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REMARKABLE BINDINGS 
 
 IN THE 
 
 BRITISH MUSEUM. 
 
This Edition, with the sixty-two Plates printed in monotint, consists of 
 One hundred and fifty Copies, of which this is No Zjf-^..: 
 
REMARKABLE BINDINGS 
 
 IN THE 
 
 BRITISH MUSEUM 
 
 SELECTED FOR THEIR BEAUTY 
 OR HISTORIC INTEREST 
 
 AND DESCRIBED BY 
 
 HENRY B. WHEATLEY 
 
 Fellow of the Society of Antiquaries 
 
 Xonfcon 
 
 SAMPSON LOW, MARSTON, SEARLE, AND RIVINGTON 
 
 Paris 
 
 GRUEL & ENGELMANN, 418 RUE SAINT HONORE 
 
 1889 
 
LONDON : 
 
 PRINTED BY WILLIAM CLOWES AND SONS, LIMITED, 
 
 STAMFORD STREET AND CHARING CROSS. 
 
 All Rights Reserved. 
 
PREFACE. 
 
 he sixty-two representations of book-covers 
 given in this volume have been chosen, 
 with the kind permission of the Trus- 
 tees, from the rich collection at the 
 British Museum for two separate reasons : 
 first, to show fine examples of the art 
 of bookbinding during more than three 
 centuries ; and secondly, to reproduce, as nearly as possible, 
 books of historic interest — especially the embroidered 
 bindings that once belonged to the Kings and Queens of 
 England, and the charming designs which were so carefully 
 elaborated for noted collectors by the craftsmen of Italy and 
 France. 
 
 Several bindings belonging to the Museum which are 
 of great interest have been unwillingly omitted from this 
 volume because age and continual use have destroyed their 
 beauty beyond the reach of the most careful expert at re- 
 production ; and it must be remembered that the books 
 themselves have not always been under the tender care of 
 the authorities at the British Museum. 
 
 The title-page of this book bears my name, and I am 
 responsible for the letter-press, but the inception of the 
 book is due to Mr. Joseph Cundall, who arranged its 
 
vi 
 
 PREFACE. 
 
 plan and worked out its details. It seems to me singularly 
 appropriate that he who was among the earliest to .direct 
 public attention to this beautiful branch of art, by his paper 
 delivered before the Society of Arts in November, 1847, 
 should be the actual producer of this the latest-born of a 
 long series of handsome works on Bookbinding. 
 
 I do not think that this short preface can be more 
 appropriately closed than by the expression of our grateful 
 thanks to the Trustees and to the Principal Librarian of 
 the British Museum, to the Keepers of the Department 
 of Printed Books and Manuscripts, and to the officers of 
 those Departments, who, as is their wont, have given their 
 valuable and ready assistance to us. To Mr. W. Y. 
 Fletcher, Assistant Keeper of the Printed Books, whose 
 extensive and profound acquaintance of the subject is well 
 known, our especial thanks are due. I wish also to 
 express my particular thanks to Miss Seton (of the Royal 
 School of Art Needlework), to whom I am indebted for 
 the technical details in the description of the Embroidered 
 Bindings, the understanding of the intricacies of which can 
 scarcely be expected from a man. 
 
 H. B. W. 
 
CONTENTS. 
 
 i. 
 
 DEPARTMENT OF MANUSCRIPTS. 
 
 PAGE 
 
 Bindings in Ivory, Metal, Enamel, Painting i 
 
 II. 
 
 department of manuscripts. 
 Bindings in Leather 15 
 
 III. 
 
 departments of manuscripts and printed books. 
 Bindings in Embroidered Silk and Velvet 49 
 
 IV. 
 
 department of printed books. 
 
 Italian and German Bindings of the Sixteenth and 
 
 Seventeenth Centuries 63 
 
Vlll 
 
 CONTENTS. 
 
 V. 
 
 DEPARTMENT OF PRINTED BOOKS. 
 
 PAGE 
 
 French Bindings of the Sixteenth and Seventeenth 
 
 Centuries 71 
 
 VI. 
 
 department of printed books. 
 
 English Bindings of the Sixteenth and Seventeenth 
 
 Centuries 91 
 
 VII. 
 
 department of printed books. 
 
 English and French Bindings of the Eighteenth and 
 
 Nineteenth Centuries 125 
 
 The Photographs of the Bindings were taken at the British 
 Museum by Mr. L. B. Fleming, by the ortho-chromatic process, and 
 were printed in monotint by Messrs. Aron Freres of Paris, under 
 the superintendence of M. Ldon Gruel. 
 
INTRODUCTION. 
 
 he British Museum was not founded until the 
 middle of the eighteenth century, and the 
 Library attached to the institution may there- 
 fore be considered as modern by the side of 
 the National Libraries of some of the countries 
 of the Continent. 
 
 From one point of view, however, it would 
 be a mistake to consider the Library of the British Museum as a 
 modern one, for the Royal Library containing the collections of our 
 Kings and Queens from Henry VII. downwards was added to 
 the other collections of the British Museum by Letters Patent of 
 George II. in 1759. 
 
 This is not the place to treat of the Library of the British 
 Museum as a whole, and it is only necessary here to point to its 
 distinguished position as containing a most magnificent collection of 
 historical bindings. The Old Royal Library possesses a matchless 
 series of English bindings such as can be seen nowhere else. 
 Whatever artistic talent existed in the country was sure to be 
 enlisted in the service of our kings and queens, most of whom 
 seem to have exhibited considerable taste in the decoration of 
 their books. 
 
 b 
 
 1 
 
X 
 
 INTRODUCTION. 
 
 The English binder has hitherto been too much ignored, and it 
 is to be hoped that the publication of so many fine examples of his 
 handiwork in this volume will help to place him in his proper 
 position in the history of the art. 
 
 The Old Royal Collection may be said to have been founded 
 when Henry VII. acquired the beautiful series of vellum-printed 
 works produced at Paris by Antoine Verard. These volumes are 
 among the choicest treasures of the Printed Book Department, 
 although unfortunately they are not in their original bindings. 
 Henry VIII. did not spend so much money upon his books as upon 
 some of his other luxuries, but still he had a fair library for the 
 time. In a list of the furniture of his palaces the highest library 
 is said to contain 330 volumes, which are described in a very 
 summary manner as " xxxi. bookes covered with redde," " liii. bookes 
 covered with leather," * etc. Henry had distinct libraries at his 
 different palaces. Edward VI. had those about him who were 
 interested in the growth of the Royal Library, and the additions 
 made to it in his reign were largely due to Sir John Cheke, through 
 whose influence the great scholar, Roger Ascham, was appointed 
 librarian. 
 
 Some fine bindings were added in Queen Elizabeth's reign ; but 
 those in leather seem to have been overlooked by the traveller, 
 Hentzner, who visited the library at Whitehall in 1598. He wrote 
 that it was well stored with Greek, Latin, Italian and French books, 
 " all bound in velvet of different colours, although chiefly red, with 
 clasps of gold and silver, the covers of some being otherwise adorned 
 with precious stones." 
 
 Very great honour is due to James I., who must have spent 
 large sums on the ornamentation of his books. He thoroughly 
 
 * Retrospective Review, Series II. vol. i. p. 334. 
 
INTRODUCTION. 
 
 xi 
 
 appreciated the finest French art, and his patronage exerted 
 immense influence upon the improvement of the English taste in 
 binding. He did not introduce a mere imitation of the French 
 style, but adapted new ornaments — thus he covered the sides of his 
 books with the thistle, which form a very effective ornament (see 
 Plate xlix.), and he obtained an excellent side by the repetition 
 of the trident of Britannia (see Plate xlviii.). Henry, Prince 
 of Wales, did not exhibit the taste of his father, although his 
 bindings are of considerable variety and interest. He purchased 
 the books of John, Lord Lumley, who died in 1609, and this 
 purchase, after the Prince's death, was incorporated with the Royal 
 Library. 
 
 Charles I. added to the Library ; but during the period of the 
 Civil Wars the books were in considerable danger, and Hugh Peters 
 has the credit of saving them from dispersion. Subsequently Bulstrode 
 Whitelocke accepted the office of Library Keeper (with power to 
 appoint a deputy), and he was chiefly induced to do so by the per- 
 suasion of the great Selden, who, according to Whitelocke himself, 
 " swore that if I did not undertake the charge of them, all those rare 
 monuments of antiquity, those choice books and MSS., would be lost; 
 and there were not the like to them, except only in the Vatican, in 
 any other library in Christendom."* 
 
 After the Restoration, many of the additions to the Royal Library 
 were presentation copies to the Sovereign, and most of these books 
 were handsomely bound ; but the Library was not neglected, and 
 many good books were added to the collection. They show that 
 the binder's art still continued to flourish in England. Plate lvi. 
 exhibits a volume of singular beauty, which was bound in the reign 
 of Charles II. 
 
 * Whitelocke s Memorials, 1732, p. 415, quoted by Edward Edwards (Memoirs of 
 Libraries, vol. i. p. 421). 
 
xii 
 
 INTRODUCTION. 
 
 When the great scholar Bentley accepted the appointment of 
 Royal Librarian in 1694, he at once set to work to enforce the copy- 
 right privilege, with the result that he obtained about 1,000 volumes 
 for the Library. When it was handed over to the nation, it is said 
 to have contained about 12,000 volumes, of which 10,200 were printed 
 books and 1,800 manuscripts. 
 
 Not only is the British Museum Library rich beyond compare in 
 the examples of English binding, but it also contains a glorious 
 series of bindings by the greatest artists of France and Italy. Some 
 of the finest of these are contained in the beautiful collection of 
 Mr. Cracherode. The Rev. Clayton Mordaunt Cracherode was a life- 
 long collector of choice books, and the value of these may be judged 
 by the fact that his library of 4,500 volumes was supposed to be 
 worth, at the time of his death, about ^10,000. It is hopeless even 
 to guess what these beautiful books would fetch at the present time. 
 This collection has had the distinction conferred upon it of being kept 
 together as its owner left it, and the Cracherode Room contains some of 
 the most gorgeous bindings in the British Museum. Mr. Cracherode's 
 was a noble bequest, and the acquisition of such a library was an 
 incident of great importance in the history of the Museum. 
 
 The Grenville Library contains some fine historical bindings, 
 although a large proportion of that celebrated collection of books were 
 rebound for the collector by the best binders of his day. The Right 
 Hon. Thomas Grenville (who died in 1846) bequeathed to the nation 
 his library of 20,240 volumes, which had cost him upwards of 
 ^54,000, and it remains in its entirety a remarkable monument to 
 a distinguished man. The casual visitor who passes through the 
 Grenville Room can see at a glance how splendid is the condition 
 of the books. 
 
 The noble library of George III., which was added to the national 
 collections in 1829, contains some fine bindings ; but although the books 
 
INTRODUCTION. 
 
 Xlll 
 
 are in good condition, historical bindings are not a specialty of the 
 library. 
 
 It will be seen from the series of plates in this work how rich the 
 Library of the British Museum is in beautiful bindings ; but it must be 
 thoroughly understood that, although these sixty-two plates have been 
 chosen for their beauty and representative character, they in no way 
 exhaust the treasures. The many fine book-covers which remain un- 
 represented are as legion. 
 
 Both the Department of Manuscripts and that of Printed Books 
 have been laid under contribution. In the former are found fine 
 examples of bindings other than leather. Here we see how intimate 
 was the connection of the various arts in the Middle Ages, and how 
 similar was the decoration of books to the decoration of other objects 
 of use and luxury. Thus in the first plate is reproduced a most 
 exquisite piece of ivory carving, in the second a fine piece of enamel, 
 and in the third an elegant piece of silver work. 
 
 The Manuscripts Department contains a large number of in- 
 teresting old leather bindings in blind - tooling, some of them of 
 considerable antiquity. None of these have been rendered in this 
 volume, because it is difficult to do justice to their character in a 
 reproduction ; but the second division contains a fine series of gold- 
 tooled bindings by English, Italian, and Spanish artists, which range 
 in date from the reign of Henry VIII. to that of Queen Anne. 
 
 The Division of Embroidered Books consists of examples selected 
 almost equally from the two Departments, and these examples are 
 peculiarly interesting as exhibiting the particular proficiency of the 
 English ladies in this beautiful art. Plate xxiv. shows a singularly 
 fine specimen, and it is no great stretch of the imagination to suppose 
 that this piece of embroidery was the handiwork of Queen Catherine 
 Parr herself. 
 
XIV 
 
 INTRODUCTION. 
 
 The Department of Printed Books is rich in fine specimens of 
 blind-toolings of the early printers. The finest of these are due to the 
 German and Dutch binders, whose designs are singularly elaborate. 
 
 The bindings of our earliest printers are certainly inferior to the 
 contemporary work abroad. These English bindings are, however, of 
 
 very great importance from the 
 historical point of view, and 
 they are very rare. For in- 
 stance, the publications of our 
 first printer, Caxton, are of such 
 great value that former owners, 
 not realising the interest of 
 the original binding, have in 
 a great number of instances 
 bound these books in the best 
 bindings of their own day, so 
 that it is rare to find a Caxton 
 in the covers which the printer 
 placed upon the volume. Pyn- 
 son and Wynkyn de Worde 
 bound their books in a hand- 
 somer style than that adopted 
 by our first printer, but for 
 the purpose they largely intro- 
 duced ornamental blocks from 
 abroad. 
 
 Julian Notary, who flourished at the end of the fifteenth and 
 beginning of the sixteenth century, used some handsome blocks. One 
 of his books with two blocks stamped on the side and the printer's 
 initials, I. N., is here reproduced. 
 
 John Reynes, the printer of St. Paul's Churchyard, bound his 
 
INTRODUCTION. 
 
 XV 
 
 books very well, so that it has become the fashion to attribute the 
 greater number of the blind-tooled bindings of Henry VIII.'s reign to 
 Reynes with or without good reason. 
 
 In Divisions IV. to VII. are reproduced some splendid 
 examples of gold-tooling from the sixteenth to the nineteenth cen- 
 turies. Here are glorious bindings from the matchless collections of 
 Maioli and Canevari, Grolier and De Thou, besides specimens of the 
 libraries of Henri III., Marguerite de Valois and Catherine de Medicis. 
 Also several examples of the Eves — Nicolas and Clovis — two of the 
 greatest binders of France, and one of the finest specimens of Le Gascon 
 anywhere to be found. Among the examples of the eighteenth and 
 nineteenth centuries we have a fine mosaic of Monnier, and the series 
 ends with two singularly beautiful pieces of modern French binding 
 by Duru and Thouvenin. 
 
 In representing to some extent the riches of the British Museum, 
 this volume exhibits the limitless resources of the binders' art — 
 resources which each age should attempt to develop. The repre- 
 sentation of these specimens of what the old craftsmen have done 
 should stir up in the modern craftsman a love for his beautiful 
 art, and a desire to emulate the work of his forerunner — not by 
 servilely copying him, but by educating his own eye with the treasures 
 of the past, so as to enable him to strike out new designs in the 
 true spirit of the artist and with the perfectness of the thorough 
 workman. 
 
BINDINGS 
 
 FROM THE 
 
 DEPARTMENT OF MANUSCRIPTS. 
 
 i. 
 
 IVORY, METAL, ENAMEL, PAINTING. 
 
 B 
 
PLATE I. 
 
 THE PSALTER IN LATIN. 
 
 Written and illuminated for Melissenda, daughter of 
 Baldwin II., King of Jerusalem [1118-1131], and wife of 
 Fulk, Count of Anjou, King of Jerusalem [1131-1144]. 
 a superb ms. on vellum with many beautiful illumina- 
 tions. Octavo. „ 
 
 mong the materials other than leather which have 
 been used for the covers of books ivory holds 
 a distinguished position ; and no covering for 
 a costly artistic MS. can be considered more 
 appropriate than elegantly carved ivory harmo- 
 nising in treatment with the vellum pages 
 within. 
 
 This book, which is one of the chief treasures of the MS. De- 
 partment of the British Museum, is not only a renowned MS. in a 
 renowned binding, but it holds a prominent position in the history 
 of art. Du Sommerard reproduced the ivory covers in the Second 
 Series of the Album to Les Arts au Moyen Age (Plate xxix.), and 
 the vignettes in five plates in the Eighth Series (Plates xii.-xvl), 
 and he described them all in the fifth volume of his text (pp. 107, 
 162). 
 
PSALTER OF MELISSENDA. 
 
 W ritten on vellum, bound in carved ivory. 
 
PLATE I. 
 
 3 
 
 The date of the MS. is the twelfth century ; but Du Sommerard 
 dates the exquisitely carved ivory covers much earlier, even mention- 
 ing the seventh or eighth century. The two covers are differently 
 treated. The subjects of the six medallions on the upper cover 
 represented on this plate are events in the life of David exemplifying 
 the cardinal virtues, and those of the lower cover illustrate the works 
 of mercy. Small torquoises and a few garnets are set in the ivory. 
 It would be impossible to speak in too high terms of the beauty of 
 the carving, and the treatment of the border is exquisite. It will be 
 seen that the clasps which once protected the book are gone. In Du 
 Sommerard's plate these blank places have been ornamented with 
 leaves, and the dotted edge has been continued throughout without 
 a break. 
 
 The back of the book is covered with an elegant piece of 
 embroidery. 
 
 Du Sommerard states that the book formerly belonged to the 
 Grande Chartreuse at Grenoble, and when he wrote (about 1840) it 
 was in the possession of Dr. Commarmont of Lyons. 
 
 The Trustees of the British Museum purchased the volume from 
 Messrs. Payne and Foss in 1845. 
 
 » 
 
PLATE II. 
 
 THE GOSPELS OF ST. LUKE AND ST. JOHN 
 
 IN LATIN. 
 
 At the end is a Table of Lessons for the Festivals through- 
 out the year. Vellum. Written in Germany at the end 
 of the thirteenth or the beginning of the fourteenth 
 century ; having large illuminated initials with figures 
 introduced on fol. 2, 28, a small illuminated initial on 
 fol. 27, and a half-page miniature with figures at the 
 
 BEGINNING OF St. JOHN'S GOSPEL. THE MS. FORMERLY BELONGED 
 
 to Heiningen Nunnery, in the Diocese of Hildesheim. 
 
 Folio. 
 
 ibbitional glS- 27,926. 
 
 he binding of this book is probably contempo- 
 rary with that of the manuscript itself — that is, 
 about the beginning of the fourteenth century. 
 It exhibits a fine instance of the use of Limoges 
 enamel in the binding of a book. Not that 
 this can be considered as at all an appropriate 
 covering, for instead of protecting the book it 
 covers it introduces a destructive element by 
 reason of its weight. The upper cover to which the enamel is confined 
 is half the thickness of the book, and exceedingly heavy. The lower 
 cover is of plain leather. The centre plate of the upper cover is 
 
Plate II. 
 
