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 [Illustration: James Phinney Baxter.] 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.