The back is still existing; but bad though both sides and back now are, it is much better they should be in their present condition than that they should have been mended or replaced in parts by newer material.

_Christian Prayers._ London, 1570.

A simpler binding, but still one of great richness, covers a copy of _Christian Prayers_, printed in London in 1570.

This is covered in crimson velvet, measuring 6 by 3-1/2 inches, and is worked largely with metal threads, mixed with coloured silks. In the centre is the crest of the family of Vaughan--a man's head with a snake round the neck. The crest rests on a fillet, and is enclosed in a twisted circle of gold with four coloured bosses. From the upper and lower extremities of this circle spring two flower forms in gold and silver guimp, with sprays issuing from them bearing strawberries, grape bunches, and leaves, in the upper half, and roses and leaves in the lower. The grapes are represented by rather large spangles, and the leaves, worked in gold, have a few strands of green silk in them; large spangles, kept down by a short piece of guimp, are used to fill in s.p.a.ces here and there. This is the first instance of the use of spangles on a velvet book. The back is tastefully ornamented with gold cord arranged diamond-wise, and having in each diamond a flower worked in gold.

Parker, _De antiquitate Ecclesiae Britannicae_. London, 1572.

This is one of the embroidered books that belonged to Queen Elizabeth, and has been frequently ill.u.s.trated and described. It is remarkable in other respects than for its binding, as it is one of a number of probably not more than twenty copies of a work by Matthew Parker, Archbishop of Canterbury, _De antiquitate Ecclesiae Britannicae_, printed for him by John Day in London, 1572. It was the first instance of a privately printed book being issued in England.

[Ill.u.s.tration: 21--Parker, De antiquitate Ecclesiae Britannicae.

London, 1572.]

Archbishop Parker had a private press, and his books were printed with types cast at his own cost, John Day being sometimes employed as his workman. No two copies of this particular work are alike, and it is supposed that the Archbishop continually altered the sheets as they came from the press and had the changes effected at once. The book has two t.i.tle-pages, each of which, as well as a leaf containing the arms of the Bishops in vellum, the ornamental borders, and coats-of-arms throughout the book, are emblazoned in gold and colours.

The biographies of sixty-nine Archbishops are contained in the book, but not Parker's own. This omission was supplied afterwards by a little satirical tract published in 1574, ent.i.tled 'Histriola, a little storye of the actes and life of Matthew, now archbishop of Canterbury.'

But the Archbishop not only had his printing done under his own roof, but also had in his house 'Paynters ... wryters, and Boke-binders,' so that it may fairly enough be considered that he bound the splendid copy of his great work which was intended for the Queen's acceptance, in a specially handsome manner, under his own direct supervision, and in accordance not only with his own taste but also with that of his royal mistress. The volume is a large one, measuring 10 by 7 inches, and is covered in dark green velvet. On both sides the design is a rebus on the name of Parker, representing in fact a Park within a high paling. The palings are represented as if lying flat, and are worked in gold cord with flat strips of silver, on yellow satin applique. There are gates and other small openings in the continuity of the line of palings. On the upper cover within the paling is a large rose-bush, bearing a large Tudor rose and two white roses in full bloom, with buds and leaves, some tendrils extending over the palings. The stalks are of silver twist edged with gold cord, the red flowers are worked with red silk and gold cord, the white ones made up with small strips of flat silver and gold cord. Detached flowers and tufts of gra.s.s 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 'pa.s.sant,' one feeding, and one 'lodged.'

The design fills the side of the book very fully, and the workmanship is everywhere excellent. This upper cover is much faded, as it has been for many years exposed to the light in one of the Binding show-cases in the King's Library at the British Museum.

[Ill.u.s.tration: 22--The Epistles of St. Paul. London, 1578.

(_From a drawing_).]

The under side is much fresher, but the design not so elaborate. There is a similar paling to that on the other side, the 'Park' being dotted about with several plants, ferns, and tufts of gra.s.s. Near each corner is a deer, one feeding, one 'couchant,' one 'tripping,' and one 'courant,' and one 'lodged' in the centre. There are also two snakes worked in silver thread with small colour patches in silk.

The back is badly worn, but the original design can be easily traced upon it. There were five panels, in each of which is a small rose-tree, bearing one large flower, with leaves and buds, and tufts of gra.s.s. The first, third, and fifth of these are white Yorkist roses; the second and third are Tudor roses of white and red.

_The Epistles of St. Paul._ London, 1578.

If this book of Archbishop Parker's is one of the most elaborately ornamented embroidered books existing, and perhaps one of the greatest treasures of its kind in the British Museum, the next velvet book to describe is one of the simplest, yet it also is one of the greatest treasures of its kind at the Bodleian Library.

