,the ,publication ,committee of the ,caxton ,club certify that this is one of an edition of two hundred and fifty-two copies printed on hand-made paper1 of which two hundred and twenty-eight are for sale1 and three copies printed on ,japanese vellum4 ,the printing was done from type which has been distributed4 ,,thomas ,,berthelet ,illustration3 ,,diev 99 ,,et 99 ,,mon ,,droyt 99 ,m,d99,l,,ii ,illustration3 ,,plate ,i4 ,,calf ,,binding ,,of ,,bembo',s 8,,historicae ,,venetae4 ,,libri ,,xii4 ,,venice1 #aeea40 ,,made ,,for ,,edward ,,vi4 ,see page #hg4 ,,thomas ,,berthelet ,,royal ,,printer ,,and ,,bookbinder ,,to ,,henry ,,viii4 ,,king ,,of ,,england ,,with ,,special ,,reference ,,to ,,his ,,bookbindings ,,by ,,cyril ,,davenport1 ,f4 ,s4 ,a4 ,,of ,,the ,,british ,,museum ,,author ,,of ,,the ,,english ,,regalia1 ,,royal ,,english ,,bookbindings1 ,,english ,,embroidered ,,bookbindings1 ,,cantor ,,lectures ,,on ,,bookbinding1 ,,cameos1 ,,etc4 ,illustration3 colophon ,,chicago ,,published ,,by ,,the ,,caxton ,,club ,,mdcccci ,,copyright ,,by ,,the ,,caxton ,,club ,,nineteen ,,hundred ,,and ,,one ,,table ,,of ,,contents4 ,,chapter ,,page ,i4 ,,english ,,bookbinding ,,up ,,to ,,the ,,time ,,of ,,henry ,,viii4 #ac ,,ii4 ,,documentary ,,evidence ,,concerning ,,berthelet ,,and ,,his ,,work #bi ,,iii4 ,,the ,,bookbindings ,,of ,,thomas ,,berthelet1 ,,with ,,detailed ,,descriptions ,,of ,,some ,,typical ,,examples #eg ,,index #ii ,,list ,,of ,,illustrations4 ,,plate ,,no4 ,,page ,i4 ,,calf ,,binding ,,of ,,bembo',s 8,,historicae ,,venetae4 ,,libri ,,xii4 ,,venice1 #aeea40 ,,made ,,for ,,edward ,,vi4 ,frontispiece ,,ii4 ,,title-,,page ,,of ,,john ,,gower',s ,,confessio ,,amantis4 ,,london1 #aecb #aj ,,iii4 ,,berthelet',s ,,device ,,of ,,lucretia ,,stabbing ,,herself #af ,,iv4 ,,legend ,,written ,,on ,,the ,,edges ,,of ,a ,,volume ,,of ,,sixteenth-,,century ,,tracts1 ,,bound ,,in ,,red ,,satin ,,for ,,henry ,,viii4 #bj ,v4 ,,calf ,,binding ,,of 8,,galteri ,,deloeni ,,libellus ,,de ,,tribus ,,hierarchiis40 ,a ,,ms4 ,,dedicated ,,to ,,henry ,,viii41 ,,and ,,bound ,,for ,,him #bd ,,vi4 ,,calf ,,binding ,,of ,a ,,copy ,,of ,,the ,,works ,,of ,,st4 ,,chrysostom1 ,,printed ,,at ,,basle ,,in #aecj4 ,,made ,,for ,,henry ,,viii4 #cj ,,vii4 ,,white ,,leather ,,binding ,,of ,a ,,ms4 ,,entitled 8,,la ,,science ,,de ,,geometrie0 #cf ,,viii4 ,,upper ,,cover ,,of ,,the ,,calf ,,binding ,,of ,,vol4 ,i4 ,,of ,a ,,bible ,,printed ,,at ,,antwerp ,,in #aecd4 ,,made ,,for ,,henry ,,viii4 ,,and ,,queen ,,anne ,,boleyn #db ,,ix4 ,,satin ,,binding ,,of ,a ,,collection ,,of ,,sixteenth-,,century ,,tracts4 ,,made ,,for ,,henry ,,viii4 #df ,x4 ,,calf ,,binding ,,of 8,,jul4 ,,claud ,,iguini ,,oratio ,,ad ,,hen4 ,,viii40 ,,made ,,for ,,the ,,king #eb ,,xi4 ,,velvet ,,binding ,,of ,a ,,bible ,,printed ,,at ,,zurich ,,in #aedc4 ,,made ,,for ,,henry ,,viii4 #eh ,,xii4 ,,calf ,,binding ,,of 8,,trogus ,,pompeius4 ,,chorographica1 #aedf40 ,,made ,,for ,,prince ,,edward #fb ,,xiii4 ,,calf ,,binding ,,of ,a ,,ms4 ,,commentary ,,on ,,the ,,campaign ,,of ,,the ,,emperor ,,charles ,v4 ,,against ,,the ,,french ,,in #aedd4 ,,made ,,for ,,henry ,,viii41 ,,to ,,whom ,,the ,,ms4 ,,is ,,addressed #fh ,,xiv4 ,,calf ,,binding ,,of 8,,la ,,cyropedie ,,de ,,xenophon4 ,,paris1 #aedg40 ,,made ,,for ,,edward ,,vi4 #gd ,,xv4 ,,white ,,leather ,,binding ,,of 8,,joannes ,a ,,lasco4 ,,brevis ,,de ,,sacramentis ,,ecc4 ,,christi ,,tractatio4 ,,london1 #aeeb40 #gh ,,xvi4 ,,white ,,leather ,,binding ,,of 8,d4 ,,aurelii ,,augustini ,,hipponensis ,,ep4 ,,tam ,,in ,,vetus ,,quam ,,in ,,novum ,,test4 ,,commentarii4 ,,bas41 #aedb40 ,,made ,,for ,,queen ,,mary #hb ,,xvii4 ,,calf ,,binding ,,of ,,queen ,,mary',s ,,prayer-,,book4 ,,ms4 ,,on ,,vellum4 ,,bound ,,for ,,the ,,queen #hd ,,xviii4 ,,calf ,,binding ,,of 8,,epitome ,,omnium ,,operum ,,divi ,,aurelii ,,augustini4 ,,col41 #aedi40 ,,made ,,for ,,queen ,,mary #ij ,illustration3 ,to1 ,gower de confessione ,amantis4 ,imprinted at ,london in ,flete-strete by ,thomas ,bethelette ,printer to the kingis grace1 ,a ,n 4 ,m4,d4,,xxxii4 ,,cvm ,,privilegio4 ,illustration3 ,,plate ,,ii4 ,,title ,,page ,,of ,,john ,,gower',s ,,confessio ,,amantis4 ,,london1 #aecb4 ,see page #dh4 ,,chapter ,i4 ,,english ,,bookbinding ,,up ,,to ,,the ,,time ,,of ,,henry ,,viii4 ,such ,english bookbindings of an early date as still exist are1 as a rule1 bound in dark brown goatskin or brown sheepskin4 ,the earliest notices about bookbindings are to be found in some of the wardrobe accounts of ,edward ,,iv41 but of the many bindings which were made for that king1 the only remaining sign now left is a loose cover in the library of ,westminster ,abbey2 it is ornamented with a panel stamp bearing the king's arms1 with supporters4 ,in ,medival times1 books1 mostly religious1 were generally written1 copied1 illuminated1 and bound in the monasteries themselves1 and were frequently of large size4 ,after the date at which printing was introduced into ,europe1 about the middle of the fifteenth century1 books became commoner1 and very soon1 as a general rule1 smaller1 the printer1 binder1 and publisher usually combining in his own person the functions hitherto performed by separate artists and artificers1--the illuminators1 scribes1 silversmiths1 goldsmiths1 jewellers1 enamellers1 and workers in leather1 wood1 or ivory4 ,in short1 the art of producing books became in every way a less ornamental and a commoner one4 ,it is disappointing that no single specimen of the rich ,medival style of bookbinding exists of ,english workmanship4 ,such bindings were undoubtedly made here1 and numerous drawings of them are to be seen in contemporary manuscript4 ,it is certain that the intrinsic value of these covers attracted the attention of some of our sovereigns1 especially the early ,tudors1 and whenever they were of any value at all1 the crucible accounts for their disappearance4 ,luckily the manuscripts themselves1 now infinitely more valuable than the gold and silver which formerly covered them1 have in innumerable instances been carefully preserved unhurt4 ,but it is some comfort to know that much beautiful work of the kind we have so unfortunately lost here can be seen and studied in ,dublin1 at the ,royal ,irish ,academy and other institutions4 ,in that city are to be seen noble specimens of the old book shrines1 or covers1 which protected the valuable manuscripts1 illuminated sometimes by the ancient ,irish scribes in such richness that they have never been excelled in beauty4 ,these covers are in all probability nearly the same as the ,english ones were2 they bear ornamentation of a similar ,gothic character1 nearly analogous to the ,anglo-,saxon styles1 and the jewels are cut and set in the same way as is found in old ,english jewellers' work4 ,the 8cumdach10 or cover1 of ,molaise's ,gospels1 that of the ,stowe missal and 8,dimma's book10 are all beautiful examples4 ,the ,irish jewellers were justly celebrated workmen2 they migrated largely to the ,continent1 and traces of their skill often show on ,byzantine bindings made from about the ninth to the eleventh centuries4 ,the older part of the magnificent cover of the ,gospels of ,lindau is ,irish work4 ,this was shown in #ahia at the ,burlington ,fine ,art ,club1 and until lately was the property of the ,earl of ,ashburnham4 ,it is one of the most gorgeous bookbindings in existence4 ,in some ,eastern countries bordering on ,europe1 especially the north of ,africa and parts of ,asia1 books were bound in leather and ornamented with gold at a very early date4 ,signs of such work are found on bindings of the twelfth century onwards1 but it is always rare1 and only sparingly used4 ,the manner of working the gold differs considerably from the way it is treated now4 ,persian1 ,arabian1 and ,egyptian work of this sort is of great interest1 and well deserves more attention and examination than it has yet received4 ,it even seems that some kind of gilding on books was practised in ,england as early as #adhj1 as appears from one of the accounts of ,piers ,courteys1 keeper of the ,king's ,great ,wardrobe in the ,city of ,london2 but there is not enough information given to enable us to say what sort of gilding this was1 neither do the existing specimens throw any definite light on this particular point4 ,the account in which this reference to gilding on books occurs is one of the entries referring to the ,privy ,purse ,expenses of ,elizabeth of ,york1 daughter of ,edward ,,iv41 and afterwards wife to ,henry ,,vii42 the words are as follows3-- 8,piers ,bauduyn stacioner for bynding gilding and dressing of a booke called ,titus ,livius ,,xx2 for binding gilding and dressing of a booke of ,the ,holy ,trinite ,x,vj2 for binding gilding and dressing of a booke called ,the ,bible ,x,vj2 for binding gilding and dressing of a booke called ,le ,gouvernment of ,kings and ,princes ,x,vj2 444 and for binding and gilding and dressing of a booke called ,the ,bible ,historial ,,xx40 ,it is1 ,i think1 probable that these bindings were ornamented with panel stamps1 which were simply gilded all over1 and that the process referred to was not that which is now generally understood as gold-tooling4 ,during the ,middle ,ages ,venice was the most important ,european centre of trade with ,eastern countries1 and so it naturally comes about that the first ,european gold-tooling on leather comes from that great art centre1 and occurs in ,italian bindings of the fifteenth century4 ,not only does gold-tooling first appear in ,venetian work1 but there also it reached its highest development1 several of the early bindings tooled in gold on dark leathers being quite unsurpassed for delicacy and originality of design1 as well as for beauty of workmanship4 ,in several of these bindings the direct inspiration that has been afforded by the study of ,oriental originals is very apparent4 ,innumerable also are the methods the ,italian artists followed with regard to their management of gold leaf1 or gold foil2 sometimes a whole design is picked out with minute gold dots1 sometimes backgrounds are flatly gilded all over1 leaving the design on the leather1 and sometimes the method of working closely resembles that followed at the present day4 ,the early ,venetian bookbinders1 as well as some of the ,oriental gilders1 knew some way of gilding a line drawn on leather by means of a style4 ,this is a difficult thing to do1 but effective in competent hands2 and if it could be done with any degree of safety1 such a process would now open up an entirely new field for decorative bookbinders1 who are at present much bound down by the limitations forced upon them in consequence of chiefly using set stamps specially cut for each curve and bend and detail4 ,of course such lines are easy to execute in blind1 but it is when the gilding begins that the difficulties increase4 ,the essential point in gold-tooling on leather1 as we know it1 consists in the fixation of gold leaf by means of albumen4 ,the design is marked in blind on leather and painted over with glair of egg1 the gold leaf then being carefully laid over it2 the marks of the blind-tooling show clearly through the gold1 and each of these impressions is steadily reimpressed with the same tools in the same places over the gold4 ,the tools are heated to a point just sufficient to harden the albumen without burning the leather4 ,if necessary1 this process can be repeated again and again1 until in the finest specimens of such work the gold looks as if wires of the solid burnished metal were actually inlaid on the leather4 ,the albumen protected by the gold ,illustration3 ,,plate ,,iii4 ,,berthelet',s ,,device ,,of ,,lucretia ,,stabbing ,,herself4 ,see page #di4 makes such a strong surface that frequently the gilded letters1 or designs1 which were of course originally in intaglio1 are found in relief1 the explanation being that the surrounding leather1 being unprotected1 has worn or powdered away all around4 ,the use of albumen is1 however1 not entirely without a drawback1 as it is a favourite food for some small grub1 so that sometimes1 instead of a beautiful gilded line1 there is only a small trench following the same track1 all the gold and all the albumen having been eaten away1 leaving the design as it was1 but in a different colour4 ,as a matter of fact1 the earliest ,english binding now existing on which gold occurs is in the ,bodlein ,library at ,oxford1 but it would hardly come under the heading of gold-tooling4 ,it is on a manuscript written by ,robert ,witinton about #aeaf1 and was given by him to ,cardinal ,wolsey4 ,the binding is in brown sheepskin1 and is decorated with block impressions from panel stamps1 three on each side1 the centre one representing ,st4 ,george and the dragon1 and the side ones bearing the ,tudor emblems1 portcullis1 pomegranate1 and double rose4 ,these stamps are well and boldly cut1 and the impressions are gilded1 but ,i think it would be difficult to say positively whether they were simply overlaid with gold leaf after being made on the leather1 or whether the gold was fixed by the operation of stamping4 ,i rather expect the latter method was used2 but the volume is a very curious and interesting one even if such is not the case1 and to some extent may explain the gilding mentioned in ,piers ,courteys's account4 ,in ,england during the fifteenth century the printing1 binding1 and publishing of printed books generally vested in the same individual1 but by degrees these processes became specialized1 and towards the end of the sixteenth century they were carried out by different persons4 ,now and then1 among the earlier specimens of ,berthelet's work1 designs of a similar kind occur on the outside of the binding in gold1 and inside the book printed in black4 ,the occurrence of such a peculiarity would point strongly to the probability of the printer having also been the binder1 or at all events that the control of both processes was in the hands of the same master4 ,although no ,medival ,english bindings of the richer sort are now left1 several of the simpler kind bound in leather still remain4 ,most of these are ornamented with impressions from small cameo stamps impressed in blind1--that is to say1 without gold4 ,most of such bindings are bound in dark brown leather1 either goatskin1 corresponding to our morocco1 or sheepskin1 corresponding to our roan4 ,each of these old leathers is sound and fine in colour1 and always brown2 colour dyes for leather1 except red1 being a later1 and probably hurtful1 innovation4 ,the boards of these bindings1 like those of the decorated kind1 are of wood1 sometimes thick1 sometimes thin4 ,the thick boards were made heavy1 because many of the manuscripts were written on vellum1 which is very curly1 and the weight of the covers was useful in counteracting this defect4 ,the thin boards were very carefully chosen1 and must have been well seasoned1 as they are very rarely indeed warped at all4 ,in many instances stamps of the monasteries at which they were made are impressed on these boards1 and this is a sign of the careful manner in which even the smallest details concerning books was superintended4 ,berthelet's boards are always of cardboard or its equivalent1 and although wooden boards are often found at a subsequent time to this1 they may as a rule be considered to have gone out of universal use here about the end of the fifteenth century4 ,the reputed oldest specimen of all the ,english bookbindings is bound in red leather1 possibly deerskin2 it is known as 8,st4 ,cuthbert's ,gospels10 and was found1 ,a4 ,d4 #aaje1 in the tomb of ,st4 ,cuthbert when it was opened4 ,st4 ,cuthbert died ,a4 ,d4 #fhg1 and the book is supposed to have been buried with him4 ,it contains the ,gospel of ,st4 ,john1 written on vellum1 and is now treasured at ,stonyhurst ,college4 ,the volume is in such a remarkable state of preservation1 both outside and inside1 that a certain amount of discredit attaches to the legend of its great antiquity4 ,it is bound in thin boards of limewood1 covered with red leather1 curiously worked and coloured4 ,the upper cover bears a decorative rectangular panel1 the central portion of which1 nearly square1 has a symmetrical foliated curve of double-,s form1 repouss1 and showing slight traces of colour2 above and below this are two long panels in which are drawn free-hand scrolls of ,anglo-,saxon character1 deeply lined4 ,these scrolls are painted blue and yellow4 ,the under side is simply ornamented with fillets4 ,the design of this binding is unquestionably very old1 and may fittingly be referred to about the date of ,st4 ,cuthbert's death4 ,mr4 ,e4 ,gordon ,duff1 however1 inclines to the view that it is not actually the original binding1 but is a copy of about the twelfth or thirteenth century4 ,even if it were made at the latest date attributed to it1 it is still the earliest existing ,english book bound in red leather1 as well as the only one decorated in the true style of ,anglo-,saxon art4 ,another early ,english book of great interest is a ,latin ,psalter of the eleventh century1 in its original binding of thick oaken boards covered with brown leather4 ,on each side is a sunk panel1 and in one of these is a copper gilt figure of our ,lord in the attitude of the crucifixion4 ,the corners and clasp are of thin brass stamped with patterns1 and are most likely of later date than the rest of the binding4 ,a very interesting point about this book is1 that it was used as the official coronation oath-book by all the ,english sovereigns from ,henry ,i4 to ,henry ,,vii42 it formerly belonged to the ,exchequer1 and was subsequently the property of the ,marquis of ,buckingham1 who kept it in his beautiful library at ,stowe2 it is now in the ,british ,museum4 ,with the exception of these two instances1 all the ,english books bound in leather before the time of ,thomas ,berthelet are ornamented1 if at all1 with blind-stamped work only4 ,in the cutting of stamps for this form of decoration1 as well as in the designing of them1 ,english artists in the twelfth century particularly are considered to have been superexcellent4 ,the subject has been most ably and lucidly considered by ,mr4 ,james ,weale1 lately ,art ,librarian at the ,south ,kensington ,museum4 ,he finds that such work was produced especially at ,durham1 ,winchester1 ,oxford1 and ,london1 from the twelfth to the fifteenth centuries1 after which there was such a marked irruption of foreign binders and foreign stamps that the ,english work became obscured1 and on its recovery was of an entirely different character4 ,but it is now generally conceded that these early ,english blind-tooled leather bindings are indeed the finest of the kind made anywhere4 ,the ,winchester ,domesday ,book of the twelfth century1 now