Royal English Bookbindings

CHAPTER III

JAMES I.—HENRY PRINCE OF WALES—CHARLES I.—CHARLES II.—JAMES II.—WILLIAM AND MARY—ANNE

Up to the present, as far as bookbinding is concerned, I have only recorded one change in the royal coat of England, when Henry VIII., in 1528, altered his supporters, but on the accession of James I. to the throne of England a much greater and more important change took place. Not only was the shield of Scotland added, but also that of Ireland, which, although Elizabeth seems to have used it sometimes, was never before officially adopted. The harp of “Apollo Grian” has, equally with the Scottish coat, remained an integral part of our royal shield ever since. The coats of France and England were now quartered and placed in the first and fourth quarters, the coat of Scotland in the second quarter, and the coat of Ireland in the third. With minor changes and additions, this coat remained the same until the reign of George III., who, in 1801, finally omitted the coat of France. As to the supporters, James I. retained the crowned lion of Henry VIII., and substituted one of his white unicorns for the red dragon of Cadwallader; and these supporters remain unaltered to the present day.

The fashion of stamping in gold on velvet, one example of which I have already described as having been done for Edward VI. or Elizabeth, was practised to a considerable extent for James I., and there are several examples of it. James evidently thought much of the Tudor descent, by virtue of which he held his English throne; and he used the Tudor emblems freely. One large stamp was cut for him with the coat-of-arms just described within a crowned Garter, all enclosed in an ornamental oval border, in which are included the falcon badge of Queen Elizabeth, the double rose, portcullis, and fleur-de-lis of the Tudors, and the plume of the Prince of Wales. This stamp commonly occurs on leather bindings, but it also occurs, used with great effect, stamped in gold or velvet. A very charming specimen of this is on a copy of Bogusz, ???S????S Metaphysica, printed on satin at Sedan, 1605, which is bound in crimson velvet, and has two blue silk ties at the front edge. At each of the four corners of the large stamp are four small decorative stamps. It is a presentation copy to James I., and has an autograph of Henry Prince of Wales inside the cover. In the Manuscript Department of the British Museum, belonging also to the old royal library, is a small book bound in dark green velvet, in the centre of which is stamped, in gold, the royal coat-of-arms within an ornamental border, into which is introduced the design of a thistle. An outer border of gold lines has decorative stamps at each corner. The manuscript is about the introduction of Christianity into England. These two designs, or amplifications of them, are the only ones that I have met with on stamped velvet bindings done for James.

There are a considerable number of books still remaining that belonged to James, bearing the royal coat-of-arms with supporters and initials, bound in leather. They often bear upon them rich semÉes, which form of ornamentation was used for James I. more than for any other sovereign. The semÉes generally consist of small lions passant, thistles, tridents, fleurs-de-lis, stars, or flowers. Books of this kind, with heavy corner-pieces, are so widely known that detailed description of them is hardly necessary; but there are modifications, some of which render the bindings of greater interest. One of these is a calf binding on Ortelius, Theatrum Orbis Terrarum, printed in London in 1606 (Plate V.) It measures 23 inches by 14, and when in its original state, was doubtless one of the finest bindings done for James I. The full coat-of-arms, with small inlays of red leather, is further coloured by hand, and is enclosed within a rectangular border. Between this and the corner-pieces is a very elaborate and graceful design of twining stems, leaves, and arabesques. The binding has been largely repaired, but the new stamps have been accurately copied from the old ones; and, except the outer border which is new, the design upon it is probably in all material points the same as it was originally.Another instance of a departure from King James’s stereotyped pattern occurs on Thevet’s Vies des hommes illustres, printed at Paris, 1584. The crowned coat-of-arms in the centre, with the initials J. R., have inlays of red leather in the proper places, and the remainder of the board is so closely and intricately, with an ornamental design of dotted strap-work, interlaced with arabesques that no description can give much idea of it. The volume measures 15½ × 10½ inches, and it is in perfect condition. Some doubt has been thrown upon the nationality of this most beautiful work, but Mr. Fletcher, in his splendid volume of English Bookbindings in the British Museum, has included it in his list. So perhaps in the future we may claim it as our own. There is one little point about it which, I think, may be considered as a reason for thinking it English work, and that is that the lions on the English coats are full face. On all the French bindings I know that were done for English sovereigns the lions are always shown side face.

