Montefiascone Project 2020

Another fantastic looking lineup for The Montefiascone Project 2020!  I will be teaching there week two, with a workshop titled “Early nineteenth century American and English bookbinding: machines, materials, structures, and tools” Monte is a special experience, everyone should go at least once.

The early nineteenth century models we will make in my workshop. A common boards binding, an extra boards binding, a tight back cloth binding, and an English style cloth case binding. We will also make dyed and textured book cloth from natural muslin.

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Montefiascone is a small medieval walled city about 100 k (80 miles) north of Rome, on Lake Bolsena. Since 1988, conservators, curators, art historians, book artists, and others interested in books and their history have come together to work, to learn and to enjoy this special place.  Participants come to enjoy the medieval architecture, friendly people, a clean accessible lake, books and scholarship.  The Montefiascone Project is a non-profit making organisation, set up to fund the restoration of the Library of the Seminario Barbarigo in Montefiascone. Participants may attend one, two, three or all four weeks.

Costs are £550 (or euro equivalent) for each week and include all lectures (which are in English).  For more information and to enroll, contact Cheryl Porter: chezzaporter <at> yahoo.com

Week 1: 27th – 31st July

Recreating the colours on the Medieval palette: Western, Hebrew and Islamic.

Course Tutor: Cheryl Porter

This class will study the colours (made from rocks, minerals, metals, insects and plants) that were processed to produce the colours used by artists throughout the medieval era.  The focus will be on manuscript art – Islamic, Hebrew and European. Participants will re-create the colours using original recipes.  Illustrated lectures will address history, geography, chemistry, iconography and conservation issues.  Practical making and painting sessions will follow these lectures. No previous experience is necessary.

Week 2: 3rd – 7th August

Early nineteenth century American and English bookbinding: machines, materials, structures, and tools.

Course Tutor: Jeffrey S. Peachey

In England and America, common book structures changed significantly during the early nineteenth century. A typical inexpensive calf or sheep binding was supplanted by even cheaper, new binding styles, such as paper boards bindings and the three-piece adhesive cloth case. In industrial binderies, the plough was replaced by two quicker machines, the guillotine and the board shear. The way binders worked, and viewed their work, also changed drastically.

We will examine this time period through PowerPoints, readings, discussions, and the hands-on construction of four models: an English common-boards binding, an American extra-boards binding, an American tight-back cloth binding, and an English adhesive cloth case. We will explore methods of replicating plain and textured nineteenth century bookcloth, starting with undyed muslin. Close readings from bookbinding manuals, analysis of bindery images, and the use of historic tools will enhance our understanding of this important time period. Often these binding styles are referred to as “temporary” and we will debate some conflicting evidence and definitions of this term. By the end of the nineteenth century, the cloth case became ubiquitous worldwide. This workshop will equip participants to better understand, interpret, and sympathetically treat nineteenth century books they encounter.

Week 3: 10th – 14th August

Recreating a late sixteenth-century Cambridge bookbinding

Course Tutors: Jim Bloxam and Shaun Thompson, with lectures from David Pearson.

Cambridge, heavily influenced by its university, has always been a place with books at the heart of its activities; a place where they have for many centuries been printed, sold, bound, owned, stored, read and used. Our Montefiascone course, a few years ago, was devoted to making a model of a late 15th century Cambridge binding; this year we will analyse a binding style from a century later and construct a model of a typical late 16th century Cambridge binding.  At the end of the 15th century, leather-covered bindings usually had wooden boards and clasps and decoration depended on labour-intensive repetitive tooling using small hand-held tools.  A century later, wood had given way to pasteboard or pulpboard, clasps had been replaced by cloth ties and decoration looked very different; gilt tooling, unknown in English binding work before about 1520, had become common.

Week 4: 17th – 21st August

A Chinese Qur’an

Course Tutors: Kristine Rose-Beers & Cécilia Duminuco, with a lecture from Alison Ohta

