Historical Book Models and their Relevance to Conservation Studies: Thoughts on the Montefiascone Conservation Project Summer School and the Nature of Book Conservation

Scott W. Devine

In 2015, I taught a course on 16th century Italian slotted parchment bindings for the Montefiascone Project Summer School. I was excited to be a part of the program that year, which celebrated 25 years of teaching conservation and bookbinding at the Seminario Barbarigo. The process of designing the course and being involved in a subsequent research project provided insights into the value of recreating historical book structures.

I attended my first course at Montefiascone in 1998. Having recently completed an internship at the Library of Congress, which included working on a pigment consolidation project for a collection of illuminated manuscripts, I was eager to learn more about the techniques used to create these manuscripts, and Cheryl Porter’s course on “Re-creating the Medieval Palette” represented an ideal combination of lecture and hands-on practice. The process of grinding minerals and boiling organic matter to create a range of color opened my eyes to the incredible value of recreating historical processes: understanding how an object was created through practicing historical techniques can lead to unique insights into how to go about conserving that object. In this sense, learning how to recreate historical processes and techniques becomes a fundamental aspect of training and professional development for a conservator.

Portfolios were constructed after the course to house the pigment samples. The samples serve as teaching and reference tools and are consulted regularly.
Organic dyes were used to color paper, alum-tawed skins, and linen, providing some good  examples of how the dyes react to various materials.

Over the past 30 years, the Montefiascone Project has developed into a well-established international training ground for conservators, bookbinders and scholars: a unique place to explore bookbinding technique, book history and conservation issues in a collaborative and creative environment.  The book program in particular has developed into one of the best ways to study historical structures, often in the context of a specific bookbinding selected from some of the premier rare book collections in the world. 

I taught the slotted parchment structure using a copy of Hesiodou tou Askraiou Erga kai hemerai (the Greek poet Hesiod’s Works and Days), printed by Bartolomeo Zanetti in Venice in 1537 and currently held by Northwestern University Library. The printed text is derived from a 15th century Greek manuscript held by the Biblioteca Marciana in Venice. In preparing the course, I started thinking about the larger issues surrounding why we study historical book structures and why the construction of historical models is so critical to the study of book conservation. 

1. Developing and refining conservation skills. 

Constructing historical models allows the conservator to develop bookbinding and conservation skills in a way that treatment alone does not. While most book conservators have studied traditional bookbinding techniques, such as covering with leather or constructing brass clasps, these skills are infrequently required in modern book conservation and are all too often lost.  Maintaining these skills allows us to use them when needed and appropriate. More importantly, however, the continued refinement of these traditional skills allows us to spot variations in technique on the historic bindings we handle. Being able to distinguish variations can assist in dating or identifying the region of creation and lead to further insights into the spread of bookbinding technique.

On a more personal level for the conservator, constructing a book from the beginning allows for a free expression of intent not always possible in conservation treatment. Conservation has always been an exercise in compromise and balance: artifactual value, curatorial needs, and the changing political and cultural norms that guide our work. At a time when so much of our work is driven by external factors beyond collections care – digitization initiatives and exhibition schedules chief among them – having the time to get lost in the details of a specific book, if only for week, can be both invigorating and rejuvenating. 

2. Gaining insight into historical techniques.

There are two common approaches to recreating historical book structures: 1) constructing a facsimile binding which combines aspects of the most typical examples of the structure being studied; and 2) recreating a specific book. Both methods allow for the development of the hand skills discussed above. However, the latter approach allows us to look more closely into the physical aspects of a specific object, often requiring a higher degree of attention to detail in order to make the facsimile function in the same way.

The process of reproducing a specific binding often challenges our assumptions about how the object was created in the first place and invites us to investigate specific components in detail. In the case of the Northwestern Hesiod, trying to achieve specific results led to a greater understanding of how the book was produced, including how the pasteboards were constructed and how the covering vellum was processed.

