foreground, and bric-à-brac is disposed upon convenient shelving. At the left of the picture, a portrait of the owner is given, with a fac-simile of his autograph. The following motto, Who learns and learns but does not what he knows, Is one who plows and plows but never sows, is also given in fac-simile of handwriting.
The plate of William Vanamee shows what is also an actual interior, probably. The stairs enter the room at the left, and the space under them is occupied by books. Pictures adorn the walls, and a cosey bench before the shelves invites the visitor to recline and read. The motto, Carpe diem, is given above the picture, and the name below, both in fac-simile of handwriting.
Actual comfort and enjoyment are expressed in the plate of Louis J. Haber, of New York City. In this interior, a fire is blazing on the andirons; the drowsy dog lies asleep before it; the hanging lamp sheds a brilliant light over the room, and furnishes the means of reading which the owner is enjoying, as he sits in an easy chair, in lounging-coat and slippers. The rows of books at the far end of the room add to the effect of comfort, and the motto which envelopes the whole design—My silent but faithful friends are they—discloses the attitude of the owner towards his volumes.
The plate of Albert C. Bates, of the Connecticut Historical Society, at Hartford, is a reproduction of an early woodcut which represents the interior of an old library (University of Leyden, 1614), with long rows of books chained to their desks. Globes are protected by brass covers, the patrons salute each other in apparent silence, and over all there is an air of repression and elevated learning. No seats are provided, and light is admitted through long windows filled with small lozenge-shaped panes of glass.
The beautiful colored plate of Gerald E. Hart, of Montreal, represents the interior of a cell in some mediæval monastery; for the tonsured monk is sitting upon his stone bench, illuminating a large volume. The Gothic window admits light through its highly colored design, and rows of vellum lie beside the desk of the old monk.
The plate of W. E. Baillie, of Bridgeport, Conn., represents a corner of a modern library, furnished in the Louis XV. style, having some half-dozen frolicsome Cupids, rolling on the rugs, peeking out of the window, reading in arm-chairs, or discussing the volumes taken from the elaborately carved case. This plate is the second one to make use of the half-tone process direct from the pencil sketch.