1

The History of Persian Embroidery

Roxne Frab Shazadeh

http://www.roxanefarabi.com/Embroidery/Embroidery.htm

With special thanks to Jennifer Davis, Leah Lloyd, and LeeAnn Posovad for their editing assistance.

Persia. The name invokes images of mystery and beauty. At one time this great empire
stretched from Turkey to Afghanistan and from the edge of India to the borders of Armenia. For
hundreds of years, Persian artisans were some of the best the world had to offer. Goods and
artisans were highly desired throughout the medieval world. Persian embroidery was no
exception.

During the middle ages, Persian embroidery was primarily completed at home by women. (Plate
1 Detail a Tortoise falls from the Sky, 16th C - Freer Gallery of Art)

As small girls, Persians
were taught the delicate
manipulation of silk floss
into complex, breathtaking
designs.

In many areas of
modern day Iran and Iraq,
embroidery still plays an
important role in the daily
lives of these modern day
Persians.

However, much of
the fineness and skill has
been lost to time, leaving us
with many questions.



How did this beautiful craft
develop?

What are its origins and
techniques?

To discover the answer to
these questions, we must
follow the paths left by the
Persians. This can be a
difficult task. Persian history
has always been very
tumultuous, with frequent
changes in leadership
leading to loss of much of
its history. Very few
2
embroidered pieces from the early and late middle ages have survived to the twentieth century.
This combined with the closure of Iran to the West for political reasons in the twentieth century
has left little archeological data available for study.

There are a limited number of extant examples from the 16th and 17th century. During this time
frame, Shah Abbas I (ruler of Persia from 1587-1629) was attempting to increase trade with
Europe; therefore many gifts were sent to foreign rulers. In addition, private collectors began to
collect Persian artifacts. This has left a body of artifacts to study that were preserved primarily in
countries other than Iran.

We must rely on limited eyewitness accounts to trace the history of embroidery in Persia earlier
than the 16
th
century. Marco Polo (who traveled through Persia to China in the thirteenth
century) described embroidery in silk being completed by the ladies of Kerman (the region
comprising the northeast corner of Iran);

The ladies of the country and their daughters also produce exquisite needlework in the
embroidery of silk stuffs in different colours, with figures of beasts and birds, trees and
flowers, and a variety of other patterns. They work hangings for the use of noblemen so
deftly that they are marvels to see, as well as cushions, pillows, quilts, and all sorts of
things.

Another eyewitness account from Byzantine Ambassadors to Baghdad describes embroidery in
Persia during 917 A.D.

The number of the hangings in the Palaces of the Caliphs was thirty-eight thousand.
These were curtains of gold--of brocade embroidered with goldall magnificently
figured with representations of drinking vessels, and with elephants and horses, camels,
lions, and birds

The earliest dated needlework that has been found is from the 5
th
or 4
th
century B.C. (Plate 1a
Applique Saddle Pad, Pazryk Barrow, 4
th
or 5
th
C B.C.-
Hermitage) This colorful felt saddle cover was apparently
worked in chain stitch and appliqu.

It is likely that embroidery
was done in Persia even earlier than that.

A thousand years later, Alexander the Great (who conquered
Persia in 3000 B.C.) was apparently

amazed at the splendor of the embroideries he found there.
To show his countrymenhe sent home the embroidered tent
of Darius. [referring to Darius the Great, who ruled Persia at
that time].

During the Sassanian Dynasty (The Persian dynasty that ruled
from 226 AD to 652 AD), the surviving sculptures and
metalwork show figures with decoration in raised relief.
3
However, it is not known if this is embroidery or silk-weavings. Considering the embroidered
saddle cover mentioned above, it is likely that the Sassanians embroidered as well.

In the 9th Century, the Arabs conquered Persia, bringing tirz (a Persian term meaning to
embroider which later became the name of items with inscriptions on them and the workshops
where they were made) embroidery with them.

(Plate 2 Tiraz Embroidery, Mamluk Period) Ibn
Khaldun described the importance of tirz in the
fourteenth century:

Royal garments are embroidered with such a
tirz, in order to increase the prestige of the
ruler or the person of lower rank who wears
such a garment, or in order to increase the
prestige of those whom the ruler distinguishes
by bestowing upon them his own garment when
he wants to honor them



These inscriptions usually included praises to God along with praises for the current ruler and in
some cases included the date and name of the workshop which made the garment. State run
workshops called tirz al-khass completed items for the court. Private workshops called tirz al-
mma completed garments for wealthy individuals. According to Marianne Ellis, author of
Embroideries and Samplers from Islamic Egypt, by the 11th century tirz embroidery:

became increasingly elaborate while the calligraphy became less important and in
some cases the letter forms became patterns with no meaning.

