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diff --git a/40028-8.txt b/40028-8.txt deleted file mode 100644 index 0079daf..0000000 --- a/40028-8.txt +++ /dev/null @@ -1,2836 +0,0 @@ -The Project Gutenberg EBook of Royal English Bookbindings, by Cyril 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: Royal English Bookbindings - -Author: Cyril Davenport - -Release Date: June 18, 2012 [EBook #40028] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK ROYAL ENGLISH BOOKBINDINGS *** - - - - -Produced by Chris Curnow and the Online Distributed -Proofreading Team at http://www.pgdp.net (This file was -produced from images generously made available by The -Internet Archive.) - - - - - - - - - -[Illustration: Passionale, etc., MS., _circa_ 1100 A.D. Henry I.] - - - - - ROYAL ENGLISH BOOKBINDINGS - - - _By_ CYRIL DAVENPORT, F.S.A. - _Of the Department of Printed Books, British Museum_ - - - LONDON - SEELEY AND CO. LIMITED, GREAT RUSSELL STREET - NEW YORK: THE MACMILLAN CO. - 1896 - - - - -LIST OF ILLUSTRATIONS - - -_COLOURED PLATES_ - - PAGE - - I. Passionale, etc., MS., _circa_ - 1100 A.D. Henry I. _Frontispiece_ - - II. Penitential Psalms, etc., MS., - sixteenth century Henry VIII. 16 - - Novum Testamentum Grĉce. Lutetiĉ, 1550 - (gold centres) Queen Elizabeth 16 - - III. Deloenus. Libellus de tribus - Hierarchiis, etc., MS. Henry VIII. 18 - - IV. [Greek: BASILIKON DÔRON.] Written - for Prince Henry, by King James VI. of - Scotland. MS James I. 54 - - V. Ortelius. Theatre of the World. - London, 1606 Do. 58 - - VI. New Testament, etc. London, 1643 Charles I. 66 - - VII. Gil. [Greek: PARERGA], etc. - Londini, 1632 Do. 68 - - VIII. Order of the Coronation of George - III. and Queen Charlotte. London, 1761 George III. 94 - - -_ILLUSTRATIONS IN THE TEXT_ - - Indentures between Henry VII. and John - Islippe, Abbot of Westminster, concerning - the foundation of the Chantrey, etc., MS. Henry VII. 11 - - Opus eximium de vera differentia Regiĉ - Potestatis et Ecclesiasticĉ. Londini, - 1534 Henry VIII. 15 - - Description of the Holy Land, in French. - By Martin Brion. MS. Do. 17 - - Le Chappellet de Ihesus, MS., sixteenth - century Margaret Tudor, - Queen of James IV. - of Scotland 21 - - Il Petrarcha. Venetia, 1544 Queen Katharine Parr 23 - - Prayers, etc. Malborow, 1538 (Doublure) Edward VI. 29 - - Queen Mary's Psalter, MS. Queen Mary 33 - - Prayers, etc. London, 1574-1591 Queen Elizabeth 35 - - Christian Meditations, in Latin, 1570 Do. 37 - - Parker. De antiqvitate Britannicĉ - Ecclesiĉ. London, 1572 Do. 41 - - Orationis Dominicĉ Explicatio, per L. - Danaeum. Genevae, 1583 Do. 45 - - La Saincte Bible. Lyon, 1566 Do. 47 - - Gospels in Anglo-Saxon and English. - London, 1571 Do. 49 - - Trogi Pompeii Historiarum Philippicarum - epitoma. Parisiis, 1581 Do. 53 - - Livius. Romana Historia. Avreliĉ - Allobrogvm, 1609 Henry Prince of Wales 61 - - Collection of Miscellaneous Tracts in - MS. Do. 63 - - Dallington. Aphorismes, Civill and - Militarie. London, 1613 Charles Prince of Wales 67 - - Common Prayer. London, 1662 Charles II. 69 - - A short View of the late Troubles in - England, etc. Oxford, 1681 Do. 73 - - Bible. Cambridge, 1674 James II. 75 - - Euclide. Oxford, 1705 Queen Anne 79 - - Ĉlfric. An English-Saxon Homily on the - Birthday of St. Gregory. London, 1709 Queen Anne 81 - - Account of what passed in a Conference - concerning the Succession to the Crown, - MS. George I. 85 - - Le Nouveau Testament. Amsterdam, 1718 George II. 87 - - Chandler. A Vindication of the Defence - of Christianity. London, 1728 Do. 88 - - Common Prayer. Cambridge, 1760 Queen Charlotte 90 - - Portfolio containing the Royal Letter - concerning the King's Library George IV. 92 - -_The Coloured Plates are printed by Edmund Evans._ - - - - -ROYAL ENGLISH BOOKBINDINGS - - - - -PROLOGUE - - -It is curious that twice in English history the royal libraries have been -given to the nation. The ancient royal collection, containing manuscripts -from the reign of Richard III., was added to by each sovereign in turn; -but it seems to have been brought into notice and taken special care of by -Prince Henry, the eldest son of James I. Out of his own private income, -this Prince added largely to the old collection, and purchased the -important libraries of Lord Lumley, of a Welshman named Maurice, and that -of Isaac Casaubon. On his death the library became the property of James -I., and after some other changes, both the old library and that of Prince -Henry were deposited at Ashburnham House, where in 1731 there was a fire -which damaged some of it. It was then removed to the old Dormitory at -Westminster, and in 1757 it was presented by George II. to the nation, and -was handed over to the Trustees of the Sloane and Cottonian Libraries, and -placed in Montagu House, then newly purchased as a National Museum. There -were at this time in the old royal library about 15,000 volumes -altogether, and very many of them were still in their ancient and -beautiful bindings. - -George III., finding on his accession to the throne that there was no -royal library, very energetically set to work to form a new collection. He -chose his agents very carefully, and appointed Sir Frederick Barnard to be -his librarian. Sir Frederick travelled widely in search of books, and, -acting partly under the advice of Dr. Samuel Johnson, eventually brought -together perhaps the finest collection of books ever made by one man. On -the king's death the library contained upwards of 65,000 volumes, besides -more than 19,000 separate tracts and some manuscripts. - -Generally speaking, the bindings in the "King's Library"--the name by -which George III.'s collection is now known in the British Museum--are -modern; but among them are a considerable number of old bindings in good -condition, and it is possible that those which were rebound were mostly in -a bad state. Unfortunately the crowned monogram of George III. is -generally impressed in a prominent place, even on such old bindings as -have been otherwise preserved intact; and although valuable as a record it -is often a great disfigurement. There is little doubt that George III.'s -intention was to create a new royal library to remain in the possession of -the kings themselves, but there seems to have been some idea that it would -eventually become national property, as Dr. Frederick Wendeborn, a German -preacher, well known at Court, wrote: "The King's Private Library ... can -boast very valuable and magnificent books, which, as it is said, will at -one time or another be joined to those of the British Museum." This -prediction was fulfilled in 1823, when George IV. presented it to the -nation, and the fine room now known as the King's Library in the British -Museum was built for its reception, the removal being completed in 1828. - -William IV. does not seem to have been altogether pleased that the royal -libraries should have been twice given away, as he added a codicil to his -will in 1833, bequeathing to the Crown "all his additions to the libraries -in the several royal palaces," with an autograph confirmation dated from -Brighton, November 30, 1834, signed and sealed by himself, declaring "that -all the books, drawings, and plans collected in all the palaces shall for -ever continue heirlooms to the Crown, and on no pretence whatever to be -alienated from the Crown." - -The royal library at Windsor now contains the greatest number of royal -bindings now existing in any one collection, except those at the British -Museum, but it possesses very few that belonged to Tudor sovereigns. From -the time of James I. it has a very fine collection. - -Where I have not specifically mentioned otherwise, the books described in -the following pages are in the British Museum. They should be to the -English people especially interesting, for not only are they national -property, but any of them can be seen with little trouble, and a -considerable number are actually exhibited in the binding show-cases in -the King's Library, or in the Grenville Library. - - - - -CHAPTER I - -HENRY I.--EDWARD VI.--HENRY VII.--HENRY VIII.--KATHARINE OF ARRAGON--ANNE -BOLEYN--MARGARET TUDOR--MARY TUDOR--KATHARINE PARR - - -The rulers of England and of France have, ever since the introduction of -printing into Europe, been great patrons of books, and moreover have by -their individual tastes, both literary and artistic, largely influenced -the styles of bookbinding prevalent during their reigns. - -In England from the time of Henry VII. onwards, and in France from Louis -XII., a noble series of royal bookbindings exists at the present time, and -may be considered with justice to be typical of the best work done at the -different periods. Although there are a few great binders who do not -appear, as far as is at present known, to have worked for royalty, there -is no doubt that most of the great masters of this most fascinating art -were at some time or other privileged to work for the sovereign houses of -their time, if indeed they were not actually royal binders. - -Before printing was introduced into England in the fifteenth century by -William Caxton, there is little or no record of any special collection of -books made by any English sovereign. It is possible no such collection -ever was made, but if it were, all trace and record of it is now lost. -Rich mediĉval bindings of a decorative character, such as are not uncommon -in other countries, are unknown in England, and it is supposed that, for -the sake of the valuable metal and gems which were commonly used on such -bindings, they were destroyed under the early Tudor kings. At the same -time, it seems unlikely that Henry VIII. or Edward VI. would have pulled -to pieces any fine bindings, if they had already formed part of a royal -library. - -It is difficult in the case of antiquities, the full record of which is -not forthcoming, to be sure of statements which may be made concerning -them; but so many antiquaries and men of mark have already borne testimony -at all events to the probable truth of the legend that the coronation book -of Henry I. still exists, that I feel any record of English royal -bookbindings would be imperfect, not only without mention of it, but even -without a detailed description. I think, however, that without exception -every other book I shall describe or mention has upon it, or in it, some -absolute mark of royal ownership, but on the other hand they are all much -later. Indeed, as far as I know, no book of the twelfth century has any -mark of ownership upon it, although the makers' name does rarely occur. - -The book in question (Plate I.) is quite small, measuring 7 × 4-1/2 -inches. It is a manuscript on vellum of lessons from the four gospels in -Latin, written in the twelfth century; it also contains the whole of the -Gospel of St. John except a small portion missing, and some other MSS. The -binding is of thick wooden boards, covered probably with deer-skin. The -lower cover has a sunk panel, and bears a crucified figure of our Lord -cast in bronze, finely chased and formerly gilt. The corners are guarded -with bossed pieces of brass, stamped with a device of a fleur-de-lis -within a circle, and there is a clasp of leather and brass. The figure of -our Lord appears distinctly old, but the rest of the metal work has not -such evidence of antiquity, and it seems likely that it is much more -recent. Inside the book are several manuscript notes by various owners, -the most interesting of which is signed by John Ives, at "Yarmouth, St. -Luke's Day, 1772." He says this "appears to be the original book on which -our Kings and Queens took their coronation oaths before the Reformation." -In Powell's _Repertoire of Records_, 1631, at p. 123, he mentions "a -little booke with a crucifix" as being preserved in the chest of the -King's Remembrancer at the Exchequer. - -Mr. Thomas Martin of Palgrave, owner of the book in the beginning of the -eighteenth century, at one time lent it to Mr. Thomas Madox, author of -the _History of the Exchequer_, and his opinion was that it was the book -formerly belonging to the Exchequer, mentioned by Powell, and which was -used to take the coronation oath upon by all our kings and queens till -Henry VIII. - -It belonged afterwards to Mr. Thomas Astle, F.S.A., Keeper of the Records -in the Tower of London, who died in 1803, and whose library was purchased -by the Marquis of Buckingham and kept at Stowe in a beautiful Gothic room -specially built for it. In June 1849 the library became the property of -Lord Ashburnham, and from him it was purchased in 1883 by the Trustees of -the British Museum, excepting the Irish MSS., which went to Dublin. This -collection is now known as the Stowe Collection. - -There is a drawing of this book by Mr. George Vertue, presented by him to -the Society of Antiquaries and still preserved in their library. - -From the time of Henry I. until that of Edward IV. there is no trace of -any English royal bindings, and then only a small one. There is in the -library of Westminster Abbey a loose leather binding impressed with a -panel-stamp of the arms of Edward IV., crowned and supported by the two -white lions of the Earls of March, and, moreover, at the top the two -angels which are afterwards often found on the larger panel-stamps of a -similar kind used in the time of Henry VIII. No other binding exists -apparently that belonged to Edward IV., even if this one did, but in the -wardrobe accounts of his reign are found several notices of binding. One -reads, "for binding, gilding, and dressing" of books, but does not say -what the material is. It was probably leather, calf or goat, as gilding on -velvet does not seem to have then been thought of, although the material -itself was certainly used, as in another place it is stated that "velvet -vj yerdes cremysy figured" were delivered for the covering of the books of -our lord the king; and indeed it is curious if the "gilding" was applied -even to leather, as certainly no instances are known at so early a date of -English origin. - -Actual instances of the use of velvet for bookbinding occur first among -the books of Henry VII. and Henry VIII., and the value, beauty, and -wonderful durability of it are likely enough to have attracted the notice -of royal and learned book lovers. - -Henry VII. was the first of our kings whose literary tastes have left any -mark on our existing collections. He acquired a magnificent series of -volumes printed on vellum at Paris by Antoine Verard, a celebrated French -printer, besides other valuable books. This collection is now at the -British Museum almost complete, and it is rebound in velvet. It is likely -that the original binding was also velvet, but record of it is lost. There -is, however, one magnificent volume that fortunately was so splendid and -in so fine a condition that the ruthless rebinder has spared it. This is a -copy of the Indentures made between Henry VII. and John Islippe, Abbot of -Westminster, for the foundation of the chantrey. It is written on vellum, -and its counterpart is preserved in the Public Record Office. - -It is covered in crimson velvet, edged with gold cord, and having tassels -of crimson silk and gold, the velvet projecting broadly over the edges. On -each side are centre and corner bosses of silver, gilt and enamelled. The -centre bosses bear the royal coat-of-arms wrought in high relief, with the -supporters used by the king--the red dragon of his ancestor Cadwallader, -and the white greyhound he used both by right of his wife through the -Nevills and his own maternal ancestors the Earls of Somerset. The corner -bosses bear the portcullis, the emblem of the castle of Beaufort in Anjou, -the residence of Catherine Swinford, and where Henry's maternal -grandfather was born. Each of these portcullises is borne upon a white and -green ground, the livery colours of the Tudors, and it has been used as a -royal badge from the time of Henry VII. until the present day. - -The book is held together by bands of gold braid, and fastened by -beautiful clasps of richly-chased silver-gilt, with enamelled red roses. -Appended to the boards are five impressions of the Great Seal, each in a -silver box, with either a portcullis or a red rose upon it. The seals hang -by plaited cords of green and gold. - -There are similar books of Henry VII.'s besides this one. A fine instance -was shown at the Burlington Fine Arts Club Exhibition of Binding in 1891. -It is a _Book of Penalties for non-performance of services in the Chapel -of Henry VII. at Westminster_, and is bound in red velvet, with tassels -and silver-gilt and enamelled bosses like those just described. It has -silver clasps, and four silver boxes containing the seals of the parties -to the indenture depend from the lower edge. - -[Illustration: FIG. 1.