BY THE SAME WRITER. 
 
 SCHOOLS AND MASTERS OF FENCE. George Bell 
 and Sons. New and Revised Edition. 1892. Translated: 
 VEscrime et les Escri?neurs. Paris : P. Ollendorff. 1888. 
 
 CONSEQUENCES. A Novel. Richard Bentley and Son. 
 1 89 1. New York : Appleton and Co. 
 
 "LA BELLA" AND OTHERS. Studies of Character and 
 Action. Cassell and Company. 1892. New York : Apple- 
 ton AND CO. 
 
ENGLISH BOOK-PLATES 
 
 (EX-LIBRIS). 
 
j^. r Bacon eques auratus & magni 
 Jmlli zXngliae Cuftos It brum bunc hi- 
 aliothecae Cantabngdicauit* 
 
English Book-Plates 
 
 Ancient and Modern by 
 
 Egerton Castle 
 
 M.A.,F.S.A. 
 
 London : George Bell & Sons, York Street, 
 Covent Garden, & New York. Mdcccxciij. 
 
ICMOQl 
 
 First edition of 1,000 copies, published December, 1892, 
 New and enlarged edition, November, 1893. 
 
PUBLISHER'S PREFACE. 
 
 HE first edition of this book, published 
 in December, 1892, was specially pre- 
 pared to supply the curious in the 
 matter of book-plates with a general 
 account of many interesting facts connected with 
 English Ex-libris. Hitherto there had been no 
 popular book on the subject, and none that touched 
 upon the interest, artistic and personal, of modern 
 examples. 
 
 As that edition was exhausted within a few 
 weeks of publication, and the type distributed, no 
 further copies could be issued. In view of the 
 continual demand, it was decided to re-model and 
 re-issue the whole work. In this volume some 
 sixty new examples have been added, including 
 a facsimile of the Bacon gift-plate in colours and 
 thirteen plates printed from the original coppers 
 in place of the six which appeared in the first 
 edition. The Bibliographical Appendix has also, 
 with the kind collaboration of Mr. H. W. Fincham, 
 been expanded and made to include every pub- 
 lished account of, or literary allusion to English 
 Book-plates that might prove of interest to the 
 " Ex-librist." 
 
 829768 
 
\ 
 
PREFACE TO THE FIRST EDITION. 
 
 ANY are the interesting facts connected 
 with book-plates, known to students 
 and collectors, yet little dreamed of by 
 the greater number even of those who 
 hold themselves curious of everything connected 
 with " The Book." Indeed, the chief difficulty in 
 presenting these facts to the reader is to reduce 
 them to sufficient order, chronologically or other- 
 wise. There is so much multifarious information 
 capable of being " tacked on " to the subject, that 
 every specialist writing about ex-libris is prone to 
 make them vehicles for his own favourite snippets 
 of information. This is more particularly notice- 
 able in those numerous disquisitions on book-plates 
 contributed to antiquarian periodicals. 
 
 On the other hand, of the very few works, 
 existing in volume form (half-a-dozen at the most), 
 which deal with the subject at hand, only two treat 
 of English Book-plates. These latter, which have 
 long been out of print, rich mines of information 
 though they be, and indispensable to the regular 
 collector, are for that very reason not sufficiently 
 
xii Preface. 
 
 popular in their scope to meet the requirements of 
 the general reader. 
 
 In the present volume I have attempted to 
 make a rapid survey of the history of English 
 book-plates qua book-plates ; to trace the origin 
 of these marks of ownership and the gradual 
 spread of their use from the Continent to this 
 country ; to concatenate the successive " styles " 
 in their ornamentations, and the various " classes" 
 of devices that have been most in vogue up to the 
 present time. 
 
 This short history, supported by a general 
 record of sundry facts that bear more or less 
 immediately on the study of book-plates, and by 
 reference to the existing literature of the subject, 
 should, I imagine, prove interesting, not only to 
 collectors, but to anyone who owns a book-plate, 
 whether personal or handed down with an ances- 
 tral library. It may also be of use to those who 
 — impressed with the idea that a token destined 
 to record for ever their transient ownership should 
 be both original and artistic in design — may wish 
 to know something of the ex-libris of many distin- 
 guished contemporaries. 
 
 Some of the examples here reproduced are very 
 rare, many are very good of their kind, many 
 again are of interest on account of their owner's 
 personality. But most of them have been selected 
 mainly as types ; and for this purpose, whenever 
 possible, several examples of each class have been 
 grouped together, in order that common features 
 might be discriminated by comparison. 
 
 It is well to state that, with the exception of a 
 
Preface. xiii 
 
 few instances (among which the four ex-libris 
 engraved by Mr. Sherborn, my own and two or 
 three others, which it has been possible to print 
 direct from the copper plate or wood block), the 
 illustrations being reproduced by " process and 
 on modern paper, cannot convey all the charac- 
 teristics of the original engravings. This draw- 
 back, however, is unavoidable in a book where 
 copious illustration is of paramount importance. 
 
 Modern specimens have in all cases been given 
 for copy by their owners. For the loan of sundry 
 rare examples, also for valuable advice, I am in- 
 debted to the courteous interest shown in this work 
 by well-known collectors, Miss E. Chamberlayne, 
 Lord de Tabley, the Hon. Gerald Ponsonby, Mr. 
 C. W. Sherborn, (that typical /'little master" of 
 modern days), Mr. Arthur Vicars, Mr. J. R. 
 Brown (the present chairman of the Ex-libris 
 Society), and Mr. J. P. Rylands, in whose genial 
 company I first learned something of the many 
 interests that may lurk about a book-plate. 
 
 I must also express my obligation to Mr. Glee- 
 son White (an " eclectic" collector like myself), 
 without whose active help in attending to the 
 numerous details connected with the bringing out 
 of an illustrated book, I do not think I could have 
 completed the present work within the very short 
 time available for its compilation. 
 
 E. C. 
 
 49, Sloane Gardens, S.W. 
 
DESIGNED BY SIDNEY HEATH. 
 
CONTENTS. 
 
 PAGE 
 
 Introduction i 
 
 First Group — Early Armorial 41 
 
 The Tudoresque Style (1590-1625) 42 
 
 The Carolian Style (1625-1660) ....... 48 
 
 The " Restoration " Style 56 
 
 Group the Second. Eighteenth Century : — 
 
 The Queen Anne and Early Georgian Style (" Jaco- 
 bean") 68 
 
 The Middle Georgian, "Chippendale" or "Rococo" 
 
 Style 81 
 
 The Later Georgian (Festoon) Style 102 
 
 Pictorial Plates : — 
 
 I. "Literary" (Book-piles and Library In- 
 teriors) 117 
 
 II. Portrait Book-plates 130 
 
 III. Allegoric Book-plates 133 
 
 IV. The "Landscape" Book-plate ... 141 
 
 Group the Third — Modern Plates : — 
 
 Modern Armorial — Die-Sinker Style 152 
 
 Seals and Vesicas 173 
 
 Printers' Mark Style 181 
 
 Heraldic-allegoric 187 
 
 Heraldic-symbolic 202 
 
 Pictorial Non-Heraldic Plates 214 
 
 The Choice of a Book-plate and Book-plate 
 
 Collecting 285 
 
 The Book-plate's Petition 3 16 
 
 Bibliography of English Book-plates 331 
 
 Index 343 
 
CONSTITUTIONAL 
 CLUB : LIBRARY. 
 
 DESIGNED BY HERBERT P. HORNE. 
 
LIST OF ILLUSTRATIONS. 
 
 Copper-Plates and Coloured Plates. 
 
 To face page 
 
 Gift-Plate of Sir Nicholas Bacon to the Univer- 
 sity of Cambridge, 1574. Facsimile in three colours, 
 lithographed by W. Griggs Frontispiece 
 
 Book-Plate of William Robinson of Liverpool. 
 
 Copper by C. W. Sherborn 1 
 
 Book-Plate of Lord de Tabley. Copper by C. W. 
 
 Sherborn 16 
 
 Book-Plate of Thomas Swanbrook Glazebrook of 
 
 Birkenhead. Copper by C. W. Sherborn 24 
 
 Book-Plate of Edgerton Smith of Preston. From 
 
 the original copper, circa 1725 75 
 
 Book-Plate of John Henslow. From the original cop- 
 per, circa 1780 101 
 
 Book-Plate Engraved for Captain Cook's son. Pro- 
 bably at the Herald's College, on the occasion of a grant 
 of arms to the family, in 1785 115 
 
 Portrait Book-Plate of Samuel Pepys. Facsimile 
 
 in photogravure by Walker and Boutall 130 
 
 Book-Plate of General Viscount Wolseley. Copper 
 
 by C. W. Sherborn 159 
 
 Design for a Book-Plate (Helmet, Crest, and 
 
 Motto). Copper by G. W. Eve 160 
 
 Design for a "Seal" Plate. George Douglas, Duke 
 
 of Argyll, k.g., k.t. Copper by G. W. Eve .... 173 
 
 Book-Plate of H.M. the Queen, for the Windsor 
 Library. Woodcut, in two colours, by West and Mary 
 Byfleld. (Reproduced by gracious permission.) . . . 181 
 
 Book-Plate of Henry Irving. Woodcut, in two colours, 
 
 by Bernard Partridge 239 
 
 Portrait Book-Plate of H. S. Ashbee, F.S.A. Etch- 
 ing by Paul Avril 278 
 
XV111 
 
 List of Illustrations. 
 
 To face page 
 
 Portrait Book-Plate of Walter Herries Pollock. 
 Photo-etching by Walker and Boutall, from a pen 
 drawing by Agnes Castle 28b 
 
 Book-Plate of James Carlton Stitt. Photogravure of 
 
 a design by Simon Gribelin, adapted 290 
 
 Illustrations in the Text. 
 
 RylandsJ.Paul Dedication, 186 
 Heath, F. R. . . . . 
 Constitutional Club Li 
 
 brary 
 
 Pepys, Samuel . . . 
 Fincham, H. W. . . . 
 Monastery of Buxheim 
 Pomer, Hector . r . 
 Pinson, Richard ... 
 Fawkes, Richard. . . 
 Scott, John ..... 
 Treshame, Sir Thomas 
 The Bysshe Plate . . 
 The Eynes Plate . . 
 Gwyn, Francis, of Lansa 
 
 nor 
 
 Wentworth, Thomas . 
 
 Brodrick, St. John . . 
 
 Campbell, The Hon. Ar 
 
 chibald ..,..,. 61 
 
 Bath, The Dowager Coun- 
 tess of 62 
 
 Simcox, Martha .... 63 
 
 Nicholson, Gilbert, of Bal- 
 rath 65 
 
 Corpus Christi College, 
 Oxford 70 
 
 Somerset, Lady Heniretta 71 
 
 Maister, Henry, of Kings- 
 ton-upon-Hull .... 73 
 
 John 4th Duke of Bedford 75 
 
 Lloyd, The Rev. J. . . . 77 
 
 Charles, 5th Baron Corn- 
 wallis 78 
 
 Bancks, John .. .. ..... 79 
 
 xiv 
 
 xvi 
 
 7,53 
 29 
 
 33 
 35 
 37 
 38 
 39 
 45 
 49 
 5i 
 
 58 
 59 
 60 
 
 Wilberforce, William . 
 Nash, Robert .... 
 Sweetman, Henry . . 
 Foote, Benjamin Hatley 
 Walters, Henry . . . 
 Smith, Matthew . . . 
 Frederick, Sir Charles . 
 
 Campbell, T 
 
 Vere, James, jun. . . 
 
 Ord, John 
 
 Heriot, Charles . . . 
 Hubbald, , of Stoke 
 
 Surrey 
 
 Gulston, Elize . . . 
 Hatfield House Library 
 
 The 
 
 Barrow, The Rev. W. . 
 Dickinson, Charles . . 
 Larking, John . . . 
 Macgregor, General 
 Rogers, Samuel . . . 
 Walton, John . . . 
 Anonymous (Urn fashion 
 Dyer, Charles . . . 
 Beaufort, The Rev. D. A. 
 Hewer, William . . . 
 Bolas, Thomas . . . 
 Wyndham, Wadham . 
 Ashton, H., Esq. . . 
 Gray's Inn Library . . 
 Samwell, T. S. W. . . 
 Avlesford, Earl of . . 
 Bree, The Rev. W. T. . 
 Lumisden, Andrew . 
 Bessborough, Countess of 
 
 83 
 85 
 88 
 
 89 
 9i 
 92 
 93 
 94 
 95 
 96 
 
 97 
 
 98 
 99 
 
 103 
 105 
 106 
 107 
 108 
 109 
 110 
 in 
 112 
 
 113 
 118 
 120 
 121 
 122 
 123 
 125 
 127 
 129 
 
 135 
 138 
 
List of Illustrations. 
 
 xix 
 
 Townley, Charles 
 Wilson, J. . . 
 Farr, Samuel, M.D. 
 Broughton, A., M.D 
 Neild, Jas. . . 
 Boteler, William 
 "Strawberry Hill" plat 
 Anderson, John, jun 
 Hawks, George . 
 Bainbridge, G. C. 
 Lane, William 
 Caulfield, Richard 
 Bailey, William, of Belfast 
 Buckle, Henry Thomas 
 Trollope, Anthony . . 
 Dibdin, Thomas Frognall 
 Larking, John Wingfield, 
 
 of Lea, Kent 
 Prescott, Dr. . 
 Yeatman,The Rev. Huyshe 
 
 Wolcott .... 
 - Lyon King of Arms 
 Clarke, Henry Savile 
 Carlyle, Thomas . 
 Tennyson, Lord . 
 Dickens, Charles 
 Cussans, J. E. 
 Yates, Edmund . 
 Day, Robert . . 
 Eton College Library 
 Althorp Library, The 
 Crawhall, Joseph 
 Archaeological Society 
 
 The, Co. Kildare . . 
 Aide", Hamilton . . . 
 Baring-Gould, The Rev. S 
 Evans, Sir John, K.C.B. 
 Middleton - Wake, The 
 
 Rev. C. H. . . 
 Loftie, The Rev. W 
 Angell, Samuel . 
 Sykes, Christopher 
 Fitzgerald, Edward 
 Seaman, H. G. . 
 Locker, Frederick 195, 196 
 Locker- Lampson, Godfrey 
 
 J- 
 
 PAGE 
 
 139 
 I40 
 
 142 
 
 143 
 144 
 
 145 
 146 
 147 
 148 
 149 
 I50 
 151 
 153 
 154 
 155 
 156 
 
 158 
 l6l 
 
 I63 
 165 
 166 
 168 
 I69 
 ,293 
 173 
 174 
 175 
 177 
 178 
 179 
 
 l80 
 l8l 
 182 
 183 
 
 184 
 I8 5 
 188 
 I89 
 191 
 193 
 ■ 197 
 199 
 
 Ewart 
 
 Aylorde, Henry . 
 Brierly, Sir Oswald 
 Leighton, John . 
 Russell, John Scott 
 Gladstone, William 
 Corbet, M. R. . . 
 Folkard, Henry . 
 White, Gleeson . 
 Campbell, Mrs. . 
 Meade, L. T. . . 
 Lake, Ernest . . 
 Browning, Oscar 
 Doble, Charles E. 
 Ford, E. Onslow . 
 Sharp, C. . . . 
 Tait, Henry . . 
 Turnbull, A. H. . 
 Crane, Walter . . 
 Shorter, Clement . 2 
 Besant, Walter . 
 Perris, John . . 
 Warren, The Hon. 
 
 Leicester . . 
 Dobson, Austin . 
 Gosse, Edmund . 
 Alma Tadema, Lawrence . 
 Brown, James Roberts 
 Jackson, Robert . . . . 
 
 203 
 
 204 
 
 205 
 
 207 
 
 209 
 
 . 211 
 
 . 212 
 
 215, 220 
 
 . 217 
 
 . 218 
 
 . 219 
 
 . 221 
 
 . 222 
 
 . 223 
 
 . 224 
 
 . 225 
 
 . 226 
 
 . 227 
 
 247, 255 
 
 . 229 
 
 B, 
 
 230 
 
 231 
 233 
 234 
 237 
 240 
 241 
 242 
 
 Wheeler, E. J 243 
 
 Slater, Walter Brindley . 244 
 Winterbotham, James . . 245 
 Coutts, Money .... 246 
 Mathews, Charles Elkin . 248 
 Macdonald, Wm. Rae . . 249 
 Gray, J. M. ..... 250 
 
 Beddard, F. C 251 
 
 Somervell, Arthur . . . 252 
 Brooke, The Rev. A. Stop- 
 ford 253 
 
 Cox, Henry Fisher . . . 254 
 Philpott, The Rev. R. S. . 256 
 New, Edmund Hort . . 257 
 
 Paton, A. V 258 
 
 Heath, S. H 259 
 
 Holme, Charles .... 260 
 
XX 
 
 List of Illustrations. 
 
 Evans, F. H 
 
 Manning, William . . . 
 Kitchin, George .... 
 Vicars, Arthur .... 
 Castle, Egerton .... 
 Keverstone Library, The . 
 Bell, A. G. and N. . . . 
 Patterson, Jane . ... 
 Hogg, Warrington . . . 
 Goddard, W. Knightley . 
 
 Pain, Barry 
 
 Pollock, Walter Herries . 
 Haggard, H. Rider . . . 
 Loftie, The Rev. W. J. . 
 Frampton, Christabel, A. . 
 Parsons, The Rev. D. . . 
 
 PAGE 
 26l 
 
 Mayo, The Earl of . 
 
 PAGE 
 . 288 
 
 263 
 
 Ponsonby,TheHon. Gerald 289 
 
 264 
 
 Hamilton, Walter . 
 
 . 291 
 
 265 
 
 Martin, J. S. . . . 
 
 • 294 
 
 269 
 
 Home, Herbert P. . 
 
 . 295 
 
 271 
 
 Keene, Charles . . 
 
 . 296 
 
 273 
 
 Rylands, Harry . . 
 
 . 297 
 
 274 
 
 Spokes, Russell . . 
 
 . 298 
 
 275 
 
 Castle, Egerton . . 
 
 • 3 QI 
 
 277 
 
 Davies, F. Trehawke 
 
 . 304 
 
 279 
 
 Crosby Hall Library, The 309 
 
 280 
 
 Huth, Frederick Henr> 
 
 T . 3IO 
 
 28l 
 
 Sweetman, Elinor . 
 
 • 311 
 
 282 
 
 Vallance, Aymer. . 
 
 • 327 
 
 283 
 
 Wright, W. H. K. . 
 
 • 330 
 
 287 
 
 Brackett, W. H. . . 
 
 • 342 
 
^ Willi am Robinson 
 
ENGLISH BOOK-PLATES. 
 
 (ex libris.) 
 
 INTRODUCTION. 
 
 [HERE are still men of books (makers, 
 vendors, and buyers, I mean,) who 
 actually do not know the meaning of 
 the word book-plate, or of its jargon 
 equivalent, ex-libris. 
 
 " Did I possess a book-plate, as you call it," 
 writes one of the most distinguished men of letters 
 of the day, " it would be much at your service ; 
 but I am so far from being the owner of such a 
 thing that I do not know what it is, nor have I 
 ever heard of it." 
 
 More than once, when breaking new ground in 
 book-stall land, intent on discovering ancient and 
 cheap volumes still garnished with valuable but 
 possibly unconsidered ex-libris, have I been referred 
 by a not up-to-date and otherwise unsophisticated 
 bouquiniste to a box of miscellaneous illustrations 
 and engravings, labelled " this lot of plates, from 
 four pence." One particularly testy person of 
 that calling on one occasion even argued the point 
 and, in answer to my unreasonable insistence that 
 
 B 
 
2 English Book-plates. 
 
 such were not book-plates, in the ex-libris sense, 
 aired unexpected latinity : "they were plates," he 
 asseverated, " and they were out of books ; ergo 
 book-plates ex-libris " thus once more testifying 
 to the etymological inadequacy of the word book- 
 plate ; and in a way also, to that of ex-libris. 
 
 For the use of my friends and acquaintances, 
 whom of late I have taken to catechizing with 
 reference to their possession of a personal book- 
 plate, I have found it necessary to have a stereo- 
 typed phrase of explanation. 
 
 All this would tend to prove that notwith- 
 standing the increased interest lately shown for 
 " those charming personalities that we find affixed 
 within the covers of books by their owners " (to 
 use Mr. John Leighton's fond description), there 
 are still some men of books, as I said, (and women 
 also), who do not even know of their existence. 
 
 As this volume is not set forth for the use, nor 
 I fear for the delectation, of established collec- 
 tors (who no doubt, both in the general and the 
 particular, have a much more complete knowledge 
 of the matter than I can boast of), but rather for the 
 guidance of the average book-lover who may or 
 may not have heard that there are such things as 
 book-plates and that these are occasionally interest- 
 ing, it seems fit to define from the outset what is 
 an ex-libris, what a book-plate. 
 
 One of the first cares, as a rule, of the regular 
 book-buyer on returning home of an evening, the 
 
Introduction. 3 
 
 pleased possessor of a new volume, or yet after 
 sorting the parcel sent by his bibliopole, is to 
 affix on each recruit some special mark of owner- 
 ship before passing him to the rank and file of his 
 library. This branding may be done in many 
 ways, and for various reasons. 
 
 First, concerning the ways. — Many men simply 
 enter their names in ink or pencil on the fly 
 leaf, or more ruthless, on the actual title-page ; 
 or yet again, in school-boy fashion, on the edge. 
 Some have been known to stamp with monogram 
 or crest the verso of a book cover in wax or wafer, 
 scooping out an adequate hollow for the perpetra- 
 tion ; others, of very latter-day philistinism, accom- 
 plish a similar defacement of a fair volume by 
 means of a stencil or a rubber stamp and endors- 
 ing fluid. 
 
 A great number, however, with somewhat higher 
 notions of the neatness which befits a printed 
 volume, affix on their books a more or less orna- 
 mental name-ticket ; a certain misguided sub-section 
 of these latter utilise visiting cards for this purpose. 
 
 But your real book-lover goes some way beyond 
 these modest means of heralding ownership in his 
 silent yet eloquent, his ever-ready, instructive or 
 amusing, moral-teaching or vice-flattering slaves. 
 He considers that any volume worth preserving, 
 (in the book-pride sense) should have no adjunct 
 but such as can enhance its appearance, increase 
 its value. In his mind the master's badge must 
 be a thing of beauty, a token of satisfaction. This 
 is the man who devises, or causes others more 
 crafty than himself to devise for him, speaking 
 
4 English Book-plates. 
 
 labels, works of art, which to the world at large 
 will proclaim something of the owner's position or 
 personality, and in the owner himself will evoke a 
 recurring sense of self-congratulation. 
 
 Among the more wealthy or ardent bibliolaters, 
 a mere label, however artistic, is often not held a 
 sufficient token of love for their books ; their mark 
 of possession must form a still more integrate and 
 decorative part of the cherished tomes. Their 
 ex-libris must be embodied in the very ornamenta- 
 tion of a costly binding, must be tooled or stamped 
 on the cover itself. The study of these stcper- 
 libros — as such luxurious marks have been spe- 
 cially termed — is however a subject by itself. 1 
 
 Now, all tokens of ownership in books, whether 
 they be careless signature, or seal or stencil mark ; 
 whether they be modest printed name-labels, superb 
 heraldic plates, or allegorical compositions signed 
 by some ■ " little master," or yet again gorgeous 
 super-libros as above described, all these are known 
 in the modern bibliophile's jargon as ex-libris. 
 
 The accepted English equivalent is "book- 
 plate." It may be pointed out that the two 
 expressions are not really synonymous, for although 
 all book-plates proper enter into the category of 
 ex-libris, all ex-libris, as we have seen, are not 
 necessarily book-plates. But as, of all marks of 
 book possession, printed or engraved labels are 
 not only the most distinctive and numerous but 
 
 1 A subject which has been practically exhausted (as far as 
 French books are concerned) by Johannis Guigard, in his 
 "Armorial du Bibliophile," Paris, Bachelin Deflorenne, 1870-73, 
 4to. : with illustrations in the text. 
 
Introduction. 
 
 also, to a certain extent, the most interesting, it is 
 expedient to dismiss the autograph and the armorial 
 stamp on the binding as not belonging to the 
 present subject, and to consider the terms ex-libris 
 and book-plate as practically interchangeable. 
 
 Neither the Latin nor the vernacular expression 
 is satisfactory ; but they are both consecrated by 
 usage, and it is obvious that none of the terms 
 that have been suggested to replace them, such 
 as " owner-plate " or " book-label," are more ex- 
 plicit or more elegant. 
 
 The Latin words, ex-libris, are of international 
 use, and have been admitted as technical in 
 Larousse's " Grand Dictionnaire Universel du 
 XlXeme siecle : — 
 
 "Ex-libris, mots latins qui signifient litteVale- 
 ment : des livres, d'entre les livres, faisant partie 
 des livres, avec le nom du proprietaire. Ces mots 
 s'inscrivent ordinairement en tete de chaque 
 volume d'une bibliotheque, avec la signature du 
 proprietaire." 
 
 The definition is not very exact ; or, at least, it 
 is too general. 
 
 As to the word book-plate itself, it has been 
 until very lately ignored by English lexicographers. 
 Cassell's " Encyclopaedic Dictionary," 1888, was, I 
 believe, the first to notice it, and as follows : — 
 
 " Book-plate, a piece of paper stamped or en- 
 graved with a name or device and pasted in a book 
 to show the ownership." 
 
6 English Book-plates. 
 
 "The American Dictionary of Printing and 
 Book-Making" (Part iv., Jan. 1892) published by 
 Howard, Lockwood and Co., New York, takes a 
 little more trouble about the word : — 
 
 "Ex-libris — Book-plates; the ornamental de- 
 signs inserted on the inside of the cover of a book, 
 or upon one of the fly-leaves, to indicate possession. 
 They are usually something after the manner of 
 heraldry, but often with the name and residence 
 at full length. The use of book-plates is one of 
 the fashions of the present day, and is likely to 
 continue. Specimens occur in books printed as 
 early as 15 16, but in England, France, and 
 Germany they became very common in the last 
 century. Many eminent engravers were called 
 upon to execute this class of work, and among 
 the examples of that day still extant are a great 
 number which bear evidence of superior skill. In 
 America, owing to the rarity of engravers before 
 the year 1800, we have few ex-libris; but since 
 1840 they have been tolerably numerous. Several 
 books have lately been written upon this subject, 
 and long series of articles have been written for 
 the magazines upon it." 
 
 This explanation, although a trifle more explicit 
 than Larousse's notice, is hardly correct as to facts. 
 I give the two extracts to show that however un- 
 satisfactory as definitions, the two terms are now 
 recognized and must be adhered to. 
 
 The Latin expression, it is well to add, is dis- 
 tinctly foreign in origin, and rarely occurs on any 
 but comparatively modern English plates. 1 
 
 1 The earliest occurrence seems, according to Warren, to be 
 
Introduction. 7 
 
 With reference to the English name, the student 
 can only speculate on what such labels may have 
 been called in the early days of their existence. 
 As far as we know at present, the earliest approach 
 to the word book-plate is discoverable in the 
 " Diary of Mr. Samuel Pepys," who, on the 21st 
 
 BOOK-PLATE OF SAMUEL PEPYS. 
 1668. 
 
 day of July, 1668, made the following entry in his 
 book : — 
 
 " Went to my plate maker's and there spent an 
 
 on the book-plate of Richard Towneley, of Towneley, Lancashire, 
 dated 1702. The term never came into common use before 
 this century. 
 
8 English Book-plates. 
 
 hour about contriving my little plates for my books 
 of the King's four yards." 
 
 " David Loggan," says Mr. Hardy, in the intro- 
 ductory chapter of his work on book-plates, "a 
 German born, and an engraver of some note has, 
 in writing to Sir Thomas Isham in 1676, a no 
 more concise term for I sham's book-plate than 'a 
 print of your cote of arms.' Loggan, as a return 
 for many favours, had sent Sir Thomas a book- 
 plate designed and executed by himself. ' Sir,' he 
 says in the covering letter, ' I send you hier a 
 Print of your Cote of Armes. I have printed 200, 
 wich I will send with the plate by the next return, 
 and bege the favor of your keind excepttans of it 
 as a small Niew yaer's Gift or a aknowledgment 
 in part for all your favors. If anything in it be 
 amies, I shall be glade to mend it. I have taken 
 the Heralds painters derection in it ; it is very 
 much used among persons of Quality to past ther 
 Cotes of Armes befor ther bookes instade of 
 wreithing ther names.' " 
 
 I have thought it worth while to give the whole 
 quotation on account of the last sentence, which 
 records, as it were, in situ, the beginning of the 
 then fast-spreading fashion of armorial book- 
 plates. 
 
 In his " Anecdotes of Painting," and again in 
 his "Catalogue of Engravers" (177 1), Horace 
 Walpole approximates to the word book-plate ; 
 in the first he adverts to Hogarth's engraved 
 cypher label as " a plate he used for his book ; " 
 and in the second speaks of the allegoric design 
 engraved by George Vertue for Lady Henrietta 
 
Introduction. 9 
 
 Cavendish Holies, as "a plate to put in Lady 
 Oxford's books." 
 
 The first use of the actual word itself seems to 
 occur in John Ireland's " Hogarth Illustrated," the 
 first volume of which was published in 1.791. 
 Here the biographer gives it as his opinion that 
 " the works of Callot were probably his (Hogarth's) 
 first models, and shop-bills and book-plates his 
 first performances." Again, as Mr. Hardy points 
 out, in 1798 Ireland refers to the "book-plate" 
 for Lambert, the herald painter, which Hogarth 
 had executed. Bartolozzi, giving a receipt for the 
 book-plate he had engraved for the Countess of 
 Bessborough, called it a " name-ticket." But it is 
 just possible that the little engraving w T as originally 
 intended as a visiting card (see the chapter on 
 Allegoric Plates). 
 
 And now concerning the reasons for a custom 
 which may be said to be almost as old as the 
 printed book itself, and which is anything but on 
 the wane at the present time. — Books are not 
 consumable goods, but chattels intended to endure; 
 they are at all times invested with definite intrinsic 
 value, often with fanciful preciousness. But, to 
 fulfil their destiny, they must consort with many 
 people, and, during the inevitable changing of 
 hands, may easily lose their way back to the 
 rightful owner. This dread fate may overtake 
 them even without any intermeddling of the tra- 
 ditional malice prepense of book-borrowers, for, 
 after all, almost all books have numerous brethren 
 
io English Book-plates. 
 
 singularly like unto themselves. And, having 
 once lost their way, they might lightly find them- 
 selves established in new colonies, were it not for 
 the safeguard of some unmistakable mark of 
 ownership. 
 
 Thus it may be said that the primary object of 
 an ex-libris, is precautionary against loss, by 
 accident or through the negligence of borrowers ; 
 (whether a book-plate has ever fulfilled that pur- 
 pose is, however, an open question still). A second, 
 closely connected with the first, is to secure the 
 identification of a valued tome as part of a collec- 
 tion. A third and universal object of the book- 
 plate is, as I have said before, to gratify the sense 
 of possession by giving some kind of personal 
 character to chattels which in themselves are only 
 specimens of more or less copious batches, or (by 
 a curious, though intelligible reversal of the same 
 idea) by giving this character to a work which the 
 present owner believes to be almost unique of its 
 kind. 
 
 From this peculiar feeling, difficult to express, 
 but which can be recalled no doubt by all book- 
 lovers, this desire to invest books with some more 
 " personal " character, depends the custom notice- 
 able in so many ex-libris ancient and modern, of 
 dovetailing with the plain statement of ownership 
 some more or less original " sentiment," or some 
 bibliophilic motto which denotes a prevailing taste 
 or bias of thought in the owner. 
 
 Albeit the ex-libris, as a bibliognostic institution, 
 can thus be traced in its origin to an appreciation 
 of book property, it must be admitted that, on the 
 
Introduction. 1 1 
 
 other hand, many, perhaps the bulk, of the enor- 
 mous number of book-plates already known to the 
 collector undoubtedly owe their character to mere 
 fashion. This applies more particularly to the 
 legion of purely armorial plates. 
 
 For some three centuries it has been considered 
 M correct " to have a book-plate for use in the 
 library in very much the same fashion as it was, 
 and is, " correct " to have silver, and livery, and 
 note paper adorned with monogram, crest, or 
 escutcheon. It will be seen that, with the excep- 
 tion of a few persons of specially artistic, scholarly, 
 or otherwise original taste, fashion has, until com- 
 paratively latter days, had as undisputed an 
 influence on the composition and ornamentation 
 of people's ex-libris, as upon the shape of their 
 clothes or the decoration of their silver ware. 
 
 The question of fashion's sway upon the character 
 of book-plates, exemplified by the singularly de- 
 finite " styles " into which they can historically be 
 arranged, introduces a fresh consideration. What 
 are the heads of attractiveness discoverable in a 
 study of book-plates ? 
 
 These are of varied kinds. In the first place, 
 book-plates have a general interest covering 
 nearly four centuries ; they appeared in some 
 form or other almost as soon as printed books 
 began to be articles of commerce ; they may 
 therefore be studied from the antiquarian-historical 
 point of view. 
 
12 English Book-plates, 
 
 Again, insomuch as a great many of them are dis- 
 tinctly things of beauty in themselves, they may be 
 regarded with curiosity and pleasure by purely 
 aesthetic eyes. In a representative collection of 
 these tokens, the student of Art will be able to 
 trace, in an almost regular chain, the development 
 and changes in decorative fashion at various 
 periods ; the evolution of style in " Ornamentik." 
 Ever and anon, also, among the crowd of unsigned 
 specimens, or of specimens signed by names un- 
 known to fame, he may light upon the handiwork 
 of some little master : for in the past such men 
 as Albrecht Diirer and Jost Amman, Cipriani and 
 Bartolozzi, Boucher and Gravelot, Hogarth and 
 Bewick, George Vertue, and Sir Robert Strange, 
 thought the minuscule frame of a book-plate 
 not unworthy of their skill ; and their example 
 is happily imitated by a few modern artists of 
 standing. 
 
 The Herald and Genealogist will of course 
 recognize on book-plates the achievements and 
 the pride of connection, at different epochs, of 
 innumerable families of note, expressed in the 
 fashion of successive periods. Indeed many keen 
 ex-librists consider the heraldry of book-plates 
 quite their paramount interest. At any rate, from 
 its very essence, the ex-libris lends itself with 
 singular appropriateness to symbolism and allegory, 
 and is a fit subject of research and study to those 
 who take delight in such " conceits." 
 
 Furthermore, from the thickly pressing ranks of 
 armorial labels telling of wealthy and otherwise 
 excellent book-owners who, however, may be 
 
Introduction. 13 
 
 utterly unknown to Biography, there will occasion- 
 ally shine forth the book-plate of some famous 
 man or woman — long since dust. Here, then, is 
 a record ; for the ex-libris was personal ; no doubt 
 it was submitted to the owner for approval or 
 criticism before completion ; it was finally accepted, 
 possibly in many instances it was jealously affixed 
 by him, or her, on the covers of a library — 
 long since dispersed. And coming forward after 
 so many years, the book-plate may help to 
 impress on us the ultimate philosophy of Book- 
 pride, nunc mihi, mox aliis f 1 And if the book- 
 plate of a man of note in history or literature is 
 out of the common ruck, if it bear quaint mottoes 
 or cunningly devised allegories, if it show us 
 a " library interior" or a " book pile" displaying 
 the names of favourite authors, it remains as a 
 memorial (only known, be it noted, to the " ex- 
 librist") of his private tastes and aspirations. 
 
 Many specimens are either dated or signed by 
 recognizable hands, or both. Thus can the study 
 of a number of genuine examples often lead to the 
 discovery of certain criteria of style, based on 
 internal evidence, which can, after a time, be 
 applied to fix the origin of other work, unsigned 
 or undated. In such guise is the study of book- 
 plates distinctly profitable as well as attractive in 
 itself. The would-be " Kernoozer" in matters of 
 virtu can make it a peg upon which to hang much 
 and valuable bye-knowledge. 
 
 It might finally be urged that an understanding 
 
 1 The motto characteristically chosen by Mr. A. W. Franks 
 (our premier collector of ex-libris), for his own book-plate. 
 
14 English Book-plates. 
 
 of book-plates is a branch of general bibliology. 
 The book-plate appertains to books and bookmen, 
 both in the past and the present ; it is therefore 
 worthy of investigation. After all, to use Warren's 
 apt phrase, the " ex-librist is but a humbler class 
 of bibliophile." 
 
 The historical interest does not, of course, 
 appertain to quite modern plates except in the 
 case of late examples completing a long list of 
 family ex-libris. I do not, however, share the 
 contempt expressly or tacitly shown for con- 
 temporary book-plates by almost every writer on 
 this subject ; if such devices do not reflect, after 
 the manner of more venerable specimens, the lead- 
 ing fashions or the ruling affectations of their age, 
 their very freedom from conventionality affords 
 scope for more original treatment, for compositions 
 in many cases highly interesting and which will no 
 doubt be peculiarly so to the ex-librist of advancing 
 centuries. 
 
 In fine, whatever may be the general opinion con- 
 cerning the amount and the special nature of the 
 interest discoverable in book-plates, it is a matter 
 of fact that they are and have been for many years 
 considered worthy of study by men of recognized 
 culture ; the taste, however, for collecting ex- 
 libris is of comparatively modern growth. 1 
 
 They were considered worthy of an essay in 
 
 1 In the appendix will be found a condensed Bibliographic 
 account of what has been written in England on the subject of 
 Book-plates. For a Bibliography, arranged in chronological 
 order, see the series of articles contributed by Messrs. H. W. 
 Fincham and James Roberts Brown to the "Ex-Libris Journal" 
 
Introduction. 15 
 
 the " Gentleman's Magazine," as early as 1822, and 
 they frequently crop up in the pages of " Notes and 
 Queries," " Miscellanea Genealogica et Heraldica," 
 " The Antiquary," and other periodicals specially 
 devoted to antiquarian and book-lore. 
 
 In the year 1837, a certain Rev. Daniel Parsons 
 published an article on this subject in the third 
 annual report of the Oxford University Archaeo- 
 logical and Heraldic Society, and at a later date, in 
 " Notes and Queries," (1st Series, iii. 495), he 
 announced his intention to write a " History of 
 Book-plates." This, unfortunately, he did not 
 live to publish. 
 
 So far English writers seem to have been the first 
 in the field of ex-libris. But it was reserved for 
 the French, ever most keen in every matter of 
 Bibliographic interest, to produce the first two 
 actual books on the subject. One is the " Armorial 
 du Bibliophile," above mentioned, 1 dealing with 
 super-libros, the other " Les Ex-libris Francais, 
 depuis leur originejusqu a nos jours," by M. Poulet- 
 Malassis, published in 1875, which does the same 
 office practically, but with lesser wealth of illustra- 
 tion, for French book-plates proper. 
 
 What M. Poulet-Malassis, with national exclu- 
 siveness, had done for French ex-libris, Mr. 
 
 (vol. i. parts 6, 7, and 8, Dec. '91 — Feb. '92), published by A. & 
 C. Black, London, Soho Square. This useful woik has been 
 reprinted, but only for private circulation. 
 
 1 See p. 4. M. Guigard has since then issued a " Nouvel 
 Armorial du Bibliophile, Guide de l'Amateur des Livres 
 Armories, contenant la reduction de 2,500 Armoiries et riches 
 reliures armoriees. Paris, 2 vols., Emile Rondeau, 1890. 
 
1 6 English Book-plates. 
 
 Leicester Warren (now Lord de Tabley), under- 
 took a few years later, with greater breadth of 
 knowledge and appreciation, for ex-libris at large. 
 His work, 1 with its pleasantly set forth, dis- 
 criminating survey of the whole subject, was of 
 course hailed with delight by English collectors. 
 From the first it took its place as an accepted and 
 trustworthy book of reference. 
 
 Haurit aquam cribris qui vult sine discere lidris, 
 is the motto selected by the author for this fascinating 
 manual, 2 one without which it were indeed as futile 
 as ''drawing water in sieves," to hope for real 
 proficiency in ex-libris lore. " Warren's Guide" 
 in fact is, as Mr. Rylands appropriately puts it, 
 " to the lover of ex-libris such a companion as 
 Walton and Cotton's ' Complete Angler' is to the 
 contemplative fisherman." 
 
 Warren — to use the popular way of adverting 
 to one whose work has long been acknowledged — 
 will remain princeps among writers on the present 
 subject, were it only for the one fact, that he was 
 the first to classify book-plates in " styles" from 
 which their age can be deducted, and thus to lay 
 the foundation of an intelligible nomenclature. 
 For there is little doubt that, whatever criticisms 
 may be passed on such terms as " Jacobean," 
 " Chippendale," and others patented in " The 
 Guide," they are now accepted and destined to 
 
 1 " A Guide to the Study of Book-plates," (ex-libris), by the 
 Hon. J. Leicester Warren, M.A. 8vo. London, John Pearson, 
 46, Pall Mall, 1880. 
 
 2 Culled from the ex-libris, dated 1697, of a certain old 
 Austrian lawyer, J. Seyringer. 
 
Introduction, 
 
 17 
 
 endure by convention ; they were found useful 
 at a time when none better were brought forward, 
 and by this time all English collectors know pre- 
 cisely what, rightly or otherwise, these words are 
 meant to describe. All the terms, moreover, of 
 subsequently devised classifications have remained 
 based on his general scheme. 
 
 A special feature in Warren's book is the series 
 of lists, carefully and almost exhaustively compiled 
 by the author himself, of English and Foreign 
 book-plate engravers. These lists are to a cer- 
 tain extent supplemented by a very precious pam- 
 phlet, printed in 1887 by Mr. A. W. Franks, of 
 the British Museum (now President of the Society 
 of Antiquaries) for private distribution, under the 
 name " Notes in Book-plates. No. 1, English 
 Dated Book-plates, 1 574-1800." 
 
 " Warren's Guide " is now unfortunately out of 
 print, and has already become a prize to the book- 
 hunter. Speedy exhaustion, it may be remarked, 
 is a fate which has hitherto overtaken the few 
 English works on Ex-libris, (and therein may per- 
 haps be found sufficient justification for the pre- 
 sent volume) ; it is now even more difficult to dis- 
 cover a copy for sale of Mr. Griggs' " Examples " 
 or of Mr. Rylands' " Notes." 
 
 The first of these, " Eighty-three Examples of 
 Armorial Book-plates from various Collections," 
 privately printed and issued (only to the extent 
 of sixty copies) by Mr. W. Griggs in 1887, albeit 
 only an annotated Album of facsimiles, formed a 
 most valuable adjunct to " Warren's Guide," which 
 was no doubt insufficiently illustrated. It is a 
 
 c 
 
1 8 English Book-plates. 
 
 very excellent reproduction of rare plates, ranging 
 in date from 1574 to the first years of this century, 
 marked preference being given to very early speci- 
 mens. 1 
 
 The second, under a very unassuming title, and 
 notwithstanding its modest proportions, ranks next 
 only to Warren's work. These " Notes on Book- 
 plates (ex-libris), with special reference to Lanca- 
 shire and Cheshire Examples, and a proposed 
 Nomenclature for the Shapes of Shields," by J. 
 Paul Rylands, F.S.A., were likewise privately 
 printed at Liverpool in 1889; they were repro- 
 duced the following year among the " Transac- 
 tions of the Historic Society of Lancashire and 
 Cheshire." 
 
