_Bible._ London, 1619.

A copy of a Bible, printed in London in 1619, is bound in white satin, and measures 6 by 3-1/2 inches. On each side is an emblematic figure enclosed in an oval; the figures are different, but their surroundings are alike. On the upper side a lady holding a palm branch in her right hand is worked in shading-st.i.tch. She is full length, and wears an orange skirt with purple robe over it confined by a blue belt, and over her shoulders a pink jacket--all these garments are outlined by a gold cord. Her fair hair is covered by an ornamental cap of red and gold, and her feet are bare.

The ground is worked with coloured silks and threads of fine wire closely twisted round with coloured silks, and the sky, painted in gradations of pink in water-colours, is worked spa.r.s.ely with long st.i.tches of blue silk.

[Ill.u.s.tration: 36--Bible. London, 1619.]

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

[Ill.u.s.tration: 37--Emblemes Chrestiens. MS 1624.]

_Emblemes Chrestiens_, par Georgette de Montenay. MS. a Lislebourg. [Edinburgh] 1624.

Charles I., when he was Prince of Wales, often used the book-stamps that had been cut for his brother Henry, and he also particularly liked the triple plume of ostrich feathers. It occurs, as has been shown, on one of Prince Henry's velvet-bound books, and it forms the central design on the satin binding of an exquisite ma.n.u.script written by Esther Inglis, a celebrated calligraphist, who lived in the seventeenth century. It is a copy of the _Emblemes Chrestiens_, by Georgette de Montenay, dedicated to Prince Charles, covered in red satin embroidered with gold and silver threads, cords, and guimp, with a few pearls, measuring 11-1/4 by 7-3/4 inches. In the centre is the triple ostrich plume within a coronet, enclosed in an oval wreath of laurel tied with a ta.s.selled knot. A rectangular border closely filled with arabesques runs parallel to the edges of the boards, and there is a fleuron at each of the inner corners. In all cases the design is outlined in gold cord, and the thick parts of the design are worked in silver guimp. There are several spangles, and on the rim of the coronet are three pearls.

_New Testament._ London, 1625.

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

[Ill.u.s.tration: 38--New Testament. London, 1625.]

It is a New Testament, printed in London in 1625, and covered in white satin, with a different design embroidered on each side. It measures 4-1/2 by 3-1/2 inches. On the upper board is David with a harp. He wears a long red cloak lined with ermine, with a white collar, an under-garment of pale brown, and high boots with spur-straps and red tops. On his head is a royal crown of gold with red cap, and he is playing upon a golden harp. The face of this figure resembles that of Charles I. The red cloak is worked in needlepoint lace, and is in deep folds in high relief. These folds are actually modelled in waxed paper, the needlework being stretched over them, and probably fixed on by a gentle heat. The other parts of the dress are worked in the same way, but without the waxed paper, and the edges of the garments are in some places marked with what might be called a metal fringe, made in a small recurring pattern.

David is standing upon a gra.s.s plot, represented by small arches of green purl, and before him is sitting a small dog with a blue collar.

Above the dog is a small yellow and black pansy, then a large blue 'lace' b.u.t.terfly, on a chenille patch, and a brown flying bird. Behind David there is a tall conventional lily and a flying bird. The sky is overcast with heavy clouds of red and blue, but a golden sun with tinsel rays is showing under the larger of them. On the lower board is a representation of Abraham about to sacrifice Isaac. Abraham is dressed in a red under-garment on waxed paper, in heavy folds with a belt and edge of stamped-out metal, a blue flowing cape and high boots, all worked in needlepoint lace in coloured silks.

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

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

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

[Ill.u.s.tration: 39--New Testament and Psalms. London, 1630.]

_New Testament and Psalms._ London, 1630.

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

A design which is frequently met with is well shown in the case of a double specimen containing the New Testament and the Psalms, printed in London in 1630, and covered in white satin, measuring 4-1/4 by 2 inches, the ornamentation being the same on both sides. In the centre, in an oval, is a delicately worked iris of many colours in feather-st.i.tch, the petals edged with fine silver cord. The oval is marked by a silver cord, beyond which are ornamental arabesques outlined in cord and filled in solidly, in high relief, with silver thread.

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

Henshaw, _Horae Successivae_. London, 1632.

[Ill.u.s.tration: 40--Henshaw, Horae Successivae. London, 1632.]

Henshaw's _Horae Successivae_, printed in London in 1632, is bound in white satin, and measures 4-1/2 by 2 inches. It is very delicately and prettily worked in a floral design, the same on both sides, and is remarkable for its simplicity--a flower with stalk and leaves in the centre, one in each corner, and an insect in the s.p.a.ces between them.

The centre flower is a carnation, round it are pansy, rose, cornflower, and strawberry, while between them are a caterpillar, snail, b.u.t.terfly, and moth. All of these are delicately worked in feather-st.i.tch in the proper colours, and edged 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 way as their prototypes on the sides. There were several gold spangles on sides and back, but many of them have been broken off, and on the front edges of each board are the remains of pale green ties of silk.

[Ill.u.s.tration: 41--Psalms. London, 1633.]

_Psalms._ London, 1633.

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

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

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

_Psalms._ London, 1635.

One of the most finely embroidered bindings existing on satin occurs on a small copy of the Psalms, printed in London in 1635, and measuring 3-1/2 by 3 inches. The design is one which has been repeated in other sizes with small differences. There is a larger specimen at the Bodleian, but the British Museum example is the finer altogether.

[Ill.u.s.tration: 42--Psalms. London, 1635.]

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

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

_Psalms._ London, 1633.

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

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

[Ill.u.s.tration: 43--Psalms. London, 1633.]

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

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

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

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

_Bible._ London, 1638.

[Ill.u.s.tration: 44--Bible. London, 1638.]