A volume in the Manuscript Department of the British Museum, containing English and Italian songs with music, is bound in dark blue morocco, with unusually good corners, and the field adorned with large and beautiful stars. Large stars used in the field also occur on a vellum binding of the Abbot of Salisbury’s De Gratia et perve verantia Sanctorum, printed in London, 1618. It is without the usual corner-stamps, and is in a most wonderful brilliant condition.

A little volume of King James’s Meditations on the Lord’s Prayer, London, 1619, is covered in deep purple velvet, with silver centre-piece, corners, and clasps. On the corners are engraved designs of the cross patÉe, thistle, harp, and fleurs-de-lis, all crowned. The corner with the crowned harp is, I believe, the first instance of this badge occurring on a book. The clasps are in the form of portcullises. The centre oval medallion has the royal coat-of-arms, Garter, and crown engraved upon it.

At the Burlington Fine Arts Club a fine specimen of binding for King James I. was exhibited by Mr. James Toovey. It is bound in white vellum, stamped in gold. In the centre are the royal arms, and it has large corner-stamps of unusual design, containing a sun with rays and an eagle, the ground being thickly covered with a semÉe of ermine spots. The border seems to be imitated from one of the old rolls of sporting subjects, which are mostly found on blind-tooled books at a much earlier period. It has squirrels, birds, snails, dogs, and insects. At Windsor there are a good many specimens of Jacobean bindings, all of them similar in character to one or other of the British Museum specimens that I have described at length.

Ortelius. Theatre of the World. London, 1606. James I.

Anne of Denmark, the queen of James I., does not appear to have possessed many books. There are only two in the British Museum that belonged to her, both of which are bound in vellum. The larger of the two, Tansillo, Le Lagrime di San Pietro, Vinegia, 1606, has a gold-line border with small floral corners, and in the centre the queen’s paternal arms with many quarterings, the most important of which are Denmark, Norway, and Sweden. The coat is crowned, and above it are the letters “A. R.”; and the queen’s own motto, “La mia grandezza viene dal eccelso,” is contained on a ribbon half enclosing the coat.

Prince Henry, the eldest son of James I., showed more taste for literary matters than any of his predecessors, although he was much addicted to all manly exercises. He not only took great interest in the books he already found in his father’s library, but he materially added to it by further collections of his own. In 1609 he purchased the library of Lord Lumley, who had been his tutor, and which was the finest then in England, except that of Sir Robert Cotton. This library had originally belonged to Henry Fitz-Alan, Earl of Arundel, Lord Lumley’s father-in-law, and it had been largely increased since his death. Prince Henry only possessed the library for three years, as he died in 1612, but during this time he made many important additions to it. Not many of the original bindings remain upon the Earl of Arundel’s books, and those that do are usually simple. There is one specimen in the British Museum that is especially good; it bears a “cameo” of a white horse, galloping, with an oak spray in his mouth, in an oval medallion, and if there were many others like it, Prince Henry destroyed much beautiful work when he had them rebound.

It must be supposed that the bindings of both Lord Arundel’s and Lord Lumley’s collection were in a bad state when Prince Henry acquired them, as they now are almost invariably in bindings that were made for him after 1610, when he was made Prince of Wales. On the Prince’s death, his library, which was then kept at St. James’s, reverted to the king, and served largely to augment the old royal library, which had not been very carefully kept up to the present time, and which, even afterwards, suffered various losses.

The majority of Prince Henry’s rebindings are designed in a fashion which has been very adversely criticised, but nevertheless they are not all without interest. The commonest decoration found upon them consists of a large royal coat-of-arms of England within a scroll border with thistles, stamped in gold, having the label of the eldest son in silver. At the corners are very large stamps, either crowned double roses, fleurs-de-lis, lions rampant, all in gold, or the Prince of Wales’ feathers in silver. Books bearing this design are more frequently met with outside the large royal collections than any others, as at one time or another many examples have become separated from the rest. But there are other books bound for the Prince the designs on which are often original and effective. Perhaps the best of these is on a copy of Livy’s Romana Historia, AvreliÆ Allobrogvm, 1609 (Fig. 15). In this instance the Prince of Wales’ feathers form the central design, impressed in silver and gold, and with the initials H. P. at the sides of it, all enclosed in a border composed of a dotted ribbon arranged in right angles and segments of circles, enriched at the corners with ornamental arabesques. This design is particularly pleasing, and it is likely that it was executed by the same binder who bound the edition of Thevet’s Vies des hommes illustres, described above, for James I., the peculiar design of the dotted ribbon appearing in both instances.

