Burlington fine AMrts Club. 
 
 Pores lt lO N 
 
 OF 
 
 BOOKBINDINGS. 
 
 LONDON: 
 PRINTED FOR THE BURLINGTON FINE ARTS CLUB. 
 18901. 
 
Metchim & Son, London. 
 
laeleSu ees) tae @oN cle ke B Ud Ok S. 
 
 HER MAJESTY THE QUEEN. 
 
 ABERDEEN UNIVERSITY LIBRARY. DuDLEY, R. 
 
 *AMHERST, W. A. TysSsEN, M.P. Durr, E. GorpDon. 
 ANTIQUARIES, SOCIETY OF. DURHAM CATHEDRAL LIBRARY. 
 ASHBURNHAM, THE EARL OF. Enron, CooL) O.COM... 
 BANKES, RALPH. EToN COLLEGE LIBRARY. 
 
 Breck, Rev. JAMES. *EVANS, JOHN, P.S.A., F.R.S. 
 
 *BonpD, EDWARD. *FLOWER, WICKHAM. 
 
 *Boycer, G. P. GENNADIUS, His EXcELLENcYy M. 
 Bruce, R. T. HAMILTON. *Gipps, H. Hucks, M.P. 
 
 *BrRYcE, J. ANNAN. GINSBURG, DR. 
 
 "BUCHANAN, T. R., M.P. *GOLDSMID, SIR JULIAN, Bart., M.P. 
 BUCKLEY, REv. W. E. *HAMILTON, EDWARD, M.D. 
 *BUTLER, CHARLES. *HarcourtT, E. W. 
 
 BYWATER, INGRAM. HEREFORD CATHEDRAL LIBRARY. 
 CAMBRIDGE, Calus COLLEGE. Ho.zorn, R. M. 
 a Corpus CHRISTI COLLEGE. *HoLrorD, R.\S. 
 a Kinco’s COLLEGE. House oF ComMMons LIBRARY. 
 € St. JoHn’s COLLEGE. Howarp, Mrs. 
 CANTERBURY CATHEDRAL LIBRARY. HuisH, Marcus B. 
 CasELLA, A. *HUTCHINSON, J. H. 
 
 *CHaDwyYck-HEALEy, C. E. H., Q.C Hutu, ALFRED. 
 
 CHristiz, R. C. INCORPORATED LAW SOCIETY. 
 Cuurcu, E. F. Jenkinson, F. J. H. 
 
 *Cock, ALFRED, Q.C. Seg A et Ee 
 *CORFIELD, W. H., M.D. Kew GARDENS LIBRARY. 
 CRAWFORD, THE EARL OF. *KNOWLES, JAMES. 
 
 *DENNISTOUN, ALEXANDER. LAMBETH PALACE LIBRARY. 
 
 é Dewick, Rev. E. *LAWRENCE, E. H. 
 Drake, Mrs. Hornspy. Lewis, GorpDon A, 
 
 Drewitt, F. DauTrey, M.D. LOTHIAN, CONSTANCE MARCHIONESS OF. 
 
iv. 
 
 MacGeEorcE, B. B. St. PauL’s CATHEDRAL LIBRARY. 
 
 MACcLEHOSE, J. *SALTING, GE ORGE. 
 
 Mapan, F. *SANDARS, SAMUEL. 
 *MAINWARING, Hon. W. F. B. Massey. *SHATTOCK, T. Foster. 
 *Martay, C. B. SmitTH, J. M. 
 
 *Mitts, HoON.eC. Woe MiP: *SmiTH, R. Oswa.p. 
 
 Murray, C. F. SPENCER, THE Ear., K.G. 
 OswaLp, R. A. STONYHURST COLLEGE. 
 OxrorD, ALL SOULS’ COLLEGE. . *TEBBS, H. VIRTUE. 
 
 Fs MAGDALEN COLLEGE. *THOMPSON, H. YATES. 
 
 PRIDEAUX-BRUNE, C. G. TooveEy, JAMES. 
 
 PripEAUX, Miss S. T. Warp, R. 
 
 QUARITCH, BERNARD. WESTMINSTER ABBEY LIBRARY. 
 RICHARDSON, H. 5S. * WHITEHEAD, JEFFERY. 
 RICHMOND, H. INGLIS. WOLSELEY, THE VISCOUNTESS. 
 *ROBINSON, SIR J. C. ZAEHNSDORF, JOSEPH. 
 
 * The Contributors whose names are marked with an asterisk are Members of the Club. 
 
the province rather of the goldsmith than the bookbinder 
 proper. Valuable books, and the majority of books were then 
 valuable, were covered with gold or silver and ornamented with 
 ivory and jewels. But since all manuscripts could not have been 
 of such notable value, nor their owners rich enough to ornament 
 them in so costly a manner, a humbler style of binding grew up, 
 which, employing leather as a suitable and inexpensive material, 
 jaid the foundation of bookbinding proper as we now understand it. 
 
 Few jewelled bindings have come down to our time, for they 
 were too valuable to escape the cupidity of rulers and the fury of 
 reformers. In England, the wholesale destruction under Edward VI. 
 of all vestiges of the old learning wrought irremediable havoc 
 amongst all the fine libraries, and such rich bindings as might 
 have till then escaped were swept away under the Act “to strip 
 off and pay into the King’s treasury all gold and silver found on 
 Popish books of devotion.” 
 
 Abroad, this destruction was not quite so wholesale, and in 
 all the more important libraries, and a few private collections, 
 examples are to be found. Much of the ornamentation was formed 
 of enamel, and the centre was frequently an ivory plaque, while 
 the corners were studded with crystals or precious stones. In 
 
 very few cases, however, were these ivories carved for the bindings 
 
 Case o 
 Case T. 
 
Case 5S. 31. 
 
 Vi 
 
 on which they are found, but were used, like the precious stones, 
 as being in themselves very beautiful and suitable for the purpose 
 of ornamentation. In many cases, too, we find that the MS. on 
 which the binding is now placed is not the one for which it was 
 originally made, so that, although a fair number of these early 
 bindings are in existence, there are not many which have come 
 down to our times in an unaltered condition. The two covers of the 
 Ashburnham Gospels are very fine examples of the art of two 
 different periods. The lower cover, Celtic in design, though perhaps 
 of German execution, being of the 8th century, while the upper 
 cover, though more splendid, is of considerably later work. 
 
 From a very early time deer skin and cheveril were used in 
 the monasteries both for binding the books themselves and for 
 making cases for the costlier bindings. These cases were soon 
 discarded, and are rarely to be found, though some early Irish 
 examples are still extant. 
 
 The most interesting and notable of our early leather bindings 
 is that on the little volume containing the Gospel of St. John, 
 taken from the tomb of St. Cuthbert, and which, after many 
 wanderings, is now in the library at Stonyhurst. The boards of 
 thin wood are covered with red leather, and in the centre of 
 the obverse cover is a raised ornament of Celtic design; above 
 and below are small oblong panels filled with interlaced work 
 executed with a style and coloured with yellow paint. The 
 reverse cover is worked with a geometrical design picked out in 
 yellow. As to the date of this binding, there are different opinions, 
 some assigning it to as early as the 1oth century, others to the 
 12th, while a misguided few have gone so far as to call it 
 Elizabethan. The style of the binding undoubtedly points to the 
 earliest date, and its beautiful preservation and freshness are no 
 disproof of its antiquity, since such volumes were usually carried 
 
 in a leather case. The flyleaves of the book, however, are of 
 
Vil. 
 
 MS. much later than the roth century, though these may very well 
 have been added later to prevent the first and last leaf of the 
 Gospel from being rubbed by the binding. We may safely conclude 
 that if the book was bound as late as the 12th or 13th century the 
 binding upon it was copied from an earlier one. 
 
 By the 12th century England was at the head of all foreign 
 nations as regards binding, and thanks to the researches of 
 Mr. Weale, can fully substantiate its claim to that position. 
 London, Winchester, Durham and a few other important towns 
 and monasteries, had each their schools of binding, and from the 
 few examples which have been preserved we can judge of the 
 excellence of the work. The covers of the books were tooled 
 with numbers of small dies, and the beauty of the binding 
 depended as much upon their individual delicacy and beauty as 
 upon their arrangement, which, though infinitely varied, was very 
 formal. 
 
 Durham was especially noteworthy for its style of binding, 
 and there are still preserved in its Cathedral library a series of 
 books bound for Bishop Pudsey towards the end of the 12th 
 century, perhaps the finest monuments of this class of work in 
 existence. The dies are very varied, and represent men seated and 
 on horseback, fabulous animals of various descriptions and many 
 formal designs. Much of the ornamentation is formed of fine 
 interlaced chain work, such as is generally associated with Venetian 
 binding. The early Winchester work, of which a beautiful example 
 is in the library of the Society of Antiquaries, though not so 
 elaborate as that of York, and without the interlacing pattern, has 
 dies of equally beautiful execution. In all these early bindings 
 the main design of the side is a parallelogram formed by lines of 
 dies, but the centre is filled up with circles and portions of circles, 
 a style peculiar to England. The next two centuries do not 
 
 seem to have produced much good work, though we can see 
 
 English r2th and 
 13th century 
 binding. 
 
 Case A. 2, 3,°7. 
 
 Case A. I. 
 
Case B. 1. 
 
 German 15th 
 century work. 
 
 Case B.133. 
 
 Vili. 
 
 from such of the account books and fabric rolls as have been 
 preserved that it was largely practised, and even the names of a 
 number of individual binders are known. 
 
 The most important foreign bindings of the time were produced 
 in the Low Countries and in France; Germany producing little 
 that is noteworthy, with the exception of some fine hand-worked 
 leather bindings of figure subjects or floral patterns. In these 
 the background is cut away to a slight depth, and then diapered 
 over with a punch, producing a very rich effect. The Netherlandish 
 binders seem to have taken the lead, and beside doing beautiful 
 work, introduced many improvements in the art. 
 
 The invention of printing, in 1454, forms naturally an important 
 epoch in the history of bookbinding. When books began to be 
 issued in such great numbers it was necessary that the bindings also 
 should be produced more rapidly, and though they necessarily lost 
 much of their individuality, they retained in the various countries 
 a national distinctive style. Bindings after this period fall into two 
 distinct divisions, trade bindings and private bindings. It was the 
 custom of the printer or stationer to issue his books ready bound 
 for general sale, but the richer private collectors continued to have 
 their books bound in a more sumptuous manner, using as a rule 
 damask and velvet rather than leather. Many binders stamped 
 their names upon their bindings either in full or concealed in a 
 rebus; some even going so far as to ornament their books with 
 their own portraits. 
 
 Amongst the more important binders of Germany at this period 
 we may mention especially John Richenbach, of Geislingen. His 
 bindings, which are of pigskin, bear full inscriptions stamped upon 
 the sides, giving not only his own name as binder, and the date 
 
 of the binding, but often the name of the person for whom the book 
 
 -was bound. Johannes Fogel, who used some very delicate stamps, 
 
 bound the copy of the Mazarine Bible now in Eton College library, 
 
and also another copy of the same book lately sold in New York. 
 Anthony Koburger, of Nuremburg, one of the most important 
 printers of the 15th century, bound his books in a very elaborate 
 and distinctive manner. He gave up the use of small dies and by 
 means of large tools covered the side with a handsome and 
 harmonious design. He also printed the title of the book in gold 
 upon the top of the obverse cover. It seems to have been in 
 Germany that half-binding came into fashion, for we find many 
 specimens of the 15th century with the wooden boards left 
 without covering, and the back formed of tooled pigskin or leather, 
 the sides being in some cases fastened to the wooden boards by 
 thin strips of metal. 
 
 Italian bindings have little interest, being as a rule ornamented 
 solely with varieties of plain interlaced patterns, probably Saracenic 
 in origin, though not unlike those found on early English bindings. 
 They have, however, a few peculiarities in the finishing, amongst 
 which we may notice the custom of putting four clasps, one 
 at top and bottom as well as the two ordinary ones; and 
 another, more rarely found, no doubt introduced after the fall of 
 Constantinople in 1453, and copied from the bindings of Greek 
 MSS., of running a groove down the edge of the cover, a 
 peculiarity of Eastern European binding. 
 
 The most important event in the history of Netherlandish 
 binding was the invention of the panel stamp about the middle of 
 the 14th century. By its means the whole of the side of a small 
 book could be decorated from one block, and as soon as books 
 of small size began to issue in large numbers from the printing press 
 its economic advantages were recognised, and it was universally 
 used in the Low Countries, France and England Inthe 
 Netherlands trade guilds were very strict, not only the binder’s 
 trade-mark, but his designs being protected, and from the archives 
 
 of these guilds a good deal can be gathered about the bindings, and 
 
 Case: 6. 35,-30, 
 
 Case’ Kereci 
 
 Italian 15th 
 century work. 
 
 Casevie v.22), 
 4, 5: 
 
 Case B. 
 
Case B. 
 
 Case B, 7, 8. 
 CaseeN, O13 4.b., 
 
 5, 6. 
 
 French Panel 
 
 Stamps. 
 
 Case B. 
 
 Case B. 
 
 Case B. 
 
 Case B. 
 
 Case B. 
 
 31. 
 
 28. 
 26. 
 
 oxo. 
 
 the career of individual binders traced. Among the early bindings 
 are afew curiously produced from metal stamps of large size which 
 have the appearance of the hand-worked productions of the period. 
 The ornamentation of later Netherlandish binding is generally 
 formal, the centre panel of spiral foliage containing birds and 
 beasts, while round the edge runs a motto or text with not 
 unfrequently the name of the binder; indeed, these bindings give 
 more explicit information than those of any other country. Such 
 examples were produced by Johannes Bollcaert with the motto, 
 “Ob laudem christi hunc librum recte ligavi Johannes Bollcaert,” 
 others, very similar, by Ludovicus Bloc, by the numerous members of 
 the family of Gavere, and many others. An Antwerp binding has 
 the inscription, “Johannes de Woudix Antwerpie me _ fecit.” 
 Pictorial panels do not seem to have been so commonly used as 
 they were in France, but there are some of extremely good 
 execution. A very beautiful specimen bears the initials B.K., and 
 has on one side the Adoration of the Magi, and on the other the 
 Annunciation. 
 
 From France we have a very large series of panel stamps, many 
 of great beauty. Jehan Norins uses two large panels, one containing 
 the vision of the Emperor Augustus (47a caed/z ), and having his initials 
 at the base, the other with St. Bernard, and a border containing the 
 Sybils. This binding has been many times reproduced, but the 
 initials I.N. have always been misread I.H. Norins used also a 
 small panel with a formal acorn pattern containing his name in full. 
 Alexandre Alyat, a Paris stationer about 1500, used a large stamp with 
 a figure of Christ and the emblems of the Passion. André Boule, 
 Guillaume Baudart and Hemon Lefevre used panels depicting the 
 martyrdom of S. Sebastian. Jehan Dupin and others, a panel with 
 four saints. P. Gerard, a representation of the Crucifixion. The 
 number of French panel stamps, however, is so large, that it is 
 
 impossible to attempt to enumerate them in a small space. 
 
 ‘ 
 
Xl. 
 
 The binders of Rouen and Caen produced bindings most 
 nearly resembling English work, owing, no doubt, to their intimate 
 business relations with this country. As they produced English 
 service books in large numbers, they would probably bind them for 
 the English market, so that it is quite probable that even many of 
 the bindings with representative English devices upon them were 
 produced in Normandy. Among the Rouen binders we may 
 specially note J. Richard, Jean Huvin, Jehan Moulin who used 
 panels with a punning allusion to his name representing a miller, 
 and R. Macé, all of whose bindings bear their name in full. 
 
 The introduction of the Art of Printing into England, and the 
 consequent influx of foreign craftsmen, materially changed the 
 character of English binding, and destroyed its distinctive style. 
 The old customs lingered for a while, as we see from the Oxford 
 bindings of the time; but when the foreign printers, and they were, 
 as a rule, their own binders, so far out-numbered the English, it was 
 but natural that foreign styles should conquer. William Caxton, our 
 first printer, when he returned to England from Bruges in 1477 no 
 doubt brought his binding tools with him, and used them in the style 
 which he had learnt abroad. His bindings, always of leather, were 
 ruled with diagonal lines, and the diamond-shaped compartments 
 thus formed were ornamented with stamps of flowers and fabulous 
 animals. The border of the panel was generally formed of triangular 
 stamps of dragons. Caxton’s stamps passed after his death, in 1491, 
 into the hands of his successor—Wynkyn de Worde—who used 
 them until the beginning of the 16th century, when they seem to 
 have fallen into other hands. 
 
 The early Oxford press was carried on by Theodore Rood, of 
 Cologne, in partnership with Thomas Hunte, an English stationer, 
 and their bindings exhibit an interesting combination of the two 
 national styles. The stamps, evidently of foreign design, were, no 
 
 doubt, supplied by Rood; but their disposition upon the binding is 
 
 Case A. 21. 
 
 English 15th cen- 
 tury work. 
 
 Case A. 10, Ile 
 
Early English 
 panel. 
 
 Case A. 14. 
 
 F. Egmondt. 
 Case A. 17. 
 
 Case A. 16. 
 
 XU. 
 
 in the old English style. Oxford bindings of this period are very 
 easily distinguishable from others, nor are they at all uncommon, for 
 the demand for books in Oxford must have been very large. Lettou 
 and Machlinia, the first London printers, were also binders of books ; 
 but as only two bindings can be at present safely assigned to them, 
 there are but slight grounds for forming any opinion upon their style 
 of work. 
 
 It is impossible to determine at what date the panel stamp was 
 introduced into England, and there are few early examples that can 
 with any certainty be assigned to the 15th century. The earliest 
 example, perhaps, is to be found on a loose binding in the library of 
 Westminster Abbey. The sides are tooled at the edges with small 
 tools, and in the centre is a twice repeated stamp with the arms 
 presumably of Edward IV. This binding has, however, no 
 binder’s mark. 
 
 Frederic Egmondt and Nicholas Lecompte, stationers, who 
 came to England as early as 1493, used panels bearing their initials 
 and mark. Lecompte’s binding is evidently of foreign design, and 
 ornamented simply with an arabesque floral pattern. EEgmondt’s 
 have more variety. His most elaborate panel, which bears his name 
 in full at the base, represents a wild man and woman standing on 
 either side of a tree covered with some kind of fruit, and bearing in 
 one hand flowering boughs, while with the other they assist in 
 supporting a shield, bearing Egmondt’s mark and initials, suspended 
 by a belt from the branches above them. Besides this, he used a 
 small panel with a Tudor rose and vine leaves, surrounded by a 
 border of leaves and flowers, and bearing his mark and initials. 
 
 A very similar design was used by Richard Pynson, and is 
 found in conjunction with a panel bearing his arms and supporters 
 as well as his trade-mark. To Wynkyn de Worde no panel can 
 be safely assigned. His bindings were executed probably by 
 
 Netherlandish binders working in England who would use their 
 
Xill. 
 
 own stamps. Among the witnesses to his will we find the name of 
 
 J. Gaver, who was probably one of the large family of Gavere, Case A. 31. 
 
 binders in the Low Countries. De Worde also mentions in his 
 will Alard, a bookbinder, and Nowel, the bookbinder in Shoe 
 Lane; but none of their bindings have been identified. 
 
 About the beginning of the 16th century, two panels came 
 very much into favour with the London binders; one containing the 
 arms of France and England quartered ona shield and supported 
 by the dragon and greyhound, supporters which were discarded in 
 1528; the other having in the centre the Tudor rose supported by 
 angels. Round the rose run two ribbons bearing the motto — 
 
 “‘ Haec rosa virtutis de celo missa sereno 
 Eternum florens regia sceptra feret.” 
 
 A fond belief, strongly encouraged by booksellers, has grown 
 up amongst collectors that such books once formed part of the 
 library of Henry VIII., a theory which only ignorance can 
 recommend. It would be as rational to imagine that all shops which 
 have over their door the Royal Arms were residences of the Queen. 
 Why such designs were so popular with binders is unknown ; but it 
 is not improbable that they represent some privilege or are the signs 
 of some guild. In the upper corners of these panels are the sun and 
 moon, and shields with the cross of St. George and the arms of 
 London, while in the base we find as a rule the initials and mark 
 of the binder. Amongst others who used these panels, we may 
 specially mention Julian Notary, the famous printer, who had two 
 varieties, and Henry Jacobi, an early London stationer, who had 
 enree: 
 
 Variations of the Royal Arms were used by H.N., who, 
 not being a citizen, omitted the arms of London from his panels, 
 and by G.G., who discarded the proper supporters of the Royal 
 Arms and put two angels in their place. E.G., A.H., R.O., R.L., 
 G.R., M.D. and John Reynes, all used the Royal Arms in one form 
 
 ‘Notary and 
 
 Jacobi. 
 Case:A.25,.28. 
 
 Case A. 24. 
 
 Binders using 
 Royal Arms. 
 Case A, 23. 
 
 Case A. 37.238, 
 Case A. 30. 
 Case A. 35, 36. 
 Case A. 41, 42, 
 43: 
 
Case A. 38, 30. 
 
 English pictorial 
 panels. 
 
 (Case A. 55, 56. 
 
 Case A. 40, 50, 5%. 
 
 Case A. 36. 
 
 Case A. 41. 
 Medallion panels, 
 
 Case A. 62. 
 
 Cambridge 
 bindings. 
 
 Case A. 50. 51. 
 
 XIV. 
 
 or another, and besides these there are some large unsigned panels 
 bearing the arms of Henry VIII. quartered with those of Catherine 
 of Aragon or Anne Boleyn. 
 
 Pictorial panels do not seem to have been so popular in 
 England as they were abroad, and most of those we find in use were 
 probably of foreign manufacture. Two elaborate early examples 
 depicting St. Michael and St. George, with a binder’s mark of a 
 head upon a shield, and another of St. George, signed L.W., 
 are most probably of English work, though it is impossible to 
 be certain, as the binders of Rouen and Caen produced work in 
 the same style. I.R., whose stamps fell at a later date into the 
 hands of John Reynes, had two designs—one of St. George slaying 
 the dragon and another of the baptism of Christ. The Annunciation 
 was a favourite subject and we find many varieties of it, the most 
 elaborate being one with the initials A.R. of very foreign appearance, 
 but with the shields of St. George and the City of London in the 
 borders. Nicholas Spering, the Cambridge binder, and A.H. had 
 similar panels. Henry Jacobi had a panel with ‘“ Our Lady of Pity.” 
 G.R., a panel with four saints similar to many French bindings of 
 the period. The best known of these bindings is one produced by 
 John Reynes, copied from a cut ina French Book of Hours, repre- 
 senting the emblems of the Passion, arranged heraldically upon a shield 
 with supporters, and inscribed below ‘‘ Redemptoris Mundi Arma.” 
 
 At a slightly later date a panel came into fashion, ornamented 
 with medallion heads, which was used by John Reynes, Godfrey, 
 M.D., T.P., G.P., and others. It has little beauty to recommend it, 
 being in a poor renaissance style, and is the last production of 
 English work of this class. 
 
 From the Cambridge stationers we have a most interesting 
 series of bindings. Nicholas Speryng, coming probably from 
 Antwerp, used two panels. On one is the Annunciation with his 
 
 mark and initials ; on the other, in allusion to his Christian name, 
 
XV. 
 
 the favourite design of St. Nicholas restoring to life the three 
 pickled children, with the name in full, Nicholas Spiernick. Besides 
 these panels he had several rolls, Garrat Godfrey, his fellow 
 stationer, having others very similar, and on a book in the library of 
 Westminster Abbey we find the rolls of both, one being used to 
 obliterate the other. John Lair de Siberch, the first Cambridge 
 printer, used a broad rol] with his initials, which fell later on into the 
 hands probably of Speryng, who, erasing the I., substituted his 
 own initial N. It is worth noticing that the Cambridge binders 
 frequently made use of leather stained a dull red, a peculiarity 
 rarely found in other English bindings. 
 
 The introduction of the roll was rendered necessary by the 
 impossibility of decorating folio books with the panel stamp. At 
 first, the borders round large books were made from small dies placed 
 end to end, but this system was too laborious not to be soon super- 
 seded, and the roll took its place. With the invention of this 
 pernicious tool the rapid decline of stamped binding commenced. 
 At first, these rolls were of fine broad work and produced a 
 handsome effect. The various Royal emblems in compartments 
 often formed the subject, as in the beautiful roll used by Siberch ; 
 while a roll with flowers and fabulous animals was still more common, 
 a very fine example being used by John Reynes. At a later period, 
 these rolls became narrower and the ornament more formal, and are 
 hardly distinguishable from foreign work of the same _ period. 
 Singleton, the printer, used one of these rolls with his mark and 
 initials. On nearly all, small initials may be found, but it is not 
 improbable that at this late date they are those of the engraver 
 of the tool, rather than of the binder who used it. The last and 
 worst state of roll binding was reached about the beginning of the 
 17th century when the design, instead of being struck from a roll cut 
 as an intaglio, and appearing raised, was struck from a tool cut 
 
 d 
 
 ‘“en camaieu”’ and appeared indented. 
 
 Case A. 46, 47. 
 
 Case A. 52. 
 
German stamped 
 parchment 
 bindings. 
 
 Case B. 40. 
 
 XVI. 
 
 Abroad, during the latter part of the 16th century, stamped 
 binding survived only in Germany, but the bold character of the 
 early work was gone. In spite of the beauty of the design and the 
 excellence of the execution, the sides present a meagre and 
 unsatisfactory appearance, due partly to the great delicacy and 
 consequent want of depth in the tools, and partly to the use of 
 pigskin and parchment in place of leather. The centre panels of 
 these bindings, often designed by the greatest artists, contain as a 
 rule portraits of celebrated people, ancient and modern, depicted in 
 a very German manner. Lucretia, with puffed sleeves and a 
 feathered hat, stabs herself delicately between the ribbons which 
 tie her ornamental bodice ; Judith, fashionably attired in a similar 
 style, holds the fiercely mustachioed head of Holofernes. “Justice,” 
 not unlike Queen Elizabeth, with her hair in an embroidered net, 
 stands gazing open eyed and holding a pair of very unbalanced 
 scales. Other panels contain portraits of such modern celebrities as. 
 Martin Luther, Melancthon, or Calvin The borders contain coats of 
 arms and small medallion heads. However good the execution of 
 these bindings may be, they bear unmistakable signs of the 
 decadence of stamped work, which, so far as producing anything 
 
 artistic is concerned, now died out absolutely. 
 
 BE. GORDON DUT 
 
ele 
 
 ie peo) N the following historical sketch of gold tooled Bindings, 
 
 an attempt is made, in accordance with the purpose of 
 
 this Exhibition, to give such an account as will enable the 
 
 student to trace the development of the art through successive 
 
 epochs and in different countries. For this reason it is that some 
 
 pains have been taken to describe the ornament characteristic of 
 
 the different styles and periods. The references for purposes of Introduction. 
 illustration are naturally to books in the present collection, but the 
 
 art is specially a French art, and the history of it cannot fail to 
 
 be in the main a history of French binding. 
 
 It has therefore seemed best to make its progress in that 
 country the groundwork of the present sketch, supplying collaterally 
 such details of its contemporaneous development in England and 
 elsewhere as may be necessary. Furthermore, as the Kings of 
 France, from the time of Louis XII. to that of Louis XV., were 
 patrons of binding, and the books from their royal libraries offer 
 the most valuable material for its study, it seems most convenient 
 to treat the subject according to their reigns, at all events during 
 the important period of the Renaissance. 
 
 We propose to consider the subject as it falls naturally into 
 three main periods : the first from 1494, when Aldus Manutius had 
 his printing press at Venice, to the end of the 16th century—the 
 period of Maioli and Grolier, of the royal bindings done for Francis I. 
 
 and Henri II. The art then attained its highest perfection, at all 
 
Italian bindings 
 during the 
 
 16th and 17th 
 centuries. 
 
 “Venetian” 
 bindings. 
 
 Case E. 18, 19. 
 
 Mosaics. 
 
 Case D455 3 
 Case F. 25, 26, &c. 
 
 XVill. 
 
 events from the point of view of design Secondly, the 17th century, 
 with which are associated the names of the Eves and Le Gascon; 
 and thirdly, the r8th century, the time of Boyet, Duseuil, Nicolas, 
 and Antoine Padeloup and the Deromes, in France, and of the 
 Harleian style and Roger Payne in England. Any division must 
 necessarily be somewhat arbitrary, but it happens that in this case 
 the centuries correspond pretty definitely to the different types of 
 the art at different periods of its development. 
 
 This is the most complete historical Exhibition of Binding 
 that has been made in our country, and no doubt it will 
 be used by many students for purposes of comparison from the 
 historical point of view. We have therefore added a chronological 
 appendix for their guidance, together with a list of the most useful 
 books of reference and the explanation of a few technical terms. 
 It is hoped that the contrast of ancient examples with recent 
 
 productions will do much for the advancement of taste in binding, 
 
 It was in Italy that, as far as Europe is concerned, artistic 
 tooled binding had its rise, and it was the introduction of Arabian 
 art by means of Venetian commerce that gave the initiative. The 
 ornamentation of early Italian binding is largely derived from 
 that of Persian and Arabian MSS. One style, particularly known 
 as “Venetian,” was obtained directly from the East, and is most 
 familiar to us now on the outside of Persian books. The board 
 was coated with a sort of paper composition, the centre and corners 
 then cut or stamped out in panels, and the whole, both of the 
 recessed tablets and the upper ground, covered with a thinly- 
 pared leather. This was next coated with a coloured lacquer, and 
 finally decorated and painted with arabesques in gold. 
 
 The painted mosaics so prevalent in France during the best 
 period came from Italy. Geometrical interlacings were filled in 
 
 with a sort of coloured and varnished incrustation, and then bordered 
 
XiX. 
 
 in gold lines. Very brilliant when first finished, the composition in 
 time cracked and peeled off, thus injuring the gold line work that 
 encircled it. Mosaics of inlaid leather, extremely rare, though not 
 unknown in the 16th century, acquired a partial vogue in the 17th, 
 and in the 18th the incrustation method had entirely disappeared. 
 
 Cameo bindings also originated and were prevalent in Italy 
 during the early part of the 16th century. These had centre pieces 
 of designs in relief taken from antique gems and medals. I mitations 
 became popular in France for a short time. 
 
 It is not exactly known when gold tooling was first used 
 on bindings in Italy, though there were beautiful 13th century 
 specimens done in Syria. It was probably during the last quarter 
 of the 15th century, and the practice no doubt came from the 
 Saracens. The European foster-mother of the art was Venice, and 
 its adoption is probably to be assigned to Aldus at his own 
 press there, after 1494, although there are occasional earlier 
 instances. From this period at all events dates the decoration of 
 binding by means of small tools, curves and lines used in 
 combination, as distinguished from the stamped blind work 
 characteristic of the preceding period in England, and _ prevalent 
 much later in other countries, especially in Germany. Those 
 tools bear witness to the influence that Eastern — and 
 especially Arabian—art had over Venice. It is thought that 
 her commercial relations with the Levant attracted a _ large 
 number of Greek and Arab workmen, who brought with them 
 their art traditions, and some of whom were undoubtedly 
 employed by Aldus at his press. Others, again, consider that 
 much of the Eastern character in the Aldine bindings, such as 
 the corded and dotted borders, is due to Aldus and others copying 
 the bindings of the manuscripts introduced in such numbers into Italy 
 
 after the fall of Constantinople, when the revival of learning took 
 
 Cameo bindings, 
 
 Case G8, 9,<10, 
 &c, 
 
 Ase (rites ta lesa 
 
 Introduction of 
 gold. 
 
 Aldus, 
 1488. 
 
 place. The patterns of this kind without gold are older than Aldus Case E, 1-4. 
 
Case E. 39 42, 46. 
 
 Maioli. 
 
 XX. 
 
 and were used at Venice from about 1470. The earliest books 
 that Aldus issued have a gold stamp; then followed blind or gold 
 parallel lines with corner ornaments, from 1500-1510, sober in 
 style, and among the best early bindings to be found; and _ lastly, 
 those elaborate geometrical patterns with which the name of Grolier is 
 associated. He met Grolier in 1512, and the Grolieresque bindings 
 begin about 1520. The leather he used was a smooth skin, 
 generally olive in colour. He was the first to disuse wooden boards. 
 The earliest Aldine tools were solid, similar, indeed, to those used 
 in the printing press, and Saracenic in character. Maioli had them 
 modified for his bindings by using them hollow, that is to say only 
 in outline, and Grolier, finding them heavy, had them further altered 
 to the same ornament barred, or azured as it is called, from the 
 colour blue in heraldry being represented in this manner. The 
 azured tools were first used by Grolier for the bindings done in 
 France, 1530-1540, and such few Italian examples as are seen were 
 probably imitated from French bindings. The bindings of Maioll, 
 are, roughly speaking, contemporary with those. of Grolier, no 
 known specimen being earlier than 1530. Nothing is known of 
 Maioli, except that he was an Italian bibliophile still living in 1549, 
 whose uncle, Michele Maioli, was a scientific writer and collector, 
 but no books bound for the latter are known. Tommaso had an 
 extensive library of well-bound and ornamented books, some of 
 which passed by exchange into the collection of Grolier. 
 
 As the designs on the books of both collectors are somewhat 
 similar in character, and as Grolier’s early books were of 
 Italian workmanship, it may be well here to point out some 
 differentiating features. Maioli designs are distinguished for 
 their flowing scroll-work, the graceful curves of which 
 interlace freely with the frame-work. The frame-work, which 
 is less the design than the scroll-work, is made up of curves 
 
 rather than of geometrical figures. The ornaments are Moresque 
 
XX1. 
 
 in character, mostly in outline, though occasionally azured, and part 
 of the field is often enriched with dots. The designs have certainly 
 more artistic merit than Grolier’s on account of the perfection of 
 their scroll-work. On one side of the book is generally to be 
 found the motto, “Tuo. Matot1 er Amicorum,” and on the other, 
 ‘“ TNIMICI MEI MEA MIHI NON ME MIHI,” or else, ‘‘ INGRATIS 
 SERVIRE NEPHAS.” On one book is found ‘“ Portio MEA DoMINE SIT 
 IN TERRA VIVENTIUM,” and on those not bound for him he had a 
 monogram composed of the letters A.E.H.I.L.M.O.P.S.T. which 
 form his name. On the books bound for Grolier the interlaced 
 frame-work is the design itself. Instead of flowing curved lines 
 we have a geometrical composition of interlaced straight lines and 
 semicircles. The ornaments are similar in character to those on 
 Maioli’s books, but azured and differently placed; they do not blend 
 with the scroll-work but are put in spaces without regard to the 
 perfection of curve seen in the best Maioli designs. Sometimes a 
 Mosaic effect is produced by an incrustation of different colours on 
 the band spaces between the lines. Of Grolier’s library we shall 
 speak in detail later on. 
 
 Some think the only difference in the books bound for the two 
 collectors lies in the fact that Maioli always preserved his florid 
 Italian style, while Grolier’s taste became more severe in France, 
 and that he then abandoned his earlier style. 
 
 To the patronage of the Medici family is largely due the 
 success of binding in Italy. Piero de Medici collected MSS. dis- 
 tinguished for their miniatures and decoration, and had them marked 
 with the fleur de lys ; Lorenzo had his books stamped with his arms, 
 a laurel branch and the motto “Semper.” The collections of 
 Cardinals Lancelot and Bonelli were hardly less celebrated, and 
 Canevari, physician to Urban the VIII. in 1590, had his books 
 stamped with a design that has rendered them famous. The names 
 
 of the Orsini, the d’Este, and the della Rovere together with those 
 
 Maioli and 
 Grolier. 
 
 Case F. 16-22. 
 
French binding 
 during the 
 
 15th and 16th 
 centuries. 
 
 Louis XII., 
 1498-1515. 
 
 Jean Grolier, 
 1479-1565. 
 
 XX. 
 
 of Popes and Cardinals are to be found as collectors of fine books, 
 bindings from whose libraries are of rare value. 
 
 Italy had no permanent school of binding, and though the 
 artistic inspiration came from her, it was in France that it took root 
 asa fine art. Practically, in fact, the originality of Italian binding 
 ceased to exist after the first half of the 16th century. Itisto France 
 that we must now pass to watch the rapid progress of the art towards 
 perfection. The 50 years of the reigns of Francis I. and Henri II. 
 are the richest of all in designs for fine bindings, and contain, besides 
 the French work done for those two monarchs, the bindings done 
 elsewhere for Maioli, Grolier, Canevari and Marc Lauwrin, though 
 which Lauwrin it was for whom bindings were done is not known. 
 
 Royal bindings of the 15th century in France are not numerous. 
 Of extreme rarity are the bindings of Charles VIII., and not much 
 more numerous those of Louis XII. Louis was the first who had 
 his motto and device stamped on his books. Before his marriage 
 with Anne of Brittany, we find a semis of bees, and the motto ‘“‘Non 
 UTITUR ACULEO REGINA CUI PAREMUS.” After his marriage we have 
 sometimes only the monogram L.A., with or without a crown, or 
 the arms of France alternating with the ermine of Brittany, and the 
 hedgehog that was also his emblem, with the motto ‘“ Cominus ET 
 EMINUS.” Louis was a great collector of books; after the conquest 
 of Milan he annexed part of the libraries of the Visconti and the 
 Sforza, and he also bought the collection of the Flemish amateur, 
 Louis de la Gruthuyse. All these books he sent to his library at 
 Blois, whence they were subsequently removed by Francis I. to 
 Fontainebleau. 
 
 Grolier’s library, in respect of size and selection, was so much 
 the finest of the time, and his name is so inseparably connected with 
 the finest period of binding, that a brief account of it is necessary. 
 Born at Lyons, in 1479, of a family that came from Verona, he 
 
 replaced his father, in 1510, as Treasurer of the Duchy of Milan 
 
XXill. 
 
 under Louis XII., when he made the acquaintance of the elder 
 Aldus in 1512, whose press he patronised during the remainder of 
 his life, and again in 1529 he was sent by Francis I. as Ambassador 
 to Pope Clement VII. Many books from the Aldine Press were 
 dedicated to him in terms that show he aided Aldus and his family 
 with money, and copies de luxe of all books issued by them were 
 reserved for his library. In 1545 he became Treasurer of France, 
 and in 1547 Finance Minister, both of which functions he kept 
 till his death. He helped to establish the Collége de France, 
 under Francis [., superintended many architectural works like 
 that of the Palace of Chantilly, and invented a new coinage 
 Pacers tienty Il> (°His library at the Hotel de Lyon, near to 
 the Buci Gate, was composed of 8,000 volumes of classical and 
 Italian authors—with but one known MS. and hardly any French 
 printed books—of which only 350 have been traced. These 
 were, no doubt, mostly collected in Italy. After his death his 
 books were divided among his inheritors, and subsequently found 
 their way into the chief private collections of France. Most of 
 them became the property of Méry de Vic, and lay forgotten for 
 more than a century in the Hotel de Vic, which Grolier had bought 
 from the inheritors of Budé and left to his own, until the sale of 
 the Hotel took place in 1676. At this sale, Esprit Fléchier, bishop 
 of Nismes, acquired 10 volumes, and it was probably in 1725, at the 
 Fléchier sale of books in England, that the first Groliers made their 
 appearance in this country. Their prices were very low until the 
 beginning of this century, but have been steadily rising, especially 
 since 1830. The sales of the Libri library did more than 
 anything to increase their value. The British Museum possesses 
 about 30 Groliers, the Duke of Marlborough 9, Lord Gosford 6, 
 Lord Spencer 4, Mr. Holford 5, and no doubt there are 
 many others to be found in this country in less known 
 
 private libraries. 64 volumes are in the Bibliotheque Nationale, 
 
XXIV. 
 
 15 in that of St. Geneviéve, and 7 in the Bibliothéque de 
 l’ Arsenal. 
 
 There arises the question, did Grolier have his books 
 bound in Italy or France? M. Leroux de Lincy, to whose 
 researches we owe most information about Grolier, thinks 
 that they were chiefly, though perhaps not exclusively, bound 
 in France, while Fournier thinks the reverse. It is a point that 
 will probably never be decided, but the early ones were most 
 likely bound in Italy during his sojourn there. In 1496, after the 
 great expedition to Naples, skilful Italian workmen came over to the 
 court of Charles VIII., and Grolier may likewise have brought 
 Italian workmen with him on his return from Italy, so that even if 
 fine bindings were not known to have existed in France long before 
 the 16th century they could well have been carried out there 
 during his lifetime. It is probable, however, that Grolier followed 
 rather than set a taste in binding, but at the same time he no doubt 
 formed a school and created a native art out of foreign material, 
 and if the inspiration came from Italy the development was thence- 
 forth entirely French. The style associated with his name was in 
 fashion throughout all the 16th century. 
 
 His bindings may be divided into two classes—those done for 
 others, but admitted into his collection, he contenting himself with 
 adding name and motto; and those which were specially done for 
 him. The last may be again divided into those bound for him in 
 Venice and distinctly Italian in character, and those probably bound 
 in France between 1540 and 1556. ‘Those specially bound for him 
 are in morocco or brown calf, and the back, without ornament, has 
 5 or 7 bands; at the beginning and end of the volume, there are 4, 5, 
 or 6 leaves of guard, the third being of vellum. - The ornamentation 
 is in compartments, either in one of the rigid geometrical styles 
 which he first adopted, the Italian one with coloured bands, 
 
 or the French in black» and gold, or else in) the ithirdaeame 
 
XXV. 
 
 latest style, with graceful interlacings diversified by fleurons and Case F. 1-15. 
 other small tools on the side. The motto “Io Gro.tert ET 
 AMICORUM” or ‘‘Merr GrRoLiermt LuGDUNENS ET AMICORUM,” is 
 generally found at the bottom of the front board, but sometimes 
 
 in the centre immediately under the title, though when the 
 
 binding is of the first class, it is occasionally written in his own 
 
 hand on the fly leaf. On the other board is nearly always 
 
 found ‘PortTio MEA, DoMINE, SIT IN TERRA VIVENTIUM.” He had 
 
 other mottos besides the three above named most often used. 
 ““TAMQUAM VENTUS EST VITA MEA,” is found only on a copy of 
 
 the Cortegiano of 1528, instead of “ GROLIERII ET AMICORUM,” and 
 
 on a copy of the Poliphilo of 1499. On others, ‘““Custoprr Dominus 
 
 OMNES DILIGENTES SE, ET OMNES IMPIOS DISPERDET.”’ His arms, 
 
 before his marriage, are a shield, the field azure with 3 bezants Case F, ro. 
 or, surmounted by 3 silver stars. After his marriage he impaled 
 
 those of his wife, Anne Briconnet. His crest was a gooseberry 
 
 bush with the motto, ‘‘ Nec HERBA NEC ARBOR, while ‘‘ AEQUE 
 
 ) 
 
 DIFFICULTEk, together with an emblem of a hand coming out 
 of a cloud and trying to pull up an iron nail attached to the 
 top of a hillock, is found on the volumes of 1501, 1508, 1513 
 and 1515, the early years of his collection, referring probably 
 to some event in his life. The habit of having several copies 
 of a work was no doubt for the use of his friends, for to 
 Marcus Laurinus, Maioli, and the president Chris. de Thou, 
 he made presents of books as may be seen from the inscriptions 
 in them, and Geoffroy Tory, Pithou, and Claude du Puy also 
 had similar gifts from him. Whether Grolier drew out his own 
 designs, or who made them, is not known. Geoffroy Tory, 
 engraver and royal printer to Francis I., in his Champfleury, a 
 work on the proportion of ancient letters, speaks of some which 
 Grolier employed him to design in a way that leads one to think 
 
 they may have been those that Grolier used on his bindings, 
 
Commercial 
 bindings. 
 
 XXVI. 
 
 and there is a great similarity between some of the Grolier 
 designs and the borders that surround the pages of the Champ- 
 fleury. To Estienne de Laulne, the great engraver and goldsmith, 
 who worked with him on the new coinage for Henry IL. he also 
 undoubtedly owed much. 
 
 Grolier is credited with having been the first to use morocco as 
 it is now dressed, and he certainly was among the first to use lettering 
 pieces on the backs of books, a fashion which took a long time to 
 get established. He is known to have taken much trouble in 
 getting the finest moroccos from the Levant, which reached him 
 through Jehan Colombel, a merchant at Avignon. 
 
 It must be remembered that though we credit the binder with 
 the artistic decoration of books, it is in a sense inaccurate to do so 
 when dealing with this period. During the whole of the time of 
 which we are treating, the printer was the binder; he bound the 
 whole edition of his work, which he was then prepared to sell to the 
 public, if registered as a bookseller. In the 16th century, binding 
 was done in the workshops of the printer-booksellers ; in the 17th 
 it was still under their direction, but done outside of it by master 
 binders. The commercial binding of the earlier periods was so 
 decorative that it is impossible to neglect it, though it differs from 
 hand work, in being stamped by mechanical pressure. By 
 commercial bindings, we mean those issued by the printer-binders 
 and decorated by stamps on which the ornament was cut entire. 
 Almost all was probably commercial work till the time of Grolier. 
 Its early history belongs, of course, to the history of blind stamped 
 work, but it soon became connected with gold ornament. Some of 
 the stamps on the books issued by these printer-booksellers are of 
 considerable interest. The Aldine anchor is well known, as is 
 also the mark of the Elzevier Press. The brothers Angelier, 
 printers at Paris in the middle of the 16th century, had a far more 
 
 ornamental sign of their Press. It was a framework of blind lines 
 
XXVII. 
 
 on the sides, with solid gold corner ornaments, and in the centre 
 the device of two little angels kneeling before an infant Christ, who 
 in his right hand holds the cord that connects des anges (és, and in 
 his left the globe. Geoffroy Tory’s bindings that were done for him 
 on his return from Italy—1516-1518—have his stamp of the broken 
 pitcher, which he took when he became bookseller. To this he 
 added later the wimble or auger. The pitcher is found on two sizes 
 of books, but the larger of the two only has the auger. Commercial 
 binding about 1535 began to reproduce the arabesque ornament and 
 interlacings of the Renaissance ; many such stamped covers are not 
 easy to distinguish from hand work, being exact imitations of the 
 best work of the master gilders, the dots and smaller gold ornaments 
 being added by hand after the main impression had been given. 
 Marius Michel thinks that as many as 80 per cent. of the French 
 and Italian bindings of small size, dating from the 16th century, were 
 ornamented by means of stamps. During the first half of the 
 century commercial work was merely a_ reproduction of hand- 
 work. The Lyonnese binders, whose reputation dates from the 
 early 16th century, used very fine stamps. They were mostly 
 the azured corners and centre pieces which originated in 
 Venice, but were largely used in France. The rarest of these 
 Lyons stamps are those in imitation of certain title pages of 
 the time, having caryatides supporting a framework with allegorical 
 figures. It was during the last half of the 16th century that this 
 commercial work had a really independent artistic existence, and, 
 consequently, was at its best. A third phase of the stamped work is 
 seen when the foliated centre pieces, originally worked leaf by leaf, 
 were engraved as a whole for commercial bindings—laurel being 
 first used, the oak and palm leaves alternating with laurel not coming 
 in till the end of the 16th century. Corners were made to match 
 the centres, in which branches appeared from a small cartouche, 
 
 or the little cherub head so often used by Renaissance sculptors. 
 
 Lyons 
 bindings. 
 Case H. 1-21. 
 
XXVIII. 
 
 It is interesting to see how commercial work followed in 
 the footsteps of artistic binding throughout successive epochs, 
 reproducing the best designs; and later on, when the art became 
 decadent, also the worst. We need not follow it further, now that 
 the fact of its existence has been emphasised, merely drawing 
 attention to the circumstance that it probably had _ indirect 
 advantages—first, in the discontinuance of wooden boards, which 
 could not support the pressure necessary to the stamp; and next, 
 in the general refinement of the work, cord being substituted for 
 the strips of leather on which books had hitherto been sewn. 
 
 During the Renaissance the artists who designed for the 
 printer, the jeweller, the potter and the craftsman in all the 
 minor arts, designed also the book-covers of the great collectors, 
 and such designs were carried out not by the printer-binders, 
 but by the professional doveurs sur cuir. It was their business 
 to gild and tool all leather work, from the coffers and cases 
 for jewels, then an important business, down to the boots worn 
 by the gallants, which were decorated with fine arabesques in gold. 
 Throughout this time then the name of the binder does not 
 give us the name of the gilder, though such work was probably 
 carried out under the binder’s direction. On the jewel boxes 
 above-mentioned is often to be found work of the same character as 
 on contemporary bindings such as the interlacings of the reign of 
 Henri II., the small pointed tooling of Le Gascon, and the lace work 
 of Derome. The important gilders in the reign of Henri II. were 
 Jehan Foucault and Jehan Louvet. In the 17th century, when 
 the edict of Louis XIII., in 1618, was passed, making booksellers 
 and binders reside in the University of St. Yves or in the Palace, 
 and forbidding them to employ anyone not belonging to their craft, 
 one Pigorreau, a boot gilder of great reputation, endeavoured to 
 get himself received as bookbinder, for fear of losing his employment 
 
 on the covers of books. After much opposition on the part of the 
 
XXIX. 
 
 craft, he succeeded, and we read in a contemporary document, 
 “henceforth many gilders, though opposed by the binders, either by 
 payment of money or on the pretext of an apprenticeship to binders, 
 contrived to become members of the Bookbinders’ Company. But 
 as these letters of freedom have always borne the threefold 
 description of bookseller, printer and binder, several lawsuits have 
 arisen between the Company and gilders who wished to be received 
 into it.” It was not till 1686 that a statute was passed making the 
 craft of relzeur-doreur separate from that of “ébratre tmprimeur. 
 
 It is impossible to discover the name of the great designer 
 whose work may be traced on the chief bindings of Francis I. and 
 Henri II., or of the great gilder who carried out his designs; and 
 this obscurity continues throughout the history of binding. 
 
 Many of the books bound for Francis I. were Italian in their Francis I., 
 ornamentation, in the style known as Grolier, except that the arms of eee 
 France generally take the place of the title of the work or motto 
 of the treasurer, which on Grolier’s books are usually found in the 
 centre of the sides. The emblem of Francis I. was a salamander 
 amid flames, and the motto “ NuTRIScO ET EXSTINGUO,” also the Case I. r. 
 letter F. with the fleur de lys. The emblem and motto were given 
 him in his childhood by his tutor Boisy, and he used them in his 
 seal throughout his, reign. His books were mostly bound in black 
 leather, excepting the Greek MSS.,. which were in coloured 
 moroccos with smooth backs. Few books from his library are to 
 be met with. Some that have dolphins show that the book was 
 bound in the reign of Francis I. but for the Dauphin. Only 
 two binders, Philippe Le Noir and Estienne Roffet—called Le 
 Faulcheur, were at this time entitled to take the title of releurs 
 ordinatres du rot, and both were printers and booksellers. 
 
 ‘During the reign of Henri II. binding reached its highest Henri IL, 
 perfection, and yet the books from the library of the king are the be Resse 
 
 only fine ones that we know of. Peace had given place to war, Case I. 2-s. 
 
Case I, 3. 
 
