Swiss book-plates are numerous and early. The first dated example occurs in 1607. Their general style is not pleasing, since it presents a stiffness and awkwardness in the arrangement of the decoration. Italian book-plates, again, possess few remarkable features. Perhaps their leading characteristic is the extreme coldness of their engravers' touch. One of these engravers was, however, a famous man, whose work deserves more than passing mention. I mean Raphael Morghen, the Florentine artist, who died in 1833, and who is said to have been able to engrave a plate when he was only twelve years old. It is curious to turn from his large engravings of the chief works in the gallery at Florence, to the unusually small work which enables us to reckon him here among the engravers of book-plates. This is a representation of the arms of the Duke of Cassano Serra, framed in a shelly frame, somewhat 'Chippendale' in appearance, but with the stiff, heavy 'Jacobean' wreath clinging closely to it. In a scroll which winds in and out of this wreath is the inscription: 'Il Duca Cassano Serra'; it is signed 'R. Morghen f[ecit].' A careful investigation of the Vatican and other Italian libraries would probably lead to the discovery of some more papal book-plates. Sir Wollaston Franks tells me that amongst his numerous engravings of the papal arms, there is only one which he feels sure was ever used as a book-plate. The late Sir George Dasent, in _Notes and Queries_,[10] describes what he considers the book-plate of Maffeo Barberini, Urban VIII.; but he does not tell us what leads him to the belief that the engraving is really a book-plate.