1
CENTRE
REFORMATION
and
RENAISSANCE
STUDIES
VICTORIA
UNIVERSITY
TORONTO
ENGLISH
EMBROIDERED
BOOKBINDINGS
, ?
#
C
hristophersn, ttistoria E
I.o vani i, 569.
cclesiastica.
!
EDITED BY
ALFRED POLLARD
ENGLISH
EMBROIDERED
BOOKBINDINGS
BY CYRI L
DAVENPORT, F.S.A.
'THE
AUTHOR OF
ENGLISH
REGALIA"
ETC.
LONDON
KEGAN PAUL, TRENCH, TROBNER
AND COMPANY, LIMITED
899
Edinburgh : T. and A. CONS'^sLa, Printers to Her Majesty
GENERAL
INTRODUCTION
NEW
series of ' Books
about
Books,' exclusively English in its
aims, may seem to savour of the
patriotism, xv.hich,, in matters of
art and historical research is, with
reason enough, often scoffed at as a treacherous
guide. No doubt in these pleasant studies
patriotism acts
as a
magnifying-glass, making
us unduly exaggerate details. On the other hand,
it encourages us to try to discover them, and
just at present this encouragement seems to be
needed. There are so many gaps in our know-
ledge of the history of books in England that
we can hardly claim that our own dxvelling is set
in order, and yet many of our bookmen appear
" " "ghb '
more inclined to re-decorate their ne ours
houses than to do work that still urgently needs
to be done at home. The reasons for this trans-
ference of energy are not far to seek. It is quite
easy to be struck with the inferiority of English
books and their accessories, such as bindings and
illustrations, to those produced on the Continent.
X
GENERAL
INTRODUCTION
To compare the books printed by Caxton with
the best work of his German or Italian con-
temporaries, to compare the books bound for
Henry, Prince of Wales, with those bound for
the Kings of France, to try to find even a dozen
English books printed before I64O with woodcuts
(not imported from abroad) of any real artistic
merit--if any one is anxious to reinforce his
national modesty, here are three very efficacious
methods of doing it! On the other hand, English
book-collectors have always been cosmopolitan in
their tastes, and without leaving England it is
possible to study to some effeCt,oinf public or
priv.ate libraries, the finest books almost any
foreign country. It is small wonder, therefore,
that our bookmen, when they have been minded
to write on their hobbies, have sought b:auty and
stateliness of work where they could most readily
find them, and that the labourers in the book-
field of our own country are not numerous.
Touchstone's remark, 'a poor thing, but mine
own,' might, on the worst view of the case, have
suggested greater diligence at home; but on a
wider view English book-work is by .no. means
a'poor thing.' Its excellence at certain periods
is as striking as its inferiority at others, and it
is a literal fact that there is no art or craft
ENGLISH
PRINTING
xi
connected with books in which England, at one
time or another,
has not held
the primacy in
and Edward vI. have left us, may vie in beauty
of writing and decoration with the finest examples
of Continental art. If John Siferavas, instead of
William Caxton,
had
introduced
printing into
England, our English incunabula, would have
taken a far higher place. But the sxty odd years
which separate the two men vere
disastrous to the English book-trade.
absolutely
After her
man.uscripts, i.f we may judge from the scanty
specimens which the evil days of Henry VIII.
Europe.
It would certainly be unreasonable to complain
that printing vith movable types was not invented
at a time better suited to our national convenience.
Yet the fact that the invention was made just in
the middle of the fifteenth century constituted a
handicap by which the printing trade in this
country was for generations overweighted. At
almost any earlier period, more particularly from
the beginning of the fourteenth century to the
first quarter of the fifteenth, England would have
been as well equipped as any foreign country to
take its part in the race. From the production of
Queen Mary's Psalter at the earlier date to that
of the Sherborne Missal at the later, English
xii GENERAL
INTRODUCTION
exhausting and futile struggle with France, Eng-
land was torn asunder by the wars of the Roses,
and by the time these were ended the school of
illumination, so full of promise, and seemingly
so firmly established, had absolutely died out.
When printing was introduced England possessed
no trained illuminators or skilful scribes such
as in other countries were forced to make the
best of the new art in order not to lose their
living, nor were there any native wood-engravers
ready to illustrate the new books. I have never
myself seen or heard of a 'Caxton' in which an
illuminator has painted a preliminary border or
initial letters ; even the rubrication, where it exists,
is usually a disfigurement; while as for pictures,
it has been unkindly said that inquiry whence
they were obtained s superfluous, since any boy
with a knife could have cut them as well.
Making its start under these unfavourable
conditions, the English book-trade vas exposed
at once to the full competition of the Continental
presses, Richard III. expressly excluding it from
the protection which was given to other in-
dustries. Practically all learned books of every
sort, the great majority of our service-books,
most grammars for use in English schools, and
even a few popular books of the kind to which
ENGLISH
PRINTING
xiii
Caxton devoted himself, were produced abroad
for the English market and freely mported.
Only those who mistake the shadow for the
vill regret this free
the development of
substance
we owe
trade, to which
scholarship in
England during the sixteenth century. None
the less, it was hard on a young industry, and
though Pynson, Wynkyn de Worde, the Faques,
Berthelet, Wolfe John Day, and others produced
fine books in 'England during the sixteenth
century, the start given to the Continental presses
was too great, and before our printers had fully
caught up their competitors, they too were seized
with the carelessness and almost incredible bad
taste which marks the books of the first half of
the seventeenth century in every country of
Europe.
To,yards the close of the eighteenth century,
as is well known, the French thought sufficiently
well of Baskerville's types to purchase a fount after
his death for the printing of an important edition
of the works of
Baskerville as a
Voltaire.
printer,
But the merits of
never very cordially
admitted, are now more hotly disputed than ever;
and if I am asked at what period English printing
has attained that occasional primacy which I have
claimed for our exponents of all the bookish arts,
GREAT
COLLECTORS
XVII
lence of English manuscripts on their decorative
side, we may fairly add the fact that manuscripts
of literary importance begin at an earlier date in
England than in any other country, and that the
Cotton iris. of teowulfand the miscellanies vhich
go by the names of the Exeler Book and the
P'ercelli Book have no contemporary parallels in
the rest of Europe.
When we turn from books, printed or in manu-
ip ly " "
scr t, to their possessors, it is on just to begin
with a compliment to our neighbours across the
Channel. No English bookman holds the unique
position of Jean Grolier, and 'les femmes biblio-
philes'of England have been few and undistin-
guished compared with those of France. Grolier,
however, and his fair imitators, as a rule, bought
only the books of their own day, giving them
distinction by the handsome liveries which they
made them don. Our English collectors have more
often been of the omnivorous type, and though
Lords Lumley and Arundel in the sixteenth
century cann.ot, even when their forces are joined,
stand up agaanst De Thou, in Sir Robert Cotton,
Harley, Thomas Rawlinson, Lord Spencer, Heber,
Grenville, and Sir Th.omas Phillips (and t.he list
might be doubled xwthout much relaxation of
the standard), xve have a succession of English
000
XVlll
GENERAL
INTRODUCTION
collectors to whom it would be difficult to produce
foreign counterparts. Round these dii maores
have clustered innumerable demigods of the book-
market, and certainly in no other country has
collecting been as widely diffused, and pursued
with so much zest, as in England during the
present century. It is to be regretted that so
few English collectors have cared to leave their
marks of ownership on the books they have taken
so much pleasure in bringing together. Michael
'Vodhull was a model in this respect, for his book-
stamp is one of the most pleasing of English
origin, and hs autograph notes recording the
prices he paid for his treasures, and his assiduous
collation of them, make them doubly precious in
the eyes of subsequent owners. Mr. Grenville
also had his book-stamp, though there is little
j " " " pl " "
oy to be von from t, for t 1s un easang in
itself, and is too-often found spoiling a fine old
binding. Mr. Cracherode's stamp was as grace-
ful as Wodhull's; but, as a rule, our English
gh " "
collectors, thou , as Mr. Fletcher is dscoverlng,
many more of them than is generally known have
possessed a stamp, have not often troubled to use
it and their collections have never obtained the
reputation which they deserve, mainly for lack
of marks of ownership to keep them green in
BOOK-PLATES
XIX
the memory of later possessors. That this should
be so in a country where book-plates have been
so common may at first seem surprising. But
book-plates everywhere have been used rather
by the small collectors than the great ones, and
the regrettable peculiarity of our English book-
men is, not that they despised this rather fugitive
sign of possession, but that for the most part
they despised book-stamps as well.
Of book-plates themselves I have no claim to
speak;but for good taste and grace of design
the best English Jacobean and Chippendale speci-
mens seem to me the most pleasing of their kind
and certainly in our own day the work of Mr.
Sherborn has no rival, except in that of Mr.
French, who, in technique, would, I magne,
not refuse to call himself his disciple.
I have purposely left to the last the subject
of Bindings, as this, being more immediately
cognate to Mr. Davenport's book, may fairly be
treated at rather greater length. If the French
dictum 'la reliure est un art tout franais' is not
with.out its historical justification, it is at least
possible to show that England has done much
admirable work, and that now and again, as in
the other bookish arts, she has attained pre-
eminence.