--_Indentures between Henry VII, and John Islippe, -Abbot of Westminster, concerning the foundation of the Chantrey, etc., -MS._] - -On one book, probably once the property of Henry VII., which somehow -became separated from the rest, is found his coat-of-arms impressed on the -gilt edges--a curious and early instance of decorative edge-work. A -drawing of it was published in _Bibliographica_, vol. ii. p. 395. It is a -Sarum Missal, Rouen, 1497, and was given to Cardinal Pole probably by -Queen Mary, and eventually purchased by the British Museum. - -Henry VIII. apparently thought much of his library and its proper -preservation and extension. He appointed John Leland, the antiquary, to be -his library keeper, and gave him a special commission under the Broad Seal -to travel and collect all kinds of antiquities and make records of them. -Leland acquired, under these powers, many valuable manuscripts from the -monasteries, then so ruthlessly being despoiled of their treasures; but, -unfortunately, he does not seem to have been able to preserve any of the -precious bindings in which many of them were doubtless encased. - -There is a considerable amount of documentary evidence concerning the -binding of Henry VIII.'s books. Notices occur in the records of the "Privy -Purse Expenses" of payments for velvet and vellum; and these two materials -are again largely mentioned in the most interesting account now preserved -among the additional manuscripts at the British Museum of the royal -printer and binder, "Thomas Berthelett." This account, which is very full, -refers to work done during the years 1541-43; and although, so far, no -actual book has been identified as being one of those mentioned, yet the -bindings we still possess of Henry VIII.'s are so generally of the same -kind as those described that there seems little doubt that most, if not -all of them, were bound by Berthelet. - -He mentions a Psalter "covered with crimosyn satyne," and we possess a -collection of tracts bound in this manner, with a delicate tracery of gold -cord, and on the edges is written in gold the words "REX IN ĈTERNUM VIVE -NEEZ." This is probably what Berthelet, in an entry a little further on, -calls "drawyng in gold on the transfile." There are several mentions of -books "gorgiously gilded on the leather," and also others where he says -books are bound "backe to backe" none of which seem to have survived, but -there are plenty of instances of the "white leather gilt," so often used. -"Purple velvet" was used to cover "ij Primers," which are now lost; but we -possess a splendid volume covered in this way with embroidery upon it, and -again he says he has bound books after the "Venecian fascion" and "Italian -fascion." Truly the Italian work of the late fifteenth and early sixteenth -centuries is extremely fine, and Berthelet may have seen some specimens of -it, and, admiring them, have endeavoured to imitate their peculiar and -beautiful gilded tooling. - -To Berthelet must be conceded the honour of being the first English binder -to use gold stamped work on leather, and he does so with admirable effect. -Many of his bindings gilded on white leather, sometimes deer-skin, -sometimes vellum, are most charming; indeed, the taste for vellum has -never died out in England from Berthelet's time to the present day, when -we have William Morris's dainty volumes with their green ties. Berthelet's -books also generally had ties, but they are now all worn off. - -A fine instance of this white leather and gold occurs on Sir Thomas -Elyot's _Image of Governance_, printed by Berthelet in 1541. - -It bears the same design on each side. A panel, enclosed by an ornamental -fillet, contains a very graceful arrangement of curves forming a central -space in which are the words "Dieu et mon Droit"; and at each side of this -the royal initials contained in two semicircles left for them. At each of -the inner corners is a large set stamp, and the ground is dotted over with -small circles and the daisy--a badge used by the Tudors probably as a -compliment to their ancestress Margaret de Beaufort. On the edges are -painted in gold the words "REX IN ĈTERNUM VIVE." - -Some of the same stamps are used on another book which is probably -Berthelet's work. It is a manuscript Latin commentary on the campaign of -the Emperor Charles V. against the French in 1544, addressed by Anthonius -de Musica to Henry VIII. It is bound in brown calf, and bears within a -broad outer fillet a panel containing in the centre the royal coat-of-arms -and initials enclosed in an inner rectangular panel; above and below this -are two rectangular cartouches, with titles of the king and various -initials which have not yet been interpreted. Flanking the long central -panel are medallions of Plato and Dido, favourite stamps afterwards with -English binders, but occurring here for the first time. - -A design which was probably a favourite one of Berthelet's is found on a -copy of _Opus eximium de vera differentia Regiĉ Potestatis et -Ecclesiasticĉ_, printed by him in 1534 (Fig. 2). There is an instance of -the same binding in the Bodleian Library at Oxford. The arms of the king, -with the supporters of the dragon and the greyhound, occupy the centre of -each board. This is enclosed in an oval ribbon bearing the words "Rex -Henricus VIII. Dieu et mon Droit," and the whole is surrounded by an -ornamental fillet with decorative corners. Above and below the shield are -crowned double roses and the initials K. H. - -A collection of sixteenth-century tracts is covered with crimson satin, -and ornamented with an arabesque design outlined in gold cord. This is the -earliest English book remaining that is bound in satin, but no doubt many -more existed, as they are so often mentioned in accounts of the time. The -satin is always crimson, and, curiously enough, long afterwards under the -Stuarts the use of satin was revived, but of a white colour. This -collection of tracts was certainly enough bound for the king, as it has -the peculiarity of the motto painted on its edges in gold, "REX IN ĈTERNUM -VIVE NEEZ," which seems to have been a favourite form of decoration of -Berthelet's, so very likely this is one of his books. - -Velvet, mentioned also by Berthelet, is used to cover a large Bible -printed at Zurich in 1543, but there does not appear very clearly any mark -by which it can be identified as his work. It is now of a tawny colour, -but was originally probably crimson, and on it is outlined an elaborate -design in gold cord. A broad outer border has an arabesque pattern -arranged diamond-wise, with large double roses at each corner. Within this -is a smaller rectangular border, enclosing a circle with the king's -initials bound together by a scroll, and above and below the circle a -repeating arabesque design. On the edges of this book are very elaborate -heraldic paintings. - -A different kind of work altogether covers the splendid _Description de -toute la terre Sainte_, by Martin de Brion (Fig. 3), a beautiful -manuscript on vellum dedicated to Henry VIII., and full of illuminated -reference to him and his heraldic attributes. - -It is bound in purple velvet and richly embroidered, and is the first of a -splendid series of embroidered books on velvet executed in England. The -design is simple, but it is carried out with such skill and taste that it -is altogether most effective. In the centre is the royal coat-of-arms, the -coats of France and England quarterly, as borne by our sovereigns from -Richard II. to Elizabeth, Edward III., who first used the French coat, -having originally borne it _semée de fleurs-de-lis_, but the number of -these having been reduced to three by Charles VI. of France, a -corresponding change was made in the English coat by his son-in-law -Richard. - -[Illustration: FIG. 2.--_Opus eximium de vera differentia Regiĉ Potestatis -et Ecclesiasticĉ. Londini, 1534. Henry VIII._] - -The bearings on these coats are worked in gold thread on a couched -groundwork of silk of the proper colours. The coat is ensigned by a large -royal crown worked in gold thread, freely adorned with pearls on the -arches, the crosses, and the fleurs-de-lis, as also on the rim, which is -further ornamented with "jewels" of coloured silks. The blue Garter, with -its motto in gold, and the spaces between the words marked by small red -roses, surrounds the coat. The king's initial H.'s, originally worked in -seed pearls, but now only showing the threads, flank the central design, -and the corners are filled with raised Lancastrian roses of red silk, -appliqués, and finished with gold. - -There is still another kind of binding used for one of the volumes in the -British Museum that was made for Henry VIII., and that is of gold. It is a -tiny copy of a metrical version of the penitential and other Psalms in -English by John Cheke, Clerk in Chancery, written on vellum early in the -sixteenth century (Plate II.) It has at the beginning a miniature portrait -of Henry VIII., and is bound in gold, worked in open-leaf tracery, with -remains of black enamel on many of the leaves and on the border -surrounding them. The panels of the back have each a small pattern cut -into the metal, and filled with a black enamel. At the top of each cover -is a small ring so that the volume could be attached to the girdle. It is -said to have been given by Queen Anne Boleyn when on the scaffold to one -of her maids of honour, and it now forms part of the Stowe Collection at -the British Museum. - -A book curiously decorated and bound in calf for Henry VIII. is a Bible -printed at Antwerp in 1534, and in two volumes. These are large books -measuring 14-1/2 × 9 inches, and both of them have been restored at the -outer edges. The inner panel, rectangular with large corners, encloses on -each side sentences in French, above and below which are crowned double -roses and the initials H. A., probably standing for "Henry" and "Anna." -The sentence reads on one side, "AINSI QUE TOUS MEURENT PAR ADAM," and on -the other, "AUSSY TOUS SERONT VIVIFIES PAR CHRIST." The borders and -corners are very rich and decorative, and it is likely that the outer -ornamentation, although it is actually modern, has been carefully copied -from the original. - -[Illustration: Penitential Psalms, etc., MS., sixteenth century. Gold -Binding. Henry VIII.] - -[Illustration: Novum Testamentum Grĉce. Lutetiĉ, 1550. Gold centres. Queen -Elizabeth.] - -A handsome binding in dark brown calf covers an "old royal" manuscript, -_Jul. Claud Iguini oratio ad Hen. VIII._, written probably about 1540. It -has blind and gold lines, and the design is an outer border with an -arabesque pattern stamped in gold, enclosing the royal coat-of-arms, -crowned, and enclosed within a Garter. Round this again are four Greek -words, "[Greek: PLIOS PANTAS ALIENÔN EXARKTON]," the meaning of which is -not clear. On the coat-of-arms it is notable that the three lions of -England are crowned. This peculiarity occurs sometimes in other books, but -I believe heraldically the lions should not be crowned, and this book is -the earliest instance I have met with in which they are so shown. - -[Illustration: FIG. 3.--_Description of the Holy Land, in French. By -Martin Brion. MS. Henry VIII._] - -_Galteri Deloeni Libellus de tribus Hierarchiis_, a manuscript dedicated -to Henry and probably bound by Thomas Berthelet, is one of his most -decorative bindings on a small book (Plate III.) The design is simple, a -rectangle and a diamond fillet interlaced, enclosing the royal -coat-of-arms crowned. In the two lower spaces below the shield are the -crucifixion and the serpent in the wilderness with their corresponding -texts, and the rest of the spaces are very fully filled with small stamps -of arabesques, double roses, single and double daisies, stars, and leaves. -The execution of the actual gilding is coarse, and the finish generally is -not as perfect as it might be, but the general effect is excellent. - -One of the most interesting bindings of any that were made for Henry VIII. -is that which was, or is supposed to have been, worked for him by his -daughter Elizabeth. It is part of the old royal library in the British -Museum, and is written on vellum in the Princess's own most careful and -precise handwriting. It is a collection of prayers composed by Queen -Katharine Parr, and translated by Elizabeth into Latin, French, and -Italian, and dated "Hereford, December 20, 1545." The dedication is, -"Illustrissimo Henrico octavo, Anglie, Francie, Hiberniĉq. regi, fidei -defensori." The volume is quite small, 5-3/4 inches by 4, and is covered -in red silk, with a gold thread in it, woven with a very large mesh, or -even possibly made by hand. In the centre of each board is a large -monogram worked in a thick cord of blue silk, through which runs a silver -thread. The monogram, like so many similar arrangements of letters, causes -much difference of opinion among the experts who endeavour to interpret -it. My solution is that it is composed of the letters "A. F. H. REX," the -meaning of which is "Anglie, Francie, Hiberniĉque Rex," in accordance with -the words used by Elizabeth in her dedication, and the two H's, worked in -a thick red silk cord with a silver thread in it, which are above and -below the monogram, supply the needful name. I do not know that this -interpretation is by any one considered to be the right one, but it -appears to me at all events as plausible as any of the others I have -heard. At each corner is a heartsease of purple and gold and small green -leaves. This most curious and interesting binding is in many ways nearly -allied to that made for Queen Katharine Parr, which is now at the -Bodleian Library at Oxford, and which I shall presently describe. This -binding is also considered to be the work of the Princess Elizabeth, and I -think that the similarity in the peculiar groundwork, the identity of the -pansies in the corners, and the use of braid or very thick thread in each, -producing a maximum of effect with a minimum of labour, are all strong -reasons for believing that both volumes are the work of the same hand, -namely, that, of the Princess herself. - -[Illustration: Deloenus. Libellus de tribus Hierarchiis, etc., MS. Henry -VIII.] - -The Bodleian binding is in very fair condition, but the British Museum one -is, unfortunately, in a very dilapidated state. Luckily, however, it has -not been restored, so what is left can be safely examined and relied upon. - -English royal bindings, of old date especially, now rarely come into the -open market, but in the latter part of last year a most interesting -specimen that belonged to Henry VIII. was purchased by the British Museum. -It is a manuscript on the science of geometry, written on paper and -dedicated to the king. It is bound in white leather, and has many signs -that it is the work of Thomas Berthelet. There is an outer border of blind -and gold lines, with solid arabesques at the outer corners, and stars in -the inner corners. The centre of each board bears a geometrical design of -triangles and lines filled in with stars and dots. In the upper part of -each board is a cartouche bearing the words "VIVAT REX," and at the lower -part a similar cartouche with the word "GEOMETRIA," followed by an -arabesque ornament. Written in gold on the white edges are the words "REX -IN ĈTERNUM VIVE NEEZ." There is no book of Berthelet's, except this one, -on which the decoration has any reference to the contents of the volume. -It is indeed probable that this is actually one of the first books in -which there has been any endeavour to make the outside decoration agree -with the subject-matter inside. - -The word "Nez," or "Neez," which usually occurs after the "Rex in Ĉternum -Vive" so frequently painted on the edges of Henry VIII.'s books, has been -a puzzle for some time. Mr. E. L. Scott of the British Museum suggests -that it may stand for the first letters of the words "[Greek: -Nabouchodonosôr esaei zêthi]," as the king to whom the words are addressed -in the Book of Daniel is Nebuchadnezzar. This explanation I have already -given in _Bibliographica_, part viii. - -In the sixteenth century in England a great many books were decorated in -what is called "blind," that is to say, without the use of gold-leaf, with -large panel-stamps. Two of these stamps bear the royal coat-of-arms, with -supporters ensigned with the crown. The larger of them has above the crown -a double rose and two angels bearing scrolls, and dependent from the -shield, by chains, are two portcullises. The smaller and inferior stamp -has, in the upper portion, representations of the sun and moon, with -usually the Cross of St. George and the arms of the City of London. The -first of these stamps may, I think, have been originally cut for the -king's own use; but the second is undoubtedly a trade stamp. The -signification of it probably is, that the binder who used it was a Freeman -of the City of London. I have given figures of these designs in the -_Queen_ of June 20, 1891, in illustration of a paper on early London -bookbindings. The stamp with the angels is often used in conjunction with -the stamps of Katharine of Arragon and Anne Boleyn, to be hereafter -described; and I mention it here because it is not at all uncommon, and is -very generally supposed to be actually royal, but, as far as I have been -able to ascertain, there is no instance of its use upon a book which is -known to have been so, and now it is generally considered to be only a -trade stamp. In judging stamps of this kind, it must not be forgotten that -they were cut in hard metal and only used on soft leather, so that they -would last a very long time indeed. Generally, some other evidence of the -ownership of the book should be adduced beyond a mere existence of a -single stamp. - -For Katharine of Arragon a large panel-stamp was cut bearing her -coat-of-arms impaled with that of England, crowned, and having two angels -as supporters. An example of this occurs on a copy of _Whittington, De -octo partibus orationis_, London, 1521. On the other side of the book is -the large stamp of the king's arms already described. A similar stamp was -used with the substitution of the arms of Queen Anne Boleyn for those of -Queen Katharine. There is now no instance of the use of either of these -stamps on a royal book. - -George Vertue, in his notes on the Fine Arts, says that small gold books -were given to Queen Anne Boleyn's maids of honour; and he describes one of -these little bindings which is, unfortunately, lost. - -[Illustration: FIG. 4.