The volume has been rebacked and some of the gold-tooling restored. The stamps found upon it are generally such as were used by Berthelet early in his career; but as there is no other indication of the date, it must be remembered that my attribution of the work as having been made about 1536 is only conjectural.
1538. Berthelet’s “leather” curves turned into gold cord may be clearly seen on the red satin binding of a collection of sixteenth-century tracts bound probably about 1538. This curious volume is, as far as can be ascertained at present, the earliest English book bound in satin. It is very probably Berthelet’s work,--indeed, it may actually be one referred to in the Letters and Papers of Henry VIII., Vol. 13, Part 2, p. 539, concerning which we are told that the king paid 6s. 8d. to “Bartlett the king’s printer’s servant that brought a book covered with crimosin saten embrodered.” It measures 12 by 8 inches, and has been stupidly rebacked with leather, but is otherwise in good condition. There is an arabesque border parallel with the edges of the boards, made full at each of the four corners, and amplified across the centre into a kind of ornamental bridge. Not only are the curves and scrolls strongly suggestive of Berthelet’s designs, but on the cream-coloured edges of the book are the words, “REX IN AETERNVM VIVE NEZ,” which, as has already been remarked, may of itself be taken as an almost sure sign of Berthelet’s work. Many of the scrolls are very similar to those which are used on a velvet binding described under the date 1543, which I think was also bound by Berthelet.
1540 (?). Jul. Claud Iguini oratio ad Hen. VIII. MS. This is bound in dark brown calf, and is ornamented very simply with gold-tooling and blind lines. In the centre is a well-designed stamp of the royal coat of arms, ensigned by a very large crown, and encircled by a garter with buckle, and bearing the motto, “Honi soit qui mal y pense.” This design is enclosed between four Greek words, ΗΑΙΟΣ ΠΑΝΤΑΣ ΑΛΑΙΕΝΟΝ ΕΞΑΡΚΤΟΤ, the signification of which is not clear. A simple rectangular border in gold, made up of successive impressions of one of Berthelet’s happily designed curves, completes a design which, although plain, is yet very charming.