Tirz completed in Persia was mostly completed in chain (known as p, zelleh, naqeh, or golb
in Fars), modified chain or stem stitch. It is distinguished from tirz completed in Egypt by the
type of silk floss and cotton ground cloth used called mulham.

During the later medieval period, two main styles of embroidery were done in Persia. In the
first, the entire surface of the ground cloth (usually loose, woven cotton) was covered in stitches.
This embroidery mimicked weaving and primarily was completed in the State-run workshops. It
was not unusual for design elements used for carpets to be seen in embroidery from the same
workshops. Within this category there are three main types.
The first type is called musaif. The musaif variety of all-over embroidery is completed in
double-darning (known as goldz)

and double-running stitch. It is attributed to the city of
4

Isfahan. (Plate 3 Musaif Embroidery, Isfahan 16
th
C)



Musaif embroidery is seen primarily in the 16th and 17th century. There is a 16
th
century wall
hanging in the Textile Museum of Washington D.C. picturing a seen from the love story of
Zulahkha and Yusuf that is an example of this type of embroidery.

According to A.F. Kendrick,
former curator of the Victoria and Albert Museum in London, darning stitch:

is the commonest stitch in Asia Minor work, a fact which might suggest some
connection between those embroideries and that quarter of the Near East...

On this particular wall hanging, a variation of a herring bone stitch was used to fill in the tree
trunks.
5
There are variations of Musaif completed in other parts of the country such as the Caucasus
region (comprises modern day Georgia, Armenia and Azerbaijan).

There are two several wall
hangings in the Victoria Albert Museum that are dated to the 17th century, which are an example
of Musaif completed in the style of the Caucasus Region. (Plate 4)



They were also completed in a double-darning
stitch.

The design is primarily geometric in
nature, which is typical of both carpets and
embroidery from the Caucasus region.
(Causasus, Embroidery, 16
th
C, - Victoria and
Albert Museum)

Another version of tapestry work was called
zileh, or naqeh. This embroidery was used on
the deep cuffs of womens pants and was
usually patterned in diagonal stripes of flowers.
The name naqeh became the name of these
types of trousers. Usually this type of
embroidery was completed in silk floss on a fine
cotton ground, though occasionally, pieces in
wool were completed.

They were embroidered
using the tent stitch.

This miniature from the
Freer Gallery of Art, painted in the late 16th
century shows a woman wearing a pair of
naqeh. (Plate 5);
6
however, the extant examples are all from the 17th and 18th century.

The Victoria and Albert
Museum in London has a fine example from the 18
th
century. (Plate 6) The extant examples have
been disassembled and stretched so that they could be re-used as covers for various household
items, making it difficult to discern the original construction of the trousers.




There is a Mamluk (An Islamic dynasty that ruled Egypt and Syria from 1250 to 1517 A.D.) era
trouser leg completed in pattern darning in running stitch that may represent the pre-cursor to
naqeh trousers. The embroidery is completed in diagonal rows, much the same as naqeh.

(Plate
7)



7
This piece when combined with the pictorial evidence in Persian miniatures, may suggest that
naqeh were worn much earlier than the examples from the 17
th
through 18
th
centuries. Carol
Bier, Project Director for a Persian textile exhibit and book held at the Textile Museum in the
late 1980s, suggests that they were worn by

well-to-do women by the mid-sixteenth century...