--_Le Chappellet de Ihesus, MS., sixteenth century. -Margaret Tudor._] - -There is, however, one exquisite golden binding in existence which may be -something like the books mentioned, only this one is recorded as having -been given to the queen by one of the ladies of the Wyatt family. It is at -present the property of Lord Romney, who is himself a descendant of that -family, in whose possession it has always been since the sixteenth -century. It is a Book of Prayers, and measures 2-1/4 inches in length, -1-3/8 inch in breadth, and three-quarters of an inch in thickness. The -designs upon it are most delicate and beautiful arabesques, very nearly -resembling designs made by Hans Holbein for jewellery. These designs are -left in low relief, the groundwork being cut away to a slight degree and -filled with black enamel, so that the arabesques show in gold on a black -ground. The back is panelled and decorated in the same way, as also are -the clasps, of which there are two. There are rings at the two lower -edges, for the suspension of the book at the girdle. It resembles much the -little gold book described already as having belonged to Henry VIII., -especially the back. It is figured and fully described in vol. xliv. of -_Archĉologia_ at p. 260. - -Another book which belonged to Anne Boleyn, and is said to have been with -her on the scaffold, is in the British Museum. It is a copy of the New -Testament in vellum, in English, printed at Antwerp in 1534 by Martin -Emperowre. It has, unfortunately, been rebound for Mr. Cracherode, but -still bears on its gilt and gauffred edges the words "_Anna Regina -Angliĉ_" written in red. - -Henry VIII. made a most unjust will, confirmed nevertheless by Parliament -and also acted up to by Edward VI., by virtue of which the succession to -the throne of England was settled upon the descendants of his younger -sister Mary, instead of those of his elder sister Margaret. The three -grand-daughters of the Princess Mary were the Ladies Jane, Katherine, and -Mary Grey. Lady Jane Grey, indeed, did come to the throne, as she was -crowned Queen of England on the death of Edward VI., but she enjoyed the -dignity but a short time, as nine days afterwards she was imprisoned in -the Tower, and on February 12, 1554, was beheaded, aged only seventeen -years. Her sisters both died prisoners. Edward VI., wishing to secure the -Protestant succession, had named Lady Jane Grey as his successor, but the -Roman Catholic influence was at the time strong enough to neutralise the -king's wishes, and the party of the Princess Mary prevailed for the -present, the succession eventually reverting to its proper channel, the -line of the Princess Margaret, who married James IV., King of Scotland. - -One volume alone remains that bears upon its binding evidence of having -belonged to Margaret Tudor, and this is one of great beauty. It was -presented to the British Museum in 1864 by the Earl of Home, and is a -manuscript of prayers with miniatures of French work called _Le Chappellet -de Ihesus et de la Vierge Marie_ (Fig. 4). It belonged first to Anna, wife -of Ferdinand, King of the Romans in the sixteenth century. It is bound in -green velvet and has silver clasps and bosses, partly gilt. The clasps -have the letters "I.H.S." upon them, gilded, and the attachments of the -clasps to the volume have the letters ANNA on them, one letter on each, -gilded. These were evidently made for the first owner of the book. Then -when it became the property of Queen Margaret, she added her name, -MARGVERITE, on the sides in a very pretty manner, each letter, in silver, -forming the centre of a double or Tudor rose, gilded. The inner rose has -its petals smooth, and the outer one has its petals roughened, as are also -the little leaves between each petal. - -[Illustration: FIG. 5.--_Il Petrarcha. Venetia, 1544. Queen Katharine -Parr._] - -Henry VIII.'s younger sister Mary married first Louis XII. of France, and -afterwards Charles Brandon, Duke of Suffolk, and there is one binding in -the British Museum, purchased in 1865, which belonged to her as Duchess of -Suffolk. It is an Herbal printed at Frankfort in 1535, and is bound in -dark calf, decorated with blind lines and gold stamped work. The broad -outer border has at first sight the appearance of a roll stamp, but it is -not actually so, the effect being produced by the successive impressions -of a long rectangular stamp having engraved upon it a pattern which, on -being repeated, gives the appearance of a continuous design. The design on -this stamp is original and simple, and has no "Italian" origin at all. The -inner panel has mitre-lines in blind at each of the angles, the points of -junction with the outer border being covered with a fleur-de-lis, and then -converging lines meet an inner rectangular line which encloses the royal -coat-of-arms of England, crowned, the two upper corner-spaces being -occupied by double roses, and the two lower by the portcullis badge and -chains, all impressed in gold. At the sides of the inner panel are the -initials "M. S.," presumably standing for "Mary Suffolk." The workmanship -of this curious volume is coarse and irregular, but there is a boldness -about it that is not without charm, and the design itself is well balanced -and effective. - -Queen Katharine Parr has the reputation of having herself worked the cover -of a copy of Petrarch printed at Venice in 1544, and bound in purple -velvet (Fig. 5). It is embroidered in coloured silks and gold and silver -thread. The design is a large coat-of-arms, that of Katharine herself, -with many quarterings, the first being the coat of augmentation granted to -her by the king. The coat is surmounted by a royal crown, but the -supporters are those of the families of Fitzhugh and Parr; so the work was -probably done before Katharine was married to Lord Seymour, but after the -king's death. The work is somewhat faded, and the scroll-work in gold cord -at the corners is pulled out of place, no doubt the result of bad -re-covering, but altogether it is in excellent condition, and is a fine -specimen of royal workmanship. The Princess Elizabeth worked the cover of -_The Miroir or Glasse of the Synneful Soul_ for Queen Katharine. It is -said to have been worked when the Princess was only eleven years old, and -it is certainly possible as the workmanship is simple, indeed such as a -clever girl might easily do. It is braid work of gold and silver on a blue -silk ground. This ground is probably woven with a very large mesh, and is -similar to that used by the Princess on the little Book of Prayers she -worked for her father. The initials of the queen, "K. P.," occupy the -place of honour in the centre, and are enclosed in an elaborate interlaced -arrangement of lines and knots of braid, and in each corner, in high -relief, is a heartsease, Elizabeth's favourite flower. The volume is now -in the Bodleian Library at Oxford. - -It is, moreover, an interesting proof of the learning of the Princess -Elizabeth, as she says it was translated by herself "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," -and it is charmingly dedicated "To our most noble and vertuous quene -Katherin," to whom Elizabeth, "her humble daughter, wisheth perpetuall -felicitie and everlasting joye." - - - - -CHAPTER II - -EDWARD VI.--MARY AND ELIZABETH - - -There are specimens of books bound for Edward VI. in the British Museum, -both before and after his accession to the throne. Most, if not all of -these, in leather, are probably the work of Thomas Berthelet, as they have -many points in common, and he continued the "King's printer servaunt," and -furnished him also with bindings. - -The earliest of these is a manuscript by Petrus Olivarius, _In Trogum -Pompeium et in Epistolas familiares Ciceronis, Chorographica_, presented -by the author to Prince Edward in 1546, and it bears in the centre the -Prince of Wales' feathers within a flamed circle. A somewhat more -elaborate binding, with the royal coat-of-arms of England within a flamed -circle, occurs on another manuscript, a translation by William Thomas of a -book of travels, which is also dedicated to the king. A similar design to -this last book is found on the binding of _Xenophon, La Cyropédie_, -printed in Paris in 1547. It is covered in rich brown calf, and each panel -is ornamented with an interlacing fillet, coloured black, enclosing an -inner diamond, in the centre of which is the royal coat-of-arms, with "E. -R." and a double rose above and below. The spaces are filled with -arabesques, cornucopiĉ, and small stars. The colouring of the fillets, -with black stain on calf, is a characteristic of Berthelet's work for -Edward VI. and Mary. This peculiarity does not occur, as far as I know, on -any of those he bound for Henry VIII., so it may be considered that the -black fillets, often interlaced in a masterly way, and frequently arranged -in semicircular forms, are evidence of the later work of this master of -his art. At the same time, many of the smaller stamps used on these later -volumes are found also on the earlier examples. But whereas in the -earlier style so-called "Italian" designs are used, it appears to me that -in his later and finer style Berthelet has given us a very noble series of -books decorated in an original and strikingly effective manner. The -contrast of the rich brown calf with the black of the fillets and the rich -gold of the stamped lines and designs is often beautiful. The finest -example of this style is to be found in the Museum copy of Cardinal -Bembo's _Historia Veneta_, printed at Venice in 1551. It is a large book -measuring 12 × 9 inches, and the single black fillet is most cleverly -interlaced with corners, circles, and semicircles, in such a manner as, in -fact, to form a triple border, in the centre of which is the royal -coat-of-arms, itself surrounded by a line of curves finished at the ends -with double roses and arabesques, and flanked at each side with the -crowned initials of the king. In a circle at the upper part of the board -is the motto "Dieu et mon droyt"; and in a corresponding circle at the -lower part is the date "MDLII." The spaces throughout are filled with -arabesques, cornucopiĉ, double roses, and small stars. The back of the -book is curiously arranged so as to look like the front, so that it -appears to have no back at all. - -_Gualteri Deloeni Commentarius in tres prima Capitula Geneseos_, etc., a -manuscript dedicated to Edward VI., is bound in a very delightful and -simple manner, and one which, for a small book, is nearly perfect in -taste. It is covered in rich brown calf, and ornamented with blind lines -and gold--a contrast which Berthelet uses, especially on small bindings. -The "blind" work in these cases appears to be purposely darkened, which -can easily be done by using the tools hot, or by the addition of a little -printer's ink. In the centre of this binding is the royal coat-of-arms -surmounted by a crowned double rose. This is flanked by two cornucopiĉ; at -the sides of the shield itself are the king's initials, "E. R.," and under -each of them the daisy with stalk and leaves. The same cornucopia stamp is -used at each of the four inner corners, and each of the four outer corners -is ornamented with a conventional floral stamp. - -King Edward VI. not only had his bindings stamped with his royal badges, -but the edges also sometimes came in for a share of attention, as on a -copy of _La Geografia di Claudio Ptolemeo_, printed at Venice in 1548. On -the front or fore-edge of the book is the royal coat-of-arms of England, -painted on a blue ground; on the upper edge is the coat-of-arms of France, -and on the lower the golden harp of Ireland. The side space on each of -these edges is filled up with a delicate arrangement of interlacing -strap-work in black, and further ornamented with fine gold scrolls and the -initials "E. S. R.," also in gold. - -One of Edward's books, however, has actually the first instance in an -English book of a decorated "doublure," the name by which we understand -the inner side of the boards of a book. - -Mr. Herbert Horne, in his most excellent work on the _Binding of Books_, -mentions, and gives a plate of, an instance of this kind of decoration -occurring on a copy of Petrarch, printed at Venice in 1532. It is an -arrangement of interlaced lines of silver with two figured stamps, and is -said to be the earliest European example. Edward VI.'s doublure (Fig. 6) -is not much later, as it was probably bound about 1547, and, like nearly -all doublures, it is in a wonderful state of preservation; in fact, it may -be said to be the only instance of a sixteenth-century painted book that -is at all in its original state, as the pigment used upon them is -extremely delicate, and chips off freely. The book, a small duodecimo, is -covered in crimson velvet, much worn, and is a collection of "certeine -prayers and godly meditacyons," printed at Malborow in 1538. The inner -side of each of the boards is covered with calf, and the design is -outlined in gold and filled in with colour. This colour is not quite like -oil-paint, but resembles closely the "enamel" colours which have of late -years been so well known. It has little penetrating quality, lying evenly -on the top of the leather, and dries with an even and polished surface. -The king's arms, crowned, occupy the centre of the board, the arms in the -correct heraldic colours and the crown of gold, silver, blue, and green. -The king's initials, stamped in gold, are on each side of the shield. A -rectangular border of green encloses the coat-of-arms, and at each of the -inner corners is a daisy in gold, and above and below the arms is a -semicircular projection from the green border, coloured blue. - -[Illustration: FIG. 6.--_Prayers, etc. Malborow, 1538 (Doublure). Edward -VI._] - -There is yet another volume which for many years has been by the British -Museum authorities attributed to Edward VI., but Mr. W. Y. Fletcher, in -his splendid volume on the _English Bookbindings in the British Museum_, -considers it to be Elizabethan. There is no doubt that the volume in some -ways fits a description of one that was presented to that queen by the -University of Oxford at Woodstock in 1575, but I think the difference in -the dates of printing and presentation is a weak point in the argument. -The book was printed in 1544 at Zurich, and it certainly seems curious -that a book printed thirty-one years before should be offered as a present -to a reigning sovereign. So for the present I shall adhere to its former -description in the show-case in the King's Library, and describe it here -in its place as having been bound for Edward VI. It is covered in green -velvet, with a border parallel to the sides stamped in gold and bearing -the legends, "ESTO FIDELIS USQUE AD MORTEM ET DABO TIBI CORONAM -VITĈ--APOC. 2" on one side, and on the other "FIDEM SERVAVI QVOD SVPEREST -REPOSITA EST MIHI CORONA JVSTITIĈ--2 TIM. 4." In the centre of each cover -is the royal coat-of-arms enclosed within a Garter, crowned, appliqué in -pieces of coloured silk and stamped in gold, beautifully designed and -beautifully executed, and the first instance of velvet or silk stamped in -gold that is known to me. On the gilt edges designs are stamped, or -"gauffred" as it is called, and painted. On the front edge the arms of the -University of Oxford. On the upper edge a crowned Tudor rose with the -initials E. R., and on the lower a portcullis with the same initials. -There are other instances where the similarity between the emblems and -initials of these two sovereigns, Edward VI. and Elizabeth, causes -considerable doubt as to which of them was actually the owner, and I think -that generally the date of the printing of such books must be considered -as some authority, although among the arguments for or against the -attribution of a binding to any particular owner, or author, it may be -said that the date of the printing of the book must generally be esteemed -at a small value. - -A book which has some of the peculiarities of Berthelet's work upon it is -found in a copy of Bude's _Commentarii Linguĉ Grĉcĉ_, printed at Paris in -1548. It is covered in calf, and has a rectangular border running parallel -with the edges of the boards on each side. This border is coloured black, -but it has the uncommon addition of stamped arabesques in gold upon this -black. At the outer corners are arabesques in outline, and in the inner -corners double roses stamped in gold. In the centre a framework of two -interlaced squares, stained black, enclose the royal coat-of-arms and -initials. - -The same workman who executed this binding also made one for Queen Mary, -which I shall describe further on. - -At Windsor there is a fine little binding on a copy of _Strena Galteri -Deloeni: ex capite Geneseos quarto deprompta_, etc. It is bound in white -leather, and ornamented with the royal coat-of-arms in the centre, flanked -by the letters "E. R.," and surrounded by a scattered arrangement of -double roses, daisies, cornucopiĉ, and stars, all enclosed in a small -decorated border. It is probably by Berthelet, and is in excellent -condition. In the British Museum there are instances of bindings in white -leather made for Henry VIII. and for Mary, but there is no instance of one -made for Edward VI., so that this Windsor binding is of considerable -interest apart from its beauty. - -A copy of Herodotus' and Thucydides' works, bound together in one cover, -belonged most likely to Edward VI. It is part of the old royal library, -and is bound in brown calf, with a broad outer border of Italian character -enclosing the royal coat-of-arms, crowned, within a flamed circle. The -flamed circle first occurs, as may have been noted, on the volumes bound -for Edward when Prince of Wales, and it is afterwards used on several of -his later volumes, and also on many that were bound for Queen Mary. What -the meaning of this flamed circle is I have not been able to conjecture, -it may possibly only be intended for ornament. Berthelet, doubtless, liked -to use circles or parts of circles on his bindings, and in this taste he -was following the lead of much more ancient English binders, as the circle -is characteristic of the splendid blind stamped English work of the -twelfth and thirteenth centuries. - -Thomas Berthelet died, according to an entry in the Stationers' Company -Register, in 1556. So that it is just possible he bound books for Queen -Mary. But I think that Berthelet was quickly copied, and it is very easy -to copy the style or even the actual stamps of any binder; and if the -binding of Cardinal Bembo's _History of Venice_ be taken as a test example -of Berthelet's best work, which I think it fairly may be, it will be seen -that although Mary's bindings have some points of resemblance there are -also many wide differences. Berthelet avowedly acknowledged the beauty of -Italian originals, but I do not find that he actually copied any one of -them, and he, moreover, very soon left them behind. There is a certain -recrudescence of this Italian manner distinctly apparent in many of the -books bound for Queen Mary, and I imagine this to be the work, not of -Berthelet himself, but of one of his imitators or successors, or perhaps -one of his own workmen. - -A good example of this Italian-English style is found on the binding of -the _Epitome omnium operum Divi Aurelii Augusti_, etc., printed at Cologne -in 1549. A very handsome broad border containing an elaborate arabesque is -parallel to the edges of the boards. This encloses an inner black fillet -interlaced with a diamond, in the middle of which is the royal -coat-of-arms within a flamed circle, and at each side, in