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+The Project Gutenberg EBook of English Embroidered Bookbindings, by 
+Cyril James Humphries Davenport
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: English Embroidered Bookbindings
+
+Author: Cyril James Humphries Davenport
+
+Editor: Alfred Pollard
+
+Release Date: January 23, 2006 [EBook #17585]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK ENGLISH EMBROIDERED BOOKBINDINGS ***
+
+
+
+
+Produced by K.D. Thornton, Bruce Albrecht, and the Online
+Distributed Proofreading Team at http://www.pgdp.net (This
+file was produced from images generously made available
+by The Internet Archive/Canadian Libraries)
+
+
+
+
+
+
+ENGLISH EMBROIDERED BOOKBINDINGS
+
+[Illustration: 19--Christopherson, Historia Ecclesiastica. Lovanii,
+1569.]
+
+
+
+
+EDITED BY
+ALFRED POLLARD
+
+ENGLISH
+EMBROIDERED
+BOOKBINDINGS
+
+BY CYRIL DAVENPORT, F. S. A
+
+AUTHOR OF
+'THE ENGLISH REGALIA'
+ETC.
+
+LONDON
+KEGAN PAUL, TRENCH, TRÜBNER
+AND COMPANY, LIMITED
+
+1899
+
+The English
+Bookman's
+Library
+Edinburgh: T. and A. CONSTABLE, Printers to Her Majesty
+
+
+
+
+CONTENTS AND LIST OF PLATES
+
+                                                                 PAGE
+GENERAL INTRODUCTION,                                              ix
+By Alfred W. Pollard.
+
+ENGLISH EMBROIDERED BINDINGS
+By Cyril Davenport.
+
+
+CHAPTER I.--Introductory,                                           1
+
+PLATES.
+ 1. Embroidered Bag for Psalms. _London_, 1633,                    17
+ 2. Embroidered Cover for New Testament. _London_, 1640,           18
+
+
+CHAPTER II.--Books Bound in Canvas,                                28
+
+PLATES.
+ 3. The Felbrigge Psalter. 13th-century MS.,                       29
+ 4. The Miroir or Glasse of the Synneful Soul. MS. by
+        the Princess Elizabeth. 1544,                              32
+ 5. Prayers of Queen Katherine Parr. MS. by the
+        Princess Elizabeth. 1545,                                  33
+ 6. Christian Prayers. _London_, 1581,                             37
+ 7. Psalms and Common Praier. _London_, 1606,                      38
+ 8. Bible, etc. _London_, 1612,                                    39
+ 9. Sermons by Samuel Ward. _London_, 1626-7,                      41
+10. New Testament, etc. _London_, 1625-35,                         42
+11. The Daily Exercise of a Christian. _London_, 1623,             44
+12. Bible. _London_, 1626,                                         45
+13. Bible, etc. _London_, 1642,                                    48
+14. Bible. _London_, 1648,                                         49
+
+
+CHAPTER III.--Books Bound in Velvet,                               52
+
+PLATES.
+15. Très ample description de toute la terre Saincte,
+        etc. MS. 1540,                                             52
+16. Biblia. _Tiguri_, 1543,                                        54
+17. Il Petrarcha. _Venetia_, 1544,                                 55
+18. Queen Mary's Psalter. 14th century MS.,                        57
+19. Christopherson, Historia Ecclesiastica. _Lovanii_, 1569,
+                                                       _Frontispiece_
+20. Christian Prayers. _London_, 1570,                             59
+21. Parker, De antiquitate Ecclesiæ Britannicæ. _London_, 1572,    60
+22. The Epistles of St. Paul. _London_, 1578,                      63
+23. Christian Prayers, etc. _London_, 1584,                        65
+24. Orationis Dominicæ Explicatio, etc. _Genevæ_, 1583,            67
+25. Bible. _London_, 1583,                                         68
+26. The Commonplaces of Peter Martyr. _London_, 1583,              69
+27. Biblia. _Antverpiæ_, 1590,                                     70
+28. Udall, Sermons. _London_, 1596,                                71
+29. Collection of Sixteenth-Century Tracts,                        72
+30. Bacon, Opera. _Londini_, 1623,                                 75
+31. Bacon, Essays. 1625,                                           76
+32. Common Prayer. _London_, 1638,                                 77
+33. Bible. _Cambridge_, 1674,                                      78
+
+
+CHAPTER IV.--Books Bound in Satin,                                 80
+
+PLATES.
+34. Collection of Sixteenth-Century Tracts,                        80
+35. New Testament in Greek. _Leyden_, 1576,                        81
+36. Bible. _London_, 1619,                                         84
+37. Emblemes Chrestiens. MS. 1624,                                 85
+38. New Testament. _London_, 1625,                                 86
+39. New Testament and Psalms. _London_, 1630,                      89
+40. Henshaw, Horæ Successivæ. _London_, 1632,                      90
+41. Psalms. _London_, 1633,                                        91
+42. Psalms. _London_, 1635,                                        92
+43. Psalms. _London_, 1633,                                        94
+44. Bible. _London_, 1638,                                         96
+45. Psalms. _London_, 1639,                                        98
+46. The Way to True Happiness. _London_, 1639,                     99
+47. New Testament. _London_, 1640,                                101
+48. Psalms. _London_, 1641,                                       103
+49. Psalms. _London_, 1643,                                       105
+50. Psalms. _London_, 1643,                                       106
+51. Psalms. _London_, 1646,                                       108
+52. Bible. _London_, 1646,                                        109
+
+
+
+
+GENERAL INTRODUCTION
+
+
+A new series of 'Books about Books,' exclusively English in its aims,
+may seem to savour of the patriotism which, in matters of art and
+historical research, is, with reason enough, often scoffed at as a
+treacherous guide. No doubt in these pleasant studies patriotism acts as
+a magnifying-glass, making us unduly exaggerate details. On the other
+hand, it encourages us to try to discover them, and just at present this
+encouragement seems to be needed. There are so many gaps in our
+knowledge of the history of books in England that we can hardly claim
+that our own dwelling is set in order, and yet many of our bookmen
+appear more inclined to re-decorate their neighbours' houses than to do
+work that still urgently needs to be done at home. The reasons for this
+transference of energy are not far to seek. It is quite easy to be
+struck with the inferiority of English books and their accessories, such
+as bindings and illustrations, to those produced on the Continent. To
+compare the books printed by Caxton with the best work of his German or
+Italian contemporaries, to compare the books bound for Henry, Prince of
+Wales, with those bound for the Kings of France, to try to find even a
+dozen English books printed before 1640 with woodcuts (not imported
+from abroad) of any real artistic merit--if any one is anxious to
+reinforce his national modesty, here are three very efficacious methods
+of doing it! On the other hand, English book-collectors have always been
+cosmopolitan in their tastes, and without leaving England it is possible
+to study to some effect, in public or private libraries, the finest
+books of almost any foreign country. It is small wonder, therefore, that
+our bookmen, when they have been minded to write on their hobbies, have
+sought beauty and stateliness of work where they could most readily find
+them, and that the labourers in the book-field of our own country are
+not numerous. Touchstone's remark, 'a poor thing, but mine own,' might,
+on the worst view of the case, have suggested greater diligence at home;
+but on a wider view English book-work is by no means a 'poor thing.' Its
+excellence at certain periods is as striking as its inferiority at
+others, and it is a literal fact that there is no art or craft connected
+with books in which England, at one time or another, has not held the
+primacy in Europe.
+
+It would certainly be unreasonable to complain that printing with
+movable types was not invented at a time better suited to our national
+convenience. Yet the fact that the invention was made just in the middle
+of the fifteenth century constituted a handicap by which the printing
+trade in this country was for generations overweighted. At almost any
+earlier period, more particularly from the beginning of the fourteenth
+century to the first quarter of the fifteenth, England would have been
+as well equipped as any foreign country to take its part in the race.
+From the production of Queen Mary's Psalter at the earlier date to that
+of the Sherborne Missal at the later, English manuscripts, if we may
+judge from the scanty specimens which the evil days of Henry VIII. and
+Edward VI. have left us, may vie in beauty of writing and decoration
+with the finest examples of Continental art. If John Siferwas, instead
+of William Caxton, had introduced printing into England, our English
+incunabula would have taken a far higher place. But the sixty odd years
+which separate the two men were absolutely disastrous to the English
+book-trade. After her exhausting and futile struggle with France, England
+was torn asunder by the wars of the Roses, and by the time these were
+ended the school of illumination, so full of promise, and seemingly so
+firmly established, had absolutely died out. When printing was introduced
+England possessed no trained illuminators or skilful scribes such as in
+other countries were forced to make the best of the new art in order not
+to lose their living, nor were there any native wood-engravers ready to
+illustrate the new books. I have never myself seen or heard of a 'Caxton'
+in which an illuminator has painted a preliminary border or initial
+letters; even the rubrication, where it exists, is usually a
+disfigurement; while as for pictures, it has been unkindly said that
+inquiry whence they were obtained is superfluous, since any boy with a
+knife could have cut them as well.
+
+Making its start under these unfavourable conditions, the English
+book-trade was exposed at once to the full competition of the
+Continental presses, Richard III. expressly excluding it from
+the protection which was given to other industries. Practically all
+learned books of every sort, the great majority of our service-books,
+most grammars for use in English schools, and even a few popular books
+of the kind to which Caxton devoted himself, were produced abroad for
+the English market and freely imported. Only those who mistake the
+shadow for the substance will regret this free trade, to which we owe
+the development of scholarship in England during the sixteenth century.
+None the less, it was hard on a young industry, and though Pynson,
+Wynkyn de Worde, the Faques, Berthelet, Wolfe, John Day, and others
+produced fine books in England during the sixteenth century, the start
+given to the Continental presses was too great, and before our printers
+had fully caught up their competitors, they too were seized with the
+carelessness and almost incredible bad taste which marks the books of
+the first half of the seventeenth century in every country of Europe.
+
+Towards the close of the eighteenth century, as is well known, the
+French thought sufficiently well of Baskerville's types to purchase a
+fount after his death for the printing of an important edition of the
+works of Voltaire. But the merits of Baskerville as a printer, never
+very cordially admitted, are now more hotly disputed than ever; and if I
+am asked at what period English printing has attained that occasional
+primacy which I have claimed for our exponents of all the bookish arts,
+I would boldly say that it possesses it at the present day. On the one
+hand, the Kelmscott Press books, on their own lines, are the finest and
+the most harmonious which have ever been produced; on the other, the
+book-work turned out in the ordinary way of business by the five or six
+leading printers of England and Scotland seems to me, both in technical
+qualities and in excellence of taste, the finest in the world, and with
+no rival worth mentioning, except in the work of one or two of the best
+firms in the United States. Moreover, as far as I can learn, it is only
+in Great Britain and America that the form of books is now the subject
+of the ceaseless experiment and ingenuity which are the signs of a
+period of artistic activity.
+
+As regards book-illustration the same claim may be put forward, though
+with a little more hesitation. We have been taught lately, with
+insistence, that 'the sixties' marked an epoch in English art, solely
+from the black and white work in illustrated books. At that period our
+book-pictures are said to have been the best in the world; unfortunately
+our book-decoration, whether better or worse than that of other
+countries, was almost unmitigatedly bad. In the last quarter of a
+century our decorative work has improved in the most striking manner;
+our illustrations, if judged merely for their pictorial qualities, have
+not advanced. In the eyes of artists the sketches for book-work now
+being produced in other countries are probably as good as our own. But
+an illustration is not merely a picture, it is a picture to be placed
+in a certain position in a printed book, and in due relation to the size
+of the page and the character of the type. English book-illustrators by
+no means always realise this distinction, yet there is on the whole a
+greater feeling for these proprieties in English books than in those of
+other countries, and this is an important point in estimating merits.
+Another important point is that the rule of the 'tint' or 'half-tone'
+block, with its inevitable accompaniment of loaded paper, ugly to the
+eye and heavy in the hand, though it has seriously damaged English
+illustrated work, has not yet gained the predominance it has in other
+countries. Our best illustrated books are printed from line-blocks, and
+there are even signs of a possible revival of artistic wood-engraving.
+
+In endeavouring to make good my assertion of what I have called the
+occasional primacy of English book-work, I am not unaware of the danger
+of trying, or seeming to try, to play the strains of 'Rule Britannia' on
+my own poor penny whistle. As regards manuscripts, therefore, it is a
+pleasure to be able to seek shelter behind the authority of Sir Edward
+Maunde Thompson, whose words in this connection carry all the more
+weight, because he has shown himself a severe critic of the claims
+which have been put forward on behalf of several fine manuscripts to be
+regarded as English. In the closing paragraphs of his monograph on
+_English Illuminated Manuscripts_ he thus sums up the pretensions of the
+English school:--
+
+     'The freehand drawing of our artists under the Anglo-Saxon kings
+     was incomparably superior to the dead copies from Byzantine models
+     which were in favour abroad. The artistic instinct was not
+     destroyed, but rather strengthened, by the incoming of Norman
+     influence; and of the twelfth and thirteenth centuries there is
+     abundant material to show that English book-decoration was then at
+     least equal to that of neighbouring countries. For our art of the
+     early fourteenth century we claim a still higher position, and
+     contend that no other nation could at that time produce such
+     graceful drawing. Certainly inferior to this high standard of
+     drawing was the work of the latter part of that century; but still,
+     as we have seen, in the miniatures of this time we have examples of
+     a rising school of painting which bid fair to attain to a high
+     standard of excellence, and which only failed for political
+     causes.'[1]
+
+To this judicial pronouncement on the excellence of English manuscripts
+on their decorative side, we may fairly add the fact that manuscripts of
+literary importance begin at an earlier date in England than in any
+other country, and that the Cotton MS. of _Beowulf_ and the
+miscellanies which go by the names of the _Exeter Book_ and the
+_Vercelli Book_ have no contemporary parallels in the rest of Europe.
+
+[Footnote 1: _English Illuminated Manuscripts._ By Sir Edward Maunde
+Thompson, K. C. B. (Kegan Paul, 1895), pp. 66, 67.]
+
+When we turn from books, printed or in manuscript, to their possessors,
+it is only just to begin with a compliment to our neighbours across the
+Channel. No English bookman holds the unique position of Jean Grolier,
+and 'les femmes bibliophiles' of England have been few and
+undistinguished compared with those of France. Grolier, however, and his
+fair imitators, as a rule, bought only the books of their own day,
+giving them distinction by the handsome liveries which they made them
+don. Our English collectors have more often been of the omnivorous type,
+and though Lords Lumley and Arundel in the sixteenth century cannot,
+even when their forces are joined, stand up against De Thou, in Sir
+Robert Cotton, Harley, Thomas Rawlinson, Lord Spencer, Heber, Grenville,
+and Sir Thomas Phillips (and the list might be doubled without much
+relaxation of the standard), we have a succession of English collectors
+to whom it would be difficult to produce foreign counterparts. Round
+these _dii majores_ have clustered innumerable demigods of the
+book-market, and certainly in no other country has collecting been as
+widely diffused, and pursued with so much zest, as in England during
+the present century. It is to be regretted that so few English
+collectors have cared to leave their marks of ownership on the books
+they have taken so much pleasure in bringing together. Michael Wodhull
+was a model in this respect, for his book-stamp is one of the most
+pleasing of English origin, and his autograph notes recording the prices
+he paid for his treasures, and his assiduous collation of them, make
+them doubly precious in the eyes of subsequent owners. Mr. Grenville
+also had his book-stamp, though there is little joy to be won from it,
+for it is unpleasing in itself, and is too often found spoiling a fine
+old binding. Mr. Cracherode's stamp was as graceful as Wodhull's; but,
+as a rule, our English collectors, though, as Mr. Fletcher is
+discovering, many more of them than is generally known have possessed a
+stamp, have not often troubled to use it, and their collections have
+never obtained the reputation which they deserve, mainly for lack of
+marks of ownership to keep them green in the memory of later possessors.
+That this should be so in a country where book-plates have been so
+common may at first seem surprising. But book-plates everywhere have
+been used rather by the small collectors than the great ones, and the
+regrettable peculiarity of our English bookmen is, not that they
+despised this rather fugitive sign of possession, but that for the most
+part they despised book-stamps as well.
+
+Of book-plates themselves I have no claim to speak; but for good taste
+and grace of design the best English Jacobean and Chippendale specimens
+seem to me the most pleasing of their kind, and certainly in our own day
+the work of Mr. Sherborn has no rival, except in that of Mr. French,
+who, in technique, would, I imagine, not refuse to call himself his
+disciple.
+
+I have purposely left to the last the subject of Bindings, as this,
+being more immediately cognate to Mr. Davenport's book, may fairly be
+treated at rather greater length. If the French dictum 'la reliure est
+un art tout français' is not without its historical justification, it is
+at least possible to show that England has done much admirable work, and
+that now and again, as in the other bookish arts, she has attained
+preeminence.
+
+The first point which may fairly be made is that England is the only
+country besides France in which the art has been consistently practised.
+In Italy, binding, like printing, flourished for a little over half a
+century with extraordinary vigour and grace, and then fell suddenly and
+completely from its high estate. From 1465 to the death of Aldus the
+books printed in Italy were the finest in the world; from the beginning
+of the work of Aldus to about 1560 Italian bindings possess a freedom of
+graceful design which even the superior technical skill quickly gained
+by the French does not altogether outbalance. But just as after about
+1520 a finely printed Italian book can hardly be met with, so after
+1560, save for a brief period during which certain fan-shaped designs
+attained prettiness, there have been no good Italian bindings. In
+Germany, when in the fifteenth century, before the introduction of gold
+tooling, there was a thriving school of binders working in the mediæval
+manner, the Renaissance brought with it an absolute decline. Holland,
+again, which in the fifteenth century had made a charming use of large
+panel stamps, has since that period had only two binders of any
+reputation, Magnus and Poncyn, of Amsterdam, who worked for the
+Elzéviers and Louis XIV. Of Spanish bindings few fine specimens
+have been unearthed, and these are all early. Only England can boast
+that, like France, she has possessed one school of binders after
+another, working with varying success from the earliest times down to
+the present century, in which bookbinding all over Europe has suffered
+from the servility with which the old designs, now for the first time
+fully appreciated, have been copied and imitated.
+
+In this length of pedigree it must be noted that England far surpasses
+even France herself. The magnificent illuminated manuscripts, the finest
+of their age, which were produced at Winchester during the tenth
+century, were no doubt bound in the jewelled metal covers of which the
+rapacity of the sixteenth century has left hardly a single trace in this
+country. But early in the twelfth century, if not before, the Winchester
+bookmen turned their attention also to leather binding, and the school
+of design which they started, spreading to Durham, London, and Oxford,
+did not die out in England until it was ousted by the large panel stamps
+introduced from France at the end of the fifteenth. The predominant
+feature of these Winchester bindings (of which a fine example from the
+library of William Morris recently sold for £180), and of their
+successors, is the employment of small stamps, from half an inch to an
+inch in size, sometimes circular, more often square or pear-shaped, and
+containing figures, grotesques, or purely conventional designs. A
+circle, or two half-circles, formed by the repetition of one stamp,
+within one or more rectangles formed by others, is perhaps the commonest
+scheme of decoration, but it is the characteristic of these bindings, as
+of the finest in gold tooling, that by the repetition of a few small
+patterns an endless variety of designs could be built up. The British
+Museum possesses a few good examples of this stamp-work, but the finest
+collections of them are in the Cathedral libraries at Durham and
+Hereford. Any one, however, who is interested in this work can easily
+acquaint himself with it by consulting the unique collection of rubbings
+carefully taken by Mr. Weale and deposited in the National Art Library
+at the South Kensington Museum. In these rubbings, as in no other way,
+the history of English binding can be studied from the earliest
+Winchester books to the charming Oxford bindings executed by Thomas
+Hunt, the English partner of the Cologne printer, Rood, about 1481.
+
+During the first half of this period the English leather binders were
+the finest in Europe; during the second, the Germans pressed them hard,
+and when the large panel stamps, three or four inches square and more,
+were introduced in Holland and France, the English adaptations of them
+were distinctly inferior to the originals. The earliest English bindings
+with gold tooling were, of course, also imitative. The use of gold
+reached this country but slowly, as the first known English binding, in
+which it occurs, is on a book printed in 1541, by which time the art had
+been common in Italy for a generation. The English bindings found on
+books bound for Henry VIII., Edward VI., and Mary I., all of which are
+roughly assigned to Berthelet as the Royal binder, resemble the current
+Italian designs of the day, with sufficient differences to make it
+probable that they were produced by Englishmen. We know, however,
+that until the close of the century there were occasional complaints
+of the presence of foreign binders in London, and it is probable that
+the Grolieresque bindings executed for Wotton were foreign rather than
+English. Where, however, we find work on English books distinctly unlike
+anything in France or Italy, it is reasonable to assign it to a native
+school, and such a school seems to have grown up about 1570, in the
+workshop of John Day, the helper of Archbishop Parker in so many of his
+literary undertakings. These bindings attributed to Day, especially
+those in which he worked with white leather on brown, although they have
+none of the French delicacy of tooling, perhaps for this reason attack
+the problem of decoration with a greater sense of the difference between
+the styles suitable for a large book and a small than is always found in
+France, where the greatest binders, such as Nicholas Eve and Le Gascon,
+often covered large folios with endless repetitions of minute tools whose
+full beauty can only be appreciated on duodecimos or octavos. The English
+designs with a large centre ornament and corner-pieces are rich and
+impressive, and we may fairly give Day and his fellows the palm for
+originality and effectiveness among Elizabethan binders. In the next
+reign the French use of the semé or powder, a single small stamp, of a
+fleur-de-lys, a thistle, a crown, or the like, impressed in rows all over
+the cover, was increasingly imitated in England, very unsuccessfully,
+and, save for a few traces of the style of Day, the leather bindings of
+the first third of the century deserve the worst epithets which
+can be given them.
+
+Until, however, French fashions came into vogue after the Restoration,
+English binders had never been content to regard leather as the sole
+material in which they could work. Embroidered bindings had come early
+into use in England, and a Psalter embroidered by Anne Felbrigge towards
+the close of the fourteenth century is preserved at the British Museum,
+and shown in one of Mr. Davenport's illustrations. In the sixteenth
+century embroidered work was very popular with the Tudor princesses,
+gold and silver thread and pearls being largely used, often with very
+decorative effect. The simplest of these covers are also the best--but
+great elaboration was often employed, and on a presentation copy of
+Archbishop Parker's _De Antiquitate Ecclesiæ Britannicæ_ we find a
+clever but rather grotesque representation of a deer-paddock. Under the
+Stuarts the lighter feather-stitch was preferred, and there seems to
+have been a regular trade in embroidered Bibles and Prayer-books of
+small size, sometimes with floral patterns, sometimes with portraits of
+the King, or Scriptural scenes. A dealer's freak which compelled the
+British Museum to buy a pair of elaborate gloves of the period rather
+than lose a finely embroidered Psalter, with which they went, was
+certainly a fortunate one, enabling us to realise that in hands thus
+gloved these little bindings, always pretty, often really artistic, must
+have looked exactly right, while their vivid colours must have been
+admirably in harmony with the gay Cavalier dresses.
+
+Besides furnishing a ground for embroidery, velvet bindings were often
+decorated, in England, with goldsmith work. One of the most beautiful
+little bookcovers in existence is on a book of prayers, bound for Queen
+Elizabeth in red velvet, with a centre and corner pieces delicately
+enamelled on gold. Under the Stuarts, again, we frequently find similar
+ornaments in engraved silver, and their charm is incontestable.
+
+Thus while for English bindings of this period in gilt leather we can
+only claim that Berthelet's show some freedom in their adaptation of
+Italian models, and Day's a more decided originality, we are entitled to
+set side by side with this scanty record a host of charming bindings in
+more feminine materials, which have no parallel in France, and certainly
+deserve some recognition. After the Restoration, however, leather
+quickly ousted its competitors, and a school of designers and gilders
+arose in England, which, while taking its first inspiration from Le
+Gascon, soon developed an individual style. In effectiveness, though not
+in minute accuracy of execution, this may rank with the best in Europe.
+We can trace the beginnings of this lighter and most graceful work as
+early as the thirties, and it might be contended with a certain
+plausibility that it began at the Universities. Certainly the two
+earliest examples known to me--the copy of her _Statutes_ presented to
+Charles I. by Oxford in 1634, and the Little Gidding _Harmony_
+of 1635, the tools employed in which have been shown by Mr. Davenport to
+have been used also by Buck, of Cambridge--are two of the finest English
+bindings in existence, and in both cases, despite the multiplicity of
+the tiny tools employed, there is a unity and largeness of design which,
+as I have ventured to hint, is not always found even in the best French
+work. The chief English bindings after the Restoration, those associated
+with the name of Samuel Mearne, the King's Binder, preserve this
+character, though the attempt to break the formality of the rectangle by
+the bulges at the side and the little penthouses at foot and head
+(whence its name, the 'cottage' style) was not wholly successful. The
+use of the labour-saving device of the 'roll,' in preference to
+impressing each section of the pattern by hand, is another blot.
+Nevertheless, it is almost impossible to find an English or Scotch
+binding of this period which is less than charming, and the best of them
+are admirable. At the beginning of the eighteenth century a new grace
+was added by the inlaying of a leather of a second colour. These inlaid
+English bindings are few in number (the British Museum has not a single
+fine example), but those who know the specimens exhibited at the
+Burlington Fine Arts Club, two of which are figured in its Catalogue,
+will readily allow that their grace has never been surpassed. The fine
+Harleian bindings let us down gently from this eminence, and then, after
+a period of mere dulness, with the rise of Roger Payne we have again an
+English school (for Payne's traditions were worthily followed by Charles
+Lewis) which, by common consent, was the finest of its time. Payne's
+originality is, perhaps, not quite so absolute as has been maintained,
+for some of his tools were cut in the pattern of Mearne's, and it would
+be possible to find suggestions for some of his schemes of arrangement
+in earlier English work. If he borrowed, however, he borrowed from his
+English predecessors, and he brought to his task an individuality and an
+artistic instinct which cannot be denied.
+
+After Payne and Lewis, English binding, like French, became purely
+imitative in its designs; but while in our own decade the French artists
+have endeavoured to shake themselves free from old traditions by mere
+eccentricity, in England we have several living binders, such as Mr.
+Cobden Sanderson and Mr. Douglas Cockerell, who work with notable
+originality and yet with the strictest observance of the canons of their
+art.
+
+Moreover in the application of decorative designs to cloth cases England
+has invented, and England and America have brought to perfection, an
+inexpensive and very pleasing form of book-cover, which gives the
+bookman ample time to consider whether his purchase is worth the more
+permanent honours of gilded leather, and also, by the facts that it is
+avowedly temporary, and that its decoration is cheaply and easily
+effected by large stamps, renders forgivable vagaries of design, which
+when translated, as they have been of late years in France, into the
+time-honoured and solemn leather, seem merely incongruous and
+irreverent.
+
+In binding, then, as in the other bookish arts, the part which English
+workers have played has been no insignificant or unworthy one, and the
+development of this art, as of the others, in our own country is worthy
+of study. In this case much has already been done, for the illustrations
+of _English Bookbindings at the British Museum_, edited, with
+introduction and descriptions by Mr. W. Y. Fletcher, present the student
+with the best possible survey of the whole subject, while the excellent
+treatises of Miss Prideaux and Mr. Horne bring English bookbinding into
+relation with that of other countries. Here, then, there is no need of a
+new general history, but rather of special monographs, treating more in
+detail of the periods at which our English binders have done the best
+work. The old stamped bindings of the days of manuscript, the
+embroidered bindings of the sixteenth and seventeenth centuries, the
+leather bindings of Mearne and his fellows under the later Stuarts, and
+the work of Roger Payne--all these seem to offer excellent subjects for
+unpretentious monographs, and it is hoped that others of them besides
+the _English Embroidered Bindings_, with which Mr. Davenport has made a
+beginning, may be treated in this series.
+
+In other subjects the ground has not yet been cleared to the same
+extent, and for the history of English Book-Collectors and English
+Printing, not special monographs, but good general surveys are the first
+need. To say much on this subject might bring me perilously near to
+re-writing the prospectus of this series. It is enough to have pointed
+out that the bookish arts in England are well worth more study than they
+have yet been given, and that the pioneers who are endeavouring to
+enlarge knowledge, each in his own section, may fairly hope that their
+efforts will be received with indulgence and good-will.
+
+ALFRED W. POLLARD.
+
+[Illustration]
+
+
+
+
+CHAPTER I
+
+EMBROIDERED BOOKS
+
+
+The application of needlework to the embellishment of the bindings of
+books has hitherto almost escaped special notice. In most of the works
+on the subject of English Bookbinding, considered from the decorative
+point of view in distinction from the technical, a few examples of
+embroidered covers have indeed received some share of attention. Thus in
+both Mr. H. B. Wheatley's and Mr. W. Y. Fletcher's works on the bindings
+in the British Museum, in Mr. Salt Brassington's _Historic Bindings in
+the Bodleian Library_ and _History of the Art of Bookbinding_, and in my
+own _Portfolio_ monograph on 'Royal English Bookbindings,' some of the
+finer specimens of embroidered books still existing are illustrated and
+described. But up to the present no attempt has been made to deal with
+them as a separate subject. In the course, however, of the many lectures
+on Decorative Bookbinding which it has been my pleasure and honour to
+deliver during the past few years, I have invariably noticed that the
+pictures and descriptions of embroidered specimens have been the most
+keenly appreciated, and this favourable sign has led me to examine and
+consider such examples as have come in my way more carefully than I
+might otherwise have done. Very little study sufficed to show that in
+England alone there was for a considerable period a regular and large
+production of embroidered books, and further, that the different styles
+of these embroideries are clearly defined, equally from the
+chronological and artistic points of view. A peculiarly English art
+which thus lends itself to orderly treatment may fairly be made the
+subject of a brief monograph.
+
+With the exception of point-lace, which is sometimes made in small
+pieces for such purposes as ladies' cuffs or collars, decorative work
+produced by the aid of the needle is generally large. Certainly this is
+so in its finest forms, which are probably to be found in the
+ecclesiastical vestments and in the altar frontals of the Renaissance
+period, or even earlier. On the other hand, such work as exists on books
+is always of small size, and, unlike the point-lace, it almost
+invariably has more than one kind of 'stitchery' upon it--chain, split,
+tapestry, satin, or what not.
+
+Thus it can be claimed as a distinction for embroidered book-covers that
+as a class they are the smallest complete embroideries existing, ranging
+upwards from about 6 inches by 3-1/2 inches--the size of the smallest
+specimen known to me, when opened out to its fullest extent, sides and
+back in one. This covers a copy of the Psalms, printed in London in
+1635, and is of white satin, with a small tulip worked in coloured silk
+on each side.
+
+An 'Embroidered Book,' it should be said, means for my purpose a book
+which is covered, sides and back, by a piece of material ornamented with
+needlework, following a design made for the purpose of adorning that
+particular book. A cover consisting of merely a piece of woven stuff, or
+even a piece of true embroidery cut from a larger piece, is not, from my
+point of view, properly to be considered an 'embroidered book,' it being
+essential that the design as well as the workmanship should have been
+specially made for the book on which they are found; and this, in the
+large majority of instances, is certainly the case.
+
+With regard to the transference of bindings to books other than those
+for which they were originally made, such a transference has often taken
+place in the case of mediæval books bound in ornamental metal, but even
+in these instances it must be recognised that such a change can seldom
+be made without serious detriment. It is chiefly indeed from some
+incongruity of style or technical mistake in the re-putting together
+that we are led to guess that the covers have been thus tampered with.
+Now and then such a transference occurs in the case of leather-bound
+books, and in such instances is usually easy for a trained binder to
+detect. Embroidered covers, on the other hand, have rarely been changed,
+the motive for such a proceeding never having been strong, and the risk
+attending it being obvious enough. We may, in fact, feel tolerably sure
+that the large majority of embroidered covers still remain on the boards
+of the books they were originally made for.
+
+All the embroidered books now extant dating from before the reign of
+Queen Elizabeth have gone through the very unfortunate operation of
+'re-backing,' in the course of which the old embroidered work is
+replaced by new leather. The old head and tail bands, technically very
+interesting, have been replaced by modern imitations, and considerable
+damage has been done in distorting the work left on the sides of the
+book. It would seem obvious that a canvas, velvet, or satin embroidered
+binding, if it really must be re-backed or repaired at all, should be
+mended with a material as nearly as possible of the same make and colour
+as that of the original covering; but this has rarely been done, the
+large majority of such repairs being executed in leather. But in the
+case of such old bindings we must be grateful for small mercies, and
+feel thankful that even the sides are left in so many cases. It is
+indeed surprising that we still possess as much as we do. If all our
+great collectors had been of the same mind as Henry Prince of Wales, the
+Right Hon. Thomas Grenville, or even King George III., we
+should have been far worse off, as although several fine old bindings
+exist in their libraries, many which would now be priceless have been
+destroyed, only to be replaced by comparatively modern bindings,
+sometimes the best of their kind, but often in bad taste.
+
+
+_Division of Embroidered Books according to the designs upon them._
+
+The designs on embroidered books may be roughly divided into four
+classes--Heraldic, Figure, Floral, and Arabesque.
+
+The Heraldic designs always denote ownership, and are most frequently
+found on Royal books bound in velvet, rarely occurring on silk or satin,
+and never, as far as I have been able to ascertain, on canvas. The
+Figure designs may be subdivided into three smaller classes, viz.:--
+
+     I. Scriptural, _e.g._ representations of Solomon and the
+     Queen of Sheba, Jacob wrestling with the Angel, David, etc.
+
+     II. Symbolical, _e.g._ figures of Faith, Hope, Peace,
+     Plenty, etc.
+
+     III. Portraits, _e.g._ of Charles I., Queen
+     Henrietta Maria, Duke of Buckingham, etc.
+
+The Scriptural designs are most generally found on canvas-bound books;
+the Symbolical figures, and Portraits, on satin, rarely on velvet. The
+Floral and Arabesque designs are most common on small and unimportant
+works bound in satin, but they occur now and then on both canvas and
+velvet books. The true arabesques have no animal or insect forms among
+them, the prophet Mohammed having forbidden his followers to imitate any
+living thing.
+
+It may further be noted that heraldic designs on embroidered books are
+early, having been made chiefly during the sixteenth century, and that
+the figure, floral, and arabesque designs most usually belong to the
+seventeenth century. There are, of course, exceptions to these
+divisions, notably in the case of the earliest existing embroidered
+book, which has figure designs on both sides, but also maintains its
+heraldic position, inasmuch as its edges are decorated with
+coats-of-arms.
+
+Naturally, again, it may be sometimes difficult to decide whether a
+design should be classed as heraldic or floral. Such a difficulty occurs
+as to the large Bible at Oxford bound in red velvet for Queen Elizabeth,
+and bearing a design of Tudor and York roses. I consider it heraldic,
+but it might, with no less appropriateness, be called floral. If it had
+belonged to any one not a member of the Royal family it would
+undoubtedly be properly counted as a floral specimen. Again, in many of
+the portrait bindings flowers and arabesques are introduced, but they
+are clearly subordinate, and the chief decorative motive of such designs
+must be looked for, and the work classed accordingly. Thus it is evident
+that the arrangement of the embroidered books by their designs cannot
+be too rigidly applied, although it should not be lost sight of
+altogether.
+
+
+_Division of Embroidered Books according to the material on which they
+are worked._
+
+A more useful and accurate classification may however be found by help
+of the material on which the embroidered work is done, and this division
+is obvious and easy. With very few exceptions all embroidered books,
+ancient and modern, are worked on _canvas_, _velvet_, or _satin_, and
+while canvas was used continuously from the fourteenth century until the
+middle of the seventeenth century, velvet was most largely used during
+the Tudor period, and satin during that of the early Stuarts.
+
+Broadly speaking, the essential differences in the kind of work found
+upon these three materials follow the peculiarities of the materials
+themselves. Canvas, in itself of no decorative value, is always
+completely covered with needlework. Velvet, beautiful even when alone,
+but difficult to work upon, usually has a large proportion of appliqué,
+laid, or couched work, in coloured silk or satin, upon it, showing
+always large spaces unworked upon, and such actual work as occurs
+directly on the velvet is always in thick guimp or gold cord. Satin,
+equally beautiful in its way, is also freely left unornamented in
+places; the needlework directly upon it is often very fine and delicate
+in coloured floss silks, generally closely protected by thick raised
+frames or edges of metallic threads or fine gold or silver cords.
+
+[Illustration: FIG. 1. Silken thread closely wound round with strip of
+flat metal.]
+
+[Illustration: FIG. 2. Silken thread loosely wound round with strip of
+flat metal.]
+
+[Illustration: FIG. 3. Strips of flat metal cut into shapes and kept
+down by small stitches at regular intervals. Called 'Lizzarding.']
+
+By 'metallic' threads, when they are not simply fine wires, I mean
+strands of silk closely (Fig. 1) or loosely (Fig. 2) wound round with
+narrow coils of thin metal, mostly silver or silver gilt. The use of
+such threads, alone, or twisted into cords, is common on all styles of
+embroidered books, and it is largely due to their use that pieces of
+work apparently of the greatest delicacy are really extremely
+durable--far more so than is generally supposed. Certainly if it had not
+been for the efficient protection of these little metal walls we should
+not possess, as we actually do, delicate-looking embroidered books,
+hundreds of years old, in almost as good condition, except in the matter
+of colour, as when they were originally made.
+
+Thin pieces of metal are sometimes used alone, caught down at regular
+intervals by small cross stitches; this is, I believe, called
+'Lizzarding' (Fig. 3). Metal is also found in the form of 'guimp,' in
+flattened spirals (Fig. 4), and also in the 'Purl,' or copper wire
+covered with silk (Fig. 5), so common on the later satin books (compare
+p. 46).
+
+[Illustration: FIG. 4. Edging made with a piece of spiral wire
+hammered flat, appearing like a series of small rings.]
+
+[Illustration: FIG. 5. Loop made of a short length of Purl
+threaded, the ends drawn together.]
+
+Spangles appear to have been introduced during the reign of Elizabeth,
+but they were never freely used on velvet, finding their proper place
+ultimately on the satin books of a later time. The spangles are
+generally kept in position either by a small section of purl (Fig. 6) or
+a seed pearl (Fig. 7), in both cases very efficaciously, so that the use
+of guimp or pearl was not only ornamental but served the same protective
+purpose as the bosses on a shield, or those so commonly found upon the
+sides of the stamped leather bindings of mediæval books.
+
+[Illustration: FIG. 6. Spangle kept in place by a stitch
+through a short piece of Purl.]
+
+[Illustration: FIG. 7. Spangle kept in place by a stitch
+through a seed pearl.]
+
+[Illustration: FIG. 8. Binder's stamp for gold tooling, cut in
+imitation of a spangle.]
+
+It may be mentioned that the seventeenth-century Dutch binders, Magnus
+and Poncyn, both of Amsterdam, invented a new tool for gilding on
+leather bindings, used, of course, in combination with others. This was
+cut to imitate the small circular spangles of the embroidered books
+(Fig. 8), and the English and French finishers of a later period used
+the same device with excellent effect for filling up obtrusive spaces on
+the sides and backs of their decorative bindings. Thus it may be taken
+as an axiom that, for the proper working of an embroidered book, except
+it be tapestry-stitch or tent-stitch, on canvas, which is flat and
+strong of itself, there should invariably be a liberal use of metal
+threads, these being not only very decorative in themselves, but also
+providing a valuable protection to the more delicate needlework at a
+lower level, and to the material of the ground itself.
+
+The earliest examples of embroidered bindings still existing are not by
+any means such as would lead to the inference that they were exceptional
+productions--made when the idea of the application of needlework to the
+decoration of books was in its infancy. On the contrary, they are
+instances of very skilled workmanship, so that it is probable that the
+art was practised at an earlier date than we now have recorded. There
+are, indeed, frequent notes in 'Wardrobe Accounts' and elsewhere of
+books bound in velvet and satin at a date anterior to any now existing,
+but there is no mention of embroidered work upon them.
+
+
+_The Forwarding of Embroidered Books._
+
+The processes used in the binding of embroidered books are the same as
+in the case of leather-bound books; but there is one invariable
+peculiarity--the bands upon which the different sections of the paper
+are sewn are never in relief, so that it was always possible to paste
+down a piece of material easily along the back without having to allow
+for the projecting bands so familiar on leather bindings (Fig. 9). The
+backs, moreover, are only rounded very slightly, if at all.
+
+This flatness has been attained on the earlier books either by sewing on
+flat bands, thin strips of leather or vellum (Fig. 10), or by flattening
+the usual hempen bands as much as they will bear by the hammer, and
+afterwards filling up the intermediate spaces with padding of some
+suitable material, linen or thin leather.
+
+In several instances the difficulty of flattening the bands has been
+solved, in sixteenth-and seventeenth-century embroidered books, in a way
+which cannot be too strongly condemned from a constructive point of
+view, although it has served its immediate purpose admirably.
+
+A small trench has been cut with a sharp knife for each band, deep
+enough to sink it to the general level of the inner edges of the
+sections (Fig. 11).
+
+[Illustration: FIG. 9. Back of book sewn on raised bands.]
+
+[Illustration: FIG. 10. Band of flat vellum sometimes found on
+old books with flat backs.]
+
+[Illustration: FIG. 11. Typical appearance of a book, before it
+is sewn, with small trenches cut in the back in which the bands are to
+be laid; a bad method, but often used to produce a flat back.]
+
+This cutting of the back to make room for the bands was afterwards more
+easily effected by means of a saw--as it is done now--and in the
+eighteenth century was especially used by the French binder Derome le
+Jeune, who is usually made responsible for its invention.
+
+The existence of the sunken bands on early embroidered books probably
+marks the beginning of this vicious system, but here there is some
+excuse for it, whereas in the case of ordinary leather-bound books there
+is none, except from the commercial standpoint.
+
+In the case of vellum books there may be some reason for using the
+'sawn in' bands, as it is certainly difficult to get vellum to fit
+comfortably over raised bands, although numerous early instances exist
+in which it has been successfully done. Again in the case of 'hollow
+backs,' the bands are kept flat with some reason. But for all valuable
+or finely bound books the system of 'sawing in' cannot be too strongly
+condemned.
+
+'Sawing in' can be detected by looking at the threads in the centre of
+any section of a bound book from the inside. It will show as a small
+hole with a piece of hemp or leather lying transversely across it, under
+which the thread passes (Fig. 12).
+
+[Illustration: FIG. 12.
+Typical appearance of the sewing of a book with 'sawn in' bands, as seen
+from the inside of each section. The bands just visible.]
+
+In the case of a properly sewn book, the bands themselves cannot be seen
+at all from the inside of the sections, unless, indeed, the book is
+damaged (Fig. 13). If the covering of the back is off, or even loose,
+the method of sewing that has been used can very easily be seen; and if
+it appears that the bands are sunk in a small trench, that is the form
+of sewing that is called 'sawn in,' or analogous to it.
+
+[Illustration: FIG. 13.
+Typical appearance of the sewing of a book on raised bands, as seen from
+the inside of each section. The bands invisible. Known as 'flexible.']
+
+Although in the embroidered books the bands of the backs do not show on
+the surface, it is common enough to find the lines they probably follow
+indicated in the work on the back, which is divided into panels by as
+many transverse lines, braid or cord, as there are bands underneath
+them. But in some cases the designer has used the back as one long
+panel, and decorated it accordingly as one space. The headbands in some
+of the earlier books were sewn at the same time as the other bands on
+the sewing-press and drawn in to the boards, but in most early bindings
+the ravaging repairer has been at work and made it impossible to know
+for certain what was the state of the headbands before the book came
+into his hands. Most of the existing headbands are made by hand in the
+usual way, with the ends simply cut off, not indeed a very satisfactory
+finish. It would be better if these ends were somehow drawn in to the
+leather of the back, as for instance they still often are on thin vellum
+books.
+
+The great majority of embroidered books, both large and small, have had
+ties of silk on their front edges--generally two, but sometimes only
+one, which wraps round. These ties have generally worn away from the
+outer side of the boards, but their ends can usually be traced (if the
+book has not been repaired) in the inner side, covered only by a thin
+piece of paper; and if this paper is loose, as often happens, and the
+ends show well, it may often be advisable not to paste it down again at
+that particular place.
+
+The backs of old embroidered books are by far the weakest parts about
+them. If they exist at all in their old forms they are always much worn,
+and the work upon them so much damaged that it is often difficult to
+make out even the general character of the design, to say nothing of the
+details of the workmanship.
+
+The edges of the leaves of books bound in England in embroidered
+bindings are always ornamentally treated, sometimes simply gilded,
+often further adorned with 'gauffred' work, that is to say, small
+patterns impressed on the gold, and sometimes beautifully decorated with
+elaborate designs having colour in parts as well. The earliest English
+ornamentation of this kind in colour is found on the Felbrigge Psalter
+and on some of the books embroidered for Henry VIII., one of
+which is richly painted on the fore edges with heraldic designs, and
+another with a motto written in gold on a delicately coloured ground.
+
+
+_Cases for Embroidered Books._
+
+Common though the small satin embroidered books must have been in
+England during the earlier part of the seventeenth century, it is still
+certain that the finer specimens were highly prized, and beautifully
+worked bags were often made for their protection. These bags are always
+of canvas, and most of them are decorated in the same way, the
+backgrounds of silver thread with a design in tapestry-or tent-stitch,
+and having ornamental strings and tassels. To describe one of these is
+almost to describe all. The best preserved specimen I know belongs to a
+little satin embroidered copy of the Psalms, printed in London in 1633,
+and measures 5 inches long by 4 inches in depth.
+
+[Illustration: 1--Embroidered Bag for Psalms. London, 1633.]
+
+The same design is repeated on each side. A parrot on a small grass-plot
+is in the middle of the lower edge. Behind the bird grow two curving
+stems of thick gold braid, each curve containing a beautifully-worked
+flower or fruit. In the centre is a carnation, and round it are arranged
+consecutively a bunch of grapes, a pansy, a honeysuckle, and a double
+rose, green leaves occurring at intervals. From the lower edge depend
+three ornamental tassels of silver loops, with small acorns in silver
+and coloured silks, one from the centre and one from each corner.
+
+The top edge has two draw-strings of gold and red braid, each ending in
+an ornamental oval acorn of silver thread and coloured silks, probably
+worked on canvas over a wooden core, ending in a tassel similar to those
+on the lower edge.
+
+A long loop of gold and silver braid serves as a handle, or means of
+attachment to a belt, and is fixed at each side near a strong double
+loop of silver thread, used when pulling the bag open. The lining is of
+pink silk. This particular bag is perfect in colour as well as
+condition, but usually the silver has turned black, or nearly so.
+Besides these very ornamental bags, others of quite simple workmanship
+are occasionally found, worked in outline with coloured silks. As well
+as the embroidered bags, certain rectangular cloths variously
+ornamented, some richly, some plainly, were made and used for the
+protection of embroidered books, when being read. These, like the bags,
+only seem to have been used during the seventeenth century. A
+particularly fine example belongs to a New Testament bound in
+embroidered satin in 1640. It is of fine linen, measuring 16-1/2 by
+9-1/4 inches, and is beautifully embroidered in a floral design, with
+thick stalks of gold braid arranged in curves and bearing conventional
+flowers and leaves, all worked in needle-point lace with coloured silks
+in a wonderfully skilful manner.
+
+In the centre is a double red rose with separate petals, and among the
+other flowers are corn-flowers, honeysuckles, carnations, strawberries,
+and several leaves, all worked in the same way, and appliqués at their
+edges. Some, however, of the larger leaves and petals are ornamentally
+fastened down to the linen by small coloured stitches arranged in lines
+or patterns over their surfaces, as well as by the edge stitches. There
+are several spangles scattered about in the spaces on the linen, and the
+edge is bound with green silk and gold. On the book itself to which this
+cover belongs there is a good deal of the same needle-point work,
+probably executed by the same hand; but the cover is a finer piece
+altogether than the book,--in fact it is the finest example of such work
+I have ever seen.
+
+[Illustration: 2--Embroidered Cover for New Testament. London, 1640.]
+
+Abroad there have been made at various times embroidered bindings for
+books, but in no country except England has there been any regular
+production of them. I have come across a few cases in England of
+foreign work, the most important of which I will shortly describe. In
+the British Museum is an interesting specimen bound in red satin, and
+embroidered with the arms of Felice Peretti, Cardinal de Montalt, who
+was afterwards Pope Sixtus V.; the coat-of-arms has a little
+coloured silk upon it, but the border and the cardinal's hat with
+tassels are all outlined in gold cord. The work is of an elementary
+character. The book itself is a beautiful illuminated vellum copy of
+Fichet's _Rhetoric_, printed in Paris in 1471, and presented to the then
+Pope, Sixtus IV. In the same collection are a few more instances of
+Italian embroidered bindings, always heraldic in their main
+designs, the workmanship not being of any particular excellence or
+character. Perhaps altogether the most interesting Italian work of this
+kind was done on books bound for Cardinal York, several of which still
+remain, embroidered with his coat-of-arms, one of them being now in the
+Royal Library at Windsor. Although the actual workmanship on these books
+is foreign, we may perhaps claim them as having been suggested or made
+by the order of the English Prince himself, inheriting the liking for
+embroidered books from his Stuart ancestors.
+
+French embroidered books are very rare, and I do not know of any
+examples in England. Two interesting specimens, at least, are in the
+Bibliothèque Nationale, and are described and figured in Bouchot's work
+on the artistic bindings in that library. The earlier is on a book of
+prayers of the fifteenth century, bound in canvas, and worked with
+'tapisserie de soie au petit point,' or as I should call it, tent-, or
+tapestry-, stitch. It represents the Crucifixion and a saint, but M.
+Bouchot remarks of it, 'La composition est grossière et les figures des
+plus rudimentaires.'
+
+The other instance occurs on a sixteenth-century manuscript, 'Les Gestes
+de Blanche de Castille.' It is bound in black velvet, much worn, and
+ornamented with appliqué embroideries in coloured silks, in shading
+stitch, probably done on fine linen. The design on the upper cover shows
+the author of the book, Etienne le Blanc, in the left-hand corner,
+kneeling at the feet of Louise de Savoie, Regent of France, to whom the
+book is dedicated. Near her is a fountain into which an antlered stag is
+jumping, pursued by three hounds.
+
+The Dutch, in the numerous excellent styles of bindings they have so
+freely imitated from other nations, have not failed to include the
+English embroidered books. In the South Kensington Museum is a charming
+specimen of their work on satin, finely worked in coloured silks with
+small masses of pearls in a rather too elaborate design of flowers and
+animals. In the British Museum, besides other instances of Dutch
+needlework, there is a very handsome volume of the _Acta Synodalis
+Nationalis Dordrechti habitæ_, printed at Leyden in 1620, and bound in
+crimson velvet. It has the royal coat-of-arms of England within the
+Garter, with crest, supporters, and motto, all worked in various kinds
+of gold thread; in the corners are sprays of roses and thistles
+alternately, and above and below the coat are the crowned initials J. R.,
+all worked in gold thread.
+
+
+_Hints for Modern Broiderers._
+
+Many book-covers have been embroidered during the last few years in
+England by ladies working on their own account, or by some of the
+students at one or other of the many excellent centres now existing for
+the study and practice of the fascinating art of bookbinding.
+
+Although a large proportion of modern work of this kind has been only
+copied from older work, I see no reason why original designs should not
+be freely and successfully invented. But I think that the ancient work
+may be advantageously studied and carefully copied as far as choice of
+threads and manner of working them goes. The workers of our old
+embroidered books were people of great skill and large experience, and
+from a long and careful examination of much of their work, I am
+impressed with the conviction that they worked on definite principles.
+If I allude briefly to some of these I may perhaps give intending
+workwomen a hint or two as to some minor points which may assist their
+work to show to the best advantage when _in situ_, and also insure, as
+far as possible, that it will not be unduly damaged during the operation
+of fixing to the back and boards of the book for which it is intended.
+
+(1) Before the operation of fixing on the book is begun, it will always
+be found best to mount the embroidered work on a backing of strong fine
+linen. The stage at which it is best to add the linen will vary
+according to the kind of work it is to strengthen. In the case of canvas
+it will only be necessary to tack it on quite at the last; with velvet a
+backing from the first may be used with advantage, all the stitches
+being taken through both materials. As to satin, it will be best to do
+all the very fine work, if any, in coloured silks first, and when the
+stronger work in cord or braid comes on, the linen may be then added.
+The value of the linen is twofold: it strengthens the entire work and
+protects the finer material from the paste with which it is ultimately
+fastened on to the book.
+
+(2) A book must be sewn, the edges cut, and the boards fixed, before the
+sizes of the sides and back can be accurately measured. These sizes must
+be given to the designer most carefully, as a very small difference
+between the real size and the embroidered size will entirely spoil the
+finished effect, however fine the details of the workmanship may be.
+When the exact size is known the designer will fill the spaces at his
+disposal according to his taste and skill, making his sketches on paper,
+and, when these are complete, transferring the outlines to the material
+on which the work is to be done. If the designer is also to be the
+worker it is artistically right, and he, or she, will put in the proper
+stitches as the work progresses; but if another person is to execute the
+needlework it will be best that very detailed description of all the
+threads and stitches that are to be used should be given, as every
+designer of an embroidery design intends it to be carried out in a
+particular way, and unless this way is followed, the design does not
+have full justice done to it.
+
+(3) In the working itself the greatest care must be taken, especially as
+to two points: the first and perhaps the more important, because the
+more difficult to remedy, is that the needlework on the _under_ side of
+the material must be as small and flat as possible, and all knots,
+lumps, or irregularities here, if they cannot be avoided or safely cut
+off, had best be brought to the upper side and worked over. With satin,
+especially, attention to this point is most necessary, as unless the
+plain spaces lie quite flat, which they are very apt not to do, the
+proper appearance of the finished work is spoiled, and however good it
+may be in all other points, can never be considered first-rate.
+
+The second pitfall to avoid is any pulling or straining of the material
+during the operation of embroidering it. Success in avoiding this
+depends primarily upon the various threads being drawn at each stitch to
+the proper tension, so that it may just have the proper pull to keep it
+in its place and no more--and although a stitch too loose is bad enough,
+one too tight is infinitely worse.
+
+(4) The preponderance of appliqué work, and raised work in metal guimps
+on embroidered books, especially on velvet, is easily accounted for when
+the principles they illustrate are understood, the truth being that in
+both these operations the maximum of surface effect is produced with the
+minimum of under work.
+
+If the piece appliqué is not very large, a series of small stitches
+along all the edges is generally enough to keep it firm; such edge
+stitches are in most cases afterwards masked by a gold cord laid over
+them. If, however, the appliqué piece is large it will be necessary to
+fix it as well with some supplementary stitches through the central
+portions. These stitches will generally be so managed that they fit in
+with, or under, some of the ornamental work; at the same time, if
+necessary, they may be symmetrically arranged so as to become themselves
+of a decorative character.
+
+
+_The Embroidered Books here illustrated._
+
+For the purposes of illustration I have chosen the most typical
+specimens possible from such collections as I have had access to. The
+chief collections in England are, undoubtedly, those at the British
+Museum and at the Bodleian Library at Oxford. The collection at the
+British Museum is especially rich, the earlier and finer specimens
+almost invariably having formed part of the old Royal Library of England
+given by George II. to the Museum in 1757.
+
+The more recent specimens have been acquired either by purchase or
+donation, but as there has been no special intention at any time to
+collect these bindings, it is remarkable that such a number of them
+exist in our National Library. The Bodleian is rich in a few fine
+specimens only, and most of these are exhibited. My illustrations are
+made from photographs from the books themselves in all instances; to
+show them properly, however, all should be in colour, and it should not
+be forgotten that an embroidered book represented only by a half-tint
+print, however good, inevitably loses its greatest charm. However, if
+the half-tint is unworthy, the colour prints are distinctly flattering.
+I think that almost any old book well reproduced in colour gains in
+appearance, and in two of my colour plates I have actually restored some
+parts. In the beautiful fourteenth century psalter, supposed to have
+been worked by Anne de Felbrigge, I have made the colours purposely much
+clearer than they are at present. If it were possible to clean this
+volume, the colours would show very nearly as they do on my plate; but,
+actually, they are all much darker and more indistinct, being in fact
+overlaid with the accumulated dirt of centuries. The other instance
+where I have added more than at present exists on the original is the
+green velvet book which belonged to Queen Elizabeth, and forms my
+frontispiece. Here I have put in the missing pearls, each of which has
+left its little impression on the velvet, so nothing is added for which
+there is not the fullest authority. Moreover, some of the gold cord is
+gone on each of the three volumes of this work, but I have put it in its
+proper place for the purpose of illustration. The other plates are not
+in any way materially altered, but it may be allowed that the colour
+plates show their originals at their best.
+
+The books illustrated are selected out of a large number, and I think it
+may fairly be considered that the most favourable typical specimens now
+left in England are shown. It may well be that a few finer instances
+than I have been able to find may still be discovered hidden away in
+private collections, but it is now so rarely that a really fine ancient
+embroidered book comes into the sale-room, that we may safely conclude
+the best of them are already safely housed in one or other of our great
+national collections. Where not otherwise stated, the specimens
+described are in the British Museum.
+
+In the following detailed descriptions I have used the words 'sides' and
+'boards' to mean the same thing, and the measurements refer to the size
+of the boards themselves, not including the back. These measurements
+must be taken as approximate only, as from wear and other causes the
+actual sizes would only be truly given by the use of small fractions of
+inches.
+
+
+
+
+CHAPTER II
+
+BOOKS BOUND IN CANVAS
+
+
+English books bound in embroidered canvas range over a period of about
+two hundred and fifty years, the earliest known specimen dating from the
+fourteenth century, and instances of the work occurring with some
+frequency from this time until the middle of the seventeenth century.
+The majority of these bindings are worked in tapestry-stitch, or
+tent-stitch, in designs illustrating Scriptural subjects in differently
+coloured threads.
+
+Very often the outlines of these designs are marked by gold threads and
+cords, of various kinds, and parts of the work are also frequently
+enriched with further work upon them in metal threads. Spangles are very
+rarely found on canvas-bound books. The backgrounds of several of the
+later specimens are worked in silver threads, sometimes in chain-stitch
+and sometimes in tapestry-stitch; others again have the groundwork of
+silver threads laid along the surface of the canvas and caught down at
+regular intervals by small stitches--this kind of work is called 'laid'
+or 'couched' work. Books bound with this metal ground have always strong
+work superimposed, usually executed in metal strips, cords, and thread.
+The silver is now generally oxidised and much darkened, but when new
+these bindings must have been very brilliant.
+
+[Illustration: 3--The Felbrigge Psalter. 13th-century MS.]
+
+
+_The Felbrigge Psalter._ 13th-century MS. Probably bound in the
+14th century.
+
+The earliest example of an embroidered book in existence is, I believe,
+the manuscript English Psalter written in the thirteenth century, which
+afterwards belonged to Anne, daughter of Sir Simon de Felbrigge, K. G.,
+standard-bearer to Richard II. Anne de Felbrigge was a nun in
+the convent of Minoresses at Bruisyard in Suffolk, during the latter
+half of the fourteenth century, and it is quite likely that she herself
+worked the cover--such work having probably been largely done in
+monasteries and convents during the middle ages.
+
+On the upper side is a very charming design of the Annunciation, and, on
+the under, another of the Crucifixion, each measuring 7-3/4 by 5-3/4
+inches. In both cases the ground is worked with fine gold threads
+'couched' in a zigzag pattern, the rest of the work being very finely
+executed in split-stitch by the use of which apparently continuous lines
+can be made, each successive stitch beginning a little _within_ that
+immediately preceding it--the effect in some places being that of a very
+fine chain-stitch. The lines of this work do not in any way follow the
+meshes of the linen or canvas, as is mostly the case with book-work upon
+such material, but they curve freely according to the lines and folds
+of the design. It will be recognised I think by art workwomen skilled in
+this kind of small embroidery, that the methods used for ornamenting the
+canvas binding of this book are the most artistic of any of the various
+means employed for a similar purpose, and I know of no other instance
+which for appropriateness of workmanship, or charm of design, can
+compare with this, the earliest of all.
+
+The figure of the Virgin Mary, on the upper side, is dressed in a pale
+red robe, with an upper garment or cloak of blue with a gold border. On
+her head is a white head-dress, and round it a yellow halo; just above
+is a white dove flying downwards, its head having a small red nimbus or
+cloud round it. The Virgin holds a red book in her hand. The figure of
+the angel is winged, and wears an under robe of blue with an upper
+garment of yellow; round his head he has a green and yellow nimbus, his
+wings are crimson and white.
+
+Between these two figures is a large yellow vase, banded with blue and
+red; out of it grows a tall lily, with a crown of three red blossoms.
+
+The drawing of both of the figures is good, the attitudes and the
+management of the folds of the drapery being excellently rendered, and
+the execution of the technical part is in no way inferior to the design.
+
+On the lower side, on a groundwork of gold similar to that on the upper
+cover, is a design of the Crucifixion. Our Saviour wears a red garment
+round the loins, and round his head is a red and yellow nimbus, his feet
+being crossed in a manner often seen in illuminations in ancient
+manuscripts.
+
+The cross is yellow with a green edge, the foot widening out into a
+triple arch, within which is a small angel kneeling in the attitude of
+prayer. On the right of the cross is a figure of the Virgin Mary, in
+robes of pale blue and yellow, with a white head-dress and green and
+yellow nimbus. On the left is another figure, probably representing St.
+John, dressed in robes of red and blue, and having a nimbus round his
+head of concentric rings of red and yellow. This figure is unfortunately
+in very bad condition. The edges of the leaves of the book are painted
+with heraldic bearings in diamond-shaped spaces, that of the Felbrigge
+family 'Gules, a lion rampant, or' alternately with another 'azure, a
+fleur-de-lys, or.' The embroidered sides have been badly damaged by time
+and probably more so by repair. The book has been rebound in leather,
+the old embroidered back quite done away with, and the worked sides
+pulled away from their original boards and ruinously flattened out on
+the new ones. After the Felbrigge Psalter no other embroidered binding
+has been preserved till we come to one dating about 1536, which is in
+satin, and will be described under that head.
+
+
+_The Miroir or Glasse of the Synneful Soul._ MS. by the
+Princess Elizabeth. 1544.
+
+The Princess Elizabeth, afterwards Queen, in her eleventh year, copied
+out in her own handwriting the _Miroir or Glasse of the Synneful Soul._
+She says it is translated 'out of frenche ryme into english prose,
+joyning the sentences together as well as the capacitie of my symple
+witte and small lerning coulde extende themselves.' It is also most
+prettily dedicated: 'From Assherige, the last daye of the yeare of our
+Lord God 1544 ... To our most noble and vertuous Quene Katherin,
+Elizabeth her humble daughter wisheth perpetuall felicitie and
+everlasting joye.'
+
+The book is now one of the great treasures of the Bodleian Library; it
+is bound in canvas, measures about 7 by 5 inches, and was embroidered in
+all probability by the hands of the Princess herself. The Countess of
+Wilton in her book on the art of needlework says that 'Elizabeth was an
+accomplished needlewoman,' and that 'in her time embroidery was much
+thought of.' The Rev. W. Dunn Macray in his _Annals of the Bodleian
+Library_ considers this binding to be one of 'Elizabeth's bibliopegic
+achievements.'
+
+[Illustration: 4--The Miroir or Glasse of the Synneful Soul. MS. by the
+Princess Elizabeth. 1544.]
+
+[Illustration: 5--Prayers of Queen Katherine Parr. MS. by the Princess
+Elizabeth. 1545.]
+
+The design is the same upon both sides. The ground is all worked over in
+a large kind of tapestry-stitch in thick pale blue silk, very evenly and
+well done, so well that it has been considered more than once to be a
+piece of woven material. On this is a cleverly designed interlacing
+scroll-work of gold and silver braid, in the centre of which are the
+joined initials K. P.
+
+In each corner is a heartsease worked in thick coloured silks, purple
+and yellow, interwoven with fine gold threads, and a small green leaflet
+between each of the petals. The back is very much worn, but it probably
+had small flowers embroidered upon it.
+
+
+_Prayers of Queen Katherine Parr._ MS. by the Princess
+Elizabeth. 1545.
+
+Another manuscript beautifully written by the Princess Elizabeth about a
+year later is now at the British Museum. It is on vellum, and contains
+prayers or meditations, composed originally by Queen Katherine Parr in
+English, and translated by the Princess into Latin, French, and Italian.
+The title as given in the book reads, 'Precationes ... ex piis
+scriptoribus per nobiliss. et pientiss. D. Catharinam Anglie, Francie,
+Hibernieq. reginam collecte, et per D. Elizabetam ex anglico converse.'
+It is, moreover, dedicated to Henry VIII., the wording being,
+'Illustrissimo Henrico octavo, Anglie, Francie, Hibernieq. regi,' etc.,
+and dated Hertford, 20th December 1545.
+
+It is bound in canvas, and measures 5-3/4 by 4 inches, the groundwork
+being broadly worked in tapestry-stitch, or some stitch analogous to it,
+in red silk, resembling in method the work on the ground of _The Miroir
+of the Synneful Soul_ already described. On this, in the centre of each
+side, is a large monogram worked in blue silk, interwoven with silver
+thread, containing the letters K, probably standing for Katherine, A, F,
+H, and R, possibly meaning 'Anglie, Francie, Hibernieque, Reginæ,' but
+like most monograms this one can doubtless be otherwise interpreted.
+Above and below the monogram are smaller H's, worked in red silk,
+interwoven with gold thread. In each corner is a heartsease of yellow
+and purple silk, interwoven with gold thread, and having small green
+leaves between each of the petals. The work which was once on the back
+is now so worn that it cannot be traced sufficiently to tell what it
+originally was. The designs of these two volumes, credited to the
+Princess Elizabeth, resemble each other to some extent; they both have a
+monogram in the centre, they both have heartsease in the corners and
+groundwork of a like character. They are, as far as workmanship goes,
+still more alike, similar thick silk is used for the ground, and threads
+and braids of a thick nature, with metal interwoven, are used on both
+for the ornamental work. Speaking of this British Museum book, the
+Countess of Wilton says, 'there is little doubt that Elizabeth's own
+needle wrought the ornaments thereon.'
+
+
+_Books embroidered by the Princess Elizabeth._
+
+It cannot be said that there is any actual authority for saying that the
+two covers just described are really the work of Elizabeth's own hand,
+although she is known to have been fond of embroidery, it being recorded
+that she made and embroidered a shirt for her brother Edward when she
+was six. There is little doubt, however, that the same designer and the
+same workwoman worked both these covers, and the technique, as well as
+the design, are peculiar for the time in which they were done. Canvas
+bindings were rare--most of the embroidered work on books of that period
+were splendid works on velvet--so that if these two manuscripts had been
+'given out' to be bound in embroidered covers we should have expected to
+find them in rich velvet, like Brion's _Holy Land_, or Christopherson's
+_Historia Ecclesiastica_, instead of a very elementary braid work.
+Without attaching too much importance to the various statements
+concerning their royal origin, I am inclined to think that there is no
+impossibility, or even improbability, in the supposition that the
+Princess designed and worked them herself, thereby adding to her
+exquisite manuscript the further charm of her clever needle. The idea of
+both writing and embroidering such valued presents as these two books
+must have been is likely to have strongly appealed to an affectionate
+and humble daughter, and there is an artistic completeness in the idea
+which, I think, tells strongly in its favour.
+
+Probably enough no proof of their having been worked by Elizabeth will
+now ever be forthcoming, but it is equally unlikely that any positive
+disproof will be found.
+
+The two 'Elizabeth' books stand alone--there are no others resembling
+them; but the next kind of embroidered work I shall describe is one
+which includes a large number of books, generally small in size, and
+usually copies of the Bible or the Psalms. The canvas in these cases is
+embroidered all over in small tapestry-stitch, the design being shown by
+means of the different colours of the silks used. The work being all
+flat it is very strong, and often books bound in this way are in a
+marvellous state of preservation. The most interesting designs are those
+which represent Scriptural scenes. Some of these are very curious and
+almost grotesque, but there is much excuse for this. To work a face any
+way in embroidery is troublesome enough, but to work it on a small scale
+in tent-stitch is especially difficult, the result being somewhat
+similar in effect to that of a glass or marble mosaic, each little
+stitch being nearly square and of an uniform colour. The designers of
+these embroideries do not appear to have had a very fertile imagination,
+as again and again the same subject is represented. Perhaps the most
+favourite of all is Jacob wrestling with the angel; of figure subjects
+'Faith and Hope' are the most frequently met with, but 'Peace and
+Plenty' are also common enough.
+
+[Illustration: 6--Christian Prayers. London, 1581.]
+
+
+_Christian Prayers._ London, 1581.
+
+A _Book of Christian Prayers_ with illustrated borders, printed in
+London in 1581, is bound in coarse canvas worked in tapestry-stitch in
+colours, and measures 7 by 5 inches. The same design is on each side--a
+kind of flower-basket in two stories, out of the lower part of which,
+rectangular in shape, grow two branches, one with lilies and another
+with white flowers, and out of the upper, oval in shape, rise two sprays
+of roses, one white the other red.
+
+In the lower corners are a large lily, a blue flower, and a large
+double-rose spray. All the design is outlined with silver cord or
+thread, and the veinings of the leaves are indicated in the same way.
+There are remains of two green velvet ties on the front edges of each of
+the boards. The back is not divided into panels, but has a design upon
+it of the letters E and S repeated five times. The edges are gilt and
+gauffred.
+
+
+_Psalms and Common Praier._ London, 1606-7.
+
+During the seventeenth century little 'double' books were rather
+favourite forms for Common Prayer and Psalms especially. These curious
+bindings open opposite ways and have two backs, two ornamental boards,
+and one unornamented board enclosed between the two books, which are
+always of the same size.
+
+There are several instances where embroidered books have been bound in
+this way, the earliest I know being a copy of the Psalms and Common
+Prayer, printed in 1606-7.
+
+This is bound in canvas, and measures 3-1/4 by 2 inches, each side
+having the same design embroidered on each of the ornamented sides and
+backs. The flowers and leaves are worked in long straight stitches in
+coloured silks, outlined with silver twist. A large pansy plant occupies
+the place of honour, growing out of a small green mound, from which also
+spring two short plants with five-petalled yellow flowers. The main
+stems and ribs of the leaves are made with strong silver twist. Round
+about the central spray are several coloured buds. On the backs are four
+panels, each containing a small four-petalled flower. The ground is
+worked all over with silver thread irregularly stitched, and the edges
+are bound with a broad silver thread. There was originally one ribbon to
+twist round both books and keep them together, but it is now quite
+gone. The edges are gilt, gauffred, and slightly coloured.
+
+[Illustration: 7--Psalms and Common Praier. London, 1606.]
+
+[Illustration: 8--Bible, etc. London, 1612.]
+
+
+_Bible, etc._ London, 1612.
+
+A copy of the Bible, with the Psalms, printed in London in 1612, and
+measuring 6-3/4 by 4-1/4 inches, is bound in fine canvas, and bears upon
+it designs embroidered in coloured silks in tapestry-stitch.
