For George III, both when Prince of Wales and King, books were bound with coloured inlays by Andreas Lande. There are specimens of his work both in the British Museum and at Windsor, they are not. in particularly good taste. During the reign of George III. a remarkable English bookbinder worked in London. This was Roger Payne; and, although he himself does not seem to have bound any royal books, he strongly influenced many who did, more particularly Kalthreber, who bound many of the books in the King's Library at the British Museum. Although these bindings are by no means so good as their originals, they are a very great advance upon their immediate predecessors; and a delicately worked and effective instance covers a copy of the Gutenberg Bible now at the British Museum.

Another English binder of note, James Edwards of Halifax, also flourished in the reign of George III. This binder has not, I think, received sufficient appreciation, as he discovered an entirely new way of treating vellum by which it was rendered transparent. He painted designs on the under side of the vellum and bound his books with it, the result being that, if the vellum is clean on the outside, the protected painting underneath it is as fresh as when it was first done. A fine example of this curious work is on a copy of a Prayer Book, printed at Cambridge, 1760, which belonged to Charlotte of Mecklen¬burg, queen of George III. (Fig. 26). Her arms, in propef heraldic colors, are in the centre of the upper cover, enclosed by a blue and gold border of Etruscan design. At the lower edge is a miniature of a ruin in monotone, and at each side of the coat and above it are ornamental scrolls, with conventional flowers, birds, animals, and figures. On the lower cover is a central oval, with an allegorical figure in monotone, enclosed in a similar border to that on the upper cover, at each side of which are flowering trees in urns, birds, etc., and in each panel of the back is also a decorative design. Altogether this is the prettiest royal binding done at this period. It has the crowned initials "C. R." painted in silver inside the upper cover, and on the front edge, in an oval, is a painting of the Resurrection under the gold. Between this and the edges, painted for James II., there were no books adorned in this way for royal owners.

The bindings done for George IV., at Windsor, are generally bound in red morocco, with heraldic centres and broad borders, sometimes inlaid with colored leathers. The borders are sometimes like those used by

Eliot and Chapman, and sometimes conventional patterns. A good example in the British Museum is on the cover of the letter written to Lord Liverpool by the king iti 1823, concerning the gift of his father's library to the nation. A copy of the Book of Common Prayer, which' belonged to William IV., and is now at Windsor, is bound in blue morocco. It bears in the centre the star of the Order of the Garter, within a crowned Garter, dependent from which is an anchor, and at the sides" G. R. III." There are anchors in the corners, and a decorative outer border. The generality of the books belonging to him have the usual heraldic centres, within borders designed in more or less good taste. The king presented to the British Museum, and signed with his own name, an Inventory of the Crown Plate, 1832. It is bound by William Clark, and bears in the centre the full royal coat-of-arms, and' has a handsome rectangular border of triple gold lines, broken at each side by bold arabesque ornaments.