1546. In Trogum Pompeivm sive Ivstinvm chorographica ad excellentiss. Dominum D. Edwardvm Principem, etc., 1546. A manuscript list of countries and cities mentioned in Trogus Pompeius and in the Epistles of Cicero, addressed to Prince Edward by Petrus Olivarius.
Bound in brown calf, rather lighter than usual, measuring 10-1/4 by 7-1/4 inches, and bearing in the centre the badge of three ostrich feathers within a prince’s coronet, with a label bearing the words, “IHC DIEN,” and flanked by the initials E P.
Prince Edward never was Prince of Wales, a title which is conferred on the eldest son only at the pleasure of the sovereign. The triple-feather badge, which certainly has been associated with this title ever since Edward VI., and has been used as a special badge by all the Princes of Wales since his time, is, however, originally not connected especially with Wales or with any particular son of the sovereign. It was first used by the descendants of Edward III., and appears to have been considered a family badge, borne by them because of their ancestress, Queen Philippa of Hainault. The feathers were the cognizance of the Province of Ostrevant, an appanage of the eldest sons of the House of Hainault. The motto, “IHC DIEN,” seems really to have been used by the Blind King of Bohemia, who was killed at Crecy, and the Black Prince adopted it as his own; the two have been inseparable ever since.
On this binding the ostrich plume and its belongings are enclosed within a circle of flames, alternately straight and wavy; the circle is within an oval cleverly marked by a succession of curved arabesques, in the designing of which Berthelet was very skilled, several of them being capable of effective and even surprising combinations. They have something of the quality so valued by designers of wall-papers, and fit each other in a very remarkable way. The ground is ornamentally dotted with roses, stars, and a diamond-shaped floral ornament. The arabesque oval has a handsome symmetrical fleuron at the top and bottom, and is enclosed within a rectangular border of rather elaborate design. First is a gold line with ornamental corners; within it is another gold line, the intermediate space being dotted with small arabesques, single roses, and five-pointed stars; then comes a richly designed Italianate fillet with roses at each outer corner, and an outer line with fleurons at each of the outer corners. The book is divided into four panels. As is usual on all Berthelet’s bindings in calf, there are a few blind lines as well.