Of much the same date is the far less graceful representation of allegory, which appears on the book-plate of 'T. Gascoigne, Parlington, in Yorkshire.' Here we have a representation of what, we must presume, is the interior of the Parlington Library; but neither 'T. Gascoigne,' nor yet any other eighteenth century Yorkshire gentleman, is tasting the sweets of his literary collection; the library is tenanted by a couple of mythological females, of such substantial forms that Lord De Tabley thinks they must represent two Yorkshire damsels masquerading, one as a muse and the other as Apollo. The muse writes down either notes or words from Apollo's dictation. Columns support the roof of the library, and in a niche in the wall stands a small statue of Minerva. If Mr. Gascoigne obtained the services of some Yorkshire relatives to stand as models for the figures on his book-plate, he probably did so when they were in town for the season, for the work is signed by a Bond Street engraver. About the year 1775, English Allegoric book-plates became more numerous, and the allegory upon them assumes a grace in conception and execution not before known. Cipriani, Bartolozzi, and his pupil Sherwin, were showing Englishmen how allegory could be represented on book-plates without being clumsy and ridiculous, and the lesser artists were imitating their work with more or less success. One of Bartolozzi's earliest book-plates was executed for Sir Foster Cunliffe, Bart., the descendant of a very famous Liverpool merchant. The Cunliffe arms appear in mid-air, resting upon a bank of clouds; two exquisitely drawn cherubs support the shield, over which is folded drapery. The cherub on the dexter side is seated, and holds a caduceus in his right hand. The one on the sinister side is furnished with two trumpets, and is blowing that in his left hand. On a medallion above the shield is the Cunliffe crest, with the motto _Fideliter_. The plate, which was afterwards altered for Sir Robert H. Cunliffe, Bart., is, in all probability, Cipriani's design, for that artist signs his name as designer of an almost similar book-plate for Jean Tommins, which was engraved by Ford several years before. A very coarse imitation of the design was also used by Thomas Anson of Shughborough, who intrusted the imitation to Yates. Sir Foster Cunliffe was a grandson of Foster Cunliffe, King Charles the Second's godson, the Liverpool merchant, who, according to Foster's _Lancashire Families_, 'became not only the first man in Liverpool, but was supposed to have a more extended commerce than any merchant in the kingdom, and declined all solicitations that he should represent Liverpool in Parliament.'