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Library of Liberal Arts title.

• Sales Rank: #514362 in Books
• Published on: 1958-01-11
• Original language: English
• Number of items: 1
• Dimensions: 7.90" h x .60" w x 5.30" l, .47 pounds
• Binding: Paperback

From the Publisher
Library of Liberal Arts title.

About the Author
Augustine was born in AD 354. He lived a wild, self-destructive life as a young man in Italy and was the subject of many prayers by his worried mother, Monica. After a life-changing conversion, he lived on to become a tremendous influence on Christian thinking. He died in AD 430.

fl. 1867-1899

Most helpful customer reviews

46 of 49 people found the following review helpful.
Augustine's Hermeneutics
By Stanford Gibson
One author has said that Augustine can be "easier to read than many modern books about him." Nowhere in his writings have I found this to be more true than "On Christian Doctrine." This little text was so compelling that I literally could not put it down (though that may reveal more about me than it). It essentially outlines Augustine's program of Hermeneutics which often contrasts strongly with standard methods of the periods before and after him, while remaining reminiscent of both eras. Some particular points of interest:

-He insists that the author's intent should be the arbiter of meaning unless the text seems to be in contrast to what is clearly taught throughout scripture, at which point allegory is to be employed

-He suggests that mistaken interpretation of a particular passage is not too grievous an error as long as the interpretation remains true to the general testimony of Scripture

-He suggests that interpretation is difficult but that the best way to progress is to read and memorize as much of it as possible until it is intimately familiar

-There is a theologically interesting chapter in which he uses the passage about the bread as Christ's body as an example of the sort of passage that cannot be taken literally

A 1700 year old text obviously isn't going to work as a contemporary manual of interpretation, but for its value in historical theology, understanding the development of Biblical interpretation and insight into the mind of one of the Christianity's greatest pastoral minds this is well worth the money and 100 or so pages.

18 of 18 people found the following review helpful.
The Foundation of Modern Hermeneutics
By Corey French
Of all the patristic works on the interpretation of Scripture, the De Doctrina Christiana ranks as the preeminent work of criticism. Both practical and theoretical, the work is much to be enjoyed for the succinctness of phrase and the pellucid and perspicacious development of its central argument.

Certainly, the work is fundamentally pragmatic in nature: It is advice--originally for the priests of the diocese of Hippo--on correct biblical interpretation. However, it is much more than that. St. Augustine in many ways forms the groundwork for modern hermeneutics and semiotics in this text. In his discussion of charitable and concupiscent interpretations, he illustrates the nature and basis of a Christian interpretational praxis. In referring to the need for interpretation to be undertaken within, and submitted to, the community of the Church, he anticipates Stanley Fish's theory of interpretive communities.

But even more than this, the De Doctrina is a guide for living the Christian life. St. Augustine notes that symbols point us toward that which is to be enjoyed, God the Three-in-One. In this way, St. Augustine illustrates the absolute immanence of God within all Creation, a latency which, with the proper hermeneutical framework of charity and faith, will burst forth with the utter effulgence of God Incarnate.

This is a magisterial work, of interest both to Christians and non-Christians alike. This work will be especially helpful to those considering the problems of semiotics and hermeneutics or those who want better to access the densely multivalent world of medieval allegory.

And I cannot recommend more highly D.W. Robertson's translation. It is engaging without being ponderous. The introductory essay is also well done.

