WE have already alluded to the beautifully executed copies of embroidered book-covers of historic interest which arc a feature of the dainty productions of the Working Ladies' Guild. This month we give facsimile of an Embroidered Bible

Owned By

Queen Elizabeth a drawing of one of them, indicating in detail the method of execution, which has been kindly furnished us by the Guild for publication. We would add that the photographed facsimile of the same precious model, illustrated on the present page, is taken from a copy exquisitely worked by Mrs. Harry Brownlow, of Cambridge. The original which she presented to her relatives and others for birthday gifts. Fine examples of these are preserved in the British Museum and other collections. Most frequently they were worked on a rich velvet, often combined with satin. White satin was often put on a dark red or blue velvet; sometimes the whole cover was of white satin.

Bible is at Oxford, in the Bodleian Library. Such embroidered book-covers were very popular in England in the fifteenth and sixteenth centuries. Whether or not Queen Elizabeth herself worked this model we cannot say, but it is known that she spent much time in embroidering similar covers for illuminated missals and devotional manuscript books,.

Queen Elizabeth's Bible. Detailed Drawing of Embroidery.

(By Courtesy of the Ladies' Working Guild.)

Practical Aids to Art Workers.

Some Books Of Permanent Value For The Art Worker's And The Art Lover's Library.

While it is our purpose to notice under this heading all new art manuals, technical treatises, and works of reference, that may especially commend themselves, in our judgment, as of value to our readers, we shall by no means. confine ourselves to the review of new books We have observed with regret that many works of decided value to the art worker, alter a few months desultory sale become "old stock" on the shelves of the publishers, or dis-appear as "remainders" into the shops of the second-hand bookseller, with no more regard to their intrinsic worth than if they were mere fashionable novels of the day. Our aim is to invite special atten-tion to certain "books, old and new," whose merits we consider entitle them to a permanent place in the art worker's library.

how to make a brooch in Cloisonne Enamel.

From "Silverwork and Jewellery." By H. Wilson. (By courtesy of Mr. John Hogg, Publisher.)

The three volumes of Mr. John Hogg's care-full) considered series. of technical handbooks of the artistic crafts, which form the subject of our first notice under this heading, are neither "old" nor "new." The first of them, "Bookbinding and the Care of Books," by Mr. Douglas Cockerell, appeared three years ago, and "Silverwork and Jewellery." by Mr. Henry Wilson, and "Wood-Carving," by Mr. George Jack, almost within the present year. The series is under the editorship of Professor W. R. Lethaby, of the Royal College of Art. Each craft is "dealt with by an expert, qualified to speak with authority on Design as well as on Workmanship," and we may say at once that if the subjects of the succeeding volumes - a new one is now in the press - are dealt with with the same ability as are these three, the publisher will have indeed produced for the art worker an ideal series of text books.