A single daisy is impressed in gold in the centre of each of the panels on the back, and on the white edges of the book itself the words, “REX IN ETERNUM VIVE,” are written in gold in capital letters.
1543. A Bible printed at Zurich in 1543, bound in orange-coloured velvet, which was probably originally some shade of crimson, is embroidered with designs outlined in gold cord. It measures 15 by 9¼ inches, and has been ruinously rebacked with leather. It forms part of the old English Royal Library at the British Museum, and belonged to King Henry VIII.
The king’s initials, tied together by a knot, are in the centre, within a circle, above and below which are symmetrical curves of like character to those on several of Berthelet’s leather bindings, from which no doubt these are taken. A broad rectangular border encloses the central panel, and is ornamented with large double Tudor roses at each corner, the rest of the border space being cleverly filled with repetitions, right and left, of a simple fleuron with leaves.
The central circle, as well as the forms of the scrolls used in this binding, are all suggestive of Berthelet’s methods of design; and in consideration of the fact that he actually mentions velvet books in his bill as having been bound by himself (p. 43), I think that this binding may be claimed as his with some degree of probability. If the designs were on leather, one or other of Berthelet’s known stamps would fit them all. Several of the curves are very similar to those worked on the satin bindings of 1536, already described. The edges of the leaves are elaborately painted in colour, the groundwork being creamy white; on the upper edge at the top is a winged cherub, in the centre is a large gold fleur-de-lys on a blue ground, enclosed in a red eight-pointed framework, and beneath this is a square panel in which is a flying dove; the remainder of the space is filled with graceful arabesques, with figures and fleurons in gold and colour. The front edge is not in good condition, as it naturally has been more affected by use, and some of the painting is obliterated. It is ornamented with five principal designs, all of which are connected by an ornamental framework,—scrolls, flowers, and arabesques in gold and colour. The five designs, beginning at the top, are: a small rectangular cartouche with a figure of God the Father; the royal coat of arms, crowned, within a laurel wreath tied with white ribbon; a broad oblong of dark colour, on which was most probably the word “BIBLIA” in gold; a large red rose with white centre within a circle; and a small rectangular panel, the design upon which has been worn off. The lower edge, at the bottom of the book, has nearest the back a satyr upholding scrolls, in the middle a circle, the design upon which has been obliterated by wear, and near the front edge an arabesque pattern.
This is the most highly decorative book edge which exists on any English book of the early sixteenth century, and when it was first done must have attracted much attention and admiration, as it is excellently painted. There is hand-painting in colour inside the book, especially on the title-page, and it is very probable that the same artist executed all this work, both inside and outside, as there is a great similarity of style.
1546. In Trogum Pompeivm sive Ivstinvm chorographica ad excellentiss. Dominum D. Edwardvm Principem, etc., 1546. A manuscript list of countries and cities mentioned in Trogus Pompeius and in the Epistles of Cicero, addressed to Prince Edward by Petrus Olivarius.
Bound in brown calf, rather lighter than usual, measuring 10¼ by 7¼ inches, and bearing in the centre the badge of three ostrich feathers within a prince’s coronet, with a label bearing the words, “IHC DIEN,” and flanked by the initials E P.
Prince Edward never was Prince of Wales, a title which is conferred on the eldest son only at the pleasure of the sovereign. The triple-feather badge, which certainly has been associated with this title ever since Edward VI., and has been used as a special badge by all the Princes of Wales since his time, is, however, originally not connected especially with Wales or with any particular son of the sovereign. It was first used by the descendants of Edward III., and appears to have been considered a family badge, borne by them because of their ancestress, Queen Philippa of Hainault. The feathers were the cognizance of the Province of Ostrevant, an appanage of the eldest sons of the House of Hainault. The motto, “IHC DIEN,” seems really to have been used by the Blind King of Bohemia, who was killed at Crecy, and the Black Prince adopted it as his own; the two have been inseparable ever since.
On this binding the ostrich plume and its belongings are enclosed within a circle of flames, alternately straight and wavy; the circle is within an oval cleverly marked by a succession of curved arabesques, in the designing of which Berthelet was very skilled, several of them being capable of effective and even surprising combinations. They have something of the quality so valued by designers of wall-papers, and fit each other in a very remarkable way. The ground is ornamentally dotted with roses, stars, and a diamond-shaped floral ornament. The arabesque oval has a handsome symmetrical fleuron at the top and bottom, and is enclosed within a rectangular border of rather elaborate design. First is a gold line with ornamental corners; within it is another gold line, the intermediate space being dotted with small arabesques, single roses, and five-pointed stars; then comes a richly designed Italianate fillet with roses at each outer corner, and an outer line with fleurons at each of the outer corners. The book is divided into four panels. As is usual on all Berthelet’s bindings in calf, there are a few blind lines as well.
1544. A Commentary in Latin on the Campaign of the Emperor Charles V. against the French in 1544, addressed by Antonius de Musica to Henry VIII.; in manuscript; measures 12¼ by 8¼ inches.