solidly with a wall of brick. This lining shows at both sides of the
shield, below, and, less often, above it; its sides are convoluted; they
run out in foldings and scrolls resembling the carving on wood, and are
often worked into elaborate patterns: sometimes, too, the design is
surrounded by a carved moulding which makes a heavy frame of rectangular
form and massive appearance. This style of plate, well-handled, is
exceedingly handsome, and is capable of more repose and dignity than any
other. Very forbidding indeed, and over-solemn, are some examples, but
in the main the purely Jacobean plates are very pleasing. Among the
accessories usually found are a scallop-shell with the concave side
turned towards the observer, and placed either below the shield to
support it, or above it to set it off: this shell is always looked for
in the Jacobean plates, and indeed a shelly motive is apparent
throughout very many examples. The helmet and mantling are conspicuous,
especially the latter, as it is often enlarged and emphasized by being
drawn into the general scheme of decoration; very full, reaching far
down the sides of the shield-frame, and indeed often curiously woven
into the convolutions of the frame itself, it at times loses its
significance: grotesque faces sometimes peer from the ornamentation, and
heads of satyrs and demons are frequently used to rest the base of the
shield upon. In some instances the name is placed upon a bracket similar
to the upper part of the plate in decoration, or, again, it may be seen
upon a small curtain or lambrequin caught up at the ends with string.
Very often, too, no setting is provided for the name, and it is simply
engraved beneath the design. Eagles, lions, termini, cherubs, and
sometimes cornucopiæ of fruit or flowers, angels blowing upon trumpets,
and stiff stalks of flowers are introduced into the ornamentation. But
these do not succeed in enlivening the style of the plate materially,
for it is essentially heavy, conservative, and formal in design and
spirit. No graceful airiness rests upon it, and it provokes no joyous
sentiment, but rather rouses respect and enforces stateliness. The
general appearance of the Jacobean plate is as if carved from wood. We
do not expect old carving to be anything but solid and immobile, and
these characteristics are present in this style of book-plate. Indeed,
Warren, in his chapter on the Jacobean style, says that no antiquary can
fail to note the strong similarity of treatment and design between the
wood-carving preserved in the churches of the time of Charles the Second
and the mouldings on the monuments of the same period, and the
book-plates of the style we have considered. Our finest example of the
Jacobean book-plate is found in the work of Thomas Johnston, who made
the plate of _William P. Smith, A.M._ This is a typical example of the
later Jacobean style, and is worthy of particular study. The Elizabethan
shield is set against a frame which is very elaborately carved and
ornamented; the lining is covered with the fish-scale pattern, and this
extends also to the arms and convolutions upon the sides. At the base of
the shield the scallop-shell is in position as prescribed, and is
surrounded by a little frame of its own; the mantling is very slight
indeed, breaking out from the wreath and also from the lower part of the
helmet, in short and simple spirals. The motto is found on a ribbon
which is gracefully strung upon the scrolls at the bottom of the design.
In the _Spooner_ plate, by Hurd, the shield, also of Elizabethan
pattern, is set against a diapered background; beneath the shield,
within a little frame, the head of a sphinx is seen; term-figures are
placed in the scroll-work at either side, and from their hands depend
bouquets of flowers;
[Illustration: William P Smith AM]
the crest is overarched with a bit of old scallop-shell, and the motto
is given on a plain ribbon which, wholly unsupported, maintains a curved
position under the whole design. In the _Andrew Tyler_ plate, also by
Hurd, a grotesque face supports the shield, the lining is elaborately
diapered, and a festoon of cloth depends from the lower scrolls of the
frame. In the small-sized plate of _John Allen_, the lining is
embellished with the simple lattice-work, in two patterns.
[Illustration: ANDREW TYLER]
[Illustration: Jacob Sargeant.]
[Illustration: John Durand Esq.]
Closely succeeding the Jacobean, and indeed coming into use before the
latter was wholly discarded, the Chippendale style of book-plate may be
regarded as in a way an evolution from the Jacobean. If the parent was
dignified and conservative, the offspring was dainty and progressive;
the Jacobean style maintained its dignity and decorous nicety to the
end, but the Chippendale, which started in with a taking air of modest
and light gracefulness, in strong and pleasing contrast to the solidity
of its predecessor, rapidly assumed a most elaborate and ornate manner,
and finally sank into a wild, riotous, and well-nigh sensuous profusion
of decorative expression, which being too heavy for it to sustain, bore
it down to its end. The character of the Chippendale plate, while
attractive and beautiful in its pure form, had essential elements of
weakness, which, hardly able to resist development, were certain to
cause its downfall.