5 of 6 people found the following review helpful.
God's Revealed Truth out lives human history
By Dennis J. Koupal Jr.
It is estimated that are nearly 3 billion Christians in the world today nearly equally divided between Roman Catholics, Orthodox and Protestants. Within His visible Church there is no disagreement that God sent His Son to earth, as spoken by the Prophets, to become the one High Priest offering the ultimate sacrifice of Himself once for all.
We can all "share the wealth" of the writings and viewpoints penned by Saint Augustine, Bishop of Hippo writing in the late 300's and early 400's. His viewpoints and theology precede doctrinal developments codified in pre-medieval and medieval times.
Clearly, Augustine was an inspired spokesman and defender of the one true Faith. His intent in "On Christian Doctrine" is to provide guidelines for the interpretation of Scripture, leading to a deeper understanding of God's intentions for His children. He is not interested in prescribing set boundaries of belief and behavior. Augustine is firm in his conviction that God's Word written by man, inspired by the Holy Spirit is sufficient for knowing that which God intended for us to know about Himself... about ourselves.
His primary thesis is summarized early on, "Now faith will totter if the authority of scripture begins to shake," followed by "And so these are the three things to which all knowledge and all prophecy are subservient "faith, hope and love."
From a practical perspective Augustine offers the following observations:
* Plainer passages are to satisfy our hunger, the more obscure to stimulate our appetite.
* Reject figments of superstition.
* Draw examples from the plainer passages to throw light on the more obscure... it is safer to explain doubtful passages by other passages than by reason.
*That which appears to suggest crime (ill toward others) or vice (ill toward self) is to be considered figurative... that which teaches prudence and love for God should be taken literally. Interestingly, Augustine uses Christ's own words in Jn. 6:53 "unless you eat the flesh of the Son of Man" to exemplify this principle.
Augustine offers a Christ centered view of the Faith that individual believers and leaders of the visible Church could benefit from today.
His concluding admonition is from Rom. 5:5, "And hope maketh not ashamed, because the love of God is shed abroad in our hearts, by the Holy Spirit which is given to us.

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[X941.Ebook] Download Mirrors, Messages, Manifestations, by Minor White

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Large format hardcover is as new clean tight and bright jacket is price intact with no chips or tear but does show sunfade. Oversized and Overweight

• Sales Rank: #2431807 in Books
• Published on: 1982
• Original language: English
• Number of items: 1
• Dimensions: .0" h x .0" w x .0" l, .0 pounds
• Binding: Hardcover
• 243 pages

Most helpful customer reviews

0 of 0 people found the following review helpful.
Four Stars
By Robert B. DeBellis
Great photographer and images.

59 of 59 people found the following review helpful.
out of print not out of mind
By Vince Leo
Most commentators have pointed out that Minor White's most important aesthetic influences were Ansel Adams, Alfred Stieglitz, and Edward Weston, the great trilogy of Modernist American Art Photography. In many ways it's true. From Adams, White learned the Zone System of exposure and development and the technical virtuosity that was a hallmark of his photography. From Stieglitz, White picked up the notion of equivalency-that photographs could communicate emotional and symbolic meaning as well as visual information-and also sequence form-the combination of photographs into larger visual statements. From Weston, White gained a sense of subject, an intuitive connection between place, photographer, and camera. As important as these relationships were for White, they are only part of his artistic lineage, basically his formal training. The meaning White attempted to construct from these formal techniques was very different that anything attempted by the Big Three.

To understand what and why White was trying to communicate, we would have to look even further into his past-to his pre-photographic journal (begun in 1932 and kept up for over 40 years). White called his journal "Memorable Fancies," a term borrowed from William Blake, the eighteenth century English religious mystic and poet. Discovered while taking English Literature courses at the University of Minnesota, Blake became White's first and longest lived inspiration. Like Blake, White combined words and pictures into works whose meaning depended on both. Like Blake, White was a mystic, a religious artist whose true subject was Spirit. We don't necessarily have to agree with White's mysticism, but if we don't grant those views some validity, if we don't consider the religious component in his work, we can never understand his true accomplishment. White bent the secular tools of modernist photography into a religious art and practice. Based on a rigorous photographic technique that produced prints of great sensual beauty, White's work and spirituality arose from and remained grounded in the specific processes of photographic rendering.

Luckily, White created a record of the way art and religious experience coalesced in his work. Published in 1968, Mirrors Messages Manifestations (MMM) functions both as a spiritual guidebook and as that most important modernist form: the retrospective catalog, complete with extensive documentation (a complete listing of White's writings numbering over 200 articles is included). The first thing that is apparent from MMM is that White's early work examined subjects that were not exactly what we would think of as religious. Adding poetry to strings of photographs, White explored a hybrid form he dubbed "sequence." One of White's first explorations was "Amputations," a bitter and devastating anti-war statement produced in 1947 and banned by the San Francisco American Legion. While teaching at the California School of Fine Arts, White pushed the boundaries of sexual representation, a period recalled in MMM through the symbolic homoeroticism of "Sequence 4" and "Sequence 8." Interspersed with these early works are a variety of texts that provide a running commentary on everything from the theory of sequential meaning to the experience of photographing at Point Lobos.