 While selecting his examples more particularly 
 from the Counties Palatine, Mr. Rylands makes 
 his monograph deal with English ex-libris gene- 
 rally, and follows with great discrimination the 
 development of the various national styles. The 
 work is of course based on Warren's foundations ; 
 but, as might be expected after the lapse of many 
 years not wasted for the study of book-plates, it 
 shows a certain advance in systematic classifica- 
 tion. 2 
 
 Three more volumes, of great interest to ex- 
 librists, have appeared since the publication of Mr. 
 
 1 A Second Series of " Examples of Armorial Book-plates " 
 has lately been published by Mr. Griggs, 1891-92 (see Biblio- 
 graphy Appendix). 
 
 2 Since the publication of the first edition of the present 
 work, Mr. W. J. Hardy, F.S.A., has added to Messrs. Kegan 
 Paul and Co.'s excellent series of " Books about Books," a 
 most interesting volume on " Book-plates." 
 
Introduction. 19 
 
 Rylands' " Notes," but as they treat mainly of 
 foreign plates, I need only mention them here/^r 
 mdmoire. 
 
 The "Svenska Bibliotek och ex-libris auteck- 
 ningar med 84 illustrationer," by M. C. M. Car- 
 lander (Stockholm, Adolf Johnson, 8vo., 1889). 
 
 Herr F. Warnecke's " Die Deutschen Biicher- 
 zeichen (ex-libris), von ihren Ursprunge bis zur 
 Gegenwart," containing 21 illustrations in the text, 
 and 20 plates (Berlin), T. V. Stargardt, 8vo., 1890. 
 A most admirable work. 
 
 M. Henri Bouchot's " Les Ex-libris et les 
 marques de possession du livre," with 15 plates 
 (Paris, E. Rouveyre, 8vo., 1891). M. Bouchot, a 
 leading authority on bibliognostic matters, has 
 taken the trouble to write this essay in a brilliant 
 style — apparently, however, for the definite pur- 
 pose of disparaging the interest of ancient book- 
 plates. 
 
 The appearance of Warren's book undoubtedly 
 gave a general impetus to the study of book-plates. 
 Since then a good deal of learned disputation on 
 the subject of these minor works of art has had 
 ephemeral publicity in newspapers and periodicals, 
 only to remain all buried in the great Necropolis 
 of Back Numbers. Many such valuable contribu- 
 tions by learned specialists, however, such as Mr. 
 W. J. Hardy, Mr. Walter Hamilton, Mr. John 
 Leighton, Mr. Robert Day, Mr. W. H. K. Wright 
 in this country, and Mr. Lawrence Hutton, and 
 Mr. R. C. Lichtenstein, the two best-known autho- 
 
20 English Book-plates. 
 
 rities in America, have happily been (or are being) 
 resurrected and collected, so as to make them 
 accessible to the Student, in what has become the 
 recognized organ of English book-plate collectors, 
 the " Journal of the Ex-Libris Society." 
 
 The history of this very flourishing Association, 
 (already counting some three hundred members, 
 among whom many of the best "authorities" known, 
 not only in this country, but also in America and 
 on the Continent), is briefly this : — 
 
 " The scheme," to use the Hon. Secretary's own 
 wording, " originated with a few ardent collectors 
 who convened a meeting in London on February 
 the ioth, 1 89 1, the initiatory steps being taken by 
 the present honorary secretary of the Society. 1 
 
 " The chair was taken by Mr. J. R. Brown, who 
 was supported by Mr. John Leighton, F.S.A., 
 Mr. Walter Hamilton, F.R.H.S., Mr. C. W. Sher- 
 born, Mr. W. C. Jackson, Mr. H. W. Fincham, 
 Mr. J. F. Meehan, Mr. Harry Soane, Mr. James 
 Tregaskis, and others." 
 
 In this sitting, the constitution of the Society 
 was settled. At a subsequent gathering, Mr. John 
 Leighton was elected Chairman of the Council, 
 Mr. Walter Hamilton, Treasurer, Mr. W. H. K. 
 Wright (of the Public Library, Plymouth), Hono- 
 rary Secretary, as well as general editor of the 
 contemplated Journal. At a later meeting, Mr. 
 Arthur Jewers, F.S.A., was appointed Heraldic 
 Assistant Editor, and within a month of the final 
 
 1 Mr. W. H. K. Wright, F.R.H.S., Borough Librarian, Ply- 
 mouth. 
 
Introduction. 21 
 
 constitution of the Society the first number of the 
 Journal appeared, and met with a success which 
 has never failed it since. 
 
 It is meet, however, to state that a modest look- 
 ing forerunner of the " Ex-Libris Journal," contain- 
 ing a great quantity of interesting information, was 
 at that time in existence, being then in fact more 
 than a year old. But its origin was provincial, and 
 its publication, therefore, was not generally known. 
 It was started as a monthly supplement to the 
 " Western Antiquary," under the style of " The 
 Book-plate Collector's Miscellany," and edited 
 by Mr. Wright. Its last number was issued 
 simultaneously with the first Part of the " Ex- 
 Libris Journal," which, it should be stated, 
 during the period of its infancy undoubtedly 
 derived much nourishment from the defunct parent 
 publication. . 
 
 " The Book-plate Collector's Miscellany " is now 
 unobtainable, and the original numbers may in 
 time, when "early book-plate literature" has be- 
 come an antiquarian subject, come to be quoted at 
 preposterous prices. 
 
 One of the latest works published on the subject 
 of ex-libris, is a learned monograph by Mr. Walter 
 Hamilton, "French Book-plates (Ex-Libris)," by 
 Walter Hamilton, F.R.G.S., F.R.H.S., London, 
 George Bell and Sons, 1892, imp. i6mo., with about 
 100 illustrations. This is distinctly the work of a 
 specialist, addressed to specialists, and as far as 
 copiousness and accuracy of information go, is 
 more complete than either that of Bouchot or 
 Poulet-Malassis. 
 
22 English Book-plates. 
 
 A " Hand-book on American Book-plates" is 
 announced as forthcoming from the pen of Mr. 
 Charles Dexter Allen, of Hartford, Conn. ; also a 
 selection of Irish book-plates from the late Sir 
 Bernard Burke's collection to be published by his 
 son. 
 
 Hand-books on Italian, Spanish, and Nether- 
 landish book-plates are still, presumably, in the 
 lap of the gods. 
 
 The plan of the present work is not ambitious ; 
 I have no pretension to lecture upon what so 
 many keen collectors glowingly term the " science " 
 of ex-libris ; in fact I cannot, with my best imagina- 
 tive effort, discover where science comes in in the 
 present subject. As I have stated in the preface, 
 my purpose is simply to give the reader a general 
 idea of the history of the Book-plate, as a mark of 
 possession, in England, with reference especially 
 to the relation of the various " styles " with each 
 other, and to their various " classes " of composi- 
 tion ; to support this by disquisitions on such 
 cognate topics as may be of interest to any one 
 proposing to investigate the subject further by 
 himself, and to complete my account of the subject 
 by means of chosen examples displaying the ten- 
 dency of modern taste in the matter of book- 
 tokens. 
 
 The question of foreign ex-libris will therefore 
 only be touched upon in so far as it may introduce 
 that of English plates, or as foreign influence 
 affected English fashions. 
 
 I have found it necessary to divide the subject 
 
Introduction. 
 
 23 
 
 somewhat more minutely than has hitherto been 
 generally done, and to draw a distinction between 
 " styles" and "classes." Neither of these terms, 
 I am aware, are really apt, but I have not been 
 able to excogitate anything better; the former, 
 moreover, is already fixed by prescription. 
 
 By " style " we are to understand style of orna- 
 mentation, which, in book-plates, is very generally 
 found to reproduce (somewhat in arrear as to time) 
 the prevailing taste for decoration in such things as 
 manuscript or typographic illuminations, architec- 
 tural details, and furniture, dress, gold- and silver- 
 smith's work, and so forth. 
 
 By means of " classes " we can discriminate 
 between the different modes of composition, such 
 as " Library Interiors," "Allegories," " Landscapes," 
 or pure ° Genre," applied to book-plates. 
 
 The arbitrary classification of ex-libris in 
 "styles" is convenient (although necessarily not 
 accurate, considering that styles overlapped each 
 other at most periods,) and is happily more 
 practical in the case of English than of foreign 
 examples. 
 
 The number of " classes " must be restricted, and 
 cannot of course be made to admit all known 
 varieties with anything like precision ; (one might 
 almost be tempted to erect one especially as a 
 home for the "Sports" that are so numerous in 
 large collections) ; but it will be found that, until the 
 first quarter of this century at least, the regular 
 " classes," enumerated further on, are tolerably 
 adequate for purposes of description. Up to that 
 time both " styles " and " classes " may be held to 
 
24 English Book-plates. 
 
 have some kind of chronological meaning — a very 
 important quality. 
 
 The nomenclature I propose (in answer to re- 
 peated requests piteously expressed by ex-librists 
 for a revision of technical terms) is based on that 
 of Warren, as expanded by Rylands, but modified 
 and with alternative expressions which may perhaps 
 be found acceptable and may help to bring English 
 classification chronologically in line with that of 
 the Continent. 
 
 Heraldry has always been and (fiaceM. Bouchot 
 and his sarcasms on the modern use of blazon) 
 should rightly be an important feature on a book- 
 plate. M. Bouchot, with characteristically national 
 inability to understand anything essentially English, 
 does not realize that family traditions in this country 
 have been preserved where, under similar social 
 conditions, they have been in most cases irretriev- 
 ably lost in his own. From its very essence coat 
 armour must ever be the most speaking personal 
 symbol. As a matter of fact a number of plates, 
 both ancient and modern, display nought but 
 armorial bearings; and indeed there was a time 
 when, as a mark of proprietorship, such a display 
 fulfilled its purpose better than any printed state- 
 ment could have done. 
 
 It would, however, perhaps be assuming a little 
 too much to reckon nowadays on unassisted blazon 
 as an unmistakable, indisputable token of owner- 
 ship. And, even in theory, it is a chief drawback to 
 this noble simplicity that marks of cadency not 
 
Introduction. 25 
 
 being really practical ad infinitum, a purely heraldic 
 plate, without a more special inscription, could 
 scarcely in the majority of cases be sufficiently 
 personal. 
 
 The greater number of ex-libris, previous to 
 the present half-century, being distinctly heraldic 
 in character, it seems fit therefore to consider 
 first : Armorial Plates, that is, plates in which 
 the owner's armorial bearings are the features 
 paramount. These can be best classified with 
 reference to the manner in which the escutcheon 
 is set forth and to the style of its ornamental 
 surroundings. 
 
 Armorial Plates. 
 
 Group I. Early Armorial (sixteenth and 
 seventeenth centuries). 
 
 Group II. Georgian (eighteenth century). 
 
 Group III. Modern Armorial (nineteenth 
 century). 
 
 The Early Armorial group may conveniently 
 be sub-divided into three styles : — 
 
 Tudoresque, covering the sixteenth and the early 
 seventeenth centuries. 
 
 Carolian, ranging from about 1625 to the Resto- 
 ration. 
 
 Restoration, during the last four Stuart reigns. 
 
 The Georgian group includes the three styles 
 
26 English Book-plates. 
 
 discriminated by Warren as Jacobean, Chippen- 
 dale, and Festoon, and can historically be divided 
 into Early Georgian, Middle Georgian, Later 
 Georgian. 
 
 Early Georgian : (Jacobean) or " Grinling Gib- 
 bons," ranging mainly from the first years to the 
 middle of the century. 
 
 Middle Geoi'glan : Rococo (Chippendale). 
 
 Later Georgian: " Urn," " Wreath and Ribbon," 
 (Festoon), "Adams." 
 
 In the group, Modern Armorial, I place all 
 purely heraldic plates of this century ; they can 
 hardly be classified otherwise than by reference 
 to the shield forms. 
 
 The leading characteristics of these " styles " will 
 be separately noticed under their proper headings. 
 It will be remarked that, chronologically, they all 
 more or less overlap each other ; there is no really 
 hard and fast line of demarcation between them, 
 and it was of course always open to engravers to 
 hark back to older-fashioned designs. But still 
 these styles correspond tolerably to the successive 
 decorative fashions that prevailed most popularly 
 during the periods mentioned. As a matter of 
 fact, " Archaic " tastes in decoration are quite of 
 modern growth ; book-plate engravers of old 
 almost invariably followed the prevalent man- 
 nerism in ornamentation of their own days. It is 
 possible to fix approximately the date when a 
 definite fashion came in for decoration, but not 
 when it went out ; for no style that has had any 
 
Introduction. 27 
 
 general vogue, can be said to have been abandoned 
 altogether at any particular time. 
 
 Many book-plates display, besides the owner's 
 arms, other features more or less conventional or 
 realistic, symbolical or merely picturesque; many 
 again dispense with heraldry altogether. These I 
 shall call Pictorial. 
 
 The various " classes " into which Pictorial 
 Plates may be grouped are too eclectic to admit 
 of any satisfactory chronological arrangement. 
 Many, however, were decidedly more popular at 
 certain definite periods than at others, and the 
 following classification may be said to be con- 
 catenated to a certain extent. 
 
 " Book-piles." 
 
 " Library Interiors." 
 
 " Portraits." 
 
 " Allegories." 
 
 " Landscapes," or " Vignettes." 
 
 " Symbolic," or " Emblematic." 
 
 " Seals." 
 
 " Printer's Marks." 
 
 " Genre." 
 
 " Adaptations." 
 
 All these classes, excepting perhaps the Land- 
 scape, which is hardly known earlier than the last 
 quarter of the last century, and the pure Genre, 
 which is essentially modern, are found in every 
 
28 English Book-plates. 
 
 age of the book-plates. The greater number of 
 these make a show of heraldry in some form or 
 another, and many are enhanced by bibliophilic 
 mottoes or personal " sentiments." 
 
 Into classes by themselves must be ranged 
 modern non-heraldic pictorial plates, and also 
 printed or engraved, non-heraldic and non-pictorial 
 labels bearing the owner's name, with or without 
 book-loving phrases and admonitions (amiable or 
 the reverse) to book-borrowers. Such labels are 
 also found at all periods ; indeed, some of the very 
 oldest ex-libris known belong to that category. 
 
 Before beginning to anatomize the English book- 
 plate more particularly, that is, to describe the 
 leading characteristics of each of the so-called 
 " styles" and " classes," and their mutual relations, 
 it will be necessary to briefly recall the early history 
 of book-plates on the Continent ; for, as far as our 
 present knowledge enables us to see, these personal 
 tokens did not become common in England until 
 long after their regular establishment in foreign 
 libraries. 
 
 The hypothesis that what is now meant, broadly 
 speaking, by an ex-libris is as old as the book 
 itself would perhaps not be too bold a one to 
 advance ; we may well imagine that whenever a 
 collection of such valuable chattels as Books was 
 brought together, some definite mark of possession 
 was affixed to them. Concerning Egyptian, Greek 
 and Roman libraries, however, no information of 
 
Introduction. 
 
 29 
 
 the kind is obtainable nor likely to be brought 
 forward. 
 
 Those more immediate predecessors, however, 
 of the modern, that is the printed Book, the 
 
 MiJ^mri^tX 
 
 6utan\ft(>Uu>iUnoXfco/ 
 m>c*cl>cxxwn* 
 
 BOOK-PLATE OF MR. H. W. FINCHAM. 
 
 Adapted from an illuminated initial letter in a 14th century missal. 1 
 
 laborious productions of the mediaeval monastic 
 scriptoria embodied in the character of their illu- 
 
 1 The crest, introduced in the cusped top corner of the 
 letter is unfortunately of very modern appearance owing to 
 
30 English Book-plates. 
 
 mination every mark necessary to declare their 
 identity, and by implication the name of their 
 rightful owners. It might even be said that im- 
 portant manuscript books of later date in history, 
 especially the gorgeous works of the fourteenth 
 and fifteenth centuries, bore a formal " ex-libris" 
 on almost every sheet. There, illuminated heraldic 
 devices, ornamented initials and other personal 
 emblems proclaimed with ever- recurrent pomp the 
 owner's family name. 
 
 When the invention of movable type had, far and 
 wide, revolutionized the physical nature of books 
 and the character of their ornamentation, the pride 
 of ownership had to assert itself in a different 
 manner. From this necessity were born those 
 special adventitious tokens which it is now agreed 
 to call ex-libris. 
 
 " Libraries," says M. Bouchot, 1 in one of the 
 happiest pages of his work, "were not then, as 
 now, formed of superposed shelves where books 
 stood upright so as to display their backs only. 
 Round the walls, as a rule, were arranged long 
 desks, whereon the volumes lay flat, showing the 
 side of the binding. The idea of decorating this ex- 
 posed part with special magnificence seems to have 
 occurred to the Italians very early. From them 
 it passed to the French, who in a short time 
 asserted themselves as masters in that style. The 
 substitution of personal arms and mottoes and 
 
 the conventional wreath of latter-day heraldic draughtsmen. 
 The words are the "doggerel version of two monkish latin 
 hexameters" quoted by Coleridge in the preface to "Christabel." 
 1 " Lex Ex-Libris et les marques de possession du Livre," 
 (see Biblio). 
 
Introduction. 31 
 
 monograms to foliage and flowers, and all the 
 commonplace artistic economy of primitive bind- 
 ing, was effected within a very brief period. From 
 the inside the symbol of ownership passed to the 
 outside and assumed a recognized status. 
 
 " Conceived in such a spirit the ex-libris was an 
 unlooked-for good fortune ; it helped to foster an 
 inimitable art in which men such as Geoffroy Tory 
 and Roffett tried their power, an art which found 
 connoisseurs such as Grolier and Francis I. in 
 France, and Maioli in Italy, ready to appreciate 
 and promote it. 
 
 " Everything that could enhance their work was 
 drawn upon by these artists. They interlaced 
 cunning strap patterns with the title of the book 
 and the name of the owner, combined these with 
 his badges and mottoes ; in fact they ' realized the 
 ideal ' of a perfect fanciful decoration, at the same 
 time asserting with precision the owner's rights." 
 
 To such aristocratic conceptions of possessive 
 marks does M. Bouchot attribute the compara- 
 tively late appearance in France of the book-plate 
 proper, which in the birth-land of printing arts had 
 come into existence almost as soon as books began 
 to be freely disseminated. 
 
 " In Germany," asseverates the French expert, 
 (under the pulse, no doubt, of merely bibliophilic 
 antipathy), " where the binding art was tram- 
 melled by a ponderous, ungraceful taste, utterly 
 commonplace and lacking in personality, the want 
 was early felt of some internal mark of proprietor- 
 ship. Reasons of economy pure and simple pro- 
 moted the invention of the German ex-libris." 
 
32 English Book-plates. 
 
 This was possibly one of the causes at work ; 
 but it might with perhaps better reason be sug- 
 gested that book-buying (and therefore book- 
 collecting) was earlier and more generally practised 
 in the country where the earliest and most nume- 
 rous printers were at work ; and that therefore the 
 advantages of a practical and not too ruinous mark 
 of possession were sooner realized in Germany 
 than elsewhere. For, after all, magnificent biblio- 
 philes of the Grolier and Maioli type can hardly 
 be held out as representative of the community of 
 book buyers even in their respective countries. 
 
 Be all this as it may, the book-plate, as we 
 understand it now, — that is the label, printed or 
 engraved, heraldic or otherwise, intended to pro- 
 claim the ownership of a book when affixed to 
 its board or fly leaf — undoubtedly made its first 
 appearance in Germany. 
 
 " The oldest ex-libris of this kind known," writes 
 Herr Warnecke, 1 "is that of one Johannes Kna- 
 bensperg, alias Jgler. Its date, on various conside- 
 rations, has been fixed at about 1450. It is a 
 rough woodcut showing a hedgehog engaged in 
 disporting itself with a flower in its mouth, among 
 strewn leaves. Above the picture is the punning 
 note of warning to would-be borrowers, Hans Jgler 
 das dick ein J gel kuss." 
 
 According to the same authority, the oldest 
 ex-libris actually connected with a printed book, 
 is a small woodcut dating from 1480 or there- 
 abouts. It shows an angel bearing a shield, 
 
 1 " Die Deutschen Biicherzeichen " (see Bibliography). 
 
Introduction. 
 
 33 
 
 (azure charged with an ox argent, ringed sable). 
 Whether this was actually designed as a book- 
 plate, may be an open question ; but that it was 
 used as such (or at least as a " gift-plate," which 
 is the same thing in essence) is proved by a 
 manuscript inscription in Latin recording that 
 Brother Hildebrand Brandenburg of Biberach had 
 
 GIFT-PLATE OF HILDEBRAND BRANDENBURG OF BIBERACH 
 TO THE MONASTERY OF BUXHEIM. Circa 1480. 
 
 presented the books in which this plate is found to 
 the Carthusian Monastery at Buxheim. 
 
 Curiously enough, some of the earliest known 
 examples in England are also gift-plates. It is 
 quite allowable to suppose that the desire of 
 establishing a record of a donor's generosity in the 
 
 D 
 
34 English Book-plates. 
 
 books themselves, may have been one of the most 
 active factors in the evolution of the label ex-libris. 
 
 By the beginning of the sixteenth century, the 
 German book-plate seems to have attained a 
 singularly complete development ; to have, in fact, 
 become already fully accoutred to meet all the re- 
 quirements, artistic and practical, of a good mark of 
 possession. 
 
 There can be no doubt, for instance, about the 
 purpose of the two early plates of this kind 
 which experts have attributed to Albert Dtirer. 
 They are book-plates, explicitly ; they can be 
 nothing else. Both of these are worthy of careful 
 study, especially the larger of the two, likewise 
 the earliest, which was designed by Dtirer for his 
 friend Bilibald Pirckheimer, the Nuremberg jurist. 
 
 This woodcut (to which Herr Warnecke ascribes 
 the date 1503) combines almost all the conven- 
 tional elements of ex-libris composition into one 
 effective picture. It is boldly Armorial, and even 
 without the legend, Liber Bilibaldi Pirckheimer, 
 would proclaim the owner's name at a glance. It 
 is ornamented in a style typical of the age and 
 country. Its pleasing appearance is heightened 
 by an amiable motto : Sibi et Amicis, and by an 
 unimpeachable " sentiment " (repeated in Hebrew, 
 Greek, and Latin, for Bilibald was a scholar of the 
 first class) to the effect that, The fear of the Lord 
 is the beginning of Wisdom} 
 
 1 Diirer also engraved a likeness of Pirckheimer which (we 
 have it on the authority of Mr. Wheatley), was also used as a 
 book-plate. This is an interesting example of the "portrait" 
 class. 
 
Introduction. 
 
 35 
 
 The second, which bears the inscription, Liber 
 Hieronymi Ebner, whilst less eloquent in treat- 
 ment, is of special interest as being the first dated 
 ex-libris on record, 15 16. Both these designs 
 
 Try Sa a^TtH " 
 
 FANTA KA0APA "1012 KA0APOIX'* 
 OMNIA MVN DA MVND15 
 D.IUCTOR POMER PRtFCft & LAVR« 
 
 BOOK-PLATE OF HECTOR PuMER, LAST PRIOR OF 
 ST. LAWRENCE, NUREMBERG. 
 
 Designed by Albert Diirer, engraved by R. A., 1521. 1 
 
 1 For the loan of this plate, which is reduced from the 
 original, about four times the size of this page, I am indebted 
 to the courtesy of Mr. Elliot Stock, publisher of "The 
 Antiquary," in which it originally appeared. 
 
36 English Book-plates. 
 
 having already been reproduced in standard works, 1 
 I have selected as a model of early sixteenth- 
 century book ownership device, the plate designed 
 by Durer for Doctor Hector Pomer (last Prior 
 of St. Lawrence in Nuremberg) engraved on 
 wood by one R. A., in 1521. 
 
 The learned repetition in Greek, Hebrew, and 
 Latin of St. Paul's maxim : to the pure all things 
 are pure, is worthy of notice ; it recalls at once the 
 composition of the Pirckheimer ex-libris. This is 
 the oldest specimen known which is both dated 
 and signed. 
 
 Durer is supposed to have designed at least 
 some twenty book-plates. He most decidedly set 
 a definite fashion in the composition of these 
 tokens, one that has had a lasting influence. Nor 
 was he singular in his estimation of an ex-libris as 
 a fit subject for the artists graver. Holbein did 
 not disdain it altogether ; Lucas Cranach, Hans 
 Sebald Beham, Virgil Solis, Jost Amman, and 
 many other " little masters " have left their 
 marks on numerous authenticated book-plates, 
 and in this department have firmly established 
 that " old German style," curvetting yet heavy, 
 at times overcharged, but always magnificently 
 heraldic, which is felt in German work to this 
 day. 
 
 It seems now clearly established that the use 
 of ex-libris was already adopted almost every- 
 where by German book-collectors before it found 
 
 1 The first appears as a frontispiece in Warren's " Guide"; 
 the second occurs among M. Bouchot's illustrations j both 
 are given in Herr Warnecke's work (see Bibliography). 
 
Introduction. 
 
 37 
 
 its way to any perceptible extent in other coun- 
 tries. 
 
 In France, for instance, the first indubitable 
 book-label of this kind that has yet been discovered 
 dates from 1 574. And this is but a modest printed 
 ticket, bearing in conjunction with a personal "sen- 
 timent" the name of Charles d'Alboise d'Autun. 
 " Ex bibliotheca Car It Albosii Eduensis. 
 Ex labore quies. 1574." 1 
 
 THE MARK (REDUCED) OF RICHARD PINSON, 
 
 Naturalized in this country in 1493. Appointed King's Printer in 
 1503, died about 1529. 
 
 In spite of his contempt for this German inven- 
 tion " these little rags of paper, so easy to displace 
 
 1 This date, it is curious to notice, is also that of the oldest 
 dated English example at present known. No doubt, however, 
 there have been earlier English book-plates, which may be 
 brought to light in due course of time. 
 
38 
 
 English Book-plates. 
 
 and replace," 1 M. Bouchot feels bound to record 
 that, in France, a goodly number of very fine 
 heraldic plates, known to belong to the sixteenth 
 century, and the existence of which never has 
 been quite clearly accounted for, may have really 
 been designed as ex-libris. This is a very likely 
 hypothesis which may some day be borne out. 
 
 THE MARK OF RICHARD FAWKES. 
 Circa 1521. 
 
 Italy, it would appear, did not take kindly to 
 the book-plate before the seventeenth century. 
 
 1 It ought to be pointed out that a great number of early 
 German book-plates, besides being the work of great artists, 
 are of noble proportions, having been devised for the broad 
 boards of folios and quartos. 
 
Introduction. 
 
 39 
 
 As for poor Inquisition-ridden Spain, notwith- 
 standing her close German connections, she never 
 had much chance of developing a national curio- 
 sity for literary and typographical matters. At 
 any rate the subject of Spanish ex-libris is still 
 fallow. 
 
 With reference to the early history of book- 
 
 THE MARK OF JOHN SCOTT, 
 
 Printer, whose work ranges from 1521 to 1537. 
 
 plates, it must again be remarked that almost from 
 the first they seem to have been singularly perfect 
 and definite. M. Bouchot fancies he sees the 
 prototype of the French Armorial book-plate in 
 the heraldic illuminations of the " dloges mor- 
 tuaires," an institution which was in vogue during 
 the latter part of the sixteenth century. These 
 
40 English Book-plates. 
 
 mortuary panegyrics of great men (that is, men of 
 rank) came into very general fashion just before 
 the time when the French heraldic book-plates are 
 observed to have made their first appearance. 
 The connection very likely existed ; at any rate, 
 M. Bouchot's hypothesis is but in accordance with 
 the noticeable fact that at any definite period 
 heraldic composition remains the same on whatso- 
 ever object it be applied for ornamental purposes. 
 
 But I should point out that there were models 
 of much earlier date than these armorial head- 
 ings to deeds and other calligraphic rolls, which 
 may very likely have had a direct influence on 
 the composition of personal book-plates, armorial 
 or otherwise. I mean the Printers Marks. 
 
 The subject is worthy of further investigation. 
 
 The early printer was, as a rule, also an editor ; 
 in other words a scholar, a man of parts. He 
 was fond and jealous of his work, and stamped it 
 with a mark meant to be as personal and as unmis- 
 takable as possible. Now the greater number of 
 these marks show all the leading characteristics 
 of the first German book-plates ; they are emble- 
 matic, they are treated in a definitely heraldic 
 manner, they bear a personal name, and as often 
 as not a "sentiment." or a scholarly motto. Thus, 
 in spirit and intention, they are similar, cceteris 
 paribus, to the most typical ex-libris. The examples 
 here reproduced in support of this suggestion are 
 selected from the earliest English printers. 
 
ENGLISH BOOK-PLATES, 
 FIRST GROUP. 
 
 EARLY ARMORIAL. 
 
 HE term, Early Armorial, was fixed 
 by Lord de Tabley. and Mr. Rylands, 
 but it was really meant by them to 
 apply to that " style " which in this 
 work will be more particularly described under the 
 head Restoration. 
 
 Under this broad heading must, however, be 
 considered all English plates of the sixteenth and 
 seventeenth centuries, and a certain number ex- 
 tending in date as late as the second quarter of the 
 eighteenth. 
 
 This at first flush may seem a very long period 
 for a single group ; but, long as it is, until a greater 
 number of early examples have been brought to 
 light, it can only be made to include, as a matter 
 of fact, a comparatively small number of plates. 
 
 Critical analysis of the leading features of such 
 early plates has shown, as I have said, that, " for 
 ex-libris purposes," this lengthy span of time can 
 be subdivided into three periods, corresponding to 
 
42 English Book-plates. 
 
 three " styles," the characteristics of which (although 
 not very sharply defined) are perceptibly distinct. 
 These are : 
 
 The Tudoresquc, which, with tolerable closeness, 
 covers the interval between the establishment of 
 our first English printing presses and the second 
 quarter of the seventeenth century. 
 
 The Carolian, which applies to the remainder 
 of the century previous to the return of the King to 
 England, and 
 
 The Restoration, which is practically limited to 
 the last four Stuarts. 
 
 THE TUDORESQUE STYLE (159O- 1 62 5). 
 
 Future searches for early English examples 
 will, no doubt, bring to light, at least, a small 
 number of genuine book-plates older than that 
 of Nicholas Bacon. Hand-painted blazons and 
 illuminated initials proclaiming ownership of course 
 abound in MSS., but, although such emblems 
 may be looked upon as ex-libris after a manner, 
 they do not rightly come within the scope of the 
 present study. One of the most magnificent 
 examples of this kind, however, deserves passing 
 notice, namely, that which was designed for 
 Cardinal Wolsey, still attached to a folio volume 
 that once belonged to Henry VIII., and now re- 
 poses in the King's Library, British Museum. 1 
 As might be expected in anything that ever ap- 
 pertained to the pompous Primate, it is a very 
 
 1 This plate is reproduced in Mr. Griggs' "Second Series of 
 Armorial Examples." See Biblio. 
 
The Ttidoresque Style. 43 
 
 gorgeous affair indeed. It is, however, as I have 
 said, not a book-plate in the ordinary sense, but 
 an illuminated armorial composition, displaying 
 the Cardinal's arms, duly supported, under the 
 tasselled hat. 
 
 It is difficult to believe that our early printers, 
 who, as a rule, had such very excellent personal 
 works of their own, singularly Teutonic in charac- 
 ter, should not, in some manner or other, have 
 imported the wide-spread German custom of 
 movable ex-libris for the printed book. But, with 
 the exception of one dated 15 18, said to have been 
 discovered in the Bodleian Library, the sixteenth 
 century is only known at present to have produced 
 two specimens, which both belong to the latter 
 half of Elizabeth's reign. One, dated 1574, is the 
 above-mentioned gift-plate of Sir Nicholas Bacon 
 to the University of Cambridge, a facsimile repro- 
 duction of which forms the frontispiece of the 
 present volume. 
 
 As the traditional school-boy knows, Nicholas 
 Bacon, the "father of his country and of Francis 
 Bacon," an attorney of the Court of Wards and a 
 Cambridge man, was knighted by Queen Elizabeth 
 in the first year of her reign, and made Lord 
 Keeper. Pie died in 1579. The very handsome 
 device he had engraved on wood for the books 
 presented to his Alma Mater is hand-coloured, 
 and displays on a square-pointed shield the arms 
 of Bacon quartering Quaplode (Quaplade ?), with 
 a crescent at the Fess Point for a difference 
 (Nicholas was a second son of Robert Bacon 
 of Drinkston). The Mantlet, denticulated in 
 
44 English Book-plates. 
 
 acanthus-leaf fashion, but in a strong and sober 
 style, with rather heavy tassels, is symmetrical ; a 
 scroll beneath, close to the escutcheon, bears the 
 motto Mediocriias firma. Under all is the legend : 
 
 N. Bacon eqnes attratus et magni sigilli Anglice 
 Custos librum hunc bibliotheccz Cantabrig dicavit. 
 
 *574- 
 
 This plate is also known in another form, that 
 is, without the date and the inscription recording 
 the gift, and uncoloured. A facsimile of this 
 variety, found in the Bagford collection, is given 
 by Mr. Hardy in his learned and interesting work 
 on book-plates. "A close comparison," says the 
 writer, " shows that both shields of arms are struck 
 from the same block ; can it be that the latter is 
 the book-plate of Bacon himself, to which, on the 
 copies used for the books that he gave to Cam- 
 bridge was added the donatory inscription?" 
 This is most likely. 
 
 This gift-plate is extremely interesting in itself, 
 and also because it bears an early and authentic 
 date. The other Elizabethan plate (which, I be- 
 lieve, was discovered by Mr. James Tregaskis, 
 the well-known bibliopole of the Caxton's Head, 
 Holborn), was devised for Sir Thomas Treshame 
 in 1585. 
 
 The Treshams, explains Mr. Arthur Jewers, 
 F.S.A., in " The Book-plate Collectors Miscel- 
 lany," were an old Northamptonshire family who, 
 in Reformation times, strenuously adhered to the 
 ancient faith. The particular Tresham-for whom 
 this plate was engraved, was knighted at Kenil- 
 
THE TRESHAME BOOK-PLATE. 
 1585. 
 
The Tudoresque Style. 47 
 
 worth on the 18th of July, 1585. He married 
 Muriel, daughter of Sir Robert Throckmorton, of 
 Coughton. His eldest son, Sir Francis, was impli- 
 cated in the Gunpowder Plot ; the second son, Sir 
 Lewis, was created Baronet ; with the son of the 
 latter, Sir William, 2nd Bart., the line ended. 
 
 Concerning the motto Fecit mihi magna qui 
 potens est, Mr. Jewers suggests this ingenious com- 
 mentary : " the est shows that the 'doer of great 
 things ' was then living, and the qui that it was a 
 man and not Queen Elizabeth. In 1585 the Earl 
 of Leicester was occupying a high position, and 
 the motto may perhaps allude to him." It seems, 
 however, much more probable that this portion of 
 a verse from the Vulgate (Luke, chap. i. 49 ; in 
 the authorized version : He that is mighty hath 
 done to me great things), was purely and simply a 
 pious "sentiment." 
 
 This can be taken as a representative example 
 of the Tudoresque plates, all of which present the 
 same characteristics, as far as heraldic arrange- 
 ments are concerned, as a certain type of private 
 seal belonging to that period. These arrange- 
 ments are generally as follows : a plain shield 
 (that is, one without adventitious ornament) sur- 
 mounted by the wreathed, crested and mantled 
 helmet, the mantlet being comparatively slender, 
 deeply cut, acanthus-edged and blown about sym- 
 metrically ; a scroll underneath for the motto, and 
 sometimes (as in the present case) another for 
 names and qualification. Very often, however, the 
 legend is simply underscribed without a scroll. 
 In plates of this style, previous to about 1640, a 
 
48 English Book-plates. 
 
 date after which they become very rare, tinctures 
 are not shown in the engraving. 
 
 Closely similar to this is the well-known plate 
 belonging to Sidney Sussex College, Cambridge, 
 on which figures the legend : 
 
 Ex dono Willielmi Willmer de Syivell in Com : 
 Northamptonice Armigeri, quondam pencionarij in 
 ista domo. Viz, in Anno Domini 1599 sed dedit in 
 An . Dm. 1613. 1 
 
 To the same type also belongs the plate of 
 Edward Lyttelton (who became Lord Keeper in 
 1 641) ; the first book-plate signed by William 
 Marshall, indeed, the first English example with 
 an engraver's name, and also one of the earliest 
 showing the tinctures by the conventional lines 
 and dots, alleged to have been invented by the 
 celebrated Father Sylvester Petra Santa. 
 
 This so-called Tudoresque style remained appa- 
 rently in some favour until the early days of the 
 Restoration, and indeed, at first inspection, does 
 not differ very materially from the style more par- 
 ticularly ascribed to that period ; the chief diffe- 
 rence between the two lies in the amplitude of 
 the mantling, which in " Restoration" heraldry 
 assumed a much more massive and imposing 
 waviness. 
 
 THE CAROLIAN STYLE (1625-1660.) 
 
 In a certain number of ex-libris, however, which, 
 
 1 This plate is reproduced in Mr. Griggs' " Eighty-three 
 Armorial Examples"; also in "Miscellanea Genealogica et 
 Heraldica," N.S., vol. iv. p. 238. See Biblio. 
 
THE BYSSHE HOOK-PLATE. 
 
 E 
 
The Carolian Style. 
 
 5i 
 
 curiously enough, seem all to belong to the middle 
 third of the seventeenth century, there is a notice- 
 able tendency to depart, for a time, from this old- 
 established conventionality, from this correctness 
 of heraldic arrangement ; to assume, in fact, an 
 
 THE EYNES BOOK-PLATE. 
 
 outlandish originality and independence of design. 
 As these really appear to belong to a definite 
 period, they may be examined separately. 
 
 Here the shield is no longer plain, sometimes 
 it is not even symmetrical, but of the cut-and- 
 scrolled "cartouche" order. In many cases the 
 
52 English Book-plates. 
 
 ragged, waving mantlet is actually discarded, and 
 the escutcheon is encompassed by wreaths or 
 palms, with festoons and ribbands which, but for 
 the workmanship of the seventeenth century en- 
 graver which is unmistakable, might, at first sight, 
 suggest a late eighteenth-century date. 
 
 Such, for instance, are the book-plates of Mar- 
 sham, circa 1650 (a cusped " Stuart" shield within 
 a circular wreath of bays); of Sheldon (a " French" 
 shield on a cut-and-scrolled cartouche) ; of Bysshe? 
 1655 (an indented, cusped and slightly scrolled 
 shield, encompassed by palms tied together, wreath- 
 like, by ribbands that interlace with the motto 
 scroll, the whole contained within a line frame) ; 
 of Gore (similar in treatment to the Marsham 
 plate) ; of Southwell and of Eynes (Elizabethan 
 shields between two broad dentellated and curly 
 acanthus-like sprays tied under the base by knots 
 of ribbands). 
 
 The workmanship of all such plates is distinctly 
 foreign in character, and recalls more particularly 
 certain French ex-libris of the Louis XIII. 
 period. And in this connection it is worth re- 
 cording that the fashion of enclosing escutcheons 
 with chaplets and wreaths or palm-branches is re- 
 ferred to as characteristically French by Menestrier 
 (" Origine des ornements des Armoiries," Paris, 
 
 1 Quarterly dimidiated, showing two quarterings, first, 
 Bysshe, second, Clare, impaling Greene. These are the arms 
 of Edward Bysshe, afterwards Sir Edward Bysshe, Garter King- 
 at-Arms, as borne by him before his father's death in 1655. 
 He died in 1679. CFrom Griggs' "Examples.") 
 
Scunvued P&pifs of 3 rajmfrton in Muntirwtimshre, 
 Ejtf. Secretary of the Jfonirafa/to htf Ma^/Kina 
 Charles the SecmdiDescended "afij ' curhentfamily 
 ofPejniftfCatwnham inCamkidgsfure,- 
 
 THE BOOK-PLATE OF SAMUEL PEPYS. 
 
 Circa 1680. 
 
The Carolian Style. 55 
 
 1680), who points out that the double palm is "an 
 agreeable ornament, and, moreover, a symbol of 
 conjugal love." 
 
 Book-plates previous in date to the last quarter of 
 the seventeenth century are certainly not numerous. 
 I may quote here, as being much to the point, a 
 few words written by Lord de Tabley, in answer 
 to my inquiry about early national examples in 
 his collection. 
 
 "It is curious, but, I think, perfectly certain, 
 that the fashion of having book-plates in private 
 libraries was singularly late in reaching England. 
 And many of the earliest specimens which we have, 1 
 show to my mind a foreign influence, and are very 
 likely the work of foreign engravers. An ancestor 
 of my own, a certain Sir Peter Leicester, a most 
 exact and laborious antiquary and a thorough 
 bookworm, lived in the time of the Civil Wars and 
 on till past the Restoration. I have all his library 
 and all his MSS. He was the man of all others 
 quite certain to have had a book-plate if such a 
 thing had been fairly known. But there is not a 
 trace of one, though all his books are inscribed 
 most elaborately with his name and their proper 
 number in his library. I think this can be taken 
 as fair evidence that the book-plate of a living man 
 was at that time an exotic custom to an English 
 man of letters. The custom seems to have come 
 in first for the purpose of recording book legacies 
 to colleges and such institutions." 
 
 1 This refers mainly to those "styled" Carolian in this 
 book. 
 
56 English Book-plates. 
 
 THE " RESTORATION" STYLE. 
 
 It was long supposed by collectors that the very 
 oldest English ex-libris dated from the early days 
 of the Restoration. As a matter of fact, and as I 
 have just pointed out, English plates anterior to 
 that period have not been discovered in great 
 number, nor are we likely to come across many 
 more. No doubt the Parliamentary wars caused 
 the destruction of many books and thus of many 
 book-plates : and moreover the canting days of 
 the Commonwealth were hardly propitious to book- 
 collecting or ex-libris devising. 
 
 But on the return of the old order of things 
 there seems to have been a very abundant sprout- 
 ing of personal devices among the leaves of Eng- 
 lish books, suggestive of a general revival of 
 interest in library matters. 
 
 Plates of that period are now known in large 
 numbers ; they present in almost every instance 
 very definite characteristics. In heraldic arrange- 
 ment and general appearance they are evidently 
 close kin to the Tudo7'esque, showing as a rule the 
 plain, square, pointed or angular shield with the 
 crested, wreathed and mantled helmet, and a scroll 
 for the motto. Very often the legend is inscribed 
 on a broad cut-and-curled label beneath the whole. 
 
 But their "physiognomy" is decidedly different 
 from the older members of the Early Armorial 
 group. 
 
 The armorial book-plate of Samuel Pepys may 
 be looked upon as transitional in style between 
 the two periods. 
 
The Restoration Style. 57 
 
 In the first place the tinctures are invariably 
 shown in dots and lines (this is, of course, quite 
 exceptional in plates of Tudoresque style, and only 
 occurs in a few specimens of later date than 1640.) 1 
 Furthermore, the mantling has now assumed a form 
 and a behaviour which evoke, not, as of old, ideas 
 of lambrequins hacked and torn in hot battle, but 
 rather a vision of the contemporary towering, 
 tumbling, curly Versailles peruke. In fact I have 
 been tempted to suggest the expression " Periwig 
 Style" as appropriate. Comparison with French 
 ex-libris of the seventeenth century will show 
 that this excessive and formal amplitude, this 
 very fine cutting and crisp curling of lambre- 
 quins, was quite the fashion in France somewhat 
 earlier than in England, and, as we know, French 
 fashion at that time took the lead in all things. 
 It can be safely asserted that the typical triple 
 rolls of denticulated mantling, encompassing a 
 shield in the same manner as the periwig of the 
 period encompassed the face of a man of rank, is 
 distinctly French in its origin. And in this con- 
 nection it is rather curious to remark how the 
 " Restoration " mantlings continued to flow in 
 
 1 The modern and universally accepted methods of indicating 
 metals and tinctures by means of lines and dots is supposed 
 to have been devised and first set forth by one Father Sylvester 
 Petra Santa, author of " Tesserae Gentilitise," published at Rome 
 in 1638. The French heraldic writer, de Genouillac, ascribes 
 its invention to the annalist Christophe Butken, at the end of 
 the sixteenth century. It was certainly popularised in France 
 by the works of Vulson de la Colombiere, about 1639. In any 
 case this system does not appear to have been generally 
 adopted by English engravers till almost twenty years later. 
 