belonging to the ,society of ,antiquaries of ,london1 is a charming and typical specimen of this work2 it is bound in dark brown goatskin1 and ornamented with impressions in blind from beautifully cut small cameo stamps4 ,the main scheme of the decoration is two large circles1 one above the other1 enclosed within a rectangular panel4 ,the circles as well as the lines of the panel are curiously made up of successive impressions of small stamps4 ,those used in the circles are cut in such a manner that they can be used either separately or in combination4 ,used together1 of course1 certain stamps will only combine properly to form a circle of a particular ,illustration3 ,,plate ,,iv4 ,,legend ,,written ,,on ,,the ,,edges ,,of ,a ,,volume ,,of ,,sixteenth-,,century ,,tracts4 ,,bound ,,in ,,red ,,satin ,,for ,,henry ,,viii4 ,see page #ff4 circumference1 as they are designed in short segments of circles1 drop shaped1 or in lozenge shapes1 smaller at the base than at the top4 ,it must be noted that the use of stamps cut in such a manner as to combine easily in circular forms is a characteristic of early ,english work4 ,this circle1 differently produced1 however1 will presently be seen again in ,berthelet's designs1 and it reappeared also in the seventeenth century on much of the remarkable work done on leather as well as on velvet1 at the very interesting establishment founded at ,little ,gidding in ,huntingdonshire by ,nicholas ,ferrar4 ,parts of circles are sometimes1 but not often1 found on the bindings made for ,jean ,grolier during the first half of the sixteenth century1 but it is very seldom that the circle itself occurs as an integral part of the design on bookbindings4 ,the circle as originally used in the artistic ornamentation of sculptures1 goldsmiths' work1 and the arts generally was probably a sun-sign4 ,i fear bookbinding is not old enough to come under this ancient art influence very strongly2 but it is just possible that the artists who designed the ornamentation of the leather covers of several of the splendid bindings made in ,england in ,medival times1 based largely upon the circle1 and who cut their stamps so as easily to produce circles1 may have been unconsciously following out the lines of thought inherited by them from artistic ancestors imbued with the ancient traditions4 ,crosses as well as circles are found sometimes on early leather bindings1 but not in ,english work1 and with these two exceptions ,i do not think any of the ancient symbols are represented in this particular line of art4 ,on the introduction of printing into ,england in the fifteenth century1 the rich ,medival bindings very rapidly became things of the past4 ,the gap between them and the simple blind-stamped leather which rapidly superseded them was1 however1 filled to some extent by the production of very ornamental bindings in velvet and satin4 ,these covers are mounted with bosses and clasps of precious metals and enamels1 or embroidered in gold and ornamented with pearls4 ,several references and notes concerning such bindings occur in contemporary official documents1 but no actual specimens now exist earlier than the time of ,henry ,,vii41 but that king has left us several splendid examples4 ,until ,henry ,,viii4 had his own royal binders1 it is likely that all the early printers bound only their own work2 but naturally a printer and binder holding an appointment as royal binder would be sometimes expected to bind other miscellaneous books1 and instances of this are not only found in ,berthelet's account1 given below1 but amongst the books bound by him there are some which were printed abroad and others which are collections of tracts1 etc41 all of which were bound for ,king ,henry ,,viii4 or his immediate successors4 ,the royal heraldry at the time ,berthelet made his bindings was simple and dignified2 first and fourth were the three fleurs-de-lys of ,france2 second and third1 the three lions of ,england4 ,from ,william the ,conqueror until ,henry ,,ii41 the royal coat of ,england probably consisted of two lions passant guardant in pale4 ,henry ,,ii41 however1 on his marriage with ,eleanor1 daughter of ,william ,v41 ,duke of ,aquitaine and ,guienne1 incorporated the coat of that potentate1 a single leopard1 with his own1 but as he probably considered the conjunction of this animal with those already on his coat might not be conducive to peace1 he turned the leopard into a similar lion and added it to the others1 and from that time the coat of arms of ,england has been 8gules1 three lions passant guardant in pale1 or40 ,the coat of ,france1 8azure1 sem de fleurs-de-lys1 or10 was adopted by ,edward ,,iii41 in the fourteenth year of his reign1 together with the title of ,king of ,france1 asserting his right to the coat and the title by virtue of his mother1 ,isabel1 daughter of ,philip ,,iv4 ,at first ,edward placed the ,french coat in the second and third places of his shield1 but presently gave it the places of honour1 first and fourth1 in consequence of a remonstrance from the ,french king4 ,edward's grandson1 ,richard ,,ii41 married1 as his second wife1 ,isabel1 daughter of ,charles ,,vi4 of ,france1 who changed his coat1 8sem de fleurs-de-lys10 to one having only three fleurs-de-lys4 ,richard altered the ,french coat on his shield in accordance with this change1 and this became the royal coat of arms of ,england until the accession of ,james ,i4 ,with regard to the supporters which are found on some of ,berthelet's bindings1 they are only the dragon and the greyhound4 ,the dragon is the red dragon of the last of the ,british kings1 ,cadwallader1 from whom ,henry ,,vii4 claimed descent1 and in remembrance of whom he bore it as a supporter1 as did all our ,tudor sovereigns4 ,this1 however1 is only one explanation1 as it appears that a very similar badge was previously borne by ,henry ,,iii41 ,edward ,i41 and ,edward ,,iii4 ,the greyhound was also one of ,henry ,,vii4's supporters1 and is found on several of his bindings2 it was used by ,henry ,,viii4 until about #aebh1 when he substituted a lion and changed the sides4 ,this greyhound was borne by ,henry ,,vii4 by a double right1 partly by reason of his own descent from the ,earls of ,somerset1 whose badge it was1 and also by right of his wife through the ,nevilles4 ,the badges found on ,berthelet's bindings are the portcullis1 used by all the ,tudors in remembrance of the castle of the ,beauforts in ,anjou1 where ,henry ,,vii4's maternal grandfather was born2 the double rose1 red and white1 used first by the ,lancastrian ,henry ,,vii4 on his marriage with ,elizabeth of ,york1 as a symbol of the union of the two rival houses2 the fleur-de-lys1 doubtless taken as one of the bearings from the ,french coat of arms2 and the daisy1 borne in remembrance of ,margaret ,beaufort1 mother of ,henry ,,vii4 ,all these are found on bindings made by ,berthelet1 sometimes singly and sometimes in combination on one binding4 ,henry ,,vii4 was the first ,english king who attempted to form a library of his own1 and besides manuscripts1 he possessed a very fine collection of splendid volumes printed by ,antoine ,verard at ,paris4 ,these books are now part of the old ,royal ,library in the ,british ,museum1 and since they have been there they have all been rebound in velvet1 which may probably be taken as some sign that they were originally bound in that material2 and this is likely enough1 as all the bindings still existing that belonged to this king are bound in it4 ,some of these beautiful bindings are now in the library at ,westminster ,abbey1 but the finest example of any of them is in the ,british ,museum4 ,during the reign of ,henry ,,viii4 some large heraldic panel stamps bearing the royal coat of arms were made here1 probably by ,dutch workmen1 as they have characteristics of foreign workmanship4 ,these stamps are often considered royal1 but it is doubtful whether they ever were so4 ,two of them bear the royal coat of arms as used by ,henry ,,vii4 and ,henry ,,viii4 ,one shows the royal coat1 crowned1 with supporters1 stars1 and a few flowers1 and at the top the sun in glory and a half-moon with a face in profile1 the arms of the ,city of ,london1 and the cross of ,st4 ,george2 the other1 a handsomer design1 has likewise the royal coat of arms1 crowned1 with supporters1 but at the top there are two angels carrying scrolls1 and having between them a large double rose1 while below are two portcullises1 depending from the lower edge of the shield by chains4 ,two other panel stamps belonging to this series show the coats of arms of ,queen ,katharine of ,aragon and ,queen ,anne ,boleyn1 and these have large shields1 crowned1 and supported by angels1 with a ground on which are several flower sprays4 ,illustration3 ,,plate ,v4 ,,calf ,,binding ,,of 8,,galteri ,,deloeni ,,libellus ,,de ,,tribus ,,hierarchiis40 ,a ,,ms4 ,,dedicated ,,to ,,henry ,,viii41 ,,and ,,bound ,,for ,,him4 ,see page #fh4 ,these stamps are always accompanied by another1 which shows peculiar characteristics tending to prove that none of them are royal4 ,this stamp always bears upon it some initial or device that belonged to a printer of the time4 ,it consists of a large double rose supported by two angels1 each bearing a scroll1 on which1 read together1 is the legend1 8,hec rosa virtutis de celo missa sereno etern florens regia sceptra feret40 ,in the two upper corners are a sun in glory and a half-moon with face in profile1 the shield of the ,city of ,london1 the cross of ,st4 ,george1 and several stars4 ,below are a few scattered flower sprays and the initials or device of a printer4 ,the commonest initials occurring on these panels are probably ,h4 ,j41 most likely ,henry ,jacobi2 ,j4 ,r41 very likely ,john ,reynes2 ,g4 ,g41 possibly ,garret ,godfrey2 ,r4 ,l41 perhaps ,richard ,lant2 and many others of less note4 ,judging from the use of the greyhound as one of the royal supporters1 none of these stamps were cut after #aebh1 and ,mr4 ,weale considers they may have been first used as early as #adhe4 ,i described and figured all of them in 8,the ,queen0 of ,june #bj1 #ahia4 ,although books bearing these designs are now generally considered non-royal1 they are nevertheless frequently put forward as having belonged to ,henry ,,vii4 and his successors1 and in many places and catalogues they will be found so described4 ,they are fine and well-cut stamps1 and are impressed sometimes on sheep1 but usually on fine calf leather2 and no doubt if it were not for the existence upon them of trade-marks1 private monograms1 and city emblems1 there would be much in favour of such a supposition4 ,it may be that they were allowed to be used by members of the ,stationers ,company1 at that time of much importance4 ,immediately after the general discontinuance of large panel stamps with royal heraldic designs1 ,thomas ,berthelet became royal printer and binder to ,henry ,,viii41 and the earliest of his large stamps bears some resemblance to the stamp just described as having two portcullises dependent from the lower part of the shield4 ,it is possible that ,berthelet took his design from this stamp4 ,but whatever ,berthelet's early bindings may have been like1 the distinguishing characteristic of his work is the gold-tooling1 properly so called1 which he was1 so far as is yet known1 the first ,englishman to use4 ,a large portion of the printing he did was in the form of proclamations1 single sheets1 and other official matters1 which were never bound2 but as time went on1 and the king1 with his ,tudor love of magnificence1 perhaps to some extent regretting his own destruction of the beautiful and valuable ,medival bindings1 feeling that something more ornamental than the sombre panel stamps was wanted1 ,berthelet1 being already royal printer1 was no doubt further commissioned to make decorative royal bindings4 ,this he did on both velvet and satin1 materials already royal favourites1 as well as using his new art of leather gilding in as decorative a manner as possible4 ,,chapter ,,ii4 ,,documentary ,,evidence ,,concerning ,,berthelet ,,and ,,his ,,work4 ,it is evident that in the early part of the reign of ,henry ,,viii4 there was a large importation of foreign-bound books1 much to the detriment of native workmen4 ,so great was the abuse caused by this importation1 that it was found advisable to issue various official papers on the subject4 ,the earliest ,english document concerning printed books is a statute made in the first year of ,king ,richard ,,iii41 by virtue of which foreigners were allowed to bring over their books and sell them without let or hindrance4 ,the result of this permission was1 however1 not quite what was intended1 as very shortly numbers of ,englishmen became expert in the craft of printing 8in all poyntes10 as well as skilled in the 8mysterye of byndynge02 and these found themselves so outnumbered by aliens and hampered by the foreign competition1 that in #aecc an act was passed for their relief1 the most important clause in which was one imposing a forfeit of six shillings and eight pence on every printed book brought from abroad ready bound in boards1 leather1 or parchment4 ,the act is as follows3-- 8,anno ,,xxv41 ,henrici ,,viii4 7#aecc74 ,actis made in the session of this present ,parliament1 cap4 ,,xv4 ,london1 printed by ,thomas ,berthelet4 8,where as by the prouision of a statute made in the fyrste yere of the reygne of ,kynge ,rycharde the thyrde1 it was prouided in the same acte1 that all straungers repayrynge in to this realme1 myghte laufully bringe in to the sayd realme printed and written bokes to selle at theyr libertie and pleasure4 ,by force of whiche prouision there hath comen in to this realme sithen the makynge of the same1 a marueylous nombre of printed bookes and daylye dothe4 ,and the cause of the makynge of the same prouysion semethe to be1 for that there were but fewe bokes and fewe printers with in this realme atte that tyme1 whyche coulde welle exercise and occupie the sayd science and crafte of pryntynge3 ,never the lesse1 sythen the makynge of the sayde prouisyon1 manye of this realme1 beynge the kynges naturalle subjectes1 haue gyuen them soo delygentelye to lerne and exercyse the sayd crafte of printynge1 that at this daye there be within this realme a greate nombre counnynge and experte in the sayd science or crafte of pryntynge1 as able to exercyse the sayde crafte in all poyntes1 as anye straunger in anye other realme or contray4 ,and further more where there be a greate numbre of the kynges subiectes within this realme1 whiche lyue by the crafte and mysterye of byndynge of books1 and that there be a greate multitude welle experte in the same3 yet all this not withstandynge there are dyuers persons1 that bringe from beyonde the se greate plentie of printed bookes1 not onelye in the latyne tonge1 but also in our maternall englishe tonge some bounde in bordes1 some in lether1 and some in parchment1 and them selle by retayle1 wherby many of the kynges subiectes1 beinge bynders of bokes1 and hauing none other facultie wherewith to gette theyr lyuinge1 be destitute of worke1 and lyke to be vndone3 except some reformation herin be had4 ,be it therefore enacted by the kynge oure soverayne lorde1 the lordes spiritual and temporal1 and the commons in this present parlyament assembled1 and by auctoritie of the same1 that the sayde ,prouiso1 made the fyrst yere of the sayd ,king ,richarde the thirde from the feaste of the ,illustration3 ,,plate ,,vi4 ,,calf ,,binding ,,of ,a ,,copy ,,of ,,the ,,works ,,of ,,st4 ,,chrysostom1 ,,printed ,,at ,,basle ,,in #aecj4 ,,made ,,for ,,henry ,,viii4 ,see page #ga4 natiuitie of our lorde god next commynge shalbe voyde and of none effecte4 ,and further be it enacted by the auctorite afore sayde1 that no person or persons1 resiant or inhabitant within this realme after the sayd feast of ,christmas next comyng shal bie to sel ageyne any printed bokes brought from any parties out of the kynges obeysance1 redye bouden in bordes1 lether1 or parchement1 uppon peyne to lose and forfayte for everye boke bounde oute of the sayde kynges obeysance1 and brought into this realme1 and bought by any person or persons within the same to sell agayne1 contrarie to this act1 syxe shyllynge eyghte pence4 8,and be it further enacted by the auctorite afore-sayde1 that no persone or persones inhabytant or resiante within this realme1 after the saide feast of ,christmas1 shall bye within this realmes1 of any stranger1 borne oute of the kynges obedience other then of denizens1 any manner of printed bokes1 brought from any the parties beyond the see1 except onely by engrose and not by retayle3 upon peine of forfaiture of ,,vi ,,viii for every boke so bought by retayle1 contrarie to the fourme and effect of this estatute1 the said forfaytures1 to be always leuied of the byers of any suche bookes1 contrarie to this act2 etc4 ,provided alwaye1 etc40 ,this act1 stringent though it seems1 was not of much effect1 as presently appears by a study of the transcripts of the ,stationers ,company1 most usefully reprinted by ,mr4 ,edward ,arber1 amongst which will be found several rules and ordinations concerning the foreign bookbinders4 ,these men1 undoubtedly skilful in their trade1 ultimately settled here in considerable numbers1 and not only became naturalized ,englishmen1 but in all probability eventually benefited our styles and methods by the introduction of new ideas and a high standard of technical workmanship4 ,a second great irruption of foreign workmen1 binders among them1 took place in ,england in #afhe1 on the revocation of the ,edict of ,nantes4 ,on this occasion1 also1 it is probable that our native styles and methods ultimately benefited considerably by the importation of new blood4 ,nothing is known about ,thomas ,berthelet until he became connected with the state printing under ,henry ,,viii4 ,he succeeded ,richard ,pynson as royal printer and binder in #aecj1 and received his appointment to this position by means of a royal patent4 ,this patent is the earliest of the kind known1 for although ,pynson called himself 8,printer unto the ,king's noble grace10 his official authority for doing so is not forthcoming4 ,berthelet's is1 however1 extant1 and reads as follows3-- 8,rex omnibus ad quos praesentes1 ac1 salutem4 ,sciatis quod nos de gratia nostra speciali1 ac ex certa scientia1 mero motu nostris dedimus concessimus1 ac per praesentes damus et consedimus dilecto servienti nostro ,thomae ,barthelet impressori nostro quandam annuitatem1 sive quendam annualem redditum quatuor librarum sterlingorum1 habendum annuatim percipiendum proedictam annuitatem sive annualem redditum quatuor librarum eidem ,thomae ,barthelet1 festo ,paschae1 anno regni nostro vicesimo primo1 