Beginning in the late 1940s, White met several people who introduced him first to Christian mysticism (John of the Cross, Catherine of Sienna) then to Zen Buddhism, and finally to the teachings of the twentieth century mystic G.I. Guardjieff. The second half of MMM is the story of White's understanding and commitment to these various religious systems, all of which conceive of a physical relationship with the Divine, whether through prayer, meditation, or physical movement. More importantly, MMM maps out the ways White approached religious experience through photographic technique and meaning. From the early symbolism of "Rural Cathedrals" (created to accompany Evelyn Underhill's masterpiece Mysticism) to the visual physicality and formal brilliance of "One Hand Clapping" to the book's coda "Sequence 1968," White pushes beyond the symbolic illustration of religious texts into a mystical experience of Spirit consummated at the moment of exposure and based on a profound rereading of the photographic act.

The heart of White's new understanding of photography is a short piece situated at the center of MMM and titled "Three Canons":

Be still with yourself

Until the object of your attention

Affirms your presence

Let the Subject generate its own Composition

When the image mirrors the self

And the self mirrors the subject

Something might take over

A combination of how-to and aphorism, "Three Canons" is a perfect illustration of White's hybrid of contemporary photographic conventions and the traditions of mystical experience. But the revolutionary tenet of "Three Canons" is a new idea of photographic relations. Gone is the modernist tenet of authorship in which everything in a photograph depends and can be traced to a single photographer acting in isolation. In its place, White supposes a relationship with subject that is a two way street: by granting the world some role in its own representation we create a photograph that is not so much a product solely of individual actions as it is the result of a negotiation in which the world and all its subjects might participate. White then takes the next step and proposes that when this relationship is truly entered into, something might take over the entire process, something larger than subject or photographer, something like Spirit. Mirrors Messages Manifestations is White's proof that Spirit did just that, the autobiography of a soul born in the age of mechanical reproduction and nurtured on the possibility of the eternal.

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• Sales Rank: #541267 in Books
• Published on: 2012
• Format: Abridged
• Binding: Hardcover
• 112 pages

Most helpful customer reviews

3 of 3 people found the following review helpful.
beautiful. I wish I had money to buy his ...
By Jae Lee
I cannot get enough of the photos in this book. Just, absolutely, beautiful. I wish I had money to buy his prints.

1 of 1 people found the following review helpful.
I have taken to leaving this book out when I ...
By Rosemary Bailey Brown
I have taken to leaving this book out when I have guests coming over because everyone who is interested in photography is stunned by it

1 of 1 people found the following review helpful.
Beautiful work.
By kim k.
Love these images. Makes me want to shoot film and play in the darkroom again.

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• Sales Rank: #2885306 in Books
• Published on: 2014-01-07
• Original language: English
• Number of items: 1
• Dimensions: 9.00" h x 1.12" w x 6.00" l, 1.44 pounds
• Binding: Paperback
• 492 pages

About the Author
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Awesome Book!!
By L
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He should Charge More!
By Richard Schwachter
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Five Stars
By John labaron banks
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Every freelance creative I know dreads the “party question” – “So… what do you do?”

After more than 29 years working as a freelance creative in Europe and the US, Jim Shields has developed a method for determining the best answer to that question. One you can communicate to your clients, to your prospects, and most importantly to yourself.

Inspired by the likes of Seth Godin, Tim Ferris, and Derek Sivers to question the current wisdom, Jim set out to create a pathway to help creative professionals define themselves and carve out a profitable, and MEANINGFUL niche for their work - from veterans to those just starting out. You are now holding the treasure map to that coveted sweet spot.

Having interviewed dozens of creative individuals representing all sides of the industry, from photographers to composers to designers and film makers like himself, Jim outlines the most effective ways to structure your relationships with clients, to focus and sharpen your creative efforts, and to create a framework for a more successful career.

Three guys walk into a bar… one of them is going to work less, do better, and be happier. Which one are you?

