English Embroidered Bookbindings Informative Summary

Overview:

This book delves into the fascinating world of English embroidered bookbindings, a unique art form that flourished for centuries. The author, Cyril Davenport, explores the rich history of these bindings, starting with the earliest known example, the Felbrigge Psalter from the 14th century. He meticulously categorizes these bindings by their materials (canvas, velvet, and satin), designs (heraldic, figure, floral, and arabesque), and techniques, showcasing the skill and artistry of the craftspeople. Davenport also provides valuable insights into the historical context of these bindings, tracing their evolution through the Tudor and Stuart periods, and highlighting the role of royalty, such as Queen Elizabeth I and Prince Henry, in promoting this art form.

The book goes beyond a simple description of the bindings, offering a detailed analysis of the materials used, the techniques employed, and the symbolic meanings behind the designs. It also explores the historical context of each binding, providing readers with a deeper understanding of the social, political, and cultural forces that shaped this unique art form. Davenport’s engaging narrative, combined with his meticulous research and beautiful illustrations, makes this book a valuable resource for anyone interested in the history of bookbinding, embroidery, and English craftsmanship.

Key Findings:

The art of embroidered bookbinding was a uniquely English art form, with no parallel in other countries.
Embroidered bindings were often used for religious books, especially Bibles and Psalters.
Royalty, including Queen Elizabeth I and Prince Henry, were avid collectors of embroidered books and often commissioned them.
The use of metal threads, such as silver and gold, was crucial for strengthening and adding decorative flair to the bindings.
The design and workmanship of embroidered books varied over time, reflecting changing fashions and tastes.

Learning:

Understanding Embroidered Bookbinding Techniques:
- Embroidery on different materials: The author explains the different techniques used for embroidering on canvas, velvet, and satin.
- Appliqué work: He details how pieces of embroidered fabric were attached to the book cover.
- Metal threads: He discusses the use of various types of metal threads, including guimp, purl, and lizzarding, and their impact on the strength and beauty of the bindings.
Appreciating the Importance of Historical Context:
- Royal patronage: Davenport highlights the role of royalty in promoting and collecting embroidered books, demonstrating how these bindings reflected the tastes and preferences of their patrons.
- Religious significance: He examines the use of religious themes and imagery in the design of many embroidered books, providing insight into the spiritual beliefs and practices of the time.
Recognizing the Artistic Merit of Embroidered Bookbindings:
- Variety of designs: Davenport provides a detailed analysis of the different types of designs used on these bindings, including heraldic, figurative, floral, and arabesque.
- Skilled workmanship: He showcases the impressive skill and artistry of the craftspeople who created these unique bindings, highlighting their mastery of various techniques.

Historical Context:

The book was written in 1899, a time when interest in the history of bookbinding and printing was burgeoning. The author’s work reflects a growing appreciation for the craftsmanship and artistry of earlier periods. While England was making great strides in book production in the late 19th century, Davenport highlights the country’s rich history of bookbinding, reminding readers that English book-work had once held a position of primacy in Europe.

Facts:

The earliest known English embroidered book is the Felbrigge Psalter, dating back to the 14th century. This manuscript, now housed in the British Museum, showcases the high level of skill in embroidery during that period.
The Princess Elizabeth, later Queen Elizabeth I, was an accomplished needlewoman. She is credited with embroidering several books, including the Miroir or Glasse of the Synneful Soul and Prayers of Queen Katherine Parr.
Queen Mary I used the pomegranate as a badge in memory of her mother, Katherine of Aragon. This emblem appears on her Psalter, which is bound in crimson velvet and features an appliquéd pomegranate flower.
Henry VIII had a private press and employed John Day as a printer. The Archbishop commissioned a privately printed edition of his De antiquitate Ecclesiæ Britannicæ, which was bound in a particularly elaborate manner for Queen Elizabeth.
The ostrich feather was a badge often used by the Princes of Wales. The three ostrich feathers within a golden coronet, with the motto “ich dien” became particularly popular with Prince Henry and were frequently used on books bound for him.
The use of peacock feathers in embroidery was common in the 17th century. These feathers were used to create realistic depictions of insects, caterpillars, and butterflies.
Little Gidding, a religious community founded by Nicholas Ferrar, is often mistakenly credited with producing embroidered books. While the ladies at Little Gidding were known for their needlework, evidence suggests they did not create embroidered bookbindings.
Many embroidered books were bound in “double” format, with two volumes side by side. This allowed them to open in opposite directions and often contained the Psalms and Common Prayer.
The use of metal threads served both decorative and functional purposes. They added strength and durability to the bindings, particularly on delicate materials like satin.
The design and workmanship of embroidered books varied over time, reflecting changing tastes and trends. Early embroidered books were often more elaborate, while later examples became increasingly simpler and more focused on floral motifs.
The use of watercolors in conjunction with embroidery was rare. It was primarily used on silk or satin bindings and often served to accentuate the colored silk work.
Queen Elizabeth I used the white rose as her primary badge, unlike her father, Henry VIII, who preferred the red rose.
The earliest known English binding using gold tooling dates back to 1541. Before this, leather bindings were primarily decorated with stamps or metalwork.
The French binder Derome le Jeune is often credited with the invention of the “sawn in” bands method, but early embroidered books demonstrate this technique predates his work.
The design of a “purl” flower is often difficult to identify once it is completed due to the material’s thickness and lack of flexibility.
Gold threads on embroidered books were actually silver gilt. The gold coating would wear off over time, leaving only the silver.
Embroidered bindings were often considered fragile, but the embroidery actually protected the satin material underneath.
Some book collectors would rebind their books with modern covers, leading to the destruction of valuable embroidered bindings.
Prince Henry of Wales added significantly to the Old Royal Library and was responsible for bringing attention to its historical significance.
The Duchess of Buccleuch had a collection of 16th and 17th century needlework, including a unique example of a caterpillar worked entirely with peacocks’ feathers.