During this class, participants will make a model of Chester Beatty Is 1602, a 17th or 18th century Chinese Qur’an with its original binding. This small manuscript is distinctly Chinese. It is covered with fine patterned silk, and the pages are made of soft, fibrous, Chinese paper. In keeping with many Islamic bindings, it has an envelope flap, but this is squared off, similar to those seen in some south-east Asian Islamic manuscripts. This Qur’an is an example of how aspects of the Islamic book were combined with local decorative traditions influencing ornament, calligraphy and illumination.
According to the historical accounts of Chinese Muslims, Islam was first brought to China by Sa’d ibn abi Waqqas, in 651. Although scholars have not found any historical evidence that he visited China, they agree that the first Muslims must have arrived in China in the 7th century, and that the major trading cities, such as Guangzhou, Quanzhou probably already had their first mosques built during the Tang Dynasty.
Muslims in China have continued to practice their faith sometimes under very difficult circumstances. Today, the Muslim population of China is estimated as representing 0.45% to 2.85% of the total population with 39,000 mosques serving this congregation.  This Qur’an represents the Islamic legacy in China and is a unique opportunity to examine this combination of traditions which were carried along the Silk Roads over the centuries.

COURSE INSTRUCTORS:

Cheryl Porter is Director of the Montefiascone Project. She trained as a book conservator in London and has worked as a conservator, collections manager and consultant for libraries and museums in Europe, Australia, USA and Egypt. She was deputy Director of the Dar al-Kutub (National Library) and Thesaurus Islamicus Foundation Manuscript Project in Egypt from 2008-2011. She has published widely and is a Professional Associate in the American Institute for Conservation.

She is currently commissioned by Yale University Press to write a book on the colours used to paint in manuscripts.

Jeff Peachey is an independent book conservator and toolmaker based in New York City. For more than 25 years, he has specialized in the conservation of books for institutions and individuals.  He is a Professional Associate in the American Institute for Conservation, has taught book conservation workshops internationally, and has been awarded numerous fellowships to support his book history research, including the Rockefeller Foundation Bellagio Center (Italy) and Rochester Institute of Technology’s Cary Collection (New York). He is a Visiting Instructor for the Library and Archives Conservation Education Consortium (LACE) of Buffalo State University, New York University, and the Winterthur/ University of Delaware. “Ausbund 1564: The History and Conservation of an Anabaptist Icon” is his latest publication.

Shaun Thompson is a traditionally trained bookbinder with over thirty years’ experience and a passionate advocate for the importance of hand bookbinding skills in book conservation. He has worked for Cambridge University Library for the past 17 years and presently holds the position of Collection Care Manager.

Shaun has a research interests in early northern European book structures and has made good use of the Library’s collections to examine the physical aspects and historical techniques used in medieval bindings. He is also an experienced and highly skilled practical teacher, having taught hand bookbinding to conservation students in the UK, at both West Dean College and Camberwell College of Arts. He taught courses at Montefiascone since 2013 and is looking forward to returning to share his ever-widening knowledge and experience.

Jim Bloxam, Head of Conservation and Collection Care, Cambridge University Library, UK. Jim is an Accredited Conservator of the Institute of Conservation. His particular research interests lie mainly in the history of books; their structural qualities and their cultural context. He has taught historical book structures in the UK, Europe and the US, focusing mainly on European book structures.

David Pearson retired in 2017 as Director of Culture, Heritage and Libraries for the City of London Corporation, after a professional career of 35 years or so working in various major research libraries in London and elsewhere. He is now a Research Fellow at the Institute of English Studies in the University of London, and a member of the teaching staff of the London Rare Books School there. He has published extensively on aspects of book history, with a particular interest in aspects of the book as an owned and designed object; his books include Provenance Research in Book History (1994), Oxford Bookbinding 1500-1640 (2000), English Bookbinding Styles 1450-1800 (2005), and Books as History (2008). He has taught and lectured in these fields for numerous audiences and is a Past President of the Bibliographical Society.

Kristine Rose-Beers is Head of Conservation at the Chester Beatty in Dublin and an accredited member of the Institute of Conservation. Her research interests include the conservation of Islamic manuscript material, early binding structures and the use of pigments and dyes in medieval manuscripts.

Before moving to Ireland, Kristine worked at the Fitzwilliam Museum in Cambridge as Assistant Keeper (Conservator of Manuscripts and Printed Books); at the Chester Beatty Library with a particular focus on the Turkish manuscript collection; and at Cambridge University Library. She graduated from the Conservation programme at Camberwell College of Arts in 2002 and is a member of the Board of Directors of The Islamic Manuscript Association.