the angles -formed by the intersection of the diamond points and the inner rectangular -lines, are the initials M. R. The spaces throughout are filled in with -arabesques, single roses, and circles. - -A very similar design occurs on the binding of a manuscript poem by Myles -Haggard, addressed to the queen, and another on a copy of Bonner's -_Profitable Doctrine_, printed in London in 1555. - -Entirely different in manner of decoration is the binding of the -_Commentary on the New Testament_, in Latin, by Aurelius Augustinus, -printed at Basle in 1542, and which came to the British Museum as part of -the old royal library. It is covered in white leather, and ornamented with -gold tooling of a very elaborate kind. A broad inner rectangular panel, -broken outwards at each side, contains a diamond, and the spaces in and -about these leading lines are filled with arabesques, royal arms, and -royal emblems, roses, fleurs-de-lis, and portcullises. Although the -general design of the original decoration of this book has doubtless been -preserved, it has been grievously tampered with, and no reliance can be -put on any of the small detail work now existing upon it--a most unlucky -circumstance, as it is unlike any other royal book in the general -arrangement of its ornamentation, and so of special interest. - -So again different, but in a much less important manner, is the little -calf binding of a _Livre faisant mention de sept parolles que N. S. -Jesuchrist dit en l'arbre de la croix_, printed at Paris in 1545, and -bound for Queen Mary. It is decorated with blind and gold lines, and -dotted all about in the most reckless manner with M's and I's, meaning -doubtless Mary the First. In the centre of each cover there is a knot, the -same knot exactly as is used in the sculptures on our Houses of Parliament -to tie together the initials V. R. of our present Most Gracious Queen, and -surrounding the knot are four M's. The I's are down the edge of the boards -nearest to the back. The little book is of great interest, as it never -could have been in any way a State copy, but was most likely a favourite -book of the queen's, and so decorated with her initials only--leaving -heraldry for once out of the scheme. - -The most splendid of the books that Queen Mary has left for us to admire -is a manuscript of Psalms and Hymns in Latin and French of very beautiful -workmanship, known as Queen Mary's Psalter. It came to the British Museum -with the old royal library. It is bound in crimson velvet and has gilt -clasps and corners, and on each side a large piece of embroidery appliqué. -This embroidery is much worn; it is on canvas, and some of it is actually -gone, but it seems to have been a conventional pomegranate, and this is -all the more likely as such a design would have been a probable one for -Queen Mary to use, as she had an excuse to do so by virtue of her mother's -right to the emblem of Arragon. The clasps are engraved with the dragon, -lion, portcullis, and fleur-de-lis, and in spite of the damage done to the -volume by time and wear, it is still a splendid specimen of magnificent -binding. By an inscription at the end of the volume we are informed that -it was rescued from the hands of some seamen who were preparing to carry -it abroad by "Baldwin Smith," who presented it to Queen Mary in 1553. - -[Illustration: FIG. 7.--_Queen Mary's Psalter, MS._] - -A book of hours in illuminated manuscript is beautifully bound for Queen -Mary, and is finished in an unusually delicate manner. It is in calf, and -has blind and gold lines. An outer border has stamps within it at -intervals, in a similar style to one already described as having belonged -to Edward VI. In the centre of the book is a delicate stamp of the royal -coat-of-arms with the letters M. R. - -At Stonyhurst College is preserved Queen Mary's own _Horĉ in laudeum -Beatissimĉ Virginis Marie_, Lugduni, 1558. It is covered in figured red -velvet projecting over the boards at the lower edges, and with small -tassels at each corner. On the lower cover is the crowned coat-of-arms in -silver, enamelled in the proper colours. Single ornamental letters -R.E.G.I.N.A. are arranged in couples in three lines round it. On the upper -board are the letters M.A.R.I.A., also in silver. The first two at the two -top corners, the R crowned in the middle, and the two last letters in the -two lower corners. The R in the centre is flanked by a double rose and the -pomegranate of Arragon, both in silver. There are two silver clasps of -ornamental pattern. It was shown at the Burlington Fine Arts Club -Exhibition on Bookbindings in 1891, and there is a fine plate of it in -their Illustrated Catalogue. - -The bindings of Edward VI. and Mary, having as a chief ornament the -English coat-of-arms, nevertheless bear with them no supporters. Henry -VII. and Henry VIII., until 1528, used the same supporters, the dragon on -the dexter side and the white greyhound on the sinister; and when Henry -VIII. made a change and adopted the crowned lion as one of his supporters, -he omitted the greyhound and changed the side of the dragon, so that his -successors bore as their supporters a lion crowned on the dexter side and -the red dragon on the sinister, and so they occur on several Elizabethan -bindings. - -[Illustration: FIG. 8.--_Prayers, etc. London, 1574-1591. Queen -Elizabeth._] - -The bindings executed for Queen Elizabeth may be conveniently divided into -three classes--those bound in, or ornamented with, gold; those bound in -velvet or embroidered; and those bound in leather. In this order I shall -describe them. The gold, as far as I know it, is always enamelled, the -velvet is generally embroidered, and the leather is frequently inlaid with -other and differently coloured leathers. The peculiarity of sunken panels, -borrowed apparently through the early Italian bindings from Oriental -originals, is a remarkable speciality of Elizabethan work; as is also the -first use of large corner-stamps to any extent. There certainly are -instances of corner-stamps on Henry VIII. bindings, but they are rare; -whereas with Elizabeth and her immediate successors the use of such stamps -is very usual. The finest, as well as the most interesting, of the golden -books made for Elizabeth is one containing prayers and devotional pieces -by Lady Elizabeth Tyrwhitt, printed for Chris Barker, London, 1574. It -also contains the queen's prayers, a collection out of other works, and -part of an Almanack for 1583-91 (Fig. 8). In 1790 it belonged to the Rev. -Mr. Ashley, and it was presented to the British Museum in 1894 by Sir -Wollaston Franks. It measures 2-1/4 inches by 1-3/4. On each side is a -sunken panel, round which is a flat border containing texts from -Scripture, engraved and run in with black enamel. The upper cover of the -book has a representation in gold of the serpent in the wilderness and the -stricken Israelites. The serpent on the tree and others on the ground, and -the figures of the people, are all carved in very high relief, and -enamelled in colours; the flesh being represented by white. The serpents -are in blue. Round this design are the words "MAKE · THE · AFYRYE · -SERPENT · AN · SETIT · VP · FORA · SYGNE · THATAS · MANY · ASARE · BYTTE · -MAYELOKE · VPONIT · AN · LYVE+." On the lower cover a similar panel -contains a representation of the judgment of Solomon, worked in a similar -way. Round this runs the legend, "THEN · THE · KYNG · ANSVERED · AN · SAYD -· GYVE · HER · THE · LYVYNG · CHILD · AN · SLAYETNOT · FOR · SHEIS · -THEMOTHER · THEROF--1 K. 3 C+." The back is divided into four panels, each -of which has a delicate and graceful arabesque engraved and run in with -black enamel, as also have the two clasps. There are two rings at the top, -in order that the book might be worn at the girdle. There is no real -record as to who worked this enamel, but it is credited to George Heriot, -afterwards goldsmith and banker to James I., and founder of the George -Heriot Hospital at Edinburgh. It is in very good condition, and but little -of the enamel has chipped off. It is now preserved in the Gold Room at the -British Museum. It is the only one of Elizabeth's golden books that is -worked in high relief, and such work is undoubtedly of the greatest -rarity. - -For actual beauty of workmanship, it would be difficult to find any -specimen of finer execution than that which occurs on the binding of a -little volume of Christian meditations in Latin printed in 1570, and bound -in rose-coloured velvet, with clasps, centre-pieces, and corners all -bearing delicate champlevé enamel-work on gold (Fig. 9). The book is quite -a small one, measuring 5 × 3-1/4 inches, and the workmanship on the gold -is of corresponding delicacy. In the centre of each cover a thin diamond -of gold is fixed, the outline being broken in each case by a series of -small decorative curves. Each diamond is further ornamented with the Tudor -rose, ensigned with the royal crown, and flanked by the initials E. R. The -rose is red with small green leaves, the cup of the crown is blue, and the -initials are in black enamel. The whole of the vandyked edge of the -diamond is bordered with a thin line of blue enamel, and the remaining -spaces are filled up with small floral sprays having green leaves and red -and blue flowers. The corner-pieces are ornamented in a similar way with -set patterns of arabesques and flowers in red, blue, green, and yellow -enamels, as also are the clasps. These enamels are all what is called -translucent, and many of the colours are remarkable for their brilliancy -and beauty, as well as for the skill with which they are used. The -engraving of the gold plate, which is filled by these enamels, is also of -remarkable beauty. George Heriot again is credited with this work, with -perhaps some show of probability. - -[Illustration: FIG. 9.--_Christian Meditations, in Latin, 1570. Queen -Elizabeth._] - -One more book in the British Museum has champlevé enamels upon it, -evidently by the same workman. It is a New Testament in Greek printed at -Paris in 1550. It is now bound in green velvet,--but this probably was the -original material in which it was covered,--and in the centre of each of -the boards is a diamond-shaped panel of gold, 2-3/4 inches in length and -2-1/4 in breadth (Plate II.) Judging from the analogy of the smaller book -just described, there probably were originally corners and clasps to this -book, but they are now gone. Each of the diamonds has originally borne -rich-coloured enamels, but by far the greater part of this has chipped -off, only small pieces remaining here and there in corners. On the upper -cover the diamond contains the royal coat-of-arms of England, surrounded -with floral sprays, roses, and flies. The diamond on the lower cover of -the book has a red rose, crowned, contained in a circular border, the -spaces within and without the circle being filled with similar sprays to -those upon the other side. Among them are acorns and flies again. The -delicate engraving on the gold of both these diamonds can be very well -studied, as the marks of the engraving are easily apparent. - -Paul Heutzner visited England in 1598, and examined the royal library at -Whitehall. In his _Itinerarium_ he says: "The books were all bound in -velvet of different colours, chiefly red, with clasps of gold and silver, -some having pearls and precious stones set in their bindings." It is -rather curious he should have mentioned red, because, although there are -many books in velvet that were bound for Queen Elizabeth, the only one I -know of in red is the little volume described above, all the rest being in -green, black, or purple. Dibdin, in his _Bibliomania_, says that Princess -Elizabeth, when she was a prisoner at Woodstock in 1555, worked a cover of -a little book which is now in the Bodleian Library at Oxford. It now -contains a small copy of the Epistles of St. Paul printed by Barker in -1578, so that, if Dibdin is right in saying that Elizabeth worked it when -she was at Woodstock, it cannot have been worked for the book it now -covers. Certainly, the embroidered portion has been at some time or other -relaid in its present position, and considerable damage has resulted from -the operation. Inside is a note in Elizabeth's handwriting, in which she -says: "I walke manie times into the pleasant fieldes of the Holye -Scriptures, where I plucke up the goodlie green herbes of sentences by -pruning, eate them by reading, chawe them by musing, and laie them up at -length in the hie seat of memorie by gathering them together, so that -having tasted thy swetenes, I may the less perceave the bitterness of this -miserable life." The material is, or was, black velvet, but the pile is -entirely gone, except in a few protected corners. The design is outlined -in silver cord, and the raised portions are worked with silver guimp. An -outer border, with lettering, encloses in each case a central design. The -motto on the border of the upper cover reads, "CELUM PATRIA SCOPUS VITĈ X -P V S. CHRISTUS VIA, CHRISTO VIVE." That round the lower cover, "BEATUS -QUI DIVITIAS SCRIPTURĈ LEGENS VERBA VERTIT IN OPERA." Within the border, -on the upper cover, is a ribbon arranged in a long oval bearing the words -"ELEVA COR SURSUM IBI UBI E. C. (_i.e._ est Christus)." The E and the C -are in larger type, and between them is a heart in raised work, through -which passes a stem, the lower end of which has two small leaves and the -top a flower. On the lower cover a similar ribbon bears the words "VICIT -OMNIA PERTINAX VIRTUS E. C." These two last letters, Dibdin says, means -"Elizabetha Captiva," in support of his theory that it was worked by her -at Woodstock. In the centre of the oval on this lower cover is an -eight-petalled flower with stem and two leaves. The record of this book is -remarkably clear. But, besides this, there is little doubt, judging it by -other work of Queen Elizabeth, that it was executed and probably designed -by herself. All the books credited to her with any show of probability are -worked in braid or thick cord, and the designs on each are of a simple -character. - -The most decorative of all the embroidered books worked for Queen -Elizabeth is now, unfortunately, in the worst condition of any of them. It -is a copy of Bishop Christopherson's _Historia Ecclesiastica_, Louvanii, -1569, divided into three volumes, each measuring about 6 inches by 3-1/2. -It is covered in green velvet, and each side is ornamented in the same -way. In the centre a long oval shield, appliqué, in silks of the proper -colour. The bearings, worked in gold thread, are enclosed in an oval of -pink satin studded with a row of small pearls. Surrounding this is a -decorative Elizabethan border worked in gold thread and pearls. The rest -of the board is closely covered with a rich design of arabesques and roses -in gold cord and guimp, the roses being "Tudor," with red silk centres and -pearl outer petals, and "York," worked entirely with small seed pearls. -The narrow outer border, formed by an interlacing ribbon outlined in gold -cord, has an inner row of seed pearls along its entire length; and many of -the spaces all over the side of the book have small single seed pearls in -them. The back is divided into five panels, bearing alternately white and -Tudor roses of the same kind of work as those on the sides of the book, -only on a larger scale. There have also been many supplementary pearls on -the back of the book. A large majority of the pearls are unfortunately now -missing, as is also a great part of the gold cord, so that the above -description is in fact a restoration. But every pearl and every piece of -cord that is wanting has left a distinct impression on the velvet. - -One of the most celebrated of all embroidered books done in England was -executed for Queen Elizabeth. It is a large book measuring 10 inches by 7, -and is an account by Matthew Parker, Archbishop of Canterbury, _De -antiqvitate Britannicĉ Ecclesiĉ_, etc. It was privately printed by John -Day at Lambeth Palace in 1572 for the Archbishop, being the first book of -the kind issued in England. It is supposed to have been a presentation -copy to the queen. It is covered in deep green velvet. On both covers the -outer border is worked in gold, in a pattern resembling a wooden park -paling, and it is probable that each side is meant to represent a park, -thereby indicating the author's name of Parker. Within this paling on the -upper cover is a design of a large rose-tree with Tudor roses, and Yorkist -and Lancastrian roses, all growing upon it. Besides these flowers there -are heartsease, daisies, carnations, and others whose species is difficult -to determine. In the four corners of the "park" are four deer, their eyes -being indicated with little black beads, some gambolling, some feeding, -and on the groundwork are many grass-tufts of gold thread. The central -design on the under cover is not by any means so fine. It has several -plants scattered about it. There are two snakes brilliantly worked in gold -and silver cord and coloured silks, and five deer like those on the other -side. Originally there were red silk ribbons to tie the book together -at the front edges, but there is only a trace of them now left. The back -is divided into five panels, bearing alternately white and Tudor roses, -with leaves, stems, and buds. It is said that Archbishop Parker kept in -his own house "painters ... writers, and bookbinders," so it is very -likely that this book was bound under his own eyes. It is said that only -twenty copies of it were printed, and that no two were alike. It contains -the biographies of sixty-nine Archbishops, but not Parker's own. This -omission was afterwards supplied by the publication of a little satirical -tract, in 1574, entitled _Histriola, a little Storye of the Actes and Life -of Matthew, now Archbishop of Canterbury_. The two title-pages and the -leaf with the Archbishops' coats-of-arms are vellum, and the woodcuts, -borders, and arms throughout the volume are emblazoned in gold and -colours. It is now part of the old royal collection in the British Museum. - -[Illustration: FIG. 10.