CHAPTER IV

34—Collection of Sixteenth-Century Tracts.

erhaps the earliest existing English book bound in satin is a 
collection of sixteenth-century tracts that belonged to Henry viii., and is now part of the Old Royal Library in the British Museum. It is covered in red satin, measures 12 by 8 inches, and is embroidered in an arabesque design, outlined with gold cord. On the edges the words 'Rex in aeternum vive Neez' are written in gold. The word 'Neez' or 'Nez,' as it is sometimes spelt, may mean Nebuchadnezzar, as the other words were addressed to him. On books bound in leather by Thomas Berthelet, royal binder to Henry viii. and his immediate successors, the motto often occurs, and as he is known to have bound books in 'crymosyn satin,' this is most likely his work. The pattern 81is worked irregularly all round the boards, and a sort of arabesque bridge crosses the centres. The back is new, and of leather, but the boards themselves are the original ones, and the embroidery is in a very fair condition.

35—New Testament in Greek. Leyden, 1570.

If early bindings in satin are rare, still rarer is the use of silk. One example worked on white ribbed silk still remains that belonged to Queen Elizabeth. It measures 4¾ by 2¾ inches, and in its time was no doubt a very decorative and interesting piece of work, but it is now in a very dilapidated state, largely due to improper repairing. The book has actually been rebound in leather, and the old embroidered sides stuck on. So it must be remembered that my illustration of it is considerably restored. The design, alike on both sides, is all outlined with gold cords and twists of different kinds and thicknesses, and the colour is added in water-colours on the silk. In the centre is the royal coat-of-arms within an oval garter ensigned with a royal crown, in the adornment of which a few seed pearls are used, as they are also on the ends of the garter.

Enclosing the coat-of-arms is an ornamental border of straight lines and curves, worked with a thick gold twist, intertwined with graceful sprays of double and single roses, outlined in 82gold and coloured red, with buds and leaves. A few symmetrical arabesques, similarly outlined and coloured, fill in some of the remaining spaces. The work on this book, a New Testament in Greek, printed at Leyden in 1576, is like no other; but the general idea of the design, rose-sprays cleverly intertwined, is one that may be considered characteristic of the Elizabethan embroidered books, as it frequently occurs on them. The use of water-colour with embroidery is very rare, and it is never found on any but silk or satin bindings, generally as an adjunct in support of coloured-silk work over it, but in this single instance it is used alone.

The books described hitherto have been specimens of rare early instances, but in the seventeenth century there is a very large field to choose from. Small books, mostly religious works, were bound in satin from the beginning of the century until the time of the Commonwealth in considerable numbers; so much so, in fact, that their value depends not so much upon their designs or workmanship as upon their condition.

It is generally considered that embroidered books are extremely delicate, but this is not so; they will stand far more wear than would83 be imagined from their frail appearance. The embroidered work actually protects the satin, and such signs of wear as are visible are often found rather in the satin itself, where unprotected, than in the work upon it. In many cases a peculiar appearance, which is often mistaken for wear, is seen in the case of representations of insects, caterpillars, or butterflies particularly. These creatures, or parts of them, appear to consist only of slight stitches of plain thread, suggesting either that the work has never been finished, or else that the finished portions have worn away. The real fact is, however, that these places have been originally worked with small bright pieces of peacock's feather, which have either tumbled out or been eaten away by minute insects, a fate to which it is well known peacocks' feathers are particularly liable.

The late Lady Charlotte Schreiber, who was a great collector of pieces of old embroidery, among a host of other curious things possessed the only perfect instance of work of this kind of the seventeenth century I have ever been fortunate enough to find. It was a very realistic caterpillar, closely and completely worked with very small pieces of peacocks' feathers, sewn on with small stitches, quite confirming the opinion I had already formed as to the original filling in of the usual 'bald' spaces representing such objects.

36—Bible. London, 1619.