We often look at an object and think we know how it was created, but until we try to replicate the technique, we don’t really know. With the Northwestern Hesiod, I conducted numerous experiments to create a modern pasteboard that mimicked the weight, feel and function of the original. The process of making these sample boards led to a better understanding of the role of the pasteboard in controlling the movement of the covering vellum. As a result, one component of the course focused on creating pasteboards with Fabriano CMF Ingress (Bright White) 90 gsm paper. Each board consisted of 17 layers with alternating grain direction, beginning and ending with the grain parallel to the spine of the book. The layers were attached with thick wheat starch paste and pressed briefly in a book press to remove excess paste. Air drying was essential, and if the layers started to delaminate, they were placed briefly back in the book press. The resulting board was lightweight but surprisingly rigid and strong enough to counter the tension of the vellum covering material.

The vellum also posed a challenge. Careful study of the covering vellum, a recycled 15th century manuscript heavy scraped and sanded on one side to remove the original text, led to collaboration with Jesse Meyer at Pergamena to custom produce remarkably thin vellum for the project. Various experiments in covering with the thin, unlined vellum resulted in new skills and techniques which were put to good use during a subsequent parchment binding repair project at The New York Academy of Medicine in 2018.

3. Engaging in scholarly research.

In preparing the course on the Northwestern Hesiod, I had the opportunity to engage in traditional scholarly research in a way that is not typical of most conservation treatments.  My research with the Hesiod began as an effort to understand more about the slotted parchment structure and to quantify holdings in North American research libraries. The goal was to build on the research begun by Silvia Pugliese and, specifically, to determine the prevalence of slotted parchment bindings in collections outside Italy.1 

In the process of studying slotted parchment bindings, however, my interest developed into learning more about Bartolomeo Zanetti and the other books he printed during his time in Venice. I became particularly interested in how these volumes fit into the larger economic and social context of the period, especially the rise of Protestantism and the effect of the Catholic Counter-Reformation on the Venetian book trade. 

During a research trip to Venice, I had the opportunity to study the 15th century manuscript by Demetrio Damilas, Marc. Gr. IX 6 (coll.1006), which Zanetti used to create the 1537 Hesiod. In fact, the 1537 Hesiod is notable for the extensive scholia, or notes, which were copied from the Marciana manuscript. Zanetti’s efforts to edit and reproduce the scholia are remarkable. The way in which the printed book reflects the original manuscript is a fascinating case study in the intersection between manuscript and print culture and represents another aspect of research which will be discussed in the course.

Detail of the 15th century manuscript Zanetti consulted to produce the printed book. The manuscript contains inky black fingerprints and other traces of printer’s ink, likely evidence of Zanetti’s time working with the manuscript.

Having the opportunity to engage in this level of scholarly research is important for the conservator. Understanding how individual objects are used by researchers, putting ourselves in the role of those researchers, helps inform the decisions we make about preserving artifactual value and makes us more aware of ways in which our collections are being used by scholars.

4. Collaborating with colleagues in other fields.

My interest in the Northwestern Hesiod led me to make connections with experts in the fields of both Renaissance Studies and Classical Studies. Learning more about Hesiod and Greek scholarship in the Renaissance has led me to a better understanding of why so many books were being printed in Greek in the early 16th century and the role of Greek language in the development of Italian Humanism. Learning more about the efforts of 14th century scholars such as Giovanni Boccaccio and Francesco Petrarca to revive the study of Greek and the importance of work by early teachers of Greek such as Manuel Chrysoloras provided new insights into how and why the Venetian book trade developed as it did in the early 16th century and why the study of Greek texts was so important at this time.

In addition, my research on the covering vellum and the recycled manuscript, which was assumed to be from the early 15th century based on paleographic analysis, led to consultation with the Center for Scientific Studies in the Arts, a collaborative venture between Northwestern University and the Art Institute of Chicago. A team of conservators from Northwestern developed a project proposal and worked closely with conservation scientists and imaging specialists from the Center to design and carry out a research project to uncover the text on the manuscript.