XX
GENERAL
INTRODUCTION
The first point which may fairly be made is
that England is the only country besides France
in which the art has been consistently practised.
In Italy, binding, like printing, flourished for a
little over half a century with extraordinary vigour
and grace, and then fell suddenly and completely
from its
of Aldus
high estate.
the books
finest in the xvorld;
work
of Aldus
From
printed
from the
to about 1.560
465 to the death
in Italy were the
beginning of the
Italian bindings
possess a freedom of graceful design which even
the superior technical skill quickly gained by the
French does not altogether outbalance. But just
as after about 52o a finely printed Italian book
can hardly be met vith, so after 1560 , save for
a brief period during which certain fan-shaped
designs attained prettiness, there have been no
good Italian bindings. In Germany, when in
the fifteenth century, before the introduction of
gold tooling, there was a thriving school of binders
working in the mediaeval manner, the Renaissance
bro.ught with .it an absolute decline. Holland,
again, which in the fifteenth century had made
a charming use of large panel stamps, has since
that period had only two binders of any reputa-
tion, Magnus and Poncyn, of Amst.erdam, who
vorked for the Elzdviers and Louis XlV. Of
XXII
GENERAL
INTRODUCTION
their
successors, is the employment of small
stamps, from half an inch to
sometimes circular, more often
"nch "
an 1 in
or
shaped, and containing, figures,
purely conventional designs. A
size,
pear-
square
grotesques, or
circle, or two
half-circles, formed by the repetition of one stamp,
.within one or more rectangles formed by oth.ers,
s perhaps the commonest scheme of decoration,
but it is the characteristic of these bindings, as of
the finest in gold tooling, that by the repetition
of a few small patterns an endless variety of
designs could be built up. The British Museum
possesses a few good examples of this stamp-
work, but the finest collections of them are in
the Cathedral libraries at Durham and Hereford.
Any one, however, who is interested n ths work
"ly " " " " by
can eas acquaint hmself with t consulting
the unique collection of rubbings carefully taken
by Mr. Weale and deposited in the National Art
Library at the South Kensington Museum. In
these rubbings, as in no other way, the history of
English binding can be studied from the earliest
Winchester books to the charming Oxford bind-
ings executed by Thomas Hunt, the English
partner of the Cologne printer, Rood, about I48I.
During the first half of this period the English
leather binders were the finest in Europe;during
XXIV
GENERAL
INTRODUCTION
folios
vhose
vith
full
Archbishop Parker in so many of his literary
undertakings. These bindings attributed to Day,
especially those in which he worked with white
leather on brown, although they have none of the
French delicacy of tooling, perhaps for this reason
attack the problem of decoration with a greater
sense of the difference between the styles suitable
for a large book and a small than is always found
in France, where the greatest binders, such as
Nicholas Eve and Le Gascon, often covered large
endless repetitions of minute tools
duodecimos
beauty can
or octavos.
only be appreciated on
The English designs
with a large centre ornament and corner-pieces are
rich and impressive, and we may fairly give Day
and his fellows the palm for originality and effec-
tiveness among Elizabethan binders. In the
next reign the French use of the sem or powder,
a single small stamp, of a fleur-de-lys, a thistle, a
crown, or the like, impressed in rows all over the
cover, was increasingly imitated in England, very
unsuccessfully, and, save for a few traces of the
style of Day, the leather bindings of the first third
of the century deserve the worst epithets which
can be given them.
Until, however, French fashions came into
vogue after the Restoration, English binders had
xxvi
GENERAL
INTRODUCTION
have looked exactly right, while their vivid col-
ours must have been admirably in harmony vith
the gay Cavalier dresses.
Besides furnishing a ground for embroidery,
velvet bindings vere often decorated in England,
with goldsmith work.
littIe bookcovers in
prayers, bound for Oueen Elizabeth in red velvet,
with a centre and corner pieces delicately en-
amelled on gold. Under the Stuarts, again, we
tly " " "
frequen find similar ornaments n engraved
silver, and their charm is incontestable.
Thus while for English bindings of this period
in gilt leather we can only claim that Berthelet's
show some freedom in their adaptation of Italian
models, and Day's a more decided originality, we
are entitled to set side by side with this scanty
record a host of charming bindings in more femi-
nine materials, which have no parallel in France,
and certainly deserve some recognition. After
the Restoration, however, leather quickly ousted
its competitors, and a school of designers and
gilders arose in England, which, while taking its
One of the most beautiful
existence is on a book of
not in minute accuracy of execution, this may
rank with the best in Europe. We can trace the
first inspiration from Le Gascon, soon developed
an individual style. In effectiveness, though
XXVIII
GENERAL
INTRODUCTION
the eighteenth century a new grace was added
by the inlaying of a leather of a second colour.
These inlaid English bindings are few in number
(the British Museum has not a single fine example),
but those who know the specimens exhibited at
the Burlington Fine Arts Club, two of which are
figured in its Catalogue, will readily allow that
their grace has never been surpassed. The fine
Harleian bindings let us down gently from this
eminence, and then, after a period of mere dul-
ness, with the rise of Roger Payne we have again
an English school (for Payne' ""
s traditions were
worthily followed by Charles Lewis) which, by
common consent, was the finest of its time.
Payne's originality s, perhaps, not qute so ab-
solute as has been maintained, for some of his
tools were cut in the pattern of Mearne's, and it
would be possible to find suggestions for some of
his schemes of arrangement in earlier English
work. If he borrowed, however, he borrowed
from his English predecessors, and he brought
to his task an individuality and an artistic in-
stinct which cannot be denied.
After Payne and Lewis, English binding, like
French, became purely imitative in its designs;
but while in our own decade the .French artists
have endeavoured to shake themselves free from
ENGLISH
BINDINGS
XXXl
given, and that the pioneers who are endeavouring
dg " " "
to enlarge knowle e, each In his own section,
may fairly hope that their efforts will be received
with indulgence and good-will.
ALFRED W. POLLARD.
2
ENGLISH
EMBROIDERED BINDINGS
the past few years, I have invariably noticed that
the pictures and descriptions of embroidered
specimens have been the most keenly appreciated,
and this favourable sign has led me to examine
and consider such examples as have come in my
way more carefully than I might otherwise have
done. Very little study sufficed to show that in
England alone there was for a considerable
period a regular and large production of em-
broidered books, and further, that the different
styles of these embroideries are clear!y defined,
equally from the chronological and artistic points
of view. A peculiarly English art which thus
lends itself to orderly treatment may fairly be
made the subject of a brief monograph.
With the exception of point-lace, vhich is some-
times made in small pieces for such purposes as
ladies' cuffs or collars, decorative vork produced
by the aid of the needle is generally large. Cer-
tainly this is so in ts finest forms, which are
probably to be found in the ecclesiastical vest-
ments and in the altar frontals of the Renaissance
period, or even earlier. On the other hand, such
vork as exists on books is always of small size,
and, unlike the point-lace,.it almost inva.riably has
more than one kind of' sttchery' upon it--chain,
split, tapestry, satin, or what not.
Thus it can be claimed as a distinction for
embroidered book-covers that as a class they
are the smallest complete embroideries existing,
6
ENGLISH
EMBROIDERED
BINDINGS
The Scriptural designs are most generally found
on canvas-bound boo.ks; the Symbolical figures,
and Portraits, on satn, rarely on velvet. The
Floral and Arabesque designs are most common
on small and unimportant works bound in satin
but they occur now and then on both canvas anc[
velvet books. The true arabesques have no
animal or insect forms among them, the prophet
Mohammed having forbidden his followers to
imitate any living thing.
It may further be noted that heraldic designs
on embroidered books are early, having been
made chiefly during the sixteenth century, and
that the figure, floral, and arabesque designs most
usually belong to the seventeenth century. There
are, of course, exceptions to these divisions, not-
ably in the case of the earliest existing embroi-
dered book, which has figure designs on both sides,
but also maintains its heraldic position, inasmuch
as its edges are decorated with coats-of-arms.
Naturally, again, it may be sometimes difficult
to decide whether a design should be classed as
heraldic or floral. Such a difficulty occurs as to
the large .Bible at Oxford b.ound in red velvet for
Queen Elizabeth, and bearing a design of Tudor
and York roses. I consider it heraldic, but it
might, with no less appropriateness, be called
floral. If it had belonged to any one not a member
of the Royal family it would undoubtedly be
properly counted as a floral specimen. Again,
MATERIALS
7
in many of the portrait bindings flowers and
arabesques are introduced, but they are clearly
subordinate, and the chief decorative motive of
such designs must be looked for, and the work
classed accordingly. Thus it is evident that the
arra.ngement of the embr.oidered books by the!r
designs .cannot be to.o rigidly applied, although t
should not be lost sght of altogether.
Divisiou of lmbroicterecl Boos accorclhz E to the
zalerial oz whic/z t]zey are worect.
A more useful and accurate classification may
however be found by help of the material on
which the embroidered work is done, and this
division is obvious and easy. With very few
exceptions all embroidered books, ancient and
modern, are worked on cameras, ve.lvel, or satz)t,
and vhile canvas vas used continuously from
the fourteenth century until the middle of the
seventeenth century, velvet was most largely used
during the Tudor period, and satin during that
of the early S tuarts.