 XXX. 
 
 and, the arts being neglected, there were no distinguished collectors, 
 the king alone having a library of any importance, Nevertheless, 
 the best of the books bound for him and his mistress, Diane 
 de Poitiers, are the best known of any period, bold and fine in 
 design and unfettered by any tradition. Their main characteristic 
 is at once the reason of their excellence and the explanation of 
 the subsequent decline of the ornamentation applied to book 
 decoration. With the exception of the emblems, no engraved tools 
 were used; the designs were entirely composed with lines and 
 segments of circles, which in combination enabled the great 
 designer whose handiwork can be traced on the best bindings of 
 of those reigns, to execute in a triumph of arabesque both flowing 
 tracery and an infinite variety of conventional foliage. With the 
 gradual use of engraved stamps both freedom and appropriateness 
 of design as gradually disappeared. The Bibliothéque Nationale 
 possesses some 800 volumes which must have constituted nearly 
 the whole of the library of Henry II.. Most of the books 
 have his emblems beside the arms of France; either his 
 monogram, with that of his Queen, Catherine of Medicis, the 
 two C’s of the Queen being interlaced with the H of the 
 King; or his monogram with that of Diane de Poitiers and the 
 deer, hound, and other emblems of the chase suggested by her name. 
 The ground plan of the designs continues to be interlacings, but while 
 in those that Grolier borrowed from Italy there is a predominance of 
 straight lines, those done for Henry II. are composed almost 
 entirely of curves. There are two styles in the designs: those 
 having only interlacings and curves and those with interlacings 
 and azured tools employed in the central ornament. The backs 
 are without any bands instead of having five or seven as 
 heretofore, and for the first time the decoration of the back is 
 brought into harmony with that of the sides. He also had some 
 
 imitation cameo bindings done for him, 
 
XXX. 
 
 Both Catherine de Medicis and Diane de Poitiers had important 
 libraries of their own, and it is a fact that has often misled 
 purchasers of these books that to the library of each belonged 
 volumes having the monogram of the other. Catherine brought 
 with her from Italy the art traditions of her family. Her dowry to 
 Henry II. comprised some MSS. from the library of Lorenzo de 
 Medicis, and when the Maréchal Pietro Strozzi died, she annexed 
 his library, pretending to buy it, but subsequently forgot to 
 pay for it. More than 4,000 volumes constituted her private library 
 at Chenonceaux, which was enriched by costly presents offered in 
 exchange for her patronage of letters. Comparatively few that 
 exist bear her mark, as on her death, to prevent the seizure of 
 her library by her creditors, De Thou had them all rebound with the 
 royal arms as a sign that they belonged henceforth to the Crown. 
 After she became a widow, in 1559, she took as her emblem a heap 
 of ashes watered by tears and encircled by a scroll containing the 
 motto, ‘‘ ARDOREM EXTINCTA TESTANTUR VIVERE FLAMMA,” and this 
 device is to be found on her later bindings. All phases of design 
 may be traced upon her books, from the Grolieresque style on the 
 earliest of them, with straight interlacings and solid Aldine tools, 
 through the grand period when the unknown artist who worked 
 for Henry II. evidently worked also for her, but the majority of 
 her books are of Eve pattern. | 
 
 The library of Diane de Poitiers at her Chateau d’Anet was 
 hardly less celebrated. She appears always to have had a taste 
 for books, for in 1531, as the widow of Louis de Brezé, she adopted 
 on her bindings an arrow, encircled by laurels rising from a tomb, 
 and the motto, ‘‘ SOLA VIVIT IN ILLO.” Later, as the mistress of 
 Henry II., she suppressed the tomb and modified the motto to 
 «SOLA VIVIT IN ILLA.” Her library of splendid MSS. on vellum, 
 and of specimens of printing, was superbly bound, and frequently 
 
 enriched by presents from the king. Most of them have her arms 
 
 Catherine de 
 Medicis, 
 1519-1589. 
 
 Diane de Poitiers, 
 1499-1566. 
 
 Casexl 42 5. 
 
Marguerite 
 d’Angouléme, 
 1492-1549. 
 
 Collectors. 
 Marc Lauwrin. 
 Case ¥F. 158. 
 
 Canevari, b. 1559. 
 
 Case G. 1-8. 
 
 Case. B.v25 711.20. 
 
 Charles Comte de 
 Mansfelt, 1595. 
 
 Case I, 21. 
 
 Anne de 
 Montmorency, 
 
 1493-1567. 
 
 XXX. 
 
 as Duchesse de Valentinois, and the motto above named, with 
 her emblems of the chase, and occasionally the significant 
 ‘“CONSEQUITUR QUODCUMQUE PETIT.” During the seven years that 
 she survived the king she constantly added to her library, which 
 remained at Anet entirely neglected till 1723, when it was put 
 up to auction on the death of the Princesse de Condé, to whom it 
 belonged. | 
 
 Marguerite d’Angouléme, sister of Francis I., and Queen of 
 Navarre, had some fine bindings, the general plan of which is a 
 series of lozenge shaped compartments made of reversed curves. 
 They are separated by Marguerites, and have the crowned 
 monogram of the Duchesse d’Alencgon, or Queen of Navarre. 
 
 There were other noted collectors of this period whose bindings 
 are much sought after. Marc Lauwrin, of Watervliet, near Bruges, 
 whose books bear the motto, “ Laurin ET AmICORUM,”’ and some- 
 times “VirTUS IN aRDUO.” Demetrio Canevari, physician to 
 Urban VIII., the books from whose library are easily recognised 
 by their fine central oval stamp of Apollo driving his chariot 
 over the waves—Apollo being in gold, the sea in green and silver, 
 and the chariot coloured. The motto, OPOQO> KAI MH AOZIOS 
 runs round the stamp, which is often enclosed in a fine border. They 
 were probably inherited by Demetrio, as they were mostly bound 
 in Venice between 1540 and 1560, while he was not born until 
 1559. This library was in existence in the Vico Lucoli in Genoa up 
 to 1823. Peter Ernest Count de Mansfelt, the celebrated General 
 of Charles V., had a fine library. His son Charles had also 
 decorative bindings. The books of Charles were bound in the style 
 attributed to Nicolas Eve, and had his arms and monogram of two 
 C’s interlaced, also two deltas AA interlaced, which together make 
 the reversed triangles, so well known on his books. The constable 
 Anne de Montmorency had on some books, his sword entwined with 
 
 a sash, and the motto, AIIAANO®; on others a golden eagle and 
 
XXXill. 
 
 ‘DIEU AIDE AU PREMIER BARON CHRETIEN.” Philippe Desportes, 
 who died in 1546, had the double ¢¢ on the backs of his books. 
 
 With the death of Henry II. the great traditions of binding are 
 suddenly interrupted. Four different gilders have been traced at 
 work on the chief books of Francis I. and Henry II., and their work 
 is seen no more. Possibly they may have been obliged to leave the 
 country in consequence of the Huguenot persecutions between 1562 
 and 1570. 
 
 Of Francis II. not many bindings are known. Of these the 
 chief decoration is either a dolphin in gold with plain lines on 
 the side, or, after his ascent to the throne, the arms of France 
 with his monogram. The work of the great gilder to Henry II. 
 may be traced on the best of his books with a monogram uniting his 
 initials with that of Mary Stuart. 
 
 Of Charles IX. rather more bindings are extant. Some 
 of those bound for Francis II. have the additional initials 
 of Charles IX., suggesting that they were perhaps finished 
 in his reign. They are mostly distinguished by two C’s reversed 
 and interwoven sometimes with K, supposed to be K for Carolus 
 or Karolus, and C for his mother, Catherine de Medici. The letters 
 are crowned, and occasionally constitute a semis. The arms of 
 France are in the centre, with or without two pillars united by 
 a floating scroll, and the motto “ PreraTE ET JUSTITIA.’ 
 
 There now arises a new style of geometrical interlacing 
 quite different from that hitherto prevalent, having large inter- 
 mediate spaces left unfilled with decoration, which was particularly 
 adopted by Henry III. This was a period of emblems, which 
 were never more misused than by that monarch. He instituted 
 the Order of the Saint Esprit, the symbol of which often appears 
 on his books, and his fanaticism shows itself in the religious 
 legends and devices, such as the Crucifixion and the Passion, which 
 
 are generally to be found on works bound for him, without distinction 
 
 Francis IT., 
 1559-1560. 
 
 Charles IX., 
 1560-1574. 
 
 Case I. 15. 
 
 Henry III., 
 1579-1589. 
 
 Case I. 10-12. 
 
Henry IV., 
 1589-1610. 
 
 hase AltA. 
 
 XXXIV, 
 
 as to whether they are religious or profane. These occupy 
 the centre of that geometrical division into wide compartments 
 above mentioned. The backs are nearly always plain, with a 
 compartment at the top containing the title, and in another 
 at the bottom, ‘“Spes mEA Deus,” or “MEMENTO mori.” The 
 intermediate space has in an oval the royal arms and two or 
 more quatrefoils, usually containing a Death's Head—the emblem 
 of the Order of Penitents, to which the King belonged. The 
 sides, besides the devotional stamps  before-mentioned, have 
 frequently semis of tears, fleurs de lys, or the monogram of the 
 king interlaced with two lambdas )d_ representing Louise 
 de Lorraine, his wife. Henry III. extended his sumptuary laws 
 beyond the dress of the bourgeois and nobility to the decoration of 
 their books. The titles were permitted to be in gold, the edges to 
 be gilt, and lines and arabesques to be traced in gold, but all 
 massive gold stamps were forbidden—a decree that in nowise injured 
 the progress of the art. The austere character of the bindings 
 done for the King’s own use, did not, however, suit the taste of his 
 sister, Marguerite de Valois, and a new mode of decoration arose, 
 with which is particularly associated the names of the Eves, for it 
 constitutes their second style, and which, for want of a better word, 
 may be called the foliated style. 
 
 To Henry IV.’s reign belongs especially the fashion of semis 
 of monograms, flowers, and small tools. Always in existence from 
 the earliest times, they were most popular of all in the 17th century. 
 Another mode of decoration that also prevailed, and which marks 
 the commencement of the foliated period, were centres composed of 
 branches intertwined, which took the place of the heavier azured 
 centres that had hitherto prevailed in most of the simpler bindings. 
 Very few bindings are known as belonging to Henry IV., and those 
 that exist are wanting in originality; they are marked with the H. 
 
 crowned, and the shields of France and Navarre, the whole being 
 
XXXV. 
 
 surrounded by the collars of the Orders of St. Michel and the 
 St. Esprit. 
 
 In other parts of Europe binding was far behind France 
 during the 16th century. Germany continued and perfected the 
 use of blind stamped leather all through the period that Italy was 
 developing gold tooling. In England, too, that mode of decoration 
 continued, though not so late as in Germany, well on into the 
 16th century. 
 
 It was not till the reign of Edward VI. that gold tooling became 
 usual in England, most of the bindings in Henry VIII.’s reign 
 being still blind tooled, though with occasional exceptions. The 
 borders of this early gold work were mostly made up from tools 
 repeatedly joined together, of which the design was the Venetian- 
 Arabesque. Books bound for Edward VI. before he was king have 
 the feathers, motto and initials E.P.; afterwards they have his arms 
 and initials E.R., and sometimes a verse from Scripture. In his reign 
 the influence of the Renaissance is soon seen in the ornamentation 
 and in the introduction of geometrical interlaced patterns. English 
 binders throughout the 16th century reproduced only foreign 
 styles on their leather work, the designs of which were often 
 very good, but the execution far behind the French or Italian 
 prototypes. They were very fond of the circle as ornament, 
 especially flamed, and its use may be noticed as a differentiating 
 characteristic in the foreign geometrical types that they adopted. 
 Enamelled or painted mosaics are to be found similar to the 
 Italian originals, also the azured corners and centre pieces which, 
 originating in Venice, became firmly established at Lyons, and 
 were introduced here, it has been said, by Archbishop Parker. 
 
 It may be remarked that though we speak of English 
 bindings of this time, it is a disputed point whether much of the 
 
 work was not done by foreign workmen. The evidence, however, 
 
 English binding 
 of the 16th 
 century. 
 
 Case L. 2-4. 
 
Case L, 7-10. 
 
 Case L, 11, 12. 
 
 Case L. 6 
 
 English 
 collectors. 
 
 Case L. 22-27, 
 
 Case L. 21. 
 
 Case L. 13-17. 
 
 Case L. 29-31. 
 Case fargo. 
 
 French binding 
 during the 
 17th century. 
 
 Marguerite de 
 Valois,1552—-1615 
 
 Case 1. 36,37. 
 
 XXXVI. 
 
 is in favour of it being English, for, though the designs are good 
 enough for French work, the execution and the drawing are 
 inferior. 
 
 Many of the bindings belonging to Queen Elizabeth were very 
 fine. Some have the device of a crowned falcon holding a sceptre 
 which was originally Anne Boleyn’s, but continued by her daughter. 
 Queen Mary had her arms in a flamed circle. The tooling on her 
 books is solid in character, and they were possibly bound by Berthelet, 
 binder to Henry VIII. Brown calf was used almost entirely, 
 morocco not occurring in even the Royal libraries till the reign 
 of James I. The chief private collections of this century were 
 those of:—Thomas Wotton, 1521-1587, called the English 
 Grolier, from his adopting the style and motto of the French 
 collector; Archbishop Cranmer; Lord Treasurer Burghley; 
 Robert Dudley Earl of Leicester, whose books, generally marked 
 with his crest, the bear and ragged staff, and his initials, R.D., 
 are very fine and much decorated; Archbishop Parker; Henry 
 Fitz Alan Earl of Arundel, whose emblem was the white horse; 
 and Lord Lumley, his son-in-law, who died in 1609. Many of 
 the bindings done for Wotton are very fine, not inferior to the 
 best Groliers, and some of them have his arms. 
 
 The Eve style is first associated with the library of 
 Marguerite de Valois, the third daughter of Henry II. and Catherine 
 de Medicis, who inherited a love of books and spent much time and 
 money on her library. The small floral compartments centred with 
 Marguerites that diaper her volumes, mostly bound in olive, 
 red and citron morocco, are known to all. Those having in the 
 centre of one side a shield with 3 fleurs de lys on a fesse—and on 
 the other side the motto, ‘“ ExpECTATA NON ELUDET,” or “ SPES MEA 
 Deus,” are often ascribed to her library, but in the opinion of 
 M. Guigard were most probably bound for Marie-Marguerite de 
 Valois de Saint-Remy, daughter of a natural son of Henry III. 
 
XXXVil. 
 
 Some bindings of the Eve character were done for Henry IV. 
 before he came to the throne, and they all have the border 
 of blended palm and laurel foliage in the Eve style. Marius 
 Michel says his aunt, Antoinette de Vendéme, had many books 
 bound in the same manner. Her initials A. and V. were entwined 
 in the centre of the panel, or two C.’s, the initial of her husband, 
 Claude de Lorraine, and in the foliaged ovals the two dd of Lorraine 
 alternate with a flower. 
 
 There is one sign often to be found on the bindings, ascribed to 
 Marguerite de Valois, and on other books of the 16th and early 17th 
 century, namely the S. barré. Many explanatory theories have been 
 brought forward about it, and at one time it was considered to be the 
 monogram of Gabrielle D’Estrées, but subsequently being found on 
 books preceding her time, it has been considered to signify fermesse 
 (z.2., & vous toujours fermement). It was most probably a religious 
 symbol. 
 
 The Eves were a family of binders of whom the first, Nicolas, 
 worked for Henry III. in 1579. But it was his son Clovis who, as 
 binder to Henry IV. and Louis XIII., gave the distinctive character 
 to the style. The geometrical lay-out of the designs remains, but it 
 has not the unity that has hitherto characterised similar work, for the 
 parts are separable from each other. The originality consists in 
 surrounding the compartments with scrolls or spirals and branches 
 of laurel and palm. There are three distinct styles in the Eve 
 work; in the earliest the compartments are not filled in at all, in 
 the next they have the small azured tools of the Lyons school; the 
 interlacings are much richer, the branches more important, and the 
 spirals broken up with small azured tailpieces; in the latest the 
 spirals are smaller and more numerous, palms alternate with laurel 
 and oak in the branches, and the compartments are filled with 
 the 17th century tools to be described later. The name of 
 
 Fanfare was given to this style of work in the last century, 
 
 Antoinette de 
 Vendéme. 
 
 Case I. 38, 45. 
 
 The Eves, 
 15798-1631. 
 
 Case ins te.53 i 
 33) 34: 
 
De Thou, 
 1553-1617. 
 
 Case I. 31-35 ; 
 41-43 5 
 77-80. 
 
 Case I. 31-35. 
 
 Case I, 41-43. 
 
 Case I. 77-78. 
 
 XXXVIiIl. 
 
 when Charles Nodier had a volume entitled ‘Les Fanfares 
 et Courvées abbadesques,” bound for him in this manner by 
 Thouvenin, and ever since the small tools employed in it have 
 gone by the name of Fanfares. There were no inside borders 
 at this time. 
 
 Jacques Auguste de Thou was the most celebrated patron 
 of binding during the last part of the 16th century. Son of 
 Christophe de Thou, first President of the Parliament of 
 Paris, he inherited from him a valuable library, containing 
 several books bound for Grolier, which the latter had presented 
 to Christophe, in gratitude for having saved his life 
 and honour. Jacques Auguste was also President of the 
 Parliament under Henry IV., a position his son held after 
 him. He had a library of 8,000 volumes bound in a variety 
 of styles. It included Fanfare bindings of the late period, in 
 which the spirals were profuse and the foliage elaborate and 
 delicate; the dotted work of Le Gascon in his early days; 
 fawn coloured calf, ornamented with plain gold lines; white vellum 
 stamped with arms; and, most numerous of all, books covered 
 in moroccos, red, olive and citron, perfectly plain except for his fine 
 coats of arms. These arms vary greatly at different periods of his 
 life, in the following succession. Before he was married they were 
 simply argent with a chevron sable between 3 gadflies of the same, 
 with a cherub’s head as his crest above the escutcheon and his name 
 below, the whole enclosed between two branches of laurel. Later, 
 he added his monogram, I.A.D.T., and this and the arms are 
 on his books up to 1587, when he married Marie Barbancon. 
 After this he impaled his wifes arms, gules with 3 lions 
 crowned argent, with his own, and modified his monogram 
 to I.A.M. Marie died in 1601, and the following year 
 De Thou married Gasparde de la Chastre. Henceforth her 
 
 arms replace Marie’s, and the monogram becomes IA.G. He left 
 
XXXIX, 
 
 this library in perpetuity to his family, and the eldest son, Francois 
 Auguste, librarian to the king, guarded it jealously till he was 
 beheaded in 1642 at Lyons with Cing Mars. The third son of the 
 historian was then put in the place of Francois, became the head of 
 the family and the owner of the library, which he enriched with the 
 collection of his father-in-law, Huges Picardet. His books are known 
 by the combined arms of De Thou and Picardet until 1660, when 
 he was made Baron de Meslay. His arms are henceforth surmounted 
 by a count’s coronet instead of a baron’s, and the motto “Mane 
 NoBIs cum Domine.” ‘Three years after his death, in 1677, the 
 Abbé de Samer-aux-Bois sold the collection to meet the creditors 
 of the family. Charron de Ménars bought it almost intact, 
 except some of the MSS., which went to the Royal library. 
 In 1706, the Marquis de Ménars resold the library to the Bishop 
 of Strasburg for 440,000, who bequeathed it to his nephew the 
 Prince de Soubise, and it was only finally dispersed in 1788. 
 By far the greater part of De Thou’s library was plainly bound 
 in rich red morocco with his arms—a style that was subsequently 
 much copied by collectors in all countries. 
 
 We have now come to the end of the 16th century, for though 
 the Eves and their new style belong to the extreme end of it, their 
 most characteristic work belongs to the 17th. It remains only to 
 say a few words about binding itself at the period we have réached 
 as apart from decoration. Early 16th century binding is mainly 
 remarkable for its solidity; with Henry II. the work became 
 much finer. Bands on the back were at first very numerous and 
 heavy ; later on they were discarded, and the ornament of the 
 back was then brought into relation with that on the sides, as may 
 be seen in the best work of Francis I. and Henry II., though 
 this was hardly practised regularly till 1560 It is the custom 
 to consider that the practice of sawing across the backs of 
 
 books, to embed the cord on which the leaves are sewn, did not 
 
 Case I. 80. 
 
Louis XIII, 
 1610-1643. 
 
 Gase 1, 50,/ 51. 
 
 Macé Ruette, 
 
 xl. 
 
 originate until the 18th century, but it is evident from the plain 
 backs of this time that something of the sort took place as far back 
 as the middle of the 16th century. It was not till the end of the 
 16th century that the leather began to be pared before covering— 
 an important step in the direction of neatness and delicacy of work. 
 Throughout the century the guards and lining papers were white, 
 and sometimes of vellum; the edges of the books were profusely 
 ornamented with designs similar in character to the sides, and 
 carried out by means of matting tools, while a further luxury was 
 the marker of silk or ribbon, often ornamented with precious 
 stones, 
 
 The books of Louis XIIJ. were principally decorated with a 
 semis, and do not differ much from those of Henry IV. His 
 device was the single L. crowned, often used in the semis with 
 the fleur de lys, and these were occasionally used in conjunction 
 with the monogram of Queen Anne of Austria, two A.’s reversed 
 also crowned. The sides were sometimes bordered with the 
 branch work used so much in the preceding reign. His binders 
 were Clovis Eve, and after him Macé Ruette, who worked 
 between 1606-1638, and is supposed to have introduced into France 
 marbled paper and a yellow morocco also marbled. 
 
 His son, Anthoine Ruette succeeded his father between 1640 
 and 1650 as Crown binder, and did some fine work for Anne of 
 Austria, during her Regency, and for the Chancellor Séguier. 
 The motto of Séguier was ‘“ Arte ET Marte,” and he had the 
 ornament of the golden fleece on his arms. To the same period 
 belong also, as collectors, Mornay, Philippede, Dupuy, La Vrilliére 
 and Richelieu. Mornay’s books have, besides his arms, his 
 monogram of ¢ between two C.’s facing each other, which was the 
 initial of his wife Charlotte d’Arbaleste. 
 
 The brothers Pierre and Jacques du Puy had, besides the 
 arms, the double delta arranged as a star. The Maréchal Balthazar 
 
xi. 
 
 de Villars has a shield with his crest and the motto “ Fortis 
 FORTUNA FORTIOR, and beneath, the letters B.D.V. 
 
 Richelieu had his arms with the episcopal insignia and the 
 motto “ His FULTA MANEBUNT.” 
 
 It is impossible to describe here the marks of ownership on the 
 books of all the collectors, who henceforth became more and more 
 numerous. They are mostly coats of arms and crests, a knowledge 
 of which is in itself an elaborate and difficult study. Those whose 
 ambition it is to be able at once to assign the ownership to such 
 books must take as their guide, in default of a better, M. Guigard’s 
 ‘‘ Armorial du Bibliophile.” 
 
 Towards the end of the last century, there had been a growing 
 tendency to use engraved tools, which increased in the present 
 time, and was, as before remarked, a sign of the decadence rather 
 than of the growth of the art. Such were the little vases of 
 the time of Henry IV., which were used throughout the 17th 
 century, and by the imitators of Le Gascon. Such also 
 were the delicate tools copied from the designs on embroidery 
 and lace of frequent use throughout the time of Louis XIII., 
 and which were placed at the angles of the design, and also, 
 so to speak, cornered the centre compositions. Rolls, too, began 
 to be used at the extreme end of the 16th century, and gradually 
 developed in size and elaboration, obviously thereby helping 
 towards the mechanical reproduction of ornament. 
 
 About 1625 there appeared a new development of the 
 Eve style, always associated with the name of Le Gascon, 
 though no documents have ever confirmed the existence of a 
 person of that name. Supposed to have been in the workshop 
 of the Eves, he took the Fanfare style, with its complicated 
 geometrical framework, as the basis of his designs, but worked out 
 all the scrolls in fine dots instead of solid line. His work is the 
 
 extreme of reaction from the plain Aldine tools of the early Groliers. 
 
 Caser lite co ss 
 
 Le Gascon. 
 
 Case: 1 61;.62, 
 
Louis XIV., 
 1643-1715. 
 
 Cases 1, 1950, 1.60, 
 60A, 71. 
 Florimond Badier. 
 
 xlii. 
 
 Tools had begun to get finer with the Eves, but with Le Gascon 
 they reached the height of delicacy and perfection. In his later 
 styles he abandoned any solid framework at all, and made up his 
 designs of the pointillé ornament alone, which, ceasing to be an 
 accessory, forms a tracery of the minutest arabesque. This style 
 retained its chief place until 1660, when it gave way to a reaction in 
 favour of more solid work.  Pointillé or Le Gascon work may 
 be traced distinctly in three styles; in the earliest he combined 
 on a simple geometrical basis of solid line and curve the 
 finely cut centre pieces and corner tools, which, imitated from 
 lace, are distinctive of the 17th century; then come the designs 
 with the same curve and line ground plan, but with the corners 
 pointillé, and a mass of the same tooling round the centre panel 
 of line; and finally, those in which the whole background of the 
 design is worked in pointillé, leaving the geometrical interlacings 
 alone plain. Most of his work was done on a red morocco, of a 
 particular tone, and the brilliancy of the contrast between these plain 
 bands and the mass of sparkling arabesque, has never been equalled. 
 
 Throughout the reign of Louis XIV. binding continued to 
 increase in quantity. The king’s binders were Antoine Ruette, 
 Florimond Badier, whose splendid signed example of the 
 Imitation in the  Bibliothéque Nationale shows that he 
 possibly did many of the  pointillé bindings ascribed 
 universally to Le Gascon, On the signed binding of 
 Badier, above-mentioned, there is to be seen the little head, 
 executed in small dots, that is supposed to be the mark 
 of Le Gascon, which leads Mons. Gruel to think that they 
 were possibly the same person. To Badier is assigned the 
 first important use of doublures, or the lining of the inside 
 of the boards with leather, for the purpose of their decoration. 
 The first known doublure is on an Italian binding of 1550 
 in the Bibliothéque Nationale; but until the time of Louis XIV. 
 
xliil. 
 
 the examples are very rare, so that the usage was first established 
 then, as was also that of marbled paper, instead of the vellum or 
 plain white hitherto employed. 
 
 Le Gascon had many imitators, the best of whom was 
 probably Magnus of Amsterdam, who bound for the Elzevirs and 
 for Louis XIV., but the increasing use of elaborately engraved 
 rolls and of complete stamps for the interlacings was fatal to the 
 artistic character of their work. 
 
 To the end of the century belong as collectors the Marquis 
 de Louvois, Francois-Michel Le Tellier, whose books are easily 
 recognised by the three lizards in his coat of arms, and Nicolas 
 Fouquet, who often had a squirrel besides his initials F.N. The 
 College of Jesuits had the books which they purchased with 
 the money given to them by him for the extension of their library 
 bound with the two ¢q¢ interlaced, and this  interlacement 
 distinguishes them from the books that belonged to Desportes. 
 
 The last part of the reign of Louis XIV. witnessed the 
 steady decline of the art as a fine art. To that period belong 
 the dentelle borders, made up of the 17th century tools inspired 
 from the motives of lace-work often very delicate and of 
 beautiful execution but without any qualities of design. These 
 are not seldom to be found inside the Jansenist bindings of 
 the time, which were entirely plain outside, but elaborately 
 decorated within. The name is taken from Cornelius Jansen, 
 Bishop of Ypres, the founder of an ascetic sect, who died in 
 1638, and whose name is connected with a reform of manners in the 
 direction of simplicity. Towards the end of the 17th century, 
 indeed, there was comparatively little decoration on books, but the 
 binding itself was much improved. One name stands out prominently 
 as that of the last fine binder who continued the best traditions of 
 this period. Luc-Antoine Boyet, and his family, practised at Paris 
 between 1680 and 1733. He bound for Louis XIV., the Abbé 
 
 Magnus, 
 Case, Fs 26. 
 
 Case I. 74. 
 
 Decline of 
 French binding. 
 
 Jansenist 
 bindings. 
 
 L. A. Boyet. 
 
Case 1. 72. 
 
 xliv. 
 
 Fléchier, the Comte dHoym, Longepierre, the Marquise de 
 Chamillart and Colbert, whose bindings, plainly marked with his 
 
 arms and his device of the serpent, are among the best of the time, 
 
 _ partly on account of the clause in his treaty with Turkey which 
 
 English bindings 
 of the 17th 
 century. 
 
 Case: L-43.0445 
 Case M. 1-7. 
 
 Case M. 8-11. 
 
 Case M. 13-16. 
 
 Case M. 17-19. 
 
 Case: Pitd, 24.033 
 
 The Fan style. 
 
 entitled him to a choice of the best morocco skins. Boyet 
 is celebrated for his fine doublures, which, if he did not introduce, 
 he was certainly the first to popularise. The style of his work was 
 plain gold lines, enclosing the back and sides with ornamentation 
 only at the corners and along the edges connecting the corners, 
 such ornamentation being still of the Le Gascon type—a delicate 
 embroidery of curve and dot. His best work, however, belongs to 
 
 the next century. 
 
 Some of the better English binding was done for James I]. His 
 books generally have heavy corner pieces and centres of arms, the 
 rest of the side being diapered with a single tool. They do not 
 differ from the French semis in character except that the thistle, 
 the trident, and other English symbols, give more of a native 
 appearance to the work. Some books done for his eldest son, 
 Henry Prince of Wales, who was a great collector, have very 
 heavy corner stamps, and the feathers with “Ich Dien” and H.P. in 
 the centre; others, done for Charles Prince of Wales, afterwards 
 Charles I., are similar in character, but rather lighter, having scroll 
 work suggestive of the Eve influence, and his arms, with C.P. 
 Many of Charles II.’s books were bound for him in France as 
 presentation gifts, but some English specimens have plain panels 
 
 with his crowned cypher between two palm branches, and the British 
 
 -Museum has a fine sample of the cottage ornament done for him in 
 
 1669. A great many bindings of this century have the fan shaped 
 ornament which was so prevalent in Italy during the 17th century, 
 when the art had become decadent in that country. Made up of very 
 
 small tools in close combination, which form a crowded central 
 
xlv. 
 
 circular ornament in the middle and semi-circular ones at the 
 corners, it sometimes has a rich effect, but there is no balance in 
 the design, the tools composing it being all minute, and very poor 
 in character. 
 
 We must not omit to mention a Scotch school of binding that 
 did some good work at the end of the 17th century, and disappeared 
 after the first quarter of the 18th. The leather was most often blue 
 and somewhat over-elaborately covered with small leaves and dots, 
 but the designs are ingenious. Inferior examples were produced 
 down to 1750. 
 
 The names of certain English binders are known, but it is 
 impossible to connect many books with their names. Those of John 
 Reynes, binder to Henry VIII., can always be known by his stamp. 
 Thomas Berthelet, is called printer and binder to Henry VIII. and 
 Edward VI., but he was only an employer of workmen for 
 covering the books he printed. John Gibson, of Edinburgh, was the 
 appointed binder to James VI. when king of Scotland in 1581. 
 Robert Barker and John Norton were his nominal binders after his 
 succession to the English throne, though, like Berthelet, they were 
 only employers. Samuel Mearne worked for Charles II. But so 
 long as no bindings can be identified as their work, their names are 
 of little interest. 
 
 A far better type, and the one.most distinctly native to 
 England, though also used about 1630 in France, is that known 
 as the cottage style, in consequence of the lay-out being a pent- 
 like arrangement of lines at top, bottom and sides. In this 
 type the spaces are filled in, sometimes with the French sprays 
 and branches in combination with lace-work, sometimes with 
 the small tools used in the fan ornament; little rings and scale- 
 work are also very frequent in the filling up and are particularly 
 characteristic of the English school. With reference to this work it 
 may be noticed that English binding suffered greatly from the 
 
 Scotch bindings. 
 
 Case N. 36, 38-40. 
 
 The Cottage style. 
 
 Case N. 5,24, 25 ; 
 Case. O..1. 
 
Case S. 
 
 Case S. 8. 
 
 Embroidered 
 Bindings. 
 
 Case Ui. 
 
 xlvi. 
 
 inferiority in design of the tools used ; the only wonder is that so 
 many of the bindings look so well as they do, for on analysis of the 
 designs it may be seen with what poor material they were composed. 
 The art of combining tools to produce a good effect was also of the 
 most elementary kind, and they often appear to be thrown on almost 
 indiscriminately. Oxford and Cambridge adopted the cottage style 
 very largely in the productions’ of their Presses, clothed by their 
 own binders. 
 
 The chief private collectors of this time were Bishop 
 Cosin, for whom Hugh Hutchinson bound, the Earl of Oxford, 
 and Lord Chancellor Clarendon whose binder was Notts. 
 Sir Kenelm Digby can hardly be included, as, when exiled to 
 France after the execution of Charles I., he had his books bound 
 there, many by Le Gascon ; and when he returned to England at the 
 Restoration, he left his collection in France, where, on his death in 
 1665, it was dispersed. His books have his arms and those of 
 Valentia Stanley, his wife. 
 
 Other materials besides leather were largely employed during 
 the 16th and 17th centuries. Silk, velvet and embroidery were 
 extensively used for royal bindings from the time of Queen 
 Elizabeth, and throughout the Stuart period, particularly on books 
 of devotion. Ornaments from the goldsmith and enameller also 
 continued to overlay bindings till the end of the 17th century, 
 tortoiseshell covers edged and clasped with silver being a special 
 feature of the late 17th century. 
 
 Embroidery, indeed, applied to this use was almost exclusively 
 an English taste, and nowhere are such fine specimens of needle- 
 worked bindings to be found as in England during this time. 
 Silks of exquisite colours, gold and silver thread, bullions and pearls, 
 delicately and intricately woven, combine to give richness of colour 
 and splendour of effect. | 
 
 The name of the Ferrars of Little Gidding, who founded a 
 
xvii. 
 
 religious establishment at that place, is always associated with 
 embroidered covers ; but other sorts of binding were also done by 
 them. The British Museum shows a large folio bound for Charles I. 
 in leather elaborately tooled, and many specimens of both leather 
 and velvet, tooled in gold, came from their hands. 
 
 In the 17th century, then, there was a certain amount of good 
 binding done in England but chiefly in imitation of French 
 models. The Grolier style took but little hold of English taste; the 
 semis of the royal Stuart bindings lacked the finish of those done 
 for Henry IV.and Louis XIII.; the Eve style was copied with least 
 success of all, but the plainer De Thou or Bourbon models were 
 capable of more satisfactory reproduction, and consequently the 
 end of the period can show excellent examples of that school. To 
 sum up, during this period of two centuries, English bindings, admit 
 of the following classification: (1) Those in material other than 
 leather, and often decorated with enamels and gold and silver, 
 pierced and engraved; (2) Stamped vellum and calf bindings ; 
 (3) The Venetian-Lyonese work; (4) Occasional specimens of 
 French-Grolier work, very frequent ones of the French semis, 
 and some very good imitations of Le Gascon, done between 
 1660 and 1720, which delicate style, curiously enough, was the 
 most frequently imitated of all French work; (5) The cottage 
 ornamented bindings—the one distinctly English style belonging to 
 the 17th century. 
 
 With the 18th century in France, both binders and collectors 
 increased prodigiously in number. We have said that the best of 
 Boyet’s work comes into this time; he was followed by his son 
 Etienne Boyet, Duseuil, Antoine Michel Padeloup, Louis Douceur, 
 Pierre Lemonnier, Anguerrand, the Deromes, and Pierre Paul 
 Dubuisson, binder to the Duke of Orleans. Mosaics of inlaid 
 leather were very numerous; those of Padeloup being especially 
 
 important. 
 
 French binding of 
 the 18th century. 
 
 Case R. 5-7. 
 
Mdme. de 
 Chamillart, 
 
 1657-1731. 
 
 Longepierre. 
 
 Case I. 94, 95. 
 Comtesse de 
 Verrue, 1670-1736 
 
 Case I. 100. 
 
 Case I, 102. 
 
 Case R. 32-34. 
 
 Cases 10-1 00. 
 
 Case I. 106. 
 
 L. A. Boyet, 
 1680-1733. 
 
 xl viil. 
 
 We have no longer to notice any royal bindings, kings had 
 ceased to lead the way in art and letters, and binding, like other 
 things, was becoming democratic. On the other hand, the names of 
 collectors are legion. Mdme. de Chamillart, wife of the finance 
 minister of Louis XIV., had her books bound by Boyet and 
 Padeloup, with her arms in the middle, and two C.’s interlaced in 
 the corners. The Baron de Longepierre is known no longer by his 
 tragedy of ‘ Medea,” but by his books, which have the Golden 
 Fleece at the four corners. The Comtesse de Verrue had many of 
 her books quite- simply bound; others with her arms and 
 the name Meudon, where she kept her library, in gold. 
 The Count d’Hoym, Saxon Ambassador at Paris to Louis XV., 
 had his books stamped with his arms. The Duc de la 
 Valliere had an important collection. Much sought after 
 are books that have in a decorative oval the inscription 
 ‘“Ex Museo Girardot de Prefonds.” It was the period, too, of 
 the femmes brbliophiles : every woman of fashion had her library ; 
 the daughters of Louis XV., Marie Adelaide, Victoire and 
 Sophie had each her books bound in different coloured moroccos : 
 red for the elder, olive and citron respectively for the others. 
 Mdme. de Pompadour’s books numbered nearly 4,000. They 
 are distinguished by three castles in her arms; and Mdme. du 
 Barry, though she could hardly read, made a point of following the 
 fashion in books, and had hers bound with her arms and the motto 
 ‘‘BouTEZ EN AVANT.” Bisiaux’s only title to fame is that of being 
 her binder. 
 
 We will take the chief binders of the 18th century as they 
 succeed each other, and as far as possible give some characteristics 
 of their style and work. 
 
 Luc Antoine Boyet worked for all the great collectors, for 
 Fléchier and Colbert, for the Comte d’Hoym and Bellanger, for 
 Longepierre and Madame de Chamillart. He is credited with 
 
xlix. 
 
 having first instituted the doublures, but Gruel connects the 
 name of Florimond Badier with this innovation. His strong point 
 lay in the forwarding, his style of decoration being mostly very 
 simple, and consisting principally of a framework of lines, the 
 angles and edges only being ornamented, which is preserved to the 
 present day as almost the only pattern of binders. His bindings 
 are chiefly remarkable for their doublures. 
 
 Augustin Duseuil worked in the Boyet style, but was rather 
 lishter and less severe in his decoration. He married Frangoise 
 Padeloup, and is known as the binder to the Duchesse de Bery, and 
 as having worked also for the Comte d’Hoym. He could not, 
 however, have bound the books in the style always associated with 
 the name of Duseuil, which were done quite 40 years before his 
 time. This style consists of a simple framework of lines, with a 
 renaissance fleuron at each angle, and also permits a similar 
 decoration at the interior of the angles, and a centre piece of arms. 
 Everything concerning this Duseuil is wrapped in obscurity, though 
 for a long time he was supposed to be an abbé of the name, 
 at the end of the 17th century, who occupied his leisure in this 
 manner. Certain it is that this style appears on many of the 
 books simply bound for the libraries of Mazarin, Colbert and Kenelm 
 Digby. 
 
 Padeloup, called Le Jeune, succeeded Boyet as velceur du rot, 
 and was one of a family that furnished many binders in this century, 
 The characteristics of Padeloup, whose work has always had 
 many admirers, is the beauty of his leather, the perfection of his 
 forwarding and the eclecticism of his decoration. His mosaics 
 must not be considered, for, though greatly admired for the 
 brilliancy of their colouring, the tile-like design of their 
 compartments is often very feeble. Most of Padeloup’s 
 morocco work had excellent doublures, of which the dentelle 
 
 borders are based on the 17th century tools, which were 
 
 Augustin Duseuil, 
 1673-1746. 
 
 Antonio Michel 
 Padeloup, 
 1685-1758. 
 
 Case R. 2-7 
 
Louis Douceur, 
 1737: 
 
 Case R. 1. 
 
 J.C.H.Lemonnier 
 1757. 
 
 Case R. 9, Io. 
 
 N. D. Derome, 
 1761. 
 
 Case R. 12-19. 
 
 gradually becoming heavier. in style. As a binder, Padeloup 
 was rightly celebrated. He worked for Comte d’Hoym, 
 Mdme. de Pompadour, Bonnier de la Mosson, and the chief 
 collectors of the time, and was succeeded as velieur du vot by Louis 
 Douceur, whose work, though in the same style, is heavier and 
 somewhat clumsy. Padeloup was the first who employed for gold 
 work large engraved plates, which were used in an arming press. 
 
 Jean Ch. Henri Lemonnier, binder to the Duke of Orleans 
 in 1757, was one of a large family of binders. He is celebrated 
 for his elaborate mosaics, representing allegorical scenes, landscapes 
 and bouquets of flowers, which are rather fours de force than 
 successful examples of decorative binding. He was succeeded by 
 Tessier. Francois la Ferté bound for Louis XV. and for 
 La Valliere. 
 
 The Deromes supplied more binders to this period than any 
 other known family. Jacques Antoine was the contemporary of 
 Padeloup, but it was probably his son, Nicolas Denis, about 1761, 
 who once more gave to the art the distinction of a new style. The 
 continuity of the traditions of Padeloup in his work may be due to 
 his having purchased part of the latter’s plant. His dentelles a 
 l'oiseau were imitations of those of Padeloup, who first used the 
 bird-tool, which is much finer in his work than in the imitations of 
 Derome le jeune. He also did mosaics—a taste for which was 
 the fashion of the age, but his dentelles are what made his 
 reputation. They are distinguished from preceding dentelles by 
 not being made up of the same tools in repetition, but in 
 combination, thus affording much more variety. The types of his 
 tools, which were lightly shaded, were taken from the great 
 metal workers of the time, and may be seen in the balconies and 
 staircases of the houses of the period. We see in his work and in 
 that of his predecessors how the tools employed had been gradually 
 
 getting thicker and heavier, until in those of Dubuisson, who had 
 
li. 
 
 the largest collection of the century, they are distinctly solid in 
 character. What constitutes a style, says Marius Michel, is the 
 repetition of the same ornamental forms in all crafts and industries 
 of a period. The 18th century style was a distinct one, and 
 the motives of the Derome and Dubuisson dentelles may be found 
 on all the pottery and tapestry and furniture of the time. 
 
 Jean Paul Dubuisson was engraver and painter, and tool-cutter, 
 as well as binder and gilder. He was relieur du rot in 1758, and 
 executed large and massive dentelles. 
 
 Two other binders of this age are worthy of mention. The 
 family of Anguerrand supplied many binders, but Pierre was the 
 most important. He also bound for the Marquis de Paulmy, 
 between 1770 and 1775. 
 
 Jean Pierre Jubert is supposed to have been binder to Marie 
 Antoinette, he is known as a getter up and binder of almanacks in 
 the dentelle style. 
 
 Alexis Pierre Bradel, nephew and successor to Derome, worked 
 in his manner, but is best known as the inventor of a mode of 
 binding for valuable books which enabled them to be cased for use 
 without being forwarded for binding. 
 
 With Derome began the definite deterioration of binding, 
 especially in the forwarding. Derome himself cut down not only 
 the books entrusted to him of his own time, but the most valuable 
 works of the past, thereby setting a fashion of smooth edges which 
 lasted until Thouvenin who was the’ first in the next century to 
 reform forwarding, and cultivate a taste for large margins. He also 
 introduced the use of hollow backs, sawing the sheets to embed 
 the cord. All this, together with the deterioration of leather that 
 took place at the same time, caused binding during the last 50 years 
 of the 18th century to reach the lowest ebb to which the art was 
 ever reduced. The above names, except that of Thouvenin, who 
 
 belonged to the Empire and the time of Louis XVIII., are the last 
 
 J. P. Dubuisson, 
 1726-1759. 
 
 Pierre Anguer- 
 rand, 1748-1777. 
 
 J. Pe fubert i177 7 
 
 A. P. Bradel, 
 1772-1809. 
 
 Case R. 26. 
 
Bindings of the 
 Republic. 
 
 Case .R. 22. 
 
 English binding 
 of the 18th 
 century. 
 
 Case O. 28, 41. 
 
 The Harleian 
 style. 
 
 Thomas Hollis. 
 
 French emigrant 
 binders. 
 
 Roger Payne, 
 d. 1797. 
 
 lii. 
 
 that appear in the list of French binders, before their craft was 
 submerged during the time of the Republic. 
 
 The French Revolution was fatal to all forms of luxury in art, 
 and the bindings of the time have nothing on them but patriotic 
 or revolutionary emblems, such as the phrygian bonnet, a sheaf 
 of spears or the figure of Liberty. The Carnavalet Museum 
 has an interesting collection of the tools used on books of this 
 period. 
 
 We shall consider the restoration of French binding after 
 
 1820, in a few remarks dedicated to the art in this century. 
 
 An impetus was given to English binding about 1720, by the 
 patronage of Robert Harley, first Earl of Oxford, who founded 
 Eliot and 
 
 Chapman were his binders, and their style, since known as the 
 
 an important library which was continued by his son. 
 
 Harleian style, consisted of a broad tooled border with centre panels 
 in which the pine apple figures as a prominent tool. 
 
 Thomas Hollis had emblematic tools cut for him by the artist 
 Pingo, which he used on the works to which he considered them 
 suitable ; the caduceus of Mercury is found on books of oratory, 
 the wand of A¥sculapius on medical books, the cap of liberty 
 on patriotic books, the owl on works of philosophy, and the 
 He left his 
 
 name and property to Thomas Brand, who continued this style 
 
 pugio, or short Roman sword, on military subjects. 
 
 of binding. 
 
 At the end of the century the French emigrants introduced 
 their own style. Distinguished amateurs, who had learnt the craft 
 as an amusement, now practised it to support themselves, and the 
 names of the Comte de Caumont, the Comte de Clermont de Lodeve 
 and the Vicomte Gauthier de Brécy appear in the records of the time, 
 besides that of Du Lau, the friend and bookseller of Chateaubriand. 
 
 There succeeded to the Harleian binders, Roger Payne, whose name 
 
Ahi. 
 
 is associated with a particular English style. He learned his craft 
 under Pote, the bookseller to Eton College, and when he came to 
 London was first in partnership with Richard Wier, whose wife 
 is always known as the most remarkable of book restorers, 
 Russia leather had come into use about the middle of the century, 
 and much of Payne’s best work is done in that. His tools 
 were original in form, and some say both designed and engraved 
 by himself. These were placed at intervals in the spaces to be 
 decorated, and the field studded with gold dots. He used the 
 sraight grain morocco then in fashion, and his designs, though not 
 important in composition, look well upon it, and were distinctly 
 original As a forwarder he was a good workman, and the 
 elaborate and original way in which he described in his bills the 
 details of the work he had to carry out on a particular book have 
 made them famous. He did every part of the work himself, and 
 had he not lived in intemperance and poverty, might have proved 
 
 himself a greater artist than he did. He died in 1797. 
 
 It remains only to say a few words about binding in this 
 century, both French and English. 
 
 To the earlier part of the time belong to France, Bozérian and 
 Thouvenin, both good as artists, and Courteval, Lefevre and Simier, 
 whose work was not in any way remarkable. Up to the end of the 
 last century, skins had been tanned and dyed with great care ; from 
 the first years of the Empire, down to 1840, they underwent quite 
 a different treatment, greatly deteriorating thereby; sheepskin, 
 grained to imitate morocco, was even used instead of goatskin, and 
 the forwarding was of the most slovenly description. After 1830, 
 amateurs of binding came to the front again, and the art rapidly 
 improved. Purgold, the contemporary of Simier and Thouvenin, 
 began to reform the forwarding, and from his workshop came 
 
 Bauzonnet, to be known later, and especially in conjunction with 
 
 Case Q. 1-7. 
 
 Modern binding. 
 
 Case R. 26-31, 
 
 Case R. 35-37. 
 
Case R. 38, 39. 
 
 Case R. 40-46. 
 
 Case'0. 24,253.27: 
 
 Case Q. 15-18. 
 
 Case Q. 29-31. 
 
 liv. 
 
 Trautz, as among the chief of French modern binders and finishers. 
 It was Purgold who reintroduced small tools in combination, instead 
 of blocks, which had prevailed for some time. Purgold bound with 
 flat backs, Bauzonnet rounded his books much more, while Trautz 
 carried the rounding to excess, thereby making his books open 
 with much difficulty, a fault which is characteristic of the majority 
 of recent French work, excellent as it otherwise is in technique. 
 When Trautz became head of the business he reserved the finishing 
 to himself, leaving the forwarding to skilled men under his super- 
 intendence. Cuzin was one of his workmen, and Thibaron worked 
 upon his traditions. Lortic, a rival of Trautz and Bauzonnet, was an 
 excellent binder, and more original than the former in his designs. 
 Niédrée, Duru and Capé, contemporaries, must likewise be 
 mentioned, and Chambolle who succeeded Duru. But the 
 criticism to be passed on modern and contemporary French 
 binding, which is perfect in technique and has attained the highest 
 point of finish, is that it copies slavishly the old traditions in design, 
 and shows not the slightest tendency towards originality, the 
 motifs of the work being chiefly taken from the last century. 
 
 In England, a little colony of Germans—Baumgarten, Benedict, 
 Walther, Staggemeier and Kalthoeber—continued the traditions of 
 Roger Payne; though it was Charles Hering who worked chiefly in 
 his style. Kalthoeber’s work has nearly always a star or circular 
 ornament on the back; he also revived the practice of paintings on 
 the edges of books, underneath the gold, a practice carried out still 
 more extensively by Edwards, a binder in Halifax. 
 
 John Whitaker initiated the style termed Etruscan, in which 
 designs from the decoration of Etruscan vases were copied in colours 
 by means of acids instead of in gold. To John Mackinlay, for 
 whom Payne worked before his death, most of these binders owe 
 much of their excellence. 
 
 Charles Lewis, in conjunction with Staggemeier, bound most of 
 
Iv. 
 
 the books for Mr. Beckford, of Fonthill. Dibdin was a great 
 admirer of his work at a time when the taste for books made his own 
 writing on the subject so popular. He says of Lewis that ‘he 
 united the taste of Roger Payne with a freedom of forwarding and 
 squareness of finish peculiar to himself.” Lewis was assisted by 
 Clarke, famous for his tree-marbled calf, in binding the library of 
 the Rev. Theodore Williams, and Bedford, the best of all English 
 binders in forwarding, did much important work for the late 
 Mr. Huth. 
 
 In a general survey of binding from an artistic point of view, 
 it is not difficult to trace the phases through which it passed, 
 nor to see some of the chief reasons for its decadence. We have 
 emphasised the period at which it attained its highest artistic point 
 as, roughly speaking, the first half of the 16th century, but this is 
 solely from the point of view of design—the technical qualities 
 being rough without any of the finish that distinguishes later 
 work. Many think the Eve and Le Gascon period to have been 
 finer, but the designs of those masters lack the simplicity and 
 dignity that distinguish the early work. Ornamentation is too 
 profuse, there is too great a multiplication of detail, and too 
 greata repetition of parts. 
 