durante vita sua de thesauri nostro ad receptam scaccarii nostri per manus thesaurarum camerarii nostrorum ibidem pro tempore existendo ad festa sancti ,michaelis archangeli ,paschae per equales portiones c41 quod expressamentio c4 ,in cujus1 c4 testimonium rei apud ,westmonasteriensem1 vicesimo secundo die ,februarii1 anno regni ,henrici ,,viii41 vicesimo primo4 ,per breve privato sigillo40 ,it will be seen that by virtue of this document ,berthelet enjoyed a life income of four pounds sterling annually1 the same sum that had been given to ,richard ,pynson in ,september1 #aeae4 ,there is also a note to this effect among the ,patent ,rolls4 7#ba ,hen4 ,,viii41 ,pt4 ,,ii4 m4 #ag1 dated ,york ,place #ac ,feby #ba ,hen4 ,,viii47 ,not only was he thus marked for the king's favour1 but he also enjoyed what in those days was considered a high honour2 he was granted a coat of arms by ,clarenceulx1 king of arms1 on ,september #a1 #aedi4 ,this grant exists in the ,college of ,arms in ,london1 and the arms are thus described3-- 8,the armes and creste of ,thomas ,berthelet of ,london1 esquyer1 gentillman2 he bereth asure on a cheveron flore contre flore argent1 betwene three doves of the same1 thre trefiles vert4 per chrest4 upon his helm1 out of a crounall silver two serpents endorsed asure ventred gold open mouthed1 langued and eyed geules1 there tailes comyng up in saulre under thire throtes1 the endes of the tailes entering into their eres1 langued and armed geules manteled geules1 doubled silver1 as more plainly apperith depicted in this margent2 graunted and given by me ,thomas ,hawley alias ,clarenceulx1 ,kyng of armes1 the first day of ,september in the thirde yere of the reygne of our soverange lorde ,kynge ,edward the ,,vi etc40 ,pynson used heraldic emblems with the helmet of an esquire on some of his bindings2 but he appears to have assumed the dignity without official warrant4 ,berthelet's continued presence in ,england was also considered of sufficient importance to justify a special exemption in his favour from serving the king abroad in his wars in ,france4 7,patent ,roll4 #cf ,hen4 ,,viii41 ,pt4 ,,ii47 ,in the state papers preserved in the ,record ,office in ,london are several notices referring to the official printing work done by ,thomas ,berthelet4 ,these testify to the importance and confidential nature of the work intrusted to him1 and show how he was sometimes1 on particularly urgent or secret occasions1 ordered to set up the type himself1 and also was obliged to take an oath of secrecy4 ,misprints were evidently a thorn in his side1 more than one entry referring to such difficulties1 of which doubtless numbers escaped official notice4 ,from these entries ,i have chosen a few for quotation4 ,treasurer of the ,chamber's ,accounts4 ,oct #bb #aecj4 ,to ,thos ,bartlet 7,berthelet7 for printing #afjj papers and books of proclamation for ordering and punishing sundry beggars and vacabundes1 and dampnyng of books containing certain errors1 at #a per leaf4 #h #f #h4 7,trevelyan ,papers4 ,record ,office4 ,letters and ,papers ,hen4 #h ,vol4 #e4 p4 #cbb47 ,richard ,croke to ,cromwell #ag ,sept4 #aecb4 ,after ,i left1 ,bartelot1 the printer1 told me that ,goodrycke requested him to advertise the ,king of certain errors in 8,the ,glasse off ,truthe10 which ,bartelot refused1 saying he had moved the ,king in such matters beforetime1 and his ,grace was not content with it4 ,though this was told ,croke secretly1 thinks it his duty to make it known to ,cromwell1 and that he should get out by policy from ,goodricke what errors he notes4 ,thinks that ,bartelot will speak of it to others4 7,letters and ,papers ,hen4 #h ,vol4 #e4 ,no4 #acbj4 p4 #egb47 ,cromwell to ,sir ,thomas ,audeley1 ,lord ,chancellor4 #aa ,nov4 #aecd4 ,it is necessary to have some copies of the proclamation printed to night1 that they may be sent to sundry parts with the books of answer4 ,desires him to send a true copy by the bearer4 ,will then send for ,bartelet the printer1 swear him and cause him to have them printed to-night4 ,the ,rolls1 #aa ,nov4 ,asks him to have the proclamations written and sealed1 and bring them to-morrow at #aj o'clock4 ,the duke of ,norfolk and he will tarry dinner till he comes4 ,below is ,audeley's answer4 ,will have #bj proclamations written as ,cromwell wishes4 ,has commanded ,crooke to deliver one true original to ,bartelott with orders to set the print himself to-night1 and make speed4 ,will be with ,cromwell to-morrow at the hour appointed4 7,letters and ,papers ,hen4 #h ,vol4 #g4 p4 #ece4 ,no4 #adae47 ,the most important as well as the most interesting document concerning ,berthelet is a long bill of his1 giving details of books supplied by him to ,king ,henry ,,viii41 between the dates #aeda-aedc4 ,this bill is written on twelve leaves of paper1 and with it a warrant on vellum1 signed by the king1 ordering the payment to be made4 ,berthelet's autograph receipt is also appended4 ,this document was purchased by the ,british ,museum in #ahgj1 and although it does not seem that any of the items mentioned in it can positively be identified1 there are many instances in which it is likely enough that in the same museum are some of the actual books referred to4 7,add4 ,,ms4 #bh4 #aif47 ,several of the entries in this bill are of great interest4 ,we find that many of the bindings were bound back to back2 none now remain that were made at so early a date1 but several instances of this curious method of binding that were made during the seventeenth century1 bound both in leather and in satin1 still exist4 ,white leather 8gorgiously gilted on the leather0 is mentioned more than once1 and velvet1 purple1 and black were occasionally used1 but the style of the decoration of it is left entirely to the imagination4 ,again1 8,crymosyn satin0 only is mentioned1 without any word of embroidery or other ornamentation1 while leather1 probably brown calf1 is here and there described as being 8gorgiously gilte10 and also 8bounde after the ,italian0 or 8,venecian fascion40 ,the prices in this bill should be multiplied by about twelve to bring them into line with our present currency4 ,the bill is worded as follows3-- ,illustration ,we wolle and commaunde you that of suche our ,treausour as in your handes remayneth ye doe ymedyatly upon the sighte herof pay or doe to be paide unto our trustie servaunte ,thomas ,berthelett our prynter the somme of one hundred seventene pounds sixepence and one halfepeny sterlyng4 ,the whiche is due and owyng by us unto hym for certeyne parcelles delyvered by the seid ,thomas unto us and other at our commandement as in this booke1 whereunto this our present warraunte is annexed particularly dothe appere4 ,and these our lettres signed with our hande shalbe unto you a suffycient warraunte and discharge for the same4 ,yoven under our ,signemanuell1 at our ,manour of ,wodstooke1 the xxiiij of ,september1 the xxxv yere of our reigne4 ,to our right trustie and righte welbeloved ,sr4 ,edward ,northe1 ,knyghte1 treausourer of thaugmentaciouns of the ,revenues of our ,crowne4 ,illustration3 ,,plate ,,vii4 ,,white ,,leather ,,binding ,,of ,a ,,ms4 ,,entitled 8,,la ,,science ,,de ,,geometrie40 ,see page #gd4 ,receyved of sir ,edward ,north1 ,knight1 treasourer of the ,augmentations1 the sayd summe of one hundred seventene poundes vj4 d4 ob4 according to the tenour of this warrant1 the #bi day ,september1 a regni regis ,henrici viij1 xxxv4 ,illustration ,anno ,domini #aeda1 et anno regni serenissimi et invictissimi ,regis ,henrici ,octavi1 ,dei gratia ,anglie ,francie et ,hibernie ,regis1 fidei ,defensoris1 et in terra ,ecclesie ,anglicane et ,hibernice ,supremi ,capitis1 tricesimo tercio4 ,in primis1 delyvered to my ,lorde ,chaumcellour1 the ixth day of ,december1 xx ,proclamacons1 made for the enlargyng of ,hatfeld ,chace1 printed in fyne velyme1 at vj the pece4 ,summa1 #ajs4 ,item delyvered to the ,kinges hyghnes1 the xxx day of ,december1 a ,newe ,testament in englisshe and latyn1 of the largest volume1 price #cs4 ,item delyvered to the ,kinges hyghnes1 the vj day of ,january1 a ,psalter in englisshe and latyne1 covered with crimoysyn satyne1 #bs4 ,item delyvered the same tyme1 a ,psalter1 the ,proverbes of ,salomon1 and other smalle bookes bounde together1 price #af;d4 ,item delyvered to the ,kinges hygnes1 for a little ,psalter1 takyng out of one booke and settyng in an other in the same place1 and for gorgious byndyng of the same booke1 xij and to the ,goldesmythe1 for taking of the claspes and corner1 and for settyng on the same ageyne xvj ,summa #bs4 #d;d4 ,item delyvered unto the ,kinges hyghnes1 the xv day of ,january1 a ,new ,testament in latyne1 and a ,psalter englisshe and latyne1 bounde backe to backe1 in white leather1 gorgiously gilted on the leather2 the bookes came to ij,s4 the byndyng and arabaske drawyng in golde on the transfile1 iiij ,summa #fs4 ,item delyvered to the ,kinges hyghnes1 the xviij day of ,january1 a booke called ,enarraciones ,evangeliorum ,dominicalium1 bounde in crymosyn satyne2 the price #cs4 #d;d4 ,item delyvered to the ,kinges hig7h7nes1 the xxiij day of ,january1 a booke of the ,psalter in englisshe and latyne1 the price viij2 and a booke entiteled ,enarraciones ,evangeliorum ,dominicalium1 the price xij2 and for the gorgious byndyng of them1 backe to backe1 iij iiij ,summa #es4 ,item delyvered to ,maister ,hynwisshe1 to the ,kinges use1 a paper booke of vj queres royall1 gorgiously bounde in leather #gs4 #f;d4 ,item delyvered to my ,lorde ,chauncellour1 the xxv day of ,january vj4 ,proclamacions concernyng the ,kinges stile2 eche of them conteynyng one leafe of bastarde paper1 at j the pece4 ,summa #ej ,item delyvered to my ,lorde ,chauncellour1 the iiij day of ,february1 vj4 ,proclamacions concernyng eatyng of whyte meates2 eche of them conteyning one hole leafe of ,jene paper1 at ob4 the pece1 #be ,item delyvered the xxv day of ,february1 to the ,kinges hyghnes1 ,ambrosius super epistolas sancti ,pauli xx ,item one ,psalter in englisshe1 in viij xx4 ,item ij litle ,psalters1 xvj ,summa #ds4 #h;d4 ,item delyvered to the ,kinges hyghnes1 the laste day of ,february1 xij bookes intitled ,summaria 7in7 ,evangelia et ,epistolas ut leguntur1 ij bounde in paper bordes at viij the pece1 and x in forrelles1 at vj the pece1 #fs4 #d;d4 ,item delyvered to the ,kinges hyghnes1 the iij day of ,marche1 one ,summaria in ,evangelia et ,epistolas1 gorgiously bounde1 and gilte on the leather1 price #bs4 ,item delyvered the same day1 ij bookes1 intitled ,conciliaciones locorum ,althemeri1 price #ds4 ,item delyvered to the ,kinges hyghnes1 the same day1 one ,opus ,zmaragdi1 price #ds4 #h;d4 ,item delyvered to the ,kinges hyghnes1 the vth day of ,marche1 one ,novum ,testamentum1 bounde with a ,summaria1 price #bs4 ,item delyvered to the ,kinges hyghnes1 the ix day of ,marche1 one ,novum ,testamentum1 in latyne1 bounde with a ,summaria super ,epistolas et ,evangelia1 #bs4 ,item delyvered to the ,kinges hyghnes1 the xij day of ,marche1 one ,authoritas allegabiles sacre scripture1 with one ,summaria in ,evangelia et ,epistolas1 gorgiously bounde in whyte1 and gilte on the lether1 iiij ,item1 ,sedulius in ,paulum at iijs4 ,item1 ,petrus ,lumberdus in ,epistolas sancti ,pauli1 at iij iiij4 ,item1 ,homelie ven4 ,bede in ,epistolas ,dominicalis1 at xvj4 ,item1 ,questiones ,hugonis super ,epistolas sancti ,pauli1 ij ,summa #acs4 #h;d4 ,item delyvered to the ,kinges ,maiestie1 the xv day of ,marche1 ,thomas de ,aquino1 in ,evangelia ,dominicalia1 et ,homelie ,bede1 una ligati cum alijs2 price #bs #h;d4 ,item1 ,psalterium in latyne1 and a ,psalter in englisshe1 una legati2 price #bs4 #h;d4 ,item1 ,arnobius super psalmos1 #bs4 ,item1 ,haymo super psalmos1 #bs4 ,item1 ,jo1 de ,turre-cremata super ,evangelia1 #bs #h;d4 ,item1 ,omelia ,haymonis super ,evangelia1 #af;d4 ,item delyvered to the ,kinges hyghnes1 the xvj day of ,marche1 one ,arnobius super ,psalterium1 bounde with other bookes1 #bs4 ,item1 delyvered to the ,kinges hyghnes1 the xviij day of ,marche1 one ,arnobius super ,psalterium1 and one ,psalter in englisshe1 price #bs4 #h;d4 ,item delyvered to the ,kinges hyghnes1 the xix day of ,marche1 ,homilie ,bede hyemales1 bounde with his ,homilijs on the ,pistles1 price #bs4 #h;d4 ,item1 ,homilie ,bede aestivales1 bound alone1 price #bj;d4 ,item delyvered to the ,kinges hyghnes1 the xxiij day of ,marche1 ,homelie ,bede pars estivalis1 bounde with his ,homilies on the ,epistoles1 price #bs4 #h;d4 ,item the same day1 delyvered to his grace1 ,enarraciones sancti ,thome de ,aquino super ,evangelia1 bounde with ,homilijs ,bede super ,epistolas1 the price #bs4 #h;d4 ,anno ,domini #aedb4 ,item delyvered to the ,kinges hyghnes1 the xxv day of ,marche1 one ,psalter in latyne of ,colines printe1 and one in englisshe1 bounde together2 the price ij viii4 ,item1 ,arnobius super ,psalterium1 and a ,psalter in englisshe1 bound together1 price ij viij4 ,item1 ,san7c7tus ,thomas de ,aquino super ,mathuem1 the price ij4 ,summa #f #h ,item delyvered to the ,kinges hyghnes1 the xxvij day of ,marche1 one ,cathena aurea divi ,thome de ,aquino in ,evangelia ,dominicalia1 price ij iiij4 ,item the same day delyvered to his hyghnes1 one ,postilla ,guilielmi ,par7is7iensis1 price ij ,summa #es4 #d;d4 ,item delyvered to the ,kinges hyghnes1 the xxviij dau of ,marche1 one ,enarraciones sancti ,thome de ,aquino in ,evangelia ,dominicalia1 with ,homilijs ven4 ,bede in ,epistolas ut per totum annum leguntur in templis1 price ij viij4 ,item1 ,psalterium in latine1 with ,arnobius super ,psalmos2 the price ij viij4 ,item1 ,faber super ,epistolas ,catholicas the price xx4 ,item1 ,dydimus ,alexandrianus1 with ,beda upon the ,epistolas ,catholicas1 price ij4 ,item1 one ,catanus super ,evangelia1 price iij iiij ,summa #abs4 ,item delyered to the ,kinges hyghnes1 the xxx day of ,marche1 one ,cathena ,aurea divi ,thome ,super ,evangelia in duobos1 price #es4 ,item delyvered the same day to his grace1 one ,dionysius ,carth42 and a ,faber ,stampe super ,epistolas ,catholicas1 price #cs4 ,item delyvered the same day1 one ,dydimus ,alexandrinus1 and ,beda super ,epistolas ,catholicas1 price #bs4 ,item delyvered to the ,kinges hyghnes1 the ij day of ,aprill1 one ,thomas de ,aquino in ,evangelia ,dominicalia1 and ,beda super ,epistolas1 bounde together1 price #bs #h;d4 ,item delyvered to the ,kinges hyghnes1 the same day1 one ,homilie ,johannis ,chrysostomi in ,matheum1 the price #bs4 ,item1 one ,homilie ,jo4 ,chrysostomi in ,johannem ,marcum et ,lucam1 price #bs4 #d;d4 ,item delyvered to the ,kinges hyghnes1 the xj day of ,aprill1 ,dionysium ,carthus4 in ,evang4 in viij1 bound in ij1 price #es4 ,item delyvered the same day1 to my ,lorde ,chauncellour of ,england1 iiij ,proclamacions concernyng stealyng of haukes egges1 and kepyng of soure haukes2 eche conteynyng a leafe of basterde paper1 at j the pece4 ,summa #ces4 ,item delyvered to my ,lorde ,chauncellour the xvj day of ,aprill1 iiij ,proclamacions concernyng stealing of haukes eggs1 and kepyng of soure haukes2 eche of them conteynyng a hole leaffe of ,jene paper at ob4 the pece4 ,summa #afs4 #h;d4 ,item for iiij of the same1 that were new made ageyne1 at ab4 the pece4 ,summa #afs4 #h;d4 ,item delyvered to my ,lorde ,chauncellour of ,england1 the xx day of ,aprill1 all these ,actes followyng1 printed in ,proclamacions2 that is to wete1 v of the ,acte concernyng counterfeit lettres or privie tokens1 to receyve money or goodes in other mens handes2 eche of them conteynyng a leaffe of ,jene paper1 at ob4 the pece1 #bjs4 #aj;d4 ,item delyvered v of the ,acts concernyng bying of fisshe upon the see2 eche of them conteyning one hole leaffe of basterde paper1 at j the pece4 ,summa #das4 #h;d4 ,item delyvered ij of the ,acte concernyng foldyng of clothes in ,north ,walles1 eche of them conteynyng halfe a leaffe of basterde paper1 at ob4 the pece4 ,summa #hs4 #d;d4 ,item v of the ,acte concernyng pewterers2 eche of them conteynyng one hole leaffe of basterde paper1 at j ob4 the pece4 ,summa #cl4 #bs4 #f;d4 ,item ,c of the ,acte concernyng kepyng of greate horsses2 eche of them conteynyng ij hoole leafes of basterde paper1 at ij the pece4 ,summa #dl4 #cs4 #d;d4 ,item ,v of the ,acte concernyng crossboues and hande gonnes2 eche of them conteynyng iij holle leaves dim4 of basterde paper at iij ob4 the pece4 ,summa #gl4 #es4 #aj;d4 ,item ,v of the ,acte concernyng the conveyaunce of brasse1 latene1 and bell metall over the see2 eche of them conteynyng one holle leafe of basterde paper1 at j the pece4 ,summa #das4 #h;d4 ,item v of the ,acte ageynst conjuracions1 witchecraftes sorcery1 and inchauntementes eche of them conteynyng one holle leafe of ,jene paper1 at ob4 the pece4 ,summa #bjs4 #aj;d4 ,item v of the ,acte for the mayntenaunce of artillarie1 debarryng unlaufull games2 eche of them conteynyng iiij holle leaves of basterde paper1 at lllj the pece4 ,summa #hl4 #fs4 #h;d4 ,item v of the ,acte concernyng the execucion of certeyne ,statutes2 eche of them conteynyng iij hoole leaves dim4 of bastarde paper1 at iij ob4 the pece4 ,summa #gl4 #es4 #aj;d4 ,illustration3 ,,plate ,,viii4 ,,upper ,,cover ,,of ,,the ,,calf ,,binding ,,of ,,vol4 ,i4 ,,of ,a ,,bible ,,printed ,,at ,,antwerp ,,in #aecd4 ,,made ,,for ,,henry ,,viii4 ,,and ,,queen ,,anne ,,boleyn4 ,see page #gd4 ,item v of the ,acte for bouchers to selle at their libertie1 by weyghte or otherwise2 eche of them conteynyng one holle leafe of basterde paper1 at #a the pece4 #das4 #h;d4 ,item v of the ,acte for murdre and malicius bloudshed within the ,courte2 eche of them conteynyng iij hole leaves dim4 of ,basterde paper at iij ob4 the pece4 ,summa #gl4 #es4 #aj;d4 ,item xij of the ,acte concernyng certeyne ,lordships1 translated from the ,countie of ,denbigh to the ,countie of ,flynt2 eche of them conteynyng one hoolle leaffe of basterde paper1 at j the pece4 ,summa #ab;d4 ,item v of the ,acte concernyng false prophesies upon declaracion of armes1 names1 or badges2 eche of them conteynyng a dim4 leafe of basterde paper1 at ob4 the pece1 #bjs4 #aj;d4 ,item v of the ,acte concernyng the translation of the saynctuarie from ,manchestere to ,westechester2 eche of them conteynyng one hoolle leaffe dim4 of basterde paper1 at j ob4 the pece4 ,summa #cl4 #bs4 #f;d4 ,item v of the ,acte for worsted yarne in ,northefolke2 eche of them conteynyng a hoolle leaffe of basterde paper1 at j the pece4 ,summa #das4 #h;d4 ,item v of the ,acte for confirmacion and continuacion of certeyne ,actes2 eche of them conteynyng one hoolle leafe of basterde paper1 at j the pece4 ,summa #das4 #h;d4 ,item v of the ,acte for the true making of kerseyes2 eche of them conteynyng one holle leafe dim1 of basterde paper1 at j ob4 the pece4 ,stmma #cl4 #bs4 #f;d4 ,item v of the ,acte