+
+On the upper side is King Solomon seated in an elaborate throne on a
+dais, all outlined with gold cord. He wears a golden crown and a dress
+which more nearly approaches the style worn at the date of the
+production of the book than that which was probably worn by Solomon
+himself. Before the King kneels a figure, no doubt intended for the
+Queen of Sheba, in a red and orange robe of a curious fashion. She holds
+out two white and red roses to the King, who bends to take them. The
+ground is patterned in green and blue diamonds. The distant landscape
+shows a castle with turrets, trees, a tower, a house, and a sun with
+rays. The groundwork on both sides and the back is worked in silver
+thread.
+
+The lower side has in the centre Jacob wrestling with the angel. Jacob
+has a beard and a blue cloak; his staff lies on the ground. The angel
+wears a red flowing robe, and his wings are many-coloured, and enriched
+with various threads and spirals of gold. The landscape is elaborate. In
+the foreground is a river with a bridge of planks, a gabled cottage,
+hospitably smoking from its chimneys, a red lily, and a tree. In the
+middle distance is a castle with tower and flag, and on the horizon are
+a windmill, a castle with two towers, and some trees, above all a red
+cloud. The back is divided into six panels, on each of which is a
+different design in coloured silks. These designs are small, and
+although they are in perfectly good condition, the subjects represented
+are doubtful. The upper and lower panels seem to represent only castles
+with towers. Then apparently come Jonah and the whale, the creation, the
+temple, and the deluge with the ark, but it is quite possible that other
+interpretations might be made. There are remains of two red silk ties on
+the front edges of each board, and the edges of the leaves are gilded
+simply.
+
+[Illustration: 9--Sermons by Samuel Ward. London, 1626-7.]
+
+
+_Sermons by Samuel Ward._ London, 1626-7.
+
+Mr. Yates Thompson has kindly allowed me to describe and illustrate an
+embroidered book belonging to him, bound in canvas, and measuring 5-3/4
+by 4-1/4 inches. It is a collection of sermons preached by 'Samuel
+Ward, Bachelour of Divinity,' and printed in London, 1626-7, the binding
+being probably of about the latter date. On the upper cover is a lady in
+a blue dress, seated, and holding a hawk on her left wrist, and a branch
+with apples in her right. Round her are scattered flower sprays,
+honeysuckle, foxglove, a stalk with two large pears, a cluster of
+grapes, a twig with a butterfly upon it, and a wild-rose spray. The
+lady, the petals of the flowers, and the leaves are all worked in
+tapestry-stitch; the bird and the lady's hair in long straight stitches;
+the stalks, fruits, and grasses are worked in variously coloured silk
+threads, thickly and strongly bound round with very fine silver wire.
+The lady has a coif, cuff, and belt of short pieces of silver and gold
+guimp arranged like a plait.
+
+The under side shows a seated lady in a green dress, playing a lute
+left-handed. This most unusual position is probably not really
+intentional, but the drawing has accidentally been reversed. She is
+surrounded, like her companion with the hawk, by flower sprays, a
+thistle, cornflower, strawberries, a rose, lily, bluebell, and small
+bunch of grapes, making a kind of arbour, with a wreath of red cloud at
+the top. The lady, the petals of the flowers, and the leaves are worked
+in fine tapestry-stitch; the stalks and fruits in coloured silks, mixed
+with silver wire. The lady has a coif and a cuff of silver guimp
+arranged in the same way as that on the other side.
+
+The back is divided into four panels by silver guimp, each containing a
+flower worked in tapestry-stitch, a blue flower, a wild rose, a pansy,
+and a thistle. The ground of the whole is loosely overcast with silver
+thread, the constructive lines of the book being marked by rows of
+silver guimp arranged in small arches. The edges are bound by a strong
+silver braid. The head and tail bands are worked in silver thread--an
+unusual method--and the edges are gilt and gauffred.
+
+There are two ties on each board of striped silk, much frayed and worn,
+but the embroidered work itself is in excellent condition, and very
+strong.
+
+
+_New Testament, etc._ London, 1625-35.
+
+[Illustration: 10--New Testament, etc. London, 1625-35.]
+
+A small copy of the New Testament, printed in London in 1625, bound
+together with the Psalms, 1635, is covered with canvas, all worked in
+tapestry-stitch, and measures 4-1/4 by 3 inches.
+
+On the upper cover is a full-length figure of Hope, with dark hair,
+dressed in a red dress with large falling collar, having a blue flower
+at the point. In her left hand she holds an anchor. In the distant
+background is a cottage and a gibbet on a hill, the sun with rays just
+appearing under a cloud. On the hilly foreground is a red lily, and
+further afield a caterpillar and a strawberry plant. On the lower cover
+is a full-length figure of Faith, with fair hair, dressed in a blue
+dress with large falling collar, having a red flower at the point. In
+her left hand she holds an open book with the word 'FAITH'
+written across it. On the hilly foreground is a large red tulip and a
+plant with red blooms, further afield are a pear-tree and two
+caterpillars.
+
+On the back are four panels, containing respectively a bird, a blue
+flower, a squirrel, and a red flower.
+
+On the front edge of the upper cover can be seen the remains of one tie
+of green silk, and the edges are protected all round by a piece of green
+silk braid. The edges of the leaves are plainly gilt.
+
+This cover is one of the rare instances of a book bound in embroidered
+work not made for it, the embroidery being clearly made for a book of
+about half the present thickness. It is possible that it was intended
+for either the New Testament or the Psalms separately, and, as an
+after-thought, was made to do double duty. But as it now is, the worked
+back is just a strip down the middle of the back itself, the designs of
+the sides encroaching considerably inwards.
+
+
+_The Daily Exercise of a Christian._ London, 1623.
+
+_The Daily Exercise of a Christian_, printed in London in 1623, and
+measuring 4-3/4 by 2-3/4 inches, is ornamented with a single flower
+spray, with buds and leaves. The flower is a double rose with curving
+stem, one large half-opened bud and one smaller, and a few leaves, all
+worked in tent-stitch. The spray rises from a small bed of grass, out of
+which grows a small blue flower. In the upper right-hand corner is a
+small blue cloud. The same design is on both sides. The back is divided
+into four panels, the divisions being marked and bounded by a thick
+silver braid, which is also used as an edging all round the book; the
+designs, beginning at the top, are a fly and a flower alternately,
+differently coloured.
+
+The background is all worked in with silver thread in chain-stitch. With
+this book is one of the now rare ornamental markers, which, no doubt,
+often went with embroidered books. It is fastened to an ornamental
+oblong cushion, probably made of light wood, and is worked in silver
+thread and coloured silks in the same manner as the rest of the
+embroidered work, and finished off at the ends with small red tassels.
+
+[Illustration: 11--The Daily Exercise of a Christian. London, 1623.]
+
+[Illustration: 12--Bible. London, 1626.]
+
+
+_Bible._ London, 1626-28.
+
+A copy of the Bible, printed in London in 1626, is bound in canvas,
+and measures 6 by 3-1/2 inches.
+
+The embroidery is in coloured silks, silver cords and threads, and
+silver guimp. On the upper cover is a small full-length figure of St.
+Peter, with short beard, holding a key in his left hand. He is dressed
+in a blue under-garment, with red and orange robe over it, all the edges
+being marked by a silver twist, some of which has come off. The ground
+is green and in hillocks. All this work is done in coloured silks and
+silver threads in shading stitch.
+
+On the under side is a figure of St. Paul, with long beard, holding a
+silver sword in his right hand. He wears a blue under-garment, with red
+and orange upper robe, all edged with silver twist. The feet of both
+figures are bare. The rest of the design is the same on both sides. The
+skies are worked in large stitches of blue and yellow silk and silver
+threads, graduating from dark to light; above these are canopies of
+silver thread, couched, and vandyked at the edge. Enclosing the figures
+are arches with columns, in high relief in silver cords and threads. The
+inner edge of the arch is curiously marked by a line of brown silk
+worked over a strip of vellum in the manner used for hand-worked
+head-bands, and the outer edge has 'crockets' of silver guimp. The
+columns rest upon 'rams-horn' curves, heavily worked in relief with
+silver threads, the insides of the curves worked in brown silk over
+vellum like the inner edge of the arch.
+
+
+_Metal Threads used on Embroidered Books._
+
+Guimp and gold threads are largely used, as has already been noticed,
+in embroidered books from early times, but on the next specimen of a
+canvas-bound book I have chosen for description, dated 1642, a kind of
+metal thread occurs which is very curious. It is used at an earlier date
+on satin books, and it is also found more commonly upon them; but as I
+have put the canvas books first for the purpose of description, and the
+'thread' occurs in one of them, this is the best place to put its
+description. This thread I call 'Purl,' and a thread with this name is
+mentioned in several places as having been used in England in the
+seventeenth century; but there is no description of it, so that this
+thread may not be the 'purl' mentioned by the seventeenth-century
+writers, but if it is not, I do not know what purl is, neither do I know
+any other special name for the thread. In order that there may be no
+doubt as to what I mean by purl, I will shortly describe the thread as I
+know it.
+
+First there is a very fine copper wire; this is closely bound round with
+coloured silk, also very fine, and in this state it looks simply like a
+coloured thread. Then this coloured thread is itself closely coiled
+round something like a fine knitting-needle--in fact I have made it on
+one--and then pushed off in the form of a fine coiled tube. The thread
+is always cut into short lengths for use, and on books these short
+lengths are generally threaded and drawn together at their ends,
+making, so to speak, little arches--so that although on the under side
+of the material there is only a tiny thread, on the upper side there is
+a strong arch, practically of copper. On boxes and other ornamental
+productions of this same period, pieces of purl are not infrequently
+found laid flat like little bricks; and houses, castles, etc., are often
+represented by means of it; but on books the general use is either for
+flowers, grounds, or (in very small pieces) to keep on spangles.
+Obviously any coloured silk can be used in making this thread, so that
+it may be said that for coloured silk work, where strength is required,
+flowers worked in purl are the best. The colours used when roses are
+represented are usually graduated,--yellow or white in the centre, then
+gradually darkening outward, yellow, pale pink, and red, or pale yellow,
+pale blue, and dark blue. Purl flowers are usually accessories to some
+regular design, but, in one instance at least, to be described later on,
+it supplies the entire decoration of a small satin book.
+
+
+_Bible, etc._ London, 1642.
+
+The design on a Bible with Psalms, printed in London in 1642, bound in
+fine canvas, and measuring 6 by 3-1/2 inches, is the same on both sides.
+The ground is all laid, or couched, with silver threads, caught down at
+intervals by small white stitches. In the centre is a circular silver
+boss, and out of this grow four lilies worked with silver thread in
+button-hole stitch; each of these lilies has a shape similar to its own
+underneath it, outlined with fine gold cord, and filled in with red
+silk; representing altogether white flowers with a red lining. These
+four red and white lilies make together the form of a Maltese cross, and
+between each of the arms is a purl rose with yellow centre and graduated
+blue petals. A double oval, with the upper and lower curves larger than
+the side ones, marked with a thick gold cord, encloses the central
+cross, and the remaining spaces are filled with ovals and lines of gold
+guimp, with here and there a little patch of red or yellow purl, the
+extremities of the upper and lower ovals being filled with threads of
+green silk loosely bound with a silver spiral, worked to represent a
+green plot.
+
+[Illustration: 13--Bible, etc. London, 1642.]
+
+The upper and lower curves of the oval are thickened by an arch of gold
+thread laid lengthwise, and kept in place by little radiating lines of
+red silk. In each corner is a purl rose, with blue centre, the petals
+graduating in colour from pale yellow to dark red, with leaf forms and
+stalks of gold cord and guimp. At the top and bottom of the oval is a
+many-coloured purl rose, and the spaces still left vacant are dotted
+with little pieces of red, blue, and yellow purl and spangles. On the
+front edges are the remains of two red silk ties.
+
+[Illustration: 14--Bible. London, 1648.]
+
+The back is divided into four panels by a thick gold twist. The upper
+and lower panels have each a blue purl rose worked in them, with a white
+and red lily in the same silver thread as those on the sides, with gold
+leaves and stalks; the two inner panels contain each three purl roses,
+with gold leaves and stems. The upper of these panels has a large rose
+of blue, yellow, and red, and two smaller ones yellow with blue centres;
+the lower panel has a large rose of red, pink, and yellow, and two
+smaller ones of red, with yellow centres.
+
+Dotted about the groundwork of the panels are several spangles and short
+lengths of coloured purl.
+
+The edges of the leaves are plainly gilt.
+
+
+_Bible._ London, 1648.
+
+A Bible, printed in London in 1648, formerly the property of George
+III., is bound in canvas, and has embroidered upon the boards
+emblematic representations of Faith and Hope. It measures 6-3/4 by 4-3/4
+inches.
+
+On the upper side is a full-length figure of Faith. She has fair hair,
+and is dressed in an orange and red dress cut low, and showing in the
+front a pale blue under garment. She has a large white collar and cuffs,
+both in point-lace, and bears in her right hand an open book with the
+word 'FAITH' written upon it, while her left hand rests upon a
+pointed shield, pale purple with a yellow centre. She is standing upon a
+rounded hillock, on which are a strawberry plant with two fruits, two
+caterpillars, a red tulip, and another flower.
+
+In the right-hand upper corner is a turreted and gabled house, the
+windows of which are marked with little glittering pieces of talc. Below
+the house is a caterpillar and a large blue butterfly. In the left-hand
+upper corner is the sun, in gold, just appearing under a blue cloud.
+Underneath this, in succession, come a tree with a butterfly upon it, a
+bird, most likely meant for a wren, and another caterpillar. The remains
+of two red tie-ribbons are near the front edges. The background is
+worked in silver thread, and the edges of the boards are bound with
+silver braid having a thread or two of red silk on the innermost side.
+
+On the under cover Hope appears in a curiously worked upper garment of
+blue and white, short in the sleeves, in needlepoint, with a belt. Under
+this is a dress of red and orange, showing a blue under skirt in front.
+A scarf of the same colour as the dress is gracefully folded over the
+shoulders and hangs over the left arm; a rather deep collar and cuffs
+are both worked in needlepoint. The right hand rests upon an anchor with
+a 'fouled' rope.
+
+Hope stands upon a rounded hillock, on which are a snail and spray of
+possible foxglove, and out of which grow a red carnation and another
+flower. In the upper right-hand corner is a gabled cottage with a tree,
+and under it a moth, flower, and caterpillar. Towards the upper
+left-hand corner is a bank of cloud with red and yellow rays issuing
+therefrom, and under it a pear-tree with flower and fruit, and a
+many-coloured butterfly. All the background is worked in silver thread.
+
+The five panels of the back, indicated with silver cord, are each filled
+with a different design. Beginning at the top, these are: a rose, a
+parrot with a red fruit, a double rose, a lion, and a lily. The edges
+are plainly gilt.
+
+
+
+
+CHAPTER III
+
+BOOKS BOUND IN VELVET
+
+
+It seems probable that velvet was a favourite covering for royal books
+in England from an early period. Such volumes as remain 'covered in
+vellat' that belonged to Henry VII. are, however, not embroidered,
+the ornamentation upon them being worked metal, or enamels
+upon metal. It is not until the time of Henry VIII. that we
+have any instances remaining of books bound in embroidered velvet.
+
+Velvet is very troublesome to work upon, the pile preventing any
+delicate embroidery being done directly upon it, hence the prevalence of
+gold cords and appliqué work on canvas or linen, on which of course the
+embroidery may be executed as delicately as may be desired.
+
+
+_Tres ample description de toute la terre Saincte, etc._ [By Martin de
+Brion.] MS. of the sixteenth century, probably bound about
+1540.
+
+[Illustration: 15--Tres ample description de toute la terre Saincte,
+etc. MS. 1540.]
+
+The earliest extant English binding in embroidered velvet covers this
+manuscript, which belonged to Henry VIII., and is dedicated to
+him. The manuscript is on vellum, and is beautifully illuminated. It is
+bound in rich purple velvet, and each side, measuring 9 by 6 inches, is
+ornamented with the same design. In the centre is a large royal
+coat-of-arms, surrounded by the garter, and ensigned with a royal crown.
+The coat-of-arms and the garter are first worked in thick silks of the
+proper colours, red and blue, laid or couched, with small stitches of
+silk of the same colour, arranged so as to make a diamond pattern, on
+fine linen or canvas. On the coat are the arms of France and England
+quarterly; the bearings, respectively three fleur-de-lys and three
+lions, are solidly worked in gold cord, and the whole is appliqué on to
+the velvet with strong stitches. On the blue garter the legend 'Honi
+soit qui mal y pense' is outlined in gold cord, between each word being
+a small red rose, the buckle, end, and edge of the garter being marked
+also in gold cord, and the whole appliqué like the coat. The very
+decorative royal crown is solidly worked in gold cords of varying
+thickness directly on to the velvet. The rim or circlet has five square
+jewels of red and blue silk along it, between each of these being two
+seed pearls. From the rim rise four crosses-patée and four
+fleurs-de-lys, at the base of each of which is a pearl, and also one in
+each inner corner of the crosses-patée. Four arches also rise from the
+rim, the two outer ones each having three small scrolls with a pearl in
+the middle; at the top is a mound and cross-patée, with a pearl in each
+of its inner corners. There is a letter H on each side of the
+coat-of-arms, and these letters were originally doubtless worked with
+seed pearls, but the outlines of them alone are now left. In each corner
+is a red Lancastrian rose worked on a piece of satin, appliqué, the
+centres and petals marked in gold cord, and the whole enclosed in an
+outer double border of gold cord. On the front edges of each side are
+the remains of two red silk ties.
+
+This is certainly a very handsome piece of work, and is wonderfully
+preserved. It is the earliest example of a really fine embroidered book
+on velvet in existence, and it has perhaps been more noticed and
+illustrated than any other book of its kind. The crown has an
+interesting peculiarity about it, which does not appear, as far as I
+have observed, on any other representation of it, namely, that the four
+arches take their rise directly from the rim. They generally rise from
+the summits of the crosses-patée, but I should fancy that the rise from
+the circlet itself is more correct.
+
+[Illustration: 16--Biblia. Tiguri, 1543.]
+
+
+_Biblia._ Tiguri, 1543.
+
+This Bible also belonged to Henry VIII. It is bound in velvet,
+originally some shade of red or crimson, but now much faded. It measures
+15 by 9-1/4 inches. It is ornamented with arabesques and initials all
+outlined with fine gold cord. In the centre are the initials H. R., bound
+together by an interlacing knot, within a circle. Arabesques above and
+below the circle make up an inner panel, itself enclosed by a broad
+border of arabesques, with a double, or Tudor, rose in each corner. The
+edges of the leaves of the book are elaborately painted with heraldic
+designs.
+
+It has been re-backed with leather, but still retains the original
+boards.
+
+[Illustration: 17--Il Petrarcha. Venetia, 1544.]
+
+
+_Il Petrarcha._ Venetia, 1544.
+
+Another fine example of the decorative use of Heraldry occurs on a copy
+of Petrarch printed at Venice in 1544, and probably bound about 1548,
+after the death of Henry VIII. It belonged to Queen Katherine
+Parr, and bears her arms with several quarterings--worked appliqué on
+rich blue purple velvet, and measures 7 by 6 inches. The first coat is
+the 'coat of augmentation' granted to the Queen by Henry
+VIII.--'Argent, on a pile gules, between six roses of the same,
+three others of the field'--and the next coat is that of 'Parr.'
+
+The various quarterings on this coat are worked differently from those
+on the last book described. Here the red and blue are well shown by
+pieces of coloured satin--except in the first, fifth, and seventh coats,
+where there is some couched work in diamond pattern, just like that on
+Martin Brion's book. The entire coat, which is of an ornamental shape,
+is appliqué in one large piece, and edged by a gold cord. The crown
+surmounting it is heavily worked in gold guimp--the cap being
+represented in crimson silk thread and all appliqué. There are two
+supporters--that on the right, an animal breathing flame, and gorged
+with a coronet from which hangs a long chain, all worked in coloured
+silks on linen and appliqué, belongs to the Fitzhugh family, the coat of
+which is shown on the third quarter; that on the left, a wyvern argent,
+also gorged with a coronet, from which depends a long gold chain, is
+that of the Parr family. The wyvern is a piece of blue silk, finished in
+gold and silver cords, in appliqué. The gold cord enclosing the armorial
+design is amplified at each corner into an arabesque scroll. The book
+has been most unfortunately rebound, and the work is badly strained in
+consequence--the back being entirely new; nevertheless it is in a
+wonderful state of preservation. It is said to have been worked by Queen
+Katherine Parr herself. The design is too large for the book, and the
+crown is too large for the coat-of-arms. It is probable that the binding
+of the book was done after the death of Henry VIII., otherwise
+the supporters would have been the lion and the greyhound; also the
+coat-of-arms would have been different; also, as the Seymour coat does
+not appear, it is likely that the binding was done before Queen
+Katherine Parr's marriage with Lord Seymour of Sudley, in 1547. The
+design is the same on both sides.
+
+[Illustration: 18--Queen Mary's Psalter. 14th-century MS.]
+
+
+_Queen Mary's Psalter._ 14th-century MS. Bound about 1553.
+
+The beautiful English manuscript of the fourteenth century known as
+'Queen Mary's Psalter' was presented to her in 1553. It is bound in
+crimson velvet, measuring 11 by 6-3/4 inches, and appliqué on each side
+is a large conventional pomegranate-flower worked on fine linen in
+coloured silks and gold thread. This flower is much worn, but enough is
+left to show that it was originally finely worked. Queen Mary used the
+pomegranate as a badge in memory of her mother, Katharine of Aragon. The
+volume has been re-backed in plain crimson velvet, and still retains the
+original gilt corners with bosses, and two clasps, on the plates of
+which are engraved the Tudor emblems,--portcullis, dragon, lion, and
+fleur-de-lys.
+
+
+Christopherson, _Historia Ecclesiastica_. Lovanii, 1569.
+
+Many fine bindings in embroidered velvet of the time of Queen Elizabeth
+still remain, several of them having been her own property.
+
+One of the most decorative of these last is unfortunately in a very bad
+state, owing possibly to the fact that there were originally very many
+separate pearls upon it, and that these have from time to time been
+wilfully picked off. The book is in three volumes, and is a copy of the
+_Historia Ecclesiastica_, written by Christopherson, Bishop of
+Chichester, and printed at Louvain in 1569. Each of these volumes is
+bound in the same way, so the description of one of them will serve for
+all, except that no one volume is perfect, so the description must be
+taken as representing only what each originally was.
+
+It is covered in deep green velvet, and measures 6 by 3-1/2 inches, the
+design being the same on each side. In the centre the royal coat-of-arms
+is appliqué in blue and red satin, on an ornamental cartouche of pink
+satin, with scrolls of gold threads and coloured silks, richly dotted
+with small pearls. The bearings on the coats-of-arms are solidly worked
+in fine gold threads.
+
+From each corner of the sides springs a rose spray, with Tudor roses of
+red silk mixed with pearls, and Yorkist roses all worked in pearls
+clustering tight together, the leaves and stems being made in gold cord
+and guimp. A decoratively arranged ribbon outlined with gold cord and
+filled in with a line of small pearls set near each other, encloses the
+design, and numerous single pearls are set in the spaces between the
+roses and their leaves and stems.
+
+[Illustration: 20--Christian Prayers. London, 1570.]
+
+The back is divided into five panels bearing alternately Yorkist roses
+of pearls and Tudor roses of red silk and pearls, all worked in the
+same way as the roses on the sides.
+
+The illustration I give of this binding (Frontispiece) is necessarily a
+restoration. But there is nothing added which was not originally on the
+book. Each pearl that has disappeared has left a little impress on the
+velvet, and so has each piece of gold cord which has been pulled off.
+The back is still existing; but bad though both sides and back now are,
+it is much better they should be in their present condition than that
+they should have been mended or replaced in parts by newer material.
+
+
+_Christian Prayers._ London, 1570.
+
+A simpler binding, but still one of great richness, covers a copy of
+_Christian Prayers_, printed in London in 1570.
+
+This is covered in crimson velvet, measuring 6 by 3-1/2 inches, and is
+worked largely with metal threads, mixed with coloured silks. In the
+centre is the crest of the family of Vaughan--a man's head with a snake
+round the neck. The crest rests on a fillet, and is enclosed in a
+twisted circle of gold with four coloured bosses. From the upper and
+lower extremities of this circle spring two flower forms in gold and
+silver guimp, with sprays issuing from them bearing strawberries, grape
+bunches, and leaves, in the upper half, and roses and leaves in the
+lower. The grapes are represented by rather large spangles, and the
+leaves, worked in gold, have a few strands of green silk in them; large
+spangles, kept down by a short piece of guimp, are used to fill in
+spaces here and there. This is the first instance of the use of spangles
+on a velvet book. The back is tastefully ornamented with gold cord
+arranged diamond-wise, and having in each diamond a flower worked in
+gold.
+
+
+Parker, _De antiquitate Ecclesiæ Britannicæ_. London, 1572.
+
+This is one of the embroidered books that belonged to Queen Elizabeth,
+and has been frequently illustrated and described. It is remarkable in
+other respects than for its binding, as it is one of a number of
+probably not more than twenty copies of a work by Matthew Parker,
+Archbishop of Canterbury, _De antiquitate Ecclesiæ Britannicæ_, printed
+for him by John Day in London, 1572. It was the first instance of a
+privately printed book being issued in England.
+
+[Illustration: 21--Parker, De antiquitate Ecclesiæ Britannicæ.
+London, 1572.]
+
+Archbishop Parker had a private press, and his books were printed with
+types cast at his own cost, John Day being sometimes employed as his
+workman. No two copies of this particular work are alike, and it is
+supposed that the Archbishop continually altered the sheets as they came
+from the press and had the changes effected at once. The book has two
+title-pages, each of which, as well as a leaf containing the arms of
+the Bishops in vellum, the ornamental borders, and coats-of-arms
+throughout the book, are emblazoned in gold and colours.
+
+The biographies of sixty-nine Archbishops are contained in the book, but
+not Parker's own. This omission was supplied afterwards by a little
+satirical tract published in 1574, entitled 'Histriola, a little storye
+of the actes and life of Matthew, now archbishop of Canterbury.'
+
+But the Archbishop not only had his printing done under his own roof,
+but also had in his house 'Paynters ... wryters, and Boke-binders,' so
+that it may fairly enough be considered that he bound the splendid copy
+of his great work which was intended for the Queen's acceptance, in a
+specially handsome manner, under his own direct supervision, and in
+accordance not only with his own taste but also with that of his royal
+mistress. The volume is a large one, measuring 10 by 7 inches, and is
+covered in dark green velvet. On both sides the design is a rebus on the
+name of Parker, representing in fact a Park within a high paling. The
+palings are represented as if lying flat, and are worked in gold cord
+with flat strips of silver, on yellow satin appliqué. There are gates
+and other small openings in the continuity of the line of palings. On
+the upper cover within the paling is a large rose-bush, bearing a large
+Tudor rose and two white roses in full bloom, with buds and leaves,
+some tendrils extending over the palings. The stalks are of silver twist
+edged with gold cord, the red flowers are worked with red silk and gold
+cord, the white ones made up with small strips of flat silver and gold
+cord. Detached flowers and tufts of grass grow about the rose-tree;
+among these are two purple and yellow pansies, Elizabeth's favourite
+flowers, and in each corner is a deer, one 'courant,' one 'passant,' one
+feeding, and one 'lodged.'
+
+The design fills the side of the book very fully, and the workmanship is
+everywhere excellent. This upper cover is much faded, as it has been for
+many years exposed to the light in one of the Binding show-cases in the
+King's Library at the British Museum.
+
+[Illustration: 22--The Epistles of St. Paul. London, 1578.
+(_From a drawing_).]
+
+The under side is much fresher, but the design not so elaborate. There
+is a similar paling to that on the other side, the 'Park' being dotted
+about with several plants, ferns, and tufts of grass. Near each corner
+is a deer, one feeding, one 'couchant,' one 'tripping,' and one
+'courant,' and one 'lodged' in the centre. There are also two snakes
+worked in silver thread with small colour patches in silk.
+
+The back is badly worn, but the original design can be easily traced
+upon it. There were five panels, in each of which is a small rose-tree,
+bearing one large flower, with leaves and buds, and tufts of grass. The
+first, third, and fifth of these are white Yorkist roses; the second and
+third are Tudor roses of white and red.
+
+
+_The Epistles of St. Paul._ London, 1578.
+
+If this book of Archbishop Parker's is one of the most elaborately
+ornamented embroidered books existing, and perhaps one of the greatest
+treasures of its kind in the British Museum, the next velvet book to
+describe is one of the simplest, yet it also is one of the greatest
+treasures of its kind at the Bodleian Library.
+
+It is a small copy of the Epistles of St. Paul, printed by Barker in
+London, 1578, and measuring 4-1/2 by 3-1/2 inches, and it belonged to
+Queen Elizabeth. Inside she has written a note in which she says: 'I
+walke manie times into the pleasant fieldes of the Holy Scriptures,
+where I plucke up the goodlie greene herbes of sentences by pruning,
+eate them by reading, chawe them by musing, and laie them up at length
+in the hie seat of memorie by gathering them together, so that having
+tasted thy swetenes I may the less perceive the bitterness of this
+miserable life.'
+
+The Rev. W. D. Macray, in the _Annals of the Bodleian Library_, says,
+'This belonged to Queen Elizabeth, and is bound in a covering worked by
+herself'; and the Countess of Wilton, in the _Art of Embroidery_, says,
+'The covering is done in needlework by the Queen herself.'
+
+It is also described by Dibdin in _Bibliomania_. He says, 'The covering
+is done in needlework by the Queen herself.'
+
+The black velvet binding is much worn, and has been badly repaired. The
+work upon it is all done in silver cord or guimp, and the designing, as
+well as the work, is such as may well have been done by the Queen.
+
+On both covers borders with legends in Latin, enclosed in lines of gold
+cord, run parallel to the edges. Beginning at the right-hand corners of
+each side, these legends read, 'Beatus qui divitias scripturæ legens
+verba vertit in opera--Celum Patria Scopus vitæ XPUS--Christus
+via--Christo vive.' In the centre of the upper side is a ribbon outlined
+in gold cord, with the words, 'Eleva sursum ibi ubi,' a heart being
+enclosed within the ribbon, and a long stem with a flower at the top
+passing through it. In the centre of the lower side a similar ribbon
+with the motto, 'Vicit omnia pertinax virtus,' encloses a daisy, a badge
+previously used by Henry VIII. and Edward VI., probably in memory of
+their ancestress, Margaret Beaufort. Both these inner scrolls have the
+initial letter E interwoven with them.
+
+[Illustration: 23--Christian Prayers, etc. London, 1584.]
+
+There is no doubt that the usual royal embroidered bindings of the
+time of Elizabeth were elaborately designed and richly worked, in
+decided contrast to this small book; and this difference of style makes
+it more probable that the Queen worked it herself.
+
+There is no resemblance between this book and the two canvas-bound books
+already described which are attributed to her, except the use of cord
+alone in the embroidery; but the difference of material might perhaps be
+considered sufficient to account for this. No real evidence seems to be
+forthcoming as to the authorship of the embroidered work, but there is
+no doubt that the book was a favourite one of Queen Elizabeth's, and if
+the needlework had been done for her by any of the ladies of her Court,
+it would be likely that she would have added a note to that effect to
+the words she has written inside.
+
+
+_Christian Prayers, etc._ London, 1584.
+
+A copy of _Christian Prayers_, with the Psalms, printed in London in
+1581 and 1584, is curiously bound in soft paper boards strengthened on
+the inner side with pieces of morocco and covered with pale tawny
+velvet. It measures 7-1/2 by 5-1/2 inches. The edges of the leaves are
+gilt and gauffred.
+
+The arrangement of the design is unusual. It starts from the centre of
+the back in the form of a broad ornamental border, extending towards
+the front edges along the lines of the boards. This border is
+handsomely ornamented by a wavy line of silver cords, filled out with
+conventional flowers and arabesques worked in gold and silver cords and
+threads, with a little bit of coloured silk here and there. A
+symmetrical design of flower forms and arabesques starts, on each board,
+from the centre of the inner edge of the border, and is worked in a
+similar way. Some of the leaves, however, have veinings marked by strips
+of flat silver, and others made by a flattened silver spiral, having the
+appearance of a succession of small rings. There are the remains of two
+pale orange silk ties on the front edges of each board, and the edges
+are gilt and gauffred with a little colour.
+
+The petals of the flowers are worked in guimp, whether gold or silver is
+difficult to say. Indeed in many instances of the older books it is
+difficult to be sure whether a metal cord or thread was originally
+gilded or not, as all these 'gold' threads are, or were, silver gilt, so
+that when worn the silver only remains. If the cord or thread has been
+protected in any corners, however, or if it can be lifted a little, the
+faint trace of gold can often be seen on what would otherwise have been
+surely put down as originally silver.
+
+[Illustration: 24--Orationis Dominicæ Explicatio, etc.
+Genevæ, 1583.]
+
+
+_Orationis Dominicæ Explicatio, etc._ Genevæ, 1583.
+
+There is in the British Museum a copy of _Orationis Dominicæ Explicatio,
+per Lambertum Danæum_, printed at Geneva in 1583, which belonged to
+Queen Elizabeth. It is bound in black velvet, measures 6-3/4 by 4-1/4
+inches, and is ornamented most tastefully, each side having an arabesque
+border in gold cord and silver guimp, enclosing a panel with a design of
+white and red roses, with stems and leaves worked in gold cord and
+silver guimp with a trifle of coloured silk on the red roses and on the
+small leaves showing between the petals. On the front edge are the
+remains of red and gold ties. The design of this charming little book is
+excellent, and the colour of it when new must have been very effective.
+The design is the same on both sides. The back is in bad condition, and
+is panelled with arabesques in gold and silver cord.
+
+
+_Bible._ London, 1583.
+
+The most decorative, and in many ways the finest, of all the remaining
+embroidered books of the time of Elizabeth is now at the Bodleian
+Library at Oxford. It is one of the 'Douce' Bibles, printed in London in
+1583, and probably bound about the same time. It was the property of the
+Queen herself, and is bound in crimson velvet, measuring 17 by 12
+inches. The design is the same on both sides, and consists of a very
+cleverly arranged scroll of six rose stems, bearing flowers, buds, and
+leaves springing from a large central rose, with four auxiliary scrolls
+crossing the corners and intertwining at their ends. The large rose in
+the centre as well as those near the corners are Tudor roses, the red
+shown in red silk and the white in silver guimp, both outlined with gold
+cord. Small green leaves are shown between each of the outer petals.
+These flowers are heavily and solidly worked in high relief. The smaller
+flowers are all of silver, the buds, some red, some white. The stems are
+of thick silver twist enclosed between finer gold cords, and the leaves
+show a little green silk among the gold cord with which they are
+outlined and veined. Immediately above and below the centre rose are two
+little T's worked in small pearls.
+
+[Illustration: 25--Bible. London, 1583.]
+
+The narrow border round the edges is very pretty; it is a wavy line of
+gold cord and green silk, the hollows within the curves being filled
+with alternate 'Pods' with pearls, and green leaves. The back is divided
+into four panels by wavy lines of gold cord and pearls, and the upper
+and lower panels have small rose-plants with white roses, buds, and
+leaves; the inner panels have each a large Tudor rose of red and white,
+with leaves and buds. The drawing and designing of this splendid book
+are admirable, and the workmanship is in every way excellent. Many of
+the pearls are gone, and some of the higher portions of the large roses
+are abraded, the back, as usual, being in a rather bad state; but in
+spite of all this, and the inevitable fading, the work remains in a
+sufficiently preserved condition to show that at this period the art
+of book-embroidery reached its highest decorative point. It is rather
+curious to note that Henry VIII. used the red Lancastrian rose
+by preference, but that on Elizabeth's books the white rose always
+appears, and I know of very few instances where the red rose appears on
+her books. Of course both sovereigns used the combined, double, or Tudor
+rose as well.
+
+[Illustration: 26--The Commonplaces of Peter Martyr.
+London, 1583.]
+
+
+_The Commonplaces of Peter Martyr._ London, 1583.
+
+An embroidered book designed in a manner which is characteristic of a
+gold tooled book is found but rarely. An instance of this however is
+found on a copy of _The Commonplaces of Peter Martyr_, translated by
+Anthonie Marten, and printed in London in 1583. It is covered in blue
+purple velvet measuring 13-1/2 by 9 inches, and the design upon it is a
+broad outer border doubly outlined with a curious and effective braid,
+apparently consisting of a close series of small silver rings, but
+really being only a silver spiral flattened out. This border is dotted
+at regular intervals with star-shaped clusters of small pieces of
+silver guimp symmetrically arranged. The centre of the inner panel is a
+diamond-shaped ornament made with similar 'ring' braid and small pieces
+of silver guimp, and the corner-pieces are quarter circles worked in the
+same way. This design of centre-piece and corner-pieces is distinctly
+borrowed from leather work, and I have never seen another example of the
+kind executed in needlework. The colouring of this book is very good,
+the purple and silver harmonising in a very pleasing manner.
+
+[Illustration: 27--Biblia. Antverpiæ, 1590.]
+
+
+_Biblia._ Antverpiæ, 1590.
+
+A beautiful binding of green velvet covers a Bible printed at Antwerp in
+1590, measuring 7 by 4 inches. The design is the same on both sides, and
+the book was apparently bound for 'T. G.,' whose initials are worked into
+the design; a conventional arrangement of curving stems and flower forms
+worked in gold cord, guimp, and small pearls thickly encrusted; the same
+on both boards. The centre is a large conventional flower, in form
+resembling a carnation, with serrated petals, having a garnet below it,
+and flanked by the letters T. G., all thickly worked with reed pearls. In
+each corner is a smaller flower--conventionalised forms probably of
+honeysuckle and rose--joined together by curving stems of gold cord,
+filled out with leaves and arabesques, all together forming a very
+decorative panel. The outer border is richly worked with leaves and
+arabesques in guimp and pearls, the outer line of gold cord being
+ornamented with small triple points marked with pearls. The back is
+divided into three spaces by curving lines of gold cord, and in each of
+these spaces is worked one of the same conventionalised flower forms as
+occur on the boards, _i.e._ a honeysuckle, cornflower, and rose, with
+leaves and smaller curves of gold cord.
+
+[Illustration: 28--Udall, Sermons. London, 1596. (_From a drawing_).]
+
+The ground of the entire work is freely ornamented with gilt spangles
+held down by small pieces of guimp, and with single pearls; the larger
+of these are enclosed within circles of guimp, the smaller are simply
+sewn on one by one.
+
+There are remains of gilt clasps on the front edges of each of the
+boards, and the edges of the leaves are gilt and gauffred, with a little
+pale colour.
+
+
+Udall, _Sermons_. London, 1596.
+
+A few specimens of embroidered books were exhibited at the Burlington
+Fine Arts Club in 1891. Among them was a charming velvet binding that
+belonged to Queen Elizabeth, lent by S. Sandars, Esq., and now in the
+University Library, Cambridge. It is a copy of Udall's _Sermons_,
+printed in London in 1596, and is covered in crimson velvet, measuring
+about 6 by 4 inches. The design is the same on each side, the royal
+coat-of-arms appliqué, with the initials E. R., and a double rose in each
+corner with stalks and leaves. The coat-of-arms is made up with pieces
+of blue and red satin, the bearings heavily worked with gold thread, and
+the ground also thickly studded with small straight pieces of guimp,
+doubtless put there to insure the greater flatness of the satin. The
+crown with which the coat-of-arms is ensigned is all worked in guimp,
+and is without the usual cap. The ornaments on the rim are only
+trefoils, and there are five arches.
+
+The initials flanking the coat are worked in guimp, as are the corner
+roses and leaves. The guimp used is apparently silver, and the cord used
+for the outlines and stems is gold. The back has a gold line down the
+middle and along the joints, with a wavy line of gold cord each side of
+it.
+
+[Illustration: 29--Collection of Sixteenth-Century Tracts.]
+
+
+_Collection of Sixteenth-Century Tracts._ Bound about 1610.
+
+To Henry, Prince of Wales, we owe a great debt of gratitude, as he was
+the first person of much consequence in our royal family to take any
+real interest in the Old Royal Library.
+
+Indeed it may be considered that the existence to-day of the splendid
+'Old Royal' Library of the kings of England, which was presented to
+the nation in 1759 by George II., is largely due to the
+attention drawn to its interest and value by Prince Henry, who moreover
+added considerably to it himself.
+
+This Prince used as his favourite and personal badge the beautiful
+design of three white ostrich feathers within a golden coronet, and with
+the motto 'ICH DIEN' on a blue ribbon. With regard to the
+origin of this badge there is unfortunately a good deal of obscurity.
+The usual explanation is that it was the helmet-crest of the blind king
+of Bohemia, who was killed at Crécy in 1346, and that in remembrance of
+this it was adopted by the Black Prince as his badge. But, as a matter
+of fact, the ostrich feather was used as a family badge by all the sons
+of Edward III. and their descendants. It appears to have been
+the cognisance of the province of Ostrevant, a district lying between
+Artois and Hainault, and the appanage of the eldest sons of the house of
+Hainault. In this way it may have been adopted by the family of Edward
+III. by right of his wife, Philippa of Hainault.
+
+An early notice of the ostrich feather as a royal badge occurs in a note
+in one of the Harleian MSS. to the effect that 'Henrye, son to
+the erle of Derby, fyrst duke of Lancaster, gave the red rose crowned,
+whose ancestors gave the fox tayle in his proper cooler, and the ostrych
+fether, the pen ermine,' the Henry here mentioned being the father of
+Blanche, wife of John of Gaunt.
+
+On the tomb of Prince Arthur, son of Henry VII., at Worcester,
+the feather is shown both singly and in plume, and it occurs in the
+triple plume form within a coronet and a scroll with the words 'ICH
+DIEN' upon it, on bindings made by Thomas Berthelet for Prince
+Edward, son of Henry VIII., who never was Prince of Wales.
+
+It really seems as if the first 'Prince of Wales' actually to use the
+ostrich feather plumes as a personal badge of that dignity was Prince
+Henry, and it occurs largely on such books belonging to his library as
+he had rebound, and also on books that were specially bound for
+presentation to him.
+
+This is the case in one of the most decorative bindings he possessed,
+enclosing a collection of tracts originally the property of Henry
+VIII., but which somehow or other became the property of
+Magdalen College, Cambridge, the governing body of which had it bound in
+embroidered velvet and presented to Prince Henry.
+
+[Illustration: 30--Bacon, Opera. Londini, 1623.]
+
+The cover is of crimson velvet, the edges of which extend freely beyond
+the edges of the book, bound all round with a fringe of gold cord. It
+measures about 8 by 6 inches. The design is the same on each side. In
+the centre is a large triple plume of ostrich feathers, thickly and
+beautifully worked in small pearls, within a golden coronet, and having
+below them the motto 'ICH DIEN' in gold upon a blue silk
+ribbon.
+
+The badge is enclosed in a rectangular panel of gold cords, in each
+corner of which is an ornamental spray of gold cords, guimp, and a
+flower in pearls. A broad border with a richly designed arabesque of
+gold guimp or cord, with pearl flowers, encloses the central panel. The
+design is filled in freely with small pearls enclosed in guimp circles
+and small pearls alone.
+
+The back has an ornamental design in gold cord and guimp. This cover is
+a beautiful specimen of later decorative work on velvet, and the general
+effect is extremely rich, the design and workmanship being equally well
+chosen as regards the materials to which they are applied, and with
+which they are worked.
+
+
+Bacon, _Opera_. Londini, 1623.
+
+A copy of the works of Francis Bacon, Viscount St. Albans, printed in
+London in 1623, is bound in rich purple velvet, and measures 13-1/4 by
+8-3/4 inches. The design is a central panel with arabesque centre and
+corners, surrounded by a deep border of close curves and arabesques, all
+worked in gold cord and guimp. There are several gold spangles used,
+kept down by a small piece of gold guimp. The front edges of each board
+have only the marks left where two ties originally were, and the edges
+of the book are simply gilt.
+
+[Illustration: 31--Bacon, Essays. 1625.]
+
+
+Bacon, _Essays_. 1625.
+
+A copy of another work by the same author, the Essays printed in 1625,
+was given by him to the Duke of Buckingham, and is now at the Bodleian
+Library at Oxford. It is bound in dark green velvet, measuring about 7
+by 5 inches, the same design being embroidered on each side. In the
+centre is a small panel portrait of the Duke of Buckingham, with short
+beard, and wearing the ribbon of the Garter. The portrait is mostly
+worked with straight perpendicular stitches, except the hair and collar,
+in which the stitches are differently arranged. The background merges
+from nearly white just round the head to pink at the outer edge; the
+coat is brownish. The framework of the portrait is solidly worked in
+gold braids and silver guimp in relief, the design being of an
+architectural character. Two columns, with floral capitals and
+pediments, spring from a scroll-work base and support what may perhaps
+be intended for a gothic arch with crockets. Immediately above the crown
+of the arch is a ducal coronet, and a handsome border of elaborate
+arabesques reaching far inwards is worked all round the edges. The
+outlines of these arabesques, the stalks and curves, are all worked in
+gold cords, the petals and leaves in silver guimp in relief. The back
+is divided into eight panels by gold and silver cords, and in each of
+these panels is a four-petalled flower with small circles. There are
+several gilt spangles kept down by a small piece of guimp.
+
+[Illustration: 32--Common Prayer. London, 1638.]
+
+
+_Common Prayer._ London, 1638.
+
+Among the few older royal books in the library at Windsor Castle is an
+embroidered one that belonged to Prince Charles, afterwards Charles
+II. It is a copy of the _Book of Common Prayer_, printed in
+London in 1638, and is bound in blue velvet with embroidered work in
+gold cord and silver guimp, similar in character to that on the copy of
+Bacon's _Essays_ just described. It measures 8 by 6 inches. The design
+is heraldic. In the centre is the triple plume of the Prince of Wales,
+with coronet and label, no motto being apparent on the latter. The plume
+is encircled by the Garter appliqué, on pale blue silk, the motto,
+worked in silver cord, being nearly worn off. Resting on the top of the
+Garter is a large princely coronet, flanking which are the letters
+'C. P.' In the lower corners are a thistle and a rose. A broad border
+with arabesques encloses the central panel. This book was exhibited by
+Her Majesty at the Burlington Fine Arts Club in 1891. It is in very bad
+condition, which is curious, as it is not so very old, and as it is
+still among the royal possessions it might well have been imagined that
+it would have been better preserved than other and older books of a like
+kind which we know have been considerably moved about. The colour is
+however very charming still, and books have rarely been bound in blue
+velvet, black, green, or crimson being most usual.
+
+After 1649, or thereabouts, there was a full stop for a time to any art
+production in the matter of bookbinding. Indeed, for the embroidered
+books as a class that is the end, but nevertheless a few examples are
+found at a later date, but no regular production and no original
+designs.
+
+[Illustration: 33--Bible. Cambridge, 1674.]
+
+
+_Bible._ Cambridge, 1674.
+
+A large Bible printed at Cambridge in 1674, in two volumes, was bound in
+crimson velvet for James II., presumably about 1685. The work
+upon it, each volume being the same, is of a showy character, good and
+strong, but utterly wanting in any of the artistic qualities either of
+design or execution which characterised so many of the earlier examples.
+In the centre are the initials 'J. R.' surmounted by a royal crown,
+heavily worked in gold braid, guimp, and some coloured silks. Enclosing
+the initials and crown are scrolls in thick gold twist; these again are
+surrounded by a curving ribbon of gold, intertwined with roses and
+leafy sprays. In each corner is a silver-faced cherub with beads for
+eyes and gold wings, and at the top a small blue cloud with sun rays,
+tears dropping from it. There are two broad silk ties to the front of
+each board, heavily fringed with gold.
+
+The back is divided into nine panels, each containing an arabesque
+ornament worked in gold cord and thread, the first and last panels being
+larger than the others and containing a more elaborate design. The edges
+of the leaves are simply gilt, and the boards measure 18 by 12 inches
+each, the largest size of any embroidered book known to me.
+
+
+
+
+CHAPTER IV
+
+BOOKS BOUND IN SATIN
+
+
+_Collection of Sixteenth-Century Tracts._ Bound probably about 1536.
+
+[Illustration: 34--Collection of Sixteenth-Century Tracts.]
+
+Perhaps the earliest existing English book bound in satin is a
+collection of sixteenth-century tracts that belonged to Henry
+VIII., and is now part of the Old Royal Library in the British
+Museum. It is covered in red satin, measures 12 by 8 inches, and is
+embroidered in an arabesque design, outlined with gold cord. On the
+edges the words 'Rex in aeternum vive Neez' are written in gold. The
+word 'Neez' or 'Nez,' as it is sometimes spelt, may mean Nebuchadnezzar,
+as the other words were addressed to him. On books bound in leather by
+Thomas Berthelet, royal binder to Henry VIII. and his immediate
+successors, the motto often occurs, and as he is known to have bound
+books in 'crymosyn satin,' this is most likely his work. The pattern is
+worked irregularly all round the boards, and a sort of arabesque bridge
+crosses the centres. The back is new, and of leather, but the boards
+themselves are the original ones, and the embroidery is in a very fair
+condition.
+
+[Illustration: 35--New Testament in Greek. Leyden, 1570.]
+
+
+_New Testament in Greek._ Leyden, 1576.
+
+If early bindings in satin are rare, still rarer is the use of silk. One
+example worked on white ribbed silk still remains that belonged to Queen
+Elizabeth. It measures 4-3/4 by 2-3/4 inches, and in its time was no
+doubt a very decorative and interesting piece of work, but it is now in
+a very dilapidated state, largely due to improper repairing. The book
+has actually been rebound in leather, and the old embroidered sides
+stuck on. So it must be remembered that my illustration of it is
+considerably restored. The design, alike on both sides, is all outlined
+with gold cords and twists of different kinds and thicknesses, and the
+colour is added in water-colours on the silk. In the centre is the royal
+coat-of-arms within an oval garter ensigned with a royal crown, in the
+adornment of which a few seed pearls are used, as they are also on the
+ends of the garter.
+
+Enclosing the coat-of-arms is an ornamental border of straight lines and
+curves, worked with a thick gold twist, intertwined with graceful sprays
+of double and single roses, outlined in gold and coloured red, with buds
+and leaves. A few symmetrical arabesques, similarly outlined and
+coloured, fill in some of the remaining spaces. The work on this book, a
+_New Testament in Greek_, printed at Leyden in 1576, is like no other;
+but the general idea of the design, rose-sprays cleverly intertwined, is
+one that may be considered characteristic of the Elizabethan embroidered
+books, as it frequently occurs on them. The use of water-colour with
+embroidery is very rare, and it is never found on any but silk or satin
+bindings, generally as an adjunct in support of coloured-silk work over
+it, but in this single instance it is used alone.
+
+
+_Seventeenth-Century Embroidered Books._
+
+The books described hitherto have been specimens of rare early
+instances, but in the seventeenth century there is a very large field to
+choose from. Small books, mostly religious works, were bound in satin
+from the beginning of the century until the time of the Commonwealth in
+considerable numbers; so much so, in fact, that their value depends not
+so much upon their designs or workmanship as upon their condition.
+
+It is generally considered that embroidered books are extremely
+delicate, but this is not so; they will stand far more wear than would
+be imagined from their frail appearance. The embroidered work actually
+protects the satin, and such signs of wear as are visible are often
+found rather in the satin itself, where unprotected, than in the work
+upon it. In many cases a peculiar appearance, which is often mistaken
+for wear, is seen in the case of representations of insects,
+caterpillars, or butterflies particularly. These creatures, or parts of
+them, appear to consist only of slight stitches of plain thread,
+suggesting either that the work has never been finished, or else that
+the finished portions have worn away. The real fact is, however, that
+these places have been originally worked with small bright pieces of
+peacock's feather, which have either tumbled out or been eaten away by
+minute insects, a fate to which it is well known peacocks' feathers are
+particularly liable.
+
+The late Lady Charlotte Schreiber, who was a great collector of pieces
+of old embroidery, among a host of other curious things possessed the
+only perfect instance of work of this kind of the seventeenth century I
+have ever been fortunate enough to find. It was a very realistic
+caterpillar, closely and completely worked with very small pieces of
+peacocks' feathers, sewn on with small stitches, quite confirming the
+opinion I had already formed as to the original filling in of the usual
+'bald' spaces representing such objects.
+
+
+_Bible._ London, 1619.
+
+A copy of a Bible, printed in London in 1619, is bound in white satin,
+and measures 6 by 3-1/2 inches. On each side is an emblematic figure
+enclosed in an oval; the figures are different, but their surroundings
+are alike. On the upper side a lady holding a palm branch in her right
+hand is worked in shading-stitch. She is full length, and wears an
+orange skirt with purple robe over it confined by a blue belt, and over
+her shoulders a pink jacket--all these garments are outlined by a gold
+cord. Her fair hair is covered by an ornamental cap of red and gold, and
+her feet are bare.
+
+The ground is worked with coloured silks and threads of fine wire
+closely twisted round with coloured silks, and the sky, painted in
+gradations of pink in water-colours, is worked sparsely with long
+stitches of blue silk.
+
+[Illustration: 36--Bible. London, 1619.]
+
+The lower side shows a female figure worked in a similar way; in this
+case she bears in her right hand some kind of wand or spray, which has
+nearly worn off, and in her left a bunch of corn or grapes, or something
+of that kind which has also badly worn away. If the first figure may be
+considered to represent Peace, this one may perhaps be Plenty. She wears
+a deep purplish skirt, with full over-garment and body of the same
+colour, with an under-jacket of white and gold. On her dark hair she has
+a blue flower with red leaves. Her feet are bare. The ground and sky are
+both worked in the same way as the other side. Both figures are
+enclosed in a flat oval border of gold thread, broad at the top and
+narrowing towards the foot. In the corners are symmetrical arabesques
+thickly worked in gold, and within the larger spaces in each
+corner-piece are the 'remains' of feathered caterpillars, now skeleton
+forms of threads only. The back of the book is particularly good, and
+most beautifully worked. It is divided into five panels, within each of
+which is a conventional flower, a cornflower alternating with a
+carnation, and the colours of all of these are marvellously fresh and
+effective. Among embroidered panelled backs it is probably the finest
+specimen existing.
+
+[Illustration: 37--Emblemes Chrestiens. MS 1624.]
+
+
+_Emblemes Chrestiens_, par Georgette de Montenay. MS. à
+Lislebourg. [Edinburgh] 1624.
+
+Charles I., when he was Prince of Wales, often used the
+book-stamps that had been cut for his brother Henry, and he also
+particularly liked the triple plume of ostrich feathers. It occurs, as
+has been shown, on one of Prince Henry's velvet-bound books, and it
+forms the central design on the satin binding of an exquisite manuscript
+written by Esther Inglis, a celebrated calligraphist, who lived in the
+seventeenth century. It is a copy of the _Emblemes Chrestiens_, by
+Georgette de Montenay, dedicated to Prince Charles, covered in red satin
+embroidered with gold and silver threads, cords, and guimp, with a few
+pearls, measuring 11-1/4 by 7-3/4 inches. In the centre is the triple
+ostrich plume within a coronet, enclosed in an oval wreath of laurel
+tied with a tasselled knot. A rectangular border closely filled with
+arabesques runs parallel to the edges of the boards, and there is a
+fleuron at each of the inner corners. In all cases the design is
+outlined in gold cord, and the thick parts of the design are worked in
+silver guimp. There are several spangles, and on the rim of the coronet
+are three pearls.
+
+
+_New Testament._ London, 1625.
+
+One of the most curious embroidered satin bindings still left is now in
+the Bodleian Library, and a slightly absurd tradition about it says that
+the figure of David, which certainly is something like Charles
+I., is clothed in a piece of a waistcoat that belonged to that king.
+
+[Illustration: 38--New Testament. London, 1625.]
+
+It is a New Testament, printed in London in 1625, and covered in white
+satin, with a different design embroidered on each side. It measures
+4-1/2 by 3-1/2 inches. On the upper board is David with a harp. He wears
+a long red cloak lined with ermine, with a white collar, an
+under-garment of pale brown, and high boots with spur-straps and red
+tops. On his head is a royal crown of gold with red cap, and he is
+playing upon a golden harp. The face of this figure resembles that of
+Charles I. The red cloak is worked in needlepoint lace, and is
+in deep folds in high relief. These folds are actually modelled in waxed
+paper, the needlework being stretched over them, and probably fixed on
+by a gentle heat. The other parts of the dress are worked in the same
+way, but without the waxed paper, and the edges of the garments are in
+some places marked with what might be called a metal fringe, made in a
+small recurring pattern.
+
+David is standing upon a grass plot, represented by small arches of
+green purl, and before him is sitting a small dog with a blue collar.
+Above the dog is a small yellow and black pansy, then a large blue
+'lace' butterfly, on a chenille patch, and a brown flying bird. Behind
+David there is a tall conventional lily and a flying bird. The sky is
+overcast with heavy clouds of red and blue, but a golden sun with tinsel
+rays is showing under the larger of them. On the lower board is a
+representation of Abraham about to sacrifice Isaac. Abraham is dressed
+in a red under-garment on waxed paper, in heavy folds with a belt and
+edge of stamped-out metal, a blue flowing cape and high boots, all
+worked in needlepoint lace in coloured silks.
+
+In his right hand he holds a sword, and his tall black hat is on the
+ground beside him. On the ground towards the left is Isaac in an
+attitude of prayer, his hands crossed, with two sheaves of firewood. He
+wears a red coat with a small blue cape. The ground is green and brown
+chenille. Above Isaac is a gourd, and above this a silver ram caught in
+a bush, on a patch of grass indicated by green purl. The sky is occupied
+by a large cloud, out of which leans an angel with wings, the hands
+outstretched and restraining Abraham's sword.
+
+On the back are four panels, containing respectively from the top a
+butterfly, a rose, a bird, and a yellow tulip, all worked in needlepoint
+and appliqué. The pieces that are in high relief all over the book are
+edged with gold twist, and have moreover their counterparts under them
+closely fastened down to the satin. There are several gold spangles in
+the various spaces between the designs; the whole is edged with a strong
+silver braid, and there are two clasps with silver attachments.
+
+Considering the high relief in which much of this work is done, the
+binding is in wonderful preservation, but many of the colours are badly
+faded, as it has been exposed to the action of light in one of the
+show-cases for many years. Although no doubt it is advisable to expose
+many treasures in this way, it must be admitted that in the case of
+embroidered books it is frequently, if not always, a cause of rapid
+deterioration, so much so that I should almost think in these days of
+good chromo-printing it would be worth the while of the ruling powers of
+our great museums to consider whether it would not be wiser to exhibit
+good colour prints to the light and keep the precious originals in safe
+obscurity, to be brought out, of course, if required by students.
+
+[Illustration: 39--New Testament and Psalms. London, 1630.]
+
+
+_New Testament and Psalms._ London, 1630.
+
+Several small English books of the seventeenth century were bound
+'double,' _i.e._ two volumes side by side, so as to open different ways
+(compare p. 38). Each of the books, which are always of the same size,
+has a back and one board to itself, the other board, between them, being
+common to both. As already stated, this form of book occurs rarely in
+canvas bindings, and it is of commoner occurrence in satin.
+
+A design which is frequently met with is well shown in the case of a
+double specimen containing the New Testament and the Psalms, printed in
+London in 1630, and covered in white satin, measuring 4-1/4 by 2 inches,
+the ornamentation being the same on both sides. In the centre, in an
+oval, is a delicately worked iris of many colours in feather-stitch, the
+petals edged with fine silver cord. The oval is marked by a silver cord,
+beyond which are ornamental arabesques outlined in cord and filled in
+solidly, in high relief, with silver thread.
+
+The backs are divided into five panels, containing alternately flowers
+in red, blue, and green silks, and star shapes in silver thread in high
+relief. Silver spangles have been freely used, but most of them have now
+gone; the edges of the leaves are gilt and gauffred in a simple dotted
+pattern. To the middle of the front edge of one of the boards is
+attached a long green ribbon of silk which wraps round both volumes.
+
+
+Henshaw, _Horæ Successivæ_. London, 1632.
+
+[Illustration: 40--Henshaw, Horæ Successivæ. London, 1632.]
+
+Henshaw's _Horæ Successivæ_, printed in London in 1632, is bound in
+white satin, and measures 4-1/2 by 2 inches. It is very delicately and
+prettily worked in a floral design, the same on both sides, and is
+remarkable for its simplicity--a flower with stalk and leaves in the
+centre, one in each corner, and an insect in the spaces between them.
+The centre flower is a carnation, round it are pansy, rose, cornflower,
+and strawberry, while between them are a caterpillar, snail, butterfly,
+and moth. All of these are delicately worked in feather-stitch in the
+proper colours, and edged all round with fine gold cord; the stalks are
+of the same cord used double. On the strawberries there is some fine
+knotted work.
+
+The back is divided into four panels, containing a cornflower, rose,
+pansy, and strawberry, worked exactly in the same way as their
+prototypes on the sides. There were several gold spangles on sides and
+back, but many of them have been broken off, and on the front edges of
+each board are the remains of pale green ties of silk.
+
+[Illustration: 41--Psalms. London, 1633.]
+
+
+_Psalms._ London, 1633.
+
+A copy of the Psalms, printed in London in 1633, is bound in white
+satin, embroidered in coloured silks worked in satin-stitch, and
+measures 3 by 2 inches. On the upper board is a gentleman dressed in the
+style of the period, with trunk hose of red and yellow, a short jacket
+of the same colouring, and a long, reddish cape. He has a broad-brimmed
+hat with coloured feathers, a large white collar, and a sword in his
+right hand. Near him is a beetle, and in the sky a blue cloud, and he is
+standing upon a grass mound. On the lower board is the figure of a lady
+in a deep pink dress, with white collar and cap. She holds a tall red
+lily in her right hand, and in the upper left-hand corner is a small
+cloud under which the sun is just appearing, and in the lower corner is
+a small flower. The lady is standing upon a small green mound. The
+outlines of both figures, as well as the inner divisions between the
+various garments, are marked with a gold or silver thread.
+
+The back is divided into four panels, in which are a fly, a rose, a
+larger fly, and a blue flower. The outlines and legs of both the insects
+were marked originally with small pieces of peacocks' feathers, but the
+upper fly has lost most of these; the lower one, however, more
+ornamental, shows them clearly, and has the thorax still in excellent
+preservation, glittering with little points of green and gold. There is
+one broad ribbon of striped silk attached to the lower board.
+
+This little book, which is in a wonderful state of preservation, has
+been always kept in the beautiful embroidered bag which I have described
+already on p. 16.
+
+
+_Psalms._ London, 1635.
+
+One of the most finely embroidered bindings existing on satin occurs on
+a small copy of the Psalms, printed in London in 1635, and measuring
+3-1/2 by 3 inches. The design is one which has been repeated in other
+sizes with small differences. There is a larger specimen at the
+Bodleian, but the British Museum example is the finer altogether.
+
+[Illustration: 42--Psalms. London, 1635.]
+
+On each side there is an oval containing an elaborate design most
+delicately worked in feather-stitch, the edges and outlines marked with
+very fine gold twist. On the upper board there is a seated allegorical
+figure with cornucopia, probably representing Plenty. Behind her is an
+ornamental landscape with a piece of water, the bright lines of which
+are feelingly rendered with small stitches of silver thread, hills with
+trees, and a castle in the distance. The other side has a similarly
+worked figure of Peace, a seated figure holding a palm branch; the
+landscape is of a similar character to that on the upper board, but the
+river or lake has a bridge over it. The work itself is of the same very
+delicate kind, the edges and folds of the dress being marked with fine
+gold twist.
+
+Each of these ovals is marked by a solid framework with scrolls,
+strongly made with silver threads, and in high relief; in each corner is
+a very finely worked flower or fruit, pansy, strawberry, tulip, and
+lily. The back is divided into four panels, a very decorative
+conventional flower being worked in each, representing probably a red
+lily, a tulip, a blue and yellow iris, and a daffodil. The edges of the
+boards are bound with a broad silver braid, the edges of the leaves are
+gilded and prettily gauffred, and there are remains of four silver ties.
+
+
+_Psalms._ London, 1633.
+
+There is often much speculation as to who can have worked the English
+embroidered books, and it is very rarely that any reliable information
+on this interesting point is available.
+
+There is, however, a manuscript note in a copy of the Psalms, printed in
+1633 and bound in embroidered white satin, that the work upon it was
+done by 'Elizabeth, wife of Matthew Wren, Bishop of Ely,' who was an
+uncle of the architect. The volume still belongs to a member of the
+family, Dr. W. T. Law of Portland Place, who has most kindly allowed me
+to give an illustration of this beautiful book. It measures 4 by 3
+inches. The design is different in details on each board, the central
+design, however, being in each case contained within a strongly worked
+gold border in high relief, widening out at each extremity into a
+crownlike form, and richly augmented at intervals with clusters of seed
+pearls. On the upper board within the oval is a double rose with curving
+stem, leaves, and a bud; the petals are worked in needlepoint, with fine
+gold twist at the edges, and a cluster of pearls in the centre. In the
+upper corners are a butterfly, with needlepoint wings, and a bird, with
+needlepoint wing and tail. In the lower corners are a unicorn and an
+antlered stag, both recumbent, and in high relief.
+
+[Illustration: 43--Psalms. London, 1633.]
+
+On the lower board within the oval is a vine, with curving stem and two
+large grape clusters, tendrils, and leaves, growing from a small green
+mound. The edges of the petals are bound with a fine gold twist, as are
+also the edges and outlines of the leaves, and most of these parts are
+worked in coloured silks, mixed with fine metal threads, in needlepoint
+lace-stitch.
+
+A few hazel-nuts are scattered about outside the gold oval, and in each
+corner is a further ornamentation: a reddish butterfly with wings of
+needlepoint lace in relief and edged with a gold cord, a green parrot
+with red wings and tail, are in the two top corners, and in the two
+lower are a rabbit and a dog, each on a small green ground. Innumerable
+gold spangles are all over the sides and back, each kept in place by a
+small pearl stitched through.
+
+The back is divided into five panels, by rows of pearls, and a
+conventional flower is in each, except the centre one which has an
+insect. These are all worked in needlepoint and edged with gold twist,
+the stems of some of them strongly made by a kind of braid of gold
+cords.
+
+This little book is certainly one of the most ornamental specimens of
+any of the smaller satin-bound books of the seventeenth century, and
+although here and there some of the pearls are gone, altogether it is in
+very good condition, and it is rarely that such a fine example can now
+be met with in private hands.
+
+
+_Bible._ London, 1638.
+
+[Illustration: 44--Bible. London, 1638.]
+
+Several of the embroidered books on satin are worked chiefly in metal
+threads, and the designs on such books are not as a rule good. Whether
+the knowledge that the work was to be executed in strong threads has
+hampered the designer or not cannot be said, but certainly there is
+often a tinselly effect about these bindings that is not altogether
+pleasing.
+
+In the case of a Bible printed in London in 1638, bound in white satin,
+and measuring 6 by 3 inches, one of the chief ornaments is a cherub's
+head, the face in silver and the hair and wings in gold. The working of
+this head and wings seems to me wrong. The face is, possibly enough, as
+well done as the material would allow, but the hair is made in small
+curls of gold thread, and the feathers of the wings are rendered in a
+naturalistic way with pieces of flat gold braid. This kind of realism is
+out of place in embroidery, and it is unfortunately characteristic of
+the English embroidered work of about this period, occurring generally
+on boxes, mirror frames, or the like, but only rarely on book-covers.
+The design is the same on both sides; a narrow arch of thick gold cord
+reaches about three-quarters up the side, and interwoven with it is a
+kind of cusped oval, with leaves, reaching up to the top of the book.
+The lower half of the arch is enclosed in a rectangular band of silver
+threads, broad and kept in place by transverse bars at regular
+intervals, and beyond it another row, made of patches of red and blue
+silk alternately. In the lower part of the oval is a ground of green
+silk, on which grow two double roses made of red purl. In the space
+enclosed between the top of the arch and the lower point of the oval
+is a bird worked in high relief in gold with a touch of red silk on
+his wings. Over the bird is a blue cloud, heavily worked in blue silk,
+and beneath is a small grass plot. The cherub's head already described
+is in the space between the top of the arch and the upper extremity of
+the oval; it is flanked by two small red purl roses. The two upper
+corners have undulating clouds in blue silk, and a red and yellow purl
+rose between them. There are several gold spangles all about, and
+innumerable small pieces of coloured purl.
+
+The back is divided into four panels, in which are, alternately, a
+rose-tree on which are two red roses with yellow centres and green
+leaves, growing from a grass plot, and a blue rose with yellow centre
+and green leaves under a red cloud with silver rays. There are several
+spangles and some small pieces of coloured purl scattered about in the
+spaces.
+
+The book is in excellent condition, owing, no doubt, to the fact that
+most of it is in metal, but it is representative of the lowest level to
+which the art of the embroidered book in England has ever fallen.
+
+
+_Psalms._ London, 1639.
+
+A charming little piece of delicate workmanship occurs in a copy of the
+Psalms, printed in London in 1639, and bound in white satin. It measures
+3 by 2 inches. The design on each side is the same, but the work is
+slightly different. A tall rose-tree, with gold stem, grows from a small
+chenille base, the rose petals beautifully worked in the finest of
+stitches, as well as the leaves, all of which are outlined with fine
+gold thread. From the lower branches of the rose-tree hang on one side a
+violet, and on the other a pansy, each worked in the same way as the
+rose, and edged with fine gold thread. The back is divided into four
+panels, containing respectively a cornflower, a pomegranate, a fruit,
+perhaps meant for an apple, and a honeysuckle, all conventionally
+treated and very delicately worked. The edge is bound all round with a
+strong braid, and there is one tie of broad, cherry-silk ribbon. With
+this book is its canvas bag, embroidered in silver ground with
+coloured-silk flowers and tassels of silver, the general design and
+workmanship of which nearly resembles that of the finer bag already
+described at page 16. The silver has turned nearly black, as is usually
+the case with these bags.
+
+[Illustration: 45--Psalms. London, 1639.]
+
+[Illustration: 46--The Way to True Happiness. London, 1639.]
+
+
+_The Way to True Happiness._ London, 1639.
+
+A copy of _The Way to True Happiness_. printed in London in 1639, is
+bound in white satin, and embroidered with figures of David and a Queen.
+It is a little larger than the majority of the satin-embroidered books,
+measuring 7 by 4-1/2 inches, and is, for its time, a very fine specimen.
+Both figures stand under an archway with columns, all worked heavily in
+silver cord, guimp, and thread. The columns have ornamental capitals and
+a spiral running round their shafts, and the upper edge of the arch is
+ornamented with crockets of a peculiar shape. Within this archway, on
+the upper cover, is a full-length figure of a Queen, finely worked in
+split-stitch with coloured silks. She wears a red dress with long,
+falling sleeves, a purple body and gold collar. On her head is a golden
+crown, with six points. She carries, in her left hand, a golden sceptre,
+and has also a golden belt. The outlines are everywhere marked either
+with a gold or silver twist. On the ground, which is in small hillocks,
+grow a strawberry and two other small plants; a snail is also shown.