It is a small copy of the Epistles of St. Paul, printed by Barker in London, 1578, and measuring 4-1/2 by 3-1/2 inches, and it belonged to Queen Elizabeth. Inside she has written a note in which she says: 'I walke manie times into the pleasant fieldes of the Holy Scriptures, where I plucke up the goodlie greene herbes of sentences by pruning, eate them by reading, chawe them by musing, and laie them up at length in the hie seat of memorie by gathering them together, so that having tasted thy swetenes I may the less perceive the bitterness of this miserable life.'

The Rev. W. D. Macray, in the _Annals of the Bodleian Library_, says, 'This belonged to Queen Elizabeth, and is bound in a covering worked by herself'; and the Countess of Wilton, in the _Art of Embroidery_, says, 'The covering is done in needlework by the Queen herself.'

It is also described by Dibdin in _Bibliomania_. He says, 'The covering is done in needlework by the Queen herself.'

The black velvet binding is much worn, and has been badly repaired. The work upon it is all done in silver cord or guimp, and the designing, as well as the work, is such as may well have been done by the Queen.

On both covers borders with legends in Latin, enclosed in lines of gold cord, run parallel to the edges. Beginning at the right-hand corners of each side, these legends read, 'Beatus qui divitias scripturae legens verba vert.i.t in opera--Celum Patria Scopus vitae XPUS--Christus via--Christo vive.' In the centre of the upper side is a ribbon outlined in gold cord, with the words, 'Eleva sursum ibi ubi,' a heart being enclosed within the ribbon, and a long stem with a flower at the top pa.s.sing through it. In the centre of the lower side a similar ribbon with the motto, 'Vicit omnia pertinax virtus,' encloses a daisy, a badge previously used by Henry VIII. and Edward VI., probably in memory of their ancestress, Margaret Beaufort. Both these inner scrolls have the initial letter E interwoven with them.

[Ill.u.s.tration: 23--Christian Prayers, etc. London, 1584.]

There is no doubt that the usual royal embroidered bindings of the time of Elizabeth were elaborately designed and richly worked, in decided contrast to this small book; and this difference of style makes it more probable that the Queen worked it herself.

There is no resemblance between this book and the two canvas-bound books already described which are attributed to her, except the use of cord alone in the embroidery; but the difference of material might perhaps be considered sufficient to account for this. No real evidence seems to be forthcoming as to the authorship of the embroidered work, but there is no doubt that the book was a favourite one of Queen Elizabeth's, and if the needlework had been done for her by any of the ladies of her Court, it would be likely that she would have added a note to that effect to the words she has written inside.

_Christian Prayers, etc._ London, 1584.

A copy of _Christian Prayers_, with the Psalms, printed in London in 1581 and 1584, is curiously bound in soft paper boards strengthened on the inner side with pieces of morocco and covered with pale tawny velvet. It measures 7-1/2 by 5-1/2 inches. The edges of the leaves are gilt and gauffred.

The arrangement of the design is unusual. It starts from the centre of the back in the form of a broad ornamental border, extending towards the front edges along the lines of the boards. This border is handsomely ornamented by a wavy line of silver cords, filled out with conventional flowers and arabesques worked in gold and silver cords and threads, with a little bit of coloured silk here and there. A symmetrical design of flower forms and arabesques starts, on each board, from the centre of the inner edge of the border, and is worked in a similar way. Some of the leaves, however, have veinings marked by strips of flat silver, and others made by a flattened silver spiral, having the appearance of a succession of small rings. There are the remains of two pale orange silk ties on the front edges of each board, and the edges are gilt and gauffred with a little colour.

The petals of the flowers are worked in guimp, whether gold or silver is difficult to say. Indeed in many instances of the older books it is difficult to be sure whether a metal cord or thread was originally gilded or not, as all these 'gold' threads are, or were, silver gilt, so that when worn the silver only remains. If the cord or thread has been protected in any corners, however, or if it can be lifted a little, the faint trace of gold can often be seen on what would otherwise have been surely put down as originally silver.

[Ill.u.s.tration: 24--Orationis Dominicae Explicatio, etc.

Genevae, 1583.]

_Orationis Dominicae Explicatio, etc._ Genevae, 1583.

There is in the British Museum a copy of _Orationis Dominicae Explicatio, per Lambertum Danaeum_, printed at Geneva in 1583, which belonged to Queen Elizabeth. It is bound in black velvet, measures 6-3/4 by 4-1/4 inches, and is ornamented most tastefully, each side having an arabesque border in gold cord and silver guimp, enclosing a panel with a design of white and red roses, with stems and leaves worked in gold cord and silver guimp with a trifle of coloured silk on the red roses and on the small leaves showing between the petals. On the front edge are the remains of red and gold ties. The design of this charming little book is excellent, and the colour of it when new must have been very effective.