 GOSPELS OF ST. I.UK.E AND ST. JOHN. IN" LAI IN". 
 
 Binding of Limoges Enamel. 
 
PLATE II. 5 
 
 deeply recessed, and exhibits a figure of Christ with the right hand 
 raised in the act of blessing, and the left hand holding a book. This 
 figure is finely conceived, and gives an air of majesty to the whole 
 design. In the four corners are the emblems of the four Evangelists. 
 The angel with the man's face for St. Matthew, the flying eagle for 
 St. John, the lion for St. Mark, and the calf for St. Luke — which 
 symbols have their origin in the description of the four living creatures 
 before the Throne of God in Revelation, chap, iv., verse 7: "and 
 the first beast was like a lion, and the second beast like a calf, and 
 the third beast had a face of a man, and the fourth beast was like 
 a flying eagle." 
 
 The border, also of the same gold and blue enamel, is formed 
 of leaves originally treated, and has a fine effect. It consists of four 
 enamelled plates, joined by gilt plates to the recessed portion. 
 
 The fact that this remarkable book belonged to a nunnery in the 
 Diocese of Hildesheim is of special interest, considering the high 
 position held by that locality in the history of art. 
 
 The volume was presented to the British Museum by the Exe- 
 cutors of the late Mr. Felix Slade in 1868. 
 
PLATE III. 
 
 EVANGELIA QUATUOR, VERSIONIS VULGATE, 
 CUM PROLOGO ET ARGUMENTIS 
 S. HIERONYMI, ET TABULIS CAPITULORUM. 
 
 Prefixed are the Epistles of Jerome to Damasus, and of 
 eusebius to carpian, with the canons, written within 
 ornamental arches of various colours, and at the end 
 of the volume is added a table of the gospels read 
 
 THROUGHOUT THE YEAR. On VELLUM, FINELY WRITTEN IN THE 
 
 carlovingian minuscule letter, with paintings of the 
 Evangelists, coarsely executed. The initial letters are 
 by another hand, and in a better style of art ; probably 
 of the end of the eighth or early part of the ninth 
 CENTURY. %Wifaml P£. 11,848. 
 
 ilver covers cannot be considered as forming a 
 satisfactory protection for a book in its passage 
 through the world, because their value is likely 
 to tempt some one who comes in contact with 
 them, and we know that in turbulent times large 
 numbers of books have been destroyed for the 
 sake of the precious metals and precious stones 
 ornamenting the covers, which have attracted 
 the cupidity of the plunderer. Here, however, is one of the books 
 which have passed through the centuries with comparative safety. 
 
 Although the MS. itself belongs to the eighth or ninth century, 
 we cannot date the covers earlier than the fourteenth century. In 
 the centre of the upper cover is a brass figure of Christ sitting on 
 
Plate III. 
 
 EVANGELIA QUATUOR. 
 
 Binding of embossed silver and precious stones. 
 
PLATE III. 
 
 7 
 
 a throne, the right hand is raised in the act of blessing, and the left 
 hand is holding a book ; the cover of this book is ornamented with 
 stars, but these must not be considered as representing the binding 
 of the volume, because the same stars are seen upon the carpet or 
 mat in front of the throne. 
 j 
 
 At the four corners of the centre plate are ornamental sprays 
 of leaves, each set with a precious stone. The border is formed of 
 silver plates roughly joined together, ornamented with a floreated 
 pattern and set with precious stones. The tablets at the four corners 
 of the border were of gold and black enamel, with emblems of the 
 four Evangelists, the two on the right side — the eagle for St. John 
 and the calf for St. Luke — remain, but the two on the left side have 
 been replaced by two metal slabs. 
 
 The gems were added by Messrs. Rundell and Bridge in 1838, 
 for Dr. S. Butler, Bishop of Lichfield, and replaced crystals which 
 had been lost. The stones used are as follows : — on the top border, 
 emerald and cat's-eye ; on the lower border, carbuncle and sapphire ; 
 on the right-hand border, amethyst and oriental topaz ; on the left- 
 hand border, carbuncle and emerald ; and in the centre are sapphire, 
 emerald, oriental topaz and carbuncle. 
 
 The lower cover has a scroll of the same character as that of the 
 upper cover, but it is more effective in that the flow of the design is 
 not interfered with by the stones and tablets as on the upper cover. 
 In the centre is a very effective floreated design and a medallion of 
 the lamb bearing the banner of the cross {Agnus Dei). In the interior 
 of each cover are inserted some relics of finger bones, etc. 
 
 The manuscript was purchased by Bishop Butler at the sale of 
 Lord Strangford's library at Sotheby's, in August 1831, for ^fioo. 
 It was purchased for the British Museum in 1841. 
 
PLATE IV. 
 
 THE FOUR GOSPELS: THE LATIN VULGATE 
 
 VERSION. 
 
 Written probably in North-Western Germany late in the 
 tenth century, on vellum. quarto. 
 
 pbiticrnal PS. 21,921. 
 
 ew of the covers of ancient MSS. are con- 
 temporary with the books themselves ; and 
 when these are works of art formed of costly 
 materials it is difficult to fix their date with 
 any certainty, because they are frequently found 
 to have been added to at different periods. 
 
 In the present case the four tablets of 
 Champleve enamel at the four corners of the centre of the upper 
 cover are of the fourteenth century. It will at once be seen that 
 these four tablets do not form any part of the original design, and 
 must have been added after the binding was completed. The upper 
 cover is overlaid with plates of copper gilt, and the border is thickly 
 studded with large crystals, those at the corners being of consider- 
 able size. 
 
Plate IV. 
 
 THE FOUR GOSPELS. 
 
 Binding of champleve Enamel: border studded with crystals. 
 
PLATE IV. 
 
 9 
 
 The figure in the centre of Christ crowned, in the act of 
 blessing and holding a book in the left hand, is somewhat rude ; but 
 the design of the centre is good. The symmetry of this last, however, 
 is injured by the intrusion of the four enamelled plaques. There is 
 a design of stars on the surface between the border and the depressed 
 portion of the side. 
 
 This cover has a very handsome effect, as may be seen from the 
 plate, and it forms a singularly fine specimen of this style of orna- 
 mentation. The lower cover is of stamped leather of a later date. 
 
 This volume was purchased for the British Museum in 1857. 
 
 c 
 
PLATE V. 
 
 EVANGELIARIUM IN DIES FESTOS TOTIUS 
 
 ANNI. 
 
 Codex membranaceus, Sec. IX., picturis et litteris initialibus 
 
 AURO VARIISQUE COLORIBUS VENUSTE DELINEATIS EXORNATUM I 
 OLIM PECULIUM MONASTERII S. MAXIMINI, IN CIVITATE TREVIRENSI. 
 
 OUARTO. 
 
 (Ewton ICS. 809. 
 
 iiiL paintings, such as the one exhibited on the 
 upper cover of this book, are not common as 
 adjuncts of binding ; and this is perhaps fortu- 
 nate, because, although interesting in themselves, 
 they do not associate themselves with the book 
 they cover in the same way as some other 
 kinds of binding, and it is not easy to say 
 how long the two may have been united. This 
 manuscript is of the ninth century, and the painting is of the 
 fifteenth century ; but the painting may have been attached to this 
 book at a much later date than that, and certainly the present blue 
 velvet cover is of no very great antiquity. 
 
 The painting represents St. Agnes, the youthful martyr who was 
 beheaded at Rome under Diocletian. On her right hand and the 
 left of the picture is St. Blasius, or Blaise, holding in his left hand 
 a wooldresser's comb, the symbol of his martyrdom. Blasius, Bishop 
 
Pialc V. 
 
 EVANGEI.I ARUM IN DIES FESTOS TOTIUS ANNI. 
 
 Binding of blue velvet, with painted plaque. 
 
PLATE V. 
 
 of Sebaste in Armenia, was martyred under Agricolaus the Prefect, 
 a.d. 316. His flesh was scored with iron combs, and he was finally 
 beheaded. He was patron saint of the city of Ragusa, and also 
 patron of the guild of woolcombers. 
 
 The old man to the left of St. Agnes is St. Antony, who was 
 born a.d. 250 at Coura, on the borders of Upper Egypt. He was 
 styled by his friend Athanasius, " the founder of Asceticism and a 
 model for monks." 
 
 The painting is in an excellent state of preservation, and is 
 protected from being rubbed by four ivory studs. 
 
 When this manuscript was in the possession of the Abbey of 
 Maximin at Trier, it was highly valued by the community, and 
 looked upon as an object of very special interest. 
 
 The volume was bought for the British Museum in 1840. 
 
 1 
 
PLATE VI. 
 
 ORIGINAL COMMISSION FROM CAROLUS CON- 
 TARINO, DOGE OF VENICE, TO ZORZI BEMBO, 
 AS PROVEDITOR DI SALO, AND "CAPITANO 
 DELLA RIVIERA DE BRESSANA." [i655J 
 
 Italian MS. in vellum. Small quarto. 
 
 €$txtan H44- 
 
 ilver is here again used for the cover of a book ; 
 but the somewhat debased art exhibited on this 
 volume is in great contrast to the beautiful 
 design of three centuries earlier, as seen on the 
 silver plates used for the manuscript of The 
 Four Gospels (Plate hi.). 
 
 The plate before us is taken from the lower 
 cover of the book, and shows the rampant lion of St. Mark. The 
 general design of both covers is the same ; but on the upper cover, 
 in place of the lion there is the figure of the Doge holding a sword 
 in his right hand and the scales in his left hand, and in place of 
 the arms shown below the lion in this plate there is a head. 
 
 The curtains and certain of the ornaments on both covers are in 
 yellow gilt, which spoils the effect of the silver and gives it a very 
 
Plate VI. 
 
 COMMISSION OK THE DOOE OF VENICE TO ZORZI BEMBO. 
 
 Binding of embossed silver plates. 
 
PLATE VI. 
 
 13 
 
 bizarre effect. Many of the details are well worked out, but the 
 general design is not good. 
 
 The back is of velvet, and two silver clasps are attached to the 
 covers. 
 
 The Carolus Contarino who issued this Commission to Zorzi 
 Bembo was one of the seven Doges furnished to the State of Venice 
 by the distinguished family of Contarini between the years 1041 and 
 1674. 
 
 This volume was purchased for the British Museum in 1846. 
 
BINDINGS 
 
 FROM THE 
 
 DEPARTMENT OF MANUSCRIPTS. 
 
 ii. 
 
 leather bindings. 
 
PLATE VII. 
 
 COMENTARIA RERUM GESTARUM APUD SANCT- 
 UM DIGERIUM AB AUGUSTISSIMO IMPERA- 
 TORE CAROLO QUINTO HISPANIARUM REGE, 
 ETC., AD SERENISSIMUM INVICTISSIMUMQUE 
 REGEM ANGLIC HENRICUM EIUS NOMINIS 
 OCTAVUM. 
 
 On paper. 1544. Folio. 
 
 Ilogal ItS. 13- B. xx. 
 
 n Henry VIII.'s reign the majority of leather 
 bindings were ornamented with blind-tooling. 
 Gold-tooling did not become common in 
 England until the reign of Edward VI., 
 when the Grolier style was introduced. The 
 book represented in this plate is, however, a 
 good specimen of gold-tooling, although the 
 style is mediaeval, without any sign of the 
 
 influence of the Renaissance. 
 
 This plate represents the lower cover of the book ; the upper 
 cover contains the portion of the inscription which properly precedes 
 that here shown, and which reads as follows — 
 
 Vero Defensori I Fidei 
 Errorumque Profligatori I Optimo. 
 
 The complete inscription is a very curious one, and points to the time 
 when Henry had broken finally with the Pope. The juxtaposition of 
 
Plate VII. 
 
 COMENTARIA RERUM GESTARUM APUD SANCTUM DIGERIUM AB CAROLO V. 
 
 Bound in brown leather -with gold tooling for Henry VIII. 
 
PLATE VII. 
 
 17 
 
 " Defender of the Faith," the title given to Henry by the Pope, and 
 " Disperser of Errors," presumably the errors of Rome, forms an in- 
 teresting subject for thought. The letters P.M. P. P. D.G. at the end of 
 the inscription are somewhat enigmatical. It may be presumed that 
 D.G. stand for Dei gratia ; but it is not easy to explain the other letters 
 satisfactorily. 
 
 With the exception of the inscription, both sides of the book are 
 alike, and the design is very effective and pleasing. The border is 
 built up of small tools, the junctions of which are plainly seen, but the 
 result is very elegant. The shield of arms surmounted by the royal 
 arms, and flanked by the initials H.R. repeated, makes an excellent 
 centre, and the effect of the medallions of Plato on the left hand and 
 of Dido on the right hand of the cover is good, although the appro- 
 priateness of a representation of these historical characters is not very 
 apparent. 
 
 Altogether this binding, besides its agreeableness as a whole, is 
 of especial interest as a connecting link between gold and blind 
 tooling. 
 
 D 
 
PLATE VIII. 
 
 ALPHABETICAL LISTS OF COUNTRIES AND 
 CITIES MENTIONED IN TROGUS POMPEIUS 
 AND THE EPISTLES OF CICERO; ADDRESSED 
 TO EDWARD, PRINCE OF WALES. 
 
 Latin. Paper. 1546. Folio. 
 
 liopi IIS. 15 c. i. 
 
 "dward VP's life was so short a one that we 
 do not expect to find that this young king 
 had any particular influence upon the history 
 of bookbinding. He loved books and learning, 
 and had some taste, so that although most of 
 the bindings associated with his name were 
 probably chosen by those around him, yet he 
 may have had some influence in the choice of 
 them. The present volume contains some interesting specimens of 
 bindings, which formerly belonged to the library of Edward, both 
 when he was Prince of Wales and when he was king (see Plates 
 ix., x., and xll). 
 
 The binding represented in this plate is equally interesting, both 
 for the points of similarity to, and for those of dissimilarity from, the 
 binding of Henry VIII. shown in the last plate; the borders of both 
 are singularly alike ; but the influence of the Renaissance is as marked 
 in the book belonging to Prince Edward as the mediaeval influence 
 is marked in that of Henry VIII. 
 
Plate VIII. 
 
 ALPHABETICAL LISTS OF COUNTRIES AND CITIES. 
 
 Prepared for Edward VI. Bound in brown leather. 
 
PLATE VIII. 
 
 19 
 
 The treatment of the badge of the Prince of Wales is charac- 
 teristic ; but the mistake of Ike Dien for fc/i Dicn shows a careless 
 or an ignorant workman. 
 
 The ornamented border which surrounds the badge is frequently 
 found in books of this period, and there is enough likeness in the 
 general design to the work produced by Thomas Berthelet for us to 
 attribute, with some show of reason, this binding to that famous 
 printer, or rather to his house, for he himself had retired from business 
 before this manuscript was produced. 
 
 Both sides of the book are alike, and the binding is a very 
 agreeable specimen of the library which Edward or his guardians 
 gathered around him. 
 
PLATE IX. 
 
 VOYAGES OF JOSAPHAT BARBARO, A CITIZEN 
 OF VENICE, INTO TANA AND PERSIA. 
 
 Translated by William Thomas, afterwards Clerk of the 
 Council, and dedicated to King Edward VI. 
 
 On paper. Sixteenth century. Quarto. 
 
 gopl S3. i7- c x. 
 
 his volume may be presumed to have been bound 
 for Edward VI. when king ; but it is singularly 
 like another binding in the Printed Book 
 Department, which was bound for Mary I. 
 (see Plate xliil). This may be accounted for, 
 either by the fact, that the same binder bound 
 both books, or that the design was the taste 
 of the Royal Librarian — a position held in 
 Edward VI. 's reign by the famous Roger Ascham. 
 
 This book is bound in light brown calf, and the binding is an 
 excellent example of the geometrical interlaced pattern which had 
 just been introduced into England at the time it was bound. 
 
 The oblong border and the inner interlaced oblong and lozenge 
 are painted black. The scrolls fill up the open spaces between the 
 
Plate IX. 
 
 VOYAGKS OF JOSAPHAT BARBARO. 
 
 Bound in light brown calf for Edward VI. 
 
PLATE IX. 
 
 21 
 
 geometrical pattern with good effect, and do not crowd the design 
 too much. 
 
 The shield of arms, which is flanked by two scrolls instead of 
 supporters and surmounted by a crown, is surrounded by a circle 
 painted black and picked out with two circles of gold ; outside this 
 is a circle of flames. This ornament was a favourite one with English 
 binders at this time, and is frequently found on the sides of books 
 from the Royal Library. 
 
 » 
 
PLATE X. 
 
 DEUX LIVRES DISOCRATHES ATHENIEN TRES 
 EXCELLENT ORATEUR, & PHILOSOPHE. 
 
 Le premier, de la maniere comme un Roy se doibt gouverner. 
 
 Le second monstre comme l'estat monarchique ou gouvernement 
 royal est meilleur que nul autre & comme le prince se 
 doibt conduire envers ses subiects & les subiects envers 
 leur Prince. 
 
 Enseignemens touchant le faict de la guerre que Cambyses 
 Roy des Perses donna a Cyrus son filz, allant a la guerre 
 contre les assyriens ; extraictz du premier livre du roy 
 parfaict ou institution de cyrus, compose par xenophon. 
 
 Le TOUT TRANSLATE DE GREC EN FRANCOYS PAR M. LOYS REGIUS & 
 ADDRESSE AU TRESHAULT & TRES PUISSANT ROY DANGLETERRE 
 EDOUARD VI DE CE NOM. 
 
 On vellum. M.D.L. Quarto. $opI HUS. 16. E. xxxii. 
 
 nglish binders in the sixteenth century cannot be 
 considered as far behind their foreign brethren 
 in the taste exhibited by them, and the design 
 shown in this plate would do honour to a binder 
 of any nationality. It may be said generally 
 that the English patterns were as good as those 
 produced abroad ; but usually the workmanship is 
 rougher than that found on the best contemporary 
 work in France. This is not, however, the case with the cover here 
 shown, which contains much excellent tooling. The side is richly inlaid 
 
Plate X. 
 
 DEUX LIVRES D'iSOCRATHES. 
 Binding with ornament of colour e J interlaced -work, inlaid. 
 
PLATE X. 
 
 23 
 
 in various coloured leathers, red and yellow preponderating. The inter- 
 lacing is very elaborate, but it is brought out with considerable clear- 
 ness and sharpness. There are no marks of ownership on the covers, 
 and such were probably thought to be unnecessary, as the MS. itself 
 contains a full-page illumination of the royal arms. The motto round 
 the garter, instead of being " Honi soit qui mal y pense," is " Timor 
 Domini Fons Vitae." 
 
