An Essay in the History of Gold-Tooled
Bindings by Herbert P. Horne
London 1894
interest, which is beyond dispute. The original Harmony, containing the marginalia of the king,
which had been returned to Nicholas Ferrar, perished in all probability, when the church and
house at Little Gidding were sacked, not long before the beheadal of Charles. Compiled only for
the religious uses of the community,' somewhat of it' being repeated every hour by them,
reached the ears of King Charles, who, happening in his progress to be at Apthorpe, at the Earl
of Westmoreland's house, about seven miles from Gidding, sent for this volume by a gentleman
of his court. After some ado, Nicholar Ferrar being then at London, the book was given to the
gentleman of the king, upon his engaging his faith, that at the king's departure from Apthorpe,
he would bring it again: 'but,' continues John Ferrar,' a quarter of a year past Then came
the gentleman again, but brought no book; but after much complement said, the king so liked
the work itself, and the contrivement of it in all kinds, that there had not a day passed, but the
king, in the midst of all his progress and sports, spent one hour in the perusing of it: and that
would apparently be seen by the notations, which he had made upon the margins of it with his
own hand: and that his master would upon no terms part with it, except he brought him a
promise from the family, that they would make him one for his daily use, which he should esteem
as a rich jewel.' 'Before the year came about, such diligence and expedition was used, that a
book was presented to his majesty, being bound in crimson velvet and richly gilded upon the
velvet, a thing not usual.' This volume still remains among the books of the Old Royal Collection,
in the British Museum: it is a Harmony of the Four Gospels, and it is dated 1635 [Co 23. e. 4-]. It
probably ha~ a loose covering of velvet, which is now lost, and which would account for John
Ferrar's description of its binding. According to Dr. Peckard, this book 'was bound entirely by
Mary Collet (one of Mr. Ferrar's nieces) all wrought in gold in a new and most elegant fashion.'
The book is covered in black morocco, and the design of the gilding is, certainly, original, being
unlike any style in use, at that time. It is composed of a number of fine, small tools, which are
arranged so as to form a lozenge within a panel, in the centre of which is a circle, with
quarter-circles at the angles. The letters I.R.S. occur within the circle: and among the small tools,
which are imitated, for the most part, from those in use by contemporary French binders, is that
of a small heart, which is repeated a great number of times. These tools, however, are not
massed with a proper knowledge of decorative effect: and the appearance of the boards is
somewhat meagre, and unsatisfactory, when set beside the work of accomplished gilders.