In England very fine stamped bindings of this class were made even in the first half of the fifteenth century. And, just as in earlier times the operations of the binder and the manuscript illuminator had been carried on by the same man, or at least in the same workshop, so we find that some of the earliest English printers, such as Julian Notary, were also skilful binders of their own printed books. The very fine stamped bindings of Julian Notary and other English craftsmen are commonly decorated on one side with the Tudor arms and badges supported by angels, and on the other side with a pictorial scene of the Annunciation of the B. V. Mary with I. N. or other maker's initials. _Wallet bindings._ Returning now to the earlier bindings of manuscripts, we should mention one system which was frequently applied to _Books of Hours_, _Breviaries_ (_portiforia_), and other _portable_ books. This system was to extend the leather covering far beyond the edges of the wooden boards, which formed the main covers of the manuscripts, so that the book, edges and all were protected, very much as if it were kept in a bag. In fact this sort of binding really was a leather bag to the inside of which the book was attached. The mouth of the bag was closed by a running thong, a loop or some other fastening, and the book was thus carried about, hung from its owner's girdle[298]. In bindings of this class the leather covering was frequently dressed with the hair on. Corpus Christi College at Oxford possesses a very well-preserved example of this, a manuscript of the thirteenth century in a contemporary bag-covering made of deer's skin, with its soft brown fur in a perfect state of preservation. _Velvet._ Bindings of red or violet velvet were also frequently used for manuscripts. Plain red velvet, with elaborate clasps and corner-pieces of chased gold or silver, was perhaps the most usual form of binding for costly manuscripts of the fourteenth and fifteenth centuries. Fine gems, especially the carbuncle and turquoise, were set in the gold mounts of some of these princely books. _Dyed vellum._ Vellum dyed with the _murex_ was used to cover the oak boards of manuscripts at a time when purple-stained vellum was no longer used for the pages of manuscripts. A fine green dye and other colours were also used for vellum bindings. The Vatican records of books borrowed (and returned) usually mention how each volume was bound. Among the earliest of these records, dating from the Pontificate of Leo X. (1513 to 1522) the commonest descriptions of bindings are _in tabulis_, _in rubio_, _in albo_, _in nigro_, and _in gilbo_, indicating the colour of the skin or velvet in which the manuscript was bound. _Later bindings._ _Gold mounts._