expondyng a certeyn ,statute concernyng the shippyng of clothes2 eche of them conteynyng a dim leafe of basterde paper1 at ob4 the pece4 ,summa #bjs4 #aj;d4 ,item for the byndyng of ij ,primmers1 written and covered with purple velvet1 and written abowte with golde1 at iij the pece4 ,summa #fs4 ,item delyvered to the ,kinges hyghnes1 the vj day of ,maye1 xij of the ,statutes made in the ,parliament holden in the xxxiij yere of his moste gracious reigne2 at xvj the pece4 ,summa #afs4 ,item delyvered to ,mr ,james1 ,maister ,denes servaunte for the ,kinges hyghnes use1 the xvj day of ,maye1 a greate booke of paper imperiall1 bound after the facion of ,venice1 price #aes4 ,item delyvered to the seid ,maister ,james1 for the ,kinges hyghnes use1 another greate booke of paper imperiall1 bounde after the ,italian fascion1 the price #ads4 ,item delyvered the xiiij day of ,june1 to ,maister ,daniell1 servaunte to ,maister ,deny1 to the ,kinges hyghnes use1 ij bookes of paper royall1 bound after the ,venecian fascion1 the price1 #ahs4 ,item delyvered to ,maister ,secretory1 ,maister ,wrysley the v day of ,november1 iij dosen bookes of the ,declaracion of the ,kinges hyghnes title to the soverayntie of ,scotland1 at iiij the pece4 ,summa #abs4 ,item delyvered to ,maister ,jones1 servaunte to ,maister ,deny1 the xxx daye of ,december1 v ,tullius de ,officijs1 bounde in paper bourdes1 at xvj the pece1 and one gorgiously gilted for the ,kinges hyghnes1 price iij iii ,summa1 #ajs4 ,item for byndyng of a paper booke for the ,kinges hyghnes1 and the gorgious giltyng thereof1 delyvered the xiiij day of ,january to ,mr ,turner1 #cs4 #d;d4 ,item delyvered to ,maister ,hynnige1 for the ,kinges hyghnes use the vij day of ,febr4 a greate paper booke of royall paper1 bounde after the ,venecian fascion1 price #hs4 ,item delyvered the ix day of ,february1 to my ,lorde ,chauncellour1 vj of the ,proclamacions for white meates1 at ob4 the pece1 #bes4 ,item delyvered the vj day of ,marche1 iij bookes of 8,the ,institution of a xp'en man10 made by the clergy1 vnto the ,kinges most honerable ,counsayll at xx the pece1 #es4 ,anno ,domini #aedc4 ,item delyvered the vj day of ,aprill1 to ,maister ,henry ,knyvett1 for the ,kinges hyghnes1 a bridgement of the ,statutes1 gorgiously bounde1 #es4 ,item delyvered to the ,kinges moost honerable ,counsaill1 the viiij day of ,aprill1 iij litle bookes of the ,statutes1 price xij ,item iij bookes of the vj ,articles1 price vj ,item iij of the ,proclamacions ageynst ,anabaptistes1 price vj ,item iij ,proclamacions of ceremones1 price vj ,item iij of the ,injunccions1 price vj ,item iij of holy dayes1 price iij ,summa4 #cs4 #c;d4 ,item delyvered to my ,lorde ,chauncellour of ,england the iiij daye of ,maye1 ij ,proclamacions concernyng the price of suger1 conteynyng one hole leafe of basterde paper1 at j the pece4 ,summa4 #afs4 #h;d4 ,item for the byndyng of a booke written on vellim1 by ,maister ,turner1 covered with blacke velvet1 #af;d4 ,item delyvered to my ,lorde ,chauncellor1 the xxxj day of ,maye1 v of the ,acte for the advauncement of true religion and abolisshment of the contrarie1 made out in ,proclamacions2 eche of them conteynyng iii leaves dim4 of greate basterde paper1 at iijd4 ob4 the pece4 ,summa1 #gl4 #es4 #aj;d4 ,item delyvered v of the ,acte for the explanacion of the statutes of willes1 made out in ,proclamacions2 eche of them conteynyng iii leaves of great basterd paper1 at iijd the pece4 ,summa1 #fs4 #e;d4 ,item delyvered v of the ,acte agaynst suche parsones as doe make bankeruptes1 made out in ,proclamacions1 eche of them conteynyng two greate leaves of basterde paper1 at ijd4 the pece4 ,summa1 #dl4 #cs4 #d;d4 ,item delyvered v of the ,acte for the preservacion of the ryver of ,severne1 made oute in ,proclamacions2 eche of them conteynyng two small leaves of paper1 at jd1 the pece2 #das4 #h;d4 ,item delyvered v of the ,acte concernyng collectours and receyvours1 made out in ,proclamacions2 eche of them conteyning a leafe dim4 of paper1 at jd4 the pece4 ,summa1 #das4 #h;d4 ,item delyvered v of the ,acte for the true making of coverlettes in ,yorke1 made oute in ,proclamacions2 eche of them conteyning ij smalle leaves of paper1 at jd4 the pece4 ,summa4 #das4 #h;d4 ,item delyvered v of the ,acte for the assise of cole and woode1 made owt in ,proclamacions2 eche of them conteynyng a leafe of smalle paper1 at ob4 the pece4 ,summa1 #bjs4 #aj;d4 ,item delyvered v of the ,acte1 that persons1 beyng noe common surgions1 may mynistre outwarde medycines1 made oute in ,proclamacions2 eche of them conteynyng a leafe of smalle paper1 at ob4 the pece4 ,summa1 #bjs4 #aj;d4 ,item delyvered v of the ,acte to auctorise certeyne of the ,kinges majesties counsaill to sett prices upon wines2 made out in ,proclamacions1 eche of them conteynyng a leafe of paper1 at ob4 the pece4 ,summa1 #bjs4 #aj;d4 ,item delyvered v of the ,acte for the true making of pynnes1 made out in ,proclamacions2 eche of them conteynyng halfe a leafe of paper1 at ob4 the pece4 ,summa1 #ajs #e;d #a_/b;d4 ,item delyvered v of the ,acte for the true making of frises and cottons in ,wales1 made oute in ,proclamacions2 eche of them conteynyng a leafe of paper1 at ob4 the pece4 ,summa1 #bas4 #h;d4 ,item delyvered fiftie of the ,acte for pavying of certeyne lanes ,illustration3 ,,plate ,,ix4 ,,satin ,,binding ,,of ,a ,,collection ,,of ,,sixteenth-,,century ,,tracts4 ,,made ,,for ,,henry ,,viii4 and streets in ,london and ,westm41 made out in ,proclamacions2 eche of them conteynyng ij leaves of smalle paper1 at jd4 the pece1 #ds4 #b;d4 ,item delyvered fiftie of the ,acte for knyghtes and burgeses to have places in the parliament1 for the county-palantyne and citie of ,chester1 made out in ,proclamacions2 eche of them conteynyng a leaffe of smalle paper1 at ob4 the pece2 #bs4 #a;d4 ,item delyvered fourtie bookes of the ,acte for certeyne ordenaunces in the ,kinges majesties dominion and principalitie of ,wales1 at iiij the pece4 ,summa #acs4 #d;d4 ,item delyvered to the ,kinges highnes1 the firste day of ,june1 xxiiij bookes intitled 8,a necessary doctrine for any ,christen man10 at xvjd4 the pece4 ,summa1 #cbs4 ,item delyvered to the ,kinges hyghnes1 the third day of ,june xxiiij bookes intitled 8,a necessary doctrine for any ,christen man10 at xvj the pece4 ,summa1 #cbs4 ,item delyvered to the ,kinges hyghnes1 the iiij day of ,june1 xxiiij of the booke intitled 8,a necessary doctryne for any ,christen man10 at xvjd the pece4 ,summa1 #cbs4 ,item delyvered to ,maister ,stokeley1 the xij day of ,june1 xij ,proclamacions for the advancement of true religion1 at iijd4 ob4 the pece2 #cs4 #f;d4 ,item xx of the ,proclamacions of the ,acte for explanacion of the statute of willes1 at iijd the pece4 ,summa1 #es4 ,item xj proclamacions of the ,acte of bankerupte1 at ijd4 the pece4 ,summa1 #cs4 #d;d4 ,item xx ,proclamacions of the ,acte for ,severne1 at jd4 the pece4 ,summa1 #bj;d4 ,item xx ,proclamacions of the ,acte of collectours and receyvours1 at jd1 the pece1 #bj;d4 ,item xx ,proclamacions of the ,acte for making of coverlettes in ,yorke1 at jd4 the pece4 ,summa1 #bj;d4 ,item xx of the ,proclamacions1 that persones beyng noe comon surgions may ministre outewarde medicynes1 at ob4 the pece4 ,summa1 #aj;d4 ,item xx ,proclamacions of the ,acte for certeyne of the ,kinges maiesties counsaill to sett prices of wynes2 at ob4 the pece4 ,summa1 #aj;d4 ,item xx ,proclamacions of the ,acte for true making of pynnes1 at q the pece1 #e;d4 ,item xx ,proclamacions of the ,acte for true making of frises and cottons in ,wales2 at ob4 the pece4 ,summa1 #aj;d4 ,summa totalis1 cxvijli vj4 d4 ob4 ,,thomas ,,audeley1 ,cancellarius4 ,the consideration of ,thomas ,berthelet as a printer is foreign to my present purpose2 the subject is a large one1 and requires special treatment and a long and careful study4 ,there are more works left that were printed by ,berthelet than there are of any other of our early ,english printers1 and the greater number of the works he chose for reproduction are important and valuable1--#adg books are known to have been printed by him4 ,many of ,berthelet's types are very beautiful4 ,some of them are black letter2 perhaps one of the finest founts is that used for the ,confessio ,amantis of ,john ,gower4 ,plate ,,ii4 shows a reproduction of the beautiful title-page of this book1 of which ,i believe the border is one of ,berthelet's own designing1 or at all events made by the design of the stamps used on his bindings2 the resemblance of many of the black curves printed in this book to those used in gold on the leather will be at once apparent4 ,whenever any student ventures upon a close examination of the printed work of ,berthelet1 he will be met with an important initial difficulty1 which is1 that ,berthelet's nephew and successor1 ,thomas ,powell1 was misguided enough to leave out the word 8late0 on several of his imprints2 that is to say1 he printed many books absolutely as if they had been issued by ,berthelet himself1 using the same types and the same trade expressions altogether4 ,in many instances it will be almost impossible to decide definitely whether a particular book was printed by the master himself or only by his man4 ,in the long list of works printed by ,berthelet which is given by ,ames1 there are statutes dated as early as #aebi2 and besides official publications1 there are numerous miscellaneous books of an important character4 ,among these are several written by ,sir ,thomas ,elyot and ,erasmus2 ,gower's ,confessio ,amantis2 ,lyttylton's ,tenures2 bibles1 dictionaries1 plays1 and chronicles4 ,on the title-page of a copy of ,marcus ,aurelius's golden book is an ornamental border4 ,this border consists of a design of boys in procession1 one being carried on the shoulders of four others1 and has at the top a medallion with two sphinxes2 the same design1 however1 if not the same block1 was used by other printers besides ,berthelet4 ,berthelet's own device is a figure of ,lucretia stabbing herself1 with a landscape in the distance and an architectural framework4 ,the colophons in ,berthelet's books are found both in ,latin and in ,english1 one of the most usual being3-- 8,imprinted in ,fletestrete in the house of ,thomas ,berthelet nere to the condite at the sygne of ,lucrece40 ,common forms are also3-- 8,londoni in ,aedibus ,tho4 ,bertheleti10 8,thome ,bertheletus regius impressor excudebat10 and 8,impressus ,londini in edibus regii impressoris40 ,and of rarer occurrence are the words3-- 8,in ,aedibus ,thome4 ,bertheleti typographi regii typis impress10 and 8,impressum in ,flete-,strete prope aquagium sub intersignio ,lucretiae ,romanae40 ,there is a curious limit given as to price in a note at the end of a copy of the 8,doctrine and ,erudition for any ,christian ,man10 printed in #aedc1 which says3 8,this boke bounde in paper boordes or claspes1 not to be sold aboue ,,xvi40 ,a few books were printed from #aeef to #aefj with ,berthelet's colophons1 after his death1 on which the word 8late0 is prefixed to his name1 but this does not appear always to have been done4 ,thomas ,berthelet enjoyed what in his time must have been a very lucrative post4 ,not only had he his regular fee1 but he was also constantly employed in official work1 for which he was separately paid1 besides which he had private customers4 ,there are several entries respecting the investment of his property to be found in the ,patent ,rolls of ,henry ,,viii4 ,among these there are some which are of interest1 as showing how carefully changes of property were noted in those days2 e4 g43-- 8,on payment of a sum of #dj shillings licence was granted to ,richard ,moryson to alienate two houses in ,friday ,street to ,thomas ,berthelet40 7,patent ,roll4 #cd ,hen4 ,,viii41 ,pt4 ,,ii47 ,again3 8,grant to ,thomas ,berthelet of messuages and lands in ,st4 ,andrews1 ,holborn1 and ,st4 ,bride's ,fleet ,street for a sum of #ahi4 #c4 #aa40 7,patent ,roll4 #ce ,hen4 ,,viii41 ,pt4 ,,iii47 ,and yet another grant is found in the ,patent ,roll1 #cf ,henry ,,viii41 ,pt4 ,,xii41 by which ,thomas ,berthelet received the following property in consideration of a payment of #bab4 #aj4 #j43-- 8,a house in the parish of ,st4 ,bride1 known as ,salisbury ,place formerly in the occupation of ,richard ,hyde1 and before that belonging to the dissolved monastery of ,godstowe in ,oxfordshire4 8,a house in the parish of ,st4 ,margaret ,moyses in ,friday ,street in the city of ,london in the occupation of ,john ,stanes4 8,another house in the same parish in the occupation of ,james ,wilson1 and various houses also in the same parish in the occupation of ,william ,egleston4 8,a house in ,distaff ,lane in the parish of ,st4 ,margaret ,moyses in the occupation of ,john ,greene4 8,all the above houses in the parish of ,st4 ,margaret's having formerly belonged to the monastery of the ,graces near the ,tower of ,london4 8,two houses in the parish of ,st4 ,bride1 ,fleet ,street1 one in the occupation of ,john ,hulson 7scriptoris7 and the other in the occupation of ,john ,lyons goldsmith 7aurifabri71 both of which were previously part of the possessions of the ,priory and ,hospital of ,st4 ,john of ,jerusalem40 ,the will of ,thomas ,berthelet1 ,citizen and ,stationer of ,london1 is dated ,september #bc1 #aeee4 ,it directs that his property shall be chiefly divided between his wife ,margery and his two sons1 ,edward and ,anthony1 to each of whom substantial property in land and houses is left1 the elder one receiving the manor of ,hilhampton in ,hereford4 ,thomas ,powell1 his nephew1 and all his godchildren are remembered1 also his wife's sister2 and each apprentice receives the value of his own yearly royal fee1 four pounds4 ,the will also-- ,directs that his body shall be buried in the parish church of ,st4 ,bride's1 ,fleet ,street1 in the ,lady ,chapel1 and gives to his ,son and heir1 ,edward ,barthelett1 the manor of ,hilhampton alias ,ilhampton1 in the ,co4 of ,hereford1 and land in ,marden1 messuages and tenements in ,fleet ,street1 ,bishopsgate ,street1 and ,friday ,street1 amounting in all to one third of his estate4 ,to his ,younger ,son1 ,anthony ,barthelett1 he leaves premises in ,distaff ,lane1 ,friday ,street1 ,bread ,street1 ,st4 ,sepulchre's parish1 ,st4 ,andrews1 ,holborn1 with reversion to elder brother1 and ,thomas ,powell1 his nephew4 ,to his ,wife1 ,margaret 7,margery71 he gives property in the parish of ,st4 ,andrews1 ,holborn1 8and the house with the ways walks etc1 which ,i reserve for my own use in ,crokhorne ,alley in the said parish of ,st4 ,andrews10 --and a house in the parish of ,st4 ,sepulchre1 with reversion to the two sons and the heirs of ,margery1 his wife4 ,his goods to be divided into three parts1 one to go to his wife1 the second to his two sons1 with reversion to ,christ's ,hospital1 8lately erected40 ,the third part reserved to pay funeral expenses and provide the following3-- ,to ,thomas ,powell1 8nephew10 #dj in goods4 8 ,prudence ,skynner1 goddaughter1 #bj shillings4 8 ,martha ,salvoine1 goddaughter1 #bj shillings4 8 each of his other godchildren six and eightpence4 8 the church box at ,st4 ,bride1 #bj shillings4 8 ,christ's ,hospital1 ten pounds4 8 ,alice ,cowper1 wife's sister1 four pounds in money4 8 each of his apprentices1 four pounds in money or money's worth4 8 son ,edward1 gold chain weighing #ab ozs4 8 8 ,anthony1 gold chain weighing #g ozs4 ,residue of goods left to wife1 ,margery1 sole executrix4 ,illustration3 ,,plate ,x4 ,,calf ,,binding ,,of 8,,jul4 ,,claud ,,iguini ,,oratio ,,ad ,,hen4 ,,viii40 ,,made ,,for ,,the ,,king4 ,see page #gh4 ,trustees1 ,john ,abingtone1 gentleman1 clerk of the ,queen's woodyard1 and ,john ,wekes1 citizen and goldsmith1 with a legacy of four pounds apiece4 ,witnesses1 ,richard ,heywood4 ,edward ,ridge4 ,john ,hulson4 ,probate granted #i ,nov #aeee4 ,he probably died shortly after this will was executed1 as there is the following entry in the ,stationers' ,hall ,book ,a1 of the date #aeef3 8,rec of ,margery barthelett wydow ,,xxvi ,janu4 iij vl viij which ,tho4 ,berthelett hyr husbande receuyed of ,mr4 ,chamberlayne to the use of our companye for ,mr4 andrewes ,rewarde at his settynge over to the vyntenners4444 ,item recevyd at the presente tyme of the sayde margery for a rewarde to the cpanye for comynge to the sayde thomas bartheletts his buryal xiii iiij40 ,mrs4 ,margery eventually married ,richard ,payne1 as is recorded in the ,repertories and ,journals of the ,city of ,london 7#ac and #ae ,hustings ,roll #bea4 ,nos4 #aj4 #aa72 and ,richard ,grafton1 grocer1 and the same ,richard ,payne1 gentleman1 were appointed trustees of the children of ,thomas ,berthelet1 according to the then custom of the city4 ,,chapter ,,iii4 ,,the ,,bookbindings ,,of ,,thomas ,,berthelet1 ,,with ,,detailed ,,descriptions ,,of ,,some ,,typical ,,examples4 ,as has been shown1 ,thomas ,berthelet lived in troublous times for bookbinding4 ,he doubtless knew of the rich ,medival bindings1 which in his day were rapidly becoming scarce1 and he was of course familiar with the old blind-stamped leather work as well as the brown panel stamps which were common at his time4 ,he probably knew1 also1 the beautiful gold-tooled ,italian bindings which came over from the ,continent as rarities about the beginning of the sixteenth century4 ,it will never be known with certainty whether ,italian workmen came over here and taught ,berthelet the art of gold-tooling on leather4 ,if this was not the case1 then ,berthelet experimented for himself and soon became proficient1 but several of his earlier bindings betray the hand of a tyro in this difficult art4 ,in favour of the theory that an ,italian gilder came to this country about the time that ,berthelet became royal printer to ,henry ,,viii4 is the fact that there was at least one binding made for ,james ,v41 ,king of ,scotland1 adorned with gold-tooling1 executed on calf by some craftsman endowed with greater technical skill than ,berthelet ever showed4 ,this binding is1 however1 of a weaker design than ,berthelet's are3 his designs are never frittered as this one is2 nevertheless1 it must be noted that there are on the ,scottish bindings some of the same stamps that ,berthelet used1 as well as others of a slighter and more ornate character4 ,the volume is figured in the ,dictionary of ,english ,book ,collectors1 ,part ,v41 and in #ahid it belonged to the late ,mr4 ,bernard ,quaritch1 of #ae ,piccadilly1 ,london4 ,berthelet must have foreseen the very decorative possibilities that lay in the direction of gold-tooling on leather1 promising indeed to compensate to a great extent for the loss of the beautiful and fast-disappearing ,medival bindings in gold1 silver1 or ivory4 ,he worked very energetically at his