• Sales Rank: #1172223 in eBooks
• Published on: 2015-04-06
• Released on: 2015-04-06
• Format: Kindle eBook

Most helpful customer reviews

0 of 0 people found the following review helpful.
“Find your cause. What makes you angry?”
By Travis S. Collier
Jim’s able to distill the lessons he’s learn from his creative life and others’ into an actionable parable.

The three guys the title alludes to are three types of creatives. Three people who are plying their craft. The first “guy” is “a guy”. Someone who’s a true novice, unable to be differentiated by anyone else in the phone book with the same job description. These aren’t the people who should or can command the highest rates—and they won’t produce the best products.

Next—you become “that guy”. You become someone who’s recommended. You’re someone who’s known to be good, to be in the game. Nothing wrong with being “that guy”—but you’re depending on a circle of referrals and recommendations to keep you in the game.

Finally—you become “THE GUY”. You become the person who benefits from the triangulation Jim notes of “right work, right price, and right timing”. You become the serendipity of your field. Your name is known not just to the family, but to people you’ve never heard of before. When you get onboard a project, you’re truly a team member, not just an extra pair of hands.

Cal Newport says “If your goal is to love what you do, you must first build up “career capital” by mastering rare and valuable skills, and then cash in this capital for the traits that define great work.” Jim’s book shows you what that looks like—how it feels to move along the progression of becoming “THE GUY” or “THE GAL” who can’t be duplicated or replaced.

0 of 0 people found the following review helpful.
A great read for anyone interested in more freedom and creativity in their work life
By Charity Gonzalez
Geared toward creative entrepreneurs, but a great read for anyone who wants to find more freedom in their life and business, by following some simple decision making guidelines around who you work for and the type of work you choose to do. In my business I want to be paid my value and treated with respect, this book sheds insights on how to approach your work to get the most back. Everyone needs to have some level of creativity in their work, I also learned some great tips on honing in on that process.

0 of 0 people found the following review helpful.
It will make you ask yourself the tough, but important, questions about why you do what you do!
By Robert H. McCollum
Real stories from real professionals that inspire you to work toward having the kind of career you want.

I find myself still thinking about weeks after reading it!

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[K815.Ebook] Ebook Download The Kalevala, by Elias Lonnrot

Ebook Download The Kalevala, by Elias Lonnrot

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The Kalevala, by Elias Lonnrot

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The Kalevala describes Finnish nature very minutely and very beautifully. Grimm says that no poem is to be compared with it in this respect. A deeper and more esoteric meaning of the Kalevala, however, points to a contest between Light and Darkness. The numerous myths of the poem are likewise full of significance and beauty, and the Kalevala should be read between the lines, in order that the full meaning of this great epic may be comprehended. The whole poem is replete with the most fascinating folk-lore about the mysteries of nature, the origin of things, the enigmas of human tears, and, true to the character of a national epic, it represents not only the poetry, but the entire wisdom and accumulated experience of a nation. One of the most notable characteristics of the Finnish mythology is the interdependence among the gods. The Finnish deities, like the ancient gods of Italy and Greece, are generally represented in pairs. They have their individual abodes and are surrounded by their respective families. The Sun and the Moon each have a consort, and sons and daughters. Only two sons of P�iv� appear in The Kalevala, one comes to aid of Wainamoinen in his efforts to destroy the mystic Fire-fish, by throwing from the heavens to the girdle of the hero, a "magic knife, silver-edged, and golden-handled;" the other son, Panu, the Fire-child, brings back to Kalevala the fire that bad been stolen by Louhi, the wicked hostess of Pohyola.

• Sales Rank: #3088566 in Books
• Published on: 2015-11-26
• Original language: English
• Dimensions: 11.00" h x .95" w x 8.50" l,
• Binding: Paperback
• 420 pages

About the Author
No biographical note available

Most helpful customer reviews

12 of 12 people found the following review helpful.
Song of Power
By OAKSHAMAN
_There is an elegant, powerful simplicity to this epic tale, no matter what language you read it in. The symbols transcend both language and time. There is nothing contrived here. Such a tale could not be conterfeited by a modern mind.