 The production in England of a binding such as this shows how 
 cosmopolitan art was at this period, and how quickly the fashions of 
 one country spread into another. 
 
PLATE XI. 
 
 TREATISE ON THE MANNER AND FORM OF 
 
 "The manner, fourme, and usage of Gilbert de Strogell, 
 Marshall of England, in what maner he occupied and 
 usid the said rome and office, and how he was admittide, 
 hold, and regarded in executing of his office at the 
 coronation of klng henry the second." 
 
 " a newe ordinance by the klnge, for the office of the 
 knyght marshall." [a° 1 7 hen. viii.] 
 
 " The maner and custome of the usages of Thomas [of] 
 Brotherton [Earl of Norfolk], which he had and used in 
 the office of marshalsie ; " containing a " declaracion of 
 certeyne rights which of auncient and laudable custome 
 of England ought to perteine to the Marshall, in the 
 tyme of warre." 
 
 Prefixed are the contents of the chapters in each treatise. 
 
 On VELLUM, WRITTEN IN THE SIXTEENTH CENTURY. On THE FIRST 
 LEAF IS THE SIGNATURE OF " R. DUDDELEY," EARL OF LEICESTER. 
 
 HOLDING PARLIAMENT. 
 
 Small quarto. 
 
 ^trbilional gt§. 15091- 
 
 pecial interest is attached to the binding of this 
 volume, on account of the union of geometrical 
 design with the solid corners and centre orna- 
 ments, so intimately connected with oriental 
 work, which is displayed on the cover. Perhaps 
 no detail of design has been so persistently 
 reproduced on the covers of books as that used 
 on the centre of this. 
 
MANNER AND FORM OF HOLDING PARLIAMENT. 
 
 Plate XL 
 
 Interlaced design, painted. 
 
PLATE XI. 
 
 25 
 
 The outer border and the inner oblong are painted white, while 
 the lozenge which is interlaced with the inner oblong is painted 
 black. It may be presumed that this book was bound in England ; 
 but there is no distinctive character of English work about it. 
 
 The design is good ; but the enamelling or painting of colour 
 upon leather is not a satisfactory style of ornamentation, and it 
 does not stand the wear and tear which a book must necessarily 
 undergo, however carefully it may be treated. After all it is an 
 attempt to obtain an effect which is more legitimately obtained by 
 inlaying. 
 
 This manuscript was purchased for the British Museum in 1844. 
 
 E 
 
PLATE XII. 
 
 COPIES OF PAPAL BULLS AND IMPERIAL LET- 
 TERS, ETC., RELATING TO THE (ECUMENICAL 
 COUNCIL OF TRENT. 1 545-46. 
 
 Collected from the original Records of proceedings of the 
 Council by Angelo Massarelli, of San Severino, Secretary 
 to the Council. Bologna, 15TH Feb. 1548. In the auto- 
 graph of the Secretary. 
 
 Latin. On vellum. Folio. 
 
 Pbittonal gt^. 27,935. 
 
 the first leaf of this MS. is the autograph of 
 Olaus Magnus, Archbishop of Upsala, who suc- 
 ceeded his brother in that see, and afterwards 
 went to Italy on being persecuted for his attach- 
 ment to the Roman Catholic Church. He was 
 present at the Council of Trent. 
 
 The work was prepared for Ferdinand, King 
 of Hungary and King of the Romans, brother to Charles V. He 
 succeeded his brother as Emperor of Germany in the year 1558. 
 
 The binding is of contemporary Italian workmanship. It is in 
 dark morocco covered with gold-tooling. The Grolier design, which 
 is elegant in itself, is spoilt by the introduction of a great number 
 
Plate XIL 
 
 DOCUMENTS RELATING TO THE COI NCIL OF TRENT. 
 Pali an binding: Grolier design. 
 
PLATE XII. 
 
 27 
 
 of incongruous ornaments. Some of these ornaments are fairly 
 good, but the centre, formed of a kind of thread pattern, is rather 
 uncouth, and totally inappropriate as an ornament for leather binding. 
 The tooling also is poorly executed ; but as the plate is reduced 
 considerably in size, it looks really better than the original. 
 
 The volume was bequeathed to the British Museum by the late 
 Mr. Felix Slade, who was a munificent benefactor to the various 
 Art Collections of the Museum. 
 
PLATE XIII. 
 
 1. ORDO MISSAE CELEBRANDAE PER PONTI- 
 
 FICEM. 
 
 2. OFFICIUM, POST MISSAM, IN DIE SEPUL- 
 
 TURAE PAPAE AUT CARDINALIS. 
 
 3. ORDO AD CATECUMINUM FACIENDUM, 
 
 SECUNDUM CONSUETUDINEM ROMANE 
 ECCLESIE. 
 
 4. OFFICIUM DE CHRISMANDIS. 
 
 Codex membranaceus in folio minore, smc. xv. in Italia 
 scriptus, cujus pagina prima eleganter depicta. 
 
 garletan gtS. 2912. 
 
 ather severe simplicity may be said to be the 
 chief characteristic of this interesting volume. 
 The motif of the binding is decidedly modern. 
 It has few of the characteristics of early work, 
 and yet it is undoubtedly old. It is not strik- 
 ing, but it will bear inspection ; and the way in 
 which the design is built up is highly to be 
 commended. 
 
 The binding is Italian, but it is not altogether easy to fix the 
 exact date. Probably we shall not be far wrong if we place it about 
 the middle of the sixteenth century. The border, with its corded 
 
ORDO MISS.E CELKBKAXD.E PER PONTIFICEM, ETC. 
 /// Italian binding of the Sixteenth Century. 
 
 P/ale XIII. 
 
PLATE XIII. 
 
 2 9 
 
 outline, is remarkably good, and very charming in its simple beauty. 
 The centre ornament is particularly good. The binding as a whole 
 forms an excellent example of the treatment of the side of a book 
 without too great elaboration. The mistake of overcrowding the 
 ornament is here avoided, and it is possible, after resting one's eye 
 upon the plain leather, to return to the contemplation of the elegant 
 design with renewed pleasure. 
 
PLATE XIV. 
 
 COMMISSION OF FRANCESCO VENERIO, DOGE 
 OF VENICE, APPOINTING HIERONYMO 
 MICHIEL CAPTAIN OF THE GALLEYS 
 SAILING TO BEYROUT, AUGUST 4, i554. 
 
 Italian. On vellum ; with miniature prefixed, and Arms of 
 Michiel. Quarto. 
 
 Stibttional gjtS. 1 7,373- 
 
 ound in dark red leather, with a conventional 
 floral border and flowers loosely thrown upon 
 the cover, this volume cannot be considered as 
 exhibiting a very high artistic taste, although 
 it is a very characteristic piece of Italian binding. 
 The execution also is rather clumsy. 
 
 Both sides are alike, but on the upper 
 cover in the centre disc occurs the name of the Captain to whom 
 the Commission was granted, spelt, however, differently from that in 
 the manuscript (Michael instead of Michiel), and on the lower cover 
 the date mdliiii occurs in the disc. 
 
 The manuscript contains a miniature painting attributed to Paolo 
 Cagliari. It may be mentioned in connection with Francesco Venerio, 
 who issued this Commission, that he was the last Doge whose portrait 
 
Plate XIV. 
 
 COMMISSION FROM VKNKRIO, DOCK OF VENN I 
 
 In dark red leather. Venetian. A.D. 1554 
 
PLATK XIV. 31 
 
 was painted by Titian, according to a special stipulation made by the 
 Republic. 
 
 This volume was sold at Sotheby's in 1825, in the sale of Tomaso 
 di Lucca (Lot 658), for five pounds. 
 
 It was purchased for the British Museum at Henderson's sale, 
 1 st July, 1848. 
 
PLATE XV. 
 
 ORIGINAL COMMISSION WITH INSTRUCTIONS 
 FROM GIROLAMO PRIULI, DOGE OF VENICE, 
 TO BENETTO SEMITECOLO, AS CAPTAIN OF 
 THE FLEET DESPATCHED TO ALEXANDRIA. 
 
 Dated August i8th, 1564. Italian. On vellum. With an 
 allegorical painting on the first page. small quarto. 
 
 %Wxtxoml IIS. 18,846. 
 
 ery far superior in beauty of design is this volume 
 to the one represented in the previous plate, 
 although both bindings appear to have been 
 produced at Venice within a few years of each 
 other. 
 
 There is an originality of treatment united 
 with considerable elegance in this binding which 
 show it to be the work of a true artist. The conventional treatment 
 of the border harmonizes well with the flowery design of the inner 
 portion of the side, and the circle (ornamented with stars) which 
 surrounds the arms of Benetto Semitecolo cuts off with good effect 
 the regular outline of the shield from the scrolls around. 
 
Plate XV. 
 
 COMMISSION FROM PRIUI.I, DOGE OF VENICE. 
 In dark red leather. Venetian. A D. 1564 
 
PLATE XV. 33 
 
 The arms are painted on the leather of the upper cover, and on 
 the lower cover, in place of the shield, the captain's name is stamped 
 in gold, thus — 
 
 B E N ETO 
 SEMITE 
 COLO 
 
 The binding is of dark red leather. 
 
 This volume was purchased for the British Museum from Major 
 Macdonald's collection in 1852. 
 
 F 
 
PLATE XVI. 
 
 ORIGINAL ACTS OF INVESTITURE GRANTED 
 BY GUIDOBALDO II. OF MONTEFELTRO AND 
 ROVERE, DUKE OF URBINO, TO PIETRO 
 BONARELLI OF ANCONA, AND HIS WIFE 
 HIPPOLITA, OF THE TERRITORIES OF ORCI- 
 ANO AND TORRE, i55c>-i568. 
 
 Latin. With signatures of the Duke on vellum ; with initial 
 letters and borders, into which are introduced various 
 arms and devices. folio. 
 
 ^bbttkmal fflS. 22,660. 
 
 he binding represented in this plate is a most 
 remarkable copy of oriental work. In fact, it is 
 almost impossible to believe that the book was 
 bound by European workmen, although it was 
 most probably produced in Italy. The design 
 is in light blue and gold, and the arms in the 
 centre are emblazoned. 
 
 The recessed portions of the sides have their groundwork laid on 
 with thick gold, and the design is raised. Not only is the treatment 
 of the cover with its recessed tablets, corners, and centre thoroughly 
 oriental, but the floral design with which the side is covered exhibits 
 equally the same influence. 
 
Plate XVI. 
 
 ACTS OF INVESTITURE GRANTED TO BONARELLI OF ANCONA 
 /// Italian binding. Oriental pattern. Circa A.D. 1568. 
 
PLATIi XVI. 
 
 35 
 
 Such Bindings as those represented in this plate and the following 
 one show how great was the influence of oriental art upon the Italian 
 bookbinders. The custom of servilely copying oriental designs was 
 not long continued, but certain ornaments which are undoubtedly of 
 Eastern origin have come down to our own day in the bindings of 
 most countries. 
 
 This volume was purchased for the British Museum in 1859. 
 
PLATE XVII. 
 
 STATUTES AND ORDINANCES OF THE 
 REPUBLIC OF VENICE. 
 
 Late sixteenth century MS. on vellum. Quarto. 
 
 *lj;trletan 1ES. 3393- 
 
 jf|ED morocco is the leather used in the binding of 
 this volume, which, like the book represented 
 in Plate xvl, is a curious copy of oriental 
 work. It would, perhaps, be more correct to 
 call the present design an imitation, and the 
 one shown in Plate xvi. as a copy of oriental 
 work. 
 
 Both sides of the book are the same, except that on the upper 
 cover (here shown) there is in the centre a representation of the Lion 
 of St. Mark, while in the same place in the lower cover is a shield, 
 the arms on which have now become obliterated. 
 
Plate XVII 
 
 STATUTKS AND ORDINANCES OK VENICE. 
 In Italian binding. Oriental pattern. Late Sixteenth Century. 
 
PLATE XVII. 37 
 
 The portions of the design which are recessed have the gold 
 laid on thickly and the ornament raised. The floral ornament in the 
 portion which is not recessed is tooled in gold in a bold and effective 
 manner. 
 
PLATE XVIII. 
 
 DER EVANGELISCHEN KIRCHEN ALLHIE ZU 
 REGENSPURG COLLECT UND GEBETT BUCH. 
 
 On vellum. Sixteenth century. Folio. 
 
 SJfoittonal US, 18,312. 
 
 lthough this is a German manuscript there can be 
 little doubt but that it was bound by an Italian 
 artist ; and, moreover, it is an exceedingly fine 
 specimen of Italian binding of the end of the 
 sixteenth or beginning of the seventeenth cen- 
 tury. The tooling is exquisitely fine and elegant, 
 and the fan ornament, which is so distinctive of 
 Italian binding, is repeated four times on this 
 cover with great taste. These ornaments are made to harmonize with 
 the rest of the design, which they do in a very remarkable degree. 
 In the middle of the elaborate but beautifully worked centre ornament 
 are the cross keys which form the arms of Ratisbon. 
 
PLATE XVIII. 
 
 39 
 
 The long silver bands by which the clasps are fastened to the book 
 are so elegantly thin and small that they do not injure the effect of 
 the beautiful leather binding, but they show that the silversmith who 
 had to deal with this book was an artist as well as the binder. 
 
 This volume was purchased for the British Museum in 1850. 
 
* 
 
 PLATE XIX. 
 
 CARTA DE HIDALGUIA DE DIEGO DE LA 
 GUARDIA ESPINO, OF XERES DE LA FRON- 
 TERA, FROM PHILIP II. OF SPAIN. 
 
 Dated Granada, 23RD September, 1589. On vellum. Quarto. 
 
 Pbiiioital 18,1 66. 
 
 his and the next plate exhibit two excellent 
 examples of Spanish binding of the end of the 
 sixteenth and beginning of the seventeenth cen- 
 tury. The brown leather on the wooden boards 
 of the volume represented in this plate is covered 
 with elaborate gold tooling with arms in the 
 centre. Both sides are alike, and in the present 
 instance the lower cover has been chosen for 
 reproduction, as being the brighter of the two ; but even here it will be 
 seen that the tooling has been a little touched up. The ornament, 
 which has been regilt, shows white in the plate. The borders are very 
 pleasing, but the side as a whole is not altogether satisfactory in its 
 arrangement. The volume has brass clasps. 
 
Plah XIX. 
 
 CARTA DI HIDAI.GUIA, FROM PHILIP II. 
 
 In Spanish binding. A.D. 1589. 
 
PLATE XIX. 
 
 41 
 
 The manuscript has two illuminations at the beginning. The first 
 represents the crowning of the Virgin Mary by God the Father and 
 Jesus Christ, with the dove above. Below the members of the family 
 of Diego de la Guardia Espino are represented. The second illumi- 
 nation represents the family arms. 
 
 This volume was purchased for the British Museum in 1850. 
 
 G 
 
PLATE XX. 
 
 DECREE OF PHILIP III. OF SPAIN, CONFIRM- 
 ING A SENTENCE GIVEN AT GRANADA IN 
 FAVOUR OF THE " HIDALGUIA" (RIGHT OF 
 EXEMPTION FROM TAX BY PROOF OF GEN- 
 TILITY) OF PEDRO PEREZ DE URIZAR, OF 
 SAN LORENZO DE PARRILLA. 
 
 Dated Granada, April 6th, 1604. The original Instrument, 
 engrossed on vellum, with an illuminated frontispiece, 
 containing the portraits and arms of the urizar family. 
 
 Folio. 
 
 gbbithmal IIS- 12,214. 
 
 hilip III. of Spain is seen seated upon his throne 
 in one of the illuminations of this manuscript. 
 On the first page is a drawing of the Annuncia- 
 tion, and on the second page the figure of St. 
 Lawrence with his gridiron. 
 
 The binding of this volume is somewhat 
 similar to that shown in the last plate, but the 
 ornamentation is not so crowded. Here, as in the other example, the 
 borders are in better taste than the design of the central portion. The 
 inner border of this cover, which consists of a repetition of a series 
 of grotesque animals, is very curious. The half circles, each with a 
 
Plate XX. 
 
 CARTA ni HIDALGUIA, FROM PHI IIP 
 In Spanish binding. A.D. 1604. 
 
PLATE XX. 
 
 43 
 
 rosette in the centre, are characteristic of Spanish ornaments. They 
 also occur on the cover represented in Plate xix., but there three stars 
 are shown in each half circle. 
 
 Inserted in this volume is a slip from a catalogue, in which it is 
 priced £2 \os. This must always have been a low price for a hand- 
 some manuscript in a fine, sound, and bright binding. But it seems 
 ridiculously small when considered in the light of what such a volume 
 would fetch in the present day. 
 
PLATE XXI. 
 
 THE HISTORY OF SOLOMON'S RING AND 
 OTHER MYSTICAL TREATISES. 
 
 In Latin. Purporting to be literally translated from Arabic 
 by " Frater Bartholom^us a Pectorano," in the monastery 
 of St. Isidore at Rome, 1644. Quarto. 
 
 §Rxkmn HIS. 35°7- 
 
 lthough the sides of this book are covered with 
 the royal arms of Spain, the binding is not 
 Spanish, but Italian. The fan ornament, which 
 is a distinctive characteristic of Italian binding, 
 is here confined to the lower portion of the cover, 
 as there is no room in the upper portion by 
 reason of the space occupied by the plumed 
 helmets surmounting the shield of arms. The 
 colour of the leather is an orange brown. 
 
 Of all the ornaments that have been adopted at various times for 
 the decoration of a book, the coat of arms is one of the most effective, 
 
Plate XXI. 
 
 historv of Solomon's ring, etc. 
 Binding, with Royal Arms of Spain. A.D. 1644. 
 
PLATE XXI 
 
 45 
 
 but this ornament may be too 
 certainly is in the present case, 
 cover the whole side are more 
 bindings than on those of other 
 
 large and obtrusive looking, as it 
 These large coats of arms which 
 often seen on Spanish and Italian 
 countries. 
 
PLATE XXII. 
 
 ENGLISH AND ITALIAN SONGS, WITH THE 
 
 MUSIC. 
 
 On Paper. Beginning oe the eighteenth century. Small 
 
 Quarto. 
 
 jpbtiional PS. 27,932. 
 
 i 
 
 ld English binding is well represented by this 
 handsome volume, which is also interesting as 
 being Queen Anne's own copy. The book is 
 bound in dark blue morocco with rich gold 
 tooling. The royal arms of Great Britain and 
 Ireland form the centre ornament, and a pro- 
 fusion of floreated stars are spread over the 
 cover. The effect of the side would have been 
 better if the solid ornaments at the corners had been left out, as they 
 crowd up the middle of the cover too much. The stars are original 
 ornaments, and give a novel effect to the whole design. 
 
 m 
 
 The book itself is of great value as a collection of songs and airs 
 written at different times between the reign of Charles II. and Queen 
 
Plate XXII. 
 
