BOOKS BOUND IN SATIN
_Collection of Sixteenth-Century Tracts._ Bound probably about 1536.
[Illustration: 34--Collection of Sixteenth-Century Tracts.]
Perhaps 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.
[Illustration: 35--New Testament in Greek. Leyden, 1570.]
_New Testament in Greek._ Leyden, 1576.
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 4-3/4 by 2-3/4 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.
_Seventeenth-Century Embroidered Books._
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.
_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-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.
[Illustration: 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 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.
[Illustration: 37--Emblemes Chrestiens. MS 1624.]
_Emblemes Chrestiens_, par Georgette de Montenay. MS. à
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 manuscript
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 tasselled 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.
[Illustration: 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 grass 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' butterfly, 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
attitude 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 grass 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
butterfly, a rose, a bird, and a yellow tulip, all worked in needlepoint
and appliqué. 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 spaces 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.
[Illustration: 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-stitch, 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, _Horæ Successivæ_. London, 1632.
[Illustration: 40--Henshaw, Horæ Successivæ. London, 1632.]
Henshaw's _Horæ Successivæ_, 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 spaces between them.
The centre flower is a carnation, round it are pansy, rose, cornflower,
and strawberry, while between them are a caterpillar, snail, butterfly,
and moth. All of these are delicately worked in feather-stitch 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.
[Illustration: 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-stitch, 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 grass 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 peacocks' 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.
[Illustration: 42--Psalms. London, 1635.]
On each side there is an oval containing an elaborate design most
delicately worked in feather-stitch, 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 stitches 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 manuscript 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 illustration 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 clusters 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 cluster of pearls in the centre. In the
upper corners are a butterfly, with needlepoint wings, and a bird, with
needlepoint wing and tail. In the lower corners are a unicorn and an
antlered stag, both recumbent, and in high relief.
[Illustration: 43--Psalms. London, 1633.]
On the lower board within the oval is a vine, with curving stem and two
large grape clusters, 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-stitch.
A few hazel-nuts are scattered about outside the gold oval, and in each
corner is a further ornamentation: a reddish butterfly 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 stitched 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.
[Illustration: 44--Bible. London, 1638.]
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 space
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 grass plot. The cherub's head already described
is in the space 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 grass 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
spaces.
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
stitches, 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 tassels 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.
[Illustration: 45--Psalms. London, 1639.]
[Illustration: 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-stitch 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 peacocks' feathers,--a conventional lily, a
butterfly, 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 vandyked 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.
[Illustration: 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 stitch,
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 butterfly with coloured wings in needlepoint, with replicas
of them closely appliqués 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 stitch 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 butterfly, 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 appliqués--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 coarse.
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 appliqué, 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
button-hole stitch, 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 spaces.
[Illustration: 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.
[Illustration: 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-stitch. 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
stitching 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 grass, 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 space, 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.
[Illustration: 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-stitch.
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 spaces 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 spaces 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.
[Illustration: 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 assume 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
analogous 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.
[Illustration: 52--Bible. London, 1646.]
_Bible._ London, 1646.
A Bible printed in London in 1646 is bound in white satin, and
embroidered in coloured silks and gold braid and cord, measuring 6 by
3-1/2 inches. The same design is on both sides. In the centre within an
oval of gold braid and cord is a spray of vine, with two bunches of
grapes, three leaves and a tendril, the fruit and leaves worked in silk,
and the stem in gold cord. Enclosing the oval is an arabesque design
worked in gold cord and guimp, and at each corner is an oval of thin
gold strips and gold cord; the gold strips are done in the manner known
as 'lizzarding,' and are kept down by small stitches at intervals.
The back has four panels, in each of which is an arabesque design in
coloured silks and gold cord or braid. Although this book is
comparatively late, it is in a bad condition, and shows much wear; the
design also is weak, and the workmanship inferior.
[Illustration]
INDEX
Appliqué work, remarks on, 24.
Arthur, Prince of Wales, ostrich feather badge used by, 73.
Bacon's 'Essays' (1625), 76;
'Works' (1623), 75.
Bags for embroidered books, 16.
Berthelet, Thomas, bookbinder and printer, 74, 80.
Bible, 1543 ed., 54;
1583 ed., 67;
1590 ed., 70;
1612 ed., 39;
1619 ed., 84;
1626 ed., 45;
1638 ed., 96;
1642 ed., 48;
1646 ed., 109;
1648 ed., 49;
1674 ed., 78.
