Cyril James Humphries Davenport - English Embroidered Bookbindings
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Cyril James Humphries Davenport >> English Embroidered Bookbindings
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[Illustration: 28--Udall, Sermons. London, 1596. (_From a drawing_).]
The ground of the entire work is freely ornamented with gilt spangles
held down by small pieces of guimp, and with single pearls; the larger
of these are enclosed within circles of guimp, the smaller are simply
sewn on one by one.
There are remains of gilt clasps on the front edges of each of the
boards, and the edges of the leaves are gilt and gauffred, with a little
pale colour.
Udall, _Sermons_. London, 1596.
A few specimens of embroidered books were exhibited at the Burlington
Fine Arts Club in 1891. Among them was a charming velvet binding that
belonged to Queen Elizabeth, lent by S. Sandars, Esq., and now in the
University Library, Cambridge. It is a copy of Udall's _Sermons_,
printed in London in 1596, and is covered in crimson velvet, measuring
about 6 by 4 inches. The design is the same on each side, the royal
coat-of-arms applique, with the initials E. R., and a double rose in each
corner with stalks and leaves. The coat-of-arms is made up with pieces
of blue and red satin, the bearings heavily worked with gold thread, and
the ground also thickly studded with small straight pieces of guimp,
doubtless put there to insure the greater flatness of the satin. The
crown with which the coat-of-arms is ensigned is all worked in guimp,
and is without the usual cap. The ornaments on the rim are only
trefoils, and there are five arches.
The initials flanking the coat are worked in guimp, as are the corner
roses and leaves. The guimp used is apparently silver, and the cord used
for the outlines and stems is gold. The back has a gold line down the
middle and along the joints, with a wavy line of gold cord each side of
it.
[Illustration: 29--Collection of Sixteenth-Century Tracts.]
_Collection of Sixteenth-Century Tracts._ Bound about 1610.
To Henry, Prince of Wales, we owe a great debt of gratitude, as he was
the first person of much consequence in our royal family to take any
real interest in the Old Royal Library.
Indeed it may be considered that the existence to-day of the splendid
'Old Royal' Library of the kings of England, which was presented to
the nation in 1759 by George II., is largely due to the
attention drawn to its interest and value by Prince Henry, who moreover
added considerably to it himself.
This Prince used as his favourite and personal badge the beautiful
design of three white ostrich feathers within a golden coronet, and with
the motto 'ICH DIEN' on a blue ribbon. With regard to the
origin of this badge there is unfortunately a good deal of obscurity.
The usual explanation is that it was the helmet-crest of the blind king
of Bohemia, who was killed at Crecy in 1346, and that in remembrance of
this it was adopted by the Black Prince as his badge. But, as a matter
of fact, the ostrich feather was used as a family badge by all the sons
of Edward III. and their descendants. It appears to have been
the cognisance of the province of Ostrevant, a district lying between
Artois and Hainault, and the appanage of the eldest sons of the house of
Hainault. In this way it may have been adopted by the family of Edward
III. by right of his wife, Philippa of Hainault.
An early notice of the ostrich feather as a royal badge occurs in a note
in one of the Harleian MSS. to the effect that 'Henrye, son to
the erle of Derby, fyrst duke of Lancaster, gave the red rose crowned,
whose ancestors gave the fox tayle in his proper cooler, and the ostrych
fether, the pen ermine,' the Henry here mentioned being the father of
Blanche, wife of John of Gaunt.
On the tomb of Prince Arthur, son of Henry VII., at Worcester,
the feather is shown both singly and in plume, and it occurs in the
triple plume form within a coronet and a scroll with the words 'ICH
DIEN' upon it, on bindings made by Thomas Berthelet for Prince
Edward, son of Henry VIII., who never was Prince of Wales.
It really seems as if the first 'Prince of Wales' actually to use the
ostrich feather plumes as a personal badge of that dignity was Prince
Henry, and it occurs largely on such books belonging to his library as
he had rebound, and also on books that were specially bound for
presentation to him.
This is the case in one of the most decorative bindings he possessed,
enclosing a collection of tracts originally the property of Henry
VIII., but which somehow or other became the property of
Magdalen College, Cambridge, the governing body of which had it bound in
embroidered velvet and presented to Prince Henry.
[Illustration: 30--Bacon, Opera. Londini, 1623.]
