Part 19

_Vincit omnia veritas._ Truth conquers all things. HYSLOP.

_Vincit veritas._ Truth conquers. CHAMBERS.

_Virescit vulnere virtus._ Her virtue flourishes by her wound. BURNET.

This is also the motto of the family of Galloway, whose crest is a pelican in her piety.

_Virtue, Liberty, and Independence._ PENNSYLVANIA HISTORICAL SOCIETY.

_Virtus basis vitae._ Virtue is the foundation of life. BULL.

_Virtus durissima terit._ Virtue bears the greatest hardships. MCLEAN.

_Virtus est natale meum._ Virtue is my birthright. TILLOTSON.

_Virtus est vera vetustas._ Virtue is true old age. VAN RENSSELAER.

_Virtus et scientia ad utilitatem dirigunt._ Virtue and knowledge direct to usefulness. MORAL LIBRARY.

_Virtus interrita pergit._ Virtue fearlessly advances. MOORE.

_Virtus, libertas et patria._ Virtue, liberty, and country. WETMORE.

_Virtus sibi munus._ Virtue its own reward. VAN CORTLANDT.

_Virtus sola nobilitate._ Virtue by nobility only. MAYO.

_Virtute et fide._ By valor and faith. ROOME.

_Virtute fideque._ By valor and faith. MURRAY.

_Virtute invidiam vincas._ Conquer envy by virtue. CLEBORNE.

_Virtute patria tuemini._ By virtue you guard your country. PEPPERELL.

_Virtutem hilaritate colere._ Cultivate virtue by mirth. WYNKOOP.

_Virtutis gloria merces._ Glory is the reward of valor. ROBERTSON.

_Vitanda est improba Siren defidia._ The impious Siren, faithlessness, must be shunned. WALKER.

_Vive ut vivas._ Live that you may live. ABERCROMBIE.

_Waste not a moment._ WETHERSFIELD LIBRARY.

_What is, is best._ LAURENS.

_Wisely for pleasure and for profit read: thus hold high converse with the mighty dead._ WOODBRIDGE.

_Y cadam ae cypwyn._ The mighty and cunning. WILLIAMS.

_Zyt bestindig._ Be constant. DYCKMAN.

A FEW RECENT EXAMPLES.

as to be hardly recognizable as the lineal descendants of those of the same type which went before. Indeed, the recent plates have little in common with the old,--new motives, new designs, new methods, and new conceptions of what a book-plate can be have come in, and the change produced is very marked.

Heraldic plates are still in use, and still being made, but the number of plain armorials is quite small. Usually, now, those who wish to show the family arms on the book-plate do not display it all by itself, but accompanied by literary accessories, or pictorial, or with decorative features to relieve what would to-day appear a bare and unfinished plate, but which in the older days would have been the pink of perfection.