Cécilia Duminuco is a book and paper conservator. She graduated from the École Supérieure des Arts Saint-Luc of Liège with a Masters in Painting Conservation in 2013, before completing a Masters in the Conservation of Books and Library Materials at West Dean College in the UK in 2015. Cécilia joined the Chester Beatty in Dublin as Heritage Council Intern in Conservation 2015-16, before moving to Cambridge University Library to work on Charles Darwin’s Library digitisation project. She then worked at the University of Manchester, before returning to Cambridge University Library in 2019 to work on the digitisation of Greek Manuscripts. Cécilia  has now relocated to Belgium where she continues to follow her passion for early bookbinding, non-Western book structures, pigments in illuminated manuscripts and painted surfaces.

Alison Ohta is currently Director of the Royal Asiatic Society of Great Britain and Ireland.  She completed her thesis at SOAS (London University) on Mamluk bindings and has published and lectured extensively on the subject.

 

Montefiascone Conservation Project 2012

Very raw sienna, which I picked up in a parking lot outside of Sienna, Italy in 2009.

I’m teaching my 18th century French class in Montefiascone, Italy, August 20-24, 2012.  Needless to say I’m thrilled. All the classes look really great. In the first week, Cheryl Porter is teaching her Re-creating the Medieval Palette.  I attended the lecture portion of this class when she taught it here in NYC, and it really opened my eyes.  But it seems taking the class in Italy would be exceptional by soaking in the local pigments and colors — the blue of Lake Bolsena, the red of montepulciano d’abruzzo — bellissimo!  The second week is Julia Miller’s The Glazier Codex.  I was fortunate enough to sit in on a small portion of this class when Julia visited the Morgan Library & Museum while teaching in NYC. The class had the opportunity to spend a morning with the actual Glazier, arguably one of the most important books in the world.  Julia’s scholarly knowledge of this book was impressive.  Ana Beny’s The Mudehar Book looked interesting enough to me to register for it as a student.  I don’t know much about Spanish binding from this pivotal time, and look forward to learning more.  And in week four, I will be teaching my Eighteenth Century French Class, for the first time incorporating a lot of new research — and many powerpoint presentations —  from when I was a fellow at the Morgan last fall.

I think every book conservator should attend Monte at least once in their career. It generally proves to be an unforgettable experience: concentrated learning, the opportunity to forge friendships with international colleagues, and enjoying the hedonistic pleasures that Italy offers.

For further information or to register for one week or more, please contact Cheryl Porter: chezzaporter (at) yahoo.com.

The Monte website.

Check out the Monte Facebook page.

In case you are a little short of funds, consider applying here for Conservation by Design’s Nicholas Hadgraft Scholarship worth 1,500.00 Euros.

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MONTEFIASCONE   SUMMER  2012  

July 30 – August 3

Re-creating the Medieval Palette

Course Tutor: Cheryl Porter

This class will study the colours (made from rocks, minerals, metals, insects and plants) that were processed to produce the colours used by artists throughout the medieval era. The focus will mostly (though not exclusively) be on manuscript art (Islamic and European) and participants will re-create the colours using original recipes. Illustrated lectures, will address the history, geography, chemistry, iconography and conservation issues. Practical making and painting sessions will follow these lectures.

August 6 – 10

The Glazier Codex

Course Tutur: Julia Miller

The Glazier Codex contains a parchment manuscript of the first half of the Acts of the Apostles, written in Coptic and illuminated.  The manuscript and its binding are thought to date from the late 5th  /early 6th century.

The workshop goal is to make a full size model of the original binding.  The original text consists of 15 gatherings of vellum sheets, 4 sheets (a quaternion) of vellum per gathering; we will be substituting paper.  The sewing is a link style variation, and we will be adding simple link style endbands. The Glazier Codex has a decorated leather spine piece that extends beyond the head edge of the spine, nearly covering (and thus protecting) the head edge of the text block.  One theory is that the tail edge of the spine piece extended in a similar fashion to protect the tail edge of the text block.  The Codex has bare wooden boards with two wrapping bands, one extending from the top edge of the upper cover, and one from the fore edge of the upper cover.  Each wrapping band is finished with a decorated bone slip used to anchor the wrapped bands.  There is evidence that the codex had a bookmark attached to the outer corner of the lower board.

Workshop lecture and discussion will compare early codex book formats found in Egypt using images and models of early structures to illustrate structural changes in the codex. Study of the binding of the Glazier Codex will be supported through extensive images of the original. Handouts, including a reading list, will be included in the workshop materials. Basic bookbinding skills are required; we will be doing very minimal paring the leather we use for the binding but we will be sanding wood and bone so please bring a face mask if you prefer.  You may also wish to bring your own supplies of materials (wood, leather, paper) to make additional models and samplers in your free time (!) from the teaching model collection, which ranges from wooden tablets and papyrus notebooks to a late-Coptic full-size model of a Hamuli cover.