 It will be observed, too, that as the mechanical aids to the art 
 grew in number, taste declined. When line and circle constituted 
 the chief elements of design, there may have been occasional poverty 
 of invention, there was rarely error in taste and judgment. With 
 the advent of the tool cutter came the temptation to lavish 
 decoration without regard to balance of parts or appropriateness of 
 design. The foliated style gave ample scope for this weakness, 
 and much of the work of the Eve school is an example of it. 
 It is a relief to turn to the Bourbon bindings, which may have been 
 
 a reaction from the excessive ornament, with their fine untouched 
 
 Case Q. 33-39. 
 
lvi, 
 
 spaces of leather having as sole decoration the coats of arms of their 
 owners. 
 
 When highly decorative work again came into fashion, we 
 see little else than reproductions of the great models, with often an 
 extremely injudicious combination of different styles. Padeloup, in 
 France, and Payne, in England, are the only binders who can be 
 said to have originated a new style. Binding can never again 
 become a fine art unless invention goes hand in hand with the 
 execution which now leaves nothing to be desired. In all depart- 
 ments of decorative art we see the same inability to escape from the 
 traditions of the past, but in none has there been such servile copying 
 
 of the old models as in the decoration of books. 
 
 S. T.oPRIDEAT 
 
CONTEMPORANEOUS SOVEREIGNS 
 
 Charles VII. 
 Louis XI. 
 
 Charles VIII. ... 
 
 Bows XI 
 
 Francis I. 
 
 Henry II. 
 
 Francis II 
 
 Charles IX. 
 Henry III. 
 
 Henry IV. 
 
 Louis XIII. 
 
 Louis XIV. 
 
 APPENDIX A. 
 
 FRANCE. 
 15th CENTURY. 
 1422 
 1461 
 1483 
 ( Jeanne, d. of Louis XI. 
 Anne, Duchess of 
 1498 < Brittany 
 ] Mary, d. of Henry VII. 
 of England 
 
 16th CENTURY. 
 
 Claude, d. 
 I515 elie 
 Eleanor of Austria 
 
 of Louis 
 
 1547 Catherine de Medici 
 
 Mary Stuart, Queen of 
 15594 Scotland 
 
 Regency of Catherine de 
 E500 | ” Medici 
 1574 Louise de Vaudemont, 
 
 called Louise de 
 Lorraine 
 
 d. of Henry II. 
 
 Marguerite de Valois, 
 1589 
 Marie de Medici 
 
 17th CENTURY. 
 re Anne of Austria, d. of 
 Philip III. of Spain 
 
 ‘6 Maria ‘Theresa, d.. vof 
 43 Philip IV. of Spain 
 
 Philippe d’Orleans, grandson of Louis XIII, 
 Regent, 1715-1723. 
 
 Louis XV. 
 Louis XVI. 
 
 Louis XVII. 
 Republic I. 
 
 18th CENTURY. 
 
 1715 Mary Leczynskaof Poland 
 
 Marie Antoinette of 
 
 774 Austria 
 
 1793 Never Reigned 
 $9317 99 
 
 IN FRANCE AND ENGLAND. 
 
 Henry V. 
 Henry VI. 
 Edward IV. 
 Edward V. 
 
 Richard ITI. 
 
 Henry VII. 
 
 Henry VIII. ... 
 
 Edward VI. 
 Mary 
 Elizabeth 
 
 James I. 
 Charles I. 
 
 Commonwealth 
 
 Charles II. 
 
 James II. 
 
 ENGLAND. 
 15th CENTURY. 
 
 1413 
 
 1422 
 
 .. + 1461 
 
 1483 
 
 { Elizabeth, d. of Edward 
 TSS a Ty. 
 
 16th CENTURY. 
 
 ( Catherine of Aragon 
 | Anne Boleyn 
 | Jane Seymour 
 £509 4 Anne of Cleves 
 | Catherine Howard 
 | Catherine Parr 
 
 1547 
 1553 Philip of Spain. 
 
 1558 
 
 17th CENTURY. 
 
 1603 Anne of Denmark 
 1625 Henrietta of France 
 
 1649 
 1660 Catherine of Braganza 
 
 68 Anne Hyde 
 TOS 1 Maria Beatrice d’Este 
 
 William and Mary 1689 
 
 William ITI. 
 
 Anne 
 
 George I. 
 George IT. 
 
 George III. 
 
 1694 
 
 r8th CENTURY. 
 Prince George of Den- 
 eS mark 
 1714 Sophia Dorothea of Zell 
 1727 Caroline of Anspach 
 
 reas Sophia Charlotte of 
 179°)” Mecklenburg-Strelitz 
 
Buinpd TooLinGc 
 
 DENTELLE BORDER. 
 
 DOUBLURE 
 FINISHING 
 
 FORWARDING 
 
 GAUFRE EDGES , 
 
 (GOUGE 
 
 Petits FERS 
 
 POINTILLE 
 
 ROEUS TA TeuLeaeies oo 
 
 SEMiShr smn: 
 SQUARES . 
 
 TooLs . 
 
 Iviil. 
 
 Pere Dey eX Bs 
 
 TERMS: 
 
 Impressions of the finisher’s tools without gold. 
 
 A border, resembling lace work, finished with finely-cut tools. 
 
 When the inside of the cover is lined with leather it is called a doublure, 
 All ornamentation in blind or gold by means of tools used in combination. — 
 
 All processes through which a book passes after sewing other than those 
 of ornamentation by means of tools or rolls. 
 
 Impressions made with the finishers’s tools on the edges of the book 
 after gilding. 
 
 A finishing tool forming the segment of a circle. 
 
 Small hand tools used in finishing in distinction to the stamps or blocks 
 worked in a press. 
 
 The dotted style of Le Gascon. 
 
 Wheels of brass, cut to any pattern, for impressing the gold leaf on 
 the leather. 
 
 A diaper design, made up of the repetition of one or more small tools. 
 The portions of the boards that project beyond the edge of the book. 
 
 Brass stamps used for impressing the gold leaf on the leather. 
 
lix, 
 
 eae BND) EXEC, 
 
 THE MOST IMPORTANT WORKS RELATING TO BINDING 
 EACLUSIVE’ OF TECHNICAL HANDBOOKS. 
 
 TEIN retake 
 
 ARNETT (JOHN ANDREWS). The Books of 
 the Ancients. 1843. 
 BLapDEs (WILLIAM). ‘The Enemies of Books. 
 
 Second Edition. 1880. Post 
 
 London. r12mo. 
 London. 
 8vo. 
 
 Boucnor (Henri). The Book: its Printers, 
 Illustrators and Binders from Gutenberg 
 to thepresent time. Edited by H. Grevel. 
 London. 1890. 4to. 
 
 CRalG (JAMES GIBSON). Facsimiles of Old 
 Bookbinding in the Collection of J. G. 
 Craig. 
 
 Privately printed. 25 copies 
 
 only. No letterpress. Plates. Edin- 
 burgh. 1882. 4to. 
 CUNDALL (JOSEPH). On 
 
 Ancient and Modern. 
 
 Bookbindings, 
 London. 1881. 
 Cr. 4to. 28 plates. 
 DispIn (THos. FROGNALL). 
 
 graphical Decameron. 
 
 The Biblio- 
 London. 1817. 
 Vol. 2. Dialogue 8. 
 Pp. 425-533 contains an account of 
 Bookbinding ancient and modern, speci- 
 
 3 vols. 8vo. 
 
 mens of bindings, and notices of binders. 
 
 Dispin (THOs. FROGNALL). Bibliomania. 
 London. 1811. 8vo. 
 Dispin (THos. FROGNALL). <A_ Biblio- 
 
 graphical, Antiquarian, and Picturesque 
 Tour in France and Germany. London. 
 £021.03 5 Vols Sv0. Vol. pp. 411- 
 421, contains the account of French 
 binding and binders answered by Lesné 
 in his “ Lettre d’un relieur francais 4 un 
 bibliophile anglais.” 
 EDWARDES (EDWARD). 
 London 
 
 Memoirs of Libra- 
 and Leipzig. 1859. 
 Vol. 2 contains an his- 
 
 ries. 
 2 vols. 8vo. 
 torical account of Bookbinding, with 
 
 6 plates. 
 
 | 
 | 
 
 Hoe (Rosert). A Lecture on Bookbinding 
 as a Fine Art. New York. Grolier 
 Club. 1886. Small 4to. 63 illustrations. 
 
 Lipri (GUILLAUME). Monuments inédits ou 
 
 peu connus faisant partie du cabinet de 
 
 G. Libri, et qui se rapportent a l’histoire 
 
 des arts du dessin considérés dans leur 
 
 des 
 
 Ponta 
 
 application a Vornement livres 
 1862. 65 
 plates. » The Second Edition of 1864 
 
 Londres. Folio. 
 contains a supplement of five additional 
 plates, indicated by alphabetical letters. 
 The text is in French and English. 
 
 Modern Bookbind- 
 ing practically considered. 
 
 MATTHEWS (WILLIAM). 
 A. lecttre 
 read before the Grolicr Club of New 
 York, March 25, 1885, with additions 
 and new illustrations. New York Grolier 
 
 Club. 1889. 
 QuarircH (B.). 
 
 amples of Historical and Artistic Book- 
 
 Ato. 
 Facsimiles of choice ex- 
 
 binding in the 15th and 16th Centuries. 
 1889. 
 in colours and gold. 
 
 London. Imp. 8vo. 103 plates 
 Tuckett (C., Junior). Specimens of Ancient 
 Selected ° 
 
 chiefly from the Library of the British 
 
 and Modern Bookbinding. 
 
 Museum. London. 1846. 4to. 8 plates. 
 
 Wueat_ey (H. B.). Remarkable Bindings 
 in the British Museum. London. 188g. 
 4to. 62 plates. 
 
 WueEat_ey (H. B.). Bookbinding considered 
 asa Fine Art, Mechanical Art, and Manu- 
 facture. A Paper read before the Society 
 of Arts, April 14, 1880. London. 
 11 plates. 
 
 Witp (JoHNn James). Bookbinding in the 
 Library of All Souls’ College. 1880. 
 Folio. 12 plates, drawn by J. J. Wild. 
 
 8vo. 
 
Ix. 
 
 FRENCH. 
 
 Gazette illustrée des 
 Amateurs de Livres, d’Estampes, et de 
 
 BIBLIOPHILE FRANGAIS. 
 
 haute curiosité. Paris. 1867-73. 7 vols. 
 
 8vo. Numerous plates of bindings, 
 armorials, etc., with text by Brunet, 
 Julien, Fournier, etc. 
 
 BruNEt (Gustave). La Reliure ancienne 
 et moderne. Recueil de 116 Planches 
 de reliures artistiques de xvi®, xvuI°, 
 XVIII° et x1x° siécles. 
 G. Brunet. 
 
 BRUNET (GUSTAVE). 
 des 
 
 quelques bibliophiles célébres. Bordeaux. 
 
 Introduction par 
 1884. 
 Etudes sur la Reliure 
 
 Paris. Large 8vo. 
 
 livres et sur les collections de 
 
 1891. 8vo. 
 Boucuot (HeEwri). Le Livre, lillustration, la 
 Reliure. Etude historique sommaire. 
 1887. Post 8vo. Illustrated. 
 Boucnor (Henri). Les Reliures d’art a la 
 
 1888. 
 
 Paris. 
 
 Bibhotheque Nationale. Paris. 
 8vo. 80 Plates. 
 
 Derome (L.). La Reliure de Luxe. Le livre 
 
 1888. 
 
 63 
 Plates from original designs. 
 
 Dutuir. Souvenir de Exposition de M. 
 Dutuit. 1869. 
 34 Plates. 
 
 Firmin-Dipor. Catalogue illustré de la 
 bibliotheque de Ambroise Firmin-Didot. 
 Paris. 5 vols. 4to. 1878-84. Numerous 
 Plates of Bindings. 
 
 FourNIER (Epouarp). L’art de la Reliure 
 
 et amateur. Paris. Large 8vo. 
 
 goo numbered copies. Coloured 
 
 Paris. Ato.“ Pp.107. 
 
 en France aux derniers siécles. Paris. 
 1888. t1r2mo. 
 Guicarp (Joannis). Armorial du _ Biblio- 
 
 phile, avec illustrations dans le texte 
 8vo. 
 Nouvel armorial du 
 
 Paris. Seconde édition, 1880-81. 
 GUIGARD (JOANNIS). 
 Bibliophile. Paris. 1889. 2 Vols. 8vo. 
 GRUEL (LEon). Manuel Historique et Biblio- 
 graphique de Amateur de Reliures. 
 1887. Med. 4to. 
 
 bered copies. 70 Plates. 
 
 Paris. 1.000 num- 
 
 Album de reliures 
 artistiques et historiques des xvI° XvII°, 
 
 JULIEN (LE BIBLIOPHILE). 
 
 XVIII® et X1x® sitcles, accompagné de 
 notes explicatives. 1866. 
 Each part has 25 Plates. 
 Histoire de la Biblio- 
 recherchées_ sur les 
 
 Paris. In 
 
 4 Parts. to. 
 JAQUEMARY (JULES). 
 philie. Reliures 
 bibliotheques des plus célébres amateurs. 
 Armorial des Bibliophiles. Paris. 1861. 
 Folio. 
 Lipri (GUILLAUME). 
 
 peu connus, faisant partie du cabinet de 
 
 47 Plates. 
 Monuments inédits ou 
 
 G. Libri, et qui se rapportent 4 V’histoire 
 des Arts du Dessin considérés dans leur 
 
 application & Vornement des _ livres. 
 Londres. 1862. Folio Pp. 14 and 
 65 Plates. The Second Edition of 1864 
 
 contains a Supplement of 5 additional 
 
 Plates, indicated by alphabetical letters. 
 LESNE. Poeme didactique en 
 
 six chants. 
 
 La Relieure. 
 Seconde é€dition, dédiée aux 
 amateurs de la Reliure. Paris 1827. 
 Large 8vo. 120 numbered copies. This 
 edition contains the Dedication and 
 Preface to the first edition of 1820, the 
 “ Mémoire relatif aux moyens de per- 
 fectionnement propres 4 faire retarder.de 
 plusieurs sitcles le renouvellement des 
 Relieures,” the “ Hpitre a Thouvenin,” 
 and the ‘‘ Lettre d’un Relieur francais a 
 un Bibliographe anglais.” 
 Lesnké. Lettre d’un Relieur frangais & un 
 Bibliographe anglais. Paris. 1822. $vo. 
 A reply to Dibdin’s criticisms of French 
 Binders in his Bibliographical Tour. 
 Lincy (LE Roux pre). Recherches sur Jean 
 Grolier, sur sa vie et sa bibliotheque, 
 suivies d’un catalogue des livres qui lui 
 ont appartenu. 1866. 8vo. 
 Planches et Fac-simile (separately). 
 Loutsy (M. P.). Le Livre et les arts qui s’y 
 rattachent, depuis les origines jusqu’a 
 la fin du xvi® sitcle. Paris. 1886. 
 8vo. 121 Illustrations. Taken from 
 
 Paris. 
 
the works of Paul Lacroix on the Middle 
 Ages and the Renaissance, the 17th and 
 18th centuries. 
 
 Marius-MicHEL. La Reliure frangaise de- 
 puis invention de lImprimerie jusqu’a 
 la fin du xvuur® siécle. 1880. 
 
 4to. 
 
 Paris. 
 22 Plates. 
 
 Marius-MicHEL. La Reliure frangaise com- 
 merciale et industrielle depuis invention 
 de Imprimerie jusqu’a nos jours. Paris. 
 1881. 
 
 4to. 23 Plates. 
 
 Morcanp-Fatout. Bulletin de la librairie 
 Morgand et Fatout. Paris. 1876, etc. 
 Vols. I., II., and III. Numerous Plates. 
 
 Morante. Catalogue illustré de la biblio- 
 théque de feu M. le Marquis de Morante, 
 précédé dune notice biographique par 
 M. Fr. Asenjo Barbieri et de quelques 
 mots sur cette bibliothtque par M. Paul 
 Lacroix. Paris. 1872. 8vo. 34 Plates. 
 
 Ix1. 
 
 PICHON (JEROME, Baron). Vie de Charles 
 Henry, Comte d’Hoym. Paris. 1880. 
 
 SVO.) ay Ole lL. Chel Vie Dein 
 bibliotheque du Comte d’Hoym et de 
 son gofit pour les livres. 
 
 QUENTIN-BauCHAT (ERN.). Les femmes 
 bibliophiles. Paris. 1866. 2vols. S8vo. 
 Numerous Plates. 
 
 ROTHSCHILD (LE BARON JAMES DE). Cata- 
 logue des livres composant la Biblio- 
 theque des feu M. le baron James de 
 Rothschild. Préface de M. Emile Picot. 
 
 1884. 5 Plates 
 
 UZANNE (OctAvE). La Reliure moderne, 
 
 1887. 
 
 1,500 numbered 
 
 2 vols. 
 
 4 Plates. 
 
 iparice 8vo. 
 
 artistique et fantaisiste. Paris. 
 
 Large 8vo. 72 Plates. 
 copies. 
 
 Wynants (V.,). 
 
 tique d’un Praticien, étude sur les relieurs 
 
 La Reliure moderne, cri- 
 
 et sur la reliure en générale, destin¢e aux 
 
 amateurs de livres. Paris. 1882. 12mo. 
 
 GERMAN. 
 
 LeMpeRTS (HEINRICH). Bilderhefte zur 
 Geschichte des Bucherhandels und der 
 mit demselben verwandten Kiinste u. 
 Gewerbe. Koln. 1854. 65 
 Plates. Contains ro fine plates, with 
 explanatory matter, chiefly of stamped 
 and painted buildings of the 14th, 15th, 
 and 16th centuries. 
 
 NUREMBERG GERMANISCHES MusrEuM. Ca- 
 talog der im germanischen Museum 
 vorhandenen 
 
 Folio, 
 
 Buchein- 
 
 interessanten 
 
 bande. 
 1889. 
 
 Mit Abbildungen. 
 8vo. 
 
 Nurnberg. 
 
 STOCKBAUER (F.). Abbildungen von Mus 
 tereinbanden aus der Blithezeit der 
 Buchbinderkunst. In Lichtdruck ausge 
 fuhrt. Mit einleitendem 
 F. Stockbauer. 
 Mit 40 Tafeln. 
 
 Texte 
 1881. 
 
 yon 
 
 Leipzig. 4to. 
 
 ZIMMERMANN. Bucheinbande der K. Biblio- 
 thek zu Dresden. (Still in progress. ) 
 
' mh 
 > ‘ 
 wae oo Pea b 
 oh ; eae i 
 
 2 
 wa 
 a 
 
CATALOGUE. 
 
 Case A. 
 
 STAMPED BINDINGS—ENGLISH. 
 
 1 LIBER DE TERRIS REGIS REDDENTIBUS LANGABULUM ET BRUGIUM IN 
 WINTON. Known as the Winchester Domesday Book. Manuscript on 
 vellum. 1148. 
 
 Brown leather ; 12th century. Winchester. 934 by 634 in. 
 Lent by Society of Antequartes. 
 
 2) BIBLIA SAcrA. Manuscript on vellum, in 4 volumes, given by Hugh Pudsey, 
 3 Bishop of Durham 1153-1195, to the Cathedral Library. 
 
 The plan of ornamentation of each cover is different. The total number 
 of stamps employed is 51; of these, 27 were employed on the cover of 
 vol. 1, and 16 on that of vol. 3, which two volumes are here exhibited. 
 
 Brown leather ; c. 1190. Benedictine Monastery, Durham. 19 by 13 in. 
 
 Durham Cathedral Library, 
 
 4 DIONYSIUS DE CAELESTI HIERARCHIA. Manuscript on vellum, 
 
 Brown leather; 12th century. Benedictine Monastery, Durham. 
 12 by 834 in. : 
 Hereford Cathedral Library. 
 
 5 YSAYAS GLOSATUS. Manuscript on vellum. 
 
 Brown leather ; end of 12th century. Benedictine Monastery, Durham. 
 
 LAs by 9 I in. 
 a A Durham Cathedral Library. 
 
Case A. 2 
 
 6 LEVITICUS ET NUMERI GLOSATI. Manuscript on vellum. 
 
 10 
 
 11 
 
 12 
 
 18 
 
 Brown leather ; end of 12th century. Benedictine Monastery, Durham. 
 
 13/2 by 9% in. 
 Lent by Durham Cathedral Library, 
 
 PSALTERIUM GLOSSATUM. Manuscript bequeathed by Bishop Hugh Pudsey 
 to the Cathedral Library, Durham, in 1195. 
 
 Brown leather; c.1190. Benedictine Monastery, Durham. 13% by 93% in. 
 Durham Cathedral Library. 
 
 STEPHANUS (LANGTON) ARCHIEPISCOPUS CANTUARIENSIS SUPER ECCLE- 
 SIASTICUM. Manuscript on vellum. 
 
 Brown leather ; 13th century. 13 by 9% in. 
 Durham Cathedral Library. 
 
 MARSILII FICINI FLORENTINI EPISTOLAE. Venice. 1495. Fol. 
 Brown leather; end of 15th century; impressed with stamps of the 
 12th and 13th century. Winchester. 1234 by 8¥ in. 
 
 Westminster Abbey Library. 
 
 ALEXANDRI NECKAM EXPOSICIO SUPER TERCIUM LIBRUM DE ANIMA, 
 Oxford. 1481. Fol. 
 Calf; c, 1481. Theodore Rood and Thomas Hunte, Oxford. 
 
 1134 by 8% in. 
 Durham Cathedral Library. 
 
 BOOK-COVER. 
 Calf; c. 1481. Theodore Rood and Thomas Hunte, Oxford. 8% by 
 5% in. 
 FI, Madan, Esq., Oxford. 
 
 SUMMA DE VITIIS, Manuscript on vellum. 
 
 Calf; 141% by 9% in. 
 Durham Cathedral Library. 
 
 JOANNIS SCOTI TERTIUS LIBER SENTENTIARUM. Venetiis. 1490. Fol. 
 
 Calf; 13% by 9g in. 
 Corpus Christe College, Cambridge. 
 
14 
 
 15 
 
 16 
 
 17 
 
 18 
 
 19 
 
 20 
 
 21 
 
 3 Case A. 
 
 BOOK-COVER. 
 
 Each side is impressed with the arms of Edward IV., and a variety of 
 small stamps. This is the earliest example of a panel stamp on an English 
 
 binding. Calf; c. 1480. 834 by 6 in. 
 Lent by Westminster Abbey Library. 
 
 W. CAXTON. THE LASTE SIEGE AND CONQUEST OF JHERUSALEM. 
 Westminster. 1481. Fol. 
 
 Leather ; 111% by 8% in. 
 W. A. Tyssen Amherst, Esq., M.P. 
 
 RAYMUNDI SUMMULA. Parisiis. 1516. 8vo. 
 
 Calf ; panel; the Tudor rose surrounded by vine branches. London; 
 
 Richard Pynson. 6 by 4 in. 
 Stonyhurst College. 
 
 LAVACHRUM CONSCIENCIE. Rothomagi impensa Thome Laisne. 
 
 Calf; 2 panels: one, the device of Frederick Egmond; the other, 
 three vertical bands of foliage within a frame, with the Evangelistic animals, 
 
 flower sprays and wyverns. 5% by 4 in. 
 Caius College, Cambridge. 
 
 PLATINE HYSTORIA DE VITIS PONTIFICUM. Parisius. 1505. 8vo. 
 
 Calf; 2 panels: on the upper side, S. Michael, at the foot an escucheon 
 with a maiden’s head, ensigned with a crown; on the under side, S. George. 
 
 7 by 4% in. 
 HI. S. Richardson, Esq. 
 
 LACTANTII OPERA. Basilez. 1521 (1522), Feb. 4to. 
 
 Calf; same stamps ason 18. 834 by 53 in. 
 F.. J. H. Jenkinson, Esq. 
 
 SERMONES DORMI SECURE. Hagenau. 1509. 8vo. 
 Calf; 2 panels: S. Barbara and the Mass of S. Gregory. 8% by 534 in. 
 Westminster Abbey Library. 
 
 NICOLAI DE SORRA SERMONES. Parisiis. 1509. 8vo. 
 
 Calf; 2 panels: the Annunciation and Coronation of the Blessed Virgin ; 
 the stamps cut in Normandy by or for R. Macé, of Caen, whose name is 
 
 on the latter panel. 6% by 4% in. 
 All Souls College, Oxford. 
 
Case A. 4 
 
 22 J. LEMAIRE. LE TRAICTIE INTITULE, DE LA DIFFERENCE DES SCISMES ET 
 DES CONCILLES DE L’EGLISE. Lyon. I511. 4to. 
 
 Calf; 2 panels: S. Nicholas and S. Barbara; the frame adorned with 
 flowing foliage; the space between these and the edges impressed with a 
 lozenge-shaped stamp, charged with a shackle-bolt, probably the badge of 
 the original owner, one of the Percy? family. 10 by 7% in. 
 
 Lent by Durham Cathedral Library. 
 
 238 Hora. MS. on vellum. 
 
 Calf; 2 panels: the arms of Henry VIII. and the Tudor rose; with 
 the initials of the binder, H.N. 834 by 6 in, 
 Her Majesty the Queen. 
 
 24 VERGILII ECLOG#. Florentiae. 1504. S8vo. 
 
 Calf; 2 panels: the arms of Henry VIII. and the Tudor rose. 
 London, Henry Jacobi. 634 by 4 in. 
 Westminster Abbey Library. 
 
 25 HIERONYMUS IN VITAS PATRUM. Lugduni. 1520. 4to. 
 
 Calf; 2 panels: the arms of Henry VIII. and the Tudor rose; at 
 the foot, the device and initials of Julian Notary; between the panels the 
 same roll-stamp as on 27. 10% by 7 in. 
 
 W. A. Tyssen Amherst, Esq., MP. 
 
 26 POLITIANUS. MISCELLANEORUM CENTURIA UNA, Basilew. 1522. 8vo. 
 Calf; 2 panels, the same as 25. 6% by 4 in. 
 Her Majesty the Queen. 
 
 277 BASILII OPERA. Coloniae. 1523. Fol. 
 
 Calf; roll stamp, with Tudor badges, and the initials K.L. or L.K. 
 London. 12% by 8¥% in. 
 W. A. Tyssen Amherst, Esq., MP. 
 
 28 LIBER SENTENTIARUM LOMBARDI, Lugduni. 1527. 8vo. 
 
 Calf; 2 panels with the device and initials of Julian Notary, differing 
 in details from 25, 26 and 29; it is not known into whose hands these 
 stamps had passed in 1527. 7 by 5 in. 
 
 E. Gordon Duff, Esq. 
 
29 
 
 30 
 
 31 
 
 32 
 
 33 
 
 34 
 
 35 
 
 5 Case A. 
 
 HAYMO IN EPISTOLAS PAULI. 1528. 8vo. 
 
 Calf; 2 panels, the same as on 25 and 26; by whom bound not known. 
 
 634 by 4% in. 
 Lent by E. Gordon Duff, Esq. 
 
 ERASMI DIALOGI. Basile. 1528. 8vo. 
 
 Calf; 2 panels: the arms of Henry VIII. and the Tudor rose; with the 
 device of the binder and his initials, H.A. 7 by 5 in. 
 
 W. A. Tyssen Amherst, Esq. MP. 
 
 JACOBI DE VORAGINE LEGENDA SANCTORUM QUE LOMBARDICA NOMINATUR 
 HyYSTORIA. Argentine. 1496. 8vo. 
 
 Calf ; the panel in centre, Flemish, the other stamps, English. London ; 
 
 James van Gavere. 8% by 6 in. 
 W. A. Tyssen Amherst, Esq., M.P. 
 
 HADRIANUS DE SERMONE LATINO. Colonize. 1522. 8vo. 
 
 Calf; 2 panels: one bearing the arms of Henry VIII, the other, 
 the Tudor rose, with the binder’s device and initials. London; G.G. 
 
 6% by 4% in. 
 Stonyhurst College. 
 
 ERASMI IN EVANGELIUM Luca PARAPHRASIS. Basile. 1523. 8vo. 
 Calf; 2 panels, the same as on 32. London; G.G. 7 by 434 in. 
 Rev. W. E. Buckley. 
 
 TESTAMENTUM VETUS. Basileze. 1526. 4to. 
 Calf; 2 panels, the same as on 32. London; GG. 9% by 6 in. 
 S. Sandars, Esq. 
 
 GUILLELMI PEPINI EXPOSITIO IN GENESIM. Parisiis. 1528. 8vo. 
 
 Calf; 2 panels: one with the arms of Henry VIII. within a border 
 bearing the verse: “Confitemini Dominum quoniam bonus quoniam in 
 seculum misericordia eius: Deus meus in te speravi.” The other panel is 
 divided into four compartments, containing full length figures of an 
 archbishop, S. Barbara, S. Katherine and S. John the Evangelist. London ; 
 
 G.R. 634 by 4% in. 
 4 by 4% All Souls’ College, Oxford. 
 
Case A. 6 
 
 386 Novi TESTAMENTI EDITIO POSTREMA PER D. ERASMUM ROTERODAMUM. 
 Basiles> "1523. “ovo: 
 
 Calf; 2 panels: one with the arms of Henry VIII. within a frame 
 bearing the words: “ Laudate Dominum de terra dracones et omnes abyssi ;”” 
 the other is divided into four compartments with figures of S. George, 
 S. Barbara, S. Michael and S. Katherine, within a frame bearing the 
 inscription: “ Quidquit agas prudenter agas et respice finem: O mater Dei 
 memento mei.” London; G.R. 634 by 4% in. 
 
 Lent by Her Majesty the Queen. 
 
 37 SERMONES PERUTILES DE SANCTIS, BIGA SALUTIS INTITULATI. Hagenaw. 
 1516. 4to. 
 
 Calf; 2 panels: one bears the arms of Henry VIII. and the Tudor 
 rose separated from each other by the Garter ; the other, a large escucheon 
 with the arms of Henry VIII. impaling those of Katherine of Aragon 
 supported by two angels. Both panels have small escucheons with the 
 
 binder’s cypher. E.G. 834 by 6% in. 
 Durham Cathedral Library. 
 
 88 RICHARD WHYTFORDE. THE BOKE CALLED THE PYPE OR TONNE OF THE 
 LYFE OF PERFECTION. London. 1532. 4to. 
 
 Calf ; 2 panels: on one, the arms and badges of Henry VIIL; on the 
 
 other, the arms of Henry VIII. impaling those of Katherine of Aragon. 
 
 8 by 5% in. 
 W. A. Tyssen Amherst, Esq, MP. 
 
 39 OVIDII DE TRISTIBUS LIBRI V. CUM ENARRATIONIBUS B. MERUL&.  Parisiis. 
 J.-Frellon? = Ato. 
 
 Calf ; 2 panels: on one, the arms and badges of Henry VIII.; on the 
 other, the arms of Henry VIII. impaling those of Katherine of Aragon. 
 
 84 by 5% in. 
 Her Majesty the Queen. 
 40 JOANNIS DE BROMYARD SUMMA PREDICANTIUM. Lugduni. 8vo. 
 Calf ; 2 panels, the same as on 39. 8% by 534 in. 
 E.. Gordon Duff, Esq. 
 
 41 GUILLERMI PEPIN SPECULUM AUREUM. Parrhisiis. 8vo. 
 
 Calf; 3 panels: 1, the arms of Henry VIII.; 2, the Tudor rose; 
 3, the emblems of the Passion arranged heraldically as Redemptoris mundi 
 arma. All three bear the cypher and device of the binder. London; John 
 
 Reynes. 7 by 434 in. 
 E.. Gordon Duff, Esq. 
 
43 
 
 45 
 
 47 
 
 ” Coser. 
 
 LEONARDI ARETINI EPISTOLA. Basilez. 1535. 8vo. 
 
 Calf; 3 panel stamps, the same as on 41. London; John Reynes. 
 
 61% by 4 in. 
 Lent by Her Majesty the Queen. 
 
 RICHARD BENESE. The maner of measurynge of all maner of lande, &c. 
 Southwarke. 1537. 4to. 
 
 Calf; 3 panels, the same as on 41. London; John Reynes. 
 
 734 by 5% in. 
 W. A. Tyssen Amherst, E'sq.. MP. 
 
 IACOBI FABRI STAPULENSIS COMMENTARII IN QUATUOR EVANGELIA. 
 Basilez. 1523. Fol. 
 
 Calf; frame adorned with a roll stamp: imitation of ironwork, a 
 serpentine band terminating in monster’s heads ; the enclosed space divided 
 into compartments occupied by fleurs-de-lys. 12% by 8% in. 
 
 Westminster Abbey Library. 
 
 HIERONYMI OPERA. Tom. vii. Basile. 1516. Fol. 
 Calf; 4 vertical bands of royal badges, with the binder’s cypher within 
 a frame of diaper-work. Cambridge ; Garret Godfrey van Graten. 15 by 10in. 
 Durham Cathedral Library. 
 
 HIERONYMI OPERA. INDEX IN TOMOS OMNES. Basilee. 1520. Fol. 
 
 Calf; roll stamps, one with a lion, wyvern and gryphon separated from 
 each other by branches of foliage; at the foot the binder’s cypher. 
 Cambridge; Garret Godfrey. 1234 by 8% in. 
 
 Durham Cathedral Library. 
 
 C. PTOLEM&I GEOGRAPHIC# ENARRATIONIS LIBRI VII. Nurenberge. 
 1524. Fol. 
 Calf; roll stamps, the same as on 46. Cambridge; Garret Godfrey. 
 
 16% by 1034 in. 
 ; W. A. Tyssen Amherst, Esq.. MP. 
 
 48 #REVELATIONES SANCTE BIRGITTE. Nurimberge. 1500. Fol. 
 
 Calf; the frame adorned with repetitions of a stamp bearing the binder’s 
 device between a wyvern and a branch of foliage with a bird ; the enclosed 
 space divided by diagonal fillets into compartments stamped with a foliated 
 ornament. Cambridge; Nicolas Spierinck. 1234 by 834 in. 
 
 Corpus Christi College, Cambridge. 
 
Case A. 8 
 
 49 PLATINA DE VITIS PONTIFICUM. Venetiis. 1511. Fol. 
 
 50 
 
 ol 
 
 52 
 
 03 
 
 04 
 
 55 
 
 06 
 
 Calf; roll stamp; a gryphon, lion, wyvern, and the binder’s trade-mark, 
 separated from each other by sprays of foliage and. fruit. Cambridge ; 
 Nicolas Spierinck. 13 by 834 in. 
 
 Lent by Canterbury Cathedral Library. 
 ‘APOCALYPSE. Parisiis. 1508. 8vo. | 
 
 Calf; 2 panels: the Annunciation and S. Nicolas. Cambridge; Nicolas 
 Spierinck. 51% by 4 in. 
 F. J. H. Jenkinson, Esq. 
 VOCABULARIUS UTRIUSQUE JURIS, &c. Parrhisiis. 1520. 8vo. 
 
 Calf; 2 panels, the same as on 50. Cambridge; Nicolas Spierinck. 
 634 by 4% in. 
 Her Majesty the Queen. 
 JOANNIS REUCHLIN LIBER DE VERBO MIRIFICO. Hagenau. 1517 (1518). Fol. 
 
 Calf; roll stamp, divided into four compartments with royal badges 
 and the binder’s initials. Cambridge; John Siberch. 12% by 8% in. 
 
 Canterbury Cathedral Library. 
 
 ORTUS VOCABULORUM. Londini. 1514 (1515), 15th February. 4to. 
 
 Calf; 2 panels: the one divided into 4 compartments, containing figures 
 of S. John the Evangelist, S. Barbara, S. Katherine and S. Nicolas, within 
 a border of flowing foliage, at the foot of which are the binder’s initials, S.G.; 
 the other panel has in the centre a design imitated from ironwork within a ~ 
 border of cresting. 8 by 5% in. 
 
 Society of Antiquaries. 
 
 NICHOLAI DENIISE GEMMA  PREDICANTIUM. Parisius. “15220 Igoe) 
 23 Februarii. 8vo. 
 
 Calf; panel with figure of S. James the Great. 634 by 4% in. 
 All Souls College, Oxford. 
 
 SAVONAROL VARIA OPUSCULA. Venetiis. 1504-1507. 8vo. 
 
 Calf; 2 panels: the Baptism of Christ and S. George; with the initials 
 
 LR. 634 by 4% in. 
 E.. Gordon Duff, Esq. 
 
 JOHANNIS BAPTISTA PRONEPOTIS DOMINI BARTOLI LIBRI XIII. DE ARBITRIS. 
 Lugduni. 1512. 8vo. 
 Calf; 2 panels, the same as on 55. 7% by 5 in. 
 Society of Antiquaries, 
 
o7 
 
 58 
 
 59 
 
 60 
 
 61 
 
 62 
 
 63 
 
 9 Case A. 
 
 CHRONICLE OF THE WORLD. MS. on vellum. 
 
 Calf; adorned with two panel stamps: one, with the royal arms surrounded 
 by the Garter, with the badge of Queen Katherine and Mary, a sheaf of 
 arrows, and an escucheon with the arms of the City of London; the other, 
 with Tudor badges. London; T.L. 9 by 6 in. 
 
 Lent by S. Sandars, Esq. 
 
 SEBASTIANI MUNSTERI GRAMMATICA HEBRAICA ABSOLUTISSIMA. Basilez. 
 1525. 8vo. 
 
 Calf; panel: arms of Henry VIII. and Royal badges. 634 by 4% in. 
 W. A. Tyssen Amherst, Esg., M.P. 
 
 D. HAYMONIS EPISCOPI HALBERSTATTENSIS HOMILIZ. Colonie. 1536. 
 Fol. 
 
 Calf; roll stamp, with Tudor badges: the fleur-de-lys, portcullis 
 ensigned with a royal crown, and rose supported by a dragon and hound. 
 
 13 by 8% in. : 
 Westminster Abbey Library. 
 
 RUPERTI TUITIENSIS COMMENTARIA IN EVANGELIUM JOHANNIS ET IN 
 APOCALYPSIM. Coloniz. 1526. Fol. 
 Calf; roll stamp, with a hound, falcon, bee, and the binder’s device amid 
 sprays of foliage. London; John Reynes. 13 by 834 in. 
 Durham Cathedral Library. 
 
 INTERPRETATIO CHALDAICA PENTATEUCHI. Antverpiz. 1535. 8vo. 
 
 Calf ; panel: 2 profile busts separated from each other by a horizontal 
 band, with the binder’s device, N.S., probably for Nicolas Singleton. 
 
 6 by 4 in. 
 Westminster Abbey Library. 
 
 BRITTON. London. 1514. 8vo. 
 
 Leather; panel: 2 medallion profile busts of men, within a frame of 
 Renascence ornament; at the foot are the binders initials, M.D. 
 
 6 by 4 in. 
 W. H, Corfield, Esq., MD. 
 
 CLAUDII PTOLEMAI LIBRI QUATUOR, &c. Norimberge. 1535. 4to. 
 
 Calf; 2 medallion profile busts of men within a border of Renascence 
 ornament, with the royal arms and the binder’s device, G.F. or F.G. 
 
 8 by 6 in. 
 W. A. Tyssen Amherst, Esg., M.P. 
 
IO 
 
 Case B. 
 
 STAMPED BINDINGS—FOREIGN. 
 
 I—NETHERLANDISH. 
 
 DUYTSCHE GHETYDEN. Antwerpen. 1495. 8vo. 
 Calf; panel with figure of Christ. Holland, probably Utrecht. 
 
 534 by 4% in. 
 4 by 4% Lent by Alfred Huth, Esq. 
 
 ALBERTI DE EYB MARGARITA POETICA. Parisius. 1477. 
 CICERONIS EPISTOLE FAMILIARES. Parisius. 1477. 
 Calf; panel stamp with the legend : Jacobus Gaver me ligavit. James van 
 Gavere, a Bruges binder, to whom this stamp originally belonged, died in 
 1465. The stamp seems to have been brought to England, where this 
 volume was probably bound. 11% by 8 in. 
 Corpus Christi College, Cambridge. 
 
 EXEMPLA SACRE SCRIPTURE. (Paris, D. Roce.) Epitome alias Compendium 
 Theologice Veritatis. Rothomagi. 1505. 16mo. 
 
 Calf; panel stamp with the legend: Johannes de Woudix Antwerpie 
 
 me fecit. 534 by 33% in. 
 Westminster Abbey Library. 
 
 SUMMARIUM TEXTUALE. Colonie. c. 1490. Fol. 
 
 Calf; among the stamps is a small head, probably a portrait of the 
 binder ; another, with a bird, a fleur-de-lys, a bow and arrow, and the letters 
 V E between four stars, is apparently a rebus. Louvain. 1134 by 8% in. 
 
 E.. Gordon Duff, Esq. 
 
 HoR#Z BEATA MARIZ VIRGINIS SECUNDUM USUM LEODIENSEM. MS. on 
 vellum. Belgian, 15th century. 
 
 Calf; panel: eight angels blowing trumpets within a frame bearing the 
 four first lines of the hymn to the Holy Ghost, Venz Creator Spiritus. 
 
 Ghent ; Van Gavere. 6% by 4% in. 
 T. R. Buchanan, Esq. MP. 
 
II Case B. 
 
 6 Lipri SALOMONIS ET EPISTOLE. MS.on vellum, Flemish. c. 1500. 
 
 Calf; panel: six angels playing musical instruments, on the framework 
 the versicle: Domine exaudi oracionem meam et clamor meus ad te veniat. 
 Ghent ; James Van Gavere. 10 by 6in. This binder left Flanders early in 
 the 16th century and settled in London, where he was still exercising his 
 
 craft in 1535. 
 Lent by Alfred Huth, Esq. 
 
 "7 BREVIARIUM SECUNDUM USUM INSIGNIS ECCLESI4 COLLEGIATZ SANCTI 
 PETRI INSULENSIS. MS. on vellum. Completum per me Io. de Lacu 
 canonicum Insulensem; 1516 (1517), 19 Febr. 
 
 Calf; panel stamp with animals; on the framework the legend : 
 Ob laudem Christi librum hunc recte ligavi Ludovicus Bloc. Bruges; 
 
 Louis Bloc. 6 by 4% in. 
 Alfred Huth, Esq. 
 
 8S Hor#A BEATZ MARIZA VIRGINIS SECUNDUM USUM TORNACENSIS ECCLESLA. 
 MS. on vellum. Bruges. c. 1520. 
 
 Calf; the original sides are let into the binding, they are impressed 
 with a panel stamp with animals, with the same legend as on No. 7, but in 
 
 capital letters. Bruges; Louis Bloc. 734 by 5% in. 
 Alfred Huth, Esq. 
 
 9 MARSILII FICINI FLORENTINI LIBER DE VITA. In agro Caregio. 1489. 8vo. 
 
 Calf; panel: the Mass of S. Gregory ; on the frontal of the altar are 
 
 the initials G.M. 634 by 4% in. 
 Aberdeen University Library. 
 
 10 GUILLERMI CARTUSIENSIS SERMONES. Parisius. 1494. 8vo. 
 
 Calf; 2 panels; one with the Image of Pity, the other with 6 animals. 
 
 Ghent ; Victor van Crombrugghe. 534 by 4% in. 
 Stonyhurst College. 
 
 11 ERASMUS. CHRISTIANI MATRIMONII INSTITUTIO. Basilee. 1526. 8vo. 
 
 Calf; 2 panel stamps with animals within curves formed by branches 
 of foliage. The frame of one bears the legend: Ob laudem Christi librum 
 hunc recte ligavi Johannes Bollcaert ; that of the other, the versicle: Deus 
 det nobis suam pacem et post mortem vitam eternam. Amen. Flanders; 
 
 John Bollcaert. 61% by 4% in. 
 E. Gordon Duff, Esq. 
 
Case B. 12 
 
 12 NICHOLAI DE ORBELLIS SUPER SENTENTIAS COMPENDIUM. Lugduni. 1503. 
 Svo. 
 
 Calf; two panels: the Annunciation and the Baptism of Christ. At 
 
 the foot of the latter, the device and initials of the binder, A.R. 6% by 
 
 4% in. 
 Lent by Aberdeen University Library. 
 
 13 VALENTINI CRATOALDI IN TRIA PRIORA CAPITA LIBRI GENESEOS ANNOTATA. 
 Argentorati. 1530. 8vo. 
 Calf; 2 panels, each with 8 animals; on one, the legend: Ut cura 
 ingenium sic et manus adiuvat usum; on the other: Exerce studium 
 quamvis perceperis artem Martinus Vulcanius. 6% by 4 in. 
 
 E.. H, Lawrence, Esq. 
 
 14 ANN BIJNS POEMATA PER ELIGIUM EUCHARIUM TRANSLATA. Antverpiz. 
 1529. Oblong 8vo. 
 
 Panel with medallion portrait, badges and motto of Charles V. 
 
 Antwerp. 4% by 53, in. 
 Rev, W. FE. Buckley. 
 
 15 ERASMI DECLARATIONES AD CENSURAS LUTETIZ VULGATAS Basile, 
 1§32.7.6K0. 
 
 Calf; 2 panel stamps: S. John the Baptist preaching and S. Roch; 
 Netherlandish, Antwerp; facsimile in Dibdin’s Bibliogr. Decameron, 
 Vol. 2. 634 by 434 in. 
 
 E. Gordon Duff, Esq. 
 
 16 PINDARI OLYMPIA, &c. Francoforti. 1542. 4to. 
 
 Calf; panel stamp with figure of Cleopatra dying, above which a 
 medallion portrait of the binder, his initials: I.P., and motto: Ingenium 
 volens nihil non. Louvain; Augustinian Priory of S. Martin and- 
 S. Gregory ; the device of the monastery is in the lower sinister corner. 8 by 
 
 534 in. 
 His Excellency M. Gennadtus. 
 
 17 Novi TESTAMENTI ADITIO POSTREMA, PER DES. ERASMUM ROTERODAMUM., 
 Tiguri. 1547. 8vo. 
 
 Calf; roll stamp; foliage and birds. Antwerp; c. 1548. 6% by 4Y in. 
 Alfred Cock, Esq., O.C. 
 
13 Case B. 
 
 18 P. NANNII SUMMIKTON, SIVE MISCELLANEORUM DECAS UNA. Lovanii. 
 1548. 8vo. 
 
 Calf; panel stamp with full length emblematical female figure, and the 
 binder’s device and initials. Antwerp; I.B. 6% by 4 in. 
 
 Lent by His Excellency M. Gennadius. 
 
 19 CICERONIS DE OFFICIIS LIBRI II. Antverpie. 1586. 16mo. 
 
 Framework adorned with a roll stamp; centre and corner ornaments 
 gilt by water process ; between them, the owner’s initials, IOAN. I. E. W. 
 
 1595. 
 T. R. Buchanan, Esq., MP. 
 
 2—FRENCH. 
 
 20 LECTIONES ET EPISTOLA E VETERI NOVOQUE TESTAMENTO SECUNDUM 
 ORDINEM ECCLESIE PARISIENSIS. MS.on Vellum. c. 1450. 
 
 Calf; impressed with rows of small stamps, protected by knops of 
 
 latten. Paris. 1034 by 8 in. 
 - Rev. E. Dewtck. 
 
 21 PSALTERION. Gr. Venice, 1497?. 4to. 
 
 Leather with flap; panel with S. George on horseback slaying the 
 
 dragon. France. 83 by 6 in. 
 All Souls College, Oxford. 
 
 22 THEOCRITI EcLoGA, &c. Gr. Venetiis. 1495. Fol. 
 
 Calf; on the roll stamp which adorns the frame is an escucheon charged 
 
 with 2 stars and the initials PK. 1234 by 834 in. 
 J. A. Bryce, Esq. 
 
 23 GERALDI ODONIS SENTENTIA ET EXPOSITIO CUM QUESTIONIBUS SUPER 
 LIBROS ETHICORUM ARISTOTELIS. Venetiis. 1500. Fol. 
 
 Calf ; panel, S. Sebastian. Paris; André Boule. 12% by 8% in. 
 T. R. Buchanan, Esq., MP. 
 
 24 STEPHANUS DE URBIBUS. Gr. Venetiis. 1502. Fol. 
 
 Calf; roll stamps, one with flowing artichoke pattern, another with 
 Renascence architecturesque design. 12% by 8% in. 
 
 His Excellency M, Gennadius, 
 
Case B. 14 
 
 25 SALLUSTIUS. BELLUM CATILINARIUM. Lugduni. 1504. 8vo. 
 Calf; 2 panels: S, John Evangelist and S. James. 634 by 4 in. 
 Lent by Mr. J. Toovey, 
 
 26 GEORGII BRUXCELLENSIS IN SUMMULAS M. PETRI HYSPANI. Lugduni. 
 1509. 4to. 
 
 Leather ; 2 panels: one, with the Image of Pity, the binder’s name at 
 
 the foot ; the other, with two rows of cresting terminating in acorns within a 
 
 frame adorned with wyverns, sprays of foliage, and a blank escucheon. 
 
 Alexander Aliat. 10 by 7 in. 
 Aberdeen University Library. 
 
 27 jJOANNES FRANCISCUS BRIXIANUS. QUATTUOR PRIMUM APPROBATAE 
 RELIGIOSIS QUIBUSQUE VIVENDI REGUL. Parrhisiis. 1514. 4to. 
 
 Calf; 2 panels, each divided into four compartments, the one with 
 
 figures of Our Lady of Pity, S. Gudula, S. Katherine and S. Barbara ; the 
 
 other, with the Eternal Father, S. Peter, S. John Baptist, and S. Nicolas ; in 
 
 the centre of each panel, an escucheon with the binder’s initials: N.H. 
 
 8% by 6in. Paris; N.H. 
 S. Sandars, Esq. 
 
 28 MARTIALIS EPIGRAMMATON LIBRI XIII. Parisiis. 1528. 8vo. 
 Calf; panel with 2 rows of cresting terminating in acorns, within a 
 frame adorned with wyverns and sprays of foliage. Paris ; Jehan Norins. 
 
 7 by 4% in. 
 H, Inglis Richmond, Esq. 
 
 29 BOOK-COVER. 
 Calf; panel stamp similar in design to the preceding; French ; 
 
 6% by 4in. 
 S. Sandars, Esq. 
 
 30 MIRABILIS LIBER QUI PROPHETIAS REVELATIONESQUE APERTE DEMONSTRAT. 
 Parise .c. 152540 v0. “ 
 
 Calf ; 2 panels; the one with a full length figure of the Ancient of 
 
 Days within a border on which are the Vision of Augustus, the Adoration 
 
 of the Magi, and the Massacre of the Innocents ; at the foot, an escucheon 
 
 with a cypher composed of the letters J.G. The other panel bears a design 
 
 imitated from iron-work. The stamps are foreign ; the binding, however, 
 
 probably English. 6% by 4 in. 
 ; S. Sandars, Esq. 
 
15 Case B. 
 
 381 DE ORATIONE DOMINICA TRACTATULUS. Argentorati. 1515. 8vo. 
 
 Calf ; two panels; in the centre of one, the Madonna appearing to 
 S. Bernard ; at the sides, prophets and sibyls, and at the foot, two winged 
 boys supporting a blank escucheon. The other panel has two rows of 
 cresting within a frame adorned with wyverns and sprays of foliage. 
 
 Lent by Stonyhurst College. 
 
 3—GERMAN. 
 