Petrus de Crescentiis, De omnibus agriculturÆ partibus, BasileÆ, 1548, has the Prince of Wales’ feathers in silver, with H. P. at the sides, and on two upright labels the words “O et presidium " Dulce decus meum.” It has very heavy corner-stamps.

A little book of Commentaries of Messer. Blaise de Monluc, Bordeaux, 1592, has a small Prince of Wales’ feathers in the centre, and very pretty angle-stamps of sprays of foliage, the feathers still being in silver. Rivault, Les Clemens d’ Artillery, Paris, 1608, is remarkably pretty. It is a small book bound in olive morocco, and has a tiny Prince of Wales’ feathers in an oval in the centre, stamped in gold and silver, within a broad border of sprays of foliage. There are large angle-pieces of the same sprays, all enclosed in a border stamped in gold. A common design is the coat-of-arms, with label within an ornamental border, ensigned with a prince’s crown, enclosed in a single line rectangle, at the corners of which are small stamps of the Prince of Wales’ feathers, crowned roses, crowned fleurs-de-lis, and crowned thistles. There are several examples of this design, both in the British Museum and at Windsor.

Fig. 15.—Livius. Romana Historia.
AvreliÆ Allobrogvm, 1609. Henry, Prince of Wales.

Pandulphi Collenucii Pisaurensis Apologus cui titulus Agenoria and other tracts in one collection was dedicated to Henry VIII., and originally his property (Fig. 16). It afterwards belonged to Magdalen College, Oxford, and they presented it to Prince Henry, for whom it was enclosed in a magnificent cover of crimson velvet, thickly embroidered with an elaborate design in gold and pearls. The edges of the cover project freely beyond the boards of the book, and have a rich gold fringe. The Prince of Wales’ feathers, thickly worked in pearls, forms the centre of the design. The coronet is of gold, and the motto is in gold letters on a blue silk ground. The very beautiful broad border contains a rich arabesque design with flowers thickly worked in seed pearls, and the inner angles have sprays in gold and pearls. There are innumerable single pearls dotted about. Both for beauty of design and richness of execution, this cover is certainly one of the finest specimens of late embroidery work in England. With the exception of a few pearls missing, and some gold braid about the motto, it may be considered to be in a very fair condition.

Another crimson velvet book, Becano Baculus Salcolbrigiensis, Oppenheim, 1611, was bound for Prince Henry. It has the Prince of Wales’ feathers in the centre, impressed in gold and silver, with a simple gold line round the edge. It is much faded, and the velvet is now more orange than crimson, but it is interesting as being the only instance in the British Museum of a stamped velvet book done for Prince Henry.

Prince Charles used two of the stamps which were first used by his brother Henry—the large coat-of-arms, with silver label, and the Prince of Wales’ feathers. Each of these is usually flanked by the letters C. P., and the Prince of Wales’ feathers are always stamped in gold instead of silver. In cases where Charles has used the coat-of-arms, the corners are filled with a full arrangement of leaf sprays and arabesques. A fine example of this style, bound in olive morocco, occurs on a binding of Dallington’s Aphorismes, Civill and Militarie, London, 1613, now in the British Museum. An example of the Prince of Wales’ feathers used alone on dark blue morocco is in the library at Windsor. During the reign of Charles I. several small, thin books were bound in vellum, stamped in gold (Plate VII.). Some of them were done for him both as prince and as king. A very good example covers a collection of Almanacks, dated 1624. In the centre is an ornament composed of four Prince of Wales’ feathers arranged as a star, the corners are filled with large stamps, the remainder of the boards are filled with semÉes of flaming hearts. This particular book was probably a favourite one of the Prince’s, as it contains his signature and other writings.

