During the Middle Ages, intellectual and artistic activities were concentrated mainly in monasteries. When we think of the sumptuousness and level of perfection achieved in binding, we might imagine that it was during this period that binding became an art. The silver ecclesiastical bindings, inspired by religious and illuminated by devotional works, were adorned with inserts of precious gems, gold, and silver arabesques. Some Byzantine bindings were enhanced with ivories and enamels; during this period, silk and velvet were also used, not to mention pig and deer skin for more modest books, followed later by calf and sheep skin. The best bindings, used to protect certain silk, velvet, or leather covers, were studded with metal bosses to allow them to be opened on flat surfaces without causing wear.

The end of the Middle Ages witnessed the birth of printing and the widespread manufacturing of paper. This development eventually lead to the nearly complete disappearance of wooden bindings, for which strong cardboard substituted and frequently stamped with gilt adornment. Just as the book found its format, artisan binding found its techniques. From here on, we will pay attention mainly to the various styles created by the binders in different eras and regions.

A simple glance reveals the incredible richness of the bindings that dressed books over the centuries. By the end of the fifteenth century, Gothic bindings showcased religious scenes. The Renaissance gave birth to new styles thanks to the creativity of printers and binders, particularly in Italy, where Arab arts had been assimilated, and in France, where a passion for books developed. One things of the Venetian printers around Aldus Manutius, who were not shy about imitating Islamic-style bindings. The Lyonnaise school around Jean Grolier, in turn, was seduced by Aldus' bindings and keenly adopted their techniques, which then spread to Germany-think of Jacob Krause-and to England, where they influenced Thomas Wotton.