outer border, with lettering, encloses in each case a central design. The motto on the border of the upper cover reads, "CELUM PATRIA SCOPUS VITÆ X P V S. CHRISTUS VIA, CHRISTO VIVE." That round the lower cover, "BEATUS QUI DIVITIAS SCRIPTURÆ LEGENS VERBA VERTIT IN OPERA." Within the border, on the upper cover, is a ribbon arranged in a long oval bearing the words "ELEVA COR SURSUM IBI UBI E. C. (_i.e._ est Christus)." The E and the C are in larger type, and between them is a heart in raised work, through which passes a stem, the lower end of which has two small leaves and the top a flower. On the lower cover a similar ribbon bears the words "VICIT OMNIA PERTINAX VIRTUS E. C." These two last letters, Dibdin says, means "Elizabetha Captiva," in support of his theory that it was worked by her at Woodstock. In the centre of the oval on this lower cover is an eight-petalled flower with stem and two leaves. The record of this book is remarkably clear. But, besides this, there is little doubt, judging it by other work of Queen Elizabeth, that it was executed and probably designed by herself. All the books credited to her with any show of probability are worked in braid or thick cord, and the designs on each are of a simple character. The most decorative of all the embroidered books worked for Queen Elizabeth is now, unfortunately, in the worst condition of any of them. It is a copy of Bishop Christopherson's _Historia Ecclesiastica_, Louvanii, 1569, divided into three volumes, each measuring about 6 inches by 3-1/2. It is covered in green velvet, and each side is ornamented in the same way. In the centre a long oval shield, appliqué, in silks of the proper colour. The bearings, worked in gold thread, are enclosed in an oval of pink satin studded with a row of small pearls. Surrounding this is a decorative Elizabethan border worked in gold thread and pearls. The rest of the board is closely covered with a rich design of arabesques and roses in gold cord and guimp, the roses being "Tudor," with red silk centres and pearl outer petals, and "York," worked entirely with small seed pearls. The narrow outer border, formed by an interlacing ribbon outlined in gold cord, has an inner row of seed pearls along its entire length; and many of the spaces all over the side of the book have small single seed pearls in them. The back is divided into five panels, bearing alternately white and Tudor roses of the same kind of work as those on the sides of the book, only on a larger scale. There have also been many supplementary pearls on the back of the book. A large majority of the pearls are unfortunately now missing, as is also a great part of the gold cord, so that the above description is in fact a restoration. But every pearl and every piece of cord that is wanting has left a distinct impression on the velvet.