We were particularly interested in the manuscript text as it could shed new light on the kinds of manuscripts which were being dismantled during the early 16th century. It was even possible that the extensive marginal notes on the manuscript may reveal unique commentary, even if the principal text was not unique itself. In fact, the principal text and scholia, in Latin, were identified as part of the Institutes of Justinian, an early effort to codify Roman law and a foundation for modern Western European legal systems. The marginal notes, in Greek, represent unique interpretations, adding to the scholarly study of civil law in 15th century Italy. The results of this research were published in 2017.2

My time working with the Northwestern Hesiod led me to conclude that the making of historical book models represents one of the best ways to explore firsthand the complex nature of book structure and to develop insights into conservation technique. Moreover, the study and construction of historical models represents a unique opportunity for anyone, from amateur bookbinder to experienced conservator, to experience history in a way that few people can. It reminds us of how we connect to the objects and techniques that excite and inspire our work and represents a salient reminder of why we do the work we do. 

* * * * *

Silvia Pugliese.  “Stiff-Board Vellum Binding with Slotted Spine: A Survey of a Historical Bookbinding Structure.” Papier Restaurierung: Mitteilungen der IADA.  Vol. 2 (2001), 93-101. Online.

Emeline Pouyet, et al.“Revealing the biography of a hidden medieval manuscript using synchrotron and conventional imaging techniques,” Analytica Chimica Acta, Volume 982, (22 August 2017), 20-30. Print.

* * * * *

©2021 Scott W. Devine

An earlier version of this essay appeared as a blog post on Beyond the Book: Preservation and Conservation at Northwestern University Library on June 17, 2015. It is no longer online.

Scott W. Devine is a book and paper conservator with over twenty years of experience in the field of conservation. He holds a Masters of Information Science with an Advanced Certificate in Conservation Studies from the University of Texas at Austin and received additional training in rare book conservation at the Library of Congress in Washington, D.C. and at the Centro del bel libro in Ascona, Switzerland. He has established conservation programs at three major research libraries in the United States and consulted on a broad range of conservation projects throughout Europe and North America. His research interests include the history of Italian bookbinding and the politics of preservation in Italy. He has designed and taught courses for the Montefiascone Conservation Project Summer School in Italy and currently works as a paper conservator for the Smithsonian Institution.

New Tool! Three Inch 45˚ Stainless Steel Triangle

Three inch 45˚ stainless steel triangle.

Small triangles are useful for a number of bookbinding, boxmaking, and conservation tasks. This 45˚ triangle is made from stainless steel, so it is safe to be in contact with paper and artifacts. It measures three inches on each of the short sides, and is .05 inch thick, which is the same as 50 points in printing and bookbinding. The knurled knob aids in holding it in place, as well as lifting it up. The edges are deburred; it feels comfortable in the hand and is smooth to cut or mark against. There is not a lot to say; this is a very nice triangle that will last many lifetimes.

Order your 45˚ stainless steel triangle here!

Comes in Right Hand and Left Hand versions. Just kidding! One triangle does it all!

How to Pare Leather: Knives, Machines, Techniques, Tips, and an Exhortation

At first glance, leather paring seems quite straightforward. You take a sharp knife, move it along the leather in a series of cuts, and gradually reduce the thickness. What’s so difficult about this? If you are using a spokeshave, just push it over leather to gradually reduce the thickness. Done. A razor blade paring machine? You don’t have even have to know how to sharpen the blade, just pop in a new one, and simply pull the leather through. Yet, like many craft activities, what is simple conceptually can take some time — often a frustratingly long time — for your hands to learn what your head knows.

There are three common methods of paring leather: a paring knife, a modified spokeshave, and a double edge razor blade paring machine. Most binders use a combination of these depending on the task. All have advantages and disadvantages. All have a learning curve. All are useful arrows in a bookbinder’s quiver.







