Tu mihi currarum requies, tu nocte rel atra
Lumen, et in solis tu mihi turba locis.
The plate of Paul Lemperly, of Cleveland, designed by Garrett, shows the open book, with the serpent circled about it. The stars shine beyond, and the design is enclosed within a rectangular border of holly leaves.
Another class of plates which claim attention to-day is that which is representative of either the hobby or the vocation of the owner. For special collections, for certain kinds of books, plates are designed which express the particular line of reading, or of collecting, which they are to ornament. This style of plate is coming more and more into use, and earnest pleas have been put forth for its wide adoption; notably, one by Henri Pene Du Bois, in the “Book Lovers’ Almanac,” for 1894. In his worthy article on the “Art of the Book-plate,” this writer argues forcibly for the expression of a genuine idea in the book-plate. Not mere coats-of-arms, crests, pictorial designs or devices and ornaments which look pretty, seem to him suitable for use as book-plates, but an emphatic representation of an idea, a worthy idea, clad in suitable form. He argues for special plates for special collections, for a specific plate for a specific line of books; not an ornamental label simply, to be placed in each book in one’s library, but a different plate, with a reason for its existence, in each different department. Very few, if any, in this country, carry the idea so far; but many plates are now in use which convey at once an idea of the pursuit of the owner, whether it be in literature, art, science, or professional life. The plate of George Edward Sears, with its grinning skull, is perhaps at first glance unpleasant in its effect, but when one comes to unravel the plain meaning of the symbolism, the shudder dies away, and we are prepared to regard the plate as one of the very highest types, and most successful in its way. Mr. Sears has gathered a large collection of books relating to the “Dance of Death,” and finding in
a 1754 edition of Matthew Merian’s work, this plate which seemed no part of the series but an impromptu addition, he adopted it for his book-plate. Mr. W. J. Linton engraved the block, reducing considerably from the original. This plate is used only in the books relating to the topic it suggests. In this plate the skull is placed upon an open book, between a lighted candle and a few flowers in a vase. A wreath encircles the smooth pate, and an hour-glass rests upon it, with the hovering wings of Time, and the scales, just above. The lower half of the plate has a very dark background, while the upper is filled with light.
Henry Blackwell, of New York City, uses a plate in his collection of Welshiana which was designed for the purpose. In this plate we see the sturdy oak raised in the centre of the scene. Upon the right side, the bearded Druid is lopping off the branches of the mistletoe, which seem to be growing with the oak. Opposite to him, the early Briton with his harp makes wild music. A circular medallion upon the tree represents the peak of Snowden, the highest mountain in Wales, and the motto, Cared doeth yr encilion, is given upon the frame. This plate, like that of Mr. Sears, was suggested by an illustration in an old book. A second plate is used for the literature upon the famous voyage of Madoc to our shores in A.D. 1170. In this plate we see the old-fashioned, high-sided ship, with its bellying sails, plunging through the rolling waves, as it passes out to sea with the hardy adventurer and his crew.