If you walked into a workshop where someone is fixing a book from the 1600s, you might think you were looking at a mix between a jewelry store and a woodshop. There aren't many power tools here. Most of the work is done by hand, using tools that haven't changed much in hundreds of years. The most common thing you'll see is a bone folder. It's exactly what it sounds like—a smooth, flat piece of animal bone. It feels heavy and cool in your hand. We use it to fold paper, smooth out glue, and burnish surfaces. Why bone? Because it's hard enough to give a crisp edge but smooth enough that it won't scratch the delicate vellum covers. It’s a simple tool, but it's the one we reach for most. It’s a very human way to work. You can feel the resistance of the paper through the bone in a way you never could with a plastic tool. It makes you feel connected to the craft.
Then there are the micro-spatulas. These look like something a dentist would use. They have tiny, flat heads that allow us to get under layers of paper that are thinner than a human hair. When a book's pages start to delaminate—which is just a fancy way of saying they are peeling apart into layers—we use these spatulas to gently lift the damaged bits so we can slide some glue underneath. It's a bit like being a surgeon, but your patient is made of skin and rags. You have to have a very steady hand. One wrong move and you could tear a page that has survived wars and revolutions. It’s a high-stakes job, even if it looks like we’re just sitting still at a desk. Every little movement has to be planned and executed with a lot of care. You aren't just moving paper; you're moving history.
What changed
While the tools are simple, the way we use them has evolved as we learned more about how materials age over time. In the past, people might have used heavy tapes or thick glues to 'fix' a book, but those often did more harm than good. Today, we focus on things that can be undone if needed.
- Bone folders are now often made of synthetic materials like Teflon to prevent any shiny marks on the vellum.
- Custom-fabricated presses now allow for adjustable pressure, ensuring that a book is held firmly without being crushed.
- We use linen thread that is specifically treated with beeswax to reduce friction during the sewing process.
- Modern adhesives are chosen specifically because they won't turn yellow or get brittle as they age.
- The focus has shifted from making a book look 'new' to keeping it 'authentic' and stable.
The Power of the Press
One of the biggest pieces of equipment in the shop is the book press. These are often custom-made from heavy wood or metal. Imagine a very large, very heavy sandwich maker. When we glue a cover back onto a book, or when we are flattening pages that have been washed, we put them in the press. The key is the 'adjustable platens.' Those are the flat boards that squeeze the book. We can change exactly how much pressure is being applied. Too much pressure and you'll squeeze all the glue out or flatten the natural texture of the paper. Too little and the book will warp as it dries. It's a delicate balance. We leave books in the press for days or even weeks. It’s all about slow, even drying. If you rush it, the vellum will remember its old shape and try to curl back up. You have to convince the materials to stay where you want them, and that takes time and steady weight.
The Art of the Stitch
The most satisfying part of the job is the sewing. Most people don't realize that old books are held together by thread, not just glue. We take the 'signatures'—the little bundles of folded pages—and sew them onto cords that run across the spine. We use linen thread because it's incredibly strong and won't stretch much. Before we start, we run the thread through a block of beeswax. This makes the thread smooth so it doesn't saw through the old paper as we pull it tight. It also helps the thread stay in place. It's a bit like being a tailor for ghosts, isn't it? You are following the same holes that a binder made in 1650. You are using the same motions they did. When you're done, the book opens smoothly, and you know it's going to stay that way for a long time. It’s about building a structure that can stand up to being read and handled. We want these books to be used, not just sat in a glass box. By using these old methods with a few modern tweaks, we make sure they're ready for the next few centuries of readers.