Edge paring with an A2 English style knife showing tip paring.


Many bookbinders, when getting into leather binding, are surprised by the wide variety of leather paring knives and machines. In bookbinding terminology there are four basic styles of knives and they are named for the nations that generally use them: English, French, German and Swiss. Other leather crafts use different terminologies for similarly shaped knifes, and leather workers often refer to “paring” as “skiving”.

In addition to paring knives, many binders use paring tools and machines. Most commonly a modified 151 style spokeshave, a double edge razor blade paring machine, or more rarely a razor blade plane. If you have a lot of work, skins can be sent out to be split, often by an a band saw type machine. A few also thin leather by sanding or grinding. Below are my observations on the advantages and disadvantages of all of these.



In North America, most binders use an English Style knife for edge paring, often oriented around 45 degrees to its length, followed by a spokeshave for making a long, gradual bevels. This type of beveling is used for English style fine bindings and rebacking. The knife making firm G. Barnsley made the most common knives used by English bookbinders in the 20th century.



  • Can only be used for edge paring
  • You will need a different style knife, a spokeshave, or a razor blade paring machine to thin larger areas



French style knives are very popular with fine binders, many of whom were French trained. Both French and Swiss style knives have a round cutting edge, and the Swiss knife is usually a piece of steel without a handle One defining stylistic feature is a center mounted wood handle, however. The handle on the French knives has always puzzled me, since you tend to hold it more on the blade and rest your palm on the handle. The handle protrudes onto the leather, limiting the angle the knife can be held. To get lower paring angle, I was the first to introduce the top mounted wood handle.


  • One knife can do it all, though some binders use this in conjunction with an English style knife
  • Can be used with a scraping motion for thinning anywhere in a skin, useful for headcap or spine areas
  • Round blades seem to stay sharp longer, since there is at least some area that is still sharp enough to get a “bite” into the leather


  • Much more difficult to resharpen
  • More difficult to learn to use
  • More difficult to control
  • Scraping with a knife is more dangerous than spokeshaving or using a razor blade paring machine

Joseph Zaehnsdorf. The Art of Bookbinding. 2nd. ed. (London: George Bell and Sons, 1890), 91.


I’ve only used these a couple of times, so don’t really have an opinion. I did have a German trained student who used it expertly.  The one I have is slightly flexible. In  Zaehnsdorf’s 1890 The Art of Bookbinding, the German paring knife looks like a regular chef’s knife. Even the modern versions have a wedge shaped taper, so that the back is fairly thick and the opposite edge is sharp. Did the modern German style knife morph from a regular chef’s knife?


A modified 151 spokeshave with shaving collector thinning leather.


A modified 151 style spokeshave is a powerful and effective tool for making long, gradual bevels in leather; ideal for rebacking or an English style full leather binding. It can also be used to bevel binders board. It is a lot of fun to use. These were originally intended for woodworkers, and I think binders started to modify these for leather starting in the 1920’s. Here is some of my research, and a tentative type study of 151 style spokeshaves.


  • Much faster than a French knife for reducing leather thickness over a large area
  • Less chance of tearing through leather, especially with a shaving collector
  • A must for calf, which tears or gets marked in a razor blade paring machine
  • Can also be used to bevel board creating much less dust than sanding


  • Difficult to modify a regular 151 style spokeshave
  • There is a bit of a learning curve to learn to use them
  • The leather must be clamped to the stone or glass, or the leather can be traditionally held with your stomach
  • Cumbersome to use with leather smaller than 6 inches or so in one direction, to allow for room for clamps and motion of the spokeshave
A spokeshave can also be used to bevel binders board.


Razor blade paring machines, including the Scharffix, Brockman and the new “Felsted Skiver” all use a very similar arrangement: a double edge razor blade suspended above an anvil or roller. These are very useful for thinning small or large areas flat. Razor blade machines excel at paring leather very thin. Common bookbinding applications include millimeter bindings, spines and corners for half bindings, and most commonly leather labels. A spokeshave is sometimes used to clean up ridges created from overlapping cuts on larger pieces.