+Scattered about the field are a 'skeleton' caterpillar--at one time
+probably filled in with peacocks' feathers,--a conventional lily, a
+butterfly, and the sun, with rays, just appearing from under a cloud. In
+the two upper corners are flowers, a pansy and another, and smaller ones
+down each side.
+
+On the lower board, within the arch, is a figure of David. He wears a
+short tunic of orange and silver, with vandyked edge, and a short skirt
+of blue and silver, with a long cloak of cream, pink, and silver,
+clasped with a silver brooch; on his head he wears a silver crown, with
+a red cap and green and red feathers; on his feet are brown, high boots.
+In his left hand is a silver harp of ornamental pattern, and in his
+right a silver sceptre with a little gold about it. The ground, in
+hillocks, has a few small flowers growing upon it, and a large tulip is
+just in front of the King; on the field are also a moth and a snail. At
+the top is a blue cloud. The upper corners have a red and yellow tulip
+and a pansy with bud in them, and smaller flowers are worked down each
+side. The back is very tastefully ornamented with an undulating scroll
+of gold cord, widening out here and there into conventional leaves of
+gold guimp in relief. On this scroll are sitting three birds, and there
+are also a bunch of grapes, a tulip, daffodil, and other flowers with
+leaves, conventionally treated, all worked in coloured silks.
+
+There are the remains of two red and yellow silk ties on the front edges
+of each board, and the edges of the leaves are gilded and gauffred. With
+this book is a canvas bag, simply ornamented with a design worked in red
+silk.
+
+[Illustration: 47--New Testament. London, 1640.]
+
+
+_New Testament._ London, 1640.
+
+The curious little New Testament of 1625, now at Oxford, which I have
+already described, is perhaps the earliest example left on which
+needlepoint lace in coloured silks is much employed.
+
+It occurs again largely on another small New Testament, printed in 1640,
+bound in white satin, measuring 4-1/2 by 2-1/4 inches; now in the
+British Museum. In this case the artist has not attempted the difficult
+task of producing a satisfactory figure in needlework, but has very
+properly limited her skill to the reproduction of flower and animal
+forms. On the upper cover is a spray of columbine, the petals of which,
+pink and blue, are each worked separately in needlepoint lace stitch,
+and afterwards tacked on to a central rib. The stalks and leaves of this
+spray are also worked in needlepoint, and on the top sits a bullfinch,
+worked in many colours in the same way, but fastened down close to the
+satin all round. In the corners are a beetle, a nondescript flower, a
+bud, and a butterfly with coloured wings in needlepoint, with replicas
+of them closely appliqués just underneath, on the satin. On the lower
+board is a spray of a five-petalled blue flower, the petals of which
+were originally worked in needlepoint and fastened on a central rib, but
+they have now all gone except two, leaving the rib of thick pink braid.
+The supporting replicas underneath are, however, perfect, showing what
+the original upper petals were like. This spray has two leaves,
+exquisitely worked in needlepoint, and fastened by a stitch at one end,
+with the usual flat replicas underneath them, and there is also a bud.
+The stem is a piece of green braid. Above the spray is a parrot in
+needlepoint, most of him fastened down round the edges, but his wings
+and tail left free. In the upper corner are two strawberries, and in the
+lower a butterfly, with coloured wings, left free in needlepoint. There
+are also two caterpillars on this side.
+
+On the back are three large flowers heavily worked in silk and metal
+threads, in needlepoint, and appliqués--a pansy, lily, and rose, with
+stalks of green braid. The boards are edged all round with a gold braid,
+and there are two green silk ties on each for the front edges. There are
+several gold spangles all about, but many more have gone. The work on
+both boards is very delicate, but that on the back is curiously coarse.
+Such imitative work as the needlepoint, which is perhaps seen at its
+best in the columbine, and the leaves on this book, is at all times a
+dangerous thing to use, except when it is only used as appliqué, as in
+the beautiful cover belonging to this book, which I have described on
+page 18, and the work on which is very likely by the same skilled hand
+as that on the book. I believe this use of the needlepoint, or
+button-hole stitch, is only found in English work; it is exactly the same
+as is used on the old Venetian and other so-called 'point' laces, but
+executed in fine-coloured silk instead of linen thread, and without
+open spaces.
+
+[Illustration: 48--Psalms. London, 1641.]
+
+
+_Psalms._ London, 1641.
+
+Nicholas Ferrar's establishment at Little Gidding in Huntingdonshire is
+often credited with having produced embroidered books, but there is
+really no authority for the belief. All the authentic bindings which
+came from Little Gidding have technical shortcomings from a bookbinding
+point of view, none of which are found on any embroidered books.
+
+In the _History of the Worthies of England_, by Thomas Fuller, there is
+a short note about Little Gidding, and he says about the ladies there
+that 'their own needles were emploied in learned and pious work to binde
+Bibles.' This note and the mention of needles may have perhaps given the
+start to the belief that embroidered work was intended, but in all
+probability it only refers to the sewing of the leaves of the books upon
+the bands of the back, which is done with needle and thread. Moreover,
+the ladies of Little Gidding did actually sew the backs of their books
+in a needlessly elaborate way, putting in ten or twelve bands where
+three or four would have been ample. I also think that if embroidery had
+been intended by the sentence above quoted, it would have been more
+clearly mentioned. To 'emploie needles to bind Bibles' is hardly the
+description one would expect if the meaning was that when bound the
+Bibles were covered in embroidered work; but it may be safely
+interpreted as it is written, the sewing being a most important part of
+a bookbinding, and one likely to be much thought of by amateur binders,
+as the nieces of Nicholas Ferrar were.
+
+The attribution of embroidered bindings to Little Gidding may also have
+been strengthened by the fact that many of the bindings made there are
+in velvet, the ornamentation on which, though it is actually stamped in
+gold and silver, does to some extent suggest embroidery. Indeed, I have
+myself heard the remark, on showing one of these books, 'Oh, yes!
+Embroidery.'
+
+Again, a peculiarity of the Little Gidding books is, generally, their
+large size, whereas the embroidered books, especially the satin ones,
+are usually very small.
+
+[Illustration: 49--Psalms. London, 1643.]
+
+One of the embroidered books thus wrongly credited to Little Gidding is
+a Psalter, printed in London in 1641. It is bound in white satin, very
+tastefully embroidered, the same design being on each side, and measures
+4 by 2 inches. In the centre is a large orange tulip, shading from
+yellow to red, finely worked in silks in shading-stitch. The stem is
+outlined in gold cord, and has also symmetrical curves and leaves, some
+of which are filled in with silver guimp. The flower is enclosed in an
+ornamental scroll and leaf border, all made with gold threads and
+twists, and having leaf forms in relief at intervals in silver guimp.
+The back has five panels, ornamented alternately with guimp scrolls and
+small spheres of coloured silk. There have been spangles and small
+pieces of guimp scattered about on the sides and back, but most of them
+have gone. There are no ties, and the edges of the leaves are gilt, and
+have a small gauffred pattern upon them.
+
+The design of this book is extremely simple and effective; the fine
+stitching on the tulip contrasts well with the strong metal border
+enclosing it. It may be considered a favourable specimen of the
+commonest type of satin embroidered books of the seventeenth century. It
+is not in very good condition.
+
+
+_Psalms._ London, 1643.
+
+A very quaint design embroidered on white satin covers a copy of the
+Psalms, printed in London in 1643, and measuring 4-1/4 by 3-1/4 inches.
+On the upper side is a representation of Jacob wrestling with the angel,
+flanked by two trees with large leaves; the angel has wings and long
+petticoats. The lower board has a representation of Jacob's dream. The
+patriarch is asleep on the grass, his head upon a white stone, his
+staff and gourd by his side. He has pale hair and beard. Behind him is a
+large tree, and in front a conventional flower with leaves and bud, and
+from the clouds reaches a ladder on which are three small winged angels,
+two coming down, and one between them going up. Through a break in the
+clouds is seen a bright space, with rays of golden light proceeding from
+it.
+
+The back is divided into five panels, in each of which is a flower.
+These resemble, to some extent, a red tulip, a lily, a red dahlia, a
+yellow tulip, and a red rose. The work here is not protected by any
+strong or metal threads, and it is consequently much worn. There are no
+signs of any tie ribbon, and the edges are plainly gilt.
+
+
+_Psalms._ London, 1643.
+
+[Illustration: 50--Psalms. London, 1643.]
+
+Another copy of the Psalms, printed in London in 1643, bound in satin,
+and measuring 3-1/4 by 2-1/4 inches, bears on each side, within a
+circle, a miniature portrait of Charles I. worked in feather-stitch.
+The king wears long hair, moustache, and small pointed beard. He is
+crowned, and has a red cloak with miniver tippet, from under which
+appears the blue ribbon of the Garter worn round the neck, as it
+originally was, and having a small gold medallion attached to it.
+The initials C. R. in gold guimp are at each side. The circle is
+enclosed in a strong framework of silver cord and guimp in the form of
+four thin long pointed ovals of leaf form arranged as a diamond. The
+four triangular spaces between the diamond and the oval are filled with
+small flowers or small pieces of guimp and spangles. Towards each corner
+grows a flower, two pansies, and two others with regular petals. The
+remaining spaces are filled variously with green leaves, small patches
+of purl and gold spangles, and a strong gold cord encloses the whole.
+The back is divided into three panels, in each of which is an ornamental
+conventional flower, the upper and lower ones alike, and worked in
+shades of red with guimp leaves in relief, and the centre one with six
+petals worked in yellow and edged with a fine gold cord. There are no
+signs of ties ever having existed, and the edges of the leaves are gilt
+and slightly gauffred. It has been suggested that this little book may
+have belonged to King Charles I.; but the fact of his portrait
+being upon it is no proof of this, as portraits of this king are more
+numerous upon the bindings of English books than those of any other
+person.
+
+
+_Psalms._ London, 1646.
+
+The value of 'purl' was recognised some few years back, when I had some
+made, and explained its value and use to the Royal School of Art
+Needlework at South Kensington, and I believe they used it considerably.
+
+[Illustration: 51--Psalms. London, 1646.]
+
+On books the use of purl is generally auxiliary, but one small book
+bound in white satin, and measuring 4 by 2-1/2 inches, a copy of the
+Psalms, printed in London in 1646, is entirely embroidered in this
+material, helped with gold braid and cord. The design is approximately
+the same on each side, a large flower with leaves in the centre, and a
+smaller flower in each corner. On the upper cover the centre flower is
+yellow and red, with two large green leaves, and the corner flowers are,
+possibly, intended for a cornflower, a jonquil, a lily, and a rose, but
+the material is so unwieldy that the forms are difficult to trace, and
+flowers worked in it are likely to assume forms that are unrecognisable,
+when finished, however well designed to start with. All the flowers and
+leaves are made with the purl cut into short lengths, drawn together at
+the ends by a thread run through, thus forming a succession of small
+arches. The stalks are made in gold cord. The flowers on the other side
+are, perhaps, a carnation in the centre, and round it a convolvulus,
+lily, daffodil, and rose. The back is divided into five panels, in each
+of which is a 'purl' flower, all worked in the same way, representing
+successively a tulip, cornflower, carnation, lily, rose, or something
+analogous to them; round the designs are straight pieces of brown purl,
+and the edges are bound with a broad gold braid. There are no ties or
+signs of any, and the edges are simply gilt. The purl is undoubtedly
+very strong; I possess a small patch-box worked on white satin in a
+similar way to this little book, and although it has been roughly used
+for some two hundred and fifty years, the colour of the purl is still
+good; the upper surfaces of the small spirals, however, show the copper
+wire bare almost everywhere. The book, not having had anything like the
+hard wear, is in very good condition, but it is too small for the proper
+use of so much thick thread. The larger leaves and petals are made in
+relief by being sewn on over a few pieces of purl laid underneath them
+at right angles.
+
+[Illustration: 52--Bible. London, 1646.]
+
+
+_Bible._ London, 1646.
+
+A Bible printed in London in 1646 is bound in white satin, and
+embroidered in coloured silks and gold braid and cord, measuring 6 by
+3-1/2 inches. The same design is on both sides. In the centre within an
+oval of gold braid and cord is a spray of vine, with two bunches of
+grapes, three leaves and a tendril, the fruit and leaves worked in silk,
+and the stem in gold cord. Enclosing the oval is an arabesque design
+worked in gold cord and guimp, and at each corner is an oval of thin
+gold strips and gold cord; the gold strips are done in the manner known
+as 'lizzarding,' and are kept down by small stitches at intervals.
+
+The back has four panels, in each of which is an arabesque design in
+coloured silks and gold cord or braid. Although this book is
+comparatively late, it is in a bad condition, and shows much wear; the
+design also is weak, and the workmanship inferior.
+
+[Illustration]
+
+
+
+
+INDEX
+
+
+Appliqué work, remarks on, 24.
+
+Arthur, Prince of Wales, ostrich feather badge used by, 73.
+
+Bacon's 'Essays' (1625), 76;
+  'Works' (1623), 75.
+
+Bags for embroidered books, 16.
+
+Berthelet, Thomas, bookbinder and printer, 74, 80.
+
+Bible, 1543 ed., 54;
+  1583 ed., 67;
+  1590 ed., 70;
+  1612 ed., 39;
+  1619 ed., 84;
+  1626 ed., 45;
+  1638 ed., 96;
+  1642 ed., 48;
+  1646 ed., 109;
+  1648 ed., 49;
+  1674 ed., 78.
+
+Bibliothèque Nationale, embroidered books in the, 20.
+
+Bodleian Library, embroidered books in the, 25.
+
+Brassington, Mr. W. Salt, 1.
+
+Brion, Martin de, 'Très ample description de la Terre Sainte,' 52.
+
+British Museum, embroidered books in the, 25, 27.
+
+Broiderers, hints for, 21.
+
+Buckingham, Duke of, portrait on 'Bacon's Essays, 1625,' 76.
+
+Canvas bindings, 6, 7, 28-51.
+
+Charles I., portrait on 'Psalms, 1643,' 106.
+
+Charles II., badge on 'Common Prayer, 1638,' 77;
+  'Emblemes Chrestiens, 1624,' 86.
+
+'Christian Prayers,' 1570 ed., 59;
+  1581 ed., 37;
+  1584 ed., 65.
+
+Christopherson, Bishop of Chichester, 'Historia Ecclesiastica' (1569), 57.
+
+Collection of Sixteenth Century Tracts (1536), 80;
+  (1610), 72.
+
+'Common Prayer, 1638' (other editions are with 'Psalms'), 77.
+
+Covers for embroidered books, 18.
+
+'Daily Exercise of a Christian, 1623,' 44.
+
+Day, John, printer, 61.
+
+Derome le Jeune, French bookbinder, 12.
+
+Dibdin's 'Bibliomania,' mention of Queen Elizabeth's embroidery in, 64.
+
+'Double Books,' 38, 89.
+
+Dutch embroidered books, 20.
+
+Edges, ornamentally treated, 16.
+
+Elizabeth, Queen, arms embroidered, 57, 72, 81;
+  books embroidered by, 26, 32, 33, 35, 36.
+
+Embroidered books, definition of, 3.
+
+'Epistles of St. Paul, 1578,' 63.
+
+'Felbrigge Psalter,' 26, 29.
+
+Ferrar, Nicholas, 103.
+
+Fitzhugh, heraldic supporter, 56.
+
+Fletcher, Mr. W. Y., 1.
+
+Floral designs, 5, 6;
+  and on the following books: 'Miroir of the Soul' (1544), 32;
+  'Prayers of Q. Kath. Parr' (1545), 33;
+  Parker, 'De Antiq. Ecc. Britannicæ' (1572), 60;
+  'Prayers' (1581), 37;
+  'Prayers' (1584), 66;
+  'Orationis Dominicæ Explicatio' (1583), 67;
+  'Psalms,' etc. (1606), 38;
+  'Bible' (1619), 85;
+  'Daily Exercise of a Christian' (1623), 44;
+  'Henshaw, 'Horæ Successivæ' (1632), 90;
+  'Psalms' (1633), 94;
+  'Bible' (1638), 96;
+  'Psalms' (1639), 98;
+  'Psalms' (1641), 104;
+  'Psalms' (1646), 108.
+
+Forwarding of embroidered books, 11.
+
+French embroidered books, 20.
+
+Fuller, Thomas, 103.
+
+
+Gauffred edges, 16.
+
+George II., gift of the Royal Library to the British Museum in 1757, 25.
+
+George III., his books largely rebound, 5.
+
+Grenville, Right Hon. Thomas, his books largely rebound, 5.
+
+Guimp, description of, 9.
+
+
+Headbands, 15.
+
+Henry VIII., arms on embroidered book, 52.
+
+Henry Benedict, Cardinal York, 19.
+
+Henry, Prince of Wales, his use of the ostrich feather badge, 85;
+  badge upon 'Tracts, 1610,' 73, 77, 86.
+
+Henshaw's 'Horæ Successivæ,' 90.
+
+Heraldic designs, 5, 6;
+  _Arms_ of Henry VIII., 52;
+  Katherine Parr, 55;
+  Elizabeth, 57, 72, 81;
+  _Badges_ of Queen Mary, 57;
+  Prince of Wales, 73, 77, 86;
+  _Crest_ of Vaughan, 59.
+
+
+Inglis, Esther, calligraphist, 85.
+
+Italian embroidered bindings, 19.
+
+James II., initials on 'Bible, 1674,' 78.
+
+
+Law, Dr. W. T., 94.
+
+Little Gidding, 'Needlework' done at, 103.
+
+Lizzarding, description of, 8.
+
+
+Macray, Rev. W. D., 33, 64.
+
+Magnus, of Amsterdam, bookbinder, 10.
+
+Martyr, Peter, 'Commonplaces,' 69.
+
+Mary, Queen, badge on 'Psalter,' 57.
+
+Metal threads, 8, 29.
+
+'Miroir of the Synneful Soul,' 32.
+
+Montenay, Georgette, 'Emblemes Chrestiens,' 85.
+
+
+New Testament, 1576 ed., 81;
+  1625 ed., 42;
+  1630 ed., 89;
+  1640 ed., 101.
+
+
+'Orationis Dominicæ Explicatio,' 1583, 67.
+
+Ostrevant, badge of the province of, 73.
+
+Ostrich feather badge of the Princes of Wales, origin of the, 73;
+  on embroidered bindings, 73, 77, 86.
+
+
+Parr, Queen Katherine, arms on 'Petrarcha, 1544,' 55;
+  Prayers written by, 33.
+
+Parker, Archbishop, 'De Antiquitate Ecclesiæ Britannicæ,' 60.
+
+Peacocks' feathers used in embroideries, 82.
+
+Pearls used in embroidered bindings: Brion (1540), 52;
+  Christopherson (1569), 57;
+  Parker (1572), 60;
+  'New Testament' (1576), 81;
+  'Bible' (1583), 67;
+  'Bible' (1590), 70;
+  'Tracts' (1610), 72;
+  Montenay (1624), 85;
+  'Psalms' (1633), 94;
+  'Common Prayer' (1638), 77.
+
+'Petrarcha, 1544,' 55.
+
+Pomegranate badge on Queen Mary's 'Psalter,' 57.
+
+Poncyn, of Amsterdam, bookbinder, 10.
+
+Portraits on embroidered books, 5;
+  Charles I., 106;
+  Duke of Buckingham, 76.
+
+'Psalms,' 1606 ed., 38; 1633 ed., 91, 94;
+  1635 ed., 92;
+  1639 ed., 98;
+  1641 ed., 103;
+  1643 ed., 105, 106;
+  1646 ed., 108.
+
+Purl, description of, 9, 10, 46;
+  book embroidered alone with, 108.
+
+Satin bindings, 7, 8, 80-110.
+
+Schreiber, the Lady Charlotte, 83.
+
+Scriptural designs and figures of saints used on embroidered books, 5, 6;
+  Abraham and Isaac, 86;
+  the Annunciation, 29;
+  the Crucifixion, 29;
+  David, 86, 99;
+  Jacob's Dream,
+  Jacob wrestling with the angel, 39, 106;
+  St. Peter, 45;
+  St. Paul, 45;
+  Solomon and the Queen of Sheba, 39.
+
+Silk bindings, 81.
+
+South Kensington Museum, embroidered books in the, 20.
+
+Spangles, 9, 28.
+
+Stitches used on embroidered books:
+  _Buttonhole_ or _Needlepoint lace_ stitch,
+    'New Testament' (1625), 87;
+    'Psalms' (1633), 95;
+    'New Testament' (1640), 101;
+    'Bible' (1642), 48;
+    'Bible' (1648), 50.
+  _Chain stitch_,
+    'Daily Exercise of a Christian' (1623), 44.
+  _Feather stitch_, sometimes called _Shading stitch_,
+    'Bible' (1626), 45;
+    'New Testament' (1630), 90;
+    Henshaw (1632), 90;
+    'Psalms' (1635), 92;
+    'Psalms' (1641), 105;
+    'Psalms' (1643), 106.
+  _Satin stitch_,
+    'Psalms' (1633), 91.
+  _Split stitch_,
+    'Felbrigge Psalter' (fourteenth century), 30;
+    'Way to True Happiness' (1639), 99.
+  _Tapestry_ or _Tent stitch_, 28;
+    'Miroir of the Synneful Soul' (1544), 33;
+    'Prayers' (1545), 34;
+    'Prayers' (1581), 37;
+    'Bible' (1612), 39;
+    Ward (1626), 41.
+
+Symbolical figures, 5, 6;
+  Faith and Hope (1625, 1648), 42, 50;
+  Peace and Plenty (1619, 1635), 84, 93.
+
+Thompson, Mr. H. Yates, 41.
+
+Udall's 'Sermons,' 71.
+
+Vaughan crest, on 'Christian Prayers, 1570,' 59.
+
+Velvet bindings, 6, 7, 52-79.
+
+Victoria, Queen, embroidered book belonging to, 77.
+
+Wales, ostrich plumes of the Prince of, 73, 77, 86.
+
+Ward, Samuel, 'Sermons, 1626-7,' 41.
+
+Water-colours used on embroidered bindings, 81-84.
+
+'Way to True Happiness' (1639), 99.
+
+Wheatley, Mr. H. B., 1.
+
+Wilton, Countess of, 33, 35, 64.
+
+Wren, Elizabeth, book embroidered by, 94.
+
+York, Cardinal, 19.
+
+
+PRINTED BY T. AND A. CONSTABLE, PRINTERS TO
+HER MAJESTY, AT THE UNIVERSITY PRESS,
+EDINBURGH: MARCH MDCCCXCIX
+
+
+
+
+=The English Bookman's Library=
+
+EDITED BY ALFRED POLLARD
+
+
+VOLUME I
+
+=ENGLISH EMBROIDERED BOOKBINDINGS=
+
+BY CYRIL DAVENPORT, F. S. A.
+
+
+VOLUME II
+
+=A BRIEF HISTORY OF ENGLISH PRINTING=
+
+BY H. R. PLOMER
+
+
+VOLUME III
+
+=ENGLISH BOOK COLLECTORS=
+
+BY W. Y. FLETCHER
+
+
+LONDON
+KEGAN PAUL, TRENCH, TRÜBNER & CO., LIMITED
+
+
+
+
+
+
+
+
+End of the Project Gutenberg EBook of English Embroidered Bookbindings, by 
+Cyril James Humphries Davenport
+
+*** END OF THIS PROJECT GUTENBERG EBOOK ENGLISH EMBROIDERED BOOKBINDINGS ***
+
+***** This file should be named 17585-8.txt or 17585-8.zip *****
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+    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-transitional.dtd">
+<html xmlns="http://www.w3.org/1999/xhtml">
+  <head>
+    <meta name="generator"
+    content="HTML Tidy for Linux/x86 (vers 1st November 2002), see www.w3.org" />
+    <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" />
+    <title>The Project Gutenberg eBook of ENGLISH EMBROIDERED BOOKBINDINGS, by CYRIL
+    DAVENPORT, F. S. A.</title>
+    <style type="text/css">
+/*<![CDATA[  XML blockout */
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+a:link {text-decoration:none;color:#666666;background-color:#ffffff;}
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+    body{margin-left:10%;margin-right:10%;}
+
+    td {text-align:center; vertical-align:top; padding-right:3em; padding-left:3em;}
+    img {border-style:none;}
+    .toc {text-align:left; vertical-align:top;}
+    .tocnum {float:right; text-align:right; font-size:smaller; font-weight:bold;}
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+    .smcap    {font-variant:small-caps;}
+    .subhead  {font-weight:bold; text-align:left; margin-top:2em;}
+    .subchap  {font-weight:bold; text-align:center; clear:both; margin-top:2em;}
+    .caption  {font-size:smaller;text-align:center;}
+    .fcaption  {font-size:smaller; text-align:left; margin-left:2em;}
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+
+
+<pre>
+
+The Project Gutenberg EBook of English Embroidered Bookbindings, by 
+Cyril James Humphries Davenport
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: English Embroidered Bookbindings
+
+Author: Cyril James Humphries Davenport
+
+Editor: Alfred Pollard
+
+Release Date: January 23, 2006 [EBook #17585]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK ENGLISH EMBROIDERED BOOKBINDINGS ***
+
+
+
+
+Produced by K.D. Thornton, Bruce Albrecht, and the Online
+Distributed Proofreading Team at http://www.pgdp.net (This
+file was produced from images generously made available
+by The Internet Archive/Canadian Libraries)
+
+
+
+
+
+
+</pre>
+
+    <div class="center">
+      <div class="figcenter">
+        <a id="plate_19" href="images/bigplate19.jpg" name="plate_19"><img
+        src="images/plate19.jpg"
+        alt="Christopherson, Historia Ecclesiastica. Lovanii, 1569."
+        title="Christopherson, Historia Ecclesiastica. Lovanii, 1569."
+        class="figcenter" /></a><br />
+        <p class="caption">19&mdash;Christopherson, Historia Ecclesiastica. Lovanii,
+        1569.</p>
+      </div>
+      <hr style="width: 65%;" />
+      <a name="ENGLISH_EMBROIDERED_BOOKBINDINGS"
+      id="ENGLISH_EMBROIDERED_BOOKBINDINGS"></a>
+      <h1>ENGLISH <br />EMBROIDERED<br /> BOOKBINDINGS</h1>
+      <div class="caption">EDITED BY<br />
+      ALFRED POLLARD</div><br />
+
+      <div class="subchap">BY CYRIL DAVENPORT, F. S. A</div><br />
+
+      <div class="caption">AUTHOR OF</div><br />
+      'THE ENGLISH REGALIA'<br />
+      <div class="caption">ETC.</div><br />
+
+      <div class="subchap">LONDON</div><br />
+      <div class="caption">KEGAN PAUL, TRENCH, TR&Uuml;BNER<br />
+      AND COMPANY, LIMITED</div><br />
+      <br />
+      1899<br />
+      <br />
+      The English<br />
+      Bookman's<br />
+      Library<br /><br />
+<hr style="width: 65%;" />
+       Edinburgh: T. and A. <span class="smcap">Constable</span>, Printers to Her
+      Majesty
+      <hr style="width: 65%;" /><br />
+
+      <div class="figcenter">
+        <a href="images/bigtitle.gif"><img src="images/title.gif" alt="title"
+        title="title page" class="figcenter" /></a><br />
+      </div>
+      <hr style="width: 65%;" />
+    </div>
+    <table border="0" width="90%" summary="table of contents"><tr><td class="toc" colspan="2"><h2><a name="CONTENTS_AND_LIST_OF_PLATES"
+    id="CONTENTS_AND_LIST_OF_PLATES"></a>CONTENTS AND LIST OF PLATES</h2>
+    <span style="float:right;font-size:smaller;">PAGE</span></td></tr>
+    <tr><td class="toc"><div class="tochead"><span class="smcap">General Introduction,</span><br />By Alfred W. Pollard.</div></td>
+    <td class="toc"><span
+    class="tocnum1"><a href="#Page_ix">ix</a></span></td></tr>
+    <tr><td class="toc" colspan="2"><br />
+   <h2>ENGLISH EMBROIDERED BINDINGS<br />
+    By Cyril Davenport.</h2><br />
+    </td></tr>
+
+    <tr><td class="toc"><div class="tochead"><span class="smcap">Chapter
+    I.</span>&mdash;Introductory, </div></td>
+    <td class="toc"><span class="tocnum1"><a
+    href="#page_1">1</a></span><br /></td></tr>
+    <tr><td colspan="2"><span class="caption">PLATES.</span><br /></td></tr>
+    <tr><td class="toc"> &nbsp;&nbsp;1. Embroidered Bag for Psalms. <i>London</i>, 1633, </td><td class="toc"><span
+    class="tocnum"><a href="#plate_1">17</a></span><br /></td></tr>
+     <tr><td class="toc">&nbsp;&nbsp;2. Embroidered Cover for New Testament. <i>London</i>, 1640, </td><td class="toc"><span
+    class="tocnum"><a href="#plate_2">18</a></span><br /><br /></td></tr>
+
+    <tr><td class="toc"><div class="tochead"><span class="smcap">Chapter II.</span>&mdash;Books Bound in
+    Canvas,</div></td><td class="toc"><span class="tocnum1"><a href="#page_28">28</a></span> <br /></td></tr>
+    <tr><td colspan="2"><span class="caption">PLATES.</span><br /></td></tr>
+     <tr><td class="toc">&nbsp;&nbsp;3. Prayers of Queen Katherine Parr. 13th-century MS.,</td><td class="toc"><span
+    class="tocnum"><a href="#plate_3">29</a></span><br /></td></tr>
+     <tr><td class="toc">&nbsp;&nbsp;4. The Miroir or Glasse of the Synneful Soul. MS. by the Princess
+    Elizabeth. 1544, </td><td class="toc"><span class="tocnum"><a href="#plate_4">32</a></span><br /></td></tr>
+     <tr><td class="toc">&nbsp;&nbsp;5. Prayers of Queen Katherine Parr. MS. by the Princess Elizabeth. 1545,
+    </td><td class="toc"><span class="tocnum"><a href="#plate_5">33</a></span><br /></td></tr>
+     <tr><td class="toc">&nbsp;&nbsp;6. Christian Prayers. <i>London</i>, 1581, </td><td class="toc"><span class="tocnum"><a
+    href="#plate_6">37</a></span><br /></td></tr>
+     <tr><td class="toc">&nbsp;&nbsp;7. Psalms and Common Praier. <i>London</i>, 1606,</td><td class="toc"><span
+    class="tocnum"><a href="#plate_7">38</a></span><br /></td></tr>
+     <tr><td class="toc">&nbsp;&nbsp;8. Bible, etc. <i>London</i>, 1612, </td><td class="toc"><span class="tocnum"><a
+    href="#plate_8">39</a></span><br /></td></tr>
+    <tr><td class="toc">&nbsp;&nbsp;9. Sermons by Samuel Ward. <i>London</i>, 1626-7, </td><td class="toc"><span class="tocnum"><a
+    href="#plate_9">41</a></span><br /></td></tr>
+    <tr><td class="toc">10. New Testament, etc. <i>London</i>, 1625-35, </td><td class="toc"><span class="tocnum"><a
+    href="#plate_10">42</a></span><br /></td></tr>
+    <tr><td class="toc">11. The Daily Exercise of a Christian. <i>London</i>, 1623, </td><td class="toc"><span class="tocnum"><a
+    href="#plate_11">44</a></span><br /></td></tr>
+    <tr><td class="toc">12. Bible. <i>London</i>, 1626, </td><td class="toc"><span class="tocnum"><a
+    href="#plate_12">45</a></span><br /></td></tr>
+    <tr><td class="toc">13. Bible, etc. <i>London</i>, 1642, </td><td class="toc"><span class="tocnum"><a
+    href="#plate_13">48</a></span><br /></td></tr>
+    <tr><td class="toc">14. Bible. <i>London</i>, 1648, </td><td class="toc"><span class="tocnum"><a
+    href="#plate_14">49</a></span><br />  <br /></td></tr>
+
+    <tr><td class="toc"><div class="tochead"><span class="smcap">Chapter III.</span>&mdash;Books Bound in Velvet, </div></td><td class="toc"><span class="tocnum1"><a href="#page_52">52</a></span><br /></td></tr>
+    <tr><td colspan="2"><span class="caption">PLATES.</span><br /></td></tr>
+     <tr><td class="toc">15. Tr&egrave;s ample description de toute la terre Saincte, etc. MS. 1540,</td><td class="toc"><span
+    class="tocnum"><a href="#plate_15">52</a></span><br /></td></tr>
+    <tr><td class="toc">16. Biblia. <i>Tiguri</i>, 1543, </td><td class="toc"><span class="tocnum"><a
+    href="#plate_16">54</a></span><br /></td></tr>
+    <tr><td class="toc">17. Il Petrarcha. <i>Venetia</i>, 1544, </td><td class="toc"><span class="tocnum"><a
+    href="#plate_17">55</a></span><br /></td></tr>
+    <tr><td class="toc">18. Queen Mary's Psalter. 14th century MS., </td><td class="toc"><span class="tocnum"><a
+    href="#plate_18">57</a></span><br /></td></tr>
+    <tr><td class="toc">19. Christopherson, Historia Ecclesiastica. <i>Lovanii</i>, 1569,</td><td class="toc"><span
+    class="tocnum"><a href="#plate_19"><i>Frontispiece</i></a></span><br /></td></tr>
+    <tr><td class="toc">20. Christian Prayers. <i>London</i>, 1570, </td><td class="toc"><span class="tocnum"><a
+    href="#plate_20">59</a></span><br /></td></tr>
+    <tr><td class="toc">21. Parker, De antiquitate Ecclesi&aelig; Britannic&aelig;. <i>London</i>, 1572,
+    </td><td class="toc"><span class="tocnum"><a href="#plate_21">60</a></span><br /></td></tr>
+    <tr><td class="toc">22. The Epistles of St. Paul. <i>London</i>, 1578, </td><td class="toc"><span class="tocnum"><a
+    href="#plate_22">63</a></span><br /></td></tr>
+    <tr><td class="toc">23. Christian Prayers, etc. <i>London</i>, 1584, </td><td class="toc"><span class="tocnum"><a
+    href="#plate_23">65</a></span><br /></td></tr>
+    <tr><td class="toc">24. Orationis Dominic&aelig; Explicatio, etc. <i>Genev&aelig;</i>, 1583,</td><td class="toc"><span
+    class="tocnum"><a href="#plate_24">67</a></span><br /></td></tr>
+    <tr><td class="toc">25. Bible. <i>London</i>, 1583, </td><td class="toc"><span class="tocnum"><a
+    href="#plate_25">68</a></span><br /></td></tr>
+    <tr><td class="toc">26. The Commonplaces of Peter Martyr. <i>London</i>, 1583, </td><td class="toc"><span class="tocnum"><a
+    href="#plate_26">69</a></span><br /></td></tr>
+    <tr><td class="toc">27. Biblia. <i>Antverpi&aelig;</i>, 1590, </td><td class="toc"><span class="tocnum"><a
+    href="#plate_27">70</a></span><br /></td></tr>
+    <tr><td class="toc">28. Udall, Sermons. <i>London</i>, 1596, </td><td class="toc"><span class="tocnum"><a
+    href="#plate_28">71</a></span><br /></td></tr>
+    <tr><td class="toc">29. Collection of Sixteenth-Century Tracts, </td><td class="toc"><span class="tocnum"><a
+    href="#plate_29">72</a></span><br /></td></tr>
+    <tr><td class="toc">30. Bacon, Opera. <i>Londini</i>, 1623, </td><td class="toc"><span class="tocnum"><a
+    href="#plate_30">75</a></span><br /></td></tr>
+    <tr><td class="toc">31. Bacon, Essays. 1625, </td><td class="toc"><span class="tocnum"><a
+    href="#plate_31">76</a></span><br /></td></tr>
+    <tr><td class="toc">32. Common Prayer. <i>London</i>, 1638, </td><td class="toc"><span class="tocnum"><a
+    href="#plate_32">77</a></span><br /></td></tr>
+    <tr><td class="toc">33. Bible. <i>Cambridge</i>, 1674, </td><td class="toc"><span class="tocnum"><a
+    href="#plate_33">78</a></span><br /><br /></td></tr>
+
+<tr><td class="toc"><div class="tochead"><span class="smcap">Chapter IV.</span>&mdash;Books Bound in
+    Satin,</div></td><td class="toc"><span class="tocnum1"><a href="#page_80">80</a></span><br /></td></tr>
+    <tr><td colspan="2"><span class="caption">PLATES.</span><br /></td></tr>
+    <tr><td class="toc">34. Collection of Sixteenth-Century Tracts, </td><td class="toc"><span class="tocnum"><a
+    href="#plate_34">80</a></span><br /></td></tr>
+    <tr><td class="toc">35. New Testament in Greek. <i>Leyden</i>, 1576, </td><td class="toc"><span class="tocnum"><a
+    href="#plate_35">81</a></span><br /></td></tr>
+    <tr><td class="toc">36. Bible. <i>London</i>, 1619, </td><td class="toc"><span class="tocnum"><a
+    href="#plate_36">84</a></span><br /></td></tr>
+    <tr><td class="toc">37. Emblemes Chrestiens. MS. 1624, </td><td class="toc"><span class="tocnum"><a
+    href="#plate_37">85</a></span><br /></td></tr>
+    <tr><td class="toc">38. New Testament. <i>London</i>, 1625, </td><td class="toc"><span class="tocnum"><a
+    href="#plate_38">86</a></span><br /></td></tr>
+    <tr><td class="toc">39. New Testament and Psalms. <i>London</i>, 1630, </td><td class="toc"><span class="tocnum"><a
+    href="#plate_39">89</a></span><br /></td></tr>
+    <tr><td class="toc">40. Henshaw, Hor&aelig; Successiv&aelig;. <i>London</i>, 1632,</td><td class="toc"><span
+    class="tocnum"><a href="#plate_40">90</a></span><br /></td></tr>
+    <tr><td class="toc">41. Psalms. <i>London</i>, 1633, </td><td class="toc"><span class="tocnum"><a
+    href="#plate_41">91</a></span><br /></td></tr>
+    <tr><td class="toc">42. Psalms. <i>London</i>, 1635, </td><td class="toc"><span class="tocnum"><a
+    href="#plate_42">92</a></span><br /></td></tr>
+    <tr><td class="toc">43. Psalms. <i>London</i>, 1633, </td><td class="toc"><span class="tocnum"><a
+    href="#plate_43">94</a></span><br /></td></tr>
+    <tr><td class="toc">44. Bible. <i>London</i>, 1638, </td><td class="toc"><span class="tocnum"><a
+    href="#plate_44">96</a></span><br /></td></tr>
+    <tr><td class="toc">45. Psalms. <i>London</i>, 1639, </td><td class="toc"><span class="tocnum"><a
+    href="#plate_45">98</a></span><br /></td></tr>
+    <tr><td class="toc">46. The Way to True Happiness. <i>London</i>, 1639, </td><td class="toc"><span class="tocnum"><a
+    href="#plate_46">99</a></span><br /></td></tr>
+    <tr><td class="toc">47. New Testament. <i>London</i>, 1640, </td><td class="toc"><span class="tocnum"><a
+    href="#plate_47">101</a></span><br /></td></tr>
+    <tr><td class="toc">48. Psalms. <i>London</i>, 1641, </td><td class="toc"><span class="tocnum"><a
+    href="#plate_48">103</a></span><br /></td></tr>
+    <tr><td class="toc">49. Psalms. <i>London</i>, 1643, </td><td class="toc"><span class="tocnum"><a
+    href="#plate_49">105</a></span><br /></td></tr>
+    <tr><td class="toc">50. Psalms. <i>London</i>, 1643, </td><td class="toc"><span class="tocnum"><a
+    href="#plate_50">106</a></span><br /></td></tr>
+    <tr><td class="toc">51. Psalms. <i>London</i>, 1646, </td><td class="toc"><span class="tocnum"><a
+    href="#plate_51">108</a></span><br /></td></tr>
+    <tr><td class="toc">52. Bible. <i>London</i>, 1646, </td><td class="toc"><span class="tocnum"><a
+    href="#plate_52">109</a></span><br /></td></tr>
+    </table>
+    <hr style="width: 65%;" />
+    <a name="Page_ix" id="Page_ix"></a>
+    <h2><a name="GENERAL_INTRODUCTION" id="GENERAL_INTRODUCTION"></a>GENERAL
+    INTRODUCTION</h2>
+    <p><a href="images/biga.gif"><img src="images/a.gif" alt="Ornate Uppercase Letter A" title="Ornate Uppercase Letter A"
+    class="figinit" /></a>new series of 'Books about Books,' exclusively English in its aims, may seem to
+    savour of the patriotism which, in matters of art and historical research, is, with
+    reason enough, often scoffed at as a treacherous guide. No doubt in these pleasant
+    studies patriotism acts as a magnifying-glass, making us unduly exaggerate details.
+    On the other hand, it encourages us to try to discover them, and just at present this
+    encouragement seems to be needed. There are so many gaps in our knowledge of the
+    history of books in England that we can hardly claim that our own dwelling is set in
+    order, and yet many of our bookmen appear more inclined to re-decorate their
+    neighbours' houses than to do work that still urgently needs to be done at home. The
+    reasons for this transference of energy are not far to seek. It is quite easy to be
+    struck with the inferiority of English books and their accessories, such as bindings
+    and illustrations, to those produced on the Continent. To compare the books printed
+    by Caxton with the best work of his German or Italian contemporaries, to compare the
+    books bound for Henry, Prince of Wales, with those bound for the Kings of France, to
+    try to find even a dozen English books printed before 1640 with woodcuts<span
+    class="pagenum">x</span><a name="page_x" id="page_x"></a> (not imported from abroad)
+    of any real artistic merit&mdash;if any one is anxious to reinforce his national
+    modesty, here are three very efficacious methods of doing it! On the other hand,
+    English book-collectors have always been cosmopolitan in their tastes, and without
+    leaving England it is possible to study to some effect, in public or private
+    libraries, the finest books of almost any foreign country. It is small wonder,
+    therefore, that our bookmen, when they have been minded to write on their hobbies,
+    have sought beauty and stateliness of work where they could most readily find them,
+    and that the labourers in the book-field of our own country are not numerous.
+    Touchstone's remark, 'a poor thing, but mine own,' might, on the worst view of the
+    case, have suggested greater diligence at home; but on a wider view English book-work
+    is by no means a 'poor thing.' Its excellence at certain periods is as striking as
+    its inferiority at others, and it is a literal fact that there is no art or craft
+    connected with books in which England, at one time or another, has not held the
+    primacy in Europe.</p>
+    <p>It would certainly be unreasonable to complain that printing with movable types
+    was not invent<span class="pagenum">xi</span><a name="page_xi" id="page_xi"></a>ed at
+    a time better suited to our national convenience. Yet the fact that the invention was
+    made just in the middle of the fifteenth century constituted a handicap by which the
+    printing trade in this country was for generations overweighted. At almost any
+    earlier period, more particularly from the beginning of the fourteenth century to the
+    first quarter of the fifteenth, England would have been as well equipped as any
+    foreign country to take its part in the race. From the production of Queen Mary's
+    Psalter at the earlier date to that of the Sherborne Missal at the later, English
+    manuscripts, if we may judge from the scanty specimens which the evil days of Henry
+    <span class="smcap">viii</span>. and Edward <span class="smcap">vi</span>. have left
+    us, may vie in beauty of writing and decoration with the finest examples of
+    Continental art. If John Siferwas, instead of William Caxton, had introduced printing
+    into England, our English incunabula would have taken a far higher place. But the
+    sixty odd years which separate the two men were absolutely disastrous to the English
+    book-trade. After her exhausting and futile struggle with France, England was torn
+    asunder by the wars of the Roses, and by the time these were ended the school of
+    illumination, so full of promise, and seemingly so firmly established, had absolutely
+    died out. When printing was introduced England possessed<span
+    class="pagenum">xii</span><a name="page_xii" id="page_xii"></a> no trained
+    illuminators or skilful scribes such as in other countries were forced to make the
+    best of the new art in order not to lose their living, nor were there any native
+    wood-engravers ready to illustrate the new books. I have never myself seen or heard
+    of a 'Caxton' in which an illuminator has painted a preliminary border or initial
+    letters; even the rubrication, where it exists, is usually a disfigurement; while as
+    for pictures, it has been unkindly said that inquiry whence they were obtained is
+    superfluous, since any boy with a knife could have cut them as well.</p>
+    <p>Making its start under these unfavourable conditions, the English book-trade was
+    exposed at once to the full competition of the Continental presses, Richard <span
+    class="smcap">iii</span>. expressly excluding it from the protection which was given
+    to other industries. Practically all learned books of every sort, the great majority
+    of our service-books, most grammars for use in English schools, and even a few
+    popular books of the kind to which Caxton devoted himself, were produced abroad for
+    the English market and freely imported. Only those who mistake the shadow for the
+    substance will regret this free trade, to which we owe the development of scholarship
+    in England during the sixteenth century. None<span class="pagenum">xiii</span><a
+    name="page_xiii" id="page_xiii"></a> the less, it was hard on a young industry, and
+    though Pynson, Wynkyn de Worde, the Faques, Berthelet, Wolfe, John Day, and others
+    produced fine books in England during the sixteenth century, the start given to the
+    Continental presses was too great, and before our printers had fully caught up their
+    competitors, they too were seized with the carelessness and almost incredible bad
+    taste which marks the books of the first half of the seventeenth century in every
+    country of Europe.</p>
+    <p>Towards the close of the eighteenth century, as is well known, the French thought
+    sufficiently well of Baskerville's types to purchase a fount after his death for the
+    printing of an important edition of the works of Voltaire. But the merits of
+    Baskerville as a printer, never very cordially admitted, are now more hotly disputed
+    than ever; and if I am asked at what period English printing has attained that
+    occasional primacy which I have claimed for our exponents of all the bookish arts, I
+    would boldly say that it possesses it at the present day. On the one hand, the
+    Kelmscott Press books, on their own lines, are the finest and the most harmonious
+    which have ever been produced; on the other, the book-work turned out in the ordinary
+    way of business by the five<span class="pagenum">xiv</span><a name="page_xiv"
+    id="page_xiv"></a> or six leading printers of England and Scotland seems to me, both
+    in technical qualities and in excellence of taste, the finest in the world, and with
+    no rival worth mentioning, except in the work of one or two of the best firms in the
+    United States. Moreover, as far as I can learn, it is only in Great Britain and
+    America that the form of books is now the subject of the ceaseless experiment and
+    ingenuity which are the signs of a period of artistic activity.</p>
+    <p>As regards book-illustration the same claim may be put forward, though with a
+    little more hesitation. We have been taught lately, with insistence, that 'the
+    sixties' marked an epoch in English art, solely from the black and white work in
+    illustrated books. At that period our book-pictures are said to have been the best in
+    the world; unfortunately our book-decoration, whether better or worse than that of
+    other countries, was almost unmitigatedly bad. In the last quarter of a century our
+    decorative work has improved in the most striking manner; our illustrations, if
+    judged merely for their pictorial qualities, have not advanced. In the eyes of
+    artists the sketches for book-work now being produced in other countries are probably
+    as good as our own. But an illustration is not merely<span
+    class="pagenum">xv</span><a name="page_xv" id="page_xv"></a> a picture, it is a
+    picture to be placed in a certain position in a printed book, and in due relation to
+    the size of the page and the character of the type. English book-illustrators by no
+    means always realise this distinction, yet there is on the whole a greater feeling
+    for these proprieties in English books than in those of other countries, and this is
+    an important point in estimating merits. Another important point is that the rule of
+    the 'tint' or 'half-tone' block, with its inevitable accompaniment of loaded paper,
+    ugly to the eye and heavy in the hand, though it has seriously damaged English
+    illustrated work, has not yet gained the predominance it has in other countries. Our
+    best illustrated books are printed from line-blocks, and there are even signs of a
+    possible revival of artistic wood-engraving.</p>
+    <p>In endeavouring to make good my assertion of what I have called the occasional
+    primacy of English book-work, I am not unaware of the danger of trying, or seeming to
+    try, to play the strains of 'Rule Britannia' on my own poor penny whistle. As regards
+    manuscripts, therefore, it is a pleasure to be able to seek shelter behind the
+    authority of Sir Edward Maunde Thompson, whose words in this connection carry all the
+    more weight, because he has shown himself a<span class="pagenum">xvi</span><a
+    name="page_xvi" id="page_xvi"></a> severe critic of the claims which have been put
+    forward on behalf of several fine manuscripts to be regarded as English. In the
+    closing paragraphs of his monograph on <i>English Illuminated Manuscripts</i> he thus
+    sums up the pretensions of the English school:&mdash;</p>
+    <div class="blockquot">
+      <p>'The freehand drawing of our artists under the Anglo-Saxon kings was
+      incomparably superior to the dead copies from Byzantine models which were in favour
+      abroad. The artistic instinct was not destroyed, but rather strengthened, by the
+      incoming of Norman influence; and of the twelfth and thirteenth centuries there is
+      abundant material to show that English book-decoration was then at least equal to
+      that of neighbouring countries. For our art of the early fourteenth century we
+      claim a still higher position, and contend that no other nation could at that time
+      produce such graceful drawing. Certainly inferior to this high standard of drawing
+      was the work of the latter part of that century; but still, as we have seen, in the
+      miniatures of this time we have examples of a rising school of painting which bid
+      fair to attain to a high standard of excellence, and which only failed for
+      political causes.'<a name="FNanchor_1_1" id="FNanchor_1_1"></a><a
+      href="#Footnote_1_1" class="fnanchor">[1]</a></p>
+    </div>
+    <p>To this judicial pronouncement on the excellence of English manuscripts on their
+    decorative side, we may fairly add the fact that manuscripts of literary importance
+    begin at an earlier date in England than in any other country, and that the Cotton
+    <span class="smcap">ms.</span> of <i>Beowulf</i> and the miscellanies which go by the
+    names of the <i>Exeter Book</i> a<span class="pagenum">xvii</span><a name="page_xvii"
+    id="page_xvii"></a>nd the <i>Vercelli Book</i> have no contemporary parallels in the
+    rest of Europe.</p>
+    <div class="footnote">
+      <p><a name="Footnote_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span
+      class="label">[1]</span></a> <i>English Illuminated Manuscripts.</i> By Sir Edward
+      Maunde Thompson, K. C. B. (Kegan Paul, 1895), pp. 66, 67.</p>
+    </div>
+    <p>When we turn from books, printed or in manuscript, to their possessors, it is only
+    just to begin with a compliment to our neighbours across the Channel. No English
+    bookman holds the unique position of Jean Grolier, and 'les femmes bibliophiles' of
+    England have been few and undistinguished compared with those of France. Grolier,
+    however, and his fair imitators, as a rule, bought only the books of their own day,
+    giving them distinction by the handsome liveries which they made them don. Our
+    English collectors have more often been of the omnivorous type, and though Lords
+    Lumley and Arundel in the sixteenth century cannot, even when their forces are
+    joined, stand up against De Thou, in Sir Robert Cotton, Harley, Thomas Rawlinson,
+    Lord Spencer, Heber, Grenville, and Sir Thomas Phillips (and the list might be
+    doubled without much relaxation of the standard), we have a succession of English
+    collectors to whom it would be difficult to produce foreign counterparts. Round these
+    <i>dii majores</i> have clustered innumerable demigods of the book-market, and
+    certainly in no other country has collecting been as widely diffused, and pursued
+    with so much zest, as in England during the<span class="pagenum">xviii</span><a
+    name="page_xviii" id="page_xviii"></a> present century. It is to be regretted that so
+    few English collectors have cared to leave their marks of ownership on the books they
+    have taken so much pleasure in bringing together. Michael Wodhull was a model in this
+    respect, for his book-stamp is one of the most pleasing of English origin, and his
+    autograph notes recording the prices he paid for his treasures, and his assiduous
+    collation of them, make them doubly precious in the eyes of subsequent owners. Mr.
+    Grenville also had his book-stamp, though there is little joy to be won from it, for
+    it is unpleasing in itself, and is too often found spoiling a fine old binding. Mr.
+    Cracherode's stamp was as graceful as Wodhull's; but, as a rule, our English
+    collectors, though, as Mr. Fletcher is discovering, many more of them than is
+    generally known have possessed a stamp, have not often troubled to use it, and their
+    collections have never obtained the reputation which they deserve, mainly for lack of
+    marks of ownership to keep them green in the memory of later possessors. That this
+    should be so in a country where book-plates have been so common may at first seem
+    surprising. But book-plates everywhere have been used rather by the small collectors
+    than the great ones, and the regrettable peculiarity of our English <span
+    class="pagenum">xix</span><a name="page_xix" id="page_xix"></a>bookmen is, not that
+    they despised this rather fugitive sign of possession, but that for the most part
+    they despised book-stamps as well.</p>
+    <p>Of book-plates themselves I have no claim to speak; but for good taste and grace
+    of design the best English Jacobean and Chippendale specimens seem to me the most
+    pleasing of their kind, and certainly in our own day the work of Mr. Sherborn has no
+    rival, except in that of Mr. French, who, in technique, would, I imagine, not refuse
+    to call himself his disciple.</p>
+    <p>I have purposely left to the last the subject of Bindings, as this, being more
+    immediately cognate to Mr. Davenport's book, may fairly be treated at rather greater
+    length. If the French dictum 'la reliure est un art tout fran&ccedil;ais' is not
+    without its historical justification, it is at least possible to show that England
+    has done much admirable work, and that now and again, as in the other bookish arts,
+    she has attained preeminence.</p>
+    <p>The first point which may fairly be made is that England is the only country
+    besides France in which the art has been consistently practised. In Italy, binding,
+    like printing, flourished for a little over half a century with extraordinary
+    vigour<span class="pagenum">xx</span><a name="page_xx" id="page_xx"></a> and grace,
+    and then fell suddenly and completely from its high estate. From 1465 to the death of
+    Aldus the books printed in Italy were the finest in the world; from the beginning of
+    the work of Aldus to about 1560 Italian bindings possess a freedom of graceful design
+    which even the superior technical skill quickly gained by the French does not
+    altogether outbalance. But just as after about 1520 a finely printed Italian book can
+    hardly be met with, so after 1560, save for a brief period during which certain
+    fan-shaped designs attained prettiness, there have been no good Italian bindings. In
+    Germany, when in the fifteenth century, before the introduction of gold tooling,
+    there was a thriving school of binders working in the medi&aelig;val manner, the
+    Renaissance brought with it an absolute decline. Holland, again, which in the
+    fifteenth century had made a charming use of large panel stamps, has since that
+    period had only two binders of any reputation, Magnus and Poncyn, of Amsterdam, who
+    worked for the Elz&eacute;viers and Louis <span class="smcap">xiv</span>. Of Spanish
+    bindings few fine specimens have been unearthed, and these are all early. Only
+    England can boast that, like France, she has possessed one school of binders after
+    another, working with varying success from the earliest times down to the present
+    century, in which bookbinding all<span class="pagenum">xxi</span><a name="page_xxi"
+    id="page_xxi"></a> over Europe has suffered from the servility with which the old
+    designs, now for the first time fully appreciated, have been copied and imitated.</p>
+    <p>In this length of pedigree it must be noted that England far surpasses even France
+    herself. The magnificent illuminated manuscripts, the finest of their age, which were
+    produced at Winchester during the tenth century, were no doubt bound in the jewelled
+    metal covers of which the rapacity of the sixteenth century has left hardly a single
+    trace in this country. But early in the twelfth century, if not before, the
+    Winchester bookmen turned their attention also to leather binding, and the school of
+    design which they started, spreading to Durham, London, and Oxford, did not die out
+    in England until it was ousted by the large panel stamps introduced from France at
+    the end of the fifteenth. The predominant feature of these Winchester bindings (of
+    which a fine example from the library of William Morris recently sold for
+    &pound;180), and of their successors, is the employment of small stamps, from half an
+    inch to an inch in size, sometimes circular, more often square or pear-shaped, and
+    containing figures, grotesques, or purely conventional designs. A circle, or two
+    half-circles, formed by the repetition of one <span class="pagenum">xxii</span><a
+    name="page_xxii" id="page_xxii"></a>stamp, within one or more rectangles formed by
+    others, is perhaps the commonest scheme of decoration, but it is the characteristic
+    of these bindings, as of the finest in gold tooling, that by the repetition of a few
+    small patterns an endless variety of designs could be built up. The British Museum
+    possesses a few good examples of this stamp-work, but the finest collections of them
+    are in the Cathedral libraries at Durham and Hereford. Any one, however, who is
+    interested in this work can easily acquaint himself with it by consulting the unique
+    collection of rubbings carefully taken by Mr. Weale and deposited in the National Art
+    Library at the South Kensington Museum. In these rubbings, as in no other way, the
+    history of English binding can be studied from the earliest Winchester books to the
+    charming Oxford bindings executed by Thomas Hunt, the English partner of the Cologne
+    printer, Rood, about 1481.</p>
+    <p>During the first half of this period the English leather binders were the finest
+    in Europe; during the second, the Germans pressed them hard, and when the large panel
+    stamps, three or four inches square and more, were introduced in Holland and France,
+    the English adaptations of them were distinctly inferior to the originals. The
+    earliest English bindings with gold tooling were, of<span
+    class="pagenum">xxiii</span><a name="page_xxiii" id="page_xxiii"></a> course, also
+    imitative. The use of gold reached this country but slowly, as the first known
+    English binding, in which it occurs, is on a book printed in 1541, by which time the
+    art had been common in Italy for a generation. The English bindings found on books
+    bound for Henry <span class="smcap">viii.</span>, Edward <span
+    class="smcap">vi.</span>, and Mary <span class="smcap">i.</span>, all of which are
+    roughly assigned to Berthelet as the Royal binder, resemble the current Italian
+    designs of the day, with sufficient differences to make it probable that they were
+    produced by Englishmen. We know, however, that until the close of the century there
+    were occasional complaints of the presence of foreign binders in London, and it is
+    probable that the Grolieresque bindings executed for Wotton were foreign rather than
+    English. Where, however, we find work on English books distinctly unlike anything in
+    France or Italy, it is reasonable to assign it to a native school, and such a school
+    seems to have grown up about 1570, in the workshop of John Day, the helper of
+    Archbishop Parker in so many of his literary undertakings. These bindings attributed
+    to Day, especially those in which he worked with white leather on brown, although
+    they have none of the French delicacy of tooling, perhaps for this reason attack the
+    problem of decoration with a greater<span class="pagenum">xxiv</span><a
+    name="page_xxiv" id="page_xxiv"></a> sense of the difference between the styles
+    suitable for a large book and a small than is always found in France, where the
+    greatest binders, such as Nicholas Eve and Le Gascon, often covered large folios with
+    endless repetitions of minute tools whose full beauty can only be appreciated on
+    duodecimos or octavos. The English designs with a large centre ornament and
+    corner-pieces are rich and impressive, and we may fairly give Day and his fellows the
+    palm for originality and effectiveness among Elizabethan binders. In the next reign
+    the French use of the sem&eacute; or powder, a single small stamp, of a fleur-de-lys,
+    a thistle, a crown, or the like, impressed in rows all over the cover, was
+    increasingly imitated in England, very unsuccessfully, and, save for a few traces of
+    the style of Day, the leather bindings of the first third of the century deserve the
+    worst epithets which can be given them.</p>
+    <p>Until, however, French fashions came into vogue after the Restoration, English
+    binders had never been content to regard leather as the sole material in which they
+    could work. Embroidered bindings had come early into use in England, and a Psalter
+    embroidered by Anne Felbrigge towards the close of the fourteenth century is
+    preserved at the British Museum, and shown in one of Mr.<span
+    class="pagenum">xxv</span><a name="page_xxv" id="page_xxv"></a> Davenport's
+    illustrations. In the sixteenth century embroidered work was very popular with the
+    Tudor princesses, gold and silver thread and pearls being largely used, often with
+    very decorative effect. The simplest of these covers are also the best&mdash;but
+    great elaboration was often employed, and on a presentation copy of Archbishop
+    Parker's <i>De Antiquitate Ecclesi&aelig; Britannic&aelig;</i> we find a clever but
+    rather grotesque representation of a deer-paddock. Under the Stuarts the lighter
+    feather-stitch was preferred, and there seems to have been a regular trade in
+    embroidered Bibles and Prayer-books of small size, sometimes with floral patterns,
+    sometimes with portraits of the King, or Scriptural scenes. A dealer's freak which
+    compelled the British Museum to buy a pair of elaborate gloves of the period rather
+    than lose a finely embroidered Psalter, with which they went, was certainly a
+    fortunate one, enabling us to realise that in hands thus gloved these little
+    bindings, always pretty, often really artistic, must have looked exactly right, while
+    their vivid colours must have been admirably in harmony with the gay Cavalier
+    dresses.</p>
+    <p>Besides furnishing a ground for embroidery, velvet bindings were often decorated,
+    in England,<span class="pagenum">xxvi</span><a name="page_xxvi" id="page_xxvi"></a>
+    with goldsmith work. One of the most beautiful little bookcovers in existence is on a
+    book of prayers, bound for Queen Elizabeth in red velvet, with a centre and corner
+    pieces delicately enamelled on gold. Under the Stuarts, again, we frequently find
+    similar ornaments in engraved silver, and their charm is incontestable.</p>
+    <p>Thus while for English bindings of this period in gilt leather we can only claim
+    that Berthelet's show some freedom in their adaptation of Italian models, and Day's a
+    more decided originality, we are entitled to set side by side with this scanty record
+    a host of charming bindings in more feminine materials, which have no parallel in
+    France, and certainly deserve some recognition. After the Restoration, however,
+    leather quickly ousted its competitors, and a school of designers and gilders arose
+    in England, which, while taking its first inspiration from Le Gascon, soon developed
+    an individual style. In effectiveness, though not in minute accuracy of execution,
+    this may rank with the best in Europe. We can trace the beginnings of this lighter
+    and most graceful work as early as the thirties, and it might be contended with a
+    certain plausibility that it began at the Universities. Certainly the two earliest
+    examples known to me&mdash;the copy of her <i>Statutes</i> presented to Charles <span
+    class="smcap">i.</span> by Oxford in 1634, and <span class="pagenum">xxvii</span><a
+    name="page_xxvii" id="page_xxvii"></a>the Little Gidding <i>Harmony</i> of 1635, the
+    tools employed in which have been shown by Mr. Davenport to have been used also by
+    Buck, of Cambridge&mdash;are two of the finest English bindings in existence, and in
+    both cases, despite the multiplicity of the tiny tools employed, there is a unity and
+    largeness of design which, as I have ventured to hint, is not always found even in
+    the best French work. The chief English bindings after the Restoration, those
+    associated with the name of Samuel Mearne, the King's Binder, preserve this
+    character, though the attempt to break the formality of the rectangle by the bulges
+    at the side and the little penthouses at foot and head (whence its name, the
+    'cottage' style) was not wholly successful. The use of the labour-saving device of
+    the 'roll,' in preference to impressing each section of the pattern by hand, is
+    another blot. Nevertheless, it is almost impossible to find an English or Scotch
+    binding of this period which is less than charming, and the best of them are
+    admirable. At the beginning of the eighteenth century a new grace was added by the
+    inlaying of a leather of a second colour. These inlaid English bindings are few in
+    number (the British Museum has not a single fine example), but those who know the
+    specimens exhibited at the Burlington Fine Arts Club, two of which are<span
+    class="pagenum">xxviii</span><a name="page_xxviii" id="page_xxviii"></a> figured in
+    its Catalogue, will readily allow that their grace has never been surpassed. The fine
+    Harleian bindings let us down gently from this eminence, and then, after a period of
+    mere dulness, with the rise of Roger Payne we have again an English school (for
+    Payne's traditions were worthily followed by Charles Lewis) which, by common consent,
+    was the finest of its time. Payne's originality is, perhaps, not quite so absolute as
+    has been maintained, for some of his tools were cut in the pattern of Mearne's, and
+    it would be possible to find suggestions for some of his schemes of arrangement in
+    earlier English work. If he borrowed, however, he borrowed from his English
+    predecessors, and he brought to his task an individuality and an artistic instinct
+    which cannot be denied.</p>
+    <p>After Payne and Lewis, English binding, like French, became purely imitative in
+    its designs; but while in our own decade the French artists have endeavoured to shake
+    themselves free from old traditions by mere eccentricity, in England we have several
+    living binders, such as Mr. Cobden Sanderson and Mr. Douglas Cockerell, who work with
+    notable originality and yet with the strictest observance of the canons of their
+    art.<span class="pagenum">xxix</span><a name="page_xxix" id="page_xxix"></a></p>
+    <p>Moreover in the application of decorative designs to cloth cases England has
+    invented, and England and America have brought to perfection, an inexpensive and very
+    pleasing form of book-cover, which gives the bookman ample time to consider whether
+    his purchase is worth the more permanent honours of gilded leather, and also, by the
+    facts that it is avowedly temporary, and that its decoration is cheaply and easily
+    effected by large stamps, renders forgivable vagaries of design, which when
+    translated, as they have been of late years in France, into the time-honoured and
+    solemn leather, seem merely incongruous and irreverent.</p>
+    <p>In binding, then, as in the other bookish arts, the part which English workers
+    have played has been no insignificant or unworthy one, and the development of this
+    art, as of the others, in our own country is worthy of study. In this case much has
+    already been done, for the illustrations of <i>English Bookbindings at the British
+    Museum</i>, edited, with introduction and descriptions by Mr. W. Y. Fletcher, present
+    the student with the best possible survey of the whole subject, while the excellent
+    treatises of Miss Prideaux and Mr. Horne bring English bookbinding into relation with
+    that of other countries. Here, then, there is no need of a new general history, but
+    rather o<span class="pagenum">xxx</span><a name="page_xxx" id="page_xxx"></a>f
+    special monographs, treating more in detail of the periods at which our English
+    binders have done the best work. The old stamped bindings of the days of manuscript,
+    the embroidered bindings of the sixteenth and seventeenth centuries, the leather
+    bindings of Mearne and his fellows under the later Stuarts, and the work of Roger
+    Payne&mdash;all these seem to offer excellent subjects for unpretentious monographs,
+    and it is hoped that others of them besides the <i>English Embroidered Bindings</i>,
+    with which Mr. Davenport has made a beginning, may be treated in this series.</p>
+    <p>In other subjects the ground has not yet been cleared to the same extent, and for
+    the history of English Book-Collectors and English Printing, not special monographs,
+    but good general surveys are the first need. To say much on this subject might bring
+    me perilously near to re-writing the prospectus of this series. It is enough to have
+    pointed out that the bookish arts in England are well worth more study than they have
+    yet been given, and that the pioneers who are endeavouring to enlarge knowledge, each
+    in his own section, may fairly hope that their efforts will be received with
+    indulgence and good-will.</p>
+    <p><span class="smcap">Alfred W. Pollard.</span><span class="pagenum">xxxi</span><a
+    name="page_xxxi" id="page_xxxi"></a></p>
+    <div class="figcenter">
+      <a href="images/bigorn1.gif"><img src="images/orn1.gif" alt="ornament"
+      title="ornament" class="figcenter" /></a><br />
+    </div>
+    <hr style="width: 65%;" />
+    <span class="pagenum">1</span><a name="page_1" id="page_1"></a>
+    <h2><a name="CHAPTER_I" id="CHAPTER_I"></a>CHAPTER I</h2>
+    <div class="subchap">
+      EMBROIDERED BOOKS
+    </div>
+    <a href="images/bigt.gif"><img src="images/t.gif" alt="Ornate Uppercase Letter T" title="Ornate Uppercase Letter T"
+    class="figinit" /></a>
+    <p>he application of needlework to the embellishment of the bindings of books has
+    hitherto almost escaped special notice. In most of the works on the subject of
+    English Bookbinding, considered from the decorative point of view in distinction from
+    the technical, a few examples of embroidered covers have indeed received some share
+    of attention. Thus in both Mr. H. B. Wheatley's and Mr. W. Y. Fletcher's works on the
+    bindings in the British Museum, in Mr. Salt Brassington's <i>Historic Bindings in the
+    Bodleian Library</i> and <i>History of the Art of Bookbinding</i>, and in my own
+    <i>Portfolio</i> monograph on 'Royal English Bookbindings,' some of the finer
+    specimens of embroidered books still existing are illustrated and described. But up
+    to the present no attempt has been made to deal with them as a separate subject. In
+    the course, however, of the many lectures on Decorative Bookbinding which it has been
+    my pleasure and honour to deliver during <span class="pagenum">2</span><a
+    name="page_2" id="page_2"></a>the past few years, I have invariably noticed that the
+    pictures and descriptions of embroidered specimens have been the most keenly
+    appreciated, and this favourable sign has led me to examine and consider such
+    examples as have come in my way more carefully than I might otherwise have done. Very
+    little study sufficed to show that in England alone there was for a considerable
+    period a regular and large production of embroidered books, and further, that the
+    different styles of these embroideries are clearly defined, equally from the
+    chronological and artistic points of view. A peculiarly English art which thus lends
+    itself to orderly treatment may fairly be made the subject of a brief monograph.</p>
+    <p>With the exception of point-lace, which is sometimes made in small pieces for such
+    purposes as ladies' cuffs or collars, decorative work produced by the aid of the
+    needle is generally large. Certainly this is so in its finest forms, which are
+    probably to be found in the ecclesiastical vestments and in the altar frontals of the
+    Renaissance period, or even earlier. On the other hand, such work as exists on books
+    is always of small size, and, unlike the point-lace, it almost invariably has more
+    than one kind of 'stitchery' upon it&mdash;chain, split, tapestry, satin, or what
+    not.</p>
+    <p>Thus it can be claimed as a distinction for embroidered book-covers that as a
+    class they are the smallest complete embroideries existing, <span
+    class="pagenum">3</span><a name="page_3" id="page_3"></a>ranging upwards from about 6
+    inches by 3&frac12; inches&mdash;the size of the smallest specimen known to me, when
+    opened out to its fullest extent, sides and back in one. This covers a copy of the
+    Psalms, printed in London in 1635, and is of white satin, with a small tulip worked
+    in coloured silk on each side.</p>
+    <p>An 'Embroidered Book,' it should be said, means for my purpose a book which is
+    covered, sides and back, by a piece of material ornamented with needlework, following
+    a design made for the purpose of adorning that particular book. A cover consisting of
+    merely a piece of woven stuff, or even a piece of true embroidery cut from a larger
+    piece, is not, from my point of view, properly to be considered an 'embroidered
+    book,' it being essential that the design as well as the workmanship should have been
+    specially made for the book on which they are found; and this, in the large majority
+    of instances, is certainly the case.</p>
+    <p>With regard to the transference of bindings to books other than those for which
+    they were originally made, such a transference has often taken place in the case of
+    medi&aelig;val books bound in ornamental metal, but even in these instances it must
+    be recognised that such a change can seldom be made without serious detriment. It is
+    chiefly indeed from some incongruity of style or technical mistake in the re-putting
+    together that we are led to guess that the covers have been <span
+    class="pagenum">4</span><a name="page_4" id="page_4"></a>thus tampered with. Now and
+    then such a transference occurs in the case of leather-bound books, and in such
+    instances is usually easy for a trained binder to detect. Embroidered covers, on the
+    other hand, have rarely been changed, the motive for such a proceeding never having
+    been strong, and the risk attending it being obvious enough. We may, in fact, feel
+    tolerably sure that the large majority of embroidered covers still remain on the
+    boards of the books they were originally made for.</p>
+    <p>All the embroidered books now extant dating from before the reign of Queen
+    Elizabeth have gone through the very unfortunate operation of 're-backing,' in the
+    course of which the old embroidered work is replaced by new leather. The old head and
+    tail bands, technically very interesting, have been replaced by modern imitations,
+    and considerable damage has been done in distorting the work left on the sides of the
+    book. It would seem obvious that a canvas, velvet, or satin embroidered binding, if
+    it really must be re-backed or repaired at all, should be mended with a material as
+    nearly as possible of the same make and colour as that of the original covering; but
+    this has rarely been done, the large majority of such repairs being executed in
+    leather. But in the case of such old bindings we must be grateful for small mercies,
+    and feel thankful that even the sides are left in so many cases. It is<span
+    class="pagenum">5</span><a name="page_5" id="page_5"></a> indeed surprising that we
+    still possess as much as we do. If all our great collectors had been of the same mind
+    as Henry Prince of Wales, the Right Hon. Thomas Grenville, or even King George <span
+    class="smcap">iii.</span>, we should have been far worse off, as although several
+    fine old bindings exist in their libraries, many which would now be priceless have
+    been destroyed, only to be replaced by comparatively modern bindings, sometimes the
+    best of their kind, but often in bad taste.</p>
+    <div class="subchap">
+      <i>Division of Embroidered Books according to the designs upon them.</i>
+    </div>
+    <p>The designs on embroidered books may be roughly divided into four
+    classes&mdash;Heraldic, Figure, Floral, and Arabesque.</p>
+    <p>The Heraldic designs always denote ownership, and are most frequently found on
+    Royal books bound in velvet, rarely occurring on silk or satin, and never, as far as
+    I have been able to ascertain, on canvas. The Figure designs may be subdivided into
+    three smaller classes, viz.:&mdash;</p>
+    <div class="blockquot">
+      <span class="smcap">i.</span> Scriptural, <i>e.g.</i> representations of Solomon
+      and the Queen of Sheba, Jacob wrestling with the Angel, David, etc.<br />
+    </div>
+    <div class="blockquot">
+      <span class="smcap">ii.</span> Symbolical, <i>e.g.</i> figures of Faith, Hope,
+      Peace, Plenty, etc.<br />
+    </div>
+    <div class="blockquot">
+      <span class="smcap">iii.</span> Portraits, <i>e.g.</i> of Charles <span
+      class="smcap">i.</span>, Queen Henrietta Maria, Duke of Buckingham, etc.<br />
+    </div>
+    <span class="pagenum">6</span><a name="page_6" id="page_6"></a>
+    <p>The Scriptural designs are most generally found on canvas-bound books; the
+    Symbolical figures, and Portraits, on satin, rarely on velvet. The Floral and
+    Arabesque designs are most common on small and unimportant works bound in satin, but
+    they occur now and then on both canvas and velvet books. The true arabesques have no
+    animal or insect forms among them, the prophet Mohammed having forbidden his
+    followers to imitate any living thing.</p>
+    <p>It may further be noted that heraldic designs on embroidered books are early,
+    having been made chiefly during the sixteenth century, and that the figure, floral,
+    and arabesque designs most usually belong to the seventeenth century. There are, of
+    course, exceptions to these divisions, notably in the case of the earliest existing
+    embroidered book, which has figure designs on both sides, but also maintains its
+    heraldic position, inasmuch as its edges are decorated with coats-of-arms.</p>
+    <p>Naturally, again, it may be sometimes difficult to decide whether a design should
+    be classed as heraldic or floral. Such a difficulty occurs as to the large Bible at
+    Oxford bound in red velvet for Queen Elizabeth, and bearing a design of Tudor and
+    York roses. I consider it heraldic, but it might, with no less appropriateness, be
+    called floral. If it had belonged to any one not a member of the Royal family it
+    would undoubtedly be properly counted as a floral specimen. Again, <span
+    class="pagenum">7</span><a name="page_7" id="page_7"></a>in many of the portrait
+    bindings flowers and arabesques are introduced, but they are clearly subordinate, and
+    the chief decorative motive of such designs must be looked for, and the work classed
+    accordingly. Thus it is evident that the arrangement of the embroidered books by
+    their designs cannot be too rigidly applied, although it should not be lost sight of
+    altogether.</p>
+    <div class="subchap">
+      <i>Division of Embroidered Books according to the material on which they are
+      worked.</i>
+    </div>
+    <p>A more useful and accurate classification may however be found by help of the
+    material on which the embroidered work is done, and this division is obvious and
+    easy. With very few exceptions all embroidered books, ancient and modern, are worked
+    on <i>canvas</i>, <i>velvet</i>, or <i>satin</i>, and while canvas was used
+    continuously from the fourteenth century until the middle of the seventeenth century,
+    velvet was most largely used during the Tudor period, and satin during that of the
+    early Stuarts.</p>
+    <p>Broadly speaking, the essential differences in the kind of work found upon these
+    three materials follow the peculiarities of the materials themselves. Canvas, in
+    itself of no decorative value, is always completely covered with needlework. Velvet,
+    beautiful even when alone, but difficult to work upon, usually has a large proportion
+    <span class="pagenum">8</span><a name="page_8" id="page_8"></a>of appliqu&eacute;,
+    laid, or couched work, in coloured silk or satin, upon it, showing always large
+    spaces unworked upon, and such actual work as occurs directly on the velvet is always
+    in thick guimp or gold cord. Satin, equally beautiful in its way, is also freely left
+    unornamented in places; the needlework directly upon it is often very fine and
+    delicate in coloured floss silks, generally closely protected by thick raised frames
+    or edges of metallic threads or fine gold or silver cords.</p>
+    <table align="center" summary="diagrams">
+      <tr>
+        <td width="33%">
+          <div class="figcenter">
+            <a href="images/bigfig1.gif"><img src="images/fig1.gif"
+            alt="Fig 1. Silken thread closely wound round with strip of flat metal."