[Illustration: Anthony Stewart
Annapolis Maryland]
[Illustration: Myles Cooper _LL·D_]
As is natural to suppose, the name was bestowed upon this style because
of its assimilation of the ornate and flowery spirit which the famous T.
Chippendale at this period introduced into wood-carving and upholstery.
As compared with its immediate predecessor, the differences in this
style of plate are seen to be principally the liberating of the
decorative features from the stiffness which thralled them in the
Jacobean. Not now resembling ponderous carvings in oak and mahogany, but
rising free and unrestrained, the rose branches and sprigs seem to be
copied from Nature herself; not arranged with careful nicety and labored
uniformity as formerly, but springing from any convenient niche, they
add grace and delicacy to the whole design. The helmet is seldom
[Illustration: Andrew Oliver]
seen in this style of plate, the mantling is consequently absent, and
the bracket supporting the shield of arms undergoes a transformation;
the convolutions and scrolls on the sides become finer, freer, and less
imposing; the shield is never found of any set rectangular pattern, but
often is pear-shaped, shell-like in form, or indeed not unlike the
oyster or the human ear in general outline; the scallop shell which
formerly served as a base for the shield to rest on, is now broken into
dainty fragments with the pectinated edges disposed about the shield
itself; the name-frame is no longer a cloth curtain, but is a scroll
with indented edges and curling outlines.
[Illustration: Benj Kissam]
In its highest development the Chippendale plate is a beautiful piece of
work; the richness of its curves, its plentitude of graceful scrolls,
its profusion of roses in garlands or on the stem, and the elaborate
detail noticeable in all its parts, combine to make a plate of
delightful airiness and dainty nicety; but in the hands of weak
designers, as pointed out by Warren, its possibilities of
over-ornamentation were seized upon, and we find the most unexpected and
incongruous assortment of figures from life, architectural fragments,
allegorical subjects and other features not to be included in any
particular class, occupying convenient places about the escutcheon; we
find sleek shepherds clad in the fashionable clothes of the
day,--knee-breeches, ruffled shirt with Byron collar, large felt hats,
and buckled shoes; we see would-be shepherdesses in big hooped-skirts,
very low-necked bodices and slight waists, wearing frizzly hair and
Gainsborough hats, and carrying dainty crooks; scantily draped figures
recline under the trees, while attendant cupids make music or hasten up
with books. Turning from these pastoral scenes, we come across plates
which have a most frightful dragon with scaly body, forked tail, and
fiery, bulging eyes, who spits fire as he crouches among the roses; in
others we find cornices, columns, arches, and urns; fountains,
hand-glasses, ships, nautical instruments, lambs, dogs,--in short, it is
useless to name the great number of irrelevant articles which were made
use of. The plate was made to carry any amount of heterogeneous
ornamentation which the designer fancied; it seems in some cases as if
the details were employed with rightful reference to the tastes or
pursuits of the owner, but in the greater number the fancy was allowed
free play.
Hurd’s work furnishes us with the best examples
[Illustration: Peter Manigault of the Inner Temple, Barister at Law
South Carolina.]
[Illustration: Samuel Vaughan Esq.^{r}]
of the pure Chippendale style; the _Chandler_ plate, the _Wentworth_,
and the _Dumeresque_ are good examples; Dawkins gives us the later and
debased Chippendale with all its profusion of extrinsic ornamentation.
The _Samuel Vaughan_ plate is a very fine example of good
Chippendaleism, and may be taken as a standard by which to recognize the
features of this style. The _Robt. Dinwiddie_ plate is a fine example of
this style, though the heraldry may be questioned: this, according to
Hardy, is of Scotch make.
[Illustration: W. Jackson]
In the Ribbon and Wreath style, which came into vogue in England about
1770, and in the United States not much before 1790, we note a return to
simplicity. The later Chippendale plates, with their over-burdened
frames, now yield to this quiet style, which is unassuming and very
pleasing. In this the shield is usually
[Illustration: JOHN WILLIAMS _ESQ.^R_]
[Illustration: John Williams]
[Illustration: DeWitt Clinton.]