Broadly speaking, the essential differences in
the kind of work found upon these three materials
follow the peculiarities of the materials them-
selves. Canvas, in itself of no decorative value,
is always completely covered with needlework
Velvet, beautiful even when alone, but d!fficult
to work upon, usually has a large proportion of
IO
ENGLISH EMBROIDERED BINDINGS
found upon the sides of the stamped leather bind-
ings of mediaeval books.
Spangle kept in place
by a stitch through a
short piece of Purl.
Spangle kept in place
by a stitch through a
seed pearl
Binder's stamp.for gold
tooling, cut m imita-
tion of a spangle.
It may be mentioned that the
century Dutch binders, Magnus
both of Amsterdam, invented a
gilding on leather bindings, used,
seventeenth-
and
new
Poncyn,
tool for
of course, in
combination with others. This was cut to imitate
the small circular spangles of the embroidered
books(Fig. 8),.and the English and French finishers
of a later period used the same device xvith excel-
lent effect for filling up obtrusive spaces on the
sides and backs of their decorative bindings.
Thus it may be taken as an axiom that, for the
proper working of an embroidered book, except it
be tapestry-stitch or tent-stitch, on canvas, which
is fiat and strong of itself, there should inv.ariably
be a liberal use of metal threads, these being not
only very decorative in themselves, but also pro-
viding a valuable protection to the more delicate
needlework at a lower level, and to the material
of the ground itself.
The earliest examples of embroidered bindings
still existing are not by any means such as would
lead to the inference that they were exceptional
productions--made when the idea of the applica-
FORWARDING
II
tion of needlework to the decoration of books was
in its infancy. On the contrary, they are instances
of very skilled ,,workmans.hip, so that it is probable
that the art was practised at an earlier date
than we now have recorded. There are, indeed,
frequent notes in 'Wardrobe Accounts'and else-
where of books bound in velvet and satin at a
date anterior to any now existing, but there is no
mention of embroidered work upon them.
Tlze Forwarclitg of Embroidered tooks.
The processes used in the binding of em-
broidered books are the same as in the case of
leather-bound books; but there is one invariable
peculiarity--the bands upon which the different
sections of the paper are sewn are never in relief,
so that it was always possible to paste down a
piece of material easily along the back without
having to allow for the projecting bands so
familiar on leather bindings (Fig. 9.).. Th.e.backs,
moreover, are only rounded very slightly, t at all.
This flatness has been attained on the earlier
books either by sewing on flat bands, thin strips
of leather or vellum (Fig. o), or by flattening
the usual hempen bands as much as they will
bear by the hammer, and afterwards filling up
the intermediate spaces with padding of some
suitable material, linen or thin leather.
In several instances the difficulty of flatten-
ing the bands has been solved, in sixteenth- and
14
ENGLISH
EMBROIDERED BINDINGS
In the case of a properly sevn book, the
bands them selves cannot be seen at all from the
inside of the sections, unless, indeed, the book
is damaged (Fig. 1,3 ) . If the covering of the back
FIG. 13. .
Typical appearance of the sewing of a book on raised bands, as seen from the
inside of each section. The bands invisible. Known as ' flexible.'
is off, or even loose, the method of sewing that
has been used can very easilYkbnseen ; and if it
appears that the bands are sun a small trench,
that is the form of sewing that is called 'sawn
n, or analogous to it.
Although in the embroidered books the bands
of the backs do not show on the surface, it is
common enough to find the lines they probably
follow indicated in the work on the back, which
is divided into panels by as many transverse
lines, braid or cord, as there are bands under-
neath them. But in some cases the designer has
used the back as one long panel, and decorated
FORWARDING
I5
it accordingly as one space. The headbands in
some of the earlier books were sewn at the same
time as the other bands on the sewing-press and
drawn in to the boards, but in most early bind-
ings the ravaging repairer has been at w.ork and
made it impossible to know for certain what
was the state of the headbands before the book
came into hs hands. Most of the existing head-
bands are made by hand in the usual way, with
the ends simply cut off, not indeed a very satis-
factory finish. It would be better if these ends
were somehow drawn in to the leather of the
back, as for instance they still often are on thin
vellum books.
The great majority of embroidered books, both
large and small, have had ties of silk on their
front edges--generally tvo, but sometimes only
one, which wraps round. These ties have gener-
ally worn away from the outer side of the boards,
but their ends can usually be traced (if the book
has not been repaired) in the inner side, covered
9nly by a thin piece of paper; and if this paper
s loose, as often happens, and the ends show
well, it m. ay often be advisable not to paste it
down again at that particular place.
The backs of old embroidered
far the xveakest parts about them.
at all in their old forms they are
worn, and the xvork upon them so much damaged
that it is often difficult to make out even the
books are by
If they exist
always much
ENGLISH
EMBROIDERED BINDINGS
general character of the design, to say nothing of
the details of the workmanship.
The edges of the leaves of books bound in
England in embroidered bindings are always
ornamentally treated, sometimes simply gilded,
often further adorned with 'gauffred' work, that
is to say, small patterns impressed on the gold,
and sometimes beautifully decorated with elabor-
ate designs having colour in parts as well. The
earliest English ornamentation of this kind in
colour is found on the Felbrigge Psalter and on
some of the books embroidered for Henry viii.,
one of which is richly painted on the fore edges
with heraldic designs, and another with a motto
written in gold on a delicately coloured ground.
Cases/or Embroidered ooks.
Common though the small satin embroidered
books must have been in England du.rin.g the
earlier part of the seventeenth century, t s still
certain that the finer specimens were highly prized,
and beautifully worked bags were often made for
their protection. These bags are always of canvas,
and most of them are decorated in the same way,
the backgrounds of silver thread with a design
in tapestry- or tent-stitch, and having ornamental
strings and tassels. To describe one of these is
almost to describe all. The best preserved speci-
men I know belongs to a little satin embroidered
Embroidered Bag for Psalms.
London 6oo.
EMBROIDERED BOOK-BAGS
I7
copy of the Psalms, printed in London in 1633, and
measures 5 inches long by 4 inches in depth.
The same design is repeated on each sde. A
parrot on a small grass-plot is in the middle of
the lower edge. Behind the bird grow two curv-
!ng stems of thick gold raid, each curve contain-
ng a beautifully-worke flower or fruit. In the
centre is a carnation, and round it are arranged
consecutively a bunch of grapes, a pansy, a honey-
suckle, and a double rose, green leaves occurring
at intervals. From the lower edge depend three
ornamental tassels of silyer loops, with small
acorns in silver and coloured silks, one from the
centre and one from each corner.
The top edge has two draw-strings of gold
and red b.raid, each ending in an ornamental oval
acorn of slver tlread and coloured silks, probably
worked on canvas over a wooden core, ending in
a tassel similar to those on the lower edge.
A long loop of gold and silver braid serves as
a handle, or me.ans of attachment to a belt, and is
fixed at each sde near a strong double loop of
silver thread, used when pulling the bag open.
The lining is of pink silk. This particular bag is
perfect in colour as well as condition, but usually
the silver has turned black, or nearly so. Besides
these very ornamental bags, others of quite simple
workmanship are occasionally found, worked in
outline with
embroidered
coloured silks.
bg "
a s, certain
As xvell
rectangular
C
as the
cloths
i8
ENGLISH
EMBROIDERED
BINDINGS
variously ornamented, some richly, some plainly,
-were made and used for the protection of em-
broidered books, when being read. These, like
the bags, only seem to have been used during the
seven teenth century.
belongs to a New
broidered satin n
measuring
A particularly fine example
Testament bound in em-
64o. It is of fine linen,
I6-} by 9 inches, and is beautifully
embroidered in a floral d.esign, with thick stalks
of gold braid arranged in curves and bearing
conventional flowers and leaves, all worked in
needle-point lace with coloured silks in a wonder-
fully skilful manner.
In the centre is a double red rose with separate
petals, and among the other flowers are corn-
flowers, honeysuckles, carnations, stravberr.ies,
and several leaves, all worked in the same vay,
and appliquds at their edges. Some, however, of
the larger leaves and petals are ornamentally
fastened down to the linen by small coloured
stitches arranged in lines or patterns over their
surfaces, as well as by the edge stitches. There
are several spangles scattered about in the spaces
on the linen, and the edge is bound with green
silk and gold. On the book itself to which this
cover belongs there is a good deal of the same
needle-point work, probably execut.ed by the same
hand; but the cover is a finer pece altogether
than the book,--in fact it is the finest example of
such work I have ever seen.
THE BOOKS ILLUSTRATED 25
managed that they fit in with or under, some
of the ornamental work; at (he same time, if
necessary, they may be symmetrically arranged
so as to become themselves of a decorative
character.
The Embroidered Books lzere ilhtstralect.
