BOOKS BOUND IN VELVET
It seems probable that velvet was a favourite covering for royal books
in England from an early period. Such volumes as remain 'covered in
vellat' that belonged to Henry VII. are, however, not embroidered,
the ornamentation upon them being worked metal, or enamels
upon metal. It is not until the time of Henry VIII. that we
have any instances remaining of books bound in embroidered velvet.
Velvet is very troublesome to work upon, the pile preventing any
delicate embroidery being done directly upon it, hence the prevalence of
gold cords and appliqué work on canvas or linen, on which of course the
embroidery may be executed as delicately as may be desired.
_Tres ample description de toute la terre Saincte, etc._ [By Martin de
Brion.] MS. of the sixteenth century, probably bound about
1540.
[Illustration: 15--Tres ample description de toute la terre Saincte,
etc. MS. 1540.]
The earliest extant English binding in embroidered velvet covers this
manuscript, which belonged to Henry VIII., and is dedicated to
him. The manuscript is on vellum, and is beautifully illuminated. It is
bound in rich purple velvet, and each side, measuring 9 by 6 inches, is
ornamented with the same design. In the centre is a large royal
coat-of-arms, surrounded by the garter, and ensigned with a royal crown.
The coat-of-arms and the garter are first worked in thick silks of the
proper colours, red and blue, laid or couched, with small stitches of
silk of the same colour, arranged so as to make a diamond pattern, on
fine linen or canvas. On the coat are the arms of France and England
quarterly; the bearings, respectively three fleur-de-lys and three
lions, are solidly worked in gold cord, and the whole is appliqué on to
the velvet with strong stitches. On the blue garter the legend 'Honi
soit qui mal y pense' is outlined in gold cord, between each word being
a small red rose, the buckle, end, and edge of the garter being marked
also in gold cord, and the whole appliqué like the coat. The very
decorative royal crown is solidly worked in gold cords of varying
thickness directly on to the velvet. The rim or circlet has five square
jewels of red and blue silk along it, between each of these being two
seed pearls. From the rim rise four crosses-patée and four
fleurs-de-lys, at the base of each of which is a pearl, and also one in
each inner corner of the crosses-patée. Four arches also rise from the
rim, the two outer ones each having three small scrolls with a pearl in
the middle; at the top is a mound and cross-patée, with a pearl in each
of its inner corners. There is 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
is a red Lancastrian rose worked on a piece of satin, appliqué, the
centres and petals marked in gold cord, and the whole 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 noticed 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
arches take their rise directly from the rim. They generally rise from
the summits of the crosses-patée, but I should fancy that the rise from
the circlet itself is more correct.
[Illustration: 16--Biblia. Tiguri, 1543.]
_Biblia._ Tiguri, 1543.
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
15 by 9-1/4 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. Arabesques 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.
[Illustration: 17--Il Petrarcha. Venetia, 1544.]
_Il Petrarcha._ Venetia, 1544.
Another fine example of the decorative use of Heraldry occurs on a copy
of Petrarch printed at Venice in 1544, and probably bound about 1548,
after the death of Henry VIII. It belonged to Queen Katherine
Parr, and bears her arms with several quarterings--worked appliqué on
rich blue purple velvet, and measures 7 by 6 inches. The first coat is
the 'coat of augmentation' granted to the Queen by Henry
VIII.--'Argent, on a pile gules, between six roses of the same,
three others of the field'--and the next coat is that of 'Parr.'
The various quarterings on this coat are worked differently from those
on the last book described. Here the red and blue are well shown by
pieces of coloured satin--except in the first, fifth, and seventh coats,
where there is some couched work in diamond pattern, just like that on
Martin Brion's book. The entire coat, which is of an ornamental shape,
is appliqué in one large piece, and edged by a gold cord. The crown
surmounting it is heavily worked in gold guimp--the cap being
represented in crimson silk thread and all appliqué. There are two
supporters--that on the right, an animal breathing flame, and gorged
with a coronet from which hangs a long chain, all worked in coloured
silks on linen and appliqué, belongs to the Fitzhugh family, the coat of
which is shown on the third quarter; that on the left, a wyvern argent,
also gorged with a coronet, from which depends a long gold chain, is
that of the Parr family. The wyvern is a piece of blue silk, finished in
gold and silver cords, in appliqué. The gold cord enclosing the armorial
design is amplified at each corner into an arabesque scroll. The book
has been most unfortunately rebound, and the work is badly strained in
consequence--the back being entirely new; nevertheless it is in a
wonderful state of preservation. It is said to have been worked by Queen
Katherine Parr herself. The design is too large for the book, and the
crown is too large for the coat-of-arms. It is probable that the binding
of the book was done after the death of Henry VIII., otherwise
the supporters would have been the lion and the greyhound; also the
coat-of-arms would have been different; also, as the Seymour coat does
not appear, it is likely that the binding was done before Queen
Katherine Parr's marriage with Lord Seymour of Sudley, in 1547. The
design is the same on both sides.
[Illustration: 18--Queen Mary's Psalter. 14th-century MS.]
_Queen Mary's Psalter._ 14th-century MS. Bound about 1553.
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 6-3/4 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.
Christopherson, _Historia Ecclesiastica_. Lovanii, 1569.
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 3-1/2 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.
[Illustration: 20--Christian Prayers. London, 1570.]
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.
_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
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.
Parker, _De antiquitate Ecclesiæ Britannicæ_. London, 1572.
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.
[Illustration: 21--Parker, De antiquitate Ecclesiæ Britannicæ.
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
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.
[Illustration: 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 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.
_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 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.
[Illustration: 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.
[Illustration: 24--Orationis Dominicæ Explicatio, etc.
Genevæ, 1583.]
_Orationis Dominicæ Explicatio, etc._ Genevæ, 1583.
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 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.
[Illustration: 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.
[Illustration: 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 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.
[Illustration: 27--Biblia. Antverpiæ, 1590.]
_Biblia._ Antverpiæ, 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 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.
[Illustration: 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.
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.
Udall, _Sermons_. London, 1596.
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.
[Illustration: 29--Collection of Sixteenth-Century Tracts.]
_Collection of Sixteenth-Century Tracts._ Bound about 1610.
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.
[Illustration: 30--Bacon, Opera. Londini, 1623.]
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.
Bacon, _Opera_. Londini, 1623.
A copy of the works of Francis Bacon, Viscount St. Albans, printed in
London in 1623, is bound in rich purple velvet, and measures 13-1/4 by
8-3/4 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.
[Illustration: 31--Bacon, Essays. 1625.]
Bacon, _Essays_. 1625.
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.
[Illustration: 32--Common Prayer. London, 1638.]
_Common Prayer._ London, 1638.
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.
[Illustration: 33--Bible. Cambridge, 1674.]
_Bible._ Cambridge, 1674.
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.