ngles, and a strong gold cord encloses the whole.
The back is divided into three panels, in each of which is an ornamental
conventional flower, the upper and lower ones alike, and worked in
shades of red with guimp leaves in relief, and the centre one with six
petals worked in yellow and edged with a fine gold cord. There are no
signs of ties ever having existed, and the edges of the leaves are gilt
and slightly gauffred. It has been suggested that this little book may
have belonged to King Charles I.; but the fact of his portrait
being upon it is no proof of this, as portraits of this king are more
numerous upon the bindings of English books than those of any other
person.

_Psalms._ London, 1646.

The value of 'purl' was recognised some few years back, when I had some
made, and explained its value and use to the Royal School of Art
Needlework at South Kensington, and I believe they used it considerably.

[Illustration: 51--Psalms. London, 1646.]

On books the use of purl is generally auxiliary, but one small book
bound in white satin, and measuring 4 by 2-1/2 inches, a copy of the
Psalms, printed in London in 1646, is entirely embroidered in this
material, helped with gold braid and cord. The design is approximately
the same on each side, a large flower with leaves in the centre, and a
smaller flower in each corner. On the upper cover the centre flower is
yellow and red, with two large green leaves, and the corner flowers are,
possibly, intended for a cornflower, a jonquil, a lily, and a rose, but
the material is so unwieldy that the forms are difficult to trace, and
flowers worked in it are likely to assume forms that are unrecognisable,
when finished, however well designed to start with. All the flowers and
leaves are made with the purl cut into short lengths, drawn together at
the ends by a thread run through, thus forming a succession of small
arches. The stalks are made in gold cord. The flowers on the other side
are, perhaps, a carnation in the centre, and round it a convolvulus,
lily, daffodil, and rose. The back is divided into five panels, in each
of which is a 'purl' flower, all worked in the same way, representing
successively a tulip, cornflower, carnation, lily, rose, or something
analogous to them; round the designs are straight pieces of brown purl,
and the edges are bound with a broad gold braid. There are no ties or
signs of any, and the edges are simply gilt. The purl is undoubtedly
very strong