58 
 
 English Book-plates. 
 
 foaming cascades round the escutcheon of book- 
 plates, so long as the " monstrous periwig " re- 
 mained in fashion as a masculine headdress. In 
 other words, the Restoration style in ex-libris 
 
 THE BOOK-PLATE OF FRANCIS GWYN OF LANSANOR. 
 1698. 
 
 endured (although at later times overshadowed 
 by the so-called "Jacobean") until early Georgian 
 days. 
 
 Very typical, in two " manners " of this very 
 definite style are the plates of Gwyn of Lansanor 
 
The Restoration Style. 
 
 59 
 
 and Lord Raby on the one hand, and of St. 
 John Brodrick and Archibald Campbell on] the 
 other. 
 
 The number of book-plates treated more or less 
 
 BOOK-PLATE OF THOMAS WENTWORTH, 
 
 Baron of Raby, 1698. 
 
 after these two fashions, ranging in date between 
 1 665 and 1 7 1 5, is considerable. They all show the 
 legend inscribed on a broad scroll (precursor of the 
 "napkin" of later days) generally cut-and-eared ; 
 the plain shield, square sided ; the crested, torced, 
 and mantletted helm. In the case of arms unac- 
 
6o 
 
 English Book-plates. 
 
 companied by supporters, the deeply foliated, 
 denticulated and elaborately curled mantlings are 
 ample, and embrace three sides of the shield, 
 sometimes even meeting under the base ; when. 
 
 BOOK-PLATE OF ST. JOHN BRODRICK. 
 I703. 
 
 however, supporters are in attendance, the mant- 
 lings assume necessarily somewhat lesser propor- 
 tions, and spread themselves aloft on either side of 
 the helm. 1 
 
 1 These two types of the Restoration style (e.g., Gwyn and 
 
The Restoration Style. 
 
 61 
 
 The " Lining" (as the shading within the mantlet 
 edges has been called) in the Brodrick plate, and 
 also the legend scroll in all these examples, should 
 
 BOOK-PLATE OF THE HON. ARCHIBALD CAMPBELL. 
 
 Grandson of Archibald, eighth Earl of Argyle. 
 Made Bishop of Aberdeen in 1721. 
 
 be noticed, as these characteristics are precursors 
 
 Brodrick), have more than once been reproduced in modern 
 adaptations. Compare the first with that of the Rev. D. 
 Parsons, and the latter with the ex-libris drawn by the Countess 
 of Mayo for her husband. 
 
62 
 
 English Book-plates. 
 
 of some of the factors in the coming " Jacobean " 
 manner. 
 
 On account of its early date, 1671, although 
 not really typical of the style now under considera- 
 tion, being in fact rather Carolian in character (all 
 
 GIFT-PLATE OF THE DOWAGER COUNTESS OF BATH. 
 1671. 
 
 The original is 4^- by 5^ inches. 
 
 the more so as the tinctures are not shown), I have 
 added here an example of a feminine plate. In 
 such a case, correct heraldry does not, of course, 
 admit of the manly helm, nor of its paraphernalia, 
 torce, crest, or mantlings. In this gift-plate of 
 Rachel, Dowager Countess of Bath, the arms of 
 Bath, empaling Fane are simply surmounted by 
 
The Restoration Style, 
 
 63 
 
 a coronet of somewhat outlandish form. On an 
 endless scroll are spread the four mottoes : Non 
 est mortale quod opto ; Bon temps viendra ; Ne vile 
 fano ; Semper eadem, together with the legend : 
 M Ex dono Rachael Comitissae Bathon Dotariae. 
 An. Dom. MDCLXXI." 
 
 I have not been able to ascertain who was the 
 recipient of this plate, which, I should state, in 
 the original is of very large size, and no doubt 
 intended for quartos or folios. 
 
 BOOK-PLATE OF MARTHA SIMCOX. 
 1670. 
 
 The size of the original is about 5 by 3 inches. 
 
 Another very large ex-libris of the same period, 
 is the printed label of one Martha Simcox, with 
 whom the thirtieth of August, 1670, seems to 
 have been a red letter day with reference to book 
 ownership. With reference, however, to printed 
 inscriptions of this kind which occur, cut down to 
 the shape of labels, in many collections, but which 
 have rarely, if ever, been discovered genuinely in 
 sitti, it is more than probable that they are not 
 
64 English Book-plates. 
 
 book-plates, in the sense, at least, of movable 
 ex-libris. It seems to have been the fashion with 
 booksellers in Stuart and early Georgian days, as 
 a compliment to the worthy purchasers of Bibles 
 and other pious books, to print in a somewhat 
 decorative manner the name of their client and 
 the date of the good transaction on the fly-leaf. 
 
 The Restoration type had a certain simplicity, 
 withal a stateliness of its own, which kept it 
 long in fasion. It endured, in fact, to some 
 extent, as I have said, until the second third of 
 the eighteenth century. 
 
 It seems to have been at the height of favour 
 with engravers during the last ) ears of the dying, 
 and the first of the new century. After the reign 
 of Queen Anne specimens of this style become 
 exceptional. I give here the ex-libris of Gilbert 
 Nicholson of Balrath, as an example, first, of what 
 the Restoration style had become in early Georgian 
 days, and secondly, as an instance of a misleading 
 date, rendered all the more misleading by the style 
 of the plate itself. 
 
 Considered as a " Restoration" design it is un- 
 usual in character; the escutcheon itself with its 
 foliated edges differs from the general type. This 
 ornamentation, however, as well as the meaning- 
 less roses under the helm and the scrolling of the 
 gorget and beavor might pass for " Carolian ; " 
 but as a matter of fact, the probable date of the plate 
 is somewhere about 1722. Mr. Franks, after criti- 
 
THE BOOK-PLATE OF GILBERT NICHOLSON OF BALRATH. 
 
 Probable date, 1722. 
 F 
 
Later Restoration Style. 67 
 
 cal comparison with other ex-libris of Georgian 
 date, has come to the conclusion that Gilbert 
 Nicholson simply recorded the date at which the 
 Balrath property was acquired ; the book-plate} 
 which is identical in arrangement with that of one 
 Thomas Carter (1722), was evidently engraved by 
 the same hand. 
 
 Another very celebrated plate, really of Georgian 
 times, yet bearing a misleading Restoration date, 
 is that of Sir Francis Fust, who fancifully claimed 
 to be a descendant of Schoeffer's associate at 
 Mainz. Although dated 1662, the Fust ex-libris 
 can be shown not to have been engraved earlier 
 than 1728 ; this latter being the date at which its 
 owner succeeded to the Baronetcy. 
 
GROUP THE SECOND. EIGHTEENTH 
 CENTURY. 
 
 queen anne and early georgian style 
 (" Jacobean"). 
 
 jE have now arrived at a period in the 
 history of the English Book-plate, the 
 style of which is, by common deference 
 to Lord de Tabley's special authority, 
 designated as " Jacobean." 
 
 Notwithstanding its singularly inappropriate 
 derivation (almost, it might be said, of the lucus a 
 non lucendo order,) the word has become sanc- 
 tioned, by prescription as it were ; I only suggest 
 the above alternative terms as an attempt to in- 
 troduce some kind of historical symmetry in our 
 nomenclature. But it is difficult to understand 
 exactly how Warren came to choose as applicable 
 to that period an adjective which cannot fail to 
 suggest the age of Inigo Jones rather than that 
 of Christopher Wren. 
 
 " The artistic style of English ex-libris decora- 
 tion," says the author of " A Guide to the study of 
 Book-Plates," " which we propose to distinguish as 
 
The Queen Anne Style. 69 
 
 Jacobean, is first found, so far as our present 
 materials carry us, accompanied by a date on 
 certain college book-plates of a.d. 1700. Like 
 ornaments recur in the ex-libris of Dame Anna 
 Margaretta Mason, relict of Sir Richard Mason, 
 KK, late Clerke Corntroler (sic) of the Green C loath 
 to King Charles and King James the Second, 
 1 70 1. 1 Now it sounds natural enough to stamp as 
 Jacobean the book-plate of a lady whose husband 
 served the last James, yet this style of Jacobean 
 decoration continued to appear on book-plates 
 until about 1745, long after the name ceased to 
 be strictly applicable. Still, as the art of the 
 Mason book-plate in 1701 is practically the same 
 with that of Francis Winnington's ex-libris in 
 1732, we presume it will be allowable to call the 
 last, no less than the first, Jacobean, although de- 
 signed during the reign of George II. To affix 
 any fresh name to the Winnington plate would be 
 to assume a solution of continuity between the art 
 of the two specimens which does not exist." 
 
 For such reasons, it seems, came a very definite 
 style to be called by a most indefinite name. The 
 purpose, however, of a word is fulfilled when it is 
 generally accepted as applying to certain things, 
 and these certain things only. Now there is no 
 vagueness about the style to which the term 
 "Jacobean" has hitherto been applied, and for 
 which I suggest the name " Early Georgian." 
 
 1 Given in Griggs' "Armorial Examples," ist Series. (See 
 Biblio.) 
 
7o 
 
 English Book-plates, 
 
 It is exemplified by the five characteristic plates 
 I have chosen, and which correspond, up to a 
 certain point, to those selected by Warren. 
 
 The ex-libris of Corpus Christi College, Oxford, 
 albeit undated, bears internal evidence of belonging 
 to the same period as the " certain College Book- 
 
 BOOK-PLATE OF CORPUS CHRISTI COLLEGE, OXFORD. 
 
 Circa 1700. 
 
 plates of a.d. 1700." At any rate, it is repre- 
 sentative of the class. 
 
 Again, the ex-libris of Lady Heniretta Somerset, 
 although of later date than that chosen as typical 
 by Warren, shows a very close imitation in all 
 essentials of the Margaret Mason design. 
 
The Queen Anne Style. 
 
 7i 
 
 The book-plate of Henry Maister, of Kingston- 
 upon-Hull is a good instance of " Jacobean " treat- 
 ment in its more gorgeous manifestations ; whilst 
 that of Edgerton Smith (of Preston, Lancashire, 
 one of my own forefathers, a great lover of well- 
 
 BOOK-PLATE OF LADY HENIRETTA SOMERSET. 
 1712. 
 
 ordered libraries) is very characteristic of the style 
 in its quieter mode. The latter is here printed 
 from the original copper plate which was cut, it 
 would seem, in 1725, somewhat roughly, but not 
 without vigour, by a local engraver. 
 
72 English Book-plates. 
 
 The Bedford plate, dated 1736, may, in a 
 similar manner, be taken (although less complete 
 than the Winnington ex-libris quoted by Warren) 
 as tolerably typical of the Jacobean treatment 
 towards the end of that special period. 
 
 As Warren was the original expositor of this 
 style, I think it better, for the purpose of describing 
 its main characteristics, to quote that author's own 
 words : 
 
 " In the beginning of the eighteenth century 
 occur dated ex-libris of certain colleges who 
 placed above their escutcheon neither helmet or 
 crest, and who, consequently, had no mantling 
 wherewith to decorate the bare flanks of the shield. 
 To supply this void in decoration, a distinct frame 
 was placed round their escutcheons, and this frame- 
 work was ornamented with ribbons, palm-branches, 
 or festoons. The prominent or high relief portions 
 of this frame were not set close to the edges of the 
 escutcheon, but between it and them an interval 
 of flat-patterned surface nearly always intervened, 
 in which, as upon a wall, the actual shield was im- 
 bedded. This we shall call the " lining" of the 
 armorial frame, and we shall find this lining usually 
 imbricated into a pattern of fish scales one upon 
 the other. This scaled-covered or latticed or 
 hatched interval of lining is characteristic of the 
 
 style More rarely simple horizontal lines 
 
 replace the cross-barred pattern : and on the latest 
 and roughest specimens the lining simulates the 
 bricks upon a wall Now the earlier book- 
 plates of Anne 1 have merely the Jacobean frame. 
 1 [Not being of the Restoration type. — E. C] 
 
«•><>•> 
 
 BOOK-PLATE OF HENRY MAISTER, OF KINGSTON-UPON-HULL. 
 • 1719. 
 
nWf/tL /^^85%l3>{x\ c5^ /^. 
 
 ^>^^5^ 
 
 
 
 
 III 
 
 f^B : ' 
 
 |j*H 
 
 
 
 ««f 
 
 
 ^St^M^^ 
 
 
 Edgerton * Smith: 
 
 1 
 
Early Georgian Style, 
 
 IS 
 
 But another step in the external decoration was 
 to add a bracket distinct from the frame upon 
 which the shield with the frame is supposed to 
 rest." 
 
 
 THE BOOK-PLATE OF JOHN 4TH DUKE OF BEDFORD. 
 
 This description, examined with reference to 
 actual examples, is sufficiently definite. It may 
 be summed up thus : — The main characteristic of 
 the Queen Anne and early Georgian style is an 
 ornamental frame, suggestive of carved-work, rest- 
 
76 English Book-plates. 
 
 ing as often as not upon some kind of conventional 
 support ; the ornamentation of both frame and 
 support being of the interior architectural order, 
 making frequent use of fish scales and trellis or 
 diaper patterns for the decoration of plane surface. 
 Indeed the style of some of the more imposing 
 Jacobean compositions might aptly be called 
 M Grinling Gibbons " (in the same manner as it has 
 become usual to speak of " Chippendale"), after 
 the carver and designer of those decorated door- 
 frames, brackets, mantel-pieces, and wall-panels, 
 so well appreciated by Sir Christopher. In short, 
 in the same way as as the " Early Armorial " styles 
 recall the heraldic arrangements of seventeenth 
 century seals and parchment emblazoning, in the 
 same way as the so-called " Chippendale " and 
 "Festoon" styles of later days reproduced the 
 then prevalent taste in furniture and silversmith 
 work, so the "Jacobean" style recalls the wood- 
 work and florid mouldings, the heraldic carved 
 panel wall-tablets and " compartments," the heavy 
 mirror frames, festooned and " scolloped," of 
 Queen Anne and George I. domestic architec- 
 ture. 
 
 Warren mentions the very frequent presence 
 of escallop shells in the ornamentation of shield 
 frames and brackets as typical of the style. The 
 " shell," no doubt, (although, in point of fact, fre- 
 quently absent from the Queen Anne and Early 
 Georgian design,) was a very special feature in the 
 wood- work and stone-carving of the period. Its 
 combination with the bombi and roll-mouldings of 
 the special decorative style, known as " Louis 
 
Characteristics of Early Georgian. 77 
 
 Quatorze " gives a strong foretaste of the coming 
 " Rococo." 
 
 It must be pointed out that some of the charac- 
 teristics of what we call in England " Queen Anne," 
 
 THE BOOK-PLATE OF THE REV. J. LLOYD. 1730. 
 
 Engraved by Bickam. 
 
 (among others the frame cartouche and the bracket 
 as supports for the escutcheon) are observable in 
 sundry French plates belonging to the latter part 
 
78 
 
 English Book-plates. 
 
 of the seventeenth century, notably those of Sebas- 
 tien le Clerc. 
 
 Among the multifarious decorative elements 
 drawn upon to make up a " Jacobean" design, con- 
 
 THE BOOK-PLATE OF CHARLES, 5TH BARON CORNWALLIS, 
 
 of Eye, Suffolk. 
 
 Circa 1730. 
 
 ventional figures are of frequent occurrence, amo- 
 rini, term-gods, angels, " fames," " victories," and 
 such like. In the latter days of the style these 
 figures will often assume increasing importance in 
 the composition of book-plates, which will then be- 
 
Transition to Rococo. 
 
 79 
 
 come somewhat irregular in disposition and more 
 especially " Allegorical " 
 
 The ex-libris, for instance, designed by Bickham 
 for the Reverend John Lloyd, A.M., displays 
 some of the main features of this later " Jacobean " 
 style, already infected by Louis XV. mannerism. 
 The oval escutcheon on its bombi cartouche, the 
 fanciful shells, the cupids already semi-allegorically 
 
 THE BOOK-PLATE OF JOHN BANCKS. 
 
 Engraved by G. Bickham. 
 
 1740. 
 
 occupied with books, are characteristic ; indeed, 
 this particular example might almost belong to 
 the " Allegoric" class. 
 
 The Cornwallis book-plate is unfortunately not 
 dated, but it is presumably nearly of the same 
 age as the above, and may be taken as a good in- 
 stance of the transition style between " Jacobean " 
 and " Chippendale ; " in other words, between the 
 Early and Middle Georgian. It was devised for 
 
80 English Book-plates. 
 
 Charles, fifth Lord Cornwallis, who came to the 
 title in 1722, and was created Earl in 1753. It 
 displays the purest early R6ge7ice style, and was 
 probably drawn by some French artist, in which 
 case its date might quite well be as early as 1725. 
 In England, the general expanding of the escallop- 
 shell into a shelly border, and its combination with 
 bombS wood-work curves after the early French 
 "rocaille" manner, never came much in vogue 
 before the " forties " of the century. The tolerably 
 symmetrical decorative arrangement, however, in 
 this case, would point to a somewhat earlier date. 
 The name-label of John Bancks, engraved by 
 Bickham, is a good example, with its simple " curled 
 endive" ornamentation, of the spreading influence 
 of the " Rococo" mannerism about that period. 
 
 / 
 
THE MIDDLE GEORGIAN, "CHIPPEN- 
 DALE" OR "ROCOCO" STYLE. 
 
 T must be borne in mind that all leading 
 styles in decorative art from the middle 
 of the seventeenth century until the 
 beginning of this one have had their 
 origin in France, an inevitable result of the cen- 
 tralized splendour of the French courts. It was, 
 therefore, but natural that the next definite style 
 in book-plate ornamentation, the Rocaille or Rococo, 
 should find its way to England within a few years 
 of its universal adoption in France. 
 
 The Rocaille, so long as it was dealt with by 
 tactful hands, has never been excelled for decora- 
 tive purposes. 
 
 Warren remarks that we may regard this style 
 {i.e. the Chippendale, which is by some people 
 supposed to be synonymous with Rococo) as 
 " thoroughly national." On this point, I take it, 
 it is hardly possible not to differ, even from so 
 respected an authority. As a matter of fact the 
 style is essentially French in all its stages. True, 
 the leading ideas of this ornamental conception 
 came originally from Italy, being based on the 
 pierced scroll, volute-head work of Renascence 
 character. But it is in France, during the years 
 
 G 
 
82 English Book-plates. 
 
 of Louis XIV.'s most flamboyant ostentation, that 
 we find the first manifestation of a general ten- 
 dency towards that peculiar mood which in early 
 Louis XV. days developed into the full-blown 
 Rococo. 
 
 Many are the French artists who, during the 
 second quarter of the century, vied with each other 
 to evolve out of " rock and shell" elements the 
 most surprising and fascinating combinations. 
 Designers like Toro and Oppenort ; architects like 
 Blonde I, Cottes, Cuvillier ; painters like Watteau 
 and Boucher; " vignettists" like Babel, Eisen, 
 Bellay, Choffard, Perotte, Gravelot, found in them 
 endless materials for original designs. But the 
 great masters of this decorative system were un- 
 doubtedly le Sieur de la Joue, and Jttste Aurdle 
 Meissonier, both " Painters and Architects to the 
 King," the latter, moreover, being " Official Gold- 
 smith and Designer." 
 
 Now, the earliest English work dealing system- 
 atically with the rock-and-shell manner is an album 
 of " 33 Sheilds {sic) and Compartments," published 
 by James Gibbs (the architect of St. Martin-in-the- 
 Fields, St. Mary-le-Strand, and of the Radcliffe 
 Library, Oxford), about the year 1 73 1 , that is, 
 several years after the appearance of the leading 
 French works on the same topic. Similar collec- 
 tions of designs by A. Heckell, andy. Collins (all 
 more or less open adaptations of La joue and 
 Meissonier's creations), were engraved by H. 
 Roberts and J. S. Miller about 1750. But the 
 man who no doubt most contributed to bring what 
 he himself is careful to call u the new French style" 
 
Chippendale. 83 
 
 in vogue on this side of the channel was Thomas 
 Chippendale. 
 
 As applied to the ornamentation of Middle 
 Georgian Ex-libris the word " Chippendale" is 
 hardly legitimate ; it is English and more eupho- 
 
 rniumt^ 
 
 BOOK-PLATE OF WILLIAM WILBERFORCE, THE ABOLITIONIST. 
 
 Presumably designed for his grandfather, 
 
 W. Wilberforce, about 1750. 
 
 nious than Rococo, but it is not exact. Thomas 
 Chippendale created a certain style of furniture and 
 decoration that was very charming and original ; 
 but that style, which was particularly his own, with 
 its symmetrical light fret-work, and its Chinese 
 cloissonne arrangements, is as different as anything 
 
84 E7tglish Book-plates. 
 
 can be from the curly Rococo. Nevertheless, in 
 ex-libris parlance, Chippendale is and will no doubt 
 remain the popular name for the style that pre- 
 vailed most between 1740 and 1770. 
 
 The physiognomy of a Chippendale or Rococo 
 plate is unmistakable. Its chief characteristic is 
 a fanciful, unrestrained treatment of scroll-work, 
 which became, very early in the history of the 
 style, studiously asymmetrical (no doubt, in order 
 to give freer scope for variety of counter-curves). 
 Another " mark and stamp of the Chippendale 
 ex-libris," again to make use of a graphic descrip- 
 tion in Warren's Guide, "is a frilling or border 
 of open shell-work set close to the rounded outer 
 margin of the escutcheon. This seems to be a 
 modification of the scallop-shell so normal at the 
 base of frame or bracket on a Jacobean plate. 
 It is, in fact, a border imitating the pectinated 
 curves and grooves on the margin of the scollop- 
 shell." 
 
 A Rococo frame, in fact, is always a medley of 
 these shell edges fancifully combined with acan- 
 thus or "curled endive" leaves and bombe scrolls. 
 Straight or concentric lines, and all appearance of 
 a flat surface, are carefully avoided. From the 
 numerous nooks and ears created by such an 
 arrangement sprout flowerets and spriglets, depend 
 festoons, wreaths, and ribbands. In later ex- 
 amples the composition is often complicated by 
 the introduction, as ornamental elements, of cupids, 
 doves and hoc genus omne ; and, in more than 
 usually dishevelled specimens, of hispid beasts, 
 such as dragons, wyverns, and similarly congruous 
 
BOOK-PLATE OF ROBERT NASH. 1 735. 
 
Early "Rococo." 87 
 
 objects. This accumulation of adventitious factors 
 in the decoration, belongs, however, rather to the 
 days of decadence in " Chippendalism," to use 
 yet another jargon term introduced by students of 
 ex-libris. 
 
 At the beginning there is a great preponderance 
 in book-plates of that less extravagant design in 
 which the bombe and volute work, somewhat heavy, 
 predominates over the lighter, ragged, rock-and- 
 shell, tenuous flower arrangement of 1750. 
 
 The ex-libris of William Wilberforce is typical 
 of the early and purer style. 1 
 
 It must never be forgotten, however, that in ex- 
 libris engraving, as well as in every department of 
 decorative art, styles and fashions not only overlap 
 each other for some considerable time, but by 
 borrowing from each other's elements form a tran- 
 sition mode. Typical of this transition kind, yet 
 more kin to Jacobean than to Chippendale, was 
 the Cornwallis plate I noticed on p. 68. 
 
 The ex-libris of Robert Nash, (the probable 
 date of which is 1735,) on the other hand, is more 
 Rococo in character, but it still retains something 
 of the previous taste in the trellis work, and the 
 " lining" of its outer frame, as well as in the broad 
 detached scroll on which figures its legend. 
 
 1 Although this plate belonged to the great philanthropist 
 and abolitionist, and consequently was used for his books 
 during the last quarter of the eighteenth century, it was un- 
 doubtedly engraved early in the second, and, in all probability, 
 for his grandfather, William Wilberforce (of Kingston-upon- 
 Hull). See a notice of this plate by Mr. J. R. Brown, Ex-libris 
 Journal, vol. ii. p. 62. 
 
88 
 
 English Book-plates. 
 
 There seems hitherto to have been a general 
 tendency among book-plate collectors to ascribe 
 rather too late a date to " Chippendalism." Now 
 
 o'Zd^ 
 
 BOOK-PLATE OF HENRY SWEETMAN. 
 Circa 1745. 
 
 almost every element of pure early Chippendale 
 style can be found in the plate of Benjamin Hatley 
 Foote (a very perfect and typical example) ; in 
 those of Henry Sweetman and of Henry Walters, 
 
V/?yas??7Ari/ cTuzutyu, t/^w/< 
 
 BOOK-PLATE OF BENJAMIN HATLEY FOOTE. 1 743. 
 
Early Rococo. 
 
 9i 
 
 — all of which are anterior in execution to the 
 middle of the century. 
 
 The ex-libris of Matthew Smith, which, on 
 
 
 BOOK-PLATE OF HENRY WALTERS. 
 
 Engraved by J. Skinner, in Bath. 
 1747- 
 
 account of its substantial appearance I also as- 
 cribe to that period, is interesting as an original 
 combination of natural shells with conventional 
 " scollop edging." Possibly this Mr. Matthew 
 Smith had conchological tastes which he liked 
 
92 English Book-plates. 
 
 to have recorded in this improved rock-and-shell 
 decoration. 
 
 Helms and mantlings, as a general rule, are 
 
 BOOK-PLATE OF MATTHEW SMITH. 
 
 Circa 1750. 
 
 absent from pure rococo heraldic arrangements. 
 It is from the " rocaille " period that dates the 
 long prevalent custom of representing the crest as 
 resting upon a simple and conventional wreath 
 
Early Rococo. 
 
 93 
 
 or "torce." 1 The book-plate, therefore, of Sir 
 Charles Frederick, K.B., has a somewhat unusual 
 physiognomy. I give it here as an instance (on 
 
 (•Mains 2)ftt/t 
 
 BOOK-PLATE OF SIR CHARLES FREDERICK, 
 
 Surveyor-General of Ordnance. 
 Circa 1750. 
 
 the whole rare in English ex-libris) of the " Trophy" 
 class : Sir Charles was at one time Surveyor- 
 General of Ordnance. It must be admitted that 
 
 1 The helm alone, however, occurs in sundry Scottish plates 
 of " Chippendale " character, such as the token of T. Camp- 
 bell, A.B. 
 
94 
 
 English Book-plates. 
 
 the uncompromising straight lines and the unami- 
 able, fishbone-like array of military implements, 
 are little in harmony with Chippendale graces. 
 
 T. Campbell AJ5. ijs<p 
 
 BOOK-PLATE OF T. CAMPBELL. 
 
 1756. 
 
 (This is perhaps too early a date for the engraving.) 
 
 During the third quarter of the century, a culti- 
 vated lightness came into fashion, which consider- 
 ably modified the physiognomy of Rococo plates. 
 
 This excessive tenuity of build in good examples 
 remained graceful, but in many cases became singu- 
 
Later Rococo. 
 
 95 
 
 larly weak-looking. The T. Campbell plate (which 
 to judge from its character would seem to have 
 been engraved later than its professed date) is a 
 
 
 im. 
 
 ID 
 
 BOOK-PLATE OF JAMES VERE. 
 1760. 
 
 case in point. I have selected it partly on account 
 of the spiny dragon — considered an ornamental 
 sort of beast at that time — partly in order to afford 
 a wide-spanning and interesting comparison be- 
 tween two book-plates in the same family, one 
 
9 6 
 
 English Book-plates, 
 
 designed in early Queen Anne, the other in late 
 George II. manner. 1 
 
 In decorative art the Rococo is always quite 
 
 LmcoLns Inn \j6i.^ 
 
 BOOK-PLATE OF JOHN ORD. 
 1761. 
 
 Showing transition to the " landscape " manner. 
 
 unmistakable at the very first glance. Yet it un- 
 doubtedly admits of many different modes of 
 treatment (witness, for instance, the strong con- 
 
 1 See the Archibald Campbell plate. 
 
Later Rococo. 
 
 97 
 
 trast between early and late specimens of the 
 style), which it would be exceedingly difficult to 
 classify. But there is one particular " variety " in 
 
 BOOK-PLATE OF CHARLES HERIOT. 
 
 which the ornamental factors (unlike those of the 
 common ruck, which have a definitely brisk and 
 upward tendency,) have a singular drooping look, 
 
 H 
 
9 8 
 
 English Book-plates. 
 
 as though the rock-work were dripping wet, and 
 among the adjuncts were limp, dangling weeds. 
 As; this treatment (artistically very effective) is 
 
 BOOK-PLATE OF HUBBALD OF STOKE, SURREY. 
 
 Showing transition to the " landscape " and 
 "architectural" manner. Circa 1760. 
 
 frequently met with on Scotch plates of the Middle 
 Georgian period, many collectors class the latter 
 under the rubric "Scotch Chippendale." The 
 book-plate of Chas. Heriot is tolerably typical of 
 this manner in Rococo. 
 
Later Rococo. 
 
 99 
 
 I have pointed out that one of the most care- 
 fully cultivated characteristics of the genus Rococo 
 
 BOOK-PLATE OF ELIZE GULSTON. 
 Circa 1765. 
 
 in art, was asymmetry on opposite sides of the main 
 axes. Perfection was most nearly approached 
 
ioo English Book-plates. 
 
 when, with the most complete dissimilarity on op- 
 posite corresponding sides, there was the closest 
 approach to regular balance of apparent masses. 
 
 As an exceptional instance (which accentuates 
 the generality of this rule,) I have selected the ex- 
 libris of James Vere, Jun r ., engraved at a period 
 when " Chippendalism " in book-plates was at the 
 height of fashion. Here there is almost absolute 
 symmetry on both sides of the vertical axis, and 
 although the work is good, even refined, it can- 
 not be said to bring out the best potentialities of 
 the style. Compared with the cunningly unsym- 
 metrical, yet accurately poised frames of the 
 Ord or the Hubbald plates, it is decidedly tame 
 and meaningless. 
 
 These two latter, besides being artistic and 
 otherwise pleasing in themselves, may serve as 
 good examples of the natural transition from 
 the Floral-Rococo to the Heraldic-Bucolic, the 
 Heraldic- Ruinous and such varieties of the " land- 
 scape " class. 
 
 But, before dealing at greater length with this 
 coming fashion in ex-libris, one so essentially 
 English, it is necessary, in order to adhere, as far 
 as the subject admits it, to some kind of chrono- 
 logical sequence, to examine another very definite 
 style of heraldic treatment, now usually known as 
 the " Festoon." It will also be advisable to say a 
 few words concerning certain other classes of ex- 
 libris which, at least in their early instances, are 
 older than the " landscape" proper. 
 
 The ex-libris of Elize Gulston may be taken as 
 a good instance of a feminine plate in the purely 
 
Later Rococo, 101 
 
 heraldic style of latter Chippendalism. Its date is 
 probably circa 1765. 
 
 To conclude this cursory account of a style, the 
 examples of which are exceedingly numerous, it 
 may be said that it began to be cultivated in the 
 " thirties," (when it was cotemporary with a lighter 
 kind of Jacobean) ; that it was quite the vogue in 
 the "fifties;" at its height in the "sixties;" and 
 that it fell in rapid decadence, about 1770. 
 
 This particular mode of decorative treatment, 
 however, which in our own days is being revived 
 by popular favour, never completely died out 
 during the remainder of the century. As a very 
 late example may be taken the book-plate of John 
 Henslow, a naval architect, who, among other good 
 ships, designed in 1 798 the very " Foudroyant " 
 about which public interest was lately excited. 
 This book device was composed, by the owner 
 himself, probably between the years 1780 and 
 1790; he was knighted in 1794. 
 
 The plate (printed from the original copper, 
 kindly lent by Captain Spencer Henslow) may be 
 classed, like the military ex-libris of Sir Charles 
 Frederick, as emblematic of the owner's calling: 
 Sir John Henslow was Chief Surveyor of His 
 Majesty's navy. On the dexter side of the shield 
 is seen a three-decker on stocks, ready for launch- 
 ing, with Jack (before the Union) on foremast, 
 Standard (quartering France) on main, Admiralty 
 flag on mizzen and White Ensign on stern staff. 
 On the sinister side are shown sails, masts, tackle 
 and other naval emblems, among which a sail, 
 used as a scroll to display the owner's name. 
 
102 . 1 English Book-plates. 
 
 THE LATER GEORGIAN (FESTOON) 
 STYLE. 
 
 HIS style, also denominated by various 
 people as " Wreath and Ribbon," 
 " Wreath and Spray," might as appro- 
 priately be termed " Urn," or " Spade," 
 or better still, (to balance the "Chippendale" ap- 
 pellation, 1 ) "Adams" style. It is a "neat and 
 chaste " decorative mode which came in, no doubt, 
 as a reaction from the extravagance, the tormented 
 dishevelment into which Rococo art had drifted in 
 its moribund days. To a certain extent it corre- 
 sponds with the Louis XVI. style in France, 
 which is also simpler, and again admits symmetry 
 and straight lines. Its essence is simplicity, elegant 
 slenderness, and low relief. 
 
 In book-plates of this style, whether the orna- 
 mentation consist of festoons or sprays, wreaths of 
 ribbons, depending from wall-pins or rings, or any 
 combination of such elements ; whether it display 
 simply a shield of " urn " or " spade" pattern, or 
 an oval outer frame, it has invariably a physiog- 
 nomy which at once recalls the special style of 
 architectural decoration of furniture brought into 
 fashion during the latter half of the century by 
 architects and designers such as Sir W. Chambers, 
 
 1 Also to be symmetrical with "Grinling Gibbons" should 
 ever this term be accepted as synonymous with " Jacobean." 
 
A 
 
 BOOK-PLATE OF THE HATFIELD HOUSE LIBRARY 
 
 Engraved circa 1790. 
 
The Spade Shield. 
 
 105 
 
 Robert Adams, Josiah Wedgwood, Hepplewhite 
 and Sheraton. In the pseudo- classic designs 
 which under the influence of these men took a 
 firm hold of public taste, urns and urn-like shapes, 
 
 BOOK-PLATE OF THE REV. W. BARROW, LL.D. 
 
 Engraved by Thornthwaite, 17S9. 
 
 are'ubiquitous elements and play a singularly im- 
 portant part in ornamentation. 
 
 The so-called Georgian shield itself, when simply 
 "cusped," and more especially when " wedged," 
 is unmistakably based on the urn outline. 
 
106 English Book-plates. 
 
 " Adams " ! or " Festoon " plates, began to make 
 their appearance about 1770, and the style en- 
 
 sr? 
 
 BOOK-PLATE OF CHARLES DICKINSON, ESQ. 
 
 Circa 1785. 
 
 dured until the beginning- of this century. The 
 greater number belong to the 1780-90 decade. 
 
 1 I prefer "Adams" to "Sheraton" (which has been suggested 
 by some) as the more descriptive appellation. Sheraton's name 
 is quite as much associated with the later (and very different) 
 so-called "Empire " fashion in furniture, as with the early style 
 he cultivated in common with Adams, Chambers and others. 
 
The Spade Shield. 107 
 
 The leading characteristic of the " later Geor- 
 gian " is really not the festoons or the wreath, but 
 rather the shape of the shield (hence my sugges- 
 tion of " spade " as a suitable designation), which 
 
 J&mv^^/Ki7i<Z/ £^0" 
 
 BOOK-PLATE OF JOHN LARKING, 
 
 Of Clare House, East Mailing. 
 Circa 1794. 
 
 in heraldic designs of that period is almost always 
 of the plain Georgian pattern, as above described. 
 The classicality of the style does not well admit 
 of helmet or mantling ; with rare exceptions (the 
 Salisbury plate for example), the crest is supported 
 
108 English Book-plates. 
 
 by a plain torce after the fashion which had 
 already gradually asserted itself with later Chip- 
 pendalism. 
 
 The ornamental concomitants may be hanging 
 festoons sustained by rings or wall-pins, or en- 
 
 
 *<U> CHOll^ 
 
 BOOK-PLATE OF GENERAL MACGREGOR. 
 Circa 1795. 
 
 closing wreaths, or palms, sprays and " slipped " 
 branches, crossing under the base, generally tied 
 with a knot of fluttering ribbon, and rising sym- 
 metrically on either side of the shield. 
 
 The door-panel arrangement selected, with some 
 show ofclassical taste, by the Rev. W. Barrow, LL.D., 
 S.A.S., the earliest in date among my examples, 
 
Festoons and Sprays, 
 
 109 
 
 displays the urn shield, the festoon, the ribbon and 
 the sprays in a very typical, Adams-like manner. 
 
 The book-plate of Charles Dickinson, on the 
 other hand, is a charming example of the simple 
 
 BOOK-PLATE OF SAMUEL ROGERS. 
 
 Circa 1795. 
 
 festoon and spray combination : and of the plain 
 palm or spray arrangement the next four figures 
 are typical. 
 
 The first, that of John Larking, cannot be 
 earlier than 1793, the year in which this particular 
 Larking (of Clare House, East Mailing, Kent) 
 
1 10 English Book-plates. 
 
 married Dorothy Styles, and was thus able to em- 
 pale her arms on his escutcheon. 
 
 In the second it is quaint and pleasing to recog- 
 nize, blazoned on so peaceable a token as a book- 
 plate, the arrogant charges once borne by civili- 
 
 John Walton . 
 Be ding ton. 
 
 EOOK-PLATE OF JOHN WALTON. 
 
 Circa 1790. 
 
 zation-despising Rob Roy, quartered with the 
 achievements of MacDonald. 
 
 The third, designed for Samuel Rogers, is pre- 
 sumably contemporary with that epoch in the poet's 
 life which was marked by the appearance of the 
 " Pleasures of Memory ; " in other words, with the 
 last ten years of the century. 
 
The Decorative Urn. 1 1 1 
 
 I have selected the fourth, which was the token 
 of John Walton of Bedington,. albeit a meagre 
 and otheiwise poor design, on account of its very 
 typical display of the wall-pin in its two chief 
 varieties, oval and circular, as it so happens that 
 all my other examples excepting the Barrow plate 
 do not include that important element of Chambers- 
 Adams decoration. 
 
 ANONYMOUS BOOK-PLATE TYPICAL OF THE URN FASHION. 
 Circa 1795. 
 
 As for the anonymous little plate, which seems, 
 judging from the coat, to have belonged to one 
 James Tyers, I have not been able to ascertain its 
 exact date ; but it is very characteristic of the 
 general taste in the last decade of the century. 
 There we see what is really a "festoon" frame 
 on which is displayed the favourite shield of the 
 times, but meant to suggest at first flush the 
 inevitable urn. I have selected this example and 
 the next to show how the beauteous utensil seems 
 
112 
 
 English Book-plates. 
 
 to have been impressed on the minds of later 
 Georgian engravers. 
 
 The ex-libris of Charles Dyer, with its blasted 
 tree (representing the spray) growing out of a 
 gravestone ; with its inane weeping willows (no 
 
 BOOK-PLATE OF CHARLES DYER. 
 
 Circa 1800. 
 
 doubt in lieu of festoon) ; with its funeral urn of 
 hideous proportions, actually stamped with a mark 
 of cadency, and its spade shield in the act of col- 
 lapsing, may be held up as a " dreadful example." l 
 
 1 I can put no exact date to this, but would ascribe it to the 
 very first years of this century, a time when national taste was 
 at a most deplorable ebb. 
 
The Decorative Urn, 
 
 ii3 
 
 It is difficult to understand what it was that in 
 those days so often suggested tombstone arrange- 
 ments as suitable for insertion amono- books. This 
 
 BOOK-PLATE OF THE REV. D. A. BEAUFORT. 
 
 Circa 1790. 
 
 Mr. Dyer was, perhaps, devoid enough of decency 
 to think that his book-plate was appropriate to his 
 name ; but this is no rare example ; as a matter 
 of fact, funereal ex-libris are almost numerous 
 enough to fill a class by themselves. 
 
 1 
 
1 14 English Book-plates. 
 
 Of spade shape are the shields that figure 
 in heraldic " landscape " or otherwise pictorial 
 plates belonging to the last quarter of the 
 century. 
 
 It must also be noted that in many cases shields 
 of this pattern are found, unattended by sprays or 
 festoons, but surrounded by an elliptical frame, 
 beaded at the edge, sometimes shaded, as in the 
 present example, but generally plain. 1 
 
 In the simple escutcheon of urn pattern, which 
 also occurs on book-plate of late Georgian days, 
 utterly unadorned, left in severe nakedness, we are 
 to see the immediate predecessor of that very 
 uninteresting book-plate for which I have sug- 
 gested the term " Modern Die-sinker. 
 
 To the late Georgian " Spade" style belongs a 
 most interesting plate which for some time was 
 supposed to have been that of Captain James 
 Cook, of discovery and circumnavigation fame, 
 but which was most likely devised for his son 
 (likewise James Cook). This ex-libris is most 
 interesting on many accounts although it seems 
 never to have been used. I owe it to the courtesy 
 of the Rev. Canon Bennett, of Shrewton, Wilts, to 
 be able to print it in my volume from the original 
 copper-plate. 
 
 The history of this plate itself is obscure. 
 Captain Cook was killed at Hawaii, February 14th, 
 1779. On September 3rd, 1785, a coat of arms 
 was granted to the family of which the following is 
 
 1 This "silver tray" arrangement was specially cultivated 
 by an engraver (1780-95) who signed S. A T ee/e, Sculp 1 . 
 
The Decorative Urn. 1 1 5 
 
 a blazoning, very typical of the degraded heraldry 
 which the College tolerated at that period. 
 
 "Azure, between two Polar Stars Or, a sphere on 
 the plane of the meridian. North pole elevated 
 circles of latitude for every ten degrees, and of 
 longitude for every fifteen, showing the Pacific 
 Ocean between 6o° and 240 west, bounded on 
 one side by America and on the other by Asia and 
 New Holland, in memory of the discoveries made 
 by him in that ocean, so very far beyond all former 
 navigators. His track thereon is marked with red 
 lines, and for crest on a wreath of the colours is an arm 
 imbowed vested in the uniform of a captain in the 
 Royal Navy. In the hand is a Union Jack on a 
 Staff proper. The arm is encircled by a wreath 
 of palm and laurel." 
 
 The crest motto is " Circa orbem " and the 
 motto below the shield on the original is " Nil 
 intentatew reliquit." The error is corrected in 
 the book-plate. The original grant of arms is 
 now with other Cook relics in the Colonial Govern- 
 ment Museum at Sydney. 
 
 No " Captain Cook," however, was living at the 
 time of the grant, and consequently the plate could 
 never have been used by the Cook of navigation 
 fame. But his eldest son, James, a young naval 
 officer of high promise, was appointed in the 
 autumn of 1793 to the command of the " Spitfire " 
 sloop of war. 
 
 There was then a " Captain Cook " and it is 
 assumed that the plate was made for him. The 
 general style of the design belongs to that period. 
 The young commander never lived to use the 
 
1 1 6 English Book-plates. 
 
 plate ; in January, 1 794, his body was discovered on 
 the beach of the Isle of Wight, under circumstances 
 which pointed strongly to the suspicion of murder, 
 and the original copper passed through various 
 hands, with family papers and heirlooms, until it 
 came into the possession of the Rev. Canon 
 Bennett. 
 
v|sfe*, iM^ss^^ffS 
 
 ^likJ^^^-l^l 
 
 RE^B^WM^KitV m 
 
 
 
 ^^^^^^^^^s^^i^^ 
 
 *•' ^ae^aRsaK.' PT^V* 1 
 
 PICTORIAL PLATES. 
 