_At the center of the entire epic is Vainamoinen, the singer at the world's dawn. Here is the archetype for the wizard- the first and greatest among shamans. Before Merlin, before Taliesin, before Math, before Manannan, there was Vainamoinen, Eternal Seer.

_Something real and vital carries over even in translation. Reading this book on a cold winter's night you can taste the sea and smell the forest. You can identify with the characters even though they have godlike powers, because they also have trades that they live by (Vainamoinen is a boatbuilder, Ilmarinen a smith, Joukahainen builds his own crossbows, etc.) These Godlike beings lived simple lives close to the earth. And simple wisdom is powerful wisdom. Yet, there is also so much more of the old, deep legends and symbols buried in these lines. You can tell that they were preserved long after the long lines of singers had ceased to know their original meanings.

_The ancient Finns believed in the power of words, and the greater power of songs. There is still power here. Or as the epic says:

Words shall not be hid

nor spells be buried;

might shall not sink underground

though the mighty go.

12 of 13 people found the following review helpful.
Clear layout, easily navigable
By eekmoo
I was really pleased to see that this version of the Kalevala has the correct line breaks instead of having it all run in succession. It makes for a very legible version. I also like that the table of contents links directly to the different poems making it very easily navigable.

6 of 6 people found the following review helpful.
get another printing
By Anna E.
Don't get me wrong; I love the Kalevala and I'm a big fan of Crawford's translation. But this particular printing has been very poorly executed. (I should've been suspicious when I saw Lonnrot's name misspelled on the cover.) The text is full of careless spelling and punctuation errors, and it's not formatted in lines as the poetry was originally. It'll do fine for reading, but it makes a poor addition to one's library.

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[G971.Ebook] Free PDF The Archaeology of Medieval Bookbinding, by J.A. Szirmai

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In the past, studies of the history of bookbinding were mainly concerned with the exterior decoration. This book focuses attention primarily on the physical aspects of the binding and its construction principles. It is an expanded version of a series of lectures delivered by the author while Visiting Professor at the University of Amsterdam in 1987, supplemented with the results of ten years of intensive research in major libraries on the Continent, the United Kingdom and the USA. It surveys the evolution of binding structures from the introduction of the codex two thousand years ago to the close of the Middle Ages. Part I reviews the scanty physical evidence from the Mediterranean heritage, the early Coptic, Islamic and Ethiopian binding structures and their interrelation with those of the Byzantine realm. Part II is devoted to a detailed analysis of Western binding techniques, distinguishing the carolingian, romanesque and gothic wooden-board bindings as the main typological entities; their structure and function is compared with those of contemporary limp bindings. The book is illustrated with over 200 drawings and photographs and contains a comprehensive bibliography.

• Sales Rank: #1036712 in Books
• Published on: 1999-08-28
• Original language: English
• Number of items: 1
• Dimensions: 10.25" h x 8.00" w x 1.25" l, 2.60 pounds
• Binding: Hardcover
• 368 pages

