Studio: international art (2.1894)

English Embroidered Book-Covers

nobler material on a backing of-linen or fine

canvas; the two can be well kept together by

means of spangles sewn in the interstices of the

pattern if necessary. All delicate work should be

protected by strong and raised work near it.

The work should be quite completed before it

is given to the binder to put on the book, except

when it may be considered advisable to protect the
edges by the addition of a strong metal braid,
which had best be affixed with a curved needle as
a final finish.

Pearls are often found on embroidered books, and
precious stones rarely. In most instances, unfor-
tunately, such valuable materials have been either
worn away, or, which is more likely, taken away;
they are, as far as is known, invariably used with
velvet.

The books illustrated with this paper are all
small, and have been chosen as good examples of
different styles of workmanship and design. Fig. 2
is a copy of the Psalms printed in London in 1637,
it is bound in white satin. On each side is a con-
ventional tulip with two leaves, worked in satin
stitch, and a curving stalk made with a broad cord,
edged by a narrow one, of silver gimp. In each

panel of the back is a little four-petalled flower from a cover for kingsley's "water babies.
worked in satin stitch. The flowers are all in designed by Reginald hallward,

shades of pink and the leaves in shades of green. embroidered by miss eihel bloxam

Fig. 1 is a very beautiful little binding Worked tulip in satin stitch, surrounded by a highly rai. '
in white satin. On each side is a red and yellow arabesque scroll in silver gimp, gold cord and wj

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embroidered book-cover, designed and worked by mrs. Walter crane

original by h. clifford

drawn from the

2 i i