August 13 – 17

The Mudejar Binding

Course Tutor: Ana Beny

From Christian Spain, in the 14-16th centuries, as part of the heritage of al-Andalus, came the so-called “Mudejar” binding style – many with Gothic wooden boards and strong Islamic influences in the decoration.

Through the use of Powerpoint and other resources, the course will give an over-view of Gothic binding structures and examine previous influences on its evolution and how it, in turn, influenced later bindings. Special attention will be focused on the characteristics of Spanish bindings throughout this period.

Participants will construct a full-scale model in order to understand the unique features – especially those constructions that control the functioning of the spine and its movement. Students will sew the text-block, prepare the wooden boards and parchment spine lining, make end-bands, board attachment, leather covering, anchor clasps and decorate the cover. There will also be opportunity to practice the blind-tooled decoration with damp and/or heat techniques.

All materials needed to construct the book can be provided, though participants will need to bring basic bookbinding tools. Some knowledge of binding is essential as is the motivation to work longer hours than is usual for the programme.

August 20 – 24

Eighteenth Century French Binding

Course Tutor: Jeff Peachey

Participants will construct a typical full calf late eighteenth century French binding. In some respects, this structure is the end of 1,200 years of hand leather binding; by the mid nineteenth century the mechanized publisher’s cloth case begins to predominate.  Particular attention will be given to the techniques originally used to make these books, informed by close readings of multiple contemporaneous technical descriptions—Gauffecourt’s 1763 Traité de la Relieure des Livres, Diderot’s 1765 Encyclopedié and Dudin’s 1772 L’Art du Relieur-doreur de Livres—the examination of extant bindings, and the use of antique and reproduction tools.  Typical features of this binding style include a hand beaten textblock, edges ploughed in-boards and colored; single or double core endbands, vellum spine liners, and several methods of leather decoration. Several presentations will contextualize the bindings and historic equipment. The numerous problems these structures pose for conservators will also be discussed. This workshop is constantly updated, incorporating ongoing research. Basic bookbinding skills are a prerequisite.

More information: https://jeffpeachey.wordpress.com/workshops-with-peachey/

TEACHERS:

Cheryl Porter has been Director of the Montefiascone Project since its inception in 1988. After graduating from Camberwell College (University of the Arts, London) she worked at University College London Paintings Analysis Unit, analysing the use of pigments in paintings and manuscripts. From 1992-2006 she worked as a freelance conservator, mostly for universities and learned institutions. She was Manager of Conservation and Preservation at the Dar al-Kutub (National Library and Archives

of Egypt) and Thesaurus Islamicus Foundation 2007-2010 and is currently employed as a Consultant for a number of institutions with book, papyrus and manuscript collections in Egypt. She has published many articles concerning colour in manuscripts and has lectured in the USA, UK, Canada, Australia and throughout

Europe.

Julia Miller is a bench-trained conservator who in recent years has turned her focus to the study and teaching of historical binding structure and style, with a special emphasis on early Coptic book structures.  Julia has taught a variety of early structures around the U.S. and beyond, and has traveled to Cairo twice, in part to study the bindings that originally sparked her interest in early bindings, the fourth century single-quire bindings known as the Nag Hammadi codices.  In 2008 Julia received a Kress Foundation/FAIC conservation publication fellowship to write a book on historical structure and style titled Books Will Speak Plain: A handbook for identifying and describing historical bindings, published by The Legacy Press and released in December 2010 (thelegacypress.com).  The book is directed toward curators, collectors, and conservators, and will be of interest to book artists who draw on historical structure as a platform for their own work.  Julia is currently editing a collection of essays on the history of binding and will be a contributor on the subject of American scaleboard bindings growing out of a research fellowship at the Library Company of Philadelphia in the fall of 2010; the collected essays will be published in fall of 2012. She will be lecturing or teaching in 2012 for Rare Book School in Virginia, the North Bennet Street School in Boston, the Rare Books and Manuscript program at the University of Illinois, the Oregon College of Arts and Crafts in Portland, and the Montefiascone program in Italy.