A copy of a Bible, printed in London in 1619, is bound in white satin, and measures 6 by 3½ inches. On each side is an emblematic figure enclosed in an oval; the figures are different, but their surroundings are alike. On the upper side a lady holding a palm branch in her right hand is worked in shading-stitch. She is full length, and wears an orange skirt with purple robe over it confined by a blue belt, and over her shoulders a pink jacket—all these garments are outlined by a gold cord. Her fair hair is covered by an ornamental cap of red and gold, and her feet are bare.

The ground is worked with coloured silks and threads of fine wire closely twisted round with coloured silks, and the sky, painted in gradations of pink in water-colours, is worked sparsely with long stitches of blue silk.

The lower side shows a female figure worked in a similar way; in this case she bears in her right hand some kind of wand or spray, which has nearly worn off, and in her left a bunch of corn or grapes, or something of that kind which has also badly worn away. If the first figure may be considered to represent Peace, this one may perhaps be Plenty. She wears a deep purplish skirt, with full over-garment and body of the same colour, with an under-jacket of white and gold. On her 85dark hair she has a blue flower with red leaves. Her feet are bare. The ground and sky are both worked in the same way as the other side. Both figures are enclosed in a flat oval border of gold thread, broad at the top and narrowing towards the foot. In the corners are symmetrical arabesques thickly worked in gold, and within the larger spaces in each corner-piece are the 'remains' of feathered caterpillars, now skeleton forms of threads only. The back of the book is particularly good, and most beautifully worked. It is divided into five panels, within each of which is a conventional flower, a cornflower alternating with a carnation, and the colours of all of these are marvellously fresh and effective. Among embroidered panelled backs it is probably the finest specimen existing.

37—Emblemes Chrestiens. MS 1624.

Charles i., when he was Prince of Wales, often used the book-stamps that had been cut for his brother Henry, and he also particularly liked the triple plume of ostrich feathers. It occurs, as has been shown, on one of Prince Henry's velvet-bound books, and it forms the central design on the satin binding of an exquisite manuscript written by Esther Inglis, a celebrated 86calligraphist, who lived in the seventeenth century. It is a copy of the Emblemes Chrestiens, by Georgette de Montenay, dedicated to Prince Charles, covered in red satin embroidered with gold and silver threads, cords, and guimp, with a few pearls, measuring 11¼ by 7¾ inches. In the centre is the triple ostrich plume within a coronet, enclosed in an oval wreath of laurel tied with a tasselled knot. A rectangular border closely filled with arabesques runs parallel to the edges of the boards, and there is a fleuron at each of the inner corners. In all cases the design is outlined in gold cord, and the thick parts of the design are worked in silver guimp. There are several spangles, and on the rim of the coronet are three pearls.

38—New Testament. London, 1625.

One of the most curious embroidered satin bindings still left is now in the Bodleian Library, and a slightly absurd tradition about it says that the figure of David, which certainly is something like Charles i., is clothed in a piece of a waistcoat that belonged to that king.

It is a New Testament, printed in London in 1625, and covered in white satin, with a different design embroidered on each side. It measures 4½ by 3½ inches. On the upper board is David with a harp. He wears a long red cloak lined with 87ermine, with a white collar, an under-garment of pale brown, and high boots with spur-straps and red tops. On his head is a royal crown of gold with red cap, and he is playing upon a golden harp. The face of this figure resembles that of Charles i. The red cloak is worked in needlepoint lace, and is in deep folds in high relief. These folds are actually modelled in waxed paper, the needlework being stretched over them, and probably fixed on by a gentle heat. The other parts of the dress are worked in the same way, but without the waxed paper, and the edges of the garments are in some places marked with what might be called a metal fringe, made in a small recurring pattern.

David is standing upon a grass plot, represented by small arches of green purl, and before him is sitting a small dog with a blue collar. Above the dog is a small yellow and black pansy, then a large blue 'lace' butterfly, on a chenille patch, and a brown flying bird. Behind David there is a tall conventional lily and a flying bird. The sky is overcast with heavy clouds of red and blue, but a golden sun with tinsel rays is showing under the larger of them. On the lower board is a representation of Abraham about to sacrifice Isaac. Abraham is dressed in a red under-garment on waxed paper, in heavy folds with a belt and edge of stamped-out metal, a blue flowing cape88 and high boots, all worked in needlepoint lace in coloured silks.