For the purposes of illustration I have chosen
the most typical specimens possible from such
collect!ons .as I have had access to. The chief
collectaons n England are, undoubtedly, those at
the British Museum and at the Bodleian Library
at Oxford. The collection at the British Museum
is especially rich, the earlier and finer specimens
almost i.nvariably having for.reed part of the old
Royal Lbrary of England gven by George II. to
the Museum in 757-
The more recent specimens have been acquired
either by purchase or donation, but as there has
been no special intention at any time to collect
these bindings, it is remarkable that such a number
of them exist in our National Library. The
Bodleian is rich in a few fine specimens only, and
most of these are exhibited. My illustrations are
made from photographs from the books themselves
in all instances; to show them properly, however, all
should be in colour, and it should not be forgotten
that an embroidered book represented only by a
half-tint print, however good, inevitably loses its
D
ENGLISH
EMBROIDERED BINDINGS
greatest charm. However, if the hal'f-tint is un-
vorthy, the colour prints are distinctly flattering.
I think that almost any old book well reproduced
in colour gains in appearance, and in two of my
colour plates I have actually restored some parts.
In the beautiful fourteenth century psalter, sup-
posed to have been worked by Anne de Felbrigge,
I have made the colours purposely much clearer
than they are at present. If it were possible to
clean this volume, the colours would show very
nearly as they do on my plate; but, actually., thnY
are all much darker and more indistinct, being
fact overlaid with the accumulated dirt of centuries.
The other instance where I have added more than
at present exists on the original is the green velvet
book which belonged to Queen Elizabeth, and
forms my frontispiece. Here I have put in the
missing pearls, each of which has left its little
impression on the velvet, so nothing is added for
vhich there is not the fullest authority. More-
over, some of the gold cord is gone on each of the
.three volumes of this work, but I have put it. in
ts proper place for the purpose of illustration.
The other plates are not in any vay materially
altered, but it may be alloved that the colour
plates show their originals at their best.
The books illustrated are selected
out of a
now left in England are shoxvn. It may xvell be
large number, and I think it may.fairly be. con-
sidered that the most favourable typical specimens
THE BOOKS ILLUSTRATED
that a few finer instances than I have been able
to find may still be discovered hidden away in
private collections, but it is now so rarely that a
really fine ancient embroidered book comes into
the sale-room, that we may safely conclude the
best of them are already safely housed in one or
other of our great national collections. Where
not otherwise stated, the specimens described are
n the Brtish Museum.
In the following detailed descriptions I have
used the xvords 'sides' and 'boards' to mean the
same thing, and the measurements refer to the
size of the boards themselves, not including the
back. These measurements must be taken as ap-
proximate only, as from wear and other causes
the actual sizes would only be truly given by the
use of small fractions of inches.
CHAPTER II
BOOKS BOUND IN CANVAS
,NGLISH books bound in em-
/' broidered canvas range over a
1 kw_ period of about two hundred and
t4k@" fifty years, the earliest known
specimen dating from the four-
-"""=" teenth century, and instances of
the work occurring with some frequency from this
time until the middle of the seventeenth century.
The majority of these bindings are worked in
.tapestry-stitch, or te.nt-stitiCnh , in designs illustrat-
ing Scriptural subjects differently coloured
threads.
Very often the outlines of these designs are
marked by gold threads and cords, of various
kin.ds, and .parts of the work are also fre.quently
enriched wth further work upon them n metal
threads. Spangles are very rarely found on
canvas-bound books. The backgrounds of several
of the later specimens are worked in silver threads,
sometimes n chain-stitch and sometimes n
" h"
tapestry-sttc ,
others again
have the ground-
BOOKS BOUND IN CANVAS
work of silver threads laid along the surface of
the canvas and caught down at regular intervals
by small stitches---this kind of work is called 'laid'
or'couched'work. Books bound with this metal
ground have always strong work superimposed,
usually executed in metal strips, cords, and thread.
The silver is now generally oxidised and much
darkened, but when new these bindings must have
been very brilliant.
The Felbrigge Psalter. x3th-century
Probably bound in the I4th century.
The earliest example of an embroidered
book in existence is, I bdlieve,.the manuscript
English Psalter written in the thirteenth century,
vhch afterwards belonged to Anne, daughter
of Sir Simon de Felbrigge, K.G., standard-
bearer to Richard I. Anne de Felbrigge was
a nun in the convent of Minoresses at Bruis-
yard in Suffolk, during .the 1.atter. half of the
fourteenth century, and t s qute lkely that she
herself worked the cover--such work having
probably been largely done in monasteries and
convents during the middle ages.
On the upper side is a very charming design
of the Annunciation, and, on the under, another of
the Crucifixion, each measuring 7 by 5 a inches.
in both cases the ground is worked with fine gold
threads'couched'in a zigzag pattern, the rest of
BOOKS BOUND IN CANVAS
Between these two figures is a large yellmv
vase, banded with blue and red; out of it grmvs a
tall lily, with a crown of three red blossoms.
The drawing of both of the figures is good,
the attitudes and the management of the folds of
the drapery being excellently rendered, and the
execution of the technical part is in no way
inferior to the design.
On the lower side, on a groundwork of gold
similar to that on the upper cover, is a design
of the Crucifixion. Our Saviour wears a red
garment round the loins, and round his head is
a red and yellow nimbus, his feet being crossed
in a manner often seen in illuminations in ancient
manuscripts.
The cross is yellow with a green edge, the
foot widening ut into a triple arch, within which
is a small angel kneeling in the attitude of
prayer. On the right of the cross is a figure
of the Virgin Mary, in robes of pale blue and
yellow, with a white head-dress and green and
yellow nimbus. O.n the left is another, figure,
probably representing St. John, dressed n robes
of red and blue, and having a nimbus round his
head of concentric rings of red and yellmv. This
ly" ""
figure is unfortunate n very bad condition.
The edges of the leaves of the book are painted
,vith heraldic bearings in fdaimand-shaped spac.es,
that of the Felbrigge 'Gules, a lon
rampant, or' alternately with another 'azure, a
1
4The Iiroir or Glasse of the Svnneful Soul.
[S. by the l'rincess Elizabeth. 544.
5Pra)-ers of Oueen l,[atherine
5IS. by the Princess Eliz;beth.
BOOKS BOUND IN CANVAS
33
herself. The Countess of Wilton in her book on
the art of needlework says that 'Elizabeth was an
accomplished needlewoman, and that 'n her tme
embroidery was much thought of.' The Rev. W.
Dunn Macray in his z4zza/s of t/ze t?odleia
Library considers this binding to be one of
'Elizabeth's biblopegc achievements.'
The .design is the same upon both sides. The
ground s all worked over in a large kind of
tapestry-stitch in thick pale blue silk, very evenly
and well done, so well that it has been considered
more than once to be a piece of voven material.
On ths s a clever. designed nterlacng scroll-
work of gold and-silver braid, in the centre of
which are the joined ntals K.P.
In each corner is a heartsease worked in thick
coloured silks, purple and yellow, interwoven
with fine gold threads, and a small green leaflet
b:tween each of the petals. The back is very
much worn, but it probably had small flowers
embroidered upon it.
Prayers of Quee ICallzerine Parr.
Princess Elizabeth. 1545.
lS. by the
Another manuscript beautifully written by the
Princess Elizabeth about a year later is nov at
the British Museum. It is on vellum, and con-
tains prayers or meditations, composed originally
by Queen Katherine Parr in English, and trans-
E
3 6
ENGLISH
EMBROIDERED BINDINGS
to find them in rich velvet, like Brion's lgoly
Lazd, or Christopherson's I4istoria cclesiaslica,
instead of a very elementary braid work. With-
out attaching too much importance to the various
statements concerning their royal origin, I am
inclined to think that there is no impossibility,
or even improbability, in the supposition that
the Princess designed and worked them herself,
thereby adding to her exquisite manuscript the
further charm of her clever needle. The idea of
both writing and embroidering such valued pre-
sents as these two books must have been is likely
to have strongly appealed to an affectionate and
humble daughter, and there is an artistic com-
pleteness in the idea which, I think, tells strongly
in its favour.
Probably enough no proof of their having been
worked by Elizabeth will noxv ever be forthcoming,
but it is equally unlikely that any positive dis-
proof will be found.
The two ' Elizabeth' books stand alone--there
are no others resembling them;but the next kind
of embroidered work I shall describe is one which
includes a large number of books, generally small
in size, and usually copies of the Bible or the
Psalms. The canvas in these cases is embroidered
all over in small tapestry-s.titch, the design being
shown by means of the different colours of the
silks used. The xvork being al! flat it is very
strong, and often books bound n this way are
6--Christian Prayers.
London, I 58 I.
BOOKS BOUND IN CANVAS
37
in a marvellous state of preservation. The most
interesting designs are those which represent
Scriptural scenes. Some of these are very curious
and almost grotesque, but there is much excuse
for this. To work a face any way in embroidery
is troublesome enough, but to work it on a small
scale in tent-stitch is especially difficult, the result
being somewhat similar in effect to that of a glass
or marble mosaic, each little stitch being nearly
square and of an uniform colour. The designers
of these embroideries do not appear to have had
a very fertile imagination, as again and again the
same subject is represented. Perhaps the rnost
favourite of all is Jacob wrestling with the angel;
of figure subjects 'Faith and Hope' are the
most frequently met with, but 'Peace and Plenty'
are also common enough.
Ch r is t ia Pray e rs.
London, 58I.
