This binding includes rectangular shaped borders which frame images taken from the text: the northeast and northwest views of Furness Abbey, both after original drawings by the editor of the book, William Close. This binding has not survived in pristine condition but the central images are more complete than the brown stained border and gold tooling. Howard Nixon suggested that the images of Furness Abbey were applied freehand using a brush.
The bookbinders prepared the volumes by first applying a paste wash to make the leather more uniform in colour. The designs were then traced or drawn using a brush loaded with wash and possibly a copperas or other acidic solution which bit into the leather. Areas of greater definition, such as the earth or the Abbey’s pointed-arch windows, show that a more saturated solution was used to render form and tonal effects. A gold-tooled border frames both views.