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

In the case of a Bible printed in London in 1638, bound in white satin, and measuring 6 by 3 inches, one of the chief ornaments is a cherub's head, the face in silver and the hair and wings in gold. The working of this head and wings seems to me wrong. The face is, possibly enough, as well done as the material would allow, but the hair is made in small curls of gold thread, and the feathers of the wings are rendered in a naturalistic way with pieces of flat gold braid. This kind of realism is out of place in embroidery, and it is unfortunately characteristic of the English embroidered work of about this period, occurring generally on boxes, mirror frames, or the like, but only rarely on book-covers.

The design is the same on both sides; a narrow arch of thick gold cord reaches about three-quarters up the side, and interwoven with it is a kind of cusped oval, with leaves, reaching up to the top of the book.

The lower half of the arch is enclosed in a rectangular band of silver threads, broad and kept in place by transverse bars at regular intervals, and beyond it another row, made of patches of red and blue silk alternately. In the lower part of the oval is a ground of green silk, on which grow two double roses made of red purl. In the s.p.a.ce enclosed between the top of the arch and the lower point of the oval is a bird worked in high relief in gold with a touch of red silk on his wings. Over the bird is a blue cloud, heavily worked in blue silk, and beneath is a small gra.s.s plot. The cherub's head already described is in the s.p.a.ce between the top of the arch and the upper extremity of the oval; it is flanked by two small red purl roses. The two upper corners have undulating clouds in blue silk, and a red and yellow purl rose between them. There are several gold spangles all about, and innumerable small pieces of coloured purl.

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

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

_Psalms._ London, 1639.

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

[Ill.u.s.tration: 45--Psalms. London, 1639.]

[Ill.u.s.tration: 46--The Way to True Happiness. London, 1639.]

_The Way to True Happiness._ London, 1639.

A copy of _The Way to True Happiness_. printed in London in 1639, is bound in white satin, and embroidered with figures of David and a Queen.

It is a little larger than the majority of the satin-embroidered books, measuring 7 by 4-1/2 inches, and is, for its time, a very fine specimen.

Both figures stand under an archway with columns, all worked heavily in silver cord, guimp, and thread. The columns have ornamental capitals and a spiral running round their shafts, and the upper edge of the arch is ornamented with crockets of a peculiar shape. Within this archway, on the upper cover, is a full-length figure of a Queen, finely worked in split-st.i.tch with coloured silks. She wears a red dress with long, falling sleeves, a purple body and gold collar. On her head is a golden crown, with six points. She carries, in her left hand, a golden sceptre, and has also a golden belt. The outlines are everywhere marked either with a gold or silver twist. On the ground, which is in small hillocks, grow a strawberry and two other small plants; a snail is also shown.

Scattered about the field are a 'skeleton' caterpillar--at one time probably filled in with peac.o.c.ks' feathers,--a conventional lily, a b.u.t.terfly, and the sun, with rays, just appearing from under a cloud. In the two upper corners are flowers, a pansy and another, and smaller ones down each side.

On the lower board, within the arch, is a figure of David. He wears a short tunic of orange and silver, with vand.y.k.ed edge, and a short skirt of blue and silver, with a long cloak of cream, pink, and silver, clasped with a silver brooch; on his head he wears a silver crown, with a red cap and green and red feathers; on his feet are brown, high boots.

In his left hand is a silver harp of ornamental pattern, and in his right a silver sceptre with a little gold about it. The ground, in hillocks, has a few small flowers growing upon it, and a large tulip is just in front of the King; on the field are also a moth and a snail. At the top is a blue cloud. The upper corners have a red and yellow tulip and a pansy with bud in them, and smaller flowers are worked down each side. The back is very tastefully ornamented with an undulating scroll of gold cord, widening out here and there into conventional leaves of gold guimp in relief. On this scroll are sitting three birds, and there are also a bunch of grapes, a tulip, daffodil, and other flowers with leaves, conventionally treated, all worked in coloured silks.

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

[Ill.u.s.tration: 47--New Testament. London, 1640.]

_New Testament._ London, 1640.

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

It occurs again largely on another small New Testament, printed in 1640, bound in white satin, measuring 4-1/2 by 2-1/4 inches; now in the British Museum. In this case the artist has not attempted the difficult task of producing a satisfactory figure in needlework, but has very properly limited her skill to the reproduction of flower and animal forms. On the upper cover is a spray of columbine, the petals of which, pink and blue, are each worked separately in needlepoint lace st.i.tch, and afterwards tacked on to a central rib. The stalks and leaves of this spray are also worked in needlepoint, and on the top sits a bullfinch, worked in many colours in the same way, but fastened down close to the satin all round. In the corners are a beetle, a nondescript flower, a bud, and a b.u.t.terfly with coloured wings in needlepoint, with replicas of them closely appliques just underneath, on the satin. On the lower board is a spray of a five-petalled blue flower, the petals of which were originally worked in needlepoint and fastened on a central rib, but they have now all gone except two, leaving the rib of thick pink braid.

The supporting replicas underneath are, however, perfect, showing what the original upper petals were like. This spray has two leaves, exquisitely worked in needlepoint, and fastened by a st.i.tch at one end, with the usual flat replicas underneath them, and there is also a bud.

The stem is a piece of green braid. Above the spray is a parrot in needlepoint, most of him fastened down round the edges, but his wings and tail left free. In the upper corner are two strawberries, and in the lower a b.u.t.terfly, with coloured wings, left free in needlepoint. There are also two caterpillars on this side.