A goo of C/rislia Prayers with illustrated
borders, printed in London in I58I , is bound in
coarse canvas vorked in tapestry-stitch in colours,
and measures 7 by 5 inches. The same design is
on each side--a kind of flower-basket in two
stories, out of the lower part of which., rectangular
in shape, grov tvo branches, one with lilies and
another with xvhite flowers, and out of the upper,
oval in shape, rise two sprays of roses, one vhite
the other red..
7Psalms and Commnn tr, tier. London, 6o6.
BOOKS BOUND
IN CANVAS
small green mound, from which also spring two
short plants with five-petalled yellow flowers.
The main stems and ribs of the leaves are made
with strong silver twist. Round about the central
spray are several coloured buds. On the backs
are four panels, each containing a small four-
petalled flower. The ground is worked all over
with silver thread irregularly stitched, and the
edges are bo.un.d with a .broad silve.r thread.
There was originally one ribbon to twist round
both books and keep them together, but it is
now quite gone. The edges are gilt, gauffred,
and slightly coloured.
Bible, etc.
London, 1612.
A copy o! the Bible, with the P.salms, printed
in London In I612, and measuring 6} by 4-}
inches, is bound n fine canvas, and bears upon t
sdi{gh.ns embroidered in coloured silks in tapestry-
On the upper side is King Solomon seated in
an elaborate throne on a dais, all outlined with
gol.d cord. He xvears a golden crown and a dress
xvhch more nearly approaches the style xvorn at
the date of the production of the book than that
xvhich vas probably worn by So omon himself.
Before the King kneels a figure, no doubt in-
tended for the Queen of Sheba, in a red and
orange robe of a curious fashion. She holds out
.J
BOOKS
BOUND IN CANVAS
43
point. In her left hand .she holds an anchor..
the distant background s a cottage and a glbble
on a hill, the sun with rays just app.earing u .der
a cloud On the hilly foreground s a red xly,
and further afield a caterpillar and a strawberry
plant. On the lower cover is a full-length figure
of Faith, with fair hair, dressed in a blue dress
xvith la.rge falling collar, having a red flower at
the point. In her left hand she holds an open
book xvith the xvord 'FAITH' written across it.
On the hilly foreground is a large red tulip and a
plant with red blooms, further afield are a pear-
tree and tvo caterpillars.
On the back are four panels, containing re-
spectively a bird, a blue flower, a squirrel, and a
red floxver.
On the front edge of the upper cover can be
seen the remains of one tie of green .silk, and the
edges are protected all round by a piece of green
silk braid. The edges of the leaves are plainly gilt.
This cover is one of the rare instances of a
book bound in embroidered work not made for it
the embroidery being clearly made for a book of
about half the present thickness. It is possible
that it was intended for either the New Testament
or the Psalms separately, and, as an after-thought,
xvas made to do double duty. But as it now is,
the worked back is just a strip doxvn the middle
of the back itself, the designs of the sides en-
croaching considerably inwards.
44
ENGLISH
EMBROIDERED BINDINGS
The Daily Exercise of a Chr(stian.
London, 1623.
The Daily Exercise of a Christian, printed
in London in I623, and measuring 4{ by 2
inches, is ornamented with a single flower spray,
with buds and leaves. The flower is a double
rose with curving stem, one large half-opened
bud and one smaller, and a few leaves, all worked
in tent-stitch. The spray rises from a small bed
of grass, out of which grows a small blue flower.
In the upper right-hand corner is a small blue
cloud. The same design s on both sides. The
back is divided nto four panels, the divisions
being marked and bounded by a thick silver
braid, which is also used as an edging all round
the book; the designs, beginning at .the top,
are a fly and a flmver alternately, differently
coloured.
The background is all worked in vith silver
thread in chain-stitch. With this book is one of
the now rare ornamental markers, which, no doubt,
often xvent with embroidered books. It is fastened
to an ornamental oblong cushion, probably made
of light wood,.and is xvorked in silver thread
and coloured silks in the same manner as the
rest of the embroidered xvork, and finished off at
the ends with small red tassels.
"---""F
s s he Daily E
xerclse
of a Christian.
London, x 6 3-
I
I
x -',--Bible.
London, 6 2 6.
46
ENGLISH
EMBROIDERED BINDINGS
The columns rest upon 'rams-horn' curves, heavily
worked in relief with silver threads, the insides
of the curves worked in brown silk over vellum
like the inner edge of the arch.
3[etal Threads tsect o nzbroiderecl tooks.
Guimp and gold threads are largely used, as
has already been noticed, in embroidered books
from early times, but on the next specimen of a
canvas-bound book I have chosen for description,
dated 1642, a kind of metal thread occurs which
is very curious. It is used at an earlier date on
satin books, and it is also found more commonly
upon them; but as I have put the canvas books
first for the purpose of description, and the
'thread' occurs in one of them, this is the best
place to put its description. This thread I call
'Purl,' and a thread with this name is mentioned
in several places as having been used in England
in the seventeenth century; but there is no de-
scription of It, so that this thread may not be the
'purl' mentioned by the seventeenth-century
writers, but if it is not, I do not kno)v what purl
is, neither do I know any other special name for
the thread. In order that there may be no doubt
as to vhat I mean by purl, I vill shortly describe
the thread as I know it.
First there is a very fine copper wire; this is
BOOKS
BOUND IN
CANVAS
47
closely bound round with coloured silk, also very
fine, and in this state it looks simply like a
coloured thread. Then this colo.ured thread is
itself closely coiled round something like a fine
knitting-needle--in fact I have made it on one--
and then pushed off in the form of a fine coiled
tube. The thread is alxvays cut into short lengths
for use, and on books these short lengths are
generally threaded and drawn together at their
ends, making, so to spe.ak, little archesK-so that
although on the under sde of the material there
is only a tiny thre.ad on the upper side there is a
strong arch, practically of copper. On boxes and
other ornamental productions of this same period
pieces of purl are not infrequently found laid flat
like little bricks; and houses, castles, etc., are
often represented by means of it; but on books
the general use is either for flowers, grounds, or
(in very small pieces) to keep on spangles. Ob-
viously any coloured silk can be used in making
this thread, so that it may be said that for
coloured silk work, where strength is required
flovers vorked in purl are the best. The colours
used vhen roses are represented are usually
graduated,--yellow or white in the centre, then
gradually darkening out,yard, yellow, pale pink
and red, or pale yellow, pale blue, and dark bluel
Purl flovers are usually accessories to some
regular d.esign, but, in ne instance at least, to
be described later on, i supplies the entire de-
coration of a small satin book.
48
ENGLISH
EMBROIDERED BINDINGS
Bible, etc.
London, 1642.
The design on a Bible with Psalms, printed
in Lon.don in I642,. bound.in fine canvas, and
measuring 6 by 3-} nches, s the same on both
sides. The ground is all laid, or couched, xvith
silver threads, caught down at intervals by small
white stitches. Inthe centre is a circular silver
boss, and out of this grmv four lilies xvorked
with silver thread in button-hole stitch; each
of these lilies has a shape similar to its mvn
underneath it, outlined xvith fine gold cord, and
filled in with red silk; representing altogether
white flmvers vith a red lining. These four red
and white lilies make together the form of a
Maltese cross, and between each of the arms is a
purl rose with yellmv centre and graduated blue
petals. A double oval, with the upper and lower
curves larger than the side ones, marked with a
thick gold cord, encloses the central cross, and
the remaining spaces are filled with ovals and
lines of gold guimp, with here and there a little
patch of red or yellow purl, the extremities of the
upper and.lower ovals being .filled vith threads
of green slk loosely bound xvth a silver spiral,
worked to represent a green plot.
The upper and lower curves of the oval are
thickened by an arch of gold thread laid length-
xvise, and kept in place by little radiating lies of
red silk. In each corner is a purl rose, with
13Bible, etc.
London, ] 64.
BOOKS
BOUND
IN CANVAS
49
.blue centre, the petals graduating in colour from
pale yellow to dark red, with leaf forms and
stalks of gold cord and guimp. At the top and
bottom of the oval is a many-coloured purl
rose, and the spaces still left vacant are dotted
with little ePs!eCes of red, blue, and yellow p.url
and spangl On the front edges are the remains
of two red silk ties.
The back is divided into four panels by a
thick gold twist. The upper and lower panels
have each a blue purl rose worked in them, with
a white and red lily in the same silver thread as
those on the sides, with gold leaves and stalks;
the two inner panels contain each three purl
roses, with gold leaves and stems. The upper
of these panels has a large rose of blue, yellow,
and red, and two smaller ones yellow with blue
centres ; the lower panel has a large rose of red,
pink, and yellow, and two smaller ones of red,
with yellow centres.
Dotted about the groundwork of the panels
are several spangles and short lengths of coloured
purl.
The edges of the leaves are plainly gilt.
BiMe.
London, 1648.
A Bible, printed in London in 1648, formerly
the property of George III., is bound in canvas,
and has embroidered upon the boards emblematic
BOOKS BOUND
IN CANVAS
short in the sleeves, in needlepoint, with a belt.
Under this is a dress of red and orange, showing
a blue under skirt in front. A scarf of the same
colour as the dress is gracefully folded over the
shoulders and hangs over the left arm; a rather
deep collar and cuffs are both worked in needle-
point. The right hand rests upon an anchor
vith a 'fouled' rope.