The third style of all-over work embroidery seen in Persia is called Rat (pronounced Resht),
referring to an area of Northern Persia. Rat is a type of appliqu work which was used to make
saddle cloths (araq-gr), wall hangings (rdvr) and cushion covers (rble). Small slips of
flannel wool (mahout) are sewn into a pattern onto a cotton or wool foundation. Chain,
buttonhole and featherstitches are used to attach the slips. This type of embroidery is still done in
Rat today, in much the same fashion it was done in the 17
th
century. According to Hans Wulff,
the embroidery is worked in the following fashion:

The embroiderer (gol-dz [or] golab-dz) of Rat hold the cloth (maht) in a wooden
clamp (gerdeh [or] jerdeh) that rests on one of their legs while they press it down with
the other. The design has been traced on the cloth with chalk (naq b rang kadan).
The embroiderer takes a crochet hook (golb [or] szan) with a wooden handle and
pierces it through the cloth (for kardan). Holding the embroidery thread (nah) on the
reverse side of the cloth, he grips it with the crochet hook (nah p kardan) and pulls a
loop formed by it to the front (nah az dast-e cap gereftan [or] bl raftan), and with this
thread loop still around the hook, pierces through the cloth again, gripping the thread
underneath, and pulling the next loop up, and so on, the producing the chain stitch (p).
Much of the surface of the cloth is covered in this way. Often the design includes
differently colored pieces of cloth applied to the base of the material with these stitches.

The designs were often very complicated. (Plate 8)


The extant examples of this type of embroidery are all from the 17th, 18th and 19th century.

However, that does not exclude the possibility that it may have been completed earlier than that.
8
There are examples of inlay patchwork completed in Mamluk Egypt in the 14th century, which
may have been the precursor to Rat work in Persia.

(Plate 9)

According to Jay Gluck, former head of the Handicrafts Organization of Iran, there was an older
form called tikeh-duzi in which;

patchwork in bands of different colored materials frame the central motif; appliqu
work constituted various elements of the designs, i.e., different colors for petals of
flowers, feathers of birds. The designs are elaborate and richbotehs in rows, beautiful
floral sprays with birds in scrolling branches. Some older pieces have busts of women
and men in medallions. This chain stitch on velvet or leather saddle cloths, cushion
covers, table covers, wall hangings, bed covers and garments. This has traditionally been
mens work and still is.

Mr. Gluck goes on to mention another related type of embroidery, which is also an older form
of tikeh-duzi called landareh-duzi. In this type, the pieces of cloth are joined like patchwork not
appliqu like Rat work. Sir John Chardin, a French jeweler who visited Persia in the late 17th
century, described landareh-duzi being completed in the city of Isfahan.

Mosaick-Work , representing what they please, and all of it so neatly sowed, that you would
think the Figures are Painted, tho tis all of it but Patchd-Work; the seam of them is not seen if
you look at it never so near, they are drawn so curiously fine.
9
The second main style of embroidery used the ground cloth to accent the embroidery. There are
several variations of this brocade style embroidery. Several different stitches and techniques
were used. Chain stitch (known as p), which according to Phyllis Ackerman came in with

the wave of Far Eastern influence that accompanied Timur [Mongolian ruler of
Persia in the 14th century],

Stem and shaded satin stitch (another Chinese embroidery style) were both completed in silk
floss. Chain stitch was primarily used as an outline or to fill in solid surfaces. There is a 17th
century example in the Pope-Ackerman Collection of chain stitch embroidery in Persia which is
an elegant design reminiscent of Chinese embroidery. (Plate 10)


If the embroidery is completed entirely in chain stitch, then it is called golb-dzi.

The shaded
satin stitch was used to fill surfaces and was completed primarily on satin.

(Plate 11)

10
Couching of gold and silver threads was another variation of the satin stitch.

(Plate 12) Stem
stitch could also be seen with shaded satin stitch. The stem stitch is used as an outline, with the
object being filled in with the shaded satin stitch.


Pattern darning is another example in this category. Running stitch was used to complete the
pattern on garments and in wall hangings and covers. Double-running and running stitch are used
to pattern darn a Tree of Life pattern on a 14th century pirahan (shirt).

(Plate 13)


There are tribal type embroideries that fall into this
category as well. A late 13
th
/early 14th century
Turcoman (a group of people who lived in western
Persia) roundel located in the Ashmolean Museum in
Oxford is an example of this. It is embroidered in silk
on linen in satin stitch with couched threads over top
the satin stitches to anchor them.

(Plate 14) Late
13
th
/early 14th century Turcoman roundel Located in
the Ashmolean Museum in Oxford

11

Needlelace embroidery bears
mentioning when discussing Persian
embroidery. During various time
periods, parts of Armenia have been
controlled by the current Persian
Dynasty. Throughout all time
periods, trade was brisk between
Persia and Armenia. Many Persian
goods passed through Armenia on
their way to Russia and vice versa.









