It often happens that we hesitate: is it called ligatura or rilegatura?

In everyday language, the two terms are used synonymously, and in everyday conversation, no one is shocked. However, in the world of antique books, manuscripts, and high-quality facsimiles, the distinction is useful: it's not fussiness, it's precision.

Bookbinding: the process, the work, the technique

Binding refers above all to the process: the set of steps that transform sheets or bundles into a complete, stable, and accessible volume. It's the "behind the scenes" of the book: sewing, assembly, consolidation, and finishing.

Binding is the action that creates.

Examples:

• “The manuscript was bound in the 19th century.”
• “A conservative binding is recommended.”
• “The files have been sent to the laboratory for binding.”

Binding: structure, materials, style

The term binding, on the other hand, refers to the final form of the object: cover, spine, bands, headbands, materials, and style. When describing a volume in a catalog, especially in a collecting context, "binding" is the word that best answers the question: how is it made? And, inevitably, what sensation does it convey when you pick it up?

The binding is the object, the matter, the perception

Examples:

• “Hard parchment binding.”
• “Leather binding with natural patina.”
• “Contemporary / later / restoration binding.”

Rule of thumb: If you're talking about the materials and type of blanket, it's binding. If you're talking about the workmanship, it's binding.

A brief look at history: when the binding becomes a signature

Over the centuries, binding has also been a cultural phenomenon: not only protection, but also an aesthetic identity and, at times, a declaration of status.

Between the Renaissance and the modern age, the most refined bindings often emerged from cultured patrons, important libraries, and bookbinders capable of transforming a cover into a language: proportions, geometry, gilding, harmony. There's no need to delve into technicalities: just observe how some bindings appear "designed," not simply made.

This is one of the reasons why, in the market for fine works, the binding is not an accessory: it is an integral part of the perceived and historical value of the volume.

Hand-bound like in the Middle Ages: What it really means

Beyond the terms, the most important thing is this: our facsimile manuscripts are bound by hand according to historical procedures, starting from individual sheets and using threads consistent in material and color with the reference tradition.
The process remains identical to that of centuries ago: the context changes, not the logic. And it is precisely this technical continuity that guarantees durability, stability, and a pleasure to use, even with frequent consultation.

The materials

In traditional binding, materials are not interchangeable: they determine the stability, durability, and character of the work. And they often also tell a story about the person who created it: because, in bookbinding, "technical" choices are almost always methodological ones.

Thread and stitching: the true backbone of the book

The heart of a quality binding is the stitching. A good thread, often 100% cotton, thread, or twine, depending on the structure, carefully chosen for its strength and durability, is what allows a book to stand the test of time without losing its solidity. Stitching isn't an "invisible" element: it's the internal architecture of the book, what distinguishes a well-made object from a merely assembled one.

Skin: living material, not just a covering

Leather is warmer to the touch and develops a patina and depth over time. In many cases, good leather ages well: it doesn't "fade," it evolves. It's one of those materials that seeks longevity rather than immediate impact—and for collectors, that's often precisely the point.

In this universe, even seemingly secondary details—the spine, nerves, capitals, finishes—become clear signals of coherence and method: they are not always noticeable at first glance, but in the long run they become recognizable.

An interesting note: the discrete numbering of the sheets

As was historically the case, individual sheets may feature a small number, often in a corner: almost invisible at first glance, but extremely useful for properly organizing the volumes before binding. It's a small detail that reveals a huge truth: serious craftsmanship leaves nothing to chance.

Why binding affects value, as well as beauty

The key point is that binding is a crucial step: it's what transforms a reproduction into a credible, solid, and coherent object. And it's often here that we see the difference between:

• a simple facsimile,
• a good product,
• a superior facsimile.

The fundamental point is therefore that the binding does not change over the centuries, whether it is a medieval manuscript or its facsimile, the process is identical and is fundamental to the value and beauty of the work.

It's a job that requires time and expertise, but it really makes the difference between a simple facsimile, a good product, and an excellent product, like the one we offer in our catalog.

Safe purchase

On our site you can purchase safely and with peace of mind, with:

• 24-month warranty,
• 30-day right of withdrawal.

You will have the time and opportunity to calmly evaluate materials, workmanship and overall quality.