 I. "literary" (book-piles and library 
 interiors). 
 
 GAVE it as a broad fact that with the 
 exception of mere name-labels and 
 recent times, book-plates have 
 
 un 
 
 til 
 
 generally been more or less heraldic in 
 character. In short, the number of plates in which 
 Armorial Devices do not figure in some guise or 
 other is comparatively small. Hence the advisa- 
 bility of distinguishing first, as far as such a thing 
 is feasible, the different modes of heraldic treat- 
 ment. This was all the more requisite, as to a 
 great extent the so-called styles must be referred 
 to, to qualify the classes, such as the " Literary," 
 "Allegorical," " Landscape," and "Architectural." 
 We may, for instance, have a "Literary" book- 
 plate ornamentally treated in Rococo or in later 
 Georgian style, and so forth. 
 
 Perhaps the oldest definite class of pictorial 
 book-plates is the " Book-pile" (the special mean- 
 ing of the word is now consecrated). 
 
 Some kind of arrangement of books for decora- 
 tive or symbolic purposes is, of course, a most 
 obvious element in the composition of a book- 
 plate. The word "book-pile" having been applied 
 
u8 
 
 English Book-plates. 
 
 to a certain well-known conventional display of 
 volumes, it is necessary to " distinguish and divide" 
 among literary ex-libris, between Book-piles proper 
 and piles of books otherwise disposed. 
 
 BOOK-PLATE OF WILLIAM HEWER. 
 
 Showing the typical " book-pile " arrangement. 
 1699. 
 
 The Book-pile is a very specially English device. 
 The oldest dated example known is that of Sir 
 William St. Quintin, Bart. ; but the date it bears 
 (1641) is misleading, and records, in fact, the 
 
The "Book-Pile." 119 
 
 creation of the baronetcy, not the year of the en- 
 graving which was, in all probability, executed at 
 least a, score of years later. 
 
 Next in date are the plates of Sir Philip Syden- 
 ham and of William Hewer (Samuel Pepys' friend 
 and secretary, at whose house in Clapham the im- 
 mortal gossiper drew his last breath in 1703). 
 Both these plates bear the date 1699. : That of 
 William Hewer, albeit non heraldic, is in every 
 other sense typical. The man who designed it 
 adopted an arrangement which, in all essentials, 
 has endured unchanged; three tiers of bound 
 volumes ' rising one on the other in the fashion of 
 a modern overmantel, adorned with a bundle of 
 documents and other articles of stationery a-top, 
 pediment-wise, forming a kind of frame for a scroll 
 which may bear heraldic charges, cyphers, or 
 merely wise mottoes. William Hewer, en don 
 bourgeois, was satisfied with a very excellent mono- 
 gram of his name. 
 
 Book-plates of this pattern, varying but in the 
 most trifling details, but made personal by heraldry 
 or legend, occur sporadically throughout two cen- 
 turies. One of our keenest and most learned 
 collectors, the Honble. Gerald Ponsonby, has 
 adopted the regulation book-pile as his mark. 
 
 The expression " piles of books " is applied to 
 a display of volumes more freely disposed. 1 When 
 the books are represented in their proper habitat, 
 
 1 The term is certainly awkward and otherwise unsatis- 
 factory ; but it is certainly better than that of " loose-books " 
 which some collectors propose, and which is, to say the least, 
 ambiguous and unsuited to this grave subject. 
 
120 
 
 English Book-plates. 
 
 that is, indoors (not, like those of Mr. Samwell 
 for instance, resting damply and unprotected on 
 heather), such devices, however, may be classed 
 
 among 
 
 Library Interiors." 
 
 {Jl^umtaJ \Jlv#tcu. 
 
 BOOK-PLATE OF THOMAS BOLAS. 
 
 Copied from a design by Gravelot. 
 Circa 1740. 
 
 The " Literary " device, notwithstanding all its 
 pleasing and artistic potentialities, has not, until 
 recent times, found as much favour in England 
 as in other countries. More is the pity, for there 
 
"Library Interior!' 
 
 121 
 
 are charming elements of quaintness and personal 
 adaptability available for such compositions, as, 
 indeed, a great number of French and German 
 plates testify. 
 
 BOOK-PLATE OF WADHAM WYNDHAM, ESQ. 
 
 Adapted from a design by Gravelot, engraved by Pine. 
 Circa 1740. 
 
 The earliest examples belong to the eighteenth 
 century, and are, as a rule, rather foreign in cha- 
 racter; the national taste was for more purely 
 armorial devices. As mere ornamental adjuncts 
 books are often present in Chippendale, even in 
 Jacobean plates, but there certainly was a want of 
 
122 
 
 English Book-plates. 
 
 fertility in the conception of such designs by 
 English engravers. There is hardly more than 
 a score or so of "Library Interiors" previous 
 in date to this century known in England, and 
 
 '(MUt^r^F 
 
 BOOK-PLATE OF H. ASHTON, ESQ. 
 
 Engraved by Billinge. 
 Circa 1760. 
 
 curiously enough many of these are mere adap- 
 tations of earlier or contemporary compositions by 
 foreign artists. 
 
 Such is the case, for instance, with the ex-libris 
 of Thomas Bolas, which shows us a singularly un- 
 
BOOK-PLATE OF GRAY'S INN LIBRARY. 
 
 Engraved by J. Pine, 1750. 
 
1 ' Library Interior" 1 25 
 
 stable erection of volumes (on the cover of one 
 being a literary motto) as a basis for an escutcheon 
 with scroll. This plate (says Mr. Vicars, a collec- 
 tor who has made the study of "library interiors " 
 a speciality) is copied from one signed and en- 
 graved by Gravelot for Charles Bolingbroke, sur- 
 geon, and the probable date of which is 1 740. 
 
 r^mm^ 
 
 BOOK-PLATE OF T. S. W. SAMWELL, ESQ. 
 
 Circa 1810. 
 
 , In the same manner the Wadham Wyndham 
 plate is a copy (adapted as to heraldry) of another 
 plate signed by Gravelot, engraved by J. Pine for 
 J. Burton, D.D. 
 
 Again, there are extant at least two plates which 
 are adapted copies of the Ashton ex-libris, signed 
 by Billinge. 
 
 The book-plate of Gray's Inn Library is a fine 
 
1 26 English Book-plates. 
 
 example of rampant Rococo, possibly also de- 
 signed by Gravelot, who certainly was active in 
 propagating French mannerism in this minor de- 
 partment of British art. The records of Gray's 
 Inn inform us that the label was " ordered of Pine 
 the engraver, 24th November, 1750." 1 
 
 A celebrated example of the ''Literary" class 
 is the Packington library plate. This rather 
 striking piece of bold engraving — which, notwith- 
 standing its qualities, is a trifle indistinct as to 
 meaning and not easily described — is commonly 
 attributed to Piranesi. There is that, no doubt, 
 in the feeling of the drawing which at once recalls 
 the toucher gras of that prolific artist Giovanni 
 Battista Piranesi. On the other hand, it has been 
 recorded that the Earl of Aylesford, whose book- 
 mark this was, piqued himself on his talents as 
 an engraver, in which particular capacity he 
 received instruction from Piranesi. It is there- 
 fore quite possible that, as it is held by some, 
 this plate may have been the work of the Earl 
 himself. 
 
 I have not been able to ascertain the date 
 of the Sam well book-plate ; but, to judge from 
 the character of its escutcheon, it must have 
 been engraved during the first decade of this 
 century. 
 
 The plate of the Rev. W. T. Bree is still a more 
 modern instance, and a pleasing one, of the con- 
 ventional " Pile of books" device. It belonged 
 
 1 Gray's Inn now uses a smaller modern copy of this plate, 
 done by A. Moring, London. 
 
THE AYLESFORD BOOK-PLATE. 
 
 Attributed to Piranesi. 
 Circa 1770. 
 
11 Pile of Books." 
 
 129 
 
 (says Mr. Vicars) to the father of the present 
 Archdeacon Bree, and was drawn by his grand- 
 father. 
 
 BOOK-PLATE OF THE REV. W. T. BREE. 
 
 Circa 1830. 
 
 K 
 
130 English Book-plates. 
 
 II. PORTRAIT BOOK-PLATES. 
 
 HE idea of using a likeness of the owner 
 as a personal mark in books is, on the 
 whole, very obvious. We have seen 
 that Dtirer's friend, Bilibald Pirck- 
 heimer, is known to have had a plate of this kind, 
 which he pasted on the back covers of his books. 
 Portraits also occur on sundry printer's marks ; on 
 that of our own Richard Fawkes for instance. But 
 portrait examples, anterior to modern times, are 
 rare ; it may even be said they can be counted on 
 the fingers. 
 
 The oldest known instance of an English por- 
 trait ex-libris, is the gift plate 1 of John Hacket, 
 engraved by W. Faithorne in 1670. The donor's 
 likeness appears in an oval frame with the inscrip- 
 tions : " Inservi Deo et l^tare" and Ex dono 
 J oannis Hacket Lichfieldens et Coventrjens Episcopi, 
 16 jo. W. Faithorne, Sculp. 
 
 It is, perhaps, allowable to include in this class 
 a certain handsome plate found in sundry MSS. 
 volumes of the Ashmolean library. This engrav- 
 ing, which measures seven inches by five, repre- 
 sents a niche in a wall, in front of which a bust, 
 inscribed Elias Ashmole, stands, resting upon a 
 number of books symmetrically piled to form a 
 
 1 Reproduced in Mr. Hardy's volume on " Book-plates." 
 
Portrait Plates. 
 
 131 
 
 sort of plinth. On one of the volumes to the left 
 figures the Ashmole crest, whilst on another, cor- 
 respondingly placed to the right, is displayed the 
 coat, which, being tinctured in the conventional 
 dots and lines, would alone suffice to fix the date 
 as posterior to 1640. Over the central pile hangs 
 a " napkin," left blank, apparently for manuscript 
 numbering. 
 
 It must be admitted that this is a very book- 
 plate-like arrangement, yet it hardly seems to have 
 been used as such, but rather as a frontispiece or 
 title-page to the MSS. Elias Ashmole used, as 
 a regular book-plate, a plain typographic label, 
 dated 1635. 
 
 The most notable examples of this kind in the 
 eighteenth century are the two ex-libris engraved 
 by Robt. White, reproducing a portrait of Samuel 
 Pepys himself, after Kneller. They are of diffe- 
 rent sizes. 1 In the larger one the portrait appears 
 in an oval frame bearing the words : Sam Pepys 
 Car. et Jac. Ang. Regib A. Secretis Admiralicz. 
 Under the picture is the motto : Mens cujusque is 
 est quisque. This seems to have been originally 
 engraved as a frontispiece to Pepys' privately 
 printed edition of " Memoires relating to the State 
 of the Navy of England for ten years, determined 
 1688," which appeared in 1690. But there can be 
 no doubt about Pepys having used the plate at a 
 later period as an ex-libris. Both the portrait 
 plates are found pasted in his books at Magdalene 
 College, Cambridge. 
 
 1 The larger was reproduced in the original edition of the 
 present work. 
 
132 English Book-plates. 
 
 The smaller plate displays the portrait on a 
 scroll of paper in an oval medallion, with the same 
 singular motto overhead. 1 
 
 In Mr. J. P. Rylands' " Notes" is given an ac- 
 count of certain hand-painted ex-libris by Thomas 
 Barritt, the saddler-antiquary, and of etched copies 
 of the same, dated 1794. Barritt is represented 
 in the midst of "antiquarian" surroundings — old 
 armour, parchment rolls, coins and clasped books — 
 his arms are displayed on a shield, and there is a 
 motto in Old English characters : PtOfCtt SltltlQUa 
 
 m apricum* 
 
 Portrait plates are few and far between. Among 
 modem instances I may quote the book-plates of 
 Mr. W. T. Thorns, the founder of " Notes and 
 Queries," of Mr. Joseph Knight, by William Bell 
 Scott, and Mr. Ashbee, which, through the owners' 
 courtesy, I am able to include among my examples 
 (see Modern Examples). From every point of view 
 it is regrettable that more English men and women 
 of note should not have adopted this form of token, 
 which is of all kinds the most personal, and there- 
 fore the most interesting to posterity. 
 
 1 Two other plates engraved for Mr. Pepys are known to 
 collectors. One has the initials S. P., combined with the 
 Admiralty crossed anchors : this is the one to which he refers 
 in his diary (July 21, 1668) : the other is heraldic, and displays 
 Pepys' quartering Talbot of Cottenham with the legend : Samuel 
 Pepys, of Brampton in Huntingdonshire, Esq., Secretary of the 
 Admiralty to his Majesty King Charles the Second. Descended of 
 y e ancient family of Pepys of Cottenham in Cambridgeshire. The 
 first of these is reproduced in the Introduction, and the second 
 under the head " Restoration " Style. 
 
133 
 
 III. ALLEGORIC BOOK-PLATES. 
 
 N the more pretentious book-plates of 
 "Jacobean" style, in addition to the 
 usual decorative factors, festoons, scol- 
 lops, and wreath mouldings, cornucopias 
 and pilasters, we often meet with others of a more 
 statuesque kind, such as masks, term figures, satyr 
 heads, cherubs, and similar creations of artistic 
 fancy. These form the irregular element which is 
 sometimes introduced to enhance an otherwise 
 symmetrical decoration. In the same manner we 
 see cupids or fairies, or short-skirted shepherdesses 
 a la Watteau on " Chippendale " frames. 
 
 The translation of these figures from mere sub- 
 ordinate into leading characters is easy to trace. 
 The artist had only to adopt the realistic treatment 
 instead of the conventional, and to give ostensible 
 life to his figures by ascribing to them some appo- 
 site action with reference to the escutcheon they 
 support : the result was an "allegoric " plate. 
 
 The ex-libris of the Rev. John Lloyd, which as to 
 " style " was included among the Jacobean, may in 
 this sense be classed among Allegoric plates. 
 
 Animus si aequus quod petis hie est, says the 
 inscription on the bracket, whilst attendant on the 
 shield are two lively cupids ready to present the 
 book required. Allegoric plates, it may be stated, 
 are as a rule rather ridiculous. In this particular 
 
134 English Book-plates. 
 
 case, it were difficult to conceive a composition 
 more inappropriate to the library of an equable- 
 minded divine, although it might, perhaps, have 
 suited well enough the more frolicsome volumes of 
 some erotic collection. In a similar manner the 
 book-plate of Wadham Wyndham, with it cherubs 
 discussing some point of literary lore, might be 
 (and is indeed, by some collectors,) classed among 
 ''Allegories " instead of " Library Interiors." 
 
 On the whole, Allegoric plates are not numerous 
 in England, Warren holds them to represent an 
 obvious, yet never very widely popular deviation 
 of the more precious "Jacobean" mode, which 
 gradually lost all apparent connection with the 
 parent style ; but the same may be said of those 
 emblematic arrangements that are affiliated with 
 the Chippendale designs. 
 
 " Whether we take," says he (the first to define 
 this class and'trace its connections), " the Allegoric 
 plate of the period of Hogarth, Pine, and George 
 Vertue, or consider the later groups of mythologi- 
 cal engravers such as Bartolozzi and his scholars, 
 Sherwin, Henshaw and the like, it must be con- 
 ceded that in England during the eighteenth 
 century, Allegoric book-plates were never a nume- 
 rous class. In France, however, during the same 
 period, such ex-libris were, on the contrary, pro- 
 fusely abundant." 
 
 I have already pointed out that the appearance 
 of a given ornamental style in book-plates is 
 always, and naturally so, somewhat in arrear of 
 its prevalence in general decoration. Such was 
 certainly the case with the " Jacobean " and the 
 
Allegoric Plates. 
 
 135 
 
 " Chippendale," and we have seen how either of 
 these lent themselves to modification in the direc- 
 tion of " Allegory." 
 
 Now about the year 1 730, " acres of ceiling 
 
 BOOK-PLATE OF ANDREW LUMISDEN. 
 
 Engraved by Robert Strange. 
 Circa 1746. 
 
 frescoes were being done, by the yard, and 
 Allegory began to sprawl in all its dizzy con- 
 tortions and aerial foreshortenings on many 
 palaces and public buildings of the period. 
 Sir James Thornhill had just received forty 
 
1 36 English Book-plates. 
 
 shillings a yard for the Cupola of St. Paul's 
 and Greenwich Hospital, and twenty-five shil- 
 lings a yard for the staircase of the Southsea 
 House at Blenheim, besides embellishing the 
 Princess's apartment at Hampton Court at a 
 rate not recorded. Vanderbank, Laguerre and 
 a dozen others had been daubing away in all 
 directions with much public applause and private 
 emolument. That Allegory should, therefore, 
 reach even the British Book-plate was inevit- 
 able." 1 One may add to this, that Allegory had 
 likewise already run riot on the engraved title- 
 page of the period, and that designers would 
 naturally feel tempted to adapt the manner to 
 private book-plates. 
 
 Prominent among engravers who cultivated 
 this style, stands George Vertue, who cut the 
 celebrated plate of Henrietta Cavendish Holies, 
 Countess of Oxford, in 1733; John Pine, who 
 executed the gift plate, inscribed Munificentia 
 Regia, for the use of the books presented by 
 King George I. to the University of Cambridge 
 (both of which interesting specimens are repro- 
 duced in " Warren's Guide" and in Hardy's 
 " Book-plates ") ; William Hogarth, who worked 
 in both Jacobean and Chippendale style ; Cipriani 
 and Bartolozzi, whose manner is more of " spade 
 and urn " description. 
 
 Robert Strange, the noted line engraver and 
 Jacobite life-guardsman, who designed pay-notes 
 for the young Pretender, yet accepted a knight- 
 
 1 Warren. 
 
Visiting Cards. 137 
 
 hood from the third George, engraved at least 
 two book-plates, both of the Allegorical descrip- 
 tion. One was executed from a design by 
 T. Wall for Dr. Thomas Drummond and shows 
 us the doctors library and various musical instru- 
 ments, over which, in accordance with Thomas 
 Drummond's motto Aurora est apta musts, an 
 allegorical figure of Dawn hovers with a ruddy 
 torch in her hand. The composition, for which 
 Strange was not responsible, is on the whole poor 
 and tolerably priggish. 
 
 The other, probably engraved in 1746 or 1747, 
 which in design recalls Gravelot's manner, was 
 made for Strangers brother-in-law, Andrew Lumis- 
 den, secretary to the young Pretender. It shows 
 us a conventional interior, with a marble console 
 supporting on brackets a pair of busts, Cicero 
 and Craig ; the latter presumably the Sir Thomas 
 Craig, of Riccarton — a countryman of both the 
 owner and the engraver — who wrote learned 
 treatises on Feudal Laws and on Royal Succes- 
 sions. In the foreground a cupid, holding a 
 manuscript in his hand, sits in an orating attitude 
 among books, rolls, scales, compasses and other 
 emblems of judicial tendencies, whilst the Lumis- 
 den coat is displayed on a Rococo cartouche. 
 The crest figures above the owner's name on a 
 diminutive frame at the base of the whole com- 
 position. v 
 
 It is to be regretted that the " relief" process of 
 reproduction should do so little justice to this 
 very interesting plate. The original is signed 
 " R. Strange, Sculp 1 ." 
 
138 English Book-plates. 
 
 The plate of Henrietta Frances, Countess of 
 Bessborough, is here given not only as an exam- 
 ple of Cipriani and Bartolozzi allegorical work, but 
 also as an instance of a pictorial visiting card (an 
 
 Lendon,rui> J D te '30.l71f6.li,EBa.Ttol<***; 
 
 BOOK-PLATE OF HENRIETTA FRANCES, COUNTESS 
 
 OF BESSBOROUGH. 
 
 Designed by Cipriani. Engraved by Bartolozzi, 1796. 
 
 article then in fashion among people of taste) 
 adapted to serve as an ex-libris. 
 
 Mr. Ponsonby, of whom Lady Bessborough was 
 an ancestress, informs me that this device was 
 really used as a book-plate. The design is to be 
 thus interpreted : a Roman interior (according to 
 
Visiting Cards. 
 
 J 39 
 
 the classic lights of the last century); Venus 
 seated and holding a dove in one hand, the em- 
 blem of love, and in the other a flambant heart. 
 It was designed by Cipriani, engraved by Barto- 
 lozzi, and " published" 1 by the latter in 1796. 
 This is the plate which Bartolozzi called a " ticket 
 
 VISITING CARD OF CHARLES TOWNLEY, USED AS A BOOK-PLATE. 
 
 'Engraved by Skelton. 
 Circa 1790. 
 
 plate" when acknowledging the receipt of ^20 
 as the price of the same, the day before " publi- 
 cation." 
 
 The plate designed by William Skelton for his 
 early patron Charles Townley, the antiquary and 
 
 1 This last refers to the protective Act of Parliament passed 
 in 1735 (chiefly at Hogarth's instigation). 
 
140 
 
 English Book-plates. 
 
 collector to whom the British Museum is indebted 
 for the " Townley marbles," is another instance of 
 a visiting card which has done duty as an alle- 
 gorical ex-libris. 
 
 Whether on the other hand the book-plate of 
 J. Wilson, Professor of Phrenology, was originally 
 devised as a business card, is a matter for conjec- 
 ture. It is reproduced here as one more example 
 of the class, although its date is undoubtedly much 
 later than the eighteenth century. 
 
 -^W^U/^T" &/^S%Z67Z&t!<?&p/ 
 
i4i 
 
 IV. THE " LANDSCAPE " BOOK-PLATE. 
 
 HE taste for a restful landscape as a 
 personal symbol of book-ownership be- 
 gan to assert itself about the year 1770, 
 and remained long in favour. 
 A notable feature in the more decadent plates 
 of the Chippendale period is, as I have already 
 pointed out, a tendency to combine heterogeneous 
 elements of decoration, apparently in the hope of 
 producing fresh and startling effects in a style of 
 design already well-nigh exhausted ; exaggerated 
 floral growths, boughs of trees, waterfalls from 
 shelly rocks, bridges and ruins and, now and again, 
 peeps of distant landscape. Approximating to 
 this description are the two last examples of the 
 style, Ord and Hubbald. 
 
 In many designs of later period the vignette 
 element assumes preponderance. A good speci- 
 men, although, in itself, not a transitional instance, 
 (being of a date posterior to many of the pure 
 landscape kind) is a certain school ex-libris, pretty 
 commonly met with to this day, inscribed Tanrego, 
 in the county ofSligo, 1 786 (engraved by J. Taylor) ; 
 a singular " compo " of the Chippendale-Armorial, 
 of the Allegorical and the Landscape in tolerably 
 equal proportions. 
 
 In many of this class, however, heraldry retains 
 
142 English Book-plates. 
 
 a definite place ; and, in such cases, the " style " is 
 generally of the Urn or Spade order. 
 
 The book-plate of Samuel Farr, M.D., is an 
 early instance, if so it be that the date is correct. 
 This is a distinctly sepulchral ex-libris for a 
 medical man's library. Hardly more cheerful, but 
 perhaps more appropriate in treatment (seeing 
 
 — - — -ij6q 
 
 BOOK-PLATE OF SAMUEL FARR, 1 769. 
 
 that it was designed for a bequest), is the plate 
 commemorative of a Dr. Broughton, who appa- 
 rently died^ in foreign climes about the year 1 796, 
 and left his ashes under a pineapple urn cover, 
 amid the palm groves where the python bites his 
 tail— emblem alike of the deceased's late calling, 
 and of his presumably restful eternity. This is *a 
 good example of an heraldic emblematic landscape 
 
Landscape Plates. 
 
 H3 
 
 ex-libris, artistically treated. It was devised by 
 J. Taylor, and engraved by one Cook. 
 
 A great number of very charming armorial land- 
 scape plates are arranged on the plan displayed in 
 that of James Neild. In these the personal element 
 
 BEQUEST PLATE OF A. BROUGHTON, M.D., 1 796. 
 
 Designed by J. Taylor. 
 
 is represented by an escutcheon (almost invariably 
 of Georgian pattern) leaning against some tree- 
 stump or rock, or quite as often depending from a 
 bough (as shown, for instance, in the Strawberry 
 Hill plate) ; the artistic or pictorial by a glade, a 
 brook, or a plain bounded by distant hills, a peace- 
 
144 
 
 English Book-plates. 
 
 ful country church, or a coast scene with sails in 
 the offing. This class, albeit too often sadly 
 marred by the presence of impossible and other- 
 wise ridiculous " properties," such as the spear 
 
 <2£s<Ji£&<3j> 
 
 *>~> 
 
 BOOK-PLATE OF JAS. NEILD. 
 
 Circa 1790. 
 
 and the crested morion in the Neild vignette, is 
 generally pleasing ; it is essentially English. 
 
 An excellent specimen is the ex-libris engraved 
 by Barlow for William Boteler, which gives a view 
 of Eastry Church in Kent, whilst the arms on a 
 conventional shield (Boteler empaling Harvey) 
 proclaim the owner s name. 
 
Armorial Landscapes. 
 
 145 
 
 In some cases the armorial element is alto- 
 gether absent from the landscape plate. In such 
 instances, the owner's name (for after all an ex- 
 libris must record book-ownership somehow or 
 other) may be engraved on a rock (as in the 
 plates of John Anderson, Junior, and of C. E. 
 
 BOOK-PLATE OF WILLIAM BOTELER. 
 
 By Barlow. Circa 1800. 
 
 Bainbridge), or writ in the clouds after the fashion 
 of a latter day advertisement. This, however, 
 is not more incongruous than the introduction of 
 tilting lances and targes in a quiet fishing scene 
 where an angler in 1 790 attire, is placidly lifting 
 a stout perch out of the water ; but, as Warren 
 remarks with reference more especially to the 
 charming Bewick vignettes, the owners, not the 
 
 L 
 
146 
 
 English Book-plates. 
 
 designers of landscape plates, were responsible for 
 the intrusion of these jarring elements. 
 
 In the design supposed to have been used by 
 Horace Walpole as a book-plate, and which shows 
 
 THE "STRAWBERRY HILL" BOOK-PLATE. 
 
 a distant and rather artificially aged view of Straw- 
 berry Hill, heraldry is not so obtrusive, and there 
 is a certain conventionality about the arrangement 
 of trees in the foreground which suits the style of 
 a book-plate. This plate has been attributed to 
 Bewick, but, as Mr. Austin Dobson has pointed 
 
Non-armorial Landscapes. 147 
 
 out to me, if any of the Strawberry Hill plates 
 were executed by the Northumbrian engraver, 
 they are simply exact copies of the vignette copper 
 which appears on the title-page of Gray's " Odes," 
 (the first book issued from the Strawberry Hill 
 Press) in 1757. In that year Bewick was only 
 four years old. Horace Walpole died in 1797, at a 
 
 BOOK-PLATE OF JOHN ANDERSON, JUN. 
 
 By Thomas Bewick. Circa 1800. 
 
 time when Bewick was most busy about this sort of 
 work, but it is not likely that this original draughts- 
 man should have copied an old device. 
 
 The ex-libris of John Anderson, Jun r ., and of 
 George Hawks, which are representative of the 
 non-armorial class and give us Bewick at his best, 
 are charming little pictures. In the first of these, 
 however, it is difficult to recognize any great suit- 
 
148 
 
 English Book-plates. 
 
 ability as a mark of possession, unless, indeed, it 
 were destined to a library of specially piscatorial 
 lore. The treatment of G. Hawks' token, on the 
 other hand, in the hands of the delineator of 
 " Bewick's Birds," is as natural as it is obvious in 
 suggestion. 
 
 Be this as it may, the pure landscape ex-libris 
 of the last decades of the eighteenth century and 
 the first of this, formed a very definite category, 
 
 BOOK-PLATE OF GEORGE HAWKS. 
 
 By Thomas Bewick. 
 
 one of which examples are not only numerous, but 
 in many cases particularly pleasing. The vignette 
 plate of C. Bainbridge, by Howitt (a loving designer 
 of sporting subjects) with its keen-nosed setter 
 coming round a boulder on a moor, is also an in- 
 stance of the kind. We are, indeed, far from the 
 Book-pile and the Rococo frame ! 
 
 This style frequently took the character of ruins 
 (symbol of the instability of human affairs ii 
 general, and of book possession in particular) 
 
 in 
 
Non-armorial Landscapes. 149 
 
 The taste for deserted temples, frowning mediaeval 
 remains, broken arches and overturned columns 
 endured even longer than that for forest glades 
 and rustic scenes. All these structures, it is well 
 
 BOOK-PLATE OF G. C. BAINBRIDGE. 
 
 By S. Howitt. Circa 1810. 
 
 to note, offered surfaces temptingly inviting in- 
 scription, and it may be said that " Ruin " book- 
 plates are almost a class in themselves. The 
 Townley card is tolerably typical of the genus ; 
 so is the William Lane ex-libris, which, no doubt, 
 was also used as a visiting card. It is very 
 
i5o 
 
 English Book-plates. 
 
 characteristic, and peculiarly atrocious in composi- 
 tion. The Trajan column-like structure, flanked 
 by the ruins on one side of a Corinthian colonnade, 
 and on the other of some Romanesque building, 
 would look incongruous enough within such a 
 frame. But at the period which was graced by 
 Mr. William Lane a label of this kind would not 
 
 mwumwvxiuww 
 
 BOOK-PLATE OF WILLIAM LANE. 
 
 have been quite complete without a cinerary urn ; 
 and here we have it, pertinently utilized as a shield 
 of arms, whilst the cover knob is fashioned into a 
 wreathed crest and the plinth is cunningly adapted 
 to the requirements of the owner's motto. 
 
 The Caulfield ex-libris is another and less ridi- 
 culous example of this class. " This plate," says 
 Mr. Robert Day, F.S.A., in a paper on Book- 
 plates engraved by Cork artists, " when first used 
 
"Ruin" Plates. 
 
 151 
 
 by Dr. Caulfield was signed Augustus Colthurst, 
 and dated 1820. I have some early examples of 
 it in books purchased at the sale of the Caulfield 
 library, and have no doubt about the accuracy of 
 the date, which has since for some cause been 
 obliterated." 
 
 BOOK-PLATE OF RICHARD CAULFIELD, LL.D. 
 
 By A. Colthurst, 1820. 
 
GROUP THE THIRD. 
 
 MODERN ARMORIAL. 
 
 |T is almost impossible to divide this 
 group into very definite styles, for on 
 the one hand, a chief characteristic of 
 the piwely Armorial Modern plate is a 
 singular absence of adventitious ornamentation, 
 and on the other, the different methods of setting 
 forth armorial bearings adopted by different die- 
 sinkers and engravers are too numerous to classify 
 to any useful purpose. 
 
 Again, in the majority of modern plates com- 
 bining heraldry with other artistic elements, there 
 is such wide eclecticism in composition, the tran- 
 sitional forms between " mainly heraldic " and 
 " mainly pictorial " designs are so infinite that it 
 is almost useless to attempt any chronological 
 specification of styles and classes. 
 
 Of nineteenth-century plates, the pure and 
 simple Armorial label (by which I mean that very 
 correct, very arid, quite unmistakable work of the 
 modern " die-sinker and engraver,") however inte- 
 resting it may sometimes prove to the genealogist, 
 
Modern Die- Sin key Style. 153 
 
 is a perfect nuisance to the ex-librist who looks for 
 more in a book-plate than merely correct blazoning. 
 Unfortunately its name is legion. It floods ex-libris 
 albums and drawers ; it clogs the wheels of classifi- 
 
 UWtrS EX LiZBEZS 
 
 (Smlitlmt 6aikg 
 
 UM2 £Msiiens£s /*23 
 
 -Jh& 
 
 BOOK-PLATE OF WILLIAM BAILEY 
 OF BELFAST, 1 823. 
 
 cation ; the collector has often to issue a warning 
 that it will not be acceptable in exchange for 
 artistic specimens. Still it is a book-plate, and no 
 doubt, if not otherwise interesting, it fulfils its 
 purpose with great precision. 
 
 I propose, for want of better imagination, to 
 
154 
 
 English Book-plates. 
 
 christen this style " Modern Die-sinker." This 
 may sound frivolous, but it is tolerably descriptive. 
 A short inspection of any respectable stationer's 
 stock of specimens will suffice to fix its main 
 characteristics in the mind. 
 
 " Modern Die-sinker" plates, then, can only be 
 
 BOOK-PLATE OF HENRY THOMAS BUCKLE. 
 
 Circa 1850. 
 
 classified, when they display a whole escutcheon, 
 by reference to the shapes of the latter. 1 To a 
 certain extent there has been some kind of chrono- 
 logical succession in the vogue enjoyed by parti- 
 cular shapes ; but as each of these has endured in 
 
 1 See the "Types of Shields" plates at the end of this book. 
 
Modern Die-Sinker Style. 
 
 155 
 
 some manner contemporaneously with subsequent 
 designs, the classification is almost futile. 
 
 The shield which succeeded the later Georgian 
 spade in the general favour of heraldic engravers 
 was that square-sided, eared, scribed or angular 
 based escutcheon which occurs so plentifully on 
 book-plates between the years 1810-30. It is a 
 
 BOOK-PLATE OF ANTHONY TROLLOPE. 
 
 Circa i860. 
 
 shape which, whilst it was most common during 
 the first third of this century, has retained some 
 favour till now. Such, for instance, was that which 
 Mr. William Bailey of Belfast adopted for his 
 ex-libris in 1823. I have, however, chosen this 
 example more particularly as one of a tolerably 
 definite genus (that might, perhaps, be termed 
 
•56 
 
 English Book-plates. 
 
 "Aerial") in which family pretensions are always 
 raised to the skies and heralded among the clouds. 
 No doubt the very many stars quartered by 
 Mr. Bailey suggested the appropriateness of the 
 arrangement to his case ; but Aerial book-plates 
 are on the whole fairly numerous. 
 
 BOOK-PLATE OF THOMAS FROGNALL DIBDIN. 
 
 Circa 1812. 
 
 The escutcheon of Henry Thomas Buckle, the 
 historian of Civilization ; of Anthony Trollope, the 
 novelist ; of Thomas Frognall Dibdin, the Biblio- 
 grapher, belong to that numerous tribe of square 
 eared shapes, hundreds of which are turned out 
 yearly in our own days. No doubt the historian 
 and the novelist, busy men more curious of book- 
 matter than of book-form, relied upon their cus- 
 
Modern Die-Sinker Style. 157 
 
 tomary stationer to supply them With fitting per- 
 sonal tokens for their volumes. But not so the 
 author of " Bibliomania." His coat is a quaint 
 specimen of mock heraldry, meant to record his 
 own well-known tastes. 
 
 It is not easy to blazon, but here is at least an 
 attempt towards so doing. 
 
 Quarterly. \st Azure, a lion rampant debruised 
 by a bendlet argent, a label of three points of the 
 same ; 2nd Gules, a Chapman passant, proper, vested 
 or ; 3rd Argent, the colophon mark of Fust and 
 Schoeffer in f esse ; \th the printer s mark of William 
 Caxton cove7'ing the field. — Crest, a cubit arm, vested 
 azure, cuffed or, the hand proper grasping an early 
 illuminated book with clasps, also proper. 
 
 This bogus blazonry was not, of course, in- 
 tended to deceive anyone ; and, under this very 
 " Modern Armorial " form, the great Bibliomaniac's 
 ex-libris was really personal in the highest degree. 
 
 A very great variety of shapes of shield-forms 
 were more or less in fashion at different periods 
 (many of them imitated from ancient examples), 
 among which the "Victorian," the " College of 
 Arms," modified forms of " Stuart," of " Queen 
 Anne," even of " Gothic," and of foreign shapes. 
 
 The helm and mantling made a general reap- 
 pearance, but with much loss of heraldic feeling. 
 To select one instance only — during its long seces- 
 sion from the helmet, since early Georgian days, 
 the torce or wreath had assumed unto itself such 
 importance as sole supporter of the crest on English 
 plates, that when we find it again reinstated in its 
 proper place it seems to have lost all sense of 
 
i58 
 
 English Book-plates. 
 
 fitness. This is very perceptible in the Wingfield 
 Larking Plate, (tolerably representative of much 
 " Modern Die-sinker" work), where the torce, dry 
 as a chip, is balanced meaninglessly stiff and rod- 
 like atop of the helm, which it should really 
 
 <y&fisn//hn6 
 
 BOOK-PLATE OF JOHN WINGFIELD LARKING, 
 
 of Lea, Kent. 
 
 crown — like a wreath in fact. Besides these 
 technical mistakes, the Modern Die-sinker plate 
 is generally graceless. Compare this with one of 
 the older Larking plates and see what havoc a 
 short lapse of some fifty years has made in the 
 taste of book-plate engravers. 
 
 All modern purely-armorial plates are not, how- 
 
Designs by C. IV. S her born. 159 
 
 ever, so bad. Some indeed, but they are the 
 exceptions, are particularly fine in conception and 
 execution. 
 
 Among engravers who have devoted care to 
 decorative heraldic compositions, Mr. C. W. 
 Sherborn occupies a leading position. This artist, 
 whose work with the graver has never been sur- 
 passed, has an unmistakable style of his own. It 
 is not too much to say that his book-plates are 
 valued by connoisseurs and collectors as highly as 
 any chef d' ceuvre of the kind belonging to past and 
 present. He is jealous of his work, and rightly so, 
 and has a strong objection to " process " reproduc- 
 tions, which can never do justice to the delicacy, 
 the depth, and the firmness of the originals. 
 
 I have, however, happily obtained leave from 
 the owners to print four of his plates direct from 
 the original copper. Two of these, that of General 
 Lord Wolseley and that of Lord de Tabley, are 
 among the best Armorial designs of the age. The 
 first is especially remarkable for the wonderfully 
 strong and clear manner in which the endless 
 details of the general's numerous badges of honour 
 are preserved in one harmonious composition. 
 Lord de Tabley's armorial bearings are not easy to 
 handle in a manner very pleasing to the eye ; 
 the constant repetition of the unavoidably hard, 
 cheeky device on coat, supporters and crest was a 
 great stumbling-block in the way of graceful treat- 
 ment ; Mr. Sherborn seems, however, to have 
 overcome the difficulty to good purpose. 
 
 The ex-libris of Mr. Swanbrook Glazebrook, of 
 
160 English Book-plates. 
 
 Liverpool, is an " adaptation " from some Early- 
 Armorial design, and is not therefore so charac- 
 teristic of the " Sherborn style." It is, neverthe- 
 less, a singularly bold piece of engraving. 
 
 But in Mr. William Robinson's book-plate we 
 see the best work, perhaps, yet produced by Mr. 
 Sherborns graver. It may be mentioned here, 
 albeit altogether non-armorial, as one of the most 
 pleasing examples of this artist's " flowery " designs. 
 There is a depth, a richness in the tone of this little 
 piece of engraving which is absolutely unsurpassed. 
 
 In dealing with this particular style of copper 
 work another engraver must be mentioned as oc- 
 cupying a prominent place — Mr. G. W. Eve, an 
 artist who does excellent work for the Herald's Col- 
 lege, as did his father before him, and to whose in- 
 fluence is no doubt due much of the present revival 
 of taste in the ornamental treatment of Heraldry. 
 
 The two devices selected as examples of Mr. 
 Eve's style for this volume are meant to be illus- 
 trative more specially, one of the artist's method in 
 composition, the other of the quality of his graver, 
 which ranks next only to that of Mr. Sherborn. 
 
 The first of these is a study for a seal-plate 
 of the Duke of Argyll. The detail in this 
 well-balanced composition is very great. The 
 Arms, surrounded by the Garter, are accom- 
 panied by the collars of the Order and also of 
 the Thistle; the Duke of Argyll being the only 
 person not of the blood royal who is a knight of 
 both orders. Behind the shield appear the sword 
 of the shrievalty of Argyll, and the baton, sur- 
 mounted by the Royal Scottish Crest of the 
 
Designs by G. W. Eve, 
 
 161 
 
 Heritable Master of the Household in Scotland, 
 both offices which are hereditary in his Grace's 
 
 J.E.PRESCOTT,D.D. 
 ARCHDEACON- OF-CARLISLE 
 
 BOOK-PLATE OF DR. PRESCOTT. 
 By J. Forbes Nixon. 
 
 family. Beneath the motto is a sprig of the family 
 plant, the bog myrtle. 
 
 The second, with the scroll displaying the 
 motto, Metuenda corolla draconis, is a fine example 
 of spirited heraldic drawing and bold engraving. 
 
 M 
 
1 62 English Book-plates. 
 
 Mr. Eve is particularly fortunate in his suggestion 
 of hardness and brilliancy in burnished steel. 
 
 Among the best Modern Armorial plates we 
 may reckon the ex-libris of Mr. J. Paul Rylands, 
 F.S.A., which figures above the dedication of the 
 present book. It was designed and drawn on 
 the block by Father Anselm, a monk of Mount 
 St. Bernard's Cistercian Abbey, Leicestershire, 1 of 
 whom an obituary notice in the " Academy," (21st 
 Feb., 1885), truly said, " As a heraldic artist he 
 has had no equal in our age. About two-thirds 
 of the coats of arms in ' Foster's Peerage ' were 
 by him. Many calendars, books of hours and 
 other liturgical books, brought out either by the 
 late Mr. Philp, or by firms at Mechlin and Tour- 
 nay, bear witness to his inventive genius." 
 
 Indeed it may be said that Father Anselm 
 possessed the real mediaeval spirit in heraldic art ; 
 his work was equal to that of the fifteenth century 
 at its best. 2 
 
 In connection with the heraldic works of Joseph 
 Foster must also be mentioned another well-known 
 heraldic artist, Mr. J. Forbes Nixon, several of 
 whose book-plates I am able to include in this 
 volume. Besides his great experience as draughts- 
 man and engraver, acquired through a long con- 
 nection with the publishing firm of Routledge and 
 
 1 His name was Anselm Baker. He died nth January, 
 1885, aged 52. 
 
 2 It will be noticed that Mr. Rylands' plate, being composed 
 in this fifteenth century style, does not display the conven- 
 tional marks of tinctures, as do too many modern plates 
 designed after mediaeval models. 
 
HV75HBW0LC0TWEfflffl® 
 
 BOOK-PLATE OF THE REV. HUYSHE WOLCOTT YEATMAN. 
 
 By J. Forbes Nixon. 
 
Designs by J. Forbes Nixon. 165 
 
 indefatigable work for " Foster's Peerage "in days 
 when " process " had yet to be invented and every 
 relief block had of course to be engraved on wood, 
 
 BOOK-PLATE OF LYON KING OF ARMS. 
 By J. Forbes Nixon. 
 
 Mr. Nixon has a special acquaintance with archi- 
 tectural ornamentation, having had occasion to 
 assist Mr. Charles Ferguson in decorating heraldi- 
 cally many great country mansions. 
 
1 66 
 
 English Book-plates. 
 
 It is, no doubt, owing to this particular practice, 
 which of course gives a freer scope for artistic 
 treatment of blazonry, that the design of his 
 
 BOOK-PLATE OF HENRY SAVILE CLARKE. 
 By J. Forbes Nixon. 
 
 book-plates so frequently take the character of 
 mural tablets and heraldic panels. 
 
 Three of the plates I am able to give as in- 
 stances of Mr. Nixon's manner, namely those of 
 
Designs by J. Forbes Nixon. 167 
 
 the present Bishop of South wark, 1 of Lyon King 
 of Arms, and of the late Mr. Savile Clarke, author, 
 playwright, artistic and dramatic critic, might 
 perhaps be classed under the rubric " printers' 
 marks.'' They certainly bear the general character 
 of the " pounced" style. But the criblS back- 
 ground can also be made to represent a dull 
 background in stone- work, and the Nixon designs 
 have much the physiognomy of decorative com- 
 partments in stone or wood-work. 
 
