Abstract
Textile bindings began to spread in Western Europe in the 13th century and gained full notoriety during the 15th and 16th centuries. Although with ups and downs in their manufacture, they are made to this day. They are characterized by their textile covering, especially velvets, damasks and silks. Most of them, embroidered or with metallic applications.
The main objective of this article is to point out the need for multidisciplinary work in order to solve the various problems faced by a graphic document restorer in the restoration of bindings.
The bibliography analyzed indicates a theory as biased as it is inconclusive, which is leading me to try to combine my knowledge with that of other conservation professionals in order to achieve a joint line by combining the different methodologies.
The study begins with the restoration of a 16th century French piece, covered in velvet and decorated with a shield, corners and small metal studs, an interesting and representative example to learn about the history of this class of objects.
The velvet copies are frequently made on a wooden base - a technique that survived during the seventeenth century, and the fabric is always attached to second supports made of paper and, in rare cases, of cloth.
As these are not very abundant pieces, the difficulties can be overcome by installing the piece in a suitable preservation box and waiting to meet a tissue restorer, who would probably act in the same way if the situation were to be reversed.
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Obviously, the possibilities of restoration increase depending on the variety of knowledge about the materials and techniques used to restore the different components of these special pieces of our heritage.