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.