 This is especially the case with the book-plate 
 of the Archdeacon of Carlisle, which recalls the 
 strong and sober fourteenth century manner of 
 Father Anselm. 
 
 It will be noted that here also, the decorative 
 treatment being decidedly of archaic character, 
 there is no attempt at tincturing by means of the 
 conventional dots and lines. The dull black of 
 sable charges and ordinaries cannot be considered 
 as coming under the head of conventional tincts ; 
 it was often so represented in engravings long 
 before the days of Petra Santa and of Vulson de la 
 Colombiere. 
 
 Other modern engravers have produced good 
 work, even on the most conventional purely-ar- 
 morial lines. But it must be admitted that, as a 
 rule, the only interest of ex-libris of this kind de- 
 pends on the personality of their owners. The 
 coat of arms appertaining to our late Laureate, 
 for instance, is certainly not in itself a thing of 
 
 1 (Huyshe Wolcott Yeatman, who was at the time when the 
 ex-libris was designed, 1882, vicar of Sydenham.) 
 
1 68 
 
 English Book-plates. 
 
 beauty, yet what value must be attached to it by 
 the most casual collector, even in the absence of 
 the autograph motto, Prospiciens, respiciens, and 
 the signature, Alfred Tennyson. A mere crest 
 resting on a simple torce, but with a well-known 
 name under it, assumes, at once, a startling im- 
 portance. How sharply would even such jejune 
 designs as those of Thomas Carlyle and of Charles 
 
 ..., . .■~~7.. : ^mmi :, _.jj 
 
 BOOK-PLATE OF THOMAS CARLYLE. 
 
 Dickens' ex-libris elicit attention when discovered 
 
 on the cover of a book. 
 
 Despite the hopelessness of the task, I have 
 
 attempted some classification of plates belonging 
 
 to the Modern Armorial Group : 
 
 " Die-sinker style " (purely-armorial)— 
 
 Plain Shield (with or without crests resting on 
 
 plain torces) to be again distinguished according 
 
 to shape of escutcheon. 
 
AipuL It**yfiL 
 
 BOOK-PLATE OF THK LATE LORD TENNYSON. 
 
 (Motto and signature autograph.) 
 
Modern Armorial Plates. 1 7 1 
 
 Shields with Supporters. 
 
 Shields with Helm and Mantling (with helm 
 alone or with mantling alone). 
 Mantles of Estate. 
 Crests or Coronets, without arms. 
 Garter Ribbons (round arms, round crest alone). 
 
 Other Armorial " styles " might be thus sub- 
 divided : 
 
 " Seals or Vesicas." 
 " Printers Marks!' 
 "Adaptations." 
 
 ^ s ^*^v> ^5!%^s 
 
 BOOK-PLATE OF CHARLES DICKENS. 
 
 A further selection made : 
 
 Heraldic and Allegoric. 
 
 Heraldic and Symbolic or " Rebus." 
 
 The latter styles and classes, unlike the "purely 
 heraldic," admit of any amount of artistic fancy in 
 composition, and include many of the most charm- 
 ing designs in existence. 
 
 It seems hitherto to have been the habit among 
 those few English writers who have taken up the 
 subject, to consider that most of the interest in 
 
172 English Book-plates. 
 
 book-plates ceases with the close of the last cen- 
 tury. I venture, however, to submit that not a few 
 of the designs I have been able to collect in these 
 pages to illustrate modern types would only re- 
 quire the glamour of age to enable them to com- 
 pare favourably with the best examples of bygone 
 days. 
 
• . : • 
 
173 
 
 SEALS AND VESICAS. 
 
 T is expedient to class under this head 
 most book-plates of vesica or of circular 
 outline (others, of course, than conven- 
 tional garters) ; they may not be al- 
 ways ostensibly designed as seals, but in most 
 
 BOOK-PLATE OF J. E. CUSSANS, ESQ. 
 By Robinson. 
 
 cases their general physiognomy recalls at once the 
 heavy seals of mediaeval days. 
 
174 
 
 English Book-plates. 
 
 This style is eminently adapted to book-plate 
 Its very essence is heraldic. It 
 
 composition. 
 
 BOOK-PLATE OF EDMUND YATES. 
 
 By J. Vinycomb. 
 
 admits of much and nice discrimination in the 
 ordering of ornamental elements and affords suit- 
 
BOOK-PLATE OF ROBERT DAY, F.S.A. 
 
 By J. Vinycomb. 
 
Seals. 
 
 177 
 
 able room for inscription. Among the best 
 examples extant are the ex-libris of Mr. J. E. 
 Cussans, the distinguished writer on heraldry and 
 cognate subjects, engraved by Robinson, and that 
 of Mr. Robert Day, signed J. Vinycomb. In the 
 same manner, but perhaps not so masterly in 
 
 BOOK-PLATE OF ETON COLLEGE LIBRARY 
 
 treatment, is the vesica used by Mr. Edmund 
 Yates. 
 
 The plate bearing the inscription Liber Col- 
 legii Regalis Beate Marie de Etona, a handsome 
 specimen, is of the gothic tracery type ; as for 
 the unpretending seal-plate of the late Althorpe 
 
 N 
 
178 English Book-plates. 
 
 Library books, M. Bouchot would no doubt see in 
 it a corroboration of his satirical and sweeping 
 statement that, "the greater the bibliophile the 
 plainer is the book-plate." There can be no doubt 
 that were it not that this insignificant little label 
 is the mark chosen for the finest private collec- 
 tion of books in the world it would attract little 
 attention. 
 
 I imagine that the rough and studiously archaic 
 
 BOOK-PLATE OF THE ALTHORP LIBRARY. 
 
 device supported by the onomatopoetic motto 
 Nee careo nee euro (which is obviously suggested 
 by the crows on the Crawhall coat) ought to be 
 regarded more or less as a seal. It may not be held 
 up as being in itself a thing of beauty by every 
 beholder, but it is very typical of the work of the 
 well-known designer of "Impresses quaint" and 
 other works of " revival " character. 
 
 The last specimen of this kind, interesting as a 
 Collegiate composition, is the plate of the Archaeo- 
 
Stamped Leather Plates. 
 
 179 
 
 logical Society of the County Kildare. The three 
 coats therein displayed show, firstly, the arms of 
 the town of Naas, Co. Kildare, secondly, those of 
 the Duke of Leinster, first President of the Society, 
 and thirdly, those of the Earl of Mayo, who is 
 virtually the founder of the Society. 
 
 In the seal class may, perhaps, best be included 
 
 
 
 SOB" 
 
 BOOK-PLATE OF JOSEPH CRAWHALL. 
 
 By the owner. 
 
 that somewhat uncommon kind of ex-libris, the 
 " leather label," stamped (generally in gold or 
 silver, but sometimes blind-blocked) with armorial 
 compositions or other devices, the colour of the 
 leather generally being (as it should always be) 
 selected so as to suit that of the cover lining. 
 This sort of personal token, which is sometimes 
 
i8o 
 
 English Book-plates. 
 
 exceedingly beautiful, and which recalls in almost 
 every characteristic, except its mobility, thejztper- 
 
 BOOK-PLATE OF THE ARCH/EOLOGICAL SOCIETY, 
 CO. KILDARE. 
 
 libros patronized by more ostentatious bibliophiles, 
 belongs to a very distinct category, and is only 
 applicable to the covers of more or less gorgeously 
 bound volumes. 
 
m mEmmMmmmmm 
 
 ;»>^^«^.^^^^i^>^.^»'^.^.N»N;..x 
 
 LTEZI 
 
 m r v v y 
 
 Her Majesty's Book-plate for the Windsor Library. 
 
 {Reproduced by Gracious Permission.) 
 
i8i 
 
 PRINTERS' MARK STYLE. 
 
 IKE the foregoing, this style, which I 
 propose to name with reference to a 
 very frequent type of early printers' 
 mark, is chiefly Armorial. In general 
 composition, plates of this kind recall both the mark 
 
 BOOK-PLATE OF HAMILTON AIDE. 
 
 of Richard Fawkes, with " pounced " or pointille 
 background, and that of John Scott, with escut- 
 cheon,^crested helmet, and name, filling a square 
 
1 82 
 
 English Book-plates, 
 
 panel. To this class belongs, in general charac- 
 ter, notwithstanding its noble dimensions, Her 
 Majesty's plate for the Windsor Library, designed 
 by West and engraved by Mary Byfield. 
 
 BOOK-PLATE OF THE REV. S. BARING-GOULD. 
 
 The four smaller examples I have chosen as 
 representative were executed by Mr. Harry Soane, 
 the well-known heraldic engraver of Han way 
 Street. The ex-libris of Dr. Evans, (now Sir 
 John Evans, K.C.B.), LL.D., D.C.L., whilom 
 
The Pounced Style. 
 
 183 
 
 President of the Society of Antiquaries, and 
 Secretary of the Royal Society, might, however, 
 almost as appropriately be classed as emblematic. 
 
 BOOK-PLATE OF SIR JOHN EVANS, K.C.B. 
 By Harry Soane. 
 
 For, in addition to the achievements and scrolls 
 and pounced background common to the printers' 
 mark, are displayed ancient coins, stone and bronze 
 implements, symbolic of some of this great savant's ' 
 
1 84 
 
 English Book-plates. 
 
 special works of research. It is a poor device, 
 both in composition and execution, but full of 
 interest on account of the singular distinction of its 
 owner in so many branches of learning. 
 
 The three others, all belonging to men of letters 
 
 BOOK-PLATE OF THE REV. C. H. MIDDLETON-WAKE. 
 
 Designed by the Rev. J. Loftie. 
 
 Engraved by Soane. 
 
 — Mr. Hamilton Aide, the Rev. S. Baring-Gould, 
 and the Rev. C. H. Middleton-Wake, are more 
 typical examples. The latter (designed by the Rev. 
 J. Loftie, the historian of London), with its escut- 
 cheon hanging to a bole of the Tree of Knowledge 
 
The Tree of Literature. 
 
 185 
 
 after a very typical printers' mark manner, and 
 the " Wake Knot " as main badge cunningly utilized 
 for the owner's initials, is a singularly well-balanced 
 composition. 
 
 The Tree symbol, typical of growing, spreading 
 
 
 mm 
 
 ■/■-">_V««i 
 
 «»» 
 
 •fvf 
 
 
 PREND>/\OY^TEL 
 
 3iSOB£2ES 
 
 BOOK-PLATE OF THE REV. W. J. LOFTIE, F.S.A. 
 Designed by Robert Bateman. 
 
 and fruitful knowledge, and therefore, by associa- 
 tion, of literature in general, is adopted also by 
 Mr. Loftie for his own book-plate. Here we see 
 three escutcheons ; the larger shield bears the 
 family arms ; that on the dexter side displays 
 argent, a cross sable, symbolical of the owner's 
 
1 86 
 
 English Book-plates. 
 
 sacred calling ; whilst on the sinister the owners 
 initials are introduced in a Caxton-like manner 
 well suited to the general spirit of the design. 
 
 This composition was originally devised for the 
 title-page of Mr. Loftie's " Latin Year," by Robert 
 Bate man. 
 
 Another ex-libris, belonging to Mr. J. P. Rylands, 
 albeit not strictly armorial, is included as a final 
 example. The symbol displayed on the escut- 
 cheon is a merchant's mark eneraved on a fifteenth 
 century seal used by one Nicholas del Rylands, an 
 ancestor of the present owner. 
 
 I:PAVL:RyLflNDS:FSil: 
 
 BOOK-PLATE OF J. PAUL RYLANDS, F.S.A. 
 
1 8' 
 
 HERALDIC-ALLEGORIC AND HERALDIC- 
 SYMBOLIC. 
 
 T is impossible to draw any really logical 
 line of demarcation between "Allegoric" 
 AO and " Symbolic " or " Emblematic " com- 
 8 positions. For the purpose of book-plate 
 
 definition, however, I propose to class as "Alle- 
 goric" all designs where the attendants on the 
 shield are human or celestial beings acting some 
 part with reference to the owners personality, 
 name, tastes, or pursuits. This would place the 
 modern class somewhat in line with that already 
 similarly defined by Warren. It seems, however, 
 necessary to use the double terms with reference 
 to modern examples, as of course there are many 
 plates that are allegoric without being in any way 
 armorial. 
 
 When, on the other hand, the emblematic con- 
 comitants are simply animal or material objects, 
 the term " symbolic " has seemed to me more 
 suitable. In any case a division on these lines is 
 to some extent practical. 
 
 HERALDIC-ALLEGORIC. 
 
 One of the most interesting specimens of this 
 class is the plate designed by Mr. (now Sir John) 
 Millais, for the present Mr. Christopher Sykes. 
 
1 88 English Book-plates. 
 
 The allegory bears on the owner's Christian name, 
 and illustrates the legend of St. Christopher ferry- 
 ing Christ through the waters, whilst the arms on 
 the unconventional escutcheon (argent, a chevron 
 sable between three sykes or fountains) are suffi- 
 ciently canting to proclaim the patronymic. Mr. 
 
 BOOK-PLATE OF SAMUEL ANGELL 
 
 By Sir W. Boxali, R.A. 
 
 Sykes is happy in the possession of a plate which, 
 at once personal and eminently artistic, seems to 
 fulfil all the requirements of the perfect ex-libris, 
 and the future collector will consider himself in 
 luck who comes across this original piece, and 
 recognizes the well-known Millais type in the 
 delicious head of the Infant Saviour, and en the 
 rim of the seal-like frame the unmistakable initial. 
 The plates of Samuel Angell and of Edward 
 
BOOK-PLATE OF MR. 
 By Sir J. 
 
 CHRISTOPHER SYKES. 
 
 E. Millais. 
 
Design by IV. M. Thackeray. 191 
 
 Fitzgerald are very similar in composition. In 
 the first, the angelic supporter of the shield, (de- 
 signed by Sir W. Boxall, R.A.), is easily inter- 
 preted. The second, however, bears no obvious 
 meaning. But this unpretending device, which 
 might so easily fail at first glance to attract atten- 
 tion, is nevertheless as interesting as any in exis- 
 
 BOOK-PLATE OF EDWARD FITZGERALD. 
 By W. M. Thackeray. 1 
 
 tence. In the first place, it was drawn by William 
 Makepeace Thackeray, and in the second it was 
 designed for his friend, Edward Fitzgerald, the 
 poet and translator, who introduced to the Western 
 World a work still held by sundry enthusiasts to 
 be worth a hundred volumes of verse, the Rubaiyat, 
 
 1 For the loan of the original block I am indebted to Mr. 
 Bain, the well- known bibliopolist in the Haymarket. 
 
1 92 English Book-plates. 
 
 of Omar Khaiyam. It is supposed that in the 
 Angel Thackeray intended to pourtray Mrs. Brook- 
 field. 1 
 
 Another unique plate is one designed in 1881 by 
 Randolph Caldecott. Says Mr. Blackburn in his 
 recollections of that most delightful of humourists 
 and draughtsmen : — 
 
 11 The book-plate was drawn for an old and in- 
 timate friend in Manchester [Mr. H. G. Seaman, 
 of Chelford, Crewe], and it is curious to note how 
 closely the style of the family crest is followed in 
 its various details. If it were not for certain 
 satirical touches, this ingenious design might 
 easily pass for the work of other hands ; the touch 
 and treatment have little in common with Caldecott 
 as he is known ; the artistic completeness of the 
 little book-plate is another evidence of his power 
 as a designer." 
 
 It is, I think, quite allowable to place this quaint 
 composition in the present class — a pious seaman 
 apparently preparing himself, in accordance with 
 his motto, by diligent reading of the Book of 
 Psalms, for the watery grave to which his frail 
 craft will presently abandon him, is no doubt a 
 speaking allegory. 
 
 On the subject of this very interesting piece, 
 (which was originally drawn on the back of a post- 
 
 1 On the subject of this ex-libris Mr. Edmund Gosse has 
 sent me the following interesting detail : — 
 
 " I have just come across a note I copied out of a letter by 
 Edward Fitzgerald, dated March 19th, 1878, referring to the 
 book-plate. 
 
 ' Done by Thackeray one day in Coram (Joram) Street in 1842. 
 All wrong on her feet, so he said — I can see him nowl — E.F.G." 
 
BOOK-PLATE OF MR. SEAMAN OF MANCHESTER. 
 
 By Randolph Caldecott. 
 O 
 
Design by Randolph Caldecott. 195 
 
 card), Mr. Seaman, writing to a friend, remarked : 
 " Regarding Caldecott's drawing, I have just been 
 reading the letter in which he sent it with the 
 print from the block cut by his friend Mr. J. 
 
 mil Fii^"«aaKafeEHi. 
 
 BOOK-PLATE OF FREDERICK LOCKER. 
 
 By Walter Crane. 
 
 D. Cooper. In this he expressed himself much 
 pleased with the excellence of the engraving, which 
 he had himself seen carried out. He had intended, 
 with several artists, friends of his and men of note, 
 to make a study of this pretty art — book-plate de- 
 
196 
 
 English Book-plates. 
 
 signing — for its worthy revival. But, alas ! his hands 
 were full and his life was so short, that I think 
 mine was the only specimen he completed." 
 
 The author of " London Lyrics," Mr. Frederick 
 Locker- Lampson, has had a variety of book-plates 
 
 BOOK-PLATE OF FREDERICK LOCKER. 
 
 By Kate Greenaway. 
 
 drawn by well-known hands at different times for 
 himself and his family. In the first of the four 
 which I have the privilege of reproducing, Mr. 
 Stacy Marks, R.A., 1 has selected for allegorical 
 
 1 Mr. Marks has designed some forty book-plates. It were 
 a boon to many lovers of art if his example were followed by 
 more limners of similar standing. 
 
^FREDERICK;* 
 
 £ 
 
 ^i Lockers 
 
 BOOK-PLATE OF FREDERICK LOCKER. 
 
 By H. Stacy Marks, R.A. 
 
GODFREY 
 
 LOCKER-LAMPSON 
 
 BOOK-PLATE OF GODFREY LOCKER-LAMPSON. 
 
 By Kate Greenaway. 
 
Designs by Stacy Marks, 201 
 
 purposes a favourite subject of his — the professional 
 11 Fool" absorbed in thoughts of melancholy wisdom. 
 The second, in which a muse-like young woman 
 watches over a rather roughly set forth achieve- 
 ment with a motherly gaze, is not signed, but bears 
 all the characteristics of Mr. Walter Crane's manner. 
 The two juvenile ex-libris destined to proclaim the 
 book ownership of Frederick Locker and Godfrey 
 Locker-Lampson, are designed by that recognized 
 specialist, Kate Greenaway. The variations in the 
 heraldry of these four plates are no doubt due to 
 grants and a change of name. 
 
202 English Book-plates. 
 
 HERALDIC-SYMBOLIC. 
 
 JYPICAL of the book-plate arrangement 
 intended to record personal tastes and 
 occupations is the design made by W. 
 Bell Scott, poet and painter, for Henry 
 Aylorde. We are at once made aware, by the 
 open muniment chest, the big folios and clasped 
 books, the seals and parchments, the classical 
 lamp, the chalice and the background of ruined 
 romanesque architecture, that Henry Aylorde was 
 an Antiquary. 
 
 Among the most copious and imaginative de- 
 signers of the present time is Mr. John Leighton, 
 F.S.A., 1 — " Luke Limner," — one of our keenest 
 ex-librists. Mr. Leighton has composed a number 
 of book-plates both for himself and his friends. I 
 am able to reproduce here one perhaps less well- 
 known than many others, in which an artist's 
 palette, slightly coicchie, is used to fit (after the 
 manner of some old-fashioned German shields) 
 the proportions of a vigorously heraldic lion. The 
 "sentiments" on the border are terse English 
 adaptations of Spanish proverbs. 
 
 1 The student of book-plates will derive much benefit from, 
 and find great general interest in, the perusal of one of Mr. 
 Leighton's works, " Suggestions in Design," with descriptive 
 and historical letter-press by J. K. Collings. (Blazon, Heraldry, 
 Rebuses, plates 50-54.) London. Blackie and Son. 4to. 1880. 
 
Design by IV. Bell Scott. 
 
 203 
 
 The palette is of course a very sufficient symbol of 
 a limner's avocation. It again appears suitably in 
 another of Mr. Leighton's compositions, the book- 
 plate, to wit, of Sir Oswald Brierly, marine painter 
 to Her Majesty. Here the symbolisation of the 
 owner's pursuits is pushed further, and the palette 
 
 BOOK-PLATE OF HENRY AYLORDE, F.S.A. 
 
 By William Bell Scott. 
 
 is cunningly used as a background to an admirably 
 conventional ship, one mast of which passes, in 
 maul-stick fashion, through the thumb-hole, flying 
 a scrolled pennant charged with a motto (on the 
 reverse with a date), whilst the mainsail of the 
 other serves as a field argent for Sir Oswald's 
 
204 English Book-plates. 
 
 cross-potent and fleur-de-lys. The crest graces 
 the " top-garland" mast, the garland appositely 
 playing the part of torce. " Here," as Mr. Leigh- 
 ton says in his paper on " Ship Ex-Libris," 1 M the 
 
 BOOK-PLATE OF SIR OSWALD BRIERLY. 
 By John Leighton. 
 
 porpoise plays on its own waverley sea whilst a 
 lanthorn-lighted prow cleaves the course." 
 
 The Brierly plate is a singularly improved 
 version of the idea embodied in an older symbolic 
 ship-device, thus described by Mr. Leighton, in 
 
 1 Journal of the Ex-Libris Society, vol. i. part 5. 
 
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 /3lo&n icigbton. JF.S.3. V 
 
 BOOK-PLATE OF JOHN LEIGHTON — " LUKE LIMNER." 
 
 By the owner. 
 
Designs by "Luke Limner! 1 207 
 
 the same paper, as " The ex-libris of John Scott 
 Russell, F.R.S., the naval architect who con- 
 structed the Leviathan, afterwards the Great 
 Eastern (now no more). In this you will per- 
 
 BOOK-PLATE OF JOHN SCOTT RUSSELL. 
 
 ceive an old style of barque mediaevally treated, 
 the sails being reefed, whilst the shield — out of all 
 proportion — is hoisted on the mast ; the motto 
 flying from a pennon on the prow, whilst on the 
 poop is painted a monogram, J.S.R., a spouting 
 
208 English Book-plates. 
 
 dolphin blowing away on the waves that are made 
 to float the owner's name in full." 
 
 A very distinct genus of the Heraldic-Em- 
 blematic class of design, is that which deals in 
 Rebus on names or heraldic charges, and the artist 
 who has perhaps achieved the greatest success 
 in this description of book-plate is Mr. Thomas 
 Erat Harrison. Mr. Harrison has created, in this 
 minor department of his artistic pursuits, a style 
 which is essentially his own. His theory on the 
 composition of a book-plate is very definite : a token 
 of this kind should be as " unmistakable as a trade 
 mark," and should bear some distinctive reference, 
 armorial or personal, to the owner. Such ends 
 are best secured in his opinion by decorative and 
 conventional rather than pictorial and realistic 
 treatment. The three plates I am able to repro- 
 duce, interpreted by Mr. Harrison himself, will 
 fully illustrate his method and style, which is as 
 characteristic, in its way, as that of Mr. Sherborn. 
 
 "The first is a gift of Lord Northbourne to 
 Mr. Gladstone on the occasion of that statesman's 
 golden wedding; it bears the dates, 23rd July 
 1839, 23rd July 1889. The Kites and Stones are 
 a rebus on Gledstanes, the original form of the 
 name (gled = kite) ; and it will be observed that 
 the shield hangs on a holly bush, the reason for 
 this being that the griffin of the crest issues from 
 a wreath of holly leaves. The helmet is rather 
 prominent to show that Mr. Gladstone is still a 
 commoner." 
 
 The second, belonging to Mr. Matthew Ridley 
 Corbett, is thus explained : " The Angel is em- 
 
BOOK-PLATE OF WILLIAM EWART GLADSTONE. 
 
 By T. Erat Harrison. 
 P 
 
Designs by Erat Harrison. 2 1 1 
 
 blematic of Matthew ; the squirrels show that one 
 was formerly used as a crest ; the ravens allude to 
 the motto, * Deus pascit Corvos! The space on 
 
 BOOK-PLATE OF M. R. CORBET. 
 By T. Erat Harrison. 
 
 the stone under the shield is for the date on which 
 the book was procured." 
 
 The book-plate of Mr. Henry Folkard, Libra- 
 
2 1 2 English Book-plates. 
 
 rian of the Wigan Free Library, is open to much 
 interpretation, chiefly, it must be said, of the 
 dismal order. It was designed by Mr. Gordon 
 Browne, son of the immortal " Phiz," and known 
 
 Ufitry ®- 3folkar&. 
 
 BOOK-PLATE OF HENRY FOLKARD. 
 By Gordon Browne. 
 
 besides by much excellent work of his own. 
 Here we have, in company with a closed book, 
 the spectacles of advancing age and withering 
 flowers, what is presumably meant to represent 
 the bitter cup of life (under the form of a German 
 
Design by Gordon Browne, 2 1 3 
 
 Romer). As a support to this bowl which bears 
 the melancholy philosophical inscription : " Teh 
 habe gelebt und geliebet" are various emblems of 
 life and death, graceful feminine forms, with the 
 symbol of their soul — the psychic butterfly — over 
 their brows, enslaved by the Implacable Fiend, 
 who lies half hidden behind them in gruesome, 
 bony company, whilst round the base the serpent 
 biting his tail emphasizes an endless allegory. 
 
 This is indeed a book-plate offering congenial" 
 food for reflection to those dSsabuses in whom M. 
 Bouchot sees a special category of book-lovers. 
 
PICTORIAL NON-HERALDIC PLATES. 
 
 ' EMBLEMATIC " AND " GENRE/ 
 
 ROADLY speaking, the great majority 
 of Non-Heraldic book-plates are Em- 
 blematic (that is, Allegorical or Sym- 
 bolic) in some way or another. In fact, 
 they could hardly be "personal" without some 
 kind of representative device. The numerous 
 modern examples I give of this category contain 
 specimens of almost every class, Allegoric, Sym- 
 bolic, Library- Interior, Landscape, etc., which, as 
 they have already been descanted upon in con- 
 nection with Armorial Styles, need not be further 
 distinguished. 
 
 In Mr. Eolkard's Cup-and-Book device we had 
 a good instance of wide-reaching symbolism. I 
 imagine, however, that the extraordinary- looking 
 design made by Mr. Charles Ricketts for Mr. 
 Gleeson White claims quite the most universal 
 scope of any in existence. 
 
 " The tree of Creation (Igdrasil)," says Mr. 
 Ricketts in explanation of his mystic picture, 
 
Design by Charles Ricketts. 
 
 215 
 
 " springs from a swirl of water and flame which 
 breaks into little gems ; the flame, continuing, flows 
 through the trunk of the tree, which branches on 
 each side into composite boughs suggesting the 
 different plant kingdoms. This central flame en- 
 
 E*UWM GlFePN VvkiTE© 
 
 BOOK-PLATE OF GLEESON WHITE. 
 By Charles Ricketts. 
 
 velopes the figure of man, placed in the midst of 
 the tree in the act of awakening. The fruit on 
 the eastern end of each bough represent in embryo 
 the fish and water fowl, the reptile and creeping 
 insects, the larger animals, and finally the creatures 
 
2 1 6 English Book-plates. 
 
 with wings. The rainbow shooting through the 
 centre composition signifies the atmosphere ; the 
 two figures under one cloak in the lower part 
 of the design represent night and day, i.e., the 
 planets." 
 
 Now, at first flush, one might well wonder what 
 all this cosmogonic symbolism can possibly have 
 to do with a book-plate, and feel inclined to com- 
 pare the designer to Racine's Plaideur with his 
 celebrated exordium : 
 
 " Avant done 
 La naissance du monde et sa creation . . ." 
 
 But the owner of this characteristic if rather fan- 
 tastic device is ready however with a compara- 
 tively simple interpretation. 
 
 " The tree," explains Mr. White, " whether 
 under this particular shape of Igdrasil in Scandi- 
 navian mythology, or under that of the Tree of 
 Knowledge in the Mosaic tradition, has always 
 been a favourite symbol for Literature'. It is 
 therefore a felicitous choice as an emblem of 
 knowledge, eternal, yet needing daily nourishment, 
 and always growing. In fact, the various inter- 
 pretations of this mystical tree are as all-embracing 
 as literature itself." 
 
 The ex-libris of Mr. John Lane which figured in 
 the original edition of this work was one that might 
 well strike a would-be interpreter with dismay, but 
 Mr. Alan Wright, the designer, whose characteristic 
 beetle-like cypher figures on many an illustrated 
 periodical of the day, and who is also a prolific 
 designer of book-plates, kindly explained some of 
 its meaning. It seems that there was the " Lane 
 
Designs by Alan Wright. 217 
 
 of Life " (which also stood for the initial letter of the 
 owners name), with the " Trees of Knowledge, 
 Fame, Crime, and Pleasure" on either side ; and the 
 curious might amuse themselves by disentangling at 
 their pleasure and leisure " Love and the Flowers 
 of Youth," " the Lion of Circumstance," good and 
 bad Angels, together with our old friend Charon 
 
 BOOK-PLATE OF MRS. CAMPBELL. 
 
 By Alan Wright. 
 
 and the river Styx. To pursue the Allegory still 
 further, I pointed out (on my own responsibility) 
 that the cheerfully disposed might descry a gleam 
 of hope for the poor beset wayfarer in a minute 
 " Sunrise " at the extreme corner, while on the 
 other hand it was quite open to the pessimist to 
 recognize in a sinking orb an emblem of Eternal 
 
2l8 
 
 English Book-plates. 
 
 Night. There was a typical instance of the im- 
 mense amount of "food for reflection" that can 
 be compressed within the compass of an emble- 
 matic book-plate ! 
 
 Two other plates by the same hand figuring in 
 
 1300K-PLATE OF L. T. MEADE, 
 
 Late editress of " Atalanta." 
 By Alan Wright. 
 
 the present volume are less complicated, — Mrs. 
 Campbell's ex-libris is plainly musical and literary, 
 besides being a pleasing and inspiriting kind of 
 device to meet constantly in favourite books. The 
 lesson it aspires to teach is that were the book closed 
 
Design by Gleeson JVhite. 219 
 
 and the inkpot dry, the span of life would be death- 
 like. Mrs. Campbell is known in the musical world 
 as Madame Perugini. The staves partly hidden by 
 the Death's Head show a few bars of a favourite air. 
 Another musical book-plate is that designed by 
 Mr. Gleeson White for the late Ernest Lake, a 
 musician of great promise and a well-known mem- 
 ber of the Savage Club. His crest was a cannon, 
 and the musical notes are an ingeniously arranged 
 
 BOOK-PLATE OF ERNEST LAKE 
 
 By Gleeson White. 
 
 canon, to which are set the words of a motto 
 attributed to St. Francis de Sales — the old dog 
 Latin noexkins tend boexkins is the original form of 
 the sentence. The same hair-raising latinity occurs 
 as the sentiment on Mr. White's own book-plate 
 (by Alan Wright). Here we have another "bony 
 light" and another cheerful view of the ultimate 
 fate of our dearest books in the hands of old 
 Tempus, edax rerum. 
 The Allegory, which shows us two working 
 
220 
 
 English Book-plates, 
 
 sisters, the first engaged, apparently, in pruning 
 the Tree of Knowledge, whilst the second, seated 
 at its foot, with the Lamp of History by her side, 
 absorbs herself in theoretical study, was drawn for 
 Mr. Oscar Browning by Simeon Solomon, a Pre- 
 Raphaelite who once gave promise of a brilliant 
 artistic career. 1 
 
 Irt. omnibus rebus requiem 
 
 BOOK-PLATE OF GLEESON WHITE. 
 By Alan Wright. 
 
 1 Such was the interpretation I placed on this plate. Mr. 
 Browning has since, however, pointed out to me that in some 
 respects the interpretation went wrong, whilst in others I fell 
 far short of the mark in not seeing all that could be seen in 
 this singular plate. "The meaning," writes the owner, " of the 
 book-plate is as follows. It represents the antagonism between 
 the active and the contemplative life, between the life of active 
 
Design by Simeon Solomon. 221 
 
 A very distinct genus of the Emblematic class 
 might be separately classed under the rubric 
 Punning or " Rebus." Such plates are of course 
 
 BOOK-PLATE OF OSCAR BROWNING. 
 
 By Simeon Solomon. 
 
 work and the life of study, which just at that time was exciting 
 me very much. Labor of course signifies one, and Theoria 
 the other. Theoria was borrowed from a version by Munro of 
 some lines of Milton, in which he renders ' the cherub con- 
 templation ' by Theoria. Content aiileurs is an invention o;' 
 my own, and represents the discontent following the above- 
 mentioned conflict. It is modelled on the repos aiileurs of St. 
 
222 
 
 English Book-plates. 
 
 very personal, and often excessively quaint. As I 
 have stated before, Mr. Erat Harrison is a special 
 
 BOOK-PLATE OF MR. CHARLES E. DOBLE. 
 
 By T. Erat Harrison. 
 
 Aldegonde. The lamp and book are merely attributes of 
 llieoria. You perceive that Labo?' is standing up, girt, 
 pruning a tree, which is emblematical of the educational work 
 in which I was then engaged. The wings are my crest. We 
 intended to have the coat-of-arms instead, but I omitted to 
 send them. The river is the Thames, emblematical of Eton 
 where I then was. The spires ought to have been those of 
 the chapel as seen from the river.'' 
 
Rebus " Plates, 
 
 223 
 
 adept at this sort of composition, and has pro- 
 duced some of the most artistic and interesting ex- 
 libris of modern times. The rebus on the name 
 
 BOOK-PLATE OF E. ONSLOW FORD. 
 By T. Eiat Harrison. 
 
 of Charles E. Doble is typical of his system, and 
 is thus to be interpreted, by the designer himself. 
 " The stars are Charles Wain for Chas. The 
 note E is on the bell, which, with the doe, makes 
 Doble (Dobell). The imp is a mere accessory, 
 
224 
 
 English Book-plates, 
 
 alluding to the dread such spirits have of the 
 sound of bells." 
 
 In this year's "Academy" Mr. Harrison ex- 
 hibited the emblematic plate devised for Mr. 
 Onslow Ford's books. It is conceived in a some- 
 what different manner from his earlier works. 
 
 BOOK-PLATE OF C. SHARP. 
 
 By K. M. Skeaping. 
 
 There is no attempt at punning but as much sym- 
 bolism as the frame can conveniently contain. 
 The tree is, of course, the literary " Tree of 
 Knowledge," from which the serpent is offering 
 sound and rotten fruit — a somewhat strained allu- 
 sion to the fact that all books are not edifying. 
 
Designs by J. D. Batten. 
 
 225 
 
 The owl symbolizes wisdom, in a classical manner. 
 The statue is " Peace," Mr. Ford's favourite work; 
 the lyre heralds his taste for music and poetry; 
 whilst, of the principal figures, the man with 
 mallet and chisel stands for Sculpture proper, 
 
 B-IMaBE-I^Uels Ma ^MKiM- $> 
 
 BOOK-PLATE OF HENRY TAIT. 
 
 By J. D. Batten. 
 
 carved work, and the' female figure for fire; she 
 pours the melted metal into a mould from a crucible, 
 the vapour escaping through an air-vent ; her flight 
 downwards is symbolic of her heavenly origin. 
 The crucible and mould, of course, are allusions to 
 bronze casting. 
 
 Q 
 
226 
 
 English Book-plates. 
 
 The inscription should be ^ooXuroi rx kocXoc. There 
 is an unfortunate mistake in the original drawing. 
 
 Another musical rebus appears on the book- 
 plate of Mr. Charles Sharp, of the Liverpool 
 
 BOOK-PLATE OF A. H. TURNBULL 
 
 By Walter Crane. 
 
 Institute, where under a charming "interior" by 
 K. M. Skeaping, the note C sharp, on a small 
 canton ruled for music, figures as a simple legend. 
 Mr. Henry Tait's artistic device displays, like that 
 of Mr. Browning, the allegory of Labour and Study, 
 
Designs by Walter Crane. 227 
 
 with an Anglo-French pun (somewhat far-fetched 
 
 it must be admitted) on the family name as a motto. 
 
 Far better as a rebus, if not as a picture, is the 
 
 
 BOOK-PLATE OF WALTER CRANE. 
 
 By the owner. 
 
 spirited Turnbull plate, executed in Mr. Crane's 
 best manner. To a certain extent the device 
 composed by the Apostle of Socialism and Deco- 
 
228 
 
 English Book-plates. 
 
 rative Art, for his own books, may also be con- 
 sidered as a rebus on his name, for I assume that 
 the two-handled wine jug stands for an initial W 
 
 BOOK-PLATE OF CLEMENT SHORTER. 
 
 By Walter Crane. 
 
 before the Crane. But it is also elaborately sym- 
 bolic ; and, with pen, pencil and palette, and the 
 quatrain from the " Rubaiyat," descriptive of the 
 owner's pursuits and literary tastes. 
 
Designs by Walter Crane. 229 
 
 Omar Khayyam as interpreted by Edward Fitz- 
 gerald is evidently a favourite singer in Mr. Crane's 
 ear, for we find another quatrain of the " Rubaiyat" 
 doing duty as "Sentiment" on the plate devised 
 
 BOOK-PLATE OF WALTER BESANT. 
 
 By J. Vinycomb. 
 
 by this artist for Mr. Clement Shorter, editor of 
 the " Illustrated London News.'' In this device, 
 with the exception of the female figure perusing the 
 " Breviary of Love," and of the monogram shield, 
 both of which are singularly occidental in appear- 
 
230 
 
 English Book-plates. 
 
 ance, the decorative composition is of the Persian 
 type, a favourite with Mr. Crane. 
 
 Very illustrative of Mr. Walter Besant's capa- 
 city for unrelenting work is the " Library Interior " 
 designed for that indefatigable and prolific writer 
 by J. Vinycomb and engraved by Marcus Ward and 
 Co., of Dublin, in which we see the sage man of the 
 pen amidst studious surroundings, absorbed in his 
 
 HOOK-PLATE OF THE LATE TOHN PERRLS. 
 
 work yet fearful of the flight of time, and making 
 right good use of the hours as they fall through 
 the glass. One would wish, for the sake of com- 
 pleteness, that the artist had found room for Mr. 
 Besant's favourite motto " Work whilst ye have 
 the light." 
 
 The plate engraved for the late John Perris, 
 whilom Librarian of the Lyceum in Liverpool, 
 
BOOK-PLATE OF THE HON. J. B. LEICESTER WARREN. 
 By W. Bell Scott. 
 
Designs by IV. B. Scott. 
 
 233 
 
 which shows us the Knight of the Dismal Counte- 
 nance enthralled by his beloved Tales of Chivalry, 
 may be taken as emblematic of the powers of books 
 over imagination and, on that count, included in 
 the present category. 
 
 The three following plates belong to other well- 
 known men of letters : Mr. Austin Dobson's 
 (designed by Alfred Parsons), easily interpreted as 
 
 
 53§jj^ 
 
 ■yEgljlJM^ :VJ 
 
 
 of 
 
 
 IkEP'^PRS^ MP*?T[!g&W% Will 
 
 Pr^sif 
 
 LOOK-PLATE OF AUSTIN DOBSON. 
 By Alfred Parsons. 
 
 " At the Sign of the Lyre ; " ! and Mr. Warren's, by 
 William Beli Scott, are both distinctly emblematic. 
 
 The latter is, of course, particularly interesting 
 to ex-librists, revealing as it does some of the 
 special tastes of a poet and scientist, who, withal, 
 remains the best known authority on the subject 
 of book-plates. 
 
 " I may tell you," writes Lord de Tabley, " that, 
 
 : It was originally used as a tail-piece in that charming 
 volume of verses so entitled. 
 
234 
 
 English Book-plates 
 
 as you suppose, the design refers to some of the 
 leading hobbies of my life. It may seem some- 
 what egotistical to have had them heralded there ; 
 but Mr. Scott very kindly designed the plate 
 without consulting me. The plant is a bramble 
 bush (as I have made the genus Rubus my prin- 
 
 j|*f«p»to»fe 
 
 500K-PLATE OF EDMUND GOSSE. 
 
 By E. A. Abbey 
 
 cipal study), the lowest scroll is inscribed Rumex, 
 with the portrait of a Dock, also a favourite genus 
 of mine ; the upper scroll is inscribed with some 
 MS. poetry, in which I have made several obscure 
 attempts. In the background is a coin cabinet 
 which has been my earliest and perhaps my most 
 absorbing hobby." 
 
Edmund Gosse on Book-plates. 235 
 
 Lord de Tabley's over-modest reference to his 
 verses is incidentally corrected by no less an 
 authority than Mr. Edmund Gosse in the following 
 quaint paradoxical excerpt from " Gossip in a 
 Library," which I quote here, not only in explana- 
 tion of the charming design of Mr. E. Abbey for 
 the writer, but as giving a decidedly novel view of 
 the uses of a book-plate. 
 
 " The outward and visible mark of the citizen- 
 ship of the book-lover/' says Mr. Gosse, himself a 
 lover and connoisseur of books sil en fut, " is his 
 book-plate. There are many good bibliophiles 
 who abide in the trenches and never proclaim 
 their loyalty by a book-plate. They are with us 
 but not of us ; they lack the courage of their 
 opinions ; they collect with timidity or carelessness ; 
 they have no heed for the morrow. Such a man 
 is liable to great temptations. He is brought face 
 to face with that enemy of his species the borrower, 
 and dares not speak with him in the gate. If he 
 had a book-plate he would say, ' Oh ! certainly I 
 will lend you this volume, if it has not my book- 
 plate in it ; of course one makes it a rule never to 
 lend a book that has V He would say this, and 
 feign to look inside the volume, knowing right 
 well that this safeguard against the borrower is 
 there already. To have a book-plate gives a 
 collector great serenity and self-confidence. We 
 have laboured in a far more conscientious spirit 
 since we had ours. A living poet, Lord de Tabley, 
 wrote a fascinating volume on book-plates some 
 years ago with copious illustrations. There is not, 
 however, one specimen in his book which I would 
 
236 English Book-plates. 
 
 exchange for mine, the work and gift of one of the 
 most imaginative American artists, Mr. Edwin A. 
 Abbey. It represents a very fine gentleman of 
 about 16 10, walking in broad sunlight in a garden, 
 reading a little book of verses. The name is 
 coiled around him with the motto Gravis cantan- 
 tibus umbra, I will not presume to translate this 
 tag of an eclogue, and I venture to mention such 
 a very uninteresting matter, that my indulgent 
 readers may have a more vivid notion of what I 
 call my library." 
 
 Mr. Lawrence Alma Tadema also uses an 
 allegoric book-plate, a medallion of mixed classical 
 and modern composition. The allegorical figures 
 and objects are numerous, and relate, of course, 
 to the Fine Arts — or rather to the various material 
 manifestations thereof; for in Mr. Inglis's device 
 one fails to discover any allusion to Music. These 
 are grouped in a felicitous manner in and about 
 an easel-like arrangement of initials, through 
 which flutters a scroll bearing the appropriate 
 " sentiment :" As the Sim colours flowers, so Art 
 colours life. 
 
 The one marring factor in an otherwise pleasing 
 design is the heavy inscription of name and 
 address. When one is " Alma Tadema," an 
 address is surely not required on a personal token. 
 A sketch of the artist's head appears, after the 
 fashion of an engraver's "remarque," in a corner, 
 and converts the ex-libris into an informal portrait 
 plate. 
 