+            title="Fig. 1. Silken thread closely wound round with strip of flat metal."
+            class="figcenter" /></a><br />
+            <span class="fsmcap">Fig. 1.</span><br />
+            <p class="fcaption">Silken thread closely wound round with strip of flat
+            metal.</p>
+          </div>
+        </td>
+        <td width="33%">
+          <div class="figcenter">
+            <a href="images/bigfig2.gif"><img src="images/fig2.gif"
+            alt="Fig 2. Silken thread loosely wound round with strip of flat metal."
+            title="Fig. 2. Silken thread loosely wound round with strip of flat metal."
+            class="figcenter" /></a><br />
+            <span class="fsmcap">Fig. 2.</span><br />
+            <p class="fcaption">Silken thread loosely wound round with strip of flat
+            metal.</p>
+          </div>
+        </td>
+        <td width="33%">
+          <div class="figcenter">
+            <a href="images/bigfig3.gif"><img src="images/fig3.gif"
+            alt="Fig 3. Strips of flat metal cut into shapes and kept down by small stitches at regular intervals. Called 'Lizzarding.'"
+             title="Fig. 3. Strips of flat metal cut into shapes and kept down by small stitches at regular intervals. Called 'Lizzarding.'"
+             class="figcenter" /></a><br />
+            <span class="fsmcap">Fig. 3.</span><br />
+            <p class="fcaption">Strips of flat metal cut into shapes and kept down by
+            small stitches at regular intervals. Called 'Lizzarding.'</p>
+          </div>
+        </td>
+      </tr>
+    </table>
+    <p>By 'metallic' threads, when they are not simply fine wires, I mean strands of silk
+    closely (Fig. 1) or loosely (Fig. 2) wound round with narrow coils of thin metal,
+    mostly silver or silver gilt. The use of such threads, alone, or twisted into cords,
+    is common on all styles of embroidered books, and it is largely due to their use that
+    pieces of work apparently of the greatest delicacy are really extremely
+    durable&mdash;far more <span class="pagenum">9</span><a name="page_9"
+    id="page_9"></a>so than is generally supposed. Certainly if it had not been for the
+    efficient protection of these little metal walls we should not possess, as we
+    actually do, delicate-looking embroidered books, hundreds of years old, in almost as
+    good condition, except in the matter of colour, as when they were originally
+    made.</p>
+    <p>Thin pieces of metal are sometimes used alone, caught down at regular intervals by
+    small cross stitches; this is, I believe, called 'Lizzarding' (Fig. 3). Metal is also
+    found in the form of 'guimp,' in flattened spirals (Fig. 4), and also in the 'Purl,'
+    or copper wire covered with silk (Fig. 5), so common on the later satin books
+    (compare p. 46).</p>
+    <table align="center" summary="diagrams">
+      <tr>
+        <td width="50%">
+          <div class="figcenter">
+            <a href="images/bigfig4.gif"><img src="images/fig4.gif"
+            alt="Fig 4. Edging made with a piece of spiral wire hammered flat, appearing like a series of small rings."
+             title="Fig. 4. Edging made with a piece of spiral wire hammered flat, appearing like a series of small rings."
+             class="figcenter" /></a><br />
+            <span class="fsmcap">Fig. 4.</span><br />
+            <p class="fcaption">Edging made with a piece of spiral wire hammered flat,
+            appearing like a series of small rings.</p>
+          </div>
+        </td>
+        <td width="50%">
+          <div class="figcenter">
+            <a href="images/bigfig5.gif"><img src="images/fig5.gif"
+            alt="Fig 5. Loop made of a short length of Purl threaded, the ends drawn together."
+             title="Fig. 5. Loop made of a short length of Purl threaded, the ends drawn together."
+             class="figcenter" /></a><br />
+            <span class="fsmcap">Fig. 5.</span><br />
+            <p class="fcaption">Loop made of a short length of Purl threaded, the ends
+            drawn together.</p>
+          </div>
+        </td>
+      </tr>
+    </table>
+    <p>Spangles appear to have been introduced during the reign of Elizabeth, but they
+    were never freely used on velvet, finding their proper place ultimately on the satin
+    books of a later time. The spangles are generally kept in position either by a small
+    section of purl (Fig. 6) or a seed pearl (Fig. 7), in both cases very efficaciously,
+    so that the use of guimp or pearl was not only ornamental but served the same
+    protective purpose as the bosses on a shield, or those so commonly<span
+    class="pagenum">10</span><a name="page_10" id="page_10"></a> found upon the sides of
+    the stamped leather bindings of medi&aelig;val books.</p>
+    <table align="center" summary="diagrams">
+      <tr>
+        <td width="33%">
+          <div class="figcenter">
+            <a href="images/bigfig6.gif"><img src="images/fig6.gif"
+            alt="Fig 6. Spangle kept in place by a stitch through a short piece of Purl."
+            title="Fig. 6. Spangle kept in place by a stitch through a short piece of Purl."
+             class="figcenter" /></a><br />
+            <span class="fsmcap">Fig. 6.</span><br />
+            <p class="fcaption">Spangle kept in place by a stitch through a short piece
+            of Purl.</p>
+          </div>
+        </td>
+        <td width="33%">
+          <div class="figcenter">
+            <a href="images/bigfig7.gif"><img src="images/fig7.gif"
+            alt="Fig 7. Spangle kept in place by a stitch through a seed pearl."
+            title="Fig. 7. Spangle kept in place by a stitch through a seed pearl."
+            class="figcenter" /></a><br />
+            <span class="fsmcap">Fig. 7.</span><br />
+            <p class="fcaption">Spangle kept in place by a stitch through a seed
+            pearl.</p>
+          </div>
+        </td>
+        <td width="33%">
+          <div class="figcenter">
+            <a href="images/bigfig8.gif"><img src="images/fig8.gif"
+            alt="Fig 8. Binder's stamp for gold tooling, cut in imitation of a spangle."
+            title="Fig. 8. Binder's stamp for gold tooling, cut in imitation of a spangle."
+             class="figcenter" /></a><br />
+            <span class="fsmcap">Fig. 8.</span><br />
+            <p class="fcaption">Binder's stamp for gold tooling, cut in imitation of a
+            spangle.</p>
+          </div>
+        </td>
+      </tr>
+    </table>
+    <p>It may be mentioned that the seventeenth-century Dutch binders, Magnus and Poncyn,
+    both of Amsterdam, invented a new tool for gilding on leather bindings, used, of
+    course, in combination with others. This was cut to imitate the small circular
+    spangles of the embroidered books (Fig. 8), and the English and French finishers of a
+    later period used the same device with excellent effect for filling up obtrusive
+    spaces on the sides and backs of their decorative bindings. Thus it may be taken as
+    an axiom that, for the proper working of an embroidered book, except it be
+    tapestry-stitch or tent-stitch, on canvas, which is flat and strong of itself, there
+    should invariably be a liberal use of metal threads, these being not only very
+    decorative in themselves, but also providing a valuable protection to the more
+    delicate needlework at a lower level, and to the material of the ground itself.</p>
+    <p>The earliest examples of embroidered bindings still existing are not by any means
+    such as would lead to the inference that they were exceptional productions&mdash;made
+    when the idea of the application <span class="pagenum">11</span><a name="page_11"
+    id="page_11"></a>of needlework to the decoration of books was in its infancy. On the
+    contrary, they are instances of very skilled workmanship, so that it is probable that
+    the art was practised at an earlier date than we now have recorded. There are,
+    indeed, frequent notes in 'Wardrobe Accounts' and elsewhere of books bound in velvet
+    and satin at a date anterior to any now existing, but there is no mention of
+    embroidered work upon them.</p>
+    <div class="subchap">
+      <i>The Forwarding of Embroidered Books.</i>
+    </div>
+    <p>The processes used in the binding of embroidered books are the same as in the case
+    of leather-bound books; but there is one invariable peculiarity&mdash;the bands upon
+    which the different sections of the paper are sewn are never in relief, so that it
+    was always possible to paste down a piece of material easily along the back without
+    having to allow for the projecting bands so familiar on leather bindings (Fig. 9).
+    The backs, moreover, are only rounded very slightly, if at all.</p>
+    <p>This flatness has been attained on the earlier books either by sewing on flat
+    bands, thin strips of leather or vellum (Fig. 10), or by flattening the usual hempen
+    bands as much as they will bear by the hammer, and afterwards filling up the
+    intermediate spaces with padding of some suitable material, linen or thin
+    leather.</p>
+    <p>In several instances the difficulty of flattening the bands has been solved, in
+    sixteenth- and<span class="pagenum">12</span><a name="page_12" id="page_12"></a>
+    seventeenth-century embroidered books, in a way which cannot be too strongly
+    condemned from a constructive point of view, although it has served its immediate
+    purpose admirably.</p>
+    <p>A small trench has been cut with a sharp knife for each band, deep enough to sink
+    it to the general level of the inner edges of the sections (Fig. 11).</p>
+    <table align="center" summary="diagrams">
+      <tr>
+        <td width="33%">
+          <div class="figcenter">
+            <a href="images/bigfig9.gif"><img src="images/fig9.gif"
+            alt="Fig 9. Back of book sewn on raised bands."
+            title="Fig. 9. Back of book sewn on raised bands." class="figcenter" />
+            </a><br />
+            <span class="fsmcap">Fig. 9.</span><br />
+            <p class="fcaption">Back of book sewn on raised bands.</p>
+          </div>
+        </td>
+        <td width="33%">
+          <div class="figcenter">
+            <a href="images/bigfig10.gif"><img src="images/fig10.gif"
+            alt="Fig 10. Band of flat vellum sometimes found on old books with flat backs."
+             title="Fig. 10. Band of flat vellum sometimes found on old books with flat backs."
+             class="figcenter" /></a><br />
+            <span class="fsmcap">Fig. 10.</span><br />
+            <p class="fcaption">Band of flat vellum sometimes found on old books with
+            flat backs.</p>
+          </div>
+        </td>
+        <td width="33%">
+          <div class="figcenter">
+            <a href="images/bigfig11.gif"><img src="images/fig11.gif"
+            alt="Fig 11. Typical appearance of a book, before it is sewn, with small trenches cut in the back in which the bands are to be laid; a bad method, but often used to produce a flat back."
+             title="Fig. 11. Typical appearance of a book, before it is sewn, with small trenches cut in the back in which the bands are to be laid; a bad method, but often used to produce a flat back."
+             class="figcenter" /></a><br />
+            <span class="fsmcap">Fig. 11.</span><br />
+            <p class="fcaption">Typical appearance of a book, before it is sewn, with
+            small trenches cut in the back in which the bands are to be laid; a bad
+            method, but often used to produce a flat back.</p>
+          </div>
+        </td>
+      </tr>
+    </table>
+    <p>This cutting of the back to make room for the bands was afterwards more easily
+    effected by means of a saw&mdash;as it is done now&mdash;and in the eighteenth
+    century was especially used by the French binder Derome le Jeune, who is usually made
+    responsible for its invention.</p>
+    <p>The existence of the sunken bands on early embroidered books probably marks the
+    beginning of <span class="pagenum">13</span><a name="page_13" id="page_13"></a>this
+    vicious system, but here there is some excuse for it, whereas in the case of ordinary
+    leather-bound books there is none, except from the commercial standpoint.</p>
+    <p>In the case of vellum books there may be some reason for using the 'sawn in'
+    bands, as it is certainly difficult to get vellum to fit comfortably over raised
+    bands, although numerous early instances exist in which it has been successfully
+    done. Again in the case of 'hollow backs,' the bands are kept flat with some reason.
+    But for all valuable or finely bound books the system of 'sawing in' cannot be too
+    strongly condemned.</p>
+    <p>'Sawing in' can be detected by looking at the threads in the centre of any section
+    of a bound book from the inside. It will show as a small hole with a piece of hemp or
+    leather lying transversely across it, under which the thread passes (Fig. 12).</p>
+    <div class="figcenter">
+      <a href="images/bigfig12.gif"><img src="images/fig12.gif"
+      alt="Fig 12.&lt;br /&gt;Typical appearance of the sewing of a book with 'sawn in' bands, as seen from the inside of each section. The bands just visible."
+       title="Fig. 12.&lt;br /&gt;Typical appearance of the sewing of a book with 'sawn in' bands, as seen from the inside of each section. The bands just visible."
+       class="figcenter" /></a><br />
+      <span class="fsmcap">Fig. 12.</span><br />
+      <p class="fcaption">Typical appearance of the sewing of a book with 'sawn in'
+      bands, as seen from the inside of each section. The bands just visible.</p>
+    </div>
+    <span class="pagenum">14</span><a name="page_14" id="page_14"></a>
+    <p>In the case of a properly sewn book, the bands themselves cannot be seen at all
+    from the inside of the sections, unless, indeed, the book is damaged (Fig. 13). If
+    the covering of the back is off, or even loose, the method of sewing that has been
+    used can very easily be seen; and if it appears that the bands are sunk in a small
+    trench, that is the form of sewing that is called 'sawn in,' or analogous to it.</p>
+    <div class="figcenter">
+      <a href="images/bigfig13.gif"><img src="images/fig13.gif"
+      alt="Fig 13.&lt;br /&gt;Typical appearance of the sewing of a book on raised bands, as seen from the inside of each section. The bands invisible. Known as 'flexible.'"
+       title="Fig. 13.&lt;br /&gt;Typical appearance of the sewing of a book on raised bands, as seen from the inside of each section. The bands invisible. Known as 'flexible.'"
+       class="figcenter" /></a><br />
+      <span class="fsmcap">Fig. 13.</span><br />
+      <p class="fcaption">Typical appearance of the sewing of a book on raised bands, as
+      seen from the inside of each section. The bands invisible. Known as 'flexible.'</p>
+    </div>
+    <p>Although in the embroidered books the bands of the backs do not show on the
+    surface, it is common enough to find the lines they probably follow indicated in the
+    work on the back, which is divided into panels by as many transverse lines, braid or
+    cord, as there are bands underneath them. But in some cases the designer has used the
+    back as one long panel, and decorated <span class="pagenum">15</span><a
+    name="page_15" id="page_15"></a>it accordingly as one space. The headbands in some of
+    the earlier books were sewn at the same time as the other bands on the sewing-press
+    and drawn in to the boards, but in most early bindings the ravaging repairer has been
+    at work and made it impossible to know for certain what was the state of the
+    headbands before the book came into his hands. Most of the existing headbands are
+    made by hand in the usual way, with the ends simply cut off, not indeed a very
+    satisfactory finish. It would be better if these ends were somehow drawn in to the
+    leather of the back, as for instance they still often are on thin vellum books.</p>
+    <p>The great majority of embroidered books, both large and small, have had ties of
+    silk on their front edges&mdash;generally two, but sometimes only one, which wraps
+    round. These ties have generally worn away from the outer side of the boards, but
+    their ends can usually be traced (if the book has not been repaired) in the inner
+    side, covered only by a thin piece of paper; and if this paper is loose, as often
+    happens, and the ends show well, it may often be advisable not to paste it down again
+    at that particular place.</p>
+    <p>The backs of old embroidered books are by far the weakest parts about them. If
+    they exist at all in their old forms they are always much worn, and the work upon
+    them so much damaged that it is often difficult to make out even the <span
+    class="pagenum">16</span><a name="page_16" id="page_16"></a>general character of the
+    design, to say nothing of the details of the workmanship.</p>
+    <p>The edges of the leaves of books bound in England in embroidered bindings are
+    always ornamentally treated, sometimes simply gilded, often further adorned with
+    'gauffred' work, that is to say, small patterns impressed on the gold, and sometimes
+    beautifully decorated with elaborate designs having colour in parts as well. The
+    earliest English ornamentation of this kind in colour is found on the Felbrigge
+    Psalter and on some of the books embroidered for Henry <span
+    class="smcap">viii.</span>, one of which is richly painted on the fore edges with
+    heraldic designs, and another with a motto written in gold on a delicately coloured
+    ground.</p>
+    <div class="subchap">
+      <i>Cases for Embroidered Books.</i>
+    </div>
+    <p>Common though the small satin embroidered books must have been in England during
+    the earlier part of the seventeenth century, it is still certain that the finer
+    specimens were highly prized, and beautifully worked bags were often made for their
+    protection. These bags are always of canvas, and most of them are decorated in the
+    same way, the backgrounds of silver thread with a design in tapestry-or tent-stitch,
+    and having ornamental strings and tassels. To describe one of these is almost to
+    describe all. The best preserved specimen I know belongs to a little satin
+    embroidered <span class="pagenum">17</span><a name="page_17" id="page_17"></a>copy of
+    the Psalms, printed in London in 1633, and measures 5 inches long by 4 inches in
+    depth.</p>
+    <div class="figcenter">
+      <a id="plate_1" href="images/bigplate1.jpg" name="plate_1"><img
+      src="images/plate1.jpg" alt="Embroidered Bag for Psalms. London, 1633."
+      title="Embroidered Bag for Psalms. London, 1633." class="figcenter" /></a><br />
+      <p class="caption">1&mdash;Embroidered Bag for Psalms. London, 1633.</p>
+    </div>
+    <p>The same design is repeated on each side. A parrot on a small grass-plot is in the
+    middle of the lower edge. Behind the bird grow two curving stems of thick gold braid,
+    each curve containing a beautifully-worked flower or fruit. In the centre is a
+    carnation, and round it are arranged consecutively a bunch of grapes, a pansy, a
+    honeysuckle, and a double rose, green leaves occurring at intervals. From the lower
+    edge depend three ornamental tassels of silver loops, with small acorns in silver and
+    coloured silks, one from the centre and one from each corner.</p>
+    <p>The top edge has two draw-strings of gold and red braid, each ending in an
+    ornamental oval acorn of silver thread and coloured silks, probably worked on canvas
+    over a wooden core, ending in a tassel similar to those on the lower edge.</p>
+    <p>A long loop of gold and silver braid serves as a handle, or means of attachment to
+    a belt, and is fixed at each side near a strong double loop of silver thread, used
+    when pulling the bag open. The lining is of pink silk. This particular bag is perfect
+    in colour as well as condition, but usually the silver has turned black, or nearly
+    so. Besides these very ornamental bags, others of quite simple workmanship are
+    occasionally found, worked in outline with coloured silks. As well as the embroidered
+    bags, certain rectangular cloths <span class="pagenum">18</span><a name="page_18"
+    id="page_18"></a>variously ornamented, some richly, some plainly, were made and used
+    for the protection of embroidered books, when being read. These, like the bags, only
+    seem to have been used during the seventeenth century. A particularly fine example
+    belongs to a New Testament bound in embroidered satin in 1640. It is of fine linen,
+    measuring 16&frac12; by 9&frac14; inches, and is beautifully embroidered in a floral
+    design, with thick stalks of gold braid arranged in curves and bearing conventional
+    flowers and leaves, all worked in needle-point lace with coloured silks in a
+    wonderfully skilful manner.</p>
+    <p>In the centre is a double red rose with separate petals, and among the other
+    flowers are corn-flowers, honeysuckles, carnations, strawberries, and several leaves,
+    all worked in the same way, and appliqu&eacute;s at their edges. Some, however, of
+    the larger leaves and petals are ornamentally fastened down to the linen by small
+    coloured stitches arranged in lines or patterns over their surfaces, as well as by
+    the edge stitches. There are several spangles scattered about in the spaces on the
+    linen, and the edge is bound with green silk and gold. On the book itself to which
+    this cover belongs there is a good deal of the same needle-point work, probably
+    executed by the same hand; but the cover is a finer piece altogether than the
+    book,&mdash;in fact it is the finest example of such work I have ever seen.</p>
+    <div class="figcenter">
+      <a id="plate_2" href="images/bigplate2.jpg" name="plate_2"><img
+      src="images/plate2.jpg" alt="Embroidered Cover for New Testament. London, 1640."
+      title="Embroidered Cover for New Testament. London, 1640." class="figcenter" />
+      </a><br />
+      <p class="caption">2&mdash;Embroidered Cover for New Testament. London, 1640.</p>
+    </div>
+    <span class="pagenum">19</span><a name="page_19" id="page_19"></a>
+    <p>Abroad there have been made at various times embroidered bindings for books, but
+    in no country except England has there been any regular production of them. I have
+    come across a few cases in England of foreign work, the most important of which I
+    will shortly describe. In the British Museum is an interesting specimen bound in red
+    satin, and embroidered with the arms of Felice Peretti, Cardinal de Montalt, who was
+    afterwards Pope Sixtus <span class="smcap">v.</span>; the coat-of-arms has a little
+    coloured silk upon it, but the border and the cardinal's hat with tassels are all
+    outlined in gold cord. The work is of an elementary character. The book itself is a
+    beautiful illuminated vellum copy of Fichet's <i>Rhetoric</i>, printed in Paris in
+    1471, and presented to the then Pope, Sixtus <span class="smcap">iv.</span> In the
+    same collection are a few more instances of Italian embroidered bindings, always
+    heraldic in their main designs, the workmanship not being of any particular
+    excellence or character. Perhaps altogether the most interesting Italian work of this
+    kind was done on books bound for Cardinal York, several of which still remain,
+    embroidered with his coat-of-arms, one of them being now in the Royal Library at
+    Windsor. Although the actual workmanship on these books is foreign, we may perhaps
+    claim them as having been suggested or made by the order of the English Prince
+    himself, inheriting the liking for embroidered books from his Stuart ancestors.</p>
+    <span class="pagenum">20</span><a name="page_20" id="page_20"></a>
+    <p>French embroidered books are very rare, and I do not know of any examples in
+    England. Two interesting specimens, at least, are in the Biblioth&egrave;que
+    Nationale, and are described and figured in Bouchot's work on the artistic bindings
+    in that library. The earlier is on a book of prayers of the fifteenth century, bound
+    in canvas, and worked with 'tapisserie de soie au petit point,' or as I should call
+    it, tent-, or tapestry-, stitch. It represents the Crucifixion and a saint, but M.
+    Bouchot remarks of it, 'La composition est grossi&egrave;re et les figures des plus
+    rudimentaires.'</p>
+    <p>The other instance occurs on a sixteenth-century manuscript, 'Les Gestes de
+    Blanche de Castille.' It is bound in black velvet, much worn, and ornamented with
+    appliqu&eacute; embroideries in coloured silks, in shading stitch, probably done on
+    fine linen. The design on the upper cover shows the author of the book, Etienne le
+    Blanc, in the left-hand corner, kneeling at the feet of Louise de Savoie, Regent of
+    France, to whom the book is dedicated. Near her is a fountain into which an antlered
+    stag is jumping, pursued by three hounds.</p>
+    <p>The Dutch, in the numerous excellent styles of bindings they have so freely
+    imitated from other nations, have not failed to include the English embroidered
+    books. In the South Kensington Museum is a charming specimen of their work on satin,
+    finely worked in coloured <span class="pagenum">21</span><a name="page_21"
+    id="page_21"></a>silks with small masses of pearls in a rather too elaborate design
+    of flowers and animals. In the British Museum, besides other instances of Dutch
+    needlework, there is a very handsome volume of the <i>Acta Synodalis Nationalis
+    Dordrechti habit&aelig;</i>, printed at Leyden in 1620, and bound in crimson velvet.
+    It has the royal coat-of-arms of England within the Garter, with crest, supporters,
+    and motto, all worked in various kinds of gold thread; in the corners are sprays of
+    roses and thistles alternately, and above and below the coat are the crowned initials
+    J. R., all worked in gold thread.</p>
+    <div class="subchap">
+      <i>Hints for Modern Broiderers.</i>
+    </div>
+    <p>Many book-covers have been embroidered during the last few years in England by
+    ladies working on their own account, or by some of the students at one or other of
+    the many excellent centres now existing for the study and practice of the fascinating
+    art of bookbinding.</p>
+    <p>Although a large proportion of modern work of this kind has been only copied from
+    older work, I see no reason why original designs should not be freely and
+    successfully invented. But I think that the ancient work may be advantageously
+    studied and carefully copied as far as choice of threads and manner of working them
+    goes. The workers of our old embroidered books were <span class="pagenum">22</span><a
+    name="page_22" id="page_22"></a>people of great skill and large experience, and from
+    a long and careful examination of much of their work, I am impressed with the
+    conviction that they worked on definite principles. If I allude briefly to some of
+    these I may perhaps give intending workwomen a hint or two as to some minor points
+    which may assist their work to show to the best advantage when <i>in situ</i>, and
+    also insure, as far as possible, that it will not be unduly damaged during the
+    operation of fixing to the back and boards of the book for which it is intended.</p>
+    <p>(1) Before the operation of fixing on the book is begun, it will always be found
+    best to mount the embroidered work on a backing of strong fine linen. The stage at
+    which it is best to add the linen will vary according to the kind of work it is to
+    strengthen. In the case of canvas it will only be necessary to tack it on quite at
+    the last; with velvet a backing from the first may be used with advantage, all the
+    stitches being taken through both materials. As to satin, it will be best to do all
+    the very fine work, if any, in coloured silks first, and when the stronger work in
+    cord or braid comes on, the linen may be then added. The value of the linen is
+    twofold: it strengthens the entire work and protects the finer material from the
+    paste with which it is ultimately fastened on to the book.</p>
+    <p>(2) A book must be sewn, the edges cut, and <span class="pagenum">23</span><a
+    name="page_23" id="page_23"></a>the boards fixed, before the sizes of the sides and
+    back can be accurately measured. These sizes must be given to the designer most
+    carefully, as a very small difference between the real size and the embroidered size
+    will entirely spoil the finished effect, however fine the details of the workmanship
+    may be. When the exact size is known the designer will fill the spaces at his
+    disposal according to his taste and skill, making his sketches on paper, and, when
+    these are complete, transferring the outlines to the material on which the work is to
+    be done. If the designer is also to be the worker it is artistically right, and he,
+    or she, will put in the proper stitches as the work progresses; but if another person
+    is to execute the needlework it will be best that very detailed description of all
+    the threads and stitches that are to be used should be given, as every designer of an
+    embroidery design intends it to be carried out in a particular way, and unless this
+    way is followed, the design does not have full justice done to it.</p>
+    <p>(3) In the working itself the greatest care must be taken, especially as to two
+    points: the first and perhaps the more important, because the more difficult to
+    remedy, is that the needlework on the <i>under</i> side of the material must be as
+    small and flat as possible, and all knots, lumps, or irregularities here, if they
+    cannot be avoided or safely cut off, had best be brought to the upper side and <span
+    class="pagenum">24</span><a name="page_24" id="page_24"></a>worked over. With satin,
+    especially, attention to this point is most necessary, as unless the plain spaces lie
+    quite flat, which they are very apt not to do, the proper appearance of the finished
+    work is spoiled, and however good it may be in all other points, can never be
+    considered first-rate.</p>
+    <p>The second pitfall to avoid is any pulling or straining of the material during the
+    operation of embroidering it. Success in avoiding this depends primarily upon the
+    various threads being drawn at each stitch to the proper tension, so that it may just
+    have the proper pull to keep it in its place and no more&mdash;and although a stitch
+    too loose is bad enough, one too tight is infinitely worse.</p>
+    <p>(4) The preponderance of appliqu&eacute; work, and raised work in metal guimps on
+    embroidered books, especially on velvet, is easily accounted for when the principles
+    they illustrate are understood, the truth being that in both these operations the
+    maximum of surface effect is produced with the minimum of under work.</p>
+    <p>If the piece appliqu&eacute; is not very large, a series of small stitches along
+    all the edges is generally enough to keep it firm; such edge stitches are in most
+    cases afterwards masked by a gold cord laid over them. If, however, the
+    appliqu&eacute; piece is large it will be necessary to fix it as well with some
+    supplementary stitches through the central portions. These stitches will generally be
+    so <span class="pagenum">25</span><a name="page_25" id="page_25"></a>managed that
+    they fit in with, or under, some of the ornamental work; at the same time, if
+    necessary, they may be symmetrically arranged so as to become themselves of a
+    decorative character.</p>
+    <div class="subchap">
+      <i>The Embroidered Books here illustrated.</i>
+    </div>
+    <p>For the purposes of illustration I have chosen the most typical specimens possible
+    from such collections as I have had access to. The chief collections in England are,
+    undoubtedly, those at the British Museum and at the Bodleian Library at Oxford. The
+    collection at the British Museum is especially rich, the earlier and finer specimens
+    almost invariably having formed part of the old Royal Library of England given by
+    George <span class="smcap">ii.</span> to the Museum in 1757.</p>
+    <p>The more recent specimens have been acquired either by purchase or donation, but
+    as there has been no special intention at any time to collect these bindings, it is
+    remarkable that such a number of them exist in our National Library. The Bodleian is
+    rich in a few fine specimens only, and most of these are exhibited. My illustrations
+    are made from photographs from the books themselves in all instances; to show them
+    properly, however, all should be in colour, and it should not be forgotten that an
+    embroidered book represented only by a half-tint print, however good, inevitably
+    loses its <span class="pagenum">26</span><a name="page_26" id="page_26"></a>greatest
+    charm. However, if the half-tint is unworthy, the colour prints are distinctly
+    flattering. I think that almost any old book well reproduced in colour gains in
+    appearance, and in two of my colour plates I have actually restored some parts. In
+    the beautiful fourteenth century psalter, supposed to have been worked by Anne de
+    Felbrigge, I have made the colours purposely much clearer than they are at present.
+    If it were possible to clean this volume, the colours would show very nearly as they
+    do on my plate; but, actually, they are all much darker and more indistinct, being in
+    fact overlaid with the accumulated dirt of centuries. The other instance where I have
+    added more than at present exists on the original is the green velvet book which
+    belonged to Queen Elizabeth, and forms my frontispiece. Here I have put in the
+    missing pearls, each of which has left its little impression on the velvet, so
+    nothing is added for which there is not the fullest authority. Moreover, some of the
+    gold cord is gone on each of the three volumes of this work, but I have put it in its
+    proper place for the purpose of illustration. The other plates are not in any way
+    materially altered, but it may be allowed that the colour plates show their originals
+    at their best.</p>
+    <p>The books illustrated are selected out of a large number, and I think it may
+    fairly be considered that the most favourable typical specimens now left in England
+    are shown. It may well be <span class="pagenum">27</span><a name="page_27"
+    id="page_27"></a>that a few finer instances than I have been able to find may still
+    be discovered hidden away in private collections, but it is now so rarely that a
+    really fine ancient embroidered book comes into the sale-room, that we may safely
+    conclude the best of them are already safely housed in one or other of our great
+    national collections. Where not otherwise stated, the specimens described are in the
+    British Museum.</p>
+    <p>In the following detailed descriptions I have used the words 'sides' and 'boards'
+    to mean the same thing, and the measurements refer to the size of the boards
+    themselves, not including the back. These measurements must be taken as approximate
+    only, as from wear and other causes the actual sizes would only be truly given by the
+    use of small fractions of inches.</p>
+    <hr style="width: 65%;" />
+    <span class="pagenum">28</span><a name="page_28" id="page_28"></a>
+    <h2><a name="CHAPTER_II" id="CHAPTER_II"></a>CHAPTER II</h2>
+    <div class="subchap">
+      BOOKS BOUND IN CANVAS
+    </div>
+    <a href="images/bige.gif"><img src="images/e.gif" alt="Ornate Uppercase Letter E" title="Ornate Uppercase Letter E"
+    class="figinit" /></a>
+    <p>nglish books bound in embroidered canvas range over a period of about two hundred
+    and fifty years, the earliest known specimen dating from the fourteenth century, and
+    instances of the work occurring with some frequency from this time until the middle
+    of the seventeenth century. The majority of these bindings are worked in
+    tapestry-stitch, or tent-stitch, in designs illustrating Scriptural subjects in
+    differently coloured threads.</p>
+    <p>Very often the outlines of these designs are marked by gold threads and cords, of
+    various kinds, and parts of the work are also frequently enriched with further work
+    upon them in metal threads. Spangles are very rarely found on canvas-bound books. The
+    backgrounds of several of the later specimens are worked in silver threads, sometimes
+    in chain-stitch and sometimes in tapestry-stitch; others again have the groundwork
+    <span class="pagenum">29</span><a name="page_29" id="page_29"></a> of silver threads
+    laid along the surface of the canvas and caught down at regular intervals by small
+    stitches&mdash;this kind of work is called 'laid' or 'couched' work. Books bound with
+    this metal ground have always strong work superimposed, usually executed in metal
+    strips, cords, and thread. The silver is now generally oxidised and much darkened,
+    but when new these bindings must have been very brilliant.</p>
+    <div class="subchap">
+      <i>The Felbrigge Psalter</i>. 13th-century <span class="smcap">ms</span>. Probably
+      bound in the 14th century.
+    </div>
+    <div class="figcenter">
+      <a id="plate_3" href="images/bigplate3.jpg" name="plate_3"><img
+      src="images/plate3.jpg" alt="The Felbrigge Psalter. 13th-century MS."
+      title="The Felbrigge Psalter. 13th-century MS." class="figcenter" /></a><br />
+      <p class="caption">3&mdash;The Felbrigge Psalter. 13th-century MS.</p>
+    </div>
+    <p>The earliest example of an embroidered book in existence is, I believe, the
+    manuscript English Psalter written in the thirteenth century, which afterwards
+    belonged to Anne, daughter of Sir Simon de Felbrigge, K. G., standard-bearer to
+    Richard <span class="smcap">ii</span>. Anne de Felbrigge was a nun in the convent of
+    Minoresses at Bruisyard in Suffolk, during the latter half of the fourteenth century,
+    and it is quite likely that she herself worked the cover&mdash;such work having
+    probably been largely done in monasteries and convents during the middle ages.</p>
+    <p>On the upper side is a very charming design of the Annunciation, and, on the
+    under, another of the Crucifixion, each measuring 7&frac34; by 5&frac34; inches. In
+    both cases the ground is worked with fine gold threads 'couched' in a zigzag pattern,
+    the rest of <span class="pagenum">30</span><a name="page_30" id="page_30"></a>the
+    work being very finely executed in split-stitch by the use of which apparently
+    continuous lines can be made, each successive stitch beginning a little <i>within</i>
+    that immediately preceding it&mdash;the effect in some places being that of a very
+    fine chain-stitch. The lines of this work do not in any way follow the meshes of the
+    linen or canvas, as is mostly the case with book-work upon such material, but they
+    curve freely according to the lines and folds of the design. It will be recognised I
+    think by art workwomen skilled in this kind of small embroidery, that the methods
+    used for ornamenting the canvas binding of this book are the most artistic of any of
+    the various means employed for a similar purpose, and I know of no other instance
+    which for appropriateness of workmanship, or charm of design, can compare with this,
+    the earliest of all.</p>
+    <p>The figure of the Virgin Mary, on the upper side, is dressed in a pale red robe,
+    with an upper garment or cloak of blue with a gold border. On her head is a white
+    head-dress, and round it a yellow halo; just above is a white dove flying downwards,
+    its head having a small red nimbus or cloud round it. The Virgin holds a red book in
+    her hand. The figure of the angel is winged, and wears an under robe of blue with an
+    upper garment of yellow; round his head he has a green and yellow nimbus, his wings
+    are crimson and white.</p>
+    <span class="pagenum">31</span><a name="page_31" id="page_31"></a>
+    <p>Between these two figures is a large yellow vase, banded with blue and red; out of
+    it grows a tall lily, with a crown of three red blossoms.</p>
+    <p>The drawing of both of the figures is good, the attitudes and the management of
+    the folds of the drapery being excellently rendered, and the execution of the
+    technical part is in no way inferior to the design.</p>
+    <p>On the lower side, on a groundwork of gold similar to that on the upper cover, is
+    a design of the Crucifixion. Our Saviour wears a red garment round the loins, and
+    round his head is a red and yellow nimbus, his feet being crossed in a manner often
+    seen in illuminations in ancient manuscripts.</p>
+    <p>The cross is yellow with a green edge, the foot widening out into a triple arch,
+    within which is a small angel kneeling in the attitude of prayer. On the right of the
+    cross is a figure of the Virgin Mary, in robes of pale blue and yellow, with a white
+    head-dress and green and yellow nimbus. On the left is another figure, probably
+    representing St. John, dressed in robes of red and blue, and having a nimbus round
+    his head of concentric rings of red and yellow. This figure is unfortunately in very
+    bad condition. The edges of the leaves of the book are painted with heraldic bearings
+    in diamond-shaped spaces, that of the Felbrigge family 'Gules, a lion rampant, or'
+    alternately with another 'azure, a <span class="pagenum">32</span><a name="page_32"
+    id="page_32"></a> fleur-de-lys, or.' The embroidered sides have been badly damaged by
+    time and probably more so by repair. The book has been rebound in leather, the old
+    embroidered back quite done away with, and the worked sides pulled away from their
+    original boards and ruinously flattened out on the new ones. After the Felbrigge
+    Psalter no other embroidered binding has been preserved till we come to one dating
+    about 1536, which is in satin, and will be described under that head.</p>
+    <div class="subchap">
+      <i>The Miroir or Glasse of the Synneful Soul.</i> <span class="smcap">ms</span>. by
+      the Princess Elizabeth. 1544.
+    </div>
+    <div class="figcenter">
+      <a id="plate_4" href="images/bigplate4.jpg" name="plate_4"><img
+      src="images/plate4.jpg"
+      alt="The Miroir or Glasse of the Synneful Soul. MS. by the Princess Elizabeth. 1544."
+       title="The Miroir or Glasse of the Synneful Soul. MS. by the Princess Elizabeth. 1544."
+       class="figcenter" /></a><br />
+      <p class="caption">4&mdash;The Miroir or Glasse of the Synneful Soul. MS. by the
+      Princess Elizabeth. 1544.</p>
+    </div>
+    <p>The Princess Elizabeth, afterwards Queen, in her eleventh year, copied out in her
+    own handwriting the <i>Miroir or Glasse of the Synneful Soul.</i> She says it is
+    translated 'out of frenche ryme into english prose, joyning the sentences together as
+    well as the capacitie of my symple witte and small lerning coulde extende
+    themselves.' It is also most prettily dedicated: 'From Assherige, the last daye of
+    the yeare of our Lord God 1544 ... To our most noble and vertuous Quene Katherin,
+    Elizabeth her humble daughter wisheth perpetuall felicitie and everlasting joye.'</p>
+    <p>The book is now one of the great treasures of the Bodleian Library; it is bound in
+    canvas, measures about 7 by 5 inches, and was embroidered in all probability by the
+    hands of the Princess <span class="pagenum">33</span><a name="page_33"
+    id="page_33"></a>herself. The Countess of Wilton in her book on the art of needlework
+    says that 'Elizabeth was an accomplished needlewoman,' and that 'in her time
+    embroidery was much thought of.' The Rev. W. Dunn Macray in his <i>Annals of the
+    Bodleian Library</i> considers this binding to be one of 'Elizabeth's bibliopegic
+    achievements.'</p>
+    <p>The design is the same upon both sides. The ground is all worked over in a large
+    kind of tapestry-stitch in thick pale blue silk, very evenly and well done, so well
+    that it has been considered more than once to be a piece of woven material. On this
+    is a cleverly designed interlacing scroll-work of gold and silver braid, in the
+    centre of which are the joined initials K. P.</p>
+    <p>In each corner is a heartsease worked in thick coloured silks, purple and yellow,
+    interwoven with fine gold threads, and a small green leaflet between each of the
+    petals. The back is very much worn, but it probably had small flowers embroidered
+    upon it.</p>
+    <div class="subchap">
+      <i>Prayers of Queen Katherine Parr</i>. <span class="smcap">ms</span>. by the
+      Princess Elizabeth. 1545.
+    </div>
+    <div class="figcenter">
+      <a id="plate_5" href="images/bigplate5.jpg" name="plate_5"><img
+      src="images/plate5.jpg"
+      alt="Prayers of Queen Katherine Parr. MS. by the Princess Elizabeth. 1545."
+      title="Prayers of Queen Katherine Parr. MS. by the Princess Elizabeth. 1545."
+      class="figcenter" /></a><br />
+      <p class="caption">5&mdash;Prayers of Queen Katherine Parr. MS. by the Princess
+      Elizabeth. 1545.</p>
+    </div>
+    <p>Another manuscript beautifully written by the Princess Elizabeth about a year
+    later is now at the British Museum. It is on vellum, and contains prayers or
+    meditations, composed originally by Queen Katherine Parr in English, and translated
+    <span class="pagenum">34</span><a name="page_34" id="page_34"></a>by the Princess
+    into Latin, French, and Italian. The title as given in the book reads, 'Precationes
+    ... ex piis scriptoribus per nobiliss. et pientiss. D. Catharinam Anglie, Francie,
+    Hibernieq. reginam collecte, et per D. Elizabetam ex anglico converse.' It is,
+    moreover, dedicated to Henry <span class="smcap">viii.</span>, the wording being,
+    'Illustrissimo Henrico octavo, Anglie, Francie, Hibernieq. regi,' etc., and dated
+    Hertford, 20th December 1545.</p>
+    <p>It is bound in canvas, and measures 5&frac34; by 4 inches, the groundwork being
+    broadly worked in tapestry-stitch, or some stitch analogous to it, in red silk,
+    resembling in method the work on the ground of <i>The Miroir of the Synneful Soul</i>
+    already described. On this, in the centre of each side, is a large monogram worked in
+    blue silk, interwoven with silver thread, containing the letters K, probably standing
+    for Katherine, A, F, H, and R, possibly meaning 'Anglie, Francie, Hibernieque,
+    Regin&aelig;,' but like most monograms this one can doubtless be otherwise
+    interpreted. Above and below the monogram are smaller H's, worked in red silk,
+    interwoven with gold thread. In each corner is a heartsease of yellow and purple
+    silk, interwoven with gold thread, and having small green leaves between each of the
+    petals. The work which was once on the back is now so worn that it cannot be traced
+    sufficiently to tell what it originally was. The designs of these <span
+    class="pagenum">35</span><a name="page_35" id="page_35"></a>two volumes, credited to
+    the Princess Elizabeth, resemble each other to some extent; they both have a monogram
+    in the centre, they both have heartsease in the corners and groundwork of a like
+    character. They are, as far as workmanship goes, still more alike, similar thick silk
+    is used for the ground, and threads and braids of a thick nature, with metal
+    interwoven, are used on both for the ornamental work. Speaking of this British Museum
+    book, the Countess of Wilton says, 'there is little doubt that Elizabeth's own needle
+    wrought the ornaments thereon.'</p>
+    <div class="subchap">
+      <i>Books embroidered by the Princess Elizabeth.</i>
+    </div>
+    <p>It cannot be said that there is any actual authority for saying that the two
+    covers just described are really the work of Elizabeth's own hand, although she is
+    known to have been fond of embroidery, it being recorded that she made and
+    embroidered a shirt for her brother Edward when she was six. There is little doubt,
+    however, that the same designer and the same workwoman worked both these covers, and
+    the technique, as well as the design, are peculiar for the time in which they were
+    done. Canvas bindings were rare&mdash;most of the embroidered work on books of that
+    period were splendid works on velvet&mdash;so that if these two manuscripts had been
+    'given out' to be bound in embroidered covers we should have expected <span
+    class="pagenum">36</span><a name="page_36" id="page_36"></a>to find them in rich
+    velvet, like Brion's <i>Holy Land</i>, or Christopherson's <i>Historia
+    Ecclesiastica</i>, instead of a very elementary braid work. Without attaching too
+    much importance to the various statements concerning their royal origin, I am
+    inclined to think that there is no impossibility, or even improbability, in the
+    supposition that the Princess designed and worked them herself, thereby adding to her
+    exquisite manuscript the further charm of her clever needle. The idea of both writing
+    and embroidering such valued presents as these two books must have been is likely to
+    have strongly appealed to an affectionate and humble daughter, and there is an
+    artistic completeness in the idea which, I think, tells strongly in its favour.</p>
+    <p>Probably enough no proof of their having been worked by Elizabeth will now ever be
+    forthcoming, but it is equally unlikely that any positive disproof will be found.</p>
+    <p>The two 'Elizabeth' books stand alone&mdash;there are no others resembling them;
+    but the next kind of embroidered work I shall describe is one which includes a large
+    number of books, generally small in size, and usually copies of the Bible or the
+    Psalms. The canvas in these cases is embroidered all over in small tapestry-stitch,
+    the design being shown by means of the different colours of the silks used. The work
+    being all flat it is very strong, and often books bound in this way are <span
+    class="pagenum">37</span><a name="page_37" id="page_37"></a>in a marvellous state of
+    preservation. The most interesting designs are those which represent Scriptural
+    scenes. Some of these are very curious and almost grotesque, but there is much excuse
+    for this. To work a face any way in embroidery is troublesome enough, but to work it
+    on a small scale in tent-stitch is especially difficult, the result being somewhat
+    similar in effect to that of a glass or marble mosaic, each little stitch being
+    nearly square and of an uniform colour. The designers of these embroideries do not
+    appear to have had a very fertile imagination, as again and again the same subject is
+    represented. Perhaps the most favourite of all is Jacob wrestling with the angel; of
+    figure subjects 'Faith and Hope' are the most frequently met with, but 'Peace and
+    Plenty' are also common enough.</p>
+    <div class="subchap">
+      <i>Christian Prayers.</i> London, 1581.
+    </div>
+    <div class="figcenter">
+      <a id="plate_6" href="images/bigplate6.jpg" name="plate_6"><img
+      src="images/plate6.jpg" alt="Christian Prayers. London, 1581."
+      title="Christian Prayers. London, 1581." class="figcenter" /></a><br />
+      <p class="caption">6&mdash;Christian Prayers. London, 1581.</p>
+    </div>
+    <p>A <i>Book of Christian Prayers</i> with illustrated borders, printed in London in
+    1581, is bound in coarse canvas worked in tapestry-stitch in colours, and measures 7
+    by 5 inches. The same design is on each side&mdash;a kind of flower-basket in two
+    stories, out of the lower part of which, rectangular in shape, grow two branches, one
+    with lilies and another with white flowers, and out of the upper, oval in shape, rise
+    two sprays of roses, one white the other red.</p>
+    <span class="pagenum">38</span><a name="page_38" id="page_38"></a>
+    <p>In the lower corners are a large lily, a blue flower, and a large double-rose
+    spray. All the design is outlined with silver cord or thread, and the veinings of the
+    leaves are indicated in the same way. There are remains of two green velvet ties on
+    the front edges of each of the boards. The back is not divided into panels, but has a
+    design upon it of the letters E and S repeated five times. The edges are gilt and
+    gauffred.</p>
+    <div class="subchap">
+      <i>Psalms and Common Praier</i>. London, 1606-7.
+    </div>
+    <div class="figcenter">
+      <a id="plate_7" href="images/bigplate7.jpg" name="plate_7"><img
+      src="images/plate7.jpg" alt="Psalms and Common Praier. London, 1606."
+      title="Psalms and Common Praier. London, 1606." class="figcenter" /></a><br />
+      <p class="caption">7&mdash;Psalms and Common Praier. London, 1606.</p>
+    </div>
+    <p>During the seventeenth century little 'double' books were rather favourite forms
+    for Common Prayer and Psalms especially. These curious bindings open opposite ways
+    and have two backs, two ornamental boards, and one unornamented board enclosed
+    between the two books, which are always of the same size.</p>
+    <p>There are several instances where embroidered books have been bound in this way,
+    the earliest I know being a copy of the Psalms and Common Prayer, printed in
+    1606-7.</p>
+    <p>This is bound in canvas, and measures 3&frac14; by 2 inches, each side having the
+    same design embroidered on each of the ornamented sides and backs. The flowers and
+    leaves are worked in long straight stitches in coloured silks, outlined with silver
+    twist. A large pansy plant occupies the place of honour, growing out of a <span
+    class="pagenum">39</span><a name="page_39" id="page_39"></a>small green mound, from
+    which also spring two short plants with five-petalled yellow flowers. The main stems
+    and ribs of the leaves are made with strong silver twist. Round about the central
+    spray are several coloured buds. On the backs are four panels, each containing a
+    small four-petalled flower. The ground is worked all over with silver thread
+    irregularly stitched, and the edges are bound with a broad silver thread. There was
+    originally one ribbon to twist round both books and keep them together, but it is now
+    quite gone. The edges are gilt, gauffred, and slightly coloured.</p>
+    <div class="subchap">
+      <i>Bible, etc.</i> London, 1612.
+    </div>
+    <div class="figcenter">
+      <a id="plate_8" href="images/bigplate8.jpg" name="plate_8"><img
+      src="images/plate8.jpg" alt="Bible, etc. London, 1612."
+      title="Bible, etc. London, 1612." class="figcenter" /></a><br />
+      <p class="caption">8&mdash;Bible, etc. London, 1612.</p>
+    </div>
+    <p>A copy of the Bible, with the Psalms, printed in London in 1612, and measuring
+    6&frac34; by 4&frac14; inches, is bound in fine canvas, and bears upon it designs
+    embroidered in coloured silks in tapestry-stitch.</p>
+    <p>On the upper side is King Solomon seated in an elaborate throne on a dais, all
+    outlined with gold cord. He wears a golden crown and a dress which more nearly
+    approaches the style worn at the date of the production of the book than that which
+    was probably worn by Solomon himself. Before the King kneels a figure, no doubt
+    intended for the Queen of Sheba, in a red and orange robe of a curious fashion. She
+    holds out <span class="pagenum">40</span><a name="page_40" id="page_40"></a>two white
+    and red roses to the King, who bends to take them. The ground is patterned in green
+    and blue diamonds. The distant landscape shows a castle with turrets, trees, a tower,
+    a house, and a sun with rays. The groundwork on both sides and the back is worked in
+    silver thread.</p>
+    <p>The lower side has in the centre Jacob wrestling with the angel. Jacob has a beard
+    and a blue cloak; his staff lies on the ground. The angel wears a red flowing robe,
+    and his wings are many-coloured, and enriched with various threads and spirals of
+    gold. The landscape is elaborate. In the foreground is a river with a bridge of
+    planks, a gabled cottage, hospitably smoking from its chimneys, a red lily, and a
+    tree. In the middle distance is a castle with tower and flag, and on the horizon are
+    a windmill, a castle with two towers, and some trees, above all a red cloud. The back
+    is divided into six panels, on each of which is a different design in coloured silks.
+    These designs are small, and although they are in perfectly good condition, the
+    subjects represented are doubtful. The upper and lower panels seem to represent only
+    castles with towers. Then apparently come Jonah and the whale, the creation, the
+    temple, and the deluge with the ark, but it is quite possible that other
+    interpretations might be made. There are remains of two red silk ties on the front
+    edges of each board, and the edges of the leaves are gilded simply.</p>
+    <div class="subchap">
+      <i>Sermons by Samuel Ward</i>. London, 1626-7.
+    </div>
+    <span class="pagenum">41</span><a name="page_41" id="page_41"></a>
+    <div class="figcenter">
+      <a id="plate_9" href="images/bigplate9.jpg" name="plate_9"><img
+      src="images/plate9.jpg" alt="Sermons by Samuel Ward. London, 1626-7."
+      title="Sermons by Samuel Ward. London, 1626-7." class="figcenter" /></a><br />
+      <p class="caption">9&mdash;Sermons by Samuel Ward. London, 1626-7.</p>
+    </div>
+    <p>Mr. Yates Thompson has kindly allowed me to describe and illustrate an embroidered
+    book belonging to him, bound in canvas, and measuring 5&frac34; by 4&frac14; inches.
+    It is a collection of sermons preached by 'Samuel Ward, Bachelour of Divinity,' and
+    printed in London, 1626-7, the binding being probably of about the latter date. On
+    the upper cover is a lady in a blue dress, seated, and holding a hawk on her left
+    wrist, and a branch with apples in her right. Round her are scattered flower sprays,
+    honeysuckle, foxglove, a stalk with two large pears, a cluster of grapes, a twig with
+    a butterfly upon it, and a wild-rose spray. The lady, the petals of the flowers, and
+    the leaves are all worked in tapestry-stitch; the bird and the lady's hair in long
+    straight stitches; the stalks, fruits, and grasses are worked in variously coloured
+    silk threads, thickly and strongly bound round with very fine silver wire. The lady
+    has a coif, cuff, and belt of short pieces of silver and gold guimp arranged like a
+    plait.</p>
+    <p>The under side shows a seated lady in a green dress, playing a lute left-handed.
+    This most unusual position is probably not really intentional, but the drawing has
+    accidentally been reversed. She is surrounded, like her companion with the hawk, by
+    flower sprays, a thistle, cornflower, strawberries, a rose, lily, bluebell, and
+    small<span class="pagenum">42</span><a name="page_42" id="page_42"></a> bunch of
+    grapes, making a kind of arbour, with a wreath of red cloud at the top. The lady, the
+    petals of the flowers, and the leaves are worked in fine tapestry-stitch; the stalks
+    and fruits in coloured silks, mixed with silver wire. The lady has a coif and a cuff
+    of silver guimp arranged in the same way as that on the other side.</p>
+    <p>The back is divided into four panels by silver guimp, each containing a flower
+    worked in tapestry-stitch, a blue flower, a wild rose, a pansy, and a thistle. The
+    ground of the whole is loosely overcast with silver thread, the constructive lines of
+    the book being marked by rows of silver guimp arranged in small arches. The edges are
+    bound by a strong silver braid. The head and tail bands are worked in silver
+    thread&mdash;an unusual method&mdash;and the edges are gilt and gauffred.</p>
+    <p>There are two ties on each board of striped silk, much frayed and worn, but the
+    embroidered work itself is in excellent condition, and very strong.</p>
+    <div class="subchap">
+      <i>New Testament, etc.</i> London, 1625-35.
+    </div>
+    <div class="figcenter">
+      <a id="plate_10" href="images/bigplate10.jpg" name="plate_10"><img
+      src="images/plate10.jpg" alt="New Testament, etc. London, 1625-35."
+      title="New Testament, etc. London, 1625-35." class="figcenter" /></a><br />
+      <p class="caption">10&mdash;New Testament, etc. London, 1625-35.</p>
+    </div>
+    <p>A small copy of the New Testament, printed in London in 1625, bound together with
+    the Psalms, 1635, is covered with canvas, all worked in tapestry-stitch, and measures
+    4&frac14; by 3 inches.</p>
+    <p>On the upper cover is a full-length figure of Hope, with dark hair, dressed in a
+    red dress with large falling collar, having a blue flower at the <span
+    class="pagenum">43</span><a name="page_43" id="page_43"></a>point. In her left hand
+    she holds an anchor. In the distant background is a cottage and a gibbet on a hill,
+    the sun with rays just appearing under a cloud. On the hilly foreground is a red
+    lily, and further afield a caterpillar and a strawberry plant. On the lower cover is
+    a full-length figure of Faith, with fair hair, dressed in a blue dress with large
+    falling collar, having a red flower at the point. In her left hand she holds an open
+    book with the word '<span class="smcap">Faith</span>' written across it. On the hilly
+    foreground is a large red tulip and a plant with red blooms, further afield are a
+    pear-tree and two caterpillars.</p>
+    <p>On the back are four panels, containing respectively a bird, a blue flower, a
+    squirrel, and a red flower.</p>
+    <p>On the front edge of the upper cover can be seen the remains of one tie of green
+    silk, and the edges are protected all round by a piece of green silk braid. The edges
+    of the leaves are plainly gilt.</p>
+    <p>This cover is one of the rare instances of a book bound in embroidered work not
+    made for it, the embroidery being clearly made for a book of about half the present
+    thickness. It is possible that it was intended for either the New Testament or the
+    Psalms separately, and, as an after-thought, was made to do double duty. But as it
+    now is, the worked back is just a strip down the middle of the back itself, the
+    designs of the sides encroaching considerably inwards.</p>
+    <span class="pagenum">44</span><a name="page_44" id="page_44"></a>
+    <div class="subchap">
+      <i>The Daily Exercise of a Christian.</i> London, 1623.
+    </div>
+    <div class="figcenter">
+      <a id="plate_11" href="images/bigplate11.jpg" name="plate_11"><img
+      src="images/plate11.jpg" alt="The Daily Exercise of a Christian. London, 1623."
+      title="The Daily Exercise of a Christian. London, 1623." class="figcenter" />
+      </a><br />
+      <p class="caption">11&mdash;The Daily Exercise of a Christian. London, 1623.</p>
+    </div>
+    <p><i>The Daily Exercise of a Christian</i>, printed in London in 1623, and measuring
+    4&frac34; by 2&frac34; inches, is ornamented with a single flower spray, with buds
+    and leaves. The flower is a double rose with curving stem, one large half-opened bud
+    and one smaller, and a few leaves, all worked in tent-stitch. The spray rises from a
+    small bed of grass, out of which grows a small blue flower. In the upper right-hand
+    corner is a small blue cloud. The same design is on both sides. The back is divided
+    into four panels, the divisions being marked and bounded by a thick silver braid,
+    which is also used as an edging all round the book; the designs, beginning at the
+    top, are a fly and a flower alternately, differently coloured.</p>
+    <p>The background is all worked in with silver thread in chain-stitch. With this book
+    is one of the now rare ornamental markers, which, no doubt, often went with
+    embroidered books. It is fastened to an ornamental oblong cushion, probably made of
+    light wood, and is worked in silver thread and coloured silks in the same manner as
+    the rest of the embroidered work, and finished off at the ends with small red
+    tassels.</p>
+    <div class="subchap">
+      <i>Bible</i>. London, 1626-28.
+    </div>
+    <div class="figcenter">
+      <a id="plate_12" href="images/bigplate12.jpg" name="plate_12"><img
+      src="images/plate12.jpg" alt="Bible. London, 1626." title="Bible. London, 1626."
+      class="figcenter" /></a><br />
+      <p class="caption">12&mdash;Bible. London, 1626.</p>
+    </div>
+    <span class="pagenum">45</span><a name="page_45" id="page_45"></a>
+    <p>A copy of the Bible, printed in London in 1626, is bound in canvas, and measures 6
+    by 3&frac12; inches.</p>
+    <p>The embroidery is in coloured silks, silver cords and threads, and silver guimp.
+    On the upper cover is a small full-length figure of St. Peter, with short beard,
+    holding a key in his left hand. He is dressed in a blue under-garment, with red and
+    orange robe over it, all the edges being marked by a silver twist, some of which has
+    come off. The ground is green and in hillocks. All this work is done in coloured
+    silks and silver threads in shading stitch.</p>
+    <p>On the under side is a figure of St. Paul, with long beard, holding a silver sword
+    in his right hand. He wears a blue under-garment, with red and orange upper robe, all
+    edged with silver twist. The feet of both figures are bare. The rest of the design is
+    the same on both sides. The skies are worked in large stitches of blue and yellow
+    silk and silver threads, graduating from dark to light; above these are canopies of
+    silver thread, couched, and vandyked at the edge. Enclosing the figures are arches
+    with columns, in high relief in silver cords and threads. The inner edge of the arch
+    is curiously marked by a line of brown silk worked over a strip of vellum in the
+    manner used for hand-worked head-bands, and the outer edge has 'crockets' of silver
+    guimp. <span class="pagenum">46</span><a name="page_46" id="page_46"></a>The columns
+    rest upon 'rams-horn' curves, heavily worked in relief with silver threads, the
+    insides of the curves worked in brown silk over vellum like the inner edge of the
+    arch.</p>
+    <div class="subchap">
+      <i>Metal Threads used on Embroidered Books.</i>
+    </div>
+    <p>Guimp and gold threads are largely used, as has already been noticed, in
+    embroidered books from early times, but on the next specimen of a canvas-bound book I
+    have chosen for description, dated 1642, a kind of metal thread occurs which is very
+    curious. It is used at an earlier date on satin books, and it is also found more
+    commonly upon them; but as I have put the canvas books first for the purpose of
+    description, and the 'thread' occurs in one of them, this is the best place to put
+    its description. This thread I call 'Purl,' and a thread with this name is mentioned
+    in several places as having been used in England in the seventeenth century; but
+    there is no description of it, so that this thread may not be the 'purl' mentioned by
+    the seventeenth-century writers, but if it is not, I do not know what purl is,
+    neither do I know any other special name for the thread. In order that there may be
+    no doubt as to what I mean by purl, I will shortly describe the thread as I know
+    it.</p>
+    <p>First there is a very fine copper wire; this is <span class="pagenum">47</span><a
+    name="page_47" id="page_47"></a>closely bound round with coloured silk, also very
+    fine, and in this state it looks simply like a coloured thread. Then this coloured
+    thread is itself closely coiled round something like a fine knitting-needle&mdash;in
+    fact I have made it on one&mdash;and then pushed off in the form of a fine coiled
+    tube. The thread is always cut into short lengths for use, and on books these short
+    lengths are generally threaded and drawn together at their ends, making, so to speak,
+    little arches&mdash;so that although on the under side of the material there is only
+    a tiny thread, on the upper side there is a strong arch, practically of copper. On
+    boxes and other ornamental productions of this same period, pieces of purl are not
+    infrequently found laid flat like little bricks; and houses, castles, etc., are often
+    represented by means of it; but on books the general use is either for flowers,
+    grounds, or (in very small pieces) to keep on spangles. Obviously any coloured silk
+    can be used in making this thread, so that it may be said that for coloured silk
+    work, where strength is required, flowers worked in purl are the best. The colours
+    used when roses are represented are usually graduated,&mdash;yellow or white in the
+    centre, then gradually darkening outward, yellow, pale pink, and red, or pale yellow,
+    pale blue, and dark blue. Purl flowers are usually accessories to some regular
+    design, but, in one instance at least, to be described later on, it supplies the
+    entire decoration of a small satin book.</p>
+    <span class="pagenum">48</span><a name="page_48" id="page_48"></a>
+    <div class="subchap">
+      <i>Bible, etc</i>. London, 1642.
+    </div>
+    <div class="figcenter">
+      <a id="plate_13" href="images/bigplate13.jpg" name="plate_13"><img
+      src="images/plate13.jpg" alt="Bible, etc. London, 1642."
+      title="Bible, etc. London, 1642." class="figcenter" /></a><br />
+      <p class="caption">13&mdash;Bible, etc. London, 1642.</p>
+    </div>
+    <p>The design on a Bible with Psalms, printed in London in 1642, bound in fine
+    canvas, and measuring 6 by 3&frac12; inches, is the same on both sides. The ground is
+    all laid, or couched, with silver threads, caught down at intervals by small white
+    stitches. In the centre is a circular silver boss, and out of this grow four lilies
+    worked with silver thread in button-hole stitch; each of these lilies has a shape
+    similar to its own underneath it, outlined with fine gold cord, and filled in with
+    red silk; representing altogether white flowers with a red lining. These four red and
+    white lilies make together the form of a Maltese cross, and between each of the arms
+    is a purl rose with yellow centre and graduated blue petals. A double oval, with the
+    upper and lower curves larger than the side ones, marked with a thick gold cord,
+    encloses the central cross, and the remaining spaces are filled with ovals and lines
+    of gold guimp, with here and there a little patch of red or yellow purl, the
+    extremities of the upper and lower ovals being filled with threads of green silk
+    loosely bound with a silver spiral, worked to represent a green plot.</p>
+    <p>The upper and lower curves of the oval are thickened by an arch of gold thread
+    laid lengthwise, and kept in place by little radiating lines of red silk. In each
+    corner is a purl rose, with <span class="pagenum">49</span><a name="page_49"
+    id="page_49"></a>blue centre, the petals graduating in colour from pale yellow to
+    dark red, with leaf forms and stalks of gold cord and guimp. At the top and bottom of
+    the oval is a many-coloured purl rose, and the spaces still left vacant are dotted
+    with little pieces of red, blue, and yellow purl and spangles. On the front edges are
+    the remains of two red silk ties.</p>
+    <p>The back is divided into four panels by a thick gold twist. The upper and lower
+    panels have each a blue purl rose worked in them, with a white and red lily in the
+    same silver thread as those on the sides, with gold leaves and stalks; the two inner
+    panels contain each three purl roses, with gold leaves and stems. The upper of these
+    panels has a large rose of blue, yellow, and red, and two smaller ones yellow with
+    blue centres; the lower panel has a large rose of red, pink, and yellow, and two
+    smaller ones of red, with yellow centres.</p>
+    <p>Dotted about the groundwork of the panels are several spangles and short lengths
+    of coloured purl.</p>
+    <p>The edges of the leaves are plainly gilt.</p>
+    <div class="subchap">
+      <i>Bible</i>. London, 1648.
+    </div>
+    <div class="figcenter">
+      <a id="plate_14" href="images/bigplate14.jpg" name="plate_14"><img
+      src="images/plate14.jpg" alt="Bible. London, 1648." title="Bible. London, 1648."