Hope stands upon a rounde.d hillock, on vhich
are a snail and spray of possible foxglove, and
out of which grow a red carnation and another
flower. In the upper right-hand corner is a
gabled cottage with a tree, and under it a moth
flower, and caterpillar. Towards the upper left'-
hand corner is a bank of cloud xvith red and
yellow rays.issuing therefrom, and under it a
pear-tree wth flower and fruit, and a many-
coloured butterfly. All the background is worked
in silver thread.
The five panels of the back, indicated with
silver cord, are each filled with a different design.
Beginning at t.he top, these are: a. rose, a parrot
with a red fruit, a double rose, a lmn, and a lily.
The edges are plainly gilt.
.+
"4"
I 5Tres ample description de toute la terre Saincte, etc.
MS. 1540.
54
ENGLISH
EMBROIDERED BINDINGS
rim, the two outer ones each having three small
scrolls with a pearl in the middle; at the top is
a Inound and cross-pattie, .with a pearl ir each
of its inner corners. There s a letter H on each
side of the coat-of-arms, and these letters were
originally doubtless worked with seed pearls, but
the outlines of them alone are now left. In each
corner s a red Lancastran rose worked on a pece
.of satin, appliqud, the centres and petals marked
n gold cord, and the xvhole enclosed in an outer
double border of gold cord. On the front edges
of each side are the remains of two red silk ties.
This is certainly a very handsome piece of
work, and is wonderfully preserved. It is the
earliest example of a really fine embroidered book
on velvet, in existence, and it has perhaps been
more nottced and illustrated than any other book
of its kind. The crown has an interesting
peculiarity about it, which does not appear, as
far as I have observed, on any other representation
of it, namely, that the four arcfies take their
rise directl from the rim. They generally rise
Y .
from the summits of the crosses-pattie, but I
should fancy that the rise from the circlet itself
1S more correct.
Bi3lia.
Tigu " 543
rl, I .
This Bible also belonged to Henry viii. It is
bound in velvet, originally some shade of red or
crimson, but now much faded. It measures I5
Ti.guri, 1543.
I7I1 Petrarcha.
Venetia, ]544.
BOOKS
BOUND IN VELVET
55
by 9} inches. It is ornamented with arabesques
and initials all outlined with fine gold cord. In
the centre are the initials H. R., bound together
by an interlacing knot, within a circle. Arab-
esques above and below the circle make up an
inner panel, itself enclosed by a broad border of
arabesques, with a double, or Tudor, rose in each
corner. The edges of the leaves of the book are
elaborately painted with heraldic designs.
It has been re-backed with leather, but still
retains the original boards.
ll ]etra rcha.
Venetia, 544-
Another fine example of the decorative use of
Her.ald .ry occurs on a copy of Petrarch printed at
Venice n I544, and probably bound about 548,
after the death of Henry VIII. It belonged to
Queen Katherine Parr, and bears her arms with
several quarterings---worked appliqud on rich
blue purple velvet, and measures 7 by 6 inches.
The first coat is the 'coat of augmentation'
granted, to the Queen by H. enry VIII.--' Argent,
on a pile gules, between sx roses of the same,
three others of the field '--and the next coat is
that of 'Parr.'
The various quarterings on this coat are
xvorked differently from those on the last book de-
scribed. Here the red and blue are well shown
by pieces of coloured satinexcept in the first,
i
I8Queen lXlary's Psalter. 4th-century lXlS.
oChristian Prayers.
London, 57o.
BOOKS BOUND IN VELVET
59
single pearls are set in the spaces between the
roses and their leaves and stems.
The back is divided into five panels bearing
alternately Yorkist roses of pearls and Tudor
roses of red silk and pearls, all worked in the
same way as the roses on the sides.
The illustration I give of this binding (Frontis-
piece) is necessarily a restoration. But there is
nothing added vhich was not originally on the
book. Each pearl that has disappeared has left
a little impress on the velvet, and so has each
piece of gold cord vhich has been pulled off.
The back is still existing;but bad though both
sides and back now are, it is much better they
should be in
should
they
their
have
present condition than that
been mended or replaced in
parts by never material.
Christian Prayers.
London, 570.
A simpler binding, but still one of great rich-
ness, covers a copy of Clzrislian Prayers, printed
in London in 57o.
This is covered in crimson velvet, measuring
6 by 3 inches, and is worked largely with metal
threads, mixed with coloured silks. In the centre
is the crest of the family of Vaughan--a man's
head with a snake round the neck. The crest
rests on a fillet, and is enclosed in a twisted circle
of gold with four coloured bosses. From the upper
Parker, De antiquitate Ecclesie Britannica.
London, 5 7 .
62
ENGLISH EMBROIDERED BINDINGS
on the name of Parker, representing in fact a
Park within a high paling. The palings are
represe.nted as if lying flat, and are worked n go!d
cord wth flat strps of silver, on yellow satn
.appli.qud. There are gates and other small open-
ngs In the continuity of the line of palings. On
the upper cover within the paling is a large rose-
bush, bearing a large Tudor rose and two white
roses in full bloom, with buds and leaves, some
tendrils extending over the palings. The stalks
are of silver twist edged with gold cord, the red
flowers are worked with red silk and gold cord,
the white ones made up with small strips of flat
silver and gold cord. Detached flowers and tufts
of grass grow about the rose-tree; among these
are two purple and yellow pansies, Elizabeth's
favourite flowers, and in each corner is a deer,
one ' courant, one ' passant, one feeding, and one
1 dgd'
' 0 e .
The design fills the side of the book very fully,
and the workmanship is everywhere excellent.
This upper cover is much faded, as it has been
for many years exposed to the. light in one of the
Binding show-cases in the King s Library at the
British Museum.
The under side is much fresher, but the design
not so elaborate. There is a similar paling to
that on the other side, the 'Park' being dotted
about with several plants, ferns, and tufts of
grass. Near each corner is a deer, one feeding,
66
ENGLISH
EMBROIDERED BINDINGS
with pale tawny velvet. It measures 7-} by 5-
inches. The edges of the leaves are gilt and
gauffred.
The arrangement of the design is unusual. It
starts from the centre of the back in the form of a
broad ornamental border, extending towards the
front ed.ges along the lines of the boards. This
border s handsomely ornamented by a wavy line
of silver cords, filled out with conventional flovers
and arabesques vorked in gold and silver cords and
threads, with a little bit of coloured silk here and
there. A symmetrical design of flower forms
and arabesques starts, on each board, from the
centre of the inner edge of the border, and is
worked in a similar way. Some of the leaves,
however, have veinings marked by strips of flat
silver, and others made by a flattened silver
spiral, having the appearance of a succession of
small rings. There are the remains of two pale
orange silk ties on the front edges of each board,
and the edges are gilt and gauffred vith a little
colour.
The petals of the flowers are worked in guimp,
vhether gold or silver is difficult to say. Indeed
in many instances of the older books it is difficult
to be sure whether a metal cord or thread vas
originally gilded or not, as all these 'gold' threads
are, or were, silver gilt, so that when worn the
silver only remains. If the cord or thread has
been protected in any corners, however, or if it
!. I
P
24Orationis [)omiic:t Explicitio, etc.
Geev, 583.
68
ENGLISH
EMBROIDERED BINDINGS
the time of Elizabeth is now at the Bodleian
Library at Oxford. It is one of the 'Douce'
Bibles, printed in Lond.on in 583, and probably
bound about the same tme. It was the property
of the Queen herself, and is bound in crimson
velvet, measuring 7 by I2 inches. The design
is the same on both sides, and consists of a very
cleverly arranged scroll of six rose stems, bearing
flowers, buds, and leaves springing from a large
central rose, vith four auxiliary scrolls crossing
the corners and intertwining at their ends. The
large rose in the centre as well as those near the
corners are Tudor roses, the red shown in red
silk and the white in silver guimp, both outlined
with gold cord. Smal green leaves are shown
between each of the outer petals. These flowers
are heavily and solidly worked in high relief.
The smaller flowers are all of silver, the buds,
s.ome red, some white. The stems are of thick
silver twist enclosed betxveen finer gold cords, and
the leaves showy a little green silk among the
gold cord with which they are outlined and veined.
Immediately above and below the centre rose are
two little T's worked in small pearls.
The narrow border round the edges is very
pretty; it is a wavy line of gold cord and green
s'ilk, the hollgws within the curves being filled
vith alternate 'Pods' with pearlsl and green
leaves.. The back is divided into four panels by
xvavy lines of gold cord and pearls, and the upper
n
,)
_ 5Bible.
London, t 583.
,
26The Commonplaces of Peter Martyr.
London, z 583.
7 o
ENGLISH
EMBROIDERED BINDINGS
blue purple velvet measuring I3{ by 9 inches
and the design upon it is a broad outer border
doubly outlined.w!th a curious and effective braid,
apparently consisting of a close series of small
silver rings, but really being only a silver spiral
flattened out. This border is dotted at regular
intervals vith star-shaped clusters of small pieces
of silver guimp symmetrically arranged. The
centre of the inner panel is a diamond-shaped
ornament made with similar 'ring.' braid and
small pieces of silver guimp, and the corner-pieces
are quarter circles worked in the same way. This
design of centre-piece and corner-pieces is dis-
tinctly borrowed from leather work, and I have
never seen another example of the kind executed
in needlework. The colouring of this book is
very good, the purple and silver harmonising in a
very pleasing manner.