--_Parker. De antiqvitate Britannicĉ Ecclesiĉ. -London, 1572. Queen Elizabeth._] - -A small copy of the New Testament in Greek, printed at Leyden in 1576, is -covered in white ribbed silk, and embroidered in gold, for Queen -Elizabeth. Each board has the same pattern upon it; in the centre the -royal arms of England, ensigned with the crown, and surrounded by the -Garter, in both of which are inserted several seed pearls. This is -surrounded by an irregular border of thick gold cord, interlaced, in which -are leafy sprays of single and double roses. The arrangement of this -border is admirably designed. The colours of the arms, the Garter, and the -red roses are painted, probably in water-colours, on the silk itself--the -earliest specimen of such work that is known to me. From the delicacy of -the material on which the embroidery is done, and the high projection of -many of the threads, the book has evidently got into very bad condition at -a remote period; and it has been entrusted to some one to repair, who has -removed all the original binding and re-inlaid it on new boards, the -result being that he has increased the damage already existing. - -A little book, _Orationis Dominicĉ Explicatio, per Lambertum Danaeum_, -printed at Geneva in 1583, is covered in black velvet, and ornamented with -a very effective design, worked with broad gold cord (Fig. 11). An outer -arabesque border, having also flowers of silver guimp, encloses an inner -panel which has two white roses in the centre, and a red rose in each of -the inner corners. Each of these roses has a little green leaf at the -junction of the petals, and they are apparently outlined with silver -thread. It is, however, often difficult with old books to say for certain -whether a thread has been gold or silver, as the gold cord has a tendency -to wear white, and the silver cord often turns yellow. The contrast of -colour on this little book is very charming even now, and it must have -been particularly beautiful when it was first done. It has the remains of -ties at the front edges of red silk and gold cord. - -There is another embroidered book belonging to the old royal collection in -the British Museum that seems to have been bound for Queen Elizabeth. It -is a copy of _The Common Places of Dr. Peter Martyr_, translated by -Anthonie Marten, printed in London in 1583, and dedicated to the queen. It -is covered in blue purple velvet, and ornamented with silver wire and -guimp. There is an outer border formed of double lines, made easily and -effectively by means of a spiral wire flattened down, giving the -appearance of small overlaid rings. This border encloses a series of -clusters, formed with stitches of silver guimp, arranged in a basket-work -pattern. In the centre is an ornament of diamond shape, outlined with the -same silver-wire edge and enclosing again the basket-work design, and the -four inner corners are filled up with quarter circles of the same work. -The book has been rebacked, and it is not in very good condition; but the -effect of the silver on the deep purple ground still has a very admirable -effect. The broad gilt edges are very handsomely and elaborately decorated -with gauffred work of Elizabethan character. - -A Bible, printed in London in 1583, was embroidered and bound for Queen -Elizabeth, and presented to her in 1584, and is now in the Bodleian -Library at Oxford. It is a folio book, measuring almost 17 × 12 inches, -and is bound in crimson velvet. Upon each board is a very graceful design -of rose-branches, intertwined. There are four large roses and two smaller -ones, all embroidered in silver and gold braid and coloured threads, with -here and there a few small pearls. A narrow border runs round the edge, -embroidered in gold thread and coloured silk. - -[Illustration: FIG. 11.--_Orationis Dominicĉ Explicatio, per L. Danaeum. -Genevae, 1583. Queen Elizabeth._] - -A remarkable binding on calf, executed for Queen Elizabeth, is on a large -Bible printed at Lyons, measuring 16-1/2 inches by 11, each board being -double (Fig. 12). The upper board is pierced in several places, showing -underneath it a lower level covered with green calf, and decorated with -small stars and arabesques. The upper boards on both sides of the book are -elaborately stamped in gold and painted in enamel colours, and in each -case an oval, painted panel occupies the centre. The upper cover of the -book has in the central oval a charming sunk miniature portrait of -Elizabeth as a young woman, dressed in jewelled robes and head-dress, and -carrying a sword or sceptre. The portrait is enclosed in a very delicately -painted frame of jewelled goldsmith's work. This painting is unfortunately -damaged, especially in the face, and it seems to be executed in opaque -water-colours, varnished, on vellum. Immediately round the miniature, on -the leather, is a very elaborately painted and gilded oval ribbon with the -words "ELIZABETH DEI GRATIA ANG. FRAN. HIB. REGINA." The broad, irregular, -oval border itself has a design of interlacing fillets and floral emblems -of considerable beauty, winged horses and Cupids, all picked out in -colours. This very large stamp, measuring 9 inches in length, which is now -and then found on books other than royal, is the largest English stamp -known to me. There are cartouches left in the upper leather above and -below this central arrangement, and they are of a similar ornamentation -and colour, as are also the very handsome corners. The other side of the -book is similarly decorated, with the differences that the centre -painting, by the same hand, is the royal coat-of-arms of England in an -egg-shaped, oval form, surrounded by the Garter, within an Elizabethan -scroll. Over the crown is a canopy of green and red, and the supporters of -the lion and red dragon are in their proper places. Underneath the coat is -the motto "DIEU ET MON DROIT" on an ornamental panel, and the legend -lettered on the leather immediately surrounding the painting reads "POSUI -DEUM ADIVTOREM MEUM." On the lower cartouche on this side is the date of -the binding, "MDLXVIII." This binding, when new, must have been one of the -finest and most elaborately decorated of any of the leather bindings made -for an English sovereign. The back of the volume, nearly 5 inches in -width, is also very finely ornamented with an Elizabethan pattern outlined -in gold and coloured in keeping with the rest of the ornamental work. Its -present condition is unfortunate. The restorations, which have been -largely added, have, however, the merit of being at once apparent, as -little or no trouble has been in this case taken to reproduce the old -stamps. The gilt edges are beautifully gauffred, and are picked out here -and there with colour. The design is a complicated arabesque with masks, -and on the lower edge a curious design of an animal resembling a unicorn. - -[Illustration: FIG. 12.--_La Saincte Bible. Lyon, 1566. Queen Elizabeth._] - -One more beautiful book in the old royal collection that belonged to -Elizabeth has double boards. The outer edges on this instance are -interesting, as there is, in fact, an elongated head-band running along -their entire length and joining the edges of the two boards. It is covered -in very dark morocco, and decorated in blind and gold stamped work. In the -centre of each cover is a sunk oval medallion, on which is painted the -royal coat-of-arms of England, surrounded by the Garter; the two -supporters holding up the crown in their paws. Flanking the crown are the -letters E. R. The motto "DIEU ET MON DROIT" is on a red panel with a blue -border at the lower portion of the oval, and the groundwork of the whole -is silver. The medallion is enclosed in a richly designed broad border of -strap-work, enriched with dots and arabesques, all in gold. Towards the -upper and lower corners are four silver double roses with gold crowns. In -each corner is a quarter circle of vellum, pierced and richly gilded in a -pattern of strap-work and floral sprays. All the foregoing is enclosed in -a border of blind work, and an outer edging ornamented with a succession -of small set stamps. There are traces of green ribbons, both on the front -edges of the book and at the upper and lower edges. It is a copy of _Les -Qvatre Premiers Livres des Navigations et Peregrinations Orientales de N. -De Nicolay_, printed at Lyons in 1568, and probably bound at the same -time. The book is especially remarkable for its vellum corners, which are -actually inlaid; that is to say, a corresponding piece of morocco is cut -out and replaced by the vellum. This process, which, of course, adds -immensely to the power of a binder in decorating the outside of a book, is -one which, so far as I am aware, does not occur before on any English -binding. It is a fashion that was much followed in the next century both -by French and English binders. In the great majority of instances, -however, the added leather is not actually inlaid, but only scraped or cut -very thin, and superimposed. The remarkable manner in which the two last -books described are made up with double boards is worthy of special -notice, and has not, I think, ever been used since on any sumptuous -binding. The fashion is one, nevertheless, which was much used with great -effect on fine Italian bindings made towards the end of the fifteenth -century, and there are two books of this kind that belonged to Elizabeth, -and were bound for her in Italy after the "Italian fashion," now in the -British Museum. Vellum inlays for Queen Elizabeth occur in their finest -form on a presentation copy from Matthew Parker, Archbishop of Canterbury, -of _Hores Historiarvm, per Matthĉvm Westmonasteriensem Collecti_, etc., -printed in London in 1570. It is probable that this volume was bound in -Archbishop Parker's own house. It is covered in calf, and the centre, -border, angles, and side-pieces are inlaid in white vellum, and richly -stamped in gold. The actual centre of the boards has the royal -coat-of-arms of England, with crown and Garter stamped in gold, enclosed -in a vellum oval of strap-work and arabesques, with the letters E. R. at -the sides. The inner parallelogram has large corners stamped in gold, and -is edged with a black fillet, the entire field on the calf being decorated -with a semée of triple dots. The book has two gilded clasps, and the edges -of the leaves are gilt, gauffred, and painted. A small panel on each of -the angle-pieces, which are otherwise ornamented with designs of military -trophies, drums, trumpets, shields, swords, and cuirasses, bears the -initials "J. D. P." These letters are supposed to mean John Day, Printer. -John Day printed books at Lambeth for Archbishop Parker; and these -corner-pieces do occur on books printed by him and bound in a very similar -way to the volume now described, so there is some show of probability in -the interpretation. A field covered with a succession of impressions from -the same stamp has no name in English, but in France it is known as a -"semée," its use having come into fashion in that country a little earlier -than the date of this book. - -[Illustration: FIG. 13.--_Gospels in Anglo-Saxon and English. London, -1571. Queen Elizabeth._] - -A smaller example, with centre-piece and angle inlays only, in all other -ways exactly resembling the book just described, was printed in London, -1571 (Fig. 13). It is a copy of the Gospels printed by John Day, and is -the dedication copy, as is stated in a MS. note on the -title-page--"Presented to the Queen's own hands by Mr. Fox." - -A copy, printed in London in 1575, of Grant's _Grĉcĉ Linguĉ Spicilegium_ -is covered in brown calf, and was bound for the queen. It has large -corners stamped in gold from set stamps. In the centre it bears a fine -stamp of the royal coat-of-arms, crowned, and surrounded by the Garter, -and decorated with Elizabethan scrolls. The remainder of the groundwork is -covered with a semée of small roses. Among the old royal manuscripts is a -curious book, _Scholarum Etonensis ovatio de adventu Reginĉ Elizabethĉ_, -1563, covered in white vellum and stamped in gold. It bears in the centre -the royal coat-of-arms enclosed in an oval ornamented border, and has -large corner-pieces impressed from a set stamp, the field having a semée -of small stars. The work upon this binding is of a curiously unfinished -character, and it is probably the work of some unskilled local workman. -The gilt edges are gauffred in a floral design, with some white colour -here and there. - -Anne Boleyn bore, as one of her many devices, a very decorative one of a -crowned falcon holding a sceptre, standing on a pedestal, out of which is -growing a rose-bush bearing white and red blossoms (Fig. 14). This badge -occurs first in an illuminated initial letter to her patent of the -Marquisate of Pembroke, and at her coronation, in a pageant at Whitehall, -an image of the falcon played a prominent part. The origin of it is not -very clear, but it may have been derived from the crest of Ormond, a white -falcon, which is placed under the head of the Earl of Wiltshire, Queen -Anne's father, on his tomb. It was in turn adopted by Queen Elizabeth, and -was exhibited on the occasion of her visit to Norwich, in 1578, as her own -badge; and it occurs also on the iron railing on her tomb in Henry VII.'s -chapel. The queen bore it on several of her simpler bindings impressed in -the centre of each board, with usually a small acorn spray at each corner. -There are several books ornamented like this in the library of Westminster -Abbey, and there are examples at Windsor. The British Museum possesses -few, the best example being a copy of Justinus' _Trogi Pompeii Historiarum -Philippicarum epitoma_, etc., printed at Paris in 1581. It originally had -two ties at the front edge. At Windsor a few bindings of Elizabeth's are -still preserved; among them, a copy of Paynell's _Conspiracie of Catiline_ -is bound in white leather, and bears the royal arms within a decorative -border. It has large corners impressed by a set stamp, and has a semée of -small flowers. A copy of Spenser's _Faerie Queene_, printed in London in -1590, also in the Windsor Library, bears in the centre a crowned double -rose, in the centre of which is a portcullis, and E. B. at each side of -it. The crowned rose was a favourite design with Elizabethan bookbinders; -but unless there be corroborative evidence of royal possession, I do not -think that the existence of this stamp is of itself a sufficient proof of -such exalted ownership. - -Mr. Andrew Tuer, in his admirable _History of the Horn-Book_, gives a -figure of one which was exhibited in the Tudor Exhibition in 1890, where -it was described as the _Horn-Book of Queen Elizabeth_. It is said to have -been given by the queen to Lord Chancellor Egerton of Tatton, and it has -been preserved in his family ever since. The letterpress is covered with a -sheet of talc, and the back and handle are ornamented with graceful silver -filigree work, that on the back being underlaid with red silk. Mr. Tuer -thinks that the type used on this _Horn-Book_ resembles some used by John -Day, the printer already mentioned; and if so, it is not altogether -unlikely that Archbishop Parker himself may have presented this beautiful -toy to the queen, as well as the more serious works in velvet and inlaid -leather. - -[Illustration: FIG. 14.--_Centre stamp from Trogi Pompeii Historiarum -Philippicarum epitoma. Parisiis, 1581._] - -Although Mary Queen of Scots was not directly one of the sovereigns of -England, yet she is so intimately connected with them, both by her -ancestry, her own history, and her descendants, that the few bindings -remaining that belonged to her may well be included among these I am now -describing. The bindings that were done for her when she was Dauphiness, -or Queen, of France, are, like the Scottish ones, of great rarity. These -French bindings are always bound in black, and very often have black -edges; and the only two bindings known to me that belonged to her when -Queen of Scotland are in such dark calf that it is almost black also. The -first and finest of these volumes is a copy of the _Black Acts_, printed -at Edinburgh, 1576. It is called _Black Acts_ from the character of the -type, and is a collection of the Acts and Constitutions of Scotland in -force during the reigns of the Jameses and Mary herself. The outer border -on each side of the book is impressed in gold, and consists of a broad -arabesque design. Within this border is a representation of the full -coat-of-arms of Scotland--a lion rampant, within a tressure flory -counter-flory. The tressure should be double, but in this instance it is -single. The lion and the tressure are coloured red. Dependent from the -shield is the collar and badge of the Order of St. Andrew. A royal helmet, -crowned, is placed above the shield, and has a handsome mantling, coloured -yellow. On the crown is the crest of Scotland--a crowned lion sejant, -holding in one paw a sceptre and in the other a sword. The lion is -coloured red. The ancient supporters of Scotland, two white unicorns, are -at each side of the shield; each bears a collar shaped like a coronet, -with a long chain. Two standards are supported behind the shield; one -bears the coat-of-arms of Scotland, and the other St. Andrew's Cross, both -being in their proper colours. Across the top of these standards is a -white scroll bearing the words "IN DEFENSE," and on similar scrolls just -above the heads of the unicorns are the words "MARIA REGINA." There are a -few thistles in outline scattered about. The workmanship of this piece of -decoration is unlike that on any other book I know. It is what is called -all "made up" by a series of impressions from small stamps, curves, and -lines, and in places it seems to be done by hand by means of some sort of -style drawn along on the leather, the mark being afterwards gilded. The -appearance, indeed, is that of a drawing in gold-outline on the leather. -The colour, which is freely used, is some sort of enamel, most of which -has now chipped off, but enough of it is left to show what it has been -originally. The book came to the Museum by gift from George IV. The edges -are gauffred, with a little colour upon them. - -The other book that belonged to Mary Queen of Scots was, in 1882, in the -library of Sir James Gibson Craig. It is a folio copy of Paradin's -_Chronique de Savoye_, printed at Lyons in 1552, and in Edinburgh Castle -there is a list of treasures belonging to James VI., and "his hienes -deerest