Review
'Dr Szirmai has filled gap of long standing in the history of the book. No comprehensive study of medieval bookbinding structure exists and certainly not one that is so detailed and wide ranging... An excellent and extensive bibliography and a detailed index contribute to making this a first-rate work of reference... above all, this is the sort of book that is only produced once in a generation, if that often. All book historians owe Dr Szirmai an enormous debt of gratitude for having written it.' The Library 'While comparisons are not possible with a book which stands alone in its scope and scrupulous presentation of its material, it can be said that more than anything published so far in this field, it stands as a statement of what is currently known of the subject... a mine of information, much of which is either available nowhere else or in journals or languages not accessible to any but the most dedicated researchers. It deserves to be on the shelves of any individual or institution that concerns itself with the medieval book.' Nicholas Pickwood, TLS '... a book literally without peer... It is this passionate interest that has enabled (Szirmai) to assemble this remarkable history...' Papers of the Bibliographical Society of America 'Le 'Szirmai' sera incontournable pour tout etudiant manuscrit.' Veronika von Buren, Aevum '... a work of great scholarship.' Bookbinder '... [a] major contribution to the study of bookbinding... Szirmai's book [...] is the first to offer a comprehensive account of binding structures; from sewing, through edge trimming, to fastenings and furnishings... The detail, like the coverage, is astonishing... an absolute must for any library concerned with the art, history, and science of the book.' ARLIS 'Every book restorer should be familiar with the knowledge in The Archaeology of Medieval Bookbinding... It should be available to every book restorer as an indispensable handbook... The book is a standard work for the evolution of binding techniques and therefore it should not be missing in any professional library.' Papier Restaurierung 'Succinct and organized, fully and lucidly illustrated, Szirmai's book includes thorough documentation and an excellent subject index.' Choice 'Szirmai deserves our indebtedness for a magisterial work which constitutes a milestone in the field of the archaeology of the book, qualifying the author as the first true archaeologist of the binding structure.' CABNewsletter 'As the first scholarly work to treat medieval bookbindings from the standpoint of the book-as-object, The Archaeology of Medieval Bookbinding sheds new light on the making of early books, and offers many insights into this subject. Throughout, Szirmai contests much conventional wisdom... Szirmai's meticulous account will surely become essential reading for everyone responsible for the safekeeping of medieval books and their bindings.' NPO Journal 'Every aspect of this book is superb: The scholarship is meticulous, the language clear and graceful, the diagrams of structures are right there whenever a point needs to be illustrated, and the book itself is well printed (in Plantin, on acid-free paper) and well bound... Each chapter has voluminous notes, and there is a long bibliography and detailed index... This is a technical book that is hard to put down. Reading it, and then trying to describe it to another person is like trying to describe the Grand Canyon to someone who has never seen it: in the end, you can only say, "You had to be there to understand."' Abbey Newsletter 'The author should be congratulated with the publication of this book, written with an extraordinary clarity, accessible to both learned codicologists and practising restorers... Finally, it should be clearly stated that it would be highly desirable to have this book translated into Russian, since no work of this scope with such significance for both restorers and archaeologists has ever been published here.' Restoration of Museak Treasures 'The monograph is a unique synthesis of a lifelong experience, a thorough study of literature and of the documentation of extensive fieldwork. In addition to these fundamental values it is extremely significant for the methodology and the terminology. Invaluable also is the bibliography, comprising 604 items on 26 pages.' Arts and Crafts, Prague '... very readable and excellently illustrated narrative that leaves the student with a compelling interest in the meaning of early bookbindings and a poignant appreciation of the uncertainties of their survival.' Libraries and Culture 'Dr Szirmai's book is strikingly complete, concise, and balanced; even where I thought I knew the primary sources well, I found my understanding of them was improved after using this book. The Archaeology of Medieval Bookbinding is the most important single contribution to the history of bookbinding to appear for many decades, and should be a foundation-piece in any collection of books on the history of binding or binding structure.' Guild of Booksellers Newsletter

About the Author
Professor J.A.Szirmai spent twenty years in medical research before becoming a professional designer bookbinder and later a scholar in the history of binding techniques.

Most helpful customer reviews

1 of 1 people found the following review helpful.
a scholarly classic
By Anne L. Murray
I am a journeyman bookbinder and still have much to learn about the craft. This book provides a wealth of information for those who wish to restore or recreate bindings from the medieval period. The text is a scholarly treatment of the subject and so is rather ponderous at times, but well worth working through. I am glad to own this book!

4 of 4 people found the following review helpful.
Early book structures analysed, described and illustrated
By C. W. Johnson
Histories of bookbinding almost all concentrate on the outward appearance and decoration, and ignore the construction of the book.

This is a great exception.

It is a very well written history of the early book from the very earliest codex forms, extremely well illustrated through photographs and beautifully readable structural diagrams.

Not a detailed manual for the beginner, but full of concepts and challenges for those with intermediate skills in book construction, and extended time to read it in digestible chunks.

16 of 16 people found the following review helpful.
EXTRAORDINARY!
By A Customer
A scholarly study of medieval bookbindings filled with new information as well as references to previous studies on the subject both successful and unsuccessful in the light of modern research. The truly magnificent aspect of the book, however, is it's illustrations. Close up photos and detailed drawings of bindings, sewings, endbands, etc make this book a must-have for binders interested in recreating historically accurate books of this time period as well as for those fascinated by the subject in and of itself.

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