In his right hand he holds a sword, and his tall black hat is on the ground beside him. On the ground towards the left is Isaac in an attitude of prayer, his hands crossed, with two sheaves of firewood. He wears a red coat with a small blue cape. The ground is green and brown chenille. Above Isaac is a gourd, and above this a silver ram caught in a bush, on a patch of grass indicated by green purl. The sky is occupied by a large cloud, out of which leans an angel with wings, the hands outstretched and restraining Abraham's sword.

On the back are four panels, containing respectively from the top a butterfly, a rose, a bird, and a yellow tulip, all worked in needlepoint and appliqué. The pieces that are in high relief all over the book are edged with gold twist, and have moreover their counterparts under them closely fastened down to the satin. There are several gold spangles in the various spaces between the designs; the whole is edged with a strong silver braid, and there are two clasps with silver attachments.

Considering the high relief in which much of this work is done, the binding is in wonderful preservation, but many of the colours are badly faded, as it has been exposed to the action of light in one of the show-cases for many years.89Although no doubt it is advisable to expose many treasures in this way, it must be admitted that in the case of embroidered books it is frequently, if not always, a cause of rapid deterioration, so much so that I should almost think in these days of good chromo-printing it would be worth the while of the ruling powers of our great museums to consider whether it would not be wiser to exhibit good colour prints to the light and keep the precious originals in safe obscurity, to be brought out, of course, if required by students.

39—New Testament and Psalms. London, 1630.

Several small English books of the seventeenth century were bound 'double,' i.e. two volumes side by side, so as to open different ways (compare p. 38). Each of the books, which are always of the same size, has a back and one board to itself, the other board, between them, being common to both. As already stated, this form of book occurs rarely in canvas bindings, and it is of commoner occurrence in satin.

A design which is frequently met with is well shown in the case of a double specimen containing the New Testament and the Psalms, printed in London in 1630, and covered in white satin, measuring 4¼ by 2 inches, the ornamentation being the same on both sides. In the centre, in 90an oval, is a delicately worked iris of many colours in feather-stitch, the petals edged with fine silver cord. The oval is marked by a silver cord, beyond which are ornamental arabesques outlined in cord and filled in solidly, in high relief, with silver thread.

The backs are divided into five panels, containing alternately flowers in red, blue, and green silks, and star shapes in silver thread in high relief. Silver spangles have been freely used, but most of them have now gone; the edges of the leaves are gilt and gauffred in a simple dotted pattern. To the middle of the front edge of one of the boards is attached a long green ribbon of silk which wraps round both volumes.

40—Henshaw, Horæ Successivæ. London, 1632.

Henshaw's Horæ Successivæ, printed in London in 1632, is bound in white satin, and measures 4½ by 2 inches. It is very delicately and prettily worked in a floral design, the same on both sides, and is remarkable for its simplicity—a flower with stalk and leaves in the centre, one in each corner, and an insect in the spaces between them. The centre flower is a carnation, round it are pansy, rose, cornflower, and strawberry, while between them are a caterpillar, snail, butterfly, and moth. All of these are delicately worked in feather-stitch in the proper colours, and edged 91all round with fine gold cord; the stalks are of the same cord used double. On the strawberries there is some fine knotted work.

The back is divided into four panels, containing a cornflower, rose, pansy, and strawberry, worked exactly in the same way as their prototypes on the sides. There were several gold spangles on sides and back, but many of them have been broken off, and on the front edges of each board are the remains of pale green ties of silk.

41—Psalms. London, 1633.

A copy of the Psalms, printed in London in 1633, is bound in white satin, embroidered in coloured silks worked in satin-stitch, and measures 3 by 2 inches. On the upper board is a gentleman dressed in the style of the period, with trunk hose of red and yellow, a short jacket of the same colouring, and a long, reddish cape. He has a broad-brimmed hat with coloured feathers, a large white collar, and a sword in his right hand. Near him is a beetle, and in the sky a blue cloud, and he is standing upon a grass mound. On the lower board is the figure of a lady in a deep pink dress, with white collar and cap. She holds a tall red lily in her right hand, and in the upper left-hand corner is a small cloud under which the sun is just appearing, and in the lower corner is a small flower. The lady is standing upon a 92 small green mound. The outlines of both figures, as well as the inner divisions between the various garments, are marked with a gold or silver thread.