moder," dated 1578, in which this book is mentioned. It is bound -in dark calf, decorated in blind and gold. Each board has a broad border -in blind nearly resembling that on the _Black Acts_. In the centre of -each side is the royal coat-of-arms of Scotland in gold, crowned. Above, -below, and on each side of it is a crowned "M." The crowned "M" is also -impressed in gold at the outer corners of each board, and it is also in -each of the seven panels of the back. - -[Illustration: [Greek: BASILIKON DÔRON]. M.S. Written for Prince Henry, by -King James VI. of Scotland.] - -James VI. of Scotland, whatever may have been his faults, certainly had -the merit of knowing how to advise his son. In 1559 he wrote the curious -_Basilicon Doron_ for his "Dearest son Henry, the Prince." He writes as -for a Prince of Scotland, and about the Scottish people, and when it was -first issued there were many doubts as to its authorship. The original -manuscript of this work is now part of the old royal library in the -British Museum; and although a study of this most interesting manuscript -will amply repay anybody who cares to read it, it is as well specially -interesting because of the beautiful binding with which it is covered -(Plate IV.) We know from documents that in 1580 John Gibson had been -appointed binder to the King of Scotland, and that when he came to London -this office was granted to John and Abraham Bateman; and, although no -binding is certainly known to have been executed by either of these, I -think it very probable that the binding of the _Basilicon Doron_ may, for -the present at all events, be attributed to John Gibson. It is covered in -deep purple velvet, and the ornaments upon it are cut out in thin gold, -and finished with engraved work. The design on each board is the royal -coat-of-arms of Scotland, with supporters, crowned, and enclosed within -the collar of the Order of the Thistle, dependent from which is the badge -with St. Andrew. The supporters are the two unicorns standing upon a -ribbon, on which is the legend, "IN MY DEFENSE. GOD ME DEFEND." Above the -crown are two large letters, J. R. The corners and two clasps of the book -are made in the form of thistles, with leaves and scrolls. Unluckily much -of this gold work is gone, but in the figure I have restored it where -necessary. The decoration altogether has a most rich and beautiful effect, -and I know of no other book decorated in the same way. Indeed, books of -any sort bound for James when he was king of Scotland are of the greatest -rarity, and it is quite possible that this is the only existing specimen; -although when he came to England a very large quantity of books were bound -for him, the majority of which still remain. - - - - -CHAPTER III - -JAMES I.--HENRY PRINCE OF WALES--CHARLES I.--CHARLES II.--JAMES -II.--WILLIAM AND MARY--ANNE - - -Up to the present, as far as bookbinding is concerned, I have only -recorded one change in the royal coat of England, when Henry VIII., in -1528, altered his supporters, but on the accession of James I. to the -throne of England a much greater and more important change took place. Not -only was the shield of Scotland added, but also that of Ireland, which, -although Elizabeth seems to have used it sometimes, was never before -officially adopted. The harp of "Apollo Grian" has, equally with the -Scottish coat, remained an integral part of our royal shield ever since. -The coats of France and England were now quartered and placed in the first -and fourth quarters, the coat of Scotland in the second quarter, and the -coat of Ireland in the third. With minor changes and additions, this coat -remained the same until the reign of George III., who, in 1801, finally -omitted the coat of France. As to the supporters, James I. retained the -crowned lion of Henry VIII., and substituted one of his white unicorns for -the red dragon of Cadwallader; and these supporters remain unaltered to -the present day. - -The fashion of stamping in gold on velvet, one example of which I have -already described as having been done for Edward VI. or Elizabeth, was -practised to a considerable extent for James I., and there are several -examples of it. James evidently thought much of the Tudor descent, by -virtue of which he held his English throne; and he used the Tudor emblems -freely. One large stamp was cut for him with the coat-of-arms just -described within a crowned Garter, all enclosed in an ornamental oval -border, in which are included the falcon badge of Queen Elizabeth, the -double rose, portcullis, and fleur-de-lis of the Tudors, and the plume of -the Prince of Wales. This stamp commonly occurs on leather bindings, but -it also occurs, used with great effect, stamped in gold or velvet. A very -charming specimen of this is on a copy of _Bogusz_, [Greek: DIASKEPSIS] -_Metaphysica_, printed on satin at Sedan, 1605, which is bound in crimson -velvet, and has two blue silk ties at the front edge. At each of the four -corners of the large stamp are four small decorative stamps. It is a -presentation copy to James I., and has an autograph of Henry Prince of -Wales inside the cover. In the Manuscript Department of the British -Museum, belonging also to the old royal library, is a small book bound in -dark green velvet, in the centre of which is stamped, in gold, the royal -coat-of-arms within an ornamental border, into which is introduced the -design of a thistle. An outer border of gold lines has decorative stamps -at each corner. The manuscript is about the introduction of Christianity -into England. These two designs, or amplifications of them, are the only -ones that I have met with on stamped velvet bindings done for James. - -There are a considerable number of books still remaining that belonged to -James, bearing the royal coat-of-arms with supporters and initials, bound -in leather. They often bear upon them rich semées, which form of -ornamentation was used for James I. more than for any other sovereign. The -semées generally consist of small lions passant, thistles, tridents, -fleurs-de-lis, stars, or flowers. Books of this kind, with heavy -corner-pieces, are so widely known that detailed description of them is -hardly necessary; but there are modifications, some of which render the -bindings of greater interest. One of these is a calf binding on _Ortelius, -Theatrum Orbis Terrarum_, printed in London in 1606 (Plate V.) It measures -23 inches by 14, and when in its original state, was doubtless one of the -finest bindings done for James I. The full coat-of-arms, with small inlays -of red leather, is further coloured by hand, and is enclosed within a -rectangular border. Between this and the corner-pieces is a very elaborate -and graceful design of twining stems, leaves, and arabesques. The binding -has been largely repaired, but the new stamps have been accurately copied -from the old ones; and, except the outer border which is new, the design -upon it is probably in all material points the same as it was originally. - -Another instance of a departure from King James's stereotyped pattern -occurs on Thevet's _Vies des hommes illustres_, printed at Paris, 1584. -The crowned coat-of-arms in the centre, with the initials J. R., have -inlays of red leather in the proper places, and the remainder of the board -is so closely and intricately, with an ornamental design of dotted -strap-work, interlaced with arabesques that no description can give much -idea of it. The volume measures 15-1/2 × 10-1/2 inches, and it is in -perfect condition. Some doubt has been thrown upon the nationality of this -most beautiful work, but Mr. Fletcher, in his splendid volume of _English -Bookbindings in the British Museum_, has included it in his list. So -perhaps in the future we may claim it as our own. There is one little -point about it which, I think, may be considered as a reason for thinking -it English work, and that is that the lions on the English coats are full -face. On all the French bindings I know that were done for English -sovereigns the lions are always shown side face. - -A volume in the Manuscript Department of the British Museum, containing -English and Italian songs with music, is bound in dark blue morocco, with -unusually good corners, and the field adorned with large and beautiful -stars. Large stars used in the field also occur on a vellum binding of the -Abbot of Salisbury's _De Gratia et perve verantia Sanctorum_, printed in -London, 1618. It is without the usual corner-stamps, and is in a most -wonderful brilliant condition. - -A little volume of King James's _Meditations on the Lord's Prayer_, -London, 1619, is covered in deep purple velvet, with silver centre-piece, -corners, and clasps. On the corners are engraved designs of the cross -patée, thistle, harp, and fleurs-de-lis, all crowned. The corner with the -crowned harp is, I believe, the first instance of this badge occurring on -a book. The clasps are in the form of portcullises. The centre oval -medallion has the royal coat-of-arms, Garter, and crown engraved upon it. - -At the Burlington Fine Arts Club a fine specimen of binding for King James -I. was exhibited by Mr. James Toovey. It is bound in white vellum, stamped -in gold. In the centre are the royal arms, and it has large corner-stamps -of unusual design, containing a sun with rays and an eagle, the ground -being thickly covered with a semée of ermine spots. The border seems to be -imitated from one of the old rolls of sporting subjects, which are mostly -found on blind-tooled books at a much earlier period. It has squirrels, -birds, snails, dogs, and insects. At Windsor there are a good many -specimens of Jacobean bindings, all of them similar in character to one or -other of the British Museum specimens that I have described at length. - -[Illustration: Ortelius. Theatre of the World. London, 1606. James I.] - -Anne of Denmark, the queen of James I., does not appear to have possessed -many books. There are only two in the British Museum that belonged to her, -both of which are bound in vellum. The larger of the two, _Tansillo, Le -Lagrime di San Pietro_, Vinegia, 1606, has a gold-line border with small -floral corners, and in the centre the queen's paternal arms with many -quarterings, the most important of which are Denmark, Norway, and Sweden. -The coat is crowned, and above it are the letters "A. R."; and the queen's -own motto, "La mia grandezza viene dal eccelso," is contained on a ribbon -half enclosing the coat. - -Prince Henry, the eldest son of James I., showed more taste for literary -matters than any of his predecessors, although he was much addicted to all -manly exercises. He not only took great interest in the books he already -found in his father's library, but he materially added to it by further -collections of his own. In 1609 he purchased the library of Lord Lumley, -who had been his tutor, and which was the finest then in England, except -that of Sir Robert Cotton. This library had originally belonged to Henry -Fitz-Alan, Earl of Arundel, Lord Lumley's father-in-law, and it had been -largely increased since his death. Prince Henry only possessed the library -for three years, as he died in 1612, but during this time he made many -important additions to it. Not many of the original bindings remain upon -the Earl of Arundel's books, and those that do are usually simple. There -is one specimen in the British Museum that is especially good; it bears a -"cameo" of a white horse, galloping, with an oak spray in his mouth, in an -oval medallion, and if there were many others like it, Prince Henry -destroyed much beautiful work when he had them rebound. - -It must be supposed that the bindings of both Lord Arundel's and Lord -Lumley's collection were in a bad state when Prince Henry acquired them, -as they now are almost invariably in bindings that were made for him after -1610, when he was made Prince of Wales. On the Prince's death, his -library, which was then kept at St. James's, reverted to the king, and -served largely to augment the old royal library, which had not been very -carefully kept up to the present time, and which, even afterwards, -suffered various losses. - -The majority of Prince Henry's rebindings are designed in a fashion which -has been very adversely criticised, but nevertheless they are not all -without interest. The commonest decoration found upon them consists of a -large royal coat-of-arms of England within a scroll border with thistles, -stamped in gold, having the label of the eldest son in silver. At the -corners are very large stamps, either crowned double roses, fleurs-de-lis, -lions rampant, all in gold, or the Prince of Wales' feathers in silver. -Books bearing this design are more frequently met with outside the large -royal collections than any others, as at one time or another many examples -have become separated from the rest. But there are other books bound for -the Prince the designs on which are often original and effective. Perhaps -the best of these is on a copy of Livy's _Romana Historia_, Avreliĉ -Allobrogvm, 1609 (Fig. 15). In this instance the Prince of Wales' feathers -form the central design, impressed in silver and gold, and with the -initials H. P. at the sides of it, all enclosed in a border composed of a -dotted ribbon arranged in right angles and segments of circles, enriched -at the corners with ornamental arabesques. This design is particularly -pleasing, and it is likely that it was executed by the same binder who -bound the edition of Thevet's _Vies des hommes illustres_, described -above, for James I., the peculiar design of the dotted ribbon appearing in -both instances. - -_Petrus de Crescentiis, De omnibus agriculturĉ partibus_, Basileĉ, 1548, -has the Prince of Wales' feathers in silver, with H. P. at the sides, and -on two upright labels the words "O et presidium | Dulce decus meum." It -has very heavy corner-stamps. - -A little book of _Commentaries_ of Messer. Blaise de Monluc, Bordeaux, -1592, has a small Prince of Wales' feathers in the centre, and very pretty -angle-stamps of sprays of foliage, the feathers still being in silver. -_Rivault, Les Clemens d' Artillery_, Paris, 1608, is remarkably pretty. It -is a small book bound in olive morocco, and has a tiny Prince of Wales' -feathers in an oval in the centre, stamped in gold and silver, within a -broad border of sprays of foliage. There are large angle-pieces of the -same sprays, all enclosed in a border stamped in gold. A common design is -the coat-of-arms, with label within an ornamental border, ensigned with -a prince's crown, enclosed in a single line rectangle, at the corners of -which are small stamps of the Prince of Wales' feathers, crowned roses, -crowned fleurs-de-lis, and crowned thistles. There are several examples of -this design, both in the British Museum and at Windsor. - -[Illustration: FIG. 15.--_Livius. Romana Historia. Avreliĉ Allobrogvm, -1609. Henry, Prince of Wales._] - -_Pandulphi Collenucii Pisaurensis Apologus cui titulus Agenoria_ and other -tracts in one collection was dedicated to Henry VIII., and originally his -property (Fig. 16). It afterwards belonged to Magdalen College, Oxford, -and they presented it to Prince Henry, for whom it was enclosed in a -magnificent cover of crimson velvet, thickly embroidered with an elaborate -design in gold and pearls. The edges of the cover project freely beyond -the boards of the book, and have a rich gold fringe. The Prince of Wales' -feathers, thickly worked in pearls, forms the centre of the design. The -coronet is of gold, and the motto is in gold letters on a blue silk -ground. The very beautiful broad border contains a rich arabesque design -with flowers thickly worked in seed pearls, and the inner angles have -sprays in gold and pearls. There are innumerable single pearls dotted -about. Both for beauty of design and richness of execution, this cover is -certainly one of the finest specimens of late embroidery work in England. -With the exception of a few pearls missing, and some gold braid about the -motto, it may be considered to be in a very fair condition. - -Another crimson velvet book, _Becano Baculus Salcolbrigiensis_, Oppenheim, -1611, was bound for Prince Henry. It has the Prince of Wales' feathers in -the centre, impressed in gold and silver, with a simple gold line round -the edge. It is much faded, and the velvet is now more orange than -crimson, but it is interesting as being the only instance in the British -Museum of a stamped velvet book done for Prince Henry. - -Prince Charles used two of the stamps which were first used by his brother -Henry--the large coat-of-arms, with silver label, and the Prince of Wales' -feathers. Each of these is usually flanked by the letters C. P., and the -Prince of Wales' feathers are always stamped in gold instead of silver. In -cases where Charles has used the coat-of-arms, the corners are filled with -a full arrangement of leaf sprays and arabesques. A fine example of this -style, bound in olive morocco, occurs on a binding of Dallington's -_Aphorismes, Civill and Militarie_, London, 1613, now in the British -Museum. An example of the Prince of Wales' feathers used alone on dark -blue morocco is in the library at Windsor. During the reign of Charles I. -several small, thin books were bound in vellum, stamped in gold (Plate -VII.). Some of them were done for him both as prince and as king. A very -good example covers a collection of Almanacks, dated 1624. In the centre -is an ornament composed of four Prince of Wales' feathers arranged as a -star, the corners are filled with large stamps, the remainder of the -boards are filled with semées of flaming hearts. This particular book was -probably a favourite one of the Prince's, as it contains his signature and -other writings. - -[Illustration: FIG. 16.