Ana Beny is a freelance conservator and consultant, with her own workshop in Madrid. Since 1984, when she graduated from the “Conservatori de les Arts del Llibre” of Barcelona, she has worked on the conservation of artifacts on paper, papyrus and parchment, with special dedication to historical bookbinding. She has conducted workshops and lectured in the Montefiascone Project, Italy, Spain, Greece, Brazil, Philippines and Egypt. Currently she collaborates with various institutions, including the Polytechnic University of Madrid and with Thesaurus Islamicus Foundation & Dar Al-Kutub Manuscript Conservation Project in Cairo.

Jeffrey Peachey

Jeffrey S. Peachey is the owner of a New York City-based studio for the conservation of books and the inventor of conservation tools and machines. He is a Professional Associate in the American Institute for Conservation and for more than 20 years has specialized in the conservation of books for institutions and individuals.  He was the 2011 Sherman Fairchild Conservation Research Fellow at the Morgan Library & Museum, studying the structures, tools and techniques of 18th century French bookbinding. More information: https://jeffpeachey.wordpress.com/about/

The cost of the classes is: 445 British pounds  ($700 US, 550 Euro) per week and includes all tuition (which is in English) and (most) materials. The Montefiascone Project is a not-for-profit organization, and all extra monies are used to finance the cataloguing and the conservation and preservation of the collection.

For further information or to register for one week or more, please contact Cheryl Porter: chezzaporter (at) yahoo.com.

Montefiascone Project 2009

Yours truly is teaching Week 3, Aug. 10-14.
Flights are fairly reasonable right now....
Hope to see you there!

MONTEFIASCONE PROJECT
SUMMER 2009

Montefiascone is a small medieval walled city about 100 k (80 miles)
north of Rome, on Lake Bolsena. Since 1988 conservators and others
interested in books and their history have come together to work, to
learn and to enjoy this special place. The summer 2009 programme is as
follows:

Week 1:  July 27th-31st
Re-creating the medieval Palette
Through illustrated lectures, participants will examine the story of
colour in medieval times. The class will address the history, geography,
chemistry and iconographic importance, and the actual techniques of
colour manufacture, with special reference to manuscript painting. Using
original recipes, participants will make and paint out the colours. No
previous experience is necessary.
Course tutor: Cheryl Porter

Week 2: August 3rd-7th
Multi-quire, wooden boarded codex from Egypt
The multi-quire, wooden boarded codex from Egypt is a small family of
bindings that structurally predate the familiar sewn through the fold,
laced on wooden board, leather covered binding of later eras. The model
made in this class is based on a reconstruction by Charles Lamacraft,
restorer at the British Museum in the early decades of the 20th c. In
1925, a ceramic jar was uncovered in Egypt containing 5 parchment
codices dating to the 6th c. AD.  Two of the five had bare wood boards,
stamped leather spines and multiple leather slips laced through the
boards (with no connection to the unsupported  sewing) leather wrapping
bands terminating in large, decorated bone slips to secure the bands and
a large decorative bookmarker.
Charles Lamacraft studied these early bindings and published an early
analysis and photographs of them.  He made at least 2 models of the book
structure based on the fairly complete but fragmented pieces of the
bindings.  One was for Chester Beatty, who purchased 3 of the ancient
books, and now resides in the Chester Beatty Library and another for
Prof. Kelsey of the University of Michigan who
purchased the other 2 remaining manuscripts in the jar. Kelsey's model
resides in the Rare Book Room of the University of Michigan Library.
Course tutor: Pamela Spitzmueller

Week 3: August 10th-14th
Late 18th century French Binding Structures
Apart from the French Revolution, one of the most exciting aspects of
late 18th C. French culture is the existence of two full-length
bookbinding manuals. This workshop will focus on reconstructing a
typical full calf French structure of this time period, by comparing and
contrasting the descriptions in these manuals and examining extant
bindings.  In some respects, this structure is the end of 1,200 years of
utilitarian leather binding- 50 years later the cloth case begins to
predominate. Some of the interesting features of this style include:
sewing on thin double cords; edges trimmed with a plough in-boards and
colored; double core endbands, vellum “comb” spine liners and
sprinkled cover decoration. Special emphasis will be placed on using
reproductions of period tools, constructed from Dudin and  Diderot’s
Encylopedie (1751-1780).  Participants will learn to use and maintain a
plough, and become fluent in translating written descriptions of
bookbinding into the construction of a model.  Extensive notations (in
English) on Gauffecourt’s Traite de la Relieure des Livres (1763) and
Dudin’s L’Art du Relieur-doreur de Livres (1772) will be provided.
Basic bookbinding skills are a prerequisite and materials will be
supplied at a nominal cost.
Course tutor: Jeff Peachey