 32 JOHANNIS NYDER CONSOLATORIUM TIMORATE CONSCIENTIE. Colonize. 
 Cat47O.. 4to. 
 
 Calf; small stamps, one bearing a cypher composed of the letters 
 H and M interlaced. 834 by 6 in. 
 E. H. Lawrence, Esq. 
 
 383 BIBLIA SACRA (known as the Wazarine Bible). Vol. Il. Mentz. 1450-55 ?. Fol. 
 
 Pigskin ; impressed with the same stamps as the following. Bamberg? ; 
 John Fogel. 1634 by 11% in. 
 Eton College Library. 
 
 34 SUMMA THEOLOGICA COMPILATA EX DECRETALIBUS ET DECRETIS ET EX 
 Dictis, L HOME. MS. “c, 1480. Fol 
 
 Calf; impressed with a large number of stamps, amongst which are the 
 figure of a man playing the lute, surrounded by foliage, and a scroll with the 
 binder’s name. Bamberg?; John Fogel. 12% by 8% in. 
 
 Rev. E, Dewick. 
 
 385 JOHANNIS DE TURRECREMATA MEDITATIONES. 1479. Fol. 
 
 Leather ; diaper of foliated ornament enclosed within a double frame 
 adorned with stamps regularly disposed ; at the head of the upper side, the 
 owner’s name, Cunrat Horn Salpuch (the letters impressed separately), which, 
 as also the diaper, is gilt by water process ; the boards curiously bevelled 
 immediately above and below the bands. Nuremberg; by or for Antony 
 Koberger ; c. 1485. 1034 by 734 in. 
 
 C. Fairfax Murray, Esq. 
 
Case B. 16 
 
 36 
 
 37 
 
 38 
 
 39 
 
 40 
 
 41 
 
 Das BUCH DER SCHATZBEHALTER. Nurmberg. 1491. Fol. 
 
 Leather; diaper, enclosed within a border adorned with ragged staffs 
 enwreathed with foliage, alternating with roses, and with eagles displayed 
 within lozenges ; at the head, a fluted riband, between the folds of which are 
 the letters “Ihesus,’ and above it the title “Schatzbehalter des ewiger 
 seligkeit.” The under side is adorned with gryphons, eagles and foliage. 
 The boards bevelled as those of 30. Nurnberg ; by or for Antony Koberger. 
 
 14 by 9% in. 
 Lent by C. F. Murray, Esq. 
 
 PREDICHE DE FRATE ROBERTO. Venetia. 1509. 4to. 
 Leather ; diaper work within a mitred frame, the outer portion of which 
 is adorned with a roll stamp of flowing foliage and flowers ; the diaper gilt 
 
 by water process. c. 1510. 8% by 6% in. 
 G. P. Boyce, Esq. 
 
 ERASMI APOLOGIA, &c. Basilez. 1529. 8vo. 
 
 Calf; 2 panels: the Annunciation and the Adoration of the Magi; the 
 latter bears the device and initials of the binder. 61% by 4 in. Coeln; B.K. 
 
 Westminster Abbey Library. 
 
 LIBER PRECUM. Latin MS. written, probably, in the Diocese of Liége; with 
 45 engravings of Gospel subjects, from the Annunciation to Pentecost, and 
 the Last Judgment. 16th century. 
 
 Panel: Christ triumphing over death; gilt; at the foot, the initials 
 
 H.V.C. Saxony or Wurtemberg. 534 by 4 in. 
 Alfred Huth, Esq. 
 
 ORATIONUM QUAE SCRIPT ET RECITATH SUNT IN ACADEMIA WITE- 
 BERGENSI TOMUS VI. Witeberge. 1571. 8vo. 
 
 Buckskin; 2 panels with half-length portraits of Melancthon and 
 Luther, and the initials of the original owner, S.G. von Wolpen. 1571. 
 
 63 by 4% in. 
 A 4 Her Mazesty the Queen. 
 
 GEORG RUEXNER. Thurnier Buch. Franckfurtam Mayn. 1566. Fol. 
 
 Buckskin ; storied and ornamental roll stamps, with stamped metal 
 corners and clasps. 1572. 13 by 8% in. 
 
 W. A. Tyssen Amherst, Esq, MP. 
 
17 Case B. 
 
 42 JOACHIMI CAMERARII NOTATIO FIGURARUM SERMONIS IN LIBRIS QUATUOR 
 EVANGELIORUM. Lipsiz. 1572. 4to. 
 
 Buckskin ; arms of Peter Vok, 1579, within two roll-produced borders. 
 8 by 534 in. 
 Lent by Hts Excellency M. Gennadtus. 
 
 43 JACOBI CUIACII OPERUM TOMUS Iv. Parisiis. 1577. Fol. 
 
 Pigskin ; 2 panels: the arms of the Franconian Solomon, Julius Echter 
 von Mespelbrunn, Bishop of Wurzburg, 1573-1617, and S. Kilian, surrounded 
 by storied and ornamental borders, Lettered in gold on the fore-edge. 
 Wurzburg, 1580. 14 by g in. 
 
 Hon. W. FB. Massey Mainwaring. 
 
 44 IaAnr [aAcopi BOISSARDI EMBLEMATUM LIBER. Francofurti ad Mcenum. 
 1593. 4to. 
 
 Calf; panel stamp, interlaced strap work and foliage, within roll- 
 produced borders, gilt by water process. 734 by 6 in. 
 
 HI. Virtue Tebbs, Esq. 
 
 ITALIAN. 
 
 45 HOROLOGION. Gr. Venetiis. 1509, 23 Aug. 8vo. 
 
 Morocco; the Holy Name in the centre gilt, within a frame of foliated 
 ornament. 61% by 4¥ in. 
 I. Bywater, Esq. 
 
 46 HISTORIA NOVA AC VETERES AB NOVISS. FRANCISCI SFORTIAE TEMPORIBUS 
 AD FRANCISCUM REGEM FRANCORUM DUCEMQUE MEDIOLANI. Mediolani. 
 1516. Fol. 
 
 Leather ; stamped ornaments. 11% by 8 in. 
 H. S. Richardson, Esq. 
 4'7 THEODORI INTRODUCTIVA) GRAMMATICES LIBRI QUATUOR, &c. Venetiis. 
 1495. Fol. 
 Morocco ; stamped ornaments. 1234 by 834 in. 
 
 His Excellency M. Gennadius. 
 
 48 PETRI BEMBI HISTORIZ VENET# LIBRI XII. Venetiis. 1551. Fol. 
 
 Morocco ; borders adorned with repeated impressions of interlaced and 
 foliated ornaments. 12 by 8¥ in. 
 Her Majesty the Queen. 
 
Case B. 18 
 
 SPANISH BINDINGS. 
 
 49 SPANISH MANUSCRIPT. 1447. 4to. 
 Brown leather ; in the centre of each side, a large coat of arms ensigned 
 with a coronet, within a border adorned with repeated impressions of small 
 
 stamps. 12 by gin. 15th century. 
 Lent by W, A. Tyssen Amherst, Esq., MP. 
 
 50 Hor#& BEATA MARIA VIRGINIS SECUNDUM USUM ROMAN ECCLESIA. 
 
 MS. on vellum. 
 Morocco, adorned with a variety of stamped interlaced designs. 
 
 Saragossa. c. 1525. 734 by 5% in. 
 Alfred Huth, Esq. 
 
 Case C. 
 
 ORIENTAL BINDINGS. 
 
 1 THEOLOGICAL MS. Very fine Arabic MS. of 16th century on finest Cashmere 
 
 paper. 
 Turkish binding ; 17th century ; and cover of same date. 
 
 H. C. Kayriisa, 
 
 2 OVIDII METAMORPHOSEON LIBRI XV. Venetiis. 1516. 8vo. 
 Panels of an old Turkish binding of 17th century ; inlaid covers. 
 W. H. Corfield, Esq., M.D. 
 
 3 THE GULISTAN. Translated by Costello. 
 
 In modern Persian Kinkhab, in a loose cover. Constantinople. 17th or 
 
 early 18th century. TH. Huts . 
 . f7. f1utchinson, LSq. 
 
 4 BOOK-CASE. Constantinople. 
 18th century. Outer border done under European influence. 
 
 J. 1. Hutchinson, Esq. 
 
19 Cae 
 
 KORAN IN ARABIC. Manuscript. 8vo. 
 Turkish ; 18th century. 
 Lent by His Excellency M,. Gennadius. 
 GULISTAN. Chapter I. MS. of 18th century. 
 Turkish ; 18th century ; re-backed. 
 Ff. Yates Thompson, Esq. 
 MS. Constantinople. 
 18th century. 
 His Excellency M. Gennadius. 
 KorAN. Lithographed. Boulak. 
 19th century; modern Turkish binding. 
 HC. Kays i sq: 
 Coptic MS. 
 Bound in Cairo ; 17th century. 
 Crile ions so Ot iP. 
 
 THE SHAH NAMEH, OR LEGEND OF THE KINGS, BY FIRDUSI. Persian MS. 
 17th century. 
 
 Binding probably of an earlier book, the inner side of which has 
 been renewed. 
 
 Hts Excellency M. Gennadius. 
 HAFIzZ OF PERSIA. 
 Persian binding ; 17th century. 
 King’s College, Cambridge. 
 PERSIAN MS. INSHA I MIRZA BEDIL?. 17th century. 
 Binding end of 17th century. 
 King’s College, Cambridge. 
 
 BooK-CovER. Persian. 18th century. 
 R. T. Hamilton Bruce, Esq. 
 
 JAWHAR I SAMSAM?. History of India. Persian MS. 18th century. 
 
 Persian binding ; 18th century. 
 King’s College, Cambridge. 
 
 PERSIAN SCRAP-BOOK. 17th century. 
 Persian binding, lacquer ; 18th century. 
 Fits Excellency M. Gennadius. 
 
Case C. 20 
 
 16 
 
 17 
 
 18 
 
 19 
 
 20 
 
 21 
 
 22 
 
 THE KHULASAT-UL-KHAMSEH OF NIZAMI. Persian MS., end of 18th century. 
 
 Binding early i1gth century; Persian lacquer, with roses, iris and 
 
 bulbuls. 
 Lent by Alfred Huth, Esq. 
 
 PERSIAN SCRAP-BooK. Early 19th century. 
 Lacquer binding representing the Court of Fath Ali Shah. 
 FTts Excellency M. Gennadius. 
 
 THE GHRUNT (BIBLE) OF THE SEIKHS. Manuscript. Oblong fol. 
 
 18th century ; bound at Amritsar. 
 W. H. Corfield, Esq... M.D. 
 
 OUTSIDE COVER OF THE GULISTAN OF SHEK MUSLIHUD-DIN, SADI OF 
 SHIRIZ. Copy written for the late Maharajah of Ulwar. c. 1860. 
 
 Name of binder, Abdul Rahman, hereditary binder to the Court of 
 
 Delhi. 
 A. Casella, Esq. 
 
 INSIDE COVER OF THE SAME MS. 
 George Salting, Esq. 
 
 OUTSIDE COVER OF A KORAN. Made for the late Maharajah of Ulwar 
 (Rajpootana), a Hindoo prince who has greatly encouraged Art. 
 Binder Abdul Rahman, hereditary binder to the Court of Delhi. 
 
 c. 1860. 
 George Salting, Esq. 
 
 INSIDE COVER OF THE SAME MS. 
 A. Casella, Esq. 
 
21 
 
 Case D. 
 EARLY ITALIAN AND FRENCH BINDINGS. 
 
 1 THEOPHYLACTI ENARRATIONES IN QUATUOR EVANGELIA, Rome. 1542. Fol. 
 
 Italian binding of the 16th century ; red morocco; painted and gilt; 
 gilt edges decorated with curious hunting scenes in colour. 
 
 Lent by Mr. J. Toovey. 
 
 2 S. AUGUSTINI DE CIVITATE DEI. 1468. Fol. 
 
 Italian binding of the 16th century. This book is probably unique in 
 its style of binding. It is of calf; tooled and completely covered with 
 gilding. On each cover the arms of Cardinal Medici are painted, and again 
 on the edges, which are gauffered and gilt, the pattern of the decorations 
 filled in with red. Alfred Huth, Esq. 
 
 3 PAULI AEMILII VERONENSIS DE REBUS GESTIS FRANCORUM. Lutetiz. 1550. 
 Fol. 
 
 French binding of the 16th century; calf; stained black and painted. 
 On the covers of this book are painted the arms of Charles, 1st Duc de 
 Croy de Renty (1560-1612). His monogram appears on the covers and 
 the back. His motto, “J’y parviendray,” and the lines, “Tal volta rido 
 
 che mi crepa il core per non manifestare il mio dolore,” are also on the 
 covers. . é 
 
 Mr. J. Toovey. 
 
 4 FROISSART. L/Histoire. Lyon. 1559. Fol. 
 French, probably Lyons, binding of the 16th century. Brown calf; 
 painted and gilt. 
 Mr. J. Toovey. 
 
 5 MISSALE ROMANUM. Venetiis. 1505. Fol. 
 
 Italian binding of the 16th century ; brown calf; painted and gilt. On 
 
 the covers are painted the arms of Cardinal Gonzaga (1542-1593), the friend 
 of Tasso. 
 
 E. H, Lawrence, Esq. 
 
 6 LA SAINTE BIBLE. Lyon. 1561. Fol. 
 
 French, probably Lyons, binding of the 16th century ; brown calf; 
 gilt and painted. : 
 
 Mr. J. Toovey. 
 
Case D. 22 
 
 7 PSALTERIUM. Genue. 1516. Fol. 
 Italian binding of the 16th century (between 1516 and 1522); brown calf; 
 tooled and gilt. In the border are the fleur-de-lis of France, the ermine of 
 Brittany, and the griffin of Genoa. On the covers are coats of arms engraved 
 
 and painted. 
 Lent by His Excellency M. Gennadius. 
 
 8 T. Livi Historra. MS.on vellum. 15th century. 
 
 Venetian binding with decoration of a Persian character, probably of 
 the early 16th century. On the covers are “cameos,” which have now 
 almost entirely disappeared. At the end of the MS. is an inscription 
 “Divo Alphonso Aragonum Siciliz et Hierusalem Regi opus dicatum 
 MCCCCXLVI. X. KL. AP. On the lower cover are the arms of Aragon. 
 
 R. S. Holford, Esq. 
 
 9 MEDIOLANENSIS EcCLESL® AcTA. Mediolani. 1582. Fol. 
 Italian binding of the 16th century ; red morocco; tooled and gilt. It 
 appears from an inscription that this copy was presented by Cardinal 
 
 Charles Borromeo to Pope Sixtus V. 
 Mr. J. Toovey. 
 
 10 PAUSANIZ GRA:CIZ DESCRIPTIO. Hanovie. 1613. Fol. 
 
 Italian binding of the 17th century; red morocco. On the covers are 
 the arms and monogram of the Cardinal Emanuel of Savoy. 
 
 Fis Excellency M. Gennadius. 
 
 11 VETUS TESTAMENTUM. Rome. 1586. Fol. 
 Italian binding late 16th century; red morocco. On the covers are 
 painted the arms of a Cardinal of the Della Rovere family, probably those 
 
 of Cardinal Hieronimo della Rovere in 1592. 
 Incorporated Law Society. 
 
#3 
 
 Case E. 
 EARLY ITALIAN BINDINGS. 
 
 MACROBIUS. Convivia Saturnalia. [Illuminated MS. on Vellum. Rome. 
 1466. Fol. 
 
 Italian binding of the 15th century ; red morocco; ornamented with an 
 Arabic design in blind tooling. The book formerly possessed clasps on the 
 top, bottom, and sides. 
 
 Lent by S. Sandars, Esq. 
 
 XENOPHON. De Vita Tiranica. MS. of the 15th Century. Fol. 
 
 Italian binding of the 15th century; brown morocco; ornamented 
 with fine blind tooling of Arabic design. The book formerly had clasps on 
 
 the top, bottom and sides. 
 Mr. J. Toovey. 
 
 APOLLONIUS RHODIUS. Argonauticon Libri lV. greece. Florentiz. 1496. 4to. 
 
 Italian binding of the 15th century ; brown morocco; with a border in 
 blind tooling ; the ornaments in the centre and at the corners of the covers 
 being stamped in gold ; with clasps at the top, bottom and sides. 
 
 His Excellency M. Gennadius. 
 
 ATHANASIUS ALEXANDRINUS CONTRA GENTILES. MS. on Vellum. About 
 1470. Large 8vo. 
 
 Italian binding of the 15th century; brown morocco; the sides 
 ornamented with blind tooling, studded with small gold points. The book 
 originally possessed clasps at the top, bottom and sides, 
 
 Mr. B. Quaritch. 
 
 HERODIANI HISTORIA. MS. on Vellum. 15th Century. Fol. 
 
 Italian binding of the 16th century ; brown morocco ; the covers being 
 decorated with a border of stamped interlaced work, enclosing an ornament 
 of the same character; with clasps at top, bottom and sides. 
 
 Samuel Sandars, Esq. 
 DANTE. Venetia. 1507. Fol. 
 Italian binding of the 16th century ; olive morocco. 
 
 Eton College Library. 
 
Case E. 24 
 
 "7 NovuM TESTAMENTUM GRACE. Lutetiz. 1550. Fol. 
 
 Italian binding of the 16th century; brown calf; the sides being 
 ornamented with an interlaced pattern in black and gold. 
 
 Lent by AU Souls College, Oxford. 
 
 8S VALVERDE. Anatomia del corpo humano. Roma. 1560. Fol. 
 Italian binding of the 16th century ; brown morocco. 
 
 All Souls’ College, Oxford. 
 
 9 GUICCIARDINI. Descrittione di tutti Paesi Bassii Anversa. 1567. Fol. 
 Italian binding of the 16th century ; olive morocco. 
 
 W. H. Corfield, Esg.. M.D. 
 
 10 CiIcERO. Opera. Lutetiz. 1565. Fol. 
 
 Italian binding of the 16th century ; brown morocco, 
 Mr. J. Toovey. 
 
 11 ARISTOTLE, Opera. Gr. Venetiis. 1495. Fol. 
 Italian binding of the 16th century ; red morocco. 
 
 E. W. Harcourt, Esq. 
 
 12 IL SESTO LIBRO DI PEDACIO DIOSCORIDE, &c. Vinegia. 1548. Fol. 
 
 Italian binding of the 16th century ; red morocco. 
 C. F. Murray, Esq. 
 
 13 A PORTULANO or ATLAS, very beautifully executed by an Italian Artist, 
 probably about 1540. On thick Vellum. Fol. 
 
 Italian binding of the 16th century ; brown morocco; with four curious 
 silver clasps. 
 H. Y. Thompson, Esq. 
 
 14 QUINTILIANUS. Institutionum Oratoriarum libri xii. Venetiis. 1521. 8vo. 
 Italian binding of the 16th century ; red morocco. 
 
 C. 1, Elton EsgpOG, eae 
 
 15 EPpIsTOL# BASILII MAGNI, &c. Venetiis. 1549. 4to. 
 
 Italian binding of the 16th century; red morocco; with arabesque 
 centre-pieces and corners. 
 
 Mr. J. Toovey. 
 
16 
 
 17 
 
 18 
 
 19 
 
 20 
 
 21 
 
 22 
 
 25 Caseak. 
 
 LANTERI. Duo libri del Modo di fare le fortificationi di terra. Vinegia. 
 1559. 4to. 
 
 Italian binding of the 17th century ; brown morocco; the upper cover 
 
 bearing the arms of Alfonso da Este, Duke of Ferrara, to whom the book 
 
 is dedicated. 
 Lent by Magdalen College, Oxford. 
 
 RINGHIERI. Cento Giuochi Liberali, et d’Ingegno. Bologna. 1551. 4to. 
 
 Italian binding of the 16th century ; white vellum ; elaborately tooled 
 in black, The book formerly belonged to Cardinal Hippolyto d’Este, whose 
 
 name is stamped upon the covers. 
 Fe SOL OFd, HESa, 
 
 DUCALE. Italian Manuscript of the 16th Century. 4to. 
 
 Venetian binding of the 16th century; red morocco; with sunken 
 panels painted in colours upon a gold ground ; in the centre of the upper 
 cover is the Lion of St. Mark, and on the lower the arms of the Governor to 
 whom the volume was presented. 
 
 Mr. J. Toovey. 
 
 BooOK-COVERS. 
 
 Venetian binding of the 16th century ; dark red morocco; with sunken 
 panels painted in colours upon a gold ground; the centre panel of the 
 upper cover bears the Lion of St. Mark, and that of the lower cover a coat 
 
 of arms. 
 Alfred Huth, Esq. 
 
 MISSALE AD USUM FRATRUM PREDICATORUM SANCTI DOMINICI. Venetiis. 
 1550. 4to. 
 Italian binding of the 16th century; red morocco; with the name 
 
 Suor Zaneta Fenolosi stamped upon the covers. 
 kev. E, Dewirck. 
 
 IL PETRARCHA. Vinegia. 1547. 4to. 
 Italian binding of the 16th century; red morocco; the sides ornamented 
 
 with a geometrical design with foliations ; the title of the book occurs in the 
 centre of each cover, and a fleur-de-lis is stamped at each corner. 
 
 E. H. Lawrence, Esq. 
 
 MAUROLYCUS MARTYROLOGIUM. Venetiis. 1568. 4to. 
 
 Italian binding of the 16th century ; olive morocco; the sides being 
 elaborately tooled in gold; the arms of the Ruizi family of Rome are 
 impressed in the centre of each cover. 
 
 Col Elion, bs¢..0.C.b1 2, 
 
Case E. 26 
 
 23 
 
 24 
 
 25 
 
 26 
 
 27 
 
 28 
 
 29 
 
 30 
 
 CARO RIME. Venetia. 1569. 8vo. 
 
 Italian binding of the 16th century ; red morocco ; with the arms of 
 Alessandro Farnese, Prince of Parma and Piacenza. 
 
 Lent by C. F. Murray, Esq. 
 
 HESIODI OPERA GRACE. Venetiis. 1537. 4to. 
 
 Italian binding of the 16th century ; brown morocco ; with ribbons at 
 
 the top, bottom and sides. 
 His Excellency M. Gennadtus. 
 
 FRACASTORIUS. Syphilis sive Morbus Gallicus. Veronz. 1530. 4to. 
 
 Italian binding of the 16th century; red morocco. In the centre of 
 each cover is stamped a figure of Fortune holding a sail, and the volume has 
 
 clasps at the top, bottom and sides. 
 W. H, Corfield, Esq., M.D. 
 
 PONCELLO DA CARAVONICA. Le Sacre Historie de lAntico Testamento. 
 Padova. 1568. 4to. 
 
 Italian binding of the 16th century; black morocco; with the arms of 
 Cosmo II., Grand Duke of Tuscany, painted in the centre of each cover. 
 
 S. Sandars, Esq. 
 
 LE METAMORFOSI D’OVIDIO. Vinegia. 1561. 4to. 
 
 Italian binding of the 16th century; brown morocco; richly tooled ; 
 
 with the title of the book upon the covers, 
 C.F. Murray, Esq. 
 
 HORE VIRGINIS MARIE. Paris. 1497. 4to. 
 
 Italian binding of the 16th century; black morocco; the sides orna- 
 mented with crowned lilies and doves. 
 
 Alfred Huth, Esq. 
 
 MANILIus. Astronomicon. Rome. 1510. 4to. 
 
 Italian binding of the 16th century; olive morocco; with handsome 
 
 border and centre-piece. 
 EL. H. Lawrence, Esq. 
 
 PONTANUS. Opera. Venetiis. 1519. 4to. 
 
 Italian binding of the 16th century ; black morocco ; the covers decorated 
 
 with a handsome floriated design. 
 C.l, Elton, E395 CC 
 
31 
 
 32 
 
 33 
 
 34 
 
 35 
 
 36 
 
 37 
 
 38 
 
 oF Case E. 
 
 ALCYONIUS. Medices legatus de exsilio. Venetiis. 1522. 8vo. 
 Italian binding of the 16th century ; brown morocco ; with a handsome 
 
 central ornament on the sides inclosed within a border of azuré tooling. 
 Lent by Mr. B. Quaritch. 
 
 QUINTILIANUS. Institutionum Oratoriarum libri xii. WVenetiis. 1521. 8vo. 
 
 Italian binding of the 16th century ; olive morocco ; with the name of 
 
 the author of the book on the upper cover. 
 C. Butler, Esq. 
 
 CRINESIUS. Discursus de confusione linguarum. Noriberge. 1629. 4to. 
 
 Italian binding of the 17th century ; brown morocco; ornamented in the 
 
 Oriental style. 
 W. H. Corfield, Esq. 
 
 COOKERY AND MEDICAL REcEIPTS. MS. 4to. 
 
 Binding, probably Italian, of the 16th century ; with painted leaves 
 
 upon a gold ground. 
 Mr. J. Toovey. 
 
 PROCESSIONARIUM ORDINIS PREDICATORUM. Venetiis. 1590. 8vo. 
 Italian binding of the 16th century; red morocco; the sides worked 
 with emblematical gold tooling. The name SVORA FAVSTINA occurs on 
 
 each cover, and on the lower cover the arms of 
 Rev. E, Dewtck. 
 
 CICERO, De Philosophia. Venetiis. 1541. 8vo. 
 
 Italian binding of the 16th century ; brown morocco; with the sides 
 
 ornamented in the Groliér style. 
 Mr. J. Toovey. 
 
 OPPIANI HALIEUTICA ET CYNEGETICA. Gr. Venetiis. 1517. 8vo. 
 
 Calf ; with morocco inlays; both scroll work and foliations ; the inter- 
 
 spaces sprinkled with gold dots. 
 Hts Excellency M. Gennadius. 
 
 PONTANUS. OPERA. Venetiis. 1513. 8vo. 
 
 Italian binding of the 16th century ; brown morocco; sides and back 
 
 stamped and gilt. 
 W. FH, Corfield, Esg., M.D. 
 
Case FE, 28 
 
 39 PLINIuS CacILIUS SECUNDUS. Epistolarum libri x. Venetiis. 1518. 8vo. 
 
 Italian binding of the 16th century ; olive morocco; foliated ornament 
 in the centre in a lozenge set within a vertical rectangular frame. 
 
 Lent by C. E. H. Chadwyck-Healey, Esq., Q.C. 
 
 40 SratTius. Sylvarum libriv. Venetiis. 1519. 8vo. 
 
 Italian binding of the 16th century ; reddish brown morocco; gold 
 fillets and border of stamped undulating foliage; title in a tablet on each 
 
 cover. 
 Mr. J. Toovey. 
 
 41 PONTANUS. OPERA. Venetiis. 1513. 8vo. 
 
 Italian binding of the 16th century; olive brown morocco; stamped 
 and gilt; border of foliated ornament. with corner-pieces; the title and 
 owner’s name in the centre of the covers. 
 
 Mr. J. Toovey. 
 
 42 SALLUSTIUS CrISPUS. De coniuratione Catiline. Venetiis. 1521. $8vo. 
 
 Italian binding of the 16th century ; brown morocco; border of fillets 
 with corner ornaments. In the centre of one cover the author’s name; in 
 that of the other the motto: FORTVNA NULLI PLUS QUAM CONSILIUM 
 
 VALET, enclosed within curves charged with foliations. 
 Mr. J. Toovey. 
 
 43 ALAMANNI. Opere Toscane. Lvgdvni. 1532. 8vo. 
 
 Italian binding of the 16th century; brown morocco. In the centre 
 of one cover a device and motto: SI FRACTUS ATUR ORBIS ; in that of the 
 other, the author’s name. Border of flowing foliage between two fillets with 
 foliated corner ornaments. The author’s name repeated on the back. 
 
 W. H. Corfield, Esg., M.D. 
 
 44 Homer. ILIAS. Venetiis. 1524. 8vo. 
 
 Italian binding of the 16th century ; red morocco ; interlacements and 
 curves charged with foliations. 
 Fler Majesty the Queen. 
 
 45 THEODORI GRAMMATICES LIBRIIIII. Gr. Florentia. 1526. 8vo. 
 
 Italian binding of the 16th century ; brown morocco; in the centre of 
 each cover the title within a vertical panel gilt; stamped border of 
 
 flowing foliage with a cinquefoil in each corner. 
 L. Bywater, Esq. 
 
29 Case. Ee. 
 
 46 GREGORII NAZANZENI THEOLOGI ORATIONES, Venetiis. 1536. S8vo. 
 
 Italian binding of the 16th century ; brown morocco ; geometrical 
 design with delicate sprays of foliage within a rectangular panel. In the 
 centre the name of the author and that of the owner I. CLEMENTIS ; in each 
 corner, a double rose. 
 
 Lent by W. H. Corfield, Esq. M.D. 
 
 477 ROSARIO DE LA GLORIOSA VERGINE MARIA. Venetia. 1536. 8vo. 
 
 Italian binding of the 16th century ; brown morocco; stamped and 
 gilt; the back has four panels with a saltere accompanied by four small 
 
 leaves. 
 Rev. E. Dewick. 
 
 48 GEORGIEVITS. Opera Nova. Roma. 1555. 8vo. 
 
 Italian binding of the 16th century ; brown morocco ; with inscription 
 of dedication to, and arms of, Hippolytus, Cardinal of Ferrara. 
 
 Hits Excellency M. Gennadtus. 
 
 49 PSALMISTA SECUNDUM CONSUETUDINEM FRATRUM SANCTI DOMINICI. 
 
 Venetiis. 1551. 8vo. 
 Italian binding of the 16th century ; brown morocco ; stamped and gilt. 
 Rev, FE. Dewitck. 
 
 SO EPITOMES OMNIUM GALENI OPERUM. Venetiis. 1548. 8vo. 
 
 Italian binding of the 16th century ; brown morocco; gold tooling, 
 
 with border of foliage of flowers on gold frame. 
 C. Butler, Esq. 
 
 51 LAvITA DI Esopo. Vinegia. 1545. 8vo. 
 
 Italian binding of the 16th century; brown morocco; with silver 
 
 tooling. 
 Hts Excellency M. Gennadius. 
 
 52 HEURES A LUSAIGE DE ROMME, Printed on Vellum. Paris. 1497. 8vo. 
 
 Italian binding of the 16th century; brown morocco; with silver 
 
 clasps. 
 B. B. Macgeorge, Esq. 
 
Case E. 30 
 
 538 IL PETRARCHA. Vinegia. 1532. 8vo. 
 Italian binding of the 16th century; brown morocco; the sides 
 ornamented with a geometrical design in gold tooling; enclosing the 
 
 initials B.S. The insides of the covers are lined with morocco, tooled with 
 a geometrical pattern in silver. 
 
 Lent by C. F. Murray, Esq. 
 
 04 CANDIDO. Commentarii de i fatti d’Aquileia. 
 
 Venetia. 1544. 8vo. 
 Italian binding ; black morocco ; gold tooling. 
 
 In the centre, a flaming 
 torch and the legend: HOC VIRTVTIS OPVS. 
 
 W. H. Corfield, Esq.. M.D. 
 55 PINDAR. Gr. MS. 
 
 Italian binding of the 16th century; red morocco; with an intricate 
 design of interlaced work on a star-sprinkled ground. 
 
 Hts Excellency M. Gennadius. 
 
 56 DEMOSTHENIS ORATIONUM PARS TERTIA. Gr. Venetiis. 1543. 
 
 Italian binding of the 16th century ; brown morocco, In the centre a 
 figure of Fortune holding a sail, the initials of the owner, A.P., and the 
 
 8vo. 
 
 date 1548. 
 
 Hs Excellency M, Gennadzus. 
 O7 IL. PETRARCA. Venetia. 
 
 1546. 8vo. 
 
 Turkish binding of the 16th century; red leather ; sunk panels, with 
 arabesque designs on gold ground; the insides with panels of pierced 
 work on ground of green silk. 
 
 W. A. Tyssen Amherst, Esq. MP. 
 
 OS OPERA POMPONIT L&TI VARIA. Moguntiz. 1521. 8vo. 
 
 Turkish binding of the 16th century ; black morocco ; with sunk panels ; 
 elegant arabesque design on a stippled gold ground. 
 
 W. H. Corfield, Esq., M.D. 
 
 O09 TRE LIBRI DI APPIANO DA L, DOLCE TRADOTTI. 
 
 Vinegia. 1559. 1I2mo. 
 Binding of the 16th century ; brown morocco; with sunk panels ; that 
 
 in the centre stamped with an arabesque design on a gold ground; the 
 others with painted design on red silk. On the upper cover are the initials 
 P.A. III., and on the inside the arms of Pier Andrea Forzoni, of Florence. 
 
 His Excellency M. Gennadus. 
 
60 
 
 61 
 
 62 
 
 63 
 
 64 
 
 65 
 
 ay Case E. 
 
 TERENTIUS. Comeediz. Lugduni. 1544. 12mo. 
 
 Italian binding of the 16th century; brown morocco, tooled ; the title 
 within a quatrefoil on one cover, the dedicatory inscription RA. FARN. ARC. 
 
 NEAP. DESSIG. on the other. 
 Lent by C. F. Murray, Esq. 
 
 LIBRO AUREO DE MARCO AURELIO. 1531. 
 
 Italian binding of the 16th century ; black morocco ; stamped and gilt ; 
 the title at the head of the upper cover. 
 His Excellency M. Gennadius. 
 
 GREGORII NAZANZENI THEOLOGI ORATIONES. Venetiis. 1536. 8vo. 
 Italian binding of the 16th century ; brown morocco ; gold tooling. 
 
 Flis Excellency M. Gennadtus. 
 
 GIOVIO ET GAMBINI. Commentarii delle cose de Turchi. Vinegia. 1541. 8vo. 
 
 Italian binding of the 16th century ; red morocco ; title on upper cover. 
 Fits Excellency M. Gennadius. 
 
 CATULLUS, TIBULLUS, PROPERTIUS. Venetiis. 1502. 8vo. 
 
 Italian binding of the 16th century; calf; red edges painted with 
 
 arabesque ornament in gold and the date 1536. 
 Alfred Huth, Esq. 
 
 COMMENTARIA VETERA IN THEOCRITI EGLOGAS, Gr. Venetiis. 1539. 8vo. 
 
 Italian binding of the 16th century; red leather; gold tooling; arms 
 
 of the owner in the centre and corners. 
 His Excellency M. Gennadius. 
 
42 
 
 Case F. 
 
 ITALIAN AND FRENCH BINDINGS, 
 INCLUDING those from THE GROLIER and MAOLI COLLECTIONS, 
 
 1 BLonpus. De Roma triumphante libri decem. Basile. 1531. Fol. 
 
 French binding of the 16th century ; brown calf. Bound for Jean Grolier, 
 Vicomte d’Aguisy. The motto GROLIERII ET AMICORVM is on the upper 
 cover, and PORTIO MEA DOMINE SIT IN TERRA VIVENTIVM on the 
 other. The back is elaborately tooled and has a lettering piece with 
 
 the title. 
 Lent by All Souls College, Oxford. 
 
 2 Laztus. De Gentium aliquot migrationibus. Basilee. 1557. Fol. 
 
 French binding of the 16th century; brown and stained calf. Bound 
 for Grolier. With the motto 10. GROLIERII ET AMICORVM on the upper 
 cover, and PORTIO MEA DOMINE SIT IN TERRA VIVENTIVM on the other. 
 
 This volume has a lettering piece on the back. 
 Earl Spencer. 
 
 3 CRINITUS. Commentarii de Honesta Disciplina. Florentie. 1504. Fol. 
 
 Italian binding of the 16th century; brown calf, stained and painted. 
 Formed part of the Grolier collection. | Has the.motto I0. GROLIERII ET 
 AMICORVM on the upper cover, and PORTIO MEA DOMINE SIT IN TERRA 
 
 VIVENTIVM on the other. 
 Constance, Marchioness of Lothzan. 
 
 4 EPISTOLARUM MISCELLANEARU AD’ FRIDERICUM NAUSEAM, EPISCOPUM 
 VIENNENSEM LIBRI X. Basilez. 1550. Fol. 
 
 French binding of the 16th century ; brown calf; painted. Bound for 
 Grolier. The motto 10. GROLIERII ET AMICORVM on the upper cover, 
 and PORTIO MEA DOMINE SIT IN TERRA VIVENTIVM on the other. 
 
 Eton College. 
 
 5 Jovius. Vita Leonis Decimi. Florentiz. 1549. Fol. 
 
 French binding of the 16th century; brown calf; stained and gilt. | 
 
 Bound for Grolier. With the motto 10. GROLIERII ET AMICORVM on the upper 
 cover, and PORTIO MEA DOMINE SIT IN TERRA VIVENTIVM on the other. 
 
 C. G. Prideaux-Brune, Esq. 
 
33 Case F. 
 
 6 STOFLERINUS. Elucidatio fabricze ususque Astrolabii. Oppenheim. 1524 
 Fol. | ; 
 French binding of the 16th century; brown calf. From the Grolier | 
 library. With the motto 10, GROLIERII ET AMICORVM on the upper cover, 
 and PORTIO MEA DOMINE SIT IN TERRA VIVENTIVM on the other, 
 
 Lent by W. A. Tyssen Amherst, Esq., MP. 
 
 7 Borco. Divina proportione. Venetiis. 1509. Fol. 
 
 Italian binding of the 16th century ; brown calf, painted. This book 
 has the arms of Grolier on the.upper cover, and the motto AQVE 
 
 DIFEICULTER on the lower. 
 W. A. Tyssen Amherst, Esq. MP. 
 
 8 CICERO. Rhetorica ad Herennium. Mediolani. 1485. Fol. 
 
 Italian binding of the 16th century ; red morocco. Bound for Grolier. 
 With the motto 10. GROLIERII ET AMICORVM on both sides. 
 
 Fler Majesty the Queen. 
 
 9 PROGNOSTICATIO JOHANNIS LIECHTENBERGERS. Colon. 1526. 8vo. 
 
 French binding of the 16th century; olive morocco. Bound for 
 Grolier. The motto 10. GR. ET AMICORUM on the upper cover, and PORTIO 
 MEA DOMINE SIT IN TERRA VIVENTIUM on the lower. 
 
 W. A. Tyssen Amherst, Esq., MP. 
 
 10 GUERRA. Varie acconciatone di Teste usate da nobilissime Dame in diverse 
 Cittadi d’Italia. Roma. c. 1560. 4to. 
 
 Italian binding of the 16th century ; red morocco. Formed part of the 
 
 Grolier library. With the arms of Grolier on both covers, and the motto 
 
 10, GROLIERII ET AMICORVM on the upper one. 
 S. Sandars, Esq. 
 
 » 
 
 11 AvREO LiBRro Di MARcO AURELIO. Vinegia. 1560. 4to. 
 
 Italian binding of the 16th century; red morocco. Apparently a 
 presentation copy to Grolier by Euralio Silvestri, as the inscription on the 
 upper cover is as follows: 10. GR. AMICO D.D.D. EVRIALO SILVESTRI, and 
 
 EVRIALO SILVESTRI on the lower. 
 CORRE eh O GENEL 
 
Case F. 34 
 
 12 BEROALDUS. Opuscula. 8vo. 
 Probably Italian binding of the 16th century ; brown calf. From the 
 Grolier library. With the motto 10. GROLIERII ET AMICORVM on the upper 
 cover, and PORTIO MEA DOMINE SIT IN TERRA VIVENTIVM on the lower, 
 
 Lent by Eton College, 
 
 18 JUVENALIS. PERSIUS. Venetiis, 1535. 8vo. 
 Italian binding of the 16th century; olive morocco. Bound 
 (apparently by same binder as Nos. 14 and 15) for Grolier. With the motto 
 10, GROLIERII ET AMICORVM on the upper cover, and PORTIO MEA 
 
 DOMINE SIT IN TERRA VIVENTIVM on the lower. 
 Eton College. 
 
 14 PLINIUS CACILIUS SECUNDUS. Epistole, &c. Venetiis. 1518. 8vo. 
 
 Italian binding of the 16th century; olive morocco. Bound 
 (apparently by same binder as Nos. 13 and 15) for Grolier. With the motto 
 GROLIERII ET AMICORVM on the upper cover, and PORTIO MEA DOMINE 
 
 SIT IN TERRA VIVENTIVM on the lower. : 
 
 15 VALERIUS MAXIMUS. Venetiis. 1534, 8vo. 
 Italian binding of the 16th century; olive morocco. Bound 
 (apparently by same binder as Nos. 13 and 14) for Grolier. With the motto 
 10. GROLIERII ET AMICORVM on the upper cover, and PORTIO MEA DOMINE 
 
 SIT IN TERRA VIVENTIVM on the lower. 
 k. S. Holford, Esq. 
 
 154 EPITOMES DES ROYS DE FRANCE EN LATIN AND EN FRANCoysS. Lugduni, 
 1546. to. 
 
 Italian binding of the 16th century ; olive morocco. Bound for Grolier, 
 
 In the centre of the upper cover is the title of the book, and on the lower 
 
 cover the words: 10. GROLIERII ET AMICORVM; the usual motto of 
 
 Grolier: PORTIO MEA DOMINE SITIN TERRA VIVENTIVM being intro- 
 
 duced in the outer compartments of the design with which the sides are 
 
 ornamented. 
 Alfred Huth, Esq. 
 
 158 CICERO. De natura deorum, &c. Venetiis. 1523. 8vo. 
 Italian binding of the 16th century ; black morocco. On the upper 
 cover the inscription: M. LAURINI ET AMICORVM; on the lower the 
 
 motto: VERTUS IN ARDUO. 
 Mr. J. Toovey. 
 
16 
 
 17 
 
 18 
 
 19 
 
 20 
 
 21 
 
 22 
 
 24 
 
 Bs ‘Case fF. 
 
 HOMERI ODYSSEA. Parisiis. 1538. 8vo. 
 
 Italian or French binding of the 16th century; brown calf; painted and 
 gilt. Belonged to Maioli. With the motto TO MAIOLII ET AMICORVM on the 
 upper cover, and INGRATIS SERVIRE NEPHAS on the lower. 
 
 Lent by R. S. Holford, Esq. 
 
 mubUe GELLIUS. iNoctes Atticz: Venetiis, 1515: 8vo. 
 
 French or Italian binding of the 16th century ; black morocco, painted. 
 Bound for Maioli. With the motto THO. MAIOLIIT ET AMICORVM on the 
 upper cover, and INGRATIS SERVIRE NEPHAS on the lower. 
 
 Earl Spencer. 
 
 CICERO. Epistole ad Atticum. Venetiis. 1547. 8vo. 
 French binding of the 16th century; painted. This book was bound 
 
 for Maioli, and has his monogram on the lower cover. 
 Mr. J. Toovey. 
 
 APIcius. De Re Culinaria. Basilez. 1541. 4to. 
 
 French binding of the 16th century; painted. Belonged to Maioli. 
 With the motto THO. MAIOLI ET AMICORVM on the upper cover, and 
 INIMICI * MEI ‘ MEA * MICHI * NON * ME* MICHI ° on the lower. 
 Mr. J. Toovey. 
 ARISTOTLE. De Republica. Parisiis. 1548. 4to. 
 French binding of the 16th century; olive morocco. This book 
 belonged to Maioli. With the motto THO. MA‘IOLII: ET: A-*MICOR* on 
 the upper cover, and his monogram on the lower. 
 
 R. S. Holford, Esq. 
 SALLUSTIUS. De Conjuratione Catiline, &c. Venetiis. 1546. Fol. 
 
 Italian binding of the 16th century; olive morocco. Belonged to 
 Maioli. With the motto THO. MAIOLI ET AMICORVM on the upper cover, 
 and his monogram on the lower. 
 
 Alfred Huth, Esq. 
 CLITOPHONIS NARRATIO AMATORIA. Lugduni. 1544. 8vo. 
 
 Probably French binding of the 16th century; black morocco. This 
 book belonged to Maioli. With the motto T. MAIOLI ET AMICORVM on 
 upper cover. 
 
 W. H. Tyssen Amherst, Esq. MP. 
 LA HYPNEROTOMACHIA DI POLIPHILO. Venetia. 1545. Fol. 
 Italian binding of the 16th century ; brown morocco; painted and gilt. 
 Mr. J. Toovey. 
 
Case F. 36 
 
 25 
 
 26 
 
 27 
 
 28 
 
 29 
 
 30 
 
 31 
 
 32 
 
 33 
 
 PAUSANIAS. Commentarii Greeciam describentes. Venetiis. 1516. Fol. 
 
 Italian binding of the 16th century ; brown morocco ; painted and gilt. 
 From the library of Count Carl von Mansfeld, whose arms are painted on 
 
 both covers. 
 Lent by Alfred Huth, Esq. 
 
 NovuM TESTAMENTUM. Gr. Lutetiz. 1550. Fol. 
 French binding of the 16th century; brown morocco; elaborately painted 
 and gilt ; edges gilt and decorated in colour. 
 Mr. J. Toovey. 
 PETRARCHA. Vinegia. 1547. 4to. 
 Italian binding of the 16th century ; brown morocco ; painted and gilt. 
 
 R. S. Holford, Esq. 
 
 Boccaccio. Il Decamerone. Vinegia. 1548. 4to. 
 Italian binding of the 16th century ; brown morocco ; painted and gilt. 
 
 Mr. B. Quaritch, 
 
 NONNI PANOPOLITA DIONYSIACA. Antverpiz. 1569. 8vo. 
 French binding of the 16th century ; brown morocco ; painted and gilt. 
 
 E. H. Lawrence, Esq. 
 
 LIvIus. Historiz.. Venetiis. 1566. Fol. 
 Italian binding of the 16th century ; olive morocco ; painted and gilt. 
 
 Mr. J. Toovey. 
 
 HORE BEATISSIME VIRGINIS MARIE. Paris. 1536. 8vo. 
 French binding of the 16th century ; brown calf; painted and gilt. 
 
 A. Hucks Gibbs, Esg., MP. 
 
 ARIOSTO. Orlando Furioso, Vinegia. 1551. 4to. 
 
 French binding of the 16th century ; brown calf; inlaid, gilt, and painted ; 
 with the name Anne Seguier, apparently added after the book was bound. 
 
 HT. S. Richardson, Esq. 
 IL PETRARCA. Vinegia. 1547. 4to. 
 
 French binding of the 16th century ; morocco ; painted and gilt. 
 
 HT. Yates Thompson, Esq. 
 
avi 
 
 Case G. 
 
 ITALIAN AND FRENCH BINDINGS, 
 INCLUDING THOSE FROM THE CANEVARI COLLECTION. 
 
 Ovipius Naso. Metamorphoseon libri XV, Venetiis. 1523. 8vo. 
 
 Italian binding of the 16th century; brown morocco, From the 
 library of Demetrio Canevari, physician to Pope Urban VIII.; with his 
 “cameo” medallion painted, and his motto OPO@QOS KAI MH AOZIOS 
 
 on each cover. 
 Lent by Her Mazesty the Queen. 
 
 WiniOsTO. Il Furioso, Lione. 1556. 8vo. 
 Italian binding of the 16th century; brown calf. From the library of 
 Demetrio Canevari, physician to Pope Urban VIII.; with his “cameo” 
 
 medallion painted, and his motto on each cover. 
 
 W. FH]. Corfield, Esq., M.D. 
 
 PTOLEM&uS. Geographia universalis. Basilee. 1540. Fol. 
 
 Italian binding of the 16th century; red morocco; painted. From 
 the library of Demetrio Canevari, physician to Pope Urban VIII.; with 
 his “cameo” medallion painted, and his motto on each cover. 
 
 W. A. Tyssen Amherst, Esq., M.P. 
 
 GALENI EXTRA ORDINEM CLASSIUM LIBRI. Venetiis. 1541. Fol. 
 
 Italian binding of the 16th century; olive morocco, From the library 
 of Demetrio Canevari, physician to Pope Urban VIII.; with his “cameo” 
 medallion painted, and his motto on each cover. 
 
 Alfred Huth, Esq. 
 
 PRISCIANI GRAMMATICI LIBRI OMNES, Venetiis. 1527. 4to. 
 
 Italian binding of the 16th century; olive morocco. From the library 
 of Demetrio Canevari, physician to Pope Urban VIII.; with his “cameo” 
 medallion painted, and his motto on each cover. 
 
 Mr. J. Toovey. 
 ViTA DI M. AURELIO.. Vinegia. 1543. S8vo. 
 
 Italian binding of the 16th century; red morocco. From the library of 
 Demetrio Canevari, physician to Pope Urban VIII.; with his “ cameo” 
 medallion painted and gilt, and his motto on each cover. 
 
 FTts Excellency M, Gennadtus. 
 
Case G. 38 
 
 7 
 
 10 
 
 11 
 
 12 
 
 13 
 
 LA DISCRITIONE DE L’ASIA ET EUROPA DI Pio II. Vinegia. 1544. 8vo. 
 
 Italian binding of the 16th century ; red morocco. From the library of 
 Demetrio Canevari, physician to Pope Urban VIII.; with his “cameo” 
 medallion painted and gilt, and his motto on each cover. 
 
 Lent by Rev. W. FE. Buckley. 
 
 JELIANI HISTORIA ANIMALIUM. Lugduni. 1535. 4to. 
 
 Italian binding of the 16th century; olive morocco. From the library of 
 Demetrio Canevari, physician to Pope Urban VIII.; with his “cameo” 
 medallion gilt and silvered, and his motto on each cover. 
 
 His Excellency M. Gennadius. 
 
 JOANNIS GRAMMATICI IN POSTERIORA RESOLUTORIA ARISTOTELIS 
 COMENTARIA. Venetiis. 1504. Fol. 
 
 Italian binding of the early 16th century ; brown morocco; with a 
 
 different painted “ cameo” on each cover. 
 
 The cameo on the upper cover is similar to a bronze plaque attributed to A/Zoderno (E. Molinier, 
 Vol. 1., No. 215), and has served as the reverse to more than one medal; it bears the legend DvBIA 
 FORTVNA. It occurs as the reverse of a medal having the legend DIVA IVLIA. PRIMVM. FELIX, and 
 also on one of Francesco Sforza. 
 
 Mr. B. Quaritch. 
 
 PSALTERIUM ET CANTICUM CANTICORUM. AEthiopice. Rome. 1513. Ato. 
 
 Italian binding of the 16th century ; brown calf; with fine “ cameos ” 
 on both covers. 
 
 Earl Spencer. 
 ASCONIL PAEDIANI EXPOSITIO IN III]. ORATIONES CICERONIS CONTRA 
 C. VERREM, &c. Venetiis. 1522. 8vo. 
 
 Italian binding of the 16th century ; black morocco ; with “cameo” on 
 each cover. 
 
 S. Sandars, Esq. 
 
 Dio Cassius. DELLE GUERRE ROMANE LIBRI XXII, Vinegia. 1542. 8vo. 
 
 Italian binding of the 16th century ; olive morocco; with “cameos” on 
 
 each cover. : 
 
 The cameo on the upper cover is from a plaque of bronze, cast in all probability from an 
 engraved crystal of Giovanni da Castel Bolognese. It represents Euterpe and is described by 
 Molinier, Vol. 2., p. 8 (No. 332), and greatly resembles in composition the reverse of the medal 
 of Gianfrancesco Gonzaga in which the child carries a torch, on the other a branch, 
 
 Fis Excellency M. Gennadtus. 
 EPISTOL@ BASILII MAGNI, &c. Venetiis. 1499. 4to. 
 