The back is divided into four panels, in which are a fly, a rose, a larger fly, and a blue flower. The outlines and legs of both the insects were marked originally with small pieces of peacocks' feathers, but the upper fly has lost most of these; the lower one, however, more ornamental, shows them clearly, and has the thorax still in excellent preservation, glittering with little points of green and gold. There is one broad ribbon of striped silk attached to the lower board.

This little book, which is in a wonderful state of preservation, has been always kept in the beautiful embroidered bag which I have described already on p. 16.

42—Psalms. London, 1635.

One of the most finely embroidered bindings existing on satin occurs on a small copy of the Psalms, printed in London in 1635, and measuring 3½ by 3 inches. The design is one which has been repeated in other sizes with small differences. There is a larger specimen at the Bodleian, but the British Museum example is the finer altogether.

On each side there is an oval containing an 93 elaborate design most delicately worked in feather-stitch, the edges and outlines marked with very fine gold twist. On the upper board there is a seated allegorical figure with cornucopia, probably representing Plenty. Behind her is an ornamental landscape with a piece of water, the bright lines of which are feelingly rendered with small stitches of silver thread, hills with trees, and a castle in the distance. The other side has a similarly worked figure of Peace, a seated figure holding a palm branch; the landscape is of a similar character to that on the upper board, but the river or lake has a bridge over it. The work itself is of the same very delicate kind, the edges and folds of the dress being marked with fine gold twist.

Each of these ovals is marked by a solid framework with scrolls, strongly made with silver threads, and in high relief; in each corner is a very finely worked flower or fruit, pansy, strawberry, tulip, and lily. The back is divided into four panels, a very decorative conventional flower being worked in each, representing probably a red lily, a tulip, a blue and yellow iris, and a daffodil. The edges of the boards are bound with a broad silver braid, the edges of the leaves are gilded and prettily gauffred, and there are remains of four silver ties.

43—Psalms. London, 1633.

There is often much speculation as to who can have worked the English embroidered books, and it is very rarely that any reliable information on this interesting point is available.

There is, however, a manuscript note in a copy of the Psalms, printed in 1633 and bound in embroidered white satin, that the work upon it was done by 'Elizabeth, wife of Matthew Wren, Bishop of Ely,' who was an uncle of the architect. The volume still belongs to a member of the family, Dr. W. T. Law of Portland Place, who has most kindly allowed me to give an illustration of this beautiful book. It measures 4 by 3 inches. The design is different in details on each board, the central design, however, being in each case contained within a strongly worked gold border in high relief, widening out at each extremity into a crownlike form, and richly augmented at intervals with clusters of seed pearls. On the upper board within the oval is a double rose with curving stem, leaves, and a bud; the petals are worked in needlepoint, with fine gold twist at the edges, and a cluster of pearls in the centre. In the upper corners are a butterfly, with needlepoint wings, and a bird, with needlepoint wing and tail. In the lower corners are a unicorn and an antlered stag, both recumbent, and in high relief.

On the lower board within the oval is a vine, 95with curving stem and two large grape clusters, tendrils, and leaves, growing from a small green mound. The edges of the petals are bound with a fine gold twist, as are also the edges and outlines of the leaves, and most of these parts are worked in coloured silks, mixed with fine metal threads, in needlepoint lace-stitch.

A few hazel-nuts are scattered about outside the gold oval, and in each corner is a further ornamentation: a reddish butterfly with wings of needlepoint lace in relief and edged with a gold cord, a green parrot with red wings and tail, are in the two top corners, and in the two lower are a rabbit and a dog, each on a small green ground. Innumerable gold spangles are all over the sides and back, each kept in place by a small pearl stitched through.