Week 4: August 17th-21st
Ethiopian Bindings Workshop
This five day course is aimed at conservators interested in the history
of the book. The course will give an introduction to the history of
Ethiopian Bindings. Through a series of practical demonstrations and
exercises, participants will gain an understanding of the construction
of an Ethiopian binding within a cultural and historical context.
There will be an introductory lecture on Ethiopian Bindings, placing
them in the context of the history and development of book structures.
This will be followed by practical workshops focusing on:
Preparation of text block and wooden boards.
Sewing the text block and boards.
Endband construction and covering in leather.
Embossing leather with replica tools
The making of a traditional leather carrying pouch with camel skin
Participants will be required to bring some hand tools, a list will be
provided following registration. All materials will be supplied at a
nominal cost. Some knowledge of the history of bookbinding would be
desirable but is not essential.
Tutors: John Mumford / Caroline Checkley-Scott

Cheryl Porter is Manager of Conservation and Preservation at the
Thesaurus Islamicus Foundation and Deputy Director of the Project.  She
has been Director of the Montefiascone Project since its inception in
1988. After graduating from Camberwell College of Arts and Crafts, she
worked with the Paintings Analysis Unit at University College London
analysing the use of pigments in manuscripts. From 1992 to 2007 she
worked as a freelance conservator. She has published many articles
concerning colour in manuscripts and has lectured in the USA, Australia
and throughout Europe. 

Pamela Spitzmueller is Needham Chief Conservator for Special
Collections at the Weissman Preservation Center in the Harvard
University Libraries.  Pam previously headed Rare Book Conservation at
the University of Iowa Libraries, worked as Book Conservator at the
Library of Congress, and the Newberry Library in Chicago.   She
specializes in historical book structures and book sewing techniques,
and incorporates what she learns into conservation treatments of rare
books and creation of one of a kind artists' books. She has taught many
workshops on these topics.

Jeffrey S. Peachey is the owner of a New York City-based studio for the
conservation of books the maker of conservation tools and machines. He
is a Professional Associate in the American Institute for Conservation
and chair emeritus of the Conservators In Private Practice. For more
than 15 years, he has specialized in the conservation of books and paper
artifacts for institutions and individuals. A consultant to major
libraries and university collections in the New York City region and
nationally, he has been the recipient of numerous grants to support his
work. A well-known teacher, Peachey also provides conservation-focused
guidance to students in art, archives, and bookbinding programs.  

John Mumford is the currently head of Manuscript Conservation at the
Thesaurus Islamicus Foundation. He was formally Head of Book
Conservation at the British Library.  John served a five year
apprenticeship at the British Museum and subsequently helped establish
the Rare and Early Book Conservation Studio at the British Library. In
1992 he was appointed manager of the Oriental and India Office Book
Conservation Studio, furthering his study of early Oriental and Eastern
binding structures. In 1998 he became manager of the Oriental and
Eastern Book Conservation Studio at the new British Library at St
Pancras. He has taught frequently in Montefiascone and lectured and run
workshops throughout the UK, Argentina, Patmos and many other European
locations.

Caroline Checkley-Scott is currently head of Collection Care at the
John Ryland’s Library. Caroline, studied printing and bookbinding in
Dublin, Ireland. She was appointed trainee book conservator at the
British Library, London in 1991, where she worked at the House of Lords
in the Palace of Westminster, and the Oriental and India Office Library
and Records. Here she specialised in the conservation of early Christian
manuscripts from the Middle East. Caroline was formally head of
Conservation at the Wellcome Library and organised the planning and
design of the new Wellcome Conservation Studios. She is an accredited
member of the Institute of Paper Conservation. She has lectured both
nationally and internationally in Italy, Slovenia, Argentina and
Brazil.

The cost of the classes is: 445 British pounds  ($640 US, 500 Euro) per
week and includes all tuition(which is in English) and (most) materials.
The Montefiascone Project is a not-for-profit organization, and all
extra monies are used to finance the cataloguing and the conservation
and preservation of the collection.
For further information or to register for one week or more, please
contact Cheryl Porter: chezzaporter(at)yahoo(dot)com . More information is on
the website: www.monteproject.com