The cover is of crimson velvet, the edges of which extend freely beyond
the edges of the book, bound all round with a fringe of gold cord. It
measures about 8 by 6 inches. The design is the same on each side. In
the centre is a large triple plume of ostrich feathers, thickly and
beautifully worked in small pearls, within a golden coronet, and having
below them the motto 'ICH DIEN' in gold upon a blue silk
ribbon.
The badge is enclosed in a rectangular panel of gold cords, in each
corner of which is an ornamental spray of gold cords, guimp, and a
flower in pearls. A broad border with a richly designed arabesque of
gold guimp or cord, with pearl flowers, encloses the central panel. The
design is filled in freely with small pearls enclosed in guimp circles
and small pearls alone.
The back has an ornamental design in gold cord and guimp. This cover is
a beautiful specimen of later decorative work on velvet, and the general
effect is extremely rich, the design and workmanship being equally well
chosen as regards the materials to which they are applied, and with
which they are worked.
Bacon, _Opera_. Londini, 1623.
A copy of the works of Francis Bacon, Viscount St. Albans, printed in
London in 1623, is bound in rich purple velvet, and measures 13-1/4 by
8-3/4 inches. The design is a central panel with arabesque centre and
corners, surrounded by a deep border of close curves and arabesques, all
worked in gold cord and guimp. There are several gold spangles used,
kept down by a small piece of gold guimp. The front edges of each board
have only the marks left where two ties originally were, and the edges
of the book are simply gilt.
[Illustration: 31--Bacon, Essays. 1625.]
Bacon, _Essays_. 1625.
A copy of another work by the same author, the Essays printed in 1625,
was given by him to the Duke of Buckingham, and is now at the Bodleian
Library at Oxford. It is bound in dark green velvet, measuring about 7
by 5 inches, the same design being embroidered on each side. In the
centre is a small panel portrait of the Duke of Buckingham, with short
beard, and wearing the ribbon of the Garter. The portrait is mostly
worked with straight perpendicular stitches, except the hair and collar,
in which the stitches are differently arranged. The background merges
from nearly white just round the head to pink at the outer edge; the
coat is brownish. The framework of the portrait is solidly worked in
gold braids and silver guimp in relief, the design being of an
architectural character. Two columns, with floral capitals and
pediments, spring from a scroll-work base and support what may perhaps
be intended for a gothic arch with crockets. Immediately above the crown
of the arch is a ducal coronet, and a handsome border of elaborate
arabesques reaching far inwards is worked all round the edges. The
outlines of these arabesques, the stalks and curves, are all worked in
gold cords, the petals and leaves in silver guimp in relief. The back
is divided into eight panels by gold and silver cords, and in each of
these panels is a four-petalled flower with small circles. There are
several gilt spangles kept down by a small piece of guimp.
[Illustration: 32--Common Prayer. London, 1638.]
_Common Prayer._ London, 1638.
Among the few older royal books in the library at Windsor Castle is an
embroidered one that belonged to Prince Charles, afterwards Charles
II. It is a copy of the _Book of Common Prayer_, printed in
London in 1638, and is bound in blue velvet with embroidered work in
gold cord and silver guimp, similar in character to that on the copy of
Bacon's _Essays_ just described. It measures 8 by 6 inches. The design
is heraldic. In the centre is the triple plume of the Prince of Wales,
with coronet and label, no motto being apparent on the latter. The plume
is encircled by the Garter applique, on pale blue silk, the motto,
worked in silver cord, being nearly worn off. Resting on the top of the
Garter is a large princely coronet, flanking which are the letters
'C. P.' In the lower corners are a thistle and a rose. A broad border
with arabesques encloses the central panel. This book was exhibited by
Her Majesty at the Burlington Fine Arts Club in 1891. It is in very bad
condition, which is curious, as it is not so very old, and as it is
still among the royal possessions it might well have been imagined that
it would have been better preserved than other and older books of a like
kind which we know have been considerably moved about. The colour is
however very charming still, and books have rarely been bound in blue
velvet, black, green, or crimson being most usual.
After 1649, or thereabouts, there was a full stop for a time to any art
production in the matter of bookbinding. Indeed, for the embroidered
books as a class that is the end, but nevertheless a few examples are
found at a later date, but no regular production and no original
designs.
[Illustration: 33--Bible. Cambridge, 1674.]
_Bible._ Cambridge, 1674.
A large Bible printed at Cambridge in 1674, in two volumes, was bound in
crimson velvet for James II., presumably about 1685. The work
upon it, each volume being the same, is of a showy character, good and
strong, but utterly wanting in any of the artistic qualities either of
design or execution which characterised so many of the earlier examples.