The design is the same on both sides. The back is in bad condition, and is panelled with arabesques in gold and silver cord.

_Bible._ London, 1583.

The most decorative, and in many ways the finest, of all the remaining embroidered books of the time of Elizabeth is now at the Bodleian Library at Oxford. It is one of the 'Douce' Bibles, printed in London in 1583, and probably bound about the same time. It was the property of the Queen herself, and is bound in crimson velvet, measuring 17 by 12 inches. The design is the same on both sides, and consists of a very cleverly arranged scroll of six rose stems, bearing flowers, buds, and leaves springing from a large central rose, with four auxiliary scrolls crossing the corners and intertwining at their ends. The large rose in the centre as well as those near the corners are Tudor roses, the red shown in red silk and the white in silver guimp, both outlined with gold cord. Small green leaves are shown between each of the outer petals.

These flowers are heavily and solidly worked in high relief. The smaller flowers are all of silver, the buds, some red, some white. The stems are of thick silver twist enclosed between finer gold cords, and the leaves show a little green silk among the gold cord with which they are outlined and veined. Immediately above and below the centre rose are two little T's worked in small pearls.

[Ill.u.s.tration: 25--Bible. London, 1583.]

The narrow border round the edges is very pretty; it is a wavy line of gold cord and green silk, the hollows within the curves being filled with alternate 'Pods' with pearls, and green leaves. The back is divided into four panels by wavy lines of gold cord and pearls, and the upper and lower panels have small rose-plants with white roses, buds, and leaves; the inner panels have each a large Tudor rose of red and white, with leaves and buds. The drawing and designing of this splendid book are admirable, and the workmanship is in every way excellent. Many of the pearls are gone, and some of the higher portions of the large roses are abraded, the back, as usual, being in a rather bad state; but in spite of all this, and the inevitable fading, the work remains in a sufficiently preserved condition to show that at this period the art of book-embroidery reached its highest decorative point. It is rather curious to note that Henry VIII. used the red Lancastrian rose by preference, but that on Elizabeth's books the white rose always appears, and I know of very few instances where the red rose appears on her books. Of course both sovereigns used the combined, double, or Tudor rose as well.

[Ill.u.s.tration: 26--The Commonplaces of Peter Martyr.

London, 1583.]

_The Commonplaces of Peter Martyr._ London, 1583.

An embroidered book designed in a manner which is characteristic of a gold tooled book is found but rarely. An instance of this however is found on a copy of _The Commonplaces of Peter Martyr_, translated by Anthonie Marten, and printed in London in 1583. It is covered in blue purple velvet measuring 13-1/2 by 9 inches, and the design upon it is a broad outer border doubly outlined with a curious and effective braid, apparently consisting of a close series of small silver rings, but really being only a silver spiral flattened out. This border is dotted at regular intervals with star-shaped cl.u.s.ters of small pieces of silver guimp symmetrically arranged. The centre of the inner panel is a diamond-shaped ornament made with similar 'ring' braid and small pieces of silver guimp, and the corner-pieces are quarter circles worked in the same way. This design of centre-piece and corner-pieces is distinctly borrowed from leather work, and I have never seen another example of the kind executed in needlework. The colouring of this book is very good, the purple and silver harmonising in a very pleasing manner.

[Ill.u.s.tration: 27--Biblia. Antverpiae, 1590.]

_Biblia._ Antverpiae, 1590.

A beautiful binding of green velvet covers a Bible printed at Antwerp in 1590, measuring 7 by 4 inches. The design is the same on both sides, and the book was apparently bound for 'T. G.,' whose initials are worked into the design; a conventional arrangement of curving stems and flower forms worked in gold cord, guimp, and small pearls thickly encrusted; the same on both boards. The centre is a large conventional flower, in form resembling a carnation, with serrated petals, having a garnet below it, and flanked by the letters T. G., all thickly worked with reed pearls. In each corner is a smaller flower--conventionalised forms probably of honeysuckle and rose--joined together by curving stems of gold cord, filled out with leaves and arabesques, all together forming a very decorative panel. The outer border is richly worked with leaves and arabesques in guimp and pearls, the outer line of gold cord being ornamented with small triple points marked with pearls. The back is divided into three s.p.a.ces by curving lines of gold cord, and in each of these s.p.a.ces is worked one of the same conventionalised flower forms as occur on the boards, _i.e._ a honeysuckle, cornflower, and rose, with leaves and smaller curves of gold cord.

[Ill.u.s.tration: 28--Udall, Sermons. London, 1596. (_From a drawing_).]

The ground of the entire work is freely ornamented with gilt spangles held down by small pieces of guimp, and with single pearls; the larger of these are enclosed within circles of guimp, the smaller are simply sewn on one by one.