{"id":932,"date":"2017-12-15T09:00:56","date_gmt":"2017-12-15T07:00:56","guid":{"rendered":"http:\/\/www.facsimilefinder.com\/articles\/?p=932"},"modified":"2017-12-10T23:58:23","modified_gmt":"2017-12-10T21:58:23","slug":"challenges-and-magic","status":"publish","type":"post","link":"https:\/\/www.facsimilefinder.com\/articles\/challenges-and-magic\/","title":{"rendered":"Challenges and Magic: Story of Faksimile Verlag – part 7"},"content":{"rendered":"

Creating a facsimile is a hard process, but despite this, the end result is too precious to give up along the way. Can you imagine the feeling you get when going through a copy of an ancient manuscript<\/strong>? Can you feel the enchantment of the gold? Follow us through the challenges and magic publishers experience while creating a facsimile.<\/p>\n

How Is a Facsimile Edition Made?<\/h2>\n

Gilding<\/h3>\n

The different forms of gold and silver application<\/strong> are employed, on the one hand, to apply the gold subsurface \u2013 usually egg white in medieval manuscripts<\/strong>, today a special adhesive color \u2013 and, on the other hand, to apply the metal itself, for which, depending on the original, there are a great number of techniques.<\/p>\n

\"Outline<\/a>
The gold, depending on format of the original (if leaf or brush-gold), is drawn out manually<\/figcaption><\/figure>\n

An existing relief pattern in gold leaf<\/strong>, gold lettering<\/strong> and gold that often lies flat on the parchment has to be reproduced, just as on the original.<\/p><\/blockquote>\n

The recto (front) and verso (back) side of every sheet for a facsimile edition<\/strong> must be worked on three or four times in order to apply the gold by hand, before a finishing patination process reproduces the exact current luster and the aging marks of the metallic colors.<\/p>\n

For instance, if only part of the silver retains its shine or is heavily oxidized, the facsimile will also reflect this. For this purpose, a metallic patina may be applied over the silver.<\/p>\n

\"Outline<\/a>
The gold, depending on format of the original (if leaf or brush-gold), is drawn out manually<\/figcaption><\/figure>\n

However, in medieval book painting<\/strong>, in addition to\u00a0gold and silver foils<\/strong>, also gold and silver paint<\/strong>\u00a0was used,\u00a0applied with a brush. In that case, colors of gold and silver can also be printed today, although only as single colors separately from the color printing process described in our previous post.<\/p>\n

Chasing<\/h3>\n

In all epochs of book painting<\/strong>, especially beginning with the 13th century until the end of the handwritten book<\/strong>\u00a0era, chasing and stamping was used as a special gold working technique<\/strong> for pressing patterns into the metallic surface. These must also be reproduced by hand on facsimiles. Here lies the difficulty: on the one hand, exactly ascertaining the subtle indentations on the original is needed and, on the other hand, the gravure must then be performed with highest precision on the already applied gold foils<\/strong>.<\/p>\n

\"View<\/a>
The Croy Hours was printed along with a faithful copy of the original binding<\/figcaption><\/figure>\n

The magic of real gold<\/h3>\n

The real gold used in medieval manuscripts<\/strong> was not only a decorative element.<\/p>\n

Thanks to its immutability, gold has always had a symbolic value as symbol of God, of heaven, of eternity<\/strong>.<\/p><\/blockquote>\n

The use of real gold in facsimile editions, <\/strong>just like in the original manuscripts<\/strong>, aims to achieve some kind of mediation with the divine.<\/p>\n

The original format<\/h3>\n

The faithful trimming of the edges of every double sheet of a facsimile edition and even simulating the holes present in the original\u2019s parchment create additional difficulties. These features, however, are indispensable for every edition if a manuscript is to be experienced in its full emotional value.<\/p>\n

\"Picture<\/a>
It is very important that, when compared with the original manuscript, the facsimile results identical<\/figcaption><\/figure>\n

Conclusions<\/h2>\n

See why publishers never give up? True, it is very difficult to produce a facsimile worthy of the name, but there is so much in ancient manuscripts<\/strong> that needs to be preserved, that every obstacle encountered along the way is well worth the end result.<\/p>\n

Want to see some very special facsimiles? Visit our online catalogue at Facsimile Finder<\/strong><\/a>, and tell us what you’ve found!<\/p>\n

Coming Next..<\/h2>\n
    \n
  1. The Story of Faksimile Verlag, Publisher of Fine Facsimile Editions \u2013 part 1<\/em><\/a><\/li>\n
  2. Facsimiles and the Role of Illuminated Manuscripts: the Story of Faksimile Verlag \u2013 part 2<\/em><\/a><\/li>\n
  3. \u00a0<\/strong>What is a Facsimile: the Story of Faksimile Verlag \u2013 part 3<\/em><\/a><\/li>\n
  4. How it All Began: the Story of Faksimile Verlag \u2013 part 4<\/em><\/a><\/li>\n
  5. From Analog to Digital: the Story of Faksimile Verlag \u2013 part 5<\/em><\/li>\n
  6. The Making Process of a Facsimile: the Story of Faksimile Verlag \u2013 part 6<\/em><\/li>\n
  7. Challenges and Magic of Facsimile Production: the Story of Faksimile Verlag \u2013 part 7<\/em><\/li>\n
  8. Binding, Paper, and Commentary: the Story of Faksimile Verlag \u2013 part 8<\/em><\/li>\n
  9. Treasures of the Past: the Story of Faksimile Verlag \u2013 part 9<\/em><\/li>\n
  10. Gems of the Middle Ages: the Story of Faksimile Verlag – part 10<\/em><\/li>\n
  11. Flemish, Burgundian, and Biblical Art: the Story of Faksimile Verlag \u2013 part 11<\/em><\/li>\n
  12. Middle Ages through the Manuscripts: the Story of Faksimile Verlag \u2013 part 12<\/em><\/li>\n
  13. The Challenges of Gothic Art: the Story of Faksimile Verlag \u2013 part 13<\/em><\/li>\n
  14. Ottonian and Charlemagne\u2019s Art: the Story of Faksimile Verlag \u2013 part 14<\/em><\/li>\n<\/ol>\n

    Subscribe to Our Newsletter<\/h2><\/span><\/p>\n

    <\/div><\/div><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

    True, making a quality facsimile is a challenging process, but there is something special and even magic in seeing the sumptuous features of magnificent ancient manuscripts faithfully reproduced in a modern printed book.<\/p>\n","protected":false},"author":13,"featured_media":4842,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[7],"tags":[16,45,12,10,96],"yoast_head":"\nThe story of Faksimile Verlag: challenges and magic<\/title>\n<meta name=\"description\" content=\"Do you know the incredible feeling of going through a facsimile of a precious ancient book? 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