Bibliothèque Nationale, embroidered books in the, 20.
Bodleian Library, embroidered books in the, 25.
Brassington, Mr. W. Salt, 1.
Brion, Martin de, 'Très ample description de la Terre Sainte,' 52.
British Museum, embroidered books in the, 25, 27.
Broiderers, hints for, 21.
Buckingham, Duke of, portrait on 'Bacon's Essays, 1625,' 76.
Canvas bindings, 6, 7, 28-51.
Charles I., portrait on 'Psalms, 1643,' 106.
Charles II., badge on 'Common Prayer, 1638,' 77;
'Emblemes Chrestiens, 1624,' 86.
'Christian Prayers,' 1570 ed., 59;
1581 ed., 37;
1584 ed., 65.
Christopherson, Bishop of Chichester, 'Historia Ecclesiastica' (1569), 57.
Collection of Sixteenth Century Tracts (1536), 80;
(1610), 72.
'Common Prayer, 1638' (other editions are with 'Psalms'), 77.
Covers for embroidered books, 18.
'Daily Exercise of a Christian, 1623,' 44.
Day, John, printer, 61.
Derome le Jeune, French bookbinder, 12.
Dibdin's 'Bibliomania,' mention of Queen Elizabeth's embroidery in, 64.
'Double Books,' 38, 89.
Dutch embroidered books, 20.
Edges, ornamentally treated, 16.
Elizabeth, Queen, arms embroidered, 57, 72, 81;
books embroidered by, 26, 32, 33, 35, 36.
Embroidered books, definition of, 3.
'Epistles of St. Paul, 1578,' 63.
'Felbrigge Psalter,' 26, 29.
Ferrar, Nicholas, 103.
Fitzhugh, heraldic supporter, 56.
Fletcher, Mr. W. Y., 1.
Floral designs, 5, 6;
and on the following books: 'Miroir of the Soul' (1544), 32;
'Prayers of Q. Kath. Parr' (1545), 33;
Parker, 'De Antiq. Ecc. Britannicæ' (1572), 60;
'Prayers' (1581), 37;
'Prayers' (1584), 66;
'Orationis Dominicæ Explicatio' (1583), 67;
'Psalms,' etc. (1606), 38;
'Bible' (1619), 85;
'Daily Exercise of a Christian' (1623), 44;
'Henshaw, 'Horæ Successivæ' (1632), 90;
'Psalms' (1633), 94;
'Bible' (1638), 96;
'Psalms' (1639), 98;
'Psalms' (1641), 104;
'Psalms' (1646), 108.
Forwarding of embroidered books, 11.
French embroidered books, 20.
Fuller, Thomas, 103.
Gauffred edges, 16.
George II., gift of the Royal Library to the British Museum in 1757, 25.
George III., his books largely rebound, 5.
Grenville, Right Hon. Thomas, his books largely rebound, 5.
Guimp, description of, 9.
Headbands, 15.
Henry VIII., arms on embroidered book, 52.
Henry Benedict, Cardinal York, 19.
Henry, Prince of Wales, his use of the ostrich feather badge, 85;
badge upon 'Tracts, 1610,' 73, 77, 86.
Henshaw's 'Horæ Successivæ,' 90.
Heraldic designs, 5, 6;
_Arms_ of Henry VIII., 52;
Katherine Parr, 55;
Elizabeth, 57, 72, 81;
_Badges_ of Queen Mary, 57;
Prince of Wales, 73, 77, 86;
_Crest_ of Vaughan, 59.
Inglis, Esther, calligraphist, 85.
Italian embroidered bindings, 19.
James II., initials on 'Bible, 1674,' 78.
Law, Dr. W. T., 94.
Little Gidding, 'Needlework' done at, 103.
Lizzarding, description of, 8.
Macray, Rev. W. D., 33, 64.
Magnus, of Amsterdam, bookbinder, 10.
Martyr, Peter, 'Commonplaces,' 69.
Mary, Queen, badge on 'Psalter,' 57.
Metal threads, 8, 29.
'Miroir of the Synneful Soul,' 32.
Montenay, Georgette, 'Emblemes Chrestiens,' 85.
New Testament, 1576 ed., 81;
1625 ed., 42;
1630 ed., 89;
1640 ed., 101.
'Orationis Dominicæ Explicatio,' 1583, 67.
Ostrevant, badge of the province of, 73.
