'The fashion,' as Lord De Tabley remarks, 'began to be vulgarised in the hands of weak designers, who bestowed floral embellishments upon the framework of the shields, without any moderation whatever, endeavouring by a crowded decoration to mask the real weakness and poverty of their powers of design.' As a consequence, we have in the later Chippendale book-plates, those, say, from 1760 to 1780 or 1785, some very terrible productions. Shell-work and flowers are retained, but they are regarded as inadequate, and cherubs, dragons, 'nymphs in kilted petticoats,' sheep, cattle, trees, fruit, fruit-baskets, portions of buildings, fountains, books, implements of husbandry, and a host of other miscellaneous objects appear as decorations. Indeed, it is wonderful what a strange medley a designer in the later days of Chippendaleism could produce for a customer willing to pay for it! We may as well here point out a few interesting examples of English book-plates designed in the Chippendale style. A prolific worker in it was J. Skinner of Bath (see pp. 81-86; 203-212), who followed the excellent plan of dating nearly all his work, which should, therefore, be carefully observed when met with. In one of his book-plates, that which, in 1743, he produced for 'Charles Delafaye, Esq., of Wichbury, Wilts.' it is curious to note with what evident diffidence the designer uses the graceful sprays of natural flowers in ornamenting the shelly shield. Yet in another book-plate, that of Benjamin Hatley Foote, engraved in the same year, the anonymous artist uses these ornaments without hesitation, and produces a book-plate which might have been engraved many years later. Two very noticeable examples are also supplied by the fully developed Chippendale book-plates of Richard Caryer and Joseph Pocklington. In each the crest is placed on a miniature representation of the shield, which contains the arms. Of the debased Chippendale book-plates, of which we have had to speak, it is hard to select examples for particular reference, for they are sadly numerous, and seem to vie with each other in ugliness and vulgarity; the prize may, however, be claimed by 'C. Eve', who, conscious, perhaps, of the atrocity he was committing in using such a book-plate, makes an attempt at disguising his name. To describe his plate is nearly impossible; suffice it to say that, built on to the frame are sundry stages on which a variety of pastoral scenes are depicted, and that any beauties which the floral embellishments might in themselves possess are effectually obliterated by overcrowding.