new art and quickly mastered it1 the gilding on the majority of his books being excellent4 ,his stamps were cut 8solid10 closely after ,italian models1 even if those he started with were not actually ,italian stamps purchased by him from his problematical teacher4 ,in time these designs became largely modified1 but always retained much of the ,italian feeling4 ,indeed1 although ,berthelet eventually developed a style of his own1 the ,italian inspiration is evident throughout4 ,he could not have gone to a better school1 as it is1 with much justification1 often held that the ,italian gold-tooled bindings on leather of the late fifteenth and early sixteenth centuries are the finest in taste and altogether the most admirable ever produced4 ,in consequence of the number of foreign books that came over here1 it was incumbent on the native ,english workmen to do what they could to introduce a good style of indigenous work1 and ,berthelet was the most noted of the sixteenth-century binders who endeavoured to do this4 ,the old ,english idea of the circle entered largely into his later and more ornamental designs1 as also did the diamond1 not in itself so original a style1 as it frequently occurs elsewhere1 amongst other places on books bound for ,jean ,grolier4 ,the bindings of the books printed by ,thomas ,berthelet have already in many instances been noticed as examples of fine workmanship1 but he has not by any means always been credited with their authorship4 ,there are certain volumes which belonged to ,henry ,,viii4 at a period when ,berthelet was royal printer1 some of which were ,illustration3 ,,plate ,,xi4 ,,velvet ,,binding ,,of ,a ,,bible ,,printed ,,at ,,zurich ,,in #aedc4 ,,made ,,for ,,henry ,,viii4 ,see page #gi4 actually printed by him1 on which certain stamps impressed in gold occur with great frequency4 ,several of these stamps are peculiar1 and all of them bear the characteristics of being designed by the same artist1 one who quite understood the art of designing curves for bookbindings4 ,there is now little doubt that these bindings issued from ,berthelet's workshop1 and they may be safely considered to be his workmanship4 ,unfortunately none of the bindings attributed to ,berthelet are signed4 ,there are numerous instances of signed bindings made in ,england both before and during his time1 but these are always on panel stamps1 which in all probability were seldom made by ,englishmen4 ,the fashion of signing a binding outside has indeed been seldom followed here1 although it has been common on continental bindings for a long period4 ,when ,english workmen have signed their bindings it has generally been by means of a small paper ticket pasted on the inside1 or in very small letters or initials impressed at the lower edge of the inside of the boards4 ,most of the bindings of the late fifteenth and early sixteenth centuries had silken ties fixed to the front edges of the boards4 ,this peculiarity was probably a survival of an old custom which prevailed during the ,middle ,ages1 when books were largely written on vellum1 which is very apt to curl2 the ties helped the thick1 heavy boards to counteract this tendency4 ,the ties on ,berthelet's bindings are now nearly all rubbed off1 but signs of them can be traced in most cases4 ,in default of a signed binding1 we are driven1 in ,berthelet's case1 to probability only with regard to fixing some standard by which to judge his work4 ,the stamps used on all the books printed by ,berthelet which are still in their original bindings are fortunately few in number1 and nearly all these stamps are found on the first binding described in my list below4 ,the gilding on this binding is bad1 and evidently the work of a beginner1 and ,i think it is the first ,english book ornamented with actual gold-tooling4 ,it is dedicated to ,henry ,,viii4 and belonged to him1 and my theory is1 that the king desired ,berthelet to try the new form of decoration on one of his own books1 to be marked with his own heraldic devices and special royal badges4 ,berthelet doubtless considered the gold-tooling1 which at that time he alone understood here1 was a more distinguished manner of marking his work than the commoner plan of signing his name1 as the foreign workmen were in the habit of doing on their large panel stamps4 ,the finest of ,berthelet's bindings are all royal2 those he made for private owners are rarely very highly ornamented4 ,it is not known what kind of binding he executed before the time of his appointment as royal printer2 indeed1 it is quite possible that he did not begin binding until about that period2 i4 e41 #aecj4 ,the chief official printing that he did was in the form of statutes1 proclamations1 single sheets1 and other publications1 which required no binding2 but following the fashion of his time1 when he did print an actual book1 it is highly probable that he also bound it4 ,the stamps he used on his earliest bindings were new to ,english work1 and it seems probable that if they were not actually sent over to him from ,italy he cut them closely resembling some ,italian model4 ,they were not used after his death1 and this disuse of a binder's stamps after his own time is always something of a mystery4 ,stamps cut in metal for gilding designs on leather are very strong1 and as the work they have to do is very light1 they would1 as a matter of fact1 last much longer than they appear to if they were not destroyed purposely4 ,most great binders seem to have taken steps to insure the discontinuance of the use of their special stamps after their death1 and so it is usually conceded that if the general design as well as the special stamps on any binding are similar to those found on any acknowledged work of a particular binder1 this binding must then be his own work4 ,of course1 other matters must be in proper accordance with such attribution1--leather1 date1 and heraldic marks1 if any4 ,also in the case of a binder who produced much work1 the fact of a binding having issued from his workshop would entitle it to be called his work1 although his own hand may never have touched it4 ,the most important works in which figures and notices of ,berthelet's bindings will be found are ,mr4 ,h4 ,b4 ,wheatley's book on the 8,remarkable ,bindings in the ,british ,museum10 ,london1 #ahhi1 in which five specimens are figured in colour1 none of them attributed to ,berthelet1 and they are all very bad plates2 in ,mr4 ,r4 ,r4 ,holmes's fine book on 8,specimens of ,royal ,bookbinding from the ,royal ,library1 ,windsor ,castle10 ,london1 #ahic1 in which two examples are figured1 being fine plates in colour by ,mr4 ,griggs1 which two plates1 with one other1 are reproduced in the illustrated ,catalogue of the ,exhibition of ,bookbindings held at the ,burlington ,fine ,arts ,club in #ahia2 ,mr4 ,w4 ,y4 ,fletcher's 8,english ,bookbindings in the ,british ,museum10 ,london1 #ahie1 in which several of ,berthelet's finer bindings are naturally included1 all shown in splendid colour plates by ,mr4 ,griggs2 and in my own monograph on 8,royal ,english ,bookbindings10 published in #ahif1 in which there is one bad colour plate and one excellent half-tone 7both by ,evans7 of acknowledged ,berthelet bindings4 ,besides these few there are no good plates to be found2 indeed1 colour plates of bookbindings have been a source of much tribulation to authors until late years1 when ,mr4 ,william ,griggs1 chromo-lithographer to the queen1 has made a special study of their production1 with the result that he can now produce the finest work of the kind to be found anywhere4 ,the immense majority of bookbindings made since the introduction of printing into ,england are in some sort of leather1 and there is a very wide difference between the most elaborately decorated leather binding and the usual rich ,medival bindings in precious metals1 which they virtually superseded4 ,in ,berthelet's bill1 quoted in the second chapter1 will be found one or two entries which remind us that there really was a sort of connecting link between these two widely divergent schools of book decoration4 ,this link is to be found in the embroidered bindings1 some of which1 in all probability bound by ,berthelet1 still remain4 ,these bindings1 without being intrinsically valuable1 are very ornamental indeed1 and as far as appearance goes1 they may well have given satisfaction even to the magnificent taste of ,henry ,,viii41 without adding to their beauty the strong temptation of being worth relegating to the melting-pot4 ,in the bill already quoted we find entries of books bound in velvet and in satin1 and as a fact we also find among ,henry ,,viii4's books some which not only fit the descriptions to some extent1 but having curves and designs upon them which1 allowing for the unavoidable differences due to the material1 strongly resemble some of ,berthelet's curves as used on leather4 ,the velvet bindings1 some of which remain that belonged to ,henry ,,vii41 also take their place as very decorative work2 these are adorned in many cases with enamels1 a form of ornamentation having1 in common with embroidery1 a strong claim to preservation because of its beauty1 although equally of no intrinsic value4 ,there is nothing to connect these earlier bindings with ,berthelet4 ,the one or two embroidered bindings which ,i venture to attribute to him1 and describe below in their chronological order1 have certainly in two instances some evidence to that effect inherent in themselves1 inasmuch as they have on their edges ,berthelet's usual legend painted in gold4 ,illustration3 ,,plate ,,xii4 ,,calf ,,binding ,,of 8,,trogus ,,pompeius4 ,,chorographica1 #aedf0 ,,made ,,for ,,prince ,,edward4 ,see page #ha4 ,there are other embroidered books of the time of ,henry ,,viii41 which were worked for him by his daughter ,elizabeth1 but although these probably enough were put together for her by ,berthelet1 the designs upon them have nothing of his about them1 having in all probability been designed by the princess herself4 ,some of these are at the ,bodleian ,library at ,oxford1 and others in the ,british ,museum2 the finest of them have been already figured and described4,a ,a ,davenport1 8,english ,embroidered ,bookbindings40 ,kegan ,paul1 ,london1 #ahii4 ,there certainly are enough specimens left of such ornamental bindings to show that plain leather bindings were not always considered elaborate enough in appearance to compensate entirely for the loss of the gold-jewelled and enamelled productions which immediately preceded them2 and it seems wonderful that bindings made in such apparently fragile materials as velvet and satin should not only be in existence but actually in a very good state of preservation1 though faded in colour4 ,they are really much more enduring than is generally imagined1 but unquestionably numbers of them1 worked on velvet1 satin1 and canvas1 have perished or been worn out long ago4 ,embroidered books were made for all the ,tudors1 mostly on velvet1 and a little later1 in the time of ,charles ,i41 numbers of them1 usually small1 were embroidered on satin4 ,the dates of the manuscripts bound in embroidered velvet and satin by ,berthelet are not quite certain1 but it is probable that his work of this kind in both these materials is the earliest made in ,england4 ,the greater number of bindings made by ,thomas ,berthelet belonged1 as might be expected1 to ,henry ,,viii41 ,edward ,,vi41 or ,mary2 that is to say1 they formed part of the old ,royal ,library of ,england4 ,this old ,royal ,library1 or as much as was then left of it1 was given by ,george ,,ii4 to the ,british ,museum in #ageg1 and it forms perhaps the most valued special collection in that institution4 ,it must not1 however1 be supposed that every old ,english royal book was really included in this library1 for by some means or other a very considerable number of them were separated from the rest1 and now exist scattered all over ,england1 in private libraries as well as at ,windsor4 ,such books now seldom come into the open market1 and if they do1 they are generally purchased by the state1 and so return to their old companions4 ,also1 royal bookbinders did some work outside their official limits1 and small bindings of an unimportant kind1 evidently the work of ,berthelet1 are not uncommon in ,england4 ,they are always charming1 and the simplicity of the quiet blind lines running side by side with others in bright gold on the rich brown calf is quite delightful2 such simple covers usually have a rectangular panel with small ,italian fleurons at the outer corners1 and usually an initial1 monogram1 or heraldic ornament in the centre4 ,before printing was used in ,england1 the commonest leather for bindings was goat or sheep1 but ,berthelet found his favourite ,italian bindings were largely bound in calf1 a leather having a beautiful surface1 and in some ways easier to gild than goat4 ,i believe he was the first ,english binder to use this leather exclusively2 it was rarely used in ,england before his time1 although it was common on the ,continent4 ,his calf bindings1 with few exceptions1 are still in excellent condition1 and are always of a beautiful rich brown colour4 ,many of these volumes have been1 ,i think unnecessarily1 rebacked2 certainly in all such cases the old backs should have been preserved1 which has not always been done4 ,there is1 however1 no doubt that the calf used on ,berthelet's bindings may still be considered quite sound1 whereas books bound in that leather within the last fifty years1 or even less1 are now all powdering away4 ,in spite of greater chemical knowledge and presumably better processes of tanning and preparing leather1 the conclusion that this material1 as produced to-day1 is not a fitting one for books is forced upon us4 ,berthelet used also a very decorative white leather1 supposed to be deerskin or doeskin1 prepared with lime in the same manner as vellum4 ,this leather is soft and creamy in colour2 it has a smooth surface and takes gilding to perfection4 ,there are not many instances of its use1 but those that do exist are always perfectly strong and sound1 except where they show signs of fair wear and tear4 ,the taste for white gilded leather began with ,berthelet1 and it has been highly esteemed as a style in ,england almost ever since4 ,such work was done for all our ,tudor sovereigns1 but the white deerskin soon gave place to vellum1 especially during the time of our ,stuart kings2 and this1 to some extent1 has been used to the present day4 ,probably the strongest and most durable materials used for bookbinding at any time have been the white deerskin1 white vellum1 and white pigskin1 the first two mentioned being chiefly used in ,england1 and the last in ,germany4 ,this durability is most likely due to the method of preparation and the absence of any dye4 ,bark-tanned goatskin is also an excellent leather1 and was much used in ,england from the twelfth century onwards4 ,several of ,berthelet's bindings bear legends1 and texts1 dates1 and names1 on their sides4 ,these inscriptions are variously arranged1 but as a rule they are contained in small long panels1 sometimes in circles1 and rarely simply impressed on the side of the book as its chief ornament4 ,in the cases where coats of arms are given1 the initials of the owner are generally added as well4 ,the lettering on the sides of the books is either in ,greek1 ,latin1 ,french1 or ,english1 examples of each of which are described below1 and there is never any lettering on the backs of any of them4 ,except in so far as the wording of these inscriptions is concerned1 which often reads consecutively on both sides1 the ornamentation is alike on both boards of all ,berthelet's bindings4 ,the fondness for lettering sentences on the outside of his books did not stop1 however1 at the binding1 as ,berthelet carried it out also in several instances on the edges of the leaves themselves4 ,the edges of these leaves were usually made a creamy colour1 and a legend was painted upon them with gold paint4 ,this legend1 8,rex in ,aeternum ,vive10 is a quotation from the ,book of ,daniel2 it is sometimes followed by the mysterious word 8,neez0 or 8,nez10 which ,mr4 ,edward ,scott of the ,british ,museum considers to be the three first letters of the words1 1 as the phrase was addressed to that king4 ,whenever this legend is found on a decorative binding of the time of ,henry ,,viii41 ,i should say it is a sure sign of ,berthelet's royal work4 ,fortunately this legend1 on some of ,berthelet's earliest bindings1 is associated with certain stamps of marked character1 which can thus be safely considered his1 and which enable us1 even when they are found on other bindings without the legend1 to attribute the work with certainty to him4 ,it is my opinion that all the existing bindings in calf or white deerskin that were made for ,henry ,,viii4 and ,edward ,,vi41 as well as most of those for ,queen ,mary1 were ,berthelet's work4 ,the legend on the edges of the leaves of some of ,berthelet's books was not1 however1 the only way in which he decorated them4 ,there are other instances where the whole edge is painted with heraldic designs in colour4 ,this fore-edge decoration was not a new thing even in ,berthelet's time1 but he seems to have been the first to adopt it in ,england4 ,to some extent the ornamentation of the edges of rare volumes has been practised ever since1 both in this country and abroad4 ,the most elaborate work of the kind was1 ,i believe1 from the hand of ,samuel ,mearne1 royal binder to ,charles ,,ii41 and about a hundred years after his time the fashion was revived by ,james ,edwards of ,halifax4 ,both these binders painted the edges of their books so that the pictures showed only when held in a certain position4 ,possibly the lettering on the edges of some of ,berthelet's books may have been suggested to him by the fact that in ,medival times1 when books were large and were kept on their sides with the front edges forward1 it was no uncommon thing to write the title on these edges in large letters4 ,this title lettering is1 however1 very rarely ornamentally treated2 it is only used as an eminently useful expedient4 ,berthelet makes it a decorative feature1 and substitutes a legend1 which may be considered as a sign of royal ownership1 for the more usual title of the book4 ,from such collections and libraries in ,england as have been available to me ,i have chosen a few typical examples of ,berthelet's work for detailed description4 ,i have illustrated as many as possible of the finest specimens in colour plates by ,mr4 ,william ,griggs1 to whom my best thanks are due for the patience with which he has endured my superintendence of his work1 and my compliments for the admirable results