Ostrich feather badge of the Princes of Wales, origin of the, 73;
on embroidered bindings, 73, 77, 86.
Parr, Queen Katherine, arms on 'Petrarcha, 1544,' 55;
Prayers written by, 33.
Parker, Archbishop, 'De Antiquitate Ecclesiæ Britannicæ,' 60.
Peacocks' feathers used in embroideries, 82.
Pearls used in embroidered bindings: Brion (1540), 52;
Christopherson (1569), 57;
Parker (1572), 60;
'New Testament' (1576), 81;
'Bible' (1583), 67;
'Bible' (1590), 70;
'Tracts' (1610), 72;
Montenay (1624), 85;
'Psalms' (1633), 94;
'Common Prayer' (1638), 77.
'Petrarcha, 1544,' 55.
Pomegranate badge on Queen Mary's 'Psalter,' 57.
Poncyn, of Amsterdam, bookbinder, 10.
Portraits on embroidered books, 5;
Charles I., 106;
Duke of Buckingham, 76.
'Psalms,' 1606 ed., 38; 1633 ed., 91, 94;
1635 ed., 92;
1639 ed., 98;
1641 ed., 103;
1643 ed., 105, 106;
1646 ed., 108.
Purl, description of, 9, 10, 46;
book embroidered alone with, 108.
Satin bindings, 7, 8, 80-110.
Schreiber, the Lady Charlotte, 83.
Scriptural designs and figures of saints used on embroidered books, 5, 6;
Abraham and Isaac, 86;
the Annunciation, 29;
the Crucifixion, 29;
David, 86, 99;
Jacob's Dream,
Jacob wrestling with the angel, 39, 106;
St. Peter, 45;
St. Paul, 45;
Solomon and the Queen of Sheba, 39.
Silk bindings, 81.
South Kensington Museum, embroidered books in the, 20.
Spangles, 9, 28.
Stitches used on embroidered books:
_Buttonhole_ or _Needlepoint lace_ stitch,
'New Testament' (1625), 87;
'Psalms' (1633), 95;
'New Testament' (1640), 101;
'Bible' (1642), 48;
'Bible' (1648), 50.
_Chain stitch_,
'Daily Exercise of a Christian' (1623), 44.
_Feather stitch_, sometimes called _Shading stitch_,
'Bible' (1626), 45;
'New Testament' (1630), 90;
Henshaw (1632), 90;
'Psalms' (1635), 92;
'Psalms' (1641), 105;
'Psalms' (1643), 106.
_Satin stitch_,
'Psalms' (1633), 91.
_Split stitch_,
'Felbrigge Psalter' (fourteenth century), 30;
'Way to True Happiness' (1639), 99.
_Tapestry_ or _Tent stitch_, 28;
'Miroir of the Synneful Soul' (1544), 33;
'Prayers' (1545), 34;
'Prayers' (1581), 37;
'Bible' (1612), 39;
Ward (1626), 41.
Symbolical figures, 5, 6;
Faith and Hope (1625, 1648), 42, 50;
Peace and Plenty (1619, 1635), 84, 93.
Thompson, Mr. H. Yates, 41.
Udall's 'Sermons,' 71.
Vaughan crest, on 'Christian Prayers, 1570,' 59.
Velvet bindings, 6, 7, 52-79.
Victoria, Queen, embroidered book belonging to, 77.
Wales, ostrich plumes of the Prince of, 73, 77, 86.
Ward, Samuel, 'Sermons, 1626-7,' 41.
Water-colours used on embroidered bindings, 81-84.
'Way to True Happiness' (1639), 99.
Wheatley, Mr. H. B., 1.
Wilton, Countess of, 33, 35, 64.
Wren, Elizabeth, book embroidered by, 94.
York, Cardinal, 19.
PRINTED BY T. AND A. CONSTABLE, PRINTERS TO
HER MAJESTY, AT THE UNIVERSITY PRESS,
EDINBURGH: MARCH MDCCCXCIX
=The English Bookman's Library=
EDITED BY ALFRED POLLARD
VOLUME I
=ENGLISH EMBROIDERED BOOKBINDINGS=
BY CYRIL DAVENPORT, F. S. A.
VOLUME II
=A BRIEF HISTORY OF ENGLISH PRINTING=
BY H. R. PLOMER
VOLUME III
=ENGLISH BOOK COLLECTORS=
BY W. Y. FLETCHER
LONDON
KEGAN PAUL, TRENCH, TRÜBNER & CO., LIMITED