 ENGLISH AND ITALIAN SONGS. 
 
 English binding, ivit/i Anns of Queen Anne. 
 
PLATK XXII. 
 
 47 
 
 Anne. It contains music by Handel, whose name is spelt Hendel, 
 which shows that the great composer was called by his correct name 
 when his works first became known in England. Soon afterwards the 
 "umlaut" over the "a" was omitted, and Handel became Handel. 
 
 The volume was bequeathed to the British Museum by Mr. Felix 
 Slade. 
 
DEPARTMENTS OF MANUSCRIPTS 
 AND OF PRINTED BOOKS. 
 
 in. 
 
 EMBROIDERED AND VELVET BINDINGS. 
 
 n 
 
PLATE XXIII. 
 
 "DESCRIPTION DE TOUTE LA TERRE SAINCTE" 
 BY MARTIN DE BRION. 
 
 Dedicated to Henry VIII., King of England, whose arms and 
 crowned initial are painted on the first leaf. the 
 dedication is written in letters of gold upon a red 
 ground. On Vellum. Sixteenth century. Quarto. 
 
 ItS. §opI pkarg, 20 a iv. 
 
 fine example of English embroidery on crimson 
 velvet. The arms of Henry VIII., surrounded 
 by the garter and surmounted by a crown, with 
 the letter H on each side of the arms, and a 
 Tudor rose at each corner of the cover, fill 
 up the whole side. A considerable amount of 
 gold work is introduced in the crown, and the 
 imitation jewels are worked in satin stitch 
 with coloured silks, with the exception of some real pearls which are 
 introduced. 
 
 The shield is worked in laid embroidery in red and blue silk. 
 The Tudor roses are satin applique decorated with gold thread. 
 The brick stitch in metal gold is extensively used in the working. 
 
 It will be seen that the strings which fastened the book have 
 
Plate XXIII. 
 
 DESCRIPTION DE TOUTE LA TERRE SAINCTE. 
 Embroidered binding from the Library of Henry VII J. 
 
PLATE XXIII. 
 
 51 
 
 disappeared, but the roots of the cords remain to show where they 
 once were. 
 
 Both sides of the book are alike, and the lower cover has been 
 here reproduced as being the brightest. 
 
 This volume is a fine specimen of embroidery, but the arms and 
 garter are of so solid a character that the plate scarcely does justice to 
 the beauty of the original. Where the work is lighter, as in the crown, 
 it will be seen that an excellent effect is obtained. 
 
 Henry VIII. was too busy a man to care much for books or 
 bindings, but his love of splendour was carried into his library, and he 
 had the taste of his family. In his reign gold tooling first came into 
 use, but the greater number of bindings of this period are in 
 blind tooling. Still some of the books were richly gilt, and others 
 were, as in the specimen before us, of elegant embroidery. 
 
PLATE XXIV. 
 
 IL PETRARCHA. CON L' ESPOSITIONE 
 D'ALESSANDRO VELLUTELLO. 
 
 dl novo ristampato con le figure ai triomphi, et con piu cose 
 
 utili in varii luoghi aggiunte. 
 In Venetia appresso Gabriel Gioli di Ferrarii. mdxxxxiiii. 
 
 Quarto. 
 
 {Co lop /ion.) 
 
 Il fine delle Opre Volgari di M. Francesco Petrarcha, Stampate 
 in Venetia per Gabriel Gioli di Ferrarii da Trino di 
 Monferra l'anno di nostra salute mdxliiii. 
 
 Qtipiutmmt of |)rinfcb gooks, #Ii> |iojmI Collection. 
 
 his exceedingly fine specimen of English em- 
 broidery on purple velvet formerly belonged to 
 Queen Katharine Parr, and her coat of arms is 
 emblazoned upon both sides of the book. 
 
 The embroidery is worked on linen and then 
 applied, but the tracery is simply a couching of 
 gold cord. 
 
 The quarterings of the coat of arms exhibit some remarkably 
 fine work, and are embroidered in a variety of stitch, introducing 
 
IL PKTRARCHA. 
 
 Embroidered binding belonging to Queen Katharine Parr. 
 
 Plate XXIV. 
 
PLATE XXIV. 
 
 53 
 
 brick stitch, laid embroidery, caught down with diamond cross-bar ; 
 satin stitch, couching and basket stitch. Some of the quarterings 
 are of satin appliqud. The whole shield was afterwards appliqudd 
 on to the velvet. 
 
 The crown is worked in solid gold and highly decorated with 
 raised gold work composed of purl and gold cord. 
 
 The supporters are also appliqued and enriched with gold stitches 
 and cording. The chains attached to the supporters are worked with 
 gold cord. 
 
 The coat of arms here shown is different from the one given in 
 Willement's Regal Heraldry (1821) from the Queen's great seal. In 
 that the shield is parted per pale, with the royal arms on the dexter 
 side, and six quarterings on the sinister side. In both the augmenta- 
 tion granted by Henry VIII. to Queen Katharine appears — or, on a 
 pile gules, between six roses of Lancaster, three roses of York. 
 
 The supporters in Willement's plate are a crowned lion on the 
 dexter side, and a chained dog with fire issuing from his mouth on the 
 sinister side. In this plate, this last animal is on the dexter side, and 
 a wivern takes his place on the sinister side. The supporters of the 
 Parr family are dexter a stag or, sinister a wivern argent. 
 
 Both sides of this book are alike. 
 
PLATE XXV. 
 
 DE ANTIQUITATE BRITANNIC^ ECCLESLE 
 & PRIVILEGIIS ECCLESLE CANTUARIENSIS, 
 CUM ARCHIEPISCOPIS EIUSDEM 70. 
 
 [J. Day, Lambeth.] An. Dom. 1572. Folio. 
 
 Absentem qui rodit amicum, 
 Qui non defendit alio culpante, solutos 
 Qui captat risus hominum, famamq; dicacis, 
 flngere qui non visa potest, commissa tacere 
 Qui nequit, hic niger est, hunc tu Romane caveto. 
 
 This book was written by Matthew Parker, Archbishop of 
 Canterbury, assisted by his Secretaries, G. Ackworth 
 
 AND J. JOSSELINE. It IS THE FIRST BOOK PRIVATELY PRINTED 
 
 in England, of which probably not more than twenty- 
 five copies were struck off. 
 A Presentation Copy from the Archbishop to Queen Elizabeth. 
 
 department of grinfeb $oohs, <$Itr £iotmI Collection. 
 
 ne of the most famous of embroidered books, this 
 volume forms an excellent example of the art 
 of embroidery as practised in England in the 
 sixteenth century. 
 
 The groundwork is green velvet. On the 
 upper cover is a design with a rose-tree in 
 bloom, and four deer, each in a different position, 
 
Plate XXV. 
 
 DE ANTIQUITATE BRITANNIC.E ECCLESI.E. 
 Embroidered binding bdonging to Queen Elizabeth. 
 
PLATE XXV. 
 
 55 
 
 at the corners, flowers and grass are sprinkled over the ground. 
 The border is supposed to represent a paling with a gate at the 
 foot. On the lower cover is a somewhat similar design. The centre 
 is occupied by a recumbent deer, and four other deer are seen in 
 the field. In the field are several small plants and two snakes. 
 The fence is in one place interrupted to allow room for the head of 
 a deer. The whole of the design on both sides is applique - . The 
 animals are in fine basket and brick stitch, and the flowers are 
 appliqudd in satin, worked over with a great deal of thread ; the 
 leaves are in gold metal cord, raised upon gold silk. The fence is 
 satin appliqud, old gold colour, the paling being divided with gold 
 stitches. The ground from which the stem of the rose-tree springs 
 is laid embroidery, and the trunk itself is of satin stitch. 
 
 The back consists of five panels divided by embroidered lines ; 
 each panel contains a conventionalised rose with two leaves and two 
 buds. 
 
 The design probably has reference to the name of the author and 
 donor, Archbishop Parker ; but some ingenious persons have supposed 
 it to be allegorical — the upper cover of the church in its purity, and 
 the lower cover of the church and its foes. 
 
PLATE XXVI. 
 
 ACTA SYNODI NATIONALIS, IN NOMINE DO- 
 MINI NOSTRI JESU CHRISTI, AUTORITATE 
 ILLUSTR. ET PR/EPOTENTUM DD. ORDI- 
 NUM GENERALIUM FOEDERATI BELGII PRO- 
 VINCIARUM, DORDRECHTI HABITS ANNO 
 CIO 13 CXVIII ET CIO ID CXIX. ACCEDUNT 
 PLENISSIMA, DE QUINQUE ARTICULIS, 
 THEOLOGORUM JUDICIA. 
 
 Lugduni Batavorum, Typis Isaaci Elzeviri, Academle Typo- 
 graphi, societatis dordrechtanye sumptibus, cio . 13 . cxx. 
 Cum privilegio III. Ord. Generalium. 
 
 (A Presentation Copy from the States-General of the 
 Netherlands to King James I.) Folio. 
 
 department of jprmtca goons, (DI*> Jlogal Collection. 
 
 omr doubt may be entertained whether the em- 
 broidery of this book is Dutch or English work. 
 As it was a present to the King from the States- 
 General, we may presume that the binding was 
 produced in Holland, but there is nothing to 
 distinguish it from English work. The covers 
 are of crimson velvet, embroidered with the 
 arms of James I. as King of Great Britain and 
 Ireland, with supporters and elaborate mantling, and a lion statant 
 gardant on the helm crowned. The initial I crowned is above, and 
 
Plate XXVI. 
 
 ACTA SYNODI NATION AMS DORDRF.CHTT. 
 
 Embroidered binding belonging to King James I. 
 
PLATE XXVI. 
 
 57 
 
 the initial R crowned below the arms, and in the four corners are 
 thistles and roses. 
 
 The mantling is solidly worked in brick stitch of metal gold 
 decorated with gold cord, and a few over stitches of silk give character 
 and shading. The supporters are worked with brick stitch in fine metal 
 gold, outlined with fine gold cord. 
 
 A few of the leaves are worked over in satin stitch, and the letters 
 are in purl. 
 
 The shield and lower portion of the design with the motto are 
 rather feebly worked out, being just outlined with metal gold cord, and 
 this portion does not contrast favourably with the solid character of the 
 mantling and the supporters. It is, however, a fine piece of work as 
 a whole. Both sides are alike. 
 
 i 
 
PLATE XXVII. 
 
 CE LIVRE CONTENANT CINQUANTE EMBLEMES 
 CHRESTIENS PREMIEREMENT INVENTEZ PAR 
 LA NOBLE DAMOISELLE, GEORGETTE DE 
 MONTENAY EN FRANCE, FORTS PLAISANTS 
 & DELECTABLES A LIRE & VOIR, LESQUELS 
 SONT, A PRESENT, ESCRITS, TIREZ, ET 
 TRACEZ, PAR LA MAIN ET PLUME DE MOY 
 ESTHER INGLIS LAN DE MON AAGE CIN- 
 QUANTE ET TROIS. 
 
 A LlSLEBOURG EN ESCOSSE, L'AN 1 624. 
 
 Dedicated to Prince Charles, afterwards King Charles I. 
 
 US, Jlopl Collection. 17 D. 16. 
 
 rince Charles followed his elder brother Henry 
 in his taste for books as well as for all artistic 
 pursuits. The binding of this volume is par- 
 ticularly charming on account of its light and 
 elegant design. It is not mediaeval in character 
 as most embroidery is, but we see from the 
 design how strong has been the influence 
 over the artist of the work produced by gold 
 tooling upon leather. 
 
 The Prince of Wales's feathers within an elegant wreath are par- 
 
EMBLEMES CHRESTIENS 1NYENTEZ PAR GEORGETTE DE MONTENAY. 
 
 Embroidered binding belonging to Prince Charles {afterwards Charles 
 Plate XX VII. 
 
PLATE XXVII. 
 
 59 
 
 ticularly pleasing, and with the border they form a design which may 
 be considered as well nigh perfect. 
 
 The pattern is worked on the crimson satin and is not appliqued. 
 Purl gold raised over silk, forms the leaves, and the whole is edged 
 with gold cord. 
 
 This book must have been bound a very short time before Charles 
 came to the throne. There is another specimen of Prince Charles's 
 library among the leather bindings selected from the Department of 
 Printed Books (see Plate liv.). 
 
PLATE XXVIII. 
 
 THE HOLY BIBLE CONTAINING THE BOOKES 
 OF THE OLD AND NEW TESTAMENT. 
 
 Cambridge. Printed by John Hayes, Printer to the 
 Universitie. 1674. Folio. 
 
 Department of |)rintcb iBoohs. Ipnrtjrascn bn % trustees in 1847. 
 
 his is a most superb piece of embroidery on crim- 
 son velvet produced by English artists. The 
 flowing initials correspond most charmingly with 
 the band scroll in brick stitch of metal gold, 
 which forms a conspicuous feature of the design, 
 and gives a rich effect and great strength to it. 
 
 The cap of the crown is satin appliqud, 
 with a few gold stitches worked through. The whole of the design 
 is couched in a variety of gold cords, and some silver is introduced, 
 as in the faces of the angels, at the four corners. Tongues of fire 
 
Plate XXVIII. 
 
 HOLY BIBLE. A.D. 1 674. 
 
 Embroidered on vtlvet ; belonging to King James H. 
 
PLATE XXVIII. 
 
 61 
 
 issue from the glory in the upper portion of the design. The angels' 
 faces are the least satisfactory part of the composition. They look 
 more like portraits of old men than representations of angels. 
 
 As this plate is greatly reduced from the original, which is a 
 large folio volume, the effect produced is that of a somewhat more 
 crowded design than it actually is ; otherwise the reproduction is 
 perfect, and gives an exceedingly good idea of the appearance of this 
 noble volume. 
 
* 
 
DEPARTMENT OF PRINTED BOOKS. 
 
 IV. 
 
 ITALIAN AND GERMAN BINDINGS 
 
 OF THE 
 
 SIXTEENTH AND SEVENTEENTH CENTURIES. 
 
PLATE XXIX. 
 
 DICTATORIS C. JULI1 CESARIS BELLI GALLICI 
 
 COMMENTARY I, ETC 
 
 Rome in Domo Petri de Maximis. 
 
 Anno Christi m.cccc.lxix. die vero xii. mensis mail Paulo 
 florente ii. anno eius v. (no title-page.) 
 
 [First edition, printed by C. Sweynheim and A. Pannartz.] 
 
 OUARTO. 
 
 aioli and Grolier were contemporaries, and there 
 is a considerable likeness between the designs 
 chosen by these two great collectors. The same 
 liberal inscription, ET AMICORUM, was adopted 
 by both. 
 
 It was in Italy that the art of gold tooling 
 
 took its rise, and from Italy Grolier transplanted 
 
 it to France, where it flourished. 
 
 Little is known of Tommaso Maioli, further than that he lived 
 about 1500-1550. Guigard says of his library: "On ne le connait 
 que par les reliures de ses livres, chefs-d'ceuvre de grace, d'tflegance 
 et de gout que les amateurs couvrent de billets de banque." 
 
JULII CF.SARIS BELLI GALLICI COMMKNTARII. I I C. 
 
 From the Library of Tommaso Maioli. 
 
 Plate XXIX. 
 
PLATK XXIX. 
 
 65 
 
 The binding reproduced in this plate is a singularly fine specimen 
 of the great collector's library. It is of light brown morocco. The 
 border is very elegant, and the whole design of the sides is severely 
 classical in treatment. On the upper side are the title of the book, 
 and the inscription THO. MAIOLI ET AMICOR. On the lower side, 
 in the middle of the centre ornament, is Maioli's monogram in place 
 of the title of the book. The back is elegantly tooled and without 
 bands. 
 
 The book was formerly in the library of Paul Girardot de 
 Prefond ; it was bequeathed to the British Museum by the Rev. 
 C. M. Cracherode. 
 
 K 
 
PLATE XXX. 
 
 POLYDORI VERGILII URBINATIS ANGLICAE 
 HISTORIAE LIBRI XXVI. 
 
 SIMON GRYNAEUS LECTORI. 
 
 Anglia Bistonio semper gens inclyta Marte, 
 Quanta, quibusq; animis nongentos mille per annos 
 Gesserit, imperium firmans adamante revincto, 
 Intulerit quoties vicinis gentibus arma, 
 Seu procul eiecit populantem finibus hostem, 
 Seu domuit s^evos immania colla tyrannos, 
 Maxima magnanimum Polydorus facta virorum 
 Pr^eclare latia primus canit omnia bucca. 
 
 Indices rerum singularum copiosus & usui egregio futuros, 
 adiecimus. 
 
 Cum gratia & privilegio Oesareo. 
 
 Basile/E, apud Io. Berbelium. Anno m . d . xxxiiii. Folio. 
 
 *are amongst the rare are the specimens of the 
 library of Demetrio Canevari (1539 — 1625), 
 Physician to Pope Urban VII. (1590), which 
 have come down to us. It is supposed that 
 his library was small although singularly 
 choice ; all the books bound for him have on 
 their sides the curious medallion, representing 
 Pegasus on a rock with Apollo driving his 
 chariot over the waves towards him. Round the medallion is the 
 inscription OP0G2 KM MH AOSIQ2. 
 
Plate XXX. 
 
 POJA'DORl VERGILLU ANGLICAF. HISTORIAE LIBRI XXVI. 
 
 From the Library of Demetrio Canevari. 
 
PLATE XXX. 
 
 67 
 
 The design on this medallion is raised, and the rock and sea 
 are alike painted green. The chariot and Apollo's cloak are gilt. 
 
 This book, which is a first edition of Polydore Vergil on large 
 paper, is bound in dark brown morocco, and must rank as one of 
 the finest specimens of this distinguished collector's library. It is in 
 the soundest condition, and forms a noble monument of the Italian 
 binder's work. The light border, with its elegant design, is much to 
 be commended. Both sides are alike. 
 
 The back has bands, and a single star is placed in the middle 
 of each panel. The title is impressed upon the topmost panel. 
 
 This beautiful volume was bequeathed to the British Museum 
 by the Right Hon. Thomas Grenville. 
 
PLATE XXXI. 
 
 DER STAT NURMBERG VERNEUTE REFORMA- 
 TION. i564. 
 
 {Colophon?) 
 
 Getruckt zu Franckfurt am Main, durch Georg Raben, Sigmund 
 Feyrabend, und Weygand Hanen Erben. m.d.lxvi. Folio. 
 
 The centre portion of the side is recessed considerably below 
 the border. 
 
