Many book-covers have been embroidered during the last few years in
England by ladies working on their own account, or by some of the
students at one or other of the many excellent centres now existing for
the study and practice of the fascinating art of bookbinding.

Although a large proportion of modern work of this kind has been only
copied from older work, I see no reason why original designs should not
be freely and successfully invented. But I think that the ancient work
may be advantageously studied and carefully copied as far as choice of
threads and manner of working them goes. The workers of our old
embroidered books were people of great skill and large experience, and
from a long and careful examination of much of their work, I am
impressed with the conviction that they worked on definite principles.
If I allude briefly to some of these I may perhaps give intending
workwomen a hint or two as to some minor points which may assist their
work to show to the best advantage when _in situ_, and also insure, as
far as possible, that it will not be unduly damaged during the operation
of fixing to the back and boards of the book for which it is intended.

(1) Before the operation of fixing on the book is begun, it will always
be found best to mount the embroidered work on a backing of strong fine
linen. The stage at which it is best to add the linen will vary
according to the kind of work it is to strengthen. In the case of canvas
it will only be necessary to tack it on quite at the last; with velvet a
backing from the first may be used with advantage, all the stitches
being taken through both materials. As to satin, it will be best to do
all the very fine work, if any, in coloured silks first, and when the
stronger work in cord or braid comes on, the linen may be then added.
The value of the linen is twofold: it strengthens the entire work and
protects the finer material from the paste with which it is ultimately