of his unequalled skill in this particular branch of colour-printing4 ,each of these colour plates must yet be a little discounted as to the apparent freshness of their appearance4 ,i think that in all prints and photographs old objects gain in this way2 nevertheless1 most of the books illustrated are really wonderfully preserved4 ,the half-tone and process blocks are also by ,mr4 ,griggs1 some of them from my own drawings2 the methods of producing tone blocks capable of being printed with type have made great advances in late years1 but ,i feel that in ,america better results are obtained in this particular branch of art than as yet can be made by ,english workmen4 ,i have arranged the bindings which ,i have chosen for detailed descriptions in chronological order1 taking the printed date as correct2 it may not be actually so in all cases1 but under the circumstances ,i think these dates are probably near enough for all present purposes4 #aebh-aecj 7874 ,galteri ,deloeni ,libellus de tribus ,hierarchiis4 ,,ms4 ,dedicated to ,henry ,,viii4 ,bound in brown calf1 and tooled in gold with a few blind lines4 ,the ornamentation consists in a filling in the spaces1 mostly triangular1 left by the intersections of a parallelogram aligned with the edges of the boards1 and a diamond4 ,in the centre is the royal coat of arms1 crowned1 cleverly outlined by reversed curves4 ,between the crown and the top of the shield are two double roses2 above the crown are two stars2 at the sides are two cornucopias4 ,below the shield are arabesques2 four single daisies1 the daisy being a badge used by ,henry ,,viii4 and ,edward ,,vi4 in remembrance of their descent from ,margaret of ,beaufort2 four stars1 and stamps representing the crucifixion1 and a serpent1 with references to texts4 ,the four large triangular spaces between the rectangle and the diamond are ornamented with arabesques1 the upper and lower spaces bearing also a stamp of the single daisy4 ,beyond the diamond come the four large corners1 each of which is decorated in a similar way4 ,this binding is a remarkable one1 inasmuch as it contains nearly all the small stamps that ,berthelet subsequently used in so many combinations1 and it is probably the earliest example of gold-tooling on an ,english leather binding4 ,the gilding is not well executed1 and it is likely enough that this is one of his first finished attempts at such work4 ,it is rougher than any other example1 but in spite of that it is very effective and rich in appearance4 ,vitae illustrium ,virorum4 ,,ms4 ,bound in brown calf1 and gold-tooled with a few lines in blind1 and measuring #ad-a_/b by #i-a_/b inches4 ,illustration3 ,,plate ,,xiii4 ,,calf ,,binding ,,of ,a ,,ms4 ,,commentary ,,on ,,the ,,campaign ,,of ,,the ,,emperor ,,charles ,v4 ,,against ,,the ,,french ,,in #aedd4 ,,made ,,for ,,henry ,,viii41 ,,to ,,whom ,,the ,,ms4 ,,is ,,addressed4 ,see page #hb4 ,illustration ,about #aebh ,henry ,,viii4 made a change in the supporters of his royal shield4 ,his father1 ,henry ,,vii41 who was very proud of his descent from ,cadwallader1 the last of the ,british kings1 adopted and used as one of his supporters the red dragon which had been a badge of that king4 ,the red dragon was used by both ,henry ,,vii4 and ,henry ,,viii4 as their dexter supporter1 and with it1 as a sinister supporter1 they both also used the white greyhound4 ,in or about #aebh ,henry ,,viii4 adopted a crowned lion statant as his dexter supporter1 transferring the dragon to the sinister side1 and leaving out the greyhound altogether4 ,this lion still remains the dexter supporter of the royal coat of arms of ,england1 but the dragon was discontinued on the accession of ,james ,i4 to the throne of ,england1 a unicorn1 one of the supporters of the ancient ,scottish coat of arms1 being substituted for it4 ,so that the stamp which forms the principal ornament on this book was probably cut about #aebh1 certainly not much later2 indeed1 it is possible that this was one of the books bound by ,berthelet for the king before his appointment as royal printer4 ,the coat of arms is contained within an oval ribbon bearing the words1 8,,rex ,,henricvs ,,viii4 ,,diev ,,et ,,mon ,,droit40 ,the coat is ensigned with a large royal crown1 has a dragon supporter on the dexter side and a greyhound on the sinister2 above the crown is a fleur-de-lys and a double rose1 and two portcullises depend by chains from the lower edge of the shield4 ,the oval is contained within a close rectangular panel1 the inner angles of which are filled with an arabesque design4 ,at each outer corner is a leaf of ,venetian character4 ,above and below the rectangle is a crowned double rose1 flanked by the letters ,k ,h1--mysterious letters1 the meaning of which is not yet understood4 ,beyond this again comes a broad double border of a narrow running pattern containing a fleur-de-lys and a triple floral ornament4 ,this same border occurs on several of ,berthelet's earlier bindings4 ,the inner corners of the rectangular border are filled with a symmetrical design of a vase with flowers and two curves terminating in human masks4 ,there were originally some outer lines of small gold-tooling1 but these1 as well as the corners1 have been 8repaired0 away4 ,on a fly-leaf in this volume is a note which says3 8,codex hic fuit olim ,henrici ,,viii41 ei ,jo4 ,leylandus ,titulum fecit--,vitae illustrium virorum1 etc40 ,john ,leyland1 the antiquary1 was keeper of the king's library about #aecj4 ,this book undoubtedly should be with the rest of the old royal library at the ,british ,museum1 and its inclusion among the books at ,oxford is explained by the ,rev4 ,w4 ,dunn ,macray in his book1 8,the ,annals of the ,bodleian ,library10 in which he mentions the interesting fact that in ,august1 #afje1 ,king ,james ,i4 visited the ,bodleian and offered to present to ,sir ,t4 ,bodley1 8from all the libraries of the royal palaces1 whatever precious and rare books he might choose to carry away40 ,so that1 in fact1 instead of feeling that we in ,london should have the few 8outside0 royal books returned to us1 we should perhaps feel a debt of gratitude to ,sir ,t4 ,bodley for leaving anything at all in the libraries of the royal palaces1 in face of ,king ,james's generous offer4 #aecj 7874 ,the third volume of a copy of the ,works of ,st4 ,chrysostom1 printed at ,basle in #aecj1 has very kindly been shown to me by ,mr4 ,e4 ,gordon ,duff1 librarian of the ,ryland's ,library1 ,manchester4 ,it is bound in calf1 and one side is almost completely destroyed1 but the other is in a fairly good condition4 ,it measures #ae by #aj inches1 is tooled with gold and blind lines1 and bears as a centre ornament a rectangular panel with the royal coat of arms of ,henry ,,viii4 ensigned with a large crown1 having as a dexter supporter a greyhound and on the sinister side a dragon4 ,this arrangement of the supporters is wrong1 but it is possibly unintentional1 and due to the forgetfulness of the engraver when he drew the design on his metal plate4 ,above the crown are two double roses1 and above it are scattered impressions of a ring with a dot in the middle4 ,below the shield are two portcullises1 chained1 with a few tufts of grass4 ,this handsome coat of arms is enclosed by a border on which are the words1 8,,diev ,,et ,,mon ,,droit10 and small stamps of a leaf1 a single rose1 and a fleur-de-lys2 above and below are impressions of a stamp of a large double rose1 crowned1 flanked by the letters ,k ,h4 ,these initials are somewhat of a puzzle4 ,they have been interpreted as simply meaning ,king ,henry1 and perhaps this solution is the easiest way out of the difficulty2 but it is not altogether satisfactory4 ,besides 8,king10 the only other word for which the letter ,k is likely to stand is the name 8,katherine10 and it could only then have stood for either ,katharine of ,aragon1 who was divorced in #aecc2 ,katherine ,howard1 who was married in #aedj and was beheaded in #aedc2 or ,katharine ,parr1 who was married in #aedc and survived the king4 ,a very decided objection to the theory that the initial ,k belonged to any of these queens is found in the fact that it precedes that of the king himself1 which is not at all likely to have occurred under the circumstances4 ,in the volume to be described presently1 where the initials ,h ,a are presumed to be those of 8,henry0 and 8,anne10 an example is found of the more likely way in which such initials would occur4 ,the inner panel is enclosed1 at a considerable distance1 by a broad triple border1 and the inner corners of this border are curiously ornamented with ornamental gold-tooling arranged in quarter-circle form4 ,this style of corner ornamentation was common in ,italy1 but very rare in ,england1 at the time this book was made4 ,the inner angles of each quarter-circle bear triple impressions from a stamp of trefoil shape bearing small scroll-work of ,oriental character upon it1 the ground gold and the design showing in the leather4 ,the segments of circles beyond this inner angle are ornamented consecutively with a row of fleur-de-lys and single roses alternately2 a row of small long-shaped knots1 often found on ,italian books1 and also occurring on one bound for ,king ,james ,v4 of ,scotland2 a row of wavy flames2 and beyond all1 in the center of the quarter-circle1 impressions in gold of a leaf with stalk flanked by two roses4 ,these corners1 as well as the inner rectangular panel and the inner line of the outer panel1 are all marked by lines of blind-tooling1 which are mitred at the corners4 ,the outer border consists of an inner line of wavy flames1 a broadish line of circles crossed with arabesques1 and an outer line of numerous impressions from the small long-shaped knot stamp1 and beyond all are a few blind lines4 ,this binding is in many ways a very remarkable one4 ,the gold-tooling upon it is rough1 but among the tools which are evidently ,berthelet's are others which are not found on any other of his bindings4 ,i think it is an early work1 and that the existence upon it of the few delicate ,italian stamps can be accounted for only by the theory that an ,italian workman brought them over with him and taught ,berthelet the art of gold-tooling4 ,in the case of this particular volume1 it is possible that it was one of those done by ,berthelet under the eye of his master1 and that he used some of his foreign tools as well as others belonging to himself4 ,whatever may be the true explanation of these difficulties1 there is no doubt that the binding is a most valuable and interesting one1 and ,i thank ,mr4 ,e4 ,gordon ,duff very sincerely for having allowed me to see it and to have it photographed for this monograph4 ,the edges are gilded and ornamented with an arabesque design marked upon them by means of successive impressions from a small ring-shaped stamp4 ,the decoration of the corners of the boards of a binding with ornamentation arranged as a quarter-circle was very rare in ,england until the reign of ,queen ,elizabeth1 at which time it was often found2 then under the ,stuart ,kings ,james ,i4 and ,charles ,i4 it probably reached its fullest development1 and was especially favoured at ,little ,gidding4 ,it is found on fifteenth-century ,italian bindings1 used with great skill1 so that its occurrence on one of ,berthelet's early bindings is not to be wondered at1 the curious thing being rather that he did not use it more4 ,as it now is1 ,i think this book is the earliest existing ,english specimen of the use of this kind of ornamentation4 #aecj 7874 ,an interesting example in which the decoration of a binding is arranged with some reference to the contents of the book occurs on the cover of a ,french manuscript on 8,la ,science de ,geometrie10 dedicated to ,king ,henry ,,viii41 and bound for him in white deerskin by ,thomas ,berthelet4 ,this volume should always have been with the rest of the old ,royal ,library of ,england now in the ,british ,museum1 but by some means it became separated1 and was recently purchased by the trustees of that institution from ,mr4 ,cornish of ,manchester4 ,the sides are ornamented with blind lines and gold-tooling2 a large rectangular panel is marked out near the edges of the boards with fleurons at each outer corner2 inside the panel near the top are the words1 8,,vivat ,,rex10 in an ornamental cartouche of architectural elevation2 below this1 and filling up most of the remaining space1 are three narrow elongated pyramids with triangular bases2 the ground is dotted irregularly with small stars and dots4 ,in the lower part of the panel is the word 8,,geometria0 and a decorative scroll4 ,this is the only instance ,i know in which the lettering outside any of ,berthelet's bindings has any reference to the contents of the book4 ,on the white edges are the words1 8,,rex ,,in ,,aeternvm ,,vive ,,nez10 ornamentally written in gold in large capital letters4 #aecd4 ,bible1 ,antwerp1 #aecd4 ,in two volumes4 ,bound in brown calf1 tooled in blind and gold1 and measuring #ad-a_/b by #i inches4 ,the design on each of these fine volumes is the same1 but the lettering upon them is different4 ,the words on volume ,i4 are1 8,,ainsi ,,que ,,tous ,,meurent ,,par ,,adam--,,avssy ,,tovs ,,seront ,,vivifies ,,par ,,christ02 and on volume ,,ii41 8,,la ,,loy ,a ,,este ,,donnee ,,par ,,moyse--,,la ,,grace ,,et ,,la ,,verite ,,est ,,faicte ,,par ,,jesu ,,christ40 ,these words are in large gilt capitals in short lines1 each word where necessary being divided from the next by a ,illustration3 ,,plate ,,xiv4 ,,calf ,,binding ,,of 8,,la ,,cyropedie ,,de ,,xenophon4 ,,paris1 #aedg40 ,,made ,,for ,,edward ,,vi4 ,see page #hc4 small cross-crosslet4 ,the lines are contained in a rectangular panel1 with large corner stamps of a vase with flowers and two floral curves terminating in human masks4 ,the triangular spaces thus left above and below the inscription are each filled by a double rose1 crowned1 flanked by the letters ,h ,a1 perhaps standing for 8,henry0 and 8,anne40 ,beyond the panel and touching it is a broad border1 made up of a double line of stamps cut in the form of an ornamental fleur-de-lys and a three-lobed flower4 ,beyond the border is a space broken at the corner with a repetition of the vase stamp1 enclosing which was in all probability a narrow fillet variously ornamented with small designs like that which occurs below the lettering on the second volume4 ,both these volumes have been unfortunately restored in places1 but the old patterns have to some extent been preserved1 and new stamps cut on the lines of the old ones1 as can be seen by reference to a binding now at ,oxford which is treated in a very similar way1 and which1 although it also has received some attention from an inferior binder1 has not been restored in a like disastrous manner4 #aecd4 ,opus de vera differentia regiae potestatis4 ,londini1 ,t4 ,berthelet1 #aecd2 measuring #h by #e-a_/d4 ,this volume is very like that at the ,bodleian1 already fully described on page #fi4 ,the centre stamp is the same1 and so are the outer border and corners1 but the handsome double border is wanting4 ,the book has been badly repaired2 in some cases stamps have been cut after the old patterns1 but in others1 as for instance the corners next to the oval label1 they have been made in a modern arabesque pattern1 not like the original4 ,the book itself is a fine specimen of ,berthelet's printing on vellum4 ,the heraldic centre stamp1 bearing the dragon and greyhound supporters1 is really an anachronism2 properly the supporters should be a lion and a dragon2 the stamp1 however1 was seldom used1 so ,berthelet1 having it by him1 did not trouble to cut another1 as he should have done4 #aecf4 ,a charming little specimen of ,berthelet's private binding is now in the ,ryland's ,library at ,manchester1 and by the courtesy of the librarian1 ,mr4 ,e4 ,gordon ,duff1 ,i am enabled to describe it4 ,it is a remarkably fine copy of the ,new ,testament1 ,tyndale's version1 printed in ,london in #aecf2 there is an inscription inside which shows that in #afgf it belonged to ,henry1 ,duke of ,newcastle1 and later to ,dr4 ,charles ,chauncey4 ,it is bound in brown calf1 and has on each side a long upright panel within a border of ornamented circles of ,italian design4 ,the panel has on one side a unicorn in the centre1 and on the other a talbot1 the crest of the ,heydon family4 ,there are also some initials upon it1 but these do not seem to throw any light upon its ownership4 ,the badges are surrounded with scrolls made up of reversed curves1 in ,berthelet's usual manner4 ,at the outer corners of the border are large ,italianate fleurons1 and the gold lines are supported by others in blind1 running parallel to them4 ,there are the remains of two silk ties4 #aecf4 ,an historically interesting volume has just been bequeathed to the ,british ,museum by the late ,baron ,ferdinand ,rothschild1 formerly member of ,parliament for ,waddesdon1 who left altogether a very valuable collection of jewels and manuscripts to the ,british nation4 ,this volume is very large1 measuring about #ai-a_/d by #ac-a_/b2 it is a manuscript translation in ,french of the ,decameron of ,boccaccio1 by ,laurent de ,premierfait1 made from a ,latin version by ,antoine de ,aresche1 in #adad4 ,the manuscript itself1 which is illuminated1 was probably made late in the fifteenth century4 ,the binding is in very dark calf1 and is tooled in gold1 with a few blind lines2 it was made for ,edward ,seymour1 first ,duke of ,somerset1 the ,protector1 who was beheaded on ,tower ,hill in #aeeb4 ,the duke's motto1 8,,foy ,,povr ,,debvoir10 is contained within an ornamental cartouche in the centre of each cover4 ,the cartouche is enclosed1 at some distance1 in a diamond stamped with a small roll pattern2 near each of the outer sides of the diamond is an ornament made of two impressions of a cornucopia stamp4 ,along the edges of the boards is a broad ,italianate arabesque border2 the inner angles of the border are filled with either the stamp of ,plato or that of ,dido1 already described1 enclosed in arabesques1 and the outer corners have small fleurons4 ,the volume has been rebacked and some of the gold-tooling restored4 ,the stamps found upon it are generally such as were used by ,berthelet early in his career2 but as there is no other indication of the date1 it must be remembered that my attribution of the work as having been made about #aecf is only conjectural4 #aech4 ,berthelet's 8leather0 curves turned into gold cord may be clearly seen on the red satin binding of a collection of sixteenth-century tracts bound probably about #aech4 ,this curious volume is1 as far as can be ascertained at present1 the earliest ,english book bound in satin4 ,it is very probably ,berthelet's