heart-shaped, is not set against a background, and has absolutely no
carved work about it; the shield is often unsupported, but is sometimes
hung by ribbons or festoons from wall-pins above; the decoration, as the
name suggests, consists principally of ribbons, and wreathing in various
forms. At the present day we use in our wall-paper, upholstery, and
wood-carving on furniture and mantels, and even on outside cornices, a
certain form of garland or festoon tied with ribbon which we call
“Colonial”; in a general way this resembles the decoration features of
the Ribbon and Wreath book-plate. From wall-pins with fancy oval or
round heads, festoons of flowers depend above the shield; branches of
holly and palm, often tied with a ribbon whose fluttering ends bear a
motto or the name, are crossed beneath the shield, and their graceful
sprays extend up either side. Some of the festoons are rich with
blossoms, others, more slender, are of leaves only, while a few are made
of cloth; the full garlands are usually hung from above the shield,
while the thinner style is draped in any place and manner acceptable to
the designer, and with more or less of gracefulness, as his skill
permitted. This style of plate calls for nothing more than its
legitimate features to render it effective and satisfactory, and in
general the plates are in the pure style; but in some of the New York
plates, there are books, writing materials, and bits of landscape
introduced under the shield.
The _Thomas Johnston_ plate by Maverick is a fine example of this style.
Maverick was the most prolific worker in the Ribbon and Wreath, while
Callender and Rollinson also used it very largely. The _Prosper Wetmore_
plate by Maverick, the _John Sullivan_ by Callender, and the _Horatio
Shepherd Moat_ by Rollinson, are all excellent examples.
[Illustration: Richard Wynkoop]
PICTORIAL AND ALLEGORICAL BOOK-PLATES, AND PLATES OF COLLEGES,
LIBRARIES, AND SOCIETIES.
[Illustration: D]esigns which are wholly pictorial or which are meant to
convey meaning by their symbolism are not very numerous with us. This
style of design is no better suited to the plates of public libraries,
schools, and societies, than to those of individuals, but nearly all of
our early examples of this style are found to belong to the former
class.
One of the early personal plates of this kind is that of _James Parker_,
who was a collector of curios, medals, and books. He was a conductor on
the old Western Railroad, and ran the first train between Worcester and
Springfield. This plate is fully described in the List.
Of an entirely different style is the plate engraved by Harris for
_Henry Andrews_. This is pictorial, introducing classical features, but
hardly rising to the height of allegory. The plate of _Bloomfield
McIlvaine_ is also pictorial, and probably allegorical, as the figure
seems to represent History. In the _Samuel Parker_ plate we have
[Illustration: No. 161, Sam Parker]
allegory with a label to identify it; for the bank on which the muse of
History reclines is labelled _Clio_. A very peculiar pictorial plate is
that of _Edward Pennington_, which seems to represent an overflowing
reservoir.
[Illustration: HENRY ANDREWS]
The plates of _McMurtrie_, _Kip_, _Mann_, _Russell_, _Swett_ and
_Hooper_ are good examples of the class. Examples could be given at
greater length, but as all are carefully described in the List, the
reader is referred to it.
The most interesting of the old society and
[Illustration: NEW·YORK _Society_ LIBRARY.]
[Illustration: NEW-YORK SOCIETY LIBRARY. 1789]
library plates are the three of the _New York Society Library_, the two
of the libraries in Farmington, Conn., and that of the _Society for
Propagating the Gospel in Foreign Parts_.
In the plates of the _Society Library_ allegory is rampant. Minerva
appears in all of them, and in the two by Maverick is the principal
figure. In both of these she appears to an American Indian, whose
attitude shows his deep appreciation of the benefits of education as
offered by the resplendent goddess. In one case she is represented as
having just arrived from Olympus, and is still encircled by clouds; in
the other, she seems quite at home in the alcove of the library, and has
taken a suitable volume from the shelf for the use of the savage. In the
plate by Gallaudet for this library the allegory is extended, and other
prominent inhabitants of the abode of the celestials are present. The
arts and sciences which the books of the library treat of are
represented by implements and symbols easily recognized.
The plate of the _Monthly Library in Farmington_ also uses allegory. The
designer and engraver of this plate was Martin Bull, an old deacon in
the village, who was quite an interesting man. He was a goldsmith, a
maker of silver buttons, and spoons; a manufacturer of saltpetre when
needed by the army, a conductor of church music, town treasurer for
eight years, clerk of probate for thirty-nine years, a strong patriot,
and a writer of long and appallingly solemn letters to the youth of the
village when
[Illustration:
_Monthly Library_
IN FARMINGTON
]
at college. The library was founded in 1795,--about as soon as our
soldier-citizens could settle down into reading stay-at-homes,--and was
conducted upon the plan of monthly exchanges. On the first Sabbath of
the month all members would assemble in the evening and pass in their
books and receive others, the choice being auctioned off. Two dollars
and a half a month was thus realized, and the meeting was the event of
the month to the sturdy inhabitants of the quiet town, to say nothing of
the younger folk, to whom it must have afforded coveted opportunities
for pleasant meetings, and quiet walks along the lanes. On the first day
of the new century, January, 1801, the library changed its name to that
which appears upon the book-plate, and on which the good deacon
exhibited a specimen of his highest art. Previously to this date it had
gone under the name of “The Library in the First Society in Farmington,”
and its first book-plate, probably engraved by the good deacon, had the
simple name with no pictorial accessories.