 The volume is bound in brown morocco, and portions of the 
 design are painted white. The two medallions on the upper cover 
 represent Justicia, above, and Fides, below. On the lower cover 
 Charidas {sic), above, and Prudencia, below. 
 
 ery characteristic of German binding at the end 
 of the sixteenth century is the fine volume 
 reproduced in this plate. The sides and back 
 are richly gilt, but the design is much more 
 nearly allied to the blind tooling of the Gothic 
 nations than to the gold tooling of the Italian 
 and French Renaissance. The border is singu- 
 larly delicate and elegant, and the corners have 
 
 much the appearance of lace-work. 
 
Plate XXXI. 
 
 DKR STAT NURMBERG VERNEUTE REFORMATION. 
 
 German binding of the end of the XVIth century. 
 
PLATE XXXI. 69 
 
 The back has bands, with the panels fully gilt. The edges are 
 gauffred, and have painted upon them the arms of the Emperor 
 Maximilian II. and the city of Nuremberg. 
 
 Silk strings are added for the protection of the book. 
 
 It will be seen from the title above that there is a discrepancy 
 of two years between the title-page and the colophon. 
 
DEPARTMENT OF PRINTED BOOKS. 
 
 v. 
 
 FRENCH BINDINGS 
 
 OF THE 
 
 SIXTEENTH AND SEVENTEENTH CENTURIES. 
 
PLATE XXXII. 
 
 WITICHINDI SAXONIS RERUM AB HENRICO ET 
 OTTONE I. IMPR GESTARUM LIBRI III. 
 
 Una cum alijs quibusdam raris & antehac non lectis diver- 
 sorum autorum historijs, ab anno salutis d . ccc. usque ad 
 presentem /etatem : quorum catalogus proxima patebit 
 pagina. huc accessit rerum scitu dignarum copiosus index. 
 
 Basile/e, apud Io. Hervagium, mense Martio, ANNO M.D. XXXII. 
 
 Folio. 
 
 N 
 
 the history of bookbinding the name of Jean 
 Grolier, Vicomte d'Aguisy, stands out as a 
 bright particular star, and the volume here 
 reproduced is an exceedingly happy specimen 
 of the style of ornamentation which he adopted. 
 The rigid lines of the geometrical pattern are 
 broken by the curves in a manner peculiarly 
 pleasing to the eye. The centre design which 
 
 surrounds the title of the book is remarkably elegant. 
 
 The lower side of the book is the same as the upper side, 
 except that the name of Grolier is not added, and in place of the 
 
riatc XXXII. 
 
 WITICHINDI SAXONIS RF.RUM AB HENRICO F.T OTTONE t. IMPP. LIHRI III. 
 From the Library of Jam Grolicr. 
 
PLATE XXXII. 73 
 
 title in the centre is Grolier's favourite motto, arranged in the 
 following form : — 
 
 PO R 
 T I O M E A 
 DOM I N E SIT 
 IN TERRA VI 
 V E N T I 
 V M. 
 
 The binding is of light-brown calf, and the back is richly gilt 
 with bands and lettering. 
 
 Grolier was born at Lyons in 1479, and died at Paris on the 
 22nd of October, 1565. 
 
 The inscription " et amicorum " which was adopted by Maioli 
 and Grolier, and some other collectors who followed in their steps, 
 must, one would think, have been more honoured in the breach than 
 in the observance, unless these men were very unlike the collectors 
 of a later date. Now-a-days the most liberal lender of his books 
 would surely draw a line at those whose covers were adorned as 
 Grolier adorned his. 
 
 This volume was bequeathed to the British Museum by the 
 Rev. C. M. Cracherode. 
 
 L 
 
PLATE XXXIII. 
 
 IL PRENCIPE DI NICOLO MACHIAVELLI, AL 
 MAGNIFICO LORENZO DI PIERO DE MEDICI. 
 
 La Vita di Castruccio Castracani da Lucca. 
 
 Il MODO, CHE TENNE IL DUCA VALENTINO PER AMMAZZARE VlTEL- 
 LOZZO VlTELLI, OlIVEROTTO DA FERMO, IL S. PAULO, & IL DuCA 
 
 DI Gravina. 
 
 I RlTRATTI DELLE COSE DELLA FRANCIA, & DELL' AlAMAGNA. 
 
 Aldus (with dolphin and anchor) m.d.xl. 
 (Colophon)) 
 
 In Vinegia, nell' anno m.d.xl. in casa de' Figliuoli di Aldo. 
 
 Octavo. 
 
 late xxxii. represents a folio volume, while this 
 book is small, and of the same size as it 
 appears here. 
 
 This is an agreeable little volume in sound 
 condition. The geometrical pattern is filled in 
 with a floral design which takes off any stiff- 
 ness that otherwise might be perceptible. The 
 back has bands, and a floral ornament is placed in the centre of 
 each panel. The leather in which the book is bound is brown 
 morocco, and the interlaced geometrical pattern is painted dark blue 
 and red. The upper left-hand portion and lower right-hand portion 
 
PLATE XXXIII. 
 
 75 
 
 arc dark blue, while the lower left-hand portion and upper right- 
 hand portion are red. 
 
 The title of the book is not stamped in the place reserved for 
 it on the upper cover, but on the lower cover is Grolier's motto, 
 thus arranged : — 
 
 PORTIO MEA DO 
 MINE SIT IN 
 TERRA VI 
 V E N T I 
 V M 
 
 This volume was bequeathed to the British Museum by the 
 Rev. C. M. Cracherode. 
 
PLATE XXXIV. 
 
 LE LIVRE DES STATUTS ET ORDONNANCES DE 
 L'ORDRE DU BENOIST SAINCT ESPRIT, 
 ESTABLY PAR LE TRES-CHRESTIEN ROY DE 
 FRANCE & DE POLOGNE HENRY TROISIESME 
 DE CE NOM. 
 
 On vellum. Quarto. 
 
 uch conjecture is necessarily mixed up with our 
 knowledge of the celebrated binders of the past, 
 and many bindings are attributed to Nicolas 
 and Clovis Eve which cannot be proved with 
 any certainty to be actually their work. Hence 
 there is a special interest attaching to the 
 binding here represented, because the document 
 from which we learn that Nicolas Eve was 
 the artist employed to bind forty-two copies of the Statutes of the 
 Order of Saint Esprit has come down to us and is as follows : — 
 
 " A Nicolas Eve laveur et relieur des livres et libraire du Roy 
 47 escus et demy pour avoir lave, dore et regie" sur tranche 42 livres 
 des statuts et ordonnances de l'ordre, reliez et couverts de maroquin 
 orenge de Levant, enrichis d'un cote des armoieries de S. M. pleines 
 dorees, et de l'autre de France et de Pologne, et aux quatre coins 
 
LF. UVRE DES STATUTS DE L'ORDRE DU SAINCT ESPRIT. 
 
 Bound by Nicolas Eve for Henri TIL, King of France and Poland. 
 
 Plate XXXIV. 
 
PLATE XXXIV. 
 
 77 
 
 de chiffres et le reste de flames avec leurs fermoirs de ruban orenge 
 et bleu, suivant l'ordonnance de M. le chancelier du 26 et quittance 
 du 27 decembre 1579, cy xlvii. escus et demy." 
 
 The volume is bound in a golden-brown morocco. The sides are 
 covered with fleurs-de-lys and flames arranged alternately. On the 
 upper cover, in the centre, are the arms of Henri III. as King 
 of France and King of Poland, surrounded by the collar of the 
 Order of St. Esprit, and surmounted by a crown with the motto : 
 " Manet ultima caelo." Below is the initial of the King, surmounted 
 by a crown. In the four corners are crowned monograms, composed 
 of the letter H and the two Greek letters X X (initials of Louise 
 de Lorraine). Above and below the arms, and on either side are 
 four ovals containing a representation of the Dove descending (the 
 emblem of the Order). 
 
 The tooling of the lower cover is the same as that of the upper 
 cover, except that in the centre there is only one shield of the arms 
 of France in place of the two shields. This lower cover is repro- 
 duced by Mons. L. Gruel in his Manuel Historique et Bibliogra- 
 phique de V Amateur de Reliures (1887), and Mons. H. Bouchot, in Les 
 Reliures dArt a la Bibliothcque Nationale (1888), reproduces the 
 upper cover, these reproductions being taken from other copies of 
 this book, exactly similar in binding. On the title-page of this copy 
 is the inscription : " Ce livre appartient a Anne Frilles de Noailles 
 Due et pair et Mareschal de France." 
 
 It was bequeathed to the British Museum by Lady Banks. 
 
PLATE XXXV. 
 
 L'HISTOIRE DES FAICTS, GESTES, ET CON- 
 QUESTES DES ROYS, PRINCES, SEIGNEURS 
 ET PEUPLE DE FRANCE. 
 
 DESCRIPTE EN X. LIVRES, & COMPOSEE PREMIEREMENT EN LATIN 
 PAR NOBLE & SCAVANT PERSONNAGE PAUL ^EMYLE VeRONOIS : 
 ET DEPUIS MISE EN FRANCOIS PAR JEAN REGNART GeNTIL- 
 
 homme Angevin, en son vivant Seigneur de la Mictiere. 
 Avec la suyte de ladicte Histoire tiree du Latin de feu 
 M. Arnold le Ferron Conseiller du Roy a Bourdeaux, 
 
 & AUTRES BONS AUTEURS : & TABLE TRES AMPLE DU CONTENU 
 EN ICELLE. 
 
 A Paris, par Federic Morel, Imprimeur du Roy. m.d.lxxxi. 
 Avec Privilege dudict Seigneur. Folio. 
 
 his magnificent binding, with the arms of Henri 
 III. is attributed to Nicolas Eve, and when 
 this plate is compared with Plate xxxiv. it 
 will be seen that the treatment is very similar. 
 The corners also are of that floral character 
 which is so intimately associated with the work 
 of the Eves. 
 
 The leather is a rich brown morocco in the soundest condition ; 
 and when this work of Paulus ./Emilius is compared with the 
 
MS^^*^ <$? ^ ^ 
 
 ^ ^ ^ ^ ^ ^ 
 
 f^- «^ #$» <^ <f> $ •$> 4* 
 
 #|j ^ #|» ^» #|:» ^» «;|? +h (}!>■ 
 
 tjjp. f|» ^ f^> e|» *|? *jf* *|? rta -?„ 
 
 •J» ^> ej£» <^ fjl* *|> *J? *J» 4? #fo *|p ^ 
 
 ^ ^ «^!» *^!> 1^? *|? <rj|» 
 
 ej» ^ t|» >|> *§p <$p *|p *|» 
 
 • f£» f?? <5&» f|» 
 
 ^ & A $ <$> * 4- I 
 
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 tjj" ^» *J» «^f^f&> e|* fj» fj» ^ 
 
 •§> $ ^ ^ r ^ ^'^"'j 
 
 ffe #^ fj^ *|» f& «$» & * * I 
 
 ^» ^ ^^»^ f|» ^ ^ 4* 
 
 ^» ^ ^» ^1 rj» fft> A f& f& | 
 
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 ^ & $ '^J^^ ^ $ 
 
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 4* ^ ^ & ^ «i> & 
 
 <fc *t> 4» ^ ^ A f|» T ej5? ^ fjfe 4^5 ' . ' 
 
 l'histoire des faicts, gestes, et CONQUESTES DES ROYS, ETC. 
 Bound by Nicolas Eve. 
 
PLATE XXXV. 
 
 79 
 
 Statutes of the Order of Saint Esprit it will be seen that the 
 tooling of Paulus ^milius is more exquisitely carried out, perhaps 
 because the volume of the Statutes was a wholesale piece of work. 
 
 Both sides of this book are alike. The back is without bands, 
 and is covered with fleurs-de-lys. 
 
 This volume, which exhibits one of the most superb pieces of 
 binding- which it is the lot of any one to see, belongs to the 
 Grenville library. 
 
PLATE XXXVI. 
 
 CL. CLAUDIANUS, THEOD. PULMANNI CRANE- 
 BURGII DILIGENTIA, & FIDE SUMMA, E 
 VETUSTIS CODICIBUS RESTITUTUS. UNA 
 CUM M. ANT. DEL- RIO NOTIS. 
 
 Antverpi/e, ex officina Plantiniana, apud Viduam, & Joannem 
 
 MORETUM. M . D . XCVI. SeXDECIMO. 
 
 arguerite de Valois, third daughter of Henri II. 
 and Catherine de Medicis, and wife of Henri 
 IV., King of Navarre, and afterwards King of 
 France, is supposed to have been the possessor 
 of a series of exquisite little books elegantly 
 tooled by Clovis Eve. The British Museum 
 contains quite a number of these books, any 
 one of which would give a distinguished 
 character to the collection of bindings of which it formed a part. 
 
 Both sides of one of these beautiful volumes in olive morocco 
 are here reproduced. On the lower cover is the motto " expectata 
 
 i 
 
CL. CLAUDIANUS, THF.OD. PUJ.MANNI CRANEBURGI1 DILIGENTIA. 
 
 Bound by Clovis Eve — From the Library of Marguerite de Valois. 
 Plate XXXVI. 
 
PLATE XXXVI. 
 
 8l 
 
 non eludit." The back is without bands, and in the centre is the 
 name of the author of the book, arranged in an oval. It is fully gilt 
 with a beautiful design of flowers. 
 
 Mons. E. Quentin Bauchart, in his Les Femmes Bibliophiles, 1886, 
 tome 1, reproduces a volume of exactly similar binding. The design 
 is said to have been given by Marguerite herself, but Mons. Bauchart 
 doubts whether these bindings are correctly attributed to this Queen, 
 because no mention is made of them by the older bibliographers ; but 
 he thinks that, as in modern times they have been so universally 
 associated with her name, they may well continue to be so, unless 
 some contradictory evidence should arise. 
 
 M 
 
PLATE XXXVII. 
 
 DIONYSII AREOPAGIT^E OPERA QVJE 
 
 EXTANT. GR. 
 
 In eadem Maxim i Scholia. 
 Georgii Pachymer^ Paraphrasis. 
 Michaelis Syngeli Encomium. 
 Latine omnia mox edenda. 
 
 Parisiis, m.d.lxii. Apud Guil. Morelium, in Gr/ecis 
 typographum regium. octavo. 
 
 he binding reproduced in this plate is a singularly 
 fine specimen of the library of Catherine de 
 Mddicis, (1519-1589) Queen of France. The 
 volume is bound in olive morocco, elegantly 
 tooled in gold, with a portion of the design 
 coloured in blue and red. The arms in the 
 centre are painted in colours, and those of the 
 Medici family will be noticed on the sinister 
 side of the shield. Both sides of the book are alike. The back has 
 bands, and the panels are covered with stars, over which in each of 
 the four middle panels is a crowned K. The leaves are gauffred. 
 
DIONYSII AREOPAGHVE OPTRA QU/E EXTANT. 
 
 From the Library of Catherine de Medicis. 
 
PLATE XXXVII. 83 
 
 The association of this binding with the Queen is of great interest, 
 but there is a more agreeable association with the name of Jacques 
 Auguste De Thou, for the library of Catherine de Medicis was placed 
 under the charge of this celebrated book collector by Henri IV. 
 
PLATE XXXVIII. 
 
 FRANCISCI PETRARCHAE FLORENTINE PHILO- 
 SOPHY ORATORIS, & POET/E CLARISSIMI, RE- 
 FLORESCENTIS LITERATURE LATINEQUE 
 LINGILE, ALIQUOT SECULIS HORRENDA 
 BARBARIE INQUINAT^E AC PENE SEPULTE, 
 ASSERTORIS & INSTAURATORIS, OPERA QUE 
 EXTANT OMNIA. 
 
 In quibus pr/Eter Theologica, Naturalis Moralisque Philo- 
 sophise PR/ECEPTA, LIBERALIUM QUOQUE ARTIUM ENCYCLOPEDIAM, 
 HlSTORIARUM THESAURU & POESIS DIVINA QUANDAM VIM, PARI 
 CUM SERMONIS MAIESTATE, CONIUNCTA INVENIES. 
 
 ADIECIMUS EIUSDEM AUTHORIS, QU/E Hetrusco sermone scripsit 
 carmina sive rythmos in quibus gr/ecorum gloriam, latin- 
 orum copiam, viris hac /etate doctissimis /equasse, im6 
 suavitate & elegantia superasse multum, visus est. h.ec 
 quidem omnia nunc iterum summa diligentia a mendis re- 
 purgata atoue innumerabilibus in locis, genuin/e integritati 
 restituta, & in tomos quatuor distincta. qu.e ver6 uno- 
 quoque tomo continentur versa pagina lectori exhibebit. 
 
 Insigniorum atque doctissimorum in re literaria virorum, de 
 hoc autore testimonia in pr/efatione habes. 
 
 Basile.e excudebat Henrichus Petri, 1554. Folio. 
 
 uch interest attaches to this binding, not only 
 from its beauty, but from the evidence it furnishes 
 of the occasional union of a mediaeval treatment 
 with the more modern gold tooling ; and that 
 in France, where one would least expect to find 
 such a union. It is an exceedingly fine piece 
 of work, excellent in every respect, and in very 
 bright condition. 
 
Plate XXXVIII. 
 
 FRANCISCI PETRARCH.t OPERA OMNIA. 
 
 With medallions of Cato and Cicero. 
 
PLATE XXXVIII. 
 
 85 
 
 The corners and centre are in solid gilt stamped on brown calf. 
 The design of these ornaments is very elegant, and they are worked 
 with great skill and clearness. The medallions in solid gold represent 
 Marcus Cato and Marcus Tullius (Cicero). The groundwork of light 
 dots and roses, and the thin pleasing border contrast admirably with 
 the solid stamps. Both sides are alike. The edges are gauffred. 
 
PLATE XXXIX. 
 
 VALERII MAXIMI DICTORUM FACTORUMQUE 
 MEMORABILIUM LIBRI IX. 
 
 Infinitis mendis ex veterum exemplarium fide repurgati, atque 
 in meliorem ordinem restituti per stephanum plghium 
 Campensem. 
 
 accedunt in fine eiusdem annotationes in loca plusquam dccc. 
 Item hac altera recognitione fragmentum de Pr^enominibus 
 
 antiquu incerti auctoris ; quod decimi libri locum in multis 
 
 exemplaribus occupat. 
 
 ANTVERPLTi, EX OFFICINA CHRISTOFORI PlANTINI, ARCHITYPOGRAPHI 
 
 Regij. cid . id . lxxiiii. Octavo. 
 
 huanus, or, to give him his proper name, Jacques 
 Auguste De Thou, was the most renowned book 
 collector in France after Grolier, and the books 
 ornamented respectively with his arms and those 
 of his two wives are highly esteemed. The 
 majority of his books were plainly but hand- 
 somely bound, with arms on the sides, and 
 monograms on the back. Before 1587 he used 
 his coat alone, but in that year he married his first wife Marie 
 Barbancon, and her arms joined with his own were stamped upon 
 
VALERII MAXIMI DICTORUM FACTORUMQUE MEMORABU.IU.M LIBRI IX. 
 