Fig. 16.—Collection of Miscellaneous Tracts in MS.
Henry Prince of Wales.

The styles of ornamentation used on large books for James I. were generally followed by his son, but often the outer borders are of a broader and more decorative kind. An instance of this is found on the dark morocco binding of Raderus’s Theological Biography, printed at Munich in 1628, a large book with a broad decorative border, corner-pieces, coat-of-arms, and semÉe of thistles, roses, and fleurs-de-lis. A small book with coat-of-arms in the centre, within the Garter, crowned, and bearing on each cover the legend “Tibi Soli O Rex Charissime,” is in the Manuscript Department of the British Museum, on a collection of treatises presented to the king. There is a handsome border round the book, the ground of which is covered with a semÉe of crosses, and the letters C. R. are on either side of the coat-of-arms. The book has two silver clasps, on one of which is engraved the Scottish crest, and on the other three crowns. The panels joining the clasps to the book are engraved with emblematic figures.

A copy of Hippocratis et Galeni opera, Paris, 1639, in several volumes, bears in the centre of each board the full royal coat-of-arms and supporters, enclosed in an octagonal border, within a rectangle, in the inner corners of which is a handsome stamp of floral sprays, and at the outer corners the crowned monogram of King Charles and his wife Henrietta Maria. They are large books, measuring 17 × 11 inches.

A very decorative little book is covered in red velvet, with silver mounts. It is a copy of the New Testament, printed in London, 1643. On each side, in the centre, are medallion portraits of the king and his queen, in pierced and repoussÉ silver, within ornamental borders. On the panels of the clasps are engraved figures emblematic of the elements, and on the corner clasps emblematic figures of Charity, Justice, Hope, Fortitude, Prudence, Patience, Faith, and Temperance.

Although embroidered books were largely produced during the reign of Charles I., not many of them were made for himself. One exists in the British Museum, on a manuscript of Montenay’s Emblemes Chrestiens, which is written by Esther Inglis, who was a calligraphist of great repute from the time of Queen Elizabeth to that of Prince Charles. She is said to have been nurse to Prince Henry; and it is probable that she worked the binding of the manuscript. It is covered in crimson satin, and embroidered in gold and silver cord with a few pearls. In the centre is the Prince of Wales’ feathers enclosed in a laurel wreath, and round it a very handsome border, with arabesques at the inner corners.

New Testament, etc. London, 1643. Charles I.

A copy of the Psalms, printed in London in 1643, is covered in white satin and embroidered. It may have belonged to King Charles, and was purchased by the British Museum in 1888. In the centre, in an oval medallion, is a minute portrait of the king, wearing a crown with miniver cape and red robe, with the jewel of the Garter flanked by the letters C. R. Enclosing this is an arrangement of arabesques and flowers, worked respectively in silver or gold guimp and coloured silks. There is no record with the book, but it is quite possible that it was worked for the king. It is one of the smallest embroidered books existing, measuring little more than 3 inches by 2.

At Windsor there is a copy of the Book of Common Prayer, printed in 1638. It is bound in blue velvet, and richly embroidered in silver guimp. In the centre are the Prince of Wales’ feathers, enclosed within a circular Garter, and surmounted by a prince’s coronet, with C. P. on either side of it. Below are the rose and the thistle. A rich outer border of arabesques encloses the central design. Her Majesty lent this book to the Burlington Fine Arts Club in 1891. It was figured in the Queen of August 15, in the same year. There are several other bindings at Windsor that belonged to Charles; among them a particularly charming specimen covers a copy of Ecphrasis Paraphraseos, G. Buchanani in Psalmos, 1620. It is a small book, and bears the Prince of Wales’ feathers in the centre, within a border of crosses, patÉe, and fleurs-de-lis, surrounded by the Garter. It has large corner-stamps and a semÉe of fleurs-de-lis. The other bindings made for Charles I. in the same library generally bear the royal coat-of-arms and large corner-stamps, and dates often occur upon them.

Fig. 17.—Dallington. Aphorismes, Civill and Militarie.
London, 1613. Charles Prince of Wales.