Among the plain armorial plates of recent days may be mentioned that of _Henry B. Anthony_, the late senator from Rhode Island, which, without even a motto, presents the arms of the family, with the crest, and the name. Another plain armorial plate is that of _John H. Buck_, of the Gorham Manufacturing Company, and the author of “Old Plate.” This, too, is perfectly plain, with no motto. _Frank House Baer_ and _Charles W. Burrows_, of Cleveland, both use the plain armorial style, relieved by slight mantling or scroll work, and with the mottoes on ribbons beneath the shield. _Mr. Appleton Morgan_ has a plain armorial plate, quartering the Morgan and Appleton arms. _Mr. Daniel Ravenel_, of Charleston, also uses a plain armorial shield, relieved with sprays of marigold (the Huguenot emblem) and of wall-flower (the French name for which is _Ravenelle_). A plain armorial plate, in colors, is used by the compiler of “America Heraldica.” An imposing helmet with blue mantling surmounts the shield, and the motto, _Moins faire mieux faire_, is given on a ribbon which encloses the whole design. _Harry Allen Castle_, of Hartford, uses a design borrowed from the plate of Mr. Thomas Bailey Aldrich. The castle on its wreath is enclosed by a square frame in which the name appears, with the words _His Mark_. In the corners of this frame are the letters _I.H.S.V._, standing for the motto, _In hoc signo vinces_. A punning friend, upon seeing this plate, remarked to Mr. Castle, that the letters would seem to mean, “I have some volumes.” _Dr. J. S. H. Fogg_, the late well-known collector of, and authority on, autographs, used a plain armorial plate, with the motto, _Aut pax aut bellum._ _Prof. J. Max Hark_, of the Moravian Seminary at Bethlehem, Pa., has a plain heraldic plate, with thin mantling about the shield. The motto occupies two lines above and below the shield, and is in imitation of the ancient manner. _What mon a^{n} Honest^{e} Name^{n} doth ow^{en}, To^{o} hy^{m} ry^{cht} gla^{ed}^{lie} my^{n} Bo^{ok}^{es} i lo^{an}. But so to^{o} long^{en} y^{e} Bo^{ok}^{es} be kep^{it}, He shal forso^{oth} be a Knav^{e} yclep^{it}._ This is printed with red capitals, on very fine parchment paper with rough edges, and is a very pretty plate. _Dr. Joseph Henry Dubbs_, professor in Franklin and Marshall College, uses a plate which exhibits the arms on a shield which is fastened to a spreading oak-tree.

At either side, scrolls are drawn, which bear the motto, _Ex recto decus_, and the following dates, which refer to the migrations of the doctor’s ancestors: _Styria, 1446_; _Helvetia, 1531_; _America, 1732_. A plate of unique history is that of _The Rawle Law Offices, Established A.D. 1783, Philadelphia_. This inscription is given on a circular band which encloses the shield of arms, and the motto, _Morte, Virtute_. Below this, the name of the successive proprietors of the law-offices are given, as follows: _William Rawle, 1783-1836_, _William Rawle, 1810-1858_, _William Henry Rawle, 1844-1889_, _William Brooke Rawle, 1867_. _Melvin H. Hapgood_, of Hartford, uses an oblong plate, which exhibits the shield of arms at the left of the name space, and which is surrounded by a fine running vine which bears both fruit and flowers, and among the twistings of which the motto, _Inter folia fructus_, is woven. The implements of the architect, and the secondary motto, _Penna ferro potentior_, are also cleverly worked into the decorative frame. _Monsignor Seton, D.D._, of Jersey City Heights, uses a

small heraldic plate, in which the arms are given in colors, and are surmounted by the clerical hat and tassels. A plain armorial plate is used by _John F. Winslow_, a descendant of Governor Winslow, and one to whose means and energy we owe the building of the first “Monitor.” Prof. _Charles Eliot Norton_, of Harvard, uses an heraldic plate, in which the crest only is given. Beneath this, a pile of books is covered by a scroll, which bears upon it the motto, _Amici et amicis_. The _Rev. Morgan Dix_, of Trinity Church, New York City, uses an heraldic plate, in which also the crest only is given. This is surrounded by a circular garter, on which the motto, _Quod dixi factum est_, is printed. This ends our list of plain armorial plates.

Whatever sarcasm and disgust may be stirred up by the assumption of arms by persons not entitled to them, no word can be said against the display of authenticated arms upon the book-plate. Many coats-of-arms run back for several centuries, and an honored ancestry has borne them. A rightful pride in such memorials of past family history induces many who are entitled to them to use their arms thus; and while the plain armorial plate has had its day, and has passed the stage of wide popularity, it is still in use.

