Allegory also appears in the two book-plates engraved by Sir Robert Strange about the middle of the eighteenth century; those of his brother-in-law, Andrew Lumisden, secretary to Prince Charlie, and of a Dr. Thomas Drummond. The circumstances under which the former was engraved have been already referred to ([p. 11]). It is a sombre book-plate, showing us, before a dark background, a slab with a bust at either end; 'Cupid' plays on the ground before the centre of the slab; the Lumisden arms are on a shield that lies in the left-hand corner; and a heavy curtain hangs over the upper part of the design, which is signed 'R. Strange, sculpt.'
Dr. Drummond's book-plate (see [p. 89]) is a less heavy, but not so finished a production, and is drawn by T. Wale: Aurora soars at the top of the design, and with her left hand pulls aside a curtain, thus disclosing a view of the doctor's library. In the centre is placed a table covered with cloth, except at the right-hand corner; here the drapery is raised so as to display the ornate workmanship of the table-leg. On the cloth are a number of books, some music, and a flute; before the table a globe, and, leaning against that, a violoncello. The general decoration of the room is classical, and busts and statues are introduced, though not with sufficient detail to be recognisable. In Aurora's right hand is a flaming torch, held in dangerous proximity to the curtain.
After the date of these two plates comes another long interval—twenty years or so—before we reach the next truly Allegoric book-plate designed in England. We then find a decidedly graceful piece of work. A hooded Sibyl, seated at the foot of a pyramid, peruses attentively an open volume. She leans her cheek upon her right hand, whilst the left rests upon the book. A caduceus, against which rests a shield of arms, lies at her feet. The whole is contained in an oval wreath of berried laurel. Below is written: 'E libris Johīs Currer de Kildwick, Arm.' This book-plate was afterwards altered for 'Danson Richardson Currer, de Gledston, Arm̄,' and an inferior copy was used by a certain R. H. Alexander Bennet; this is a much commoner book-plate than the Currer—in either form.
Of much the same date is the far less graceful representation of allegory, which appears on the book-plate of 'T. Gascoigne, Parlington, in Yorkshire.' Here we have a representation of what, we must presume, is the interior of the Parlington Library; but neither 'T. Gascoigne,' nor yet any other eighteenth century Yorkshire gentleman, is tasting the sweets of his literary collection; the library is tenanted by a couple of mythological females, of such substantial forms that Lord De Tabley thinks they must represent two Yorkshire damsels masquerading, one as a muse and the other as Apollo. The muse writes down either notes or words from Apollo's dictation. Columns support the roof of the library, and in a niche in the wall stands a small statue of Minerva. If Mr. Gascoigne obtained the services of some Yorkshire relatives to stand as models for the figures on his book-plate, he probably did so when they were in town for the season, for the work is signed by a Bond Street engraver.
About the year 1775, English Allegoric book-plates became more numerous, and the allegory upon them assumes a grace in conception and execution not before known. Cipriani, Bartolozzi, and his pupil Sherwin, were showing Englishmen how allegory could be represented on book-plates without being clumsy and ridiculous, and the lesser artists were imitating their work with more or less success.
One of Bartolozzi's earliest book-plates was executed for Sir Foster Cunliffe, Bart., the descendant of a very famous Liverpool merchant. The Cunliffe arms appear in mid-air, resting upon a bank of clouds; two exquisitely drawn cherubs support the shield, over which is folded drapery. The cherub on the dexter side is seated, and holds a caduceus in his right hand. The one on the sinister side is furnished with two trumpets, and is blowing that in his left hand. On a medallion above the shield is the Cunliffe crest, with the motto Fideliter. The plate, which was afterwards altered for Sir Robert H. Cunliffe, Bart., is, in all probability, Cipriani's design, for that artist signs his name as designer of an almost similar book-plate for Jean Tommins, which was engraved by Ford several years before. A very coarse imitation of the design was also used by Thomas Anson of Shughborough, who intrusted the imitation to Yates.
Sir Foster Cunliffe was a grandson of Foster Cunliffe, King Charles the Second's godson, the Liverpool merchant, who, according to Foster's Lancashire Families, 'became not only the first man in Liverpool, but was supposed to have a more extended commerce than any merchant in the kingdom, and declined all solicitations that he should represent Liverpool in Parliament.'
The remarkably large example of Bartolozzi's work which has often been described as the book-plate of George III., does not appear ever to have been used as such. In the previous edition of this book I alluded to it (at [p. 67]) as, possibly, a gift to the King, in which, at the expense of utility, Bartolozzi sought to display his gratitude to, and admiration for, the sovereign, under whom he had come to reside; it does not, however, seem that Bartolozzi intended the engraving for a book-plate at all, but designed it for the title-page of a folio volume, issued in 1792, which contained engravings of thirty-six statesmen of the reign of Henry VIII., from drawings by Holbein. I will give a short description of the engraving in question, so that it may be more easily recognised by the collector, if offered to him as a book-plate. It shows us the arms of England, as borne by George III., prior to the Union with Ireland, upheld in mid-air by three inhabitants of the skies. Above the shield a fourth celestial being is flying, and at the same time holding aloft His Majesty's crown. On the left side of the plate is the figure of Fame, who, on a long trumpet placed to her lips, is evidently giving a sonorous blast. This is perhaps the most uncomfortable part of the design, for the whole weight of this somewhat massive young lady is upon the shield, which we have said is in mid-air, and only supported by three cherubs, whose united muscular powers strike one as totally inadequate to bear the burden imposed upon them.