useless to name the great number of irrelevant articles which were made use of. The plate was made to carry any amount of heterogeneous ornamentation which the designer fancied; it seems in some cases as if the details were employed with rightful reference to the tastes or pursuits of the owner, but in the greater number the fancy was allowed free play. Hurd’s work furnishes us with the best examples [Illustration: Peter Manigault of the Inner Temple, Barister at Law South Carolina.] [Illustration: Samuel Vaughan Esq.^{r}] of the pure Chippendale style; the _Chandler_ plate, the _Wentworth_, and the _Dumeresque_ are good examples; Dawkins gives us the later and debased Chippendale with all its profusion of extrinsic ornamentation. The _Samuel Vaughan_ plate is a very fine example of good Chippendaleism, and may be taken as a standard by which to recognize the features of this style. The _Robt. Dinwiddie_ plate is a fine example of this style, though the heraldry may be questioned: this, according to Hardy, is of Scotch make. [Illustration: W. Jackson] In the Ribbon and Wreath style, which came into vogue in England about 1770, and in the United States not much before 1790, we note a return to simplicity. The later Chippendale plates, with their over-burdened frames, now yield to this quiet style, which is unassuming and very pleasing. In this the shield is usually [Illustration: JOHN WILLIAMS _ESQ.^R_] [Illustration: John Williams] [Illustration: DeWitt Clinton.] heart-shaped, is not set against a background, and has absolutely no carved work about it; the shield is often unsupported, but is sometimes hung by ribbons or festoons from wall-pins above; the decoration, as the name suggests, consists principally of ribbons, and wreathing in various forms. At the present day we use in our wall-paper, upholstery, and wood-carving on furniture and mantels, and even on outside cornices, a certain form of garland or festoon tied with ribbon which we call “Colonial”; in a general way this resembles the decoration features of the Ribbon and Wreath book-plate. From wall-pins with fancy oval or round heads, festoons of flowers depend above the shield; branches of holly and palm, often tied with a ribbon whose fluttering ends bear a motto or the name, are crossed beneath the shield, and their graceful sprays extend up either side. Some of the festoons are rich with blossoms, others, more slender, are of leaves only, while a few are made of cloth; the full garlands are usually hung from above the shield, while the thinner style is draped in any place and manner acceptable to the designer, and with more or less of gracefulness, as his skill permitted. This style of plate calls for nothing more than its legitimate features to render it effective and satisfactory, and in general the plates are in the pure style; but in some of the New York plates, there are books, writing materials, and bits of landscape introduced under the shield.