My favorite paring machine is the original style Brockman, which is not available new anymore.  One advantage of his design is a curved bed for for the razor blade, which gives it significant rigidity and positions it to cut into the the leather straight on, rather than at an angle. Older hand held double edge razor blade handles also bend the blade like this. Brockman told me he made the first 100 of them himself, which are painted blue, and the later black ones were manufactured for him. A third green cast version was briefly produced in the 2000s (?), which looked very nice, but I haven’t tried it.

There are rigidity problems with many Scharffix machines, so make sure to test them out before purchase. There are also extremely cheap knock-off versions of the Scharffix machines for around $50 or less on you know where. I bought one, thinking how bad could it be? After wasting three days trying unsuccessfully to get it to function I had my answer.

The Felsted Skiver is the newest machine. Malcolm Raggett designed and is selling these. He has tested a variety of commercially available double edge razor blades, which is very useful research, and confirmed the Feather as one of the best blades. I tried one for a short period of time and it worked quite well, much like an old Brockman.


  • Short learning curve
  • The best for paring very thin, flat areas of leather, like labels or half-leather bindings


  • Difficult to create bevels (at least for me)
  • Almost impossible to use on vegetable tanned calfskin
  • Blades wear out quickly and need to be replaced
  • Some of the machines can be tempermental
  • Changing the blade can alter the cutting depth
The Felsted Skiver in action.


I wrote a brief history of them, then added some tips on their use, and later recorded my failed attempt to make a better version.  I ended up tearing a lot of leather, and went back to using a 151 modified spokeshave and razor blade paring machine. One quality skin can be more expensive as any of these tools.


This used to be common for french design binders, who even indicated what thickness the leather should be at various areas, through use of a template.  I’ve heard these specialists are disappearing, though. We do have leather manufactures who will split a skin (or more likely a dozen) down to a certain thickness. This is an excellent option if you are an edition binder. If the skin is thick enough you can get both sides back. The machine that does this is like a toothless horozontal bandsaw. I’ve used Hohenforst Splitting Company and they did an excellent job on a difficult leather; undyed and unfinished calfskin.


I wouldn’t recommend either of these methods unless there are extraordinary circumstances. Not only do these methods produce a lot of hazardous dust, they are very slow and, at least in my experience, grinding is very uncontrollable. I have done this if the leather is exceptionally weak, or need to level chatter that has resulted from an improperly tuned spokeshave. In this case choose a very coarse sandpaper, around 80 US grit. Sanding an entire piece of leather for rebacking or covering is very tedious.


“One of the most admired skills in bookbinding is the paring of leather, yet only sharp tools and confidence are required.  Confidence is gained by experience, and sharp tools by a zealous consideration and care for knives.” Arthur Johnson, The Thames and Hudson Manuel of Bookbinding, p. 89

• As Johnson reminds us, make sure your knife is sharp. Strop it evenly on both sides to make absolutely sure. Then strop it again!

• Board your leather. This breaks down stiffness and reduces hard areas in the leather that can catch your knife, and cause it to veer unexpectedly. Boarding means folding your leather onto itself on your paring surface — flesh side to flesh side — and roll it over itself with your palms in four directions: top to bottom, side to side, corner to corner, and the other corner to corner.

• Place the blade angle of the knife at roughly 45 degrees to the edge you are paring. See the image below for the difference between blade and bevel angles.

• Cut into the leather place the tip of the knife so it is just shy of the paring surface. It should cut at an angle through the leather, coming in from the edge about a quarter of an inch.

• Place the length of the knife at low angle, relative to the paring surface. You may need to place your hand off the edge of the paring surface to achieve this.

• Use the fingers holding the knife as a jig to hold this angle

• Use your left hand to push the knife across the leather, taking off one long continuous strip. If you knife holding hand is strong, and your blade sharp, you will eventually be able to do this without the aid of your left hand.