Statistics:

The Felbrigge Psalter, the earliest known embroidered book, measures approximately 7¾ by 5¾ inches.
The Miroir or Glasse of the Synneful Soul, copied by the Princess Elizabeth in 1544, measures about 7 by 5 inches.
The Prayers of Queen Katherine Parr, written by the Princess Elizabeth in 1545, measures 5¾ by 4 inches.
The Book of Christian Prayers (1581) measures 7 by 5 inches.
The Psalms and Common Praier (1606-7) measures 3¼ by 2 inches.
The Bible (1612) measures 6¾ by 4¼ inches.
The Sermons by Samuel Ward (1626-7) measures 5¾ by 4¼ inches.
The Daily Exercise of a Christian (1623) measures 4¾ by 2¾ inches.
The Bible (1626) measures 6 by 3½ inches.
The Bible (1642) measures 6 by 3½ inches.
The Bible (1648) measures 6¾ by 4¾ inches.
The Biblia (1543) measures 15 by 9¼ inches.
Il Petrarcha (1544) measures 7 by 6 inches.
Queen Mary’s Psalter measures 11 by 6¾ inches.
The Historia Ecclesiastica by Christopherson (1569) measures 6 by 3½ inches.
Christian Prayers (1570) measures 6 by 3½ inches.
De antiquitate Ecclesiæ Britannicæ by Parker (1572) measures 10 by 7 inches.
The Epistles of St. Paul (1578) measures 4½ by 3½ inches.
Christian Prayers (1584) measures 7½ by 5½ inches.
Orationis Dominicæ Explicatio (1583) measures 6¾ by 4¼ inches.

Terms:

Appliqué: A technique where a piece of fabric is attached to a base material, often with stitches that create a decorative effect.
Couched work: A type of embroidery where threads are laid down on a base material and held in place with small stitches.
Guimp: A type of metal thread made by winding thin wire around silk.
Purl: A type of metal thread made by wrapping copper wire with colored silk.
Lizzarding: A technique using thin pieces of metal, held down by small stitches, to create a decorative pattern.
Headbands: The bands at the top and bottom of a book’s spine, often decorated.
Ties: Ribbon or cord used to keep a book closed, often attached to the front edge.
Gauffred: A decorative pattern impressed onto gilded book edges.
Rebus: A pictorial puzzle where the design represents a word or phrase.

Examples:

The Felbrigge Psalter: This 14th-century manuscript features beautifully executed embroideries of the Annunciation and Crucifixion on a canvas cover.
The Miroir or Glasse of the Synneful Soul: This manuscript, written by the Princess Elizabeth, is bound in canvas and features an interlacing scrollwork of gold and silver braid.
The Prayers of Queen Katherine Parr: This manuscript, also written by the Princess Elizabeth, features a large monogram of Katherine Parr’s initials on a canvas cover.
The Book of Christian Prayers (1570): This book, bound for Queen Elizabeth, features a rebus on the name Parker, with a deer and park within a paling.
The Epistles of St. Paul (1578): This small book, belonging to Queen Elizabeth, is bound in black velvet and features a simple design of a heart and a daisy, enclosed within ribbons.
The Bible (1612): This book features scenes of King Solomon and the Queen of Sheba and Jacob wrestling with the angel.
The Bible (1619): This book features two figures representing Peace and Plenty.
The Emblemes Chrestiens (1624): This manuscript, written by Esther Inglis, is bound in red satin and features the triple ostrich feather badge of the Prince of Wales.
The New Testament (1625): This book features depictions of David playing a harp and Abraham about to sacrifice Isaac.
The Psalms (1639): This book features a delicate design of a rose tree with a violet and pansy hanging from the branches.

Conclusion:

English embroidered bookbindings were a unique and vibrant art form that flourished for centuries, showcasing the skill and creativity of English craftspeople. These bindings were not only beautiful but also reflected the social, political, and cultural values of the time. They were often used for religious books and were highly prized by royalty, who saw them as valuable expressions of their status and beliefs. By exploring the history of embroidered bookbindings, we gain a deeper appreciation for the artistry and craftsmanship of these unique objects and their significance in English history.

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