+      class="figcenter" /></a><br />
+      <p class="caption">14&mdash;Bible. London, 1648.</p>
+    </div>
+    <p>A Bible, printed in London in 1648, formerly the property of George <span
+    class="smcap">iii</span>., is bound in canvas, and has embroidered upon the boards
+    emblematic <span class="pagenum">50</span><a name="page_50"
+    id="page_50"></a>representations of Faith and Hope. It measures 6&frac34; by
+    4&frac34; inches.</p>
+    <p>On the upper side is a full-length figure of Faith. She has fair hair, and is
+    dressed in an orange and red dress cut low, and showing in the front a pale blue
+    under garment. She has a large white collar and cuffs, both in point-lace, and bears
+    in her right hand an open book with the word '<span class="smcap">Faith</span>'
+    written upon it, while her left hand rests upon a pointed shield, pale purple with a
+    yellow centre. She is standing upon a rounded hillock, on which are a strawberry
+    plant with two fruits, two caterpillars, a red tulip, and another flower.</p>
+    <p>In the right-hand upper corner is a turreted and gabled house, the windows of
+    which are marked with little glittering pieces of talc. Below the house is a
+    caterpillar and a large blue butterfly. In the left-hand upper corner is the sun, in
+    gold, just appearing under a blue cloud. Underneath this, in succession, come a tree
+    with a butterfly upon it, a bird, most likely meant for a wren, and another
+    caterpillar. The remains of two red tie-ribbons are near the front edges. The
+    background is worked in silver thread, and the edges of the boards are bound with
+    silver braid having a thread or two of red silk on the innermost side.</p>
+    <p>On the under cover Hope appears in a curiously worked upper garment of blue and
+    white, <span class="pagenum">51</span><a name="page_51" id="page_51"></a>short in the
+    sleeves, in needlepoint, with a belt. Under this is a dress of red and orange,
+    showing a blue under skirt in front. A scarf of the same colour as the dress is
+    gracefully folded over the shoulders and hangs over the left arm; a rather deep
+    collar and cuffs are both worked in needlepoint. The right hand rests upon an anchor
+    with a 'fouled' rope.</p>
+    <p>Hope stands upon a rounded hillock, on which are a snail and spray of possible
+    foxglove, and out of which grow a red carnation and another flower. In the upper
+    right-hand corner is a gabled cottage with a tree, and under it a moth, flower, and
+    caterpillar. Towards the upper left-hand corner is a bank of cloud with red and
+    yellow rays issuing therefrom, and under it a pear-tree with flower and fruit, and a
+    many-coloured butterfly. All the background is worked in silver thread.</p>
+    <p>The five panels of the back, indicated with silver cord, are each filled with a
+    different design. Beginning at the top, these are: a rose, a parrot with a red fruit,
+    a double rose, a lion, and a lily. The edges are plainly gilt.</p>
+    <hr style="width: 65%;" />
+    <span class="pagenum">52</span><a name="page_52" id="page_52"></a>
+    <h2><a name="CHAPTER_III" id="CHAPTER_III"></a>CHAPTER III</h2>
+    <div class="subchap">
+      BOOKS BOUND IN VELVET
+    </div>
+    <a href="images/bigi.gif"><img src="images/i.gif" alt="ornament" title="ornament"
+    class="figinit" /></a>
+    <p>t seems probable that velvet was a favourite covering for royal books in England
+    from an early period. Such volumes as remain 'covered in vellat' that belonged to
+    Henry <span class="smcap">vii</span>. are, however, not embroidered, the
+    ornamentation upon them being worked metal, or enamels upon metal. It is not until
+    the time of Henry <span class="smcap">viii</span>. that we have any instances
+    remaining of books bound in embroidered velvet.</p>
+    <p>Velvet is very troublesome to work upon, the pile preventing any delicate
+    embroidery being done directly upon it, hence the prevalence of gold cords and
+    appliqu&eacute; work on canvas or linen, on which of course the embroidery may be
+    executed as delicately as may be desired.</p>
+    <div class="subchap">
+      <i>Tres ample description de toute la terre Saincte, etc</i>. [By Martin de Brion.]
+      <span class="smcap">ms</span>. of the sixteenth century, probably bound about 1540.
+    </div>
+    <div class="figcenter">
+      <a id="plate_15" href="images/bigplate15.jpg" name="plate_15"><img
+      src="images/plate15.jpg"
+      alt="Tres ample description de toute la terre Saincte, etc. MS. 1540."
+      title="Tres ample description de toute la terre Saincte, etc. MS. 1540."
+      class="figcenter" /></a><br />
+      <p class="caption">15&mdash;Tres ample description de toute la terre Saincte, etc.
+      MS. 1540.</p>
+    </div>
+    <p>The earliest extant English binding in embroidered velvet covers this manuscript,
+    which <span class="pagenum">53</span><a name="page_53" id="page_53"></a>belonged to
+    Henry <span class="smcap">viii</span>., and is dedicated to him. The manuscript is on
+    vellum, and is beautifully illuminated. It is bound in rich purple velvet, and each
+    side, measuring 9 by 6 inches, is ornamented with the same design. In the centre is a
+    large royal coat-of-arms, surrounded by the garter, and ensigned with a royal crown.
+    The coat-of-arms and the garter are first worked in thick silks of the proper
+    colours, red and blue, laid or couched, with small stitches of silk of the same
+    colour, arranged so as to make a diamond pattern, on fine linen or canvas. On the
+    coat are the arms of France and England quarterly; the bearings, respectively three
+    fleur-de-lys and three lions, are solidly worked in gold cord, and the whole is
+    appliqu&eacute; on to the velvet with strong stitches. On the blue garter the legend
+    'Honi soit qui mal y pense' is outlined in gold cord, between each word being a small
+    red rose, the buckle, end, and edge of the garter being marked also in gold cord, and
+    the whole appliqu&eacute; like the coat. The very decorative royal crown is solidly
+    worked in gold cords of varying thickness directly on to the velvet. The rim or
+    circlet has five square jewels of red and blue silk along it, between each of these
+    being two seed pearls. From the rim rise four crosses-pat&eacute;e and four
+    fleurs-de-lys, at the base of each of which is a pearl, and also one in each inner
+    corner of the crosses-pat&eacute;e. Four arches also rise from the<span
+    class="pagenum">54</span><a name="page_54" id="page_54"></a> rim, the two outer ones
+    each having three small scrolls with a pearl in the middle; at the top is a mound and
+    cross-pat&eacute;e, with a pearl in each of its inner corners. There is a letter H on
+    each side of the coat-of-arms, and these letters were originally doubtless worked
+    with seed pearls, but the outlines of them alone are now left. In each corner is a
+    red Lancastrian rose worked on a piece of satin, appliqu&eacute;, the centres and
+    petals marked in gold cord, and the whole enclosed in an outer double border of gold
+    cord. On the front edges of each side are the remains of two red silk ties.</p>
+    <p>This is certainly a very handsome piece of work, and is wonderfully preserved. It
+    is the earliest example of a really fine embroidered book on velvet in existence, and
+    it has perhaps been more noticed and illustrated than any other book of its kind. The
+    crown has an interesting peculiarity about it, which does not appear, as far as I
+    have observed, on any other representation of it, namely, that the four arches take
+    their rise directly from the rim. They generally rise from the summits of the
+    crosses-pat&eacute;e, but I should fancy that the rise from the circlet itself is
+    more correct.</p>
+    <div class="subchap">
+      <i>Biblia</i>. Tiguri, 1543.
+    </div>
+    <div class="figcenter">
+      <a id="plate_16" href="images/bigplate16.jpg" name="plate_16"><img
+      src="images/plate16.jpg" alt="Biblia. Tiguri, 1543." title="Biblia. Tiguri, 1543."
+      class="figcenter" /></a><br />
+      <p class="caption">16&mdash;Biblia. Tiguri, 1543.</p>
+    </div>
+    <p>This Bible also belonged to Henry <span class="smcap">viii</span>. It is bound in
+    velvet, originally some shade of red or crimson, but now much faded. It measures 15
+    <span class="pagenum">55</span><a name="page_55" id="page_55"></a>by 9&frac14;
+    inches. It is ornamented with arabesques and initials all outlined with fine gold
+    cord. In the centre are the initials H. R., bound together by an interlacing knot,
+    within a circle. Arabesques above and below the circle make up an inner panel, itself
+    enclosed by a broad border of arabesques, with a double, or Tudor, rose in each
+    corner. The edges of the leaves of the book are elaborately painted with heraldic
+    designs.</p>
+    <p>It has been re-backed with leather, but still retains the original boards.</p>
+    <div class="subchap">
+      <i>Il Petrarcha</i>. Venetia, 1544.
+    </div>
+    <div class="figcenter">
+      <a id="plate_17" href="images/bigplate17.jpg" name="plate_17"><img
+      src="images/plate17.jpg" alt="Il Petrarcha. Venetia, 1544."
+      title="Il Petrarcha. Venetia, 1544." class="figcenter" /></a><br />
+      <p class="caption">17&mdash;Il Petrarcha. Venetia, 1544.</p>
+    </div>
+    <p>Another fine example of the decorative use of Heraldry occurs on a copy of
+    Petrarch printed at Venice in 1544, and probably bound about 1548, after the death of
+    Henry <span class="smcap">viii</span>. It belonged to Queen Katherine Parr, and bears
+    her arms with several quarterings&mdash;worked appliqu&eacute; on rich blue purple
+    velvet, and measures 7 by 6 inches. The first coat is the 'coat of augmentation'
+    granted to the Queen by Henry <span class="smcap">viii</span>.&mdash;'Argent, on a
+    pile gules, between six roses of the same, three others of the field'&mdash;and the
+    next coat is that of 'Parr.'</p>
+    <p>The various quarterings on this coat are worked differently from those on the last
+    book described. Here the red and blue are well shown by pieces of coloured
+    satin&mdash;except in the first, <span class="pagenum">56</span><a name="page_56"
+    id="page_56"></a>fifth, and seventh coats, where there is some couched work in
+    diamond pattern, just like that on Martin Brion's book. The entire coat, which is of
+    an ornamental shape, is appliqu&eacute; in one large piece, and edged by a gold cord.
+    The crown surmounting it is heavily worked in gold guimp&mdash;the cap being
+    represented in crimson silk thread and all appliqu&eacute;. There are two
+    supporters&mdash;that on the right, an animal breathing flame, and gorged with a
+    coronet from which hangs a long chain, all worked in coloured silks on linen and
+    appliqu&eacute;, belongs to the Fitzhugh family, the coat of which is shown on the
+    third quarter; that on the left, a wyvern argent, also gorged with a coronet, from
+    which depends a long gold chain, is that of the Parr family. The wyvern is a piece of
+    blue silk, finished in gold and silver cords, in appliqu&eacute;. The gold cord
+    enclosing the armorial design is amplified at each corner into an arabesque scroll.
+    The book has been most unfortunately rebound, and the work is badly strained in
+    consequence&mdash;the back being entirely new; nevertheless it is in a wonderful
+    state of preservation. It is said to have been worked by Queen Katherine Parr
+    herself. The design is too large for the book, and the crown is too large for the
+    coat-of-arms. It is probable that the binding of the book was done after the death of
+    Henry <span class="smcap">viii</span>., otherwise the supporters would have been the
+    lion and the greyhound; also the<span class="pagenum">57</span><a name="page_57"
+    id="page_57"></a> coat-of-arms would have been different; also, as the Seymour coat
+    does not appear, it is likely that the binding was done before Queen Katherine Parr's
+    marriage with Lord Seymour of Sudley, in 1547. The design is the same on both
+    sides.</p>
+    <div class="subchap">
+      <i>Queen Mary's Psalter</i>. 14th-century <span class="smcap">ms</span>. Bound
+      about 1553.
+    </div>
+    <div class="figcenter">
+      <a id="plate_18" href="images/bigplate18.jpg" name="plate_18"><img
+      src="images/plate18.jpg" alt="Queen Mary's Psalter. 14th-century MS."
+      title="Queen Mary's Psalter. 14th-century MS." class="figcenter" /></a><br />
+      <p class="caption">18&mdash;Queen Mary's Psalter. 14th-century MS.</p>
+    </div>
+    <p>The beautiful English manuscript of the fourteenth century known as 'Queen Mary's
+    Psalter' was presented to her in 1553. It is bound in crimson velvet, measuring 11 by
+    6&frac34; inches, and appliqu&eacute; on each side is a large conventional
+    pomegranate-flower worked on fine linen in coloured silks and gold thread. This
+    flower is much worn, but enough is left to show that it was originally finely worked.
+    Queen Mary used the pomegranate as a badge in memory of her mother, Katharine of
+    Aragon. The volume has been re-backed in plain crimson velvet, and still retains the
+    original gilt corners with bosses, and two clasps, on the plates of which are
+    engraved the Tudor emblems,&mdash;portcullis, dragon, lion, and fleur-de-lys.</p>
+    <div class="subchap">
+      Christopherson, <i>Historia Ecclesiastica</i>. Lovanii, 1569.
+    </div>
+    <p>Many fine bindings in embroidered velvet of the time of Queen Elizabeth still
+    remain, several of them having been her own property.</p>
+    <span class="pagenum">58</span><a name="page_58" id="page_58"></a>
+    <p>One of the most decorative of these last is unfortunately in a very bad state,
+    owing possibly to the fact that there were originally very many separate pearls upon
+    it, and that these have from time to time been wilfully picked off. The book is in
+    three volumes, and is a copy of the <i>Historia Ecclesiastica</i>, written by
+    Christopherson, Bishop of Chichester, and printed at Louvain in 1569. Each of these
+    volumes is bound in the same way, so the description of one of them will serve for
+    all, except that no one volume is perfect, so the description must be taken as
+    representing only what each originally was.</p>
+    <p>It is covered in deep green velvet, and measures 6 by 3&frac12; inches, the design
+    being the same on each side. In the centre the royal coat-of-arms is appliqu&eacute;
+    in blue and red satin, on an ornamental cartouche of pink satin, with scrolls of gold
+    threads and coloured silks, richly dotted with small pearls. The bearings on the
+    coats-of-arms are solidly worked in fine gold threads.</p>
+    <p>From each corner of the sides springs a rose spray, with Tudor roses of red silk
+    mixed with pearls, and Yorkist roses all worked in pearls clustering tight together,
+    the leaves and stems being made in gold cord and guimp. A decoratively arranged
+    ribbon outlined with gold cord and filled in with a line of small pearls set near
+    each other, encloses the design, and numerous <span class="pagenum">59</span><a
+    name="page_59" id="page_59"></a>single pearls are set in the spaces between the roses
+    and their leaves and stems.</p>
+    <p>The back is divided into five panels bearing alternately Yorkist roses of pearls
+    and Tudor roses of red silk and pearls, all worked in the same way as the roses on
+    the sides.</p>
+    <p>The illustration I give of this binding (<a
+    href="#plate_19"><i>Frontispiece</i></a>) is necessarily a restoration. But there is
+    nothing added which was not originally on the book. Each pearl that has disappeared
+    has left a little impress on the velvet, and so has each piece of gold cord which has
+    been pulled off. The back is still existing; but bad though both sides and back now
+    are, it is much better they should be in their present condition than that they
+    should have been mended or replaced in parts by newer material.</p>
+    <div class="subchap">
+      <i>Christian Prayers</i>. London, 1570.
+    </div>
+    <div class="figcenter">
+      <a id="plate_20" href="images/bigplate20.jpg" name="plate_20"><img
+      src="images/plate20.jpg" alt="Christian Prayers. London, 1570."
+      title="Christian Prayers. London, 1570." class="figcenter" /></a><br />
+      <p class="caption">20&mdash;Christian Prayers. London, 1570.</p>
+    </div>
+    <p>A simpler binding, but still one of great richness, covers a copy of <i>Christian
+    Prayers</i>, printed in London in 1570.</p>
+    <p>This is covered in crimson velvet, measuring 6 by 3&frac12; inches, and is worked
+    largely with metal threads, mixed with coloured silks. In the centre is the crest of
+    the family of Vaughan&mdash;a man's head with a snake round the neck. The crest rests
+    on a fillet, and is enclosed in a twisted circle of gold with four coloured bosses.
+    From the upper and<span class="pagenum">60</span><a name="page_60" id="page_60"></a>
+    lower extremities of this circle spring two flower forms in gold and silver guimp,
+    with sprays issuing from them bearing strawberries, grape bunches, and leaves, in the
+    upper half, and roses and leaves in the lower. The grapes are represented by rather
+    large spangles, and the leaves, worked in gold, have a few strands of green silk in
+    them; large spangles, kept down by a short piece of guimp, are used to fill in spaces
+    here and there. This is the first instance of the use of spangles on a velvet book.
+    The back is tastefully ornamented with gold cord arranged diamond-wise, and having in
+    each diamond a flower worked in gold.</p>
+    <div class="subchap">
+      Parker, <i>De antiquitate Ecclesi&aelig; Britannic&aelig;.</i> London, 1572.
+    </div>
+    <div class="figcenter">
+      <a id="plate_21" href="images/bigplate21.jpg" name="plate_21"><img
+      src="images/plate21.jpg"
+      alt="Parker, De antiquitate Ecclesi&aelig; Britannic&aelig;. London, 1572."
+      title="Parker, De antiquitate Ecclesi&aelig; Britannic&aelig;. London, 1572."
+      class="figcenter" /></a><br />
+      <p class="caption">21&mdash;Parker, De antiquitate Ecclesi&aelig; Britannic&aelig;.
+      London, 1572.</p>
+    </div>
+    <p>This is one of the embroidered books that belonged to Queen Elizabeth, and has
+    been frequently illustrated and described. It is remarkable in other respects than
+    for its binding, as it is one of a number of probably not more than twenty copies of
+    a work by Matthew Parker, Archbishop of Canterbury, <i>De antiquitate Ecclesi&aelig;
+    Britannic&aelig;</i>, printed for him by John Day in London, 1572. It was the first
+    instance of a privately printed book being issued in England.</p>
+    <p>Archbishop Parker had a private press, and <span class="pagenum">61</span><a
+    name="page_61" id="page_61"></a>his books were printed with types cast at his own
+    cost, John Day being sometimes employed as his workman. No two copies of this
+    particular work are alike, and it is supposed that the Archbishop continually altered
+    the sheets as they came from the press and had the changes effected at once. The book
+    has two title-pages, each of which, as well as a leaf containing the arms of the
+    Bishops in vellum, the ornamental borders, and coats-of-arms throughout the book, are
+    emblazoned in gold and colours.</p>
+    <p>The biographies of sixty-nine Archbishops are contained in the book, but not
+    Parker's own. This omission was supplied afterwards by a little satirical tract
+    published in 1574, entitled 'Histriola, a little storye of the actes and life of
+    Matthew, now archbishop of Canterbury.'</p>
+    <p>But the Archbishop not only had his printing done under his own roof, but also had
+    in his house 'Paynters ... wryters, and Boke-binders,' so that it may fairly enough
+    be considered that he bound the splendid copy of his great work which was intended
+    for the Queen's acceptance, in a specially handsome manner, under his own direct
+    supervision, and in accordance not only with his own taste but also with that of his
+    royal mistress. The volume is a large one, measuring 10 by 7 inches, and is covered
+    in dark green velvet. On both sides the design is a rebus <span
+    class="pagenum">62</span><a name="page_62" id="page_62"></a>on the name of Parker,
+    representing in fact a Park within a high paling. The palings are represented as if
+    lying flat, and are worked in gold cord with flat strips of silver, on yellow satin
+    appliqu&eacute;. There are gates and other small openings in the continuity of the
+    line of palings. On the upper cover within the paling is a large rose-bush, bearing a
+    large Tudor rose and two white roses in full bloom, with buds and leaves, some
+    tendrils extending over the palings. The stalks are of silver twist edged with gold
+    cord, the red flowers are worked with red silk and gold cord, the white ones made up
+    with small strips of flat silver and gold cord. Detached flowers and tufts of grass
+    grow about the rose-tree; among these are two purple and yellow pansies, Elizabeth's
+    favourite flowers, and in each corner is a deer, one 'courant,' one 'passant,' one
+    feeding, and one 'lodged.'</p>
+    <p>The design fills the side of the book very fully, and the workmanship is
+    everywhere excellent. This upper cover is much faded, as it has been for many years
+    exposed to the light in one of the Binding show-cases in the King's Library at the
+    British Museum.</p>
+    <p>The under side is much fresher, but the design not so elaborate. There is a
+    similar paling to that on the other side, the 'Park' being dotted about with several
+    plants, ferns, and tufts of grass. Near each corner is a deer, one feeding, <span
+    class="pagenum">63</span><a name="page_63" id="page_63"></a>one 'couchant,' one
+    'tripping,' and one 'courant,' and one 'lodged' in the centre. There are also two
+    snakes worked in silver thread with small colour patches in silk.</p>
+    <p>The back is badly worn, but the original design can be easily traced upon it.
+    There were five panels, in each of which is a small rose-tree, bearing one large
+    flower, with leaves and buds, and tufts of grass. The first, third, and fifth of
+    these are white Yorkist roses; the second and third are Tudor roses of white and
+    red.</p>
+    <div class="subchap">
+      <i>The Epistles of St. Paul</i>. London, 1578.
+    </div>
+    <div class="figcenter">
+      <a id="plate_22" href="images/bigplate22.jpg" name="plate_22"><img
+      src="images/plate22.jpg"
+      alt="The Epistles of St. Paul. London, 1578.(&lt;i&gt;From a drawing&lt;/i&gt;)."
+      title="The Epistles of St. Paul. London, 1578.(&lt;i&gt;From a drawing&lt;/i&gt;)."
+      class="figcenter" /></a><br />
+      <p class="caption">22&mdash;The Epistles of St. Paul. London, 1578.(<i>From a
+      drawing</i>).</p>
+    </div>
+    <p>If this book of Archbishop Parker's is one of the most elaborately ornamented
+    embroidered books existing, and perhaps one of the greatest treasures of its kind in
+    the British Museum, the next velvet book to describe is one of the simplest, yet it
+    also is one of the greatest treasures of its kind at the Bodleian Library.</p>
+    <p>It is a small copy of the Epistles of St. Paul, printed by Barker in London, 1578,
+    and measuring 4&frac12; by 3&frac12; inches, and it belonged to Queen Elizabeth.
+    Inside she has written a note in which she says: 'I walke manie times into the
+    pleasant fieldes of the Holy Scriptures, where I plucke up the goodlie greene herbes
+    of sentences by pruning, eate them by reading, chawe them by musing, and laie them up
+    at length in the hie seat of <span class="pagenum">64</span><a name="page_64"
+    id="page_64"></a>memorie by gathering them together, so that having tasted thy
+    swetenes I may the less perceive the bitterness of this miserable life.'</p>
+    <p>The Rev. W. D. Macray, in the <i>Annals of the Bodleian Library</i>, says, 'This
+    belonged to Queen Elizabeth, and is bound in a covering worked by herself'; and the
+    Countess of Wilton, in the <i>Art of Embroidery</i>, says, 'The covering is done in
+    needlework by the Queen herself.'</p>
+    <p>It is also described by Dibdin in <i>Bibliomania.</i> He says, 'The covering is
+    done in needlework by the Queen herself.'</p>
+    <p>The black velvet binding is much worn, and has been badly repaired. The work upon
+    it is all done in silver cord or guimp, and the designing, as well as the work, is
+    such as may well have been done by the Queen.</p>
+    <p>On both covers borders with legends in Latin, enclosed in lines of gold cord, run
+    parallel to the edges. Beginning at the right-hand corners of each side, these
+    legends read, 'Beatus qui divitias scriptur&aelig; legens verba vertit in
+    opera&mdash;Celum Patria Scopus vit&aelig; <span
+    class="smcap">xpus</span>&mdash;Christus via&mdash;Christo vive.' In the centre of
+    the upper side is a ribbon outlined in gold cord, with the words, 'Eleva sursum ibi
+    ubi,' a heart being enclosed within the ribbon, and a long stem with a flower at the
+    top passing through it. In the centre of the lower side a similar ribbon with the
+    motto, 'Vicit omnia pertinax virtus,' encloses a daisy, a badge previously <span
+    class="pagenum">65</span><a name="page_65" id="page_65"></a>used by Henry <span
+    class="smcap">viii</span>. and Edward <span class="smcap">vi</span>., probably in
+    memory of their ancestress, Margaret Beaufort. Both these inner scrolls have the
+    initial letter E interwoven with them.</p>
+    <p>There is no doubt that the usual royal embroidered bindings of the time of
+    Elizabeth were elaborately designed and richly worked, in decided contrast to this
+    small book; and this difference of style makes it more probable that the Queen worked
+    it herself.</p>
+    <p>There is no resemblance between this book and the two canvas-bound books already
+    described which are attributed to her, except the use of cord alone in the
+    embroidery; but the difference of material might perhaps be considered sufficient to
+    account for this. No real evidence seems to be forthcoming as to the authorship of
+    the embroidered work, but there is no doubt that the book was a favourite one of
+    Queen Elizabeth's, and if the needlework had been done for her by any of the ladies
+    of her Court, it would be likely that she would have added a note to that effect to
+    the words she has written inside.</p>
+    <div class="subchap">
+      <i>Christian Prayers, etc.</i> London, 1584.
+    </div>
+    <div class="figcenter">
+      <a id="plate_23" href="images/bigplate23.jpg" name="plate_23"><img
+      src="images/plate23.jpg" alt="Christian Prayers, etc. London, 1584."
+      title="Christian Prayers, etc. London, 1584." class="figcenter" /></a><br />
+      <p class="caption">23&mdash;Christian Prayers, etc. London, 1584.</p>
+    </div>
+    <p>A copy of <i>Christian Prayers</i>, with the Psalms, printed in London in 1581 and
+    1584, is curiously bound in soft paper boards strengthened on the inner side with
+    pieces of morocco and covered <span class="pagenum">66</span><a name="page_66"
+    id="page_66"></a>with pale tawny velvet. It measures 7&frac12; by 5&frac12; inches.
+    The edges of the leaves are gilt and gauffred.</p>
+    <p>The arrangement of the design is unusual. It starts from the centre of the back in
+    the form of a broad ornamental border, extending towards the front edges along the
+    lines of the boards. This border is handsomely ornamented by a wavy line of silver
+    cords, filled out with conventional flowers and arabesques worked in gold and silver
+    cords and threads, with a little bit of coloured silk here and there. A symmetrical
+    design of flower forms and arabesques starts, on each board, from the centre of the
+    inner edge of the border, and is worked in a similar way. Some of the leaves,
+    however, have veinings marked by strips of flat silver, and others made by a
+    flattened silver spiral, having the appearance of a succession of small rings. There
+    are the remains of two pale orange silk ties on the front edges of each board, and
+    the edges are gilt and gauffred with a little colour.</p>
+    <p>The petals of the flowers are worked in guimp, whether gold or silver is difficult
+    to say. Indeed in many instances of the older books it is difficult to be sure
+    whether a metal cord or thread was originally gilded or not, as all these 'gold'
+    threads are, or were, silver gilt, so that when worn the silver only remains. If the
+    cord or thread has been protected in any corners, however, or if it <span
+    class="pagenum">67</span><a name="page_67" id="page_67">can be lifted a little, the
+    faint trace of gold can often be seen on what would otherwise have been surely put
+    down as originally silver.</a></p>
+    <div class="subchap">
+      <i>Orationis Dominic&aelig; Explicatio, etc.</i>Genev&aelig;, 1583.
+    </div>
+    <div class="figcenter">
+      <a id="plate_24" href="images/bigplate24.jpg" name="plate_24"><img
+      src="images/plate24.jpg"
+      alt="Orationis Dominic&aelig; Explicatio, etc. Genev&aelig;, 1583."
+      title="Orationis Dominic&aelig; Explicatio, etc. Genev&aelig;, 1583."
+      class="figcenter" /></a><br />
+      <p class="caption">24&mdash;Orationis Dominic&aelig; Explicatio, etc. Genev&aelig;,
+      1583.</p>
+    </div>
+    <p>There is in the British Museum a copy of <i>Orationis Dominic&aelig; Explicatio,
+    per Lambertum Dan&aelig;um</i>, printed at Geneva in 1583, which belonged to Queen
+    Elizabeth. It is bound in black velvet, measures 6&frac34; by 4&frac14; inches, and
+    is ornamented most tastefully, each side having an arabesque border in gold cord and
+    silver guimp, enclosing a panel with a design of white and red roses, with stems and
+    leaves worked in gold cord and silver guimp with a trifle of coloured silk on the red
+    roses and on the small leaves showing between the petals. On the front edge are the
+    remains of red and gold ties. The design of this charming little book is excellent,
+    and the colour of it when new must have been very effective. The design is the same
+    on both sides. The back is in bad condition, and is panelled with arabesques in gold
+    and silver cord.</p>
+    <div class="subchap">
+      <i>Bible.</i> London, 1583.
+    </div>
+    <div class="figcenter">
+      <a id="plate_25" href="images/bigplate25.jpg" name="plate_25"><img
+      src="images/plate25.jpg" alt="Bible. London, 1583." title="Bible. London, 1583."
+      class="figcenter" /></a><br />
+      <p class="caption">25&mdash;Bible. London, 1583.</p>
+    </div>
+    <p>The most decorative, and in many ways the finest, of all the remaining embroidered
+    books of <span class="pagenum">68</span><a name="page_68"
+    id="page_68">the time of Elizabeth is now at the Bodleian Library at
+    Oxford. It is one of the 'Douce' Bibles, printed in London in 1583, and probably
+    bound about the same time. It was the property of the Queen herself, and is bound in
+    crimson velvet, measuring 17 by 12 inches. The design is the same on both sides, and
+    consists of a very cleverly arranged scroll of six rose stems, bearing flowers, buds,
+    and leaves springing from a large central rose, with four auxiliary scrolls crossing
+    the corners and intertwining at their ends. The large rose in the centre as well as
+    those near the corners are Tudor roses, the red shown in red silk and the white in
+    silver guimp, both outlined with gold cord. Small green leaves are shown between each
+    of the outer petals. These flowers are heavily and solidly worked in high relief. The
+    smaller flowers are all of silver, the buds, some red, some white. The stems are of
+    thick silver twist enclosed between finer gold cords, and the leaves show a little
+    green silk among the gold cord with which they are outlined and veined. Immediately
+    above and below the centre rose are two little T's worked in small pearls.</a></p>
+    <p>The narrow border round the edges is very pretty; it is a wavy line of gold cord
+    and green silk, the hollows within the curves being filled with alternate 'Pods' with
+    pearls, and green leaves. The back is divided into four panels by wavy lines of gold
+    cord and pearls, and the upper<span class="pagenum">69</span><a name="page_69"
+    id="page_69"></a> and lower panels have small rose-plants with white roses, buds, and
+    leaves; the inner panels have each a large Tudor rose of red and white, with leaves
+    and buds. The drawing and designing of this splendid book are admirable, and the
+    workmanship is in every way excellent. Many of the pearls are gone, and some of the
+    higher portions of the large roses are abraded, the back, as usual, being in a rather
+    bad state; but in spite of all this, and the inevitable fading, the work remains in a
+    sufficiently preserved condition to show that at this period the art of
+    book-embroidery reached its highest decorative point. It is rather curious to note
+    that Henry <span class="smcap">viii</span>. used the red Lancastrian rose by
+    preference, but that on Elizabeth's books the white rose always appears, and I know
+    of very few instances where the red rose appears on her books. Of course both
+    sovereigns used the combined, double, or Tudor rose as well.</p>
+    <div class="subchap">
+      <i>The Commonplaces of Peter Martyr.</i> London, 1583.
+    </div>
+    <div class="figcenter">
+      <a id="plate_26" href="images/bigplate26.jpg" name="plate_26"><img
+      src="images/plate26.jpg" alt="The Commonplaces of Peter Martyr. London, 1583."
+      title="The Commonplaces of Peter Martyr. London, 1583." class="figcenter" />
+      </a><br />
+      <p class="caption">26&mdash;The Commonplaces of Peter Martyr. London, 1583.</p>
+    </div>
+    <p>An embroidered book designed in a manner which is characteristic of a gold tooled
+    book is found but rarely. An instance of this however is found on a copy of <i>The
+    Commonplaces of Peter Martyr</i>, translated by Anthonie Marten, and printed in
+    London in 1583. It is covered in <span class="pagenum">70</span><a name="page_70"
+    id="page_70"></a>blue purple velvet measuring 13&frac12; by 9 inches, and the design
+    upon it is a broad outer border doubly outlined with a curious and effective braid,
+    apparently consisting of a close series of small silver rings, but really being only
+    a silver spiral flattened out. This border is dotted at regular intervals with
+    star-shaped clusters of small pieces of silver guimp symmetrically arranged. The
+    centre of the inner panel is a diamond-shaped ornament made with similar 'ring' braid
+    and small pieces of silver guimp, and the corner-pieces are quarter circles worked in
+    the same way. This design of centre-piece and corner-pieces is distinctly borrowed
+    from leather work, and I have never seen another example of the kind executed in
+    needlework. The colouring of this book is very good, the purple and silver
+    harmonising in a very pleasing manner.</p>
+    <div class="subchap">
+      <i>Biblia.</i> Antverpi&aelig;, 1590.
+    </div>
+    <div class="figcenter">
+      <a id="plate_27" href="images/bigplate27.jpg" name="plate_27"><img
+      src="images/plate27.jpg" alt="Biblia. Antverpi&aelig;, 1590."
+      title="Biblia. Antverpi&aelig;, 1590." class="figcenter" /></a><br />
+      <p class="caption">27&mdash;Biblia. Antverpi&aelig;, 1590.</p>
+    </div>
+    <p>A beautiful binding of green velvet covers a Bible printed at Antwerp in 1590,
+    measuring 7 by 4 inches. The design is the same on both sides, and the book was
+    apparently bound for 'T. G.,' whose initials are worked into the design; a
+    conventional arrangement of curving stems and flower forms worked in gold cord,
+    guimp, and small pearls thickly encrusted; the same on both boards. The centre is a
+    large conventional <span class="pagenum">71</span><a name="page_71"
+    id="page_71"></a>flower, in form resembling a carnation, with serrated petals, having
+    a garnet below it, and flanked by the letters T. G., all thickly worked with reed
+    pearls. In each corner is a smaller flower&mdash;conventionalised forms probably of
+    honeysuckle and rose&mdash;joined together by curving stems of gold cord, filled out
+    with leaves and arabesques, all together forming a very decorative panel. The outer
+    border is richly worked with leaves and arabesques in guimp and pearls, the outer
+    line of gold cord being ornamented with small triple points marked with pearls. The
+    back is divided into three spaces by curving lines of gold cord, and in each of these
+    spaces is worked one of the same conventionalised flower forms as occur on the
+    boards, <i>i.e.</i> a honeysuckle, cornflower, and rose, with leaves and smaller
+    curves of gold cord.</p>
+    <p>The ground of the entire work is freely ornamented with gilt spangles held down by
+    small pieces of guimp, and with single pearls; the larger of these are enclosed
+    within circles of guimp, the smaller are simply sewn on one by one.</p>
+    <p>There are remains of gilt clasps on the front edges of each of the boards, and the
+    edges of the leaves are gilt and gauffred, with a little pale colour.</p>
+    <div class="subchap">
+      Udall, <i>Sermons</i>. London, 1596.
+    </div>
+    <div class="figcenter">
+      <a id="plate_28" href="images/bigplate28.jpg" name="plate_28"><img
+      src="images/plate28.jpg"
+      alt="Udall, Sermons. London, 1596. (&lt;i&gt;From a drawing&lt;/i&gt;)."
+      title="Udall, Sermons. London, 1596. (&lt;i&gt;From a drawing&lt;/i&gt;)."
+      class="figcenter" /></a><br />
+      <p class="caption">28&mdash;Udall, Sermons. London, 1596. (<i>From a
+      drawing</i>).</p>
+    </div>
+    <p>A few specimens of embroidered books were exhibited at the Burlington Fine Arts
+    Club in <span class="pagenum">72</span><a name="page_72" id="page_72"></a>1891. Among
+    them was a charming velvet binding that belonged to Queen Elizabeth, lent by S.
+    Sandars, Esq., and now in the University Library, Cambridge. It is a copy of Udall's
+    <i>Sermons</i>, printed in London in 1596, and is covered in crimson velvet,
+    measuring about 6 by 4 inches. The design is the same on each side, the royal
+    coat-of-arms appliqu&eacute;, with the initials E. R., and a double rose in each
+    corner with stalks and leaves. The coat-of-arms is made up with pieces of blue and
+    red satin, the bearings heavily worked with gold thread, and the ground also thickly
+    studded with small straight pieces of guimp, doubtless put there to insure the
+    greater flatness of the satin. The crown with which the coat-of-arms is ensigned is
+    all worked in guimp, and is without the usual cap. The ornaments on the rim are only
+    trefoils, and there are five arches.</p>
+    <p>The initials flanking the coat are worked in guimp, as are the corner roses and
+    leaves. The guimp used is apparently silver, and the cord used for the outlines and
+    stems is gold. The back has a gold line down the middle and along the joints, with a
+    wavy line of gold cord each side of it.</p>
+    <div class="subchap">
+      <i>Collection of Sixteenth-Century Tracts.</i> Bound about 1610.
+    </div>
+    <div class="figcenter">
+      <a id="plate_29" href="images/bigplate29.jpg" name="plate_29"><img
+      src="images/plate29.jpg" alt="Collection of Sixteenth-Century Tracts."
+      title="Collection of Sixteenth-Century Tracts." class="figcenter" /></a><br />
+      <p class="caption">29&mdash;Collection of Sixteenth-Century Tracts.</p>
+    </div>
+    <p>To Henry, Prince of Wales, we owe a great debt of gratitude, as he was the first
+    person of <span class="pagenum">73</span><a name="page_73" id="page_73"></a> much
+    consequence in our royal family to take any real interest in the Old Royal
+    Library.</p>
+    <p>Indeed it may be considered that the existence to-day of the splendid 'Old Royal'
+    Library of the kings of England, which was presented to the nation in 1759 by George
+    <span class="smcap">ii</span>., is largely due to the attention drawn to its interest
+    and value by Prince Henry, who moreover added considerably to it himself.</p>
+    <p>This Prince used as his favourite and personal badge the beautiful design of three
+    white ostrich feathers within a golden coronet, and with the motto '<span
+    class="smcap">ich dien</span>' on a blue ribbon. With regard to the origin of this
+    badge there is unfortunately a good deal of obscurity. The usual explanation is that
+    it was the helmet-crest of the blind king of Bohemia, who was killed at Cr&eacute;cy
+    in 1346, and that in remembrance of this it was adopted by the Black Prince as his
+    badge. But, as a matter of fact, the ostrich feather was used as a family badge by
+    all the sons of Edward <span class="smcap">iii</span>. and their descendants. It
+    appears to have been the cognisance of the province of Ostrevant, a district lying
+    between Artois and Hainault, and the appanage of the eldest sons of the house of
+    Hainault. In this way it may have been adopted by the family of Edward <span
+    class="smcap">iii</span>. by right of his wife, Philippa of Hainault.</p>
+    <p>An early notice of the ostrich feather as a royal badge occurs in a note in one of
+    the Harleian <span class="pagenum">74</span><a name="page_74" id="page_74"></a><span
+    class="smcap">mss</span>. to the effect that 'Henrye, son to the erle of Derby, fyrst
+    duke of Lancaster, gave the red rose crowned, whose ancestors gave the fox tayle in
+    his proper cooler, and the ostrych fether, the pen ermine,' the Henry here mentioned
+    being the father of Blanche, wife of John of Gaunt.</p>
+    <p>On the tomb of Prince Arthur, son of Henry <span class="smcap">vii</span>., at
+    Worcester, the feather is shown both singly and in plume, and it occurs in the triple
+    plume form within a coronet and a scroll with the words '<span class="smcap">ich
+    dien</span>' upon it, on bindings made by Thomas Berthelet for Prince Edward, son of
+    Henry <span class="smcap">viii</span>., who never was Prince of Wales.</p>
+    <p>It really seems as if the first 'Prince of Wales' actually to use the ostrich
+    feather plumes as a personal badge of that dignity was Prince Henry, and it occurs
+    largely on such books belonging to his library as he had rebound, and also on books
+    that were specially bound for presentation to him.</p>
+    <p>This is the case in one of the most decorative bindings he possessed, enclosing a
+    collection of tracts originally the property of Henry <span
+    class="smcap">viii</span>., but which somehow or other became the property of
+    Magdalen College, Cambridge, the governing body of which had it bound in embroidered
+    velvet and presented to Prince Henry.</p>
+    <p>The cover is of crimson velvet, the edges of which extend freely beyond the edges
+    of the book, bound all round with a fringe of gold cord. It<span
+    class="pagenum">75</span><a name="page_75" id="page_75"></a> measures about 8 by 6
+    inches. The design is the same on each side. In the centre is a large triple plume of
+    ostrich feathers, thickly and beautifully worked in small pearls, within a golden
+    coronet, and having below them the motto '<span class="smcap">ich dien</span>' in
+    gold upon a blue silk ribbon.</p>
+    <p>The badge is enclosed in a rectangular panel of gold cords, in each corner of
+    which is an ornamental spray of gold cords, guimp, and a flower in pearls. A broad
+    border with a richly designed arabesque of gold guimp or cord, with pearl flowers,
+    encloses the central panel. The design is filled in freely with small pearls enclosed
+    in guimp circles and small pearls alone.</p>
+    <p>The back has an ornamental design in gold cord and guimp. This cover is a
+    beautiful specimen of later decorative work on velvet, and the general effect is
+    extremely rich, the design and workmanship being equally well chosen as regards the
+    materials to which they are applied, and with which they are worked.</p>
+    <div class="subchap">
+      Bacon, <i>Opera</i>. Londini, 1623.
+    </div>
+    <div class="figcenter">
+      <a id="plate_30" href="images/bigplate30.jpg" name="plate_30"><img
+      src="images/plate30.jpg" alt="Bacon, Opera. Londini, 1623."
+      title="Bacon, Opera. Londini, 1623." class="figcenter" /></a><br />
+      <p class="caption">30&mdash;Bacon, Opera. Londini, 1623.</p>
+    </div>
+    <p>A copy of the works of Francis Bacon, Viscount St. Albans, printed in London in
+    1623, is bound in rich purple velvet, and measures 13&frac14; by 8&frac34; inches.
+    The design is a central panel with arabesque centre and corners, surrounded by a deep
+    border of close curves and arabesques, all<span class="pagenum">76</span><a
+    name="page_76" id="page_76"></a> worked in gold cord and guimp. There are several
+    gold spangles used, kept down by a small piece of gold guimp. The front edges of each
+    board have only the marks left where two ties originally were, and the edges of the
+    book are simply gilt.</p>
+    <div class="subchap">
+      Bacon, <i>Essays</i>. 1625.
+    </div>
+    <div class="figcenter">
+      <a id="plate_31" href="images/bigplate31.jpg" name="plate_31"><img
+      src="images/plate31.jpg" alt="Bacon, Essays. 1625." title="Bacon, Essays. 1625."
+      class="figcenter" /></a><br />
+      <p class="caption">31&mdash;Bacon, Essays. 1625.</p>
+    </div>
+    <p>A copy of another work by the same author, the Essays printed in 1625, was given
+    by him to the Duke of Buckingham, and is now at the Bodleian Library at Oxford. It is
+    bound in dark green velvet, measuring about 7 by 5 inches, the same design being
+    embroidered on each side. In the centre is a small panel portrait of the Duke of
+    Buckingham, with short beard, and wearing the ribbon of the Garter. The portrait is
+    mostly worked with straight perpendicular stitches, except the hair and collar, in
+    which the stitches are differently arranged. The background merges from nearly white
+    just round the head to pink at the outer edge; the coat is brownish. The framework
+    of the portrait is solidly worked in gold braids and silver guimp in relief, the
+    design being of an architectural character. Two columns, with floral capitals and
+    pediments, spring from a scroll-work base and support what may perhaps be intended
+    for a gothic arch with crockets. Immediately above the crown of the arch is a ducal
+    coronet, and a handsome border of elaborate<span class="pagenum">77</span><a
+    name="page_77" id="page_77"></a> arabesques reaching far inwards is worked all round
+    the edges. The outlines of these arabesques, the stalks and curves, are all worked in
+    gold cords, the petals and leaves in silver guimp in relief. The back is divided into
+    eight panels by gold and silver cords, and in each of these panels is a four-petalled
+    flower with small circles. There are several gilt spangles kept down by a small piece
+    of guimp.</p>
+    <div class="subchap">
+      <i>Common Prayer</i>. London, 1638.
+    </div>
+    <div class="figcenter">
+      <a id="plate_32" href="images/bigplate32.jpg" name="plate_32"><img
+      src="images/plate32.jpg" alt="Common Prayer. London, 1638."
+      title="Common Prayer. London, 1638." class="figcenter" /></a><br />
+      <p class="caption">32&mdash;Common Prayer. London, 1638.</p>
+    </div>
+    <p>Among the few older royal books in the library at Windsor Castle is an embroidered
+    one that belonged to Prince Charles, afterwards Charles <span
+    class="smcap">ii</span>. It is a copy of the <i>Book of Common Prayer</i>, printed in
+    London in 1638, and is bound in blue velvet with embroidered work in gold cord and
+    silver guimp, similar in character to that on the copy of Bacon's <i>Essays</i> just
+    described. It measures 8 by 6 inches. The design is heraldic. In the centre is the
+    triple plume of the Prince of Wales, with coronet and label, no motto being apparent
+    on the latter. The plume is encircled by the Garter appliqu&eacute;, on pale blue
+    silk, the motto, worked in silver cord, being nearly worn off. Resting on the top of
+    the Garter is a large princely coronet, flanking which are the letters 'C. P.' In the
+    lower corners are a thistle and a rose. A broad border with arabesques encloses <span
+    class="pagenum">78</span><a name="page_78" id="page_78"></a>the central panel. This
+    book was exhibited by Her Majesty at the Burlington Fine Arts Club in 1891. It is in
+    very bad condition, which is curious, as it is not so very old, and as it is still
+    among the royal possessions it might well have been imagined that it would have been
+    better preserved than other and older books of a like kind which we know have been
+    considerably moved about. The colour is however very charming still, and books have
+    rarely been bound in blue velvet, black, green, or crimson being most usual.</p>
+    <p>After 1649, or thereabouts, there was a full stop for a time to any art production
+    in the matter of bookbinding. Indeed, for the embroidered books as a class that is
+    the end, but nevertheless a few examples are found at a later date, but no regular
+    production and no original designs.</p>
+    <div class="subchap">
+      <i>Bible.</i> Cambridge, 1674.
+    </div>
+    <div class="figcenter">
+      <a id="plate_33" href="images/bigplate33.jpg" name="plate_33"><img
+      src="images/plate33.jpg" alt="Bible. Cambridge, 1674."
+      title="Bible. Cambridge, 1674." class="figcenter" /></a><br />
+      <p class="caption">33&mdash;Bible. Cambridge, 1674.</p>
+    </div>
+    <p>A large Bible printed at Cambridge in 1674, in two volumes, was bound in crimson
+    velvet for James <span class="smcap">ii</span>., presumably about 1685. The work upon
+    it, each volume being the same, is of a showy character, good and strong, but utterly
+    wanting in any of the artistic qualities either of design or execution which
+    characterised so many of the earlier examples. In the centre are the initials 'J. R.'
+    surmounted by a royal crown, heavily <span class="pagenum">79</span><a name="page_79"
+    id="page_79"></a>worked in gold braid, guimp, and some coloured silks. Enclosing the
+    initials and crown are scrolls in thick gold twist; these again are surrounded by a
+    curving ribbon of gold, intertwined with roses and leafy sprays. In each corner is a
+    silver-faced cherub with beads for eyes and gold wings, and at the top a small blue
+    cloud with sun rays, tears dropping from it. There are two broad silk ties to the
+    front of each board, heavily fringed with gold.</p>
+    <p>The back is divided into nine panels, each containing an arabesque ornament worked
+    in gold cord and thread, the first and last panels being larger than the others and
+    containing a more elaborate design. The edges of the leaves are simply gilt, and the
+    boards measure 18 by 12 inches each, the largest size of any embroidered book known
+    to me.</p>
+    <hr style="width: 65%;" />
+    <span class="pagenum">80</span><a name="page_80" id="page_80"></a>
+    <h2><a name="CHAPTER_IV" id="CHAPTER_IV"></a>CHAPTER IV</h2>
+    <div class="subchap">
+      BOOKS BOUND IN SATIN
+    </div>
+    <div class="subchap">
+      <i>Collection of Sixteenth-Century Tracts.</i> Bound probably about 1536.
+    </div>
+    <div class="figcenter">
+      <a id="plate_34" href="images/bigplate34.jpg" name="plate_34"><img
+      src="images/plate34.jpg" alt="Collection of Sixteenth-Century Tracts."
+      title="Collection of Sixteenth-Century Tracts." class="figcenter" /></a><br />
+      <p class="caption">34&mdash;Collection of Sixteenth-Century Tracts.</p>
+    </div>
+    <a href="images/bigp.gif"><img src="images/p.gif" alt="Ornate Uppercase Letter P" title="Ornate Uppercase Letter P"
+    class="figinit" /></a>
+    <p>erhaps the earliest existing English book bound in satin is a collection of
+    sixteenth-century tracts that belonged to Henry <span class="smcap">viii</span>., and
+    is now part of the Old Royal Library in the British Museum. It is covered in red
+    satin, measures 12 by 8 inches, and is embroidered in an arabesque design, outlined
+    with gold cord. On the edges the words 'Rex in aeternum vive Neez' are written in
+    gold. The word 'Neez' or 'Nez,' as it is sometimes spelt, may mean Nebuchadnezzar, as
+    the other words were addressed to him. On books bound in leather by Thomas Berthelet,
+    royal binder to Henry <span class="smcap">viii</span>. and his immediate successors,
+    the motto often occurs, and as he is known to have bound books in 'crymosyn satin,'
+    this is most likely his work. The pattern <span class="pagenum">81</span><a
+    name="page_81" id="page_81"></a>is worked irregularly all round the boards, and a
+    sort of arabesque bridge crosses the centres. The back is new, and of leather, but
+    the boards themselves are the original ones, and the embroidery is in a very fair
+    condition.</p>
+    <div class="subchap">
+      <i>New Testament in Greek.</i> Leyden, 1576.
+    </div>
+    <div class="figcenter">
+      <a id="plate_35" href="images/bigplate35.jpg" name="plate_35"><img
+      src="images/plate35.jpg" alt="New Testament in Greek. Leyden, 1570."
+      title="New Testament in Greek. Leyden, 1570." class="figcenter" /></a><br />
+      <p class="caption">35&mdash;New Testament in Greek. Leyden, 1570.</p>
+    </div>
+    <p>If early bindings in satin are rare, still rarer is the use of silk. One example
+    worked on white ribbed silk still remains that belonged to Queen Elizabeth. It
+    measures 4&frac34; by 2&frac34; inches, and in its time was no doubt a very
+    decorative and interesting piece of work, but it is now in a very dilapidated state,
+    largely due to improper repairing. The book has actually been rebound in leather, and
+    the old embroidered sides stuck on. So it must be remembered that my illustration of
+    it is considerably restored. The design, alike on both sides, is all outlined with
+    gold cords and twists of different kinds and thicknesses, and the colour is added in
+    water-colours on the silk. In the centre is the royal coat-of-arms within an oval
+    garter ensigned with a royal crown, in the adornment of which a few seed pearls are
+    used, as they are also on the ends of the garter.</p>
+    <p>Enclosing the coat-of-arms is an ornamental border of straight lines and curves,
+    worked with a thick gold twist, intertwined with graceful sprays of double and single
+    roses, outlined in <span class="pagenum">82</span><a name="page_82"
+    id="page_82"></a>gold and coloured red, with buds and leaves. A few symmetrical
+    arabesques, similarly outlined and coloured, fill in some of the remaining spaces.
+    The work on this book, a <i>New Testament in Greek</i>, printed at Leyden in 1576, is
+    like no other; but the general idea of the design, rose-sprays cleverly intertwined,
+    is one that may be considered characteristic of the Elizabethan embroidered books, as
+    it frequently occurs on them. The use of water-colour with embroidery is very rare,
+    and it is never found on any but silk or satin bindings, generally as an adjunct in
+    support of coloured-silk work over it, but in this single instance it is used
+    alone.</p>
+    <div class="subchap">
+      <i>Seventeenth-Century Embroidered Books.</i>
+    </div>
+    <p>The books described hitherto have been specimens of rare early instances, but in
+    the seventeenth century there is a very large field to choose from. Small books,
+    mostly religious works, were bound in satin from the beginning of the century until
+    the time of the Commonwealth in considerable numbers; so much so, in fact, that their
+    value depends not so much upon their designs or workmanship as upon their
+    condition.</p>
+    <p>It is generally considered that embroidered books are extremely delicate, but this
+    is not so; they will stand far more wear than would<span class="pagenum">83</span><a
+    name="page_83" id="page_83"></a> be imagined from their frail appearance. The
+    embroidered work actually protects the satin, and such signs of wear as are visible
+    are often found rather in the satin itself, where unprotected, than in the work upon
+    it. In many cases a peculiar appearance, which is often mistaken for wear, is seen in
+    the case of representations of insects, caterpillars, or butterflies particularly.
+    These creatures, or parts of them, appear to consist only of slight stitches of plain
+    thread, suggesting either that the work has never been finished, or else that the
+    finished portions have worn away. The real fact is, however, that these places have
+    been originally worked with small bright pieces of peacock's feather, which have
+    either tumbled out or been eaten away by minute insects, a fate to which it is well
+    known peacocks' feathers are particularly liable.</p>
+    <p>The late Lady Charlotte Schreiber, who was a great collector of pieces of old
+    embroidery, among a host of other curious things possessed the only perfect instance
+    of work of this kind of the seventeenth century I have ever been fortunate enough to
+    find. It was a very realistic caterpillar, closely and completely worked with very
+    small pieces of peacocks' feathers, sewn on with small stitches, quite confirming the
+    opinion I had already formed as to the original filling in of the usual 'bald' spaces
+    representing such objects.</p>
+    <span class="pagenum">84</span><a name="page_84" id="page_84"></a>
+    <div class="subchap">
+      <i>Bible</i>. London, 1619.
+    </div>
+    <div class="figcenter">
+      <a id="plate_36" href="images/bigplate36.jpg" name="plate_36"><img
+      src="images/plate36.jpg" alt="Bible. London, 1619." title="Bible. London, 1619."
+      class="figcenter" /></a><br />
+      <p class="caption">36&mdash;Bible. London, 1619.</p>
+    </div>
+    <p>A copy of a Bible, printed in London in 1619, is bound in white satin, and
+    measures 6 by 3&frac12; inches. On each side is an emblematic figure enclosed in an
+    oval; the figures are different, but their surroundings are alike. On the upper side
+    a lady holding a palm branch in her right hand is worked in shading-stitch. She is
+    full length, and wears an orange skirt with purple robe over it confined by a blue
+    belt, and over her shoulders a pink jacket&mdash;all these garments are outlined by a
+    gold cord. Her fair hair is covered by an ornamental cap of red and gold, and her
+    feet are bare.</p>
+    <p>The ground is worked with coloured silks and threads of fine wire closely twisted
+    round with coloured silks, and the sky, painted in gradations of pink in
+    water-colours, is worked sparsely with long stitches of blue silk.</p>
+    <p>The lower side shows a female figure worked in a similar way; in this case she
+    bears in her right hand some kind of wand or spray, which has nearly worn off, and in
+    her left a bunch of corn or grapes, or something of that kind which has also badly
+    worn away. If the first figure may be considered to represent Peace, this one may
+    perhaps be Plenty. She wears a deep purplish skirt, with full over-garment and body
+    of the same colour, with an under-jacket of white and gold. On her <span
+    class="pagenum">85</span><a name="page_85" id="page_85"></a>dark hair she has a blue
+    flower with red leaves. Her feet are bare. The ground and sky are both worked in the
+    same way as the other side. Both figures are enclosed in a flat oval border of gold
+    thread, broad at the top and narrowing towards the foot. In the corners are
+    symmetrical arabesques thickly worked in gold, and within the larger spaces in each
+    corner-piece are the 'remains' of feathered caterpillars, now skeleton forms of
+    threads only. The back of the book is particularly good, and most beautifully worked.
+    It is divided into five panels, within each of which is a conventional flower, a
+    cornflower alternating with a carnation, and the colours of all of these are
+    marvellously fresh and effective. Among embroidered panelled backs it is probably the
+    finest specimen existing.</p>
+    <div class="subchap">
+      <i>Emblemes Chrestiens</i>, par Georgette de Montenay. <span
+      class="smcap">ms</span>. &agrave; Lislebourg. [Edinburgh] 1624.
+    </div>
+    <div class="figcenter">
+      <a id="plate_37" href="images/bigplate37.jpg" name="plate_37"><img
+      src="images/plate37.jpg" alt="Emblemes Chrestiens. MS 1624."
+      title="Emblemes Chrestiens. MS 1624." class="figcenter" /></a><br />
+      <p class="caption">37&mdash;Emblemes Chrestiens. MS 1624.</p>
+    </div>
+    <p>Charles <span class="smcap">i</span>., when he was Prince of Wales, often used the
+    book-stamps that had been cut for his brother Henry, and he also particularly liked
+    the triple plume of ostrich feathers. It occurs, as has been shown, on one of Prince
+    Henry's velvet-bound books, and it forms the central design on the satin binding of
+    an exquisite manuscript written by Esther Inglis, a celebrated <span
+    class="pagenum">86</span><a name="page_86" id="page_86"></a>calligraphist, who lived
+    in the seventeenth century. It is a copy of the <i>Emblemes Chrestiens</i>, by
+    Georgette de Montenay, dedicated to Prince Charles, covered in red satin embroidered
+    with gold and silver threads, cords, and guimp, with a few pearls, measuring
+    11&frac14; by 7&frac34; inches. In the centre is the triple ostrich plume within a
+    coronet, enclosed in an oval wreath of laurel tied with a tasselled knot. A
+    rectangular border closely filled with arabesques runs parallel to the edges of the
+    boards, and there is a fleuron at each of the inner corners. In all cases the design
+    is outlined in gold cord, and the thick parts of the design are worked in silver
+    guimp. There are several spangles, and on the rim of the coronet are three
+    pearls.</p>
+    <div class="subchap">
+      <i>New Testament.</i> London, 1625.
+    </div>
+    <div class="figcenter">
+      <a id="plate_38" href="images/bigplate38.jpg" name="plate_38"><img
+      src="images/plate38.jpg" alt="New Testament. London, 1625."
+      title="New Testament. London, 1625." class="figcenter" /></a><br />
+      <p class="caption">38&mdash;New Testament. London, 1625.</p>
+    </div>
+    <p>One of the most curious embroidered satin bindings still left is now in the
+    Bodleian Library, and a slightly absurd tradition about it says that the figure of
+    David, which certainly is something like Charles <span class="smcap">i</span>., is
+    clothed in a piece of a waistcoat that belonged to that king.</p>
+    <p>It is a New Testament, printed in London in 1625, and covered in white satin, with
+    a different design embroidered on each side. It measures 4&frac12; by 3&frac12;
+    inches. On the upper board is David with a harp. He wears a long red cloak lined with
+    <span class="pagenum">87</span><a name="page_87" id="page_87"></a>ermine, with a
+    white collar, an under-garment of pale brown, and high boots with spur-straps and red
+    tops. On his head is a royal crown of gold with red cap, and he is playing upon a
+    golden harp. The face of this figure resembles that of Charles <span
+    class="smcap">i</span>. The red cloak is worked in needlepoint lace, and is in deep
+    folds in high relief. These folds are actually modelled in waxed paper, the
+    needlework being stretched over them, and probably fixed on by a gentle heat. The
+    other parts of the dress are worked in the same way, but without the waxed paper, and
+    the edges of the garments are in some places marked with what might be called a metal
+    fringe, made in a small recurring pattern.</p>
+    <p>David is standing upon a grass plot, represented by small arches of green purl,
+    and before him is sitting a small dog with a blue collar. Above the dog is a small
+    yellow and black pansy, then a large blue 'lace' butterfly, on a chenille patch, and
+    a brown flying bird. Behind David there is a tall conventional lily and a flying
+    bird. The sky is overcast with heavy clouds of red and blue, but a golden sun with
+    tinsel rays is showing under the larger of them. On the lower board is a
+    representation of Abraham about to sacrifice Isaac. Abraham is dressed in a red
+    under-garment on waxed paper, in heavy folds with a belt and edge of stamped-out
+    metal, a blue flowing cape<span class="pagenum">88</span><a name="page_88"
+    id="page_88"></a> and high boots, all worked in needlepoint lace in coloured
+    silks.</p>
+    <p>In his right hand he holds a sword, and his tall black hat is on the ground beside
+    him. On the ground towards the left is Isaac in an attitude of prayer, his hands
+    crossed, with two sheaves of firewood. He wears a red coat with a small blue cape.
+    The ground is green and brown chenille. Above Isaac is a gourd, and above this a
+    silver ram caught in a bush, on a patch of grass indicated by green purl. The sky is
+    occupied by a large cloud, out of which leans an angel with wings, the hands
+    outstretched and restraining Abraham's sword.</p>
+    <p>On the back are four panels, containing respectively from the top a butterfly, a
+    rose, a bird, and a yellow tulip, all worked in needlepoint and appliqu&eacute;. The
+    pieces that are in high relief all over the book are edged with gold twist, and have
+    moreover their counterparts under them closely fastened down to the satin. There are
+    several gold spangles in the various spaces between the designs; the whole is edged
+    with a strong silver braid, and there are two clasps with silver attachments.</p>
+    <p>Considering the high relief in which much of this work is done, the binding is in
+    wonderful preservation, but many of the colours are badly faded, as it has been
+    exposed to the action of light in one of the show-cases for many years. <span
+    class="pagenum">89</span><a name="page_89" id="page_89"></a>Although no doubt it is
+    advisable to expose many treasures in this way, it must be admitted that in the case
+    of embroidered books it is frequently, if not always, a cause of rapid deterioration,
+    so much so that I should almost think in these days of good chromo-printing it would
+    be worth the while of the ruling powers of our great museums to consider whether it
+    would not be wiser to exhibit good colour prints to the light and keep the precious
+    originals in safe obscurity, to be brought out, of course, if required by
+    students.</p>
+    <div class="subchap">
+      <i>New Testament and Psalms.</i> London, 1630
+    </div>
+    <div class="figcenter">
+      <a id="plate_39" href="images/bigplate39.jpg" name="plate_39"><img
+      src="images/plate39.jpg" alt="New Testament and Psalms. London, 1630."
+      title="New Testament and Psalms. London, 1630." class="figcenter" /></a><br />
+      <p class="caption">39&mdash;New Testament and Psalms. London, 1630.</p>
+    </div>
+    <p>Several small English books of the seventeenth century were bound 'double,'
+    <i>i.e.</i> two volumes side by side, so as to open different ways (compare p. 38).
+    Each of the books, which are always of the same size, has a back and one board to
+    itself, the other board, between them, being common to both. As already stated, this
+    form of book occurs rarely in canvas bindings, and it is of commoner occurrence in
+    satin.</p>
+    <p>A design which is frequently met with is well shown in the case of a double
+    specimen containing the New Testament and the Psalms, printed in London in 1630, and
+    covered in white satin, measuring 4&frac14; by 2 inches, the ornamentation being the
+    same on both sides. In the centre, in <span class="pagenum">90</span><a
+    name="page_90" id="page_90"></a>an oval, is a delicately worked iris of many colours
+    in feather-stitch, the petals edged with fine silver cord. The oval is marked by a
+    silver cord, beyond which are ornamental arabesques outlined in cord and filled in
+    solidly, in high relief, with silver thread.</p>
+    <p>The backs are divided into five panels, containing alternately flowers in red,
+    blue, and green silks, and star shapes in silver thread in high relief. Silver
+    spangles have been freely used, but most of them have now gone; the edges of the
+    leaves are gilt and gauffred in a simple dotted pattern. To the middle of the front
+    edge of one of the boards is attached a long green ribbon of silk which wraps round
+    both volumes.</p>
+    <div class="subchap">
+      Henshaw, <i>Hor&aelig; Successiv&aelig;</i>. London, 1632.
+    </div>
+    <div class="figcenter">
+      <a id="plate_40" href="images/bigplate40.jpg" name="plate_40"><img
+      src="images/plate40.jpg" alt="Henshaw, Hor&aelig; Successiv&aelig;. London, 1632."
+      title="Henshaw, Hor&aelig; Successiv&aelig;. London, 1632." class="figcenter" />
+      </a><br />
+      <p class="caption">40&mdash;Henshaw, Hor&aelig; Successiv&aelig;. London, 1632.</p>
+    </div>
+    <p>Henshaw's <i>Hor&aelig; Successiv&aelig;</i>, printed in London in 1632, is bound
+    in white satin, and measures 4&frac12; by 2 inches. It is very delicately and
+    prettily worked in a floral design, the same on both sides, and is remarkable for its
+    simplicity&mdash;a flower with stalk and leaves in the centre, one in each corner,
+    and an insect in the spaces between them. The centre flower is a carnation, round it
+    are pansy, rose, cornflower, and strawberry, while between them are a caterpillar,
+    snail, butterfly, and moth. All of these are delicately worked in feather-stitch in
+    the proper colours, and edged <span class="pagenum">91</span><a name="page_91"
+    id="page_91"></a>all round with fine gold cord; the stalks are of the same cord used
+    double. On the strawberries there is some fine knotted work.</p>
+    <p>The back is divided into four panels, containing a cornflower, rose, pansy, and
+    strawberry, worked exactly in the same way as their prototypes on the sides. There
+    were several gold spangles on sides and back, but many of them have been broken off,
+    and on the front edges of each board are the remains of pale green ties of silk.</p>
+    <div class="subchap">
+      <i>Psalms</i>. London, 1633.
+    </div>
+    <div class="figcenter">
+      <a id="plate_41" href="images/bigplate41.jpg" name="plate_41"><img
+      src="images/plate41.jpg" alt="Psalms. London, 1633." title="Psalms. London, 1633."
+      class="figcenter" /></a><br />
+      <p class="caption">41&mdash;Psalms. London, 1633.</p>
+    </div>
+    <p>A copy of the Psalms, printed in London in 1633, is bound in white satin,
+    embroidered in coloured silks worked in satin-stitch, and measures 3 by 2 inches. On
+    the upper board is a gentleman dressed in the style of the period, with trunk hose of
+    red and yellow, a short jacket of the same colouring, and a long, reddish cape. He
+    has a broad-brimmed hat with coloured feathers, a large white collar, and a sword in
+    his right hand. Near him is a beetle, and in the sky a blue cloud, and he is standing
+    upon a grass mound. On the lower board is the figure of a lady in a deep pink dress,
+    with white collar and cap. She holds a tall red lily in her right hand, and in the
+    upper left-hand corner is a small cloud under which the sun is just appearing, and in
+    the lower corner is a small flower. The lady is standing upon a <span
+    class="pagenum">92</span><a name="page_92" id="page_92"></a> small green mound. The
+    outlines of both figures, as well as the inner divisions between the various
+    garments, are marked with a gold or silver thread.</p>
+    <p>The back is divided into four panels, in which are a fly, a rose, a larger fly,
+    and a blue flower. The outlines and legs of both the insects were marked originally
+    with small pieces of peacocks' feathers, but the upper fly has lost most of these;
+    the lower one, however, more ornamental, shows them clearly, and has the thorax still
+    in excellent preservation, glittering with little points of green and gold. There is
+    one broad ribbon of striped silk attached to the lower board.</p>
+    <p>This little book, which is in a wonderful state of preservation, has been always
+    kept in the beautiful embroidered bag which I have described already on p. 16.</p>
+    <div class="subchap">
+      <i>Psalms.</i> London, 1635.
+    </div>
+    <div class="figcenter">
+      <a id="plate_42" href="images/bigplate42.jpg" name="plate_42"><img
+      src="images/plate42.jpg" alt="Psalms. London, 1635." title="Psalms. London, 1635."
+      class="figcenter" /></a><br />
+      <p class="caption">42&mdash;Psalms. London, 1635.</p>
+    </div>
+    <p>One of the most finely embroidered bindings existing on satin occurs on a small
+    copy of the Psalms, printed in London in 1635, and measuring 3&frac12; by 3 inches.
+    The design is one which has been repeated in other sizes with small differences.
+    There is a larger specimen at the Bodleian, but the British Museum example is the
+    finer altogether.</p>
+    <p>On each side there is an oval containing an <span class="pagenum">93</span><a
+    name="page_93" id="page_93"></a> elaborate design most delicately worked in
+    feather-stitch, the edges and outlines marked with very fine gold twist. On the upper
+    board there is a seated allegorical figure with cornucopia, probably representing
+    Plenty. Behind her is an ornamental landscape with a piece of water, the bright lines
+    of which are feelingly rendered with small stitches of silver thread, hills with
+    trees, and a castle in the distance. The other side has a similarly worked figure of
+    Peace, a seated figure holding a palm branch; the landscape is of a similar character
+    to that on the upper board, but the river or lake has a bridge over it. The work
+    itself is of the same very delicate kind, the edges and folds of the dress being
+    marked with fine gold twist.</p>
+    <p>Each of these ovals is marked by a solid framework with scrolls, strongly made
+    with silver threads, and in high relief; in each corner is a very finely worked
+    flower or fruit, pansy, strawberry, tulip, and lily. The back is divided into four
+    panels, a very decorative conventional flower being worked in each, representing
+    probably a red lily, a tulip, a blue and yellow iris, and a daffodil. The edges of
+    the boards are bound with a broad silver braid, the edges of the leaves are gilded
+    and prettily gauffred, and there are remains of four silver ties.</p>
+    <span class="pagenum">94</span><a name="page_94" id="page_94"></a>
+    <div class="subchap">
+      <i>Psalms.</i> London, 1633.
+    </div>
+    <div class="figcenter">
+      <a id="plate_43" href="images/bigplate43.jpg" name="plate_43"><img
+      src="images/plate43.jpg" alt="Psalms. London, 1633." title="Psalms. London, 1633."