 Bound by Nicholas Eve. From the Library of De Thou. 
 Plate XXXIX. 
 
PLATE XXXIX. 
 
 87 
 
 his books. In 160 1 Marie died, and in the following year De Thou 
 married Gasparde De La Chastre, and then her arms replaced those 
 of Marie Barbancon. 
 
 Although the majority of De Thou's books were plainly bound, 
 the historian sometimes employed Nicolas Eve to exert his skill in the 
 decoration of some of them. This plate represents a small book in 
 red morocco, and is of the same size as the original. It is an exceed- 
 ingly fine specimen of the ornate tooling associated with the name of 
 Nicolas Eve. De Thou's arms alone ornament the centre of the 
 side. The back, which is very beautiful, has no lettering. 
 
 This volume was bequeathed to the British Museum by the 
 Rev. C. M. Cracherode. 
 
PLATE XL. 
 
 HISTORIA UTRIUSQUE BELLI DACICI A TRAIANO 
 CAESARE GESTI, EX SIMULACHRIS QUAE 
 IN COLUMNA EIUSDEM ROMAE VISUNTUR 
 COLLECTA. AUCTORE F. ALFONSO CIACONO 
 HISPANO DOCTORE THEOLOGO INSTITUTI 
 PRyEDICATORUM & ROMANI PONTIFICIS 
 PCENITENTIARII. 
 
 ROM/E, ex Typographia Iacobi Mascardi. mdcxvi. Superiorum 
 
 Permissu. Folio. 
 
 robably the name of no binder is more renowned 
 in the history of Bookbinding than that of 
 Le Gascon, and yet nothing is really known of 
 him, and doubts of his very existence have even 
 been hazarded. Mons. Gruel has found some 
 fine specimens of binding by Florimond Badier, 
 which he has reproduced with admirable effect 
 in his Manuel Historique et Bibliographique de 
 I Amateur de Reliures, and he says that much of the work attributed 
 to Le Gascon must have been produced by Badier. The volume here 
 reproduced is a marvellous piece of work, and one of the finest bindings 
 
Plate XL. 
 
 HISTORIA BELLI DACICI j AL'CTORE F. ALFONSO CIACONO. 
 
 Bound by Le Gascon. 
 
PLATE XL. 89 
 
 attributed to Le Gascon which is known to exist. It is in red morocco 
 elaborately gilt, with a geometrical pattern filled in with minute gold 
 tooling. Some portions are inlaid with olive and yellow morocco. 
 The back has bands, but the design on the back is not equal to that 
 on the sides. 
 
 The gauffred leaves are gilt and painted in colours. 
 
 N 
 
DEPARTMENT OF PRINTED BOOKS. 
 
 VI. 
 
 ENGLISH BINDINGS 
 
 OF THE 
 
 SIXTEENTH AND SEVENTEENTH CENTURIES. 
 
PLATE XLI. 
 
 PETRI BEMBI CARDINALIS HISTORIAE 
 VENETAE LIBRI XII. 
 
 Cum privilegiis. Venetiis. m.d.li. 
 (Colophon.) Venetiis, apud Aldi Filios. m . d . li. Folio. 
 
 I 
 
 [DWArd the Sixth's library has already been drawn 
 upon for the purposes of this book. Plates vin., 
 ix., and x. represent three volumes which once 
 belonged to this young king, and are bound in 
 quite different styles of art. 
 
 The volume reproduced in this plate exhibits 
 a finer and more elaborate specimen of book- 
 binding than either of these, and it does the greatest credit to the 
 English art of the time. It is in brown calf, with the arms and 
 crowned initials of King Edward. The interlaced geometrical pattern 
 introduced from abroad is filled in with quite original scrolls. These 
 bands are painted black. The tools used on this book are evidently 
 the same as those used on other books which undoubtedly proceeded 
 from the house of Thomas Berthelet. The back is made concave and 
 
Plate XL1. 
 
 PETRI KEMBI CARDINALIS H1STORIA. 
 From King Edward the Sixth's Library. 
 
PLATL-: XLI. 
 
 93 
 
 covered with gold leaf to imitate the fore-edge and give the effect of 
 gilt leaves. The covers project, and thus back and fore-edge look 
 alike, and the book in consequence has a very odd appearance. The 
 edges are gauffred. 
 
 From the Old Royal Collection. 
 
PLATE XLII. 
 
 EL FELICISSIMO VIAIE D' EL MUY ALTO Y 
 MUY PODEROSO PRINCIPE DON PHELIPPE, 
 HIJO DEL EMPERADOR DON CARLOS 
 QUINTO MAXIMO, DESDE ESPANA A SUS 
 TIERRAS DE LA BAXA ALEMANA. 
 
 Con la descripcion de todos los Estados de Brabante y 
 Flandes. Escrito en quatro libros, por Juan Christoval 
 Calvete de Estrella. 
 
 Con Gracia y Privilegio de la Imperial Majestad, para todos 
 sus Reynos, Estados y Senorios, por quinze Anos. 
 
 Ex Anvers, en casa de Martin Nucio. Ano de m.d.lii. 
 
 his binding is classified in this division, not 
 because it was the work of English artists, but 
 because it was produced for an English king. 
 
 It is a very remarkable and a very beautiful 
 work of art, and most probably owes its origin 
 to a Flemish binder. The leather used is brown 
 morocco, which shows out in the elegant inter- 
 laced design. The groundwork, painted light green, is sprinkled with 
 a darker colour. The royal arms of England, surrounded by the garter 
 
EL FELICISSIMO VIAIE DE DON PHELIPPE, ETC. PAR JAUN CALVETE DE ESTRELLA. 
 
 From the Library of Edward VI. 
 
 Flair XL1I. 
 
PLATE XLII. 
 
 95 
 
 and surmounted by a helmet and crown, with the lion and dragon as 
 supporters on the dexter and sinister sides respectively, are painted in 
 colours on a leather piece in the centre of the upper cover. 
 
 On the lower cover is the motto : 
 
 POSUI DEV 
 ADIVTOREM 
 M EVM 
 
 There are no marks of ownership, so that it cannot be positively 
 stated for whom the book was bound ; but there can be little risk in 
 attributing it to Edward VI. It will be seen by reference to Plate x. 
 that a somewhat similar design is used on a manuscript volume which 
 was undoubtedly bound for Edward VI. The edges are gauffred. 
 
 From the Old Royal Collection. 
 
PLATE XLIII. 
 
 EPITOME OMNIUM OPERUM DIVI AURELII 
 AUGUSTINI, EPISCOPI HIPPONENSIS, PRIMUM 
 QUIDEM PER JOHANNEM PISCATORIUM COM- 
 PENDIARIA QUADAM VIA COLLECTA. 
 
 Nunc autem diligentius Recognita, & multorum adiectione, 
 qu/e in priori ^editione, non absque magna augustinian/e 
 sententle iactura, desiderabantur, aucta & locupletata 
 per johannem pessellium tylanum theologum, ordinis 
 
 PR.EDICATORU PER GERMANIAM SUPERIOREM PrOVINCIALEM. 
 
 Per eundem & nunc recens accessit ex eodem Augustino 
 collectus de septem sacrosanctis Sacramentis Tomus 
 
 TERTIUS. 
 
 COLONI/E, EX OFFICINA MELCHIORIS NOVESIANI. M . D . XLIX. FOLIO. 
 
 here is a striking likeness between this binding, 
 which was produced for Queen Mary I., and 
 has her initials M. R. on the sides, and the 
 MS. volume bound for Edward VI., which is 
 reproduced on Plate ix. There can be little 
 doubt but that both covers were the work of 
 the same binder. Still, while the likeness is 
 so pronounced between the two books, this 
 binding of Queen Mary's is much the more elegant. The rich but 
 delicate border greatly adds to the charm of the side. It is also 
 
EPITOME OMNIUM OPERUM AUGUSTINI EPISCOPI HIPPONENSIS. 
 
 From Queen Mary's Library. 
 
 Plate XLIII. 
 
1'LATE XLIII. 
 
 97 
 
 instructive to notice the dissimilarities of the design. Although the 
 position of the scrolls between the interlaced geometrical pattern is 
 the same in both, the scrolls themselves are not identical. The coat 
 of arms with the circle round it of tongues of flame is the same on 
 both volumes, but the size is different. 
 
 This volume from Queen Mary's library belongs to the Old 
 Royal Collection. 
 
 o 
 
PLATE XLIV. 
 
 FLORES HISTORIARUM PER MATTH^UM WEST- 
 MONASTERIENSEM COLLECTI, PR^CIPUk DE 
 REBUS BRITANNICIS AB EXORDIO MUNDI 
 USQUE AD ANNUM DOMINI i3o7. 
 
 LONDINI, EX OFFICINA ThOM^E MARSHIJ, ANNO DOMINI I57O. FOLIO. 
 
 [The title is printed in gold, with illuminated border.] 
 {Colophon) Londini. Excudebat Thomas Marshius, Secundo 
 die Junij, anno gratis 1570. 
 
 ery remarkable and distinctive in character is 
 the binding of this book, which 'was produced 
 for Queen Elizabeth. It is in dark brown calf, 
 with solid gilt corners, and a surface powdered 
 with gilt stars. In the outer border and the 
 centre are inlaid pieces of white leather, with 
 ornamental scrolls and various musical instru- 
 ments, swords, bows and arrows, &c, in blind 
 tooling, which have the effect of being worked up from the back like 
 rcponssd work. The centre ornament forms a border for the royal 
 arms, which are tooled in gold on the brown leather. Both sides 
 are alike, and the brass clasps are handsomely engraved. The edges 
 are gau fired. 
 
F LORES HISTORIARUM P E R MATTH/EUM WESTMONASTER1KNSF.M C0LLEC1I 
 
 From Queen Elizabeth's Library. 
 
 Plate XLIV. 
 
PLATE XLIV. 
 
 99 
 
 There is another very interesting volume similarly bound in the 
 British Museum. It is a copy of the " Gospels of the Fower 
 Evangelists," dedicated to Queen Elizabeth by John Foxe the Martyr- 
 ologist, and printed by John Daye, 1 57 1. On the title-page is written — 
 "This was the Dedication Book presented to the Queenes owne 
 hands by Mr. Fox." 
 
 This has exactly the same design as is used on the Matthew of 
 Westminster ; but, being a smaller book, the solid gilt corners are 
 dispensed with, and the middle ornaments of the outer border in 
 white leather are omitted. 
 
 A considerable amount of interest is centred in these original 
 and beautiful pieces of binding, on account of the initials I. D. P. on 
 the labels in the outer corner ornaments — a satisfactory explanation of 
 which is still to be found. It has been suggested that these initials 
 stand for John Daye, Printer, but this conjecture seems to be doubtful, 
 because, although the volume of the Gospels is printed by Daye, the 
 Matthew of Westminster is printed by Thomas Marsh. 
 
 Both these volumes were bequeathed to the British Museum by 
 the Rev. C. M. Cracherode. 
 
PLATE XLV. 
 
 LES QUATRE PREMIERS LIVRES DES NAVIGA- 
 TIONS ET PEREGRINATIONS ORIENTALES, 
 DE N. DE NICOLAY DAUPHINOYS, SEIGNEUR 
 D'ARFEUILLE, VARLET DE CHAMBRE, & 
 GEOGRAPHE ORDINAIRE DU ROY. 
 
 AVEC LES FIGURES AU NATUREL TANT D'HOMMES QUE DE FEMMES 
 SELON LA DIUERSITE DES NATIONS, & DE LEUR PORT, MAINTIEN, 
 & HABITZ. 
 
 A Lyon, par Guillaume Roville, Avec privilege du Roy: 1568. 
 
 Folio. 
 
 certain amount of likeness is to be discovered 
 between the binding represented in this Plate 
 and the one shown in the previous plate. The 
 corners in white leather are worked like those 
 used in the volumes of Matthew of Westminster 
 and the " Gospels of the Fower Evangelists," 
 although the design is not the same. In the 
 centre of the side is inlaid and recessed a 
 
 painting in colours of Queen Elizabeth's arms with her initials. 
 
 The design round the arms in gold tooling is very bold and 
 handsome, and exhibits a strong Italian influence. The small scrolls 
 
LES QUATRF. PREMIERS LIVRES DES NAVIGATION'S, ETC. DE N. DE NICOI.AY DAUPHINOYS. 
 
 From Queen Elizabeths Libra))-. 
 
 Plate XLV. 
 
PLATE XLV. 
 
 IOI 
 
 at the top and bottom of this design are distinctly English, and 
 slightly out of harmony with it. They are somewhat similar to the 
 work associated with the house of Berthelet. At the four corners of 
 the centre design are Tudor roses, crowned. The roses are in blind 
 while the crowns are in gold. 
 
 Both sides of this volume are alike; the edges are gauffred. 
 
 From the Old Royal Collection. 
 
PLATE XLVI. 
 
 CLEMENTIS ALEXANDRINI OPERA. GR^CE. 
 
 {Colophon.) Cudebat Florentine Laurentius Torrentinus cum 
 Iulii III. Pont. Max. Caroli V. Imperatoris, Henrici Gal- 
 lorum Regis II. Cosmi Medicis Florent. Ducis II. Privi- 
 leges, m.d.l. Folio. 
 
 obert Dudley, Earl of Leicester, the courtier 
 and favourite of Elizabeth, has left his mark 
 on the history of bookbinding by reason of 
 the many fine bindings which were prepared 
 for him. This is a fine copy of a fine book 
 bound in brown calf, with elaborate gilt tool- 
 ing ; in the centre of the side is the Earl of 
 Leicester's crest — the bear and ragged staff — 
 and his initials R. D. This device is stamped in silver, the chain, 
 muzzle and collar of the bear being in gilt. The design in the 
 lozenge is powdered with stars, and the scrolls are well arranged in 
 a thoroughly characteristic manner. The back has bands, with a 
 simple ornament — a scroll and two stars — on each panel. 
 
CLEMENTIS ALEXANDRINI OPERA. 
 
 From the Library of Robert Dudley. Earl of Leicester. 
 
 Plate XL VI. 
 
PLATE XLVI. 103 
 
 On the title of this book is the inscription " Ex Bibliotheca 
 Medicea." 
 
 This is a very fine specimen of contemporary English binding. 
 
 It was bequeathed to the British Museum by the Right. Hon. 
 Thomas Grenville. 
 
PLATE XLVII. 
 
 LES QUESTIONS TUSCULANES DE MARC TULLE 
 CICERON: NOUVELLEMENT TRADUICTES DE 
 LATIN EN FRANCOYS, PAR ESTIENNE DOLET. 
 
 A Lyon, ches Sulpice Sabon : pour Antoine Constantin. [1543]. 
 
 Octavo. 
 
 homas Wotton (1 521-1587), the father of the 
 more celebrated Sir Henry Wotton, was a dis- 
 tinguished lover of books, who has been styled 
 the " English Grolier," and it will be seen from 
 this plate that the title was well deserved. 
 
 This volume is bound in brown calf, and 
 the bands of Grolier work are painted black. 
 On the upper cover the collector's name — THOM/E WOTTONI — is 
 placed in the centre of the side. On the lower cover the same place 
 is occupied by the words ET AMICORVM. 
 
Plate XL I //. 
 
 LES QUESTIONS TUSCULANES DE MARC TULLE CICERON. 
 
 From the Library oj Thomas J f 'otto//. 
 
PLATE XLVII. 
 
 I05 
 
 It is worthy of remark that the old binders were in the habit 
 of using the inferior leathers for their elaborate bindings. It is said 
 that morocco scarcely occurs as a book-covering in the Old Royal 
 Library until the reign of James I., and even then a large number 
 of the books of Henry Prince of Wales were bound in calf. 
 
 This book is from the Old Royal Collection. 
 
 p 
 
PLATE XLVIII. 
 
 LAERTII CHERUBINI DE NURSIA CIVIS ROMANI 
 & IN URBE PR/ESTANTISSIMI ADVOCATI 
 
 BULLARIUM. 
 
 SlVE NOVA COLLECTIO PLURIMARUM CONSTITUTIONUM APOSTOLICARUM 
 DIVERSORUM ROMANORUM PONT. A BEATO LEONE PRIMO USQUE 
 AD S. D. N. PAULUM QUINTUM QU/E amplioribus quam antea 
 lucubrationibus illustrata septingentis & triginta duabus, 
 tam antiquorum, quam successorum romanorum pontificum, 
 in priori eius collection e non editis sanctionibus, locu- 
 pletata ; juxta seriem temporum disposita | in tres tomos 
 distincta ; aiendis innumeris expurgata ; quadruplici indice 
 exornata ; diuque desiderata ; in lucem prodit. cum p'rivi- 
 legiis. superiorum permissu. 
 
 Rom.e ex Typographia Camer/E Apostolice. m . dc . xvii. Folio. 
 
 all our English kings, none showed so much 
 taste in bookbinding as James I. The British 
 Museum contains a large number of handsomely- 
 bound books which belonged to that monarch, 
 and they are among the finest pieces of work 
 that have ever been produced in England. James 
 adopted from the French the system of covering 
 the side of a book with the repetition of a 
 
ifttmt-fJjjpi 
 
 ^tftf ftf^ i 
 
 1 1 1 1 1 1 t^il 
 
 itt t 1 1 1 t 1 tt + 1 i 
 
 f 1 t 1 1 t-ji Hn« 
 
 ft 1 1 ttAjgBtt t f ft 
 
 f tttffiSpi.tttt 
 
 f t t t^Kf t f f 
 t tttt^^^ft f f t. 
 
 1 1 t f t f f 1 1 t f f 
 
 ft t f f t f t t t f /t 
 Mt t 1 1 f t f tft " ' 
 
 St 1 1 t 1 1 1 
 iLt t t 1 1 f, 
 
 ll&YlHL f t t ❖ t 
 ^j^f f t t * 
 
 Plate XL VIII. 
 
 LAERTII CHKRUBINI DE NURSIA CIVIS ROMANI, BUIXARIUM, ETC 
 
 From the Library of King James I. 
 
PLATE XLVIII. 
 
 single object, and he showed considerable originality in the choice 
 of the object for repetition. 
 
 The volume reproduced in this plate is bound in red-brown 
 morocco, with the royal arms of England, Scotland, and Ireland on 
 the sides, and solid ornaments of an original character in the corners. 
 The groundwork of the side is covered with figures resembling a 
 trident. These are very effective, although they are rather irregularly 
 tooled. At each of the four corners of the outer border is placed a 
 similar ornament. 
 
 This book is from the Old Royal Collection. 
 
