er,
clasped with a silver brooch; on his head he wears a silver crown, with
a red cap and green and red feathers; on his feet are brown, high boots.
In his left hand is a silver harp of ornamental pattern, and in his
right a silver sceptre with a little gold about it. The ground, in
hillocks, has a few small flowers growing upon it, and a large tulip is
just in front of the King; on the field are also a moth and a snail. At
the top is a blue cloud. The upper corners have a red and yellow tulip
and a pansy with bud in them, and smaller flowers are worked down each
side. The back is very tastefully ornamented with an undulating scroll
of gold cord, widening out here and there into conventional leaves of
gold guimp in relief. On this scroll are sitting three birds, and there
are also a bunch of grapes, a tulip, daffodil, and other flowers with
leaves, conventionally treated, all worked in coloured silks.

There are the remains of two red and yellow silk ties on the front edges
of each board, and the edges of the leaves are gilded and gauffred. With
this book is a canvas bag, simply ornamented with a design worked in red
silk.

[Illustration: 47--New Testament. London, 1640.]

_New Testament._ London, 1640.

The curious little New Testament of 1625, now at Oxford, which I have
already described, is perhaps the earliest example left on which
needlepoint lace in coloured silks is much employed.

It occurs again largely on another small New Testament, printed in 1640,
bound in white satin, measuring 4-1/2 by 2-1/4 inches; now in the
British Museum. In this case the artist has not attempted the difficult
task of producing a satisfactory figure in needlework, but has very
properly limited her skill to the reproduction of flower and animal
forms. On the upper cover is a spray of columbine, the petals of which,
pink and blue, are each worked separately in needlepoint lace stitch,
and afterwards tacked on to a central rib. The stalks and leaves of this
spray are also worked in needlepoint, and on the top sits a bullfinch,
worked in many colours in the same way, but fastened down close to the
satin all round. In the corners are a beetle, a nondescript flower, a
bud, and a butterfly with coloured wings in needlepoint, with replicas
of them closely appliques just underneath, on the satin. On the lower
board is a spray of a five-petalled blue flower, the petals of which
were originally worked in needlepoint and fastened on a cen