work1--indeed1 it may actually be one referred to in the ,letters and ,papers of ,henry ,,viii41 ,vol4 #ac1 ,part #b1 p4 #eci1 concerning which we are told that the king paid #fs4 #h;d4 to 8,bartlett the king's printer's servant that brought a book covered with crimosin saten embrodered40 ,it measures #ab by #h inches1 and has been stupidly rebacked with leather1 but is otherwise in good condition4 ,there is an arabesque border parallel with the edges of the boards1 made full at each of the four corners1 and amplified across the centre into a kind of ornamental bridge4 ,not only are the curves and scrolls strongly suggestive of ,berthelet's designs1 but on the cream-coloured edges of the book are the words1 8,,rex ,,in ,,aeternvm ,,vive ,,nez10 which1 as has already been remarked1 may of itself be taken as an almost sure sign of ,berthelet's work4 ,many of the scrolls are very similar to those which are used on a velvet binding described under the date #aedc1 which ,i think was also bound by ,berthelet4 #aedj 7874 ,jul4 ,claud ,iguini oratio ad ,hen4 ,,viii4 ,,ms4 ,this is bound in dark brown calf1 and is ornamented very simply with gold-tooling and blind lines4 ,in the centre is a well-designed stamp of the royal coat of arms1 ensigned by a very large crown1 and encircled by a garter with buckle1 and bearing the motto1 8,honi soit qui mal y pense40 ,this design is enclosed between four ,greek words1 1 the signification of which is not clear4 ,a simple rectangular border in gold1 made up of successive impressions of one of ,berthelet's happily designed curves1 completes a design which1 although plain1 is yet very charming4 #aedj4 ,there is a fine specimen of one of ,berthelet's bindings in white doeskin in the library of ,trinity ,college1 ,oxford4 ,it measures about #i by #f inches1 and is a copy of 8,theophylacti in omnes divi ,pauli epistolas enarrationes1 etc4 ,basileae1 #aedj40 ,the sides are fully gilt1 and ornamented with scroll-work and royal badges4 ,in the centre is the crowned royal coat of arms of ,henry ,,viii41 surrounded by four chief decorative points1 bearing1 respectively1 the royal initials1 crowned1 and crowned badges1 double rose1 fleur-de-lys1 and portcullis4 ,each of these small designs is contained within a framework of golden scrolls1 and the remaining space is rather closely filled with a rich tracery of scrolls and arabesques symmetrically arranged4 ,the broad edges are cream coloured1 and on them in large capitals are the words1 8,,rex ,,in ,,eternum ,,vive40 ,illustration3 ,,plate ,,xv4 ,,white ,,leather ,,binding ,,of 8,,joannes ,a ,,lasco4 ,,brevis ,,de ,,sacramentis ,,ecc4 ,,christi ,,tractatio4 ,,london #aeeb40 ,see page #hh4 #aeda4 ,elyot4 ,the ,image of ,governance4 ,t4 ,berthelet1 ,london1 #aeda4 ,bound in white deerskin1 and tooled in gold with a few blind lines4 ,in the centre is an irregular panel made up with curves and arabesques1 within which are the words1 8,,dieu ,,et ,,mon ,,droit40 ,the panel is enclosed within an outer line of cleverly arranged scrolls1 at the sides of which are the letters ,h ,r4 ,an outer rectangular border of small ,s-shaped stamps1 with fleurons at the outer corners1 encloses the whole1 the inner corners being filled with more scroll-work and arabesques4 ,the ground is dotted with stamps of a daisy1 a small circle stamp1 and a five-pointed star4 ,a single daisy is impressed in gold in the centre of each of the panels on the back1 and on the white edges of the book itself the words1 8,,rex ,,in ,,eternum ,,vive10 are written in gold in capital letters4 #aedc4 ,a ,bible printed at ,zurich in #aedc1 bound in orange-coloured velvet1 which was probably originally some shade of crimson1 is embroidered with designs outlined in gold cord4 ,it measures #ae by #i-a_/d inches1 and has been ruinously rebacked with leather4 ,it forms part of the old ,english ,royal ,library at the ,british ,museum1 and belonged to ,king ,henry ,,viii4 ,the king's initials1 tied together by a knot1 are in the centre1 within a circle1 above and below which are symmetrical curves of like character to those on several of ,berthelet's leather bindings1 from which no doubt these are taken4 ,a broad rectangular border encloses the central panel1 and is ornamented with large double ,tudor roses at each corner1 the rest of the border space being cleverly filled with repetitions1 right and left1 of a simple fleuron with leaves4 ,the central circle1 as well as the forms of the scrolls used in this binding1 are all suggestive of ,berthelet's methods of design2 and in consideration of the fact that he actually mentions velvet books in his bill as having been bound by himself 7p4 #dc71 ,i think that this binding may be claimed as his with some degree of probability4 ,if the designs were on leather1 one or other of ,berthelet's known stamps would fit them all4 ,several of the curves are very similar to those worked on the satin bindings of #aecf1 already described4 ,the edges of the leaves are elaborately painted in colour1 the groundwork being creamy white2 on the upper edge at the top is a winged cherub1 in the centre is a large gold fleur-de-lys on a blue ground1 enclosed in a red eight-pointed framework1 and beneath this is a square panel in which is a flying dove2 the remainder of the space is filled with graceful arabesques1 with figures and fleurons in gold and colour4 ,the front edge is not in good condition1 as it naturally has been more affected by use1 and some of the painting is obliterated4 ,it is ornamented with five principal designs1 all of which are connected by an ornamental framework1--scrolls1 flowers1 and arabesques in gold and colour4 ,the five designs1 beginning at the top1 are3 a small rectangular cartouche with a figure of ,god the ,father2 the royal coat of arms1 crowned1 within a laurel wreath tied with white ribbon2 a broad oblong of dark colour1 on which was most probably the word 8,,biblia0 in gold2 a large red rose with white centre within a circle2 and a small rectangular panel1 the design upon which has been worn off4 ,the lower edge1 at the bottom of the book1 has nearest the back a satyr upholding scrolls1 in the middle a circle1 the design upon which has been obliterated by wear1 and near the front edge an arabesque pattern4 ,this is the most highly decorative book edge which exists on any ,english book of the early sixteenth century1 and when it was first done must have attracted much attention and admiration1 as it is excellently painted4 ,there is hand-painting in colour inside the book1 especially on the title-page1 and it is very probable that the same artist executed all this work1 both inside and outside1 as there is a great similarity of style4 #aedf4 ,in ,trogum ,pompeivm sive ,ivstinvm chorographica ad excellentiss4 ,dominum ,d4 ,edwardvm ,principem1 etc41 #aedf4 ,a manuscript list of countries and cities mentioned in ,trogus ,pompeius and in the ,epistles of ,cicero1 addressed to ,prince ,edward by ,petrus ,olivarius4 ,bound in brown calf1 rather lighter than usual1 measuring #aj-a_/d by #g-a_/d inches1 and bearing in the centre the badge of three ostrich feathers within a prince's coronet1 with a label bearing the words1 8,,ihc ,,dien10 and flanked by the initials ,e ,p4 ,prince ,edward never was ,prince of ,wales1 a title which is conferred on the eldest son only at the pleasure of the sovereign4 ,the triple-feather badge1 which certainly has been associated with this title ever since ,edward ,,vi41 and has been used as a special badge by all the ,princes of ,wales since his time1 is1 however1 originally not connected especially with ,wales or with any particular son of the sovereign4 ,it was first used by the descendants of ,edward ,,iii41 and appears to have been considered a family badge1 borne by them because of their ancestress1 ,queen ,philippa of ,hainault4 ,the feathers were the cognizance of the ,province of ,ostrevant1 an appanage of the eldest sons of the ,house of ,hainault4 ,the motto1 8,,ihc ,,dien10 seems really to have been used by the ,blind ,king of ,bohemia1 who was killed at ,crecy1 and the ,black ,prince adopted it as his own2 the two have been inseparable ever since4 ,on this binding the ostrich plume and its belongings are enclosed within a circle of flames1 alternately straight and wavy2 the circle is within an oval cleverly marked by a succession of curved arabesques1 in the designing of which ,berthelet was very skilled1 several of them being capable of effective and even surprising combinations4 ,they have something of the quality so valued by designers of wall-papers1 and fit each other in a very remarkable way4 ,the ground is ornamentally dotted with roses1 stars1 and a diamond-shaped floral ornament4 ,the arabesque oval has a handsome symmetrical fleuron at the top and bottom1 and is enclosed within a rectangular border of rather elaborate design4 ,first is a gold line with ornamental corners2 within it is another gold line1 the intermediate space being dotted with small arabesques1 single roses1 and five-pointed stars2 then comes a richly designed ,italianate fillet with roses at each outer corner1 and an outer line with fleurons at each of the outer corners4 ,the book is divided into four panels4 ,as is usual on all ,berthelet's bindings in calf1 there are a few blind lines as well4 #aedd4 ,a ,commentary in ,latin on the ,campaign of the ,emperor ,charles ,v4 against the ,french in #aedd1 addressed by ,antonius de ,musica to ,henry ,,viii42 in manuscript2 measures #ab-a_/d by #h-a_/d inches4 ,it is bound in deep brown calf1 and tooled in gold with some lines in blind4 ,in the centre1 within an upright panel of gold and blind lines with small fleurs-de-lys at the corners1 is the royal coat of arms of ,henry ,,viii41 cleverly outlined with reversed curves1 crowned1 and flanked with the letters ,h ,r1 repeated twice4 ,directly above and below the central panel are two broad rectangular cartouches made in gold lines1 and small arabesques with 8anvil0 handles4 ,in each of these cartouches is a legend2 those on the upper cover contain the words1 8,,vero ,,defensori ,,fidei ,,errorvmqve ,,profligatori ,,optimo02 those on the lower cover1 8,,maximo ,,henrico ,,octavo ,,regi ,,anglorvm ,,franc4 ,,hibernieqve1 ,p4 ,m4 ,p4 ,p4 ,d4 ,g40 ,no one has yet elucidated the signification of these last letters4 ,the centre panel is flanked on ,illustration3 ,,plate ,,xvi4 ,,white ,,leather ,,binding ,,of 8,d4 ,,aurelii ,,augustini ,,hipponensis ,,ep4 ,,tam ,,in ,,vetus ,,quam ,,in ,,novum ,,test4 ,,commentarii4 ,,bas41 #aedb40 ,,made ,,for ,,queen ,,mary4 ,see page #ij4 one side by two impressions of a portrait stamp of ,plato1 and on the other two of ,dido1 the remaining spaces being sparsely filled with leaf stamps4 ,an outer border of ,italian design1 with fleurons at each outer corner1 encloses the whole4 ,the small medallion stamps containing portraits of ,dido and ,plato1 which are found on this volume1 were often used by ,berthelet as the chief ornamentation on small books bound by him4 ,they usually occur singly as a centre ornament within a gold line panel1 with small fleurons at the outer corners4 ,illustration #aedg4 ,xenophon4 ,la ,cyropedie4 ,paris #aedg4 ,bound in rich brown calf1 and ornamented with gold-tooling1 black fillets1 and some blind lines4 ,in the centre is the royal coat of arms of ,edward ,,vi41 very effectively outlined with arabesques1 crowned1 and flanked by the letters ,e ,r4 ,above and below the coat is a double rose and two five-pointed stars4 ,the royal shield is contained within two interlaced fillets1 outlined in gold and stained black2 the inner is in the shape of an upright diamond2 the outer is turned and curved upon itself so as to make a double border4 ,the spaces left between these various curves and lines are filled with gold ornaments1 the most noticeable of which is a large stamp of a cornucopia4 ,the other small stamps are arabesques and five-pointed stars4 ,the outer corners are marked by a gilt fleuron1 and on the front edge of each board are the remains of two ties4 ,the back probably had double roses stamped in gold between each of the bands1 but the book1 which is1 with this exception1 in excellent condition1 has recently been restored here with new stamps cut after the old pattern4 #aedg 7874 ,in the ,advocates' ,library at ,edinburgh is a fine specimen of ,berthelet's work in binding4 ,it was bound for ,edward ,,vi4 in calf1 and bears in the centre his coat of arms flanked by the initials ,e ,r1 and above and below the coat1 on each side1 is a long rectangular panel with a kind of handle at each end1 like those found afterwards on the horn-books4 ,the legends on the panels read1 on the upper cover1 8,an idle or deceitful hande maketh pore ,but a diligent ,labourynge hand maketh ryche4 ,proverb4 #aj02 and on the under cover1 8,no man lyghteth a candle and putteth it in a privie place--neither under a bushell4 ,luke ,,ii40 ,in the panels of the back are1 alternately1 a small upright lion and a fleur-de-lys4 #aedh4 ,among the books bound by ,berthelet for ,king ,edward ,,vi4 is a small copy of ,ptolemy's ,geografia1 printed at ,venice in #aedh4 ,it is simply bound in calf1 with a plain gilt line along the edges of the boards1 and the words1 8,omnis potestas a ,deo10 in a cartouche in the middle of the side4 ,as far as the binding goes1 this volume is one of ,berthelet's simplest1 and ,i should not1 for that reason1 have noticed it here2 but the book is remarkable because of the way he has painted the edges4 ,these are pale blue1 and are ornamented with heraldic designs on shields4 ,on the upper edge is ,illustration3 ,,plate ,,xvii4 ,,calf ,,binding ,,of ,,queen ,,mary',s ,,prayer ,,book4 ,,ms4 ,,on ,,vellum4 ,,bound ,,for ,,the ,,queen4 the coat of arms of ,france1 on the front edge that of ,england1 and on the lower that of ,ireland4 ,these shields are flanked by the initials of the king1 and the rest of the space is filled with a very prettily arranged interlaced strap-work in black1 in and out of which wind delicate1 graceful curves and flowers painted in gold4 ,illustration #aedh4 ,bude4 ,commentarii linguae ,graecae1 etc4 ,parisiis1 #aedh4 #ac-c_/d by #i4 ,bound in brown calf1 and ornamented with gold-tooling and some blind lines4 ,in the centre the royal coat of arms of ,edward ,,vi41 crowned1 is flanked by the letters ,e ,r1 above and below each of which is a small five-petalled flower4 ,the coat is enclosed between two interlaced squares1 outlined in gold and stained black4 ,at each of the four corners of the horizontal square is a floral arabesque in gold1 with a spray of pear4 ,the centre design is enclosed at a considerable distance by a broad black fillet1 outlined in gold1 parallel to the edges of the board1 mitred in gold at the corners1 and decorated alternately at short intervals along its length with scrolls and small five-petalled flowers stamped in gold4 ,the inner angles of the fillet are marked by a gold double rose1 and the outer angles by an elaborate fleuron in outline4 ,illustration #aeej4 ,andreasius4 ,de amplitudine misericordiae ,dei1 etc4 ,basileae1 #aeej2 measures #f by #d inches4 ,it is bound in rich brown calf1 the royal coat of arms of ,edward ,,vi4 being placed in the centre1 flanked by the letters ,e ,r4 ,parallel with the edges of the boards are lines in gold and blind1 with small fleurs-de-lys in gold at the four inner corners and arabesque fleurons at the outer corners4 ,although this little book is very simple1 it is nevertheless very charming1 the beautiful brown colour of the calf being well brought out by the bright gold lines and the dark blind lines4 #aeeb4 ,bembo4 ,historiae ,venetae4 ,lib4 ,,xii4 ,venetiis1 #aeea2 measures #ab by #i inches4 ,it is bound in brown calf1 and ornamented with gold-tooling1 blind lines1 and black fillets4 ,in the centre is the royal coat of arms of ,edward ,,vi41 to whom the book belonged1 enclosed in a very cleverly interwoven fillet outlined in gold and stained black4 ,this fillet is so arranged in straight and curved pieces as to give the general effect of being arranged in eight circles and eight semicircles4 ,the coat of arms1 ensigned with the royal crown1 is outlined by arabesques and surrounded by ten small stars1 six of which are within a single curved-line border having fleurons and daisies at its four extremities1 and four without it1 beyond which comes the inner broken line of the fillet1 spreading out at the top into a large circle1 within which are the words1 8,,diev ,,et ,,mon ,,droyt10 and below into another circle1 also large1 bearing the date ,,mdlii4 ,flanking the coat of arms are two small circles1 within which are the crowned initials ,e ,r4 ,the fillet now takes a rectangular form1 and extends upwards and downwards from these small circles1 while the irregular corner spaces left between this rectangle and the outer edges of the inner line of the fillet are each ornamented with one handsome reversed arabesque1 with fleuron1 two stars1 and a double daisy4 ,four large circles of equal size to that enclosing the royal motto are arranged over the right-angled corners of the mitred parallelogram which is part of the fillet1 and the spaces within these circles are each filled with an ornament made up of a graceful reversed arabesque1 with a fleuron and three small flowers4 ,where the fillet becomes the outer border of the design it is rectangular in form1 broken by semicircular indentations in the centre of each of the four sides2 in these hollows are arabesques and double daisies4 ,the remaining spaces just within the outer border are filled1 top and bottom1 with short lines of the cornucopia stamp1 with double daisies and stars1 and at each side by an impression of a handsome arabesque curve with one small flower4 ,at each of the outer corners is a double daisy4 ,as a book this is a curious specimen1 the back being arranged and gilded so as to resemble the front1 and unless the volume is carefully examined it appears to have no back at all4 ,this is the earliest instance of this peculiarity known to me1 but ,i have met with a few similar cases of later date and in ,italian work4 ,it has nothing to recommend it1 and is useless and ugly as well as being constructively vicious4 ,it is interesting to note that ,berthelet here reverts1 perhaps unknowingly1 to the old ,english appreciation of the decorative use of the circle4 ,this is probably1 in all details1 the finest binding he ever made4 #aeeb4 ,joannes a ,lasco4 ,brevis de ,sacramentis ,ecclesiae ,christi ,tractatio1 etc4 ,london1 #aeeb2 measures #e-a_/b by #c-a_/b inches1 and is bound in cream-coloured deer or doe skin and tooled in gold4 ,there are two holes for tie-ribbons near the front edge of each board4 ,the decoration