PLATE XLIX. 
 
 PONTIFICALE ROMANUM CLEMENTIS VIII. 
 PONT. MAX. JUSSU RESTITUTUM ATQUE 
 EDITUM. 
 
 ROMAE. M . D . XCV. FOLIO. 
 
 {Colophon.) 
 
 Romae, apud Jacobum Lunam. Impensis Leonardi Parasoli 
 & sociorum. m . d . xcv. ex authoritate superiorum. 
 
 n the binding of this book the binder employed 
 by James I. excels himself, for we have here a 
 noble volume beautifully bound. It is covered 
 in brown morocco, elaborately tooled with 
 alternate rows of thistles and fleurs - de - lys, 
 interspersed between which are small roses. 
 In the centre are the royal arms of England, 
 Scotland, and Ireland, surrounded by the garter 
 
 and surmounted by a crown. The outer border is very elegant and 
 unobtrusive. 
 
 The back is fine, and, like the sides, is ornamented with thistles, 
 fieurs-de-lys, and roses. 
 
PONTIKICALE ROM AN I'M CLEMENTIS VIII. PONT. MAX. 
 
 From t/ie Library of King James I. 
 
 Plate XLIX. 
 
PLATE XLIX. 
 
 IO9 
 
 A piece of binding like this discovers the English binder at his 
 best, and shows what he is able to perform when he is required to 
 do elaborate work. 
 
 This book may be placed by the side of some of the fine 
 bindings of France, with confidence that it will hold its own in the 
 competition. 
 
 This book is from the Old Royal Collection. 
 
/ 
 
 PLATE L. 
 
 LES VRAIS POURTRAITS ET VIES DES HOMMES 
 ILLUSTRES GRECS, LATINS, ET PAYENS. 
 RECUEILLIS DE LEUR TABLEAUX, LIVRES, 
 MEDALLES ANTIQUES ET MODERNES. PAR 
 ANDRE THEVET ANGOUMOYSIN, PREMIER 
 COSMOGRAPHE DU ROY 
 
 A Paris, Par la vefve I. Keruert Et Guillaume Chaudiere, 
 Rue St. Jacques. 1584. Avec privilege du Roy. Folio. 
 
 his is a most exquisite piece of binding in dark- 
 green morocco, with a singularly elegant and 
 delicate design on the sides ; but it is scarcely 
 possible to believe it to be English work. It 
 was probably produced by one of the very first 
 French binders, and it shows the taste of 
 James I. that he should have ordered such a 
 binding, and been willing to pay the cost, for 
 the amount of time expended upon this beautiful volume must have 
 been very considerable. 
 
 It is not easy to write in measured terms of the beauty of the 
 design exhibited on the side. It will bear minute inspection ; but 
 the whole design is in such exquisite harmony that no portion 
 obtrudes itself upon the eye. 
 
PLATE L. 
 
 I I I 
 
 The shield containing the arms of England, Scotland, and Ire- 
 land, in colour in the centre of the side, is inlaid, and may have 
 been added in England and placed in the open space left for it, or, 
 what is perhaps more probable, the shield originally contained James's 
 arms as King of Scotland, and the present shield was made to 
 replace it when the King obtained the English throne. 
 
 It may perhaps be added that this binding has been ascribed 
 to John Gibson of Edinburgh, who held the office of binder to the 
 king, with an annual salary of £2.0 Scots. 
 
 This book is from the Old Royal Collection. 
 
PLATE LI. 
 
 JULII FERRETTI RAVENNATIS I. U. D. AEQUITIS, 
 COMITISQUE LATERANENSIS PALATII, DE RE 
 ET DISCIPLINA MILITARI, AUREUS TRAO 
 TATUS ; 
 
 Ac Coelestis, Spiritualis, Legalis, Armatae, Instauratae, ET 
 Illustratae Militiae Praeceptis : Antiquorum exemplis, 
 
 NEC NON ET RECENTIUM GESTIS MUNITUS : Ad COMMUNEM 
 
 omnium Principum, Jurisconsultorum, Militumq; utilitatem 
 
 NUNC PRIMUM IN LUCEM ^EDITUS. Cui ACCESSERUNT SuMMjE CUM 
 
 Repertorio locupletissimo, ut facilius quje memoria DIGNA 
 sunt, Alphabetico ordine inveniantur. Cum Privilegiis. 
 Venetiis, Apud Bologninum Zalterium. M . D . LXXV. 
 
 GUIDIU BALDI E MARCHIONIBUS MONTIS 
 MECHANICORUM LIBER. 
 
 plsauri, apud hleronymum concordiam m.d.lxxvii. cum llcentia 
 superiorum. 
 
 In one volume folio. 
 
 rince Henry of Wales inherited from his 
 father the love of fine bindings, and during 
 his short life he gathered around him a large 
 number of beautiful books. 
 
 The fine volume here reproduced is bound 
 in light brown calf with solid corners, some- 
 what similar to those used on a volume 
 
PLATE LI. 
 
 113 
 
 belonging to James I. (Plate xlviii.), and is thickly studded with 
 fleurs-de-lys. The handsome coat of arms in gold has the label of 
 the eldest son added in silver. 
 
 The back is good, and is covered with stars ; there is an orna- 
 ment between on six of the panels. 
 
 This volume was purchased for the British Museum in 1837. 
 
 Q 
 
PLATE LI I. 
 
 GERMANOGR^ECI^E LIBRI SEX: 
 
 In quorum prioribus tribus, Orationes : in reliquis Carmina, 
 Gr/eca & Latina, continentur. Ob Gr/ecje Lingua Studium, 
 quod jampridem alpes in germaniam transvolavit, diligenter 
 retinendum, & ad plurimarum rerum, qu^e ab anno cio . 13 . 
 lxvi. usque ad tempus pr^sens contigerunt, non injucundam 
 
 COGNITIONEM, EDITI. AUCTORE MARTINO CrUSIO, UTRIUSQUE 
 
 lingu/e in Tybingensi Academia Professore. Cum Indice 
 copiosissimo. 
 Cum gratia & Privilegio Cjes. Maiest. 
 
 Basile/E. Per Leonardum Ostenium, Sebastiani Henricpetri 
 impensa. [1585.] Folio. 
 
 oses uncrowned would make excellent corner orna- 
 ments; but little can be said in favour of crowns 
 placed upside down, which are only kept in 
 position by a defiance of the ordinary laws of 
 gravitation. 
 
 This is another of the books belonging to 
 Henry, Prince of Wales, and it is interesting 
 
GERMANOGRiECMS LIBRI SEX, ETC. AUCTORE MARTINO CRUSIO. 
 From the Library of Henry, Prince of Wales. 
 
PLATE LII. 
 
 115 
 
 on that account ; but it is not elegant. The corner ornaments, 
 besides the defect just alluded to, are much too large. The arms 
 in the centre of the side have the label of the eldest son in silver, 
 like the volume represented in the last plate. 
 
 The binding is of brown calf. 
 
 This book is from the Old Royal Collection. 
 
PLATE LI 1 1. 
 
 DE OMNIBUS AGRICULTURE PARTIBUS, & 
 DE PLANTARUM ANIMALIUMQ ; NATURA 
 & UTILITATE LIB. XII. NON MINUS PHILO- 
 SOPHISE & MEDICINE, QUAM (ECONOMISE, 
 AGRICOLATIONIS, PASTIONUMQUE STUDIO- 
 SIS UTILES. 
 
 Per longo rerum usu exercitatum optimum agricolam & 
 Philosophum Petrum Crescentiensem principem Reipub. 
 bononiensis, probata fide & doctrina conscripti ad carolum 
 
 SlCILIE REGEM, ANTE AN. CXXX. Ad AUTORIS TEMPORE SCRIPTA 
 EXEMPLARIA DENUO COLLATI & EMENDATE 
 
 {Colophon.) 
 
 Basiled, Per Henrichum Petri, Mense Martio, anno m.d.xlviii. 
 
 uch variety is exhibited on the bindings of Prince 
 Henry's books, and in this specimen the Prince 
 of Wales's feathers replace the royal arms in 
 the centre of the side. The feathers are 
 stamped in silver and the crown is gilt. On 
 each side of this badge is arranged a portion 
 of the line from Horace, " O et Presidium et 
 dulce decus meum." Outside these two lines of 
 
flah LIU. 
 
 DE OMNIBUS AGRICULTURE PARTIBUS, ETC. 
 
 From the Library of Henry, Prince of Wales. 
 
PLATE LIII. 
 
 117 
 
 inscription are the initials H. P. The corner ornaments are in solid 
 gilt, and are like those of some other of the books of James I. and 
 Henry, Prince of Wales, in general conception, although they differ 
 in detail. 
 
 In the outer border a thistle is placed at each corner. 
 
 The volume is bound in dark brown calf. It belongs to the 
 Old Royal Collection. 
 
PLATE LIV. 
 
 APHORISMES CIVILL AND MILITARIE ; 
 
 Amplified with Authorities, and exemplified with Historie, 
 
 OUT OF THE FIRST QuARTERNE OF Fr. GuiCCIARDINE. [By SlR 
 
 Robert Dallington.] 
 Lip. de Guicciard. Prudens peritusque Scriptor, & qui tales 
 Lectores suos facit. 
 
 Basil. Rex, de Hist. 
 Per historias veteres ire ne recusa. Ibi enim reperies sine 
 
 LABORE, QUaE ALIJ CUM LABORE COLLEGERUNT, ATQUE ILLINC 
 HAURIES, & BONORUM VIRTUTES, & IMPROBORUM VITIA : VIT^E 
 HUMANE VARIAS MUTATIONES, & RERUM IN EA CONVERSIONES : 
 MUNDI HUIUS INSTABILITATEM, & IMPERIORUM INSTABILES CASUS : 
 Et UT VERBO COMPLECTAR, MALORUM FACINORUM PCENAS, & 
 
 bonorum pr/emia : quorum illa fugies, ne in divine institi^e 
 manus incidas ; h^ec amplecteris, ut pr^emijs qu^ ea 
 comitantur potiaris. 
 
 London. Imprinted for Edward Blount, 1613. Folio. 
 
 [The book is dedicated to Prince Charles, and contains a 
 Portrait of him in the thirteenth year of his age.] 
 
 ore taste is exhibited in the binding of this 
 volume belonging to Prince Charles (afterwards 
 Charles I.) than in those of his brother Henry, 
 Prince of Wales. 
 
 The corner ornaments are very elegant and 
 beautifully tooled, while the shield of arms is 
 placed on the side rather askew. 
 
APHORISMKS CIVILL AND MILITAKIE OUT OF F. GUICCI ARUINK. 
 
 From the Library of Charles, Prince of Wales. 
 
 J'lale LIV. 
 
PLATE LIV. 
 
 II 9 
 
 There are signs of a strong foreign influence in the scrolls of 
 this binding, and the lightness of treatment contrasts very strongly 
 with the heaviness of the three previous specimens of English 
 binding. 
 
 The leather is olive morocco. 
 
 This volume belongs to the Old Royal Collection. 
 
PLATE LV. 
 
 THE ACTIONS & DOCTRINE & OTHER PAS- 
 SAGES TOUCHING OUR LORD & SAVIOR 
 JESUS CHRIST, AS THEY ARE RELATED BY 
 THE FOURE EVANGELISTS. 
 
 Reduced into one Complete Body of Historie, wherein That 
 w ch is Severally Related by them is Digested into Order : 
 and that, w ch is jointly related by all or any two or 
 more of them is flrst expressed in their own words, by 
 way of Comparison, and Secondly brought into one Narra- 
 tion by way of Composition, and Thirdly extracted into 
 one cleare Context by way of Collection Yet so as 
 whatsoever is omitted in the context is inserted by way 
 of Supplement in another Print. In such manner as all 
 the Foure Evangelists may be read severally from First 
 to Last. To w ch are added Sundry Pictures expressing 
 either the facts themselves or their types & figures or 
 other Matters appertaining thereunto. An° m . dc . xxxv. 
 Folio. 
 
 [Compiled for King Charles I. by Nicholas Ferrar and his 
 Family at their religious establishment at Little Gidding 
 in 1635.] 
 
 itt le Gidding, in Huntingdonshire, where 
 Nicholas Ferrar, with his mother, his brother 
 John, his sister Mrs. Collet, and a large family 
 of nephews and nieces (one of them being the 
 famous Mary Collet), settled in 1626 and formed 
 an establishment which was popularly named 
 the Protestant Nunnery, occupies a place of 
 honour in the history of religious England. 
 
THE ACTIONS AND DOCTRINES, ETC., TOUCHING OUR LORD JESUS CHRIST. 
 
 Plafe LV. 
 
 Bound for King diaries I. by Mary Collei. 
 
PLATE LV. 
 
 121 
 
 No less important is it as giving occasion for an interesting chapter 
 in the history of English bookbinding. 
 
 The chief works produced by the Ferrars and the Collets were 
 Harmonies of the Bible, which were compiled with much skill, and 
 consisted of printed books and prints cut up and pasted down in a new 
 order. Besides the production of the inside of these books, the binding 
 owes its origin to these industrious amateurs. " An ingenious book- 
 binder was entertained to instruct the whole family in the art of binding, 
 gilding, lettering, and pasting — printing by use of the roller press." 
 The volume here described was prepared for Charles I., and the king, 
 when he accepted it, said : " Truly I prize this as a rich and rare jewel ; 
 the substance of it is of the best alloy in the world, and ought to be 
 the only desirable book ; and for the skill, care, and cost used in it there 
 is no defect, but a superlative diligence in all about it. I very much 
 thank them all. God's blessing on their hearts and painful hands." 
 
 It will be seen from this plate that the design of the binding is 
 built up out of a variety of tools, very much in the same way as the 
 book itself is made up of print and plates harmoniously joined together. 
 The same wealth of labour seems to have been expended upon the cover 
 that was spent on the book itself. According to Peckard, the biographer 
 of Nicholas Ferrar, this volume was bound by the now famous Mary 
 Collet. Two years after its production Nicholas Ferrar died. 
 
 There is a popular idea that most of the bindings produced by the 
 so-called Nuns of Little Gidding were formed of embroidery ; but this 
 does not appear to be the case, for in the list of ten Harmonies given by 
 Captain J. E. Acland Troyte, as an appendix to his interesting paper in 
 Archeologia (vol. 51, p. 189), no instance of an embroidered cover is 
 given. Six out of the ten are bound in leather, and four are covered in 
 velvet and stamped with gold. 
 
 This volume came into the possession of the British Museum on 
 the presentation of the Old Royal Library by George II. 
 
 R 
 
PLATE LVI. 
 
 THE BOOK OF COMMON - PRAYER AND AD- 
 MINISTRATION OF THE SACRAMENTS, AND 
 OTHER RITES AND CEREMONIES OF THE 
 CHURCH, ACCORDING TO THE USE OF THE 
 CHURCH OF ENGLAND. 
 
 Together with the Psalter or Psalms of David, pointed as 
 they are to be sung or said in churches i and the form 
 and Manner of Making, Ordaining, and Consecrating of 
 Bishops, Priests, and Deacons. 
 
 London. Printed by His Ma ties Printers. Cum Privilegio. 
 mdclxix. Folio. 
 
 his very beautiful piece of English binding in 
 red morocco shows what fine work English 
 artists could produce. The binders who orna- 
 mented the Bibles and Prayer-books of the 
 seventeenth and eighteenth centuries have not 
 had justice done to them. 
 
 The design here reproduced is specially 
 interesting, from the union of the distinctly English cottage orna- 
 ments and the sprays of leaves which are as distinctly characteristic 
 of the great French binders. The execution of the tooling is perfect, 
 
Plate LVI. 
 
 BOOK OF COMMON PR AVER MDCLXIX. 
 
 From the Library of King Charles II. 
 
PLATE LVI. 
 
 123 
 
 and too great praise cannot be given to the manner in which the 
 exquisite lace-work is carried out. The band which forms the cottage 
 ornament, and is carried completely round the side, is inlaid with a 
 black leather. The small crowned cipher of Charles II. is introduced 
 with much good taste. 
 
 The edges are painted under the gold with the King's cipher, 
 and a crown. 
 
 This book belongs to the King's Library. 
 
 » 
 
DEPARTMENT OF PRINTED BOOKS. 
 
 VII. 
 BINDINGS 
 
 OF THE 
 
 EIGHTEENTH AND NINETEENTH CENTURIES. 
 
PLATE LVII. 
 
 A PARAPHRASE AND ANNOTATIONS UPON ALL 
 
 ST. PAUL'S EPISTLES. 
 
 Done by several Eminent Men at Oxford, Corrected and 
 Improv'd by the late Right Reverend and Learned 
 Bishop Fell. 
 
 The Third Edition with Additions. 
 
 London. Printed for R. Smith at the Angel and Bible 
 without Temple-Bar, 1702. Octavo. 
 
 o distinctive a piece of fine English binding as 
 
 is shown in this plate is not often seen. The 
 
 book is bound in red morocco with a centre of 
 purple morocco inlaid. 
 
 The design of the centre is exceedingly 
 good, as is the lace border and ornaments at 
 the four corners. The design of the portion 
 
Plate LVII. 
 
 A PARAPHRASE AND ANNOTATIONS UPON ST. PAUL'S EPISTLES. 
 
 English binding of the beginning of the XVII Jth century. 
 
PLATE LVII. 
 
 127 
 
 of the side outside the centre-piece is rather too straggling, but the 
 whole side exhibits a fine specimen of careful tooling. 
 
 The back is good ; it has bands, and the panels are alternately 
 of red and purple leather. 
 
PLATE LVIII. 
 
 CICERO. DE ORATORE. 
 BEGIN [fol. i recto] Cogitanti mihi sepe numero & memoria 
 
 VETERA REPETENTI PERBEATI FUISSE, ETC. 
 
 END. [fol. 91 verso] Finiti et cotinuati sunt supra dicti libri 
 M. T. C. Rome per me Ulricum . Han. de wiena . Anno 
 domini . mlllesimo quadringentesimo sexagesimo octavo 
 Die Quinta . Mensis . Decembris. 
 
 [Without title-page or pagination. The initial letters are 
 illuminated.] Quarto. 
 
 oger Payne is by far the most famous of 
 English binders, and he obtained his fame as 
 much by the care with which he prepared and 
 forwarded his books as by the elegance of his 
 taste. 
 
 This volume is bound in red morocco, 
 with the arms and crest of the Rev. C. M. 
 Cracherode (for whom it was bound) on the side ; the borders are 
 very elegant and exquisitely tooled. The inner lining of red morocco 
 is ornamented, with two plain gilt lines and delicate tools at the four 
 corners. The end-papers are of the dark purple colour, which was 
 much favoured by Payne. 
 
CICERO DE ORATOR E. 
 