 To what extent the vividly original book-plate 
 of the representative actor of our modern English 
 
BOOK-PLATE OF LAWRENCE ALMA TADEMA. 
 By Elmsly Inglis. 
 
BOOK-PLATE OF HENRY IRVING. 
 
 By Bernard Partridge. 
 
Design by Bernard Partridge. 239 
 
 stage is really emblematic I have not been able to 
 ascertain. I have made several futile guesses, 
 and finally requested Mr. Irving's own interpreta- 
 tion. The information received, if not definite, is 
 at least as characteristic as the design itself. 
 
 " I think," said the owner, " that it was designed 
 by Bernard Partridge, though there is nothing of 
 that bird in the composition. The occult meaning, 
 so far as I know, there is none ; but Partridge 
 may have intended his ' dragon to be a sort of 
 glorified sandwich-man with the Lyceum play- 
 bill!" 
 
 The next five plates are illustrative of the 
 difficulty of classing many modern " pictorial " 
 examples. They might be called pure Genre, and 
 yet they are all more or less Emblematic ; one is 
 certainly a " Library Interior," and another equally 
 soa" Portrait " plate. 
 
 Three of the five are signed by Mr. Stacy 
 Marks. The first of these, composed for Mr. 
 James Roberts Brown, gives a portrait of the 
 owner, in the character of Alchymist, this being 
 the title the Chairman of the Ex-libris Society 
 bears among the Sette of Odd Volumes; it might, 
 however, as I have said, be described as symbolic, 
 in consideration of some of the surrounding 
 emblems, masonic and others. 
 
 I do not know whether the old gentleman 
 depicted in Mr. Robert Jackson's plate is also in 
 any way meant to be a portrait, but, at any rate, 
 as Mr. Jackson is a known virtuoso, a collector of 
 prints, china, drawings and such like, all the 
 accessories to this picture are certainly intended 
 
240 
 
 English Book-plates. 
 
 to be symbolic. The third, one of the latest of 
 Mr. Marks' productions in this line, belongs to his 
 eldest son. It is difficult to discover any symbolism 
 in this charming- little piece of genre. 
 
 Mr. E. J. Wheeler, the "Punch" artist, who 
 occasionally signs his humorous sketches with the 
 
 lAMEpRpBERTSBROWN- | 
 
 BOOK-PLATE OF JAMES ROBERTS BROWN. 
 
 By H. Stacy Marks, R.A. 
 
 conventional presentment of a four-wheeler, has 
 designed several ex-libris for himself and his friends, 
 all of which are charming compositions. 
 
 For his own beloved volumes Mr. Wheeler has 
 delineated the unalloyed happiness of an obvious 
 bibliophagist — a lover and devourer of books 
 
Designs by H. Stacy Marks. 241 
 
 in favourable circumstances, deep in the glut- 
 tony of an intellectual meal, with many heavy 
 
 BOOK-PLATE OF ROBERT JACKSON. 
 
 By H. S. Marks, R.A. 
 
 courses awaiting his attention in the shape of 
 curious old tomes. 
 
 The label character is happily introduced under 
 the shape of a fantastic bolt and strap cartouche, 
 
 R 
 
242 
 
 English Book-plates. 
 
 over which, however, the full-face helmet unsuited 
 to a commoner is an incongruous element. 
 
 The ex-libris devised by the same artist for his 
 friend Walter Brindley Slater, is quaintly illus- 
 
 BOOK-PLATE OF WALTER MARKS. 
 
 By H. S. Marks, R.A. 
 
 trative of another form of bibliophilic delight — a 
 lucky find by the book-stall hunter. 
 
 As examples of what can be termed more 
 specially "sentiment" plates, I reproduce two de- 
 
Designs by E. J. Wheeler. 243 
 
 signs of Mr. J. D. Batten and one by Mr. C. 
 Forestier the well-known illustrator. On that 
 which ^belongs to Mr. Winterbotham lurks un- 
 
 BOOK-PLATE OF E. J. WHEELER. 
 
 Designed by the Owner. 
 
 obtrusively in the background, behind a well- 
 laden strawberry plant, a wise old saw — Inter folia 
 fructus — which has done duty on many a book- 
 plate of various countries, from the sixteenth 
 
244 
 
 English Book-plates. 
 
 century down to present times. This is a general 
 bibliophilic sentiment adopted also by Mr. Charles 
 Elkin Mathews for the token of his books (p. 248). 
 
 ^saP , ., 
 
 KOOK-PLATE OF WALTER BRINDLEY SLATER. 
 
 By E. J. Wheeler. 
 
 But below the Winterbotham device and signifi- 
 cantly close to the book-owner's address, appears, 
 in the cosmopolitan language of the learned, the 
 sententious warning that it is only 
 
Designs by /. D. Batten. 245 
 
 The wicked who borroweih and returneth not again. 
 
 The second, composed for Mr. Money Coutts, 
 has a humbly pious motto in explanation of a pure 
 symbolic figure — 
 
 Da mihi, Domine^ scire quod sciendum est. 
 
 BOOK-PLATE OF JAMES WINTERBOTHAM. 
 
 ByJ.D. Batten. 
 
 This example, which, of course, can be classed 
 either among " Interiors " or " Allegories," accord- 
 ing to the taste and fancy of the collector, is re- 
 presentative of a very personal category of book- 
 
246 
 
 English Book-plates. 
 
 plates, in which a suitable blank space is left for 
 the owner's name in autograph. 
 
 In Mr. Clement Snorter's ex-libris the " senti- 
 ment " is, it must be owned, scarcely appropriate 
 
 BOOK-PLATE OF MONEY COUTTS. 
 
 By J. D. Batten. 
 
 to the spirit of bibliophily. The quatrain suits the 
 picture, however ill adapted the composition may 
 be to the recognized purpose of an ex-libris ; it 
 suggests at once the good old burthen 
 
 And so say all of us ! 
 
Design by C. Forestier. 247 
 
 should the unfortunate necessity for immediate 
 
 '' Books are enough." Xay, nay, 
 
 They are not human ; 
 Vd give all mine away 
 For one sweet woman. 
 BOOK-PLATE OF CLEMENT SHORTER. 
 
 By C. Forestier. 
 
 choice ever occur; but why such a dilemma on a 
 book-plate ? 
 
248 
 
 English Book-plates. 
 
 Mr. C. R. Halkett, of Edinburgh, has designed 
 many curious plates in a very characteristic alle- 
 gorical style of his own. One of the best is un- 
 doubtedly that of Mr. W. Rue Macdonald (the 
 author of a very elaborate work on Napier of 
 Merchiston's Logarithms, which he has for the 
 first time translated into English). In this device 
 
 BOOK-PLATE OF CHARLES .EL* KIN MATHEWS. 
 By A. Robertson. 
 
 we have once more the old allegory of Labour and 
 Study, so often adverted to in these pages, and the 
 Tree supporting the owner's heraldic claims. In 
 execution and composition it is perhaps the most 
 attractive book-plate which has left Mr. Halkett 's 
 hands. 
 
 The Tree of Wisdom figures again in the token 
 adopted by Mr. J. M. Gray, of the Scottish National 
 
Designs by C. R. Halkett. 249 
 
 Portrait Gallery. Peering between the branches 
 is seen the tempting combination of serpent body 
 and female head. Seated at a table is also a monk 
 (but of less prepossessing appearance than in the 
 preceding example), who is firmly resolved to keep 
 
 BOOK-PLATE OF WM. RAE MAC DONALD. 
 
 By C. R. Halkett. 
 
 his time well in hand and make good use thereof. 
 This is the ''second state" of the plate, with the 
 shield of arms added to the original design. 
 
 Mr. Beddard is prosector of the Zoological 
 Society ; his plate is altogether allegorical of the 
 
250 
 
 English Book-plates, 
 
 chosen pursuit of his life, which is Natural History. 
 In the tree dwells the Hamadryad representing 
 the Vegetable Reign ; she holds in her hand a 
 disused skull, suggestive of Ethnology ; the spider, 
 the flat fish, the gull, the zoophytes and the front 
 view of a trilobite (in a special panel), have refe- 
 
 BOOK-PLATE OF J. M. GRAY. 
 
 By C. R. Halkett. 
 
 rence to various departments of research. The 
 customary monk of Mr. Halkett's devices, seated, 
 somewhat sleepily, in a massively timbered craft, 
 and taking soundings, is intended, I believe, to 
 record symbolically the exploring expedition of 
 the " Challenger," of which Mr. Beddard was a 
 
Designs by C. R. Halkett. 251 
 
 member. — There is no doubt that the modern 
 symbolic book-plate may often require a good deal 
 of explanation. 
 
 The landscape ex-libris, dear to our grandsires, 
 
 (ii^x{^xmmd'^M^'hM^m\; 
 
 BOOK-PLATE OF F. C. BEDDARD. 
 
 By C. R. Halkett. 
 
 has been revived of late years (it must be owned 
 with felicitous results) by Mr. Leslie Brooke. The 
 three examples that I am able to reproduce among 
 these pages show, of course, a great family like- 
 ness as far as treatment is concerned, but the 
 treatment is charmingly light and suggestive. 
 
252 English Book-plates. 
 
 Without being elaborately symbolic they are suf- 
 ficiently distinctive to make very excellent personal 
 tokens. 
 
 The various scenes displayed, after a synoptic 
 
 Wm&i^L ^°> 
 
 60 Wynnstay-GardensKensin gton-1 
 
 BOOK-PLATE OF ARTHUR SOMERVELL. 
 By L. Leslie Brooke. 
 
 manner, in the various plans of Mr. Arthur Somer- 
 vell's device, refer, I understand, to various inci- 
 dents of a memorable expedition once undertaken 
 by the owner. The piping shepherd is, of course, 
 symbolical of Mr. Somervell's musical vocation. 
 
Designs by L. Leslie Brooke, 253 
 
 The Stopford Brooke plate, with its charming 
 long perspective, is simply bucolic; but in the device 
 of Mr. Henry Fisher Cox there is a harmless and 
 gracefully delineated rebus allusion to the owners 
 
 t 
 
 EdC'Libris : StopJcrd 
 
 y&> taMiMHiM. ' . Mmtimy^- ' » -j g? 
 
 Augujti ■ Brookg I 
 
 
 "" i ' nm m \j^pccQxcu r 
 
 BOOK-PLATE OF THE REV. A. STOPFORD BROOKE. 
 
 By L. Leslie Brooke. 
 
 name in the fishing scholar seated under a tree, 
 and apparently more attentive to his book than to 
 his float. 
 
 A variety of the " landscape," as well as of the 
 
254 
 
 English Book-plates. 
 
 " architectural," plate of very obvious suggestion 
 is what Mr. Hardy calls the " View " device. 
 Indeed many of the older vignettes are actual 
 views of scenery, houses, favourite nooks dear to 
 the owners. Many of Bewick's woodcuts used as 
 ex-libris reflect actual scenes of his own North 
 
 13 -ALBERT-PLACE ■•** 
 
 Jf~ KENSINGTON- 
 
 BOOK-PLATE OF HENRY FISHER COX. 
 
 By L. Leslie Brooke. 
 
 Country. Among the foregoing pages of this 
 volume will be found several professed "views" : 
 Eastry Church, in Kent ; Strawberry Hill, Twick- 
 enham ; from the window in Mr. Leveson Scarth's 
 
Design by H. Rail ton. 
 
 255 
 
 Library Interior is seen a distant, but, I am told, 
 quite recognizable view of the bay near Bourne- 
 mouth. Mr. Hardy mentions several examples 
 which possess interest beyond the personal ; one, 
 for instance, having belonged to ° Peter Muilman, 
 of King Street, London, and Kirby Hall, Castle 
 Hedingham, Essex," on which are represented the 
 
 U*£% 
 
 ^■■^lir^J 
 
 /i/tu/t'vhwcttJ 
 
 BOOK-PLATE OF CLEMENT SHORTER. 
 
 By H. Railton. 
 
 remains of a feudal stronghold, presumed to be 
 Castle Hedingham itself, now no more, as it may 
 have appeared about 1 775, 
 
 One of the best-known plates of this kind, 
 probably the earliest in date, is the ex-libris 
 Tabularii Publici in Ttcrre Londinensi, which was 
 engraved by J. Mynde for the library of the Public 
 Record Office, then at the Tower, and gives, us a 
 
256 
 
 English Book-plates. 
 
 good likeness of the building as it was seen in 
 those days. 1 
 
 I am able to reproduce here two latter-day 
 examples of the "View" class. One is a sketch 
 made for Mr. Shorter, by Mr. Railton, in his 
 
 RiveTHouse.,HammeTsmith 1884 
 
 • j«>!V«/.C-^ v >«i^W''-^V>'Vi''<^ l, 'Vj8^W»'..*t*.|^l 
 
 RICH- SlVR PH I LPOT T, M- A' 
 PREBENDARY I OFSWE LLS ■ 
 
 t BOOK-PLATE OF THE REV. R. S. PHILPOTT. 
 By Edmund H. New. 
 
 well-known and charming manner, of Shake- 
 speare's house at Stratford-on-Avon. There is no 
 very special appositeness in the choice of such a 
 subject for the purpose of a personal book-token ; 
 
 1 A facsimile of this interesting plate is included among Mr. 
 Hardy's illustrations. 
 
Designs by Edmund New. 257 
 
 it was no doubt suggested to that great lover 
 and portrayist of picturesque dwellings by Mr. 
 Shorter's amiable and bibliophilic choice of the 
 quotation from Titus Andronicus — 
 
 " Come and take a choice of all my library 
 And so beguile thy sorrow." 
 
 The quaint little back view of " River House, 
 Hammersmith," on the other hand, drawn by Mr. 
 
 fFORiWISDOlvv I S-BETTER 
 
 THANIRUBIESANDAU 
 
 : THETHINCSTHATMAY 
 
 1 BE-DE5IKE0-ARE-N0TT0 
 
 jJB&COrtPAREP-ONTO-HCRk , 
 
 HOOK-PLATE OF EDMUND HORT NEW. 
 
 By C. M. Gere. 
 
 Edmund New for the Rev. Richard Philpott, 
 prebendary of Wells, is no doubt very personal, 
 and filled with associations. 
 
 Mr. Edmund New, it may be said here, uses a 
 plate drawn by Mr. C. M. Gere, the rising artist 
 (like Mr. New, of the Birmingham School of Art), 
 who devised the frontispiece to William Morris's 
 " News from Nowhere." 
 
2 5 8 
 
 English Book-plates. 
 
 Very much in the same manner is the plate de- 
 vised by this designer for Mr. A. V. Paton. 
 
 The three last-mentioned plates, as well as 
 several designs by Mr. R. Anning Bell (to be 
 mentioned further on), have been much admired by 
 
 MsMWKI 
 
 NON^ CARETS E^NTOSTRIS gV 
 ^ULLU,S^HONORE^LIBEFUS> Evi 
 
 m/^^^^mKmm 
 
 CM GERE du f893 
 
 BOOK-PLATE OF A. V. PATON. 
 
 By C. M. Gere. 
 
 all sorts and conditions of men, from Royal Acade- 
 micians to simply "clever persons," on the walls of 
 this year's Exhibition of the Arts and Crafts Society. 
 Without going full tilt against cultivated criti- 
 cism, it may, however, be allowable to protest — 
 from the ex-librist's standpoint— against the utterly 
 lax treatment of heraldry in the Paton plate, which 
 
Designs by C. M. Gere. 
 
 259 
 
 shows a deplorable misconception of the " fitness 
 of things." Blazonry should never be allowed to 
 look insignificant and slovenly ; it loses all raison 
 d'etre in decorative composition if it be not dealt 
 with with both correctness and dignity. 
 
 Another successful pupil of the Birmingham 
 School, who occasionally finds time to devote to 
 
 SM. 
 
 BOOK-PLATE OF S. H. HKATH. 
 By the owner. 
 
 such trifles as book-plates, is Mr. Sidney Heath, 
 whose designs for book-tokens display points of 
 technical excellence. 
 
 In the ex-libris of Mr. Charles Holme the well- 
 known collector and authority on Japanese art, 
 drawn by the owner himself, we have the " land- 
 scape " treated in a conventional, strict black on 
 white, style of very latter-day type. There is a 
 
260 
 
 English Book-plates 
 
 pseuclo Japanese flavour in the fretted rendering 
 of the cloud, the planning of the hills without dis- 
 tance, which recalls at once Mr. Aubrey Beardsley's 
 Jin dc siecle mannerism. The same is observable 
 
 HOOK-PLATE OF CHARLES HOLME. 
 
 Designed by the owner. 
 
 in the meandering stream of printer's ink — no 
 doubt in allusion to the " Books in the running- 
 brooks " of the " sentiment." 
 
 Very different in spirit and style is the label 
 composed by Mr. Holme for a friend of his, Mr. 
 
Q«SQ^mmM<MMQ^M:0JMJ^J$-MQ 
 
 P.OOK-PLATE OF F. H. EVANS. 
 
 By F. C. Tilney. 
 
Designs by Charles Holme. 263 
 
 William Manning. It is distinctly realistic and 
 symbolical of the owner's special pursuits, micro- 
 graphic, cosmographic and artistic, as well as to 
 
 HOOK-PLATE OF WILLIAM MANNING. 
 
 By Charles Holme. 
 
 his special appointment as " Seer " among the 
 " Odd Volumes." 
 
 This particular device can, of course, be classed 
 among the " Interiors," a form of composition 
 which is not as much cultivated as its aptness to 
 
264 
 
 English Book-plates. 
 
 the requirements of a good personal plate would 
 warrant. 
 
 Among the latest of such designs are two origi- 
 
 I500K-PLATE OF GEORGE KITCHIN. 
 By F. C. Tilney. 
 
 nal plates composed by Mr. F. C. Tilney. One 
 belongs to Mr. Frederic Evans, and is, I under- 
 stand, intended as a " portrait in character" ; the 
 
G>LIBRlS*mHURK€*YICERS* F. S. ft 
 
 BOOK-PLATE OF 
 
 By the Re\ 
 
 ULSTER KING OF ARMS. 
 
 W. Fitzgerald. 
 
Design by IV. Fitzgerald. 267 
 
 various sentiments which support the composition, 
 from the Baconian adage — 
 
 '-''Reading maketh a full man." 
 
 to the Shakespearian request — 
 
 " Come and take a choice of all my Library.''' 
 
 are apposite to the picture : for Mr. Evans is the 
 well-known bookseller in Queen Street, Cheapside, 
 and, in his book-plate at least, seems undoubtedly 
 44 full of his subject." 
 
 The other was made for Mr. George Kitchin, 
 son of the Dean of Winchester. 
 
 Mr. Arthur Vicars, F.S.A., who succeeded the 
 late Sir Bernard Burke in the position of Ulster King 
 of Ai r ms is the owner of several handsome plates, 
 mostly Heraldic as a matter of course, but he also 
 uses a " Library Interior," which, had it been 
 reproduced by a better process, such as photo- 
 etching or photogravure, would have been one of 
 the most charming plates in existence. The design 
 and composition recall in grace and quaintness the 
 work of eighteenth century French vignettists, 
 and would have been worthy of interpretation at 
 the hands of some skilled engraver. 
 
 It was devised, on Mr. Vicars' suggestion, by 
 the Rev. William Fitzgerald, son of the the late 
 Bishop of Killaloe ; a draughtsman who, curiously 
 enough, was only known until then as a clever 
 caricaturist. 
 
 The design for a book-plate made for me by 
 my wife, is a free adaptation of an old French 
 
268 English Book-plates. 
 
 Rococo frame to an original little piece of "genre " 
 composition, illustrative of that most reposeful 
 occupation in a library firelight, "meditation,"— 
 with eyelids closed. 1 
 
 Mr. Warrington Hogg, a very original deviser 
 of plate, motifs, has drawn, among many other 
 clever things, a very excellent " interior," used as 
 book-token by Mr. Leveson Scarth, of Keverstone. 
 
 Among the good features of this plate must 
 be noticed the charmingly quiet distant view from 
 the window, and the natural introduction of the 
 necessary armorial element in a place where 
 heraldic carving would most suitably appear. 
 
 This is, I believe, the only interior done by 
 Mr. Hogg, but he has brought out a goodly 
 number of symbolic designs on quite original 
 lines. Among the best may be reckoned his own 
 book-plate and that used by Mr. A. G. Bell. 
 
 In the " Bell " plate, the canting symbolism and 
 the pertinence of the legend are both too obvious to 
 need comment. The Dutch family motto, which 
 may be translated, " Through time and industry," 
 and the paint-box and books, represent the tastes 
 of the owners of the plate — Mr. Arthur G. Bell, 
 the water-colour artist, and his wife, whose books 
 on art, issued under the pseudonym " N. D' Anvers," 
 are widely known. The three little bells bearing 
 the initials of their children, with the two large 
 
 1 A more carefully finished elaboration of the same idea, 
 reproduced in " Intaglio," was given in the original edition of 
 this work. It could not be included in the present issue, owing 
 to the undertaking that none of the copper-plates belonging 
 to the limited edition would be reproduced in another issue. 
 
DESIGN FOR A "LIBRARY INTERIOR" HOOK-PLATE. 
 By Agnes Castle. 
 
TlJoftooK'ff worth anything- that IT- not-worth-, « 
 
 BOOK-PLATE OF THE KEVERSTONE LIBRARY. 
 By Warrington Hogg. 
 
Designs by M^ar ring ton Hogg. 273 
 
 and the three small hearts burning with the same 
 fire at the foot, complete the idea. 
 
 In the artist's own plate the mystic tree " Igdra- 
 
 BOOK-PLATE OF A. G. AND N. BELL. 
 By Warrington Hogg. 
 
 sil," symbolical, as we know, of literature, rises 
 from the hill of difficulty at the foot. The pen in 
 the ink-horn points to the quotation from Chaucer 
 
274 
 
 English Book-plates. 
 
 inscribed on the heart. The hearts, aflame with 
 desire for learning, mount up to the book on the 
 summit of the tree ; the birds, taking their flight 
 
 BOOK-PLATE OF JANE PATTERSON. 
 
 By R. Alining Bell. 
 
 from the topmost boughs, typify the soaring 
 thoughts born of books. 
 
 Mr. R. Anning Bell has designed a great num 
 
BOOK-PLATE OF WARRINGTON HOGG. 
 
 By the owner, 
 
Designs by R. Anning Bell. 277 
 
 ber of ex-libris in a more or less allegorical style. 
 In my own irresponsible judgment the treatment 
 of his subject by this artist is somewhat too un- 
 
 BOOK-PLATE OF W. KNIGHTLEY GODDARD. 
 
 By R. Anning Bell. 
 
 substantial for the requirements of a book-token. 
 But here again, as in the case of some other 
 designers I had occasion to mention before, it is 
 on record that these compositions are highly ap- 
 
278 English Book-piates. 
 
 predated by Art Critics, and it is therefore meet 
 that they should figure in a gallery of modern 
 book-plates. 
 
 The device which marks " Jane Paterson her 
 book," no doubt displays a definite suggestion of 
 grace ; and the same must be said, in a greater 
 degree, of the book-plate of Christabel Frampton, 
 which is the last illustration of this chapter. But 
 what can I find to say of the mediaeval figure in 
 classical attire that supports on that thin and frail 
 rod the tinctured escutcheon and the tilting helm 
 of Mr. Knightley Goddard, whilst Cupid, arms 
 akimbo in a doubting attitude, contemplates her 
 with such obvious disfavour ? 
 
 The book-plate, however, devised by the same 
 artist for Mr. Barry Pain, is a composition, no 
 doubt, idoneous to the peculiar genius of the 
 •' New Humour" apostle; Pallas (not armata, for she 
 has discarded her shield and hung her scale-armour 
 out to dry) sits in a somewhat insufficient attire 
 poring over works of Latter-Day Humour, and 
 burning the midnight oil, whilst the Bird of 
 Wisdom, on a high pile of books, pained and 
 astonished, discreetly averts his eyes from the in- 
 decorous spectacle. 
 
 The portrait plate as a class, like the " Library 
 Interior," is not as much in favour as it might 
 with advantage be. And yet devices of this kind 
 are undoubtedly and must always remain the most 
 personal that it is possible to conceive. The two 
 examples I have chosen are interesting both artis- 
 tically and from the personal point of view. 
 
Designs by R. Aiming Bell. 279 
 
 The ex-libris drawn by M. Paul Avril for Mr. 
 Ashbee, a keen man of books and art collector, 
 should be classed among the punning or " Rebus" 
 devices. At the foot of an Ash tree rests a 
 
 BOOK-PLATE OF BARRY PAIN. 
 
 By R. Arming Bell. 
 
 medallion portrait of the owner, whilst a palpable 
 Bee hovering around the arrangement gives the 
 clue to the pictorial charade. It is quite legiti- 
 mate to include this plate among English examples, 
 notwithstanding the foreign nationality of the 
 
280 English Book-plates. 
 
 designer — so well known in connection with 
 Octave Uzanne's deliciously illustrated volumes. 
 Gribelin and Gravelot, Bartolozzi, Cipriani, and 
 Piranesi were likewise foreigners, yet we would 
 continue to reckon the designs they made for 
 English book-lovers as English book-plates. 
 
 Mr. Walter Pollock's portrait plate, on the other 
 hand, belongs to some extent to the symbolic class. 
 It is a portrait "in character," namely, that of 
 Fencer and Poet. — A gentleman in the dress of 
 Elizabethan days waits at some trysting spot in 
 a forest glade for the arrival of a tardy opponent, 
 
 M 
 
 HIEROGLYPHIC PLATE OF WALTER HERRIES POLLOCK. 
 
 By the Rev. W. J. Loftie. 
 
 and beguiles the obnoxious waiting time by polish- 
 ing some impromptu verses lately jotted down on 
 his tablets. It is well known that the present 
 editor of the " Saturday Review" — writer, play- 
 wright, poet, and hedonist — finds keen delight in 
 matters dimicatory, especially in the fence of rapier 
 and dagger. The wounded boar tearing away 
 in the distance is an unconventionally heraldic 
 allusion to the crest borne by the singularly dis- 
 tinguished family of which Sir Frederick Pollock, 
 Bart., LL.D., is the present head. This plate, 
 devised and drawn by Agnes Castle, gives a very 
 characteristic likeness of the owner. It has been 
 
<L:a/h- f y/crrtr.>^/ ( r//or/^,, II- I. 
 
Hieroglyphic Plates. 
 
 281 
 The 
 
 reproduced (by a very indifferent process) in 
 Sketch," on the occasion of an interview. 
 
 Mr. Pollock also uses hieroglyphics as a token 
 of possession, but this very characteristic mark, de- 
 vised by the Rev. W. J. Loftie, refers only to the 
 initials W. (V V.) H. P. 
 
 Mr. Loftie has also devised hieroglyphics, to be 
 used as a book-token, for Mr. Rider Haggard; in 
 this case, however, the inscription is sufficiently 
 
 Oyf 
 
 BOOK-PLATE OF H. RIDER HAGGARD. 
 
 By the Rev. W. J. Loftie. 
 
 elaborate. It is meant to signify " H. Rider 
 Haggard, the son of Ella, Lady of the House, 
 makes an oblation to Thoth, the lord of writing, 
 who dwells in the Moon." It was, of course, in- 
 tended to be jocular ; but no doubt the device, 
 composed by a recognized expert in such matters, 
 will remain a most interesting token in connection 
 with the author of " She" and of " Cleopatra." 
 
 Mr. Loftie himself uses, among his many plates, 
 a little device which originally figured on the title- 
 
282 
 
 English Book-plates . 
 
 page of his " Ride in Egypt." The hawk, copied 
 from one of the walls in the Temple of Philse, 
 holds the symbol of life and death (the crux 
 ansata) towards five hieroglyphics, which signify 
 V V. J. L. Above is the inscription The Lord 
 HoruSy the son of his. 
 
 HIEROGLYPHIC BOOK-PLATE OF THE REV. W. J. LOFTIE. 
 By the owner. 
 
BOOK-PLATE OF CHRISTABEL FRAMPTON. 
 
 By R. Anning Bell. 
 
ON THE CHOICE OF A BOOK-PLATE, 
 
 WITH A FEW WORDS ABOUT BOOK-PLATE 
 COLLECTING. ' 
 
 jT cannot, of course, be claimed that in 
 the foregoing pages every style and 
 class of existing ex-libris has been 
 passed in review. Such a task, to be 
 complete, would require many thick volumes — and 
 then remain nugatory after all, for exhaustive 
 knowledge in the matter of book-plates, as in 
 everything else, can only be acquired by frequent 
 and careful scrutiny of the objects themselves. 
 As the number of examples available for study 
 becomes multiplied, disquisition on general rules 
 and broad facts becomes less and less requisite. 
 In any good representative collection (provided 
 the same be arranged on historical lines), the 
 student can make his own observations, and 
 classify them for his own purposes according to 
 his own ideas. 
 
 But large, and especially well-arranged col- 
 lections, are not accessible to every one ; the 
 amateur of ex-libris who has not time to ride his 
 mild hobby with the necessary regularity, and 
 
286 English Book-plates. 
 
 thus gather for himself all that is to be gathered of 
 general information, can have the task lightened 
 for him by a compendium of examples recognized 
 as typical, arranged in recognized categories. 
 
 As I have said in the introduction to this 
 work, the interest taken by various people in 
 personal tokens of book-ownership is of varied 
 kind. A great number of book-owners not other- 
 wise keen about " ex-librism," feel at one time or 
 another a transient curiosity in the subject, because 
 they would have a book-plate of their own and 
 therefore wish to know something of their fore- 
 fathers' and of their contemporaries' taste in such 
 a matter. No doubt the study of past fashions in 
 design is suggestive and otherwise useful. Indeed, 
 it sometimes even leads to a misplaced apprecia- 
 tion of past work ; I mean it inclines book owners 
 to forego the trouble of original conception, and to 
 adopt ancient devices which may certainly be good 
 of their kind, but are to a great extent inappro- 
 priate to modern volumes ; for it can certainly be 
 questioned whether it is justifiable, in an artistic 
 and bibliophilic sense, to use in volumes born of 
 the nineteenth century a composition especially 
 created for men and books of a very different age. 
 
 Be this as it may, "adaptations" form a 
 numerous and definite class of modern plates, one, 
 it is curious to note, selected by many regular 
 collectors. 
 
 Five examples will, I think, suffice to illustrate 
 this category. The oldest of these is a purely 
 heraldic ex-libris used by the Rev. Daniel Parsons 
 (who was one of the first in England to write 
 
Adaptations. 
 
 287 
 
 about book-plates as objects worthy of study). 
 Comparison with the Early Armorial example on 
 page 58 shows pretty conclusively that the model 
 selected by that gentleman was the plate of Gwyn 
 of Lansanor, or at least one by the same engraver 
 (for the study of ancient ex-libris reveals the fact 
 that adaptation was likewise much practised 
 
 in 
 
 BOOK-PLATE OF THE REV. D. PARSONS. 
 Circa 1837. 
 
 olden days). True, the " napkin " of the original 
 has been dispensed with, but in all other res- 
 pects the ornamental character of the seventeenth 
 century design has been closely copied. Mr. 
 Parsons was one of those who, in good heraldic 
 fashion, see no use in a legend on a book-plate, 
 holding that a paternal coat, quartering a maternal 
 
288 
 
 English Book-plates. 
 
 one and impaling conjugal arms is amply suffi- 
 cient to fix beyond doubt the owners personality. 
 This simplicity would no doubt be "highly cor- 
 rect " if only an exact knowledge of blazon formed 
 
 BOOK-PLATE OF THE EARL OF MAYO. 
 
 Drawn by Lady Mayo, engraved by Curvven, of Dublin. 
 
 an indispensable part of a sound and liberal educa- 
 tion. But, as matters stand in this respect, it is 
 on the whole more practical to underscribe a name 
 even to a well-known coat such as that of the Earl 
 
Adaptations. 
 
 289 
 
 of Mayo, whose book-plate is also an adaptation 
 from a " Restoration " design. 
 
 With reference to this plate, it must be pointed 
 out that, however compact and otherwise excellent 
 in design, the ancient model was not quite judi- 
 ciously chosen. The achievement of arms of a 
 
 4&88. c_/ 
 
 BOOK-PLATE OF THE HON. GERALD PONSONBY. 
 
 Engraved by Curwen. 
 
 nobleman should include the Supporters, and for 
 this purpose a plate composed after the manner of 
 the Archibald Campbell ex-libris, for example, 
 shown on p. 61, would have perhaps been more 
 suitable. 
 
290 English Book-plates. 
 
 Lady Mayo's father, the Hon. Gerald Ponsonby, 
 possessor of one of the most complete collections 
 in England, has, for his latest ex-libris, chosen 
 the " Book-pile " arrangement, in all its time- 
 honoured conventionality. To judge from the 
 character of the rococo frame surrounding the 
 arms, the model adopted belonged to the middle 
 of the last century. 
 
 One of the most effective adaptations I know is 
 that used by Mr. Carlton Stitt, of Liverpool. This 
 is a reproduction in photogravure of the elabo- 
 rately symbolical frontispiece drawn, in the days of 
 Anne, by Simon Gribelin for Lord Shaftesbury's 
 Characteristics of Men, Manners, Opinions and 
 Times, to which is added, for the sake of per- 
 sonality, the name of the owner and his motto — 
 
 Sed sine labe decus. 
 
 The monogram cartouche which proclaims the 
 book ownership of Mr. Walter Hamilton, another 
 " authority " on the subject at hand, is, with the 
 exception of the motto on the scroll, an exact 
 copy of a design ascribed by Mr. Austin Dobson 
 to William Hogarth, and supposed to have been 
 devised as an ex-libris. The harmoniously 
 woven initials served Mr. Hamilton's purpose 
 very naturally; Hogarth's composition, however, 
 seems to have been more than once appropriated 
 as a frame for totally different monograms. Such 
 adaptations are hardly legitimate, and reveal a 
 paucity of imaginative resources. In fact, adapta- 
 tions of all kinds, besides never being really 
 
Adaptations. 
 
 291 
 
 personal, are not, as I have already said, suited 
 to this age. 
 
 In the case of ancestral libraries many succes- 
 sive styles of plate are oftentimes to be found in 
 
 v auss?" 
 
 1572, 
 
 BOOK-PLATE OF WALTER HAMILTON. 
 
 the slowly accumulated collection, giving a cha- 
 racter of its own to each various accession, and 
 representing distinct phases in their history. It 
 \^ould seem almost a matter of duty, in a senti- 
 
292 English Book-plates. 
 
 mental spirit, to continue the chain of records by 
 affixing to such modern volumes as may be added 
 to the goodly company a book-plate representative 
 of modern taste. 
 
 The choice of an ex-libris now-a-days, however, 
 is no simple matter. It is easy enough to 
 light on an emblem which may be personally 
 highly pleasing ; but not so to find one suited to 
 the general purpose of a modern library. The 
 fact cannot be waived that the Victorian book 
 buyer has, as a rule, to provide marks of owner- 
 ship for libraries vastly different in every way 
 from those of his Georgian ancestors and their 
 forefathers. 
 
 On the book-shelves of the past two centuries 
 were aligned nought but substantial volumes, most 
 uniformly clothed in rich, strong brown calf, and 
 the least important of which was no doubt a much 
 more consequential chattel than would now be a 
 work of similar standing. In libraries so com- 
 posed the old-fashioned engraved plate, more or 
 less sumptuous and armorial, suited all books 
 almost equally well. But in our days of cheap 
 editions and of " publishers' cloth," ex libris matters 
 bear perforce a very different complexion. A 
 superbly decorative achievement of arms engraved 
 by Sherborn ; an elaborate and elegant composition 
 of Erat Harrison, could but look inconsistent on 
 the white lining paper of a five shilling book. Yet 
 this cheap and plain volume may, nevertheless, 
 be worthy of a settled place in the bibliotheca and 
 therefore of its owner's badge. 
 
Choice of a Plate. 
 
 293 
 
 On the other hand, what an insult to a precious 
 tall copy, habited in choicest binding of Morell 
 or Zaehnsdorf, to stamp its board with any little 
 abomination, such as one of our every-day die- 
 sinker's "crest within a garter." In the same 
 manner as a poor book (poor in the typographical 
 sense) can be made absolutely piteous if arrayed 
 in a magnificence unsuited to its status in the 
 book world, so can the most exquisite plate lose 
 all its significance when mated to an unworthy or 
 unapt companion. In short there is as much con- 
 
 From the Library of 
 
 CHARLES DICKENS, 
 
 Gadshill Place, June, 1870. 
 
 sistency required in the choice of a book-plate as 
 in that of a binding. 
 
 What then is the way out of this latter-day 
 difficulty ? The answer is simple : for a modern 
 library several plates at least — certainly more than 
 one — are required, that is if the ex-libris be in- 
 tended as anything more than a mere utilitarian 
 statement of ownership. Tokens of this latter 
 kind fulfil, of course, only one (the most matter- 
 of-fact) purpose of an ex-libris, but so long as their 
 statement is explicit, fulfil it satisfactorily ; but if 
 ex-libris had never gone beyond that purpose the 
 
294 
 
 English Book-plates. 
 
 book-world would have lost many charming crea- 
 tions, and there would have been no scope for 
 " ex-librism." 
 
 Of this category the label used as a distinctive 
 record of Charles Dickens' own books at Gadshill 
 Place, albeit somewhat special in its purpose, 1 
 may be taken as a sufficient example. There 
 could be nothing inconsistent in its appearance on 
 any class of books ; it professes to state that the 
 volume to which it is affixed belonged to the 
 
 *a£ii£y ~^\.^ ^ \W 4 
 
 fmxtm 
 
 BOOK-PLATE OF J. S. MARTIN. 
 
 Of Edinburgh. 
 
 nothing 
 
 more 
 
 -but 
 
 Gadshill Place Library, 
 sufficient record of interest withal 
 
 In a conjuncture of this kind the most rigorous 
 simplicity was, of course, in the best taste. But 
 in ordinary cases there is no doubt that the simple 
 name-label, by means of a little judicious ornamen- 
 tation, may be made not only more pleasing to 
 the eye but actually less obtrusive. Very " chaste " 
 and practical is the little label of Mr. John Martin, 
 
 Charles Dickens died in June, 1870. 
 
Choice of a Style. 
 
 295 
 
 the well-known Edinburgh bibliophile ; so is the 
 Initial plate of Mr. Herbert Home, whilst that 
 designed in the same old-fashioned " pounced " 
 style by F. C. Montagu for the late Charles 
 Keene is decidedly artistic ; this last, in fact, is 
 perhaps the best example I know of the class ; 
 such a device would quietly enhance the most 
 
 HERgSlTHKBpOK 
 
 i:sovcht:for;so! 
 
 INITIAL BOOK-PLATE BY HERBERT P. HORNE. 
 
 modest and could not disparage the most preten- 
 tious volume. 
 
 The more "typographic" the character of fan 
 ex-libris, the more universal is its suitability. For 
 this reason I. would say that when only one device 
 is used for a general library, plates of the 
 " Printer's Mark" class have the widest range of 
 applicability. They have no very obtrusive aris- 
 tocratic pretensions, no special gorgeousness, yet 
 ►can be made of most ^attractive appearance, and 
 
296 English Book-plates. 
 
 from their appositeness to printing of every kind, 
 can consistently figure as the personal element in 
 all sorts and conditions of books. If, moreover, 
 the design is reproduced in different sizes, every 
 acquirement of a perfect ex-libris is fulfilled. 
 
 The heraldic monogram, on pounced background, 
 in Printers Mark style, adopted by Mr. Harry 
 
 BOOK-PLATE OF THE LATE 
 CHARLES KEENE. 
 
 Designed by Frederick Conway Montagu. 
 
 Rylands as his book device, exists in two sizes, 
 of which the present example is the smaller. 
 
 Next to this class, seals and heraldic composi- 
 tions in the style of Mr. Russell Spokes' plate 
 are perhaps most congruous to a miscellaneous 
 collection. 
 
 With other categories of designs, whether " Ar- 
 morial" or " Pictorial," the difficulty of application 
 
Choice of a Design. 297 
 
 increases, and much discrimination has to be exer- 
 cised. On my own shelves repose many books, 
 even of the most estimable, on which, for instance, 
 the exquisite "library interior" in the Rococo 
 manner, designed for me by my wife, would look 
 almost ridiculous. How completely out of place, 
 
 
 llSa 
 
 ;__ ""'"■■ "■■"«'- d 
 
 BOOK-PLATE OF HARRY RYLANDS. 
 
 By Menestrier. 
 
 for instance, would this dainty composition — with 
 its cosy corner by the hearth, where a pensive gen- 
 tleman of the olden time is seen falling into a fire- 
 light reverie 1 — look on the boards, shall I say, of 
 
 1 These remarks refer to the intaglio plate (the sketch of 
 which is given in the preceding chapter) belonging to the 
 original edition. 
 
298 
 
 English Book-plates. 
 
 Simienowicz's "Art of Artillerie," a very magnifi- 
 cent volume, with all its pride of the seventeenth 
 century military plates ; or on those of Sir Charles 
 Lyell's " Elements of Geology ; " or yet again in my 
 
 JiOOK-PLATE OF RUSSELL SPOKKS. 
 By Harry Soane. 
 
 " M orographic Dictionary," which happens to be a 
 superbly bound prize book ! The fact is, that this 
 ex-libris is intended to herald ownership in works, 
 not only fit in appearance to receive an artistic 
 plate, but works of poetic or romantic interest, 
 
Special Plates. 299 
 
 especially books with an ideal world or an old 
 world flavour about them — the books, in fact, I 
 love best. Herein lies the chief drawback to the 
 pictorial classes of book-plates, one which is felt 
 even more persistently than with over-proud 
 heraldic arrangements : they cannot suit the 
 majority of volumes in a "working" library. For 
 these, some simpler, more conventional design is 
 wanted, such as an ornamental label, a small seal, 
 or modest crest with name underscribed. 
 
 Special collections, of course, are provided for 
 with greater ease. For such, an ex-libris can be 
 devised which will stand much in the same relation 
 to the subject as a canting charge in heraldry to 
 the owners name. 
 
 Mr. Edmund Gosse, (to take only one instance 
 in point,) a poet himself, is by inclination an his- 
 torian of poetry, and the main character of the 
 books he collects with greatest zest, and opens 
 most frequently, is in good keeping with the 
 reciting cavalier in the sunlight, of Mr. Abbey's 
 design. This is an instance of what was adverted 
 to in the Introduction concerning the interest 
 attaching to a book-plate which remains as a record 
 of special tastes and pursuits. 
 
 But even in the general working library there 
 will often exist special collections more or less 
 jealously segregated from the rest. Most men of 
 books have a bibliographical hobby or two. Of 
 course the gorgeous way to honour this conclave, 
 this favoured clique of friends, is to have each 
 member thereof specially bound and stamped 
 'distinctively. But th&super-/i6ros method is not 
 
300 English Book-plates. 
 
 financially within the reach of all book-collectors ; 
 indeed, in many cases, where the original bindings 
 are worth preserving, it is impracticable. A special 
 ex-libris, however, is always available, and is a 
 sufficiently distinguishing mark. 
 
 As a specimen of the special collection book- 
 plate, one designed for me by the same hand that 
 drew the Regence "interior" and intended for 
 the covers of works on the " Art Dimicatorie," is 
 here reproduced. 
 
 It has seemed suitable to select as emblematical 
 of the Art of Fence, an ideal view of the Inner 
 Sanctum of that sublimely confident expositor of 
 the " philosophy of arms," Master Girard Thibault 
 of Antwerp, who flourished in the days of the 
 "Three Musketeers" — the dread room where, 
 with the help of diagrams, logical, anatomical, and 
 geometrical, the author of that astounding work, 
 VAcadSmie de V Espie professed to teach any 
 number of ineluctable and infallibly mortal strokes. 
 