 Italian stamped binding of 15th or early 16th century; dark brown 
 morocco ; with “cameo” of Julius Cesar on the upper cover. 
 
 E. H, Lawrence, Esq. 
 
39 Case G. 
 
 14 Boccaccio. Amorosa visione. Vinegia. 1531. 8vo. 
 Italian binding of the 16th century ; brown calf; painted. 
 Lent by C. 1. Elton, Esq. Q.C., M.P. 
 
 -O PARIS. Homelies. Paris. 1553. 8vo. 
 
 French binding of the 16th century; brown calf; painted. In the 
 centre of each side is a coat of arms emblazoned; on the upper cover, those 
 of Henri de Lorraine, Duc de Guise; and on the other, those of Condé. 
 
 Alfred Huth, Esq. 
 
 16 S. CyRILLI HIEROSOLYMORUM ARCHIEPISCOPI CATECHESES. Parisiis. 
 1564. 8vo. 
 
 French binding of the 16th century; brown calf; painted. 
 His Excellency M. Gennadius. 
 
 1°77 ALAMANNI, La Coltivatione. Parigi. 1546. 4to. 
 French binding of the 16th century; brown calf; painted. 
 Mr. B. Quaritch. 
 
 18 Brembo. Prose. Firenze. 1549. 4to. 
 
 Italian binding of the 16th century ; brown calf; painted ; with the 
 initials F.B. stamped on each cover. 
 Mr. B. Quaritch. 
 
 19 -JUSTINIANUS. Digestorum seu Pandectarum Juris civilis libri quinquaginta. 
 a Parisiis. 1548. 6 vols. 8vo. 
 
 These volumes are specimens of French painted binding of the 
 16th century. The set of books displays an unusual style, each volume 
 being tooled to a different pattern, and though the obverse and reverse 
 covers of each volume are alike in design, the colouring of the two 
 sides is varied. The binding appears, from the fleur-de-lis and dolphin 
 surmounted by a coronet, which are worked into the design, to have been 
 executed fora Dauphin of France; but, from the following inscription on the 
 title of the first volume, the book appears to have already passed into other 
 hands in the 16th century: “ Hoc utriusq Juris corpus, perpetuze memorize, 
 et amicite ergo, Nobili et ornatissimo viro. D. Udalrico Piirzero, dono 
 dedit Joannes Georgius a Fraysing et Aychach.” 
 
 Alfred Huth, Esq. 
 25 MISSALE ROMANUM. Lugduni. 1550. 4to. 
 French binding of the 16th century ; red morocco ; inlaid and painted. 
 Lambeth Palace Library. 
 
Case G. 40 
 
 26 TERENTIUS. Comeedie. Parisiis. 1545. 4to. 
 French binding of the 16th century ; brown calf; painted. 
 Lent by C.f. Elton, Esq. 0.C, Mra 
 
 27 Vico. Augustarum imagines. Venetiis. 1558. 4to. 
 Italian binding of the 16th century ; brown morocco ; inlaid. 
 
 Mr. J. Toovey. 
 
 28 BREVIARIUM ROMANUM. Lugduni. 1556. 4to. 
 Lyons binding of the 16th century; brown morocco; inlaid and painted. 
 
 Lambeth Palace Library. 
 
 Case H. 
 
 FRENCH AND ITALIAN BINDINGS, 
 PRINCIPALLY LYONS. 
 
 1 PLINIUS CACILIUS SECUNDUS. Epistolarum libri decem. Lugduni. 1542. 8vo. 
 Lyons stamped binding of the 16th century ; brown morocco. 
 
 R. C. Christie, Esq. 
 
 2 SALLUSTIUS. Opera. Lugduni. 1545. 16mo. 
 
 Lyons painted binding of the 16th century, in the Grolier style; 
 brown calf. 
 R. C. Cheestze Esq. 
 
 3 BREVIARIUM ROMANUM. Lugduni. 1546. 8vo. 
 
 Lyons painted binding of the 16th century, in the Grolier style; 
 brown calf. 
 Mr. J. Toovey. 
 
 4 BREVIARIUM ROMANUM. Lugduni. 1546. 8vo. 
 
 Lyons painted binding of the 16th century, in the Grolier style; 
 brown calf. 
 H. Hucks Gibbs, Esq., MP. 
 
10 
 
 11 
 
 12 
 
 18 
 
 14 
 
 AI Case H. 
 
 LACTANTIUS. Divinarum Institutionum libri VII, &c. Lugduni, 1548. 16mo, 
 Lyons painted binding, with the date 1552 on each cover; brown calf. 
 
 Lent by Magdalen College, Oxford. 
 
 LEONE. Philosophie d Amour. Lyon. 1551. 8vo. 
 Stamped and painted Lyons binding of the 16th century ; brown calf. 
 Cel PISO ESO... One. Le, 
 
 CICERO. Rhetoricorum libri quatuor. Lugduni. 1551. 16mo. 
 Stamped and painted Lyons binding of the 16th century ; brown calf. 
 Gale ltons £59, 0.0 Me. 
 
 CICERO. Rhetoricorum libri quatuor. Lugduni. 1551. 16mo. 
 Painted Lyons binding of the 16th century ; brown calf. 
 T. R. Buchanan, Esq., MP. 
 
 LucANUS. De bello civili libridecem. Lugduni. 1551. 16mo. 
 Painted Lyons binding of the 16th century ; brown calf. 
 All Souls College, Oxford. 
 
 Dionysius. Antiquitatum Libri X. Lugduni. 1555. 16mo. 
 Painted Lyons binding of the 16th century ; brown calf. 
 Cela lilion sl s¢.0. Ca 2. 
 
 MAROT. CEuvres. Lyon. 1558. 16mo. 
 
 Stamped Lyons binding of the 16th century, with a curious device of 
 fleur-de-lis within a crescent ; brown calf. 
 
 C. Butler, Esq. 
 
 HMeURES. Lyon. 1558. 8vo. 
 Painted Lyons binding of the 16th century ; brown calf. 
 St. John’s College, Cambridge. 
 
 HERODOTUS, Lugduni. 1559. 16mo. 
 Lyons stamped vellum binding of the 16th century. 
 Fis Excellency M. Gennadius. 
 
 CICERO. Philosophicorum Tom. 2. Lugduni. 1559. 16mo. 
 Lyons stamped vellum binding of the 16th century. 
 T. R. Buchanan, Esq., MP. 
 
Case H. 42 
 
 15 
 
 16 
 
 17 
 
 18 
 
 19 
 
 20 
 
 21 
 
 22 
 
 23 
 
 CICERO. Rhetoricorum Tom. 2, Lugduni. 1560. 16mo. 
 Painted Lyons binding of the 16th century ; brown calf. 
 Lent by C. la dlion, Fsgs Ot. ale 
 
 CICERO. Epistole ad Atticum, &c. Lugduni. 1560. 16mo. 
 Lyons tooled vellum binding of the 16th century. 
 R. C. Christie, Esq. 
 
 CICERO. Epistole Familiares. Lugduni. 1560. 16mo. 
 Stamped and painted Lyons binding of the 16th century ; brown calf. 
 C. I. Elton, Lisq, Oe 
 
 CICERO. Epistole Familiares Libri xvi. Lugduni. 1560. 16mo. 
 Stamped Lyons binding of the 16th century ; brown morocco. 
 CI. Filton, Fisq5 Oslee 
 
 PLINIUS SECUNDUS. Historiz Mundi Libri xxxvii. Lugduni, 1561. 16mo. 
 
 Painted Lyons binding of the 16th century; brown calf. 
 C. 1. Elton, Esq OC a 
 
 CLAUDIANUS. Opera. Lugduni. 1561. 16mo. 
 Painted Lyons binding of the 16th century ; brown morocco. 
 C. I, Elton, Esq, OC. ii 
 
 AUSONIUS. Opera. Lugduni. 1575. 16mo. 
 Stamped Lyons binding of the 16th century ; brown morocco, 
 C. I, Elton, Esq:0\Co ae. 
 
 IL CORTEGIANO DEL CONTE BALDESSAR CASTIGLIONE, Vinegia. 1552. I2mo. 
 Italian painted binding of the 16th century ; brown calf. 
 Mr. J. Toovey. 
 
 EL TESTAMENTO NUEVO. Venecia. 1556. 8vo. 
 Italian binding of the 16th century ; brown calf. 
 C. I. Elton, Esq, OCs 
 
24 
 
 25 
 
 26 
 
 27 
 
 28 
 
 29 
 
 30 
 
 31 
 
 32 
 
 43 Case H. 
 
 HELIODORUS. L’Histoire Ethiopique. Paris, 1554.2. 16ma, 
 Stamped French binding of the 16th century, with a medallion at each 
 corner ; brown calf. 
 Lene UC. ke SiO, LS0., Onc dv ti 
 VIRGILIUS. Opera. Parisiis, 1558. 16mo, 
 Stamped and painted French binding of the 16th century. 
 All Souls'3College, Oxford. 
 PSALTERIUM. Parisiis. 1559. 16mo, 
 
 French stamped binding of the 16th century, in the Venetian style ; 
 red morocco, 
 His Excellency M. Gennadis. 
 
 CALVIN. Exemplum memorabile desperationis, &c. Genevae. 1550. 8vo. 
 
 Painted French binding of the 16th century, in the Grolier style; 
 brown calf; with the date 1552 on the covers. 
 Mr. B. Quaritch. 
 
 VETUSTISSIMORUM AUTHORUM POEMATA. Genevae. 1569. 16mo. 
 
 French binding of the 16th century ; red morocco inlaid with green ; 
 foliated ornament. On one of the sides, “Jo Matthzeus Toscanus ;” on the 
 other, a coat of arms. 
 
 F[1ts Excellency M. Gennadius. 
 
 CALVIN. Commentaire sur l’Epistre aux Romains. Geneve. 1550, 8vo. 
 Stamped and painted French binding of the 16th century ; brown calf. 
 Durham Cathedral Library. 
 
 SAMBUCUS, Emblemata. Antwerpiz. 1576, 16mo. 
 Stamped French binding of the 16th century in the Venetian style; 
 brown calf. 
 EL. H, Lawrence, Esq. 
 OFFICIUM BEATA MARIA VIRGINIS. Brixiz, 1583. 12mo. 
 Stamped French binding of the 16th century ; brown morocco. 
 
 H. Virtue Tebbs, Esq. 
 
 VALERIUS MAXIMUS. [Parisiis. 1543. 16mo, 
 
 Stamped and painted French binding of the 16th century; brown 
 
 morocco. 
 C. £. H. Chadwyck Healey, Esq., O.C. 
 
Case FH. A4 
 
 33 
 
 34 
 
 35 
 
 36 
 
 37 
 
 AULUS GELLIUS. Noctes attice. Lugduni. 1539. 8vo. 
 
 French binding of the 16th century; black morocco; tooled and gilt. 
 Round the upper cover is the motto, O ABIECTA: CONDITIO : NASCENDI : 
 VIVENDI : MISERA : DVRISSIMA: and round the lower, O ABIECTA : CONDITIO : 
 
 NASCENDI : MORIENDI SIDONIVS. 
 . Lent by T. R. Buchanan, Esq., MP. 
 
 CALVIN. Brieve instruction pour armer tous bons fideles contre les erreurs de 
 la secte commune des Anabaptistes. Geneve. 1545. I2mo. 
 
 French binding of the 16th century ;-brown calf; with gilt and stained 
 
 ornaments and with the date, 1552, on each cover. 
 _ Mr. B. Quaritch. 
 
 LA VITA DI ALFONSO DA ESTE DUCA DEFERRARE. FIRENZE. 1553. 1I2mo. 
 French binding of the 16th century ; brown morocco; tooled and gilt. 
 
 C. Lf Elton, Esq, C.C. 
 
 HEURES. Paris. 8vo. 
 
 French binding of the 16th century ; brown calf; tooled and gilt, with 
 painted fillets. On the covers are names of the owner, Gilbert Mallet. 
 Conte Case’ H. No.1. 
 
 H, Hucks Gibbs, E'sq., MP. 
 
 VIRTUTUM ENCOMIA, Stephanus. Paris. 1573. 16mo. 
 
 French binding of the 16th century ; red morocco; with the arms of 
 Méry de Vic, Seigneur d’Ermé-Nonville. 
 I. Bywater, Esq. 
 
45 
 
 Case I. 
 
 FRENCH BINDINGS. 
 
 DIVERSORUM VETERUM POETARUM IN PRIAPUM LusuUS, &c. Venetiis. 1534. 
 8vo. 
 
 French binding of the 16th century ; brown calf; each cover bearing 
 the arms, device (a Salamander) and initial of Francis I., King of France. 
 
 Lent by Earl Spencer. 
 
 LE LIVRE DES STATUTS ET ORDONANCES DE L’ORDRE SAINCT MICHEL. 
 Patis, circa 1550. 4to. 
 
 French binding of the 16th century; brown morocco; each cover 
 bearing the arms and initial of Henry II., King of France, accompanied by 
 
 bows and quivers. 
 S. Sandars, Esq. 
 
 ISOCRATIS SCRIPTA, QUA NUNC EXTANT, OMNIA. Basilez. 1558. 8vo. 
 
 French binding of the 16th century ; brown calf; each cover having a 
 medallion of Henry II., King of France, impressed in gold. 
 
 FIts Excellency M. Gennadtus. 
 
 ALBERTI. L’Architecture et Art de bien Bastir. Paris. 1553. Fol. 
 
 French binding of the 16th century; brown morocco; the sides 
 handsomely ornamented in gold and colours. The arms of Henry IL, 
 King of France, are impressed in the centre of each cover, which is also 
 decorated with the crowned H, interlaced crescents, and the monogram of 
 the King and his mistress Diana of Poitiers, Duchess of Valentinois, The 
 edges of the leaves are gauffered and painted, and bear the cipher of Henry 
 and his mistress ; the volume has also a beautiful silver clasp. 
 
 Alfred Huth, Esq. 
 
Case I. . 46 
 
 5S CAMERARIUS. De Predestinatione dialogi tres. Parisiis. 1556. 4to. 
 
 French binding of the 16th century ; white morocco ; the sides blind- 
 tooled with the various emblems of Diana of Poitiers, and the initial of 
 Henry II., King of France, surmounted by a crown. Jn the centre of the 
 upper cover are the words “CONSEQVITVR QVOD CVNQVE PETIT,” and on 
 
 the lower cover “ NIHIL AMPLIVS OPTAT.” 
 Lent by Mr. B. Quaritch. 
 
 "7 DAMPMARTIN. De la Conoissance et Merveilles du Monde et de l’Homme. 
 Paris. 1585. Fol. 
 
 French binding of the 16th century ; brown morocco; executed by 
 Nicolas Eve. The sides, which are very richly tooled, bear the arms and 
 crowned initial of Henry III., King of France, to whom the book is 
 
 dedicated. 
 Fler Majesty the Queen. 
 
 & RABUTIN. Commentaires des Derniéres Guerres, &c. Paris. 1555. 4to. 
 
 French binding of the 16th century; black calf; with foliated 
 ornaments in blind tooling. 
 
 E. H. Lawrence, Esq. 
 
 10 Boccaccio. La Geneologia de gli Dei de Gentili. Venetia. 1574. 4to. 
 
 French binding of the 16th century ; red morocco; each cover bearing 
 the arms of Henry III, King of France, stamped in silver. The back and 
 
 sides are thickly studded with fleurs-de-lis. 
 E. H. Lawrence, Esq. 
 
 11 LIBER PSALMORUM, &c. Paris. 1582. 8vo. 
 
 French binding of the 16th century ; brown morocco; executed for 
 Henry III., King of France. On each cover is impressed a representation 
 of the Crucifixion, and on the back occur a death’s head, the arms of the 
 
 king, and his motto: SPES MEA DEVS. 
 Mr. J]. Toovey. 
 
 12 Book or Hours. MS. on vellum. 8vo. 
 
 French binding of the 16th century ; brown calf; having on the upper 
 cover a representation of the Crucifixion, and one of the Annunciation on the 
 
 lower cover. 
 C. B. Marlay, Esq. 
 
AW Case I. 
 
 138 PavuLus MELISSUS pseud [z.e. Paul Schede]. Schediasmata Poetica. Lutetize 
 Parisiorum. 1586. 8vo. 
 
 French binding of the 16th century; white vellum; executed by 
 Nicolas Eve; the sides being decorated with the crowned initial of Elizabeth, 
 Queen of England, to whom the book is dedicated. 
 
 Lent by Her Majesty the Queen. 
 
 14 Cope DU Roy HENnrRYIII., Roy DE FRANCE ET DE POLOGNE. Paris. 1587, Fol. 
 
 French binding of the 16th century ; red morocco; the sides and back 
 being thickly studded with fleurs-de-lis, and bearing in the centre of each 
 cover the arms of Louise of Lorraine, Queen Consort of Henry III, 
 King of France. 
 
 Mr. B. Quaritch. 
 
 15 DEMOSTHENES. Orationes. Gr. Lutetia. 1570. Fol. 
 
 French binding of the 16th century ; brown morocco; richly tooled in 
 panel compartments, with foliated ornaments, and studded with the crowned 
 cypher of Charles IX., King of France, and fleurs-de-lis. In the centre of the 
 upper cover are the arms of the King, with the inscription “ CAROLVS IX. D. G. 
 REX FRANCOR,” and on the lower, his device surmounted by a crown. 
 
 Earl Spencer. 
 
 fae Cicero. Opera. Lutetiz., 1565. Fol. 
 
 French binding of the 16th century ; brown morocco; very handsomely 
 tooled. 
 J. M. Smith, Esq. 
 
 7) LA SAINTE BIBLE. Lyon. 1554. Fol. 
 
 French binding of the 16th century ; olive morocco ; richly tooled. 
 
 E. H. Lawrence, Esq. 
 
 18 Du BELLAY. Memoires. Paris. 1572. Fol. 
 
 French binding of the 16th century ; olive morocco; with the arms of 
 Henri de Bourbon, Prince de Condé. The sides are thickly studded with 
 
 fleurs-de-lis and the cypher of the Prince. 
 R. S. Holford, Esq. 
 
 19 BiBLiA. Tiguri. 1543. Fol. 
 
 French binding of the 16th century; brown morocco: executed by 
 
 Nicolas Eve. 
 Alfred Huth, Esq. 
 
Case J. 48 
 
 20 FERON. Le Simbol Armorial des Armoiries de France, &c. Paris. 1555. 4to. 
 
 French binding of the 16th century; brown calf; the sides being 
 ornamented with an interlaced black and silver design, and _ thickly 
 
 powdered with gold dots. On each cover are the arms of Count Peter Ernst 
 von Mansfeld, his name and motto. 
 Lent by All Souls College, Oxford. 
 
 21 VALERIANO BOLZANI. Hieroglyphica. Basilee, 1575. Fol. 
 
 French binding of the 16th century; executed for Count Carl von 
 Mansfeld ; brown morocco; tooled in diamond shaped compartments, within 
 which alternate the monogram of the Count and two triangles crossed. 
 
 Alfred Huth, Esq. 
 
 22 IL CORTEGIANO DEL CONTE BALDESSAR CASTIGLIONE. Lyone. 1553. 16mo. 
 French binding of the 16th century ; brown morocco; executed by 
 Nicolas Eve. 
 W. A. Tyssen Amherst, Esq., MP. 
 23 DAvIpIS PSALMI. Parisiis. 1575. 16mo. 
 
 French binding of the 16th century ; red and olive morocco. 
 
 Her Majesty the Queen. 
 
 24 Hor#@ BEATISSIM4# VIRGINIS MARIZ. Antverpia. 1570. 8vo. 
 
 French binding of the 16th century; brown calf; executed by 
 Nicolas Eve. 
 HI. Hucks Gibbs, Esq., M.P. 
 
 25 PSALMORUM DAVIDIS ET ALIORUM PROPHETARUM LIBRI QUINQUE. Londini. 
 1580. 16mo. 
 
 French binding of the 16th century; brown morocco; executed by 
 Nicolas Eve. 
 W. A. Tyssen Amherst, E'sq., M.P. 
 
 26 PRUDENTIUS. Opera, Parisiis. 1562. 16mo. 
 
 French binding of the 16th century ; olive morocco. 
 Mr. J. Toovey. 
 
 277 LA PHILOSOPHIE MORALE DES STOIQUES. Paris. 1585. 16mo. 
 
 French binding of the 16th century; brown morocco; tooled 
 with various emblems in gold, 
 E. 1, Lawrence, Esq. 
 
28 
 
 29 
 
 30 
 
 31 
 
 32 
 
 33 
 
 34 
 
 49 Case T- 
 
 IL PETRARCHA. Lyone. 1574. 16mo. 
 French binding of the 16th century ; brown morocco. 
 
 Lent by H. S. Richardson, Esq. 
 
 MELANGES Divers. MS. 16th century. Small thick 8vo. 
 French binding of the 16th century; olive morocco; richly tooled. 
 
 E. H, Lawrence, Esq. 
 
 DION CAssIus. Historia Romane Libri xlvi. Francofurti. 1592. 8vo. 
 
 French binding of the 16th century ; olive morocco ; the sides and back 
 being thickly studded with fleurs-de-lis, and having in the centre of each 
 cover a wreath containing the words “NIVERN D” (Nivernensis Dux, 
 z.¢. Louis de Gonzoga, Duc de Mantua and Nevers). 
 
 Hts Excellency M. Gennadius. 
 
 fieRooorUs. Historia. Gr. Paris. 1570. Fol. 
 
 French binding of the 16th century; blue morocco; executed by 
 Nicolas Eve for Jacques Auguste de Thou, whose arms are impressed in 
 the centre of each cover. 
 
 Eton College. 
 
 Nonnus, T. De Omnium particularium Morborum Curatione. Argentorati. 
 1568. 8vo. 
 
 French binding of the 16th century ; olive morocco ; with the arms of 
 Jacques Auguste de Thou. 
 His Excellency M. Gennadius. 
 
 LIBER PSALMORUM DAVIDIS. Lutetie. 1546. 8vo. 
 
 French binding of the 16th century; red morocco; executed by 
 Nicolas Eve for Jacques Auguste de Thou, whose arms are impressed in the 
 centre of each cover. 
 
 R. S. Holford, Esq. 
 
 HoMER. Odyssea. Gr. et Lat. Argentorati. 8vo. 
 
 French binding of the 16th century; olive morocco; executed by 
 Nicolas Eve for Jacques Auguste de Thou, whose arms are impressed in 
 the centre of each cover. 
 
 Earl Spencer. 
 
Case L. 50 
 
 85 BropD#uS. Miscellaneorum libri sex. Basilee. 1555. 8vo. 
 
 French binding of the 16th century; white vellum; with the arms of 
 
 Jacques Auguste de Thou. 
 Lent by I. Bywater, Esq. 
 
 36 PLAUTUS. Comoediz. 1587. . 16mo. 
 
 French binding of the 16th century; brown morocco; the upper cover 
 bearing a shield, charged with three fleurs-de-lis on a bend; a similar shield 
 with three lilies, surrounded by the motto EXPECTATA NON ELVDET, 
 occurring on the lower cover. 
 
 Books bound in this manner and bearing these arms are usually 
 asserted to have been exccuted by Clovis Eve for Marguerite de Valois, 
 
 Queen Consort of Henry IV., King of France. 
 Eton College. 
 
 37 PLINIUS SECUNDUS. Historia Mundi. 1593. 16mo. 
 
 French binding of the 16th century; red morocco; the decoration is ° 
 
 similar to the preceding. 
 Eton College. 
 
 38 Hor# BEATA MARIA VIRGINIS. MS. on vellum. 32mo. 
 French binding of the 16th century; brown morocco; having a 
 monogram composed of two R’s impressed in the centre of each cover. 
 HT. S. Richardson, Esq. 
 
 39 PEUCER. Les Devins. Anvers. 1584. ato. 
 
 French binding of the 16th century ; white vellum ; with the monogram 
 of in the centre and at the corners of the covers. 
 
 H. Hucks Gibbs, Esq., MP. 
 
 40 APOPHTHEGMATA GRACA REGUM ET DUCUM, &c., EX PLUTARCHO ET 
 DIOGENE LAERTIO. Paris. 1568. 16mo. 
 
 French binding of the 16th century; olive morocco; executed by 
 
 Nicolas Eve. 
 C. 1, Elton, Esg. OG, 
 
 41 TRITHEIM. Epistolarum familiarium libri duo. Haganoz. 1536. 4to. 
 
 French binding of the 16th century; olive morocco; with the arms 
 and monogram of Jacques Auguste de Thou and his first wife, Marie 
 
 Barbancon. 
 T. R. Buchanan, Esq., MP. 
 
42 
 
 43 
 
 45 
 
 46 
 
 47 
 
 51 Case I, 
 
 SIMLER. Vallesiz descriptio.. Tiguri. 1574. S8vo. 
 
 French binding of the 16th century ; red morocco; with the arms and 
 monogram of Jacques Auguste de Thou and his first wife, Marie Barbangon. 
 
 Lent by Wickham Flower, Esq. 
 
 XENOPHON. Opera. Gr.et Lat. Francofurti. 1594. Fol. 
 
 French binding of the 16th century ; red morocco; with the arms and 
 monogram of Jacques Auguste de Thou and his first wife, Marie Barbancon. 
 
 Eton College Library. 
 
 LIBANIUS. Opera. Parisiis. 1606. Fol. 
 
 French binding of the 17th century ; olive morocco ; with the arms and 
 
 initial of Henry IV., King of France and Navarre. 
 Earl Spencer. 
 
 HOMER. Poemata. Paris. 1604. 16mo. 
 
 French binding of the 17th century ; probably bound by Clovis Eve, 
 for Marguerite de Valois, Queen Consort of Henry IV., King of France; 
 
 ’ 
 
 with an interlaced M. on one side and R. on the other. 
 W. H. Corfield, Esg., M.D. 
 
 LE PSEAULTIER DE DAVID. Paris. 1586. 4to. 
 
 French binding of the 17th century ; red morocco; probably executed 
 by Clovis Eve; the arms of Mary de’ Medici, Queen Consort of Henry IV., 
 King of France, are impressed in the centre of each cover, and her crowned 
 
 monogram at the corners. 
 Rev. W. EF. Buckley. 
 
 ISOCRATES. Orationes et Epistole. Lutetiz. 1593. Fol. 
 
 French binding of the 17th century; olive morocco; the sides and 
 back are thickly studded with dolphins and fleurs-de-lis ; in each corner is 
 the letter H. ensigned with a crown, and in the centre the arms of the 
 
 Dauphin of France, afterwards King Louis XIII. 
 Earl Spencer. 
 
 DE CASTRE. La vie du bien-heureux Jehan de Dieu, &c. Paris. 1609. 8vo. 
 
 French binding of the 17th century ; olive morocco ; each cover bearing 
 the arms of Mary de’ Medici, widow of Henry IV., King of France, encircled 
 by the “ Cordeli¢re des Veuves.” The back and sides are thickly studded 
 with fleurs-de-lis, and bear the crowned monogram of the Queen, to whom 
 
 the book is dedicated. 
 Mr. J. Toovey. 
 
Case JL. 52 
 
 49 
 
 50 
 
 o1 
 
 o2 
 
 03 
 
 04 
 
 19) 
 
 MARINI. L’Adone... Parigi. 1623. Fol. 
 
 French binding of the 17th century; olive morocco; thickly studded 
 with fleurs-de-lis. In the centre of each cover are impressed the arms of 
 Mary de’ Medici, widow of Henry IV., King of France, encircled by the 
 “ Cordeliére des Veuves,” and at the corners the crowned monogram of the 
 
 Queen, to whom the book is dedicated. 
 Lent by Rev. J. Beck. 
 
 ORIGEN. Philocalia de obscuris S. Scripturze locis. Lutetiz Parisiorum. 
 1624. Ato. 
 
 French binding of the 17th century; brown morocco; each cover 
 bearing the arms of Louis XIII., King of France. 
 
 St. Paul’s Cathedral Library. 
 
 COURMESNIN. Voiage de Levant. Paris. 1624. 4to. 
 
 French binding of the 17th century; olive morocco; richly ornamented 
 with fine gold tooling, in which are introduced the crowned initials of 
 Louis XIII., King of France, and his wife Anne of Austria. 
 
 His Excellency M. Gennadius. 
 
 ROSSET. Histoires memorables et tragiques de ce temps. Paris. 1619. 8vo. 
 
 French binding of the 17th century ; olive morocco; on the back occurs 
 the letter W, surmounted by a coronet, the device of the Duc de Sully. 
 
 Mr. J. Toovey. 
 
 MORNAY. Response au livre publie par le sieur Evesque d’Evreux, &c. 
 Saumur, = 1002.0 e4to: 
 
 French binding of the 17th century ; brown morocco; the back and 
 sides tooled with a variety of emblems within garlands. 
 
 L[ncorporated Law Soczety. 
 
 Hor@, MS. on vellum. C. 1450. 4to. 
 
 French binding of the 17th century ; olive morocco; having the name 
 
 Jean Mireau and the date 1621 stamped on the covers. 
 S. Sandars, Esq. 
 
 PINDAR. Olympia, Pythia, &c. Salmurii.. 1620. 4to. 
 
 French binding of the 17th century; olive morocco; the sides and back 
 
 studded with fleurs-de-lis. 
 : Eton College. 
 
56 
 
 57 
 
 58 
 
 59 
 
 60 
 
 53 Case TI, 
 
 MISSALE ROMANUM. Antverpiz. 1587. Fol. 
 
 French binding of the 17th century; olive morocco; with the arms 
 of Charles de Lorraine, Abbé de Gorze et de Lunéville. 
 
 Lent by T. R. Buchanan, Esq., MP. 
 
 DEMOSTHENES. Opera. Gr. Lutetiz. 1570, Fol. 
 
 French binding of the 17th century ; brown morocco; with the arms of 
 Emmanuel Joseph de Wignerot de Richelieu, Abbé de Marmoutiers, &c. 
 
 Hf. Hucks Gibbs, Esgq., MP. 
 
 FLORILEGIUM DIVERSORUM EPIGRAMMATUM VETERUM. Paris. 1566. 4to, 
 
 French binding of the 17th century. It appears by an inscription to 
 have been a prize given to Louis Armand at the Jesuits’ School at Rouen 
 by Claude Le Roux, 16th August, 1632. The arms on the cover appear to 
 
 be those of NICHOLAS DE BANQUEMARE. 
 Eton College. 
 
 CLEMENTIS ALEXANDRINI OPERA GRACE ET LATINE. Lutetiz Parisiorum. 
 1641. Fol. 
 
 French binding of the 17th century ; brown morocco; in the centre of 
 each cover are impressed the arms of Louis XIV., King of France, and the 
 sides and back are thickly studded with fleurs-de-lis and the crowned initial 
 
 of the King. 
 St. Paul’s Cathedral Library. 
 
 SIDONIUS. Opera. Paris. 1652. 4to. 
 
 French binding of the 17th century ; brown morocco; in the centre of 
 each cover are impressed the arms of Louis XIV., King of France, and the 
 sides and back are thickly studded with fleurs-de-lis and the crowned initial 
 
 of the King. 
 - I, Bywater, Esq. 
 
 60A COLLEGII PARISIENSIS SOCIETATIS JESU FESTI PLAUSUS AD NUPTIAS 
 
 LUDOVICI GALLIARUM DELPHINI ET MARIZ ANNA CHRISTIANA 
 VICTORLZ BAVAR&. Parisiis. 1680. Fol. 
 
 French binding of the 17th century; brown morocco. The sides are 
 thickly studded with dolphins and fleurs-de-lis, and bear the arms of Louis 
 
 the Dauphin, son of King Louis XIV. 
 C. Butler, Esq. 
 
Case I. 54 
 
 61 TRAITE SUR LA CHARITE. MS. of the 17th century. 
 
 62 
 
 63 
 
 64 
 
 65 
 
 66 
 
 67 
 
 68 
 
 French binding of the 17th century ; executed by Le Gascon; red and 
 
 olive morocco, with beautiful fine tooling. 
 Lent by Alfred Huth, Esq. 
 
 PARS THEORICA INSTITUTIONUM PERIPATETICARUM, &c. Lugduni. 1646. 
 I2mo. 
 
 French binding of the 17th century; executed by Le Gascon; red 
 
 morocco, with beautiful fine tooling. 
 Fon. C. W. Mills, MP. 
 
 BIBLIA SACRA. Amsterodami. 1628. 12mo. 
 
 French binding of the 17th century ; red morocco, with beautiful fine 
 tooling. 
 W. H, Corfield, Esq., MD. 
 
 SANNAZARO. Arcadia. Vinegia, 1566. 12mo. 
 French binding of the 17th century; red morocco. 
 E. H. Lawrence, Esq. 
 
 Du Cros. Histoire de la vie de Henry dernier Duc de Montmorency. Paris. 
 1643. 4to. 
 
 French binding of the 17th century; olive morocco ; stamped with the 
 
 initial and coronet of Henri, Duc de Montmorency, and with 
 
 allerions, the badge of the family. 
 Mr. J. Toovey. 
 
 LE TRE GRATIE, RIME DEL BRUNI. Rome. 1630. 8vo. 
 French binding of the 17th century; red morocco; richly tooled. 
 
 Hl. S. Richardson, Esq. 
 
 HAEFTEN. Regia via crucis. Antverpiz. 1635. 8vo. 
 
 French binding of the 17th century ; red morocco, with delicate gold 
 
 tooling. 
 Rev. W, E. Buckley. 
 
 LUDOVICI HENRICI LOMENII, BRIENNAZ COMITIS ITINERARIUM.  Parisiis. 
 1662. 8vo. 
 
 French binding of the 17th century ; red morocco; the sides ornamented 
 with delicate gold tooling, with the Loménie arms in the centre. 
 
 Mr. B, Quaritch. 
 
69 
 
 70 
 
 vo 
 
 72 
 
 73 
 
 74 
 
 75 
 
 76 
 
 55 Case I. 
 
 HIPPOCRATES, Opera. Lugduni Batavorum. 1665. 8vo. 
 
 French binding of the 17th century ; white vellum; with the arms 
 
 of 
 Lent by His Excellency M. Gennadius. 
 
 POLYBIUS. Historie. (Tome 3.) Amstelodami. 1670. 8vo. 
 
 French binding of the 17th century ; red morocco; each cover bearing 
 the arms and monogram of H. Petit du Fresnoy. 
 
 IT. R. Buchanan, Esq., MP. 
 
 L/OFFICE DE LA SEMAINE SAINTE. Paris. 1680. 8vo. 
 
 French binding of the 17th century ; brown morocco; having the sides 
 profusely decorated with fleurs-de-lis and the crowned initial of Louis XIV., 
 
 King of France. 
 Alfred Huth, Esq. 
 
 ROBINSON. Annales Mundi. Londini. 1677. Fol. 
 
 French binding of the 17th century ; red morocco; from the library of 
 J. B. Colbert, with his arms, coronet and monogram. 
 
 GOL ITON NTE SG O CE 
 
 Tasso. I! Goffredo, overo la Gierusalemme liberata. Parigi. 1644. Fol. 
 
 French binding of the 17th century ; red morocco ; the sides elaborately 
 
 tooled in the style of Le Gascon. 
 Eton College. 
 
 SUETONIUS TRANQUILLUS. Opera. Parisiis. 1684. 4to. 
 
 French binding of the 17th century; red morocco; with the arms of 
 
 Michel Le Tellier, Chancellor of France. 
 Eton College Library. 
 
 Capaccio. Neapolitana historia. Neapoli. 1607. 4to. 
 
 French binding of the 17th century ; red morocco; with the cypher of 
 Nicolas Claude Fabri de Peiresc impressed on each cover. 
 
 oh NA IB (OM Ce I es 
 
 PHILOSTRATUS. Vie d’Apollonius Thyanéen. Paris. I611. 4to. 
 
 French binding of the 17th century ; red morocco; with the monogram 
 
 and coronet of Prince Radziwill. 
 His Excellency M. Gennadius. 
 
Case J. 56 
 
 77 XENOPHON. Cyri regis vita. Parisiis. 1572. 4to. 
 
 French binding of the 17th century ; brown Spanish morocco ; with the 
 arms and monogram of Jacques Auguste de Thou and his second wife, 
 Gasparde de La Chastre. 
 
 Lent by His Excellency M. Gennadzus. 
 
 78 CARAFA. Commentaria de Germania Sacra Restaurata. Colonie Agrippine. 
 1639. 8vo. 
 
 French binding of the 17th century; brown calf; with the arms and 
 monogram of Jacques Auguste de Thou and his second wife, Gasparde 
 de La Chastre. 
 
 C. L. Elion, Esq, Clee 
 
 79 MALVEzzI. Il Romulo, et il Tarquinio Superbo. Nella Haya. 1633-4. 12mo. 
 
 French binding of the 17th century; brown calf; with the De Thou 
 arms. This is one of the books added to the library after the death of 
 De Thou, and is marked with a single shield of the De Thou arms, which 
 differs from that used by him before his first marriage. The volume has on 
 the back the monogram of De Thou and his second wife, Gasparde de La 
 Chastre. 
 
 C. 1. Elton, fsa O56 
 
 80 TAVOLA DI TUTTE LE RIME DE’ SONNETTI E CANZONI DEL PETRARCA. 
 Venetia. 1586. 12mo., 
 
 French binding of the 17th century ; green vellum ; with the arms of 
 Jacques Auguste de Thou, the third son of the historian. 
 
 HT, Virtue Tebbs, Esq. 
 
 81 FicINo. Theologia Platonica. Parisiis. 1559. 8vo. 
 
 French binding of the 17th century ; olive morocco ; with arms of 
 on cover. 
 I. Bywater, Esq. 
 
 82 Novum TESTAMENTUM. Basileze. 1524. 8vo. 
 
 French binding of the 17th century ; olive morocco ; with arms of 
 on cover. 
 {ts Excellency M. Gennadius. 
 
 83 MARTYRE DE LA ROYNE D’ESCOSSE. Edimbourg. 1589. 1I2mo. 
 
 French binding of the 17th century; brown calf; with the arms of 
 Cardinal Richelieu. 
 S. Sandars, Esq. 
 
84 
 
 85 
 
 86 
 
 87 
 
 88 
 
 89 
 
 90 
 
 91 
 
 ney, Case I. 
 
 ARNOBIUS. Disputationum adversus Gentes libriseptem. Antverpiz. 1582. 8vo 
 
 French binding of the 17th century; brown calf; with the arms of 
 
 Antoine Barillon de Morangis. 
 Lent by Cele fiton. 2 sd5. 0.0, W1.P- 
 
 Orus CAROLI MAGNI, &c. 1549. 16mo. 
 
 French binding of the 17th century; brown calf; with the Hurault 
 arms impressed on each cover. 
 The Incorporated Law Soctety. 
 
 DE Loyac. Le Bon Prelat. Paris. 1645. 8vo. 
 
 French binding of the 17th century ; red morocco; with the arms of 
 
 Cardinal Mazarin. 
 H.. S. Richardson, Esq. 
 
 MARCI ANTONINI DE VITA SUA LiBRI XII. Lugduni. 1626, 12mo. 
 
 French binding of the 17th century; mottled calf; with the arms of 
 
 Guillaume de la Moigner, and monogram. 
 I. Bywater, Esq. 
 
 GIOVIO. La Vita di Consalvo Ferrando di Cordove. Fiorenza. 1550. 8vo. 
 
 French binding of the 17th century; red morocco; on each cover 
 are the arms of Louis Henri, Comte de Loménie. 
 
 W. A. Tyssen Amherst, Esq., M.P. 
 
 THOMAS A KeEmpPis. De /Imitation de Jesus Christ. Paris. 1652. 8vo. 
 
 French binding of the 17th century ; red morocco; with the arms and 
 
 monogram of Louis XIV. 
 Celi ope esa. Ca 
 
 MARCONVILLE* De l’heur et malheur de mariage. Paris. 1571. 8vo. 
 
 French binding of the 17th century ; brown morocco ; with the arms of 
 Louis XIV. 
 R. A. Oswald, Esq. 
 
 MATHILDE. Paris. 1667. 8vo. 
 
 French binding of the 17th century; red morocco; with the arms of 
 Henrietta Anna, daughter of Charles I. of England, and wife of Philip, 
 Duke of Orleans. A crowned monogram has been impressed at each corner 
 of the covers. 
 
 Alfred Cock, Esq., Q.C. 
 
Case I. 58 
 
 92 
 
 93 
 
 95 
 
 96 
 
 97 
 
 98 
 
 99 
 
 SALLUSTIUS. Opera. Lugd. Batavorum. 1654. 8vo. 
 
 French binding of the 17th century ; red morocco; with arms on each 
 cover, and monogram of interlaced G’s at corners and on hack. 
 
 Lent by Mr. B. Quaritch. 
 
 DIONYSIUS PERIEGETES. Orbis Descriptio. Londini. 1679. 8vo. 
 
 French binding of the 17th century; brown calf; with the arms of 
 Charles de Sainte-Maure, Duc de Montausier, in the centre of each cover, 
 and his monogram at the corners, and on the panels of the back. 
 
 His Excellency M. Gennadus. 
 
 ALSCHYLUS. .Gr.._ Parisits: 7 155§2:.) ovo. 
 
 French binding of the 17th century ; red morocco ; from the library of 
 
 Baron de Longepierre. 
 Eton College. 
 
 OvipiIus. Opera. Lugd. Batavorum. 1629. 16mo. 
 
 French binding of the 17th century ; red morocco; from the library of 
 Baron de Longepierre. 
 
 Rk. A. Oswald, Esq. 
 Du BELLAY. Memoires. Paris. 1572. Fol. 
 
 French binding of the 18th century ; olive morocco; with the arms of 
 Claude Antoine Cléradius de Choiseul Beaupré, Duc de Praslin. 
 
 Mr. J. Toovey. 
 
 CICERO. Fragmenta. Lugd. Batavor. 1642. 1I2mo. 
 
 French binding of the 18th century ; red morocco; with the arms of 
 Claude Antoine Cléradius de Choiseul Beaupré, Duc de Praslin. 
 
 C. I, Elton, Esq, 0.0, ue 
 
 BONEFONIUS. Opera omnia. Amstelodami. 1725. 8vo. 
 
 French binding of the 18th century ; red morocco ; with arms of 
 on covers. 
 
 R. A. Oswald, Esq. 
 
 MEMOIRES DE MARGUERITE DE VALOIS, REINE DE FRANCE ET DE 
 NAVARRE. Liége. 1713. 8vo. 
 
 French binding of the 18th century ; olive morocco ; with the arms of 
 Marie Sophie Emile Honorate, wife of Charles Francois de Montmorency, 
 
 Duke of Piney-Luxembourg. 
 H. S. Richardson, Esq. 
 
100 
 
 101 
 
 102 
 
 103 
 
 104 
 
 105 
 
 106 
 
 107 
 
 59 Case I: 
 
 MONTALVAN. Nouvelles. Paris. 1644. 8vo. 
 
 French binding of the 18th century; red morocco; with the arms of 
 Jeanne Baptiste d’Albert de Luynes, Comtesse de Verrue. 
 
 Lent by Edward Bond, Esq. 
 
 REINECCIUS. Syntagma de familiis. (Vol. II.) Basilee. 1574, &c. Fol. 
 
 French binding of the 18th century ; red morocco ; with the full arms and 
 monogram of Prince Eugene, and probably bound in his own establishment. 
 
 Rev. W. E. Buckley. 
 
 EURIPIDES. Tragoedie. Gr. & Lat. Geneva. 1602. 4to. 
 
 French binding of the 18th century ; red morocco; with the arms and 
 monogram of Prince Eugéne, and probably bound in his own establishment. 
 
 Hts Excellency M. Gennaadzius. 
 
 OFFICE DE LA SEMAINE SAINTE. Paris. 1708. 8vo. 
 
 French binding of the 18th century ; red morocco; with the arms and 
 badge of Maria Clementina Sobieska, wife of the Old Pretender, on the covers. 
 
 Fler Mayesty the Queen. 
 
 CENT NOUVELLES. 4to. 
 
 French binding of the 18th century; olive morocco; with the arms of 
 
 Charles Henri, Comte d’Hoym. 
 Rev. W. FE. Buckley. 
 
 Mus RHETORICES. Lutetiz Parisiorum. 1732. 12mo. 
 
 French binding of the 18th century; red morocco; with the arms of 
 Louis de Bourbon-Condé, Comte de Clermont, third son of Louis de Bourbon 
 and Mlle. de Nantes, daughter of Louis XIV. and Madame de Montespan. 
 
 IT. Rk. Buchanan, Esq., MP. 
 
 MONTALVAN. Nouvelles. Paris. 1644. $vo. 
 French binding of the 18th century; brown calf; with the arms of 
 Jeanne Antoinette Poisson, Marquise de Pompadour. 
 Cail Eitont so, G.C., MP. 
 
 L’OFFICE DE LA SEMAINE SAINTE. Paris. 1746. 8vo. 
 French binding of the 18th century; red morocco; with the arms 
 and monogram of Marie Josephe de Saxe, wife of Louis, son of Louis XV., 
 
 and mother of Louis XVI. 
 The Viscountess Wolseley. 
 
Case I. 60 
 
 108 ANACREON VENGE. A Criticopolis. 1755. 12mo. 
 
 French binding of the 18th century ; red morocco ; with the Talleyrand- 
 
 Périgord arms on the sides. 
 Lent by Hrs Excellency M. Gennadius. 
 
 109 BOURGUIGNON D’ANVILLE. Géographie Ancienne abrégée. Paris. 1768. 
 12mo, 
 
 French binding of the 18th century ; red morocco; with the Sartine 
 arms on the sides. 
 
 CL. 1. Elton, F’sq., ‘O/C tae 
 
 110 TAVERNIER. Relation de l’interieur du Serrail du Grand Seigneur. Paris. 
 1675. 4to. 
 
 French binding of the 18th century ; red morocco; with the arms of 
 
 Madame Adelaide, eldest daughter of Louis XV., King of France, whose 
 
 books were bound in red morocco, while those of her sisters, Madame 
 
 Victoire and Madame Sophie, were bound respectively in olive and citron 
 
 morocco. 
 {is Excellency M. Gennadius. 
 
 111 MLETTRES DE SAINT BASILE LE GRAND. Paris. 1701. 8vo. 
 
 French binding of the 18th century; olive morocco; with the arms 
 of Madame Victoire, second daughter of Louis XV., King of France. 
 
 His Excellency M. Gennadius. 
 
 112 LOFFICE DE LA SEMAINE SAINTE. Paris. 1723. 8vo. 
 
 French binding of the 18th century ; red morocco ; with the arms and 
 monogram of Louis XV. 
 Samuel Sandars, Esq. 
 
 118 CARTE DE LA FRANCE. Fontainebleau. 8vo. 
 
 French binding of the 18th century ; olive morocco; by Padeloup, | 
 with his ticket inserted ; with the arms of Louis, son of Louis XV. 
 
 H1. Yates Thompson, Esq. 
 
 114 GARNIER. Histoire de France. Paris. 1768. 12mo, 
 
 French binding of the 18th century; red morocco; with the arms ot 
 Léopold Charles de Choiseul, Archbishop of Cambrai. 
 
 T. R. Buchanan, Esq., MP. 
 
61 OG EGE 
 
 115 ALMANACH DE LA LIBRAIRIE. Paris. 1781. 12mo. 
 
 French binding of the 18th century; red morocco; with the arms of 
 Armand Thomas Hue de Miroménil, Chancellor of France 
 
 Lent by T. R. Buchanan, Esg., M.P. 
 
 116 L’OFFICE DE LA QUINZAINE DE PASQUE. Paris. 1739. 8vo. 
 French binding of the 18th century ; red morocco ; with the arms of 
 
 Louise Adelaide, Duchesse d’Orléans, wife of Philippe Egalité. 
 Cle riigne igen Cw Ue, 
 
 Case K. 
 
 1 TESTAMENTUM NOVUM SLAVONICE. Kieff. 1643. Sm. 4to. 
 
 Russian monastic binding of the 17th century ; vellum; tooled and gilt ; 
 edges gauffered, gilt and painted; with bronze clasps. 
 
 His Excellency M. Gennadwus. 
 
 2 PILGRIM’S PRAYER BOOK AND CASE. 
 
 Ethiopian binding of the 15th century ; stamped morocco. 
 E. H. Lawrence, Esq. 
 
 3S ARMENIAN MANUSCRIPT ON VELLUM. The Four Gospels, in old Armenian 
 and in Armenian. Turkish. Sm. 4to. 
 
 Greek monastic binding of the 17th century ; stamped morocco. 
 FIs Excellency M. Gennadius. 
 
 4 ARISTOTLIS. In Primum, secundum et initium tertii libri Ethicorum Com- 
 mentarius. Tiguri. 1563. 4to. 
 German binding of the 16th century; calf; tooled and gilt ; with 
 medallion of the Woman of Samaria on both covers ; gauffered edges. 
 {is Excellency M. Gennadius. 
 
Case K. 62 
 
 5 
 
 10 
 
 11 
 
 12 
 
 ENCHIRIDION PSALMORUM. Lugduni. 1534. 16mo. 
 
 German binding of the 16th century ; brown calf; and gilt designs of 
 the Holbein School on covers, and an inscription round the designs dated 
 
 1535. 
 Lent by Dr. Ginsburg. 
 
 Néos Onoavpos. (Greek Sermons). Venice. 1685. Sm. 4to. 
 
 Greek monastic binding of the 17th century ; calf; upper cover with 
 stamped and gilt medallion of the crucifixion; the other covered with 
 
 stamped blind tooling. 
 His Excellency M. Gennadius. 
 
 ETHIOPIC DEVOTIONAL MANUSCRIPT. Sq. 18mo. 
 In board sides, and enclosed in calf pouch for carrying on the girdle. 
 W. H. Corfield, Esq., M.D. 
 
 ORIENTAL MANUSCRIPT. Sq. 12mo. 
 Stamped Oriental binding ; brown morocco. 
 His Excellency M. Gennadius. 
 
 RUSSIAN CHURCH SERVICE BOOK. 8vo. 
 
 Russian monastic binding of the 17th century; brown calf; with gilt 
 designs. On the upper cover the Saviour, and the lower the Virgin; edges 
 
 gauffered and painted. 
 Hrs Excellency M,. Gennadius. 
 
 SLAVONIC CHURCH SERVICE. Sm. 4to. 
 
 Russian monastic binding of the 18th century; brown calf; on the 
 upper cover a medallion of the crucifixion ; stamped and gilt. 
 
 Fits Excellency M. Gennadius. 
 
 GREEK CHURCH Music. Manuscript. 8vo. 
 
 Greek monastic binding of the 18th century ; brown morocco; with 
 stamped and gilt designs on upper cover ; two brass clasps. 
 
 Fits Excellency M. Gennadius. 
 
 PORTA. De Humana Physiognomonia Libri IIII. Hanoviz. 1593. 8vo. 
 
 German binding of the 16th century; pigskin; stamped; and boards 
 
 painted green. 
 Fis Excellency M, Gennadius. 
 
138 
 
 14 
 
 15 
 
 i6 
 
 17 
 
 18 
 
 63 Case K. 
 
 GREEK CHURCH Music. Manuscript. 16mo. 
 
 Greek monastic binding; c. 1850; brown leather; stamped design 
 
 on covers, 
 Lent by Hes Excellency M. Gennadius. 
 