On the back are three large flowers heavily worked in silk and metal threads, in needlepoint, and appliques--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 coa.r.s.e.

Such imitative work as the needlepoint, which is perhaps seen at its best in the columbine, and the leaves on this book, is at all times a dangerous thing to use, except when it is only used as applique, as in the beautiful cover belonging to this book, which I have described on page 18, and the work on which is very likely by the same skilled hand as that on the book. I believe this use of the needlepoint, or b.u.t.ton-hole st.i.tch, 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 s.p.a.ces.

[Ill.u.s.tration: 48--Psalms. London, 1641.]

_Psalms._ London, 1641.

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

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

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

Embroidery.'

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

[Ill.u.s.tration: 49--Psalms. London, 1643.]

One of the embroidered books thus wrongly credited to Little Gidding is a Psalter, printed in London in 1641. It is bound in white satin, very tastefully embroidered, the same design being on each side, and measures 4 by 2 inches. In the centre is a large orange tulip, shading from yellow to red, finely worked in silks in shading-st.i.tch. The stem is outlined in gold cord, and has also symmetrical curves and leaves, some of which are filled in with silver guimp. The flower is enclosed in an ornamental scroll and leaf border, all made with gold threads and twists, and having leaf forms in relief at intervals in silver guimp.

The back has five panels, ornamented alternately with guimp scrolls and small spheres of coloured silk. There have been spangles and small pieces of guimp scattered about on the sides and back, but most of them have gone. There are no ties, and the edges of the leaves are gilt, and have a small gauffred pattern upon them.

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

_Psalms._ London, 1643.

A very quaint design embroidered on white satin covers a copy of the Psalms, printed in London in 1643, and measuring 4-1/4 by 3-1/4 inches.

On the upper side is a representation of Jacob wrestling with the angel, flanked by two trees with large leaves; the angel has wings and long petticoats. The lower board has a representation of Jacob's dream. The patriarch is asleep on the gra.s.s, his head upon a white stone, his staff and gourd by his side. He has pale hair and beard. Behind him is a large tree, and in front a conventional flower with leaves and bud, and from the clouds reaches a ladder on which are three small winged angels, two coming down, and one between them going up. Through a break in the clouds is seen a bright s.p.a.ce, with rays of golden light proceeding from it.

The back is divided into five panels, in each of which is a flower.

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

_Psalms._ London, 1643.

[Ill.u.s.tration: 50--Psalms. London, 1643.]

Another copy of the Psalms, printed in London in 1643, bound in satin, and measuring 3-1/4 by 2-1/4 inches, bears on each side, within a circle, a miniature portrait of Charles I. worked in feather-st.i.tch.

The king wears long hair, moustache, and small pointed beard. He is 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 s.p.a.ces between the diamond and the oval are filled with small flowers or small pieces of guimp and spangles. Towards each corner grows a flower, two pansies, and two others with regular petals. The remaining s.p.a.ces are filled variously with green leaves, small patches of purl and gold spangles, and a strong gold cord encloses the whole.

The back is divided into three panels, in each of which is an ornamental conventional flower, the upper and lower ones alike, and worked in shades of red with guimp leaves in relief, and the centre one with six petals worked in yellow and edged with a fine gold cord. There are no signs of ties ever having existed, and the edges of the leaves are gilt and slightly gauffred. It has been suggested that this little book may have belonged to King Charles I.; but the fact of his portrait being upon it is no proof of this, as portraits of this king are more numerous upon the bindings of English books than those of any other person.

_Psalms._ London, 1646.

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

[Ill.u.s.tration: 51--Psalms. London, 1646.]

On books the use of purl is generally auxiliary, but one small book bound in white satin, and measuring 4 by 2-1/2 inches, a copy of the Psalms, printed in London in 1646, is entirely embroidered in this material, helped with gold braid and cord. The design is approximately the same on each side, a large flower with leaves in the centre, and a smaller flower in each corner. On the upper cover the centre flower is yellow and red, with two large green leaves, and the corner flowers are, possibly, intended for a cornflower, a jonquil, a lily, and a rose, but the material is so unwieldy that the forms are difficult to trace, and flowers worked in it are likely to a.s.sume forms that are unrecognisable, when finished, however well designed to start with. All the flowers and leaves are made with the purl cut into short lengths, drawn together at the ends by a thread run through, thus forming a succession of small arches. The stalks are made in gold cord. The flowers on the other side are, perhaps, a carnation in the centre, and round it a convolvulus, lily, daffodil, and rose. The back is divided into five panels, in each of which is a 'purl' flower, all worked in the same way, representing successively a tulip, cornflower, carnation, lily, rose, or something a.n.a.logous to them; round the designs are straight pieces of brown purl, and the edges are bound with a broad gold braid. There are no ties or signs of any, and the edges are simply gilt. The purl is undoubtedly very strong; I possess a small patch-box worked on white satin in a similar way to this little book, and although it has been roughly used for some two hundred and fifty years, the colour of the purl is still good; the upper surfaces of the small spirals, however, show the copper wire bare almost everywhere. The book, not having had anything like the hard wear, is in very good condition, but it is too small for the proper use of so much thick thread. The larger leaves and petals are made in relief by being sewn on over a few pieces of purl laid underneath them at right angles.

[Ill.u.s.tration: 52--Bible. London, 1646.]

_Bible._ London, 1646.