Contemporaneously with this, another library called the _Village
Library_, was in operation, and continued until 1826, when it was merged
with a third. This library also had a book-plate, but it was undoubtedly
beyond the powers of the engraver of its forerunners. In this we see the
interior of a room, in which a young lady patron of the library is
storing her mind with those choice axioms which, if put in practice, far
exceed the attractiveness of mere personal beauty; so says the couplet
beneath the picture.
[Illustration: VILLAGE LIBRARY.]
_Beauties in vain their pretty eyes may roll:_
_Charms strike the sense, but merit wins the soul._
The plate of the _Society for Propagating the Gospel in Foreign Parts_
is also pictorial, and represents a ship of the Society, with its
missionary, approaching the shore of savage America: this plate is dated
1704, and is very curious and interesting. The society grew from the
efforts of one Rev. Thomas Bray, who established thirty-nine parochial
libraries in the American Colonies for the purpose of propagating the
doctrines
[Illustration: The Gift of the Society for propagating the Gospell in
Foreign parts, 1784]
of the Church. In 1698, King’s Chapel, Boston, received some two hundred
books from this society, which were described as “an arsenal of sound
theological, ecclesiastical, and political doctrines for the Ministers
of His Majesty’s Chapel.” For the prevention of loss or embezzlement,
and that they might be known wherever
[Illustration: SOCIAL LAW LIBRARY Boston.]
found, “in every book, on the inside cover shall be these words, ‘Sub
auspiciis Wilhelmi III,’ and also the Library to which they belong, thus
‘E Bibliotheca Bostoniana.’” This must have been in addition to the
plate we are considering, as no words descriptive of particular
ownership are given: possibly this plate was used in all the books
belonging to the society, and the supplementary one was for use in each
individual library.
* * * * *
College plates are as a general thing very plain, but the plates used by
the societies supported by the students and the alumni, are often very
elaborate. The early societies in Harvard and in Yale had curious and
very interesting examples of the allegorical and symbolic plate.
The _Hasty Pudding Society_ and the _Porcellian Club_ of Harvard
College, the _Linonian Society_ and the _Brothers in Unity_ of Yale
College, are examples. In Dartmouth College, the _Social Friends
Society_, and in the smaller colleges numerous other fraternities and
societies, used plates of simpler style.
The books of the Library of Harvard College were marked with plates by
Hurd and Bowen, as noted in the list; on these plates, the gifts of
various benefactors are recorded, with the class to which they belonged,
conditions regarding the gift of the books, or a statement of the fund
from whose income the money for the books is derived.
The plate of the _Library of Congress_ is an engraved label having the
name and spaces for
[Illustration]
[Illustration: LINONIAN LIBRARY YALE COLLEGE]
entries surrounded by a border of oak leaves and acorns: the design is
very neat, and is old in appearance.
A very beautiful plate is used by some _Orphan Asylum_, which does not
give its full name upon its plate. In this a beautiful picture of the
Christ blessing the little ones is given; the line “Forasmuch as ye did
it unto one of the least of these, ye did it unto Me,” is given under
the vignette.
[Illustration: Linonian Library]
In the plate of the _Library of the New York State Agricultural
Society_, which was incorporated in 1832, Ceres is seen in the field;
behind her the sheaves of wheat extend in rows; one arm clasps a
cornucopia, and with the hand of the other she extends a wreath.
In a great many instances the plates of libraries had no pictorial
features, or indeed anything at all ornamental, being but the printed
rules governing the users of the books. Two examples of this kind of
plate are given below.
_This VOLUME_
_belongs to_
_PRICHARD’S_
_Circulating Library_,
_Containing nearly Two Thousand Volumes_,
_In Market Street, Baltimore_,
_where_
_LADIES OR GENTLEMEN_
_may become_
_READERS_
_By subscribing for one Month, three Months or by
Agreement for a single Book. Said Prichard has also a
very great Variety of NEW and OLD BOOKS for Sale._
_He, likewise_,
_Gives Ready Money for New and Old Books_.
