It may further be noted that heraldic designs on embroidered books are early, having been made chiefly during the sixteenth century, and that the figure, floral, and arabesque designs most usually belong to the seventeenth century. There are, of course, exceptions to these divisions, notably in the case of the earliest existing embroidered book, which has figure designs on both sides, but also maintains its heraldic position, inasmuch as its edges are decorated with coats-of-arms. Naturally, again, it may be sometimes difficult to decide whether a design should be classed as heraldic or floral. Such a difficulty occurs as to the large Bible at Oxford bound in red velvet for Queen Elizabeth, and bearing a design of Tudor and York roses. I consider it heraldic, but it might, with no less appropriateness, be called floral. If it had belonged to any one not a member of the Royal family it would undoubtedly be properly counted as a floral specimen. Again, in many of the portrait bindings flowers and arabesques are introduced, but they are clearly subordinate, and the chief decorative motive of such designs must be looked for, and the work classed accordingly. Thus it is evident that the arrangement of the embroidered books by their designs cannot be too rigidly applied, although it should not be lost sight of altogether. _Division of Embroidered Books according to the material on which they are worked._ A more useful and accurate classification may however be found by help of the material on which the embroidered work is done, and this division is obvious and easy. With very few exceptions all embroidered books, ancient and modern, are worked on _canvas_, _velvet_, or _satin_, and while canvas was used continuously from the fourteenth century until the middle of the seventeenth century, velvet was most largely used during the Tudor period, and satin during that of the early Stuarts. Broadly speaking, the essential differences in the kind of work found upon these three materials follow the peculiarities of the materials themselves. Canvas, in itself of no decorative value, is always completely covered with needlework. Velvet, beautiful even when alone, but difficult to work upon, usually has a large proportion of applique, laid, or couched work, in coloured silk or satin, upon it, showing always large spaces unworked upon, and such actual work as occurs directly on the velvet is always in thick guimp or gold cord. Satin, equally beautiful in its way, is also freely left unornamented in places; the needlework directly upon it is often very fine and delicate in coloured floss silks, generally closely protected by thick raised frames or edges of metallic threads or fine gold or silver cords. [Illustration: FIG. 1. Silken thread closely wound round with strip of flat metal.] [Illustration: FIG. 2. Silken thread loosely wound round with strip of flat metal.]