Needlelace has been executed in Armenia since Ancient Times. (Plate 15) Plate 16 is a drawing
from Armenian Needlelace,

this brooch dates to the Urartu civilization. Urartu was
an empire located in Anatolia. While not many extent
examples have survived due to the delicacy of this art,
there are statues, miniature paintings and stone
carvings that depict lace.

The majority of Anatolia
was part of the Ottoman Empire throughout most of the
middle ages, however, parts of it were Persian territory.
Regardless of who controlled the territory, trade was
brisk between Persia and Anatolia throughout the
middle ages. Armenian needlelace, called janyak, was
probably introduced into Persia sometime during the
middle ages as well as Europe. This 12
th
or 13
th
century
statue shows lace edging this noblemans coat that
looks very similar to the lace edging the Queen of
Urartus veil in Plate 16.


12
(Plate17) Stucco Prince, 12th-13th Century
Any discourse on Persian embroidery would not be
complete without a mention of white work. White
work is still done in Persia today and probably dates
until at least the 16
th
or 17
th
century. Delicate stitches
are completed in white silk on white cotton. The
contrast of the materials provides the subtle design.
The Victoria and Albert Museum in London has
several examples that range in date from the 16
th

through the 20
th
century.

Persians embroidered many items, including leather,
wall hangings, divan coverings, prayer mats,
presentation cloths and garments.

The primary
decorations on clothing were the elaborate woven
brocades available in Persia throughout the medieval
period; however embroidery was used as well. In
some cases, only small parts of the garment were
embroidered; other times the entire garment was
embroidered.

(Plate18) Plate 18 shows a detail view
of a ryi qba (coat) in which the entire surface is
embroidered in a repeat of the pattern shown.

In miniatures, the most common use of embroidery
seen on clothing was embroidered cloud collars and
perhaps a band around the bottom of the skirt. Cloud
Collars are collars that are worn around the neck of a
katb or a ryi qba (both are types of coats worn
during Persians during the middle ages). They usually
covered the entire top of the garment, extending from
the front edge to mid-back and from the neck to cover
the tops of the shoulders. (Plate 19)

Cloud Collars originated in China and were brought to Persia by their Mongol conquerors during
the 13th century. The Mongols used them as ceremonial collars, while the Persian nobility
adopted them for everyday use. The designs for Cloud Collars (as well as most embroidery)
originated from carpets and wall hangings. Many carpets and wall hangings had a Cloud Collars
as their central design. They were almost always of nature, with birds, flowers and animals part
of the design.

A 16
th
century cloud collar in the Hermitage Museum in St. Petersburg is another example of
brocade style embroidery. (Plate 19) Originally the figures were embroidered on red satin,
with the ground showing through. Some time in the 17th century, the red satin was covered with
green, silk embroidery perhaps as an attempt at restoration.



13
Embroidered Cloud Collar, 16th century - Located in the Hermitage Museum, Silk floss
on red satin background (which has been covered with green emb. stitches at a later date)

Metal threads (either silver or gold) were also used extensively in Persian embroidery. The metal
thread usually had a silk core, though there is some evidence of linen or cotton cores used as
well. There were three main types of gold and silver thread used in Persia. The first type
developed during the Middle Ages. A thin, flat wire was spiraled around a silk or linen core. This
is the most expensive type as the thread requires a great deal of metal. The second type, gilded
leather thread, made its way into Persia from China with the Mongol conquest in the 13
th

century. This type of thread was made by gilding thin strips of leather which were then spun
around silk or linen cores. The third type, gilded paper strips, was used primarily during the
period Timur ruled Persia. It was dependant upon the accessibility of Chinese paper, which
became difficult to obtain in the later medieval period. Mulberry bark was gilded, cut into strips
and interwoven with silk. Gilded paper strips were primarily used for weaving, not embroidery.

Persians embroidered primarily with silk floss. The silk floss was usually plied, with either an S
or Z twist being used. Silk was a large industry in Persia since at least Sassanian times.
According to writings by geographer Ibn Hauqal (977 A.D.), the silk worms were originally
brought into Persia from Central Asia through Tabristn on the Caspian Sea.