Coming, now, to the Library Interior style of book-plates, we mention first the finest example of recent work in this style,--the plate of _Richard C. Lichtenstein_, of Boston. Mr. Lichtenstein is one of the old collectors of plates, a member of the Council of the Ex Libris Society of London, and a recognized authority upon American plates. As we would expect, he has indicated his hobby in all details of his design. The scene is laid in the corner of the owner’s den, in which are well-filled shelves, framed prints, photographs, and the usual accessories. In the immediate foreground, a Cupid is seated at a desk, and in his outstretched hand holds a plate upon the globe which stands at hand, while he reads, from an open book, the description, presumably, of the treasure lately acquired. Two other Cupids are at his back: one bearing the _Journal_ of the _Ex Libris Society_, and the other returning from a successful quest for plates, if we may judge by the packet under his arm. The presence of the globe indicates the cosmopolitan character of the collection the Cupids are examining and adding to. A finely foliated border surrounds the interior picture; and in a space at the right side is a package of mounted plates; and on the left, a tied-up bunch of book-covers, in which Mr. Lichtenstein keeps his plates. The name appears in white letters upon a black scroll at the bottom, and behind it is seen a castle of white stone,--a play on the name of the owner. The plate is dated 1893, and is signed by the engraver, George Moore, and the designer, L. Y. Van Tiffele.

The plate of _James Phinney Baxter_ reveals a most pleasing interior, which is probably from the actual room. A tall clock is flanked by long rows of books, a table and easy-chair are in the

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.

Continuing with the plates which come properly under the classification “Literary,” we find them to be very numerous, very various in design, and very unlike in shape and treatment. A plate which represents the past is used by _Henry M. Brooks_, of Salem, Mass. In this the old ink-pot and quill, the box of wafers, the wax and seal, and the sand for blotting are disposed about the letter, which, being used before the days of postage stamps and envelopes, bears the amount due and the address upon the back of the sheet. The address seen is that of the owner.

Going still further back in history _E. Irenæus Stevenson_ has brought the very serpent of the Garden of Eden, with the fatal apple of Knowledge in his fangs, into his book-plate. Slipping down between the open pages of a large book, we see this form of his Satanic Majesty, and read upon the apple which he offers _Eritis sicut Deus_, _Ye shall be as gods_. This, from the Vulgate, is in Latin. Upon the open page we read in Greek, _Be ye wise as serpents_. The Shekinah blazes out all about the book. A very interesting and striking plate.

A very simple but effective reminder of the approach of old age is found in the plate of _George Alexander Macbeth_, of Pittsburgh, Pa. In this, an open book of coarse print lies upon the table, accompanied by a large pair of spectacles. The motto appears in the upper left corner,--_Give me your favor: my dull brain was wrought with things forgotten_.

Very many plates have a shelf of books, or a pile of them, accompanied with a favorite quotation, a bust of some author, the arms of the owner, or possibly his portrait. In the plate of _Clifford Julius King_, we see the row of books, the smoke from the waning cigar, as it rises across the open pages of a book, and the bust of Thackeray, while the motto, _A jollie goode booke, whereon to looke, is better to me than golde_, is suggestive of long evenings by the fireside, with choice editions to read and fondle.

The shelf of books in the plate of _Nathaniel Paine_, of Worcester, Mass., is enclosed within a frame which has suggestions of the heraldic shield. Behind it the palm branches are placed,

and the motto is below, on a ribbon,--_Duce natura sequor_. The crest is found in its place above.

“Wrenwood” is the name of the home of _George E. Leighton_, if we may judge by the name which appears on the top of the shield, which rests against his books just inside the library window. The window is open, flowers peek around the mullions, and a wren has hopped upon the sill to examine the surroundings which have borrowed his name for their own.

A pile of three books, labelled _Bacon_, _Lamb_, and “_Punch_,” is shown in the plate of _David Murray_. The legend, _Some books are to be tasted, some to be swallowed, and some to be chewed and digested_, is given on the back of the books. Above the volumes, the scales carrying the heavy pen on one side, and the lighter sword on the other, is surmounted by a liberty-cap, behind which, in a blaze of glory, appears the motto, _The pen mightier than the sword_.