Biblia.
Antverpie, 1590.
A beautiful binding of green velvet covers a
Bible printed at Antwerp in 1590 , measuring
7 by 4 inches. The design is the same on both
sides, and the book was apparently bound for
'T. G.,' whose ntials are worked nto the design,
a conventional arrangement of curving stems and
flower forms worked in gold cord, guimp, and
small earls thickly encr.usted ; the same on.both
board2 The centre s a large conventional
Igiblia.
Antverp]e
, 59o.
-!
28Udall, Sermons. London, I596.
(From a drawing).
=9Collection of Sixteenth-Century Tracts.
BOOKS BOUND IN VELVET
much consequence in our royal family to take
any real interest in the Old Royal Library.
Indeed it may be considered that the existence
to-day of the splendid 'Old Royal' Library of
the kings of England, which was presented to
the nation in 759 by George ., is largely due
to the attention drawn to its interest and value by
Prince Henry, who moreover added considerably
to it himself.
This Prince used as his favourite and personal
badge the beautiful design of three white ostrich
feathers within a golden coronet, and with the
motto 'CH DIEN' on a blue ribbon. With regard
to the origin of this badge there is unfortunately
a good deal of obscurity. The usual explanation
is that it was the helmet-crest of the blind king
of Bohemia, who was killed at Crdcy in 346,
and that in remembrance of this it was adopted
by the Black Prince as his badge. But, as a
matter of fact the ostrich feather was used as a
family badge by all the sons of Edward I. and
their descendants. It appears to have been the
cognisance of the province of Ostrevant, a dis-
trict lying between Artois and Hainault, and the
appanage of the eldest sons of the house of Hain-
ault. In this way it may have been adopted by
the family of Edward II. by right of his wife,
Philippa of Hainault.
An early notice of the ostrich feather as a
royal badge occurs in a note in one of the Har-
K
74
ENGLISH
EMBROIDERED BINDINGS
leian iss. to the effect that' Henrye, son to the
erle of Derby, fyrst duke of Lancaster, gave the
red rose crowned, whose ancestors gave the fox
tayle in his proper cooler, and the ostrych fether,
the pen ermine, the Henry here mentioned being
the father of Blanche, wife of John of Gaunt.
On the tomb of Prince Arthur, son of Henry
vii., at Worcester, the feather is shown both
"gly " pl " " ipl
sn and n ume, and t occurs n the tr e
plume form within a coronet and a scroll with
the words 'ICH I)IN' upon it, on bindings made
by Thomas Berthelet for Prince Edward, son of
Henry viii., who never was Prince of Wales.
It really seems as if th.e first '
actually to use the ostrich feater nce of Wales'
plumes as a
personal badge of that dignity was Prince Henry,
and it occurs largely on such books belonging
to his library as he had rebound, and also on
books that were specially bound for presentation
to him.
This is the case in one of the most decorative
bindings he possessed, enclosing a collection of
tracts originally the property of Henry viii., but
which somehow or other became the property of
Magdalen College, Cambridge, the governing
body of which had it bound in embroidered
velvet and presented to Prince Henry.
The cover is of crimson velvet, the edges of
which extend freely beyond the edges of the book,
bound all round with a fringe of gold cord. It
76
ENGLISH
EMBROIDERED BINDINGS
worked in gold cord and guimp. There are
several gold spangles used, kept down by a small
piece of gold guimp. The front edges of each
board have only the marks left xvhere
originally were, and the edges of the
simply gilt.
two ties
book are
Bacon, Essays.
A copy of another xvork by the same author,
the Essays printed in 1625, xvas given by him to
the Duke of Buckingham, and is now at the
Bodleian Library at Oxford. It is bound in dark
green velvet, measuring about 7 by 5 inches, the
same design being embroidered on each side. In
the centre is a small panel portrait of the Duke
of Buckingham, with short beard, a.nd xvearing
the ribbon of the Garter. The portrait is mostly
worked xvith straight perpendicular stitches, except
the hair and collar, in xvhich the stitches are
differently arranged. The background merges
from nearly xvhite just round the head to pink at
the outer edge; the coat is brownish. The frame-
work of the portrait is solidly worked in gold
braids and silver guimp in relief, the design
being of an architectural character. Two columns,
with floral capitals and pediments, spring from a
scroll-work base and support what may perhaps
be intended for a gothic arch with crockets. Im-
mediately above the crown of the arch is a ducal
coronet, and a handsome border of elaborate
3 l---Bacon, Essays.
3 2Common Prayer.
London, 638.
-Bible
Cambridae, 674.
BOOKS BOUND IN VELVET
79
worked in gold braid, guimp, and some coloured
silks. Enclosing the initials and crown are scrolls
in thick g.old twist; these again, are surround.ed
by a curving ribbon of gold, ntertwined with
roses and leafy sprays. In each corner is a silver-
faced cherub with beads for eyes and gold wings,
and at the top a small blue cloud with sun rays,
tears dropping from it. There are. two broad silk
ties to the front of each board, heavily fringed
"hgld
xvlt o .
The back is divided into nine panels, each
containing an arabesque ornament worked in gold
cord and thread, the first and last. panels being
larger than the others and contmnng a more
e!aborate.design. The edges of the leaves are
smply gilt, and the boards measure I8 by 2
inches each, the largest size of any embroidered
book knovn to me.
34Collection of Sixteenth-Century Tracts.
BOOKS BOUND IN
SATIN
is worked irregularly all round the boards, and a
sort of arabesque bridge crosses the centres. The
back is new, and of leather, but the boards them-
selves are the original ones, and the embroidery
s n a very fair condition.
New Testamezt i Greek.
Leyden, I576.
If early bindings in satin are rare, still rarer
is the use of silk. One example worked on
white ribbed silk still remains that belonged to
Queen Elizabeth. It measures 4 by 2a inches,
and in its time was no doubt a very decorative
and inte.rest!ng 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 illustra-
tion 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 thickogOld twist, intertwined with graceful
sprays f double and sngle roses, outlined n
BOOKS
BOUND IN SATIN
83
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
seen in the case of representations of
wear, is
Insects,
These
consist
caterpillars,
OF
butterflies particularly.
creatures, or parts of them, appear to
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
mnute nsects, a fate to which t s well known
peacocks' feathers are particularly liable.
The late Lady Charlotte $chreiber, who was a
great collector of pieces of old embroidery, among
a host of other curious things possessed the only
perfect instance of
seventeenth century
enough to find. It
work
I have ever
was a very
of this kind of the
bee n fortu n ate
realistic cater-
pillar, closely and completely worked with very
small pieces of'peacocks' feathers, sewn on with
small stitches, quite confirming, t.he opin.ion.I
had already formed as to the original filling in
of the usual 'bald' spaces representing such ob-
jects.
84
ENGLISH EMBROIDERED BINDINGS
London,
A copy of a 13ible, printed in London in I619,
s bound in white s.atin., and measures 6 b_y 3 x
nches. On each side as 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)vorked with coloured silks and
threads of fine wire closely txvisted 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
" " " " "gh
a similar way; an ths case she bears an her r t
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 con-
sidered to represent Peace, this one may perhaps
be Plenty. She wears a deep purplish skirt, vith
fuji over-garme.nt and body. of the same colour,
wth an under-jacket of xvhlte and gold. On her
36Bible.
Lodon, 16 x 9.
37Emb]emes Chrestiens. l,q 624.
BOOKS BOUND IN SATIN
87
ermine, wth a
of pale brown,
straps and red
crown of gold with red cap, and he
upon a golden harp. The face of
resembles that of Charles I. The
is worked in needlepoint ace, and
white collar, an under-garment
and high boots with spur-
tops. On his head is a royal
is playing
this figure
red cloak
is in deep
folds in h. igh relief. These folds are actually
modelled n xvaxed paper, the needlexvork being
stretched over them, and probably fixed on by
a gentle heat. The other parts of the dress
are xvorked 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, repre-
se.nte.d bs s.mall arches of green purl, and before
him s ttlng 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 sacri-
fice 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
88
ENGLISH EMBROIDERED
BINDINGS
flowing cape and high boots, all worked in needle-
point lace in co|outed 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, vith 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 indi-
cated by green purl. The sky s occupied by a
large cloud, out of which leans an
wings, the hands
Abraham's sword.
angel with
outstretched and restraining
tively from the to.p a lbUtterfly, a. rose, a bi.rd,
and a yellow tulip, al vorked n needlepoint
and appliqud. The pieces that are in high
relief all over the book are edged with gold
twist, and have moreover their counterparts under
] o
them closely fastened down to the satn. There
are several gold spangles in the various spaces
between the designs; the whole is edged with a
s.trong silver braid, and there are two clasps with
slver attachments.
Considering the high relief in xvhich much of
this work is done, the binding is in vonderful
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.
On the back are four panels, containing respec-
i
39New Testament and Psalms. London, 63o.
i
I
4o Henshaw, Hor Successive. Iondon, I632.