The silk floss was dyed many brilliant colors. Lac gum, cochineal and kermes produced vibrant
reds and pinks. Both cochineal and kermes dyes are produced from the body of insects.
Cochineal comes from the female body of Coccus cati. Its use in Persia dates to at least the 8
th

century, though it is probably much older than that. Kermes comes from the insect Kermococcus
vermilio. This dye dates pre-historic times, having been introduced into Assyria in 1100 B.C.

Deeper reds and browns were produced from Madder. Madder is obtained from the roots of the
plant Rubia tinctorum. This dye is as at least as old as 3000 B.C. It was even known in Europe
up until the end of Roman rule (4
th
century A.D.), and then had a resurgence during the Crusades
(11
th
through 13
th
century).
14

Cinibar was used to produce orange and red-oranges. It was often used along with other dyes
and is made from a resin imported from India. Kamela also produced the same range of red to
orange dyes but was specifically used only for silk. Kamela comes from the glands of a tree,
called Mallotus Philipennsis.

Indigo was used almost exclusively to produce blues. When the color was dark blue, it was
called surmeh. Light blue produced from Indigo was called b. This dye came from India. It
has been known in Egypt since 2500 B.C. and was introduced into Mesopotamia in the seventh
century.

Safflower, saffron, turmeric, sumq and pomegranite skins were used to produce shades of
yellow. Safflower was known in Egypt, Crete and Phoenicia. It has been grown in those areas as
well as Persia since ancient times. Turmeric, also known as Indian Saffron, was introduced
into Persia from India. Sumq is obtained from a tree grown in Persia since the time of the
Sumerians (3000 B.C.). It is mainly used to dye silk, and to tan and color leather. A powder
made from pomegranate skins has been used as a dye, mordant and tanning agent since 1500
B.C. in Egypt and in Mesopotamia since 2000 B.C. Either area could have introduced its use into
Persia.

Green dyes came from a variety of sources. It came from plants (Rhamnuc chlorophorus or
Rhamnus utilis), copper sulfate, and combining indigo with a yellow dye (this is the first man-
made dye). The dye made from indigo is known as Prophets Green.

Blacks and browns came from the green skins of walnuts. Black also came from a combination
of indigo and henna. Along with walnuts, acorn skins, ground pomegranate rinds, bole, Japan
wood, and Brazil woods were also used to produce brown. Persian dyers were some of the most
sophisticated in the medieval world, producing colors of great vibrancy and complexity.

Color had meaning as well. Blue signified the sky or eternity. For those of Mongolian descent it
also signified strength. Yellow was a symbol of piety and therefore was the color of the robes of
dervishes (religious men). White was the color of sorrow.

The shade of green known as
Prophets Green was considered holy and was rarely used for embroidery. If black was used, it
was used as an accent color, as black was considered the color of the devil or bad luck.

While the stitches used were simple, the designs were as varied and complicated as the Persian
carpets woven at the time. Flowers, dragons, birds, animals, arabesques and geometric shapes
were common. The colors were bright, leaping off the embroidered piece. It is rare to find a
piece with only one or two colors of thread. Patrons cared a great deal about the color used for
the commissioned piece, often demanding only the purest of colors. This embroidery rivaled the
carpets of the time for both its beauty and complexity.