 Thibault undoubtedly held the highest grade in 
 the legion of theorists who during the last three 
 centuries have "anatomized" the art of fight, and 
 he may therefore fitly be taken, on his own ground, 
 in his own costume and attitude, as a sufficiently 
 Allegorical figure. 
 
 The motto inscribed on the beam overhead 
 
 jQostrum De atmts quacrete, is that of the 
 
 Keruoozers Club, a close and select little body of 
 connoisseurs in Arms and Armour, and in anti- 
 quarian matters connected therewith ; whilst the 
 sentiment Qui porte espee porte paix is meant 
 to qualify what might be held as too pugnacious 
 
BOOK-PLATE OF EGERTON CASTLE. 
 
 Designed by Agnes Castle. 
 
Personality in Plates. 303 
 
 and sanguinary in an excessive devotion to cold 
 steel. 
 
 About the choice of a personal ex-libris, general 
 advice or general rules are really of little use ; 
 the whole matter is so obviously dependent on 
 personal tastes and circumstances. It has been 
 seen that, in the past, the prevailing fashion at 
 different times had an almost all pervading in- 
 fluence on private taste ; whilst, on the other 
 hand, the tendency of modern designers is towards 
 unrestrained originality. But originality of con- 
 ception can, in a certain way, be pushed too far, 
 and actually lose sight of the main object of a 
 book-plate, which is to herald ownership. De- 
 signers would do well to bear in mind that the 
 ex-libris should be a label, not merely a pretty 
 picture, or even a pretty "conceit." This fact 
 need in no way detract from its artistic perfection; 
 all that is required is, that the treatment should 
 always be to some extent conventional and sym- 
 bolic (heraldry is but a special form of symbolism, 
 and armorial designs must needs be conventional). 
 In theory, pure " landscape " or pure " genre " 
 plates, however precious artistically, cannot be 
 said to suffice for a good ex-libris ; in practice 
 they are but irrelevant illustrations. 
 
 Although it is quite possible to render an anony- 
 mous plate characteristic enough for its purpose — 
 as the artistic design of Mr. H. P. Home for Mr. 
 Trehawke Davies so fully testifies — when the ex- 
 libris is meant to be personal, it were well that it 
 should record in unmistakable fashion the name of 
 
304 English Book-plates. 
 
 the owner. Statements of distinguishing and 
 honourable titles can never be incongruous on a 
 personal token. The date at which the design 
 was adopted may also fitly and properly appear in 
 the composition. 
 
 BOOK-PLATE OF F. TREHAWKE DAVIES. 
 By H. P. Home. 
 
 The modern fashion is in favour of some definite 
 " phrase of book-possession," although, it should be 
 pointed out, it is, on the whole, a foreign invention. 
 The immense majority of English plates anterior 
 to this century (excepting gift-plates, which re- 
 quired, of course, a special statement to that effect), 
 bear no proprietary remark before the owner's 
 
Phrases of Book possession. 305 
 
 name, an omission which is generally found still 
 in the " Modern Die-sinker" style. 
 
 I myself incline to the bibliophilic phrase as 
 being conducive to completeness in the conven- 
 tional arrangements. The somewhat inapt ap- 
 pearance of a mere name under a little genre 
 sketch, will no doubt suggest itself at once by 
 reference, to choose only these instances out of 
 many, to the two otherwise charming compositions 
 drawn for Mr. Jackson and Mr. Walter Marks. 
 
 The choice of suitable phrases already sanc- 
 tioned by long custom is tolerably large. 
 
 The words Ex-libris, (which have long been of 
 so general occurrence on foreign book-plates as 
 to have become consolidated into a conventional 
 substantive, and under that guise recognized as 
 a technical term), the .words ex-libris, I may 
 urge, are not only so very definite in meaning, 
 but also so universally accepted, that they must 
 remain the best and least pretentious. Some 
 people prefer varieties, as Units ex-libris before, 
 or E libris suis after, their names. 
 
 Ex bibliotheca is a little more aspiring, and no 
 doubt tends to suggest a collection of some 
 importance. 
 
 The number of proprietary formulae sanctioned 
 by precedent is very great. Warren has collected 
 a great many of these book-phrases in the intro- 
 duction to the " Guide " ; many more may be gleaned 
 among the leaves of the " Book-plate Collector's 
 Miscellany." With a view to personal adapta- 
 tion, the following few examples are offered for 
 Consideration. 
 
 x 
 
306 English Book-plates. 
 
 — Liber Bilibaldi Pirckheimer, (1503). Sibi et 
 Amicis. 
 
 — Thorn ce Prince Liber, ( 1 704). 
 
 — E Bibliotheca Baronis du Baltimore, ( 1 75 1 ). 
 ~Ex Catalogo Bibliothecce Caumartin, (1750). 
 
 — Unus ex collectione librorum Domini J ohannis, 
 
 ■ Georgii Eimbeckenii, ( 1 720). 
 — Grolierii et amicorum. 
 — Met Golierii Lugdunens. et amicorum. 
 — Michaeli Begon et amicis. 
 — Ex bibliothec Reg. in Castel. Windesor. 
 
 — Pro Bibtiotheca . 
 
 — Pertinet ad Bibliothecam . 
 
 — Ex Museo D. Claudii Puffier, (1690). 
 — Bibliotheca Palatina, (1730). 
 — Bibliotheca M. H. Theodori Baron. (1720). 
 — Ad Bibliothecam Jo. Jac. Reinhai'di, (1695). 
 — Insigne Librorum . 
 
 — Symbolum Bibliothecce J ohannis Bernardi Nack, 
 
 (1759). 
 — Ex supellectile librana Bened. Gui. Zahnii, 
 
 (1780). 
 
 — Sigillum Horatu Comitis de Orford, (1791). 
 
 — Ex-libris Bibliothecce personalis , (1750). 
 
 — Ex-libris Bibliothecce domesticcz Ricardi Towneley 
 
 de Towneley in Agro Lancastrensi Armigen. 
 
 Anno\^ tat ! s \ K- 
 
 \lJomini, j 702. 
 
 — E libris Hen. Aston, (1740). 
 
 — Bibliothecce Gerhardince Pars sum. 
 
 — Sum J ohannis Martini, 
 
 It will be seen that a good number of the fore- 
 
Phrases of Book Possession. 307 
 
 going types are of foreign extraction ; being Latin, 
 however, they are equally available for English 
 plates. On this point, it may with- advantage be 
 remembered that a pedantic translation and con- 
 sequent declension of proper names is not really 
 necessary, and is, in fact, often productive of a 
 grotesque effect. 
 
 Vernacular phrases do not seem to have been 
 evolved in great number, no doubt on account of 
 the more prevalent habit among English engravers 
 of simply stating the owner's name under the design 
 without further specification. 
 
 — This book belongs to Charles Edward Thompson, 
 
 (1816). 
 — A. Grays Private Library, (1820). 
 — Edward Aicdley oweth (owneth) this Booke, 
 
 (1633)- 
 
 — / belong to . 
 
 — This is Giles Wilkinson his book. 
 
 — Logoniafi Library [i.e. of John Logan]. 
 — Austin Dob son his book. 
 — One of the books of . 
 
 Besides the statement of ownership, a great 
 number of plates, aiming more or less at originality, 
 display, as I pointed out in the Introduction, senti- 
 ments and mottoes of the most miscellaneous 
 character. Many are decidedly amiable and pro- 
 fess a readiness in the owners to admit friends to 
 the free use of their libraries. I think there can 
 £e but one opinion among book-lovers on this 
 subject : the Sibi et Amicis, the M or N et ami- 
 
308 English Book-plates. 
 
 corum formulae are either rank affectation, or if 
 peradventure sincere, unworthy of any member of 
 our fraternity. The majority of book-plate senti- 
 ments, however, are more honest, and are meant 
 either to warn away all borrowers uncompromis- 
 ingly, or at least to rise as a standing reproach 
 to the wicked who do not speedily return a lent 
 volume. 
 
 Statements of this kind are for all practical pur- 
 poses nugatory, but a legend in the style either of 
 
 John James Webster. 
 {He does not lend books.\ 
 
 or the Censurce faciendce prcestitis of the plate 
 devised by Mr. Laurence Housman for Mr. W. 
 Pollard ; or yet again, of the Nunquam Ami- 
 corum of a certain fierce bibliophile, may at times 
 prove useful in facilitating the refusal of a loan. 
 
 The mottoes directed against book-borrowers to 
 be found in an extensive collection of plates are 
 sometimes very quaint. For these as well as for 
 the more or less pithy verses and aphorisms on 
 the joys of reading, in praise of study ; for truisms 
 on the subject of literature ; for pious or humorous 
 sentiments, I must refer the reader to the standard 
 work, Warren's "Guide," to Mr. Walter Hamil- 
 ton's copious contributions in the " Book-Plate 
 Collector's Miscellany" and to the "Ex-libris 
 Journal." The subject would fill a long chapter in 
 itself. All that need be said here is that in a 
 matter of this kind, the most absolute freedom 
 from conventionality should be cultivated; no 
 adaptation of " sentiments " having already done 
 
Family Book-plates. 
 
 309 
 
 duty is acceptable any more than would be an 
 allegory or rebus devised for another person. Such 
 adjuncts to a plate must be strictly personal or they 
 lose all meaning. 
 
 Although this personal character is one which 
 
 I III 
 I I I 
 
 i I I 
 
 Blundell of Crosby. 
 
 BOOK-PLATE OF THE CROSBY HALL LIBRARY. 
 
 should, as a rule, be kept in view in designing 
 a token of book ownership, there are circum- 
 stances in which it is not required — in collegiate 
 plates, for instance — and some, indeed, in which 
 'there is actually a greater fitness and a certain 
 
3 1 o English Book-plates. 
 
 grandeur in the simple statement of the sole 
 patronymic. This is the case with the ex-libris of 
 an ancestral library forming part of entailed pro- 
 perty. Such a collection is no particular person's 
 absolute property ; it is an heirloom, and should 
 bear the family name and family arms only (i.e., 
 without quarterings, which would at once make 
 the plate personal). Of this kind is the Salisbury 
 
 BOOK-PLATE OF FREDERICK 
 HENRY HUTH. 
 
 Reduced to one-third linear dimensions. 
 
 Hatfield plate, which belongs to the past century, 
 and as another example of modern die sinker 
 style, illustrating this special category, may be 
 taken the ex-libris of the Crosby Hall Library. 
 
 It is evident that all the books accumulated 
 yearly in this reading age do not find their way to 
 the family library ; they remain the private pro- 
 perty of the different members, and it is quite 
 open to them, perfectly legitimate, and in fact 
 advantageous (if they wish to preserve a distinc- 
 
"Process" Reproduction. 
 
 3ii 
 
 tion between meum et tuum), to maintain their 
 private tokens. The available choice of composi- 
 
 BOOK-PLATE OF ELINOR SWEETxMAX. 
 
 By Agnes Castle. 
 
 tions is, as we have seen, adequate to meet the 
 greatest variety of tastes. 
 
 The multiplication of very perfect photographic 
 '" processes" for the fat-simile reproduction of de- 
 
312 English Book-plates. 
 
 signs, their enlargement or reduction, has rendered 
 the cost of all but line-engraved plates a matter of 
 small consideration. 1 The great variety of devices in 
 which so many amateurs of the present day indulge 
 their fancy would have been thought a decided ex- 
 travagance not so many years ago. Photographic 
 process has given rise to a characteristic class of 
 design, in which the original drawing can be 
 made with freedom, even with dash, on a con- 
 veniently large scale, and reduced to the required 
 dimension without loss of distinctness. The mi- 
 nuscule reproduction here given of a book-plate 
 belonging to Mr. F. H. Huth, which would suit 
 the smallest tome, whereas the original would 
 have been quite too large for these pages, is an 
 instance of the manner in which a given design 
 can be made to do duty for books of all sizes. 
 
 The genuine wood or copper-plate engraver 
 looks, of course, with unconcealed disdain upon the 
 achievements of process engraving. Process will 
 never supplant hand-work, which must ever retain 
 its intrinsic value, but it has come as a boon to the 
 general artistic public, who can now obtain, with 
 trifling cost and in briefest time, prints of charm- 
 ing designs, such as that with which I conclude 
 the illustrations of this chapter — the Sweetman 
 book-plate. 
 
 Book-plate collectors have been subjected to 
 much bibliophilic abuse from people who know 
 1 See note, p. 325. 
 
Book-plate Collecting. 313 
 
 something about books, and to elaborate sneering 
 from others who do not know quite so much. 
 A book-plate (say the first) is part of a book 
 and should not be removed, — such an act is rank 
 Biblioclasm. What sort of interest can be found 
 in a collection of such things as book-plates ? ask 
 the latter. 
 
 This question has, I think, been sufficiently 
 answered in the Introduction to the present 
 volume, and in every work devoted to ex-libris 
 lore. Concerning the contention that it is not 
 legitimate to remove a book-plate from a book, 
 the only general answer possible is, that we 
 should not push sentimentality about books, 
 however much we may love them, to the ridicu- 
 lous, nor apply a sound, broad principle, to petty 
 and inadequate instances. When a book-plate 
 really forms part of the history of a valuable 
 volume, it were foolish to remove it, for " in the 
 volume to which it properly belongs, the ex-libris 
 is living ; apart from it it is but a dead leaf," as 
 M. Bouchot pithily (but a little speciously) points 
 out. Such a deed, however, is rarely done ; a 
 fine book-plate may be a valuable chattel, but its 
 money's worth must ever remain insignificant in 
 comparison with that of a precious volume. And 
 in any case, the process of removal, which is to 
 convert the living plate into the "dead leaf," if 
 performed with the requisite tenderness, need 
 never injure a well-bound book. 
 
 In short, the book-plates which fill collectors' 
 cases and albums, do not come out of rare and 
 valuable works, but rSther from the numberless 
 
314 English Book-plates. 
 
 odd tomes, which form the waste and rubbish 
 of second-hand bookshops all over the world; 
 from the discarded covers of books sent to be 
 rebound ; from the libraries of men who are so 
 full of pride in, and solicitude for, their new 
 purchases that they hasten to replace the tokens 
 of previous owners (about whom, as a rule, they 
 know nothing, and care less), by their own mark 
 of possession. Such men, certainly, do not "de- 
 stroy " their books by the removal of an old label, 
 and, when all is said and done, the process is 
 doubtless more legitimate than the pasting of a 
 new plate over an old one, according to a not 
 uncommon practice. 
 
 Large collections of ex-libris, it is well known, 
 can only be accumulated either by the purchase 
 of numerous smaller ones, or through the agency 
 of dealers, who certainly are the last persons to 
 discount the value of precious wares for the sake 
 of such sums as even in these days are obtainable 
 for ex-libris. 
 
 Much more could be added on this topic, to 
 show even that far from being destructive of 
 books, the modern infatuation for book-plates 
 has perhaps been the means of saving many 
 a comparatively worthless tome from the paper- 
 mill ; but I imagine that enough has been said at 
 least to refute the opprobrious accusation levelled 
 at ex-librists indiscriminately. 
 
 Such denouncement coming from irresponsible 
 and generally obscure persons, can, as a rule, be 
 neglected. But what are we to say when no less 
 an authority on library matters than Mr. Andrew 
 
Andrew Lang on "Ex-librists." 315 
 
 Lang finds it necessary to devote a page of his 
 crispest writing to the wholesale defamation of 
 book-plate collectors. 
 
 " The antiquarian ghoul," asseverates Mr. Lang, 1 
 after giving a smart stab of his pen (whereat we 
 must, of course, all be at one with him) to the 
 " moral ghoul," who defaces those passages in 
 precious volumes which do not meet his idea of 
 propriety, " the antiquarian ghoul steals title-pages 
 and colophons. The aesthetic ghoul cuts illumi- 
 nated initials out of manuscripts. The petty, trivial, 
 and almost idiotic ghoul of our own days, sponges 
 the fly-leaves and boards of books, for the purpose 
 of cribbing the book-plates/' 
 
 Are we then to include in the fraternity of trivial 
 and idiotic ghouls, all the bookmen and book- 
 lovers I have mentioned in this book as authori- 
 ties on ex-libris, because they have accumulated 
 and jealously treasure collections of book-plates ? 
 I myself (if I may compare the small with the 
 great) repudiate the accusation of ghoulishness, and 
 yet hope in due course to be owner of many more 
 4< dead leaves " than at the present time. And 
 whilst on this topic, I would further point out, 
 that it is strictly illogical to compare the " theft " 
 of book-plates, which are essentially adventitious 
 to a volume, with that of title-pages and colophons, 
 which are integral parts of the same. 
 
 But perhaps the writer only used this uncom- 
 promising language for the purpose of introducing 
 easily, and with appositeness, a certain quaint 
 
 1 " The Library," by Andrew Lang. Macmillan, 1881. 
 
316 English Book-plates. 
 
 Ballad of Books ; for he goes on to say : " An old 
 ' Complaint of a Book-plate,' in dread of the wet 
 sponge of the enemy, has been discovered by Mr. 
 Austin Dobson." 
 
 This charming conceit, which appeared some 
 twelve years ago in " Notes and Queries," l has 
 now become in a way classical in Book-plate 
 literature, and I have, therefore, obtained Mr. 
 Dobson's permission to reprint it in this volume. 
 
 THE BOOK-PLATE'S PETITION. 
 
 By a Gentleman of the Temple. 
 
 While cynic Charles still trimm'd the vane 
 
 'Twixt Querouaille and Castlemaine, 
 
 In days that shock'd John Evelyn, 
 
 My First Possessor fix'd me in. 
 
 In days of Dutchmen and of frost, 
 
 The narrow sea with James I cross'd, 
 
 Returning when once more began 
 
 The Age of Saturn and of Anne. 
 
 I am a part of all the past ; 
 
 I knew the Georges, first and last j 
 
 I have been oft where else was none 
 
 Save the great wig of Addison j 
 
 And seen on shelves beneath me grope 
 
 The little eager form of Pope. 
 
 I lost the Third that own'd me when 
 
 The Frenchmen fled at Dettingen ; 
 
 The year James Wolfe surpris'd Quebec, 
 
 1 "Notes and Queries," 6th S. IIT. Jan. 8, '8i, p. 31. The 
 Removal of Book-Plates (6th S. ii. 445, 491). "As indigna- 
 tion appears to have prompted verses in one of your contribu- 
 tors, perhaps the following old-fashioned performance on this 
 theme may be of interest." 
 
The Book-plate s Petition. 317 
 
 The Fourth in hunting broke his neck ; 
 
 The Fifth one found me in Cheapside 
 
 The day that William Hogarth dy'd. 
 
 This was a Scholar, one of those 
 
 Whose Greek is sounder than their hose ; 
 
 He lov'd old books and nappy ale, 
 
 So liv'd at Streatham, next to Thrale. 
 
 'Twas there this stain of grease I boast 
 
 Was made by Dr. Johnson's toast. 
 
 He did it, as I think, for spite ; 
 
 My Master call'd him Jacobite. 
 
 And now that I so long to-day 
 
 Have rested post discrimina, 
 
 Safe in the brass-wir'd book-case where 
 
 I watch'd the Vicar's whit'ning hair, 
 
 Must I these travell'd bones inter 
 
 In some Collector's sepulchre ? 
 
 Must I be torn from hence and thrown 
 
 With frontispiece and colophon ? 
 
 With vagrant £s, and /s, and 0s, 
 
 The spoil of plunder'd folios ? 
 
 With scraps and snippets that to Me 
 
 Are naught but kitchen company ? 
 
 Nay, rather, Friend, this favour grant me : 
 
 Tear me at once ; but don't transplant me / 
 
 Cheltenham, Sept r . 31, 1792." 
 
 Ex-Libris. 
 
 This is pathetic, and I hope it may not be 
 thought too sudden an anti-climax if I reveal 
 forthwith the best method of removing Book- 
 plates from boards and fly-leaves. 
 
 There is no necessity for the sponging alluded 
 to above ; the sponging in many cases would be 
 as tedious and inefficacious as it sounds brutal in 
 connection with a book ; it would in many cases 
 injure the plate itself, *and always leave unneces- 
 
318 English Book-plates. 
 
 sarily large traces on the lining of the book. No, 
 the dealing adopted by experts is as follows :— A 
 piece of flannel or woollen cloth is cut of the size 
 of the plate which it is required to eradicate, and 
 wetted thoroughly in water. It is then applied 
 with tender care to the plate so as to cover it 
 exactly, and pressed firmly with a smoothing-iron, 
 heated to about the scorching point of paper. 
 The rapid vaporization of the water in the rag 
 prevents all possible injury from heat to the book 
 itself, whilst the bubbling and hissing steam per- 
 meates the plate irresistibly, and softens gum 
 or paste (it would even soften glue) so satis- 
 factorily that the label, if gently raised at one 
 corner with a penknife, can be lifted away with 
 no more than a slight unctuous resistance. The 
 process is as expeditious as it is simple. There is 
 a certain dull discoloration left on the boards (if 
 the latter be coloured), where the late ex-libris had 
 rested, but this slight blemish can easily be kept 
 out of sight by the application of a new and 
 personal plate. 
 
 So much for the alleged " destruction " of books 
 due to the " theft " of book-plates. 
 
 And now to conclude this very elementary 
 handbook may be added a few brief words on the 
 management of a collection. 
 
 So long as it remains small and select, there 
 can be no difficulty in its arrangement ; from the 
 moment, however, that it has to be reckoned in 
 hundreds and in thousands, it becomes imperative 
 on the collector to select one definite scheme of 
 
The Removal of Book-plates. 3 1 9 
 
 array. As the orderly disposal of plates always 
 necessitates cataloguing, the most obvious arrange- 
 ment seems at first to be the alphabetical pure and 
 simple. This plan has certain advantages, espe- 
 cially in the eyes of the " genealogist," who cares 
 chiefly for the heraldic matters embodied in book- 
 plates ; it also brings all the different tokens of a 
 given family, or of families bearing the same name 
 under the same rubric, a conjunction which is to 
 some extent curious. But for the average ex- 
 librist, the strictly alphabetical muster is insupport- 
 able ; it gathers the most heterogeneous elements 
 together into a hopeless jumble, in which ancient, 
 artistic, or otherwise specially interesting examples 
 are smothered among the most commonplace pro- 
 ductions of the Modern Stationer. True, that 
 given the name of a particular ex-libris, it can 
 be found under such circumstances with special 
 facility, but this result can almost as easily be 
 secured by means of a carefully kept-up index ; 
 and an index is always necessary, whatever be the 
 system of classification adopted. 
 
 The more usual, and no doubt the more ra- 
 tional arrangement, is according to "styles" and 
 " classes." This, as I have said, corresponds to 
 some extent, to a chronological order, otherwise 
 impossible to obtain (except in the case of dated 
 plates — and dated plates are in the minority). 
 The chief difficulty seems to be in the actual 
 definition of styles and classes. On these matters, 
 however, albeit almost every collector has a system 
 and a nomenclature of his own, there is a certain 
 general understanding cis to the broad categories 
 
320 English Book-plates. 
 
 into which book-plates can be mustered. These 
 it has been my object to set forth as simply as 
 possible. 
 
 Concerning what might be called the mechanical 
 arrangements of an extensive collection of " dead- 
 leaves" (which, unless methodically dealt with, is 
 very liable to become unwieldy., not to say be- 
 wildering) it may from the first be argued that 
 perhaps the worst possible system is the hard 
 and fast pasting down in albums. To the possible 
 accumulation of specimens there is practically no 
 end ; they should therefore remain movable, or at 
 least removable, either to make room for fresh 
 members among their ranks and files, or for the 
 purpose of new or temporary classification. When 
 the album or scrap-book arrangement is preferred 
 to that of the loose-box, it is most suitable to fix 
 each plate lightly in its place, which can be but 
 temporary unless the collector (most rare and 
 fantastic instance !) has quite done with collecting, 
 by means of thin strips of gummed paper. The 
 leaves of the book should be tolerably stout, 
 numbered, and toned in colour. According to 
 the extent of the collection, one or several volumes 
 can be allotted to each group, style or class, 
 particular members of which can be then found 
 by reference to an index ; or conversely, more than 
 one category may be consigned to a particular 
 tome. 
 
 Book-plates may also, and with great advantage, 
 be kept in, and distributed among, various boxes 
 or pamphlet-cases, according to any special classi- 
 fication. This gives, of course, the maximum of 
 
Arrangement of a Collection. 321 
 
 mobility. For the sake of special neatness, the 
 specimens may be mounted lightly on pieces of 
 thin cardboard, of suitable and uniform size ; this, 
 of course, increases the bulk of the collection, but 
 to a certain extent facilitates its handling. Even 
 on these mounts, the plates should not be pasted 
 hard and fast, but merely secured by one edge, — 
 ex-libris never can be sure of any long resting- 
 place, but may have to be removed and sent 
 elsewhere, as gifts or exchanges ; and repeated 
 soakings are not good for any paper that was ever 
 made. 
 
 The disposition of a collection is a matter which 
 of course depends on the special fancy, as well as 
 on the circumstances of the owner ; but I believe 
 the movable arrangement, in historical and artistic 
 categories assigned to separate receptacles, scrap- 
 books, pamphlet-cases, or nests-of- drawers, is on 
 the whole favoured by the majority of collectors. 
 
 Book-plates rescued from the boards of waif and 
 stray volumes in second-hand dealers' shops often 
 require cleaning and mending. The preliminary 
 process is best effected by laying the wetted leaf 
 on some marble slab and gently rubbing it on both 
 sides with pure soap which can subsequently be 
 washed off (and with it the accumulated grime of 
 destitution) by a stream of hot water. A certain 
 amount of bleaching is in some cases required. 
 For this purpose Mr. Vicars recommends a lotion 
 compounded of a tablespoonful of " Permak's 
 Bleacher " in a quart of water. This drug can be 
 obtained of most chemists, but in its absence many 
 Other equally efficient preparations are obtainable. 
 
 Y 
 
322 English Book-plates. 
 
 Care is required not to overdo the bleaching 
 operation. 
 
 For the mending of torn plates any kind of clean 
 tracing paper can be advantageously used. The 
 most convenient material, however, is a certain 
 tenacious tegument, ready gummed for applica- 
 tion, prepared by Seabury and Johnson, known as 
 " Music Mender." 
 
 The identification of anonymous and undated 
 book-plates is a subject requiring generally wide 
 and peculiar information. Some clue to the period 
 of a particular specimen is as a rule suggested at 
 once to an experienced eye, by the nature and 
 treatment of the design, the lettering, the character 
 of the paper, etc. In heraldic compositions the 
 charges, and the marshalling of combined coats in 
 a shield can be interpreted by experts almost with 
 certainty. Among the numerous books of re- 
 ference indispensable to this department of in- 
 vestigation, stands first of all Papworth and 
 Morant's " Ordinary," 1 a tolerably complete index 
 enabling the student to trace the name of a bearer 
 of arms, from any given charge on his coat. 
 Equally indispensable are Sir Bernard Burke's 
 monumental heraldic and genealogical works. 
 There are also numbers of similar works, covering 
 the same ground in different manners, besides 
 
 1 "An Alphabetical Dictionary of Coats of Arms belonging 
 to Families in Great Britain and Ireland, forming an extensive 
 Ordinary of British Armorial"— by the late J. W. Papworth, 
 F.R.I.B.A. Edited from p. 696, by Alfred W. Morant, F.S.A., 
 F.G.S., London, T. Richards, 37, Great Queen Street, 4to. 
 1874. 
 
Identification of Plates. 323 
 
 County and Family Histories in plenty, disquisi- 
 tions on the special usefulness of which, however 
 are not within the limits of this work. 1 
 
 Definite evidence of place and date is often 
 derivable from the signatures of designers and 
 engravers. Of these latter a voluminous general 
 list exists in Warren's " Guide," and various special 
 accounts of Scottish, Irish, local, and " contem- 
 porary " artists connected with book-plate en- 
 graving, are being periodically contributed to 
 the Journal of the Ex-Libris Society, by sundry 
 specialists. 
 
 From their very nature, however, these lists are 
 rather barren ; but their information may, in many 
 cases, be supplemented by reference to Bryan's 
 " Dictionary of Painters and Engravers "—espe- 
 cially the new edition, 1886, enlarged by R. E. 
 Graves. This work is an almost indispensable 
 companion to ex-librists whose special interest in 
 book-plates is of the artistic order. Another work 
 of smaller pretension, but with a similar scope, 
 entitled " Engravings and their Value," has lately 
 been compiled by Mr. J. H. Slater. 
 
 As a kind of envoy in tail of this little hand- 
 book, it has seemed to me suitable to quote what 
 
 1 It is for similar reasons that I have refrained from dwelling 
 in these pages on specially heraldic matters. Technicalities of 
 blazonry, on the one hand, being unintelligible to the uninitiated, 
 whilst the expert, on the other, requires no accompanying text 
 to interpret the heraldry displaced under his eyes. 
 
324 English Book-plates. 
 
 is apparently the latest literary allusion to book- 
 plates artistically considered. 
 
 In a curious volume, published by Messrs. Chatto 
 and Windus, entitled, " Where Art Begins," Mr. 
 Hume Nisbet devotes a paragraph on the subject 
 at hand which I reproduce here without comment. 
 
 " Book-plates. 
 
 " This is an old art or taste, which is being once 
 more revived with great activity, through the 
 timely efforts of the ' Ex-Libris Society.' It is 
 a pursuit which is most educative to the lover of 
 books, because it is filled with symbols, and leads 
 on to the noble art of Heraldry, and the spiritual 
 intellectualism in which such men as Albert Diirer 
 stand so pre-eminent. At first sight, it may appear 
 like pandering to the vanity of book-possessors, 
 but it is not so in any sense ; rather is it the con- 
 necting link, which binds men of taste and re- 
 search to each other, and which leads them on to 
 that higher level of humanitarianism and faith, for 
 which purpose the grand laws of Heraldry and 
 Masonry were first invented." 
 
ENGRAVING AND -PROCESS" WORK, 
 
 Note to p. 310. — To those unfamiliar with the details of 
 photographic engraving it may be useful to point out the two 
 best methods for the reproduction of Ex-Libris. The first, by 
 one of the photogravure, photo-etching, or " intaglio " processes, 
 (differing more in name than in essentials,) yields a plate from 
 which prints are taken exactly as from one of copper or steel 
 engraved by hand. The price of such a plate, ordinary size, 
 would be about two guineas ; by the alternative method, a 
 " relief" block should cost not much over a tenth of that sum. 
 Not merely is there so great a difference in the price of the 
 original, but the cost of printed impressions therefrom varies in 
 about the same proportion. 
 
 Drawings intended to be reproduced in photogravure or 
 its kindred processes may be executed in colour, wash, or 
 line ; they are best, however, in monochrome, whether in wash 
 or line. For the cheaper "relief" process it is essential to 
 make the drawing in line only, with absolutely black ink ; 
 nearly all the modern pictorial plates in this book have been 
 so produced, some from drawings at least four times the 
 size of the block, others to exactly the same scale. Photo- 
 lithography, employed for many of Mr. Stacy Marks' plates, 
 good as it is for the reproduction of old examples, is not so 
 cheap as a "relief block," and far less, satisfactory than an 
 engraved plate. If those fortunate enough to possess an 
 original impression of Mr. J. R. Brown's book-plate, will com- 
 pare it with the impression of the block (page 240) made from 
 the same original drawing by Mr. H. S. Marks, they will 
 probably prefer the " relief." 
 
 The so-called half-tone process (by which the block from the 
 engraved plate of the Hon. Leicester Warren, page 233, has 
 been reproduced here), admirable in its own way for pictorial 
 work, is not adapted for bookplates ; it is too grey and flat to 
 be decorative, and as its cost so nearly approaches that of a 
 
326 English Book-plates. 
 
 photogravure there is no reason for employing an ineffective 
 process as regards an Ex-Libris, in place of the best 
 
 This book contains many examples of the various modifica- 
 tions of the two processes which are deservedly the most 
 popular. In the Ex-Libris of Walter Herries Pollock we have 
 an intaglio plate made by Messrs. Walker and Boutall from 
 a pen' drawing, and in the Pepys portrait (facing page 1 30), a 
 reproduction of a copper-plate engraving, executed in photo- 
 gravure ; these two show another application of practically the 
 same process. 
 
 Nearly all the older examples in this book are printed from 
 relief blocks reproduced from early impressions of the plates. 
 The " rotten " line and lack of clearness in certain details of 
 some of these must not be credited to any fault of the process 
 employed, but should be attributed to the ink having spread 
 into the paper of the originals, the yellow stain caused thereby 
 telling as black to the camera. 
 
 Mr. J. D. Batten's designs (pages 225, 245, 246) are examples 
 of brush-work in solid black, but most of the modern blocks are 
 from pen-drawings. The comparative merits of photogravure 
 versus copper-plate engraving at its best may be tested by 
 examining Mr. Sherborn's plates (printed from the original 
 coppers) with the two quoted above, while the kindred process 
 of etching may be seen in Mr. G. W. Eve's dragon design, page 
 160. But although the graver or the etching-needle in capable 
 hands is still far superior to any mechanical substitute, a 
 comparison of these plates with one of the modern die-sinker's 
 class (of which the book contains no example printed direct 
 from the copper) will show that common-place engraving by 
 the ordinary mechanic is inferior in every respect to photo- 
 gravure, always supposing it was made from an autograph 
 drawing not only good in itself, but suitable in its technique. 
 In the first instance we have dry hard lines, with a total lack of 
 "colour" throughout the whole design, while the other will 
 yield impressions rich and of as fine quality in most respects 
 as the best copper-plate. 
 

 
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 BOOK-PLATE OF AYMER V.ALLANCE. 
 
 By tf!e owner. 
 
TYPES OF SHIELDS. 
 
 Tops of Shields. 
 
 Shields. 
 
 I. Eared. 
 
 25. Heater. 
 
 2. Earecl-couped. 
 
 26, 27, 28, 29. Square. 
 
 3. Round-eared. 
 
 30. Kite-shaped, triangular. 
 
 4. Scroll-eared. 
 
 31. „ Norman square top. 
 
 5. Cusped and square-eared. 
 
 32. „ Convex top. 
 
 6. Prick-eared. 
 
 33. „ Pear. 
 
 7. Convex. 
 
 34, 35. Roman. 
 
 8. Wavy. 
 
 36. Gothic, concave. 
 
 9. Concave. 
 
 37. „ engrailed. 
 
 10. Braced, cusp inwards. 
 
 38. „ peaked engrailed 
 
 11. „ „ outwards. 
 
 with bouche. 
 
 12. Wedged. 
 
 39. Gothic, rounded, with 
 
 13. Engrailed one cusp. 
 
 bouche. 
 
 14. „ two cusps. 
 
 40. Italian cartouche. 
 
 1 5, „ three cusps. 
 
 41. Spanish, bighted. 
 
 16. „ and peaked. 
 
 
 17. Nicked. 
 
 42, 43, 44. Dutch, German. 
 
 
 45. Concave. 
 
 
 46, 47. Ovoid. 
 
 Bases of Shields. 
 
 48, 49, 50, 51. Elizabethan. 
 
 18. Braced outward. 
 
 52, 53. Stuart. 
 
 19. Ogee. 
 
 54, 55, 56, 57- Queen Anne. 
 
 20. Angular. 
 
 58, 59. Rococo. 
 
 21. Three lobed cusped. 
 
 60. Georgian Spade. 
 
 22. Round. 
 
 61. „ cusped and wedged. 
 
 23. Pointed. 
 
 62. College of Arms. 
 
 24. Nowy. 
 
 63, 64, 65, 66, 67. Victorian. 
 
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 wfSfcii! mm 
 
LITERARY BOOK-PLATE" OF W. H. K. WRIGHT. 
 
BIBLIOGRAPHY OF ENGLISH 
 BOOK-PLATES. 
 
 WORKS IN VOLUME FORM. 
 
 WARREN, M.A. (The Hon. J. Leicester). Guide to 
 the Study of Book-plates. Plates. 
 
 London, John Pearson, 8vo., 1880. 
 
 GRIGGS (W.) Eighty-three examples of Book-plates 
 from various collections. Plates. Privately printed. 
 
 W. Griggs, Hanover Street, Peckham, London, 4to, 
 
 1884. 
 
 Illustrations of Armorial China. Plates. 
 
 Privately printed, folio, 1887. 
 Contains a number of facsimiles of book-plates. 
 
 Examples of Armorial Book-plates. Second 
 
 Series. Plates. 
 
 London, W. Griggs and Sons,Ld.,4to, [1891] 1892. 
 
 FRANKS, F.R.S., V.P.S.A. (Augustus W.) Notes on 
 Book-plates, No. 1, English dated Book-plates, 1574- 
 1800. 
 
 Printed for private distribution, 8vo, 32 pp., 1887. 
 
 Rylands, F.S.A. (J. Paul). Notes on Book-plates 
 (ex-libris), with special reference to Lancashire and 
 Cheshire examples, and a proposed nomenclature for 
 Jhe shapes of shields. Plates. 
 
 Liverpool, privStely printed, demy 4to, 1889. 
 
332 English Book-plates. 
 
 Also in " Transactions of the Historic Society of Lan- 
 cashire and Cheshire," pp. 1-76, illustrated. 
 
 Liverpool, Printed for the Society, 8vo, 1890. 
 
 Fincham (H. W.). and Brown, F.R.G.S. (James 
 Roberts). A bibliography of book-plates. 
 
 Plymouth, printed for private distribution, 8vo, 24 pp. 
 
 1892. 
 
 Castle, M.A., F.S.A. (Egerton). English Book-plates. 
 Plates. 
 
 London, George Bell and Sons, imp. i6mo, 1892. 
 
 Hamilton (Walter). French Book-plates. Plates. 
 London, George Bell and Sons, imp. i6mo, 1892. 
 
 Hardy, F.S.A. (W. J.). Book-plates. Plates. 
 
 London, Kegan Paul, Trench, Triibner and Co., 8vo, 
 
 1893. 
 The large paper edition contains four additional plates. 
 
 Vicars (Arthur), [Ulster King of Arms.] 
 Book-plates (Ex-libris). — 
 
 Series I. Library Interior Book-plates. 
 Series II. Literary Book-plates. 
 Series III. Book-pile Ex-libris. 
 
 Reprinted with additions and corrections from the 
 Ex-libris Journal, with about forty illustrations. 
 
Bibliography. 333 
 
 Contributions to Periodicals, etc. 
 
 "THE GENTLEMAN'S MAGAZINE." 
 
 Remarks on the Invention of Book-plates, Part II., 
 613. 1822. 
 
 Book-plates (C.S.B.), Part I., 198-9. 1823. 
 
 Fourth Series, Vol. I. Book-plates, Ancient and 
 Modern, with Examples (J. Leighton, F.S.A.), illustrated. 
 Part I., pp. 798-804. 1866. 
 
 Reprinted in the " Ex-Libris Journal," July 1891 ; 
 also reprinted in the " British and Colonial Printer and 
 Stationer," Aug. 6, 189 1. 
 
 "NOTES AND QUERIES. 
 
 First Series. Book-plates, whimsical one, vi. 32 ; 
 motto, i. 212 ; early, iii. 495 ; iv. 46, 93, 354 ; vii. 26 ; xi. 
 265, 351, 471 ; xii. 35, 114. 1849-1855. 
 
 Second Series. Book-stamps, armorial, x. 409. 
 
 1856-1861. 
 
 Third Series. Book-plates, armorial, vi. 306 ; their 
 heraldic authority, xii. 1 17, 218 ; by R.A., wood-engraver, 
 viii. 308. 1862-1867. 
 
 Fourth Series. Book-plates, armorial, iv. 409, 518; 
 v. 65, 210, 286; ix. 160; exchanged, x. 519. 1 868-1873. 
 
 Fifth Series. , Book-plate, R. T. Pritchett's, ix. 29, 75 ; 
 query, x. 428 ; armorial, i. 386 ; exchanged, i. 60, 199, ii. 
 •159; punning, iv. 464, v. 35 ; handbook of, vi. 465, vii. 
 
334 English Book-plates. 
 
 36, 76 ; heraldic, vi. 369, 543, vii. 28, 36, 76, 233, 435, 
 
 515 ; earliest known, vii. 76, 235 ; mottoes on, vii. 427, 
 viii. in, 258; collections, vii. 435, 515, viii. 38, 79, 118, 
 158, 178, 360, xi. 260 ; dated, viii. 200, 298, 397, 517, ix. 
 198, xi. 446, xii. 33 ; how to arrange collections, ix. 20 ; 
 papers on, ix. 360. 1874- 1879. 
 
 Sixth Series. Book-plates, collections of, i. 2, 178, 
 197, 266, 386, ii. 272, 302, vi. 161, 298, x. 24; of Lord 
 Keane and others, i. 336, ii. 34, 94, 255 ; "As" on, i. 
 
 516 ; armorial, ii. 367, 396, 427, iii. 73, 126, 278, 298, xi. 
 267,410; their removal, ii. 445, 491, iii. 31 ; their arrange- 
 ment, iii. 28, 130, 195 ; dated, iii. 204, 302, iv. 206, 247, 
 466, 486, v. 9, 78, 151, vi. 357, vii. 146, 166, ix. 480, x. 
 34; accumulated, iii. 289, 473, iv. 16; Burton, iii. 386; 
 their collection, 402 ; cryptographic, 403 ; with astro- 
 nomical symbols, 429 ; something new in, 506 ; Austro- 
 Hungarian, 508 ; with Greek mottoes, iv. 266, 414, 497, 
 v. 296, 457, vi. 136, 218, 398, vii. 295, 304, 336, viii. 278 ; 
 their mounting, iv. 305 ; their exchange, v. 46 ; curious, 
 v. 226, 305, 374, 457, vi. 15, 76; Bishop of Clonfert's, 
 1698, v. 346; portrait, v. 407; vi. 14, 157; Joseph 
 Ignace's, vi. 6$, 237 ; Rev. Adam Clarke's, vii. 304 ; 
 foreign, viii. 268, 298 ; John Collet's, 1633, ix. 308, 437 ; 
 Boteler, x. 27; unidentified, 129; German, 269, 373; 
 Arthur Charlett's, xi. 267, 411, 433, 451 ; ancient, xii. 8, 
 7S ; heraldic, 10, 429; parochial, 69, 152 ; typographical, 
 288, 352, 415 ; their antiquity, 512. 1880-1885. 
 
 The Book-plate's Petition. A poem (Austin Dobson). 
 iii. 31- 1881. 
 
 Seventh Series. Book-plates, English, mentioned in 
 1720, i. 65 ; heraldic, i. 448, ii. 15, 56 ; Graeme, ii. 49, 98, 
 1 54 ; with inscription, 364 ; " I love my books," etc., ii. 
 410, 455 : date of, iii. 248; owner of, iv. 109 ; spurious, 
 iv. 148, 212 ; engraved by Heylbrouck, v. 48, 174; of 
 Suffolk, vi. 508; Friedrich Nicolai's, xi. 109, 213, 333; 
 Ex-Libris Society, 160, 360. 1 886-1 891. 
 
Bibliography. 335 
 
 Eighth Series. Book-plates, Boyer, 1.7 ; royal, i. 126, 
 175; Rabelais's, ii. 147; armorial, ii. 188, 274, 490, iii. 
 97 ; Mountaine and Burden engravers of, i. 247, 324. 
 Book-lending and Book-losing, i. 322 ; Ex-Libris Society, 
 ii. 500 ; English Book-plates, a review, iii. 79 ; Portraits 
 as Book-plates, iii. 81, 129, 210; French Book-plates, a 
 review, iii. 160. London, 4to, 1892. In Progress. 
 
