There are specimens of books bound for Edward VI. in the British Museum, both before and after his accession to the throne. Most, if not all of these, in leather, are probably the work of Thomas Berthelet, as they have many points in common, and he continued the "King's printer servant," and furnished him also with bindings.

The earliest of these is a manuscript by Petrus Olivarius, In Trogum Pompeium et in Epistolas familiares Ciceronis, Chorographica, presented by the author to Prince Edward in 1546, and it bears in the centre the Prince of Wales' feathers within a flamed circle. A some¬what more elaborate binding, with the royal coat-of-arms of England within a flamed circle, occurs on another manuscript, a translation by William Thomas of a book of travels, which is also dedicated to the king. A similar design to this last book is found on the binding of Xenophon, La Cyropedie, printed in Paris in 15+7. It is covered in rich brown calf, and each panel is ornamented with an interlacing fillet, colored black, enclosing an inner diamond, in the centre of which is the royal coat-of-arms, with" E. R." and a double rose above and below. The spaces are filled with arabesques, cornucopire, and small stars.

The coloring of the fillets, with black stain on calf, is a characteristic of Berthelet's work for Edward VI. and Mary. This peculiarity does not occur, as far as I know, on any of those he bound for Henry VII!., so it may be considered that the black fillets, often interlaced in a masterly way, and frequently arranged in semicircular forms, are evidence of the later work of this master of his art. At the same time, many of the smaller stamps used on these later volumes are found also on the earlier examples. But whereas in the earlier style so ¬called "Italian" designs are used, it appears to me that in his later and finer style Berthelet has given us a very noble series of books decorated in an original and strikingly effective manner. The contrast of the rich brown calf with the black of the fillets and the rich gold of the stamped lines and designs is often beautiful. The finest example of this style is to be found in the Museum copy of Cardinal Bembo's Historia Veneta, printed at Venice in 1551. It is a large book measuring 12 X 9 inches, and the single black fillet is most cleverly interlaced with corners, circles, and semicircles, in such a manner as, in fact, to form a triple border, in the centre of which is the royal coat-of¬arms, itself surrounded by a line of curves finished at the ends with double roses and arabesques, and flanked at each side with the crowned initials of the king. In a circle at the upper part of the board is the motto" Dieu et mon droyt" ; and in a corresponding circle at the lower part is the date "MDLII." The spaces throughout are filled with arabesques, cornucopia:, double roses, and small stars. The back of the book is curiously arranged so as to look like the front, so that it appears to have no back at all.

Gualteri Deloeni Commentarius in tres prima Capitula Geneseos, etc., a manuscript dedicated to Edward VI., is bound in a very delightful and simple manner, and one which, for a small book, is nearly perfect in taste. It is covered in rich brown calf, and ornamented with blind lines and gold-a contrast which Berthelet uses, especially on small bindings. The "blind" work in these cases appears to be purposely darkened, which can easily be done by using the tools hot, or by the addition of a little printer's ink. In the centre of this binding is the royal coat-of-arms surmounted by a crowned double rose. This is flanked by two cornucopia:; at the sides of the shield itself are the king's initials, " E. R.," and under each of them the daisy with stalk and leaves. The same cornucopia stamp is used at each of the four inner corners, and each of the four outer corners is ornamented with a conventional floral stamp.