consists of a central rectangular panel closely filled with solid arabesques symmetrically arranged4 ,the panel is enclosed in a double border1 the inner division of which has an arabesque filling and small fleurons at each angle2 the outer is ornamented with repetitions of a circular stamp intersected by arabesque forms of a pattern very commonly found on ,berthelet's work1 and closely copied from an ,italian original2 at each of the angles is a large fleuron4 ,the narrow space between the edge of the boards and the outer border is ornamented with scattered impressions of a small crescent and a diamond4 ,each of the panels of the back contains a single impression from a small four-petalled flower stamp4 ,the edges of the leaves are gilded1 and upon them is a wavy spray of vine1 with leaves and grape clusters1 impressed by means of a small ring stamp4 ,illustration #aeeb4 ,the ,king's ,revenues4 ,the original certificate of the state of the revenues of ,king ,edward ,,vi41 drawn up on the #ajth of ,decr4 #aeeb1 by ,thomas ,lord ,darcy1 ,thomas 7,thirlby71 ,bishop of ,norwich1 ,sir ,richard ,cotton1 ,sir ,john ,gate1 ,sir ,robert ,bowes1 and ,sir ,walter ,mildmay1 ,his ,majesty's ,commissioners4 ,with their signatures appended4 ,,ms4 on vellum1 measuring #ae-c_/d by #aa inches4 ,bound in brown calf1 tooled in blind and gold4 ,in the centre is the royal coat of arms of ,england flanked by the letters ,e ,r1 and crowned4 ,the outline of the shield is skilfully made by impressions from the pair of arabesque stamps used in the ornamentation of the two decorative rectangular cartouches above and below it4 ,on the upper of these small panels are lettered the words1 8,,the ,,kynges ,,revenves10 and on the lower1 8,anno quinto ,regis ,edwardi ,sexti02 and they are further adorned with 8solid0 stamps in gold of an ,italian character4 ,the border has a handsome gilt-tooled design enclosed within eight lines in blind2 the pattern of the gilt part is taken from an ,italian model4 ,there are gilt fleurons at the outer and inner corners of the panel4 #aeec4 ,strena ,galteri ,deloeni1 ex ,capite ,geneseos quarto deprompta1 etc4 ,,ms4 ,dedicated to ,edward ,,vi41 and measuring #e-c_/d by #d inches4 ,bound in cream-coloured deerskin and tooled in blind and gilt4 ,in the centre is the royal coat of arms flanked by the initials ,e ,r1 and surmounted by a double rose1 above which is a royal crown4 ,just below the coat of arms is another stamp of the double rose4 ,above and below each of the initial letters is a very graceful stamp of a cornucopia4 ,the upper part of the panel is filled with stamps of two arabesque scrolls1 two double roses1 and a daisy2 the lower part has two double roses1 and a daisy with stalk and two leaves4 ,the inner corners of the panel are marked with long stems1 at the end of each of which is a small fleuron1 and the remaining spaces are dotted freely with a small six-rayed star4 ,all these stamps are found constantly on ,berthelet's bindings4 ,this is the only book bound in white deerskin for ,edward ,,vi4 at present known4 #aeec4 ,d4 ,aurelii ,augustini ,hipponensis episcopi1 tam in vetus quam in nouum ,testamentum ,commentarij1 etc4 ,basileae1 #aedb4 ,bound in white deerskin for ,queen ,mary1 and measuring #ab-a_/d by #h inches4 ,the coat of arms on this volume is put in a very unusual ,illustration3 ,,plate ,,xviii4 ,,calf ,,binding ,,of 8,,epitome ,,omnium ,,operum ,,divi ,,aurelii ,,augistini4 ,,col41 #aedi40 ,,made ,,for ,,queen ,,mary4 ,see page #id4 place4 ,it is near the top of the design1 the centre ornament being merely an arabesque4 ,the boards have an irregular rectangular double-lined panel with right-angled projections at each side1 outlined in gold2 within these lines are small fleurons at the angles1 and small scrolls1 fleurs-de-lys1 and rosettes4 ,between the centre and the inner edge of the plain panel is a double-lined diamond1 edged with curves and scrolls1 the corners ornamented with fleurons4 ,between the outer edge of the panel and the edge of the book are curves and ,tudor badges1 each held up either by a curved or a straight stalk1 the royal coat of arms forming the chief ornament at the top1 and two double roses at the bottom4 ,the corners are closely and cleverly filled with a few curves reversed again and again4 ,the original book is in a perfectly sound state1 but the gilding upon it became rubbed1 and many years ago it fell into the hands of an unscrupulous restorer1 who regilded it all over with stamps cut to some extent like the old ones1 but not exactly4 ,the impressions of the old stamps still remain quite sufficiently to be recognized1 and ,i have made a drawing of this binding1 which shows the original form of its decoration4 ,it is one of the latest bindings made by ,berthelet1 and in some ways it must have been one of his finest4 ,however much it may be considered advisable or necessary to replace old leather on bindings by new1 it is quite certain that no state of decay can under any circumstances justify the regilding or restamping of any gold-tooled work4 ,this unfortunately has been a favourite proceeding with many binders1 with disastrous effects1 and it cannot be too strongly condemned from every point of view4 #aeec 7874 ,a manuscript poem of controversy against the ,reformers is addressed to ,queen ,mary by ,myles ,haggard2 bound in calf1 and tooled in gold and blind1 by ,berthelet4 ,it measures about #i by #f inches1 and has the remains of green silk ties on the front edges of the boards4 ,in the centre is the royal coat of arms1 crowned1 and flanked by two scrolls1 all contained within a circle stained black and outlined with gold lines1 the outer edge being ornamented with a series of impressions of a small flame-shaped stamp on a narrow1 slightly curved foot4 ,the initials of ,queen ,mary1 ,m ,r1 are shown twice1 arranged squarely1 just beyond the flamed circle4 ,illustration ,there is a gold line1 with blind1 parallel and near to the edges of the boards1 and at the outer angles of this rectangle are arabesque fleurons4 ,in the panels of the back are single impressions of small roses4 #aeed 7874 ,horae ,beatae ,mariae ,virginis1 etc41 or ,queen ,mary's ,prayer-,book1 written on vellum and beautifully illuminated in colours1 is bound in deep brown calf1 delicately ornamented with gold and blind tooling1 and measures #h-a_/d by #e-a_/b inches4 ,in the centre is a small royal coat of arms with a specially cut border1 ensigned with a large royal crown and flanked by the initials ,m ,r4 ,a broad rectangular fillet of gold and blind lines runs parallel with the edges of the boards1 the gold being the inner of all1 and mitred at the corners4 ,this fillet marked by gold lines is ornamented along its length by impressions of a small arabesque cluster and a rosette1 and at each of the outer corners is a large fleuron4 ,this binding is one of the most finely executed of any that can without doubt be attributed to ,berthelet4 ,the stamps used upon it are original in design1 and although the ,italian feeling is still evident1 it is not so marked as in many other instances4 ,the curious plan of adorning a fillet with impressions of small detached stamps is1 ,i think1 originally an ,italian idea1 but it is found more frequently on ,berthelet's bindings than it is on those of any other master4 ,sometimes it occurs on fillets which are stained black1 in which case a little bare place is left for the gold impression1--it is not gilded over the stain4 ,sometimes1 as on this book1 the fillet is left uncoloured4 ,the unknown binder who worked for ,james ,i4 and his sons used dots on fillets1 but never stained them2 and ,samuel ,mearne1 royal binder to ,charles ,,ii41 revived the plan of gilding on a black fillet1 but he did not carry it out to such an elaborate extent as did ,berthelet1 only using dots or dotted lines4 #aeed4 ,expositio ,beati ,ambrosii episcopi super apocalypsin4 ,lutetiae1 #aeed2 measures #i-a_/d by #f-a_/b inches1 and is bound by ,berthelet in dark brown calf1 tooled in gold1 with a few blind lines4 ,in the centre is an ornamental cartouche enclosed within a rectangular border1 and bearing the royal coat of arms of ,queen ,mary1 crowned1 and flanked by two scrolls2 this is enclosed by a circle of wavy flames1 and again by an outer irregularly shaped border of curves1 straight lines1 and arabesques4 ,the space between the flamed circle and the outer arabesque line is filled with a powdering of small circular stamps4 ,the rectangular outer border is composed of straight lines in gold and blind1 with centre fillet of an ornamental circular stamp crossed with arabesques of ,italian character4 ,the inner corners of the rectangle are filled with a trefoil stamp and the outer corners with an ornamental fleuron4 ,there are the remains of two green silk ties on the front edge of each of the boards4 ,the book is not in a good condition1 the back having been entirely spoiled and tooled with recent stamps4 #aeee4 ,epitome omnium operum divi ,aurelii ,augustini1 etc4 ,coloniae1 #aedi2 measures #ab-a_/b by #h-a_/d inches1 and is bound in brown calf1 tooled in gold1 with some blind lines4 ,in the centre is the royal coat of arms of ,queen ,mary1 crowned1 and flanked by two arabesque curves1 contained within a circle stained black1 with waved rays of gold issuing outwards4 ,the coat is enclosed by a long upright rectangular fillet stained black1 interlaced by another in diamond shape of similar width1 also stained black4 ,the spaces within these two fillets are filled with gold curves and arabesques1 except the two small triangles flanking the centre1 which have the initials ,m ,r4 ,the black fillets are enclosed by a double border2 the inner one1 broken in four places by the points of the diamond1 is thickly ornamented with corner fleurons and arabesque scrolls1 the outer closely filled with a handsome arabesque made with two reversed curves4 ,outside all is another black rectangular fillet1 with fleurons at the outer corners4 ,this is one of the finest calf bindings ,berthelet made for ,queen ,mary1 and it is wonderfully well preserved1 the leather being only a little discoloured and the gold bright and clear4 ,the black on the fillets is also in good condition4 #aeee4 ,bonner4 ,a profitable and necessarye doctrine4 ,london 7#aeee72 is bound in pale brown calf for ,queen ,mary1 and tooled in gold1 without any black in the fillets4 ,in the centre is the royal coat of arms flanked by two scrolls and enclosed within a flanked circle4 ,this circle is contained in a diamond-shaped fillet1 with leaf stamps in the upper and lower corners1 beyond which is a rectangular border of ,italian fashion1 made by small circles intersected by arabesques1--a favourite pattern of ,berthelet's1 and very effective4 ,the four inner corners of the parallelogram are filled with arabesque ornaments1 and the outer corners have small fleurons4 ,all the stamps are well known4 ,,index4 ,,page ,abingtone1 ,john1 bequest to1 from ,t4 ,berthelet1 #ec ,advocates' ,library at ,edinburgh1 binding by ,t4 ,berthelet at the1 #hd ,ambrosius4 8,expositio super ,apocalypsin4 #aeed40 ,bound by ,t4 ,berthelet1 #ic ,andreasius4 8,de amplitudine misericordiae ,dei4 #aeej40 ,bound by ,t4 ,berthelet1 #hf ,anne ,boleyn1 ,queen4 ,binding with her coat of arms1 #bd ,arber1 ,edward4 ,his reprints of the transcripts of the ,stationers ,company1 #ca ,aurelius ,augustinus4 8,tam in vetus quam in novum ,testamentum commentarii4 #aedb40 ,bound by ,t4 ,berthelet1 #ij 8,epitome operum4 #aedi40 ,bound by ,t4 ,berthelet1 #id ,back curiously designed on a binding by ,t4 ,berthelet1 #hh ,bauduyn1 ,piers1 stationer1 #ae ,bembo4 8,historiae ,venetae1 ,lib4 ,,xii4 #aeea40 ,bound by ,t4 ,berthelet1 #hg ,berthelet1 ,anthony1 bequests to1 from ,t4 ,berthelet1 #eb ,berthelet1 ,edward1 bequests to1 from ,t4 ,berthelet1 #eb ,berthelet1 ,margaret1 bequests to1 from ,t4 ,berthelet1 #eb ,berthelet1 ,thomas1 appointment as ,royal ,printer to ,henry ,,viii41 #bf ,bill for bookbinding1 #ce ,books1 etc41 printed by1 #dh ,colophons used by1 #di ,device of ,lucretia stabbing herself1 #di ,grant of coat of arms1 #cc ,patent of appointment as ,royal ,printer1 #cb ,printing done by1 #cc ,property in ,london1 #ej ,signature of1 #cg ,will of1 #ea 8,bible4 #aecd40 ,bound by ,t4 ,berthelet1 #gd 8,bible4 #aedc40 ,bound in velvet by ,t4 ,berthelet1 #gi ,bindings at the ,royal ,irish ,academy1 ,dublin1 #ad ,boccaccio4 8,decameron40 ,bound by ,t4 ,berthelet1 #gf ,bonner4 8,a ,profitable ,doctrine4 #aeee40 ,bound by ,t4 ,berthelet1 #id ,border with design of boys in procession used by ,t4 ,berthelet in some of his titlepages1 #di ,bude4 8,commentarii linguae ,graecae4 #aedh40 ,bound by ,t4 ,berthelet1 #he ,calf leather chiefly used for bookbinding by ,t4 ,berthelet1 #fd ,calf1 books bound in1 by ,t4 ,berthelet1 #fh et seq4 ,christ's ,hospital1 bequest to1 from ,t4 ,berthelet1 #eb ,circle flamed1 used on bindings by ,t4 ,berthelet1 #ha1 #ib ,coat of arms granted ,t4 ,berthelet described1 #cc ,colophons used by ,t4 ,berthelet1 #di 8,commentary on the ,campaign of ,charles ,v41 in #aedd40 ,bound by ,t4 ,berthelet1 #hb ,coronation book of ,henry ,i4 described1 #ai ,courteys1 ,piers1 ,keeper of the ,king's ,great ,wardrobe1 #ae ,cowper1 ,alice1 bequest to1 from ,t4 ,berthelet1 #eb ,crest granted to ,t4 ,berthelet described1 #cc ,cumdachs1 #ad ,davenport1 ,c4 ,his book on ,royal ,english bookbindings1 #fa ,deerskin bindings by ,t4 ,berthelet1 #fe1 #hh1 #ij ,deloemus4 8,libellus de tribus hierarchiis40 ,bound by ,t4 ,berthelet1 #fh 8,strena40 ,bound by ,t4 ,berthelet1 #ij ,dimma's ,book1 #ad ,duff1 ,e4 ,gordon1 owner of a copy of ,st4 ,chrysostom's works bound by ,t4 ,berthelet1 #ga ,edward ,,iv41 bindings made for1 in ,westminster ,abbey1 #ac ,edward ,,vi41 books bound for1 by ,t4 ,berthelet1 #ha et seq4 ,coat of arms of1 #hc1 #hf ,edwards1 ,james1 the painted fore edges of his books1 #fg ,elizabeth of ,york1 bindings made for1 #ae ,elizabeth1 ,princess1 embroidered bindings worked by1 #fc ,elyot4 8,the ,image of ,governance40 ,bound by ,t4 ,berthelet1 #gi ,embroidered bindings of the sixteenth century1 #fb ,english royal heraldry1 #bb ,fletcher1 ,w4 ,y4 ,his book on bindings in the ,british ,museum1 #fa ,fore-edge decoration on books1 #ff ,fore-edge painting on books bound by ,t4 ,berthelet1 #hj1 #he 8,foy pour ,debvoir0 on a binding made for the ,duke of ,somerset by ,t4 ,berthelet1 #gg ,george ,,ii4's gift of the ,old ,royal ,library of ,england to the ,british ,museum1 #fc ,gold-tooling in leather described1 #af ,grafton1 ,richard1 trustee for the children of ,t4 ,berthelet1 #ec ,griggs1 ,william4 ,his colour plates of bookbindings1 #fa1 #fg ,grolier1 ,jean1 bindings with circles made for1 #ba ,haggard4 8,poem4 #aeec40 ,bound by ,t4 ,berthelet1 #ia ,henry ,,vii41 the library and bindings made for #bd11 #fb ,henry ,,viii4 ,act passed in #aecc to restrain foreigners from selling bound books in ,england1 #bi ,books bound for1 by ,t4 ,berthelet1 #fh et seq4 ,panel stamps bearing his coat of arms1 #bd ,signature of1 #cf ,heydon crest on a binding by ,t4 ,berthelet1 #gf ,holmes1 ,richard ,r4 ,his book on the bindings in the ,royal ,library at ,windsor1 #fa 8,horae ,b4 ,mariae ,virginis40 ,bound by ,t4 ,berthelet1 #ib ,james ,i4 ,his visit to the ,bodleian ,library at ,oxford1 #gj ,james ,v41 ,king of ,scotland1 binding made for1 #eg 8,ihc ,dien0 adopted as a motto by the ,black ,prince1 #ha ,iguinus4 8,oratio ad ,hen4 ,,viii40 ,bound by ,t4 ,berthelet1 #gh ,joannes a ,lasco4 8,brevis de ,sacramentis ,ecc4 ,christi ,tractatio4 #aeeb40 ,bound by ,t4 ,berthelet1 #hh ,katharine of ,aragon1 ,queen4 ,bindings with her coat of arms1 #bd 8,the ,king's ,revenues40 ,bound by ,t4 ,berthelet1 #hi ,legends on bindings made by ,t4 ,berthelet1 #fe1 #hi ,lindau1 binding of the ,gospels of1 #ad ,little ,gidding1 bindings made at1 #ba ,lucretia stabbing herself4 ,the device of ,t4 ,berthelet1 #di ,macray1 ,w4 ,dunn4 ,his book on the ,annals of the ,bodleian ,library1 #gj ,mary ,i41 ,queen1 books bound for1 by ,t4 ,berthelet1 #ij et seq4 ,mearne1 ,samuel4 ,the painted edges of his books1 #fg ,medival ,english leather bindings described1 #ah ,molaise's ,gospels1 #ad ,nantes1 ,edict of1 revoked in #afhe1 #cb 8,new ,testament4 #aecf40 ,bound by ,t4 ,berthelet1 #gf 8,opus de vera differentia regiae potestatis40 ,bound by ,t4 ,berthelet1 #ge ,ostrich-feather badge of the ,princes of ,wales1 #ha ,payne1 ,richard1 trustee for the children of ,t4 ,berthelet1 #ec ,powell1 ,thomas1 nephew and successor to ,t4 ,berthelet1 #di1 #ea1 #eb ,ptolemaeus4 8,geografia4 #aedh40 ,bound by ,t4 ,berthelet1 #hd ,pynson1 ,richard1 ,royal ,printer before ,t4 ,berthelet1 #cb ,quarter-circles used as decorations for book corners1 #gc 8,rex in ,aeternum ,vive40 ,painted in gold on the edges of bindings by ,t4 ,berthelet1 #ff1 #gd1 #gh1 #gi ,richard ,,iii4's act allowing foreigners to sell bound books in ,england1 #bi ,rose1 large panel stamp of a1 #be ,ryland's ,library1 ,manchester1 binding by ,t4 ,berthelet in the1 #gf ,st4 ,chrysostom4 8,works40 ,bound by ,t4 ,berthelet1 #ga ,st4 ,cuthbert's ,gospels1 binding of1 #ai ,salvoine1 ,martha1 bequest to1 from ,t4 ,berthelet1 #eb ,satin binding by ,t4 ,berthelet1 #gg 8,la ,science de ,geometrie40 ,bound by ,t4 ,berthelet1 #gd ,seymour1 ,edward1 ,duke of ,somerset4 ,binding made for him by ,t4 ,berthelet1 #gg ,skynner1 ,prudence1 bequest to1 from ,t4 ,berthelet1 #eb ,stamps for bookbinding used by ,t4 ,berthelet1 #fb ,stowe missal1 #ad ,supporters used by ,henry ,,vii41 ,henry ,,viii41 and ,james ,i41 #fi ,theophylactus4 8,in omnes divi ,pauli epistolas enarrationes40 ,bound by ,t4 ,berthelet1 #gh ,ties in early ,english bindings1 #ei ,tracts bound in satin by ,t4 ,berthelet1 #gg ,trinity ,college1 ,oxford1 binding by ,t4 ,berthelet at1 #gh ,trogus ,pompeius4 8,chorographica40 ,bound by ,t4 ,berthelet1 #ha ,tudor heraldic badges1 #bc ,types used by ,t4 ,berthelet1 #dh ,velvet binding by ,t4 ,berthelet1 #gi ,venetian bindings1 #ae ,verard1 ,antoine4 ,books printed by him in the library of ,henry ,,vii41 #bd 8,vitae illustrium ,virorum40 ,bound by ,t4 ,berthelet #fh ,weale1 ,w4 ,h4 ,james4 ,his researches into the history of blind-stamped bindings1 #bj ,wekes1 ,john1 bequest to1 from ,t4 ,berthelet1 #ec ,westminster ,abbey1 binding at1 with the arms of ,edward ,,iv41 #ac ,wheatley1 ,h4 ,b4 ,his book on the bindings in the ,british ,museum1 #fa ,will of ,t4 ,berthelet #ea ,winchester ,domesday ,book1 binding of the #bj ,witinton1 ,robert4 ,gold-tooled binding on one of his manuscripts1 #ag ,xenophon4 8,la ,cyropedie40 ,bound by ,t4 ,berthelet1 #hc ,,printed ,,for ,,the ,,caxton ,,club ,,by ,r4 ,r4 ,,donnelley ,,sons ,,company ,,at ,,the ,,lakeside ,,press1 ,,chicago