Charles himself certainly took very considerable interest in bookbinding, and abundant evidence of this is found in the history of Nicholas Ferrar’s establishment at Little Gidding, in Huntingdonshire, the beginning and ending of which was synchronous with Charles’s reign. The king visited Little Gidding more than once, and always evinced the liveliest interest in its work, a very important part of which was bookbinding. The most remarkable feature about these Little Gidding bindings, which were the work of amateur hands, was the stamped work on velvet, which actually reached its highest development under the auspices, and probably by the hands, of some of the Collet family, nieces of Nicholas Ferrar. They bound books for Charles and for both his sons; but, unfortunately, no specimen of their finer stamped work done for either of these princes is in the British Museum.

The copy of the Harmony of the Four Gospels, known as “??????SS????,” which was given to Charles when Prince of Wales in 1640, is now in the library of the Earl of Normanton. It measures 24½ × 16 inches, and is bound in green velvet, stamped elaborately in gold. A Concordance of the Four Evangelists, which was probably made for James, Duke of York, about 1640, is now the property of the Marquis of Salisbury, and is kept at Hatfield. It measures 20 × 14 inches, and is bound in purple velvet. Among the small stamps upon it is one of a fleur-de-lis.

Gil. ?????G?, etc. Londini, 1632. Charles I.

The Whole Law of God, as it is delivered in the Five Books of Moses, is another Little Gidding harmony, which was probably made for Prince Charles. It measures 29 × 20 inches, and is bound in purple velvet, and decorated with gold stamp-work of a similar kind. It was probably made about 1642, and now belongs to Captain Gaussen. The whole history of Little Gidding is most interesting; and, from a binding point of view, its existence during the reign of Charles I., and his kindly appreciation and patronage of it in the midst of all his own troubles, will always mark his reign as an important epoch in English bookbinding. Illustrations of many of the Little Gidding bindings are given in Bibliographica, part vi.

No particular binding seems to have been made during the period of the Commonwealth, at all events I have never been able to discover one in any of our large libraries; but, to make up for this, during the reign of Charles II. we have a profusion of royal bindings, many of which are of considerable beauty. The appointment of Samuel Mearne as royal bookbinder to Charles II. was in force from 1660 to 1683, and no doubt long before this Mearne was well known as a fine binder. There is a good deal of documentary evidence concerning Mearne, chiefly relating to bindings of Bibles and Prayer Books bound for the royal chapels, and others for the royal library at St. James’s. He decorated his bindings in three styles, easily distinguishable from each other. Books bound in the first, or simplest, style are always covered with red morocco, and have a rectangular panel of gold lines stamped on each side, having at the outer corners fleurons, or the device of two C’s, adossÉs, crowned, and partly enclosed within two laurel sprays. This device occurs commonly on Mearne’s books. The backs of these volumes are often richly stamped with masses of small floral designs, and the lettering is remarkably clear and good. There are numbers of examples, both in our royal libraries and in the hands of private owners. Although they cannot be called very ornamental, they nevertheless are of excellent workmanship, and are always in good taste.

Fig. 18.—Common Prayer. London, 1662. Charles II.

The second division are bound in red or dark morocco, the boards being decorated with what is known as the “Cottage” design, usually having the crowned monogram in the centre, the remaining spaces being more or less filled with masses of small stamped work. The fillets and many of the flowers and ornaments are often picked out with black stain.

The third division are bound in red or black morocco, ornamented with mosaic work of coloured leathers—red, yellow, green, and white. Many of these books are so intricate in their design that they deserve special mention; but it may be said, generally, that the leading motive upon them is a modification or elaboration of the cottage design, so called because its leading motive is in the shape of the gable of a cottage roof.

One of the earliest bindings done for Charles is a copy of the Bible and Prayer Book, printed at Cambridge, 1660. It is a large book covered in red morocco, and has a rectangular panel and border, with the royal coat-of-arms in the centre, all richly decorated with small gold stamp-work. The binding is not very characteristic of Mearne, although it is often considered to be his work, and bears some of his stamps. Neither the crowned monogram which is used upon it, nor the crowned dove bearing an olive branch, is found on any other bindings by Mearne. The stamp of the dove with the olive branch is of course symbolical of Charles’s return to the throne of his ancestors. The book may have been bound for special presentation to Charles on his accession to the throne.

