One of the most finely embroidered bindings existing on satin occurs on a small copy of the Psalms, printed in London in 1635, and measuring 3-1/2 by 3 inches.  The design is one which has been repeated in other sizes with small differences.  There is a larger specimen at the Bodleian, but the British Museum example is the finer altogether.

[Illustration:  42—­Psalms.  London, 1635.]

On each side there is an oval containing an elaborate design most delicately worked in feather-stitch, the edges and outlines marked with very fine gold twist.  On the upper board there is a seated allegorical figure with cornucopia, probably representing Plenty.  Behind her is an ornamental landscape with a piece of water, the bright lines of which are feelingly rendered with small stitches of silver thread, hills with trees, and a castle in the distance.  The other side has a similarly worked figure of Peace, a seated figure holding a palm branch; the landscape is of a similar character to that on the upper board, but the river or lake has a bridge over it.  The work itself is of the same very delicate kind, the edges and folds of the dress being marked with fine gold twist.

Each of these ovals is marked by a solid framework with scrolls, strongly made with silver threads, and in high relief; in each corner is a very finely worked flower or fruit, pansy, strawberry, tulip, and lily.  The back is divided into four panels, a very decorative conventional flower being worked in each, representing probably a red lily, a tulip, a blue and yellow iris, and a daffodil.  The edges of the boards are bound with a broad silver braid, the edges of the leaves are gilded and prettily gauffred, and there are remains of four silver ties.

Psalms. London, 1633.

There is often much speculation as to who can have worked the English embroidered books, and it is very rarely that any reliable information on this interesting point is available.

There is, however, a manuscript note in a copy of the Psalms, printed in 1633 and bound in embroidered white satin, that the work upon it was done by ‘Elizabeth, wife of Matthew Wren, Bishop of Ely,’ who was an uncle of the architect.  The volume still belongs to a member of the family, Dr. W. T. Law of Portland Place, who has most kindly allowed me to give an illustration of this beautiful book.  It measures 4 by 3 inches.  The design is different in details on each board, the central design, however, being in each case contained within a strongly worked gold border in high relief, widening out at each extremity into a crownlike form, and richly augmented at intervals with clusters of seed pearls.  On the upper board within the oval is a double rose with curving stem, leaves, and a bud; the petals are worked in needlepoint, with fine gold twist at the edges, and a cluster of pearls in the centre.  In the upper corners are a butterfly, with needlepoint wings, and a bird, with needlepoint wing and tail.  In the lower corners are a unicorn and an antlered stag, both recumbent, and in high relief.