Henry VIII.'s younger sister Mary married first Louis XII. Of France, and afterwards Charles Brandon, Duke of Suffolk, and there is one binding in the British Museum, purchased in 1865, which belonged to her as Duchess of Suffolk. It is an Herbal printed at Frankfort in 1535, and is bound in dark calf, decorated with blind lines and gold stamped work. The broad outer border has at first sight the appearance of a roll stamp, but it is not actually so, the effect being produced by the successive impressions of a long rectangular stamp having engraved upon it a pattern which, on being repeated, gives the appearance of a continuous design. The design on this stamp is original and simple, and has no "Italian" origin at all. The inner panel has mitre-lines in blind at each of the angles, the points of junction with the outer border being covered with a fleur-de-lis, and then converging lines meet an inner rectangular line which encloses the royal coat-of-arms of England, crowned, the two upper corner-spaces being occupied by double roses, and the two lower by the portcullis badge and chains, all impressed in gold. At the sides of the inner panel are the initials" M. S.," presumably standing for" Mary Suffolk." The workmanship of this curious volume is coarse and irregular, but there is a boldness about it that is not without charm, and the design itself is well balanced and effective.

Queen Katharine Parr has the reputation of having herself worked the cover of a copy of Petrarch printed at Venice in 1544, and bound in purple velvet (Fig. 5)' It is embroidered in coloured silks and gold and silver thread. The design is a large coat-of-arms, that of Katharine herself, with many quarterings, the first being the coat of augmentation granted to her by the king. The coat is surmounted by a royal crown, but the supporters are those of the families of Fitzhugh and Parr; so the work was probably done before Katharine was married to Lord Seymour, but after the king's death. The work is somewhat faded, and the scroll-work in gold cord at the corners is pulled out of place, no doubt the result of bad re-covering, but altogether it is in excellent condition, and is a fine specimen of royal workmanship. The Princess Elizabeth worked the cover of The Miroir or Glasse of the Synneful Soul for Queen Katharine. It is said to have been worked when the Princess was only eleven years old, and it is certainly possible as the workmanship is simple, indeed such as a clever girl might easily do. It is braid work of gold and silver on a blue silk ground. This ground is probably woven with a very large mesh, and is similar to that used by the Princess on the little Book of Prayers she worked for her father. The initials of the queen, "K. P.," occupy the place of honor in the centre, and are enclosed in an elaborate interlaced arrangement of lines and knots of braid, and in each corner, in high relief, is a heartsease. Elizabeth's favorite flower. The volume is now in the Bodleian Library at Oxford.

It is, moreover, an interesting proof of the learning of the Princess Elizabeth, as she says it was translated by herself" out of French rhyme into English prose, joining the sentences together as well as the capacity of my simple witted and small learning could extend themselves," and it is charmingly dedicated "To our most noble and virtuous queen Katherine," to whom Elizabeth, " her humble daughter, wished perpetual felicity and everlasting joy."