 " MISCELLANEA GENEALOGICA ET HERALDICA." 
 
 Howard, LL.D., F.S.A. (Joseph Jackson). Illus- 
 trated. Vol. I. Examples of Armorial Book-plates : 
 Hooke, 1703; Rogers, 1700; Rogers, Gage, 1805; 
 Dallaway, 284 : Billingsley, Egerton, 1707 ; Snell, 299. 
 
 1868. 
 
 Vol II., illustrated. Examples of Armorial Book- 
 plates : Barker, 505; Beddington, 244; Bowden, 525; 
 De Burgo, 1720, 28y ; Cary-Elwes, 556 ; Furneaux, 170 ; 
 Gomm, 184; Haslewood, 128; Hilliard, Sy ; Lorimer, 
 421 ; Palmer, 487 ; Potter, 570; Waldy, 583. 1877. 
 
 Vol. III., illustrated. Examples of Armorial Book- 
 plates : Andrews, 171; Bedford, 189; Carson, 156; 
 Burr, 156; Courthope, 327; Dalton, 438; Fenwick, 
 note respecting Bewick, 433 ; Gregory, 290 ; Harington, 
 1706, 195; Hoblyn, 353; Hyett, 95; Jackson, 402; 
 Millard, 445; Mitchell, 101, 143; Nott, 1763, 233; 
 Ridgway, 1871, 47 ; St. George, 82 ; Strangeways, 22 ; 
 Tomes, 273 ; Waggett, 182 ; Walters, 226, 252 ; White, 
 1878, 206 ; Woodroffe, 65. 1880. 
 
 Vol. IV., illustrated. Examples of Armorial Book- 
 plates : Carew, 1 54 ; Clutton, 300 ; Collins, 274 ; 
 Fletcher, 214; Gidley, 19; Hayman, 54; Heysham, 
 •575 ; Heywood, 202 ; Humphry, 314 ; Littleton, 166 ; 
 
336 English Book-plates. 
 
 Lynch, 387; Meade, 6 ; Pole, 131; Pringle, 190; 
 Symons, 250 ; Soltau, 250 ; Traherne, 102 ; Underhill, 
 78 ; Wickham, 67 ; Wilmer, 238 ; Wilmer Ex Dono, 
 1599,238. 1884. 
 
 Second Series, Vol. I., illustrated. Examples of 
 Armorial Book-plates : Brownlowe, 1698, 221 ; Chauncy, 
 28; Chetwode, 85 ; Lady Mary Booth, Chetwood, 122; 
 Conder, 61 ; Dade, 311 ; Dering, 1630, 285 ; Elizabeth, 
 Countess of Exeter, 268 ; Murray, 347 ; Shank, 235 ; 
 Smith, 347 ; Walpole, 364. 1886. 
 
 Vol. II., illustrated. Examples of Armorial Book- 
 plates : Bartlett, 294 ; Biss, 152 ; Draper, 24 ; Owen, 368 ; 
 Scheurl-Tucker, by A. Diirer, 104-5, I2C S Gibson, 196. 
 
 1888. 
 
 Vol. III., illustrated. Examples of Armorial Book- 
 plates : Burfoot, 396, Barton, 188; Rachel, Dutchess of 
 Beaufort, 1706, 276; Conduit, 188; Darwin, 1737, 17; 
 Darwin, 1771, 17; Dering, 1630, 56; Dering, 56; 
 Hopkins, 261 ; Keith, 88 ; Monypenny, 56 ; Shuckburgh, 
 256 ; Toilet, 72 ; Taddy, 261 ; Webster, 37. 1889. 
 
 Vol. IV., illustrated. Examples of Armorial Book- 
 plates : N. D'Eye, 25 ; Ball, R. Ball Dodson, 41 ; Paul 
 Jodrell, 89; Vassall, 120 ;' Cooke, 1712, 136; S r G. 
 Cooke, 1727, 152; Harrison, 1698, 168; Langley, 184; 
 Wyndham, 201 ; Prentice, 216 ; Yardley, 1721, Yardley, 
 1739, 232. 1891. 
 
 Vol. V., illustrated. Examples of Armorial Book- 
 plates : Richard Pritchett, 89; John Benson, 104; 
 (Phillips, 1892), 136; (Thomas Carter), 166; Sir John 
 Cullum and Dame Susanna, 1760; John Cullum, 
 Rev d Sir John Cullum, Richard Merry, Thomas Gery 
 Cullum, Sir Tho 8 Gery Cullum, Mary Hanson 1773, 
 Thomas Gery Cullum, Rev d Sir Thomas Gery Cullum, 
 Mary Anne Cullum, S. A. Milner Gibson, Gery Milner 
 
Bibliography. 337 
 
 Gibson Cullum, Reginald Gurney, Arethusa Robertson, 
 Gery Milner Gibson Cullum, 193. Irish Book-plates : 
 Thomas Ridgate Maunsell, Sisson Darling, 264 ; Richard 
 Baldwin, John Butler, 281. London, royal 8vo, 1893. 
 
 WiNSOR (Justin). A catalogue of the collection of 
 books and manuscripts which formerly belonged to the 
 
 Rev d Thomas Prince now deposited in the 
 
 Public Library of the city of Boston, v.-viii. illustrated. 
 
 Boston, (U.S.A.) 4to, 1870. 
 
 Describes the various Book-plates of the Rev. Thomas 
 Prince, 1687-1758. 
 
 The Art Journal. Notes on Book-plates (M. A. 
 Tooke), illustrated, 267-270. 
 
 London, folio, September, 1876. 
 
 "THE ANTIQUARY. 
 
 Vol. I. Notes on Book-plates, 75-77 ; Book-plates 
 (W. Hamilton), 117-118; Book-plates, 189; Notes on 
 Curious Book-plates, 236-237 ; another Chapter on 
 Book-plates (Alfred Wallis), 256-259. 1880. 
 
 Vol. II. A Supplementary Chapter on Book-plates, 
 6-10; An Essay on Book-plates (E. P. Shirley), 115- 
 118; Book-plates, 133,272. 1880. 
 
 Vol. III. Reviews : "A Guide to the Study of Book- 
 plates," jj. 1 88 1. 
 
 Vol. IV Last Words on Book-plates, 106- 1 11. 1881. 
 
 Vol. V. Book-plates, 85-86. 1882. 
 
 Vol. VII. Book-plates, early reference to, 231. 1883. 
 
 "Vol. XIII. Book-plate, S31, 278. 1886. 
 
 z 
 
338 English Book-plates. 
 
 Vol. XIX. Book-plates, proposed magazine for, 39. 
 
 1889. 
 
 Vol. XXIII. A Notice of the Ex-Libris Society, 142. 
 
 1891. 
 
 Vol. XXV. Unique Book-plate, Erasmus and Dr. 
 Hector Pomer (H. W. Pereira), illustrated, 242-244. 
 
 London, Elliot Stock, 4to, 1892. 
 
 " WESTERN ANTIQUARY." 
 
 Edited by, W. H. K. Wright, F. R. Hist. Soc. 
 
 Vol. I. Book-plates, Francis Drake's, 32, illustrated ; 
 proposed work on, by Walter Hamilton, 174. 1881. 
 
 Vol. II. Book-plates, local, 197; armorial, 211, 212, 
 illustrated. 1882. 
 
 Vol. IV Book-plate of J. O. H. Glynn, 38, illus- 
 trated. 1885. 
 
 Vol. VII. Curious Book-lines, by George Wightwick, 
 160-161. 1888. 
 
 The Book-plate Collector's Miscellany, a 
 monthly supplement to the " Western Antiquary," illus- 
 trated. Edited by W. H. K. Wright, F.R.H.S. 
 
 Plymouth, W. H. Luke, 4to, 1 890-1 891. 
 
 "PALATINE NOTE BOOK." 
 
 Vol. I. Book-plates, 15, 16, 30, 52-53, 69, 114, 195 ; 
 illustrated, 217; of Jesus Coll., Camb., 128; Walpole's, 
 209. 1 88 1. 
 
Bibliogi'aphy. 339 
 
 Vol. II. Book-plates, 18 ; illustrated. 1882. 
 
 Vol. III. Book-plates, 51, 97, 237, 191, illustrated. 
 
 Manchester, 4to, 1883. 
 
 "ANTIQUARIAN MAGAZINE AND BIBLIOGRAPHER.''' 
 
 Edited by E. WALFORD, M.A. 
 
 Vol. I. Notes on English Book-plates, No. I. (W. J. 
 Hardy), 173-177, illustrated. 1882. 
 
 Vol. II. Notes on English Book-plates, No. II. 
 (J. Harrop), 53-55, illustrated ; on Book-plates (F. J. 
 Thairlwall), 277-280, illustrated ; Book-plates, 48, 106, 
 161, 322. 1882. 
 
 Vol. III. Book-plates (D. P[arsons]), 2-7, 53-56, illus- 
 trated (R. Day), 272-273 ; Book-plates, 104, 161, 274. 
 
 1883. 
 
 Vol. IV. Book-plates (W. Hamilton), 110-111. 1883. 
 
 Vol. V. A Bibliography of Book-plates (W. Hamilton). 
 78-80; Book-plates, 106, 107, 162, 217. 
 
 London, royal 8vo, 1884. 
 
 Printing Times and Lithographer. Curiosities 
 of Book-plates, 265-268, 290-292. 
 
 London, Wyman and Sons, 4to, 1882. 
 
 The Book Buyer. Some American Book-plates 
 (Laurence Hutton), illustrated, 7-9, 63-65, 11 2-1 14, 159- 
 161. The original and imitation Washington Book- 
 plates. Practical suggestions for Book-plates, illustrated, 
 377. New York, Scribner, 4to, 1886. 
 
34-0 English Book-plates. 
 
 THE Curio. American book-plates and their en- 
 gravers (Richard C. Lichtenstein), illustrated, 11-17, 
 61-66, 110-114. New York, R. W. Wright, folio, 1887. 
 
 The Gentleman's Magazine Library. Literary 
 Curiosities. Book-plates, 82, 85, 325. 
 
 London, Elliot Stock, 1 
 
 The Bookworm. Book-plates and their mottoes, 
 205, 1889. A Hunt for Book-plates in Paris (W. 
 Hamilton), 171-173. The Avery Library Book-plate, 
 202, 1892. French and English Book-plates. A 
 review, illustrated, 105-108. 
 
 London, Elliot Stock, 8vo, 1893. 
 
 Chambers's Encyclopaedia. New Edition, Vol. II., 
 309. Book-plates. 
 
 London, W. and R. Chambers, 8vo, 1 
 
 The LIBRARY. Record of Bibliography. Reviews 
 of "Die deutschen Biicherzeichen " (Warnecke) and 
 " Les Ex-Libris" (Bouchot), iii., 17-19. Book-plates 
 (W. J. Hardy, F.S.A.), iii. 47-53,93-98, 1891. Record 
 of Bibliography. Reviews of a Bibliography of Book- 
 plates (Fincham and Brown), iv. 262, 1892. English 
 Book-plates (Castle). French Book-plates (Hamilton), 
 v. 61-62. Book-plates (Hardy), v. 148-149. 
 
 London, 8vo, 1893. 
 
 Journal of the Ex-Libris Society. Illustrated. 
 Edited by W. H. K. Wright, F. R. Hist. Soc. 
 
 London, A. and C. Black, for the Society, 4to, 1891. 
 
 In Progress. 
 
Bibliography. 34 1 
 
 Saturday Review. The Ex-Libris Society, 27 
 Feb., 1892. English Book-plates (Castle), a review, 
 21 Jan., French Book-plates (Hamilton), a review, 
 1 1 Feb. More about Book-plates, a review of Hardy, 
 10 June, 1893. 
 
 The Collector. Some Historic Book-plates (Dr. 
 J. H. Dubbs), illustrated, v. 1 51-152, 164-165, 176-177. 
 German Book-plates of Pennsylvania (Dr. J. H. Dubbs), 
 illustrated, vi. 3-5. The Book-plate of Jacob Sargeant, 
 illustrated, vi. 26. Collection of Book-plates, vi. 29. 
 
 New York, 4to, 1892. 
 
 The Studio. Designing for Book-plates with some 
 recent examples (G[leeson] W[hite]), illustrated, 24-28. 
 Some recent book-plates, with seven examples, illustrated, 
 148-150. London, 4to, 1893. 
 
 The Scottish Review. Book-plates (H. Gough), 
 xxi., 315-329. London, 8vo, April, 1893. 
 
 Transactions of Learned Societies. 
 
 Oxford University Archaeological and Heral- 
 dic Society. On Book-plates (Rev. Daniel Parsons), 
 17-25. Oxford, J. Vincent, royal 8vo. 1837. 
 
 Historic Society of Lancashire and Cheshire. 
 Description of a Warrington Book-plate (Dr. J. Kend- 
 rick's), illustrated, 134-135. Liverpool, 8vo, 1854. 
 
 Birmingham Central Literary Association. 
 .Ex-Libris (Robt. Day, F.S. A., M.R.I. A.), illustrated, 1885. 
 
 Privately reprinted, 7 pp. 8vo. 
 
342 English Book-plates. 
 
 Royal Historical and Archaeological Associa- 
 tion OF Ireland. Notice of Book-plates by Cork 
 artists (Robt. Day, F.S.A., M.R.I.A.) No. 61, Vol. vii, 
 1885. Privately reprinted, 7 pp. 8vo. 
 
 New England, Historical and Genealogical 
 REGISTER. Early New England and New York 
 Heraldic Book-plates (Richard C. Lichtenstein), xl., 195- 
 299, 1886. Early Southern Heraldic Book-plates, xli. 
 296. Boston, 8vo, 1887. 
 
 Privately reprinted. 
 
 BOOK-PLATE OF W. H. BRACKETT. 
 
 By Oliver Brackett. 
 
INDEX. 
 
 E23JBBEY,E.A,2 3 4,235, 
 236, 299. 
 : Adams" style, 26, 
 102, 106. 
 
 Adams, Robert, 105. 
 • Adaptations, 27, 171, 286. 
 "Aerial " plates, 156. 
 Aide, Hamilton, 181, 184. 
 Alboise, Charles d', 37. 
 " Allegoric " plates, 23, 27, 79, 
 117, 133' l 34, 187, 214, 
 
 245- 
 
 Althorp Library, 177, 178. 
 
 American Dictionary of Print- 
 ing, etc., 6. 
 
 American plates, 22. 
 
 Amman Jost, or Just, 12, 36. 
 
 Anderson, John, Junr., 145, 
 147. 
 
 Angell, Samuel, 188. 
 
 Anselm, Father, 162, 167. 
 
 "Antiquarian Magazine and 
 Bibliographer," 339. 
 
 "Antiquary," 15, 337. 
 
 "Architectural" plates, 117, 
 
 254. 
 Arch. Soc. Co. Kildare, 179, 
 • 180. 
 ^-Argyll, Duke of, 160. 
 
 11 
 
 "Armorial" plates, 25, 214, 
 
 287, 296. 
 Arrangement of a collection, 
 
 320, 321. 
 Ashbee, H. S., 132, 279. 
 Ashmole. Elias, 130, 131. 
 Ashton, H., 122, 125. 
 " At the Sign of the Lyre," 233. 
 Avril, Paul, 279. 
 Aylesford plate, 126, 127. 
 Aylorde, Henry, 202, 203. 
 
 Babel, 82. 
 
 Bacon, Nicholas, 42, 43. 
 
 Bailey, William, 153, 155, 156. 
 
 Bain, Mr., 191. 
 
 Bainbridge, C. E., 145, 148, 
 
 149. 
 Bancks, John, 79, 80. 
 Baring-Gould, Rev. S., 182,. 
 
 184. 
 Barlow, 144. 
 Barritt, Thomas, 132. 
 Barrow, Rev. W., 105, 108, 
 
 in. 
 Bartolozzi, 12, 134, 136, 138, 
 
 139, 280. 
 Bateman, R., 185, 186. 
 
344 
 
 English Book-plates. 
 
 Bath, Dowager Countess of, 
 62. 
 
 Batten, J. D , 225, 243, 245, 
 246, 326. 
 
 Beardsley, A., 260. 
 
 Beaufort, Rev. D. A., 113. 
 
 Beddard, F. C, 249, 250, 251. 
 
 Bedford, 4th Duke of, 72, 75. 
 
 Beham, Hans Sebald, 36. 
 
 Bell, A. G., 268, 273. 
 
 Bell, R. Anning, 274, 277, 
 279, 283. 
 
 Bellay, 82. 
 
 Bennett, Rev. Canon, 114, 
 116. 
 
 Besant, Walter, 229, 230. 
 
 Bessborough, Henrietta Coun- 
 tess of, 9, 138. 
 
 Bewick, T., 12, 145, 146, 147, 
 148, 254. 
 
 Bibliography, 331. 
 
 Bickham, 77, 79, 80. 
 
 Billinge, 122, 125. 
 
 Birmingham Central Literary 
 Association, 341. 
 
 Blackburn, Mr., 192. 
 
 Blondel, 82. 
 
 Blundell of Crosby, 309. 
 
 Bolas, Thomas, 120, 122. 
 
 Bohngbroke, Chas., 125. 
 
 "Bombe" decoration, 76, 79, 
 80, 84. 
 
 "Book Buyer, The," 339. 
 
 " Book-pile," 13, 27, 117, 290. 
 
 " Book-plate Collector's Mis- 
 cellany," 21, 44, 305, 308, 
 338. 
 
 Book-plate engravers, 17, 323. 
 
 " Book-plate petition," the, 
 316, 317. 
 
 " Bookworm, The," 340. 
 
 Boteler, William, 144, 145. 
 
 Boucher, 12, 82. 
 
 Bouchot, Henri, 19, 21, 24, 30, 
 
 3 1 * 3 6 , 3 8 , 39, 178, 213, 
 
 313. 
 Boxall, Sir William, 188. 
 Brackett, Oliver, 342. 
 Brackett, W. H., 342. 
 Brandenburg, Brother Hilde- 
 
 brand, of Biberach, 33. 
 Bree, Rev. W. T., 126, 129. 
 Brierly, Sir O. W., 203, 204. 
 Brodrick, St. John, 59, 60, 61. 
 Brooke, Rev. A. Stopford, 
 
 253- 
 Brooke, L. Leslie, 251, 252, 
 
 253, 254. 
 
 Brookfield, Mrs., 192. 
 
 Broughton, Dr. A., 142, 143. 
 
 Brown, J, Roberts, xiii, 14, 
 20, 87, 239, 240, 325. 
 
 Browne, Gordon, 212. 
 
 Browning, Oscar, 220, 221, 
 226. 
 
 Bryan's Dictionary of En- 
 gravers, 323. 
 
 Buckle, H. T., 154, 156. 
 
 Burke, Sir Bernard, 22, 267, 
 322. 
 
 Burton, J., 125. 
 
 Butken, Christophe, 57. 
 
 Buxheim Plate, ^^. 
 
 Byfield, Mary, 182. 
 
 Bysshe, 49, 52. 
 
 Caldecott, Randolph, 192, 
 
 193, 195- 
 Campbell, Hon. Archibald, 
 
 59, 61, 289. 
 Campbell, Mrs., 217, 218. 
 Campbell, T., 93, 94. 
 
Carlander; C. M., 19. 
 
 Carlyle, Thomas, 168. 
 
 "Carolian" Style, 25, 42, 48, 
 62. 
 
 Carter, Thomas, 67. 
 
 "Cartouche," 51. 
 
 CasselPs Encyclopaedic Dic- 
 tionary, 5. 
 
 Castle, Agnes, 268, 269, 280, 
 300, 301, 311. 
 
 Castle, Egerton, 268, 269, 301, 
 
 33 2 - 
 Caulfield, 150, 151. 
 Chamberlayne, Miss E., xiii. 
 Chambers, Sir W., 102. 
 " Chambers's Encyclopaedia," 
 
 34o. 
 "Chippendale," 16, 26, 67, 
 
 79, 81, 83, 102, 133. 
 Chippendale, Thomas, 83. 
 "Chippendalism," 87, 88, 100, 
 
 108. 
 Choffard, 82. 
 
 Choice of a Plate, 285, 292. 
 Cipriani, 12, 136, 138, 139, 
 
 280. 
 Clarke, H. Savile, 166, 167, 
 "Classes," 23, 27, 28, 319. 
 Classification of Styles, 23, 
 
 168. 
 Cleaning plates, 321. 
 "Collector, The," 341. 
 " Collegiate " plates, 178. 
 Collings, J. K., 202. 
 Collins, J., 82. 
 Colombiere, Vulson de la, 57, 
 
 167. 
 Colthurst, Augustus, 151. 
 Cook, 143. 
 
 •Cook, Capt. J., 114. • 
 
 Cooper, J. D., 195. 
 
 Index. 545 
 
 Corbett, Matthew Ridley, 208, 
 
 Cornwallis, 5th Baron, 78, 79, 
 
 87. 
 
 Corpus Christi College, Ox- 
 ford, 70. 
 
 Cottes, 82. 
 
 Coutts, Money, 245, 246. 
 
 Cox, H. Fisher, 254. 
 
 Craig, Sir T., 137. 
 
 Cranach, Lucas, 36. 
 
 Crane, Walter, 195, 201, 226, 
 227, 228, 229, 230. 
 
 Crawhall plate, 178, 179. 
 
 Crosby Hall, 309, 310. 
 
 "Curio, The," 340. 
 
 "Curled endive," 80, 84. 
 
 Curwen, 288, 289. 
 
 Cussans, J. E., 173, 177. 
 
 Cuvillier, 82. 
 
 "D'Anvers, N.," 268. 
 Davies, F. Trehawke, 303, 
 
 304- 
 Day, Robert, 19, 150, 175, 
 
 177. 
 Dibdin, T. Frognall, 156. 
 Dickens, Charles, 168, 171, 
 
 293, 294. 
 Dickinson, 
 
 Charles, 106, 
 4, *53> 
 
 109. 
 "Die-Sinker" style, 
 
 154, 168. 
 Doble, C. E., 222, 223. 
 Dobson ; Austin, 146, 233, 290, 
 
 3 l6 > 3 r 7- 
 Drummond, Dr. T., 137. 
 Diirer, Albert, 12, 34, 36, 130, 
 
 3 2 4- 
 Dyer, Charles, 112, 113. 
 
346 
 
 English Book-plates. 
 
 " Early Armorial," 25, 41, 56, 
 
 76, 160, 287. 
 Early Georgian, 26, 58, 68, 69, 
 
 75, 76, 79- 
 Ebner, Hieronymus, 35. 
 Eisen, 82. 
 
 " Eloges Mortuaires," 39. 
 "Emblematic" plates, 27, 
 
 187, 208, 214, 221, 239. 
 Eton College, 177. 
 Evans, F. H., 261, 264, 
 
 267. 
 Evans, Sir John, 182, 183. 
 Eve, G. W., 160, 162, 326. 
 " Ex-Libris," 1, 2, 4, 5, 28, 30, 
 
 286, 305. 3 2 5- 
 "Ex-Libris Journal," 14, 20, 
 
 21, 204, 308, 323, 340. 
 "Ex-Librism," 294. 
 Ex-Libris Society, 20, 21, 239, 
 
 3 2 3, 324- 
 Eynes, 51, 52. 
 
 Faithorne, YY\, 130. 
 
 Family book-plates, 309. 
 
 Fane, 62. 
 
 Farr, Samuel, 142. 
 
 Fawkes, Richard, 38, 130, 
 
 181. 
 Feminine plates, 62, 100. 
 Ferguson, C., T65. 
 "Festoon" style, 26, 76, 100, 
 
 106, in. 
 Fincham, H. W., vii, 14, 20, 
 
 29, 132. 
 Fitzgerald, Edward, 191, 192, 
 
 229. 
 Fitzgerald, Rev. W., 265, 267. 
 Floral-Rococo, 100. 
 Folkard, Henry, 211, 212, 
 
 214. 
 
 Foote, Benjamin Hatley, 88, 
 
 89. 
 
 Ford, E. Onslow, 223, 224, 
 
 225^ 
 Forestier, C, 243, 247. 
 Foster, J., 162. 
 Frampton, Christabel, 278, 
 
 283. 
 Francis I., 31. 
 
 Franks, A. W., 13, 17, 64, 131: 
 Frederick, Sir Charles, 93, 
 
 101. 
 French book-plates, 37, 38. 
 "Funereal" plates, 113. 
 Fust, Sir Francis, 67. 
 
 Genouillac, Gordon de, 57. 
 "Genre" plates, 23, 27, 214, 
 
 239> 268, 303. 
 "Gentleman's Magazine," 15, 
 
 333- 
 
 "Gentleman's Magazine Lib- 
 rary, The," 340. 
 
 Georgian, 25. 
 
 "Georgian," Early, 25, 58, 68, 
 
 6 9, 75, 76, 79- 
 Georgian, Later, 26, 102, 107, 
 
 117. 
 Georgian, Middle, 26, 79, 81, 
 
 83. 
 Gere, C. M., 257, 258. 
 German book-plates, 31, 38. 
 " German Style, Old," 36. 
 Gibbons, Grinling, 26, 76, 
 
 102. 
 Gibbs, James, 82. 
 Gift plates, 33, 44, 62. 
 Gladstone, W. E., 208, 209. 
 Glazebrook, Swanbrook, 159. 
 Goddard, W. K, 277, 278. 
 Gore, 52. 
 
Index. 
 
 347 
 
 Gosse, Edmund, 192, 234, 
 
 2 35> 299. 
 "Gossip in a Library," 235. 
 Gravelot, 12, 82, 120, 121, 
 
 125, 126, 137, 280. 
 Graves, R. E., 323. 
 Gray, J. M., 248, 250. 
 Gray's Inn, 123, 125, 126. 
 Greenaway, Kate, 196, 199, 
 
 201. 
 Gribelin, 280, 290. 
 Griggs, W., 17, 18, 42, 48, 69, 
 
 33 1 - 
 Groher, 31, 32, 306. 
 Guigard, Johannis, 4, 15. 
 Gulston, Elize, 99, 100. 
 Gwyn, Francis, of Lansanor, 
 
 58, 60, 287. 
 
 Hacket, John, 130. 
 Haggard, H. Rider, 281. 
 Halkett, C. R., 248, 249, 250, 
 
 251- 
 Hamilton, Walter, 19, 20, 21, 
 
 290, 291, 308, 332. 
 Hardy, W. J., 8, 9, 18, 19, 44, 
 
 130,136,254,255,256,332. 
 Harrison, T. Erat, 208, 209, 
 
 211, 222, 223, 224, 292. 
 
 Harvey, 144. 
 Hawks, G., 147, 148. 
 Heath, S. H, 259. 
 Heckell, A., 82. 
 Henshaw, 134. 
 Henslow, J., 101. 
 Hepplewhite, 105. 
 " Heraldic - Allegoric," 171, 
 
 187. 
 "Heraldic-Bucolic," 100. 
 # Heraldic-Emblematic," 208, 
 " Heraldic-Ruinous," 100. 
 
 " Heraldic - Symbolic," 171, 
 
 187, 202. 
 Heraldry, 24, 141, 160, 258, 
 
 2 99> 3°3, 3 2 4- 
 
 Heriot, Chas., 97, 98. 
 
 Hewer, William, 118, 119. 
 
 Hieroglyphic plates, 280, 281, 
 282. 
 
 Historic Society of Lanca- 
 shire and Cheshire, 341. 
 
 Hogarth, William, 9, 12, 134, 
 136, 290. 
 
 Hogg, Warrington, 268, 271, 
 
 275- 
 
 Holbein, 36. 
 
 Holies, Lady Henrietta Caven- 
 dish, 9, 136. 
 
 Holme, C, 259, 260, 263. 
 
 Home, H. P., 295, 303, 304. 
 
 Housman, L., 308. 
 
 IJowitt, 148, 149. 
 
 Hubbald, 98, 100, 141. 
 
 Huth, Henry, 310, 312. 
 
 Hutton, Lawrence, 19. 
 
 Identification of plates, 322, 
 
 3 2 3- 
 "Igdrasil," 214, 216, 273. 
 Igler, Hans, 32. 
 Inglis, E., 236, 237. 
 Ireland, John, 9. 
 Irving, Henry, 239. 
 Isham, Sir Thomas, 8. 
 Italian book-plates, 38. 
 
 Jackson, Robert, 239, 241, 305. 
 Jackson, W. C, 20. 
 "Jacobean," 16, 26, 58, 62, 
 68, 69, 71, 76, 78, 79, 102, 
 
 *33> 1 34- 
 Jewers, Arthur, 20, 44, 47. 
 
348 
 
 English Book-plates. 
 
 Jones, Inigo, 68. 
 
 Keene, Charles, 295, 296. 
 " Kernoozer," 13. 
 " Kernoozer's Club," 300. 
 Kildare Co. Arch. Ass., 179, 
 
 180. 
 Kitchin, G., 264, 267. 
 Kneller, 131. 
 Knight, J., 132. 
 
 Label, 32, 241. 
 
 Laguerre, 136. 
 
 La Joue, 82. 
 
 Lake, Ernest, 219. 
 
 " Landscape," armorial, 145. 
 
 "Landscape," non-armorial, 
 
 149, 214. 
 Landscape plates, 23, 27, 96, 
 
 100, 114, 117, 141, 251, 
 
 2 53> 2 59> 3°°- 
 Lane, John, 216. 
 Lane, W., 149, 150. 
 Lang, Andrew, 315. 
 Larking, John, 107, 109. 
 Larking, J. Wingfield, 158. 
 Larousse, Dictionnaire, 5. 
 " Leather Label," 179. 
 Le Clerc, Sebastien, 78. 
 Leicester, Sir Peter, 55. 
 Leighton, John, 2, 19, 20, 
 
 202, 203, 204, 205, 333. 
 Leinster, Duke of, 179. 
 " Library, The," 340. 
 " Library Interior," 13, 23, 27, 
 
 117, 120, 122, 134, 214, 
 
 23°» 239, 245, 263, 267, 
 
 268, 269, 278, 297. 
 Lichtenstein, R. C., 19. 
 " Limner, Luke," 203, 204, 
 
 205. 
 
 "Lining," 61, 72, 87. 
 "Literary" plates, 117, 126, 
 
 330- 
 " Little Masters," xiii, 36. 
 Lloyd, Rev. J., 77, 79, 133. 
 Locker, Frederick, 195, 196, 
 
 197, 201. 
 Locker- Lampson, F., 196. 
 Locker-Lampson, Godfrey, 
 
 199, 20T. 
 Loftie, Rev. J., 184, 185, 186, 
 
 286, 281, 282. 
 Loggan, David, 8. 
 "Louis Quatorze," 77. 
 Lumisden, A., 135, 137. 
 Lyell, Sir C, 298. 
 Lyon King of Arms, 165. 
 Lyttelton, Edward, 48. 
 
 Macdonald, W. Rae, 248, 249. 
 
 Macgregor, General, 108. 
 
 Maioli, 31, 32. 
 
 Maister, Henry, 71, 73, 
 
 Manning, W., 263. 
 
 Marks, H. Stacy, 196, 197, 
 
 239, 240, 241, 242, 325. 
 Marks, Walter D., 242, 305. 
 Marshall, William, 48. 
 Marsham, 52. 
 Martin, John, 294. 
 Mason, Dame Margaretta, 69, 
 
 70. 
 Mathews, C. Elkin, 244, 248. 
 Mayo, Earl of, 61, 179, 288, 
 
 289. 
 Meade, L. T., 218. 
 Meehan, J. F., 20. 
 Meissonier, J. A., 82. 
 Mending plates, 321, 322. 
 Menestrier, 52. 
 Menestrier, 297. 
 
Index. 
 
 349 
 
 Middleton-Wake, Rev. C. H., 
 
 184. 
 Millais, Sir J. E., 187, 189. 
 Miller, J. S., 82. 
 " Miscellanea Genealogica et 
 
 Heraldica," 15, 48, 335. 
 Mock- Heraldry, 157. 
 "Modern-Armorial," 25, 26, 
 
 i5 2 > T 57 5 162, 168. 
 "Modern Die-Sinker" style, 
 
 114, 153, 154, 305. 
 Montagu, F. C., 295, 296. 
 Morell, 293. 
 Moring, A., 126. 
 Morris, W., 257. 
 Muilman, Peter, 255. 
 Mynde, J., 255. 
 
 Naas, Co. Kildare, 179. 
 
 "Napkin," 59, 131, 248, 287. 
 
 Nash, Robert, 85, 87. 
 
 Neele, S., 114. 
 
 Neild, Jas., 144, 
 
 New, E. H., 256, 257. 
 
 New England Historical and 
 
 Genealogical Register, 342. 
 Nicholson, Gilbert, 64, 65, 
 
 67. 
 Nisbet, Hume, 324. 
 Nixon, J. Forbes, 161, 162, 
 
 163. 
 Nomenclature of book-plates, 
 
 24, 28, 168. 
 Northbourne, Lord, 208. 
 " Notes and Queries," 15, 316, 
 
 333- 
 
 Oppenort, 82. 
 Ord, John, 96, 100, 141. 
 J3xford Univ. Arch, and 
 Heraldic Soc, 15, 341. * 
 
 Pain, Barry, 278, 279. 
 "Palatine Note Book," 338. 
 Papworth and Morant, 322. 
 Parsons, Alfred, 233. 
 Parsons, Rev. Daniel, 15, 61, 
 
 286, 287. 
 Partridge, Bernard, 239. 
 Paton, A. V., 258. 
 Patterson, Jane, 274, 278. 
 Pepys, Samuel, 7, 53, 56, 119, 
 
 t3h 132, 3 2 5- 
 " Periwig" style, 57. 
 "Permak's Bleacher," 321. 
 Perotte, 82. 
 Perris, J., 230. 
 "Personal" plates, 10, 214, 
 
 303- . 
 "Perugini, Madame," 219. 
 Petra Santa, Sylvester de, 48, 
 
 57, 167. 
 Philpott, Rev. R. S., 256, 257. 
 "Phiz," 212. 
 "Phrases of Book-possession," 
 
 304, 306, 307. 
 "Pictorial" plates, 27, 117, 
 
 214, 239, 296. 
 "Pile of Books," 119, 126, 
 
 290. 
 Pine, J., 123, 125, 126, 134, 
 
 136. 
 Pinson plate, 37. 
 Piranesi, 280. 
 Pirckheimer, Bilibald, 34, 36, 
 
 130. 
 Pollard, W., 308. 
 Pollock, Sir Fred., 280. 
 Pollock, W. H., 280, 281, 
 
 325. 
 Pomer, Dr. Hector, 35, 36. 
 Ponsonby, Hon. Gerald, xiii, 
 
 119, 138, 289, 290. 
 
35° 
 
 English Book-plates. 
 
 "Portrait" plates, 27, 130, 
 239, 278. 
 
 Poulet-Malassis, 15, 21. 
 
 "Pounced" style, 181, 295. 
 
 Prescott, Dr., 161, 167. 
 
 Printers' marks, 27, 40, 167. 
 
 "Printers' mark" style, 171, 
 181, 295, 296. 
 
 " Printing Times and Litho- 
 grapher," 339. 
 
 " Process " reproduction, xiii, 
 
 159, 3 11 - 
 "Processes," 311, 325. 
 Proprietary formulae, 306, 
 
 3°7- 
 Punning plates, 221. 
 
 "Queen Anne" style, 6S, 75, 
 
 76, 77, 96. 
 Queen, H,M. The, 182. 
 
 Raby, Baron, 59. 
 Railcon, H., 255, 256. 
 "Rebus" plates, 171, 221, 
 
 279. 
 " Regence " style, 80, 300. 
 Removal of book-plates, 313, 
 
 314, 315, 316, 318, 319. 
 "Restoration" style, 25, 41, 
 
 42, 56, 60, 64, 132, 289. 
 Ricketts, Charles, 214, 215. 
 Roberts, H., 82. 
 Robertson, A., 248. 
 Robinson, 160, 173, 177. 
 " Rocaille," 80, 81, 92. 
 "Rococo," 26, 77, 80, 81, 82, 
 
 117, 268, 297. 
 
 early, 87. 
 
 drooping, 97. 
 
 later, 95. 
 
 Rorfet, 31. 
 
 Rogers, Samuel, 109, no. 
 
 Royal Historical and Archaeo- 
 logical Assoc, of Ireland, 
 342. _ 
 
 "Rubaiyat," 191, 228, 229. 
 
 " Ruin" plates, 149. 
 
 Russell, John Scott, 207. 
 
 Rylands, Harry, 296, 297. 
 
 Rylands, J. Paul, ix, xiii, 16, 
 17, 18, 19, 24, 41, 132, 162, 
 186, 331. 
 
 St. Quintin, Sir W., 118. 
 Salisbury, Hatfield plate, 103, 
 
 107, 310. 
 Samwell, T. S. W., 120, 125, 
 
 126. 
 "Saturday Review," 341. 
 Scarth, Leveson, 254, 268, 
 
 271. 
 Scollop shell, 76, 80, 91. 
 "Scotch Chippendale," 98. 
 Scott, John, mark of, 39, 181. 
 Scott, W. Bell, 132, 202, 203, 
 
 23 I >. 2 33> 2 34- 
 "Scottish Review, The," 341. 
 " Seal" class, 27, 171. 
 
 plates, 173. 
 
 Seaman, Mr., 192, 193, 195. 
 "Sentiment" plates, 10, 28, 
 
 34, 202, 229, 242, 246, 260, 
 
 300, 308. 
 " Sette of Odd Volumes," 239, 
 
 263. 
 Seyringer, J., 16. 
 Sharp, Charles, 224, 226. 
 Sheldon, 52. 
 Sheraton, 105, 106. 
 Sherborn, C. W., xiii, 20, 159, 
 
 160, 208, 292, 326. 
 Sherwin, 134. 
 
Index. 
 
 35i 
 
 Shields, forms of modern, 168, 
 
 328, 329. 
 "Ship Ex-libris," 204. 
 Shorter, Clement, 228, 229, 
 
 246, 247, 255, 256, 257. 
 " Silver Tray" plates, 114. 
 Simcox, Martha, 63. 
 Simienowicz, 298. 
 Skeaping, K. M., 224, 226. 
 Skelton, John, 139. 
 Skinner, J., 91. 
 Slater, J. H., 323. 
 Slater, VV. Brindley, 242, 244. 
 Smith, Egerton, 71. 
 Smith, Matthew, 91, 92. 
 Soane, Harry, 20, 182, 183, 
 
 184, 298. 
 Solis, Virgil, 36. 
 Solomon, Simeon, 220, 221. 
 Somerset, Lady Heniretta, 70. 
 
 Somervell, Arthur, 252. 
 
 Southwell, 52. 
 
 " Spade" style, 102, 107,114, 
 
 142. 
 " Special " plates, 299. 
 Spokes, Russell, 296, 298. 
 " Sports," 23. 
 Spray, 112. 
 Stitt, Carlton, 290. 
 Strange, Sir Robert, 12, 135, 
 
 i3 6 > !37- 
 Strawberry Hill Plate, 143, 
 146. 
 
 "Studio, The," 341. 
 "Styles," 16, 23, 26, 28, 
 
 3 J 9- 
 " Super-libros," 4, 299. 
 Sweetman, Henry, 88. 
 Sweetman plate, 311, 312. 
 Sydenham, Sir Philip, 119. • 
 
 Sykes, Sir Christopher, 187, 
 
 188, 189. 
 "Symbolic" plates, 27, 185, 
 
 214. 
 Sywell, W. W. de, 48. 
 
 Tabley, Lord de (see also 
 Warren, Hon. J. L.), xiii, 
 16, 41, 55, 68, 159, 233, 
 
 2 35- 
 Tadema, L. Alma, 236, 237. 
 Tait, Henry, 225, 226. 
 Tanrego, 141. 
 Taylor, J., 141, 143. 
 Tennyson, Alfred, Lord, 167, 
 
 168, 169. 
 Thackeray, W. Makepeace, 
 
 191, 192. 
 Thibault, Master Girard, 300. 
 Thorns, W. T., 132. 
 Thornhill, Sir James, 135. 
 Thornthwaite, 105. 
 Tilney, F. C, 261, 264. 
 Tinctures, 57. 
 " Torce," 93, 204. 
 Toro, 82. 
 
 Tory, Geoffroy, 31. 
 Towneley, 7. 
 
 Townley, Charles, 139, 149. 
 "Tree, bookseller's," 184, 248. 
 of Knowledge," 185,216, 
 
 217, 220, 224. 
 
 of Literature," 185, 216. 
 
 of Wisdom," 248. 
 
 Tregaskis, James, 20, 44. 
 Treshame, Sir Thos., 44, 45. 
 Treshams, 44. 
 
 Trollope, Anthony, 155, 156. 
 "Trophy" plates, 92. 
 "Tudoresque" style, 25, 42, 
 47, 48, 56. 
 
352 
 
 English Book-plates. 
 
 Turnbull, A. H., 226, 227, 
 Tyers, James, in. 
 Types of shields, 328, 329. 
 
 "Urn" style, 26, 102, ill, 
 142. 
 
 Vallance, Aymer, 327. 
 Vanderbank, 136. 
 Vere, James, 95, 100. 
 Vertue, George, 8, 12, 134, 
 
 136. 
 " Vesicas," 171, 173. 
 Vicars, Arthur, xiii, 125, 129, 
 
 265, 267, 321,332. 
 "View" device, 254, 256 
 " Vignettes," 27. 
 Vinycomb, J., 174, i75> x 77> 
 
 229, 230. 
 Visiting cards, pictorial, 137, 
 
 138. 
 
 "Wake Knot," 185. 
 
 Walford, E., M.A., 339. 
 
 Wall, T., 137. 
 
 Walpole, Horace, 8, 146, 147. 
 
 Walters, Henry, 88, 91. 
 
 Walton, J., no, in. 
 
 Ward, Marcus, 230. 
 
 Warnecke, F., 19, 32, 34, 36. 
 
 Warren, Hon. J. Leicester 
 (see also Tabley, Lord de), 
 6, 14, 16, 17, 18, 19, 24, 26, 
 36, 68, 70, 72, 76, 81, 84, 
 134, 136, 145, 187, 231, 
 3°5> 3° 8 , 3 2 3, 3 2 5, 33 1 - 
 
 Watteau, 82, 133. 
 Wedgwood, Josiah, 105. 
 Wentworth, Thomas, Baron 
 
 Raby, 59. 
 West, 182. 
 " Western Antiquary," 21,241, 
 
 337. 
 Wheatley, H. B., 34. 
 Wheeler, E. J., 240, 243, 244. 
 " Where Art Begins," 324. 
 White, Gleeson, xiii, 214, 215, 
 
 216, 219, 220. . 
 
 White, Sir Robert, 131. ? • 
 Wilberforce, William, 83, 87. 
 Wilson, John, 140. 
 Windsor plate, 182. 
 Winnington, Francis, 69, 72. 
 Winsor, Justin, 337. 
 Winterbotham, 243, 244, 245. 
 Wolsey, Cardinal, 42. 
 Wolseley, Gen. Lord, 159. 
 "Wreath and Ribbon," 26, 
 
 102. 
 "Wreath and Spray," 102. 
 Wren, Christopher, 68. 
 Wright, Alan, 216, 217, 218, 
 
 219, 220. 
 Wright, W. H. K., 19, 20, 21, 
 
 330, 337. 
 Wyndham,Wadham, 121, 125, 
 
 i34. 
 
 Yates, Edmund, 174, 177. 
 Yeatman, Rev. H. W., 163, 
 167. 
 
 Zaehnsdorf, 293. 
 
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