In the centre are the initials 'J. R.' surmounted by a royal crown,
heavily worked in gold braid, guimp, and some coloured silks. Enclosing
the initials and crown are scrolls in thick gold twist; these again are
surrounded by a curving ribbon of gold, intertwined with roses and
leafy sprays. In each corner is a silver-faced cherub with beads for
eyes and gold wings, and at the top a small blue cloud with sun rays,
tears dropping from it. There are two broad silk ties to the front of
each board, heavily fringed with gold.
The back is divided into nine panels, each containing an arabesque
ornament worked in gold cord and thread, the first and last panels being
larger than the others and containing a more elaborate design. The edges
of the leaves are simply gilt, and the boards measure 18 by 12 inches
each, the largest size of any embroidered book known to me.
CHAPTER IV
BOOKS BOUND IN SATIN
_Collection of Sixteenth-Century Tracts._ Bound probably about 1536.
[Illustration: 34--Collection of Sixteenth-Century Tracts.]
Perhaps the earliest existing English book bound in satin is a
collection of sixteenth-century tracts that belonged to Henry
VIII., and is now part of the Old Royal Library in the British
Museum. It is covered in red satin, measures 12 by 8 inches, and is
embroidered in an arabesque design, outlined with gold cord. On the
edges the words 'Rex in aeternum vive Neez' are written in gold. The
word 'Neez' or 'Nez,' as it is sometimes spelt, may mean Nebuchadnezzar,
as the other words were addressed to him. On books bound in leather by
Thomas Berthelet, royal binder to Henry VIII. and his immediate
successors, the motto often occurs, and as he is known to have bound
books in 'crymosyn satin,' this is most likely his work. The pattern is
worked irregularly all round the boards, and a sort of arabesque bridge
crosses the centres. The back is new, and of leather, but the boards
themselves are the original ones, and the embroidery is in a very fair
condition.
[Illustration: 35--New Testament in Greek. Leyden, 1570.]
_New Testament in Greek._ Leyden, 1576.
If early bindings in satin are rare, still rarer is the use of silk. One
example worked on white ribbed silk still remains that belonged to Queen
Elizabeth. It measures 4-3/4 by 2-3/4 inches, and in its time was no
doubt a very decorative and interesting piece of work, but it is now in
a very dilapidated state, largely due to improper repairing. The book
has actually been rebound in leather, and the old embroidered sides
stuck on. So it must be remembered that my illustration of it is
considerably restored. The design, alike on both sides, is all outlined
with gold cords and twists of different kinds and thicknesses, and the
colour is added in water-colours on the silk. In the centre is the royal
coat-of-arms within an oval garter ensigned with a royal crown, in the
adornment of which a few seed pearls are used, as they are also on the
ends of the garter.
Enclosing the coat-of-arms is an ornamental border of straight lines and
curves, worked with a thick gold twist, intertwined with graceful sprays
of double and single roses, outlined in gold and coloured red, with buds
and leaves. A few symmetrical arabesques, similarly outlined and
coloured, fill in some of the remaining spaces. The work on this book, a
_New Testament in Greek_, printed at Leyden in 1576, is like no other;
but the general idea of the design, rose-sprays cleverly intertwined, is
one that may be considered characteristic of the Elizabethan embroidered
books, as it frequently occurs on them. The use of water-colour with
embroidery is very rare, and it is never found on any but silk or satin
bindings, generally as an adjunct in support of coloured-silk work over
it, but in this single instance it is used alone.
_Seventeenth-Century Embroidered Books._
The books described hitherto have been specimens of rare early
instances, but in the seventeenth century there is a very large field to
choose from. Small books, mostly religious works, were bound in satin
from the beginning of the century until the time of the Commonwealth in
considerable numbers; so much so, in fact, that their value depends not
so much upon their designs or workmanship as upon their condition.
It is generally considered that embroidered books are extremely
delicate, but this is not so; they will stand far more wear than would
be imagined from their frail appearance. The embroidered work actually
protects the satin, and such signs of wear as are visible are often
found rather in the satin itself, where unprotected, than in the work
upon it. In many cases a peculiar appearance, which is often mistaken
for wear, is seen in the case of representations of insects,
caterpillars, or butterflies particularly. These creatures, or parts of
them, appear to consist only of slight stitches of plain thread,
suggesting either that the work has never been finished, or else that
the finished portions have worn away. The real fact is, however, that
these places have been originally worked with small bright pieces of
peacock's feather, which have either tumbled out or been eaten away by
minute insects, a fate to which it is well known peacocks' feathers are
particularly liable.
