Skinner's next book-plates are those of 'Charles Delafaye, Esq., of Wichbury, Wilts' (1743); 'Johnson Robinson' (1744); 'John Hughes of Brecon, Esq^{re.}'; and 'Benja: Adamson' (1745); 'Hen. Toye Bridgeman, Esq., of Princknash, Gloucestershire' (1746); 'Henry Walters, Esq.,' and 'John Wodroofe' (1747), and 'Tho^{s.} Fitzherbert, Esq.,' (1749). All these last-named book-plates are much on a level as regards artistic merit, and that level is not a high one; Benjamin Adamson's book-plate, figured on p. 209, is a fair example of it, though it is not so good as the Bridgeman book-plate of the same year. In 1750, however, we find a more noteworthy specimen of Skinner's work in the book-plate of 'Francis Fleming.' There is a Scotch look about this, which suggests that the owner, and not the engraver, was responsible for its design; the shield is oddly shaped and is on a medallion, whilst musical instruments of various kinds are figured beneath; Sir Wollaston Franks points out to me that the Fleming coat of arms here represented is borne only by the family of the Earls of Wigtown. The same year (1750) Skinner did an ordinary Chippendale book-plate for Dr. Robert Gusthart, whose name appears in the _Bath Guide_ as a doctor in practice there in 1773. In 1751 Skinner engraved a pleasing Chippendale book-plate for William Oliver, a son of his more famous namesake, whose book-plate, also by Skinner, has been already described in these pages (p. 85). Young Oliver's plate shows a remarkable fineness of touch, and is altogether in very good taste--not over-ornamented. Two years later we have the latest known example of Skinner's work: the book-plate of 'The Rev^{d} I. Dobson, A.M.,' which is coarse in execution, and suggests that the artist's skill as an engraver was diminishing. [Illustration] Of the twenty-two known book-plates by Skinner only two are undated, Dr. Oliver's, already described (p. 85), and that of Sir John Smyth, Bart., LL.D. This last he must have executed early in his career. The shield bearing the arms stands upon a platform, and is Jacobean in shape and ornamentation; the background is shaded. Clumsily drawn and clumsily posed female figures, partly draped, stand upon bracket-like excrescences that spring from the shield, whilst cupids recline below it and hold it aloft.