 HESIODI OPERA. Basile. 1559. 8vo, 
 
 Brown leather ; stamped and gilt. Presentation copy to Christopher 
 Julius, 1559; with the arms on lower cover of C. Herzog zu Wirtemberg. 
 
 His Excellency M. Gennadius. 
 
 TURCHIC& SPURCITA ET PERFIDIZ SUGGILLATIO, &c. 1514. . 4to. 
 
 Italian binding of the 16th century ; stamped leather ; stamped and 
 
 boards. 
 His Excellency M. Gennadius. 
 
 EURIPIDIS TRAGEDIAS SCHOLIA IN. Gr. etL at. Basilee. 1544. 8vo. 
 
 German binding of the 16th century; brown leather with stamped 
 border ; and stamped and gilt designs on cover. Dated 1545. 
 
 Hrs Excellency M. Gennadius. 
 D. ERASMI ROTERADAMI ANTIBARBARORUM. Lib. unusd. Basilez. 1520. 
 Ato. 
 
 German binding of the 16th century ; boards; back stamped pigskin ; 
 two brass clasps. 
 
 Alfred Cock, Esq. Q.C. 
 PECKIUS. Tractatus de Jure Sistendi. Colonize Agrippine. 1615. 8vo. 
 German binding of the 17th century ; covered with a leaf of manuscript 
 St. John’s College, Cambridge 
 
 Case L. 
 
 ENGLISH BINDINGS, 16th-17th CENTURIES. 
 
 1 Erasmus. Enchiridion Militis Christiani. London. 1544. 8vo. 
 
 English binding of the 16th century ; brown calf; having a crowned 
 Tudor rose impressed in the centre of each cover. 
 
 W. A. Tyssen Amherst, Esq., MP. 
 
Case L. 64 
 
 2 THE FORME AND MANER OF MAKYNG AND CONSECRATYNG OF ARCEE- 
 BISHOPPES, &c. London. 1549. Ato. 
 
 English binding of the 16th century; brown calf; each cover bearing 
 the arms and initials of King Edward VI. 
 
 Lent by W. A. Tyssen Amherst, Esq. M.P. 
 
 3 THE KYNGES REVENUES. MS. Fol. 
 English binding of the 16th century ; brown calf; each cover bearing 
 the arms and initials of King Edward VI. 
 Her Majesty the Queen. 
 
 4 STRENA GALTERI DELANI. MS. 1553. 8vo. 
 English binding of the 16th century ; brown calf; each cover bearing 
 the arms of King Edward VI., accompanied by his initials, and surmounted 
 
 by a crowned Tudor rose, 
 Her Majesty the Queen. 
 
 44 MENAVINO, Legge, religione, et vita de’ Turchi. Vinegia. 1548. 8vo. 
 
 English binding of the 16th century; black calf; with border and 
 centre-piece stamped in gold. 
 
 C.f, Elton, EsG..C eee 
 
 Oo NEW TESTAMENT. London. 1552. 4to. 
 
 English painted binding of the 16th century. 
 Eton College. 
 
 6G PLUTARCH. 7Parallela, “Basiless.y- 153357) ol: 
 
 English binding of the 16th century ; brown calf; each cover bearing 
 
 the arms of Queen Mary I. 
 F{ts Excellency M. Gennadius. 
 
 7 THE STATUTES AND ORDINAUNCES OF THE Most NOBLE ORDER OF. 
 SAINT GEORGE, NAMED YE GARTER. MS. 
 English binding of the 16th century ; brown calf; with the arms and 
 initials of Queen Elizabeth impressed upon the covers. 
 
 Her Magesty the Queen. 
 
 8 JUSTINIANUS. Institutionum libri iiii, 1578. 16mo. 
 
 English binding of the 16th century; brown calf; each cover bearing 
 
 the arms of Queen Elizabeth. 
 Her Majesty the Queen. 
 
65 Case L. 
 
 9 JOANNIS CHRYSOSTOMI HomiLia. Londini. 1590. 8vo. 
 
 English binding of the 16th century ; white vellum ; each cover bearing 
 
 the arms of Queen Elizabeth. 
 Lent by His Excellency M. Gennadius. 
 
 10 LINDEBERGIUS. Commentarii rerum memorabilium in Europa, &c. Hamburgi. 
 1591. 4to, : 
 English binding of the 16th century; brown calf; having the arms of 
 
 Queen Elizabeth impressed in the centre of each cover. 
 
 Fler Majesty the Queen. 
 
 11 CiIcERo. Epistole Familiares. Venetiis. 1540. 8vo. 
 
 English binding of the 16th century ; brown calf; bearing in the centre 
 of each cover one of the badges of Queen Elizabeth: a crowned falcon 
 holding a sceptre. This was the device of Queen Anne Boleyn, but its use 
 was continued by her daughter, Queen Elizabeth. 
 
 Her Majesty the Queen 
 
 12 VALERIUS MAxIMus. Factorum ac Dictorum Memorabilium Lib. ix. Lutetie. 
 1545. 8vo. 
 
 English binding of the 16th century ; brown calf; bearing in the centre 
 
 of each cover one of the badges of Queen Elizabeth: a crowned falcon 
 
 holding a sceptre. 
 St. John’s College, Cambridge. 
 
 18 XENOPHON. Opera. Basilee. 1555. Fol. 
 
 English binding of the 16th century ; brown calf; the crest of Robert 
 Dudley, Earl of Leicester, the bear and ragged staff, accompanied by the 
 Earl’s initials, is stamped in the centre of each cover. 
 
 Fler Majesty the Queen. 
 
 14 Humpwrey. Joannis Juelli Angli, Episcopi Sarisburiensis Vita et Mors. 
 Londini. 1573. 8vo. 
 
 English binding of the 16th century ; brown calf; each cover bearing 
 the crest and motto of Robert Dudley, Earl of Leicester. 
 
 Mr. J. Toovey. 
 
 15 ARETINO. Libro Intitolato Aquila volante. Venetia. 1543. 8vo. 
 
 English binding of the 16th century ; brown calf; each cover bearing 
 the crest and initials of Robert Dudley, Earl of Leicester. 
 
 R. Dudley, Esy. 
 
Case L.. 66 
 
 16 
 
 17 
 
 18 
 
 19 
 
 20 
 
 21 
 
 22 
 
 23 
 
 ARISTOTLE. De Moribus ad Nicomachum libri decem. Gr. _ Parisiis. 
 1554. 4to. 
 English binding of the 16th century; brown calf; each cover bearing 
 the crest of Robert Dudley, Earl of Leicester. 
 
 Lent by His Excellency M. Gennadius. 
 
 THE GOSPELS IN ANGLO-SAXON AND ENGLISH. London. 1571. 4to. 
 
 English binding of the 16th century ; brown calf; each cover bearing 
 the arms of Robert Dudley, Earl of Leicester. 
 
 Rev. W. E. Buckley. 
 
 ASSER. Atlfredi Regis res geste, &c. London. 1574. Fol. 
 
 English binding of the 16th century; red morocco ; having a crowned 
 Tudor rose and the initials of Queen Elizabeth impressed in the centre of 
 
 each cover. 
 Rev. W. FE. Buckley. 
 
 BIBLIA. Venetiis. 1557. Fol. 
 
 English binding of the 16th century; red morocco; with the device of 
 Henry FitzAlan, Earl of Arundel, painted in the centre of each cover. 
 
 Mr. B. Quaritch. 
 
 THE BOOKE OF COMMON PRAYER. Londini. 1561. Fol. 
 English binding of the 16th century; brown calf; the name William 
 Alyn, Lord Maior, 1571, being stamped upon the covers. 
 
 HT, Hucks Gibbs, Esq. MP. 
 
 HADDON. Contra Hieron. Osorium, &c. Londini. 1577. 4to. 
 
 English binding of the 16th century ; brown calf; each cover bearing 
 
 the arms of William Cecil, Lord Burghley. 
 St. Paul’s Cathedral Library. 
 
 CA&SAR. Commentarii. Parisiis. 1543. Fol. 
 
 English binding of the 16th century; brown calf; executed for 
 Thomas Wotton, Esq. In the centre of each cover are the words 
 
 THOMA WOTTONI ET AMICORVM. 
 Magdalen College, Oxford. 
 
 “BOUCHET. Les Genealogies, Effigies and Epitaphes des Roys de France. 
 
 Poictiers. 1545. Fol. 
 
 English binding of the 16th century; brown calf; executed for 
 Thomas Wotton, Esq. In the centre of each cover are the words 
 
 THOM WOTTONI ET AMICORVM. 
 Mr. B. Quaritch. 
 
24 
 
 25 
 
 26 
 
 27 
 
 28 
 
 29 
 
 30 
 
 67 Case Zs. 
 
 Lucanus. De Bello Civili libri decem. Lugduni. 1542. 8vo. 
 
 English binding of the 16th century; brown calf; executed for 
 Thomas Wotton, Esq. In the centre of each cover are the words 
 
 THOMA WOTTONI ET AMICORVM. 
 Lent by J. Evans, Esq. P.S.A. 
 
 INIUNCCIONS BY EDWARD THE SIXTE. London. 1547. 4to. 
 
 English binding of the 16th century; brown calf; executed for 
 Thomas Wotton, Esq. The words THOME WOTTONI ET AMICORVM occur 
 on each cover; the upper one also having the date 1548. 
 
 W. A. Tyssen Amherst, Esq.. M.P. 
 
 OcHINUS. A tragoedie or Dialoge of the uniuste usurped primacie of the 
 Bishop of Rome. London. 1549. 4to. 
 
 ‘English binding of the 16th century ; brown calf; each cover bearing 
 
 the arms of Thomas Wotton, Esq. 
 W. A. Tyssen Amherst, Esq.. MP. 
 
 H. OsoriI IN G. HADDONUM LIBELLORUM SUPPLICUM APUD HELISABETHAM 
 ANGLLZ REGINAM LIBRI TRES. Olissipone. 1567. 4to. 
 
 English binding of the 16th century ; brown calf; each cover bearing 
 
 the arms of Thomas Wotton, Esq. 
 W. A. Tyssen Amherst, Esq., MP. 
 
 ARETINO. La Prima Guerra di Carthaginesi-con Romani. Vinegia. 1545. 8vo 
 
 English binding of the 16th century; brown calf; on each cover are 
 stamped the initials W.C., which are believed to be those of William Cecil, 
 
 Lord Burghley. 
 W. A. Tyssen Amherst, Esq., M.P. 
 
 HARMONIA EX EVANGELISTIS TRIBUS COMPOSITA, MATTH4:0, MARCO ET 
 HOUCA soe 25724. Fol; 
 
 English binding of the 16th century; gilt and painted calf and 
 crimson velvet; having the arms of Matthew Parker, Archbishop of 
 Canterbury, painted in the centre of each cover. 
 
 Lambeth Palace Library. 
 
 Catus. De antiquitate Cantebrigiensis Academiew. Londini. 1574. 4to. 
 
 English binding of the 16th century; brown calf; with the arms of 
 Matthew Parker, Archbishop of Canterbury. 
 
 Corpus Christi College, Cambridge. 
 
Case 1é . 6 8 
 
 381 A FORME OF CHRISTIAN POLLICIE GATHERED OUT OF FRENCH BY GEFFROY 
 FENTON. London. 1574. 4to. 
 
 English binding of the 16th century; brown calf; with the arms of 
 Matthew Parker, Archbishop of Canterbury. 
 
 Lent by W. A. Tyssen Amherst, Esq.. M.P. 
 
 382 D. AUGUSTINUS CONTRA HARESES DONATISTARUM, &cC. Lugduni. 1562. 8vo. 
 
 English binding of the 16th century ; brown calf; having the arms of 
 Thomas Smyth, Collector of the Queen’s Tonnage and Poundage and 
 Farmer of the Customs, temp. Queen Elizabeth, impressed on each cover. 
 
 E. H. Lawrence, Esq. 
 
 383 THE BOOKE OF COMMON PRAYER. BOKE OF PSALMES IN METRE. London. 
 1571. 4to. 
 
 English binding of the 16th century ; brown calf; the covers being 
 handsomely decorated in gold and colours, and the edges of the leaves gilt 
 
 and gauffred. 
 W. A. Tyssen Amherst, Esq., M.P. 
 
 384 THE HoLi BIBLE. London. 1569.? 4to. 
 
 English binding of the 16th century; dark brown morocco, richly 
 tooled. 
 W. A. Tyssen Amherst, Esq., MP. 
 
 30 THE HOoL! BIBLE, London, -1560,? dto. 
 
 English binding of the 16th century; brown morocco; with the arms of 
 John Whitgift, Archbishop of Canterbury, painted in the centre of each 
 cover. 
 
 Lambeth Palace Library. 
 
 36 BOISSARD. Theatrum vite humane. Francfurd. 1596. 4to. 
 
 English binding of the 16th century ; brown calf; with the arms of 
 John Whitgift, Archbishop of Canterbury. 
 Lambeth Palace Library. 
 
 37 TAcITUS. Opera. Lugduni Batavorum. 1588. 8vo. 
 
 English binding of the 16th century; brown calf; with the arms of 
 John Whitgift, Archbishop of Canterbury. 
 Lambeth Palace Library. 
 
38 
 
 41 
 
 42 
 
 43 
 
 45 
 
 69 Case L. 
 
 INJUNCTIONS GIVEN BY THE QUEENES MAIESTIE. London. 1559. 4to. 
 English binding of the 16th century ; brown calf. 
 Lent by W. A. Tyssen Amherst, Esq. MP. 
 
 Tacitus. The Ende of Nero and Beginning of Galba, &c. Savile. Oxforde. 
 I5901. Fol. 
 
 English binding of the 16th century ; brown morocco. 
 Hi. Virtue Tebbs, Esq. 
 
 BIBLE. London. 1594. 8vo. 
 
 English binding of the 16th century; brown calf; with the initials of 
 Edward Martyn, to whom the book formerly belonged, stamped in the 
 centre of each cover. 
 
 Mr. J. Toovey. 
 
 BIBLE. London. I601. 4to. 
 
 English binding of the 17th century ; brown calf; having on each cover 
 the device of Paul Estienne, the Paris printer. 
 Dr, Ginsburg. 
 
 CAMERARIUS. Symbolorum et emblematum ex re herbaria desumtorum 
 centuria una, &c. Noriberge. 1590-1597. 4to. 
 
 English binding of the 17th century ; brown morocco; with the arms 
 and badges of King James I. 
 Her Majesty the Queen. 
 
 THE BOOKE OF COMMON PRAYER. London. 1605. 4to. 
 
 English binding of the 17th century; brown calf; with the arms of 
 King James I, 
 W. A. Tyssen Amherst, Esq., M.P. 
 
 A MANUSCRIPT HISTORY OF “ KINGE JAMES HIS HOSPITALL, AT CHARTER- 
 HOUSE.” 1619. 4to. 
 
 English binding of the 17th century ; brown morocco, 
 Ff, Dawtrey Drewitt, M.D. 
 
7O 
 
 Case M. 
 
 ENGLISH BINDINGS, 17th CENTURY. 
 
 THE TREASURIE OF AUNCIENT AND MODERNE TIMES. London. 1613. Fol. 
 
 English binding of the 17th century; brown calf; with the arms 
 
 of King James I. 
 Lent by Edward Bond, Esq. 
 
 HERALDIC MS. [1617.] Fol. 
 
 English binding of the 17th century; brown calf; with the arms 
 
 of King James I. 
 Her Majesty the Queen. 
 
 THE WORKES OF JAMES, KING OF GREAT BRITAINE, &C. London. 1616. Fol. 
 
 English binding of the 17th century; brown calf; with the arms 
 
 of King James I. 
 £.. H, Lawrence, Esq. 
 
 THE BIBLE. London. 1608. 4to. 
 
 English binding of the 17th century; brown calf; with the arms 
 
 of King James I, 
 HI, Virtue Tebbs, Esq. 
 
 ANNALES OF QUEENE ELIZABETH. DARCIE. London. 1625. 4to. 
 
 English binding of the 17th century; brown morocco; with the 
 
 arms of King James I., to whom the book is dedicated. 
 Mr, J. Toovey. 
 
 Cope. A godly meditacion upon XxX select and chosen Psalmes. London. 
 L547. 400, 
 English binding of the 17th century; brown calf, richly tooled ; with 
 
 the arms of King James I. 
 Mr. J. Toovey. 
 
 RAWLINSON. Quadriga Salutis. Oxford. 1625. 4to. 
 
 English binding of the 17th century ; white vellum, very richly tooled ; 
 
 each cover bearing the arms of King James I. 
 Mr. J. Toovey. 
 
10 
 
 11 
 
 12 
 
 13 
 
 14 
 
 71 Case M. 
 
 AN UNPUBLISHED WORK ON CHURCH GOVERNMENT, BY WILLIAM LAUD, 
 AFTERWARDS ARCHBISHOP OF CANTERBURY. MS. 4to. 
 
 English binding of the 17th century ; brown morocco, richly tooled ; 
 each cover bearing the arms and initial of Henry, Prince of Wales, eldest 
 
 son of King James I. 
 Lent by Mr. B. Quaritch. 
 
 POSSEVINUS. Bibliotheca Selecta de Ratione Studiorum. Colonize Agrippine. 
 1607... Fol. 
 
 English binding of the 17th century ; brown calf; with the arms of 
 Henry, Prince of Wales, eldest son of King James I., in the centre of each 
 
 cover, and crowned lions at the corners. 
 Incorporated Law Society. 
 
 GOLTZ. C. Julius Cesar, &c. Brugis Flandrorum. 1563. Fol. 
 
 English binding of the 17th century; brown calf; with the arms of 
 Henry, Prince of Wales, eldest son of King James I., in the centre of each 
 
 cover, and crowned roses at the corners. 
 Her Majesty the Queen. 
 
 BENEDICTUS. Speculationum Liber. Venetiis. 1599. Fol. 
 English binding of the 17th century; brown calf; with the arms of 
 
 Henry, Prince of Wales, eldest son of King James I., in the centre of each 
 
 cover, and his badge at the corners. 
 Her Majesty the Queen. 
 
 THE WORKES OF JAMES, KING OF GREAT BRITAINE, &c. London. 1616. 
 Fol. 
 
 English binding of the 17th century ; brown morocco, richly tooled. 
 R. S. Holford, Esq. 
 
 THE DECLARATION OF THE KING CONCERNING THE TITLE OF PRINCE 
 CHARLES TO THE DUCHY OF CORNEWALL. London. 1613. Fol. 
 
 English binding of the 17th century ; white vellum ; each cover bearing 
 the arms of Charles, Prince of Wales, afterwards King Charles I. 
 
 Rev. W. E. Buckley. 
 ARISTOTLE. De Rhetorica. Londini. 1619. 4to. 
 English binding of the 17th century; brown calf; at each corner of 
 the sides is stamped the badge of Charles, Prince of Wales, afterwards 
 
 King Charles I, to whom the book is dedicated by the editor, Theodorus 
 
 Goulston. 
 His Excellency M. Gennadius. 
 
Case M. 72 
 
 15 
 
 16 
 
 17 
 
 18 
 
 19 
 
 20 
 
 21 
 
 ARISTOTLE. De Rhetorica. Londini. 1619. 4to. 
 English binding of the 17th century; olive morocco; having at each 
 corner of the covers the badge of Charles, Prince of Wales, afterwards 
 King Charles I, to whom the book is dedicated by the editor, Theodorus 
 
 Goulston. 
 Lent by Rev. W. E. Buckley. 
 
 MASON. Vindiciz Ecclesiz Anglican. Londini. 1625. Fol. 
 
 English binding of the 17th century ; brown morocco; with the badge 
 of Charles, Prince of Wales, afterwards King Charles I., in the centre and at 
 the corners of each cover. 
 
 Eton College. 
 
 Du VAIR. Céuvres. Paris. 1625. Fol. 
 
 English binding of the 17th century; brown calf; with the arms of 
 
 King Charles I. 
 Fler Mazesty the Queen. 
 
 LOBKOWITZ. Philippus Lusitaniz legitimus rex demonstratus. Antverpie. 
 1639. Fol. 
 
 English binding of the 17th century; olive morocco; with the arms of 
 
 King Charles I. 
 Her Mazesty the Queen. 
 
 BOOK OF COMMON PRAYER. Edinburgh. 1633. 8vo. 
 
 Binding, probably Scotch, of the 17th century ; dark blue morocco; 
 each cover bearing the arms of King Charles I. The initials I.C. have 
 
 also been stamped on the sides. 
 Her Majesty the Queen. 
 
 PSALMES OF DAVID. Edinburgh. 1615. 8vo. 
 
 Binding, probably Scotch, of the 17th century; brown calf; in the 3 
 centre of each cover are stamped the initials I.F. 
 
 Her Mayesty the Queen. 
 
 ANNALES OF QUEENE ELIZABETH. DARCIE. London. 1625. 4to. 
 English binding of the 17th century ; brown calf; a portrait of Queen 
 Elizabeth being impressed in the centre of each cover. 
 
 C. E. H. Chadwyck Healey, Esq., Q.C. 
 
22 
 
 23 
 
 24 
 
 25 
 
 26 
 
 27 
 
 28 
 
 73 Case M. 
 
 ZUCCOLO. Discorsi sopra le cinquanta conclusioni del Sig. Torquato Tasso. 
 Bergamo, 1588. 4to. 
 English binding of the 17th century; brown calf; with handsome 
 centre-piece and corners, 
 Lent by Samuel Sandars, Esq. 
 
 RAWLINSON. Quadriga salutis. Oxford. 1625. 4to. 
 English binding of the 17th century ; white vellum ; with the arms of 
 George Abbot, Archbishop of Canterbury. 
 Lambeth Palace Library. 
 
 A TREATISE OF THE PERPETUALL VISIBILITIE AND SUCCESSION OF THE 
 TRUE CHURCH. London. 1624. 4to. 
 
 English binding of the 17th century; brown calf; with the arms of 
 George Abbot, Archbishop of Canterbury. 
 Lambeth Palace Library. 
 
 MAISTER BEZA’S HOUSHOLD PRAYERS. London. 1607. 18mo. 
 
 English binding of the 17th century; brown calf; with handsome 
 centre-piece and corners. 
 
 HT, Virtue Tebbs, Esq. 
 
 BOOKE OF PSALMES. London. 1617. 24mo. 
 
 English binding of the 17th century ; brown calf; the initials I.L. are 
 stamped in the centre of each cover, 
 
 Alfred Cock, Esq., Q.C. 
 
 MASON. Vindiciz Ecclesie Anglicane, Londini. 1625. Fol. 
 
 English binding of the 17th century; brown morocco; each cover 
 bearing the arms of John Williams, Bishop of Lincoln, afterwards 
 Archbishop of York. 
 
 St. John’s College, Cambridge. 
 
 FLUDD. De preternaturali utriusque mundi historia. Francofurti. 1621. Fol. 
 
 English binding of the 17th century ; green morocco; with ornamental 
 centre-piece and corners. 
 
 Lambeth Palace Library. 
 
Case M. 74 
 
 29 
 
 30 
 
 31 
 
 32 
 
 33 
 
 34 
 
 35 
 
 36 
 
 FRANCIS WHITE, BISHOP OF ELy. A Treatise of the Sabbath Day. London. 
 1635. 4to. 
 
 English binding of the 17th century ; dark blue morocco; each cover 
 bearing the arms of William Laud, Archbishop of Canterbury. 
 
 Lent by W. A. Tyssen Amherst, Esg., MP. 
 
 DANES. Paralipomena Orthographie, Etymologie, Prosodiz, &c. Londini. 
 1638. 4to. 
 
 English binding of the 17th century ; dark blue morocco ; each cover 
 bearing the arms of William Laud, Archbishop of Canterbury. 
 
 E. H. Lawrence, Esq. 
 
 WILLIAM LAUD, ARCHBISHOP OF CANTERBURY. Relation of Conference 
 with Fisher, the Jesuite. London. 1639. Fol. 
 
 English binding of the 17th century; black morocco; each cover 
 bearing the arms of William Laud, Archbishop of Canterbury. 
 
 St. Paul’s Cathedral Library. 
 
 Ross. Virgilii Evangelisantis Christiados Libri x11. Londini. 1638. 8vo. 
 
 English binding of the 17th century ; dark blue morocco; each cover 
 bearing the arms of William Laud, Archbishop of Canterbury. 
 
 Lambeth Palace Library. 
 
 Du MouuLIN. A Defence of the Catholicke Faith. London. I610. 4to. 
 
 English binding of the 17th century ; brown calf; with the arms of 
 
 Edwardes, co. Cambridge. 
 E. H. Lawrence, Esq. 
 
 FLUDD. Microcosmi Histeria. Vol. 2. Oppenhemii. 1619. Fol. 
 English binding of the 17th century ; olive morocco. 
 
 Lambeth Palace Library. 
 
 GATAKER. Sermons. London. 1637. Fol. 
 English binding of the 17th century ; olive morocco, richly gilt. 
 Rev. W. E. Buckley. 
 
 AUSTIN. Devotionis Augustinianae Flamma. London. 1637. Fol. 
 English binding of the 17th century ; brown morocco, richly gilt. 
 kev. W. E. Buckley. 
 
37 
 
 38 
 
 39 
 
 40 
 
 41 
 
 42 
 
 75 Case M. 
 
 CLERKE. Sermons. London. 1637. Fol. 
 English binding of the 17th century ; olive morocco, richly gilt. 
 
 Lent by Rev. W. E. Buckley. 
 
 THE HUNDRED AND TEN CONSIDERATIONS OF SIGNIOR J. VALDESSO. 
 Oxford. 1638. 4to. 
 
 English binding of the 17th century; olive morocco. A note on the 
 fly-leaf states that “This booke was bound by the hands of Mrs. Mary Farrar, 
 
 of litle Gidding, in Huntingdonshire.” 
 W. A. Tyssen Amherst, Esq., MP. 
 
 CAMDEN. Remaines concerning Britaine. London. 1636. 4to. 
 English binding of the 17th century ; olive morocco, 
 Rev. W. E. Buckley. 
 
 ERASMUS. Colloquiorum familiarium opus aureum. Londini. 1639. 8vo. 
 
 English binding of the 17th century; dark blue morocco; each cover 
 bearing the badge and initials of Charles, Prince of Wales, afterwards 
 
 King Charles II. 
 W. A. Tyssen Amherst, Esq. MP. 
 
 POESIE LATINE DEL CARD. MAFFEO BARBERINO. Roma. 1642, 4to, 
 
 Italian binding of the 17th century; red morocco. In the centre of each 
 cover are painted the arms of Henrietta Maria, Queen Consort of Charles I 
 
 Her Mayesty the Queen. 
 
 PRYNNE. Examination of the Common Prayer. London. 1661. 4to. 
 
 English binding of the 17th century; dark brown morocco; each 
 cover bearing the arms of King Charles II., to whom the book is dedicated. 
 
 Rev. W. E. Buckley. 
 
76 
 
 Case N. 
 ENGLISH BINDINGS, 17th-l18th CENTURIES. 
 
 THE HOLY BIBLE. Cambridge. 1638. Fol. 
 English binding of the 17th century ; black morocco ; tooled and gilt. 
 Lent by W. A. Tyssen Amherst, Esq., MP. 
 
 THE HOLY BIBLE. Cambridge. 1660. Fol. 
 English binding of the 17th century ; black morocco; tooled and gilt. 
 Her Majesty the Queen. 
 
 THE BOOK OF COMMON PRAYER. London. 1715. Fol. 
 
 English inlaid binding of the 18th century; red morocco; tooled and 
 gilt. With the monogram of Geo. Clark, a Fellow of All Souls’ College, on 
 both covers, his arms on the upper cover, and the arms of All Souls’ 
 
 College on the lower. 
 All Souls’ College, Oxford. 
 
 ROYAUMONT. The History of the Old and New Testament. London. 1 701. Fol. 
 
 English inlaid binding of the 18th century; red morocco; tooled 
 
 and gilt. 
 HI, Virtue Tebbs, Esq. 
 
 CLARENDON, Edward Hyde, Earl of. History of the Rebellion and Civil War. 
 Oxford. 1703. Fol. . 
 
 English binding of the 18th century; red morocco ; tooled and gilt. 
 Her Majesty the Queen. 
 
 THE HOLy BIBLE. Cambridge. 1673. 4to. 
 
 English inlaid binding of the 17th century, with edges painted under 
 the gilt, and clasps and corner pieces engraved silver. 
 
 C. E. H. Chadwyck Healey, Esq. Q.C. 
 
10 
 
 11 
 
 12 
 
 13 
 
 14 
 
 15 
 
 hei Case NV. 
 
 THE NEW TESTAMENT. Greek. Cantabrigia. 1632. 8vo. 
 
 English inlaid binding of the 17th century, with edges painted under 
 the gold. 
 Lent by W. A. Tyssen Amherst, Esq., MP. 
 
 THE Hoty BIBLE. London. 1682. 8vo. 
 
 English inlaid binding of the 17th century, with edges painted under 
 the gold. 
 F. Dawtrey Drewitt, Esg.. MD. 
 
 GASTRELL. The Certainty of the Christian Revelation. London. 1699. 8vo. 
 English inlaid binding of the 18th century. 
 W. 1. Corfield, Esq., M.D. 
 
 THE BOOK OF COMMON PRAYER. London. 1699. 8vo. 
 
 English inlaid binding of the 18th century, with edges painted and 
 
 gauffered. 
 R,. Oswald Smith, Esq. 
 
 THE BOOK OF COMMON PRAYER. Oxford. 1710.' 8vo. 
 English inlaid binding of the 18th century. 
 HI, Hucks Gibbs, Esq., MP. 
 
 THE HOLY BIBLE. London. 1684. 1I2mo. 
 
 English inlaid binding of the 17th century. 
 E. H. Lawrence, Esq. 
 
 LAKE. Officium Eucharisticum. London. 1689, 8vo. 
 English inlaid binding of the 17th century. 
 W. A. Tyssen Amherst, Esq. MP. 
 
 THE HOLy BIBLE. London. 1678. 8vo. 
 
 English inlaid binding of the 17th century. 
 E. H. Lawrence, Esq. 
 
 THE HOLy BIBLE. London. 1680. I2mo. 
 
 English inlaid binding of the 17th century, with painted and gauffered 
 edges, and finely tooled doublure of red morocco. Two silver clasps. 
 
 Mrs. Howard. 
 
Case NV. 78 
 
 16 Davies. Nosce Teipsum. London. 1622. 12mo, 
 
 English binding of the 17th century ; red morocco; tooled, gilt and 
 
 silvered. 
 Lent by W. A. Tyssen Amherst, Esq., M.P. 
 
 17 CHARLES J. Ejikon Basilike. London. 1681. 8vo. 
 
 English binding of the 17th century ; red morocco; tooled and gilt; 
 
 with black painted bands. 
 Her Mazesty the Queen. 
 
 18 ETHEREGE. She woud if she cou’d. London. 1671. 4to. 
 
 English binding of the 17th century; brown morocco ; inlaid and 
 
 silvered ; with gilt tooling. 
 Mr. J. Toovey. 
 
 19 HAmMonpD. A Practical Catechism. London. 1674. 8vo. 
 
 English binding of the 17th century ; black morocco ; gilt and silvered. 
 
 S. Sandars, Esq. 
 
 20 THE PSALMS OF KING DAVID PARAPHRASED. By Miles Smyth. London. 
 1668. 8vo. 
 
 English binding of the 17th century ; black morocco ; tooled, gilt and 
 
 silvered. 
 W. A. Tyssen Amherst, Esq., MP. 
 
 21 SHADWELL. Psyche: atragedy. London. 1675. 4to. 
 
 English binding of the 17th century ; black morocco; tooled, gilt and 
 silvered. ’ 
 
 Alfred Huth, Esq. 
 
 22 THE LADIES CALLING. Oxford. 1673. 8vo. 
 
 English binding of the 17th century; black morocco ; tooled, gilt and 
 
 silvered. 
 FT, Hucks Gibbs, Esq., MP. 
 
 23 RUDIMENTUM GRAMMATICA# GRACO-LATINA  METRICUM. Londini. 
 1689. 8vo. 
 
 English binding of the 17th century; black morocco ; tooled and gilt. 
 Rev. W. E. Buckley. 
 
24. 
 
 25 
 
 26 
 
 27 
 
 28 
 
 29 
 
 30 
 
 31 
 
 79 Case N. 
 
 NELSON. The Life of Dr. George Bull. London. 1713. 8vo. 
 
 English binding of the 18th century, by Elliot and Chapman; red 
 morocco ; tooled and gilt. With the arms of Queen Anne (for whom it was 
 probably bound) on the cover. 
 
 Lent by W. A. Tyssen Amherst, Esg., MP. 
 
 THE HOLy BIBLE. Cambridge. 1666. 4to. 
 English binding of the 17th century; red morocco ; tooled and gilt. 
 
 FT. Virtue Tebbs, Esq. 
 
 THE HOLy BIBLE. London. 1712. 4to. 
 English binding of the 18th century ; red morocco; tooled and gilt. 
 
 C. BE. H. Chadwyck-Healey, Esq., O.C. 
 
 Bacon. Of the Advancement of Learning. Oxford. 1640. Sm. fol. 
 
 English binding of the 18th century ; red morocco ; tooled and gilt. 
 
 Mr. J. Toovey. 
 
 DONATI. Roma vetus ac recens. Amsteleadami. 1695. 4to. 
 
 English binding of the 17th century; red morocco ; tooled and gilt ; 
 with the monogram and coronet of the Duke of Gloucester, son of Queen 
 
 Anne. 
 Her Majesty the Queen. 
 
 THE HOLy BIBLE. London. 1680. 8vo. 
 English binding of the 17th century ; red morocco; tooled and gilt. 
 
 T. R. Buchanan, Esq., MP. 
 
 SALMON. The Compleat English Physician. London. 1693. 8vo. 
 
 English binding of the 17th century ; red morocco; tooled and gilt ; 
 with the monogram of William III. and Mary. The book is dedicated to 
 
 Queen Mary. 
 S. Sandars, Esq. 
 
 MEDCALF. Sermon. London. 1679. 8vo. 
 English binding of the 17th century ; red morocco ; tooled and gilt. 
 S. Sandars, Esq. 
 
Case IN, 80 
 
 382 THE HOLy BIBLE. London. 1699 12mo. 
 English binding of the 17th century ; red morocco ; tooled and gilt. 
 Lent by T. R. Buchanan, Esq., MP. 
 
 London. 1683. 8vo. 
 
 33 SMYTHIES. The Unworthy Non-Communicant. 
 
 English binding of the 17th century ; red morocco ; tooled and gilt. 
 Hf. Hucks Gibbs, Esq., MP. : 
 
 34 MARTIALIS epigrammata. Venetiis. 1501. 8vo. 
 
 English binding of the 17th century ; red morocco; tooled and gilt. 
 Mr. B. Quaritch. 
 
 35 CORNELIUS NEpos. The Lives of Illustrious Men. 
 Oxon. 1684. 8vo. 
 English binding of the 17th century; red morocco; tooled and gilt. 
 
 The presentation copy to James, Earl of Abingdon. 
 E. H. Lawrence, Esq. 
 
 36 HOLy BIBLE. Edinburgh. 1772. 8vo 
 Scotch binding of the 18th century ; green morocco ; tooled and gilt. 
 W. H. Corfield, Esq., M.D. 
 
 : 37 A NEW-YEAR’S GIFT: PRAYERS AND MEDITATIONS. London. 1682. 16mo. 
 English inlaid binding of the 17th century. 
 Viscountess Wolseley. 
 
 388 THE HOoLy BIBLE. Edinburgh. 1716. 16mo. 
 Scotch binding of the 18th century ; red morocco ; tooled and gilt. 
 Rk. T. Hamilton Bruce, Esq. 
 
 89 THE HOLY BIBLE. (Proverbs—Revelations.) Edinburgh. 1719. 12mo. 
 Scotch binding of the 18th century ; dark blue morocco ; tooled and gilt. 
 C.E. H. Chadwyck-Healey, Esq., 0.C. 
 
 A Second Five Years’ Struggle against Popery and Tyranny 
 
 40 JOHNSON. 
 London. 1689. 8vo. 
 
 Scotch binding of the 17th century ; black morocco ; tooled and gilt. 
 
 Rev. W. E. Buckley. 
 
41 
 
 42 
 
 43 
 
 45 
 
 47 
 
 81 : ee Case, 
 
 BOOK-COVER. 
 
 English binding of the 17th century ; black morocco ; tooled and gilt. 
 
 Lent by Gordon A. Lewts, Esq. 
 
 THE NEW TESTAMENT. MS. Written in Shorthand. 1697. Sm. 8vo. 
 English binding of the 17th century ; black morocco ; tooled and gilt. 
 E. H, Lawrence, Esq. 
 
 THE BOOK OF COMMON PRAYER. London. 1665. 8vo. 
 
 English binding of the 17th century ; black morocco, with blind tooling. 
 Somewhat similar in design to No. 44. 
 H, Inglhs Richmond, Esq. 
 
 THE BOOK OF COMMON PRAYER. Oxford. 1701. 8vo. 
 
 English binding of the 18th century ; black morocco, with both gilt and 
 blind tooling ; and arms on both covers. 
 HT. Hucks Gibbs: Esq., MP. 
 
 GOODMAN. The Penitent Pardoned. London. 1679. 4to. 
 
 English binding of the 17th century ; red morocco ; tooled and gilt ; with 
 
 the initials A.H. on both covers. 
 Her Majesty the Queen. 
 
 PETTY. Hiberniz Delineatio. 1683. Fol. 
 
 English binding of the 17th century; red morocco, inlaid with white 
 
 and black, and tooled in gold. 
 Alfred Huth, Esq. 
 
 CHARLES I. The Workes of. London. 1662. Fol. 
 
 English binding of the 17th century ; red morocco; inlaid, tooled and 
 gilt. The book is dedicated to Charles II., whose arms are on both covers. 
 This is probably the copy presented to the king. 
 
 Her Majesty the Queen. 
 
Case NV. 82 
 
 48 THE BOOK OF COMMON PRAYER. London. 1661. Fol. 
 
 English binding of the 17th century; red morocco; inlaid, and 
 elaborately tooled and gilt. With monogram and coronet on each cover, 
 probably those of the 1st Duke of Leeds(Danby and Leeds). The following 
 note as to cost of binding appears in the book :— 
 
 p Spey ye & 
 In quires - - - 5 Oo 
 Ruling - - - - AO 
 Binding - - - - TROFEO 
 Strings - : - - 14-0 
 
 Lent by W. A. Tyssen Amherst, Esq. MP. 
 
 49 STAFFORD’S MEMOIRES. 1681. Fol. 
 
 English binding of the 17th century ; red morocco ; with the arms of 
 
 Charles II. on the covers. 
 W. A. Tyssen Amherst, Esq. MP. 
 
 5O VERITAS EVANGELICA, OR THE GOSPEL TRUTH. London. 1687  4to. 
 
 English binding of the 17th century; red morocco; with Royal arms 
 on covers. The book is dedicated to Mary, Queen of James II. 
 
 Rev. W. E. Buckley. 
 
 51 THE BOOK OF COMMON PRAYER. London. 1662. Fol. 
 
 English binding of the 17th century; red morocco ; tooled and gilt. 
 This copy belonged to Edward Hyde, 1st Earl of Clarendon, and has his 
 
 arms, crest, and coronet on the covers. 
 Mr. J. Toovey. 
 
 52 Writ. Ragguaglio della solenne comparsa fatta a Roma 1687. Roma. 
 1687. Fol. 
 
 English binding of the 17th century ; red morocco; tooled and gilt. 
 This seems to have been James II.’s copy. The arms have been covered 
 
 by the design. 
 Her Majesty the Queen. . 
 
Case O. 
 
 ENGLISH BINDINGS, 17th-18th CENTURIES. 
 
 1 ANTHEMS, WITH Music. MSS. Fol. 
 English binding of the 17th century ; dark blue morocco ; tooled and 
 gilt ; with the monogram and crown of Charles II. on the covers and back. 
 
 Lent by E. H. Lawrence, Esq. 
 
 2 THE HOty BIBLE. Oxford. 1688. Fol. 
 
 English binding of the 17th century; red morocco; tooled and gilt ; 
 with black bands inlaid; and the monogram and crown of William III. 
 
 and Mary. 
 The Dean and Chapter of Canterbury. 
 
 3 HARRIS, J. Lexicon Technicum. London. 1704. Fol. 
 
 English binding of the 18th century ; dark blue morocco ; tooled and 
 gilt. This is the dedication copy to Prince George of Denmark (the Consort 
 of Queen Anne), with his monogram P.G., and coronet on the cover. 
 
 W. H. Corfield, Esq., M.D. 
 
 4 COVER OF A BLOTTING-BOOK. 
 
 English binding of the 17th century ; olive morocco ; tooled and gilt; 
 
 with the monogram of Charles II. on covers. 
 Rev. W. E. Buckley. 
 
 5 MISSALE ROMANUM MONASTICUM. Parisiis. 1655. Fol. 
 
 English binding of the 17th century; red morocco ; tooled and gilt. 
 This is the Missal which was used in the Chapel Royal, Whitehall, and has 
 
 the arms of James II. on the covers. 
 Her Majesty the Queen. 
 
 See eore, A... Works. London, 1717. Fol, 
 
 English binding of the 18th century; red morocco; tooled and gilt 
 Harleian style. Presentation copy by Pope to Lord Harcourt, with an 
 
 autograph inscription inside. 
 E, W. Harcourt, Esq. 
 
 6A CORONATION SERVICE, GEORGE III. . 
 Red morocco binding ; tooled and gilt ; with the Royal arms. 
 Westminster Abbey Library. 
 
Case O. 84 
 
 '7 A BOOK containing unused vellum sheets, some having been cut out. 
 
 10 
 
 11 
 
 12 
 
 138 
 
 English binding of the 17th century; red morocco; tooled and gilt; 
 with the joint monogram of William and Mary at the corners of the 
 covers and at the back, and the monogram of William alone in the 
 panels. 
 
 Lent by the Dean and Chapter of Canterbury. 
 
 SHERLOCK, W. The Scripture proofs of our Saviour’s Divinity. London. 
 1700. 8vo. 
 
 English binding of the 18th century; red morocco; tooled and gilt; 
 with the monogram and crown of Queen Anne at the corners of the 
 
 covers; probably a presentation copy to her. 
 Rev. W. E. Buckley. 
 
 THE BOOK OF COMMON PRAYER. Cambridge. 1762. 8vo. 
 
 English inlaid binding of the 18th century; red morocco; tooled and 
 gilt, and inlaid with green and blue morocco. 
 R. Oswald Smith, Esq. 
 
 THE BOOK OF COMMON PRAYER. Oxford. 1716. 8vo. 
 
 English binding of the 18th century; dark blue morocco; tooled 
 and gilt. 
 E. H,. Lawrence, Esq. 
 
 THE BOOK OF COMMON PRAYER. London. 1717. 8vo. 
 
 English binding of the 18th century; dark blue morocco; tooled 
 and gilt. 
 Mr. J. Toovey. 
 
 THE PRINCIPLES OF A MEMBER OF THE BLACK LIST. London. 1702. 8vo. 
 
 English binding of the 18th century; dark blue morocco; tooled 
 and gilt. 
 W. A. Tyssen Amherst, Esq., MP. 
 
 BUTLER, S. Hudibras. Vol. 2. London. 1744. 8vo. 
 
 English binding of the 18th century ; red morocco ; tooled and gilt. 
 Mr. J. Toovey. 
 
85 Case O. 
 
 14 FAERNI,G. Fabule centum. Londini. 1743. 4to. 
 
 English inlaid binding of the 18th century ; dark blue morocco, inlaid ; 
 tooled and gilt ; with tooled and gilt doublure in mottled calf. This copy 
 belonged to George, Prince of Wales, with his badge on covers and on 
 
 doublure. 
 Lent by Her Majesty the Queen. 
 
 15 THE NEW TESTAMENT. Oxford. 1785. 8vo. 
 
 English binding of the 18th century; dark blue morocco; with the 
 monogram of George III. and the badge of the Garter on upper covers 
 This book belonged to George III., and was given by him to Prince William 
 Henry (afterwards Duke of Clarence and King William IV.) on his joining 
 the Royal Navy asa Midshipman. He added the Anchors on the covers. 
 
 Her Majesty the Queen. 
 
 16 VIRGIL. Opera. Birminghamiz. 1757. 4to. 
 
 English binding of the 18th century; red morocco; tooled, gilt, and 
 
 inlaid with blue and olive morocco. 
 Wickham Flower, Esq. 
 
 1'7 THE Book OF COMMON PRAYER. London. 1717. 4to. 
 English binding of the 18th century ; red morocco; tooled and gilt. 
 
 HI. Hucks Gibbs, Esq., M.P. 
 
 18 DISPUTATIO JURIDICA. Edinburgi. 1730. 4to. 
 Scotch binding of the 18th century; dark blue morocco; tooled and 
 gilt. Presentation copy to Lord Lauderdale, to whom the “ disputatio” is 
 
 dedicated. 
 R. T. Hamilton Bruce, Esq. 
 
 foe nore, “BR. V.M. MSS: [1450.] 
 English binding of the 18th century; dark blue morocco; tooled 
 
 and gilt. 
 S. Sandars, Esq. 
 
 20 THE Hoty BIBLE. Edinburgh. 1705. 4to. 
 English or Scotch binding of the 18th century ; dark blue morocco ; 
 
 tooled and gilt. 
 E. H. Lawrence, Esq. 
 
Case O. 86 
 
 21 THE BooOK OF COMMON PRAYER. Cambridge. 1760. 4to. 
 
 22 
 
 23 
 
 24 
 
 26 
 
 27 
 
 28 
 
 29 
 
 English binding of the 18th century ; red morocco; tooled and gilt. 
 Lent by Mr. J. Toovey. 
 
 BAILEY, W. The Advancement of Arts, Manufactures, and Commerce, 
 London. — 1772." . 4to. 
 
 English binding of the 18th century ; red morocco; tooled and gilt in 
 
 Harleian style. 
 Jeffery Whitehead, Esq. 
 
 VALERIUS Maximus. MSS. 1463. 4to. 
 
 English binding of the 18th century; red morocco; tooled and gilt ; 
 
 with black bands inlaid. 
 Rev. W. E. Buckley. 
 
 BUTLER, S. Hudibras. The Second Part. London. 1710, 16mo. 
 English binding of the 18th century ; red morocco ; tooled and gilt. 
 E.. H. Lawrence, Esq. 
 
 A LIST OF ALL HER MATIES. SHIPps, &c. MSS. [1703.] 
 English binding of the 18th century ; red morocco ; tooled and gilt. 
 Viscountess Wolseley. 
 
 ENTICK, J. The Constitutions of the Ancient . . . Fraternity of Free and 
 Accepted Masons. London. 1767. 4to. 
 
 English binding of the 18th century; red morocco; tooled and gilt; 
 with doublure in blue morocco, tooled and gilt. : 
 
 W. A. Tyssen Amherst, Esq., MP. 
 
 / 
 
 MASON, W. Poems. London. 1764. 8vo. 
 
 English binding of the 18th century; red morocco; tooled and gilt — 
 Harleian style. Presentation copy by the author to Lord Nuneham. 
 
 E. W. Harcourt, Esq. 
 
 A LIST OF ALL THE SHIPS AND VESSELLS OF HIS MAJESTIES ROYAL 
 Navy, 1714. MSS. 
 
 English binding of the 18th century ; red morocco ; tooled and gilt ; 
 with the monogram and crown of George I. on each cover. 
 
 Her Majesty the Queen. 
 
30 
 
 31 
 
 32 
 
 33 
 
 34 
 
 390 
 
 36 
 
 87 Case O. 
 
 SOLITUDO REGIA. A Musis Westmonasteriensibus adumbrata. Anno Regni 
 
 Regis Georgii Secundi Sexto Annoque Domini MDCCXXXII. MSS. 
 Fol. 
 
 English binding of the 18th century; black morocco ; tooled and gilt ; 
 with the arms of Westminster School on both covers. 
 
 Lent by Rev. W. EF. Buckley. 
 
 DISPUTATIO JURIDICA. Edinburgi. 1754. 4to. 
 Scotch binding of the 18th century ; red morocco ; tooled and gilt. 
 
 B. B. MacGeorge, Esq. 
 
 DISPUTATIO JURIDICA. Edinburgi. 1765. 4to. 
 
 Scotch binding of the 18th century ; red morocco ; tooled and gilt. 
 Presentation copy to the Earl of Lauderdale, to whom the “ disputatio ” is 
 dedicated. 
 
 R. T. Hamilton Bruce, Esq. 
 
 THE Book OF COMMON PRAYER. London. 1736. 8vo. 
 
 English binding of the 18th century; dark blue morocco; tooled 
 and gilt. 
 T. R. Buchanan, Esq., MP. 
 
 THE BOOK OF COMMON PRAYER. Oxford. 1745. 8vo. 
 
 English binding of the 18th century; red morocco ; tooled, gilt and 
 
 painted. 
 Mrs. Hornsby Drake. 
 
 MASON, R. The Indulgent Father. 1742. 8vo. 
 English binding of the 18th century ; red morocco ; tooled and gilt. 
 H. S. Richardson, Esq. 
 
 GOLDSMITH. Almanack for 1678. London, 1678. 16mo,. 
 
 English binding of the 17th century ; black morocco ; tooled, gilt and 
 
 painted. 
 Gol, Elton, Fisg., C.C., 12.£. 
 
Case O. 88 
 
 37 
 
 38 
 
 39 
 
 40 
 
 41 
 
 42 
 
 43 
 
 A DISCOURSE CONCERNING . . . THE DEITY. London. 1731. 8vo. 
 
 English binding of the 18th century; dark blue morocco; tooled and 
 
 gilt. 
 Lent by B. B. MacGeorge, Esq. 
 
 HORATIT OPERA. Vol. IJ. Londini. 1737. 8vo. 
 English binding of the 18th century ; dark blue morocco; tooled and gilt. 
 Mr. J. Toovey. 
 
 A POCKET-BOOK. Containing Rider’s British Merlin for 1762, 
 
 English binding of the 18th century; red morocco; tooled and gilt, 
 with monogram of George III. on upper cover. Two silver bosses on each 
 cover, engraved with monogram and crown of George III., to whom this 
 
 book belonged. 
 Edward Hamilton, Esq.. M.D. 
 
 RAE, P. The History of the Late Rebellion against His Majesty King George. 
 Drumfries. 1718. 4to. 
 
 Scotch binding of the 18th century; dark blue morocco; tooled 
 
 and gilt. 
 W. A. Tyssen Amherst, Esq., MP. 
 
 REHTMEIER. Braunschweigischen und Liineburgischen Chronici. (Tom. z.) 
 
 English binding of the 18th century; red morocco; tooled and gilt 
 Harleian style; with the Prince of Wales’s feathers; bound for George, 
 
 Prince of Wales. 
 Her Majesty the Queen. 
 
 PURCHAS. His Pilgrimes. (Vol. I.) London. 1625. Fol. 
 
 English binding of the 18th century; brown calf; tooled and gilt 
 Harleian style; with a curious design of a dolphin, and coronet at the 
 
 corners of both covers. 
 R. A. Oswald, Esq. 
 
