During his reign Louis Philippe created a number of new nobles, the chosen men being for the most part politicians who supported the government in parliament, rich tradesmen, office holders, and a few literary men. Two of the greatest men of the day, Thiers and Guizot, bluntly refused to be ennobled, as later on did Mons. Rouher. The assumption of false titles still continued, whilst the prefix _de_ which had formerly indicated gentle birth or landed estates, came to be so commonly employed as to carry no signification whatever. Book-plates of this period have little to distinguish them from those of the Restoration, except that the seal pattern, or the plain shield within a belt or garter became more common, whilst some artists affected a revival of a kind of Gothic ornamentation, with the inscription in archaic phraseology. Of this latter style a beautiful example is the plate designed for himself by the late Mons. Claude E. Thiery, of Maxéville. It represents the interior of a mediæval library, the walls of which are decorated with the arms of Lorraine. A reader is seated in front of two open folios, and above the design the inscription is: “Cestuy livre est a moy Claude Thiery ymaigier de moult haust et puissant Seigneur Mon seigneur Françoy Joseph empéreur,” etc. It is unnecessary to quote the whole of the somewhat lengthy inscription, as prints from the original plate were issued with the “Archives de la Société Française des Collectionneurs d’Ex Libris,” January 1895, together with a somewhat indignant letter from its owner pointing out several inaccuracies which had been made in an article describing the plate in “Ex Libris Ana,” page 73. The description was certainly curiously inexact, but that these laborious imitations of the crabbed handwriting, the archaic phraseology, and the miniature painting to be found on ancient manuscripts are lacking in originality, and out of place on modern book-plates, as says the writer in “Ex Libris Ana” (and herein lay the sting of his remarks), is a conclusion in which many collectors will certainly agree. Other well-known plates of this period are those of Aimé Leroy, A. Mercier, Viollet Le-Duc, Gabriel Peignot, Milsan, Ambroise Firmin-Didot, Desbarreaux Bernard, Pixérecourt, and Bazot, Notaire à Amiens. Yet even these present few points of interest, literary or artistic. Aimé Leroy had a Gothic window, through which a student is seen reading. Motto: _Mes livres sont ma joie_. The plate of Gabriel Peignot was also what we should style a library interior, as was appropriate to its owner who had been for years connected with the libraries of Vésoul and Dijon, and had made bibliography the study of his life which extended to the good old age of eighty-two. He died in 1849. Bazot, Notaire Amiens, had an imitation of the old style of armorial plate, with a ribbon on which the dates 1548 and 1848 appear. There is no explanation known of the first date, 1548.