• When the strip is made, go back the beginning and repeat the process form the beginning, but hold the knife at a lower angle, taking off 

• The most you can edge pare with an English knife is about an inch into the thickness of the skin. If you need a more gradual bevel on the leather, use a round knife with a scraping action, an M2 hybrid knife, or a modified 151 spokeshave.


To flesh out the above, it is critical to pay attention to the blade angle of the knife, since it affects how the knife cuts, and the angle one holds the knife at, and consequently how the leather is cut. I’ve found that roughly a 40-50 degree angle works best for tip edge paring. First, a few terms defined.  The blade angle is from an imaginary line 90 degrees to the length of the blade.  I am calling a zero degree angle one that would be straight across where the dotted line is, pictured below would be roughly a 45 degree blade angle.  The bevel angle is the amount of slope on the bevel, in the case of leather paring knives usually around 13 degrees.  The diagram below is the style of knife a right handed binder would normally use. (1)

I’ve found there are two main issues that determine the optimal angle of the blade;  how much the blade is skewed in use and how the knife is held.  The way I hold and use an English paring style knife is outlined below, as are the reasons why I consider a 40-50 degree blade angle ideal.  

Skewing the blade in use reduces the effective cutting angle, improving the initial cutting performance and not altering edge retention.  Although the more acute the bevel angle in effect creates a sharper the blade, if it is too severe the cutting edge will be very fragile and quickly deteriorate. It is also difficult to sharpen, since the thin tip deflects. I haven’t figured out the math, but if the bevel angle is 13 degrees, I estimate an extreme skew reduces the effective cutting angle by half?


Although I outlined the a basic method of using an English knife above, I actually hold it in three ways when I am edge paring: first to make a series of cuts using moderate skew, then a few finishing cuts using extreme skew, and finally use the knife with no skew. This final way performs like a spokeshave and smooths everything out. It doesn’t seem to make too much difference if you pare across the skin, as pictured above, or push the knife away from you, which is the traditional heel paring.


To make a long, even bevel the angle of the knife held steady by my thumb and second finger on the other side of the the knife– they slide along the surface of the paring surface. In order to pare the leather evenly, the knife must be held at a consistent angle. (2) The angle the knife is held varies with the type of leather and skill of the binder- too high of an angle takes off virtually no leather, makes it more likely to slice through the flesh side of the skin and dulls the knife tip by digging into the paring surface.  Too low an angle makes the knife difficult to control, since most of the cutting edge is engaged into the leather.  Wide knives with long bevels exaggerate this problem.  Right handed beginning parers may want to use the forefinger of left hand to push the knife along the leather.  This allows one to concentrate on using the right hand to hold the knife at a consistent angle, as illustrated below.

After a first cut is made, a second (and possibly third or fourth, depending on how long of a bevel is desired) is made by holding the knife at progressively  lower angles.  The depth of the cut can be judged by changes in the color of the leather or folding the leather in half, which doubles any errors.    If the leather is disturbed to check the progress, it is imperative that any stray bits be cleaned from under the skin, otherwise the knife will cut through these thicker layers.


As the leather becomes thinner, it becomes weaker, so I adopt the second knife position.  I skew the knife towards a more extreme angle and press down harder, which creates a lower effective bevel angle. This helps prevent tearing the leather.  It is much easier to take the leather off in long even strips with the first cuts, rather than try to correct mistakes later on.  If there are many irregularities, sometimes it is easier to use a spokeshave to even things out. Note the fingers on my right hand used as a jig, to hold the knife at a consistent angle relative to the surface of the leather.