 HOMER. Opera. (Tom. 1.) Glasguae. 1756. Fol. 
 
 English or Scotch binding of the 18th century; red morocco; tooled 
 
 and gilt Harleian style. 
 J. A. Bryce, Esq. 
 
45 
 
 46 
 
 47 
 
 48 
 
 49 
 
 50 
 
 89 Cause CO} 
 
 HEATH, B. Note ad Tragicorum Grecorum Dramata. Oxonii. 1762. 4to. 
 
 English (probably Oxford) binding of the 18th century ; red morocco; 
 tooled and gilt Harleian style; with the arms of the University of Oxford 
 on both covers. Presentation copy to John Fane, Earl of Westmoreland, 
 Chancellor of the University. 1759-1761. 
 
 Lent by Rev. W. E. Buckley. 
 
 THE BOOK OF COMMON PRAYER. London. 1717. 8vo. 
 
 English binding of the 18th century ; red morocco; tooled and gilt. 
 E.. H, Lawrence, Esq. 
 
 THE LADIES CALLING. Oxford. 1713. 8vo. 
 
 English binding of the 18th century ; red morocco ; tooled and gilt. 
 
 The Viscountess Wolseley. 
 
 POETARUM SCOTORUM Mus SACRA. Edinburgh. 1739. 8vo. 
 
 The dedication copy to Lord Advocate Erskine. 
 Scotch binding of the 18th century ; red morocco ; tooled and gilt. 
 
 T. R. Buchanan, Esq., MP. 
 
 DISPUTATIO JURIDICA. Edinburgi. 1785. 4to. 
 
 Scotch binding of the 18th century; red morocco ; tooled and gilt. 
 J. Maclehose, Esq. 
 
 DISPUTATIO JURIDICA. Edinburgi. 1785. 4to. 
 
 Scotch binding of the 18th century; green morocco; tooled and gilt. 
 J. Maclehose, Esq. 
 
 DISPUTATIO JURIDICA. Edinburgi. 1774. 4to. 
 
 Scotch binding of the 18th century; red morocco; tooled and gilt. 
 T. R. Buchanan, Esq. MP. 
 
90 
 
 Case P., 
 
 ITALIAN AND OTHER BINDINGS, 
 17th-l8th CENTURIES. 
 
 PALAFOX Y MENDOZA. Sacra Rituum Congregatione Oxomen. Rome. 1792. 
 Fol. 
 
 Italian contemporary binding in calf; painted and gilt ; with the arms 
 
 of Pope Pius VI. 
 Lent by W. H. Corfield, Esq.. M.D. 
 
 MISSALE. Fol. 
 Italian binding; late 17th century; in red morocco. 
 W. H. Corfield, Esq. M.D. 
 
 TESAURO. Istoria della compagnia di San Paolo. Torino. 1701. Fol. 
 
 Italian binding of the 18th century ; red morocco; with the arms of 
 Pope Clement XI. (elected 1700; died 1721.) 
 T. R. Buchanan, Esq., MP. 
 
 ALDROVANDI. Monstrorum historia. Bononie. 1642. Fol. 
 
 Italian binding of the 17th century ; red morocco; with the arms of 
 Duke Ferdinand II., of Tuscany, to whom the book is dedicated. 
 
 Mr. J. Toovey. 
 
 THEODOLUS, C. Exegeses Physico-Mathematice. Rome. 1685. 16mo. 
 
 Dedicated to the Marchese S. Viti, whose arms are on the cover ; con- 
 
 temporary ; red morocco. 
 E.. H. Lawrence, Esq. 
 
 ALBORGHETTI, F. M. Il Creso. Dramma per Musica. Roma. 1757. 16mo. 
 Italian contemporary binding in calf; painted and gilt. 
 
 Fits Excellency M. Gennadius. 
 
 GHIBBESIUS, J. A. (J. A. Gibbs), Carminum. Rome. 1668. 16mo. 
 
 Italian contemporary binding in red morocco; with the arms of 
 Francis Roberts, or Robartes, eldest son of John R., 2nd Baron and Earl of 
 Radnor, to whom the book is dedicated. 
 
 HI, Hucks Gibbs, Esq., M.P. 
 
QI Case P. 
 
 8 L’ARISTIPPO MODERNO. Roma. 1758. 8vo, 
 Contemporary Italian binding in calf; with the arms of Etienne Francois, 
 Duc du Choiseuil (died 1785), to whom the book is dedicated. 
 
 Lent by J. H. Hutchinson, Esq. 
 
 9 BarRcLAy, L’Argenide. Venetia. 1629. 4to. 
 Probably Italian binding of the 17th century. 
 
 T. R. Buchanan, Esq., MP. 
 
 10 HERODIAN. Historiarum Libri VIII. Gr. and Lat. Lugduni. 1624. 12mo. 
 
 Binding of 17th century ; brown morocco. 
 HT. S. Richardson, Esq. 
 
 11 NONNUS PANOPOLITANUS. Paraphrasis Sancti secundum Joannem. Gr. and 
 Lat. Parisiis. 1623. Sm. 8vo. 
 
 Probably French binding of the 17th century; brown morocco; with 
 the arms of Thomas Morand du Mesnil-Garnier (1584-1651). 
 
 His Excellency M. Gennadius. 
 
 12 RIME AMOROSE DI GIO: ROBERTO PAPAFAVA, MS. 18th century. 
 Italian contemporary binding in red morocco. 
 T. R. Buchanan, Esq., MP. 
 
 13 BooK-CoVERSs. 
 
 Italian binding of latter half of 18th century ; red morocco ; with arms 
 of Pope Clement XIII. (elected 1758). 
 
 Sir Julian Goldsmid, Bart., M.P. 
 
 14 BooK-COVER. 
 Italian binding of 18th century ; red morocco, 
 T. F. Shattock, Esq. 
 
 15 Van LEYDEN, L. Album, containing 14 Engravings illustrative of the Life of 
 Jesus Christ. 
 
 Probably French binding of the 17th century ; brown morocco. 
 C. Butler, Esq. 
 
Case P. 92 
 
 16 
 
 17 
 
 18 
 
 19 
 
 20 
 
 21 
 
 22 
 
 23 
 
 BOOK-COVERS. 4to. 
 Italian binding of late 17th or early 18th century; red morocco. 
 
 Lent by Sir Julian Goldsmid, Bart., MP. 
 
 STATUTI DELLA SAC RELIGIONE DI S. GIO, GEROSOLIMITANO. Borgo Novo 
 1718. ,omstol, 
 
 Italian binding ; calf; arms of Cardinal Broschi, elected Pope (Pius VI.), 
 15th February, 1775. 
 His Excellency M. Gennadtus. 
 
 ARIOSTO. Orlando Furioso. Venetia. 1573. Sm. 4to. 
 Italian binding ; red morocco; tooled after the manner of Eve. 
 
 C. Butler, Esq. 
 
 SANCTISS. D.N.D. Innocentii divina Providentia Pape XII, &c. Rome. 
 1692. 4to. 
 
 Italian contemporary binding; red morocco; with arms of Pope 
 Innocent XII. (Pignatelli). 
 T. F. Shattock, Esq. 
 
 BAYERIO. Damasus et Laurentius Hispani Asserti et Vindicati. Rome. 
 1756. 4to. 
 
 Contemporary Italian binding in calf. 
 T. Rk. Buchanan, Esq. MP. 
 
 REGULA BEATI PATRIS AUGUSTINI ET CONSTITUTIONES ORDINIS FRATRUM 
 SERVORUM B. MARIA VIRGINIS. Romez. 1766. 4to. 
 
 Contemporary Italian binding; red morocco ; with the arms of Cardinal 
 Albani (died 11th December, 1779). 
 Rev, E. Dewick. 
 
 \ 
 
 PONTIFICALE ROMANUM. Venetiis. 1582. Fol. 
 
 Italian (probably) binding of the 17th century ; brown morocco. The 
 arms appear to be those of the family of Le Fevre de Laubrié¢res, a member 
 of which (Charles Francois) was bishop of Soissons, and died in 1738. The 
 mitre seems to be a later addition to the stamp. 
 
 Mr. B. Quaritch. 
 
 BooK-COVER. Fol. 
 Italian binding of the 17th century; red morocco. Probably Milanese. 
 
 C. Butler, Esq. 
 
24 
 
 25 
 
 26 
 
 2'7 
 
 28 
 
 29 
 
 30 
 
 31 
 
 32 
 
 93 Case P. 
 
 Carmi. Lucubrationes varie. Tom.1. Patavii. 1654. Fol. 
 
 Italian binding of the 17th century; red morocco; with the arms of 
 Contarini the Doge. On the obverse the lion of S. Mark, both painted. 
 
 Lent by J. M. Smith, Esq. 
 
 JOSEPHUS. Des-wijdt vermaerden Joodschen. Histories chrijvers Boecken. 
 Dordrecht. 1665. Fol. 
 
 Dutch contemporary binding by Magnus, of Amsterdam ; red morocco. 
 T. R. Buchanan, Esq., MP. 
 
 MICHELIO. Nova Plantarum. Florentiz. 1729. Fol. 
 
 Italian contemporary binding; red morocco; with the arms of John 
 Gaston (Medici) Duke of Tuscany, to whom the book is dedicated. 
 
 Kew Gardens Library. 
 
 CALEPINI. Dictionarium Septem Linguarum. Venetiis. 1673. Fol. 
 
 Italian contemporary binding ; red morocco. 
 H[is Excellency M. Gennadius. 
 
 RODULPHINI. Allegationes. Bononiz. 1693. Fol. 
 
 Italian contemporary binding; red morocco ; withthe arms of Cardinal 
 Pamphilio, to whom the book is dedicated. 
 C. Butler, Esq. 
 PICCOLOMINEI. Librorum ad Scientiam de Natura. Venetiis. 1596. Fol. 
 
 Italian contemporary binding ; red morocco. 
 T. R. Buchanan, Esq. MP. 
 
 REGIUS. Ultrajectini Philosophia Naturalis. Amsteledami. 1661. 4to. 
 
 Dutch contemporary binding; sprinkled calf; with the stamp of 
 Elzevir on the back between the bands. 
 S. John’s College, Cambridge. 
 
 SENECA. Le Lettre diS. Trasportate dal Latino da Angelo Nicolosi. Venetia. 
 1677; Sm. 4to. 
 Italian binding of late 17th century ; red morocco. 
 Edward Bond, Esq. 
 SACRE ET COURONNEMENT DE LOUIS XVI. Paris. 1775. 4to. 
 
 French contempcerary binding ; red morocco; with the arms of Pope 
 Pius VI.,executed with an Italian stamp ; probably the presentation copy to 
 the Pope. The escutcheon of pretence is wanting the “Borée” (see the 
 
 example Pr), 
 J. H. Hutchinson, Esq. 
 
Case P. 94 
 
 33 
 
 34 
 
 35 
 
 36 
 
 37 
 
 38 
 
 39 
 
 40 
 
 41 
 
 JUSTINIAN. La Description et Histoire de l’Isle de Scios, ou Chios, 1506 
 [1606]. 4to. 
 
 French contemporary binding; red morocco; with the arms of the 
 Giustiniani family. 
 Lent by His Excellency M, Gennadius. 
 
 VITA DELLA BEATA G. F,. FREMIOT DE CHANTAL. Roma. 1751. 8vo. 
 
 Contemporary Italian binding ; red morocco; with the arms of Prince 
 Charles Edward. 
 Alexander Dennistoun, Esq. 
 
 IL TRIONFO DELLA FEDE. Parma. 1716. 8vo. 
 
 Italian contemporary binding; red morocco. The arms purport to 
 be those of the Old Pretender. 
 
 C. Butler, Esq. 
 BOOK-COVER. 
 
 Italian work ; red morocco ; with the arms of Cardinal York. 
 
 Her Majesty the Queen. 
 
 MARTIGNONI. Spiegazione della Carta Istorica dell’ Italia. Roma. 1721. 4to. 
 
 Italian binding ; red morocco; 18th century. 
 Dr. Ginsburg. 
 
 CERIMONIALE EPISCOPORUM. Venetiis. 1614. 4to. 
 
 Italian binding of the 17th century ; morocco. 
 E.. H, Lawrence, Esq. 
 
 LA REGLA Y ESTABLECIMIENTOS DE LA CAVALLERIA DE SANTIAGO DEL 
 ESPADA. Madrid. 1627. Sm. fol. 
 
 Binding of the 17th century ; red morocco. 
 Rev. W. E. Buckley. 
 
 CARRAFA. Terzo libro dell’ Austria. Napoli. 1572. 8vo. 
 Italian binding of late 16th century ; red morocco. 
 
 C. Butler, Esq. 
 
 ALBRIZIO. Prediche. Roma. 1645. 4to. 
 
 Italian binding of late 17th century ; red morocco; with the arms of 
 Cardinal Medici. 
 W. H. Corfield, Esq., M.D. 
 
95 Case P. 
 
 42 JOHNSON, S. Dictionary of the English Language. Vol.2. London. 1755. Fol. 
 French binding of the 18th century; by Derome; green morocco; tooled 
 and gilt ; with the arms of on each cover, and the badge of the 
 same family. 
 Lent by Mr. J. Toovey. 
 43 Tasso. La Gerusalemme Liberata. Venice. 1745. 
 Contemporary Italian binding; red morocco; inlaid with coloured 
 leathers. George II. copy. 
 Fler Mayesty the Queen. 
 44 THE Hoty BIBLE. London. 1611. Fol. 
 English binding of the 18th century; red morocco ; tooled and gilt ; 
 with black leather inlaid. 
 Dr. Ginsburg. 
 
 Case Q. 
 ENGLISH BINDINGS, 18th-19th CENTURIES, 
 
 1 POET GRACI PRINCIPES HEROICI CARMINIS ET ALII NONNULLI. 1566. Fol. 
 English binding of the 18th century, by Roger Payne. 
 HT. Virtue Tebbs, Esq. 
 2 Litiy. Christian Astrology. London. 1659. 8vo. 
 English binding of the 18th century, by Roger Payne. 
 
 In the book are the following words by Roger Payne himself: “ Bound 
 in the very best manner in the very best Russia of ye true native colour. 
 Sewed with silk in ye very best manner on Bands. Strong and neat. The 
 back lined with thin morocco, to make it open very easy and _ strong. 
 Finished in the most magnificent manner with Broad Borders of small Tool 
 work insides and morocco joints. The outsides finished in the highest taste 
 with ornamental corners of oak leaves and small tool.” 
 
 W. A. Tyssen Amherst, Esq., M.P. 
 
 8 PARTRIDGE. Opus Reformatum. London. 1693. 4to. 
 
 This is the copy of Partridge mentioned by Lowndes as bound by 
 Roger Payne. Inside the cover is his very curious bill for the work, 
 amounting to 16s. for washing, sizing, mending, and binding. He describes 
 the volume as “ bound in the very best manner, the back lined with Russia 
 under ye Russia cover. Finished very neat, Lettering very correct, and is a 
 Specimen of curious Russia work, not clumsy, but exceeding neat.” 
 
 Alfred Huth, Esq. 
 
Case Q. 96 
 
 4 CLAUDIANI. Opera. Vicentiz. 1482. Sm. Fol. 
 English binding of the 18th century, by Roger Payne. 
 Lent by J. A. Bryce, Esq. 
 
 5 THE HO.ty BIBLE. London. 1658. 16mo. 
 English binding of the 18th century, by Roger Payne. 
 Alfred Huth, Esq. 
 
 6 Ler FACECIEUX REVEILLE-MATIN DES ESPRITS MELANCHOLIQUES. Utrecht. 
 1654. 16mo. 
 
 English binding of the 18th century, by Roger Payne. 
 Alfred Fluth, Esq. 
 
 7 SABADINO. Porretane di. Venetia. 1531. 1I2mo. 
 English binding of the 18th century, by Roger Payne. 
 HI. Virtue Tebbs, Esq. 
 
 8 BEATTIE. An Essay on Truth. London. 1774. 8vo. 
 
 English binding of the 18th century. 
 Mr. J. Toovey. 
 
 9 Mac KENNA. Political Essays relative to the Affairs of Ireland. London. 
 1794. 8vo. 
 
 English binding of the 18th century. 
 C. Butler, Esq. 
 
 9* Ross. Pansebeia ; or, a View of all Religions in the World. London. 1653. 
 I2mo. 
 
 Scotch binding, by Henderson and Bissett. 
 HT. V. Tebbs, Esq. 
 
 10 CERVANTES SUAVEDRA. The Travels of Persiles and Sigismunda. London. 
 1619. 4to. 
 English binding of the 19th century, by Hering, Senior. 
 Alfred Huth, Esq. 
 
 11 Lucanus. Pharsalia, sive de bello civili. Czesaris et Pompeii. Amsterodami. 
 1627. 24mo, 
 
 English binding of the 19th century, by Hering, Senior. 
 C. 1. Elion, Esg., O.C ies 
 
12 
 
 13 
 
 14 
 
 15 
 
 i7 
 
 18 
 
 19 
 
 20 
 
 21 
 
 97 Case Q. 
 
 METAMORPHOSIS ANGLORUM. 1653. 16mo, 
 
 English binding of the 19th century. 
 Lent by C. Butler, Esq. 
 
 HISTORIA TYPOGRAPHORUM ALIQUOT PARISIENSIUM. Londini. 1717. 8vo. 
 English binding of the 19th century, by H. Faulkner, London. 
 W. A. Tyssen Amherst, Esq., MP. 
 
 DE SONAN. Chriserionte de Gaule. Lyon. 1620. 8vo. 
 English binding of the roth century, by Fargher and Lindner, London. 
 W. A. Tyssen Amherst, Esq. MP. 
 
 JOHNSON. Rasselas. London. 1819. 4to. 
 English Etruscan binding of the 19th century. 
 His Excellency M. Gennadius. 
 
 LORD CHESTERFIELD’S ADVICE TO HIS SON ON MEN AND MANNERS. 
 London. 1784. 1I2mo. 
 
 English Etruscan binding of the 19th century. 
 Alfred Huth, Esq. 
 
 Tasso. La Gerusalemme Liberata. Londra. 1796. 12mo. 
 English Etruscan binding of the 19th century. 
 Flts Excellency M. Gennadius. 
 
 VIRGILIL Bucolica, Georgica, et A‘neis. Birminghamie. 1766. 8vo. 
 
 English Etruscan binding of the 19th century, by Edwards, of Halifax, 
 Painted vellum. 
 
 Mr. J. Toovey. 
 
 WHITNEY. The Gentcel Recreation: or, the Pleasure of Angling. London. 
 17cO. I2mo. 
 
 English binding of the rgth century, with emblematic tools. 
 W. H!. Corfield, Esq... M.D. 
 
 FOWLING. A Poem. J.ondon. 1808. 8vo. 
 English binding of the 19th century, with emblematic tools. 
 His Excellency M. Gennadius. 
 
 SONGS OF THE CHAcE. London. 1811. 8vo. 
 English binding of the 19th century, with emblematic tools. 
 Edward Bond, Esq. 
 
Case OQ. 98 
 
 22 
 
 23 
 
 24 
 
 25 
 
 26 
 
 2'7 
 
 29 
 
 30 
 
 31 
 
 32 
 
 WALTON AND COTTON. The Complete Angler. London. 1797. 8vo. 
 English binding of the 19th century, with emblematic tools. 
 Lent by W. H.. Corfield, Esq., M.D. 
 
 LATHEY. The Angler. A Poem. London. 1819. 4to. 
 
 English binding of the 19th century, with emblematic tools, by Reeve, 
 
 of Leamington. 
 W. Hf. Corfield, Esq., M.D. 
 
 ANACREON. Odaria. Parme. 1785. 4to. 
 English binding of the roth century, by H. Walther. 
 J. A. Bryce, Esq. 
 
 MILTON. Paradise Regained. Birmingham. 1760. 8vo. 
 English binding of the 19th century, by C. Kalthoeber. 
 Edward Bond, Esq. 
 
 GILCHRIST. A Brief Display of the Origin and History of Ordeals, &c. 
 London. 1821. 8vo. 
 
 English binding of the 19th century, by W. Carpenter. 
 Fler Mayesty the Queen. 
 
 Woop. Zoography ; or, the Beauties of Nature Displayed. London. 1807. 8vo. 
 English binding of the 19th century, by L. Staggemeier. 
 R. M. Holborn, Esq. 
 
 Orosius. Florentiz. 1471. Fol. 
 English binding of the 19th century, by C. Lewis. 
 J. A. Bryce, Esq. 
 VITA MARTYRIUM ET MIRACULA SANCTI EADMUNDI REGIS ANGLI® 
 CopEXx MS. sac. XII. é 
 English binding of the 19th century, by C. Lewis. 
 R. S. Holford, Esq. 
 
 SOPHOCLIS. Tragaediae Venetiis. 1502. 8vo. 
 English binding of the 19th century, by C. Lewis. 
 R. S. Holford, Esq. 
 BACON. Essays. London. 1852. 12mo. 
 English binding of the roth century, by John Tuckett. 
 ff, Virtue Tebbs, Esq. 
 
33 
 
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 35 
 
 36 
 
 37 
 
 38 
 
 39 
 
 40 
 
 41 
 
 42 
 
 99 Case Q. 
 
 MorE. The History of King Richard the Third. Chiswick. 1821. 8vo. 
 English binding of the 19th century, by F. Bedford. 
 Lent by H, Virtue Tebbs, Esq. 
 
 RHODOCANAKIS, PRINCE. Essay on Georgius Coressius. Athens. 1872. 4to. 
 English binding of the 19th century, by F. Bedford. 
 R. M. Holborn, Esq. 
 ROGERS. Poems. London. 1834. 8vo. 
 
 English binding of the 19th century, by F. Bedford. 
 Mr. J. Toovey. 
 
 TERENTIUS. On Vellum. Florentiz. 1505. 8vo. 
 
 English binding of the 19th century, by F. Bedford. 
 Mr. J. Toovey. 
 
 Tuomas A KeEMpIs. De Imitatione Christi. Londini. 1851. 8vo. 
 English binding of the 19th century, by F. Bedford. 
 R. M. Holborn, Esq. 
 
 OTHO WERMULIERUS. A Spirituall, and most precious Pearle, &c. London. 
 1593. I6mo. 
 
 English binding of the 19th century, by F. Bedford. 
 C. Butler, Esq. 
 SKEFFINGTON. The Heroe of Lorenzo. London.. 1652. 24mo. 
 
 English binding of the tgth century, by F. Bedford. 
 Mr. J. Toovey. 
 
 BENEDICTUS. Diaria de Bello Carolino. Venetiis. 1499. Sq. 8vo. 
 English binding of the 19th century, by F. and T. Aitken. 
 W. A. Tyssen Amherst, Esq., MP. 
 
 MarGry. Les Navigations Frangaises. Paris. 1867. 8vo. 
 English binding of the 19th century, by J. Zaehnsdorf, Senior. 
 Mr. J. Zaehnsdorf. 
 
 | LocKHART. Spanish Ballads. London. 1855. 4to. 
 English binding of the 19th century, by J. Zaehnsdorf, Senior. 
 HI, Virtue Tebbs, Esq. 
 
Case QO. 100 
 
 43 PARADINUS. Historiarum Memorabilium. Lugduni. 1558. 12mo. 
 
 English binding of the 19th century, by J. Zaehnsdorf, Senior. Copied 
 
 from the Wotton in the British Museum. 
 Lent by H. S. Richardson, Esq. 
 
 44 HISTOIRE DE TRIBOULET. A. Joly. Lyon. 1867. 8vo. 
 English binding of the 19th century, by J. Zaehnsdorf, Senior. 
 Mr. J. Zaehnsdorf. 
 
 45 SHELLEY. Queen Mab. London. 1813. 8vo. 
 English binding of the 19th century, by Robert Riviére. 
 HT, Virtue Tebbs, Esq. 
 
 46 THE Book OF PSALMS. Designed and Illuminated by the late Julien Roberts 
 Church. MSS. on vellum. Sm. 4to. 
 English binding of the 19th century, by Robert Riviere. 
 Ei. F. Church Ese, 
 
 4°77 Lanpor. The Hellenics. Edinburgh. 1859. 8vo. 
 English binding of the 19th century, by Robert Riviere. 
 HT. Virtue Tebbs, Esq. 
 
 48 FuLuer. A Pisgah—Sight of Palestine. London. 1650. Fol. 
 English binding in Cambridge calf,of the 19th century, by Robert Riviére. 
 W. A, Tyssen Amherst, Esq., MP. 
 
 49 MONIER-WILLIAMS. “Sakoontala.” Hertford Press. 1855. 4to. 
 English binding of the 19th century ; by John Tuckett ; with miniature 
 of the last King of Delhi. 
 H. Virtue Tebbs, Esq. 
 50 HISTORL® NORMANNORUM. Paris. 1619. Fol. 
 English binding of the 19th century ; in Russia; bound by Fosbroke. 
 W. A. Tyssen Amherst, Esq., MP. 
 
 50A ORIGIN AND SERVICES OF THE COLDSTREAM GUARDS. 1833. 
 English binding ; with arms of King William IV. 
 Her Majesty the Queen. 
 
51 
 
 52 
 
 53 
 
 55 
 
 56 
 
 57 
 
 58 
 
 59 
 
 IOI Case QO. 
 
 ROGERS, S. Poems. London. 1839. 4to. 
 English binding of the 19th century ; olive morocco; by Heyday. 
 Presentation copy to Her Majesty the Queen. 
 Lent by Her Majesty the Queen. 
 
 JARVES, J. J. Art Studies. New York. 1861. 8vo. 
 
 English binding of the 19th century ; by John Tuckett ; dark olive 
 
 morocco, inlaid with white and red. 
 H. Virtue Tebbs, Esq. 
 
 TENNYSON. Idylls of the King. London. 1859. 8vo. 
 English binding of the 19th century ; by John Tuckett ; green morocco ; 
 inlaid. 
 HT, Virtue Tebbs, Esq. 
 SOPHOCLES. Venice (Aldus). 1502. 
 
 English binding of the roth century; by Francis Bedford ; brown 
 
 morocco. 
 FT, Virtue Tebbs, Esq. 
 
 SHAKESPEARE’S PLAYS, Facsimile Reprint of Folio of 1623. 
 English binding of the 19th century ; by John Tuckett ; pigskin. 
 H. Virtue Tebbs, Esq. 
 
 FROISSART’S CHRONICLES. Lord Berners’ Translation. London. 1812. 4to. 
 
 English binding of the 19th century ; by R. Riviere; olive morocco ; 
 
 semé, with crowned roses and fleur-de-lys. 
 HT. Virtue Tedbs, Esq. 
 
 Hume. History of England. London. 1806. Fol. 
 English binding of the 19th century ; by Hering; Russia. 
 FT. Virtue Tebbs, Esq. 
 
 OTTLEY. Early Florentine School. London. 1826. Fol. 
 English binding of the 19th century ; by R. Riviere ; green morocco. 
 H. Virtue Tebbs, Esq. 
 
 DANTE. L’Inferno. Paris. 1861. Fol, 
 
 English binding of the 19th century; by Holloway ; olive morocco ; 
 
 inlaid. 
 HI. Virtue Tebbs, Esq. 
 
102 
 
 Case R. 
 
 FRENCH BINDINGS, 18th-19th CENTURIES. 
 
 Loncus. Daphnis et Chloé. Paris. 1757. 4to. 
 
 French binding of the 18th century, by Louis Douceur (with his ticket — 
 
 inserted). 
 Lent by Mr. J. Toovey. 
 
 ITINERARIUM GERMANIA. (Atlas.) 1587. 8vo, 
 
 French binding of the 18th century, by Padeloup. 
 W. A. Tyssen Amherst, Esq., MP. 
 
 GIRALDI CINTHIO. Dell’ Hercole. Modena. 1557. Sm. 4to. 
 
 French binding of the 18th century, by Padeloup (with his ticket 
 
 inserted). 
 Samuel Sandars, Esq. 
 
 DE IMITATIONE CHRISTI LIBRI IV. Bruxellz. 1649. 1I2mo. 
 
 French binding of the 18th century, probably by Padeloup. 
 C. E. H. Chadwyck Healey, Esq. Q.C. 
 
 OFFICE DE LA SAINTE VIERGE. Lat. and Fr. Paris. 1714. 8vo. 
 
 French mosaic binding of the 18th century, by Padeloup. 
 Rk. S. Holford, Esq. 
 
 Boccaccio. I] Decamerone. Firenze. 1527. 4to. 
 French mosaic binding of the 18th century, by Padeloup. 
 
 Mr. J. Toovey. 
 
 HEURES IMPRIMEES PAR L’ORDRE DE MONSEIGNEUR L’ARCHEVEQUE DE 
 PARIS, Paris. 2:17.36, srovo; 
 
 French mosaic binding of the 18th century, by Padeloup. 
 k. S. Holford, Esq. 
 
103 Case R. 
 
 8S HEURES NOUVELLES TIREES DE LA SAINTE ECRITURE. Paris. 8vo. 
 
 French binding of the 18th century. 
 Lent by Mr. J. Toovey. 
 
 9 PASQUILLUS ECSTATICUS. Geneve. 1544. 8vo. 
 
 10 
 
 11 
 
 12 
 
 13 
 
 14 
 
 15 
 
 French mosaic binding of the 18th century, probably by Lemonnier. 
 R. S. Holford, Esq. 
 
 OPTATI GALLI DE CAVENDO SCHISMATE. Parisiis. 1640. 8vo. 
 
 French mosaic binding of the 18th century, probably by Lemonnier, 
 with portraits on each cover. 
 
 R. S. Holford, Esq. 
 
 LES VIES DES XI. CASARS. With portraits. MS. on vellum. 4to. 
 
 French mosaic binding of the 18th century. 
 Mr. J. Toovey. 
 
 HENAULT. Nouvel Abregé Chronologique de |’Histoire de France. Paris. 
 1749. 4to. 
 French binding of the 18th century, probably by Derome. 
 Mr. J. Toovey. 
 
 HORATIUS. Opera. Parisiis. 1733. 24mo. 
 French binding of the 18th century, by Derome. 
 
 Fon. C. W. Mills, MP. 
 
 LISTE DE MESSIEURS DE L’ACCADEMIE ROYALE DES SCIENCES DEPUIS 
 1666 JUSQU’EN 1699. MSS. Fol. 
 
 French binding of the 18th century, by Derome. On the cover are the 
 arms of Charles Jean Bertin, Bishop of Vannes, 1746-1774. 
 
 C. Butler, Esq, 
 
 LIVRE DE L’INSTITUTION DE L’ORDRE DE ST. MICHEL EN 1476. MS. on 
 Vellum. 
 
 French binding of the 18th century, by Derome. 
 R. S. Holford, Esq. 
 
Case R. 104 
 
 16 MACHIAVELLI. Reflexions sur la premiere décade de Tite live. (Tom I.) 
 Amsterdam. 1782. 8vo. 
 
 French binding of the 18th century, by Derome le jeune (with his 
 
 ticket inserted). 
 Lent by C. J. Elton, Esq., Q.C., M.P. 
 
 17 Junius. Refutatio przlectionum theologicarum fausti Socini senentis. 
 Amstelreodami. 1633. 8vo. 
 
 French binding of the 18th century, by Derome Il’ainé (with his ticket 
 
 inserted). 
 Samuel Sandars, Esq. 
 
 18 DAUBENTON La Mineralogie. 1779. 8vo. 
 French binding of the 18th century, by Derome. 
 
 H.. S. Richardson, Esq. 
 
 19 LoncGus. Daphnis et Chloé. 1718. Sm. 8vo. 
 French binding of the 18th century, by Derome. 
 
 Fon. C. W. Mills, MP. 
 
 20~ CICERO; | Caro Major ae UCuteti, 6755.0 seme, 
 
 French binding of the 18th century. 
 C. Ll. Elton, Esq, O.C tia. 
 
 21 CICERO. Cato Major. Lutetiz. 1758. 32mo. 
 
 French binding of the 18th century. 
 C. JL. Elton, Esa, OC 
 
 22 DE GIRARD. L’Ami dela Nature. Paris. 1787. 8vo. 
 
 French binding of the 18th century ; the centre panel has been cut out 
 
 and the mark of the Republic inserted. 
 I. R. Buchanan, Esq.. MP. 
 
 23 PosTES IMPERIALES. FEtat général des Routes de Poste de |’Empire frangais, 
 pour lan 1813. Paris. 1813. 8vo. 
 
 French binding of the 19th century, with arms of Napoleon I. on cover. 
 
 Her Mayesty the Queen. 
 
105 Case R. 
 
 Loncus. Daphnis et Chloé. Paris. 1795. 12mo. 
 
 French binding of the 19th century, with arms and monogram of 
 
 Napoleon I. 
 Lent by His Excellency M. Gennadius. 
 
 BOISARD. Fables. (Tom II.) Paris. 1777. 8vo. 
 
 French binding of the 19th century. 
 k. Ward, Esq. 
 
 Livius. Historiarum Libri. (Vol. 1.) Lugduni Batavorum. 1645. 12mo. 
 
 French binding of the 19th century, by Thouvenin. 
 
 Edward Bond, Esq. 
 
 HIPPOCRATIS. Coacz Prznotiones. Gr. et Lat. Amsteledami. 1660. 1I2mo. 
 French binding of the 19th century, by P. Bozérian Jeune. 
 
 FTis Excellency M. Gennadius. 
 
 PHoTiI. Myriobiblon. Rothomagi. 1653. Fol. 
 French binding of the 19th century, by P. Bozérian Jeune. 
 
 Fis Excellency M. Gennadius. 
 
 CLAUDIANI. Opera. Lugduni Batavorum. 1560. I2mo. 
 French binding of the 19th century, by P. Bozérian Jeune. 
 
 Edward Bond, Esq. 
 
 BUCHANANI. Poemata. Lugduni Batavorum. 1628. 24mo. 
 French binding of the rgth century, by P. Bozérian Jeune. 
 
 H. Virtue Tebbs, Esq. 
 
 DANTE. Leterze rime. Venetiis. 1502. 8vo. 
 French binding of the 19th century, by P. Bozérian Jeune. 
 Edward Bond, Esq. 
 
Case R. 106 
 
 32 
 
 33 
 
 34 
 
 35 
 
 36 
 
 37 
 
 38 
 
 39 
 
 DE LA PIEDAD. Teatro jesuitico. Coimbra. 1654. Sm. 4to. 
 
 French binding of the 18th century, by Derome. From the Girardot de 
 
 Préfond collection. 
 Lent by R. S. Holford, Esq. 
 
 ARETINO. Lettere scritte. Venetia. 1551. 8vo. 
 
 French binding of the 18th century, by Padeloup. From the Girardot 
 
 de Préfond collection. 
 Mr. J. Toovey. 
 
 PosTEL. Les tres merveilleuses victoires des Femmes. Paris. 1553. 
 
 French binding of the 18th century. From the Girardot de Préfond 
 
 collection. 
 Rev. W. EF. Buckley. 
 
 BUCHANANI. Poémata. Amsteledami. 1687. 16mo. 
 French binding of the 19th century, by R. P. Simier fils. 
 
 T. R. Buchanan, Esq.. MP. 
 
 EPIGRAMMATA GR/ECA SELECTA EX ANTHOLOGIA. 1570. Sm. 8vo. 
 
 French binding of the roth century, by Simier. 
 Ll. Bywater, Esq. 
 
 Boccaccio. Centum Novella. Strasburg. 1535. Fol. 
 
 French binding of the 19th century, by Simier. 
 Edward Bond, Esq. 
 
 DorRAT. Les Baisers. La Haye. 1770. 8vo. 
 French binding of the roth century, by Trautz-Bauzonnet. 
 
 Hon. C. W. Mills, MP. 
 
 BELLEAU. La Bergerie. Paris. 1572. 12mo. 
 
 French binding of the 19th century, by Trautz-Bauzonnet. 
 
 C. f. Elton; Esq5°O. Cea 
 
41 
 
 42 
 
 43 
 
 45 
 
 47 
 
 107 Case R. 
 
 DE LA HERISSAYE. Les Contes et discours d’Eutrapel. Rennes. 1586. 
 Sm, 8vo. 
 
 French binding of the 19th century, by Capé. 
 Lent by A. Casella, Esq. 
 
 LUCANUS. Venetiis. 1515. 1I2mo. 
 
 French binding of the 19th century, by Capé. 
 £.. H, Lawrence, Esq. 
 
 Du FOUILLOUX, La Venerie de Jaques. Poitiers. Sm. 4to. 
 
 French binding of the 19th century, by Capé. 
 Alfred Huth, Esq. 
 
 LA GRANT NEF DES FOLZ DU MONDE. Paris. 4to. 
 French binding of the 19th century, by C. Niedrée. 
 IT. R. Buchanan, Esq.,. MP. 
 
 MARTIALIS. Epigrammata. Venetiis. 1501. 8vo. 
 French binding of the 19th century, by Cuzin. 
 MISS Sap). Pe e7deaus, 
 
 CIcERO. Les Epistres Familiaires. Traduicte par Estienne Dolet. Lyon. 
 1542. I2mo. 
 
 French binding of the 19th century, by Hardy, with arms of the 
 
 Marquis de Villeneuve on cover. 
 R. C. Christie, Esq. 
 
 Boccaccio. Il Decameron. Amsterdamo. 1665. I2mo. 
 French binding of the 19th century, by Chambolle-Duru. 
 Miss S. T. Prideaux. 
 
 MOLIERE, Théatre de. Vignettes par F. Hillemacher. 1863-1870. Sm. Fol. 
 French binding of the 19th century, by Chatelin. 
 Mrs. Hornsby Drake. 
 
 4'74 FRENCH M.S. OF THE 15TH CENTURY. Roman de la Rose. 
 
 French binding of the 19th century ; bound by one of the Lortics. 
 Charles Butler, Esq. 
 
Case R. 108 
 
 48 J. DE TURRECREMATA. Expositio brevis et utilis super psalterio. Moguntiz. 
 1578. Sm. Fol. 
 
 French binding of the 19th century, by Auguste Petit. 
 
 Lent by Edward Bond, Esq. 
 
 49 MICHEL. La Reliure Frangaise. Paris. 1880. Fol. 
 French binding of the 19th century, by Marius Michel pére. 
 
 His Excellency M. Gennadius. 
 
 50 DANTE ALIGHIERI. La Divina Commedia. Milano. 1878, 
 
 French binding of the 19th century. 
 H. S. Richardson, Esq. 
 
 Case S. 
 
 1 ENAMELLED CovER. Liber Psalmorum cum Glossis. 12th century. 
 
 Binding of the 13th century. In 1449 belonged to the Benedictine 
 Monastery of St. Lambert, Liége; boards covered with green velvet. 
 In centre a plaque of Limoges enamel, with figure of our Lord on the Cross, 
 the Virgin and St. John, two angels and Adam rising. The border 
 covered with 8 plaques of enamel. The champfer with stamped silver 
 lozenge diaper. 
 
 Ft. Hucks Gibbs, Esq., MP. 
 
 2 COVER (one side). 
 
 Binding of the 13th century ; centre plaque of champlevé; Limoges 
 enamel with figure of Christ seated on the rainbow within a resica, accom- 
 
 panied by the four evangelistic animals. 
 George Salting, Esq. 
 
109 Case S, 
 
 3 PAROISSIEN ROMAIN, contenant |’Office divin des Dimanches et Fétes en Latin 
 et en Frangais, Paris. 18mo. 
 
 French perforated and engraved silver book-cover of the 18th century ; 
 with one clasp. 
 Lent by T, F. Shattock, Esq. 
 
 4 Liscovius. Christlichen Frauen-Zimmers Geisthcher Tugend Spiegel. Leipzig. 
 1703. | 12mo. 
 
 German engraved silver book-cover of the 18th century; with the Cruci- 
 fixion on the upper cover and the Resurrection on the lower; two clasps. 
 
 T. F. Shattock, Esq. 
 
 -5 DIvVINA Missa SANCTI IOANNIS CHRYSOSTOMI. Gr. and Lat. Venetiis. 
 1525. ~Ato. 
 
 Venetian binding of the 16th century; green velvet; with panel on 
 upper cover, on which is painted a picture of St. John Chrysostom, and 
 some monastic building; both covers decorated with contemporary silver 
 ornaments. 
 
 HI. Yates Thompson, Esq. 
 
 G6 VOLUME OF BLANK LEAVES, 
 
 Bound in violet velvet; mounted with silver scroll work; probably 
 German of the 17th century. 
 IT. £. Shattock, Esq. 
 
 7 ORDER OF CEREMONIAL OF THE INAUGURATION OF MAGISTRATES OF A 
 SPANISH CiTy. (Probably Toledo.) c. 1590. The Original Official 
 Manuscript. 
 
 Spanish binding of the 16th century; red velvet, with contemporary 
 silver and gilt ornaments. The arms and crown of Spain on each cover ; 
 with tassels, and two silver and silver gilt clasps. 
 
 Sir J. C. Robinson. 
 
 8 Les PSEAUMES DE DAVID, MIS EN RIME FRANCOISE. Par C. M. et T. D. B. 
 Paris,) £0607.) om, Svo: 
 
 French book covers of the 17th century ; tortoiseshell, with bosses 
 
 and two clasps of engraved silver. 
 E.. H. Lawrence, Esq. 
 
Case S. IIO 
 
 9 HOR IN LAUDEM BEATISSIME VIRGINIS MARIE. Lugduni. 1558. 12mo. 
 (Printed in “ Caractere de Civilité”’). 
 English binding of the 16th century ; red velvet. This book belonged 
 
 to Queen Mary, and has silver letters, M-ACR.LA. R-E.G.LNWAL andsine 
 arms of England enamelled on silver on upper cover. 
 
 Lent by Stonyhurst College. 
 
 10 Horz B.V.M. MS. on Vellum. 
 
 Modern Venetian silver book-covers. The upper cover of filigree and 
 niello; with the Resurrection and four Evangelists, and on the lower the 
 
 Crucifixion with the Virgin and St. John. 
 Jeffery Whitehead, Esq. 
 
 11 THE Book OF COMMON PRAYER. Oxford. 1803. 24mo. 
 
 Italian silver cover of the 17th century ; chased and perforated ; with 
 two silver clasps. On the upper cover, the meeting of Christ and Mary 
 Magdalene in the Garden ; on the lower, Christ and the two Disciples on 
 the journey to Emmaus. 
 
 James Knowles, Esq. 
 
 12 ARNDT. Paradisis Urte-Gaard eller en Aandelig Lyst-Have. Kiobenhavn. 
 I16QI. I2mo. 
 
 German binding of the 18th century. Olive velvet; with filigree 
 ornaments and clasps ; monograms and coronets on both covers. 
 
 H. Hucks Gibbs, Esq., M.P. 
 
 138 NAKATENUS. Kurtzer Begriff des himmlischen Palm-Gartleins. Céln. 1752. 
 T2mo. 
 
 Silver book-covers ; perforated and engraved ; German work of the 
 
 18th century ; two clasps. 
 I. F. Shattock, Esq. 
 
 14 KeEGEGIUS, Zwolf geistliche Andachten. Liineburg. 1651. 8vo. 
 
 German silver book-cover of the 17th century. On the covers are 
 engraved Joseph relating his dream to his brethren, and his brethren selling 
 
 him into Egypt. Two silver clasps. 
 Alfred Huth, Esq. 
 
 15 THE PsALMs OF DAvID IN MEETER. Edinburgh. 1640. 32mo. 
 
 Silver repoussé covers, with two clasps, probably Scotch work of the 
 17th century. 
 R. T. Hamilton Bruce, Esq. 
 
III Case S. 
 
 16 Book OF PENALTIES FOR NON-PERFORMANCE OF SERVICES IN THE CHAPEL 
 OF HENRY VII., WESTMINSTER. MS. on Vellum. 1503. Fol. 
 
 English binding of the 16th century ; red velvet ; with tassels and silver 
 gilt and enamelled bosses; the centre one containing the Royal Arms of 
 England, Tudor, the others the badge of Westminster. Three silver clasps 
 gilt and enamelled. With it are silver boxes containing seals of the parties 
 to the Indenture. 
 
 Lent by St. Paul’s Cathedral. 
 
 17 SILVER GILT BOOK-CovVERS. Perforated and embossed with figures of Faith 
 and Hope. French work of the 18th century. 
 
 T. F. Shattock, Esq. 
 
 18 NEw TESTAMENT. Lat. Parisiis. 1543. 16mo. 
 
 Stamped leather binding of the 16th century; on the upper cover is a 
 brass figure of the Virgin, and on both covers bosses in brass, The edges 
 gilt and gauffered. 
 
 His Excellency M. Gennadius. 
 
 19 CHRISTLICHES Buss BERICHT UND COMMUNION BUCHLEIN. Ulm. 
 1722. 8vo. 
 
 Silver book cover, repoussé in high relief, probably German, of the 19th 
 
 century. The Crucifixion on one cover and the Resurrection on the other. 
 
 On the back Moses and the Brazen Serpent. 
 Alfred Huth, Esq. 
 
 20 THE ROMAN MISSAL FOR THE USE OF THE LAITY. London. 1856. 8vo. 
 
 Silver gilt book-cover of the 18th century. On the upper cover is 
 the Virgin and Child, on the lower S. Francis in adoration. 
 
 T. F. Shattock, Esq. 
 
 21 OFFICIUM BEATA MARL# ViRGINIS. Antverpie. 1685. 8vo. 
 
 Italian binding of the 18th century; silver repouss¢é ornaments on 
 both covers. A medallion of Christ on the upper and of the Virgin on the 
 
 lower ; two silver engraved clasps. 
 T. F. Shattock, Esq. 
 
 292 VOLUME OF BLANK LEAVES. 
 
 Silver book-covers, probably German, of the 17th century, chased on 
 the upper cover, Christ with Cross and Chalice at a Table; and on the 
 other, Moses with Tables of the Law ; two silver chased clasps. 
 
 T. F. Shattock, Esq. 
 
CasenS' 112 
 
 23 
 
 24 
 
 25 
 
 26 
 
 27 
 
 28 
 
 29 
 
 STARCK. Communion Buch. Franckfurt und Leipzig. 1759. 12mo. 
 Silver-chased book-cover, German work of the 17th century, the adoration 
 
 of the Shepherds on the upper cover, on the lower the Crucifixion, on 
 the back the figure of Faith, two silver chased clasps. 
 
 Lent by T. F. Shattock, Esq. 
 
 ENCHIRIDION OFT HANTBOEXKEN VAN DE CHRISTLEJCKE LEERE ENDE 
 RELIGION. Haerlem. 1627. 8vo. 
 
 Silver Book Covers, perforated, and engraved with Bible Subjects ; 
 Dutch work of the 18th century, two silver clasps, engraved and perforated ; 
 
 edges gauffered and gilt. 
 Jeffery Whitehead, Esq. 
 
 SILVER GILT BOOK-COVERS. 
 
 Italian work of the 17th century ; perforated ; with the Adoration on 
 one cover and the Ascension on the other, and figures of the Virgin Mary, 
 SS. Peter, James and John, the Papal crown and keys in silver on the 
 back; two silver gilt clasps. 
 
 I. F. Shattock, Esq. 
 
 L’OFFICE DE LA VIERGE MARIE. Paris. 1661. 24mo., 
 French binding of the 17th century; fishskin; monogram and 
 
 coronets in silver gilt on cover, and two silver gilt clasps. 
 
 Sir Charles Robinson. 
 
 THE BOOK OF COMMON PRAYER. London. 1674. 12mo. 
 
 Silver book-cover, in trellis-work lined with blue velvet ; English work 
 
 of the 17th century. 
 W. A. Tyssen Amherst, Esq., MP. 
 
 THE HOLY BIBLE. Cambridge. 1648. Sm. 8vo. 
 
 English binding of the 17th century, fishskin, black with perforated 
 silver gilt ornaments and clasps (probably Italian), 
 
 L. H,. Lawrence, Esq. 
 
 CHARLES I. The Pourtraicture of His Sacred Majestie in His Solitude and 
 Sufferings. 1648. 8vo. 
 
 English binding of the 17th century, black morocco tooled and gilt ; 
 and monogram C.R. with Royal crown on both covers, and two silver 
 
 clasps with small medallion of Charles I. 
 Fler Mazesty the Queen. 
 
113 Case S. 
 
 380 ILLUMINATED MS. ON VELLUM. Breviarium. 
 
 Venetian binding of the 16th century. Oak inlaid with ivory ; with the 
 arms of Malatesta on the upper cover, and the arms of Battaglia 
 
 on the lower, bronze clasps. 
 Lent by H. Yates Thompson, Esq. 
 
 31 EVANGELIA QUATUOR. MS. of the roth Century. 
 
 The two covers of this very remarkable and interesting book are of 
 different periods, the lower one being of earlier date than the upper. The 
 manuscript and the covers have been very fully described in two memoirs 
 published by the Society of Antiquaries, 1885. 
 
 The lower cover is of the 8th century. It is of South German work- 
 manship, and shows considerable traces of Irish influence. The border, of 
 which only two of the original parts remain, encloses a cross patée. On the 
 arms of the cross are four enamelled figures representing the Saviour, and 
 lines of Garnet ornament. The spaces between the cross are filled with 
 chiselled work of interlacing animals. The quadrants at the external angles 
 have lost their original decorations, and are filled with figures of the four 
 Evangelists of the end of the 16th century, at which period the MS. was 
 rebound. The material is either gold or silver gilt, and whole is orna- 
 mented with jewels. 
 
 The upper cover is of the Carolingian period, probably made by order 
 of the Emperor Arnulf between 896 and 899, and in that part of South 
 Germany which was under the rule of the Dukes of Bavaria. In the centre 
 is across with the crucified Saviour repoussé surrounded by an arcaded border 
 decorated with gems. In each of the spaces between the arms of the cross 
 there are, in addition to the jewels in each of the upper divisions, two angels, 
 and in the lower divisions the figures of the Virgin Mary and St. John, and 
 St. Mary Magdalene and Mary the wife of Cleophas. The whole is 
 surrounded by a border profusely decorated with jewels. 
 
 The edges of the upper cover are also decorated with jewels. 
 
 This MS. for many centuries belonged to the Abbey of Noble 
 Canonesses at Lindau, on the Lake of Constance, and was sold by the repre- 
 sentatives of one of the Canonesses on her death, after the dissolution of the 
 convent in 1803. 
 
 The Earl of Ashburnham. 
 
 82 SIDE OF A MISSA PRO DEFUNCTIS. 
 
 Italian binding of the 17th century ; leather softened and pressed up 
 into high relief, then painted and gilt. Dated Rome, 1636. 
 
 The Earl of Crawford. 
 
Case S. 114 
 
 PORTUGUESE BINDING. 
 
 388 PENTATEUCHUS. Hebr. Vellum. Lisbone. 1491. 
 
 Morocco, in the form of a box, the sides of which adhere to the under 
 cover ; the flexible back to the upper; all adorned with elaborate interlace- 
 ments. The spaces between which are filled with delicate stamped patterns, 
 
 Rebacked. 12 by g in. 
 Lent by R. S. Holford, Esq. 
 
 Case T. 
 
 Lent by the Earl of Crawford. 
 
 The Old Testament. Vol. I].—The New Testament. 
 