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15
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http://www.hyeetch.nareg.com.au/culture/textile_p2.html
A Survey of Persian Art, Volume XI, Arthur Upham Pope, editor, Oxford University Press, 1938
Woven from the Heart, Spun from the Soul, Carol Bier, editor, Textile Museum, Washington D.C.,1987, pg. 279
Brief Guide to the Persian Embroideries, A.F. Kendrick, London: Victoria and Albert Museum, 1937
For a coat with the entire surface embroidered, please see A Book of Old Embroidery, Geoffrey Holme, Editor,
London: The Studio, 1921, I am grateful to Mistress Marcele de Montsignor for pointing out this reference.
A Survey of Persian Art, Volume V, Arthur Upham Pope, editor, Oxford University Press, 1938, Pg. 2067.
When Silk was Gold; Central Asian and Chinese Textiles, James C.Y. Watt, Anne E. Wardwell, Metropolitan
Museum of Art, 1997
A Survey of Persian Art, Volume V, Arthur Upham Pope, editor, Oxford University Press, 1938, Pg. 2067.
Lost Treasures of Persia, Vladimir Loukonine & Anatoli Ivanov, Confidential Concepts, 1996, pg. 180
A Book of Old Embroidery, Geoffrey Holme, Editor, London: The Studio, 1921, Brief Guide to the Persian
Embroideries, A.F. Kendrick, London: Victoria and Albert Museum, 1937, A Pictorial History of Embroidery,
Marie Schuette and Sigrid Muller-Christiansen, New York: Frederick A Praeger, 1964
The Traditional Crafts of Persia: Their Development, Technology, and Influence on Eastern and Western
Civilization, Hans E. Wulff, The M.I.T. Press, Cambridge Massachusetts, 1996, Pg. 176
A Book of Old Embroidery, Geoffrey Holme, Editor, London: The Studio, 1921, Brief Guide to the Persian
Embroideries, A.F. Kendrick, London: Victoria and Albert Museum, 1937, A Pictorial History of Embroidery,
Marie Schuette and Sigrid Muller-Christiansen, New York: Frederick A Praeger, 1964
The Traditional Crafts of Persia: Their Development, Technology, and Influence on Eastern and Western
Civilization, Hans E. Wulff, The M.I.T. Press, Cambridge Massachusetts, 1996, Pg. 179
The Traditional Crafts of Persia: Their Development, Technology, and Influence on Eastern and Western
Civilization, Hans E. Wulff, The M.I.T. Press, Cambridge Massachusetts, 1996, Pg. 190
The Traditional Crafts of Persia: Their Development, Technology, and Influence on Eastern and Western
Civilization, Hans E. Wulff, The M.I.T. Press, Cambridge Massachusetts, 1996, Pg. 190
The Traditional Crafts of Persia: Their Development, Technology, and Influence on Eastern and Western
Civilization, Hans E. Wulff, The M.I.T. Press, Cambridge Massachusetts, 1996, Pg. 191
The Traditional Crafts of Persia: Their Development, Technology, and Influence on Eastern and Western
Civilization, Hans E. Wulff, The M.I.T. Press, Cambridge Massachusetts, 1996, Pg. 192
The Traditional Crafts of Persia: Their Development, Technology, and Influence on Eastern and Western
Civilization, Hans E. Wulff, The M.I.T. Press, Cambridge Massachusetts, 1996, Pg. 191
The Traditional Crafts of Persia: Their Development, Technology, and Influence on Eastern and Western
Civilization, Hans E. Wulff, The M.I.T. Press, Cambridge Massachusetts, 1996, Pg. 191
Information obtained from an exhibit of a 16
th
century carpet in the Textile Museum in Washington D.C. held in the
fall of 2000.
The Traditional Crafts of Persia: Their Development, Technology, and Influence on Eastern and Western
Civilization, Hans E. Wulff, The M.I.T. Press, Cambridge Massachusetts, 1996, Pg. 192
The Traditional Crafts of Persia: Their Development, Technology, and Influence on Eastern and Western
Civilization, Hans E. Wulff, The M.I.T. Press, Cambridge Massachusetts, 1996, Pg. 192
Koekboya: Natural Dyes and Textiles, a Colored Journey from Turkey to India and Beyond, Harold Bhmer, 2002
Koekboya: Natural Dyes and Textiles, a Colored Journey from Turkey to India and Beyond, Harold Bhmer, 2002
17
A Book of Old Embroidery, Geoffrey Holme, Editor, London: The Studio, 1921, Brief Guide to the Persian
Embroideries, A.F. Kendrick, London: Victoria and Albert Museum, 1937, A Pictorial History of Embroidery,
Marie Schuette and Sigrid Muller-Christiansen, New York: Frederick A Praeger, 1964
Carpets of the Orient, Ludmilla Kybalova and Dominique Darbois, The Hamlyn Publishing Group lim.,
Czechoslovakia, 1951, The Persian Velvets at Rosenberg, Carol Bier, Copenhagen, 1995, The Detection of Metallic
Mordants by Energy Dispersive X-ray Spectrometry, RJ Koestler, N. Indicator, R. Sheryll, Journal of the American
Institute for Conservation, 1985, Volume 24, Number 2, Article 6, pp. 110-115.
Honor is According to Habit: Persian Dress in the 16
th
and 17
th
Century, Jenny Housego, Apollo vol. 93, March
1971, p. 205
Travels in Persia, Sir John Chardin, The Argonaut Series, edited by Sir E. Dennison Ross and Eileen Power, Robert
McBride and Company, 1929