On the lower board, within the arch, is a figure of David. He wears a short tunic of orange and silver, with vandyked edge, and a short skirt of blue and silver, with a long cloak of cream, pink, and silver, clasped with a silver brooch; on his head he wears a silver crown, with a red cap and green and red feathers; on his feet are brown, high boots. In his left hand is a silver harp of ornamental pattern, and in his right a silver sceptre with a little gold about it. The ground, in hillocks, has a few small flowers growing upon it, and a large tulip is just in front of the King; on the field are also a moth and a snail. At the top is a blue cloud. The upper corners have a red and yellow tulip and a pansy with bud in them, and smaller flowers are worked down each side. The back is very tastefully ornamented with an undulating scroll of gold cord, widening out here and there into conventional leaves of gold guimp in relief. On this scroll are sitting three birds, and there are also a bunch of grapes, a tulip, daffodil, and other flowers with leaves, conventionally treated, all worked in coloured silks. There are the remains of two red and yellow silk ties on the front edges of each board, and the edges of the leaves are gilded and gauffred. With this book is a canvas bag, simply ornamented with a design worked in red silk. [Illustration: 47--New Testament. London, 1640.] _New Testament._ London, 1640. The curious little New Testament of 1625, now at Oxford, which I have already described, is perhaps the earliest example left on which needlepoint lace in coloured silks is much employed.