In the foregoing detailed descriptions I have included only the work of English binders. There are, however, many books existing that have been bound for English royal personages abroad. Instances of these occur notably for Henry VIII., Elizabeth, James I., Henrietta Maria, Henrietta Anna, Charles II., the Chevalier St. George, and Cardinal York. It will be noticed that generally the ornamentation of English royal books is heraldic, and that crowned initials are constantly used from the time of Henry VIII. to William IV. To understand the royal coat-of-arms of England it is necessary, at all events, to note the larger rearrangements of the various quarterings, which on the Tudor bindings were simply France and England, quarterly. The two great changes took place on the accession of the Stuart line, when the coats of Scotland and England were introduced; and on the accession of the Hanoverian line, when the family coat of the Guelphs was introduced. There are several minor alterations and additions, but these I have mentioned as they have occurred, and the only other important change to remember is concerning the supporters. From the time of Henry VII. until 1528 these were a dragon and a greyhound, and from that time until Elizabeth they were a lion and a dragon. Since the time of James I. they have been a lion and unicorn. Badges are constantly found on Tudor and early Stuart bindings. They are the well-known ones of Tudor origin--the double rose, portcullis, pomegranate, fleur-de-lis, and falcon. The fleur-de-lis remains longest of these. The Prince of Wales' feathers is commonly found on books from the time of Edward VI. The styles of bindings used by these great royal houses have also characteristics common to each of them. The bindings of the Tudor period are most diversified in styles, and the majority of the leather books are either bound by Thomas Berthelet, royal binder to Henry VIII., and his successors, or in his style. Under Elizabeth, the Italian fashion of double boards, the upper of which is pierced, was used for very choice work. Berthelet took his inspiration originally from Italian models, but shortly developed a style of his own. Vellum was much used in connection with gold stamped work, the first use of which in England is credited to this binder. [Illustration: Order of the Coronation of George III. and Queen Charlotte. London, 1761. George III.] The bindings of the early Stuart period may be considered remarkable for the extensive use of what are called semées, successive and symmetrical impressions from small stamps powdered over the sides of the book; and the stamped velvet work done at Little Gidding is one of the glories of the reign of Charles I. Samuel Mearne was royal binder to Charles II., and many of his bindings are of great beauty. His influence on English bookbinding remained for a very long time, weakening gradually, until superseded by the newer style introduced by Roger Payne.