* * * * *
_Union Circulating Library,
201 Chestnut Street, Philadelphia._
_Subscribers to pay in advance, six dollars for a year: three dollars
and fifty cents for six months: two dollars for three months: one dollar
for one month: each subscriber to have three Duodecimo volumes, or one
Octavo and one Duodecimo at a time. A subscriber detaining an Octavo
longer than four weeks or a Duodecimo longer than two weeks to pay as a
non-subscriber. For each Octavo one eighth of a dollar per week until
the end of the fourth week when the rate was doubled. For a Duodecimo
one sixteenth of a dollar per week until the end of the second week._
_Constant attendance at the Library from Sunrise till 8 o’clock in the
evening._
In mentioning a few examples of the plates recently made for societies
and libraries, no attempt is made to furnish a complete list, nor even
to mention all the attractive plates, but to speak of a few which seem
of especial interest.
[Illustration: HARVARD UNIVERSITY ARNOLD-ARBORETUM 1892]
A pleasing architectural plate is used in Columbia College Library to
mark the books of the _Avery Architectural Library_. This was designed
by Russell Sturgis, and is in the form of a memorial window or mortuary
mural tablet. The central panel bears the inscription, and the date
MDCCCXC is given below.
The plate of the _Arnold Arboretum_, designed by George Wharton Edwards,
is very attractive; the just-rising sun shines upon a white pine which
stands within an elliptical frame; the names of the Institution and of
the University appear upon ribbons which float from the pine. The plate
is dated 1892, and is signed, _G. W. E._
The same artist designed the first book-plate of the _Grolier Club_ of
New York City. In this, Atlas is seen supporting the arms of the club
within a circular frame which bears the name, and the date of the
founding of the club, 1884; rich foliations with a pounced background
surround this central design. The plate is signed _G. W. E._
The _Public Library_ of the old whaling town of _New London_ has a plate
which is wholly nautical in construction; the name is given on a wheel
which is held by a seaman, while the captain stands by in pea-jacket and
rough-weather helmet, giving orders; the sail, which rises behind them,
affords space for the number of the book; below the deck on which the
mariners stand, are seen harpoons and spears of various sizes and kinds;
two dolphins are disporting in the waves. This plate is signed by the
name of the artist in full. It is by Mr. Edwards.
The _Sutro Library_ of San Francisco uses a plate which gives a large
and interesting picture of the natural resources of the locality, and
the enterprises carried on in its vicinity; the motto, _Labor omnia
vincit_, appears on the ribbon which floats in the air.
[Illustration: NEW-YORK SOCIETY LIBRARY]
The _Watkinson Library_ of Hartford uses one of the very few portrait
plates in the country; just why this style of plate should not be common
is not easy to understand. They are used in Boston and Worcester, as
mentioned below, but these instances are all that occur in public
libraries. In this plate the portrait of David Watkinson, the founder of
the library, is enclosed within an oval frame which bears the name and
the date of incorporation, 1858. The plate is signed by the American
Bank Note Company, New York, and is an excellent piece of steel
engraving.
Almost all of the historical societies use plates in which the arms of
the state or city in which they are located, are used. The
_Pennsylvania_, _Connecticut_, and _Maine Historical Societies_ have
plates of this kind. In the last-named plate an inescutcheon bears four
important dates in the history of the state of Maine.
1605, _First voyage along the Coast by Waymouth_.
1649, _Election of Godfrey as Governor_.
1678, _Usurpation of Maine by Massachusetts_.
1820, _Separation from Massachusetts_.
The _Rowfant Club_ of Cleveland uses a small plate representing the
corner of a library; the open window admits the fading light of the sun,
which is sinking into the sea; the lattice swings idly, and the pile of
books on the table proclaim a busy day.
A very striking plate is used by the _University Club of Washington_. A
wall of rough-faced stone is pierced by a small quatrefoil window in
which
[Illustration: Phœnix Society]
a book is laid; the date 1891 is stamped upon the side of the book.
Below this, Ionic columns support the wall; between them, in a smooth
space, is carved the name and city of the club. The plate is signed _Hy.
Sandham_.
[Illustration: S. Hopkins]
In the _Boston Public Library_ a large number of different plates is
used for the volumes coming from different legacies or funds, and in
very many cases these plates give a portrait of the donor. Thus we find
these portraits on the plate used in the books from the Ticknor Fund,
the Phillips Fund, and the Franklin Club Fund. The books remaining from
the library of Thomas Prince are also marked with a plate which gives
his portrait and a picture of the old meeting-house, in which he
preached, and in which the books were stored at one time.