'11
BOOKS BOUND IN SATIN
9 1
all round with fine gold cord; the stalks are of
the same cord used double. On the strawberries
there is some fine knotted work.
The back is divided into four panels, containing
a cornflower, rose, pansy, and strawberry, worked
exactly in the same xvay as their prototypes on
the sdes. There xvere several gold spangles on
sides and back, but many of them have been
broken off, a.nd on the front ed.ges of each board
are the remains of pale green ties of silk.
Psalms.
London, 1633.
A copy of the Psalms, printed in London in
633, is bound in vhite 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 fl:athers, 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 pnk
dress, vith 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 iust appearing, and in. the low.er corner is
a smal flower. The lady 1s standing upon a
9 2
ENGLISH EMBROIDERED BINDINGS
small green mound. The outlines of both figures,
as well as the inner divisions between the vari-
ous garments, are marked xvith a gold or silver
thread.
The back is divided into four panels, in xvhich
are a fly, a rose, a larger fly, and a blue floxver.
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, hoxvever, more ornamental, shows
them clearly, and has the thorax still in excellent
preservation, glittering xvith little points of green
and gold. There is one broad ribbon of striped
silk attached to the lower board.
This little book, xvhich is in a wonderful state
of preservation, has been alxvays kept in the
beautiful embroidered bag xvhich I have described
already on p. I6.
Psahzs.
London, I635.
One of the most finely embroidered bindings
existing on satin occurs on a small copy of the,
Psalms, printed in London in 1635, and measur-
ing 3 by 3 inches. The design is one which
has been repeated in other sizes with small differ-
ences. 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
.%
42Psalms.
London, 1635-
BOOKS BOUND IN SATIN
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 Plent.y. Be.hind her is an o.rna-
mental 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 vorked 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, th.e 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 finel.y xvorkei flmver or fruit, pansy, strav-
berry, tulip, and ly. 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.
94
ENGLISH
EMBROIDERED BINDINGS
Psahls.
London, x633.
There is often much speculation as to who
can have worked the English embroidered books,
and it is very rarely that any reliable information
th" " " g' " " "
on s nterestn point is available.
There is, however, a manuscript note in a copy
of the Psalms, printed in I633 and bound in em-
broidered xvhite satin, that the work upon it was
done by 'Elizabeth, wife of Matthew Wren, Bishop
of Ely,' xvho was an uncle of the architect. The
volume still belongs to a member Ov{ the family,
Dr. W. T. Law of Portland Place, o 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 con-
tained vithin a strongly worked gold border in
high relief,, widening out at. each extremity into
.a crownllke, form, and richly augmented at
intervals vth clusters of seed pearls. On the
upper board vithin 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 f pearls in the. centre. In t.he
upper corners are butterfly, wth needlepoint
wings, and a bird, with needlepoint ving 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 s a vine,
9 6
ENGLISH
EMBROIDERED
BINDINGS
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 vork vas to be e.xecuted
in strong threads, has hampered the designer or
not cannot be sad, 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
638, 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 em-
broidery, an.d it is u.nfortunately characterist!c
of the English embroidered work of about ths
period, occurring generally on boxes, mirror
frames or the like, but only rarely on book-covers.
The design s the same on both sides; a narrow
arch of thick gold cord reaches about three-
quarters up the side, and interwoven with it is a
kind of cusped oval, with leaves, reaching up to
the top of the book. The lower half of the arch
44--Bible.
London, i 638.
BOOKS BOUND IN SATIN
97
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 louver part of the oval is a ground of green
silk, onwhich grow two double roses made of red
purl. In the space enclosed between the top of
the arch and the loxver point of the oval is a bird
worked in high relief in gold with a touch of red
silk on his xvings. Over the bird is a blue cloud,
heavily xvorked in blue silk, and beneath is a
small grass plot. The cherub's h:ad 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 vith yellow centres and green leaves, grow-
ing from a grass plot, and a blue rose with
yellow centre and green leaves under a red cloud
xvith silver rays. There are several spangles and
some small pieces of coloured purl scattered
about in the spaces.
The book is in excellent condition, oving, no
.do.ubt, to the fa.ct that most of it is in metal, but
t s representative of the lowest level to which the
98
ENGLISH EMBROIDERED BINDINGS
art of the embroidered book in England has ever
fallen.
Psahs.
London, 639.
A charming little piece of delicate workman-
ship occurs in a copy of the Psalms, printed in
London in 639, and bound in white satin. It
m.eas.ures :3 by z inches. The d.esig.n on ea.ch
side s the same, but the work s slightly dlf-
ferent. 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 ca.n-
vas bag, embroidered in silver grou.nd 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 6. The silver has turned nearly black,
as is usually the case with these bags.
4.5Psalms.
London, I 6,39.
1 O0
ENGLISH
EMBROIDERED BINDINGS
corners are flowers, a pansy and
smaller ones down each side.
On the lower
figure of David.
another,
board, within
He wears a
and
down each
ornamented
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 .
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
sde.
"th
The back is very tastefully
an undulating scroll of gold
cord, widening out here and there into con-
ventional 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
vorked in coloured silks.
There are the remains of two red
of
yellow silk ties on the front edges
board, and the edges of the leaves are gilded
and gauffred. With this book is a canvas bag,
and
each
orange and silver, with vandyked edge, and a
short skirt of blue and silver, with a long cloak
of cream, nPink., and sil r, clasped with a silver
brooch; o hs head vears a silver crown,
the arch, is a
short tunic of
.I
102
ENGLISH
EMBROIDERED BINDINGS
they have now all gone except tvo, leaving the
rib of thick pink braid. The supporting replicas
underneath are, however, perfect., showing hat
the original upper petals were lke. This spray
ha.s two leaves, .exquisitel.y worked" in need.le-
point, 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 needle-
point, 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 neediepoint. There are also two cater-
pillars on this side.
On ,the back ire three lkrge flo)ers .heavily
worked in silk and metal threads, in needlepoint,
and appliqus--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 leaveg on this book, is at all times a
dangerous thing to use, except when it is only
used as appliqud, as in the beautiful cover be-
longing to this book, which I have described on
4
u a
48Psalms.
London, 64 -
BOOKS BO U N D
IN SATIN
page 18, and th.e work on vhich 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.
Psahzs.
London, 64I.
Nicholas
Gidding in
with having produced embroidered books,
there is really no authority for the belief.
the authentic
Gidding have
Ferrar's establishment at Little
Huntingdonshire is often credited
but
All
bindings which came from Little
technical shortcomings from a
bookbinding point of view, none of which are
found on any embroidered books.
In the History of the Iorthies of t..zglaszcl
by Thomas Fuller, there is a short note about
Little Gidding, and he says about the ladies there
that ' their own needles were emploied in learned
and pious work to binde Bibles.' This note and
the mention of needles may have perhaps given
the start to the belief that embroidered work was
intended, but in all probability it only refers
to the sewing of the leaves of the books upon the
bands of the back which is done with needle and
thread. Moreover, the ladies of Little Gidding
ENGLISH
EMBROIDERED BINDINGS
did actually sew the backs of their books in a
needlessly elaborate vay, putting in ten or tvelve
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 vritten, the
sewing being a most important part of a book-
binding, 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
usuallSr very small.
One of the embroidered books thus wrongly
credited to .Little ?idldti is a Psalter,. printed
in London in 64I Psbound n white satin,
very tastefully embroidered, the same design
I06
ENGLISH
EMBROIDERED BINDINGS
inches. On the upper side is a representation of
Jacob wrestling with the angel, flank:d by two
trees with large leaves; the angel has vings and
long petticoats. The lower board has a represen-
tation 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 s a large tree, and n
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
ext.ent, a a red tulip, a lily, a red dahlia, a low
tulip, nd a red rose. The work here iYselnot
protected by any strong-or metal threads, and it
is consequently much worn. There are no signs
of any tie ribbon, and the edges are plainly gilt.
Psalms.
London, 1643.
Another copy of the Psalms, printed in
London in I643, bound in satin, and measuring
3{ by 2{ 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
5oPsalms. London, I643.
BOOKS BOUND IN SATIN
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 gulmp and spangles.
Towards each corner grows a flower, two pansies,
and two others with regular petals. The remain-
ing 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 xvorked 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 sugges.ted
that this little book may have belonged to Kng
Ch.arles . ; 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.
xo8
ENGLISH
EMBROIDERED BINDINGS
Psahzs.
London, 646.
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 .- inches, a copy of the Psalms,
printed in London in 646, 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 n each corner. On the upper
cover the centre flower is yellow and red, with
two large green leaves, and the corner flowers are,
ibly " "
poss , intended for a cornflower, a jonquil, a
lily, and a rose, but the material is so unwieldy
that the .for.ms are d.ifficult to trace, and flowers
worked n t. are lkely to assume forms that
are unrecognsable, 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
5 t Psalms.
London, 646.
m 't
52Bible.
London, 1646.
IlO
ENGLISH
EMBROIDERED BINDINGS
worked in silk, and the stem in gold cord. En-
closing 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 'lizzard-
ing,' 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. A.lth.ough this book..is com-
paratively late, it is in a bad condition, and
shows much xvear; the design also is weak, and
the xvorkmanship inferior.
