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                <text>&lt;span style="text-decoration:underline;"&gt;English&lt;/span&gt;&lt;br /&gt;&lt;br /&gt;This post-incunabulum, an edition of Saint-Jerome’s works printed in Basel, Switzerland, has a binding typical of the first years of the 15th century, with its wooden boards and endpapers of manuscript waste. &lt;br /&gt;&lt;br /&gt;&lt;span style="text-decoration:underline;"&gt;Français&lt;/span&gt;&lt;br /&gt;&lt;br /&gt;Ce post-incunable, une édition des œuvres de Saint-Jérôme imprimée à Bâle en Suisse, propose une reliure typique des premières années du XVe siècle avec ses ais de bois et des pages d’anciens manuscrits comme pages de garde.</text>
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                <text>&lt;span style="text-decoration:underline;"&gt;English&lt;/span&gt;&lt;br /&gt;&lt;br /&gt;Printed by Sebastian Gryphius in 1547, this item is an example demonstrating a binding repair in which the owner took special care to retain as many elements of the original binding as possible. &lt;br /&gt;&lt;br /&gt;&lt;span style="text-decoration:underline;"&gt;Français&lt;/span&gt;&lt;br /&gt;&lt;br /&gt;Imprimé par Sebastian Gryphus en 1547, cet ouvrage de Suétone présente une reliure qui a subi une restauration. Le relieur responsable de l’opération a tenté de retenir le plus d’éléments possibles de la reliure originale qui a été superposée sur le nouveau cuir.</text>
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                <text>Les Ordonnances et édicts du très chrestien roy de France Charles neufiesme du nom […]</text>
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                <text>&lt;span style="text-decoration:underline;"&gt;English&lt;/span&gt;&lt;br /&gt;&lt;br /&gt;This book has lost its binding over time, but its current state allows for a wonderful illustration of the elaborate and painstaking process that went into sewing of a text block before an external cover was ap-plied. Interestingly, this particular item is sewn on three double cord supports, quite an elaborate architec-ture for a book of this size. As time passes and bookbinders become more concerned with shortcuts for economic reasons, the sewing of a book will generally be less sophisticated and, consequently, solid. &lt;br /&gt;&lt;br /&gt;&lt;span style="text-decoration:underline;"&gt;Français&lt;/span&gt;&lt;br /&gt;&lt;br /&gt;Ce livre a perdu sa reliure au fil du temps, mais son état actuel offre une excellente illustration du processus complexe et laborieux qui entre dans la couture des cahiers avant l’ajout de la couverture. Fait intéressant, ce petit ouvrage a été cousu sur trois rubans doubles, une structure assez élaborée pour un livre de si petite taille. Avec le temps, les relieurs utiliseront des raccourcis et la couture d'un livre sera généralement moins sophistiquée et, par conséquent, moins solide.</text>
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                <text>&lt;span style="text-decoration:underline;"&gt;English&lt;/span&gt;&lt;br /&gt;&lt;br /&gt;Two hundred and twenty years younger than its display case neighbour Les Ordonnances et édicts du très chrestien roy de France Charles neufiesme du nom […], this item is a good example of the economic measures taken to reduce the costs of bookbinding. This item is sewn on only two supports, as opposed to the three double sewing supports seen on the spine of the previous example. The supports appear to have been lost over time, as well as the entire outer binding, although their loss allows for yet another stellar demonstration of the book sewing process. This particular sewing style shows the “sawn-in” sewing tech-nique. As to be seen in Les Ordonnances, sewing supports were raised from the spine and had to be ac-commodated in the outer leather binding of the spine. Changes in aesthetic tastes had an influence in bookbinding techniques. To ensure that a spine would not display raised bands, cuts would first be made into the spine with a saw. The supporting sewing cords would then be aligned with, and inserted into, the cuts, allowing the sewing supports to be hidden and providing for a flat spine. &lt;br /&gt;&lt;br /&gt;&lt;span style="text-decoration:underline;"&gt;Français&lt;/span&gt;&lt;br /&gt;&lt;br /&gt;Deux cents ans plus jeune que son voisin, Les Ordonnances et édicts du très chrestien roy de France Charles neufiesme du nom [...] est un bon exemple des mesures prises pour réduire les coûts de production. La couture est faite sur deux rubans, contrairement aux trois rubans doubles de l’exemplaire précédent. Les rubans utilisés semblent d’ailleurs avoir disparu, tout comme la couverture, ce qui laisse voir les traces de l’utilisation du grecquage. Il s’agit d’une technique qui consiste à creuser, en quelque sorte, à l’aide d’une scie à grecquer, le corps de l’ouvrage afin que les nerfs, généralement visibles sur le dos du livre, s’intègrent à celui-ci, offrant ainsi un dos complètement lisse.</text>
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                <text>Erasmus, Desiderius (1467-1536)</text>
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                <text>ARSC_RB_PA8506 1794</text>
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            <name>Format</name>
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                <text>Book/Livre</text>