In the plate of _George Imbrie Sill_, three shelves of books are enclosed within a frame of scrolls which bear the name. A shield is placed across one end of the case, with the arms and crest upon it.

Now we come to a plate which takes us below the surface. A wondrous mermaid, at the very depths, flanked by huge dolphins, is receiving a perfect shower of books, which come tumbling down through the water. This is the plate of _H. W. Bryant_, of Portland, Me.

_Marshall C. Lefferts_, of New York City, uses small leather labels on which an open book bearing his monogram is stamped in gold. Different colors of leather are provided for different volumes. This is the only instance of the use of leather for a book-plate in this country, if I mistake not: a very handsome material, too, for the purpose, and meriting wider use.

In the plate of _John Herbert Corning_, of Washington, Atlas, with strained muscles, supports the world of letters. _Litterae_ is inscribed upon the immense globe which rests upon his shoulders.

Two children of the forest, a boy and a girl, with flowing hair and meagre garments, come towards us in the plate of _A. L. Hollingsworth_, of Boston, bearing between them a panel on which is carved the motto _Un bon livre est un bon ami_. The dense forest is close behind them, and were it not for the reader, one feels as if no person would pass their way to see their lofty sentiment. So thick, indeed, is the tangle of brush, that the loss of their clothes must be laid to their passage through it.

In the plate of _Dr. George L. Parmelee_, of Hartford, a herald in court costume is proclaiming, through his long trumpet, the loss of a book. The banner hanging from the horn shows the words he uses: _Verloren! Verloren! ein Buch_.

We are again taken far down below the waves, in the plate of _William Ashmead Courtenay_, of Charleston, S.C. Down indeed, to the very bottom of the ocean, where the weeds grow, and the dolphin feeds. Above, the waves are rolling, and a far stretch of water is seen. The view is enclosed within a square frame which bears the name.

The _Rev. Wm. R. Huntington_, rector of Grace Church, New York City, uses a design which is adapted from a frontispiece by Walter Crane for the “Fairy Tales” of the Brothers Grimm, and which represents a youth, with long curls falling from under his cap, opening the door of a house, with a huge key. Upon the roof, two cupids, in imminent danger of sliding off, are making music with lyre and voice. A few stars shine against the night, and the light of the moon falls across the face of the structure, revealing the huge orange-trees in fruit, which flank the doorway. The motto, _In veritate victoria_, is carved upon the steps, and the name _Huntington_ is given at the very top of the design.

Other plates whose principal features are “bookish” are those of _Henry A. Morgan_, which has simply a large book, open, with blank leaves: on one is inscribed _The page in waiting_; of _Edward Denham_, which has an owl perched upon an open volume, upon whose pages are the following names, _Bede_, _Camden_, _Bradford_, _Chaucer_, _Shakspere_, _Sandys_, with the torch of knowledge and the wreath of victory behind it: the wreath is tied with a ribbon which bears the

motto--_Nulla dies sine linea:_ of _Charles F. Jilson_, Chicago, on whose plate simply a closed book is seen, with a palette resting upon it; the brush and the drawing tools reveal the art of the owner, while the half-covered lyre upon the book-cover may be an indication of his hobby;--of _Alfred Trumble_, of New York City, who displays a table whereon the bust of Minerva, the student-lamp, the scroll, ink-stand and quill, and the books jostle each other in delightful literary confusion;--of the _Hon. John E. Russell_, of Boston, who shows the owl of Minerva seated upon the books of the scholar: the globe, materials for writing, and the lamp of knowledge are disposed about, and the whole is encircled by an oval wreath of holly.

The plate of _Thomas J. McKee_, of New York City, represents a volume of Shakespeare’s Works, open to the title-page, which is occupied principally by a portrait of the famous author playwright. The arms and name appear upon the fly-leaf of the book, other books are at hand, and the following lines are given at the foot:--

_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.