with a fish-scale pattern, diapered into the lozenge form or built up solidly with a wall of brick. This lining shows at both sides of the shield, below, and, less often, above it; its sides are convoluted; they run out in foldings and scrolls resembling the carving on wood, and are often worked into elaborate patterns: sometimes, too, the design is surrounded by a carved moulding which makes a heavy frame of rectangular form and massive appearance. This style of plate, well-handled, is exceedingly handsome, and is capable of more repose and dignity than any other. Very forbidding indeed, and over-solemn, are some examples, but in the main the purely Jacobean plates are very pleasing. Among the accessories usually found are a scallop-shell with the concave side turned towards the observer, and placed either below the shield to support it, or above it to set it off: this shell is always looked for in the Jacobean plates, and indeed a shelly motive is apparent throughout very many examples. The helmet and mantling are conspicuous, especially the latter, as it is often enlarged and emphasized by being drawn into the general scheme of decoration; very full, reaching far down the sides of the shield-frame, and indeed often curiously woven into the convolutions of the frame itself, it at times loses its significance: grotesque faces sometimes peer from the ornamentation, and heads of satyrs and demons are frequently used to rest the base of the shield upon. In some instances the name is placed upon a bracket similar to the upper part of the plate in decoration, or, again, it may be seen upon a small curtain or lambrequin caught up at the ends with string. Very often, too, no setting is provided for the name, and it is simply engraved beneath the design. Eagles, lions, termini, cherubs, and sometimes cornucopiæ of fruit or flowers, angels blowing upon trumpets, and stiff stalks of flowers are introduced into the ornamentation. But these do not succeed in enlivening the style of the plate materially, for it is essentially heavy, conservative, and formal in design and spirit. No graceful airiness rests upon it, and it provokes no joyous sentiment, but rather rouses respect and enforces stateliness. The general appearance of the Jacobean plate is as if carved from wood. We do not expect old carving to be anything but solid and immobile, and these characteristics are present in this style of book-plate. Indeed, Warren, in his chapter on the Jacobean style, says that no antiquary can fail to note the strong similarity of treatment and design between the wood-carving preserved in the churches of the time of Charles the Second and the mouldings on the monuments of the same period, and the book-plates of the style we have considered. Our finest example of the Jacobean book-plate is found in the work of Thomas Johnston, who made the plate of _William P. Smith, A.M._ This is a typical example of the later Jacobean style, and is worthy of particular study.