Thomas Gore of Alderton, Wilts, the author of _Catalogus de Re Heraldicâ_, is a man who might be expected to use a book-plate, and he did. Three varieties are known. The first, which dates about 1660, though a more elaborate piece of work than those last described, is somewhat similar in style, or perhaps it would be more accurate to say dissimilar to the style in which other book-plates prior to the Restoration were designed. Whoever engraved this plate for Gore also engraved the arms of Edward Waterhouse--most probably the engraving was intended for Waterhouse's book-plate--which appear as a frontispiece to his _Discourse and Defence of Arms and Armory_, 1660. In his second book-plate Gore called to his aid the foreigner's art, employing Michael Burghers, a Dutch artist, who had recently come from Holland and settled at Oxford. Michael produced the book-plate figured opposite, which introduces some rather wild allegory, singularly plain cupids seated on the backs of flying eagles. Perhaps Gore did not care for this allegory,--allegory seems never to have been popular with English book-plate owners (see Chapter IV.),--and for his third plate went to an Englishman, and to a no less eminent one than William Faithorne. The famous portrait-engraver produced as beautiful and bold a book-plate in the Simple Armorial style as could well be: the peculiar 'depth' of his touch is apparent here and in his other book-plates, of which there are several. [Illustration: BOOK-PLATE OF THE MARRIOTT FAMILY BY FAITHORNE] It is interesting to note that Faithorne reverts to the pre-Restoration style, and improves upon it. The mantling is much richer than that shown in earlier examples in the same style, and it more completely surrounds the shield. To Faithorne may be assigned two other magnificent book-plates, that of Sir George Hungerford of Cadenham (anonymous), and the one here reproduced of a member of the family of Marriott of Whitchurch, Warwickshire, and Alscot and Preston, Gloucestershire.[4] The Hungerford book-plate is noteworthy. The name of Sir George Hungerford, its possessor, does not occur in any list of baronets, yet he evidently considered himself to possess that dignity, as the 'bloody hand of Ulster' figures on his arms. Dugdale, too, in speaking of Sir George's marriage, refers to him as 'baronet.' Faithorne also produced a book-plate to commemorate a gift of books made by Bishop Hacket, who died in 1670--it is particularly curious as showing us the Bishop's portrait. I shall speak of it later on, under the heading 'Portrait Book-Plates' (pp. 216-220); such plates are comparatively few in number.