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                <text>&lt;span style="text-decoration:underline;"&gt;English&lt;/span&gt;&lt;br /&gt;&lt;br /&gt;A laced-case binding in limp parchment with no support of boards; this was likely a temporary binding. The “laces “ that are visible through the cover are actually slips or supports that are sewn into the spine to support the textblock. The fact that the textblock is laced to the cover by means of the slips allows for a quick and easy removal and replacement of the binding. One should also note that the title is written in ink horizontally across the length of the spine, indicating that this is how the book would have been stored on its owner’s shelves. &lt;br /&gt;&lt;br /&gt;&lt;span style="text-decoration:underline;"&gt;Français&lt;/span&gt;&lt;br /&gt;&lt;br /&gt;Cette reliure de parchemin sans plats solides était une pratique courante pour la création de reliures temporaires. Les rubans qui sont visibles sur la couverture sont en quelque sorte des équivalents des rubans servant de support à la couture des cahiers mais qu’on a positionné différemment. Le fait que le corps de l’ouvrage soit lié à la couverture par des rubans facilite le démontage de la reliure en vue d’en produire une nouvelle. On peut également remarquer le titre tracé à l’horizontal sur le dos du livre indiquant la façon dont il était sans doute rangé dans la bibliothèque de son propriétaire.</text>
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                <text>Saint-Gelais, Mellin de (1491-1558)</text>
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            <description>A related resource from which the described resource is derived</description>
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                <text>Archives and Special Collections, University of Ottawa [PQ 1703 .S2 1574]/Archives et collections spéciales, Université d'Ottawa [PQ 1703 .S2 1574]4</text>
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                <text>1574</text>
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                <text>French/Français </text>
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            <description>Information about rights held in and over the resource</description>
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                <text>Archives and Special Collections, University of Ottawa/Archives et collections spéciales, Université d'Ottawa</text>
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            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
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                <text>Book/Livre</text>
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            <description>An entity responsible for making the resource available</description>
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                <text>Lyon, Par Antoine de Harsy</text>
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                <text>D. Junii Juvenalis &amp; Auli Persii Flacci Satyræ : cum veteris scholiastæ &amp; variorum commentariis</text>
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            <name>Description</name>
            <description>An account of the resource</description>
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                <text>&lt;span style="text-decoration:underline;"&gt;English&lt;/span&gt;&lt;br /&gt;&lt;br /&gt;This binding of parchment on boards displays stab holes within its covers for ties (now missing). The spine label is in red morocco, with the title “Juvenalis et Persius” tooled on in gold. There is tooling in gold on front and back covers, with the central illustration being a female figure, personifying the City of Leiden. (“Ludg. Bata.”, the abbreviation for Ludgdunum Batavorum, the Latin for Leiden, appears at her feet). &lt;br /&gt;&lt;br /&gt;&lt;span style="text-decoration:underline;"&gt;Français&lt;/span&gt;&lt;br /&gt;&lt;br /&gt;Fabriquée de parchemin sur plats de carton, cette reliure laisse voir les trous laissés par les attaches (aujourd’hui manquantes), alors que l’étiquette au dos est en maroquin rouge avec le titre « Juvenalis et Persius » inscrit en lettres dorées. Sur les couvertures supérieure et inférieure on trouve une figure fémi- nine centrale. Il s’agit de la personnification de la ville de Leyde dont on peut voir le nom inscrit en latin abrégé, « Ludg Bata » pour Ludgdunum Batavorum, à ses pieds.</text>
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            <description>An entity primarily responsible for making the resource</description>
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                <text>Juvenal</text>
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            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
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                <text>Archives and Special Collections, University of Ottawa [PA 6446 .A2 1684]/Archives et collections spéciales, Université d'Ottawa [PA 6446 .A2 1684]</text>
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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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                <text>1684</text>
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                <text>Latin </text>
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            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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                <text>ARSC_RB_PA 6446 .A2 1684</text>
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                <text>Book/Livre</text>
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                <text>Menosprecio de corte y alabanza de aldea: Aviso de privados, y doctrina de cortesanos […]</text>