The back is divided into five panels, by rows of pearls, and a conventional flower is in each, except the centre one which has an insect. These are all worked in needlepoint and edged with gold twist, the stems of some of them strongly made by a kind of braid of gold cords.

This little book is certainly one of the most ornamental specimens of any of the smaller satin-bound books of the seventeenth century, and although here and there some of the pearls are gone, altogether it is in very good condition, and it is rarely that such a fine example can now be met with in private hands.

44—Bible. London, 1638.

Several of the embroidered books on satin are worked chiefly in metal threads, and the designs on such books are not as a rule good. Whether the knowledge that the work was to be executed in strong threads has hampered the designer or not cannot be said, but certainly there is often a tinselly effect about these bindings that is not altogether pleasing.

In the case of a Bible printed in London in 1638, bound in white satin, and measuring 6 by 3 inches, one of the chief ornaments is a cherub's head, the face in silver and the hair and wings in gold. The working of this head and wings seems to me wrong. The face is, possibly enough, as well done as the material would allow, but the hair is made in small curls of gold thread, and the feathers of the wings are rendered in a naturalistic way with pieces of flat gold braid. This kind of realism is out of place in embroidery, and it is unfortunately characteristic of the English embroidered work of about this period, occurring generally on boxes, mirror frames, or the like, but only rarely on book-covers. The design is the same on both sides; a narrow arch of thick gold cord reaches about three-quarters up the side, and interwoven with it is a kind of cusped oval, with leaves, reaching up to the top of the book. The lower half of the arch97 is enclosed in a rectangular band of silver threads, broad and kept in place by transverse bars at regular intervals, and beyond it another row, made of patches of red and blue silk alternately. In the lower part of the oval is a ground of green silk, on which grow two double roses made of red purl. In the space enclosed between the top of the arch and the lower point of the oval is a bird worked in high relief in gold with a touch of red silk on his wings. Over the bird is a blue cloud, heavily worked in blue silk, and beneath is a small grass plot. The cherub's head already described is in the space between the top of the arch and the upper extremity of the oval; it is flanked by two small red purl roses. The two upper corners have undulating clouds in blue silk, and a red and yellow purl rose between them. There are several gold spangles all about, and innumerable small pieces of coloured purl.

The back is divided into four panels, in which are, alternately, a rose-tree on which are two red roses with yellow centres and green leaves, growing from a grass plot, and a blue rose with yellow centre and green leaves under a red cloud with silver rays. There are several spangles and some small pieces of coloured purl scattered about in the spaces.

The book is in excellent condition, owing, no doubt, to the fact that most of it is in metal, but it is representative of the lowest level to which the art98 of the embroidered book in England has ever fallen.

45—Psalms. London, 1639.

A charming little piece of delicate workmanship occurs in a copy of the Psalms, printed in London in 1639, and bound in white satin. It measures 3 by 2 inches. The design on each side is the same, but the work is slightly different. A tall rose-tree, with gold stem, grows from a small chenille base, the rose petals beautifully worked in the finest of stitches, as well as the leaves, all of which are outlined with fine gold thread. From the lower branches of the rose-tree hang on one side a violet, and on the other a pansy, each worked in the same way as the rose, and edged with fine gold thread. The back is divided into four panels, containing respectively a cornflower, a pomegranate, a fruit, perhaps meant for an apple, and a honeysuckle, all conventionally treated and very delicately worked. The edge is bound all round with a strong braid, and there is one tie of broad, cherry-silk ribbon. With this book is its canvas bag, embroidered in silver ground with coloured-silk flowers and tassels of silver, the general design and workmanship of which nearly resembles that of the finer bag already described at page 16. The silver has turned nearly black, as is usually the case with these bags.

46—The Way to True Happiness. London, 1639.