In the royal library at Windsor are several specimens of Charles II. bindings. Among them are three copies of Charles I.’s Eikon Basilike. One of them is bound in dark blue morocco, with large royal coat-of-arms and supporters, crest and crown. Another in olive morocco is delicately stamped with arabesques, and the crowned initials C. R.; it has two silver clasps, with medallion portraits of Charles I. Another is bound in calf, having in the centre of each board a decorative portrait medallion of Charles I. in silver, within an ornamental border of figures and arabesques, having also engraved silver corner-pieces on the two front corners.

In the same library a copy of the Bible, 1660, and Taylor’s Rule of Conscience, 1676, are bound respectively in black and red morocco, and are brilliant specimens of Samuel Mearne’s work. The boards are covered with many irregular small panels, each closely filled with small stamped work. The Bible was lent to the Burlington Fine Arts Club in 1891, and is figured both in their Catalogue and in Mr. Holmes’s book of the bookbindings at Windsor. A copy of the works of Charles I., 1662, now at Windsor, is a beautiful example of Samuel Mearne’s inlaid work. It is bound in deep red morocco, with an inner panel marked with white leather. In the centre is the royal coat, with supporters and crest; and the remainder of the boards, especially the corners, are ornamented with elaborate inlays of green and yellow leather, and richly stamped in gold.

The British Museum is also rich in Charles II. bindings. The Common Prayer, printed in London in 1622, measuring 17¼ × 11½ inches, was bound for him in black morocco, elaborately inlaid, and stamped in gold (Fig. 18). A broad, yellow, rectangular panel encloses at the present time a stamp of the coat-of-arms of one of the Georges. This, of course, is a subsequent addition, and it is impossible to say for certain whether there was originally any stamp in the centre of the book or not; but probably there was a crowned initial. The inner sides and corners of this panel are ornamented with mosaics of white, red, and yellow leather, with gilded sprays and small stamps. The outer edges of the panel have at the top and bottom a cottage arrangement, filled in with small dotted scale ornament, and further decorated with red mosaic inlays, having gold stamps and sprays. A somewhat similar arrangement at the sides has scale patterns and red mosaics, and the crowned initials of the king are impressed at the roof angles. The gilt front edges of this volume are decorated with paintings of incidents chosen from the life of Christ, executed under the gold, and only visible when held in a certain position.

Fig. 19.—A short View of the late Troubles
in England, etc. Oxford, 1681. Charles II.

A copy of the Book of Common Prayer, printed in London, 1669, is covered in red morocco, and bears upon each board a modification of the roofed pattern, stained black, and broken by curves at the upper and lower points and at the sides. In the centre, the crowned C’s are enclosed in a small inner fillet, coloured black, and supplemented with very delicate arabesque stamped work in gold. The inner angles of the roof and sides are filled with scale patterns in dots. Above and below the centre-piece are bold leaf sprays. The corners and spaces throughout are filled with very close gold stamped arabesques, circles, and small flowers. It has an elaborate outer border of an enlarged scaled pattern filled with small stamps. The book is a very beautiful one, and is, in some ways, the finest specimen of Mearne’s work existing. It has frequently been figured. Under the gilding on the front edges is a painting, having as its centre motive the design of the crowned C’s and the laurel branches already mentioned. This method of painting under the gold, which appears to have been first done by an artist of the name of Fletcher, is frequently found on Mearne’s bindings. The custom dropped into disuse after his time, until it was revived by Edwards of Halifax about a hundred years later.

A copy of the Scottish Laws and Acts of James I., Edinburgh, 1661, is covered in red morocco. It has in the centre a large irregular panel, inlaid in black morocco, bearing the royal coat-of-arms, crowned, within the Garter, and the initials C. II. R., the rest of the black panel being thickly gilded with ornamental sprays. There are large angle-pieces of yellow leather, richly stamped, and at the sides, upper, and lower edges of each board are urns carrying large branching sprays, with flowers inlaid in yellow and black leathers.