+      class="figcenter" /></a><br />
+      <p class="caption">43&mdash;Psalms. London, 1633.</p>
+    </div>
+    <p>There is often much speculation as to who can have worked the English embroidered
+    books, and it is very rarely that any reliable information on this interesting point
+    is available.</p>
+    <p>There is, however, a manuscript note in a copy of the Psalms, printed in 1633 and
+    bound in embroidered white satin, that the work upon it was done by 'Elizabeth, wife
+    of Matthew Wren, Bishop of Ely,' who was an uncle of the architect. The volume still
+    belongs to a member of the family, Dr. W. T. Law of Portland Place, who has most
+    kindly allowed me to give an illustration of this beautiful book. It measures 4 by 3
+    inches. The design is different in details on each board, the central design,
+    however, being in each case contained within a strongly worked gold border in high
+    relief, widening out at each extremity into a crownlike form, and richly augmented at
+    intervals with clusters of seed pearls. On the upper board within the oval is a
+    double rose with curving stem, leaves, and a bud; the petals are worked in
+    needlepoint, with fine gold twist at the edges, and a cluster of pearls in the
+    centre. In the upper corners are a butterfly, with needlepoint wings, and a bird,
+    with needlepoint wing and tail. In the lower corners are a unicorn and an antlered
+    stag, both recumbent, and in high relief.</p>
+    <p>On the lower board within the oval is a vine, <span class="pagenum">95</span><a
+    name="page_95" id="page_95"></a>with curving stem and two large grape clusters,
+    tendrils, and leaves, growing from a small green mound. The edges of the petals are
+    bound with a fine gold twist, as are also the edges and outlines of the leaves, and
+    most of these parts are worked in coloured silks, mixed with fine metal threads, in
+    needlepoint lace-stitch.</p>
+    <p>A few hazel-nuts are scattered about outside the gold oval, and in each corner is
+    a further ornamentation: a reddish butterfly with wings of needlepoint lace in relief
+    and edged with a gold cord, a green parrot with red wings and tail, are in the two
+    top corners, and in the two lower are a rabbit and a dog, each on a small green
+    ground. Innumerable gold spangles are all over the sides and back, each kept in place
+    by a small pearl stitched through.</p>
+    <p>The back is divided into five panels, by rows of pearls, and a conventional flower
+    is in each, except the centre one which has an insect. These are all worked in
+    needlepoint and edged with gold twist, the stems of some of them strongly made by a
+    kind of braid of gold cords.</p>
+    <p>This little book is certainly one of the most ornamental specimens of any of the
+    smaller satin-bound books of the seventeenth century, and although here and there
+    some of the pearls are gone, altogether it is in very good condition, and it is
+    rarely that such a fine example can now be met with in private hands.</p>
+    <span class="pagenum">96</span><a name="page_96" id="page_96"></a>
+    <div class="subchap">
+      <i>Bible</i>. London, 1638.
+    </div>
+    <div class="figcenter">
+      <a id="plate_44" href="images/bigplate44.jpg" name="plate_44"><img
+      src="images/plate44.jpg" alt="Bible. London, 1638." title="Bible. London, 1638."
+      class="figcenter" /></a><br />
+      <p class="caption">44&mdash;Bible. London, 1638.</p>
+    </div>
+    <p>Several of the embroidered books on satin are worked chiefly in metal threads, and
+    the designs on such books are not as a rule good. Whether the knowledge that the work
+    was to be executed in strong threads has hampered the designer or not cannot be said,
+    but certainly there is often a tinselly effect about these bindings that is not
+    altogether pleasing.</p>
+    <p>In the case of a Bible printed in London in 1638, bound in white satin, and
+    measuring 6 by 3 inches, one of the chief ornaments is a cherub's head, the face in
+    silver and the hair and wings in gold. The working of this head and wings seems to me
+    wrong. The face is, possibly enough, as well done as the material would allow, but
+    the hair is made in small curls of gold thread, and the feathers of the wings are
+    rendered in a naturalistic way with pieces of flat gold braid. This kind of realism
+    is out of place in embroidery, and it is unfortunately characteristic of the English
+    embroidered work of about this period, occurring generally on boxes, mirror frames,
+    or the like, but only rarely on book-covers. The design is the same on both sides; a
+    narrow arch of thick gold cord reaches about three-quarters up the side, and
+    interwoven with it is a kind of cusped oval, with leaves, reaching up to the top of
+    the book. The lower half of the arch<span class="pagenum">97</span><a name="page_97"
+    id="page_97"></a> is enclosed in a rectangular band of silver threads, broad and kept
+    in place by transverse bars at regular intervals, and beyond it another row, made of
+    patches of red and blue silk alternately. In the lower part of the oval is a ground
+    of green silk, on which grow two double roses made of red purl. In the space enclosed
+    between the top of the arch and the lower point of the oval is a bird worked in high
+    relief in gold with a touch of red silk on his wings. Over the bird is a blue cloud,
+    heavily worked in blue silk, and beneath is a small grass plot. The cherub's head
+    already described is in the space between the top of the arch and the upper extremity
+    of the oval; it is flanked by two small red purl roses. The two upper corners have
+    undulating clouds in blue silk, and a red and yellow purl rose between them. There
+    are several gold spangles all about, and innumerable small pieces of coloured
+    purl.</p>
+    <p>The back is divided into four panels, in which are, alternately, a rose-tree on
+    which are two red roses with yellow centres and green leaves, growing from a grass
+    plot, and a blue rose with yellow centre and green leaves under a red cloud with
+    silver rays. There are several spangles and some small pieces of coloured purl
+    scattered about in the spaces.</p>
+    <p>The book is in excellent condition, owing, no doubt, to the fact that most of it
+    is in metal, but it is representative of the lowest level to which the art<span
+    class="pagenum">98</span><a name="page_98" id="page_98"></a> of the embroidered book
+    in England has ever fallen.</p>
+    <div class="subchap">
+      <i>Psalms</i>. London, 1639.
+    </div>
+    <div class="figcenter">
+      <a id="plate_45" href="images/bigplate45.jpg" name="plate_45"><img
+      src="images/plate45.jpg" alt="Psalms. London, 1639." title="Psalms. London, 1639."
+      class="figcenter" /></a><br />
+      <p class="caption">45&mdash;Psalms. London, 1639.</p>
+    </div>
+    <p>A charming little piece of delicate workmanship occurs in a copy of the Psalms,
+    printed in London in 1639, and bound in white satin. It measures 3 by 2 inches. The
+    design on each side is the same, but the work is slightly different. A tall
+    rose-tree, with gold stem, grows from a small chenille base, the rose petals
+    beautifully worked in the finest of stitches, as well as the leaves, all of which are
+    outlined with fine gold thread. From the lower branches of the rose-tree hang on one
+    side a violet, and on the other a pansy, each worked in the same way as the rose, and
+    edged with fine gold thread. The back is divided into four panels, containing
+    respectively a cornflower, a pomegranate, a fruit, perhaps meant for an apple, and a
+    honeysuckle, all conventionally treated and very delicately worked. The edge is bound
+    all round with a strong braid, and there is one tie of broad, cherry-silk ribbon.
+    With this book is its canvas bag, embroidered in silver ground with coloured-silk
+    flowers and tassels of silver, the general design and workmanship of which nearly
+    resembles that of the finer bag already described at page <a href="#page_16">16</a>. The silver has turned
+    nearly black, as is usually the case with these bags.</p>
+    <div class="subchap">
+      <i>The Way to True Happiness.</i> London, 1639.
+    </div>
+    <div class="figcenter">
+      <a id="plate_46" href="images/bigplate46.jpg" name="plate_46"><img
+      src="images/plate46.jpg" alt="The Way to True Happiness. London, 1639."
+      title="The Way to True Happiness. London, 1639." class="figcenter" /></a><br />
+      <p class="caption">46&mdash;The Way to True Happiness. London, 1639.</p>
+    </div>
+    <span class="pagenum">99</span><a name="page_99" id="page_99"></a>
+    <p>A copy of <i>The Way to True Happiness</i>. printed in London in 1639, is bound in
+    white satin, and embroidered with figures of David and a Queen. It is a little larger
+    than the majority of the satin-embroidered books, measuring 7 by 4&frac12; inches,
+    and is, for its time, a very fine specimen. Both figures stand under an archway with
+    columns, all worked heavily in silver cord, guimp, and thread. The columns have
+    ornamental capitals and a spiral running round their shafts, and the upper edge of
+    the arch is ornamented with crockets of a peculiar shape. Within this archway, on the
+    upper cover, is a full-length figure of a Queen, finely worked in split-stitch with
+    coloured silks. She wears a red dress with long, falling sleeves, a purple body and
+    gold collar. On her head is a golden crown, with six points. She carries, in her left
+    hand, a golden sceptre, and has also a golden belt. The outlines are everywhere
+    marked either with a gold or silver twist. On the ground, which is in small hillocks,
+    grow a strawberry and two other small plants; a snail is also shown. Scattered about
+    the field are a 'skeleton' caterpillar&mdash;at one time probably filled in with
+    peacocks' feathers,&mdash;a conventional lily, a butterfly, and the sun, with rays,
+    just appearing from under a cloud. In the two upper <span
+    class="pagenum">100</span><a name="page_100" id="page_100"></a> corners are flowers,
+    a pansy and another, and smaller ones down each side.</p>
+    <p>On the lower board, within the arch, is a figure of David. He wears a short tunic
+    of orange and silver, with vandyked edge, and a short skirt of blue and silver, with
+    a long cloak of cream, pink, and silver, clasped with a silver brooch; on his head he
+    wears a silver crown, with a red cap and green and red feathers; on his feet are
+    brown, high boots. In his left hand is a silver harp of ornamental pattern, and in
+    his right a silver sceptre with a little gold about it. The ground, in hillocks, has
+    a few small flowers growing upon it, and a large tulip is just in front of the King;
+    on the field are also a moth and a snail. At the top is a blue cloud. The upper
+    corners have a red and yellow tulip and a pansy with bud in them, and smaller flowers
+    are worked down each side. The back is very tastefully ornamented with an undulating
+    scroll of gold cord, widening out here and there into conventional leaves of gold
+    guimp in relief. On this scroll are sitting three birds, and there are also a bunch
+    of grapes, a tulip, daffodil, and other flowers with leaves, conventionally treated,
+    all worked in coloured silks.</p>
+    <p>There are the remains of two red and yellow silk ties on the front edges of each
+    board, and the edges of the leaves are gilded and gauffred. With this book is a
+    canvas bag, <span class="pagenum">101</span><a name="page_101" id="page_101"></a>
+    simply ornamented with a design worked in red silk.</p>
+    <div class="subchap">
+      <i>New Testament.</i> London, 1640.
+    </div>
+    <div class="figcenter">
+      <a id="plate_47" href="images/bigplate47.jpg" name="plate_47"><img
+      src="images/plate47.jpg" alt="New Testament. London, 1640."
+      title="New Testament. London, 1640." class="figcenter" /></a><br />
+      <p class="caption">47&mdash;New Testament. London, 1640.</p>
+    </div>
+    <p>The curious little New Testament of 1625, now at Oxford, which I have already
+    described, is perhaps the earliest example left on which needlepoint lace in coloured
+    silks is much employed.</p>
+    <p>It occurs again largely on another small New Testament, printed in 1640, bound in
+    white satin, measuring 4&frac12; by 2&frac14; inches; now in the British Museum. In
+    this case the artist has not attempted the difficult task of producing a satisfactory
+    figure in needlework, but has very properly limited her skill to the reproduction of
+    flower and animal forms. On the upper cover is a spray of columbine, the petals of
+    which, pink and blue, are each worked separately in needlepoint lace stitch, and
+    afterwards tacked on to a central rib. The stalks and leaves of this spray are also
+    worked in needlepoint, and on the top sits a bullfinch, worked in many colours in the
+    same way, but fastened down close to the satin all round. In the corners are a
+    beetle, a nondescript flower, a bud, and a butterfly with coloured wings in
+    needlepoint, with replicas of them closely appliqu&eacute;s just underneath, on the
+    satin. On the lower board is a spray of a five-petalled blue flower, the petals of
+    which were originally worked in needlepoint and fastened on a central rib, but <span
+    class="pagenum">102</span><a name="page_102" id="page_102"></a>they have now all gone
+    except two, leaving the rib of thick pink braid. The supporting replicas underneath
+    are, however, perfect, showing what the original upper petals were like. This spray
+    has two leaves, exquisitely worked in needlepoint, and fastened by a stitch at one
+    end, with the usual flat replicas underneath them, and there is also a bud. The stem
+    is a piece of green braid. Above the spray is a parrot in needlepoint, most of him
+    fastened down round the edges, but his wings and tail left free. In the upper corner
+    are two strawberries, and in the lower a butterfly, with coloured wings, left free in
+    needlepoint. There are also two caterpillars on this side.</p>
+    <p>On the back are three large flowers heavily worked in silk and metal threads, in
+    needlepoint, and appliqu&eacute;s&mdash;a pansy, lily, and rose, with stalks of green
+    braid. The boards are edged all round with a gold braid, and there are two green silk
+    ties on each for the front edges. There are several gold spangles all about, but many
+    more have gone. The work on both boards is very delicate, but that on the back is
+    curiously coarse. Such imitative work as the needlepoint, which is perhaps seen at
+    its best in the columbine, and the leaves on this book, is at all times a dangerous
+    thing to use, except when it is only used as appliqu&eacute;, as in the beautiful
+    cover belonging to this book, which I have described on <span
+    class="pagenum">103</span><a name="page_103" id="page_103"></a> page <a href="#page_18">18</a>, and the work
+    on which is very likely by the same skilled hand as that on the book. I believe this
+    use of the needlepoint, or button-hole stitch, is only found in English work; it is
+    exactly the same as is used on the old Venetian and other so-called 'point' laces,
+    but executed in fine-coloured silk instead of linen thread, and without open
+    spaces.</p>
+    <div class="subchap">
+      <i>Psalms.</i> London, 1641.
+    </div>
+    <div class="figcenter">
+      <a id="plate_48" href="images/bigplate48.jpg" name="plate_48"><img
+      src="images/plate48.jpg" alt="Psalms. London, 1641." title="Psalms. London, 1641."
+      class="figcenter" /></a><br />
+      <p class="caption">48&mdash;Psalms. London, 1641.</p>
+    </div>
+    <p>Nicholas Ferrar's establishment at Little Gidding in Huntingdonshire is often
+    credited with having produced embroidered books, but there is really no authority for
+    the belief. All the authentic bindings which came from Little Gidding have technical
+    shortcomings from a bookbinding point of view, none of which are found on any
+    embroidered books.</p>
+    <p>In the <i>History of the Worthies of England</i>, by Thomas Fuller, there is a
+    short note about Little Gidding, and he says about the ladies there that 'their own
+    needles were emploied in learned and pious work to binde Bibles.' This note and the
+    mention of needles may have perhaps given the start to the belief that embroidered
+    work was intended, but in all probability it only refers to the sewing of the leaves
+    of the books upon the bands of the back, which is done with needle and thread.
+    Moreover, the ladies of Little Gidding<span class="pagenum">104</span><a
+    name="page_104" id="page_104"></a> did actually sew the backs of their books in a
+    needlessly elaborate way, putting in ten or twelve bands where three or four would
+    have been ample. I also think that if embroidery had been intended by the sentence
+    above quoted, it would have been more clearly mentioned. To 'emploie needles to bind
+    Bibles' is hardly the description one would expect if the meaning was that when bound
+    the Bibles were covered in embroidered work; but it may be safely interpreted as it
+    is written, the sewing being a most important part of a bookbinding, and one likely
+    to be much thought of by amateur binders, as the nieces of Nicholas Ferrar were.</p>
+    <p>The attribution of embroidered bindings to Little Gidding may also have been
+    strengthened by the fact that many of the bindings made there are in velvet, the
+    ornamentation on which, though it is actually stamped in gold and silver, does to
+    some extent suggest embroidery. Indeed, I have myself heard the remark, on showing
+    one of these books, 'Oh, yes! Embroidery.'</p>
+    <p>Again, a peculiarity of the Little Gidding books is, generally, their large size,
+    whereas the embroidered books, especially the satin ones, are usually very small.</p>
+    <p>One of the embroidered books thus wrongly credited to Little Gidding is a Psalter,
+    printed in London in 1641. It is bound in white satin, very tastefully embroidered,
+    the same design being on each side, and measures<span class="pagenum">105</span><a
+    name="page_105" id="page_105"></a> 4 by 2 inches. In the centre is a large orange
+    tulip, shading from yellow to red, finely worked in silks in shading-stitch. The stem
+    is outlined in gold cord, and has also symmetrical curves and leaves, some of which
+    are filled in with silver guimp. The flower is enclosed in an ornamental scroll and
+    leaf border, all made with gold threads and twists, and having leaf forms in relief
+    at intervals in silver guimp. The back has five panels, ornamented alternately with
+    guimp scrolls and small spheres of coloured silk. There have been spangles and small
+    pieces of guimp scattered about on the sides and back, but most of them have gone.
+    There are no ties, and the edges of the leaves are gilt, and have a small gauffred
+    pattern upon them.</p>
+    <p>The design of this book is extremely simple and effective; the fine stitching on
+    the tulip contrasts well with the strong metal border enclosing it. It may be
+    considered a favourable specimen of the commonest type of satin embroidered books of
+    the seventeenth century. It is not in very good condition.</p>
+    <div class="subchap">
+      <i>Psalms.</i> London, 1643.
+    </div>
+    <div class="figcenter">
+      <a id="plate_49" href="images/bigplate49.jpg" name="plate_49"><img
+      src="images/plate49.jpg" alt="Psalms. London, 1643." title="Psalms. London, 1643."
+      class="figcenter" /></a><br />
+      <p class="caption">49&mdash;Psalms. London, 1643.</p>
+    </div>
+    <p>A very quaint design embroidered on white satin covers a copy of the Psalms,
+    printed in London in 1643, and measuring 4&frac14; by 3&frac14; <span
+    class="pagenum">106</span><a name="page_106" id="page_106"></a> inches. On the upper
+    side is a representation of Jacob wrestling with the angel, flanked by two trees with
+    large leaves; the angel has wings and long petticoats. The lower board has a
+    representation of Jacob's dream. The patriarch is asleep on the grass, his head upon
+    a white stone, his staff and gourd by his side. He has pale hair and beard. Behind
+    him is a large tree, and in front a conventional flower with leaves and bud, and from
+    the clouds reaches a ladder on which are three small winged angels, two coming down,
+    and one between them going up. Through a break in the clouds is seen a bright space,
+    with rays of golden light proceeding from it.</p>
+    <p>The back is divided into five panels, in each of which is a flower. These
+    resemble, to some extent, a red tulip, a lily, a red dahlia, a yellow tulip, and a
+    red rose. The work here is not protected by any strong or metal threads, and it is
+    consequently much worn. There are no signs of any tie ribbon, and the edges are
+    plainly gilt.</p>
+    <div class="subchap">
+      <i>Psalms.</i> London, 1643.
+    </div>
+    <div class="figcenter">
+      <a id="plate_50" href="images/bigplate50.jpg" name="plate_50"><img
+      src="images/plate50.jpg" alt="Psalms. London, 1643." title="Psalms. London, 1643."
+      class="figcenter" /></a><br />
+      <p class="caption">50&mdash;Psalms. London, 1643.</p>
+    </div>
+    <p>Another copy of the Psalms, printed in London in 1643, bound in satin, and
+    measuring 3&frac14; by 2&frac14; inches, bears on each side, within a circle, a
+    miniature portrait of Charles <span class="smcap">i</span>. worked in feather-stitch.
+    The king wears long hair, moustache, and small pointed beard. He is <span
+    class="pagenum">107</span><a name="page_107" id="page_107"></a> crowned, and has a
+    red cloak with miniver tippet, from under which appears the blue ribbon of the Garter
+    worn round the neck, as it originally was, and having a small gold medallion attached
+    to it. The initials C. R. in gold guimp are at each side. The circle is enclosed in a
+    strong framework of silver cord and guimp in the form of four thin long pointed ovals
+    of leaf form arranged as a diamond. The four triangular spaces between the diamond
+    and the oval are filled with small flowers or small pieces of guimp and spangles.
+    Towards each corner grows a flower, two pansies, and two others with regular petals.
+    The remaining spaces are filled variously with green leaves, small patches of purl
+    and gold spangles, and a strong gold cord encloses the whole. The back is divided
+    into three panels, in each of which is an ornamental conventional flower, the upper
+    and lower ones alike, and worked in shades of red with guimp leaves in relief, and
+    the centre one with six petals worked in yellow and edged with a fine gold cord.
+    There are no signs of ties ever having existed, and the edges of the leaves are gilt
+    and slightly gauffred. It has been suggested that this little book may have belonged
+    to King Charles <span class="smcap">i</span>.; but the fact of his portrait being
+    upon it is no proof of this, as portraits of this king are more numerous upon the
+    bindings of English books than those of any other person.</p>
+    <span class="pagenum">108</span><a name="page_108" id="page_108"></a>
+    <div class="subchap">
+      <i>Psalms.</i> London, 1646.
+    </div>
+    <div class="figcenter">
+      <a id="plate_51" href="images/bigplate51.jpg" name="plate_51"><img
+      src="images/plate51.jpg" alt="Psalms. London, 1646." title="Psalms. London, 1646."
+      class="figcenter" /></a><br />
+      <p class="caption">51&mdash;Psalms. London, 1646.</p>
+    </div>
+    <p>The value of 'purl' was recognised some few years back, when I had some made, and
+    explained its value and use to the Royal School of Art Needlework at South
+    Kensington, and I believe they used it considerably.</p>
+    <p>On books the use of purl is generally auxiliary, but one small book bound in white
+    satin, and measuring 4 by 2&frac12; inches, a copy of the Psalms, printed in London
+    in 1646, is entirely embroidered in this material, helped with gold braid and cord.
+    The design is approximately the same on each side, a large flower with leaves in the
+    centre, and a smaller flower in each corner. On the upper cover the centre flower is
+    yellow and red, with two large green leaves, and the corner flowers are, possibly,
+    intended for a cornflower, a jonquil, a lily, and a rose, but the material is so
+    unwieldy that the forms are difficult to trace, and flowers worked in it are likely
+    to assume forms that are unrecognisable, when finished, however well designed to
+    start with. All the flowers and leaves are made with the purl cut into short lengths,
+    drawn together at the ends by a thread run through, thus forming a succession of
+    small arches. The stalks are made in gold cord. The flowers on the other side are,
+    perhaps, a carnation in the centre, and round it a convolvulus, lily, daffodil, and
+    rose. The back is divided into five <span class="pagenum">109</span><a
+    name="page_109" id="page_109"></a> panels, in each of which is a 'purl' flower, all
+    worked in the same way, representing successively a tulip, cornflower, carnation,
+    lily, rose, or something analogous to them; round the designs are straight pieces of
+    brown purl, and the edges are bound with a broad gold braid. There are no ties or
+    signs of any, and the edges are simply gilt. The purl is undoubtedly very strong; I
+    possess a small patch-box worked on white satin in a similar way to this little book,
+    and although it has been roughly used for some two hundred and fifty years, the
+    colour of the purl is still good; the upper surfaces of the small spirals, however,
+    show the copper wire bare almost everywhere. The book, not having had anything like
+    the hard wear, is in very good condition, but it is too small for the proper use of
+    so much thick thread. The larger leaves and petals are made in relief by being sewn
+    on over a few pieces of purl laid underneath them at right angles.</p>
+    <div class="subchap">
+      <i>Bible.</i> London, 1646.
+    </div>
+    <div class="figcenter">
+      <a id="plate_52" href="images/bigplate52.jpg" name="plate_52"><img
+      src="images/plate52.jpg" alt="Bible. London, 1646." title="Bible. London, 1646."
+      class="figcenter" /></a><br />
+      <p class="caption">52&mdash;Bible. London, 1646.</p>
+    </div>
+    <p>A Bible printed in London in 1646 is bound in white satin, and embroidered in
+    coloured silks and gold braid and cord, measuring 6 by 3&frac12; inches. The same
+    design is on both sides. In the centre within an oval of gold braid and cord is a
+    spray of vine, with two bunches of grapes, three leaves and a tendril, the fruit and
+    leaves worked in silk, and the <span class="pagenum">110</span><a name="page_110"
+    id="page_110"></a> stem in gold cord. Enclosing the oval is an arabesque design
+    worked in gold cord and guimp, and at each corner is an oval of thin gold strips and
+    gold cord; the gold strips are done in the manner known as 'lizzarding,' and are kept
+    down by small stitches at intervals.</p>
+    <p>The back has four panels, in each of which is an arabesque design in coloured
+    silks and gold cord or braid. Although this book is comparatively late, it is in a
+    bad condition, and shows much wear; the design also is weak, and the workmanship
+    inferior.</p>
+    <div class="figcenter"><a href="images/bigorn2.gif"><img src="images/orn2.gif" alt="ornament"
+      title="ornament" class="figcenter" /></a></div><br />
+
+    <hr style="width: 65%;" />
+    <h2><a name="INDEX" id="INDEX">INDEX</a></h2>
+
+   Appliqu&eacute; work, remarks on, <a href="#page_24">24</a>.<br />
+    <br />
+    Arthur, Prince of Wales, ostrich feather badge used by, <a href="#page_73">73</a>.<br />
+    <br />
+    Bacon's 'Essays' (1625), <a href="#page_76">76</a>;<br />
+    <span style="margin-left:1em">'Works' (1623), <a href="#page_75">75</a>.</span><br />
+    <br />
+    Bags for embroidered books, <a href="#page_16">16</a>.<br />
+    <br />
+    Berthelet, Thomas, bookbinder and printer, <a href="#page_74">74</a>, <a href="#page_80">80</a>.<br />
+    <br />
+    Bible, 1543 ed., <a href="#page_54">54</a>;<br />
+    <span style="margin-left:1em">1583 ed., <a href="#page_67">67</a>;</span><br />
+    <span style="margin-left:1em">1590 ed., <a href="#page_70">70</a>;</span><br />
+    <span style="margin-left:1em">1612 ed., <a href="#page_39">39</a>;</span><br />
+    <span style="margin-left:1em">1619 ed., <a href="#page_84">84</a>;</span><br />
+    <span style="margin-left:1em">1626 ed., <a href="#page_45">45</a>;</span><br />
+    <span style="margin-left:1em">1638 ed., <a href="#page_96">96</a>;</span><br />
+    <span style="margin-left:1em">1642 ed., <a href="#page_48">48</a>;</span><br />
+    <span style="margin-left:1em">1646 ed., <a href="#page_109">109</a>;</span><br />
+    <span style="margin-left:1em">1648 ed., <a href="#page_49">49</a>;</span><br />
+    <span style="margin-left:1em">1674 ed., <a href="#page_78">78</a>.</span><br />
+    <br />
+    Biblioth&egrave;que Nationale, embroidered books in the, <a href="#page_20">20</a>.<br />
+    <br />
+    Bodleian Library, embroidered books in the, <a href="#page_25">25</a>.<br />
+    <br />
+    Brassington, Mr. W. Salt, <a href="#page_1">1</a>.<br />
+    <br />
+    Brion, Martin de, 'Tr&egrave;s ample description de la Terre Sainte,' <a href="#page_52">52</a>.<br />
+    <br />
+    British Museum, embroidered books in the, <a href="#page_25">25</a>, <a href="#page_27">27</a>.<br />
+    <br />
+    Broiderers, hints for, <a href="#page_21">21</a>.<br />
+    <br />
+    Buckingham, Duke of, portrait on 'Bacon's Essays, 1625,' <a href="#page_76">76</a>.<br />
+    <br />
+    Canvas bindings, <a href="#page_6">6</a>, <a href="#page_7">7</a>, <a href="#page_28">28</a>-<a href="#page_51">51</a>.<br />
+    <br />
+    Charles <span class="smcap">i.</span>, portrait on 'Psalms, 1643,' <a href="#page_106">106</a>.<br />
+    <br />
+    Charles <span class="smcap">ii.</span>, badge on 'Common Prayer, 1638,' <a href="#page_77">77</a>;<br />
+    <span style="margin-left:1em">'Emblemes Chrestiens, 1624,' <a href="#page_86">86</a>.</span><br />
+    <br />
+    'Christian Prayers,' 1570 ed., <a href="#page_59">59</a>;<br />
+    <span style="margin-left:1em">1581 ed., <a href="#page_37">37</a>;</span><br />
+    <span style="margin-left:1em">1584 ed., <a href="#page_65">65</a>.</span><br />
+    <br />
+    Christopherson, Bishop of Chichester, 'Historia Ecclesiastica' (1569), <a href="#page_57">57</a>.<br />
+    <br />
+    Collection of Sixteenth Century Tracts (1536), <a href="#page_80">80</a>;<br />
+    <span style="margin-left:1em">(1610), <a href="#page_72">72</a>.</span><br />
+    <br />
+    'Common Prayer, 1638' (other editions are with 'Psalms'), <a href="#page_77">77</a>.<br />
+    <br />
+    Covers for embroidered books, <a href="#page_18">18</a>.<br />
+    <br />
+    'Daily Exercise of a Christian, 1623,' <a href="#page_44">44</a>.<br />
+    <br />
+    Day, John, printer, <a href="#page_61">61</a>.<br />
+    <br />
+    Derome le Jeune, French bookbinder, <a href="#page_12">12</a>.<br />
+    <br />
+    Dibdin's 'Bibliomania,' mention of Queen Elizabeth's embroidery in, <a href="#page_64">64</a>.<br />
+    <br />
+    'Double Books,' <a href="#page_38">38</a>, <a href="#page_89">89</a>.<br />
+    <br />
+    Dutch embroidered books, <a href="#page_20">20</a>.<br />
+    <br />
+    Edges, ornamentally treated, <a href="#page_16">16</a>.<br />
+    <br />
+    Elizabeth, Queen, arms embroidered, <a href="#page_57">57</a>, <a href="#page_72">72</a>, <a href="#page_81">81</a>;<br />
+    <span style="margin-left:1em">books embroidered by, <a href="#page_26">26</a>, <a href="#page_32">32</a>, <a href="#page_33">33</a>, <a href="#page_35">35</a>,
+    <a href="#page_36">36</a>.</span><br />
+    <br />
+    Embroidered books, definition of, <a href="#page_3">3</a>.<br />
+    <br />
+    'Epistles of St. Paul, 1578,' <a href="#page_63">63</a>.<br />
+    <br />
+    'Felbrigge Psalter,' <a href="#page_26">26</a>, <a href="#page_29">29</a>.<br />
+    <br />
+    Ferrar, Nicholas, <a href="#page_103">103</a>.<br />
+    <br />
+    Fitzhugh, heraldic supporter, <a href="#page_56">56</a>.<br />
+    <br />
+    Fletcher, Mr. W. Y., <a href="#page_1">1</a>.<br />
+    <br />
+    Floral designs, <a href="#page_5">5</a>, <a href="#page_6">6</a>;<br />
+    <span style="margin-left:1em">and on the following books: 'Miroir of the Soul'
+    (1544), <a href="#page_32">32</a>;</span><br />
+    <span style="margin-left:1em">'Prayers of Q. Kath. Parr' (1545), <a href="#page_33">33</a>;</span><br />
+    <span style="margin-left:1em">Parker, 'De Antiq. Ecc. Britannic&aelig;' (1572),
+    <a href="#page_60">60</a>;</span><br />
+    <span style="margin-left:1em">'Prayers' (1581), <a href="#page_37">37</a>;</span><br />
+    <span style="margin-left:1em">'Prayers' (1584), <a href="#page_66">66</a>;</span><br />
+    <span style="margin-left:1em">'Orationis Dominic&aelig; Explicatio' (1583),
+    <a href="#page_67">67</a>;</span><br />
+    <span style="margin-left:1em">'Psalms,' etc. (1606), <a href="#page_38">38</a>;</span><br />
+    <span style="margin-left:1em">'Bible' (1619), <a href="#page_85">85</a>;</span><br />
+    <span style="margin-left:1em">'Daily Exercise of a Christian' (1623),
+    <a href="#page_44">44</a>;</span><br />
+    <span style="margin-left:1em">'Henshaw, 'Hor&aelig; Successiv&aelig;' (1632),
+    <a href="#page_90">90</a>;</span><br />
+    <span style="margin-left:1em">'Psalms' (1633), <a href="#page_94">94</a>;</span><br />
+    <span style="margin-left:1em">'Bible' (1638), <a href="#page_96">96</a>;</span><br />
+    <span style="margin-left:1em">'Psalms' (1639), <a href="#page_98">98</a>;</span><br />
+    <span style="margin-left:1em">'Psalms' (1641), <a href="#page_104">104</a>;</span><br />
+    <span style="margin-left:1em">'Psalms' (1646), <a href="#page_108">108</a>.</span><br />
+    <br />
+    Forwarding of embroidered books, <a href="#page_11">11</a>.<br />
+    <br />
+    French embroidered books, <a href="#page_20">20</a>.<br />
+    <br />
+    Fuller, Thomas, <a href="#page_103">103</a>.<br />
+    <br />
+    <br />
+    Gauffred edges, <a href="#page_16">16</a>.<br />
+    <br />
+    George <span class="smcap">ii</span>., gift of the Royal Library to the British
+    Museum in 1757, <a href="#page_25">25</a>.<br />
+    <br />
+    George <span class="smcap">iii</span>., his books largely rebound, <a href="#page_5">5</a>.<br />
+    <br />
+    Grenville, Right Hon. Thomas, his books largely rebound, <a href="#page_5">5</a>.<br />
+    <br />
+    Guimp, description of, <a href="#page_9">9</a>.<br />
+    <br />
+    <br />
+    Headbands, <a href="#page_15">15</a>.<br />
+    <br />
+    Henry <span class="smcap">viii</span>., arms on embroidered book, <a href="#page_52">52</a>.<br />
+    <br />
+    Henry Benedict, Cardinal York, <a href="#page_19">19</a>.<br />
+    <br />
+    Henry, Prince of Wales, his use of the ostrich feather badge, <a href="#page_85">85</a>;<br />
+    <span style="margin-left:1em">badge upon 'Tracts, 1610,' <a href="#page_73">73</a>, <a href="#page_77">77</a>, <a href="#page_86">86</a>.</span><br />
+    <br />
+    Henshaw's 'Hor&aelig; Successiv&aelig;,' <a href="#page_90">90</a>.<br />
+    <br />
+    Heraldic designs, <a href="#page_5">5</a>, <a href="#page_6">6</a>;<br />
+    <span style="margin-left:1em"><i>Arms</i> of Henry</span> <span
+    class="smcap">viii</span>., <a href="#page_52">52</a>;<br />
+    <span style="margin-left:1em">Katherine Parr, <a href="#page_55">55</a>;</span><br />
+    <span style="margin-left:1em">Elizabeth, <a href="#page_57">57</a>, <a href="#page_72">72</a>, <a href="#page_81">81</a>;</span><br />
+    <span style="margin-left:1em"><i>Badges</i> of Queen Mary, <a href="#page_57">57</a>;</span><br />
+    <span style="margin-left:1em">Prince of Wales, <a href="#page_73">73</a>, <a href="#page_77">77</a>, <a href="#page_86">86</a>;</span><br />
+    <span style="margin-left:1em"><i>Crest</i> of Vaughan, <a href="#page_59">59</a>.</span><br />
+    <br />
+    Inglis, Esther, calligraphist, <a href="#page_85">85</a>.<br />
+    <br />
+    Italian embroidered bindings, <a href="#page_19">19</a>.<br />
+    <br />
+    <br />
+    James <span class="smcap">ii</span>., initials on 'Bible, 1674,' <a href="#page_78">78</a>.<br />
+    <br />
+    <br />
+    Law, Dr. W. T., <a href="#page_94">94</a>.<br />
+    <br />
+    Little Gidding, 'Needlework' done at, <a href="#page_103">103</a>.<br />
+    <br />
+    Lizzarding, description of, <a href="#page_8">8</a>.<br />
+    <br />
+    <br />
+    Macray, Rev. W. D., <a href="#page_33">33</a>, <a href="#page_64">64</a>.<br />
+    <br />
+    Magnus, of Amsterdam, bookbinder, <a href="#page_10">10</a>.<br />
+    <br />
+    Martyr, Peter, 'Commonplaces,' <a href="#page_69">69</a>.<br />
+    <br />
+    Mary, Queen, badge on 'Psalter,' <a href="#page_57">57</a>.<br />
+    <br />
+    Metal threads, <a href="#page_8">8</a>, <a href="#page_29">29</a>.<br />
+    <br />
+    'Miroir of the Synneful Soul,' <a href="#page_32">32</a>.<br />
+    <br />
+    Montenay, Georgette, 'Emblemes Chrestiens,' <a href="#page_85">85</a>.<br />
+    <br />
+    <br />
+    New Testament, 1576 ed., <a href="#page_81">81</a>;<br />
+    <span style="margin-left:1em">1625 ed., <a href="#page_42">42</a>;</span><br />
+    <span style="margin-left:1em">1630 ed., <a href="#page_89">89</a>;</span><br />
+    <span style="margin-left:1em">1640 ed., <a href="#page_101">101</a>.</span><br />
+    <br />
+    <br />
+    'Orationis Dominic&aelig; Explicatio,' 1583, <a href="#page_67">67</a>.<br />
+    <br />
+    Ostrevant, badge of the province of, <a href="#page_73">73</a>.<br />
+    <br />
+    Ostrich feather badge of the Princes of Wales, origin of the, <a href="#page_73">73</a>;<br />
+    <span style="margin-left:1em">on embroidered bindings, <a href="#page_73">73</a>, <a href="#page_77">77</a>, <a href="#page_86">86</a>.</span><br />
+    <br />
+    <br />
+    Parr, Queen Katherine, arms on 'Petrarcha, 1544,' <a href="#page_55">55</a>;<br />
+    <span style="margin-left:1em">Prayers written by, <a href="#page_33">33</a>.</span><br />
+    <br />
+    Parker, Archbishop, 'De Antiquitate Ecclesi&aelig; Britannic&aelig;,' <a href="#page_60">60</a>.<br />
+    <br />
+    Peacocks' feathers used in embroideries, <a href="#page_82">82</a>.<br />
+    <br />
+    Pearls used in embroidered bindings: Brion (1540), <a href="#page_52">52</a>;<br />
+    <span style="margin-left:1em">Christopherson (1569), <a href="#page_57">57</a>;</span><br />
+    <span style="margin-left:1em">Parker (1572), <a href="#page_60">60</a>;</span><br />
+    <span style="margin-left:1em">'New Testament' (1576), <a href="#page_81">81</a>;</span><br />
+    <span style="margin-left:1em">'Bible' (1583), <a href="#page_67">67</a>;</span><br />
+    <span style="margin-left:1em">'Bible' (1590), <a href="#page_70">70</a>;</span><br />
+    <span style="margin-left:1em">'Tracts' (1610), <a href="#page_72">72</a>;</span><br />
+    <span style="margin-left:1em">Montenay (1624), <a href="#page_85">85</a>;</span><br />
+    <span style="margin-left:1em">'Psalms' (1633), <a href="#page_94">94</a>;</span><br />
+    <span style="margin-left:1em">'Common Prayer' (1638), <a href="#page_77">77</a>.</span><br />
+    <br />
+    'Petrarcha, 1544,' <a href="#page_55">55</a>.<br />
+    <br />
+    Pomegranate badge on Queen Mary's 'Psalter,' <a href="#page_57">57</a>.<br />
+    <br />
+    Poncyn, of Amsterdam, bookbinder, <a href="#page_10">10</a>.<br />
+    <br />
+    Portraits on embroidered books, <a href="#page_5">5</a>;<br />
+    <span style="margin-left:1em;">Charles</span> <span class="smcap">i</span>.,
+    <a href="#page_106">106</a>;<br />
+    <span style="margin-left:1em">Duke of Buckingham, <a href="#page_76">76</a>.</span><br />
+    <br />
+    'Psalms,' 1606 ed., <a href="#page_38">38</a>; 1633 ed., <a href="#page_91">91</a>, <a href="#page_94">94</a>;<br />
+    <span style="margin-left:1em">1635 ed., <a href="#page_92">92</a>;</span><br />
+    <span style="margin-left:1em">1639 ed., <a href="#page_98">98</a>;</span><br />
+    <span style="margin-left:1em">1641 ed., <a href="#page_103">103</a>;</span><br />
+    <span style="margin-left:1em">1643 ed., <a href="#page_105">105</a>, <a href="#page_106">106</a>;</span><br />
+    <span style="margin-left:1em">1646 ed., <a href="#page_108">108</a>.</span><br />
+    <br />
+    Purl, description of, <a href="#page_9">9</a>, <a href="#page_10">10</a>, <a href="#page_46">46</a>;<br />
+    <span style="margin-left:1em">book embroidered alone with, <a href="#page_108">108</a>.</span><br />
+    <br />
+    <br />
+    Satin bindings, <a href="#page_7">7</a>, <a href="#page_8">8</a>, <a href="#page_80">80</a>-<a href="#page_110">110</a>.<br />
+    <br />
+    Schreiber, the Lady Charlotte, <a href="#page_83">83</a>.<br />
+    <br />
+    Scriptural designs and figures of saints used on embroidered books, <a href="#page_5">5</a>, <a href="#page_6">6</a>;<br />
+    <span style="margin-left:1em">Abraham and Isaac, <a href="#page_86">86</a>;</span><br />
+    <span style="margin-left:1em">the Annunciation, <a href="#page_29">29</a>;</span><br />
+    <span style="margin-left:1em">the Crucifixion, <a href="#page_29">29</a>;</span><br />
+    <span style="margin-left:1em">David, <a href="#page_86">86</a>, <a href="#page_99">99</a>;</span><br />
+    <span style="margin-left:1em">Jacob's Dream,</span><br />
+    <span style="margin-left:1em">Jacob wrestling with the angel, <a href="#page_39">39</a>, <a href="#page_106">106</a>;</span><br />
+    <span style="margin-left:1em">St. Peter, <a href="#page_45">45</a>;</span><br />
+    <span style="margin-left:1em">St. Paul, <a href="#page_45">45</a>;</span><br />
+    <span style="margin-left:1em">Solomon and the Queen of Sheba, <a href="#page_39">39</a>.</span><br />
+    <br />
+    Silk bindings, <a href="#page_81">81</a>.<br />
+    <br />
+    South Kensington Museum, embroidered books in the, <a href="#page_20">20</a>.<br />
+    <br />
+    Spangles, <a href="#page_9">9</a>, <a href="#page_28">28</a>.<br />
+    <br />
+    Stitches used on embroidered books:<br />
+    <span style="margin-left:1em"><i>Buttonhole</i> or <i>Needlepoint lace</i>
+    stitch,</span><br />
+    <span style="margin-left: 2em;">'New Testament' (1625), <a href="#page_87">87</a>;</span><br />
+    <span style="margin-left: 2em;">'Psalms' (1633), <a href="#page_95">95</a>;</span><br />
+    <span style="margin-left: 2em;">'New Testament' (1640), <a href="#page_101">101</a>;</span><br />
+    <span style="margin-left: 2em;">'Bible' (1642), <a href="#page_48">48</a>;</span><br />
+    <span style="margin-left: 2em;">'Bible' (1648), <a href="#page_50">50</a>.</span><br />
+    <span style="margin-left:1em"><i>Chain stitch</i>,</span><br />
+    <span style="margin-left: 2em;">'Daily Exercise of a Christian' (1623),
+    <a href="#page_44">44</a>.</span><br />
+    <span style="margin-left:1em"><i>Feather stitch</i>, sometimes called <i>Shading
+    stitch</i>,</span><br />
+    <span style="margin-left: 2em;">'Bible' (1626), <a href="#page_45">45</a>;</span><br />
+    <span style="margin-left: 2em;">'New Testament' (1630), <a href="#page_90">90</a>;</span><br />
+    <span style="margin-left: 2em;">Henshaw (1632), <a href="#page_90">90</a>;</span><br />
+    <span style="margin-left: 2em;">'Psalms' (1635), <a href="#page_92">92</a>;</span><br />
+    <span style="margin-left: 2em;">'Psalms' (1641), <a href="#page_105">105</a>;</span><br />
+    <span style="margin-left: 2em;">'Psalms' (1643), <a href="#page_106">106</a>.</span><br />
+    <span style="margin-left:1em"><i>Satin stitch</i>,</span><br />
+    <span style="margin-left: 2em;">'Psalms' (1633), <a href="#page_91">91</a>.</span><br />
+    <span style="margin-left:1em"><i>Split stitch</i>,</span><br />
+    <span style="margin-left: 2em;">'Felbrigge Psalter' (fourteenth century),
+    <a href="#page_30">30</a>;</span><br />
+    <span style="margin-left: 2em;">'Way to True Happiness' (1639), <a href="#page_99">99</a>.</span><br />
+    <span style="margin-left:1em"><i>Tapestry</i> or <i>Tent stitch</i>,
+    <a href="#page_28">28</a>;</span><br />
+    <span style="margin-left: 2em;">'Miroir of the Synneful Soul' (1544),
+    <a href="#page_33">33</a>;</span><br />
+    <span style="margin-left: 2em;">'Prayers' (1545), <a href="#page_34">34</a>;</span><br />
+    <span style="margin-left: 2em;">'Prayers' (1581), <a href="#page_37">37</a>;</span><br />
+    <span style="margin-left: 2em;">'Bible' (1612), <a href="#page_39">39</a>;</span><br />
+    <span style="margin-left: 2em;">Ward (1626), <a href="#page_41">41</a>.</span><br />
+    <br />
+    Symbolical figures, <a href="#page_5">5</a>, <a href="#page_6">6</a>;<br />
+    <span style="margin-left:1em">Faith and Hope (1625, 1648), <a href="#page_42">42</a>, <a href="#page_50">50</a>;</span><br />
+    <span style="margin-left:1em">Peace and Plenty (1619, 1635), <a href="#page_84">84</a>, <a href="#page_93">93</a>.</span><br />
+    <br />
+    <br />
+    Thompson, Mr. H. Yates, <a href="#page_41">41</a>.<br />
+    <br />
+    <br />
+    Udall's 'Sermons,' <a href="#page_71">71</a>.<br />
+    <br />
+    <br />
+    Vaughan crest, on 'Christian Prayers, 1570,' <a href="#page_59">59</a>.<br />
+    <br />
+    Velvet bindings, <a href="#page_6">6</a>, <a href="#page_7">7</a>, <a href="#page_52">52</a>-<a href="#page_79">79</a>.<br />
+    <br />
+    Victoria, Queen, embroidered book belonging to, <a href="#page_77">77</a>.<br />
+    <br />
+    <br />
+    Wales, ostrich plumes of the Prince of, <a href="#page_73">73</a>, <a href="#page_77">77</a>, <a href="#page_86">86</a>.<br />
+    <br />
+    Ward, Samuel, 'Sermons, 1626-7,' <a href="#page_41">41</a>.<br />
+    <br />
+    Water-colours used on embroidered bindings, <a href="#page_81">81</a>-<a href="#page_84">84</a>.<br />
+    <br />
+    'Way to True Happiness' (1639), <a href="#page_99">99</a>.<br />
+    <br />
+    Wheatley, Mr. H. B., <a href="#page_1">1</a>.<br />
+    <br />
+    Wilton, Countess of, <a href="#page_33">33</a>, <a href="#page_35">35</a>, <a href="#page_64">64</a>.<br />
+    <br />
+    Wren, Elizabeth, book embroidered by, <a href="#page_94">94</a>.<br />
+    <br />
+    <br />
+    York, Cardinal, <a href="#page_19">19</a>.<br />
+    <br /><br /><br /><br /><br />
+   <h4>PRINTED BY T. AND A. CONSTABLE, PRINTERS TO<br />
+    HER MAJESTY, AT THE UNIVERSITY PRESS,<br />
+    EDINBURGH: MARCH MDCCCXCIX<br /></h4>
+<hr style="width: 65%;" />
+   <div class="boxed2"><h3>The English Bookman's Library</h3>
+    <span class="smcap">Edited by Alfred Pollard</span>
+    <br />
+    <hr style="width: 65%;" /><br />
+    VOLUME I<br />
+    <br />
+    <b>ENGLISH EMBROIDERED BOOKBINDINGS</b><br />
+    <br />
+    <span class="smcap">By</span> CYRIL DAVENPORT, F. S. A.<br />
+    <br />
+    <br />
+    VOLUME II<br />
+    <br />
+    <b>A BRIEF HISTORY OF ENGLISH PRINTING</b><br />
+    <br />
+    <span class="smcap">By</span> H. R. PLOMER<br />
+    <br />
+    <br />
+    VOLUME III<br />
+    <br />
+    <b>ENGLISH BOOK COLLECTORS</b><br />
+    <br />
+    <span class="smcap">By</span> W. Y. FLETCHER<br />
+    <br />
+    <hr style="width: 65%;" /><br />
+    LONDON<br />
+    KEGAN PAUL, TRENCH, TR&Uuml;BNER &amp; CO., LIMITED<br /><br /></div>
+    ------------------ <br />
+    Transcriber's note:<br />
+    The format of the table of contents was preserved with respect to the original line numbers; however, links to the plates were reassigned to more accurately represent
+    their post-formatting positions.
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of English Embroidered Bookbindings, by 
+Cyril James Humphries Davenport
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+The Project Gutenberg EBook of English Embroidered Bookbindings, by
+Cyril James Humphries Davenport
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: English Embroidered Bookbindings
+
+Author: Cyril James Humphries Davenport
+
+Editor: Alfred Pollard
+
+Release Date: January 23, 2006 [EBook #17585]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK ENGLISH EMBROIDERED BOOKBINDINGS ***
+
+
+
+
+Produced by K.D. Thornton, Bruce Albrecht, and the Online
+Distributed Proofreading Team at http://www.pgdp.net (This
+file was produced from images generously made available
+by The Internet Archive/Canadian Libraries)
+
+
+
+
+
+
+ENGLISH EMBROIDERED BOOKBINDINGS
+
+[Illustration: 19--Christopherson, Historia Ecclesiastica. Lovanii,
+1569.]
+
+
+
+
+EDITED BY
+ALFRED POLLARD
+
+ENGLISH
+EMBROIDERED
+BOOKBINDINGS
+
+BY CYRIL DAVENPORT, F. S. A
+
+AUTHOR OF
+'THE ENGLISH REGALIA'
+ETC.
+
+LONDON
+KEGAN PAUL, TRENCH, TRUeBNER
+AND COMPANY, LIMITED
+
+1899
+
+The English
+Bookman's
+Library
+Edinburgh: T. and A. CONSTABLE, Printers to Her Majesty
+
+
+
+
+CONTENTS AND LIST OF PLATES
+
+                                                                 PAGE
+GENERAL INTRODUCTION,                                              ix
+By Alfred W. Pollard.
+
+ENGLISH EMBROIDERED BINDINGS
+By Cyril Davenport.
+
+
+CHAPTER I.--Introductory,                                           1
+
+PLATES.
+ 1. Embroidered Bag for Psalms. _London_, 1633,                    17
+ 2. Embroidered Cover for New Testament. _London_, 1640,           18
+
+
+CHAPTER II.--Books Bound in Canvas,                                28
+
+PLATES.
+ 3. The Felbrigge Psalter. 13th-century MS.,                       29
+ 4. The Miroir or Glasse of the Synneful Soul. MS. by
+        the Princess Elizabeth. 1544,                              32
+ 5. Prayers of Queen Katherine Parr. MS. by the
+        Princess Elizabeth. 1545,                                  33
+ 6. Christian Prayers. _London_, 1581,                             37
+ 7. Psalms and Common Praier. _London_, 1606,                      38
+ 8. Bible, etc. _London_, 1612,                                    39
+ 9. Sermons by Samuel Ward. _London_, 1626-7,                      41
+10. New Testament, etc. _London_, 1625-35,                         42
+11. The Daily Exercise of a Christian. _London_, 1623,             44
+12. Bible. _London_, 1626,                                         45
+13. Bible, etc. _London_, 1642,                                    48
+14. Bible. _London_, 1648,                                         49
+
+
+CHAPTER III.--Books Bound in Velvet,                               52
+
+PLATES.
+15. Tres ample description de toute la terre Saincte,
+        etc. MS. 1540,                                             52
+16. Biblia. _Tiguri_, 1543,                                        54
+17. Il Petrarcha. _Venetia_, 1544,                                 55
+18. Queen Mary's Psalter. 14th century MS.,                        57
+19. Christopherson, Historia Ecclesiastica. _Lovanii_, 1569,
+                                                       _Frontispiece_
+20. Christian Prayers. _London_, 1570,                             59
+21. Parker, De antiquitate Ecclesiae Britannicae. _London_, 1572,    60
+22. The Epistles of St. Paul. _London_, 1578,                      63
+23. Christian Prayers, etc. _London_, 1584,                        65
+24. Orationis Dominicae Explicatio, etc. _Genevae_, 1583,            67
+25. Bible. _London_, 1583,                                         68
+26. The Commonplaces of Peter Martyr. _London_, 1583,              69
+27. Biblia. _Antverpiae_, 1590,                                     70
+28. Udall, Sermons. _London_, 1596,                                71
+29. Collection of Sixteenth-Century Tracts,                        72
+30. Bacon, Opera. _Londini_, 1623,                                 75
+31. Bacon, Essays. 1625,                                           76
+32. Common Prayer. _London_, 1638,                                 77
+33. Bible. _Cambridge_, 1674,                                      78
+
+
+CHAPTER IV.--Books Bound in Satin,                                 80
+
+PLATES.
+34. Collection of Sixteenth-Century Tracts,                        80
+35. New Testament in Greek. _Leyden_, 1576,                        81
+36. Bible. _London_, 1619,                                         84
+37. Emblemes Chrestiens. MS. 1624,                                 85
+38. New Testament. _London_, 1625,                                 86
+39. New Testament and Psalms. _London_, 1630,                      89
+40. Henshaw, Horae Successivae. _London_, 1632,                      90
+41. Psalms. _London_, 1633,                                        91
+42. Psalms. _London_, 1635,                                        92
+43. Psalms. _London_, 1633,                                        94
+44. Bible. _London_, 1638,                                         96
+45. Psalms. _London_, 1639,                                        98
+46. The Way to True Happiness. _London_, 1639,                     99
+47. New Testament. _London_, 1640,                                101
+48. Psalms. _London_, 1641,                                       103
+49. Psalms. _London_, 1643,                                       105
+50. Psalms. _London_, 1643,                                       106
+51. Psalms. _London_, 1646,                                       108
+52. Bible. _London_, 1646,                                        109
+
+
+
+
+GENERAL INTRODUCTION
+
+
+A new series of 'Books about Books,' exclusively English in its aims,
+may seem to savour of the patriotism which, in matters of art and
+historical research, is, with reason enough, often scoffed at as a
+treacherous guide. No doubt in these pleasant studies patriotism acts as
+a magnifying-glass, making us unduly exaggerate details. On the other
+hand, it encourages us to try to discover them, and just at present this
+encouragement seems to be needed. There are so many gaps in our
+knowledge of the history of books in England that we can hardly claim
+that our own dwelling is set in order, and yet many of our bookmen
+appear more inclined to re-decorate their neighbours' houses than to do
+work that still urgently needs to be done at home. The reasons for this
+transference of energy are not far to seek. It is quite easy to be
+struck with the inferiority of English books and their accessories, such
+as bindings and illustrations, to those produced on the Continent. To
+compare the books printed by Caxton with the best work of his German or
+Italian contemporaries, to compare the books bound for Henry, Prince of
+Wales, with those bound for the Kings of France, to try to find even a
+dozen English books printed before 1640 with woodcuts (not imported
+from abroad) of any real artistic merit--if any one is anxious to
+reinforce his national modesty, here are three very efficacious methods
+of doing it! On the other hand, English book-collectors have always been
+cosmopolitan in their tastes, and without leaving England it is possible
+to study to some effect, in public or private libraries, the finest
+books of almost any foreign country. It is small wonder, therefore, that
+our bookmen, when they have been minded to write on their hobbies, have
+sought beauty and stateliness of work where they could most readily find
+them, and that the labourers in the book-field of our own country are
+not numerous. Touchstone's remark, 'a poor thing, but mine own,' might,
+on the worst view of the case, have suggested greater diligence at home;
+but on a wider view English book-work is by no means a 'poor thing.' Its
+excellence at certain periods is as striking as its inferiority at
+others, and it is a literal fact that there is no art or craft connected
+with books in which England, at one time or another, has not held the
+primacy in Europe.
+
+It would certainly be unreasonable to complain that printing with
+movable types was not invented at a time better suited to our national
+convenience. Yet the fact that the invention was made just in the middle
+of the fifteenth century constituted a handicap by which the printing
+trade in this country was for generations overweighted. At almost any
+earlier period, more particularly from the beginning of the fourteenth
+century to the first quarter of the fifteenth, England would have been
+as well equipped as any foreign country to take its part in the race.
+From the production of Queen Mary's Psalter at the earlier date to that
+of the Sherborne Missal at the later, English manuscripts, if we may
+judge from the scanty specimens which the evil days of Henry VIII. and
+Edward VI. have left us, may vie in beauty of writing and decoration
+with the finest examples of Continental art. If John Siferwas, instead
+of William Caxton, had introduced printing into England, our English
+incunabula would have taken a far higher place. But the sixty odd years
+which separate the two men were absolutely disastrous to the English
+book-trade. After her exhausting and futile struggle with France, England
+was torn asunder by the wars of the Roses, and by the time these were
+ended the school of illumination, so full of promise, and seemingly so
+firmly established, had absolutely died out. When printing was introduced
+England possessed no trained illuminators or skilful scribes such as in
+other countries were forced to make the best of the new art in order not
+to lose their living, nor were there any native wood-engravers ready to
+illustrate the new books. I have never myself seen or heard of a 'Caxton'
+in which an illuminator has painted a preliminary border or initial
+letters; even the rubrication, where it exists, is usually a
+disfigurement; while as for pictures, it has been unkindly said that
+inquiry whence they were obtained is superfluous, since any boy with a
+knife could have cut them as well.
+
+Making its start under these unfavourable conditions, the English
+book-trade was exposed at once to the full competition of the
+Continental presses, Richard III. expressly excluding it from
+the protection which was given to other industries. Practically all
+learned books of every sort, the great majority of our service-books,
+most grammars for use in English schools, and even a few popular books
+of the kind to which Caxton devoted himself, were produced abroad for
+the English market and freely imported. Only those who mistake the
+shadow for the substance will regret this free trade, to which we owe
+the development of scholarship in England during the sixteenth century.
+None the less, it was hard on a young industry, and though Pynson,
+Wynkyn de Worde, the Faques, Berthelet, Wolfe, John Day, and others
+produced fine books in England during the sixteenth century, the start
+given to the Continental presses was too great, and before our printers
+had fully caught up their competitors, they too were seized with the
+carelessness and almost incredible bad taste which marks the books of
+the first half of the seventeenth century in every country of Europe.
+
+Towards the close of the eighteenth century, as is well known, the
+French thought sufficiently well of Baskerville's types to purchase a
+fount after his death for the printing of an important edition of the
+works of Voltaire. But the merits of Baskerville as a printer, never
+very cordially admitted, are now more hotly disputed than ever; and if I
+am asked at what period English printing has attained that occasional
+primacy which I have claimed for our exponents of all the bookish arts,
+I would boldly say that it possesses it at the present day. On the one
+hand, the Kelmscott Press books, on their own lines, are the finest and
+the most harmonious which have ever been produced; on the other, the
+book-work turned out in the ordinary way of business by the five or six
+leading printers of England and Scotland seems to me, both in technical
+qualities and in excellence of taste, the finest in the world, and with
+no rival worth mentioning, except in the work of one or two of the best
+firms in the United States. Moreover, as far as I can learn, it is only
+in Great Britain and America that the form of books is now the subject
+of the ceaseless experiment and ingenuity which are the signs of a
+period of artistic activity.
+
+As regards book-illustration the same claim may be put forward, though
+with a little more hesitation. We have been taught lately, with
+insistence, that 'the sixties' marked an epoch in English art, solely
+from the black and white work in illustrated books. At that period our
+book-pictures are said to have been the best in the world; unfortunately
+our book-decoration, whether better or worse than that of other
+countries, was almost unmitigatedly bad. In the last quarter of a
+century our decorative work has improved in the most striking manner;
+our illustrations, if judged merely for their pictorial qualities, have
+not advanced. In the eyes of artists the sketches for book-work now
+being produced in other countries are probably as good as our own. But
+an illustration is not merely a picture, it is a picture to be placed
+in a certain position in a printed book, and in due relation to the size
+of the page and the character of the type. English book-illustrators by
+no means always realise this distinction, yet there is on the whole a
+greater feeling for these proprieties in English books than in those of
+other countries, and this is an important point in estimating merits.
+Another important point is that the rule of the 'tint' or 'half-tone'
+block, with its inevitable accompaniment of loaded paper, ugly to the
+eye and heavy in the hand, though it has seriously damaged English
+illustrated work, has not yet gained the predominance it has in other
+countries. Our best illustrated books are printed from line-blocks, and
+there are even signs of a possible revival of artistic wood-engraving.
+
+In endeavouring to make good my assertion of what I have called the
+occasional primacy of English book-work, I am not unaware of the danger
+of trying, or seeming to try, to play the strains of 'Rule Britannia' on
+my own poor penny whistle. As regards manuscripts, therefore, it is a
+pleasure to be able to seek shelter behind the authority of Sir Edward
+Maunde Thompson, whose words in this connection carry all the more
+weight, because he has shown himself a severe critic of the claims
+which have been put forward on behalf of several fine manuscripts to be
+regarded as English. In the closing paragraphs of his monograph on
+_English Illuminated Manuscripts_ he thus sums up the pretensions of the
+English school:--
+
+     'The freehand drawing of our artists under the Anglo-Saxon kings
+     was incomparably superior to the dead copies from Byzantine models
+     which were in favour abroad. The artistic instinct was not
+     destroyed, but rather strengthened, by the incoming of Norman
+     influence; and of the twelfth and thirteenth centuries there is
+     abundant material to show that English book-decoration was then at
+     least equal to that of neighbouring countries. For our art of the
+     early fourteenth century we claim a still higher position, and
+     contend that no other nation could at that time produce such
+     graceful drawing. Certainly inferior to this high standard of
+     drawing was the work of the latter part of that century; but still,
+     as we have seen, in the miniatures of this time we have examples of
+     a rising school of painting which bid fair to attain to a high
+     standard of excellence, and which only failed for political
+     causes.'[1]
+
+To this judicial pronouncement on the excellence of English manuscripts
+on their decorative side, we may fairly add the fact that manuscripts of
+literary importance begin at an earlier date in England than in any
+other country, and that the Cotton MS. of _Beowulf_ and the
+miscellanies which go by the names of the _Exeter Book_ and the
+_Vercelli Book_ have no contemporary parallels in the rest of Europe.
+
+[Footnote 1: _English Illuminated Manuscripts._ By Sir Edward Maunde
+Thompson, K. C. B. (Kegan Paul, 1895), pp. 66, 67.]
+
+When we turn from books, printed or in manuscript, to their possessors,
+it is only just to begin with a compliment to our neighbours across the
+Channel. No English bookman holds the unique position of Jean Grolier,
+and 'les femmes bibliophiles' of England have been few and
+undistinguished compared with those of France. Grolier, however, and his
+fair imitators, as a rule, bought only the books of their own day,
+giving them distinction by the handsome liveries which they made them
+don. Our English collectors have more often been of the omnivorous type,
+and though Lords Lumley and Arundel in the sixteenth century cannot,
+even when their forces are joined, stand up against De Thou, in Sir
+Robert Cotton, Harley, Thomas Rawlinson, Lord Spencer, Heber, Grenville,
+and Sir Thomas Phillips (and the list might be doubled without much
+relaxation of the standard), we have a succession of English collectors
+to whom it would be difficult to produce foreign counterparts. Round
+these _dii majores_ have clustered innumerable demigods of the
+book-market, and certainly in no other country has collecting been as
+widely diffused, and pursued with so much zest, as in England during
+the present century. It is to be regretted that so few English
+collectors have cared to leave their marks of ownership on the books
+they have taken so much pleasure in bringing together. Michael Wodhull
+was a model in this respect, for his book-stamp is one of the most
+pleasing of English origin, and his autograph notes recording the prices
+he paid for his treasures, and his assiduous collation of them, make
+them doubly precious in the eyes of subsequent owners. Mr. Grenville
+also had his book-stamp, though there is little joy to be won from it,
+for it is unpleasing in itself, and is too often found spoiling a fine
+old binding. Mr. Cracherode's stamp was as graceful as Wodhull's; but,
+as a rule, our English collectors, though, as Mr. Fletcher is
+discovering, many more of them than is generally known have possessed a
+stamp, have not often troubled to use it, and their collections have
+never obtained the reputation which they deserve, mainly for lack of
+marks of ownership to keep them green in the memory of later possessors.
+That this should be so in a country where book-plates have been so
+common may at first seem surprising. But book-plates everywhere have
+been used rather by the small collectors than the great ones, and the
+regrettable peculiarity of our English bookmen is, not that they
+despised this rather fugitive sign of possession, but that for the most
+part they despised book-stamps as well.
+
+Of book-plates themselves I have no claim to speak; but for good taste
+and grace of design the best English Jacobean and Chippendale specimens
+seem to me the most pleasing of their kind, and certainly in our own day
+the work of Mr. Sherborn has no rival, except in that of Mr. French,
+who, in technique, would, I imagine, not refuse to call himself his
+disciple.
+
+I have purposely left to the last the subject of Bindings, as this,
+being more immediately cognate to Mr. Davenport's book, may fairly be
+treated at rather greater length. If the French dictum 'la reliure est
+un art tout francais' is not without its historical justification, it is
+at least possible to show that England has done much admirable work, and
+that now and again, as in the other bookish arts, she has attained
+preeminence.
+
+The first point which may fairly be made is that England is the only
+country besides France in which the art has been consistently practised.
+In Italy, binding, like printing, flourished for a little over half a
+century with extraordinary vigour and grace, and then fell suddenly and
+completely from its high estate. From 1465 to the death of Aldus the
+books printed in Italy were the finest in the world; from the beginning
+of the work of Aldus to about 1560 Italian bindings possess a freedom of
+graceful design which even the superior technical skill quickly gained
+by the French does not altogether outbalance. But just as after about
+1520 a finely printed Italian book can hardly be met with, so after
+1560, save for a brief period during which certain fan-shaped designs
+attained prettiness, there have been no good Italian bindings. In
+Germany, when in the fifteenth century, before the introduction of gold
+tooling, there was a thriving school of binders working in the mediaeval
+manner, the Renaissance brought with it an absolute decline. Holland,
+again, which in the fifteenth century had made a charming use of large
+panel stamps, has since that period had only two binders of any
+reputation, Magnus and Poncyn, of Amsterdam, who worked for the
+Elzeviers and Louis XIV. Of Spanish bindings few fine specimens
+have been unearthed, and these are all early. Only England can boast
+that, like France, she has possessed one school of binders after
+another, working with varying success from the earliest times down to
+the present century, in which bookbinding all over Europe has suffered
+from the servility with which the old designs, now for the first time
+fully appreciated, have been copied and imitated.
+
+In this length of pedigree it must be noted that England far surpasses
+even France herself. The magnificent illuminated manuscripts, the finest
+of their age, which were produced at Winchester during the tenth
+century, were no doubt bound in the jewelled metal covers of which the
+rapacity of the sixteenth century has left hardly a single trace in this
+country. But early in the twelfth century, if not before, the Winchester
+bookmen turned their attention also to leather binding, and the school
+of design which they started, spreading to Durham, London, and Oxford,
+did not die out in England until it was ousted by the large panel stamps
+introduced from France at the end of the fifteenth. The predominant
+feature of these Winchester bindings (of which a fine example from the
+library of William Morris recently sold for L180), and of their
+successors, is the employment of small stamps, from half an inch to an
+inch in size, sometimes circular, more often square or pear-shaped, and
+containing figures, grotesques, or purely conventional designs. A
+circle, or two half-circles, formed by the repetition of one stamp,
+within one or more rectangles formed by others, is perhaps the commonest
+scheme of decoration, but it is the characteristic of these bindings, as
+of the finest in gold tooling, that by the repetition of a few small
+patterns an endless variety of designs could be built up. The British
+Museum possesses a few good examples of this stamp-work, but the finest
+collections of them are in the Cathedral libraries at Durham and
+Hereford. Any one, however, who is interested in this work can easily
+acquaint himself with it by consulting the unique collection of rubbings
+carefully taken by Mr. Weale and deposited in the National Art Library
+at the South Kensington Museum. In these rubbings, as in no other way,
+the history of English binding can be studied from the earliest
+Winchester books to the charming Oxford bindings executed by Thomas
+Hunt, the English partner of the Cologne printer, Rood, about 1481.
+
+During the first half of this period the English leather binders were
+the finest in Europe; during the second, the Germans pressed them hard,
+and when the large panel stamps, three or four inches square and more,
+were introduced in Holland and France, the English adaptations of them
+were distinctly inferior to the originals. The earliest English bindings
+with gold tooling were, of course, also imitative. The use of gold
+reached this country but slowly, as the first known English binding, in
+which it occurs, is on a book printed in 1541, by which time the art had
+been common in Italy for a generation. The English bindings found on
+books bound for Henry VIII., Edward VI., and Mary I., all of which are
+roughly assigned to Berthelet as the Royal binder, resemble the current
+Italian designs of the day, with sufficient differences to make it
+probable that they were produced by Englishmen. We know, however,
+that until the close of the century there were occasional complaints
+of the presence of foreign binders in London, and it is probable that
+the Grolieresque bindings executed for Wotton were foreign rather than
+English. Where, however, we find work on English books distinctly unlike
+anything in France or Italy, it is reasonable to assign it to a native
+school, and such a school seems to have grown up about 1570, in the
+workshop of John Day, the helper of Archbishop Parker in so many of his
+literary undertakings. These bindings attributed to Day, especially
+those in which he worked with white leather on brown, although they have
+none of the French delicacy of tooling, perhaps for this reason attack
+the problem of decoration with a greater sense of the difference between
+the styles suitable for a large book and a small than is always found in
+France, where the greatest binders, such as Nicholas Eve and Le Gascon,
+often covered large folios with endless repetitions of minute tools whose
+full beauty can only be appreciated on duodecimos or octavos. The English
+designs with a large centre ornament and corner-pieces are rich and
+impressive, and we may fairly give Day and his fellows the palm for
+originality and effectiveness among Elizabethan binders. In the next
+reign the French use of the seme or powder, a single small stamp, of a
+fleur-de-lys, a thistle, a crown, or the like, impressed in rows all over
+the cover, was increasingly imitated in England, very unsuccessfully,
+and, save for a few traces of the style of Day, the leather bindings of
+the first third of the century deserve the worst epithets which
+can be given them.
+
+Until, however, French fashions came into vogue after the Restoration,
+English binders had never been content to regard leather as the sole
+material in which they could work. Embroidered bindings had come early
+into use in England, and a Psalter embroidered by Anne Felbrigge towards
+the close of the fourteenth century is preserved at the British Museum,
+and shown in one of Mr. Davenport's illustrations. In the sixteenth
+century embroidered work was very popular with the Tudor princesses,
+gold and silver thread and pearls being largely used, often with very
+decorative effect. The simplest of these covers are also the best--but
+great elaboration was often employed, and on a presentation copy of
+Archbishop Parker's _De Antiquitate Ecclesiae Britannicae_ we find a
+clever but rather grotesque representation of a deer-paddock. Under the
+Stuarts the lighter feather-stitch was preferred, and there seems to
+have been a regular trade in embroidered Bibles and Prayer-books of
+small size, sometimes with floral patterns, sometimes with portraits of
+the King, or Scriptural scenes. A dealer's freak which compelled the
+British Museum to buy a pair of elaborate gloves of the period rather
+than lose a finely embroidered Psalter, with which they went, was
+certainly a fortunate one, enabling us to realise that in hands thus
+gloved these little bindings, always pretty, often really artistic, must
+have looked exactly right, while their vivid colours must have been
+admirably in harmony with the gay Cavalier dresses.
+
+Besides furnishing a ground for embroidery, velvet bindings were often
+decorated, in England, with goldsmith work. One of the most beautiful
+little bookcovers in existence is on a book of prayers, bound for Queen
+Elizabeth in red velvet, with a centre and corner pieces delicately
+enamelled on gold. Under the Stuarts, again, we frequently find similar
+ornaments in engraved silver, and their charm is incontestable.