The late Lady Charlotte Schreiber, who was a great collector of pieces
of old embroidery, among a host of other curious things possessed the
only perfect instance of work of this kind of the seventeenth century I
have ever been fortunate enough to find. It was a very realistic
caterpillar, closely and completely worked with very small pieces of
peacocks' feathers, sewn on with small stitches, quite confirming the
opinion I had already formed as to the original filling in of the usual
'bald' spaces representing such objects.
_Bible._ London, 1619.
A copy of a Bible, printed in London in 1619, is bound in white satin,
and measures 6 by 3-1/2 inches. On each side is an emblematic figure
enclosed in an oval; the figures are different, but their surroundings
are alike. On the upper side a lady holding a palm branch in her right
hand is worked in shading-stitch. She is full length, and wears an
orange skirt with purple robe over it confined by a blue belt, and over
her shoulders a pink jacket--all these garments are outlined by a gold
cord. Her fair hair is covered by an ornamental cap of red and gold, and
her feet are bare.
The ground is worked with coloured silks and threads of fine wire
closely twisted round with coloured silks, and the sky, painted in
gradations of pink in water-colours, is worked sparsely with long
stitches of blue silk.
[Illustration: 36--Bible. London, 1619.]
The lower side shows a female figure worked in a similar way; in this
case she bears in her right hand some kind of wand or spray, which has
nearly worn off, and in her left a bunch of corn or grapes, or something
of that kind which has also badly worn away. If the first figure may be
considered to represent Peace, this one may perhaps be Plenty. She wears
a deep purplish skirt, with full over-garment and body of the same
colour, with an under-jacket of white and gold. On her dark hair she has
a blue flower with red leaves. Her feet are bare. The ground and sky are
both worked in the same way as the other side. Both figures are
enclosed in a flat oval border of gold thread, broad at the top and
narrowing towards the foot. In the corners are symmetrical arabesques
thickly worked in gold, and within the larger spaces in each
corner-piece are the 'remains' of feathered caterpillars, now skeleton
forms of threads only. The back of the book is particularly good, and
most beautifully worked. It is divided into five panels, within each of
which is a conventional flower, a cornflower alternating with a
carnation, and the colours of all of these are marvellously fresh and
effective. Among embroidered panelled backs it is probably the finest
specimen existing.
[Illustration: 37--Emblemes Chrestiens. MS 1624.]
_Emblemes Chrestiens_, par Georgette de Montenay. MS. a
Lislebourg. [Edinburgh] 1624.
Charles I., when he was Prince of Wales, often used the
book-stamps that had been cut for his brother Henry, and he also
particularly liked the triple plume of ostrich feathers. It occurs, as
has been shown, on one of Prince Henry's velvet-bound books, and it
forms the central design on the satin binding of an exquisite manuscript
written by Esther Inglis, a celebrated calligraphist, who lived in the
seventeenth century. It is a copy of the _Emblemes Chrestiens_, by
Georgette de Montenay, dedicated to Prince Charles, covered in red satin
embroidered with gold and silver threads, cords, and guimp, with a few
pearls, measuring 11-1/4 by 7-3/4 inches. In the centre is the triple
ostrich plume within a coronet, enclosed in an oval wreath of laurel
tied with a tasselled knot. A rectangular border closely filled with
arabesques runs parallel to the edges of the boards, and there is a
fleuron at each of the inner corners. In all cases the design is
outlined in gold cord, and the thick parts of the design are worked in
silver guimp. There are several spangles, and on the rim of the coronet
are three pearls.
_New Testament._ London, 1625.
One of the most curious embroidered satin bindings still left is now in
the Bodleian Library, and a slightly absurd tradition about it says that
the figure of David, which certainly is something like Charles
I., is clothed in a piece of a waistcoat that belonged to that king.
[Illustration: 38--New Testament. London, 1625.]
It is a New Testament, printed in London in 1625, and covered in white
satin, with a different design embroidered on each side. It measures
4-1/2 by 3-1/2 inches. On the upper board is David with a harp. He wears
a long red cloak lined with ermine, with a white collar, an
under-garment of pale brown, and high boots with spur-straps and red
tops. On his head is a royal crown of gold with red cap, and he is
playing upon a golden harp. The face of this figure resembles that of
Charles I. The red cloak is worked in needlepoint lace, and is
in deep folds in high relief. These folds are actually modelled in waxed
paper, the needlework being stretched over them, and probably fixed on
by a gentle heat. The other parts of the dress are worked in the same
way, but without the waxed paper, and the edges of the garments are in
some places marked with what might be called a metal fringe, made in a
small recurring pattern.
