literary undertakings. These bindings attributed to Day, especially
those in which he worked with white leather on brown, although they have
none of the French delicacy of tooling, perhaps for this reason attack
the problem of decoration with a greater sense of the difference between
the styles suitable for a large book and a small than is always found in
France, where the greatest binders, such as Nicholas Eve and Le Gascon,
often covered large folios with endless repetitions of minute tools whose
full beauty can only be appreciated on duodecimos or octavos. The English
designs with a large centre ornament and corner-pieces are rich and
impressive, and we may fairly give Day and his fellows the palm for
originality and effectiveness among Elizabethan binders. In the next
reign the French use of the semé or powder, a single small stamp, of a
fleur-de-lys, a thistle, a crown, or the like, impressed in rows all over
the cover, was increasingly imitated in England, very unsuccessfully,
and, save for a few traces of the style of Day, the leather bindings of
the first third of the century deserve the worst epithets which
can be given them.

Until, however, French fashions came into vogue after the Restoration,
English binders had never been content to regard leather as the sole
material in which they could work. Embroidered bindings had come early
into use in England, and a Psalter embroidered by Anne Felbrigge towards
the close of the fourteenth century is preserved at the British Museum,
and shown in one of Mr. Davenport's illustrations. In the sixteenth
century embroidered work was very popular with the Tudor princesses,
gold and silver thread and pearls being largely used, often with very
decorative effect. The simplest of these covers are also the best--but
great elaboration was often employed, and on a presentation copy of
Archbishop Parker's _De Antiquitate Ecclesiæ Britannicæ_ we find a
clever but rather grotesque representation of a deer-paddock. Under the