A short View of the late Troubles in England, Oxford, 1681 (Fig. 19), is bound in red morocco, and ornamented all over the boards with small, irregular panels, outlined by broad gold lines, and filled with mosaics of black and yellow leather, all ornamented thickly with small gold stamp-work. In the centre, on a black panel, are large ornamental initials, “C. R.,” crowned. Although this binding has many points in common with Samuel Mearne’s work, it is lacking in finish, and it is probably the work of his son Charles, who afterwards succeeded him as royal binder. A copy of Fox’s Book of Martyrs, London, 1641, also bound in Mearne’s fashion, bears upon its front edges, under the gilding, a portrait of the king in his coronation robes. It is figured in Bibliographica, part viii., and is signed “Fletcher.”

Fig. 20.—Bible. Cambridge, 1674. James II.

There are in the British Museum two large volumes of an English Atlas, measuring 23 × 15 inches. The first of them bears the large ornamental initials C. R. crowned. It has a modification of the cottage design, arranged in an interlacing fillet of yellow leather, within which is a symmetrical arrangement of irregular panels, inlaid with black and yellow morocco, all richly edged and filled in with small gold stamped work, picked out with silver. The second volume is ornamented in a similar manner with inlays, but has not the outer border or the initials.

Although there are many of Mearne’s bindings to be found in the large private libraries throughout England, probably the finest is that which belongs to the Earl of Crewe, at Crewe Hall. It covers a folio Book of Common Prayer, 1662, and bears the cottage design, outlined in yellow leather, with scale pattern. There are fine mosaics of red, yellow, and green leathers in the corners of the inner panel, covered with close gold stamp-work and floral sprays. The crowned C’s are in the centre within an ornamental border, and outside the yellow panel are red and green mosaics, thickly covered with small gold work.

Mr. Almack, in his valuable Bibliography of the King’s Book or Eikon Basilike, gives a plate of a binding that covers an edition of 1649, but which was bound for Charles II. by Samuel Mearne. It bears the royal coat-of-arms, with garter and crest, within a rectangular panel enriched with small gold stamps. It is in red morocco. Several of the editions of the Eikon bear the initials C. R. upon their covers, with other emblems, but it is most likely that these letters refer to the author rather than to the owner.Mr. E. H. Lawrence lent to the Burlington Fine Arts Club Exhibition of Bookbindings an exquisite specimen of Samuel Mearne’s work. It is a collection of anthems, with music, bound in dark blue morocco. It is elaborately stamped in gold, with a curved adaptation of the cottage design, closely filled in with masses of small gold work along the inner and outer edges. The crowned monogram, with laurel sprays, is in the centre of each of the sides, and it has a rich double border of scale patterns filled with gold stamped work.

In the library at Windsor are several bindings that were done for James II., but they are generally of a simple kind, bearing heraldic devices in the centre enclosed in rectangular panels of more or less elaboration. At the British Museum are some Jacobean bindings of a more ornamental kind. One of these, a Cambridge Bible of 1674, is bound in crimson velvet, and has rich silk ties with bullion fringe (Fig. 20). It is heavily embroidered in gold, silver, and coloured silks, and bears in the centre the crowned initials “J. R.” enclosed in a strap border intertwined with rose sprays and other floral designs. In each of the corners is a cherub’s head with wings. There are two volumes, each measuring 18 × 12 inches. Although, from the size of these books and the splendid colour, they are undoubtedly of imposing appearance, neither the design nor the workmanship can be considered of a high quality.

Belonging to the King’s Library in the British Museum are two specimens, almost exactly alike except for their size, which may, for the present, be considered the finest that were done for James II. One of these is a Common Prayer, printed at Oxford in 1681. It is bound in red morocco, and has a black “cottage” fillet, broken at the angles and at each side. The crowned monogram “J. R.,” with laurel spray, occurs in several places on the boards. The remaining spaces are closely filled with small gold stamped work, similar to that used by Samuel Mearne. The book is an unusually fat one, and bears upon its broad front edges, under the gold, the most elaborate painting I have found in such a position. It has the full coat-of-arms of England, with supporters, crown, and crest, enclosed in an elaborate border of flowers, cherubs, and ribbons. This painting is in remarkably fine condition, but, like all this class of work, the appearance of it depends very largely upon the manner in which it is displayed. The companion volume is a Bible of 1685. It is bound in an almost identical way; but the painting on the edge, although brighter, is not to be compared with it, either for size or excellence.

Fig. 21.—Euclide. Oxford, 1705. Queen Anne.

