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diff --git a/17585-h/17585-h.htm b/17585-h/17585-h.htm new file mode 100644 index 0000000..7db9cf6 --- /dev/null +++ b/17585-h/17585-h.htm @@ -0,0 +1,4001 @@ +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Transitional//EN" + "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 */ +<!-- +a:link {text-decoration:none;color:#666666;background-color:#ffffff;} +a:visited {text-decoration:none; color:#999999;background-color:#ffffff;} +a:hover {color:#666666; text-decoration:underline;background-color:#ffffff;} + p {margin-top:.75em;text-align:left;margin-bottom:.75em;} + h1,h2,h3,h4,h5,h6 {text-align:center; clear:both;}/* all headings centered */ + hr {width:33%;margin-top:2em;margin-bottom:2em;margin-left:auto;margin-right:auto;clear:both;} + 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;} + .tocnum1 {float:right; text-align:right; font-size:larger; font-weight:bold;} + .tochead {font-size:larger;font-weight:bold; text-align:left;} + .pagenum {position:absolute; left:92%; font-size:smaller; text-align:right; color:#cccccc; background-color:#ffffff;} /* page numbers */ + .left {text-align:left;} + .blockquot {margin-left:5%; margin-right:5%; text-align:left;} + .boxed2 {text-align:center;width:25em; border: solid 4px; margin: 4px; padding:1em;margin-left:auto;margin-right:auto;clear:both;} + .center {text-align:center;} + .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;} + .fsmcap {font-size:smaller; font-variant:small-caps; text-align:center;} + .figcenter {margin:auto; text-align:center; clear:both;} + .figinit {float:left; padding:2px 5px 0 0;} + // --> + /* XML end ]]>*/ + </style> + </head> + <body> + + +<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—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, TRÜBNER<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>—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"> 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"> 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>—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"> 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"> 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"> 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"> 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"> 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"> 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"> 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>—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. Très 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 Ecclesiæ Britannicæ. <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 Dominicæ Explicatio, etc. <i>Genevæ</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>Antverpiæ</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>—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, Horæ Successivæ. <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—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:—</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 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.</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 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 <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 + £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 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.</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—but + great elaboration was often employed, and on a presentation copy of Archbishop + Parker's <i>De Antiquitate Ecclesiæ Britannicæ</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—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—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—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—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 3½ 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.</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 + 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 <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—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.:—</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 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.</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—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 mediæval 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—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—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—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.</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.<br />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.<br />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.<br />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.<br />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—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—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 16½ by 9¼ 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 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.</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—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 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.'</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 + 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.</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 habitæ</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—and although a stitch + too loose is bad enough, one too tight is infinitely worse.</p> + <p>(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.</p> + <p>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 <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—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—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—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 7¾ by 5¾ 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—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—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—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 5¾ 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, + 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 <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—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 <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—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—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—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—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 3¼ 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—Bible, etc. London, 1612.</p> + </div> + <p>A copy of the Bible, with the Psalms, printed in London in 1612, and measuring + 6¾ by 4¼ 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—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 5¾ by 4¼ 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—an unusual method—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—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 + 4¼ 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—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 + 4¾ by 2¾ 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—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 3½ 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—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.</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—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 3½ 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—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 6¾ by + 4¾ 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 + appliqué 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—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 + 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<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-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.</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-patée, 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—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 9¼ + 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—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—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 <span class="smcap">viii</span>.—'Argent, on a + pile gules, between six roses of the same, three others of the field'—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—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 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 <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—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 + 6¾ 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.</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 3½ 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.</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—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 3½ 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<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 Ecclesiæ Britannicæ.</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 Ecclesiæ Britannicæ. London, 1572." + title="Parker, De antiquitate Ecclesiæ Britannicæ. London, 1572." + class="figcenter" /></a><br /> + <p class="caption">21—Parker, De antiquitate Ecclesiæ Britannicæ. + 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 Ecclesiæ + Britannicæ</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 + 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.'</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.(<i>From a drawing</i>)." + title="The Epistles of St. Paul. London, 1578.(<i>From a drawing</i>)." + class="figcenter" /></a><br /> + <p class="caption">22—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 4½ by 3½ 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 scripturæ legens verba vertit in + opera—Celum Patria Scopus vitæ <span + class="smcap">xpus</span>—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 <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—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 7½ by 5½ 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 Dominicæ Explicatio, etc.</i>Genevæ, 1583. + </div> + <div class="figcenter"> + <a id="plate_24" href="images/bigplate24.jpg" name="plate_24"><img + src="images/plate24.jpg" + alt="Orationis Dominicæ Explicatio, etc. Genevæ, 1583." + title="Orationis Dominicæ Explicatio, etc. Genevæ, 1583." + class="figcenter" /></a><br /> + <p class="caption">24—Orationis Dominicæ Explicatio, etc. Genevæ, + 1583.</p> + </div> + <p>There is in the British Museum a copy of <i>Orationis Dominicæ Explicatio, + per Lambertum Danæum</i>, printed at Geneva in 1583, which belonged to Queen + Elizabeth. It is bound in black velvet, measures 6¾ by 4¼ 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—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—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 13½ 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> Antverpiæ, 1590. + </div> + <div class="figcenter"> + <a id="plate_27" href="images/bigplate27.jpg" name="plate_27"><img + src="images/plate27.jpg" alt="Biblia. Antverpiæ, 1590." + title="Biblia. Antverpiæ, 1590." class="figcenter" /></a><br /> + <p class="caption">27—Biblia. Antverpiæ, 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—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>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. (<i>From a drawing</i>)." + title="Udall, Sermons. London, 1596. (<i>From a drawing</i>)." + class="figcenter" /></a><br /> + <p class="caption">28—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 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.</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—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 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 <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—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 13¼ by 8¾ 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—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—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 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 <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—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—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—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 4¾ by 2¾ 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—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 3½ 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.</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>. à 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—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 + 11¼ by 7¾ 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—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 4½ by 3½ + 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 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.</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—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 4¼ 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>Horæ Successivæ</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, Horæ Successivæ. London, 1632." + title="Henshaw, Horæ Successivæ. London, 1632." class="figcenter" /> + </a><br /> + <p class="caption">40—Henshaw, Horæ Successivæ. London, 1632.</p> + </div> + <p>Henshaw's <i>Horæ Successivæ</i>, printed in London in 1632, is bound + in white satin, and measures 4½ 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 <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—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—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 3½ 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—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—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—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—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 4½ 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 <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—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 4½ by 2¼ 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 <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 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 <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—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—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 4¼ by 3¼ <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—Psalms. London, 1643.</p> + </div> + <p>Another copy of the Psalms, printed in London in 1643, bound in satin, and + measuring 3¼ by 2¼ 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—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 2½ 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—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 3½ 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> + + Appliqué 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 /> + Bibliothèque 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, 'Très 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. Britannicæ' (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 Dominicæ 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, 'Horæ Successivæ' (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 'Horæ Successivæ,' <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 Dominicæ 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 Ecclesiæ Britannicæ,' <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, TRÜBNER & 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 + +*** END OF THIS PROJECT GUTENBERG EBOOK ENGLISH EMBROIDERED BOOKBINDINGS *** + +***** This file should be named 17585-h.htm or 17585-h.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/1/7/5/8/17585/ + +Produced by K.D. 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