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                <text>&lt;span style="text-decoration:underline;"&gt;English&lt;/span&gt;&lt;br /&gt;&lt;br /&gt;This binding shows a simulated marble effect, which has been styled as “Run or Prusian marble” by 18th century printer and binder James Coghlan in his Memorandum on the bookbinding trade, dating to 1764-65. The effect is generated by black ink and vitriol being mixed together and this concoction thrown onto the covers. The covers are then moved back and forth/up and down to create these design patterns on the supporting leather. &lt;br /&gt;&lt;br /&gt;&lt;span style="text-decoration:underline;"&gt;Français&lt;/span&gt;&lt;br /&gt;&lt;br /&gt;Cette reliure montre un effet marbré décrit par l’imprimeur et relieur du XVIIIe siècle James Coghlan, comme étant dans le « style du marbre de Prusse ». Cet effet est créé par un mélange d’encre noire et de vitriol projeté sur le cuir. Par un mouvement de va-et-vient de haut en bas, le mélange crée l’effet désiré sur la couverture.</text>
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            <description>An entity primarily responsible for making the resource</description>
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                <text>Guevara, Antonio de (1481-1545)</text>
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            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
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                <text>&lt;span style="text-decoration:underline;"&gt;English&lt;/span&gt;&lt;br /&gt;&lt;br /&gt;The binding consists of parchment on boards, with the parchment having been painted in brown ink to simulate a marbling effect. The spine label is of yellow morocco, with title tooled in gold (partially illegible due to remnants of a former label that was once superimposed). Where the parchment has loosened from its supporting boards shows the impressive thinness of the parchment used. &lt;br /&gt;&lt;br /&gt;&lt;span style="text-decoration:underline;"&gt;Français&lt;/span&gt;&lt;br /&gt;&lt;br /&gt;Constituée de plats de carton recouverts de parchemin, cette couverture a été peinte avec de l’encre marron afin de reproduire l’effet du marbre. Le dos comprend une étiquette en maroquin jaune sur lequel le titre est gravé en lettres d’or (en partie illisible en raison des traces d’une ancienne étiquette en-dessous). Là ou le vélin s’est détaché du plat en carton, on peut voir toute la finesse de celui-ci.</text>
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                <text>Archives and Special Collections, University of Ottawa [R 127 .C3 1549]/Archives et collections spéciales, Université d'Ottawa [R 127 .C3 1549]</text>
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                <text>ARSC_RB_R 127 .C3 1549</text>
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                <text>Les coustumes generales du conte d'Arthois decretees : auec celles de l'escheui-nage d'Arras, bailliages de S. Omer, Bethune, Aire, Lens, Bappalmes, Hesdin, […] &amp; du bailliage de Lillers […]</text>
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                <text>&lt;span style="text-decoration:underline;"&gt;English&lt;/span&gt;&lt;br /&gt;&lt;br /&gt;Another example of parchment on cardboard, this binding is on exhibit to show the leather ties that were used to keep the book closed when not in use. Due to the fragility of the leather used to make ties, it is rare that they survive the passage of time. In this case, three of the four ties are still intact. &lt;br /&gt;&lt;br /&gt;&lt;span style="text-decoration:underline;"&gt;Français&lt;/span&gt;&lt;br /&gt;&lt;br /&gt;Un autre exemple de reliure en parchemin sur carton montre les attaches de cuir utilisées pour maintenir le livre fermé. En raison de la fragilité du cuir utilisé pour faire ces attaches et de leur manipulation fréquente, il est rare qu'elles survivent au passage du temps. Dans ce cas, trois des quatre attaches sont encore intactes.</text>
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                <text>Archives and Special Collections, University of Ottawa [KJV 266 .A78 1600]/Archives et collections spéciales, Université d'Ottawa [KJV 266 .A78 1600]</text>
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                <text>P. Vergilij Maronis Latinorum poetarum principis Bucolica, Georgica, et Aeneis […]</text>
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                <text>&lt;span style="text-decoration:underline;"&gt;English&lt;/span&gt;&lt;br /&gt;&lt;br /&gt;A typical binding for the geographic region and timeframe whence it was printed, it is likely that this binding was executed with little time lag from the day it left the printer’s studio. Parchment (pigskin) has been laid over wooden boards. The parchment has then been hand-tooled and embossed with various tools to produce various designs of geometric forms. This book was most likely part of the collection of the Jesuit community, due to the device of the Jesuits (IHS) impressed into the front cover, and the emblem of the Virgin Mary (crown over pierced heart superimposed with the letters MAR) on the back cover. Now lost, the covers would have closed together by means of leather bands held by metal clasps. Seating for the metal hardware is still visible on the fore edges of the covers. &lt;br /&gt;&lt;br /&gt;&lt;span style="text-decoration:underline;"&gt;Français&lt;/span&gt;&lt;br /&gt;&lt;br /&gt;Comme il s’agit d’une reliure typique de la région et de l’époque de l’impression de ce Virgile, il est probable qu’elle ait été produite peu de temps après la mise sous presse de l’ouvrage à Bâle. La peau de truie utilisée a été tendue sur des ais de bois pour ensuite être décorée et embossée avec divers outils. Ce livre faisait probablement partie de la collection d’une communauté jésuite, selon le blason IHS gravée sur la couverture avec l’emblème de la Vierge Marie (couronne sur un cœur transpercé avec les lettres MAR en surimpression sur la quatrième de couverture). Aujourd’hui disparues, des bandes de cuir attachées à l’aide de pièces métalliques devaient servir à fermer et tenir les couvertures ensemble. L’emplacement des attaches de métal est toujours visible.</text>
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