+
+Thus while for English bindings of this period in gilt leather we can
+only claim that Berthelet's show some freedom in their adaptation of
+Italian models, and Day's a more decided originality, we are entitled to
+set side by side with this scanty record a host of charming bindings in
+more feminine materials, which have no parallel in France, and certainly
+deserve some recognition. After the Restoration, however, leather
+quickly ousted its competitors, and a school of designers and gilders
+arose in England, which, while taking its first inspiration from Le
+Gascon, soon developed an individual style. In effectiveness, though not
+in minute accuracy of execution, this may rank with the best in Europe.
+We can trace the beginnings of this lighter and most graceful work as
+early as the thirties, and it might be contended with a certain
+plausibility that it began at the Universities. Certainly the two
+earliest examples known to me--the copy of her _Statutes_ presented to
+Charles I. by Oxford in 1634, and the Little Gidding _Harmony_
+of 1635, the tools employed in which have been shown by Mr. Davenport to
+have been used also by Buck, of Cambridge--are two of the finest English
+bindings in existence, and in both cases, despite the multiplicity of
+the tiny tools employed, there is a unity and largeness of design which,
+as I have ventured to hint, is not always found even in the best French
+work. The chief English bindings after the Restoration, those associated
+with the name of Samuel Mearne, the King's Binder, preserve this
+character, though the attempt to break the formality of the rectangle by
+the bulges at the side and the little penthouses at foot and head
+(whence its name, the 'cottage' style) was not wholly successful. The
+use of the labour-saving device of the 'roll,' in preference to
+impressing each section of the pattern by hand, is another blot.
+Nevertheless, it is almost impossible to find an English or Scotch
+binding of this period which is less than charming, and the best of them
+are admirable. At the beginning of the eighteenth century a new grace
+was added by the inlaying of a leather of a second colour. These inlaid
+English bindings are few in number (the British Museum has not a single
+fine example), but those who know the specimens exhibited at the
+Burlington Fine Arts Club, two of which are figured in its Catalogue,
+will readily allow that their grace has never been surpassed. The fine
+Harleian bindings let us down gently from this eminence, and then, after
+a period of mere dulness, with the rise of Roger Payne we have again an
+English school (for Payne's traditions were worthily followed by Charles
+Lewis) which, by common consent, was the finest of its time. Payne's
+originality is, perhaps, not quite so absolute as has been maintained,
+for some of his tools were cut in the pattern of Mearne's, and it would
+be possible to find suggestions for some of his schemes of arrangement
+in earlier English work. If he borrowed, however, he borrowed from his
+English predecessors, and he brought to his task an individuality and an
+artistic instinct which cannot be denied.
+
+After Payne and Lewis, English binding, like French, became purely
+imitative in its designs; but while in our own decade the French artists
+have endeavoured to shake themselves free from old traditions by mere
+eccentricity, in England we have several living binders, such as Mr.
+Cobden Sanderson and Mr. Douglas Cockerell, who work with notable
+originality and yet with the strictest observance of the canons of their
+art.
+
+Moreover in the application of decorative designs to cloth cases England
+has invented, and England and America have brought to perfection, an
+inexpensive and very pleasing form of book-cover, which gives the
+bookman ample time to consider whether his purchase is worth the more
+permanent honours of gilded leather, and also, by the facts that it is
+avowedly temporary, and that its decoration is cheaply and easily
+effected by large stamps, renders forgivable vagaries of design, which
+when translated, as they have been of late years in France, into the
+time-honoured and solemn leather, seem merely incongruous and
+irreverent.
+
+In binding, then, as in the other bookish arts, the part which English
+workers have played has been no insignificant or unworthy one, and the
+development of this art, as of the others, in our own country is worthy
+of study. In this case much has already been done, for the illustrations
+of _English Bookbindings at the British Museum_, edited, with
+introduction and descriptions by Mr. W. Y. Fletcher, present the student
+with the best possible survey of the whole subject, while the excellent
+treatises of Miss Prideaux and Mr. Horne bring English bookbinding into
+relation with that of other countries. Here, then, there is no need of a
+new general history, but rather of special monographs, treating more in
+detail of the periods at which our English binders have done the best
+work. The old stamped bindings of the days of manuscript, the
+embroidered bindings of the sixteenth and seventeenth centuries, the
+leather bindings of Mearne and his fellows under the later Stuarts, and
+the work of Roger Payne--all these seem to offer excellent subjects for
+unpretentious monographs, and it is hoped that others of them besides
+the _English Embroidered Bindings_, with which Mr. Davenport has made a
+beginning, may be treated in this series.
+
+In other subjects the ground has not yet been cleared to the same
+extent, and for the history of English Book-Collectors and English
+Printing, not special monographs, but good general surveys are the first
+need. To say much on this subject might bring me perilously near to
+re-writing the prospectus of this series. It is enough to have pointed
+out that the bookish arts in England are well worth more study than they
+have yet been given, and that the pioneers who are endeavouring to
+enlarge knowledge, each in his own section, may fairly hope that their
+efforts will be received with indulgence and good-will.
+
+ALFRED W. POLLARD.
+
+[Illustration]
+
+
+
+
+CHAPTER I
+
+EMBROIDERED BOOKS
+
+
+The application of needlework to the embellishment of the bindings of
+books has hitherto almost escaped special notice. In most of the works
+on the subject of English Bookbinding, considered from the decorative
+point of view in distinction from the technical, a few examples of
+embroidered covers have indeed received some share of attention. Thus in
+both Mr. H. B. Wheatley's and Mr. W. Y. Fletcher's works on the bindings
+in the British Museum, in Mr. Salt Brassington's _Historic Bindings in
+the Bodleian Library_ and _History of the Art of Bookbinding_, and in my
+own _Portfolio_ monograph on 'Royal English Bookbindings,' some of the
+finer specimens of embroidered books still existing are illustrated and
+described. But up to the present no attempt has been made to deal with
+them as a separate subject. In the course, however, of the many lectures
+on Decorative Bookbinding which it has been my pleasure and honour to
+deliver during the past few years, I have invariably noticed that the
+pictures and descriptions of embroidered specimens have been the most
+keenly appreciated, and this favourable sign has led me to examine and
+consider such examples as have come in my way more carefully than I
+might otherwise have done. Very little study sufficed to show that in
+England alone there was for a considerable period a regular and large
+production of embroidered books, and further, that the different styles
+of these embroideries are clearly defined, equally from the
+chronological and artistic points of view. A peculiarly English art
+which thus lends itself to orderly treatment may fairly be made the
+subject of a brief monograph.
+
+With the exception of point-lace, which is sometimes made in small
+pieces for such purposes as ladies' cuffs or collars, decorative work
+produced by the aid of the needle is generally large. Certainly this is
+so in its finest forms, which are probably to be found in the
+ecclesiastical vestments and in the altar frontals of the Renaissance
+period, or even earlier. On the other hand, such work as exists on books
+is always of small size, and, unlike the point-lace, it almost
+invariably has more than one kind of 'stitchery' upon it--chain, split,
+tapestry, satin, or what not.
+
+Thus it can be claimed as a distinction for embroidered book-covers that
+as a class they are the smallest complete embroideries existing, ranging
+upwards from about 6 inches by 3-1/2 inches--the size of the smallest
+specimen known to me, when opened out to its fullest extent, sides and
+back in one. This covers a copy of the Psalms, printed in London in
+1635, and is of white satin, with a small tulip worked in coloured silk
+on each side.
+
+An 'Embroidered Book,' it should be said, means for my purpose a book
+which is covered, sides and back, by a piece of material ornamented with
+needlework, following a design made for the purpose of adorning that
+particular book. A cover consisting of merely a piece of woven stuff, or
+even a piece of true embroidery cut from a larger piece, is not, from my
+point of view, properly to be considered an 'embroidered book,' it being
+essential that the design as well as the workmanship should have been
+specially made for the book on which they are found; and this, in the
+large majority of instances, is certainly the case.
+
+With regard to the transference of bindings to books other than those
+for which they were originally made, such a transference has often taken
+place in the case of mediaeval books bound in ornamental metal, but even
+in these instances it must be recognised that such a change can seldom
+be made without serious detriment. It is chiefly indeed from some
+incongruity of style or technical mistake in the re-putting together
+that we are led to guess that the covers have been thus tampered with.
+Now and then such a transference occurs in the case of leather-bound
+books, and in such instances is usually easy for a trained binder to
+detect. Embroidered covers, on the other hand, have rarely been changed,
+the motive for such a proceeding never having been strong, and the risk
+attending it being obvious enough. We may, in fact, feel tolerably sure
+that the large majority of embroidered covers still remain on the boards
+of the books they were originally made for.
+
+All the embroidered books now extant dating from before the reign of
+Queen Elizabeth have gone through the very unfortunate operation of
+'re-backing,' in the course of which the old embroidered work is
+replaced by new leather. The old head and tail bands, technically very
+interesting, have been replaced by modern imitations, and considerable
+damage has been done in distorting the work left on the sides of the
+book. It would seem obvious that a canvas, velvet, or satin embroidered
+binding, if it really must be re-backed or repaired at all, should be
+mended with a material as nearly as possible of the same make and colour
+as that of the original covering; but this has rarely been done, the
+large majority of such repairs being executed in leather. But in the
+case of such old bindings we must be grateful for small mercies, and
+feel thankful that even the sides are left in so many cases. It is
+indeed surprising that we still possess as much as we do. If all our
+great collectors had been of the same mind as Henry Prince of Wales, the
+Right Hon. Thomas Grenville, or even King George III., we
+should have been far worse off, as although several fine old bindings
+exist in their libraries, many which would now be priceless have been
+destroyed, only to be replaced by comparatively modern bindings,
+sometimes the best of their kind, but often in bad taste.
+
+
+_Division of Embroidered Books according to the designs upon them._
+
+The designs on embroidered books may be roughly divided into four
+classes--Heraldic, Figure, Floral, and Arabesque.
+
+The Heraldic designs always denote ownership, and are most frequently
+found on Royal books bound in velvet, rarely occurring on silk or satin,
+and never, as far as I have been able to ascertain, on canvas. The
+Figure designs may be subdivided into three smaller classes, viz.:--
+
+     I. Scriptural, _e.g._ representations of Solomon and the
+     Queen of Sheba, Jacob wrestling with the Angel, David, etc.
+
+     II. Symbolical, _e.g._ figures of Faith, Hope, Peace,
+     Plenty, etc.
+
+     III. Portraits, _e.g._ of Charles I., Queen
+     Henrietta Maria, Duke of Buckingham, etc.
+
+The Scriptural designs are most generally found on canvas-bound books;
+the Symbolical figures, and Portraits, on satin, rarely on velvet. The
+Floral and Arabesque designs are most common on small and unimportant
+works bound in satin, but they occur now and then on both canvas and
+velvet books. The true arabesques have no animal or insect forms among
+them, the prophet Mohammed having forbidden his followers to imitate any
+living thing.
+
+It may further be noted that heraldic designs on embroidered books are
+early, having been made chiefly during the sixteenth century, and that
+the figure, floral, and arabesque designs most usually belong to the
+seventeenth century. There are, of course, exceptions to these
+divisions, notably in the case of the earliest existing embroidered
+book, which has figure designs on both sides, but also maintains its
+heraldic position, inasmuch as its edges are decorated with
+coats-of-arms.
+
+Naturally, again, it may be sometimes difficult to decide whether a
+design should be classed as heraldic or floral. Such a difficulty occurs
+as to the large Bible at Oxford bound in red velvet for Queen Elizabeth,
+and bearing a design of Tudor and York roses. I consider it heraldic,
+but it might, with no less appropriateness, be called floral. If it had
+belonged to any one not a member of the Royal family it would
+undoubtedly be properly counted as a floral specimen. Again, in many of
+the portrait bindings flowers and arabesques are introduced, but they
+are clearly subordinate, and the chief decorative motive of such designs
+must be looked for, and the work classed accordingly. Thus it is evident
+that the arrangement of the embroidered books by their designs cannot
+be too rigidly applied, although it should not be lost sight of
+altogether.
+
+
+_Division of Embroidered Books according to the material on which they
+are worked._
+
+A more useful and accurate classification may however be found by help
+of the material on which the embroidered work is done, and this division
+is obvious and easy. With very few exceptions all embroidered books,
+ancient and modern, are worked on _canvas_, _velvet_, or _satin_, and
+while canvas was used continuously from the fourteenth century until the
+middle of the seventeenth century, velvet was most largely used during
+the Tudor period, and satin during that of the early Stuarts.
+
+Broadly speaking, the essential differences in the kind of work found
+upon these three materials follow the peculiarities of the materials
+themselves. Canvas, in itself of no decorative value, is always
+completely covered with needlework. Velvet, beautiful even when alone,
+but difficult to work upon, usually has a large proportion of applique,
+laid, or couched work, in coloured silk or satin, upon it, showing
+always large spaces unworked upon, and such actual work as occurs
+directly on the velvet is always in thick guimp or gold cord. Satin,
+equally beautiful in its way, is also freely left unornamented in
+places; the needlework directly upon it is often very fine and delicate
+in coloured floss silks, generally closely protected by thick raised
+frames or edges of metallic threads or fine gold or silver cords.
+
+[Illustration: FIG. 1. Silken thread closely wound round with strip of
+flat metal.]
+
+[Illustration: FIG. 2. Silken thread loosely wound round with strip of
+flat metal.]
+
+[Illustration: FIG. 3. Strips of flat metal cut into shapes and kept
+down by small stitches at regular intervals. Called 'Lizzarding.']
+
+By 'metallic' threads, when they are not simply fine wires, I mean
+strands of silk closely (Fig. 1) or loosely (Fig. 2) wound round with
+narrow coils of thin metal, mostly silver or silver gilt. The use of
+such threads, alone, or twisted into cords, is common on all styles of
+embroidered books, and it is largely due to their use that pieces of
+work apparently of the greatest delicacy are really extremely
+durable--far more so than is generally supposed. Certainly if it had not
+been for the efficient protection of these little metal walls we should
+not possess, as we actually do, delicate-looking embroidered books,
+hundreds of years old, in almost as good condition, except in the matter
+of colour, as when they were originally made.
+
+Thin pieces of metal are sometimes used alone, caught down at regular
+intervals by small cross stitches; this is, I believe, called
+'Lizzarding' (Fig. 3). Metal is also found in the form of 'guimp,' in
+flattened spirals (Fig. 4), and also in the 'Purl,' or copper wire
+covered with silk (Fig. 5), so common on the later satin books (compare
+p. 46).
+
+[Illustration: FIG. 4. Edging made with a piece of spiral wire
+hammered flat, appearing like a series of small rings.]
+
+[Illustration: FIG. 5. Loop made of a short length of Purl
+threaded, the ends drawn together.]
+
+Spangles appear to have been introduced during the reign of Elizabeth,
+but they were never freely used on velvet, finding their proper place
+ultimately on the satin books of a later time. The spangles are
+generally kept in position either by a small section of purl (Fig. 6) or
+a seed pearl (Fig. 7), in both cases very efficaciously, so that the use
+of guimp or pearl was not only ornamental but served the same protective
+purpose as the bosses on a shield, or those so commonly found upon the
+sides of the stamped leather bindings of mediaeval books.
+
+[Illustration: FIG. 6. Spangle kept in place by a stitch
+through a short piece of Purl.]
+
+[Illustration: FIG. 7. Spangle kept in place by a stitch
+through a seed pearl.]
+
+[Illustration: FIG. 8. Binder's stamp for gold tooling, cut in
+imitation of a spangle.]
+
+It may be mentioned that the seventeenth-century Dutch binders, Magnus
+and Poncyn, both of Amsterdam, invented a new tool for gilding on
+leather bindings, used, of course, in combination with others. This was
+cut to imitate the small circular spangles of the embroidered books
+(Fig. 8), and the English and French finishers of a later period used
+the same device with excellent effect for filling up obtrusive spaces on
+the sides and backs of their decorative bindings. Thus it may be taken
+as an axiom that, for the proper working of an embroidered book, except
+it be tapestry-stitch or tent-stitch, on canvas, which is flat and
+strong of itself, there should invariably be a liberal use of metal
+threads, these being not only very decorative in themselves, but also
+providing a valuable protection to the more delicate needlework at a
+lower level, and to the material of the ground itself.
+
+The earliest examples of embroidered bindings still existing are not by
+any means such as would lead to the inference that they were exceptional
+productions--made when the idea of the application of needlework to the
+decoration of books was in its infancy. On the contrary, they are
+instances of very skilled workmanship, so that it is probable that the
+art was practised at an earlier date than we now have recorded. There
+are, indeed, frequent notes in 'Wardrobe Accounts' and elsewhere of
+books bound in velvet and satin at a date anterior to any now existing,
+but there is no mention of embroidered work upon them.
+
+
+_The Forwarding of Embroidered Books._
+
+The processes used in the binding of embroidered books are the same as
+in the case of leather-bound books; but there is one invariable
+peculiarity--the bands upon which the different sections of the paper
+are sewn are never in relief, so that it was always possible to paste
+down a piece of material easily along the back without having to allow
+for the projecting bands so familiar on leather bindings (Fig. 9). The
+backs, moreover, are only rounded very slightly, if at all.
+
+This flatness has been attained on the earlier books either by sewing on
+flat bands, thin strips of leather or vellum (Fig. 10), or by flattening
+the usual hempen bands as much as they will bear by the hammer, and
+afterwards filling up the intermediate spaces with padding of some
+suitable material, linen or thin leather.
+
+In several instances the difficulty of flattening the bands has been
+solved, in sixteenth-and seventeenth-century embroidered books, in a way
+which cannot be too strongly condemned from a constructive point of
+view, although it has served its immediate purpose admirably.
+
+A small trench has been cut with a sharp knife for each band, deep
+enough to sink it to the general level of the inner edges of the
+sections (Fig. 11).
+
+[Illustration: FIG. 9. Back of book sewn on raised bands.]
+
+[Illustration: FIG. 10. Band of flat vellum sometimes found on
+old books with flat backs.]
+
+[Illustration: FIG. 11. Typical appearance of a book, before it
+is sewn, with small trenches cut in the back in which the bands are to
+be laid; a bad method, but often used to produce a flat back.]
+
+This cutting of the back to make room for the bands was afterwards more
+easily effected by means of a saw--as it is done now--and in the
+eighteenth century was especially used by the French binder Derome le
+Jeune, who is usually made responsible for its invention.
+
+The existence of the sunken bands on early embroidered books probably
+marks the beginning of this vicious system, but here there is some
+excuse for it, whereas in the case of ordinary leather-bound books there
+is none, except from the commercial standpoint.
+
+In the case of vellum books there may be some reason for using the
+'sawn in' bands, as it is certainly difficult to get vellum to fit
+comfortably over raised bands, although numerous early instances exist
+in which it has been successfully done. Again in the case of 'hollow
+backs,' the bands are kept flat with some reason. But for all valuable
+or finely bound books the system of 'sawing in' cannot be too strongly
+condemned.
+
+'Sawing in' can be detected by looking at the threads in the centre of
+any section of a bound book from the inside. It will show as a small
+hole with a piece of hemp or leather lying transversely across it, under
+which the thread passes (Fig. 12).
+
+[Illustration: FIG. 12.
+Typical appearance of the sewing of a book with 'sawn in' bands, as seen
+from the inside of each section. The bands just visible.]
+
+In the case of a properly sewn book, the bands themselves cannot be seen
+at all from the inside of the sections, unless, indeed, the book is
+damaged (Fig. 13). If the covering of the back is off, or even loose,
+the method of sewing that has been used can very easily be seen; and if
+it appears that the bands are sunk in a small trench, that is the form
+of sewing that is called 'sawn in,' or analogous to it.
+
+[Illustration: FIG. 13.
+Typical appearance of the sewing of a book on raised bands, as seen from
+the inside of each section. The bands invisible. Known as 'flexible.']
+
+Although in the embroidered books the bands of the backs do not show on
+the surface, it is common enough to find the lines they probably follow
+indicated in the work on the back, which is divided into panels by as
+many transverse lines, braid or cord, as there are bands underneath
+them. But in some cases the designer has used the back as one long
+panel, and decorated it accordingly as one space. The headbands in some
+of the earlier books were sewn at the same time as the other bands on
+the sewing-press and drawn in to the boards, but in most early bindings
+the ravaging repairer has been at work and made it impossible to know
+for certain what was the state of the headbands before the book came
+into his hands. Most of the existing headbands are made by hand in the
+usual way, with the ends simply cut off, not indeed a very satisfactory
+finish. It would be better if these ends were somehow drawn in to the
+leather of the back, as for instance they still often are on thin vellum
+books.
+
+The great majority of embroidered books, both large and small, have had
+ties of silk on their front edges--generally two, but sometimes only
+one, which wraps round. These ties have generally worn away from the
+outer side of the boards, but their ends can usually be traced (if the
+book has not been repaired) in the inner side, covered only by a thin
+piece of paper; and if this paper is loose, as often happens, and the
+ends show well, it may often be advisable not to paste it down again at
+that particular place.
+
+The backs of old embroidered books are by far the weakest parts about
+them. If they exist at all in their old forms they are always much worn,
+and the work upon them so much damaged that it is often difficult to
+make out even the general character of the design, to say nothing of the
+details of the workmanship.
+
+The edges of the leaves of books bound in England in embroidered
+bindings are always ornamentally treated, sometimes simply gilded,
+often further adorned with 'gauffred' work, that is to say, small
+patterns impressed on the gold, and sometimes beautifully decorated with
+elaborate designs having colour in parts as well. The earliest English
+ornamentation of this kind in colour is found on the Felbrigge Psalter
+and on some of the books embroidered for Henry VIII., one of
+which is richly painted on the fore edges with heraldic designs, and
+another with a motto written in gold on a delicately coloured ground.
+
+
+_Cases for Embroidered Books._
+
+Common though the small satin embroidered books must have been in
+England during the earlier part of the seventeenth century, it is still
+certain that the finer specimens were highly prized, and beautifully
+worked bags were often made for their protection. These bags are always
+of canvas, and most of them are decorated in the same way, the
+backgrounds of silver thread with a design in tapestry-or tent-stitch,
+and having ornamental strings and tassels. To describe one of these is
+almost to describe all. The best preserved specimen I know belongs to a
+little satin embroidered copy of the Psalms, printed in London in 1633,
+and measures 5 inches long by 4 inches in depth.
+
+[Illustration: 1--Embroidered Bag for Psalms. London, 1633.]
+
+The same design is repeated on each side. A parrot on a small grass-plot
+is in the middle of the lower edge. Behind the bird grow two curving
+stems of thick gold braid, each curve containing a beautifully-worked
+flower or fruit. In the centre is a carnation, and round it are arranged
+consecutively a bunch of grapes, a pansy, a honeysuckle, and a double
+rose, green leaves occurring at intervals. From the lower edge depend
+three ornamental tassels of silver loops, with small acorns in silver
+and coloured silks, one from the centre and one from each corner.
+
+The top edge has two draw-strings of gold and red braid, each ending in
+an ornamental oval acorn of silver thread and coloured silks, probably
+worked on canvas over a wooden core, ending in a tassel similar to those
+on the lower edge.
+
+A long loop of gold and silver braid serves as a handle, or means of
+attachment to a belt, and is fixed at each side near a strong double
+loop of silver thread, used when pulling the bag open. The lining is of
+pink silk. This particular bag is perfect in colour as well as
+condition, but usually the silver has turned black, or nearly so.
+Besides these very ornamental bags, others of quite simple workmanship
+are occasionally found, worked in outline with coloured silks. As well
+as the embroidered bags, certain rectangular cloths variously
+ornamented, some richly, some plainly, were made and used for the
+protection of embroidered books, when being read. These, like the bags,
+only seem to have been used during the seventeenth century. A
+particularly fine example belongs to a New Testament bound in
+embroidered satin in 1640. It is of fine linen, measuring 16-1/2 by
+9-1/4 inches, and is beautifully embroidered in a floral design, with
+thick stalks of gold braid arranged in curves and bearing conventional
+flowers and leaves, all worked in needle-point lace with coloured silks
+in a wonderfully skilful manner.
+
+In the centre is a double red rose with separate petals, and among the
+other flowers are corn-flowers, honeysuckles, carnations, strawberries,
+and several leaves, all worked in the same way, and appliques at their
+edges. Some, however, of the larger leaves and petals are ornamentally
+fastened down to the linen by small coloured stitches arranged in lines
+or patterns over their surfaces, as well as by the edge stitches. There
+are several spangles scattered about in the spaces on the linen, and the
+edge is bound with green silk and gold. On the book itself to which this
+cover belongs there is a good deal of the same needle-point work,
+probably executed by the same hand; but the cover is a finer piece
+altogether than the book,--in fact it is the finest example of such work
+I have ever seen.
+
+[Illustration: 2--Embroidered Cover for New Testament. London, 1640.]
+
+Abroad there have been made at various times embroidered bindings for
+books, but in no country except England has there been any regular
+production of them. I have come across a few cases in England of
+foreign work, the most important of which I will shortly describe. In
+the British Museum is an interesting specimen bound in red satin, and
+embroidered with the arms of Felice Peretti, Cardinal de Montalt, who
+was afterwards Pope Sixtus V.; the coat-of-arms has a little
+coloured silk upon it, but the border and the cardinal's hat with
+tassels are all outlined in gold cord. The work is of an elementary
+character. The book itself is a beautiful illuminated vellum copy of
+Fichet's _Rhetoric_, printed in Paris in 1471, and presented to the then
+Pope, Sixtus IV. In the same collection are a few more instances of
+Italian embroidered bindings, always heraldic in their main
+designs, the workmanship not being of any particular excellence or
+character. Perhaps altogether the most interesting Italian work of this
+kind was done on books bound for Cardinal York, several of which still
+remain, embroidered with his coat-of-arms, one of them being now in the
+Royal Library at Windsor. Although the actual workmanship on these books
+is foreign, we may perhaps claim them as having been suggested or made
+by the order of the English Prince himself, inheriting the liking for
+embroidered books from his Stuart ancestors.
+
+French embroidered books are very rare, and I do not know of any
+examples in England. Two interesting specimens, at least, are in the
+Bibliotheque Nationale, and are described and figured in Bouchot's work
+on the artistic bindings in that library. The earlier is on a book of
+prayers of the fifteenth century, bound in canvas, and worked with
+'tapisserie de soie au petit point,' or as I should call it, tent-, or
+tapestry-, stitch. It represents the Crucifixion and a saint, but M.
+Bouchot remarks of it, 'La composition est grossiere et les figures des
+plus rudimentaires.'
+
+The other instance occurs on a sixteenth-century manuscript, 'Les Gestes
+de Blanche de Castille.' It is bound in black velvet, much worn, and
+ornamented with applique embroideries in coloured silks, in shading
+stitch, probably done on fine linen. The design on the upper cover shows
+the author of the book, Etienne le Blanc, in the left-hand corner,
+kneeling at the feet of Louise de Savoie, Regent of France, to whom the
+book is dedicated. Near her is a fountain into which an antlered stag is
+jumping, pursued by three hounds.
+
+The Dutch, in the numerous excellent styles of bindings they have so
+freely imitated from other nations, have not failed to include the
+English embroidered books. In the South Kensington Museum is a charming
+specimen of their work on satin, finely worked in coloured silks with
+small masses of pearls in a rather too elaborate design of flowers and
+animals. In the British Museum, besides other instances of Dutch
+needlework, there is a very handsome volume of the _Acta Synodalis
+Nationalis Dordrechti habitae_, printed at Leyden in 1620, and bound in
+crimson velvet. It has the royal coat-of-arms of England within the
+Garter, with crest, supporters, and motto, all worked in various kinds
+of gold thread; in the corners are sprays of roses and thistles
+alternately, and above and below the coat are the crowned initials J. R.,
+all worked in gold thread.
+
+
+_Hints for Modern Broiderers._
+
+Many book-covers have been embroidered during the last few years in
+England by ladies working on their own account, or by some of the
+students at one or other of the many excellent centres now existing for
+the study and practice of the fascinating art of bookbinding.
+
+Although a large proportion of modern work of this kind has been only
+copied from older work, I see no reason why original designs should not
+be freely and successfully invented. But I think that the ancient work
+may be advantageously studied and carefully copied as far as choice of
+threads and manner of working them goes. The workers of our old
+embroidered books were people of great skill and large experience, and
+from a long and careful examination of much of their work, I am
+impressed with the conviction that they worked on definite principles.
+If I allude briefly to some of these I may perhaps give intending
+workwomen a hint or two as to some minor points which may assist their
+work to show to the best advantage when _in situ_, and also insure, as
+far as possible, that it will not be unduly damaged during the operation
+of fixing to the back and boards of the book for which it is intended.
+
+(1) Before the operation of fixing on the book is begun, it will always
+be found best to mount the embroidered work on a backing of strong fine
+linen. The stage at which it is best to add the linen will vary
+according to the kind of work it is to strengthen. In the case of canvas
+it will only be necessary to tack it on quite at the last; with velvet a
+backing from the first may be used with advantage, all the stitches
+being taken through both materials. As to satin, it will be best to do
+all the very fine work, if any, in coloured silks first, and when the
+stronger work in cord or braid comes on, the linen may be then added.
+The value of the linen is twofold: it strengthens the entire work and
+protects the finer material from the paste with which it is ultimately
+fastened on to the book.
+
+(2) A book must be sewn, the edges cut, and the boards fixed, before the
+sizes of the sides and back can be accurately measured. These sizes must
+be given to the designer most carefully, as a very small difference
+between the real size and the embroidered size will entirely spoil the
+finished effect, however fine the details of the workmanship may be.
+When the exact size is known the designer will fill the spaces at his
+disposal according to his taste and skill, making his sketches on paper,
+and, when these are complete, transferring the outlines to the material
+on which the work is to be done. If the designer is also to be the
+worker it is artistically right, and he, or she, will put in the proper
+stitches as the work progresses; but if another person is to execute the
+needlework it will be best that very detailed description of all the
+threads and stitches that are to be used should be given, as every
+designer of an embroidery design intends it to be carried out in a
+particular way, and unless this way is followed, the design does not
+have full justice done to it.
+
+(3) In the working itself the greatest care must be taken, especially as
+to two points: the first and perhaps the more important, because the
+more difficult to remedy, is that the needlework on the _under_ side of
+the material must be as small and flat as possible, and all knots,
+lumps, or irregularities here, if they cannot be avoided or safely cut
+off, had best be brought to the upper side and worked over. With satin,
+especially, attention to this point is most necessary, as unless the
+plain spaces lie quite flat, which they are very apt not to do, the
+proper appearance of the finished work is spoiled, and however good it
+may be in all other points, can never be considered first-rate.
+
+The second pitfall to avoid is any pulling or straining of the material
+during the operation of embroidering it. Success in avoiding this
+depends primarily upon the various threads being drawn at each stitch to
+the proper tension, so that it may just have the proper pull to keep it
+in its place and no more--and although a stitch too loose is bad enough,
+one too tight is infinitely worse.
+
+(4) The preponderance of applique work, and raised work in metal guimps
+on embroidered books, especially on velvet, is easily accounted for when
+the principles they illustrate are understood, the truth being that in
+both these operations the maximum of surface effect is produced with the
+minimum of under work.
+
+If the piece applique is not very large, a series of small stitches
+along all the edges is generally enough to keep it firm; such edge
+stitches are in most cases afterwards masked by a gold cord laid over
+them. If, however, the applique piece is large it will be necessary to
+fix it as well with some supplementary stitches through the central
+portions. These stitches will generally be so managed that they fit in
+with, or under, some of the ornamental work; at the same time, if
+necessary, they may be symmetrically arranged so as to become themselves
+of a decorative character.
+
+
+_The Embroidered Books here illustrated._
+
+For the purposes of illustration I have chosen the most typical
+specimens possible from such collections as I have had access to. The
+chief collections in England are, undoubtedly, those at the British
+Museum and at the Bodleian Library at Oxford. The collection at the
+British Museum is especially rich, the earlier and finer specimens
+almost invariably having formed part of the old Royal Library of England
+given by George II. to the Museum in 1757.
+
+The more recent specimens have been acquired either by purchase or
+donation, but as there has been no special intention at any time to
+collect these bindings, it is remarkable that such a number of them
+exist in our National Library. The Bodleian is rich in a few fine
+specimens only, and most of these are exhibited. My illustrations are
+made from photographs from the books themselves in all instances; to
+show them properly, however, all should be in colour, and it should not
+be forgotten that an embroidered book represented only by a half-tint
+print, however good, inevitably loses its greatest charm. However, if
+the half-tint is unworthy, the colour prints are distinctly flattering.
+I think that almost any old book well reproduced in colour gains in
+appearance, and in two of my colour plates I have actually restored some
+parts. In the beautiful fourteenth century psalter, supposed to have
+been worked by Anne de Felbrigge, I have made the colours purposely much
+clearer than they are at present. If it were possible to clean this
+volume, the colours would show very nearly as they do on my plate; but,
+actually, they are all much darker and more indistinct, being in fact
+overlaid with the accumulated dirt of centuries. The other instance
+where I have added more than at present exists on the original is the
+green velvet book which belonged to Queen Elizabeth, and forms my
+frontispiece. Here I have put in the missing pearls, each of which has
+left its little impression on the velvet, so nothing is added for which
+there is not the fullest authority. Moreover, some of the gold cord is
+gone on each of the three volumes of this work, but I have put it in its
+proper place for the purpose of illustration. The other plates are not
+in any way materially altered, but it may be allowed that the colour
+plates show their originals at their best.
+
+The books illustrated are selected out of a large number, and I think it
+may fairly be considered that the most favourable typical specimens now
+left in England are shown. It may well be that a few finer instances
+than I have been able to find may still be discovered hidden away in
+private collections, but it is now so rarely that a really fine ancient
+embroidered book comes into the sale-room, that we may safely conclude
+the best of them are already safely housed in one or other of our great
+national collections. Where not otherwise stated, the specimens
+described are in the British Museum.
+
+In the following detailed descriptions I have used the words 'sides' and
+'boards' to mean the same thing, and the measurements refer to the size
+of the boards themselves, not including the back. These measurements
+must be taken as approximate only, as from wear and other causes the
+actual sizes would only be truly given by the use of small fractions of
+inches.
+
+
+
+
+CHAPTER II
+
+BOOKS BOUND IN CANVAS
+
+
+English books bound in embroidered canvas range over a period of about
+two hundred and fifty years, the earliest known specimen dating from the
+fourteenth century, and instances of the work occurring with some
+frequency from this time until the middle of the seventeenth century.
+The majority of these bindings are worked in tapestry-stitch, or
+tent-stitch, in designs illustrating Scriptural subjects in differently
+coloured threads.
+
+Very often the outlines of these designs are marked by gold threads and
+cords, of various kinds, and parts of the work are also frequently
+enriched with further work upon them in metal threads. Spangles are very
+rarely found on canvas-bound books. The backgrounds of several of the
+later specimens are worked in silver threads, sometimes in chain-stitch
+and sometimes in tapestry-stitch; others again have the groundwork of
+silver threads laid along the surface of the canvas and caught down at
+regular intervals by small stitches--this kind of work is called 'laid'
+or 'couched' work. Books bound with this metal ground have always strong
+work superimposed, usually executed in metal strips, cords, and thread.
+The silver is now generally oxidised and much darkened, but when new
+these bindings must have been very brilliant.
+
+[Illustration: 3--The Felbrigge Psalter. 13th-century MS.]
+
+
+_The Felbrigge Psalter._ 13th-century MS. Probably bound in the
+14th century.
+
+The earliest example of an embroidered book in existence is, I believe,
+the manuscript English Psalter written in the thirteenth century, which
+afterwards belonged to Anne, daughter of Sir Simon de Felbrigge, K. G.,
+standard-bearer to Richard II. Anne de Felbrigge was a nun in
+the convent of Minoresses at Bruisyard in Suffolk, during the latter
+half of the fourteenth century, and it is quite likely that she herself
+worked the cover--such work having probably been largely done in
+monasteries and convents during the middle ages.
+
+On the upper side is a very charming design of the Annunciation, and, on
+the under, another of the Crucifixion, each measuring 7-3/4 by 5-3/4
+inches. In both cases the ground is worked with fine gold threads
+'couched' in a zigzag pattern, the rest of the work being very finely
+executed in split-stitch by the use of which apparently continuous lines
+can be made, each successive stitch beginning a little _within_ that
+immediately preceding it--the effect in some places being that of a very
+fine chain-stitch. The lines of this work do not in any way follow the
+meshes of the linen or canvas, as is mostly the case with book-work upon
+such material, but they curve freely according to the lines and folds
+of the design. It will be recognised I think by art workwomen skilled in
+this kind of small embroidery, that the methods used for ornamenting the
+canvas binding of this book are the most artistic of any of the various
+means employed for a similar purpose, and I know of no other instance
+which for appropriateness of workmanship, or charm of design, can
+compare with this, the earliest of all.
+
+The figure of the Virgin Mary, on the upper side, is dressed in a pale
+red robe, with an upper garment or cloak of blue with a gold border. On
+her head is a white head-dress, and round it a yellow halo; just above
+is a white dove flying downwards, its head having a small red nimbus or
+cloud round it. The Virgin holds a red book in her hand. The figure of
+the angel is winged, and wears an under robe of blue with an upper
+garment of yellow; round his head he has a green and yellow nimbus, his
+wings are crimson and white.
+
+Between these two figures is a large yellow vase, banded with blue and
+red; out of it grows a tall lily, with a crown of three red blossoms.
+
+The drawing of both of the figures is good, the attitudes and the
+management of the folds of the drapery being excellently rendered, and
+the execution of the technical part is in no way inferior to the design.
+
+On the lower side, on a groundwork of gold similar to that on the upper
+cover, is a design of the Crucifixion. Our Saviour wears a red garment
+round the loins, and round his head is a red and yellow nimbus, his feet
+being crossed in a manner often seen in illuminations in ancient
+manuscripts.
+
+The cross is yellow with a green edge, the foot widening out into a
+triple arch, within which is a small angel kneeling in the attitude of
+prayer. On the right of the cross is a figure of the Virgin Mary, in
+robes of pale blue and yellow, with a white head-dress and green and
+yellow nimbus. On the left is another figure, probably representing St.
+John, dressed in robes of red and blue, and having a nimbus round his
+head of concentric rings of red and yellow. This figure is unfortunately
+in very bad condition. The edges of the leaves of the book are painted
+with heraldic bearings in diamond-shaped spaces, that of the Felbrigge
+family 'Gules, a lion rampant, or' alternately with another 'azure, a
+fleur-de-lys, or.' The embroidered sides have been badly damaged by time
+and probably more so by repair. The book has been rebound in leather,
+the old embroidered back quite done away with, and the worked sides
+pulled away from their original boards and ruinously flattened out on
+the new ones. After the Felbrigge Psalter no other embroidered binding
+has been preserved till we come to one dating about 1536, which is in
+satin, and will be described under that head.
+
+
+_The Miroir or Glasse of the Synneful Soul._ MS. by the
+Princess Elizabeth. 1544.
+
+The Princess Elizabeth, afterwards Queen, in her eleventh year, copied
+out in her own handwriting the _Miroir or Glasse of the Synneful Soul._
+She says it is translated 'out of frenche ryme into english prose,
+joyning the sentences together as well as the capacitie of my symple
+witte and small lerning coulde extende themselves.' It is also most
+prettily dedicated: 'From Assherige, the last daye of the yeare of our
+Lord God 1544 ... To our most noble and vertuous Quene Katherin,
+Elizabeth her humble daughter wisheth perpetuall felicitie and
+everlasting joye.'
+
+The book is now one of the great treasures of the Bodleian Library; it
+is bound in canvas, measures about 7 by 5 inches, and was embroidered in
+all probability by the hands of the Princess herself. The Countess of
+Wilton in her book on the art of needlework says that 'Elizabeth was an
+accomplished needlewoman,' and that 'in her time embroidery was much
+thought of.' The Rev. W. Dunn Macray in his _Annals of the Bodleian
+Library_ considers this binding to be one of 'Elizabeth's bibliopegic
+achievements.'
+
+[Illustration: 4--The Miroir or Glasse of the Synneful Soul. MS. by the
+Princess Elizabeth. 1544.]
+
+[Illustration: 5--Prayers of Queen Katherine Parr. MS. by the Princess
+Elizabeth. 1545.]
+
+The design is the same upon both sides. The ground is all worked over in
+a large kind of tapestry-stitch in thick pale blue silk, very evenly and
+well done, so well that it has been considered more than once to be a
+piece of woven material. On this is a cleverly designed interlacing
+scroll-work of gold and silver braid, in the centre of which are the
+joined initials K. P.
+
+In each corner is a heartsease worked in thick coloured silks, purple
+and yellow, interwoven with fine gold threads, and a small green leaflet
+between each of the petals. The back is very much worn, but it probably
+had small flowers embroidered upon it.
+
+
+_Prayers of Queen Katherine Parr._ MS. by the Princess
+Elizabeth. 1545.
+
+Another manuscript beautifully written by the Princess Elizabeth about a
+year later is now at the British Museum. It is on vellum, and contains
+prayers or meditations, composed originally by Queen Katherine Parr in
+English, and translated by the Princess into Latin, French, and Italian.
+The title as given in the book reads, 'Precationes ... ex piis
+scriptoribus per nobiliss. et pientiss. D. Catharinam Anglie, Francie,
+Hibernieq. reginam collecte, et per D. Elizabetam ex anglico converse.'
+It is, moreover, dedicated to Henry VIII., the wording being,
+'Illustrissimo Henrico octavo, Anglie, Francie, Hibernieq. regi,' etc.,
+and dated Hertford, 20th December 1545.
+
+It is bound in canvas, and measures 5-3/4 by 4 inches, the groundwork
+being broadly worked in tapestry-stitch, or some stitch analogous to it,
+in red silk, resembling in method the work on the ground of _The Miroir
+of the Synneful Soul_ already described. On this, in the centre of each
+side, is a large monogram worked in blue silk, interwoven with silver
+thread, containing the letters K, probably standing for Katherine, A, F,
+H, and R, possibly meaning 'Anglie, Francie, Hibernieque, Reginae,' but
+like most monograms this one can doubtless be otherwise interpreted.
+Above and below the monogram are smaller H's, worked in red silk,
+interwoven with gold thread. In each corner is a heartsease of yellow
+and purple silk, interwoven with gold thread, and having small green
+leaves between each of the petals. The work which was once on the back
+is now so worn that it cannot be traced sufficiently to tell what it
+originally was. The designs of these two volumes, credited to the
+Princess Elizabeth, resemble each other to some extent; they both have a
+monogram in the centre, they both have heartsease in the corners and
+groundwork of a like character. They are, as far as workmanship goes,
+still more alike, similar thick silk is used for the ground, and threads
+and braids of a thick nature, with metal interwoven, are used on both
+for the ornamental work. Speaking of this British Museum book, the
+Countess of Wilton says, 'there is little doubt that Elizabeth's own
+needle wrought the ornaments thereon.'
+
+
+_Books embroidered by the Princess Elizabeth._
+
+It cannot be said that there is any actual authority for saying that the
+two covers just described are really the work of Elizabeth's own hand,
+although she is known to have been fond of embroidery, it being recorded
+that she made and embroidered a shirt for her brother Edward when she
+was six. There is little doubt, however, that the same designer and the
+same workwoman worked both these covers, and the technique, as well as
+the design, are peculiar for the time in which they were done. Canvas
+bindings were rare--most of the embroidered work on books of that period
+were splendid works on velvet--so that if these two manuscripts had been
+'given out' to be bound in embroidered covers we should have expected to
+find them in rich velvet, like Brion's _Holy Land_, or Christopherson's
+_Historia Ecclesiastica_, instead of a very elementary braid work.
+Without attaching too much importance to the various statements
+concerning their royal origin, I am inclined to think that there is no
+impossibility, or even improbability, in the supposition that the
+Princess designed and worked them herself, thereby adding to her
+exquisite manuscript the further charm of her clever needle. The idea of
+both writing and embroidering such valued presents as these two books
+must have been is likely to have strongly appealed to an affectionate
+and humble daughter, and there is an artistic completeness in the idea
+which, I think, tells strongly in its favour.
+
+Probably enough no proof of their having been worked by Elizabeth will
+now ever be forthcoming, but it is equally unlikely that any positive
+disproof will be found.
+
+The two 'Elizabeth' books stand alone--there are no others resembling
+them; but the next kind of embroidered work I shall describe is one
+which includes a large number of books, generally small in size, and
+usually copies of the Bible or the Psalms. The canvas in these cases is
+embroidered all over in small tapestry-stitch, the design being shown by
+means of the different colours of the silks used. The work being all
+flat it is very strong, and often books bound in this way are in a
+marvellous state of preservation. The most interesting designs are those
+which represent Scriptural scenes. Some of these are very curious and
+almost grotesque, but there is much excuse for this. To work a face any
+way in embroidery is troublesome enough, but to work it on a small scale
+in tent-stitch is especially difficult, the result being somewhat
+similar in effect to that of a glass or marble mosaic, each little
+stitch being nearly square and of an uniform colour. The designers of
+these embroideries do not appear to have had a very fertile imagination,
+as again and again the same subject is represented. Perhaps the most
+favourite of all is Jacob wrestling with the angel; of figure subjects
+'Faith and Hope' are the most frequently met with, but 'Peace and
+Plenty' are also common enough.
+
+[Illustration: 6--Christian Prayers. London, 1581.]
+
+
+_Christian Prayers._ London, 1581.
+
+A _Book of Christian Prayers_ with illustrated borders, printed in
+London in 1581, is bound in coarse canvas worked in tapestry-stitch in
+colours, and measures 7 by 5 inches. The same design is on each side--a
+kind of flower-basket in two stories, out of the lower part of which,
+rectangular in shape, grow two branches, one with lilies and another
+with white flowers, and out of the upper, oval in shape, rise two sprays
+of roses, one white the other red.
+
+In the lower corners are a large lily, a blue flower, and a large
+double-rose spray. All the design is outlined with silver cord or
+thread, and the veinings of the leaves are indicated in the same way.
+There are remains of two green velvet ties on the front edges of each of
+the boards. The back is not divided into panels, but has a design upon
+it of the letters E and S repeated five times. The edges are gilt and
+gauffred.
+
+
+_Psalms and Common Praier._ London, 1606-7.
+
+During the seventeenth century little 'double' books were rather
+favourite forms for Common Prayer and Psalms especially. These curious
+bindings open opposite ways and have two backs, two ornamental boards,
+and one unornamented board enclosed between the two books, which are
+always of the same size.
+
+There are several instances where embroidered books have been bound in
+this way, the earliest I know being a copy of the Psalms and Common
+Prayer, printed in 1606-7.
+
+This is bound in canvas, and measures 3-1/4 by 2 inches, each side
+having the same design embroidered on each of the ornamented sides and
+backs. The flowers and leaves are worked in long straight stitches in
+coloured silks, outlined with silver twist. A large pansy plant occupies
+the place of honour, growing out of a small green mound, from which also
+spring two short plants with five-petalled yellow flowers. The main
+stems and ribs of the leaves are made with strong silver twist. Round
+about the central spray are several coloured buds. On the backs are four
+panels, each containing a small four-petalled flower. The ground is
+worked all over with silver thread irregularly stitched, and the edges
+are bound with a broad silver thread. There was originally one ribbon to
+twist round both books and keep them together, but it is now quite
+gone. The edges are gilt, gauffred, and slightly coloured.
+
+[Illustration: 7--Psalms and Common Praier. London, 1606.]
+
+[Illustration: 8--Bible, etc. London, 1612.]
+
+
+_Bible, etc._ London, 1612.
+
+A copy of the Bible, with the Psalms, printed in London in 1612, and
+measuring 6-3/4 by 4-1/4 inches, is bound in fine canvas, and bears upon
+it designs embroidered in coloured silks in tapestry-stitch.
+
+On the upper side is King Solomon seated in an elaborate throne on a
+dais, all outlined with gold cord. He wears a golden crown and a dress
+which more nearly approaches the style worn at the date of the
+production of the book than that which was probably worn by Solomon
+himself. Before the King kneels a figure, no doubt intended for the
+Queen of Sheba, in a red and orange robe of a curious fashion. She holds
+out two white and red roses to the King, who bends to take them. The
+ground is patterned in green and blue diamonds. The distant landscape
+shows a castle with turrets, trees, a tower, a house, and a sun with
+rays. The groundwork on both sides and the back is worked in silver
+thread.
+
+The lower side has in the centre Jacob wrestling with the angel. Jacob
+has a beard and a blue cloak; his staff lies on the ground. The angel
+wears a red flowing robe, and his wings are many-coloured, and enriched
+with various threads and spirals of gold. The landscape is elaborate. In
+the foreground is a river with a bridge of planks, a gabled cottage,
+hospitably smoking from its chimneys, a red lily, and a tree. In the
+middle distance is a castle with tower and flag, and on the horizon are
+a windmill, a castle with two towers, and some trees, above all a red
+cloud. The back is divided into six panels, on each of which is a
+different design in coloured silks. These designs are small, and
+although they are in perfectly good condition, the subjects represented
+are doubtful. The upper and lower panels seem to represent only castles
+with towers. Then apparently come Jonah and the whale, the creation, the
+temple, and the deluge with the ark, but it is quite possible that other
+interpretations might be made. There are remains of two red silk ties on
+the front edges of each board, and the edges of the leaves are gilded
+simply.
+
+[Illustration: 9--Sermons by Samuel Ward. London, 1626-7.]
+
+
+_Sermons by Samuel Ward._ London, 1626-7.
+
+Mr. Yates Thompson has kindly allowed me to describe and illustrate an
+embroidered book belonging to him, bound in canvas, and measuring 5-3/4
+by 4-1/4 inches. It is a collection of sermons preached by 'Samuel
+Ward, Bachelour of Divinity,' and printed in London, 1626-7, the binding
+being probably of about the latter date. On the upper cover is a lady in
+a blue dress, seated, and holding a hawk on her left wrist, and a branch
+with apples in her right. Round her are scattered flower sprays,
+honeysuckle, foxglove, a stalk with two large pears, a cluster of
+grapes, a twig with a butterfly upon it, and a wild-rose spray. The
+lady, the petals of the flowers, and the leaves are all worked in
+tapestry-stitch; the bird and the lady's hair in long straight stitches;
+the stalks, fruits, and grasses are worked in variously coloured silk
+threads, thickly and strongly bound round with very fine silver wire.
+The lady has a coif, cuff, and belt of short pieces of silver and gold
+guimp arranged like a plait.
+
+The under side shows a seated lady in a green dress, playing a lute
+left-handed. This most unusual position is probably not really
+intentional, but the drawing has accidentally been reversed. She is
+surrounded, like her companion with the hawk, by flower sprays, a
+thistle, cornflower, strawberries, a rose, lily, bluebell, and small
+bunch of grapes, making a kind of arbour, with a wreath of red cloud at
+the top. The lady, the petals of the flowers, and the leaves are worked
+in fine tapestry-stitch; the stalks and fruits in coloured silks, mixed
+with silver wire. The lady has a coif and a cuff of silver guimp
+arranged in the same way as that on the other side.
+
+The back is divided into four panels by silver guimp, each containing a
+flower worked in tapestry-stitch, a blue flower, a wild rose, a pansy,
+and a thistle. The ground of the whole is loosely overcast with silver
+thread, the constructive lines of the book being marked by rows of
+silver guimp arranged in small arches. The edges are bound by a strong
+silver braid. The head and tail bands are worked in silver thread--an
+unusual method--and the edges are gilt and gauffred.
+
+There are two ties on each board of striped silk, much frayed and worn,
+but the embroidered work itself is in excellent condition, and very
+strong.
+
+
+_New Testament, etc._ London, 1625-35.
+
+[Illustration: 10--New Testament, etc. London, 1625-35.]
+
+A small copy of the New Testament, printed in London in 1625, bound
+together with the Psalms, 1635, is covered with canvas, all worked in
+tapestry-stitch, and measures 4-1/4 by 3 inches.
+
+On the upper cover is a full-length figure of Hope, with dark hair,
+dressed in a red dress with large falling collar, having a blue flower
+at the point. In her left hand she holds an anchor. In the distant
+background is a cottage and a gibbet on a hill, the sun with rays just
+appearing under a cloud. On the hilly foreground is a red lily, and
+further afield a caterpillar and a strawberry plant. On the lower cover
+is a full-length figure of Faith, with fair hair, dressed in a blue
+dress with large falling collar, having a red flower at the point. In
+her left hand she holds an open book with the word 'FAITH'
+written across it. On the hilly foreground is a large red tulip and a
+plant with red blooms, further afield are a pear-tree and two
+caterpillars.
+
+On the back are four panels, containing respectively a bird, a blue
+flower, a squirrel, and a red flower.
+
+On the front edge of the upper cover can be seen the remains of one tie
+of green silk, and the edges are protected all round by a piece of green
+silk braid. The edges of the leaves are plainly gilt.
+
+This cover is one of the rare instances of a book bound in embroidered
+work not made for it, the embroidery being clearly made for a book of
+about half the present thickness. It is possible that it was intended
+for either the New Testament or the Psalms separately, and, as an
+after-thought, was made to do double duty. But as it now is, the worked
+back is just a strip down the middle of the back itself, the designs of
+the sides encroaching considerably inwards.
+
+
+_The Daily Exercise of a Christian._ London, 1623.
+
+_The Daily Exercise of a Christian_, printed in London in 1623, and
+measuring 4-3/4 by 2-3/4 inches, is ornamented with a single flower
+spray, with buds and leaves. The flower is a double rose with curving
+stem, one large half-opened bud and one smaller, and a few leaves, all
+worked in tent-stitch. The spray rises from a small bed of grass, out of
+which grows a small blue flower. In the upper right-hand corner is a
+small blue cloud. The same design is on both sides. The back is divided
+into four panels, the divisions being marked and bounded by a thick
+silver braid, which is also used as an edging all round the book; the
+designs, beginning at the top, are a fly and a flower alternately,
+differently coloured.
+
+The background is all worked in with silver thread in chain-stitch. With
+this book is one of the now rare ornamental markers, which, no doubt,
+often went with embroidered books. It is fastened to an ornamental
+oblong cushion, probably made of light wood, and is worked in silver
+thread and coloured silks in the same manner as the rest of the
+embroidered work, and finished off at the ends with small red tassels.
+
+[Illustration: 11--The Daily Exercise of a Christian. London, 1623.]
+
+[Illustration: 12--Bible. London, 1626.]
+
+
+_Bible._ London, 1626-28.
+
+A copy of the Bible, printed in London in 1626, is bound in canvas,
+and measures 6 by 3-1/2 inches.
+
+The embroidery is in coloured silks, silver cords and threads, and
+silver guimp. On the upper cover is a small full-length figure of St.
+Peter, with short beard, holding a key in his left hand. He is dressed
+in a blue under-garment, with red and orange robe over it, all the edges
+being marked by a silver twist, some of which has come off. The ground
+is green and in hillocks. All this work is done in coloured silks and
+silver threads in shading stitch.
+
+On the under side is a figure of St. Paul, with long beard, holding a
+silver sword in his right hand. He wears a blue under-garment, with red
+and orange upper robe, all edged with silver twist. The feet of both
+figures are bare. The rest of the design is the same on both sides. The
+skies are worked in large stitches of blue and yellow silk and silver
+threads, graduating from dark to light; above these are canopies of
+silver thread, couched, and vandyked at the edge. Enclosing the figures
+are arches with columns, in high relief in silver cords and threads. The
+inner edge of the arch is curiously marked by a line of brown silk
+worked over a strip of vellum in the manner used for hand-worked
+head-bands, and the outer edge has 'crockets' of silver guimp. The
+columns rest upon 'rams-horn' curves, heavily worked in relief with
+silver threads, the insides of the curves worked in brown silk over
+vellum like the inner edge of the arch.
+
+
+_Metal Threads used on Embroidered Books._
+
+Guimp and gold threads are largely used, as has already been noticed,
+in embroidered books from early times, but on the next specimen of a
+canvas-bound book I have chosen for description, dated 1642, a kind of
+metal thread occurs which is very curious. It is used at an earlier date
+on satin books, and it is also found more commonly upon them; but as I
+have put the canvas books first for the purpose of description, and the
+'thread' occurs in one of them, this is the best place to put its
+description. This thread I call 'Purl,' and a thread with this name is
+mentioned in several places as having been used in England in the
+seventeenth century; but there is no description of it, so that this
+thread may not be the 'purl' mentioned by the seventeenth-century
+writers, but if it is not, I do not know what purl is, neither do I know
+any other special name for the thread. In order that there may be no
+doubt as to what I mean by purl, I will shortly describe the thread as I
+know it.
+
+First there is a very fine copper wire; this is closely bound round with
+coloured silk, also very fine, and in this state it looks simply like a
+coloured thread. Then this coloured thread is itself closely coiled
+round something like a fine knitting-needle--in fact I have made it on
+one--and then pushed off in the form of a fine coiled tube. The thread
+is always cut into short lengths for use, and on books these short
+lengths are generally threaded and drawn together at their ends,
+making, so to speak, little arches--so that although on the under side
+of the material there is only a tiny thread, on the upper side there is
+a strong arch, practically of copper. On boxes and other ornamental
+productions of this same period, pieces of purl are not infrequently
+found laid flat like little bricks; and houses, castles, etc., are often
+represented by means of it; but on books the general use is either for
+flowers, grounds, or (in very small pieces) to keep on spangles.
+Obviously any coloured silk can be used in making this thread, so that
+it may be said that for coloured silk work, where strength is required,
+flowers worked in purl are the best. The colours used when roses are
+represented are usually graduated,--yellow or white in the centre, then
+gradually darkening outward, yellow, pale pink, and red, or pale yellow,
+pale blue, and dark blue. Purl flowers are usually accessories to some
+regular design, but, in one instance at least, to be described later on,
+it supplies the entire decoration of a small satin book.
+
+
+_Bible, etc._ London, 1642.
+
+The design on a Bible with Psalms, printed in London in 1642, bound in
+fine canvas, and measuring 6 by 3-1/2 inches, is the same on both sides.
+The ground is all laid, or couched, with silver threads, caught down at
+intervals by small white stitches. In the centre is a circular silver
+boss, and out of this grow four lilies worked with silver thread in
+button-hole stitch; each of these lilies has a shape similar to its own
+underneath it, outlined with fine gold cord, and filled in with red
+silk; representing altogether white flowers with a red lining. These
+four red and white lilies make together the form of a Maltese cross, and
+between each of the arms is a purl rose with yellow centre and graduated
+blue petals. A double oval, with the upper and lower curves larger than
+the side ones, marked with a thick gold cord, encloses the central
+cross, and the remaining spaces are filled with ovals and lines of gold
+guimp, with here and there a little patch of red or yellow purl, the
+extremities of the upper and lower ovals being filled with threads of
+green silk loosely bound with a silver spiral, worked to represent a
+green plot.
+
+[Illustration: 13--Bible, etc. London, 1642.]
+
+The upper and lower curves of the oval are thickened by an arch of gold
+thread laid lengthwise, and kept in place by little radiating lines of
+red silk. In each corner is a purl rose, with blue centre, the petals
+graduating in colour from pale yellow to dark red, with leaf forms and
+stalks of gold cord and guimp. At the top and bottom of the oval is a
+many-coloured purl rose, and the spaces still left vacant are dotted
+with little pieces of red, blue, and yellow purl and spangles. On the
+front edges are the remains of two red silk ties.
+
+[Illustration: 14--Bible. London, 1648.]
+
+The back is divided into four panels by a thick gold twist. The upper
+and lower panels have each a blue purl rose worked in them, with a white
+and red lily in the same silver thread as those on the sides, with gold
+leaves and stalks; the two inner panels contain each three purl roses,
+with gold leaves and stems. The upper of these panels has a large rose
+of blue, yellow, and red, and two smaller ones yellow with blue centres;
+the lower panel has a large rose of red, pink, and yellow, and two
+smaller ones of red, with yellow centres.
+
+Dotted about the groundwork of the panels are several spangles and short
+lengths of coloured purl.
+
+The edges of the leaves are plainly gilt.
+
+
+_Bible._ London, 1648.
+
+A Bible, printed in London in 1648, formerly the property of George
+III., is bound in canvas, and has embroidered upon the boards
+emblematic representations of Faith and Hope. It measures 6-3/4 by 4-3/4
+inches.
+
+On the upper side is a full-length figure of Faith. She has fair hair,
+and is dressed in an orange and red dress cut low, and showing in the
+front a pale blue under garment. She has a large white collar and cuffs,
+both in point-lace, and bears in her right hand an open book with the
+word 'FAITH' written upon it, while her left hand rests upon a
+pointed shield, pale purple with a yellow centre. She is standing upon a
+rounded hillock, on which are a strawberry plant with two fruits, two
+caterpillars, a red tulip, and another flower.
+
+In the right-hand upper corner is a turreted and gabled house, the
+windows of which are marked with little glittering pieces of talc. Below
+the house is a caterpillar and a large blue butterfly. In the left-hand
+upper corner is the sun, in gold, just appearing under a blue cloud.
+Underneath this, in succession, come a tree with a butterfly upon it, a
+bird, most likely meant for a wren, and another caterpillar. The remains
+of two red tie-ribbons are near the front edges. The background is
+worked in silver thread, and the edges of the boards are bound with
+silver braid having a thread or two of red silk on the innermost side.
+
+On the under cover Hope appears in a curiously worked upper garment of
+blue and white, short in the sleeves, in needlepoint, with a belt. Under
+this is a dress of red and orange, showing a blue under skirt in front.
+A scarf of the same colour as the dress is gracefully folded over the
+shoulders and hangs over the left arm; a rather deep collar and cuffs
+are both worked in needlepoint. The right hand rests upon an anchor with
+a 'fouled' rope.
+
+Hope stands upon a rounded hillock, on which are a snail and spray of
+possible foxglove, and out of which grow a red carnation and another
+flower. In the upper right-hand corner is a gabled cottage with a tree,
+and under it a moth, flower, and caterpillar. Towards the upper
+left-hand corner is a bank of cloud with red and yellow rays issuing
+therefrom, and under it a pear-tree with flower and fruit, and a
+many-coloured butterfly. All the background is worked in silver thread.
+
+The five panels of the back, indicated with silver cord, are each filled
+with a different design. Beginning at the top, these are: a rose, a
+parrot with a red fruit, a double rose, a lion, and a lily. The edges
+are plainly gilt.
+
+
+
+
+CHAPTER III
+
+BOOKS BOUND IN VELVET
+
+
+It seems probable that velvet was a favourite covering for royal books
+in England from an early period. Such volumes as remain 'covered in
+vellat' that belonged to Henry VII. are, however, not embroidered,
+the ornamentation upon them being worked metal, or enamels
+upon metal. It is not until the time of Henry VIII. that we
+have any instances remaining of books bound in embroidered velvet.
+
+Velvet is very troublesome to work upon, the pile preventing any
+delicate embroidery being done directly upon it, hence the prevalence of
+gold cords and applique work on canvas or linen, on which of course the
+embroidery may be executed as delicately as may be desired.
+
+
+_Tres ample description de toute la terre Saincte, etc._ [By Martin de
+Brion.] MS. of the sixteenth century, probably bound about
+1540.
+
+[Illustration: 15--Tres ample description de toute la terre Saincte,
+etc. MS. 1540.]
+
+The earliest extant English binding in embroidered velvet covers this
+manuscript, which belonged to Henry VIII., and is dedicated to
+him. The manuscript is on vellum, and is beautifully illuminated. It is
+bound in rich purple velvet, and each side, measuring 9 by 6 inches, is
+ornamented with the same design. In the centre is a large royal
+coat-of-arms, surrounded by the garter, and ensigned with a royal crown.
+The coat-of-arms and the garter are first worked in thick silks of the
+proper colours, red and blue, laid or couched, with small stitches of
+silk of the same colour, arranged so as to make a diamond pattern, on
+fine linen or canvas. On the coat are the arms of France and England
+quarterly; the bearings, respectively three fleur-de-lys and three
+lions, are solidly worked in gold cord, and the whole is applique on to
+the velvet with strong stitches. On the blue garter the legend 'Honi
+soit qui mal y pense' is outlined in gold cord, between each word being
+a small red rose, the buckle, end, and edge of the garter being marked
+also in gold cord, and the whole applique like the coat. The very
+decorative royal crown is solidly worked in gold cords of varying
+thickness directly on to the velvet. The rim or circlet has five square
+jewels of red and blue silk along it, between each of these being two
+seed pearls. From the rim rise four crosses-patee and four
+fleurs-de-lys, at the base of each of which is a pearl, and also one in
+each inner corner of the crosses-patee. Four arches also rise from the
+rim, the two outer ones each having three small scrolls with a pearl in
+the middle; at the top is a mound and cross-patee, with a pearl in each
+of its inner corners. There is a letter H on each side of the
+coat-of-arms, and these letters were originally doubtless worked with
+seed pearls, but the outlines of them alone are now left. In each corner
+is a red Lancastrian rose worked on a piece of satin, applique, the
+centres and petals marked in gold cord, and the whole enclosed in an
+outer double border of gold cord. On the front edges of each side are
+the remains of two red silk ties.
+
+This is certainly a very handsome piece of work, and is wonderfully
+preserved. It is the earliest example of a really fine embroidered book
+on velvet in existence, and it has perhaps been more noticed and
+illustrated than any other book of its kind. The crown has an
+interesting peculiarity about it, which does not appear, as far as I
+have observed, on any other representation of it, namely, that the four
+arches take their rise directly from the rim. They generally rise from
+the summits of the crosses-patee, but I should fancy that the rise from
+the circlet itself is more correct.
+
+[Illustration: 16--Biblia. Tiguri, 1543.]
+
+
+_Biblia._ Tiguri, 1543.
+
+This Bible also belonged to Henry VIII. It is bound in velvet,
+originally some shade of red or crimson, but now much faded. It measures
+15 by 9-1/4 inches. It is ornamented with arabesques and initials all
+outlined with fine gold cord. In the centre are the initials H. R., bound
+together by an interlacing knot, within a circle. Arabesques above and
+below the circle make up an inner panel, itself enclosed by a broad
+border of arabesques, with a double, or Tudor, rose in each corner. The
+edges of the leaves of the book are elaborately painted with heraldic
+designs.
+
+It has been re-backed with leather, but still retains the original
+boards.
+
+[Illustration: 17--Il Petrarcha. Venetia, 1544.]
+
+
+_Il Petrarcha._ Venetia, 1544.
+
+Another fine example of the decorative use of Heraldry occurs on a copy
+of Petrarch printed at Venice in 1544, and probably bound about 1548,
+after the death of Henry VIII. It belonged to Queen Katherine
+Parr, and bears her arms with several quarterings--worked applique on
+rich blue purple velvet, and measures 7 by 6 inches. The first coat is
+the 'coat of augmentation' granted to the Queen by Henry
+VIII.--'Argent, on a pile gules, between six roses of the same,
+three others of the field'--and the next coat is that of 'Parr.'
+
+The various quarterings on this coat are worked differently from those
+on the last book described. Here the red and blue are well shown by
+pieces of coloured satin--except in the first, fifth, and seventh coats,
+where there is some couched work in diamond pattern, just like that on
+Martin Brion's book. The entire coat, which is of an ornamental shape,
+is applique in one large piece, and edged by a gold cord. The crown
+surmounting it is heavily worked in gold guimp--the cap being
+represented in crimson silk thread and all applique. There are two
+supporters--that on the right, an animal breathing flame, and gorged
+with a coronet from which hangs a long chain, all worked in coloured
+silks on linen and applique, belongs to the Fitzhugh family, the coat of
+which is shown on the third quarter; that on the left, a wyvern argent,
+also gorged with a coronet, from which depends a long gold chain, is
+that of the Parr family. The wyvern is a piece of blue silk, finished in
+gold and silver cords, in applique. The gold cord enclosing the armorial
+design is amplified at each corner into an arabesque scroll. The book
+has been most unfortunately rebound, and the work is badly strained in
+consequence--the back being entirely new; nevertheless it is in a
+wonderful state of preservation. It is said to have been worked by Queen
+Katherine Parr herself. The design is too large for the book, and the
+crown is too large for the coat-of-arms. It is probable that the binding
+of the book was done after the death of Henry VIII., otherwise
+the supporters would have been the lion and the greyhound; also the
+coat-of-arms would have been different; also, as the Seymour coat does
+not appear, it is likely that the binding was done before Queen
+Katherine Parr's marriage with Lord Seymour of Sudley, in 1547. The
+design is the same on both sides.
+
+[Illustration: 18--Queen Mary's Psalter. 14th-century MS.]
+
+
+_Queen Mary's Psalter._ 14th-century MS. Bound about 1553.
+
+The beautiful English manuscript of the fourteenth century known as
+'Queen Mary's Psalter' was presented to her in 1553. It is bound in
+crimson velvet, measuring 11 by 6-3/4 inches, and applique on each side
+is a large conventional pomegranate-flower worked on fine linen in
+coloured silks and gold thread. This flower is much worn, but enough is
+left to show that it was originally finely worked. Queen Mary used the
+pomegranate as a badge in memory of her mother, Katharine of Aragon. The
+volume has been re-backed in plain crimson velvet, and still retains the
+original gilt corners with bosses, and two clasps, on the plates of
+which are engraved the Tudor emblems,--portcullis, dragon, lion, and
+fleur-de-lys.
+
+
+Christopherson, _Historia Ecclesiastica_. Lovanii, 1569.
+
+Many fine bindings in embroidered velvet of the time of Queen Elizabeth
+still remain, several of them having been her own property.
+
+One of the most decorative of these last is unfortunately in a very bad
+state, owing possibly to the fact that there were originally very many
+separate pearls upon it, and that these have from time to time been
+wilfully picked off. The book is in three volumes, and is a copy of the
+_Historia Ecclesiastica_, written by Christopherson, Bishop of
+Chichester, and printed at Louvain in 1569. Each of these volumes is
+bound in the same way, so the description of one of them will serve for
+all, except that no one volume is perfect, so the description must be
+taken as representing only what each originally was.
+
+It is covered in deep green velvet, and measures 6 by 3-1/2 inches, the
+design being the same on each side. In the centre the royal coat-of-arms
+is applique in blue and red satin, on an ornamental cartouche of pink
+satin, with scrolls of gold threads and coloured silks, richly dotted
+with small pearls. The bearings on the coats-of-arms are solidly worked
+in fine gold threads.
+
+From each corner of the sides springs a rose spray, with Tudor roses of
+red silk mixed with pearls, and Yorkist roses all worked in pearls
+clustering tight together, the leaves and stems being made in gold cord
+and guimp. A decoratively arranged ribbon outlined with gold cord and
+filled in with a line of small pearls set near each other, encloses the
+design, and numerous single pearls are set in the spaces between the
+roses and their leaves and stems.
+
+[Illustration: 20--Christian Prayers. London, 1570.]
+
+The back is divided into five panels bearing alternately Yorkist roses
+of pearls and Tudor roses of red silk and pearls, all worked in the
+same way as the roses on the sides.
