title="xxv" id="pgepubid00019"/> Davenport's illustrations. In the sixteenth century embroidered work was very popular with the Tudor princesses, gold and silver thread and pearls being largely used, often with very decorative effect. The simplest of these covers are also the best—but great elaboration was often employed, and on a presentation copy of Archbishop Parker's De Antiquitate Ecclesiæ Britannicæ we find a clever but rather grotesque representation of a deer-paddock. Under the Stuarts the lighter feather-stitch was preferred, and there seems to have been a regular trade in embroidered Bibles and Prayer-books of small size, sometimes with floral patterns, sometimes with portraits of the King, or Scriptural scenes. A dealer's freak which compelled the British Museum to buy a pair of elaborate gloves of the period rather than lose a finely embroidered Psalter, with which they went, was certainly a fortunate one, enabling us to realise that in hands thus gloved these little bindings, always pretty, often really artistic, must have looked exactly right, while their vivid colours must have been admirably in harmony with the gay Cavalier dresses.

Besides furnishing a ground for embroidery, velvet bindings were often decorated, in England, with goldsmith work. One of the most beautiful little bookcovers in existence is on a book of prayers, bound for Queen Elizabeth in red velvet, with a centre and corner pieces delicately enamelled on gold. Under the Stuarts, again, we frequently find similar ornaments in engraved silver, and their charm is incontestable.

Thus while for English bindings of this period in gilt leather we can only claim that Berthelet's show some freedom in their adaptation of Italian models, and Day's a more decided originality, we are entitled to set side by side with this scanty record a host of charming bindings in more feminine materials, which have no parallel in France, and certainly deserve some recognition. After the Restoration, however, leather quickly ousted its competitors, and a school of designers and gilders arose in England, which, while taking its first inspiration from Le Gascon, soon developed an individual style. In effectiveness, though not in minute accuracy of execution, this may rank with the best in Europe. We can trace the beginnings of this lighter and most graceful work as early as the thirties, and it might be contended with a certain plausibility that it began at the Universities. Certainly the two earliest examples known to me—the copy of her Statutes presented to Charles i. by Oxford in 1634, and the Little Gidding Harmony of 1635, the tools employed in which have been shown by Mr. Davenport to have been used also by Buck, of Cambridge—are two of the finest English bindings in existence, and in both cases, despite the multiplicity of the tiny tools employed, there is a unity and largeness of design which, as I have ventured to hint, is not always found even in the best French work. The chief English bindings after the Restoration, those associated with the name of Samuel Mearne, the King's Binder, preserve this character, though the attempt to break the formality of the rectangle by the bulges at the side and the little penthouses at foot and head (whence its name, the 'cottage' style) was not wholly successful. The use of the labour-saving device of the 'roll,' in preference to impressing each section of the pattern by hand, is another blot. Nevertheless, it is almost impossible to find an English or Scotch binding of this period which is less than charming, and the best of them are admirable. At the beginning of the eighteenth century a new grace was added by the inlaying of a leather of a second colour. These inlaid English bindings are few in number (the British Museum has not a single fine example), but those who know the specimens exhibited at the Burlington Fine Arts Club, two of which are figured in its Catalogue, will readily allow that their grace has never been surpassed. The fine Harleian bindings let us down gently from this eminence, and then, after a period of mere dulness, with the rise of Roger Payne we have again an English school (for Payne's traditions were worthily followed by Charles Lewis) which, by common consent, was the finest of its time. Payne's originality is, perhaps, not quite so absolute as has been maintained, for some of his tools were cut in the pattern of Mearne's, and it would be possible to find suggestions for some of his schemes of arrangement in earlier English work. If he borrowed, however, he borrowed from his English predecessors, and he brought to his task an individuality and an artistic instinct which cannot be denied.

After Payne and Lewis, English binding, like French, became purely imitative in its designs; but while in our own decade the French artists have endeavoured to shake themselves free from old traditions by mere eccentricity, in England we have several living binders, such as Mr. Cobden Sanderson and Mr. Douglas Cockerell, who work with notable originality and yet with the strictest observance of the canons of their art.

Moreover in the application of decorative designs to cloth cases England has invented, and England and America have brought to perfection, an inexpensive and very pleasing form of book-cover, which gives the bookman ample time to consider whether his purchase is worth the more permanent honours of gilded leather, and also, by the facts that it is avowedly temporary, and that its decoration is cheaply and easily effected by large stamps, renders forgivable vagaries of design, which when translated, as they have been of late years in France, into the time-honoured and solemn leather, seem merely incongruous and irreverent.

In binding, then, as in the other bookish arts, the part which English workers have played has been no insignificant or unworthy one, and the development of this art, as of the others, in our own country is worthy of study. In this case much has already been done, for the illustrations of English Bookbindings at the British Museum, edited, with introduction and descriptions by Mr. W. Y. Fletcher, present the student with the best possible survey of the whole subject, while the excellent treatises of Miss Prideaux and Mr. Horne bring English bookbinding into relation with that of other countries. Here, then, there is no need of a new general history, but rather of special monographs, treating more in detail of the periods at which our English binders have done the best work. The old stamped bindings of the days of manuscript, the embroidered bindings of the sixteenth and seventeenth centuries, the leather bindings of Mearne and his fellows under the later Stuarts, and the work of Roger Payne—all these seem to offer excellent subjects for unpretentious monographs, and it is hoped that others of them besides the English Embroidered Bindings, with which Mr. Davenport has made a beginning, may be treated in this series.

In other subjects the ground has not yet been cleared to the same extent, and for the history of English Book-Collectors and English Printing, not special monographs, but good general surveys are the first need. To say much on this subject might bring me perilously near to re-writing the prospectus of this series. It is enough to have pointed out that the bookish arts in England are well worth more study than they have yet been given, and that the pioneers who are endeavouring to enlarge knowledge, each in his own section, may fairly hope that their efforts will be received with indulgence and good-will.

Alfred W.