During the Tudor and Stuart periods (16^th and early 17^th centuries) embroidered bookbindings were used on devotional books such as Psalms and Bibles, in particular among the nobility or gentry. The embroidery may have been done by the ladies of the household, or in some cases by commercial establishments.

The base cloth could be canvas, satin or velvet. Canvas was more usual during the Tudor period and in this instance would be completely covered in embroidery. With velvet and satin the embroidery would leave space for the rich underlying fabric to be seen.

Davenport defines an embroidered book as one for which the embroidery is made for the particular book, not just cut from a larger piece. He also defines four categories of design: heraldic, figure, floral and arabesque. Within the class of figure there are the subcategories scriptural, symbolical and portrait.

Metallic embroidery, either gold or silver, could be achieved by several methods. Use of fine wire, or by strands of silk either closely or loosely wrapped around by flat strips of metal; or strips of flat shaped metal held in place by small stitches at regular intervals.

This last method was called 'Lizzarding'. Metallic embroidery made delicate work more durable. The metal was also in some instances applied in flattened spirals, which when hammered appeared as a series of rings, known as 'guimp'; or copper wire could also be covered with silk, and used to form loops, a method known as 'purl'. The embroidery protected the cloth binding with wear usually seen in the areas of exposed or unprotected cloth.

The whole booke of Davids Psalmes together with its embroidered binding has richly goffered (or gauffered) gilt edges. Goffering is a repeated pattern on the edges of the book and a form of additional ornamentation.

Embroidered bindings became unfashionable after the 17^th century, but there was a revival in the late 19^th century.

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