A copy of The Way to True Happiness. printed in London in 1639, is bound in white satin, and embroidered with figures of David and a Queen. It is a little larger than the majority of the satin-embroidered books, measuring 7 by 4½ inches, and is, for its time, a very fine specimen. Both figures stand under an archway with columns, all worked heavily in silver cord, guimp, and thread. The columns have ornamental capitals and a spiral running round their shafts, and the upper edge of the arch is ornamented with crockets of a peculiar shape. Within this archway, on the upper cover, is a full-length figure of a Queen, finely worked in split-stitch with coloured silks. She wears a red dress with long, falling sleeves, a purple body and gold collar. On her head is a golden crown, with six points. She carries, in her left hand, a golden sceptre, and has also a golden belt. The outlines are everywhere marked either with a gold or silver twist. On the ground, which is in small hillocks, grow a strawberry and two other small plants; a snail is also shown. Scattered about the field are a 'skeleton' caterpillar—at one time probably filled in with peacocks' feathers,—a conventional lily, a butterfly, and the sun, with rays, just appearing from under a cloud. In the two upper 100 corners are flowers, a pansy and another, and smaller ones down each side.

On the lower board, within the arch, is a figure of David. He wears a short tunic of orange and silver, with vandyked edge, and a short skirt of blue and silver, with a long cloak of cream, pink, and silver, clasped with a silver brooch; on his head he wears a silver crown, with a red cap and green and red feathers; on his feet are brown, high boots. In his left hand is a silver harp of ornamental pattern, and in his right a silver sceptre with a little gold about it. The ground, in hillocks, has a few small flowers growing upon it, and a large tulip is just in front of the King; on the field are also a moth and a snail. At the top is a blue cloud. The upper corners have a red and yellow tulip and a pansy with bud in them, and smaller flowers are worked down each side. The back is very tastefully ornamented with an undulating scroll of gold cord, widening out here and there into conventional leaves of gold guimp in relief. On this scroll are sitting three birds, and there are also a bunch of grapes, a tulip, daffodil, and other flowers with leaves, conventionally treated, all worked in coloured silks.

There are the remains of two red and yellow silk ties on the front edges of each board, and the edges of the leaves are gilded and gauffred. With this book is a canvas bag, 101 simply ornamented with a design worked in red silk.

47—New Testament. London, 1640.

The curious little New Testament of 1625, now at Oxford, which I have already described, is perhaps the earliest example left on which needlepoint lace in coloured silks is much employed.

It occurs again largely on another small New Testament, printed in 1640, bound in white satin, measuring 4½ by 2¼ inches; now in the British Museum. In this case the artist has not attempted the difficult task of producing a satisfactory figure in needlework, but has very properly limited her skill to the reproduction of flower and animal forms. On the upper cover is a spray of columbine, the petals of which, pink and blue, are each worked separately in needlepoint lace stitch, and afterwards tacked on to a central rib. The stalks and leaves of this spray are also worked in needlepoint, and on the top sits a bullfinch, worked in many colours in the same way, but fastened down close to the satin all round. In the corners are a beetle, a nondescript flower, a bud, and a butterfly with coloured wings in needlepoint, with replicas of them closely appliqués just underneath, on the satin. On the lower board is a spray of a five-petalled blue flower, the petals of which were originally worked in needlepoint and fastened on a central rib, but 102they have now all gone except two, leaving the rib of thick pink braid. The supporting replicas underneath are, however, perfect, showing what the original upper petals were like. This spray has two leaves, exquisitely worked in needlepoint, and fastened by a stitch at one end, with the usual flat replicas underneath them, and there is also a bud. The stem is a piece of green braid. Above the spray is a parrot in needlepoint, most of him fastened down round the edges, but his wings and tail left free. In the upper corner are two strawberries, and in the lower a butterfly, with coloured wings, left free in needlepoint. There are also two caterpillars on this side.

On the back are three large flowers heavily worked in silk and metal threads, in needlepoint, and appliqués—a pansy, lily, and rose, with stalks of green braid. The boards are edged all round with a gold braid, and there are two green silk ties on each for the front edges. There are several gold spangles all about, but many more have gone. The work on both boards is very delicate, but that on the back is curiously coarse. Such imitative work as the needlepoint, which is perhaps seen at its best in the columbine, and the leaves on this book, is at all times a dangerous thing to use, except when it is only used as appliqué, as in the beautiful cover belonging to this book, which I have described on 103 page 18, and the work on which is very likely by the same skilled hand as that on the book. I believe this use of the needlepoint, or button-hole stitch, is only found in English work; it is exactly the same as is used on the old Venetian and other so-called 'point' laces, but executed in fine-coloured silk instead of linen thread, and without open spaces.