 These volumes belonged at one time to the Altenbergen Monastery, near 
 Cologne. They are bound in wooden boards, on the upper side of which 
 are metal plates, gilt and embossed with designs and medallions, with gems 
 inserted. Inthe centre are ivory plaques, in high relief. The bindings are 
 of about the same date as the manuscripts. 
 
 es Latin version. Manuscripts on vellum of the roth century. Vol. 1— 
 2 
 
 3 PETRUS LOMBARDUS. Manuscript on vellum of the 12th century, consisting of 
 the Treatise composed by Peter the Lombard on the “ Psalms of David.” 
 
 Bound in wooden boards, the upper one of which is covered with plates 
 of gilt metal, with filigree work round the sides, set with gems and plaques © 
 of Limoges enamel. Within the border is a figure of the Crucifixion in 
 enamelled copper. It may be considered to be of Byzantine workmanship 
 of the 1oth century. 
 
 noples iD. 5423; 
 
 Ol go 
 
 ae OF CARVED BONE. Executed for Cereobindus, Consul at Constanti- 
 
 There is a similar one of ivory in the Trioulzio Library at Milan. 
 Figured in Gori. Vol. 2. Pl. 18. 
 
nrs Casard. 
 
 6 Lirurcy. Roman Use. Psalteri'um. A manuscript on vellum of the 11th or 
 12th century. 
 
 In an ornamental cover or binding forming a diptych, with ivory 
 carvings, figures in alto-relievo, and enamels. The borders contain 32 ivory 
 medallions —16 on each cover—representing the Prophets and Saints with 
 their symbols. On some are found inscriptions in Greek uncial letters. 
 These ivories are very early, possibly of the 9th century, and probably were 
 executed in the South of Italy, in the part known as Magna Grecia, but 
 the enamel work in the centre, the crucifix and background, is far less old, 
 and appears to have been inserted in comparatively modern times, say 
 about the year 1450. 
 
 7 Hor# B. V. MARIA. 16th Century. 
 
 The ivories on the sides are of German work, and were probably 
 executed about the end of the 14th century or early 15th. The velvet, &c., 
 has been restored. 
 
 8S EVANGELIARIUM. MS. of the Collegiate Church of Dinant in diocese of Liége. 
 
 Oak boards; in the centre, a sunk panel with a full length painted 
 figure of the Saviour holding an orb and blessing; the chamfei is covered 
 with repousée; foliated ornament in copper gilt; the frame adorned with 
 Mosaic champlevé enamels with winged emblematical figures of FIDES, SPES, 
 CARITAS and HVMILITAS, and of the Apostles Andrew, Bartholomew, 
 Thomas, Philip, James and Matthew; separated by panels of hand work, 
 in each of which 5 stones have been set ; early 13th century. 
 
 9 Ivory TABLET. Probably off a Book-Cover. Birth of Christ and Adoration of 
 the Magi. 8th century. 
 
 & 
 11 
 
 ornamenting Book-Covers. 
 Executed about the 14th century. 
 
 «} Two Ivory DEVOTIONAL TABLETS which in all probability, were used for 
 12 THE COVER OF A BOOK. 
 
 Enamelled and gilt copper in the champlevé style of Byzantine 
 ornament. 13th century. 
 
 18 Ivory TABLET. Probably from a Book-Cover. S. Peter. gth and roth 
 century. 
 
Castel. 116 
 
 14 Boox or Hours. MS. 
 
 The metal part of the binding of the 14th century. Decorated with 
 jewels. The ivory panel of the 15th and 16th century. 
 
 15 BisLe. Latin. Evangelia Latina Quatuor, cum _ prologis, canonibus, et 
 capitulari evangeliorum de circulo anni. Sm. folio. Manuscript on vellum. 
 Cub 50. 
 
 In Carlovingian minuscules, with the first two pages of each Gospel 
 richly illuminated, and bearing the initial words of the Gospel in large capital 
 and uncial letters in gold; the architectural decoration of the Eusebian 
 Canons traced simply in pen and ink, but displaying a great variety of 
 design, with elegant figures of peacocks and other birds as accessory 
 ornaments. 
 
 In ancient calf binding ; the side inlaid with metal plates and enamel, 
 and set with gems; a Crucifixion carved in ivory and containing three 
 figures, forming a sunken centre-piece of remarkable execution. 
 
 This MS., so remarkable for its age and preservation, as well as for its 
 binding and _ sculptural ivory, was described by Montfaucon in the 
 “ Bibliotheca Bibliothecarum ” (1739), and assigned to the close of the 8th 
 century. It was then in the possession of the Baron de Crassier, who had 
 obtained it from the collection of the church of S. Pierre, at Liége. A 
 manuscript note by the Baron de Crassier, concerning his faithful 
 reparation of the binding, is pasted on the cover of the book. 
 
 Case U. 
 
 1 THE HOLy BIBLE, with the Booke of Common Prayer, Psalter and Hymnal. 
 London.s1607,, 4Fol: 
 
 English binding of the 17th century ; having a representation of the 
 Temptation of Adam and Eve embroidered on each cover. 
 
 Lent by E. H. Lawrence, Esq. 
 
rere Case U. 
 
 2 THE HOLy BIBLE. Cambridge. 1638. Fol. 
 
 English binding of the 17th century ; crimson velvet ; in the centre of 
 each cover are embroidered the arms and initials of Charles I., King of 
 England, in gold and silver thread and coloured silks, with Tudor roses and 
 
 thistles at the corners, 
 Lent by W. A. Tyssen Amherst, Esq. M.P. 
 
 8 LYCOSTHENIS THEATRUM VIT& HUMAN#. Basilez. 1560. Fol. 
 
 English binding of the 16th century ; olive morocco, powdered with 
 trefoils ; tooled, gilt and painted. Thesides have panels cut out and cameos 
 at the corners. On the back are two Tudor roses in an elaborate interlaced 
 design. The arms of Sir Nicholas Bacon are painted on the upper cover, 
 
 and his motto stamped on the lower. 
 Ralph Bankes, Esq. 
 
 4 CAMDEN. Britain, or a Chorographicall description of England, Scotland and 
 Ireland. Londini. 1610. Fol. 
 
 English binding of the 17th century; having white satin allegorical 
 figures of Peace and Plenty embroidered in silk on the covers, in a 
 cartouche of silver thread. 
 
 C. EB. H. Chadwyck-Healey, Esq., Q.C. 
 
 5S TESTAMENTI VETERIS BIBLIA SACRA. Londini. 1585. 4to. 
 
 English binding of the 16th century; plum coloured satin; with a 
 floral design embroidered in coloured silks. 
 
 C. k. H. Chadwyck-Healey, Esq., Q.C. 
 
 6 THE Book OF COMMON PRAYER. London. 1638. 4to. 
 
 English binding of the 17th century ; blue velvet ; each cover having the 
 badge and initials of Charles, Prince of Wales, afterwards King Charles L, 
 
 embroidered upon it in silver thread. 
 Her Majesty the Queen. 
 
 '7 Tue Hoy BIBLE. London. 1625. Sm. 8vo. 
 English binding of the 17th century ; white satin ; having in the centre 
 of each cover a representation of King David, and the words “ Preserve me 
 Lord alway from the wicked,” embroidered in gold and silver thread and 
 
 coloured silks. 
 E. H. Lawrence, Esq. 
 
Case U. 118 
 
 8 
 
 10 
 
 a: 
 
 12 
 
 138 
 
 14 
 
 THE HOLvV: BIBLE? “London. 2 633.ac12mo. 
 
 English binding of the 17th century ; white satin; embroidered with a 
 tulip and other flowers in culoured silks. 
 
 Lent by W. A. Tyssen Amherst, Esq., M.P. 
 
 UDALL. Sermons. London. 1596. 8vo. 
 
 English binding of the 16th century ; crimson velvet ; having on each 
 cover the arms and initial of Elizabeth, Queen of England, embroidered in 
 
 silver thread and coloured silks. 
 S. Sandars, Esq. 
 
 THE HOLY :BIsLE, London! 1631 12m0; 
 English binding of the 17th century ; red velvet ; with a conventional 
 
 design embroidered in silver thread ; silver clasps. 
 
 HT, Hucks Gibbs, Esq.. MP. 
 
 RAMISAI. Decermina quedam Philosophica. Edinburgi. 1629. Sm. 4to. 
 
 English binding of the 17th century; crimson velvet; with centre- 
 piece, corners and the letters E.I.R. stamped in gold. 
 S. Sandars, Esq. 
 
 PER LA SOLENNE CONSECRAZIONE DELLA MOLTA REVERENDE MADRI 
 DONNA MARIA OTTAVIA TONI, &c. Faenza. 1787. 4to. 
 
 Italian binding of the i8th century ; white satin; with the arms of 
 
 Torre Giani and Vallombrosa worked in coloured silks, surmounted by a 
 
 Cardinal’s hat. 
 Flis Excellency M. Gennadius. 
 
 CRITICO DOGMATICO SPECULATIVA ASSERTA. Venetiis. 1738. 4to 
 
 Italian binding of the 18th century; red satin; with the arms of 
 Cardinal La Scala painted on the sides in blue and gold. 
 
 His Excellency M. Gennadius. 
 
 THE BOOK OF COMMON PRAYER. London. 1642. 8vo. 
 
 English binding of the 17th century ; white satin; on the upper cover 
 a representation of Rebecca and the servant of Abraham, on the lower the 
 
 sacrifice of Isaac, embroidered in coloured silks, 
 E. H. Lawrence, Esq. 4 
 
15 
 
 16 
 
 17 
 
 18 
 
 19 
 
 20 
 
 119 Case U. 
 
 THE HOLY BIBLE. London. 1620. tI2mo. 
 
 English binding of the 17th century; white satin; on each side an 
 allegorical figure embroidered in coloured silks standing in a porch worked 
 in silver thread. 
 
 Lent by E.. H. Lawrence, Esq. 
 
 THE HOLY BIBLE. London. 1650. 8vo. 
 
 English binding of the 17th century ; white satin; a figure in armour 
 on each cover worked in coloured silks and gold and silver thread ; an 
 
 embroidered cushion marker and clasps. 
 Mr. J. Toovey. 
 
 Hoty BIBLE. London. 1648. 1I2mo. 
 
 English binding of the 17th century; white satin; on the upper side, 
 a representation of Judith supping with Holofernes in a tent; and on the 
 lower, one of Judith giving the head of Holofernes to a maid; worked in 
 coloured silks in a framework of silver thread. 
 T. R. Buchanan, Esq., MP. 
 
 THE WHOLE BOOKE OF DAVIDS PSALMES. Both in Prose and Meetre. 
 London. 1628. 16mo. 
 English binding of the 17th century ; white satin; on the covers two 
 female figures worked in coloured silks and silver thread; also an 
 embroidered cover as wrapper to the book. 
 
 C. E. H. Chadwyck-Healey, Esq., Q.C. 
 
 THE WHOLE BOOKE OF PSALMES. Collected into English Meeter by 
 T. Sternhold, &c. London. 1629. 12mo. 
 
 THE NEW TESTAMENT. London. 1630. 1I2mo. 
 English binding of the 17th century; two books reversed bound 
 
 as one; white satin; on the sides small roses worked in blue silk and 
 silver thread. 
 
 H. Hucks Gibbs, Esq. MP. 
 
 THE BOOKE OF PSALMES. Collected into English Meeter by T. Sternhold, &c. 
 London. 1636. I2mo. 
 
 THE NEW TESTAMENT. London. 1636. 1I2mo. 
 English binding of the 17th century; two books reversed bound as 
 
 one; white satin; on the sides an iris worked in coloured silks, in a 
 
 framework of silver thread ; silk wrapping cords. 
 Alfred Huth, Esq. 
 
Case U. 120 
 
 21 
 
 22 
 
 23 
 
 24 
 
 25 
 
 26 
 
 THE WHOLE BOOK OF PSALMES. Collected into English Meeter by 
 T. Sternhold, &c. London. 1630. 12mo. 
 
 THE NEW TESTAMENT. London. 1630. 1I2mo. 
 English binding of the 17th century ; two books reversed bound as 
 
 one; white satin; on the sides a rose worked in coloured silks in a 
 framework of silver thread and coloured cords. 
 
 Lent by M. B. Hutsh, Esq. 
 
 THE BOOKE OF PSALMES. Collected into English Meter by T. Sternhold, &c. 
 London. 12mo. 
 
 THE NEW TESTAMENT. London. 1I2mo. 
 
 English binding of the 17th century ; two books reversed bound as 
 one; white satin; on the sides a tulip worked in coloured silks, and 
 bordered in silver thread, set in an oval frame of the same. 
 
 C. Lf. Elton, Esg2O- Cer 
 
 BOOK OF CHRISTIAN PRAYERS. MSS. on Vellum. c. 1560. 
 
 English binding of the 16th century ; canvas; with heartseases worked 
 in coloured silks in tent stitch. 
 
 S. Sandars, Esq. 
 
 LIBRO DA MESSA di Lucrezia Tornabuoni, Madre di Lorenzo il Magnifico. 
 Italian MS. on vellum. c. 1440. . 
 
 Original silk binding; embroidered in silks and silver thread; with 
 
 silver clasp. 
 Mrs. Hornsby Drake. 
 
 PRAYERS AND MEDITATIONS. MSS. 
 Linen binding; entirely worked with red silk and silver thread; the 
 
 letter E on the upper cover, and true lovers’ knots on the lower. 
 
 Jeffery Whitehead, Esq. 
 
 HOMMAGE AUX DEMOISELLES, Redigée par Mme. Dufrenoy. Paris. 24mo. 
 
 French binding of the 19th century; white satin; on both covers a 
 centre-piece and framework of cupids and garlands, painted in water- 
 colours. 
 
 Hts Excellency M. Gennadius. 
 
27 
 
 28 
 
 29 
 
 30 
 
 31 
 
 32 
 
 33 
 
 34 
 
 121 Gase C7, 
 
 ALMANAC DE LA COUR, POUR L’ANNEE 1786. La Haye. 24mo. 
 
 Dutch binding of the 18th century ; white satin; on the upper cover 
 a landscape painted in water colours, in a framework of silver thread and 
 spangles. 
 Lent by Jeffery Whitehead, Esg. 
 
 CASE, containing Seven Stationers’ Hall Pocket Almanacks. 1826-1836. 
 
 English binding of the 19th century. 
 Jeffery Whitehead, Esq. 
 
 GOLDSMITH. An Almanack for the Year 1790. London. 1790. 32mo. 
 English inlaid binding of the 18th century. 
 fis Excellency M. Gennadius. 
 
 SACT KALENDER AUF DAS JAHR 1800. Wien. 1800. 32mo. 
 Austrian silk binding ; decorated with tinsel and spangles. 
 
 His Excellency M. Gennadius. 
 
 WIENER KALENDER AUF DAS JAHR, 1799. Wien. 
 
 Austrian mother-of-pearl binding. 
 His Excellency M. Gennadtus. 
 
 BOOK OF COMMON PRAYER. London. 1801. 8vo. 
 
 English binding of the rg9th century by G. Kalthceber; red morocco ; 
 with a picture of East Retford Church painted on the fore edge under the 
 gilding. 
 
 R. M. Holborn, Esq. 
 
 Hurpvis. The Village Curate, and other Poems. London. 1801. 8vo. 
 English binding of the 19th century; red morocco; tooled and gilt ; 
 with picture painted on the fore edge under the gilding. 
 
 W. H. Corfield, Esg., M.D. 
 
 THOMSON. The Seasons. London. 1779. 8vo. 
 
 English Etruscan binding of the 18th century ; vellum; with a drawing 
 of Music on the upper cover, and of a castle on the lower; a picture of 
 
 Sion House painted on the fore edge under the gilding. 
 Mr. J. Toovey. 
 
Case U. 122 
 
 385 THE BOOK OF COMMON PRAYER. Paris. 1791. I2mo. 
 
 English binding of the 19th century; vellum; with gilt border, and 
 picture painted on the fore edge under the gilding. 
 
 Lent by T. R. Buchanan, Esq., MP. 
 
 386 FALCONER. The Shipwreck. A Poem. London. 1811. 8vo. 
 
 English binding of the 18th century; red morocco ; with picture of 
 Greenwich, and barge on river, on the fore edge under the gilding. 
 
 FTis Excellency M. Gennadius. 
 
 & 
 38 
 
 English binding of the 18th century ; red morocco; tooled and gilt ; 
 by Edwards of Halifax ; with painted landscapes on the fore edge under 
 the gilding. 
 
 as Poems. 2 Vols. London. I8!10. 8vo. 
 
 HT. Virtue Tebbs, Esq. 
 
 389 Des MIT JESU VERLOBTEN TUGEND LIEBENDEN FRAUEN-ZIMMERS 
 ULLERSCHONSTER SEELEN-SCHMUET. Leipzig. 12mo. 
 
 German binding of the 18th century; brown morocco ; tooled and 
 gilt ; with a flower painted and gauffered on the fore edge. 
 
 J. A. Bryce, Esq. 
 
 40 LAUDATIO IN FUNERE LupDovic! I. HETRURIZ# REGIS. Rome. 1803. Fol. 
 
 Italian binding of the 19th century ; black silk, decorated with a design 
 in silver thread, and the arms of Louis I., King of Etruria. 
 
 Hts Excellency M. Gennadius. 
 
 41 CARD CASE. 
 
 English binding of the 19th century ; red morocco; inlaid with different 
 
 coloured moroccos. 
 Hl. Vertue Tebbs, Esq. 
 
ADEE NDT Xes ly 
 
 BOOKS HAVING THE ARMS OR BADGES OF THE ENGLISH ROYAL 
 
 FAMILIES. 
 Edward IV. ... 1461—1483. Case A. 14. 
 Eienry Vil. ... 1485—1509. Case S. 16. 
 Henry VIII. Tsoo—1547 ~ Case A. 23, 24, 25 26, 30, 36, 37, 38, 39, 42, 
 57, 58. 
 Edward VI.... Peay ¥e ys. wase La a, 2, 3, 4. 
 Mary 1553—1558. Case L. 6. Case S. 9. 
 Elizabeth 1558—1603. Case I. 13. Case L. 7, 8, 9, 10, 11, 12, 18. 
 James I. 3 ree po LOO2—-1025.. Case 1s043- Case M.c1, 2,'3, 4, §;.0, 7. 
 Prince Henry, eldest son of James I. Case: MS, 9,:10, 11. 
 Charles I. as Prince of Wales Case 13. 14,. 15,101 
 Charles I. as King ... 1625—1649. Case M. 17, 18, 19. 
 Henrietta Maria, his Queen : Case M. 41. 
 Henrietta Anna, dau. of CharlesI... 1644—1670. Case I. or. 
 Wife of Duke of Orleans. 
 
 Charles II. as Prince of Wales Case M. 4o. 
 
 = Se ae... 1660—1685. Case M. 42. Case N. 47. Case O. 1, 4, 
 James II. 1685—1689. Case N. 52. Case O. 5. 
 Prince James 1688—1765. Case P. 35. 
 Prince Charles Edward 1720—1788. Case P. 34. 
 Prince Henry, Cardinal York 1725—1807. Case P. 36. 
 William III. and Mary 1689—1702. Case N. 30, 50. Case O. 2, 7, 8. 
 Anne . rey: ae ... £702—1714. Case N. 24. 
 Prince George of Denmark, Consort Gase O.° #3. 
 Duke of Gloucester Case N28: 
 George I. 1714—1727. Case O. 29. 
 George II. act 1727—-1760. Case O. 25. Case P. 43. 
 Frederick, Prince of Wales... Case O. 14. 
 George ITT. ... nos 1760—1820. Case O. 64, 15, 39. 
 George IV. as Prince of Wales Case O. 41. 
 
 vere, | as King 1820-—1830. Case Q. 26. 
 William IV.... 1830—1837. Case Q. 50A. 
 Victoria Case (osx. 
 
TN JO EX. 
 I.—BINDERS. 
 
 i ———— 
 
 The Nos. {xili., &c.,| refer to the pacES of the Introduction; the other Nos. [Q. 40] to the 
 CASES alphabetically arranged in the Gallery and in the preceding Catalogue. 
 
 A 
 Aitken, F. and T.; Case Q. 4o. 
 Alard, xiii. 
 Aldus, xix., xxvi. 
 Alyat, Alexandre, x.; &. 26. 
 Anguerrand, Pierre, xlvii., li. 
 
 B 
 I. B., Case B. 18. 
 Badier, Florimond, xlii. 
 Barker, Robert, xlv. 
 Baudart, Guillaume, x.; B. 23. 
 Baumgarten, liv. 
 Bauzonnet, liii., liv.; #. 38, 39. 
 Bedford, lv.; QO. 33—39, 54. 
 Benedict, liv. 
 Berthelet, Thomas, xxxvi., xlv. 
 Bisiaux, xlviii. 
 Bloc, Ludovicus, x.; 2. 7, 8. 
 Bollcaert, Johannes, x.; B. 11. 
 Boule, André, x.; 2. 23. 
 Boyet, Luc-Antoine, xviii., xliii., xliv., xlvii., 
 
 xlviii., xlix. 
 
 Bozérian, liii.; R. 27—31. 
 Bradel, Alexis Pierre, li. 
 Brand, Thomas, lii. 
 
 Cc 
 Capé, liv.; Case R. 40—42. 
 Carpenter, W.; Q. 26. 
 Caumont, Comte de, lii. 
 Caxton, William, xi. 
 Chambolle, liv.; 2. 46. 
 Chatelin, A. 47. 
 Clarke, lv. 
 Clermont de Lodeve, Comte de, lii. 
 Courteval, liii. 
 Crombrugghe, Victor van; B, 10, 
 Cuzin, liv.; A. 44. 
 
 D 
 MoD s xiii, xiv. 5 Case A262, 
 Derome, Jacques Antoine and Nicholas Denis, 
 Vil, Xlvil., |. li.5 P4293 2. L2—19, 32. 
 Douceur, Louis, xlvii.,1.; 2. 1. 
 Dubuisson, Jean Paul, xlvii., 1., li. 
 Du Lau, lii. 
 Dupin, Jehan, x. 
 Durham (Benedictine Monastery), A. 2—7. 
 Duru, liv.; 2. 46. 
 Duseuil, Augustin, xvili., xlvii., xlix. 
 
 E 
 Edwards, liv.; Case Q. 18; U. 37, 38. 
 Egmondt, Frederic, xii.; 4. 17. 
 Eliot and Chapman, lii.; 4V. 24. 
 Eve, Nicolas, and Clovis, xvili., xxxvi., XXXVii.; 
 L. 7,13, 19, 22, 24, 25, 31, 33, 34, 36, 40, 45. 
 
 F 
 Fargher and Lindner, Case Q. 14. 
 Faulkner, H., Q. 13. 
 Ferrar, Nicolas, xlvi.; JZ 38. 
 Ferté, Frangois la, 1. 
 Fogel, Johannes, viii.; B. 33, 34. 
 Fosbroke, Q. 50. 
 Foucault, Jehan, xxviii. 
 
 G 
 BK. G., xis 3) Case. 37. 
 ¥. Go or G.-F5 4. 63. 
 Gis Gres, KL se e321 eae 
 SiGe 53s 
 Gascon, Le, xviii., xli., xlii.; 7. 61, 62. 
 Gauthier, de Brécy, Vicomte, lii. 
 Gavere Family, x.; A. 31; B. 2, 5, 6. 
 Gerard) Pi, Xs, D0 2700 
 Gibson, John. xlv. 
 Godfrey van Graten, Garret, xiv., xv.; 4. 45, 
 46, 47. 
 
H 
 (A pe kdle LV a CGOSeEA nea: 
 INE per: 
 Hardy, R. 45. 
 Henderson and Bissett, Q. 9*. 
 Hering, Charles, liv.; Q. 10, II, 57. 
 Heyday, Q. 51. 
 Hollis, Thomas, lii. 
 Holloway, Q. 59. 
 Hunte, Thomas, xi.; 4. 11, 12. 
 Huvin, Jean, Xi. 
 
 J 
 
 Jacobi, Henry, xiii., xiv.; Case A. 24. 
 
 Jubert, Jean Pierre, li. 
 
 K 
 IB IA (Gear ven btem 
 
 Kalthoeber, liv.; 0.25; U. 32. 
 Koberger, Anthony, ix.; B. 35, 36. 
 
 L 
 Re lass xe 
 AW a Guard 2h il, 
 Lair de Siberch, John, xv. 
 Lecompte, Nicholas, xii. 
 Lefevre, Hemon, x., liii. 
 Lemonnier, Pierre, xlvii.; 72. 9, 10. 
 3 Mo Ea lskrale 
 Le Noir, Philippe, xxix. 
 Lettou, xii. 
 Lewis, Charles, liv., lv.; Q. 29—31. 
 Lortic, liv.; A. 47A. 
 Louvet, Jehan, xxviii. 
 
 WI 
 G. M., Case B. 9. 
 
 Macé, R., xi.; A. 21. 
 
 Machlinia, x1i. 
 
 Mackinlay, John, liv. 
 
 Magnus, of Amsterdam, xliii.; P. 25. 
 Mearne, Samuel, xly. 
 
 Michel, Marius, pére, 7. 49. 
 Moulin, Jehan, xi. 
 
 N 
 ceNs EXITS se Cased nee 35 
 Niédrée, C., liv.; 2. 43. 
 Norins, Jehan, x.; ZB. 28. 
 Norton, John, xlv. 
 Notary, Julian, xiii.; 4, 25, 28. 
 Notts, xlvi. 
 Nowel, xiii. 
 
 Oo 
 R. O., xiii. 
 
 INDEX TO BINDERS. 
 
 P 
 Ga Peexive 
 LP. Case 3 10. 
 Ps, xiv 
 Padeloup, Antoine Michel, xviii., xlvii., xlix.; 
 R. 27, 33. 
 
 Payne, Roger, xviii., lii., lili; Q. I—7. 
 
 Petit, Auguste, R. 48. 
 
 Purgold, liii., liv. . 
 Pynson, Richard, xii.; A. 16. 
 
 R 
 AG IRS xIves OGSe cake. 
 
 Gy Ruy kul edna et bes: 
 
 Re xLVeeaeeS 5 
 
 Rahman, Abdul, C. 19, 20, 21, 22. 
 
 Reeve of Leamington, Q. 23. 
 
 Reynes, John, xiii., xiv., xv., xlv.3 4. 41—43, 60. 
 Richard, J., xi. 
 
 Richenbach, John, viii. 
 
 Riviere, Robert, Q. 45—48, 56, 58. 
 
 Roffet, Estienne (called Le Faulcheur), xxix. 
 Rood, Theodore, xi.; A. II, 12. 
 
 Ruette, Macé and Anthoine, xl., xlii. 
 
 Ss 
 Siberch, John, Case A. 52. 
 Simier, lii.; #. 35—37. 
 Singleton, Nicolas, 4. 61. 
 Spering or Spiernich, Nicholas, xiv., xv.; 4. 48, 
 49, 50, 51. 
 Staggemeier, L., lvi.; OQ. 27. 
 
 T 
 
 Tessier, 1. 
 
 Thibaron, liv. 
 
 Thouvenin, li., liii.; Case R. 26. 
 Tory, Geoffroy, xxv., xxvii. 
 
 Trautz, liii., liv.; &. 38, 39. 
 Tuckett, John, Q. 32, 49, 52, 53, 55- 
 
 Ww 
 Ta) W.5) klve 
 
 Walther, H., liv.; Case Q. 24. 
 Whitaker, John, liv. 
 
 Wier, Richard, liii. 
 
 Winchester Binding, 4. 1, 9. 
 Worde, Wynkyn de, xi., xii. 
 Woudix, Johannes de, x.; B. 3. 
 
 Z 
 Zaehnsdorf, J., Senior, Case Q. 41—44. 
 
 tea 
 
TENE Dy ex 
 Il—COLLECTORS “AND “ARMS. 
 
 <> 
 
 A 
 
 Abbot, George, Archbishop of Canterbury, 
 
 Case M. 23—24. 
 Adelaide, eldest d. of Louis XV., / IIo. 
 Albani, Cardinal, P. 21. 
 Altenbergen Monastery, MSS., 7. 1—2. 
 Alyn, William, Lord Mayor of London, Z. 20. 
 Anne Boleyn, Z. 11. 
 Anne of Austria, wife of Louis XIII., Z 51. 
 Anne, Queen, V. 24; O. 8. 
 Arundel, Henry Fitzalan, Earl of, xxxvi, Z. 19. 
 Ashburnham Gospels, .S. 31. 
 
 B 
 
 Bacon, Sir Nicholas, Case U. 3. 
 Banquemare, Nicholas de, /. 58. 
 Battaglia, S. 30 
 Benedictine Monastery of St. Lambert, Liége, .S, I. 
 Bertin, Charles Jean, Bishop of Vannes, 2. 14. 
 Borromeo, Cardinal Charles, D. 9. 
 Bourbon-Condé, Louis de, Comté de Clermont, 
 
 He LOS: 
 Burghley, William Cecil, Lord, Z. 21, 28. 
 
 Cc 
 
 Canevari, Demetrio, xxi., xxxii.; G. 1—8. 
 
 Cereobindus, Consul at Constantinople (A.D. 423); 
 Pe thle 
 
 Chamillart, Madame de, xlviii. 
 
 Charles Edward, Prince, P. 34. 
 
 Charles I., 17. 13—19; S. 29; VU. 2, 6. 
 
 Charles II., 17. 40, 42; WV. 47,49; O. I. 
 
 Charles V., 4. 14. 
 
 Charles IX., xxxiii.; /. 15. 
 
 Charles de Lorraine, Abbé de Gorze et de Luné- 
 ville, 7. 56. 
 
 Choiseul, Etienne Francois, Duc de, P. 8. 
 
 Choiseul, Léopold Charles de (Archbishop of 
 Cambrai), Case /. 114. 
 
 Clarendon, Edward Hyde, ist Earl of, 4. 51. 
 
 Clark, George, JV. 3. 
 
 Clementis, I., Z. 46. 
 
 Colbert B02. 72s 
 
 Conde Gast bisa / sto. 
 
 Contarini, Doge of Venice, P. 24. 
 
 Cosmo, II., Grand Duke of Tuscany, Z. 26. 
 Crassier, Baron, 7. 15. 
 
 Croy de Renty, Charles I., Duc de, D. 3. 
 
 D 
 Della Rovere, Cardinal, Case D. 11. 
 Desportes, Philippe, xxxiii. 
 Diane de Poitiers, xxxi.; 7. 4—5. 
 Dinant, Collegiate Church, MS., 7% 8. 
 
 E 
 Edward IV., Case A. 14. 
 Edward VI., xxxv.; Z. 2—4. 
 Edwardes of Cambridge, JZ. 33. 
 Elizabeth, Queen, xxxvi.; 7. 13; Z. 7—12, 18; U.9.. 
 Emanuel of Savoy, Cardinal, D. Io. 
 Este, Cardinal Hippolyto d’, #. 17. 
 Estienne, Paul, Z. 42. 
 Eugéne, Prince, /, 10%, 102. 
 
 F 
 
 Farnese, Alessandro, Prince of Parma and 
 
 Piacenza, Case Z. 23. 
 Ferdinand II., Duke of Tuscany, P. 4. 
 Ferrara, Alfonso da Este, Duc of, Z. 16. 
 Ferrara, Hippolytus, Cardinal of, Z. 48. 
 Fenolosi, Suor Zaneta, 2. 20, 
 Forzoni, Pier Andrea, 2. 59. 
 Francis I., King of France, /. 1. 
 Fresnoy, H. Petit du, /. 70. 
 Frederick, Prince of Wales, O. 14. 
 
 G 
 George I., Case O. 29. 
 George II., P. 43. 
 George III., O. 6a, 15, 39. 
 George IV., O. 41. 
 
128 INDEX TO COLLECTORS AND ARMS. 
 
 George of Denmark, Prince, O. 3. 
 
 Girardot, de Prefonds, xlviil., 2. 33, 34. 
 
 Giustiniani Family, P. 33. 
 
 Gloucester, Duke of, son of Q. Anne, /V. 28. 
 
 Gonzaga, Cardinal, D. 5. 
 
 Gonzaga, Louis de, Duc de Mantua and Nevers, 
 580; 
 
 Grolier, Jean, Vicomte d’Agnisy, xvii., xx.— 
 xxvi.; 4. I—I5A. 
 
 Guise, Henri de Lorraine, Duc de, G. 1 5, 
 
 H 
 Henrietta Anna, d. of Charles I., and wife of 
 Philip, Duke of Orleans, Case /. 91. 
 Henrietta Maria, Queen Consort of Charles I., 
 M, Al. 
 Henry II., King of France, /. 2—5. 
 Henrys ccxtl. xX xtee 170,210,014, 
 Henry IV., xxxiv.; /. 36, 44—46, 48, 409. 
 Henry VIII., 4.24, 25, 30, 32, 35—42, 58. 
 Henry, eldest s. of James I., 17, 8—11. 
 Herzog zu Wirtemberg, . 14. 
 Hoym, Charles Henri, Comte de, /. 104. 
 Hurault, Z 85. 
 
 I 
 James I., Case L. 43—44 5; JZ. 1—7,. 
 James II., 2. 52; O. 5. 
 
 K 
 Katharine, Queen, Case A. 57. 
 
 L 
 
 La Scala, Cardinal, Case U. 13. 
 
 Laud, William, Archbishop of Canterbury, 
 M,. 29—32. 
 
 Laurin, Marc, xxxil.; 7. 15B. 
 
 Leeds, 1st Duke of, 4. 48. 
 
 Le Févre de Laubricres, Bishop of Soissons, 
 LER Meo 
 
 Leicester, Robert Dudley, Earl of, xxxvi.; 
 L. 13—17. 
 
 Lindau, Abbey MS., S. 31. 
 
 Loménie, /. 68, 88. 
 
 Longepierre, Baron de, xlviii.; 7, 95. 
 
 Louise of Lorraine, /. 14. 
 
 Louis I., King of Etruria, 7. 40. 
 
 Wowis sells iocl A750 50, 05 De 
 
 Louis XIV., xli.; /. 59, 60, 61, 71, 89, 90. 
 
 VOUS Veet Le. 
 
 Louis, son of Louis XV., 7. 113. 
 
 M 
 
 Maioli Thomas, xvii., xx., xxi.; Case /. 16—22. 
 
 Malatesta, S. 30. 
 
 Mallet, Gilbert, A. 36. 
 
 Mansfeld, Count Peter Ernst von, xxxii. ; Z. 20. 
 
 Mansfeld, Count Carl von, xxxii.; / 25; J. 21. 
 
 Marie Jos¢phe de Saxe, mother of Louis XVI. 
 J, 107. 
 
 Marie Sophie Emile Honorate, wife of Charles 
 Francois de Montmorency, Duke of Pincy- 
 Luxembourg, /. 99. 
 
 Mary, Queen, 4.57; Z.6; S. 9. 
 
 Mary, Queen of James II., /V. 50. 
 
 Martyn, Edward, Z. 41. 
 
 Mazarin, Cardinal, /. 86. 
 
 Medici, Cardinal, D. 2.; P. 41. 
 
 Medici, John Gaston, Duke of Tuscany, P. 26. 
 
 Medici, Mary de, /. 46, 48, 49. 
 
 Méry de Vic, Seigneur d’Ermé - Nonville, 
 VER CUE 
 
 Mesmil-Garnier, Thomas Morand du, /. 11. 
 
 Mireau, Jean, Z. 54. 
 
 Miroménil, Armand Thomas de, Chancellor of 
 France, 7. 115. 
 
 Moigner, Guillaume de la, 7. 87. 
 
 Montausier, Charles de Sainte-Maure, Duc de, 
 LOS. 
 
 Montmorency, Henri Duc de, Z, 65. 
 
 Morangis, Antoine Barillon de, Z. 84. 
 
 N 
 Napoleon I., Case R. 23, 24. 
 
 Oo 
 Orleans, Louise Adelaide, Duchesse de, 
 Case 7.116; 
 Oxford University Arms, O. 44. 
 
 Fr 
 Pamphilio, Cardinal, Case P. 28. 
 Parker, Archbishop, xxxv., xxxvi.; Z. 29, 30, 31. 
 Peiresc, Nicolas Claude Fabri de, Z. 75. 
 Pompadour, Jeanne Antoinette Poisson, Marquise 
 de, Z. 106. 
 Pope Clement XI., P. 3. 
 Pope Clement XIII., P. 13. 
 Pope Innocent XII., P. 19. 
 Pope: Pius VL, caeadoebsengee 
 Pope Sixtus V., D. 9. 
 Praslin, Duc de, Z. 96, 97. 
 
INDEX TO COLLECTORS AND ARMS. 129 
 
 R 
 Radnor, Francis Rebartes, Earl of, Case P. 7. 
 Radziwill, Prince, 7. 76. 
 Richelieu, Cardinal, xli.; 7. 57—83. 
 Ruizi Family, Z. 22. 
 
 Ss 
 Sartine, Case J. 109. 
 Seguier, Anne, 7. 32. 
 Silvestri, Eurialo, /. 11. 
 Smyth, Thomas, Z. 32. 
 Sobieski, Maria Clementina, 7. 103. 
 Sully, Duc de, Z 52. 
 
 T 
 Talleyrand-Périgord, Case 7. 108. 
 Tellier, Michel Le, 7. 74. 
 Tornabuoni, Lucrezia, UV. 24. 
 Torre Giani and Vallambrosa, Arms, U. 12. 
 Thou, Jacques Auguste de, xxxvili., xxxix.; 
 I. 31—35, 41—43, 7780. 
 Tuscany, John Gaston (Medici), Duke of, P. 26. 
 Tuscany, Cosmos II., Duke of, Z. 26. 
 Tuscany, Ferdinand II., Duke of, P. 4. 
 
 U 
 Ulwar, Maharajah of, Case C. 19—22. 
 
 V 
 Valois, Marguerite de, xxxvi. ; Case J. 36, 45. 
 Vendéme, Antoinette de, xxxvil. 
 Verrue, Comtesse de, xlviii.; 7 100. 
 Victoire, second d. of Louis XV., Z, 111. 
 Villeneuve, Marquis de, #. 45. 
 Viti, Marchese: s:,2P.-5; 
 Vok, Peter, B. 42. 
 
 Ww 
 
 Westminster Book of Penalties, Case .S. 16. 
 
 Westminster School, O. 30. 
 
 William and Mary, WV. 30; O. 2, 7. 
 
 William IV., Q. 50a. 
 
 Whitgift, John, Archbishop of Canterbury, 
 L. 35—37- 
 
 Williams, John, Bishop of Lincoln, afterwards 
 Archbishop of York, JZ 27. 
 
 Wolpen, S. G. von, BZ. 4o. 
 
 Wotton, Thomas, xxxvi.; Z, 22—27, 
 
 Wurzburg, Bishop of, 2. 43. 
 
 vi 
 York, Cardinal, Case P. 36. 
 
INDEX. 
 I1I.—CONTRIBUTORS. 
 
 HER MAJESTY THE QUEEN, A: 23, 26, 36, 39, 42, ‘513° 2.40, 48; 2. -44:\ 70°83 Guts Jays, 
 23,1033: Lo. 3, 45. Yu, Ss 10,23, 433.07, 2,30, 11, 27, 55) 195020, 403 22V6 2, 15,037,125, eee 
 O. 5, 14, 15, 29, 41; P. 36, 43; Q. 26, 50A, 51; A. 23; S. 29; U. 6. 
 
 A 
 
 Aberdeen University Library, Case B. 9, 12, 26. 
 
 Amherst, W. A. Tyssen, M.P., A. 15, 25, 27, 30, 
 31, 38, 43, 47, 58, 63; 2B. 41, 49; Z. 57; 
 Lie EG x00 22t) Arete els 22. 20-8 Basted, Oe 
 25, 26, 27, 28, 31, 33, 34, 38, 44; JZ. 20, 38, 
 AO 7 Venl oe 7 wLO2O, 124,145, 140s010) 002127. 
 Way (ON oy, Vey, Way Gol rites, Gleky ite 238 AY 2d 
 OR PR ES, 
 
 Antiquaries, Society of, A. I, 53, 56. 
 
 Ashburnham, The Earl of, S. 31. 
 
 B 
 
 Bankes, Ralph, Case U. 3. 
 
 Beck, Rev. James, 7. 49. 
 
 Bond, Edward, /. 100; 17. 1; P. 31; Q. 21, 253 
 R. 26, 20, 31, 37, 48. 
 
 Boyce Gabo, os 7. 
 
 Bruce, R. IT. Hamilton, C. 13; V7. 38; Q. 18, 32; 
 ASS, Lu 
 
 Iba pesy fo IeeN, Jo, 2S Th ABI (ON nh oy, 90), 
 U. 39. 
 
 Buchanan Paks beeen O, 225077. Os eld. 
 333 7. 41, 56, 70, 105, 114, 115; WV. 29, 32; 
 8 BY UG OR IAA OY We Beh Bie VIR ie Oe. 
 35: 433 U. 17, 35. 
 
 Buckley, Rey. .Wi. Ene 400333) Bn 143) Go73e7. 40, 
 O7 101, 1O4:)/e at 70 Los 244.13, 15.6 35.930. 
 37, 39, 42; LV. 23, 40, 50; O. 4, 8, 23, 30, 443 
 P. 393 R. 34. 
 
 Butler,-Charless/#732;2503) 77. 1.15 ©/.;00Ase 7 aig, 
 133023,82 5563591405020, 12039; 0 nT Aae Ay AG 
 
 Bywater, Ingram, &. 45; 4.45; A. 37; 7. 35, 60, 
 81, 87; &. 36. 
 
 Cc 
 
 Canterbury Cathedral Library, Case A. 49, 52; 
 OMe: 
 
 Cambridge, Caius College, 4. 17. 
 ay Corpus Christi College, A. 13, 48; 
 
 J8i BR hs B¥ey 
 nn King’s College, C. 11, 12, 14. 
 és St.) John’s College, 4. 12; XK. 18; 
 
 TENN Hey [e Tem 2Xoy 
 
 Casella An Cl O,e2 2s eno: 
 
 Chadwyck-Healey, C. E. H., Q.C., Z. 39; H. 32; 
 M. 21; V..6, 26; 393 2. 4547: ayes es 
 
 Christie, R-C.. 77. 3, 2; 50s kale. 
 
 Church, E. F., Q. 46. 
 
 Cock, Alfred, Q.C., B..17; J. 91; A. 173 AZ 20. 
 
 Corfield, ‘W.. H.,,.M-D., 4. 62; C. 218; Fagus: 
 33, 38, 43, 54, 58, 62; G. 2; 1. 45, 63; K. 7; 
 4.9, 36; O. 3; P. 1, 2, Als OQ) momeen es 
 33% 
 
 Crawford, The Earl of, S. 32; 7: 1, 2, 3, 4, 5, 6 
 75-0; 9, 10; 11,0224 3, 
 
 > 
 
 D 
 
 Dennistoun, Alexander, Case P. 34. 
 
 Dewick, Rev. E., 2. 20, 34; EZ. 20, 35, 47, 49; 
 Peo Tr 
 
 Drake, Mrs. Hornsby, O. 34; 2. 47; U. 24. 
 
 Drewitt, F. Dautrey, M.D., Z. 45; WV. 8. 
 
 Dudley, R., Z- 15. 
 
 Duff, E. Gordon, A. 28, 29, 40, 41, 55; B. 4, 11, 
 15. 
 
 Durham Cathedral Library, A. 2, at Os nies 
 10, 12, 22, 37, 45, 46, 60; A. 20. 
 
 E 
 
 Elton, C. I., Q.C., M.P., Case C. 9; Z. 14, 22, 30; 
 fF, 11; G.14, 26; 17. 6, 9, 10, T5 ste aenoe 
 20, 21, 23, 24, 353 LZ. 40, 72, 75, 79, 84, 97, 
 106, 109, 116; K. 4A; O. 36; QO. 11; R. 16, 
 20, 21, 39; U. 22. 
 
 Eton College Library, 2. 33; £. 6; /. 4, 12, 13; 
 I. 31, 36, 37, 43, 55, 58, 73; 74, 94; LZ. 5; 
 M. 16. 
 
 Evans, John, P.S.A., F.RS.,2- 24) 
 
 F 
 Flower, Wickham, Case Z. 42; O. 16. 
 
INDEX OF CONTRIBUTORS. 131 
 
 G 
 
 Gennadius, His Excellency M., Case B. 16, 18, 24, 
 BOTA TEC NS 7 nl OvhS sly ce) arom Os ees. 
 24, 37, 46, 48, 51, 55, 56, 59, 61, 63, 655 
 GiGi 2210317. 23,20, 20s 7: 3.80, 92, 5F. 
 OG 7.057 7'75 823,95, LO2) LOS, 1 IO, LiL ien Ts 
 Pera SO 810. Ii, 12 827 TA IC Ogee O, 
 LOOT TAS 7 Oy) EYon1 750275 335. Cegul 5 
 RECO Met ZAL2 75 25, ,A9s a a1Os) Ce t25 13s 
 20> 20;, 30,831 .630,.40; 
 
 Gibbsmhoewliucks. MiP... 42 3i3 AA, 363) 7. 24, 
 39, 573 L£.20; WM. 11, 22, 33, 443 O. 173 
 an ssrks 12's) Cs LO: 
 
 Gibbs, Rev. Kenneth F., &% 19. 
 
 Ginsboro, Dron As 539.2. 423 2..37, 44. 
 
 Goldsmid, Sir Julian, Bart., M.P., P. 13, 16. 
 
 H 
 
 Hamilton, Edward, M.D., Case O. 39. 
 
 Harcourt, E. W., 2. 11; O. 6, 28. 
 
 Hereford Cathedral Library, A. 4. 
 
 Holborn, R.M., Q. 27, 34, 373; UV. 32. 
 
 rotten, Ro S., 2:3; 2.17; F. 14, 15, 16, 20,27, 
 ee io4 335.07, 12;" 0:30, 312) 2: 5,4, 9; 10, 
 15, 32; S. 33. 
 
 Howard, Mrs., 4. 15. 
 
 Huish, Marcus B., U. 21. 
 
 iutehinson, J. H., C. 3,4; 2. 8, 32. 
 
 Huth, Alfred, 2., 1, 6, 7, 8, 39, 50; C. 16; D. 2; 
 249,25). 04, J, TRA, 21, 253 G. 4, 15,19; 
 20, 21, 22, 23, 24; 7.4, 19, 21, 61, 71; WV. 21, 
 Ame 3, 16, .0):10,-16; 1.425. S. 15; 19; 
 20: 
 
 I 
 
 _ Incorporated Law Society, Case D. 11; Z 53, 
 85; 37.9. 
 
 J 
 Jenkinson, F. J. H., Case A. 19, 50. 
 
 K 
 
 Kay; 11:C.,. Case C. ino, 
 Kew Gardens Library, P. 26. 
 Knowles, James, S. 11. 
 
 L 
 
 Lambeth Palace Library, Case G. 15, 28; ZL. 29, 
 35, 36, 37; WZ. 23, 24, 28, 32, 34. 
 
 Wavrences Halls p40 EQ53 2:00). 530.21 203 L20s 
 (Gn TS USE, BYOp TEEN oy My OV  WE 
 Lowes 251 8 SO S33 01a LAGS hy A 2oe Oval, 
 10,720, 24. ASS L-. 5, 38si-Aa Air 157°8, 28! 
 Cal 7A TG. 
 
 Lewis, Gordon A., WV. 41. 
 
 Lothian, Constance Marchioness of, /. 3. 
 
 M 
 MacGeorge, B. B., Case’ Z. 525 O. 31, 37. 
 Maclehose, J., O. 48, 49. 
 Madan, F., A. 11. 
 Mainwaring, Hon. W. F. B. Massey, 2. 43. 
 Marlay;, C. B., 7) 12. 
 Mills, Hon. C. W., M.P., 7. 62; FR. 13, 19, 38. 
 Murtay, C.F, 2.035, 305) 4.12, 237 27.63. 60, 
 
 Oo 
 Oswald, R. A., Case 2. 90, 95, 98; O. 42. 
 Oxford, All Souls’ College, A. 21, 35, 54; B. 21; 
 PIM doe iG) Tak, Os ASR. Ik, PIO INE oe 
 0 Magdalen Collerese2.116;- 7. 5; 2.122, 
 
 P 
 Prideaux-Brune, C. G., Case F. 5. 
 Prideaux, Miss S. T., 2. 44, 46. 
 
 Q 
 Quaritch, Bernard, Case Z. 4, 31; F. 28; G. 9, 
 
 17, 18; H. 27, 34; Z. 5, 14, 68, 92; L. 19, 233 
 HERE ING BEI, PP 
 
 R 
 Richardson, H. S., Case A. 18; B. 46; F. 323 
 1. 28, 38,66, 86, 907° 0.35% 25.10; On 42s 
 IER Tey oy 
 Richmond, H. Inglis, 2. 28; WV. 43. 
 Robinson, Sir J. C., S. 7, 26. 
 
 Ss 
 St. Paul’s Cathedral Library, Case /. 50, 59; Z. 21; 
 M. 31; S. 16. 
 Salting, George, C. 20, 21; ..S. 2. 
 
132 INDEX OF CONTRIBUTORS. 
 
 Sandars, Samuel, 4. 34, 57; &. 27, 29, 30; Z. 1, 
 5,263 #10; G..103 2.52, 54; $3, 1123 17, 22% 
 NANO, 330,53 1° "Oe 102 ele oie Oma, 
 22. 
 
 Shattock, T. Foster, 7. 14, 19; S. 3, 4, 6, 13, 17, 
 20, 2122527, 26. 
 
 SMI thy fice Meee LO eeeaeee 
 
 Smith, R. Oswald, 1. 10; O. 9. 
 
 Spencer; ihe Hark KGa ee el yar Geto eval 
 15, 34, 44; 47. 
 
 Stonyhurst College, 4. 16, 32; B. 10, 31; S. 9. 
 
 $l 
 Tebbs, H. Virtue, Case B. 44; H. 31; Z. 80; L. 40; 
 M. 4,25; WV. 4, 25; Q. 1, 7, 9%, 32, 33, 42, 
 45) 47, 49, 52, 53, 54, 55, 56, 57, 58, 593 
 R.. 30; U; 37; 38, 41: 
 Thompson, H. Yates, C.6; #.13; &. 33; Z 113; 
 Sfp eek 
 
 Toovey, James, 2.253 D5 1, 3, 4,6, 032. 2,010, 
 15, 18, 34, 36, 40, 41, 42; F. 158, 18, 19, 24, 
 26,°30; G.5,°273 tH. 3; 223 21%, 26, 48, $2, 
 65,96; 2.14, 40s A705. 6 71S, 0e teak s 
 O. 11, 13, 21, 38; P. 4, 42; Q. 8, 18, 35, 36, 
 303.1100; O, Lis 1223 3sn/soTOy esas 
 
 Ward, R., Case R. 25. 
 
 Westminster Abbey Library, 4. 9, 14, 20, 24, 44, 
 59, 61; B. 3, 38; O. 6A. 
 
 Whitehead, Jeffery, O. 22; S. 10, 24; U. 25, 27, 
 28. 
 
 Wolseley, The Viscountess, Z. 107; WV. 37; O. 26, 
 46. 
 
 Z 
 Zaehnsdorf, Joseph, Case Q. 41, 44. 
 
GETTY CENTER LIBRARY 
 
 UU SILI 
 
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