David is standing upon a grass plot, represented by small arches of
green purl, and before him is sitting a small dog with a blue collar.
Above the dog is a small yellow and black pansy, then a large blue
'lace' butterfly, on a chenille patch, and a brown flying bird. Behind
David there is a tall conventional lily and a flying bird. The sky is
overcast with heavy clouds of red and blue, but a golden sun with tinsel
rays is showing under the larger of them. On the lower board is a
representation of Abraham about to sacrifice Isaac. Abraham is dressed
in a red under-garment on waxed paper, in heavy folds with a belt and
edge of stamped-out metal, a blue flowing cape and high boots, all
worked in needlepoint lace in coloured silks.
In his right hand he holds a sword, and his tall black hat is on the
ground beside him. On the ground towards the left is Isaac in an
attitude of prayer, his hands crossed, with two sheaves of firewood. He
wears a red coat with a small blue cape. The ground is green and brown
chenille. Above Isaac is a gourd, and above this a silver ram caught in
a bush, on a patch of grass indicated by green purl. The sky is occupied
by a large cloud, out of which leans an angel with wings, the hands
outstretched and restraining Abraham's sword.
On the back are four panels, containing respectively from the top a
butterfly, a rose, a bird, and a yellow tulip, all worked in needlepoint
and applique. The pieces that are in high relief all over the book are
edged with gold twist, and have moreover their counterparts under them
closely fastened down to the satin. There are several gold spangles in
the various spaces between the designs; the whole is edged with a strong
silver braid, and there are two clasps with silver attachments.
Considering the high relief in which much of this work is done, the
binding is in wonderful preservation, but many of the colours are badly
faded, as it has been exposed to the action of light in one of the
show-cases for many years. Although no doubt it is advisable to expose
many treasures in this way, it must be admitted that in the case of
embroidered books it is frequently, if not always, a cause of rapid
deterioration, so much so that I should almost think in these days of
good chromo-printing it would be worth the while of the ruling powers of
our great museums to consider whether it would not be wiser to exhibit
good colour prints to the light and keep the precious originals in safe
obscurity, to be brought out, of course, if required by students.
[Illustration: 39--New Testament and Psalms. London, 1630.]
_New Testament and Psalms._ London, 1630.
Several small English books of the seventeenth century were bound
'double,' _i.e._ two volumes side by side, so as to open different ways
(compare p. 38). Each of the books, which are always of the same size,
has a back and one board to itself, the other board, between them, being
common to both. As already stated, this form of book occurs rarely in
canvas bindings, and it is of commoner occurrence in satin.
A design which is frequently met with is well shown in the case of a
double specimen containing the New Testament and the Psalms, printed in
London in 1630, and covered in white satin, measuring 4-1/4 by 2 inches,
the ornamentation being the same on both sides. In the centre, in an
oval, is a delicately worked iris of many colours in feather-stitch, the
petals edged with fine silver cord. The oval is marked by a silver cord,
beyond which are ornamental arabesques outlined in cord and filled in
solidly, in high relief, with silver thread.
The backs are divided into five panels, containing alternately flowers
in red, blue, and green silks, and star shapes in silver thread in high
relief. Silver spangles have been freely used, but most of them have now
gone; the edges of the leaves are gilt and gauffred in a simple dotted
pattern. To the middle of the front edge of one of the boards is
attached a long green ribbon of silk which wraps round both volumes.
Henshaw, _Horae Successivae_. London, 1632.
[Illustration: 40--Henshaw, Horae Successivae. London, 1632.]
Henshaw's _Horae Successivae_, printed in London in 1632, is bound in
white satin, and measures 4-1/2 by 2 inches. It is very delicately and
prettily worked in a floral design, the same on both sides, and is
remarkable for its simplicity--a flower with stalk and leaves in the
centre, one in each corner, and an insect in the spaces between them.
The centre flower is a carnation, round it are pansy, rose, cornflower,
and strawberry, while between them are a caterpillar, snail, butterfly,
and moth. All of these are delicately worked in feather-stitch in the
proper colours, and edged all round with fine gold cord; the stalks are
of the same cord used double. On the strawberries there is some fine
knotted work.
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