After the edge is pared to the length and thinness desired, I rotate the knife into the third position, so that it is not skewed, and push it forward to even the previous cuts out.  This is almost more of a scraping action than a paring cut, and is meant to smooth out irregularities left from the previous cuts, not remove a lot of skin. The angle of the camera in the illustration seems to exaggerate angle that the knife is being held- in reality it is almost parallel to the skin. Again, a spokeshave could do this as well. The cutting edge of this knife is one inch, which is slightly larger than most turnins. Most of the time 7/8″ is a reasonable turn in width–compromising between giving a little extra room in case the leather is torn, and conserving leather.  One unintentional consequence of the acidic nature of some leathers is that they rapidly stain the pastedown, making it possible to observe in detail the pattern of trimming and size of turnins.  I admire the judgement (and frugality!) of some binders, capable of covering the book so economically that only a millimeter of two of leather extends under the pastedown in various places.


A roughly 45 degree angle seems to be the most comfortable in all three of the ways I hold the knife.  I have a set of knives that I use when teaching which consist of 22.5, 45, and 67.5 degrees, in order to compare what is most comfortable for each individual, and most opt for a roughly 45 degree angle. Another consideration is the angle of the wrist when using the knife– I’ve found around 40-50 to be most comfortable.  Keeping the angle of your wrist comfortable is important if you do a lot of production work, to avoid carpel tunnel syndrome.  Any numbness or tingling sensation is possibly a very serious problem, and medical attention should be sought.  Choosing a good quality knife, keeping it well stropped and sharp will also reduce the force needed to pare leather, reducing strain on the hand and wrist.  Finally, a 45 degree blade angle is much easier to sharpen than a 67.5 degree angle for two reasons– it is easier to get even pressure across the entire width of the bevel (especially the tip), and there is less metal to remove, so the sharpening is more rapid.  Paring leather is not difficult, as Johnson pointed out, it just takes some practice with a sharp knife, and an awareness of the blade angle.



1. As a left handed binder pointed out to me, simply changing the direction of paring allows a right hander to use a left handed knife, or vice versa.  Below I am comfortably using a left handed knife, holding the leather at the top and paring towards myself.  

2.  Some find it more comfortable to hold a knife with a handle.  In this case, it is sometimes necessary to hold the handle area of the knife off the paring surface in order to achieve a low angle.  This illustration also demonstrates side to side paring.




I really don’t think it makes much difference, as long as it is smooth and reasonably hard enough. Keeping it clean and free of debris is probably more important than what material it is made from.  Any small stray bit of leather can get trapped under the piece you are paring, and the additional thickness cause you to create a hole in your skin. Litho stones, glass, glazed porcelain tiles, 12 x 12 pieces of marble are all used successfully by binders I know. If you are cutting into your paring surface and damaging you knife, the problem is your technique, not the softness or hardness of the surface you are paring on.

I photograph many of my knives on litho stones, but not for functional paring considerations; rather it looks traditional, the stones are non-reflective, and also roughly 18% grey. In other words, perfect for photography. 18th century paring surfaces seem to generally be marble, I suspect the only reason litho stones became popular was that they were a cheap plentiful source of a flat surface in the late 19th. Save the litho stones for the printers or bookbinding photography.

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Charles Tomas Jacobi The Printers’ Handbook of Trade Recipes, Hints & Suggestions  (London: Chiswick Press, 1891), 265.


Most introductory bookbinding manuals contain a section on leather paring. This can help learning different ways of holding the knife, and understanding the basic concept of gradual thinning. Videos (and there are lots of them) can also help; when it is well done it looks so easy! More information is better than less information. But really, boils down to getting a feel for it, or “embodied procedural knowledge” if you want to use a fancy term.

Finding someone to give you some feedback on your technique in a class or workshop can really speed up the learning curve, save a lot of time, and reduce wasted leather. Chances are if you are really struggling, something is wrong that can be fixed.  Often it is your knife is not sharp enough. Sometimes just moving the knife a few degrees this way or that way can be the difference between success or failure.

But the best way to get better at paring is the most obvious: practice, practice, practice. So quit reading and make some shavings!


NOTE: the above is a compilation of revised blog posts I’ve written over the past dozen years concerning leather paring.