48—Psalms. London, 1641.

Nicholas Ferrar's establishment at Little Gidding in Huntingdonshire is often credited with having produced embroidered books, but there is really no authority for the belief. All the authentic bindings which came from Little Gidding have technical shortcomings from a bookbinding point of view, none of which are found on any embroidered books.

In the History of the Worthies of England, by Thomas Fuller, there is a short note about Little Gidding, and he says about the ladies there that 'their own needles were emploied in learned and pious work to binde Bibles.' This note and the mention of needles may have perhaps given the start to the belief that embroidered work was intended, but in all probability it only refers to the sewing of the leaves of the books upon the bands of the back, which is done with needle and thread. Moreover, the ladies of Little Gidding104 did actually sew the backs of their books in a needlessly elaborate way, putting in ten or twelve bands where three or four would have been ample. I also think that if embroidery had been intended by the sentence above quoted, it would have been more clearly mentioned. To 'emploie needles to bind Bibles' is hardly the description one would expect if the meaning was that when bound the Bibles were covered in embroidered work; but it may be safely interpreted as it is written, the sewing being a most important part of a bookbinding, and one likely to be much thought of by amateur binders, as the nieces of Nicholas Ferrar were.

The attribution of embroidered bindings to Little Gidding may also have been strengthened by the fact that many of the bindings made there are in velvet, the ornamentation on which, though it is actually stamped in gold and silver, does to some extent suggest embroidery. Indeed, I have myself heard the remark, on showing one of these books, 'Oh, yes! Embroidery.'

Again, a peculiarity of the Little Gidding books is, generally, their large size, whereas the embroidered books, especially the satin ones, are usually very small.

One of the embroidered books thus wrongly credited to Little Gidding is a Psalter, printed in London in 1641. It is bound in white satin, very tastefully embroidered, the same design being on each side, and measures105 4 by 2 inches. In the centre is a large orange tulip, shading from yellow to red, finely worked in silks in shading-stitch. The stem is outlined in gold cord, and has also symmetrical curves and leaves, some of which are filled in with silver guimp. The flower is enclosed in an ornamental scroll and leaf border, all made with gold threads and twists, and having leaf forms in relief at intervals in silver guimp. The back has five panels, ornamented alternately with guimp scrolls and small spheres of coloured silk. There have been spangles and small pieces of guimp scattered about on the sides and back, but most of them have gone. There are no ties, and the edges of the leaves are gilt, and have a small gauffred pattern upon them.

The design of this book is extremely simple and effective; the fine stitching on the tulip contrasts well with the strong metal border enclosing it. It may be considered a favourable specimen of the commonest type of satin embroidered books of the seventeenth century. It is not in very good condition.

49—Psalms. London, 1643.

A very quaint design embroidered on white satin covers a copy of the Psalms, printed in London in 1643, and measuring 4¼ by 3¼106 inches. On the upper side is a representation of Jacob wrestling with the angel, flanked by two trees with large leaves; the angel has wings and long petticoats. The lower board has a representation of Jacob's dream. The patriarch is asleep on the grass, his head upon a white stone, his staff and gourd by his side. He has pale hair and beard. Behind him is a large tree, and in front a conventional flower with leaves and bud, and from the clouds reaches a ladder on which are three small winged angels, two coming down, and one between them going up. Through a break in the clouds is seen a bright space, with rays of golden light proceeding from it.

The back is divided into five panels, in each of which is a flower. These resemble, to some extent, a red tulip, a lily, a red dahlia, a yellow tulip, and a red rose. The work here is not protected by any strong or metal threads, and it is consequently much worn. There are no signs of any tie ribbon, and the edges are plainly gilt.

50—Psalms. London, 1643.