--_Collection of Miscellaneous Tracts in MS. Henry -Prince of Wales._] - -The styles of ornamentation used on large books for James I. were -generally followed by his son, but often the outer borders are of a -broader and more decorative kind. An instance of this is found on the dark -morocco binding of Raderus's _Theological Biography_, printed at Munich in -1628, a large book with a broad decorative border, corner-pieces, -coat-of-arms, and semée of thistles, roses, and fleurs-de-lis. A small -book with coat-of-arms in the centre, within the Garter, crowned, and -bearing on each cover the legend "TIBI SOLI O REX CHARISSIME," is in the -Manuscript Department of the British Museum, on a collection of treatises -presented to the king. There is a handsome border round the book, the -ground of which is covered with a semée of crosses, and the letters C. R. -are on either side of the coat-of-arms. The book has two silver clasps, on -one of which is engraved the Scottish crest, and on the other three -crowns. The panels joining the clasps to the book are engraved with -emblematic figures. - -A copy of _Hippocratis et Galeni opera_, Paris, 1639, in several volumes, -bears in the centre of each board the full royal coat-of-arms and -supporters, enclosed in an octagonal border, within a rectangle, in the -inner corners of which is a handsome stamp of floral sprays, and at the -outer corners the crowned monogram of King Charles and his wife Henrietta -Maria. They are large books, measuring 17 × 11 inches. - -A very decorative little book is covered in red velvet, with silver -mounts. It is a copy of the New Testament, printed in London, 1643. On -each side, in the centre, are medallion portraits of the king and his -queen, in pierced and repoussé silver, within ornamental borders. On the -panels of the clasps are engraved figures emblematic of the elements, and -on the corner clasps emblematic figures of Charity, Justice, Hope, -Fortitude, Prudence, Patience, Faith, and Temperance. - -Although embroidered books were largely produced during the reign of -Charles I., not many of them were made for himself. One exists in the -British Museum, on a manuscript of Montenay's _Emblemes Chrestiens_, which -is written by Esther Inglis, who was a calligraphist of great repute from -the time of Queen Elizabeth to that of Prince Charles. She is said to have -been nurse to Prince Henry; and it is probable that she worked the binding -of the manuscript. It is covered in crimson satin, and embroidered in gold -and silver cord with a few pearls. In the centre is the Prince of Wales' -feathers enclosed in a laurel wreath, and round it a very handsome border, -with arabesques at the inner corners. - -A copy of the Psalms, printed in London in 1643, is covered in white satin -and embroidered. It may have belonged to King Charles, and was purchased -by the British Museum in 1888. In the centre, in an oval medallion, is a -minute portrait of the king, wearing a crown with miniver cape and red -robe, with the jewel of the Garter flanked by the letters C. R. Enclosing -this is an arrangement of arabesques and flowers, worked respectively in -silver or gold guimp and coloured silks. There is no record with the book, -but it is quite possible that it was worked for the king. It is one of the -smallest embroidered books existing, measuring little more than 3 inches -by 2. - -At Windsor there is a copy of the Book of Common Prayer, printed in 1638. -It is bound in blue velvet, and richly embroidered in silver guimp. In the -centre are the Prince of Wales' feathers, enclosed within a circular -Garter, and surmounted by a prince's coronet, with C. P. on either side of -it. Below are the rose and the thistle. A rich outer border of arabesques -encloses the central design. Her Majesty lent this book to the Burlington -Fine Arts Club in 1891. It was figured in the _Queen_ of August 15, in the -same year. There are several other bindings at Windsor that belonged to -Charles; among them a particularly charming specimen covers a copy of -_Ecphrasis Paraphraseos, G. Buchanani in Psalmos_, 1620. It is a small -book, and bears the Prince of Wales' feathers in the centre, within a -border of crosses, patée, and fleurs-de-lis, surrounded by the Garter. It -has large corner-stamps and a semée of fleurs-de-lis. The other bindings -made for Charles I. in the same library generally bear the royal -coat-of-arms and large corner-stamps, and dates often occur upon them. - -[Illustration: New Testament, etc. London, 1643. Charles I.] - -[Illustration: FIG. 17.--_Dallington. Aphorismes, Civill and Militarie. -London, 1613. Charles Prince of Wales._] - -Charles himself certainly took very considerable interest in bookbinding, -and abundant evidence of this is found in the history of Nicholas -Ferrar's establishment at Little Gidding, in Huntingdonshire, the -beginning and ending of which was synchronous with Charles's reign. The -king visited Little Gidding more than once, and always evinced the -liveliest interest in its work, a very important part of which was -bookbinding. The most remarkable feature about these Little Gidding -bindings, which were the work of amateur hands, was the stamped work on -velvet, which actually reached its highest development under the auspices, -and probably by the hands, of some of the Collet family, nieces of -Nicholas Ferrar. They bound books for Charles and for both his sons; but, -unfortunately, no specimen of their finer stamped work done for either of -these princes is in the British Museum. - -The copy of the _Harmony of the Four Gospels_, known as "[Greek: -MONOTESSARON]," which was given to Charles when Prince of Wales in 1640, -is now in the library of the Earl of Normanton. It measures 24-1/2 × 16 -inches, and is bound in green velvet, stamped elaborately in gold. A -_Concordance of the Four Evangelists_, which was probably made for James, -Duke of York, about 1640, is now the property of the Marquis of Salisbury, -and is kept at Hatfield. It measures 20 × 14 inches, and is bound in -purple velvet. Among the small stamps upon it is one of a fleur-de-lis. - -_The Whole Law of God, as it is delivered in the Five Books of Moses_, is -another Little Gidding harmony, which was probably made for Prince -Charles. It measures 29 × 20 inches, and is bound in purple velvet, and -decorated with gold stamp-work of a similar kind. It was probably made -about 1642, and now belongs to Captain Gaussen. The whole history of -Little Gidding is most interesting; and, from a binding point of view, its -existence during the reign of Charles I., and his kindly appreciation and -patronage of it in the midst of all his own troubles, will always mark his -reign as an important epoch in English bookbinding. Illustrations of many -of the Little Gidding bindings are given in _Bibliographica_, part vi. - -No particular binding seems to have been made during the period of the -Commonwealth, at all events I have never been able to discover one in any -of our large libraries; but, to make up for this, during the reign of -Charles II. we have a profusion of royal bindings, many of which are of -considerable beauty. The appointment of Samuel Mearne as royal -bookbinder to Charles II. was in force from 1660 to 1683, and no doubt -long before this Mearne was well known as a fine binder. There is a good -deal of documentary evidence concerning Mearne, chiefly relating to -bindings of Bibles and Prayer Books bound for the royal chapels, and -others for the royal library at St. James's. He decorated his bindings in -three styles, easily distinguishable from each other. Books bound in the -first, or simplest, style are always covered with red morocco, and have a -rectangular panel of gold lines stamped on each side, having at the outer -corners fleurons, or the device of two C's, adossés, crowned, and partly -enclosed within two laurel sprays. This device occurs commonly on Mearne's -books. The backs of these volumes are often richly stamped with masses of -small floral designs, and the lettering is remarkably clear and good. -There are numbers of examples, both in our royal libraries and in the -hands of private owners. Although they cannot be called very ornamental, -they nevertheless are of excellent workmanship, and are always in good -taste. - -[Illustration: Gil. [Greek: PARERGA], etc. Londini, 1632. Charles I.] - -[Illustration: FIG. 18.--_Common Prayer. London, 1662. Charles II._] - -The second division are bound in red or dark morocco, the boards being -decorated with what is known as the "Cottage" design, usually having the -crowned monogram in the centre, the remaining spaces being more or less -filled with masses of small stamped work. The fillets and many of the -flowers and ornaments are often picked out with black stain. - -The third division are bound in red or black morocco, ornamented with -mosaic work of coloured leathers--red, yellow, green, and white. Many of -these books are so intricate in their design that they deserve special -mention; but it may be said, generally, that the leading motive upon them -is a modification or elaboration of the cottage design, so called because -its leading motive is in the shape of the gable of a cottage roof. - -One of the earliest bindings done for Charles is a copy of the Bible and -Prayer Book, printed at Cambridge, 1660. It is a large book covered in red -morocco, and has a rectangular panel and border, with the royal -coat-of-arms in the centre, all richly decorated with small gold -stamp-work. The binding is not very characteristic of Mearne, although it -is often considered to be his work, and bears some of his stamps. Neither -the crowned monogram which is used upon it, nor the crowned dove bearing -an olive branch, is found on any other bindings by Mearne. The stamp of -the dove with the olive branch is of course symbolical of Charles's return -to the throne of his ancestors. The book may have been bound for special -presentation to Charles on his accession to the throne. - -In the royal library at Windsor are several specimens of Charles II. -bindings. Among them are three copies of Charles I.'s _Eikon Basilike_. -One of them is bound in dark blue morocco, with large royal coat-of-arms -and supporters, crest and crown. Another in olive morocco is delicately -stamped with arabesques, and the crowned initials C. R.; it has two silver -clasps, with medallion portraits of Charles I. Another is bound in calf, -having in the centre of each board a decorative portrait medallion of -Charles I. in silver, within an ornamental border of figures and -arabesques, having also engraved silver corner-pieces on the two front -corners. - -In the same library a copy of the Bible, 1660, and Taylor's _Rule of -Conscience_, 1676, are bound respectively in black and red morocco, and -are brilliant specimens of Samuel Mearne's work. The boards are covered -with many irregular small panels, each closely filled with small stamped -work. The Bible was lent to the Burlington Fine Arts Club in 1891, and is -figured both in their Catalogue and in Mr. Holmes's book of the -bookbindings at Windsor. A copy of the works of Charles I., 1662, now at -Windsor, is a beautiful example of Samuel Mearne's inlaid work. It is -bound in deep red morocco, with an inner panel marked with white leather. -In the centre is the royal coat, with supporters and crest; and the -remainder of the boards, especially the corners, are ornamented with -elaborate inlays of green and yellow leather, and richly stamped in gold. - -The British Museum is also rich in Charles II. bindings. The Common -Prayer, printed in London in 1622, measuring 17-1/4 × 11-1/2 inches, was -bound for him in black morocco, elaborately inlaid, and stamped in gold -(Fig. 18). A broad, yellow, rectangular panel encloses at the present time -a stamp of the coat-of-arms of one of the Georges. This, of course, is a -subsequent addition, and it is impossible to say for certain whether there -was originally any stamp in the centre of the book or not; but probably -there was a crowned initial. The inner sides and corners of this panel are -ornamented with mosaics of white, red, and yellow leather, with gilded -sprays and small stamps. The outer edges of the panel have at the top -and bottom a cottage arrangement, filled in with small dotted scale -ornament, and further decorated with red mosaic inlays, having gold stamps -and sprays. A somewhat similar arrangement at the sides has scale patterns -and red mosaics, and the crowned initials of the king are impressed at the -roof angles. The gilt front edges of this volume are decorated with -paintings of incidents chosen from the life of Christ, executed under the -gold, and only visible when held in a certain position. - -[Illustration: FIG. 19.--_A short View of the late Troubles in England, -etc. Oxford, 1681. Charles II._] - -A copy of the Book of Common Prayer, printed in London, 1669, is covered -in red morocco, and bears upon each board a modification of the roofed -pattern, stained black, and broken by curves at the upper and lower points -and at the sides. In the centre, the crowned C's are enclosed in a small -inner fillet, coloured black, and supplemented with very delicate -arabesque stamped work in gold. The inner angles of the roof and sides are -filled with scale patterns in dots. Above and below the centre-piece are -bold leaf sprays. The corners and spaces throughout are filled with very -close gold stamped arabesques, circles, and small flowers. It has an -elaborate outer border of an enlarged scaled pattern filled with small -stamps. The book is a very beautiful one, and is, in some ways, the finest -specimen of Mearne's work existing. It has frequently been figured. Under -the gilding on the front edges is a painting, having as its centre motive -the design of the crowned C's and the laurel branches already mentioned. -This method of painting under the gold, which appears to have been first -done by an artist of the name of Fletcher, is frequently found on Mearne's -bindings. The custom dropped into disuse after his time, until it was -revived by Edwards of Halifax about a hundred years later. - -A copy of the Scottish Laws and Acts of James I., Edinburgh, 1661, is -covered in red morocco. It has in the centre a large irregular panel, -inlaid in black morocco, bearing the royal coat-of-arms, crowned, within -the Garter, and the initials C. II. R., the rest of the black panel being -thickly gilded with ornamental sprays. There are large angle-pieces of -yellow leather, richly stamped, and at the sides, upper, and lower edges -of each board are urns carrying large branching sprays, with flowers -inlaid in yellow and black leathers. - -_A short View of the late Troubles in England_, Oxford, 1681 (Fig. 19), -is bound in red morocco, and ornamented all over the boards with small, -irregular panels, outlined by broad gold lines, and filled with mosaics of -black and yellow leather, all ornamented thickly with small gold -stamp-work. In the centre, on a black panel, are large ornamental -initials, "C. R.," crowned. Although this binding has many points in -common with Samuel Mearne's work, it is lacking in finish, and it is -probably the work of his son Charles, who afterwards succeeded him as -royal binder. A copy of Fox's _Book of Martyrs_, London, 1641, also bound -in Mearne's fashion, bears upon its front edges, under the gilding, a -portrait of the king in his coronation robes. It is figured in -_Bibliographica_, part viii., and is signed "Fletcher." - -[Illustration: FIG. 20.--_Bible. Cambridge, 1674. James II._] - -There are in the British Museum two large volumes of an English Atlas, -measuring 23 × 15 inches. The first of them bears the large ornamental -initials C. R. crowned. It has a modification of the cottage design, -arranged in an interlacing fillet of yellow leather, within which is a -symmetrical arrangement of irregular panels, inlaid with black and yellow -morocco, all richly edged and filled in with small gold stamped work, -picked out with silver. The second volume is ornamented in a similar -manner with inlays, but has not the outer border or the initials. - -Although there are many of Mearne's bindings to be found in the large -private libraries throughout England, probably the finest is that which -belongs to the Earl of Crewe, at Crewe Hall. It covers a folio Book of -Common Prayer, 1662, and bears the cottage design, outlined in yellow -leather, with scale pattern. There are fine mosaics of red, yellow, and -green leathers in the corners of the inner panel, covered with close gold -stamp-work and floral sprays. The crowned C's are in the centre within an -ornamental border, and outside the yellow panel are red and green mosaics, -thickly covered with small gold work. - -Mr. Almack, in his valuable _Bibliography of the King's Book_ or _Eikon -Basilike_, gives a plate of a binding that covers an edition of 1649, but -which was bound for Charles II. by Samuel Mearne. It bears the royal -coat-of-arms, with garter and crest, within a rectangular panel enriched -with small gold stamps. It is in red morocco. Several of the editions of -the _Eikon_ bear the initials C. R. upon their covers, with other emblems, -but it is most likely that these letters refer to the author rather than -to the owner. - -Mr. E. H. Lawrence lent to the Burlington Fine Arts Club Exhibition of -Bookbindings an exquisite specimen of Samuel Mearne's work. It is a -collection of anthems, with music, bound in dark blue morocco. It is -elaborately stamped in gold, with a curved adaptation of the cottage -design, closely filled in with masses of small gold work along the inner -and outer edges. The crowned monogram, with laurel sprays, is in the -centre of each of the sides, and it has a rich double border of scale -patterns filled with gold stamped work. - -In the library at Windsor are several bindings that were done for James -II., but they are generally of a simple kind, bearing heraldic devices in -the centre enclosed in rectangular panels of more or less elaboration. At -the British Museum are some Jacobean bindings of a more ornamental kind. -One of these, a Cambridge Bible of 1674, is bound in crimson velvet, and -has rich silk ties with bullion fringe (Fig. 20). It is heavily -embroidered in gold, silver, and coloured silks, and bears in the centre -the crowned initials "J. R." enclosed in a strap border intertwined with -rose sprays and other floral designs. In each of the corners is a cherub's -head with wings. There are two volumes, each measuring 18 × 12 inches. -Although, from the size of these books and the splendid colour, they are -undoubtedly of imposing appearance, neither the design nor the workmanship -can be considered of a high quality. - -Belonging to the King's Library in the British Museum are two specimens, -almost exactly alike except for their size, which may, for the present, be -considered the finest that were done for James II. One of these is a -Common Prayer, printed at Oxford in 1681. It is bound in red morocco, and -has a black "cottage" fillet, broken at the angles and at each side. The -crowned monogram "J. R.," with laurel spray, occurs in several places on -the boards. The remaining spaces are closely filled with small gold -stamped work, similar to that used by Samuel Mearne. The book is an -unusually fat one, and bears upon its broad front edges, under the gold, -the most elaborate painting I have found in such a position. It has the -full coat-of-arms of England, with supporters, crown, and crest, enclosed -in an elaborate border of flowers, cherubs, and ribbons. This painting is -in remarkably fine condition, but, like all this class of work, the -appearance of it depends very largely upon the manner in which it is -displayed. The companion volume is a Bible of 1685. It is bound in an -almost identical way; but the painting on the edge, although brighter, is -not to be compared with it, either for size or excellence. - -[Illustration: FIG. 21.