template for Codex X
This past Spring I was able to share what I had learned more broadly when the Preservation Lab co-taught a Book Arts class with UC’s English Department. I taught our students about the Nah Hammadi Codices, and together we created a small model of a Nag Hammadi Codex VIII.
The Book Arts students learning about the Nag Hammadi Codex VIII (photo courtesty: Melissa Cox Norris)
As we continue to work from home, I have been able to dedicate time to continue my model making of the NHC, and research more about early book structures and their discoveries. So far I have completed the following NHC models:
Codex I
Codec IV
Codex VI
Codex VIII
Codex X
Codex XI
Codex XIII
Model of Codex I
Model of Codex I
Model of Codex IV
Model of Codex IV
Model of Codex VIII
Model of Codex VIII
Model of Codex X
Model of Codex X
Model of Codex XI
Model of Codex XI
These models are not perfect, but they represent the unique features of the different Nag Hammadi Codices found in 1945. I am hopeful that these models will be a great addition to the teaching collection at the Preservation Lab, and that perhaps I have inspired others to start their own model making journey during this Preservation Week 2020!
All the models that I have created so far: Codex I, IV, VI, VIII, X, XI, XIII.
References:
Miller, J. (., Spitzmueller, P. J., & Legacy Press. (2018). Meeting by accident: Selected historical bindings. Ann Arbor, Michigan: The Legacy Press.
Layton, B., & Sieber, J. H. (1991). Nag Hammadi codex VIII. E.J. Brill. Retrieved from http://search.ebscohost.com.proxy.library.kent.edu/login.aspx?direct=true&AuthType=ip&db=cat02507a&AN=ohiolink.b31949312&site=eds-live&scope=site
Robinson, J. M. (1972). The facsimile edition of the Nag Hammadi codices. Leiden: E. J. Brill.
Robinson, J. M. (2000). The Coptic gnostic library: a complete edition of the Nag Hammadi codices. Netherlands: Brill.
Make sure to check out our Instagram (@thepreservationlab) where we’ll share Catarina’s process of making her Codex X model later today. And, if you missed yesterday’s Instagram stories where Jessica shared the exciting journey of photography the choir psalter then take a look at our “PresWeek 2020” story highlight (see below).
The Preservation Lab staff are all settled into the new reality of working from home. Today marks the close of our third week working remotely and quarantining ourselves during COVID-19, and after two weeks of adjustments, realizations, and finding our grooves, we thought week three was the perfect time to tackle a fun group project! You may recall last April when we were fortunate enough to have the wonderful Julia Miller come to the lab and teach us a variety of historical structures. In that one week with Julia we learned so many structures, from tablets to scrolls & rolls to a model of Ms 815. Julia also left each of us with a packet of all the materials we needed to create a model of Ms 987; a single-quire codex containing the proverbs of Solomon, which is part of the Staatsbibliothek zu Berlin’s collection. But in the past year, our day-to-day priorities always took precedent over model-making and we just never found the time to work on it together. Well, what better way to relieve a little stress and commemorate the anniversary of our workshop with Julia than with a little coordinated model-making!?
Since Catarina had made an Ms 987 model in a previous workshop she had taken with Julia [pictured below], she was kind enough to guide us through the steps in two Microsoft Teams chat sessions. She was also available via chat to answer any questions we had as we went along.
Catarina’s model from a previous workshop that we used as a reference during our at-home-model-making
Here are the finished at-home models:
Catarina’s model that will become part of the Lab’s permanent model collection
Sidney’s model
Hyacinth’s model
Jessica’s model
Jessica’s model
Holly’s model
Kasie’s model
Kasie’s model – like several of us, Kasie created a cutaway model, not fully pasting down one side of the leather and turn-ins and not attaching the pastedown
Kasie’s model featuring her furry coworker, Ru!
Many of us also took photos of our progress as we were making the models and we posted them in our Instagram stories. You can find those images within our story highlight entitled “Ms.987 Models” in the profile. We also shared our models with each other in our scheduled Friday morning video chat!
Where you can find our highlighted stories of our Ms 987 models
Kasie, Catarina, Holly, Ashleigh, and me (in the corner) showing off our models
We are so grateful to Julia for preparing all the materials for this model, as part of our workshop last April. The preparation she did for us made it so easy to construct these models at home. I would also like to thank Catarina for walking us through the construction process and for answering all our questions throughout.
Happy Friday everyone! Stay happy, stay healthy and stay safe!
Occasionally the lab is asked to teach simple book structures to students in other academic departments, usually to assist with the physical presentation of their final projects. Here is the slideshow presentation that accompanied our on-site training for a photography class for the College of Design, Architecture, Art, and Planning on 7/15 and 7/16/2019.
Structures included an accordion book and crown book, with bonus instructions on a one-page wonder that can be made outside of class. Click the link below to access the slideshow and Enjoy! https://mailuc-my.sharepoint.com/:b:/g/personal/prochah_ucmail_uc_edu/EXm-2wHSzLtGqERd9T2UaSYBfDnS6ArPWSJdX-Ei4cQxCw?e=lhE9Rz
For Preservation Week, we decided to treat ourselves to the best staff development imaginable: a five day intensive workshop with Julia Miller on early historical structures. We learned so much from Julia and we are beyond grateful for her to coming to the Lab for this workshop! What an amazingly knowledgeable instructor and wonderful human being; thank you Julia for sharing your knowledge with us!
We will probably share a more in-depth post about what we learned later, but for right now I created a compilation video of time-lapse videos I captured during our workshop. Hope you enjoy!
Our conservator Ashleigh Ferguson Schieszer will be assisting paper conservator Jamye Jamison in an upcoming Ohio Preservation Council workshop. Seats are still available! Workshop description: This course is for archivists, librarians, or anyone who is interested in caring for their family documents, print collections, or other ephemera. The class will begin with a short discussion of materials and what to look for when making archival enclosures for flat paper objects. Each participant will then make a small portfolio of reference samples of various enclosures for paper materials, including a simple four-flap, polyester sleeve, paper envelope and a “back and wrap” enclosure, which can be used for display. Each participant is asked to bring four objects no larger than 4 x 6 inches (roughly postcard size) that can be used to make the reference samples. No previous experience necessary.
Learn more and register at —- http://opc.wildapricot.org/event-3357153
This is an example of one of the pieces that was photographed under UV radiation in a recent workshop Jessica attended through AIC. In this workshop at Duke University, taught by conservator Jennifer McGlinchey Sexton, participants learned how to identify the best UV lamps for conservation documentation, how to test for visible light leakage, and how to standardize UV documentation workflow using the Target UV (to the right of the painting).
Last month our lab hosted a little workshop, taught by talented conservation technician, Chris Voynovich (PLCH), on collapsible book cradles. The workshop came about after our conservator shared images of Elizabeth Rideout’s collapsible book cradle with us and explained how beneficial this would be for the special collections holding libraries to have cradles like this on hand. Chris, who is usually the go-to technician in the lab for tricky enclosures, jumped at the opportunity to create a cradle. So without any instructions available he made a collapsible, adjustable cradle based on the images of Rideout’s cradle online. Chris then wrote up some instructions for a standard size cradle that fits most books. With the instructions on hand we went ahead and planned the workshop, inviting colleagues from both UCL and PLCH.
Chris explaining the collapsible cradle and how it works.
