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The paper was made by hand, the leather was prepared in tanneries, the binding threads were hand spun, and the inks were ground with a mortar and pestle. Even with all the materials assembled, the book still had to be stitched and glued together, then painstakingly written by hand by a scribe.
The geometry of crumpled structures is the subject of some interest to the mathematical community within the discipline of topology. [1] Crumpled paper balls have been studied and found to exhibit surprisingly complex structures with compressive strength resulting from frictional interactions at locally flat facets between folds. [ 2 ]
In the mid-19th century, Lavers, Barraud and Westlake were among many young designers who responded to the growing market for stained glass windows. The partnership initially comprised Nathaniel Wood Lavers (1828–1911) and Francis Philip Barraud (1824–1900). [note 1] Both were originally employed at the workshops of James Powell and Sons.
The paper used as the leaves is usually xuan paper (宣紙). This is an absorbent paper used in traditional Chinese calligraphy and painting. Stronger and better quality papers may be used for more detailed works that involve multicoloured woodblock printing. The covers tend to be a stronger type of paper which is dyed dark blue.
Henry E. Sharp was a nineteenth-century American stained glass maker active with William Steele from c.1850 to c.1897. [1]Sharp established himself with Steele as a glass stainer at offices at 216 Sixth Avenue.
One of the most prestigious stained glass commissions of the 19th century, the re-glazing of the 13th-century east window of Lincoln Cathedral, Ward and Nixon, 1855. A revival of the art and craft of stained-glass window manufacture took place in early 19th-century Britain, beginning with an armorial window created by Thomas Willement in 1811–12. [1]
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