 Bound by Ro«er Payne for the Rev. C. M. Cracherode. 
 
 Plate LVIIT. 
 
PLATE LVTII. 
 
 129 
 
 Another volume in the Cracherode Collection, somewhat similarly 
 bound by Payne, has the binder's bill inside, and is quoted here as 
 giving a good idea of the work which was expended upon the books 
 which were placed under his care. 
 
 " Euripidis Quae Extant omnia. Very Large Copy. Bound in the very 
 best manner in the finest darkest Blue Turkey, Gilt Leaves not Cutt. 
 
 " The Back lined with Russia Leather no false Bands fine Drawing paper 
 inside of ye Colour of the Book morrocco joints double fillited & fine dark 
 purple paper inside. 
 
 " The back richly finished with small Tools in Compartments very correct 
 Letterering {sic) for Workmanship. The outsides finished with Rich small-Tool 
 gold Borders of measured work & corners vellum & morrocco under the silk 
 Head-bands so as never to break, very great care has been taken in the 
 Beating and beat several times and great care in pressing . . 3:3:0 
 
 " Some Sheets was of a very bad colour and had gott the dry rott, these 
 are all putt to rights & refreshed. 
 
 " NB Not any Aqua-Fortis has been used in the washing. Some Leaves 
 had been broken by the printing types, these took also a good deal of time 
 to mend them very neat and some Wrinckles which took a good deal of time, 
 one leaf for instance (page 47) took a full days Work, the Weak Leaves was 
 also very neatly sized, strong and clean . . . . .1:6:0 
 
 4:9:0 
 
 " It was a very difficult Book to Beat, Bind and putt to rights and is 
 now the finest & largest copy I ever had to do." 
 
 s 
 
PLATE LIX. 
 
 LA SAINTE BIBLE. 
 
 Traduite sur les Textes originaux, avec les differences de 
 la Vulgate. 
 
 A Cologne, aux depens de la Compagnie. 1739. Duodecimo. 
 
 e Monnier, or Monnier, is a name borne by 
 several distinguished binders of the same 
 family. The name appears to be properly 
 Le Monnier, but most of the members of the 
 family dropped the prefix. Mons. Gruel, in 
 his Manuel de V Amateur de Reliures, mentions 
 Jean Lemonnier, Laurent Lemonnier, Andre 
 Lemonnier, Francois - Laurent Le Monnier, 
 Louis- Francois Le Monnier, Pierre Le Monnier, Francois -Laurent 
 Le Monnier (II), Jean Charles Henri Le Monnier. 
 
 The book here represented is a magnificent example of inlaid 
 work by one of these artists. It is bound in red morocco, and 
 inlaid with cream and olive coloured leathers. On the lower cover 
 the binder's name is stamped on the lower leaf of the centre spray 
 — as Monnier. The workmanship is perfect, and the volume is now 
 
LA SAINCTE BIBLE — COLOGNE, I 7 39. 
 Bound by Lemonnier. 
 
 Plate LIX. 
 
PLATE LIX. 
 
 in the most beautiful condition, mellowed by time, and yet as sound 
 as when first bound. 
 
 The inside lining is of blue silk. The back is good, with small 
 bands. 
 
 This volume was bequeathed to the British Museum by Mr. 
 Felix Slade. 
 
PLATE LX. 
 
 OFFICE DE LA SEMAINE SAINTE, LATIN ET 
 
 FRANCOIS, A L'USAGE DE ROME ET DE 
 PARIS.' 
 
 Avec l'explication des Ceremonies de l'Eglise. Nouvelle 
 Edition. 
 
 A Paris, chez Antoine Dezallier, rue Saint Jacques, X la 
 couronne d'or. m . dccxii. 
 
 Avec Privilege de Sa Majeste pour cinquante ans. 
 
 he binding here represented is a very elaborate 
 and brilliant piece of mosaic, attributed to 
 Nicholas Padeloup. The volume is bound in' 
 light brown morocco, inlaid with red morocco. 
 It is a good specimen of a simple design re- 
 produced over the whole side. 
 
 In the inside is a very fine double of red 
 morocco, with the arms of Francoise Marie de Bourbon (1677- 1749), 
 called Mademoiselle de Blois. She was daughter of Louis XIV. 
 and Madame de Montespan, and married, in 1692, Philippe, Due 
 
Plate LX. 
 
 OFFICE DE LA SEMAINE SAINTE. 
 
 Pound by N. Padeloup. 
 
PLATE LX. I33 
 
 d'Orleans, afterwards Regent of France. There is a gilt paper 
 lining. 
 
 The back is good and has bands. 
 
 This volume was bequeathed to the British Museum by Mr. 
 Felix Slade. 
 
PLATE LXI. 
 
 LA GRAND DANSE MACABRE DES HOMES ET 
 DES FEMES HYSTORIEE ET AUGMENTEE 
 DE BEAULX DICTZ EN LATIN. 
 
 le debat du corps et de lame. 
 La complaincte de lame damnee. 
 Exhortation de bien vivre et bien mourir. 
 La vie du maulvais Antechrist. 
 Les quinze signes. 
 Le iugement. 
 
 On les vend a Lion sur le Rosne, par Pierre de Sainctelucif. 
 dict le Prince, Imprimeur pres nostre Dame de Confort. 
 
 {Colophon^ 
 
 Imprime a Lyon, part Pierre de Sainctelucie dict le prince 
 le xv. iour de mars. lan mil . ccccclv. quarto. 
 
 his plate and the following one represent two 
 very beautiful French bindings of the nine- 
 teenth century, and close a collection of bind- 
 ings illustrative of the art of many centuries. 
 
 This thin volume is bound in polished 
 dark green morocco, inlaid with red morocco. 
 The side is elaborately tooled with a rich 
 
Plate IX/. 
 
 LA GRANDE DANSE MACABRE. 
 
 Bound by Duru. 
 
PLATE LXI. I35 
 
 centre and border, and the delicate pattern is worked out with 
 exquisite clearness. The death's - heads inserted in the border as 
 appropriate to the subject of the book scarcely harmonise well with 
 the prettiness of the design, and seem to introduce a rather dis- 
 cordant note. 
 
 The back is pretty, and there is some fine tooling inside ; 
 altogether this is a very fine specimen of modern French binding 
 by Duru. 
 
 This book was purchased by the Trustees in 1852. 
 
PLATE LXII. 
 
 CEST LE MISTERE DE LA RESURRECTION DE 
 NOSTRE SEIGNEUR IESUCRIST. 
 
 IMPRIMEE A PARIS. [1495?] 
 
 [Colophon) Cy finist le mistere de la resurrectio de nostre 
 
 SEIGNEUR IHESUCRIST COMPOSE PAR MAISTRE IEHAN MICHEL . ET 
 IOUE A ANGIERS TRIUPHAMENT DEUAT LE ROY DE CECILE. 
 
 Imprime a paris pour Anthoine Verard LIBRAIRE DEMOURANT 
 sur le pont nostre dame a lenseigne de saint iehan 
 leuangeliste . ou au palais au pmier piler deuat la 
 chappelle ou len chante la messe de messeigneurs les 
 presidens. Folio. 
 
 nother fine specimen of modern French binding 
 by Thouvenin is here. 
 
 This beautiful volume is bound in polished 
 brown morocco, richly gilt, and the design on 
 the side is worked out with the most perfect 
 technical skill. This design is new, but it is 
 built up of several well-known ornaments. A 
 very pleasing effect is obtained by the use of an untooled border 
 round the richly-tooled portion of the side. 
 
Plate LXII. 
 
 LE MISTERE DE LA RESURRECTION DE NOSTRE SEIGNEUR IESUCRIST. 
 
 Bound by Thouvenin. 
 
PLATE LXII. 
 
 '37 
 
 There is a beautiful doubld of red morocco richly tooled with a 
 different design in a border of brown morocco. 
 
 The name of the artist is found on the end cover at the foot of 
 the dottbld and on the lower panel of the back. 
 
 This book was purchased by the Trustees in 1847. 
 
 T 
 
TABLE. 
 
 Binomoe of Manuscripts in 3vonp, flfcetai, Enamel, fl>aintm<j. 
 
 ATE PAGB 
 
 I. PSALTER OK MELISENDA ... . 2 
 
 Covers of Carved Ivory. 
 
 II. GOSPELS OF ST. LUKE AND ST. JOHN. IN LATIN . . 4 
 
 Binding of Limoges Enamel. 
 
 III. EVANGELIA QUATUOR ..... ... 6 
 
 Binding of Silver and Precious Stones. 
 
 IV. THE FOUR GOSPELS .......... 8 
 
 Binding of champleve Enamel : border studded with Crystals. 
 
 V. EVANGELIARIUM IN DIES FESTOS TOTIUS ANNI . . . . io 
 
 Binding of blue Velvet, with painted Plaque. 
 
 VI. COMMISSION OF THE DOGE OF VENICE TO ZORZ1 HEM BO . . i-' 
 
 Binding of embossed Silver Plates. 
 
 Bmomos of flDanuscripts tn Xeatber. 
 
 VII. COMENTARIA RERUM GESTARUM APUD SANCTUM DIGER1UM A P. CAROLO V. 16 
 Bound in brown leather with gold tooling for Henry VII I. 
 
 VIII. ALPHABETICAL LISTS OF COUNTRIES AND CITIES . . 18 
 
 Bound in brown leather for Edward VI. 
 
 IX. VOYAGES OF JOSAPHAT BARBARO ....... 20 
 
 Bound in light brown calf for Edward VI. 
 
 X. DEUX LIVRES D'ISOCRATHES ...... .22 
 
 Binding with ornament of coloured interlaced work, inlaid. 
 
I40 TABLE. 
 
 PLATE 
 
 XI. MANNER AND FORM OF HOLDING PARLIAMENT 
 Interlaced design, painted. 
 
 XII. DOCUMENTS RELATING TO THE COUNCIL OF TRENT 
 
 Italian binding: Grolier design. 
 
 XIII. ORDO MISS/E CELEBRAND.E PER PONTIFICEM, ETC. 
 
 In Italian binding of the Sixteenth Century. 
 
 XIV. COMMISSION FROM VENERIO, DOGE OF VENICE 
 
 /;/ dark red leatfur. Venetian. A.D. 1554. 
 
 XV. COMMISSION FROM PRIULI, DOGE OF VENICE 
 In dark red leather. Venetian. A.D. 1564. 
 
 XVI. ACTS OF INVESTITURE GRANTED TO BONARELLI OF ANCONA . 
 In Italian binding. Oriental pattern. Circa A.D. 1568. 
 
 XVII. STATUTES AND ORDINANCES OF VENICE . . . . 
 
 In Italian binding. Oriental pattern. Late Sixteenth Century. 
 
 XVIII. SERVICE-BOOK OF THE CATHEDRAL AT RATISBON . 
 In Italian binding. Late Sixteenth Century. 
 
 XIX. CARTA DI HIDALGUIA, FROM PHILIP II. . 
 /;/ Spanish binding. A.D. 1589. 
 
 XX. CARTA DI HIDALGUIA, FROM PHILIP III. . . . . 
 
 /;/ Spanish binding. A.D. 1604. 
 
 XXI. HISTORY OF SOLOMON'S RING, ETC. . . . . . 
 
 Italian Binding, with Royal Anns of Spam. A.D. 1644. 
 
 XXII. ENGLISH AND ITALIAN SONGS ...... 
 
 English binding, with Arms of Queen Anne. 
 
 Bmfcmos m Embrotoerefc) SUr anfc Dclvet. 
 
 XXIII. DESCRIPTION DE TOUTE LA TERRE SAINCTE . 
 
 Embroidered binding, belonging to Henry VIII. 
 
 XXIV. IL PETRARCHA .......... 
 
 Embroidered binding, belonging to Queen Katharine Parr. 
 
 XXV. DE ANTIQUITATE BRITANNIC/E ECCLESI^E . . . . 
 
 Embroidered binding, bdonging to Queen Elizabeth. 
 
TABLE. 141 
 
 PLATE PAGE 
 
 XXVI. ACTA SYNOD] NATIONALIS DORDRECHTI ..... 56 
 
 Embroidered binding, belonging to King James I. 
 
 XXVII. EMBLEMES CIIKESTIENS 1NVENTEZ PAR GEORGETTE DE MONTENAY . 58 
 Embroidered binding, belonging to Prince Charles (afterwards Charles I.) 
 
 XXVIII. HOLY BIBLE. A.D. 1674 ......... 60 
 
 Embroidered binding, belonging to King James II. 
 
 3talian ano German Bindings of the Sixteenth ano Seventeenth 
 
 Centuries. 
 
 XXIX. JULII CESARIS BELLI GALLICI COMMENT ARII, ETC. .... 64 
 From the Library of Tommaso Maioli. 
 
 XXX. POLYDORI VERGILLII ANGLICAE HISTORIAE LIBRI XXVI. .... 66 
 From the Library of Demetrio Canevari. 
 
 XXXI. DER STAT NURMBERG VERNEUTE REFORMATION ..... 68 
 German binding of the end of the X Vlth century. 
 
 jfrencb Binoinos of tbe Sixteenth ano Seventeenth Centuries. 
 
 XXXII. WITICHINDI SAXONIS RERUM AB HENRICO ET OTTONE I. IMPP. LIBRI III. . 72 
 Frotn the Library of Jean Grolier. 
 
 XXXIII. IL PRENCIPE DI NICOLO MACHIAVELLI, ETC. ...... 74 
 
 From the Library of Jean Grolier. 
 
 XXXIV. LE LIVRE DES STATUTS DE L'ORDRE DU SAINCT ESPRIT ... 76 
 
 Bound by Nicolas Eve for Henri LI I., King of France and Poland. 
 
 XXXV. L'HISTOIRE DES FAICTS, GESTES, ET CONQUESTES DES ROYS, ETC. . . 78 
 
 Bound by Nicolas Eve. 
 
 XXXVI. CL. CLAUDIANUS, THEOD. PULMANNI CRANEBURGII DILIGEXTI A . . 80 
 
 Bound by Clovis Eve. From the Library of Marguerite de Valois. 
 
 XXXVII. DIONYSII AREOPAGIT/E OPERA QU/E EXTANT ..... 82 
 
 From the Library of Catharine de Medicis. 
 
 XXXVIII. FRANCISCI PETRARCH/E OPERA OMNIA ....... 84 
 
 With Medallions of Cato and Cicero. 
 
142 TABLE. 
 
 PLATE PAGE 
 
 XXXIX. VALERII MAXIMI DICTORUM FACTORUMQUE MEMORABILIUM LIBRI IX. . 86 
 
 Bound by Nicolas Eve. From the Library of De Thou. 
 
 XL. HISTORIA BELLI DACICI ; AUCTORE F. ALFONSO CIACONO ... 88 
 Bound by Le Gascon. 
 
 j£nolteb 36momos of tbe Sixteenth ano Seventeenth Centuries. 
 
 XLI. PETRI BEMBI CARDINALIS HISTORIA ....... 92 
 
 From King Edward the Sixth's Library. 
 
 XLII. EL FELICISSIMO VIAIE DE DON PHELIPPE, POR JUAN CALVETE DE ESTRELLA 94 
 From the Library of Edward VI. 
 
 XLIII. EPITOME OMNIUM OPERUM AUGUSTINI EPISCOPI HIPPONENSIS . 96 
 
 From Queen Mary's Library. 
 
 XLIV. FLORES HISTORIARUM, PER MATTH/EUM WESTMONASTERIENSE M COLLECTI . 98 
 From Queen Elizabeth's Library. 
 
 XLV. LES QUATRE PREMIERS LIVRES DES NAVIGATIONS, ETC., DE N. DE NICOLAY 
 
 DAUPHINOYS .......... 100 
 
 From Queen Elizabeth's Library. 
 
 XLVI. CLEMENTIS ALEXANDRINI OPERA ....... 102 
 
 From the Library of Robert Dudley , Earl of Leicester. 
 
 XLVII. LES QUESTIONS TUSCULANES DE MARC TULLE CICERON . . .104 
 
 Fro7ii the Library of Thomas Wotton. 
 
 XLVIII. LAERTII CHERUBINI DE NURSIA CIVIS ROMANI BULLARIUM, ETC. . . 106 
 
 From the Library of King fames I. 
 
 XLIX. PONTIFICALE ROMANUM CLEMENTIS VIII. PONT. MAX. . . . .108 
 
 From the Library of King James I. 
 
 L. LES VRAIS POURTRAITS ET VIES DES HOMMES ILLUSTRES, PAR ANDRE 
 
 THEVET .......... .110 
 
 From the Library of King James I. 
 
 LI. J. FERRETTI DE RE ET DISCIPLINA MILITARI AUREUS TRACTATUS . .112 
 
 From the Library of Henry, Prince of Wales. 
 
 LII. GERMANOGR/ECLE LIBRI SEX, AUCTORE MARTINO CRUSIO . . .114 
 
 From the Library of Henry, Prince of Wales. 
 
TABLE. 143 
 
 PLATE PAGE 
 
 LIII. DE OMNIBUS AGRICULTUR/E PARTIBUS, ETC. . . . . . .116 
 
 From the Library of Henry, Prince of Wales. 
 
 LIV. APHORISMES CIVILL AND MILITARIE OUT OF F. GUICCIARDINE . .118 
 
 From the Library of Charles, Prince of Wales. 
 
 LV. THE ACTIONS AND DOCTRINE, ETC., TOUCHING OUR LORD JESUS CHRIST 120 
 Bound for King Charles L. by Mary Collet. 
 
 LVI. BOOK OF COMMON PRAYER— MDCLXIX. ....... 122 
 
 From the Library of King Charles II. 
 
 English ano jfrencb Bindings of tbe Eighteenth ant) Nineteenth 
 
 Centuries. 
 
 LVII. A PARAPHRASE AND ANNOTATIONS UPON ST. PAUL'S EPISTLES, CORRECTED 
 
 BY BISHOP FELL ......... 126 
 
 English binding of the beginning of the XVIIIth century. 
 
 LVIII. CICERO DE ORATORE .......... 128 
 
 Bound by Roger Payne for the Rev. C. M. Cracherode. 
 
 LIX. LA SAINCTE BIBLE -COLOGNE, 1739 ....... 130 
 
 Bound by Lemonnier. 
 
 LX. OFFICE DE LA SEMAINE SAINTL, 1712 ....... 132 
 
 Bound by N. Padeloup. 
 
 LXI. LA GRANDE DANSE MACABRE, 1555 ....... 134 
 
 Bound by Duru. 
 
 LXII. LE MISTERE DE LA RESURRECTION DE NOSTRE SEIGNEUR IESUCRIST . 136 
 Bound by Thouventn. 
 
LONDON : 
 
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 STAMFORD STREET AND CHARING CROSS. 
 
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