The beautiful English manuscript of the fourteenth century known as 'Queen Mary's Psalter' was presented to her in 1553. It is bound in crimson velvet, measuring 11 by 6¾ inches, and appliqué on each side is a large conventional pomegranate-flower worked on fine linen in coloured silks and gold thread. This flower is much worn, but enough is left to show that it was originally finely worked. Queen Mary used the pomegranate as a badge in memory of her mother, Katharine of Aragon. The volume has been re-backed in plain crimson velvet, and still retains the original gilt corners with bosses, and two clasps, on the plates of which are engraved the Tudor emblems,—portcullis, dragon, lion, and fleur-de-lys.
Many fine bindings in embroidered velvet of the time of Queen Elizabeth still remain, several of them having been her own property.
One of the most decorative of these last is unfortunately in a very bad state, owing possibly to the fact that there were originally very many separate pearls upon it, and that these have from time to time been wilfully picked off. The book is in three volumes, and is a copy of the Historia Ecclesiastica, written by Christopherson, Bishop of Chichester, and printed at Louvain in 1569. Each of these volumes is bound in the same way, so the description of one of them will serve for all, except that no one volume is perfect, so the description must be taken as representing only what each originally was.
It is covered in deep green velvet, and measures 6 by 3½ inches, the design being the same on each side. In the centre the royal coat-of-arms is appliqué in blue and red satin, on an ornamental cartouche of pink satin, with scrolls of gold threads and coloured silks, richly dotted with small pearls. The bearings on the coats-of-arms are solidly worked in fine gold threads.
From each corner of the sides springs a rose spray, with Tudor roses of red silk mixed with pearls, and Yorkist roses all worked in pearls clustering tight together, the leaves and stems being made in gold cord and guimp. A decoratively arranged ribbon outlined with gold cord and filled in with a line of small pearls set near each other, encloses the design, and numerous 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 (Frontispiece) is necessarily a restoration. But there is nothing added which 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 which 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 their present condition than that they should have been mended or replaced in parts by newer material.
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 3½ 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 spaces 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.
This is one of the embroidered books that belonged to Queen Elizabeth, and has been frequently illustrated 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 Ecclesiæ Britannicæ, printed for him by John Day in London, 1572. It was the first instance of a privately printed book being issued in England.
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 title-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, entitled '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 appliqué. 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 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 '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.
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, 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 grass. The first, third, and fifth of these are white Yorkist roses; the second and third are Tudor roses of white and red.
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 4½ by 3½ 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 scripturæ legens verba vertit in opera—Celum Patria Scopus vitæ 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 passing 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.
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.
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 7½ by 5½ 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.
There is in the British Museum a copy of Orationis Dominicæ Explicatio, per Lambertum Danæum, printed at Geneva in 1583, which belonged to Queen Elizabeth. It is bound in black velvet, measures 6¾ by 4¼ 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.
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.
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 13½ 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 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 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.
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 spaces by curving lines of gold cord, and in each of these spaces 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.
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.
There are remains of gilt clasps on the front edges of each of the boards, and the edges of the leaves are gilt and gauffred, with a little pale colour.
A few specimens of embroidered books were exhibited at the Burlington Fine Arts Club in 1891. Among them was a charming velvet binding that belonged to Queen Elizabeth, lent by S. Sandars, Esq., and now in the University Library, Cambridge. It is a copy of Udall's Sermons, printed in London in 1596, and is covered in crimson velvet, measuring about 6 by 4 inches. The design is the same on each side, the royal coat-of-arms appliqué, with the initials E. R., and a double rose in each corner with stalks and leaves. The coat-of-arms is made up with pieces of blue and red satin, the bearings heavily worked with gold thread, and the ground also thickly studded with small straight pieces of guimp, doubtless put there to insure the greater flatness of the satin. The crown with which the coat-of-arms is ensigned is all worked in guimp, and is without the usual cap. The ornaments on the rim are only trefoils, and there are five arches.
The initials flanking the coat are worked in guimp, as are the corner roses and leaves. The guimp used is apparently silver, and the cord used for the outlines and stems is gold. The back has a gold line down the middle and along the joints, with a wavy line of gold cord each side of it.