A note at the beginning, signed G. Sarum, says that this was the book which “lay before His Majesty above two years in the closet of his chappell,” and afterwards it was the property of the Archbishop of Canterbury, and then of the Bishop himself.

At Windsor there is a small book bound for Mary of Modena in red morocco, with the royal coats of England and Este, crowned, and enclosed within a cordeliÈre des veuves, the rest, with the field, being occupied with small panels ornamented in the Mearne fashion.

At the British Museum is a copy of Walter’s Poems, printed in 1668, that was dedicated by him to the Duchess of York, with an autograph poem. It is bound in black morocco, and bears the arms of England, with a label, impaled with those of Este, with supporters, and surmounted with a prince’s coronet. Above and below the coat-of-arms are curves and arabesques in dotted gold work, picked out with silver, all enclosed in a rectangular border of a Mearne pattern.

The bindings of William and Mary are not remarkable in any way, except for their peculiar arrangement of the quarterings of the royal coat. A fine copy of Veues des belles maisons de France, bound in red morocco, has in the centre a crowned shield within a Garter, the bearings being—first, the coat of England; second, the coat of Scotland; third, the coat of France; fourth, the coat of Ireland; over all the scutcheon of Nassau. In each corner is a handsome crowned monogram, “W. M.” The volume is at Windsor. In the same library is a copy of the Statutes of the Order of the Garter, bound in dark blue morocco, and bearing in the centre, within a Mearne border, the royal coat-of-arms, crowned, with Garter. On the dexter side is the Cross of St. George; on the sinister side, the coat of England with the quarterings in their proper order.

Fig. 22.—Ælfric. An English-Saxon Homily on the
Birthday of St. Gregory. London, 1709. Queen Anne.

In the British Museum are other bindings of William and Mary, but they are also of small importance from a decorative point of view. They often bear the crowned initials “W. R.” enclosed in laurel sprays, and are ornamented with lines and small sprays in gold, mostly after the Mearne fashion. A copy of the Memoirs of the Earl of Castlehaven, London, 1681, has the coat arranged in the following curious manner: first, England; second, Scotland; third, Ireland; fourth, France, with scutcheon of Nassau over all. It almost seemed as if William considered that the coat of France had been borne long enough by English sovereigns, and it occupied the place of honour until he deposed it from that proud position; but I believe it was only upon his bookbindings that he took these liberties with the fleurs-de-lis.The finest of Queen Anne’s bindings at Windsor is a copy of Flamsteed, Historia Coelestis, 1712. It is bound in red morocco, and has in the centre the full arms of England with supporters. The arms are quartered as follows: first and fourth, England and Scotland impaled; second, France; and third, Ireland; all within mitred panels, ornamented with small arabesques and floral sprays at the angles and sides. In the same library is also a binding with the monogram of William, Duke of Gloucester, son of Queen Anne, with a prince’s coronet enclosed in a triple-bordered panel, with sprays and acorns.

In the British Museum the richest binding done for Queen Anne is on a copy of the English Euclide, Oxford, 1705 (Fig. 21). It is a large book, and the centre is occupied by a cottage design divided into four panels, each of which is thickly filled with small gold stamped work. At the upper and lower edges of the boards are the words “Anna D. G.,” under a royal crown, upheld by two cherubs; above which is a scroll bearing the words “Vivat Regina.” The outer corners and the sides are filled with scale ornaments and floral sprays of a branching character.

Another volume bound for Queen Anne, in the British Museum, is An English-Saxon Homily on the Birthday of St. Gregory, by Ælfric, Archbishop of Canterbury, London, 1709 (Fig. 22). It is covered in red morocco, and stamped in gold with a cottage design, and bears the crowned monogram “A. R.,” with laurel sprays and other small stamps scattered about. The designs on all these volumes of the later Stuart sovereigns have no very distinctive character, and, except where they are frank imitations of Mearne’s work, they show little inventive power.

On the legislative union of England and Scotland in 1706, the first and fourth quarters of the royal coat bore the coats of England and Scotland impaled, the second quarter the coat of France, and the third that of Ireland. It is important to remember this change, as the first quarter continued to be used in the same way on Queen Anne’s books and on those of her successors until 1801.

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