Another copy of the Psalms, printed in London in 1643, bound in satin, and measuring 3¼ by 2¼ inches, bears on each side, within a circle, a miniature portrait of Charles i. worked in feather-stitch. The king wears long hair, moustache, and small pointed beard. He is 107 crowned, and has a red cloak with miniver tippet, from under which appears the blue ribbon of the Garter worn round the neck, as it originally was, and having a small gold medallion attached to it. The initials C. R. in gold guimp are at each side. The circle is enclosed in a strong framework of silver cord and guimp in the form of four thin long pointed ovals of leaf form arranged as a diamond. The four triangular spaces between the diamond and the oval are filled with small flowers or small pieces of guimp and spangles. Towards each corner grows a flower, two pansies, and two others with regular petals. The remaining spaces are filled variously with green leaves, small patches of purl and gold spangles, and a strong gold cord encloses the whole. The back is divided into three panels, in each of which is an ornamental conventional flower, the upper and lower ones alike, and worked in shades of red with guimp leaves in relief, and the centre one with six petals worked in yellow and edged with a fine gold cord. There are no signs of ties ever having existed, and the edges of the leaves are gilt and slightly gauffred. It has been suggested that this little book may have belonged to King Charles i.; but the fact of his portrait being upon it is no proof of this, as portraits of this king are more numerous upon the bindings of English books than those of any other person.

51—Psalms. London, 1646.

The value of 'purl' was recognised some few years back, when I had some made, and explained its value and use to the Royal School of Art Needlework at South Kensington, and I believe they used it considerably.

On books the use of purl is generally auxiliary, but one small book bound in white satin, and measuring 4 by 2½ inches, a copy of the Psalms, printed in London in 1646, is entirely embroidered in this material, helped with gold braid and cord. The design is approximately the same on each side, a large flower with leaves in the centre, and a smaller flower in each corner. On the upper cover the centre flower is yellow and red, with two large green leaves, and the corner flowers are, possibly, intended for a cornflower, a jonquil, a lily, and a rose, but the material is so unwieldy that the forms are difficult to trace, and flowers worked in it are likely to assume forms that are unrecognisable, when finished, however well designed to start with. All the flowers and leaves are made with the purl cut into short lengths, drawn together at the ends by a thread run through, thus forming a succession of small arches. The stalks are made in gold cord. The flowers on the other side are, perhaps, a carnation in the centre, and round it a convolvulus, lily, daffodil, and rose. The back is divided into five 109 panels, in each of which is a 'purl' flower, all worked in the same way, representing successively a tulip, cornflower, carnation, lily, rose, or something analogous to them; round the designs are straight pieces of brown purl, and the edges are bound with a broad gold braid. There are no ties or signs of any, and the edges are simply gilt. The purl is undoubtedly very strong; I possess a small patch-box worked on white satin in a similar way to this little book, and although it has been roughly used for some two hundred and fifty years, the colour of the purl is still good; the upper surfaces of the small spirals, however, show the copper wire bare almost everywhere. The book, not having had anything like the hard wear, is in very good condition, but it is too small for the proper use of so much thick thread. The larger leaves and petals are made in relief by being sewn on over a few pieces of purl laid underneath them at right angles.

52—Bible. London, 1646.

A Bible printed in London in 1646 is bound in white satin, and embroidered in coloured silks and gold braid and cord, measuring 6 by 3½ inches. The same design is on both sides. In the centre within an oval of gold braid and cord is a spray of vine, with two bunches of grapes, three leaves and a tendril, the fruit and leaves worked in silk, and the 110 stem in gold cord. Enclosing the oval is an arabesque design worked in gold cord and guimp, and at each corner is an oval of thin gold strips and gold cord; the gold strips are done in the manner known as 'lizzarding,' and are kept down by small stitches at intervals.

The back has four panels, in each of which is an arabesque design in coloured silks and gold cord or braid. Although this book is comparatively late, it is in a bad condition, and shows much wear; the design also is weak, and the workmanship inferior.

PRINTED BY T. AND A. CONSTABLE, PRINTERS TO
HER MAJESTY, AT THE UNIVERSITY PRESS,
EDINBURGH: MARCH MDCCCXCIX

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