To Henry, Prince of Wales, we owe a great debt of gratitude, as he was the first person of 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 1759 by George ii., 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 'ich 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 Crécy in 1346, 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 iii. and their descendants. It appears to have been the cognisance of the province of Ostrevant, a district lying between Artois and Hainault, and the appanage of the eldest sons of the house of Hainault. In this way it may have been adopted by the family of Edward iii. 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 Harleian mss. 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 singly and in plume, and it occurs in the triple plume form within a coronet and a scroll with the words 'ich dien' 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 the first 'Prince of Wales' actually to use the ostrich feather 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 measures about 8 by 6 inches. The design is the same on each side. In the centre is a large triple plume of ostrich feathers, thickly and beautifully worked in small pearls, within a golden coronet, and having below them the motto 'ich dien' in gold upon a blue silk ribbon.
The badge is enclosed in a rectangular panel of gold cords, in each corner of which is an ornamental spray of gold cords, guimp, and a flower in pearls. A broad border with a richly designed arabesque of gold guimp or cord, with pearl flowers, encloses the central panel. The design is filled in freely with small pearls enclosed in guimp circles and small pearls alone.
The back has an ornamental design in gold cord and guimp. This cover is a beautiful specimen of later decorative work on velvet, and the general effect is extremely rich, the design and workmanship being equally well chosen as regards the materials to which they are applied, and with which they are worked.
A copy of the works of Francis Bacon, Viscount St. Albans, printed in London in 1623, is bound in rich purple velvet, and measures 13¼ by 8¾ inches. The design is a central panel with arabesque centre and corners, surrounded by a deep border of close curves and arabesques, all 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 where two ties originally were, and the edges of the book are simply gilt.
A copy of another work by the same author, the Essays printed in 1625, was 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, and wearing the ribbon of the Garter. The portrait is mostly worked with straight perpendicular stitches, except the hair and collar, in which the stitches are differently arranged. The background merges from nearly white just round the head to pink at the outer edge; the coat is brownish. The framework 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. Immediately above the crown of the arch is a ducal coronet, and a handsome border of elaborate arabesques reaching far inwards is worked all round the edges. The outlines of these arabesques, the stalks and curves, are all worked in gold cords, the petals and leaves in silver guimp in relief. The back is divided into eight panels by gold and silver cords, and in each of these panels is a four-petalled flower with small circles. There are several gilt spangles kept down by a small piece of guimp.
Among the few older royal books in the library at Windsor Castle is an embroidered one that belonged to Prince Charles, afterwards Charles ii. It is a copy of the Book of Common Prayer, printed in London in 1638, and is bound in blue velvet with embroidered work in gold cord and silver guimp, similar in character to that on the copy of Bacon's Essays just described. It measures 8 by 6 inches. The design is heraldic. In the centre is the triple plume of the Prince of Wales, with coronet and label, no motto being apparent on the latter. The plume is encircled by the Garter appliqué, on pale blue silk, the motto, worked in silver cord, being nearly worn off. Resting on the top of the Garter is a large princely coronet, flanking which are the letters 'C. P.' In the lower corners are a thistle and a rose. A broad border with arabesques encloses the central panel. This book was exhibited by Her Majesty at the Burlington Fine Arts Club in 1891. It is in very bad condition, which is curious, as it is not so very old, and as it is still among the royal possessions it might well have been imagined that it would have been better preserved than other and older books of a like kind which we know have been considerably moved about. The colour is however very charming still, and books have rarely been bound in blue velvet, black, green, or crimson being most usual.
After 1649, or thereabouts, there was a full stop for a time to any art production in the matter of bookbinding. Indeed, for the embroidered books as a class that is the end, but nevertheless a few examples are found at a later date, but no regular production and no original designs.
A large Bible printed at Cambridge in 1674, in two volumes, was bound in crimson velvet for James ii., presumably about 1685. The work upon it, each volume being the same, is of a showy character, good and strong, but utterly wanting in any of the artistic qualities either of design or execution which characterised so many of the earlier examples. In the centre are the initials 'J. R.' surmounted by a royal crown, heavily worked in gold braid, guimp, and some coloured silks. Enclosing the initials and crown are scrolls in thick gold twist; these again are surrounded by a curving ribbon of gold, intertwined 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 with gold.
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 containing a more elaborate design. The edges of the leaves are simply gilt, and the boards measure 18 by 12 inches each, the largest size of any embroidered book known to me.
CHAPTER IV
erhaps the earliest existing English book bound in satin is a collection of sixteenth-century tracts that belonged to Henry viii., and is now part of the Old Royal Library in the British Museum. It is covered in red satin, measures 12 by 8 inches, and is embroidered in an arabesque design, outlined with gold cord. On the edges the words 'Rex in aeternum vive Neez' are written in gold. The word 'Neez' or 'Nez,' as it is sometimes spelt, may mean Nebuchadnezzar, as the other words were addressed to him. On books bound in leather by Thomas Berthelet, royal binder to Henry viii. and his immediate successors, the motto often occurs, and as he is known to have bound books in 'crymosyn satin,' this is most likely his work. The pattern 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 themselves are the original ones, and the embroidery is in a very fair condition.