--_Euclide. Oxford, 1705. Queen Anne._] - -A note at the beginning, signed _G. Sarum_, says that this was the book -which "lay before His Majesty above two years in the closet of his -chappell," and afterwards it was the property of the Archbishop of -Canterbury, and then of the Bishop himself. - -At Windsor there is a small book bound for Mary of Modena in red morocco, -with the royal coats of England and Este, crowned, and enclosed within a -cordelière des veuves, the rest, with the field, being occupied with small -panels ornamented in the Mearne fashion. - -At the British Museum is a copy of Walter's Poems, printed in 1668, that -was dedicated by him to the Duchess of York, with an autograph poem. It is -bound in black morocco, and bears the arms of England, with a label, -impaled with those of Este, with supporters, and surmounted with a -prince's coronet. Above and below the coat-of-arms are curves and -arabesques in dotted gold work, picked out with silver, all enclosed in a -rectangular border of a Mearne pattern. - -The bindings of William and Mary are not remarkable in any way, except for -their peculiar arrangement of the quarterings of the royal coat. A fine -copy of _Veues des belles maisons de France_, bound in red morocco, has in -the centre a crowned shield within a Garter, the bearings being--first, -the coat of England; second, the coat of Scotland; third, the coat of -France; fourth, the coat of Ireland; over all the scutcheon of Nassau. In -each corner is a handsome crowned monogram, "W. M." The volume is at -Windsor. In the same library is a copy of the Statutes of the Order of the -Garter, bound in dark blue morocco, and bearing in the centre, within a -Mearne border, the royal coat-of-arms, crowned, with Garter. On the dexter -side is the Cross of St. George; on the sinister side, the coat of England -with the quarterings in their proper order. - -In the British Museum are other bindings of William and Mary, but they are -also of small importance from a decorative point of view. They often bear -the crowned initials "W. R." enclosed in laurel sprays, and are ornamented -with lines and small sprays in gold, mostly after the Mearne fashion. A -copy of the _Memoirs of the Earl of Castlehaven_, London, 1681, has the -coat arranged in the following curious manner: first, England; second, -Scotland; third, Ireland; fourth, France, with scutcheon of Nassau over -all. It almost seemed as if William considered that the coat of France had -been borne long enough by English sovereigns, and it occupied the place of -honour until he deposed it from that proud position; but I believe it was -only upon his bookbindings that he took these liberties with the -fleurs-de-lis. - -[Illustration: FIG. 22.--_Ĉlfric. An English-Saxon Homily on the Birthday -of St. Gregory. London, 1709. Queen Anne._] - -The finest of Queen Anne's bindings at Windsor is a copy of Flamsteed, -_Historia Coelestis_, 1712. It is bound in red morocco, and has in the -centre the full arms of England with supporters. The arms are quartered as -follows: first and fourth, England and Scotland impaled; second, France; -and third, Ireland; all within mitred panels, ornamented with small -arabesques and floral sprays at the angles and sides. In the same library -is also a binding with the monogram of William, Duke of Gloucester, son of -Queen Anne, with a prince's coronet enclosed in a triple-bordered panel, -with sprays and acorns. - -In the British Museum the richest binding done for Queen Anne is on a copy -of the English _Euclide_, Oxford, 1705 (Fig. 21). It is a large book, and -the centre is occupied by a cottage design divided into four panels, each -of which is thickly filled with small gold stamped work. At the upper and -lower edges of the boards are the words "ANNA D. G.," under a royal crown, -upheld by two cherubs; above which is a scroll bearing the words "VIVAT -REGINA." The outer corners and the sides are filled with scale ornaments -and floral sprays of a branching character. - -Another volume bound for Queen Anne, in the British Museum, is _An -English-Saxon Homily on the Birthday of St. Gregory_, by Ĉlfric, -Archbishop of Canterbury, London, 1709 (Fig. 22). It is covered in red -morocco, and stamped in gold with a cottage design, and bears the crowned -monogram "A. R.," with laurel sprays and other small stamps scattered -about. The designs on all these volumes of the later Stuart sovereigns -have no very distinctive character, and, except where they are frank -imitations of Mearne's work, they show little inventive power. - -On the legislative union of England and Scotland in 1706, the first and -fourth quarters of the royal coat bore the coats of England and Scotland -impaled, the second quarter the coat of France, and the third that of -Ireland. It is important to remember this change, as the first quarter -continued to be used in the same way on Queen Anne's books and on those of -her successors until 1801. - - - - -CHAPTER IV - -GEORGE I.--GEORGE II.--GEORGE III.--GEORGE IV.--WILLIAM IV. - - -On the succession to the English crown passing to the Hanoverian line, -another important change was made in the royal coat of England. George I. -substituted for the fourth quarter, which had been hitherto a repetition -of the first, the arms of his family, Brunswick, impaling Luneburg, and in -the base point the coat of Saxony, over all an escutcheon, charged with -the crown of Charlemagne, as a badge of the office of High Treasurer of -the Holy Roman Empire. George II. bore the same coat as did George III. up -to 1801, when, on the legislative union of Great Britain and Ireland, the -coat was officially altered to first and fourth England; second, Scotland; -third, Ireland, with over all an escutcheon, bearing the arms of the royal -dominions in Germany, ensigned with the electoral bonnet, which was again -changed to the Hanoverian royal crown when Hanover was elevated to the -rank of a kingdom in 1816. This last coat was used by George IV. and -William IV., and, without the Hanoverian escutcheon, it is the present -royal coat of England. - -The bindings of George I. and George II. are generally much alike. There -are good specimens of each at Windsor. They are generally in red morocco, -with either coats-of-arms in the centre or monograms. At Windsor there is -one bound in vellum, it is a manuscript _Report on States of Traytors_, -1717, and bears the full royal coat in the centre, enclosed in rectangular -mitred borders, with delicate gold stamped work at the sides. In the -British Museum is a finely stamped _Account of Conference concerning the -Succession to the Crown_, 1719, very delicately and tastefully ornamented, -having the coat-of-arms in the centre, with crowned initials at the -corners, and delicate gold work of floral sprays and curves borrowed from -Le Gascon, a great French binder. - -[Illustration: FIG. 23.--_Account of what passed in a Conference -concerning the Succession to the Crown, MS. George I._] - -[Illustration: FIG. 24.--_Le Nouveau Testament. Amsterdam, 1718. George -II._] - -There are several of George II. bindings at Windsor, made for him when he -was Prince of Wales. These generally bear the Prince of Wales' feathers as -a chief motive, and they often have broad borders, much of the -ornamentation of which contains stamps of crowns, sceptres, and birds, -which are attributed to Eliot and Chapman. There are other inlaid bindings -made for George II. which often have doublures. Some of these are figured -in Mr. Holmes's _Bookbindings at Windsor_. Bindings of a similar kind that -were made for Frederick Prince of Wales, and for his wife, the Princess -Augusta, are also preserved at Windsor. These have always heraldic -centres, and generally the broad Eliot and Chapman outer borders. - -[Illustration: FIG. 25.--_Chandler. A Vindication of the Defence of -Christianity. London, 1728. George II._] - -[Illustration: FIG. 26.--_Common Prayer. Cambridge, 1760. Queen -Charlotte._] - -For George III., both when Prince of Wales and King, books were bound with -coloured inlays by Andreas Lande. There are specimens of his work both in -the British Museum and at Windsor, they are not in particularly good -taste. During the reign of George III. a remarkable English bookbinder -worked in London. This was Roger Payne; and, although he himself does not -seem to have bound any royal books, he strongly influenced many who did, -more particularly Kalthoeber, who bound many of the books in the King's -Library at the British Museum. Although these bindings are by no means so -good as their originals, they are a very great advance upon their -immediate predecessors; and a delicately worked and effective instance -covers a copy of the Gutenburg Bible now at the British Museum. - -Another English binder of note, James Edwards of Halifax, also flourished -in the reign of George III. This binder has not, I think, received -sufficient appreciation, as he discovered an entirely new way of treating -vellum by which it was rendered transparent. He painted designs on the -under side of the vellum and bound his books with it, the result being -that, if the vellum is clean on the outside, the protected painting -underneath it is as fresh as when it was first done. A fine example of -this curious work is on a copy of a Prayer Book, printed at Cambridge, -1760, which belonged to Charlotte of Mecklenburg, queen of George III. -(Fig. 26). Her arms, in proper heraldic colours, are in the centre of the -upper cover, enclosed by a blue and gold border of Etruscan design. At the -lower edge is a miniature of a ruin in monotone, and at each side of the -coat and above it are ornamental scrolls, with conventional flowers, -birds, animals, and figures. On the lower cover is a central oval, with an -allegorical figure in monotone, enclosed in a similar border to that on -the upper cover, at each side of which are flowering trees in urns, birds, -etc., and in each panel of the back is also a decorative design. -Altogether this is the prettiest royal binding done at this period. It has -the crowned initials "C. R." painted in silver inside the upper cover, and -on the front edge, in an oval, is a painting of the Resurrection under the -gold. Between this and the edges, painted for James II., there were no -books adorned in this way for royal owners. - -[Illustration: FIG. 27.--_Portfolio containing the Royal Letter concerning -the King's Library. George IV._] - -The bindings done for George IV., at Windsor, are generally bound in red -morocco, with heraldic centres and broad borders, sometimes inlaid with -coloured leathers. The borders are sometimes like those used by Eliot and -Chapman, and sometimes conventional patterns. A good example in the -British Museum is on the cover of the letter written to Lord Liverpool by -the king in 1823, concerning the gift of his father's library to the -nation. A copy of the Book of Common Prayer, which belonged to William -IV., and is now at Windsor, is bound in blue morocco. It bears in the -centre the star of the Order of the Garter, within a crowned Garter, -dependent from which is an anchor, and at the sides "G. R. III." There are -anchors in the corners, and a decorative outer border. The generality of -the books belonging to him have the usual heraldic centres, within borders -designed in more or less good taste. The king presented to the British -Museum, and signed with his own name, an _Inventory of the Crown Plate_, -1832. It is bound by William Clark, and bears in the centre the full royal -coat-of-arms, and has a handsome rectangular border of triple gold lines, -broken at each side by bold arabesque ornaments. - - - - -EPILOGUE - - -In the foregoing detailed descriptions I have included only the work of -English binders. There are, however, many books existing that have been -bound for English royal personages abroad. Instances of these occur -notably for Henry VIII., Elizabeth, James I., Henrietta Maria, Henrietta -Anna, Charles II., the Chevalier St. George, and Cardinal York. It will be -noticed that generally the ornamentation of English royal books is -heraldic, and that crowned initials are constantly used from the time of -Henry VIII. to William IV. To understand the royal coat-of-arms of England -it is necessary, at all events, to note the larger rearrangements of the -various quarterings, which on the Tudor bindings were simply France and -England, quarterly. The two great changes took place on the accession of -the Stuart line, when the coats of Scotland and England were introduced; -and on the accession of the Hanoverian line, when the family coat of the -Guelphs was introduced. There are several minor alterations and additions, -but these I have mentioned as they have occurred, and the only other -important change to remember is concerning the supporters. From the time -of Henry VII. until 1528 these were a dragon and a greyhound, and from -that time until Elizabeth they were a lion and a dragon. Since the time of -James I. they have been a lion and unicorn. Badges are constantly found on -Tudor and early Stuart bindings. They are the well-known ones of Tudor -origin--the double rose, portcullis, pomegranate, fleur-de-lis, and -falcon. The fleur-de-lis remains longest of these. The Prince of Wales' -feathers is commonly found on books from the time of Edward VI. - -The styles of bindings used by these great royal houses have also -characteristics common to each of them. The bindings of the Tudor -period are most diversified in styles, and the majority of the leather -books are either bound by Thomas Berthelet, royal binder to Henry VIII., -and his successors, or in his style. Under Elizabeth, the Italian fashion -of double boards, the upper of which is pierced, was used for very choice -work. Berthelet took his inspiration originally from Italian models, but -shortly developed a style of his own. Vellum was much used in connection -with gold stamped work, the first use of which in England is credited to -this binder. - -[Illustration: Order of the Coronation of George III. and Queen Charlotte. -London, 1761. George III.] - -The bindings of the early Stuart period may be considered remarkable for -the extensive use of what are called semées, successive and symmetrical -impressions from small stamps powdered over the sides of the book; and the -stamped velvet work done at Little Gidding is one of the glories of the -reign of Charles I. - -Samuel Mearne was royal binder to Charles II., and many of his bindings -are of great beauty. His influence on English bookbinding remained for a -very long time, weakening gradually, until superseded by the newer style -introduced by Roger Payne. - -In the time of George III. there was some improvement in royal bindings -due to the imitators of Roger Payne, another binder, whose influence was -strongly felt after his death. Eliot and Chapman, during the eighteenth -century, introduced the use of broad borders with small stamps, among -which are frequently found crowns and sceptres; and many of these are -found on royal bindings. - -Names of many royal binders, from early times, are preserved in various -records, but there is considerable uncertainty about the work of most of -them; and, although many lists exist of books bound for certain kings by -certain workmen, very few of them have been identified. From the constant -appearance of personal badges of different kinds, it may be considered -likely that, especially among the earlier sovereigns, considerable -personal interest has been taken in the covering of their books. We even -find the livery colours of the Tudors--green and white--duly used on some -of their bindings; and the prevalence of red and blue, the livery colours -of the Hanoverian line, is common enough among the Georgian bindings. - - - - -LIST OF MOST IMPORTANT WORKS CONSULTED - - -Almack. A Bibliography of the King's Book. London, 1896. - -Burlington Fine Arts Club. Catalogue of Bookbindings. 1891. - -Edwards. Lives of the Founders of the British Museum. London, 1870. - -Fletcher. English Bookbindings in the British Museum. London, 1895. - -Holmes. Specimens of Bookbinding selected from the Royal Library, Windsor -Castle. London, 1893. - -Horne. The Binding of Books. London, 1894. - -Prideaux. An Historical Sketch of Bookbinding. London, 1893. - -Tuer. History of the Horn-Book. London, 1896. - -Willement. Regal Heraldry. London, 1821. - -And various articles on Bookbinding in _Archĉologia_, _Bibliographica_, -_The Gentleman's Magazine_, and _The Queen_ newspaper. - - - - -Transcriber's Notes: - -Passages in italics are indicated by _italics_. - -The original text includes Greek characters. For this text version these -letters have been replaced with transliterations. - - - - - - -End of Project Gutenberg's Royal English Bookbindings, by Cyril Davenport - -*** END OF THIS PROJECT GUTENBERG EBOOK ROYAL ENGLISH BOOKBINDINGS *** - -***** This file should be named 40028-8.txt or 40028-8.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/0/0/2/40028/ - -Produced by Chris Curnow and the Online Distributed -Proofreading Team at http://www.pgdp.net (This file was -produced from images generously made available by The -Internet Archive.) - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. 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