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;
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.
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.
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
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.
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
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.
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
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
