Unraveling the Mystery: Why Were Some ‘Hairy’ Medieval Books Bound in Sealskin?

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Historians were surprised when analyses revealed Catholic monks used pinniped hides for the protective outer layer on some manuscripts, rather than skins from the local boars and deer

Sarah Kuta – Daily Correspondent

April 10, 2025 12:47 p.m.

Recent research into medieval manuscripts from a French abbey has revealed some unexpected findings concerning their protective coverings. Traditionally, scribes in Europe would cover their manuscripts with materials sourced locally, primarily opting for the hides of land mammals like deer or boar. However, investigators discovered that sealskin was sometimes employed, highlighting a historical fur trade.

A cross-disciplinary team of scientists analyzed manuscripts from the 12th and 13th centuries, specifically from an abbey in northeastern France. These manuscripts were found to be encased in unusual, furry outer layers that did not match the typical deer or boar skin. After examining the microscopic details of the hair follicles, researchers conducted sampling and advanced analyses, including mass spectrometry and DNA tests, to identify the source of the hides.

The results were surprising: the manuscripts were protected by the skins of harbor seals, harp seals, and bearded seals, which were likely imported from regions like Scandinavia, Denmark, Scotland, Greenland, and Iceland.

Élodie Lévêque, a historian and book conservator from Panthéon-Sorbonne University in Paris, was taken aback by these findings. Initially doubting the result, she had the samples retested, which consistently confirmed the presence of seal skin.

The manuscripts under examination came from Clairvaux Abbey in Champagne, France, a significant center for manuscript creation founded in 1115 by the Cistercian order, also referred to as the “White Monks” due to their distinctive light robes. In addition to Clairvaux, researchers also studied manuscripts from various Cistercian abbeys across France, England, and Belgium, all revealing similar sealskin bindings.

This points to a consistent practice and a distinctive cultural connection among the Cistercian monasteries, which were strategically located along European and Norse trade routes. This suggests that the sealskins were likely acquired through established trading relationships.

Mary Wellesley, a medieval studies expert at the Institute of Historical Research in London, highlighted this interconnectedness, noting that monasteries were integral to a broader network involving the exchange of goods, ideas, and culture.

Moreover, it is plausible that Norse traders used these sealskins as a form of payment to the Catholic Church, based on various historical accounts.

Despite these intriguing findings, several questions persist, particularly regarding the monks’ choice of sealskin for their manuscripts. The study’s authors observed that this decision seemingly had no bearing on the content or value of the works contained within the bindings.

Interestingly, it is suggested that the Cistercian monks may not have been fully aware of the origin of the sealskin, as seals rarely appeared in medieval art, and there was no established French term for “seal” at that time. This obscurity adds a layer of mystery to their choice.

One theory posits that the Cistercians were drawn to the aesthetics associated with the skins, which likely originated from seal pups characterized by their soft, pale fur. Given the monks’ preference for light colors and understated luxury, sealskin may have aligned well with the visual aesthetics sought by the order. Over time, the original lighter hues of the sealskin have transformed into darker shades of brown and yellow due to aging.

In conclusion, the discovery of sealskin bindings on these manuscripts not only unveils a fascinating aspect of medieval monastic practices but also reflects the complexity of trade networks and cultural exchanges during that period.

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