Part 4 (1/2)

Obviously any coloured silk can be used in making this thread, so that it may be said that for coloured silk work, where strength is required, flowers worked in purl are the best. The colours used when roses are represented are usually graduated,--yellow or white in the centre, then gradually darkening outward, yellow, pale pink, and red, or pale yellow, pale blue, and dark blue. Purl flowers are usually accessories to some regular design, but, in one instance at least, to be described later on, it supplies the entire decoration of a small satin book.

_Bible, etc._ London, 1642.

The design on a Bible with Psalms, printed in London in 1642, bound in fine canvas, and measuring 6 by 3-1/2 inches, is the same on both sides.

The ground is all laid, or couched, with silver threads, caught down at intervals by small white st.i.tches. In the centre is a circular silver boss, and out of this grow four lilies worked with silver thread in b.u.t.ton-hole st.i.tch; each of these lilies has a shape similar to its own underneath it, outlined with fine gold cord, and filled in with red silk; representing altogether white flowers with a red lining. These four red and white lilies make together the form of a Maltese cross, and between each of the arms is a purl rose with yellow centre and graduated blue petals. A double oval, with the upper and lower curves larger than the side ones, marked with a thick gold cord, encloses the central cross, and the remaining s.p.a.ces are filled with ovals and lines of gold guimp, with here and there a little patch of red or yellow purl, the extremities of the upper and lower ovals being filled with threads of green silk loosely bound with a silver spiral, worked to represent a green plot.

[Ill.u.s.tration: 13--Bible, etc. London, 1642.]

The upper and lower curves of the oval are thickened by an arch of gold thread laid lengthwise, and kept in place by little radiating lines of red silk. In each corner is a purl rose, with blue centre, the petals graduating in colour from pale yellow to dark red, with leaf forms and stalks of gold cord and guimp. At the top and bottom of the oval is a many-coloured purl rose, and the s.p.a.ces still left vacant are dotted with little pieces of red, blue, and yellow purl and spangles. On the front edges are the remains of two red silk ties.

[Ill.u.s.tration: 14--Bible. London, 1648.]

The back is divided into four panels by a thick gold twist. The upper and lower panels have each a blue purl rose worked in them, with a white and red lily in the same silver thread as those on the sides, with gold leaves and stalks; the two inner panels contain each three purl roses, with gold leaves and stems. The upper of these panels has a large rose of blue, yellow, and red, and two smaller ones yellow with blue centres; the lower panel has a large rose of red, pink, and yellow, and two smaller ones of red, with yellow centres.

Dotted about the groundwork of the panels are several spangles and short lengths of coloured purl.

The edges of the leaves are plainly gilt.

_Bible._ London, 1648.

A Bible, printed in London in 1648, formerly the property of George III., is bound in canvas, and has embroidered upon the boards emblematic representations of Faith and Hope. It measures 6-3/4 by 4-3/4 inches.

On the upper side is a full-length figure of Faith. She has fair hair, and is dressed in an orange and red dress cut low, and showing in the front a pale blue under garment. She has a large white collar and cuffs, both in point-lace, and bears in her right hand an open book with the word 'FAITH' written upon it, while her left hand rests upon a pointed s.h.i.+eld, pale purple with a yellow centre. She is standing upon a rounded hillock, on which are a strawberry plant with two fruits, two caterpillars, a red tulip, and another flower.

In the right-hand upper corner is a turreted and gabled house, the windows of which are marked with little glittering pieces of talc. Below the house is a caterpillar and a large blue b.u.t.terfly. In the left-hand upper corner is the sun, in gold, just appearing under a blue cloud.

Underneath this, in succession, come a tree with a b.u.t.terfly upon it, a bird, most likely meant for a wren, and another caterpillar. The remains of two red tie-ribbons are near the front edges. The background is worked in silver thread, and the edges of the boards are bound with silver braid having a thread or two of red silk on the innermost side.

On the under cover Hope appears in a curiously worked upper garment of blue and white, short in the sleeves, in needlepoint, with a belt. Under this is a dress of red and orange, showing a blue under skirt in front.

A scarf of the same colour as the dress is gracefully folded over the shoulders and hangs over the left arm; a rather deep collar and cuffs are both worked in needlepoint. The right hand rests upon an anchor with a 'fouled' rope.

Hope stands upon a rounded hillock, on which are a snail and spray of possible foxglove, and out of which grow a red carnation and another flower. In the upper right-hand corner is a gabled cottage with a tree, and under it a moth, flower, and caterpillar. Towards the upper left-hand corner is a bank of cloud with red and yellow rays issuing therefrom, and under it a pear-tree with flower and fruit, and a many-coloured b.u.t.terfly. All the background is worked in silver thread.

The five panels of the back, indicated with silver cord, are each filled with a different design. Beginning at the top, these are: a rose, a parrot with a red fruit, a double rose, a lion, and a lily. The edges are plainly gilt.

CHAPTER III

BOOKS BOUND IN VELVET

It seems probable that velvet was a favourite covering for royal books in England from an early period. Such volumes as remain 'covered in vellat' that belonged to Henry VII. are, however, not embroidered, the ornamentation upon them being worked metal, or enamels upon metal. It is not until the time of Henry VIII. that we have any instances remaining of books bound in embroidered velvet.

Velvet is very troublesome to work upon, the pile preventing any delicate embroidery being done directly upon it, hence the prevalence of gold cords and applique work on canvas or linen, on which of course the embroidery may be executed as delicately as may be desired.

_Tres ample description de toute la terre Saincte, etc._ [By Martin de Brion.] MS. of the sixteenth century, probably bound about 1540.