If early bindings in satin are rare, still rarer is the use of silk. One example worked on white ribbed silk still remains that belonged to Queen Elizabeth. It measures 4¾ by 2¾ inches, and in its time was no doubt a very decorative and interesting piece of work, but it is now in a very dilapidated state, largely due to improper repairing. The book has actually been rebound in leather, and the old embroidered sides stuck on. So it must be remembered that my illustration of it is considerably restored. The design, alike on both sides, is all outlined with gold cords and twists of different kinds and thicknesses, and the colour is added in water-colours on the silk. In the centre is the royal coat-of-arms within an oval garter ensigned with a royal crown, in the adornment of which a few seed pearls are used, as they are also on the ends of the garter.
Enclosing the coat-of-arms is an ornamental border of straight lines and curves, worked with a thick gold twist, intertwined with graceful sprays of double and single roses, outlined in gold and coloured red, with buds and leaves. A few symmetrical arabesques, similarly outlined and coloured, fill in some of the remaining spaces. The work on this book, a New Testament in Greek, printed at Leyden in 1576, is like no other; but the general idea of the design, rose-sprays cleverly intertwined, is one that may be considered characteristic of the Elizabethan embroidered books, as it frequently occurs on them. The use of water-colour with embroidery is very rare, and it is never found on any but silk or satin bindings, generally as an adjunct in support of coloured-silk work over it, but in this single instance it is used alone.
The books described hitherto have been specimens of rare early instances, but in the seventeenth century there is a very large field to choose from. Small books, mostly religious works, were bound in satin from the beginning of the century until the time of the Commonwealth in considerable numbers; so much so, in fact, that their value depends not so much upon their designs or workmanship as upon their condition.
It is generally considered that embroidered books are extremely delicate, but this is not so; they will stand far more wear than would be imagined from their frail appearance. The embroidered work actually protects the satin, and such signs of wear as are visible are often found rather in the satin itself, where unprotected, than in the work upon it. In many cases a peculiar appearance, which is often mistaken for wear, is seen in the case of representations of insects, caterpillars, or butterflies particularly. These creatures, or parts of them, appear to consist only of slight stitches of plain thread, suggesting either that the work has never been finished, or else that the finished portions have worn away. The real fact is, however, that these places have been originally worked with small bright pieces of peacock's feather, which have either tumbled out or been eaten away by minute insects, a fate to which it is well known peacocks' feathers are particularly liable.
The late Lady Charlotte Schreiber, who was a great collector of pieces of old embroidery, among a host of other curious things possessed the only perfect instance of work of this kind of the seventeenth century I have ever been fortunate enough to find. It was a very realistic caterpillar, closely and completely worked with very small pieces of peacocks' feathers, sewn on with small stitches, quite confirming the opinion I had already formed as to the original filling in of the usual 'bald' spaces representing such objects.
A copy of a Bible, printed in London in 1619, is bound in white satin, and measures 6 by 3½ inches. On each side is an emblematic figure enclosed in an oval; the figures are different, but their surroundings are alike. On the upper side a lady holding a palm branch in her right hand is worked in shading-stitch. She is full length, and wears an orange skirt with purple robe over it confined by a blue belt, and over her shoulders a pink jacket—all these garments are outlined by a gold cord. Her fair hair is covered by an ornamental cap of red and gold, and her feet are bare.
The ground is worked with coloured silks and threads of fine wire closely twisted round with coloured silks, and the sky, painted in gradations of pink in water-colours, is worked sparsely with long stitches of blue silk.
The lower side shows a female figure worked in a similar way; in this case she bears in her right hand some kind of wand or spray, which has nearly worn off, and in her left a bunch of corn or grapes, or something of that kind which has also badly worn away. If the first figure may be considered to represent Peace, this one may perhaps be Plenty. She wears a deep purplish skirt, with full over-garment and body of the same colour, with an under-jacket of white and gold. On her 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 spaces in each corner-piece are the 'remains' of feathered caterpillars, now skeleton forms of threads only. The back of the book is particularly good, and most beautifully worked. It is divided into five panels, within each of which is a conventional flower, a cornflower alternating with a carnation, and the colours of all of these are marvellously fresh and effective. Among embroidered panelled backs it is probably the finest specimen existing.