+
+The illustration I give of this binding (Frontispiece) is necessarily a
+restoration. But there is nothing added which was not originally on the
+book. Each pearl that has disappeared has left a little impress on the
+velvet, and so has each piece of gold cord which has been pulled off.
+The back is still existing; but bad though both sides and back now are,
+it is much better they should be in their present condition than that
+they should have been mended or replaced in parts by newer material.
+
+
+_Christian Prayers._ London, 1570.
+
+A simpler binding, but still one of great richness, covers a copy of
+_Christian Prayers_, printed in London in 1570.
+
+This is covered in crimson velvet, measuring 6 by 3-1/2 inches, and is
+worked largely with metal threads, mixed with coloured silks. In the
+centre is the crest of the family of Vaughan--a man's head with a snake
+round the neck. The crest rests on a fillet, and is enclosed in a
+twisted circle of gold with four coloured bosses. From the upper and
+lower extremities of this circle spring two flower forms in gold and
+silver guimp, with sprays issuing from them bearing strawberries, grape
+bunches, and leaves, in the upper half, and roses and leaves in the
+lower. The grapes are represented by rather large spangles, and the
+leaves, worked in gold, have a few strands of green silk in them; large
+spangles, kept down by a short piece of guimp, are used to fill in
+spaces here and there. This is the first instance of the use of spangles
+on a velvet book. The back is tastefully ornamented with gold cord
+arranged diamond-wise, and having in each diamond a flower worked in
+gold.
+
+
+Parker, _De antiquitate Ecclesiae Britannicae_. London, 1572.
+
+This is one of the embroidered books that belonged to Queen Elizabeth,
+and has been frequently illustrated and described. It is remarkable in
+other respects than for its binding, as it is one of a number of
+probably not more than twenty copies of a work by Matthew Parker,
+Archbishop of Canterbury, _De antiquitate Ecclesiae Britannicae_, printed
+for him by John Day in London, 1572. It was the first instance of a
+privately printed book being issued in England.
+
+[Illustration: 21--Parker, De antiquitate Ecclesiae Britannicae.
+London, 1572.]
+
+Archbishop Parker had a private press, and his books were printed with
+types cast at his own cost, John Day being sometimes employed as his
+workman. No two copies of this particular work are alike, and it is
+supposed that the Archbishop continually altered the sheets as they came
+from the press and had the changes effected at once. The book has two
+title-pages, each of which, as well as a leaf containing the arms of
+the Bishops in vellum, the ornamental borders, and coats-of-arms
+throughout the book, are emblazoned in gold and colours.
+
+The biographies of sixty-nine Archbishops are contained in the book, but
+not Parker's own. This omission was supplied afterwards by a little
+satirical tract published in 1574, entitled 'Histriola, a little storye
+of the actes and life of Matthew, now archbishop of Canterbury.'
+
+But the Archbishop not only had his printing done under his own roof,
+but also had in his house 'Paynters ... wryters, and Boke-binders,' so
+that it may fairly enough be considered that he bound the splendid copy
+of his great work which was intended for the Queen's acceptance, in a
+specially handsome manner, under his own direct supervision, and in
+accordance not only with his own taste but also with that of his royal
+mistress. The volume is a large one, measuring 10 by 7 inches, and is
+covered in dark green velvet. On both sides the design is a rebus on the
+name of Parker, representing in fact a Park within a high paling. The
+palings are represented as if lying flat, and are worked in gold cord
+with flat strips of silver, on yellow satin applique. There are gates
+and other small openings in the continuity of the line of palings. On
+the upper cover within the paling is a large rose-bush, bearing a large
+Tudor rose and two white roses in full bloom, with buds and leaves,
+some tendrils extending over the palings. The stalks are of silver twist
+edged with gold cord, the red flowers are worked with red silk and gold
+cord, the white ones made up with small strips of flat silver and gold
+cord. Detached flowers and tufts of grass grow about the rose-tree;
+among these are two purple and yellow pansies, Elizabeth's favourite
+flowers, and in each corner is a deer, one 'courant,' one 'passant,' one
+feeding, and one 'lodged.'
+
+The design fills the side of the book very fully, and the workmanship is
+everywhere excellent. This upper cover is much faded, as it has been for
+many years exposed to the light in one of the Binding show-cases in the
+King's Library at the British Museum.
+
+[Illustration: 22--The Epistles of St. Paul. London, 1578.
+(_From a drawing_).]
+
+The under side is much fresher, but the design not so elaborate. There
+is a similar paling to that on the other side, the 'Park' being dotted
+about with several plants, ferns, and tufts of grass. Near each corner
+is a deer, one feeding, one 'couchant,' one 'tripping,' and one
+'courant,' and one 'lodged' in the centre. There are also two snakes
+worked in silver thread with small colour patches in silk.
+
+The back is badly worn, but the original design can be easily traced
+upon it. There were five panels, in each of which is a small rose-tree,
+bearing one large flower, with leaves and buds, and tufts of grass. The
+first, third, and fifth of these are white Yorkist roses; the second and
+third are Tudor roses of white and red.
+
+
+_The Epistles of St. Paul._ London, 1578.
+
+If this book of Archbishop Parker's is one of the most elaborately
+ornamented embroidered books existing, and perhaps one of the greatest
+treasures of its kind in the British Museum, the next velvet book to
+describe is one of the simplest, yet it also is one of the greatest
+treasures of its kind at the Bodleian Library.
+
+It is a small copy of the Epistles of St. Paul, printed by Barker in
+London, 1578, and measuring 4-1/2 by 3-1/2 inches, and it belonged to
+Queen Elizabeth. Inside she has written a note in which she says: 'I
+walke manie times into the pleasant fieldes of the Holy Scriptures,
+where I plucke up the goodlie greene herbes of sentences by pruning,
+eate them by reading, chawe them by musing, and laie them up at length
+in the hie seat of memorie by gathering them together, so that having
+tasted thy swetenes I may the less perceive the bitterness of this
+miserable life.'
+
+The Rev. W. D. Macray, in the _Annals of the Bodleian Library_, says,
+'This belonged to Queen Elizabeth, and is bound in a covering worked by
+herself'; and the Countess of Wilton, in the _Art of Embroidery_, says,
+'The covering is done in needlework by the Queen herself.'
+
+It is also described by Dibdin in _Bibliomania_. He says, 'The covering
+is done in needlework by the Queen herself.'
+
+The black velvet binding is much worn, and has been badly repaired. The
+work upon it is all done in silver cord or guimp, and the designing, as
+well as the work, is such as may well have been done by the Queen.
+
+On both covers borders with legends in Latin, enclosed in lines of gold
+cord, run parallel to the edges. Beginning at the right-hand corners of
+each side, these legends read, 'Beatus qui divitias scripturae legens
+verba vertit in opera--Celum Patria Scopus vitae XPUS--Christus
+via--Christo vive.' In the centre of the upper side is a ribbon outlined
+in gold cord, with the words, 'Eleva sursum ibi ubi,' a heart being
+enclosed within the ribbon, and a long stem with a flower at the top
+passing through it. In the centre of the lower side a similar ribbon
+with the motto, 'Vicit omnia pertinax virtus,' encloses a daisy, a badge
+previously used by Henry VIII. and Edward VI., probably in memory of
+their ancestress, Margaret Beaufort. Both these inner scrolls have the
+initial letter E interwoven with them.
+
+[Illustration: 23--Christian Prayers, etc. London, 1584.]
+
+There is no doubt that the usual royal embroidered bindings of the
+time of Elizabeth were elaborately designed and richly worked, in
+decided contrast to this small book; and this difference of style makes
+it more probable that the Queen worked it herself.
+
+There is no resemblance between this book and the two canvas-bound books
+already described which are attributed to her, except the use of cord
+alone in the embroidery; but the difference of material might perhaps be
+considered sufficient to account for this. No real evidence seems to be
+forthcoming as to the authorship of the embroidered work, but there is
+no doubt that the book was a favourite one of Queen Elizabeth's, and if
+the needlework had been done for her by any of the ladies of her Court,
+it would be likely that she would have added a note to that effect to
+the words she has written inside.
+
+
+_Christian Prayers, etc._ London, 1584.
+
+A copy of _Christian Prayers_, with the Psalms, printed in London in
+1581 and 1584, is curiously bound in soft paper boards strengthened on
+the inner side with pieces of morocco and covered with pale tawny
+velvet. It measures 7-1/2 by 5-1/2 inches. The edges of the leaves are
+gilt and gauffred.
+
+The arrangement of the design is unusual. It starts from the centre of
+the back in the form of a broad ornamental border, extending towards
+the front edges along the lines of the boards. This border is
+handsomely ornamented by a wavy line of silver cords, filled out with
+conventional flowers and arabesques worked in gold and silver cords and
+threads, with a little bit of coloured silk here and there. A
+symmetrical design of flower forms and arabesques starts, on each board,
+from the centre of the inner edge of the border, and is worked in a
+similar way. Some of the leaves, however, have veinings marked by strips
+of flat silver, and others made by a flattened silver spiral, having the
+appearance of a succession of small rings. There are the remains of two
+pale orange silk ties on the front edges of each board, and the edges
+are gilt and gauffred with a little colour.
+
+The petals of the flowers are worked in guimp, whether gold or silver is
+difficult to say. Indeed in many instances of the older books it is
+difficult to be sure whether a metal cord or thread was originally
+gilded or not, as all these 'gold' threads are, or were, silver gilt, so
+that when worn the silver only remains. If the cord or thread has been
+protected in any corners, however, or if it can be lifted a little, the
+faint trace of gold can often be seen on what would otherwise have been
+surely put down as originally silver.
+
+[Illustration: 24--Orationis Dominicae Explicatio, etc.
+Genevae, 1583.]
+
+
+_Orationis Dominicae Explicatio, etc._ Genevae, 1583.
+
+There is in the British Museum a copy of _Orationis Dominicae Explicatio,
+per Lambertum Danaeum_, printed at Geneva in 1583, which belonged to
+Queen Elizabeth. It is bound in black velvet, measures 6-3/4 by 4-1/4
+inches, and is ornamented most tastefully, each side having an arabesque
+border in gold cord and silver guimp, enclosing a panel with a design of
+white and red roses, with stems and leaves worked in gold cord and
+silver guimp with a trifle of coloured silk on the red roses and on the
+small leaves showing between the petals. On the front edge are the
+remains of red and gold ties. The design of this charming little book is
+excellent, and the colour of it when new must have been very effective.
+The design is the same on both sides. The back is in bad condition, and
+is panelled with arabesques in gold and silver cord.
+
+
+_Bible._ London, 1583.
+
+The most decorative, and in many ways the finest, of all the remaining
+embroidered books of the time of Elizabeth is now at the Bodleian
+Library at Oxford. It is one of the 'Douce' Bibles, printed in London in
+1583, and probably bound about the same time. It was the property of the
+Queen herself, and is bound in crimson velvet, measuring 17 by 12
+inches. The design is the same on both sides, and consists of a very
+cleverly arranged scroll of six rose stems, bearing flowers, buds, and
+leaves springing from a large central rose, with four auxiliary scrolls
+crossing the corners and intertwining at their ends. The large rose in
+the centre as well as those near the corners are Tudor roses, the red
+shown in red silk and the white in silver guimp, both outlined with gold
+cord. Small green leaves are shown between each of the outer petals.
+These flowers are heavily and solidly worked in high relief. The smaller
+flowers are all of silver, the buds, some red, some white. The stems are
+of thick silver twist enclosed between finer gold cords, and the leaves
+show a little green silk among the gold cord with which they are
+outlined and veined. Immediately above and below the centre rose are two
+little T's worked in small pearls.
+
+[Illustration: 25--Bible. London, 1583.]
+
+The narrow border round the edges is very pretty; it is a wavy line of
+gold cord and green silk, the hollows within the curves being filled
+with alternate 'Pods' with pearls, and green leaves. The back is divided
+into four panels by wavy lines of gold cord and pearls, and the upper
+and lower panels have small rose-plants with white roses, buds, and
+leaves; the inner panels have each a large Tudor rose of red and white,
+with leaves and buds. The drawing and designing of this splendid book
+are admirable, and the workmanship is in every way excellent. Many of
+the pearls are gone, and some of the higher portions of the large roses
+are abraded, the back, as usual, being in a rather bad state; but in
+spite of all this, and the inevitable fading, the work remains in a
+sufficiently preserved condition to show that at this period the art
+of book-embroidery reached its highest decorative point. It is rather
+curious to note that Henry VIII. used the red Lancastrian rose
+by preference, but that on Elizabeth's books the white rose always
+appears, and I know of very few instances where the red rose appears on
+her books. Of course both sovereigns used the combined, double, or Tudor
+rose as well.
+
+[Illustration: 26--The Commonplaces of Peter Martyr.
+London, 1583.]
+
+
+_The Commonplaces of Peter Martyr._ London, 1583.
+
+An embroidered book designed in a manner which is characteristic of a
+gold tooled book is found but rarely. An instance of this however is
+found on a copy of _The Commonplaces of Peter Martyr_, translated by
+Anthonie Marten, and printed in London in 1583. It is covered in blue
+purple velvet measuring 13-1/2 by 9 inches, and the design upon it is a
+broad outer border doubly outlined with a curious and effective braid,
+apparently consisting of a close series of small silver rings, but
+really being only a silver spiral flattened out. This border is dotted
+at regular intervals with star-shaped clusters of small pieces of
+silver guimp symmetrically arranged. The centre of the inner panel is a
+diamond-shaped ornament made with similar 'ring' braid and small pieces
+of silver guimp, and the corner-pieces are quarter circles worked in the
+same way. This design of centre-piece and corner-pieces is distinctly
+borrowed from leather work, and I have never seen another example of the
+kind executed in needlework. The colouring of this book is very good,
+the purple and silver harmonising in a very pleasing manner.
+
+[Illustration: 27--Biblia. Antverpiae, 1590.]
+
+
+_Biblia._ Antverpiae, 1590.
+
+A beautiful binding of green velvet covers a Bible printed at Antwerp in
+1590, measuring 7 by 4 inches. The design is the same on both sides, and
+the book was apparently bound for 'T. G.,' whose initials are worked into
+the design; a conventional arrangement of curving stems and flower forms
+worked in gold cord, guimp, and small pearls thickly encrusted; the same
+on both boards. The centre is a large conventional flower, in form
+resembling a carnation, with serrated petals, having a garnet below it,
+and flanked by the letters T. G., all thickly worked with reed pearls. In
+each corner is a smaller flower--conventionalised forms probably of
+honeysuckle and rose--joined together by curving stems of gold cord,
+filled out with leaves and arabesques, all together forming a very
+decorative panel. The outer border is richly worked with leaves and
+arabesques in guimp and pearls, the outer line of gold cord being
+ornamented with small triple points marked with pearls. The back is
+divided into three spaces by curving lines of gold cord, and in each of
+these spaces is worked one of the same conventionalised flower forms as
+occur on the boards, _i.e._ a honeysuckle, cornflower, and rose, with
+leaves and smaller curves of gold cord.
+
+[Illustration: 28--Udall, Sermons. London, 1596. (_From a drawing_).]
+
+The ground of the entire work is freely ornamented with gilt spangles
+held down by small pieces of guimp, and with single pearls; the larger
+of these are enclosed within circles of guimp, the smaller are simply
+sewn on one by one.
+
+There are remains of gilt clasps on the front edges of each of the
+boards, and the edges of the leaves are gilt and gauffred, with a little
+pale colour.
+
+
+Udall, _Sermons_. London, 1596.
+
+A few specimens of embroidered books were exhibited at the Burlington
+Fine Arts Club in 1891. Among them was a charming velvet binding that
+belonged to Queen Elizabeth, lent by S. Sandars, Esq., and now in the
+University Library, Cambridge. It is a copy of Udall's _Sermons_,
+printed in London in 1596, and is covered in crimson velvet, measuring
+about 6 by 4 inches. The design is the same on each side, the royal
+coat-of-arms applique, with the initials E. R., and a double rose in each
+corner with stalks and leaves. The coat-of-arms is made up with pieces
+of blue and red satin, the bearings heavily worked with gold thread, and
+the ground also thickly studded with small straight pieces of guimp,
+doubtless put there to insure the greater flatness of the satin. The
+crown with which the coat-of-arms is ensigned is all worked in guimp,
+and is without the usual cap. The ornaments on the rim are only
+trefoils, and there are five arches.
+
+The initials flanking the coat are worked in guimp, as are the corner
+roses and leaves. The guimp used is apparently silver, and the cord used
+for the outlines and stems is gold. The back has a gold line down the
+middle and along the joints, with a wavy line of gold cord each side of
+it.
+
+[Illustration: 29--Collection of Sixteenth-Century Tracts.]
+
+
+_Collection of Sixteenth-Century Tracts._ Bound about 1610.
+
+To Henry, Prince of Wales, we owe a great debt of gratitude, as he was
+the first person of much consequence in our royal family to take any
+real interest in the Old Royal Library.
+
+Indeed it may be considered that the existence to-day of the splendid
+'Old Royal' Library of the kings of England, which was presented to
+the nation in 1759 by George II., is largely due to the
+attention drawn to its interest and value by Prince Henry, who moreover
+added considerably to it himself.
+
+This Prince used as his favourite and personal badge the beautiful
+design of three white ostrich feathers within a golden coronet, and with
+the motto 'ICH DIEN' on a blue ribbon. With regard to the
+origin of this badge there is unfortunately a good deal of obscurity.
+The usual explanation is that it was the helmet-crest of the blind king
+of Bohemia, who was killed at Crecy in 1346, and that in remembrance of
+this it was adopted by the Black Prince as his badge. But, as a matter
+of fact, the ostrich feather was used as a family badge by all the sons
+of Edward III. and their descendants. It appears to have been
+the cognisance of the province of Ostrevant, a district lying between
+Artois and Hainault, and the appanage of the eldest sons of the house of
+Hainault. In this way it may have been adopted by the family of Edward
+III. by right of his wife, Philippa of Hainault.
+
+An early notice of the ostrich feather as a royal badge occurs in a note
+in one of the Harleian MSS. to the effect that 'Henrye, son to
+the erle of Derby, fyrst duke of Lancaster, gave the red rose crowned,
+whose ancestors gave the fox tayle in his proper cooler, and the ostrych
+fether, the pen ermine,' the Henry here mentioned being the father of
+Blanche, wife of John of Gaunt.
+
+On the tomb of Prince Arthur, son of Henry VII., at Worcester,
+the feather is shown both singly and in plume, and it occurs in the
+triple plume form within a coronet and a scroll with the words 'ICH
+DIEN' upon it, on bindings made by Thomas Berthelet for Prince
+Edward, son of Henry VIII., who never was Prince of Wales.
+
+It really seems as if the first 'Prince of Wales' actually to use the
+ostrich feather plumes as a personal badge of that dignity was Prince
+Henry, and it occurs largely on such books belonging to his library as
+he had rebound, and also on books that were specially bound for
+presentation to him.
+
+This is the case in one of the most decorative bindings he possessed,
+enclosing a collection of tracts originally the property of Henry
+VIII., but which somehow or other became the property of
+Magdalen College, Cambridge, the governing body of which had it bound in
+embroidered velvet and presented to Prince Henry.
+
+[Illustration: 30--Bacon, Opera. Londini, 1623.]
+
+The cover is of crimson velvet, the edges of which extend freely beyond
+the edges of the book, bound all round with a fringe of gold cord. It
+measures about 8 by 6 inches. The design is the same on each side. In
+the centre is a large triple plume of ostrich feathers, thickly and
+beautifully worked in small pearls, within a golden coronet, and having
+below them the motto 'ICH DIEN' in gold upon a blue silk
+ribbon.
+
+The badge is enclosed in a rectangular panel of gold cords, in each
+corner of which is an ornamental spray of gold cords, guimp, and a
+flower in pearls. A broad border with a richly designed arabesque of
+gold guimp or cord, with pearl flowers, encloses the central panel. The
+design is filled in freely with small pearls enclosed in guimp circles
+and small pearls alone.
+
+The back has an ornamental design in gold cord and guimp. This cover is
+a beautiful specimen of later decorative work on velvet, and the general
+effect is extremely rich, the design and workmanship being equally well
+chosen as regards the materials to which they are applied, and with
+which they are worked.
+
+
+Bacon, _Opera_. Londini, 1623.
+
+A copy of the works of Francis Bacon, Viscount St. Albans, printed in
+London in 1623, is bound in rich purple velvet, and measures 13-1/4 by
+8-3/4 inches. The design is a central panel with arabesque centre and
+corners, surrounded by a deep border of close curves and arabesques, all
+worked in gold cord and guimp. There are several gold spangles used,
+kept down by a small piece of gold guimp. The front edges of each board
+have only the marks left where two ties originally were, and the edges
+of the book are simply gilt.
+
+[Illustration: 31--Bacon, Essays. 1625.]
+
+
+Bacon, _Essays_. 1625.
+
+A copy of another work by the same author, the Essays printed in 1625,
+was given by him to the Duke of Buckingham, and is now at the Bodleian
+Library at Oxford. It is bound in dark green velvet, measuring about 7
+by 5 inches, the same design being embroidered on each side. In the
+centre is a small panel portrait of the Duke of Buckingham, with short
+beard, and wearing the ribbon of the Garter. The portrait is mostly
+worked with straight perpendicular stitches, except the hair and collar,
+in which the stitches are differently arranged. The background merges
+from nearly white just round the head to pink at the outer edge; the
+coat is brownish. The framework of the portrait is solidly worked in
+gold braids and silver guimp in relief, the design being of an
+architectural character. Two columns, with floral capitals and
+pediments, spring from a scroll-work base and support what may perhaps
+be intended for a gothic arch with crockets. Immediately above the crown
+of the arch is a ducal coronet, and a handsome border of elaborate
+arabesques reaching far inwards is worked all round the edges. The
+outlines of these arabesques, the stalks and curves, are all worked in
+gold cords, the petals and leaves in silver guimp in relief. The back
+is divided into eight panels by gold and silver cords, and in each of
+these panels is a four-petalled flower with small circles. There are
+several gilt spangles kept down by a small piece of guimp.
+
+[Illustration: 32--Common Prayer. London, 1638.]
+
+
+_Common Prayer._ London, 1638.
+
+Among the few older royal books in the library at Windsor Castle is an
+embroidered one that belonged to Prince Charles, afterwards Charles
+II. It is a copy of the _Book of Common Prayer_, printed in
+London in 1638, and is bound in blue velvet with embroidered work in
+gold cord and silver guimp, similar in character to that on the copy of
+Bacon's _Essays_ just described. It measures 8 by 6 inches. The design
+is heraldic. In the centre is the triple plume of the Prince of Wales,
+with coronet and label, no motto being apparent on the latter. The plume
+is encircled by the Garter applique, on pale blue silk, the motto,
+worked in silver cord, being nearly worn off. Resting on the top of the
+Garter is a large princely coronet, flanking which are the letters
+'C. P.' In the lower corners are a thistle and a rose. A broad border
+with arabesques encloses the central panel. This book was exhibited by
+Her Majesty at the Burlington Fine Arts Club in 1891. It is in very bad
+condition, which is curious, as it is not so very old, and as it is
+still among the royal possessions it might well have been imagined that
+it would have been better preserved than other and older books of a like
+kind which we know have been considerably moved about. The colour is
+however very charming still, and books have rarely been bound in blue
+velvet, black, green, or crimson being most usual.
+
+After 1649, or thereabouts, there was a full stop for a time to any art
+production in the matter of bookbinding. Indeed, for the embroidered
+books as a class that is the end, but nevertheless a few examples are
+found at a later date, but no regular production and no original
+designs.
+
+[Illustration: 33--Bible. Cambridge, 1674.]
+
+
+_Bible._ Cambridge, 1674.
+
+A large Bible printed at Cambridge in 1674, in two volumes, was bound in
+crimson velvet for James II., presumably about 1685. The work
+upon it, each volume being the same, is of a showy character, good and
+strong, but utterly wanting in any of the artistic qualities either of
+design or execution which characterised so many of the earlier examples.
+In the centre are the initials 'J. R.' surmounted by a royal crown,
+heavily worked in gold braid, guimp, and some coloured silks. Enclosing
+the initials and crown are scrolls in thick gold twist; these again are
+surrounded by a curving ribbon of gold, intertwined with roses and
+leafy sprays. In each corner is a silver-faced cherub with beads for
+eyes and gold wings, and at the top a small blue cloud with sun rays,
+tears dropping from it. There are two broad silk ties to the front of
+each board, heavily fringed with gold.
+
+The back is divided into nine panels, each containing an arabesque
+ornament worked in gold cord and thread, the first and last panels being
+larger than the others and containing a more elaborate design. The edges
+of the leaves are simply gilt, and the boards measure 18 by 12 inches
+each, the largest size of any embroidered book known to me.
+
+
+
+
+CHAPTER IV
+
+BOOKS BOUND IN SATIN
+
+
+_Collection of Sixteenth-Century Tracts._ Bound probably about 1536.
+
+[Illustration: 34--Collection of Sixteenth-Century Tracts.]
+
+Perhaps the earliest existing English book bound in satin is a
+collection of sixteenth-century tracts that belonged to Henry
+VIII., and is now part of the Old Royal Library in the British
+Museum. It is covered in red satin, measures 12 by 8 inches, and is
+embroidered in an arabesque design, outlined with gold cord. On the
+edges the words 'Rex in aeternum vive Neez' are written in gold. The
+word 'Neez' or 'Nez,' as it is sometimes spelt, may mean Nebuchadnezzar,
+as the other words were addressed to him. On books bound in leather by
+Thomas Berthelet, royal binder to Henry VIII. and his immediate
+successors, the motto often occurs, and as he is known to have bound
+books in 'crymosyn satin,' this is most likely his work. The pattern is
+worked irregularly all round the boards, and a sort of arabesque bridge
+crosses the centres. The back is new, and of leather, but the boards
+themselves are the original ones, and the embroidery is in a very fair
+condition.
+
+[Illustration: 35--New Testament in Greek. Leyden, 1570.]
+
+
+_New Testament in Greek._ Leyden, 1576.
+
+If early bindings in satin are rare, still rarer is the use of silk. One
+example worked on white ribbed silk still remains that belonged to Queen
+Elizabeth. It measures 4-3/4 by 2-3/4 inches, and in its time was no
+doubt a very decorative and interesting piece of work, but it is now in
+a very dilapidated state, largely due to improper repairing. The book
+has actually been rebound in leather, and the old embroidered sides
+stuck on. So it must be remembered that my illustration of it is
+considerably restored. The design, alike on both sides, is all outlined
+with gold cords and twists of different kinds and thicknesses, and the
+colour is added in water-colours on the silk. In the centre is the royal
+coat-of-arms within an oval garter ensigned with a royal crown, in the
+adornment of which a few seed pearls are used, as they are also on the
+ends of the garter.
+
+Enclosing the coat-of-arms is an ornamental border of straight lines and
+curves, worked with a thick gold twist, intertwined with graceful sprays
+of double and single roses, outlined in gold and coloured red, with buds
+and leaves. A few symmetrical arabesques, similarly outlined and
+coloured, fill in some of the remaining spaces. The work on this book, a
+_New Testament in Greek_, printed at Leyden in 1576, is like no other;
+but the general idea of the design, rose-sprays cleverly intertwined, is
+one that may be considered characteristic of the Elizabethan embroidered
+books, as it frequently occurs on them. The use of water-colour with
+embroidery is very rare, and it is never found on any but silk or satin
+bindings, generally as an adjunct in support of coloured-silk work over
+it, but in this single instance it is used alone.
+
+
+_Seventeenth-Century Embroidered Books._
+
+The books described hitherto have been specimens of rare early
+instances, but in the seventeenth century there is a very large field to
+choose from. Small books, mostly religious works, were bound in satin
+from the beginning of the century until the time of the Commonwealth in
+considerable numbers; so much so, in fact, that their value depends not
+so much upon their designs or workmanship as upon their condition.
+
+It is generally considered that embroidered books are extremely
+delicate, but this is not so; they will stand far more wear than would
+be imagined from their frail appearance. The embroidered work actually
+protects the satin, and such signs of wear as are visible are often
+found rather in the satin itself, where unprotected, than in the work
+upon it. In many cases a peculiar appearance, which is often mistaken
+for wear, is seen in the case of representations of insects,
+caterpillars, or butterflies particularly. These creatures, or parts of
+them, appear to consist only of slight stitches of plain thread,
+suggesting either that the work has never been finished, or else that
+the finished portions have worn away. The real fact is, however, that
+these places have been originally worked with small bright pieces of
+peacock's feather, which have either tumbled out or been eaten away by
+minute insects, a fate to which it is well known peacocks' feathers are
+particularly liable.
+
+The late Lady Charlotte Schreiber, who was a great collector of pieces
+of old embroidery, among a host of other curious things possessed the
+only perfect instance of work of this kind of the seventeenth century I
+have ever been fortunate enough to find. It was a very realistic
+caterpillar, closely and completely worked with very small pieces of
+peacocks' feathers, sewn on with small stitches, quite confirming the
+opinion I had already formed as to the original filling in of the usual
+'bald' spaces representing such objects.
+
+
+_Bible._ London, 1619.
+
+A copy of a Bible, printed in London in 1619, is bound in white satin,
+and measures 6 by 3-1/2 inches. On each side is an emblematic figure
+enclosed in an oval; the figures are different, but their surroundings
+are alike. On the upper side a lady holding a palm branch in her right
+hand is worked in shading-stitch. She is full length, and wears an
+orange skirt with purple robe over it confined by a blue belt, and over
+her shoulders a pink jacket--all these garments are outlined by a gold
+cord. Her fair hair is covered by an ornamental cap of red and gold, and
+her feet are bare.
+
+The ground is worked with coloured silks and threads of fine wire
+closely twisted round with coloured silks, and the sky, painted in
+gradations of pink in water-colours, is worked sparsely with long
+stitches of blue silk.
+
+[Illustration: 36--Bible. London, 1619.]
+
+The lower side shows a female figure worked in a similar way; in this
+case she bears in her right hand some kind of wand or spray, which has
+nearly worn off, and in her left a bunch of corn or grapes, or something
+of that kind which has also badly worn away. If the first figure may be
+considered to represent Peace, this one may perhaps be Plenty. She wears
+a deep purplish skirt, with full over-garment and body of the same
+colour, with an under-jacket of white and gold. On her dark hair she has
+a blue flower with red leaves. Her feet are bare. The ground and sky are
+both worked in the same way as the other side. Both figures are
+enclosed in a flat oval border of gold thread, broad at the top and
+narrowing towards the foot. In the corners are symmetrical arabesques
+thickly worked in gold, and within the larger spaces in each
+corner-piece are the 'remains' of feathered caterpillars, now skeleton
+forms of threads only. The back of the book is particularly good, and
+most beautifully worked. It is divided into five panels, within each of
+which is a conventional flower, a cornflower alternating with a
+carnation, and the colours of all of these are marvellously fresh and
+effective. Among embroidered panelled backs it is probably the finest
+specimen existing.
+
+[Illustration: 37--Emblemes Chrestiens. MS 1624.]
+
+
+_Emblemes Chrestiens_, par Georgette de Montenay. MS. a
+Lislebourg. [Edinburgh] 1624.
+
+Charles I., when he was Prince of Wales, often used the
+book-stamps that had been cut for his brother Henry, and he also
+particularly liked the triple plume of ostrich feathers. It occurs, as
+has been shown, on one of Prince Henry's velvet-bound books, and it
+forms the central design on the satin binding of an exquisite manuscript
+written by Esther Inglis, a celebrated calligraphist, who lived in the
+seventeenth century. It is a copy of the _Emblemes Chrestiens_, by
+Georgette de Montenay, dedicated to Prince Charles, covered in red satin
+embroidered with gold and silver threads, cords, and guimp, with a few
+pearls, measuring 11-1/4 by 7-3/4 inches. In the centre is the triple
+ostrich plume within a coronet, enclosed in an oval wreath of laurel
+tied with a tasselled knot. A rectangular border closely filled with
+arabesques runs parallel to the edges of the boards, and there is a
+fleuron at each of the inner corners. In all cases the design is
+outlined in gold cord, and the thick parts of the design are worked in
+silver guimp. There are several spangles, and on the rim of the coronet
+are three pearls.
+
+
+_New Testament._ London, 1625.
+
+One of the most curious embroidered satin bindings still left is now in
+the Bodleian Library, and a slightly absurd tradition about it says that
+the figure of David, which certainly is something like Charles
+I., is clothed in a piece of a waistcoat that belonged to that king.
+
+[Illustration: 38--New Testament. London, 1625.]
+
+It is a New Testament, printed in London in 1625, and covered in white
+satin, with a different design embroidered on each side. It measures
+4-1/2 by 3-1/2 inches. On the upper board is David with a harp. He wears
+a long red cloak lined with ermine, with a white collar, an
+under-garment of pale brown, and high boots with spur-straps and red
+tops. On his head is a royal crown of gold with red cap, and he is
+playing upon a golden harp. The face of this figure resembles that of
+Charles I. The red cloak is worked in needlepoint lace, and is
+in deep folds in high relief. These folds are actually modelled in waxed
+paper, the needlework being stretched over them, and probably fixed on
+by a gentle heat. The other parts of the dress are worked in the same
+way, but without the waxed paper, and the edges of the garments are in
+some places marked with what might be called a metal fringe, made in a
+small recurring pattern.
+
+David is standing upon a grass plot, represented by small arches of
+green purl, and before him is sitting a small dog with a blue collar.
+Above the dog is a small yellow and black pansy, then a large blue
+'lace' butterfly, on a chenille patch, and a brown flying bird. Behind
+David there is a tall conventional lily and a flying bird. The sky is
+overcast with heavy clouds of red and blue, but a golden sun with tinsel
+rays is showing under the larger of them. On the lower board is a
+representation of Abraham about to sacrifice Isaac. Abraham is dressed
+in a red under-garment on waxed paper, in heavy folds with a belt and
+edge of stamped-out metal, a blue flowing cape and high boots, all
+worked in needlepoint lace in coloured silks.
+
+In his right hand he holds a sword, and his tall black hat is on the
+ground beside him. On the ground towards the left is Isaac in an
+attitude of prayer, his hands crossed, with two sheaves of firewood. He
+wears a red coat with a small blue cape. The ground is green and brown
+chenille. Above Isaac is a gourd, and above this a silver ram caught in
+a bush, on a patch of grass indicated by green purl. The sky is occupied
+by a large cloud, out of which leans an angel with wings, the hands
+outstretched and restraining Abraham's sword.
+
+On the back are four panels, containing respectively from the top a
+butterfly, a rose, a bird, and a yellow tulip, all worked in needlepoint
+and applique. The pieces that are in high relief all over the book are
+edged with gold twist, and have moreover their counterparts under them
+closely fastened down to the satin. There are several gold spangles in
+the various spaces between the designs; the whole is edged with a strong
+silver braid, and there are two clasps with silver attachments.
+
+Considering the high relief in which much of this work is done, the
+binding is in wonderful preservation, but many of the colours are badly
+faded, as it has been exposed to the action of light in one of the
+show-cases for many years. Although no doubt it is advisable to expose
+many treasures in this way, it must be admitted that in the case of
+embroidered books it is frequently, if not always, a cause of rapid
+deterioration, so much so that I should almost think in these days of
+good chromo-printing it would be worth the while of the ruling powers of
+our great museums to consider whether it would not be wiser to exhibit
+good colour prints to the light and keep the precious originals in safe
+obscurity, to be brought out, of course, if required by students.
+
+[Illustration: 39--New Testament and Psalms. London, 1630.]
+
+
+_New Testament and Psalms._ London, 1630.
+
+Several small English books of the seventeenth century were bound
+'double,' _i.e._ two volumes side by side, so as to open different ways
+(compare p. 38). Each of the books, which are always of the same size,
+has a back and one board to itself, the other board, between them, being
+common to both. As already stated, this form of book occurs rarely in
+canvas bindings, and it is of commoner occurrence in satin.
+
+A design which is frequently met with is well shown in the case of a
+double specimen containing the New Testament and the Psalms, printed in
+London in 1630, and covered in white satin, measuring 4-1/4 by 2 inches,
+the ornamentation being the same on both sides. In the centre, in an
+oval, is a delicately worked iris of many colours in feather-stitch, the
+petals edged with fine silver cord. The oval is marked by a silver cord,
+beyond which are ornamental arabesques outlined in cord and filled in
+solidly, in high relief, with silver thread.
+
+The backs are divided into five panels, containing alternately flowers
+in red, blue, and green silks, and star shapes in silver thread in high
+relief. Silver spangles have been freely used, but most of them have now
+gone; the edges of the leaves are gilt and gauffred in a simple dotted
+pattern. To the middle of the front edge of one of the boards is
+attached a long green ribbon of silk which wraps round both volumes.
+
+
+Henshaw, _Horae Successivae_. London, 1632.
+
+[Illustration: 40--Henshaw, Horae Successivae. London, 1632.]
+
+Henshaw's _Horae Successivae_, printed in London in 1632, is bound in
+white satin, and measures 4-1/2 by 2 inches. It is very delicately and
+prettily worked in a floral design, the same on both sides, and is
+remarkable for its simplicity--a flower with stalk and leaves in the
+centre, one in each corner, and an insect in the spaces between them.
+The centre flower is a carnation, round it are pansy, rose, cornflower,
+and strawberry, while between them are a caterpillar, snail, butterfly,
+and moth. All of these are delicately worked in feather-stitch in the
+proper colours, and edged all round with fine gold cord; the stalks are
+of the same cord used double. On the strawberries there is some fine
+knotted work.
+
+The back is divided into four panels, containing a cornflower, rose,
+pansy, and strawberry, worked exactly in the same way as their
+prototypes on the sides. There were several gold spangles on sides and
+back, but many of them have been broken off, and on the front edges of
+each board are the remains of pale green ties of silk.
+
+[Illustration: 41--Psalms. London, 1633.]
+
+
+_Psalms._ London, 1633.
+
+A copy of the Psalms, printed in London in 1633, is bound in white
+satin, embroidered in coloured silks worked in satin-stitch, and
+measures 3 by 2 inches. On the upper board is a gentleman dressed in the
+style of the period, with trunk hose of red and yellow, a short jacket
+of the same colouring, and a long, reddish cape. He has a broad-brimmed
+hat with coloured feathers, a large white collar, and a sword in his
+right hand. Near him is a beetle, and in the sky a blue cloud, and he is
+standing upon a grass mound. On the lower board is the figure of a lady
+in a deep pink dress, with white collar and cap. She holds a tall red
+lily in her right hand, and in the upper left-hand corner is a small
+cloud under which the sun is just appearing, and in the lower corner is
+a small flower. The lady is standing upon a small green mound. The
+outlines of both figures, as well as the inner divisions between the
+various garments, are marked with a gold or silver thread.
+
+The back is divided into four panels, in which are a fly, a rose, a
+larger fly, and a blue flower. The outlines and legs of both the insects
+were marked originally with small pieces of peacocks' feathers, but the
+upper fly has lost most of these; the lower one, however, more
+ornamental, shows them clearly, and has the thorax still in excellent
+preservation, glittering with little points of green and gold. There is
+one broad ribbon of striped silk attached to the lower board.
+
+This little book, which is in a wonderful state of preservation, has
+been always kept in the beautiful embroidered bag which I have described
+already on p. 16.
+
+
+_Psalms._ London, 1635.
+
+One of the most finely embroidered bindings existing on satin occurs on
+a small copy of the Psalms, printed in London in 1635, and measuring
+3-1/2 by 3 inches. The design is one which has been repeated in other
+sizes with small differences. There is a larger specimen at the
+Bodleian, but the British Museum example is the finer altogether.
+
+[Illustration: 42--Psalms. London, 1635.]
+
+On each side there is an oval containing an elaborate design most
+delicately worked in feather-stitch, the edges and outlines marked with
+very fine gold twist. On the upper board there is a seated allegorical
+figure with cornucopia, probably representing Plenty. Behind her is an
+ornamental landscape with a piece of water, the bright lines of which
+are feelingly rendered with small stitches of silver thread, hills with
+trees, and a castle in the distance. The other side has a similarly
+worked figure of Peace, a seated figure holding a palm branch; the
+landscape is of a similar character to that on the upper board, but the
+river or lake has a bridge over it. The work itself is of the same very
+delicate kind, the edges and folds of the dress being marked with fine
+gold twist.
+
+Each of these ovals is marked by a solid framework with scrolls,
+strongly made with silver threads, and in high relief; in each corner is
+a very finely worked flower or fruit, pansy, strawberry, tulip, and
+lily. The back is divided into four panels, a very decorative
+conventional flower being worked in each, representing probably a red
+lily, a tulip, a blue and yellow iris, and a daffodil. The edges of the
+boards are bound with a broad silver braid, the edges of the leaves are
+gilded and prettily gauffred, and there are remains of four silver ties.
+
+
+_Psalms._ London, 1633.
+
+There is often much speculation as to who can have worked the English
+embroidered books, and it is very rarely that any reliable information
+on this interesting point is available.
+
+There is, however, a manuscript note in a copy of the Psalms, printed in
+1633 and bound in embroidered white satin, that the work upon it was
+done by 'Elizabeth, wife of Matthew Wren, Bishop of Ely,' who was an
+uncle of the architect. The volume still belongs to a member of the
+family, Dr. W. T. Law of Portland Place, who has most kindly allowed me
+to give an illustration of this beautiful book. It measures 4 by 3
+inches. The design is different in details on each board, the central
+design, however, being in each case contained within a strongly worked
+gold border in high relief, widening out at each extremity into a
+crownlike form, and richly augmented at intervals with clusters of seed
+pearls. On the upper board within the oval is a double rose with curving
+stem, leaves, and a bud; the petals are worked in needlepoint, with fine
+gold twist at the edges, and a cluster of pearls in the centre. In the
+upper corners are a butterfly, with needlepoint wings, and a bird, with
+needlepoint wing and tail. In the lower corners are a unicorn and an
+antlered stag, both recumbent, and in high relief.
+
+[Illustration: 43--Psalms. London, 1633.]
+
+On the lower board within the oval is a vine, with curving stem and two
+large grape clusters, tendrils, and leaves, growing from a small green
+mound. The edges of the petals are bound with a fine gold twist, as are
+also the edges and outlines of the leaves, and most of these parts are
+worked in coloured silks, mixed with fine metal threads, in needlepoint
+lace-stitch.
+
+A few hazel-nuts are scattered about outside the gold oval, and in each
+corner is a further ornamentation: a reddish butterfly with wings of
+needlepoint lace in relief and edged with a gold cord, a green parrot
+with red wings and tail, are in the two top corners, and in the two
+lower are a rabbit and a dog, each on a small green ground. Innumerable
+gold spangles are all over the sides and back, each kept in place by a
+small pearl stitched through.
+
+The back is divided into five panels, by rows of pearls, and a
+conventional flower is in each, except the centre one which has an
+insect. These are all worked in needlepoint and edged with gold twist,
+the stems of some of them strongly made by a kind of braid of gold
+cords.
+
+This little book is certainly one of the most ornamental specimens of
+any of the smaller satin-bound books of the seventeenth century, and
+although here and there some of the pearls are gone, altogether it is in
+very good condition, and it is rarely that such a fine example can now
+be met with in private hands.
+
+
+_Bible._ London, 1638.
+
+[Illustration: 44--Bible. London, 1638.]
+
+Several of the embroidered books on satin are worked chiefly in metal
+threads, and the designs on such books are not as a rule good. Whether
+the knowledge that the work was to be executed in strong threads has
+hampered the designer or not cannot be said, but certainly there is
+often a tinselly effect about these bindings that is not altogether
+pleasing.
+
+In the case of a Bible printed in London in 1638, bound in white satin,
+and measuring 6 by 3 inches, one of the chief ornaments is a cherub's
+head, the face in silver and the hair and wings in gold. The working of
+this head and wings seems to me wrong. The face is, possibly enough, as
+well done as the material would allow, but the hair is made in small
+curls of gold thread, and the feathers of the wings are rendered in a
+naturalistic way with pieces of flat gold braid. This kind of realism is
+out of place in embroidery, and it is unfortunately characteristic of
+the English embroidered work of about this period, occurring generally
+on boxes, mirror frames, or the like, but only rarely on book-covers.
+The design is the same on both sides; a narrow arch of thick gold cord
+reaches about three-quarters up the side, and interwoven with it is a
+kind of cusped oval, with leaves, reaching up to the top of the book.
+The lower half of the arch is enclosed in a rectangular band of silver
+threads, broad and kept in place by transverse bars at regular
+intervals, and beyond it another row, made of patches of red and blue
+silk alternately. In the lower part of the oval is a ground of green
+silk, on which grow two double roses made of red purl. In the space
+enclosed between the top of the arch and the lower point of the oval
+is a bird worked in high relief in gold with a touch of red silk on
+his wings. Over the bird is a blue cloud, heavily worked in blue silk,
+and beneath is a small grass plot. The cherub's head already described
+is in the space between the top of the arch and the upper extremity of
+the oval; it is flanked by two small red purl roses. The two upper
+corners have undulating clouds in blue silk, and a red and yellow purl
+rose between them. There are several gold spangles all about, and
+innumerable small pieces of coloured purl.
+
+The back is divided into four panels, in which are, alternately, a
+rose-tree on which are two red roses with yellow centres and green
+leaves, growing from a grass plot, and a blue rose with yellow centre
+and green leaves under a red cloud with silver rays. There are several
+spangles and some small pieces of coloured purl scattered about in the
+spaces.
+
+The book is in excellent condition, owing, no doubt, to the fact that
+most of it is in metal, but it is representative of the lowest level to
+which the art of the embroidered book in England has ever fallen.
+
+
+_Psalms._ London, 1639.
+
+A charming little piece of delicate workmanship occurs in a copy of the
+Psalms, printed in London in 1639, and bound in white satin. It measures
+3 by 2 inches. The design on each side is the same, but the work is
+slightly different. A tall rose-tree, with gold stem, grows from a small
+chenille base, the rose petals beautifully worked in the finest of
+stitches, as well as the leaves, all of which are outlined with fine
+gold thread. From the lower branches of the rose-tree hang on one side a
+violet, and on the other a pansy, each worked in the same way as the
+rose, and edged with fine gold thread. The back is divided into four
+panels, containing respectively a cornflower, a pomegranate, a fruit,
+perhaps meant for an apple, and a honeysuckle, all conventionally
+treated and very delicately worked. The edge is bound all round with a
+strong braid, and there is one tie of broad, cherry-silk ribbon. With
+this book is its canvas bag, embroidered in silver ground with
+coloured-silk flowers and tassels of silver, the general design and
+workmanship of which nearly resembles that of the finer bag already
+described at page 16. The silver has turned nearly black, as is usually
+the case with these bags.
+
+[Illustration: 45--Psalms. London, 1639.]
+
+[Illustration: 46--The Way to True Happiness. London, 1639.]
+
+
+_The Way to True Happiness._ London, 1639.
+
+A copy of _The Way to True Happiness_. printed in London in 1639, is
+bound in white satin, and embroidered with figures of David and a Queen.
+It is a little larger than the majority of the satin-embroidered books,
+measuring 7 by 4-1/2 inches, and is, for its time, a very fine specimen.
+Both figures stand under an archway with columns, all worked heavily in
+silver cord, guimp, and thread. The columns have ornamental capitals and
+a spiral running round their shafts, and the upper edge of the arch is
+ornamented with crockets of a peculiar shape. Within this archway, on
+the upper cover, is a full-length figure of a Queen, finely worked in
+split-stitch with coloured silks. She wears a red dress with long,
+falling sleeves, a purple body and gold collar. On her head is a golden
+crown, with six points. She carries, in her left hand, a golden sceptre,
+and has also a golden belt. The outlines are everywhere marked either
+with a gold or silver twist. On the ground, which is in small hillocks,
+grow a strawberry and two other small plants; a snail is also shown.
+Scattered about the field are a 'skeleton' caterpillar--at one time
+probably filled in with peacocks' feathers,--a conventional lily, a
+butterfly, and the sun, with rays, just appearing from under a cloud. In
+the two upper corners are flowers, a pansy and another, and smaller ones
+down each side.
+
+On the lower board, within the arch, is a figure of David. He wears a
+short tunic of orange and silver, with vandyked edge, and a short skirt
+of blue and silver, with a long cloak of cream, pink, and silver,
+clasped with a silver brooch; on his head he wears a silver crown, with
+a red cap and green and red feathers; on his feet are brown, high boots.
+In his left hand is a silver harp of ornamental pattern, and in his
+right a silver sceptre with a little gold about it. The ground, in
+hillocks, has a few small flowers growing upon it, and a large tulip is
+just in front of the King; on the field are also a moth and a snail. At
+the top is a blue cloud. The upper corners have a red and yellow tulip
+and a pansy with bud in them, and smaller flowers are worked down each
+side. The back is very tastefully ornamented with an undulating scroll
+of gold cord, widening out here and there into conventional leaves of
+gold guimp in relief. On this scroll are sitting three birds, and there
+are also a bunch of grapes, a tulip, daffodil, and other flowers with
+leaves, conventionally treated, all worked in coloured silks.
+
+There are the remains of two red and yellow silk ties on the front edges
+of each board, and the edges of the leaves are gilded and gauffred. With
+this book is a canvas bag, simply ornamented with a design worked in red
+silk.
+
+[Illustration: 47--New Testament. London, 1640.]
+
+
+_New Testament._ London, 1640.
+
+The curious little New Testament of 1625, now at Oxford, which I have
+already described, is perhaps the earliest example left on which
+needlepoint lace in coloured silks is much employed.
+
+It occurs again largely on another small New Testament, printed in 1640,
+bound in white satin, measuring 4-1/2 by 2-1/4 inches; now in the
+British Museum. In this case the artist has not attempted the difficult
+task of producing a satisfactory figure in needlework, but has very
+properly limited her skill to the reproduction of flower and animal
+forms. On the upper cover is a spray of columbine, the petals of which,
+pink and blue, are each worked separately in needlepoint lace stitch,
+and afterwards tacked on to a central rib. The stalks and leaves of this
+spray are also worked in needlepoint, and on the top sits a bullfinch,
+worked in many colours in the same way, but fastened down close to the
+satin all round. In the corners are a beetle, a nondescript flower, a
+bud, and a butterfly with coloured wings in needlepoint, with replicas
+of them closely appliques just underneath, on the satin. On the lower
+board is a spray of a five-petalled blue flower, the petals of which
+were originally worked in needlepoint and fastened on a central rib, but
+they have now all gone except two, leaving the rib of thick pink braid.
+The supporting replicas underneath are, however, perfect, showing what
+the original upper petals were like. This spray has two leaves,
+exquisitely worked in needlepoint, and fastened by a stitch at one end,
+with the usual flat replicas underneath them, and there is also a bud.
+The stem is a piece of green braid. Above the spray is a parrot in
+needlepoint, most of him fastened down round the edges, but his wings
+and tail left free. In the upper corner are two strawberries, and in the
+lower a butterfly, with coloured wings, left free in needlepoint. There
+are also two caterpillars on this side.
+
+On the back are three large flowers heavily worked in silk and metal
+threads, in needlepoint, and appliques--a pansy, lily, and rose, with
+stalks of green braid. The boards are edged all round with a gold braid,
+and there are two green silk ties on each for the front edges. There are
+several gold spangles all about, but many more have gone. The work on
+both boards is very delicate, but that on the back is curiously coarse.
+Such imitative work as the needlepoint, which is perhaps seen at its
+best in the columbine, and the leaves on this book, is at all times a
+dangerous thing to use, except when it is only used as applique, as in
+the beautiful cover belonging to this book, which I have described on
+page 18, and the work on which is very likely by the same skilled hand
+as that on the book. I believe this use of the needlepoint, or
+button-hole stitch, is only found in English work; it is exactly the same
+as is used on the old Venetian and other so-called 'point' laces, but
+executed in fine-coloured silk instead of linen thread, and without
+open spaces.
+
+[Illustration: 48--Psalms. London, 1641.]
+
+
+_Psalms._ London, 1641.
+
+Nicholas Ferrar's establishment at Little Gidding in Huntingdonshire is
+often credited with having produced embroidered books, but there is
+really no authority for the belief. All the authentic bindings which
+came from Little Gidding have technical shortcomings from a bookbinding
+point of view, none of which are found on any embroidered books.
+
+In the _History of the Worthies of England_, by Thomas Fuller, there is
+a short note about Little Gidding, and he says about the ladies there
+that 'their own needles were emploied in learned and pious work to binde
+Bibles.' This note and the mention of needles may have perhaps given the
+start to the belief that embroidered work was intended, but in all
+probability it only refers to the sewing of the leaves of the books upon
+the bands of the back, which is done with needle and thread. Moreover,
+the ladies of Little Gidding did actually sew the backs of their books
+in a needlessly elaborate way, putting in ten or twelve bands where
+three or four would have been ample. I also think that if embroidery had
+been intended by the sentence above quoted, it would have been more
+clearly mentioned. To 'emploie needles to bind Bibles' is hardly the
+description one would expect if the meaning was that when bound the
+Bibles were covered in embroidered work; but it may be safely
+interpreted as it is written, the sewing being a most important part of
+a bookbinding, and one likely to be much thought of by amateur binders,
+as the nieces of Nicholas Ferrar were.
+
+The attribution of embroidered bindings to Little Gidding may also have
+been strengthened by the fact that many of the bindings made there are
+in velvet, the ornamentation on which, though it is actually stamped in
+gold and silver, does to some extent suggest embroidery. Indeed, I have
+myself heard the remark, on showing one of these books, 'Oh, yes!
+Embroidery.'
+
+Again, a peculiarity of the Little Gidding books is, generally, their
+large size, whereas the embroidered books, especially the satin ones,
+are usually very small.
+
+[Illustration: 49--Psalms. London, 1643.]
+
+One of the embroidered books thus wrongly credited to Little Gidding is
+a Psalter, printed in London in 1641. It is bound in white satin, very
+tastefully embroidered, the same design being on each side, and measures
+4 by 2 inches. In the centre is a large orange tulip, shading from
+yellow to red, finely worked in silks in shading-stitch. The stem is
+outlined in gold cord, and has also symmetrical curves and leaves, some
+of which are filled in with silver guimp. The flower is enclosed in an
+ornamental scroll and leaf border, all made with gold threads and
+twists, and having leaf forms in relief at intervals in silver guimp.
+The back has five panels, ornamented alternately with guimp scrolls and
+small spheres of coloured silk. There have been spangles and small
+pieces of guimp scattered about on the sides and back, but most of them
+have gone. There are no ties, and the edges of the leaves are gilt, and
+have a small gauffred pattern upon them.
+
+The design of this book is extremely simple and effective; the fine
+stitching on the tulip contrasts well with the strong metal border
+enclosing it. It may be considered a favourable specimen of the
+commonest type of satin embroidered books of the seventeenth century. It
+is not in very good condition.
+
+
+_Psalms._ London, 1643.
+
+A very quaint design embroidered on white satin covers a copy of the
+Psalms, printed in London in 1643, and measuring 4-1/4 by 3-1/4 inches.
+On the upper side is a representation of Jacob wrestling with the angel,
+flanked by two trees with large leaves; the angel has wings and long
+petticoats. The lower board has a representation of Jacob's dream. The
+patriarch is asleep on the grass, his head upon a white stone, his
+staff and gourd by his side. He has pale hair and beard. Behind him is a
+large tree, and in front a conventional flower with leaves and bud, and
+from the clouds reaches a ladder on which are three small winged angels,
+two coming down, and one between them going up. Through a break in the
+clouds is seen a bright space, with rays of golden light proceeding from
+it.
+
+The back is divided into five panels, in each of which is a flower.
+These resemble, to some extent, a red tulip, a lily, a red dahlia, a
+yellow tulip, and a red rose. The work here is not protected by any
+strong or metal threads, and it is consequently much worn. There are no
+signs of any tie ribbon, and the edges are plainly gilt.
+
+
+_Psalms._ London, 1643.
+
+[Illustration: 50--Psalms. London, 1643.]
+
+Another copy of the Psalms, printed in London in 1643, bound in satin,
+and measuring 3-1/4 by 2-1/4 inches, bears on each side, within a
+circle, a miniature portrait of Charles I. worked in feather-stitch.
+The king wears long hair, moustache, and small pointed beard. He is
+crowned, and has a red cloak with miniver tippet, from under which
+appears the blue ribbon of the Garter worn round the neck, as it
+originally was, and having a small gold medallion attached to it.
+The initials C. R. in gold guimp are at each side. The circle is
+enclosed in a strong framework of silver cord and guimp in the form of
+four thin long pointed ovals of leaf form arranged as a diamond. The
+four triangular spaces between the diamond and the oval are filled with
+small flowers or small pieces of guimp and spangles. Towards each corner
+grows a flower, two pansies, and two others with regular petals. The
+remaining spaces are filled variously with green leaves, small patches
+of purl and gold spangles, and a strong gold cord encloses the whole.
+The back is divided into three panels, in each of which is an ornamental
+conventional flower, the upper and lower ones alike, and worked in
+shades of red with guimp leaves in relief, and the centre one with six
+petals worked in yellow and edged with a fine gold cord. There are no
+signs of ties ever having existed, and the edges of the leaves are gilt
+and slightly gauffred. It has been suggested that this little book may
+have belonged to King Charles I.; but the fact of his portrait
+being upon it is no proof of this, as portraits of this king are more
+numerous upon the bindings of English books than those of any other
+person.
+
+
+_Psalms._ London, 1646.
+
+The value of 'purl' was recognised some few years back, when I had some
+made, and explained its value and use to the Royal School of Art
+Needlework at South Kensington, and I believe they used it considerably.
+
+[Illustration: 51--Psalms. London, 1646.]
+
+On books the use of purl is generally auxiliary, but one small book
+bound in white satin, and measuring 4 by 2-1/2 inches, a copy of the
+Psalms, printed in London in 1646, is entirely embroidered in this
+material, helped with gold braid and cord. The design is approximately
+the same on each side, a large flower with leaves in the centre, and a
+smaller flower in each corner. On the upper cover the centre flower is
+yellow and red, with two large green leaves, and the corner flowers are,
+possibly, intended for a cornflower, a jonquil, a lily, and a rose, but
+the material is so unwieldy that the forms are difficult to trace, and
+flowers worked in it are likely to assume forms that are unrecognisable,
+when finished, however well designed to start with. All the flowers and
+leaves are made with the purl cut into short lengths, drawn together at
+the ends by a thread run through, thus forming a succession of small
+arches. The stalks are made in gold cord. The flowers on the other side
+are, perhaps, a carnation in the centre, and round it a convolvulus,
+lily, daffodil, and rose. The back is divided into five panels, in each
+of which is a 'purl' flower, all worked in the same way, representing
+successively a tulip, cornflower, carnation, lily, rose, or something
+analogous to them; round the designs are straight pieces of brown purl,
+and the edges are bound with a broad gold braid. There are no ties or
+signs of any, and the edges are simply gilt. The purl is undoubtedly
+very strong; I possess a small patch-box worked on white satin in a
+similar way to this little book, and although it has been roughly used
+for some two hundred and fifty years, the colour of the purl is still
+good; the upper surfaces of the small spirals, however, show the copper
+wire bare almost everywhere. The book, not having had anything like the
+hard wear, is in very good condition, but it is too small for the proper
+use of so much thick thread. The larger leaves and petals are made in
+relief by being sewn on over a few pieces of purl laid underneath them
+at right angles.
+
+[Illustration: 52--Bible. London, 1646.]
+
+
+_Bible._ London, 1646.
+
+A Bible printed in London in 1646 is bound in white satin, and
+embroidered in coloured silks and gold braid and cord, measuring 6 by
+3-1/2 inches. The same design is on both sides. In the centre within an
+oval of gold braid and cord is a spray of vine, with two bunches of
+grapes, three leaves and a tendril, the fruit and leaves worked in silk,
+and the stem in gold cord. Enclosing the oval is an arabesque design
+worked in gold cord and guimp, and at each corner is an oval of thin
+gold strips and gold cord; the gold strips are done in the manner known
+as 'lizzarding,' and are kept down by small stitches at intervals.
+
+The back has four panels, in each of which is an arabesque design in
+coloured silks and gold cord or braid. Although this book is
+comparatively late, it is in a bad condition, and shows much wear; the
+design also is weak, and the workmanship inferior.
+
+[Illustration]
+
+
+
+
+INDEX
+
+
+Applique work, remarks on, 24.
+
+Arthur, Prince of Wales, ostrich feather badge used by, 73.
+
+Bacon's 'Essays' (1625), 76;
+  'Works' (1623), 75.
+
+Bags for embroidered books, 16.
+
+Berthelet, Thomas, bookbinder and printer, 74, 80.
+
+Bible, 1543 ed., 54;
+  1583 ed., 67;
+  1590 ed., 70;
+  1612 ed., 39;
+  1619 ed., 84;
+  1626 ed., 45;
+  1638 ed., 96;
+  1642 ed., 48;
+  1646 ed., 109;
+  1648 ed., 49;
+  1674 ed., 78.
+
+Bibliotheque Nationale, embroidered books in the, 20.
+
+Bodleian Library, embroidered books in the, 25.
+
+Brassington, Mr. W. Salt, 1.
+
+Brion, Martin de, 'Tres ample description de la Terre Sainte,' 52.
+
+British Museum, embroidered books in the, 25, 27.
+
+Broiderers, hints for, 21.
+
+Buckingham, Duke of, portrait on 'Bacon's Essays, 1625,' 76.
+
+Canvas bindings, 6, 7, 28-51.
+
+Charles I., portrait on 'Psalms, 1643,' 106.
+
+Charles II., badge on 'Common Prayer, 1638,' 77;
+  'Emblemes Chrestiens, 1624,' 86.
+
+'Christian Prayers,' 1570 ed., 59;
+  1581 ed., 37;
+  1584 ed., 65.
+
+Christopherson, Bishop of Chichester, 'Historia Ecclesiastica' (1569), 57.
+
+Collection of Sixteenth Century Tracts (1536), 80;
+  (1610), 72.
+
+'Common Prayer, 1638' (other editions are with 'Psalms'), 77.
+
+Covers for embroidered books, 18.
+
+'Daily Exercise of a Christian, 1623,' 44.
+
+Day, John, printer, 61.
+
+Derome le Jeune, French bookbinder, 12.
+
+Dibdin's 'Bibliomania,' mention of Queen Elizabeth's embroidery in, 64.
+
+'Double Books,' 38, 89.
+
+Dutch embroidered books, 20.
+
+Edges, ornamentally treated, 16.
+
+Elizabeth, Queen, arms embroidered, 57, 72, 81;
+  books embroidered by, 26, 32, 33, 35, 36.
+
+Embroidered books, definition of, 3.
+
+'Epistles of St. Paul, 1578,' 63.
+
+'Felbrigge Psalter,' 26, 29.
+
+Ferrar, Nicholas, 103.
+
+Fitzhugh, heraldic supporter, 56.
+
+Fletcher, Mr. W. Y., 1.
+
+Floral designs, 5, 6;
+  and on the following books: 'Miroir of the Soul' (1544), 32;
+  'Prayers of Q. Kath. Parr' (1545), 33;
+  Parker, 'De Antiq. Ecc. Britannicae' (1572), 60;
+  'Prayers' (1581), 37;
+  'Prayers' (1584), 66;
+  'Orationis Dominicae Explicatio' (1583), 67;
+  'Psalms,' etc. (1606), 38;
+  'Bible' (1619), 85;
+  'Daily Exercise of a Christian' (1623), 44;
+  'Henshaw, 'Horae Successivae' (1632), 90;
+  'Psalms' (1633), 94;
+  'Bible' (1638), 96;
+  'Psalms' (1639), 98;
+  'Psalms' (1641), 104;
+  'Psalms' (1646), 108.
+
+Forwarding of embroidered books, 11.
+
+French embroidered books, 20.
+
+Fuller, Thomas, 103.
+
+
+Gauffred edges, 16.
+
+George II., gift of the Royal Library to the British Museum in 1757, 25.
+
+George III., his books largely rebound, 5.
+
+Grenville, Right Hon. Thomas, his books largely rebound, 5.
+
+Guimp, description of, 9.
+
+
+Headbands, 15.
+
+Henry VIII., arms on embroidered book, 52.
+
+Henry Benedict, Cardinal York, 19.
+
+Henry, Prince of Wales, his use of the ostrich feather badge, 85;
+  badge upon 'Tracts, 1610,' 73, 77, 86.
+
+Henshaw's 'Horae Successivae,' 90.
+
+Heraldic designs, 5, 6;
+  _Arms_ of Henry VIII., 52;
+  Katherine Parr, 55;
+  Elizabeth, 57, 72, 81;
+  _Badges_ of Queen Mary, 57;
+  Prince of Wales, 73, 77, 86;
+  _Crest_ of Vaughan, 59.
+
+
+Inglis, Esther, calligraphist, 85.
+
+Italian embroidered bindings, 19.
+
+James II., initials on 'Bible, 1674,' 78.
+
+
+Law, Dr. W. T., 94.
+
+Little Gidding, 'Needlework' done at, 103.
+
+Lizzarding, description of, 8.
+
+
+Macray, Rev. W. D., 33, 64.
+
+Magnus, of Amsterdam, bookbinder, 10.
+
+Martyr, Peter, 'Commonplaces,' 69.
+
+Mary, Queen, badge on 'Psalter,' 57.
+
+Metal threads, 8, 29.
+
+'Miroir of the Synneful Soul,' 32.
+
+Montenay, Georgette, 'Emblemes Chrestiens,' 85.
+
+
+New Testament, 1576 ed., 81;
+  1625 ed., 42;
+  1630 ed., 89;
+  1640 ed., 101.
+
+
+'Orationis Dominicae Explicatio,' 1583, 67.
+
+Ostrevant, badge of the province of, 73.
+
+Ostrich feather badge of the Princes of Wales, origin of the, 73;
+  on embroidered bindings, 73, 77, 86.
+
+
+Parr, Queen Katherine, arms on 'Petrarcha, 1544,' 55;
+  Prayers written by, 33.
+
+Parker, Archbishop, 'De Antiquitate Ecclesiae Britannicae,' 60.
+
+Peacocks' feathers used in embroideries, 82.
+
+Pearls used in embroidered bindings: Brion (1540), 52;
+  Christopherson (1569), 57;
+  Parker (1572), 60;
+  'New Testament' (1576), 81;
+  'Bible' (1583), 67;
+  'Bible' (1590), 70;
+  'Tracts' (1610), 72;
+  Montenay (1624), 85;
+  'Psalms' (1633), 94;
+  'Common Prayer' (1638), 77.
+
+'Petrarcha, 1544,' 55.
+
+Pomegranate badge on Queen Mary's 'Psalter,' 57.
+
+Poncyn, of Amsterdam, bookbinder, 10.
+
+Portraits on embroidered books, 5;
+  Charles I., 106;
+  Duke of Buckingham, 76.
+
+'Psalms,' 1606 ed., 38; 1633 ed., 91, 94;
+  1635 ed., 92;
+  1639 ed., 98;
+  1641 ed., 103;
+  1643 ed., 105, 106;
+  1646 ed., 108.
+
+Purl, description of, 9, 10, 46;
+  book embroidered alone with, 108.
+
+Satin bindings, 7, 8, 80-110.
+
+Schreiber, the Lady Charlotte, 83.
+
+Scriptural designs and figures of saints used on embroidered books, 5, 6;
+  Abraham and Isaac, 86;
+  the Annunciation, 29;
+  the Crucifixion, 29;
+  David, 86, 99;
+  Jacob's Dream,
+  Jacob wrestling with the angel, 39, 106;
+  St. Peter, 45;
+  St. Paul, 45;
+  Solomon and the Queen of Sheba, 39.
+
+Silk bindings, 81.
+
+South Kensington Museum, embroidered books in the, 20.
+
+Spangles, 9, 28.
+
+Stitches used on embroidered books:
+  _Buttonhole_ or _Needlepoint lace_ stitch,
+    'New Testament' (1625), 87;
+    'Psalms' (1633), 95;
+    'New Testament' (1640), 101;
+    'Bible' (1642), 48;
+    'Bible' (1648), 50.
+  _Chain stitch_,
+    'Daily Exercise of a Christian' (1623), 44.
+  _Feather stitch_, sometimes called _Shading stitch_,
+    'Bible' (1626), 45;
+    'New Testament' (1630), 90;
+    Henshaw (1632), 90;
+    'Psalms' (1635), 92;
+    'Psalms' (1641), 105;
+    'Psalms' (1643), 106.
+  _Satin stitch_,
+    'Psalms' (1633), 91.
+  _Split stitch_,
+    'Felbrigge Psalter' (fourteenth century), 30;
+    'Way to True Happiness' (1639), 99.
+  _Tapestry_ or _Tent stitch_, 28;
+    'Miroir of the Synneful Soul' (1544), 33;
+    'Prayers' (1545), 34;
+    'Prayers' (1581), 37;
+    'Bible' (1612), 39;
+    Ward (1626), 41.
+
+Symbolical figures, 5, 6;
+  Faith and Hope (1625, 1648), 42, 50;
+  Peace and Plenty (1619, 1635), 84, 93.
+
+Thompson, Mr. H. Yates, 41.
+
+Udall's 'Sermons,' 71.
+
+Vaughan crest, on 'Christian Prayers, 1570,' 59.
+
+Velvet bindings, 6, 7, 52-79.
+
+Victoria, Queen, embroidered book belonging to, 77.
+
+Wales, ostrich plumes of the Prince of, 73, 77, 86.
+
+Ward, Samuel, 'Sermons, 1626-7,' 41.
+
+Water-colours used on embroidered bindings, 81-84.
+
+'Way to True Happiness' (1639), 99.
+
+Wheatley, Mr. H. B., 1.
+
+Wilton, Countess of, 33, 35, 64.
+
+Wren, Elizabeth, book embroidered by, 94.
+
+York, Cardinal, 19.
+
+
+PRINTED BY T. AND A. CONSTABLE, PRINTERS TO
+HER MAJESTY, AT THE UNIVERSITY PRESS,
+EDINBURGH: MARCH MDCCCXCIX
+
+
+
+
+=The English Bookman's Library=
+
+EDITED BY ALFRED POLLARD
+
+
+VOLUME I
+
+=ENGLISH EMBROIDERED BOOKBINDINGS=
+
+BY CYRIL DAVENPORT, F. S. A.
+
+
+VOLUME II
+
+=A BRIEF HISTORY OF ENGLISH PRINTING=
+
+BY H. R. PLOMER
+
+
+VOLUME III
+
+=ENGLISH BOOK COLLECTORS=
+
+BY W. Y. FLETCHER
+
+
+LONDON
+KEGAN PAUL, TRENCH, TRUeBNER & CO., LIMITED
+
+
+
+
+
+
+
+
+End of the Project Gutenberg EBook of English Embroidered Bookbindings, by
+Cyril James Humphries Davenport
+
+*** END OF THIS PROJECT GUTENBERG EBOOK ENGLISH EMBROIDERED BOOKBINDINGS ***
+
+***** This file should be named 17585.txt or 17585.zip *****
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